Islamic art

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Application Number156 NameMUHAMMAD JALAL HUSSAINFather NameWAQAR HUSSAIN CHISHTIDisciplineMECHANICAL ENG.[RACHNA]CategoryA1Marks %age72.175BankID07-156

Different Art Periods:-

Roman Art:

Roman art is the sculpture, pottery, painting, and other art produced in Ancient Rome or in territories under its rule from the founding of Rome in the 9th or 10th century BC,through the Roman Kingdom, Roman Republic, and Roman Empire periods, until thedecline of the Roman Empire by the 5th century AD

Greek Art:

Greece has a rich and varied artistic history, spanning some 5000 years and beginning inthe Cycladic and Minoan prehistorical civilization, giving birth to Western classical art inthe ancient period. The art of ancient Greece has exercised an enormous influence on theculture of many countries from ancient times until the present, particularly in the areas of sculpture and architecture.

Byzantine Art:

Byzantine art is the term commonly used to describe the artistic products of the EasternRoman Empire from about the 5th century until the Fall of Constantinople in 1453. (TheRoman Empire during this period is conventionally known as the Byzantine Empire.)

Sassanian Art:

Sassanid art is the term commonly used to describe the various artistic products of theSassanid Empire of Persia from about the 3rd century until its fall of Ctesiphon in 640.There art includes painting, sculpture, pottery, textile, ceramic, metalwork, literature and pottery. Sassanian art had a distinctive influence on Byzantine architecture and Islamicarchitecture.

The term

Islamic art

not only describes the art created specifically in the service of theMuslim faith(for example, a mofurnishings) but also characterizes the art and architecture historically produced in the lands ruled by Muslims, producor created by Muslim artists. As it is not only a religion but a way of life, Islam fostered the development of a distinctiveunique artistic language that is reflected in art and architecture throughout the Muslim world.The lands newly conquered by the Muslims had their own preexisting artistic traditions and, initially at least, those artisunder Byzantine or Sasanian patronage continued to work in their own indigenous styles but for Muslim patrons. The fi Islamic art therefore rely on earlier techniques, styles, and forms reflecting this blending of classical and Iranian decor motifs. Even religious monuments erected under Umayyad patronage that have a clearly Islamic function and meaninthe Rock in Jerusalem, demonstrate this amalgam of Greco-Roman, Byzantine, and Sasanian elements. Only graduallthe Muslim faith and nascent Islamic state, did a uniquely Islamic art emerge. The rule of the Umayyad caliphate (661considered to be the formative period in Islamic art. One method of classifying Islamic art, used in the Islamic galleriesMuseum, is according to the dynasty reigning when the work of art was produced. This type of periodization follows thIslamic history, which is divided into and punctuated by the rule of various dynasties, beginning with the Umayyad andthat governed a vast and unified Islamic state, and concluding with the more regional, though powerful, dynasties suchOttomans,and Mughals. With its geographic spread and long history, Islamic art was inevitably subject to a wide range of regional and even nainfluences as well as changes within the various periods of its development. It is all the more remarkable then that, evcircumstances, Islamic art has always retained its intrinsic quality and unique identity. Just as the religion of Islam embserves as a cohesive force among ethnically and culturally diverse peoples, the art produced by and for Muslim societiidentifying and unifying characteristics. Perhaps the most salient of these is the predilection for all-over surface decoracomponents of Islamic ornament are calligraphy, vegetal patterns, geometric patterns,and figural representation.

Figural representation:

With the spread of Islamoutward from the Arabian Peninsula in the seventh century, thefigurative artistic traditions of the newly conquered lands profoundly influenced the developmentof Islamic art. Ornamentation in Islamic art came to include figural representations in itsdecorative vocabulary, drawn from a variety of sources. Although the often cited opposition inIslam to the depiction of human and animal forms holds true for religious art and architecture, inthe secular sphere, such representations have flourished in nearly all Islamic cultures.The Islamic resistance to the representation of living beings ultimately stems from the belief thatthe creation of living forms is unique to God, and it is for this reason that the role of images andimage makers has been controversial. The strongest statements on the subject of figuraldepiction are made in the Hadith (Traditions of the Prophet), where painters are challenged to"breathe life" into their creations and threatened with punishment on the Day of Judgment. TheQur’an is less specific but condemns idolatry and uses the Arabic term

musawwir

("maker of forms," or artist) as an epithet for God. Partially as a result of this religious sentiment, figures inpainting were often stylized and, in some cases, the destruction of figurative artworks occurred.Iconoclasmwas previously known in the Byzantine periodand aniconicism was a feature of the Judaic world, thus placing the Islamic objection to figurative representations within a larger context. As ornament, however, figures were largely devoid of any larger significance andperhaps therefore posed less challenge.As with other forms of Islamic ornamentation, artists freely adapted and stylized basic human andanimal forms, giving rise to a great variety of figural-based designs. Figural motifs are found onthe surface decoration of objects or architecture, as part of the woven or applied patterns of textiles, and, most rarely, in sculptural form. In some cases, decorative images are closely relatedto the narrative painting tradition, where text illustrations provided sources for ornamental themes

and motifs. As for manuscript illustration,miniature paintings were integral parts of these works of art as visual aids to the text, therefore no restrictions were imposed. A further category of fantastic figures, from which ornamental patterns were generated, also existed. Some fantasticmotifs, such as harpies (female-headed birds) and griffins (winged felines), were drawn from pre-Islamic mythological sources, whereas others were created through the visual manipulation of figural forms by artists.

Container in the shape of a horse and rider

, 12th–13th centuryIranComposite body, underglaze-painted; H. 10 7/8 in. (27.6 cm), W. 3 in. (7.6 cm), D. 8 1/4 in. (21cm)Harris Brisbane Dick Fund, 1966 (66.23)This figurine represents the relatively rare sculptural tradition within Islamic art. Although thefunction of this and other such Seljuq equestrian figures is not entirely known, they appear toportray significant personages. Here the overall symbolism conveyed is that of a warrior or hunter: the rider holds a cup, carries a short staff, and bears what appears to be a shield. Thesmall animal seated behind the rider may be a hunting cheetah, and the hollowness of theobject's upper section suggests a container-like function.

Tympanum

, late 14th–early 15th century; Golden HordeDaghestan region, Caucasus (probably Kubachi)Carved stone with traces of paint; H. 28 3/4 in. (73 cm), W. 51 inRogers Fund, 1938 (38.96)

The vegetal decoration surrounding the central figure resembles that found on fourteenth- and fifteenth-century tothe town of Kubachi, presently in the republic of Daghestan in the Caucasus. This attribution is supported by the "cthat covers the rider's chest, which became fashionable after the arrival of the Mongols in the area and was populafifteenth century. The horseman represents a traditional image of a Central Asian nomadic archer, symbolic of theof the Golden Horde (1227–1502). In the thirteenth and fourteenth centuries, between the Ilkhanid and the Timuriddynasty ruled over a large area in Russia, including the province of Daghestan on the north shore of the Caspian Shorseman and his mount provide valuable information about costume and trappings in the Caucasus at this time.fitting short-sleeved tunic is worn over another garment. Tight-fitting high boots, a belt, and a hood reaching to thecomplete the costume. A leather pouch hangs from the belt, as does a quiver of typically Turkic type.This tympanum was once assembled on the front wall of the so-called House of Ahmed and Ibrahim at Kubachi, acenter under the control of the Golden Horde, which extended from the Lower Volga to the Caucasus on the northshores of the Caspian Sea. It is not clear if the house was destroyed at the beginning of the twentieth century. Thethis object decorated must have been of a secular nature, perhaps the country house of a prince of the Golden Ho

Dish

, last quarter of 16th century; OttomanIznik, TurkeyComposite body, painted and glazed; H. 2 1/8 in. (5.4 cm), Diam. 11 1/2 in. (28.5 cm)Purchase, Richard S. Perkins Gift and Louis E. and Theresa S. Seley Purchase Fund for Islamic Art, 1979 (1979.4

The animals on this dish, some more recognizable than others, may derive from representations on Seljuq metalw

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