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400
Plate with king hunting lions 5-7th century
This plate portrays many of the Sasanian features later adapted by Islamic art. Islamic art under the Umayyads on utilized the depiction of a ruler as a hunter, the use of silver for dishware, as well as highly detailed ornamentation.
Plate with king hunting lions, Sasanian, 5-7th century AD, silver, 27 cm diameter, British Museum, London -
500
The Antioch chalice
The Antioch chalice demonstrates many of the Byzantine characteristics Islamic art later adapted. The use of abstraction over realism, and the figures on the chalice do not depict a narrative but rather hold a symbolic meaning.
The Antioch chalice, first half of the 6th century, Byzantine, silver, silver-gilt, 19 cm x 15 cm, Metropolitan Museum of Art, New York -
Jan 1, 630
Ka'ba, rebuilt 692 and 1692, Mecca
Ka’ba known as the house of God and of Abraham, has affected the construction of every mosque constructed since. Mihrabs don’t just point towards Mecca, but to this shrine, to the house of God. And as all Muslims are supposed to make a pilgrimage to the Ka’ba at least once in their life, it is one of the few buildings that can be considered a shared experience of the artisans of every Islamic Dynasty. -
Jan 1, 661
Byzantine Influence
During the reign of the Umayyads-often referred to as the formative period of Islamic Art- many of artisans were Byzantine or had been influenced by Byzantium styles. Numerous aspects of Islamic art, especially in architecture, can by traced to Byzantine traditions such as the Mihrab, Minbar, and Maqsura. And while the Koran is partially responsible for Islamic art’s unwillingness to feature representational forms in ornament, it can also be attributed to the Byzantine emphasis on abstraction. -
Jan 1, 661
Sasanian Influence
The artisans during the reign of the Umayyads were often either Sasanian or influenced by Sassanian styles. The Sasanian Palace at Ctesiphon became a yardstick upon which to build many of the first Islamic palaces and buildings (barrel vaults of particular interest to Islamic architects). Islamic artists picked up the Sasanian tradition of utilizing stucco as an artistic medium as well as the use of beaded borders and designs. -
Period: Jan 1, 661 to Jan 1, 750
Syrian Umayyads
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Jan 1, 705
The Great Mosque of Damascus, Damascus, Syria
In the beginning days of Islam there was no Islamic building tradition so architects constructed the first mosques after Christian churches; Muslim architects soon worked to develop a new type of religious building specifically for Islamic worship, the Friday Mosque is one of the first examples of this. Rectangular with covered passageways on three sides, the fourth wall (the one oriented towards Mecca) marked by a mihrab, and minarets on each corner. This became a model for later mosques. -
Jan 1, 750
Trade With the East
Trade and access with the East, China in particular, had a great deal of influence over the development of Islamic art. The first obvious influence came under the reign of the Abbasids who developed “whitewares” that closely mimicked Chinese porcelain. Another important impact came in the 16th century as silk from China became more available which allowed for much finer detail and design in textiles, many of the designs themselves taken from Chinese models (just as China adapted many Persian mod -
Period: Jan 1, 750 to Jan 1, 1258
Abbasids
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Period: Jan 1, 756 to Jan 1, 1031
Spanish Umayyads
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Jan 1, 1000
The Fleeing of Refugees to Fatimid Egypt
Fatimid Egypt had a great deal more security than the surrounding areas during the 11th and 12th century. The surge of refugee artisans that came to Egypt to as a result of invasions and wars led to both a merging of styles, and a great deal of new knowledge and skill to Islamic art. -
Period: Jan 1, 1037 to Jan 1, 1281
Seljuqs
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Jan 1, 1050
Ewer, c. 1000–50, carved rock crystal
Part of a collection, this ewer depicts both vegetal and representational (animal) motifs. The wealth of the Fatimid period allowed for expansion into many different mediums including glassware, and the creativity of the motifs are a sign of the Fatimid’s support of creativity. Ewer, c. 1000–50, carved rock crystal, h. 19.5 cm , Victoria and Albert Museum, London -
Period: Jan 1, 1062 to Jan 1, 1150
Almovarids
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Jan 1, 1100
Widespread Availability of Paper in the Middle East
A Chinese Invention that was widely available throughout the Middle-East by the 12th century as Baghdad became a major centre of paper-making. Not only did the cheapness and availability of paper lead to a surge in the making of books, but it also led to a centralization of design (royal studios and workshops could use the designs written on paper to produce and reproduce the same style and work) and an easier way to pass on craft knowledge. -
Jan 1, 1100
Tomb of Mama Hatun, Tercan, Turkey (12th or 13th Century)
The Seljuks were the first, to historian’s knowledge, to utilize pentagonal geometry in ornamentation. The Tomb of Mama Hatun is one of the first known to do so, and this is a style of ornamentation that became popular in both later Islamic ornamentation and European art. -
Jan 2, 1100
Expansion of Scripts
Kufic script was used almost exclusively until the 11th century (13th Century in Africa). During the 12th century many other scripts were used which allowed both and increase in expediency and an expansion in style. The expediency was important as it allowed for much more to be produced, but style was even more crucial given calligraphy (of the Koran in particular) was often viewed as ornament in of itself, thus ornament greatly expanded after this period. -
Jan 1, 1133
Mausoleum of Sayyida Ruqayya Cairo, Egypt
The importance of the artisan during the Fatimid period is conveyed by the epigraphic inscription on the Mausoleum’s dome that includes the builder’s name. the dome features a middle section transition zone from the square to the drum, and while prior to this building it was done via large keel-arched openings at the corner of the square, this dome featured keel-arched niches resembling mugarnas. This became a popular method of creating the transition into the dome in later buildings. -
Jan 1, 1137
Minbar from the the Kutubiyya Mosque
While the Minbar from the Kutubiyya Mosque is contemporarily held as one of the greatest achievements of Islamic art, this reverence is not new. Commissioned by the last Almoravid sultan, when the Almohads conquered Marrakesh in 1147 they destroyed the sultan’s mosque but took the minbar to place in their own mosque. It is said that many minbars from that period on were based off of- but never as detailed- as the Minbar from the the Kutubiyya Mosque. -
Period: Jan 1, 1150 to Jan 1, 1269
Almohads
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Jan 1, 1200
Seljuk caravanserais along the Silk Road
As the Seljuk empire grew it came to control important trade routes in central Anatolia. Travelers along the trade route needed a safe place to spend the night, and thus caravanserais were constructed every 30km (day’s journey). These were important to Islamic art both because they allowed an easier exchange of materials and craft knowledge and they brought wealth into the empire that could be given to further the arts. -
Jan 1, 1210
Pen box, Iran
Demonstrating the importance of artisans during this time, the pen box features the signature of its maker. Metalwork was a very popular at this point, and pen boxes in particular were a secular symbol of power. Inscriptions, like the ones on this piece, were also very fashionable.
Pen box, Iran, 1210-11, Brass inlaid with copper, silver and black organic material, 5 cm height x 30 cm length x 6 cm deep, Freer Sackler Gallery, Washington, DC -
Period: Jan 1, 1217 to Jan 1, 1465
Marinids
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Period: Jan 1, 1230 to Jan 1, 1492
Nasrids
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Period: Jan 1, 1250 to Jan 1, 1517
Mamluks
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Period: Jan 1, 1256 to Jan 1, 1500
Ilkhanids
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Jan 1, 1285
Mosque lamp
A common feature in many mosques, this object is the earliest datable example of its type to survive. Made for a tomb of the Mamluk amir Aydakin al ‘Ala’l al-Bunduqdar in Cairo it features the more elongated and decorative thuluth script. The lamp also features a typo, with bunduqdar “keeper of the bow” instead written as bunqud-dar.
Mosque lamp, c. 1285, Mamluk, brownish colorless glass, free-blown, applied, enameled, gilded and stained, 26 cm high, 21 cm maximum diameter, Metropolitan Museum, -
Jan 1, 1300
Jar, late 13th-14th century, Iran, fritware, lajvardina
This lajvardina ware jar was very popular between the 1ate 12th and early 14th centuries. Almost all lajvardina ware were abstract floral designs such as this one, and as this was dated at the end of the 13th to the beginning of the 14th century it was being produced at the tail end of this style.
Jar, late 13th-14th century, Iran, fritware, lajvardina, 37.5 cm high, Metropolitan Museum of Art, New York -
Period: Jan 1, 1300 to
Ottomans
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Jan 1, 1307
Jami-al-Tawarikh (History of the World), Rashid al-Din
Written just after paper became more widely available in the Middle East, this Mongolian work not only describes major events and cultures from China to Europe, but also extensively the Mongol history as a way of establishing cultural legacy. It is also important to note that it was the Mongol invasion into Iran that shifted the arts from decorative to calligraphy and manuscripts.
Jami-al-Tawarikh (History of the World), Rashid al-Din, 1307, Tabriz, Edinburgh University Library, Edinburgh -
Jan 1, 1356
Sultan Hasan funerary complex
The Complex of Sultan Hasan had to adjust to the massive urbanization of Cairo, which meant it was both oriented towards the street and towards Mecca. The height of its double domes can both be attributed to the lack of space from urbanization as well the competition that was common during this time (especially among visiers.) -
Period: Jan 1, 1370 to Jan 1, 1526
Timurids
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Jan 1, 1414
Bayezid Pasa Mosque
This Ottoman Mosque features portals with turquoise muqarnas and Kufic script carvings. The Ottoman’s archetectual desire to emphasize central space and the vertical is also visible.
Bayezid Pasa Mosque, 1414, Amasya, Turkey -
Jan 1, 1440
Shahnameh, made for Mohammad Juki
Often considered the most important work of Iranian literature, the Shahnameh or the “History of Kings” had wide impact on Islamic art. Its tales and themes were portrayed on metalwork, ceramics, even the tiles on buildings (usually in the form of verses). The illustrations themselves are not unusual except for the display of emotion depicted which was unusual for the time and in times after.
Shahnameh, made for Mohammad Juki, 1440s, Herat, opaque watercolor, ink and gold on paper, Royal Asiati -
Jan 1, 1500
Architectural Supervision and Control
Under the Ottomans, court architects supervised the construction of all buildings, both in features and in ornament. This supervision controlled the language of architecture and art leading to a narrowing and unifying of styles; there are a plethora of writings that showed artisans exactly how to do their work with little room for freedom of expression. -
Jan 1, 1500
Rise and Popularity of Illumination
While illumination flourished in the 13th and 14th century, it gained extreme popularity and esteem under the Safavid dynasty in the 16th century. It began to compete with words as the main focus, which given the revere calligraphy held in Islamic art, demonstrates just how powerful it became, often taking up most of the page. -
Period: Jan 1, 1501 to
Safavids
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Period: Jan 1, 1526 to
Mughals
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Nov 2, 1548
Suleymaniye complex
The Süleymaniye complex was built by the architect Sinan and considered the pinnacle of his career, given he oversaw the construction of over 300 buildings this is saying something, and given the Ottoman’s obsession with uniformity in ornament and architecture, one can find many of the same features and designs from this complex represented in many others built during this time.
Suleymaniye complex (architect: Sinan), 1548-1559, Istanbul, Turkey -
Jan 1, 1550
Decrease in Royal Patronage
In 1550 the Safavid ruler became very religious which led to a decrease in royal patronage. This caused artists to change to adapt to their new less wealthy patrons causing a shift from more expensive to less expensive materials, a surge of single sheet sales, and a newfound interest in realism. -
Jan 1, 1550
Dappled stallion
The Dappled Stallion is one of the best examples of what came out of the decreased patronage given to artists by royalty in the 1500's As a single page, the Dappled Stallion can be more easily afforded by less wealthy customers. It shows the newly fostered interest in realism that came about at this time. Dappled stallion, 16th to early 17th century, Mashad, Iran, colors, ink, silver and and gold and paper, 20 x 13 cm, Metropolitan Museum of Art, New York -
Jan 1, 1550
The Emperor’s carpet
This textile demonstrates the influence of China on Islamic art both in material and in design. The floral textiles of the 15th century were often not nearly as detailed because silk wasn’t as available. The figures depicted show animals common both to Persian and Chinese art.
The Emperor’s carpet, mid 16th century, Iran, silk (warp and weft), 7.5 x 3.3 m, Metropolitan Museum of Art, New York -
Jan 1, 1571
Fatehpur Sikri palace complex
The red sandstone architecture as well as some of the decorative motifs reflect Hindu influence although Islamic designs dominate. One unusual aspect of this palace was that many of its walls were painted, very uncommon before and after. -
Taj Mahal complex, 1631-1647
Regarded by any as the finest example of Munghal architecture, the Taj Mahal combines elements from Persian, Turkish Ottoman, and Indian architectural styles. The calligraphy is in the Thuluth script; one unusual feature is that the tomb is at the end of the garden rather than the more common central location. -
Bowl, 9th century; Abbasid, Iraq, earthenware
This Abbasid bowl demonstrates both the influence of China and the increasing importance if calligraphy in Islamic art. The earthenware, sometimes called whiteware, is an attempt to mimic Chinese porcelain, and the blue hue itself is also a common feature of Chinese porcelain. The calligraphy is the main decoration. Also, this bowl features a new (as in developed under the Abbasid reign) method called tin glazing. Bowl, 9th century; Abbasid, Iraq, earthenware, tin-glazed and stained , 20 cm di -
Great Mosque, Córdoba, Spain
During the Rule of the Spanish Umayyads, the Great Mosque was built by Abd al-Rahman I (sole survivor of the massacre of his royal family). One of the greatest impacts of the structure on Islamic art is the use of horseshoe arches, an architectural feature common to the Visigoths, that ended up spreading to North Africa and is now often identified as a feature of Islamic architecture. -
Dome of The Rock
Often cited as the first major example of Islamic architecture, the Dome of the Rock greatly influenced later Islamic buildings. The calligraphic decorations featuring Koranic verses dominated both the interior and exterior, which would later become common in much of Islamic architecture. The octagonal structure became a model for domed sanctuaries.
Dome of the Rock, begun in 691 by caliph Abd al-Malik, Jerusalem -
The Great Mosque of Samarra
The lasting impact of the Great Mosque of Samarra was in regards to ornament. It was here that the beveled style was created. This beveling featured three styles that would be utilized from then on: naturalistic (carved), abstracted (carved), further abstraction and geometric shapes (molded). -
Period: to Jan 1, 1171
Fatimids
