Progression of Islamic Art
Progression of Islamic ArtThere exist three basic components of traditional Islamic art: calligraphy, geometric patterns, and floral and vegetal motifs. These three stylistic tools are beautifully rendered and masterfully integrated into complex works of art, but there is no question that artistic expression is severely limited under these categorizations. However, this limitation stems from Islamic theology and concept of art. The main reason for the limitation imposed on visual art is the Islamic theological prohibition of figural imagery. Social laws presented in the Hadith prevented the representation of figures because any imitation was deemed idolatrous. Also, art is considered to be decorative and imitative. Script and patterns are used to decorate objects, whether they be architectural structures, prayer rugs, ceramics, and books. The geometric objects naturally led to artistic patterning and repetition. Although the Islamic community prohibited figural imagery, the community�s rapid expansion during the centuries after its inception diluted the rigidity of traditional customs. Assimilated countries and cultures that practiced figural art before the Islamic armies came continued to do so. These assimilated artistic styles did utilize figural imagery, yet they still reflected the traditional artistic components of Islam. The introductory plaque at the entrance of the Islamic Art collection at the Metropolitan Museum of Art states that Islamic art is characterized by �stasis,� and that even assimilated foreign styles have �always retained its intrinsic quality and unique identity.� The beautifully rendered book miniatures of the Shahnama of Shah Tahmasp illustrate this last point wonderfully. The Shahnama, translated as �The Book of Kings,� is an Iranian national epic penned by the poet Firdausi between 975-1010 AD. Centuries later, it became the custom for shahs to have their own personal copy of the Shahnama. This naturally transformed the quality of the book into measurement of status. The second shah of the Safavid dynasty, Tahmasp, was a great patron of the arts. Not only did he have his copy ornamented with gold, silver, rich colors, and exquisite calligraphy, he employed the most distinguished artists of the time to paint the two-hundred-and fifty-eight inked figural miniature paintings that accompany each page of text. Although all the miniatures are of similar style, the �Sufarai Victory Over the Haital� envelopes the range of the Safavid figural painting during the first half of the sixteenth-century, as well as the three components of traditional Islamic art. The miniatures serve the traditional Islamic functions of art of ornamentation and imitation. Oddly enough, the miniatures are second imitations; they are the imitation of the scribed words, which in turn imitate the actual legendary event. The Arabic words are the most important artistic representation of the page. The word is the substance of the book; the attached miniatures are merely pictorial representations of the written story. This subjugation of the picture to the word is physically demonstrated, for the text on the page, in the same...
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