2D Art in Global Islamic Traditions - AP Art History

Jahangir is shown as dominant because of his position in the painting-- superior to the artist and rulers from Turkey and England. He passes the Koran to an important Muslim Holy Man, Shaikh Husain, who takes it with reverence. His position at the center of the sun and moon, ringed in a halo of light, and seated atop an hourglass, which symbolizes time, emphasize his eternal importance.

Arabesques, which combine plants and geometric patterns in graceful designs, are a primary feature of Islamic art. Depictions of animals or people are forbidden in sacred buildings. A "lunette" is a semicircle at the end of a cross in early Christian art.

The work of art shown here, Bahram Gur fights the Karg, was originally placed in a lengthy illustrated manuscript of the Persian epic poem the Shahnama. Recounting and greatly embellishing the deeds and actions of the real Persian kings from ancient history to the present. This image depicts Bahram Gur, a Persian Sasanian King of the fifth century, fighting a legendary beast, the Karg, also known as a horned wolf, adding to his legend and depiction.

Work is in the public domain, image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Demotte\_Shahname\_002.jpg

Although people sometimes do appear in early Islamic art, accurate and detailed representations don't appear. In part, this is because some feared that realistic depictions of religious figures could encourage idolatry. However, it is also in keeping with the traditions of the early Medieval period, where few artists rendered figures with the same emphasis on precision that later Renaissance artists would employ.

During the thirteenth century, Mongolian armies invaded Persia, toppling the Khwarezmid Empire then ruling the area and creating a Khanate throughout the Persian Empire. Known as the Ilkhanid Empire, the Mongol rulers adopted Islam and many traditional Persian customs, but also imported many Chinese artisans and craftsman. This Chinese influence is present in Bahram Gur fights the Karg through the detailed landscape in the background of the painting and the vaguely Asian characteristics of the main subject, a historical Persian King.

Work is in the public domain, image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Demotte\_Shahname\_002.jpg

Although separated by about 300 years and two large empires, both Bahram Gur fights the Karg and Jahangir Preferring a Sufi Shaikh to Kings are depictions of rulers in idealized forms. Additionally, each have a blending of Islamic, Indian, and Asian influences, thanks to their artists working in pan-national empires. Both works are also executed on paper as fine miniatures.

Work is in the public domain, image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Demotte\_Shahname\_002.jpg

Kufic calligraphy, easily identifiably by its blockier style, was the first form of calligraphy used by Muslims to transcribe the Koran in the seventh through ninth centuries. Although hardly used today, it is the basis for modern Arabic calligraphy, including those used for the Shahadah, the key creed of Islam, and the Bismillah, the invocation of God's name, which are common themes of Arabic calligraphy. Kufic led to the development of more "cursive" styles of calligraphy like Hijazi and Diwani.

This work, known as Bahram Gur Fights the Karg, is from an illustrated version of the great Persian epic poem Shahnama. The text itself, in Persian script, is the most obviously Persian element, but the carefully composed miniature painting on paper in ink is also a significant feature of Persian art. Also, the image is of a human being, differing it from other Islamic art which traditionally forbade the depiction of human figures, a prohibition not as strictly followed in Persia.

Work is in the public domain, image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Demotte\_Shahname\_002.jpg

The Quran, the Islamic holy book, made Muslim artists pursue calligraphy for two different but related reasons. Calligraphy was the easiest mode of transmission for the written Quran in the early years of the religion. Additionally, Quranic prohibitions on creating figurative art made many Muslim artists pursue the geometrical and literary art of calligraphy.

In the Quran, images of all kinds are proscribed, as they are too close to idolatry and attempting to act like God. As such, many Islamic artists focused on geometric shapes and calligraphy in their art. Over time, Islamic art began to be highly ornate and developed around these non-representational images.

Jahangir is shown as dominant because of his position in the painting-- superior to the artist and rulers from Turkey and England. He passes the Koran to an important Muslim Holy Man, Shaikh Husain, who takes it with reverence. His position at the center of the sun and moon, ringed in a halo of light, and seated atop an hourglass, which symbolizes time, emphasize his eternal importance.

Arabesques, which combine plants and geometric patterns in graceful designs, are a primary feature of Islamic art. Depictions of animals or people are forbidden in sacred buildings. A "lunette" is a semicircle at the end of a cross in early Christian art.

The work of art shown here, Bahram Gur fights the Karg, was originally placed in a lengthy illustrated manuscript of the Persian epic poem the Shahnama. Recounting and greatly embellishing the deeds and actions of the real Persian kings from ancient history to the present. This image depicts Bahram Gur, a Persian Sasanian King of the fifth century, fighting a legendary beast, the Karg, also known as a horned wolf, adding to his legend and depiction.

Work is in the public domain, image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Demotte\_Shahname\_002.jpg

Although people sometimes do appear in early Islamic art, accurate and detailed representations don't appear. In part, this is because some feared that realistic depictions of religious figures could encourage idolatry. However, it is also in keeping with the traditions of the early Medieval period, where few artists rendered figures with the same emphasis on precision that later Renaissance artists would employ.

During the thirteenth century, Mongolian armies invaded Persia, toppling the Khwarezmid Empire then ruling the area and creating a Khanate throughout the Persian Empire. Known as the Ilkhanid Empire, the Mongol rulers adopted Islam and many traditional Persian customs, but also imported many Chinese artisans and craftsman. This Chinese influence is present in Bahram Gur fights the Karg through the detailed landscape in the background of the painting and the vaguely Asian characteristics of the main subject, a historical Persian King.

Work is in the public domain, image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Demotte\_Shahname\_002.jpg

Although separated by about 300 years and two large empires, both Bahram Gur fights the Karg and Jahangir Preferring a Sufi Shaikh to Kings are depictions of rulers in idealized forms. Additionally, each have a blending of Islamic, Indian, and Asian influences, thanks to their artists working in pan-national empires. Both works are also executed on paper as fine miniatures.

Work is in the public domain, image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Demotte\_Shahname\_002.jpg

Kufic calligraphy, easily identifiably by its blockier style, was the first form of calligraphy used by Muslims to transcribe the Koran in the seventh through ninth centuries. Although hardly used today, it is the basis for modern Arabic calligraphy, including those used for the Shahadah, the key creed of Islam, and the Bismillah, the invocation of God's name, which are common themes of Arabic calligraphy. Kufic led to the development of more "cursive" styles of calligraphy like Hijazi and Diwani.

This work, known as Bahram Gur Fights the Karg, is from an illustrated version of the great Persian epic poem Shahnama. The text itself, in Persian script, is the most obviously Persian element, but the carefully composed miniature painting on paper in ink is also a significant feature of Persian art. Also, the image is of a human being, differing it from other Islamic art which traditionally forbade the depiction of human figures, a prohibition not as strictly followed in Persia.

Work is in the public domain, image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Demotte\_Shahname\_002.jpg

The Quran, the Islamic holy book, made Muslim artists pursue calligraphy for two different but related reasons. Calligraphy was the easiest mode of transmission for the written Quran in the early years of the religion. Additionally, Quranic prohibitions on creating figurative art made many Muslim artists pursue the geometrical and literary art of calligraphy.