By Gaston Migeon, Henri Saladin
Islamic artwork isn't the paintings of a state nor of a humans, yet that of a faith: Islam. Spreading from the Arabian Peninsula, the proselyte believers conquered, in a couple of centuries, a territory spreading from the Atlantic to the Indian Ocean. Multicultural and multi-ethnical, this polymorphic and hugely non secular paintings, during which all illustration of guy and God used to be prohibited, constructed canons and numerous explanations of significant ornamental price. Thorough and creative, those artists expressed their ideals via growing huge masterpieces akin to the Al-Aqsa mosque in Jerusalem, the Taj Mahal in Agra or the Alhambra in Granada, architectural works during which one recognises the stylisation of factors of the Muslim ceramics. full of life and colored, Islamic artwork mirrors the richness of individuals whose universal denominator was once the idea in a single singular fact: absolutely the necessity of making works whose attractiveness equaled their recognize for God.
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Additional resources for Art of Islam (Temporis Collection)
It would be very difficult to draw any kind of analogy between them, and to attribute all of them to a so-called Seljuq style, since Ottoman art is different from that of Persia, from a strictly architectural point of view. These foreign dynasties sometimes fairly contributed to modifying local styles by encouraging more frequent interactions between the peoples they united under their rule; by introducing the taste of enamelled coatings, as did the Seljuqs of Anatolia; by seeking to find, in the monuments that they were erecting in Edirne, some of the aspects of this luxurious decoration that they had admired in Persia; or by creating substantial colonies of Chinese ceramists, whose influence is clearly established by some details of faience coating used as ornamentation and tonality for coloured enamels.
The rectangular plan on which it is constructed does not actually constitute a cradle; it is a half-dome preceding a dome, both of them star-shaped, which have been able to restore this rectangular plan through a succession of stalactites in the form of tiered corbels on a triangular plan. This succession of The Poi Kalon complex, 12th-20th centuries. tiered stalactites is distinctive, and the vaults seem to float in the air. Bukhara, Uzbekistan. qxp 3/20/2009 8:34 AM Page 64 The stalactites are made of pink enamelled bricks.
To this present day, every Maghrebian mosque is equipped with parallel naves, with a central nave, a richly ornamented porch, a turret-like mihrab and a minaret on a square plan. The minarets are decorated with a sort of network which is logical given that the goal was to make the wall lighter and firm at the same time using this rigid brick decoration. These bricks are often glazed in order to create a delicate effect. It is quite likely that these glazed ceramic bricks are of Mesopotamian and Persian origin.