TO BE COVERED
Islamic Art: A  Sociological Introduction
Islamic Art: A “Sociological” Introduction
Islam on Visual Arts
Is...
ISLAMIC ART: A “SOCIOLOGICAL”
INTRODUCTION PART#1
Visual arts produced from the 7th century onwards 
by people, not necess...
ISLAMIC ART: A “SOCIOLOGICAL”
INTRODUCTION PART#2
Depiction of patterns and geometric shapes, rather 
than on figures and ...
ISLAMIC ART: A “SOCIOLOGICAL”
INTRODUCTION PART#3
Islamic Art began as a form of sacred Art, but later as 
applied Art dev...
ISLAM ON VISUAL ARTS PART#1
“Whoever makes a picture will be punished by Allah 
p
p
y
till he puts life in it, and he will...
ISLAM ON VISUAL ARTS PART#2
“Allah says that he created humans in the most
Allah says that he created humans in the most 
...
ISLAMIC ART AS SACRED ART PART#1
Imagery intended to uplift the mind to the spiritual. 
Imagery intended to uplift the min...
ISLAMIC ART AS SACRED ART PART#2
Mihrabs and Minbars as mostly practiced forms of
and Minbars as mostly practiced forms of...
ISLAMIC ART AS SACRED ART PART#3
3
Mihrab
in the Mosque at Isfahan
in the Mosque at Isfahan
Minbar 
at the Sultan Hasan Mo...
ISLAMIC ART AS APPILED ART PART#1
The application of design and aesthetics to objects of 
The application of design and ae...
ISLAMIC ART AS APPLIED ART PART#2
A classic
Islamic carpet
Islamic carpet
ISLAMIC ART AS APPLIED ART PART#3
3
A traditional
Islamic ceramic bowl

Women in burqah
DEPICTION OF NON MUSLIM
PROPHETS IN VISUAL ART
Devta, Devi, and Avatar in Hinduism
Buddha the Entlighed in Buddhism
Moses ...
DEPICTION OF NON MUSLIM
PROPHETS IN VISUAL ART HINDUISM

The Trimurti: The cosmic functions of creation, maintenance, and ...
DEPICTION OF NON MUSLIM
PROPHETS IN VISUAL ART BUDDISM
Head of Buddha, secured from the 
destruction done by the Afghans
DEPICTION OF NON MUSLIM
PROPHETS IN VISUAL ART JUDAISM

Moses pleading with the Children of Israel
Lithography from a Bibl...
DEPICTION OF NON MUSLIM
PROPHETS IN VISUAL ART CHRISTIANITY

The Creation of Adam is a section of Michelangelo s fresco Si...
DEPICTION OF NON MUSLIM
PROPHETS IN VISUAL ART CHRISTIANITY
The oldest known icon of Christ.
The two different facial expr...
DEPICTION OF PROPHET
MUHAMMAD IN VISUAL ART PART 1

Arab illustration of Mohammed preaching from a minbar to the 
earliest...
DEPICTION OF PROPHET
MUHAMMAD IN VISUAL ART PART 2

Muhammad re‐
dedicating the 
Black Stone at the 
Kaaba. 
Jami' al‐Tava...
DEPICTION OF PROPHET
MUHAMMAD IN VISUAL ART PART 3

Muhammad meets the monk Bahira. Jami' al‐Tavarikh
DEPICTION OF PROPHET
MUHAMMAD IN VISUAL ART PART 4
Muhammad visits Paradise. Miraj‐Nama

Muhammad visits hell, where he 
v...
DEPICTION OF PROPHET
MUHAMMAD IN VISUAL ART PART 5

The photograph 
by Lehnert & 
Landrock, which 
later became the 
l t b...
CONCLUDING STATEMENTS
• The fundamental testimony of Islam puts ban 
y
p
on pictures of individuals and animals reducing 
...
CONCLUSION
The ideas and 
Th id
d
themes of core 
Islamic Art 
Islamic Art

expanded 
with respect to Art 
movements, and ...
The Impact of Religion on Islamic Arts and Depiction of Prophets in Visual Art
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The Impact of Religion on Islamic Arts and Depiction of Prophets in Visual Art

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The Impact of Religion on Islamic Arts and Depiction of Prophets in Visual Art

  1. 1. TO BE COVERED Islamic Art: A  Sociological Introduction Islamic Art: A “Sociological” Introduction Islam on Visual Arts Islamic Art as Sacred Art  Islamic Art as Sacred Art Islamic Art as Applied Art Depiction of Non Muslim Prophets in Visual Art Depiction of Non Muslim Prophets in Visual Art Depiction of Prophet Muhammad in Visual Art
  2. 2. ISLAMIC ART: A “SOCIOLOGICAL” INTRODUCTION PART#1 Visual arts produced from the 7th century onwards  by people, not necessarily Muslim, who lived within  the territory that was inhabited by or ruled by  culturally Islamic populations. The Th environment is the dominant role of Islamic Art  i t i th d i t l fI l i A t and its quality is essentially contemplative.” Titus Burckhardt Titus Burckhardt
  3. 3. ISLAMIC ART: A “SOCIOLOGICAL” INTRODUCTION PART#2 Depiction of patterns and geometric shapes, rather  than on figures and images | why? The fundamental testimony of Islam la ilaha illallah,  the simple rationale Portraiture of the messengers and/or prophets is  avoided, not only because their images could  become the object of idol worship, but also because  become the object of idol worship but also because of the respect inspired by their inimitability
  4. 4. ISLAMIC ART: A “SOCIOLOGICAL” INTRODUCTION PART#3 Islamic Art began as a form of sacred Art, but later as  applied Art deviating sometimes from the religious  guidance on depiction of figures and images. To portray Allah, artists quested for perfection, and  found geometrical shapes as the best solution. f d ti l h th b t l ti In the course of time Artists played with various  forms of Islamic Art, again sometimes disregarding  forms of Islamic Art again sometimes disregarding the religious barriers, but never went too far from  the basic language of it, perfection. the basic language of it, perfection.
  5. 5. ISLAM ON VISUAL ARTS PART#1 “Whoever makes a picture will be punished by Allah  p p y till he puts life in it, and he will never be able to put  life in it.” Bukhari 3:428 “… Angels do not enter a house wherein there are  “ l d h h h pictures.” Bukhari 4:47 “Those are the people who whenever a pious man Those are the people who, whenever a pious man  dies amongst them, make a place of worship at his  grave and then they make those pictures in it. Those  are the worst creatures in the Sight of Allah.” Bukhari 2:425
  6. 6. ISLAM ON VISUAL ARTS PART#2 “Allah says that he created humans in the most Allah says that he created humans in the most  perfect shape.” At Teen 94:4 “Satan promised Allah that he will command us to  p manipulate and change the creation of Allah.” An‐Nesa 4:119
  7. 7. ISLAMIC ART AS SACRED ART PART#1 Imagery intended to uplift the mind to the spiritual.  Imagery intended to uplift the mind to the spiritual. It can be an object to be venerated not for what it is  but for what it represents Radiates the beauty of the worship and, at the same  time, protects it “Oh sons of Adam wear your beautiful garments in  every place of prayer.” Al A’raf 7:31
  8. 8. ISLAMIC ART AS SACRED ART PART#2 Mihrabs and Minbars as mostly practiced forms of and Minbars as mostly practiced forms of  Islamic sacred Art Mihrab, the prayer‐niche, is indisputably a creation  , p y , p y of sacred Art, and has become in practice a regular  element in the liturgy. Minbar, a pulpit, is a must in a mosque where the  Friday prayers are celebrated together. 
  9. 9. ISLAMIC ART AS SACRED ART PART#3 3 Mihrab in the Mosque at Isfahan in the Mosque at Isfahan Minbar  at the Sultan Hasan Mosque
  10. 10. ISLAMIC ART AS APPILED ART PART#1 The application of design and aesthetics to objects of  The application of design and aesthetics to objects of function and everyday use. Some definite forms of Islamic Art who have revealed  in applied forms: rugs and carpets, ceramic  accessories, glass accessories, metal accessories, and  apparels
  11. 11. ISLAMIC ART AS APPLIED ART PART#2 A classic Islamic carpet Islamic carpet
  12. 12. ISLAMIC ART AS APPLIED ART PART#3 3 A traditional Islamic ceramic bowl Women in burqah
  13. 13. DEPICTION OF NON MUSLIM PROPHETS IN VISUAL ART Devta, Devi, and Avatar in Hinduism Buddha the Entlighed in Buddhism Moses in Judaism Jesus the Christ in Christianity y
  14. 14. DEPICTION OF NON MUSLIM PROPHETS IN VISUAL ART HINDUISM The Trimurti: The cosmic functions of creation, maintenance, and destruction are  personified by the forms of Brahmā the creator, Vishnu the maintainer, and Shiva the  destructor
  15. 15. DEPICTION OF NON MUSLIM PROPHETS IN VISUAL ART BUDDISM Head of Buddha, secured from the  destruction done by the Afghans
  16. 16. DEPICTION OF NON MUSLIM PROPHETS IN VISUAL ART JUDAISM Moses pleading with the Children of Israel Lithography from a Bible card published in 1907
  17. 17. DEPICTION OF NON MUSLIM PROPHETS IN VISUAL ART CHRISTIANITY The Creation of Adam is a section of Michelangelo s fresco Sistine Chapel  The Creation of Adam is a section of Michelangelo's fresco Sistine Chapel ceiling painted circa 1512. Inspired from the Book of Genesis in which God  breathes life into Adam
  18. 18. DEPICTION OF NON MUSLIM PROPHETS IN VISUAL ART CHRISTIANITY The oldest known icon of Christ. The two different facial expressions on either  side emphasizes Christ s two natures as fully  side emphasizes Christ's two natures as fully God and fully human.
  19. 19. DEPICTION OF PROPHET MUHAMMAD IN VISUAL ART PART 1 Arab illustration of Mohammed preaching from a minbar to the  earliest converts. Al‐Bîrûnî, al‐âthâr al‐bâqiya
  20. 20. DEPICTION OF PROPHET MUHAMMAD IN VISUAL ART PART 2 Muhammad re‐ dedicating the  Black Stone at the  Kaaba.  Jami' al‐Tavarikh
  21. 21. DEPICTION OF PROPHET MUHAMMAD IN VISUAL ART PART 3 Muhammad meets the monk Bahira. Jami' al‐Tavarikh
  22. 22. DEPICTION OF PROPHET MUHAMMAD IN VISUAL ART PART 4 Muhammad visits Paradise. Miraj‐Nama Muhammad visits hell, where he  views women being hung by their  hair and tormented by a demon for  the sin of showing their hair in  the sin of showing their hair in public. Miraj‐Nama
  23. 23. DEPICTION OF PROPHET MUHAMMAD IN VISUAL ART PART 5 The photograph  by Lehnert &  Landrock, which  later became the  l t b th base of an Iranian  depiction of a  y young  g Muhammad.
  24. 24. CONCLUDING STATEMENTS • The fundamental testimony of Islam puts ban  y p on pictures of individuals and animals reducing  the risk that they might be worshipped or  glorified in his place or along with him. glorified in his place or along with him • Islam also talks about beauty as well. • Not as clash but rather as a bond between Not as clash, but rather as a bond between  these two‐ Islamic Art is born.  • Sacred Art >> Applied Art >> Modern Art  pp • Breaking the barriers of religious fundaments  but sticking within the grammar
  25. 25. CONCLUSION The ideas and  Th id d themes of core  Islamic Art  Islamic Art expanded  with respect to Art  movements, and  geography.

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