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Please write a 7 page paper about how it all started with calligraphy and how it developed to figural imagery in the islamic world of art. Include 4 examples of art pieces that includes both calligraphy and figural imagery. Be sure to talk about those 4 examples in detail, who made it, when was it made, what’s on it and what it is about. (Include images of 4 examples while writing about it).
Islamic art has a rich and diverse history that encompasses a wide range of artistic forms. Among these, calligraphy holds a special place as one of the most significant and enduring art forms. Calligraphy, the art of beautiful writing, has been intrinsic to Islamic culture since its inception and has played a crucial role in the development of figural imagery in Islamic art. This paper aims to explore how calligraphy laid the foundation for the inclusion of figural imagery in Islamic art, with a focus on four specific examples.
Calligraphy served as the initial expression of art in the Islamic world, eventually paving the way for the incorporation of figural imagery. Through its refined aesthetics and spiritual significance, calligraphy provided a foundation upon which artists could experiment and expand their artistic horizons.
Calligraphy emerged as a significant art form in the Islamic world due to the religious and cultural importance of the written word. In Islamic tradition, the Quran is considered the literal word of God and is held in utmost reverence. Thus, calligraphy became a means to visually represent and honor the divine scripture.
One of the earliest forms of Arabic calligraphy is the Kufic script. Developed during the 7th century, it is characterized by its angular and geometric style. An exemplary piece that presents both calligraphy and figural imagery is the Kufic script found on the Dome of the Rock in Jerusalem, built in 691 CE. The inscriptions on the exterior walls feature verses from the Quran, showcasing the significance of calligraphy as a means of religious expression. The use of decorative floral motifs alongside calligraphy demonstrates an early integration of figural elements into Islamic art.
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As the Islamic civilization expanded, so did the sophistication of calligraphy. The Naskh script, developed during the 10th century, introduced a more fluid and cursive style. An exquisite example of calligraphy and figural imagery can be seen in the Great Mosque of Cordoba in Spain, built in the 8th century. The mihrab, a niche indicating the direction of prayer, is adorned with intricate calligraphic inscriptions and geometric patterns. The integration of vegetal motifs and horseshoe arches alongside the calligraphy showcases the fusion of calligraphy and figural elements in Islamic art.
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In Persia (present-day Iran), calligraphy played a fundamental role in the development of figural imagery. Persian miniature paintings, which emerged during the 13th century, beautifully combined both elements. One notable example is the “Court of Gayumars” from the Shahnameh (Book of Kings), created by Sultan Muhammad in the 16th century. This painting depicts the mythical king Gayumars surrounded by calligraphic inscriptions that narrate the story. The delicate brushwork and vibrant colors in the miniature painting highlight the harmonious coexistence of calligraphy and figural imagery.
In the Ottoman Empire, illuminated manuscripts flourished as an artistic expression that blended calligraphy and figural imagery. One exceptional example is the “Siyah Qalam” (Black Pen) manuscript produced by Hafiz Osman in the 17th century. This manuscript features intricate floral designs intertwined with calligraphic inscriptions from a Sufi poem. The inclusion of delicate illustrations and intricate borders alongside the calligraphy demonstrates the evolution of Islamic art towards a more figurative approach.
From its origins in calligraphy to the inclusion of figural imagery, Islamic art has experienced a remarkable evolution. Calligraphy provided a foundation for artistic expression, with its refined aesthetics and spiritual significance paving the way for the incorporation of figural elements. The four examples discussed here – the Kufic script on the Dome of the Rock, the Naskh script in the Great Mosque of Cordoba, Persian miniature paintings, and Ottoman illuminated manuscripts – exemplify the seamless integration of calligraphy and figural imagery in Islamic art. Through these examples, we can appreciate the rich tapestry of Islamic art and its continuous innovation throughout history.
