The Prosperity and Influence of Islam on Art

Although Islam is first and foremost a religion, it also established trading customs that made exchanges within its bounds more unified, and thus easier to navigate, than had been the case earlier. Many hadiths set standards for conducting trades, and Islam prohibited stealing from a fellow Muslim, though not from a non-believer. However, if a person converted peacefully to Islam, their property would be spared and they'd be free from additional taxes—one significant incentive to follow Islam. Islam spread quickly to unite geographically and culturally distant regions. This ultimately put the Red Sea, the Persian Gulf, Mediterranean Sea, and Arabian Peninsula trade routes under Islam’s control. With the expansion of Islam came the expansion of artistic characteristics of Islam into cultures geographically far away, but linked by trade and religion. (Bernstein, 71-72)

 
The following two examples of artwork come from some of the furthest reaches of the Islamic Empire. These works reflect the extent of Islamic influence, from India to Spain to most of Northern Africa. The symbols used in the art are significantly similar, though the materials used are different in this case. During the rise and peak of Islam—from approximately 622 to 1258 AD—Islam provided a unifying language, culture, and trade customs for the regions under its influence.

Qutb Minar in Delhi, India

1199-1369 AD

This photo captures just a small portion of the Koranic verses and Arabic designs on this architectural minaret in Delhi, India.  Though there have Islamic trade posts in India since the 700s, this is the first Indo-Islamic minaret to be built in India by the first Islamic Sultans of Delhi, Qutbu'd-Din Aibak.  The minaret is made of brick and stands about 72.5 meters tall which puts it at the tallet minaret in the world, but decreases its practicality.  It took over a century to complete the project, and several restorations have followed as natural events - earthquakes, lightning - have damaged the minaret.

Pyxis of al-Mughira (AD 968)

Spain, Madinat al-Zahra

The Pyxs of al-Mughira shows some similarities in design with the Minaret of India with the intricate hand carving and repetitive patters.  This piece appears to be a gift for a young man, since the Arabic inscription around the lid says, "God's blessing, favors, joy, beatitude to al-Mughira son of the Commander of the faithful, may God have mercy upon him, in the year 357" (Louvre).  According to the Louvre Museum, "Ivory— a rare and precious material — was used for diplomatic gifts from North Africa to the Umayyad caliphs of Cordoba in al-Andaluz (modern Spain)." 

These two pieces represent the spread of Islam and the use of trade within the Islamic Empire.  To summarize, the Qutb Minar celebrates the triumph of Islam in India and the Pyxis of al-Mughira represents the use of African ivory as a gift for a son of a powerful Islamic leader in Spain around the same time.  This illustrates a vast trade network and the spread of artistic trends from the heart of Islamic Arabia to the fringes of the empire.


Sources/References:


Yalman, Susan. "The Birth of Islam Heilbrunn." Heilbrunn Timeline of Art History. The Metropolitan Museum of Art, New York. Web. 7 Apr. 2010. .


Advisory Board Evaluation. UNESCO World Heritage Centre, 1993. Web. 7 Apr. 2010. .


"Pyxis of Al-Mughira." Louvre Museum. Web. 7 Apr. 2010. .


A Splendid Exchange, Chapter 3


Smart, Ninian. Atlas of the World's Religions. Cary, N.C.: Oxford UP, 1999. 26-27, 174-175.

Gardner's Art through the Ages, 749-750