http://www.mycentraljersey.com/apps/pbcs.dll/article?AID=2010100526022
LOOKING FOR INSPIRATION IN ISLAMIC ART
By FARAZ KHAN • CORRESPONDENT • May 27, 2010
The Home News Tribune
My interest in art did not begin with a crush on Leonardo Da Vinci’s “Mona Lisa.”
Although Michelangelo’s “David,” Claude Monet’s “Water-Lily Pond,” Pablo Picasso’s “Guernica” and others are impressive, like millions of Americans, I struggled with museum art. I felt as if I needed a doctorate degree in art to
appreciate it.
I always have thought that art is supposed to be aesthetic and inspirational, not irrelevant and lifeless objects locked in a cold museum. As Picasso once said, “Every child is an artist. The problem is how to remain an artist once we grow
up.”
I picked up art in spite of museum culture. During graduate school, I fortunately dabbled my way into reading different styles of Islamic arts. In Islamic arts, specifically Arabic calligraphy, I discovered an intertwining of art and ethics.
The ethical dimension related to Islamic art is often depicted in a religious context. For example, Prophet Muhammad’s sentiments, “God is Beautiful and He loves beauty,” is illustrated in elegant styles and curvilinear patterns by master
calligraphers. The name of an artist may not be prominently displayed in any of the works, but the name of God often bears testimony to a faith-based culture.
Interestingly, Prophet Muhammad described God with 99 beautiful divine attributes, and one of these unique names is Al-Musawwir … the one who shapes, gives hues, and is the maker of majestic beauty. Musawwir in Arabic also commonly is used for an artist: the one who formulates, colors and captures beautify. The world is seen as artistry of God.
Islamic art consists of diverse fields and time periods. Generally, Islamic art is referred to a collage of masterpieces produced in the Muslim world. The fields incorporate architecture, calligraphy, arabesque, pottery, paintings, sculptures,
tiles, metallurgy, ceramics and many other categories.
Although the names of the finest handymen of Islamic calligraphy may be obscure — such as Ibn Muqlah, Ibn al-Bawwab, Hafiz Osman and Ismail Gulgee — they have all earned a distinction in Islamic arts. The magnificence of their craftsmanship is displayed in museums all over the world. They represent diversity of regions, artistic expressions, epochs, styles, cultures and Islamic tradition.
Unlike the modern museum culture, the mosque was a focal point of art exhibition in the Muslim world. The plush carpets were embroidered with details of fruits and gardens of Paradise. The geometric patterns glistened on tiles and ceramics. The architecture almost always was local, but borrowed its blueprint prayer niche, pulpit, prayer rows and space for women and children from the mosque of the Prophet Muhammad. Like early monasteries, mosques would store masterpieces of illustrious calligraphic Qurans. The book-binding and arabesque arts evolved into embellishing and ornamenting the divine words.
The central mosques also were civic centers and often stored great collections of books on many subjects. The walls of mosques often were decorated with picturesque scenes to inspire paradise, paintings of gardens and calligraphy from the Quran. The mosques opened up to the marketplace, where house decor and collectibles were displayed in the open. All these artifacts were ensemble in a mosque or its proximity for an awe-inspiring experience to the believers.
Arguably the most spectacular of Islamic art is displayed in the Dome of the Rock in Palestine, the Taj Mahal in India, and Selimiye Mosque in Turkey. In “The Innocents Abroad,” Mark Twain mentions the Dome of Rock: “The inside of the great mosque is very showy with variegated marble walls and with windows and inscriptions of elaborate mosaic.” The golden dome, octagonal structure, mosaic of calligraphy and marble in a green courtyard gives an awe-inspiring experience.
The Taj Mahal or Crown Palace is a mausoleum built by Mughal emperor Shah Jehan in memory of his wife. It is a synthesis of Indian and Persian architecture adorned with white marble, multichambered cube, vaulted archways, arched balconies, central onion dome, four cylindrical minarets, embellished with precious stone inlays, carvings, stucco, and verses from the Quran. The Taj Mahal is considered the finest of Indian and Persian art.
The Selimiye Mosque is an Ottoman magnum opus, an amalgamation of colleges, hospital, library, public baths, hospices, and markets — a city within a city. These displays of have turned every cynic into a believer. These architectural monuments and wonders of the world are a collection of history and art that stands frozen in time.
My interest in modern Islamic art is rooted in a historical context of faith and ethics. Islamic art has a glorious history. Like the great work of past and present, beauty separates great wonders from ordinary names. I hope to continue my
effort and recapture a genre of beauty and bliss of the past for the future generations.









