Islamic art in the context of "Arabesque"

Persian art or Iranian art (Persian: هنر ایرانی, romanized: Honar-è Irâni) has one of the richest art heritages in world history and has been strong in many media including architecture, painting, weaving, pottery, calligraphy, metalworking and sculpture. At different times, influences from the art of neighbouring civilizations have been very important, and latterly Persian art gave and received major influences as part of the wider styles of Islamic art. This article covers the art of Persia up to 1925, and the end of the Qajar dynasty; for later art see Iranian modern and contemporary art, and for traditional crafts see arts of Iran. Rock art in Iran is its most ancient surviving art. Iranian architecture is covered at that article.

From the Achaemenid Empire of 550 BC–330 BC for most of the time a large Iranian-speaking state has ruled over areas similar to the modern boundaries of Iran, and often much wider areas, sometimes called Greater Iran, where a process of cultural Persianization left enduring results even when rulership separated. The courts of successive dynasties have generally led the style of Persian art, and court-sponsored art has left many of the most impressive survivals.

"Blue and white pottery" (Chinese: 青花瓷; pinyin: qīng-huā cí; lit. 'Blue flowers/patterns') covers a wide range of white pottery and porcelain decorated under the glaze with a blue pigment, generally cobalt oxide. The decoration was commonly applied by hand, originally by brush painting, but nowadays by stencilling or by transfer-printing, though other methods of application have also been used. The cobalt pigment is one of the very few that can withstand the highest firing temperatures that are required, in particular for porcelain, which partly accounts for its long-lasting popularity. Historically, many other colours required overglaze decoration and then a second firing at a lower temperature to fix that.

The origin of the blue glazes is thought to lie in Iraq, when craftsmen in Basra sought to imitate imported white Chinese stoneware with their own tin-glazed, white pottery and added decorative motifs in blue glazes. Such Abbasid-era pieces have been found in present-day Iraq dating to the 9th century AD, decades after the opening of a direct sea route from Iraq to China. According to Jonathan Bloom, these 9th and 10th century Iraqi examples were the first blue-and-white wares. This technique was transmitted to Europe during the Arab conquest of Spain and North Africa and is also believed to have influenced Chinese ceramics through the activities of Muslim traders. The influence of Islamic pottery can be clearly seen in the work of Gongxian potters when they switched to making stonewares for use in daily life. Instead of drawing from the typical repertoire of Tang ornamentation, their angular lozenge motifs and palmettes look like a direct take on Mesopotamian quatrefoil panels filled with Arabic writing and surrounded by leaf fronds.

Decoration in Ottoman architecture takes on several forms, the most prominent of which include tile decoration, painted decoration, and stone carving. Beginning in the 14th century, early Ottoman decoration was largely a continuation of earlier Seljuk styles in Anatolia as well as other predominant styles of decoration found in Islamic art and architecture at the time. Over the course of the next few centuries, a distinctive Ottoman repertoire of motifs evolved, mostly floral motifs, such as rumî, hatayî, and saz styles. Calligraphic inscriptions, most characteristically in a thuluth script, were also a mainstay. From the 18th century onward, this repertoire became increasingly influenced by Western European art and architecture and went as far as directly borrowing techniques and styles from the latter.

Ottoman tiles attained a prominent role in decoration. Starting in the early 15th century, cuerda seca tiles in vivid colours were widely used in various buildings, using mostly vegetal arabesque motifs, of which the most dramatic early example is the Green Mosque and Green Tomb in Bursa (circa 1424). Various examples of tilework from this century seem to show possible Iranian influence and connections to Timurid art. A distinctive style of blue-and-white fritware, influenced by Chinese motifs and often attributed to an early stage of Iznik tilework, is evidenced by the late 15th century and characterizes the early 16th century. Iznik tiles became highly favoured during the rest of the 16th century and reached their artistic peak in the second half of the century. They featured stylized floral and vegetal motifs in blue, white, red, and green colours. The Iznik industry declined by the end of the 17th century, with production of lower-quality tiles shifting to Kütahya. In the early 18th century, a revival of tile art was attempted through the establishment of a new workshop at Tekfursaray in Istanbul, but ultimately the industry faded after this and tile decoration lost its importance.

During the High Middle Ages, the Islamic world was an important contributor to the global cultural scene, innovating and supplying information and ideas to Europe, via Al-Andalus, Sicily and the Crusader kingdoms in the Levant. These included Latin translations of the Greek Classics and of Arabic texts in astronomy, mathematics, science, and medicine. Translation of Arabic philosophical texts into Latin "led to the transformation of almost all philosophical disciplines in the medieval Latin world", with a particularly strong influence of Muslim philosophers being felt in natural philosophy, psychology and metaphysics. Other contributions included technological and scientific innovations via the Silk Road, including Chinese inventions such as paper, compass and gunpowder.

The Islamic world also influenced other aspects of medieval European culture, partly by innovations made during the Islamic Golden Age, including various fields such as the arts, agriculture, alchemy, music, pottery, etc.

Arabization or Arabicization (Arabic: تعريب, romanized: taʻrīb) is a sociological process of cultural change in which a non-Arab society becomes Arab, meaning it either directly adopts, is forced to accept, or becomes strongly influenced by the Arabic language, culture, literature, art, music, and ethnic identity as well as other socio-cultural factors. It is a specific form of cultural assimilation that often includes a language shift or linguistic imperialism. The term applies not only to cultures, but also to individuals, as they acclimate to Arab culture and become "Arabized". Arabization took place after the Muslim conquest of the Middle East and North Africa, as well as during the more recent Arab nationalist policies toward non-Arabic speaking minorities in modern Arab states, such as Algeria, Iraq, Syria, Egypt, Bahrain, and Sudan.

After the rise of Islam in the Hejaz and subsequent Muslims conquests, Arab culture and language spread outside the Arabian Peninsula through trade and intermarriages between members of the non-Arab local population and the peninsular Arabs. The Arabic language began to serve as a lingua franca in these areas and various dialects were formed. This process was accelerated by the migration of various Arab tribes outside of Arabia, such as the Arab migrations to the Maghreb and the Levant.

The culture of Indonesia (Indonesian: Budaya Indonesia) has been shaped by the interplay of indigenous customs and diverse foreign influences. As the world's largest archipelagic country, it is home to over 600 ethnic groups, including Austronesian and Melanesian cultures, contributing to its rich traditions, languages, and customs. Indonesia is a melting pot of diversity. Positioned along ancient trade routes between the Far East, South Asia, and the Middle East, the country has absorbed cultural practices influenced by Hinduism, Buddhism, Confucianism, Islam, and Christianity. These influences have created a complex cultural tapestry that often differs from the original indigenous cultures.

Examples of the fusion of Islam with Hinduism include Javanese Abangan belief. Balinese dances have stories about ancient Buddhist and Hindu kingdoms, while Islamic art forms and architecture are present in Sumatra, especially in the Minangkabau and Aceh regions. Traditional art, music and sport are combined in a martial art form called Pencak Silat.

The history of Asian art includes a vast range of arts from various cultures, regions, and religions across the continent of Asia. Asian art is typically divided into broad blocks: East Asian art includes works from China, Japan, Korea and Tibetan art, while Southeast Asian art includes the arts of Cambodia, Indonesia, Laos, Malaysia, Myanmar (Burma), the Philippines, Thailand, and Vietnam. Historically, South Asian art mostly falls under Indian art, which encompasses the arts of the Indian subcontinent, while Central Asian art covers that region. West Asian art encompasses the arts of the Ancient Near East including Mesopotamian art and Persian art, and more recently becoming dominated by Islamic art.

In many ways, the history of Eastern art parallels the development of Western art. The art histories of Asia and Europe repeatedly intertwine, with Asian art greatly influencing European art, and vice versa; the Eurasian cultures mixed through methods such as steppe-nomad migrations,followed successively by the Silk Road transmission of art, the cultural exchange of the Age of Discovery and Western colonization, and through the Internet and modern globalization.

In some forms of Islamic art, aniconism (the avoidance of images of sentient beings) stems in part from the prohibition of idolatry and in part from the belief that the creation of living forms is God's prerogative.

The Quran itself does not prohibit visual representation of any living being. The hadith collection of Sahih Bukhari explicitly prohibits the making of images of living beings, challenging painters who "breathe life" into their images and threatening them with punishment on the Day of Judgment. Muslims have interpreted these prohibitions in different ways in different times and places. Religious Islamic art has been typically characterized by the absence of figures and extensive use of calligraphic, geometric and abstract floral patterns.