Islamic Art - Artifacts
Islam fostered the development of a distinctive culture with its own unique artistic language that is reflected in art and architecture throughout the Muslim world.
Objects from different periods and regions vary in the use of calligraphy in their overall design, demonstrating the creative possibilities of calligraphy as ornament. In some cases, calligraphy is the dominant element in the decoration. In these examples, the artist exploits the inherent possibilities of the Arabic script to create writing as ornament. An entire word can give the impression of random brushstrokes, or a single letter can develop into a decorative knot. In other cases, highly esteemed calligraphic works on paper are themselves ornamented and enhanced by their decorative frames or backgrounds. Calligraphy can also become part of an overall ornamental program, clearly separated from the rest of the decoration. In some examples, calligraphy can be combined with vegetal scrolls on the same surface though often on different levels, creating an interplay of decorative elements.
More information is available at - The Nature of Islamic Art
Folio from the "Blue Qur'an,", second half of 9th–mid-10th centuryTunisia, probably Qairawan Gold and Silver on Indigo died parc 11 15/16 x 15 13/16 in. (30.4 x 40.2 cm) Purchase, Lila Acheson Wallace Gift, 2004 (2004.88)
Calligraphic roundel inscribed Ya'aziz (Oh Mighty!), late 16th–early 17th century India, Deccan, Hyderabad Sandstone; carved, traces of pigment; Diam. 18 1/2 in. (47 cm), D. 1 3/16 in. (3 cm), Wt. 10 lbs. (4.5 kg) Edward Pearce Casey Fund, 1985 (1985.240.1)
Folio from a Qur'an manuscript, 13th–14th century Spain Ink, opaque watercolor, and gold on parchment H. 21 1/16 in. (53.5 cm), W. 22 in. (55.9 cm) Rogers Fund, 1942 (42.63) This folio was once part of a two-volume Qur'an produced during the Nasrid period in the late thirteenth or early fourteenth century.
Mirror, 12th century Iran Cast bronze; Diam. 7 5/8 in. (19.3 cm) Rogers Fund, 1942 (42.136) This circular mirror without handle, originally held by means of a ribbon passed through the pierced knob on its back, represents an interesting example of mixed influences.
Folio from a Qur'an manuscript, ca. 1180 Eastern Iran or present-day Afghanistan Ink, opaque watercolor, and gold on paper H. 11 3/4 in. (29.8 cm), W. 8 3/4 in. (22.2 cm)
Mosque–lamp–shaped vessel with Arabic inscriptions, Ottoman period (ca. 1299–1923), 1525–40 Turkey, Iznik Stonepaste; painted in blue under transparent glaze; H. 6 11/16 in. (17 cm), Max. Diam. 5 13/16 in. (14.8 cm) Harris Brisbane Dick Fund, 1959 (59.69.3)
Mosque lamp for the Mausoleum of Amir Aydakin al 'Ala'I al–Bunduqdar, Mamluk period (1250–1517), shortly after 1285 Egypt, probably Cairo Glass, brownish; blown, folded foot, applied handles; enameled and gilded; H. 10 3/8 in. (26.4 cm), W. 8 1/4 in. (21 cm) Gift of J. Pierpont Morgan, 1917 (17.190.985)
Bowl emulating Chinese stoneware, Abbasid period (750–1258), 9th century; Iraq, probably BasraEarthenware; painted in blue on opaque white glaze; H. 2 3/8 in. (6 cm), Diam. 8 in. (20.3 cm) Harris Brisbane Dick Fund, 1963 (63.159.4)
Bowl emulating Chinese stoneware, Abbasid period (750–1258), 9th century; Iraq, probably Basra Earthenware; painted in blue on opaque white glaze; H. 2 3/8 in. (6 cm), Diam. 8 in. (20.3 cm) Harris Brisbane Dick Fund, 1963 (63.159.4)