Islam Art and Architecture

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 Islam Art and Architecture 

 Markus Hattstein 


[Abbasid] In the mihrab, the basic organizing principles of the design are the subtle contrasts between the techniques of craving and marquetry, the textures of smooth and patterned surfaces, the subjects of geometric and vegetal ornament, and the colors of monochrome wood and vibrantly colored marquetry. Viewed from a distance, the colorful tile-like patterns seem to take precedence, but from close up the viewer is beckoned to explore the intricacies of each individual element. At the same time, as in much Islamic art, there's a strong sense of ambiguity between what is meant to be the subject and what is meant to be the background of the decoration. It is unclear for example, whether the carved panels are meant to be seen as the background between the strapwork bands. Within this fairly narrow repertory of forms and techniques, which in the hands of lesser masters might have approached monotony, all of these elements are played off against one another in a series of subtle variations, an equilibrium between static and dynamic. 

 

This intricacy is often seen as a characteristic facture of Islamic art, and the great 14th century philosopher and historian, ibn khaldun, seems to indicate that the degree of "refinement" in a work of craft, by which he probably meant this kind of complexity, is directly related to the degree of civilization in a given society.  



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