Figural Representation in Islamic Art

As with other forms of Islamic ornamentation, artists freely adapted and stylized basic human and animal forms, giving rise to a great variety of figural-based designs.
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Animal Flask, Glass, amber-colored; blown, applied decoration
late 7th–8th century
Panel with Horse Heads, Wood (teak); carved
11th century
Textile Fragment from the Shrine of San Librada, Sigüenza Cathedral, Spain, Silk, metal wrapped thread; lampas
first half 12th century
Mounted Hunter with Cheetah, Stonepaste; molded in sections, glazed in transparent turquoise, underglaze-painted in black
12th–early 13th century
Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi, Ja`far ibn Muhammad ibn `Ali, Bronze; cast, engraved, chased, pierced
Ja`far ibn Muhammad ibn `Ali
dated 577 AH/1181–82 CE
Bird-Shaped Oil Lamp, Bronze; cast, engraved, inlaid with silver and copper
late 12th–early 13th century
Confronted Animal Rug, Wool (warp, weft, and pile); symmetrically knotted pile
14th century
Tympanum with a Horse and Rider, Stone; carved, with traces of paint
second half 14th century
Wine Drinking in a Spring Garden, Opaque watercolor and gold on undyed silk
ca. 1430
Velvet with Figural Imagery, Silk, metal wrapped thread; cut and voided velvet
mid-16th century
Buffaloes in Combat, Miskin, Ink, watercolor, and gold on paper
Miskin
late 16th century
A Stallion, Habiballah of Sava  Iranian, Ink, opaque watercolor, and gold on paper
Habiballah of Sava
ca. 1601–6
Dish with Bird, Rabbit, and Quadruped Design, Stonepaste; polychrome painted under transparent glaze
last quarter 16th century
Portrait of Sultan Ahmet I (r. 1603–17), Ink, opaque watercolor, and gold on paper
early 17th century
"Study of a Nilgai (Blue Bull)", Folio from the Shah Jahan Album, Mansur, Ink, opaque watercolor, and gold on paper
Mansur
Mir 'Ali Haravi
verso: ca. 1620; recto ca. 1540
"Shah Jahan on a Terrace, Holding a Pendant Set With His Portrait", Folio from the Shah Jahan Album, Chitarman  Indian, Ink, opaque watercolor, and gold on paper
Chitarman
recto: dated 1627–28; verso: ca. 1530–50
The Lovers, Riza-yi 'Abbasi  Iranian, Opaque watercolor, ink, and gold on paper
Riza-yi 'Abbasi
dated 1039 AH/1630 CE
Great Indian Fruit Bat, Bhawani Das or a follower Indian, Pencil, ink, and opaque watercolor on paper
Bhawani Das
ca. 1777–82

With the spread of Islam outward from the Arabian Peninsula in the seventh century, the figurative artistic traditions of the newly conquered lands profoundly influenced the development of Islamic art. Ornamentation in Islamic art came to include figural representations in its decorative vocabulary, drawn from a variety of sources. Although the often cited opposition in Islam to the depiction of human and animal forms holds true for religious art and architecture, in the secular sphere such representations have flourished in nearly all Islamic cultures.

The Islamic resistance to the representation of living beings ultimately stems from the belief that the creation of living forms is unique to God, and it is for this reason that the role of images and image makers has been controversial. The strongest statements on the subject of figural depiction are made in the Hadith (Traditions of the Prophet), where painters are challenged to “breathe life” into their creations and threatened with punishment on the Day of Judgment. The Qur’an is less specific but condemns idolatry and uses the Arabic term musawwir (“maker of forms,” or artist) as an epithet for God. Partially as a result of this religious sentiment, figures in painting were often stylized and, in some cases, the destruction of figurative artworks occurred. Iconoclasm was previously known in the Byzantine period and aniconism was a feature of the Judaic world, thus placing the Islamic objection to figurative representations within a larger context. As ornament, however, figures were largely devoid of any larger significance and perhaps therefore posed less challenge.

As with other forms of Islamic ornamentation, artists freely adapted and stylized basic human and animal forms, giving rise to a great variety of figural-based designs. Figural motifs are found on the surface decoration of objects or architecture, as part of the woven or applied patterns of textiles, and, most rarely, in sculptural form. In some cases, decorative images are closely related to the narrative painting tradition, where text illustrations provided sources for ornamental themes and motifs. As for manuscript illustration, miniature paintings were integral parts of these works of art as visual aids to the text, therefore no restrictions were imposed. A further category of fantastic figures, from which ornamental patterns were generated, also existed. Some fantastic motifs, such as harpies (female-headed birds) and griffins (winged felines), were drawn from pre-Islamic mythological sources, whereas others were created through the visual manipulation of figural forms by artists.


Contributors

Department of Islamic Art, The Metropolitan Museum of Art

October 2001


Further Reading

Allen, Terry. "Aniconism and Figural Representation in Islamic Art." In his Five Essays on Islamic Art, pp. 17–37. Sebastopol, Calif.: Solipsist Press, 1988.

Grabar, Oleg. The Formation of Islamic Art. Rev. and enl. ed. New Haven: Yale University Press, 1987.


Citation

View Citations

Department of Islamic Art. “Figural Representation in Islamic Art.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/figs/hd_figs.htm (October 2001)