Amberkhokhar Cmf Teachersnotes-1

8/13/2019 Amberkhokhar Cmf Teachersnotes-1

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Amber Khokhar March 2012

Plant-based Decoration in Islamic Art

Introduction

Exploring Plant based decoration is an easily accessible way to appreciate andunderstand Islam and Islamic Art and Design. The abundance and variety offlower motifs and pattern continue to influence artists and designers today. InIslamic societies floral patterns were applied to a huge range of artefacts andobjects from coffee cups to compasses. As Islam spread from !pain to theIndonesian Archipelago designs evolved and adapted reflecting time and place.

Exploring Plant based decoration is an easily accessible way to appreciate andunderstand Islam and Islamic Art and Design. The abundance and variety offlower motifs and pattern continue to influence artists and designers today. InIslamic societies floral patterns were applied to a huge range of artefacts andobjects from coffee cups to compasses. As Islam spread from !pain to theIndonesian Archipelago designs evolved and adapted reflecting time and place.

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Embroidered Picture "orris #illiam born $%&' ( died $%)* +designer, "orris "ary +"ay, born $%*- ( died $)&% +designerand maer, /ictoria and Albert "useum 0ondon

1orn locally in #althamstow the renowned designer #illiam "orris developedmany textile and wallpaper designs inspired by the patterns and motifs that headmired in Islamic art.

Islamic floral motifs abstract stylised and representational offer opportunities to

explore a variety of mediums and design principles in architecture art design andtechnology. 2eligion 3eography 4istory and !cience can be explored through arange of artwors that were inspired and influenced by beliefs and practicalities ofworship. "aterials used internally and externally will reflect the weather andavailability of resources as well as the local culture. !o that prayer mats were oftenmade from reed in Africa but patterned patchwor in 5yprus liewise "os6uesbuilt in Poland were traditionally made of wood whilst in 5hina the mos6ues reflectthe pagoda style architecture.

"os6ue Poland and 5hina

5ross fertilisation of ideas products and designs occurred through trade andduring the pilgrimage of 4aj where a range of cultures and ethnicities met annuallyin "aah. In 5hapter ') /erse $& of the 7uran Allah tells "uhammed +pbuh,8"anind9 #e created :ou from a single pair of a male and a female And madeyou into nations and tribes that you may now each other +;ot that you maydespise each other,


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Origins

Plant(based patterns used on their own or combined with other design elements inIslamic Art= calligraphy geometry and figurative adorn a huge number of buildingsmanuscripts objects and textiles. Patterns based on plants have always beenparticularly popular and as many craftsmen became "uslim pre Islamic motifswere assimilated and a profusion of designs emerged throughout the "uslim

world.

Inspiration

Islamic Art too its inspiration directly from the 7uran as well as 7uranicdescriptions of Paradise and directives to see nowledge. The 7uran repeatedlymentions the marvels of nature as among Allah


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Quranic

The emergence of Islamic Art reflects many aspects of Islam as a faithand way of life. The 7uran contains the revelations sent down to theProphet "uhammed +pbuh, through the angel 3abriel from 3od. Theseform the basis of Islamic belief and calligraphy of the sacred text isconsidered by many "uslims as the highest form of Islamic Art.5alligraphers adorned and illuminated the sacred text with ex6uisite andintricate flower patterns reflecting love and passion for their new religion.

As images are not used on buildings or artefacts used in worship thesetoo were decorated with superb floral designs.

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ardens

3ardens occupy a special place as spaces of contemplation and an earthly reflection ofparadise in the imagination of Islamic Artists. 4owever the idea of paradise as a gardenpre dates the three Abrahamic traditions udaism 5hristianity and Islam by centuriesand is an almost universal concept symbolic of bliss and peace. 8Therein they shall hearno idle tal no cause of sin only the saying 8Peace Peace


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Abstract Art

A celebrated feature of Islamic art is an enthusiasm for abstract and stylised flowers. .;aturalistic plant forms were abstracted through design and a proliferation of bold andimaginative motifs developed.

Even though "uslim artists were 6uite capable of and did draw naturalistically they

generally chose not to copy directly from nature but rather to invent flowers from theirimagination. Inspired by the 7uranic vision of Paradise they created flowers that werenot of this world but symbolic of paradise. The archetypal floral forms were then appliedto elaborate patterns. !uch complex and intricate designs create an illusion of unendingrepetition that were intended to remind believers of the infinite nature of 3od.

!cience

Artists and scientists have always been acute observers of the world and in Islamicsocieties scientific research endorsed religious beliefs. The 7uran and the 4adiththe sayings of he Prophet "uhammed +pbuh, fostered and encouraged an

atmosphere of intellectual and scientific investigation as "uslims had a religiousduty to 8see nowledge


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Prophet "uhammed +pbuh, spoe of the health benefits of 1lac !eed andenugree !eeds and his favourite fragrance was 2ose. 2ose scented water isoften sprinled in "os6ues and used to clean hands at the table before and aftermeals. range flower ;eroli and 2ose flavourings are still used to flavourdesserts and drins.

"ra#el

A uni6ue feature of Islamic !ociety was the mobility of its population. The Prophet

"uhammed +pbuh, came from families who had previously established two greatcaravan routes of and 4e was proposed to and married an established merchant.urthermore one of the important duties of a "uslim was to mae pilgrimage to"aah and the Prophet +pbuh, was reported to have encouraged boys and girlsto travel as far as 5hina if it was beneficial for their education. This incentive toembrace and learn from foreigners and travel gave wonderful opportunities toIslamic artists to absorb new ideas and influences from all over the world and arereflected in their art.

The prophet "uhammed +pbuh, was born in ?>C AD in "aah and died in"adinah in *&- AD in Arabia. 1y >$$ "uslims entered !pain and began five

centuries of Islamic rule. The worldC AD. erusalem was reclaimed from the 5rusaders in $$%> by!alah ud(Din respected adversary of 2ichard the 0ion 4eart. In $'?&5onstantinople +Istanbul, became the capital of the ttoman Turs whose empirehad by the $?-CGs spread to include south(east Europe including 4ungary the"iddle East and north Africa. rom India Islam spread to !umatra where in $??C a"uslim ingdom was established and from there the new faith began to influenceava the "oluccas and 1orneo. The $>th 5entury became the 8golden age< of

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Islam in Indonesia. In $%C) @sman dan odio founded the Hhaliphate of !ootoin ;igeria.

4ere in the @H in $%%) 4enry #illiam 7uilliam a convert to Islam opened the0iverpool "os6ue. This was soon followed in$%)' by 1ritain


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Islamic !ocieties

In Islamic cultures the decorative arts became highly sophisticated. In suchsocieties there was no essential difference between secular and spiritual life. Thefirst "os6ue built was also the home of the Prophet "uhammed +pbuh, liewisethe living room of a house can also be used as the familyGs prayer room where thesame payers are said as within the mos6ue. 1eautifully adorned objects at home

and in mos6ues were intended as a constant remembrance of the words of 3odand also a reminder of what could be attained in the 4ereafter.8Do what is beautiful. 3od loves those who do what is beautiful.< 7uran -K$)?

Introducing $lo%ers

Discuss the popularity of flowers. In the $)?Cs people imagined futuristic homes tobe silver metallic and streamlined. 4owever even now in our technologicallydeveloped age we still lie to surround ourselves with flowers.

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A&"I'I"( 1) Introduction

a, In class as students to create a spiderLweb diagram of where we see picturesand images of flowers e.g. cups plates tablecloths curtains wallpaper cardwrapping paper and plastic bags.

b, or homewor as students to collect images of flowers and leaves +fromaforementioned sources, magaFines as well as objects from nature e.g. pressedflowers leaves bar seeds cloves star anise etc

c, In class draw and cut out s6uares $?cmx$?cm using colour card +eg dar blueand tur6uoise or dar green and light green,. @sing a combination of the abovematerials and glue create a mixed media collage. !uggest the students considerbordersLedges diagonals parallel lines +horiFontal and vertical, repetition andreflective symmetry +where one half of the image is a mirror reflection of another,."ount all completed pieces to create a tiled wall.

Prayer mat s India and Paistan /ictoria and Albert "useum

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A&"I'I"( 2) Design a $loral carpet or pra*er rug

a, In class as students to create a spiderLweb diagram consider=#hat and where are carpets mats and rugs used and not usedM#hy and what siFe are the carpetsM#hy and what are they made ofM#hat types of images are popularM

b, or homewor as students to collect images of carpets mats rugs bedspreads curtains textiles wall papers with floral plant patterns and analysethe designs=Do they use reflective +where one half of the image is a mirror reflection ofanother,Do they use rotational symmetry +where the object would loo the sameafter rotation,MIs there a direction or top to the rugM

Are the arrangements flowering plants the central focus of the design or abacground patternM

As them to research the meaning or symbolism of the fruits flowersplants seeds and their coloursMAre they associated with a seasonMDo they represent a country or are they used in a particular eventM5an they be grown locally in gardens or green housesM5onsider the flexibility of floral designs and how they occupy the spaceprovided by the objectM5onsider whether the flowers fruits plants are used as a bacground or arethey the main subjectM5an you draw buds flowers fruits leaves stems seeds tendrilsM

c , In class and or for homewor as students to design a floral inspired prayer rugor a carpet. 5onsider design materials and maret.+i, A Prayer "at for a "uslim. 5onsider where they live eg a !cottish "uslim mayneed a thic woollen prayer mat whereas a amaican "uslim could prefer a sil orsisal payer mat.+ii, A s6uare carpet for a "os6ue lobby. 5onsider local designs eg at the ;iujie"os6uein 1eijing 5hina the 3reat "os6ue !hibam "os6ue in :emenHrusFyniany "os6ue in Poland the !uleiman "os6ue Istanbul the 3reat@mmayad "os6ue Damascus !yria @lugh 1eg "os6ue !amarand @Fbeistan#aFir Hhan "os6ue 0ahore Paistan the 3rande "os6uee de Paris rance !hahahan "os6ue in #oing @H Djenne "os6ue in "ali etc.

+otes $or & ,i"uslims all over the world turn their prayer rugs towards "aah for their ? dailyprayers. The direction of prayer +7ibla, is always indicated by the use of adirectional point. !o that there is always a front section where the forehead restsin the position of submission. This could be indicated in the design by an arch

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"ihrab or a vase. In mos6ues the direction of prayer +7ibla, is indicated by the"ihrab a physical structure. !ome prayers rugs are practical and portable andsome are for use at home. In times of joy and in times of crisis "uslims willmeditate and pray on their prayer rugs as it is considered a protected and sacredspace.

+otes $or & ,ii8To us pattern(designers Persia has become a 4oly 0and for there in the processof time our art was perfected and thence above all places it spread to cover for awhile the world east and west.< #illiam "orris.

#illiam "orris described the carpet designed for the !heih 0utfullah "os6ue as

8the finest Eastern carpet which I have seen< and the design is 8of singularperfection= defensible on all points logically and consistently beautiful


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Hnown as The Ardabil 5arpet +town in ;orth #est Iran, it was made during thereign of !hah Tahmasp for the shrine of the !ufi +the mystical facet of Islam, !aint!heih !afi(Al(Din and is one of the largest finest and historically most importantcarpets to survive. A copy of the 8Ardabil< carpet can be found at $C Downing!treet and even Adolf 4itler owned a copy. It is because of #illiam "orrisendeavours we are able to view it at the ameel 3allery at The /ictoria and Albert"useum.

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A&"I'I"( .) /lo%ers on a &o$$ee !et using an Inik Palette,dark blue bright bluetur3uoise red

a, In class or at home as students to draw a selection of Tea and or 5offee cupsjugs mugs and pots.5onsider the shape and particularly the surface pattern material and use.#hat is it made of and how was it madeM#ho was it made for and how or where was it usedM#hy do you thin it is a successful or unsuccessful designM

b, Divide the class into groups and on paper as a team design a coffee set egcoffee pot coffee cups sugar pot mil jug etc.Each design team will chose an appropriate plant or flower as inspiration eg Tulip

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0otus asmine 2ose Daffodil.As them to research the meaning or symbolism of the flowers and their coloursAre they associated with a seasonMDo they represent a country or are they used in a particular eventM5an they be grown locally in gardens or green housesM5onsider the flexibility of floral designs and how they occupy the space provided bythe objectM5onsider whether the flowers are used as a bacground or are they the main subjectM

5an you draw buds leaves stems tendrilsMEach team will be given a "uslim client which they will need to research on theinternet eg !ultan "ehmed II +Turey, 3eneral Nheng 4e +5hina, 7ueen 2aFia!ultan +India, 7ueen /ictoria


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+otes on .

5arafe coffee jar sugar and are words of Arabic origin and there are manylegends to the origin of the drin itself. The famous !ufi !aint +the esoteric facet ofIslam, from :emenAbu al(4asan al(!hadhiliis said to have discovered the effectsof coffee whilst traveling in Ethiopia and observing the berries effects on birds.5offee continues to be popular and is associated with many !ufi rders +theesoteric facet of Islam, who continue to use it to eep alert during their nighttime

devotions.

Even though the coffee bean was originally enjoyed in the :emen the first coffeehouse appeared in Aleppo !yria but it was the ttomans who popularised theculture of the coffee house. The first coffee house in Europe was opened in/enice where a vibrant trade between Egypt and ;orth Africa was wellestablished. 4owever it was !ultan "ehmed I/


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4ackground in$ormation

Islamic art weblinsK

/RA ameel 3allery O further information and interactive resourcesKhttpKLLwww.vam.ac.uLcollectionsLasiaLislamicSgallL

/RA guide to style in Islamic artKhttpKLLwww.vam.ac.uLvastaticLmicrositesL$&'-SislamicSmiddleSeastL

/RA 8!tyle 3uide< showing influence of Islamic art on 1ritish art and designKhttpKLLwww.vam.ac.uLvastaticLmicrositesLbritishSgalleriesLbgSstylesL!tyleC%dLindex.html

nline international collaborative museum projectK 8"useum with ;o rontiersKDiscover Islamic art< O excellent resourceKhttpKLLwww.vam.ac.uLcollectionsLasiaLislamSgallL

1ritish "useum collection of art from the Islamic "iddle EastKhttpKLLwww.britishmuseum.orgLexploreLworldSculturesLmiddleSeastLislamicSmiddleSeast.aspx

"etropolitan "useum of Art ;ew :or O excellent timeline of art history includingshort articles on Islamic artKhttpKLLwww.metmuseum.orgLtoahLsplash.htm"etropolitan "useum of Art ;ew :or O article on plant(based designhttpKLLwww.metmuseum.orgLtoahLhdLvegeLhdSvege.htm

Plant-based design %eb links)

Introduction to the Ardabil 5arpet in the ameel 3alleryKhttpKLLwww.vam.ac.uLresSconsLconservationLjournalLnumberS')LardabilScarpetLindex.html

/ictoria and Albert "useum resource on plant motifs in Tudor England "ughalIndia and 7ing 5hinaKhttpKLLwww.vam.ac.uLschoolSstdntsLschoolsSteachLteachersSresourcesLplantsLindex.html

#illiam "orris R 5o websiteKhttpKLLwww.william(morris.co.uLMgclid5;fTtSFS-Nc52%cEAod%mfDD7

#illiam "orris !ociety websiteKhttpKLLwww.morrissociety.orgL

#illiam "orris wallpaper at the /ictoria and Albert "useumKhttpKLLwww.vam.ac.uLcollectionsLprintsSboosLfeaturesL#allpaperL#illiamS"orrisLindex.htmlPlant Teachers ;otes $

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http://www.vam.ac.uk/collections/asia/islamic_gall/http://www.vam.ac.uk/vastatic/microsites/1342_islamic_middle_east/http://www.vam.ac.uk/vastatic/microsites/british_galleries/bg_styles/Style08d/index.htmlhttp://www.vam.ac.uk/vastatic/microsites/british_galleries/bg_styles/Style08d/index.htmlhttp://www.vam.ac.uk/collections/asia/islam_gall/http://www.britishmuseum.org/explore/world_cultures/middle_east/islamic_middle_east.aspxhttp://www.britishmuseum.org/explore/world_cultures/middle_east/islamic_middle_east.aspxhttp://www.metmuseum.org/toah/splash.htmhttp://www.metmuseum.org/toah/hd/vege/hd_vege.htmhttp://www.vam.ac.uk/res_cons/conservation/journal/number_49/ardabil_carpet/index.htmlhttp://www.vam.ac.uk/res_cons/conservation/journal/number_49/ardabil_carpet/index.htmlhttp://www.vam.ac.uk/school_stdnts/schools_teach/teachers_resources/plants/index.htmlhttp://www.vam.ac.uk/school_stdnts/schools_teach/teachers_resources/plants/index.htmlhttp://www.william-morris.co.uk/?gclid=CNfTt_z_2ZcCFR8cEAod8mfDDQhttp://www.morrissociety.org/http://www.vam.ac.uk/collections/prints_books/features/Wallpaper/William_Morris/index.htmlhttp://www.vam.ac.uk/collections/prints_books/features/Wallpaper/William_Morris/index.htmlhttp://www.vam.ac.uk/collections/asia/islamic_gall/http://www.vam.ac.uk/vastatic/microsites/1342_islamic_middle_east/http://www.vam.ac.uk/vastatic/microsites/british_galleries/bg_styles/Style08d/index.htmlhttp://www.vam.ac.uk/vastatic/microsites/british_galleries/bg_styles/Style08d/index.htmlhttp://www.vam.ac.uk/collections/asia/islam_gall/http://www.britishmuseum.org/explore/world_cultures/middle_east/islamic_middle_east.aspxhttp://www.britishmuseum.org/explore/world_cultures/middle_east/islamic_middle_east.aspxhttp://www.metmuseum.org/toah/splash.htmhttp://www.metmuseum.org/toah/hd/vege/hd_vege.htmhttp://www.vam.ac.uk/res_cons/conservation/journal/number_49/ardabil_carpet/index.htmlhttp://www.vam.ac.uk/res_cons/conservation/journal/number_49/ardabil_carpet/index.htmlhttp://www.vam.ac.uk/school_stdnts/schools_teach/teachers_resources/plants/index.htmlhttp://www.vam.ac.uk/school_stdnts/schools_teach/teachers_resources/plants/index.htmlhttp://www.william-morris.co.uk/?gclid=CNfTt_z_2ZcCFR8cEAod8mfDDQhttp://www.morrissociety.org/http://www.vam.ac.uk/collections/prints_books/features/Wallpaper/William_Morris/index.htmlhttp://www.vam.ac.uk/collections/prints_books/features/Wallpaper/William_Morris/index.html


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5ontemporary textile design company that incorporates plant(based designs in itworKwww.timorousbeasties.com

Islamic art reading list)

1loom onathan and 1lair !heila. Islamic Arts5 0ondonK Thames and 4udson$))>.

1lair !.!. and 1loom . +eds.,. Images o$ Paradise in Islamic Art5 AustinK@niversity of Texas Press $))$.

5anby !heila. Islamic Art in Detail55ambridge "A and 0ondonK 4arvard@niversity Press -CC*.

3ombrich E.4. "he !ense o$ Order50ondonK Phaidon $)>).

3rabar leg. "he Mediation o$ Ornament5 Princeton ;K Princeton @niversityPress $))-.

4illenbrand 2obert. Islamic Art and Architecture. 0ondonK Thames and 4udson$))).

!i6 &enturies o$ Islamic Art in &hina5atalogue Islamic Arts "useum "alaysia-CC$

HUhnel Ernst. "he Arabes3ue Meaning and trans$ormation o$ Ornament53raFK/erlag fUr !ammler $)>*.

Tim !tanley et al. Palace and "os6ueK Islamic Art $rom the Middle 7ast50ondonKPhaidon -CC'.

#ilinson Philip and !alaFar 1atul. 7*e%itness uides Islam. DorlingHindersley 0ondon -CC-

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http://www.timorousbeasties.com/http://www.timorousbeasties.com/

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