By Gabriele Mandel
Publication via Mandel, Gabriele
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Extra resources for How to Recognize Islamic Art
Sample text
Rugs can be divided primarily into three categories, according to the method of manufacture: knotted (goliboft), woven (kelim or karamani), and chain-stitched (sumak). Knotted rugs have a warp and woof (of cotton, wool, or silk), from which protrude threads of wool (or silk and wool). The warp is made up of a chain of knotted threads, in Turkish rugs using a wide knot or ghiordes, in Persian a fine knot or senneh. The thickness of the knotting varies a great deal, depending on the type or the individual rug, but textures range on average from 1,500 to 3,000 knots per square decimeter for wool rugs and from 4,000 to 8,000 knots over the same area for silk and wool.
The Muslims of leaf, Asia constructed buildings in ceramics with flower motifs so that they looked like gardens made of gleaming majolica, and alternated these motifs with calligraphic designs. Usually the floral decorations cover areas bordered by bands of calligraphic motifs which follow the outlines and subdivisions of the underlying architectural structures. From about 1400 onwards, these three forms of decoration - plant life, geometry, and calligraphy - were often used in combination in the same item, whether a building, a miniature, or a carpet, with the result in later Islamic art that each influenced by the others.
Until the early sixteenth century, swords were straight rather than curved. Richly ornamented scimitars date from the time of the Safavids. Many works were produced by Islamic wood, and glass. Sculptors and craftsmen, especially under the Umayyad, Abbasid, and Fatimid dynasties, excelled in the handling of ivory, producing small coffers with exquisite pierced and modelled designs. Decorative wood carving was widely used for doors, Koran lecterns, the mihrab and the minbar, using mainly geometrical motifs from a repertoire that was constantly being extended.