The Role Of Seljuks In Islamic Art

| In the industry of hand crafted goods their pottery showed various types of patterns carved or painted onto them, even stones had fine pictures painted onto them. They usually wrote in a special ink, they had various forms of writing like hieroglyphics, and self-explanatory characters. They usually carved these onto animal bones or tortoise shells. Architecture was built into houses made of wood or carved out of the earth into rows. They listened to folk music and palace music. With their practice in bronze they made fine musical instruments, people engaged into music but they were divided into 3 sections; Wu, music slavery, and Gu.

Islamic craftsmanship incorporates the visual expressions delivered from the 7th century onwards by individuals who lived inside the region that was possessed by or governed by socially Islamic populations. It is along these lines an exceptionally troublesome workmanship to characterize in light of the fact that it covers numerous grounds

There exist three basic components of traditional Islamic art: calligraphy, geometric patterns, and floral and vegetal motifs. These three stylistic tools are beautifully rendered and masterfully integrated into complex works of art, but there is no question that artistic expression is severely limited under these categorizations. However, this limitation stems from Islamic theology and concept of art. The main reason for the limitation imposed on visual art is the Islamic theological prohibition of figural imagery. Social laws presented in the Hadith prevented the representation of figures because any imitation was deemed idolatrous. Also, art is considered to be decorative and imitative. Script and patterns are used to decorate

On the Political side, the Ottoman Turks were the best at keeping up control for a more extended time. It could get by to the point that advanced circumstances. The two different realms crumbled by the seventeenth century. The pioneer of the Ottoman Turks was known as the Sultan which was like a ruler. Islamic Law was connected to all Muslims. With respect to Safavid realm politically, the Shahs strolled around the boulevards in mask keeping in mind the end goal to discover the genuineness of the nationals. The high positions were given by justifying and regularly were nonnatives. In the Mughal Empire politically, Even,

The Sikyatki style of Hopi pottery was the introduction of artistic quality to the yellow pottery of the Anasazi period. From 1400-1600 A.D., the Sikyatki Polychrome style was described as "flamboyance of decoration" on the yellow pottery now being made (Bartlett 6). The geometric designs of the Anasazi period were abandoned for the Sikyatki use of life-form designs and nature designs. These included mammals, birds, reptiles, as well as rain clouds, stars, and sun symbols.

Pottery was utilised for a variety of purposes such as storage, food preparation, ritual activity, transportation and more. Stone artefacts were another source of evidence with objects such as pestles and mortars, vases, hammers and tools. The stone artefacts that were produced locally were made from imported fine stones such as alabaster, limestone and marble. Architecture was another prominent feature that showed what Theran culture was like. There were three types of buildings including the mansions, freestanding buildings and joined houses, each belonging to the according wealth of an individual. Additionally, wall paintings of the frescoes from Akrotiri provide some of the most famous images such as the Boxers, Fisherman, Ladies, Lilies, Monkey, Papyrus and Spring frescoes. In many cases all four walls were decorated to create a panoramic scene with naturalistic representations.

The Safavid Empire was based in what is today Iran. This Islamic Empire was strong enough to challenge the Ottomans in the west and the Mughals in the east.

These pieces of work include carved wood and stone, manuscripts on stone tablets and reeds, illumination, calligraphy, enameled glass, inlaid metal work and glazed ceramics, preferably from the Turkish and Iranian regions. A common characteristic among Islamic artworks is their brilliant use of colors and the perfect balance between the design and form that they portray. These unique features make these pieces of art create an immediate visual impact to the observers.

Similarity, the Ottoman and Safavid empires had one highly recognized and strong leader each, where they both ruled a Monarch. For the Ottomans, the strongest leader was Suleiman, who came to power around 1520 and ended his reign in 1566. On the other side, for the Safavids, the greatest leader was Abbas I, who came to the throne in the year 1588 at the young but determining age of sixteen. During Suleiman’s power in the Ottoman Empire, he created a Uniform System of Law and welcomed variety forms of art and literature (History.com). Suleiman, also nicknamed Suleiman the Magnificent, also advocated for

The Safavid Empire began in Azerbaijan. The empire continued to expand during Shah Abbas's reign but after his death, the dynasty gradually lost its vigor. At first, Shah Ismail, the founder of the Safavid dynasty, tried to convert members of the Ottoman Empire into Shiites. This resulted in massacre of the Sunni Muslims in 1508. Alarmed, the Ottomans fought back and won a major battle. However, after a few years, Ismail regained the land. Many years later, the Ottomans attacked back and forced the new shah, Abbas, to sign a treaty. It was Abbas who led the Safavids to their highest point. The political and social structure was strong. Senior positions in the bureaucracy were by merit rather than by birth. Religious tolerance was practiced. Abbas hired foreigners from neighboring countries for positions in his government to avoid religious competition. The shahs also took a direct interest in the economy, playing an active part in trade and manufacturing. The artistic excellence was

Every religion has its own approach to art and architecture. An assessment between different traditions can offer an illuminating insight into the varying religious outlooks and theologies. Architecture, as well as art, is influenced by a number of forces in society, in the environment, in the psychology of the people who produce it, and in different institutions. It is an expression of inner feelings and beliefs and so naturally is influenced by religion in many societies. Religious architecture is created to experience the sacred, to provide a place into which spiritual energies flow and reflect a sense of the divine. Some

The abundance of pottery showed that ceramics were an important way of life for the Sinagua. Similar to the armbands, pottery had an emotional connection to those who created it, it was a form of art that they used to represent themselves and was often used in ceremonial capacities. The pottery also had practical uses such as cooking, and storing food. These pots were mostly formed using a coil method to start but then transitioning to the paddle-and-anvil technique. This pottery was dated using dendrochronology and archaeomagnetic to date the rooms where the potter was found, from there it could be related to the room through stratigraphy and related to other variations of pottery through seriation. Pottery was such large part of the village that it was used as a trade commodity between different cultures and groups. It was found that only about 90% of the ceramics at Lizard Man were Sinaguan. The other 10% was used to trade for other ceramics, turquoise, ball courts, alcohol, obsidian, and so

The Safavid Empire created sophisticated libraire and art centers they referred to as “Ateliers”. They admired Persian art

The Assyrians developed glasswork as well as glazes for pottery and art to help it last longer.

More similarities can be drawn with the forms and structures of the two buildings. In addition to the dome and semidomes, the main arches, piers, buttresses, and galleries were adopted by the Suleymaniye. These were all part of the basic structural system in both buildings of a dome on four supports. Sinan also used pendentives as the structural system under the main dome and squinches as a transitional element between semidomes and the rest of the structure. Additionally Sinan used similar wide arches in the Suleymaniye although they were not needed structurally and were probably used for their formal appearance. The piers of the Suleymaniye are also similar with their projections used to support the bracing arches. These are the basic formal and