Representation of Animals in Islamic Art

Brocche-recipienti ornitomorfi

ceramica non invetriata e dipinta

Afghanistan, VIII-XII sec. d.C.

   The representation of animals in Islamic art reveals an assortment of naturalistic body parts and repeated geometric patterns. The animals depicted are mostly birds, lions and horses, used as decorative elements for plates, bowls, vases, floors or architecture. Each figure retains its natural shape and has a certain set of recurring patterns, uniformly distributed across the surface of its body. Moreover, the animal images decorating ceramic bowls are frequently combined with human characters, illustrating an event such as a hunt or a particular procession. Some of the vases and drinking bowls are even made in the shape of an actual animal (eg.bird), still incorporating different patterns painted over the objects. However, the great variety of figural motifs used imposes a high stylization of the animals presented, increasing the vivacity of the art works. In addition, the Islamic art also includes depiction of fantastic figures composed of animal bodies and human heads. This suggests a certain relation to mythology and creative exploitation of the artistic patterns and forms used. Eventually, all of these features reveal the Islamic unique approach to art, entailing a dynamic, but yet completely balanced representation of motifs and animals in particular.

Brocche-recipienti ornitomorfi

ceramica non invetriata e dipinta

Afghanistan, VIII-XII sec. d.C.

Ceramiche invetriate

Iran, IX-X sec. d.C.

Stone

Stones such as marble, red limestone and black veined alabaster were used in the Islamic Art and Architecture. Art historians have found through the years a vast variety of decorative and symbolic works of art carved in stone. Generally, the architectonical motifs are richly carved with precious details. We can also experience that Islamic craftsmen continuously used calligraphy on their works. (Gardner's art through the ages: a global history by Kleiner, Fred S.)  A good example of the latter is this image of a “Slab” which can be found in the “Museo Nazionale Orientale Di Roma”. The observer appreciates geometric plant-like forms carved on a block of marble in low relief. We can divide the work of art into three parts; the artist uses calligraphy to frame the top part of the slab with the inscription in Arabic of “Nel nome di Dio il Clemente, il Misericordioso” which means “In the name of God the Compassionate, the Merciful”; the middle section is filled with twisted trefoil shapes, which one can see in many other similar works; the next and last part is composed by a thin band representing palm branches. This work dates from the XI to the XII and belonged to the “Palazzo di Mas’ Ud III” in Ghazni Afghanistan. From my personal opinion, the work brings to my mind: the mesmerizing palace of the “Alhambra” in Granada, Spain.

 (Gocciolatoio/Tavola offertoria. VII - VI A.C) 

Furthermore, another good example of the stone Art represented in Islamic culture is this second image “Gocciolatoio/Tavola offertoria” made out of red limestone in Yemen. It belongs to the VII – VI a.C period. The name of the work translated to English is “Drip offertory table” which tells us that this particular piece of work, representing the head of an animal, was created for sacred means. The breach on top of its head must have been carved with the purpose of making some liquid pass through it. However, its composition is simple except for the geometrical carved incisions, which define the animal’s features. 

Gabriela Valero 

Composition

    

Fig.1 Ceramiche invetriate policrome

Iran, IX-X sec. d.C.



Fig. 2 Lastra, marmo scolpino a basso rilievo

Afghanistan, fine XI-inizio XII sec. d.C
















    




    

    


Fig. 3 Ceramiche orientale policrome

Iran, IX-X sec. d.C.



     Islamic art is generally used for decoration, incorporating various geometric shapes as the most significant ornamental design. These shapes are used as patterns, rationally interconnected, but without a clear beginning or end. Furthermore, the decoration of ceramic plates and bowls usually includes a certain figure or a shape (eg.animal, man, circle etc.) placed at the centre, around which all of the other figures and forms are positioned (Fig. 1). This may indicate that there is always one crucial character or life segment, controlling the other circumstances and events. In addition, all of the geometric patterns used are symmetrical and often reflected. They are also repeated many times, extending continuously and creating a perfectly harmonious composition. This applies to architectural design (Fig. 2) too, including floral shapes and calligraphy as part of the decorative scheme. The particular letters are also integrated as repetitive patterns, placed around the figures and probably used as inscriptions (Fig. 3). Therefore, the juxtaposition of animal and human figures with various geometric shapes and calligraphy imposes the inventive aspect of Islamic art and its social context. Moreover, the geometric shapes, floral and animal images (Fig. 4) are also used for decoration of the drinking bowls, cups and vases. They are again interrelated and spread out with no distinct starting or ending point, still exposing a completely ordered system of figures and forms. This may even be an allegorical depiction of the mutual dependence on each other (eg.food chain) and the various natural relations between humans, animals and plants. In addition, the same compositional principles apply to the decoration of tiles (Fig. 5), reflecting rhythmic and vibrant depiction of figures or events. Thus, Islamic art has a decorative function primarily, with shapes expanding on and on, on their way to unity and concord.

Kirila Cvetkovska

Fig. 5 Mattonella a rilievo con figure di cavalieri,

giocatori di polo, Iran, fine XIII sec. d.C.



Fig.4 Rappresentazione di figure umane ed animali

Iran, VI-VII sec. d.C. 













Lines



Fig. 1 Giare, ceramica

Iran, VIII sec. d.C.



      In Islamic Art, lines were designed in geometric patterns and simple abstract shapes like arrows, triangles, circles, and three leaf clovers. The lines of the abstract shapes are not clean and straight, but are soft and flowy styled lines.  Though the lines are not precisely drawn, the art pieces still have a very elegant appearance.



      The lines created in the vase (Fig. 1) are indented into the clay to form a slight relief.  The relief gives a darker value to the color of the vase.  The lines add attention to the composition because the vase is basically one solid color except for the patina that has formed.  The line designs  are large circles in a formation on the top section of the vase.  A zig zag line is drawn around the lower mid section to add more interest to the vase.  The diamond shape design at the neck of the vase, which is a relief effect, compliments this zig zag line.                        

                                                                                

Fig. 2 Piatto con representazione di felino passante

Argento niellato, Iran, VI-VII sec. d.C.






Metal Plate (Fig. 2):  Black three leaf cloves were painted on the tiger with very small dotted line patterns in the background. The structure of five arrow tree is designed with soft curved lines.  The indented triangle shapes are irregular as the holes shaped in the Fig.3 art piece. These imperfect holes add more appeal to the composition because the heads and the bodies of the animals are not realistically formed.  The holes seem randomly shaped, especially for the eyes.   The silhouette of the 3 animals shows a soft lumps in the lines similar to a baked muffin or a loaf of bread.  

Fig. 3 Supporto di bruciaprofumi a protoni leonine, bronzo fuso

Iran, XI-XII sec. d.C.



         Stacie Johnson      


 









Ceramics

1) Cobalt-painted Bowl, Iraqi, IX cen., Harris Brisbane Dick Fund
2) Ceramica Invetriata  policroma tipo “Sari”, Iran X-XI secolo

Islamic ceramic pottery was and still is very popular all over the world. Arabs are using majolica (type of the ceramics), which has a smooth surface, lustre, thin walls covered with coloured glazes, and they have decorative relief adornments. Traditionally, artists would write phrases form Suras or Hadiths on the inner side of the plate or a bowl. With the spread of Islam, artists started to depict animals and humans.

The ninth century Iraqi Cobalt-painted bowl represents a traditional way of decorating. It is decorated with two repetitive phrases right in the middle of the bowl. The sides of it have circles that go on the outer side of the bowl. There are also two semicircular lines, as a contour of each circle (The Art of Islamic Pottery Ernst J. Grube p. 209-228, p. 210 – the sketch, The Metropolitan Museum of Art Bulletin © 1965 The Metropolitan Museum of Art).  We can compare it with Iranian work of a later period. It is also a bowl, but instead of the writings we see the painting of a bird, that is coloured in with very bright colours, such as: orange, yellow and brown. The neck of the bird is decorated with horizontal lines, which create sort of a collar. The rest of the bird’s body is covered with dark spots with white dots inside. Around the bird we see flower-like drawings, which are connected to each other.

Mattonella a forma stellare, dipinta a lustro, dicante lung oil bordo un’iscrizione coranica, che cita quasi per interno la sura CX (Iran, Kashan, XIII secolo, Museo Nazionale D’arte Orientale ‘Giuseppe Tucci’, inv. N. 90 )

We also can find the representation of animals on the tiles. Tiles were usually used to decorate the floors. One of the examples that we could see on the exhibition was the tile in a shape of the octagonal star. The artist used only three colours: brown for the drawing, and blue and white for the writing on the side. In the middle Islamic artists depicted flowers and in the flowers we can see three animals that look like rabbits. Those animals have long ears, their bodies are covered with little spots and they are depicted, as if one is walking after the other. On the outline we can see writing from Sura: “In the name of merciful God, the Merciful! When God will give the triumph and victory and see that people enter God's religion in droves, then celebrate the praises of thy Lord and ask him for forgiveness, because He is the One who forgives a lot!” 

Elena Migurenko

Representation of Animals in Teotihuacan Art

     The Teotihuacan art includes a vibrant representation of animals, illustrated as symbolic characters with regard to religious or other cultural practices. There is a great variety of animals depicted, from birds and dogs, to monkeys, jaguars and serpents. However, these figures are shown in a rather unconventional way, reflecting combination of naturalistic and abstract shapes and forms. For instance, in paintings, the animals are shown as juxtaposition of geometric shapes (circles, rectangles etc.) and natural body parts (eyes, wings, legs etc.). The multiplicity of forms used adds more dynamics to the animal’s representation, evoking admiration and doubt at the same time. Furthermore, the sculptural illustration of animals incorporates force and power, exposed through the stylization of the actual figures and their high scale. Regarding this notion of supremacy, even the warriors were attaining animal attributes, shown through their various depictions as jaguars or other strong animals. Additionally, the image of animals is used as a decorative element for architecture, but also for vases, knives and pipes.

STONE

Carving into stone has become through history a major category in Art. In the early civilizations, such as in the culture of Teotihuacan in Mesoamerica, this art was considered an artisanal activity, which required trained skills and formation. These craftsmen, who worked these material created; decorative objects, ritual objects, religious and politic symbolic objects.  Furthermore, from the Preclassic until the Postclassic period, the people from Teotihuacan used great quantities of metamorphic rock. They also used many other different types of stones, for example; Sandstone, Limestone, Basalt, Greenstone (which was prized with great symbolic value and was related to fertility), and the most important of all the stones was the Obsidian. The craftsmen worked the Obsidian rock, turning it into vital utensils such as knives and points.

However, the main techniques the workmen used were PERCUSSION, CUT, PERFORATION and SMOOTHING. For example, basalt trowels were used to polish. Other relevant tools were; chisels of flint, scalpel of semiprecious stones and wedges of bone and wood were some of the tools used to carve the forms of the objects. The difficulty in the elaboration of this work came with long hours of hard work. In addition, this could support the idea that the works were done for the “élite”.

Moving on to visual forms, one can see that the predominant forms, in what concerns to “Stone”, are the geometrical and abstract forms. For example, the “Jaguar emerging from a plumed portal with stars associated with the planet Venus” which is made out of; stone, stucco and pigments. One can observe the different parts of the sculpture and note that each of the parts are geometric. For instance, its mouth is a clear rectangle with carved, low relief, details such as teeth and lips. Also, the fact that some of its parts are polychrome makes it easier to identify the proper forms. 


Gabriela Valero 

Composition











Fig.1 Zacuala mural painting showing a jaguar-warrior

400-600 AD

                                                                                                                    

Fig.2 Anthropomorphic sculpture

250 AD

     The principles of composition in Teotihuacan art entail linear placement of all the shapes and forms used. Therefore, the exquisite combination of geometric and naturalistic forms in painting underlines the symbolic meaning of the characters rather than creating an illusion of space. There is no overlapping of forms and each s ymbol is flawlessly integrated within the rest of the shapes used. The repeated patterns impose a certain rhythm to the representation of the figures, reflecting the Teotihuacan conceptual art and its system (Fig 1). Furthermore, the sculptural representation of figures (animals, warriors, gods etc.) also discloses repeated geometric forms, synthesized together with the natural body shapes to form a unique piece of art. They are highly stylized, with some exaggerated parts such as the mouth or the eyes. In addition, the sculptures of anthropomorphic figures incorporate a symmetrical body and a big head which distorts the natural  proportions of these characters (Fig. 2).

     The Teotihuacan art also includes huge masks with fixed sculptural features such as egg-shaped eyes, wide face and large, open mouth. These traits expose the compositional rules in the Teotihuacan art system and its conventions. Moreover, the decorative elements of the vases also expose linear arrangement of shapes and forms, through the images of animals, warriors or plants. Hence, it seems that the Teotihuacan art emphasizes the symbolic importance of the figures rather than providing a particular narrative. The diversity of motifs used enriches the depiction of significant characters (animals, gods, warriors etc.) within the limits of allegorical portrayal and abstraction.

Kirila Cvetkovska









LINES

Lines are used in all different forms throughout Pre-Columbian Art.  Using lines is the first basic implication in any creativity.  Lines can form the of vase or an architectural element and create images when painting, drawing, engraving and other various art applications. 

For example, the lines used in the “Tripod Vase with a Quincunx Cosmic Diagram showing the Centre and the Four Directions of the World” are very simple but incise.  These lines form a pattern around the base of the vase and on the lid.

The pattern is a small double a small double circle within a square.  There are four wide lines, approximately .25 of an inch,  that extend out to the corner of the square.  These lines, which are a light red-pinkish color, represent the four corners of the world.

On each side of the squares, there are three quarter of an inch line that is the same height as the  square.  The basic square is repeated 3 times on the base of the vase to create the pattern.

The lid has the same design as the base of the vase, but the pattern is an inch smaller in height.  The top of the knob has four direction design within the circle instead of a square.  The three tripods are without any decor.  This vase is made of ceramic with pigments. 

Rear of Mirror with an Owl bearing a Shield and Dart

The lines on the “Rear of Mirror with an Owl bearing a Shield and Darts” are more slight flowy and curved.   The deep incised lines around the cylinder plate has a raised effect.  The line looks simular to a long stretch “S”.  It almost has the same effect as a relief composition.  Also the human hand that is on the middle of the shield is raised prohaps with a small  amount of clay was added to give it of a strong, powerful appearance. 

The feathers on the wings are raised and the outline of each feather as a realistic shape.  A precise straight line was enscripbed in the center of each feather.  The wings are open  to symbolize protection or readiness to defend.  The claws which carries the darts are outlined again with more straight lines.

The rectangle shaped head of the owl has various shapes of circles for the eyes and mouth.  The beak is shaped in a mnatural, but abstract form.  The short feathers on the owl’s head is implicated with short, slightly curved lines that frames the face.

Stacie Johnson

CERAMICS

Teotihuacan was a big cultural centre where the production of ceramics was at a very high level. In order to make the ceramics they would make the product (mask, pots, figures, etc.) by hand and put it in the oven to bake the clay. These products were obliged to follow certain stylistic cannons. These stylistic cannons can be found on every item that is made of clay. For instance, the figures of the warriors, which has masks on their faces presenting the animas, so their clothing is all covered with lines to present animal fur or birds pens. Other example of using ceramics is the figures of the dogs. They are usually presented lying on the floor, rolled up. The most decorated items are the pots or vases. Before baking the vase, they would put lines on it, which would present geometrical forms, like circles or squares, all around the surface of the vase.

One of such figures is a ceramic whistle vase with a monkey. It is usually one pot or two pots that are connected. The pots are often decorated with flowers or animals like birds or jaguars, there are also lines all around the pot. On the top there is a figure of the monkey that is sitting with its legs bended to its chest and with its hands on the top of the cover. On the monkey’s head there are openings that are making whistling sounds. Perhaps, the water was put in the pots and then the water would be boiled, so the air that that was coming out through the openings in the monkeys head would make a whistling sound.

Music and dance must have been a frequent element of the public or religious ceremonies. Whistles and flutes are the most common instruments that were discovered in Teotihuacan.

Elena Migurenko