Calligraphic Ornament, c.1193, Delhi, carved sandstone. Reproduction photograph.

The arts of sculpture and painting were never developed in Islam as much as other cultures. This fact combined with a widespread liking for decoration were among the influences that helped raise Islamic craftsmanship in other fields to the very highest levels.

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Islamic architecture was generally lively and open in feeling, as opposed to solid and shut in. This effect was sometimes achieved by decoration, often covering every surface and particularly masking the structure of the building. Such decoration however, never created a focal point or center to draw attention to itself. In particular, one feature that prevented any single element from becoming too prominent was the "infinite pattern" - a basic motif of Islamic art in all of it's forms.

Astrolabe, , 14th Cent., Arabic, Brass and Copper. Reproduction photograph.

Moslems went far beyond the Greeks in their development of laboratory techniques, especially in chemistry and medicine. They also advanced the study of mathematics and progressed so far in astronomy that they were able to use the stars as guides as they crossed the desert. The astrolabe is a navigational instrument used to sight the sun, find the altitude of a star etc. The numbers and letters are Arabic.

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One of the greatest contributions to civilization was the introduction of Arabic numerals (Hindu in origin) to replace the clumsy Roman numeral system.

Plate, 16th Cent. Iznik, Turkey, Clay and glaze. Reproduction photograph.

Islamic craftsmen adopted techniques from Egypt and Mesopotamia, and combined them with various methods of ornamentation: incision, including "sgraffito" in which a surface layer is scraped to reveal another contrasting color; decorating over the slip, a creamy layer of ground clay and "impasto" in which paint is laid thickly to form an uneven surface.

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The Ottoman potters contributed new work, of which the best dates from about the 16th century.  Even today their decorations in the Ottoman style are among the most highly prized items of their kind in the world.  Iznik was the principal center of production in this period.  The main characteristics of its wares were heavy enameling; arabesques representing carnations, tulips, and elongated leaves; sailing boat motifs; and human and animal figures.

Bahram Gur Slays the Rhino-Wolf, c.1500, Iran, Miniature. Metropolitan Museum of Art, NY. Reproduction photograph.

This print is from the Houghton Shah-nameh, whose miniatures are among the greatest masterpieces of Persian painting ever produced; in them, the ideals of this exacting art seem to culminate. This manuscript was made for the Safavid ruler of Iran, Tahmasp, a dedicated and sensitive patron of the arts who reigned from 1525 to 1576. Its 258 miniatures include the work of the most distinguished artists of the period and probably took over 10 years to complete. This painting represents the ideal king, elegant and assured on a magnificent steed, in daring combat with a monster who combines ferocity with a delightfully decorative appearance.

Muraqqa-i Gulshan (Gulshan album aka Jahangir album), 1569-1627. Persia, Miniature. Imperial Library, Gulshan Palace, in Teheran, Iran. Reproduction photograph

At its finest, Islamic miniature painting had various distinctive features in common.  The figures were surrounded by an elaborate multicolored frame or contained within wide borders like those of a carpet; they were usually shown as a crowd in action, on several planes; and the painting gave a bird's eye view of them.  The perspective was geometrical with no attempt at naturalism, so that the artist was free to present his own personal interpretation.  There were often intensely blue skies, golden leaves, and trees stylized with meticulous elegance, all creating a fairytale atmosphere.  Miniatures influenced both carpet design and architectural decoration and these in turn had an effect on painting.  

The Blue Mosque, Istanbul, Turkey

The cascading domes and six slender minarets of the Sultanahmet Mosque (better know as the "Blue Mosque") dominates the skyline of Istanbul.  In the late 17th century, Sultan Ahmet I wished to build an Islamic place of worship that would be even better than the Hagia Sophia, and the mosque named for him is the result.  The two great architectural achievements now stand next to each other in Istanbul's main square, and it is up to visitors to decide which is more impressive.  The Blue Mosque was commissioned by Sultan Ahmet I when he was only 19 years old.  One of the most notable features of the Blue Mosque is visible from far away: its six minarets.  This is very unique, as most mosques have four, two, or just one minaret.  According to one account, the Sultan directed his architect to make gold (altin) minarets, which the architect misunderstood as six (anti).