How Islamic Artistry Defines Craftsmanship

It’s mid March as I type this and there’s a full blizzard outside my window. Nights like this, I like to put everything aside to browse Twitter and skim through current affairs over a cup of tea – and also, art websites.

What motivates us to create as we do? How do we feel about our art? And how do we want others to feel about it? Purpose.

Generally, in the history of Islamic art, every piece was created on a foundation of servitude to God, the Supreme Creator. Artists created with the love of the Divine at the core of their craft, and in honour of the Prophetic words that ‘Allah is Beautiful and loves beauty’, and through this came centuries of breathtaking work based mostly on calligraphy, geometry, illumination (tazhib) and biomorphic design. The artist themselves became synonymous with their art, and the art was not about them but about God.

When I first began to research the history of Islamic art, I was still in school and just about had access to the internet (the good old days of dial-up), but I remember learning of the Ottomans and the genius that is Mimar Sinan. I was soon in awe of his ethics and architectural style, which through use of geometry, ratio and proportion evokes the feeling that one is standing in the presence of Divine Grandeur. Amongst his brilliance was his decision to base the foundation of domes, lofty and grand as they were, on the circle – the perfect geometrical figure, with no beginning or end, thus representing the Perfection of God.

Whenever I am working or researching, or feeling flat about the direction of my work, I remind myself of the principles of Islamic art and the all-important ‘why’. That this work serves a far higher purpose, and though we aspire for worldly success, there is a pure and otherworldly delight in creating for the love of beauty – and for the Love of God.