Iblis, alternatively known as Eblīs, is the leader of the devils in Islam. According to the Quran, Iblis was thrown out of heaven after refusing to prostrate himself before Adam. He is often compared to the Christian Satan, since both figures were cast out of heaven according to their respective religious narratives. Similar to Mastema, a satanic figure in the Book of Jubilees, he makes a request to God in order to put mankind to test and receives command over the demons in order to do so. In his role as the master of cosmic illusion in Sufi cosmology, he functions similar to the Buddhist concept of Mara. As such, Iblis embodies the cosmic veil supposedly separating the immanent aspect of God's love from the transcendent aspect of God's wrath. He entangles the unworthy in the material web hiding the underlying all-pervading spiritual reality.
Islamic art is a part of Islamic culture and encompasses the visual arts produced since the 7th century CE by people who lived within territories inhabited or ruled by Muslim populations. Referring to characteristic traditions across a wide range of lands, periods, and genres, Islamic art is a concept used first by Western art historians in the late 19th century. Public Islamic art is traditionally non-representational, except for the widespread use of plant forms, usually in varieties of the spiralling arabesque. These are often combined with Islamic calligraphy, geometric patterns in styles that are typically found in a wide variety of media, from small objects in ceramic or metalwork to large decorative schemes in tiling on the outside and inside of large buildings, including mosques. Other forms of Islamic art include Islamic miniature painting, artefacts like Islamic glass or pottery, and textile arts, such as carpets and embroidery.
Asmodeus or Ashmedai is a king of demons in the legends of Solomon and the constructing of Solomon's Temple.
Ifrit, also spelled as efreet, afrit, and afreet, plural عفاريت ʿafārīt), is a powerful type of demon in Islamic culture. The ʿafārīt are often associated with the underworld and identified with the spirits of the dead, and have been compared to evil geniī loci in European culture. In Quran, hadith, and Mi'raj narrations the term is always followed by the phrase "among the jinn". In later folklore, they developed into independent entities, identified as powerful demons or spirits of the dead who sometimes inhabit desolate places such as ruins and temples. Their true habitat is the Jahannam or underworld.
The Timurid Empire was a late medieval, culturally Persianate Turco-Mongol empire that dominated Greater Iran in the early 15th century, comprising modern-day Iran, Iraq, Afghanistan, much of Central Asia, the South Caucasus, and parts of contemporary Pakistan, North India and Turkey. The empire was culturally hybrid, combining Turko-Mongolian and Persianate influences, with the last members of the dynasty being "regarded as ideal Perso-Islamic rulers".
A Persianate society is a society that is based on or strongly influenced by the Persian language, culture, literature, art and/or identity.
A miniature is a small illustration used to decorate an ancient or medieval illuminated manuscript; the simple illustrations of the early codices having been miniated or delineated with that pigment. The generally small scale of such medieval pictures has led to etymological confusion with minuteness and to its application to small paintings, especially portrait miniatures, which did however grow from the same tradition and at least initially used similar techniques.
Kamāl ud-Dīn Behzād, also known as Kamal al-din Bihzad or Kamaleddin Behzād, was a Persian painter and head of the royal ateliers in Herat and Tabriz during the late Timurid and early Safavid Periods. He is regarded as marking the highpoint of the great tradition of Islamic miniature painting. He was well known for his very prominent role as kitābdār in the Herat Academy as well as his position in the Royal Library in the city of Herat. His art is unique in that it includes the common geometric attributes of Persian painting, while also inserting his own style, such as vast empty spaces to which the subject of the painting dances around. His art includes masterful use of value and individuality of character, with one of his most famous pieces being "The Seduction of Yusuf" from Sa'di's Bustan of 1488. Behzād's fame and renown in his lifetime inspired many during, and after, his life to copy his style and works due to the wide praise they received. Due to the great number of copies and difficulty with tracing origin of works, there is a large amount of contemporary work into proper attribution.
A Persian miniature is a small Persian painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western Medieval and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant genre in Persian art in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature in Turkey, and the Mughal miniature in the Indian sub-continent.
In some forms of Islamic art, aniconism stems in part from the prohibition of idolatry and in part from the belief that the creation of living forms is God's prerogative.
In Islam, Muḥammad is venerated as the Seal of the Prophets and earthly manifestation of primordial divine light (Nūr), who transmitted the eternal word of God (Qur'ān) from the angel Gabriel (Jabrāʾīl) to humans and jinn. Muslims believe that the Quran, the central religious text of Islam, was revealed to Muhammad by God, and that Muhammad was sent to guide people to Islam, which is believed not to be a separate religion, but the unaltered original faith of mankind (fiṭrah), and believed to have been shared by previous prophets including Adam, Abraham, Moses, and Jesus. The religious, social, and political tenets that Muhammad established with the Quran became the foundation of Islam and the Muslim world.
The composite Turko-Persian, Turco-Persian, or Turco-Iranian is the distinctive culture that arose in the 9th and 10th centuries AD in Khorasan and Transoxiana. According to the modern historian Robert L. Canfield, the Turco-Persian tradition was Persianate in that it was centered on a lettered tradition of Iranian origin; it was Turkic in so far as it was for many generations patronized by rulers of Turkic ancestry; and it was "Islamicate" in that Islamic notions of virtue, permance, and excellence infused discourse about public issues as well as the religious affairs of the Muslims, who were the presiding elite."
'Abd al-Ṣamad or Khwaja 'Abd-us-Ṣamad was a 16th century painter of Persian miniatures who moved to India and became one of the founding masters of the Mughal miniature tradition, and later the holder of a number of senior administrative roles. 'Abd's career under the Mughals, from about 1550 to 1595, is relatively well documented, and a number of paintings are authorised to him from this period. From about 1572 he headed the imperial workshop of the Emperor Akbar and "it was under his guidance that Mughal style came to maturity". It has recently been contended by a leading specialist, Barbara Brend, that Samad is the same person as Mirza Ali, a Persian artist whose documented career seems to end at the same time as Abd al-Samad appears working for the Mughals.
Turkish or Ottoman illumination refers to non-figurative painted or drawn decorative art found in manuscripts or on sheets in muraqqa. In Turkish it is called “tezhip”, meaning “ornamenting with gold”. The Classical Islamic style of manuscript illumination combines techniques from Turkish, Persian, and Arabic traditions. Illumination was central to the traditional arts of the Ottoman Turks, who developed a style of illumination distinct from earlier traditions.
A Muraqqa is an album in book form containing Islamic miniature paintings and specimens of Islamic calligraphy, normally from several different sources, and perhaps other matter. The album was popular among collectors in the Islamic world, and by the later 16th century became the predominant format for miniature painting in the Persian Safavid, Mughal and Ottoman empires, greatly affecting the direction taken by the painting traditions of the Persian miniature, Ottoman miniature and Mughal miniature. The album largely replaced the full-scale illustrated manuscript of classics of Persian poetry, which had been the typical vehicle for the finest miniature painters up to that time. The great cost and delay of commissioning a top-quality example of such a work essentially restricted them to the ruler and a handful of other great figures, who usually had to maintain a whole workshop of calligraphers, artists and other craftsmen, with a librarian to manage the whole process.
Sadiqi Beg, also referred to as Sadiqi Beg Afshar was a painter, poet, biographer, draftsman, soldier and miniaturist of the Safavid period. Born in Tabriz in 1533, he spent a number of years as a wandering dervish before settling in Qazwin where he occupied several positions in the royal court. Ultimately, he was dismissed from a post in the royal library in 1596, and he spent his final years focused on his own writing before his death in Isfahan in 1610.
The illuminated manuscript Khamsa of Nizami British Library, Or. 12208 is a lavishly illustrated manuscript of the Khamsa or "five poems" of Nizami Ganjavi, a 12th-century Persian poet, which was created for the Mughal Emperor Akbar in the early 1590s by a number of artists and a single scribe working at the Mughal court, very probably in Akbar's new capital of Lahore in North India, now in Pakistan. Apart from the fine calligraphy of the Persian text, the manuscript is celebrated for over forty Mughal miniatures of the highest quality throughout the text; five of these are detached from the main manuscript and are in the Walters Art Museum, Baltimore as Walters Art Museum MS W.613. The manuscript has been described as "one of the finest examples of the Indo-Muslim arts of the book", and "one of the most perfect of the de luxe type of manuscripts made for Akbar".
Michael A. Barry is a Princeton University professor and historian of the greater Middle East and Islamic world. Since 2004 he has taught as lecturer in Islamic Culture in Princeton's Department of Near Eastern Studies, in addition to serving as consultative chairman of the Department of Islamic Art at the Metropolitan Museum of Art (2005-2009) and special consultant to the Aga Khan Trust for Culture since 2009. An established authority on Islamic art and the history and culture of Afghanistan, on which subjects he has written extensively in both French and English, Barry's works include a standard French-language history of Afghanistan, a biography of the late commander of the Afghan Northern Alliance, Ahmad Shah Massoud, which won France's Prix Femina in 2002, and an interpretive history of medieval Islamic figurative painting from the 15th to the 16th centuries.
Arabic miniatures are small paintings on paper, usually book or manuscript illustrations but also sometimes separate artworks that occupy entire pages. The earliest example dates from around 690 AD, with a flourishing of the art from between 1000 and 1200 AD in the Abbasid caliphate. The art form went through several stages of evolution while witnessing the fall and rise of several Islamic caliphates. Arab miniaturists absorbed Chinese and Persian influences brought by the Mongol destructions, and at last, got totally assimilated and subsequently disappeared due to the Ottoman occupation of the Arab world. Nearly all forms of Islamic miniatures owe their existences to Arabic miniatures, as Arab patrons were the first to demand the production of illuminated manuscripts in the Caliphate, it wasn't until the 14th century that the artistic skill reached the non-Arab regions of the Caliphate.
Abu'l-Fath Pir Budaq more commonly known simply as Pir Budaq, son of Jahān Shāh of the Qara Qoyunlu dynasty, was governor of Shiraz (1456-1460) and of Baghdad (1460-66) where he introduced a period of political and economic stability. He is noted for developing a library of the finest manuscripts, for his patronage of the arts, for establishing Baghdad as an important centre of the arts and for reinvigorating the art of the book. He has been described as the greatest Turkmen patron of the arts.
