Handprints To AI Art Series – Islamic Art: What Still Survives

Islamic art has survived not only in museums and manuscripts, but in enormous architectural spaces that still allow us to see how Islamic artists and builders transformed stone, brick, plaster, tile, wood, and light into works of art.

1. Medina Azahara — Preservation Rating: ~90%

Location: Córdoba, Spain
Age: 10th century CE
Original Purpose: Royal palace-city and seat of the Umayyad Caliphate of Córdoba

Built in the mid-10th century by the Umayyad rulers of Córdoba, Medina Azahara was an ambitious planned city containing palaces, administrative buildings, roads, water systems, gardens, and decorative elements. It was destroyed during the civil war that ended the caliphate around 1009–1010 and then disappeared from view for almost a thousand years. Rediscovered in the early 20th century, only about 10 percent of the city has been excavated. Its long burial helped protect much of the surviving material from later rebuilding.

Visitors can still see palace walls, architectural decoration, infrastructure, and the remains of a carefully planned royal city. Its importance lies partly in what has not been rebuilt: archaeologists can study an abandoned Islamic capital without centuries of later construction covering it.

2. Great Mosque of Kairouan — Preservation Rating: ~85%

Location: Kairouan, Tunisia
Age: Present form primarily 9th century CE
Original Purpose: Congregational mosque and major center of Islamic learning

Founded in 670 and substantially rebuilt under the Aghlabids in the 9th century, the Great Mosque became a model for later mosques across the Maghreb. Its massive courtyard, hypostyle prayer hall, marble and porphyry columns, and monumental minaret remain. UNESCO notes that later repairs and changes have not substantially altered its layout or intrinsic structural and functional authenticity.

The surviving building allows visitors to experience the scale, materials, spatial organization, and restrained monumentality of early North African Islamic architecture.

3. Great Mosque of Córdoba — Preservation Rating: ~75%

Location: Córdoba, Spain
Age: Begun 786 CE; expanded over subsequent centuries
Original Purpose: Congregational mosque

The mosque developed through successive Umayyad expansions and became one of the defining monuments of Islamic architecture in western Europe. After Córdoba was conquered by Ferdinand III in 1236, the mosque became a Christian cathedral, and later construction introduced substantial changes, including a cathedral inserted into its Islamic interior.

The surviving forest of columns and double arches, the prayer hall, mihrab, mosaics, and monumental proportions still communicate the extraordinary ambition of the Umayyad builders. At the same time, the building is a particularly clear example of how a monument can survive while its function and appearance change.

 

 

By NO MIDDLEMAN ART GALLERY

 

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Handprints To AI Art Series – Islamic Art: When Geometry Became A Visual Language

Islamic art did not need a single image of a human figure to command attention. It could make a wall, manuscript, ceramic vessel, carpet, or architectural surface speak through words, mathematics, repetition, and pattern. Over centuries, artists working across the Islamic world developed a visual language in which calligraphy, geometric structures, and vegetal ornament could carry meaning while transforming ordinary surfaces into elaborate fields of design.

A defining transformation came under the Abbasid dynasty, beginning in 750 CE. Baghdad and, later, Samarra became major cultural and commercial centers, and artistic ideas developed there spread widely. At Samarra, artists developed the distinctive beveled style, using repeated abstract geometric and vegetal forms across architecture and objects. These innovations helped establish decorative approaches that would influence Islamic art far beyond the Abbasid capital.

Calligraphy became central to this visual world. Because the Qur’an was transmitted in Arabic, Arabic writing acquired extraordinary religious and artistic importance. Letters were not simply information to be read; they could become architecture, ornament, rhythm, and visual structure. Calligraphy appeared on manuscripts, buildings, ceramics, textiles, metalwork, and objects of daily life. Different regions and periods developed different scripts and ways of integrating writing into decoration.

Geometry added another dimension. Circles, squares, triangles, stars, and polygons could be repeated, interlaced, reflected, and expanded into complex patterns. The underlying forms were not invented in isolation: Islamic artists drew upon earlier Greek, Roman, and Sasanian traditions and transformed them through increasingly sophisticated arrangements. Mathematics, astronomy, and other sciences contributed to the intellectual environment in which these designs developed.

Vegetal ornament created a different kind of movement. Leaves, stems, vines, and other plant-based forms were adapted from earlier Byzantine and Sasanian traditions and gradually transformed into increasingly abstract designs. By the medieval period, highly developed arabesque patterns had become one of the most recognizable forms of Islamic ornament.

Islamic art therefore cannot be reduced to geometric patterns or an absence of figures. Figural imagery existed in many Islamic artistic traditions, particularly in secular contexts. What distinguishes much Islamic art is the extraordinary range of ways artists could make writing, repetition, abstraction, proportion, and ornament carry visual power.

 

 

By NO MIDDLEMAN ART GALLERY

 

BAR

NO MIDDLEMAN ART GALLERY is an Edge of Humanity Magazine

project created to provide artists with a

COMMISSION FREE / CONTRACT FREE

online platform to sell their creations.

To support our concept please

DONATE

LOGO

CURATOR | Joelcy Kay