Nowadays we live in the global world, where cultures are tightly connected with each other and the traditions’ sharing process is developing day-to-day. Some cultures are absorbing features of other one, and some cultures are dissolving in more influential ones. Nevertheless we all need to understand that this process has not emerged at once – it takes its origins from the dawn of times and has been developing as the time flew. There are some essential ways of how one culture could be influencing or influenced by other one, such as the war actions and the trading. In this case, the influence of the Islam on the Italian Renaissance is going to be discussed.
Before getting deeper into the topic, it is important to clarify spheres of Islamic influence in the Italian Renaissance. Such spheres are: the ceramics, the patterns, the calligraphy, and the tiraz. The Renaissance itself – is a period of the world’s history of Art between the Middle Ages and the Modern Times, which lasted since the 14th century till the 17th century. The Italian Renaissance culture can be related to those cultures that absorbed some particular features of the other ones, enriching it.
The Islam, as a religion, has occurred in the 7th century and since then was spreading in the world. While other European civilizations were waning, the Islamic civilizations were characterized by their intellectual and cultural exaltation. It has led to the more effective influence on the European cultures and, consequently, to the spread of the Islam onto the bigger territories. (Essa, Ahmed, and Othman Ali 3)
So, getting back to the spheres of influence, what did Islam give the Italian Renaissance? First of all, it is important to start with the ceramics. Nowadays, we all know those beautiful ceramic plates from the Venice with various colors and ornaments. The majority of them were made, following the Islamic example. In those regions, where the archaic ceramics was produced and the main Renaissance production centers were developing, the production of the local wares has increased during the 13th century and highly developed in the 14th century. It all was happening in those regions, where the Islamic imports were available. In the eleventh century, all the Islam imports were coming to Europe through Spain and Italy, most imports came from Tunisia. (Mack, Rosamond E.) The most numerous imports were coming through Pisa, as one of the most important trading center. Such a great example of the Islam influence on the Italian art, in terms of the ceramics, may surely be the bacino with the wattle star design. The bacino – it is a colored glazed earthenware plates and roundels that were set into the exterior walls during the Italian Renaissance and Romanesque buildings, mostly churches. (Curl, James Stevens) This particular bacino represents a typical for the thirteenth century and early – fourteenth – century Pisan ceramics, which copies the design: motifs, compositions and space – filling ornament of the imports, mentioned above. As the majority of the archaic ceramics from Pisa, this plate was painted in the traditional primitive green and brown colors. Another example of the Islamic influence is the plate, painted in green and brown, embodying a bird with leafs and other various ornaments. This plate was produced in the end of the fourteenth century in Orvieto and represents a combination of the traditional Islamic and Italian Gothic motifs and themes. This is typical Islamic design: a bird – and –leaf –tendril, common for the Egypt and Syrian pottery. (Mack, Rosamond E.)
The key feature of such ceramic’s design is that, although the Orvieto craftsmen have borrowed some of the main decorative aspects, this painting style considers figural and plant elements being silhouetted ethmoid worked background. Some ceramics of the mid-fourteenth century from the northern centers, such as Florence, have enriched their products with blue color, dominant in the Islamic ceramics. (Mack, Rosamond E.)
Other types of the ceramics are the vases and other similar wares of such types. Another center of the wares production was Valencia. The Valencian potter has managed to create a typical example of the Islamic – Italian pottery: a scroll of the stylized leaves around the ware’s waist, the imitational cursive Arabic script above and below its shoulder, the imitation alafia pattern on the bottom and, of course, the plant ornament. (Mack, Rosamond E.)
The next sphere of the influence – are the patterns. The patterns are the artistic elements in the design, used to enrich the image, created by the artist. First of all, it is the patterned silks. As we all know, silk, as a fabric material, came to Europe from Asia. Because of its tender surface and luxurious look, this material has won its respect and recognition in the highest circles of the European society. However, the appearance of the silk in the Europe has led to the wider spread of the Islamic cultural and artistic influence. What are the key features of the Islamic patterns that are still present in the modern art? First of all, it is the intricate geometric design and the second of all, it is the plant ornament.
As a confirmation of the long time presence of the Islamic artistic features on the European land, it is important to recall the mural, created by Giotto di Bondone “Saint Francis appears to Pope Gregory IX in a dream”, 1300. What do we see here? On the represented canopy, the curtain and the covers of the bed and the bench are similar overall patterns of the intricate geometric design. (Mack, Rosamond E.) Another confirmation surely is the burial tunic of Don Felipe, the brother of King Alfonso X of Castile. This fabric has the similar Islamic patterns to those, represented on the mural, mentioned above.
The clothing also had been decorated with the traditional Islamic ornaments, such as the geometrical figures, plant ornaments and others. In this case the usage of the plant ornaments was more spread, as it was aesthetically attractive. However, not only through the patterns on the clothing the Islamic presence may be seen. The Islam has influenced the fashion, as whole unite. The shirts were sewn in the more free fashion with sleeves and the body of the shirt, expanding to the bottom. Those are the great examples of the process of the cultural borrowings, which comes since the dawn of times. (Mack, Rosamond E.)
The next confirmation of the Islamic culture’s presence is the patterns on the carpets, as well as the carpets themselves. In this case, the dominant design is represented through the intricate geometric figures. The outstanding example of such type of carpets’ design is the Small Pattern Holbein, created on the beginning of the twelfth century by the German painter Hans Holbein. The surface of the carpet is filled with alternating octagonal and cross-shaped forms with same intricate geometric and strap-work compositions. (Mack, Rosamond E.) Created in the dominant red and maroon colors this carpet takes us back to the Islamic culture and its magnificent art. Another key aspect, which indicates on the Islamic influence, is the fact of the carpet’s appearance in Europe. Carpets have become an irreplaceable part of the daily Europeans’ household life.
Talking about the calligraphy, it is important to mention that the Islamic culture has brought a new style of ornamenting books and miniatures, as well as the ornamenting fabrics and paintings. Italians admired the Islamic calligraphy, as they considered it to be aesthetically attractive and beautiful. It was present on almost each and every product – the carpet, the fabric, the ceramics, the painting, the mural, etc. As the Italian artists highly admired the Islamic calligraphy, their paintings reveal a complex perception of the Arabic writing style, which is present on the tiraz textiles and paintings. (Mack, Rosamond E.)
The term “tiraz” comes from the Persian and means a textile – a robe, which was given to courtiers and ambassadors in the private ceremonies. They were also often inscribed with the rulers’ names, as well as with dates and the locations of their production. Also, these particular textiles provide us a window into the political and religious life of early Islam. (Ekhtiar, Maryam) The interaction with the Islam culture has brought tirazes into Europe and was influencing the way Europeans were decorating it. Here, in this case, the decoration of the tirazes was depending on the Islamic calligraphy with all its key aesthetical features.
As a conclusion, it is important to mention that the Islamic culture has caused a huge influence on the European culture. The key way of the cultural interaction was the trading. Traders, who were coming from Asia, were bringing jewelry, silk and many other fabrics, bringing a brand new fashion with it. So, what are the key elements of the Islamic art? First of all, it is the recognizable intricate geometric design, full of various elements. However, the strict rule of such design is in the absolutely symmetrical elements, so-called – mirror reflection. Second of all, it is the plant and animal ornament, mostly present on the ceramics, perfectly combined with the geometric design. Third of all, it is the dominant colors – mostly blue, green and maroon red, put into one whole composition. The last, but not least – it is the calligraphy. Since the twelfth century till the sixteenth century the presence of the Islamic calligraphy is becoming more noticeable. It proves the fact of the strong and powerful influence of the Islam culture, which spread through the Europe mostly because of the Italian and Spanish trading with Arab world. The Europeans have absorbed some key features of the Islam culture and this process is continuing till nowadays, as we are also using these elements in our lives, as well as the Renaissance Italians did.
Works cited:
Curl, James Stevens. "Bacino." Encyclopedia.com. HighBeam Research, 2000. Web. 19 Mar. 2016.
Ekhtiar, Maryam. "Tiraz: Inscribed Textiles from the Early Islamic Period | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Met's Heilbrunn Timeline of Art History. Web. 19 Mar. 2016. <https://www.metmuseum.org/toah/hd/tira/hd_tira.htm>.
Essa, Ahmed, and Othman Ali. Studies in Islamic Civilization: The Muslim Contribution to the Renaissance. Herndon, VA: International Institute of Islamic Thought, 2010. Print.
Mack, Rosamond E. Bazaar to Piazza: Islamic Trade and Italian Art, 1300-1600. Berkeley: U of California, 2002. Print.
