1. Sub-Saharan Islamic Art
Chronology of Early Islam
Five Pillars of Islam
Early Islamic Art
Later Islamic Art
Abbasid Art
Mamluk Art
Islamic Luxury Arts
Ottoman Turkish Art
Umayyad Art in Iberia
Seljuk Art
Timurid Art
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Safavid Art
Ayyubid Art
Mamluk Art
Mughal Art
Sub-Saharan Islamic Art

2. Chronology of Early Islam
Muhammad Born in Mecca ca. 570
Muhammad’s First Revelation 610
Muhammad’s Flight to Medina (Hijra) 622
Muhammad Dies in Medina 632
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3. Five regions conquered by Muslim soldiers in the seventh century.
Iran and the Arabian peninsula.
North Africa.
Lower Egypt.
The Iberian peninsula and as far north as Poitiers in France.
As far east as the Indus River.
The Christian city of Constantinople fell to the Muslims in 1453?

4. Slide concept by William V
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5. Five Pillars of Islam
 Faith There is no God but God; Muhammad is his messenger
Prayer Salat–obligatory prayers said five times daily
Charity Zakat–“purification” or “growth”
 Fasting during month of Ramadan
 Pilgrimage Hajj–trip to Mecca once in a lifetime some go yearly during Ramadan
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6. Early Islamic Art Abbasids
A people who claimed descent from Abbas, an uncle of Muhammad, they overthrew the Umayyads in 750.
Arabesque
Natural forms so stylized they become purely decorative.
Caliph
Ruler (“successor” for successor of Muhammad) who unites religious and political leadership in one leader.
Calligraphy
Elegant writing as a decorative art.
Ewer
A pitcher; in the Islamic world, could be crafted in the form of a stylized animal such as a bird.
Fatimids
The Islamic dynasty that ruled in Egypt from 909—1171.
Minaret
A tower from which the faithful are called to worship.
Minbar
The pulpit on which an imam stands in a mosque.
Mirhab
A semicircular niche set into the qibla wall of a mosque.
Muhammad
The founder of Islam, revered as its Final Prophet. He did not claim to be divine and did not perform miracles.
Qibla
wall The wall in the direction towards Mecca, which Muslims face when praying.
Umayyads
The Islamic dynasty that ruled Syria from 661—749.
Iman
The leader of collective worship in a mosque.
Iwan
Vaulted rectangular recess in a mosque.
Koran (Qur’an)
Meaning “recitations”, the Holy Book of Islam.
Kufic
An early form of Arabic script; very angular, with uprights forming almost right angles with the baseline.
Hejira
“Emigration”; the Islamic calendar dates itself from when Muhammad fled from Mecca to Medina in 622.
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7. True or False
Islamic art spread quickly both eastward and westward from the land once inhabited by the peoples of the ancient Near East.
True
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8. The first great achievement of Islamic architecture was The Dome of the Rock
Muhammad is believed to have ascended to heaven from the Dome of the Rock
Following a brief period of Persian rule, Jerusalem was captured in 638, six years after the death of Muhammad, by the Muslim Caliph Umar. Soon after his occupation of the city, Umar cleansed the Temple Mount, built a small mosque and dedicated the site to Muslim worship. The most imposing structure the Muslims found in Jerusalem was the Church of the Holy Sepulchre. Nearby the Arab conquerors undertook to build a more spectacular edifice, the Dome of the Rock, not only to proclaim the supremacy of Islam, but also to ensure that the new followers of Islam would not be tempted by Christianity. The site chosen was the very same rock where previously had stood the Jupiter temple of the Romans and before that, the two temples of the Jews.
At this hallowed site, known in Arabic as Haram al Sharif, the 9th Caliph, Abd al-Malik, built the great Dome of the Rock between 687 and 691.
Dome of the Rock
Jerusalem

9. Dome of the Rock; constructed in Jerusalem.
The shape was influenced by the Byzantine domed temples, like the neighboring Constantine’s Rotunda of the Holy Sepulchre.
It was decorated originally in mosaics (now replaced by tile) in vivid colorful patterns for both the interior and exterior.
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The Dome of the Rock is located in Jerusalem
Dome of the Rock
Jerusalem

10. Dome of the Rock (interior) Jerusalem
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Dome of the Rock (interior)
Jerusalem

11. Slide concept by William V
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12. Four features of the Great Mosque at Damascus that show the influence of the Greco-Roman world.
It is made of masonry blocks, columns, and capitals salvaged from Roman and Early Christian structures.
The courtyard is bordered by pier arcades like those of Roman aqueducts.
The minarets are modifications of Roman square towers that were there previously.
Its main entrance contains a façade with a pediment that faces into the courtyard, like a Roman forum temple.
True or False
The Great Mosque of Damascus owes much to the architecture of the Greco-Roman and Early Christian East.
True
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Great Mosque
Damascus, Syria

13. The courtyard is bordered by pier arcades like those of Roman aqueducts.
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Great Mosque
Damascus, Syria

14. Byzantine, Late Classical, and Early Christian cultures influenced Islamic art
True or False
Islamic tradition encourages the representation of fauna in sacred places.
False
Why are there no human or animal forms in the mosaics of the Great Mosque at Damascus?
Islam shuns the representation of any fauna in sacred places, so flora is dominant.
The cycle of mosaics at the Great Mosque of Damascus were made by Byzantine mosaicists
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Mosaic from Courtyard Great Mosque
Damascus, Syria

15. Slide concept by William V
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16. All mosques are oriented toward the city of Mecca
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Plan of the Umayyad Palace
Mshatta, Jordan ca

17. Purpose and function of early rural Moslem palaces:
Besides being country retreats, they were nuclei for agricultural development of acquired territories, and possibly functioned as hunting lodges.
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Detail of the Frieze of the Umayyad Palace
Mshatta, Jordan
ca limestone 16 ft. 7 in. high

18. A series of triangles, each containing a large projecting rosette, framed by elaborately carved moldings. Each triangle is different, and animal figures appear in some of them, but not to the right of the entrance—the part of the façade corresponding to the mosque’s qibla wall.
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Frieze of the Umayyad Palace
Mshatta, Jordan
ca. 740 – 750, limestone 16 ft. 7 in. high

19. Abbasid Art
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20. Slide concept by William V
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21. Aerial view of the Great Mosque Qayrawan, Tunisia
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Aerial view of the Great Mosque
Qayrawan, Tunisia ca

22. Plan of the Great Mosque Qayrawan, Tunisia
True or False
The hypostyle mosque exhibits the greatest variation from the original plan for the mosque, Muhammad's house in Medina.
False
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Plan of the Great Mosque
Qayrawan, Tunisia ca

23. Great Mosque Qayrawan, Tunisia ca. 836-875
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Great Mosque
Qayrawan, Tunisia ca

24. Slide concept by William V
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25. The 165 foot tall Malwiya minaret is in Samarra, Iraq
The distinguishing feature of the minaret from Samarra is Its steeped spiral ramp. Its name, Malwiya, means “snail shell” in Arabic)
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Malwiya minaret of the Great Mosque
Samarra, Iraq ca

26. Mausoleum of the Samanids Bukhara, Uzbekistan
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Mausoleum of the Samanids
Bukhara, Uzbekistan
early 10th century

27. Malwiya minaret and Great Mosque Samarra, Iraq
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Malwiya minaret and Great Mosque
Samarra, Iraq ca

28. Islamic ornament is characterized by
Vivid surface pattern created by shaped bricks (mostly for exteriors).
Vegetal designs, often highly stylized and abstract.
Abstract geometric patterns.
Animal figures (in secular settings).

29. Islamic Luxury Arts
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30. Slide concept by William V
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31. Textiles were so highly valued in the Islamic world because wood is rare in the Islamic world, so architectural spaces are mainly filled with carpets and cushions instead of furniture.
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Confronting lions and palm tree
fragment of a textile from Zandana, Uzbekistan
8th century silk compound twill 2 ft. 11 in. x 2 ft. 9 1/2 in.

32. A Sulayman's occupation was a metalworker
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Sulayman
Ewer in the form of a bird
796 brass with silver and copper inlay 1 ft. 3 in. high

33. Most of the early examples of the script used in the Koran are written in Kufic
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Quran page with the beginning of surah 18, al Kahf (The Cave)
9th or early 10th century ink and gold on vellum 7 1/4 in. x 10 1/4 in.

34. Slide concept by William V
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35. Umayyad Art in Iberia
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36. Slide concept by William V
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37. Entrance to the Great Mosque Córdoba, Spain
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Entrance to the Great Mosque
Córdoba, Spain
8th to 10th centuries

38. Horseshoe arches were an important architectural feature of Mosque at Córdoba
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Prayer hall of the Great Mosque
Córdoba, Spain
8th to 10th centuries

39. Prayer hall of the Great Mosque Córdoba, Spain
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Prayer hall of the Great Mosque
Córdoba, Spain
8th to 10th centuries

40. Spain is the European country that contains the best examples of Islamic architecture
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Maqsura of the Great Mosque
Córdoba, Spain

41. Dome in front of the mihrab of the Great Mosque Córdoba, Spain
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Dome in front of the mihrab of the Great Mosque
Córdoba, Spain

42. Plaque 10th or early 11th century ivory, quartz, pigment 4 1/4 x 8 in.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
This panel, carved from a single piece of elephant ivory, once adorned one side of a rectangular casket. The complexity of the decoration as well as the attention to details, such as the eyes of humans and animals, which were drilled and filled with minute clear stones, demonstrate the refinement and the accomplishment of such an object.
Plaque
10th or early 11th century ivory, quartz, pigment 4 1/4 x 8 in.

43. Plaque 10th or early 11th century ivory, quartz, pigment 4 1/4 x 8 in.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
This panel, carved from a single piece of elephant ivory, once adorned one side of a rectangular casket. The complexity of the decoration as well as the attention to details, such as the eyes of humans and animals, which were drilled and filled with minute clear stones, demonstrate the refinement and the accomplishment of such an object.
Plaque
10th or early 11th century ivory, quartz, pigment 4 1/4 x 8 in.

44. Plaque 10th or early 11th century ivory, quartz, pigment 4 1/4 x 8 in.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
This panel, carved from a single piece of elephant ivory, once adorned one side of a rectangular casket. The complexity of the decoration as well as the attention to details, such as the eyes of humans and animals, which were drilled and filled with minute clear stones, demonstrate the refinement and the accomplishment of such an object.
Plaque
10th or early 11th century ivory, quartz, pigment 4 1/4 x 8 in.

45. LATER ISLAMIC ART Madrasa “Place of study”; a theological college.
Mamluks
Former Turkish slaves who converted to Islam.
Muqarnas
Stalactite-like prismatic, lacelike forms.
Ottoman Turks
Osman I founded this dynasty in Anatolia after the Seljuks fell to Genghis Khan in the 13th century. By the 15th century they were one of the great world powers.
Shahnama
Persian national epic poem by Firdawsi, recounting the history of Iran from Creation until the Muslim conquest.
Sinan the Great
The most famous Ottoman architect (c. 1491—1588). A contemporary of Michaelangelo, he perfected the Ottoman architectural style.
Suliyman the Magnificent
Metalworker, creator of fine metal objects such as a ewerstatuette in the shape of a bird.
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46. Slide concept by William V
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47. Its gardens were intended to conjure images of Paradise.
The Alhambra, Meaning “the red”, a huge palace-fortress constructed of rose-colored stone on a rocky spur at Granada, built by the Nasrids.
Its gardens were intended to conjure images of Paradise.
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Court of Lions Alhambra Palace
Granada, Spain

48. Court of Lions Alhambra Palace Granada, Spain
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Court of Lions Alhambra Palace
Granada, Spain

49. Court of Lions Alhambra Palace Granada, Spain
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Court of Lions Alhambra Palace
Granada, Spain

50. The Alhambra is the Hall of the Two Sisters
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Muqarnas dome, hall of the Two Sisters Alhambra Palace
Granada, Spain

51. Mamluk Art
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52. Slide concept by William V
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53. Madrasa-mosque-mausoleum complex of Sultan Hasan is uncolumned, unlike hypostyle mosques.
It is relatively austere compared to the filigreed Alhambra and other mosques; it is dominated by its massiveness and geometric clarity.
It has a fountain in its courtyard, not seen elsewhere, and the tomb of Hasan is south of the qibla, so praying Muslims would be directing their prayers towards the tomb.
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Madrasa-mosque-mausoleum complex of Sultan Hasan
Cairo, Egypt

54. plan of the Madrasa - Mosque - Mausoleum complex of Sultan Hasan
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plan of the Madrasa - Mosque - Mausoleum complex of Sultan Hasan
Cairo, Egypt

55. Mosque developed by the Ottoman Turks
A square prayer hall covered by a dome as its 0e, which became the nucleus of all Ottoman architecture.
It is more centralized than other hypostyle mosques, with four minarets, one on each corner of the square base of the mosque, to offset the central dome. Any number and size of domes and juxtaposed geometric spaces could be put together.
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Qibla wall, main iwan Madrasa-mosque-mausoleum complex of Sultan Hasan
Cairo, Egypt

56. Ottoman Turkish Art
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57. Slide concept by William V
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58. Sinan the Great built the Mosque of Selim II at Edirne
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Sinan
Mosque of Selim II
Edirne, Turkey

59. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia
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Anthemius of Tralles & Isidorus of Miletus
Hagia Sophia
Constantinpole, (Istanbul), Turkey

60. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia
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Anthemius of Tralles & Isidorus of Miletus
Hagia Sophia
Constantinpole, (Istanbul), Turkey

61. plan of Mosque of Selim II Edirne, Turkey
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Sinan
plan of Mosque of Selim II
Edirne, Turkey

62. Mosque of Selim II (interior) Edirne, Turkey
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Sinan
Mosque of Selim II (interior)
Edirne, Turkey

63. Seljuk Art
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64. Slide concept by William V
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65. Four iwans open onto the courtyard, one at the center of each side
Four iwans open onto the courtyard, one at the center of each side. A dome leads into the mihrab.
The qibla iwan is always the largest, which immediately indicated to worshippers which direction to pray.
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Aerial View of the Great Mosque
Isfahan, Iran
11th to 17th centuries

66. Slide concept by William V
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67. Courtyard of the Great Mosque Isfahan, Iran
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Courtyard of the Great Mosque
Isfahan, Iran
11th to 17th centuries

68. Winter Prayer Hall of the Shahi (Imam) Mosque Isfahan, Iran
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Winter Prayer Hall of the Shahi (Imam) Mosque
Isfahan, Iran

69. Dome of the Shah Mosque Isfahan, Iran 1611-1638
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Dome of the Shah Mosque
Isfahan, Iran

70. Three types of objects that were often decorated with calligraphy:
Walls.
Manuscripts.
Tiles.
Islamic decoration makes extensive use of calligraphic, organic, and arabesque
Characteristics of the arabesque include abstract patterns, potential for unlimited growth, and independence of the carrier of the design
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
The most important element in any mosque is the mihrab, the niche that indicates the direction of Mecca. Because it functions as the focal point in prayer ritual, its decoration was executed with great skill and devotion. This example from the Madrasa Imami in Isfahan, founded in A.H. 755/A.D. 1354, is composed of a mosaic of small glazed tiles fitted together to form various geometric and floral patterns and inscriptions. The inscriptional frieze in muhaqqaq script containing sura IX:14–22 from the Qur'an runs from the bottom right to the bottom left; a second inscription, in kufic script, with sayings of the Prophet, borders the pointed arch of the niche; and a third inscription, in cursive, is set in a frame at the center of the niche. The bottom of the niche, just below the central inscription, and a substantial part of the beginning and end of the main inscription were restored by skillful potters in Isfahan in the mid-1920s.
Outermost script details 5 pillars of the Islamic faith.
Mihrab from the Madrasa Imami
Isfahan, Iran
ca glazed mosaic tilework 11 ft. 3 in. x 7 ft. 6 in.

71. Timurid Art
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72. Slide concept by William V
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73. One of the most highly developed Islamic art forms was textiles
Carpet weaving was elevated to a national industry in Iran by Shah Tahmasp
One of the most highly developed Islamic art forms was textiles
Maqsud of Kashan
Carpet from the funerary mosque of Shaykh Safi al-Din
Ardabil, Iran
1540 knotted pile of wood and silk 34 ft. 6 in. x 17 ft. 7 in.
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74. From Herat, Afghanistan
Bihzad
Seduction of Yusuf folio 52 verso of the Bustan of Sultan Husayn Mayqara
From Herat, Afghanistan
1488 ink and color on paper 11 7/8 x 8 5/8 in.
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75. Safavid Art
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76. Slide concept by William V
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77. The Shahnama is the Persian national epic poem.
Sultan-Muhammad
The court of Gayumars detail of folio 20 verso of the Shahnama of Shah Tahmasp
Tabriz, Iran
ca ink, watercolor and gold on paper 13 x 9 in.
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78. Sultan-Muhammad
The court of Gayumars detail of folio 20 verso of the Shahnama of Shah Tahmasp
Tabriz, Iran
ca ink, watercolor and gold on paper 13 x 9 in.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

79. Sultan-Muhammad
The court of Gayumars detail of folio 20 verso of the Shahnama of Shah Tahmasp
Tabriz, Iran
ca ink, watercolor and gold on paper 13 x 9 in.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

80. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

81. Sultan-Muhammad
Hushang discovers fire detail of folio recto of the Shahnama of Shah Tahmasp
Tabriz, Iran
ca ink, watercolor and gold on paper 13 x 9 in.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
In the reign of Hushang, grandson of Gayumars, the world came to understand the usefulness of minerals and the art of smithery, as well as agriculture and irrigation. One day Hushang spied a horrible dragon lurking behind the rocks. He hurled a stone at it, which missed the monster but hit a larger rock causing sparks to fly up. Realizing the significance of this phenomenon, Hushang built a large fire and held a feast to celebrate its discovery. The witty yet profound characterizations of people and animals are characteristic of the liveliest of Sultan Muhammad' s creations. No Persian artist has excelled in presenting a world so overflowing with life and so rich in exuberant detail as Sultan Muhammad, to whom this painting is attributed. Using color, he created a somewhat otherworldly atmosphere suitable to the remote, early phase of civilization depicted in this miniature celebrating the discovery of fire.

82. Ayyubid Art
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

83. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

84. Canteen with Episodes from the Life of Christ From Syria
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
The most important element in any mosque is the mihrab, the niche that indicates the direction of Mecca. Because it functions as the focal point in prayer ritual, its decoration was executed with great skill and devotion. This example from the Madrasa Imami in Isfahan, founded in A.H. 755/A.D. 1354, is composed of a mosaic of small glazed tiles fitted together to form various geometric and floral patterns and inscriptions. The inscriptional frieze in muhaqqaq script containing sura IX:14–22 from the Qur'an runs from the bottom right to the bottom left; a second inscription, in kufic script, with sayings of the Prophet, borders the pointed arch of the niche; and a third inscription, in cursive, is set in a frame at the center of the niche. The bottom of the niche, just below the central inscription, and a substantial part of the beginning and end of the main inscription were restored by skillful potters in Isfahan in the mid-1920s.
Outermost script details 5 pillars of the Islamic faith.
Canteen with Episodes from the Life of Christ
From Syria
ca brass inlaid with silver 1 ft. 2 1/2 in. high

85. Mamluk Art
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

86. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

87. Luxury items
Manuscript paintings, ceramics, textiles, and metalwork, usually produced as gifts for sultans or specific patrons. They were decorated with literary or religious scenes, or were purely (intricately) decorative.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
The most important element in any mosque is the mihrab, the niche that indicates the direction of Mecca. Because it functions as the focal point in prayer ritual, its decoration was executed with great skill and devotion. This example from the Madrasa Imami in Isfahan, founded in A.H. 755/A.D. 1354, is composed of a mosaic of small glazed tiles fitted together to form various geometric and floral patterns and inscriptions. The inscriptional frieze in muhaqqaq script containing sura IX:14–22 from the Qur'an runs from the bottom right to the bottom left; a second inscription, in kufic script, with sayings of the Prophet, borders the pointed arch of the niche; and a third inscription, in cursive, is set in a frame at the center of the niche. The bottom of the niche, just below the central inscription, and a substantial part of the beginning and end of the main inscription were restored by skillful potters in Isfahan in the mid-1920s.
Outermost script details 5 pillars of the Islamic faith.
Mosque lamp of Sayf al-Din Tuquztimur
From Egypt
1340 glass with enamel decoration 1 ft. 1 in. high

88. Basin (Baptistère de Saint Louis) From Egypt
Muhannad Ibn al-Zayn
Basin (Baptistère de Saint Louis)
From Egypt
ca brass, inlaid with gold and silver 8 3/4 in. high
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
The most important element in any mosque is the mihrab, the niche that indicates the direction of Mecca. Because it functions as the focal point in prayer ritual, its decoration was executed with great skill and devotion. This example from the Madrasa Imami in Isfahan, founded in A.H. 755/A.D. 1354, is composed of a mosaic of small glazed tiles fitted together to form various geometric and floral patterns and inscriptions. The inscriptional frieze in muhaqqaq script containing sura IX:14–22 from the Qur'an runs from the bottom right to the bottom left; a second inscription, in kufic script, with sayings of the Prophet, borders the pointed arch of the niche; and a third inscription, in cursive, is set in a frame at the center of the niche. The bottom of the niche, just below the central inscription, and a substantial part of the beginning and end of the main inscription were restored by skillful potters in Isfahan in the mid-1920s.
Outermost script details 5 pillars of the Islamic faith.

89. Mughal Art
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

90. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

91. The first great achievement of Islamic architecture is the Taj Mahal.
True or False
The first great achievement of Islamic architecture is the Taj Mahal.
False
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Taj Mahal
Agra, India

92. Sub-Saharan Islamic Art
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

93. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

94. Aerial view of Great Mosque Djenne, Mali
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Aerial view of Great Mosque
Djenne, Mali
begun 13th century, rebuilt 94

95. Eastern façade of Great Mosque Djenne, Mali
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Eastern façade of Great Mosque
Djenne, Mali
begun 13th century, rebuilt

96. Eastern façade of Great Mosque Djenne, Mali
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Eastern façade of Great Mosque
Djenne, Mali
begun 13th century, rebuilt

97. Compare the treatment of volume and space in the manuscript illumination from the Shanama with that in the Paris Psalter. In what ways does the Persian miniature differ from the Byzantine one? What factors might account for the differences?
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
David composing the Psalms Paris Psalter
ca tempera on vellum 14 1/8 in. x 10 1/4 in.
Sultan-Muhammad
The court of Gayumars detail of folio 20 verso of the Shahnama of Shah Tahmasp
Tabriz, Iran
ca ,ink, watercolor and gold on paper,13 x 9 in.