From the National Museum of Antiquities and Islamic Art in Algiers, to the Islamic Museum of Australia, the Museum of Islamic Art in Cairo or Doha, the Islamic Arts Biennale in Jeddah, and the Islamic Art Museum in Berlin, Islamic art today is described in multiple different ways. With its current resurgence in cultural institutions, now is a good time to ask: What does Islamic art stand for today? Should we even call it “Islamic art?”

“Islamic art” and “Art of Islam” were terms invented in the 19th century by Europeans when Western scholars began studying and collecting artefacts from the Islamic world more intensely. From the 18th century onwards, European collectors were fascinated by “Islamic art.” They went to the Arab world on archaeological excavations and diplomatic missions and built up museum collections. There were also many commercial exchanges with merchants who brought back precious objects from the Orient, as it was then called in the West, (silk, jewellery, etc.). As a result, the market for Islamic art today is mainly concentrated in the United Kingdom and France. The great bulk of London’s trading in Islamic art comes during Islamic Week, which takes place in October in the city’s main auction houses.

From a historical perspective, “Islamic art” includes objects and artefacts originating from regions historically dominated by Islam from the 7th to the 20th centuries, such as the Ottoman Empire or Qajar Iran. At any rate, this is the definition proffered by Rim Mezghani, an expert in Islamic and Indian Art. From a geographical perspective, Islamic art includes artefacts from Andalusia to India, ranging from parts of China, Iran, Turkey, “Asia Minor,” and parts of Central Europe. In a narrow sense, “Art of Islam” encompasses all cultural expressions arising from the practice of Islam. More broadly, the term encompasses all arts produced by Muslim peoples, whether connected with their religion or not, as per Britannica’s definition.

The term “Islamic Art” is limited therefore. It does not incorporate the global dimension of Islam with its multiple influences and non-religious works. For instance, a pair of Ottoman hammam shoes would be classified as “Islamic art,” even though they were not objects dedicated to worship. Similarly, as Rim Mezghani points out, Armenian or Coptic objects cannot coherently be called “Islamic Art” either. 

Finding a common denominator for the artefacts placed under the umbrella of “Islamic art” is challenging. To avoid referring to artists’ religion or ethnic background, Rim Mezghani favours a thematic approach in her auction sales. This approach is evidenced by her sales titles, which include “Art from the Middle East,” “Ink and Gold/Quintessence,” “Shades of Blue – Empires and Artisans,” “Floral and Calligraphic Conversation,” and “Middle Eastern Art from French Officials’ Collections.” The titles are more thoughtfully conceived than, say, the “Middle-East Modern and Contemporary Sale” at Millon Paris or the “Modern and Contemporary Middle Eastern Art Sale” at Christie’s.

In her auctions, the expert distinguishes between carpets, artefacts (paintings, jewellery, ceramics, arms, textiles), and manuscripts. Islamic art is plainly distinguished by common techniques and patterns that create a sense of unity. But are there any observable themes common to all Islamic Art?

The Influence of the Quranic Tradition on Islamic Art

While not all Islamic art is religious, the Quranic tradition has had a very significant influence. For instance, the colour green, Prophet Mohammed’s favourite colour, often associated with paradise and spirituality, has been widely used in Islamic art, such as in the shrine of Yahya (John the Baptist) in the Umayyad Mosque in Damascus, which is illuminated in verdant light.

Similarly, the vine motif, referred to as the karm in historical sources, is a recurring decorative item in Islamic art. In the Umayyad Mosque, it extends above the level of the mihrab (the niche in the wall indicating the direction of Mecca), surrounding the prayer hall's walls.

Is now the time for reappropriating “Islamic art?”

With the flourishing of institutions and events focusing on Islamic art in MENA countries, such as the Islamic Arts Biennale in Jeddah, the question over the identity of Islamic art is raising its head now more than ever. 

According to Rim Mezghani, there is now a tendency in Islamic art to move away from the religious dimension. “We tend to use ‘Arab art’, ‘art of the Middle East,’ or ‘Art of Muslim Civilisations’ rather than ‘Islamic art’,” she says. Yannick Lintz, former Director of the Department of Islamic Arts at the Louvre agrees: “When you go to Cairo or Tehran, people are inclined to speak about ‘Art of Egypt’ or ‘Art of Iran’ rather than ‘Art of Islam,’ he explained in a video presentation at the Louvre’s Department of Islamic Arts.

Currently, there is a tendency for MENA institutions to adopt the same terminology as in Europe. Yet some argue that it is necessary for muslim majority countries to reflect on their own heritage and to question terms such as Islamic art, initially invented by Europeans. To avoid having to make a choice, cultural institutions in the MENA region could emulate the Louvre Abu Dhabi, which has spread its Islamic collections throughout all the galleries, disregarding the term altogether.