Nomadic Themes in Early Islamic Art
Posted: January 4th, 2023
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Nomadic Themes in Early Islamic Art
Art satisfies the emotional dimensions and move human beings. Adequately developed and expressed artistic emotional presentation inspires a person to acquire or give more insight into the nature of human existence as well as the individual view of the world. A universally acceptable description by aestheticians and scholars on the nature and effect of artistic expression is art is a creative process or procedure of action that tells the state or perception of the mind, spirit or feeling. Islamic art comprises the visual presentations or works created from the 7th century onward by both non-Muslims and Muslims who resided within the jurisdictions that were inhabited, or governed by culturally Islamic groups. The expansiveness of the Islamic art that spans almost 1400 years, covering many populations and lands can be traced to prehistoric times, before the emergence of modern art. Actually, Islamic art does not only refer to the artworks created particularly to satisfy the Islamic religious faith, but also encompasses the arts and architectures historically developed for the Muslim community, or developed by Muslim artists. The study pays particular attention to the dominant themes in the early Islamic art among nomadic communities commonly referred to as the Bedouins. An examination of various works created prior to the modern time reveals that the themes of deserts, dependence on animals and spirituality feature prominently in the artworks. The dominance of such themes in the artworks give so much information about the lifestyle of the nomadic Islamic community, but contemporary artists can gain vital information that may help them to improve their current developments while maintaining the touch with past productions.
Describing the Islamic Nomadic Communities
The nomadic communities in the prehistoric Islamic communities were commonly referred to as the Bedouins. The nomadic community originally inhabited the arid regions of the Levant, Iraq, Peninsula, and North Africa. The word (Bedouin) emanated from the Arabic word, badawi, which refers to a person living in the desert. The Bedouin occupy the territories stretching from the extensive deserts of North Africa to the Middle East where there is so much rocky sand. The population, since the ancient times, is separated into various clans as well as tribes, and shares a similar trait of keeping large herds of goats and camels. The common traditions of the Bedouin include herding, oral poetry and raiding, where specific groups invaded other settlements or tribes. Nonetheless, the Bedouin also focused on artistic expressions and based on most of their works, the themes of nomadism, such as dependence on animals, trade, and hospitality were common, and these were mostly influenced by the cultural practice and ideologies.
The Presentation of Deserts
A recurrent theme in the art produced by the Bedouin gave the impression of a topography surrounded by deserts because a large group of this population inhabited arid places. Despite the fertility in some places in the Arabic world, most of the cultural centers are not very far from hot deserts, which make the theme a recurrent aspect in most of the artworks by Bedouin. Themes of trade are also common in the artworks developed by the Bedouin because trade was a fundamental aspect of the community before the modern period. Aden and Mari’b, for example, were essential trade points that connected the East and the West, and it was common to find so many people clustered at these places on regular basis (Sabini 24). The Southern Arab cities supplied materials such as silk, spices, and gold from Indian traders and the Far East by using oceans before using the Bedouins to transport the trade commodities mainly using camels. Such trading activities were also rampant in Central Asia and Northern parts of Africa.
The desert environment played a vital function in the development of artistic works. A good example is the Bedouin Man (6791) gives an impression of how the nomadic community dresses to fit into the desert environment. Bedouins do not only inhabit Egypt nor do they restrict their activities to any specific place in Egypt. A common feature about the Bedouins, however, is they inhabit the arid regions of the entire Middle East even before the modern times covering as wide as the Western and Eastern Deserts and a substantial population of the group reside in Sinai. Though how the Bedouins dress depend on the weather condition and on individual desire, the community has chiefly dressed for the desert even before the modern time. The desert requires the Bedouins to put on flowing and layered clothing to absorb the sun’s rays while allowing a cooling effect. The cloth around the neck and the head helps to suppress loss of moisture that can subject a person to unbearable heat stroke and to protect the face from the sand that is unbearable in the sand. Mainly, the occupation of the desert dwellers is riding camel, with the animal being the most suitable because of its capacity to withhold the harsh conditions of a desert. The painting, The Bedouin Man, gives a clear impression of how the Bedouins’ way of dressing, especially in the way the artist chooses to use blue color to show the clothing (Saatchi Art). The camel in the background shows the need to use animals that can stand the harsh conditions of the desert, while the brown background gives an impression of the desert environment.
The Theme of Dependence on Animals
The presentation of animals or dependence on animals is a common theme in the nomadic Islamic communities. Sabini (24) informs that the Bedouin highly depended on animals such as camels, sheep and goats that could stand the adverse weather condition to survive in the dry areas. The group depends on the animals for transportation purposes, food and uses their hides to create shelter. The nomadic lifestyle where the Arabic groups moves from one region to the other in quest for food illustrates how the Bedouins value animals.
Man with Saluki (Ca 1555) is an example of a miniature painting that illustrates how the nomadic group values animals. The painting on a cotton fabric shows a man dressed in Arabic attire looking at a dog that faces the opposite direction but is looking at the man who is also headed to the opposite direction. The 18.3 × 13.8 cm miniature is a clear indication of the relationship between man and animals in the ancient Islamic world, especially among the Bedouins. The man and the dog in the image look at each other as if they need the other for one reason or the other, which convinces the viewers the Bedouins had great relationship with their animals. The eminent theme in the painting is that the nomadic Islamic group highly depended on various animals for their daily activities.
Franz Eisenhut’s 1700s Caravan Outside a Mosque painting is another pre-modern artwork depicting the relationship the Bedouins had with the animals. In addition to giving an impression of the desert environment of the nomadic community, the painting shows a group of nomadic Muslims carrying loads on camels while sheep and goats lead the way (Fine Art America). Some people are also riding on camels, which illustrates how the community relied on the animals for movement purposes. The camels carrying the loads show that the community used the animals to transport heavy loads from one point to the other as they searched for pasture, while the sheep and goats show that the Bedouins depend on the animals for food and economic revenue. Coincidently, the Caravan Outside a Mosque gives an impression of the trading practices that took place in some of the Arabic centers that had developed before the modern time (Fine Art America). The painting shows some people seated beside a huge building that appears to be the mosque as if engaging in trading activities with each other in a bid to earn some income.
Caravan outside a Mosque
Another prominent theme that emanates in the artworks developed by the nomadic Islamic communities is spiritual values. Aga-Oglu (176) makes it clear that nomadism does not only revolve around survival, but also fosters a strong feeling of spirituality. Aga-Oglu (177) further informs that many Muslims in the nomadic community perceive their way of life as being elevated than that of urban farmers and residents because group feels more autonomous, braver, and defensive while living in an environment where they are free and have so much to exploit. In addition, the nomads are more attached to their family members and have a sense of loyalty, which significantly impact on their spirituality as well as on their survival in the environments where ordinary people might find to be less conducive (Ahmed 1101). The high spiritual values among the Bedouins influence their level of hospitality, which the community believes to be part its spiritual values.
Leon Belly’s 1790s Pilgrims Going to Mecca gives a similar impression as Caravan outside a Mosque in the way it shows how the Bedouins rely on camels to move across the desert. The painting shows so many men, women, and children walking across the desert, and as the title suggests, they are pilgrims heading to Mecca (Fine Art America). The artwork shows how the community depended on camels prior to the modern times, and how the animals were the most effective to move them across the sandy, hot deserts.
Spiritual Theme
Assessing The Generous Deed of the Tribal Chief illustrates how the concept of hospitality serves an essential aspect of the Islam’s ethical system. The art shows several men who appears to give a visitor a special place to rest. The artwork reiterates the importance of observing the Islamic religious call to be kind and helpful to others, showing how such helpful people will get a reward in heaven. Even though the painting does not give a clear illustration of its spiritual nature, its meaning illustrates how the Islam relates helping others with Islamic teachings to help each other and to consider each other as brothers. The image shows how as it is not only a religious group but also a form of life Islam has promoted the creation of formation of a unique culture with its distinctive artistic language that is demonstrated in artworks and architecture across the Muslim world. The nomadic art that developed spiritual themes that have ethical lessons kept the Bedouins together before the presence of the Divine and shapes the mind and behaviors of individuals who wanted to be part of the Sanctum-Sanctorum of Divine that every Muslim desires to reach. The Generous Deed of the Tribal Chief demonstrates the unique kindness and tolerance of Prophet Muhammad as well as some of the chiefs who had imperative spiritual influence. The creator of the artwork seems to create the impression that people should not be hostile to strangers or the less fortunate in the society, but should rather help them to receive the blessings or satisfaction that comes with being hospitable. The Generous Deed of the Tribal Chief gives a similar spiritual perception as Pilgrims Going to Mecca in the way the latter shows believers going to Mecca, which Muslims believe to be a holy site of worship (Fine Art America). The painting, therefore, serves a fundamental role in reinstating the spiritual nature of the nomadic group.
The spiritual art created by the Bedouins is a trend that is still evident in the modern times, which shows great connection between the past artworks and contemporary works. However, it is essential to understand that other than the ever-available calligraphic inscriptions; particularly religious artwork is actually not as prominent in Islamic art as it in the medieval art in the Western world, with the exception of prominent Islamic architectures where buildings such as mosques and other major buildings are still commonly visible. The modern figurative paintings may cover religious aspects, but typically in more secular scenarios and places such as poetry books and palaces. In addition, the manuscript and calligraphy used in the Quran is an essential component, but other religious artworks such as woodwork, tiles, lamps, carpets and glass often depict same motifs and styles as modern secular arts, but with the religious inscriptions more visible. One can argue, therefore, that the present Islamic art with religious motifs and themes are a buildup of what early communities such as the Bedouins started, and is set to change with time. The great connection between artworks developed by the Bedouins and the modern artists displaying religious themes implies that modern artists should spend considerable time assessing the nature of the past productions and how they impact on contemporary works. Modern artists should learn from the weaknesses and strengths of the past works and make necessary adjustments that would not extinguish past memories but still blend with the current situation and needs.
Conclusion
The prominent themes in the artworks by the Bedouins include dependence on animals, trading practices and spirituality which influence hospitality. The themes emanating in the artworks developed by the Bedouins shows how the group led their life, especially with regard to the practices and ideologies. The presentations by the Bedouins should pass vital lessons to modern artists who learn how art has changed, and use the skills and competence they have acquired to develop more appealing works while still linking the audience to historical creations.
Works Cited
Aga-Oglu, Mehmet. “Remarks on the character of Islamic art.” The Art Bulletin, vol. 36, no. 3,
1954, pp. 175-202.
Fine Art America. “Bedouins Paintings.” Fine Art America, 2020.
Saatchi Art. “Bedouin Man 6791 Paining.” Saatchi Art, 2020.
Sabini, John. “The world of Islam: Its Nomads, its Cities.” Saudi Aramco World, vol. 27,
no.3, 1976, pp. 24-7.
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