ভূমিকা

Shiavault - a Vault of Shia Islamic Books A History of Muslim Philosophy Volume 2, Book 5 Chapter 59: Minor Arts A Anyone embarking on the study of Muslim arts would, during the course of his investigation and research, have to answer three fundamental questions satisfactorily. (1) What is the reason for the surprising unity of style which we observe in works of art throughout the Muslim countries during a certain period?

(2) Why is it that a period of almost hectic artistic activity is followed, sometimes almost immediately, by qualitative decline and technical decadence? (3) What is the reason for the remarkable success achieved by the Muslims in the domain of minor arts? The answers to the first two questions rest on an appreciation of the relation­ship which existed between the artists of the Muslim countries and the rulers thereof.

The development of Muslim arts-major or minor-is related inalienably to the rise and fall of powerful dynasties of rulers. Every dynasty invited to its Court craftsmen and artists from all over the land under its sway. If an invitation was not enough, force was sometimes employed to compel their appearance. Under the Umayyads, the 'Abbasids, and the Fatimids, therefore, artists flocked to Damascus, Baghdad, and Cairo which alternately became centers of artistic activity, learning, and letters.

Artistic traditions were developed and techniques perfected under the patronage of the rulers and the aristocrats. The middle class, obviously, had no say in the matter, and the artists kept themselves aloof from the masses.

As a particular dynasty fell from power and another emerged as its successor all the artists flocked to the new center of patronage, and overnight, as it were, the new dynasty “at one stroke inherited an artistic tradition that had been matured elsewhere.” The transport of works of art themselves over great distances also helped to spread style and technique. This answers more or less the first question. The second question is, per­haps, easier to answer.

Since the development of arts was linked primarily with the fortunes of ruling dynasties, as soon as political conditions were disturbed at their center of activity, the artists deserted it and proceeded to other centers to put their fortunes to the stake.