A Celebration of 1,300 years of Islamic Art
A treasure trove of rare objects, paintings, manuscripts and carpets from across the Middle East, India and Europe comprise the spring edition of Christie’s Art of the Islamic and Indian Worlds.
Immerse yourself in the shimmering silk and metal-thread details, be captivated by a magnificent canvas, splendid durbar jewellery of yore—elegantly curated vignettes combining the beauty birthed from the hands and exquisite craftsmanship. A treasure trove of rare objects, paintings, manuscripts and carpets from across the Middle East, India and Europe comprise the spring edition of Christie’s Art of the Islamic and Indian Worlds.
The ‘Tastemakers’ series at the London Auction House Christie’s—this year featuring Indian art and crafts connoisseur Anita Lal—offers a glimpse into what inspires and animates the people whose artistic inspirations influence the world of design. Lal is Creative Director and Founder of Good Earth—an Indian design brand set up in 1996—and a ceramics lover and collector to boot. Previous ‘Tastemakers’ at Christie’s have included the likes of acclaimed interior architect André Fu, businesswoman and heiress Aerin Lauder, and fashion designer Peter Copping, whom Oscar de la Renta handpicked as his successor in 2014. With Lal, this is the first time that Christie’s have worked in partnership with a Tastemaker based in India.
Anita Lal
The pieces chosen for the exhibition Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets—including manuscripts, paintings, ceramics, metal-work, and carpets from the Islamic world from the mid-7th to the 20th century—showcase the confluence of historic artifacts and contemporary design.
“Contemporary collections and design ethos in Indian art today date back to the Indian and Islamic worlds which keep the legacy of Indian heritage alive and present today,” says Behnaz Atighi Moghaddam, a specialist of Islamic and Indian Art. “It also recognises the vitally important contribution that Indian and Islamic works of art over the centuries have made to today’s artists and craftsmanship.”
What is Islamic Art and how does it merge with the Indian art scene? The work here spans 1,300 years of history and encapsulates an incredible geographic diversity. Simply put, Islamic Art describes the arts produced in the lands where Islam was the dominant religion or the religion of those who ruled. Unlike the terms Christian, Jewish, and Buddhist art, Islamic art is not used merely to describe religious art or architecture.
One of the most famous monuments of Islamic Art is, of course, the famous Taj Mahal. Because Mughals dominated large areas of modern-day India for centuries, India has a vast range of Islamic art and architecture. Islamic art and architecture was—and still is—created through a synthesis of local traditions and global ideas, making its appeal contemporary.
There are a number of themes that link the arts of the Islamic World together. Calligraphy, poetry, geometric and vegetative motifs, minarets, arcs, figurative paintings, mosaics, and sculpture and more. Carpets, ceramics, metalwork, and books also form an important part of Islamic Art.
In the collection at Christie’s, there is a Picchvai—a traditional Indian art having its origins in Rajasthan. Picchvai or Pichwai art features intricate painting portraying Lord Krishna (known in Rajasthan as Sreenath ji). Dating back to the 19th century, the painting from Lal’s collection is done on fabric using dark rich hues depicting Lord Krishna and musicians. The large painted textile shows the splendour of the forest—a scene of great joy and celebration during the monsoon, complete with music and dancing peacocks under a rainy cloud-lined sky.
Carrying forward the theme is a Tabriz carpet from North West Persia, circa 1890 boasting Mughal design. ‘Van Vaibhav’, which also roughly translates to ‘splendour of the forest’, is the leitmotif here. Blossoming trees with birds and animals is a recurring theme in the art of Persia and the same has been interpreted exquisitely in this carpet. It brings an uplifting feel of being one with nature.
The large painted textile shows the splendour of the forest—a scene of great joy and celebration during the monsoon, complete with music and dancing peacocks under a rainy cloud-lined sky.
Next is an oil on canvas—a still-life with fruit and a palace garden—again boasting nature’s beauty. This painting comes from Qajar, Iran, and dates back to the first-half of the 19th century. The pomegranate is an integral motif in Eastern cultures symbolising fertility and abundance. This painting brings to mind the Bosporus and lands around it. Featuring deep ruby pomegranates in playful arrangements across bowls and plates, it evokes gardens and promenades in a dreamlike world of wonder.
True to the Islamic Art of yore, where metalwork and intricate jewellery design ruled, there is also a Mamluk silver-inlaid brass bowl that conveys beauty and strength enhanced with fine craftsmanship that balances the overall design with the form of the bowl in perfection makes it way to the exhibition from the late 13th or early 14th century. The provenance goes back to either Egypt or Syria, cementing the geographic vastness of Islamic Art.
In fact, metalwork and jewellery design are artworks that Western scholars have traditionally valued less. For example, Christie’s showcases the Bazuband of Maharani Jindan Kaur, wife of Ranjit Singh—whose life has been immortalised in author Chitra Divakaruni’s The Last Queen (2021). It is a diamond and emerald-set enameled gold piece, originally from Punjab, and like the still-life painting from Iran, goes back to the first-half of the 19th century. Bazubands were originally worn by men on their upper biceps and later delicate versions were created for women to tie on their forearm. This exquisite Bazuband created in the Mughal style is the perfect finishing touch for an ethereal gauzy lehenga-choli, sari-blouse, or for a special occasion.
The very words ‘Art of the Islamic and Indian Worlds’ conjures up magical and charming images of opulent and sumptuous carpets and rugs; a rich cultural past, objects with visual and emotional appeal, handmade ceramic vases, grand sculpture, preserved antiques—and more. Islamic design vocabulary has been a source of inspiration for many. They boast an incredible artisanal heritage, especially in regards to art in India dating back to the time of the Mughals.
At one time, what was deemed as the ‘Italian Renaissance’ described art that flourished in various regions (Florence, Venice and other city-states). Similarly, Islamic Art too has influenced various facets of art in India. These aren’t different streams, but a glorious merger, putting forth a unique, complete picture.
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Medha Dutta Yadav is a Delhi-based journalist and literary critic. She writes on art and culture. You can find her on Twitter: @primidutt on Instagram: @primidutt.
