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Medieval Muslim artists found various ways to represent especially sensitive figures such as Muhammad. He is sometimes shown with a fiery halo hiding his face, head, or whole body, and from about 1500 is often shown with a veiled face. [38] Members of his immediate family and other prophets may be treated in the same way.
Islamic countries have developed modern and contemporary art, with very vigorous art scenes, but the degree to which these should be grouped in a special category as "Islamic art" is questionable, although many artists deal with Islam-related themes, and use traditional elements such as calligraphy.
The Quran, the Islamic holy book, does not explicitly prohibit the depiction of human figures; it merely condemns idolatry (e.g.: 5:92, 21:52). Interdictions of figurative representation are present in the Hadith, among a dozen of the hadith recorded during the latter part of the period when they were being written down.
The paintings in The Holy Sinner: Sadequain, represent various themes such as man's struggle against natural odds, mother and child, still life figures from the early life of the artist and many others. The centerpiece of the book is its treatment of the famous mural by Sadequain commissioned for the State Bank of Pakistan.
Under the Mughal empire, Punjabi artists at the time became trained in the Mughal style of painting, resulting in their work being highly influenced by the Mughal style of art. [30] The early portraits of the Sikh Gurus and the elements in them, like their outfits, turbans, and poses, looked similar to Mughal nobles and princes.
Islamic art was widely imported and admired by European elites during the Middle Ages. [5] There was an early formative stage from 600-900 and the development of regional styles from 900 onwards. Early Islamic art used mosaic artists and sculptors trained in the Byzantine and Coptic traditions. [6]
For a long time, Islamic art from outside the Persianate world was considered aniconic in academic research. Known pictures including human figures from the mileu of Muslim courts have been described as an "aberration" by the early 20th-century writer Sir Thomas Arnold (d. 1930).
The film is narrated by Susan Sarandon, [10] informs its audience about Islamic art, from ornamented palaces and mosques to ceramics, carved boxes, paintings and metal work. It compares the artistic heritages of the West and East. The film also examines Islamic calligraphy and the use of water as an artform. [9]