Authors Bio
Tamanna Siddiquee is an Assistant Professor in the Department of Islamic History and Culture at North Bengal International University, Rajshahi. She earned her Bachelor’s degree (B.A) and Master’s degree (MA) in Islamic History and Culture from University of Rajshahi, achieving First position in First class in both degrees. She is currently pursuing her PhD as a Research Fellow at Rajshahi University, where she is engaged in advanced research in History and Cultural Studies. She has been actively engaged in Teaching, Research and Academic Writing which employs Interdisciplinary Approaches, Cultural Heritage, Educational History, Curriculum Studies, Contemporary World, Visual Arts and Globalization. As an educator she is committed to student-centered learning and the development of research skills among students.
Abstract
Among the archaeological sources of history such as architecture, coins, stone inscriptions, calligraphy, and painting, the most objective archaeological material through which it is possible to restore the geographical environment, events, and the history of the people is painting. The main subjects of Muslim art during the Muslim era were calligraphy, stone inscriptions, painting, pottery decoration, and religious and secular architectural techniques. Although the excellence of painting was achieved by artists during the Muslim rule, ignoring the opposition of Islamic Sharia, subsequent Muslim rulers, be it the Indian subcontinent or the birthplace of Islam, the Middle East, patronized natural and scenic scenes, portraiture everywhere, leaving behind evidence of the bright tradition of Islamic pride and the splendor of the rulers of that time. The powerful rulers patronized and protected painting, as a result of which the practice of painting in the dominant monarchy gradually spread and, in the initial stage, inanimate portraits, vine leaves, geometric designs and calligraphy were presented as wall paintings without violating the precepts of Sharia. Muslim rulers employed non-Muslim painters to decorate palaces and other buildings, as a result of which the characteristics of previous civilizations were also reflected in Islamic painting. The article presents the development of Muslim painting, foreign influences on Islamic painting, the characteristics of Islamic painting, and finally, it extensively presents the opinions of experts on whether painting is prohibited from a religious perspective, the extent to which restrictions have been imposed on the presented paintings, how painting has been unhindered patronized despite religious obstacles, that is, whether the practice of painting is legal or illegal, and to what extent it can be relaxed or not, considering the circumstances.
Keywords
Art, Civilization, Painting, Portrait, Manuscript.
Article
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