education guide - the grandeur of islamic art in image and object exhibition

Islamic Art Islamic Art Islamic Art Islamic Art Image and ObjectImage and ObjectImage and ObjectImage and Object

A Resource Guide for K-12 Educators

Based on the exhibition on view

February 5 - May 31, 2007

From the Godwin-Ternbach Museum @ Queens College

Bowl decorated with blue and white trellis design, inhabited by birds, fish, and plants, (Seljuk Period, Iran, 12th - 13th c. AD),

scalloped rim “Rhagesware” terracotta, 8 3/4” diameter x 4” height.

inininin

Copyright © 2006 by The Godwin-Ternbach Museum Queens College, City University of New York.

Editors and Project Coordinators: Dr. Rikki Asher and Dr. Amy Winter

Layout & Design: Kristina Seekamp

This guide was made possible through generous support of Queens College by the Office of the President Dr.

Penny Hammerich, Dean of Education, Dr. Eleanor Armour-Thomas, Chair, Secondary Education and Youth

Services.

Welcome from the DirectorWelcome from the DirectorWelcome from the DirectorWelcome from the Director

It is a great pleasure for the Godwin-Ternbach Museum to develop its educational

program in collaboration with Dr. Rikki Asher, her Queens College Art Education students, and

the Lincoln Center Institute for Higher Education Collaborative for Aesthetic Education. This

curriculum guide for teachers and students was produced for the special exhibition “The

Grandeur of Islamic Art in Image and Object,” which displays stunning fine art photographs of

the world-renowned Khalili Collection of Islamic Art, and objects from the Godwin-Ternbach

Museum and other New York collections.” Developed in an interdisciplinary fashion, and with

sensitivity to interfaith issues, the guide also seeks to promote intercultural understanding,

inquiry, and exchange.

The guide focuses on Islamic art objects in the Museum’s collection, and has been designed

in the classic triadic museum learning structure—Pre-Museum In-Class Activities; Museum

Visit; and Post-Museum In-Class Activities—to optimize the Museum and in-class experience. It

offers an interdisciplinary and multi-modal methodology that encourages cultural and aesthetic

appreciation and knowledge, and creativity and self-awareness that go far beyond specific

cultural or historical boundaries. Materials in the guide include background on the history of

Islamic art and civilizations; texts on the cultural, historical, and symbolic significance of chosen

objects; reproductions of the objects; and In-Class Post-Museum Activities. These materials were

designed to allow teachers and students to explore the art in the exhibition and their own

intellectual, imaginative and creative powers; and to create a memorable and meaningful bridge

between the Museum, educators, and students.

The texts and activities were the direct result of an exciting and ongoing partnership the

Museum has with Dr. Asher and her graduate students. Some of the methodologies and strategies

of questioning found in the In-Class Museum Activity exercises were utilized by the team itself

and based on the LCI aesthetic education approach to developing a line of inquiry, with

marvelous results. From there, Dr. Asher and her students applied learning concepts and theory

utilized in their “Visual Thinking” seminar in their writing of curricula. As such, practice and

theory have joined in an empathetic and practical union that enhances aesthetic perception and

appreciation at the same time that it develops intellectual and artistic curiosity and applied skills.

Special thanks are owed to a number of people for their help in organization of this project,

particularly Nasser D. Khalili, Queens College alumnus, for making the resources of his

collection available to us; Mark Rosenblum, Professor, Dept. of History and Director of the

Michael Harrington Center for his insightful and tireless efforts in realizing the exhibition and

arranging all public programs; Lisa Brody, Asst. Professor, Department of Art, for choosing and

interpreting the objects from the GTM collection; the Lincoln Center Institute for acting as

liaison and mentor to teachers in their visits to the Museum; and of course Dr. Asher and her

students for having undertaken this project. We are also indebted to the Queens College

Department of Education, and Queens College itself, for the opportunity to link the Museum’s

educational program with such wonderful efforts. Finally, we are always very grateful for the

support of the New York City Department of Cultural Affairs Public Service program and the

Friends of the Godwin-Ternbach Museum.

We know you will find this manual a model for use with this special exhibition of Islamic

art and for future involvement with the Museum’s collection.

Amy Winter

Director and Curator

Table of ContentsTable of ContentsTable of ContentsTable of Contents

I. How To Use These Materials…………………………………………....................1

• Student Goals

• Procedures for Teachers

II. Introduction……………………………………………………………………..2 - 4

• Exploring Objects with Students

• Visual Thinking Questioning Strategies

III. Summary & History of Islam and Islamic Art………………………………..5 - 9

• What is Islam?

� The Five Pillars of Islam

• What is Islamic Art?

� Calligraphy

� Pattern & Decoration

� Figural Imagery

� Animal Symbolism

• Islamic Historical Timeline

• Map

IV. Visual Materials……………………………………………………………....10 - 16

• Godwin-Ternbach Museum Collection

• Images of Selected Works, each with corresponding:

� Discussion Questions

� Making Connections

V. Glossary……………………………………………………………………….17 - 19

VI. Activities………………………………………………………………………20 - 42

• Overview

• Each Unit Plan includes three lessons:

� Pre-Museum Activities & Discussion

� Museum Activities & Discussion

� Post-Museum Activities & Discussion

VII. Additional Resources………………………………………………………..43 - 44

• Teacher Bibliography

• Student Bibliography

• Local Islamic Cultural Centers

• Websites

VIII. Evaluation……………………………………………………………………45 - 46

1

Islamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and Object I. How To Use These Materials

These materials were designed to provide

an understanding and appreciation of

Islamic art to K-12 students and their

teachers. The aim is to provide teachers

with a basic outline of information,

historical content, reference material, and

activities to be used in the classroom and at

the museum related to the theme of Islamic

art.

Teachers may adapt this information for

students of all grade levels, interests, and

abilities. Each activity is linked to the

Learning Standards for the Arts to enable

teachers to easily adapt them into

classroom curricula. It is important to keep

in mind that this Resource Guide offers

suggestions of ways students can learn

about these works of art, and that there is a

rich collection of visual and written

material to enrich art, social studies, and

language arts curricula that would lend

themselves to making interdisciplinary

connections. There are many ways these

ideas may be adapted and enhanced with

more information and other themes.

STUDENT GOALS

• To understand the artistic heritage of

Islam

• To discover major ideas visually

communicated through symbols and

artistic concepts in Islamic art

• To become comfortable talking about

works of art. As students practice

describing what they see through visual

thinking techniques, they will be able to

describe, analyze, and interpret Islamic

art. In expressing their interpretations

about the meaning of the art, they will

develop language and critical-thinking

skills

• To find imaginative connections

between works of art and students’ own

lives

• To use a variety of artistic materials,

techniques, and processes in projects

and activities related to the Islamic Art

exhibition on view in the Godwin-

Ternbach Museum at CUNY Queens

College

PROCEDURES FOR TEACHERS

Review the Table of Contents and look

through the materials to obtain the

background information needed to help

students describe, analyze, interpret, and

appreciate Islamic art.

In Section VII, Activities, there are lesson

plans designed for teachers. Each lesson

has three parts:

1. Pre-museum classroom art activity

2. Museum activity

3. Post-museum classroom art activity

Please remember that these materials were

designed for maximum flexibility.

Depending on the students and their grade

level, ability level, interests, time

availability, and resources, you may use all

or parts of the suggested discussions and

activities.

2

Islamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and Object II. Introduction

Exploring Objects with Students

Objects from the Godwin-Ternbach

Museum (GTM) collection have been

selected especially for use in this Resource

Guide for Educators to provide curriculum

development for elementary through

secondary school levels.

Each binder of visual and written materials

includes pre-museum visit lessons, utilizing

Student Activity Guides, as well as post-

museum projects. Access to images and

information about artworks chosen from the

GTM collection will train students in

creative interaction and thinking and the use

of a variety of art materials. Museum visits

will provide first-hand experience with the

objects themselves and form a strong link

with the museum as a vital resource for

learning. This dual approach will provide

greater expansion of access to the GTM

collection and ongoing collaboration

between the museum, the Queens College

Division of Education, and the New York

City public schools. It will serve to cultivate

active interest and aesthetic appreciation at

the same time as it develops skills and tools

for critical and visual thinking.

This project integrates the museum’s unique

teaching collection with art education

methodologies of Visual Thinking, a seminar

conducted by Dr. Rikki Asher in the fall

semester of 2006. Visits to the museum’s

storage area, to view and discuss objects

shown in Islamic Art in Image and Object,

were the starting point for this project.

Discussions with graduate students led by

Dr. Amy Winter (Director and Curator of

the GTM) and Dr. Asher focused on the

choice of charismatic objects, the

significance and content of the works

chosen, and the development of stimulating

themes and ideas for curricula. Based on

these choices and discussions, as well as the

seminar’s concepts of “visual thinking,”

graduate art education students designed

lessons and activities for their final projects,

in both visual and verbal form, for use

during the exhibition’s duration as well as in

conjunction with the GTM’s ongoing art

education outreach.

Each Resource Guide binder consists of

various materials designed to aid teachers in

lesson planning and classroom activities. It

features Student Activities which encourage

dynamic interaction with exhibition objects

and content, and stimulate creative thinking

and production of works of art. These

materials are intended to facilitate student

learning prior to and after visiting the

museum as well as at the museum itself,

engaging students while they move through

the exhibition. Learning and behavioral

objectives are carefully mapped out in all

pre-museum, museum, and post-museum

lessons.

In addition to the Student Activities (located

in Section VII) this Resource Guide also

provides additional educator resources

related to the exhibition Islamic Art in

Image and Object. Background materials in

Section II, Summary of Islamic Art, include

an historical overview of Islam and Islamic

art, a timeline, and a map of the regions

3

discussed. A Glossary, Teachers’

Bibliography, and Students’ Bibliography

are just a few of the many other resources

included. Of course, no Resource Guide to a

visual art exhibition would be complete

without Visual Materials, located in Section

IV. Each image is accompanied by a list of

suggested Discussion Questions and Making

Connections ideas designed to engage

students in conversation about the particular

work of art. These questions place the

works of art in context and help students to

create meaning by making connections

between the artworks and their own

experiences and building on their prior

knowledge.

4

Visual Thinking Questioning StrategiesVisual Thinking Questioning StrategiesVisual Thinking Questioning StrategiesVisual Thinking Questioning Strategies

HOW CAN STUDENTS:

1. Create meaning in their artwork by using symbols?

2. Translate thought into visual language through symbolism?

3. Make connections between form and function in a work of art?

4. Build understanding by placing a work of art in context?

DISCUSSING WORKS OF ART:

1. What is going on in this work of art? What makes you say that?

• What elements and principles of art can you identify and describe?

(for example: line, color, shape, pattern, texture)

• What materials, or media, were used to create this work of art?

What about the work of art makes you say that?

2. When and where were the works created? How can you tell? How do you

think life may have been different in this time and place compared to life today

in the United States?

3. What were the beliefs, ideas, and customs of the culture(s) that created this

artwork? How are they different or similar to your beliefs? Why do you think

this is?

4. Who or what is portrayed in the artwork? What makes you say that?

5. What symbols are used? What is a symbol? What about these shapes, lines,

or patterns makes you think that they are symbols? What do you think they

may have meant to the people who created them? What do they mean to you?

6. What else would you like to know about this work of art? How could you find

out this information?

5

Islamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and Object III. Summary and History of Islam & Islamic Art

What is Islam?

Islam is a religion which began in the Arabian Peninsula in the early 7th Century by the prophet

Muhammad. The essential creed of Islam is that there is one God, Allah, and that Muhammad (or

Mohammed) is his prophet. The revelations of Allah received by Muhammad are recorded in the

Koran (or Qu’ran), the basis of Islamic belief and the source of a complex legal and social system.

Islam shares a number of beliefs with Judaism and Christianity and accepts the Books of Moses and

the Gospels of Jesus as parts of the same scripture, expressed in the Koran. Inspired by

Muhammad’s teachings, Islam spread throughout the Middle East and within 100 years Muslims

conquered Byzantium (Syria, Palestine, Egypt and Jordan), Persia, (Iran), as well as parts of Asia,

Africa and Europe. As a result, Islamic art was created in many different geographic regions.

6

What is Islamic Art?

“Islamic art is perhaps the most accessible manifestation of a complex civilization that often seems

enigmatic to outsiders. Through its brilliant use of color and its superb balance between design and

form, Islamic art creates an immediate visual impact. Its strong aesthetic appeal transcends distances

in time and space, as well as differences in language, culture, and creed. Islamic art not only invites a

closer look but also beckons the viewer to learn more...

The term Islamic art may be confusing to some. It not only describes the art created specifically in

the service of Islam, but it also characterizes secular art produced in lands under Islamic rule or

influence, whatever the artist’s or the patron’s religious affiliation. The term suggests an art unified

in style and purpose, and indeed there are certain common features that distinguish the arts of all

Islamic lands. Although this is a highly dynamic art, which is often marked by strong regional

characteristics as well as by significant influences from other cultures, it retains an overall coherence

that is remarkable given its vast geographic and temporal boundaries. Of paramount concern to the

development of this singular art is Islam itself, which fostered the creation of a distinctive visual

culture with its own unique artistic language.”

Calligraphy “Calligraphy is the most important and pervasive element in Islamic art. It has always been

considered the noblest form of art because of its association with the Qur’an, the Muslim holy book,

which is written in Arabic. This preoccupation with beautiful writing extended to all arts—including

secular manuscripts; inscriptions on palaces; and those applied to metalwork, pottery, stone, glass,

wood, and textiles—and to non-Arabic-speaking peoples within the Islamic commonwealth whose

languages—such as Persian, Turkish, and Urdu—were written in the Arabic script.”

Pattern & Decoration

“Another characteristic of Islamic art is a preference for covering surfaces with patterns composed

of geometric or vegetal elements. Complex geometric designs, as well as intricate patterns of

vegetal ornament (such as the arabesque), create the impression of unending repetition, which is

believed by some to be an inducement to contemplate the infinite nature of God. This type of

nonrepresentational decoration may have been developed to such a high degree in Islamic art

because of the absence of figural imagery, at least within a religious context.”

Figural Imagery

“Contrary to a popular misconception, however, figural imagery is an important aspect of Islamic

art. Such images occur primarily in secular and especially courtly arts and appear in a wide variety

of media and in most periods and places in which Islam flourished. It is important to note,

nevertheless, that representational imagery is almost invariably restricted to a private context.

Figurative art is excluded from the decoration of religious monuments. This absence may be

attributed to an Islamic antipathy toward anything that might be mistaken for idols or idolatry, which

are explicitly forbidden by the Qur’an.”

– All above excerpts are from Islamic Art website, companion to the

Islamic galleries at the Los Angeles County Museum of Art

URL: http://www.lacma.org/islamic_art/intro.htm

7

Please Note: Headings and bolded terms added for this publication.

Animal Symbolism

Birds: The ultimate spiritual unity with nature

Pigeons: Carriers or messengers

Falcons: Hunters

Fish: Watch over a people with their eyes that never close; they can not be without water

Horses: Swift carriers of different cultures and traditions to the Islamic world; used in war and for

transportation; stand for power and freedom

Sheep/Goats: Sacrificial animals; used for food, milk, and wool (weaving clothes, rugs)

Locusts: Pests who destroy crops

Islamic Historical Timeline

c.570-632 Muhammad’s life

610 Muhammad preaches reform, monotheism in Arabia

622 Muhammad's Hijrah

630 Muhammad enters Mecca in triumph

632-661 Caliphate emerges as an institution

636-651 Muslims conquer Syria, Persia and Egypt

641 Muslim conquest of Egypt

651 Publication of the Qu'ran, sacred book of Islam

c.656 Split in Islam between Shiites and Sunnites

661-750 The Umayyads dynasty (Islamic kingdom)

661 Umayyads move Muslim capital from Medina to Damascus

700-1300 Height of Islamic commerce and industry

711 Muslims conquer Spain

717 Muslims unsuccessfully attack Constantinople

750-1258 The Abbasid dynasty (Islamic dynasty)

751 Battle at Talas River ends Islamic penetration of Central Asia

762 Abbasids move Muslim capital from Damascus to Baghdad

945 Buyids occupy Baghdad

950 Death of Al-Farabi

1000-1500 Muslim invasions of India

1037 Death of Avicenna

1055 Baghdad falls to the Seljuk Turks

8

1071 Seljuk Turks defeat Byzantines at Battle of Manzikert

1095-1099 First Crusade

1100-1500 Bantu, Arab, and Indian cultures blend in Swahili civilization along eastern coast

1120 Rubaiyat of Umar Khayyam

1187 Crusaders lose Jerusalem to Saladin

1206-1526 Turkish Sultanate at Delhi

1250 Poetry of Sadi

1258 Mongols destroy Baghdad and kill the last Abbasid Caliph

1281 Ottoman dynasty founded

1290-1320 Sultanate of Delhi

1291 Fall of last Christian outposts in the Holy Land

1300-1500 Mali empire in middle Niger region

1370 Persian poetry of Hafiz

1398 Sack of Delhi by Timur the Lame (Tamerlane)

1453 Ottomans take Constantinople; end of Hundred Years’ War

1453-1629 Ottoman and Safavid Empires

1493-1582 Expansion of Songhay

1500 Founding of Sikh religious sect

1501 Safavid dynasty of Iran established

1514 Ottomans defeat Safavids at Battle of Chaldiran

1516-1517 Ottomans take Syria, Egypt and Arabia

1520 Suleiman becomes ruler of the Ottoman empire

1526 Mughal dynasty established in India

1588-1629 Safavid shah Abbas revived the glory of ancient Persia.

1732 End of Safavid dynasty

1857 Direct British rule established in India; end of Mughal dynasty

1924 Turkish republic replaces Ottoman dynasty

9

Map

India

Pakistan

Afghanistan

Arabian Sea

Arabia

Iran

Turkey

Iraq

Baghdad

Black Sea

Mediterranean Sea

Egypt

Sudan

Tripoli

Medina

Mecca

Red

Sea

Spain

Atlantic Ocean

Palestine

Damascus

Jerusalem

Constantinople

Samarkand

Bukhara

Cairo

Caspian Sea

Nile River

Persia

Aral

Sea

Isfahan

Tehran Algeria

Africa

Persian

Gulf

Cordoba

Morocco

Greece

Hungary

Tigres River

Euphrates River

10

Islamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and Object IV. Visual Materials

The following are select images of works of art on view in the exhibition

Islamic Art in Image and Object. They are from The Godwin-Ternbach Museum

Collection of Islamic Art & Other Private Collections.

Plate 1

Pitcher with melon shaped body, beaked spout, decorated with standing female figure

and dog and geometric motifs (Seljuk period, Iran, 12th c. AD), terracotta, 5 1/4”

diameter x 8 ½” h. 57.71

Plate 2

Bowl decorated with blue and white trellis design, inhabited by birds, fish and plants;

scalloped rim (Seljuk period, Iran, 12th – 13

th c. AD), “rhagesware” terracotta, 8 ¾”

diameter x 4” h. 58.32

Plate 3

Mosque Lamp (Copy of an early 14th c. lamp) French export, 19

th c., glass with enamel

and gold leaf, 11 ¾” h. 62.22

Plate 4

Footed cup with floral motifs (Persian, Iran, 17th – 19

th c. AD), gold and polychrome

enamel on silver, 4 ¼” h. 93.3.2

Plate 5

Prayer Rug, (Turkey, later 19th – early 20

th c.), wool, 68” h x 48” w. 58.39

Plate 6

Tray with inscription, (Seljuk period, Iran, 12th-13

th c. AD), bronze, diameter 24”. 57.48

11

Plate 1

Pitcher with melon shaped body, beaked

spout, decorated with standing female

figure and dog and geometric motifs (Seljuk

period, Iran, 12th c. AD), terracotta, 5 1/4”

diameter x 8 ½” h. 57.71

Discussion Questions:

What is the form of this vessel?

What do you think its function may have

been?

What about the form makes you say that?

What medium was used to create this artwork?

What types of decoration do you notice?

How did the artist make the decoration

emphasize the form of the pitcher?

Can you find the female figure and dog?

Look carefully at the female figure’s clothing.

How does her costume help the viewer to understand the time when this artwork was

created, the place where it was created, and

the culture of the people that created it?

12

Plate 2

Bowl decorated with blue and white

trellis design, inhabited by birds, fish

and plants; scalloped rim (Seljuk

period, Iran, 12th – 13

th c. AD),

“rhagesware” terracotta, 8 ¾”

diameter x 4” h. 58.32


What patterns do you see on this bowl?

Look at the decorations on the inside of

the bowl. How are the images arranged

around the center of the bowl?

Making Connections:

How is the form of this bowl similar to

the pitcher (plate 1)? How is it

different?

How is the decoration similar and

different?

What else is similar about the context

(Who? When? Where?) in which both

the pitcher and bowl were created? Above: side view; top view

13

Plate 3

Mosque Lamp (Copy of an early 14th c. lamp)

French export, 19th c., glass with enamel and

gold leaf, 11 ¾” h. 62.22


What do you think this work of art was used

for? What makes you say that?

Look carefully at the decorations on the

surface of this object. Can you find any

script, or writing?

What different materials, or media, were used

to create this lamp? If you could touch it,

how do you think it would feel (texture,

weight)? Why?

Notice this lamp is a “copy” of an early 14th c.

lamp. What do you think this means? Is this

the original work of art?

Making Connections:

Compare this lamp to lamps we use in the United States in 2007.

What is different? What is the same? Why do you think this is?

Use your imagination. What do you think a lamp made 500 years from now in the future

might look like? What makes you say that?

14

Plate 4

Footed cup with floral motifs (Persian, Iran, 17th –

19th c. AD), gold and polychrome enamel on

silver, 4 ¼” h. 93.3.2


What do you notice about the scale, or size, of

this object? What do you think it was used for?

Why?

Compare the decorations on this cup to those on

the bowl (plate 2). How are they similar? How

are they different?

Making Connections:

Compare this cup to cups we use in the United

States in 2007. What is different? What is

similar?

15

Plate 5

Prayer Rug, (Turkey, later 19th – early 20

th c.),

wool, 68” h x 48” w. 58.39


What medium was used to create this object?

What texture do you think it would have if you

could touch it?

Notice that this rug consists of a border and a

central area. What types of shapes make up the

decorations in the border? Is there any

repetition? What kind of pattern is formed?

What colors are used?

How is the central area different than the

border? Look at the large shapes in the center.

Do you see any symmetry? Are there any

patterns? Are any of the same colors used?

How are they used differently?

Which area on the rug stands out the most?

Why? Is it different? How?

Making Connections:

This rug is a prayer rug and it had a religious function.

According to the second Pillar of Islam, Muslims are required to pray at five set times

during the day. (For more information on the Five Pillars of Islam, please see Section II,

Summary of Islamic Art.)

When a Muslim is unable to attend a mosque to pray, a prayer rug is necessary. It is

often a Muslim’s most treasured possession. Its decorations are both an expression of

religious beliefs as well as artistic creativity.

This prayer rug includes several symbols that relate to the Islamic religion. The arched

shape with symmetrical columns on either side in the center area of this rug is meant to

resemble and symbolize a mihrab. The curving vines in the border symbolize cycles of

life and immortality. The multiple patterns represent the multiplicity within the unity of

all existence.

Do you own a precious object? What about this object makes it precious to you? How

does it make you feel and why? Does it have a function? It is religious or secular?

(Please see Section V, Glossary, for definitions of all the bolded terms.)

16

Plate 6

Tray with inscription, (Seljuk period,

Iran, 12th-13

th c. AD), bronze, diameter

24”. 57.48


What medium was used to create this

object? How can you tell?

What do you think the function of this

object was? What about the form of

this object makes you say that?

How do you think the design was Detail of central inscription

created on this metal tray?

What makes you say that?

Making Connections:

Compare this tray to your own experience with seeing or using trays in 2007. What is

different about this tray compared to modern trays? What is similar?

17

Islamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and Object V. Glossary

Acrylic paint: Paints made from a

chemical substance rather than a natural

substance.

Anionic: Having no representation of

human or animal forms.

Arabic: Of, belonging to, or derived from

the language or literature of the Arabs.

Arab: A member of a Semitic people

inhabiting Arabia and other countries of the

Middle East; a member of any Arabic-

speaking people.

Calligraphy: Artistic handwriting.

Contrast: An effect created by placing

very different things (Ex: colors, textures,

shades) next to one another.

Cool colors: Blues, purples (blue-violet,

violet), and some greens (forest greens).

Decoration: The application of paint or

drawings to a surface to make it more

attractive.

Detail: A small, individual element of the

whole.

Diameter: A straight line or measurement

from one side of a circle to the other,

passing through the center

Earthenware: Pottery of baked or

hardened clay, especially any of the coarse,

opaque varieties.

Emphasis: Indicating an area, image, or

aspect of a painting that has special

importance or significance within the

whole. May be achieved through color,

contrast, scale, etc.

Enamel: Pre-fired glass that is ground to

powder, applied to metal surfaces, and re-fired

and fused to the surface.

Figural Representation: A picture or

illustration of human or animal forms.

Foot: The base of a vessel that supports it,

allowing it to stand upright. A foot is often

a rounded form.

Form: A three-dimensional shape. For

example: a circle is a shape, a sphere is a

form.

Functional art: A work of art that also

serves a purpose, or has a specific function.

An example is a sculptural bowl or vessel

used for serving food.

Geometric Art: Art which incorporates

geometric shapes, patterns, and designs.

Geometric: Resembling or employing the

simple rectangular or curved lines of

figures used in geometry.

Geometric Patterns: Simple forms, such as

the circle and the square, are combined, copied,

joined together and arranged in complex

combinations.

Geometry: The mathematical study of the

angles, shapes, lines, etc.

18

Hexagon: A flat shape with six sides

Incising: Cutting a design or picture into a

smooth surface using a sharp pointed tool to

produce a scratched line.

Inlaying: Cutting grooves into the metal

surface of an object and forcing gold, silver or

copper into the grooves. Enamel is also used

as an inlay.

Islam: (Arabic for “surrender” or

“submission.”) The religious faith based

on the words and religious system founded

by the prophet Muhammad and taught by

the Koran, the basic principle of which is

absolute submission to a unique and

personal god, Allah.

Islamic art: Art produced in regions whose

cultures practice the religion of Islam.

Islamic religion forbids the representations

of figures on religious artwork. Islamic

artwork is very ornamental, often

incorporating use of calligraphy, vegetal

patterns, and geometric patterns.

Line: A long narrow mark made on or in a

surface.

Lip: The rim of a vessel or bowl – can be a

scalloped edge, rounded, flat, etc

Mihrab: A niche in a mosque that

indicates the direction of Mecca. When

praying at the five set times during the day

according to the traditions of Islamic

religion, the faithful must face in the

direction of Mecca.

Monotheism: Belief in one god.

Mosque: A religious place of worship for

Muslims.

Motif: A recurring subject, theme, idea,

etc. in a literary, artistic, or musical work.

Muslim: A person who has surrendered to

God, or follows the religions or laws of

Islam.

Pattern: A regularly repeated arrangement

of shapes, colors, lines, etc.

Point of view: The angle at which you are

viewing a subject within a work of art, or a

work of art itself.

Pottery: Ceramic ware, especially

earthenware and stoneware. The art or

business of a potter; ceramics.

Prophet: Someone who passes on the will of

God.

Radial Symmetry: When an image repeats

or “radiates” out equally from a central

point.

Reflection Symmetry: A symmetrical

arrangement in which an image is reversed,

or “reflected” along an axis so that the new

figure is a mirror image of the original.

Religious Art: A work of art that has a

particular religious affiliation or meaning.

Repetition: When a certain shape, color, or

line repeats more than once.

Rhagesware: Pottery from the ancient

Persian city of Rhages.

Scale: The relative size of images or

objects when compared to one another.

Scalloped edge: The lip of the vessel

mimics the repeated form of a scallop.

There are rounded, half-moon forms along

the edge of the lip.

19

Sculpture: a three-dimensional work of art.

A sculpture may be made out of a variety

of materials such as clay, wood, metal,

stone, or found objects.

Secular Art: A work of art that does not

have any religious affiliation or meaning.

Seljuk Period: The Seljuk period in the

history of art is from the 11th century

(1000s) to the 13th century (1200s). Seljuk

art had a strong presence in Iran and

determined the future development of art in

Iran for centuries.

Semitic: Of, relating to, or constituting a

subgroup of the Afro-Asiatic language

group that includes Arabic, Hebrew,

Amharic, and Aramaic.

Shape: The outline of a figure or form.

May be geometric or organic (free-form).

Sketch: A drawing that you do quickly and

without a lot of details.

Stoneware: A hard, opaque, vitrified

ceramic ware.

Symbol: A picture, person, image, or

object that represents a particular quality,

idea, organization.

Symmetry: The presence of the same

shape(s) and/or form(s) on both sides of a

line or rotating equally around a point. (See

radial symmetry and reflection

symmetry.)

Terracotta: A type of clay that is

brownish-reddish in color after it is fired in

a kiln. (Other colors may be painted on top

to change its appearance if desired.)

Three-dimensional: describes an object or

work of art that is not flat. It possesses

height, width, and depth. It can be viewed

from multiple sides.

Two-dimensional: describes an object or

work of art such as a painting or a drawing

that exists on a flat surface. It has length

and width, but no depth. It is typically

viewed from only one side. For example,

you cannot view a painting from that back;

it is meant to be viewed from one side only.

Varnish: A clear liquid that is painted onto

a surface to seal, protect, and sometimes

give it a certain appearance (shiny, matte).

Vegetal (or Arabesque) Patterns: Patterns

formed by repeating naturalistic-looking

flowers or blossoms.

Vessel: A hollow receptacle used to contain

or hold liquids. Ex: bowl, pitcher, cup, etc.

Warm Colors: Reds, oranges, yellows,

some greens (lime greens), and some

purples (red-violet, magenta).

20

Islamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and Object VI. Activities

Each unit plan is presented as a series of three lessons:

1. Pre-museum In-Class activity and discussion

2. Museum activity and discussion

3. Post-museum In-Class activity and discussion

ANCIENT ISLAMIC METALWORK & ORNAMENTAL DESIGN, Grade Level: 3 …………..p.21-23

1. Drawing Four Ornamental Designs

2. “Eye Spy” Islamic Art

3. Create a Metal Plate

ISLAMIC ART INSIDE OUT: SYMMETRY AND SYMBOLISM, Grade Level: 4 – 6 ……..…. p.24-30

1. Form and Function: “Form” an original three-dimensional vessel

2. Putting a “Spin” on Symmetry: Create a radial symmetry spinning top

3. Symbolism Inside and Out: Personalize a Symbolic Self-Portrait Vessel

WHAT’S THE STORY? Grade Level: 5 – 7 ……………………………………………….p. 31-34

1. What is Islamic Art? How can symbols be used as metaphors of your life?

2. What’s the Story?

3. Functional Art: Bowl Design

A STUDY OF MOTIF, TRADITION, & CRAFT IN TURKISH RUGS, Grade Level: 6 - 8….....p.35-40

1. Think About It

2. Using Symmetry to Re-create a Turkish Rug

3. Making a Loom and Weaving and a Thank You Postcard

DISCOVERING THE CULTURE OF ISLAM THROUGH ISLAMIC ART, Grade Level: 6 – 8....p. 41-42

1. Identifying Islamic Art

2. Responding to Islamic Art

3. Creating an Heirloom Rug

As you look through these activities, use your imagination to expand on them!

They have been designed for a range of ages, abilities, and interests. The grade levels listed are

very flexible as the objectives of the lessons are easily adaptable for varying age levels.

The visual materials are suggestions. Feel free to supplement with others from the exhibition

or from other museums’ exhibitions.

21

Pre-Museum In-Class Activity:

Drawing Four Ornamental Designs

Time: 2 hours

Objectives for Students

• to describe the four basic components of

Islamic ornament: calligraphy, vegetal

patterns, geometric patterns and figural

representation;

• to recognize enameling, inlaying and incising;

• to compare and contrast four details of Islamic

metal objects.

Visual Materials

Images of Tray with inscription (Plate 6) and

Footed cup with floral motifs (Plate 4)

Do Now

Ask students: What shapes do you see? Make a

list of shapes you see in the classroom. Place a

star next to any shape that is repeated.

Class Discussion

Separate the class into four groups. Each group

has to examine one detailed image of an Islamic

metal object and describe the shapes and colors

they see. Each student will have a few minutes

to write down their individual observations and

then the group will compare and discuss. As a

class, discuss each object. For each object ask:

What do you see? What makes you say that? Do

you see shapes on the object? Identify the

shapes. Is there repetition? What choices did the

artist make in applying the pattern? How does

this change the piece? What kind of appearance

does the object have? (shiny, dull, smooth,

rough) What material do you think the objects

are made of? What makes you say that? How do

you think the pattern was drawn on the object?

(painted, carved) What makes you say that?

Why do you think patterns were drawn on the

objects? Ask students to support their ideas and

the class will work together to construct

meanings.

Elicit the kinds of patterns found on the objects

and the medium of the objects. Categorize on

the blackboard the four basic elements of

Islamic ornament: (1) calligraphy, (2) vegetal

patterns, (3) geometric patterns and (4) figural

representations. Distribute a hand-out on the

history of Islamic art and metalwork. Read the

sheet together and answer the following

questions: Why did many Islamic artists create

patterns without figures? Why did we look at

detailed images of objects made of metal?

Activities

Have students divide their drawing paper into

four equal parts. At the top of each section

students will write an element of Islamic

ornamental design: (1) calligraphy, (2) vegetal

patterns, (3) geometric patterns and (4) figural

representations. Students will make a simple

sketch illustrating each element.

Materials: Pencils, drawing paper, rulers.

Museum Activity:

“Eye Spy” Islamic Art

Time: 1 hour


• to observe a piece of Islamic art and

define its characteristics;

• to translate what they see by looking at a

piece of Islamic art and drawing it;

• to identify similar characteristics which

Islamic artworks have in common.

Visual Materials: Mosque Lamp (Plate 3)

Class Discussion

ANCIENT ISLAMIC METALWORK AND

ORNAMENTAL DESIGN

Andrew C. Lacoff and Beth L. Rosenberg

Grade Level: 3

22

Have the students form a circle around the

Mosque Lamp. Ask students the following

questions: What is the shape of this object?

What do you think the things that are stuck to

the sides were used for? Why do you think they

would put handles on the sides? What are lamps

used for? What is the difference between this

lamp and a lamp in your home? Would this

lamp be hung or would it sit on a table?

What material is the object made from? How

can you tell? How many different colors do you

see? What kind of decorations do you see?

Activities

Find one work of Islamic art containing an

ornamental design. Draw the object and design

you see. Based on your observations, find a

second piece of Islamic art that has a similar

pattern or shape and draw it. Have students

answer the following questions for both objects:

What material is the object made from? How

many different colors does the object have?

What kind of decorations do you see? What is

the size of the object? Have students consider

what characteristics on the second work of art

remind them of Islamic Art? Describe.

Materials: Drawing paper, pencils, pens.

Post-Museum In-Class Activity:

Create a Metal Plate

Time: 3 hours


• to recall patterns on objects at the

museum;

• to understand what a pattern is and how

one is made;

• to create a metal plate by inscribing and

painting.

Visual Materials

Image of Tray with inscription (Plate 6)

Do Now

Ask student to think about the trip to the

museum. Give students a few minutes to write

down their answers to the following: What art

object did you like the most? Why? What

patterns were on the object?

Class Discussion

Tell the class that they are going to make their

own Islamic style pattern. What shape would

you want to put in your pattern? What should

you do next to make your drawing look like a

pattern? (Shapes should overlap and repeat.)

Procedure and Activities

Have students fold a sheet of drawing paper in half.

Draw two different patterns, one on each half of the

paper. (To make a pattern, draw one shape and

repeat it. Try overlapping.) Students may use a

template or a stencil. Have students choose

whichever pattern they like best. Demonstrate and

have students make their chosen pattern on a

circular piece of paper using a template. Cover a

plastic dinner plate with heavy duty aluminum foil,

place the circular paper on tope, and trace the

pattern with a stylus or dull pencil onto the foil.

You may use masking tape to keep the drawing

in place. When finished, lift up the paper and

do any additional inscribing to bring out the

details. Students will paint some of the details to

bring out the design and simulate enamel.

Materials Heavy duty aluminum foil, plastic dinner plates,

mechanical pencils with erasers (or stylus, dull

pencil), drawing paper, masking tape, scissors,

pencils, erasers, rulers, acrylic paint, paint brushes.

Learning Standards

1. Creating, Performing, & Participating in the

Arts

2. Knowing & Using Arts Materials

3. Responding to & Analyzing Works of Art

4. Understanding the Cultural Dimensions &

Contributions of the Arts

23

Post-Museum In-Class Activity: Create a Metal Plate

Step-by-Step Visual Directions

Step 1 Step 2

Step 3 Step 4

24

Pre-Museum Activity: Form and Function:

“Form” an original three-dimensional vessel

Time: Two to three 40-minute class periods


• Students will recognize three-dimensional art

and compare and contrast with two-

dimensional works of art.

• Students will be able to explain how three-

dimensional art forms can serve as functional

pieces of art.

• Students will construct their own three-

dimensional vessel.

Visual Materials

Image of Bowl (Plate 2) and map of Iran

Do Now

Ask students: How is a sculpture different from a

drawing or painting? Where have you seen

sculptures? Describe them. How can a sculpture

be a work of art and have a function?

Class Discussion

Examine the Bowl and show map. Explain that

this ceramic bowl is Islamic art and was created

about 1,000 years ago in Iran. Look at the map of

Iran as a class. What region of the world is Iran

in? How was life different when this bowl was

created than it is now? Look at the bowl. What

do you notice about the form of the bowl? What

do you think it was used for? Do you have a

functional sculpture like this in your home? What

is it used for? If you were to make your own

functional vessel, what would you make?

Procedure and Activities Place a filled balloon in an empty bowl so the

mouthpiece is on the bottom. Cut Pariscraft™

into strips about two inches wide and five inches

long. Fill a separate bowl with warm water. Dip

Pariscraft™ in warm water. Using your thumb

and pointer finger, gently smooth Pariscraft™ to

fill in the holes and evenly distribute the plaster.

Repeat, until the strips cover about halfway down

the balloon. Make sure to overlap the strips.

Repeat to create a second layer. Let dry. When

Pariscraft™ is completely dry, pop the balloon.

Next, cut cardstock or thin cardboard into strips

measuring one inch by about six inches. Using a

hot glue gun, form a ring shape by overlapping

the left end over the right. Smooth Pariscraft™

strips over the entire surface of the ring. Let dry.

When it is completely dry, hot glue the ring to the

bottom of the vessel, creating a foot. If handles

are desired, cut thin cardboard into narrow strips

and form into the letter “c” using masking tape.

Cover with Pariscraft™. When completely dry,

attach using hot glue. (See visual instructions.)

Materials

Pariscraft™, cardboard paper towel tubes,

cardstock/thin cardboard, scissors, masking tape,

bowls filled with warm water, empty bowls,

inflated balloons of various shapes/sizes, and a

hot glue gun and sticks.

Museum Activity: Putting a “Spin” on

Symmetry: Radial symmetry Spinning Top

Time: 1 hour


• Students will be able to identify the use of

radial symmetry and repetition in decorations

on Islamic art.

• Students will create an original radial

symmetry designs and spinning tops.

Visual Materials: Bowl (Plate 2)

Do Now

Look closely at the decoration on the Islamic

vessels in the exhibition. Islamic religion forbids

ISLAMIC ART INSIDE OUT:

SYMMETRY AND SYMBOLISM

Isabel Rosado, Kristina Seekamp, and

Elizabeth Vineis

Grade Level: 4 to 6, adaptable to grade 12

25

including people in artwork. Instead, what do you

see?

Class Discussion

Look at the decorations on the inside of the Bowl.

What different animals can students recognize? Is

there any repetition? Explain that this design is an

example of radial symmetry. We see examples of

radial symmetry every day. What other examples

can you name?


Have students choose one shape, line, or animal

from a different vessel in the exhibition and draw

it on a sheet of drawing paper. Carefully cut out

the shape to make a stencil. Distribute radial

symmetry templates, have students select one, and

trace their stencil once in each section of the

template. Once finished, add more repeating

shapes and lines. Add color. Make the design

spin! Cut the circular template out and glue it to

the bottom side of a small paper plate. Poke a

hole through the center and insert a dowel. Attach

on the underside with masking tape and spin!

Materials

Drawing paper with radial symmetry template,

pencils, scissors, small paper plate, glue, 5” dowel

(one end sharpened), and masking tape.


Symbolism Inside and Out:

Personalize a Symbolic Self-Portrait Vessel

Time: Three to four 40-minute class periods


• Students will be able to identify symbols used

in Islamic art and their meanings

• Students will be able to design symbols that

represent themselves

• Students will design and paint their own

radial symmetry symbolic design on their

functional vessels

Visual Materials

Image of Bowl (Plate 2) and handout with

additional Islamic vessels with symbolic elements

Do Now

Ask students: What did you see at the Museum?

Discuss the design, colors, shapes, and

significance of your favorite art object.

Class Discussion

What is a symbol? What type of symbols can you

find in Islamic art? Show transparencies of

different Islamic Art pieces and discuss. Are the

symbols abstract or realistic? What do you think

the abstract symbols mean? What makes you say

that? (The circle = eternity, the triangle =

harmony, the square = physical experience, the

hexagon = heaven, the star = the spread of Islam

from one point outward). If they are realistic (ex:

fish or bird) what do they mean? (See Animal

Symbolism in Section III.)


Have students imagine they are vessels. How

could they use symbolism to turn the vessels

created in the Pre-Museum Activity into a type of

self-portrait? Discuss point of view. Distribute

vessels from previous activity and have students

draw one side and one top view of their vessel.

Add in the surface decorations they will apply on

the inside and outside. Carefully consider form

and function, repetition and symmetry. Will they

use similar designs all over or different designs?

Why? When designing the inside, have students

follow one of the radial symmetry templates. Use

a strip of tag board as a flexible ruler to draw

lines, dividing the inside of the vessel into a radial

symmetry template. Translate the remaining

design. Students may use a stencil. Paint the

design using acrylic paints and paint markers for

small details. Once dry, apply a sealer if desired.

Have students present their self-portrait vessels to

the class and describe the symbols they used and

their meanings. (See visual instructions/hand out.)

Learning Standards: 1, 2, 3, 4

26


Form and F unction: “Form” an original three-dimensional vessel

Visual Directions

A B

A B

Form the main vessel

on top of a balloon.

Form the “foot” for the vessel

with a strip of thin cardboard or

tag board as seen below and

cover with PariscraftTM.

Hot glue the foot to the

bottom of the main vessel.

27

Radial Symmetry Templates

28

Brainstorming Ideas

Think about what makes you unique:

● Personality ● Interests ● Culture ● Experiences

If you had to choose an animal to represent you, what would it be? Why?

What colors represent you? Why?

Think about the outside and inside of your vessel. Imagine you are a vessel. What would you use to

represent the “outside” you? What about the “inside” you? Are they different? How?

Sketch two symbols (one “outside” & one “inside”) that represent YOU!

There are many things that are not so visible on

the “outside” for everyone to see.

For example:

• memories

• fears

• your dreams... What else can you think of?

We show certain things about us on the “outside”

for everyone else to see.

For example:

• clothes you wear

• what you say & how you act towards others

• the music you listen to… What else?

INSIDE OUTSIDE

My symbol:

My symbol:


Symbolic Self-Portrait Vessels

29

Step 2

Step 3

Step 1


Symbolic Self-Portrait Vessels

Step-by-StepVisual Directions

Step 1: Plan your design. Look at your vessel from two points of view, or angles. Sketch its

shape from above and from a side view. Add your designs. Include at least 2 symbols and

make the inside show radial symmetry.

Step 2: Use a narrow strip of tag board as a flexible ruler to draw lines dividing the inside of

your vessel into a series of equal sections. If desired, create a custom lip. Draw a line along the

top edge and cut with scissors.

Step 3: Sketch your design on your vessel. Create a stencil for any repeating shapes to make

it quicker and easier. Choose a color palette. Use acrylic paints for large areas and paint

markers for small details. Apply a clear varnish to protect and add shine, if desired. Share

your vessel with the class and discuss how it represents you.

30

Additional visuals examples for Post-Museum In-Class Activity

Bowl Bowl

Egypt, twelfth century Iraq, ninth century

Earthenware, overglaze luster painted Earthenware, overglaze polychrome luster

The Madina Collection of Islamic Art The Nasli M. Heeramaneck Collection, gift of

Los Angeles County Museum of Art Joan Palevsky Los Angeles County Museum of Art

Tile Greater Iran, fifteen century

Fritware, glazed to shape and assembled as mosaic

The Madina Collection of Islamic Art, gift of Camilla Chandler Frost Los Angeles County Museum of Art

31


What is Islamic Art? How can symbols be

used as metaphors of your life?

Time: One to two 40-minute class periods


• Students will be able to identify Islamic

culture.

• Students will learn about Islamic artwork

and pottery.

• Students will observe important

vocabulary that pertains to Islamic

culture/art.

• Students will understand the significance

of symbols.

• Students will design symbols that

represent themselves.


Do Now Write the word “Islam” on the board. Have

the class brainstorm everything they know

about Islam. Introduce the religion, the

culture, and the art.

Class Discussion What do you notice about this work of art?

Can anyone tell the class what this is a

picture of? What makes you say that? What

was the primary function of this work of art?

What makes you say that? Where do you

think we can find a work of art like this?

What do you notice? What do you think the

fish and birds represent? What makes you

say that? Do you notice anything else of

interest?

Activity Students will brainstorm words that best

describe them. Next the students will be given

a handout. The handout will have a drawing of

a ceramic bowl on it. Students will create their

own symbols that best represent them and draw

them on the bowl.

Materials: Paper, pencils, colored pencils.

Follow up activities Students will critique their work and prepare

for their museum trip.

Museum Activity:

What’s the Story?

Time: 1 hour


• Write an original story and create a

drawing that connects to the artwork they

see;

• Develop personal perceptions of

Islamic artwork;

• Identify aspects of the Islamic culture

and its artwork;

• Develop ability to use imagination to

interpret artwork.


Discussion

Begin with Bowl: What do you think is

going on in this artwork? What do you

notice? What makes you say this? Is there

repetition of pattern, color, or line? What do

you notice about the shape of the piece?

What do you think it means? Move on to

personal: Do any of you have pets or

would like one? What do these animals

(birds, fish) represent to you? Why do

you say this? Do you think they are

important? Islamic meanings: What is a

symbol? How does your view of the

animal differ from the actual meaning?

How it is the same? “What’s the story?”:

Can you come up with a story to go along

with the images you see? What is taking

place? Who does it involve? Where does it

WHAT’S THE STORY?

How does Islamic Art Use Symbols,

Shapes, and Patterns as Metaphors

to Create Functional Works of Art?

Mike Kerr, Erica Croce, and Chris Lowens

Grade Level: 5 to 7

32

take place? When did this happen? Why

did it happen?

Procedure

Begin with discussion of Islamic bowl and

animal meanings. Then have students

write a story and create a drawing with the ‘What’s

the story?’ worksheet.

Activities

Using the ‘What’s the story?’ worksheet,

markers, and pencils students will create a

story related to the design details of the

Islamic bowl. This story must include: a

plot, characters with meanings from the

Islamic culture, and a drawing using three

or more elements of design.

Materials: markers, pencil, paper and

worksheet.

Post Museum In-Class Activity:

Functional Art: Bowl Design

Time: Five 40-minute class periods


• Students will be able to identify different

aspects of Islamic bowl design;

• Students will be able to recognize, design

and draw shapes patterns and symbols;

• Students will be able to appreciate Islamic

bowls and understand the complexity of

creating a bowl design and decoration.


Do Now

Have an image of the Bowl on view at the

museum on display. Ask students what they

notice about the work and what makes them

say this.

Class Discussion

Is there any theme or pattern in the design?

What are they? Describe what you notice and

point to examples. What in the work makes you

say that? Ask students if they have any

personal stories of how bowls are part of their

own life, culture, customs, family members or

experiences. Referring back to the Islamic

design are there similarities or differences in

the shapes symbols and letters that are

significant in their lives.

Procedures and Activities

Demonstrate simple drawing techniques of

bowls. Have students fold paper in four parts

and sketch four preliminary bowls,

experimenting with different shapes and

designs. The bowls can have Islamic or

individual meaningful decoration. Students will

choose one of their four sketches for a final

drawing after an informal class viewing of the

preliminary designs. Students will then create a

finished drawing of their bowl on a full sheet of

new paper.

Materials: Paper, pencils, colored pencils.

Follow-up Activities

• Students may create a background drawing

for bowl.

• Students may construct a three-dimensional

bowl out of clay, paper mache, or a plastic

bottle with collage.

• Students may assemble a book based on

their bowl designs and stories.

Learning Standards

1. Creating and participating in the arts.

2. Knowing and using arts materials.

3. Responding to and analyzing works of

art.

4. Understanding the cultural dimensions and

contributions of the arts.

34

WHAT’S THE STORY?

Who: _____________________________________________

What: ____________________________________________

When: ____________________________________________

Where: ___________________________________________

Why: _____________________________________________

Title: __________________________________

35


Think About It

Time: One 40-minute class period


• to interpret a rug for elemental

purposes, tradition purposes, and style.

• to appreciate, respect and understand

Turkish culture and prayer rugs.

• to understand the art elements of line,

color, texture, shape, and pattern.

Visual and Audio Materials

Slide of Prayer Rug (Plate 5) for either an

overheard projector or IPTV

Do Now

Have students write in their journals their

reflections and answers to the following

questions: When and where do you think

this rug was made? What tools do think

were used? What could it have been used

for? What colors do you see? How do you

think the colors were made?

Class Discussion

Using open-ended questions, direct the

class in a discussion about the answers

that the students wrote down individually.

Ask students if before our discussion

would they have believed that a rug is

considered a piece of artwork? Why or

why not? Make a list on oak tag or on a

chalkboard of their answers and keep

displayed to be used later in the Post-

Museum In-Class Activity.


The “Do Now” and class discussion aspect

of this lesson act as an introduction to the

subject matter that will be viewed on the

museum visit. Next the students will

review and demonstrate the steps to

dyeing your own yarn at home, which are

on a recipe card. This is used for

educational purposes and to get the

students excitement levels up for the trip

to the museum.

Materials

Journal books, pencils, oak tag, marker,

recipe cards, dyeing materials (yarn, beets

and water, a pot, a hot-plate for

demonstrating the dyeing process).

Museum Activity:

Using Symmetry to Re-create

a Turkish Rug

Time: Approximately 1 hour


• to understand the concepts of symmetry,

pattern, and design.

• to identify and re-create a symmetrical

pattern on a grid, while viewing rug

samples at the museum.

• to apply symmetrical knowledge when

creating their own sketches of floral

motifs.

Visual and Audio Materials Prayer Rug (Plate 5) and other Islamic Art

on display at the Godwin-Ternbach

Museum

Museum Discussion

Observe some of the pottery and vessels

before ending up at the prayer rug. This

will demonstrate to them that certain

patterns and designs are repeated in

Islamic Art regardless of the medium

used. Allow them to absorb the works,

and then initiate the conversation with:

what do you see? What type of art is it?

Does it remind you of anything you have

seen before? What makes you say that?

A STUDY OF MOTIF, TRADITION, AND

CRAFT IN TURKISH RUGS

Heather Cullinan and Nicole Schorr

Grade Level: 6 to 8

36

What patterns do you see? Are they

balanced? How are these artworks

different from the ones we viewed in

class? Discuss symmetry, pattern, and

design.

Procedure The students will choose a part of a rug or

sculpture and using a pre-made grid they

will create a reproduction making sure to

stay symmetrical and use a central image.

Activities

Students will use a pencil to create a

pattern or design seen in the exhibit using

symmetry. Students are to use a central

image and utilize the “counting the boxes

system” to keep the work balanced and

symmetrical. They are then to use the

other grid on the opposite page and are

encouraged to keep symmetry in mind

while creating a floral motif.

Materials

Handout with grids, pencils


Making a Loom and Weaving- Thank

You Postcard

Time: Six 40-minute class periods


•••• to recall concepts of symmetry, rug

making, and subject matter from the

museum visit.

• to design a loom in order to weave the

symmetrical floral motifs they designed in

the museum visit.

• to appreciate Turkish culture and the

craft of rug weaving.

Visual Materials

Beginning Weaving Handout, image of

Prayer Rug (Plate 5)

Class Discussion

Referring to their symmetrical grid

drawings, ask students to think about how

they could now create a rug from that

floral motif using yarn? What color

choices would be made? Would you use a

basic color scheme similar to the ones that

the Turkish culture used in their rugs?


Students will use their floral motif grid

drawings from the museum for a reference

to create their own mini rug. They will

learn how to create a loom using a heavy

piece of cardboard and making notches in

it. The handout and visual demonstration

will keep them at the correct steps. Using

their loom and symmetrical design, they

will weave the pattern they created using

the yarn they dyed at home. Different

types of knots and techniques will be

taught.

Materials

Pencil, Dyed Yarn, Cardboard, Scissors,

Dull plastic Needles

Learning Standards

1. Creating, Performing, & Participating in

the Arts

2. Knowing & Using Arts Materials

3. Responding to & Analyzing Works of

Art

4. Understanding the Cultural Dimensions

& Contributions of the Arts

38

Using this grid, create a general copy of the Turkish rug you have just examined. Count

the boxes or fold the gird in half to help create an even, symmetrical design.

41


Identifying Islamic Art

Time : One 40-minute class period


• to be able to describe styles and

conventions of Islamic art

• to think critically about how Islamic art

depicts the history and culture of Islam

• to identify Islamic characteristics found

in three specific pieces from the

Godwin-Ternbach collection

Visual Materials

Slides/photos of the following objects:

Mosque Lamp (Plate 3), Prayer Rug

(Plate 5), and Bowl (Plate 2)

Class Discussion / Procedure Introduce a brief history of Islamic Art

and its characteristics. Review

vocabulary while discussing handouts or

slides. Since early times, Islamic art has

reflected a balanced, harmonious world

view and has developed a unique

character utilizing a number of primary

forms: geometry, calligraphy,

organic/figural and medallions, which

are often interwoven. Elicit responses

from students about what they see. Ask

questions to get students more involved

with the viewing process. What does this

art tell us about the people who created

it? What purpose do you think these

pieces had? Are they functional art?

Review and discuss the following

characteristics found in Islamic art:

• The repetition of geometric designs

represents the infinite nature of god.

• Calligraphy is considered the highest

form of art since it is the language of the

Koran.

• Organic (flowers & plants) / figural

(people & animals) represent images

found in nature created by god.

• Medallion designs are often the focal

point or central motif

Islamic art can be divided into two

categories: religious and secular.

Muslims believe that the creation of

living things is the work of god, so they

forbid portraying people and animals in

their religious art. Secular objects are

those found in the home. Ask students,

can you think of any art objects found in

your home or place of worship? What do

these objects reflect about your culture?

Show students images of visual

materials. Have them write down the

characteristics of each object. Instruct

students to write their names and create

a simple design using the elements of

Islamic art they have learned.

Materials: handout, pencils.

Museum Activity:

Responding to Islamic Art

Time: 1 hour


• to compare and contrast pieces of

Islamic art discussed in prior lesson

• to explore the exhibition further in

search of Islamic characteristics

• to utilize the exhibition in order to

draw examples of geometry, calligraphy,

organic/figural, and medallion forms

Visual Materials



DISCOVERING THE CULTURE OF ISLAM

THROUGH ISLAMIC ART

Sheila Ambrosio, Noemi Charlemagne,

and Lisa Rudolph

Grade Level: 6 to 8

42

Class Discussion

Observe the Mosque Lamp. Review the

conventions of Islamic art. Why is

calligraphy such an important form of art

in decorating mosques? How was it used

and what does the calligraphy represent?

Next, view the Prayer Rug. Observe

carefully. Ask students the significance

of this piece in relation to Islam. What is

a prayer rug and how is it different from

an ordinary rug? How are rugs made

(what equipment and materials is

needed)? Finally, observe the Bowl and

ask what characteristics of Islamic art

are present in the piece? How do

Muslims feel about the representation of

figures in art? What similarities do these

three examples of Islamic art share?

What are some differences?

Procedure

Once students have an understanding of

each characteristic, explore the rest of

the exhibition in search of examples.

Provide a paper divided into four

sections: Geometry, Calligraphy,

Organic/Figural and Medallion to each

student. Students will find examples of

the characteristics of Islamic art and

draw in the appropriate space.

Materials: Pencils, erasers, paper

Post-Museum In-class Activity:

Creating an Heirloom Rug

Time: Five 40-minute class periods


• to observe, recognize and interpret

meanings of Islamic art through its

characteristics/primary forms

• to produce an heirloom rug that

integrates and reflects students personal

understanding of the primary forms.

• apply the four patterns/motifs, that will

incorporate personal or Islamic designs

Visual Materials

Slides/photos of the following objects:



Class Discussion

How are cultural beliefs conveyed as

visual images? Ask students if there is a

favorite object/rug in their home or

community that holds special meaning?

Describe the objects and their

significance. Are their designs on it?

What do they represent? What kinds of

objects become heirlooms and why?

Procedure

Using a compass, demonstrate how to

make a geometric star. Show how to

creating a repeating design using a

template or tracing paper. Utilizing four

designs (whether personal or Islamic in

style), create patterns/motifs to create a

personal heirloom rug. Sketch a layout

for the rug design in pencil and include

one example of each of the primary

forms found in Islamic art. Be sure to

include a central motif and a border.

Materials

12x18 paper, pencil, eraser, ruler,

compass, tracing paper/light table,

tempera paints, and brushes

Learning Standards

1. Creating, performing, and

participating in the arts.

2. Knowing and using art materials

3. Responding to and analyzing works of

art

4. Understanding the cultural dimensions

and contributions of the arts

43

Islamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and Object VII. Additional Resources

TEACHER BIBLIOGRAPHY

Atasoy, Nurhan, and Julian Raby. Iznik:

The Pottery of Ottoman Turkey. London:

Alexandria Press, 1989.

Atil, Esin, ed. Turkish Art. Washington,

D.C.: Smithsonian Institution Press and

New York: Harry N. Abrams, Inc., 1980.

Atil, Esin, W. Thomas Chase and Paul Jett.

Islamic Metalwork from the Freer Gallery

of Art. Washington, D.C.: Freer Gallery of

Art, 1985.

Ayoub, Abderrahman, Jamila Binous,

Abderrazak Gragueb, Ali Mtimet, Hedi

Slim. Umm El Madayan: An Islamic City

Through the Ages. Translated by Kathleen

Leverich. Boston: Houghton Mifflin

Company, 1994.

Boukobza, Andre. La Poterie Marocaine.

Paris: Jean-Pierre Taillandier, Sochepress,

1987 (in French only, but where geometric

design on pottery is concerned, the pictures

say it all.)

Brend, Barbara. Islamic Art. Cambridge,

MA: Harvard University Press, 1991.

Burckhardt, Titus. Sacred Art in East and

West: Its Principles and Methods.

Translated by Lord Northbourne. Bedfont,

Middlesex, UK: Perennial Books Ltd.,

1967.

Critchlow, Keith. Islamic Patterns: An

Analytical and Cosmological Approach.

New York: Schocken Books, 1976.

Gluck, Jay, and Sumi Hiramoto Gluck. A

Survey of Persian Handicraft. Tehran:

Bank Melli Iran, 1977.

Grube, Ernst J. Islamic Pottery of the

Eighth to the Fifteenth Century in the Keir

Collection. London: Faber and Faber, 1976.

Hedgecoe, John, and Salma Samar

Damluji. Zillij: The Art of Moroccan

Ceramics. Reading, UK: Garnet Publishing

Limited, 1992.

Khatibi, Abdelkebir, and Mohammed

Sijelmassi. The Splendour of Islamic

Calligraphy. Translated by James Hughes.

New York: Rizzoli International

Publications, 1977.

Komaroff, Linda. Islamic Art in the

Metropolitan Museum: the Historical

Context. New York: Metropolitan Museum

of Art, 1992.

Lings, Martin. The Quranic Art of

Calligraphy and Illumination. Boulder,

CO: Shambhala, 1976.

Nasr, Seyyed Hossein. Islamic Art and

Spirituality. Albany, NY: State University

of New York Press, 1987.

Necipoglu, Gulru. The Topkapi Scroll:

Geometry and Ornament in Islamic

Architecture. Santa Monica: The Getty

Center for the History of Art and the

Humanities, 1995.

Papadopoulo, Alexandre. Islam and Muslim

Art. Translated by Robert Erich Wolf. New

44

York: Harry N. Abrams, Inc., 1979.

Petsopoulos, Yanni, ed. Tulips, Arabesques

and Turbans: Decorative Arts from the

Ottoman Empire. New York: Abbeville

Press, 1982.

Rogers, Clive, ed. Early Islamic Textiles.

Brighton: Rogers & Podmore, 1983.

Wilkinson, Charles K. Nishapur, Pottery of

the Early Islamic Period. New York: The

Metropolitan Museum of Art, n.d.

Akar, Azade. Authentic Turkish Designs.

New York: Dover Publications, 1992.

D'Avennes, Prisse, ed. Arabic Art in Color.

New York: Dover Publications, 1978.

STUDENT BIBLIOGRAPHY

Islam (DK Eyewitness Books). DK

Publishing, 2005.

Ganeri, Anita, Rachael Phillips, and Carole

Gray. Islam Stories (Storyteller). 2003.

Kahn, Rukhsana and Patty Gallinger.

Muslim Child: Understanding Islam

through Stories and Poems. 2002.

Lemu, B. Aisha. Animals in Islam. 1993.

Stanley, Diane. Saladin, Noble Prince of

Islam. 2002.

Strauss-Art, Suzanne. The Story of Islam.

2005.

ISLAMIC CULTURAL CENTERS

Islamic Arts and Architecture Organization

(IAAO)

WEBSITES (all URLS begin with “http://”)

dekorativ.tripod.com/id2.html

www.allaboutturkey.com/art.htm

www.art-arena.com/seljuks.htm

www.artlex.com/ArtLex/ij/islamic.html

www.asianart.com/britishmuseum/islamic.html

www.dartmouth.edu

www.education-world.com/soc_sci/geography/images/middle_east.gif

www.islamicart.com

www.khalili.org/

www.metmuseum.org/toah/ hd_orna,htm

www.princetonal.com/grOUpS/iad/lessons/middle/weave.htm

[email protected]

www.salaam.co.uk/themeofthemonth/march02_index.php?l=3

www.si.edu/resource/faq/freersac/islamart.htm

www.theodora.com/maps/new8/middle_east.jpg

www.uga.edu/islam/artbib.html

www.youngartists.com/islamic.htm

45

Islamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and ObjectIslamic Art in Image and Object VIII. Evaluation

Please take a few minutes to fill out this evaluation form.

Your comments are important to us. Thank You!

Dr. Rikki Asher, Director, Art Education

Queens College, City University of New York

65-30 Kissena Boulevard

Flushing, NY 11367-1597

Name __________________________________________________________________

School _________________________________________________________________

Subject and Grade level you teach ___________________________________________

1. On a scale from 1 to 5 (1=least, 5=most) please indicate the usefulness of the following

components of this resource manual:

TOPIC 1 2 3 4 5 COMMENTS (if desired)

Introduction: Visual Thinking

“Questioning Strategies”

Summary & History

of Islam & Islamic Art

Visual Materials

“Discussion Questions”

Visual Materials

“Making Connections”

Glossary

Activities: Pre-Museum

Activities: Museum

Activities: Post-Museum

Additional Resources

EVALUATION CONTINUES ON REVERSE…

46

2. What activities and discussion topics created the greatest response among students?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

3. What sections were most useful to your curriculum?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

4. Is the format and organization of materials clear and easy to use?

Are any parts confusing?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

5. What suggestions would you like to make to improve these materials?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Thank you for your time, it is greatly appreciated!

education guide - the grandeur of islamic art in image and object exhibition

Documents

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history of islamic art

grandeur of islamic

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