Islamizing Art: Archaeological Facts and Fictions in Honor of Oleg Grabar

Abstract

The Islamization of art has often been discussed through normative, theological, or stylistic perspectives, yet its archaeological dimensions remain insufficiently explored. This study examines the Islamization of art through the lens of archaeology by distinguishing between empirically verifiable facts and interpretative constructions that are often shaped by modern assumptions or ideological narratives. By analyzing material culture—such as architectural remains, decorative motifs, inscriptions, and artifacts—from early and medieval Islamic contexts, this paper investigates how artistic forms were transformed, adapted, or re-signified within an Islamic worldview rather than abruptly replaced. Archaeological evidence demonstrates that the Islamization of art was a gradual, context-sensitive process marked by continuity, selective adaptation, and ethical reorientation, rather than iconoclastic rupture alone. At the same time, the paper critically addresses common “fictions,” including oversimplified claims of uniform aniconism, total rejection of pre-Islamic artistic traditions, or the notion of a monolithic Islamic artistic style. By situating archaeological data within historical, social, and religious frameworks, this study argues that the Islamization of art reflects a dynamic interaction between faith, local cultures, and material practices. The findings contribute to a more nuanced understanding of Islamic art as a lived and evolving expression of belief, rooted in both material reality and spiritual meaning.