On the other hand, arts produced in cultural areas that were only partially Muslim are discussed primarily in articles on arts of those regions ( It is difficult to establish a common denominator for all of the artistic expressions of the Islamic peoples.Such a common denominator would have to be meaningful for miniature painting and historiography, for a musical mode and the form of a poem.The implements, however, are the same: a niche called a ) for the Friday sermon; minarets, locally differently shaped but always rising like the call to prayer that is uttered from their tops; the wooden carved stands for the Qurʾān, which is to be written in the most perfect form; sometimes highly artistic lamps (made in Syria and proverbially mentioned throughout the Muslim world); perhaps bronze candlesticks, with inlaid ornaments; and rich variations of the prayer mats.If any decoration was needed, it was the words of God, beautifully written or carved in the walls or around the domes.Epic poetry of all kinds developed exclusively outside the Arabic-speaking countries; Western readers look in vain for an epical structure in such long poems (as in the case of the prose-romances of the Arabs) and find instead a rather aimless representation of facts and fictions.A similar characteristic even conditions innumerable historical works in Arabic, Persian, and Turkish, which, especially in classical times, contain much valuable information, put together without being shaped into a real work of art; only rarely does the historian or philosopher reach a comprehensive view.The typical expression of Muslim art is the arabesque, both in its geometric and in its organic form—one leaf, one flower growing out of the other, without beginning and end and capable of almost innumerable variations, only gradually detected by the eye, which never lose their charm.
Arabs consisted in the beginning of praise and satirical poems thought to be full of magical qualities.
The combination of music and poetry, as practiced in court circles and among the mystics, has always aroused the wrath of the lawyer divines who wield so much authority in Islamic communities.
This opposition may partly explain why Islamic poetry and fine arts took refuge in a kind of unreal world, using fixed images that could be correctly interpreted only by those who were knowledgeable in the art.
The relationship between the art of the Islamic peoples and its religious basis is anything but direct.
Like most prophetic religions, Islam is not conducive to fine arts.
More commonly, however, the term is extended to include all of the arts produced by Muslim peoples, whether connected with their religion or not.