The following selection from the Art Institute’s collection showcases the material diversity and the dynamism of Islamic art across various periods, regions, and media.
Please note that the museum’s galleries are ever-evolving and that artworks go on and off view as installations rotate.
Bowl, 10th century, Iran
In the 10th and 11th centuries, a tradition of painting ceramics in thick colored slips (watered-down clay) became common practice in central and eastern Iran. These vessels were typically decorated with text containing blessings or pious messages like this one extolling the virtues of generosity. This style of script, knotted Kufic, is distinguished by its consistent baseline and intricate twists in the letters. This bowl highlights the importance of calligraphy as a visual expression synonymous with faith itself in Islam.
Casket, 12th century, Sicily
This ornately painted ivory casket with gold organic designs and Arabic inscriptions was probably created in Sicily, a key crossroads of Mediterranean trade ruled by Muslim emirs from the 9th to the 11th century. Although this casket was produced later when Sicily was under Norman (French) control, its patterning and designs demonstrate the lasting impact of Muslim artistry. Now faded with time, the imported African ivory forming the body of the casket originally sparkled with gold leaf and jewel tones of blue, green, and red pigments imported from Afghanistan and beyond. Ornamental depictions of gazelles, peacocks, and vegetal arabesques mirror Islamic textiles, ceramics, and metalwork produced at this time. Traces of inscriptions offer blessings or wishes for glory, suggesting this was likely intended as a wedding gift or jewelry box.
Applied Arts of Europe, Gallery 236
Writing Cabinet, 1500–50, Spain
This escritorio, a forerunner of the modern portable desk, represents the artistic legacy of Mudéjar craftspeople, Spain’s ethnically Muslim artisans—including people of Arab, Imazighen (Berber), and North African descent—who shaped its visual culture after the Christian reconquest. They introduced this furniture form from the eastern Mediterranean, pioneering the use of pull-out drawers in western Europe. The motifs featured in the intricate inlays—incense burners, abstract scrolls, and rosettes—are indicative of both Mudéjar aesthetics and designs favored across the Muslim world. By the late 16th century, such motifs faded from use in the region, as Mudéjar communities faced persecution and expulsion by the Spanish monarchy.
Applied Arts of Europe, Gallery 238
Helmet, 1475–1500, Eastern Turkey or Western Iran
Turban helmets were used throughout the Islamic world as both forms of protection as well as objects of luxury and rank. This example’s bulbous shape and fluted (ribbed) body mimics the shape and folds of textile turbans. It is richly decorated with florid Arabic inscriptions in Kufic script and damascening, a technique in which soft silver wire is hammered into a hard steel surface to create contrasting designs. The abstracted text, though not fully legible, showcases the emphasis on calligraphy in both meaning and ornament. An elite mounted warrior would have worn this helmet. A circular tamga (tribal emblem) above the brow indicates this helmet was once kept in one of the many arsenals of the Ottoman empire.
Currently not on view
Dish, 17th century, Iran
This Safavid Iranian blue-and-white ceramic exemplifies the artistic exchange between China and the Islamic world. Chinese porcelain was in high demand at this time. This dish blends Persian and Chinese aesthetics, particularly evident in its detailed brushwork, symmetrical designs, focus on natural subjects, and intricate decorative patterns—such as the lion-like creatures and swirling cloud motifs. Such cross-cultural influences enriched Islamic art for centuries and today evidence its diversity and global reach.
Currently not on view
Lidded Box, late 18th–early 19th century, Côte d’Ivoire
This elaborately decorated tin-alloy box, likely used to hold the Qur’an, was probably created by an artist from the Dyula (or Jula) people, nomadic Muslim merchants who spread metallurgical knowledge across West Africa. In the town of Kong, which was at the heart of the powerful Kong Empire in the 1700s and 1800s, such metal objects were status symbols. The mask-like head on the box’s lid is reminiscent of the face masks used in performances that marked important Muslim holidays, such as the end of Ramadan. Due to the fragility of the materials, boxes like this rarely survived.
Currently not on view
Qur’an Stand, early–mid 20th century, Kenya
Carved wooden Qur’an stands from the Swahili coast of eastern Africa showcase a broader Islamic tradition of creating beautiful objects for both everyday and formal religious practices. Created for use in mosques, homes, and schools, this wooden stand combines function—to elevate and protect the sacred book—with ornament. Its floral and geometric carvings echo textile patterns traded throughout the western Indian Ocean rim and showcase the distinctive creative aesthetic that regional artists build into the rich tapestry of Islamic art.
Currently not on view
Jewelry Set, late 19th–early 20th century, Morocco
This set of jewelry had been passed down over four generations within the family of Fatma ben Houssein ben. The designs and motifs are representative of the distinctive style developed by Ida Ou Nadif artisans of southern Morocco. Combining Imazighen (Berber), Arab, and Jewish artistic elements, it was made by Jewish silversmiths who also worked for Imazighen and Arab clients. Silver jewelry, gifted during weddings, served as both adornment and financial security. Worn on special occasions, these pieces could be sold in times of need. The small box, worn on a chain around one’s neck, was designed to hold a small copy of the Qur’an.
Currently not on view
Boubou Tilbi, early–mid-20th century, Mali
The boubou tilbi is a voluminous prestige robe, composed of handwoven white cotton and embellished with off-white silk embroidery and needle lace cutouts. The epitome of luxury, it is one of the rarest types of West African robes, which have long served as visual emblems of a man or woman’s status and devotion to Islam. Originating from the Malian cities of Djenné or Timbuktu—historic centers of trade and Islamic scholarship—this boubou tilbi is a pinnacle of artisanal craftsmanship. Its detailed embroidery, featuring patterns inspired by Muslim beliefs, cosmologies, and historic symbols, can take up to three years to complete.
Currently not on view
Tankard, late 16th century, Turkey
This tankard exemplifies the refined artistry of Iznik ceramics, showcasing the bold glazes and rhythmic floral motifs that defined Ottoman-era pottery. While inspired by Chinese porcelain, Iznik ceramics evolved by the 1550s into a distinctly Ottoman style, shaped by collaboration with a court-controlled workshop (nakkash hane) that designed and produced ceramics and furniture. The tulip and carnation motifs—popular in Ottoman art, textiles, and bookbinding—speak to both decorative and horticultural traditions, as tulip cultivation flourished in Istanbul. The tankard’s size suggests it may have once held the very flowers it portrays.
Currently not on view
Textile Talisman, 1825, Turkey
Protective talismans are found across the Islamic world, reflecting a shared belief in divine safeguarding. While typically made of tile or wood, this rare embroidered textile—one of only two known—features a mosque plan with a courtyard, mihrab, and minbar. Likely displayed above a doorway, it combines architectural imagery with devotional text, highlighting the rich intersection of art, faith, and everyday life in Muslim beliefs and traditions.
Currently not on view
Manuscript Page, 16th century, Iran
This painting of Muhammad’s ascension and night journey blends mythological and spiritual imagery. It depicts Buraq, the winged steed, carrying Muhammad through heaven, greeted by lavishly dressed angels led by Gabriel. The fiery golden halo surrounding them enhances the scene’s celestial energy. Such vivid depictions, influenced by Persian and Central Asian styles, highlight the rich artistic exchange across Islamic cultures and even influenced Dante’s Inferno in medieval Europe.
Currently not on view
Learn more about works of Islamic art in our collection. To see Islamic works on view, visit Gallery 143. A more extensive display will be on view in the first half of 2026, following one of our regular gallery reinstallations.
Topics
- Collection
- Artists
- Arts of Asia
- Arts of Africa
- Textiles
- Medieval and Renaissance
- European Design, pre-1900
- Islamic Art
