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Mihrab from the Madrasa Imami, Isfahan, Iran ca. 1354, was appeared in the 14th-century. Mihrab art name Mihrab from Madrasa Imami Mahrasa Imami, Iran, ca. 1354. The technique is Glazed mosaic tilework. Its dimensions in 11’3” x 7’6” (appreciate at 343.1 x 288.7 cm). Mihrab exemplifies the perfect aesthetic union between the calligrapher’s art and arabesque ornament. Mihrab show many supple cursive styles also make up the repertoire of Islamic calligraphy which ones style known as Muhaqqaq fills the mihrab’s outer rectangular frame. Its specific place had been fitted by chisel and cut pieces. The framed inscription in the center of the niche (proclaiming that the mosque is the domicile o the pious believer which is smoothly integrated with the subtly varies pattern). With the mihrab all the calligraphic and geometric element are so completely unified so that they can be distinguished by only the practiced eye. The architectural surface was transformed into a textile surface. Mihrab has three dimensional wall into a two dimensional hanging.

The Mirab show to the audiences the strong trandition of portraying the human figure in Christian art. In that period of art, all value art was born in the Arab and Arabic script used in that type of art as strong as the power of God.

“…Unlike the strong tradition of portraying the human figure in Christian art, Islamic art is often associated with the arabesque style. Early Islam forbade the painting of human beings, including the Prophet, as Muslims believe this tempts followers of the Prophet to idolatry. A prohibition against depicting representational images in religious art, as well as the naturally decorative nature of Arabic script, led to the use of calligraphic decorations, which usually involved repeating geometrical patterns that expressed ideals of order and nature. It was used on religious architecture, carpets, and handwritten documents…”

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