A tudor secret: how islamic art shaped britain's interiors

Hans Holbein the Younger’s ‘The Ambassadors’ holds a secret – a glimpse into a surprisingly vibrant exchange between Europe and the Islamic world in 16th-century England. It’s not the skull or the diplomats that capture the eye, but the meticulously rendered Ottoman carpet draped across the table.

A luxurious connection

This richly patterned rug, likely originating in Anatolia, wasn’t merely decorative; it was a powerful symbol of status and trade. In 1533, possessing such a carpet was a statement of wealth, a testament to Britain’s engagement with the burgeoning Ottoman Empire. It speaks volumes about the sophisticated tastes of the Tudor court.

Beyond the floor

As Alidad, an HG101 Hall of Fame honouree, explains, ‘The influence of Islamic art in British interiors has always been there, but it has been more popular at certain periods, and less so at others.’ This isn’t a sudden trend, but a centuries-long dialogue, subtly interwoven into the fabric of British design. From Gothic arches to the pointed forms of Islamic architecture, the roots of influence are deeply embedded.

Victorian excesses

The Victorian era witnessed a particularly pronounced fascination with the East. Leighton House’s Arab Hall, a riot of Iznik tiles, Damascus fabrics and intricate carvings, exemplifies this enthusiasm. The sheer expense – reportedly exceeding the building’s cost – underscores the desire to emulate the opulence of the Ottoman world. It’s a testament to a period of intense exploration and appropriation.

Timeless motifs

But the impact didn’t disappear with the Victorian era. Even in the 1980s, as Alidad recalls, Ottoman fabrics were gaining traction. ‘Simple zellige tiles in spectacular colours from Morocco have become a decorating staple in many UK interiors, combining very effectively with both classical and more contemporary styles.’ The enduring appeal lies in the motifs themselves – stylized tulips, carnations, and geometric patterns that possess an inherent, timeless quality.

A persian legacy

Consider Elveden Hall, acquired in the 19th century by the Guinness family. Within its walls, Mughal and broader Islamic forms were seamlessly integrated, creating an atmosphere vastly different from the surrounding English countryside. And even today, the influence is felt, subtly shaping our homes.

Carpets: more than floor coverings

Alidad insists that carpets were often used as table coverings, a practice sadly forgotten today. ‘I think people may not always realise that carpets were often made for use on tables.’ He favors Ziegler carpets from Iran, produced specifically for the European market, their boldness providing a striking contrast to the intricate floral patterns of Persian rugs. A detail often overlooked, yet crucial to understanding the enduring legacy of Islamic design.

A personal connection

For Susan Deliss, the fascination began with a simple encounter. ‘My first experience of it was aged eight, when my art historian aunt showed me Persian illuminated manuscripts for the first time.’ That early exposure ignited a passion that continues to inform her work, highlighting the warmth and harmony associated with these interiors. Ultimately, the beauty lies in the infinite variations and the refusal to fade – a visual language that continues to resonate, proving that some traditions are eternally captivating.