The invention of Islamic art in German orientalism

The definition of Islamic art has varied depending on the perspectives of those who define it. Today, it is broadly understood to encompass works produced by both Muslims and non-Muslims within Islamic cultural contexts. However, the academic study of Islamic art did not evolve organically within Islamic societies; rather, it was shaped by European scholarly frameworks in the late 19th century. The disciplinary formation of Islamic art in Europe took distinct forms across different cultural and national contexts. This article traces German interest in Islamic art back to the early modern period, emphasizing the significant role played by the Austro-Hungarian Empire in fostering this engagement—primarily due to its geographical proximity to and historical interactions with the Ottoman Empire. In the German-speaking world, key figures such as Josef Strzygowski, Friedrich Sarre, and Ernst Herzfeld were instrumental in advancing the field. This study explores how the discipline—whose origins can be loosely traced to the 18th century, and which took form through both individual and institutional efforts in French-, English-, and German-speaking contexts during the second half of the 19th century—was constructed within the framework of German Orientalism through specific actors and scholarly practices.