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Not long after the call to Islam was made by the prophet that the new religion lent its name to the vast Sassanid empire and parts of the Eastern and Western wings of Roman empire in Western Asia and North Africa. The empires of Persia and Rome that had fought each other to the point of fatigue for about a thousand years and were leaning on their fame in the times passed, never found the opportunity for a prolong and classic confrontation with Islam and the tired people in their territories welcomed the call made by the new prophet.

The messages of the founder of Islam were not merely calls to salvation, monotheism and refraining from evil. He saw salvation as transforming all the behavioral, civil and cultural phenomena. So, unlike the teachers of other religions, the prophet and his successors directly took over the affairs of the state, including judiciary, financial, administrative, military, civil and cultural affairs within defined frameworks. The outcome of this concept of the state was so that in less than a matter of a century after the advent of Islam evidences of the emergence of a new Islamic culture arising from a homogenous attitude towards the society began to appear in half of the then civilized world that had fallen in the hands of Muslims.

Alongside all the changes, art too found a new origin within the frameworks of the new Islamic culture and civilization. Islamic art was born along a vigorous century and grew up on the lap of a people with renewed historical dynamism. Although it had its roots in native soils, this art breathed in a fresh air devoid of the old and boring scent of ancient times. Undoubtedly, artistic links were never so extensive in any other period of man's history. The silk Road and a thousand of its side paths were no longer the route taken only by the merchants of silken garments,  raw material and consumer goods coming from far away. This road is also being taken by the dynamic Islamic art that matured as fast as it was born.