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Trade routes provide more than just exchanges of textiles and spices. They enrich understanding, broaden horizons, and spread knowledge and possibility across the lands. Languages, stories, beliefs, technological innovations, and also ornamental designs all travelled along established trade routes. 

In this six-part course, we begin in eastern China: the fountainhead of the Silk Road, where we will study and draw geometric wooden lattice designs. We then follow the historic trade route through India, Uzbekistan, Iran, Syria, Turkiye, Malta, and Sicily, exploring architectural ornamentation as a manifestation of connectivity. We will learn to draw a range of patterns based on rotated interlocking shapes, exploring design terrain outside of the star and rosette patterns which often dominate our Islamic geometric curricula. 

Students will learn how to construct square and triangular grids with ruler and compass, and learn how to develop these grids into a wide variety of diverse yet interconnected patterns. We will observe certain common features used to structure and organise our designs, including revolving symmetry motifs and chirality (“left and right handedness”) and discover connections across regions through shared motifs and shared geometric methodologies.  

Drawing inspiration from Persian, Indian and Medieval miniature painting, participants shall compose a painting on a gessoed ground, working with the traditional technique of egg tempera and pigments made from earths and minerals. Initially, mark-making will be explored leading into the painting of flower petals and leaves. Colour harmony studies follow to choose the palette for the painting. Sacred geometry studies will inform the composition, becoming the underlying structure upon which flowers, trees, mountains, valleys and water are placed creating a harmonious Garden of Paradise.

The image of Our Lady of Guadalupe is a powerful symbol of faith and hope for many Catholics and is seen as a message of God’s love and mercy for all people. This icon is rich with symbolism. Her tunic is adorned with the “yolloxochitl” or heart flower, whose four tips point in the cardinal directions. Her blue mantle is adorned with stars positioned as could have been seen in the Winter Solstice when she first appeared to Juan Diego, a Chichimec peasant, in Mexico.

In this course, we will begin painting by grinding our own pigment to create a very thin and translucent paint, allowing us to achieve a soft, refined finish. This technique honors and conveys the essence of Mother Mary.

Additionally, we will learn how to gild the halo using clay. It is important to note that this process requires a sensitivity to embody the delicate nature of Mary. We will employ the Russian dry brush technique, which involves applying thin layers of paint to create an ethereal luminosity.

The aim is for each student to paint their own copy of this icon and to make significant progress, if not complete, the painting.

The epic poem of Zal and the Simurgh is one of the most famous parts of the Shahnameh, the Persian Book of Kings. Rejected by his father, Zal is brought up by the Simurgh (phoenix) and grows up to be one of the most important characters of the Shahnameh, and in turn his son, the legendary Rustam, becomes one of the main heroes of the epic. The myth of Zal is therefore of great importance as it sets the scene for things to come.

In this course, we will be working from the famous Zal and the Simurgh painting by Sadiqi with its beautiful crystalline rocks and jewel-like colours.

The pleasure of concentrating on a single miniature for a period of time involves us deeply. We are immersed in it; we live with it; we live in it. Inhabiting and internalising a painting in this way is a wonderful and traditional way to learn. In today’s fast-paced world we need to sit, focus on and contemplate our single piece and grow to love and understand it. We will understand the subtle art of colour, composition and blending by our action of making and doing, connecting with the work. The aim is not to rush, but to dwell. Thus painting is a form of meditation in itself. Students are invited to recreate this alongside the tutor, incorporate elements into existing work or be inspired to create their own compositions.

This course will take inspiration from the botanical paintings created by Indian artists in the late 18th and early 19th Centuries. These flower paintings were produced with the miniature painting technique of applying opaque paint in a thick layer and then adding the finer detail. This is a process different to and distinct from European botanical drawings.

On this course, students will learn how to prepare paper, apply paint, and use the brush techniques of miniature painting. Looking closely at a selection of leaf forms and flower shapes, we shall create a lovely selection of small paintings.

This course explores watercolour as a contemplative and expressive medium for landscape painting. With a focus on light, atmosphere, and mood, students will learn to capture the essence of a place through tonal washes, spontaneous brushwork, and sensitive observation.

Practical sessions will be complemented by short talks on the history of watercolour, tracing its development through key figures in the English tradition — from Turner and Cotman to Seago and beyond. The aim is not only to build technical confidence but to cultivate a deeper attentiveness to the natural world and the watercolour medium.

Rather than enforcing a single way of working, the tutor will encourage curiosity, attentiveness, and personal interpretation — helping students to discover their own visual language within the discipline of watercolour.

On this course, students will paint a copy of the Annunciation as depicted in a beautiful 13th Century Armenian Book of Gospels.  Armenian manuscripts have a long and rich history, dating back fifteen centuries. These manuscripts are recognisable for their colour palette and its diversity of style.   

The tutor will begin with an illustrated talk discussing illumination, the meaning of the image, and the symbolism found throughout (including colour, the figures, the floral forms and buildings and so on).   

Students will then be guided through the intensive painting process including how to: prepare and burnish the Pergamenata paper;   make watercolour pigments with natural minerals and gum Arabic; transfer the image to the paper; gilding with gold leaf; and painting.

To achieve the fine lines necessary for a beautiful painting, students will be given practice exercises for line work, and guidance on painting small faces, the hands, and vestments of the figures. Students will also be introduced to different gilding methods such gilding with bole and different sizes as well as the use of shell gold.

 If you do not finish during the course, you should have the skills to continue painting on your own.  

In this class, we will create a book using traditional Islamic bookbinding techniques, featuring the iconic envelope flap that is characteristic of Islamic book design. You will learn how to bind a model book from scratch, including making endbands, and you will have the opportunity to create a fine leather cover. To make the cover, we will use techniques such as stamping, onlay, gold painting on leather, and leather tooling. The end result will be a book that you can hold in your hands and cherish. You can use it as a notebook, sketchbook, journal, or to showcase your miniature manuscript paintings.

Calligraphy was always prized in the Ottoman Court and thus inscriptions of remarkable strength emerged from this period. The manuscripts of 18th Century Calligrapher Mehmed Shawqi Effendi from the Ottoman School will be used as examples for the workshop.

The fluid style of thuluth ranks as one of the most popular scripts of choice for aesthetic expression due to its versatility and endless creativity. Thuluth is a proportioned script based on the principles of past masters. A rhomboid dot is used to measure each letter shape. The oblique angle of the pen (qalam) lends itself to the aesthetics of producing thick and thin angles. To control the flowing line whilst maintaining balance, elegance and harmony is a great achievement of artistic expression. Thuluth’s popularity is expressed in text, poems and aphorisms and  inscriptions are found in various mediums; architecture, manuscripts, metalwork, glass, wood, textiles and ceramics .

The workshop is a practical introduction to the script and provides participants a step-by-step guide to writing the Arabic letters according to the thuluth proportion system. Students will be shown how to construct each letter through basic strokes and learn the traditional practice, tools and materials used for thuluth.

Learn about the rich history and artistic traditions of Chinese polychrome paintings. These paintings decorating wooden palace buildings, are reflections of Chinese traditional culture and aesthetic concepts.

In this hands-on course, students will learn about the design principles of these paintings, key colour configurations, and painting techniques. Any returning students can try their hand at more complex designs.

Attention will be paid to the connection between these paintings and the architectural structures they are designed for. This is a fantastic opportunity to learn about and appreciate the unique cultural heritage of China.

Learn to paint an icon of Christ in the style of Andrei Rublev, one of the greatest medieval Orthodox icon painters. Students will master the dry brush technique, which involves layering thin strokes of paint to create a luminous effect. Egg tempera paint will be combined with hand-crushed natural pigments and applied to a plaster panel. Additionally, students will learn gilding techniques using clay and real gold leaf.

Woodblock printmaking is a wonderful medium, full of surprise and beauty,  and a traditional art form that is also contemporary. Learn how to create woodblock prints, starting with your ideas and moving through each step: designing, cutting, offsetting, registering, and printing with both translucent and opaque colors.  Techniques taught in this course will draw on the tutor’s studies in China, and her own teaching-practice.

Students should develop their ideas, initially from how to create atmosphere and impact, through to the use of symbolism and tradition. Guided by tutor Merlyn Chesterman, students will learn all the techniques they need in order to develop their own handwriting and voice in the future.

We will start with exercises in cutting before working in black and white, following on with making an underblock to enhance the 'master block'. There will then be opportunities for students to work at different scales and on subjects of their own choosing.

In this course students will be introduced to the tiles from 13th century Kashan, Iran, considered by many to be the golden age of lustreware.

During the week students will learn the techniques and motifs behind this exquisite form of pottery before designing and making their very own lustreware tiles.

We will then fire your work for you. Final firings will need to be collected in January 2026, after the Christmas and New Year's break.

This practical art course introduces you to Naskh script and hüsnühat, the art of beautiful writing in the Ottoman tradition. You will learn to write in the elegant, rounded Naskh script, known for its clarity and often used to transcribe the Qur'an.Students will be given an insight into traditional practice, tools, and materials used for hüsnühat.

To begin, students will learn to cut and prepare a traditional reed pen, and be shown how to construct each letter through basic strokes, analyse the measurements for the Arabic letters, practice the pen angles from thick to thin strokes, and progress through shapes to write out letters.  

The art of calligraphy can take many years to master, but by the end of this course, students will have had an introduction to writing in this script, and an understanding of the rules of harmony and proportion behind it.

Design and weave your own carpet, in the Persian tradition.

In this practical course, students will learn the principles of traditional design, as well as essential weaving techniques. Students will also gain familiarity with the tools used in this craft. By the end of the course attendees will have a small unfinished carpet with enough knowledge to continue weaving at home and complete their carpets.

The art of carpet making is one of the oldest and most celebrated artistic traditions to have survived to the modern day. Carpets hold an especially distinguished place in the Middle East where they are held as an item of prestige in mosques, palaces, and houses. The historical methods of carpet-weaving are thus highly valued as skills which incorporate aesthetic beauty with traditional craftsmanship.

About

Discover Persian miniature painting through the legendary encounter of King Solomon and the Queen of Sheba, a tale of wisdom, power and majesty that has captivated artists for centuries. When the Queen hears of Solomon's renowned wisdom, she journeys from her distant kingdom bearing gifts to test him. Upon meeting, they recognise each other as mighty rulers of their respective kingdoms and develop a great mutual admiration.

We focus on depictions of their enthronement within a beautiful palace garden under a golden sky, featuring birds and beasts. The throne, a symbol of earthly and spiritual authority, will contain intricate geometric patterns. The course covers traditional brushwork and paper preparation techniques, bringing this legend to life.

Learn how to paint real and fantastical beasts using ancient techniques from the rich world of
Islamic art.

Join us on a journey exploring fabulous creatures, both real and imagined. This course will cover all
practical aspects in painting your own illuminated composition inspired by the exquisite borders of
Islamic manuscripts. We will begin by looking at the historical and stylistic context of these works of
art, tracing motifs though the Silk Road to their arrival in the Islamic lands. Students will have the
opportunity to learn about traditional painting and gilding methods. In guiding the class though
practical drawing and painting exercises, this comprehensive course will show students step-by-step,
how to gild their illuminated painting.

The course will be supported by illustrated talks, group and one-to-one feedback, and teaching
resources developed over 15 years of experience with the craft.

As the story goes, a competition took place between two great Greek philosophers, Plato and Aristotle, to decide who was the wisest. Aristotle began by boasting that he possessed all earthly knowledge. In response, Plato listened to the music of the spheres and stars, then created a musical instrument unlike any seen before. When Plato drew a circle around himself and played this instrument, its sounds were so harmonious and perfect that animals around him—predator and prey alike—fell into a hypnotic swoon. Afterwards, Plato played another tune to wake them. The animals, now refreshed, continued on their way.

This astonishing scene is not mentioned in Greek epics. Instead, it is found in the Khamsa of Nizami, in Nizami's account of Alexander the Great (Iskandar). Aristotle, chastened by his loss, eventually accepts Plato as the true master. This is in line with the rise of Neoplatonism and Sufism in Persia at the time.

In this course, we will paint inspired by Plato’s charming and waking the animals - focus and reflect, and then emerge, refreshed by beauty and harmony.

The pleasure of concentrating on a single miniature for a period of time involves us deeply. We are immersed in it; we live with it; we live in it. Inhabiting and internalising a painting in this way is a wonderful and traditional way to learn. In today’s fast-paced world we need to sit, focus on and contemplate our single piece and grow to love and understand it. We will understand the subtle art of colour, composition and blending by our action of making and doing, connecting with the work. The aim is not to rush, but to dwell. Thus painting is a form of meditation in itself.

Students are invited to recreate this miniature painting alongside the tutor, incorporate elements into existing work or be inspired to create their own compositions. Lions, tigers, and antelopes lie in repose, allowing us to see and paint their soft bellies and draw them in positions we don't normally find in miniature painting.

The art of the Celtic/Pictish manuscripts has fascinated modern people for a long time with its beauty of form, richness of colour and enigmatic style.

By close study of the Book of Kells and some other artefacts from these times we will look to recreate some of these patterns and gain some understanding and firsthand experience of their form.

We will then go on to create a small pattern page developing your own style within the form through line and colour.   

Upon ascending to the throne, Emperor Akbar established a royal atelier known as the tasvir khana. The atelier was led by prominent Persian artists. It also brought together artists from across India and the rest of Asia, including Hindus and Muslims. What emerged from the tasvir khana came to be known as the Mughal style.

The Hamzanama was among the first manuscripts to be commissioned by Akbar. The story recounts the life of Hamza ibn Abdul-Muttalib, the uncle of the Prophet Mohammed. It describes his fantastical encounters with sorcerers, demons, fairies, daring heroes, brave women, and trickster spies.

In this course, we will paint scenes from the Hamzanama. The course will cover the preparation of paper, and painting techniques such as flooding and fine shading.

Syria is home to some of the earliest examples of civilizational Islamic architecture. Its bold, high-contrast aesthetic weaves Roman and Byzantine influences into an authentically Islamic style. Beyond the capital city of Damascus, Syria is home to a variety of lesser documented architectural heritage sites, such as
Al Nuri Mosque in the city of Hama.

In this course, we will be utilizing a ruler and compass approach to recreate an extraordinary spandrel pattern from the interior of Al Nuri. Over the course of three sessions, we will construct a detailed and versatile grid, then learn how to apply the interwoven arcs and Syrian knotwork motifs. This methodology can subsequently be utilised by students to understand and recreate other similar designs from the region.

This enigmatic and unique ratio was referred to by Euclid as the 'extreme and mean division' of a line. It features prominently within the natural world of growth such as in flowers, microscopic sea organisms and even our own DNA spiral. It also indirectly expresses itself through the so-called 'Fibonacci sequence' where simple whole numbers can be used in relationship to approximate what is ultimately an inexpressible ratio.   

This practical art course will concentrate on the drawing of geometric golden ratio patterns from different spiritual traditions. It will also focus on various intriguing and beautiful geometric diagrams that can help the inquisitive student to ponder the spiritual meaning of this ideal mathematical relationship. All of this will be accompanied by regular slideshows consisting of beautiful images of the golden ratio in nature, art and the cosmos.   

This course introduces participants to the essential principles of geometry and number in nature. It includes the study of the three primary symmetry groups which embody the triangle and hexagon, the square and octagon and the pentagon and decagon. 

Participants will use compasses and ruler to draw a variety of patterns mainly from the Islamic tradition and the syllabus will slowly move from more simple patterns onto more complex ones as the course progresses.   

The use of geometry as a symbolic language and a contemplative form in the spiritual imagination will also be an on-going theme throughout the course. Participants will finish the course with a collection of around 12 completed patterns.     

Draw Islamic patterns, a Gothic Christian labyrinth, a Hindu Yantra and diagrams associated with the Great Pyramid in Egypt while exploring the underlying universality of geometry within four particular world traditions of sacred art.

Description

Encountering Cosmatesque ornamentation is like stepping into a visual riddle—an intricate tapestry of geometry. Found primarily in medieval Catholic churches in and around Rome, these mesmerising stone inlays evoke labyrinths, gardens, carpets and pilgrimage paths, all woven into a single surface.

With their roots in ancient Roman mosaics, Cosmatesque designs feature vibrant inlaid patterns of coloured stone and glass, meticulously cut into geometric forms. This course offers a practical approach to understanding and recreating these ornaments using compass and ruler. While unlocking the geometric principles behind their construction, it invites you to decode and ‘speak’ the language of the Cosmatesque.

Drawing from examples found in churches such as the Anagni Cathedral, San Clemente and San Benedetto in Piscinula in Rome, participants will:
•              Learn to analyse and draw Cosmatesque patterns and their ornamental infills
•              Explore the historical and symbolic context of these designs
•              Develop practical skills for independent exploration and creative interpretation

Chinese influence on Persian miniature painting manifests itself most clearly in wild, brightly coloured clouds. In these paintings, the air comes alive with spiraling forms. This course will focus on the spiral constructions of clouds and stylised cloud motifs or bulut.

To begin, your tutor will discuss the context and history of this fascinating world. You will then learn practical steps for starting a miniature painting, including: how to burnish paper, ink the design, and transfer the design to prepared paper. The next phase of the course focuses on materials and tools for painting, and how they are used. There will be specific practise exercises to develop brush handling and techniques. Students will then move on to painting their own miniature clouds and using colour combinations.    By the end of this course, you'll have your own miniature painting and knowledge of key techniques.   

In this expansive course, students will have a deep and thorough induction into the world of manuscript illumination, inspired by the Baybars Qur'an. This stunning Qur'an was produced in Cairo for Sultan Baybars II, and is the earliest dated Qur'an from the Mamluk period. The course will begin with preparing paper. This will include paper dyeing techniques using natural ingredients, cooking and applying size to the paper and finally burnishing the paper smooth.

Students will learn to prepare shell gold, a gold paint made from sheets of genuine loose gold, which will illuminate your manuscript. Students will then learn about how these manuscripts would have been designed by constructing the design from its underlying geometry. Students will also be shown how the Rumi design motifs, and woven borders are composed.

When your composition is ready, learn how to finish the painting by outlining your design with ink, fill with colour, and highlight in gold.

This course offers a comprehensive introduction to calligraphy, focusing on both italic script and modern pointed pen styles.

Students will begin by learning or refining a basic italic hand, gradually progressing toward greater fluidity and expression. The course will introduce flourishes and explore how to use italic script in the layout and design of short texts.

Participants will also study joined italic forms, stylistic variations, and both basic and flourished italic capitals, applying these elements in creative compositions.

Alternatively, or in addition, students may follow a similar learning path with modern pointed pen script. This includes developing a foundational version of the script, learning capital letters, and designing short texts.

A range of creative variations will be introduced, allowing for personal expression and stylistic exploration.

For those interested, copperplate script is also available as an option. Other scripts may be offered on an individual basis depending on student interest and needs as the course progresses.

The course is designed to accommodate both beginners and those with prior experience. Students with little or no background in calligraphy will gain a solid understanding of good letterform and develop practical skills that provide a strong foundation for future experimentation. Those with existing knowledge will have the opportunity to expand their repertoire and refine their technique.

Teaching will be delivered through group demonstrations and explanations, as well as individual guidance throughout each day. There will be ample opportunity for hands-on practice, with detailed feedback and support tailored to each student’s progress and goals.

About

Explore a painting tradition that has remained largely unchanged for hundreds of years. Students will be taken through step by step techniques rooted in the time of Akbar and the Mughal ateliers of northern India. Each stage of completing a miniature painting in the Mughal tradition - from preparing handmade paper, mixing paint, burnishing with agate stone, to finally learning how to use a squirrel hair brush for fine detailing and perdacht (shading) and applying a decorated borders - will be taught in this week-long masterclass.  

Having followed rigorous traditional training under miniaturist Mehendra Sharma, and painting for more than 34 years, master of Indian miniature painting Ajay Sharma provides students a thorough understanding of the materials, procedures and skills required to make a traditional Mughal miniature painting. With the assistance of Vinita Sharma, also renowned for her expertise in pigments and shell gold, students will learn about different colours of gold and its application to the painting, as well as the technical care in working with delicate brushes.

A rare opportunity to work with established masters of this century old tradition, new and existing students of the miniature practice will receive insightful feedback from a living expert and gain incredible knowledge of the craft, deepening their understanding of the tradition and raising their practise to the next level.

In this 1-day taster course we will explore the techniques used to paint gilded floral motifs in Islamic
art. Students will have the opportunity to learn how to use shell gold, a traditional paint used in
illuminated manuscripts. This class will be supported by tutor demonstrations, group, and one to
one feedback, as well as newly designed teaching resources developed over 15 years of experience
with the craft.

Key Information

Who is this workshop for?

All levels of ability and experience welcome. You must be aged 18 or over to participate in our programmes.

How many people can attend?

14 people

What days/times do I attend?

Mon, 15 December 2025, 10:00 - 16:30

What materials do I need?

Students should bring the following to class:

• 2 x Round sable watercolour brushes (size 000). We will use one for gold, and the other for colour (if you wish to add some colour); this is to prevent contamination of the gold.
• 1 x Round sable watercolour brush (size 0). The tutor recommends brushes from Cornelissen, and Windsor and Newton, but feel free to use whichever brand you prefer.
• Palettes with wells
• Optional: we will mostly be using shell gold. If you would like to add a little colour to the work, please feel free to bring their own selection of gouache paints.
• A notebook and pen (optional)

All other materials will be provided.

Wear comfortable clothing that you do not mind getting slightly messy. Avoid wearing baggy clothing (especially sleeves), loose jewellery, high heels or open-toed shoes.

Where will this course take place?

This course will take place at our studios at The King’s Foundation School of Traditional Arts, 19-22 Charlotte Road, London EC2A 3SG.

FAQs

Do you offer concessions?

Yes, we offer concessions for Seniors/60+, full-time students and people who are unemployed/in receipt of benefits.

Concessions cannot be applied in retrospect. To receive a concession, please apply via our online form. We will then send you a discount code to use when booking your space.

Terms & Conditions

The School reserves the right to discontinue or suspend a Course up to fourteen (14) calendar days before the advertised start date of the Course. This course requires a minimum number of enrollments to run.

Our normal terms and conditions apply.

Tutor Biography

Ayesha Gamiet is an artist, illustrator and art educator from the South East of England. Her work is inspired by traditional Islamic arts and the beauty of nature. Ayesha's interest in art and culture led her to pursue a BA in African and Asian Art History and Archaeology at SOAS, University of London, and a Master's Degree in Traditional and Islamic Arts at the King's Foundation School of Traditional Arts. Ayesha specialised in islimi (biomorphic design) and Islamic manuscript illumination. In 2018 Ayesha received her ijaza (traditional apprenticeship) in this beautiful craft under the renowned Turkish Master Illuminator, Ayten Tiryaki. Ayesha also holds a Master's Degree in Education (with a focus on Art, Creativity and Culture in Education) from the University of Cambridge. She is a qualified secondary school art teacher with experience of teaching art to adults and children, from primary to post-graduate level. Ayesha teaches both within the UK and abroad, and works as an artist completing commissions and design work. She was recently commissioned by the Royal Library, Windsor Castle, to produce illuminated frontispieces for four volumes of poetry. One of these volumes was gifted to HRH Queen Elizabeth II, a second volume was gifted to HM King Charles. Ayesha's teaching experience includes delivering training to new art teachers at the Faculty of Education, University of Cambridge; work at the King's Gallery, London; and teaching for the School of Traditional Arts in London, Cairo, Jeddah, Doha, and Abu Dhabi. She has exhibited within the UK and internationally. Her teaching, travels and experiences in the rich world of Islamic art continue to inspire and inform her work.

About

Drawing from the medieval European tradition, students will be shown how to paint miniature designs and apply a variety of gilding techniques.  

Students will complete a number of small scale projects using different methods. This course will enable students to further their skills in manuscript illumination, whether they are beginners or already have some experience working with gold.    

This course explores Islamic patterns through paper folding techniques that mimic the behavior of light and mirrors. Students will engage hands-on with pre-cut, pre-creased printed paper to understand principles of experimental modulation.

Participants will create both murals (2D compositions) and sculptures (3D forms), all inspired by Islamic geometric art. Origami will be used to construct and analyze patterns, emphasizing optical geometry and spatial interaction.

Through guided practice, students will learn the logic of designing folded patterns in 2D and 3D. With infinite variations possible, the course encourages creativity and innovation, potentially leading to entirely new designs.

While the focus is on paper, students are encouraged to explore other materials—such as textiles or wood—and applications like prototyping or geometric drafting.

We’ll use standard print paper for ideation and special crease-etched paper for final pieces. Four designs will be available, each offering diverse interaction possibilities. The paper is durable, colorfast, and suitable for outdoor display without protective coatings. Cutting techniques will also be explored, revealing unexpected results through layered folds.

Ultimately, the course aims to deepen students’ understanding of Islamic geometric art as a meditative, creative, and material-based practice—offering insights that extend beyond paper.

The Shōsōin is a remarkable time capsule of a building, preserving thousands of artifacts that reveal Nara, Japan’s role at the eastern edge of the Silk Road. From Buddhist devotional items and intricate jewelry to richly woven textiles, these treasures reflect a vibrant blend of cultural influences —from China and Korea to Persia and the Mediterranean—showcasing the global connections that shaped Japan’s history.

This course will take inspiration from the patterns that decorate textiles found in the Shōsōin, from Chinese style phoenixes, to Persianesque hunting scenes.

Students will learn a step-by-step process for creating a black and white woodblock print.  As well as producing a print, students will learn how to use and look after their tools, brushes and papers in detail, and to produce their own prints independently after the course has ended.  An absolute prerequisite to learning printmaking in colour.   

Step into the world of Islamic art through the intricate and meditative practice of tezhip, the traditional art of manuscript illumination. In this hands-on course, participants will design and paint a şemse—a radiant central medallion featured in manuscripts, book covers, and decorative arts.

Guided by expert instruction, students will:

• Discover the principles of symmetry, motif construction, and traditional design elements.
• Learn how to prepare paper and gold for illumination.
• Paint their own illuminated şemse.

Whether you're new to Islamic arts or looking to deepen your practice, this course offers a rich opportunity to engage with a timeless tradition.

Immerse yourself in a creative and contemplative journey that reveals how much can be achieved with just a handful of hues.

We will work with a refined palette of three primary colours—red, symbolising divine life and resurrection; yellow, representing divine light; and blue, evoking mystery and transcendence. Enhanced by the depth of black and the purity of white, students will gain a deeper understanding of colour harmony, symbolism, and the essence of form.

Guided by iconographer Hanna Ward, you will learn how to:

• Prepare and use natural pigments for egg tempera.
• Mix and layer colours to create the ethereal luminosity needed in icons.
• Understand the spiritual and historical significance of icon painting.

Whether you're a beginner or an experienced artist seeking development, this course offers insights into the power and possibilities of colour in icon painting.

Participants in this course will study a selection of images of beautiful 17th Century flower paintings from the Dutch Golden Age, one of their highest expressions in the history of art.

You will then paint a single flower, interpreting the image in the medium of egg tempera working on a gesso ground. Then a larger composition shall be undertaken, either an original one or taken from an image from the 17th century. This shall be painted on a gessoed panel.

In this course, students shall learn about the method and techniques of egg tempera, including working in layers from dark to light, fine brushwork, dry brush, and glazing.

We will use rarely seen images of Old Masters' paintings kindly provided by the Johnny Van Heften Gallery.

About

Immerse yourself in the traditional techniques used by Piero della Francesca in this intensive egg tempera course. You will choose a portrait from a selection of paintings by Piero della Francesca and create a copy using egg tempera on a gessoed panel.

In this course students will learn about a traditional process of painting that reveal’s the delicate brilliance of the egg tempera method and techniques, including working in layers from dark to light in a chiaroscuro technique and fine brushwork. Students will explore glazing and the dry brush technique and Piero della Francesca's palette.

Key Information

Who is this course for?

All levels of ability and experience are welcome. You must be aged 18 or over to participate in our programmes.

What days/times do I attend?

Monday – Friday, 20 - 24 July 2026, 10:00 – 16:30

How many students can attend?

14 people

Where will this course take place?

This course will take place at our studios at The King’s Foundation School of Traditional Arts, 19-22 Charlotte Road, London EC2A 3SG.

What should I bring to class?

Students should all bring: 

• an artist's sketchbook/notebook A4 or A5 
• a pointed, round watercolour brush (sable or synthetic) in size 2 and size 3. Your tutor recommends the Windsor and Newton Series 7 Watercolour brush (not Miniature Series) 
• a selection of brushes in other sizes, Size 1 - 2 fine, and Size 5 - 7 flat 
• a small glass jar with lid to store the egg tempera. Approx. 50 - 100g would suffice.
• a cotton paint rag if possible     

Wear comfortable clothing that you do not mind getting slightly messy. Avoid wearing baggy clothing (especially sleeves), loose jewellery, high heels or open-toed shoes.

FAQs

Do you offer concessions?

Yes, we offer concessions for Seniors/60+, full-time students and people who are unemployed/in receipt of benefits.

Concessions cannot be applied in retrospect. To receive a concession, please apply via our online form. We will then send you a discount code to use when booking your space.

Terms & Conditions

The School reserves the right to discontinue or suspend a Course up to fourteen (14) calendar days before the advertised start date of the Course. This course requires a minimum number of enrollments to run.

The School may take and use images of you and/or your work for course advertisement and social media purposes.

Our normal terms and conditions apply.

Tutor Biography

Lily Corbett Gale is a painter who studied drawing and painting with the visionary artist Cecil Collins from 1976 until 1989 and continues to teach his methods in life drawing. She also worked as a picture restorer and conservator for many years. She completed her MA at The King’s Foundation School of Traditional Arts in 2002.

About

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Gain hands-on experience in how masons built traditional domed structures such as churches, mosques, tombs, palaces, and simple homes using just one material - earth. Learn the techniques to rotate and incline small blocks of natural materials to create arches, vaults, and domes, allowing you to design in harmony with the Earth. Engage in full-scale exercises and model-building activities to understand the timeless design principles that can inspire the creation of new homes, places of worship, and community spaces.

This course seeks to re-awaken a method, latent in the world’s diverse religious systems, of architectural design and building construction as an orderly process of spiritual guidance. In the process of “research and in-search” our quests become more meaningful when our goals meet with others' needs and goals (Khalili, 1984)

The content of this course includes one of the most ancient frames of reference: Masonry Architecture. It provides the participant with an ancient mnemonic, like a string of prayer beads or a ladder of ascent and descent. Continuing the essence of its tradition into the 21st century, digital fabrication with traditional masonry are integrated, building on the work of Masters.

"An arch is like a prayer,
its strength is in its unity,
its beauty in its repetition."

Nader Khalili, architect

The course content addresses building with earth and masonry as a living art, relating historical precedent and contemporary practice. You will be learning to work with the universal elements of earth, water, air and fire as architectural design generators and innovators, within a design theory that works with their properties and qualities (divine names) and the process of analogy. The principle of unity within diverse multiplicity is explored through work “made without hands” (acheiropoeiton) and “doing while not doing” (anenergesia) in the design and fabrication of masonry buildings.

Lectures in theory are followed by hands-on building scale models and full-scale architectural elements. Both theory and hands-on teach a gravity-guided architecture experienced by all the senses.

Paint the Conference of the Birds, Mantiq al-tair, a miniature depicting Attar's allegory for the search for the divine.   In this miniature, a multitude of birds gather in a parliament - full of colourful feathers, these birds are a feast for the eyes.    

They embark on a search for their King, the Simurgh. It is only after travelling through the valleys of Love, Knowledge, Detachment, Unity, Wonderment, Poverty and Annihilation that they realise they themselves make up the 'Simurgh' (literally, 'thirty birds').   

There are several extant miniatures from which we will be inspired. We will spend time on the composition of your own pieces, or you can recreate an existing manuscript. Consideration will be given to the balance of proportion and feather colours in our pieces.   

This immersive course invites participants to explore the luminous beauty of early Italian painting through the exquisite tradition of Sienese art and the historic technique of egg tempera.

Rooted in the rich artistic heritage of 13th to 15th Century Siena, the course offers a hands-on opportunity to study and practice the methods of masters such as Duccio, Simone Martini, and the Lorenzetti brothers.

Working step-by-step in the classical manner, participants will learn how to transfer drawings, and paint with hand-mixed egg tempera on a gesso panel.

Special emphasis will be placed on the spiritual and aesthetic qualities that define Sienese painting—graceful line, delicate colour, and a refined sense of harmony.

Optional: If students would like to apply gold to the halo, they should bring a book of loose gold leaf.

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