Islamic Aesthetics: An Introduction

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This landmark essay posits the Qurʾan as a rich source to delve in for the purpose of understanding the Islamic attitude toward the arts, notably the question of figurative representation.

What is important in Islamic painting is not that the subject be represented as it appears in nature, but rather that the autonomous cosmos created by the artist, with its own structure, language, and laws, be clear to the viewer. Animate beings and life were identified with individuality, not with form, rendering them an idea or concept rather than a concrete representation. For the Islamic artist, God creates life by giving form an individuality without which it cannot be alive. The artist can only reproduce the most characteristic general traits of a person without bestowing on the figure any individuality, and thus has no fear of competing with God's creative act. Islamic art seeks to portray the meaning and essence of things, rather than just their physical form Ettinghausen, Richard. Treasures of Asia: Arab Painting. Cleveland, Ohio: The World Publishing Company, 1962. Yaghan, M. A. J. (2000). Decoding the two-dimensional pattern found at Takht-i Sulayman into three-dimensional muqarnas forms. Iran, 38, 77–95.The idea is that as Islam is integral to every part of a Muslim's life and makes it beautiful, so Islamic art should be used to make the things of everyday life beautiful. One of the profound layers of Islamic art is its deep-rooted symbolism. At first glance, the eye sees patterns and colours, but upon closer inspection, the mind begins to understand the deeper narratives hidden within. For instance, the ever-present geometric patterns, while visually enthralling, represent the concept of Tawhid, the oneness of God. They serve as a reminder of the infinite nature of the divine, creating a sense of boundless continuation. Allen, T. (1988). Aniconism and figural representation in Islamic art. In T. Allen (Ed.), Five essays on Islamic art (pp. 17–37). Sebastapol, CA: Solipsist. For Muslims, beauty has always been and will always be a quality of the divine. There is a hadith of the Prophet Muhammad that says: "Allah is beautiful and he loves beauty."

It is often argued that a very special sort of consciousness went into creating Islamic art, that Islamic art is very different from other forms of art, that Muslims are not allowed to portray human beings in their art, and that calligraphy is the supreme Islamic art form. Oliver Leaman challenges all of these ideas, and argues that they are misguided. Instead, he suggests that the criteria we should apply to Islamic art are identical to the criteria applicable to art in general, and that the attempt to put Islamic art into a special category is a result of orientalism. Leaman criticizes the influence of Sufism on Islamic aesthetics and contends that it is generally misleading regarding both the nature of Islam and artistic expression. He discusses issues arising in painting, calligraphy, architecture, gardens, literature, films, and music and pays close attention to the teachings of the Qur’an. In particular he asks what it would mean for the Qur’an to be a miraculous literary creation, and he analyzes two passages in the Qur’an–those of Yusuf and Zulaykha (Joseph and Zuleika) and King Sullayman (Solomon) and the Queen of Sheba. His arguments draw on examples from history, art, philosophy, theology, and the artefacts of the Islamic world, and raise a large number of difficulties in the accepted paradigms for analyzing Islamic art. Islamic Aesthetics: An Introduction by Oliver Leaman – eBook DetailsCritchlow, K. (1976). Islamic patterns: An analytical and cosmological approach. London: Thames & Hudson.

Thus, the spiritual and temporal life of Muslims is regulated in circles, which revolve around an axis and represent the constant revolving movement of the believer’s life towards God. It is reflected, amongst other things, in the steps of the whirling Mevlevî Dervishes, the pilgrim’s tawâf around the Ka’ba and the circular units in arabesque compositions. Hence, the idea of centrality remains unchanging. Therefore, to understand Islamic art by only analyzing the outward manifestation of its quantitative characteristics and ignoring its fusion within the general spiritual framework which it defines is pointless. Because Islamic aesthetics focus on the spiritual representation of beings and objects, instead of their material values, the outward appearance of an object in no way encompasses its essence and true self. Each dhâhir, or outward quantitative and physical appearance, differs from its bâtin, or inward qualitative and spiritual essence, while perfection can only be attributed to God the Creator. Decorative Accessories: From cushion covers with arabesque designs to contemporary light fixtures inspired by Islamic geometry, the possibilities are endless. It is often argued that a very special sort of consciousness went into creating Islamic art, that Islamic art is very different from other forms of art, that Muslims are not allowed to portray human beings in their art, and that calligraphy is the supreme Islamic art form. Oliver Leaman challenges all of these ideas, and argues that they are misguided. Instead, he suggests that the criteria we should apply to Islamic art are identical to the criteria applicable to art in general, and that the attempt to put Islamic art into a special category is a result of orientalism. One of the numerous works on the holy book of Islam by this reputed scholar, this big volume provides a comprehensive study of the Qurʾan as text. Excellent resource for anyone interested in Qurʾanic verbal aesthetics. Ilm al-Jamal” means “science of beauty” and is the equivalent of the word “aesthetics” in contemporary Arabic, which explores topics such as the nature and principles of beauty, artistic value patterns and beauty theories.Déroche, François. The Abbassid Tradition: Qurʾans of the 8th to the 10th Centuries AD. Nasser D. Khalili Collection of Islamic Art I. New York: Nour Foundation, 1992. Tabbaa, Y. (2001). The transformation of Islamic art during the Sunni revival. Seattle, Washington/London: University of Washington. Ward, Rosalind Gwynne. “Beauty.” In Encyclopaedia of the Qurʾan. Vol. 1. Edited by Jane Dammen McAuliffe, 212–214. Leiden, The Netherlands: Brill, 2001. Islamic art is not limited to religious depictions or the Muslim faith but represents a broader cultural heritage. It started in the 7th century with the advent of Islam but absorbed various regional art traditions from Spain to India. As the Islamic empire expanded, different styles merged, resulting in a rich tapestry of art forms. Characteristics of Islamic Art