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The volume contains 26 contributions to literature, philosophy, linguistics and epigraphy in Islamic culture, ranging from pre-Islamic poetry to contemporary prose, from the Ihwan as-Safa to the theology of Mawdudi, from lexicography to epigraphy. These papers were read at the Eighteenth International Congress of the Union Europeenne des Arabisants et Islamisants, organized by the Catholic University of Leuven (KUL) from 3 to 10 September 1996. A second volume of proceedings, that appears along with this one (OLA 86), is more concerned with questions of actuality and political organisation, including Christian minorities in the Arab world, in their relation to the Muslim environment. As such the two volumes put together, will provide to the world of learning, we may say, an overall picture of the current scientific investigations about Islamic culture and society.
A comprehensive reference work covering all figures of the earliest period of philosophy in the Islamic world. Both major and minor thinkers are covered, with details of biography and doctrine as well as detailed lists and summaries of each author’s works.
Readership: Anyone interested in philosophy, the history of ideas, or the ancient Greek world
This book brings together the study of two great disciplines of the Islamic world: law and philosophy. In both sunni and shiite Islam, it became the norm for scholars to acquire a high level of expertise in the legal tradition. Thus some of the greatest names in the history of Aristotelianism were trained jurists, like Averroes, or commented on the status and nature of law, like al-Fārābī. While such authors sought to put law in its place relative to the philosophical disciplines, others criticized philosophy from a legal viewpoint, like al-Ghazālī and Ibn Taymiyya. But this collection of papers does not only explore the relative standing of law and philosophy. It also looks at how philosophers, theologians, and jurists answered philosophical questions that arise from jurisprudence itself. What is the logical structure of a well-formed legal argument? What standard of certainty needs to be attained in passing down judgments, and how is that standard reached? What are the sources of valid legal judgment and what makes these sources authoritative? May a believer be excused on grounds of ignorance? Together the contributions provide an unprecedented demonstration of the close connections between philosophy and law in Islamic society, while also highlighting the philosophical interest of texts normally studied only by legal historians.
Media coverage of the Danish cartoon crisis and the destruction of the Buddhas of Bamiyan left Westerners with a strong impression that Islam does not countenance depiction of religious imagery. Jamal J. Elias corrects this view by revealing the complexity of Islamic attitudes toward representational religious art. Aisha’s Cushion emphasizes Islam’s perceptual and intellectual modes and in so doing offers the reader both insight into Islamic visual culture and a unique way of seeing the world. Aisha’s Cushion evaluates the controversies surrounding blasphemy and iconoclasm by exploring Islamic societies at the time of Muhammad and the birth of Islam; during early contact between Arab Muslims and Byzantine Christians; in medieval Anatolia and India; and in modern times. Elias’s inquiry then goes further, to situate Islamic religious art in a global context. His comparisons with Christian, Jewish, Buddhist, and Hindu attitudes toward religious art show them to be as contradictory as those of Islam. Contemporary theories about art’s place in society inform Elias’s investigation of how religious objects have been understood across time and in different cultures. Elias contends that Islamic perspectives on representation and perception should be sought not only in theological writings or aesthetic treatises but in a range of Islamic works in areas as diverse as optics, alchemy, dreaming, calligraphy, literature, vehicle and home decoration, and Sufi metaphysics. Unearthing shades of meaning in Islamic thought throughout history, Elias offers fresh insight into the relations among religion, art, and perception across a broad range of cultures.
What is language? How did it originate and how does it work? What is its relation to thought and, beyond thought, to reality? Questions like these have been at the center of lively debate ever since the rise of scholarly activities in the Islamic world during the 8th/9th century. However, in contrast to contemporary philosophy, they were not tackled by scholars adhering to only one specific discipline. Rather, they were addressed across multiple fields and domains, no less by linguists, legal theorists, and theologians than by Aristotelian philosophers. In response to the different challenges faced by these disciplines, highly sophisticated and more specialized areas emerged, comparable to what nowadays would be referred to as semantics, pragmatics, and hermeneutics, to name but a few – fields of research that are pursued to this day and still flourish in some of the traditional schools. Philosophy of language, thus, has been a major theme throughout Islamic intellectual culture in general; a theme which, probably due to its trans-disciplinary nature, has largely been neglected by modern research. This book brings together for the first time experts from the various fields involved, in order to explore the riches of this tradition and make them accessible to a broader public interested both in philosophy and the history of ideas more generally.
The scholarly search on the art of the object is of enduring interest and enjoys a new renaissance in the last few years. This book mainly explores the art and craft of Islamic artefacts and presents to the reader a diverse range of approaches. Despite this variety, in which also artefacts of the pre-Islamic, period as well as 'orientalized' European artefacts of the modern era are included, there is an overarching theme – the linking of the interpretation of objects and their specific aesthetics to textual sources and the aim of setting them in historical and artistic context. In this impressive collection honouring the German scholar of Islamic art Jens Kröger on his 65th birthday, Avinoam Shalem and Annette Hagedorn bring together contributions from a highly distinguished group of scholars of Asiatic, Sasanian, Islamic as well as European art history. Unpublished artefacts and new interpretations are presented in this book.
Islamic art is justly famed for its technological sophistication, varied approaches to ornament, and innovative employment of the written word. But what do we know about the skilled artisans who spent their lives designing and creating the paintings, objects and buildings that are so admired today? This anthology of written sources (dating from the seventh to the twentieth centuries) explores numerous aspects of the crafts of the Middle East from the processing of raw materials to the manufacture of finished artefacts. You will learn about: the legal and ethical dimensions of the arts and crafts, the organisation of labour in urban and rural contexts, the everyday lives of artisans, the gendered dimensions of making things, and the impact of industrialisation upon traditional methods of manufacture. Each chapter begins with an introduction providing a wider context for the primary sources. There are also suggestions for further reading.
An alternate approach to Islamic art emphasizing literary over historical contexts and reception over production in visual arts and music.
What is 'art' in the sense of the Islamic tradition? Mohammed Hamdouni Alami argues that Islamic art has historically been excluded from Western notions of art; that the Western aesthetic tradition's preoccupation with the human body, and the ban on the representation of the human body in Islam, has meant that Islamic and Western art have been perceived as inherently at odds. However, the move away from this 'anthropomorphic aesthetic' in Western art movements, such as modern abstract and constructivist painting, have presented the opportunity for new ways of viewing and evaluating Islamic art and architecture. This book questions the very idea of art predicated on the anthropocentric bias of classical art, and the corollary 'exclusion' of Islamic art from the status of art. It addresses a central question in post-classical aesthetic theory, in as much as the advent of modern abstract and constructivist painting have shown that art can be other than the representation of the human body; that art is not neutral aesthetic contemplation but it is fraught with power and violence; and that the presupposition of classical art was not a universal truth but the assumption of a specific cultural and historical set of practices and vocabularies. Based on close readings of classical Islamic literature, philosophy, poetry, medicine and theology, along with contemporary Western art theory, the author uncovers a specific Islamic theoretical vision of art and architecture based on poetic practice, politics, cosmology and desire. In particular it traces the effects of decoration and architectural planning on the human soul as well as the centrality of the gaze in this poetic view - in Arabic 'nazar'- while examining its surprising similarity to modern theories of the gaze. Through this double gesture, moving critically between two traditions, the author brings Islamic thought and aesthetics back into the realm of visibility, addressing the lack of recognition in comparison with other historical periods and traditions. This is an important step toward a critical analysis of the contemporary debate around the revival of Islamic architectural identity - a debate intricately embedded within opposing Islamic political and social projects throughout the world.