By Seyyed Hossein Nasr
With impressive breadth of imaginative and prescient, Seyyed Hossein Nasr finds for either Western and Muslim readers how each one artwork shape within the islamic culture is predicated upon a technological know-how of nature involved, no longer with the outer visual appeal of items, yet with their internal truth. Ranging throughout calligraphy, portray, structure, literature, song, and the plastic arts, Nasr penetrates to the interior size of Islam and exhibits the position artwork performs within the lifetime of person Muslims and the group as a whole--the function of inspiring the remembrance and contemplation of God.
as soon as the writer establishes artwork as an relief and help to the religious existence, he strains the artistic act to its final resource: internal wisdom and barakah, or grace, which make the crystallization of internal realities in shape and house and time attainable. via this information and charm, the writer asserts, team spirit manifests upon the aircraft of multiplicity, making archetypal realities perceivable through the senses. via this information and charm, paintings services as a ladder for the adventure of the soul from the noticeable to the invisible. How Islamic artwork leads guy to the internal chamber of divine revelation kinds the substance of a lot of this crucial work.
an extremely shut glance is given to the Sufi culture inside of Islam, for its mystical lecturers have usually sincerely verified of their works the non secular value of attractiveness and served because the resource of concept for art.
via rediscovering the foundation of paintings within the Islamic culture, Seyyed Hossein Nasr opens doorways to new dimensions of team spirit that have doubtless been obscured in contemporary Western paintings. In so doing, he extends the importance of this e-book past the Islamic trust approach to the touch the hearts and artistic impulses of readers from all traditions.
Seyyed Hossein Nasr is at present collage Professor of Islamic reviews at George Washington collage. Born in Tehran and informed at MIT and Harvard, he used to be formerly professor of the historical past of technology and philosophy at Tehran college and primary president of the Iranian Academy of Philosophy. He has taught all through the US, Europe, the center East, Pakistan, India, Japan, and Australia. he's the writer of over twenty books in English. between them are Sufi Essays, Islamic lifestyles and idea, wisdom and the Sacred, and 3 Muslim Sages.
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Extra resources for Islamic Art and Spirituality
Islamic calligraphy recreates this metaphysical reality inasmuch as, in 'embodying' the text of the Quran, it repeats the contours of creation itself. 19 Or from another point of view it might be said that the vertical symbolizes the Unity of the Principle and the horizontal the multiplicity of manifestation. All the traditional styles share in combining these two dimensions of verticality and horizontality but each in a dif < previous page page_28 If you like this book, buy it! next page > page_30-2 < previous page page_30-2 next page > The Karatay madrasah in Qonya, a masterpiece of Seljuq architecture, displays the ubiquitous presence of the sacred calligraphy of the Quran intertwined with geometric patterns.
1975, Chapter 11. 3. See V. , 1959, p. 21. 4. P. Schuon, Understanding Islam, trans. D. M. Matheson, London, 1963, p. 60. 5. M. Lings, The Quranic Art of Calligraphy and Illumination, London, 1976, p. 14. 6. ' E. Robertson, 'Muhammad ibn 'Abd ar-Rahman on Calligraphy', Studia Semitica et Orientalia, 1920, p. 65. 7. Minorsky, op. cit. p. 49. 8. On the arcs of descent and ascent see S. H. Nasr, An Introduction to Islamic Cosmological Doctrines, London, 1978, chapter XII. 9. On the symbolism of this letter see R.
From the beginning there developed the Kufic, or 'Quranic', script and the naskhi, which was less strictly related to the Quranic text although in later centuries some of the finest Qurans were written in naskhi. Cursive styles developed soon thereafter so that Ibn Nadim, who lived in the fourth/tenth century, already mentions twelve scripts and twelve variations upon them. 18 The famous calligrapher, Ibn Muqlah, who lived at the same time, laid down the rules for writing six major styles, the thuluth, naskh, rayhan, muhaqqiq, tawqi, and riqa', rules which have survived to this day.
Islamic Art and Spirituality by Seyyed Hossein Nasr