SCIENCE OF ISLAM II – Setting the Terms of the Debate

ISLAMIC ART & SCIENCE: A SHARED VISION
Taimoor Khan Mumtaz

Science of Islam II - Setting the terms of the debate

Sunday, 3rd August 2008

Aiwan-e-Iqbal Complex, Lahore

This slide presentation illustrates the shared Cosmological & Metaphysical frame-work or ‘World-view’ within which Islamic Science and Art exist. My argument is that ultimately the arts and the sciences of Islam share a common philosophy and objectives.

Abstract:
- First I’ll try to illustrate their common frame-work.

- Then the respective Aims & Objectives of Islamic Science and Art.

- Lastly how these common principles and methods are applied in practice, more particularly the application of science in Islamic Art.

Common frame-work of Art & Science



World-view: The Islamic world-view is based on the idea of a Single Supreme Reality which determines all others. It sees the physical and the psychic worlds as nothing but reflections of a spiritual world beyond time and space. And that spiritual world in turn as a reflection of God’s qualities – to quote a Hadith Qudsi: “I was a hidden treasure and I loved to be known, so I created the world so as to become known.” And the Quran: “Wheresoever you turn there is the Face of God.”

Such a conception of the created Universe – including the physical and the non-physical- which is the immediate context for all the various sciences and the arts.The basic elements of this cosmology are rooted in the Quran – which speaks of the seven heavens, the throne of God, etc. – and the Prophetic traditions, especially the descriptions of the Night Journey of the Prophet through the spiritual heavens to the very Presence of God .[1]

Objectives of Science: Based upon the above world-view traditional Islamic science supposes that the Unity and Hierarchy within the Divine order are reflected in the created order - the Cosmos. Consequently, the various cosmological schemes in Islam sought to show the inter-relatedness of all things.

For example the sciences of geometry, number, music, medicine all have a metaphysical, cosmological and symbolic aspect in addition to their material aspect.

“These forms, which are perceived in the material world, are the similitudes of those which exist in the world of spirits…these are the movers and those the moved … [they] endure ; whereas these perish and pass away.’

– Ikhwan-as-Safa, 10th Century, Baghdad

Harmony between Reason & Revelation: One of the aims of muslim scientists through -out the discourse of traditional Islamic science –from Al-Farabi and Ibn Sina to Mir Damad and Mula Sadra[2] – was to show the essential concordance and harmony between Reason and Revelation.

To give an example from a 17th Century treatise on astronomy which was being taught into the 20th century as part of the Dars-e-Nizami. Written by Maulana Imam Al-Din Riyazi, a third generation member of an illustrious family of architects who were experts in astronomy, mathematics, geometry, the religious sciences and calligraphy in addition to being poets. His grand-father the famous Ustad Ahmad Lahori, who died in 1649, was one of the great architects of the seventeenth century. He may also have been the architect of the Taj Mahal. Ustad Ahmed was a skilled engineer and a learned scholar of astronomy, geometry and mathematics.

Objectives of Art: Islamic Art has two aspects: a functional, the other formal.

Like the forms of traditional art in all cultures based on a Divine revelation those of Islamic Art are symbolic. These forms symbolize the same metaphysical and cosmological realities which underlie Islamic science. This symbolism resides both in the principles of Islamic art and in the vocabulary of its forms.

Principles of Islamic Art:

The over-riding idea of Islam – Tauheed i.e.Unity – is also the central idea of Islamic Art.

The traditional concept of formal Perfection sees it as having two aspects: an aspect of regularity or rigor and an aspect of mystery or infinity. In other words a geometric aspect and a musical aspect. One can say that Perfection i.e. Kamal comprises a balance of Jamal and Jalal. It is these two complementary aspects which the traditional rules for artistic forms embody.

This complementarity of principles, according to the traditional doctrine, reflects the inner reality of the world itself, which comprises an element of geometry and an element of musicality.[3] In Saadi’s words:

The world subsists on music, intoxication and ardour
But what does the blind man see in a mirror?

Jahan bar sama’ ast wa masti o shur
Wa-lekin che beenad aaeena kur

These two aspects of formal ordering in the final analysis are a reflection of two complementary aspects comprised in the Divine unity. The Islamic doctrine expreses this by dividing the names of God into those of rigor (jalali) and those of beauty (jamali).
Examples: Tazia & Iqbal’s verses on the Cordoba Mosque.


Symbolism of the Forms of Islamic Art



The cosmological and metaphysical principles which Islamic Science uses in many of its applications (for example in medicine) Islamic Art expresses in its forms and principles of design.

The inter-relation of Islamic Science and Art in Practice

Art uses applications of Science on the one hand in its aspect of technique (sana’) i.e. the science of materials and their properties, as well as instruments. And on the other, in its aspect of Beauty of form (fann), it needs an application of science (ilm), very often geometry, mathematics and proportioning.

Central Importance of Knowledge in Islam

In conclusion one must ask why knowledge has always had such a central importance in Islam? E.g. the Hadith which is the motto of this series of seminars: “Aquiring knowledge is a duty upon all muslims”.

Man - the Image of God

For an answer one has to remind ourselves that in Islam the human being, like the cosmos, is seen as a reflection of God’s qualities, according to the Hadith, “God created Adam in His image”. The sajda of the angels to Adam also points to the same reality.

In this way one can see that art, science and the world around us, all remind us of our own deepest reality – lead us to a knowledge of who we are.

In the words of the Quran: “We will show you our signs on the horizons and within yourselves [“fil aafaaqi wa fi anfusahum”] until it becomes clear to you that it is the Truth.” (Surah Fusilat, V.53).

[1] Nasr, S.H. , Islamic Science, An illustrated study, U.K. 1976, pp27-ff
[2] Cf. Nasr S.H. Three Muslim Sages
[3] To quote from the Hindu tradition, ‘The universe itself, properly viewed by the Intellect, the “eye of the heart”, as it is often called, is the result of the marriage of harmony (saaman) and the word (rc).’ [Aitareya Brahmana, VIII; 27 …].

Global Environment & Islamic Thought

Centrality of Environment for the ‘Articles of Faith’ (aqaid) in Islam
ABBAS HUSAIN









Second Seminar: Global Environment & Islamic Thought
Sunday, 19th August 2007
Aiwan-e-Iqbal Complex, Lahore

1. Issues of environment
We begin with first things. There is a saying in Urdu 'Jan hai tau jahan hai' i.e.
'We must be alive to be in the world'. I think we should ponder on its reverse too
'Jahan jai to jan hai' i.e 'There must first be a world to live in!'

I am aware that issues of environment don’t have a punch in them. We still feel that these are “Western” issues thrust on us when we are in the middle of developing our own economies. After all they have degraded the planet and they now tell us not to pollute it anymore… such hypocrisy!

In this talk I plan to share with you some reflections on our most basic articles of faith - the aqaid - and the modes of worship - the arkan; and show that we are wrong in thinking like this.

“Muslims today do not know two things: they do not know how to live as a majority and they do not know how to live as a minority.”

2. How do we define islam?
Most textbooks would say that these are cardinal elements:

Aqaid, Arkan & Muamalat (huqooq al ibad)

But this misses two important dimensions. I have come to believe that it is this missing out of these two aspects that has placed us in the quandary that we are in. Surely suicide at the individual level and ignorance at the collective level cannot be our future…

2.1 The Five Model of Islam
The image is of five concentric circles
• Aqaid [Inner Most Circle]
• Arkan
• Islah-e-batin [i.e. Inner purity]
• Muamalat
• Husn-e-musharat [i.e. Beauty of environment] [Outer Most Circle]

Let us define these:


Briefly, aqaid are the five articles of faith i.e.


Tauhid (Unity of God), risalat (Prophethood), malaika (Angels), kutub (Books), qiyamat (Day of Judgement).


Arkan are the basis… the modes of worship i.e


Kalma (Creed), salat (Prayer), saum (Fasting), zakat (Charity), hajj (Pilgrimage).


Islah-e-batin is inner purity.


Muamlat is dealings, huqooq ul ibad.


Husn-e-muasharat is beauty of the environment.

3. Ecology crisis
From day one we have been told not to waste water during wudhoo because it is makrooh.



And in 1997 we read in the cover story of the Time magazine that the next wars will not be on oil but on water. We have only thirty-nine more years to go before all the fresh water table of the earth will be finished. It is a question of husn-e-muashrat.


4. Application of the aqaid
We will now apply each of the aqaid to the demands of the outer three circles
and then arrive at a profound understanding of the five articles of faith and why they are so central.

4.1 Tauhid

Islah-e-batin = Integrity


Muamlat = Allah and his creatures/servants (justice)


Husn-e-muashrat = Cosmos: a vast integration


4.2 Risalat

Islah-e-batin = Role models


Muamlat = Millat


Husn-e-muashrat = Sacred geography


4.3 Malaika

Islah-e-batin = Witness


Muamlat = Sura saffat


Husn-e-muashrat = Aroma



4.4 Kutub

Islah-e-batin = Books/rules


Muamlat = Laws


Husn-e-muashrat = Signs of nature

Corresponding use of the word ayat. The word ayat is also used in three senses in the quran:
• Ayat in Kitab Allah is a sentence
• Ayat in Kitab Mubeen are signs in the universe
• Ayat in the Kitab un nafs are the states of the self

4.5 Day of judgement

Islah-e-batin = Consequence


Muamlat = “goat”


Husn-e-muashrat = Chaos

5. Application of the Arkan
We now turn to the arkan i.e Kalma, Salat, Saum, Zakat, Hajj.

5.1 Kalma
This is the confession of faith: 'No God but Allah and Muhammad is His Prophet'. But to say the kalma is to say the word, not just any word but the true word; not just any true word, but the only true word. Thus all lies are a pollution!

5.2 Salat
This magnificent mode of worship cannot be discussed unless we discuss its steps… its structure as it were…

Wuzu
Clean clothes/space
Qibla
Takbir
Niyyat
Tilawat
Qiyam
Ruku
Quud
Sujud
Salam/durood

5.2.1 Now each of these has its inner aspect.

Wuzu a respect for water
Clean clothes/space environment
Qibla a direction in life
Takbir a jihad against false values
Niyyat an alignment of inner/outer self
Tilawat a connection with wisdom

5.2.2 Then we look at the four physical postures:

Qiyam standing all trees
Ruku bowing creatures
Quud sitting birds/fish/ reptiles
Sujud prostration

And finally thanksgiving to the Prophet without whom we would not have received this great gift:

Salam/durood

And so in salat we are offering as ashraful makhluqat the combined worship
consciously, deliberately of the universe, all creation.

5.3 Saum
No better metaphor of contentment, of less is more, of realizing that in fact we need much less to live by than our greed allows us to see, exists than in fasting.

5.3.1 The inner meanings of fasting
The inner meanings of fasting are captured in the sayings of the great masters:

This world is four days: and fasting for four days is not difficult
---Hazrat Bayazid Bistami

We fasted from this world and broke it (iftar) with death
---Hazrat Junaid Baghdadi

5.4 Zakat
The root word of zakat gives us the word tazkiya i.e purify. And when we connect that to the purposes of prophet hood, we find that our care of the planet and making the material substance of our lives better and purer is zakat.

5.5 Hajj
This all encompassing mode of worship deserves a whole talk to itself! For now I will simply say: In the congress of world cultures and lifestyles, what better way to look at the diversity of Islam?

6. 'The Whole Earth like a Mosque'
The Prophet (s.a.) says that three things have been given to me which have not been given to other prophets: One is the whole earth that has been granted to me like a mosque.

Any place where the sunlight hits the ground and it is clean, you can offer namaz. Consider this as husn e muashrat. We know that it is not allowed to pollute a mosque, but if the mosque is the whole world? Think of this: If you cannot take care of the earth you cannot take care of the mosque!

Sadly we have omitted this as our Islamic duty; as if the pollution of air, noise, water and other things were not sins! We gave our muamilat to profit and loss banking, to other ways of dealing with profit and money. Islah-e-batin we have handed over to our psychiatrists and psychologists. We reduced religion to the inner two circles. And when we did this the crisis came upon us, we came to the situation where we began being proud of things that were none of anyone’s business…

7. Islam is 'mukammal zabtae hayat'
So then, Islam is mukammal zabtae hayat. Like this:

The aqaid impacts on the heart (qalb)
The arkan impact on the limbs
Islah-e-batin impacts on the nafs, the self,
Muamlat impact on society
Husn-e-muashrat impacts on earth; the planet.

As for the arkan they can be seen as units of time metaphors.
Kalma is speech: moment to moment. Salat is five times a day. Saum is for a month. Zakat is once a year and Hajj is once a life. Last thought: Of the oaths in the Quran more than 70 are about signs in nature… Surely Allah swt’s oaths are a serious matter?

Thank you.

ART OF ISLAM

THE SYMBOLISM OF QURANIC ILLUMINATION
SYED TAJAMMUL HUSSAIN

Third Seminar: Art of Islam
Sunday, 2nd September 2007
Aiwan-e-Iqbal Complex, Lahore





1. Is Islamic Art aniconic?
There is a common belief that Islamic art is aniconic and non figurative and that the imagery or iconography is prohibited. This erroneous belief is due to the confusion between Sacred and non-Sacred or secular art. Unlike the art of the West where the split between Sacred and Secular traditions took place in the 15th century AD with the commencement of the Renaissance, this split took place in the world of Islam within its very first century. If the art was secular not only do we find paintings of living beings but indeed statues some of which date from the Ummayad period. Throughout the Islamic world, across the geographical space and time, iconography has been alive and well, be it Abbasid period paintings, Mamluk, Saffavid, Ottoman, Mughal or Qajar.

2. Sacred Art of Islam is aniconic.
However where the Sacred Art of Islam is concerned and this applies to the Art of the Holy Quran and indeed the Mosque then the art is indeed aniconic, vegetal and abstract being also based on geometry.

The reasoning for this is that unlike Western Christian art which concerned itself with images of Christ and his life and where the Divine Concept is Word made Flesh, in Islamic Sacred Art the Divine concept is Word made BOOK. Thus it can be seen why there is so much emphasis on the art of the book.

Furthermore there are extensive references in the Quran on Reading and indeed Writing. For example the very first Revelation stated Iqra or Read and the Prophet was commanded to Read three times. Another of the earliest Revelations refers to Nun and the Pen by which they write ( Surah Nun ). So it is with such extensive references that the people of the Islamic world developed a civilization which has never been equaled in the art of reading and writing.

3. Art of the Quran.
Now generally the Western scholars give very detailed descriptions of the art of the Quran without explaining what is the underlying structure or perhaps language and alphabet of this visual language.

3.1 Reductionism
This lecture contrasted the prevalent attitudes and approach of this art with the views prevailing on the language of the Pharoahs which appeared at first sight to be Egyptian wall paintings. These were supposed to represent the life of Ancient Egypt. While this was partially true however until the discovery of the Rosetta stone, this view was misleading and could lead the onlooker to the wrong track. With the help of Greek and Demotic which is also inscribed on the Rosetta stone it was possible to translate and indeed understand the so called Egyptian wall paintings which turned out to be a written language and herein referred as hieroglyphics. Similarly the view that since Islamic art supposedly frowns on iconography hence it throws in a few flowers and geometry is reductionist in the extreme. 3.2 A sacred visual language
The lecturer suggested that this was a sacred visual language and which owed its origins and indeed early development to not one but two of the Khulafa-i-Rashideen, both of whom also were the revered sons in law of the Holy Prophet. For indeed with the evidence so far unearthed it is clear that the earliest Art of the Quran started with the first son in law, the 3rd Khalifa Uthman bin Affan and then was developed by the 4th Khalifa Imam Ali. Subsequent developments took place in the ensuing centuries with the involvement of BOTH temporal and indeed spiritual authorities of the time. Hence any symbol that was frowned upon or considered heretic was destroyed. Over time rules and regulations developed for both the visual language and on the art of calligraphy.

3.2.1 The Shamsa
The lecture discussed the development of the main symbols known as alphabets in this visual language of the Holy Quran. The earliest symbol used is the Shamsa which came to be used in the time of the 3rd Khalifa. This is the symbol of the radiant sun was used to indicate a certain number of verse counts and suggested that the Verses of the Quran were like radiant with light. Since radiance was being depicted, the symbol of the sun was thus used in the Quran in the very early period and still continues to be used even in these dark times for Verse endings.

3.2.2. The Palmette
The second symbol of alphabet which makes its appearance towards the end of the 4th Khalifa and continues to develop in the Ummayad times is the Palmette ( or tree of life ) which is used for Surah headings and always points outside the page. This pointing outwards indicates the heavenly origins of the Quran and is also inspired by verses 24 and 25 of Surah Ibrahim which state as follows:

"A good word is like a good tree, its root firm, its branches in heaven....

3.2.3 The Hexagram
The 3rd symbol is the hexagram which starts being used in the Ummayad times and is known in the Islamic tradition as the Khatemi Sulaiman. The downward movement of the triangle represents the Descent of the Revelation while the upward movement represents the Ascent of the Soul on Receiving the Divine Revelation. Thus this is the archetype of the man as a mediator between the heavens and earth and is the sign of the Insaan Al Kamil or Perfect Man which by its very definition can ONLY be a Prophet. The hexagram was inspired from the Roman mosaics found in Tunisia as demonstrated by the mosaics found in Roman ruins. It then passed to the Christian magical traditions during the crusader invasions from the Islamic world and very late in the 19th century passed on to the Zionist movement and only in the 2oth century came to symbolize the Star of David or Magen David. According to the Jewish enclyopedia it had no religious or cultural significance before this time in Judaism.

3.2.4. The 8 Pointed Star
The 4th Symbol is the 8 pointed star which is also inspired from Roman tile mosaics. This came to represent the Divine Throne which is carried by 8 angels as specifically mentioned in Surah Haqqah. The diagram appears in the Ftuthat al Makiya of the great Sheikh Al Akbar and his books had a very wide influence so much so that it can be argued that the Taj Mahal is based on the symbol of the Throne and is an esoteric prayer in stone which states that may the soul of my wife be taken to YOUR Throne. This symbol of the 8 pointed star also appears extensively in the Quran manuscripts.

3.2.5 Arabesques
The next lot of alphabets of illumination to use the correct term come under the generic term arabesques. However, in order to understand these alphabets it would be necessary to read and indeed understand the Kashf ul Mahjoub by Syeddina Ali Uthman Hajweri for these are none other than spiritual states given a visual manifestation in the shape of floral designs.

3.2.6 Other Alphabets
Other alphabets are the : The stylized lamp drawn with reference to the Verse 35 of Surah Nur. The yin yang symbol which represents the male and female principles and found in the Mamluk Quran manuscripts as well as the extensive usage of Lotus the very symbol of the reawakened soul. Yet other symbols are the stylized double swastika which symbolizes the Quran and its archetype in Heaven being the Lahow al Mahfouz ( the Guarded Tablet) and others like the cloud band motif which are from the Mongol world and originally also Chinese.

3.3 Colours
Finally the lecture dwelt on the colours which are always blue and gold being the colour of heavens and radiance. The usage of green is a modern construct and is inspired from the Prophet's Mosque whose dome was painted in green ONLY in 1813 AD. Prior to this the Dome was always blue such is the evidence which goes back to the 15th century. Hence the notion that Green is the colour of Islam is a modern tradition and hence has nothing to do with historical facts.




c. This material is copyrighted and subject of a forthcoming book by the lecturer Syed Tajammul Hussain.