In Aesthetics in Arabic Thought from Pre-Islamic Arabia through al-Andalus José Miguel Puerta Vílchez analyzes the discourses about beauty, the arts, and sense perception that arose within classical Arab culture from pre-Islamic poetry and the Quran (sixth-seventh centuries CE) to the Alhambra palace in Granada (fourteenth century CE). He focuses on the contributions of such great thinkers as Ibn Ḥazm, Avempace, Ibn Ṭufayl, Averroes, Ibn ʻArabī, and Ibn Khaldūn in al-Andalus, and the Brethren of Purity, al-Tawḥīdī, al-Fārābī, Avicenna, Alhazen, (...) and al-Ghazālī in the East. The work also explores literary criticism, calligraphy, music, belles-lettres (adab), and erotic literature, and highlights the contribution of Arab humanism to shaping the field of Aesthetics in the West. (shrink)

Aesthetics, as that branch of philosophy which deals with the meaning of beauty and various theories of art, has not been treated as a separate subject by the Islamic philosophers and one does not find separate treatises corresponding to the works on aesthetics by such Western philosophers as Hegel, Collingwood, and Croce among those Islamic thinkers who are called the falāsifa or ḥukamā’. In order to fully understand Islamic aesthetics, one has first of all to cull passages (...) here and there from the Peripatetic (mashshā'ī) philosophers. But, in addition, one must turn to the works of the Illuminationist (ishrāqī) school and especially the Sufis for much greater elaboration of the subject. Furthermore, one must add to the written sources the oral tradition, the teachings transmitted from masters of various Islamic arts to their disciples from one generation to another, teachings with have underlined the actual production of Islamic works of art over the centuries and which have not died out to this day. (shrink)

Our examination of Javanese Islam has attempted 1) to assess aesthetics as a major component of religious revelation, 2) to establish aesthetic elements as major factors in motivating religious conversion into Islam for the Javanese (or others), and 3) to delineate aesthetic elements as stimulants to subsequent spiritual growth for the born-Muslims. We attempt to describe a highly sophisticated sensitivity to aesthetic elements within their religious rites and rituals among the village Javanese, along with sometimes eloquent expressions of these (...) understandings. Hopefully, our results will serve to inspire further studies of aesthetic rather than theological validation of Revealed or Prophetic Knowledge, a form of cognition and knowledge long familiar to traditional religious cultures that is now coming to be considered a valid form of reality even in the western world, by such influential scholars as Leo Strauss. (shrink)

“This is a useful and imaginative project... Leaman is an accomplished and productive author and the book will be of genuine and considerable interest.” —Lenn E. Goodman, Vanderbilt University 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 and King Sullayman 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. (shrink)

Islāmic aesthetic is an outcome of Islāmic civilisation based on Islāmic metaphysics and theology and emphasizes that God is the origin or source of all art and thought, including various art forms. Thus, the essences or forms of all things have their reality in the Divine Wisdom or Intellect (Al-‘Aql-i-Awwal). Islāmic conception of art and beauty has its origin in Islāmic Weltanschauung, so, each object of beauty in nature reflects the Creative and Aesthetic aspect of Jamīl Allāh with His Jamāl. (...) Generally, in Muslim world, art and beauty are almost neglected ones, so, they are not given significant and sufficient importance because of some unauthentic and false notions and consequently, we have almost lost this pristine Islāmic heritage and now we must revisit it and realise its vital function and role in our socio-political and ethico-spiritual life. Islāmic aesthetics has a significant role in the cultural tradition of Islāmic Ummah, so it must be revitalised for a peaceful life’s onward caravan. In the present paper, an effort has been made to discuss the etymological meaning of ‘aesthetics’ in general and the main features of Islāmic conception of aesthetics, including art and beauty, in particular, along with various Islāmic art-forms. Philosophy and Progress, Vol#69-70; No#1-2; Jan-Dec 2021 P 119-144. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Islamic Aesthetics: An IntroductionSulejman BostoIslamic Aesthetics: An Introduction. By Oliver Leaman. Edinburgh: Edinburgh University Press. Pp. 216. Hardcover £55.00. Paper £16.99.IIf Islamic Aesthetics: An Introduction by Oliver Leaman falls into your hands,1 you may well find it hard to curb your curiosity and resist the challenge, given that "Islamic [End Page 502] topics" are so much in the forefront these days, especially in relation to (...) global politics, but no less in the widely diverse cultural, theological, philosophical, sociological, and other fields of strictly academic interest. With this conjuncture—along with the inflationary interest of the market in everyday politics and journalism, which is shaped by the crisis that has engulfed the world and the globalization of discord, by ideological conflicts and clashing worldviews, by the economic and political struggle for dominance and power, and by the simplifications resorted to by the media culture of today as it promotes a new type of instant, fast-generated, and easily digested knowledge—issues are frequently vulgarized, reducing serious, unresolved questions of understanding cultures and civilizations to the superficial discourse of stereotypes and prejudices and their manipulation in and by everyday politics.The counter or alternative to this conjuncture and its mundane political motives, which are highly diverse and often marked by opposing interests, ought to be an entirely new cognitive and hermeneutic strategy designed, with regard to the sociocultural and spiritual sciences falling within the term humaniora, both to ensure academic objectivity and methodological dependability and to further a nonviolent hermeneutic openness to the Other—the existential, social, and historical connections and interactions between individuals, societies, cultures, knowledge, belief, and so forth—in which our human lives run their course. This hermeneutic need, however, is not convertible with the new and mutually contradictory developments in globalization—to the extent that globalization means not merely interconnection and political, technological, and economic standardization, but also a leveling down designed to obliterate difference and lead to bland uniformity. To the contrary, this hermeneutic does not mean aspiring to eradicate differences, but rather necessarily involves a dialectic of recognition based on the premise of a nonviolent will for understanding and entente. What is needed, in fact, is a new culture of mutual recognition, for which neither mere spontaneous sympathy for today's much-vaunted "dialogue" nor the moralistic incantations by which public discourse pays lip service to it will be sufficient. Such a culture demands the ability critically to reassess established orders of knowledge, a critique of prevailing clichés and stereotypes, and a positive, systematic knowledge of and familiarity with the material being presented and discussed. In other words, a culture of recognition inevitably presupposes a culture of knowledge, from which alone one may expect cognition, exchange, understanding, and concord.Clearly, knowledge acquired in the domain of historical, cultural, spiritual, or humanist studies, the domain of the social sciences, is not of the same nature as the positivism and objectivism of the natural sciences, nor does it share the latter's universality, since matters concerning our past existence and our creations and inventions, with their historical mutability and temporal nature, their historical, social, or cultural relativity, are resistant to absolute objectivization and reduction to the cognitive norm of unambiguity. If the hermeneutic task, in its encounter with the current historical material of human thought and formation, is faced with the dangers of an adverse, relativistic infinity in which everything is convertible with [End Page 503] everything else, then, in the absence of a uniform criterion of truth and knowledge and its purposes, one must conclude that "unity of sense" or "unity of meaning" is impossible. Despite this danger, the hermeneutic experience—with, as its basis, the unity of experience of understanding to be found in the postulate of human historicality and finitude, which suggests to us the bond between us in the open human "communication through historical time"—invokes the indispensable openness and free flow of the most diverse human expressions, works, and meaningful acts, in which people in their diverse historical groupings and circumstances, social environments and differing experiences, and languages and cultures meet in the same historical, existential play—the transformation of primal chaos into... (shrink)

In_ Islam and Secularity_ Nilüfer Göle takes on two pressing issues: the transforming relationship between Islam and Western secular modernity and the impact of the Muslim presence in Europe. Göle shows how the visibility of Islamic practice in the European public sphere unsettles narratives of Western secularism. As mutually constitutive, Islam and secularism permeate each other, the effects of which play out in embodied and aesthetic practices and are accompanied by fear, anxiety, and violence. In this timely book, Göle illuminates (...) the recent rethinking of secularism and religion, of modernity and resistance to it, of the public significance of sexuality, and of the shifting terrain of identity in contemporary Europe. (shrink)

This book is a study of overlooked themes in Iran's contemporary political and intellectual history. It investigates the way Iranian Muslim intellectuals have discussed politics and democracy. As a history of Iranian Islamism and its transformation to post-Islamism, this work demonstrates that Muslim intellectuals have enriched the Iranian society epistemologically, aesthetically, ethically, and politically. This book examines the internal conflicts of the Islamist ideology as the intellectual underpinnings of the 1979 Revolution, its contribution to the formation of the post-revolutionary state, (...) and the post-Islamist response to the democratic deficits of the post-revolutionary state. Seeking to overcome the shortcomings of historiographical approaches, this book demonstrates the intellectual and political agency of Muslim intellectuals from the 1960s to the present. (shrink)

Critical investigations of Ali Shariati reveal a body of work formed upon a contradictory synthesis of Islamic and modern Western thought. This combination reflects the historical milieu to which Shariati belonged, interpretation of which requires mapping his work onto iterations of global thought that respond to the conditions of modernity. The present inquiry examines Shariati’s understanding of art as an idealistic effort to appease human alienation vis-à-vis the question of human existence, which, I argue, elucidates his interpretations of Islamic and (...) Western terrains of modern thought. (shrink)

What has been noticed during the history of human thought and human life is that forms, figure, feelings of pleasure and aesthetic perception, are not the only subjects that belong to the sphere of art. In fact, art includes other aspects, such as themes and content. As a matter of fact, each art work could be considered as outstanding, not only because of its form, but because of its theme and content, as well. However, art works in the western classical (...) art, were inspired by mythology and religion and their form has been a reflection of that content. In this paper art is going to be discussed through its religious themes and contents. Therefore, first, I will analyze some approaches to religious themes and content in art works through discussion of religion as its background. And, second, I will try to establish a method which will distinguish between religious and non-religious themes and contents in the works of art. (shrink)

The public visibility of Islam reveals new political stakes in European democracies around issues of immigration and citizenship. By focusing on the societal debates and the controversies around the construction of mosques and minarets, this article explores the ways in which Islamic difference is manifested, perceived and framed in public life. The ‘visibility’ of Islam in public is conceptualized as a form of agency, a manifestation of religious difference that cannot be thought independent of the materiality of culture, namely aesthetic (...) forms, dress codes, or architectural genres. It is argued that the debates for or against the banning of the construction of mosques and/or minarets reveal the tumultuous transition of Muslims from the status of the invisible migrant-worker to that of visible Muslim citizenship. The public visibility is approached therefore as a radically disruptive, transgressive, provocative form of transformative agency that is intrinsically related to the political process of becoming citizens. (shrink)

Oleg Grabar has argued that there was not a system of visual symbols in Islamic culture; consequently it is difflcult to hold that an Islamic architecture exists; that is, if we were to stand before a mosque and try to experience it aesthetically or see what kind of building it is we would not be able to say that it is a mosque. In this paper we argue against this proposition. We, first, present a brief analysis of Grabar's view. Second, (...) we critically evaluate this view. Third, we explicate how the mosque as an architectural type embodies uniquely Islamic symbols. We shall illustrate this point by an analysis of one basic Islamic symbol: the Mihrab. The thesis we defend is that there are basic Islamic symbols and that these symbols inhere in the mosque. It is this fact that lends credibility to the claim that an Islamic architecture exists. /// Oleg Grabar defendeu a tese de que não existe um sistema de símbolos visuais na cultura islâmica; consequentemente, é difícil defender a existência de uma arquitectura islâmica; ou seja, se estivéssemos diante de uma mesquita e tentássemos fazer uma experiência estética da mesma ou analisar que tipo de edifício se trata, não seríamos capazes de dizer que se trata de uma mesquita. No presente artigo, os autores argumentam contra esta proposição. Em primeiro lugar, os autores começam por apresentar uma breve análise do ponto de vista de Grabar. Em segundo lugar, avaliam criticamente esta posição. Em terceiro lugar tentam explicar até que ponto a mesquita como tipo arquitectónico apenas incorpora símbolos islâmicos. Os autores exemplificam este ponto mediante a análise de um dos símbolos básicos do Islamismo: o Mihrab. O artigo defende, portanto, a tese de que existem símbolos islâmicos básicos e de que estes símbolos estão presentes na mesquita. Ora é precisamente este facto que dá credibilidade à afirmação de que existe uma arquitectura islâmica propriamente dita. (shrink)

Esthetics in Malay tradition and culture in relation to the influence of Islam in Riau Province.

Study on prophetic art practice in Islamic education in Indonesia.

This surveys the philosophies of music of the most important thinkers in Islam between the 9th and the 15th centuries A.D. It covers topics ranging from the ...

In lieu of an abstract, here is a brief excerpt of the content:A Hypothesis Concerning the Character of Islamic ArtAsli GocerWhy Islamic art has the distinctive features it has continues to generate clashing explanations. The Islamic visual treasury has no figural images, for instance, and three-dimensional sculpture or large scale oil painting, but instead contains miniatures, vegetal ornaments, arabesque surface patterns, and complex geometrical designs. To account for the phenomena the following radically opposing theories have been offered: the influence of (...) Judaism, the Quranic prohibition against making images, 1 Islamic resentment of the glory of Byzantine icons, 2 logocentricism of classical Islam, 3 the spiritual dimension of Islam, 4 tacit Islamic assertion of “otherness,” 5 and contingency of history. 6 The merits of these theories have been roundly discussed in the literature, and so I will not repeat the task here. I will insist that none of these theories offer a coherent explanation for all arts, but my presumption is that such an explanation is possible. In nonvisual arts the Muslim prefers simple tunes over that of the symphony, for instance, whirling dervishes over the ballet, and lyric poetry over dramatic literature. In my view what explains the common characteristic of all these arts is a certain kind of Islamic attitude informed by a certain philosophical outlook. Although it would be hasty to suggest the existence of a monolithic [End Page 683] Islamic art, it would be equally rash to deny some striking commonalities among its diverse examples. 7The following observation by a Muslim scholar is notable in this regard: “Whether in the great courtyard of the Delhi Mosque or the Qarawiyyin in Fez, one feels oneself within the same artistic and spiritual universe despite all the local variations in material, structural techniques, and the like.” 8 Some cite geometry as what mediates that feeling to the observer despite the cultural divergences in style. 9 Even those who have given up the search for the universal or the spiritual in Islamic art cannot help but see in it the classical ideal of beauty. 10 It is this classical heritage that in fact holds one of the important keys to the puzzle at hand. In particular I shall claim that Islamic art is the living image of what Plato has in mind for art in a theocratic state. Clearly, to refer to Plato and art in the same breath invites trouble. As is well enough known, giving a general interpretation of Plato’s views on the nature of art is a very complex endeavor. 11 Even in the face of grave difficulties in textual exegesis, however, there is sufficient evidence that Plato has some settled views on art. Those pertinent to our discussion here involve two claims, that beauty and goodness are divine and that all human endeavor (including artistic creation) must imitate the divine. 12 Although Platonic strain in Islam has been noted in other areas, its persistent legacy has been overlooked in art. 13 I shall argue that the Platonic influence on Islamic thought can be traced not only to political philosophy 14 and geometry, 15 as it has been commonly accepted, but also aesthetics. 16 A philosophical explanation of the Islamic attitude toward art may therefore be derivable from the Platonic axiom that god is the paradigm of beauty, which is the cosmological principle of [End Page 684] order and harmony; and as all created things, art, too, must reflect the divine paradigm.Before defending this ahistorical hypothesis on the character of Islamic art so reviled in recent literature, a few caveats are in order. “Islamic art” contains redundant terms. Strictly speaking all art in Islam is “Islamic,” because for the Muslim art is a crucial point of contact with the divine. That art should direct the mind to the divine is also Plato’s view. 17 Second, the categories that have traditionally been used to describe Islamic art such as “aniconic” and “nonrepresentational” are unhelpful for the problem at hand. 18 When it comes to the issue of iconography in Islamic arts, there is no consensus, for Islamicists are notably divided on the semiotic dimension of the Islamic visual language. The question of whether the geometric surface pattern is essentially iconography, for instance, is yet... (shrink)

Ṣūfī poetry or dīvān poetry, both of our poems have a universal appeal and a classical value just as the poetry of many nations’. Poets of both groups enhanced the consciousness level of every people one by one and created a virtuous society by taking power from the potential that existed in Turkish society already. If it is needed to mention a difference between those two poetries, it could be that dīvān poetry is a static one and sūfī poetry is (...) more dynamic than the dīvān poetry. While dīvān poetry has a unique World of poetry, sūfī poetry has a feeling of universe shaped by different meanings and concepts. Although dīvān poetry is based on intelligence and pleasure, there is intuitive inspiration and wāridāt in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme (mażmūn). Until today, since the first that comes to mind, when it is said poetic themes (mażmūn), is dīvān poetry, poetic themes of ṣūfī poetry were overshadowed. However, ṣūfī poetry is quite interesting and rich in terms of its poetic themes. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz). The aim of this article, which we can sample under three titles and with the couplets of our three ṣūfī poets, is to draw attention to the existence of a rich mażmūn staff independent of the dīvān poetry of Turkish ṣūfī poetry. The subject of mażmūns belonging to Turkish ṣūfī poetry should be considered important since it has not been mentioned much until today. Summary: The poet designs and presents it to his readers on behalf of his readers that he cannot even express what he has imagined but sometimes cannot imagine. Each poem has a specific interlocutor and addresses the emotions of its interlocutor. Each poem is adorned with thought and imagination; yet poems can be understood by annotation accompanied by rhetoric. Ṣūfī poetry and dīvān poetry, both poems have universal appeal and classical value like many poems of many nations. Ṣūfī poet and dīvān poet are the architects of an indestructible art existence that ruled for centuries and their works are masterpieces of their own fields. Both types of poetry, along with literary heritage, are a guide ship that leads the whole cultural heritage to the next generations, leading art branches. Both poets of both groups have strengthened from the potential that existed in Turkish society and raised the level of consciousness of each individual separately and created a virtuous society.Dīvān poetry is as beautiful as the aesthetics of genius; ṣūfī poetry is so beautiful with the sincere sincerity of heathat born to the heart. Without making use of the rich mażmūn staff of the lodge poetry, it would be an exclusivism and a status quo to make the mażmūn exclusive only to dīvān poetry or to search for the mażmūns of dīvān poetry in the lodge poetry and to interpret these mażmūns with the interpretation habits of dīvān poetry.The most obvious difference between ṣūfī poetry and dīvān poetry corresponds to the fact that the terms of Sufism are composed of similes (tashbīḥ), metaphors (majāz); sūfī poetry is a composition of poet’s personally experienced feelings or situations such as waḥdat, ḥalvet, manifest and observant concepts. While the depictions of the dīvān poet, spring and winter depictions, arouse enthusiasm for the reader for a while, the indifference of the ṣūfī poet to this world, the constant heartbeat of Jamāl and the heart beating with the excitement of vuslat (meeting) infiltrates the reader to the eternal world.If there is a difference between the two poems, it is that the poetry of the dīvān is static and the ṣūfī poetry is more dynamic than the poetry of the dīvān. As well as dīvān poetry has a unique world of poetry; ṣūfī poetry has a universe of emotions shaped by different meanings and notions. Even if the beauty they depict is materially and morally different, the poet of both groups wishes to go beyond the beauty that they mean and find themselves there. They do this sometimes with similes (tashbīḥ) and metaphors (majāz) and istiʿāre, succeed with various kinds of poetic themes. In dīvān poetry, there is pleasure and imagination based on intelligence, and inspiration and success based on intuition in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme. Dīvān poetry is an endless effort of abstract imagination, while ṣūfī poetry is an inexhaustible enthusiasm for concrete ecstasy. Although both have found what they are looking for outside of daily life, dīvān poet finds pleasure, yet sūfī poet finds inspire.When it comes to mażmūn, the first thing that comes to mind is Divan literature and it’s figure of beautiful woman’s length (cypress), hair (zulf), eye (daffodil), eyebrow (bow), eyelash (arrow) and skin (silver) and these mażmūns are stereotyped and widespread though each of them is known only to artisans. On the other hand, ṣūfī poetry has many other poetic themes such as Jamāl (grace), Jalāl (distress), ār and nāmūs (mālāmat), gūy (rıza), chevgān (ḳażā) and istignā (reluctant).To date, the first thing that comes to mind when it is said to be mażmūn is dīvān poetry, it has left behind the maẓmūns specific to ṣūfī poetry. However, ṣūfī poetry is also quite rich in terms of its mażmūns. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz).The fact that the dīvān poets used the mażmūn as a word and the use of the term started with the Tanzimat made it inevitable that different definitions of the mażmūn emerged in time. For this reason, many researchers now understand and define the term of mażmūn differently. However, all the academics who researched or wrote about the mażmūn brought to mind only the poem of the dīvān poem, and they selected the examples of the mażmūn from the couplets of the poem of the dīvān poem. In our opinion, the missing part of the subject of mażmūn is here. Nevertheless, our main aim in this article is not to discuss what is or is not a mażmūn, but to try to express that the ṣūfī poem is as rich as the dīvān poem. Whereas the mażmūn has no single generally accepted definition; if so, we can say that ṣūfī poetry may have its own unique mażmūn, we can exemplify it with couplets of ṣūfī poetry. (shrink)

In this article, it is often pointed out to a more specific area by using the term Ṣūfi art on the basis of the aforementioned understanding. Thus, an analytic approach is adopted along with the usage of deductive method, and a layer of meaning is tried to be established through criticism and analysis. Firstly, a basic framework was constructed by mentioning the origins of Ṣūfi art. Then the attention was drawn to the sacredness included in Ṣūfi art in terms of (...) its historical frame and ontological structure. It is asserted that Ṣūfi art is based on four basic arguments: beauty, creativity, transcendence, and imagination. Ṣūfis considered art as an activity of beauty and the expressive power of it. Relying on the basic motive that Allah is the Greatest Artist, the Ṣūfis believe that the beauty of their art is a manifestation of Divine Names. They saw art as an expression of manifestation and unveiling. The Ṣūfis, who deemed the world in terms of Divine Beauty (Jamāl), witnessed the manifestations of the Divine Attribute of Beauty in all things; as a result of this witnessing, the masterpieces of Islamic art came into existence. It is the sapiental and the gnostic outlook that underlies this success of the Ṣūfi orders (tariqa) in Islamic history. In Ṣūfism, the perfection (kamāl) presupposes the beauty (jamāl); and each beauty presupposes also the perfection. Therefore, it is not possible to distinguish beauty from perfection in the Ṣūfi art. The sense of loving the beauty is so strong for them that they have tried to reflect the perfect beauty they witness in their works of art, to give an external presence to the phenomenon of beauty and to make the spiritual reality visible that is innate within their beings. Ṣūfism is in a sense an effort to seek beauty. It has been an endless longing to seek, search and witness The All Beauty, that is God Himself. The effort to search for Divine Beauty is sometimes revealed by tune, and sometimes by harmonious words or by a single line. Then, they turn into music, poetry, calligraphy and illumination. According to the maxim stating “There is a path from heart to heart”, these works were transmitted from one generation to another, ensuring the continuity of this Divine tune. Despite the fact that Ṣūfi works make no pretensions to be art as such, they were widely accepted, influenced the masses and gained appreciation in that they were created by people with a sincere heart, intimate sentiments and a deep world of contemplation. The second stage of the gnostic dimension in Islamic arts has been tried to be expounded through the ultimate goal of Ṣūfi art. In Ṣūfi tradition, the aesthetics and sensitivity of art attract attention at every opportunity, but the Ṣūfis did not consider art as their main aim. For them, art denotes only a means. Ṣūfis, who appeal to the eyes, ears and mind with the artistic forms, endeavoured to permeate to the hearts with the spiritual atmosphere provided. With their performances, exuberance and success in different branches of fine arts, they mobilized the aesthetic sentiments in each person's nature and ensured that the human pleasure become accorded with the divine pleasure. Focusing on the sapiential and gnostic dimension of Islamic arts, the basic principles of Ṣūfi art are emphasized as the third stage. It is also suggested that these principles also have a religious content are marked with religious style, have a strong sense of sacredness, possess generality and the peculiarity, have symbolic and representative aspects, are based on symbolism and have traditional characteristics, their style of expression is based on revelation, and are not intended to provoke carnal desires. As to the fourth remarkable factor within the sapiential and gnostic dimension of Islamic art, the Ṣūfi worldview behind the mentioned artistic works is given. As to the fifth remarkable factor in the gnostic dimension of Islamic arts, the thought behind the world of art sustained in the dervish lodges (tekke) is discussed. These dervish lodges were emphasized as the most important places where the beautiful word, beautiful sound and beautiful line converge and these lodges were evaluated as the kitchen where the fine arts were prepared and as the boiler where the arts are cooked. It is due to these features that each of the dervish lodges in Ottoman Empire became a kind of education and fine arts centre. In these lodges, many musicians, composers, poets, illuminators, bookbinders, carvers, engravers and marbling masters were trained. While the dervishes in the dervish lodges exhibited their own unique works of art, they also carried out the requirements of their spiritual trainings (sayru sulūk). (shrink)

Arabic Poetics: Aesthetic Experience in Classical Arabic Literature. By Lara Harb. Cambridge Studies in Islamic Civilizations. Cambridge: Cambridge University Press, 2020. Pp. xviii + 298. $99.99 (cloth); $29.99 (paper); $18.49 (ebook).

In this volume, Charles Taliaferro and Jil Evans promote aesthetic personalism by examining three domains of aesthetics - the philosophy of beauty, aesthetic experience, and philosophy of art - through the lens of Judaism, Christianity, Islam, theistic Hinduism, and the all-seeing Compassionate Buddha. These religious traditions assume an inclusive, overarching God's eye, or ideal point of view, that can create an emancipatory appreciation of beauty and goodness. This appreciation also recognizes the reality and value of the aesthetic experience of (...) persons and deepens the experience of art works. The authors also explore and contrast the invisibility of persons and God. The belief that God or the sacred is invisible does not mean God or the sacred cannot be experienced through visual and other sensory or unique modes. Conversely, the assumption that human persons are thoroughly visible, or observable in all respects, ignores how racism and other forms of bias render persons invisible to others. (shrink)

The maqam, closely connected at first with the cult-ritual practice, absorbed and reflected philosophical and ethical ideas. These ideas, fixed in the system of maqams, despite their clear canonization, changed; they underwent a certain historical transformation due to changes in the social structure of society itself. However, the main aesthetic function of the maqam, the nature of its emotional and psychological impact on a person, a deep connection with the world around him, remained in the view of Eastern thinkers and (...) musicians unshakable until the XX century. Today, macs should be understood on the one hand as a paradigmatic structure, on the other hand, as a compositional form. The subtlest gradation of human feelings, emotional and psychological states also determined a carefully developed (theoretically) mode, intonation, pitch system of images, symbols, signs, their connection with specific manifestations of spiritual experiences and emotional states. Certain universal principles of musical dramaturgy are observed in the makam, based on diverse contrast: fret, timbre-register, dynamic, vocal-instrumental, rhythmic. These internal contrasts are infinitely diverse, but they are outlined so subtly, barely perceptible. Instrumental and vocal-instrumental music in Islamic culture was mainly an environment of professional musicians who mastered the art of maqam thinking. Makam represented the unity of the theory of performing practice for musicians. (shrink)

Relations between East and West have changed many times over the course of history. In ancient times, a stereotype of "hostile animosity" emerged between them, because according to this stereotype, Eastern and Western people have different things - climate, environment, food, clothing, lifestyle, philosophy, laws, ethics and aesthetics. All these differences do exist, but they do not define incompatibility at all, and even more so hostility.

Migration and diversity are important factors in education of teachers around the globe. From an intercultural perspective, we shall analyse how metaphysical and religious assumptions overlap and enable teachers to motivate pupils from different religious-cultural backgrounds to understand in greater detail the facets of (minimal) universalism, relativism and other concepts that obtain in more or less open societies. We argue for a concept of Intercultural Human Rights Education that uses different texts in philosophy classes, includes controversial positions from different cultures, (...) and is methodologically versatile. According to this concept, we think that a) human dignity (as a typically Western concept) and human rights and b) one tradition of interpreting the Qur’an (renunciation of force and the Indian concept of ahimsā (nonviolence)), can motivate teachers to discuss the efforts and also the limits of an overlapping consensus about the intercultural perspective. Finally, we provide the outlines of a teaching unit plan in accordance with our theoretical insights. (shrink)

This paper aims at helping trainees to overcome the difficulties they face when dealing with Arduino platform by describing the design of a desktop based intelligent tutoring system. The main idea of this system is a systematic introduction into the concept of Arduino platform. The system shows the circuit boards of Arduino that can be purchased at low cost or assembled from freely-available plans; and an open-source development environment and library for writing code to control the board topic of Arduino (...) platform. The system is adaptive with the trainee’s individual progress. The system functions as a special tutor who deals with trainees according to their levels and skills. Evaluation of the system has been applied on professional and unprofessional trainees in this field and the results were good. (shrink)

In this article, the author analyzes the relationship between art and terrorism. Referring to the element of sublimity operative in philosophical writings pertaining to war and terror, the article raises questions concerning the sublimity of violence on the one hand, and the aesthetization of life and politics on the other. The article’s focus will lie particularly in Immanuel Kant’s account of the sublime in The Critique of the Power of Judgment, which will then be connected to contemporary literature on this (...) theme. In the end, the author wishes to draw attention to the sublimity of violence operative in contemporary discourses and demonstrate the inherent tendency that aestheticized ideology has for applauding cruelty and force. (shrink)

Arguing that psychology and business ethics are best brought together through a multi-level, broad-based agenda, this essay articulates a vision of psychology and business ethics to frame a future research agenda. The essay draws upon work published in JBE, but also identifies gaps where published research is needed, to build upon psychological conceptions of business ethics. Psychological concepts, notably, are not restricted to phenomena “in the head”, but are discussed at the intra-psychic, relational, and contextual levels of analysis. On the (...) basis of this presentation, I discuss future directions for development in psychology and business ethics, including but not limited to studies of personality, emotion, decision making, motivation, and the biological bases of psychology and business ethics. An inclusive approach to these and related areas, it is argued, will both bring about depth of understanding on the psychological bases of business ethics, and allow dialogue across disciplinary areas within JBE. (shrink)

This paper argues that contemporary medicalization is one of the reasons why death and dying should be considered as ethical issues. First, two distinct features regarding death and dying can be analysed by comparing ‘tamed death’ and ‘death untamed’. The distinction between death in Ars Moriendi and death as deprivationism has been compared before deducing a conclusion that biomedical ethics is an indispensable tool today to deal with the morality of death and dying. This issue is significant to articulate the (...) relationship between the ethics of death and dying and the historical and cultural understanding of death and dying. (shrink)

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

We provide evidence of the relationship between corporate social responsibility (CSR) and corporate financial performance (CFP) in Palestine, a highly unstable political context. Annual reports of all firms listed on the Palestine Exchange (PEX) for the period 2016-2019 were manually content analysed. A checklist of reported CSR items is summarised into four areas: environmental information, human resources, community involvement, and product and customer service quality. Results indicate a robust positive connection between each of the four dimensions and the composite CSR (...) index with three performance indicators: ROA, ROE, and Tobins Q. Results also find better performing companies with a higher degree of community involvement being greatly appealing, while the environmental dimension was the least resilient. We discuss the significance of community engagement for an unstable context like Palestine from a community cohesion standpoint. (shrink)

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, (...) which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.