Aniconism in Islam in the context of "Islamic calligraphy"

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⭐ Core Definition: Aniconism in Islam

In some forms of Islamic art, aniconism (the avoidance of images of sentient beings) stems in part from the prohibition of idolatry and in part from the belief that the creation of living forms is God's prerogative.

The Quran itself does not prohibit visual representation of any living being. The hadith collection of Sahih Bukhari explicitly prohibits the making of images of living beings, challenging painters who "breathe life" into their images and threatening them with punishment on the Day of Judgment. Muslims have interpreted these prohibitions in different ways in different times and places. Religious Islamic art has been typically characterized by the absence of figures and extensive use of calligraphic, geometric and abstract floral patterns.

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👉 Aniconism in Islam in the context of Islamic calligraphy

Islamic calligraphy is the artistic practice of penmanship and calligraphy, in the languages which use the Arabic alphabet or the alphabets derived from it. It is a highly stylized and structured form of handwriting that follows artistic conventions and is often used for Islamic religious texts, architecture, and decoration. It includes Arabic, Persian, Ottoman, and Urdu calligraphy. It is known in Arabic as khatt Arabi (خط عربي), literally meaning "line", "design", or "construction".

The development of Islamic calligraphy is strongly tied to the Qur'an, as chapters and verses from the Qur'an are a common and almost universal text upon which Islamic calligraphy is based. Although artistic depictions of people and animals are not explicitly forbidden in the Qur'an, Islamic traditions have often limited figural representation in Islamic religious texts in order to avoid idolatry. Some scholars argue that Kufic script was developed by the late 7th century in Kufa, Iraq, from which it takes its name. This early style later evolved into several forms, including floral, foliated, plaited or interlaced, bordered, and square Kufic. In the ancient world, though, artists sometimes circumvented aniconic prohibitions by creating intricate calligraphic compositions that formed shapes and figures using tiny script. Calligraphy was a valued art form, and was regarded as both an aesthetic and moral pursuit. An ancient Arabic proverb illustrates this point by emphatically stating that "purity of writing is purity of the soul."

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Aniconism in Islam in the context of God in Islam

In Islam, God (Arabic: ٱللَّٰه, romanizedAllāh, contraction of ٱلْإِلَٰه al-’ilāh, lit.'the god', or Arabic: رب, romanizedRabb, lit.'lord') is seen as the creator and sustainer of the universe, who lives eternally. God is conceived as a perfect, singular, immortal, omnipotent, and omniscient deity, completely infinite in all of his attributes. Islam further emphasizes that God is most merciful. The Islamic concept of God is variously described as monotheistic, panentheistic, and monistic.

The Islamic concept of tawhid (unification) emphasises that God is absolutely pure and free from association or partnership with other beings, which means attributing the powers and qualities of God to his creation, and vice versa. In Islam, God is never portrayed in any image. The Quran specifically forbids ascribing partners to share his singular sovereignty, as he is considered to be the absolute one without a second, indivisible, and incomparable being, who is similar to nothing, and nothing is comparable to him. Thus, God is absolutely transcendent, unique and utterly other than anything in or of the world as to be beyond all forms of human thought and expression. The briefest and the most comprehensive description of God in the Quran is found in Surat al-Ikhlas.

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Aniconism in Islam in the context of Aniconic

Aniconism is the cultural absence of artistic representations (icons) of the natural and supernatural worlds, or it is the absence of representations of certain figures in religions. The prohibition of material representations may only extend to a specific supreme deity, or it can encompass an entire pantheon, it can also include depictions of a prophet, saints, or sages, or even depictions of living beings and anything in existence generally. It is generally codified by religious traditions and as such, it becomes a taboo. When it is enforced by the physical destruction of images, aniconism becomes iconoclasm.

Aniconism has historical phases in both Buddhism and Christianity, though these movements have been largely rejected as Buddha in art, life of Buddha in art, Buddhas and bodhisattvas in art, God the Father in Western art, Holy Spirit in Christian art, the depiction of Jesus, The Trinity in art, and Manus Dei are common. By contrast Islam has predominantly been aniconistic throughout their histories, including representations of major figures such as Muhammad. The view of aniconism in Judaism has been challenged, with a number of medieval Ashkenazi illuminated manuscripts collected by David Kaufmann. The earliest phases of ancient Greek religion were rich in aniconic representation, even though Greek mythology is heavily anthropomorphic.

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Aniconism in Islam in the context of Ibn Taimiyya

Ibn Taymiyya (Arabic: ٱبْن تَيْمِيَّة; 22 January 1263 – 26 September 1328) was a Sunni Muslim scholar, jurist, Mujtahid, traditionist, Qadiri Sufi, proto-Salafi theologian and iconoclast. Born in Harran in 1263 CE and fleeing from the Mongol invasion, he was taught by his grandfather and father in the principles of Islamic Jurisprudence at Damascus. Ibn Taymiyya proved to be a controversial figure among both his contemporaries and in later centuries. Clerics and state authorities accused Ibn Taymiyya and his disciples of anthropomorphism, which eventually led to the censoring of his works and subsequent incarceration.

Nevertheless, he emerged as one of the forefathers of the Salafi movement. Throughout his treatises, Ibn Taymiyya asserted there is no contradiction between reason and revelation, and denounced the usage of philosophy as a pre-requisite in seeking religious truth. As a cleric who viewed Shiism as a source of corruption in Muslim societies, Ibn Taymiyya was also known for his anti-Shia polemics throughout treatises such as Minhaj al-Sunna, wherein he denounced the Imami Shia creed as heretical. He issued a ruling to wage jihad against the Shias of Kisrawan and personally fought in the Kisrawan campaigns himself, accusing Shias of acting as the fifth-columnists of the Frank Crusaders and Mongol Ilkhanids. He is also known for his diplomatic involvement with the Ilkhanid ruler Ghazan Khan at the Battle of Marj al-Saffar, which ended the Mongol invasions of the Levant. A legal jurist of the Hanbali school, Ibn Taymiyya's condemnation of numerous Sufi practices associated with saint veneration and visitation of tombs made him a controversial figure with many rulers and scholars of the time, which caused him to be imprisoned several times as a result.

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Aniconism in Islam in the context of Thou shalt not make unto thee any graven image

"Thou shalt not make unto thee any graven image" (Hebrew: לֹא-תַעֲשֶׂה לְךָ פֶסֶל, וְכָל-תְּמוּנָה, romanizedLōʾ-t̲aʿăśeh lək̲ā p̲esel, wək̲ol-təmûnāh) is an abbreviated form of the second part of one of the Ten Commandments which, according to the Book of Deuteronomy, were spoken by God to the Israelites and then written on stone tablets by the Finger of God. It continues, "... any graven image, or any likeness [of any thing] that [is] in heaven above, or that [is] in the earth beneath, or that [is] in the water under earth: Thou shalt not bow down thyself to them, nor serve them."

Rabbinical Judaism does not allow images. Christians abide by this law with their own interpretation depending on the denomination. As to Catholics and Orthodox there are mixed approaches, stating that they focus on images and icons rather than idols, sometimes with destruction of images (iconoclasm) occurring, particularly images of Christ and the saints. Aniconism is a common but not universal aspect of modern Islam.

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Aniconism in Islam in the context of Islamic coinage

After the early Muslim conquests brought the nascent caliphate into contact with the numismatic traditions of the Byzantine Empire and the Sasanian Empire, whose lands they took over, the Islamic world developed its own, distinctive tradition of coinage. Islamic currency consisted of gold (dinars), silver (dirhams), and copper or bronze (fals) coins, as well as their fractions and multiples. Initially these coins followed pre-Islamic patterns in iconography, but under Caliph Abd al-Malik ibn Marwan, a distinctive Islamic dinar type was created that eschewed images and carried the Islamic profession of faith. In the eastern parts of the caliphate, silver Arab–Sasanian coinage continued to be minted into the 9th century, before it was also replaced by Islamic patterns. The right to mint coins in one's own name became one of the chief attributes of sovereignty in Islam, and as autonomous and independent dynasties multiplied with the break-up of the Abbasid Caliphate in the 10th century, distinctive styles and sub-currencies emerged in the various states and regions as they sought to differentiate themselves from the Abbasid standard (e.g. Fatimid coinage). The typical Islamic coinage came to an end in the 19th and 20th centuries, as Muslim states adopted Western-style coinage practices and motifs.

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