Beauty and Islam: Aesthetics in Islamic Art and Architecture by Valerie Gonzalez

By Valerie Gonzalez

5 essays discover elements of aesthetics in classical Islamic suggestion in gentle of latest theories, delivering new views on Islamic paintings and structure with examples starting from the Qur'an and the Alhambra to the works of latest artists and philosophers. Tracing the roots of Islamic aesthetics again to the works of the philosophers of the center a while resembling Avicenna and Averroes, Valerie Gonzalez unearths that aesthetic idea in Islam has to be obvious in the a lot wider context of parallel considering on theology, ethics, physics, and metaphysics. She balances her research of this philosophy (moral, logical, and medical) of attractiveness with the both vital research of the perceptual adventure of good looks.

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Extra resources for Beauty and Islam: Aesthetics in Islamic Art and Architecture

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The first will consider the verse content in the light of the Solomonic mythology in general, through which the paradigmatic implications of the Qur’anic story for Islamic artistic tradition can be evaluated. Secondly, by defining the modalities of the aesthetic cognition of the parable through textual analysis, we will demonstrate that Solomon’s floor of glass without doubt belongs to that class of objects called ‘works of art’. Finally, we will provide evidence to show that the aesthetic cognition of the verse yields a truly practical application.

Through this path of meditative introspection, the individual abstracts himself from imperfect and limited matter in order to reach the pure essences, or pure splendour, as Ibn Sínå explains: If we isolate ourselves from the body, we will be, with the help of our meditation, our own essence (dhåta-nå), and it (our essence) will be able to become an intellectual world in harmony with true beings (al-mawjïdåt al-˙aqíqiyya), true beauties (al-jamålåt al-˙aqíqiyya) and true delights (almaladhdhåt al-˙aqíqiyya), joining with them as two intelligibles join together.

In it, the author offers an explanation of the glass feature and the illustration displays an image that corresponds exactly and literally to this. That is to say, the pictorial representation depicts every narrative detail mentioned by al-®abarí following his own comprehension of the tale. It shows the two protagonists facing each other, in the midst of the glass architectural device containing real water and fish graphically recognisable to the viewer. 13 In fact, to fully comprehend the aesthetic function of the Qur’anic story, consultation of the Islamic exegesis of it is necessary.

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