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Islam Medeniyetinde

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Islam Medeniyetinde iSLAM MEDENiYETiNDE (MEDİNETÜ'S-SELAM) ULUSLARARASI SEMPOZ\'UM 7-8-9 KASIM 2008 _ı~ ~ ' iLAtıiYA'J: S:~T:.ı:o. Ümraniye FAK:ULTESI ARAŞTIRMAMERKEZI Belediyesi Marmara Üniversitesi, İlah!)'at Fakültesi, islam Tarihi ve Sanatlan Bölümü Marmara University, Faculty of Theology. Department of Islami c History and Arts & islam Konferansı T~kilatı, İslam Tarih, Sanat ve Kültür Ara§tırma Merkezi (IRCICA) - Organisation of lslamic Conference, Research Centre for Islamic History. Art aı'ıd Culture İSLAM MEDENIYETINDE BAGDAT 1\ •• A (MEDINETU'S-SELAM) ULUSLARARASI SEMPOZVUM INTERNATIONAL SYMPOSIUM ON BAGHDAD (MADINAT ai-sAIAM) IN THE ISLAMI C CIVILIZATION 7-9 Kasım 1 November 2008 Bağlarba~ı Kültür Merkezi Üsküdar- İSTANBUL TÜRKİYE PROGRAM Ümran!}'e Beled!}'esi'nin katkılar!Yia Sponsored by Umran!}'e Municipalio/ THE IDEOLOGY OF MADINAT AL-SALAM AND THE CONCEPT OF BAGHDAD INARAB CULTURE Prof. Oliver Leaman· The city in the Islamic world The city in Islamic culture has always had a crucial status. 1 Ibn Khaldun points out in his remarkable work on the dynamic nature of Muslim society that the city often represents a parucular crystallization of social forces that defines a culture.2 Cities are important for him precisely because they establish a culture, and only a city is wealthy enough and sedate enough, in his terms, to allow for superfluous activities which ilre embodied in material objects like ceramics, lavish architecture and public works in general. Yet cities and the cultures they embody are merely temporary repositories of culture since they bear within theı:İıselves the seeds of their own destruction, and in a sense the bigger they are, the harder they fall, since they give rise to envy externally and corruption and softness internally, two forces that inevitably work in tandem to bring a city down. Although Islam started in the desert, we are told, it did in fact rapidly embody itself in cities, the cities of M edinalı and Mecca. It is worth noting that ' . 1 the dating of the Islamic calendar starts with the year that Medinah, the ~~ty of Medinah, offered sh el ter to the nascent Muslim community. It could ··have been regarded as having started earlier when the revelations commenced, for University ofKentucky 1 Abu-Lughod, J. 'The Islamic City-historic myth, Islamic essence, and contemporary relevance', International Journal ofM idEastern Studies, 19, 2 (1987), pp.155-76. Ibn Khaldun The Muqadimmah, trans. F. Rosenthal, Princeton, 1967. 196 INTERNATIONAL SYMPOSIUM ON BAGHDAD IN THE ISLAMI C CIVIUZATION instance, or later when the community moved onto Mecca, but the initial emi­ gration to Medinah represented the fust time the community lived in a city, aİıd so was defined as a politically significant group. This emphasis on cities certainly did not stop with the two holy cities, but has continued ever since in the individual characters of the major Islamic cit­ ies, and not only those in the Arab and Persian world. Cairo, Beirut, Istanbul, Isfahan, Kuala Lumpur, Sarajevo and so on are all major cities with fascinating histories and dramatic changes of fortune, and these cities have often served as symbols of the contemporary state of Islamic culture. There is nothing like the destruction of a city, its rebirth, its prosperity or decline, to symbolize the cul­ ture as a whole. This is not the place to compare the Islamic city with those elsewhere, but it is worth just mentioning that cities outside of the Islamic world rarely take on such a large symbolic meaning. London is not Britain in the way that the Islamic city is often taken to represent its country. There is a reason for this, of course, and it rests on the extreme forces of centralization and authority that tended to operate in many Islamic countries, whether un­ der colonial or independent government.3 Baghdad as madinat al-salam The idea of Baghdad as madinat al-salam is often credited to its original layout by Caliph Mansur, to the circular structure of the boundaries of the original city, and to what the circle means in terms of balance, harmony, and a 4 certain concept of perfection • As we know, this ideal was not matched by re­ ality for most of the time, as tends to happen with ideals, and this will pe dis­ cussed later. Wlıat is important is what it says about the cultural meaning that Baghdad came to have, a meaning that has remained remarkably constant over a very extensive period. Authority, composure, self-eontrol and a high regard for the works of the intellect came to be associated with Baghdad, not in the sense that they were always to be found there, but in the sense that there was a feeling that they ought always to be fo und there. W e could look at the philosophical, theological, artistic and scientific doctrines that arose in the city, and these have often been described, but it is more significant to point to what might be called the madinat al-salam style of intellectual work, because this reveals a good deal of what ways of working are traditionally associated with the city. Of course, when one links a style with a city it is not being 3 M. Morony, Iraq after the Muslim conquest, Princeton, 2005. 4 Lassner, ]. "The caliph's personal domain: the city plan of Bagdad re-examined", The Islamic City, ed. A. Hourani and S. Stern, Oxford: Cassirer, 1970, 103-17. IDEOLOGY OF MADIM4T AL-SALAM AND THE CONCEPT OF BAGHDAD INARAB CULTURE 197 claimed that everyone in the city worked in that way, or that no-one else from other places shared in that approach, but rather that many important thinkers were encouraged to work in a certain way, and this methodology came to achieve a certain prominence. I am going to start looking at the concept of Baghdad inArab culture by starting with very modern works of art and poet­ ry, to develop a working model of what might be called the coıicept of Bagh­ dad as it exists taday, and then work back from that concept to much earlier times and different forms of thought to try to establish what this concept is, how it is used aesthetically and what significance it has. Madinat al-salam in modern art and poetry In his art Dia·al-Azzawi has produced aset of mixed media works which he,links with Baghdad and a boxed set of lithographs5 entitled "Homage to Baghdad". As with much modern Iraqi art, a theme is often represented of the links with pre-Islamic civilizations, in particillar the Sumerians as well as ab­ stract shapes, highly coloured surfaces with sharp contrasts drawn between the colours, and the use of Arabic calligraphy in a gigantic form, so that letters are displayed often at randam across the image, although closer inspection reveals the combinations of letters that produce words such as Baghdad. The litho­ graphs have a sculptural form, with a large dark background and a colurnn of colour in the foreground, as though representing ancient sculptures from the ancient civilizations of Mesopotamia. In his "Oriental scene"6 the letters do not make up a word, but here represent the alleyways and thoroughfares of the city, with vibrant colours carefully arringed and in particular a large vocabu­ lary of black being employed. Al~Azzawi says that he sees black as one of the basic colours of Iraqi culture, given its tragic quality. However, black does not occur in all his work, and the " Blessed Tigris"7 which could well be talcen to be a reference to Baghdad, is a colurnn of overwhelmingly bright colours with the verse going araund the base, and the verse is in a totally different mood from the visual artefact. There are certainly same features we can link, like the green and the blue, reminiscent of the references to growth and nature and water, alJ. · aspects of the idea of peace in traditional Arab culture. But the poem refers to the darker si de of life, and in particular to the darker side of Iraqi lifei;. ')'hile"" the image is irretrievably cheerful. The peaceful motif runs throughout the poem until the eırd, where the resignation of the poet at the absence of peace al-Azzawi, Dia Hamage to Baghdad, Boxed set of 10 lithographs, 1982. 6 Venetia Porter, Word into Art: Artists of the modern Middle East, London, 2006, p.73. 7 Porter, Word into Art, p.S. 198 INTERNATIONAL SYMPOSIUM ON BAGHDAD IN THE ISlAMIC CIVIUZATION is expressed, and we find no reference to this in the image. So we should per­ haps conclude that the image is designed to work as a contrast with the words, an· ironic representation of a perfect realm of peace which is nonetheless vol­ cano-like in its shape and dynamic in structure, revealing how even within the most calm representation of peace the possibility of conflict is implicit and potentially destabilizing. Had the calligraphy been in black, which it could eas­ ily have been, the contrast between the image and the words would have been too obvious, but having the letters in desert sandy brown integrates them into the object as a who le and encourages us to link them with the structure of the . poem and its references to earth. The role of Baghdad as the madinat al-salam makes it possible to draw ar­ tistic rnileage through challenging the real with the ideal. The real at almost every period since the creation of the city of Baghdad has been difficult. The city was the headquarters of the Sunni 'Abbasid regime, and so was often seen as the headquarters of evil by the Shiites.
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