"Knowledge and Love" by Titus Burckhardt
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(“At Variance with Guénon”) of "Frithjof Schuon: Messenger of The
from: Frithjof Schuon: Messenger of the Perennial Philosophy ISBN: 978-1-935493-08-2 from the free Online Library at http://www.frithjofschuon.com/ 11. At Variance with Guénon In my early youth, my salvation was Shrī Shankara, and with him, spiritual virtue; And so I was able to learn: only inspiration, And not vain thinking, can give Wisdom. Then came the notion of tradition: Only the sacred may carry the sacred. All this Guénon wrote in his works with great diligence And zeal. But much still remained to be said!1 Frithjof Schuon always respected the metaphysical and conceptual frame- work articulated by René Guénon, whose writings were particularly important to him at the time when he was beginning to formulate his own perspective. Starting in 1939 and continuing throughout the rest of his life, Schuon delved into many subjects that Guénon never considered or only touched upon lightly, including Buddhism and American Indian spiritu- ality, sacred art in its diverse forms, and, especially, the operative aspects of spiritual realization—prayer of the heart and the human virtues. Martin Lings, who was Guénon’s personal assistant in Cairo during the 1940s, later expressed an observation that first became apparent in these years: “There is nothing in Guénon that is not to be found in Schuon. There is much in Schuon that is not to be found in Guénon.”2 When, after the war, com- munication could be resumed between Guénon in Cairo and Schuon in Lausanne, Guénon was generally supportive of Schuon’s point of view on these subjects and particularly appreciative of Schuon’s interest in American Indian spirituality. -
Sufism in the Western History : a Primary Outline
Sufism in the Western History : A Primary Outline Andrew Rawlinson University of Lancaster Abstract The phenomenon of Western Sufi teachers is unique, not just because of the individuals themselves, though they are certainly fascinating, but because of what they represent: the flowering of the Western genius, which has discovered Eastern traditions, absorbed them and in the process changed them and been changed by them. This paper is a primary outline of the main contours of this phenomenon, trying to brief its history and attempt an explanation of what it means. Keywords: Sufism, Western Sufism, Mysticism, History of Sufism Introduction About a century ago there were no Western gurus - no Westerners who were Hindu swamis, Zen roshis or Sufi sheikhs. Now there are hundreds. From a standing start, the West has produced its own spiritual teachers in traditions that were originally quite foreign. And in the last 25 years, a number of independent teachers have appeared, who belong to no tradition but teach from themselves. These people are changing Western culture by making available a view of the human condition which is new in the West. This view is based on four principles: - human beings are best understood in terms of consciousness and its modifications, - consciousness can be transformed by spiritual practice, - there are gurus/masters/teachers who have done this, - and they can help others to do the same by some form of transmission. Hundreds of thousands of Westerners now accept this teaching. To begin with, it was propounded by Easterners: Buddhists, Hindus and Sufis. But gradually Westerners began to teach the Buddhist, Hindu and Sufi versions of it. -
Framing Islam at the World of Islam Festival, London, 1976
Journal of Muslims in Europe 7 (2018) 73-93 brill.com/jome Framing Islam at the World of Islam Festival, London, 1976 Klas Grinell Dep. of Literature, History of Ideas, and Religion, Gothenburg University, Sweden [email protected] Abstract This article focuses on a neglected historical example where contemporary museo- logical framings of Islam in Europe were established—the World of Islam Festival in London, 1976. The material consulted consists of the publications and materials from the Festival Trust, media coverage and academic discussions of the Festival. These are analyzed from a frame theory perspective. The Festival is situated in a very specific historical period after the advent of Gulf oil money, but before the resurgence of Islam and the Iranian revolution. It was framed by the traditionalist perspective of Frithjof Schuon and Seyyed Hossein Nasr and in large part funded by the United Arab Emirates. It is argued that what might at first appear to be a festival celebrating the presence of Muslims in modern Britain acted to stabilize a dichotomy between Islam and moder- nity that is still dominant in museological framings of Islam in Europe. Keywords World of Islam Festival – museums – Islamic art – cultural heritage – traditionalism – 1970s 1 Aims and Introduction The 1976 World of Islam Festival in Britain is certain to be regarded in retrospect as an important milestone in the relations between Islam and Christianity. The effect that it has had in awakening Europeans to the sig- nificance of Islamic civilization is already apparent. © Klas GrinelL, 2018 | doi 10.1163/22117954-12341365 This is an open access article distributed under the terms of the prevailing CC-BY-NC license at the time of publication. -
What Do We Mean When We Say Islamic Art?
What do we mean when we say ‘Islamic art’? A plea for a critical rewriting of the history of the arts of Islam Avinoam Shalem In a book published in 2008, Arnold Hottinger provocatively asserted that as far as the Western stance toward Islam is concerned, Islam does not exist.1 He argued correctly that it is pure fiction to speak about Islam using one sole, monolithic and global term. Moreover, he added that the desire to see in the wide-ranging and diverse ‘worlds of Islam’ a homogenous sphere called Islam is simply an abstract cognitive notion, which, as with any general concept, has its sole origin in the mind of the person who creates this concept or theory. It is quite clear, then, that Hottinger, like many other scholars of Islamic studies, developed his ideas in the critical ‘Post-Edwardian Era’; that is, the period following the death of Edward Said in 2003, in which renewed discussion has taken place around his renowned book Orientalism, first published in 1978.2 The ‘imaginary Orient’, as termed by Linda Nochlin in 1983,3 is not restricted to Western literature but impinges on many other fields and is undoubtedly rooted in the history of European thought, especially in the construction of the image of its major ‘Other’ and the creation of its own historical narrative. And yet, this critical notion can and should also be applied to the field of art history in general, and to the construction of the field of Islamic art history within the larger discipline of Western art history in particular. -
William C. Chittick Chronological List of Publications Books
1 William C. Chittick Chronological List of Publications Books 1974 The Sufi Doctrine of Rumi: An Introduction. Tehran: Aryamehr University Press, 1974, 96 pp. (New edition 2005) Muqaddima bar `irfān-i Mawlawī. Persian translation by Shihāb al-Dīn `Abbāsī. Ganjīna-yi Ma`nawī-yi Mawlānā. Tehran: Intishārāt-i Murwārīd, 1383/2004, pp. 41-119. 1975 Collaboration with Seyyed Hossein Nasr in An Annotated Bibliography of Islamic Science. Vols. 1-2. Tehran: Imperial Iranian Academy of Philosophy, 1975-78, 432, 317 pp.; Vol. 3, Tehran, 1991; vols. 1 & 2 reprinted Lahore: Suhail Academy, 1985. 1977 Edition of `Abd al-Rahmān Jāmī. Naqd al-nusūs fī sharh naqsh al-fusūs. Persian and Arabic text with critical apparatus, notes, English and Persian introductions, indexes. Tehran: Imperial Iranian Academy of Philosophy, 1977, 648 pp. 1981 A Shi'ite Anthology. Albany: SUNY Press, 1981, 152 pp. http://www.al-islam.org/anthology/index.htm Translation of J. Nurbakhsh (compiler). Sufism [I]: Meaning, Knowledge, and Unity. New York: Khaniqahi-Nimatullahi, 1981, 111 pp. 1982 Fakhruddin ‘Iraqi: Divine Flashes (with P.L. Wilson). With introduction and notes. New York: Paulist Press (Classics of Western Spirituality), 1982, 178 pp. Translation of J. Nurbakhsh. Sufism [II]: Fear and Hope, Contraction and Expansion, Gathering and Dispersion, Intoxication and Sobriety, Annihilation and Subsistence. New York: Khaniqahi-Nimatullahi, 1982, 126 pp. Translation of `Alī ibn Abī Tālib. Supplications (Du'ā). London: Muhammadi Trust, 1982, 66 pp. 1983 The Sufi Path of Love: The Spiritual Teachings of Rumi. Albany: SUNY Press, 1983, 433 pp. 2 Russian translation by Marietta Stepaniants and Andrey Smirnov. -
Meditating Loss in Relation to Islamic Aesthetics and Spirituality Within Mosque Spaces in Contemporary Singapore
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. The art of 'none' to 'nur' : meditating loss in relation to Islamic aesthetics and spirituality within mosque spaces in contemporary Singapore Muhammad Noor Iskandar Othman 2018 Muhammad Noor Iskandar Othman. (2018). The art of 'none' to 'nur' : meditating loss in relation to Islamic aesthetics and spirituality within mosque spaces in contemporary Singapore. Master's thesis, Nanyang Technological University, Singapore. http://hdl.handle.net/10356/75885 https://doi.org/10.32657/10356/75885 Downloaded on 29 Sep 2021 20:37:35 SGT THE ART OF ‘NONE’ TO ‘NUR’: MEDITATING LOSS IN RELATION TO ISLA MIC AESTHETICS AND SPIRITUALITY WITHIN MOSQUE SPACES IN CONTEMPORARY SINGAPORE MUHAMMAD NOOR ISKANDAR BIN OTHMAN SCHOOL OF ART, DESIGN AND MEDIA 2018 THE ART OF ‘NONE’ TO ‘NUR’: MEDITATING LOSS IN RELATION TO ISLAMIC AESTHETICS AND SPIRITUALITY WITHIN MOSQUE SPACES IN CONTEMPORARY SINGAPORE MUHAMMAD NOOR ISKANDAR BIN OTHMAN SCHOOL OF ART, DESIGN AND MEDIA A thesis submitted to the Nanyang Technological University in partial fulfilment of the requirements for the degree of Master of Arts (Research) 2018 1 ACKNOWLEDGEMENT For the dreamers who feel so much spirit and consciousness in Art, And the soul craving for the Light to fill the longing in the Heart. I dedicate my gratitude to the Almighty for the bounteous blessings, both manifested and hidden, amidst this journey of discovery. To my supervisor, Dr Gül İnanç, who guided me with conviction, and all rivers of trust and patience, I am forever indebted to your presence. -
The Islam in Islamic Art History: Secularism and Public Discourse
The Islam in Islamic art history: secularism and public discourse Wendy M.K. Shaw In 1951, Richard Ettinghausen, one of the founding fathers of the discipline of Islamic art history in the United States, explained, Muslim art can also have a special significance for the Muslim world of today. Since this is its one cultural achievement widely accepted and admired by the West, a rededication to it can compensate the East to a certain degree for its scientific and technological retardation, something which neither the oil fields nor strategic location can achieve. Be that as it may, there has been and still is no better ambassador of good will than art. If these considerations are more widely understood, Muslim art and its study will have an important role to play in the future.1 Attitudes towards cultural diversity have become less patronizing over the decades, particularly among those who study cultures that are not their own. Nonetheless, historical objects from the Islamic world continue to be called upon regularly to reduce intercultural tensions in the contemporary world in a manner that often elides differences between past and present, religion and culture, geography and religion. This conjoining of art historical meaning with contemporary social function is not only an inevitable means through which the humanities often justify their funding and position within a broader public sphere, it also reflects the sociopolitical contexts in which all academic work, from the classical philology critiqued in Edward Said’s Orientalism (1978) onwards, has been and continues to be conducted, underwritten and disseminated. While the rhetoric of civilizational hierarchies and alterity revealed in the words of Ettinghausen may have become socially unacceptable in the interim, the practice of using art to represent broader culture continues to the present day, as do perceptions of the Islamic ‘other’ as something that is radically different from the West. -
The Need for a Sacred Science: an Intellectual Defence of the Tradition
Review Article The Need for a Sacred Science: An Intellectual Defence of the Tradition By Seyyed Hossein Nasr. Albany: State University of New York Press, SUNY Series in Religious Studies, 1993. Looking through humanity's experience of history one finds, in a vari ety of ways, a tendency to go beyond time. 1 This was true in premodem man and is equally prevalent in the postmodern view of human spirituality, even though postmodemism as an entity has failed to recognize the need and logic of such an idea. 2 In response, contemporary religious thinkers, philosophers, and spiritualists have argued for the revival of "tradition," religious values, and spirituality. Some of the main proponents of this "tra ditionist school" (p. 53) are Huston Smith, Frithjof Schuon, Gai Eaton, Titus Burckhardt, Martin Lings, and, of course, Seyyed Hossein Nasr. Nasr has written on several topics within the field of Islamics as well as other related disciplines. However, the major portion of his writings have been permeated with such themes as scientia sacra, perennial phi losophy, and the revival of spiritual traditions. These are indicative of his concern for and commitment to the cause of the revival of tradition. In the words of Jane Smith, he is the "defender of the sacred."3 His works on Islam, especially on Sufism, the philosophy of religion, Shi'ite thought, and various topics in world religions are too innumerable to be accounted for here. 3 But Nasr's relevance extends far beyond the areas of Islamic studies and comparative religion, for he writes for the specialist and for the wider public and appeals to those who are interest ed not only in religion and spirituality as such but also in their interrela tion to philosophy, science, social science, policy making, art, and youth issues. -
Ibn 'Arabî and His Interpreters Part
1 [© James W. Morris. This is an unrevised, scanned version of an article which has been published, with revisions and corrections, as indicated below. ‘Ibn Arabî and His Interpreters,’ Part II-B. Originally appeared in Journal of the American Oriental Society, vol. 107 (1987), pp. 101-119. Part II-A originally appeared in JAOS, vol. 106 (1986), pp. 733-756; and Part I in JAOS, vol. 106 (1986), pp. 539-551. If citing or distributing in any format, please include full reference to the actual corrected original publication. Thank you.] IBN ‘ARABI AND HIS INTERPRETERS PART II (CONCLUSION): INFLUENCES AND INTERPRETATIONS JAMES WINSTON MORRIS INSTITUTE OF ISMAILI STUDIES, PARIS Concluding our survey of major historical tendencies in the interpretation and reception of Ibn ‘Arabî’s writings in various traditions of later Islamic thought, as illustrated by recent translations and related studies, this final section deals with representative figures in the more philosophic ‘school’ founded by Qûnawî (Kâshânî, H. Âmulî, and Jîlî); in mystical poetry (Jâmî, ‘Irâqî, and others) and philosophy (Mullâ Sadrâ and his successors); and with the more recent Sufi writings of ‘Abd al-Qâdir al-Jazâ’irî, who recapitulates and integrates many of these traditions while returning to the spiritual sources and intentions underlying Ibn ‘Arabî’s own work and teaching. IV [Cont.] ‘Abd al-Razzâq al-Kâshânî (d. ca. 736/1335) has almost certainly been the most widely read (and cited) of these early interpreters of Ibn ‘Arabî, to such an extent that much of the subsequent discussion of ‘Ibn ‘Arabî’s’ thought and doctrine, whether in the Eastern Islamic world or in the modern West, can best be understood as in fact a reference to Kâshânî’s writings—especially where writers are expounding what they take to be Ibn ‘Arabî’s ‘system’ or philosophic ‘doctrine’ (e.g., of wahdat al-wujûd).72 In this regard, the modern attribution to Ibn 72 This is even true to a certain extent of T. -
Thomas Merton on Islam in Spain
"A Realm of White-Hot Faith:" Thomas Merton on Islam in Spain Bonnie B. Thurston Preface Thomas Merton's first and perhaps most famous book is his autobiography, The Seven Storey Mountain. It opens: "On the last day of January 1915, under the sign of the Water Bearer, in a year of a great war, and down in the shadow of some French mountains on the borders of Spain, I came into the world." 1 Although one might argue the geo-political boundaries, there is no question that from the moment of his birth, Spain influenced Thomas Merton. He lived his early life on her borders. The Spanish Civil War framed his university career.2 Seeing the Picasso exhibition in New York on November 16, 1939 greatly moved him and led to several journal entries.3 Two great citizens of this city, St. Teresa of Avila and St. John of the Cross were Merton's life long "spiritual companions." In December, 1939 Merton reflects on Teresa's The Interior Castle, and only a few months before he entered Gethsemani he numbered her among "the greatest saints" because she "was at the same time a great contemplative and a great reformer."4 In 1951 Merton wrote a (not great) book on John of the Cross, The Ascent to Truth,5 as well as Devotions in Honor of Saint John of the Cross published in 1953. 6 1 Thomas Merton, The Seven Storey Mountain (New York: Harcourt, Brace, 1948), 3. 2 Ibid.,145 ff. 3 Thornas Merton, Run to the Mountain: The Story of a Vocation, ed. -
Foundations of Oriental Art & Symbolism
Art History/Oriental T ITUS TITUS BURCKHARDT (1908-1984) was an acknowledged expert on the sa- cred art of both the East and West. This book is an edited collection of his most B important writings on the sacred art of the Hindu, Buddhist, and Taoist tradi- TITUS BURCKHARDT URCKHARDT tions. Lavishly illustrated with superb examples from Oriental art, architecture, statuary, and painting, it also includes several fascinating chapters on the symbol- ism of chess, the sacred mask, water, the mirror, and the dragon and serpent. Burckhardt was the author of over 20 books on sacred art, religion, culture, and spirituality and worked for many years as a UNESCO expert, helping to preserve the historic old city of Fez, Morocco. Foundations ᇹᇺᇺᇹ This ILLUSTRATED EDITION features: of Oriental Art • An editor’s preface by award-winning author Michael Oren Fitzgerald; • A foreword by Brian Keeble, co-founder of the Temenos Academy; • 160 color illustrations of Hindu, Buddhist, and Taoist art; • 15 line drawings prepared or selected by Burckhardt. & Symbolism ᇹᇺᇺᇹ Symbolism & Art Oriental of Foundations “No one since the legendary A.K. Coomaraswamy has been able to demonstrate how entire civilizations defi ne themselves through their art with the precision of Titus Burckhardt.” —Huston Smith, author of The World’s Religions and Why Religion Matters “In a style at once clear and accessible and which carries a profound understanding lightly, Titus Burckhardt touches effortlessly upon the essential, spiritual meaning of any given art form or work of art.” —Brian Keeble, editor of Every Man An Artist, from the foreword “Again and again one has the impression that [Burckhardt] has ‘said the last word’ on this or that particular Foreword by aspect. -
Titus Burckhardt: a Great Friend of the American Indians by Michael Fitzgerald
Titus Burckhardt: A Great Friend of the American Indians By Michael Fitzgerald itus Burckhardt’s personal relationship with Islam and his extensive Tcontributions to the traditional sciences and sacred art of all world cultures are well known.1 His relationship to the American Indians, however, is not widely recognized. In a letter written shortly after Burck‑ hardt’s death, Frithjof Schuon (1907 – 1998) observed, “he was a great friend of the American Indians.”2 Schuon concluded, “The combination of heroism and of a priestly mentality in the Indians must have appealed to him and somehow corresponded to a personal affinity.” Burckhardt was responsible for two important contributions to the understanding of American Indian spirituality in the German speaking world. The first is his book,The Wild West, published in German as Der wilde Westen3, which includes quotations from some of the most well‑known American Indian leaders and is heavily illustrated, including paintings of American Indians by Charles Russell, Frederick Remington and Frithjof Schuon. It also includes a 45 RPM recording of a Plains Indian Sun Dance song. 1 For biographical information on Burckhardt see The Essential Titus Burckhardt: Reflections on Sacred Art, Faiths, and Civilizations, edited by William Stoddart, Bloomington, World Wisdom. 2003. See also the Titus Burckhardt Memorial Issue of Studies in Comparative Religion, 16: 1‑2, 1984. 2 Schuon’s letter dated January 21, 1984 to Hans Küry from Bloomington. 3 Der wilde Westen. Olten and Freiburg: Urs Graf Verlag, 1966. 84 SACRED WEB 43 Titus Burckhardt: A Great Friend of the American Indians – Michael Fitzgeralde Schuon also noted that Burckhardt “had Black Elk Speaks published [in German].”4 Black Elk Speaks is the life story of a Lakota holy man and the best‑selling book of all time about American Indians.