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ANGELS in ISLAM a Commentary with Selected Translations of Jalāl
ANGELS IN ISLAM A Commentary with Selected Translations of Jalāl al-Dīn al-Suyūṭī’s Al-Ḥabā’ik fī akhbār al- malā’ik (The Arrangement of the Traditions about Angels) S. R. Burge Doctor of Philosophy The University of Edinburgh 2009 A loose-leaf from a MS of al-Qazwīnī’s, cAjā’ib fī makhlūqāt (British Library) Source: Du Ry, Carel J., Art of Islam (New York: Abrams, 1971), p. 188 0.1 Abstract This thesis presents a commentary with selected translations of Jalāl al-Dīn cAbd al- Raḥmān al-Suyūṭī’s Al-Ḥabā’ik fī akhbār al-malā’ik (The Arrangement of the Traditions about Angels). The work is a collection of around 750 ḥadīth about angels, followed by a postscript (khātima) that discusses theological questions regarding their status in Islam. The first section of this thesis looks at the state of the study of angels in Islam, which has tended to focus on specific issues or narratives. However, there has been little study of the angels in Islamic tradition outside studies of angels in the Qur’an and eschatological literature. This thesis hopes to present some of this more general material about angels. The following two sections of the thesis present an analysis of the whole work. The first of these two sections looks at the origin of Muslim beliefs about angels, focusing on angelic nomenclature and angelic iconography. The second attempts to understand the message of al-Suyūṭī’s collection and the work’s purpose, through a consideration of the roles of angels in everyday life and ritual. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced firom the microfilm master. UMT films the text directly fi’om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be fi’om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing fi’om left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Ifowell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE EMERGENCE AND DEVELOPMENT OF ARABIC RHETORICAL THEORY. 500 C £.-1400 CE. DISSERTATION Presented m Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Khaiid Alhelwah, M.A. -
THE LYRICAL FACADES of SAN'a'
THE LYRICAL FACADES OF SAN'a' Saba Taher Al-Suleihi Bachelor of Architecture College of Environmental Design University of Petroleum and Minerals Dhahran, Saudi Arabia December 1985 Submitted to the Department of Architecture in partial fulfillment of the requirements of the degree of Master of Science in Architecture Studies at the Massachusetts Institute of Technology June 1992 @Saba Taher Al-Suleihi, 1992 The author hereby grants to M.I.T. permission to reproduce and distribute copies of this thesis document in whole or in part. Signature of Author Saba T. Al-Suleihi Certified by_ Ronald B. Lewcock Visiting Professor of Architecture Thesis Supervisor Accepted by_ Julian Beinart Chairman, Departmental Committee on Graduate Studies OF TECHOLOGY JUN 05 1992 USHAMES Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 Email: [email protected] Document Services http://libraries.mit.edu/docs DISCLAIMER OF QUALITY Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. If you are dissatisfied with this product and find it unusable, please contact Document Services as soon as possible. Thank you. - -600NOW - _WWOWdWW-- The Lyrical Fagades of San'A' by Saba Taher Al-Suleihi Submitted to the Department of Architecture on May 8, 1992 in partial fulfillment of the requirements for the degree of Master of Science in Architecture Studies ABSTRACT This study investigates aspects of the interrelationship between poetry and architecture as two modes of cultural expression. It postulates that the critical aesthetic values of a culture surface in its various products which may interchange influences and roles. -
Paradise in the Qur'an and the Music of Apocalypse
CHAPTER 6 Paradise in the Quran and the Music of Apocalypse Todd Lawson These people have no grasp of God’s true measure. On the Day of Resurrection, the whole earth will be in His grip. The heavens will be rolled up in His right hand – Glory be to Him! He is far above the partners they ascribe to Him! the Trumpet will be sounded, and everyone in the heavens and earth will fall down senseless except those God spares. It will be sounded once again and they will be on their feet, looking on. The earth will shine with the light of its Lord; the Record of Deeds will be laid open; the prophets and witnesses will be brought in. Fair judgment will be given between them: they will not be wronged and every soul will be repaid in full for what it has done. He knows best what they do. Q 39:67–70 … An apocalypse is a supernatural revelation, which reveals secrets of the heavenly world, on the one hand, and of eschatological judgment on the other. John J. Collins, The Dead Sea Scrolls 150 ∵ The Quran may be distinguished from other scriptures of Abrahamic or ethical monotheistic faith traditions by a number of features. The first of these is the degree to which the subject of revelation (as it happens, the best English trans- lation of the Greek word ἀποκάλυψις / apocalypsis) is central to its form and contents. In this the Quran is unusually self-reflective, a common feature, inci- dentally, of modern and postmodern works of art and literature. -
Patterns of Complexity: Art and Design of Morocco and Tunisia 2011 2
Patterns of Complexity: The Art and Design of Morocco and Tunisia Fulbright-Hays Seminar Abroad Curriculum Project 2011 Sue Uhlig, Continuing Lecturer in Art and Design at Purdue University Religious Diversity in the Maghreb From June 12 to July 21, 2011, I was one of sixteen post-secondary educators who participated in the Fulbright-Hays Seminars Abroad program to Morocco and Tunisia. During those six weeks, we were immersed in the culture of the two North African countries, visiting significant historical and cultural attractions, attending lectures daily, tasting regional cuisine, and taking Arabic language classes for the first two weeks. The topic of the seminar was “Religious Diversity in the Maghreb: Morocco and Tunisia,” so lectures were focused primarily on Islamic topics, such as Moroccan Islam and Sufism, with some topics covering Judaism. We were treated to two musical performances, one relating to Judeo-Spanish Moroccan narrative songs and the other by Gnawa musicians. Visits to Christian churches, Jewish museums and synagogues, and Islamic mosques rounded out the religious focus. The group was in Morocco for a total of four weeks and Tunisia for two. In Morocco, we visited the cities of: Rabat* Casablanca* Sale Beni Mellal* Fes* Azilal Volubilis Amezray* Moulay Idriss Zaouia Ahansal Sefrou Marrakech* Ifrane In Tunisia, we visited the following cities: Tunis* Monastir Carthage Mahdia* Sidi Bou Said El Jem La Marsa Sfax Kairouan Kerkennah Islands* Sousse* Djerba* * cities with an overnight stay For more information, you may contact me at [email protected]. I also have my photos from this seminar on Flickr. http://www.flickr.com/photos/25315113@N08/ Background Being an art educator, teaching art methods classes to both art education and elementary education majors, as well as teaching a large lecture class of art appreciation to a general student population, I wanted to focus on the art and design of Morocco and Tunisia for this curriculum project. -
Islamic Achievements
Islamic Achievements Were there any? Placard 2 summarizing sentences – Each sentence letter Symbol should have two IMPORTANT facts in it. 1. Astronomy 2. Baghdad 3. Calligraphy 4. Chess Art 5. Art 6. Banking Banking 7. Irrigation and underground wells 8. Bookmaking and literature 2 summarizing sentences – Each sentence Placard Symbol letter should have two IMPORTANT facts in it. 9. Mathematics 10. Medicine 11.Pharmacies Pharmacies 12. Music 13. Polo 14. Scholarship and learning 15.Libraries Libraries 16. Zoology A • Chess The game of chess was introduced to the Muslim world by the Persians, who had imported it first from India. The game became widely popular among men and women because of its difficulty and intellectual challenge. Caliphs (rulers) would invite champions of the game to chess matches at their palaces. The Muslims continued to adapt and improve the game. Eventually the introduced chess to Europeans, who played it widely from the thirteenth century on. What I would write • Chess was brought to the Muslim world from India • Muslims played it because it was intellectually challenging • Muslims made improvements to the game and eventually introduced it to Europe B • Irrigation Because water was so scarce in the desert regions of the Islamic Empire, Muslims developed ingenious irrigation techniques and utilized underground wells. Dams, reservoirs, and aqueducts were constructed throughout the Islamic Empire as early as the tenth century. Muslims also perfected the water wheel, a technique that could be operated by man, animals or the wind. When an upright pole connected to a series of geared wheels was turned, four water scoops, rising one after another , emptied their contents into a canal. -
The Written Word in Islamic Art
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online The Written Word in Islamic Art Chela Weitzel Islamic art and culture is heavily influenced by both the meaning and form of the written word. Prior to the advent of Islam, the written word was significant. However, with the rise of Islam and the holy book of the Qur’an, the written word became a symbol of both Islamic faith and civilisation. Arabic writing, expressed through the fine art of calligraphy, has pervaded the visual arts. The universal custom among the faithful, of reading the Qur’an in Arabic has resulted in the spread of calligraphic arts throughout the Islamic world, beyond Arabic speaking nations. It is believed that Arabic calligraphy should be a whole subject by itself in modern Arabic schools.1 Given the position of the written word and the Islamic aversion to figural images, calligraphy proliferated in Islamic art. As a visual art, the skill of calligraphy relies on the use and knowledge of Arabic. The belief that the Qur’an must be read in Arabic in order to ascertain its proper meaning has created an environment in which the religious and aesthetic aspects of the word have come to dominate the arts. Thus, the divine importance given to the Arabic language has transformed the word into a symbol of the faith from Africa to Indonesia. The ideographic properties of the word have lead to a tradition of poetry that relies on a blending of meaning derived from the physical appearance of the letters in a poem as well as from the literal meaning of the verse. -
ARA281 Arabic Literature 1 Is a Two Unit Course Available in the First Semester of the Second Year B
NATIONAL OPEN UNIVERSITY OF NIGERIA COURSE CODE : ARA 281 COURSE TITLE: ARABIC LITERATURES I ARA 281 COURSE GUIDE COURSE GUIDE ARA 281 ARABIC LITERATURES I Course Team Prof. A. F. Ahmed (Developers/Writer) - NOUN Dr. Saheed Timehin (Codevelopers/Co-writer) - LASU Prof. Asif Ahmed (Editor/Programme Leader) - NOUN NATIONAL OPEN UNIVERSITY OF NIGERIA ii ARA 281 COURSE GUIDE National Open University of Nigeria Headquarters 14/16 Ahmadu Bello Way Victoria Island Lagos Abuja Office No. 5 Dares Salaam Street Off Aminu Kano Crescent Wuse II, Abuja Nigeria e-mail: @nou.edu.ng URL: .nou.edu.ng Published By: National Open University of Nigeria First Printed 2010 ISBN: All Rights Reserved iii ARA 281 COURSE GUIDE CONTENTS PAGE Introduction ………………………………………………………. 1 What You Will Learn in This Course …………………………… 1 Course Aims ………………………………………………………. 1 Course Objectives ………………………………………………. 1 Working through this Course ………………………………………. 1 Course Materials …………………………………………………… 2 Study Units………………………………………………………. 2 Textbooks and References ………………………………………. 3 Assessment ………………………………………………………. 3 Tutor Marked Assignments ………………………………………. 3 Final Examination and Grading ……………………………………. 3 Course Marking Scheme……………………………………………. 4 How to Get the most from this course ……………………………. 4 Tutor and Tutorials. ………………………………………………. 5 Summary …………………………………………………………. 6 iv INTRODUCTION ARA281 Arabic literature 1 is a two unit course available in the first semester of the Second year B. A. Degree programme. It serves as a foundation course and exposes you to the main issues in early Arabic literature starting from the pre-Islamic period to the end of the Rightly Guided Caliphs era usually marked by the assassination of Caliph Ali ibn Abī Tālib in 661 C.E. WHAT YOU WILL LEARN IN THIS COURSE As you might have been quite aware, every language has its literature. -
The Quran and the Secular Mind: a Philosophy of Islam
The Quran and the Secular Mind In this engaging and innovative study Shabbir Akhtar argues that Islam is unique in its decision and capacity to confront, rather than accommodate, the challenges of secular belief. The author contends that Islam should not be classed with the modern Judaeo–Christian tradition since that tradition has effectively capitulated to secularism and is now a disguised form of liberal humanism. He insists that the Quran, the founding document and scripture of Islam, must be viewed in its own uniqueness and integrity rather than mined for alleged parallels and equivalents with biblical Semitic faiths. The author encourages his Muslim co-religionists to assess central Quranic doctrine at the bar of contemporary secular reason. In doing so, he seeks to revive the tradition of Islamic philosophy, moribund since the work of the twelfth century Muslim thinker and commentator on Aristotle, Ibn Rushd (Averroës). Shabbir Akhtar’s book argues that reason, in the aftermath of revelation, must be exer- cised critically rather than merely to extract and explicate Quranic dogma. In doing so, the author creates a revolutionary form of Quranic exegesis with vitally significant implications for the moral, intellectual, cultural and political future of this consciously universal faith called Islam, and indeed of other faiths and ideologies that must encounter it in the modern secular world. Accessible in style and topical and provocative in content, this book is a major philosophical contribution to the study of the Quran. These features make it ideal reading for students and general readers of Islam and philosophy. Shabbir Akhtar is Assistant Professor of Philosophy at Old Dominion University in Norfolk, Virginia, USA. -
Crossing the Caspian
Crossing the Caspian PERSIA AND EUROPE 1500–1700 Crossing the Caspian PERSIA AND EUROPE, 1500–1700 Fig. 1 Johann Baptist Homann (Germany, 1663–1724), Map of the Persian Provinces of Gilan, Shirvan, and Dagestan (Provinciarum persicarum Kilaniae nempe Chirvaniae Dagestaniae), 1728. 1 1 Map, 18 ⁄2 × 22 ⁄16 in. Courtesy of Stanford University, David Rumsey Map Center Crossing the Caspian PERSIA AND EUROPE, 1500–1700 ALEXANDRIA HEJAZI TSAGARIS In 1728, the Nuremberg print shop of Johann Baptist Homann issued a revolutionary map of the Caspian Sea and its coastal Persian provinces (fig.1 ). Homann’s map was one of the first to accurately represent the shape of the Caspian, the world’s largest inland body of water, in the area surrounded by what we now know as Russia, Azerbaijan, Kazakhstan, Turkmenistan, and Iran. Up until that point, cartographers had depicted it as a wide, vague oval, as in a 1634 example by Willem Janszoon Blaeu (fig. 2).1 The cartographic misperception carried on so long due to the simple fact that, until the 17th century, the Caspian remained an untraveled and mysterious waterway. Mapmakers like Blaeu—then the most sought-after cartographer in the Netherlands—still referenced Ptolemy’s ancient geographic atlases for templates of Caspian lands. But in 1600, this changed. In contrast to the empty sea in Blaeu’s map, the constellation of ships in the version by Homann demonstrate the emergence of the Caspian as a major water route between Persia and Europe. Ambassadors and merchants crossing it gathered direct knowledge of the sea as they navigated to and from the coasts of Persia. -
DOCUMENT RESUME SO 021 358 a Jeweler's Eye: Islamic Arts Of
DOCUMENT RESUME ED 332 922 SO 021 358 TITLE A Jeweler's Eye: Islamic Arts of the Book from the Vever Collection, INSTITUTION Smithsonian Institution, Washington, DC. Arthur M: Sackler Gallery. PUB DATE 89 NOTE 54p. AVAILABLE FROM Education Department, Arthur M. Sackler Gallery, Smithsonian Institution, Washington DC 20560 (includes slide set). PUB TYPE Guides - Classroom Use - Instructional Materials (For Learner) (051) -- Guides - Classroom Use- Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS *Aesthetic Education; Art Activities; Art Appreciation; *Art Education; *Art History; Creative Activities; *Cultural Activities; Elementary Secondary Education; Enrichment Activities; *Islamic Culture; Manuscript Writing (Hand Lettering); Painting (Visual Arts); *Poetry IDENTIFIERS Islam; *Islamic Art ABSTRACT Originally designed for use in combination with a museum visit to the Islamic Arts of the Book from the Vever Collection exhibition at the Arthur M. Sackler Gallery ofthe Smithsonian Institution, Washington, D.C., the documentpresents a teaching package about Islamic art during the late 16th-early17th century. Themes in Islamic art addressed included theuse of brilliant color, intricate details, pattern, modularstructure in composition, and successive combinations of units. Slidesand discussion questions show students how Islamic books, calledalbums, were made. Four student activities are outlined: (1) Islamicmotifs and patterns that show how intricate abstract designswere made by combining squares, rectangles, triangles, and circles; (2)how to create albums;(3) using calligraphy to write words andsentences that also form a picture; and 4) an exercise tohelp identify the main characteristics of Islamic poetry. The sectionon background information for teachers describes the five pillars of Islam,how Islamic art is defined, the importance of calligraphy,and how hooks have always been held in high esteem. -
Yadgar Liran-Dissertation
THE UNIVERSITY OF CHICAGO “ALL THE KINGS OF ARABIA ARE SEEKING YOUR COUNSEL AND ADVICE”: INTELLECTUAL AND CULTURAL EXCHANGE BETWEEN JEWS AND MUSLIMS IN THE LATER MIDDLE ISLAMIC PERIOD A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF NEAR EASTERN LANGUAGES AND CIVILIZATIONS BY LIRAN YADGAR CHICAGO, ILLINOIS JUNE 2016 © Copyright by Liran Yadgar, 2016. All rights reserved. ii For my father and in memory of my mother iii TABLE OF CONTENTS List of Tables vi List of Figures vii List of Maps viii Abbreviations ix Abstract xi Acknowlegments xii INTRODUCTION 1 I. On Periodization and Its Implications for the Historiography of Jews 1 under Medieval Islam II. The End of ‘Creative Symbiosis’ in the Late Middle Islamic Period? 19 CHAPTER 1. BIBLICAL COMMENTARY. 25 Joseph Ibn ‘Aqnīn’s (c. 1150-1220) Commentary on the Song of Songs, Inkishāf al-asrār wa-ẓuhūr al-anwār (Disclosure of Secrets and Appearance of Light) I. Allegorical and Philosophical Interpretations of the Song of Songs 26 II. Joseph ibn ‘Aqnīn: A Biographical Sketch 34 III. Ibn ‘Aqnīn’s Commentary on the Song of Songs 38 The Jewish Contents of Ibn ‘Aqnīn’s Commentary 42 The Islamic Contents of Ibn ‘Aqnīn’s Commentary 44 1. al-Fārābī 44 2. Ibn Sīnā (Avicenna) 50 3. Arabic Poetry 52 IV. Conclusions 55 CHAPTER 2. MYSTICISM. 56 al-Murshid ilā Al-tafarrud wa-l-murfid ilā al-tajarrud (Guide To Detachment and Aid to Solitude), a Mystical Treatise By David Ben Joshua Maimonides (c.