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La Figura De La Luz Pontificia Universidad Javeriana Facultad de Ciencias Sociales Carrera de Historia La Figura de la Luz Las miniaturas turco otomanas del Siyer-i Nebi (la Vida del Profeta) del siglo XVI. Trabajo para presentar el requisito para optar por el titulo de Historiador. Jaime Alberto Cimadevilla Acevedo Silvia Cogollos Amaya Directora Bogotá, 4 de Agosto del 2014 2 Índice Agradecimientos ................................................................................................................... 4 Introducción .......................................................................................................................... 5 CAPITULO 1: Los principios del Islam .......................................................................... 10 1.1 La Península Arábiga pre-islámica ........................................................................... 10 1.2 El Profeta Muhammad ................................................................................................ 14 1.3 Shirk y Taghut ........................................................................................................... 18 CAPITULO 2: Arte y adopción ........................................................................................ 26 2.1 La germinación del arte musulmán ........................................................................... 26 2.2 Las miniaturas en el Islam ......................................................................................... 37 CAPITULO 3: Las representaciones del Profeta Muhammad ...................................... 43 3.1 El Profeta Muhammad en las miniaturas ................................................................... 46 3.2 Siyer-i Nebi ................................................................................................................ 53 3.3 El Mecenazgo ............................................................................................................ 61 Conclusiones ........................................................................................................................ 66 Bibliografía .......................................................................................................................... 68 Anexos .................................................................................................................................. 76 Lista de imágenes (figuras) .................................................................................................. 76 Mapas ................................................................................................................................... 80 Otros ..................................................................................................................................... 84 3 Agradecimientos Quisiera agradecer a cada uno de los miembros de mi familia por el apoyo que siempre me brindaron durante este proceso de formación intelectual y personal. Asimismo, quiero expresar infinita gratitud a mi profesora Silvia Cogollos, mi directora de tesis, quien me ha ayudado a mejorar mis falencias y por haberme acompañado en mi formación como historiador. Finalmente, agradezco a cada uno de mis compañeros y amigos quienes me apoyaron y brindaron consejos muy valiosos durante el desarrollo de la presente investigación, la cual pretendo se convierta en la proyección de todos aquellos conocimientos adquiridos durante el proceso de aprendizaje en la Universidad. 4 Introducción En 2005, el periódico danés Jyllands Posten, publicó unas caricaturas sobre el Profeta Muhammad cuyo objetivo era abrir el debate sobre la “censura” en el Islam. Como consecuencia, varios musulmanes criticaron duramente la decisión del periódico por representar, de forma ofensiva, a la persona más respetada del Islam. Para empeorar las cosas, algunas de las caricaturas asociaban a Muhammad con el terrorismo islámico que, muchas personas en occidente, relacionaban con los ataques terroristas del 11 de Septiembre del 2001. Como resultado, se abrió el debate sobre la libertad de prensa y el respeto sobre las imágenes del Profeta Muhammad. Por este motivo, muchos “occidentales” no entendieron la fuerte reacción de los musulmanes frente a estas representaciones de su profeta. Para comprender la posición musulmana, se tiene que entender el desarrollo teológico e histórico en torno al tema de la imagen en el Islam. Primero que todo, en algunas orientaciones cristianas es corriente representar a Jesús, su familia y los santos en pinturas, esculturas, videos etc. Así mismo, algunas de estas representaciones son veneradas dentro de los templos cristianos1. Por su parte, el Islam carece de imágenes de seres humanos dentro de sus rituales o templos religiosos. Según las creencias de esta religión, Dios es único e intangible. Así pues, cualquier tipo de imagen o imagen que se relacione con lo sagrado, se le conoce como Shirk. Es decir, la acción de asociar a Dios con un objeto que limite su Unicidad y Omnipresencia. En consecuencia, la persona que venere en estos objetos, cae en Taghut (idolatría). De esta manera, los objetivos de estos mandamientos son evitar la idolatría. Por, las complejas figuras geométricas la caligrafía para decorar las mezquitas, son considerados como el canon artístico tradicional del Islam. Por esta razón, al Islam se le considera como una religión aniconista, o sea, la práctica religiosa de evitar la representación de seres divinos o inclusive de seres humanos2. No obstante, el Islam y el arte no se pueden limitar a un espacio temporal y geográfico. En otras palabras, el arte 1 Peters, F.E. Jesus and Muhammad: Parallel Tracks, Parallel Lives. Oxford University Press 2011. P.159. 2 Allen, Terry. “Aniconism and Figural Representation in Islamic Art” en Five Essays on Islamic Art. Solipsist Press. 1988. 5 árabe musulmán no abarca la totalidad del arte del mundo islámico. Históricamente, el mundo islámico (entre el siglo VII al XIII) se expandió desde la península ibérica hasta Irán. Muchos de estos lugares poseían sus propias manifestaciones y comprensiones del mundo antes de que el Islam llegase a sus vidas. Por lo tanto, durante los procesos de conversión al Islam, muchos de estos pueblos retuvieron algunas sus manifestaciones culturales, sociales y artísticas. Recíprocamente, los conquistadores árabes musulmanes, bebieron de estas expresiones y manifestaciones de cada uno de los pueblos que encontraron en su expansión. Como diría el profesor Oleg Grabar, esto genero unos puntos de acceso3 por donde se infiltraron costumbres y cosmovisiones científicas, artísticas, culturales, etc. Durante estos procesos, las manifestaciones artísticas como la pintura china aportada por los mongoles, abrió el camino entre las representaciones pictóricas y las culturas musulmanas. De ahí, se desarrollo el arte de la miniatura. La investigación se concentro en las miniaturas del Profeta Muhammad elaboradas en el Imperio Turco Otomano en el siglo XVI. Ante todo es necesario comprender el contexto socio cultural de la época, en el que la sociedad guiada por los principios del Islam Sunni, (en el que sólo Ala, cuya concepción de dios creador y absoluto, podía crear figuras) no era permitida la representación de imágenes ya que esto equivaldría a “sentirse dios”. Muhammed en la época de su predica ya había condenado las representaciones para evitar la “idolatría”. Las miniaturas no tuvieron muchos problemas por cuatro características esenciales: 1) Era un arte que se guardaba en manuscritos que muy pocos podían pagar o poseer. Estas obras eran exclusivas y costosas. Por este motivo, la producción de miniaturas estaba bajo el mecenazgo: un patrocinio que era otorgado habitualmente por un gobernador a un artista. 2) Las miniaturas no tenían un objetivo educativo, porque ningún gobernador pensó emplearlas para educar a la población o con fines proselitistas. 3) Los miniaturistas no intentaban crear objetos de idolatría o adoración. Los artistas sabían que la acción de “imitar” era prohibida porque de acuerdo a la visión del mundo que tenían, los seres mundanos no eran permanentes y no valía la pena esforzarse al intentar conseguir una 3 Grabar, Oleg. Islamic Visual Culture, 1100-1800, Volumen 2. Ashgate publishing limited. 2006. 6 supuesta perfección que solo Dios podía alcanzar. 4) El Arte de la miniatura fue propio de distintas culturas y en épocas anteriores al Islam (este arte se desarrolló en China, Persia e India. Inclusive se encuentran miniaturas en el Antiguo Egipto). En el caso del Imperio turco otomano, el Sultán Murad III (1546-1595), encomendó a sus ilustradores hacer una copia del Siyer-i Nebi (La Vida del Profeta) que era una epopeya encargada por el Sultán Berkuk del Cairo y realizada por Mustafa ibnYusuf ibn Omar al- Mawlawi al-Arzan al-Rumi en el siglo XIII. El Sultán Murad III deseaba tener tanto una copia escrita, como unas miniaturas basadas en la epopeya. Cuando los ilustradores terminaron, la obra contaba con 814 miniaturas que recreaban los sucesos y los personajes más destacados de la vida del Profeta Muhammed. Las representaciones de esta obra tienen dos características esenciales: 1) los rostros de los personajes más importantes están tapados por un velo para mostrar respeto y 2) hay aureolas de fuego que cubren a estos personajes para simbolizar su esencia “divina”. Con esto dicho, me dispongo a plantear la siguiente problemática: La existencia de unas representaciones del profeta Muhammed habrían sido muy controversiales, no solamente para el pueblo turco sunni sino para los miembros
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