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Cosmology and Architecture in Premodern Islam an Architectural Reading of Mystical Ideas

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Cosmology and Architecture in Premodern Islam an Architectural Reading of Mystical Ideas Cosmology and Architecture in Premodern Islam An Architectural Reading of Mystical Ideas Samer Akkach Cosmology and Architecture in Premodern Islam SUNY series in Islam Seyyed Hossein Nasr, editor Cosmology and Architecture in Premodern Islam An Architectural Reading of Mystical Ideas Samer Akkach State University of New York Press Published by State University of New York Press, Albany © 2005 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 194 Washington Avenue, Suite 305, Albany, NY 12210-2365 Production by Marilyn P. Semerad Marketing by Michael Campochiaro Library of Congress Cataloging-in-Publication Data Akkach, Samer. Cosmology and architecture in premodern Islam : an architectural reading of mystical ideas / Samer Akkach. p. cm. — (SUNY series in Islam) Includes bibliographical references and index. IBSN 0-7914-6411-3 (hardcover : alk. paper) 1. Islamic art and symbolism. 2. Symbolism in architecture. 3. Architecture, Islamic. 4. Islamic cosmology. 5. Sufism. I. Title. II. Series. BP182.5.A34 2005 726'.2'01—dc22 2004014267 10987654321 Contents Illustrations vii Note to the Reader xi Preface xiii Introduction xvii Abbreviations xxv Chapter 1. Discursive Order 1 Cosmology: An Overview 1 Symbolism: A Critical Review 4 History and Symbolism 13 Sufism 18 Symbolism: A Sufi Perspective 25 Chapter 2. Metaphysical Order 55 Being and Presence 55 The Primordial Presence 63 The Divine Presence 67 The Human Presence 82 The Presence of the Word 95 The Geometry of Being 109 v vi Contents Chapter 3. Cosmic Order 113 The Original Idea 113 Creative Breathing 115 The “Cloud” and Cosmic Forms 119 The World of Command 120 The World of Creation 124 Chapter 4. Architectural Order 149 Gazing at the Sky 149 Ordering Spaces 151 Architecture and the Sacred 162 The Kaba: The First House 179 The Mosque and the Spatiality of Prayer 193 Afterword: Architecture and Cosmic Habitat 207 Notes 211 List of Arabic Manuscripts Cited 237 Selected Bibliography 239 Index 255 Illustrations Photos Photo 1.1 The complex of Shaykh Muh· yj al-Djnat the foothill of Qa¯siyu¯n in Damascus. 23 Photo 1.2 The dome over the tomb of Ibn Arabj in Damascus. 24 Photo 4.1 The Umayyad Dome of the Rock in Jerusalem. 152 Photo 4.2 The central domed structure at Ibn Tu¯lu¯n mosque in Cairo showing the geometry and spatial order of the centralized enclosed space model. 154 Photo 4.3 The courtyard of the Sultan H· asan school in Cairo showing the geometry and spatial order of the centralized open courtyard model. 157 Photo 4.4 The respondents’ platform (dikka) at the Sultan H· asan school in Cairo. 196 Photo 4.5 The interior of the great Umayyad mosque of Damascus. 199 Photo 4.6 The tomb of the prophet Yah·ya¯ inside the prayer hall of the great Umayyad mosque of Damascus. 200 vii viii Illustrations Figures Figure 1.1 The hierarchy of shadows according to Ibn Arabj.34 Figure 1.2 Triplicity and quadrature underlying the order of universal manifestation. 42 Figure 2.1 The seven states of Being viewed from various perspectives. 62 Figure 2.2 The circle as a symbol of divinity in the state of first determination. 68 Figure 2.3 The world as divine business (shan), according to Ibn Arabj (Futu¯h· a¯t).70 Figure 2.4 The geometric representation of the divine creative command according to Ibn Arabj.72 Figure 2.5 The first stage of manifestation according to Ibn Arabj (Futu¯h· a¯t).74 Figure 2.6 The second stage of manifestation according to Ibn Arabj (Futu¯h· a¯t).75 Figure 2.7 The third stage of manifestation according to Ibn Arabj (Futu¯h· a¯t, a: Da¯r S· a¯dir ed.; b: MS. 1328). 77 Figure 2.8 Pattern of proliferation according to Ibn Arabj.79 Figure 2.9 The human presence mediating between God and the world. 85 Figure 2.10 The three-dimensional cross as a symbol of the human presence. 86 Figure 2.11 The three movements of spatial unfolding. 89 Figure 2.12 The complementary movements of spatial expansion according to Ibn Arabj.92 Figure 2.13 The correlation of the Arabic alphabet and the human body (“Jawa¯hir,” MS. 7127). 99 Figure 2.14 The natural qualities of the Arabic alphabet (“Jawa¯hir,” MS. 7127). 100 Figure 2.15 Diagrammatic representation of the formation of the word in Arabic. 107 Illustrations ix Figure 2.16 The fundamental order of being according to Ibn Arabj (Insha¯ al-Dawa¯ir). 110 Figure 2.17 Diagrammatic representation of the geometry of being. 111 Figure 3.1 The geocentric cosmos and domains of being according to Ibn Arabj. 114 Figure 3.2 The form of the “Cloud” revealing the world of command according to Ibn Arabj (Futu¯h· a¯t). 121 Figure 3.3 The divine Throne and the Footstool according to Ibn Arabj (Futu¯h· a¯t). 125 Figure 3.4 The bearers of the divine Throne according to Ibn Arabj. 127 Figure 3.5 The form of the Throne in the hereafter according to Ibn Arabj (Futu¯h· a¯t). 128 Figure 3.6 The celestial Gardens according to Ibn Arabj (Futu¯h· a¯t). 131 Figure 3.7 The duodenary structure of the atlas sphere according to Ibn Arabj. 133 Figure 3.8 The heavens, the earths, the kingdoms, and Universal Man as invisible support according to Ibn Arabj (Futu¯h· a¯t). 135 Figure 3.9 The formal correspondence between the letter nu¯n (N) and the world according to Ibn Arabj. 136 Figure 3.10 The four nodal points of the moon’s monthly A cycle according to al- milj (“Tashrjh· ,” MS. 3103). 140 Figure 3.11 Differentiating the motion of the atlas sphere by reference to the divine Feet according to Ibn Arabj. 143 Figure 3.12 The multilayered world according to Ibn Arabj (Futu¯h· a¯t). 146 Figure 4.1 The geometry of the concentric composition. 153 Figure 4.2 The formal order of the centralized enclosed space model. 153 Figure 4.3 The formal components of the centralized enclosed space model. 155 x Illustrations Figure 4.4 The centralized open courtyard model. 156 Figure 4.5 The geometry of the linear composition. 158 Figure 4.6 The point as the generative principle of rectilinear bodies according to the Ikhwa¯n. 160 Figure 4.7 The point as the generative principle of spherical bodies according to the Ikhwa¯n. 161 Figure 4.8 The demarcation of the central space in the layout of the early cities of al-Ku¯fa and al-Bas·ra according to early Islamic sources. 169 Figure 4.9 The moving horizon in relation to the sun and the viewer’s position. 173 Figure 4.10 The cube of the Kaba crystallizing the spatiality of the human presence. 180 Figure 4.11 The Kaba’s axial relationship to the Polestar according to al-Kisa¯j. 184 Figure 4.12 The correlation of the Kaba’s quadrature with prophet-angel pairing. 186 Figure 4.13 The Kaba as a cosmograph of quaternary spatial structure (eighteenth-century Ottoman source cited in King, 1993, 8:308). 187 Figure 4.14 A plan of the Ka ba showing the h· ijir (eighteenth-century Ottoman source cited in King, 1993, 8:308), and the form of the celestial archetype, al-dura¯h according to j · Ibn Arab (Futu¯h· a¯t). 189 Figure 4.15 Triplicity and quadrature as expressed in the implicit and explicit forms of the Kaba according to Ibn Arabj. 190 Figure 4.16 The geometry of al-fa¯tiha (“Mira¯t,” MS. 4865). 197 Figure 4.17 The bodily postures and associated spatial tendencies of the Islamic prayer. 201 Figure 4.18 The spatiality of Islamic prayer as it unfolds in the bodily act of praying. 203 Note to the Reader Unless otherwise stated, all translations from Arabic sources are mine. Where translations of the same texts by others have been consulted or used, appropriate reference is given in the notes. Unless otherwise stated, all translations from the Quran are adapted from those of M. Pickthall, A. J. Araburry, and N. J. Dawood and A. Y. Ali. The adaptations vary in extent according to the demands of the interpretive con- text and consistency. In transliterations I have followed the system of IJMES. Diacritical marks are used consistently on italicized technical terms and book titles and where ap- propriate on personal and place names. Except where h indicates hijri date, all dates are of the Common Era (CE). Due to space limitation, I have identified sources in the notes by their date of publication. Full details are given in the selected bibliography. For ease of recog- nition, I have identified premodern Arabic sources by short or abbreviated titles. xi Preface When I was a little boy I used to love the snowfall in Damascus. Playing with friends in the street was fun, of course, but the real joy was in the gazing trick I had discovered and thought no one knew. Raised on a couch placed under the kitchen’s window that opens onto a large light well, I used to stand up motion- less gazing at the snow flakes silently and gracefully falling down.
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