Islamic Aesthetics: An Introduction

The New Edinburgh Islamic Surveys

by Oliver Leaman

It is often argued that a very special sort of consciousness went into creating Islamic art, that Islamic art is very different from other forms of art, that Muslims are not allowed to portray human beings in their art, and that calligraphy is the supreme Islamic art form. Oliver Leaman challenges all of these ideas, and argues that they are misguided. Instead, he suggests that the criteria we should apply to Islamic art are identical to the criteria applicable to art in general, and that the attempt to put Islamic art into a special category is a result of orientalism.

Leaman criticizes the influence of Sufism on Islamic aesthetics and contends that it is generally misleading regarding both the nature of Islam and artistic expression. He discusses issues arising in painting, calligraphy, architecture, gardens, literature, films, and music and pays close attention to the teachings of the Qur’an. In particular he asks what it would mean for the Qur’an to be a miraculous literary creation, and he analyzes two passages in the Qur’an―those of Yusuf and Zulaykha (Joseph and Zuleika) and King Sullayman (Solomon) and the Queen of Sheba. His arguments draw on examples from history, art, philosophy, theology, and the artefacts of the Islamic world, and raise a large number of difficulties in the accepted paradigms for analyzing Islamic art.

Genres: Philosophy, Islam, Art

256 pages, Hardcover

First published January 1, 2004

About the author

Oliver Leaman is a Professor of Philosophy and Zantker Professor of Judaic Studies. He has been teaching at the University of Kentucky since August 2000, and is particularly interested in Islamic, Jewish and Eastern philosophy. He has got his Ph.D. from Cambridge University in 1979.

Reviews

[Sonny]

Buku ini mempertanyakan ulang tafsir thd estetika Islam yg dikemukan 2 filsuf kenamaan: Syed Hossein Nasr & Ismail Raji' al-Faruqy. Menurut Leaman, menganggap estetika Islam sbg unik hny bentuk lain dr orientalisme. Benar-benar gak tedeng aling2 dia. Straigh forward !

[Molood Jaberi · Rating 3 out of 5]

فصل اول كتاب "يازده اشتباه متداول درباره هنر اسلامي" تقريبا همون چيزي بود كه خيلي وقته دنبالش ميگشتم: نقد ديدگاه و فرضيات شرق شناسان به هنر اسلامي، ولي در باقي فصل ها نويسنده ميفته تو چرخه تكرار و آشفتگي.

[Saoirse Flynn · Rating 2 out of 5]

This is a massively flawed book and unfortunately I’ve had it set as a reading for three different modules at uni. The first chapter makes a bunch of really loaded statements, which end up getting contradicted further on in the book. There are much better books out there if you’re looking for works on Islamic art and architecture.

[Hailane Salam · Rating 2 out of 5]

The first chapter entitled “Eleven common mistakes about Islamic art” is obviously sounds arrogant, as there are numerous views about aesthetic principles of Islamic art from many scholars which vary according to where they stand. Since there are various schools of thought, for instance the perennial philosophy, Western orientalist, etc., hence there should be no absolute answer about Islamic art. Leaman’s claims that some influences shown to be misleading is entirely unacceptable. Towards understanding the timeless Truth, everyone has the right to choose any theoretical framework in viewing Islamic art. An argument of misconceptions about the philosophy of aesthetics is such unethical act for scholars in respects to control of intellectual agendas. Instead, “critique analysis” could be good enough in comparing several theories of Islamic aesthetic that can use to help express opinions. It is hard to appreciate the Islamic aesthetic without impart the intimate relation between spiritual and metaphysical principles of Islam. Although experience is usually rendered a positive value, yet Leaman’s argument is unrefined with generalized statement that clearly restrained by his rationalist thinking. Islamic art derives from Islamic spirituality and for Muslims, beauty has always been and will always be a quality of the divine.

He can rename the book to something else.

[Mary · Rating 2 out of 5]

Refutes in 9 chapters what current art criticism gets wrong: in music, literature, home and gardens, and philosophy. Not a deep read for the art historian. But, not overly technical writing. Broad comparisons, helpful for the novice, like myself. No illustrations, could've been helpful.

[Indah Threez Lestari · Rating 4 out of 5]

44 - 2013