Islamic Art and Spirituality

In a world where the beauty of Islam is shadowed by fear, the Art speaks to the Truth of this great way of life. Dr. Nasr is deeply knowledgeable man from whom we can all learn a great deal. As with all of his books, beware the push for perennialism.

A beautiful reference book for a class.

I agree with the comments of Gogol on this book in general and his specific observation that a discussion of aesthetics of Muslim Art, from with the Muslim Religious Tradition, is in fact very rare indeed.In fact, I have seen numerous books that discuss the theological, historical, and philosophical aspects of the Western Art forms but this is the only book I have seen on the subject of how Islam informs the artistic sensibilities of the Muslim Culture continent.I would like to add that this book clearly documents the profoundly important contributions of Iran as well as the Shia Religion (a separate religion than Sunni Islam) to the development of Art forms among Muslims and in Muslim lands; without which, no such art as we see today could have ever existed.One disappointment I had was that this book, perhaps because of considerations of space, does not discuss the influence of Eastern Roman Empire on the antecedents of Islamic Art nor that of pre-Islamic Iran.Nevertheless, this is probably the only book on this topic; out of the 1.5 billion Muslims in the world, written by a Shia Iranian.

Prof. Nasr does an excellent job in showing the connection and the relationship between the Islamic art and spirituality (such a connection exists in other religions as well, he adds). The problem today is that the spirituality, the focus on the sacred, has been marginalized, especially in the West. As a result, he argues, nowadays, we can have art with an Islamic theme, or Christian theme, but that is not sacred anymore. Why? Because, the denial of the sacred sphere, that started in the West with Renaissance, crept into all spheres of life, and reduced everything to the worldly plain. All knowledge was narrowed to empirical level, and anything outside it, first neglected, then denied. As a result, the traditional life, and arts along with it suffered. With the advent of modern age and colonialism many non-Western countries were influenced by such a worldview and many even adopted it. It led to the damage, sometimes irreparable, of traditional culture, customs and art, which were based on the symbols representing the sacred. The good news is that in many non-Western countries such tradition, although threatened, still exists. The expounding of the principles of such traditions, Islamic in this case, makes it imperative for us to preserve it and revive it, prof. Nasr says.

Little is discussed regarding 'Islamic art' its meaning and message other than in the works of this author, F Schuon and Titus Burckhard. There are plenty of books regarding the tools that were used, the colours and shapes but little on what actually motivated those who designed the great Mosques in Iran, Turkey and other parts of the world, who composed works of literature and works of art.This book goes some way to answer those questions it also includes an exellent study of Rumi based on some traditional sources that are little known in the West. It should be pointed out regarding Rumi that the vast majority of literature published concerning him is not based on original sources but simply re-writes of Nicholson, Arberry or Iqbal. Apart from Nicholsons notes to the Mathnawi wich is based upon the commentary of Ankaravi I am not aware of any available translation of a comentarty of the Mathnawi (something that is badly needed)Profesor Nasr goes some way in this book to explain the true meaning of Rumi and another great Persian poet and Sufi Farid ud-Din Attar. There is also an exellent chapter on music, the concept of space in Islamic art and the concept and understanding of painting and minitures in Islamic art (a form of art that has been misunderstood in recent years)

Professor Nasr's work on Islamic subjects is generally characterised not merely by its academic and still hospitable style but further by an indepth understanding and experience of spirituality as such in its most universal and applicable sense. In the book "Islamic art and Spirituality" he cover the highlight themes of traditional art, architecture, calligraphy, poetry, prose literature, esoterism, piety, etc, as it developed in Islamic lands. Of special interest is the chapter on the Persian poet Jalal al-Din Rumi. I warmly recommend the present work to students of religious studies as well as religios seekers from all traditions.