Islam through Objects represents the state of the field of Islamic material cultural studies. With contributions from scholars of religion, anthropologists, art historians, folklorists, historians, and other disciplines, Anna Bigelow brings together a wide range of perspectives on Islamic materiality to debunk myths of Islamic aversion to material aspects of religion. Each chapter focuses on a single object in daily use by Muslims-prayer beads, coins, amulets, a cistern well, clothing, jewellery, bodily and domestic adornments-to consider both generic and particular aspects of the object in question. These narratives will engage the reader by describing and analyzing each object in terms of its provenance, materials, uses, and history, as well as the broader history, variety and uses of the object in Islamic history and cultures. Temporal, regional, and sectarian variations in the styles, uses, and theological perspectives are also considered. Framed by an introduction that assesses the various approaches to Islamic material culture in recent scholarship, Islam through Objects provides a template for the study of religion and material culture, which engages current theory, subtle and nuanced narratives, and the creative and imaginal capacities of Muslims through history.
This book investigates the central role of reason in Islamic intellectual life. Despite widespread characterization of Islam as a system of belief based only on revelation, John Walbridge argues that rational methods, not fundamentalism, have characterized Islamic law, philosophy and education since the medieval period. His research demonstrates that this medieval Islamic rational tradition was opposed by both modernists and fundamentalists, resulting in a general collapse of traditional Islamic intellectual life and its replacement by more modern but far shallower forms of thought. However, the resources of this Islamic scholarly tradition remain an integral part of the Islamic intellectual tradition and will prove vital to its revival. The future of Islam, Walbridge argues, will be marked by a return to rationalism.
Does Islam make people violent? Does Islam make people peaceful? In this book, A. Kevin Reinhart demonstrates that such questions are misleading, because they assume that Islam is a monolithic essence and that Muslims are made the way they are by this monolith. He argues that Islam, like all religions, is complex and thus best understood through analogy with language: Islam has dialects, a set of features shared with other versions of Islam. It also has cosmopolitan elites who prescribe how Islam ought to be, even though these experts, depending on where they practice the religion, unconsciously reflect their own local dialects. Reinhart defines the distinctive features of Islam and investigates how modernity has created new conditions for the religion. Analyzing the similarities and differences between modern and pre-modern Islam, he clarifies the new and old in the religion as it is lived in the contemporary world.
This sumptuously illustrated volume examines the impact of Indian art and culture on Rembrandt (1606–1669) in the late 1650s. By pairing Rembrandt’s twenty-two extant drawings of Shah Jahan, Jahangir, Dara Shikoh, and other Mughal courtiers with Mughal paintings of similar compositions, the book critiques the prevailing notion that Rembrandt “brought life” to the static Mughal art. Written by scholars of both Dutch and Indian art, the essays in this volume instead demonstrate how Rembrandt’s contact with Mughal painting inspired him to draw in an entirely new, refined style on Asian paper—an approach that was shaped by the Dutch trade in Asia and prompted by the curiosity of a foreign culture. Seen in this light, Rembrandt’s engagement with India enriches our understanding of collecting in seventeenth-century Amsterdam, the Dutch global economy, and Rembrandt’s artistic self-fashioning. A close examination of the Mughal imperial workshop provides new insights into how Indian paintings came to Europe as well as how Dutch prints were incorporated into Mughal compositions.
The first monograph on Islamic hospitals, this volume examines their origins, development, architecture, social roles, and connections to non-Islamic institutions.
A bold new conceptualization of Islam that reflects its contradictions and rich diversity What is Islam? How do we grasp a human and historical phenomenon characterized by such variety and contradiction? What is "Islamic" about Islamic philosophy or Islamic art? Should we speak of Islam or of islams? Should we distinguish the Islamic (the religious) from the Islamicate (the cultural)? Or should we abandon "Islamic" altogether as an analytical term? In What Is Islam?, Shahab Ahmed presents a bold new conceptualization of Islam that challenges dominant understandings grounded in the categories of "religion" and "culture" or those that privilege law and scripture. He argues that these modes of thinking obstruct us from understanding Islam, distorting it, diminishing it, and rendering it incoherent. What Is Islam? formulates a new conceptual language for analyzing Islam. It presents a new paradigm of how Muslims have historically understood divine revelation—one that enables us to understand how and why Muslims through history have embraced values such as exploration, ambiguity, aestheticization, polyvalence, and relativism, as well as practices such as figural art, music, and even wine drinking as Islamic. It also puts forward a new understanding of the historical constitution of Islamic law and its relationship to philosophical ethics and political theory. A book that is certain to provoke debate and significantly alter our understanding of Islam, What Is Islam? reveals how Muslims have historically conceived of and lived with Islam as norms and truths that are at once contradictory yet coherent.
This book is concerned with the rationality and plausibility of the Muslim faith and the Qur'an, and in particular how they can be interrogated and understood through Western analytical philosophy. It also explores how Islam can successfully engage with the challenges posed by secular thinking. The Quran and the Secular Mind will be of interest to students and scholars of Islamic philosophy, philosophy of religion, Middle East studies, and political Islam.
Based on epigraphic and other material evidence as well as more traditional literary sources and critical review of the extensive relevant scholarship, this book presents a comprehensive and innovative reconstruction of the rise of Islam as a religion and imperial polity. It reassesses the development of the imperial monotheism of the New Rome, and considers the history of the Arabs as an integral part of Late Antiquity, including Arab ethnogenesis and the emergence of what was to become Muslim monotheism, comparable with the emergence of other monotheisms from polytheistic systems. Topics discussed include the emergence and development of the Muhammadan polity and its new cultic deity and associated ritual, the constitution of the Muslim canon, and the development of early Islam as an imperial religion. Intended principally for scholars of Late Antiquity, Islamic studies and the history of religions, the book opens up many novel directions for future research.
Media coverage of the Danish cartoon crisis and the destruction of the Buddhas of Bamiyan left Westerners with a strong impression that Islam does not countenance depiction of religious imagery. Jamal J. Elias corrects this view by revealing the complexity of Islamic attitudes toward representational religious art. Aisha’s Cushion emphasizes Islam’s perceptual and intellectual modes and in so doing offers the reader both insight into Islamic visual culture and a unique way of seeing the world. Aisha’s Cushion evaluates the controversies surrounding blasphemy and iconoclasm by exploring Islamic societies at the time of Muhammad and the birth of Islam; during early contact between Arab Muslims and Byzantine Christians; in medieval Anatolia and India; and in modern times. Elias’s inquiry then goes further, to situate Islamic religious art in a global context. His comparisons with Christian, Jewish, Buddhist, and Hindu attitudes toward religious art show them to be as contradictory as those of Islam. Contemporary theories about art’s place in society inform Elias’s investigation of how religious objects have been understood across time and in different cultures. Elias contends that Islamic perspectives on representation and perception should be sought not only in theological writings or aesthetic treatises but in a range of Islamic works in areas as diverse as optics, alchemy, dreaming, calligraphy, literature, vehicle and home decoration, and Sufi metaphysics. Unearthing shades of meaning in Islamic thought throughout history, Elias offers fresh insight into the relations among religion, art, and perception across a broad range of cultures.