By Valerie Gonzalez
5 essays discover points of aesthetics in classical Islamic inspiration in gentle of latest theories, providing new views on Islamic artwork and structure with examples starting from the Qur'an and the Alhambra to the works of brand new artists and philosophers. Tracing the roots of Islamic aesthetics again to the works of the philosophers of the center a while reminiscent of Avicenna and Averroes, Valerie Gonzalez unearths that aesthetic concept in Islam needs to be visible in the a lot wider context of parallel pondering on theology, ethics, physics, and metaphysics. She balances her research of this philosophy (moral, logical, and clinical) of good looks with the both vital research of the perceptual event of good looks.
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Additional resources for Beauty and Islam: Aesthetics in Islamic Art and Architecture
25 2 The Aesthetics of the Solomonic Parable in the Qur’an The eye perceives the outer and the surface of things, but not their inner essences; moreover, it perceives only their shapes and their forms, not their real nature. 2 It rests on a study of the aesthetics to be found in sura al-Naml (Qur’an 27:15–44) which describes the story of the visit of the Queen of Sheba to Solomon, the prophet-king. In the final episode of the story, Solomon invites the queen to enter his palace, the floor of which is made of glass or crystal.
The universe emanates from the superior divine world and is consequently a reflection of it, graduated in various levels. This reflexive relationship manifests itself in particular through the Divine Attributes from which proceed the qualities of perfection which the diversified beings in creation possess in variable degrees. In this emanationist system, the concept of beauty partakes of the definition of God and His Attributes, given that He constitutes the original and sublime beauty and that all His Attributes are characterised by their splendour and absolute perfection.
So logically, the creative process of inspiration linking the model to the glasswork does not necessarily imply that the reference to water still constitutes an active element within the artefact aesthetic system, a criterion for understanding, experimenting and enjoying it. Clearly, the ˚ar˙ conceals the ability to lead the viewer to think of water because it contains in its own system of visual signs the potential reference to it that manifests the initial modelisation process. However, it may equally be perceived as what it is in absolute terms, ‘a court paved with tiles of glass’, as Solomon himself declares.
Beauty and Islam: Aesthetics in Islamic Art and Architecture by Valerie Gonzalez