Download Beauty and Islam: Aesthetics in Islamic Art and Architecture by Valerie Gonzalez PDF

By Valerie Gonzalez

5 essays discover points of aesthetics in classical Islamic inspiration in mild of latest theories, delivering new views on Islamic paintings and structure with examples starting from the Qur'an and the Alhambra to the works of modern day artists and philosophers. Tracing the roots of Islamic aesthetics again to the works of the philosophers of the center a while resembling Avicenna and Averroes, Valerie Gonzalez reveals that aesthetic thought in Islam has 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 attractiveness with the both very important research of the perceptual adventure of attractiveness.

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23 The grasp of beauty—this kind of beauty/nobility/order—takes effect within the cognitive relationship of the individual to the world and operates necessarily through the sensible perception, the primary condition of knowledge. Thus, everything has a specific essence, a range of objective qualities that the senses perceive and recognise as such; however, this holds good in normal circumstances where perception is free from disturbing elements like disease or variation of mood that prevent a correct understanding of these qualities and essences, and the right evaluation of them.

When Bilqís arrived, she was told: Enter the court! When she saw it, she reckoned it to be a pool most of which was filled with water. And so she uncovered her ankles to wade through the water on her way to Solomon. Solomon gazed at her. Behold! She had the most beautiful ankles and feet that any human could have, but her ankles were most certainly hairy. When Solomon saw that, he turned his eyes from Bilqís and called out to her that it was a court made smooth with slabs of glass and that there was no water on the surface … Now, Solomon called upon her to become a Muslim.

Beautiful writing also is regarded as such because of order alone. For the beauty of writing (˙usn al-kha††) is due only to the soundness of the shapes of letters and their composition among themselves, so that when the composition and order of the letters is not regular and proportionate, the writing will not be beautiful, even though the shapes of individual letters may be correct and sound. Indeed, writing is considered beautiful when of regular 22 aesthetics in classical arabic thought composition, even though the letters in it are not quite sound.

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