Islamska estetika

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8/13/2019 Islamska estetika http://slidepdf.com/reader/full/islamska-estetika 1/17 Akademik Araçtirmalar Dergisi 2013 Sayi 56 Sáyfalar 1-16 THE VISION OF ISLAMIC ART AND AESTHETICS Turan KOÇ Abstract Art, as a manifestation of aesthetic sensitivity offers a great many possibilities to understand a culture or a civilization. In this respect, Islamic art as an expression of Islamic aesthetic sensitivity is one ofthe shortest ways of understanding  Islam.  The aesthetic sensitivity and the artistic understanding of Islam are in a close relationship with its metaphysical dimension. After all, the experience of faith is also an aesthetic experience. For this reason, Islamic art both in its source and historical manifestations exhibits a close alliance with religion. The epistemological purpose of Islamic art is to achieve the invisible behind the visible. And also its practical purpose is to beautify the world and life. This art has brought about glamorous masterpieces under the light of revelation and inspiration. Islamic art that depends ultimately on divine Unity has taken care of the demands of  the  ones who have a relation with the work of  art Therefore, from the perspective of this art there is no tension between function, utility and beauty. Some kind of moderate symbolism (tamthîl) is an important instrument of expression in this art Key Words Being, aesthetic experience^ Unity, beauty, truth, stylization, abstraction islam Sanat Ve Estetiginin Vizyonu  , Özet Estetik duyarlihgin tezahürü olarak sanat bir medeniyeti anlama konusunda büyük imkânlar sunar. Bu bakimdan, Islam sanati îslamî estetik duyarlihgin bir di§avurumu olarak Islam  i  anlamamn en kestirme yollarindan biridir.  Prof Dr. Erciyes Üniversitesi Ilahiyat Fakiiltesi Felsefe ve Din Bilimleri Bölümü Din Felsefesi

Transcript of Islamska estetika

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Akadem ik A ra ç t i rm a la r Derg is i 2013 Say i 56 Sáy fa la r 1 -16

THE V IS IO N OF ISLA M IC ARTAND AESTHETICS

Turan KOÇ

Abstract

Art, as a manifestation of aesthetic sensitivity offers a great manypossibilities to understand a culture or a civilization. In this respect, Islamic

art as an expression of Islamic aesthetic sensitivity is one ofthe shortest ways

of understanding  Islam.   The aesthetic sensitivity and the artistic understanding

of Islam are in a close relationship with its metaphysical dimension. After all,

the experience of faith is also an aesthetic experience. For this reason, Islamic

art both in its source and historical manifestations exhibits a close alliance

with religion. The epistemological purpose of Islamic art is to achieve the

invisible behind the visible. And also its practical purpose is to beautify the

world and life. This art has brought about glamorous masterpieces under the

light of revelation and inspiration. Islamic art that depends ultimately on

divine Unity has taken care of the demands of   the  ones who have a relation

with the work of  art Therefore, from the perspective of this art there is no

tension between function, utility and beauty. Som e kind of moderate sym bolism

(tamthîl) is an im portant instrument of expression in this art

Key Words Being, aesthetic experience^ Unity, beauty, truth,

stylization, abstraction

islam Sanat Ve Estetiginin Vizyonu

  , ÖzetEstetik duyarlihgin tezahürü olarak sanat bir medeniyeti anlama

konusunda büyük imkânlar sunar. Bu bakimdan, Islam sanati îslamî estetik

duyarlihgin bir di§avurumu olarak Islam   i  anlamamn en kestirme yollarindan

biridir.

  Prof Dr. Erciyes Üniversitesi Ilahiyat Fakiiltesi Felsefe ve Din Bilimleri Bölümü Din Felsefesi

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The Vision Of Islamic Art And A esthetics

islam in estetik duyarliligi ve sanat anlayi§i onun metafiziksel, yaniiman konusu olan boyutuyla siki bir ili§ki içindedir ve imán tecríibesi aym

zamanda estetik bir tecrübedir. Bu bakijndan, islam sanati hem kaynagi, hemde tarihsel tezahürlerinde din ile siki bir birlik sergiler. íslam sanatinmepistemolojik gayesi, görünürün arkasmdaki görünmeze ula§maktir. Pratikgayesi ise dünyayi ve hayati güzelle§tirmektir. Bu sanat vahiy ve ilhamin i§igialtinda göz aha eserler ortaya koymu^tur.

Nihaí anlamda Tevhide dayanan islam sanati, bu sanatla ilgisiolanlarin hctyatí  ve ruhaní ihtiyaçlarim gözetmi^tir. Bu bakimdan, bu sanat veestetik dúyarlihk a çisindan, yararhhk, fonksiyon ve güzellik arasinda hiçbirgerilim yoktur. Bu sanatta temsil (ilimli sembolizm) cok onemíi bir ifadearacidir.

  nahtar Sözcüklen  Varlik, estetik tecrübe,  Tevhid güzellik, hakikat,üsupla^tirma, soyutlama .

The easiest and the shortest way of understanding the world of a

culture and a civilization is through art. Indeed, any civilization, in all its

manifestation represents the worldview that it belongs to. Art, as an expressionof the conception of truth and aesthetic sensitivity offers so many possibilitiesin this field. In other words, we could say that Islaniic art, -as a manifestationof the Islamic notion of being, life and truth and in  brief as an expression ofthis understanding in different levels of expression and language, is the mostdirect way of achieving the meaning of Islam. Islam or in general Islamic

civilization turns into a concrete manifestation by means of art. The   Adhan  call for prayer) recited with a beautiful voice, for example, or theSüleymaniye mosque in Istanbul which represents the world that it belongs to,are some examples of this. Actually, it is impossible to conceive Islamic art

and aesthetics independently from the view through which Islam approachesman, universe and life. In other words, Islamic art is an expression of thecivilization that rises on Islamic faith and principles. After all, in general,

civilization is defined as a power or a world which gives societies a commonsensitivity, a common direction and a common moment both worldly andspiritually in the fields like thought, sense, literature, art, natural sciences,techniques and ethics.

Since Islamic art is a special and sensorial language and expression of

Islamic civilization, prior to everything else, it manifests the truth which is

conceived as a principle and an ideal by this civilization. In other words, themost distinctive property of this civilization and the art, -a manifestation of it

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Turan KOÇ . Yil: 14 Sayi: 56 Çubat 2013-N isan 2013

it would be helpful to address the concep t of  madaniyyah in its general

denotations and connotations which is a Turkish equivalent of the term  civilization , yet this term has firm relations with the wo rds dîn (religion),

  madîn (man who feels himself indebted and dependent/faithful),  dayyân

(God) and mad înah (ummatu'l-mamlûkah,  that is the community that is

subject to the King, that is God) which have the same linguistic roots.' The

actualization of religion through the will of a Muslim society describes the

  religiosity (diyânah). So, diyânah means making the religion visible in every

field of life. The concrete manifestations of these religious ideals and

sensitivities in a specific style constitute a civilization  {madaniyyah).  In that

regard, it is almost impossible to address Islamic aesthetic sensitivity and the

nature of Islamic art without any reference to Islam and Islamic w orld view.

In short, Islamic art expresses a manifestation of Islam's notion of

being and truth through the will of Muslims. This art though on the one hand,

develops in relation w ith Islam 's role in social life, on the other hand, proceeds

through a traditional line according to its own conception of truth. This

tradition is nothing other than the realization of the soul of the Qur'an and

sayings and behavior of Muhammad with respect to the conditions of time and

space.^ As a consequence, understanding Islamic art and aesthetics properly

necessitates understanding Islam. The unity and integrity w hich we confront in

Islamic art and aesthetic sensitivity is a result of its fidelity to the conception

of truth that it is completely engaged to. The integrity or unity of the whole in

.Islamic art is guaranteed through the perfect formal homogeneity of its

constitutive elements in every artistic language and level. The stress on unity is

mainly related with the principle of ow/z/c/ unity), on which Islam makes prior

and significant emphasis. However, the unity or integrity in question is not

only related with pure external manifestation or behavior; it is a unity of

language and m eaning similar to the unity of soul and body.

Since Islamic aesthetic sensitivity rejects dealing with art andknowledge as separate fields of inquiry also, theory and practice is never

conceived as distinct fields in Islamic art. For that reason , there is also no

disconnectedness between art and artisanship. In that regard, this art has a

contemplative character in general. Briefly, this art in its authentic

manifestations never waives or turns aside from knowledge and truth. Titus

Burckhard states that;

Not only does it (the artistic science) enable the parts of a task to be

integrated into a harmonious whole; the schemes or key-patterns which it

' IbnM anzour. (1990). Items dîn and dayyân, ¿ú án M 'W ra i, vol. 13,Beirouth, pp: 169-70.

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The Vision Of Islamic Art And Aesthetics

provides are like the mirror of the unseen unity which lies in the very seat of

human intelligence. This is to say that the science transmitted with art alwaysinvolves, at least implicitly, an aspect of wisdom   hikmah)  which links is

rational data with universal princ iples. ( ) Art or craftsmanship has, in all,

two aspects which predispose it to be the bearer of a method of spiritual

realization. Art consists on the one hand in the frequently laborious

transformation of a relatively shapeless material into an object shaped

according to an ideal model. Now this shaping is indisputably an image of the

work which a man aspiring to contemplation of divine realities must

accomplish in himself and upon his own soul, which then plays the part of a

rough material, confused and amorphous but potentially noble. On the otherhand, the very object of contemplation is prefigured in the beauty that is

apprehended by the senses, for it is in depth none other than Beauty   itself

unique and illimitable in its nature.^

Briefly, Islamic aesthetic sensitivity m akes all its emphasis o n the pointwhere love and knowledge comes together. The ultimate and common subjectof love and know ledge is nothing other than Divine Beauty. As rega rds, for theIslamic aesthetic sensitivity and Islamic art which are engaged firmly to theprinciple of tawhid (unity), the internal (bâtinî) dimension is extremely

important. This art has to be in relationship with contemplation since it is inclose relationship with knowledge. In Islamic understanding, art rises to thestatus of authenticity considerably when it manifests the unity and harmonyimmanent in things. In all authentic manifestations of Islamic civilization it ispossible to see this. Eventually, Islamic civilization with its manifestations inall fields of life is nothing other than the essential and brief expression of thesituation that we are trying to reveal about. The most significant point in this

discussion, is the question that wh at makes an art object Islamic? As is wellknown, neither an art object is independent from the aesthetic sensitivity thatmakes it emerge and nor an aesthetic sensitivity is detached from the world

view by w hich it is shaped. As regards, in order to clearly reveal the essence ofIslamic art and aesthetics, it is useful to stress on some concepts andconceptions which gave unity and harmony to the civilization that it

represents.

Civilization in general is a manifestation of the conception of being and

perception of truth that depend on a certain world-view in different levels of

expression and practice, such as architecture, art, literature, thought and ethics.

What gives meaning and significance to these expressions and practices in

different levels and fields is their demonstration and manifestation of unity,

consistency and con tinuity. Here, while continuity makes reference to evolving

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Turan KOÇ Yil: 14 Sayi: 56 Çubat 20 13 - Nisan 2013

in the historical process , consistency indica tes the unity between different

modes of realization.

The accum ulation of civilization which con sists of manifestations of theself-perception, the perception of history and space besides manifestations ofbeing and truth, is an interpretation of the thing which is meaningñil andexistentially imperative to men. In this accumulation the understanding ofbeing, knowledge and value interweaves with each other. The formation of theenvironment in a specific form and the unity between different styles ofexpression and manifestation signifies a concrete demonstration of thecivilization's conception of being, knowledge and self

The constitutive source which is seen foundational or essential withspecial reference to being, knowledge and value for a civilization is the thingthat provides unity and integrity in its realization. For Islamic civilization thisconstitutive source is, before everything else, the Qur'an   itself This source inevery manifestation of Islamic civilization is infiuential not only in expressionand style but also in content. For instance, it is possible to see the examples ofthis in intellectual, artistic and moral manifestations of Islamic civilization.From this point of view, we can conceive of the representative examples ofIslamic civilization in different, fields such as art, literature, thought and

morality as a manifestation of its conception of being and truth put in a certainform with a specific language and style.* As regards, Islamic civilizationthough on the one hand is in close relation with the universal in its conceptionof knowledge and value, on the other hand in its expression of this conceptionin history pays significant regard to tradition. In fact, the representativeexamples of Islamic civilization that belong to different periods and styles notonly form this tradition but also maintain it. Here the most important aspect orelement is the essence and content. Form in close relationship with the contentcould differentiate in style with reference to the changes in period and region.

Indeed, form is limited by its nature; just because of this principle it ishistorical.

It is clear that we in this study approach the concept of civilization as amanifestation of the conception of being and truth in intellectual, physical,moral and economical levels, and as an order that has a unity. In that respect,civilization has a firm.relation with the world view and the understanding of

• A. Davuto |lu (2007). Medeniyetler Arasi Etkileçim ve Klasikler, edeniyet  ve  Klasik MedeniyetAraçtirmalan I, eds. Halit Özkan, Nunillah Ardiç, Alim Arli, Klasik yayuilan, Istanb ul, p. 19. 

Op.cit. p.

 22.' Ibrahim Kalin. (2007). Bir Klasik, Nasil Klasik Olur? KJasiklerin Aniam ve Içlevi Üzerine (HowCan Be a Classic a Classic?: On the Meaning and Function of the Classics')   Medeniyet ve Klasik

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The V ision Of Islamic Art And Aesthetics

being . In that regard , the description of civilization as the manifestation o f a

world view in a spatiotemporal m anner seems to be important. Because ofthis property, civilization turns out to be a semantically multilayered conceptthat consists of world view, conception o f being, the idea of world cosmology,morality, political and social order, aesthetic understanding, city life, culture,etc.  For that reason, we could assert that the foundational differences betweencivilizations are essentially resulted from the differences in conception ofbeing and the world view they arise on, though we could not deny differencesrelated to the periods and conditions of geography.^

On the one hand while civilizations have a metaphysical dimensionwhich is expressed as 'world view'  (Weltanschauung)  and understanding ofexistence, on the other hand they are manifested as a social, economic andpolitical order. In that regard, ideas, beliefs and practices emerge at themeeting point of a world view with practical life in a coherent, satisfying,meaningfiil and unified life style.

Islamic art is also a manifestation ofthe unification ofthe Islamic worldview and conception of existence with practical life. In the aestheticunderstanding of t is  art there is no distinction between metaphysical field andthe practical life. For that reason, Islamic art always sustained its relationshipwith the metaphysical field. Possibly because of this fact, in Islamic aestheticsthe idea of perfection   {kamâl)  as an aesthetic value has a significantimportance. In other words, in Islamic aesthetic sensitivity perfection, beauty(Jamal)  and majesty  (jalâl)  have a substantial role in terms of aestheticpleasiire and taste.' Actually, perfection has a firm relationship with existenceand knowledge. In fact, in terms of aesthetic understanding, existence, thoughon the one hand seems to have priority before everything else, on the otherhand has a role of being a passage to the metaphysical world. îbrahim Kahn inhis study titled Dün ya Görücü . . . elaborates, on this subject as follows;

... existence  (wujûd),  in the final analysis, is the face of God that looksto the created world of Him. On the other hand, existence is at the same timegood, true and beautiful, and it is the meeting point of epistemological, ethicaland aesthetical fields. For this reason, the act of knowing also, in the final

' Ibrahim Kalin. (2010). Diinya Görücü, Varlik Tasaw uru ve Duzen Fikd: Medeniyet KavrammaGiriç, ('The Worldview, the Notion of Being and the Idea of Order: Introduction to the Concept ofCiviliza tion') D iva«.- Disiplinlerarasi Çali^malar Dergisi,  vol 15/29 (2010/2), pp: 1-4 21 (henceforth itwill be attributed to as W orldview )

' Sa'daddin Kuleyb. (1998).  Buniatu l-Cemâliyyah  i 1-Fikri l-Arabîel-islâmî, Manshûrâti'l-Vizarati's-Seqâfiyyah, pp. 126, 145; Hussain al-Siddîq and Sa'daddin Kulayb , AlFikm l-Jamalî Inda l-Arabi l-

MusUmin,  Publications o ft h e Univesity of Aleppo ?, 2006, pp: 141-143, 161; Abdulkarîm b.

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Turan KOÇ Yil: 14 Sayi: 56 §ubat 201 3-Nis an 2013

analysis is the matter of participation to the truth of beings, -that is to the

existence.'

The relationship between Islamic art and aesthetics with the

metaphysical field is compactly stated by Ibn Arabî in his Kitâbu'1-Jalâl wa'l -

Jam âl as such;

There is no verse in the Book of Allah Most High, or any word in

existence, that does not possess three perspectives: Majesty, Beauty, and

Perfection. Its perfection is the knowledge of its essence, of the cause of its

existence, and of the object of its station. Its Majesty and Beauty are the

knowledge of how it confronts those who conñ-ont it with awe, intimacy,contraction, expansion, fear, and hope. Each class has its own proper

experience. (In this treatise we haVe turned to mentioning Majesty in one verse

and Beauty in a different one only in order to acquaint the Sufi student with the

forms of correlation between dissimilars.) No word possesses a fourth station.

In theology, the secret of this appears in the knowledge of' the Truth Himself

and of  is two Hand s and handfuls. So know that.'

Briefly, while approaching Islamic art and Islamic aesthetic sensitivity

it is essential to consider that the concepts of knowledge, love, will and the

consciousness of existence are not conceived as separate fields.Indeed, the truth of faith and the fact of believing are not the cases that

could be told about or explained by means of pure rational reasoning or

defined through the validity of logical judgments. Islam, not only gives

importance to rational thinking, but it also insists on one's feelings and

experiences. The Qur'an again and again says that the mind has the ability to

conceive the truth that it presents. The works of artisan-philosophers of Islamic

thought such as Mawlânâ Jalâladdin al-Rûmî, Ibn Arabî and Yunus Emre

reveals us the most significant works of tradition that unites heart and mind.

Indeed, one of the most essential properties of human being w ho is beautifullycreated is his possession of an aesthetic sensitivity. The apprehension of the

order and the beauty or harmony of the universe comes out as an aesthetic

perception that prompts the aim of existence. •

Islamic art and aesthetics are in a direct relationship with Islamicspirituality. We can say that Islamic art is a manifestation of this spirituality inan artistic form. Due to this fact, some writers who studied in this field haveinterrelated Islamic art and sensitivity with Sufism. Indeed, according to

' Ibrahim Kalui, Varlik Gö rücü... , p. 25.

'° Ibn Arabî (1989). On Majesty and Beauty, Journal of  the Ibn Arabi Society (tr. Rabia terry Harris),

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The Vision Of Islamic Art And Aesthetics

Sufism, a deep religious perception and comprehension comes about as an

experience of finding and being found or being present. In other words, theheart and conscience have a vital role in religious experience and life. Of

course, in such an experience dominated by the sense of intuitive clarity, the

thing at work could be neither the discursive reasoning nor the scientific

explanation, but rather it is essentially the logic of encou nter. He re, though it

has a vital, significance, reason is neither the only way nor the only instrument.

Although the mind has an essential necessity for Islamic thought and theology,

when the schools which make emphasis on the sense of insight or lucidity is

considered or different schools of thought that privilege the eye of heart is

taken into account, it becomes hard to claim that the discursive reasoning is the

sole and direct way of achieving the truth or in expressing or revealing the

religious sensitivity. The best that we can succeed here is to make the heart

join together with the mind. It is also essential with regard to preserving our

wholeness and getting rid of being broken. Islamic aesthetic sensitivity and its

art present a great many possibilities in this field.

In Islam the relation of art with religion from the beginning onwards

has been in a glorious harmony. In other words, religion has always been an

inexhaustible source of inspiration, and art has never attempted to misuse

religion. In that respect, to claim that such that kind of a privilege specificallybelongs to the Islamic artistic tradition won't be inconvenient. This essential

characteristic of Islamic art is clearly seen in the works/poems of Mawlânâ

Jalâluddin Rûmî (specifically in  Masnawi)  and in Yunus (specifically in

Divan)  which are the most splendid examples of the religion-art relationship.

In Islamic tradition, it could be asserted that both religion and art have

performed their missions in relation with each other and still as autonomous

agents. In other wo rds, art, always being conscious of its scope and ability,

has never tried to supersede religion or act as an opponent element.

Furthermore, the absence of distinction between  religious  and  worldly  in

Islamic tradition is one of its most distinguishing traits. In that respect, it ispossible to claim that the phrase of the relation of religion with art is an

improper expression w hen the general stance of Islam to art is considered.

Of course, religion is not art; but to live with sensing, thinking andpleasing is an art. Such a life could only be possible, through realizing beauty,elegance and deep comprehension of Islam, which is termed as  beneficence(ihsan).  Accordingly, we should see Islamic aesthetics as the one that never

Sezai Karakoç. (1998). Edebiyat Yozilan I: Medeniyetin Rifyasi, Rityanm Medeniyeti  :ir [ Essays o n

Literature I:Poetry as a  ream of Civilization, C/V/teion o/ £);;eom'], Diriliç Yayinlan, Istanbul, pp: 14-

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Turan KOÇ Yil; 14 Say i: 56 Çubat 20 13-N isan 2013

breaks off its relation with metaphysics. That is to say Islamic art is an art that

doesn't break its tie with the idea. The depth and the power of Islamicaesthetics and the difference of it from the aesthetics of modem times results

from these properties. Islamic aesthetic exhibits a perfect harmony of meaning

and form it also feeds and is fed by this harmony and unity. In that respect, it

could be said that the poetry is one of the superior and significant expression

of that kind of aesthetics. Expressing itself as words, the poetry's power of

reflecting the thought has given it a privileged status among other Islamic arts.

In fact, the appearance or seeing the aesthetic feature in all kinds of

works, as in natural events or phenomena is really important not only for the

Islamic art but also for Islamic thought and theology. The Q ur'an ic verse Ilove not the setters (An'âm [Cattle]: 76) and the verse God has endeared to

you faith (Khujurât [Apartm ents]: 7) are the Qur'an ic expressions that

exemplify the fact that Islam sees faith as an aesthetic issue and an aesthetic

way of living. Indeed, though it differentiate in expression and content, it could

be asserted that in all kinds of religions, faith, ethics, art and thought are

conceived as interdependent concepts. On behalf of the fact that though the

views and approaches related with art and aesthetics in Islam is not discussed

elaboi'ately yet, we could claim that the point is also the same for Islam if we

consider poetry, architecture, the art of calligraphy and ornamentation or eventhe poetic expressions of great Islamic thinkers in their discussions of hard

metaphysical matters.

Now, as in all kinds of knowledge and experience, it is possible to talk

about a subject-object relationship also in aesthetic experience. One starts to

sense or feel, experiences and thinks about when he meets with an object, a

situation or an event which can be termed as aesthetic object. Creation of an

  art object comes about  as  a result of an artful translation of percep tion,

apprehension and comprehension. A poem, a work of architecture, or a verse

of  song, are all results of such a kind of  process.

The sense of beauty or the aesthetic pleasure which has a vital role for

human life transforms into a concrete manifestation by means of these works

of art. The works of art are the concrete manifestations of the aesthetic

experience that is related with all directions and dimensions of life, in

particular language and style. Moreover, aesthetics is a broad subject matter

which can't be framed with the limits of the works of art or with the scope of

the philosophy of art. Accordingly, the subjects like the nature of aesthetic

values, the nature of beauty and the situation of man with regards to these

values become to be the most significant ones which should be focused indetail.

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The Vision Of Islamic rt nd esthetics

When the aesthetic standpoint of Islam is a matter of discussion, the

most important points to be focused on could be gathered around thesefollowing subject matters: what is its conception of beauty? And how it isrefiected in the works of art and in which language and style it is manifested?In more clear terms, in order to put forth the aesthetic approach of Islamsuccessfully and adequately, we must take into account the philosophical andmetaphysical grounds of its relation with the understanding of truth that is thesource and m eaning all aesthetic values. Actually, when the relation of religionwith art is considered, the Islamic art both in its source and historicmanifestations exhibits an inseparable unity with religion instead of a solerelation. Accordingly, most of the writers that study Islamic art start to tellabout this art through Islam. Indeed, the way to understand what Islamic art isgoes through the understanding of the essence of Islam. In  brief thefoundation of Islamic art is the principle of the unity of the fundamentalIslamic values.'^ In this art neither beautiful nor good, neither functionality norpleasure, are seen as independent values or fields. As in a well known Gibrîl(Gabriel) Hadith (prophetic saying),  ihsan  means reflecting the substantivebeauty to life. In order for this to happen, one should be  conscious  about thefact that all beautiful things are the reflections of God's Jamal (Beauty). Fromanother point of view, being aware of the beauty opens a way for us which

hints the presence of God. Here, servitude has the same meaning with beingconscious of the beauty and revealing the beautiful. Actually, God (A llah) inall works and deeds obligated beauty  ihsan)  (Muslim, Sayd : 57; Abu Dâûd,Edhahî: 11). Certainly, the beauty is the fundamental characteristic of themanifestations or self disclosures of God in the universe. This always happensto be in focus in Islamic arts.

The epistemological aim and endeavor of Islamic art (that is to say thething that it tries to reveal to us) is to attain the invisible behind the visible; andon a practical level to serve for beautifying the world and life. Since there is no

disparate conception of religion apart from life in Islam, Islamic arts in or withall their metaphysical dimensions tried to beautify every piece and place of theworld and life with respect to the principles that it obeys or continuouslycons iders.''' Religion played a vital role in setting principles of beauty and increation of the works of art. Here both the religious and aesthetic experiencewent hand in hand with each other in the same direction. The most distinctivecharacteristic of Islamic art is its property of being an art that developed underthe illumination of th light coming from the windows that enables the spirit toflow to the Absolute. In this art, the mind and the heart gave birth to the most

' T. Koç. (2009). Sanat ('A rt'),  iirkiye Diyanet Vakfi Islam Ansiklopedisi, vol. 36, Istanbul, p. 91

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Turan KOÇ Yil: 14 Sayí: 56 Çubat 2013 -Nisan 2013

splendid examples of works of art under the illumination of two holy lights:

revelation and inspiration. In this art, we continuously feel the existence of th emetaphy sical in the real. In brief,  Islamic art is the most profound signiflcation

ofthe dependency of life to metaphysics and metaphysics to culture.

It is a well-known fact that every religion has some visible and invisibleeffects on the heart and thereby on the art and artists of their believers. Thiseffect of the religion seen both in content and form of the art, can lead tohindrance of som e arts while privileging others. As a matter of fact, both Islamand Judaism, because of their theological teaching and sen sitivities, have never

complimented the Greek art that mainly depends on strict anthropomorphism.

Islam has always objected to all kinds of art that ascribe divinity to any kind ofnatural object or present them as a representative of divinity. Since both divineUnity   (Tawhid)  and incomparableness of God  (tanzih)  are the essentialprinciples of Islamic thought and theology; the visual representation of God,prophets or even spiritual forerunners is strictly abstained. It has kept itselfaway from any detail that alludes to such a kind of designation. Such an

understanding has always been effectual in the life of the Muslim artist. Inorder to understand and appreciate Islamic art this should be taken intoconsideration all the time. The orientation of Islamic art to calligraphy,illumination or stylization and abstraction is the result of its spiritual purpose.''*As regards, conceiving the Islamic art's avoidance of figurative representationas a mode of prohibition will at least be an inadequate explanation. Thetendency to abstraction and stylization in Islamic art still prevails its validity

(is still validly accepted and respected). The Islamic art tends to use abstractionin order to safeguard God's Oneness and Unity to the effect that there isnothing which resembles God. It could be said that this is the same for all artseither sacred or not. So, being an expression of the principles of Unity andunresembleness, Islamic art's privileging of the abstract forms departs it fromits modem connotations that conceive abstraction as a designation of

subconscious motivations. In Islamic civilization that ultimately depends onthe divine principles, all kinds of art are directly related with the vital andspiritual demands of the ones who have a relation with the works of art. Thisart in that respect for the artist who is also a craftsman is the ultimate way ofrealizing him self So it can be asserted that there is no significant differencebetween, art and crafts or in contemporary terms between fine arts andindustrial  (sinai)  arts. (In Arabic the words  san at   ( art )  and  sinâ a

('industrial', 'crafts') etymologically have the same roots and we use bothwords in Turkish today). Of course, between these two concepts we couldreasonably talk about some gradation. In other words, the difference between

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The Vision Of Islamic rt nd esthetics

these two concepts could only be a difference of refinement as a matter of

proficiency and dexterity.

By the way, we should exclude periodical and regional differences ofcourse. In that regard, from the perspective of this art there is no tensionbetween function, utility and beauty. For instance, the Sulaymâniye mosqueand the Sultan Ahmed Fountain (in Istanbul, Turkey) are the marvelousexamples of Islamic art that reflect the harmony of these three principles. Inthis understanding art is not something other than life. In brief here thedeclaration that art for ar t's sak e loses its validity com pletely. As mentionedabove, since in Islamic tradition, unlike today's Western thought, the physical

and the spiritual levels or fields are not disparate realms, Islamic art neversegregates between the fine arts and the crafts which mainly depends on utilityand ability.

For a Muslim, the art turns into a language that manifests the divineonce it detached from the effects of personal and subjective inspirations orfeelings. The most distinctive feature of this art is its non-subjectivity like thebeauty of the heavens. From this point of view, Islamic art exhibits anexcellence independent of its author or performer. In other words, the personalproperties of the artist disappear to a great extent behind the universalcharacter of the object.'^ In this understanding, the artist never sees himself asthe sole actor. Conversely, he conceives his performance as a means formanifestation of the divine will. As a consequence of his integration with hisperformance, his personal consciousness of existence reaches to a point wherehe loses or (re)finds himself in the Truth (the Real, Haqq which he belongsultimately. Here, the consciousness of the fact that every moment of time is anovel uninterrupted creation is at work. This understanding of continuousregeneration or creation  {kh lq Jadîd indicates a feeling and dynamism thatthe representations or symbols will be renovated within the frame of particular

principles. The art comes about as a consequence of this feeling, inspirationand conception. In all manifestations of this art which give priority to quality,we conceive its tendency to clarity and proportionality. This art with itsendeavor on the way to perfect is a lucid art that achieves unity and lightnessin expression of the whole. One of the most beautiful examples of thisexpression in architecture is the Selimiye mosque in Edime/Turkey. In thisbeautiful edifice of architecture, we witness the harmonic meeting of the earthand the heavens. Resembling a single piece of pearl, in this place of serenity aMuslim feels himself mor close to God and his om nipresence.

' Titus Burchardt. (1989). Islam Sanadnin Esas lan, (Trans: Hakki Önka l),  Kubbealti Akademi

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Turan KOÇ Yil: 14 Sayi: 56 Çubat 201 3-N isan 2013

As a consequence of its distinctive feature, the working principle of

Islamic art pay attention to the organization of things with respect to itsunderstanding of truth  haqiqa)  rather than a  mimesis  or representation of

nature. As regards, in different examples of Islamic art such as a fountain, a

water cup, a book cover or an inscription, to achieve the perfect that is

convenient to the content studied is the most essential thing. In that respect,

this art abstain from adding external elements that is strange to its content.

Islamic art, just like the worldview it belongs to, aims at honoring all

the dimensions of human life. It is in fact, a manifestation of t is worldview in

an artistic form. In that regard, this art committed itself to be useful as possible

as and dedicated itself to be instrumental in achieving the purposes of man.

The most supreme of these purposes is meeting with the source that the man

belongs to. Leaning to a deep thinking or refiection the most intrinsic feature

of Islamic art is it's reminding of truth and its preparation of man to the

contemplative experience. Islamic art never divides the experience as

physically and spiritually. It aims at introducing man with the perfect and it

prompts the ways of this. This art sees the aim of having a person or masses

that it addresses to attain perfectness as a responsibility that the religious

sensitivity imposes on it, and does its work with the consciousness of wo rship.

In fact, a religious art is never the sole target; it is an instrument for conveyingor revealing a message. An artwork is termed as goo d or ba d with regard

to its ability in transmitting or refiecting the particular piece of message in the

art form. Islamic art, essentially in the ornamentation, whilst aiming at

escaping from or getting rid of the constraints of nature by means of

abstraction and stylization, yet preserves its relation with reality.

Since Islamic art and aesthetics are connected ultimately with the

metaphysical  tamsîl  (m oderate symbolism or analogy) has becom e to be a

necessary instrument in revealing the truth which is beyond the perception of

senses. In that respect, analogy, metaphor or symbol resembles a lever thatelevates our comprehension to upper levels. Indeed, analogy in this

comprehension became to be the most appropriate way in expressing and

illuminating an upper level of truth.

In the understanding of Islamic art, the art has a close relationship with

the re al or in better terms with the un derstanding of the reality and truth. The

true art, according to Islamic understanding depends on the truth and giving

meaning. The preeminent way of understanding and telling the truth could

only be possible by means of expressing it in a perfect level of language. As

we read the works of great thinkers and poets like Jalâluddin Rûmî, YunusEmre and Ibn Fand we conceive the perfectness of their expression of truth

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The V ision Of Islamic Art And Aesthetics

that they have reached or encountered. A s regards, the real art is the one that isin close relationship with truth and divine wisdom .

Actually, the art and literature provides us some possibility in

understanding man, life and the world more deeply. Art and literature are theessential ways of understanding the existential and permanent values; so they

are the necessary means of discovering ourselves. Also in perceiving thebeauty of moral and spiritual values on an existential level, art plays asignificant role. Conceiving art as an expression of the most conscious and

reasonable life that leads us to the deepest perception of existence, the mostdignified feelings and noble thoug hts is a point that we c an t d isregard. Art is

an activity which raises us to a universal life not only by way of agreement inideas and convictions but also by means of encountering us with some deep

feelings. In addition to this, the experience of faith is an aesthetic experience aswell. From a different point of view, there is always a possibility for anaesthetic experience that we practice with natural beauties and works of art to

tum to a novel phase of experience that is glorified with faith. Actually, wecould say that the aesthetic experience develops in accordance with the

experience of faith. In that regard, we could assert that Islamic arts are thelucid and easiest ways of deeply understanding Islamic spirituality. Another

function of art is its power of transforming the incomprehensible andunreachable by means of reason to the achievable. In that respect, in a sensethe art has a relation with meaning. As well known, in Islamic culture the art

comprises all the dimensions of   life.  Every thing, happening and event such as;the house we live, the shops where we earn, the meal we eat, the covers of thebooks we read and even the gravestones are in the frame of this art. It is

impossible to see this wide scope of art in other fields of Islamic thought such

as;   theology and philosophy. In this regard, art has a different and a privileged

place among other fields. In that respect, art should be seen as a necessarycondition of life rather than an instrument of pleasure. A rt s role of being an

instrument to share and participation among people is a clear fact that can t beignored.

 on lusion

The art of Islam is the manifestation of the Islamic notion of being and

truth in an artistic language. It means that this art in any level or field of its

manifestation reflects Islamic understanding, conception and interpretation of

life and existence. This understanding is an essential feature of Islamic art and

aesthetics that gives unity to it in all its manifestations. The masterpieces of

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Turan KOÇ Yil: 14 Sayi: 56 Çubat 2013 - Nisan 2013

Islamic art in any field reveal the beliefs and thoughts, the ethical and aestheticsensitivity, and the economic and social structure of Islamic community or atradition. Briefly, Islamic art is the opening out of Islamic spirituality and theworld view in the plane of shapes.

One of the most distinguishing features of Islamic art is its closerelationship with Islamic spirituality. Islamic art in all its manifestations hastaken into consideration its mental dimension and the notions of being andtruth. This also gives it a substantial character. The art of Islam, from the viewof its main features, is an art that depends on a tradition and maintains it at thesame time. Its care with conveying the tradition that depends on revitalizing itat the same tim e, is a trait related w ith its concep tion of be ing and truth.

The notions of being and truth that this art depends on constitute itsuniversal dimension. This art has revealed this dimension in different placesand periods in an aesthetic form and it has always been in good harmony withthe spirit of Islam in all its manifestations in different places and periods. Afterall,  the word Islam in itself signifies not only a religion or the system ofbeliefs, but to a culture and civilization in general.

 ibliogr phy

1.Burckhardt, Titus. (1976).  Art of Islam,  World of Islam Festival PublishingCompany Ltd., W esterham, Kent, p. 181.)

2.Burchardt, Titus. (1989). Islam Sanatinin Esaslari (tr. Hakki Önkal),  Kubbealti

Akademi mecmuasi, XIII, jjp. 46-63.

3.Davutoglu, Ahmet (2007). Medeniyetler Arasi Etkileçim ve Klasikler, Medeniyet

ve   Klasik,  Medeniyet Araçtinnalan I, eds. Halit Özkan, Nurullah Ardiç, Alim Arli,Klasik yayin lan, tstatibul, s. 19) (ss. 15-33).

4.1bn Arabî. (1989). On Majesty and Beauty, Journal of  th Ibn Arabi Society,  (tr.Rabia terry Harris), Volume VIII, pp. 5-32:

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6.1bn Manzour,  (1990). Lisânu l- Arab,  vol. 13, Beirouth.

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8.Kalin, Ibrahim. (2007). Bir Klasik, Nasil Klasik Olur? Klasiklerin Anlam vé îçleviÜzerine, Medeniyet ve Klasik,  Medeniyet Araçtirmalan I, (eds. Halit Özkan, NurullahArdiç, Alim A rli), Klasik yayinlari, Istanbul, pp.47 -53.

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The Vision Of Islamic Art And Aesthetics

9.Kalin, íbrahim. (2010). Dünya Görücü, Varlik Ta saw uru ve Duzen Fik d:

Medeniyet Kavramina Giriç, Diván: Disiplinlerarasi Caiifmalar Dergisi,  eilt 15, sayi

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10. Karakoç. (1998).  Edebiyat Yazilari I: Medeniyetin riiyasi, Riiyamn Meden iyeti Ç r

[ Essays o n Literature LPoetry as a Dream of C ivilization, Civilazion of Dream ],DiHliç Yayinlari, Istanbul.

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12.  Koç, Turan. (2009). Sanat ( 'A rt'),  Tiirkiye Diyanet Vakfi ¡slam Ansiklopedisi,

vol. 36, Istanbul, pp. 90-93.

13.  Kulayb, Sa'daddi. (1998). ,  Buniatu l-Cemâliyyah fi 1-Fikri l-Arabî  al-Islâmî

M anshûrâtu'l-Vizarati's-Seqâfiyyah, ss. 126, 145.)

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Arabi l-Muslimîn,  Publications ofthe Univesity of Aleppo, ....?

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