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Islamic Art and Spirituality

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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.

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)

An unusually clear explanation of the relationship between the two, art and spirituality. Prof. Nasr does an excellent job in demonstrating us the connection between the Islamic art and spirituality. He also adds that such a connection exists in other religions as well. 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 long with it suffered, especially in the West. With the advent of modern age and colonialism many non-Western countries were influenced by this anthropocentric world view and many even adopted it. It led to the damage, sometimes irreparable, of traditional culture, customs and art, that 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.

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.