Şubat 2013 - Nisan 2013 Yı I : 14 Sayı :...

Şubat 2013 - Nisan 2013 Yı_I : 14 Sayı : 56

February 201 3 - April 2013 Volume : 14 Number : 56

Akademik Araştırmalar Dergisi 2013, Sayı 56, Sayfalar 1-16

THE VISION OF ISLAMIC ART AND AESTHETICS

Turan KOÇ*

Abstract

Art, as a manifestation of aesthetic sensitivity of(ers 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 of the slıortest ways of understanding Is lam. Tlıe aestlıetic sensitivity and tlıe artistic ıınderstanding of Is lam are in a close relationslıip with its metaphysical dimension. After al!, the experience of faith is alsa an aesthetic e.y;perience. For this reason, Islamic art both in its soıırce and historical manifestations exhibits a close alliance with religion. Tlıe epistemological pıııpose of Islamic art is ta· achieve tlıe invisible behind the visible. And also its practical pıııpose is to beautifY the world and life. Tlıis art has brought about glamorous masterpieces under tlıe · light of revelation and inspiration. Islamic art tlıat depends ııltimately on divine Unity has laken care of the demands of tlıe ones who Jıave a relation witlı tlıe work of art. Tlıerefore, from the perspective of this art tlıere is no tension between fimction, utility and beauty. Some kind of moderate symbolism (tamtlıfl) is an important instrument of expression in tlıis art.

Key Words: Being, aestlıetic aperience, Unity, beauty, trutlı, stylization, abstraction

İslam Sanat Ve Estetiğinin Vizyonu

Özet Estetik duyarlılığın tezahürü olarak sanat bir medeniyeti anlama

konusunda büyük imkanlar sunar. Bu bakımdan, İslam sanatı İslami estetik duyarlılığın bir dzşavurumıı olarak İslam 'z anlamanın en kestirme yollarından biridir.

• Prof. Dr., Erciyes Üniversitesi, İlahiyat Fakültesi, Felsefe ve Din Bilimleri Bölümü, Din Felsefesi Anabilim Dalı. E-mail: [email protected]; tel: 0505 397 97 27; Erciyes University, Facult:y ofDivinit:y, Departrnent of Philosophy and Religious Sciences: Philosophy ofReligion.

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The Vision Of lslamic Art And Aesthetics

İslam 'ın estetik duyarlılığı ve sanat anlayışı onun metafiziksel, yani iman konusu olan boyutuyla sıkı bir ilişki içindedir ve iman tecrübesi aynı zamanda estetik bir tecrübedir. Bu bakımdan, İslam sanatı hem kaynağı, hem de tarihsel tezahürlerinde din ile sıkı bir birlik sergiler. İslam sanatının epistemolojik gayesi, görünürün arkasındaki görünmeze ulaşmaktır. Pratik gayesi ise dünyayı ve hayatı güzelleştirmektir. Bu sanat vahiy ve ilhamın ışığı altında göz alıcı eserler ortaya koymuştur.

Nihaf anlamda Tevhide dayanan İslam sanatı, bu sanatla ilgisi olanların hayatf ve ruhanf ihtiyaçlarını gözetmiştir. Bu bakımdan, bu sanat ve estetik duyarlılık açısından, yararlılık, fonksiyon ve güzellik arasında hiçbir gerilim yoktur. Bu sanatta temsil (ılımlı sembolizm) çok önemli bir ifade aracıdır.

Anahtar Sözcükler: Varlık, estetik tecrübe, Tevhid, güzellik, 'hakikat, ' 'üsuplaştırma, ' '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 expression of the conception of truth and aesthetic sensitivity offers so many possibilities in this field. In other words, we could say that Islainic art, -as a manifestation of the Islamic notion of being, life and truth and in brief, as an expression of this understanding in different levels of expression and language, is the most direct 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 the Süleymaniye 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 approaches man, universe and life. In other words, Islamic art is an expression of the civilization that rises on Islamic faith and principles. After all, in general; civilization is defined as a power or a world which gives societies a comnion sensitivity, a common direction and a common moment both worldly and spiritually in the fields like thought, sense, literaturç:, 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, the most distinctive property of this civilization and the art, -a manifestation of it in a sensorial level, is this principle and the ideal that it rises on. In that regard,

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it would be helpful to address the concept of "madaniyyalı" in its general denotations and connotations which is a Turkish equivalent of the term "civilization", yet this term has firm relations with the words "dm" (religion), "madfn" (man who feels himself indebted and dependent/faithful), "dayydn" (God) and "madmah" (ıımmatıı 'l-mam!Ukalı, that is the community that is subject to the King, that is God) which have the same · ıinguistic roots. 1 The actualization of religion through the will of a Muslim society describes the "religiosity" (diyônalı). So, diyônalı 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 oflslamic art without any reference to Islam and Islamic world 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 with 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 ofMuhammad with respect to the conditions ohime and space.2 As a consequence, understanding Islamic art aiıd aesthetics properly necessitates understanding Islam. The unity and integrity which we confront in Islamic art and aesthetic sensitivity is a result of its fidelity to the conception oftruth that it is completely engaged to. The integrity or unity ofthe 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 tawhid (unity), on which Islam makes prior and significant emphasis. However, the unity or integrity in question is not only related with pure extemal manifestation or behavior; it is a unity of language and meaning similar to the unity of soul and body.

Since Islamic aesthetic sensitivity rejects dealing with art and knowledge 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 ofa task to be integrated into a harmonious whole; the schemes or key-pattems which it

1 Thn Manzour. (1990). Items "din" and "dayyfuı," Lisiimı 'l-Arab, vol. 13, Beirouth, pp: 169-70. 2 Titus Burckhardt (1976). Aı1 of Islam, World oflslarn Festival Publishing Company Ltd., Westerham, Kent, p. 181.

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provides are like the mirror of the unseen unity which lies in the very seat of humarı intelligence. This is to say tlıat tlıe science transmitted with art always involves, at least implicitly, an aspect of wisdom (hikmah) which links is rational


in the historical process, consistency indicates the unity between different modes ofrealization.4

The accumulation of civilization which consists of manifestations of the self-perception, the perception of history and space besides manifestations of being and truth, is an interpretation of the thing which is meıiningful and existentially imperative to men. in this accumulation the understanding of being, knowledge and value interweaves with each other. The formation ofthe environment in a specific form and the unity between different styles of expression and manifestation signifies a concrete demonstration of the civilization's conception ofbeing, knowledge and self.5

The constitutive source which is seen foundational or essential with special reference to being, knowledge and value for a civilization is the thing that provides unity and integrity in its realization. For Islamic civilization this constitutive source is, before everything else, the Qur'an itself. This source in every manifestation of Islamic civilization is influential not only in expression and style but also in content. For instance, it is possible to see the examples of this in intellectual, artistic and moral manifestations of Islamic civilization. From this point of view, we can conceive of the representative examples of Islamic . civilization in different fıelds such as art, literature, thought and morality asa manifestation ofits conception ofbeing and truth put in a certain form with a specifıc language and style.6 As regards, Islamic civilization though on the one hand is in close relation with the universal in its conception of knowledge and value, on the other hand in its expression of this conception in history pays significant regard to tradition. in fact, the representative examples of Islamic civilization that belong to different periods and styles not only form this tradition but also maintain it. Here the most important aspect or element is the essence and content. Form in close relationship with the content could differentiate in style with reference to the changes in period and region. lndeed, form is limited by its nature; just because of this principle it is historical.

It is clear that we in this study approach the concept of civilization as a manifestation 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 fırın relation with the world view and the understanding of

4 A. Davutoğlu (2007). "Medeniyetler Arası Etkileşim ve Klasikler," Medeniyet ve Klasik, Medeniyet Araştırmaları I, eds. Halit Özkan, Nwullah Ardıç, Alim Arlı, Klasik yayınlan, İstanbul , p. J 9. 5 Op.cit p. 22. 6 İbrahim Kalın. (2007). "Bir Klasik, Nasıl Klasik Olur? Klasiklerin Ardam ve İşlevi Üzerine" (How Can Be a Classic a Classic?: On the Meaning and Function of the Classics') Medeniyet ve Klasik, Medeniyet Araştırmaları I, eds. Halit Özkan, Nurullah Ardıç, Alim Arlı, Klasik Yayınlan, İstanbul, p. 50.



being. In that regard, the description of civilization as "the manifestation of a world view in a spatiotemporal manner" seems to be important. Because of this property, civilization turns out to be a semantically multilayered concept that consists ofworld view, conception ofbeing, the idea of world, cosmology, morality, political and social order, aesthetic understanding, city life, culture, ete. For tlıat reason, we could assert tlıat the foundational differences between civilizations are essentially resulted from the differences ·in conception of being and the world view they arise on, though we could not deny differences related to the periods and conditions of geography.7

On the one hand while civilizations have a metaphysical dimension which is expressed. as 'world view' (Weltanschauung) and understanding of existence, on the other hand they are manifested as a social, economic and political order. in that regard, ideas, beliefs and practices emerge at the meeting point of a world view witlı practical life in a coherent, satisfying, meaningful and unifıed life style.

Islamic art.is alsa a manifestation ofthe unifıcation ofthe lslamic world view. and conception of existence with practical life. In the aesthetic unı:lerstanding of this art there is no distinction between metaphysical fıeld and the practical life. For that reason, Islamic art always sustained its relationship wifü. the metaphysical fıeld. Possibly because of this fact, in Islamic aesthetics the idea of perfection (kama!) as an aesthetic value has a signifıcant importance. In other words, in lslamic aesthetic sensitivity perfection, beauty (jamiil) and majesty (jaliil) have a substantial role in terms of aesthetic pleasure and taste.8 Actually, perfection has a fırın relationship with existence and knowledge. In fact, in terms of aesthetic understanding, existence, though on the one hand seems to have priority before everything else, on the other hand has a role of being a passage to the metaphysical world. İbrahim Kalın in his study titled "Dünya Görüşü ... " elaborates on this subject as follows;

... existence (wııjfıd), in the final analysis, is the face of God that looks to the created world of Him. On the other hand, existence is at the same time good, true and beautiful, and it is the meeting point of epistemological, ethical and aesthetical fıelds. For this reason, the act of knowing alsa, in the final

7 İbrahim Kalın. (2010). "Dünya Göıiişü, Varlık Tasawuru ve Düzen Fikri: Medeniyet Kavramına. Giriş," ('The Worldview, the Notion of Being and the Idea of Order: Introduction to the Concept of Civiliz.ation') Divfin: Disiplinlerarası Çalışmalar Dergisi, vol 15/ 29 (2010/2), pp: 1-4, 21 (henceforth it will be attributed to as ''Worldview ..... ") 8 Sa'daddin Kuleyb. (1998). Bımiatzı'l-Cemfiliyyalıfi'l-Fikıi'l-Arabi el-İslfimi, Manshfuılti'l-Viz.arati'sSeqfiliyyah, pp. 126, 145; Hussain al-Sıddiq and Sa'daddin Kulayb, Al Fiknı'l-Jamalf 'Inda'l-Arabi'l-Muslimin, Publications of the Univesity of Aleppo, .... ?, 2006, pp: 141-143, 161; Abdulkarim b. Ibrahim al-Jili. (2005). Al-Insfin al-Kfimil fi Ma 'rifat al- Awfilıir ıval-aıvfiil (J7ıe Peifect Man), ed. Asiın Ibrahim al-Kayali, Dar al-Kotob al-Ilıniyah, Beirut, pp. 124-31.

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analysis is the matter of participation to the truth of beings, -that is to the existence.9

The relationship between Islamic art and aesthetics with the metaphysical fıeld is compactly stated by Ibn Arabi in his "Kitiibu'l-Jalal wa'l-Jamiil" 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 con:fronts those who confront 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 His two Hauds and "handfuls." So know that. 10

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 fıelds.

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 defıned 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 Mawliinii Jalaladdin al-Rumi, Ibn Arabi 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 who is beautifully created is his possession of an aesthetic sensiİivity. 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 Islamic spirituality. We can say that Islamic art is a manifestation ofthis spirituality in an artistic form. Due to this fact, some writers who studied in this fıeld have interrelated Islamic art and sensitivity with Sufism. Indeed, according to

9 İbrahim Kalın, ''Varlık Görüşü ... ", p. 25 .. ıo Tun Arabi (1989). "On Majesty and Beauty," Journal oftlıe Jbn 'Arabi Society, (tr. Rabia terry Harris), Volume VIII, pp. 5-32, (pp: 29-30); original in "Kitiibu'l-Jalfil wa'l-Jamfil. (2001 ). "Rasıiilıı lbn Aabf, (ed. M. Abdulkarim al-Nanın"), Dar al-Kutub al- llmiyyab, Beyrouth, p. 35.



Sufism, a deep religious perception and comprehension comes about as an experience of finding and being found or being present. In other words, the heart 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 encounter." Here, though it has a vital significance, reason is neither the only way nor the only instrurnent. Although the mind has an essential Iiecessity 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 1s 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.

lıi Islam the relation of art with religion from the beginning onwards has been in a glorious harrnony. 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 ofa privilege specifically belongs to the Islamic artistic tradition won't be inconvenient. This essential characteristic of Islarnic art is clearly seen in the works/poems of Mawlana Jalaluddin Rumi (specifically in Masnawi) and in Yunus (specifically in Divan) which are the most splendid examples of the religion-art relationship. In Islarnic tradition, it could be asserted that both religion and art have performed their missions in relation with each other and still as autonomous agents. 11 In other words, 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 is possible to claim that the phrase of "the relation of religion with art" is an improper expression when the general stance oflslam to art is considered.

Of course, religion is not art; but to live with sensing, thinking and pleasing 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

11 Sezai Karakoç. (1998). Edebiyat Yazılan 1: Medeniyetin Riiyası, Riiyamn Medeniyeti Şiir ['Essays on Literatııre L·PoehJ' asa Dreaııı ofCivilization, Civilazion ofDream'], Diriliş Yayınlan, İstanbul, pp: 14-15.

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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 Islamic aesthetics and the difference of it from the aesthetics of modem times results from these properties. Islamic aesthetic exhibits a perfect harmony of meaning andform; 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 signifıcant 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 natura! events or phenomena is really important not only for the Islamic art but alsa for Islamic thought and theology. The Qur'anic verse "I love not the setters" (An'am [Cattle]: 76) and the verse "God has endeared to you faith" (Khujuriit [Apartments]: 7) are the Qur'anic 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 elaborately yet, we could claim that the point is alsa the same for Is lam if we consider poetry, architecture, the art of calligraphy and omamentation or even the 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 alsa in aesthetic experience. üne starts to sense or feel, experiences and thinks about when he meets with an object, a situation oran event which can be termed as "aesthetic object." Creation of an "art object" comes about as a result of an artful translation of perception, apprehension and comprehension. A poem, a work of architecture, or a verse ofa song, are all results of such a kind ofa 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 dirnensions 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 signifıcant ones which should be focused in detail. ·



When the aesthetic standpoint of Islam is a matter of discussion, the most important points to be focused on could be gathered around these following subject matters: what is its conception of beauty? And how it is reflected 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 Islam successfully and adequately, we must take into account the philosophical and metaphysical grounds of its relation with the understanding of truth that is the source and meaning all aesthetic values. Actually, when the relation ofreligion with art is considered, the Islamic art both in its source and historic manifestations exhibits an inseparable unity with religioiı instead of a sole relation. Accordingly, most of the writers that study lslamic art start to tell about this art through Islam. Indeed, the way to understand what lslamic art is goes through the understanding of the essence of Islam. in brief, the foundation of Islamic art is the principle of the unity of the fundamental Islamic values. 12 in this art neither beautiful nor good, neither functionality nor pleasure, are seen as independent values or fields. As in a well known Gibril (Gabriel) Hadith (prophetic saying), ihsan means reflecting the substantive beauty to life. in order for this to liappen, one should be conscious about the fact that all beautiful things are the reflections of God's Jamiil (Beauty). From another 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 being conscious of the beauty and revealing the beautiful. Actually, God (Allah) in all works and deeds obligated beauty (ihsan) (Muslim, Sayd : 57; Abu Diiı1d, Edhah!: 11). Certainly, the beauty is the fundamental characteristic of the manifestations or self disclosures of God in the universe. This always happens to be in focus in Islamic arts.

The epistemological aim and endeav.or of lslamic art (that is to say the thing that it tries to reveal to us) is to attain the invisible behind the visible; and on 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 with all their metaphysical dimensions tried to beautify every piece and place of the

. world and life with respect to the principles that it obeys or continuously considers.13 Religion played a vital role in setting principles of beauty and in creation of the works of art. Here both the religious and aesthetic experience went hand in hand with each other in the same direction. The most distinctive characteristic oflslamic art is its property of being an art that developed under the illumination ofthe light coming :from the windows that enables the spirit to flow to the Absolute. in this art, the mind and the heart gave birth to the most

12 T. Koç. {2009). "Sanat" ('Art'), Türkiye Diyanet Vakfi İslam Ansiklopedisi, vol. 36, İstanbul, p. 91 (henceforth it will be attributed to as "Sanat"). 13 Turan Koç. (2009). İslam Estetiği, ISAM, İstanbul, p. 18.

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splendid examples of works of art under the illumination of two holy lights: revelation and inspiration. in this art, we continuously feel the existence ofthe metaphysical in the real. in brief, Islanıic art is the most profound signifıcation of the dependency of life to metaphysics and metaphysics to culture.

It is a well-known fact that every religion has some visible and invisible effects on the heart and thereby on the art and artists of their believers. This effect of the religion seen both in content and form of the art, can lead to hindrance of some arts while privileging others. As a matter of fact, both Is lam and Jud~ism, because oftheir theological teaching and sensitivities, 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 of natural object or present them as a representative of divinity. Since both divine Unity (Tawhid) and incomparableness of God (tanzfh) are the essential principles of Islanıic thought and theology; the visual representation of God, prophets or even spiritual forerunners is strictly abstained. It has kept itself away 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. in order to understand and appreciate Islanıic art this should be taken into consideration all the time. The orientation of Islamic art to calligraphy, illumination or stylization and abstraction is the result of its spiritual purpose.14

As regards, conceiving the Islamic art's avoidance of figurative representation as a mode of prohibition will at least be an inadequate explanation. The tendency to abstraction and stylization in Islamic art still prevails its validity (is still validly accepted and respected). The Islamic art tends to use abstraction in order to safeguard God's Oneness and Unit)r to the effect that there is nothing which resembles God. It could be said that this is the same for all arts either sacred or not. So, being an expression of the principles of Unity and unresembleness, Islanıic art's privileging of the abstract forıns departs it from its modern connotations that conceive abstraction as a designation of subconscious motivations. in Islamic- civilization that ultimately depends ·on the divine principles, all kinds of art are directly related with the vital and spiritual demands of the ones who have a relation with the works of art. This art in that respect for the artist who is also a craftsman is the ultimate way of realizing himself. So it can be a'sserted that there is no significant difference between art and crafts or in contemporary terms between "fine arts" and industrial (sınai) arts. (in Arabic the words san'at ('art') and sina'a ('industrial', 'crafts') etymologically have the same roots and we use both words in Turkish today). Of course, between these two concepts we could reasonably talk about some gradation. in cither words, the difference between

14 Op.cit, p. ; T. Koç, "Sanat"(' Art'), p. 92.



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 of course. In that regard, · from the perspective of this art there is no tensi on between function, utility and beauty. For instance, the Sülaymilniye mosque and the Sultan Ahmed Fountain (in İstanbul, Turkey) are the marvelous examples of lslarnic art that reflect the harmony of these three principles. in this understanding art is not something other than life. In brief here the declaration that "art for art's sake" loses its validity completely. As mentioned above, since in lslarnic tradition, unlike today's Westem thought, the physical and the spiritual levels or fields are not disparate realms, lslamic art never segregates between the fine arts and the crafts which mainly depends on utility and ability.

For a Muslim, the art turns into a language that manifests the divine once it detached ·from the effects of personal and subjective inspirations or feelings. The most distinctive feature of this art is its non-subjectivity like the beauty of the heavens. From this point of view, lslamic art exhibits an excellence independent of its author or performer. In other words, the personal properties of the artist disappear to a great extent behind the universal character of the obj ect. 15 in this understanding, the artist never sees himself as the sole actor. Conversely, he conceives his performance as a means for manifestation of the divine will. As a consequence of his integration with his performance, his personal consciousness of existence reaches to a point where he loses or (re)finds himself in the Truth (the Real, Haqq) which he belongs ultimately. Here, the consciousness of the fact that every moment of time is a novel uninterrupted creation is at work. This understanding of continuous regeneration or creation (khalq jadfd) indicates a feeling and dynamism that the representations or symbols will be renovated within the frame of particular principles. The art comes about as a ·consequence of this feeling, inspiration and conception. In ali manifestations of this art which give priority to quality, we conceive its tendency to clarity and proportionality. This art with its endeavor on the way to perfect is a lucid art that achieves unity and lightness in expression of the whole. üne of the most beautiful examples of this expression in architecture is the Selimiye niosque in Edirne/Turkey. In this beautiful edifice of architecture, we witness the harmonic meeting of the earth and the heavens. Resembling a single piece of pearl, in this place of serenity a Muslim feels himself more close to God and his omnipresence.

15 Titus Burchardt (1989). "İslam Sanatının Esaslan," (frans: Hakkı Önkal), Kubbealtı Akademi mecmuası, XIll, pp: 52-53.

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Academic Studies


As a consequence of its distinctive feature, tlıe working principle of Islamic art pay attention to tlıe organization of tlıings witlı respect to its understanding of trutlı (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 aclıieve the perfect that is convenient to the content studied is the most essential thing. In that respect, this art abstain from adding extemal elements that is strange to its content.

Islamic art, just like the worldview it belongs to, aims at honoring all the dimensions of hµrnan life. It is in fact, a manifestation of this worldview in an artistic form. In tlıat regard, tlıis art committed itself to be useful as possible as and dedicated itself to be instrumental in achieving the purposes of man. Tlıe most supreme of tlıese purposes is meeting witlı tlıe source tlıat the man belongs to. Leaning to a deep thinking or reflection 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 tlıe perfect and it prompts tlıe ways of tlıis. This art sees the aim of lıaving a person or masses that it addresses to attain perfectness as a responsibility that the religious sensitivity imposes on it, and does its work witlı tlıe consciousness ofworship. In fact, a religious art is never tlıe sole target; it is an instrument for conveying or revealing a message. An artwork is termed as "good" or "bad" witlı regard to its ability in transmitting or reflecting the particular piece of message in tlıe art form. Islamic art, essentially in the omamentation, whilst aiming at escaping from or getting rid of the constraints of nature by means of abstraction and stylization, yet preserves its relation witlı reality.

Since Islarnic art and aesthetics are connected ultimately witlı tlıe metaplıysical tamsfl (moderate symbolism or analogy) has become to be a necessary instrument in revealing tlıe truth which is beyond the perception of senses. In tlıat respect, analogy, metaphor or symbol resembles a lever tlıat elevates our comprelıension to upper levels. Indeed, analogy in tlıis comprelıension became to be the most appropriate way in expressing and illuminating an upper level oftrutlı.

In tlıe understanding of Islarnic art, the art has a close relationship with tlıe real or in berter terms witlı tlıe understanding of tlıe reality and trutlı. The true art, according to Islamic understanding depends on the trutlı and giving meaning. Tlıe preeminent way of understanding and telling the trutlı could only be possible by means of expressing it in a perfect level of language. As we read the works of great tlıinkers and poets like Jalaluddin Rumi, Yunus Emre and Ibn Fand we conceive the perfectness of tlıeir expression of trutlı



that they have reached or encountered. As regards, the real art is the one that is in 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 the essential ways of understanding the existential and permanent values; so they are the necessary means of discovering ourselves. Also in perceiving the beauty of moral and spiritual values on an existential level, art plays a signifıcant role. Conceiving art as an expression of the most c6nscious and reasonable life that leads us to the deepest perception of existence, the most dignified feelings and noble thoughts is a point that we can't disregard. Art is an activity which raises us to a universal life not only by way of agreement in ideas and convictions but also by means of encountering us with some deep feelings. In addi ti on to this, the experienqe of faith is an aesthetic experience as well. From a different point of view, there is always a possibility for an aesthetic experience that we practice with natural beauties and works of art to turn to a novel phase of experience that is glorified with faith. Actually, we could say that the aesthetic experience develops in accordance with the experience of faith. In that regard, we could assert that Islamic arts are the lucid and easiest ways of deeply understanding Islamic spirituality. Another function of art is its power of transforming the incomprehensible and unreachable by means of reason to the achievable. In that respect, in a sense the art has a relation with meaning. As well known, in Islamic culture the art comprises all the dimensions oflife. Every thing, happening and event such as; the house we live, the shops where we earn, the meal we eat, the covers of the books 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 plıilosophy. In this regard, art has a different and a privileged place among other fields. In that respect, art should be seen as a necessary condition of life rather than an instrument ofpleasure.16 Art's tole ofbeing an instrument to share and participation among people is a clear fact that can 't be ignored.

Conclusion

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

16 Tolstoy, Wlıat is aıt, Landon, ss. 37-38.

14 Joumal of

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Islamic art in any fıeld reveal the beliefs and thoughts, the ethical and aesthetic sensitivity, and the economic and social structure of Islamic community or a tradition. Briefly, Islamic art is the opening out of Islamic spirituality and the world view in the plane of shapes.

üne of the most distinguishing features of Islamic art is its close relationship with Islamic spirituality. Islamic art in all its manifestations has taken into consideration its mental dimension and the notions of being and truth. This also gives it a substantial character. The art of Islam, from the view of its main features, is an art that depends on a tradition and maintains it at the same time. Its care with conveying the tradition that depends on revitalizing it at the same time, is a trait related with its conception ofbeing and truth.

The notions of being and truth that this art depends on constitute its universal dimension. This art has revealed this dimension in different places and periods in an aesthetic form and it has always been in good harmony with the spirit oflslam in all its manifestations in different places and periods. After all, the word "Islam" in itself signifıes not only a religion or the system of beliefs, but to a culture and civilization in general.

Bibliography

1.Burck:hardt, Titus. (1976). Art of Jslam, World of Islam Festival Publishing Company Ltd., Westerham, Kent, p. 181.)

2.Burchardt, Titus. (1989). "İslam Sanatının Esaslan" (tr. Hakkı Önkal), Kubbealtı Akademi mecmuası, XIII, pp. 46-63.

3.Davutoğlu, Ahmet (2007). "Medeniyetler Arası Etkileşim ve Klasikler," Medeniyet ve Klasik, Medeniyet Araştırmaları 1, eds. Halit Özkan, Nurullah Ardıç, Alim Arlı, Klasik yayınlan, İstanbul, s. 19) (ss. 15"33).

4.lbn Arabi. (1989). "On Majesty and Beauty," Joıırııal of tlıe Ibn 'Arabi Society, (tr. Rabia terry Harris), Volume VIII, pp. 5-32.

5.lbn Arabi (2001). "Kitabu'l-Jalal wa'l-Jamal," Rasiiilıı Ibn Aabf, (ed. M. Abdulkarim al-Namr'i), Dar al-Kutub al- llmiyah, Beyrouth.

6.lbn Manzour, (1990). Lisiiıııı 'l- 'Arab, vol. 13, Beirouth.

7.al-Jili, Abdulkar'im b. lbrahim. (2005). Al-Insiin al-Kiimil fi Ma 'rifat al-Awiilıir wal-awiiil (Tlıe Peıfect Man), ed. Asim lbrahim al-Kayali, Dar al-kotob al-Ilmiyah, Beirut.

8.Kalın, İbrahim. (2007). "Bir Klasik, Nasıl Klasik Olur? Klasiklerin Arılam ve İşlevi Üzerine," Medeniyet ve Klasik, Medeniyet Araştırmaları 1, (eds. Halit Özkan, Nurullah Ardıç, Alim Arlı), Klasik yayınlan, İstanbul, pp.47-53.



9.Kalın, İbrahim. (2010). "Dünya Görüşü, Varlık Tasavvuru ve Düzen Fikri: Medeniyet Kavramına Giriş," Dfw1n: Disiplinlerarası Çalışmalar Dergisi, cilt 15, sayı 29 (2010/2), ss. 1-61.

10. Karakoç. (1998). Edebiyat Yazıları 1: Medeniyetin rüyası, Riiyamıı Medeniyeti Şiir ['Essays on Literature l:Poetıy as a Dream of Civilizatioıı, Civilazioıı of Dream'], Diriliş Yayınları, İstanbul.

11. Koç, Turan. (2009). İslam Estetiği (lslamic Aesthetics), !SAM, İstanbul.

12. Koç, Turan. (2009). "Sanat" ('Art'), Türkiye Diyanet Valifı İslam Ansiklopedisi, vol. 36, İstanbul, pp. 90-93.

13. Kulayb, Sa'daddi. (1998). , Bııniatıı 'l-Cemiiliyyalı fi'l-Fikri 'l-Arabf al-lsliiınf, Manshfuatu'l-Vizarati's-Seqafiyyah, ss. 126, 145.)

14. Al-Sıddiq, Hussain, and Kulayb, Sa'daddin. (2006). Al Fikrıı'l-Jamalf 'lııda'lArabi'l-Mıısliınfıı, Publications ofthe Univesity of Aleppo, .... ?

15. Tolstoy. (1995). Wlıat is Art, London.

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