The royal veil: early Islamic figural art and the Bilderverbot reconsidered

The essay questions the Bilderverbot in early Islam by looking at the contrast established in the scholarship between the strict opposition to iconic theology found either in Muslim religious spaces or in the normative texts (hadith) and the use of figural images in the 8th-century palaces built in...

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主要作者: Ali, Nadia (Author)
格式: Electronic/Print 文件
语言:English
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出版: Routledge, Taylor & Francis Group [2017]
In: Religion
Year: 2017, 卷: 47, 发布: 3, Pages: 425-444
Standardized Subjects / Keyword chains:B Umayyaden / 宫殿 / 具象艺术 (艺术) / 伊斯兰艺术 / Bilderverbot / 历史 700-800
IxTheo Classification:AG Religious life; material religion
BJ Islam
KBL Near East and North Africa
TF Early Middle Ages
Further subjects:B Aniconism
B Historiography
B Palaces
B Qusayr ‘Amra-Forms
B Umayyads
B Early Islam
B Bilderverbot
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实物特征
总结:The essay questions the Bilderverbot in early Islam by looking at the contrast established in the scholarship between the strict opposition to iconic theology found either in Muslim religious spaces or in the normative texts (hadith) and the use of figural images in the 8th-century palaces built in the Syrian steppe by the Umayyads. In the first part of this essay, I shall examine how the production of figurative images for the Umayyad palaces was systematically put down to corruption while aniconism was taken as the normative model for Islamic art. Then, I will re-consider a famous painting from Qusayr ‘Amra that provides evidence for a religiously inspired figural art and reflect upon the implications for our understanding of aniconism in early Islam. My main argument is that it was primarily the belief in an invisible God that inhibited the production of images rather than the opposition to images as such.
ISSN:0048-721X
Contains:Enthalten in: Religion
Persistent identifiers:DOI: 10.1080/0048721X.2017.1319992