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...
| Autor principal: | |
|---|---|
| Tipo de documento: | Electronic/Print Artículo |
| Lenguaje: | Inglés |
| Verificar disponibilidad: | HBZ Gateway |
| Journals Online & Print: | Gargar...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publicado: |
Routledge, Taylor & Francis Group
[2017]
|
| En: |
Religion
Año: 2017, Volumen: 47, Número: 3, Páginas: 425-444 |
| (Cadenas de) Palabra clave estándar: | B
Umayyaden
/ Palacio
/ Figuración (Arte)
/ Arte islámica
/ Bilderverbot
/ Historia 700-800
|
| Clasificaciones IxTheo: | AG Vida religiosa BJ Islam KBL Oriente Medio TF Alta Edad Media |
| Otras palabras clave: | B
Aniconism
B Historiography B Palaces B Qusayr ‘Amra-Forms B Umayyads B Early Islam B Bilderverbot |
| Acceso en línea: |
Volltext (doi) |
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| 520 | |a 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. | ||
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