Insights into Islam

Upon entering the course, “For the Love of God and his Prophet: Religion, Literature, and the Arts in Muslims Cultures”, I hoped to gain a foundational understanding of the Islamic religion and how its interpretation and practice has been shaped throughout history. By studying Islam through its art and literature, I was able to achieve this familiarity that I had wished for at the outset of the semester. As I reflected on my learning in order to create these blog posts, I decided to focus on aspects of the course that allow for discussion of the relative degrees of continuity and divergence within the faith. It was striking to me that despite the constant interaction between religion, history, politics, and cultural standards, which would inevitably lead to innumerable renditions of the Islam worldwide, some of the most important early Islamic, and even pre-Islamic traditions and beliefs have prevailed throughout the religion’s long history.

In particular, the rich history of poetry, which dates back to pre-Islamic times, has been maintained throughout recent times. In fact, three of my blog posts, “The End of an Era”, “Wine, Roses, and Nightingales, Oh My!”, and “They see the Simorgh-at themselves they stare”, are reflections upon a specific work or genre of Islamic poetry. Another continuity in the religion that illuminates the blog posts stems from the first. Accompanying this traditional emphasis on poetry is the prevalence of and appreciation for oral recitation. The lyricism of poetry makes it conducive to oral performances, but above anything, memorization and recitation of the Quran is the most highly valued. It is in this realm of worship that the true beauty of text and of the religion can be realized. Quran recitation is also unique because it allows both the performer and the listeners to connect deeply with the text. This aspect of continuity is especially relevant to the entry, “Interpretation of Quran Recitation through Movement”. Lastly, although interpretations of specific doctrines and principles within the religion have changed over time, I would argue that the foundation of religion, that of the perceived relationship between God and his followers has largely remained the same. God, who manifests himself in all living beings on earth, is still viewed as the ultimate source of light and guidance. The fundamental aspects of this relationship between man and God lie at the center of each blog post.

Despite these continuities throughout history, it would be an inaccurate representation of the religion to ignore the fact that as time progresses, an increasing number of interpretations of the religion can be found worldwide. Professor Asani refers to this phenomenon through the term, communities of interpretation, where each interpretation is shaped by the cultural, political, social, and economic forces of the region. It is this theme of diversity of interpretation that I discuss in my post, “Center versus Periphery Practices”. Holistically, I would like the reader of this blog to appreciate the ways in which Islam has maintained so many traditions and practices that are critical to its identity throughout the religion’s long history, while still making room for continuous evolution in interpretation.

The prevalence and importance of poetry throughout the history of Islam is an aspect of the course that I found particularly interesting and therefore placed a considerable emphasis on in my blog posts. In fact, his tradition of poetry in Arabia, the birthplace of Islam, outdates the religion itself. In pre-Islamic Arabia, poetry was the most cultivated art form and poets were admired and feared because they were believed to be connected with the spiritual world. Within the community, poets held the position of figureheads, filling the role of journalist, propaganda-maker, historian, and entertainer. At the outset, the original relationship between poetry and Islam was quite negative, with poets displaying extreme jealousy toward the Prophet because they saw him as their rival. Similar to poetry, the Qur’an is written in aesthetically beautiful verses that compel and move the listener. Poets even accused Muhammad of writing the Qur’an out of egotistical desire to gain recognition. Despite this initial tension, the poets ultimately supported Muhammad after taking the lead of acclaimed poet, Zuhayr. Since this early history, Islam has maintained an emphasis on religious expression through poetic verse.

My blog posts feature several different works or genres of poetry, each of which engages closely with the religion. For example, Iqbal’s works, “Complaint” and “Answer”, discuss the reasons for the fall of Islamic power during the early 20th century and the influx of colonial forces. Iqbal conveys his argument through poetic verse. This work is discussed in the entry, “End of an Era”. The ghazal is a genre of love poetry that I analyze through my post, “Wine, Roses, and Nightingales, oh My!”. This genre expresses an all-consuming love of God through rich imagery and symbolism. The final genre of poetry that I pull from in my posts is the Mathnawi, or narrative epic, “Conference of the Birds”. This is an extended allegorical work of poetry that discusses the relationship between God and man. These poetic works are significant because they demonstrate the continual emphasis on poetry throughout Islam’s long history. Furthermore, these religious poems are utilized in order to convey important religious ideas and questions that are at the core of the faith.

Another aspect of Islam that is central to the religion’s identity is the emphasis it places on recitation. Oral performance of the Qur’an is of such importance because that is the mechanism through which the word of God was transferred to Muhammad. For this reason, the act of listening to the Qur’an allows for a more authentic experience with the word and God. In her entry, “The Sound of the Divine”, Kristina Nelson explains the relationship between reading and hearing the Qur’an. She writes, “The ears hear more than the eyes see in the written text, and it is only in the sound that the miracle is realized,” (Nelson 258). By this she means when simply reading the text, a component of the message’s beauty is forced to go unnoticed. Furthermore, the act of recitation allows for a more intimate experience between the performer and the text. The former must interpret the message for him or herself and must draw upon their emotional reaction in order to give their performance life through rhythm and intonation. It is not only the reciter who benefits from this mode of religious practice, however. Nelson writes, “Like all great art, recitation can be transforming, the participants touched and changed,” (Nelson 259). Here, Nelson indicates that the listeners, too, have a unique experience when they listen to a recitation of the Qur’an. They are able to appreciate the message in a more profound way than by simply reading, as the aesthetic beauty of the performance adds an intangible layer of meaning. While it is true that poetry is frequently recited, allowing this theme to tangentially relate to each of the poetic entries, the post, “Interpreting Qur’an Recitation through Movement”, engages most closely with understanding the importance of recitation, as I dance to a recording of the Qur’an. This allows me, the listener, to have my own interpretive experience as I listen to the recitation, which, in turn, is another individual’s interpretation of the text.

The final theme of continuity that I wish to put forth as a lense through which to analyze these blog posts is the perceived relationship between God and his followers. God has always been seen as a source of illumination and it is believed that he passed this illumination to each of his prophets, in turn, concluding with Muhammad. In his work, “Seven Doors”, Renard describes this relationship between God, mortal prophets, and followers, saying, “God has established, moreover, a history of revelatory communication embodied in a succession of prophets, beginning with Adam. Through that unbroken chain of spokespersons, God has continued his self-revelation through another sign, namely, that of the verses of the scriptures given to the principal prophetic intermediaries,” (Renard 2). This idea of illumination and guidance through scripture is one that has gone unchanged throughout history, as the breakdown of this belief would likely bring the integrity of the religion itself into question. More specifically, this relationship between God and prophets, which I discuss more in my entry, “Prophetic Light”,  is one that has also held throughout time.

The relationship between God and man is shown to have a much more intimate aspect than is simply dictated through scripture and prophetic intermediaries, however. It is a widely-held and longstanding belief that God is present in all living beings and even maintains an exceptionally strong presence in nature. It is thought that revelation can be reached through both introspection, where one looks within himself to find God, as well as by observing nature and looking for ayat, or signs, of God within it. Renard elaborates on this idea when he says, “Muslims believe that God has, since the beginning of time, actively communicated with and through all of creation in a variety of ways. Foremost, God communicates in the very act of creating, by suffusing the universe with divine signs. More intimately, God communes with each animated being by infusing those same signs into every individual,” (Renard 2). These conceptions regarding the relationship between man and God are applicable to each work that the blog posts discuss. When reading the analyses, it is important to ask how this relationship manifests itself in the work and if there are any questions raised regarding the nature of that bond. If the work does raise such questions, consider how the post discusses or responds to those questions.

While considerable continuity can be seen throughout the religion, I would be remiss if I did not also highlight the ways in which the religion has diverged since its creation. In Islam, the two primary sources of guidance are the first and foremost, the Qur’an, followed by the examples set by the Prophet Muhammad. However, these two sources are not exhaustive, leaving considerable room for interpretation, which is necessary whenever one must determine how the principles of Islam fit into daily life and society as a whole. Furthermore, these interpretations are undoubtedly shaped by the world in which each group or individual finds himself. Thus, Asani suggests the cultural studies approach as a way to both analyze and appreciate the multitude of interpretations of the religion. Asani writes, “If we change our analytical lens from the poetic to the sociopolitical, we can consider the interplay between historical contexts and ideologies, such as colonialism and nationalism, in shaping contemporary expressions of Islam,” (Asani 16). By taking these historical and cultural factors into account when considering a given interpretation of the religion, a more meaningful appreciation and understanding can be gained than if one instead sets out to determine one “true Islam”. This increased appreciation is also discussed by Asani, when he emphasizes that, “In the course of historical evolution, such a dazzling variety of interpretations, rituals, and practices have come to be associated with the faith of Islam,” (Asani 12). Thus, an individual is only enriched by considering this more complex view of the faith that has developed through history.

In sum, this blog is meant to illustrate both the dynamic and enduring aspects of Islam. By doing so, it is possible to gain insight into the traditions and beliefs that lie at the core of the faith. Among these, I encourage readers to consider the intimate relationship between God and his followers, the importance of oral tradition and recitation, as well as the emphasis placed on individual interpretation throughout history. I hope the entries of this blog help to entertain these ideas and questions. Thanks for visiting!

Works Cited

Asani, Ali S. Infidel of Love: Exploring Muslim Understandings of Islam. Introduction-Chapter

3. 2015.

Nelson, Kristina. Popular Expression of Religion: The Sound of the Divine in Daily Life.

Accessed Online.

Renard, John. 7 Doors. November 11, 2014. Accessed Online.

Standing (sort of sad-looking =/)sandcastles, representing the height of the Mughal Empire

Knocked-down sandcastles, symbolizing the fall of the empire

This post draws upon themes in  Iqbal’s “Complaint” and “Answer”. The first image depicts a sandcastle, which is representative of the Mughal Empire during its glory age. As Professor Asani discussed, grand architecture was characteristic of all three of the gunpowder empires, the Mughal, Ottoman and Safavid. Furthermore, each of these three empires used architecture as a method of differentiating themselves from other major powers. Thus, I chose to represent the themes of the work through architecture because it is such a pivotal symbol of the empire’s power. The sandcastle is destroyed in the second picture to represent the decay of Islamic empire and Islamic hegemony in the region, as well as to insinuate the coming of colonial rule. This is the historical backdrop of Iqbal’s work, as described in the A.J. Arberry introduction. Arberry writes, “The subject was, of course, no new one; ever since the decline and final extinction of the Moghul Empire, Muslims in India had been searching their minds and their consciences for the explanation of so lamentable a disaster,” (Arberry VI-VII). It is this quandary that Iqbal entertains, first writing “Complaint”, where he adopts the voice of the people, who are asking God why they are in such a state, and then writing in God’s voice, to offer an explanation in “Answer”.

The message of “Complaint” is that the Muslims of India feel unjustly targeted by this tide of misfortune. They hold that they are ardent followers of the faith and feel that God has failed them. They place heavy emphasis on the fact that they have spent their lives fighting in the name of God, saying, “All our lives we dedicated to the dire distress of war; When we died, we died exultant for the glory of Thy Name,” (Iqbal 9). They are so resolute in their belief that they have acted as model devotees, that their frustration at the downfall of Islamic dominance and the encroachment of colonial forces has manifested itself as anger with God. The “Answer” refutes the idea that Indian Muslims are as devout as they claim, with Iqbal using God’s voice to say that the population has been neglecting their religious duties such as prayer and giving alms to the poor. Instead, they have been relying on the piety of their ancestors up until now to maintain their power and comfort. Iqbal’s view of the peoples’ neglect of their religion is seen when he writes, “In your hearts, there is no ardour, in your spirits feelings none. As regards to the Prophet’s message, why, with that you’ve long since done. Now, if any stand to worship in the mosques, it is the poor,” (Iqbal 50-51). In his view, it is this abandonment of the proper practice of the religion that is causing this decline of empire. Although “Complaint” and “Answer” articulate contending views as to why the empire is collapsing, both center around this downfall, which is depicted in my art project through the collapse of the sandcastle.

This wine bottle is decorated using symbols characteristic of the classic Persian ghazal. Symbolism plays a key role in this type of poetry, as it helps to convey the main themes of the work and also maintains a degree of ambiguity that is characteristic of the style. This ambiguity allows for multiple interpretations of the symbol, and of the work as a whole. Elizabeth Gray discusses many of these key symbols in her work, “The Green Sea of Heaven.”

I chose to decorate a wine bottle because wine is an especially prevalent symbol throughout the genre of ghazal poetry. Wine and alcohol, although taboo according to Islam, are viewed in a positive light in this type of poetry. Alcohol can be used to symbolically refer to both earthly and divine love, and also as a source of mystical wisdom. The use of this symbol allows love and wisdom to be viewed as intoxicating, where the drunkards are considered heroes. Gray writes on this matter, “It follows from this that the entire universe becomes a tavern fragrant with the wine of merciful Being; and all creatures, all the “drunken ones” of the tavern of the Magi, are like so many cups, and each of them receives, according to the capacity which is his lot, a drop of that delicious drink; and the drunkenness from that drink lasts until the resurrection,” (Gray 25). This shows that this intoxicating substance is life-sustaining and lasts until the individual’s death, much as one may expect a deep love to perpetuate.

Gray also discusses the prevalence of both the rose and the nightingale, saying that both became popular themes in the Persian courts around the same time (Gray 6). Both are present in one line of a Hafiz poem that Gray analyzes, when the former writes, “At dawn the nightingale spoke to the newly-risen rose:” (Hafiz 19). In this context, I interpret the nightingale to fill the role of the lover and the rose symbolizes the beloved. This lover-beloved relationship is a key element to many ghazals and is frequently used to describe the relationship between God and his believers. Many symbols are used to represent this relationship, including a moth and flame, which can also be seen on the bottle. Gray writes, “The Lover seeks union with the Beloved, to give up his soul to the Beloved, to become lost or annihilated in the Beloved as the moth is consumed by the flame to which it is attracted,” (Gray 9) in explanation of this symbolism. Professor Asani also discussed the presence of a third party that competes for the beloved’s affection in some poems, creating a sort of love triangle. This is represented on the bottle by the golden triangles. Together, these symbols aim to give the viewer an idea of how different symbols found in the Urdu ghazal interact and inform the reader on the relationship between God and the Muslim community.

In this post, I discuss the way in which the flock of birds in Attar’s “Conference of the Birds” are illuminated by their journey. The birds are originally plagued by discontent and discord, and are in need of a leader who can resolve these issues. The hoopoe, who is the wisest of all the birds, suggests that they embark on a journey to find the Simorgh, an omniscient power who can enlighten and guide them. The hoopoe says, “Listen to me: I know of a King who has all the answers. We must go and find him.” The King that he refers to is the Simorgh and his lofty expectations are demonstrated by the idea that the Simorgh has all the answers. This perception changes, however, once a group of thirty birds finally reaches the mountain upon which the Simorgh dwells. Attar writes,

“And silently their shining Lord replies:

‘I am a mirror set before your eyes,

And all who come before my splendor see

Themselves, their own unique reality;

You came as thirty birds and therefore saw

These selfsame thirty birds, not less nor more;”.

This quotation is telling because it completely reconstructs the conception that the Simorgh will be the leader and the birds will simply be his followers. Rather, the King says that he is merely a reflection of the birds. Each of the birds has the power and illumination within himself to lead. This relationship between the Simorgh and the birds is symbolic of the relationship between God and his followers. Attar is expressing his belief that God is within all Muslims and in order to follow His word, they must become introspective and look within themselves.

This scene and revelation is what I decided to enter this project around. I made thirty origami birds to represent the thirty birds that successfully make the journey to the Simorgh. They are situated on a grassy garden, as one might expect to find in a heavenly place where the King would dwell. Furthermore, they are clustered around a mirror, which is representative of the Simorgh, as he shows the birds their reflections. The origami birds are seeing themselves in the reflection, as the birds in the story see themselves in the Simorgh, thus depicting the relationship between God and his  Muslim followers.