'Beauty and Islam' explores aspects of aesthetics in classical Islamic thought in the light of contemporary theories, offering new perspectives on Islamic art and architecture with examples ranging from the Qur'an and the Alhambra to the works of present day artists and philosophers. Tracing the roots of Islamic aesthetics back to the works of the great philosophers of the Middle Ages such as Avicenna and Averroes, Valerie Gonzalez finds that aesthetic theory in Islam must be seen within the much wider context of parallel thinking on theology, ethics, physics and metaphysics.

Abou El Fadl (Islamic law, UCLA School of Law) wrote the 62 brief essays here over the course of five years. Through a combination of musings and critical reflections on classical Muslim authors, he both traces Muslim intellectual history and also confronts questions of ethics, faith, law, politics, culture, and modern identity. He ranges over many facets of Islam in the contemporary world, exploring censorship, political oppression, terrorism, the veil and the treatment of women, marriage, parental rights, the dynamics between law and morality, the character of the prophet Muhammad, and other topics. About half the essays first appeared in The minaret magazine. c. Book News Inc.

According to Muhammad, "God is beautiful and He loves beauty." Yet, Islam is rarely associated with beauty, and today, a politicized Islam dominates many perceptions. This work tells a forgotten story of beauty in Islam through the writings of celebrated but little-studied Sufi scholar and saint Rūzbihān Baqlī (1128–1209). Rūzbihān argued that the pursuit of beauty in the world and in oneself was the goal of Muslim life. One should become beautiful in imitation of God and reclaim the innate human nature created in God's beautiful image. Rūzbihān's theory of beauty is little known, largely because of his convoluted style and eccentric terminology in both Persian and Arabic. In this book, Kazuyo Murata revives Rūzbihān's ideas for modern readers. She provides an overview of Muslim discourse on beauty before Rūzbihān's time; an analysis of key terms related to beauty in the Qur'ān, Ḥadīth, and in Rūzbihān's writings; a reconstruction of Rūzbihān's understanding of divine, cosmic, and human beauty; and a discussion of what he regards as the pinnacle of beauty in creation, the prophets, especially Adam, Abraham, Joseph, Moses, and Muhammad.

Khaled Abou El Fadl is a classically-trained Islamic jurist, an American lawyer and law professor, and one of the most important Islamic thinkers today. In this updated and expanded edition of The Search for Beauty in Islam, Abou El Fadl offers eye-opening and enlightening insights into the contemporary realities of the current state of Islam and the West. Through a "conference of the books," an imagined conference of Muslim intellects from centuries past, Abou El Fadl examines the ugliness that has come to plague Muslim realities and attempts to reclaim what he maintains is a core moral value in Islam-the value of beauty. Does Islamic law allow, or even call for, the gruesome acts of ugliness that have become so commonly associated with Islam today? Has Islam become a religion devoid of beauty, compassion and love? Based on actual cases, this book tackles different issues and problems in each chapter through a post-9/11 lens, discussing such topics as marriage, divorce, parental rights, the position of women, the veil, sexual abuse, wife-beating, terrorism, bigotry, morality, law, and the role of tradition. Abou El Fadl argues that the rekindling of the forgotten value of beauty is essential for Muslims today to take back what has been lost to the fundamentalist forces that have denigrated their religion.

Summarizing the core beliefs of the Muslim faith, this eye-opening guide counters widely held Western views of Islam as a fierce and fanatical religion by using classical texts to illustrate the truth about three key Islamic principles. Explaining that submission, faith, and beautification complement and complete each other, the study reveals that embodying all three attributes simultaneously is what Muslims strive to achieve in order to meet the Qur'an's definition of fitrah, or true nature. This drastic contrast to many issues and concerns about Muslims--especially the stereotypical attitudes that have arisen since 9/11--is fully explored in the account's quest to foster mutual understanding between cultures. Using a famous encounter between the prophet Muhammad and the angel Gabriel as its outline, this analysis presents a fully holistic view of a world religion that has thrived for more than 1,000 years.

Al-Ghazālī and the Idea of Moral Beauty rethinks the relationship between the good and the beautiful by considering the work of eleventh-century Muslim theologian Abū Ḥāmid al-Ghazālī (d. 1111). A giant of Islamic intellectual history, al-Ghazālī is celebrated for his achievements in a wide range of disciplines. One of his greatest intellectual contributions lies in the sphere of ethics, where he presided over an ambitious attempt to integrate philosophical and scriptural ideas into a seamless ethical vision. The connection between ethics and aesthetics turns out to be a signature feature of this account. Virtue is one of the forms of beauty, and human beings are naturally disposed to respond to it with love. The universal human response to beauty in turn provides the central paradigm for thinking about the love commanded by God. While al-Ghazālī’s account of divine love has received ample attention, his special way of drawing the good into relation with the beautiful has oddly escaped remark. In this book Sophia Vasalou addresses this gap by offering a philosophical and contextual study of this aspect of al-Ghazālī’s ethics and of the conception of moral beauty that emerges from it. This book will be of interest to scholars and students in Islamic ethics, Islamic intellectual history, and the history of ethics.

Divine oneness as the principle of beauty is perhaps quintessentially Islamic artistic expression and experience and what it celebrates. Why has Islamic art evolved as it has, what forms does it take, what is the logic underlying it? What message is the Muslim artist attempting to convey, what emotion is he seeking to evoke? This work views Islamic art as a subject of archeological study and treats its evolution as part of the historical study of art in the broader sense. At the same time, it paves the way for an epistemological shift from viewing Islamic art as a material concept having to do with beautiful rarities and relics that have grown out of Islamic cultural and artistic creativity, to a theoretical concept associated with a vision, a principle, a theory and a method. This theo-retical concept provides the intellectual and cultural foundation for a critical philosophical science of Islamic artistic beauty to which we might refer as ‘the science of Islamic art,’ or ‘the Islamic aesthetic’ that evaluates visual artistic creations in terms of both beauty and practical usefulness. In the process the study also explores orientalist misconceptions, challenging some of the premises with which it has approached Islamic art, with judgement rooted in a cultural framework alien to the spiritual perspective of Islam.