Draft: this lesson was written with AI help and has not yet been read by a human editor.
1 What your class asks
This lesson asks you to explain why a tradition prohibits particular cultural forms, to analyse how a tradition appears in a work of art or a building, and to explain why some forms hold special significance. The museum serves the Islamic part: the jurists' views on images, the art of calligraphy and the first mosque of Medina. It does not cover music, dance, dress or food; your class brings those and the other traditions. 1
Curriculum expectations, with their official codes
- F1.2 explain why different religions and belief systems prohibit particular cultural forms or activities […]
- F1.3 analyse the ways in which various religions and belief traditions are reflected in specific works of art, architecture, music, literature, and dance; in styles of dress; and in cuisines […]
- F1.4 explain why certain cultural forms have special significance within particular religions and belief traditions […]
2 Before you start
A thought to carry into the lesson.
3 The lesson
What does a tradition forbid, and what does it make?
A tradition may forbid one form and make another. Read the records and note, for each, the reasons the record gives and who gives them. Where the record reports different views, keep them apart and attribute each one.
Go deeper
Read one episode from the history of the Prophet ﷺ's mosque as the Encyclopaedia of Islam tells it in the museum's record. The article says that Umar, when he enlarged the mosque, is reported to have told the builders to shelter people from rain but not to colour it red or yellow 2. It says al-Walid rebuilt the Prophet's mosque, which was beautified by Christian architects with marble, mosaics, shells and gold, and that when he inspected the work in 93/712 an old man is reported to have remarked that people used to build in the manner of mosques and now built in the manner of churches 2. The article connects such disputes with hadith: it adds that the conservative view predominates in hadith, which treats lavish adornment of mosques as a sign of the end of the world, and that al-Walid's works were tolerated only from fear of discord, and the record presents this as the article's reading of the reports 2. Of the first building, the article says the material was sun-dried brick and the plan a courtyard enclosed by a brick wall on a stone foundation 3.
Two views
The record of images reports from the Kuwaiti Encyclopaedia of Fiqh that jurists differ on images of living beings 4. The first view holds that it is not forbidden unless one makes an idol worshipped besides God 4 5. The Malikis, some early scholars and Ibn Hamdan forbid only images that have a shadow, that is three-dimensional, and are complete in their limbs; a flat image is disliked, not forbidden 5. The majority of the Hanafis, Shafi'is and Hanbalis forbid making flat images as they forbid three-dimensional ones, relying on the general hadiths cursing image-makers 6. Among the reasons the encyclopaedia gives are that images lead to excess and worship, as the Arabs made idols, and rivalry with God's creation, which some find too narrow since it would allow images of the sun, mountains and trees 7 8. The record gives no verdict.
How do we know?
The record of images rests on one source, the Kuwaiti Encyclopaedia of Fiqh, a work of jurists that reports the schools' views and their proofs. The record of the mosque rests on the Encyclopaedia of Islam, whose two sections, by different authors, disagree on the number of entrances and on the side where the wives' huts stood 9 10. One says the courtyard served common worship from the first 3; the other finds no evidence that it was the regular place of worship in the earliest years 10. Al-Samhudi reports its area in different ways 11. On calligraphy the Encyclopaedia of Islam calls Arabic palaeography a young discipline with no complete manual, and says the dating of ornamental kufic Qur'ans remains fragile 12 13 14.
Think about it
The Kuwaiti encyclopaedia reports that jurists differ on images of living beings, some forbidding only an idol worshipped besides God and others forbidding flat images too 4 6. Which of the reasons it gives, rivalry with God's creation or that images lead to excess and worship, better explains how such different limits could be drawn from one prohibition, and what is the strongest objection to your choice?
Into the museum
- Images of living beings: the jurists' views by school and the reasons they give, as the Kuwaiti encyclopaedia reports them.
- Islamic calligraphy: what the Encyclopaedia of Islam says of kufic and the rounded scripts, and of the limits of what is known of its history.
- The Prophet's mosque: the accounts of its building in al-Samhudi and the Encyclopaedia of Islam, and where they differ.
Try this
Read Tasweer, Islamic calligraphy and the Prophet's Mosque. Make a chart with three rows and two columns: what the source says, and the reason or purpose it gives.
4 Carry it further
Where this lesson leads in the museum.
5 Check yourself
Nothing here is marked or sent anywhere. It is for you.
In your own words: what does Tasweer (making and keeping images, and the view on living beings) have to do with this lesson?
Compare with the card
Images of living beings. The Kuwaiti encyclopaedia of jurisprudence says depicting man-made things is lawful by agreement, and plants lawful for the majority; the prohibition concerns images of humans and animals, on which it reports three views among jurists. One permits them unless an idol is made for worship; the Malikis forbid only three-dimensional images complete in their limbs. Among the reasons it gives, images lead to excess and worship, as the Arabs made idols. How would you explain a prohibition and its limits?
In your own words: what does Islamic calligraphy have to do with this lesson?
Compare with the card
The art of beautiful script. Wikidata describes Islamic calligraphy as the art of writing and shaping the Arabic letter beautifully, and ties it to the writing of the Qur'an. Its scripts include Kufic, Naskh, Thuluth and Diwani. How might an art of writing be tied to the writing of a scripture?
I can now
Notes
- 1. Ontario Ministry of Education, The Ontario Curriculum: Social Sciences and Humanities
- 2. Encyclopaedia of Islam, 2nd edition (Leiden: Brill, 1954–2008), 13 volumes, vol. 6 p. 688
- 3. Encyclopaedia of Islam, 2nd edition (Leiden: Brill, 1954–2008), 13 volumes, vol. 6 p. 673
- 4. al-Mawsu'a al-Fiqhiyya al-Kuwaitiyya, Noor-Book copy (file named v3), p.5264
- 5. al-Mawsu'a al-Fiqhiyya al-Kuwaitiyya, Noor-Book copy (file named v3), p.5265
- 6. al-Mawsu'a al-Fiqhiyya al-Kuwaitiyya, Noor-Book copy (file named v3), p.5274
- 7. al-Mawsu'a al-Fiqhiyya al-Kuwaitiyya, Noor-Book copy (file named v3), p.5269
- 8. al-Mawsu'a al-Fiqhiyya al-Kuwaitiyya, Noor-Book copy (file named v3), p.5270
- 9. Encyclopaedia of Islam, 2nd edition (Leiden: Brill, 1954–2008), 13 volumes, vol. 6 p. 705
- 10. Encyclopaedia of Islam, 2nd edition (Leiden: Brill, 1954–2008), 13 volumes, vol. 6 p. 706
- 11. Wafa al-Wafa bi-akhbar dar al-Mustafa — al-Samhudi (older print), p. 334-349
- 12. Encyclopaedia of Islam, 2nd edition (Leiden: Brill, 1954–2008), 13 volumes, vol. 4 p. 1160
- 13. Encyclopaedia of Islam, 2nd edition (Leiden: Brill, 1954–2008), 13 volumes, vol. 4 p. 1161
- 14. Encyclopaedia of Islam, 2nd edition (Leiden: Brill, 1954–2008), 13 volumes, vol. 4 p. 1162