Media coverage of the Danish cartoon crisis and the destruction
of the Buddhas of Bamiyan left Westerners with a strong impression
that Islam does not countenance depiction of religious imagery.
Jamal J. Elias corrects this view by revealing the complexity of
Islamic attitudes toward representational religious art. "Aisha s
Cushion" emphasizes Islam s perceptual and intellectual modes and
in so doing offers the reader both insight into Islamic visual
culture and a unique way of seeing the world.
"Aisha s Cushion" evaluates the controversies surrounding
blasphemy and iconoclasm by exploring Islamic societies at the time
of Muhammad and the birth of Islam; during early contact between
Arab Muslims and Byzantine Christians; in medieval Anatolia and
India; and in modern times. Elias s inquiry then goes further, to
situate Islamic religious art in a global context. His comparisons
with Christian, Jewish, Buddhist, and Hindu attitudes toward
religious art show them to be as contradictory as those of Islam.
Contemporary theories about art s place in society inform Elias s
investigation of how religious objects have been understood across
time and in different cultures.
Elias contends that Islamic perspectives on representation and
perception should be sought not only in theological writings or
aesthetic treatises but in a range of Islamic works in areas as
diverse as optics, alchemy, dreaming, calligraphy, literature,
vehicle and home decoration, and Sufi metaphysics. Unearthing
shades of meaning in Islamic thought throughout history, Elias
offers fresh insight into the relations among religion, art, and
perception across a broad range of cultures."
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