In this book, Richard J. A. McGregor offers a history of Islamic practice through the aesthetic reception of medieval religious objects. Elaborate parades in Cairo and Damascus included decorated objects of great value, destined for Mecca and Medina. Among these were the precious dress sewn yearly for the Ka'ba, and large colorful sedans mounted on camels, which mysteriously completed the Hajj without carrying a single passenger. Along with the brisk trade in Islamic relics, these objects and the variety of contested meanings attached to them, constituted material practices of religion that persisted into the colonial era, but were suppressed in the twentieth century. McGregor here recovers the biographies of religious objects, including relics, banners, public texts, and coverings for the Ka'ba. Reconstructing the premodern visual culture of Islamic Egypt and Syria, he follows the shifting meanings attached to objects of devotion, as well as the contingent nature of religious practice and experience.

A new history of Islamic practice told through the aesthetic reception of medieval religious objects.

Islam through Objects represents the state of the field of Islamic material cultural studies. With contributions from scholars of religion, anthropologists, art historians, folklorists, historians, and other disciplines, Anna Bigelow brings together a wide range of perspectives on Islamic materiality to debunk myths of Islamic aversion to material aspects of religion. Each chapter focuses on a single object in daily use by Muslims-prayer beads, coins, amulets, a cistern well, clothing, jewellery, bodily and domestic adornments-to consider both generic and particular aspects of the object in question. These narratives will engage the reader by describing and analyzing each object in terms of its provenance, materials, uses, and history, as well as the broader history, variety and uses of the object in Islamic history and cultures. Temporal, regional, and sectarian variations in the styles, uses, and theological perspectives are also considered. Framed by an introduction that assesses the various approaches to Islamic material culture in recent scholarship, Islam through Objects provides a template for the study of religion and material culture, which engages current theory, subtle and nuanced narratives, and the creative and imaginal capacities of Muslims through history.

This book investigates the central role of reason in Islamic intellectual life. Despite widespread characterization of Islam as a system of belief based only on revelation, John Walbridge argues that rational methods, not fundamentalism, have characterized Islamic law, philosophy and education since the medieval period. His research demonstrates that this medieval Islamic rational tradition was opposed by both modernists and fundamentalists, resulting in a general collapse of traditional Islamic intellectual life and its replacement by more modern but far shallower forms of thought. However, the resources of this Islamic scholarly tradition remain an integral part of the Islamic intellectual tradition and will prove vital to its revival. The future of Islam, Walbridge argues, will be marked by a return to rationalism.

Does Islam make people violent? Does Islam make people peaceful? In this book, A. Kevin Reinhart demonstrates that such questions are misleading, because they assume that Islam is a monolithic essence and that Muslims are made the way they are by this monolith. He argues that Islam, like all religions, is complex and thus best understood through analogy with language: Islam has dialects, a set of features shared with other versions of Islam. It also has cosmopolitan elites who prescribe how Islam ought to be, even though these experts, depending on where they practice the religion, unconsciously reflect their own local dialects. Reinhart defines the distinctive features of Islam and investigates how modernity has created new conditions for the religion. Analyzing the similarities and differences between modern and pre-modern Islam, he clarifies the new and old in the religion as it is lived in the contemporary world.

A common objective of saint veneration in all three Abrahamic religions is the recovery and perpetuation of the collective memory of the saint. Christianity, Judaism, and Islam all yield intriguing similarities and differences in their respective conceptions of sanctity. This edited collection explores the various literary and cultural productions associated with the cult of saints and pious figures, as well as the socio-historical contexts in which sainthood operates, in order to better understand the role of saints in monotheistic religions. Using comparative religious and anthropological approaches, an international panel of contributors guides the reader through three main concerns. They describe and illuminate the ways in which sanctity is often configured. In addition, the diverse cultural manifestations of the cult of the saints are examined and analysed. Finally, the various religious, social, and political functions that saints came to play in numerous societies are compared and contrasted. This ambitious study covers sanctity from the Middle Ages until the contemporary period, and has a geographical scope that includes Europe, Central Asia, North Africa, the Americas, and the Asian Pacific. As such, it will be of use to scholars of the history of religions, religious pluralism, and interreligious dialogue, as well as students of sainthood and hagiography.

Numinous Fields has its roots in a phenomenological understanding of perception. It seeks to understand what, beyond the mere sensory data they provide, landscape, nature, and art, both separately and jointly, may mean when we experience them. It focuses on actual or potential experiences of the numinous, or sacred, that such encounters may give rise to. This volume is multi-disciplinary in scope. It examines perceptions of place, space, nature, and art as well as perceptions of place, space, and nature in art. It includes chapters written by art curators, and historians and scholars in the fields of landscape, architecture, cultural geography, religious studies, philosophy, and art. Its chapters examine ideas, objects, and practices from the ancient time of Aboriginal Australians’ Dreaming through to the present. The volume is also multi-cultural in scope and includes chapters focussed on manifestations of the sacred in indigenous culture, in cultures influenced by each of the world’s major religions, and in the secular, contemporary world. Foreword by Jeff Malpas Contributors: Samer Akkach, James Bennett, Veronica della Dora, Alasdair Forbes, Virginia Hooker, Philip Jones, Russell Kelty, Muchammadun,Tracey Lock, Ellen Philpott-Teo, John Powell, Rebekah Pryor, Wendy Shaw.

This sumptuously illustrated volume examines the impact of Indian art and culture on Rembrandt (1606–1669) in the late 1650s. By pairing Rembrandt’s twenty-two extant drawings of Shah Jahan, Jahangir, Dara Shikoh, and other Mughal courtiers with Mughal paintings of similar compositions, the book critiques the prevailing notion that Rembrandt “brought life” to the static Mughal art. Written by scholars of both Dutch and Indian art, the essays in this volume instead demonstrate how Rembrandt’s contact with Mughal painting inspired him to draw in an entirely new, refined style on Asian paper—an approach that was shaped by the Dutch trade in Asia and prompted by the curiosity of a foreign culture. Seen in this light, Rembrandt’s engagement with India enriches our understanding of collecting in seventeenth-century Amsterdam, the Dutch global economy, and Rembrandt’s artistic self-fashioning. A close examination of the Mughal imperial workshop provides new insights into how Indian paintings came to Europe as well as how Dutch prints were incorporated into Mughal compositions.

Islamic Sensory History, Volume 2: 600–1500 presents a selection of texts translated into English from Arabic and Persian. These selected texts all offer illustrative engagements with issues related to the sensorium in different times, places, and social milieus throughout the early and medieval history of Islamic societies. Each chapter is prefaced by an introductory essay by the translator, with specific attention to the role of the senses in the translated text’s language, genre, and social context. Contributors Eyad Abuali, Tanvir Ahmed, Hanif Amin Beidokhti, Shahzad Bashir, Maroussia Bednarkiewicz, David Bennett, Hinrich Biesterfeldt, Julie Bonnéric, Adam Bursi, Fatih Han, Rotraud Hansberger, Jan Hogendijk, Domenico Ingenito, Anya King, Hannelies Koloska, Christian Lange, Danilo Marino, Richard McGregor, Pernilla Myrne, Nawal Nasrallah, Zhinia Noorian, Austin O’Malley, Franz Rosenthal (†), Everett K. Rowson, Abdelhamid I. Sabra (†), George Sawa, Asghar Seyed-Gohrab, Jocelyn Sharlet, Cornelis van Lit, Geert Jan van Gelder, James Weaver, Ines Weinrich, Brannon Wheeler, Alan Williams, Cyrus Ali Zargar.

This book examines material and multi-sensorial expressions of Shiʿi Islam in diverse, and understudied demographic and geographic contexts.It engages with conceptual debates and makes several propositions that push the frontiers of scholarship on Islamic and Religious Studies, Material Religion, Heritage Studies, and Anthropology and Sociology of Religion.The contributions presented in this volume demonstrate how material things and less thing-like materialities make the praesentia and potentia of the Sacred tangible, how they cultivate intimate relations between human and more-than-human beings, and how they act as links and gateways to the Elsewhere and Otherworldly. The volume posits that materialities of religion are integral to processes of heritagization shaped by competing social and political actors involved in the construction and canonization of religious—in this case, Shiʿi—heritage.