This pioneering work traces the emergence of the modern and contemporary art of Muslim South Asia in relation to transnational modernism and in light of the region's intellectual, cultural, and political developments. Art historian Iftikhar Dadi here explores the art and writings of major artists, men and women, ranging from the late colonial period to the era of independence and beyond. He looks at the stunningly diverse artistic production of key artists associated with Pakistan, including Abdur Rahman Chughtai, Zainul Abedin, Shakir Ali, Zubeida Agha, Sadequain, Rasheed Araeen, and Naiza Khan. Dadi shows how, beginning in the 1920s, these artists addressed the challenges of modernity by translating historical and contemporary intellectual conceptions into their work, reworking traditional approaches to the classical Islamic arts, and engaging the modernist approach towards subjective individuality in artistic expression. In the process, they dramatically reconfigured the visual arts of the region. By the 1930s, these artists had embarked on a sustained engagement with international modernism in a context of dizzying social and political change that included decolonization, the rise of mass media, and developments following the national independence of India and Pakistan in 1947. Bringing new insights to such concepts as nationalism, modernism, cosmopolitanism, and tradition, Dadi underscores the powerful impact of transnationalism during this period and highlights the artists' growing embrace of modernist and contemporary artistic practice in order to address the challenges of the present era.

"As Professor Fazlur Rahman shows in the latest of a series of important contributions to Islamic intellectual history, the characteristic problems of the Muslim modernists—the adaptation to the needs of the contemporary situation of a holy book which draws its specific examples from the conditions of the seventh century and earlier—are by no means new. . . . In Professor Rahman's view the intellectual and therefore the social development of Islam has been impeded and distorted by two interrelated errors. The first was committed by those who, in reading the Koran, failed to recognize the differences between general principles and specific responses to 'concrete and particular historical situations.' . . . This very rigidity gave rise to the second major error, that of the secularists. By teaching and interpreting the Koran in such a way as to admit of no change or development, the dogmatists had created a situation in which Muslim societies, faced with the imperative need to educate their people for life in the modern world, were forced to make a painful and self-defeating choice—either to abandon Koranic Islam, or to turn their backs on the modern world."—Bernard Lewis, New York Review of Books "In this work, Professor Fazlur Rahman presents a positively ambitious blueprint for the transformation of the intellectual tradition of Islam: theology, ethics, philosophy and jurisprudence. Over the voices advocating a return to Islam or the reestablishment of the Sharia, the guide for action, he astutely and soberly asks: What and which Islam? More importantly, how does one get to 'normative' Islam? The author counsels, and passionately demonstrates, that for Islam to be actually what Muslims claim it to be—comprehensive in scope and efficacious for every age and place—Muslim scholars and educationists must reevaluate their methodology and hermeneutics. In spelling out the necessary and sound methodology, he is at once courageous, serious and profound."—Wadi Z. Haddad, American-Arab Affairs

The Islamic world's artistic traditions experienced profound transformation in the 19th century as rapidly developing technologies and globalizing markets ushered in drastic changes in technique, style, and content. Despite the importance and ingenuity of these developments, the 19th century remains a gap in the history of Islamic art. To fill this opening in art historical scholarship, Making Modernity in the Islamic Mediterranean charts transformations in image-making, architecture, and craft production in the Islamic world from Fez to Istanbul. Contributors focus on the shifting methods of production, reproduction, circulation, and exchange artists faced as they worked in fields such as photography, weaving, design, metalwork, ceramics, and even transportation. Covering a range of media and a wide geographical spread, Making Modernity in the Islamic Mediterranean reveals how 19th-century artists in the Middle East and North Africa reckoned with new tools, materials, and tastes from local perspectives.

Recent events have focused attention on the perceived differences and tensions between the Muslim world and the modern West. As a major strand of Western public discourse has it, Islam appears resistant to internal development and remains inherently pre-modern. However Muslim societies have experienced most of the same structural changes that have impacted upon all societies: massive urbanisation, mass education, dramatically increased communication, the emergence of new types of institutions and associations, some measure of political mobilisation, and major transformations of the economy. These developments are accompanied by a wide range of social movements and by complex and varied religious and ideological debates. This textbook is a pioneering study providing an introduction to and overview of the debates and questions that have emerged regarding Islam and modernity. Key issues are selected to give readers an understanding of the complexity of the phenomenon from a variety of disciplinary perspectives. The various manifestations of modernity in Muslim life discussed include social change and the transformation of political and religious institutions, gender politics, changing legal regimes, devotional practices and forms of religious association, shifts in religious authority, and modern developments in Muslim religious thought.

This book aims to bring Muslim theology into the present day. Rather than a purely academic pursuit, Modern Muslim Theology argues that theology is a creative process and discusses how the Islamic tradition can help contemporary practitioners negotiate their relationships with God, with one another, and with the rest of creation.

In this groundbreaking study, SherAli Tareen presents the most comprehensive and theoretically engaged work to date on what is arguably the most long-running, complex, and contentious dispute in modern Islam: the Barelvī-Deobandī polemic. The Barelvī and Deobandī groups are two normative orientations/reform movements with beginnings in colonial South Asia. Almost two hundred years separate the beginnings of this polemic from the present. Its specter, however, continues to haunt the religious sensibilities of postcolonial South Asian Muslims in profound ways, both in the region and in diaspora communities around the world. Defending Muḥammad in Modernity challenges the commonplace tendency to view such moments of intra-Muslim contest through the prism of problematic yet powerful liberal secular binaries like legal/mystical, moderate/extremist, and reformist/traditionalist. Tareen argues that the Barelvī-Deobandī polemic was instead animated by what he calls “competing political theologies” that articulated—during a moment in Indian Muslim history marked by the loss and crisis of political sovereignty—contrasting visions of the normative relationship between divine sovereignty, prophetic charisma, and the practice of everyday life. Based on the close reading of previously unexplored print and manuscript sources in Arabic, Persian, and Urdu spanning the late eighteenth and the entirety of the nineteenth century, this book intervenes in and integrates the often-disparate fields of religious studies, Islamic studies, South Asian studies, critical secularism studies, and political theology.

This comprehensive introduction explores the landscape of contemporary Islam. Written by a distinguished team of scholars, it: provides broad overviews of the developments, events, people and movements that have defined Islam in the three majority-Muslim regions traces the connections between traditional Islamic institutions and concerns, and their modern manifestations and transformations. How are medieval ideas, policies and practices refashioned to address modern circumstances investigates new themes and trends that are shaping the modern Muslim experience such as gender, fundamentalism, the media and secularisation offers case studies of Muslims and Islam in dynamic interaction with different societies. Islam in the Modern World includes illustrations, summaries, discussion points and suggestions for further reading that will aid understanding and revision. Additional resources are provided via a companion website.

With critical reference to Eisenstadt’s theory of "multiple modernities," Muslim Subjectivities in Global Modernity discusses the role of religion in the modern world. The case studies all provide examples illustrating the ambition to understand how Islamic traditions have contributed to the construction of practices and expressions of modern Muslim selfhoods. In doing so, they underpin Eisenstadt’s argument that religious traditions can play a pivotal role in the construction of historically different interpretations of modernity. At the same time, however, they point to a void in Eisenstadt’s approach that does not problematize the multiplicity of forms in which this role of religious traditions plays out historically. Consequently, the authors of the present volume focus on the multiple modernities within Islam, which Eisenstadt’s theory hardly takes into account. Contributors are: Philipp Bruckmayr, Neslihan Kevser Cevik, Dietrich Jung, Jakob Krais, Mex-Jørgensen, Kamaludeen Nasir, Zacharias Pieri, Mark Sedgwick, Kirstine Sinclair, Fabio Vicini, and Ahmed al-Zalaf.

Al-Azmeh traces how political Islam breaks with core elements of the Muslim tradition and, at the same time, roots many of its concepts in European reactionary and romantic thought. Surveying both its social origins end its intellectual genealogy, he rethinks the relationship between Islam end the West, uncovering a rich actual history of interaction. This second edition, enriched by three new essays, wlll challenge the cliches of crusaders and fanatics on both sides and help to dispel the ignorance which breeds such fear and distrust.

Tariq Ramadan attempts to demonstrate, using sources which draw upon Islamic thought and civilization, that Muslims can respond to contemporary challenges of modernity without betraying their identity. The book argues that Muslims, nurished by their own points of reference, can approach the modern epoch by adopting a specific social, political, and economic model that is linked to ethical values, a sense of finalities and spirituality. Rather than a modernism that tends to impose Westernization, it is a modernity that admits to the pluralism of civilizations, religions, and cultures. Table of Contents: Foreword Introduction History of a Concept The Lessons of History Part 1: At the shores of Transcendence: between God and Man Part 2: The Horizons of Islam: Between Man and the Community Part 3: Values and Finalities: The Cultural Dimension of the Civilizational Face to Face Conclusion Appendix Index Tariq Ramadan is a professor of Islamic Studies at the University of Oxford and a visiting professor in Identity and Citizenship at Erasmus University. He was named by TIME Magazine as one of the one hundred innovators of the twenty-first century