No equation is available that can provide for a Creator for this universe. This gap is a power place for the hypotheses called Evolution. This would be the first time that this gap is addressed. Al-Fatiha, Chapter 1 in the Quran provides an equation filling this gap once and for all. In its own right, al-Fatiha veils huge programming and symmetry works within. The universe and all its inhabitants living or inert are expressed in symmetric effulgence while they all live and thrive in hidden programming legacy assigned in every unseen fabric of nature. Al-Fatiha is created exactly in the same single line. Chapter 1 in the Quran guides us to see a nexus between the programming and symmetry in the creation and the programming and symmetry in al-Fatiha as a bridge to reach the truth that both have a common source of origin. Al-Fatiha edifies humans to search for a huge Mathematical Creator out there and inhume the fabrications of evolution for good as a universe that is programmed from a-z, in that, the so-called undirected random evolution is a randomly gross notion of random individuals and is unable to compete with the constraints of mathematics and survive as the fittest.

No equation is available that can provide for a Creator for this universe. This gap is a power place for the hypotheses called Evolution. This would be the first time that this gap is addressed. Al-Fatiha, Chapter 1 in the Quran provides an equation filling this gap once and for all. In its own right, al-Fatiha veils huge programming and symmetry works within. The universe and all its inhabitants living or inert are expressed in symmetric effulgence while they all live and thrive in hidden programming legacy assigned in every unseen fabric of nature. Al-Fatiha is created exactly in the same single line. Chapter 1 in the Quran guides us to see a nexus between the programming and symmetry in the creation and the programming and symmetry in al-Fatiha as a bridge to reach the truth that both have a common source of origin. Al-Fatiha edifies humans to search for a huge Mathematical Creator out there and inhume the fabrications of evolution for good as a universe that is programmed from a-z, in that, the so-called undirected random evolution is a randomly gross notion of random individuals and is unable to compete with the constraints of mathematics and survive as the fittest.

This fascinating interdisciplinary study reveals connections between architecture, cosmology, and mysticism. Samer Akkach demonstrates how space ordering in premodern Islamic architecture reflects the transcendental and the sublime. The book features many new translations, a number from unpublished sources, and several illustrations. Referencing a wide range of mystical texts, and with a special focus on the works of the great Sufi master Ibn Arabi, Akkach introduces a notion of spatial sensibility that is shaped by religious conceptions of time and space. Religious beliefs about the cosmos, geography, the human body, and constructed forms are all underpinned by a consistent spatial sensibility anchored in medieval geocentrism. Within this geometrically defined and ordered universe, nothing stands in isolation or ambiguity; everything is interrelated and carefully positioned in an intricate hierarchy. Through detailed mapping of this intricate order, the book shows the significance of this mode of seeing the world for those who lived in the premodern Islamic era and how cosmological ideas became manifest in the buildings and spaces of their everyday lives. This is a highly original work that provides important insights on Islamic aesthetics and culture, on the history of architecture, and on the relationship of art and religion, creativity and spirituality.

Islamic Thought is a fresh and contemporary introduction to the philosophies and doctrines of Islam. Abdullah Saeed, a distinguished Muslim scholar, traces the development of religious knowledge in Islam, from the pre-modern to the modern period. The book focuses on Muslim thought, as well as the development, production and transmission of religious knowledge, and the trends, schools and movements that have contributed to the production of this knowledge. Key topics in Islamic culture are explored, including the development of the Islamic intellectual tradition, the two foundation texts, the Qur’an and Hadith, legal thought, theological thought, mystical thought, Islamic Art, philosophical thought, political thought, and renewal, reform and rethinking today. Through this rich and varied discussion, Saeed presents a fascinating depiction of how Islam was lived in the past and how its adherents practise it in the present. Islamic Thought is essential reading for students beginning the study of Islam but will also interest anyone seeking to learn more about one of the world’s great religions.

For anyone, non-Muslim or Muslim, who wants to know how to approach, read, and understand the text of the Qur'an, How to Read the Qur'an offers a compact introduction and reader's guide. Using a chronological reading of the text according to the conclusions of modern scholarship, Carl W. Ernst offers a nontheological approach that treats the Qur'an as a historical text that unfolded over time, in dialogue with its audience, during the career of the Prophet Muhammad.

In Narratives of Kingship in Eurasian Empires, 1300-1800 Richard van Leeuwen analyses representations and constructions of the idea of kingship in fictional texts of various genres, especially belonging to the intermediate layer between popular and official literature. The analysis shows how ideologies of power are embedded in the literary and cultural imagination of societies, their cultural values and conceptualizations of authority. By referring to examples from various empires (Chinese, Indian, Persian, Arabic, Turkish, European) the parallels between literary traditions are laid bare, revealing remarkable common concerns. The process of interaction and transmission are highlighted to illustrate how literature served as a repository for ideological and cultural values transforming power into authority in various imperial environments.

Sufism is a religion which emphasizes direct knowledge of the divine within each person, and meditation, music, song, and dance are seen as crucial spiritual strides toward attaining unity with God. Sufi paths of mysticism and devotion, motivated by Islamic ideals, are still chosen by men and women in countries from Morocco to China, and there are nearly one hundred orders around the world, eighty of which are present and thriving in the United States. The Chishti Sufi order has been the most widespread and popular of all Sufi traditions since the twelfth-century. Sufi Martyrs of Love offers a critical perspective on Western attitudes towards Islam and Sufism, clarifying its contemporary importance, both in the West and in traditional Sufi homelands. Finally, it provides access to the voices of Sufi authorities, through the translation of texts being offered in English for the first time.

This book takes the reader into the heart of the mystery of the 99 sacred Names of Allah. It is a vehicle for understanding the infinite nature of God, and for discovering the divine potential in every soul. It is also a guidebook for progressing through the stages of the spiritual path and an instruction manual for teachers on how to work with students more wisely, as physicians of the heart. In the process of this voyage to discovery, the reader is systematically exposed to the universal mysticism encoded in the Qur'an and in the classical Sufi traditions, as well as to a modern psychological approach that works with the 99 Names to achieve individuation and wholeness.

Katya Mandoki advances in this book the thesis that it is not only possible but crucial to open up the field of aesthetics (traditionally confined to the study of art and beauty) toward the richness and complexity of everyday life. She argues that in every process of communication, whether face to face or through the media, fashion, and political propaganda, there is always an excess beyond the informative and functional value of a message. This excess is the aesthetic. Following Huizinga's view of play as an ingredient of any social environment, Mandoki explores how various cultural practices are in fact forms of playing since, for the author, aesthetics and play are Siamese twins. One of the unique contributions of this book is the elaboration and application of a semiotic model for the simultaneous analysis of social interactions in the four registers, namely visual, auditory, verbal and body language, to detect the aesthetic strategies deployed in specific situations. She argues that since the presentation of the self is targeted towards participants' sensibilities, aesthetics plays a key role in these modes of exchange. Consequently, the author updates important debates in this field to clear the way for a socio-aesthetic inquiry through contexts such as the family, school, medical, artistic or religious traditions from which social identities emerge.