Decision-makers in governments, enterprises, businesses and agencies or individuals, typically, make decisions according to various regulations, guidelines and policies based on existing records stored in various databases, in particular, relational databases. To assist decision-makers, an expert system, encompasses interactive computer-based systems or subsystems to support the decision-making process. Typically, most expert systems are built on top of transaction systems, databases, and data models and restricted in decision-making to the analysis, processing and presenting data and information, and they do not provide (...) support for the normative layer. This paper will provide a solution to one specific problem that arises from this situation, namely the lack of tool/mechanism to demonstrate how an expert system is well-suited for supporting decision-making activities drawn from existing records and relevant legal requirements aligned existing records stored in various databases.We present a Rule-based reporting systems architecture, which is intended to integrate databases, in particular, relational databases, with a logic-based reasoner and rule engine to assist in decision-making or create reports according to legal norms. We argue that the resulting RuleRS provides an efficient and flexible solution to the problem at hand using defeasible inference. To this end, we have also conducted empirical evaluations of RuleRS performance. (shrink)

Arts of Allusion: Object, Ornament, and Architecture in Medieval Islam By GravesMargaret S., xi + 339 pp. Price HB £55.00. EAN 978–0190695910.

This is an era when the Islamic World is making a range of attempts to redefine itself and to grapple with the challenges of modernity. Many schools of thought have emerged which seek to position modern Islam within the context of a rapidly changing contemporary world. Exploring and defining the relationship between religion and knowledge, Ismail Rafi Al-Faruqi, a distinguished 20th century Arab-American scholar of Islam, formulated ideas which have made substantial contributions to the Islam-and-modernity discourse. His (...) review of the interaction between Islam and knowledge examines the philosophy behind this relationship, and the ways in which Islam can relate to our understanding of science, the arts, architecture, technology and other knowledge-based fields of enquiry. This book includes contributions from Seyyed Hossein Nasr, John Esposito, Charles Fletcher and others, and will prove an essential reference point for scholars of Islam and students of philosophy and comparative religion. (shrink)

This is an era when the Islamic World is making a range of attempts to redefine itself and to grapple with the challenges of modernity. Many schools of thought have emerged which seek to position modern Islam within the context of a rapidly changing contemporary world. Exploring and defining the relationship between religion and knowledge, Ismail Rafi Al-Faruqi, a distinguished 20th century Arab-American scholar of Islam, formulated ideas which have made substantial contributions to the Islam-and-modernity discourse. His (...) review of the interaction between Islam and knowledge examines the philosophy behind this relationship, and the ways in which Islam can relate to our understanding of science, the arts, architecture, technology and other knowledge-based fields of enquiry. This book includes contributions from Seyyed Hossein Nasr, John Esposito, Charles Fletcher and others, and will prove an essential reference point for scholars of Islam and students of philosophy and comparative religion. (shrink)

The public visibility of Islam reveals new political stakes in European democracies around issues of immigration and citizenship. By focusing on the societal debates and the controversies around the construction of mosques and minarets, this article explores the ways in which Islamic difference is manifested, perceived and framed in public life. The ‘visibility’ of Islam in public is conceptualized as a form of agency, a manifestation of religious difference that cannot be thought independent of the materiality of culture, (...) namely aesthetic forms, dress codes, or architectural genres. It is argued that the debates for or against the banning of the construction of mosques and/or minarets reveal the tumultuous transition of Muslims from the status of the invisible migrant-worker to that of visible Muslim citizenship. The public visibility is approached therefore as a radically disruptive, transgressive, provocative form of transformative agency that is intrinsically related to the political process of becoming citizens. (shrink)

Throughout history, a believer did not need logical proof to believe in Almighty God. This is because the spiritual proof was always enough to admit the existence of Almighty God and to submit to Him. Finding Almighty God is not a mathematical equation that needs to be proven. Rather, it is a spiritual feeling due to a call from inside a human being. The relationship between Almighty God and humans is spiritual rather logical.However, with the advances in science and technology, (...) this spiritual relationship decreases. Nowadays, modern man is looking for logic and scientific answers to many questions relating to Almighty God and religions. In fact, nonbelievers or atheists are not the only ones looking for answers to these types of questions; believers also want to increase their faith and remove doubts from their hearts. The main objective of this book is to provide logical answers to questions relating to belief in Almighty God, creations and Islam as the last heavenly religion. These questions are grouped under several topics, namely: 1) Almighty God, 2) the creation, 3) the soul, 4) the hereafter, 5) the destiny and freedom in choices, 6) the holy Quran and 7) the Islam.0The main feature of this book is that the author provides logic flowcharts with each presented question relating to the different topics. Each logic flowchart has three phases: a start, a process and an end.0Prof. Dr. Magd Abdel Wahab is a full-time Professor of Applied Mechanics in the Faculty of Engineering and Architecture at Ghent University, Belgium.Beside his interest in engineering, Prof. Wahab has a strong interest in research in Islamic religion. During the last 15 years, he has served as an Associate Imam, and has delivered Friday ceremony speeches and Islamic talks in several mosques in the UK and Belgium. This book, Logic and Islam, summarises his experiences and provides logical answers to questions related to Almighty God, creations and Islam. (shrink)

Mankind is faced with a number of serious problems that demand an effective solution. The prevalence of injustice and the frequency of financial crises are two of the most serious of these problems. Consisting of an in-depth introduction along with a selection of eight of Muhammad Umer Chapra's essays--four on Islamic economics and four on Islamic finance--this timely book raises the question of what can be done to not only minimize the frequency and severity of the financial crises, but also (...) make the financial system more equitable. The author considers the origins of Islamic economics and outlines its development and underlying principles. He compares the approach taken to ethics and economics in Islam with that taken in the West, considering whether lessons can be applied to the global financial architecture in order to mitigate against financial crises. The book also examines the case against interest and looks at both innovation in Islamic finance, as well as challenges facing the industry. Written by a leading authority in the field, this book will be a stimulating resource for students and researchers in Islamic economics and finance, as well as providing valuable insight to all of those with an interest in financial systems and their interaction with society. (shrink)

In this book the author seeks to explain the distinct character of Islamic art as a manifestation of the spiritual realities of the Quranic revelation in the world of forms. The book undertakes to study certain important facets of Islamic art ranging from calligraphy, painting and architecture to music, literature and plastic art, and underlines the sacred and spiritual nature of each. While the author has dealt with Islamic art, as produced in various countries of the Islamic world, his (...) universe of discourse is primarily Persian art. For Nasr, Islamic art is essentially an outcome of the inner dimension of Islam which is inextricably related to Islamic spirituality. This esoteric aspect has all along molded the soul of the Muslim artist by imbuing in them certain transcendental attitudes and virtues derived from the Quran and the prophetic traditions. In support of his esoteric thesis Nasr argues that many of the greatest masterpieces of Islamic art were created much before the sciences of the Quran and the Hadith were fully codified and accepted in the world of Islam as the ultimate authoritative works produced in those fields. If Islamic art leads to the inner chamber of the Islamic tradition it is because this art is a message from the noumenal world sent to those qualified to harken to its liberating message. It also provides a climate of peace and equilibrium for society as a whole in conformity with the nature of Islam. (shrink)

Oleg Grabar has argued that there was not a system of visual symbols in Islamic culture; consequently it is difflcult to hold that an Islamic architecture exists; that is, if we were to stand before a mosque and try to experience it aesthetically or see what kind of building it is we would not be able to say that it is a mosque. In this paper we argue against this proposition. We, first, present a brief analysis of Grabar's view. (...) Second, we critically evaluate this view. Third, we explicate how the mosque as an architectural type embodies uniquely Islamic symbols. We shall illustrate this point by an analysis of one basic Islamic symbol: the Mihrab. The thesis we defend is that there are basic Islamic symbols and that these symbols inhere in the mosque. It is this fact that lends credibility to the claim that an Islamic architecture exists. /// Oleg Grabar defendeu a tese de que não existe um sistema de símbolos visuais na cultura islâmica; consequentemente, é difícil defender a existência de uma arquitectura islâmica; ou seja, se estivéssemos diante de uma mesquita e tentássemos fazer uma experiência estética da mesma ou analisar que tipo de edifício se trata, não seríamos capazes de dizer que se trata de uma mesquita. No presente artigo, os autores argumentam contra esta proposição. Em primeiro lugar, os autores começam por apresentar uma breve análise do ponto de vista de Grabar. Em segundo lugar, avaliam criticamente esta posição. Em terceiro lugar tentam explicar até que ponto a mesquita como tipo arquitectónico apenas incorpora símbolos islâmicos. Os autores exemplificam este ponto mediante a análise de um dos símbolos básicos do Islamismo: o Mihrab. O artigo defende, portanto, a tese de que existem símbolos islâmicos básicos e de que estes símbolos estão presentes na mesquita. Ora é precisamente este facto que dá credibilidade à afirmação de que existe uma arquitectura islâmica propriamente dita. (shrink)

Local reports from different international societies have considered the achievement of the successful Glocalized architecture model in line with the 2030 UN Sustainable Development Goals (SDGs). The Aga Khan Cultural Foundation’s International Program for Islamic Architecture has also prioritized the understanding of the success drivers in architectural projects. This study aimed to detect the potentials of the common global indicators to access qualitative design assessment through analyzing the Aga Khan Award’s reports. The selected methodology in the present study (...) is a quantitative approach using the systematic content analysis and coding techniques for qualitative data obtained from the technical. The physical, non-physical, modern, and traditional factors that have contributed to the success of the works as well as their combinations were extracted and analyzed using Sensible and Abstract international, national, and local indications. There is a relative superiority for Sensible indications (A combination of modern and physical factors). The hybrid data distribution provides the ground to assess the works, and this can be used to manage the globalization challenges in the contemporary architecture of Muslim societies. (shrink)

This article examines the “urang awak”, a term referring to the Minangnese who trace their origin to Minangkabau in West Sumatera, and their dakwah activism in diaspora. It problematises the relation of Islam activism and ethnic identity of a diasporic community in contemporary West-Java, Indonesia. It further argues that mosque has been central to the activities of dakwah activism of the urang awak in diaspora. As this article demonstrates, the Harakatul Jannah Mosque and Al-Anwar Mosque reserve as important bases (...) for dakwah activism of urang awak in a dominant culture of Sundanese and Javanese. Through these mosques, the urang awak attempt to preserve their ethnic identity, mainly expressed through the mosques’ architecture, language, and religious activities that clearly symbolise the identity of urang awak. (shrink)

The Ottoman fifteenth century has received considerable attention in recent decades. This level of attention can be attributed to the relative wealth of so.

Reducing Being hierarchies down to the physical entities, empirical science having occupied with destroying the sanctity of the universe; does thinking about Sacred architecture suggests a way to release contemporary man from nihilism? The authors’ response is affirmative; therefore, investigating the quality of Sacred disclosure in the religious architecture of Islam and Hinduism, they search for understanding a lost meaning that had been manifesting there. The method of research consists of a comparative study about Islamic mosques and (...) Hindu temples according to phenomenology. Offering existential relation with Sacred architecture by a personal experience for understanding the quality of Sacred manifestation, they criticize semiology and phenomenology methods. (shrink)

In this article I suggest that in the Soviet period Central Asians cultivated and conceptualized Islam as an episteme. They did this by reaching beyond alienating categories offered to them by the state. I argue that the constitution of an Islamic culture was made possible, among other things, by Central Asians’ encounters with the past, most notably with what they perceived as an Islamic past. We observe the curious phenomenon of Central Asians’ continuous interaction with the Islamic historical sites (...) that escaped the bulldozers of the Soviet campaigns of religious repression. For some, encounters with the past might be accidental. For many others, the exploration of the past represented a purposive, self-conscious, and reiterated emotional act. I show that Central Asians in the Soviet period—even if at school they were taught little about, and were usually offered a distorted vision of, the Islamic history of their region—were still able to access their past through the surviving architectural presence of Islam. Monumental sites, however, were not enough for Muslims to understand the past and use it to construct their own identity. Such artifacts acquired meaning through an interpretive framework provided by Sufi narratives about saints and their miracles. Therefore, shrines represented for Central Asia a collective memory space, i.e., a place in which the past was preserved for mobilization in the present through narrative. (shrink)

Lo studio sul rapporto tra Dante e la tradizione arabo-islamica è solitamente associato a due influenti studiosi del Novecento, Miguel Asín Palacios e Bruno Nardi. Nonostante le differenze, entrambi affermano che la struttura fondamentale della Commedia intende mostrare come la ragione naturale dell’uomo e la filosofia siano inferiori alla rivelazione religiosa e alla teologia. Il contributo, affermando che l’architettura del poema dantesco si fonda sulla classificazione delle scienze formulata dai filosofi islamici, intende mostrare che la struttura allegorica della commedia non (...) è basata sulla distinzione tra filosofia e teologia ma sulla distinzione, tutta interna alla filosofia, tra praxis e theoria. Come i filosofi razionalisti, Dante nega che ci sia una forma di conoscenza più elevata che non sia raggiungibile attraverso la dimostrazione e il ragionamento filosofico ma solo attraverso il discorso religioso rivelato. Questa classificazione islamica delle scienze può aiutare a rivedere il ruolo giocato da Statius e Matelda nell’allegoria dantesca e identificare con maggior precisione il luogo della religione.The study of Dante in relation to the medieval Arabo-Islamic tradition is most notably associated with two influential twentieth-century scholars, Miguel Asín Palacios and Bruno Nardi. Despite differences, both hold that Commedia’s fundamental structure aims to show natural human reason and philosophy falling short of religious revelation and theology. This essay, arguing that the architectural design of Dante’s poem is based on the classification of the philosophical sciences formulated by the Islamic rationalist philosophers, shows that Commedia’s allegorical structure is not based upon the distinction between philosophy and theology but rather upon a distinction within philosophy between praxis and theoria. Like the Islamic rationalist philosophers, Dante denies that there is a higher human knowledge unattainable through philosophical demonstration but accessible through revealed religious discourse. This Islamic classification of the sciences will also help us see the role played by Statius and Matelda in Dante’s allegory and to identify the locus of religion. (shrink)

Industrial heritage as a relatively recent phenomenon is the production of mid-20th century. The industrial heritage represents the culture, historical situation, processes, technologies and outstanding achievements of each region. Based on the value of contemporary architecture, It is necessary to protect them. Nowadays, the protection of industrial heritage has become an international challenge. One of the prerequisites of the protection of industrial heritage is recognizing their value and their position. Proper protection of industrial heritage needs to study and deep (...) understanding it in a large- scale and recognition of the value of the heritage for conservation process, in a regional scale. However, these kind of buildings, due to the large-scale, locating in the proper point of the city, flexible plans (due to the modular structure) etc. have a great ability to transform into various functions, specially public and urban services. One of the most important values that can be imagined for industrial heritage, is architectural identity of the region. Therefore, it is necessary to understand the effect of this types of structures through survey survey. The aim of this paper is to evaluate the effectiveness of the industrial heritage on architectural identity in historic cities. The case study was selected by purpose - Dezful & “The MAKINEH of Flour” of Dezful, which now has become the mainstream of bazaar. The variable which is used in order to define local identity, is using this element in address, which the residents giving to someone else to mention the accurate location of specific place, near the “MAKINEH”. The statistical population are selected from among people who lives in eastern sahrabedar mahallah. The results of the paper shows that the industrial heritage has the value of architectural and urban identity in local level. The results indicate significance of comprehensive approach toward reunderstanding and redevelopment of contemporary buildings and industrial heritage sites. (shrink)

The overarching guiding principle of Alan Turing’s work was directed towards modelling the human mind as a machine. It is extraordinary that Turing introduced, in his early papers, ideas that are only now beginning to be investigated. Throughout his life, he considered conjectures to be of great importance because they suggest useful lines of research. In my own conjecture, I am asking the question: what is the brain’s geometry? Can it ever be unravelled, or does its complexity defy any form (...) of visual representation? Recent research reveals that the detailed workings of the brain take place in a ‘global workspace’, where conscious contents appear to be disseminated globally to a great multitude of networks throughout the brain that are unconscious. During conscious tasks, neurons contributing to the global workspace enter into a coherent activation pattern by being tightly connected through long axons. Is it possible, therefore, that my proposed geometric pattern (an Islamic latticework) can be envisaged as a useful means of interconnecting multiple long axons in a unified global workspace dedicated to conscious thought? I share and communicate my idea through a process that combines visual imagery with musical performance (i.e. visual music). It is a method that can assist in clarifying concepts that might otherwise remain elusive or esoteric. (shrink)

“This is a useful and imaginative project... Leaman is an accomplished and productive author and the book will be of genuine and considerable interest.” —Lenn E. Goodman, Vanderbilt University It is often argued that a very special sort of consciousness went into creating Islamic art, that Islamic art is very different from other forms of art, that Muslims are not allowed to portray human beings in their art, and that calligraphy is the supreme Islamic art form. Oliver Leaman challenges all (...) of these ideas, and argues that they are misguided. Instead, he suggests that the criteria we should apply to Islamic art are identical to the criteria applicable to art in general, and that the attempt to put Islamic art into a special category is a result of orientalism. Leaman criticizes the influence of Sufism on Islamic aesthetics and contends that it is generally misleading regarding both the nature of Islam and artistic expression. He discusses issues arising in painting, calligraphy, architecture, gardens, literature, films, and music and pays close attention to the teachings of the Qur’an. In particular he asks what it would mean for the Qur’an to be a miraculous literary creation, and he analyzes two passages in the Qur’an—those of Yusuf and Zulaykha and King Sullayman and the Queen of Sheba. His arguments draw on examples from history, art, philosophy, theology, and the artefacts of the Islamic world, and raise a large number of difficulties in the accepted paradigms for analyzing Islamic art. (shrink)

L’examen minutieux auquel l’Espagne andalouse a été soumise par les voyageurs, artistes et historiens européens, a généré un débat intense sur l’originalité de son héritage monumental. Le sud de l’Espagne péninsulaire, représenté par la mosquée de Cordoue et l’Alhambra de Grenade, est devenu un dépôt de l’art islamique. La stratégie esthétique, selon laquelle le modèle nasride a atteint une telle suprématie, mettait en valeur l’altérité comme espace discursif approprié pour le processus de construction de l’identité nationale et de la domination (...) coloniale. The scrutiny to which Moslem Spain was subjected on the part of European travellers, artists and historians fueled an intense debate over the authenticity of its legacy of monuments. The characterization of the south of the peninsula in the wake of the mosque of Córdoba and the Alhambra of Granada, made these monuments the touchstones of Islamic art. The aesthetic strategy, by which the Nazarite model thus became supreme, took its exotic nature as a standard for evolving the discourse appropriate to the processes of national identity and colonial domination. (shrink)

The authors explore how the multi-media artist Farniyaz Zaker uses words to establish connections between different kinds of materials in her work, and how her work makes words material. Zaker’s conception of dress as ‘microcosmic dwelling places’ enables the authors to think about veiling practices, Islams and gender not only in relation to the familiar domains of state, piety, subjectivity, consumption, capitalism, public and private (for instance), but also with regard to some less self-evidently relevant contexts. Light, architecture and (...) cinema, as well as walls, windows, curtains, coffins, tents and screens, are among them. It is by way of these multiple refractions that the authors are able to return to those debates that conceive of Islamic veiling in terms of embodied, material practices and to support and develop further reasons for an understanding of that most exceptionally charged piece of material, the veil, as more than a sign of …. (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 93 Heft: 1 Seiten: 290-295.

Umayyad Islamic art has a very rich understanding of art. It will not be possible to create architectural, handicrafts and other custom decorations of these dates, including animal decorations and animal decorations. Therefore, it has become a very important owner in figure art. The figures of the early Islamic period have a common style and style while under the influence of different cultures. In this high Islamic art, it is preserved and maintained before it is transformed into a form that (...) can be applied from sculpture and painting. It is one of the figures that can be said to what extent the people who have survived until today. Because human and animal figures will not be a part of the most important elements of Islamic art. With the absence of Islam and the negative view of the statue, the life necessary for an early period aimed to be completed. In the design of the plan, private 'civil decorations' can be included in Islamic art with a political planning. Do not avoid this art because they are not cautious about verses and events. In this work, it is aimed to place the subject in question, to bring it to the exhibition and to imagine a wider window expression. Therefore, it will be a pleasure to reach and present the goals achieved. (shrink)

The main discourse on Islamic art in the western academia primarily views Islamic art through the lens of art history and sociology of art. Islamic art is considered as sacred in Islamic civilisation and culture, and derives its sanctity from the Quran as the fountain from which it has emanated, which Muslims consider to be the Word of God, much like Christ is the Word of God in Christianity. The Quran has played a formative role in shaping the trinity of (...) sacred Islamic art which is Quranic recitation, calligraphy and architecture. However, another approach which not only is viable but can be considered of great importance to the study of Islamic art, is the employment and utilisation of principles of Islamic philosophy and Sufism which were the pillars of the intellectual milieu in which a given work of art is produced. The application of such principles allows a more comprehensive and detailed interpretation of a work of art. In this paper, the primary Islamic philosophy and sufi doctrines that will be discussed are the concepts of imagination, colour, and calligraphy and examples of their application in the khānqāh and shrine ensemble of Shaykh Ṣafi al-Din Ardabīlī in Ardabil, Iran. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rushdie’s Dastan-e-Dilruba: The Satanic Verses As Rushdie’s Love Letter to IslamFeroza Jussawalla (bio)Meheruban likhoon ya dilruba likhoon hyran hoon ke apke khat me kya likhoonYe mera prempatr padh kar ke tum naraz na hona ke tum meri zindagi ho ke tum meri bandagi ho[Should I address you as respected one Should I address you as beloved one I am so distraught about how I should address youWhen you read (...) my love letter You should not be disappointed Because you are my life and you are my “life’s work”]—Popular Hindi film song from Raj Kapoor’s Sangam (1964) [my translation]Salman Rushdie has been classified as a postcolonial 1 writer whose fiction depicts the hybrid nature of postcolonials in their migrations and movements, their merging and mixing. Rushdie has variously been called a “Third World Cosmopolitan” [Brennan, Salman Rushdie viii], a “metropolitan intellectual,” and “a hybrid” but most often a [End Page 50] “postcolonial,” because of his “birth” as a “Midnight’s child”—a child born as India was gaining independence at midnight on 14 August 1947 2 —his subsequent education in England, and the making of his home in metropolitan London. Such a perspective is eurocentric and does not provide complete answers to Rushdie’s complex works or the complicated response to his work. For the very hybridity that Rushdie manifests results from his being not only a “post-British” colonial but also a “post-Mughal” colonial.The British were not the only colonizers of India. In fact, Indian historians have traditionally identified several waves of colonization. Journalists Larry Collins and Dominique Lapierre best summarize the two major waves of colonization as follows:Hinduism itself had been brought to India by the Indo-European hordes descending from the North to wrest the subcontinent from its ancient Dravidian inhabitants.... The faith of the Prophet had come much later, after the cohorts of Genghis Khan and Tamurlane had battered their way down the Khyber Pass to weaken the Hindus’ hold on the great Gangetic Plain. For two centuries, the Moslem Mogul emperors had imposed their sumptuous and implacable rule over most of India, spreading in the wake of their martial legions the message of Allah, the One, the Merciful.[Freedom at Midnight 36]While the British were actually occupying India, post-Mughal colonialism in the form of Persian poetry, literature, and the general “sumptuousness” of its art and architecture held sway. The Persian language begot Urdu, often described by linguists as a “camp language” of the Muslim invaders of the Subcontinent. However, Persian, Arabic, and Hindi had come together to create a new language for the poetry, literature, arts, and in general the “high culture” of today’s Indian Muslims. Jawaharlal Nehru, in his definitive history of India entitled Discovery of India, wrote,The Mughals were outsiders and strangers to India and yet they fitted into Indian structure with remarkable speed and began the Indo-Mughal period.... Their dynasties became completely Indianized with their roots in India, looking upon India as their homeland, and the rest of the world as foreign.[236]A synthesis worked itself out: new styles of architecture arose; food and clothing changed; and life was affected and varied in many other ways.... The Persian language became the official court language and many Persian words crept into popular use.[237]Persian was the lingua franca of the incoming Muslims from AD 1193 onward, and Persian literature became the favored literature of India for approximately five centuries [Ali 3–4].It is in this tradition of post-Mughal Urdu high culture that Rushdie grew up. In a 1983 interview with Michael Kaufman, Rushdie said,My grandfather, my father’s father, was a good Urdu poet. My father is not a writer but he’s a very literary and literate man, a student of both Arabic and Persian Literature and of Western Literature. At Cambridge he was quite scholarly. So I grew up in an atmosphere of books. And both my parents, in their different ways, were very gifted storytellers. [End Page 51]My mother, in common with most Eastern women and perhaps even women of the West, was the... (shrink)

The roots of ‘ancient sport’, or Zurkhaneh, as its name implies, go back to ancient Iran and the rituals of Mithraism, in which believers pray and learn morality and humanity in cave-shape temples built in connection with running water. After the advent of Islam and the fall of the ancient religions, temples gave way to Zurkhanehs, and athletes who, while learning moral teachings, cultivated physical strength to resist external enemy forces and internal oppression, grown in those Zurkhanehs. With a (...) tendency to Sufism, Shi`ism and following the first Imam of the Shiites, athletes became heroes and knights, many of whom today, after hundreds of years, are still the cultural myths of the people of Iran. The ancient sports such as wrestling are a symbol of human and moral virtues, the promotion of which can lead to the growth and development of the moral beauty and chivalry culture among all athletes in various sports and lead to institutionalize characteristics of heroism and magnanimity in society. Ancient sports exercising tools, art and architecture of Zurkhaneh, poems, rituals and personalities form the nature of Zurkhaneh and ancient sports have a great impact on the formation of heroic identity and the way to perform the sport movements with the special instruments of Zurkhaneh, which is accompanied by epic and religious poems. In fact, Zurkhaneh instruments, the type of poems that are recited and the existence of epic and religious patterns complement each other. This process increases the effect of Zurkhaneh on the formation of athletic and heroic identity among sportsmen. As such, it will be suggested that Zurkhareh offers an ethical ideal from which globalized Western sport can learn. (shrink)

Hurufat registers are important archival documents that show the regional practices in a city. The dervish lodges and zawiyas in Izmit were recorded in those registers between 1711-1806. This study mainly focused on four dervish lodges, three zawiyas, and one tekke. The units in the derwish lodges and zawiyas that have survived today are shrines and public baths. According to the obtained registers, the dervish lodges and zawiyas in the Izmit district were mostly located in the central neighborhoods, and a (...) few were in villages and hamlets. This study dealt with four dervish lodges, three zawiyas, and one tekke. As can be read in the registers, the study findings showed that the sects of "Mevleviyye," "Halvetiyye," and “Bayramiyye” had several lodged and zawiyas in the city that were categorized under three groups (i.e., dervish lodge, zawiya, and tekke) in our study. The name and duty of founders (bâni) in archival documents are acknowledged as historical documents. This study aimed to present information about the appointments, positions, founders, and assets in structures that have not survived to the present day, thus enlightening the period. It also gave information about the restorations, construction plan and material, and the current status of the surviving dervish lodges and zawiyas, supported with images, archive documents, and field research findings. The mentioned structures (i.e., the dervish lodges and zawiyas) were architecturally classified in the light of archive documents and old images. The regional plans were also considered in describing the locations of the lodges and zawiyas in the city. In this sense, the topographical and architectural information about the dervish lodges and zawiyas in İzmit was valuable information sources. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Unsaying Life Stories:The Self-Representational Art of Shirin Neshat and GhazelAphrodite Désirée Navab (bio)What connects the two artists in Figures 1 and 2 across time and place? (See pages 40 and 41.) The protagonists seem to be so "at home" in their landscape that they do not stand out as disruptions to a cultural rhythm. They are wearing clothing that symbolizes Iran, and they are in an environment that evokes (...) Iranian art and architecture. In Figure 1, a scene in Shirin Neshat's video Soliloquy (1999), a woman stands near the kind of dome one often sees in Islamic architecture; the compatibility of the curved and the straight lines is striking. The woman is washing herself, possibly in preparation for prayer. Her hands are artistically dyed with henna. Her eyes are closed as the water runs down her face. She seems to be unaware of the camera, involved in a private moment, a purification ritual perhaps. Her clothing, her hands, and the architectural background are all consistent with familiar images of the Middle East. The woman marching in a black chador in a video still by Ghazel (Figure 2) also seems to be quite "at home." The text underneath the image says that both her grandfathers were colonels. This "bothness" is repeated by the text written underneath the image, which appears both in English and in French. She marches to the right of the frame with the straight posture and hint of pants and boots characteristic of a soldier. Like the protagonist in Neshat's video, she neither looks at the camera nor seems to care that it is there. She seems to be re-enacting a private moment of family history.At least, this is what the images say at first glance. Upon closer inspection, the viewer learns that the two protagonists are the artists themselves. They are more than conscious of the camera; they have actually directed these visual narratives. They are posing. This is one role from among many that they could have played. Both artists are native to Iran, but they are [End Page 39] acting in their own productions. They are playing a particular role. They have made the directorial decisions about camera angle and distance, about the time and place, and about the final look of the production. They make images: they are fully aware that they have pictured themselves alongside symbols of Iran. Click for larger view View full resolutionFigure 1.Shirin Neshat. Soliloquy, 1999, production still.So why are they pretending not to be conscious of the camera? The conscious decisions of the artists point to an issue that is left unsaid but whose absence says a lot. Perhaps, beneath all this effort to seem comfortable, there is discomfort as well. Are these people in fact "at home," or has home become foreign to them? Has this alienation propelled these artists to picture themselves together with readily identifiable, traditional markers of Iranian culture? Are these productions a way of re-negotiating their place with their native land, to find a voice, a space from which to speak?Culturally hybrid persons are often caught in the crossfire of prejudices. For hybrid Iranians, these prejudices are exacerbated by international political tensions that fall along three dimensions of limited visions. They include historical prejudice, where each nation dominates the other in the telling of history; cultural prejudice, stemming from mutual suspicion and ignorance; and political prejudice, as a result of inflexibility, of an unwillingness to [End Page 40] envision the other's view. Art can be a powerful means for challenging the stereotypes of mutually antagonistic nations. In autobiographical art, moreover, artists may use the "telling-self" to "unsay" what has been attributed to them through these stereotypes. By literally and metaphorically engaging the public in seeing alternative realities and histories, these artist-philosophers offer an alternative of historical collaboration, cultural knowledge, and political flexibility. Click for larger view View full resolutionFigure 2.Ghazel, Me series, 1997–2000, video still.This deconstructive approach to representation is a significant feature of the camera-based work of two contemporary Iranian women artists: Shirin Neshat (b. 1957) and Ghazel (b. 1966... (shrink)

Ashrati's book is a study of intellectual framework laid out by Fethullah Gulen in his call for the revival of humanity's changing power. Gulen, a prominent scholar of Islam and a social activist, is the inspiration behind the global network of education, charity and interfaith dialogue. This book is an attempt to show how significant Gulen's layout for reconstruction is to Islam and to the rest of the world.In his analysis of Gulen's thought of reconstruction, Ashrati looks at (...) concepts including the strategy of nonviolence, spiritual dimension of revival, foundations of humanism in Islam, intellectual and spiritual leadership, men of service, and integration of science and religion. His analogy of construction and architectural work comes handy in understanding both the complexity and openness of the call for revival by Gulen. (shrink)

Urban design and architecture are used as manifestations of power and control over a society. The city square is not just an architectural element; its structure has a nature that weaves together its contemporary social and political atmosphere and brings a new meaning and concept to the square. This paper aims to clarify the formation of Toopkhaneh Square (“The Place of Cannons,” or “Artillery Barracks” Square) whose military function and ominous name were physical evidence of the use of urban (...) design by the ruling authority to control the citizenry. The transformation of Toopkhaneh Square is an example of power relations and the struggle for power, which have been projected on the body of the city. This research concentrates on power relations and urban transformations in the spatial analysis of Toopkhaneh Square throughout different periods of its history. The transitional process of Toopkhane Square to an Artillery Square in the Qajar Era dynasty of Naser al-Din Shah (1888) until the Islamic Revolution (1978) shows that the structural elements of the traditional square were modified, as its name, political statues, meaning, and functions were changed to fulfill the modern needs and reflect the power struggle. This study analyzes Toopkhaneh Square as the representation of the ruling power and its politico-religious ideology in Iranian urban form. (shrink)