Aniconism in Islam - Theological Views

Theological Views

The Qur'an, the Islamic holy book, does not explicitly prohibit the depiction of human figures; it merely condemns idolatry (5:87–92, 21:51–52). Interdictions of figurative representation are present in the Hadith, among a dozen of the hadith recorded during the latter part of the period when they were being written down. Because these hadith are tied to particular events in the life of the Islamic prophet, Muhammad, they need to be interpreted in order to be applied in any general manner.

Sunni exegetes, from the 9th century onward, increasingly saw in them categorical prohibitions against producing and using any representation of living beings. There are variations between religious Madh'hab (schools) and marked differences between different branches of Islam. Aniconism is common among fundamentalist Sunni sects such as Salafis and Wahhabis (which are also often iconoclastic), and less prevalent among liberal movements within Islam. Shi'a and mystical orders also have less stringent views on aniconism. On the individual level, whether or not specific Muslims believe in aniconism may depend on how much credence is given to hadith, and how liberal or strict they are in personal practice.

Aniconism in Islam not only deals with the material image, but touches upon mental representations as well. It is a thorny question, discussed by early theologians, as to how to describe God, Muhammad and other prophets, and, indeed, if it is permissible at all to do so. God is usually represented by immaterial attributes, such as "holy" or "merciful", commonly known from His "Ninety-nine beautiful names". Muhammad's physical appearance, however, is amply described, particularly in the traditions on his life and deeds recorded in the biographies known as Sirah Rasul Allah. Of no less interest is the validity of sightings of holy personages made during dreams.

Titus Burckhardt sums up the role of aniconism in sacred Islamic art as follows:

"The absence of icons in Islam has not merely a negative but a positive role. By excluding all anthropomorphic images, at least within the religious realm, Islamic art aids man to be entirely himself. Instead of projecting his soul outside himself, he can remain in his ontological centre where he is both the viceregent (khalîfa) and slave ('abd) of God. Islamic art as a whole aims at creating an ambience which helps man to realize his primordial dignity; it therefore avoids everything that could be an 'idol', even in a relative and provisional manner. Nothing must stand between man and the invisible presence of God. Thus Islamic art creates a void; it eliminates in fact all the turmoil and passionate suggestions of the world, and in their stead creates an order that expresses equilibrium, serenity and peace."