To uncover the reasons for this slanted view of Islamic art requires an in-depth review of history that is beyond these pages. Nonetheless, it is useful to state that whilst the causes are complex and return to multiple sources within and without of Islam, these factors are intrinsically influenced by the projection of interests for the bases of power.
An attitude inclined towards the moulding of a passive Islamic Ummah from within had long served the interests of monarchical caliphates, and their long list of undeserving heirs. This attitude had a seminal role in the articulation and development of literary and other forms of art within Islam; the cultural processes and socio-political attitudes deriving from this context served to limit and distort the true domains and potentials of artistic expression.
On the other hand, with the advent of modernity and Western pre-eminence, the West has relied on exotic caricatures of Islamic art to serve their own imperial interests. Islamic art according to this perspective is almost entirely devoid of any conception of truth, justice or any higher ideal; any sign indicative of regard for higher ideals within Islamic art is conveniently erased from the chronicles of time. As a result, the tradition of art within Islam is limited to striking imagery of the lavishes of Oriental concubines or blood-thirsty battle heroes; a portrayal that is needless to say, not only self-serving and of especial functionality to the relevant power interests, but one that is also alien to any true conception of Islamic art.
Within this context, the famous dictum of the Holy Prophet [s]: “The best form of holy war [Jihad], is [true and] just speech in front of an unjust ruler”; was expunged from society lest it served to ignite and captivate the conscience of the Ummah. The contemporary woes of the Ummah can trace many of its origins to this altar upon which the revolutionary message of Islam was sacrificed; where its cries for social justice were silenced.
Referring to this reality, the Holy Qur’an speaks:
“And as to the poets, those who go astray follow them. Do you not see that they wander about bewildered in every valley? And that they say that which they do not do. Except those who believe and do good and remember Allah much, and defend themselves after they are oppressed; and they who act unjustly shall know to what final place of turning they shall turn back.” [Holy Qur’an, 26:224-227]
Aesthetical beauty lies first and foremost in the pursuit of truth and justice. Artists who choose silence in the face of injustice and oppression are a vain and bewildered lot who lead society astray from its true course; let alone those who extol and shower praise on the unjust.
This face of Islamic art has continued to remain obscure within the pages of time. And had it not been for a single event in the history of Islam, this dimension may well have been severed from the Islamic tradition. Across the four corners of the globe today, the tragedy of Karbala and its hero, Imam Hussain [a], is relived in hundreds of languages and dialects. Lines of poetry and prose bearing deep conceptions about human dignity, nobility, freedom, justice, truth, sacrifice, loyalty, divine trust, martyrdom; are all drawn from the symbolism of this one historical event that threads a unity between the most distinct and diverse cultures.
The extent to which Karbala single-handedly gave life to this original and pristine aspect of Islamic art cannot be underlined enough. Similarly, its effects as a source of strength and motivation to propel the cause of revolutionary figures cannot be overlooked by any honest student of history.
In modern times, the imagery of Karbala and the sacrifice of Imam Hussain [a] play a prominent role in Shii popular movements. Whilst reviewing the relation between the message of Ashura and the Islamic revolution in Iran, Sayyid Wahid Akhtar states:
“Imam Khumayni […] found the popular platform of the Muharram ceremonies as a convenient weapon against the repressive Pahlavi rulers, imperialism and Western domination, particularly the exploitive American dominance of the East, to awaken Muslim masses and revive in them the spirit of martyrdom inspired by the episode of Karbala’. Because of this they succeeded in their movement, while others had failed to achieve the desired end.” - (Karbala', an Enduring Paradigm of Islamic Revivalism, by Sayyid Wahid Akhtar)
In a recent televised address on Martyr’s Day, Sayyed Hasan Nasrallah - the Secretary General of the Lebanese Shii resistance movement, Hezbollah - expressed the deep-rooted power and imagery that the message of Karbala holds within wider Shii consciousness:
“Our belief in our martyrs’ value and worth in God’s divine plan and the sanctity of their position in that plan, perhaps goes back to our annual revisiting, over centuries, of the highest example of martyrdom in human history, by which I mean Karbala, which may provide some explanations for some aspects of this deep and close association we have with martyrs, through reason and thought, the heart and passion, by commitment, conduct and practice.” - (Speech by Sayyed Hasan Nasrallah on Martyr’s Day, 11th November, 2008)
The Tragedy of Karbala will remain etched in the heart of history, and shall continue to stir the souls of humanity; generation after generation. Amongst its many lasting lessons and impacts is its role in the revival of true Islamic art and its inherent justice-seeking quality. In Karbala, human ideals are elevated above time and the mutable aspects of human social conditions giving life to an overpowering and exceptional form of expression. A form of expression which, whilst inseparable from its origin in the personality of Imam Hussain [a] and the plains of Karbala, continues to resonate despite diversity of conditions and distance in time to revive the aspirations of individuals and societies throughout the ages. In this respect, Karbala will remain to be the wellspring for seekers of truth of justice.
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Muhammad Hussain is a member of the AhlulBayt Islamic Mission (AIM), an organisation empowering Muslims through education, identity building and political awareness.
Lecture 13- ziyarat
