The American Journal of Islamic Social Sciences Vol. 6 , No. I , L989 125 

Toward Islamization of the Non-Visual Arts: 
A Brief Discussion of Some Crucial Issues 

Rasha al-Disuql 

In his recent article, "Religious Fascism and Art," Dr. Sa'ad al DTn Ibrahim 
concludes with these words addressed to all scholars in the visual and non-
visual arts field: "Those who have the 'Islamic alternative or aJtematives' 
let them be obliged, if they truly be lieve in the existence of refined standards 
for aesthetic creativity different from those available, (let them) e ndeavor 
to present these refinements to society. They have endeavored and succeeded 
in recent years in presenting alternatives in economic institutions, services 
and investments, which attracted large numbers . . . why do they not do 
the same in the arts field?"1 

Frantic endeavors at lslarnizing the non-v isual arts have reached a highpoint 
at the present time. These endeavors are primarily due to the realization of 
the grave effect art has on shaping morals and channeling, or sway ing them 
in certain directions, and to its easy accessibility to, and profound effect on, 
emotion and intellect. Many contemporary Islamistsi have found some basis 
for Literary theory but have not arrived at one grounded in the Qur'an and 
the Sunnah with a view leading to Islamization of the non-visual arts (literature) 
and the fine arts as a whole. Although thi s discussion does not present a 
theory, it attempts to draw attention to crucial issues which may invite further 
endeavors for the Islamization of these artistic disciplines. 

The Present State Of The Arts And Islamic Research 
Contributions 

The problem oflabeling all kinds of written material "literature," is itself 

Rasha al Disuqi is a doctoral candidate in the Literature Department of the University of 
California at San Luis Obispo, California. 

•That article was published in al-Shira ' 324 (June) 1988 pp. 6-7. 
2£mad al Din Khalil, 'Adnan 'Ali Riqa al Nal)awi, 'A"'®' Allah al Qabsi is an example. 

The work of the late Sayyid Qutb and the contemporary Mul)ammad Qucb on the arts have, 
in different Wl1.'JS, provided critical analyses of Islamic works and encouraged lslamization. 



126 The American Journal of Islamic Social Sciences VOi. t>. NO. I. l:tO:t 

indicative of the obliterated sense of refinement needed in the existing non-
visual arts. Literature, such as drama, fiction, poetry, and even criticism 
has been called, among its specialists, "art." But because it has not lived 
up to refined artistic standards, it has prompted many scholars to center their 
discussions on the quality and value present in the different existing genres.J 

At several points in history similar attempts have existed: al Asma'i (d. 
215 A.H./830 A.D.), Mu)Jammad A)Jmad ':-faba\ba (d. 322 A.H./933 A.O.), 
al ·Amidi (d. 370 A.H./980 A.D.), al Farabi (d. 339 A.H./950 A.O.), and 
al Jurjani (d. 392 A.H./1001 A.O.) have concentrated their efforts on quality 
of style, rhetoric, and means of expression in the work of art. In literary 
Criticism: Roots and Methodology, Sayyid Qut~ initiated a return to the 
Qur'an and the Hadith as sources, by analyzing emotive values of the work, 
exploring the nature of Islamic art, describing its characteristics and its basic 
emergence from Islamic 'aqidah. Similarly, in Experiments in Practical 
Criticism, al Qabsis touches on the Prophet's (~AAS) viewpoint of poetry 
and the legitimacy of poetic expression. In analyzing the significance of the 
work as a human product, it was learned that human expression, related first 
and foremost to the human being, has not been explored. We must, then, 
first find the basis for such a theory in the Qur'an and the Suonah in order 
to build a literary, artistic theory around it. Also needed is consideration 
for the literary benefit of the work for the whole of mankind as it conforms 
with the sources of Islam, which have been quite accurate about what values 
should be transmitted and spread in society. 

Psycho-Biological Makeup of al-Insan (The Human Being) 

1. Al Fi(rah (Man's Pristine Purity) 

The pristine nature with which Allah (SWT) has created man is the basic 
factor in deciding what kind of art is being produced and presented to society. 
The pristine nature must be preserved in literary expression. The Qur'an is 
emphatic about the fitrah's unchangeability: 

"It is the pristine nature with which Allah has created people, there 
is no change for His creation" (30:30). 

l See \A.dan 'Ali RiC,a al Na!Jawi, al Adab al lslami ln.sa11iyatuh wa ' Alami){ltulr (Riyadh : 
Dar al N~awi lilnashr, 1987). 

4The Arabic title is al Naqd al Aba<li U~uluh wa Manahijuh (Beirut: Dar al Shuniq, 
1980) . 

STajarib ft al Naqd al Adabi al Ta(biqi (Oman : Dar al Bashir, 1985). 



Rasha al-Disiiqi Toward lslamization of the Non-Visual Arts 

"There is no child born except with a pristine nature, his parents 
make him a Jew, a Christian or a fire worshipper," said the Prophet 
(~AAS). 6 

127 

A recognition of man's psycho-biological makeup is thus essential. The 
human being is made of clay and endowed with the spirit of intellect and 
wisdom. A balancing of the physical and the spiritual in him is needed so 
that one side will not surpass the other causing an imbalance. 

2. Man's Unity of Being 

AU faculties are connected and function in unison . Man is not a fragmented 
being existing solely emotionally, rationally, or spiritually. Allah (SWT) says 
in the Qur'an: 't\nd He has created for you hearing, vision and hearts that 
you may be grateful" (16:78) . A romantic, romantic idealist, metaphysical 
poet or otherwise might assume man's fragmeIJtation and develope only one 
part of his makeup rather than the whole self. Similary, works elevating the 
mind philosophically or focusing on lower instincts and rendering animalistic 
productions, as in expressionistic works (Eugene O'Neill's The Hairy Ape 
or Emperor Jones are prime examples) or psychological tendencies after 
Freudian association of ideas (stream of consciousness novels) , function from 
this fragmented vision of man . 

3. Inward Peace 

Allah (SWT) has explained that man is by nature easy to upset: "Man 
is fretful when evil befalleth him" (70:20). Art should preserve for the reader 
a state of stability and peace rather than tunnoil and violence. If positive 
feelings gain artistic focus, a highly refined aesthetic effect will be achieved 
and, no imbalance in man's psychological makeup ensues. Both the Qur'an 
and the Sunnah exhort patience, honesty, constant God-consciousness, the 
awe and love of Allah , the doing of virtuous deeds, preserving kin relations , 
humility, simplicity, remoteness from false worldly pleasures, and countless 
other intertwined moral principles which should be the main artistic focus 
of the various genres. Mank.ind is also Allah's vicegerent. They are required , 
therefore, to propagate all that is good and virtuous without separating religion 

6al Mundhiri, ed. Nai;ir al Din al Albani, SaJ.11~1 Muslim (Dimashq : al Maktab al Islam-
1, 1972), Hadith 1852 p. 489. Later cited as SalJilJ Muslim. 



128 The American Journal of Islamic Social Sciences Vol. 6, No. I, 1989 

from Life, or the sacred from the profane. 7 This duty in itself demands 
stability in artistic production. 

While these aspects of human beings and their role are by no means 
comprehensive, they form a basis for artistic expression facilitating the future 
development and derivation of an artistic theory. 

Artistic Subject Matter 

Islam has laid down Lhe basis for a work of art resulting from interacting 
thought and emotion in the human instinct. Once his pristine nature is 
preserved, the artist's work will stimulate and positively render values such 
as justice, brotherhood, harmony and cooperation for universal good, as 
opposed to what is automatically labeled art, propagation of injustice, hatred, 
power, hunger, and strife. 

Islamically principled works of art will create in the person a balanced 
state, fusing thought and emotion and developing a relatedness to Allah (SWT) 
through Qur'anic values. Art does not stress one emotion because of others, 
rather it guarantees moderation or an accurate balancing of emotions. In 
contrast to propagating wrongdoing in a work of art, assuming it will prompt 
people to refrain from { Ulm, the work will expose fairness and goodness. 
We should oppose , for example, hunger scenes, such as those seen in the 
media, inviting people to help the needy, which, at the same time, create 
a feeling of revulsion. The art should exhibit Allah's mere,)' and providence, 
as well as man's gratitude to Him for His beneficence. Following Divine 
injunction, it should invite sympathy and mercy for the poor. ln this way, 
a work of art develops the God-created pristine instinct, channels it and allows 
it to grow in accordance with Islamic moral principles. Purity, virtue, moral 
cleanliness-these are the center of human relations, whether they are expressed 
in poetry, fiction , drama, or painting. 

The v.urk of art will have enjoined goodness and prohibjted evil by avoiding 
it (evil) in artistic expression. In other words. the rendering of evil in the 
work is itself a propagation of evil, and any avoidance of it with a focus 
on Qur'anic moral values, results in total goodness. If evil is exposed in the 
work of art, it is not to be portrayed as acceptable, but, rather, as unacceptable 
and hannful. The artist's job is to educate the self and channel it toward 
the right path. 

7Sce Isma'il Raji al Faniqi "Islam and Art ," Srudia lslamica. YI (1973) pp. 81-109. 



Rasha al-Disuqi Toward Islamization of the Non-Visual Arts 129 

Truth as Artistic Measure 

The use of nature as an object for romanticized dreams runs contrary 
to the Qur'an. Allah (SWT) says: "And the poets-It's those straying in evil, 
who follow them. Have you not seen how they wander astray in every vaJley, 
and how they say what they do not do? Except those who believe and do 
good works" (26: 224-2Z7). 

Art should not deal with one aspect of the universe, or one element, 
and glorify it. In poetry, fiction, or drama, the focus is on Tawh'id. Flowers, 
mountains, dew drops, clouds, stars, or planets stand in art as signs for Allah 
(SWT). Description of nature is, therefore, indicative of Oneness and nourishes 
such a vision in the reader's psychological and intellectual makeup. The universe 
is described, not as a chance-determined creation, but as one that is systematic, 
orderly, harmonized , and controlled by the Creator. Consequently, nature 
a11, in poetry, drama , or fiction and with extensive imagery, wiU embody 
signs of goodness and beauty, urging constant return to and awe of Allah. 
Nature art will have achieved universality and will have addressed all humans, 
because truth is its measure. in contrast to works from mere imagination 
based on false reverie. 

Unlike romantic, impressionistic, or expressionistic portrayals, which 
picture nature as mysterious and possessing awesome powers, or as horrific 
and frightening, Islamic art will reflect nature as described in the Qur'an , 
affirming its profundity. createdness, orderliness, purposefulness and 
subservience. 8 An artist will not copy nature, picture it, or photograph it ; 
neither will he adore it or reject it. 

Statuesque depiction of nature in poetry, drama , image-rich fiction . 
paintings, or sculpture, detracts from its createdness and diverts the onJooker's 
attention from the Creator to adoration of the thing created. Animal sculpture 
as described in literature and portrayed in figurines, puppets, of statues 
(Pharaonic or otherwise), and ornaments along roads and in parks function 
in a like manner. The Prophet (~S) said: ')\ngel s will not enter a home 
having a statue or a picture.''9 He is also reported to have seen statues and 
said, "The worst to suffer before Allah at Judgment Day are sculptors."''° In 
another hadilh, he explains , "They will be asked to breathe spirit into what 
they have created .'' 11 

ssee I. R. al Fariiqi's, Ml slam and Lhe Theory of Nature," Islamic Quarterly, 26 (1982) . 
pp. 16-26. 

9Hadi th 1364 in Sa}Jib Muslim. 
lllal BuKhan, Sa~1i~1 al BuKhari. V. 11 (Mat~bi' al sha'b: Cairo. n.d.), Pan 7. p. 215. 
IIJbid., p. 215. 



130 The American Journal of Islamic Social Sciences Vol. 6, No. I, 1989 

Goal-Orientation of Art 

By definition, the word adab, casually translated as "literature," or more 
precisely "non-visual art," carries within it the meaning of civilizing and 
disciplining. "Al adab is what the adib (the non-visual artist) is endowed with 
for guiding people to what is praiseworthy and negating what is blameful. 
Its origin is supplication.''12 It carries within its definition the need to learn 
self-discipline and virtuous morals. The Prophet (SAAS) himself nurtured 
this meaning: "Be generous to your children and excel in their adab (teaching 
politeness/disciplining)."13 Such a goal is achievable through calling people 
to iman and away from disbelief, the end goal being reward in the Hereafter, 
as opposed to present worldly reward. The procedure to be followed in such 
art is the Sunnah of good wisdom, and tactful advice. 

Aesthetic Value 

A work of art loses its value if it develops ideas and emotions contrary 
10 man's pristine being and to nature as outlined in the Qur'an and the Sunnah. 
Whatever causes his fragmentation, due to an imbalance in his makeup. is 
aesthetically unacceptable. Works of art depicting corrupt values, such as, 
crime, prostitution, nudity, 14 and espionage are indeed aesthetically 
worthless. 1n addition, their impact on society is dangerous, since they result 
in mischief, anarchy, turmoil, and evil , the cure for which is extremely costly. 
By contrast, works of art depicting purity, virtue, and righteous morals enhance 
unity and stability in the individual and society as a whole. It is only natural 
that lslamized art follow the Sharl'ah by depicting what is lawful and refraining 
from depicting what is prohibited. 

If women are described in stories, for example, their virtues are their 
beauty; their contribution to stability in family life, their sanctified motherhood, 
and their implementation of the Prophet's Sunnah in their children. Their 
attitude, behavior, and conduct in public life are no more than an affirmation 
of Islamic virtues and supreme morals. Certainly, lewdness and looseness 
are false images of the Muslim woman's character and of her pristine, lslarnic 
nature. 15 Islamic dramatic productions do not spread disintegrated morals; 

12a1 Na!Jawi, p. 25. 
llNarrated by Ibo Majah, Kitilb al Adab, Hadith 3671. 
14following the examples of the Delacroix and Ingres paintings. 
1SSee Yusuf al Qaraqawi, The Lawful and the Prohibited in Islam (Indianapolis: 

American Trust Publications, n.d. ), pp. 149-170 for a fuU explanation of what k:ind offreedom 
a Muslim woman is given in terms of vinue. 



Rasha al-Disuqi Toward lslamization of the Non-Visual Ans 131 

they develop strong Muslim character by relating the Muslim Ummah's present 
to its rich past by centering on issues of Islamic belief and moral s. 16 

Beauty is inextricably linked to remoteness from drabness, misery, 
depression , or total nihilism as in existentialist or absurdist works. Allah's 
coronation of man as vicegerent on earth and his endowment with highly 
valuable morals are emphatic of the positivist role man plays as moral reformer 
and aesthete. The Qur'an st.ates: "Remember Allah's signs and do not spread 
mischief on earth" (7:74). Furthermore, the Prophet (~AAS) said: "Allah is 
beautiful and loves beauty. arrogance is ingratitude to truth and despising 
people."0 

Thus , aesthetic value is llighly integrated in moral value. An aesthetically 
valuable artistic work further purifies the self. Such purification is in tune 
with the Qur'anic principle. '"He is successful who purifies himself' (87:14). 
repeated in several places, as an example in, "He is successful who purifies 
it (the self), and a failure who corrupts it" (91:9-10). These aesthetic values 
are constant and stable as Qur'anic and Sunnah values. They do not fluctuate 
to suit the taste and wllim of the audiance for art, with an end toward marketing 
and commercialization for achievement of the utmost material benefit. Art , 
whether it is literary or visual, seeks expression through what is st.able, to 
produce the desired aesthetic effect, that is, what does not conflict with virtuous 
principles beneficial to society and humanity at large. As such, the work 
will have achieved unity, as contrasted to fragmentation of the self and 
society-a state exemplified in the present Western or Westernized arts, wllich 
are deeply affected by pluralism. Perhaps Sayyid Qutb's statements will be 
rendered more significant in this context. He said: "A work makes aesthetic 
art a means for emotional effect addressing pious emotions with aesthetic 
language:' 18 He also said: "Aesthetic quality makes easier access of the work 
to the self and a deeper effect in emotion."l\l 

Works of art constituting description of nature consume the being as 
a whole - heart, mind , soul, and nerves, in remembering Allah's transcendence, 
mercy, and power. This is refinement and supremacy in moral and aesthetic 
principles, for which the artist is striving. Realizing beauty in the universe 
is the truest and closest method for realizing the beauty and power of its 
transcendent Creator.20 It is, thus, fallaciou s to believe that a work 
constituting any trace of aesthetic quality has as its end mere aesthetic pleasure 
or taste. Aestheticism is indeed embedded in the unfolding of radiant meanings, 

16See ibid., pp. 306-7 for the Islamic standing on acting. 
17Sa1Jil;t Muslim, Hadilh 54 , p. 20. 
1sa1 T~r al Fanni fi al Quran (Beirut: Dar al Shuniq , 1982). p. 171. 
19Jbid.' p. 180. 
10See 'lmad al Din Khalil, al 'fabi'ah fi1 Jann al Gharbi wa1 Jslami, (Beirut: Mu'assasah 

al Risalah, 1981). 



132 The American Journal of Islamic Social Sciences Vol. 6. No. L. 1989 

revealing its relation to Allah (SWT) and. it is endowed with a continuity 
derived from Allah's message and His Prophet's Sunnah. 

Means of Expression as Related to the Aesthetic Principle 

Purity of expression is an integral part of a Muslim's belief. The Qur'an 
clearly states: "A good word is as a good tree, its roots are firm, its branches 
reaching into heaven, producing fruit at every season by its Lord's permission. 
And the similitude of a bad word is as a corrupt tree, uprooted from the 
earth's surface, without establishment" (14:24-26). 

Cheap, offensive insults, obscenities, verbal abuse, and impure innuendos, 
including immoral and criminal expressions-all are prohibited in Islam. The 
Prophet (~AAS) said: "The believer is not a stabber, or a curser, neither 
is he foul (shameless) or indecent:'2• Verbal expression can never be 
effective if it is indecent; and since words are but an expression of meaning, 
what they express must be superior both morally and aesthetically. We may 
conclude that a work of art loses its aesthetic quality if it includes any 
defamatory language. The Prophet (~AAS) provides this screening measure: 
Anas (RAA) reported the Prophet to have said. ''Foulness destroys beauty, 
while bashfulness (virtue) ornaments wherever it exists."22 

A language exhorting moral purity is only in tune with Islamic moral 
principles, while a language encouraging vulgarity, fornication, strife, or crime 
runs contrary to both the Qur'an and the Sunnah. From several ahadith of 
the Prophet (~AAS), we may also conclude that he highly valued simplicity 
in language as a means of expression, whereas he cautioned against pomposity 
of style and haughtiness in verbal presentation. These media are rendered 
in the Prophet's sayings as an evil: "Exaggerators are ruined, the dearest to 
me, the closest in seat at Judgment Day, are the best in morals. and the most 
hated and remotest at Judgement Day, are the prattlers, braggarts and 
boasters."23 

It is a privilege to Arabic speakers that the Qur'an, the literary sublime, 
is in Arabic. However, translations of the Qur'an will just as efficiently 
demonstrate that Allah's word is written in a manner embodying purity and 
sublimity. high morals, and ethics. Other languages may still use the Qur'an 
as the supreme standard for judging what expressions may be used for artistic 

! 1MW)i al Din al Nawawi. Riyad al ~ali~1in min Ka/am Sayyid al Mursafi11 (Dimashq: 
Maktabah al Ghazali. n.d .), p. 625. 

?2fbid , p. 625. 
n rbid .. p. 626. 



Rasha al-Disuqi Toward lslamization of the Non- Visual Ans 133 

works. Similarly, the Prophet's abundant ahiidith have been studied for their 
linguistic and stylistic excellence. 

As for satirical language, it emanates from lack of respect for the object 
satiriz.ed. Art, including satire, opposes the Qur'anic principle expressed clearly 
in this ayah: "O you who believe, a people should not satirize another lest 
they be better than them" (49:11). Satirical works against enemies are allowed, 
however. The Prophet (~AAS) encouraged Hassan Ibn Thabit to satirize the 
mean disbelievers, since they hurt the Messenger of Allah and the 
Muslims. 24 A language communicating what Islam prohibited in conducting 
social relations should not figure in lslamized art. Islam has forbidden 
slandering and reviling by nicknames, as well as backbiting, gossiping. 
suspicion, etc., and, by necessity, their usage in dramatized situations that 
propagate such principles as enjoyable or entertaining. 25 

Symbolic language must have its limits as well. The symbolist movement 
seemed to have had its roots in the teachings of Madhhab al Ta'lim. According 
to al Ghazali, its adherents believed that every external meaning has an internal 
one. Or every apparent meaning has a hidden meaning. 26 This approach 
seems to have led to a great deal of confusion in the arts because of subjective 
interpretations . leading eventually to exaggerated sty lization and surrealism. 
A safeguard for lslami1.ed arts is a constant return to Islam's sources for 
guaranteeing harmony and uniformity between the symbol and the Islamic 
principle. For example, the color green in poetic expression can very well 
stand for prosperity. since the color is constantly associated with Paradise 
as described in the Qur'an; so is transparency with purity as in water 
descriptions (76:21). However, Qur'anic descriptions are quite different from 
human descriptions, since many times Allah (SWT) reminds us that life in 
Paradise is described in language comprehensible by man, yet none of its 
constituents is identical with those of present life. 11 An attempt at 
interpreting Qur'anic language in symbolic terms may lead to sensual blunders 
as is the case with Orientalist interpretations of the Qur'anic Paradise. 
Conclusively, the final safeguard from such misleading approaches is the 
measure of truth. Whatever conflicts with truth, meaning the Qur'an and 
Sunnah , as discussed above, is false and whatever stands in harmony with 
them is true and acceptable. 

24See al S:ibiini . ed. Mukhtasor Tofsir /b11 Ka1hir (Beirut : Da r al 
Qur':in al Karim. · 1981), V. U., p. 664. · 

?~For a fuller account , see al Qaraqawi, pp. 308-33. 
26Abii Hamid al Ghaz:ili, al Munqidh min al f?alal (Dimashq : Mat.ba'ah al Taraqqi, 

1939), p. 10. 
Z1See al ~abuni, V. I. , p. 44 . 



134 The American Journal of Islamic Social Sciences Vol. 6, No. l, 1989 

Islamizing Literary Criticism 

The scrutinizing Islamic critic will evaluate both subject matter and means 
of expression according to Islamic aesthetic value. He or she will be primarily 
concerned with artistic goal. The major concern is posed in the question 
"What is the work's goal?" and "Does it achieve Islamic luiiib?' or "Does 
it Islamica1ly refine or civilize and thus benefit society?"' Finally, .. ls it damaging 
morally and spiritually?" Analysis of subject matter choice will then ensue. 
The critic will measure all details involved in subject-matter choice as in , 
for example, human relations, according to the Qur'an and the Sunnah. 
Whatever conflicts with Islamic Shan-.ah and iidab will be naturally discarded. 
A more detailed focus on language and image usage will follow equal criteria. 

It is unimaginable, for example, that an aesthetically worthy piece of 
writing associates nature beauty with the filth and drabness of crime and 
prostitution. This would be similar to contaminating the God-given atmosphere 
with pollution. Nature will acquire an extremely personal and cheap meaning, 
conflicting with supreme aesthetic value. 

Glorifying one's country or land would be another example or presentations 
that conflict with shari'ah and adab if that country is constantly praised in 
the work of art to the extent that it is the central focu s in life. It will have 
become a worshipped idol. But if it is depicted as a haven for 'aqidah, a 
citadel for religion, a sanctuary for worshippers, a center for giving and 
providing, a fertile land for virtue, dignity, and Islamic prosperity, then it 
will have gained universal value and aesthetic refinement. 

In conclusion, Islamized art is an expression of life and the universe 
from an Islamic perspective. It addresses universal human values and aims 
at elevating moral and aesthetic standards through adherence to pure Islamic 
sources. Although it does not reject the extant genres, it reforms and modifies 
the content by refining subject matter, human relation values, and linguistic 
and symbolic vehicles of express ion by constant comparison with Islamic 
source values.