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Science in islamic era
Islamic empire golden age science
Science in islamic era
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When looking at the Abbasid caliphate, the mere thought of an Islamic age of scientific learning characterizes the time period with several caliphs endorsing the arts passionately. These caliphs, specifically Al Mansur and Haroun Al-Rashid, all looked at the arts with an intense, burning awareness in that their values, priorities, and personality traits that distinguish their reigns differ quite significantly. Despite Haroun Al Rashid’s brief glimpses of rage that changes the view of the audience of the great caliph, the reign of Al Mansur was only slightly more brutal and hated; but its important to note that that the two caliphs did in fact usher in a new age of rulers who had an extraordinary amount of appreciation for the arts.
The best place to start when looking at how each of these rulers situated themselves with regard to the arts would be to begin with the rule of Al Mansur who succeeded his brother Es-Saffah. Being the third Caliph of the house of Abbas, Al Mansur “was a prince of great prudence, integrity, and discretion; but these good qualities were sullied by his extraordinary covetousness and occasional cruelty” (Masoudi 2). Although these personality traits describe the great Caliph as someone who would be looked upon as a monster towards all kinds of people, the fact that Al Mansur was very fond of the arts (poetry and music) shows that he took a great amount of care to make sure that the most eloquent poets were rewarded handsomely. These personality traits that describe Al Mansur can directly relate to the priorities that the caliph wished to accomplish throughout his reign, and the caliph spared no expense in showing his true colors in terms of his personality to do whatever it took to carry out these priorit...
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... the recital, and let him go; also giving general permission to the poets to bewail the tragic end of the Barmecides” (Masoudi 16), thus showing that Haroun is the better man out of the two caliphs.
Therefore, it can be summarized that the caliph Abu Mansur was more cruel and ruthless in terms of appreciation towards the arts when compared to Haroun Al Rashid under the Abbasid Caliphate. While there are notable similarities in that the duo were both tremendously generous in offering rewards for the poets who made the greatest impact on the caliphs, the differences were more significant in that Al Mansur was less sympathetic to common poets in his court rather than Haroun Al Rashid. Because of these clear distinctions between the two caliphs’ reign, the rule of Haroun Al Rashid can be seen as more beneficial towards the arts and Islam as a whole.
Information from the textbook and Hays’s article help illuminate the events depicted and their significance in culture and art of the New Kingdom, and how the style ties into the art of the time.
In conclusion, although Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, do appear very different, come from entirely different geographic regions and were separated by thousands of years, they do have many things in common. When we consider subject, style, and function; perhaps other works of art have more in common than they appear to have.
...t advances in art and literature in the Islamic Caliphates during its rise differed greatly from the few advances during the rise of the Byzantine Empire,
The Los Angeles County Museum of Art, or LACMA as it is commonly known, is among the world’s largest art collections in North America, and to be specific enough the most prevalent artwork in the western United States (Compton 165). This massive art museum has a collection of over 100,000 artworks, which extends from the ancient times to present days (Gilbert and Mills 174). These collections, which are mainly from Asia, Africa, Europe, Latin-America and America itself, are grouped into several departments within the museums buildings, depending on the region, culture, media, and time period. This paper analyzes the different genres of art and explains the main features that make the Islamic artworks distinguish themselves as historic masterpieces, by using stylistic and interpretive analysis methods.
The Islamic Empire explored natural philosophy and employed these understandings in instrumentality. They accumulated the natural philosophy of other cultures and expanded on their ideas in accordance with practicality. The Islamic Empire was the most advanced scientific nation for 500 years but declined because there was not much need for improvement in functioning. Career scientist only existed amongst the rich. The Islamic Empire is focused on the instrumentality of science, but even with the pronounced focus of instrumentality, the Islamic Empire experienced a dynamic between the dichotomy of instrumentality and natural philosophy, each seemingly distinct branch of science ebbing and flowing with the support and advancement of one another.
The Byzantine Empire was a primarily Christian empire whose reign started in 330 A.D and ended in 1453 A.D with the capturing of the its capital, Constantinople by the Muslim Sultan Mehmed II. In the years following the fall of the Byzantines, many of the Christian basilicas were transformed into mosques for Islamic worship, inspiring many artists to create works that embodied their religious politics. One of the pieces created following the fall of the Byzantine Empire is the painting of Yusuf Fleeing Zulayhka, created in 1488 by Kamal al-Din Bihzad, a famous Persian painter who worked under the patronage of several Persian sultans. The illustration depicts Yusuf’s struggle to escape his master’s wife Zulaykha as she chases him through her elaborate palace in an attempt to seduce him. The representation was made using paint, ink and gold, and features jewel-like colors in order to portray the extravagancy of the palace Zulayhka has built specifically for the seduction of Yusuf (Stokstad 286). This essay will assess three accounts of the story of Yusuf and Zulaykha and the reasoning behind why the narrative is often labelled as a cautionary tale and of what kind.
...mphasizes and confuses the reader. Literally having to decipher the information he presents, one must really take hold to what he is trying to express as the author. He provides wonderful examples of medieval Islamic iconoclasm, yet at times he provides too much information and his point becomes lost within the body of the essay. Toward the end of the essay Flood begins to link the information about iconoclasms Islamic past to the destruction of the Bamiyan Buddhas. This part of the essay is the best because one finally understands what Flood's position is. We see that there really is no correlation between the two because the Taliban was quite obviously sending a message to the Western institutions of cultural hegemony.
Art was viewed in a different sense in the fourteenth century. It had a more active role and was not just decoration, but a vital component of worship and pr...
Over the history of man, there have been many prosperous empires that ruled in different parts of the world. Babylon and Egypt are two of these empires that ruled almost 500 years apart, but had one thing in common, great artistic works. Wall paintings such as the Babylonian work Investiture of Zimrilim, and the Egyptian Queen Neferati Making an Offering to Isis are examples of the great works of their times. Both pieces are rich in meaning and background, share many similarities, but differences can be seen in their style due to the time periods.
Furthermore, this background gave Marwan a front-row seat as he watched the quasi-religious office of caliph evolve. Contemporary Umayyad caliphs were inaugurated with special oaths that carried religious as well as politico-legal considerations: caliphs were bound to uphold not only "the sunna of God and his Prophet, but also of his predecessors as caliph" (Blankenship 1994, pp. 76-78). In any event, after ascending to the role of caliph himself, Marwan proved to be an imposing military commander and adept political leader, and he oversaw significant consolidation of the authority of the Umayyads as he ruled from the multi-ethnic and multi-religious
The shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.
Ibn Khaldun was the first historian and sociologist to write about Middle Eastern culture and thought. He was successfully able to do this by pointing out other historians’ flaws and recognizing his own references, discussing the rise and fall of civilizations, how Greek thought was incorporated or not incorporated within his work, and finally how jurisprudence brought the people together. His ideas set an example for many historians at the time and many of them correct. Even though some of his work doesn’t apply to today’s standard (one can only successfully live in a certain climate), but his theory on the rise and fall of a generational dynasty can apply to business techniques of today.
At the height of its power (16th-17th century), the Ottoman Empire spanned three continents long. The Ottoman Empire controlled Southeastern Europe, Western Asia, and North Africa. It contained twenty-nine provinces and man vassal states, some of which were later immersed into the empire, while others were allowed other types of sovereignty during the course of several centuries. The empire was at the center of interaction between the Eastern and Western worlds for six centuries. With Constantinople as its capital city, and large control of lands around the eastern Mediterranean during the reign of Suleiman the Magnificent. Suleiman overruled the Ottoman Empire from 1520 to 1566. It is remarkable that though in Turkey he is distinguished only as the law-giver (Kanuni), in European history he is known by titles such as the Magnificent. Suleiman had no noteworthy rivals and was one of the most fortunate of the sultans. From his father he inherited a well-organized army, a disciplined army, and a sufficient treasury. Being raised in such a political environment, Suleiman would grow up to be the embodiment of all the excellent qualities of his Father’s talented generals, admirals, and viziers. Suleiman was a generous man even as a child. As a young boy, he befriended Pargali Ibrahim, a slave who later became one of his most trusted advisers. Suleiman believed greatly is his cause of spreading his law based on the Islamic system of law (Sharia). Su...
He also published his first poetry collection, Tamerlane, and Other Poems. The volume went unnoticed by readers and reviewers, and a second collection, Al Aaraaf, Tamerlane, and Minor Poems (Poetry Foundation). By having this new collection more people viewed it, but only by a few more viewers in 1829. This same year he was honorably disch...
This paper aims to elucidate the rich and vibrant historical account to Islamic leaders and their contribution to the education, science, literature, art, architecture and culture all around the world regions. Islam is a religion where science has always formed an integral part of religion historically and many leaders can be attributed to bring science to Islam. The status of Islam in current times has been associated with backward and regressive society and many other religions believe that Muslims are not compatible with science and technology. However, looking back at the history of Islamic leaders, it can be seen that Islam and technology are intertwined and science has been the basis for Muslim people’s everyday life and every ritual