The golden age of Islamic (and/or Muslim) art lasted from 750 to the 16th century, when ceramics, glass, metalwork, textiles, illuminated manuscripts, and woodwork flourished. Lustrous glazing was an Islamic contribution to ceramics. Islamic luster-painted ceramics were imitated by Italian potters during the Renaissance. Manuscript illumination developed into an important and greatly respected art, and portrait miniature painting flourished in Persia. Calligraphy, an essential aspect of written Arabic, developed in manuscripts and architectural decoration. This paper will examine the Islamic literature, music and philosophers. The most well known work of fiction from the Islamic world was The Book of One Thousand and One Nights (Arabian Nights), which was a compilation of many earlier folk tales told by the Persian Queen Scheherazade. The epic took form in the 10th century and reached its final form by the 14th century; the number and type of tales have varied from one manuscript to another. All Arabian fantasy tales were often called "Arabian Nights" when translated into English, regardless of whether they appeared in The Book of One Thousand and One Nights, in any version, and a number of tales are known in Europe as "Arabian Nights" despite existing in no Arabic manuscript (L. Sprague de Camp, pg.10). This epic has been influential in the West since it was translated in the 18th century, first by Antoine Galland. Many imitations were written, especially in France. Various characters from this epic have themselves become cultural icons in Western culture, such as Aladdin, Sinbad and Ali Baba. However, no medieval Arabic source has been traced for Aladdin, which was incorporated into The Book of One Thousand and One Nights by its French translator, Antoine Galland, who heard it from an Arab Syrian Christian storyteller from Aleppo. Part of its popularity may have sprung from the increasing historical and geographical knowledge, so that places of which little was known and so marvels were plausible had to be set further "long ago" or farther "far away"; this is a process that continues, and finally culminate in the fantasy world having little connection, if any, to actual times and places. A number of elements from Arabian mythology and Persian mythology are now common in modern fantasy, such as genies, bahamuts, magic carpets, magic lamps, etc (John Grant and John Cute, pg.52). When L. Frank Baum proposed writing a modern fairy tale that banished stereotypical elements, he included the genie as well as the dwarf and the fairy as stereotypes to go. Ferdowsi's Shahnameh, the national epic of Iran, is a mythical and heroic retelling of Persian history. Amir Arsalan was also a popular mythical Persian story, which has influenced some modern works of fantasy fiction, such as The Heroic Legend of Arslan. A famous example of Arabic poetry and Persian poetry on romance (love) is Layla and Majnun, dating back to the Umayyad era in the 7th century. It is a tragic story of undying love much like the later Romeo and Juliet, which was itself said to have been inspired by a Latin version of Layli and Majnun to an extent. Ibn Tufail (Abubacer) and Ibn al-Nafis were pioneers of the philosophical novel. Ibn Tufail wrote the first fictional Arabic novel Hayy ibn Yaqdhan (Philosophus Autodidactus) as a response to al-Ghazali's The Incoherence of the Philosophers, and then Ibn al-Nafis also wrote a novel Theologus Autodidactus as a response to Ibn Tufail's Philosophus Autodidactus. Both of these narratives had protagonists (Hayy in Philosophus Autodidactus and Kamil in Theologus Autodidactus) who were autodidactic feral children living in seclusion on a desert island, both being the earliest examples of a desert island story. However, while Hayy lives alone with animals on the desert island for the rest of the story in Philosophus Autodidactus, the story of Kamil extends beyond the desert island setting in Theologus Autodidactus,...
References: 1. L. Sprague de Camp, Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy, p 10 ISBN 0-87054-076-9
2. John Grant and John Clute, The Encyclopedia of Fantasy, "Arabian fantasy", p 52 ISBN 0-312-19869-8
3. James Thurber, "The Wizard of Chitenango", p 64 Fantasists on Fantasy edited by Robert H. Boyer and Kenneth J. Zahorski, ISBN 0-380-86553-X
4. NIZAMI: LAYLA AND MAJNUN – English Version by Paul Smith
5. Nahyan A. G. Fancy (2006), "Pulmonary Transit and Bodily Resurrection: The Interaction of Medicine, Philosophy and Religion in the Works of Ibn al-Nafīs (d. 1288)", pp. 95–101, Electronic Theses and Dissertations, University of Notre Dame.
6. Dr. Abu Shadi Al-Roubi (1982), "Ibn Al-Nafis as a philosopher", Symposium on Ibn al Nafis, Second International Conference on Islamic Medicine: Islamic Medical Organization, Kuwait (cf. Ibnul-Nafees As a Philosopher, Encyclopedia of Islamic World).
7. Nawal Muhammad Hassan (1980), Hayy bin Yaqzan and Robinson Crusoe: A study of an early Arabic impact on English literature, Al-Rashid House for Publication.
Please join StudyMode to read the full document