RE-APPROACHING ISLAMIC VISUAL TRADITION THROUGH THE LANGUAGE OF PHYSICS – GEOMETRY AND THE GRAMMAR OF HARMONY

Hasnul J Saidon, Mohd Asyiek Mat Desa, Norfarizah Mohd Bakhir & Nur Zaidi Azraai

Department of New Media Design & Technology

School of the Arts

Universiti Sains Malaysia

11800, Penang, Malaysia

October 2019

“My conviction is that with the advent of scientific theories on relativity, infinity, dematerialization, implosion etc, the introduction to sacred primary experience in the future is not history or anthropology, but physics” (Ismail Zain:1995(ii), p91, translated by author).

1.    Literature review – Re-approaching, Islamic visual tradition, language of physics, quantum and geometry.

Since the 1970s, writings by several writers in Malaysia have formed a body of literature on Islamic visual tradition and its influence on modern and contemporary art practices in Malaysia. A cursory review of existing materials reveals that Islamic visual tradition and its influence on the modern and contemporary art practices in Malaysia have not been explored extensively through the language of physics. Nonetheless, Ismail Zain, Sulaiman Esa and Redza Piyadasa had flirted with the language of physics through their writings. Their writings in regards to tradition will be the basis of this paper. There are different facets of their writings, but this paper will only focus on their propositions on the use of physics in re-approaching tradition. For this paper, Islamic visual tradition has been selected as a case subject.

The word ‘re-approaching’ used in this paper refers to the effort of re-looking Islamic visual tradition as a case subject, from a less explored, new and different lenses, in compliment and comparison to the existing approaches commonly used by local writers on modern and contemporary art in Malaysia. It signifies taking a different route to enrich and expand the existing approaches based on anthropological, historical and stylistic survey (Syed Ahmad Jamal: 1984, 1990, Sulaiman Esa: 2000, Ruzaika Omar Basaree: 1995 & 2008, Yatim: 1995), formal values (D’zulhaimi Md.Zain: 1989) stylistic influence towards contemporary textile (Khatijah Sanusi: 1995), literature, mythology and symbolism (Siti Zainon Ismai: 2012, Mohamed Najib Ahmad Dawa: 1995) retro-morphosis and ‘bio-mimicry’ (Mohamed Najib Ahmad Dawa: 2003), fusion of Islamic elements with modern art (Safrizal Shahir: 2012), discourses on ‘Malay identity’, ‘reflowering’, ‘revitalizing’, ‘rewriting’ (Sulaiman Esa: 1992, 1993, 2001 & 2010), and ‘critic of revivalism’ (Piyadasa: 2000, 2002). Re-approaching in the context of this paper, involves a shift towards a post-Einstein-quantum paradigm and a return to traditional paradigm.

For this paper, the phrase ‘Islamic visual tradition’ especially the term ‘visual’ has to be read in context. ‘Visual’ here refers to the ‘cultural and artistic manifestations’ of Islamic way of life in visual forms, rooted in the spiritual pillar of Tauhid or ‘Unity of Being’ (see Sulaiman Esa: 2001, p65, Niranjan Rajah: 2001, p32). This is embodied in syahadah (declaration of faith - of witnessing that there is no god but Allah) and expressed according to the guide of syaria (way/path) or the body of Islamic law. Contextually, it provides the legal framework for both personal and societal aspects of Islamic living, including the creative and artistic aspects (al-Faruqi: 1999, pp79-96, Deraman: 1978, p20).

It has to be noted here that Islamic visual tradition as a case study, can also be approached in relation to a larger ‘shared insight’ known as the ‘sacred geometry’ or the ‘grammar of harmony’ that can be found in many forms of spiritual  traditions around the world. The geometry is also described as the “grammar that underpins the whole of life” (TPW, Juniper and Skelly: 2010, p7). In the context of Islamic visual tradition, the phrase ‘geometry’ refers to a system of schematic visualization of space and time, rooted in ancient Greek, and based on mathematical algorithm to create complex and intricate multi-dimensional patterns.

The phrase ‘language of physics’ for this paper refers to descriptions of key concepts of quantum mechanics. Quantum refers to the smallest and fundamental unit of all observable and measurable object or energy. Specifically it refers to the study of light or energy at the sub-atomic level or extremely small scale. In a quantum scale, light or energy is studied, experienced, interpreted or described as either particles or waves, depending on the observer’s intention, position, instrument and method of observation used. The word ‘quantum’ can be traced in the term ‘quantized’, used by physicist Max Plank in explaining the behaviour of electro-magnetic waves that appear in packets instead of continuous flow. In short, the term ‘quantum’ refers to a higher form of energy (Davies & Brown: 1986, p1 and Taylor: 2010, p56).

The phrase ‘language of physics’ is also a proposition that the linguistic paradigm of Islamic visual tradition can be re-approached and experienced as a form of visual description, representation, and expression of quantum concepts and visualizations (see Taylor: 2010, Rush: 2001 and Manovich: 2001, Donald J Cox: 1989, p7-12. See also Capra: 1991, Chopra: 1993). Language in this context is explored as ways in which physicists describe their experience with key quantum concepts in verbal, textual and visual forms. Therefore, the ‘language of quantum physics’ in the context of this paper is used as descriptive, explorative, experimental and comparative means of re-approaching Islamic visual tradition.

2. Tradition

2.1 Tradition and the suspension of linear logic

The proposition to re-approach tradition through the language of physics can be sourced

from the writings of Ismail Zain. In one of his writings, Ismail highlights the imperative of looking beyond the traditional concept of historicism:

“My feeling is that if we want to understand the roles of art today, especially with the pre-eminence of instant information and electric circuitry, and more so if we think that the so-called modern art is already lounging on a comfortable official deck-chair, we have to look beyond the traditional concept of historicism.” (Digital Collage: 1988, p25)

Ismail Zain’s proposition to deploy physics in approaching tradition relates to art history. Ismail in this regards, is referring to the fallacy of deploying what he refers to as Aristotelian linear logic in approaching tradition. Such external linear logic for Ismail Zain, will only yield a condescending gaze towards tradition, an argument that can also be traced in Syed Hussein Al-Attas’ “The Myth of the Lazy Native”(1977), Edward Said’s “Orientalism”(1978), “Covering Islam” (1981) and “Culture and Imperialism” (1993). This gaze includes looking at tradition as something that belongs to the past, archaic, uncivilized, backward, under-developed, not scientific, irrational, irrelevant and full of superstitions.

Tradition, according to Ismail, “means to give over, or to hand down, not in books but, literally, by word of mouth and symbols” (Ismail Zain: 2013, p137). He refers to tradition as a form of inner or ‘internal technology’ in which the ‘transmission of inner quality of being’ relies heavily on oral practice. For him, tradition emanates from what he refers to as ‘sacred primary experience’ (Ismail Zain: 1995(ii), pp87 & 90). Tradition in this context, as posited by Sulaiman Esa, ‘implies a vertical axis of descent as to its transhuman (Divine) and integrative principle.’ It refers to the unveiling of what Syed H Nasr describes as the ‘principles of supra-individual or divine origin’ and what Coomaraswamy defines as the ‘laws which are immutable, eternal that constitute the basis of philosophia perenis or perennial philosophy’. In comparison to Ismail’s notions of ‘inner quality of being’ and ‘sacred primary experience’, Sulaiman refers to the doctrine of ‘wahdatul-wujud’ or the ‘Transcendent Unity of Being’ to describe the ontological basis of tradition (Sulaiman Esa: 2011, p274; 2001, pp65 & 67).  

Approaching tradition merely from the paradigmatic and linguistic framing of history and material anthropology, according to Ismail Zain, will not lead to the discovery of ‘inner quality of being’ and ‘sacred primary experience’. His sentiment towards the external linear logic of history in approaching tradition can be traced in the following quote:

“It is a fact tradition’s main adversary is not art itself but the history of art – a literacy that appeals primarily to an external linear logic” (Ismail Zain: 2013, p138).

The focus on the ‘external linear logic’, as implied by Ismail Zain, will also yield mere borrowing and debasing of tradition in a rather superficial cut-and-paste manner, as formal decorative embellishment or mere patterns, institutionalized (in museums) or given legitimation as official policies (Ismail Zain: 1995(ii), p88). Tradition in this scenario, he argues, will only be a form of historical awareness and anthropological study, not a living one anymore.

Ismail’s take is shared by Piyadasa, who cautions against blind copying of tradition and the danger of manipulating cultural symbols for shallow political ends (Piyadasa: 2000, p66). Even more demeaning, as highlighted by Sulaiman Esa, is the relegation of visual tradition into mere decoration or ornament, or ‘phobia of empty space’ (see Sulaiman Esa: 2011, p291).

Ismail Zain’s argument on the inert bias of history may bring us to Sulaiman Esa’s call for a revitalization of traditional art and rewriting of art history. Such call requires a reconsideration of the term ‘traditional art’ and ‘history’ from the trapping of linear historical framing. In fact, the term ‘history’ or sejarah in Malay does not necessarily connote a linear notion of time. The term itself is rooted in Arabic shajarat which refers to a tree, connoting not a linear structure but a concurrent, overlapping, radiant, fractal and bifurcated notions of time.

In this regards, the adoption of what Piyadasa refers to as ‘history of ideas’ is perhaps more pragmatic in comparison to the traditional art history which for him only focuses on interpretations of styles (Piyadasa: 2000, p58). Piyadasa also lists environmental sensibilities, climate, philosophy, spiritual, social and semiotic dimensions of traditional art as areas that have to be emphasized instead of its mere physical dimension (Ibid, p67).

Notwithstanding the importance of historical narratives, regional specificity and variants in approaching tradition, Ismail Zain and Sulaiman Esa propose a critical stance towards the inert linear logic within modernist’s linguistic paradigm, and its implication towards the ontological dimension of tradition. Piyadasa on the other hand, proposes a critical stance towards outward reading of tradition itself, in order to avoid the pitfalls of manipulating it for shallow political ends.

2.2  Re-approaching through physics

Ismail Zain argues that physics embodies mystical tradition, citing as examples the mystical mathematic of Pythagoras and the ideas of Omega and Entropy in relation to traditional ideas of Shakti and Dakini. In this instance, he is referring to the nature of inner force as well as active, disruptive, disordered and chaotic energy, as articulated in two linguistic paradigms - traditional feminine forms as Dakini (in Hindu cosmology) and Entropy (in physics). 

For Ismail, there is a need for ‘dialectical changes’ in approaching tradition, while physics can be a ‘communication tool for tradition if it needed to be linked in a linguistic sense’. He also stresses on the imperative of considering media technology as ‘means in which tradition can play its role’ (Ismail Zain:1995(ii), p91, pp91-94).  Within current context, media technology can be linked to new media technology.

Ismail then, was not alone. In fact, he was reiterating similar idea that has been highlighted before by Sulaiman Esa and Redza Piyadasa in their joint-manifesto.

“If in the past ‘intuition’ had seemed a suspicious word to the scientist, it is today becoming a necessary key to new discoveries. After all, how many significant scientific ‘breakthroughs’ have been made on the basis of notions that first manifested themselves as ‘intuitive’ deductions! Similarly, if previously science had refused to function on the basis of uncertainties, there is today a greater willingness to entertain factors which cannot be explained logically. A classic example in 20^th century physics is Heisenberg’s ‘uncertainty principle’ which marks the limitation of the scientist’s interest in the electron’s exact nature and location in space” (Sulaiman Esa & Redza Piyadasa: 2013, p45).

In supporting their leaning towards Zen tradition, several rhetoric, key phrases and terms related to descriptive interpretations and propositions in physics and neuroscience are also thrown into their manifesto in a broad sweep:

“Again, the realisation that only one-tenth of the working of the human brain is known to science has certainly brought with it a new reconsideration of such things as ESP and EEG which were at one time dismissed as mystical nonsense. In the field of cosmology, some of the most remarkable discoveries have been made that have upset traditional notions about the Universe. It is coming from all sides now – the inexplicable and the extra-ordinary. Matter over anti-matter, time flowing backwards, black holes in space, particles bumping!” (Ibid, p 46. As a comparison, see also Capra: 1991).

Whilst implying an epistemological shift from classical-Newtonian to post-Einstein-quantum paradigm, Sulaiman Esa and Piyadasa further claim that:

“No longer do scientists believe in a finite world or in the permanence of matter. The physicist may describe it in terms of waves, particles, or energy…” (Sulaiman Esa & Redza Piyadasa: 2013, p45).

Piyadasa, in one of his later essays, also advocates the need to shift towards a broad-based multi-disciplinary education to compliment the arts in facing the challenges of globalisation. He enlists science and technology, information theory, mass-media and cybernetic as few examples of key disciplines in such education (Piyadasa: 2000, p58).

Such shift has opened-up a new discursive platform that appears to return to traditional paradigm. Key concepts found in the mystical, spiritual and metaphysical traditions of Hinduism, Buddhism, Taoism, Judaism, Christianity and Islam for examples, can be argued as linguistically comparable with quantum interpretations and propositions of cosmology, reality, human brain, mind and consciousness. Cutting across these traditions is what can be termed as a ‘shared insight’ through the use of ‘sacred geometry’ or the ‘grammar of harmony’ based on spiritual cosmology (TPW, Juniper & Skelly: 2010, p118). In his book The Tao of Physics, Capra (1991), perceives mystical thought as a provider of consistent and relevant philosophical background to the theories of contemporary science, and that scientific discoveries can be in perfect harmony with spiritual aims. Physicist Nassim Haramein on the other hand, coins the terms ‘cosmometry’ in explaining the correlation between sacred geometry and the fundamental geometry of the fabric of spacetime (https://www.facebook.com/Nassim.Haramein.official/).

2.3  From Globalisation to Critical Regionalism

At this junction, it is also pertinent to reflect upon Ismail Zain’s, Sulaiman Esa’s and Piyadasa’s flirtations with physics as an embodiment of a tendency to dissolve classical disciplinary categories especially between the arts and sciences. Such trans-disciplinary tendency has been commonly linked to post-modern deconstructive stance. Yet, the absence of rigid disciplinary demarcation between various disciplines of knowledge can also be traced in many traditional practices, not necessarily a post-modern impulse. In fact, the unity of knowledge and inter-connectivity of all disciplines have been amongst the key aspects of Islamic epistemology. (see Al-Edrus: 1993)  

Nonetheless, it is pertinent to look into Ismail Zain’s take on post-modernism, and the possible post-traditional strategy that can be adopted in regards to tradition:

“In the arts, the decentred, allegorical and ‘deconstructive’ nature of postmodernism is a symptom of a rebellion against the hegemony of a closed system of Modernism. Through its open system, postmodernism, among other things, also takes cognisance of what have been incommensurate for so long with Modernism, i.e. the creative nuclei of other great cultures” (Ismail Zain: 2013, pp143 & 144).

For Ismail, the ASEAN region itself is a nucleus of the great cultures which requires what he refers to as ‘critical self-consciousness’ and awareness of the following predicament:

“A critical balance has to be maintained between removing tradition entirely from the optimisation of advanced technology, as found in urban architecture today, and the ever-present tendency to regress into nostalgic historicism or the glibly decorative, as ASEAN countries have found to their demise, in the revivalism of so-called tradition for tourists. There is a need to acknowledge the dichotomy of Critical Regionalism and World Culture (Ibid, p144).

Borrowing from Kenneth Frampton (1998), Ismail Zain further elaborates the strategy of Critical Regionalism as the following:

“The fundamental strategy of Critical Regionalism is to mediate the impact of the universal with elements derived from its own viable standpoints. Critical Regionalism depends upon maintaining a high level of critical self-consciousness.” (Ismail Zain: 2013, p144)

Post-modernism in this regards, can be taken as a form of deconstructive catalyst rather than a constructive framework for the propositions. For Piyadasa, post-modernist deconstructive stance may place non-Western artists in a unique position to deconstruct certain prescriptive, limiting and absolutist definition of culture and tradition. Whilst acknowledging the pertinence of tradition, it is also important to contest any form of hegemonic, hierarchical and prescriptive notions of cultural identity (Piyadasa: 2000, p58). In facing the cultural challenges of globalisation, non-Western artists in Piyadasa’s opinion, need to be able to construct a more expanded view on culture and tradition beyond ethno-nationalistic confine (Ibid, p66).

Piyadasa advocates Ismail Zain’s ‘autonomous middle position’ in dealing with the cross-cultural reality of globalisation and hyper-relativity of post-modernism (Ibid, p56 & 57). For him, there is a pressing need to “re-think and re-define our assumptions on cultural identity and history”, in order to form a realistic, pragmatic and unified idea of a nation based on the multi-cultural setting of Malaysian society (Ibid, p64).

By referring to Hal Foster and Niranjan Rajah, Piyadasa stresses on the need for non-Western artists to detach from ‘post-colonial reflex dependency’ in encountering the global cultural challenges of post-modernism (Ibid, p57). While Ismail Zain advocates ‘critical self-consciousness’, Piyadasa calls for ‘regional spirit and consciousness’ which can be deployed as the basis of re-approaching tradition.

3.  Key Problem Statements

The following are four key problem statements that can be summarized from the discussion on tradition above:

i.            

The inert linear logic within traditional concept of historicism and modernist linguistic

paradigm is not compatible with Islamic visual tradition.

ii.                    

Such linear logic influences the perception towards tradition as something that belongs

to the past, archaic, uncivilized, backward, under-developed, not scientific, irrational, 

irrelevant and full of superstitions.

iii.                   

Approaching tradition from the paradigmatic and linguistic framing of history and 

material anthropology will not lead to the discovery of ‘inner quality of being’ and ‘sacred 

primary experience’. It will only lead to borrowing and debasing of tradition. Tradition in 

this scenario will only exist as a form of historical awareness and anthropological study, 

not a living one anymore. It may also be manipulated for shallow political ends.

iv.          

The existing disciplinary boundaries, overt specialization and separation between the 

arts and sciences are not encouraging convergence and cross-disciplinary approach.

4.  Research questions

4.1

How can the language of quantum physics be explored to re-approach Islamic visual tradition?

4.2

What new insights can such deployment bring forward in contributing critically to the appreciation of Islamic visual tradition within contemporary context? 

5. Objective

To explore beyond the traditional concept of historicism by looking at how the linguistic paradigm of Islamic visual tradition relate to post-Einstein-quantum paradigm, based on key concepts of quantum physics, specifically in regards to geometry and the grammar of harmony.

6.  Methodology

This paper uses comparative formal and textual analysis of visual samples and textual descriptions. The visual samples and textual descriptions are sourced from selected primary and secondary materials encompassing two fields – physics and Islamic visual tradition. The samples include diagrams, vector graphics, scientific and mathematical visualizations, schematic drawings, motion captures, cymatic images, composite images, 2D artworks and drawings, and photographic documentations. The textual descriptions include selected quotations form physicists, mathematicians, visual artists and theorists. Originally, the research uses eight main themes in discussing the topic. This paper focuses on one of the themes – geometry and the grammar of harmony.