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NEW MEANINGS OF GEOMETRY ABOUT ISLAMIC ART ?
NEW MEANINGS OF GEOMETRY ABOUT ISLAMIC ART ?
Brief reflection by the Italian geometric abstract artist painter Attilio Taverna about Ghazali’ s “ Mishkat Al-Anwar “ and quantum physics resume of “ wave-particle math-model “ .
Attilio Taverna ‘s site : www.beepworld.it/members/attiliotaverna
Al –Jazeera reportage : http://www.youtube.com/watch?v=tszxGOQMlXI
Television service on my painting. Realized in my Studio/Atelier
by an Al-jazeera troupe from Paris to Bassano del Grappa. Italy.
The reportage has been broadcasted by Al Jazeera television network
on last September 17th 2008.
Social network of Architecture : http://www.myarchn.com/profile/AttilioTaverna
Canadian Aesthetic Journal : http://www.uqtr.ca/AE/vol_4/foisy.htm
My interview by the director of philosophy department of Quebec University at Trois Riviers,
Canada , prof. Suzanne Foisy .
The Sura no. 24 “An-Nur” verse no. 35 of the Koran recites: “God is the light of skies and earth and looks like a niche for lights in which it is a lamp, and the lamp is on a crystal, and the crystal is like a shining star.
God is Light on Light…”
Now, following for a short time a theological perspective, Ghazali Abou Hamid, the greatest recognized philosopher-theologian of Islam, has commented on this extraordinary and enigmatic Koranic verse on light in a book written approximately in the year 1100, and called “Niche for Lights” or better in the original classic Arabic language: “Mishkat al – anwar”.
In this beautiful book Ghazali says quickly that only God is the true light. The term given light by various sources is just a metaphor that does not answer at all to truth. With regard to the effects of light and to the perception of it he also says that it is exact to speak about light as a light capable of producing “a vision” rather than to say of the light that it only allows things to be seen.
A visual light rather than seen light.
If the celestial lights, from which they reach the terrestrial lights, belong to a hierarchy, to such an order that one reaches from the other, then every successive light in this order is always closer to the divine source, therefore for the same reason it is worthiest because it is more elevated in the same order of lights.
Now the intelligible lights are all inserted in an order that is not an infinite series, but rise up to the divine source, that is light in itself and for itself; which does not receive light from other sources and from which instead all the lights according to their order and are irradiated from.
“…Therefore it remains absolutely clear that the truth with regard to the name “light” has had above all to the extreme Light.
Here, because God is Light on Light…”
Al–Ghazali says: “I assert without hesitation that the name “light” for other things that are not the last extreme “Light” is only a metaphor, because every other thing considering in itself, does not possess its light own, but light that reaches to them on loan from light that in its turn does not have in itself the same foundation, but in other things..”
Therefore, the true light is only The One in whose hands are “The Creation and the Order”.
Ghazali says addressing his student: “…know that the world is twofold, spiritual and material; you can also say if you want: sensitive and intelligible. If you consider them in connection with the eye that perceives them you say: sensitive and intelligible.
Since you have learned the concepts of two worlds, you know that the world of the Kingdom is an invisible world, being such to the majority of the men.
The world of the senses is that of sensitive perception since they perceive it at all. It is the place where the intelligible world raises itself.
If there were not between the two “a correspondence and a mutual relationship” it would be crossed that way in order to proceed from one to the other, then it would also be impossible to proceed for man towards the Presence of the Lord and to reach near to the highest God.
The divine thought has put the world of the sensitive perception “in correspondence” with the world of the Kingdom….”
“..Those who they have comprehended this warning are those who have caught up the degree of brightness of the “Crystal” in the sense that we will give here of continuation to “Crystal”.
While you learn that the world of the imagination becomes for the Prophet like a crystal, a niche for the lights, filter of the mysteries, scales for the intelligible world, we can thus know that this image of crystal is real, and behind it there is the mystery.”
Ghazali continues: …”…how excellent is the image of the crystal supplied by the imagination for the acquisitions of the Intellect…in the world of sensitive perception these characteristics, in relation to the physical light, we will not find in any other places than in the crystal. Therefore the crystal is the best image for the imaginative spirit…
Thus it is right to say that the crystal is the receptacle of the lamp, and the niche the receptacle of the crystal…therefore the lamp is in the crystal and the crystal is in the niche…the crystal is like a shining star…so, with all these lights, being one over the other, it is right that: God is Light on Light.”
My little analysis now :
Ghazali’ s metaphorical concept of light as “ crystal-vision” and the concept of “ formal nature of light” in quantum physics could formally intersect themselves and they could also appear in an astonishingly aesthetic way.
We could also say (always remaining within an Islamic cultural context) that Ghazali’s metaphorical concept of light as “ crystal-vision”, represents a happy intuition of what physics, or better, quantum mechanics, would uncover 1400 years later.
That is to say: the truth of the formal nature of light by the Islamic religion and the scientific truth on the same “formal nature of light” reached by quantum physics in the last century could coincide in a symbolic image of the declination of crystalline light.
My aesthetic experience shows exactly this symbology of the crossing and overlapping of truth about the “formal nature of light” in the visible dimension of painting.
The concept of light in “quantum physics”
Approximately, as you well know, 60 years ago, a branch of physics called “quantum mechanics or quantum physics” reached the unequivocal experimented conclusion that light possesses a “formal structure”.
(Tubingen, Germany 1960 - Jonhson)
Of what did this “formal structure” of light consist?
It consisted of the scientific evidence that “the formal structure of light” was constituted by the complementariness of the mathematical model called :wave-particle-math-model.
That is to say: the manifest light in the sensitive world presents itself by the forms of the undulatory vibration of electromagnetic fields or by the forms of swarms of particles.
The formal structure of light is the complementariness of the light of being at same time “wave and particle”.
This is the conceptual acquisition on the formal structure of light that belongs to all the world of contemporary science: light possesses a formal structure described by the mathematical model wave-particle.
Now we soon come to comprehend the two perfectly equivalent mathematical descriptions that describe one, the behaviour of the wave and the other, the behaviour of the particle.
The mathematical description of the particle is known as Heisenberg”s description after the German physicist who found it in 1925. It is also called “the squareness description” because many tetrahedic and square forms are involved in it. The typical form of the particle in the end is: squareness.
The other one, known as Schroedinger’s description after the Austrian physicist who found it in 1927, is also known as the “undulatory description” because its immense complexity involves undulatory forms only. The typical form of the wave in the end is: vibration.
So, the formal structure of light possesses a vectorial way to create the space-time - reality - and at the same time it is represented by squareness forms and undulatory forms together.
Question: can we see, can we have a visual representation of this formal structure of light?
Answer: yes, if we succeed in transposing – by imagination - those concepts (that exist in the infinitely small world) to the level of scale in which visual perception operates.
Who can do this ? The faculty of imagination can only be made as the faculty of the visual formal structure concepts of man.(I. Kant – “Critique of Pure Reason”)
Better: art can do it, painting – and only painting – because only painting can produce a visual representation of the formal structure of light.
I shall try to explain this better in an other way: if we have before our eyes all the formal development of the two mathematical equivalent descriptions of quantum mechanics concerning light, that of squareness and the undulatory one, and we abstract their essential forms, their hegemonic forms, we obtain in relation to the first one’s description the simple “square form”“ as its hegemonic form. And the simple “wave form” in relation to the other one’s description.
Finally, if we use these two forms together “the square and wave forms” in a very complex visual representation, that is to say in an aesthetic-experience, a painting at last, what do we obtain?
We obtain the vision (in the painting), of the representation of the formal structure of light and its vectorial way of creating space-time as quantum physics says by its incontrovertible evidence.
And therefore: we can see (in the painting) the infinite declinations of light as a symbology of an infinite, never ending crystal, or quasi crystal shown by a painted image only, because the possibilities of declination of light are without end thus we can have by painting the sensible idea of the infinite space-time. This is the real meaning of “crystal and quasi crystal-vision”: my painting.
All of this following both scientific and aesthetic perspectives together.
The “crystal and quasi crystal -vision”, however, and therefore (understood as Ghazali’s concept of light) is the sensitive limit of the representation of light, the extreme limit of the sensitive world.
For Ghazali’s concept of light, after this sensible limit, only the intelligible lights are opened: those divine lights that for theological definitions do not belong to the sensitive world.
In order to end – and with all possible humility - what it is being looked at, what does my aesthetic-experience in my painting come to represent?
It comes to represent the last visual possibility of the formal structure of light in the sensitive world: the idea of the infinite declination of the light as a “crystal and quasi crystal– vision”.
A last observation of a scientific order: in this moment there is in the knowledge of cosmological science a theory that to the state has not been still scientifically experimented. But it has many possibilities of being scientifically confirmed in the very near future.
According to this cosmological theory, the Universe in itself is constituted as an immense infinite formal invisible topology like a crystal, or better, a “quasi-crystal”.
That is to approximately say: in this crystal or quasi-crystal invisible topology – that the entire Universe is – light and its vectorial way of creating space-time giving us the infinite experience of a multiplication of luminous truth and reality .
Thanks,
attilio taverna - geometric abstract artist/painter
Academic references :
Prof. Osvaldo Da Pos - ( Psycology of Perception - Padua University - ) mail : osvaldo.dapos@unipd.it
Prof. Maddalena Mazzocut- Mis - ( Aesthetics - Statale University of Milan ) : Mazzocut@tin.it
phon : +39 2 50312724
Prof. Lamberto Rondoni - ( Politecnico di Torino- Math-Department ) mail: rondoni@calvino.polito.it
phon : +39 11 5647533
Prof. Nicoletta Sala - ( Accademia di Architettura - Università Svizzera Italiana ) : nsala@arch.unisi.ch
phon : +41 58666 5xxx
Prof. Paolodiego Bubbio ( The University of Sidney Department of Philosophy ) paolodiego.bubbio@arts.usyd.edu.au
phon : +61 2 90366335
Prof. Suzanne Foisy - ( Aesthetics- Quebec University- Dep. of Philosophy ) mail : Suzanne.Foisy@uqtr.ca
Prof. Giovanni Boniolo ( Philosophy of Science - Padua University -Firc Institute- Milan )
mail : giovanni.boniolo@ifom-ieo-campus.it
Prof. Franco Pastrone ( Torino University- Mathesis Association- Math. Department ) franco.pastrone@unito.it
phon : +39 11 6702825
Brief reflection by the Italian geometric abstract artist painter Attilio Taverna about Ghazali’ s “ Mishkat Al-Anwar “ and quantum physics resume of “ wave-particle math-model “ .
Attilio Taverna ‘s site : www.beepworld.it/members/attiliotaverna
Al –Jazeera reportage : http://www.youtube.com/watch?v=tszxGOQMlXI
Television service on my painting. Realized in my Studio/Atelier
by an Al-jazeera troupe from Paris to Bassano del Grappa. Italy.
The reportage has been broadcasted by Al Jazeera television network
on last September 17th 2008.
Social network of Architecture : http://www.myarchn.com/profile/AttilioTaverna
Canadian Aesthetic Journal : http://www.uqtr.ca/AE/vol_4/foisy.htm
My interview by the director of philosophy department of Quebec University at Trois Riviers,
Canada , prof. Suzanne Foisy .
The Sura no. 24 “An-Nur” verse no. 35 of the Koran recites: “God is the light of skies and earth and looks like a niche for lights in which it is a lamp, and the lamp is on a crystal, and the crystal is like a shining star.
God is Light on Light…”
Now, following for a short time a theological perspective, Ghazali Abou Hamid, the greatest recognized philosopher-theologian of Islam, has commented on this extraordinary and enigmatic Koranic verse on light in a book written approximately in the year 1100, and called “Niche for Lights” or better in the original classic Arabic language: “Mishkat al – anwar”.
In this beautiful book Ghazali says quickly that only God is the true light. The term given light by various sources is just a metaphor that does not answer at all to truth. With regard to the effects of light and to the perception of it he also says that it is exact to speak about light as a light capable of producing “a vision” rather than to say of the light that it only allows things to be seen.
A visual light rather than seen light.
If the celestial lights, from which they reach the terrestrial lights, belong to a hierarchy, to such an order that one reaches from the other, then every successive light in this order is always closer to the divine source, therefore for the same reason it is worthiest because it is more elevated in the same order of lights.
Now the intelligible lights are all inserted in an order that is not an infinite series, but rise up to the divine source, that is light in itself and for itself; which does not receive light from other sources and from which instead all the lights according to their order and are irradiated from.
“…Therefore it remains absolutely clear that the truth with regard to the name “light” has had above all to the extreme Light.
Here, because God is Light on Light…”
Al–Ghazali says: “I assert without hesitation that the name “light” for other things that are not the last extreme “Light” is only a metaphor, because every other thing considering in itself, does not possess its light own, but light that reaches to them on loan from light that in its turn does not have in itself the same foundation, but in other things..”
Therefore, the true light is only The One in whose hands are “The Creation and the Order”.
Ghazali says addressing his student: “…know that the world is twofold, spiritual and material; you can also say if you want: sensitive and intelligible. If you consider them in connection with the eye that perceives them you say: sensitive and intelligible.
Since you have learned the concepts of two worlds, you know that the world of the Kingdom is an invisible world, being such to the majority of the men.
The world of the senses is that of sensitive perception since they perceive it at all. It is the place where the intelligible world raises itself.
If there were not between the two “a correspondence and a mutual relationship” it would be crossed that way in order to proceed from one to the other, then it would also be impossible to proceed for man towards the Presence of the Lord and to reach near to the highest God.
The divine thought has put the world of the sensitive perception “in correspondence” with the world of the Kingdom….”
“..Those who they have comprehended this warning are those who have caught up the degree of brightness of the “Crystal” in the sense that we will give here of continuation to “Crystal”.
While you learn that the world of the imagination becomes for the Prophet like a crystal, a niche for the lights, filter of the mysteries, scales for the intelligible world, we can thus know that this image of crystal is real, and behind it there is the mystery.”
Ghazali continues: …”…how excellent is the image of the crystal supplied by the imagination for the acquisitions of the Intellect…in the world of sensitive perception these characteristics, in relation to the physical light, we will not find in any other places than in the crystal. Therefore the crystal is the best image for the imaginative spirit…
Thus it is right to say that the crystal is the receptacle of the lamp, and the niche the receptacle of the crystal…therefore the lamp is in the crystal and the crystal is in the niche…the crystal is like a shining star…so, with all these lights, being one over the other, it is right that: God is Light on Light.”
My little analysis now :
Ghazali’ s metaphorical concept of light as “ crystal-vision” and the concept of “ formal nature of light” in quantum physics could formally intersect themselves and they could also appear in an astonishingly aesthetic way.
We could also say (always remaining within an Islamic cultural context) that Ghazali’s metaphorical concept of light as “ crystal-vision”, represents a happy intuition of what physics, or better, quantum mechanics, would uncover 1400 years later.
That is to say: the truth of the formal nature of light by the Islamic religion and the scientific truth on the same “formal nature of light” reached by quantum physics in the last century could coincide in a symbolic image of the declination of crystalline light.
My aesthetic experience shows exactly this symbology of the crossing and overlapping of truth about the “formal nature of light” in the visible dimension of painting.
The concept of light in “quantum physics”
Approximately, as you well know, 60 years ago, a branch of physics called “quantum mechanics or quantum physics” reached the unequivocal experimented conclusion that light possesses a “formal structure”.
(Tubingen, Germany 1960 - Jonhson)
Of what did this “formal structure” of light consist?
It consisted of the scientific evidence that “the formal structure of light” was constituted by the complementariness of the mathematical model called :wave-particle-math-model.
That is to say: the manifest light in the sensitive world presents itself by the forms of the undulatory vibration of electromagnetic fields or by the forms of swarms of particles.
The formal structure of light is the complementariness of the light of being at same time “wave and particle”.
This is the conceptual acquisition on the formal structure of light that belongs to all the world of contemporary science: light possesses a formal structure described by the mathematical model wave-particle.
Now we soon come to comprehend the two perfectly equivalent mathematical descriptions that describe one, the behaviour of the wave and the other, the behaviour of the particle.
The mathematical description of the particle is known as Heisenberg”s description after the German physicist who found it in 1925. It is also called “the squareness description” because many tetrahedic and square forms are involved in it. The typical form of the particle in the end is: squareness.
The other one, known as Schroedinger’s description after the Austrian physicist who found it in 1927, is also known as the “undulatory description” because its immense complexity involves undulatory forms only. The typical form of the wave in the end is: vibration.
So, the formal structure of light possesses a vectorial way to create the space-time - reality - and at the same time it is represented by squareness forms and undulatory forms together.
Question: can we see, can we have a visual representation of this formal structure of light?
Answer: yes, if we succeed in transposing – by imagination - those concepts (that exist in the infinitely small world) to the level of scale in which visual perception operates.
Who can do this ? The faculty of imagination can only be made as the faculty of the visual formal structure concepts of man.(I. Kant – “Critique of Pure Reason”)
Better: art can do it, painting – and only painting – because only painting can produce a visual representation of the formal structure of light.
I shall try to explain this better in an other way: if we have before our eyes all the formal development of the two mathematical equivalent descriptions of quantum mechanics concerning light, that of squareness and the undulatory one, and we abstract their essential forms, their hegemonic forms, we obtain in relation to the first one’s description the simple “square form”“ as its hegemonic form. And the simple “wave form” in relation to the other one’s description.
Finally, if we use these two forms together “the square and wave forms” in a very complex visual representation, that is to say in an aesthetic-experience, a painting at last, what do we obtain?
We obtain the vision (in the painting), of the representation of the formal structure of light and its vectorial way of creating space-time as quantum physics says by its incontrovertible evidence.
And therefore: we can see (in the painting) the infinite declinations of light as a symbology of an infinite, never ending crystal, or quasi crystal shown by a painted image only, because the possibilities of declination of light are without end thus we can have by painting the sensible idea of the infinite space-time. This is the real meaning of “crystal and quasi crystal-vision”: my painting.
All of this following both scientific and aesthetic perspectives together.
The “crystal and quasi crystal -vision”, however, and therefore (understood as Ghazali’s concept of light) is the sensitive limit of the representation of light, the extreme limit of the sensitive world.
For Ghazali’s concept of light, after this sensible limit, only the intelligible lights are opened: those divine lights that for theological definitions do not belong to the sensitive world.
In order to end – and with all possible humility - what it is being looked at, what does my aesthetic-experience in my painting come to represent?
It comes to represent the last visual possibility of the formal structure of light in the sensitive world: the idea of the infinite declination of the light as a “crystal and quasi crystal– vision”.
A last observation of a scientific order: in this moment there is in the knowledge of cosmological science a theory that to the state has not been still scientifically experimented. But it has many possibilities of being scientifically confirmed in the very near future.
According to this cosmological theory, the Universe in itself is constituted as an immense infinite formal invisible topology like a crystal, or better, a “quasi-crystal”.
That is to approximately say: in this crystal or quasi-crystal invisible topology – that the entire Universe is – light and its vectorial way of creating space-time giving us the infinite experience of a multiplication of luminous truth and reality .
Thanks,
attilio taverna - geometric abstract artist/painter
Academic references :
Prof. Osvaldo Da Pos - ( Psycology of Perception - Padua University - ) mail : osvaldo.dapos@unipd.it
Prof. Maddalena Mazzocut- Mis - ( Aesthetics - Statale University of Milan ) : Mazzocut@tin.it
phon : +39 2 50312724
Prof. Lamberto Rondoni - ( Politecnico di Torino- Math-Department ) mail: rondoni@calvino.polito.it
phon : +39 11 5647533
Prof. Nicoletta Sala - ( Accademia di Architettura - Università Svizzera Italiana ) : nsala@arch.unisi.ch
phon : +41 58666 5xxx
Prof. Paolodiego Bubbio ( The University of Sidney Department of Philosophy ) paolodiego.bubbio@arts.usyd.edu.au
phon : +61 2 90366335
Prof. Suzanne Foisy - ( Aesthetics- Quebec University- Dep. of Philosophy ) mail : Suzanne.Foisy@uqtr.ca
Prof. Giovanni Boniolo ( Philosophy of Science - Padua University -Firc Institute- Milan )
mail : giovanni.boniolo@ifom-ieo-campus.it
Prof. Franco Pastrone ( Torino University- Mathesis Association- Math. Department ) franco.pastrone@unito.it
phon : +39 11 6702825
Attilio Taverna's Photos
Attilio Taverna's Blog
NEW POSSIBLE ISLAMIC ART- SCIENCE RELATION
NEW POSSIBLE ISLAMIC ART- SCIENCE RELATION
A new cultural perspective for Islamic Art & Architecture
My web site : www.beepworld.it/members/attiliotaverna
Al –Jazeera reportage : http://www.youtube.com/watch?v=tszxGOQMlXI
Television service on my painting. Realized in my Studio/Atelier
by an Al-jazeera troupe from Paris to Bassano del Grappa. Italy.
The reportage has be… Continue
A new cultural perspective for Islamic Art & Architecture
My web site : www.beepworld.it/members/attiliotaverna
Al –Jazeera reportage : http://www.youtube.com/watch?v=tszxGOQMlXI
Television service on my painting. Realized in my Studio/Atelier
by an Al-jazeera troupe from Paris to Bassano del Grappa. Italy.
The reportage has be… Continue
Posted on January 7, 2010 at 2:58pm —
“ Geometry as language of man’s inner and outer space “.
Lecture held at the Museum of Modern Art - Udine – Italy, by the artist Attilio Taverna, on May 19 th, 1994.
“ Geometry as language of man’s inner and outer space “.
Isabelle Reale ( director ) :
The presence of Attilio Taverna is particularly meaningful in the series of meetings we are holding on the relationship between art and science : there is in fact a close relationship between the theoretical research in the field of physics, mathematics and, above all, of the philosophy of art, of a… Continue
“ Geometry as language of man’s inner and outer space “.
Isabelle Reale ( director ) :
The presence of Attilio Taverna is particularly meaningful in the series of meetings we are holding on the relationship between art and science : there is in fact a close relationship between the theoretical research in the field of physics, mathematics and, above all, of the philosophy of art, of a… Continue
Posted on January 7, 2010 at 2:56pm —
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yes, quantum physics is a very very important scientific theory. With " general relativity " by Einstein they are both
togheter the maximum scientific theories of the entire history of humanity. Just to say : all the experiments said that they are possibile of being wrong about 3 partes on 10 billions parts !
As to say: if something is true in the world, well these two theories are surely true !
Quantum physics said to us many things about light formal nature. As my aesthetic -experience, my painting,
is an interrogation on formal nature of light - logically I was obliged to know what quantum physics teaches to us about light. Anyway, you write to me about everything..I will answer to you...where are you living ? Ciao, attilio
very intresting. Quantum physics is a subject which i like to discover.
What about you?
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thanks for your invitation to see the vacancies of your hotel....but I wonder : have you seen my page
at the site ? From where derived to you the idea that I am looking for a job in your hotel ?
Ciao, an Italian geometric artist/painter from...Venice...
Address: 16 Collin ham Road, London, SW5 0LX,
United Kingdom.
ambassador.hotel.london@gmail.com
http://www.ambassadorshotellondon.co.uk
I am Mary Lufford the manager of Ambassadors Hotel, I wish to inform you about the current job vacancies in our hotel.The Hotel needs workers to fill in different categories of job openings. The Hotel management will take care of your air ticket, visa fee, feeding and accommodation in the Hotel premises.If you have interest to join us, Send your resume c.v/or any of your qualifications to the Hotel administrative-office email:
ambassador.hotel.london@gmail.com
Signed
Mary Lufford.