Introduction:
We are often confronted with a profound aesthetic question: What is the place of the arts and aesthetic taste within our Islamic civilizational vision?
Why do we sometimes feel a sense of awe—whether before a voice reciting the Quran with tajwid (melodic precision), a captivating melody, a stunning painting, or a breathtaking natural landscape?
Is this feeling merely a base, animalistic pleasure, or is it a manifestation of the spirit—a touch of Divine beauty within this universe?
Here arises what I consider the most challenging question: How do we interpret religious texts that appear, on the surface, to prohibit such things, without falling into the trap of sweeping generalizations or outright denial?
In this article, I attempt to answer these questions from the perspective of the “Civilizational Islam” advocated by the Syrian Future Movement. I draw upon scriptural texts, philosophy, jurisprudence, and the historical experience of Muslims, while remaining open to contemporary intellectual critique. My aim is to outline a civilizational vision of beauty and the arts that befits the dignity of the human being whom God has honored.
First: Beauty as a Divine Mystery and Reality:
At the heart of the Islamic vision of life lies a fundamental principle: beauty is not merely an adornment; it is an existential reality that flows from the Creator to the created. The Prophet (peace be upon him) stated—as recorded by Muslim in his Sahih—”Indeed, God is Beautiful and loves beauty.” This foundational hadith reflects that beauty is a Divine attribute and that the love of beauty is an innate quality embedded within the human soul. Imam Abu Hamid al-Ghazali (d. 505 AH/1111 CE) laid a profound philosophical foundation for this perspective by dividing beauty into two categories: “the outward form perceived by the physical eye, and the beauty of the inner form perceived by the eye of the heart and the light of insight. The former is perceived by children and animals, while the latter is perceived by the people of the heart—a realm not shared by those who know only the outward aspect of worldly life.”
This fundamental distinction reveals that the appreciation of beauty is, at its core, a unique spiritual faculty possessed only by those who hold a beautiful, discerning soul.
Al-Ghazali went even further, discussing “knowledge of the reason why souls are moved by sounds” and describing it as belonging to the “subtleties of the science of spiritual unveiling” (mukashafat). There is a divine mystery in the effect of melody upon the soul—one grasped only by those whose souls have been purified and whose emotions have been refined. This renders the appreciation of beauty itself a divine miracle, for it transcends mere sensory perception, evolving into a psychological resonance captured by the “artistic sense” or the “capacity to appreciate beauty.”
Secondly: Religious Texts—Between Apparent Rulings and Purposive Contexts:
When addressing texts that appear on the surface to prohibit music and singing, one cannot treat them in isolation from their historical and situational contexts; indeed, accomplished jurists have been meticulous in deconstructing these contexts.
To begin with, we find that the prohibition of singing and musical instruments—in many scholarly opinions—was linked to specific, immoral contexts. Singing gatherings—common during the pre-Islamic era and the early days of Islam—were overwhelmingly associated with entertainment, alcohol, immorality, and debauchery. Numerous scholars have noted that when such gatherings are accompanied by these forbidden elements and licentious behavior, they are deemed prohibited by consensus. Consequently, a significant school of jurisprudential thought holds that the prohibition was not directed at the melody or a pleasant voice in themselves, but rather at the objectionable acts and extraneous circumstances surrounding them. This principle was articulated by jurists who focus on the objectives of Sharia (Maqasid), most notably Sheikh Yusuf al-Qaradawi in modern times; he maintained that singing and music are permissible provided they are free from obscenity, forbidden language, and mannerisms characterized by affectation, effeminacy, or incitement to lust, and do not distract one from fulfilling religious obligations.
Furthermore, the detailed analyses of early jurists regarding this issue reveal considerable flexibility. Imam Ibn Hazm al-Zahiri (d. 456 AH/1064 CE), for instance, argued in his book Al-Muhalla for the absolute permissibility of singing and musical instruments; he questioned the authenticity of the hadiths citing a prohibition and cited instances of Companions and their Successors (Tabi‘un) listening to music. Conversely, although the majority of jurists—such as the Hanafis, Shafi‘is, and Hanbalis—took a strict stance against string instruments and wind instruments (like the barbat and tanbur), they made exceptions for certain instruments on specific occasions, such as permitting the duff (tambourine) at weddings and Eid celebrations, and—according to some—authorizing the use of drums during war or the Hajj pilgrimage. Indeed, Imam Abu Hamid al-Ghazali dedicated a specific section—”The Book of the Etiquette of Listening and Spiritual Ecstasy” (Kitab Adab al-Sama’ wa al-Wajd)—within his magnum opus, The Revival of the Religious Sciences (Ihya’ ‘Ulum al-Din). He titled its first chapter “On the Disagreement Among Scholars Regarding the Permissibility of Listening and Clarifying the Truth Therein,” ultimately concluding that listening is permissible provided it is not accompanied by factors that render it forbidden—such as the arousal of corrupt desires or association with gatherings where alcohol is consumed.
This nuanced detail presents us with a significant methodological principle: that a jurisprudential ruling hinges upon its underlying cause (‘illah). At its core—and in terms of the objectives of Sharia (maqasid)—the issue is not about “vocal arts” as a human phenomenon, but rather the “context” in which they are practiced and the purpose for which they are employed.
Thirdly, who are “those who will be transformed into apes and swine”?
When examining texts that warn of such transformation, a precise reading is essential. The relevant Hadith speaks of “peoples who deem al-hur [illicit sexual relations], silk, alcohol, and musical instruments to be lawful.” That is, they “deem them lawful”—regarding these forbidden acts as permissible—and persist in engaging in them without any regard for ethical boundaries.
In this context, the term dayyuth (cuckold) appears in the writings of various jurists, referring to a man who condones indecency within his household and lacks a sense of protective jealousy regarding his family’s honor. In certain texts, this term is linked to musical gatherings where melodic entertainment is coupled with obscenity. However, closer reflection reveals that the focus is not on the act of “listening” itself, but rather on the “moral degradation” that erodes one’s sense of honor and dignity. This aligns with the perspective that distinguishes between the “instinct-driven seeker of the licentious”—who drags the human being down to the level of the animal—and the “connoisseur of beauty”—who elevates the human being to the level of the spirit.
As for the “connoisseurs of beauty,” they stand in stark contrast. They view art as a gateway to the spirit, a melody as a message to the heart, and a painting as a contemplation of the mysteries of creation. They do not seek the gratification of instinct, but rather the “meaning” that lifts them from the earth to the heavens. It is of such people that the Prophet (peace be upon him) spoke when he heard Abu Musa al-Ash’ari reciting the Quran, saying: “He has been given one of the musical instruments of the family of David” (narrated by Al-Bukhari and Muslim), thereby praising his beautiful voice.
Here, the fundamental difference becomes clear: the seeker of the licentious descends, while the connoisseur of beauty ascends.
The former sees the body, while the latter sees the spirit; the former seeks pleasure, while the latter… …seeking beauty.
Metamorphosis is not a punishment for “listening” or “looking,” as it might appear, but rather for descending to the level of an animal despite possessing the capacity to rise to the level of a human being.
Fourth: Islamic Artistic Heritage
History bears conclusive witness that Muslims, during their eras of flourishing, were not enemies of art; on the contrary, they were among the most artistically gifted peoples in history. Islamic civilization saw the flourishing of architecture, Arabic calligraphy, ornamentation (arabesque), pictorial art, music, and song. The Hejaz was one of the major centers of art in the Islamic world, while Baghdad reached the pinnacle of musical development during the Abbasid era. The Arabs were known to utilize 204 types of musical instruments, the most famous being the oud (lute), the qithara (lyre/zither), and the nay (flute).
Today, despite a relative decline, the market for Islamic art remains a significant economic and cultural phenomenon. In 2023, sales of Islamic art pieces at major auction houses reached $57 million. In 2025, the Aga Khan collection of Islamic art achieved sales totaling £45.7 million at a single auction in London. Furthermore, UNESCO estimates indicate the existence of 761 museums across Arab countries, including those dedicated to Islamic art.
Regarding the music industry, the Middle East and North Africa region recorded 22.8% growth in recorded music revenues in 2024—the highest growth rate among all global regions. Studies indicate that 96.6% of young people (aged 18–24) in certain Muslim societies listen to music almost daily. Furthermore, a study on Muslim youth in Pakistan revealed a “strong correlation between religiosity and a love for music.”
These figures do more than merely reflect the scale of the phenomenon; they highlight a stark contradiction between the rhetoric of “total prohibition” on the one hand, and the social reality experienced by Muslims on the other. It is precisely this contradiction that necessitates a re-examination of the jurisprudential approach to music and the arts.
Fifth: Counter-arguments:
In the interest of scholarly integrity, it is necessary to present counter-arguments objectively. The majority of jurists across the four schools of thought maintain that musical instruments (ma‘āzif) are forbidden, basing their position on the Hadith: “There will be people among my Ummah who will deem lawful illicit sexual relations, silk, alcohol, and musical instruments” (narrated by Al-Bukhari). Ibn Taymiyyah reported that “the four Imams held that it is not permissible to possess instruments of amusement.” They also cited the Quranic verse: “And of the people is he who buys the amusement of speech to mislead [others] from the way of Allah” (Luqman: 6), which some Companions—such as Ibn Mas‘ud—interpreted as referring to singing.
However, despite their apparent strength, these arguments are subject to several observations:
First: The authenticity of the “musical instruments” Hadith is a matter of dispute; Ibn Hazm deemed it weak, whereas others authenticated it. Second: Interpreting the phrase “idle talk” (lahw al-hadith) as singing is a plausible—but not definitive—interpretation; some exegetes have interpreted it otherwise, defining it broadly as anything that leads people astray from the path of God, without specific restriction.
Third: The prohibition is explicitly linked to istihlal—that is, regarding the forbidden act as lawful while persisting in it—rather than merely listening to it without believing it to be forbidden.
Fourth: Jurists themselves have made exceptions for the duff (frame drum) at weddings, the drum in warfare, pilgrims’ chants, and camel-driving songs (huda’). This indicates that the underlying reason for the ruling lies not in the “sound” itself, but in the context and purpose.
These observations do not negate the existence of a genuine jurisprudential disagreement; rather, they confirm that the issue is a matter of ijtihad (independent legal reasoning) rather than a settled, absolute certainty, and that the jurist must balance texts, objectives, and reality.
Sixth: Towards a Civilizational Vision—Beauty as Part of Divine Stewardship (Istikhlaf):
In light of the foregoing, it becomes clear that the Islamic civilizational vision adopted by the Syrian Future Movement offers a comprehensive framework for understanding the arts and beauty:
First: Beauty is an inherent divine right; it is a fundamental reality of existence, an attribute of God (who is al-Jamil—the Beautiful), and a manifestation of His power within the universe.
Second: The capacity to appreciate beauty is a divine gift bestowed upon those with beautiful souls; it is an “artistic sense” that transcends outward perception to reach inner insight.
Third: The arts are a means for elevation, not degradation; indeed, art can serve as an “ascension” that lifts the human being from clay to light, or as an “abyss” that plunges them into the depths. The deciding factors are intention, context, and impact. Fourthly, there is the ethical criterion, as opposed to blind prohibition. The standard here does not stop at the literal ruling in isolation from its underlying rationale; rather, it links the ruling to the “ethical and purposive interests” established by Sharia. If art refines the soul, elevates taste, and reinforces values, it is considered “innately permissible” (halal). Conversely, if it crudely arouses base instincts, degrades dignity, and promotes vice, it is deemed “ethically forbidden” (haram).
Finally, during its golden ages, Islamic art served as a “civilizational bridge” between East and West, a window to the world, and a medium for expressing identity and fostering cross-cultural communication.
Conclusion:
In conclusion, it can be said that Islam, viewed from this perspective, does not fear the arts but welcomes them. It does not fear beauty; rather, it regards it as one of “God’s mysteries” in the universe. Nor does it fear aesthetic appreciation; instead, it views it as a “divine miracle” worthy of reverence.
Texts that appear on the surface to mandate prohibition are contextual; they addressed a society in which the arts were often used as “tools of seduction” and “instruments of corruption.” Today, however, as art has become a “universal language” for communication and expression, we must re-examine these texts in light of their true objectives: safeguarding morality without destroying beauty.
Those who appreciate beauty are not the ones transformed into apes and swine; rather, they are the ones who “see God in everything”—hearing the Creator’s melody in the murmuring of water, the rustling of leaves, the singing of birds, and the beauty of the human voice. As for the “grotesque,” it belongs to those who view beauty merely as a “commodity,” an “instinct,” or a “fleeting pleasure,” failing to see it as a “message,” a “spirit,” or an “ascension.”
Ultimately, beauty is an “invitation to God,” and the true connoisseur is, at heart, a “caller to God.” Thus, Islam is not an enemy of art; rather, it is the “patron of art” and the “guardian of beauty”—for “beauty is truth, and truth is beauty,” and the two cannot conflict.
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