Samer Akkach – författare

A fascinating exploration of how the transcendent is expressed in the spatial sensibility of premodern Islam.This fascinating interdisciplinary study reveals connections between architecture, cosmology, and mysticism. Samer Akkach demonstrates how space ordering in premodern Islamic architecture reflects the transcendental and the sublime. The book features many new translations, a number from unpublished sources, and several illustrations.Referencing a wide range of mystical texts, and with a special focus on the works of the great Sufi master Ibn Arabi, Akkach introduces a notion of spatial sensibility that is shaped by religious conceptions of time and space. Religious beliefs about the cosmos, geography, the human body, and constructed forms are all underpinned by a consistent spatial sensibility anchored in medieval geocentrism. Within this geometrically defined and ordered universe, nothing stands in isolation or ambiguity; everything is interrelated and carefully positioned in an intricate hierarchy. Through detailed mapping of this intricate order, the book shows the significance of this mode of seeing the world for those who lived in the premodern Islamic era and how cosmological ideas became manifest in the buildings and spaces of their everyday lives. This is a highly original work that provides important insights on Islamic aesthetics and culture, on the history of architecture, and on the relationship of art and religion, creativity and spirituality.

In this unique look at a key figure in the ‘Islamic enlightenment’, Samer Akkach examines the life and works of ‘Abd al-Ghani al-Nabulusi (1641-1731). Often characterized solely as a Sufi saint, his thought and teachings were of a much wider remit, and symptomatic of a growing rationalism among Islamic scholars during his lifetime. Through a fresh reading of his large body of mostly unpublished works, Akkach argues that ‘Abd al-Ghani helped to herald the beginning of modernity in the Arab world. Samer Akkach is Senior Lecturer in Architecture, History, and Theory, and Founding Director of the Centre for Asian and Middle Eastern Architecture (CAMEA) at the University of Adelaide, Australia.

In this unique look at a key figure in the ‘Islamic enlightenment’, Samer Akkach examines the life and works of ‘Abd al-Ghani al-Nabulusi (1641-1731). Often characterized solely as a Sufi saint, his thought and teachings were of a much wider remit, and symptomatic of a growing rationalism among Islamic scholars during his lifetime. Through a fresh reading of his large body of mostly unpublished works, Akkach argues that ‘Abd al-Ghani helped to herald the beginning of modernity in the Arab world.

Despite the growing interest in the intellectual history of early modern Arabs and Ottomans, many key figures of the period remain unknown. In this unique biographical account, edited and published here for the first time, Muḥammad Kamāl al-Dīn al-Ghazzī (1760-1799), the chief Shafi‘i jurisconcult of Damascus, introduces us to one of the leading figures of early modernity, ‘Abd al-Ghanī al-Nābulusī (1641-1731). Being al-Nābulusī’s great grandson, al-Ghazzī had direct access to the family’s collective memory through his parents and grandparents, as well as to his great grandfather’s scattered memoirs. Written about fifty years after al-Nābulusī’s death, al-Ghazzī’s biography, al-Wird al-Unsī, remains the authoritative account of the great master’s distinguished career, covering many aspects of his life and work in breadth, depth, and sophistication unmatched by any of the competing biographies.

Naẓar, literally ‘vision’, is a unique Arabic-Islamic term/concept that offers an analytical framework for exploring the ways in which Islamic visual culture and aesthetic sensibility have been shaped by common conceptual tools and moral parameters. It intertwines the act of ‘seeing’ with the act of ‘reflecting’, thereby bringing the visual and cognitive functions into a complex relationship. Within the folds of this multifaceted relationship lies an entangled web of religious ideas, moral values, aesthetic preferences, scientific precepts, and socio-cultural understandings that underlie the intricacy of one’s personal belief. Peering through the lens of naẓar, the studies presented in this volume unravel aspects of these entanglements to provide new understandings of how vision, belief, and perception shape the rich Islamic visual culture.Contributors: Samer Akkach, James Bennett, Sushma Griffin, Stephen Hirtenstein, Virginia Hooker, Sakina Nomanbhoy, Shaha Parpia, Ellen Philpott-Teo, Wendy M.K. Shaw.

Numinous Fields has its roots in a phenomenological understanding of perception. It seeks to understand what, beyond the mere sensory data they provide, landscape, nature, and art, both separately and jointly, may mean when we experience them. It focuses on actual or potential experiences of the numinous, or sacred, that such encounters may give rise to. This volume is multi-disciplinary in scope. It examines perceptions of place, space, nature, and art as well as perceptions of place, space, and nature in art. It includes chapters written by art curators, and historians and scholars in the fields of landscape, architecture, cultural geography, religious studies, philosophy, and art. Its chapters examine ideas, objects, and practices from the ancient time of Aboriginal Australians’ Dreaming through to the present. The volume is also multi-cultural in scope and includes chapters focussed on manifestations of the sacred in indigenous culture, in cultures influenced by each of the world’s major religions, and in the secular, contemporary world. Foreword by Jeff MalpasContributors: Samer Akkach, James Bennett, Veronica della Dora, Alasdair Forbes, Virginia Hooker, Philip Jones, Russell Kelty, Muchammadun,Tracey Lock, Ellen Philpott-Teo, John Powell, Rebekah Pryor, Wendy Shaw.