Al-Isra and Al-Mi‘raj between History, Creed, and Art in Timurid and Safavid Arts

Abstract

 This study, entitled Al-Isra and Al-Mi‘raj between History, Creed, and Art, focuses on the Isra and Mi‘raj journey, one of the most important events in Islamic history, as it intertwines historical, doctrinal, and artistic dimensions. The research is divided into four chapters as follows:

The first chapter, the general framework of the study, defines the research problem in the following question: What is the nature of the Isra and Mi‘raj journey between history, creed, and art? The significance and necessity of the research lie in its connection to a pivotal event in the Prophet’s biography. The aim is to examine the Isra and Mi‘raj journey through its historical, doctrinal, and artistic dimensions, and its representation in Islamic art. The spatial boundaries are Persia during the Timurid and Safavid periods, while the temporal boundaries span 1436–1571, within the thematic scope of Islamic illustrated works from these two eras.

The second chapter contains three sections: the first reviews the Isra and Mi‘raj journey historically, the second explores it doctrinally, and the third examines it artistically. The third chapter, Research Procedures, outlines the research population of 20 artworks, from which 5 samples were selected. The researcher employed the descriptive–analytical method to analyze the samples. The fourth chapter presents the findings and conclusions.

Findings include:

1- The Muslim artist succeeded in blending religious and decorative symbolism, giving the work a symbolic dimension that represents the Isra and Mi‘raj as a sacred scene.

2- The journey is depicted as an event in which the material and spiritual worlds intertwine, embodying the Prophet Muhammad’s ﷺ celestial ascent and closeness to God Almighty.

3- Ornamental aesthetics, meticulous detail, and the interplay of light and shadow highlight the creativity of the Muslim artist in presenting religious narratives through an innovative aesthetic approach.

Key conclusions include:          

1- The Muslim artist reinterprets historical accounts, transforming them into impactful visual scenes through artistic treatments that become part of Islamic artistic heritage celebrating the miracle of Isra and Mi‘raj.

2- The symbolism inherent in the Isra and Mi‘raj highlights its aesthetic and intellectual dimensions, portraying the Prophet Muhammad’s ﷺ divine journey between earth and heaven, thus creating a scene that unites ornamental beauty with spiritual elevation.

The study concludes with recommendations, proposals, and references.