How does the increasing use of smartphones and social media impact the traditional aniconism in Islam? In this article, we explore the historical origins of aniconism, its influence on art, and its relevance in modern Moroccan society.
Interestingly, the Quran does not explicitly prohibit visual representations. In fact, several verses describe God as “the greatest creator and designer”.
In early Islamic art from Persia and Central Asia, images of the Prophet Muhammad and other religious figures were common. However, these illustrations were never widespread and became increasingly rare over time. Instead, Islamic art developed a strong focus on writing and calligraphy, which were considered the highest forms of artistic expression.
Hadiths and the aniconism in Islam
The earliest written references to a religious image ban appear in Hadith literature from the late 8th century. Canonical collections such as Sahih al-Bukhari and Sahih Muslim, compiled between 870 and 915, contain multiple accounts of the Prophet Muhammad expressing disapproval of visual representations. According to these traditions, houses containing images were considered impure.
Some Hadiths strongly condemn image-making and warn of severe punishments in the afterlife for those who create images.
Key Hadiths on aniconism
Several Hadiths are particularly relevant to the Islamic prohibition on images:
- “The people who will be most severely punished on the Day of Resurrection are the image-makers.”
- “Those who make these images will be punished on the Day of Resurrection, and it will be said to them: ‘Bring to life that which you have created.’”
- “The Angels do not enter a house in which there is an image.”
- “When a righteous man dies among them, they would build a place of worship over his grave and put those images in it. They are the most evil of mankind before Allaah.”
- “Whoever makes an image in this world will be commanded to breathe the soul into it on the Day of Resurrection, and he will not be able to do that.”
Over time, cultural and religious traditions reinforced these perspectives. It is important to note, however, that Islamic scholars continue to debate the interpretation and application of these Hadiths in modern times. Many argue that these traditions were context-specific and do not constitute a universal prohibition.
Christian vs. Islamic art
In Christianity, the depiction of God and the saints evolved positively over time. The Byzantine Church experienced a major debate over religious imagery, which was resolved in favor of iconography in 843. This led to a rich tradition of religious art and symbolism in Christian churches, where images became an integral part of worship.
In contrast, Islamic art remained largely without images. Mosques avoid depictions of living beings, as images are considered impure and are believed to prevent the presence of angels. While there were some exceptions in early Islamic history, the prohibition against religious imagery became widely accepted in the Islamic world.
Impact of aniconism on Islamic art
Because of the restrictions on visual representation, Islamic art emphasized calligraphy as the highest form of artistic expression. Architecture and ornamental design flourished, while depictions of humans and animals were largely avoided. The result was a unique aesthetic, reflected in stunning structures such as the Bahia Palace in Marrakech. Islamic art is characterized by complex geometric patterns and floral motifs, often combined with religious texts.
The absence of figurative imagery also had an impact on scientific and technological advances, as sketches and drawings—essential tools in many fields—were limited.
Aniconism in Morocco
For centuries, Morocco maintained a tradition of avoiding depictions of nature and people. Portraits of rulers were nearly unknown until the 20th century, and critical reflections on the human form played a minor role in artistic expression. Today, portraits of King Mohammed VI are commonly displayed in shops, cafés, and restaurants.
Despite these traditions, modern Moroccan society is becoming more open to Western cultural influences. The widespread use of smartphones and social media has significantly reduced the relevance of traditional aniconism in daily life. Young Moroccans actively engage in social media, sharing photos and videos, gradually changing long-standing perspectives on visual representation.
Modern perspectives
The traditional aniconism in Islam is increasingly being challenged by the rise of smartphone culture, selfies, and Instagram. Nevertheless, the hesitation to show religious figures remains strong in many parts of the Islamic world. In Morocco, there is still some reluctance regarding photography, which tourists should keep in mind when visiting.
The modern Islamic world faces the challenge of balancing traditional values with contemporary realities. While the Saudi royal family appears on banknotes and in photographs, depictions of Prophet Muhammad remain forbidden in many Sunni-majority countries. This ongoing tension between tradition and modernity influences Islamic art and culture and fuels debates about the role of images in society.
Conclusion on aniconism in Islam
Aniconism in Islam is a complex issue shaped by historical and cultural factors. While it led to a strong emphasis on calligraphy and architecture in Islamic art, it also had a wider impact on scientific and cultural development.
In Morocco, these traditions remain visible in society, although modern technology is gradually reshaping attitudes toward visual representation. The future of Islamic art and culture will depend on how well traditional values are integrated with the demands of the modern world.
