Arabic & Islamic Magic

This striking portrait depicts a sage or philosopher, characterized by a long, flowing white beard and an intense, weathered expression. The bold use of red and blue creates a powerful visual contrast, suggesting the intellectual and spiritual depth of the figure. It likely serves as a representation of the author of the text, 'Ghayat al-Hakim' (The Goal of the Wise), a famous medieval work on magic and astrology.

This 4x4 grid, known as a magic square or 'wafq', features specific Arabic letters arranged according to mystical principles. Such diagrams were central to the occult sciences in the Islamic world, where they were believed to possess protective qualities or the power to manifest specific spiritual outcomes.

This woodcut depicts a scorpion, likely serving as a talismanic or astrological symbol within the text. Such illustrations were common in early modern Arabic manuscripts and printed books dealing with the occult sciences and astrology, where specific images were believed to harness celestial influences for protection or healing.

This plate illustrates three Egyptian talismans used for protection and spiritual invocation. The larger bronze tablet is inscribed with the names of angels and Jinn, alongside magical formulas, representing the syncretism of orthodox Islamic belief and ancient animistic practices in early 20th-century Egypt.

This photograph captures the interior courtyard of the Al-Azhar Mosque in Cairo, one of the world's oldest and most prestigious centers of Islamic learning. The image highlights the daily life of students receiving instruction amidst the mosque's classical architecture, and features a traditional sundial used to determine the hours of prayer. In the context of Zwemer's work, this image serves to ground the study of Islamic practices within their historical and institutional settings.

This ornate frontispiece showcases the exquisite artistry of Islamic manuscript tradition, featuring intricate Arabic calligraphy set within elaborate decorative borders. The composition includes several circular seals at the base, likely indicating ownership or institutional provenance, and exemplifies the fusion of text and ornament in early modern scholarly works.

This plate presents detailed architectural plans for the shrines of El-Badriyeh and Irdjâl el-Amûd, as well as a sketch of the enclosing wall of el-Mansûri. These technical drawings are crucial for understanding the spatial organization and structural elements of Palestinian Muslim sanctuaries as documented by Taufik Canaan in 1927.