Chapter 2 Science and art: Anatomical illustrations in early Islamic optics: A Written Response

March 24, 2024

This text inherently aims to analyze and respond to the topic of a chosen paper. As such, it focuses on the very purpose of the selected text. Such includes the provision of a general understanding of the analyzed text, what it is about, conveys, and such a work’s overall thesis. Additionally, the element of opinion is present in what the chosen text aims to communicate and in the response portion of this writing. As such, these elements are subjective, although rooted in presented facts.

            The central text of this discussion is Chapter 2 Science and art: Anatomical illustrations in early Islamic optics, written by Perri Sparnon. This writing centers around the Islamic people and their contributions to anatomical studies, particularly within the ocular region. This text seeks to highlight the contributions made to this field, showcasing this group’s extensive understanding of such a complex part of human anatomy. Demonstrations of this knowledge manifested in informative illustrations, being a display of art and sciences harmonizing. This element is vital as it is the basis for all the points made within the text.

            The complex yet comprehensive illustrations primarily support the thesis. These artworks, presented as evidence of sophisticated knowledge regarding anatomy and optics among Islamic scholars, excel at depicting the illustrated material. These works show a progression of knowledge and a meticulous understanding. As the artwork shown is labeled, one can truly appreciate how scholars dissected and understood the intricate workings of this body part. Additionally, this pursuit of knowledge is shown to have a clear priority, as dissection for this purpose was far from a taboo subject, being “strongly encouraged by the important status of ʿilm in Islam.”[1]             

The text underscores the interdisciplinary nature of the Islamic Golden Age, where art and science were not separate entities but interconnected disciplines. This age, characterized by significant advancements in various fields, including anatomical studies, is a source of inspiration. The use of art in conjunction with science enhanced the final product. It enriched the process, particularly with anatomical depictions, where “a work of art is a direct and faithful representation of natural phenomena.”[2]

            Not only do these displays illustrate how the Islamic people garnered prestige within such a field, but they also relate to facets of readings from other areas. Similarly to O. Benesch’s LEONARDO DA VINCI AND THE BEGINNING OF SCIENTIFIC DRAWING, the points strongly emphasize using art and science in unison to create high-quality work. “The artist and the scientist are interdependent” encapsulates this mentality eloquently and puts into perspective how such intertwine to create such well-crafted works of art.[3] Additionally, Malak A et al.’s writing, An untold story: The important contributions of Muslim scholars for the understanding of human anatomy, further highlights the contribution of these people. While far less focused on ocular matters, this text signifies that these people were the ones who developed a “new theory of vision, which formed the basis for future knowledge in this subject.”[4]

            Inherently, this text delves into the Islamic people’s understanding of the ocular region but fails to explore much outside the topic. Although beneficial to the discussion, I would consider more general knowledge regarding anatomical depictions beneficial, primarily to get a sense of scope for just how advanced these works were for their time. That said, the use of various images chronicling the evolution of such depictions was quite informative. While providing a clear visual of the topic, it allows one to better grasp the advancements as they occurred. Overall, the writing offers a look into the Islamic people's impact on the field of anatomical illustration and the place such had within sciences. While it fails to look much into other aspects, it adequately details the chosen focus.

[1] Sparnon, Perri. Chapter 2 Science and art: Anatomical illustrations in early Islamic optics. pp. 35. 2019. Jstor. https://www.jstor.org/stable/j.ctvb4bt41.10?searchText=Science+and+Art+Anatomical+Illustrations+in+Early+Islamic+Optics.&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DScience%2Band%2BArt%253A%2BAnatomical%2BIllustrations%2Bin%2BEarly%2BIslamic%2BOptics.%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A292315cba3ee758b04d67e4940b22c68&seq=16.

[2] Sparnon. pp. 34. 2.

[3] O Benesh. LEONARDO DA VINCI AND THE BEGINNING OF SCIENTIFIC DRAWING. pp. 327. 1943. Jstor. https://www.jstor.org/stable/27826007?searchText=LEONARDO+DA+VINCI+AND+THE+BEGINNING+OF+SCIENTIFIC+DRAWING&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DLEONARDO%2BDA%2BVINCI%2BAND%2BTHE%2BBEGINNING%2BOF%2BSCIENTIFIC%2BDRAWING%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A72ac32e24085f7310130b6a6de93178d&seq=17.

[4] Malak A et. Al. An untold story: The important contributions of Muslim scholars for the understanding of human anatomy. 2016. The Anatomical Record. https://anatomypubs.onlinelibrary.wiley.com/doi/10.1002/ar.23523.