Wednesday, April 14, 2021

New collection on Ivan Aguéli

Just published: Anarchist, Artist, Sufi: The Politics, Painting, and Esotericism of Ivan Aguéli, edited by Mark Sedgwick (Bloomsbury). 

14 chapters by 13 scholars, plus English translations of some of Aguéli's own writings. Sections on art (and anarchism) in Paris, Sufism in Cairo, and Traditionalism--influence on René Guénon. and Traditionalist theories of art. 

Chapter 13, "The significance of Ivan Aguéli for the Traditionalist movement," looks directly at Aguéli, Guénon, and later Traditionalists, but the chapters on Aguéli the Sufi will also be of interest to those who are interested in Traditionalism. And the chapters on Aguéli the Anarchist Artist place everything in a wider context.

And as the blurb says, the book shows that "Islam occupied a more central place in modern European intellectual history than is generally realized. [Aguéli's] life reflects several major modern intellectual, political, and cultural trends. This book is an important contribution to understanding how he came to Islam, the values and influences that informed his life, and-ultimately-the role he played in the modern Western reception of Islam."

The table of contents is:

1. Ivan Aguéli: politics, painting and esotericism, Mark Sedgwick (Aarhus University, Denmark)

Part I: Ivan Aguéli, the Anarchist Artist
2. Ivan Aguéli's life and work, Viveca Wessel (formerly Moderna Museet, Sweden)
3. Exploring the territories of the avant-garde: Ivan Aguéli and the institutions of his time, Annika Öhrner (Södertörn University, Sweden)
4. Ivan Aguéli the esotericist in reality and fiction, Per Faxneld (Södertörn University, Sweden)
5. Ivan Aguéli's monotheistic landscapes: From perspectival to solar logics, Simon Sorgenfrei (Södertörn University, Sweden)
6. Painting the sacred as an initiatic path: Art and Cubism in the eyes of Ivan Aguéli, Thierry Zarcone (CNRS, Paris, France)
7. “Kill the audience:” Ivan Aguéli's moralistic utopia of anarchism and Islam, Anthony T. Fiscella (Formerly Lund University, Sweden)

Part II: Ivan Aguéli the Sufi
8. Ivan Aguéli's second period in Egypt, 1902–09: The intellectual spheres around Il Convito/Al-Nadi, Paul-André Claudel (University of Nantes, France)
9. Sufi Teachings for pro-Islamic Politics: Ivan Aguéli and Il Convito, Alessandra Marchi (University of Cagliari, Italy)
10. Ivan Aguéli and the legacy of Emir Abdelkader, Iheb Guermazi (Massachusetts Institute of Technology, USA)
11. Ivan Aguéli's humanist vision: Islam, Sufism and universalism, Meir Hatina (Hebrew University of Jerusalem, Israel)
12. Feminism and the Divine Feminine: An exploration of female elements in Ivan Aguéli and subsequent Traditionalist thought, Marcia Hermansen (Loyola University, USA)

Part III: Ivan Aguéli and Traditionalism
13. The significance of Ivan Aguéli for the Traditionalist movement, Mark Sedgwick (Aarhus University, Denmark)
14. What is esotericism in art? Ivan Aguéli's art versus the Traditionalists' “traditional Art,” Patrick Ringgenberg (University of Lausanne, Switzerland)

Part IV: Writings by Ivan Aguéli
15. Letter from Paris
16. Letter from Ceylon
17. The Enemies of Islam
18. Pure Art
19. Universality in Islam

Bibliography
Index

The book is currently available only in hardback at £85 or $137.60 and on Kindle at £51.11 or $82.80, so get your library to order or it or wait for the paperback. And in the meantime you can read the introduction and bits of some other chapters on Google Books here.

Thursday, April 08, 2021

A new book from Louis Charbonneau-Lassay

Louis Charbonneau-Lassay
(1871-1946), a specialist in Christian symbolism, was a friend of René Guénon, whom he told about the Estoile Internelle, an Christian initiatic organisation that at one point interested the early Traditionalists.

In addition to the Charbonneau-Lassay archives (see earlier post here) we now have a reconstruction of his final great work, Le Vulnéraire du Christ: La mystérieuse emblématique des plaies du corps et du coeur de Jésus-Chris (Gutemberg, 2018), and in English translation, The Vulnerary of Christ: The Mysterious Emblems of the Wounds in the Body and Heart of Jesus Christ (New York: Angelico Press, 2020). A vulnerary is, of course, something used in the cure of wounds. 

The Vulnerary has been reconstituted by Gauthier Pierozak, the manager of the invaluable René Guénon archive at www.index-rene-guenon.org.

Wednesday, March 31, 2021

Traditionalist sympathizer resigns as Brazilian Foreign Minister

Ernesto Araújo, probable Traditionalist sympathizer (see earlier post here), resigned as Brazilian foreign minister on March 29, 2021.

The resignation came as part of a major cabinet reshuffle and in response to growing criticism of Araújo's record, notably in connection with relations with China (and former President Trump) and thus with obtaining supplies of Covid vaccine.

Saturday, March 27, 2021

New book on Ivan Aguéli's impact on René Guénon

A new book, Ivan Aguéli: The Pearl upon the Crown by Oliver Fotros (which seems to be a pseudonym) argues that Ivan Aguéli's influence on René Guénon was far greater than is commonly realized, giving detailed comparisons from both men's writings, and asking why this influence has not been noticed before. The book, which is 110 pages long and self-published, is available from Amazon.

I think Fotros is probably more or less right, and I actually make a similar argument in my chapter on "The significance of Ivan Aguéli for the Traditionalist movement" in the forthcoming (in April) collective work on Aguéli, Anarchist, Artist, Sufi: The Politics, Painting, and Esotericism of Ivan Aguéli (Bloomsbury).

Monday, March 22, 2021

New book on Schuon's thought, including his views on Islam

Patrick Laude has just published a guide to Schuon's thought, Keys to the Beyond: Frithjof Schuon's Cross-Traditional Language of Transcendence (Albany: SUNY Press, 2020; $34.95). Laude, who is himself a Traditionalist, knows Schuon's thought well, and does a good job of explaining and synthesising it, though those without preparation may still find the book hard.

The book's first section has four chapters, starting with a chapter on "Ātman, Māyā and the Relatively Absolute," which explains Schuon's basic metaphysical framework. Then comes "The Avatāric Mystery," Schuon's understanding of "descent" in various contexts. "Upāya: Religion as Relatively Absolute" covers Schuon's understanding of religion as such, and "The Nature of Things and the Human Margin" covers esotericism

The following section consists of two chapters, "Trinitarian Metaphysics" and "Necessary Sufism and the Archetype of Islam." These deal with Schuon's understandings of Christianity and Islam

Then come three chapters on three special topics: "The Divine Feminine." "The Yin-Yang Perspective and Visual Metaphysics," and "The 'Tantric' Spiritualization of Sexuality."

Finally, a chapter on "Esoteric Ecumenism" indicates the place of Schuon within current academic approaches to religious pluralism

One of the most interesting chapters is that dealing with the difficult topic of Schuon's relationship with Islam. Laude's argument is that it is wrong to understand Schuon's thought in Sufi or Islamic terms, even if this is how Seyyed Hossein Nasr tends to see it. "The fact that Schuon himself led most of his adult life within the ritual forms of a particular tradition [Islam] does not in the least invalidate” the fact that on an esoteric and metaphysical level he was supra-confessional (p. 191). He emphasised that esotericism is independent of the various traditional forms (religions), and often critiqued "the intrinsic limitations of the perspectival and theological forms of Abrahamic religions" (193), including Islam.


New article on Traditionalism and the Far Right in Argentina

Just published (online first): Mark Sedgwick, "Traditionalism and the Far Right in Argentina," in Politics, Religion & Ideology, DOI 0.1080/21567689.2021.1904909

According to the abstract,

The Traditionalism of the French esoteric philosopher René Guénon and the Italian esoteric philosopher Julius Evola is important for the Far Right. Guénon’s Traditionalism is primarily religious, but has significant political implications, while Evola’s Traditionalism is primarily political, though retaining its religious grounding. It has been important for the Far Right in Europe, Russia, and North America. As this article shows, Traditionalism has also been important in Argentina, but in ways that differ from patterns observed elsewhere. This article distinguishes three phases in the Argentinian reception of Traditionalism, starting in the 1920s. Guénon was first received in the Argentinian ‘integralist’ Catholic milieu along with other anti-modernists like Jacques Maritain and Nikolai Berdyaev, and then at the Seminary of Paraná in the aftermath of the Tacuara movement. This is remarkable, as elsewhere it is Evola who has a political impact, not Guénon, and Guénon, who dismissed the Catholic Church, is generally ignored by Catholics. During a third phase, following global trends, Evola replaced Guénon, but in more marginal circles. These three phases show the importance of the interaction between transnational influences and national conditions, in this case the unusual position of the Catholic Church in Argentinian political life.

Print version due in volume 22, no. 2. 




Wednesday, January 06, 2021

New articles on the World of Islam Festival of 1976

A number of articles have been published recently dealing with the World of Islam Festival of 1976, held in London, financed mostly by the UAE, and presenting a very Traditionalist perspective of Islamic art, given the major roles played by Titus Burckhardt, Martin Lings, and Seyyed Hossein Nasr.

The most comprehensive article is Klas Grinell, "Framing Islam at the World of Islam Festival, London, 1976," Journal of Muslims in Europe 7, no. 1 (2018): 73–93. https://doi.org/10.1163/22117954-12341365. This (open-access) article is also the only article that fully discusses Traditionalist involvement and perspective. It describes the Festival and its organisation in detail, and identifies two problems with its underlying conception. One is that it understood Islamic art as a single essence ("an art form governed by a few esoteric and timeless principles"), rather than following normal academic practice that looks at art (including Islamic art) in terms of periods, styles, and so on. The other is that it excluded contemporary Islamic art; Islamic art was shown as traditional, in opposition to modernity--which is fine in Traditionalist terms--or alternatively as being "incompatible with contemporary British everyday life," which is more problematic in contemporary (Islamophobic) terms.

Grinell argues that the Festival has a continuing impact today. Even if academic scholars of art were never very impressed by the way the Festival was organized, this has had a lasting impact on museum curators. Grinell does not say which museums he is thinking of, but the Museum of Islamic Art in Doha, Qatar immediately comes to mind. For the adverse reaction of academic scholars of art, Grinell cites an earlier article by Oleg Grabar, "Geometry and Ideology: The Festival of Islam and the Study of Islamic Art," in A Way Prepared, Essays on Islamic Culture in Honor of Richard Bayly Winder, ed. Farhad Kazemi and R. D. McChesney (New York: New York University Press, 1988), pp. 145-52. This has been republished and is also available online, at https://archnet.org/publications/5019.

A similar but less comprehensive article in French is Monia Abdallah, "World of Islam Festival (Londres 1976) : Naissance d’un nouveau paradigme pour les arts de l’Islam," Revue d'art canadienne / Canadian Art Review  39, no. 1, 2014, pp. 1-100. https://doi.org/10.7202/1026192ar. Abdallah broadly agrees with Grinell (or rather, Grinell follows Abdallah), and makes similar arguments.

Another article is Anneka Lenssen, "'Muslims to Take Over Institute for Contemporary Art:' The 1976 World of Islam Festival," Middle East Studies Association Bulletin 42, no. 1/2 (Summer/Winter 2008): 40-47. https://www.jstor.org/stable/23063541. Tis has a good discussion of the exhibition at the the Hayward Gallery.

One further article on the Festival does not engage in these discussions, but tells a good story: Rachel Ainsworth and Sarah Worden, “Jean Jenkins: Music and the 1976 World of Islam Festival,” Journal of Museum Ethnography 28 (2015): 184–197. www.jstor.org/stable/43915897.