Traditionalism now available in Swedish

Mark Sedgwick, Traditionalism: The Radical Project for Restoring Sacred Order (Pelican Books) is now available in Swedish, as Den eviga ordningen: Filosofisk mystik och den radikala högern (The Eternal Order: Philosophical Mysticism and the Radical Right), Stockholm: Fri Tanke, 294 kr. (buy it here). The Traditionalists' traditional order was indeed eternal as well as sacred. Introduction by David Thurfjell.

The cover (click on it for enlargement) is by the Swedish artist Fredrik Söderberg (see here) and features a tiger in honor of Julius Evola and the snake of cyclical time. An unusual touch is that the back cover features what look like wine stains, as Söderberg thought that a book about the tradition should not look brand new.

Traditionalism and Eastern Orthodoxy: Call for contributions

The reception of Traditionalism has been better studied in some contexts than in others. This Call invites proposals for chapters in a forthcoming multi-author book to be entitled The Reception of Traditionalism in Eastern Orthodoxy: Mysticism and Politics, edited by Mark Sedgwick. Contributors will be invited to an authors’ workshop in Belgrade in March 2027 to discuss pre-circulated drafts (expenses covered by the organizers).

Topics to be covered include: Traditionalism in interwar Romania: Mircea Eliade and his circles; Traditionalism in Yugoslavia and Serbia; Eastern Orthodox Traditionalism in the West: James Cutsinger, Philip Sherrard, and John Tavener; Traditionalism in late-Soviet and early post-Soviet Russia; Traditionalism in Ukraine, Belarus, post-Communist Romania, and b; Aleksander Dugin and the development of Traditionalist Eurasianism; and perhaps also Traditionalism in Bulgaria, Moldova, and/or Georgia.

Chapters should cover the reception of Traditionalism in the country(ies) and period(s) in question, explaining who transmitted and developed Traditionalist thought, what aspects were stressed, glossed over, and further developed, and how this relates to the context of the place(s) and time(s).

Brief proposals (500 words), including a proposed title, should be sent to Mark Sedgwick (mjrs@cas.au.dk) before midnight CET on February 15, accompanied by a biographical note that mentions relevant prior publications. Feel free to send more than one proposal. On the basis of these proposals, actual chapters will be commissioned as soon as possible, to be researched and drafted before March 2027.

The authors’ workshop will refine the drafts and allow us to discuss how the reception and development of Traditionalism in Eastern Orthodoxy differs from what happened in the Catholic and Protestant West, and in Latin America, and to explore what this tells us about Traditionalism, mysticism, politics, and Eastern Orthodoxy.

“Traditionalism” as used in this Call refers to those working with the idea of an esoteric primordial tradition as developed by René Guénon. The book will not cover forms of traditionalism that have no connection with Guénon.

This project is funded by the Templeton Religion Trust through the Program in the Study of Mysticism (PRISM) at Tampere University, Finland.

Peter Lamborn Wilson on Frithjof Schuon

This blog already has several posts on the anarchist Peter Lamborn Wilson (1945-2022), also known as Hakim Bey, one of the most remarkable former Traditionalists. See here. One (here) reports an assurance that although Lamborn Wilson was definitely “in the circle of Nasr,” he was not actually a Maryami.

Daoud El-Alquist Bey of the Moorish Orthodox Church has drawn my attention to an interview conducted shortly before Lamborn Wilson's death in which he discusses the Maryamiyya. It is with Tamas Panitz, in Conversazione (Autonomedia 2022), pp 91–97. In this interview, Lamborn Wilson makes it clear that he was indeed a Maryami.

Lamborn Wilson said he followed Frithjof Schuon because he (LW) followed Seyyed Hossein Nasr, and Nasr followed Schuon. When he met Schuon, he found him charismatic. “He was overwhelming. He'd blow you away with his absolute assurance that he was god on earth.” He became disenchanted, however, because there seemed to be one rule for “soldiers” like himself, and another rule for Schuon “and his inner circle.” “Soldiers” had to be “orthodox” and pray and fast and abstain from alcohol, but as Schuon was an avatar (divine incarnation), these rules did not apply to him. One evening in London, where Lamborn Wilson moved after leaving Tehran, he was walking across a bridge over the Thames and “I just had this vision of one of the Ismaili lmams… who told me to go drink a bottle of wine, and quit being Orthodox. So I did.”

Another moment of disenchantment came when he was talking to the British painter Cecil Collins (1908–1989) after having tea with the Neoplatonist poet Kathleen Raine (1908–2003), who “was one of the people who inspired me to get away from the Schuonites” and lived in the same house as Collins. Collins “had seen [Schuon’s paintings] and he said to me you know everything that Frithjof Schuon believes in is the exact opposite of what he does in his paintings. They're sentimental, they're like Hallmark greeting cards. Suddenly my eyes were opened, I said by god Cecil you're right, they're like Hallmark greeting cards. You can be under a spell with things like that, and not see them.”

Traditionalism in Turkish cultural life: for further investigation

A new open-access article points to a possible new direction in the study of the impact of Traditionalism on twentieth-century Turkish cultural life. It is Büşra Çakmaktaş, “From Cinema to Sufism: The Artistic and Mystical Life of Turkish Screenwriter Ayşe Şasa (1941–2014),” Religions 2025, 16, 787, available here. 

Çakmaktaş writes that the Turkish film-maker Ayşe Şasa (1941–2014) read Guénon and Lings, and “frequently referred to the works of these intellectuals… and adopted their metaphysical and spiritual perspectives on Islam as a guiding framework for her artistic works.” The article does not give any examples of this, however, and instead points to general “Sufi” influences on Şasa and her work, deriving from Ibn Arabi and Rumi. Şasa was a Jerrahi, attending the Istanbul tekke led by Safer Dal (1926–1999), the successor of Muzaffer Ozak (1916-1985), who made a big impact in the West through his visits to New York in the 1980s.

The writings of Şasa cited by Çakmaktaş are Yeşilçam Günlüğü (Yeşilçam Diaries, 1993) and Delilik Ülkesinden Notlar (Notes from the Land of Madness, 2006). In Yeşilçam Günlüğü, a long passage is quoted from Lings' What is Sufism  on “the correspondence between inner and outer vision, and between signs in the material world and divine meanings.” “This field offers untouched treasures for cinematic interpretations based on a metaphysical understanding,” wrote Şasa. In Notlar, Guénon is cited four times, mostly as saying that knowledge of the infinite is the only true knowledge, but also as ascribing the crisis of the modern world to the loss of traditional civilization, a proposition with which Şasa explicitly agrees.

These two books certainly indicate familiarity with the Traditionalists, but not exactly their use “as a guiding framework.” More research is needed.

Evola’s two translations of the Dàodéjīng

In a new article, Davide Marino has traced the development of Julius Evola’s thought by comparing his two translations of the Dàodéjīng, one published in 1923 and the other in 1959. It is “The Tao of Julius Evola,” Vienna Journal of East Asian Studies (2024), available here (open access).

According to the abstract,

Evola had no knowledge of the Chinese language, and his works were retranslations of materials available at his time to which he added his own personal ideas…. [He moved] from an interpretation of the Dàodéjīng characterised by a mix of Dadaism, Hegelian Idealism, and occultism to a version in line with Traditionalism… [but] despite changing his vocabulary and sources, Evola continued to seek confirmation of his solipsistic theory of the ‘Absolute Individual’ in the ancient Chinese text.

Traditionalist-inspired Bosnian art

A new article deals with a Sufi- and Traditionalist-inspired Bosnian artist, Meliha Teparić (born 1978). It is “Diving Deep into the Word of God: A Sufi Approach to Religious and Trans-Religious Images” by Haris Dervišević and Meliha Teparić, Religions 2024, 15(12), 1525, available open access here. 

Shown to the left is one of three versions of Teparić’s Gens Una Sumus [We are one people] (2017-2018), which shows the Virgin Mary in a mihrab, and is inspired by Frithjof Schuon’s conception of the transcendent unity of religions, and also by the Maryami understanding on the figure of Mary. It is especially relevant in Bosnia, where the sectarian divisions that emerged during the Bosnian War of 1992-1995 are still not fully resolved.

As well as the work shown, Teparić has also worked with re-imagined Arabic calligraphy, as can be seen on her website at http://melihateparic.com/paintings/.

Her work is inspired not only by Islam and Maryami Traditionalism, but also by “the abstract forms of artists like Kazimir Malevich, Piet Mondrian, Barnett Newman, Mark Rothko, and Ad Reinhardt.” This synthesis might be seen as not very traditional, but “Her deconstruction of Islamic calligraphy is not an act of rejection but rather a method of renewal—an attempt to bring the script into conversation with contemporary art while preserving its spiritual significance.”

Teparić graduated from the Academy of Fine Arts at the University of Sarajevo in 2002. In 2003 she joined the Naqshbandi tariqa of Shaykh Mesud Hadžimejlić (1937-2009), who came of a long line of Bosnian Naqshbandi shaykhs, and whose son Ćazim Hadžimejlić (born 1964) was teaching calligraphy at the Academy of Fine Arts. Professor Hadžimejlić later succeeded his father as Shaykh Ćazim.

A Traditionalist Initiatic Novel

In his new book on Serbian literature and esotericism 1957–2000 (Српска књижевност и езотеризам 1957–2000, vol. 2 in the series Подземни Ток, Belgrade: Službeni Glasnik, 2020), Professor Nemanja Radulovic of the University of Belgrade devotes a chapter entitled “Portrait of a Traditionalist” to the Serbian painter, essayist, novelist and political commentator Dragoš Kalajić (1943-2005), already discussed in a previous post here, based on a 2020 article by Branislav Jakovljević. 

Radulovic adds a lot of detail to Jakovljević’s article, covers the whole of Kalajić's career, and helps answer the question I asked at the end of my last post: what Kalajić’s distinctive contribution to Traditionalist thought was. 

Radulovic argues convincing that whenever René Guénon and Julius Evola differed, Kalajić followed Evola, and also that where de differed from both Guénon and Evola was in his emphasis on the Slavs as the bearers of tradition. Here and in his views on international relations he comes close to Alexander Dugin who, according to Radulovic, he knew, and whose politics he echoed during the 1990s and 2000s, though it is unclear to what extent he was influenced by Dugin and to what extent he came to similar conclusions independently. 

What appears as Kalajić’s distinctive contribution to Traditionalism, however, was his “initiatic” novel Kosmotvorac (Cosmocreator; Belgrade: Beletra, 1989), cover pictured above. This, as Radulovic shows, is very much built on an Evolian view of things. It is set in the future and deals with the trial of members of the defeated Ordo explorarum (Order of Explorers), which is based on the actual Order of Templars, and led by an Elder Yalomed, a reverse anagram of the name of the actual Templar Grand Master (Jacques) de Molay. One of the monks of the Order is even called Alovej, J. Evola in reverse. 

The Ordo explorarum teaches that there is a divine spark in man, and seeks to replace the diversity of manifestation with original unity. Its members “preserve the doctrine of the restoration of the primordial state, the seeds of which they are to carry into the next cycle.” They also represent the male principle of order against the gynecocratic government, which defeats them, and is then itself defeated in a terrorist attack aided by alchemy. Kosmotvorac is, in Radulovic’s view, an initiatic novel not just because it tells of an initiatic journey, but also because it seeks to alter the reader.

New book on Traditionalist thought published (coming soon in US)

Mark Sedgwick, Traditionalism: The Radical Project for Restoring Sacred Order is now available in Europe and Canada. Readers in the US will have to wait until July 6. 

Official UK price is £25, but Amazon.co.uk is selling for £22 and £12.99 on Kindle. In Canada, $53.95 and $17.99 Kindle, and in Europe €22.19 and £18.75 Kindle. 

One of the first reviews is in The Scotsman, and says (in part) "This very fine book is a forensic look at the movement and its influence, and has several points where you both realise something and ponder 'why did I never realise that?'” That is rather what I had hoped for.

The book looks at the intellectual foundations of Traditionalism, its application both to various projects, and "post-Traditionalism." Each chapter looks first at the general intellectual background to the issue it discusses, and then at Traditionalist understandings, starting in most cases with René Guénon and ending as much as possible with living Traditionalists.

Forthcoming book on Traditionalist thought

One of the criticisms that have been made of my original Against the Modern World is that I did not pay enough attention to Traditionalist thought. I agree, and therefore a new book will come out in June 2023 focusing on ideas: Traditionalism: The Radical Project for Restoring Sacred Order. The book is a companion to Against the Modern World, not a replacement--it goes over different ground.

The publishers are Oxford University Press in the US (see cover without tree) at $29.95 (pre-order here) and Pelican in the UK (see cover with tree) at £22 or £9.99 on Kindle (pre-order here). Two very different covers, but the text is the same. 

 

The chapters are:

INTRODUCTORY
1. Traditionalism and the Traditionalists  
2. Historical perennialism  
 
PART I: FOUNDATIONS
3. Traditionalist perennialism   
4. Traditionalist history   
5. The Traditionalist critique of modernity   
6. Traditionalism, thought, and society    

PART II: CORE PROJECTS
7. Self-realization    
8. Religion    
9. Politics    

PART III: FURTHER PROJECTS
10. Art    
11. Gender    
12. Nature    
13. Dialogue  
  
PART IV: POST-TRADITIONALISM
14. The radical right   
 
CONCLUDING
15. Conclusion    

Aguéli book now available in paperback

René Guénon was initiated into Sufism in 1910 by Ivan Aguéli (Abd al-Hadi), who was also influential in the very earliest development of Traditionalism. The 2021 collection on Aguéli, Anarchist, Artist, Sufi: The Politics, Painting, and Esotericism of Ivan Aguéli, was originally published in hardback and priced for library sales, but is now available in paperback at the more reasonable price of $39.95/£28.99, with a further discount if bought direct from the publisher, Bloomsbury, at www.bloomsbury.com.

The National Bolsheviks as counter-cultural art

The Russian Traditionalist Alexander Dugin first came to prominence in the 1990s as one of the leaders of the National Bolshevik Party (NBP; Национал-большевистская партия). A new book covers these years remarkably well. It is Fabrizio Fenghi's It Will Be Fun and Terrifying: Nationalism and Protest in Post-Soviet Russia (Madison: University of Wisconsin Press: 2020). The title cites an early NBP slogan sometimes cited by an artist who is now a member of Dugin's Eurasian Movement.

The book makes clear that the NBP should not be taken entirely seriously as a political party. Dugin was its ideologue, and its leading figure was the novelist Eduard Limonov (1943-2020). Fenghi's point of departure is Limonov's earlier fiction, especially his most famous novel, It's Me, Eddie (Это я — Эдичка), written in 1976 and published in 1979. This extremely counter-cultural novel was itself influenced by the New York punk scene, as Fenghi argues, and the NBP was in some ways the continuation of the novel. He uses interviews as well as textual sources to show that there was politics, but there was also music, art--especially performance art--and a lot of counter-culture. The NBP owed much of its success to its newspaper Limonka (Лимонка), which can be read as an alternative art and music magazine almost as easily as it can be read as a political newspaper. There was a specific NBP style of dress, and many NBP actions were close to performance art (which is one reason they were so effective). They were, suggests Fenghi, one of the inspirations of the actions of the later (and ideologically very different) group Pussy Riot.

Dugin, as is known, left the NBP in 1998. Fenghi suggests that this was because his and Limonov's political styles were so different. At one point he says that "Dugin and his followers were mostly interested in pursuing cultural and quasi-academic activities" while "Limonov wanted the party to become a ‘real political force,’ with activists who were directly involved in various forms of propaganda and mass mobilization” (p. 116). Later, however, he says that “Eurasianism aims at producing actual political change through mass manipulation” (p. 168), which I think is closer to the truth. Certainly there were different styles, and it might be argued that in the end Dugin was too serious about the content of his politics to keep company forever with Limonov. The Eurasian Movement was very different from the NBP. Fenghi does analyse the aesthetics of the Eurasian Movement  and there doubtless is an aesthetic, and some artists are indeed inspired by Eurasianism, but no-one could argue that the Eurasian Movement is primarily aesthetic or artistic, though it is still in some ways counter-cultural. Fenghi understands its importance in terms of the impact of Dugin's Foundations of Geopolitics (Основы Геополитики) and of the Eurasian Movement's massive internet presence.

The counter-cultural aesthetics of the NBP continued after Dugin left it, and to some extent still continue in the NBP's successor, Drugaya Rossiya (Другая Россия). It still includes artists and poets as well as fighters, despite its close engagement in the conflict in the Eastern Ukraine. 

Fenghi explains why he decides to avoid the discussions of what Fascism is and whether the NBP was fascist, and in this connection notes that in answering such questions it is important to pay attention to a group's relationship with power and with institutions, not just its published ideology. This is a good point.

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.

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.

Forthcoming book on Aguéli

Forthcoming from Bloomsbury in late 2020 or early 2021: Anarchist, Artist, Sufi: The Politics, Painting, and Esotericism of Ivan Aguéli, edited by Mark Sedgwick.

Contents as follows:

1. Ivan Aguéli: politics, painting, and esotericism—MARK SEDGWICK

PART I: Ivan Aguéli the Artist 
2. Ivan Aguéli’s life and work—VIVECA WESSEL
3. Exploring the territories of the avant-garde: Ivan Aguéli and the institutions of his time—ANNIKA ÖHRNER
4. Ivan Aguéli the esotericist, in reality and fiction—PER FAXNELD
5. Ivan Aguéli’s monotheistic landscapes: From perspectival to solar logics—SIMON SORGENFREI
6. Painting the sacred as an initiatic path: Art and cubism in the eyes of Ivan Aguéli—THIERRY ZARCONE

PART II: Ivan Aguéli’s Politics 
7. Kill the Audience: Ivan Aguéli’s universal utopia of anarchism and Islam—ANTHONY T. FISCELLA
8. Sufi Teachings for pro-Islamic Politics: Ivan Aguéli and Il Convito—ALESSANDRA MARCHI
9. Feminism and the Divine Feminine: An exploration of female elements in Ivan Aguéli and subsequent Traditionalist thought—MARCIA HERMANSEN

PART III: Ivan Aguéli’s Sufism 
10. Ivan Aguéli's second period in Egypt, 1902–09: The intellectual spheres around Il Convito/Al-Nadi—PAUL-ANDRÉ CLAUDEL
11. Ivan Aguéli and the Islamic Legacy of Emir ʿAbd al-Qadir—IHEB GUERMAZI
12. Ivan Aguéli’s Humanist vision: Islam, Sufism, and Universalism—MEIR HATINA

PART IV: Ivan Aguéli and Traditionalism 
13. The Significance of Ivan Aguéli for the Traditionalist Movement—MARK SEDGWICK
14. What is esotericism in art? Ivan Aguéli’s art versus the Traditionalists’ “traditional Art”—PATRICK RINGGENBERG

PART V: Writings by Ivan Aguéli 
15. Letter from Paris—IVAN AGUÉLI
16. Letter from Ceylon—IVAN AGUÉLI
17. The Enemies of Islam—ABDUL-HADI EL MAGHRABI [IVAN AGUÉLI]
18. Pure Art—ABDUL-HÂDI [IVAN AGUÉLI]
19. Universality in Islam—ABDUL-HÂDI [IVAN AGUÉLI]

Heidegger, Traditionalism, and Iranian theories of art

A new chapter in a collection on Heidegger in the Islamicate World (Rowman & Littlefield, 2019) discusses the impact of Heidegger and on post-revolutionary Iranian art theory, and on the art theory of Seyyed Hossein Nasr, the Traditionalist successor of Frithjof Schuon in the United States. It is “Heidegger’s Role in the Formation of Art Theory in Contemporary Iran” by Amir Nasri, an Iranian scholar (pp. 55-67).

Nasri’s starting point is the Hawza-i andishe ve hunari islami (School of Islamic Thought and Art), known for short as the Hawza-i hunari (School of Art), the Tehran-based organization that in Nasri's view was “the most important artistic school of the first decade after the revolution.” The Hawza-i hunari’s art theory was, according to Nasri, impacted especially by three pre-revolutionary intellectuals: Ahmad Fardid (1910-94), Seyyed Hossein Nasr (b. 1933), and Daryush Shayegan (1935-2018). All three were in turn impacted by the great French Iranologist, Henry Corbin (1903-78), who was himself a follower of Heidegger.

Fardid, who was a professor of philosophy and Heidegger’s great advocate in Iran, is not now widely known, but it was he, according to Nasri, who was the inventor of the seminal term gharbzadegi (Westoxification or Occidentosis) that was famously popularized by the novelist Jalal Al-e Ahmad. After the revolution, Fardid became an influential theorist in the Islamic Republic; Nasr and Shayegan went into exile, Nasr permanently, but even so were read at the Hawza-i hunari. Nasr, as noted, became a leading Traditionalist; Shayegan moved away from Traditionalism, questioning whether “the tradition” had ever actually existed.

Nasri traces the influence of Heidegger in Corbin’s concept of the “ideal space,” born of Heidegger’s emphasis on the importance of the Origin (Ursprung) in art combined with Suhrawardi’s understanding of the ideal world. For Corbin, the “ideal space” was key to understanding Persian miniature painting. In this he was followed by Nasr and Shayegan, who also cited Heidegger directly while arguing that the art of the East and of the West do not share a common language. Both Nasr and Shayegan thus looked for the revival of Iranian art through the rediscovery of tradition, as did Fardid.

Nasr then combined Corbin's partly Heidegger-derived concept with Guénon's important pair of quality and quantity. The two-dimensional ideal space is, for Nasr, qualitative rather than quantitative: the quantitative leads to naturalism. Nasr's mature argument is not just Traditionalist, then, but also Heideggerian.

Guénon, Saint-Point, and Agarttha

A new collection in French casts light on the life of Valentine de Saint-Point (1875-1953), best known for the first part of her life as poet and novelist, Futurist and feminist, but also a convert to Islam (as Rawhiya Nour Eddine) and friend of René Guénon in Cairo. It is Valentine de Saint-Point. Des feux de l'avant-garde à l'appel de l'Orient (Valentine de Saint-Point: From the Fires of the Avant-garde to the Call of the Orient), edited by Paul-André Claudel and Élodie Gaden, and published by the Presses Universitaires de Rennes (2019) at €28.

The book consists of seven sections: artistic beginnings, artistic experiments, “Latin Sisters: Artistic and Theoretical Dialog with Italy,” feminism, politics, influences, and inheritance. Most of these deal with the avant-garde. The call of the Orient is dealt with primarily in the section on politics, in which three of four chapters cover the last three decades of Saint-Point’s life, spent in Cairo, and her Islam. They are by Frédérique Poissonier, Daniel Lançon, and Alessandra Marchi. Poissonier looks primarily at French diplomatic correspondence relating to the attempted expulsion from Egypt of Saint-Point for conducting Bolshevik propaganda, Lançon looks most importantly at Saint-Point’s short-lived Egyptian journal, Le Phœnix. Revue de la renaissance orientale (The Phoenix: Review of the Oriental Renaissance), and Marchi looks at Saint-Point’s conversion to Islam, which she compares to that of an Italian contemporary of Saint-Point, the Italian anarchist (and friend of Benito Mussolini) Leda Rafanelli (1880-1971).

The main source for the relationship between Guénon and Saint-Point is Saint-Point herself, writing in the newspaper L’Egypte nouvelle in 1952, on the first anniversary of Guénon’s death. She had been forewarned of Guénon’s arrival in Cairo, she wrote, and during the years before Guénon’s marriage in 1934 he had visited her weekly, and they spent many hours together. She was not, however, a disciple of his, having made her own study of religions and esotericism before she met him. His work contributed some details to her understanding that were interesting, but “not indispensable.”

One writer who seems to have been more indispensable for Saint-Point was an earlier French esotericist, Alexandre Saint-Yves d’Alveydre (1842-1909), who was also appreciated by Guénon. This, and the fact that the circles Saint-Point had inhabited in Europe connected with those that Guénon had inhabited, probably explains the close relationship between Saint-Point and Guénon.

Saint-Yves was best known for a political system, “synarchy,” that he proposed as an alternative to anarchy. He was also known for his description of Agarttha, a subterranean synarchical utopia located somewhere in Asia, probably in India. Agarttha was described in Saint-Yves’ Mission de l'Inde en Europe, mission de l'Europe en Asie. La question du Mahatma et sa solution (India's mission in Europe, Europe's Mission in Asia: The Question of the Mahatma and its Solution), written in 1886 but withdrawn from the press and then not published until after Saint-Yves’ death, in 1910. Its final publication was the work of Papus (Gérard Encausse, 1865-1916), the founder of the Martinist Order, to which Guénon had once belonged. Encausse had acquired Saint-Yves’ papers.

Mission de l'Inde does not deal directly with the question of the Mahatma, which may have been added as a subtitle by Papus to improve sales. This question was raised by the Theosophist Helena Blavatsky (1831-91), who claimed to be in receipt of communications from enlightened adepts known as Mahatmas. It was never made clear who these Mahatmas were. Saint-Yves’ book suggests an answer: they were inhabitants of Agarttha, initiates who guarded the ancient, esoteric Tradition (given a capital T by Saint-Yves).

Guénon addressed the issue of Agarttha (now generally spelled Agartha) in Le roi du monde (The King of the World, 1927), treating accounts of it primarily as myth, and comparing them to other, similar myths. It seems, however, that he did on balance accept that Agarttha, or something like it, actually existed. So did Saint-Point, who wrote of Sufism as “anterior to Islam” and as connected to Agarttha. Guénon, of course, also saw Sufism as a repository of ancient, esoteric Tradition, though he would not necessarily have drawn a connection through Agarttha.

Saint-Point and Guénon agreed on a number of other points, too. Both valued Oriental civilization over Western civilization, which both condemned, and both were French converts to Islam. Again, there were differences, however. Saint-Point’s commitment to the Orient was political and activist, unlike Guénon’s. This was the motivation for her journal and the cause of her political difficulties, resolved only through the personal intervention of the French foreign minister, Aristide Briand (1862-1932), who knew Saint-Point’s ex-husband, Charles Dumont (1867-1939), a member of the French Senate who was twice minister of finance. Briand knew that Saint-Point was not a Bolshevik. Her anti-colonial agitation was probably inspired by Theosophy.

Saint-Point’s Islam was also different from Guénon’s. She admired Abd al-Aziz ibn Saud (1875-1953), the founder of the Kingdom of Saudi Arabia, who she saw as a “young patriot” who was “returning Muslimism [Musulmanisme] to its origins, to the Spirit.” She evidently knew little of Ibn Saud’s Wahhabism, and he probably appealed to her romantic view of Islam as “the religion of silence, the Voice that speaks in the desert, the poetry of horizons framed by the sands.”

Those who are interested in Agarttha and do not read French may refer to the English translation of Mission de l'Inde, as The Kingdom of Agarttha: A Journey into the Hollow Earth (Inner Traditions, 2008, $14.95), with an excellent introduction by Joscelyn Godwin which is recommended even to those who do read French.

[This post has been edited to remove a quotation incorrectly attributed to Saint-Point that was actually from Rafanelli.]

Albert Gleizes and Traditionalism

My attention has been drawn to an interesting new article on the relationship with Traditionalism of the French Cubist painter Albert Gleizes (1881-1953). Witten by the painter and scholar Peter Brooke, it is entitled "Albert Gleizes, Coomaraswamy and 'Tradition,'" and is available here.

Brooke starts with a general discussion of Gleizes and Traditionalism, including the split in Gleizes' following between pro- and anti-Traditionalist factions that resulted in two rival artistic journals, L'Atelier de la rose (Traditionalist) and Zodiaque (Catholic). He then asks (a) what Guénon saw in Gleizes, (b) what Coomaraswamy saw in Gleizes, and (c) what Gleizes saw in Guénon and Coomaraswamy.

My thanks to SJ for drawing my attention to this article.

Evola, symbology, and alchemy

A new article by Hans Thomas Hakl, “The Symbology of Hermeticism in the Work of Julius Evola” (in Lux in Tenebris: The Visual and the Symbolic in Western Esotericism, ed. Peter J. Forshaw, Leiden: Brill 2016), discusses Evola’s understanding of symbols, notably in the context of alchemy, and Evola’s La Tradizione Ermetica (The Hermetic Tradition, 1931).

Hakl looks in detail at the meaning of particular symbols, especially the Monas Hieroglyphica, showing in this instance how Evola drew on Cesare della Riviera (d. 1625) and thus, indirectly, on John Dee (1527-1608). He argues that it is important to remember that Evola’s work on the symbology of hermeticism “was written neither as a scholar nor as a practical alchemist… but purely and simply to demonstrate the ‘truth’ of his Traditional worldview.” For Evola, alchemy was a universal system, a point on which René Guénon disagreed.

Lux in Tenebris is published by Brill, and so sells for $202 (or €168). This may seem expensive, but there are also some other chapters that mention Traditionalism in passing: György E. Szönyi on “Myth and Magic: Victorian Enoch and Historical Contexts,” Aaron Cheak on “The Juncture of Transcendence and Concretion: Symbolique in René Schwaller de Lubicz,” and Joscelyn Godwin on “Esoteric Theories of Color.”

World of Islam Festival anniversary evening

It is now 40 years since the World of Islam Festival opened in London in 1976. This was a major event, inspired and in many cases arranged by Maryamis, and succeeded in introducing the British public to Islam in terms of major achievements in culture and art. Unfortunately, stronger and very different impressions were then created by the Iranian Revolution.

To mark this  anniversary, a small exhibition and some lectures have been arranged jointly by the "Everyday Muslim" Project and the British Library, which was heavily involved in the original festival. It starts at 17:30 on Monday 25th April at the Brunei Theatre, SOAS, in London.

Speakers include Ahmed Paul Keeler, who was the Festival's director, Dr. Mohammed Isa Waley, Professor Salim Al-Hassani, Dr. Karim Lahham and Professor Oliver Watson. There will be Quran recitation by Ali Keeler. Tickets can be booked online, and further information is available from info@khizrafoundation.org.

Aguéli exhibition in Sweden

An exhibition entitled "Klee/Aguéli" has just opened at Moderna Museet, Stockholm's modern art museum. 86 paintings are on display until April 24, 2016.

It was, of course, Ivan Aguéli who "initiated" René Guénon into Sufism, and was one of the first Western Sufis to write about Ibn Arabi. But he is still most famous in his native Sweden for his painting, even though it is known that he was a Sufi, and had a colorful life. "A painter, anarchist, Sufi and traveller," writes curator, Fredrik Liew on the museum website, "Aguéli’s life story is a novel in itself."

The exhibition is accompanied by an app and a publication, which I look forward to reading.