Social and ethical principles
Family life

A basic social teaching of Islam is the encouragement of marriage, and the Qurʾān regards celibacy definitely as something exceptional—to be resorted to only under economic stringency. Thus, monasticism as a way of life was severely criticized by the Qurʾān. With the appearance of Sufism (Islamic mysticism), however, many Sufis preferred celibacy, and some even regarded women as an evil distraction from piety, although marriage remained the normal practice also with Sufis.

Polygamy, which was practiced in pre-Islamic Arabia, was permitted by the Qurʾān, which, however, limited the number of simultaneous wives to four, and this permission was made dependent upon the condition that justice be done among co-wives. The Qurʾān even suggests that “you shall never be able to do justice among women, no matter how much you desire.” Medieval law and society, however, regarded this “justice” to be primarily a private matter between a husband and his wives, although the law did provide redress in cases of gross neglect of a wife. Right of divorce was also vested basically in the husband, who could unilaterally repudiate his wife, although the woman could also sue her husband for divorce before a court on certain grounds.

The virtue of chastity is regarded as of prime importance by Islam. The Qurʾān advanced its universal recommendation of marriage as a means to ensure a state of chastity (iḥṣān), which is held to be induced by a single free wife. The Qurʾān states that those guilty of adultery are to be severely punished with 100 lashes. Tradition has intensified this injunction and has prescribed this punishment for unmarried persons, but married adulterers are to be stoned to death. A false accusation of adultery is punishable by 80 lashes.

The general ethic of the Qurʾān considers the marital bond to rest on “mutual love and mercy,” and the spouses are said to be “each other’s garments.” The detailed laws of inheritance prescribed by the Qurʾān also tend to confirm the idea of a central family—husband, wife, and children, along with the husband’s parents. Easy access to polygamy (although the normal practice in Islamic society has always been that of monogamy) and easy divorce on the part of the husband led, however, to frequent abuses in the family. In recent times, most Muslim countries have enacted legislation to tighten up marital relationships.

Rights of parents in terms of good treatment are stressed in Islam, and the Qurʾān extols filial piety, particularly tenderness to the mother, as an important virtue. A murderer of his father is automatically disinherited. The tendency of the Islamic ethic to strengthen the immediate family on the one hand and the community on the other at the expense of the extended family or tribe did not succeed, however. Muslim society, until the encroachments upon it of modernizing influences, has remained basically one composed of tribes or quasi-tribes. Despite urbanization, tribal affiliations offer the greatest resistance to change and development of a modern polity. So strong, indeed, has been the tribal ethos that, in most Muslim societies, daughters are not given their inheritance share prescribed by the sacred law in order to prevent disintegration of the joint family’s patrimony.

The state

Because Islam draws no distinction between the religious and the temporal spheres of life, the Muslim state is by definition religious. The main differences between the Sunni, Khārijite, and Shīʿite concepts of rulership have already been pointed out above. It should be noted that, although the office of the Sunni caliph (khalīfah, one who is successor to the Prophet Muhammad in rulership) is religious, this does not imply any functions comparable to those of the pope in Roman Catholicism. The caliph has no authority either to define dogma or, indeed, even to legislate. He is the chief executive of a religious community, and his primary function is to implement the sacred law and work in the general interests of the community. He himself is not above the law and if necessary can even be deposed, at least in theory.

Sunni political theory is essentially a product of circumstance—an after-the-fact rationalization of historical developments. Thus, between the Shīʿite legitimism that restricts rule to ʿAlī’s family and the Khārijite democratism that allowed rulership to anyone, even to “an Ethiopian slave,” Sunnism held the position that “rule belonged to the Quraysh” (the Prophet’s tribe)—the condition that actually existed. Again, in view of the extremes represented by the Khārijites, who demanded rebellion against what they considered to be unjust or impious rule, and Shīʿites, who raised the imam to a metaphysical plane of infallibility, Sunnis took the position that a ruler has to satisfy certain qualifications but that rule cannot be upset on small issues. Indeed, under the impact of civil wars started by the Khārijites, Sunnism drifted to more and more conformism and actual toleration of injustice.

The first step taken in this direction by the Sunnis was the enunciation that “one day of lawlessness is worse than 30 years of tyranny.” This was followed by the principle that “Muslims must obey even a tyrannical ruler.” Soon, however, the sultan (ruler) was declared to be “shadow of God on earth.” No doubt, the principle was also adopted—and insisted upon—that “there can be no obedience to the ruler in disobedience of God”; but there is no denying the fact that the Sunni doctrine came more and more to be heavily weighted on the side of political conformism. This change is also reflected in the principles of legitimacy. Whereas early Islam had confirmed the pre-Islamic democratic Arab principle of rule by consultation (shūrā) and some form of democratic election of the leader, those practices soon gave way to dynastic rule with the advent of the Umayyads. The shūrā was not developed into any institutionalized form and was, indeed, soon discarded. Soon the principle of “might is right” came into being, and later theorists frankly acknowledged that actual possession of effective power is one method of the legitimization of power.

In spite of this development, the ruler could not become absolute, because a basic restraint was placed upon him by the Sharīʿah law under which he held his authority and which he dutifully was bound to execute and defend. When, in the latter half of the 16th century, the Mughal emperor Akbar in India wanted to arrogate to himself the right of administrative–legal absolutism, the strong reaction of the orthodox thwarted his attempt. In general, the ʿulamāʾ (religious scholars) jealously upheld the sovereign position of the Sharīʿah against the political authority.

The effective shift of power from the caliph to the sultan was, again, reflected in the redefinition of the functions of the caliph. It was conceded that, if the caliph administered through wazīrs (viziers or ministers) or subordinate rulers (amīrs), it was not necessary for him to embody all the physical, moral, and intellectual virtues theoretically insisted upon earlier. In practice, however, the caliph was no more than a titular head from the middle of the 10th century onward, when real power passed to self-made and adventurous amīrs and sultans, who merely used the caliph’s name for legitimacy.


Muslim educational activity began in the 8th century, primarily in order to disseminate the teaching of the Qurʾān and the Sunnah of the Prophet. The first task in this endeavour was to record the oral traditions and collect the written manuscripts. This information was systematically organized in the 2nd century AH, and in the following century a sound corpus was agreed upon. This vast activity of “seeking knowledge” (ṭalab al-ʿilm) resulted in the creation of specifically Arab sciences of tradition, history, and literature.

When the introduction of the Greek sciences—philosophy, medicine, and mathematics—created a formidable body of lay knowledge, a creative reaction on the traditional religious base resulted in the rationalist theological movement of the Muʿtazilah. Based on that Greek legacy, from the 9th to the 12th century CE a brilliant philosophical movement flowered and presented a challenge to orthodoxy on the issues of the eternity of the world, the doctrine of revelation, and the status of the Sharīʿah.

The orthodox met the challenges positively by formulating the religious dogma. At the same time, however, for fear of heresies, they began to draw a sharp distinction between religious and secular sciences. The custodians of the Sharīʿah developed an unsympathetic attitude toward the secular disciplines and excluded them from the curriculum of the madrasah (college) system.

Their exclusion from the Sunni system of education proved fatal, not only for those disciplines but, in the long run, for religious thought in general because of the lack of intellectual challenge and stimulation. A typical madrasah curriculum included logic (which was considered necessary as an “instrumental” science for the formal correctness of thinking procedure), Arabic literature, law, Hadith, Qurʾān commentary, and theology. Despite sporadic criticism from certain quarters, the madrasah system remained impervious to change.

One important feature of Muslim education was that primary education (which consisted of Qurʾān reading, writing, and rudimentary arithmetic) did not feed candidates to institutions of higher education, and the two remained separate. In higher education, emphasis was on books rather than on subjects and on commentaries rather than on original works. This, coupled with the habit of learning by rote (which was developed from the basically traditional character of knowledge that encouraged learning more than thinking), impoverished intellectual creativity still further.

Despite these grave shortcomings, however, the madrasah produced one important advantage. Through the uniformity of its religio-legal content, it gave the ʿulamāʾ the opportunity to effect that overall cohesiveness and unity of thought and purpose that, despite great variations in local Muslim cultures, has become a palpable feature of the world Muslim community. This uniformity has withstood even the serious tension created against the seats of formal learning by Sufism through its peculiar discipline and its own centres.

In contrast to the Sunni attitude toward it, philosophy continued to be seriously cultivated among the Shīʿites, even though it developed a strong religious character. Indeed, philosophy has enjoyed an unbroken tradition in Iran down to the present and has produced some highly original thinkers. Both the Sunni and the Shīʿite medieval systems of learning, however, have come face to face with the greatest challenge of all—the impact of modern education and thought.

Organization of education developed naturally in the course of time. Evidence exists of small schools already established in the first century of Islam that were devoted to reading, writing, and instruction in the Qurʾān. These schools of “primary” education were called kuttābs. The well-known governor of Iraq at the beginning of the 8th century, the ruthless al-Ḥajjāj, had been a schoolteacher in his early career. When higher learning in the form of tradition grew in the 8th and 9th centuries, it was centred around learned men to whom students travelled from far and near and from whom they obtained a certificate (ijāzah) to teach what they had learned. Through the munificence of rulers and princes, large private and public libraries were built, and schools and colleges arose. In the early 9th century a significant incentive to learning came from the translations made of scientific and philosophical works from the Greek (and partly Sanskrit) at the famous bayt al-ḥikmah (“house of wisdom”) at Baghdad, which was officially sponsored by the caliph al-Maʾmūn. The Fāṭimid caliph al-Ḥākim set up a dār al-ḥikmah (“hall of wisdom”) in Cairo in the 10th–11th centuries. With the advent of the Seljuq Turks, the famous vizier Niẓām al-Mulk created an important college at Baghdad, devoted to Sunni learning, in the latter half of the 11th century. One of the world’s oldest surviving universities, al-Azhar at Cairo, was originally established by the Fāṭimids, but Saladin (Ṣalāḥ al-Dīn al-Ayyūbī), after ousting the Fāṭimids, consecrated it to Sunni learning in the 12th century. Throughout subsequent centuries, colleges and quasi-universities (called madrasah or dār al-ʿulūm) arose throughout the Muslim world from Spain (whence philosophy and science were transmitted to the Latin West) across Central Asia to India.

In Turkey a new style of madrasah came into existence; it had four wings, for the teaching of the four schools of Sunni law. Professorial chairs were endowed in large colleges by princes and governments, and residential students were supported by college endowment funds. A myriad of smaller centres of learning were endowed by private donations.

Cultural diversity

Underneath the legal and creedal unity, the world of Islam harbours a tremendous diversity of cultures, particularly in the outlying regions. The expansion of Islam can be divided into two broad periods. In the first period of the Arab conquests, the assimilative activity of the conquering religion was far-reaching. Although Persia resurrected its own language and a measure of its national culture after the first three centuries of Islam, its culture and language had come under heavy Arab influence. Only after Ṣafavid rule installed Shīʿism as a distinctive creed in the 16th century did Persia regain a kind of religious autonomy. The language of religion and thought, however, continued to be Arabic.

In the second period, the spread of Islam was not conducted by the state with ʿulamāʾ influence but was largely the work of Sufi missionaries. The Sufis, because of their latitudinarianism, compromised with local customs and beliefs and left a great deal of the pre-Islamic legacy in every region intact. Thus, among the Central Asian Turks, shamanistic practices were absorbed, while in Africa the holy man and his barakah (an influence supposedly causing material and spiritual well-being) are survivors from the older cults. In India there are large areas geographically distant from the Muslim religio-political centre of power in which customs are still Hindu and even pre-Hindu and in which people worship a motley of saints and deities in common with the Hindus. The custom of suttee, under which a widow burned herself alive along with her dead husband, persisted in India even among some Muslims until late into the Mughal period. The 18th- and 19th-century reform movements exerted themselves to “purify” Islam of these accretions and superstitions.

Indonesia affords a striking example of this phenomenon. Because Islam reached there late and soon thereafter came under European colonialism, the Indonesian society has retained its pre-Islamic worldview beneath an overlay of Islamic practices. It keeps its customary law (called adat) at the expense of the Sharīʿah; many of its tribes are still matriarchal; and culturally the Hindu epics Ramayana and Mahabharata hold a high position in national life. Since the 19th century, however, orthodox Islam has gained steadily in strength because of fresh contacts with the Middle East.

Apart from regional diversity, the main internal division within Islamic society is brought about by urban and village life. Islam originally grew up in the two cities of Mecca and Medina, and, as it expanded, its peculiar ethos appears to have developed in urban areas. Culturally, it came under a heavy Persian influence in Iraq, where the Arabs learned the ways and style of life of their conquered people, who were culturally superior to them. The custom of veiling women (which originally arose as a sign of aristocracy but later served the purpose of segregating women from men—the purdah), for example, was acquired in Iraq.

Another social trait derived from outside cultures was the disdain for agriculture and manual labour in general. Because the people of the town of Medina were mainly agriculturists, this disdain could not have been initially present. In general, Islam came to appropriate a strong feudal ethic from the peoples it conquered. Also, because the Muslims generally represented the administrative and military aristocracy and because the learned class (the ʿulamāʾ) was an essential arm of the state, the higher culture of Islam became urban-based.

This city orientation explains and also underlines the traditional cleavage between the orthodox Islam of the ʿulamāʾ and the folk Islam espoused by the Sufi orders of the countryside. In the modern period, the advent of education and rapid industrialization threatened to make this cleavage still wider. With the rise of a strong and widespread fundamentalist movement in the second half of the 20th century, this dichotomy was decreased.

Religion and the arts
The visual arts

The Arabs before Islam had hardly any art except poetry, which had been developed to full maturity and in which they took great pride. As with other forms of culture, the Muslim Arabs borrowed their art from Persia and Byzantium. Whatever elements the Arabs borrowed, however, they Islamized in a manner that fused them into a homogeneous spiritual-aesthetic complex. The most important principle governing art was aniconism—the religious prohibition of figurization and representation of living creatures. Underlying this prohibition is the assumption that God is the sole author of life and that a person who produces a likeness of a living being seeks to rival God. The tradition ascribed to the Prophet that a person who makes a picture of a living thing will be asked on the Day of Judgment to infuse life into it, whether historically genuine or not, doubtless represents the original attitude of Islam. In the Qurʾān (3:49, 5:113), reflecting an account in a New Testament apocryphal work, it is counted among the miracles of Jesus that he made likenesses of birds from clay “by God’s order,” and, when he breathed into them, they became real birds, again, “by God’s order.”

Hence, in Islamic aniconism two considerations are fused together: (1) rejection of such images that might become idols (these may be images of anything) and (2) rejection of figures of living things. The Greek philosopher Plato and the Roman philosopher Plotinus had also dismissed representative art as an “imitation of nature”—i.e., as something removed from reality. The Islamic attitude is more or less the same, with the added element of attributing to the artist a violation of the sanctity of the principle of life. The same explanation holds for the Qurʾānic criticism of a certain kind of poetry—namely, free indulgence in extravagant image mongering: “They [poets] recklessly wander in every valley” (26:225).

This basic principle has, however, undergone modifications. First, pictures were tolerated if they were confined to private apartments and harems of palaces. This was the case with some members of the Umayyad and ʿAbbāsid dynasties, Turks, and Persians—in particular with the Shīʿites, who have produced an abundance of pictorial representations of Muhammad and his family. Second, in the field of pictorial representation, animal and human figures are combined with other ornamental designs such as fillets and arabesques—stressing their ornamental nature rather than representative function. Third, for the same reason, in plastic art they appear in low relief. In other regions of the Muslim world—in North Africa, Egypt, and India (except for Mughal palaces)—representational art was strictly forbidden. Even in paintings, the figures have little representational value and are mostly decorative and sometimes symbolic. This explains why plastic art is one of the most limited areas of Islamic art. The only full-fledged plastic figures are those of animals and a few human figures that the Seljuqs brought from eastern Turkistan.

Much more important than plastic art were paintings, particularly frescoes and later Persian and Perso-Indian miniatures. Frescoes are found in the Umayyad and ʿAbbāsid palaces and in Spain, Iran, and in the harem quarters of the Mughal palaces in India. Miniature paintings, introduced in Persia, assumed much greater importance in the later period in Mughal India and Turkey. Miniature painting was closely associated with the art of book illumination, and this technique of decorating the pages of the books was patronized by princes and other patrons from the upper classes. (Miniature painting is also discussed below; see Illustration of myth and legend.)


Instrumental music was forbidden by the orthodox in the formative stages of Islam. As for vocal music, its place was largely taken by a sophisticated and artistic form of the recitation of the Qurʾān known as tajwīd. Nevertheless, the Muslim princely courts generously patronized and cultivated music. Arab music was influenced by Persian and Greek music. Al-Fārābī, a 10th-century philosopher, is credited with having constructed a musical instrument called the arghanūn (organ). In India, Amīr Khosrow, a 14th-century poet and mystic, produced a synthesis of Indian and Persian music and influenced the development of later Indian music.

Among the religious circles, the Sufis introduced both vocal and instrumental music as part of their spiritual practices. The samāʿ, as this music was called, was opposed by the orthodox at the beginning, but the Sufis persisted in this practice, which slowly won general recognition. The great Sufi poet Jalāl al-Dīn al-Rūmī (died 1273)—revered equally by the orthodox and the Sufis—heard the divine voice in his stringed musical instrument when he said, “Its head, its veins (strings) and its skin are all dry and dead; whence comes to me the voice of the Friend?”


In literature, drama and pure fiction were not allowed—drama because it was a representational art and fiction because it was considered akin to lying. Similar constraints operated against the elaboration of mythology. Story literature was tolerated, and the great story works of Indian origin—Alf laylah wa laylah (The Thousand and One Nights) and Kalīlah wa Dimnah—were translated from the Persian, introducing secular prose into Arabic. Didactic and pious stories were used and even invented by popular preachers. Much of this folklore found its way back into enlarged editions of The Thousand and One Nights and, through it, has even influenced later history writing. Because of the ban on fictional literature, there grew a strong tendency in later literary compositions—in both poetry and prose—toward hyperbole (mubālaghah), a literary device to satisfy the need of getting away from what is starkly real without committing literal falsehood, thus often resulting in the caricature and the grotesque. Poetry lent itself particularly well to this device, which was freely used in panegyrics, satires, and lyrics. As a form of effective expression, poetry is eminently characteristic of the East. Arabic literature in general displays a strong and vivid imagination not easily amenable to the rigorous order that reason imposes upon the mind. This borderline attitude between the real and the unreal was particularly favourable to the development, in all medieval Islamic literatures of the Middle East, of the lyric and panegyric forms of poetry wherein every line is a self-contained unit. Much more importantly, it afforded a specially suitable vehicle for a type of mystical poetry in which it is sometimes impossible to determine whether the poet is talking of earthly love or spiritual love. For the same reason, poetry proved an effective haven for thinly veiled deviations from and even attacks on the literalist religion of the orthodox.


Architecture is by far the most important expression of Islamic art, particularly the architecture of mosques. It illustrates both the diversity of cultures that participated in the Islamic civilization and the unifying force of Islamic monotheism represented by the spacious expanse of the mosque—a veritable externalization of the all-enveloping divine unity, heightened by the sense of infinity of the arabesque design. The arabesque, though ornately decorative, spiritually represents the infinite vastness of God.

Among the earliest monuments are the mosque of ʿAmr built in Egypt in 641–642 and the famous Dome of the Rock of Jerusalem (finished in 691), which, however, is not a mosque but a monument, a concentric-circular structure consisting of a wooden dome set on a high drum and resting on four tiers and 12 columns. The Umayyad ruler al-Walīd (died 715) built the Great Mosque at Damascus and Al-Aqṣā Mosque at Jerusalem with two tiers of arcades in order to heighten the ceiling. The early Syro-Egyptian mosque is a heavily columned structure with a prayer niche (miḥrāb) oriented toward the Kaʿbah sanctuary at Mecca.

In Spanish and North African architecture these features are combined with Roman-Byzantine characteristics, the masterpieces of Spanish architecture being the famous Alhambra Palace at Granada and the Great Mosque of Córdoba. In the famous Persian mosques, the characteristic Persian elements are the tapered brick pillars, the arches (each supported by several pillars), the huge arcades, and the four sides called eyvāns. With the advent of the Seljuqs in the 11th century, faience decoration (glazed earthenware) of an exquisite beauty was introduced, and it gained further prominence under the Timurids (14th–16th centuries).

In the number and greatness of mosques, Turkey has the pride of first place in the Muslim world. Turkey’s earliest mosques show a Persian influence and then later Syrian in the 13th and 14th centuries, but Turkey developed its own native style of cupola domes and monumental entrances. The Turkish architects accomplished symmetry by means of one large dome, four semidomes, and four small domes among them. In the Indo-Pakistan subcontinent, Muslim architecture first employed Hindu architectural features (e.g., horizontal rather than arcuate, or bowlike, arches and Hindu ornamentation), but later the Persian style predominated.

Islamic myth and legend

The strict monotheism of Islam does not allow for much mythological embellishment, and only reluctantly were the scriptural revelations of the Qurʾān elaborated and enlarged by commentators and popular preachers. Thus, in the first three centuries, a number of ideas from the ancient Middle East, from Hellenistic and especially from Jewish and Christian traditions, were absorbed into Islam and given at least partial sanction by the theologians. At the same time, legends were woven around the Prophet Muhammad and the members of his family. Though inconsistent with historical reality, these legends formed for the masses the main sources of inspiration about the famous figures of the past.

Since early times Islamic theologians have sought to disregard the Qurʾānic interpretation of both storytellers and mystics. The quṣṣās, or storytellers, made the Qurʾānic revelation more understandable to the masses by filling in the short texts with detailed descriptions that were not found in scripture. Though the mystics tried to maintain the purity of the divine word, they also attempted a spiritualization of both the Qurʾān and the popular legends that developed around it. Their way of giving to the Qurʾānic words a deeper meaning, however, and discovering layer after layer of meaning in them, sometimes led to new quasi-mythological forms. Later Islamic mystical thinkers built up closed systems that can be called almost mythological (e.g., the angelology—theory of angels—of Suhrawardī al-Maqtūl, executed 1191). An interesting development is visible in poetry, especially in the Persian-speaking areas, where mythological figures and pious legend often were turned into secular images that might awaken in the reader a reminiscence of their religious origin. Such images contribute to the iridescent and ambiguous character of Persian poetry.

Sources and variations
The Qurʾān and non-Islamic influences

The sources of Islamic mythology are first of all the Qurʾānic revelations. Since, for the Muslims, the Qurʾān is the uncreated word of God (the text revealed to Muhammad is considered an earthly manifestation of the eternal and uncreated original in heaven), it contains every truth, and whatever is said in it has been the object of meditation and explanation through the centuries. Thus, since the 9th century, commentators on the Qurʾān have been by far the most important witnesses for Islamic “mythology.” They wove into their explanations various strands of Persian and ancient oriental lore and relied heavily on Jewish tradition. For example, the Jewish convert Kaʿb al-Aḥbār brought much of the Isrāʾīliyāt (things Jewish) into Islamic tradition. Later on, the mystics’ commentaries expressed some gnostic (a dualistic viewpoint in which spirit is viewed as good and matter as evil) and Hellenistic concepts, of which the Hellenistic idea of the Perfect Man—personified in Muhammad—was to gain greatest prominence. Commentaries written in the border areas of Islamic countries now and then accepted a few popular traditions from their respective areas; however, the formative period was finished quite early. Traditions about the life and sayings of the Prophet grew larger and larger and are interesting for the study of the adoption of foreign mythological material. A valuable source for Islamic legends are the qiṣaṣ al-anbiyāʾ—stories of the prophets, such as those by Thaʿālibī (born 1035) and Kisāʾī (11th century)—traditions concerning the prophets of yore in which a large number of pre-Islamic and non-Islamic ideas were incorporated.

While the classical mythology of Islam, as far as it can be properly called so, is spread over the whole area of Islam, the miracles and legends around a particular Muslim saint are found chiefly in the area of his special influence (especially where his order is most popular). Even if the names of the saints differ, the legends woven around them are very similar to each other and almost interchangeable. In the area where Persian was read—from Ottoman Turkey to India—the mythological concepts of Ferdowsī’s Shāh-nāmeh are found side by side with the legends taken from ʿAṭṭār’s and Rūmī’s works.

The mystics

From the 11th century onward, the biographies of the mystics often show interesting migrations of legendary motifs from one culture to another. For the Persian-speaking countries, the Taẓkerat ol-Owlīyāʾ (“Memoirs of the Saints”) of Farīd al-Dīn ʿAṭṭār (died c. 1220) has become the storehouse of legendary material about the early Sufi mystics. ʿAṭṭār’s Persian epics (especially his Manṭeq otal-ṭḥyrṭayr, The Conference of the Birds) also contain much material that was used by almost every writer after him. The Mas̄navī-yi Maʿnavī (“Spiritual Couplets”; a sort of poetic encyclopaedia of mystical thought in 26,000 couplets) of Rūmī (died 1273) is another important source for legends of saints and prophets. For the Iranian worldview, Ferdowsī’s (died c. 1020) Shāh-nāmeh (“Book of Kings”) gave a poetical account of the mythology of old Iran, and its heroes became models for many poets and writers. The whole mythological and legendary heritage is condensed in allusions found in lyrical and panegyrical poetry. The 12th-century Persian poet Khāqānī’s works, qaṣīdahs (“odes”), are typical. The close connection of the Sufi orders with the artisans’ lodges and guilds was instrumental in the dissemination of legendary material, especially about the alleged founder, or patron, of the guild (such as Ḥallāj as patron of cotton carders and Idrīs as patron of the tailors).

Muslim historians interested in world history often began their works with mythological tales; Central Asian traditions were added in Iran during the Il-Khanid period (1256–1335 CE). Folk poetry, in the different languages spoken by Muslims, provides a popular representation of traditional material, be it in Arabic, Persian, Turkish, the Indian and Pakistani languages (Urdu/Hindi, Bengali, Sindhi, Punjabi, Balochi, etc.), or the Afro-Asiatic languages; in all of them allusions to myth and legend are found down to the level of riddles and lullabies. Typical of the legendary tradition of the Shīʿites are the taʿziyas (passion plays) in Iran, commemorating the death of al-Husayn ibn ʿAlī in the Battle of Karbalāʾ (680), and the mars̄īyehs (threnodies or elegies for the dead), which form an important branch of the Urdu poetry of India and Pakistan. A proper study of the distribution of most aspects of mythology in the various Muslim areas has not been undertaken, since much of the popular material is rarely available in print or is written in less-known languages—a good example is the extremely rich collections of legends and popular pious works in the Sindhi language.

Types of myth and legend
Cosmogony and eschatology

The world was created out of nothing by God’s word kun (“Be”). After the creation of the angelic beings from light, Adam was formed from clay and destined to be God’s vicegerent, khalīfah. All the angels obeyed God’s order to prostrate themselves before Adam, except Iblīs (Satan), who refused and was cursed; due to Iblīs’s instigation Adam ate the forbidden fruit (or grain) and was driven out of paradise. Questions of original sin or of Eve’s role do not arise in the Muslim version of creation. Satan’s disobedience has been explained by the mystics as actually an expression of his obedience to the divine will that does not allow worship of any but the Lord and that conflicted with the order that Satan prostrate himself before Adam.

Before the creation, God addressed the posterity of Adam: “Am I not your Lord” (alastu birabbikum), and they answered “Yes” (Qurʾān 7:172). This pre-eternal covenant is the favourite topic of mystical poetry, especially in the Persian-speaking areas for expressing pre-eternal love between God and man, or the unchangeable fate that was accepted that very day, the Yesterday as contrasted to the Tomorrow of resurrection. Angels and jinn (genies) are living powers that become visible in human life; they are accepted as fully real.

Every destiny is written on the “well-preserved tablet,” and now “the pen has dried up”; a change in destiny is not possible. Later mystics have relied on an extra-Qurʾānic revelation in which God attests, “I was a hidden treasure,” and they have seen the reason for creation in God’s yearning to be known and loved. For them, creation is the projection of divine names and qualities onto the world of matter.

The central event of Islam is death and resurrection. The dead will be questioned by two terrible angels (that is why the profession of faith is recited to the dying); only the souls of martyrs go straight to heaven, where they remain in the crops of green birds around the divine throne (green is always connected with heavenly bliss). The end of the world will be announced by the coming of the mahdī (literally, “the directed or guided one”)—a messianic figure who will appear in the last days and is not found in the Qurʾān but developed out of Shīʿite speculations and is sometimes identified with Jesus. The mahdi will slay the Dajjāl, the one-eyed evil spirit, and combat the dangerous enemies, Yājūj and Mājūj, who will come from the north of the earth. The trumpet of Isrāfīl, one of the four archangels, will awaken the dead for the day of resurrection, which is many thousands of years long and the name of which has come to designate a state of complete confusion and turmoil.

The eschatological inventory as described in the Qurʾān was elaborated by the commentators: the scales on which the books or deeds are weighed (an old Egyptian idea), the book in which the two recording angels have noted down mortal deeds, and the narrow bridge that is said to be sharper than a sword and thinner than a hair and leads over hell (an Iranian idea). The dreadful angels of hell and the horrors of that place are as thoroughly described by theologians as the pleasures of paradise, with its waters and gardens and the houris who are permanent virgins. Pious tradition promises space in heavenly mansions, filled with everything beautiful, to those who repeat certain prayer formulas a certain number of times, or for similar rewarding deeds, whereas the mystic longs not “for houris some thousand years old” but for the vision of God, who will be visible like the full moon. In the concept of the sidrah tree as the noblest place in paradise, a remnant may be found of the old tree of life. God’s throne is on the waters (Qurʾān 11:9) in the highest world, surrounded by worshipping angels. The created world, the earth, is surrounded by the mountain Qāf and enclosed by two oceans that are separated by a barrier. Mecca is the navel of the earth, created 2,000 years before everything else, and the deluge did not reach to proto-Kaʿbah. Often the world is conceived as a succession of seven heavens and seven earths, and a popular tradition says that the earth is on water, on a rock, on the back of a bull, on a kamkam (meaning unknown), on a fish, on water, on wind, on the veil of darkness—hence the Persian expression az māh tā māhī, “from the moon to the fish”; i.e., throughout the whole world.

Tales and legends concerning religious figures

The majority of popular legends concern the leading personalities of Islam.


Muhammad, whose only miracle according to his own words was the bringing of the Qurʾān, is credited with innumerable miracles and associated with a variety of miraculous occurrences: his finger split the moon, the cooked poisoned meat warned him not to touch it, the palm trunk sighed, the gazelle spoke for him, he cast no shadow, from his perspiration the rose was created, and so on. His ascension to heaven (miʿrāj) is still celebrated: he rode the winged horse Burāq in the company of the archangel Gabriel through the seven spheres, meeting the other prophets there, until he reached the divine presence, alone, without even the Angel of Inspiration. Muhammad-mysticism proper was developed in the late 9th century; he is shown as the one who precedes creation, his light is pre-eternal, and he is the reason for and goal of creation. He becomes the perfect man, uniting the divine and the human sphere as dawn is between night and day. His birth was surrounded by miracles, and his birthday became a popular holiday on which numerous poems were written to praise his achievements. The hope for him who has been sent as “mercy for the worlds” and will intercede for his community on Doomsday is extremely strong, especially among the masses, where these legends have completely overshadowed his historical figure.

Other Qurʾānic figures

In addition to Muhammad himself, his cousin and son-in-law ʿAlī, the Shīʿite hero, has been surrounded by legends concerning his bravery, his miraculous sword, Dhūaʾl-fiqār, and his wisdom. ʿAlī’s son Ḥusayn is the subject of innumerable poems that concern the day of his final fight in Karbalāʾ.

Almost every figure mentioned in the Qurʾān has become the centre of a circle of legends, be it Yūsuf, the symbol of overwhelming beauty, or Jesus with the life-giving breath, the model of poverty and asceticism. Of special interest is Khiḍr, identified with the unnamed companion of Moses (Qurʾān 20). He is the patron saint of the wayfarers, connected with green, the colour of heavenly bliss, appearing whenever a pious person is in need, and immortal since he drank from the fountain of life, which is hidden in the darkness. In many respects, he is the Islamic counterpart of the Hebrew prophet Elijah. Strong influences of the Alexander romances (a widely distributed literary genre dealing with the adventures of Alexander the Great) are visible in his figure.

Mystics and other later figures

The great religious personalities have become legendary, especially the martyr-mystic Ḥallāj (executed in Bagdad, 922). His words anā al-Ḥaqq, “I am the Creative Truth,” became the motto of many later mystics. His death on the gallows is the model for the suffering of lovers, and allusions to his fate are frequent in Islamic literature. An earlier mystic, Abū Yazīd al-Bisṭāmī (died 874), was the first to speak about the ascension of the mystic to heaven, which is a metaphor for higher unitive, mystical experience. A variation of the Buddha legend has been transferred onto the person of the first Sufi who practiced absolute poverty and trust in God, the Central Asian Ibrāhīm ibn Adham (died c. 780). The founders of mystical orders were credited by their followers with a variety of miracles, such as riding on lions, healing the sick, walking on water, being present at two places at the same time, and cardiognosia (which is the knowledge of what is in another’s heart, or thought reading). ʿAbd al-Qādir al-Jīlānī (died 1166), the founder of the widespread Qādiriyyah order of mystics, and many others have attracted upon themselves a large number of popular stories that formerly had been told about pre-Islamic saints or about some divinities, and these motifs can easily be transferred from one person to the other. In this sphere the survival of pre-Islamic customs and legends is most visible. The idea of the hierarchy of saints, culminating in the quṭb, the pole or axis, thanks to whose activities the world keeps going, belongs to the mythology of Sufism.

Mythologization of secular tales

A feature of Islamic mythology is the transformation of unreligious stories into vehicles of religious experience. The old hero of romantic love in Arabic literature, Majnūn, “the demented one,” became a symbol of the soul longing for identification with God, and in the Indus valley the tales of Sassui or Sohnī, the girls who perish for their love, and other romantic figures, have been understood as symbols of the soul longing for union with God through suffering and death.

Tales and beliefs about numbers and letters

Many Muslim tales, legends, and traditional sayings are built upon the mystical value of numbers, such as the threefold or sevenfold repetition of a certain rite. This is largely explained by examples from the life of a saintly or pious person, often the Prophet himself, who used to repeat this or that formula so and so many times. The number 40, found in the Qurʾān (as also in the Bible) as the length of a period of repentance, suffering, preparation, and steadfastness, is connected, for example, with the 40 days’ preparation and meditation, or fasting, of the novice in the mystical brotherhood. To each number, as well as to each day of the week, special qualities are attributed through the authority of both actual and alleged statements of the Prophet. Many pre-Islamic customs were thus justified.

The importance given to the letters of the Arabic alphabet is peculiar to Muslim pious thought. Letters of the alphabet were assigned numerical values: the straight alif (numerical value one), the first letter of the alphabet, becomes a symbol of the uniqueness and unity of Allah; the b (numerical value two), the first letter of the Qurʾān, represents to many mystics the creative power by which everything came into existence; the h (numerical value five) is the symbol of huwa, He, the formula for God’s absolute transcendence. The sect of the Ḥurūfīs developed these cabalistic interpretations of letters, but they are quite common in the whole Islamic world and form almost a substitute for mythology.

Illustration of myth and legend

Since the art of representation is opposed in Islam, illustrations of mythological and legendary subjects are rarely found. Miniature painting developed only in the Persian and, later on, in the Turkish and Indo-Muslim areas. Books such as Zakarīyāʾ ebn Moḥammad al-Qazvīnī’s Cosmography contain in some manuscripts a few pictures of angels, like Isrāfīl with the trumpet, and histories of the world or histories of the prophets, written in Iran or Turkey, also contain in rare manuscripts representations of angels or of scenes as told in the Qurʾān, especially the story of Yūsuf and Zalīkhā, which inspired many poems. The Shāh-nāmeh has been fairly frequently illustrated. When the Prophet of Islam is shown at all, his face is usually covered, and in several cases his companions or his family members are also shown with veiled faces.

The only subject from the legends surrounding Muhammad that has been treated by miniaturists several times is his ascension to heaven. There are a number of splendid Persian miniatures depicting this. In poetical manuscripts that contain allusions to legends of the saints, these topics were also sometimes illustrated (e.g., Jonah and the great fish or scenes from the wanderings of Khiḍr). Several miniatures deal with the execution of the mystic al-Ḥallāj. Mythological themes proper are found almost exclusively in the paintings of Mughal India—especially in the period of Jahāngīr, in which the eschatological peace of lion and lamb lying together is illustrated as well as the myth of the earth resting on the bull, on the fish, and so on. But by that time European influence was also already visible in Mughal art.

Significance and modern interpretations

Mythology proper has only a very small place in official Islam and is mostly an expression of popular traditions through which pre-Islamic influences seeped into Islam. Reformers tried to purge Islam of all non-Qurʾānic ideas and picturesque elaborations of the texts, whereas the mystics tried to spiritualize them as far as possible. Modern Muslim exegesis attempts to interpret many of the mythological strands of the Qurʾān in the light of modern science, as psychological factors, like Muhammad’s ascension to heaven, and especially deprives the eschatological parts of the Qurʾān of their religious significance. Cosmic events are interpreted as predictions of modern scientific research. To some interpreters, jinn and angels are spiritual forces; to others, jinn are microbes or the like. Thus, the religious text is confused with a textbook of science. Popular legends surrounding the Prophet and the saints are still found among the masses but are tending to disappear under the influence of historical research, though many of them have formed models for the behaviour and spiritual life of the Muslim believer.