The Ẓāhirī Sect's Understanding of Music: A Review Based on Narrations

Hüsamettin Kaya

Makale detayları

The Ẓāhirī Sect's Understanding of Music: A Review Based on Narrations

Yazarlar:

Hüsamettin Kaya

Yayıncı:

Bingol University

Ana Başlıklar:

Hadis

Dergi:

Bingöl Üniversitesi İlahiyat Fakültesi Dergisi Issue 25, pp.230-252

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001351261

pISSN:

2687-5128

Anahtar kelimeler:

Özet:

 Music, an art form with ancient origins, has played a significant role in human emotional and intellectual expression throughout history. It has been present in both secular and sacred contexts, including religious rituals deemed holy by various societies. In the intellectual traditions of both Greek and Islamic medieval philosophy, music was integrated into the classification of sciences ʿulūm and was regarded as an independent discipline, often associated with mathematics and cosmology. In Islamic jurisprudence, however, the status of music has been the subject of considerable debate. While some scholars have considered it a permissible form of artistic and emotional expression, others have condemned it, arguing that it promotes heedlessness ghafla and distances individuals from the remembrance of God dhikr. Among the four major Sunni schools of law, the Hanafī, Shāfiʿī, and Hanbalī madhāhib generally adopt a restrictive view towards music, often declaring it harām. In contrast, certain Mālikī scholars have adopted more permissive stances. The Hanbalī school, particularly known for its adherence to the apparent meanings of authentic Hadith without recourse to analogical reasoning qiyās, frequently regards music as prohibited based on transmitted reports. Furthermore, the Ẓāhirīs uphold the principle of ibāḥa aṣliyya original permissibility, maintaining that all things are permissible unless explicitly prohibited by sound evidence. On this basis, they argue for the permissibility of music in the absence of unequivocal textual evidence to the contrary. Some Ẓāhirī scholars also cite positive narrations that imply the permissibility of musical instruments and singing under certain conditions. The Ẓāhirī approach thus contrasts sharply with the Hanbalī stance, and offers a unique perspective within the broader discourse of Islamic legal thought on music. Their critical methodology and insistence on authentic textual proof contribute to a more nuanced understanding of the diversity of views on music in Islam.

 Music, an art form with ancient origins, has played a significant role in human emotional and intellectual expression throughout history. It has been present in both secular and sacred contexts, including religious rituals deemed holy by various societies. In the intellectual traditions of both Greek and Islamic medieval philosophy, music was integrated into the classification of sciences ʿulūm and was regarded as an independent discipline, often associated with mathematics and cosmology. In Islamic jurisprudence, however, the status of music has been the subject of considerable debate. While some scholars have considered it a permissible form of artistic and emotional expression, others have condemned it, arguing that it promotes heedlessness ghafla and distances individuals from the remembrance of God dhikr. Among the four major Sunni schools of law, the Hanafī, Shāfiʿī, and Hanbalī madhāhib generally adopt a restrictive view towards music, often declaring it harām. In contrast, certain Mālikī scholars have adopted more permissive stances. The Hanbalī school, particularly known for its adherence to the apparent meanings of authentic Hadith without recourse to analogical reasoning qiyās, frequently regards music as prohibited based on transmitted reports. Furthermore, the Ẓāhirīs uphold the principle of ibāḥa aṣliyya original permissibility, maintaining that all things are permissible unless explicitly prohibited by sound evidence. On this basis, they argue for the permissibility of music in the absence of unequivocal textual evidence to the contrary. Some Ẓāhirī scholars also cite positive narrations that imply the permissibility of musical instruments and singing under certain conditions. The Ẓāhirī approach thus contrasts sharply with the Hanbalī stance, and offers a unique perspective within the broader discourse of Islamic legal thought on music. Their critical methodology and insistence on authentic textual proof contribute to a more nuanced understanding of the diversity of views on music in Islam.

 Music, an art form with ancient origins, has played a significant role in human emotional and intellectual expression throughout history. It has been present in both secular and sacred contexts, including religious rituals deemed holy by various societies. In the intellectual traditions of both Greek and Islamic medieval philosophy, music was integrated into the classification of sciences ʿulūm and was regarded as an independent discipline, often associated with mathematics and cosmology. In Islamic jurisprudence, however, the status of music has been the subject of considerable debate. While some scholars have considered it a permissible form of artistic and emotional expression, others have condemned it, arguing that it promotes heedlessness ghafla and distances individuals from the remembrance of God dhikr. Among the four major Sunni schools of law, the Hanafī, Shāfiʿī, and Hanbalī madhāhib generally adopt a restrictive view towards music, often declaring it harām. In contrast, certain Mālikī scholars have adopted more permissive stances. The Hanbalī school, particularly known for its adherence to the apparent meanings of authentic Hadith without recourse to analogical reasoning qiyās, frequently regards music as prohibited based on transmitted reports. Furthermore, the Ẓāhirīs uphold the principle of ibāḥa aṣliyya original permissibility, maintaining that all things are permissible unless explicitly prohibited by sound evidence. On this basis, they argue for the permissibility of music in the absence of unequivocal textual evidence to the contrary. Some Ẓāhirī scholars also cite positive narrations that imply the permissibility of musical instruments and singing under certain conditions. The Ẓāhirī approach thus contrasts sharply with the Hanbalī stance, and offers a unique perspective within the broader discourse of Islamic legal thought on music. Their critical methodology and insistence on authentic textual proof contribute to a more nuanced understanding of the diversity of views on music in Islam.

 Kadim bir geçmişe sahip olan müzik sanatı, tarihin her evresinde insanların hüzün ve sevinçlerinde; duygu ve düşüncelerinin ifadesinde tezahür etmiştir. Müzik aynı zamanda insanlar tarafından kutsiyet atfedilen dini ritüellerde de başvurulan bir sanat olmuştur. İnsanın ayrılmaz bir parçası haline gelen müzik gerek Yunan gerek klasik İslâm düşüncesinde, ilimlerin tasnifinde yer edinmiş ve müstakil bir ilim olarak kabul edilmiştir. Bununla beraber İslâm dininde zevk ve sefayı telkinde bulunduğu, Allahtan uzaklaştırdığı gibi gerekçelerle hükmü tartışıla gelmiştir. Hanefî, Şâfiî ve Hanbelî mezhebinde cevaz verilmeyen müziğe Mâlikî uleması cevaz vermiştir. Dinde rey ve kıyasın yeri olmadığını söyleyip mümkün mertebe nassı merkeze alan Hanbelî mezhebinin müziği haram addetmesi, aynı şekilde dini anlama ve yorumlamada nassı merkeze alan Zâhirîlerin müziğe yaklaşımlarının tespitini önemli hale getirmiştir. Bu cihetle öncelikle müziğe ilişkin genel bilgiler verilmiş, daha sonra rivayetler üzerinden Zâhirî âlimlerin yaklaşımları incelenmiştir. Çalışmada Zâhirîlerin müzik anlayışı, diğer mezheplerin yaklaşımlarıyla karşılaştırmak suretiyle görüşlerinin özgün olup olmadığının tespiti hedeflenmiştir. Zâhirî âlimleri müziğin haram oluşuna ilişkin delil gösterilen merfu rivayetlerin tamamının ya isnad ya da metin problemi içerdiklerini bu nedenle de hüccet olamayacaklarını belirtmişlerdir. Merfû rivayetlerin dışında kalan mevkuf veya maktu rivayetlerin ise delil değerinin olmadığını söylemişlerdir. Müziğin cevazını ibâha-i asliyye ile açıklamakla birlikte mubah oluşunu gösteren birden fazla rivayetin mevcut olduğunu da ifade etmişlerdir.

Makale detayları

The Ẓāhirī Sect's Understanding of Music: A Review Based on Narrations

Yazarlar:

Hüsamettin Kaya

Yayıncı:

Bingol University

Ana Başlıklar:

Hadis

Dergi:

Bingöl Üniversitesi İlahiyat Fakültesi Dergisi Issue 25, pp.230-252

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001351261

pISSN:

2687-5128

Ḥadīth

Ẓāhirī

Music

Judgment

Licithadis

Zâhirî

Müzik

Hüküm

Mubah

Sayı

Makale detayları

Yazarlar: Hüsamettin Kaya

Yayıncı: Bingol University

Ana Başlıklar: Hadis

Dergi: Bingöl Üniversitesi İlahiyat Fakültesi Dergisi Issue 25, pp.230-252

Belge Tipi: Makale

Yayın Tarihi: 6/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001351261

pISSN: 2687-5128

Sayı

Yazarlar:

Hüsamettin Kaya

Yayıncı:

Bingol University

Ana Başlıklar:

Hadis

Dergi:

Bingöl Üniversitesi İlahiyat Fakültesi Dergisi Issue 25, pp.230-252

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001351261

pISSN:

2687-5128