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Discussion in 'Multimedia' started by Ibn Hadi, Aug 5, 2017.
That's the poison. That's why our scholars said kuffar are less dangerous that innovators.
I hate people like this guy more than I hate Wahhabis. People like Mark Hanson, Atabek the Donkey, and other people who falsely claim to be Sunni-Sufi, while they are in reality spreading sulah kulli beliefs, are truly the most dangerous type of people out there.
At least other deviants are open about their beliefs. Hanson and his ilk masquerade as orthodox Sunnis. They talk sweet and poison many.
May Allah protect us.
go back to the 15c.
there is ludovico di varthema and his travelogue. see here: https://archive.org/details/travelsofludovic00vartrich
on p14 he writes: 'they all wear the face covered'
apparently, nubian and other women in egypt were walking half naked.
his proof? of course! the orientalist painters and their paintings!
apparently, this snake-oil salesman didn't get the memo:
In simple terms, 19th century Orientalism satisfied a public curiosity for the Near East following the French military campaign in Egypt, and the publication by the French government in 1809 of the 24-volume "Description de l'Egypte" (1809–22), illustrating the geography, architecture and social customs of Egyptian North Africa. Of course, some of the early Orientalist paintings were nothing more than cultural propaganda in support of French imperialism, depicting the East as a place of backwardness, gratifyingly enhanced by French rule.
Sadly, some paintings were deliberately salacious, playing on the erotic fantasies of art collectors and public alike. This tendency is exemplified by Jean-Leon Gerome's sleazy work The Snake Charmer (1879, Clark Art Institute, Massachusetts), in which a group of men sit on the ground watching a young nude snake charmer, against a dazzling background of Islamic tiles that make the painting shimmer with blue and silver.
Another armchair Orientalist was Jean-Auguste-Dominique Ingres (1780–1867) a doyen of the French Academy, noted for his meticulous, highly polished works. Like Baron Gros, Ingres never travelled to the East, but titillated his public with nude concubines and imagined Turkish harem scenes, such as The Turkish Bath (1863, Louvre) and La Grande Odalisque (1814, Louvre).
One might also say that, in addition to their erotic content, these orientalist harem paintings evoked a cultivated, pampered existence to which many Westerners aspired -
edward william lane, the orientalist wrote a book in 1833, an account of the customs and manners of modern egyptians:
here is a pic on p5 to make hamzah uneasy (if he had shame)
half naked women and no jilbab right?
further down, on page 377, in the chapter "dancing girls", he does mention that a tribe of women with low morals were also found. but these were among lower classes in the society.
but that doesn't mean it is proof that scholars tolerated them: (Ghawazee were the dancing girls):
notice, they were "plentifully supplied with brandy or some other intoxicating liquor."
just because dancing girls, prostitutes and wine drinking was ALSO present in muslim societies, that is no proof to say that islamic societies were fine with these things.
1:12:00 onward the Niqab and Jilbab are ridiculed and branded as a ‘beekeepers bag’. The naked culture is also defended.