As Derrida charged, Plato’s famous declaration of speech’s superiority to writing would seem to have resonated with inheritor cultures similarly transitioning from orality to literacy, and especially the Islamicate; despite the explosion...
moreAs Derrida charged, Plato’s famous declaration of speech’s superiority to writing would seem to have resonated with inheritor cultures similarly transitioning from orality to literacy, and especially the Islamicate; despite the explosion of writerly culture from the 8th century onward, Arabic scholarship continued to evince a categorical, if increasingly rhetorical, mistrust of writing. In the 14th century, however, as the age of encyclopedism dawned throughout the Islamicate heartlands, the superiority of writing to speech was formally and definitively asserted by Arabic and Persian encyclopedists, including most prominently Ibn al-Akfānī (d. 1348) of Mamluk Egypt and Shams al-Dīn Āmulī (d. 1352) of Ilkhanid Iran. It is hardly coincidental in this connection that the same century also witnessed the burgeoning popularity among scholarly and ruling elites of lettrism (ʿilm al-ḥurūf), kabbalah’s coeval cognate—the occult science that posited the cosmos itself as a text to be read, even rewritten. Synthesizing these literary and occult-scientific currents, in the early 15th century a circle of Muslim neopythagoreanizing lettrists—chief among them Ibn Turka of Isfahan (d. 1432)—developed the first formal metaphysics of writing.
This article analyzes Ibn Turka’s unprecedented valorization of writing over speech in terms both epistemological and ontological, as well as the sociocultural ramifications of this move throughout the post-Mongol Persianate world. Letter-number, he argued, is a form of light eternally emanated from the One; hence vision, that faculty of light, must be the sense most universal; hence visible text must be the form of the One most manifest. In support of this thesis, he synthesized the Avicennan-Ṭūsian doctrine of the transcendental modulation of being (tashkīk al-wujūd) with its illuminationist upgrade, the transcendental modulation of light (tashkīk al-nūr), to produce his signature doctrine of tashkīk al-ḥarf: letters of light as uncreated, all-creative matrix of the cosmos, gradually descending from the One in extramental, mental, spoken and finally written form. Far from being a peculiar intellectual rabbit trail of no enduring significance, I argue that Ibn Turka’s lettrist metaphysics of light was embraced by subsequent thinkers in Iran as the most effective means of conceptualizing and celebrating Islamicate writerly culture; these include the famed philosophers Jalāl al-Dīn Davānī (d. 1502) and Mīr Dāmād (d. 1630), founder of the so-called school of Isfahan. Nor was its influence limited to Aqquyunlu-Safavid philosophical circles; I further argue that Ibn Turka’s system informed the explosion of Persianate book culture more generally, and by extension Persianate visual culture, from the early Timurid period onward. A telling example in this context is the emergence of the album preface as a new genre of art history-theory in early Safavid Iran, a phenomenon that has been well feted and studied by art historians; but they have wholly elided high lettrism as the genre’s most immediate philosophical context. This principle may be extended to the Persian cosmopolis as a whole: two of the most seminal discourses on writing developed in the Ottoman and Mughal contexts, by Taşköprüzāde (d. 1561) and Abū l-Fażl ʿAllāmī (d. 1602) respectively, are demonstrably Ibn Turkian.
Like Derrida was to do half a millennium later, in sum, early modern Muslim lettrists inverted Plato’s speech-writing hierarchy; unlike Derrida, for whom writing can have no ontological edge, they put forward a profoundly humanistic neopythagorean ontogrammatology as core of the philosophia perennis—and that so trenchantly that it served to shape Islamicate intellectual and aesthetic culture alike for centuries. The modern ideologues of East-West rupture notwithstanding, moreover, I propose this cosmology as a major node of Islamo-Christianate cultural continuity even to the present.