绘画，指描绘某物的图像；由绘画也衍生出制作雕像，包括雕刻。绘画本身或雕塑即是图像，"suwar"（图像）是其复数。在语言中它也被称为"绘画"（tasaweer），包括雕刻，语言上也有说法认为绘画即是雕刻。伊斯兰教法禁止描绘人类、动物和鸟类中任何有灵魂的事物，无论是画在纸上、皮革上、衣服上、器皿上、首饰上、钱币上等，所以这一切都是被禁止的，因为只要描绘有灵魂的事物本身就是被禁止的，无论所描绘的是什么。描绘没有灵魂的事物是被允许的，没有任何罪过。伊斯兰教法允许描绘树木、山脉、花卉等没有灵魂的事物。至于禁止描绘有灵魂的事物，这是由伊斯兰教法经文确立的。布哈里辑录了伊本·阿拔斯（愿真主喜悦他）的圣训，他说：

Drawing is to draw the picture of something, and also from drawing is the making of statues and it includes sculpting. The drawing itself or the sculpture is the picture and pictures (suwar) is its plural. It is also called drawing (tasaweer) in the language and it includes sculpting, and it is said linguistically that drawing is sculpting. The Shar’a forbade the drawing of anything with a soul in it among humans, animals and birds whether it is drawn upon paper, skin, clothes, vessels, jewellery, cash etc so all of this is forbidden since the mere drawing of something in which there is a soul is forbidden whatever the thing being drawn. Drawing that which has no soul in it is permitted without any sin therein. The Shar’a allowed the drawing of trees, mountains, and flowers etc which do not have a soul. As for forbidding that which has a soul, this is established by the Shari’ah texts. Al-Bukhari extracted from the hadith of ibn Abbas (ra) who said:

据传

It has been narrated

而正如艾哈迈德所言

And in the words of Ahmad

以及穆斯林和布哈里从阿伊莎的圣训中辑录，她说：

And Muslim and Al-Bukhari extracted from the hadith of Aisha that she said:

“قِرام”是一种薄帘，上面有颜色，或是一种上面带有图案和雕刻的帘子。《穆斯林圣训实录》中的圣训

The qiram is a thin curtain in which there are colours or a curtain in which there are drawings and engravings. In the hadith of Muslim

“(durnuka)”是一种服饰。布哈里从伊本·阿拔斯（ra）的圣训中辑录道：安拉的使者（ﷺ）说：

The (durnuka) is a type of clothing. Al-Bukhari extracted from the hadith of ibn Abbas (ra): The Messenger of Allah (saw) said:

他是通过伊本·乌马的途径提取的

And he extracted via the way of ibn Uma

据伊本·阿拔斯（愿安拉喜悦他）传述：有一人来到他面前，说：“我画这些画，也做这些雕像，请给我一个关于它们的教法裁决。”他说：“你靠近我。”那人便走近他，直到他把手放在那人的头上，说：“我将把我从安拉的使者ﷺ那里听到的话告诉你，我听安拉的使者ﷺ说：”

It has been narrated from ibn Abbas (ra) to whom came a man and said: I draw these drawings and make these statues so give me a fatwa about them. He said: Come close to me. So he came closer until he placed his hand upon his head and said: I inform you from the Messenger of Allah (saw) what I heard the Messenger of Allah (saw) saying:

艾哈迈德从艾卜·胡莱赖(愿安拉喜悦他)处传述,他说:

Ahmad narrated from Abu Hurairah (ra) who said:

"القِرام" هو السِّتر الرقيق من الصوف ذي الألوان. وروى البخاري بسنده عن أبي جحيفة أنه اشترى غلامًا حجّامًا، فقال:

The (qiram) is the thin curtain of wool with colours. And Al-Bukhari narrated via the way of Abu Juhayfah that he bought a youth who was a cupper so he said:

这些圣训从总体上要求放弃绘画，这是绘画被禁止的明确证据。其含义是普遍的，包括每一幅画像，无论它有没有影子，无论它是完整的还是不完整的。因此，在禁止绘画方面，有影子与没有影子的画没有区别，能够存活的完整画像与不能存活的不完整画像也没有区别。由于圣训的普遍性，所有这些都是被禁止的。另外，还有伊本·阿拔斯（愿安拉喜悦他）关于天房（克尔白）的圣训，说天房里的画像是以线条勾勒的，没有任何影子，但先知ﷺ没有进入，直到这些画像被抹去。又有阿伊莎（愿安拉喜悦她）的圣训表明，帷幕上有以线条勾勒、没有任何影子的画。据传，先知ﷺ派阿里出征，并对他说：

These ahadith in their generality request the leaving of drawing decisively, and this is the evidence that drawing is forbidden. It is general including every picture whether it has a shadow or not, whether it is complete or incomplete. So there is no difference in forbidding drawings between what does or does not have a shadow, and between the complete picture which is able to live and the incomplete picture which is not able to live. All are forbidden due to the generality of the ahadith. And due to the hadith of ibn Abbas (ra) about the House (Ka’aba) that the pictures that were in the Ka’aba were drawn in traces without any shadow but the Messenger did not enter until they were effaced. And the hadith of Aisha (ra) indicated that the curtain had drawings traced upon it without any shadow. It is narrated that the Prophet (saw) sent Ali in an expedition and said to him:

他提到了两种类型：一种是有影子的，即雕像；另一种是没有影子的，即被抹去的画像。区分有影子与没有影子的说法并不正确，也没有依据；有生命还是无生命，也不是禁止的理由，也不存在排除其属于禁止范围的证据。至于允许描绘没有灵魂的事物，如树木、山脉等，这是因为禁止绘画的圣训所限定的禁止，仅针对有灵魂的画像。这种限定是得到承认的，并有可以付诸实践的理解。其理解是：内部没有灵魂的画像不在禁止之列。确实，有些圣训是无限定的，有些则是有限定的，而法理学原则是以有限定的圣训来约束无限定的圣训。禁止仅针对有灵魂的画像，即人、动物和鸟类。至于其他事物，描绘它们并不被禁止，反而是被允许的。另外，允许描绘没有灵魂的树木等事物，这在圣训中有明确的记载。在阿布·胡莱赖（愿安拉喜悦他）的圣训中：

He mentioned both types, the one which has a shadow which is the statue and the one without a shadow which is the drawing that is effaced. The distinction between that which has a shadow and that which has no shadow is not correct nor does it have a basis, and its being living or non living is not a reason in its forbiddance nor does there exist an evidence excluding it from the forbiddance. As for permitting the drawing of that which has no soul among trees, mountains etc this is because the ahadith which came forbidding drawing restricted the forbidding in the picture which has a soul. This restriction is recognised and has an understanding that is acted upon. Its understanding is that the picture which has no soul inside is not forbidden. Indeed, some ahadith came unrestricted but some of them came restricted, and the usuli principle is carrying the unrestricted upon the restricted. The forbidding is only upon the picture which has a soul in it, which is the human being, animal and bird. As for other than these, it is not forbidden to draw them; rather it is permitted. Also the allowance of drawing that which has no soul of trees etc, this came explicitly in the ahadith. In the hadith of Abu Hurairah (ra):

这意味着树的雕像本身并无过错。在伊本·阿拔斯（愿真主喜悦他）的圣训中：

This means that there is nothing wrong with the statue of a tree. And in the hadith of ibn Abbas (ra):

那些禁止绘画的圣训并未说明理由，也没有任何关于绘画为何被禁止的理由传来，因此不必探求其理由。至于伊本·欧麦尔所传述的先知ﷺ的话：

The ahadith which came forbidding drawing are not reasoned and there did not come the reasoning of drawing by any reason, hence no reason is sought. As for what ibn Umar narrated of the statement of the Messenger (saw):

你提到的"Aisha(ra)"在中文里通常译为"阿伊莎"，"(ra)"是愿真主喜悦她的意思，按照规则以文字形式译出。 所以译文为： 关于画像，阿伊莎（愿真主喜悦她）传述的圣训中有何内容？

And what came in the hadith of Aisha(ra) about drawing:

所有这些并非出于推理而来。从这些圣训的字句中，无法理解出任何理由。此事所涉及的，只是使者把绘画与创造相提并论，把雕塑者和画家与造物主相提并论。相似并不意味着推理，也不构成理由，因为某事物与另一事物相似，并不使被比拟者成为相似者的理由；相反，它可以是对该事物的一种描述，而描述并非事物的理由。因此，不能说绘画被禁止，是因为其中存在对真主创造的模仿。真主创造了人类、动物和飞禽，也创造了树木、山脉和花朵。所以，如果描绘人类、动物和飞禽被禁止，是因为模仿真主的创造，那么这一理由同样存在于树木、山脉、花朵等之中，因为它们也是真主所创造的，那么在这种情况下，描绘它们也应被禁止，因为其描绘中存在该理由。理由是围绕着有无而转的，尽管经文允许描绘树木以及一切没有生命之物。因此，描绘人类、动物和飞禽被禁止，是由于禁止它们的经文，而非出于任何理由；描绘树木、山脉及一切无生命之物则是允许的，没有任何罪过，因为有经文允许这样做。

All this did not come in the form of reasoning. No reason is understood from the words and sentences in these ahadith. All that is in the matter is that the Messenger equates drawing with creation and the sculptors & painter with the Creator. The resemblance does not mean reasoning nor does it become a reason since resemblance of something with something does not make that which is likened to the reason for that which resembles; rather it is possible to be a description for it, and the description of the thing is not a reason for it. Accordingly it is not said that drawing is forbidden because there is an imitation of the creation of Allah therein. Allah (swt) created mankind, animals and birds and He created trees, mountains and flowers. So if drawing human beings, animals and birds is forbidden for the reason of imitating the creation of Allah (swt) then this reason exists in trees, mountains, flowers etc since they are also created by Allah (swt) so, at that point, drawing them is forbidden due to the existence of the reason in their drawing. The reason revolves around that which is reasoned in presence and absence even though the texts came permitting the drawing of trees and everything that has no soul. Accordingly drawing human beings, animals and birds is forbidden due to the text which came forbidding them and not for any reason. Drawing trees, mountains and everything without a soul is permitted without any sin therein due to the texts which came to allow it.

Allah (SWT) forbade only the drawing or engraving, etc., that a person performs directly with his own hand. As for drawing by means of photographic equipment, it is not included in this, nor is it of the forbidden kind of drawing; rather, it is permissible. This is because its reality is that it is not drawing at all, but merely the transferring of the shadow from the reality onto the film, and it is not the drawing of a person by the artist. The one who uses photographic equipment does not draw the person; he only prints the person's shadow onto the film by means of the equipment. So it is the transferring of a shadow, not drawing, and it is done through equipment, not by the hand of the artist. Therefore it does not fall under the prohibition that came in the ahadith. The ahadith say:

The drawing which Allah (swt) forbade is only the drawing or engraving etc which a human performs directly by himself. As for drawing via the way of photographic equipment, it is not included nor is it of the forbidden drawing but rather it is allowed. This is because its reality is that it is not drawing, but is only the transporting the shadow from the reality to the film nor is it drawing a person by the drawer. The drawer by photographic equipment does not draw the person but only prints the shadow of the person upon the film by means of the equipment so it is transporting of the shadow not drawing and via the means of equipment not by the drawer. So it does not enter into the prohibition which came in the ahadith. The ahadith say:

拍摄人或动物照片的人，借助摄影器材，既不是制作这些图像，也不是进行这种绘画，他本人也不是画者。实际上是摄影器材把影像传输到胶片上，他所做的只是移动器材。因此他不是画者，无论如何也不可能成为画者，所以禁令完全不涉及他。 此外，圣训中所禁止的绘画已被描述，其种类也已限定：那就是模仿安拉（SWT）创造的绘画，画者在造物这一点上与造物主相似——他创造一幅图像，或是凭自己的想象绘制，或是依照面前的原物绘制；这两种情况下，他都是创造了图像，因为他是具有创造力的人。至于摄影图像，它不属于这种类型，因为它并非创造图像，其中也不存在创造性；它只是把实际存在之物的影子印在胶片上。因此它不被视为圣训所禁止的绘画种类，圣训也不适用于它，禁令之中也不包括它。 手绘图像与摄影图像在技术实质上的差异完全印证了这一点：二者是截然不同的两类。手绘图像，无论在技术上还是在创造性上，都不同于摄影图像。由此可见，摄影图像是被允许的，其中并无过失。

The one who takes the picture of the person or an animal with photographic equipment does not make these pictures nor does he perform this drawing nor is he a drawer. Rather it is the photographic equipment which transports the shadow to the film and he does not do anything other than moving the equipment. Therefore he is not a drawer nor is it possible for him to be a drawer by any means whatsoever; thus the prohibition does not include him at all. Also the drawing whose forbidding came in the ahadith has been described and its type limited, and this is the one which imitates the creation of Allah (swt) and the one in which the drawer resembles the Creator in relation to how he creates a thing. So he creates a picture either by drawing it from his mind or drawing it from its origin present in front of him; in both these cases he created the picture because he is the one in whom there is creativity. As for the photographic picture, it is not of this type since it is not creating the picture nor does creativity exist therein; it is merely printing the shadow of something existing upon film. Hence it is not considered from the types of drawing whose forbiddance came in the ahadith, and the ahadith do not apply upon it nor is it included under it in forbidding. The technical reality of the picture by hand and the photographic picture completely strengthens that; they are two types which differ completely. The technical picture drawn by hand and it is not the photographic picture (whether) technically or in creativity. From here, additionally, the photographic picture is allowed without blame in it.

关于绘画本身，这一点是这样的。至于拥有所绘的图画：如果它位于为礼拜准备的地方，例如清真寺、拜殿及类似的场所，那么这肯定是被禁止的，因为伊本·阿拔斯（愿真主喜悦他）的圣训中提到，使者ﷺ拒绝进入天房，直到图画被抹去。这是一种明确的要求离开的表态，因此它成为禁止的证据。 至于拥有它于不为礼拜准备的地方，例如住宅、办公室、学校等，则有其细节和解释。如果图画所在的地方受到尊重，则是厌恶的（makruh），而非禁止的。如果是不受尊重的地方，则允许，没有过失。 至于在受尊重的地方放置图画是厌恶的，是因为阿伊莎（愿真主喜悦她）的圣训：使者ﷺ撤去了一块上面有图画的帷幔；还有艾布·胡莱赖（愿真主喜悦他）的圣训：吉卜利勒拒绝进入一所房子，因为里面有雕像、图画和一条狗。至于这种厌恶仅限于放置在受尊重之处的图画，而在不受尊重之处存在则没有过失，这是因为阿伊莎（愿真主喜悦她）的圣训：使者ﷺ撤去了那块有图画的帷幔，当时它被高高挂起，而他靠在手肘上，身旁却有一幅图画。还有艾布·胡莱赖（愿真主喜悦他）的圣训，其中吉卜利勒对使者ﷺ说：

This is in relation to drawing as it is. As for possessing the picture which is drawn, if it was in a place prepared for worship like a mosque, musalla and their like, this is definitely forbidden due to what came in the hadith of ibn Abbas (ra) that the Messenger (saw) refused to enter the Ka’aba until the pictures were effaced. This is a decisive request to leave so it becomes an evidence of forbidding. As for possessing it in a place not prepared for worship like houses, offices, schools etc there is detail and explanation therein. If the picture were possessed in a place where it is treated with respect, it is disliked (makruh) and not forbidden. If it is a place where it is not treated with respect, it is permitted without blame therein. As for its being disliked in the place where the picture is treated with respect, it is due to the hadith of A’isha (ra) that the Messenger (saw) removed the curtain which had a picture and the hadith of Abu Hurairah (ra) that Jibril refused to enter the house because there was a statue, picture and a dog therein. As for this dislike being specific to the picture placed in a place of respect and there being no blame if it exists in a place where it is not treated with respect, this is because of the hadith of Aisha (ra) that the Messenger (saw) removed the curtain in which there was a picture when it was elevated, and he leaned upon the elbow while there was a picture therein. And due to the hadith of Abu Hurairah (ra) in which Jibril said to the Messenger (saw):

这表明，禁令所针对的是将图画置于受尊重的位置，而非拥有图画本身。至于将图画置于会被当作受尊重之物对待的地方，则属于被厌恶而非被禁止，原因在于：圣训中的禁令并未附带任何表明决定性的字眼，例如对拥有图画者的威胁、谴责或类似措辞，而绘制图画的禁令则有这些字眼；圣训中的禁令仅仅是要求离开（该物）。另有圣训禁止拥有雕像，却允许拥有绣制的图画，即经过描摹的图案，这被视为禁令并非决定性的一个迹象。穆斯林圣训集中艾布·塔勒哈的圣训，其措辞如下：

This indicates that the prohibition is based upon placing the picture in a place of respect for it and it is not based upon possessing it. As for placing the picture in a place wherein it is treated with respect being disliked not forbidden, this is because the prohibition which came in the ahadith was not linked to any connotation indicating decisiveness like a threat against the possessor of the picture or censuring him or the like as came in drawing; rather it came merely requesting to leave (it). There came other hadith prohibiting possessing statues and permitting possessing the embroidered picture i.e. traced, which is considered a connotation that the prohibition is not decisive. In the hadith of Abu Talha in Muslim with the words:

并且在穆斯林（Muslim）所传的圣训中有这样的记载：他ﷺ说：

And it came in the narration narrated by Muslim that he (saw) said:

这表明了对衣物上绣制图像的排除，其理解是：天使会进入有绣在衣物上的雕刻图案——即以素描方式描绘或绘制的图像——的房屋。如果将这段圣训与其他禁止此类行为的圣训结合起来，其含义是：要求离开的指示并不具有决定性，因此在受到尊重的地方拥有图像是被厌恶的（makruh），而非被禁止的（haram）。

This indicates the exclusion of the embroidered picture in the garment and its understanding is that the angels enter the house in which there is a carving embroidered upon a garment i.e. a picture traced/drawn in sketching. If this hadith is joined to the other prohibiting ahadith, it is a connotation that the request to leave is not decisive so possessing the picture in a place where it is treated with respect is disliked not forbidden.