شبه مجيزي التصوير الفوتوغرافي

تأليف أبي عمرو يسلم الأبيني One of the primary arguments put forth by those who permit digital images is the use of analogy (qiyās) between digital images and reflections. However, the key issue with applying qiyās in the case of equating cameras with reflections (rather than with drawing or sculpture) lies in the absence of a shared ‘illah (effective legal cause) between the compared elements. The author of this treatise highlights several key differences to invalidate the application of qiyās in this context. These differences are as follows: 1. Mirrors and water only reflect images temporarily and do not retain them, while cameras store images permanently. 2. No special effort is needed to reflect in a mirror or water; cameras require technical care, including equipment, electricity, and configuration. 3. Camera lenses need specialised materials and settings unlike ordinary glass; they also require precise setup, similar to drawing. 4. Cameras modify images (enlarge, reduce, edit), unlike mirrors or water which reflect exact size; this makes them more like hand-drawing. 5. Creating a photo involves tools and intent, just like painting or sculpting; mirrors and water involve no tools or artistic input. 6. The image from a camera is clearer and more accurate in resembling Allāh’s creation than traditional art. Conclusion: Qiyās indicates that cameras bear greater resemblance to drawing and sculpture than to mirrors or water. Modern photography is a form of art that involves specialised tools, technical expertise, and creative effort. Since both hand-drawn images and digital methods imitate Allāh’s creation, it raises a critical question: why is one form prohibited while the other is deemed permissible?