Qazwini’s work was in dialogue with the philosophic tradition of
Ibn Sina, an 11th century Islamic thinker who closely followed the
Neoplatonic philosophy of
emanationism. This philosophy was developed by the Greek philosopher
Plotinus in the third century and holds that every single thing in the universe comes from a single source, which Ibn Sina defined as God. The beings that first emanated from this source are considered to be closest to perfect singularity, whereas entities that emerged later are the most imperfect and distant from God, creating a “hierarchy of creation.” Sina also emphasized that any object could inspire aesthetic appreciation or delight by evoking a sense of wonder, a belief that is directly referenced in Qazwini’s work. His most well-known book,
Wonders of Creation, aligns its structure with Sina’s
emanationism, with the description of the celestial and
divine spheres located at the beginning and latter half of the book concerning earthly entities. By adopting this structure, Qazwini places the most “perfect” entities (ie., the beings closest to God) first and the before the least divinely “perfect” entities last.
Wonders of Creation also includes elements of Sina’s beliefs regarding wonder, as the work opens with an essay where Qazwini argues that the mysterious objects and “rarities” in his book should evoke a feeling of awe and wonder rather than fear or horror, no matter their aesthetic appearance, simply on the basis of their novelty. Beyond the philosophy of Ibn Sina, Qazwini’s works were also written in response to the upheaval caused by the 13th century
Mongol conquest of Asia. The turbulent state of the Islamic world influenced his cosmographical works, most notably
Wonders of Creation, which attempted to organize the world based on an assumption of a preexisting and divinely arranged order. This likely served as a means of comfort for the
intellectuals of his day and for Qazwini himself, who was personally displaced during this time period. == Later life and death ==