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A Critical Edition of Ibn al-Haytham’s On the Shape of the by Dominique Raynaud

By Dominique Raynaud

This ebook presents the 1st serious variation of Ibn al-Haytham’s On the form of the Eclipse with English translation and statement, which documents the 1st scientific analysis of the digicam obscura. On the form of the Eclipse contains pioneering learn at the stipulations of formation of the picture, in a time deemed to be devoted to aniconism. It additionally presents an early try and merge the two branches of old optics―the idea of sunshine and conception of vision.

What might be such a lot strongly characterizes this treatise is the shut interplay of a geometrical research of sunshine and experimental reasoning. Ibn al-Haytham performed his experiments in a scientific means through various all which may be replaced: the form and measurement of the aperture, the focal size of the digital camera obscura, the space and form of the celestial our bodies. this fashion, he completed a radical figuring out. This paintings represents a decisive step in either the heritage of optics and the applying of the experimental strategy that was once simply as effective in medieval Islam as today.

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Extra info for A Critical Edition of Ibn al-Haytham’s On the Shape of the Eclipse: The First Experimental Study of the Camera Obscura (Sources and Studies in the ... Sciences) (English, Arabic and Greek Edition)

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X Projection Plane Moon A Ǧ Sun D Y B Ḥ F Aperture Š Ḫ T Fig. 5. Overview of Ibn al-Haytham’s Device During the partial solar eclipse, the Sun ABǦ is covered by the Moon ADǦ. What remains of the Sun is the crescent-shaped figure ABǦD. When the aperture reduces to a pinhole (Fig. 5), the crescent-shaped figure ABǦD casts through Ḥ the image ŠYḪF on the projection plane. This is the result of central symmetry. When the aperture is large (Fig. 6), the crescent-shaped figure ABǦD casts through the aperture HṬḤ a composite image, which is made by the overlapping of image ŠYḪF obtained through Ḥ, image KLMN obtained through Ṭ, image ṮẒGQ obtained through H, and as many images as one wishes, by taking any other point of the aperture.

Punctuation None of the manuscripts is puncutated with the use of commas, semicolons and full stops. Punctuation is basically limited to the division into sections, for which the scribes have used the signs and (short and long pauses). At the risk of losing a little freedom in the rendering of the text, I have proceeded codicologically: a line break was used to introduce a new paragraph when at least three out of five manuscripts were in accordance in the identification of a break. Within each paragraph, the Arabic is just articulated by the use of the conjunction (in general verb+‫)و‬, causal particle (verb+‫)ف‬, expression of consecution (‫ )ﺛ ـﻢ‬and pronouns introducing the subordinate clause.

Punctuation is basically limited to the division into sections, for which the scribes have used the signs and (short and long pauses). At the risk of losing a little freedom in the rendering of the text, I have proceeded codicologically: a line break was used to introduce a new paragraph when at least three out of five manuscripts were in accordance in the identification of a break. Within each paragraph, the Arabic is just articulated by the use of the conjunction (in general verb+‫)و‬, causal particle (verb+‫)ف‬, expression of consecution (‫ )ﺛ ـﻢ‬and pronouns introducing the subordinate clause.

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