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Capstone Project Paper CREA 490

Mouda Al Zaydan 3/29/2023

The Eye of the Beloved

Artists have been inspired by a wide range of sources, including their personal beliefs and

faith. For artists like me, their faith serves as a powerful source of inspiration and a guiding force

in their work. These artists often draw upon their beliefs and spirituality to create works that are

deeply personal and meaningful. I chose my capstone project to be an abstract artistic

interpretation of the existence of God Almighty from an Islamic perspective that encompasses

my journey on the path to finding this understanding of Him. My goal as an artist is to produce

art and use my work as an avenue to showcase the beauty within my faith tradition and cultural

background. Instead of , without speaking, but instead having I let the work speak for itself to my

western audience to ultimately reach beyond the socio-political divisions of fundamentalism and

Islamophobia and to motivate a positive change in thinking about faith in the 21st century.

Throughout history, artists have attempted to represent the relationship between human

beings and God in various ways, through different art forms such as painting, sculpture, music,

and literature. One way that artists have represented this relationship is through depictions of

religious figures such as Jesus, Muhammad, or Buddha. These representations often focus on the

figure's spiritual teachings, miracles, or other aspects that convey a sense of the divine. 1 Another

way that artists have tried to represent this relationship is by creating imagery that represents the

divine and the physical being of God. Many artists have also created sacred spaces such as

churches, mosques, and temples, which are designed to create a sense of connection with the

1 Zuffi, S. (2003). Saints: A Year in Faith and Art. Getty Publications.

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divine. These spaces often include artistic elements such as stained- glass windows, religious art,

or intricate architectural details that convey a sense of the sacred.

Islam has a rich tradition of artistic expression that includes the use of imagery. However,

some interpretations of Islamic teachings discourage the use of figurative art, particularly in

religious contexts. In Islam, the depiction of Allah (SWT) or Prophet Muhammad (SAW) is

generally considered to be forbidden, as it is believed to be disrespectful and can lead to idolatry

or the worship of physical objects.2 This prohibition is based on the concept of tawhid, or the

belief in the unity and oneness of God. Despite this prohibition, Islamic art has a long history of

using abstract and geometric forms, as well as calligraphy, to express religious themes and ideas.

This has resulted in a rich tradition of decorative art, including intricate patterns and designs that

are found in mosques, manuscripts, textiles, and other works of Islamic art.

The Eye of the Beloved is 99consists of 99 miniature paintings of my eye, each will have

one of the 99 names of God/ Allah (SWT) inscribed inside the pupil. Allah (SWT) says in the

Holy Quran “And to Allah alone belong all perfect attributes. So call on Him by these

attributes.” (Quran, 7:181). The 99 names of Allah (also known as Asma ul Husna) are

mentioned in the Quran and are considered to be among the most beautiful and powerful

attributes of Allah.3 Each name represents a particular aspect of Allah's nature and character, and

by understanding and reflecting on these names, Muslims can deepen their understanding of

Allah and draw closer to Him. The 99 names of Allah are a reminder of the unity and oneness of

God Almighty. Muslims believe that Allah is one and indivisible and that He possesses all of the

attributes and qualities represented by the 99 names. By reciting and reflecting on these names,

Muslims are reminded of the all-encompassing nature of Allah (SWT) and the importance of
2 Department of Islamic Art. “Figural Representation in Islamic Art.” In Heilbrunn Timeline of Art History. New
York: The Metropolitan Museum of Art.
3 Shafi, K. Attributes of God - Asmaa ul Husnaa. Al Islam: Official website of Ahmadiyya Muslim Community,
accessed on March 29, 2023.https://www.alislam.org/articles/attributes-of-god-asmaa-ul-husnaa/2/
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striving to live by His teachings and guidance. My goal was to take that Islamic theology and

practice that holds great significance for Muslims and create an intimate experience for the

viewer to showcase the devotion in my art while seeking to remind me and my viewer of our

human connection with the eternal. There is no expectation for an instant understanding of the

work but rather a gravitation towards the way it looks and the choices made, leaving the viewer

questioning the reason behind the repetition in making the 99 miniature drawings, and pushing

them outside of their comfort zone to a more confused and vulnerable state standing up close to

the wall trying to figure out the meaning behind the different components of the piece.

Eye miniatures, also known as "Lover's Eyes," are a unique and intriguing form of art and

jewelry making that was popular in the late 18th and early 19th centuries. 4 These pieces featured

a painted portrait of a single eye, usually set in a brooch or pendant. The Philadelphia Museum

of Art houses an impressive collection of these miniature works of art. 5 The concept of the

Lover's Eye originated in England, where they were used as a way for lovers to display their

affection for one another secretly. The miniature portraits were often exchanged as tokens of

love or as reminders of a beloved partner who was far away. 6 The intricate and delicate nature of

the eye miniatures speaks to the devotion and intimacy that was shared between the lovers who

exchanged them. The attention to detail in these miniature paintings is remarkable, with many

featuring fine brushstrokes and delicate shading. They offer a glimpse into a fascinating and

romantic period of history and serve as a testament to the enduring power of love and devotion.

The Eye of the Beloved showcases the beauty of God that lies in His being Hidden from

our physical eyes and yet being apparent to us through his attributes. The absence of a physical/

figural representation or form of the entity we know as God does not cause any uncertainty to

4 Newnham, K. (2019). The Eye of the Beholder: The Private World of Lover's Eye Miniatures. Christie's.
5 Buskirk, M. (2020). Lover's Eyes: The Intimacy of Miniature Paintings. Philadelphia Museum of Art.
6 Soubeyrand, C. (2019). Lover's Eyes: Uncovering the Mystery of an Intimate Art. Antique Collecting magazine.
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believing Muslims about His existence, for there are far more certain and conclusive ways

available to recognize Him. The idea here is that if God could be seen in one's eyes, he would not

be worth believing in. This is because iIn such a case many of his other attributes would be

falsified.7 This body of decorative work represents how God’s consciousness could turn the

servant into the beloved in the eyes of their creator. God Almighty has not only blessed Muslims

with the gift of reason but has also graced them with the radiance and divine light of revelation.

God Almighty praises his servants in the Holy Quran in the following words: [Arabic] "Men of

strong hands and powerful vision" (Quran, 38:46). This establishes that God Almighty loves

those who observe both his works and words and reflect on them, not only with their physical

eyes but with their inner sight as well, and then act accordingly.8

This My work also showcases how art can be a form of devotion. Drawing an object 99

times and using the Arabic calligraphy of Sacred Islamic scriptures turns this devotion into a

religious one, and the process of creating becomes a form of prayer to remember our human

connection with the Eternal.

Because of this understanding, artists with a similar faith background have or teachings

opted to create art using their own figures and bodies as a medium to illustrate deeply personal

and meaningful bodies of work showcasing a journey or an understanding of the world that is

powered by their faith serving as a powerful source of inspiration. A great example of that is the

well-known Iranian contemporary artist, Shirin Neshat. Her visually impressive works reflect her

two opposing cultural backgrounds, her country of origin (Iran) and the west where she resides

now (The United States). Her work is shaped by self-reflection, it's a mirror of her identity in her

case in the political and societal context. My work on the other hand is shaped by self-reflection

7 Ahmad, T. (2016). Our God. Page 10. Islam International Publications UK.
8 Ahmad, G. (2018). Malfuzat – Volume I. Page 65. Islam International Publications UK.
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after my journey to finding my faith and religion again in the west. My work, it's is a mirror of

my current identity in a religious context. Özden argues that Neshat's work challenges the

Western notion of a clear separation between the body and language. In the “Women of Allah”

sSeries Neshat's use of calligraphy over the body merges the two, creating a new way of

representing women's bodies in art. The calligraphy is not just a surface decoration, but an

integral part of the women's identity and experience. 9 My use of calligraphy over the body

specifically the eye miniatures merges the two as well, creating a new way of representing the

biblical concept of “So God created mankind in his own image”. 10 Where imitation is the best

form of flattery, this concept in Islam is about emulating God’s attributes to the best of our

ability because all human beings are Allah's representatives on earth.

Other artists have also combined text and imagery, both Mona Hatoum and Shahzia

Sikander have also combined text and imagery in their work in a way that has are great examples

that have inspired me as well. "Measures of Distance" by Mona Hatoum is a deeply personal and

emotional work that explores themes of distance, separation, and intimacy. Through the use of

intimate images of the artist's body and the letters written by her mother, Hatoum creates a

complex and multi-layered work that speaks to the complexities of family relationships,

experiences of separation and connection, and the impact that distance can have on our most

intimate relationships.11 Her work is similar to mine in that it's a powerful and emotionally

resonant work that speaks to a range of complex and deeply human themes through its use of

personal imagery overlaid by writing that is integral to the context behind the work.

9 Özden, B. (2018). Writing Over the Body, Writing With the Body: On Shirin Neshat’s Women of Allah Series. In
N. Özkan & Z. Tülin Güner (Eds.), Writing Visual Culture: Representation and Epistemology (pp. 191-202).
Palgrave Macmillan.
10 The Holy Bible, English Standard Version. Genesis 1:26-27.
11 Tate. “'Measures of Distance', Mona Hatoum, 1988.” Tate, January 1, 1988.
https://www.tate.org.uk/art/artworks/hatoum-measures-of-distance-t07538.
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And finallyFinally, Shahzia Sikander's early work was heavily influenced by traditional

miniature painting, a style of painting that originated in South Asia in the 16th century. However,

rather than simply reproducing traditional miniature painting techniques, Sikander has pushed

the boundaries of this style to create new and innovative works that incorporate a wide range of

influences and materials. She blendingblends an the Eastern focus on precision and

methodology with a Western emphasis on creative, subjective expression. The Eye of the

Beloved similarly pushes these boundaries blending the Eastern focus on Islamic theology with a

Western emphasis on the creative, subjective, abstract expression of it. Sikander’s process of

making is also similar to mine:, she describes making art as a form of prayer that is rooted in her

devotion to creating a visually stunning and thought-provoking piece.12

Neshat, Hatoum, Sikander, and I have similar creative goals when it comes to our artistic

expression evolving from our cultural and ethnic backgrounds. I am fascinated with visual art

and written languages and my goal is to ask the viewer through my art to consider how cultural

backgrounds, especially those shaped by language and religious beliefs, fundamentally color our

world's view. I believe art is about making connections, moving people, and making them think.

To move people with my art, I need to create by living my purpose, and my purpose will pursue

serving humanity and showing the beauty that lies within the faith.

References

Ahmad, Mirza Ghulam. Malfuzat – Volume I. Islam International Publications UK, 2018.

12 Art21. "Shahzia Sikander: In Spirituality Segment." Accessed March 9, 2023. https://art21.org/watch/art-in-the-

twenty-first-century/s1/shahzia-sikander-in-spirituality-segment/.
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Ahmad, Mirza Tahir. Our God. Islam International Publications UK, 2016.

Art21. "Shahzia Sikander: In Spirituality Segment." Accessed March 9, 2023.

https://art21.org/watch/art-in-the-twenty-first-century/s1/shahzia-sikander-in-spirituality-

segment/.

Begüm Özden. "Writing Over the Body, Writing With the Body: On Shirin Neshat’s Women of

Allah Series." In Writing Visual Culture: Representation and Epistemology, edited by N. Özkan

and Z. Tülin Güner, 191-202. Palgrave Macmillan, 2018.

Department of Islamic Art. “Figural Representation in Islamic Art.” In Heilbrunn Timeline of

Art History. New York: The Metropolitan Museum of Art, 2000–. Accessed on March 29, 2023.

http://www.metmuseum.org/toah/hd/figs/hd_figs.htm.

Khalid Mahmood Shafi. "Attributes of God - Asmaa ul Husnaa." Al Islam: Official website of

Ahmadiyya Muslim Community. Accessed on March 29, 2023.

https://www.alislam.org/articles/attributes-of-god-asmaa-ul-husnaa/2/.

"Lover's Eyes: The Intimacy of Miniature Paintings" by Mary Balzer Buskirk. Philadelphia

Museum of Art, 2020.

"Lover's Eyes: Uncovering the Mystery of an Intimate Art" by Catherine Soubeyrand. Antique

Collecting magazine, May 2019.

"The Eye of the Beholder: The Private World of Lover's Eye Miniatures" by Kate Newnham.

Christie's, October 2019.

Tate. “'Measures of Distance', Mona Hatoum, 1988.” Tate, January 1, 1988.

https://www.tate.org.uk/art/artworks/hatoum-measures-of-distance-t07538.
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Zuffi, Stefano. Saints: A Year in Faith and Art. Getty Publications, 2003.

The Holy Bible. English Standard Version. Genesis 1:26-27.