The Muslim theologian Abdal Hakim Murad says “Sometimes we see in the world manifestations of the divine beauty and grace – and that’s preponderant – sometimes we see in the world manifestations of the divine rigour and wrath. And this is one of the big differences between our (Muslim) understanding and, say, the Christian understanding. The Christians say “God is love” and immediately they can’t explain the meningitis virus or whatever, and this is a major source of loss of faith amongst them.
“Now we say that Allah is indeed Rahman [intensely merciful] and Rahim [most compassionate] and He is Al-Wadood [the loving], and He has those beautiful attributes and they do predominate and at the end, when good and evil are finally differentiate, we will see that the Rahma [divine mercy] predominates over the divine wrath. Nonetheless we also believe that Allah is Al-Jabbar (The Overwhelming), Al-Muntaqim (The Avenger), The Judge (Al-Hakkam), and that’s one reason why Islamic theology hangs together so well when confronted by the paradoxes of evil and suffering in the world. We believe that the world is the endlessly subtle interaction of ninety-nine names that includes names of rigour as well as names of beauty.”
“. . . which also means that the perfected human being, the Adamic human being, sometimes (and predominantly) manifests mercy and forgiveness, but sometimes can manifest rigour as well, which is why the Prophet (saws) forgave the people of Mecca, but he also went to war against them. Because he is the true Khalifa, he has those names and he also has within himself something of the Rahma, and he has within himself something, also, of Al-Muntaqim (The Avenger).
“The true representative of Allah (swt) on earth is not just the woolly-minded, kind, benevolent saint who always turns the other cheek, but sometimes has to uphold Allah’s rule in the world through those names as well, and that’s part of the completeness of Sayyedina Muhammad (saws), that in him we can see manifested (so far as is possible for created mortal human beings) all of the names of Allah, not just the names of beauty and the names of mercy.”
Islam places creativity and art at the centre of human existence. Everything humans produce has an aesthetic quality, even the way we drive or speak. Art is the ability to generate beauty and we can all be artists in whatever we do, by doing it beautifully. This is ihsan. For example, our relationships need the quality of ihsan. Sound relationships are creative, and are based on the recognition of others’ souls. Human beings are the summit of creation, not to exploit others but to help the rest of creation to flourish. The Muslim as khalifa is a gardener, an artist, a carer of ophans. If we behave in these beautiful ways we will naturally embue our surroundings with beauty, just as the “classical mosques were built in the form of peoples’ souls” (1) as natural expressions of beauty rather than deliberate artistic creations.
Human beings have a special ability to distill and recycle beauty, meaning that we take the beauty of the natural world in through our senses, receive inspiration from the spirit (ruh), and then +add+ to the beauty of the natural world through our artistic creations. This cycle of creativity is the true source of sustainability.
Al-Ghazali said that “True art is in hearth and earth” (1). Abdal Hakim Murad (AHM) comments that ‘earth’ represents the natural realm and ‘hearth’ represents the human realm. The natural world, particularly its mineral and vegetal forms, provides inspiration for Muslim art. The human form is not a basis for Muslim art and AHM criticises Michelangelo as a “pagan restoration” – not monotheistic. AHM said there is something ‘theophanic’ about the human face which naturally draws our attention and changes the nature of a space, therefore human images are not suitable in a place of worship. However, even with regard to the mineral and vegetal, Muslims go beyond the outward forms and observe the underlying archetypes. In mosques we rarely see actual pictures of flowers or trees, but instead we see patterns of sacred geometry which abstract the underlying archetypes from the natural world and create serenity in our hearts.
(1) Abdal Hakim Murad, Al-Ghazali Retreat 2012
(2) ‘Contentions’, 17th set, number 2