This attitude also defines the role of the artist not as excessively prideful
in imitating God, but as honoring God by emulating the creative act. In
discussing the names of God and the extent to which humans have the
aptitude to participate in actions associated with divinity, al-Ghazali indi-
cates that human happiness and perfection lie in the adoption of God’s
characteristics, which embellish the soul. Likewise, the Brethren of Purity
cite aHadithindicating that“God loves the artisan who seeks perfection in
his art.”^59 Thus like philosophy, making art uses human capacity to
emulate God. Samer Akkach summarizes:“To emulate God’s work in the
practice of art is to imitate the patterns and qualities of the divine artefacts,
for he is the best artificer, the one who knows best, the wisest, and the
noblest.”^60 Citing God’s invitation to humanity to approach him (Q17:57),
the Brethren interpret creativity as one means of seeking God.
In contrast to our modern distinction between nature and art, this
understanding sees the created world also as art, different only in its divine
perfection. Human emulation embodies the human striving to be like God;
and its necessary imperfection reflects the state of being human. Such art is
highly naturalistic, in that it models itself on what we consider as nature,
the divine creation. Yet this nature is not perceived through the weak tools
of our external senses, but through the relatively more accurate perception
cultivated inside.
4.2 The Science of Internalized Vision
Multiple strands of literature have elaborated on the Quranic references to
the heart as the primary perceiving organ. Theological discourses culti-
vated Muslims who understood perception not only through the outward
sensory organs, but also through the heart. Poetry wove many of these
interpretations into popular genres not requiring extensive study. Much as
in the Christian world, painting culturally naturalized the outwardly
mimetic understanding of the image, and poetry normalized a theological
discourse of inward mimesis within Islamic cultures.
Early Islamic treatises expound love as a manifestation of God. Ibn Sina
describes God’s self-love as“the most perfect and fullest love because there
is no differentiation between the divine attributes in the essence.”^61 This
renders love the manifestation of Essence and Existence. Matter, including
the human, exists to enable God’s self-manifestation or theophany (tajalli),
(^59) Akkach,2005a: 50. (^60) Akkach,2005a: 50. (^61) Elkaisy-Freimuth, 2006 : 83.
The Science of Internalized Vision 123