The work opens with an ornamented rug, despite it functioning primarily as the canvas. The foregrounding element is line work. Specifically, the piece displays a prayer rug used by those of the Muslim faith, as well as a female body. The fiber material of the rug is associated with the female body with the intention of encouraging the viewer to challenge their perspective of the female body. The artist intends to consider the female body alongside the context of faith or religion, and asks the viewer to question how their framework of the female body can be re-categorized as a creation from the Creator, simply a clay vessel to house the soul. The re-categorization will result in reconceptualization of the idea, therefore redefining it and consequently putting it within another framework. The artist questions whether the viewer perceives the body as halal, therefore belonging on a canvas that symbolizes a halal doctrine, or whether they have taken the female body and convoluted its definition into a framework that is objectifying, sexualized or diminished, and therefore haram.

 

The Holy Quran states that all humans are equal in status, and that only righteous deeds elevate one person above another. Therefore, piousness and honour were respected qualities. Despite recognizing the two are equal, roles are distinguished based on physical or emotional strength. The roles however, are not to question superiority or inferiority, but act a dialogue regarding natural capacity and efficient functioning. Islam places equal importance on both and also stresses that the roles are not exclusive nor inflexible. This does not mean that women cannot work or serve society or that men have no duties or responsibilities for their children or for their household. Correspondence of equality does not end at the private life; the narrative extends towards all matters of status.

 

Economic status is discussed in the Quran, stating women are entitled to possess money, property and other assets, and emphasizes in 4:33, “Men shall have their share of that which they have earned, and women a share of that which they have earned…” Education was also obligation, with the Prophet Mohamed (pbuh) asserting, “‘It is the duty of every Muslim man and every Muslim woman to acquire knowledge’ (Ibne Majah). It is interesting to note that throughout the Quran, the woman is displayed as equal, even when references of protection are obligated towards the man (4:34). Even the money they earn is theirs and the husband has no right over it, whereas the husband must use his money for the family. Even if women do provide to their family, it would be seen as charity. The idea even expands metaphysically, as found in revelations like those in surah Al Nisa, “Lord (who) created you from one soul and created from it its mate” (4:1). Ultimately, if one were to disregard the reasons aforementioned understanding the egalitarianism between the male and female would be evident within the perspective of humans as a product. The Quran reveals that humans are both from the same beginning and within the same process:

 

“Verily We created man from a product of wet earth; then placed him as a drop (of seed) in a safe lodging; then We fashioned the drop into a clot, then We fashioned the clot into a little lump, then We fashioned the little lump into bones, then clothed the bones with flesh, and then produced it another creation. So blessed be Allah, the Best of Creators!” [23:12-14]

 

The intention of this explanation is not to be facetious, but to introduce the following challenge. Keeping in mind that the female at this point has been categorized as equal, we will begin to explore how it became provocative, problematic. 

 

A human body is male and female, and male and female are equal in their status and production. The body depicted is created from clay and holds the soul, and is inconsequential in its aesthetic. It is a means to an end, and is essentially unimportant to identity or respect or honour, because it was created in honour as it is the Creator’s. If it is the Creator’s, it is halal. However the vessel’s definition has instead been contracted into a sexual ideal instead of a physical manifestation of metaphysical being. Even in conversations regarding breastfeeding, the viewer cannot associate necessity, reproduction and normalcy to the action because the breasts have been sexualized.

 

Verses in the Quran state that the body is normal and a part of human identity, as other beings were created differently (i.e angels, jinn, animals, plants). However, man was created with desire. The Holy Book states that despite their desire, they must lower their gaze and act accordingly. Specifically for men, the Holy Book recites, “Oh you have believed, it is not lawful for you to inherit women by compulsion. (And do not make difficulties for them to take part of what you gave them)…Live with them in kindness” (4:19). In many other verses, the Holy Book asks the male to question the female identity in his life and relate it to sibling or family ideals. The artist found it interesting that the female body would be benefitted if not exposed to strange men but men in the following verse were permissible:

 

“tell believing women to lower their gaze and guard their chastity and not expose their adornment except to their husbands, their father, their husband’s fathers, their sons, their husband’s sons, their brothers, their brother’s sons, their sister’s sons, their women, that which their right hand possesses, or those male attendants having no physical desire, or children who are not yet aware of their private aspects of women…” (Surah Al Nur, 24:31)

 

Essentially the ayat results in a suggestion that what is considered haram is not the body, but what the male gaze associates with it. It suggests that the family dynamic does not allow for desire. This adds security, consolation and relief when in regards to the female body, and pushes the idea of the female being neutral and further suggesting its equality within respect to creation. Allah, the Creator essentially created the beings within the context of goodness, it is our (the humans’) perception that has regressed this. “What comes to you of good is from Allah, but what comes to you of evil, [O man], is from yourself.” (4:79)

 

The framework of this piece is significant. The artist’s intentions were to change the context of the female body, wanting to categorize it with Allah. If the prayer rug symbolizes Islam, specifically taqwa, kheshu3, Allah Ta3lah, worship, love, light and the ka3ba, then it would be necessary to use it as a canvas. If the female body is paired with the prayer rug, would the viewer then perceive it as creation, tied in with symbols of the Creator and the faith? Would this bring equality because the viewer would recognize that scripture decrees justice and correspondence between beings?

 

The work uses these materials and symbols to discuss the perspective of the viewer towards the female body. The artist chose to use the prayer rug because although it uses Muslim iconography, it is made by man. It is like the headscarf or clothing for prayer, man made for religious worship. A page of scripture (whether it be the Torah or the Bible or the Quran) was not used because the intent would change. It would become blasphemous because something was painted on what has been authorized as The Word of God. The rug does not use the Word of God, nor is it from God, nor does it use anything but symbolism of faith, symbolism that is ornamentation, which could look like lamps, gradients, mosques, foliage, or different forms of embroidery.

 

Most scholars perceive the prayer rug as not a part of Islamic doctrine, and instead view it as a bidah (Islamic innovation). Some sects claim the prayer mat can not be used at all during prayer, especially in a mosque (Ibn Taymiyyah,  Majmoo’ al-Fataawa, 22/163).  There are more than five strong hadiths that list otherwise despite remaining that the rug must be simple in order to not distract from worship. In Sahih Al-Bukhari, Hadith 373, Narrated by Aisha it reads,

“The Prophet prayed in a Khamisa having marks. During the prayer, he looked at its marks. So when he finished the prayer he said, “Take this Khamisa of mine to Abu Jahm and get me his Inbijaniya as it (the Khamisa) has diverted my attention from the prayer.”

Aisha said “The Prophet said, ‘I was looking at its (Khamisa’s) marks during the prayers and I was afraid that it may put me in trial (by taking away my attention)’.”

 

It is evident from this hadith that there are conditions applicable to the use of prayer mats. The Prophet was distracted by the marks on the Khamisa, which lead scholars to strongly discourage use of a prayer mat with markings that may distract in worship. The modern highly decorative mats – like the one chosen for this piece definitely - fall within these rulings, as do bright and colourful prayer mats, or those with drawn objects like mosques or the Kaaba. It must be clarified that using one of these distracting prayer mats does not nullify your prayer, but it is considered makrooh, or disliked. Considering the hadith, and further hadith in Sahih Bukhari, it is important to acknowledge that praying on a mat is technically Sunnah and not bidah, but that praying on an ornamented mat or bringing one to the mosque and spreading it to pray on it is not Sunnah.

 

None of the items used by the Prophet to put something between him and the ground during his prostration in prayer were designed specifically for praying on. “There was no such thing as a prayer mat in the time of the Sahabah, and if you possess the belief that it is compulsory to use a prayer mat, then you hold a belief outside of Islam, one that there is no evidence for, and one that none of the Sahabah possessed” (interpretation of Al Bukhari, Hadith 373). In Al Bukhari, Hadith 379, Narrated by Abdullah Shaddad, he mentions The Prophet Mohamed (pbuh) prayed on a Khumra, which is a small mat made of palm leaves, adequate in size for hands and head placement during prostration.

 

In summary, it is beneficial to avoid purchasing or using modern prayer mats, and is quite unnecessary unless you need something to separate yourself and the ground in prayer. If this is the case, adhering to the Sunnah and using simple mats, garments such as cloaks and turbans, or small cloths and household mats is recommended. Regardless, the prayer rug is significant to this piece and its interpretation, as it highlights the necessary symbols and provides context to consider the piece without it being sacrilegious to Allah’s doctrine. Think about the prayer rug chosen as well: why the Ka3ba as a symbol- what is its history. Think about why the head wasn’t incorporated. Think about why it is just a line drawing. The artist, does not owe anyone answers, it is up to you and your critical reasoning to pursue the knowledge you wish; the questions you want to ask her, ask yourselves.

 

Salam 3alaikom w Ra7mat Allah w Barakatu