JELWEH HĀ’Ī AZ ZĪBĀ’ĪHĀYE DĪN [MANIFESTATIONS OF THE BEAUTIES OF RELIGION]. By Mohammad Hossein Gilanipoor. Qom, Iran: Nashremaaref, 2019. Pp. 80. Paper, 600,000 IRR.
Religion, as a belief and ethical system, encompasses numerous elements of beauty that contribute to the enhancement of the spiritual and social well-being of individuals. Religion introduces values such as honesty, justice, and selflessness, guiding individuals on how to interact with themselves and others. The beauty of religion is also evident in its rituals and spiritual ceremonies.
In this context, several works have been written; however, this particular work is derived from the statements of one of the most prominent Shia scholars, Ayatollah Javadi Amoli, regarding the beauties of religion. These concepts have been articulated in a straightforward manner for the reader in this text.
This work consists of four chapters. In the first chapter, the author defines art and beauty, stating that beauty is that which harmonizes with the human perceptual apparatus, whereas art is the creativity of this apparatus; in other words, art is the creation of a beautiful object. Hence, not every beautiful being is necessarily an artist, nor is every artist inherently beautiful. An entity is considered an artist if it can create beauty, and what artists create is considered beautiful and aesthetic.
Subsequently, art and beauty are discussed from a religious perspective. God states that what individuals—including humans and animals—perceive as harmonious with their perceptual apparatus cannot serve as a standard for beauty since these perceptions pertain to the physical. Just as a nightingale enjoys its own sound, so too does a donkey enjoy its bray. However, what religion can present and make universally applicable is something that is inherently accepted by human nature and is pleasing to the heart. The Quran regards anything that pertains to the perfection of existence as true beauty, and if someone can present such perfection and beauty, they are considered an artist, and their creation is regarded as art. Thus, the Creator of this universe, as the essence of existence, is also the embodiment of beauty, having made all creations beautiful, with humans being created with a unique beauty linked to their souls.
In its definition of beauty, the Quran places a higher value on transcendental pleasures than on those of the natural world, asserting that art can be deemed religious if it establishes harmony between nature and human nature—leading nature towards the innate essence of humanity. For example, Abbas, the uncle of the Prophet of Islam, was older than the Prophet. When someone asked him who was greater, he replied that the Prophet is greater, though he himself is older. This statement illustrates a refined manner of expression that preserves spirituality, showcasing an artistic linguistic ability. Thus, “religious art” is defined as the understanding of the essence of humanity, assessment of its perfection, and the creation of this perfection in accordance with its innate nature. Religion provides examples such as suggesting that the muezzin should have a pleasant voice and that an Imam should possess a pleasing appearance, indicating that religion seeks to place beauty in sacred spaces rather than elsewhere, making art serve the purpose of religion.
Beauty is classified into two categories: sensory and intellectual; sensory beauty relates to nature while intellectual beauty pertains to the supernatural. Sensory beauty lacks a specific criterion as people from different climates have different senses and customs, making it impossible to establish fixed standards. Some esteemed scholars contend that the advancement of representational and artistic arts in Christianity arose precisely because this art emerged from part of their religious directives. Therefore, directing humanity toward rational art fulfills the aesthetic needs of art enthusiasts.
In the second chapter, the author explores the beauty of Islamic rituals. From an Islamic perspective, the essence of existence is beautiful and luminous, yielding no conceptualization of evil since God, the Beautiful Creator, exists, and the absolute beauty of creation renders all that is created as beautiful, as there is always a congruence and proportion between the creator and the created work. This is why Zainab, during the tribulations of Karbala and the martyrdom of her brother Imam Hussein, stated in the face of her enemies that she saw nothing but beauty. This represents a perspective toward the essence of existence, which may outwardly appear unpleasing but possesses an inner luminosity and beauty.
A question may arise as to why there are sometimes doubts regarding religious laws; for instance, some view the punishments, retribution, and blood money as harsh. To address this question, it is critical to note that humans possess two dimensions: a base, animalistic dimension and a divine dimension. All the strictures and prohibitions of religion aim to cultivate the animalistic aspect of humanity. In Islam, there are no difficulties or constraints placed on the divine aspect of humans. The divine dimensions of humanity not only coexist harmoniously with the laws of Sharia but also flourish within the framework of these laws, where adherence to such regulations facilitates spiritual growth. Commands such as retribution and blood money symbolize remedies intended for the correction and healing of individuals and society, perceived as unpleasant at the surface, similar to how a sick child may resist taking medicine. Accordingly, an individual may harbor this doubt regarding the unattractiveness of religious laws unless they distinguish and nurture their divine aspect from their animalistic side and identify various desires within themselves. The comprehension of this aspect of religion is contingent upon the rational and spiritual development of individuals. This is why the Quran, when issuing judgments on retribution (2:179), refers to its audience as those possessing minds, implying that an average person may not grasp the wisdom and precision underlying such rulings.
In the third chapter, three fundamental questions are examined: 1. What actions are taken to portray Islam negatively? 2. What are the beauties of Islam? 3. Through what means can the beauties of religion be presented?
Regarding the first question, two axes, “the actions and behaviors of the enemies of Islam” and “the actions and behaviors of certain Muslims,” are critically assessed. For instance, adversaries support groups that behave irrationally and label them as the authentic religion (such as ISIS, the Taliban, al-Qaeda, etc.), thereby implying that religion restricts human freedoms. Furthermore, the misconduct of some Muslims, their lack of ethicality, the disparity between knowledge and practice among the learned, and the exploitation of religion for personal or group interests tarnish the perception of religion before the public.
For the second question, the focus should be on individual and social dimensions of humans addressed by religion. For example, on the individual level, the regulation of the relationship between humans and God and the expression of a loving bond between the servant and God should be articulated. On the societal level, the optimization of the relationship between humans and nature, combating racism, attention to women’s rights, struggle against oppression, advocacy for the underprivileged, encouragement of cooperation and empathy, promotion of communal worship, establishment of justice in society, and elucidation of the beauty inherent in all events, even the malevolent in the world, should be communicated to the audience. Additionally, the Islamic beauty should be contrasted with materialistic and non-religious philosophies.
Regarding the third question, the approaches to showcasing the beauty of religion are categorized into two groups: the first group focuses on presenting the beauty of religion through discourse, encompassing beautiful content such as explaining Quranic interpretations, supplications and hadith, the serenity attributed to a connection with God, demonstrating the resolution of problems through religion, and stating ethical directives such as selflessness and love towards others. The second group emphasizes reflecting the beauty of religion through the behaviors and actions of the faithful; by adhering to ethical virtues such as politeness, humility, and asceticism, one can attract others to faith.
In the fourth chapter, the topic of supplication and the beautiful connection between the worshipper and the divine is addressed, highlighting one of the beauties of Islam evident in its supplications. These invocations have been transmitted from the Shia Imams to Muslims. This collection of phrases and prayers fulfills many of the voids that naturally exist within humans, and these deficiencies and feelings of need can only be addressed through a connection with God, as prescribed by Him. One common experience among all humans throughout their lives is the sense of loneliness and the need to connect with a higher being. For instance, in Dua-e Kumayl, it is stated, “O God, I have no one but You.” Similarly, Imam Sajjad speaks in Dua-e Abu Hamza Thumali, saying, “O God, have mercy on my loneliness and estrangement in this world.” Undoubtedly, the relationship with God is essential across all monotheistic faiths; however, Islam places particular emphasis on this topic in such a way that the entire religious identity of a person finds meaning through their beautiful connection with God. This is why the Quran states: “Indeed, it is only through the remembrance of God that hearts find tranquility” (Q 13:28).
Many of the teachings of Islam are articulated in supplications, which is why prayer holds a special place in religious education. Through these supplications, a correct depiction of God, His attributes, perfections, and the proper way for the servant to relate to the divine is presented. For this reason, it is encouraged for individuals to engage with prayers in order to become accustomed to God. One of the most prominent features in these prayers is the sense of hope and benevolence toward God. The individual, in their supplications, confronts a vast sea of mercy, generosity, and compassion of God, the same God who has introduced Himself as eager for communion with His servant. In one narration, it is stated that if my servants who have turned away from me knew how much I long for them, they would surely perish from the intensity of longing.
Hossein Baqeri
Tolou International Institute, Qom, Iran.
