Paradise Visits Home
"Paradise Visits Home" depicts Rasulullah SAW himself as a piece of Paradise, warping through the fabric of Existence in his trip back to Allah SWT. The Buraq here does not have any wings; this was an accident—I literally just forgot to add them—but in hindsight it appears as if the prayer mat-esque glitched fabric in the background /is/ what fuels her flight, turning the Prophet SAW's worship as the most powerful mode of nearness to His Creator.
Many have written on the gradual cultural process of the Buraq's gendering as feminine, and I have taken my own trouble-making liberties to make her look Tamil, thandatti and mookuthi and all. (There is a Tamil Muslim saying—I have forgotten from which Sufi saint it originated from, may he forgive me—that the angels of the highest Heaven speak in Tamil. This is not meant to be literal, rather signifying that God responds to a person's dua in whichever tongue is closest to their heart.) Maybe this too is taboo, but instead of making her forward-facing, I turned her head around, towards the Prophet SAW. She is mystified, overtaken. She cannot take her eyes off of his presence, even with Heaven itself lingering just above; her beholding of Allah SWT's own Habib transports /her/ into her unique Miraj.
*Desktop mode represents landscape images most accurately.
"Paradise Visits Home" depicts Rasulullah SAW himself as a piece of Paradise, warping through the fabric of Existence in his trip back to Allah SWT. The Buraq here does not have any wings; this was an accident—I literally just forgot to add them—but in hindsight it appears as if the prayer mat-esque glitched fabric in the background /is/ what fuels her flight, turning the Prophet SAW's worship as the most powerful mode of nearness to His Creator.
Many have written on the gradual cultural process of the Buraq's gendering as feminine, and I have taken my own trouble-making liberties to make her look Tamil, thandatti and mookuthi and all. (There is a Tamil Muslim saying—I have forgotten from which Sufi saint it originated from, may he forgive me—that the angels of the highest Heaven speak in Tamil. This is not meant to be literal, rather signifying that God responds to a person's dua in whichever tongue is closest to their heart.) Maybe this too is taboo, but instead of making her forward-facing, I turned her head around, towards the Prophet SAW. She is mystified, overtaken. She cannot take her eyes off of his presence, even with Heaven itself lingering just above; her beholding of Allah SWT's own Habib transports /her/ into her unique Miraj.
*Desktop mode represents landscape images most accurately.
"Paradise Visits Home" depicts Rasulullah SAW himself as a piece of Paradise, warping through the fabric of Existence in his trip back to Allah SWT. The Buraq here does not have any wings; this was an accident—I literally just forgot to add them—but in hindsight it appears as if the prayer mat-esque glitched fabric in the background /is/ what fuels her flight, turning the Prophet SAW's worship as the most powerful mode of nearness to His Creator.
Many have written on the gradual cultural process of the Buraq's gendering as feminine, and I have taken my own trouble-making liberties to make her look Tamil, thandatti and mookuthi and all. (There is a Tamil Muslim saying—I have forgotten from which Sufi saint it originated from, may he forgive me—that the angels of the highest Heaven speak in Tamil. This is not meant to be literal, rather signifying that God responds to a person's dua in whichever tongue is closest to their heart.) Maybe this too is taboo, but instead of making her forward-facing, I turned her head around, towards the Prophet SAW. She is mystified, overtaken. She cannot take her eyes off of his presence, even with Heaven itself lingering just above; her beholding of Allah SWT's own Habib transports /her/ into her unique Miraj.