In an atmosphere laden with fear, mistrust and misunderstanding, the exhibition Darya ba Hubab Andar at Koel is an oasis of sanity. The exhibition draws on a wide range of sources in a distillation of its ethos, titled after a verse of the saint Hazrat Nasiruddin Mahmud Chiragh Dehlavi, 'Nasiruddin's bosom has no space except for Divine Love; look at this strange spectacle, an ocean within a bubble'.
It explains the ocean as the end towards which Sufis strive, the ocean of Infinite Oneness or God to quote Ibn Arabi. High-lighting the salient features of its principles, the exhibition presents Arabic, Persian verses as well as those of the great saints of the subcontinent in the traditional art of calligraphy and illumination. The path to God, the exhibition explains, can only be discovered by the seeker within his own self as it quotes from the Quran, "We are nearer to him than the jugular vein." It is through a process of intense introspection and self-purification to purge the self from sins and vices which lie as veils over the mirror of the heart. When removed, the heart is then able to reflect and perceive the Divine light, which then manifests itself.
The exhibition highlights aspects of the path, the lines of Hazrat Ali: "the remedy lies in thee and the malady is caused by thee" on the need for looking after one's soul reflect the austere and ascetic spirit of the path. Simple naskh script in flowing blue lines like flowing water ripples set off by single equally austere gold illumination reflect the majesty and ascetic grandeur of Hazrat Ali and that age.
And how the only route to success on this path is through love for the Holy Prophet (saw).and following His guidelines, reflected in the eulogy of Hazrat Zain-ul-Abidin for the Holy Prophet.
Much can also be written on the art of calligraphy and illumination each of which has an entire archive of symbolical and sacred allusions and symbols. The art reflects the quietude and understated ethos of sufism. Many of the works seem inspired by Quranic manuscripts of the Timurid period with the same colours regal pattern and motifs while others reflect Turkish pottery, blue and rust set off muted earthy tones. Others draw on more modern 19th century Turkish manuscripts with realistic foliage festooning the borders. The inner quietude and peace of a fountain silently bubbling in corner capturing sufism is captured in the words where the words sometimes float in a silvery light over pattern. There is much to digest in the exhibition, excerpts from saints, their praise of God and the Holy Prophet (saw).