‘In uncertain times, we all look for light’

13 Dawoodi Bohra artists from around the world explore the theme of divine illumination in city exhibition

MUMBAI: At the Old Favre Leuba in Badri Mahal at D N Road, 50 works of art inspired by Middle Eastern sacred geometric designs explore the metaphor of light as a symbol of spiritual enlightenment. Though the concept is based on a Quranic verse and rooted in ancient tradition and philosophy, the art is meant to transcend religious boundaries and resonate with the universal human experience.

The exhibition, which began on Tuesday and closes on January 17, is titled ‘Noorun ala Noor’ or ‘Light upon Light’

The exhibition, which began on Tuesday and closes on January 17, is titled ‘Noorun ala Noor’ or ‘Light upon Light’ and showcases the work of 13 Dawoodi Bohra artists from around the world. The works on display feature diverse mediums such as calligraphy, geometry, traditional illumination paintings, textile art and multimedia installations. The exhibition has been curated by Radiant Arts, a nonprofit fine arts platform conceptualised and run by Dawoodi Bohra women to promote the art of talented community artists from all over the world.

“Noorun ala Noor is part of an aayat (verse) from the Quran, which speaks of divine illumination and cosmic spirituality,” said Zaenab Imaduddin, a Mumbai-based artist and a founder of Radiant Arts. “The art works are influenced by Indian architecture. The theme is that in times of darkness, in uncertain times, we search for light. When we embark on this search and delve into something higher, we try to express in our art what light means to us and its significance in our lives.”

Imaduddin explained that sacred geometry always touched upon light and that all creation sprang from light. “We had given the artists the framework of sacred geometry and they physically had to express the framework in a contemporary light,” she said. “They had to show sacred geometry from Istanbul, Cairo and Granada. Our heritage is from the Fatimidi heritage in Cairo.”

When asked how sacred geometry was different from other art, Imaduddin said, “In Europe, art was all about figurative art. When it started to look for art beyond its borders in 1800, it found that Islamic art was a language that was away from figurative art. Scholars were looking for a framework that was more abstract and geometric, with no figures involved. They went to the Middle East and started showcasing the work of Middle Eastern artists in Europe’s museums.”

Fatema Abizar, an artist from Tucson, Arizona, USA, has played with the theme ‘The Fabric of Light and Shadow 2024’ and applied katazome (a Japanese method of dyeing) to cotton fabric dyed in an indigo vat. “My work explores the interplay of light and darkness inspired by metaphysical and spiritual themes rooted in Islamic cosmology,” she said. “The concept of ‘Light upon light’ serves as a central metaphor for this work. Each piece plays with the juxtaposition of light and shadow, and emerging from them are the motifs of ‘noor’ (light).”

Zainab Tambawalla from Mumbai has used watercolours and metallic foiling and ink on 300 grammes of acid-free paper. “In this series, I celebrate the intricate geometric patterns adorning the monumental portal of the Fatimi Jami’ masjid, al-Anwar (The Luminous) in Cairo,” she said. “Drawing inspiration from its refined rotated square pattern, originally executed in deep stone carving, I explore how architectural elements become vessels of divine light.”

For Zainab, these geometric embellishments, with their ability to enliven stone through texture, light, and shadow, perfectly embody the theme of Light upon Light. “Throughout the day, shifting sunlight transforms the square’s appearance on al-Anwar’s portal, highlighting its textural details in varying ways,” she said. “My interpretation focuses on this play of light and shadow as an intricate vision where forms simultaneously emerge and recede. In this interplay, light gives life to the form, and the shadows in turn act as a silent storyteller, amplifying the depth and intricacy of the motif.”