Thank you so much for this incredible lecture. I am interested in your MA programe and have a bit of an obsession with researching the sacred feminine as well as poetry. I had to do a double take when Prof Michael Barry talked about the Simorgh actually being female (the divine feminine) in the manifestation of the "intelligence of the divine, giving us the capacity of speech". I had to stop the video and rewind to relisten, I was so happy learning this! My mind is blown! Makes me think of the Hindu goddess Sarasvatī and her aspect as Vāc --- the a personification of divine speech and mother of the Vedas. 💓
Thank you. A very interesting and well considered presentation however there seems to be a glaring omission with regard to The Simurgh and its relation to Aql within the painting; Whilst it is indeed the loftiest bird in the painting, it is not the loftiest figure depicted by the artist and its depiction is a warning to those who revel in the dizzying heights of the intellect. The immaterial conceptions of the mind are nothing without material praxis, it is in prescribed good works and not mere aspiration to lofty desire or accumulation of knowledge that the souls of humanity become elevated toward The Host of the Heavens. The flighty grandeur of the well exercised singular mind and all it may contain; nightingale, peacock and partridge included, cannot outstrip the humble habitual labour of the group in submission towards the desired Telos. The station of a lowly insect is higher than the cryptid, receiving direct instruction from its Rabb ; وَأَوْحَىٰ رَبُّكَ إِلَى ٱلنَّحْلِ أَنِ ٱتَّخِذِى مِنَ ٱلْجِبَالِ بُيُوتًۭا وَمِنَ ٱلشَّجَرِ وَمِمَّا يَعْرِشُونَ ٦٨ ثُمَّ كُلِى مِن كُلِّ ٱلثَّمَرَٰتِ فَٱسْلُكِى سُبُلَ رَبِّكِ ذُلُلًۭا ۚ يَخْرُجُ مِنۢ بُطُونِهَا شَرَابٌۭ مُّخْتَلِفٌ أَلْوَٰنُهُۥ فِيهِ شِفَآءٌۭ لِّلنَّاسِ ۗ إِنَّ فِى ذَٰلِكَ لَـَٔايَةًۭ لِّقَوْمٍۢ يَتَفَكَّرُونَ ٦٩ rather than by way of Nabi: يَـٰٓأَيُّهَا ٱلنَّاسُ عُلِّمْنَا مَنطِقَ ٱلطَّيْرِ وَأُوتِينَا This, i feel, is the message contained in the images within the painting; albeit distinct from and not contained in the exposition of Farid Al Din but rather enspoused by the artist in keeping with the framework of the prevailing culture and times.
Wonderful lecture & translation of these beautiful art pieces 🎉👌
Thank you so much for this incredible lecture. I am interested in your MA programe and have a bit of an obsession with researching the sacred feminine as well as poetry. I had to do a double take when Prof Michael Barry talked about the Simorgh actually being female (the divine feminine) in the manifestation of the "intelligence of the divine, giving us the capacity of speech". I had to stop the video and rewind to relisten, I was so happy learning this! My mind is blown! Makes me think of the Hindu goddess Sarasvatī and her aspect as Vāc --- the a personification of divine speech and mother of the Vedas. 💓
Thank you so much for this invaluable lecture❤️💚
You're welcome!
Thank you.
A very interesting and well considered presentation however there seems to be a glaring omission with regard to The Simurgh and its relation to Aql within the painting;
Whilst it is indeed the loftiest bird in the painting, it is not the loftiest figure depicted by the artist and its depiction is a warning to those who revel in the dizzying heights of the intellect.
The immaterial conceptions of the mind are nothing without material praxis, it is in prescribed good works and not mere aspiration to lofty desire or accumulation of knowledge that the souls of humanity become elevated toward The Host of the Heavens.
The flighty grandeur of the well exercised singular mind and all it may contain; nightingale, peacock and partridge included, cannot outstrip the humble habitual labour of the group in submission towards the desired Telos.
The station of a lowly insect is higher than the cryptid, receiving direct instruction from its Rabb ;
وَأَوْحَىٰ رَبُّكَ إِلَى ٱلنَّحْلِ أَنِ ٱتَّخِذِى مِنَ ٱلْجِبَالِ بُيُوتًۭا وَمِنَ ٱلشَّجَرِ وَمِمَّا يَعْرِشُونَ ٦٨
ثُمَّ كُلِى مِن كُلِّ ٱلثَّمَرَٰتِ فَٱسْلُكِى سُبُلَ رَبِّكِ ذُلُلًۭا ۚ يَخْرُجُ مِنۢ بُطُونِهَا شَرَابٌۭ مُّخْتَلِفٌ أَلْوَٰنُهُۥ فِيهِ شِفَآءٌۭ لِّلنَّاسِ ۗ إِنَّ فِى ذَٰلِكَ لَـَٔايَةًۭ لِّقَوْمٍۢ يَتَفَكَّرُونَ ٦٩
rather than by way of Nabi:
يَـٰٓأَيُّهَا ٱلنَّاسُ عُلِّمْنَا مَنطِقَ ٱلطَّيْرِ وَأُوتِينَا
This, i feel, is the message contained in the images within the painting; albeit distinct from and not contained in the exposition of Farid Al Din but rather enspoused by the artist in keeping with the framework of the prevailing culture and times.