The Barzakh of Ecstacy

This article examines the ways in which Syrian poet and artist Huda Naamani expresses the inexpressible of ecstasy. In a Sufi epic poem entitled Kitāb al-wajd wa al-tawājud (The Book of Ecstasy and its Indicators), she acknowledges the impossibility of recording the ecstatic experience in words on a...

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Main Author: Miriam Cooke
Format: Article
Language:English
Published: Üsküdar University 2022-11-01
Series:Tasavvuf Araştırmaları Enstitüsü Dergisi
Subjects:
Online Access:https://dergipark.org.tr/tr/download/article-file/2620834
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author Miriam Cooke
author_facet Miriam Cooke
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description This article examines the ways in which Syrian poet and artist Huda Naamani expresses the inexpressible of ecstasy. In a Sufi epic poem entitled Kitāb al-wajd wa al-tawājud (The Book of Ecstasy and its Indicators), she acknowledges the impossibility of recording the ecstatic experience in words on a page. The only medium open to such a semantic articulation is tawājud or the indicators, feeble linguistic signposts to the ineffable. Beyond tawājud is the wordlessness of the experience of the silence of God. Invoking the Qur’ānic term barzakh, a state in which two elements behave as one, she uses sound and color to draw the reader into an experience that cannot be described but only intuited and felt. In her modernist, mystical lyrics she creates the soundscape of dhikr rituals. The staccato repetitions and the arrangements of letters on the page compel the reader to recite and hear the sounds of the words beyond their lexical meanings. In so doing, the reader is invited to share in the creative act. Interspersed in the pages of this magical, confessional text are Huda’s cloud paintings that document her ecstatic experience from explosion into the barzakh of ecstasy to fanā’ or dissolution in the divine. Hers is an idiosyncratic imagining of the encounter with the divine.
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spelling doaj.art-d36e31cf9b8042a7844fe9c8d9f2469f2024-04-20T09:20:44ZengÜsküdar UniversityTasavvuf Araştırmaları Enstitüsü Dergisi2822-38292822-45152022-11-0112172810.32739/ustad.2022.2.27The Barzakh of EcstacyMiriam Cooke0Duke UniversityThis article examines the ways in which Syrian poet and artist Huda Naamani expresses the inexpressible of ecstasy. In a Sufi epic poem entitled Kitāb al-wajd wa al-tawājud (The Book of Ecstasy and its Indicators), she acknowledges the impossibility of recording the ecstatic experience in words on a page. The only medium open to such a semantic articulation is tawājud or the indicators, feeble linguistic signposts to the ineffable. Beyond tawājud is the wordlessness of the experience of the silence of God. Invoking the Qur’ānic term barzakh, a state in which two elements behave as one, she uses sound and color to draw the reader into an experience that cannot be described but only intuited and felt. In her modernist, mystical lyrics she creates the soundscape of dhikr rituals. The staccato repetitions and the arrangements of letters on the page compel the reader to recite and hear the sounds of the words beyond their lexical meanings. In so doing, the reader is invited to share in the creative act. Interspersed in the pages of this magical, confessional text are Huda’s cloud paintings that document her ecstatic experience from explosion into the barzakh of ecstasy to fanā’ or dissolution in the divine. Hers is an idiosyncratic imagining of the encounter with the divine.https://dergipark.org.tr/tr/download/article-file/2620834barzakhwajdecstasytawājudindicatorsclouddhikrfanā'munājāttajallī
spellingShingle Miriam Cooke
The Barzakh of Ecstacy
Tasavvuf Araştırmaları Enstitüsü Dergisi
barzakh
wajd
ecstasy
tawājud
indicators
cloud
dhikr
fanā'
munājāt
tajallī
title The Barzakh of Ecstacy
title_full The Barzakh of Ecstacy
title_fullStr The Barzakh of Ecstacy
title_full_unstemmed The Barzakh of Ecstacy
title_short The Barzakh of Ecstacy
title_sort barzakh of ecstacy
topic barzakh
wajd
ecstasy
tawājud
indicators
cloud
dhikr
fanā'
munājāt
tajallī
url https://dergipark.org.tr/tr/download/article-file/2620834
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