QURANIC Arabic is distinguished by its sublime sound and unparalleled eloquence.
Its rhetorical power lies in the use of metaphor, assonance, alliteration, onomatopoeia, rhyme, ellipses and parallelism.
As the renowned scholar and translator Ahmed Ali notes, the Quran is “unsurpassed in its sublimity and excellence of sound.
” In his acclaimed work Al-Qur’an: A Contemporary Translation, he emphasizes the literary and phonetic mastery of the Quranic text.
His translation is widely respected for its balance of clarity, fidelity and poetic rhythm and is considered one of the most thoughtful modern English renderings of the Quran.
Published by Princeton University Press, Oxford University Press and Akrash Publishing, this translation reflects Ahmed Ali’s unique ability to preserve both the meaning and the beauty of the original Arabic.
His work stands as a significant contribution to Quranic translation and interpretation.
In the realm of visual art, metaphor functions as a symbolic language—representing ideas or emotions beyond the literal.
Artists use visual metaphor to convey complex thoughts without direct explanation, encouraging the viewer to reflect, interpret and engage on a deeper level.
According to the Aldrich Contemporary Art Museum, “all art is metaphor.
” Visual metaphors are images meant to symbolize something beyond their immediate appearance.
These symbols form a network of imagery that artists have used across cultures and centuries to communicate without words.
When reading the Quran, I often encounter vivid, imaginative imagery that evokes powerful visual experiences through language alone.
One such example is in Surah An-Nur (24:35): “God is the Light of the heavens and the earth.
The likeness of His Light is as a niche within which is a lamp—the lamp enclosed in glass—the glass as if it were a brilliant star lit from a blessed olive tree, neither of the East nor of the West, whose oil would almost glow forth (of itself) though no fire touched it.
Light upon light.
God guides to His Light whom He wills.
And God presents parables for mankind and God is All-Knowing of everything.
” This verse is a complete artwork expressed through divine language.
It evokes a profound spiritual metaphor using layers of light, reflection and purity—an imagery that resonates deeply with the soul.
In Islamic tradition, however, visual representation of Quranic verses in figurative art—especially depictions of living beings such as humans and animals—is generally discouraged.
Islamic scholars have long maintained a strong stance against figurative depiction in religious contexts.
Yet, despite this restriction, a rich tradition of visual expression has flourished in Islamic culture.
Artists have developed sophisticated alternatives through the use of calligraphy, geometric patterns, arabesques, floral motifs and depictions of nature such as trees and mountains.
Traditional Islamic art commonly features colours like white, black, blue, yellow, red and green.
Between the 8th and 16th centuries, Islamic artisans produced remarkable works in ceramics, glass, metal, textiles, woodwork and illuminated manuscripts.
These masterpieces showcase both spiritual devotion and artistic excellence.
In contrast, Western religious art—especially after the Renaissance—embraced figurative representation.
Visual depictions of religious figures such as Jesus Christ and the Virgin Mary are central to Christian art.
Scenes of divinity, blessing, suffering and redemption became dominant themes.
In Christianity, art is often regarded as a reflection of God’s glory and a means to inspire devotion.
This has given rise to some of the most iconic and unparalleled artistic achievements in human history.
A more in-depth exploration of religious art in Christianity and Judaism will be presented in a subsequent discussion.
Reference: Ahmed Ali, Al-Qur’an: A Contemporary Translation (Princeton: Princeton University Press; Oxford: Oxford University Press; Karachi: Akrash Publishing, 1984).
—The author served in the Pakistan Army Medical Corps.
