Levha - Allâhu Vahdehû 

Editor: We’re looking at "Levha - Allâhu Vahdehû" by Mustafa Rakim, a textile work of calligraphy and geometric design. The contrast between the gold lettering and the teal background is stunning. What stands out to you when you look at this piece? Curator: What jumps out at me is the level of skilled labor embedded in this decorative piece. Think about the production process – the careful selection and preparation of materials, the repetitive motions of calligraphy, and the cultural context of devotional practice. It is tempting to see this work only in spiritual terms, yet it equally serves as an eloquent record of labor. Editor: That's a side of it I hadn't really considered. I was more focused on the visual harmony. Does that make the materials used more significant then, knowing the level of dedication and care involved in its construction? Curator: Absolutely. The choice of gold isn't merely aesthetic; it reflects value, prestige, and potentially patronage. Who commissioned this work and why? Thinking about that informs our understanding. Calligraphy like this was often part of larger architectural or book projects. Was this a singular, individual work, or part of a suite of artworks? The ‘how’ and ‘why’ it was produced enriches the work. Editor: That really changes my understanding of the artwork and helps reveal the context it existed in. Thinking of it as a material object reflecting economic and social factors adds depth. Curator: Precisely. It’s not just about aesthetics. It’s a product of skilled labor and patronage reflecting particular historical circumstances. Editor: I'll never look at calligraphy the same way again. It really reveals its layers. Curator: Indeed, seeing art through a material lens adds such an interesting perspective.