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This investigation seeks to determine the correspondences between the theological principles of
"Tawhid" and "Mujarad" as elucidated in Islamic scriptures and their depictions in various artistic
mediums. Examine the presence of recurring motifs, symbols, and artistic techniques that serve as visual
manifestations of these theological ideas. In addition to employing historical contextualization and
expert consultation, the study seeks the perspectives of Islamic theology and Islamic art specialists.
Obtaining diverse perspectives on the interpretations and manifestations of "Tawhid" and "Mujarad"
within the Islamic theological and artistic traditions may necessitate consulting with scholars, artists,
and individuals with expertise in Islamic aesthetics. Last but not least, the process of synthesis and
interpretation incorporates the outcomes of text analysis, investigation of artistic elements,
contextualization within historical frameworks, and consultation with specialists. The application of an
interdisciplinary methodology enables a comprehensive examination of the complex relationship
between "Tawhid" and "Mujarad", thereby elucidating their significance in theological discussions and
artistic depictions within the Islamic heritage. This promotes a deeper understanding of how these
concepts manifest in diverse fields of knowledge and creativity.

Discussion: Art Practice: Concept of Mujarad
The primary principle of Islamic art is faith in God and recognition of His absolute reality. The
abstract representation of the concept of "Mujarad" is observed within the context of ethno-linguistic
terminology, which has the potential to embrace various populations or be limited to specific regions.
This interpretation of "Mujarad" is recognised and accepted by Muslims. They are typically linked,
loosely or otherwise, to the mysticism of Sufi traditions. Incorporating timeless geometric forms, Islamic
abstract art shares commonalities with other cultures' timeless art forms.
The local interpretation of abstractions in Islamic abstract art is grounded in a continuous and
intricate interplay of curvilinear forms and structures, symbolised by the circle, square, and triangle. In
her analysis, al-Faruqi identified “Mujarad” as the predominant feature of Islamic creative expression,
irrespective of the specific medium employed. She described this quality as being defined by its static
nature and the presence of both connected and disconnected arabesque movements. Islamic artwork
is characterised by a lack of evolutionary growth towards a single pinnacle of aesthetic strain. Instead,
it features multiple centres of tension and consecutive components, with each portion holding equal
significance. Each of these figures or portions exhibits a consistent pattern of immediate succession,
although it does not undergo an "organic" evolution from the preceding part (al-Faruqi, 1975). From a
spiritual and ethical standpoint, the Qur'anic message has the greatest impact on Islamic art. Its primary
purpose is to convey Qur'anic principles through the incorporation of geometric shapes into tangible
structures. Every visible depiction contains a concealed intrinsic nature, and it is this internal veracity
that brings satisfaction and enriches the visible depiction. The exterior form, known as "dzahir" in
Arabic, emphasises the quantitative and physical aspects of a concept that are immediately observable
and readily understood. The innate quality, also known as the concealed or interior (batin) attribute, is
universally present in all entities and phenomena. To acquire a complete comprehension of a thing, it is
necessary to investigate and value both its external and temporal characteristics as well as its intrinsic
and internal corporeal nature. This internal essence is where the enduring attractiveness of every object
resides. In the domain of compositions, only the educated practitioner understands the underlying
principles, whereas the uneducated only value their aesthetic value. In the domain of Islamic aesthetics,
the concept of interpretation discussed here is of substantial philosophical significance.

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