Ramadhan is a time of devotion, charity and spiritual introspection. It is observed in diverse ways in different parts of the world. Still, the literary and artistic manifestations across time reflect how this diversity is a comment on the unity of faith.
In an article entitled ‘Ramadhan as subject’, writer Ibtisam Ahmed explores many artistic manifestations of Ramadhan across time and space.
For example, she shows the origin of the fanoos, the lantern, in Cairo around 969 CE when the then-ruler was welcomed in the night with lights to show the way. The ruler liked the atmosphere so much that he ordered these lanterns to be used regularly.
Eventually, of course, the lantern became an integral part of Ramadhan festivities, with various versions being used to decorate Iftar gatherings and even greeting cards.
Lamps are also important in the way that they were used to remind people of the morning Suhoor and prayer.
An early poetic work, the Maqamat, is a collection of 50 stories by Al Hariri Al Basri, related Quranic stories and riddles. Its illustration in 1236 CE contains a beautiful etching of a Ramadhan procession.
In the Ottoman court, there is evidence of a variety of discussions of the various aspects of Ramadhan, including the importance of fasting, prayer and charity. These discussions are said to be reflected in ‘Ramazaniye’, an 18th century CE collection of Ramadhan reflections.
In Persia, copies of Hafez’s ‘Divan’ include a miniature of the sighting of the moon before Eid Al Fitr.
There are also many miniatures depicting Ramadhan and Eid observances in the rich collection of the Mughal Empire. These include miniatures in the official commissioned biographies Babarnama and Shahnama, in addition to many other beautifully illustrated books.
Interestingly, early literary works seem to be just texts, with visuals in the form of etchings, paintings, miniatures and calligraphy being added to later editions as these works travelled to different regions.
When literary traditions turned to prose, many writers began to espouse the virtues of devotion and charity during Ramadhan in ways that were more accessible to various people. Ahmed Rasim, for example, portrayed Ramadhan in the Ottoman period in great detail through stories and memoirs.
There is often regret that the joy of togetherness as shared by communities before seems to have gone away. Yet, writers and artists still celebrate the social unison that Ramadhan makes possible.
Amy Hackney Blackwell, for example, brought together a series of superb photographs in her book 'Ramadhan’ that depicts the holy month and its observances across the world. As writer Ali Tûgekci says, “after you finish the book, the common aspects of Ramadhan and the spirit of unity in the Muslims all around the world are bound to stay with you”.
The true spirit of Ramadhan lies in the devotion it inspires and the sense of community it invokes. Art forms through time have illustrated the various manifestations of this holy month while retaining its central spiritual function.
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