The much talked and anticipated Hollywood movie “Noah” hit theatres last week amidst criticisms by many religious groups consisting of Muslims and Christians. Movie goers rated it from a high of “A” and “B” with some demoting it to a “D”. A number of Muslim countries including Indonesia and some Arab States even banned the movie for its depiction of Noah.
Mary Fairchild writing for About.com hinted that the movie would be replete with inaccuracies, and suggested reading the “authentic” story in the Bible.
Simerg has a version of the story from the Holy Qur’an, presented by the well-known Ismaili scholar Alwaez Jehangir A. Merchant, who served the community for several decades as a teacher, missionary, and a writer. Please click on The Story of Noah’s Ark in the Holy Qur’an or the image below.
A Depiction of Noah’s Ark in Islamic Art
Miniature from Hafiz-i Abru’s Majma al-tawarikh. “Noah’s Ark”, Herat 1425. Leaf: 42.3 × 32.6 cm. The scene on the stormy sea is quite dramatic, with the fluttering sail, the ark breaking out of the picture frame, and the swollen bodies. The animals that are to populate the earth are rendered both humorously and fairly realistically. Photo: The David Collection, Denmark.
PLEASE CLICK: An Esoteric Interpretation of the Mi’raj and the Prophetic Tradition ‘I Have a Time with God’ (li ma’a Allah waqt) By Jehangir A. Merchant
This painted page from a manuscript shows the Archangel Gabriel with the Prophets Moses (left) and Muhammad (right). Surrounded by angels they discuss the question of daily prayers. This happened during Prophet Muhammad’s ascent to heaven. Because it was forbidden to show Muhammad, his face is veiled. Image: Copyright Museum With No Frontiers (MWNF). Please click on image for literary reading.
DETAILS OF THE IMAGE
This single sheet probably came from a handwritten work completed for the Ottoman Sultan Murad III (r. AH 982–1003 / AD 1574–95), and is currently housed at the Museum of Islamic Art at the Pergamon Museum in Berlin, Germany. It features, between bands of script, the prophets Moses and Muhammad and the Archangel Gabriel conversing in heaven. Angels, perched on five clouds behind these three principal characters, appear to be listening. The scene portrayed is one from Muhammad’s visionary ascension to heaven. Muhammad stands on the right-hand side in a long green robe and turban, and Moses, wearing a long dark red robe, is on the left, in front of his heavenly throne, which is denoted by an inscription in Arabic lettering. Moses is gesturing his hands in speech. Muhammad, with whom he is conversing, stands on the opposite side. A white veil conceals his face, while his hands are hidden in the long sleeves of his gown. The heads of both prophets are crowned with halos, within which their names, written in a black script, can be deciphered. The Archangel Gabriel stands between Muhammad and Moses, turning towards Muhammad. He is characterised by a twin pair of multi-coloured wings and a crown. He is featured in the Old Testament as the gate-keeper of Paradise. As one of two angels standing in the presence of God (Luke 1:19), it was Gabriel who explained the story of the Messiah (Daniel 8:16ff.). In Muslim tradition, the angel brought the Divine Revelation of the Holy Qur’an to Prophet Muhammad. In Sura 2 verse 97 it is written that: Gabriel ‘has by God’s grace revealed it [the Qur’an] to you [Muhammad] to your heart’.
The text above the three personages, which describes the story, is written in Ottoman Turkish. It includes the account of Muhammad discussing with God the number of daily prayers. Both eventually agreed on five daily prayers. Moses is Muhammad’s heavenly adviser and Gabriel is his companion. The direct speech of all those involved is written in Arabic. The text is taken from a biography of the prophet which had appeared from the AH 1st century/AD 7th century on. The generic term for this type of biography is sira, which translates as ‘life facts’ or ‘way of life’. (Text adapted from the website of MWNF – see link below).
Date posted: Sunday, June 2, 2013.
For further information about the image shown above, please click on Page of Ottoman Manuscript. Please also click on http://www.museumwnf.org/.
Links to a selection of Jehangir Merchant’s pieces at Simerg:
“….More than perhaps any other murid’s example in our history, your life is one which clearly illustrates that while serving the Imam presents formidable challenges, it also offers bountiful rewards in the form of spiritual barakah. I will say from the depth of my heart that it is by your noble example that I have been inspired to serve the Jamat and the Imam of the Time with a strong will….” — an excerpt from Alwaez Jehangir’s letter.
Please click for letter
To read the complete (uplifting) letter, please click on above image or Jehangir Merchant’s Thank You Letter to the Fatimid Ismaili Icon, Da’i Al-Mu’ayyad al-Shirazi
In our classic series, I Wish I’d Been There, we had asked our readers to pick up one incident in Ismaili History which they would like to have witnessed. One of the thirty-one contributors for the series, Ismaili missionary (Alwaez), teacher and writer Jehangir Merchant, went back 1400 years to the beginnings of Islamic history and imaginatively constructed a picture of the iconic event when Prophet Muhammad (s.a.s) raised the hand of Hazrat Ali (a.s.) and declared, “He of whom I am the Mawla, Ali is also the Mawla!” Based on authoritative sources, this piece by a long-serving Alwaez shows his vast knowledge and flair, and brings alive a pivotal time in human history as Shia Muslims around the world celebrate the event on 18th Dhul-Hijjah (falling on Friday, November 2, 2012).
Please click Ghadir-Khumm and the Two Weighty Matters
Lourenço Marques, 1958: His Highness the Aga Khan, direct descendant of the Prophet Muhammad (s.a.s.) and current 49th hereditary Imam of the Shia Ismaili Muslims is seen taking a keen interest as Alwaez Jehangir explains the Gujarati history texts that were used to impart religious education to Ismaili youth in Mozambique.