Makings

You know,

when we consider how to assess the Islamic nature of muslim makings,

the questions we need to ask of them are “how” they were made and “why”.

And the “how” is not about the mechanics of what is done

but about the way in which it was done,

was it done to the best of the maker's ability?

did it have selfish or generous motives?

From a muslim point of view, these aspects are more important

than any natural skill or talent.

Of course, skill and talent will be recognised by the community at large,

and the makings of some will no doubt sell for great price,

but those who gain wealth and fame

are inevitably few and far between.

Very few will make more than a brief local impact,

a few ripples in a local pool,

but every now and again, someone will be recognised

as a reference point in history,

and at all ends of the spectra these makings will be given material value

by societies that hold them in esteem.

But any wealth a maker might accrue

may provide physical comfort,

but little purpose and satisfaction for the inner self

in the context of its life experience.

It is the “why” that explains

the interconnection of inner self and outer experience.

Atheistic materialism has no “why”,

so when contained within its intellectual bubble,

science may be able to display ever greater power over the world,

but can only ever answer “how” things happen.

The “why” things happen is not really within its remit.

The intellect can be used to calculate the answers to extraordinarily complex problems,

but why to bother is usually something taken for granted.

But that is the interesting part.

Although logical development of ideas

may seem like it is the only way forward that we have control of,

it is the sideways jump of inspiration

that changes ways of thought completely,

like those particles at the heart of matter,

jumping between realms.

So much of what is made in the world

relies on those places in-between,

the world of the unfettered imagination,

where answers can be found through inspiration.

This is the creative process

that makers need to go through,

using imagination to give a new-ness to their makings

as they look to change the status quo,

while of course set in their cultural context.

When making in the world,

we need to decide who the work is for,

which means we need to know what it is.

Is it a musing or a communication,

a mirror, or a lens,

or a loudspeaker?

Is the maker working for their self or another,

and if so who?

How much does it fulfil the essential requirement of spiritual purpose?

the service of God

How does it serve the Maker?

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