Diving Deep into the Word of God: A Sufi Approach to Religious and Trans-Religious Images

Abstract

This study examines art inspired by Sufi thought in Bosnia and Herzegovina, focusing on the artistic contributions of Meliha Teparić (b. 1978 in Sarajevo), a Bosnian artist and professor of fine arts and the history of art. Teparić’s art, particularly in pieces like To Douse Out Hell and Burn Down Paradise and Gens Una Sumus, delves into Sufi thought, reflecting the belief that divine love transcends religious boundaries. Her work fosters trans-religious dialogue through visual expression. By employing a comparative analysis of Sufi symbolism alongside other religious traditions, this article reveals shared metaphysical values that emerge in her art. The findings emphasize the power of art in promoting spiritual connection and cross-cultural understanding in contemporary society. Ultimately, this study concludes that Teparić’s work embodies a core Sufi principle: the pursuit of divine love as a unifying force that transcends religious and cultural distinctions.

1. Introduction

Historical sources and living traditions attest to the deep roots of Sufism in the cultural landscape of Bosnia and Herzegovina, where it has been an integral part of the heritage for more than half a millennium. The earliest tekkes (Sufi lodges), established in the mid-15th century, reflect the profound influence of Sufism in shaping local culture (Aščerić-Todd 2015, pp. 57–67). However, significant disruptions occurred during the mid-20th century due to political and social upheavals. After World War II, political changes drastically impacted Sufi practices, culminating in 1952 with the “Decision on the Closure of Tekkes” (Duranović 2019, p. 12). Following nearly four decades of clandestine tekke activity, the early 1990s witnessed a resurgence of Sufism in Bosnia and Herzegovina. This revival, however, was soon overshadowed by the brutal war and aggression from neighboring countries, which resulted in over 100,000 deaths and the displacement of countless individuals through genocide and ethnic cleansing.1 In the early 2000s, four years after the war ended, there was a renewed interest in Bosnia’s Islamic traditions, including Sufism, re-establishing its presence in cultural and religious life.

This study explores how personal experience, specifically an engagement with Sufism, shapes the artistic creativity of Meliha Teparić (b. 1978 in Sarajevo), a Bosnian artist and professor of fine arts and the history of art. It investigates the evolution of her artistic expression through the fusion of Western artistic education with Sufi thought, perennial philosophy, and Islamic calligraphy. By examining the ways in which Sufism broadens her creative perspective, the paper illustrates how her work encourages interfaith dialogue in the context of contemporary conflicts often influenced by religious diversity. Teparić’s engagement with her artistic heritage reflects a connection to Bosnia’s cultural and spiritual roots. The exploration of various media highlights a quest for forms of expression that resonate with Islamic philosophy (for example Corbin 1994; Leaman 2013; Adamson 2016) while remaining true to an evolving artistic voice. Her work demonstrates a profound understanding of her heritage and highlights how she identifies parallels with other religious traditions, forging connections across faiths. This process enriches her creative output, resulting in unique trans-religious imagery and an expression of transculturality (Carter 1976). For Teparić, art functions as a universal language, crafting an artistic–religious vocabulary that transcends religious boundaries. It has the potential to create visual representations that foster interfaith dialogue and mutual understanding. Trans-religious and trans-cultural imagery innovates by merging elements from various spiritual traditions, forging connections between diverse religious practices. These works act as a bridge, expressing shared human experiences and beliefs while deepening the understanding of the sacred across cultural and spiritual boundaries.

Teparić’s work is shaped by diverse perspectives within Islamic and Sufi philosophy, particularly regarding the relationship between visual representation and spiritual experience, with key thinkers profoundly influencing her understanding of art and mysticism (Burckhardt 1986; Nasr 1987; Corbin 1994; Schimmel 1994). Her artistic expression is also rooted in the Qurʾān, which plays a central role in her work, blending traditional Islamic philosophy with contemporary interpretations of the visual arts.

Teparić’s artistic journey unfolds through four key themes. Section 1, Encountering Calligraphy, explores how early influences, particularly Ćazim Hadžimejlić (b. 1964), a university professor and Naqshbandi shaykh of Mesudija Tekke in Kaćuni, shaped her fusion of Islamic calligraphy with modernist abstraction. Section 2, Deconstructing Calligraphy, delves into her transformation of traditional calligraphic forms into abstract art, inviting spiritual interpretation and challenging conventional aesthetics. In Section 3, Sublime Union: Exploring Video Art, Teparić’s exploration of female spirituality and transcendent love is presented primarily through her video art, inspired by Rābiʿa al-ʿAdawiyya, the famous 8th-century female Sufi saint, and Bill Viola, contemporary artist known for his video art. Finally, Section 4, Gens Una Sumus, highlights her use of religious iconography, blending Islamic and Christian elements to reflect on the “transcendent unity of religions” and shared cultural heritage.

Teparić’s artistic practice aligns with the broader contemporary art movement, which increasingly engages with spirituality and religion to explore diverse perspectives. Her work integrates traditional Islamic art with modernist aesthetics, addressing themes of female mysticism, perennial philosophy, and the socio-political context of Bosnia and Herzegovina. Her contributions are especially significant in advancing the ongoing dialogue between art and religion.

2. Encountering Calligraphy

Teparić is a visual artist, art historian, and curator from Sarajevo, Bosnia and Herzegovina. She completed her degree in painting from the Academy of Fine Arts at the University of Sarajevo in 2002, where she later pursued graduate studies focusing on painting and Islamic calligraphy. It was during her MA studies that she met Ćazim Hadžimejlić,2 a renowned calligrapher trained in Istanbul, whose mentorship profoundly influenced her artistic approach to calligraphy.

Reflecting on her journey, Teparić shares, “As a student, when I first read the Qurʾān, I felt that I didn’t fully understand certain aspects and needed someone to help interpret them for me. After graduating, I learned about a new course at the Academy of Fine Arts in Sarajevo. I decided to enroll in the master’s program to attend the calligraphy classes, hoping that through the practice of calligraphy, I might gain a better understanding of the Qurʾān” (Haris Dervišević, interview with Meliha Teparić on 15 January 2023).3

Teparić’s journey toward understanding the spirituality behind Islamic calligraphy was shaped by her immersion in the Naqshbandi Sufi tradition. In 2003, she joined the Naqshbandi dervishes at the Mesudija Tekke in Kaćuni, led by Mesud Hadžimejlić, the Shaykhu-l-Mashaikh of Bosnia and Herzegovina (representative of all Sufi shaykhs in the country). During this time, Teparić was also pursuing postgraduate studies in Islamic calligraphy under Ćazim Hadžimejlić, Shaykh Mesud’s son and a prominent academic.4 The combination of the spiritual gatherings at the tekke and her academic training profoundly influenced Teparić’s artistic work, infusing it with a personal engagement to spiritual exploration. After Shaykh Mesud’s passing in 2008, Teparić continued her spiritual journey under the guidance of Ćazim Hadžimejlić, further solidifying the link between her art and her spiritual practice.

After expanding her spiritual understanding through calligraphy with Ćazim Hadžimejlić, Teparić’s passion for painting flourished under the mentorship of the painter and Seid Hasanefendić, known for his depictions of Bosnian Muslim tombstones (Abadžić Hodžić et al. 2004). Another key influence was Ibrahim Krzović, an art historian who introduced her to the aesthetics and theory of painting. The combined guidance of these three mentors—Hadžimejlić, Hasanefendić, and Krzović—culminated in her Master of Arts thesis and exhibition Islamic Calligraphy: From Traditional to Contemporary Approaches in 2007.5 Her scholarly journey continued with a Ph.D. at the University of Zagreb, where she explored the rich tradition of Bosnian calligraphy, leading to her dissertation titled An Analysis of Islamic Calligraphic Tablets (Levhas) by Bosniak Calligraphers from the 18th to the Mid-20th Century.6 While studying at the Sarajevo Academy of Fine Arts, she was drawn to the abstract forms of artists like Kazimir Malevich, Piet Mondrian, Barnett Newman, Mark Rothko, and Ad Reinhardt. She saw non-representational art as “the most powerful refuge of spiritual art in the twentieth century” (Robertson and McDaniel 2010, p. 372). Her affinity for abstraction led her to identify parallels between abstract painting and Islamic calligraphy, revealing how both forms emphasize non-figurative representation, as exemplified by the description of Arabic script as “entirely abstract … without any figurative root” (Burckhardt 2009, p. 52). Her admiration for the geometric and angular nature of Kufic script, which she described as “timeless” and “modern, transposed in time,” further deepened her interest. Teparić saw a connection between the roots of modern art and various Islamic cultures, noting how Islamic abstraction and Western modernism influenced one another. Silvia Naef, in her article "Reexploring Islamic Art: Modern and Contemporary Creation in the Arab World and Its Relation to the Artistic Past”, discusses the development of modern and contemporary art in the Middle East (2003). Many artists from the Arab world, having studied in European cities, became influenced by modern art and subsequently rediscovered an interest in their heritage—Islamic and pre-Islamic traditions. From the 1960s onward, Arabic script was seen as modern and contemporary. These works carry philosophical concepts, often tied to the mystical aspects of Arabic letters. There are two main currents: one that focuses purely on the form of the letters, which she describes as an intention to “Arabize” painting, and another that integrates religious meaning within a modern artistic framework, which she refers to as art based on the “concept of Islamic art” (Naef 2003, pp. 167–71). Teparić’s early experiences mirrored this broader movement. Reflecting on her formative years, she notes how abstract art and the esoteric meanings of Islamic calligraphy influenced her, as she recalls, “Islamic calligraphy had almost disappeared in Bosnia in the second half of the 20th century, and when I started learning it, it felt completely new” (Dervišević, interview with Teparić on 15 January 2023). An exhibition by the Egyptian artist Ahmed Moustafa at the National Gallery of Bosnia and Herzegovina in Sarajevo in 1998 left a lasting impression on her (Marić 1998), sparking an interest in calligraphy and prompting her to explore its conceptual potential within a contemporary context. This experience eventually led her to move calligraphy into a more experimental framework, combining tradition with modernity (Anderson 2023, p. 19).

Unlike artists from the Middle East, Teparić does not speak Arabic, but she started practicing Arabic script and Islamic calligraphy from the very beginning. Her lack of familiarity with the language made her journey into calligraphy both challenging and unique. While she was drawn to the visual forms of the script, her engagement with calligraphy went beyond mere visual appeal. For her, the abstract beauty of Arabic script became a gateway to explore spiritual dimensions. As a reflection of cosmic meditation, her works blend the spirituality and artistic elegance of Islamic calligraphy, emphasizing strong horizontal and vertical lines that evoke a sense of balance and contemplation.

Her search for the spiritual in Islamic calligraphy aligns with broader intellectual currents in Bosnia and Herzegovina during the early 2000s, when Islamic thought was increasingly influenced by perennial philosophy. The works of the aforementioned perennialist authors,7 as well as Bosnian scholars such as Nevad Kahteran and Nusret Isanović,8 shaped this discourse. The release of Nasr’s Islamic Art and Spirituality in Bosnian translation (2005) marked a key moment in these reflections. For Nasr, Islamic calligraphy represents the interpretation of the primordial creative act of being. In this way, calligraphy facilitates the transcendence of material existence to experience the baraka (blessing) inherent in the divine word, as Nasr notes: “The sacred art of calligraphy helps one pierce through the veil of material existence to access the reality of the spiritual world” (1987, p. 17). This concept profoundly resonates with Teparić’s artistic and spiritual journey.

3. Deconstructing Calligraphy

After becoming more familiar with Islamic calligraphy, Teparić began to challenge traditional notions of Islamic art, moving towards a conceptual and experimental framework. While maintaining the visual language of Arabic script, she started to manipulate its formal elements, breaking away from conventional rules to explore new meanings. Her work then showed an increasing departure from the classical aesthetics of Islamic calligraphy, favoring deconstruction over adherence to established forms. This shift reflects her desire to engage with the outward beauty of the script with its symbolic and metaphysical dimensions. Her earlier engagement with the Kufic script, known for its geometric precision, becomes a foundation for her experimentation. She reimagines the rigid geometric structure of Kufic, deconstructing and reconstructing it in ways that challenge its traditional boundaries. By doing this, she invites viewers to engage with the script beyond its linguistic function, opening up new interpretations of form, rhythm, and abstraction.

Teparić’s approach reflects a broader trend in contemporary Islamic art, where artists integrate modern and postmodern ideas while remaining rooted in traditional practices. Her works, often informed by minimalism and abstract expressionism, question the dichotomy between the sacred and the secular, suggesting that the essence of calligraphy lies in its transcendent quality rather than its purely visual or decorative appeal. Her deconstruction of Islamic calligraphy is not an act of rejection but rather a method of renewal—an attempt to bring the script into conversation with contemporary art while preserving its spiritual significance. As she continues to explore this balance, her art serves as a bridge between the historical tradition of calligraphy and its evolving contemporary expressions. In line with the philosophy of artists like Ahmed Moustafa, who merge Islamic aesthetics with modern art, Teparić’s work stands as a testament to the fluidity and adaptability of Islamic art. Her calligraphic deconstructions become not only a reflection of her spiritual journey but also an exploration of the broader questions surrounding identity, tradition, and modernity in a globalized world.

Her abstract calligraphy paintings represent a reinterpretation of the Arabic script, where the written word transcends its traditional forms. Each work is meticulously composed, with its structure reflecting the spiritual and philosophical meanings of the chosen text, as Teparić explains, “During my master’s studies, I frequently attended tekke gatherings, listened to sohbets (spiritual conversations between the shaykh and disciples) and participated in dhikr (ritual prayers centered on remembering Allāh). Reading Sufi literature deepened my understanding of Qurʾānic expressions in calligraphy. After that, I created calligraphic images and discussed their meanings with Professor Hadžimjelić. Then I started to explore, first by multiplying the texts to show that there are layers and layers of meanings in a single word or sentence (Figure 1). Furthermore, this exploration led me to the disjunction of horizontal and vertical lines in the Kufic script, which symbolizes Sufi rituals, the rhythm of dhikr, and meditatively repeated sentences (Figure 2). It reflects the vibration of sound and breath. Culmination appears with the elimination of the horizontal lines (Figure 3), and I left only vertical lines, representing the attainment of greater knowledge, spiritual awareness, and union with the Absolute” (Dervišević, interview with Teparić on 15 January 2023).9

As her exploration deepened, Teparić’s focus shifted towards the symbolic significance of color in her calligraphic work, particularly black. She explains her artistic choices, noting the spiritual meanings embedded in this monochromatic approach, “Analyzing some calligraphic works and looking at the calligraphies affected my choice of colors, purifying my palette, or rather, reducing it to black. This (non)color encompasses the full spectrum of hues, embodying both the absence and the presence of color (Figure 4). It is the primary color attained by traditional calligraphers and has a significant meaning in Islamic spirituality. For some Sufis, black is reserved for those who have achieved a high spiritual state.10 I see a parallel between black, which represents the entire spectrum of color, and its meaning in Sufism as a symbol of completeness. In this context, black reflects the act of encompassing all virtues and attaining true knowledge, similar to reaching the level of al-Insān al-Kāmil (the one who has attained perfection)” (Dervišević, interview with Teparić on 15 January 2023).11

The intricate maze-like compositions of the Kufic script offer a rich symbolic dimension that aligns closely with Sufi spiritual concepts. This fascination with the labyrinthine forms has profoundly influenced Teparić’s artistic practice, as she said, “The third aspect of the Kufic script that has captivated me is its maze-like compositions. The labyrinthine quality of the script, symbolizing the quest to find one’s way, resonates with the Sufi concepts of the ‘inner journey’ and the ‘spiritual path’—a search for self-knowledge and divine understanding. From this inspiration, I have created several variations of paintings with meandering patterns, incorporating the name of Allāh (Figure 5). These two-dimensional calligraphic forms tend to extend beyond the canvas, embodying a deeper spiritual exploration” (Dervišević, interview with Teparić on 15 January 2023).

The calligraphic compositions, made from wooden constructions, render the letters as voids within the maze-like design. This deconstruction process ultimately transforms the letters into spaces, creating a labyrinth that invites viewers to walk through the installation, evoking the experience of a mystical journey (Figure 6). The Labyrinth of Love serves as an architectural model of meandering, now realized as a glass sculpture. In this piece, the phrase Biʾsmi llāhi l-raḥmāni l-raḥīmi inscribed on the walls, with the maze structure emerging from the word Allāh as a continuation of Bism. To illustrate the practical application of her calligraphic labyrinth concept, Teparić has created several installations that embody these ideas: “I have developed various iterations of this concept as calligraphic labyrinth installations, such as Divine Labyrinth (2019) and Divine Meander (2018). One notable example was featured in the 2018 exhibition Beyond Shape at the National Gallery of Bosnia and Herzegovina, where the word Allāh was formed from semi-transparent curtains. This installation served as the entrance to the gallery, requiring visitors to pass through it to reach the main exhibition area” (Dervišević, interview with Teparić on 15 January 2023).

In her continued exploration of mystical themes, Teparić extends the concept of the spiritual journey into non-calligraphic forms, such as video art and installations. By incorporating Sufi motifs into new media art, she innovatively bridges traditional calligraphy with contemporary artistic practices, further enriching her engagement with spiritual and philosophical inquiry.

4. Sublime Union: Exploring Video Art

I carry a torch in one hand,

And a bucket of water in the other span,

With these, I’ll set Heaven alight,

And douse the flames of Hell’s fierce fight,

So, seekers of truth may clear their sight,

And find the goal in purest light.

Rābiʿa al-ʿAdawiyya (Sung after Upton 2004, p. 41)

The famous verses of Rābiʿa al-ʿAdawiyya, an 8th-century Muslim Sufi saint, capture her profound spiritual legacy. Camille Helminski describes her as “a major saint in Islam” (Helminski 2003, p. 25), while Ahmet Karamustafa portrays her journey “from slavery to become a saintly figure” (Karamustafa 2007, p. 3). Charles Upton also notes that “stories about her and poems attributed to her have come down to us through many Sufi writers” (2004, p. 7).

In Teparić’s video artwork To Douse Out Hell and to Burn Down Paradise (Figure 7),12 she seeks to convey the sublime essence of Rābiʿa’s teachings, where religious barriers dissolve, leaving only the core of faith-love. This work reflects Teparić’s dual interest in female spirituality and her admiration for the video art of Bill Viola (1950–2024), regarded as one of the most prominent American video artists,13 whose work draws inspiration from a wide range of global religious traditions, including Zen Buddhism and Sufi and Christian mysticism (Robertson and McDaniel 2010, p. 398). As Teparić herself reflects, “At that time I was very interested in the work of acclaimed artist Bill Viola. The simplicity of such profound ideas behind his work is something that I’m trying to achieve in my work as well” (Dervišević, interview with Teparić on 15 January 2023).

The influence of Sufi thought on Bill Viola’s work is apparent not only in the evocative titles of his pieces, such as The Reflecting Pool, Ascension, Passing, The Messenger, The Fall into Paradise, The Veiling, and He Weeps for You the Sleepers, but also in the published illustrations of his notebooks in which he references Qurʾānic verses (āyat) (Elmarsafy 2008, p. 133). Viola’s writings, including Reasons for Knocking at an Empty House: Writings 1973–1994 (Viola 1995), continue to reflect his engagement with Sufi themes. A notable example is Ocean Without a Shore, exhibited at the Venice Biennale (2007). It takes its title directly from the phrase of the great Sufi teacher and philosopher Ibn al-ʿArabī (d. 1240), “The self is an ocean without a shore” (Elmarsafy 2008, p. 141). As Ziad Elmarsafy notes, “In Ocean Without a Shore, Viola uses art to transcend the limitations of human life, achieving a form of knowledge that aligns with the divine unveiling. The finite human mind encounters the infinite deity through the notion of a self that reaches infinity through understanding the infinite” (2008, p. 144). His work is unified by the concept of a “spiritual path” and “universal action” on a human level (Tate 2014). Art critics, such as Cynthia Freeland, often describe Viola’s work in terms of the sublime (Robertson and McDaniel 2010, p. 381), representing what is beyond conventional representation (Bernier 2023). Teparić has incorporated aspects of Viola’s aesthetic into her work, notably through the use of water and fire juxtaposed in darkness, reminiscent of his artwork Martyrs. This approach, which focuses on a single term or idea while reducing visual elements to their essence, is in line with Teparić’s own method. She adopted this approach to depict Rābiʿa al-ʿAdawiyya’s prayer, symbolized solely by hands in the traditional Muslim prayer position, from which drops of water and flames emerge—an idea inspired by her study of Rābiʿa’s story and later realized in her artwork.14 Teparić reflects on her inspiration, “It was during a lecture by Shaykh Mesud, the father of Professor Ćazim Hadžimejlić, that I first heard the story of the female Sufi saint Rābiʿa al-ʿAdawiyya. I vividly pictured her holding fire with one hand and catching drops of water with the other. This image stayed with me, and fifteen years later, with the help of my friends, I decided to make a short video based on it”15 (Dervišević, interview with Teparić on 15 January 2023). The video is accompanied by a narration of Rābiʿa’s famous story and her prayer. Known as munājāt (whispered prayer), this intimate act of conversation with God underscores the profound spiritual connection depicted in the work.

Religion has long used art as a means of communication, not only within its traditions but also across faiths (Carter 1976, p. 2). Art and spirituality have been interconnected throughout history, demonstrating that “no culture has ever been immune to ongoing exchange” (Robertson and McDaniel 2010, p. 52). These interactions are rooted in universal characteristics shared by all cultures, as exemplified by works such as Mirror of Judgment and Place for Multireligious, Secular Mediation by Michelangelo Pistoletto (b. 1933), a prominent Italian artist and key figure in the Arte Povera movement. Curtis Carter remarked in 1976 that “art can provide a commonly intelligible artistic-religious vocabulary that will enable the various religions to transcend the barriers that separate them” (1976, p. 2), emphasizing the role of art in fostering trans-religious understanding. Viola echoes this sentiment, noting, “I think religion has always had a way to connect people and art has a tremendous role to play” (Tate 2014). The performative project The Circle and Square (2015–2017) by American artist and writer Suzanne Lacy (b. 1945) is a notable example. This three-day filmed performance brought together Christian and Sufi communities from the northwest of England for Shape Note singing (a traditional method of hymn singing) and Sufi chanting, highlighting the potential of art to bridge religious divides. Such works are in keeping with the “central idea of the perennial philosophy,” which advocates the “transcendent unity of the religions” (Stoddart 2008b, p. 52). Stoddart echoes Frithjof Schuon (1907–1998), the Swiss philosopher and metaphysician, in asserting that a single truth underlies all major world religions, with differences in exoteric norms and some aspects of belief being external forms of that particular religious perspective (Stoddart 2008b, p. 52).16 The concept of the transcendental unity of religions comes from the perennialist school and is first articulated in Schuon’s book of the same name (Schuon 1984).

It is explained that these external (exoteric) forms, though different, share a unity on the esoteric level (Binajemotlak 2010, p. 32). Teparić reflects on the core values of Sufism, referring to the Qurʾān,17 “People, We created you all from a single man and a single woman, and made you into races and tribes so that you should recognize one another. In God’s eyes, the most honored of you are the ones most mindful of Him: God is all knowing, all aware” (Q 49:13); “While if any saves a life it is as if he saves the lives of all mankind” (Q 5:32). This spirit of universal connectedness is captured in a poem by Jalāl al-Dīn Rūmī (1207–1273), the renowned Sufi poet and scholar, “What is to be done, O Moslems? For I do not recognize myself. I am neither Christian nor Jew, nor Gabr, nor Moslem” (Nicholson 2004, p. 125).

Teparić’s artistic vision is informed by the concept of universal human connectedness and the divine perspective. She explains this guiding principle by saying, “I was inspired by the idea that all people have a common origin and that we should ‘see others as God sees them,’ as expressed by Shaykh Ćazim Hadžimejlić. He further elaborates, “When a nafs (soul) undergoes tarbiyya (spiritual discipline), the individual comes to see all people as God’s creatures, grasps the essence of humanity, and rises above acts of inhumanity. Such a person perceives others as God does, recognizing the divine breath present within each of us, which fosters compassion and a profound sense of interconnectedness that transcends religious and societal divisions and promotes unity among all” (Dervišević, interview with Teparić on 15 January 2023). This notion is rooted in Qurʾānic teachings, such as: “People, be mindful of your Lord, who created you from a single soul, and from it created its mate” (Q 4:1). Additionally, a poem by Jalāl al-Dīn Rūmī captures this sentiment: “I gazed into my own heart, There I saw Him; He was nowhere else” (Nicholson 2004, p. 73). Teparić’s works embody this esoteric philosophy and are intertwined with her personal experience of tragedy, reflecting both spiritual depth and personal resilience.18

5. Gens Una Sumus

In the early 1990s, Bosnia and Herzegovina experienced horrific wartime atrocities, widespread human suffering, and the destruction of cultural heritage. As a witness to the brutal executions of people for their religious beliefs, Teparić was profoundly affected by these tragedies. Years later, the idea of the “transcendent unity of religions,” as articulated by metaphysicians like Frithjof Schuon (Nasr 1987, p. 53), resonated with her, inspiring the creation of three variations of Gens Una Sumus (2017–2018). These variations, ranging from a printed photograph to a digital projection with voice narration and a holographic display, all share consistent elements: the Virgin Mary/Maryam, a miḥrāb (prayer niche), and a Qurʾānic inscription, Kullamā dakhala ʿalayhā Zakariyyā al-miḥrāba (“Whenever Zachariah went to see her in her sanctuary”) (Q 3:37).19 Reflecting on her journey, Teparić says, “Viola’s work revealed universal principles shared by all monotheistic religions, with human consciousness at the center. This realization deepened my engagement with perennial philosophy and the transcendent unity of religions, which culminated in the Gens Una Sumus project. I was especially inspired by calligraphy in miḥrābs across Bosnia and Turkey, particularly the Qurʾānic verse about Maryam/Mary” (Dervišević, interview with Teparić on 15 January 2023).

The concept behind Gens Una Sumus (Figure 8) emerges both from the artist’s subconscious reflections on recent wartime experiences and from direct engagement with perennial philosophical interpretations.20 The verse about the Virgin Mary in the Bosnian context is discussed by Rusmir Mahmutćehajić, who notes that “Many will be surprised to learn that the Virgin Mary is present in almost every fully developed Bosnian mosque” (2009, p. 365).21 This perspective counters sources of conflict, as the Qurʾān advises, “Do not let your hatred for the people who barred you from the Sacred Mosque induce you to break the law: help one another to do what is right and good” (Q 5:2). Similarly, Nicholas of Cusa, a 15th-century German Catholic bishop and polymath, observed, “All great schisms arise when each separate community opposes its faith to other faiths” (Stoddart 2008b, p. 14).22

The mixed religious iconography in contemporary art often comes from artists with multiple identities (Robertson and McDaniel 2010, p. 390). Although Teparić was born a Bosnian Muslim, and Islam has been an integral part of Bosnia and Herzegovina for over five centuries, she also draws on the history of the medieval Bosnian church. This earlier Christian tradition, which predates the arrival of Islam in the region, was neither Roman Catholic nor Orthodox,23 further enriching her diverse cultural and religious perspective. Teparić’s exploration of Gens Una Sumus reveals layers of meaning that span both universal and personal dimensions. Reflecting on her work and its connection to her own experiences, she shares, “While working on Gens Una Sumus, I discovered new dimensions of meaning, ranging from the universal significance of the Virgin Mary to personal reflections. I am affected by the attempts of people from various confessions to deny our common past. All identities related to my homeland have shaped who we are, and I embrace them as part of my identity. The project also resonates with a personal loss from my teenage years, when I lost my father during the 1992 war, a war driven by senseless religious nationalism. In the tekke environment, I met many individuals from different religions, and their openness brought me closer to the tekke. I appreciate that all people with good intentions are welcome there. As Shaykh Mesud (r.a.) used to say, ‘I want to show this beauty to the people’. Now, with Shaykh Mesud’s passing, Professor Ćazim Hadžimejlić, my spiritual teacher, continues his legacy. I am immensely proud that he includes in his prayers for “all good people on earth,” regardless of their religion” (Dervišević, interview with Teparić on 15 January 2023).

The Virgin Mary is highly revered in Islamic theology, honored for her purity, devotion, and role as the mother of Jesus (Schleifer 1998) and “considered by the Qurʾān to hold the most exalted spiritual position among women” (Nasr 2002b, p. 41). She is portrayed as a model of faith, with her miraculous conception and unwavering trust in God’s plan serving as central elements of her story. Teparić explains, “In my work, I borrow the image of the Virgin Mary from Catholic visual culture, where she represents Christianity and serves as a personal metaphor for my pre-Islamic heritage from the Bosnian Church. Today, the role of the Virgin Mary in interreligious dialogue is increasingly significant and universal. While Jesus/ʿĪsā is associated with a specific time and will return at the end of time, Mary’s role remains active in contemporary discussions. Initially, I was unaware of the extensive academic field of Mariology and the Maryamiyya Sufi order founded by Frithjof Schuon (Shaykh ʿIsā Nūr al-Dīn); Sedgwick and Beglerović even speculate about a branch of the Maryamiyya in Bosnia (Sedgwick and Beglerović 2020, p. 3)”.24

In the first variation of Gens Una Sumus, the figure is depicted from behind, positioned in front of an Islamic miḥrāb adorned with a Qurʾānic inscription that alludes to the Virgin Mary in her sanctuary. The scene is bathed in light and cast in dramatic shadows, evoking the ethereal, desolate landscapes of the paintings by De Chirico (1888–1978), an Italian painter and founder of the metaphysical art movement (scuola metafisica) (Ursino 2013). This enigmatic female figure, standing in front of the miḥrāb with the Arabic inscription, raises intriguing questions: is she a representation of the artist herself, a Muslim whose work reflects the enduring legacy of the Bosnian Church?25

Gens Una Sumus works can be controversial, potentially perceived as sacrilegious by some viewers from both religious perspectives, as Teparić clarifies, “I am not attempting to combine various religious ideas into a new religious fusion. It is an invitation to reconsider what we know about each other and the preconceptions we have accepted as norms”. Contemporary art often seeks to deconstruct stereotypical views of spiritual beliefs and practices, challenging preconceived notions, as Jean Robertson and Craig McDaniel note, “Some contemporary art concerning religious identity attempts to deconstruct stereotyped views of spiritual beliefs and practices” (2010, p. 391). Teparić further emphasizes, “Since preconceptions reflect ignorance and imperfection, Sufism advocates self-awareness which dispels prejudice, as reflected in Shaykh Ćazim’s teachings” (Dervišević, interview with Teparić on 15 January 2023). This view aligns with that of Jalāl al-Dīn Rūmī, who promoted tolerance, humanity, and love. In this context, artworks with mixed religious iconographies, such as Kimsooja (b. 1957), a South Korean multimedia artist, in Lotus: Zone of Zero (2008), can be seen as attempts to promote universal harmony. Kimsooja’s piece combines elements of Tibetan, Gregorian, and Islamic chant and fuses them to inspire contemplation of universal harmony among diverse religions and cultures (Robertson and McDaniel 2010, p. 383). Similarly, the installation Breath (2004) by Iranian-born British artist Shirazeh Houshiary (b. 1955 in Shiraz) (Shirazeh Houshiary: Smell of First Snow 2015) is inspired by Sufi practices and integrates religious chants from Buddhism, Christianity, Judaism, and Islam to represent the essence of existence across cultural boundaries (Arya 2016). The artist employs breath, a crucial element of the Sufi meditative practice of dhikr, “to explore the essence of her own existence, transcending name, nationality, and culture” (Shirazeh Houshiary: Smell of First Snow 2015). Art critics recognize the potential of spiritual art to unite and bridge divides. Charlene Spretnak, for example, asserts that “spiritual art has a positive, unifying function that serves to bridge differences and bring people closer together in a beneficial way” (Anderson 2023, p. 28).

In another variation of Gens Una Sumus, the Virgin Mary is depicted standing in the miḥrāb niche26 accompanied by a soundscape that blends the Christian prayer in Arabic with the Muslim prayer in Latin. This auditory juxtaposition creates an initial impression of confusion, leading viewers to assume that the Arabic narrative is Islamic and the Latin is Christian, only to discover the opposite upon closer inspection. Curtis Carter argues that art has the power to transcend “the boundaries of religious faith due to its superior aesthetic qualities or universal themes” (1976, p. 6), citing the Chapel at the Massachusetts Institute of Technology as an example. Carter concludes that the Chapel “communicates to people of all regions” (1976, p. 10). The Chapel’s design was intended to break down religious barriers, which was achieved through a comprehensive analysis and integration of architectural and philosophical elements from diverse religious traditions.27

The Gens Una Sumus work calls for mutual understanding and connection. As Rosana Ratkovčić suggests, the figure of Mary acts as a bridge for a “better mutual understanding of the Catholic and Muslim cultures that have coexisted in this region for centuries, with an emphasis on how the languages we speak and write, contribute to this understanding” (Ratkovčić 2012, p. 104). Simultaneously, these works are meant to encourage self-reflection, fostering an appreciation and acceptance of diversity as an integral part of unity. While we may differ in many ways, we are united as a single species. Universal symbols “can facilitate communication across religious boundaries and contribute to positive solutions for global social issues exacerbated by increasing crises” (Carter 1976, p. 9). In the end, Teparić a wonders, “Is this a utopian wish?”28 (Dervišević, interview with Teparić on 15 January 2023).

6. Conclusions

Meliha Teparić’s art is part of a broader trend in contemporary art that explores spirituality and identity through a modern lens. Her work reflects contemporary art’s drive to transcend cultural and spiritual boundaries. By reinterpreting sacred symbols in a mixed-media format, she mirrors the interdisciplinary engagement seen in recent exhibitions. Rooted in personal and cultural histories, her work offers a nuanced response to global conversations on interfaith dialogue and the role of spirituality in public life.

Teparić began her artistic journey by challenging traditional Islamic calligraphy through the deconstruction of the Arabic script, exploring its spiritual and metaphysical dimensions in works such as Cause of Love (2006). Blending minimalism and abstract expressionism, she invites viewers to engage with the script beyond its linguistic function, highlighting Sufi concepts of interconnectedness and self-discovery. Her fascination with the labyrinthine forms of Kufic script symbolizes the inner journey of enlightenment, culminating in the immersive installation project Labyrinth of Love (2006), which effectively bridges traditional calligraphy with contemporary artistic practices.

Through her exploration of the teachings of Rābiʿa al-ʿAdawiyya, a revered Sufi saint, Teparić breaks down religious barriers, highlighting love as the core of faith. This theme is vividly captured in her video artwork To Douse Out Hell and to Burn Down Paradise (2018), which encapsulates Rābiʿa’s spiritual legacy. The work reflects her interest in female spirituality and the influence of Bill Viola’s art, ultimately creating a transformative experience that resonates with Sufi concepts of interconnectedness and enlightenment. The contemporary art scene has experienced a significant broadening of its scope, increasingly embracing interdisciplinary influences ranging from science to technology. This expansion has facilitated a more sophisticated dialogue about spirituality and religion in art, reflecting diverse perspectives and experiences (Alexandrova 2013). Throughout history, art has consistently embodied a spiritual element. Exhibitions like The Spiritual in Art: Abstract Painting, 1890–1985 (1987), Faith (2000), and Homo Religious (2000) demonstrate an ongoing and evolving interest in exploring religious motifs and their influence on contemporary art. In this context, Gens Una Sumus series stands out as a compelling example of how contemporary artists engage with spiritual and religious themes. By incorporating elements such as the Virgin Mary within a miḥrāb and the interplay of Arabic and Latin prayers, her work not only highlights the commonalities between faiths but also serves as a personal reflection on her own identity and experiences. Gens Una Sumus invites us to reconsider our understanding of spirituality and cultural identity.

Teparić’s approach invites viewers to transcend superficial differences and engage in a deeper exploration of shared human experiences, as her series represents a significant effort to bridge religious and cultural divides through a combination of Christian and Islamic symbols that promote dialogue and understanding. In Teparić’s perspective, interreligious dialogue stems from shared spiritual values rather than formal theological exchange, with her art serving as a medium to evoke universal connections through symbols from various traditions. Her art presents a vision of unity and empathy, encouraging a more inclusive perspective on the intersections of religion and culture. As contemporary art continues to explore these themes, Teparić’s work serves as a testament to the potential of art to bridge divides and inspire a more harmonious world.