Female Visions: The Religious Visual Culture of Contemporary Female Islamic Mysticism

A special issue of Religions (ISSN 2077-1444). This special issue belongs to the section "Religions and Humanities/Philosophies".

Deadline for manuscript submissions: closed (31 October 2024) | Viewed by 2663

Special Issue Editor

Department of Islamic-Theological Studies, University of Vienna, Vienna, Austria
Interests: Sufism; Islamic art; esthetics; visual and material culture

Special Issue Information

Dear Colleagues,

Mystical Islam and Sufism, traditions in constant dialogue with society and its political, cultural, and economic dynamics, have the capacity to disrupt gender norms and established hierarchies—theological and political—by giving women a public voice that extends across geographic regions. Even though the mystical or Sufi interpretation and practice of Islam are an arena that provides scope for female participation and leadership, and one in which women mystics have left a powerful legacy, it is male spiritual teachers who have traditionally given voice to women. Little is known about the often-concealed world of place and role of women, and their access to and participation in ‘lived’ Sufi experience, presenting a critical lacuna that this Special Issue addresses.

In so doing, it seeks to recover some of the spiritual heritage of Sufi women as witnesses to emerging visions of female ritual practices and teachings. The underlying goal is a pioneering exploration of visual culture as a key site for examining the trajectories of religion in contemporary female mysticism from a comparative and cross-cultural perspective. Through a gender-sensitive reading of Sufi visual culture, the contributions focus on the role of gender imagery and symbolism, especially the feminine element, and its interrelation with gender differentiation and construction.

In this endeavor, it is essential to develop a more comprehensive understanding of the visual cultures with which we engage in order to present innovative insights into the visual culture of female Islamic mysticism. Mysticism, after all, is often rooted in personal experience: an inner experience that manifests itself outwardly. Textually or visually recording mystical experiences poses distinct challenges. In a Sufi context, “vision” encompasses both the physical perception of “reality” through the eye and the apprehension of immaterial realities or future events through the “mind’s eye.” These semantic fields converge in the concept of “vision”—one is sensory, involving the actual faculty of seeing and engaging with images; the other refers to imaginations, dreams, or visualizations, that is, visualizing practices perceived, emically speaking, by the heart as the organ of spiritual vision. This Special Issue addresses this “inward turn,” evident in the realm of sensation, involving all senses—touch, hearing, smell, and taste—and also reflected in the multisensory nature of sacred artifacts, architecture, and the decoration of sacred spaces. Scholars from different disciplines and research fields such as (art) history, religious/Islamic studies, sociology, anthropology, literature, theology, and philosophy are invited to approach the topic from their own specialism or from an interdisciplinary perspective.

Dr. Sara Kuehn
Guest Editor

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Keywords

  • contemporary Sufism, Islamic mysticism
  • female mysticism in Islam
  • Sufi art and aesthetics
  • religious visual culture in Islam
  • vision and visuality
  • imaginations, visualizations, dreams
  • sacred artefacts
  • sacred space

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Published Papers (4 papers)

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Research

23 pages, 52451 KiB  
Article
Dervish Hatixhe’s Veneration in Contemporary Albania: Visual Representations, Devotional Practices and Sensory Experiences
by Gianfranco Bria
Religions 2025, 16(2), 163; https://doi.org/10.3390/rel16020163 - 30 Jan 2025
Viewed by 381
Abstract
This article explores the veneration of Hatixhe, an 18th-century Sufi saint from Tirana, Albania, whose legacy continues to resonate across religious and cultural boundaries. Despite limited historical records, Hatixhe’s sainthood is venerated through hagiographic narratives that portray her as a compassionate healer, spiritual [...] Read more.
This article explores the veneration of Hatixhe, an 18th-century Sufi saint from Tirana, Albania, whose legacy continues to resonate across religious and cultural boundaries. Despite limited historical records, Hatixhe’s sainthood is venerated through hagiographic narratives that portray her as a compassionate healer, spiritual protector, and symbol of resilience. This study investigates the visual, ritual, and sensory dimensions of her shrine, which has become one of the focal points for interfaith devotion in post-socialist Albania. Embodied rituals—such as touching her tomb and lighting candles—allow devotees to connect with her shenjtëri (“sainthood”). Through these acts, Hatixhe’s legacy as a grua e shenjt (“holy woman”) or grua e mirë (“good woman”) is anchored in both religious and cultural contexts, as her shenjtëri integrates local and national values, partly transcending Islamic frameworks. Hatixhe’s teqe, preserved through the efforts of her female heirs during the communist era, serves as a unique testament to a female lineage in Albanian Sufism. By examining the spatial, material, and symbolic aspects of her veneration, this study underscores the significance of Hatixhe’s shenjtëri as a site of blessing and communal solidarity for women, enriching the understanding of their roles in Albanian spiritual and social life. Full article
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19 pages, 5612 KiB  
Article
The Visual World of Zöhre Ana
by Mark Soileau
Religions 2025, 16(2), 141; https://doi.org/10.3390/rel16020141 - 26 Jan 2025
Viewed by 285
Abstract
Around the figure of Zöhre Ana, a contemporary female mystic in Ankara, Turkey, considered by her followers a saint and known for her healing powers, has grown a substantial cult followed by hundreds if not thousands of devotees, with its own mythology, cosmology, [...] Read more.
Around the figure of Zöhre Ana, a contemporary female mystic in Ankara, Turkey, considered by her followers a saint and known for her healing powers, has grown a substantial cult followed by hundreds if not thousands of devotees, with its own mythology, cosmology, discursive tradition, and praxis. As with any religiocultural tradition, the cult of Zöhre Ana has developed a unique experiential world at the interface between her and her followers that engages all of the senses of participants. This study explores the visual dimension of this world, consisting specifically of the visions Zöhre Ana has had, the visible setting of the cult in specially arranged physical space, and the iconography of the saint. The visual elements of these dimensions reflect the Alevi cultural–historical milieu she and most of her followers come from, and this shapes the experience that occurs as participants interact with the visual world of Zöhre Ana. Full article
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26 pages, 5579 KiB  
Article
When the Rūḥ Meets Its Creator: The Qurʾān, Gender, and Visual Culture in Contemporary Iranian Female Sufism
by Yunus Valerian Hentschel
Religions 2025, 16(2), 132; https://doi.org/10.3390/rel16020132 - 24 Jan 2025
Viewed by 406
Abstract
This article delves into two Iranian Sufi women’s approaches to the Qurʾān, gender, and visual culture: (1) Parvāneh Hadāvand, a Sufi leader in Tehran, uses visual means to enhance the spiritual–aesthetic–emotional experiences of her students. She challenges gender norms within male-dominated spaces by [...] Read more.
This article delves into two Iranian Sufi women’s approaches to the Qurʾān, gender, and visual culture: (1) Parvāneh Hadāvand, a Sufi leader in Tehran, uses visual means to enhance the spiritual–aesthetic–emotional experiences of her students. She challenges gender norms within male-dominated spaces by reinterpreting visual-material objects and asserting her authority as a woman Sufi guide. (2) Mītrā Asadī, a Sufi teacher in Shiraz, problematizes the overall visual culture of gender roles by arguing that, through the spiritual transformation of the human being’s genderless essence (Arabic rūḥ; Persian jān), categories of gender become ephemeral and irrelevant. These two case studies are examined in terms of how these Sufi women utilize aesthetic experience, visual aspects, and visual-material culture in their Sufi practices and teachings. Further, it is investigated how these practices shape Hadāvand’s and Asadī’s gender performativities. Full article
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18 pages, 13412 KiB  
Article
Diving Deep into the Word of God: A Sufi Approach to Religious and Trans-Religious Images
by Haris Dervišević and Meliha Teparić
Religions 2024, 15(12), 1525; https://doi.org/10.3390/rel15121525 (registering DOI) - 12 Dec 2024
Viewed by 1086
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 [...] Read more.
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. Full article
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