Kufic script, most ancient among Islamic calligraphy practice, is here used to depict a scheme of a mosque altar (Mihrab). Kufic scripture is itself mostly associated with Qur’an. All the elements in the picture reflect a faithful commitment to the calligraphy-painting tradition, both in details and the entire composition. This particularly symbolizes a unique practice of Afjei, where he brings the structure of the words and letters close to the representation of a building in Islamic tradition; and in this way, he literally paints the ‘Banna’I’ (builder’s technique) script.
A number of characteristic features of calligraphy-painting during recent decades are manifested in this piece: repetition as well as illusion of chiaroscuro and perspective made through varying the size and arrangement of the letters. Colour plays a minor role, being limited to small dots and minute signs in red, situated in the blank spaces between the letters. The limited palette and a focus on black and white, in addition to the ultimate triumph of light over shade in the center of the piece, make direct allusions to the mystic perception of divinity, signified as “The light of the heavens and earth” or “light over light”.
