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Zephyr November Notes

When war is raging and people are suffering and dying, the whole world feels it. All of us, all of the people of the Earth, hear in our souls the reverberations of the explosions, shrieks, and sobs of the warzone. 

For those whose loved ones are beneath falling bombs, the bombardment is a ceaseless psychic storm of darkness and fire. 

As for those in neighborhoods collapsing to dust around them; those witnessing their parents, siblings, and children perish before their eyes – there are no words to describe what they are enduring.     

Every thought, word, and action that counteracts devastation and promotes healing, equity, justice, and friendship is a dove from above. A great flock is needed now.

These terrible times call for kindness – kindness toward ourselves, toward each other, and most of all toward those who are suffering what we can hardly imagine.

In the depths of our minds we carry the intuition that all of the people of the planet – all beings in this world and every world – together form one body and one soul. 

When the knowledge of oneness becomes fully conscious, we will awaken, and Earth’s fever will break.

The Story of the Ripple

The Story of the Ripple
Pir Zia Inayat Khan

Once upon a time a ripple of sunlight hurled through the emptiness of interplanetary space. Careening through the void, it dove, and soared, and swam with abandon. “Look at me,” it thought. “Was there ever a ray so supple and spry?” 

Suddenly an asteroid barreled by. It was a close call; the ripple managed to leap to the side and avoid a direct collision, but it nonetheless came away with an eyeful of odious dust. “Watch where you’re going, you vagabond!” the ripple hollered after the offender. The asteroid didn’t hear its accuser, or pretended not to hear it. 

The ripple was miserable. All of its former spunk was gone. “Was there ever a ray so luckless and friendless as me?” it thought. “What am I even doing here in this gloomy place?”

But now another object was approaching. Whatever it was, it was dazzling in its brightness. “Identify yourself,” the ripple demanded. The newcomer hovered and pulsed. “Who am I?” it answered. “I cannot really say. But I know where I come from.” There was a sudden flash as the speaker triumphantly announced, “Proxima Centauri! And Promixa comes from the Light of Lights, which is everywhere and always.”

“And you, my friend,” said the wave – for it was a wave, a ripple only larger – “You, as I can plainly see, come from the Sun, which also comes from the Light of Lights, which is everywhere and always.”

“Sun, what Sun? What could you be possibly talking about?” replied the ripple, irked by the stranger’s presumption.

“Oh, I see,” said the wave with a knowing nod. “You haven’t been looking back. Well, now is as good a time as any. May I suggest you sneak a peek over your shoulder?”

To humor the wave, the ripple swiveled its neck and threw a glance backward. It looked, and then it looked again. What it saw was breathtaking. Meeting its stare was a face of indescribable beauty, a spherical blaze of the most joy-giving effulgence one could ever imagine. Right there, before the ripple’s eyes, was the Sun in all its magnificence.

The ripple bowed down. After a minute it rose and murmured, “I’m going back.” “No,” replied the wave, seizing the ripple by the shoulder. “Look again!” The ripple looked, and the Sun seemed to wink. From the brilliance of that wink a hundred waves and a thousand ripples were born. Long beams stretched out from the Sun, filled the expanse of space, and lit up the planets one by one: Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, and Neptune.

Earth loomed near. “Our destiny lies there,” whispered the wave, gesturing. “See how the Sun loves the Earth and wishes it to have its light? That is why you were sent. Proxima sent me for the same reason. Let’s make our way down now.”

The ripple followed the wave. It felt the light and heat of the Sun on its back. It kept thinking of the Sun. It thought, “The wave said it well. Who knows who we are. And it doesn’t matter. All that matters is that the Sun is shining and spreading the glow of the Light of Lights. Whoever I am, I’ll do the Sun’s work.”

On Earth, in a little valley, dawn had come. It was Spring and the ground was thawing. In the cold soil lay a seed. The ripple saw it and drew near. “May I approach?” asked the ripple. “Come in,” answered the seed. “I’ve been waiting for you.” The ripple entered the seed. All was quiet. Days passed. A root appeared, and then a shoot. The shoot grew taller day by day. Before long there were lush green leaves. Amongst the leaves a bud took form. At last, the bud opened its petals, one by one, and smiled at the Sun. The Sun smiled back. All at once, the ripple found itself in the fullness of the Light of Lights. 


The Zephyr is a monthly newsletter of Inayatiyya, an interfaith mystical fellowship with branches worldwide. For more gatherings, please visit our Inayatiyya Digital Programs Calendar for Spring 2022.

Nan Hill Artist Statement on Murshid at Suresnes Portrait

Nan Hill Artist Statement on Murshid at Suresnes Portrait

When embarking on a portrait, I look for something fundamental about the esteemed person’s character which influences their legacy. With Hazrat Inayat Khan, his capacity for self-discipline came forthrightly to mind. Far from an authoritarian approach, the discipline he required of himself, and modeled as an exemplar for others, developed from his ancestral heritage of classical musicianship. His high-level mastery prepared him for his unique role as the spiritual leader who answered a call to introduce Eastern teachings of Sufism to the West.

For this portrait’s setting, Pir Zia spoke of his grandfather’s favorite tree at the historical home in Suresnes, an apricot tree near a bend in a footpath, under which Murshid would customarily sit in his wicker garden chair. I was given two artistic references for the portrait: the 1905 painting “The Buddha” by Odilon Redon, and the volume The Flower Garden of Inayat Khan, with illustrations done in 1930 by Henriette Willebeek Le Mair, who had often been in Murshid’s presence during his lifetime.

It was important to convey Murshid’s devotion to simplicity, which was expressed in life even in his manner of clothing and adornment. I was fortunate to be in The Hague in the fall of 2019 and visited the Sufi Museum to make personal studies of the matte satin robes hand-made for Murshid and his brothers, their Indian-made shoes, a winged jeweled heart brooch identical to Murshid’s which belonged to his wife Begum Ameena Inayat Khan, and his very garden chair. It was immensely helpful to be alone with his personal artifacts, soaking in the atmosphere they’re held in, which many years after his passing is beautifully redolent of his spiritual grace.

The painting’s composition is elemental. Like “The Buddha”, Murshid is in solitude by his apricot tree in the flowering of early Spring, which symbolizes the cycles of renewal and the regeneration of all that is beautiful, bountiful and creative. We can imagine a gentle stirring of nature and atmosphere around him as he sits in a shrine of stillness, calmly radiating. From Le Mair I drew the focal points of his beautiful posture and the quality of his gaze from Le Mair. In the portrait, Murshid appears to gaze within as he looks out, impressing upon the viewer his mastery of mysticism and inner vision. In his own words Murshid described the alchemy of the mystic and his enduring legacy:

In all he thinks or does there is the perfume of God, which becomes a healing and a blessing. And if one asks how a mystic, who has become so kind and helpful, gets on among the crowd in everyday life, since the rough edges of everyday life rubbing against him must necessarily make him heart sore, the answer is that they certainly do, and the heart of the mystic is even more sore than that of anybody else. Where there is only kindness and patience all the thorns will come. But just as the diamond by being cut becomes brilliant so does the heart; and when the heart has been sufficiently cut it becomes a flame which illuminates not only the life of the mystic, but also that of others.


BIOGRAPHY

Nan Majida Hill, a Minnesota native, was born in 1953. She attended Smith College and earned a degree in painting from UMASS Amherst. Hill is a contemporary realist painter with a long association with a group of realist painters of renown in western Massachusetts. She has exhibited her artwork, mostly still life, in the United States in solo and group exhibitions for over 30 years. Also known for portraiture, Hill has completed official retirement portraits for a first woman First Justice, professors emeriti of Mount Holyoke and Skidmore Colleges, and portrait commissions for film star Matt Damon, the founders of Meditech in Boston and many more. Hill’s paintings are in the collections of Fidelity Investments, Citibank, the Northampton Family & Probate Court, Spoleto Restaurants, and Neil & Jane Pappalardo along with numerous private collections. Hill was honored to recently complete official portraits of Sufi spiritual master Hazrat Inayat Khan (1882-2017) and WWll spy heroine Noor Inayat Khan (1914-1944) for the Astana, headquarters of the Inayatiyya in Richmond, Virginia.

Please see here for Nan Hill’s portrait of Noor Inayat Khan, unveiled in Richmond in September 2018.

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