Al-Qayyum (The Self-Subsisting)

In this calligraphic work in the Allah Series, like in the other works Yousuf makes the pictorial surface into various zones of existence by subtly demarcating spaces through the fine use of brush strokes. Here the world/God is shown as self subsisting. It is a continuous process. The central image is a sand clock which is placed in the middle of a circle which looks more mechanical than organic. And this mechanical circle is held in place by a powerful magnet. As there is a sand clock in the middle and turning of it is imperative when one section is empty, the artist expects the viewer to see the painting the other way round also. With this, he simply suggests how earth moves around the sun with its own dynamics. Yousuf has brought forth all his scientific understanding about the universe in this apparently religious painting.

Al-Fattah (The Opener)

Yousuf Ali, even when he treats a very religious subject, does not leave his characteristic humour. Unlike the other calligraphic works in this Allah Series, here in this work, he shows an added sense of humour by bringing in the image of a lock and key, which literally illustrates the idea of Al-Fattah. However, this humour is only on the surface level; a deeper look reveals that what Yousuf suggests here through the image of lock is the lock of all universal secrets; that is the realization of God. And each human being should have the key to that God. And the painting becomes a very interesting reminder of one's duty towards God and his secrets.

Al-Wahhab (The Bestower)

This calligraphic work done by Yousuf Ali is very peculiar and interesting because this is one work that could cut across all religious prescriptions of representing the godhead. A deeper look at this calligraphic work reveals that it does not show the act of bestowing by the God. There is no symbolism per se. But it gives the form of Lord Ganesh, who is the bestower of all wellness to the human kind. The compact symbolism is quite intriguing in this work.

Al-Mumit (The Creator of Death)

Al-Mumit, in Arabic means Creator of Death. It has something to do with the Shiva concept of Hinduism. Shiva is the destroyer of all what has been created by Vishnu. But death here does not mean a finality; it is Time and it flows into a different zone of existence. However, in Al-Mumit, Yousuf gives a poetic twist to the whole concept of death and its creation. Life, according to the artist is a tree and a leaf in it is an individual life. A wind can blow a leaf away provided the leaf has fulfilled its mission and turned yellow. In this work, Yousuf positions a tree in the middle as the central image while the calligraphic letters function as a cover and one single leaf in the foreground underlines the death of an individual. But it is not a pessimistic vision. The leaf has fulfilled its role and it becomes earth where the tree grows.

Al-Malik (The Sovereign Lord)

This watercolour is an interesting mixture of abstract background and calligraphic middle ground. As the word suggests this is the representation of God, Almighty in all his glory. Yousuf Ali dexterously brings the idea of universe and its immensity by centrally placing a luminous globe, which is sun and pushing the earth towards the right lower ground. Other celestial spheres are finely suggested and the whole universe is created in an abstract form. The fluidity of the background reiterates the immensity of the universe, which is ruled over by God, Almighty.

Al-Muhyi (The Giver of Life)

This painting, as the title suggests, is the representation of God in calligraphic form, as the giver of all life. Giving of life is a very complicated concept. In Christianity and Hinduism one could represent God and man to show this 'giving' of life. But in Islam it is not possible, hence Yousuf takes a very interesting route of familiar myths where he brings the mythical apple that caused the union between man and woman. And God remains as a lit candle, like a beacon that leads to the right direction.

Al-Alim (The All Knowing)

When one speaks of the omniscience of God, what one imagines generally is either the endless sky or the measureless seas. One could also come up with the immensity of night, mountains and forests. But when he wants to present the all knowing nature of God though, Yousuf does not fall into stereotypes. He paints a white globe on the upper right corner of the painting and makes various gradations of colour till the flow reaches the lower end of the painting. The structure of calligraphy stands in the middle and what makes the painting more important is the image of a quill right in the middle of the painting. The artist connects knowledge with scripting and also his knowledge on Hindu religion comes into play here, as he has painted a lot of Ganesha images where he is shown seated and writing Mahabharata. Yousuf's nature as a secular artist is evident from this.

Al-Musawwir (The Fashioner)

Most of the religious philosophers have portrayed God as a great fashioner. He is the ultimate designer who could cut and stitch the universe itself. Going by this beautiful understanding of God, Yousuf Ali in this calligraphic work not only writes the word in beautifully curved lines but also brings in a few interesting elements that literally makes God a designer. The abstract background, as it moves forward merges with a flowery area which could be considered as the cloth of the earth. And the globe itself is the central piece on which the measurement tools of a designer are placed properly. The colour scheme that Yousuf has adopted for this painting also is noteworthy as the strong reds, blues and yellows reflect the changing seasons on the earth.

Al-Qayyum (The Self-Subsisting)

When the word watching or watchful surfaces most of us tend to look for the image of an eye in a painting. But when it comes to Yousuf's oeuvre, he just does not illustrate even the very concept of God being watchful. He is everywhere and He sees everything. The universe is always under his watchful eyes. But here the artist just does not talk about just seeing by God. He speaks of him 'looking' at things in a minute fashion. Against an abstract background Yousuf writes the word Al-Raqib, which means The Watchful and he interpolates the word with the image of a magnifying glass, which actually replaces the need for an 'eye'. The area where the magnifying glass is placed one could see the calligraphy quite clearly. And the area outside it is comparatively less clear. Yousuf intends to say that the watchful God is not just watchful but he minutely surveys each and every movement on the earth.

Al-Mu'min (The Guardian of Faith)

In this work, which plays an important role in the Allah Series by Yousuf Ali, the artist attempts not only to paint the word in a calligraphic fashion but also convey the meaning of it through adequate symbolism. In this painting, though the scope for improvisation is very minimal as he cannot bring in any human figure especially to qualify and quantify the idea of 'guardian', Yousuf Ali successfully imparts the meaning through two important images, which he has used in one of the previous works in the same series ( The Giver of Life ). The central imagery here is a pure universe, which is represented as a white halo and embedded within it is a tree of life which is also a tree of faith. And the guardian of this faith is the light as represented by a lit candle.

Al-Qahhar (The Subduer)

The central image of this calligraphic work is a shining sword that in fact goes along with the vibrancy created by the calligraphic lines around it. In Islam it is believed that the non-believers will be subdued by the power of God's sword. Hence, Al-Qahhar is a reminder of the power of God not exactly the sword. The symbolic representation of the sword over a globe connotes how God, Almighty could subdue all chaos and bring in peace for the world. The globe is also represented in a tiered fashion where different races of people live in their own spaces. But God remains one, the painting suggests.

Al-Razzaq (The Provider)

The seriousness that Yousuf Ali assumes while working on the Allah Series is quite evident in this work. In this painting that depicts the idea of Provider in a calligraphic form, the artist incorporates a fruit as a symbol of universal nourishment. We have to understand that he does not make it a very clear apple that we have seen in another work. He does not suggest any sin to the fruit. Besides it is placed on a boat like calligraphic formation so that the whole idea of providing becomes a journey. God as well as the devotee is in the same boat, mutually nourished by the provision of philosophical give and take. It is a very unique work in the Allah Series.