Wazifat al-Sura al-Fanniya fi al-Quran

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Wazifat al-Sura al-Fanniya fi al-Quran (The Function of the Artistic Image in the Quran) is a critical study of Quranic rhetoric by Abd al-Salam Ahmad al-Raghib that examines the structural and thematic roles played by figurative imagery in the Quran .

Background and Purpose

Al-Raghib notes that while early scholars discussed figurative expression in the Quran, their treatments were largely confined to isolated rhetorical figures rather than holistic textual structures . In modern literary studies, critical focus shifted predominantly toward poetic imagery, leaving Quranic imagery underexamined . Although Sayyid Qutb addressed the subject in his seminal work al-Taswir al-Fanni fi al-Quran, al-Raghib emphasizes that Qutb deliberately restricted his inquiry to the purely artistic dimension without analyzing its broader functional impact .

Al-Raghib composed his study more than half a century after Qutb's treatise to integrate contemporary critical insights and investigate Quranic imagery in relation to its broader textual context (al-siyaq) and compositional framework (al-nasaq) . Drawing partly on Abd al-Qahir al-Jurjani’s theoretical distinction between the direct "meaning" (al-ma'na) and the underlying "meaning of meaning" (ma'na al-ma'na), al-Raghib categorizes the function of Quranic imagery into proximate functions (al-waza'if al-qariba) and distant functions (al-waza'if al-ba'ida) .

Structure and Content

The book comprises an introduction, three main parts, and a conclusion :

Part One: The Nature of the Image (Tabi'at al-Sura)

This part lays the theoretical groundwork in three chapters :

  • Chapter One traces the conceptual evolution of the image among classical Arab rhetoricians and critics, contrasts it with modern critical definitions, and formulates an integrated definition .
  • Chapter Two analyzes the constituent elements of Quranic imagery—including Islamic religious thought as its foundational core, along with emotion, imagination, and language .
  • Chapter Three classifies Quranic images into individual rhetorical figures (such as simile, metaphor, metonymy, and tropes), contextual images (encompassing dynamic scenes, overarching tableaux, whole-surah representations, and central textual motifs), and contrasting images .

Part Two: Proximate Functions (al-Waza'if al-Qariba)

Divided into seven chapters, this part examines how figurative imagery renders specific themes :

  • Chapter One: Abstract mental concepts and internal psychological states .
  • Chapter Two: Quranic parables (al-amthal) .
  • Chapter Three: Natural scenes concerning the heavens, earth, and flora .
  • Chapter Four: Historical occurrences during the revelatory period, highlighting how the Quran abstracts specific historical names, dates, and locations to ensure timeless moral instruction .
  • Chapter Five: Historical narratives of past nations, demonstrating how narrative episodes are distributed across different surahs to serve thematic aims, with the narrative of Yusuf serving as the exception narrated continuously in a single surah .
  • Chapter Six: Human archetypes, contrasting virtuous models meant for emulation against corrupt archetypes presented as warnings .
  • Chapter Seven: Eschatological scenes of the Day of Judgment, ordered chronologically from the blowing of the Horn and cosmic upheaval to the resurrection, gathering, judgment, and the contrasting depictions of Paradise and Hellfire .

Part Three: Distant Functions (al-Waza'if al-Ba'ida)

This part explores the ultimate objectives of Quranic portrayal across four chapters :

  • Chapter One (Artistic Function): Details how the structural unity, phonetic rhythm, and phrasing of the image substantiate the miraculous inimitability (i'jaz) of the Quran .
  • Chapter Two (Psychological Function): Analyzes how imagery harmonizes and balances opposing human emotions rather than agitating them in disarray .
  • Chapter Three (Intellectual Function): Explores how imagery awakens cognitive reflection through dialectic, analogy, and empirical observation of the cosmos .
  • Chapter Four (Religious Function): Addresses the central purpose around which all other functions revolve: conveying Islamic creed, particularly the affirmation of divine oneness and Lordship (al-uluhiyya) .

Methodological Approach

Al-Raghib contends that the artistic image in the Quran does not exist for sensory portrayal alone; rather, sensory depictions serve as an artistic vehicle designed to establish religious truths and foster human spiritual balance . He emphasizes an integrated "system of relations" (nizam al-alaqat) encompassing expressive, figurative, and intellectual ties across individual verses, surahs, and the entire Quranic text, aligning the artistic design of the scripture with the holistic Islamic worldview of humanity and the cosmos .

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