Thus, it may be understood from this that they point to inherent qualities of beauty and adornment. Since this is so, what makes the craftsmanship and care function is the will to beautify and the intention to decorate. In which case, it is at their command that the artist begins to adorn and illuminate. He gives a smiling and living form to the statue and flower. And, of course, what makes this meaning of beautifying and illuminating function is the meaning of favouring and munificence.
Indeed, these two meanings govern him to such a degree that, quite simply, the flower is an embodied favour, and the statue, embodied munificence. So now, it is the meanings of displaying love and becoming known that impel the meaning of favouring and munificence and make them work. That is, behind the latter two meanings, the meanings of making himself known through his art and making people love him govern.
This displaying love and becoming known, without a doubt, arise from an inclination toward being merciful and the will to bestow bounties. So, since mercy and the will to bestow bounties are governing behind them, he will adorn and fill the statue with all sorts of bounties and will also bestow the form of the flower as a present. Thus, he fills the statue's hands and pockets with valuable bounties and bestows the form of the flower as jewels. That is to say, what makes this mercy and will to bestow function is a feeling of gentleness and pity. That is, the meaning of pity and gentleness impels the mercy and bounty.
And, furthermore, what impels and makes manifest the meaning of pity and gentleness within that person, who is self-sufficient and needs no one else, are the meanings of beauty and perfection. These desire to be manifest. And as for love and mercy, which are the sweetest and most delightful parts of that beauty, they desire to be seen in the mirror of art and to see themselves through the eyes of yearning admirers.
That is to say, since beauty and perfection are loved for themselves, they love themselves above everything. And also they are both loveliness and love. The union of beauty and love stems from this point. Since beauty loves itself, it desires to see itself in mirrors. Thus each of the lovable bounties and beautiful fruits which were set on the statue and on the picture bear the flashes, each according to its own capacity, of that meaning of beauty. They display those flashes both to the owner of the beauty and to others.
In exactly the same way, the All-Wise Maker delimits, orders and gives determined proportions and shapes to all things, particular and universal, through the manifestation of His Names. To Paradise and this world, the heavens and the earth, plants and animals, men and jinn, angels and spirit beings. By doing this, He causes them to recite His Names of Determiner, Orderer, and Giver of Form.
He determines the limits of their general shapes in such a manner that He displays His Names of All-Knowing and All-Wise. Then, through the tabulation of knowledge and wisdom, He begins to form them within those limits. He does this in such a way that He displays the meanings of craftsmanship and care and His Names of Maker and Munificent.