The central figure is shaped in a fetal form. Two semi-long horizontal shapes jut out of the body as do two longer protrusions. One is clearly connected to the body while the other is larger and not as clearly connected. This could be because the position of the shape drawn. The red is peaceful as it is not blood red but a red which is intermingled with other colors such as orange, yellow and purple. One has to gaze deeply at the centerpiece to see the listed color to observe its the overall effect. That effect is a lovely hue of red which is static and communicates peace and rest to viewers. The first pattern, in the center of the piece but positioned on the neck of the figure is silver, dotted with some. Below it is a yellow-gold pattern which is dotted with sky blue, ruby red and a hint of a darker shade of blue. The intricate design is matched on the other side of the form but in a dark green, infused with blue, coloron the periphery of this design, the described color is used and is patterned by a lighter. In other words, the dark green with blue patterns is patterned with the same color, standing in a testament to an artistic brilliance. Beneath that is a V-shaped swath of purple.
The background is a very colorful pattern, but it tends towards the dark colors with some exception to the left of the painting. In its own way serves as a beautiful background to the central figure, with the contrast in rage dominant colors creating an impression that they are completing and complementing one another, to give rise to a beautiful oil painting.
'Poignant and beautiful, would be the words chosen by many to describe the love story of Zainab bint Muhammad and Abu al-‘Aas ibn Rabee’ RA. Who was Zainab? She was the beautiful, beloved and eldest daughter of the Noble Prophet Muhammad. There are so many lessons and observations to reflect upon this beautiful love story between Zainab and her husband Abu al 'Aas. Despite his reluctance to embrace Islam, Zainab's love and devotion for her husband never diminished and her sincere prayers were eventually answered. Zainab’s death reminded The Prophete of the death of his wife, Khadeejah. He told the women, who gathered around Zainab’s corpse, “Wash her three times and use camphor in the third wash.” He performed funeral prayers on her and followed her final resting place. Abu El’As returned to his children, Ali and Omama. Kissing them and wetting them with his tears, he remembered the face of his departed darling. Abu El’As would cry so profusely that the people saw the Prophet himself weeping and calming him down. Abu Al’As would say, “By Allah, I can’t stand life anymore without Zainab”. He died one year after Zainab’s death. The last words were: 'May Allah be pleased with Zainab, the Prophet’s daughter and grant her Jannat-ul-Firdause for her patience, endurance, and struggle. Ameen.'
Gender issues are one of the most topical subjects in the contemporary art, which comes as no surprise, since even today, in the 21st centuries, we still face the number of prejudices, connected with male/female gender roles. Traditionally, Muslim countries are perceived as the most conservative ones, with the patriarchal system making women the rightless ‘staffage.’ However, often Muslim political and religious thinkers attempt to prove this no more than a stereotype, and that Islam helped to improve the role of women in the local society. According to some documentary evidence, the Pre-Islamic time period was defined by the harsh attitude towards women: the female infanticide was a common practice; women of lower class had no rights to own the property and were generally treated more like the trophies in the tribal warfare or a part of one’s possessions. For instance, a woman could be ‘inherited’ by her husband’s son after his death (unless she’s the mother of that son).