Jalaliyyih Quinn: Who Are God’s Chosen People?

In Liberia, I was painting and sharing the meanings behind my art with whoever asked. I was completing a series of 4 paintings titled Najibiyyih¹, which was about Ridván, when I was invited to speak about my art at the college where I was teaching.
Jalaliyyih’s home from 1985-1990

The Cuttington University was part of an association of Episcopal colleges and clearly a Christian college.  I was always quiet about my beliefs, unless asked, so a number of the professors knew I was a Baha’i.  I explained to the president of the college and to our college pastor, who was a professor of theology, that it was impossible to speak about my art and not speak about my beliefs – my Baha’i Faith. They assured me that this was fine and that they were open to hearing ideas from other religions.


Cuttington University Administration Building

It was a beautiful hot Saturday afternoon and in the hall there were two stage areas: I was on one – it was level with the audience, and the other was raised at the far end of the room.  The windows had no screen or glass and a breeze was blowing. The room was packed with students and professors, and on the raised stage there were many young men students from the Catholic seminary.   My son, Jesse, and my Liberian son (of my heart, not adopted)  sat behind me where there were open doors on either side of the hall; each son took a door and were praying for my success.   I remember beginning to speak and, with no notes, told about Ridvan and all of the Baha’i principles.  It just flowed and went on and on.   Then the questions began and the President of the college asked me how we saw the Trinity. I paused, then shared my view of how Baha’is looked at the Trinity.
Example of the Style of Jalaliyyih’s Paintings in Liberia

Eventually, after more time and telling, a young man raised his hand and said in a strong voice that was both aggressive and challenging – the tone of “You are going to walk into my trap”…. he asked, “Who are God’s chosen people?”  The whole room gasped….waiting.  
I simply replied, “God’s chosen people are”…. there was total silence here….”The people who choose God.”  The people went wild with applause!  
All of this began from that painting….
In a day or so, the Catholic men studying to become priests invited me to come give a talk at their seminary…. and I did.  But, that is another story.
Want to see more of Jalaliyyih’s artwork? Visit her website https://www.jalaliyyihquinn.org
1 The title is inspired by The Garden of Ridván (literally garden of paradise) or  otherwise known as Najibiyyih Garden.

Jalaliyyih Quinn – Artist of the Month of Núr (Light) Interview

Photograph taken by Maureen Burkhart 2006

I was introduced to Jalaliyyih’s paintings through Facebook.  I knew right away that she had somehow tapped into the beauty of the next world.  She seemed to be painting from a place most people could not reach while living.  Her images portray a spiritual playground where the souls in the spiritual world still interact with the material world and magically depicts the forces that act upon the universe we live in. I am excited to introduce you to Jalaliyyih Quinn and her artwork.  The following is Jalaliyyih’s Interview.



Jalaliyyih Quinn: on Inspiration

J.Q. in Liberia, 1986 photo by Jesse Kallweit

Once, I had gone to  hear Mr. Khadem speak at LouHelen Baha’i School and to see about doing a painting for their enlarge facilities. Following his talk, Mrs. Khadem spoke on how Abdu-l’ Baha did not “choose” the Guardian but rather looked at Shoghi Effendi and saw that Shoghi Effendi WAS the Guardian.  At that moment something happened! It was as if a ball of light surrounded my head, my hearing stopped, tears came down my face and I saw the painting that I was to do pass in front of my eyes – I saw mostly the gold lines and some of the colors.  I had been planning to do a series on Ridvan and the garden, but this inspiration just knocked me out and so I painted the series To The Guardian, Shoghi Effendi.  You can see the prints here or in the book, THE VISIONS OF SHOGHI EFFENDI

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