This sculpture embodies the duality between the spiritual and material realms in Ismailism — Zāhir and Bāṭin — through form, symbolism, and materiality. Two outer halves of a cube, made of plaster and clay, enclose a central clay sphere covered in imitation gold leaf. The cube represents the Zāhir — the exoteric, visible world — while the sphere symbolizes the Bāṭin — the inner, spiritual world, as well as the Ismaili community itself. Surrounding the sphere, engraved Arabic calligraphy features the names of the Ismaili Imams, forming a protective and sacred boundary around the hidden core. The calligraphy is inspired by the Kufic script, one of the oldest forms of Arabic calligraphy, known for its geometric, architectural structure. Like the sculpture — which explores both physical and metaphysical space — Kufic script engages with space architecturally. Its angular lines reflect structure, balance, and order, reinforcing the sculpture’s interplay between Zāhir and Bāṭin. Arabic also acts as a unifying language in Muslim cultures. The contrast between the cube and the sphere reflects the necessary balance between physical and spiritual life. Materials such as clay, plaster, and imitation gold leaf were chosen for their organic, timeless nature and their longstanding use in spiritual and artistic practices across continents. These materials evoke techniques passed down through generations — from Eastern to Western traditions. Calligraphy has been used not only in the Islamic world but also across many cultures — from East Asia and Persia to North Africa and Europe — reflecting a shared heritage and exchange of ideas. In an age where intangible heritage is under threat, this work affirms the importance of protecting and transmitting these legacies. Ultimately, the sculpture aspires to speak to our shared humanity, inviting all viewers to reflect on the sacred, the seen and unseen, and to foster dialogue through art.