“The Blue Mosque” is another painting in the series of my attempts to rectify the blatant omission of the sacred feminine from the socio-religious texts of certain patriarchal systems. In “The Blue Mosque," I address the rise of the sacred feminine in or from the dark, old, traditional, religious society of Iran. The "old" is represented in this artwork by a Persian miniature of a mosque's scene, Mullahs, and women and men in traditional attire; the "sacred feminine" is represented by a modern "realistic painting of a photographic portrait of a woman." The female figure in this picture is seated in the middle of a mosque, which is a scene from an old Iranian miniature. As we can see in the upper left corner of the artwork, a religious leader is seated on a high seat that requires some climbing, which is typically where Iranian clergymen sit and deliver sermons in mosques. All of the women seated are dressed in hijabs, covering their faces and bodies, and the religious leader has his face veiled. Their true identity is unknown. She in the contrary has no need to conceal herself because she is already conscious of her heavenly essence. Her body expression is the representation of purity, honesty, and boldness. Her presence exudes a sense of holiness. The difference between feminine and masculine energy is represented in this picture. In this instance, the masculine energy in religious and spiritual settings frequently has a tendency to preach, but the feminine energy talks via her energetic presence—through her vulnerability—since she is pure in her essence, she does not need to hide. She doesn't have to lecture or dress herself in ceremonial or spiritual attire. Her very existence is sufficient. She is depicted in the picture with a larger physique than the other characters to represent her influence and energy vibration-effect. Her gentleness, vulnerability, and sincerity make her more potent. She is also the only colored person in the painting.