 The world of ‘suspended images’ is distinct from the Forms of Plato (muthul Aflatun) that are “are luminous, while some of the suspended forms are dark and others illuminated” (PI, §246). The ‘world of images’ is where images and suspended forms are found that are perceived by the soul’s imaginative power (PI, §225). Suhrawardi notes, “Whoever sees that station knows with certainty the existence of a world other than that of barriers (barazikh; i.e. bodies). In it are self-subsistent [lit.: suspended] images (muthul mu‘allaqa)” (PI, §259), although those suspended forms “are in neither a place nor a locus” (PI, §225; see van Lit 2017). More importantly, Suhrawardi’s ‘world of images’ and suspended forms plays a novel eschatological function, ensuring that imperfect souls may experience posthumously the pains and pleasures of divine retribution by providing an ‘objective’ status to those ‘real’ experiences. (PI, §§ 244–6; Sinai 2015, 280–1; van Lit 2017, 37–78) (see 3.1). Suhrawardi did not conceptualize systematically his ‘world of images’ and ‘suspended forms’. Hence, from the thirteen century up to the twenty-first century, quite a few commentators have delved deeper into the matter (van Lit 2017, 142–75). 