One of the major achievements during the late Ayyubid period (1169-1260) and, especially, Mamluk period (1250-1517) in Syria and Egypt was that of gilded and enamelled glass productions. These objects were highly priced and in great demand by sultans and emirs alike. This type of glass enjoyed great popularity not just within Islamic lands but also in Europe where it inspired Venetian artisans and was exported in high numbers to European noble families, as well as church treasuries. Among the most complex and religiously most significant objects were hanging glass lamps which were used to light the interior of mosques, shrines and Qur’anic schools in Cairo and Damascus. Using traditional iconographic analysis, these mosque lamps are often described as precious objects endowed by sultans and emirs as pious gestures and status symbols. They had their names and emblems copied on the lamps so that they would shine as long as the lamps were hung and lit. Vibrant colors and ornamental decoration are the main source to extract meaning of these Islamic glass productions. However, it is rarely remarked that these systems of interpretation were initially developed for understanding Western, typically European, visual culture. This approach to Islamic art is also employed by museums which reduce these art objects for a purely aesthetic experience, restricting their presentation to an exploration of style and technique, thereby emphasizing the material visibility of the object. This museum vision is at odds with Islamic visuality which, contrary to Western visuality, is sutured by worldly and otherworldly invisibility—al-ghayb. In order to reveal the meaning—the Islamic visuality—of these objects, it is inevitable to consider the inscription of the “Light Verse” on the objects themselves by consulting the contemporary sources of the lamps, the exegesis of Ibn Kathir. Investigating these objects through their Islamic visuality, it becomes apparent that these mosque lamps are the material translation of the godly 'Nūr' (Light) that surrounds the believer in places of worship while leaving the outside world to darkness. The Light-Over-Darkness, the main theme of these lamps, recalls the strong Islamic belief of knowledge over ignorance. Therefore, these mosque lamps invite, remind, and direct the believer––seemingly being a product 'finito'––through the process 'non finito' of seeking knowledge. The museum and academic scholarship has to establish the conditions for communicating Islamic visuality, especially at times when de-orientalizing, decoloniality, deconstructing is high on agenda.