Our study includes the meanings that Abū al-Hudhayl al-Allāf attributed to the concepts of jawhar, ‘arad, jisim, haraka, and sukûn. Our research is important in terms of enabling us to see the contribution that al-Allāf, who developed his own unique terminology, made to Islâm. Our aim is to reveal how Allāf, who left his mark on his era with his unique ideas, adopted the idea of a universe with a beginning and an end through the terminology he used about the universe, and how he paved the way for the necessity of a powerful creator who is unlike the creatures of the universe. The method we use is qualitative research based on literature review, which has led us to certain conclusions. As a result, we see that Allāf considers the jawhar to be indivisible. This is because it has no width, length, or depth. Here, we understand that it is protected from the danger of falling into infinity. According to him, jawhars do not have properties such as color and smell, which are characteristics of matter. Allāf does not attribute the property of color to the jawhar, but he does mention that they are visible. Jawhars are in haraka in terms of their ability to combine and separate. It is Allah who gives them this property. Allāf aims to emphasize the necessity of a creator by linking the existence of haraka to Allah. Everything other than Allah is an ‘arad. He has examined ‘arads as two categories: permanent and impermanent ‘arads. According to him, haraka and sukûn are also ‘arads, and some of them are permanent while others are not. In addition, there are ‘arads whose qualities we know, such as color, taste, and smell, as well as ‘arads whose qualities we do not know, such as combining and separating. He also mentions the existence of ‘arads that are not spatial and do not reside in a jisim. He gives the will and word of Allah as examples of these. According to him, ‘arads can be seen and touched, but he states that color cannot be distinguished by touch. Six parts without width, length, or depth come together to form a jisim with width, length, and depth. By combining the parts with the ‘arad of composition, it is Allah who creates the jisim, and here we see that he opens the field to Allah’s power. He links the permanence, formation, and continuity of the jisim to the condition of haraka. According to him, haraka is not separate in each part but is divided among the parts. The jisim has a space, and this space is air. The jisim moves with the haraka of space. A jisim whose space is in haraka cannot move to another space. Allāf, who accepts the jisim as finite and limited, strives to open up space for Allah’s creativity. The interaction of jisims is not possible. Two jisims cannot exist in the same space. It is also not possible for jisims to be opposite to each other. What he means by opposition is something that exists when it does not exist and does not exist when it exists. His debates with the Mu’attila and Mushabbiha influenced the formation of his concept of jisims. Haraka is the transition of a jisim from one space to another. With this transition, formation occurs in the second space. Sukûn is the jisim spending two moments in the same space. There are moments of sukûn during the formation of haraka. The more sukûn there is, the slower the haraka; the less sukûn there is, the faster the haraka.