Index
NOTE: Page numbers in italics refer to illustrations. Names of the following individuals and albums found in subheadings are indicated by abbreviations:
| DS | = Dara Shikoh |
| JB | = Jahanara Begum |
| MM | = Miyan Mir |
| MS | = Mulla Shah |
| SJ | = Shah Jahan |
| DSA | = Dara Shikoh Album |
| LSJA | = Late Shah Jahan Album |
| TSA | = Tipu Sultan Album |
Ê¿Abd Allah Ahrar, Khwaja
66â68, 68, 288
Ê¿Abd Allah Ansari, Khwaja
277
Ê¿Abd al-Qadir al-Jilani
divine mediation signified by images of
271â72, 325
Kashmiri Album image
331, 331
in majlis paintings
292â95, 294â96, 297, 298, 303, 304, 306
seen in visions
260, 291
Ê¿Abd al-Quddus Gangohi
60
Ê¿Abd al-Rahman Chishti
54, 58, 146, 167â68
Ê¿Abd al-Rahman Jami
47â48, 47n13, 140, 291
Ê¿Abd al-Rahman Sulami
53
Ê¿Abd al-Samad, Khwaja (artist; calligrapher)
Abuâl Hasanâs tribute to
162
âAkbar and a Dervishâ
91, 93, 137â39, 139, 164â65
Akbar trained in art
124
Divan of Hafiz copy written
211
âPrince Akbar presenting a painting to Humayunâ
125
âA prince visits a hermitâ
137, 138
Ê¿Abd al-Sattar, MajÄlis-i JahÄngÄ«rÄ«
145, 146â47, 152
Ê¿Abid (artist)
âJahangir awards SJ the titleâ¦â
184â87, 186
âSJ appointingâ¦Mahabat Khanâ
169, 170, 187
Abu Bakr Shibli
273n1, 291
Abu Hurayra
58â59
Abuâl Fazl
Aʾin-i akbari; AkbarnÄma
on absolute reality manifested in something relative
26
on Akbar as artist
122â23, 124
on Akbar as saint-king
134â35, 137
on dreams
152â53
on images as loci for âmanifestation of lightâ
20, 180
on the key to all locks
149n54
on outer image (ṣūrat) leading viewer to inner reality (maʿnī)
19â24, 36, 123
on writing (calligraphy)
20â22, 20n53
on written word or image as isthmus
20â21, 209
Abuâl Hasan (artist)
about
160
âDervish climbing the Tree of Lifeâ (âSquirrels in a Plane Treeâ)
160â67, 161, 163, 165
âJahangir and Shah Abbasâ
147, 153, 154
âJahangir shooting the head of Malik Ambarâ
156, 156
unidentified Sufi portrait
179
Abuâl MuÊ¿ali, Miyan (Shah)
277, 278, 279â80, 282, 283, 299, 300
Abu SaÊ¿id Abuâl Khair
125â28, 175â78
Adam (first man)
62
adolescents
194â97.
beardless youth; princely youths; women: young woman
Ahmad, Manan
10â11
Ahmad-i-Jam
297
Ahmed, Shahab
15n35, 26â27, 89
Aʾin-i akbari (Abuâl Fazl)
Abuâl Fazl
on Akbarâs artistic training
124
Sufi poet from Allahabad mentioned
286
Taá¹£vÄ«rkhÄna chapter, on imperial art workshop
19â24, 26, 36, 123, 124, 180, 209
translations
19, 19n50, 21
Aitken, Molly Emma
207â9n32, 230n53
Ê¿AjÄʾib al-makhlÅ«qÄt (Wonders of Creation) (Qazwini)
128, 129
Akbar (Emperor)
Akbar, depictions of; AkbarnÄma; Akbar-period art
and antinomians (dervishes)
33, 135â39, 138, 143
architectural projects
98, 99
as artist
122â23, 124, 125
attention paid to form and meaning
20
books illustrated for
47â48, 74â75, 140, 252n16
cult of the emperor
254
dates
39
and Hemu (rebel)
122, 133, 155
miniature portraits given by
179
MuÊ¿in al-Dinâs shrine visited
145
renunciate/ascetic as metonym for
33
and Rumi
45n9
as saint-king and al-insÄn al-kÄmil
28, 33, 133â37, 143, 254
saintsâ role weakened under
134, 288
sonâs rebellion against
85â86
(
Salim
)
and yogis
97, 98â99, 99n44, 102, 103
Akbar, depictions of
Akbar
with a dervish
91, 93, 137â39, 139, 164â65, 215
devotional imagery used
93, 102, 103, 135â39, 136â39
lost in the desert
134â35, 136
presenting a painting to Humayun
125
visiting a hermit
137, 138
visiting Baba Bilas
102, 103, 135
Akbarian philosophy
47.
God: presence in all creation
AkbarnÄma (The History of Akbar) (Abuâl Fazl)
Abuâl Fazl
on Akbar as artist
122â23, 124
on Akbar as saint-king
134â35
on dreams
152â53
illustrations
102, 103, 135, 136
Akbar-period art
124â43
Akbar, depictions of; taá¹£vÄ«rkhÄna; specific artists and illustrated books
Akbar portrayed using devotional imagery
93, 102, 103, 135â39, 136â39
antinomians and dervishes popular subjects
93, 135, 137â43, 139, 141
conventions (common imagery and composition)
89, 119â20
frenetic energy in
139
Khamsa illustrations (Mukund)
89â90, 90
portraits of dervishes and jÅgÄ«s as generic types
174
RÄjkuá¹war Romance illustrations
87â91, 88, 92
stylistic innovations
128, 143
witnessing the divine in form of beardless youth
215â20, 216, 218, 219
AkhbÄr al-akhyÄr (Accounts of the Virtuous Ones) (Dehlavi)
53â54, 57, 65, 298.
Dehlavi, Ê¿Abd al-Haqq Muhaddith-i
Alam, Muzaffar
54
Ê¿Älam al-khiyÄl. see Imaginal World or Plane
albums (muraqqaʿ)
specific albums, artists, patrons, subjects, and themes
about
148, 244â45
images able to stand alone
120
likened to ghazals
223â24
living Sufisâ portraits included in (SJ-period)
174â79, 176, 177, 179
metaphorical program for
3â4
multiple patrons
178n95
prefaces
4, 18, 24, 124, 195, 330â31
(
Tipu Sultan Album
)
related compositions on facing pages
(
see facing pages
)
saintsâ images ubiquitous in 16th-17th century albums
12
as suggested field of study
329â32
alchemy
35â36, 46
Alexander the Great
94, 95â96
Ê¿Ali ibn Abu Talib (Prophetâs son-in-law, spiritual successor)
in DSâs vision
291
as light of God
46, 62â63
link between sun and
5
TSA portrait
1, 2, 63
viewing as worship
62â63, 62â63n57
Ali Mashhadi, Sultan
251
âAli maulÄâ (qawwÄlÄ«; Nusrat Fateh Ali Khan)
63
al-insÄn al-kÄmil (archetypal/perfect human being)
in Mughal paintings
30â33
Mughal royalty as
28â30, 134â35
(
specific rulers
)
Prophetic light reflected in
60â61
and sacred viewing
50
(
sacred viewing
)
saints (valī) as
48â49
symbolized in Miskinâs âWorld of animalsâ
30â32, 31, 33â35
in TSA
5â8, 7, 16, 30
Ê¿Ali Vardi Khan, Nawab
317, 317n47
Allah. see God
Allahabad
85â86.
taá¹£vÄ«rkhÄna
Allah Diya, Siyr al-aqá¹Äb
63
al-lawḥ al-maḥfūẠ(pre-eternal tablet)
6, 7
allegory
animal kingdom as allegory for cosmic hierarchy
30â35, 31, 34
in Conference of the Birds
163, 164
cosmic hierarchy depicted in clothing
28â30, 29
importance in Muslim culture
148
in Jahangir-era art
147â67, 150â51, 154â56, 158, 161, 163, 165
visual allegory as convention
123
Amadou Bamba (Senegal)
45
Amar Singh, Rana (Mewar)
169, 171
Amjad Ê¿Ali Shah, Faqir
317, 317n47
angels
angelic intervention
172
cherubs
130, 154, 155, 156, 158, 172, 173, 180, 183
in Fitzwilliam Album
125â33, 126â27
in Islamic and Sufi cosmology
128â32, 129, 257â58
Persianate iconography/style
126â27, 129, 130â32, 132, 133
signs of kingship bestowed by
181, 182
animals
birds; dogs; horses
in âAkbar and a Dervishâ
93, 165
in âAkbar lost in the desertâ¦â
136
allegorical representations of animal kingdom
30â35, 31, 34
depicted on clothing
28â30, 29
in depictions of DS with Sufis
204, 205, 206
leopard skin cape
91, 92, 93, 139
lions
22, 333
Majnun and
32
paired
88, 89, 90, 93, 120, 137
Qalandarsâ pets
113, 116, 117, 117, 143
in âSJ standing on globeâ (Bichitr)
181, 182
skins as mats or rugs
42, 85, 103, 118, 119, 316, 317, 318, 327, 328
snakes (serpents)
164
squirrels, in âDervish climbing the Tree of Lifeâ
160, 161, 163, 165
in âSufisâ¦watched by a princeâ
214
symbolism of
8, 89, 90, 95, 108â12, 156
antinomians
asceticism; dervishes; Qalandars
Akbar and
33, 135â39, 138, 143
in Akbar-period art
93, 135, 137â43, 139, 141
among MMâs disciples
178
in Jahangir-era art
159â60
(
âSquirrels in a Plane Treeâ
)
outside of mainstream Islam
41, 71, 113, 143, 166, 198
and shÄhidbÄzÄ«
202, 203n20
(
shÄhidbÄzÄ«
)
spiritual drunkenness or madness
135
Aristotle
4
art history
devotional art; Indo-Muslim figurative painting; Islamic art
authorâs approach and argument
1â2, 9â14, 17, 28, 37â40, 252, 328â29, 332, 334
Islamic and Indo-Muslim art studied through orientalist lens
14â15, 17, 28n73
muraqqaʿ (album) genre under-studied
329â30
secular lens used
27â28
suggestions for further study of Hindustani paintings
329â34
artists
22, 23, 153n63.
taá¹£vÄ«rkhÄna; specific artists
Asaf Khan
172, 173, 174
asceticism
antinomians; dervishes; Qalandars; renunciation; saints; yogis
BÄjir as ideal ascetic (in ChandÄyan)
82
imperial retinues contrasted with
91â95, 92, 94
Majnun as ideal ascetic
32, 33â35, 34
mixed-faith gatherings of ascetics depicted
75, 166
Mughal emperors and
33
royal visits to ascetics in wilderness
91â97, 92â94, 97n41, 98, 100â104, 134, 137â39, 139
self-mortification
(
see Qalandars
)
wandering asceticsâ traditional accessories
41â43, 178
yogic and Sufi expression similar
81, 81n16, 102â4
(
yogis
)
atelier of Akbar. see taá¹£vÄ«rkhÄna
Ê¿Attar, Farid al-Din
53, 140, 163, 164, 201
Aurangzeb Ê¿Alamgir (brother of DS)
59, 244, 251n13, 317, 321â22, 332
awliyÄʾ. see Friends of God; saints
Ê¿Azim ush-Shan (Emperor)
191, 192, 193
Baba Bilas (yogi)
102, 103
Baba Farid
294, 295, 304, 305
Baba Yamini
303, 303
Babur (Emperor)
97â98, 98, 288
BÄburnÄma (Babur)
97â98, 98
Baḥr al-ḥayÄt (The Ocean of Life)
105
Bahram Mirza Album preface
24â25
Bahram Shah
227
BÄjir (fictional character). see ChandÄyan
Bakhtiyar Kaki, Khwaja Qutb al-Din
292, 293â95, 297, 304, 305
Bal Chand, âShah Jahan receives the elixir of lifeâ¦â
189â90, 189
baqÄ (subsistence through God)
48, 89, 97
barkat (divine grace)
48, 50
Barry, Michael A.
59n45, 90n30, 91â95, 164, 164n80
Basavan (artist)
about
142
âMendicant bowing before a holy manâ
110
Qalandar with dog (drawing)
117, 117
techniques used
141, 208
yogi portrait (DSA)
118, 119
Bayram Khan
122
Beach, Milo C.
130, 142n37, 181, 187, 281, 283
beardless youth(s)
194â246
princely youths; shÄhidbÄzÄ«
in Akbar-period art
215â20, 216, 218, 219
as beloved and archetype of beauty
194â96
in depiction of prince, aged Sufi, and retainers (Jalal Quli Khan)
240â42, 241
in Divan of Hafiz illustrations
210â13, 211, 214
in DSA
194â97, 195, 196, 199â200, 200, 224â30, 226, 229, 233â35, 238, 242
(
Dara Shikoh Album
)
DS depicted as
194â96, 195, 196, 199â200, 200, 203, 224â30, 226, 229
elderly lover mocked
238, 239
Godâs beauty in form of
63â64, 199â204, 215â20, 235, 236
moon-faced beauty of
212
in Persianate artworks
235â39, 236, 237, 239
in Persian literature
195, 199, 201â3
in post-DS paintings
242â43, 243, 244
âPrince on horsebackâ (Fitzwilliam Album)
130, 131, 235
âTwo princes in a gardenâ (MA)
207, 208
beauty
adolescents as archetypes of
194â97
(
adolescents; beardless youth
)
as divine manifestation
195â96, 204n27
moles and
20, 20n53
moon-faced youths
212
as theme in Fitzwilliam Album
129â30, 133
Yusuf (Joseph) as archetype of
227
Begtashi dervishes
141, 141, 142
Behl, Aditya
76
Behzad, Kamal al-Din (artist)
164n80
âAlexander and the Hermitâ
94, 95â96
beloved
divine beloved; love; romances, Sufi
adolescent youths as
194â97, 235â36, 242â43
(
beardless youth
)
beauty as divine manifestation
195â96, 204n27
dual meaning of, in ghazals
223
elderly lover mocked
238, 239
guide and/or God signified by, in Sufi poetry
49
Hafiz on yearning for the gaze of
224
imbibing the beauty of
217, 220
JB as
65
mole on cheek of
20, 20n53
multifaceted symbolism
271
portrait as indirect presence of
123, 268â70, 269
remembrance of the beloved
53, 55
unity of lover and
220, 220n46
viewing the face of
(
see shÄhidbÄzÄ«
)
Bichitr (artist)
Asaf Khan portrait
172, 174
âAssembly of poets and Sufisâ
292, 293, 297
âJahangir holding the globeâ¦â
149, 151
âJahangir Preferringâ¦Shaikh to Kingsâ
157â59, 158, 288
Muʿin al-Din Chishti portrait
148â49, 149n54, 150, 152
âSJ standing on a globeâ
181, 182
birds
ducks
in depictions of DS with Sufis
204, 205, 206
in margins of âAkbar and a Dervishâ
93
in Miskinâs art
30â32, 31, 34
in Mumbai ChandÄyan illustration
85
paired, in âDervish climbing the Tree of Lifeâ
163
in âPrince with a falconâ
28â30, 29
in âSufisâ¦watched by a princeâ (Govardhan)
214
symbolism of
30, 33, 163, 164
Bishandas, âJahangir entertains Shah Abbasâ
155
Blair, Sheila S.
15n33
Bloom, Jonathan M.
15n33
books, depictions of
in depictions of Jahangir
157, 157n67, 158, 184, 185
dervish with, in Salim Album
110, 111
in DSA
118, 119, 220, 222, 224, 225, 230, 231, 232
in Fitzwilliam Album folios
130, 131
in illustrations of Divan of Hafiz
211, 212, 213, 214
in Lahore-Chandigarh ChandÄyan
78, 79, 80
in Minto Album
207, 208, 209
in MS portrait
308, 309
offered by MM
175, 176
in âPrince Salim reciting poetryâ (GA)
217â20, 219
in âQalandar and a princely youthâ
242, 243
in âRumi visiting Ê¿Attarâ
140
symbolism of
110, 157, 230
various Sufis depicted with
204, 205, 206, 210, 211, 213, 214
British colonial period
332.
Johnson, Richard
Brush of Insight, The: Artists and Agency at the Mughal Court (Rice)
148.
Rice, Yael
Bulleh Shah
72
bulls
156
BÅ«stÄn (The Orchard) (SaÊ¿di Shirazi)
309â10
but khÄna (temple complex)
77, 78â80, 79
calligraphy
khaá¹; poetry, images with
Abuâl Fazl on
20â22, 20n53
Akbarâs chief calligrapher
211
(
Ê¿Abd al-Samad
)
in angel Ruh image
129
depictions of calligraphers
22, 23
in depictions of Salim
217, 218, 219
in Divan of Hafiz illustrations
211â12, 211, 213, 214
double-entendre of khaá¹
195
in DSA
224, 225â26, 227â30, 228â29
in âDS in a lessonâ
199â200, 200, 203â4
around DS initiation painting
282, 284â85
DSâs letter to Shah Dilruba
112
in âA female ascetic pacifying a lionessâ¦â
333
in Fitzwilliam Album
125â28, 126â27, 130, 131
in Gulshan Album
217, 219
in Jahangir depictions
153, 155, 157, 158
in Kashmiri Album
56, 330
in Khamsa colophon portrait
22, 23
on Miskinâs âWorld of animalsâ
33â35, 35
on MM folio and facing page
175, 176
with MS portrait
308, 309â10
in âThe old man and the youthâ
238, 239
with âPrince DS visiting MMâ
289, 290
in âQalandar Sufi reciting poemâ
224, 225
RisÄla-i á¹£Äḥibiyya folio
253
in Salim Album images
106, 107, 115, 116, 217â19, 218
with Shah Daula portrait
67
in âSJ standing on a globeâ (Hashim)
181, 183
in Suhrab Khan Album
318, 319
Canby, Sheila
8, 137, 238n62
cap, awry
201, 203, 217, 218
caves
95â96, 96n40, 103
ChandÄyan
romances, Sufi
about and plot
74, 76â77, 82â84, 98
Lahore-Chandigarh manuscript
78â84, 79, 80, 83, 84
Mumbai manuscript
84, 85
Chatelainâs Atlas Historique
326
Chishti order
Muʿin al-Din Chishti; and other Chishti sages
convergence with Qadiri order
298
influence
44
JB and
265â66, 265n46, 298â99
(
Mūʾnis al-arwÄḥ
)
Mughal patronage of
289
visualization of the spiritual guide
58
(
spiritual guide
)
Chitarman
about
312
âDS in a lessonâ
199â200, 200, 203â4
âPrince DS visiting MMâ
289â91, 290
âSJ on a terrace holding a pendantâ
179â80, 180
Chittick, William
5n6, 63, 123n3, 128â29
CÄ«rÄppurÄá¹am (Tamil biography of the Prophet)
46
clothing
Qalandars; yogis
allegorical representations of cosmic hierarchy on
28â30, 29
leopard skin cape
70, 91, 92, 93
patched clothing
331
color and colorlessness
71, 271.
red
Conference of the Birds (Ê¿Attar)
163, 164
Con-Text
27
creation
Godâs presence in all creation
4â5, 47, 49, 49n21, 60, 62, 256n23
(
God
)
mirrored in compilation of TSA
3â4, 9
crutch (for meditation)
42, 43â44, 106, 108, 243, 244, 308, 309, 314, 316
DabistÄn-i maáºÄhib (anon.)
62
Dara Shikoh (Prince)
Dara Shikoh, depictions of; Dara Shikoh Album; ḤasanÄt ul-Ê¿ÄrifÄ«n; RisÄla-i ḥaqnumÄ; SafÄ«nat al-awliyÄʾ; SakÄ«nat al-awliyÄʾ
alleged heresy of
104
becoming MSâs disciple
247â48
birth as miracle
54
collection of shaá¹á¸¥iyÄt
59
commentaries on the Upaniá¹£ads
27
cultural context
44
execution
59, 60, 321â22
facial hair
245
favorite painters
179
fiancée
118, 194, 233
Hindustani painting subgenre developed under patronage of
74
on his divinely-ordained path
277
initiation into Qadiri order
39, 178, 215, 254â55, 275, 281â84, 282
interest in Hindu yogis
118, 119
interest in Qalandars
118
JB given copy of NafaḥÄt
140
and JBâs initiation into Qadiri order
264â65
letter to Shah Dilruba
110, 112
and MM
247, 257, 276, 276n6, 289â91, 290
MM and other Sufis visited
178, 276, 276n6, 281, 283
on MMâs arthritis
285
MS as spiritual guide
255, 276, 281â83, 282, 289
(
Mulla Shah
)
MSâs influence on
47, 247â48, 250
on MSâs lodge
248
on MSâs meditative pose
307
on MuÊ¿in al-Dinâs visit to al-Jilani
298n29
patronage of the arts
74, 193, 250, 277, 291â92, 302
as practitioner and patron of Sufism
39â40, 245, 311â12
referenced in couplet from MSâs RisÄla-i shÄhiya
273â74, 275
role reversed, from locus to viewer
284
on sacred viewing
277
saintsâ shrines praised
298n31
on seeing God in form of young man
202
on Shah Abuâl MuÊ¿ali and MS
279â80
on Shah Dilruba
69, 279
spirituality and sensuality cultivated
244â45
spiritual perspective, over time
59â60
taáºkira anthology
53
titles, and favored status
311
visions
168, 289â91, 290
war of succession
251, 251n12
Dara Shikoh, depictions of
Dara Shikoh
as beardless youth
194â96, 195, 196, 199â200, 200, 203, 224â30, 226, 229
with braided mystic
314, 316â17, 317, 318
in DSA
194, 195, 199â200, 200, 203, 224â30, 226, 229, 279
first shown with beard
282, 283
influence on devotional portraiture
242â43, 243, 275
initiation painting (Lalchand)
281â85, 282, 291, 297
with MM and MS
281â85, 282, 289â91, 290
with MS (probably)
239, 240, 250
portrait in a mandorla (Chitarman)
246
in âSJ visiting Ajmerâ
187â89, 188
with various Sufis
194â96, 199â200, 200, 203â7, 205, 206, 224â30, 225â26, 228â29, 239â42, 241
Dara Shikoh Album (DSA)
about
40, 105, 142n37, 194
adolescents as symbols of archetypal beauty in
194â96, 195, 226, 229
(
beardless youth
)
artists
279
commissioned for fiancée
118, 194, 233
DS depicted as beardless youth
194â96, 195, 196, 199â200, 200, 203, 224â30, 226, 229
influence in later centuries
242â43, 243
interpreting the album
223â35
moon as metaphor in
212, 233â34
Persianate antecedents
223â43
preface
194, 195â96, 197, 200, 200n12, 212, 233â34
princess depicted
230â33, 232
Qalandars in
197, 224â30, 225, 228, 231
triple repetition in
224
yogis in
118â21, 119
darÅan (sacred viewing)
43, 49, 50â51, 64â65, 71.
naáºar; sacred viewing
Dasavanta, âMisbah the Grocer and the spy Parranâ
99, 100
Daulat, colophon portrait from Khamsa of Nizami
22, 23
Dehlavi, Ê¿Abd al-Haqq Muhaddith-i
44, 53â54, 57, 65, 298
dervishes
antinomians; Qalandars
affliction needful for
66
âAkbar and a Dervishâ
91, 93, 137â39, 139, 164â65
Begtashi dervishes
141, 141, 142
clothing
91, 93, 139, 178
depicted gazing at adolescents
194
in depiction of prince, aged Sufi, and retainers
241, 242
âDervish climbing the Tree of Lifeâ
160â67, 161
and dogs
108, 110, 111, 113, 144
(
dogs
)
in DSA
197, 224â30, 225, 228, 231, 234
DS depicted with
204â7, 205, 206, 224â30, 225â26, 228â29
Ibrahim Qassar on
199
in Majnun tale
96â97
meditation on spiritual guide
58
in Persianate and Ottoman artworks
143, 144, 236â38, 237
popular subjects in Akbar-era paintings
93, 116, 135, 137â43, 139, 141
Qalandars as
41
(
Qalandars
)
yogis mistaken for/viewed as
81, 102â4
(
yogis
)
devotional art, Indo-Muslim
Akbar-period paintings; Indo-Muslim figurative painting; Jahangir-period art; Shah Jahan-period art; specific artists, patrons, and subjects of artworks
changing language/iconography, over centuries
191â93, 306â26, 327â28
contemporary resonances
327â28, 328
depictions of yogis and Muslim iconography
73â74
(
yogis
)
DS as patron of
193
(
Dara Shikoh
)
iconography of dÄ«dÄr (sacred viewing) established
277
influence of portraits of DSâs induction into Qadiri lineage
275
JBâs influence
40, 193, 245
(
Jahanara Begum
)
physical veneration of
36, 266, 267â68
as portal for direct communication
268â71
presence embodied in
36â37, 37â38n95, 44, 264â70
ritualistic function
40, 260â68, 271
(
sacred viewing
)
role and function (generally)
1â3, 10
scholarly study of
12â14
spread of Mughal style/genre
275
as surrogate for real presence of saint/guide
264â67
(
sacred viewing
)
Diamond, Debra
43
dÄ«bÄcha writing tradition
4â5.
Tipu Sultan Album of Saints: preface
dÄ«dÄr
277, 285â88, 289â91, 297.
naáºar; sacred viewing
Dihya Kalbi
129
Diriliş ErtugÌrul (Turkish historical drama)
327, 328
DiÌvaÌn-i HÌ£aÌfizÌ£ (Divan of Hafiz)
Hafiz Shirazi
illustrations (Govardhan)
211â13, 211, 214
verses
199, 203â4, 211â12, 213
divine beloved
Chanda as, in the ChandÄyan
82â84
color/colorlessness and
71
heart burning in longing for
213
image of the jÅgÄ« and quest for
72â73, 76, 82â87, 97, 112
Majnunâs yearning for
32, 113n65
shÄhidbÄzÄ« and
202â4
(
shÄhidbÄzÄ«
)
young woman as
32, 82â84, 86
(
Layla and Majnun romance; Má¹igÄvatÄ«
)
dogs
dervishes and
108, 110, 111, 113, 117, 117
in âPrince Faridun shoots an arrowâ¦â
90
in royal retinues
93
symbolism of
108â9
yogis and
79, 80, 81, 105, 106, 107, 108, 113
Dost Muhammad
24â25
dragon
31, 32, 35
dreams and dream-visions
about
148, 152â53
of DS
168, 277
of Jahangir
123, 148, 152â53
DSA
ducks
in MM and MS portrait
51, 52
in Qalandar portrait
42
in RÄjkuá¹war Romance illustration
88, 89, 120, 120
in yogi portrait (DSA)
118, 119
Eck, Diana
49, 50
ego, extinction of. see fanÄ
Egyptian Qalandar (portrait)
61
elephants
31, 33, 34, 103
Elias, Jamal
18, 152â53
Ernst, Carl
73, 137
facing pages, related compositions on
about
125n8, 223â24
angels (Fitzwilliam Album)
125â33, 126â27
in DSA
118, 119, 224â35, 225â26, 228â29, 231â32, 238
DS with Sufis (dervishes)
204â7, 205â6
MM and Sufi (Shah Bilawal)
175â78, 176â77
Muʿin al-Din Chishti and Jahangir (MA)
148â52, 150â51, 234
princely youths in landscape
220, 221â22
fairy, wicked (perī)
132, 133
Faizullah, âA female ascetic pacifying a lionessâ¦â
333
falcons
28, 28n75, 29, 188, 189
fanÄ (extinction of ego-self)
48, 66, 82, 89, 95n39, 97
fantasy tales
74â75.
romances, Sufi
Farabi, al-
4, 17
Farid Ganj Shakar, Shaikh
299, 301
Fatehpur Sikri
98, 99
Figural Realm. see Imaginal World or Plane
fish
33, 34, 156, 191, 193
Fitzwilliam Album
about
124â25
angels
125â33, 126â27
âPrince on horsebackâ
130, 131, 235
form (outward form). see ṣūrat
fountain of life
streams and rivers
about
95, 212
in âAkbar and a Dervishâ
93, 139
in âDervish climbing the Tree of Lifeâ
162
in âPrince Salim reciting poetryâ
217, 219
in âA prince visits a hermitâ
137, 138
in âSJ visiting Ajmerâ
187, 188
Franke, Heike
149n54, 157
Friends of God (awliyÄʾ Allah)
saints
about
46, 46n10, 48, 63
BÄjir as, in ChandÄyan
82â84, 83, 84
Ibrahim Qassar on
199
remembering as form of worship
53â57
Gabriel (archangel)
129, 284
Gandhi, Supriya
172n87, 276
gardens, walled
212
Gell, Alfred
10n19, 37
Ghalib (Urdu poet)
19
ghayb
96.
caves
Ghazali, Abu Hamid al-
16n41, 18, 25
Ghazali, Ahmad
201, 202, 220, 220â23n46
ghazals
223â24.
Hafiz Shirazi; poetry
globes
in Jahangir-era art
149, 150â51, 156, 156
in Shah Jahan-period art
181, 182, 183, 186, 187
God
God-knowledge
as artist
195, 233â35
attributes reflected in dervish and prince images (DSA)
227
as a beardless youth
64
as bookbinder, writer, illustrator
3â4, 6, 25
different aspects reflected in facing images
224â30, 225â26, 228â29
divinity embodied in human beings
39, 62, 66â68
(
presence, embodied; saints
)
Face of God
5, 47, 49, 49n21, 62, 256, 256n23
in form of beardless youth
(
see beardless youth
)
Friends of God (awliyÄʾ Allah)
(
see Friends of God; saints
)
head as site of Godâs light
6, 256, 268
Indic Godhead perceived as similar to Islamic conception of
81
light manifested in saintsâ faces
57, 58â59
man created in image of
62
names
16, 62, 146
power activated by angels
128â29
presence in all creation
4â5, 47, 49, 49n21, 60, 62, 256n23
(
God: Face of; Islamic ontology; waḥdat al-wujūd tradition
)
repetition of names, as worship practice
57, 146, 213
saints as portals leading to inner reality of
69â71
union with
27, 86, 95n39
(
divine beloved; fanÄ
)
as valī
63
yogic notion of formless divinity/Godhead
81
God-knowledge
God
communicated through writing and art
21â24
heart as seat of
259, 259n34
and immutable entities
123n3
light as symbol of
21, 24
wine as metaphor for
285
Goraksa (Gorakhnath)
81.
Nath yogis
Govardhan (artist)
about
142
illustrations in Divan of Hafiz
210â13, 211, 214
Jahangir Visiting Jadrup
100â102, 101
âTwo princes in a gardenâ
207â10, 208
Gruber, Christiane
36, 44â45, 268
Gulshan Album
about
142, 142n37
âPrince Akbar presenting a paintingâ¦â
125
âPrince Salim reciting poetryâ
217â20, 219
Habiballah, Conference of the Birds illustration
163, 164
Habits of the Grand Signorâs Court, The
141, 142
Ḥadīqat al-ḥaqīqa (Sanaʾi)
227â30
Hafiz Shirazi (poet)
known as lisÄn al-ghayb
52
portrait in illustrated Divan of Hafiz
211â13, 211
on Qalandars
197â98
Quran memorized
55
and shÄhidbÄzÄ«
201
verses in or with images
115, 116, 130, 131, 199, 200, 203â4, 211â13, 211, 217, 224, 225, 282, 284â85
halos
al-Khizr with
189, 190, 193
Ê¿Azim ush-Shan with
192
DS with
246, 282, 283, 318
Jahangir with
101, 151, 154, 155, 158, 185, 186
MM with
283, 300
MS with
283, 308, 309, 310, 325
in portraits of other saints
2, 41, 42, 150, 155, 295, 296, 304, 305
in Qalandar portrait
41, 42
SJ (Khurram) with
170, 171, 173, 180, 182, 183, 185, 186, 188â90
Hamid Chishti, Shaikh
168
HamzanÄma (The Story of Hamza)
74â75, 99, 100
ḥaqīqa (ḥaqīqat). see Truth-Reality
Hardev, Rajkumar
64â65
Haribans, âRajkunwar with a kingâ
92
ḤasanÄt ul-Ê¿ÄrifÄ«n (Dara Shikoh)
Ê¿Abd Allah Ahrar on embodying divinity
66
about
59â60
on DSâs vision of the Prophet
291
Persian couplet quoted
273n1
Quranic opening lines
62
on Shah Dilruba in seclusion
279, 279n11
Shah Dilruba quoted
41
on Shah Madar veiling his face
69
Suleyman Misri on Prophetic Light
60â61
Hashim, âSJ standing on a globeâ
181, 183
Hatha Yoga
81, 86n22, 105
Hemu (Hindu rebel)
122, 133, 155
hierarchy of creation
Imaginal World or Plane; Islamic ontology
angels in
128â29
animal kingdom as allegory for
30â35, 31, 34
Ibn al-Ê¿Arabi on
18, 47â48, 62, 257
âJahangir Preferringâ¦Shaikh to Kingsâ
157â59, 158
in âPrince with a falconâ
29, 30
Qadiri conception of
257â58, 257n28
in Sufi cosmology generally
8, 18â19
ḥifẠ(to preserve/protect)
55â57
Hinduism
yogis; specific individuals
antinomians
166
architectural influence on Akbarâs projects
98, 99
darÅan (sacred viewing)
43, 49, 50â51, 64â65, 71
(
sacred viewing
)
DS and
60, 118, 168
Hindu artists and Muslim patrons
104
(
specific artists
)
Hir-Ranjha story
73
Muslim and Hindu spiritualities, interactions between
39, 46, 60, 64â65, 74â76, 81â82, 102â5, 121, 143
portraits of âHinduâ dervishes
142
Sufi mystics and Hindu boys
197, 243, 244
Hindustani painting
Akbar-period art; devotional art; Indo-Muslim figurative painting; Jahangir-period art; Shah Jahan-period art; specific artists, patrons, and subjects of artworks
Akbar-era painting workshops
(
see taá¹£vÄ«rkhÄna
)
Allahabad workshops
86
development as subgenre
74
early 16th-century style
79â80, 79, 80
horizontal registers
77â78, 79, 80, 119
Indic palette in early paintings
77â78, 79, 80
opaque watercolor technique
263, 263n42
representations of Ê¿Ali
63
scholarship on
1, 38, 160â62
suggestions for further study
329â34
as term
10â11
women as subjects and patrons
332
(
Jahanara Begum; women
)
Hir-Ranjha story
73.
âJÅgÄ«â (pop song)
History of Akbar, The (Abuâl Fazl). see AkbarnÄma
horn-players
79, 80, 115, 116
horses
in âAlexander and the Hermitâ illustration
94, 96
composite horse (TSA)
8â9, 8n17, 9
in depictions of Akbar
93, 103, 136
in âJahangir Visiting Jadrupâ
101
in Khamsa illustration
90
in lion hunt painting
22
in Miskinâs âWorld of animalsâ
31
âPrince on horsebackâ
131, 235
in RÄjkuá¹war Romance illustration
92
in âSJ receives elixir of lifeâ¦â
189, 189
in âSJ visiting Ajmerâ
187, 188
as symbol of rulerâs body
95
Houghteling, Sylvia
28â29
human beings
archetypal or perfect human being
(
see al-insÄn al-kÄmil
)
correlation between world and
5â6, 5n6, 7
created in image of God
62
Humay and Humayun (Khwaju al-Kirmani)
270, 271
Humayun (Emperor; father of Akbar)
122, 124, 125, 235, 288
Husain bin Muʾiz, Shah
58
Husain Chishti, Shaikh (Husain Ajmeri)
157â59, 158, 286â88, 287, 289, 292, 293, 297
Husain Jami, Shaikh
145, 287, 288, 297
Husayn Mirza Bayqara, Sultan (Timurid ruler)
95, 123.
IskandarnÄma
âI am the Truthâ (al-Hallaj)
59, 68
Ibn al-Ê¿Arabi
on al-insÄn al-kÄmil
48
(
al-insÄn al-kÄmil
)
on angelic beauty/perfection
129
hadith cited (Lord in form of beardless youth)
63â64
(
beardless youth
)
and the hierarchy of creation
8, 18, 47â48, 62, 257
on immutable entities
123n3
MS influenced by
47
Muʾayyid al-Din Jandi a scholar of
24
on âseeing with both eyesâ
223, 223n47
Shajarat al-kawn attributed to
162
studied by SJ
168
in Turkish historical drama
327, 328
and waḥdat al-wujūd tradition
4, 47
(
waḥdat al-wujūd tradition
)
Ibn Sina
4, 18, 91, 128
Ibn Tufayl
91â95
Ibrahim Qassar
199
Imaginal World or Plane (Ê¿Älam al-khiyÄl)
isthmus metaphor
about
18â19, 155
birds as allegorical representation of
29, 30
in depictions of DS with Sufis
204, 205
in âDervish climbing the Tree of Lifeâ
162â63
dream-visions and
148, 152â53
DSâs initiation painting and
283â84
Jahangir-period art set in
153â55, 154, 155, 157â59, 158
in majlis paintings
297
(
majlis paintings
)
Qadiri understanding of
257â58, 258
reality of
128
represented by middle-ground, in paintings
174
in Shah Jahan-period art
181â87, 182, 185, 186
in Turkish drama Diriliş ErtugÌrul
327, 328
immortality, offer of
189â91, 189
imperial retinues
specific images
in depictions of Akbar
93, 103, 136, 137
symbolism of
91â95, 92, 94
Indian illustrations
77, 78
Indian painting (as term)
10
Indo-Muslim figurative painting
Akbar-period art; albums; devotional art; Hindustani painting; Islamic art; Jahangir-period art; majlis paintings; Shah Jahan-period art; spatial division in Indo-Muslim art; specific artists, patrons, subjects, and themes
Allahabad workshops
86
(
taá¹£vÄ«rkhÄna
)
âbeardless youthâ theme in (generally)
194â96, 235
(
beardless youth
)
changing language/iconography, over time
191â93, 306â26, 327â28, 334
contemporary resonances
327â28, 328
depictions on fabric in
28â30, 29
devotional nature ignored/downplayed
13â14
flattened vs. three-dimensional spaces
126â27, 130, 132, 158, 159, 161, 162, 169, 170, 207â9, 208, 297, 307, 308, 320, 322
functional vs. stylistic approach to studying
252
levels of meaning represented by different styles
132â33
loose folios used for meditation, communication
268â70, 269
as means for accessing Islamic truths
27
metaphysical function of
148
opaque watercolor technique
263, 263n42
Persianate influences
119â20, 124, 130â33, 209, 235, 242, 272, 328
(
Persianate artworks
)
ritualistic function
40
spread of Mughal styles/genres
275, 302â7, 317â21, 322â25
stylistic and compositional innovations
118â20, 128, 143
subjects shown in profile
50â51, 281
Sufism and
12
(
Sufism
)
suggestions for further study
329â34
talismanic effects
122â23, 133, 153â56
taáºkira literature and
53, 55â57, 71
(
taáºkira literature
)
terminology for
10â12
textiles and Imaginal Plane in
28â30, 29, 204, 205, 206
time and history not linear
295â97
(
majlis paintings
)
tree and stream motif
239â42, 240, 241
(
streams and rivers; trees
)
women portrayed as types
233, 233n55
IskandarnÄma (Story of Alexander) (Nizami)
94, 95â96, 139.
Nizami Ganjavi
Islam
Islamic art; Islamic ontology; Quran; Sufism; specific writers and poets
Ahmed on What is Islam?
26â27, 104n51
angels in Islamic cosmology
128â33, 129n14, 129
(
angels
)
dogs in Muslim culture
108â13
dreams in Islamic culture
152â53
(
dreams
)
dual, interweaving realities of
16n39
guide as mediator
255â56, 271
(
spiritual guide
)
hierarchical stations
45â46
(
Truth-Reality
)
Islamic mysticism
11â14, 12n26
(
Sufism
)
moon in
234
Muslim and Hindu spiritualities, interactions between
39, 46, 60, 64â65, 74â76, 81â82, 102â5, 121, 143
Night of Power (laylat al-qadr)
289â91
philosophy and metaphysics
4, 18, 26â27, 47, 96n40
(
specific topics
)
unity vs. diversity of
15nn33, 35
Islamic art
Indo-Muslim figurative painting; Persianate artworks
Abuâl Fazl on function of
19â24
(
Abuâl Fazl
)
alternative approaches to understanding
26â28
historiographical terminologies
10â12, 11n24
historiography of
38
scholarship on South Asian art
1, 38, 160â62
studied through Orientalist lens
14â15, 17, 28n73
as term/classification
11â12
theme of unity in
17
unity vs. diversity of
15
Islamic ontology
God; hierarchy of creation; Islam; maʿnī; ṣūrat; Truth-Reality; wujūd
about (overview)
4â11
and existence of Muslim art and culture
15â16
oneness (unity) of Being
17, 24
saintsâ role/function in
5
(
saints
)
time and history not linear
295â97
(
majlis paintings
)
isthmus metaphor
2, 18â19, 20â21, 187, 204, 209, 230
Jadrup (Vedantin saint)
100â104, 101, 102n49
Jahanara Begum (Princess)
RisÄla-i á¹£Äḥibiyya
burned and cured
311â12
DS supported
251, 251n12
as follower of Chishti order
265â66, 298â99
images of MS used for meditation
260â68, 262, 264, 266, 331
influence on devotional portraiture
193, 245
initiation into Sufi (Qadiri) order
39, 178, 245, 254â55, 263â66
majlis paintings likely made for
299
on MS as mediator
255, 255n22
MS as spiritual guide
47, 250, 255â57, 260â68
MS met in person
256, 264, 268
on MSâs face/countenance
57, 256, 309
on MSâs naáºar
52, 65
Muʿin al-Din Chishti shrine visited
256
Mūʾnis al-arwÄḥ (biography of Chishti saints)
54â55, 256, 266, 298
NafaḥÄt owned by
47, 140
objects associated with MS collected
50, 267, 268
patronage of the arts
39â40, 74, 193, 250, 251, 272, 291â92, 302, 332
portraitsâ importance to
40, 254, 256, 261â68, 266
power, influence, and wealth
251
princess in DSA misidentified as
230â34, 232
referenced in couplet from MSâs RisÄla-i shÄhiya
273â74, 275
taáºkira anthology
53
Jahangir (Emperor)
Jahangir, depictions of; Jahangir-period art; Salim (Prince)
accession predicted
288
âarmy of prayerâ
168n83
dates
39, 74
dreams depicted
123, 153, 154
Gulshan Album made for
142
health and death
167â68
and Jadrup
100â104, 102n49
Khurram (son) awarded title of Shah
184â87, 186
Khusro verse performed for
203
and Muʿin al-Din Chishti
145â46, 149, 152
religious practices
145â47
as sacred king and âUniversal Manifestationâ (maáºhar-i kull)
145, 147, 149, 149n54, 152, 153, 154, 157â59, 158, 254
saints reinstated under
145â47, 288â89
Jahangir, depictions of
Jahangir
âJahangir Preferringâ¦Shaikh to Kingsâ
157â59, 158, 288
Jahangir Visiting Jadrup
100â102, 101
with Khurram (son)
183â87, 185, 186
Muʿin al-Din Chishti and Jahangir (facing pages)
149â52, 150â51
noblewoman holding portrait
268, 269
as powerful world-conqueror
147, 149, 151, 156, 156, 158
âPrince with a falconâ (as Salim)
28â30, 29
with Shah Abbas
147, 153â55, 154, 155
JahÄngÄ«rnÄma (autobiography of Jahangir)
145, 153, 168n83.
Jahangir (Emperor)
Jahangir-period art
Jahangir, depictions of; specific artists, books, and subjects
allegory in
147â67, 150â51, 154, 155, 156, 158, 161, 163, 165
depictions of saints (generally)
147, 159
(
specific saints
)
historical/mythic sages included in albums
174â75
muraqqaʿ albums
148
(
specific albums
)
selective naturalism in
159â60, 162
(
âSquirrels in a Plane Treeâ
)
tripartite division of space
239â42, 241
Jalal Quli Khan, âDara Shikoh and Mulla Shah (with) five retainersâ¦â
239, 240, 250
JB. see Jahanara Begum
Jilani, al-. see Ê¿Abd al-Qadir al-Jilani
âJÅgÄ«â (pop song)
72â73
jÅgÄ«s. see yogis
Johnson, Richard
322â24
Johnson Album
MM portrait
175, 176
unidentified Sufi portrait
175â78, 177
Kalpasutra manuscript
78
Kashmiri Album
about
322, 330â32
Ê¿Abd al-Qadir al-Jilani portrait
331, 331
MS portrait
321, 321, 331
preface
55, 56, 330â31
KathasaritsÄgara (Ocean of Rivers of Stories)
74â75
Kessler, Rochelle
242
keys
149, 149n54, 150â51
Khamsa (Quintet) (Nizami Ganjavi)
Layla and Majnun romance; Nizami Ganjavi
colophon portrait
23
dervishâs superiority in
96â97
illustration for
89â90, 90
IskandarnÄma (Story of Alexander)
94, 95â96
Khaqani (poet)
35, 35n85, 35â36n86
khaá¹
calligraphy
Abuâl Fazl on
20â22, 20n53
as adolescent down
194, 195, 233, 234
as line or calligraphy
22, 195, 200n12, 233
in siyÄh qalam drawings
22, 22
Khem Karan, watercolor drawing by
22
Khizr, al- (Quranic prophet)
about
95, 95n39, 149â52, 162
Minto Album portrait possibly of
150, 152
in Shah Jahan-period paintings
184â91, 186, 188â90, 192, 193
significance of portraits of
152, 184â91, 272, 325
Khurram (Prince; later Shah Jahan)
Shah Jahan
album
105, 105n53, 245
awarded title of Shah
184â87, 186
depicted receiving gift from al-Khizr
190, 190
image of DS mistaken for
241, 242
Rana Amar Singhâs submission to
169, 171
turban ornament received
183â84, 185
Khurram Album
105, 105n53, 245
Khusro, Amir
76, 108, 146, 201, 203, 235
Khwaju al-Kirmani, Humay and Humayun
270, 271
Koch, Ebba
19n50, 21, 187
Koh Qaf (cosmic mountain)
30
Kugle, Scott
201
Lalchand (artist)
about
312
âDS with MM and MSâ (initiation painting)
281â85, 282, 291, 297
âSubmission of Rana Amar Singh toâ¦Khurramâ
169â72, 171
Late Shah Jahan Album
âAssembly of poets and Sufisâ (Bichitr)
292, 293, 297
âMS with disciplesâ
273â75, 274, 275, 311
Shah Dilruba portrait
69, 70
Law (sharīʿat)
45â46
Layla and Majnun romance (Nizami)
Nizami Ganjavi
about and plot
32, 82, 96â97
illustrations
30â35, 31, 34
Leach, Linda
140, 209
leopard skin
70, 91, 92, 93
light
halos
Ê¿Ali as light of God
46, 62â63
Ghazali on hierarchical categories of
25
Godâs light manifested in saintsâ faces
57, 58â59
head as site of Godâs light
6, 256, 268
images as loci for manifestation of
20, 180
Prophetic Light
46, 60â61
Rumi on Religious Law as candle
45
as symbol of God-knowledge
21, 24
line. see calligraphy; khaá¹
lions
31, 333
Losty, J. P.
230
love. see beardless youth; beloved; divine beloved
love, unrequited
235â36
LSJA. see Late Shah Jahan Album
MA. see Minto Album
Madhu Lal
243, 244
Magic Doe, The. see Má¹igÄvatÄ«
Mahabat Khan
169, 170
MajÄlis-i JahÄngÄ«rÄ« (Ê¿Abd al-Sattar)
145, 146â47, 152
majlis paintings
18th-century European print
325, 326
about
272, 281â83
from beyond Mughal sphere
303â5, 304, 305, 306, 320â21, 320
contemporary interpretations
305â6, 327â28, 328
DS initiation painting
281â83, 282
(
Dara Shikoh, depictions of
)
MM with disciples
273â75, 274, 299, 300, 322, 323
MM with other sages
312â14, 315, 327â28
Schloss Schönbrunn painting and Rembrandt sketch
286â89, 287, 288
supra-temporal majlis
292â98, 293â95, 299â303, 302, 303
Majnun (character in romance)
32, 33, 34, 113n65.
Layla and Majnun romance
Malik Ambar
153, 156, 156
Mallinson, James
81, 81n15
maʿnī (inner meaning)
sacred viewing; Truth-Reality
about
16
Dost Muhammad on
24â25
dreams and
152â53
DS on ṣūrat as maʿnī made manifest
234â35
manifested through depiction/image, per Abuâl Fazl
19â24, 36, 123
Mughal emperors as ruler of worlds of ṣūrat and
28, 134â35, 145, 149, 149n54, 156â59
(
Mughal royalty: sacred kingship; specific rulers
)
âPrince with a falconâ and
28â30, 29
represented by globe
149, 150
represented by sky or top register, in paintings
174
saints as intermediary between ṣūrat and
230
veiling and
69
(
saints: faces veiled
)
words/images as isthmus between worlds of ṣūrat and
20â21, 209
Mansur al-Hallaj
59
Maná¹iq al-á¹air (Conference of the Birds) (Ê¿Attar)
163, 164
Mary (mother of Jesus)
129
Mathnavī (Rumi)
108â9, 164.
Rumi, Mawlana Jalal al-Din
MathnawiyyÄt-i mullÄ shÄh (Mulla Shah)
322
Mazandarani, Shaikh Muhammad
287, 289
maáºhar-i kull (Universal Manifestation)
145, 147.
Jahangir
McInerney, Terence
250
meaning, realm of. see maʿnī
meditation, on spiritual guide. see spiritual guide(s)
mendicants. see dervishes; Qalandars; yogis
Metropolitan Museum of Art
11n24
Millionenzimmer, Schloss Schönbrunn, âSeated Sufisâ
285â89, 287
mimesis
25
Minissale, Gregory
13
Minto Album
Asaf Khan portrait
172, 174
Muʿin al-Din Chishti and Jahangir (facing images)
148â52, 150â51, 234
âSJ standing on a globeâ (two versions)
181, 182, 183
âTwo princes in a gardenâ
207â10, 208
Mir Ê¿Abdul Wahid Bilgrami
60
MirʾÄt ul-asrÄr (Mirror of Secrets) (Ê¿Abd al-Rahman Chishti)
58, 146, 167â68
Mir Syed Ahmad
24
Mir Syed Ê¿Ali (artist)
124
Mir Syed Muhammad Gujarati
146
Mirza Ghulam, âPrince Salim with an awry turbanâ
215â17, 218
MishkÄt al-anwÄr (Ghazali)
25.
Ghazali, Abu Hamid al-
Miskin, Muhammad (artist)
Majnun in the Wilderness
33, 34
âMS with MMâ
322, 324
âThe world of animalsâ
30â35, 31, 35
Miyan Mir
arthritis
285
depicted in majlis paintings
281â83, 282, 286â89, 287, 288, 299, 300, 306, 314, 315, 327â28
depicted with MS and DS
281â85, 282, 289, 290
depicted with MS in devotional gazing
51â52, 51, 285, 286, 318, 319, 322, 323, 324
and his disciples
178, 277â83, 278, 282, 299, 300
(
Mulla Shah; Shah Dilruba
)
Jahangir fond of
145, 289
in majlis paintings, with disciples
281â83, 282, 299, 300
MS defended
247
Rumi poem quoted
318
Shah Dilruba and
69
solo portrait (British Library)
175â78, 176
visited by SJ and DS
178, 276, 276n6, 276n6, 281, 283, 289â91, 290
Moin, Azfar
122, 135, 148, 149, 183, 255
moles
20, 20n53
moon
in al-insÄn al-kÄmil drawing
6, 7
creation of
3, 194, 212
in âJahangir Preferring a Sufi Shaikhâ¦â
157, 158
as metaphor in DSA
194, 212, 233â34
moon-faced beauty
212
moonlight
104
Moses
82, 82n20, 95
Má¹igÄvatÄ« (Qutban)
about and plot
74, 76, 85â97, 270â71
(
RÄjkuá¹war Romance
)
illustrations (Salimâs copy)
87â91, 88, 92, 119â20, 120
Muʾayyid al-Din Jandi
24
Mughal patron saint
147.
Muʿin al-Din Chishti
Mughal royalty
specific individuals
as al-insÄn al-kÄmil
28â30, 33, 134â35
(
Akbar
)
antinomian Sufis accommodated
135
Dehlavi patronized
54
depicted interacting with Sufis
196
(
specific individuals, albums, and works
)
devotional images used to fashion/promote royal roles
254
as divine locus/manifestation
40, 137, 207, 227â30
(
specific individuals
)
and dreams
152â53
falcons as symbol of
28, 28n75
Hindu artists employed
104
horse as symbol of body
95
imperial retinues
91â95, 92â94, 103, 136, 137
major Sufi orders restored to fold
288â89
miniature portraits given by
179
moral/religious ideals transmitted through romances
85, 96â97, 97n41
patronage of the arts (generally)
39â40, 44
(
specific artists and patrons
)
political innovations reflected in artistic style
143
princely albums
(
see albums
)
sacred kingship
134â35, 145, 147, 168, 230, 254â55
spirituality and sensuality cultivated
244â45
Muhammad. see Prophet, the
Muhammad Ê¿Ali Musawwir, âPrince Salim reciting poetryâ
217, 219
Muhammad Ghaus Gwaliori
60
Muhammadi Bek, âSeated Angelâ
132
Muhammad Musa (artist)
about
330
âGathering of Sufis from the Rishi orderâ
302â3, 302, 303
âMM and MS with disciplesâ
322, 323
MS portrait
321, 321
works in Kashmiri Album
321, 321, 330, 331
Muʿin al-Din Chishti
and al-Jilani
294, 297, 298
depicted in majlis paintings
292, 294, 295, 297, 298, 303, 304, 305
depicted in âSJ visiting Ajmerâ
187â89, 188
Jahangir and
145â46, 184â87, 186
Minto Album portrait
148â52, 150
as patron saint of Mughal empire
147
shrine (Ajmer)
54, 145, 157, 187
significance of portraits of
272, 325
successor
292
(
Bakhtiyar Kaki
)
Mukund (artist)
âPrince Faridun shoots an arrow at a gazelleâ
89â90, 90
Qalandar portrait (Salim Album)
115â17, 116
Mulla Daʾud
76, 78, 79, 80, 102.
ChandÄyan
Mulla Khwaja, Hazrat
277, 278, 283, 299, 300
Mulla Shah
Mulla Shah, depictions of
and Abuâl MuÊ¿ali
279â80
accused of heresy
247
associated objects collected by JB
50, 267, 268
on colorlessness
271
countenance and demeanor
309
DS influenced
47, 247â48, 250
as DSâs guide
255, 276, 281â83, 282, 289
face/presence of God in
49, 255â56, 256n23
female disciples
260
(
Jahanara Begum
)
JB cured from burns
311â12
JB on face/countenance of
57, 256, 309
JB on naáºar of
52, 65
as JBâs guide
47, 250, 255â57, 260â68
JBâs treatise on
252â53
(
RisÄla-i á¹£Äḥibiyya
)
meditation posture
307, 308, 310
as MMâs disciple
51â52, 51, 277, 278, 280, 281â83, 282, 285, 286
Prophet praised in poem
61â62
RisÄla-i shÄhiya
273â75, 311
shawl
267, 268
SJ and
168, 215, 247, 264, 311â12
spiritual method, and role as guide
255â60
(
Tavakkul Beg
)
as Tongue of God
52
writings
273â75, 311, 322
Mulla Shah, depictions of
Mulla Shah
with braided mystic
314â16, 316
changing representations over time
306â26
with DS
239, 240, 250, 281â85, 282, 289â91, 290
and the genreâs spread
275
with his disciples
273â75, 274, 275, 311, 312, 313, 320â22, 320
at his lodge (portrait)
248â50, 249
iconography
307â8, 308, 310, 314â16, 325
included in royal albums
178
JBâs use of, for meditation
260â68, 262, 264, 266, 271, 331
with MM and DS
281â83, 282, 289, 290
with MM in devotional gazing
51â52, 51, 285, 286, 318, 319, 322, 323, 324
with MMâs disciples
277, 278, 299, 300
with old man, disciple, and deer
312, 313
popularity waning
324â25
portraits part of long tradition
271â72
solo portraits
261â68, 262, 264, 268, 307â11, 308, 321, 321, 324â25, 325
Mumtaz Mahal
233n55, 251
Mūʾnis al-arvÄḥ (Confidante of the Souls) (Jahanara Begum)
54â55, 256, 266, 298
muraqqaʿ. see albums
Muá¹£annifÄt-i MullÄ ShÄh (Mulla Shah)
68.
Mulla Shah
music. see qawwÄlÄ«s
mysticism, Islamic. see Sufism; specific concepts and orders
Nadira Banu Begum
118, 194, 233
NafaḥÄt al-uns (Breaths of Intimacy) (Ê¿Abd al-Rahman Jami)
47â48, 140, 140
Nair, Shankar
13n28
Naqshbandi order (Sufi order)
44, 288, 289.
Ê¿Abd al-Rahman Jami
Nasir al-Din Mahmud Chiragh-i Dehlavi
58
Nasir al-Din Shah Album
284
Nath yogis
yogis
about
81, 81nn14â15
Akbar and
99n44
appearance and clothing
80â81, 87, 88, 106, 107, 166
images misidentified as
117, 117, 241, 242
Rajkunwar as
87, 88, 97
Ranjha as
73
in the Salim Album
105â8
naturalism
of Akbar-period art
143
flattened spaces vs.
297, 307, 308
(
Indo-Muslim figurative painting
)
gradual move away from
307, 320, 322
of Jahangir-period art
159â60, 159n69, 161, 162
(
âSquirrels in a Plane Treeâ
)
of Muʿin al-Din Chishti portrait
149, 150
in âRajkunwar begins his journeyâ
120, 120
textiles and
28â30
naáºar
sacred viewing
defined
43, 49
and devotional paintings (generally)
71
faces veiled to prohibit
68â69, 279, 279n11
(
saints
)
gazing on face of Ê¿Ali
63, 63n57
MS on naáºar from Ahmad
61
of Mulla Shah
52, 65, 259
mutual gaze as
203
transformative power of
52, 64â65, 66, 259
viewing a beautiful face and
202, 203â4
(
shÄhidbÄzÄ«
)
Neo-Platonism
96n40
nīm qalam drawings
âAkbar and a Dervishâ
91, 93, 137â39, 139, 164â65, 215
Miskinâs works
30â32, 31, 33, 34
popularity
141
Qalandar with dog
117, 117
Nizam al-Din Awliyaʾ
58, 64, 65, 294, 295, 304, 311
Nizami Ganjavi
IskandarnÄma
94, 95â96
Khamsa
23, 89â90, 90, 95, 96â97
Layla and Majnun romance
32, 33, 82, 82n17, 96â97
(
Layla and Majnun romance
)
Nur al-Din Ghaznavi
65
Nur Jahan
233n55, 269
Nuskha-i aḥvÄl-i shÄhÄ« (The Biography of Mulla Shah) (Tavakkul Beg)
247â48, 250, 253, 259â60, 311
Nusrat Fateh Ali Khan
63, 72, 73
OâHanlon, Rosalind
244
Okada, Amina
147, 217n41
opaque watercolor technique
263, 263n42.
specific albums and subjects
optics, Ghazaliâs theory of
25
Orsi, Robert
36â37
PÄdshÄhnÄma
illustrations
169â72, 170, 171, 173, 183â87, 185, 186
text
187
paradise
6, 77, 212
pardÄkht (stippling technique)
32
Parviz (Prince)
207, 208, 209, 213, 215, 244â45
Payag, âJahangir presentingâ¦Khurram with turban ornamentâ
183â84, 185
Persianate artworks
Behzad, Kamal al-Din
angels
125â28, 126â27, 129, 130â32, 132, 133
beardless youths or princes in
235â39, 236, 237, 239
Conference of the Birds illustration
163â64, 164
âDervish climbing the Tree of Lifeâ influenced
161, 162, 163, 164â65
(
âSquirrels in a Plane Treeâ
)
dervishes
144, 210, 236â38, 237
DSAâs antecedents in
223â43
Indo-Muslim art influenced
119â20, 124, 130â33, 209, 235, 242, 272, 328
Jahangir fond of
159n69
âking visiting a gnosticâ theme
137
âOld man and youthâ
238, 239
plane tree motif
250, 250n7
shÄhidbÄzÄ« trope
201
Sufis placed in nature
328
ṣūrat as term for portrait
261
TSA as late iteration of
331
Pervez, Fariha
72, 73
phoenix
29, 30, 31, 32
Pinney, Christopher
334
plane trees. see trees
poetry
Hafiz Shirazi; poetry, with/on images; Rumi, Mawlana Jalal al-Din; specific poets and works
albums compared to ghazals
223â24
color and colorlessness in
271
dual meanings and symbolic lexicon
223
polyvalent poetry
213
princes reading or reciting
217â20, 219, 221
on unrequited love
235â36
wine as metaphor for God-knowledge in
285
poetry, with/on images
calligraphy; poetry
in DSA
224, 225â26, 227â30, 228â29
DS initiation painting
282, 284â85
Fitzwilliam Album angels
125â28, 126â27
Hafizâs verses
115, 116, 130, 131, 199, 200, 203â4, 211â13, 211, 217, 224, 225, 282, 284â85
on MM folio and facing page
175, 176
MS portrait
308, 309â10
in Suhrab Khan Album
318, 319
prema-kahÄnÄ«s. see ChandÄyan; Má¹igÄvatÄ«; romances, Sufi
presence, embodied
sacred viewing
Ê¿Abd Allah Ahrar on embodying divinity
66
divinity embodied in humans generally
39, 62
divinity embodied in saints
66â68
(
saints
)
in images of saints
36â37, 37â38n95, 39, 44
Preserved Tablet (al-lawḥ al-maḥfÅ«áº)
6, 7, 16, 16n41
Pre-Text
27.
Truth-Reality
princely youths
beardless youth; specific princes
in DSA
194â96, 195, 196, 199â200, 226, 229
Govardhanâs illustrations from Divan of Hafiz
210â13, 211, 214
in Minto Album
207â9, 208
visiting or being visited by ascetics
215, 216
witnessing Godâs beauty in form of
195â97, 199â207, 200, 208, 210â13, 211, 215â20, 218â21
Prophet, the (Muhammad)
archangel Gabriel and
129
as archetype of al-insÄn al-kÄmil
6
as archetype of spiritual guide
46
ascent (miÊ¿rÄj)
6
cave of
96
contemplation of
58
DSâs vision of
291
as Hidden Treasure
61â62
images of
44â45
moon split in two
234
on polish for the heart
259n34
praised in poem of MS
61â62
prayers and blessings on, in DSâs ḤasanÄt
59
Prophetic Light
60â61
Quran first revealed to
289
revealed through image of the guide
258â59, 260, 265
on true dream of the believer
152
Qadiri order
Ê¿Abd al-Qadir al-Jilani; Dehlavi, Ê¿Abd al-Haqq Muhaddith-i; Miyan Mir; Mulla Shah; and other individuals
convergence with Chishti order
298
DS initiated into
39, 178, 215, 254â55, 275, 281â84, 282
(
Dara Shikoh
)
DSâs interest in
276
founder
297
influence
44
JBâs initiation and affiliation with
39, 178, 245, 254â55, 263â66, 299
(
Jahanara Begum
)
MSâs role as spiritual guide
255â61
(
Mulla Shah
)
Mughal patronage of
175, 289, 298
(
Dara Shikoh; Jahanara Begum
)
stream as metaphor for
52
visualization of spiritual guide
57â58, 256â68, 257n29, 271
(
naáºar; sacred viewing
)
qalam (pen or brush)
24.
calligraphy
Qalandars
dervishes
about
41
in âAkbar and a Dervishâ
91, 93, 137â39, 139
clothing and accessories
41, 42, 93, 113â17, 114, 115, 116, 137, 139, 166, 167, 224, 225, 227, 228
depicted viewing or adoring youths
197, 215, 216, 224â27, 225
in DSA
197, 224â30, 225, 228, 231
DSâs interest in
118
in âDS with dervishesâ
206, 210, 210
Hafiz on
197â98
heads shaved
115
liminal space occupied
117â18
mainstream Sufisâ affiliations with
178
pets
113, 116, 117, 117
in âQalandar and a princely youthâ
242, 243
Qalandar portrait, as ascetic
41â44, 42
in RÄjkuá¹war Romance illustration
113â15, 114, 115
in âRumi comes riding on a muleâ (illus.)
197, 198
in SafÄ«nat ul-awliyÄʾ (DS)
198â99
in Salim Album
115â17, 116, 141, 143
self-mortification (burn marks)
41, 42, 113, 115, 137, 165, 165, 197, 198, 210, 224, 225
Suleyman Misri (Egyptian Qalandar)
60â61, 61
way of life in cultural imagination
197â99
and yogis
113
qawwÄlÄ«s (devotional songs)
50, 63, 72â73, 297
Qazwini, Ê¿AjÄʾib al-makhlÅ«qÄt
128, 129
Quran
God; Islam
in Ahmedâs thought
27
descriptions of Prophetâs ascent
6
dogs in
108
on Face of God in all things
5, 47, 49, 49n21, 62, 256n23
(
God: Face of
)
first revealed to the Prophet
289
fountain of life
95
God as creator and artist in
25, 195
on God as valī
63
Godâs Quranic names
16
immateriality comprehended through materiality
21n55
memorizing
55
Moses in
82, 82n20, 95
Mother of the Book (ʾumm-ul kitÄb)
16
Preserved Tablet (al-lawḥ al-maḥfÅ«áº)
6, 16, 16n41
quoted in ḤasanÄt
59â60, 62â63
vision of paradise
77
and wujūdī metaphysics
5
(
waḥdat al-wujūd tradition
)
Yusuf (Joseph)
227
Qutban Suhrawardi
76, 85, 102, 270.
Má¹igÄvatÄ«
Raja, H. R., contemporary majlis print
306
RÄjkuá¹war Romance
Má¹igÄvatÄ«
plot and theme
86â87, 89, 90â91, 96â97, 112
âPrince distributing breadâ
113â15, 114, 115
âRajkunwar begins his journeyâ
87â89, 88, 120
âRajkunwar with a kingâ
90â91, 92, 96
Ranjha (yogi). see Hir-Ranjha story
Rashid al-Din Vatvat
217
red (color)
243, 309
religions, unity of. see unity of religions
religious seeing. see naáºar; sacred viewing
Rembrandt van Rijn
285, 288, 288
renunciation
89.
asceticism; fanÄ
Repose of the Friends of God (Dara Shikoh). see SakÄ«nat al-awliyÄʾ
Revelation
27
Rice, Yael
on artistâs role
153n63
on colophon paintings
19n51
on dream interpretation
148
on paintings as mediators between realms
252n16
saints represented in transparent washes
184n105
on writing/verses and painting
22, 22n57, 105n54, 120n71
RisÄla-i ḥaqnumÄ (The Truth-Directing Treatise) (Dara Shikoh)
253, 257â58, 257n29, 258, 291
RisÄla-i á¹£Äḥibiyya (Jahanara Begum)
about
252â53
folio
253
on JB as follower of Chishti order
265â66, 298â99
on JBâs visits to saints and shrines
256
on meditating on portraits of MS
260â61, 264â67
on MS as embodiment of divinity
66
on MS as mediator
255, 255n22
on MSâs transforming presence through naáºar
52, 65
on viewing the beloved through the image
271
RisÄla-i shÄhiya (Mulla Shah)
273â75, 274, 275, 311
Rishi order
302â3, 302, 303
rivers. see streams and rivers
Riza-yi Ê¿Abbasi
238, 239
Rizvi, Saiyid Athar Abbas
57â58, 113
romances, Sufi
76â97
ChandÄyan; Layla and Majnun romance; Má¹igÄvatÄ«; RÄjkuá¹war Romance
about
76â77
portrait of beloved in
123, 270
yogis in
73â74, 76â85, 79, 80, 83, 84, 85
rosary
146â47, 203, 249
Rumi, Mawlana Jalal al-Din
depicted visiting Ê¿Attar
140
on dervishesâ clothing
104
on dogs (real/symbolical)
108â10
and his master
197
on the Law, the Path, and Truth-Reality
45â46
popularity
45n9
in âRumi comes riding on a muleâ
197, 198
on symbolism of birds and eggs
164
on truth through colorless glass
71
Ruzbihan Baqli
59, 62, 201â2, 203, 217
SA. see Salim Album
sacred viewing
naáºar; shÄhidbÄzÄ«
of al-insÄn al-kÄmil
50
of Ê¿Aliâs face
62â63
darÅan
43, 49, 50â51, 64â65, 71
and devotional paintings (generally)
71
(
devotional art
)
DS and
277, 289â91
justifications for
60
in majlis paintings
293, 294, 297
(
majlis paintings
)
mutual gaze
51â52, 51, 205, 207, 227, 228â29, 230, 243â44, 244
portrait as surrogate for physical presence
260â68, 271
saint as vessel filled with divine presence
66â68
of saintsâ faces (generally)
48â49, 62â65
transformative power of
48â49, 52, 64â65, 66, 257â60, 271
as trans-sectarian concept
43, 50â51, 71
visualization and meditation upon guide
52, 57â58, 256â68, 257n29, 271
(
spiritual guide
)
Saʿdi Shirazi
128, 251, 309â10
SafÄ«nat al-awliyÄʾ (The Ship of the Friends of God) (Dara Shikoh)
54â55, 198â99, 276.
Dara Shikoh
á¹¢Äḥibiyya (Jahanara Begum). see RisÄla-i á¹£Äḥibiyya
Saint Petersburg Album. see St. Petersburg Muraqqaʿ
saints
asceticism; sacred viewing; saints, depictions of; yogis; specific saints and orders
Akbar as saint-king
(
see Akbar
)
Ê¿Ali as essence of sainthood
62â63
as al-insÄn al-kÄmil
48â49
(
al-insÄn al-kÄmil
)
as archetypes
57
barkat (divine grace)
48, 50
divine presence embodied
39, 62, 66â68, 255â56, 265â68
eternal gatherings envisioned
265, 291
face as manifestation of Godâs light/splendor
49, 57, 58â59, 256
faces veiled
41, 58, 68â69, 279, 279n11
fanÄ (extinction of ego-self)
48, 66, 82, 89, 95n39, 97
as âFriends of Godâ (awliyÄʾ Allah)
46, 46n10, 48, 63
head as site of Godâs light
6, 256, 268
in the hierarchy of creation
47, 257â58
(
hierarchy of creation
)
importance diminished, then restored
134, 145â47, 168â69, 254, 288â89
(
Akbar: as saint-king
)
Indo-Muslim paintings common
12
as intermediaries
2, 10, 50, 145â46, 159, 230
light of the Prophet shared by
46
liminal space occupied
95â96
as mediators/intercessors
40, 44â45, 53, 82â84, 254, 255â56, 288â89
and nonlinear time
57, 295â97
(
majlis paintings
)
paradise populated with
77
patched clothing
331
as portals leading to inner reality of God
69â71
remembering as form of worship
53â57
role in Islamic ontology/cosmology
5
royal visits to
(
see specific royals
)
South Asian influences on devotion to
46
(
yogis
)
Sufism and sainthood
45â52, 257â58
(
Sufism
)
taáºkira literature and
52â57, 63, 71
(
taáºkira literature
)
transforming presence, through viewing/meditation on
48â52, 57â58, 255â68, 271
vilÄyat (sanctity)
48â49, 48n17
and waḥdat al-wujūd tradition
71
(
waḥdat al-wujūd tradition
)
saints, depictions of
devotional art; Indo-Muslim figurative painting; saints; specific saints
ahistorical (supernatural) gatherings depicted
281â83, 282, 285â306, 287, 293â95, 300â306
(
majlis paintings
)
collected into albums
9â10, 330â31
(
albums; specific albums
)
contemporary images
306, 327â28, 328, 334
devotional iconography over time
306â26, 327â28, 334
(
Mulla Shah, depictions of
)
direct communication through images
267â71
female ascetics
332, 333
images venerated (touched)
266, 267â68
often depicted in profile
50â51, 281
presence embodied in portraits
36â37, 37â38n95
in Shah Jahan-period art
169, 170, 254
significance of portraits
271â72
Sufis as army of prayer
181â83, 182, 183
yogi BÄjir as saint, in ChandÄyan
82â84, 83, 84
yogisâ influence on
(
see yogis
)
SakÄ«nat al-awliyÄʾ (Tranquility of the Friends of God) (Dara Shikoh)
about
252, 276
on DS and MM
257, 276n6
on DS seeing the Prophet and saints in visions
289â91
introduction
277
on MMâs arthritis
285
on MSâs lodge
248
on MSâs meditative pose
307
on MuÊ¿in al-Dinâs visit to al-Jilani
298n29
on sacred viewing
277
on seeing God in the form of a young man
202
on Shah Abuâl MuÊ¿aliâs falling out with MS
279â80
Salim (Prince; ruled as Jahangir)
Jahangir
albums and artworks made for
74, 85â86, 245
depicted as beautiful youth
215â20, 218, 219
interest in yogis
86, 86n22
rebellion by
85, 87
spirituality and sensuality cultivated
244â45
and Sufi gatherings
215
Salim Album
about
105, 105n52, 105nn54â55, 120
âMendicant bowing before a holy manâ
110, 111
âPrince Salim with an awry turbanâ
215â17, 218
Qalandar portrait (Mukund)
115â17, 116, 141
verses in
105, 109â10, 112
yogi portraits
105â8, 106, 107
Sanaʾi, Ḥadīqat al-ḥaqīqa
227â30
Sarmad, and Hindu boy
197, 199
Saussure, Ferdinand de
21
Schimmel, Annemarie
204n27, 260â62n39
self
dog as symbol of
109â12
extinction of (fanÄ)
48, 66, 82, 89, 95n39, 97
self-mortification
(
see Qalandars
)
Seyller, John
233n55
Shah Abbas
147, 153â55, 154
Shah Bilawal
177, 178
Shah Daula
66, 67, 178
Shah Dilruba
depicted with Shaikh Farid
301, 302
in drawing of MM and disciples
277, 278, 279, 280
as DSâs guide
69, 283
DSâs letter to
110, 112
face veiled (seclusion)
41, 69, 71, 279, 279n11
leopard skin cape
70, 91
as MMâs disciple
178, 277, 278, 280
portrait (LSJA)
69, 70, 91
Shah Husain Qalandar
117â18, 167, 243, 244
shÄhidbÄzÄ« (gazing at beautiful faces)
197, 200â202, 200n14, 202n20, 210â12, 217, 225â26, 227, 235.
beardless youth
Shah Jahan (Emperor)
Khurram; Shah Jahan, depictions of; Shah Jahan-period art
accession to throne
172, 172n87, 173
awarded title of Shah (as Prince Khurram)
184, 186
dates of rule
39
DS as favored son
311
education & religious training
168
and MM
247, 276, 276n6, 318
MM and other Sufis visited
178, 276, 276n6, 281, 283
and MS
168, 215, 247, 264, 311â12
prayers for heir
54
as saint-king
178â91
saints as advisors and intercessors
254
Sufi saints elevated under
168â69, 289
titles
184, 186, 273, 311
Shah Jahan, depictions of
Shah Jahan
accession to throne
169â72, 173, 289
as Prince Khurram
169, 171, 183â84, 185, 190, 190
as saint-king
178â91, 180, 182, 183, 185, 186, 188â90
âSJ appointingâ¦Mahabat Khanâ
169, 170, 187
visiting Ajmer
187â89, 188
Shah Jahan Album
Late Shah Jahan Album
about
142n37, 292
âSJâ¦holding a pendantâ
179â80, 180
Shah Jahan-period art
169â91
Late Shah Jahan Album; Shah Jahan, depictions of; Shah Jahan Album
al-Khizr depicted
184â91, 186, 188, 189, 190, 192, 193
depictions of Sufi gatherings
285â91, 286
graffiti under the throne
183â87, 185, 186
late-Shah Jahan period
275, 289â91, 290
living Sufisâ portraits in albums
174â79, 176, 177, 179
stream and tree as compositional dividers
239, 240
Sufis (saints) as army of prayer
181â83, 182, 183
Sufi status elevated
169
tripartite division of space
173, 174, 174, 180, 180, 181, 182, 184, 185, 186
Shah Khiyali
277, 278, 283, 299, 300
Shah Madar
58, 68â69
Shah Muhammad Dilruba. see Shah Dilruba
Shahryar (Prince)
172, 173
Shah Shams
46
Shah Sharaf Bu Ê¿Ali Qalandar
117â18, 294, 295, 304
Shah Waliullah
17, 155
Shaikh Nazir (guard)
169â72, 170, 171, 173
Shaikh Pir
168
Shaikh Sufi
168
Shalem, Avinoam
14â15, 17, 25
Shams-i Tabriz
197
shaá¹á¸¥iyÄt (esoteric Sufi teachings)
59, 59n45
Shaw, Wendy
26â27, 28n73
Shayegan, Daryush
223â24
Ship of the Friends of God, The (Dara Shikoh). see SafÄ«nat al-awliyÄʾ
sight. see sacred viewing; vision
similitude. see tashbīh
Singh, Kavita
133
siá¹
gī necklaces
80, 81, 106, 108
siyÄh qalam paintings (drawings)
about
22, 141
âHoly Man Prostrating Himself Beforeâ¦Princeâ
215, 216
âMounted prince hunting a lionâ¦â
22
âMS with old man, disciple, and deerâ
312, 313
âSix spiritual teachersâ (MM and disciples)
277â81, 278, 280
Siyr al-aqá¹Äb (Allah Diya)
63
SJA. see Shah Jahan Album
Small Clive Album, âQalandar and a princely youthâ
242, 243
snakes (serpents)
141, 141, 163â64, 164
Soucek, Priscilla
220â23n46
South Asian (as term)
10
spatial division in Indo-Muslim art
Indo-Muslim figurative painting; specific artists, albums, and works
flattened vs. three-dimensional spaces
130, 132, 158, 159, 161, 162, 207â9, 208, 297
(
Indo-Muslim figurative painting
)
horizontal registers, compositional use of
101, 102, 119â20, 120, 174, 174, 240â42, 241, 297
in majlis paintings
282, 293, 294, 297
tree and stream motifs
87â90, 88, 239â42, 240, 241
(
streams and rivers; trees
)
tripartite division of space
173, 174, 174, 180, 180, 181, 182, 184, 185, 186, 239â42, 241, 297
spiritual guide(s)
saints; yogis; specific individuals, esp. Mulla Shah
as mediator or bridge
255â56, 271
Prophet (Muhammad) as archetypal guide
46
visualization of (meditation on)
52, 57â58, 256â68, 257n29, 271
(
naáºar; sacred viewing
)
âSquirrels in a Plane Treeâ (Abuâl Hasan)
160â67, 161, 163, 165
Steingass, Francis Joseph
48n17
St. Petersburg Muraqqaʿ (Saint Petersburg Album)
Jahangir and Shah Abbas (allegorical works)
147, 153â55, 154, 155
âJahangir Preferringâ¦Shaikh to Kingsâ
157â59, 158
Jahangir Visiting Jadrup (Govardhan)
100â102, 101
majlis paintings
292â95, 294, 297â302, 300, 301, 303
âPrince Khurram receives a gift from⦠al-Khizrâ
190, 190
âSJ receives elixir of lifeâ¦â
189â90, 189
streams and rivers
fountain of life
in âAkbar visits Baba Bilasâ
103
in âAlexander and the Hermitâ illustration
94, 95
compositional function
87, 238â40
in âDervish climbing the Tree of Lifeâ
162
fountain of life
95
in âHafiz greets a youthâ
211, 212
in Khamsa illustration
90, 90
in majlis painting of MM and sages
315, 327
in portrait of MM and MS
51â52, 51
in âPrince and a dervish by blossomed treeâ
236, 237
in âPrince Faridun shoots an arrow.â
90, 90
in âA prince visits a hermitâ
137, 138
in Qalandar portrait
42, 43
in RÄjkuá¹war Romance illustration
87, 88, 120
symbolism
89, 90, 236
in Turkish drama Diriliş ErtugÌrul
327, 328
Stronge, Susan
149
Sufism
antinomians; Islam; sacred viewing; saints; spiritual guide(s); specific concepts, individuals, and orders
abdÄl
168
affiliation with multiple orders
298â99
apparent claims of self-divination
66â67
brotherhoods traced back to Ê¿Ali
62â63
cosmology
18â19
(
al-insÄn al-kÄmil; hierarchy of creation; Islamic ontology
)
âDervish climbing the Tree of Lifeâ an allegory for path of
165â66
(
âSquirrels in a Plane Treeâ
)
and dÄ«dÄr
277
(
sacred viewing
)
DSâs manual
(
see RisÄla-i ḥaqnumÄ
)
gathering of Sufis (majlis)
281â83
(
majlis paintings
)
Godâs name(s) repeated in worship
213
hÄl (trance-like state)
134â35
heart as seat of God-knowledge
259, 259n34
human beings as microcosms
5, 5n6
ideal lodge (khÄnqÄh)
77
influential groups
44
initiation as spiritual marriage
284
interactions between Muslim and Hindu spiritualities
74â76, 75, 81â82, 105, 121
(
yogis; and under Islam
)
Jahangirâs close affiliation with
145â47
(
Jahangir
)
mainstream Sufis ridiculed by Hafiz
197â98
Mughal royalty initiated into
(
see Dara Shikoh; Jahanara Begum
)
princes depicted with Sufis (generally)
213â15, 214
(
specific individuals
)
relation of outward form to inner reality of God
69â71
(
maʿnī; Truth-Reality
)
renunciation and alchemical transformation
35
rosary
146â47
and sainthood
45â52
(
saints
)
self-negation and repentance
175
shaá¹á¸¥iyÄt (esoteric teachings)
59, 59n45
under SJ
168â69
(
Shah Jahan
)
stream as metaphor for, in MM-MS portrait
51, 52
Sufi warriors (guards)
169â72, 170, 171
as taá¹£avvuf
45, 48, 71, 168, 326
and taáºkira literature
52â53, 71
(
taáºkira literature
)
yogis as surrogate for Sufis
82â85
(
yogis
)
áºikr (remembrance of God)
58, 86
Suhrab Khan Album
317â18, 318n49, 319
Suhrawardi order
85, 289.
Qutban Suhrawardi
Suleyman Misri (Egyptian Qalandar)
60â61, 61
ṣūrat (outer form)
sacred viewing
about
16
Abuâl Fazl on manifestation of meaning (maÊ¿nÄ«) in images
19â24, 36, 123
beardless youth as manifestation of the divine
(
see beardless youth
)
beauty of ṣūrat leading to inner reality (maʿnī)
128, 133
Dost Muhammad on
24â25
dreams and
152â53
DS on ṣūrat as meaning made manifest
234â35
Fitzwilliam Album and
128, 130
Hafiz on ṣūrat of belovedâs eyebrows
199, 203â4
metaphorical nature of
16â17
Mughal emperors as ruler of worlds of maʿnī and
134â35, 145, 149, 149n54, 156â59
(
Mughal royalty: sacred kingship; specific rulers
)
Mughal royalty projected as rulers of
28
âPrince with a falconâ and
28â30, 29
represented by foreground, in paintings
174
(
specific works
)
represented by globe
149, 151, 156, 156, 181, 182, 183
(
globes
)
saints as intermediary between maʿnī and
230
(
saints: as intermediaries
)
translations of
9n18
veiling and
69
(
saints: faces veiled
)
words/images as isthmus between worlds of maʿnī and
20â21, 209
syncretism
104.
unity of religions
ṬabaqÄt al-sufiyya (Ê¿Abd al-Rahman Sulami)
53
talismanic effect (of images)
122â23.
Jahanara Begum: images of MS used for meditation
tanzīh (transcendence)
16, 223.
maʿnī
á¹arÄ«qat (the Way or Path)
45.
Sufism; specific Sufi orders
taá¹£avvuf (Sufism)
45, 48, 71, 168, 326.
Sufism
taá¹£avvur-i shaikh
57â58.
spiritual guide: visualization of
tashbīh (similitude)
16, 223.
ṣūrat
Taá¹£vÄ«rkhÄna (chapter in Aʾin-i akbari; Abuâl Fazl)
Abuâl Fazl; Aʾin-i akbari
on absolute reality manifested in something relative
26
on images as loci for manifestation of light
20, 180
on âmarvelous magicâ of depiction
123
on outer image (ṣūrat) leading viewer to meaning (maʿnī)
19â24, 36, 123
on written word or image as isthmus
20â21, 209
taá¹£vÄ«rkhÄna (imperial painting workshop)
specific artists
Abuâl Fazl on art and art workshop
(
see Aʾin-i akbari
)
Akbar atelierâs first large work
132, 133
NafaḥÄt al-uns illustrated
47â48
Persian influences
119â20, 120, 124, 209
(
Persian artworks
)
royal aspirations projected by artworks
275
stylistic innovations
143, 209
(
Indo-Muslim figurative painting
)
Tavakkul Beg, Mirza, Nuskha-i aḥvÄl-i shÄhÄ«
247â48, 250, 253, 259â60, 311
Tavernier, Jean Baptiste
81
taáºkira literature
52â57, 63, 71, 276.
SafÄ«nat al-awliyÄʾ; SakÄ«nat al-awliyÄʾ; and other works
TaáºkirÄt al-awliyÄʾ (Remembrances of the Friends of God) (Farid al-Din Ê¿Attar)
53.
Ê¿Attar, Farid al-Din
terrestrial world or plane. see ṣūrat
textiles
28â30, 204
Thackston, Wheeler
109n60
Tipu Sultan
1
Tipu Sultan Album of Saints
about
1, 331
Ê¿Ali ibn Abi Talib portrait
1, 2, 46
and al-insÄn al-kÄmil (perfect human being)
5â8, 7, 16, 30
composite horse image
8â9, 8n17, 9
and iconography of saints
9â10
majlis paintings in
303, 304
preface (dÄ«bÄcha)
1, 3â5, 9, 18, 24, 329, 331
Tranquility of the Friends of God (Dara Shikoh). see SakÄ«nat al-awliyÄʾ
transcendence. see tanzīh
Treatise of Jahanara (Jahanara Begum). see RisÄla-i á¹£Äḥibiyya
trees
in âAlexander and the Hermitâ
94, 95
compositional function
32, 87â90, 238â40, 240, 241
in Conference of the Birds
163, 164
in depictions of Akbar
93, 103, 136, 139
in depictions of DS and braided mystic
316, 317, 318
in depictions of DS with Sufis
200, 203, 204, 205, 206
in Khamsa illustration
89â90, 90
in âMadho Lal and Shah Husainâ
243, 244
in majlis paintings
293â95, 299, 300, 301
in Miskinâs works
30â33, 31, 34
in Má¹igÄvatÄ« (RÄjkuá¹war Romance)
87â89, 88
plane tree motif
250, 250n7
in âPrince and a dervish by blossomed treeâ
236, 237
in âPrince Salim reciting poetryâ
217, 219
in âQalandar and a princely youthâ
242, 243
shading MM
51, 51, 286, 300, 319
shading MS
51, 51, 239, 240, 248â50, 249, 273, 274, 316, 319
shading Shah Husain
244
symbolism
32, 33, 34, 87â90, 236, 238, 250, 316
tree of life
89, 90, 110, 111, 160â67, 161, 163, 165
Tuba (tree in paradise)
6
in yogi portraits
118, 119
Truth-Reality (ḥaqīqa)
maʿnī
Abuâl Fazl on depictionâs function in leading viewer to
19â24
beauty and
195
(
beauty
)
in complimentary forms, on facing pages
234
(
facing pages
)
contained in all created beings
47
Islam as expression of
15, 16n39
Islamic metaphysics (Sufism) and
18â19
and the Law and the Way
45
as Pre-Text, in Ahmedâs thought
27
saints as portals leading to
69â71
union with, as goal
27
wine-drinker as knower of
227
(
wine-drinking
)
TSA. see Tipu Sultan Album of Saints
Tuba (tree in paradise)
6, 7
Turkey
327â28
Ṭūá¹Ä«nÄma (Tales of the Parrot)
132, 133
unity of religions
60, 81n16, 102â4.
Islam: interactions between Muslim and Hindu spiritualties; yogis
Upaniá¹£ads
27, 60
Vedantins
102.
Jadrup
veiled faces. see saints
verses. see poetry; Quran
viewing. see vision
vilÄyat (sanctity)
48, 48n17.
saints
vision (sight; act of viewing)
naáºar; sacred viewing; shÄhidbÄzÄ«
Ghazaliâs theory of optics
25
mutual gaze
51â52, 51, 205, 207, 227, 228â29, 230, 243â44, 244
viewing of (meditation on) spiritual guide
57â58, 256â68, 257n29, 271
Wafer, Jim
201â2
waḥdat al-wujūd tradition
4â5, 47, 71.
hierarchy of creation; Ibn al-Ê¿Arabi; Islamic ontology
walled gardens
212
water. see fountain of life; streams and rivers
Way (Path; á¹arÄ«qat)
45â46.
Sufism
What is Islam? (Ahmed)
26â27.
Ahmed, Shahab
wilderness
Majnun in
32â33, 34, 113n65
(
Layla and Majnun romance
)
saints visited by rulers in
91â97, 92â94, 97n41, 98, 100â104, 134, 137â39, 139
Windsor PÄdshÄhnÄma. see PÄdshÄhnÄma
wine-drinking
217, 227, 285
women
depicted as types, not individuals
233, 233n55
in Indo-Muslim painting (generally)
230â32, 332, 333
MSâs female disciples
260
(
Jahanara Begum
)
princess, in DSA
230â33, 231
wives, symbolism of
89, 97
young woman as (divine) beloved
32, 82â84, 86
(
divine beloved; Layla and Majnun romance; Má¹igÄvatÄ«; romances, Sufi
)
World of Angelic Forms
257â58, 258
World of Ideal Forms (Ê¿Älam al-mÄ«thÄl)
18â19
Wright, Elaine
105n55
writing
calligraphy; poetry
Abuâl Fazl on
20â22, 20n53
Rice on
22, 22n57
wujūd
4â5.
hierarchy of creation; Ibn al-ʿArabi; Islamic ontology; waḥdat al-wujūd tradition
yoga
43.
yogis
yogis (jÅgÄ«s)
asceticism; Nath yogis
during Akbarâs reign
97â99, 98, 99n44, 100, 102, 103
in Allahabad (Prayag)
86
in ChandÄyan
76â85, 79, 80, 83, 84, 85
clothing
79, 80â81, 80, 87, 88, 91, 99, 100, 102â8, 166, 166
(
clothing
)
defined
73
depicted in DSA
118â21, 119
depicted in Salim/Jahangir period albums
100â118, 101, 106, 107, 111, 116
and dogs
79, 80, 81, 105â13, 106, 107, 111
(
dogs
)
DSâs interest in
118, 119
in Indo-Muslim cultural imagination
39, 72â75, 121
mokÅa (liberation from ego)
82
(
fanÄ
)
in Má¹igÄvatÄ« (RÄjkuá¹war Romance)
76, 85â97, 88, 92, 120
(
Má¹igÄvatÄ«
)
notion of divinity/Godhead
81
Qalandars and
113â18, 114, 115, 116, 117
(
Qalandars
)
in romances and tales (generally)
73â76, 82, 84â85
royal visits to
91â97, 97n41, 98, 100â104, 101, 103
(
asceticism
)
Sufi interactions with
74â76, 75, 81â82
three types
80
yogi crutch
42, 43â44, 106, 108, 243, 244
(
crutch
)
youth, beardless. see beardless youth(s); princely youths
Zargar, Cyrus
200, 220n46, 223n47
Zebunnisa (Princess)
332
áºikr (remembrance of God)
58, 86