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Abstract
This study presents a detailed analysis of the narrative of Goyama and the ascetics of Mount Aṭṭhāvaya in the Āvaśyaka Cūrṇi, including text and translation. By identifying a range of themes, intertexts and allusions in the narrative, a variety of Jain perspectives on the nature of asceticism are uncovered. Topics covered include the Āvaśyaka Cūrṇi as “commentary”, the Āvaśyaka Niryukti background to the Āvaśyaka Cūrṇi narrative, some possible Śaiva allusions in the narrative, the significance of Goyama’s physical appearance, Goyama’s explanation of the canonical story of Puṃḍarīa, and Goyama’s power of bestowing limitless food. In addition to the narrative told in the Āvaśyaka Cūrṇi, its earliest metrical version in the Uttarādhyayana Niryukti is discussed and translated as well.
Author:
Islamic art is often misrepresented as an iconophobic tradition. As a result of this assumption, the polyvalence of figural artworks made for South Asian Muslim audiences has remained hidden in plain view.
This book situates manuscript illustrations and album paintings within cultures of devotion and ritual shaped by Islamic intellectual and religious histories. Central to this story are the Mughal siblings, Jahanara Begum and Dara Shikoh, and their Sufi guide Mulla Shah.
Through detailed art historical analysis supported by new translations, this study contextualizes artworks made for Indo-Muslim patrons by putting them into direct dialogue with written testimonies.
This book situates manuscript illustrations and album paintings within cultures of devotion and ritual shaped by Islamic intellectual and religious histories. Central to this story are the Mughal siblings, Jahanara Begum and Dara Shikoh, and their Sufi guide Mulla Shah.
Through detailed art historical analysis supported by new translations, this study contextualizes artworks made for Indo-Muslim patrons by putting them into direct dialogue with written testimonies.
Author:
Islamic art is often misrepresented as an iconophobic tradition. As a result of this assumption, the polyvalence of figural artworks made for South Asian Muslim audiences has remained hidden in plain view.
This book situates manuscript illustrations and album paintings within cultures of devotion and ritual shaped by Islamic intellectual and religious histories. Central to this story are the Mughal siblings, Jahanara Begum and Dara Shikoh, and their Sufi guide Mulla Shah.
Through detailed art historical analysis supported by new translations, this study contextualizes artworks made for Indo-Muslim patrons by putting them into direct dialogue with written testimonies.
This book situates manuscript illustrations and album paintings within cultures of devotion and ritual shaped by Islamic intellectual and religious histories. Central to this story are the Mughal siblings, Jahanara Begum and Dara Shikoh, and their Sufi guide Mulla Shah.
Through detailed art historical analysis supported by new translations, this study contextualizes artworks made for Indo-Muslim patrons by putting them into direct dialogue with written testimonies.