Faces of God: Images of Devotion in Indo-Muslim Painting, 1500–1800

Murad Khan Mumtaz, Ph.D. (2018), University of Virginia, is Assistant Professor at Williams College. He has published numerous articles on South Asian painting. Mumtaz is also a practicing artist trained in traditional Hindustani painting techniques.

• Acknowledgements IXList of Illustrations XIIINote on Translation and Transliteration XXVIIntroduction: The Need for an Ontology of Art1 What Is Islamic Ontology?2 Can “Indian Painting” Be Islamic Painting?3 Ṣūrat and Maʿnī: Islam and Islam4 Presence5 Organization of the Book1 Viewing the Face of a God’s Friend: Conceptual and Literary Premises1 Sufism2 Taẕkira Literature3 Looking at the Face of ʿAli Is Worship2 Sufi in the Garb of a Yogi: Visual and Literary Articulations of Sanctity1 The Yogi in Medieval Sufi Romances2 Yogis in Princely Albums3 Allegories, Symbols, and the “Marvelous Magic” of Imperial Mughal Painting1 Akbar: The Saint-King2 Jahangir: The King of Universal Manifestation3 Shah Jahan and the Army of Prayer4 “I Saw My Lord in the Form of a Beardless Youth”1 In the Company of Dervishes2 The Princely Youth, Alone3 Interpreting the Dara Shikoh Album4 Persianate Antecedents for the Dara Shikoh Album5 The Face of Shah … the Face of God1 Jahanara Begum: Sufi Patron and Practitioner6 Sacred Viewing: Miraculous Gatherings and Iconic Portraits1 The Majlis Paintings2 An Iconography of DevotionConclusionBibliographyIndex

From the readers' reports: "This is a well-researched and well-written book that is a pleasure to read. It has the potential to reshape the field of South Asian art by exploring the central, affective role of images in devotional practices in the early modern era, and Islamic art, as well as speak to audiences interested in South Asian and Islamic literature and culture more broadly." Holly Shaffer, Assistant Professor of History of Art & Architecture, Brown University"The virtue of the book lies not just in the originality of its approach, but in the persuasiveness of its arguments and the solidity of its evidence as well. It is a major piece of scholarship that marshals an impressive range of material." Kavita Singh, formerly Professor of Art History, Jawaharlal Nehru University