Jannat: Paradise in Islamic Art
Marg’s new book examines the representation of paradise in Islamic art
After the terrorist attacks of 9/11, much has been written about the sensual promises of the Islamic paradise, particularly the virgins, or houris, that await martyrs in heaven. Marg’s new book, Jannat: Paradise in Islamic Artedited by Mumtaz Currim, brushes these speculations aside, noting that erotic symbols are often used as a metaphor for spiritual union. Instead, the volume concentrates on the interpretation of the concept of paradise in art and architecture in south Asia.
The result is an eclectic mix of scholarship. The book begins with a dreary, but necessary, explanation of the concept of heaven. In “Islamic Cosmology and Paradise”, MZA Shakeb introduces the ideas of important philosophers who offered visualisations of paradise. Shakeb links the maps and diagrams of the geography of heaven with the polygons of Islamic geometry, underlining the connection between decorative art and its spiritual intent.
Understandably, the Mughals occupy a significant place in the book. Two essays, “Imagining Paradise: The Legacy of Mughal Gardens” by Azim Nanji and “Paradise, Sovereignty, and Aesthetics under the Great Mughals” by Philippa Vaughan address the role of the dynasty in promoting the vision of Islamic paradise. Nanji’s straightforward essay discusses developments in the design of the “chahar bagh” or fourfold garden.
Vaughan argues that the Mughal emperors “harnessed the desire for paradise – the essential focus of Muslim piety – to buttress their claim to rule as God’s vice-regents”. Vaughan refers to various forms of royal public expression – tombs with imposing entranceways and authoritarian inscriptions, the titles that the kings gave themselves, and the portraits they commissioned – which she sees as a political project to further the claim to kingship.
While one half of Jannat focuses on broad trends in art and architecture, the second part picks apart specific subjects. There is Klaus Rötzer’s essay on how water supply was arranged for gardens and palaces in the arid regions of the Deccan. Hussain S Jasani explores the hymns of Nizari Ismailis and Currim turns her lens on funerary inscriptions. Perhaps the most fascinating essay is “Jannat ki Rail: Images of Paradise in India’s Muslim Popular Culture” by Yousuf Saeed, which offers a counterpoint to the classical versions of paradise discussed in the book. There isn’t just visual art in this chapter but also devotional songs. Perhaps it is telling of contemporary times that while presenting posters and other popular imagery the essay is compelled to address representations of hell.
By Zeenat Nagree on August 03 2012 4.19am
Rameer Tawasil :This "BURRAQ" is common in early Tausug houses in Sulu as wall decoration painted on "Buras"(small long bamboo strips) using enamel paint or sometimes made of shells.
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