A Close Looking Into Seventeenth-Century Mughal Painting, Zulaykha’S Guests Distracted by Yusuf’S Beauty
Hum هم and After the Cut / A Close Looking Into Seventeenth-century Mughal painting, Zulaykha’s Guests Distracted by Yusuf’s Beauty A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2020 Fatema S. Abdoolcarim School of Arts, Languages and Cultures CONTENTS LIST OF ILLUSTRATIONS 3 ABSTRACT 4 DECLARATION & COPYRIGHT STATEMENT 5 ACKNOWLEDGEMENTS 6 هم Hum 9 (هم) NOTES ON Hum CHAPTER ONE Rabia 10 CHAPTER TWO Hayam 55 CHAPTER THREE Yusuf 105 After the Cut: A Close Looking Into Seventeenth-century Mughal painting, Zulaykha’s Guests Distracted by Yusuf’s Beauty INTRODUCTION An Open(ing) Wound: Looking’s Pleasure 136 CHAPTER I White Spread: Kayd, Silence and Beauty, Nicked 162 CHAPTER II Blood-lined Oranges: Words, Images and Female Bodies, Touching 217 CONCLUSION Looking (Again): A Fresh Incision, Bleeding Gold 255 FIGURES 275 BIBLIOGRAPHY 286 Word Count: 75,482 2 LIST OF ILLUSTRATIONS All figures appear from page 275 to page 285. Figure 1 Zulaykha’s Guests Distracted by Yusuf’s Beauty, attributed to Muhammad Nadir al-Samarqandi, Kashmir, Mughal India, c. 1650, 24.6 x 14.5 cm, pigment and gold on paper, illuminated folio from a copy of Jami’s Yusuf and Zulaikha, Chester Beatty Library, Dublin. Figure 2 Picnic In a Tree House, Qazvin, Iran, 1550-1570, 28.5 x 19 cm (each leaf), pigment and gold on paper, illuminated double frontispiece from a copy of Jami’s Yusuf and Zulaikha, The David Collection, Copenhagen. Figure 3 Sufi’s in Ecstasy, attributed to Muhammad Nadir al-Samarqandi, Kashmir, Mughal India, c.
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