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Beautiful, intricate, and diverse in their detailing and construction, the buildings of mediaeval India are an art form like no other. It can be difficult to place a date on these artistic structures, given that there are few records about when they were built. Most experts believe that most structures were erected between the 12th and 16th centuries C.E., after Islam’s introduction in this region. Medieval India was a time of great artistic exploration and invention, with new painting methods and techniques being developed constantly. This article will explore three major tariqas: Chishtiya, Suhrawardiyya, and Khwaja Nizamuddin Ahl al-Bayt.
Chishtiya
During Akbar’s reign, the Chishti tariqa was being revived by a group of Marathas named the Ewans under the patronage of Sambhaji, and they were in charge of teaching the art. The Chishtiya and Suhrawardiyya murids continued to be taught in Lucknow, though. This tariqa is practised primarily in Maharashtra, Gujarat, Rajasthan, and Madhya Pradesh.
The murids of Chishtiya are known for their detailed and precise compositions. They rely on lines to create patterns but use the broad outline of shapes and do not spend much time on intricate details. The style is largely linear with little shading, and forms are usually quite flat. The Chishtiya murids were more concerned with ideas than making a fine work of art. The subject matter that they chose to depict was often something thought-provoking instead of something visually complex or beautiful.
The shrine of the Chishti Pir in Ajmer is famous for its intricate and elaborate wall paintings. It has 17 main compositions running along the length of the mosque: ten over doorways, five on each side wall, and two more on each wall under the eaves. The murids, who would live near the shrine and paint day-to-day and festival cycles, were highly trained by their teachers and would spend a lot of time discussing how such or such a visual effect could be achieved. The murid painters were also taught how to revive the fading parts of their earlier murals using the Chishtiya technique of “pichnoo”.
Suhrawardiyya
The Suhrawardiya order was founded by Abu al-Najib Suhrawardi (1145-1234), a philosopher and theologian who based his school on the separation between master and disciples. The Suhrawardiya stressed a philosophical consideration of the mystic chord, “sama'”. This tariqa became very popular during Mughal rule in India. Emperor Akbar’s son, Prince Salim (who later became Jahangir), was a follower of this order. Prince Salim is shown as an ideal devotee of this tariqa. The murids of Suhrawardiyya are known for their intricate, detailed, and minute work. The Suhrawardiyya murids often copied their previous work by tracing over it repeatedly, creating the illusion of a new painting.
The murids practising Suhrawardiyya are rarely found in the Indian subcontinent, and only a few villages of Gujarat and Rajasthan still honour them today. The most famous of the Suhrawardiyya murids was Haji Syed Abdul Rahim Hussain Jalal Bukhari.
The Suhrawardiyya murids were the first to introduce many different painting styles from Persia, Baghdad, and Damascus, including eid, sadr, and maqams. They developed various new methods of combining these styles and making them look more three-dimensional. These paintings’ “shama’il” execution usually took up to a year to finish. A good example of this tariqas style is the tomb of Khwaja Nizamuddin Auliya.
Khwaja Nizamuddin
Khwaja Nizamuddin Auliya’s Tomb, Delhi
Khwaja Nizamuddin Auliya is a typical example of Suhrawardiya murid’s work in India. The murids painted the interior and exterior walls in various styles, including eid, sadr, and Maqam.
The Khwaja Nizamuddin Sema (or Khwaja Nizamuddin Aalim) was founded in Delhi by the Sufi master, Khwaja Nizamuddin Auliya. This tariqa emphasises the preservation of knowledge.
The murids of Khwaja Nizamuddin Auliya are also known for their intricate, detailed, and minute work.
The Khwaja Ewans of Bijapur are often credited with popularising the style in India. Several other tariqas also made their way to India during the Mughal period. These tariqas employed many local artists to help introduce and popularise their work. The Murids of the Auliya-e-Hind had a very distinct style developed over generations.
Maqams
In Kashmir, a painting style emerged that is called “Maqams”. It was not a school per se. The styles changed, but the themes remained unaltered. This style remains active in Kashmir to this day. During the Mughal Empire, some murid painters were trained to paint for this style during the Mughal Empire.
The murids of Kashmir were also followers of a different strain of mysticism than the Suhrawardiyya tariqa. Maqams were linked to the worship of Chakrari and Maharaja Bali. The murids painted their images with many kinds of grass, flowers, and trees. The “Maqams” murids were also renowned for their intricate, detailed, and minute work.
Conclusion
Murshid – A spiritual path that directs the disciple towards truth, Ultimate Reality. The murshid is the guide and guru. Tariqas – Literally means “path”. It refers to a Sufi order (silsilah or silsila) of spiritual discipline, traditionally passed from master to disciple in an unbroken chain back to the founder of the path. Khwaja Nizamuddin Auliya- He was a Muslim saint, scholar, spiritual master, and poet who lived in the 13th century in Delhi. The term Maqam refers to a level of spiritual attainment. Therefore, the word maqam refers to a place that has attained spiritual value through contact with a Sufi saint.
