Taking an album (muraqqa’) featuring portraits of Muslim saints as a case study, this essay presents a hitherto unexamined dimension of early modern painting from Kashmir. Thematic and stylistic analysis of the images and its accompanying text opens up a complex network of questions regarding cultural and political interactions between the Himalayan hills region and the North Indian plains during the late seventeenth and early eighteenth centuries. In art history, scholars tend to view these two regions as distinct cultural zones, a division which reflects the biases of recent historiography rather than the porous cultural framework of pre-colonial India. The paper will particularly focus on the opening page that includes a portrait of the famous Mughal period Sufi, Mullā Shāh. His association with two royal siblings of the Mughal house, Princess Jahānārā Begum and Prince and heir apparent Dārā Shikoh, was central for the development of Sufi devotional portraiture as a unique sub-genre of Indian painting. By mapping key portraits of Mullā Shāh, the essay will provide a window into the process of localization of a pan-Indian genre within the context of Himalayan art.

中文翻译：

---

“一块一块地”：从穆斯林圣徒的早期现代克什米尔绘画中看喜马拉雅山的虔诚文化

这篇文章以一本描绘穆斯林圣人肖像的专辑（muraqqa'）为例，展示了克什米尔早期现代绘画迄今为止未经审查的维度。对图像及其随附文本的主题和风格分析打开了一个复杂的问题网络，这些问题涉及 17 世纪末和 18 世纪初喜马拉雅山丘地区和北印度平原之间的文化和政治互动。在艺术史中，学者们倾向于将这两个地区视为不同的文化区域，这种划分反映了近代史学的偏见，而不是前殖民时期印度多孔的文化框架。该论文将特别关注开篇，其中包括著名的莫卧儿时期苏菲派穆拉·沙赫 (Mullā Shah) 的肖像。他与莫卧儿家族的两个皇室兄弟姐妹的关系，Jahānārā Begum 公主和王子和明显的继承人 Dārā Shikoh 是苏菲派虔诚肖像画发展的核心，作为印度绘画的一个独特的子流派。通过绘制穆拉沙阿的关键肖像，这篇文章将提供一个窗口，了解在喜马拉雅艺术背景下泛印度流派的本地化过程。