The paper examines Sufi ship–body symbolism in a painting on the wall of an eighteenth-century mosque from the riverine hinterland of the Malabar coast as well as in two poems, one in Arabic and the other in Arabi-Malayalam, produced in the region. Focusing on the intricate details of the painting and poems, the paper shows how the ship’s semantic field (sea, storm, pirates, pearls, shore, and so on) is connected to everyday Islamic rituals and mystical ideas and beliefs. In discussion, the paper draws attention to the creative hermeneutics of the local Muslim scholars and the use of an imagery which has a deep resonance in the intellectual history of Islam as well as in the littoral–cultural context of Malabar. The paper highlights the need to include imageries and motifs from inside the mosque when looking at artistic agency in the mosque architecture of the region. The paper argues that the ship painting in the spatiality of the mosque and in the Arabi-Malayalam poems is intended to induce wonderment among its audience, and thereby to inculcate ethical and pietistic dispositions among them.

中文翻译：

---

穿越 Duniyāv：来自印度南部马拉巴尔海岸的苏菲船 - 身体象征主义

该论文考察了来自马拉巴尔海岸河流腹地的 18 世纪清真寺墙壁上的一幅画以及该地区生产的两首诗，一首阿拉伯语和另一首阿拉伯-马拉雅拉姆语诗歌中的苏菲船体象征意义. 该论文着重于绘画和诗歌的复杂细节，展示了船舶的语义场（海、风暴、海盗、珍珠、海岸等）如何与日常伊斯兰仪式和神秘思想和信仰联系起来。在讨论中，本文提请注意当地穆斯林学者的创造性诠释学，以及对伊斯兰思想史以及马拉巴尔沿海文化背景产生深刻共鸣的图像的使用。该论文强调，在考察该地区清真寺建筑中的艺术机构时，需要包括清真寺内部的图像和图案。论文认为，清真寺的空间性和阿拉伯-马拉雅拉姆语诗歌中的船舶绘画旨在引起观众的惊叹，从而在他们中间灌输道德和虔诚的气质。