خوانش مجلس 'تلمیذه سریّ سقطی' در نسخه مصور گورکانیِ نفحات‌الانس جامی (کتابخانه بریتانیا) با رویکرد نشانه‌شناسی تصویری

This research analyzes one of the illustrations of the Indian version of Jami's Nafhat-ul-Ans, compiled in the court of Akbar Shah and now preserved in the British Library under the accession number Qr_1362. This assembly is related to the story of a Sufi woman named "Talmizeh". The aim of this research is to analyze the semantic and visual layers of this assembly and to discover the relationship between its visual elements and the concepts of the literary text. The question is posed as follows: "How is the narrative structure of Jami's text represented in the illustration?" This fundamental research was conducted with a descriptive-analytical approach and visual semiotics. The findings show through documentary studies; in this illustration, the composition, colors and Sufi symbols such as the rosary and the flow of water harmoniously reflect the teachings of Islamic mysticism. This image is not only a visual representation of Jami's narrative, but also symbolizes concepts such as patience, contentment and certainty. Using composition, color, and symbolism, the illustrator of Gorkani has represented the concepts of submission and trust in God, establishing a deep connection between text and image.
 

Introduction

The Mughal manuscripts, especially during the reigns of Humayun and Akbar, are considered the pinnacle of Islamic pictorial art. This period witnessed the fusion of Iranian, Indian, and Islamic artistic traditions, which, with influences from European and Chinese painting, formed a unique style. Akbar Shah established an artistic circle in Fatehpur, where numerous manuscripts were copied and illustrated. By the time of his death in 1605, his royal library had about 24,000 illustrated manuscripts.
The Mughal manuscript of Of Nafahat al Ouns, numbered Qr_1362, is an outstanding example of the book layout of this period, which was printed in the 49th year of Akbar Shah’s reign. This manuscript has 804 leaves and 17 illustrated panels, and some of the illustrations are decorated with the illustrator’s signature. The text is written in legible Nastaliq script in black ink, and each leaf contains 21 lines in a column. Golden, black and azure tabulations are considered to be features of its book layout. Majlis Telmizeh Sari Saqati, with precise illustrations, examines the relationship between text and image from the perspective of visual semiotics and facilitates the understanding of the narrative.
2. Detailed Research Methodology
The type of this research is descriptive-analytical in terms of its fundamental purpose and nature. The information was collected in the form of documents. The authors are trying to use a visual semiotics approach from among the statistical population consisting of 17 images related to Sufis in the illustrated edition of Nafhat-ul-Ans Jami of the British Library, and have purposefully selected 1 image with the topic of "Telmizeh Sari Saqati" in order to study it qualitatively based on the mystical concepts of the literary text.
"A sign is something that signifies something other than itself. Signs can appear in the form of words, images, sounds, gestures, and objects. Signs may appear in the form of words, images, sounds, gestures, or objects. Semiotics is the study of the types of signs, the factors associated with the process of their production, exchange, and interpretation, and the rules that govern them” (Chandler, 2018, 21). This science is used as a tool for analyzing culture, examining mental structures and semantic change in language, and the relationships between signs and symbols. In the field of semiotics, the main subject is the study of the rules governing verbal and nonverbal signs (Dancey, 2008, 57). The analytical components in this painting include semantic and narrative, visual, historical, and cultural signs.
 
3. Discussion
The Sufi woman in this painting, with characteristics such as firm faith, patience, intuitive knowledge, dignity, and observance of mystical duties, is a model of a seeker of the path of truth. The mountainous atmosphere and surrounding nature, with their earthy and green colors, represent mystical isolation and spiritual path. The rocks and mountains reflect the difficulties of the spiritual path and emphasize the challenges of the mystical path. Sheikh Sari Saqati, as a master, maintains his spiritual position without direct intervention in a contemplative manner and plays the role of a guide and observer. His simple attire, turban, and long robe indicate his asceticism and mystical position. In one hand, he holds a rosary, which symbolizes remembrance and connection to divine truth, and his other hand is placed under his chin, a sign of contemplation and contemplation of glorious events. The female disciple, who is trying to save her child from the water, is considered an embodiment of faith and certainty in divine providence. Her movement indicates the connection between submission, satisfaction, and divine providence. Her simple clothing and earthy and white colors symbolize asceticism, purity, and connection to mystical path. The observance of full coverage, in addition to conforming to Islamic custom, emphasizes her submission and mystical piety. The mother represents absolute love and faith, and pulling the child out of the water refers to the relationship between man and God, where certainty and trust are the factors of salvation from life's trials. The river, with its constant flow, in addition to symbolizing life's events, represents purification and renewal. The child being pulled out of the water is a reflection of salvation and salvation in the light of faith. The mill in the background, in addition to its practical application, symbolizes the tests of patience and certainty on the mystical path. With its balanced composition, natural colors, and precise symbolism, this image represents concepts such as faith, patience, certainty, and the position of the mystical hierarchy. The distance between the master and the student in the image is an embodiment of the relationship between the disciple and the desired, where the disciple needs the guidance of the desired on the path to perfection. Although there is no direct dialogue between the woman and the master, the postures and movements reveal the transfer of meaning and the spiritual bond between them.
 
4. Results
The painting, with its three-layered structure, elevates the story from the natural level to mystical concepts. In this structure, water symbolizes life and divine grace, which at the same time indicates the movement of nature, economy, and spiritual rebirth. The Sufi woman connects the different parts of this multi-level system and redefines a new position for women in Islamic mysticism. In contrast, the dervishes, especially Sheikh Sari Saqti, play a role as interpreters of the sacred on another level. From a semiotic perspective, this painting clearly shows how an image can become a powerful expressive tool for decoding mystical, social, and ontological concepts; and how, within a calm appearance and simple narrative, a complex system of meaning, interpretation, and code lies.
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URL1:https://www.bl.uk/manuscripts/Viewer.aspx?ref=or_1362 (Access date: 11/06/2022).
Cite this article: Jafari Dehkordi, N., Dehghanipour Motlagh, M., Shadigo, Sh. (2025). Reading Telmizeh Sari al-Saqati's Painting in the Illustrated Manuscript of Nafahat al Ouns Jami (British Library) with a Visual Semiotic Approach, Journal of Subcontinent Researches, 17(48), 161-180.                                                 DOI: 10.22111/jsr.2025.51379.2489