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palaces and natural scenes which
Manohar visits. Deserts or dark forests represented being caught in life's problems. The rose garden serves as a poetic metaphor for spiritual and romantic union. Nusrati uses the poem to compliment his patron, listing the virtues of a good ruler and crediting them to Ali Adil Shah II.
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A prelude to the main story describes the journey of
Manohar's father, King Bikram of Banakgir, that results in Manohar's birth. Bikram is a perfect ruler who is despondent that his queen has not borne him a child. He offers food to a holy man, expecting a blessing in return. The man's name, Roshan-i
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The protagonists of the story are Prince
Manohar and Madmalati. Manohar falls in love with Madmalati after seeing her in a dream, and his adventures in search of her take him to fantastical creatures and mythical figures, which are illustrated in the manuscripts' paintings. Much of the text describes
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with a begging bowl. After a hard journey through desert and wasteland, he eventually encounters Roshan-i Dil again in a beautiful garden filled with joyous creatures. Having been through a transformative journey and experienced hunger and thirst, he is worthy and is granted a magical fruit which
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Nusrati's extensive descriptions of nature and landscapes, from bleak settings to paradisiacal gardens, inspired the painters who illustrated manuscripts of the poem. No illustrated manuscripts of the poem from
Bijapur still exist, but some later creations have survived from a period when
123:. It describes the journey of a prince through a series of fantastical scenes in search of a woman he saw in a dream, leading to their union in a rose garden. Manuscripts of the poem, illustrated with lavish paintings, have survived from the 18th century to the present day.
176:, with an unkempt garden representing a world in disarray and a "garden of love" suggesting fulfilment and harmony. Deccani romantic literature used many layers of symbolism, involved convoluted plots, and normally centred around a
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Dil, can be read as "king of the heart". The holy man refuses the food and leaves without a blessing. Bikram goes in search of him, renouncing his comforts and living a life of extreme poverty as an
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language. The paintings combine scenes from the narrative with marginal illustrations of rural, urban, and court life. The figures and landscapes reflect the influence of the late
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was adapted from previous romantic poems, Nusrati's version was distinctive because of his extensive use of descriptions, both of natural scenery and of romantic love.
524:
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Husain, Ali Akbar (2011). "Reading
Gardens in Deccani Court Poetry: A Reappraisal of Nusratī's Gulshan-i 'Ishq". In Ali, Daud; Flatt, Emma J. (eds.).
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Upper: the queen in her private apartment. Lower: King Bikram offers food to the holy man Roshan-i Dil. From the 1710 manuscript in the
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Sharma, Sunil (2020). "Forging a Canon of Dakhni
Literature: Translations and Retellings from Persian". In Overton, Keelan (ed.).
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One illustrated manuscript, created at
Hyderabad around the year 1710, is now dispersed across several collections, including the
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Haidar, Navina Najat (2014). "Gulshan-I 'Ishq: Sufi
Romance of the Deccan". In Parodi, Laura E.; Eaton, Richard M. (eds.).
143:. He has been described as Bijapur's greatest poet. His poem takes inspiration from another Sufi romance, the 16th-century
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poetry, but combined it with a distinctively Indian flavour. The use of a garden as a metaphor was well established in
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439:"Review of The Visual World of Muslim India: The Art, Culture and Society of the Deccan in the Early Modern Era"
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366:(Revised and expanded ed.). Abu Dhabi: Tourism Development & Investment Company (TDIC). p. 289.
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to create a ten-minute video work, "Disruption as
Rapture", that animates images from its manuscript of the
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260:. It includes 97 colourful paintings and is signed by the calligrapher Ahmad ibn Abdullah Nadkar. The
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The Visual World of Muslim India: The Art, Culture and
Society of the Deccan in the Early Modern Era
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In 2016 the Philadelphia Museum of Art commissioned Pakistani-American visual artist
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Garden and landscape practices in precolonial India : histories from the Deccan
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Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, 1400–1700
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Earnest, Jarrett; Zwirner, Lucas; Bui, Phong (2017-11-21). "Shahzia Sikander".
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Fairies descend to the chamber of Prince Manohar, Metropolitan Museum of Art
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that is happily resolved at the end. These features are all present in the
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The arts of Islam : treasures from the Nasser D. Khalili collection
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Tell Me Something Good: Artist interviews from the Brooklyn Rail
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Sultans of Deccan India, 1500–1700: Opulence and Fantasy
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by Sayyid Manjhan Shattari Rajgiri. It also resembles
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264:in Hyderabad has eight more complete manuscripts.
16:Romantic allegorical poem by the Urdu poet Nusrati
222:took over as the cultural centre of Deccani art.
551:. Metropolitan Museum of Art. pp. 297–298.
303:Bikram prostrates himself before Roshan-i Dil,
690:. London: Nour Foundation. pp. 240–247.
545:Haidar, Navina Najat; Sardar, Marika (2015).
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523:: CS1 maint: location missing publisher (
248:Another illustrated manuscript dates from
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394:. Indiana University Press. p. 409.
724:. London: I.B.Tauris. pp. 295–318.
653:. Simon and Schuster. pp. 414–416.
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