Ascetics under a Banyan tree

Inayat Khan’s exquisite painting of resting ascetics under a banyan tree is a remarkable piece of art for its informed portrayal of daily life under Jahangir’s reign. The painting depicts the austere lifestyle and conditions of ascetics who chose to confine themselves to the margins of civilization to practice spirituality and pursue inner peace. As viewers, we observe an aging individual sitting cross-legged at the center of the painting, flanked by his disciples, who can be identified by their unclad appearance and thick hair. On the right, we see two Shaykhs in unembellished clothing who seem to have recently arrived—an observation suggested by the presence of their walking sticks and cloth bags (potlis)—under the embrace of the Guru to seek guidance or engage in a dialogue. On the left, we identify the figure of a dervish with his begging bowl and minimal clothing. The coming together of various spiritual figures from differing sects (Hindu, Muslim, and Sufi) under the shade of a banyan tree served as a message of communal harmony and the peaceful coexistence of subjects under Jahangir’s reign. The use of lighter shades of yellow and green, and the absence of textures and rich details in the artwork, is intended to suggest the rigours of a simple and uneventful lifestyle. The miniature is beautifully illustrated with golden floral motifs drawn upon a presumably indigo-dyed background at its borders.