Genre/Subject MatterThis image shows pilgrims camping at the Plain of 'Arafat. Located 21km southeast of the Masjid al-Haram, the plain, which extends 6 km from East to West and 12 km from North to South, and the 70 metre high granite hill at the centre of it are stations of the
hadj. Mount 'Arafat is located northeast of the plain and is also known as Jabal al-Rahmah or Mount of Mercy.On the ninth day of Dhul-Hijjah, known as the Day of 'Arafat, just before noon, pilgrims gather on the plain to perform
wuqufor ‘standing before God’, as can be seen in this image: this is a pillar of the
hadjand must be undertaken for the pilgrimage to be valid.In this image, the relatively slow shutter speed captures the ghost images of figures ascending the lower steps to the right of the image. However, many other individual figures are in sharp focus. Most of the pilgrims – male and female – are wearing the two piece garb, consisting of two white seamless sheets, associated with being in the state of
ihram, although some variation in style of dress is noticeable, such as the man wearing checked material clearly visible in the lower right corner of the scene, the woman standing to his left and the group of women wearing white trousers under the
ihramtowards the centre foreground. The men have clearly shaved their heads as a part of the ritual cleansing ceremony undertaken at the beginning of the
hadjin order to enter into the state of
ihram.InscriptionsRecto:Upper centre: ‘Picture of Mount 'Arafat’‘The place of assembly of the hajj and the locus of blessings (barakat)‘Arafat, the mine of God's mercy;Submission and supplication from the pilgrimsBeneficence and kindness from God. ‘To the right and left of the image:‘This is the mountain where repentance will be accepted. It was here that Adam, blessings be upon him, and Hawa [Eve], blessings be upon her, met and recognized each other – this is the reason why it is called Mount 'Arafat, that is, the "mountain of recognition." The [act of] hajj takes place here. This is the mountain where all sins of Muslims are certainly forgiven. At the time of the hajj, attendance here is quite overwhelming. People come and pitch tents, with the [act of] hajj occurring between the afternoon and sunset prayers. It is indeed a sight worth seeing – the manner in which Muslims, rich and poor, king and beggar, all wearing the ihram and looking alike, beseechingly asking for forgiveness of their sins from the true Creator and the real object of worship. The sobbing is convulsive and everything other than God is obliterated from the heart. Everyone is continually saying, while waving a handkerchief, "O Lord I am standing at Your service, You who are without equal, I am standing at Your service." On retiring to sleep, there is mystical happiness.’Lower centre: 'H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi'Lower right corner, along right edge, in pencil: ‘6’ ‘143’Verso:In pencil, upper right corner:IO/1434th [?] [? 07?] [illegible]Recto:In red ink on upper left of image and – faintly – beneath lower left intersection of cruciform double-barred frame:رجسطری شده[superscript ط]LabelsLabels (verso):1 – Letterpress‘143 H. A. Mirza & Sons: Photographers.نقشه جبل عرفاث (Naqsha-i-Jabal-i-Arafát.A photo. [sic] of the Arafát hills, with a briefdescription.) One sheet.
Published by thePhotographers: Delhi.(Octr. 15, 1907.)14 x 18º. Litho. Ist Edition.Price, R. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’Other NotesThe image was formerly referred to as ‘[Campsite at Mecca with the Arafat Hills in the distance.]’1 b&w photographic print held within a blue card window mountDimensionsMount (external): 349 x 450 mmMount (internal): 200 x 275 mm [landscape]FormatPhotographic print held within window mount in landscape formatMaterialsMottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)ConditionMount is extensively bowed, with light staining along all edges, particularly lower and right corner. Very light scuffing and wrinkling is also visible on the paper verso backing, which is under-laid by cotton strips.The print shows very little signs of toning, but is distorted gently throughout lower edge. There are surface losses, linear indentations and some puckering of the upper layer of the print at lower left corner.Foliation6 (143)ProcessGelatin silver print
Genre/Subject MatterThis image shows the cemetery known as the Paradise of al-Baqi' in Medina, which was the first Islamic cemetery. Located immediately to the southeast of the Masjid al-Nabawi, the cemetery holds significance due to its status as the burial site of many companions and relatives of Mohammed, who are traditionally venerated by Muslim pilgrims from the Indian subcontinent in particular.Many of the structures visible in this image were restored in the late nineteenth century by Sultan Abdulhamid II after destruction and damage to the graveyard in 1806 caused by Wahabbis. The mausoleum to the extreme right of the image and six further domes in the centre and left of the image appear in pristine condition. The highly decorated mausoleum is clearly in use, as pilgrims are visible standing and sitting in and around the doorway. Five women are seated around the white building in the centre right of the image.While many gravestones are visible, there are also graves marked by railings and what appear to be wooden latticework and/or frame structures marking graves. Date palms recede into the background and the Masjid al-Nabawi is not visible, indicating that the photograph was taken from an elevated position facing east southeast or due east across the expanse of the graveyard, perhaps from the city walls.InscriptionsRecto:Upper centre: 'Picture of the Paradise Garden of al-Baqi''To the right and left of the title:‘This paradise garden of al-Baqi' is a meadow of Paradise;Asleep within is the family of the Prophet, the lord of the age;Also here are the holy bodies of 'Uthman, the bashful, the darling of the Prophet and the companions pure.’To the right and left of the image:‘A small distance from the Bab Jibril is the paradise garden of al-Baqi'. It is the cemetery in which are tombs of Fatima the Resplendent, may God be pleased with her; 'Aisha the Sincere, may God be pleased with her; 'Uthman, may God be pleased with him; Imam Malik, may God have mercy on him, Halima, the fortunate, the noble-born wet-nurse of the refuge of apostleship and many other companions. From the beginning until now, this area has taken into loving embrace the inhabitants of this holy city and people whose soul birds have come here after having flown away from the cage of the elements [the body]. Here everyone moves around respectfully with the utmost care because God only knows where there may be a tomb belonging to some venerable person or companion [of the Prophet]. This is the cemetery for which most people pray to God, with utmost humility:O God, save me from every afflictionBy the honour of the chosen one, the lord of the beautiful [the Prophet]And grant me in Medina firmness of faith and burial in al-Baqi'.Amen.’Lower centre: ‘H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi’Lower right corner, along right edge, in pencil: ‘12’ ‘149’Verso:In pen, upper right corner:‘I.O / 1494th [?] [? 07?] [illegible]’Recto:In red ink in the upper left-hand corner of the image and – faintly – beneath lower left intersection of cruciform double-barred frame:رجسطری شده[superscript ط]LabelsLabels (verso):1 – Letterpress‘149 H. A. Mirza and Sons, Photographers.نقشه جنه المعلی (Naqsha-i-Jannat-ul-Mualla.A photo. [sic] of a graveyard near Mecca, with abrief description.) One sheet. Publishedby the Photographers: Delhi. (Octr.15, 1907.) 14 x 18º. Litho. Ist Edition.Price, Re. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’Other NotesThe image was formerly referred to as ‘Graveyard near Mecca’A letterpress on the verso of the previous image in the sequence, Photo 174/11, is the correct label for this image, while the letterpress as transcribed above refers to Photo 174/11.1 b&w photographic print held within a blue card window mountDimensionsMount (external): 345 x 450 mmMount (internal): 202 x 277 mm [landscape]FormatPhotographic print held within window mount in landscape formatMaterialsMottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)ConditionMount is mildly bowed, with light staining along all edges and fading along left-hand edge.=. Light staining and scuffing is also visible on the paper verso backing, which is otherwise in good condition.The print is welled towards right, left and lower edge of the image throughout, and shows signs of heavy toning. A surface loss 4.5 cm from lower and 2.5 cm from left has been in-filled. A flower-like white shape 9 cm from lower and 6.5 cm from left is a printing blemish or a flaw at the time of exposure.Foliation12 (149)ProcessGelatin silver print
Genre/Subject MatterThis image shows the cemetery known as the Paradise of al-Ma’ala or Jannat al-Mualla, situated north northeast of the Masjid al-Haram, in which several of the Prophet Mohammed’s relatives were buried.Some of those buried there are listed in the surrounding prose, including the Prophet’s mother Amina and his first wife, Khadija. The words to the right and left of the title also mention that this graveyard was the resting place of the ‘neighbours of God’, in other words, neighbours of the ‘House of God’, i.e. Meccans.InscriptionsRecto:Upper centre: ‘Picture of the Paradise of al-Ma'ala’To the right and left of the title:‘Friends, this is the burial place of the neighbours of God.Friends, this is the resting place of the pilgrims and the people of Mecca.How fortunate are those who have been buried here.Friends, on this cemetery is the infinite mercy [of God].’To the right and left of the image:‘This vast cemetery on the road to Mina and ‘Arafat, between two mountains adjoining the honourable city of Mecca to the north and east, contains two divisions. Its original and former name was Ma’alat. From frequency of use it became Ma’ala. The word jannat (paradise) was added later. In the parlance of the pilgrims its popular name is the “paradise of al-Ma’ala” [“the lofty paradise”]; the Meccans, however, still call it Ma’ala or Mala. This is the cemetery in which are buried hundreds of companions of the Prophet and the followers [i.e., the generations after the companions], thousands of enlightened friends of God [saints], and the beloved servants of God. The mausoleum of the Prophet’s glorious mother, the Lady Amina, may God be pleased with her, located at the boundary of this cemetery is well adorned with great splendour, carpets, and so on. The holy mausoleum of the Prophet’s first wife, the mother of Fatima, the resplendent, and the mother of believers, the Lady Khadija the Great, is also here. It is near the mausoleum of the Lady Amina, may God be pleased with her, and is decorated with various kinds of beautiful inscriptions, valuable and elegant arabesques, and lanterns. Its dome is of great splendour. In reality, nobody knows with certainty the real location of her tomb. The existing mausoleum was built by Fuzail ibn ‘Iyaz on the basis of an inspiration. This perfect man was a saint and his mausoleum is also here.’Lower centre: ‘H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi’Lower right corner, along right edge, in pencil: ‘11’ ‘148’Verso:In pen, upper right corner:‘I.O / 1484th [?] [? 07?] [illegible]’In pencil (cataloguer’s note):‘This refers to photo 147’ [sic]Recto:In red ink in the upper right-hand corner of the image and – faintly – beneath lower left intersection of cruciform double-barred frame:رجسطری شده[superscript ط]LabelsLabels (verso):1 – Letterpress‘148 H. A. Mirza and Sons, Photographers.نقشه مزار سیر حمزه رضی الله عذه (Naqsha-i-Jannat-ul-Baqi.A photo. [sic] of the Medina graveyard, with abrief description.) One sheet. Publishedby the Photographers: Delhi. (Octr.15, 1907.) 14 x 18º. Litho. Ist Edition.Price, Re. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’Other NotesThe image was formerly referred to as ‘The tomb of Amir Hamaza at Medina’An erroneous cataloguer's note handwritten in pencil beneath the letterpress on verso states that the letterpress ('caption') refers to the following image in the sequence, Photo 174/10, previously listed as ‘147’). This is incorrect.However, the letterpress does refer to Photo 174/12 (formerly ‘149’).1 b&w photographic print held within a blue card window mountDimensionsMount (external): 346 x 445 mmMount (internal): 202 x 276 mm [landscape]FormatPhotographic print held within window mount in landscape formatMaterialsMottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)ConditionMount is mildly bowed, with light staining along all edges, particularly right-hand. Light staining and scuffing is also visible on the paper verso backing, which is otherwise in good condition.The print is welled throughout, but otherwise shows no sign of toning. A tear 2 cm from upper and 8 cm from right has been stabilised.Foliation11 (148)ProcessGelatin silver print
Genre/Subject MatterThis image shows the Haram (Sanctuary) of the Masjid al-Nabawi or Mosque of the Prophet at Medina from an elevated position northeast of the oldest portion of the building, which contains the tombs of Mohammed, Abu Bakr and ‘Umar ibn al-Khattab.The dome erected over them, known as Al-Rawdah, which is visible to the left of this image, was constructed in 1817 during the reign of the Ottoman Sultan Mahmud II and was painted a distinctive green colour in 1839.By contrast to those structures visible in the foreground of the alternative view of the Haram, also titled 'Picture of the Sanctuary of Medina the Radiant' (Photo 174/2), these houses are clearly well maintained, with mud or lime plastered low parapets, wooden lintels above some windows and wooden shutters covering others. These structures are likely to have been constructed in a manner indigenous to the region and which resemble the semi-ruined structures in the previous image; that is, walls constructed from black basalt coated with mud plaster for the lower storeys and similarly coated mud brick for the upper storeys.InscriptionsRecto:Upper centre:‘Picture of the Sanctuary of Medina the Radiant’To the right and left of the title:‘The sanctuary of the mosque of the messenger of God which the world yearns to see.A garden of Paradise and the mausoleum of the Prophet;If you must see it, here is its image.’To the right and left of the image:‘Within the holy sanctuary, the Mosque of the Prophet is well adorned. On both sides of the holy pulpit flags have been set up. A green curtain hangs on the door of the pulpit. Everyone longs to sit in this garden of Paradise. They walk around with flasks of cold water from [the well of] Zamzam. In front of the blessed mausoleum, on a high stage, sits the shaikh of the sanctuary. Turkish soldiers in black and yellow uniform stand respectfully. At the Bab Jibril there is also a guard. Though people from different countries are present here, yet it is a world of complete silence. In accordance with the custom of the Prophet, on Fridays the preacher enters immediately after the call to prayer accompanied by the muezzin. The muezzin gives the call to prayer by standing on the first stair of the pulpit, four other muezzins repeat it after him. With [recitation of the] words,
Allahu akbar, divine glory becomes manifest. When the venerable name of the Prophet occurs in the call to prayer, a tumult of prayers and blessings on the Prophet rises from the entire mosque. When the words, “This is the noble Prophet”, come forth from the mouth of the preacher, hearts in breasts become restless and streams of tears begin to flow from the eyes. It entirely seems as if the Prophet himself were alive. After the prayer, the pilgrims and visitors [to the tomb] stand respectfully, reciting benedictions and blessings on the Prophet. The instructor guides continue reciting blessings, and all follow them in a loud voice. Then all return to their own places of residence with unwilling hearts. Engraved across one side of the lattices of the most sacred mausoleum: “There is no god but the Lord, the Truth, the Manifest; Mohammed, the one faithful to promise, the trustworthy, is the messenger of God.” All the letters are visible individually, with desirous eyes yearning to see them all the time.’Lower centre: 'H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi'Lower right corner, along right edge, in pencil: ‘4’ ‘141’Verso:In pencil, upper right corner:IO/139 [sic] 4th [?] [? 07?] [illegible]Recto:In red ink on upper left of image and – faintly – beneath lower left intersection of cruciform double-barred frame:رجسطری شده [superscript ط]LabelsVerso:1 – Letterpress‘141 H. A. Mirza & Sons, Photographers.نقشه حرم مدینه منوره [Naqsha-i-Haram-i-Medina-i-Munawwarah. A photo of theHaram at Medina, with a brief description.)One sheet. A second view.
Published bythe Photographers: Delhi.(Octr. 15,1907.) 14 x 18º. Litho. Ist Edition.Price, R. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’Other NotesThe image was formerly referred to as ‘The Haram at Medina’1 b&w photographic print held within a blue card window mountThe similarities between Photo 174/2 and this image are such that even the original cataloguers noted that this work was "I.O. 139" on the verso. The letterpress label on the verso accurately records the sequence as arranged by the Secretary of State for India Library, however: '141'.DimensionsMount (external): 350 x 446 mmMount (internal): 200 x 275 mm [landscape]FormatPhotographic print held within window mount in landscape formatMaterialsMottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)ConditionMount is extensively bowed, with light staining along all edges. Very light scuffing, wrinkling and staining is also visible on the paper verso backing, which is under-laid by cotton strips, while a tear below the print has been stabilised.The print shows no signs of toning and is in excellent condition save for a surface tear approximately three centimetres from lower edge and eight centimetres from right, which has been stabilised. The print has lifted and is short of the lower left corner of the mount by approximately one millimetre.Foliation4 (141) (139) [sic]ProcessGelatin silver print
Genre/Subject MatterThis image shows the Haram (Sanctuary) of the Masjid al-Nabawi or Mosque of the Prophet at Medina from an elevated position northwest of the oldest portion of the building which contains the tombs of Mohammed, Abu Bakr and ‘Umar ibn al-Khattab.The dome erected over them, known as Al-Rawdah, which is visible in the centre of this image, was constructed in 1817 during the reign of the Ottoman Sultan Mahmud II and was painted a distinctive green colour in 1839.Many of the semi-inhabited structures visible in the foreground of this image are likely to have been constructed in a manner indigenous to the region, which resemble ruins in nearby Khaybar; that is, tapering walls constructed from black basalt coated with mud plaster for the lower storeys and similarly coated mud brick for the upper storeys (cf. Photo 174/4).InscriptionsRecto:Upper centre:‘Picture of the Sanctuary of Medina the Radiant’To the right and left of the title:‘The sanctuary of the mosque of the messenger of God which the world yearns to see.A garden of Paradise and the mausoleum of the Prophet;If you must see it, here is its image.’To the right and left of the image:‘Within the holy sanctuary, the Mosque of the Prophet is well adorned. On both sides of the holy pulpit flags have been set up. A green curtain hangs on the door of the pulpit. Everyone longs to sit in this garden of Paradise. They walk around with flasks of cold water from [the well of] Zamzam. In front of the blessed mausoleum, on a high stage, sits the shaikh of the sanctuary. Turkish soldiers in black and yellow uniform stand respectfully. At the Bab Jibril there is also a guard. Though people from different countries are present here, yet it is a world of complete silence. In accordance with the custom of the Prophet, on Fridays the preacher enters immediately after the call to prayer accompanied by the muezzin. The muezzin gives the call to prayer by standing on the first stair of the pulpit, four other muezzins repeat it after him. With [recitation of the] words,
Allahu akbar, divine glory becomes manifest. When the venerable name of the Prophet occurs in the call to prayer, a tumult of prayers and blessings on the Prophet rises from the entire mosque. When the words, “This is the noble Prophet”, come forth from the mouth of the preacher, hearts in breasts become restless and streams of tears begin to flow from the eyes. It entirely seems as if the Prophet himself were alive. After the prayer, the pilgrims and visitors [to the tomb] stand respectfully, reciting benedictions and blessings on the Prophet. The instructor guides continue reciting blessings, and all follow them in a loud voice. Then all return to their own places of residence with unwilling hearts. Engraved across one side of the lattices of the most sacred mausoleum: “There is no god but the Lord, the Truth, the Manifest; Mohammed, the one faithful to promise, the trustworthy, is the messenger of God.” All the letters are visible individually, with desirous eyes yearning to see them all the time.’Lower centre: 'H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi'Lower right corner, along right edge, in pencil: ‘2’ ‘139’Verso:In pencil, upper right corner:IO/139 4th [?] [? 07?] [illegible]Recto:In red ink on upper left of image and – faintly – beneath lower left intersection of cruciform double-barred frame:رجسطری شده [superscript ط]LabelsVerso:1 – Letterpress‘139 H. A. Mirza & Sons, Photographers.نقشه حرم مدینه ذرره (Naqsha-i-Haram-i-Medina-i-Munawwarah. A photo. [sic] of theHaram at Medina, with a brief des-cription.) One sheet.
Published by thePhotographers: Delhi.(Octr. 15, 1907.)14 x 18º Litho. Ist Edition.Price, R. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’Other NotesThe image was formerly referred to as ‘The Haram at Medina’1 photograph held within a blue card window mountDimensionsMount (external): 350 x 446 mmMount (internal): 200 x 275 mm [landscape]FormatPhotographic print held within window mount in landscape formatMaterialsMottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)ConditionMount is extensively bowed and edges are scuffed on the recto, particularly lower left, with light staining along all edges. A sliver of surface material has been excised from the upper right of the internal window. Creasing, scuffing and light staining is also visible on the paper verso backing.The print is bubbled and distorted across the surface, with some loss of glossy surface in the lower left corner as well as sticky residue in the upper left.Foliation2 (139)ProcessGelatin silver print
Genre/Subject MatterThis image shows the Caaba and Sanctuary at Mecca from a position within the Masjid al-Haram west-southwest of the Caaba. Pilgrims surround the Caaba; all are facing it while some are performing the
tawaf– the ritual of circumambulation of the Caaba seven times in a counter-clockwise direction during the hadj or umrah, starting from the black stone.Buildings line the foothills of the sacred mountain Jebel Abu Qubays (1220 ft / 460 m) in the background, which overlooks the Masjid al-Haram to the east; at the summit the white-washed walls and minaret of the Bilal mosque can clearly be seen.The several-storeyed structures built between and the Masjid al-Haram and on the lower slopes of Abu Qubays feature a number of distinctive architectural features. At least two impressive
rawashin(known elsewhere as mashrabiyya, or enclosed balcony) can be seen immediately to the left and behind the Caaba.InscriptionsRecto:Upper centre: 'Picture of the Sanctuary of Mecca the Great'To the right and left of the title:‘Memorial of Khalil [Abraham] and Isma'ilThe place of manifestation of the mercy of God, the glorious;Zamzam, the black stone, and the waterspoutThe qibla of the world, the residence of Khalil.’To the right and left of the image:‘The length of the Ka'ba complex, that is, the sacred mosque, is 460 yards from east to west and the breadth from the [northern] Syrian corner to the [southern] Yemeni wall is 304 yards. The Ka'ba is in the centre of the sanctuary. It is a building of dust-coloured stone with marble foundations. Over it lies perpetually a black cover into which the noble confession of the faith has been woven. Three-quarters of the way up the building, written in gold Arabic letters, are the names of the Turkish [i.e., Ottoman] kings and verses from the Qur'an. This cover is attached on all four sides to golden rings. The cover is newly prepared every year and comes [to Mecca] with the Egyptian and Syrian ceremonial litter (
mahmal).On the outside of the Ka'ba, on the northeast corner, set in a silver ring, is a black stone which is called
hajaru'l-aswad. At the time of the circumambulation, they [the pilgrims] kiss it. The circumambulation begins here, and they [the pilgrims] complete it after returning here. On the northern side of the sacred sanctuary is a gold waterspout called
mizab-i rahmat, "the water spout of mercy." Beneath it, [the Prophet] Isma'il is buried.The one and only door of the Ka'ba is on the east side, at the height of a man above the ground. On its panels, leaves of silver have been mounted and gold also appears. 'Ali, may God ennoble his face, was born inside the Ka'ba. Here hangs a gilded curtain on which the
ayat al-baiyinat[the clear and evident Qur'anic verses] are written. Inside, the floor is of marble. Out of fear and awe, no eye can turn itself [i.e., look] towards the blessed ceiling. The door of repentance is also here. On the northern side of the noble Ka'ba, across from "the waterspout of mercy" stands the
hatim, a semi-circular wall made of marble. This wall is as high as a man. Here the supererogatory prayer is recited. This place, too, is contained in the interior of the Ka'ba complex.The residence of Abraham is a two-storied building opposite the door of the Ka'ba complex. On the first floor, in the middle of the lattice, is the stone on which Abraham had placed his foot during construction. On this stone is found the print of his sacred foot. On the door is a silver lock. After the circumambulation, a prayer of two cycles is recited. A few feet from Abraham's house is the well of Zamzam. It is 87 yards deep. Its water is cold, healing, repels affliction, and quenches thirst and hunger. Beyond the
matafare the four prayer places of the imams, may God be pleased with them. The Hanafi prayer place is a two-storied building across from the waterspout of mercy. It is built of marble, and there is wooden canopy here.’Lower centre: 'H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi'Lower right corner, along right edge, in pencil: ‘5’ ‘142’Verso:In pencil, upper right corner:IO/1424th [?] [? 07?] [illegible]Recto:In red ink on upper left of image and – faintly – beneath lower left intersection of cruciform double-barred frame:رجسطری شده[superscript ط]LabelsLabels (verso):1 – Letterpress‘142 H. A. Mirza & Sons: Photographers.نقشه حرم مکه معظمه (Naqsha-i-Haram-i-Mecca-i-Muzazima. A photo. [sic] of the Haramat Mecca, with a brief description.) Onesheet. Published by the Photographers:Delhi. (Octr. 15, 1907.) 14 x 18. Litho.Ist Edition.Price, R. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’3 – Letterpress'These pictures of Mecca and Medina [are presented here with] all rights reserved; no one may copy these under penalty of punishment. H.A. Mirza & Sons, Photographers, Chandni Chowk, Delhi’Other NotesThe image was formerly referred to as ‘The Haram at Mecca. [View of pilgrims at the Kaaba].’1 b&w photographic print held within a blue card window mount
Genre/Subject MatterThis image shows the tents of the Ottoman Turkish troops at their camp at Medina. Despite the apparently secular nature of the subject, and the fact that the camp does not depict a stopping-off point on the hadj, the laudatory poetry and prose makes clear the relevance of the image to the experience of the hadj – that is, that the Turks, as ‘military people of the highest rank’ serve Islam by defending and enabling the passage to Mecca and Medina for other Muslims.As with the other photographs in this album (Photo 174/1-13), whose subjects are architectural and landscape, the figures are not the subject of the image. However, a detailed examination of the image shows the soldiers going about their day-to-day activities, such as cooking and eating. The method by which the ground would have been prepared before a tent was erected is indicated by the empty low circular foundation in the lower left corner of the image. In the distance, in the right-hand background of the image, beyond the dry-stone wall delineating the camp, palm groves and permanent dwellings can be identified.InscriptionsRecto:Upper centre: 'Picture of the Tents of the Turks'To the right and left of the title:'These are the true men of God, the fighters for God's religion;These are the Turks who sacrificed their lives for the path of the chosen one [i.e., Muhammad]Friends, these are the tents of the warriors of the faith;These are the lions of God, the sincere upholders of the faith.'To the right and left of the image:'The people, the accounts of whose bravery have filled the pages of world history; the people – each drop of blood that was extracted from every individual and made into a gem of bravery and heroism; the people who made even their enemies utter, "Truly in the entire world, these are a military people of the highest rank"; the people who amongst themselves are a people of the highest degree of kindheartedness and hospitality; the people who in their religious ardour are always ready to sacrifice their life; who are those people? Those people, those blessed people, are these very Turks. They are the self-sacrificing people who, since the time they accepted the blessing of Islam, have served it with spiritual and material commitment, without the slightest hesitation. These are the blessed tents of these people which remain standing in an orderly manner in Medina the Radiant.'Lower centre: 'H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi'Lower right corner, along right edge, in pencil: ‘1’ ‘138’Verso:In pencil, upper right corner: IO/138 4th [?] [? 07?] [illegible]Recto:In red ink on upper left of image and – faintly – beneath lower left intersection of cruciform double-barred frame)رجسطری شده[superscript ط]Labels(verso):1 – Letterpress‘138 H. A. Mirza & Sons: Photographers.نقشه خیام ترکان (Naqsha-i Khyiám-i-TurkánA photo. [sic] of the Turkish camp in Medinawith a brief description.) One sheet.Published by the Photographers: Delhi.(Octr. 15, 1907.) 14 x 18º. Litho. IstEdition.Price, R. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library’Other NotesThe image was formerly referred to as: ‘The Turkish Camp at Medina’1 b&w photographic print held within a blue card window mountDimensionsMount (external): 350 x 446 mmMount (internal): 202 x 273 mm [landscape]FormatPhotographic print held within window mount in landscape format.MaterialsMottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)ConditionMount is extensively bowed and edges are scuffed on the recto, particularly lower left, with staining along all edges. Creasing, scuffing and light staining is also visible on the verso, which consists of a paper backing over cotton strips.The print shows signs of toning, linear indentation as well as bubbling and distortion across the surface.Foliation1 (138)ProcessGelatin silver print
Genre/Subject MatterThis photograph depicts the mausoleum dedicated to Amir Hamza as well as, in the background, Mount Uhud, approximately 4-5 km north of the Masjid al-Nabawi, Medina. It was taken from a position southeast or southwest of the mausoleum.The surrounding text makes reference to the martyrdom of Hamza and other ‘companions of the prophet’, as well as the incident in which Mohammed lost two teeth in the battle. Born ‘Abd al-Muttalib, Hamza was the paternal uncle of Mohammed and is venerated for his heroism and ultimate martyrdom at this site during the Battle of Uhud (625 CE) against the Meccans.The structure in this image may have been, at least in location and outline, the same as that rebuilt in the twelfth century – which in turn followed a traditional site of veneration dating to the second century A.H. – however, the aspects of the building visible here are clearly more modern, particularly the hewn-stone outer wall. Richard Burton, in his
Personal Narrative of a Pilgrimage to El Medinah and Meccah(1857, Vol. I, pp. 407–08), describes and illustrates a ground plan of a mausoleum-cum-mosque at this site, which is identical in description to that illustrated here.Pilgrims can be seen entering into the mausoleum, while a lone Ottoman soldier stands in the centre of the image at the corner of the building. Some figures are blurred from movement during the exposure. To the right of the entrance and adjacent to the neighbouring low-lying building in the right middleground a stand bearing rows of earthenware or wooden vessels is situated: these may have had a ceremonial function for pilgrims and bear a resemblance to the
Ibrīqsillustrated by Christian Snouck Hurgronje in his 1888 publication,
Bilder-Atlas zu Mekka. Compare also the vessels in evidence in the foreground in Photo 174/9.InscriptionsRecto:Upper centre: ‘Picture of the Mausoleum of Our Lord Amir Hamza, May God Be Pleased upon Him’To the right and left of the title:‘The sacred tomb of the lord of martyrsHamza, the lion of Divine Truth and friend of GodThe holy uncle of the Prophet and the lion of [the battle of] Uhud,Devotee of the path of God's will.’To the right and left of the image:‘This pilgrimage site is located at a distance of approximately three miles from the city of Medina the Radiant. A guide-instructor here makes pilgrims recite the benedictions. Here takes place the pilgrimage to the mausoleum of Amir Hamza and the companions [of the Prophet], the treasury of martyrs, the relic of the blessed teeth, the relic of the blessed head of Khalid ibn Walid, the cave with the fissure, the mountain, the place of martyrdom of the Amir, and so on. Here also is Mount Uhud concerning which the Prophet has said, “I have toward it and the mountain has toward me a very special love”.’Lower centre: 'H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi'Lower right corner, along right edge, in pencil: ‘10’ ‘147’Verso:In pen, upper right corner:‘I.O / 1474th [?] [? 07?] [illegible]’In pencil (cataloguer’s note):‘This caption refers to photo 148’ [sic]Recto:In red ink on lower centre right of image and – faintly – beneath lower left intersection of cruciform double-barred frame:رجسطری شد[superscript ط]LabelLabels (verso):1 – Letterpress‘147 H. A. Mirza and Sons, Photographers.نقشه مزار سیر حمزه رضی الله عذه (Naqsha-i-Mazár-i-Saiyiyadana Amir Hamaza, RaziAllah-o-Anho. A photo. [sic] of the tomb of AmirHamaza at Medina, with a brief descrip-tion.) One sheet. Published by the Pho-tographers: Delhi. (Octr. 15, 1907.)14 x 18º. Litho. Ist Edition.Price, Re. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’Other NotesThe image was formerly referred to as ‘The tomb of Amir Hamaza at Medina’An erroneous cataloguer's note handwritten in pencil beneath the letterpress on verso states that the letterpress ('caption') refers to the following image in the sequence, Photo 174/11. This is incorrect.1 b&w photographic print held within a blue card window mountDimensionsMount (external): 348 x 445 mmMount (internal): 202 x 276 mm [landscape]FormatPhotographic print held within window mount in landscape formatMaterialsMottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)ConditionMount is mildly bowed, with light staining along all edges, particularly right-hand. Some dark spatter-marks extend from the upper left and are unknown in origin. A lengthy crease extends across the upper bar from left-hand edge almost to right-hand edge. Light staining and scuffing is also visible on the paper verso backing, which is otherwise in good condition.The print is welled slightly throughout, but otherwise shows no sign of toning. One small surface loss is visible in the lower right corner. A blemish in the upper right is post-printing.Foliation10 (147)ProcessGelatin silver print
Genre/Subject MatterThis image shows a panoramic view of the city of Medina from an elevated position outside of the city walls, possibly from a rocky outcrop which is still to be found northwest of the Masjid al-Nabawi. Part of the old walls of the city – raised to 25m by Sultan ‘Abd al-ʿAzīz in the period 1868–9 can be seen in middle ground, along with the Bab al-Shami, or Syrian Gate.The poetry and prose that surround this image make specific reference to the city’s pre-Islamic history as well the ‘ruins and traces’ of that once flourishing Jewish-dominated city (Yat̲h̲rib), which may be intended to refer to the semi-ruined dwellings in the foreground, though these are certainly not pre-Islamic. These structures are clearly being utilised: goat hides can be seen draped and stretched over wooden frames nearby, a man lies in the shade near the left-most building, while a donkey can be seen tethered behind the house and near to a herd of goats.Behind the city walls, the Masjid al-Nabawi's five minarets and distinctive domes rise over the city. The pale bulbous dome visible behind and to the right of the Masjid's leftmost minarets is the main mausoleum of the al-Baqi cemetery (cf. Photo 174/12). Some of the larger buildings between the mosque and the city walls are also to be found in Mohammed Sadiq Bey's photograph taken from a similar position along the walls of the city: cf. Muhammad Sadiq Bey,
Medina: Masjid al-Nabawi and pilgrims' tents outside the walls, 1861 or 1880–81 in the Harvard University Library collection.InscriptionsRecto:Upper centre: ‘Picture of the City of Medina the Radiant’‘This is the most pure Taibah of the chosen one. This is the mausoleum of the chief of the prophets. It is fitting if you place on the mirror of the heart the photo of the Medina of the king of the two worlds.’To the right and left of the image:‘Medina the Radiant is a very old city which had flourished several thousand years before the era of the lord of the universe and the pride of created beings [the Prophet Muhammad], may the peace and blessings of God be upon him. Man Amaliq, who first laid its foundations, was also the first to plant date palms here. According to tradition, its first residences and buildings were built by Thayrat [sic] ibn Qabih ibn Mahla'il ibn Aram ibn Sam ibn Nuh, may blessings be upon him. In the era before Islam, the Jews, Christians, and idolaters were in great strength here. Around the city there were a few fortresses belonging to the Jews, the ruins and traces of which are still found today. At one time Medina had been a verdant and pleasant city, but the misfortunes of time have obliterated traces of those former days. Old Medina, which is at a distance of three miles from present-day Medina, is a living witness to this fact. By way of the royal highway, it is eleven miles from Mecca the Great; six miles by way of Rabigh and five days journey from the direction of Yanbu. Around the city are stone fortifications that are forty feet high. The buildings are magnificent, tall, solid, and of lime and mortar. Lattices and windows of wood are in abundance. The bazaar is spacious. In comparison to Mecca, the mendicants and beggars are very few. No beggar is allowed to enter the holy sanctuary in particular. They remain seated at the door of the holy sanctuary fully trusting in God. The climate here is very good, and there is no kind of contagious disease. In Medina the Radiant, many companions built hospices by way of perpetual charity. Most buildings are charitable endowments (
waqf). Quite a few are rented out by the government, the income being deposited in the public treasury.’Lower centre: 'H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi'Lower right corner, along right edge, in pencil: ‘7’ ‘144’Verso:In pen, upper right corner:BM/143 [‘BM’ crossed out and, in pencil ‘IO’ written over]4th [?] [? 07?] [illegible]Recto:In red ink on upper left of image and – faintly – beneath lower left intersection of cruciform double-barred frame:رجسطری شده[superscript ط]LabelsVerso:1 – Letterpress‘144 H. A. Mirza & Sons, Photographers.نقشه شهر مدینه ممنوره (Naqsha-i-Shahr-iMedina Munawwarah. A photo. [sic] of the cityof Medina. With a brief description.) Onesheet.
Published by the Photographers:Dehli[sic] (Octr. 15, 1907.) 14 x 18º. Litho.Ist Edition.Price, R. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’3 – Letterpress:'These pictures of Mecca and Medina [are presented here with] all rights reserved; no one may copy these under penalty of punishment. H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi’Other NotesThe image was formerly referred to as ‘The City of Medina’1 b&w photographic print held within a blue card window mountDimensionsMount (external): 348 x 445 mmMount (internal): 202 x 276 mm [landscape]FormatPhotographic print held within window mount in landscape formatMaterialsMottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)ConditionMount is extensively bowed, with light staining along all edges, particularly upper. Very light scuffing is also visible on the paper verso backing.The print shows very little signs of toning, but is distorted gently throughout. A blemish approximately one and a half centimetres from left and six and a half centimetres from upper probably originates in the printing process and is not a surface loss.Foliation7 (144)ProcessGelatin silver print
Genre/Subject MatterThis image shows the Caaba and Sanctuary at Mecca from an elevated position due East of the Masjid al-Haram, or Grand Mosque. Parts of the northwest of the city of Mecca are visible in the background.Due to the relatively slow shutter speed used by the photographer, the movement of the pilgrims performing
tawaf– the ritual of circumambulation of the Caaba seven times in a counter-clockwise direction during the
hadjor
umrah, starting from the black stone – is captured here as indistinct blurring of the figures closest to the Caaba.A magnified inspection of the scene reveals an extensive and detailed view west-northwest of the city including many Ottoman-era and earlier structures, including a large white-washed building is situated immediately below the horizon on the foothills of the northern ridge.InscriptionsRecto:Upper centre:‘Picture of the City of Mecca the Great’To the right and left of the title:‘This is Mecca, the beloved residence of God.Within it is His house, the bait al-haram.All the virtues of the world are perfected in it;Blessings from on high descend here day and night.’To the right and left of the image:‘It has many names such as balad al-amin and so on. Adam, peace be upon him, was the first to build the Ka'ba. The surrounding buildings were built during the time of Qasa ibn Kulab, the Prophet's paternal grandfather of the fifth generation. Before this [time], there were only the small huts of Arabs on the two hills. Its greatness is recorded in the books of tradition (hadith) and in the holy Qur'an. At present this city has become extremely graceful and beautiful. It is a veritable example of Islamic glory.In the noble Mecca, the places of pilgrimages are as follows:1) the house of Khuzairan2) Mount Abi Qabus3) the birthplace of the Prophet4) the birthplace of ‘Ali5) the house of Khadija the Great6) the Mosque of the Jinn7) the paradise of al-Ma‘ala8) the mausoleum of Amina, may God be pleased with her9) the mausoleum of Khadija the Great, may God be pleased with her10) Mount Nur or the cave of Hira11) the birthplace of the “sincere one”12) the mosque of Amir Hamza, peace be upon him13) the residence of 'Umar Faruq’Lower centre: 'H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi'Lower right corner, along right edge, in pencil: ‘3’ ‘140’Verso:In pencil, upper right corner:I/1404th [?] [? 07?] [illegible]Recto:In red ink on upper left of image and – faintly – beneath lower left intersection of cruciform double-barred frame:رجسطری شده[superscript ط]LabelsLabels (verso):1 – Letterpress‘140 H. A. Mirza & Sons, Photographers.نقشه شهر مکه معظمه (Naqsha-i-Shahr-i-Mecca-i-Muazzama. A photo. [sic] of Mecca,together with a brief description.) Onesheet.
Published by the Photographers:Delhi.(Octr. 15, 1907.) 14 x 18º. Litho.Price, R. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’Other NotesThe image was formerly referred to as ‘General view looking down on the great mosque at Mecca with the Kaaba.’1 b&w photograph held within a blue card window mount
Genre/Subject MatterThis photograph was taken from an elevated view northeast of the Masjid al-Khayf in Mina, seven kilometres east of the Masjid al-Haram in Mecca. Mina is a station of the
hadj, where pilgrims camp out on the 8th, 11th, 12th (and some on the 13th) of Dhul-Hijjah, as can be seen in this image.The regular, white-washed crenellated perimeter wall of the mosque is broken to the right of the taller minaret by an iwan-like entrance and a taller structure, which appears damaged. Several earthenware or wooden vessels placed adjacent to a wall in the centre foreground bear a resemblance to the
Ibrīqsillustrated by Christian Snouck Hurgronje in his 1888 publication,
Bilder-Atlas zu Mekka. As such, they may have a ceremonial function, or indeed be vessels for carrying water from the Zemzem well. Compare also the vessels in evidence in Photo 174/10.Amongst the many and varying tents pitched before the mosque in the middle-ground are a wide variety of beasts of burden, such as horses, camels and donkeys, some of which are carrying litters – often used to carry women on long journeys throughout the Arabian peninsula. Due to the relatively slow shutter speed required to capture this image, many of the figures are blurred, particularly within the open space before the mosque in the left of the image.InscriptionsRecto:Upper centre: ‘Picture of the Mosque of Khaif and Mina’‘The mosque of Khaif and Mina is the house of mercyThe eminent, blessed, and famous place of worship.The wise friend of God [i.e., Abraham] himself brought for sacrifice to this place, Isma'il’To the right and left of the image:‘Located at the foot of the mountain, it is a building of stone. It has an open courtyard in the middle of which is a domed building. Here the ritual prayer consists of five cycles. There is a tradition that most prophets have assembled here and prayed. This is the very field where Abraham, blessings be upon him, had intended to sacrifice his beloved son Isma'il in accordance with divine command. It is on this ground that he had him [Isma'il] lie down and stroked his neck with a knife. However, God the merciful, having accepted this sacrifice sanctioned that a ram be sacrificed instead.’Lower centre: 'H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi'Lower right corner, along right edge, in pencil: ‘9’ ‘146’Verso:In pen, upper right corner:‘I.O / 1464th [?] [? 07?] [illegible]’Recto:In red ink on lower centre right of image and – faintly – beneath lower left intersection of cruciform double-barred frame:رجسطری شده[superscript ط]LabelsLabels (verso):1 – Letterpress‘146 H. A. Mirza and Sons, Photographers.نقشه مسجد حنیف و منا (Naqsha-i-Masjid-i-Hanif wa Mina. A photo. [sic] of the mosqueHanif-o-Mina with a brief description.)One sheet.
Published by the Photogra-phers: Delhi.(Octr. 15, 1907.)14 x 18º. Litho. Ist Edition.Price, Re. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’Other NotesThe image was formerly referred to as ‘Hanif-o-Mina mosque, Medina’1 b&w photographic print held within a blue card window mountDimensionsMount (external): 3450 x 445 mmMount (internal): 200 x 276 mm [landscape]FormatPhotographic print held within window mount in landscape formatMaterialsMottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)ConditionMount is mildly bowed, with light staining along all edges, particularly lower. Dark spatter-marks extend from the upper left corner to the lower left corner along the left edge and are unknown in origin. There is a slight tear in the surface material along lower edge, four and a half centimetres from lower left corner. Light staining, scuffing and wrinkling is also visible on the paper verso backing.The print shows no sign of toning and is distorted gently throughout.Foliation9 (146)ProcessGelatin silver print
Genre/Subject MatterThis photograph depicts the mosque at Quba, which is located about three miles south-southeast of the Masjid al-Nawabi in the former outskirts of Medina.Quba was the first place for public prayer founded by Mohammed during the
hijrafrom Mecca to Medina in 622 AD. The surrounding text refers to the founding of the mosque as well as its relative importance, due to the association between the place and Qur’anic notions of piety.The building itself does not take central place in the composition; rather, palm groves occupy the foreground and middleground, while the crenellated walls, lone minaret and four visible domes of the mosque occupy the central and left background. The text refers to the ‘green and fertile land’ surrounding the mosque. A lone Ottoman soldier is posed immediately left of the central foreground.InscriptionsRecto:Upper centre: ‘Picture of the Mosque of Quba’To the right and left of the title:‘Come, have a look – this is that mosque of Quba which is the prayer place of “the essence of the beloved of Divine Grandeur” [the prophet Muhammad]Look, the holy Qur'an praises it, for it has been built, since the beginning of creation for its piety.’To the right and left of the image:‘The road to it runs through green and fertile land. The Bedouins run alongside the road begging people for alms. The pilgrimage is performed at the mosque of Quba after a prayer of two cycles. This is the mosque whose praise is found in the holy Qur'an: “Indeed a mosque founded on the observance of piety from the first day is more deserving that you should stand in it. In it are men who love to purify themselves” [Qur’an 9:108] During the hijra, the Prophet stayed here initially for sixteen days, conferring honour upon it. After this he honoured Medina with an arrival that was bound to confer felicity.Lower centre: ‘H. A. Mirza & Sons, Photographers, Chandni Chowk, Delhi’Lower right corner, along right edge, in pencil: ‘13’ ‘150’Verso:In pen, upper right corner:‘I.O / 1504th [?] [? 07?] [illegible]’In pencil, upper right corner:‘314’ ‘//’ ‘3’Recto:In red ink in the upper left-hand corner of the image and – faintly – beneath lower left intersection of cruciform double-barred frame:[superscript ط]LabelsLabels (verso):1 – Letterpress‘150 H. A. Mirza and Sons, Photographers.نقشه مسجید قبا (Naqsha-i-Masjid-i-Quba.A photo. [sic] of the mosque named Quba, with abrief description.) One sheet. Publishedby the Photographers: Delhi. (Octr.15, 1907.) 14 x 18º. Litho. Ist Edition.Price, Re. I, A. 4.’2 – Ink stamp‘India Office19 May 1909Library.’Other NotesThe image was formerly referred to as ‘[Quba mosque, Mecca or Medina?]’1 b&w photographic print held within a blue card window mountDimensionsMount (external): 348 x 445 mmMount (internal): 203 x 277 mm [landscape]FormatPhotographic print held within window mount in landscape formatMaterialsMottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)ConditionMount is mildly bowed, with light staining along all edges lower corners in particular, and fading along left-hand edge. Staining and scuffing is also visible on the paper verso backing, which is otherwise in good condition.The print is slightly welled towards right and left edges, and shows some signs of toning.Foliation13 (150)ProcessGelatin silver print