One of the overarching goals of my research is to address conceptual lacunae in the historiography of South Asian art: most pressingly, the tendency to ignore or diminish the indigenous voice. The dissertation research that has been my main focus for the past four years collates visual material with contemporary literature in order to shed light on a prolific corpus of paintings – images of Sufi saints produced between the sixteenth and eighteenth centuries – that has not yet been systematically studied or recognized as a genre unto itself, despite the ubiquity of the images and the many clear correspondences between them.
 
This project is intimately connected to another goal of my research practice: to bring the untapped art historical wealth of Pakistan into dialogue with global South Asian cultural studies. By building on the archival research that I have conducted in the collections of the Lahore Museum, the Faqir Khana Museum, the National Museum in Karachi, the Punjab University Library and the Iran-Pakistan Institute of Persian Studies in Islamabad, I hope to help unpublished artworks, texts and other resources become better known to the international scholarly community.
 
While being firmly anchored in art history, my interdisciplinary research interests have developed through a variety of avenues including translating primary texts and studying historical Indian painting techniques. Knowledge of materials and techniques has been an irreplaceable asset in my scholarly work, giving me insight into workshop culture and stylistic nuances. 
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