The studying of ghazals prompted me to remember another great source of Muslim aesthetics in South Asia: that of the Miniature Painting. Deriving its origins from Persian and even Chinese culture, the miniature painting is a strong backbone of Indian culture. In Akbar’s court, the Mughal emperor even ordered an expansion of the body of art beyond simply capturing Muslim leaders and ideals. He began commissioning work that would seek to represent Hindu fables. In the above paintings, we can see Krishna holding up Mount Govardhan to protect nearby villagers from a torrential downpour from the angry god of the sun, Indra. In the second and third paintings on the right, Krishna woos Radha and fights against evil demons. And, finally, in the fourth, below painting, Krishna is taken and saved from his evil uncle by taking the place of another baby. These tales are famous myths in Hindu culture. And like the ghazal, they represent a cross-cultural give-and-take that Iqbal noted in his poem. Like the ghazal, they are the function of an infusion of Muslim heritage into a new terrain.