Recto: This nim qalam (half-pen) lightly tinted drawing depicts a female ascetic (yogini) devoted to the Hindu god Shiva. She holds her right finger to her mouth in a gesture of amazement. Her Shaivite ascetic nature is conveyed by her tiger skin skirt, ascetic’s topknot, Rudraksha (eye of Rudra/Shiva) beads (elaeo carpus seeds), ascetic’s shoulder bag, and trident (trishula), the lower prongs of which are unusually made in the form of a serpent. Because of her abundant jewelry and luxurious scarf, both non-ascetic attributes, she also symbolizes the Sufic spiritual ideal of the soul (the lover) in search of the divine (the beloved). The calligraphic panels in the margin surrounding the figure are pasted-on cutouts that bear no relation in subject matter. The top panel states it was written by Mir Yadqar Gharib. The bottom panel reads, “The eye is the mirror-holder of his/her countenance.” The six side panels are Persian hemistiches (three verses), probably from different ghazals (amatory poems). Verso: In the center are two verses from a mathnavi (rhymed couplets). The ten marginal panels contain five versus, possibly from the same mathnavi. At least five of them are from the Yusuf and Zulaykha of Mawlana Abdul Rahman Jami (1414-1492). (Translations by Z. A. Desai.) The album folio’s exquisite marbled borders (different designs on either side), known in Persian as kaghaz-i abri (clouded paper), were a specialty of Bijapur manuscripts in the late 16th and 17th centuries.