Every day approximately 20,000 pilgrims make the journey to the dargah.Ījmer Sharif Dargah marks the mausoleum of Moinuddin Chishti, who was born in 1141 and died in 1236 AD. While there has been a lot of academic work on the Hindu pilgrimage, I refer specifically here to the work of two scholars Jyotindra Jain and Christopher Pinney, the geography of my research is located in Ajmer Sharif, a popular Muslim shrine in Rajasthan, India, about 400 kilometres south-west of the capital Delhi. Finally, I also look at the image as a material object as visitors carry their bit of the place to their distant homes in many visual forms: as a poster, a framed picture, a video CD or a photograph, which may, incidentally, also mark their presence. The article also draws one’s attention to the performance of piety and the many forms of image making associated with the sites concerned. This article focuses on one popular pilgrimage site in central India-the shrine of Khwaja Moinuddin Chishti in Ajmer Sharif-and lays emphasis on the making of images as markers of memory, place and spiritual experience. Even as pilgrimage sites attract large numbers of the faithful, they also become business hubs of sorts, generating jobs and facilities that cater to the needs of the visitors. Many middle-class Indians use their holidays for this kind of tourism beyond the religious, it is also considered as a time to mix pleasure with devotion. One of the most unique tourist traditions of India is religious tourism, known as tirth to Hindus and ziyarat to Muslims-it is the idea of going on pilgrimage to offer prayer to the many deities that dot the Indian landscape.
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