English: Painting of Syed Ahmad Barelvi lying dead, Deccani, circa 19th century. 19th-century Deccani painting showing Sayyid Ahmad Barelvi (Khalifah Sayyid Ahmad) lying dead. He led a jihad movement against the Sikhs and was killed in 1831 at the Battle of Balakot. [When Khalsa crushed the jihad]. Interestingly, Diwan Amarnath in his work notes that Sher Singh commissioned a painting of Syed Ahmad after he was killed.

Published in: 'The Blossom and the Sword, Portraits of India' (2025) by Kapoor Galleries, retrieved via [1] (pages 68–69)

From the source:

Sayyid Ahmad (1786–1831) was considered a Khalifah (or “Caliph”) by his conservative Sunni Muslim followers based in the Peshawar Valley, who called for jihad against those he perceived as enemies of Islam—first against the Sikhs led by Maharaja Ranjit Singh. He fought to create a pure Islamic caliphate governed by Shariat (Sharia Law), and his influence spread across Northern India, all the way east to Bengal and south to the Deccan.

The Khalifah lies here naked except for a loincloth on a low bed covered with white linen. He has been shot several times and shows multiple sword slashes. The Lahore Durbar viewed him as a severe threat to their northern territories. Sayyid Ahmad Barelvi launched his Jihadist Movement [Tariqah-i-Muhammadiyah] against the Sikhs in the early 19th century. On 6 May 1831, the Sikh army under Prince Sher Singh caught his forces in the valley of Balakot. Despite the natural protection of the mountains, local guides reportedly led the Sikhs to a secret path. Sayyid Ahmad was beheaded and killed during the fierce hand-to-hand combat. His body was initially buried by the Sikhs, but some accounts claim it was later exhumed and thrown into the Kunhar River to prevent his grave from becoming a shrine.

Kharagket and Harmilan Singh's description (from: [2]; [3]):

A 19th-century Sikh Imperial Punjab plains-style rendering of the Hindustānī Muslim cleric Syed Aḥmad Barelvī’s corpse following his death at Balakot in 1831. Kunwar Rājā Sher Siṅgh commissioned such an image in haste and dispatched it to Lahore as proof of the decisive Khālsāī victory for his father, Mahārājā Rañjīt Siṅgh. The style is consistent with other Sikh Imperial atelier works of the period, where painting often functioned as record as much as representation, echoing the visual language seen in depictions of campaigns and battlefield aftermaths. The image captures a moment that contemporaries understood as the end of his jihād at the hands of the Srī Gurū Khālsājī. Contemporary recollections record that fleeing Paṭhāns were heard to exclaim: ‘Tobah, tobah, Khudā ham Khālsā shudah’ - ‘Alas, even God has become a Sikh.’