Professional Documents
Culture Documents
Kings and Chronicles
Kings and Chronicles
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Ü Discuss...
In what ways do you think the production of books
today is similar to or different from the ways in
which Mughal chronicles were produced?
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Ü Discuss...
Find out whether there was a tradition of
illustrating manuscripts in your town or village.
Who prepared these manuscripts? What were the
subjects that they dealt with? How were these
manuscripts preserved?
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Fig. 9.5
This painting by Abu’l Hasan shows Jahangir
dressed in resplendent clothes and jewels, holding
up a portrait of his father Akbar.
Akbar is dressed in white, associated in sufi
traditions with the enlightened soul. He proffers
a globe, symbolic of dynastic authority.
In the Mughal empire there was no law laying
down which of the emperor’s sons would succeed
to the throne. This meant that every dynastic
change was accompanied and decided by a
fratricidal war. Towards the end of Akbar’s reign,
Prince Salim revolted against his father, seized
power and assumed the title of Jahangir.
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Fig. 9.6
Jahangir presenting Prince
Khurram with a turban jewel
Scene from the Badshah Nama
painted by the artist Payag,
c.1640.
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KINGS AND CHRONICLES 235
Fig. 9.7
Jahangir shooting the figure of
poverty, painting by the artist
Abu’l Hasan
The artist has enveloped the
target in a dark cloud to suggest
that this is not a real person, but
a human form used to symbolise
an abstract quality. Such a
mode of personification in art
and literature is termed allegory.
The Chain of Justice is shown
descending from heaven.
This is how Jahangir described
the Chain of Justice in
his memoirs:
After my accession, the first
order that I gave was for the
fastening up of the Chain
of Justice, so that if those
engaged in the administration
of justice should delay or
practise hypocrisy in the
matter of those seeking justice,
the oppressed might come to
this chain and shake it so
that its noise might attract
attention. The chain was made
of pure gold, 30 gaz in length
and containing 60 bells.
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Source 2
Darbar-i Akbari
Abu’l Fazl gives a vivid account of Akbar’s darbar: Kor nish was a for m of
Whenever His Majesty (Akbar) holds court (darbar ) ceremonial salutation in which
a large drum is beaten, the sounds of which are the courtier placed the palm of
accompanied by Divine praise. In this manner, people his right hand against his
of all classes receive notice. His Majesty’s sons and forehead and bent his head. It
grandchildren, the grandees of the Court, and all suggested that the subject
other men who have admittance, attend to make the placed his head – the seat of the
kornish, and remain standing in their proper places. senses and the mind – into the
Learned men of renown and skilful mechanics pay hand of humility, presenting it
their respects; and the officers of justice present their to the royal assembly
reports. His Majesty, with his usual insights, gives
orders, and settles everything in a satisfactory
manner. During the whole time, skilful gladiators and
wrestlers from all countries hold themselves in
readiness, and singers, male and female, are in
waiting. Clever jugglers and funny tumblers also are
anxious to exhibit their dexterity and agility.
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Fig. 9.9
Shah Jahan honouring Prince
Aurangzeb at Agra before his
wedding, painting by Payag
in the Badshah Nama
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Ü Discuss...
Are some of the rituals and practices
associated with the Mughals followed by
present-day political leaders?
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Fig. 9.14
Birth of Prince Salim at Fatehpur Sikri,
painted by Ramdas, Akbar Nama
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Ü Discuss...
Read Section 2, Chapter 8 once more and discuss
the extent to which the emperor’s presence may
have been felt in villages.
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Fig. 9.16
Jahangir’s dream
An inscription on this miniature records
that Jahangir commissioned Abu’l Hasan
to render in painting a dream the emperor
had had recently. Abu’l Hasan painted this
scene portraying the two rulers – Jahangir
and the Safavid Shah Abbas – in friendly
embrace. Both kings are depicted in their
traditional costumes. The figure of the
Shah is based upon portraits made by
Bishandas who accompanied the Mughal
embassy to Iran in 1613. This gave a sense
of authenticity to a scene which is
fictional, as the two rulers had never met.
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Ü Discuss...
What were the considerations that shaped the
relations of the Mughal rulers with their
contemporaries?
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Timeline
Some Major Mughal Chronicles and Memoirs
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Fig. 9.19
Many Mughal manuscripts contained
drawings of birds
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Map work
If you would like to know 10. On an outline map of the world, plot the areas
more, read: with which the Mughals had political and cultural
Bamber Gascoigne. 1971. relations.
The Great Moghuls.
Jonathan Cape Ltd., London.
Project (choose one)
Shireen Moosvi. 2006 (rpt).
Episodes in the Life of Akbar.
National Book Trust, 11. Find out more about any one Mughal chronicle.
New Delhi. Prepare a report describing the author, and the
language, style and content of the text. Describe at
Harbans Mukhia. 2004.
least two visuals used to illustrate the chronicle
The Mughals of India. Blackwell,
of your choice, focusing on the symbols used to
Oxford.
indicate the power of the emperor.
John F. Richards. 1996. 12. Prepare a report comparing the present-day system
The Mughal Empire of government with the Mughal court and
(The New Cambridge History administration, focusing on ideals of rulership,
of India, Vol.1). court rituals, and means of recruitment into the
Cambridge University Press, imperial service, highlighting the similarities
Cambridge.
and differences that you notice.
Annemarie Schimmel. 2005.
The Empire of the Great Mughals:
History, Art and Culture.
Oxford University Press,
New Delhi.
Fig. 9.20
A Mughal painting depicting
squirrels on a tree
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Theme 5
Fig. 5.1: Ritu Topa.
Fig. 5.2: Henri Stierlin, The Cultural History of the Arabs,
Aurum Press, London, 1981.
Fig. 5.4, 5.13: FICCI, Footprints of Enterprise: Indian Business
Through the Ages, Oxford University Press, New Delhi, 1999.
Fig. 5.5: Calcutta Art Gallery, printed in E.B. Havell,
The Art Heritage of India, D.B. Taraporevala Sons & Co., Bombay, 1964.
Fig. 5.6, 5.7, 5.12: Bamber Gascoigne, The Great Moghuls,
Jonathan Cape Ltd., London, 1971.
Fig. 5.8, 5.9: Sunil Kumar.
Fig. 5.10: Rosemary Crill, Indian Ikat Textiles, Weatherhill, London, 1998.
Fig. 5.11, 5.14: C.A. Bayly (ed). An Illustrated History of Modern India,
1600-1947, Oxford University Press, Bombay, 1991.
Theme 6
Fig. 6.1: Susan L. Huntington, The Art of Ancient India,
Weatherhill, New York, 1993.
Fig. 6.3, 6.17: Jim Masselos, Jackie Menzies and Pratapaditya Pal,
Dancing to the Flute: Music and Dance in Indian Art,
The Art Gallery of New South Wales, Sydney, Australia, 1997.
Fig. 6.4, 6.5: Benjamin Rowland, The Art and Architecture of India,
Penguin, Harmondsworth, 1970.
Fig. 6.6: Henri Stierlin, The Cultural History of the Arabs,
Aurum Press, London, 1981.
Fig. 6.8: http://www.us.iis.ac.uk/view_article.asp/ContentID=104228
Fig. 6.9: http://www.thekkepuram.ourfamily.com/miskal.htm
Fig. 6.10: http://a-bangladesh.com/banglapedia/Images/A_0350A.JPG
Fig. 6.11: [email protected]
Fig. 6.12: Stuart Cary Welch, Indian Art and Culture 1300-1900,
The Metropolitan Museum of Art, New York, 1985.
Fig. 6.13: Bamber Gascoigne, The Great Moghuls,
Jonathan Cape Ltd., London, 1971.
Fig. 6.15: CCRT.
Fig. 6.16: C. A. Bayly (ed). An Illustrated History of Modern India,
1600-1947, Oxford University Press, Bombay, 1991.
Fig. 6.18: Ahmad Nabi Khan, Islamic Architecture in Pakistan,
National Hijra Council, Islamabad, 1990.
Theme 7
Fig. 7.1, 7.11, 7.12, 7.14, 7.15, 7.16, 7.18: Vasundhara Filliozat and
George Michell (eds), The Splendours of Vijayanagara,
Marg Publications, Bombay, 1981.
Fig. 7.2: C.A. Bayly (ed). An Illustrated History of Modern India,
1600-1947, Oxford University Press, Bombay, 1991.
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256 THEMES IN INDIAN HISTORY – PART II
Theme 8
Fig. 8.1, 8.9: Milo Cleveland Beach and Ebba Koch, King of the World,
Sackler Gallery, New York, 1997.
Fig. 8.3: India Office Library, printed in C.A. Bailey (ed). An Illustrated
History of Modern India, 1600-1947, Oxford University Press,
Bombay, 1991.
Fig. 8.4: Harvard University Art Museum, printed in Stuart Cary Welch,
Indian Art and Culture 1300-1900, The Metropolitan Museum of Art,
New York, 1985.
Fig. 8.6, 8.11, 8.12, 8.14: C.A. Bayly (ed). An Illustrated History of Modern
India, 1600-1947, Oxford University Press, Bombay, 1991.
Fig. 8.13, 8.15: Bamber Gascoigne, The Great Moghuls,
Jonathan Cape Ltd., London, 1971.
Theme 9
Fig. 9.1, 9.2, 9.12, 9.13, 9.19: Bamber Gascoigne, The Great Moghuls,
Jonathan Cape, London, 1971.
Fig. 9.3, 9.4, 9.17: Michael Brand and Glenn D. Lowry, Akbar’s India,
New York, 1986.
Fig. 9.5, 9.15: Amina Okada, Indian Miniatures of the Mughal Court.
Fig. 9.6, 9.7: The Jahangirnama (tr. Wheeler Thackston)
Fig. 9.8: Photograph Friedrich Huneke.
Fig. 9.9, 9.11 a, b, c : Milo Cleveland Beach and Ebba Koch,
King of the World, Sackler Gallery, New York, 1997.
Fig. 9.10, 9.16, 9.20: Stuart Carey Welch, Imperial Mughal Painting,
George Braziller, New York, 1978.
Fig. 9.14: Geeti Sen, Paintings from the Akbarnama.
Fig. 9.18: Hermann Forkl et al. (eds), Die Gärten des Islam.
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