Asian and African studies blog

81 posts categorized "Religion"

20 May 2013

'The Mughals: Art, Culture and Empire' in Kabul

Queen's Palace, Babur Gardens, Kabul
12 May - 25 June 2013

The hugely successful Mughals exhibition at the British Library has now been made accessible to an Afghan audience in the form of high-quality digital facsimiles of the majority of the items seen in the original exhibition. The venue of the present exhibition, which opened in the Queen’s Palace in the Babur Gardens in Kabul, is particularly appropriate, situated as it is only a stone’s throw from the tomb of Babur, the first Mughal emperor.

Babur's Tomb in Babur's Garden, Kabul. Photograph by John Falconer.
Babur's Tomb in Babur's Garden, Kabul  
  ccownwork John Falconer

The exhibition forms part of an ongoing collaborative partnership between the British Library and the Aga Khan Trust for Culture, supported by the Norwegian Government through the Afghan Cultural Initiative.

The exhibition was opened on Sunday 12 May at an event attended by representatives from the diplomatic community, Afghan cultural institutions and the Afghan Government. Opening addresses were given by Ajmal Maiwandi (CEO Aga Khan Trust for Culture), Sayed Musadiq Khalili (Deputy Minister of Information and Culture), H.E. Nurjehan Mawani (Diplomatic Representative, Aga Khan Development Network), H.E. Nils Hangstveit (Norwegian Ambassador to Afghanistan) and John Falconer (British Library).

The exhibition will be on view in Kabul until 25 June. It is hoped that the exhibition will also tour within Afghanistan, to Herat and/or Balkh.

The mounting of a facsimile version of the Mughals exhibition in Kabul is the second collaboration between the British Library and Aga Khan Trust for Culture, and follows an exhibition of prints, drawings and photographs of Afghanistan from the British Library collections, which was seen in the same location in 2010.

Photograph albums of the installation, exhibition and opening event can be viewed at http://bit.ly/14IB6pM

A few photographs from the exhibition follow.
Mughals exhibition, Queen's Palace, Babur's Gardens, Kabul. Photograph by John FalconerMughals exhibition, Queen's Palace, Babur's Gardens, Kabul 
 ccownwork John Falconer

 

Installing Mughals exhibition, Queen's Palace, Kabul. Photograph by John Falconer.
Installing Mughals exhibition, Queen's Palace, Kabul
 ccownwork John Falconer

 

Mughals exhibition, Queen's Palace, Kabul. Photograph by John Falconer.
Mughals exhibition, Queen's Palace, Kabul 
 ccownwork John Falconer

For more images of the installation, exhibition and opening event, see the Flickr album: http://bit.ly/14IB6pM

To read more about the British Library's exhibition Mughal India: Art, Culture and Empire, please see our blog post 'A farewell to the Mughals'.

 

John Falconer
Lead Curator, Visual Arts

31 March 2013

Easter Celebrations at the Mughal Court

Jesuit missionaries were the first group of Europeans to visit the Mughal court. They initially arrived at the Portuguese colony of Goa in 1542. At the invitation of Akbar (r. 1556-1605), there were altogether three Jesuit missions. The third was headed by Father Jerome Xavier (1549-1617) who arrived in Lahore in 1595 and remained at court until 1615.

Two Jesuit priests dressed in distinctive high blocked black caps and dark robes stand among a crowd bringing gifts to a Mughal prince, possibly Salim. Mughal, 1590–1600 (Johnson Album 8,6) Two Jesuit priests dressed in distinctive high blocked black caps and dark robes stand among a crowd bringing gifts to a Mughal prince, possibly Salim. Mughal, 1590–1600 (Johnson Album 8,6)
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Xavier’s regular reports back to the Provincial in Goa include details of extravagent cultural activities, all aimed at winning converts. In a letter written from Agra on 6 September 1604 (BL Add MS 9854, currently on exhibit in ‘Mughal India’) he writes about affairs in Lahore (see Maclagan, p. 96):

The feasts of Christmas and Easter are kept at Lahor with great solemnity, and the church being so large and beautiful, everything can be well carried out.

Although the Jesuits were unsuccessful in their primary aim to convert Akbar and his son Jahangir to Catholicism, they did achieve some success when, on 5 September 1610, three of Akbar’s grandsons, Tahmuras, Baysunghar and Hushang were baptised (though they reverted to Islam a few years later when relations with the Portuguese deteriorated). On Easter Sunday 1611 they attended Mass, ate Easter eggs with relish and watched entertainments arranged by the Jesuit Fathers. These apparently included the performance of a tight-rope walker and the burning of a figure of Judas, stuffed with fireworks, on the roof of the chapel (see Maclagan, The Jesuits and the Great Mogul, pp. 72-73; 94)

  The concluding chapter, on Christ’s resurrection, and postscript of Jerome Xavier’s Mirʼāt al-Quds (‘Life of Christ’), copied on 8 Ramazan 1027 (29 Aug 1618). Xavier’s translation was made at the request of the Emperor Akbar and was completed at Agra in 1602 with assistance from Mawlavi ʻAbd al-Sattār ibn Qāsim of Lahore (Harley 5455, ff. 214-5) The concluding chapter, on Christ’s resurrection, and postscript of Jerome Xavier’s Mirʼāt al-Quds (‘Life of Christ’), copied on 8 Ramazan 1027 (29 Aug 1618). Xavier’s translation was made at the request of the Emperor Akbar and was completed at Agra in 1602 with assistance from Mawlavi ʻAbd al-Sattār ibn Qāsim of Lahore (Harley 5455, ff. 214-5)  
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Ursula Sims-Williams, Asian and African Studies
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Further reading:

Gauvin Alexander Bailey, “The Lahore Mirat al-Quds and the Impact of Jesuit Theater on Mughal Painting,” South Asian Studies 13 (1997), pp. 95-108
E. D. Maclagan,  “The Jesuit Missions to the Emperor Akbar”, Journal of the Asiatic Societyof Bengal 65, part 1 (1896), pp. 38-113
E. D. Maclagan, The Jesuits and the Great Mogul. London: Burns, Oates & Washbourne, 1932
Pedro de Moura Carvalho and Wheeler M. Thackston, Mirʼāt al-quds (Mirror of Holiness): a Life of Christ for Emperor Akbar: a Commentary on Father Jerome Xavier's Text and the Miniatures of Cleveland Museum of Art, Acc. no. 2005.145; edited and translated by W. M. Thackston. Leiden; Boston: Brill, 2012

28 March 2013

Imperial legal compendia: from the Mughals to the British

Aurangzeb’s Legal Project: the Fatāwā ‘Ālamgīriyyah

The Fatāwā ‘Ālamgīriyyah is a compendium of Ḥanafi fiqh (Islamic jurisprudence) whose composition was ordered by Emperor Aurangzeb.  Aurangzeb gathered the most prestigious Islamic scholars from the Mughal realms and, according to the historical chronicle, the Ma’ās̲ir-i ‘Alamgīrī, requested that they examine the legal treatises in the imperial library and collect all of the previous rulings of jurists (muftīs) in order to create a standardised reference for judges (qāżīs) throughout the Mughal Empire.  The Fatāwā ‘Ālamgīriyyah took eight years to complete (AH 1078-86/ AD 1667-75), engaged the skills of forty to fifty Islamic legal scholars under the head jurist, Shaykh Niẓām Burhānpūrī, and in its final form occupied over thirty volumes. This self-conscious attempt to update and standardise the norms of Islamic jurisprudence in the Mughal Empire served the practical purpose of creating an authoritative and comprehensive reference for judges, but also supported Aurangzeb’s political discourse of legitimising Mughal rule through championing the shari’a (Islamic law).  Originally composed in Arabic, the Fatāwā was translated into Persian during the Mughal period, and later into Urdu, the language in which it is widely disseminated and read today.  Prior to Ibn ‘Ābidīn’s 19th-century work on Ḥanafī jurisprudence, the Radd al-Muḥtār ‘alā Durr al-Mukhtār, the Fatāwā ‘Ālamgīriyyah, or as it was known in the Turkish and Arabic-speaking lands of the Ottoman Empire, the Fatāwā Hindiyyah (i.e., the Indian fatwas) was the most comprehensive work in the field.

RSPA 91_2_720Beginning of volume 4 of the Fatāwā ‘Ālamgīriyyah: Kitāb al-Shuf‘a (‘the right of pre-emption’). An 18th century copy which belonged formerly to Sir William Jones (RSPA 91, ff 1v-2)  noc


Kitāb al-Shuf‘a
(‘The book of the right of pre-emption’)

One volume of this thirty volume work which is currently on display in the exhibition ‘Mughal India’ is the section dealing with shufa‘ or the right of pre-emption. This deals with the sale of property, including land, and specifies who has the right of purchase before other buyers. For instance, the rules of shufa‘ stipulate that the co-owner of a property has the right to purchase the property before an outsider if the other co-owner decides to sell. Another illustration of the type of case dealt with in the Kitāb al-Shufa‘ is the sale of land to neighbouring property owner. If a landowner decides to sell a plot of land, the other landowners who share an adjacent border would have a right to purchase before an outside buyer. Not the most thrilling reading, but vitally important to maintaining law and order among property owners in the vast territories of the Mughal, and later British, empire in the subcontinent.

Sir William Jones: at the intersection of Islamic jurisprudence and colonial administration

This particular copy of the Fatāwā belonged to Sir William Jones (1746-1794), whose name is visible in the illuminated frontispiece pictured in the image above. Sir William Jones was appointed as a judge in the Supreme Court of Bengal in 1783 and is famous for founding the Royal Asiatic Society of Bengal in 1784. Jones had studied Arabic and Persian during his time as an undergraduate at Oxford; unimpressed with the quality of his lectures, he turned to native speakers to teach him. By the time he was appointed judge in the Bengal supreme court, he had already published a number of learned translations from Arabic and Persian (of the Mu‘allaqāt and the history of Nadir Shāh, among other works) as well a study of the Islamic law of inheritance. Jones’ career in many ways embodied the conflicting political currents of the age. On the one hand, he engaged in radical politics - radical for the time, that is, he penned political treatises in favour of universal male suffrage and defended the rights of the Welsh peasantry, as well as voicing support for the American revolution – while on the other hand he played a central role in the colonial administration of India. In addition to Arabic and Persian, he studied Sanskrit once he was in Calcutta and published a translation of the famous play by Kālidāsa, the Abhijñānaśākuntalā (‘The Sign of Shakuntala’), which exercised an enormous impact on the German romantic poets and philosophers of the period. In his capacity as a judge and colonial administrator under William Hastings, he was engaged in a project to codify ‘Indian’ law, an endeavour which echoed Aurangzeb’s original project of imperial legitimation in commissioning the Fatāwa ‘Ālamgīriyyah. As part of this project, he translated the Mānavadharmaśāstra (the Institutes of Hindu law: or, the ordinances of Menu) and wrote a work entitled al-Sirājiyyah, which was a study of Islamic law. The impact of Jones’ translation and linguistic theories was felt acutely throughout the 19th century, and the roots planted by his scholarship still exercise an influence on many current political and cultural constructions of the past.

 

Nur Sobers-Khan, Asian and African Studies

 ccownwork

 

Further reading:

M.L. Bhatia, Administrative History of Medieval India: A Study of Muslim Jurisprudence under Aurangzeb. New Delhi: Radha Publications, 1992

S. Moinul Haq, Khafi Khan’s History of ‘Alamgir: Being an English translation of the relevant parts of Muntakhab al-Lubab with notes and an introduction. Karachi: Pakistan Historical Society, 1975

Saqi Mustaʻidd Khan, Maāsir-i-ʿĀlamgiri: A history of the Emperor Aurangzib-ʿĀlamgir (reign 1658-1707 A.D.), translated into English and annotated by Sir Jadunath Sarkar. Calcutta: Royal Asiatic Society of Bengal, 1947

 

24 March 2013

A nobleman celebrating the festival of Holi

A magnificent 18th century painting in the current exhibition Mughal India: Art, Culture and Empire depicts the celebration of the spring festival of Holi. This Hindu festival typically falls during the month of March and symbolizes fertility and spring harvests. This year, the Holi festival falls on March 27th.

A young nobleman enjoying Holi with his consort Attributed to the artist Nidhamal, Lucknow, 1760-5 British Library, Add.Or.5700

A young nobleman enjoying Holi with his consort
Attributed to the artist Nidhamal, Lucknow, 1760-5
British Library, Add.Or.5700  noc

The Emperor Akbar, one of the greatest rulers of the subcontinent (ruled from 1556-1605) advocated religious tolerance. The peace and well-being of the empire depended on maintaining a balance between the interests of the Hindu majority and those of the Muslim, Christian, Zoroastrian, Jain, Sikh  and other religions. One of Akbar’s greatest political accomplishments was to abolish the poll tax levied on non-Muslims. He also won over the rulers of the Hindu Rajput kingdoms by marrying their daughters into his family. Akbar himself married Princess Manmati; she was the daughter of Raja Bhagwandas of Amber (today Jaipur).

Study of Akbar's head Attributed to Govardhan, 1600-5 British Library, Add.Or.1039
Study of Akbar's head
Attributed to Govardhan, 1600-5
British Library, Add.Or.1039  noc

Akbar and Manmanti's son Jahangir wrote in his memoirs about this religious festival:
‘Their day is Holi, which in their belief is the last day of the year. This day falls in the month of Isfandarmudh, when the sun is in Pisces. On the eve of this day they light fires in all the lanes and streets. When it is daylight they spray powder on each other’s heads and faces for one watch and create an amazing uproar. After that, they wash themselves, put their clothes on, and go to gardens and fields. Since it is an established custom of among the Hindus to burn their dead, the lighting of fires on the last night of the year s a metaphor for burning the old year as though it were a corpse.’ - from the Jahangirnama


Detail from Portrait of Prince Salim (future emperor Jahangir) Mughal, c. 1620-30 British Library, Add.Or.3854

Detail from Portrait of Prince Salim (future emperor Jahangir)
Mughal, c. 1620-30
British Library, Add.Or.3854  noc

In our exquisite painting of the celebration of Holi, a young ruler from the Mughal province of Avadh, is featured enjoying a dancing performance on a terrace with his favourite womenfolk, nine of whom sit alongside him. They are sharing several hookahs. Piles of sweetmeats are placed in front of them while attendants behind them bring more. Across the terrace a young woman performs a solo dance to the accompaniment of female voices and male musicians. In the foreground other members of the navab’s entourage enjoy the performance. Two yoginis or female ascetics stand out with their darker skin and pink and green garments. Otherwise everything is coloured red and yellow from the powders (called abira) and liquids that they have all been hurling at each other in the riotous spring festival of Holi. Even the fountains and the lakes have turned red. In the fairytale world of Avadhi painting, all men are young and handsome and all girls young and beautiful. There is little room for the old or not quite so beautiful, so the old duenna beside the women and a grey-haired musician opposite strike a somewhat unexpected note.



Further reading:

Ifran Habib,Akbar and his India, Oxford University Press, Delhi, 1997

Jahangir, Emperor of Hindustan, The Jahangirnama, Memoirs of Jahangir, Emperor of India, trans. and ed. W.M. Thackston, Oxford University Press, New York and Oxford, 1999

 

Malini Roy   ccownwork
Visual Arts Curator, British Library

17 March 2013

A lavishly decorated Indian Qurʼan

A particularly enigmatic manuscript in the British Library’s collection is IO [India Office] Islamic 3113A, a sumptuously decorated Qur’an which, according to the detached label that accompanies it, was copied by the Mughal emperor Shah ʻAlam (1643-1712).

The opening pages of the Qurʼan, containing the Sūrat al-Fātiḥah (‘the opening’) and the beginning of the Sūrat al-Baqarah (‘the cow’). The upper panels contain the chapter (sūrah) headings and the lower panels contain Qur’anic verses, on the right: ‘None touch it except the purified’ (Sūrah 59:79) and on the left: ‘It is a revelation from the Lord of the Worlds’ (Sūrah 69:43). (IO Islamic 3113A, ff. 1v-2)
The opening pages of the Qurʼan, containing the Sūrat al-Fātiḥah (‘the opening’) and the beginning of the Sūrat al-Baqarah (‘the cow’). The upper panels contain the chapter (sūrah) headings and the lower panels contain Qur’anic verses, on the right: ‘None touch it except the purified’ (Sūrah 59:79) and on the left: ‘It is a revelation from the Lord of the Worlds’ (Sūrah 69:43). (IO Islamic 3113A, ff. 1v-2)
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The manuscript consists of 209 folios, each highly decorated with very few repetitions in the design. The beginning of each of the 30 sections (juzʼ) is easily recognisable by its dense illumination whereas the remaining folios are slightly less ornate. The final chapter is followed by a two-line prayer in a different hand, below which is given a date: fī tārīkh sannah 1141 (1728/29). It seems probable that the concluding prayer and the date were added after the manuscript was completed, perhaps by a later owner who might also have done the fairly extensive repairs which have been painted and written over. The paper itself is of an inferior quality.

The Qurʼan is bound in green velvet, worked with silver thread
The Qurʼan is bound in green velvet, worked with silver thread
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Accompanying the manuscript is a label claiming that the copyist was Shah ʻAlam, Awrangzeb’s successor who ruled as Bahadur Shah I from 1707 to 1712.

IO Isl 3113A_label_720
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The contemporary historian Mustaʻidd Khan writes in his Maʻāsir-i ʻĀlamgīrī that, while still a boy, prince Muḥammad Muʻaẓẓam Shāh ʻĀlam had acquired a perfect knowledge of the Qurʼan: “He is deeply read in Arabic, and the fluency and elegance of his diction are the wonder of the very Kurán-readers of Arabia.” It would be tempting to link this Qurʼan with him, but in the absence of supporting evidence it can only remain a suggestion. Another puzzling fact is that at the end of the manuscript the date 1141 (1728-29) had been added in a different hand. However Shāh ʻĀlam I (Bahādur Shāh) had died by then and Shāh ʻĀlam II  would have been less than a year old! How the manuscript was acquired by the India Office Library and the identity of the previous owner seem, unfortunately, to be unrecorded.

Below are some examples demonstrating the individual character of the illumination. I hope that by making this Qur’an more generally known readers may be able to let us know of any parallel examples.

The Qur’ān is divided into 30 sections to facilitate a monthly reading schedule. In this manuscript the beginning of each section is easily recognised by the densely decorated margins. The line of gold marks the beginning of section 12 (IO Islamic 3113A, ff 77v-8)

The Qur’ān is divided into 30 sections to facilitate a monthly reading schedule. In this manuscript the beginning of each section is easily recognised by the densely decorated margins. The line of gold marks the beginning of section 12 (IO Islamic 3113A, ff 77v-8)
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Sūrah 39, Sūrat al-Zumar (‘troops’). This double page is less densely illuminated (IO Islamic 3113A, ff 156v-157)

Sūrah 39, Sūrat al-Zumar (‘troops’). This double page is less densely illuminated (IO Islamic 3113A, ff 156v-157)
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The beginning of section 26 and Sūrah 46, Sūrat al-Aḥqāf (‘dunes’).   (IO Islamic 3113A, ff 171v-172)

The beginning of section 26 and Sūrah 46, Sūrat al-Aḥqāf (‘dunes’).   (IO Islamic 3113A, ff 171v-172)   noc

 

The beginning of Sūrah 51, Sūrat al-Dhāriyāt (‘scatterers’) (IO Islamic 3113A, ff 178v-179)

The beginning of Sūrah 51, Sūrat al-Dhāriyāt (‘scatterers’) (IO Islamic 3113A, ff 178v-179)
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Ursula Sims-Williams, Asian and African Studies
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Follow us on twitter @BLAsia_Africa

 

07 February 2013

Mughal India: A Study Day

Saturday 9 March 2013, 10.00 – 17.00

Conference Centre, British Library

£25/ £15 concessions

Book now

Legendary patrons of the arts and science, the Mughal emperors are remembered through their rich cultural heritage including exquisite paintings and manuscripts, jeweled ornaments and architectural landmarks such as the Taj Mahal and the Red Fort in Delhi.

This study day features presentations and discussions by noted scholars and art historians.  Entry to the exhibition is included in the price.

(There will be the option to exchange your ticket to view the exhibition on an alternative date.)

Chaired by
Dr. Malini Roy (Visual Arts Curator, British Library) and
Ursula Sims-Williams (Lead Curator, Persian Languages, British Library)

10.00 - 10.30    Registration

10.30 - 10.40    Introduction

10.40 - 11.20    The Wooden Audience Hall of Shah Jahan:
                        A Reconstruction from Texts, Images and Real Architecture

                        Professor Ebba Koch
                        (Institute of Art History, University of Vienna)


11.20 - 12.00    A Re-interpretation of the Dara Shikoh Album
                        J.P. Losty (British Library, Retired)

12.00 - 12.40    Flowers in Mughal Art
                        Susan Stronge (Victoria and Albert Museum)

12.40 - 13.00    Discussion

13.00 - 14.00    Lunch Break

14.00 - 14.40    Reading the History of Yogis through Mughal Painting
                        Dr James Mallinson (Independent Scholar)

14.40 - 15.20    Mughal Literature: Private and Public, Sacred and Profane
                        Professor Sunil Sharma (Boston University)

15.20 - 16.00    Discussion

16.00 - 17.00    Visit Mughal India: Art, Culture and Empire (optional)

Tea and coffee will be served during registration.

  Portrait of Nadira Banu Begum, attributed to Balchand, 1631-2 From the Dara Shikoh Album, British Library, Add.Or.3129, folio 20

Portrait of Nadira Banu Begum, attributed to Balchand, 1631-2
From the Dara Shikoh Album, British Library, Add.Or.3129, folio 20

01 February 2013

Princess Jahanara’s biography of a Sufi saint

One of the most exciting discoveries made while researching exhibits to be included in Mughal India was an autograph copy of the Mughal Princess Jahanara’s Muʼnis al-arvāḥ (‘The Confidant of Spirits’), a biography of the famous Sufi saint Muʻin al-Din Chishti.

Portrait of a young lady, recentlyidentified as Jahanara and attributed to the painter Lalchand c. 1631-3 (Losty and Roy, p. 132). One of two portraits of the same lady occurring in an album presented in 1051 (1641/42) by Prince Dara Shikoh to his wife Nadira Banu Begum (Add.Or.3129, f. 25v). Images onlinePortrait of a young lady, recentlyidentified as Jahanara and attributed to the painter Lalchand c. 1631-3 (Losty and Roy, p. 132). One of two portraits of the same lady occurring in an album presented in 1051 (1641/42) by Prince Dara Shikoh to his wife Nadira Banu Begum (Add.Or.3129, f. 25v). Images online
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Jahanara Begum (1614-81) was the eldest daughter of the emperor Shah Jahan (r. 1628-58). Like her brother Dara Shikoh, the heir to the throne, she was profoundly spiritual, and they were initiated together into the Qadiriya order of Sufiism. At the same time Jahanara was an influential political figure, receiving the title Sahibat al-Zaman (‘Mistress of the Age’) after her mother Mumtaz Mahal’s death in 1631. In 1644 she was given the port of Surat, and she also owned her own ship, the Sahibi, which transported cargo and pilgrims between Surat and Mecca. Revenues from maritime trade made her extremely wealthy. Jahanara paid for the construction of the famous Jamiʻ Masjid in Agra, completed in 1648, and also commissioned a huge mosque and religious complex dedicated to her spiritual teacher Mulla Shah in Srinagar in 1650.

The Jamiʻ Masjid, Agra, built for Jahanara and completed in 1648. Photographed by W. Caney in the 1880s for the Archaeological Survey of India (Photo 1003/(512)
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   Throughout her life she remained devoted to her father and cared for him after his imprisonment in 1658 until his death eight years later. However she was also the subject of scurrilous rumours, no doubt arising from jealousy. The French physician François Bernier, who was employed at court for several years from 1659, describes how Shah Jahan, realising that a suitor was hiding in Jahanara’s bath-tub, ordered the cauldron to be lit underneath and only left the room when he was sure the victim was dead. On another occasion he is reputed to have poisoned Jahanara’s steward who had been suggested as a potential husband.

Colophon of Muʼnis al-arvāḥ copied by Jahanara who signs herself “Jahanara, a speck of dust at the feet of the sages of Chisht” (Or. 5637, ff. 122-23)
Colophon of Muʼnis al-arvāḥ copied by Jahanara who signs herself “Jahanara, a speck of dust at the feet of the sages of Chisht” (Or. 5637, ff. 122-23)
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Jahanara’s writings include two Sufi works: the Ṣāḥibīyah, a biography of her teacher Mulla Shah (d. 1661— a possible autograph of Mulla Shah's is also included in the exhibition) and this work, primarily about Muʻin al-Din Chishti (1135–1229) who introduced the Chishti order of Sufism into India. Called the Mu’nis al-arvāḥ (a play on the title of one of Muʻin al-Din Chishti’s own works, the Anīs al-arvāḥ), she completed it on 27 Ram. 1049 (21 Jan 1640). She compiled it from a number of sources (including her brother Dara Shikoh’s own treatise Safīnat al-awliyā), proudly boasting a knowledge superior to her father’s:

It should be known to everyone that the guiding master Khvaja Mu‘inuddin Muhammad [Chishti] (may almighty God protect his secret) was a sayyid, and without doubt was among the offspring of the prophet. There is no disputing this. When the ruler of the age… Shah Jahan (may God preserve his realm), my glorious father, did not have information about the origins of the guiding master, he investigated the matter. I told him repeatedly that the master was a sayyid but he did not believe me until one day he was reading the Akbarnama and his auspicious eyes fell on the part of the where Shaikh Abu al-Fazl describes briefly the reality of the guiding master being a sayyid. From that day on this fact that was clearer than the sun was revealed to the king, shadow of God.

(Mu’nis al-arvāḥ, unpublished translation courtesy of Sunil Sharma)

The suggestion that this manuscript might have been copied by Jahanara herself was first mentioned by William Irvine in a footnote on p. 423 of the 4th volume of his translation of  N. Manucci’s Storia do Mogor (London: Murray, 1907-8), where he writes “I have since given to the British Museum what I believe to be a holograph exemplar.” I read this quite by chance and immediately tried to locate the volume which was only summarily listed in G.M. Meredith-Owens Handlist of Persian manuscripts 1895-1966 (London: British Museum, 1968). Besides the colophon saying that it was copied by Jahanara, this copy ends differently from others (The British Library has two: Or.250 and Add.16733). Comparison with known examples of Jahanara’s handwriting also suggested that it was in fact genuine. 

 

Ursula Sims-Williams, Asian and African Studies
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Further reading

A. Bokhari, “Imperial Transgressions and Spiritual Investitures: A Begam’s ‘Ascension’ in Seventeenth Century Mughal India”, Journal of Persianate Studies 4 (2011), pp. 86-108
F. Bernier,  Travels in the Mogul Empire, A.D. 1656-1668; translated and annotated by A. Constable. 2nd revised. ed. by V.A. Smith. Oxford: OUP, 1916
J.P. Losty and M. Roy, Mughal India: Art, Culture and Empire. London: British Library, 2012

 

 

21 January 2013

Akbar's most influential adviser

Abū’l-Fażl ʻAllāmī (1551-1602)

A recurring figure throughout the exhibition ‘Mughal India’ is Akbar’s influential administrator and adviser, the court historian Abū’l-Fażl.

Abū’l-Fażl ʻAllāmī was the second son of Shaykh Mubārak (1505-1593), a distinguished teacher and scholar who had migrated to Agra in 1543 from Nagaur in Rajastan. His older brother was the court poet Fayżī about whom we’ll be writing in future postings.

A precocious child, Abū’l-Fażl was already by the age of 15 familiar with traditional Islamic philosophy and science. However, not content with this, he actively sought the company of those of other faiths:

Sometimes a sympathy with the padres of Portugal pulled at my skirt. Sometimes a conference with the mubids of Persia, and sometimes a knowledge of the secrets of the Zendavesta [the Zoroastrian sacred scriptures] robbed me of repose, for my soul was alienated from the society both of the sobered and the (spiritually) drunken of my own land.

Abū’l-Fażl ʻAllāmī, Akbarnāmah, vol 3: tr. H. Beveridge. Reprint: Calcutta, 1939, p. 117

At 20 Abū’l-Fażl was contemplating a total withdrawal from society, but instead entered imperial service in 1574. His broad-minded and humanitarian views greatly influenced Akbar’s policies but were strongly opposed by the religious establishment. He took part in Akbar’s religious debates and helped to draft the famous decree (maḥżar) of 1579 which gave Akbar as emperor the right to decide any religious question on which qualified legal interpreters (mujtahidīn) were not in agreement. His prominence, however, led to rivalries and jealousies, and in 1602 Abū’l-Fażl was assassinated at the request of Akbar’s son Salīm (later to become the Emperor Jahāngīr). 

150 years later, Shāh Navāz Khān (1700-1757) wrote in his biographical dictionary, the Maʻāsir al-umarāʼ, that while many had accused Abū’l-Fażl of being an infidel, whether a Hindu, a fire-worshipper, or an atheist, neverthless there were those who regarded him as a follower of ‘Universal Peace’ and a free-thinker who accepted all religions. His works remained extremely popular and were frequently copied right up until the advent of printing. The manuscript illustrated below is a good example.

 

This painting from a 19th century copy of the Akbarnāmah shows Abū’l-Fażl, in the presence of Akbar, drafting the order (farmān) which established a new ‘Divine Era’. This solar calendar dated from 1556, the beginning of Akbar’s reign, and used the traditional pre-Islamic (Zoroastrian) Persian day and month names. It also introduced 14 festivals corresponding to the Zoroastrian feasts (Add.26203, ff 162v-163)
This painting from a 19th century copy of the Akbarnāmah shows Abū’l-Fażl, in the presence of Akbar, drafting the order (farmān) which established a new ‘Divine Era’. This solar calendar dated from 1556, the beginning of Akbar’s reign, and used the traditional pre-Islamic (Zoroastrian) Persian day and month names. It also introduced 14 festivals corresponding to the Zoroastrian feasts (Add.26203, ff 162v-163)

The Akbarnāmah and Āʼīn-i Akbarī

Abū’l-Fażl is best known for his monumental history the Akbarnāmah which Akbar commissioned in 1589 as an official history of his reign. The first two volumes covered Akbar’s predecessors and birth, followed by the events of his reign up to the the end of the 46th regnal year (1601/1602). A third volume, the Ā’īn-i Akbarī  ‘Regulations of Akbar’, is usually treated as a separate work. It provided an encyclopedic geographical, historical and statistical account of the empire. It was the first work of its kind, based on private memoirs, imperial archives, and sources in many different languages. Although excessively flattering in style, it remained an invaluable reference source until replaced by the gazetteers of the 19th century.

This 18th century copy of the Āʼīn-i Akbarī illustrates one of Akbar’s inventions: a special wheel to be turned by a cow, which cleaned 16 matchlock barrels in quick succession (Add.5645, ff. 60v-61)
This 18th century copy of the Āʼīn-i Akbarī illustrates one of Akbar’s inventions: a special wheel to be turned by a cow, which cleaned 16 matchlock barrels in quick succession (Add.5645, ff. 60v-61)

 

Other works by Abū’l-Fażl

An early work which has not survived was Abū’l-Fażl’s commentary on the Āyat al-Kursī  ‘Throne Verse’ (Qurʼān, Surah 2, verse 255). He completed it in 985 (1575/76) and presented it to Akbar apparently with much approval. Another of his works was the ʻIyār-i dānish ‘Criterion of Knowledge’, a ‘simplified’ version in Persian of the popular Arabic stories Kalīlah wa Dimnah (originally derived from the Sanskrit Panchatantra). Although several Persian translations existed already, they were, as Abu'l-Fażl wrote, "full of rhetorical difficulties" and  abounding in "rare metaphors and difficult words" (Āʼīn-i Akbarī, book 1, Ā'īn 34).

The story of ‘The monkey and the turtle’ tells of a cross-species friendship which ends in betrayal as a result of the plotting of the turtle’s jealous wife. The moral is that women are not to be heeded, in case they ruin a good friendship between men. Leaf from the ʻIyār-i dānish dating from c. 1600 (Johnson Album 54, 36)
The story of ‘The monkey and the turtle’ tells of a cross-species friendship which ends in betrayal as a result of the plotting of the turtle’s jealous wife. The moral is that women are not to be heeded, in case they ruin a good friendship between men. Leaf from the ʻIyār-i dānish dating from c. 1600 (Johnson Album 54, 36)

Abū’l-Fażl also wrote prefaces for other royal commissions: a Persian translation of the Sanskrit epic the Mahābhārata, and the Tārīkh-i Alfī  ‘History of the Millennium’. Examples of both these works are included in the exhibition. Several posthumous collections of his letters have also survived: the Mukātabāt-i ʻAllāmī and the Ruqaʻāt-i Abū'l-Fażl.

 

Ursula Sims-Williams, Asian and African Studies

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Further reading

Abū’l-Fażl ʻAllāmī, The Akbarnama; translated by H. Beveridge. 3v. Calcutta: Asiatic Society, 1898-1939.

The Ain i Akbari; translated by H. Blochmann and H. S. Jarrett. 3v. Calcutta: Asiatic Society of Bengal, 1873-1894.

ʻAbd al-Qādir Badāʾūnī, Muntakhabu-t-tawārīkh; translated by G. Ranking, W. H. Lowe and W Haig. 3 v. Calcutta: Baptist Mission Press, 1898-1925.

All these three translations can be read online at: http://persian.packhum.org/persian/main

 

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