The Taj Mahal

The Taj Mahal

built by Emperor Shah Jahan
1632-1653 AD.

         Considered the most beautiful building in the world,  the Taj is the epitome of Mughal architecture in India. Having suddenly lost his beloved wife Mumtaz Mahal, Shah Jahan decided to build a tomb for her. She had died at Burhanpur, her body was carried to Agra and buried in what is now the gardens of the Taj.
       The Taj was designed by Ustad Ahmad Lahauri and was constructed between 1632-1653 AD. Although partly inspired by Humayun's tomb, Shah Jahan did not follow the Char Bagh design of the Persian gardens. Instead, he had the tomb pushed to the end of a long rectangular. The tomb is spectacularly placed against the sky. The perfect proportions of the building, the pure white marble, the simplicity of the design, its harmonious patterns of arches and windows, its reflections of the sky transform this building into a poetry in marble. It not only symbolises the purity of love, but also depicts the transformation of human love into a divine faith

Humayun's Tomb

Humayun's Tomb

1565-1572 AD
 Delhi

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     The tombs belonging to the Sultanate period are simple and modest in scale. The tombs of the Mughal emperpors are complex and grand in scale.  Humayun's tomb, constructed by his first wife, Bega Begum, started this trend. Situated on the Yamuna River in Delhi, the tomb is an imposing structure. 
     The tomb has many unique qualities. It is the first tomb to follow the 'Char Bagh' (four garden) lay out which is the typical pattern for the Persian tombs. In this layout, while the tomb sits in the middle of the layout, there are four gardens laid out in four directions on the major axis. It is thr first tomb to have a double dome--one inside, proportionate to the inner height,  and an outer dome, proportionate to the outer measurements.  It is the first tomb to extensively use the combination of red sand stone with white marble.  The white marble dome of this tomb is said to have inspired the Taj Mahal built later by Shah Jahan.
        The tomb is also important as it houses a large number of family members of the Mughal dynasty, including Prince Dara Shikoh and other "minor" Mughal emperors. 
         The tomb is a UNESCO site and has been renovated recently. It is worth a visit.

Buland Darwaza at Fatehpur Sikri

Buland Darwaza at Fatehpur Sikri

16th century AD

       The Mughal emperors were not only great patrons of painters, but were also great patrons of architecture.  They have left their mark in Indian architecture.
      Babar did not like Hindu architecture as it was asymmetrical and too ornate. Islamic architecture has always emphasised symmetry and simplicity of form and line. Akbar not only adopted the Hindu love for ornamentation,  but also combined it with the Islamic concepts of pristine architecture. 
Tired of the intrigues of Agra, devoted to the sufi Saint Salim Chisti, Akbar founded Fathepur Sikri near Agra. After the planned cities of the Indus Valley Civilisation,  this happens to be the first planned city of India. The Buland Darwaza, the tallest gate of its time, was built to commemorate Akbar's victory over Gujarat. It was a political statement to proclaim that the Mughals have come to stay in Hindustan. 
          But Akbar spoke not in a language of confrontation, but in a language of conciliation.  His architecture depicts the Hindu architecture as well. Notice the two lotuses on top of the arch. His architecture speaks about his cosmopolitanism and pragmatism.

Darbar (Court) of 'Alamgir'

Darbar (Court) of 'Alamgir'

A painting by Bichitr
Auranzeb period
1658 AD.

       Having killed his elder brother, Prince Dara Shikoh, having imprisoned his father, Shah Jahan, in 1658 Aurangzeb usurped the Mughal throne. Upon ascending the throne he took the title of 'Alamgir ( Seizer of the Universe). He personified his title.  Before the British, he had the largest empire in Indian history, stretching from Kabul to almost Kanyakumari, from Sind to Assam. Politically the empire was united, socially fragmented,  economically distintigrating.
      Here Bichitr portrays the new  Emperor with his sons and maternal uncle. The emperor no longer sits in the company of learned men, or in the opulence of a court. He sits with a hawk perched on his right hand. It was the hawkish policies of Aurangzed which tore apart the unity of Hindustan, and partially damaged its diversity. Bachitr has reflected the rigid psychology of the emperor in his rigid posture. This painting is one of the finest portraits in Mughal miniatures.
         The battle between the liberal Dara Shikoh and the orthodox Aurangzeb is another turning point in Indian history. With the victory of fundamentalism,  India began its decline which led to its eventual subjugation by the British.

Prince Dara Shikoh with Learned Men in a Garden

Prince Dara Shikoh with Learned Men in a Garden

by Bichitr
Shah Jahan period
1640-1650 AD

         Prince Dara Shikoh was Shah Jahan's eldest son. He was the crown prince to the Mughal throne. In order to prevent a royal revolt, and in order to train Dara into the administrative functions,  Shah Jahan always kept Dara with him. Prince Dara Shikoh grew up in the liberal Sufi tradition of the Mughal court. Like Akbar and Jahangir, he was fascinated by Hinduism. He himself translated Hindu texts into Persian. He was a devotee of Nizamuddin Aullia Chisti of Delhi.
            Here Bichitr portrays Prince Dara Shikoh in a discourse with learned men. There is lively conversation,  wine and music. During the discourse a servant pours the wine, and the singer sings animatedly.  Bichitr paints his self-portrait as the man reading the book on the left side of the painting. The setting of the painting is Kashmir as Bichitr has painted the Iris flowers and the Cyprus trees.
            But the painting is more symbolic: under liberalism, ideas blossom and flower.  Liberalism is a Garden of Eden, a paradise.

Shah Jahan Hunting

Shah Jahan Hunting

Painting from Padshahnama
 1645 AD.

         Besides depicting the major events of Shah Jahan, the Padshanama also captures Shah Jahan' passions and activities.  Here we see him on a royal hunt near Palam. According to Shah Jahan he had killed eighteen black bucks and deers without missing a shot. Hunting was a royal pass time. It not only improved the marksmanship of the emperors, but also was symbolic for the subjects: the emperor as a protector of the people from the wild nature,  from the wild beasts.  Even the royal ladies used to go out and hunt. According to Jahangir once he and Nur Jahan went for a hunt. While Jahangir missed the shot while trying to kill a tiger, Nur Jahan shot him dead just with a single shot.
       Such paintings not only tell us about the royal passtimes, they also tell us about the weapons which were used at the time. Here Shah Jahan is using a long musket riffle.  Moreover,  these Mughal paintings would become the role models for the Rajput style of painting which we will dicsuss shortly.

Shah Jahan Tieing the Sehra on Prince Data Shikoh

Shah Jahan  Tieing the Sehra on Prince Data Shikoh

A painting from Padshahnama
1635 AD.

         Prince Dara Shikoh was not only the Crown Prince, but was Shah Jahan's favourite son. Here Shah Jahan is shown tieing the 'Sehra' on the face of the prince. Interestingly the sehra is the same one, made out of pearls and gems, which Shah Jahan had worn when he married Mumtaz Mahal. It was a family heirloom.  In this painting we also see Aurangzeb standing, second from Shah Jahan, towards the right side of the painting. Ironically the battle between Dara Shikoh and Aurangzeb over the Mughal throne would seal the fate of Hindustan.  But this painting has caught the happier moments of the royal family.
        The artist has cleverly divided the painting into two parts: the upper for the royal figures, the lower for the group of dancers and courtiers.  This depicts the social division of the medieval society. Yet, it is the lower group who is full of life and gaiety.  The women are dancing with free abandonment.  Joy of life is confined to the lower strata; ceremonies, to the upper strata. So is life.