Tag Archives: Emperor Akbar

The learned emperor: ‘Baburnama’

INDIA :

Resplendent: ‘Babur receives a courtier’ (1589) by Farrukh Baig.   | Photo Credit: Wiki Commons

Babur was a sensitive memoirist with the rare ability to distance himself from his writing

Babur’s memoir did not have a name but is referred to as Baburnama or Tuzuk-e-Baburi. It is the first autobiography from the subcontinent and one of the first in the world. Babur came from two different cultures, of which one was literate and aspired to high culture. This was his father’s ancestral family, which was Timurid. His mother came from the nomadic Mongols, who weren’t literate. Babur describes his maternal uncles in his memoir.

The Timurids had a tradition of poetry, hawking, music, and, of course, war. Babur was from a family of minor nobles who had inherited the governorship of Ferghana. His autobiography begins with a description of the geography and tells us that his father, Umar Shaikh Mirza, died in an accident when he was 39 and Babur 12. The young Babur struggled to hold on to his inheritance, losing several battles, including one in Ferghana, which he had to give up to the victor.

Babur describes these decades of his life in an unemotional and direct way: he hardly valorises his own achievements. Like the great Caesar, whose books on his wars in Gaul and against Pompey may as well have been written by a non-partisan observer, Babur has the ability to distance himself from his life.

Keen naturalist

Babur’s life turns when he is found to be the only living heir to the throne of Kabul. He takes it and turns his eyes to India. For 20 years, he campaigns against India, being held back at the borders each time.

Then, as we know, he defeated the Lodi dynasty (introducing firearms to the subcontinent for the first time) and captured north India in 1526 after a decisive battle at Panipat. Babur died four years later, spending much of this time travelling across India and writing his memoir in the afternoons.

These paragraphs show how much of a keen naturalist he was. “The elephant, which the Hindustanis call hathi, is one of the wild animals peculiar to Hindustan. It inhabits the western borders of the Kalpi country… the elephant is an immense animal and very sagacious. If people speak to it, it understands. If they command anything from it, it does it. Its value is according to its size — the larger it is, the higher the price. On some islands an elephant is rumoured to be as tall as 20 or 30 feet, but here it is not more than 10 feet. It eats and drinks entirely with its trunk. If it loses the trunk, it cannot live. It has two great teeth (tusks) in its upper jaw, one on each side of the trunk. By setting these against trees and walls, it is able to bring them down; with these it fights and does whatever hard tasks fall to it. These teeth are called ivory and are highly valued by Hindustanis.’

‘Like a goat, the elephant has no skin hair. It is relied on to accompany every troop of their armies. It crosses rivers with great ease, carrying a mass of baggage, and three or four can drag without trouble a special piece of artillery that takes four or five hundred men to haul. But its stomach is large. One elephant eats as much as a dozen camels.

Elegant and clean

Babur’s book was not freely available till a British amateur linguist named Annette Susannah Beveridge translated it. She taught herself the particular version of Turkish that Babur wrote in (later Mughals wrote in Farsi) and published it in four volumes from 1912 to 1922.

At the time of the first British census a century and a quarter ago, India was 4% literate. Most Indians even today don’t have four generations of literacy: in fact, the proportion of those of us who can claim to have had great-grandparents who could write is tiny. Babur came from a tradition that already had centuries of literacy.

His is elegant and clean writing of the sort that one would expect from a very literate and sensitive person. Babur’s daughter, Gulbadan Begum, sister of Humayun and aunt of Akbar, also wrote a lovely memoir in which she describes her father’s attention to detail which he passed on to his family.

These two works, along with Jahangir’s autobiography, are some of the best material available on the Mughals. It’s a shame that these books are not taught in India’s schools today.

Aakar Patel is a columnist and translator of Urdu and Gujarati non-fiction works.

source: http://www.thehindu.com / The Hindu / Home> Books – Leather Bound / by Aakar Patel / January 16th, 2020

Akbar The Great Mughal: The Definitive Biography’ review: Light from many faiths

NEW DELHI :

In Ira Mukhoty’s narrative, Emperor Akbar is an able reformer, the earliest advocate of inter-religion dialogue, and marked for greatness because of his quality of empathy

Charismatic, curious, catholic, compassionate — Emperor Akbar (1542-1605) has long exercised the imagination of Indians of all hues. For the lay person, he is the lumbering giant with the booming voice and grand moustache as depicted by the actor Prithviraj Kapoor in K. Asif’s magnum opus Mughal-e-Azam (1960); while ostensibly a love story between Akbar’s son, Salim, and Anarkali, the film belongs to the father in the eponymous role of the Great Mughal.

For the liberals, Akbar is the embodiment of pluralism, multiculturalism and the earliest advocate of inter-faith dialogue.

For the right-wing ultra-nationalists he is the most ‘tolerable’ of all the Muslim rulers for his reverence for all faiths and abolition of the religious tax, jiziya, from non-Muslims.

An Indian icon’

From school textbooks to the Akbar-Birbal qissa-kahani to popular culture, Akbar has consistently remained an Indian icon.

Several books too have been written on him, both by the professional historian and by non-academic but extremely engaged and passionate writers. In the latter category are two recent books, both eminently readable and both written by journalists: the simply-titled Akbar by Shazi Zaman and Allahu Akbar: Understanding the Great Mughal in Today’s India by Manimugdha Sharma. Ira Mukhoty’s gargantuan book is nevertheless a welcome addition.

However, her assertion that “few full-length biographies have been written in recent times” is not entirely true. One is also wary of the sub-title; “definitive” biography sounds like a publisher’s overkill, for a book’s size alone (over 600 pages) cannot define its scope nor ward off any future explorations on the subject.

Given the absence of Endnotes, Bibliography and Index in the uncorrected proof copy sent for review, one is unable to fully gauge the extent of sources and primary texts studied by the author and whether, if at all, she has accessed Persian sources that have largely been beyond the reach of non-academic writers relying as they do on English translations.

One is, however, struck by two curious omissions by the author. One: footnotes to indicate where quoted matter is sourced from.

Two, a similar omission in the photographs of Mughal miniatures; more detailed captions and information about sources would have been helpful given, especially, that the book focuses on the role played by the royal ateliers (tasvir khanas) in chronicling the lives of the royal patrons and leaving behind a vast visual archive of Mughal history, a rich load that is now being mined by art historians as a supplement to recorded history.

Access to a king

Mukhoty’s strength as a writer lies in her ability to recreate a scene, flesh out characters, find the human element, in a word, narrate history.

Her previous book, Daughters of the Sun: Empresses, Queens and Begums of the Mughal Empire, contained ample evidence of her sophisticated prose and her felicity in providing a luminous account of the many women who lived in the shadow of their men yet led remarkable lives during the Mughal period. Here, too, she impresses with her ability to make history accessible in ways that professional historians sometimes don’t, or can’t.

Mukhoty shows her mettle as a narrator virtually from the opening paragraph where she describes two young hostages, a young Akbar and his sister, on their way to meet their uncle Kamran: “In the frigid mid-winter of 1544, two children were sent north from Kandahar to Kabul, 500 kilometres away. While the snow fell silently and relentlessly on a desolate landscape, the small party stumbled on through the mountain passes and ravines, their horses’ steaming breath loud in the night.”

She goes on to chart the growth of that terrified child upon whom the weight of being Emperor of Hindustan is thrust at the tender age of 13 when his father, Humayun, dies unexpectedly: “In fact, Akbar was a distracted, undisciplined, rambunctious child and youth who, in the parlance of the twenty-first century, may have suffered from an attention-deficit disorder. So unruly and self-willed was Akbar that no tutor was able to hold his attention and he grew up effectively unschooled and practically illiterate.”

Pioneering genius

And yet this young emperor would evolve into a fine human being, a patron of the arts, initiator of some of the greatest works of translation not to mention a pioneer in ship-building, metallurgy, alchemy, military technology as well as administrative reforms. Mukhoty shows us the man behind the emperor who brought in the largest territory — after Ashoka and his Mauryan empire — under his control.

Despite Akbar’s intellectual curiosity, his epiphany at the age of 36, his visionary idea of sulha kul (universal peace), it is his compassion and empathy that marks him for greatness. As he said in one of his proclamations: ‘The best prayer is service to humanity.’

Akbar The Great Mughal: The Definitive Biography; Ira Mukhoty, Aleph, ₹999.

The reviewer is a writer, translator and literary historian.

source: http://www.thehindu.com / The Hindu / Home> Books> Reviews / by Rakshanda Jalil / June 13th, 2020

Author Ira Mukhoty’s peek into the Mughal household

NEW DELHI :

Of History and Gastronomy: Ira Mukhoty at Jaypee Vasant Continental’s Paatra restaurant in New Delhi | Photo Credit: SHIV KUMAR PUSHPAKAR
Of History and Gastronomy: Ira Mukhoty at Jaypee Vasant Continental’s Paatra restaurant in New Delhi | Photo Credit: SHIV KUMAR PUSHPAKAR

From the resilience of Khanzada Begum to the food habits of Akbar, author Ira Mukhoty reveals many Mughal secrets over a lavish vegetarian meal

Those who suffer from colonial hangover or know their Mughals through movies have an exotic notion about the haramam or harem – a place where many women were housed to please the most important man in the empire. Author Ira Mukhoty, who scans history and mythology to find the status of women in India, counters the perception through a well-argued book, “Daughters Of The Sun” (Aleph). “This idea of ‘oriental harem’ came through the British historians because they had a long association with Islam right from the times of crusades. For them, the Mughals, the Sultans and the Tughlaqs were all the same – part of one Islamic marauding entity. The idea was completely false.”

The whole harem space, she says, evolved from the time of Babur, who wanted his women to be well-educated and was pragmatic about women who ‘fell’ to an enemy. “Over a period of time, when Mughals absorbed some elements of Rajput culture, it became a little different but even then it was completely alien to the oriental idea of a sexual space. Most of these women were in no way sexually available to the Padshah. The harem had relatives, other noble men’s wives; there were servants and attendants…there was a huge collection of women but not to please the emperor,” says Ira, as we settle for an elaborate lunch at Jaypee Vasant Continental’s Paatra restaurant.

The catalyst came from Ira’s previous book, Heroines, where she wrote about powerful women in myth and history. “One of them was Jahanara Begum. I was interested in finding more women like her associated with the Mughal empire.” She found many. But the one story that is most compelling is that of Khanzada Begam, the sister of Babur, whom he left behind with Shaybani Khan as war conquest when he escaped from Samarkand. She remained with Khan for ten years but remained true to her brother’s cause. And when she eventually returned to Babur’s household, her sacrifice and resilience was celebrated. “In fact, she went on to be anointed Padshah Begum of Hindustan during Humayun’s reign,” says Ira.

Powerful women

Women are a neglected lot in our history. Ira says this is not specific to our country. “Around the world, women stories are neglected to a smaller space – it is not just about Mughals or India. You first talk about the kings and and rajas. Women were treated like wallpapers. It is not that I have found something special here. The resources have been there but they have seldom been used to join the dots. For instance, Gulbadan Begum’s biography of her father Babur and brother Humayun was translated from Persian into English in 1907.” She reminds how Jahanara Begum wrote about her Sufi masters in two books. “Her lines are very powerful and erotically charged for Sufis believe in erotic love as means for union with the divine. A 17th Century Muslim woman writing such a powerful language is extraordinary.” Ira has tried to find out first hand information about these women who engaged in diplomacy and patronised the arts. “ I have written about Mughal women who were highly educated, who advised emperors and traded with foreigners. Babur saw them as symbols of Timur legacy. He wanted them to engage in verbal repartees and write poetry.”

Ira says her study of royal firmans reveal that Jahanara Begum asked for permission to go for Haj but it was denied. “Years before her, Gulbadan Begum had made the famous journey that lasted seven years. But by the time of Jahanara, royal women were not encouraged to take this hazardous journey. But she did make a request. I looked at the date and it was one month after her sister Roshanara Begum had died. I wondered that did something come over her.” It is her ability to join these dots that makes Ira’s work much more engaging and accessible than academic works by the likes of Prof Ruby Lal, whom Ira has extensively quoted.

“I try to find a thread between these stories to make fully-rounded characters. With women’s stories you get that sense. However, I tell the reader where I am not sure and am talking about possibilities.” Ira, who studied Immunology in Cambridge University, says her science background has always helped her in research. “It gives me patience. History brings subtlety and nuances which interest me much more. Science is no good for that,” she chuckles. Having said that, she doesn’t believe in speculating. “You should tell the reader where you are not sure even if it breaks the rhythm of the story. If I say it could have happened, I expect the reader to make his own mind.”

A vegetarian these days, Ira undertook ‘walks’ to the Walled City to understand the fragrances and the language of the time gone by. “They might not help you with facts, but they definitely help in writing about a past whose remains are very much part of our ecosystem.” As she appreciates the lavish spread at Paatra, she remembers the meal she had at the Nizamuddin dargah.

Introduction to ghee

Ira hasn’t written much about the Mughal kitchen but she has mentioned some instances which give us an idea of what was cooking. For instance, she captures Humayun’s exile in Persia with Hamida Banu Begum after the embarrassing defeat to Sher Shah Suri. “At one point they were actually cooking horsemeat to survive. But when they went to Persia, they were greeted as kings. Suddenly, the meal changed from fibrous, overcooked horsemeat to the amazing food that the Shah would offer them. When they were leaving, Shah Tahmasp wanted a banquet in Hindustani fashion prepared by his guests. What he liked the most was something called dal khuske which was like matar ka pulao. He tasted ghee for the first time as Persians used to cook in fat.”

Over the years, Mughal food became more and more refined. “There came a time when hens were massaged so that the chicken would be soft and tender. Akbar was a frugal eater who used to have just one meal a day but the time for it was not fixed. At any given time around 100 dishes were kept almost ready for him so that they could be served to the emperor at a short notice.”

Ira, who is now working on a biography of Akbar, says the emperor turned vegetarian under the influence of his Rajput wives. “Luckily for us, we have the Akbar’s biography of Bada’uni. He was a conservative person and his account is not glowing with praise like that of Abu’l-Fazl’s. He could not do what Akbar expected of him. He wrote the biography in secret and it was published during Jahangir’s rule. It is fascinating because it tells truthful things about Akbar. He writes that Akbar is so influenced by his Rajput wives that he gave up meat and indulged in Hindu rituals.” Similarly, she says, Gulbadan Begum’s account is very honest in comparison to a male biographer because she is not looking for building an image for posterity. “She writes very candidly like she explains why Humayun was very angry one day. He believed in astrology and always made the journey when the stars were in right alignment. One day he told the women in harem that they would go on an expedition at such and such time. Unfortunately, his new wife fell off the horse. It took her some time to get back. He got furious. He said he would need some opium to calm down. A male biographer would not have put all this but Gulbadan mentions all these intimate details so that we would know the man not just as a king and a conqueror but also as a father, a husband and a son.”

Ira has emerged at a time when Akbar’s legacy is being questioned and anecdotal history is gaining currency in mainstream discourse. She says hers is not a political book. “I am not trying to push any agenda. However, in this atmosphere, it is not unimportant to hear these stories also to clear many of the prejudices that we may have had. When things remain in anecdotal form, it is easy to manipulate them.”

source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture / by Anuj Kumar / August 31st, 2018

”Taj – A Monument Of Blood”: New Series On Mughal Empire In The Pipeline

Agra, UTTAR PRADESH :

The series will capture the dark side of the story of the Mughal empire and had emperors like Akbar, Jehangir, Shah Jahan and Aurangzeb.

Mumbai :

“Taj – A Monument of Blood”, a period drama series on the rise and fall of the the Mughal empire, is set to be produced by Applause Entertainment in partnership with Contiloe Pictures, who are confident of presenting a story with a mix of blood, betrayal, power, beauty, deceit and heartbreak.

The series will capture the dark side of the story of the Mughal empire, which ruled India for just over 3 centuries and had emperors like Akbar, Jehangir, Shah Jahan and Aurangzeb. Writing is currently underway.

The tale will be told over 5 seasons of twelve episodes each, using the birth and death of Shah Jahan as bookends. It will delve deep into the Mongol origins, bloodlines mixing with Persian and Rajput royalty, the court and palace intrigues, the repeated purging of aspirants to the throne, and the arrival of the British and Portuguese.

Sameer Nair of Applause Entertainment calls himself a big fan of revisionist narratives of history.

“Our history books have been written by victors and often paint very two-dimensional pictures about past empires. When Abhimanyu Singh (Contiloe Pictures) and I first discussed this idea, we immediately moved away from a typical historical to a darker and edgier version of the Mughal empire, a version in which symbolically the Taj is more a monument of blood, than a monument of love,” Mr Nair said in a statement.

Mr Singh, who has produced a slew of historicals for the small screen, says the new series will show viewers the historic journey through a fresh lens.

“It will take viewers on a historic journey showing them an unseen perspective of this illustrious dynasty which lead to their rise as the greatest empire in medieval times and the quest for power, within it, that finally lead to its downfall.”

source: http://www.ndtv.com / NDTV / Home> All India / by  Indo-Asian News Service / July 12th, 2018

Renovating Rahim’s tomb: The original monument of love

NEW DELHI :

Rahim01MPOs22mar2018

Rahim’s tomb, inspiration behind the Taj Mahal, was about to collapse when it was rescued by a conservation project

Rahim02MPOs22mar2018

Some 50 years before that magnificent monument of love, Taj Mahal, was built, Abdur Rahim Khan-e-Khanan, a poet and diwan in Emperor Akbar’s court, built a tomb in the memory of his wife Mah Banu. It was the first Mughal tomb built for a woman.

Constructed in 1598, the tomb stands a few hundred meters south of the Humayun’s Tomb, a world heritage site, in Delhi. This location was chosen for its proximity to Hazrat Nizamuddin Auliya’s Dargah — it was considered auspicious to be buried near the grave of a saint. Rahim too was eventually buried here in 1627.

Located near one of Delhi’s busiest roads, Mathura Road, Rahim’s tomb remained largely ignored for several years.

Then in 2014 the Ministry of Culture requested the Aga Khan Trust for Culture (AKTC) to restore Rahim’s tomb.

The tomb’s condition was precarious, to say the least, when the project began. “I usually don’t say this, but this building could have collapsed,” says Ratish Nanda, AKTC’s Chief Executive. It was “a very complex” project, he says. The restoration began in association with the Archaeological Survey of India and funding from InterGlobe, an Indian conglomerate.

There were deep cracks in the crypt, the first floor and the dome – “some so wide that you could put your arm through them.”

This needed immediate attention, and he realised it would take up to a year to fix them. Vandalism had added to the structure’s deterioration. Stones were missing, the white marble on the dome had been stripped off, water was seeping through. A flood a few years ago had also created cracks in the crypt’s vault.

Kilos of concrete

The restoration that had been attempted previously was woefully inappropriate and used modern plaster and cement, and had compounded the problem.

AKTC had faced a similar challenge during their restoration of Humayun’s Tomb, where they had to remove over a million kilos of concrete. The tomb wasn’t particularly structurally sound to begin with either, much like Humayun’s Tomb.

The team began with architectural documentation. This involved 3-D laser scanning (a technique first developed to find leaks in nuclear plants), photo archival research, historical research. Every stone was drawn up.

In 1968, the renowned British historian Percy Brown identified Humayun’s and Rahim’s tombs as structures that inspired the Taj Mahal. “But what is most significant about Rahim’s tomb,” Nanda says “is Rahim.” Rahim was just four when his father, Bairam Khan, an important military commander in the Mughal army, was assassinated. He grew up under the foster care of Emperor Akbar. He would later become one of Akbar’s nine most important ministers, the Navaratnas, and prove his own capability as a commander.

Most of us, however, know Rahim better as a poet. Apart from his famous dohas, he also wrote verses in Arabic, Sanskrit and Turkish, and translated Emperor Babur’s autobiography, Baburnama, from Turkish to Persian.

“I like the idea of this multidimensional personality. [He is] almost a renaissance figure,” says former diplomat T.C.A. Raghavan, whose curiosity about Rahim eventually led him to write a book about the man and his father, Attendant Lords (2017).

Secular symbol

Ujwala Menon, a conservation architect with AKTC, says that he was a secular figure and a patron of architecture. “The water supply system that he built in Burhanpur, with underground pipelines to every part, we can’t replicate that even today.”

Menon says that an attempt will also be made to restore the grand garden with plants that the Mughals favoured, such as citrus orchards.

A project of this scale requires several layers of work — preservation to keep the building in the state that it is found, restoration to bring the structure as close to its original condition as possible and reconstruction, which also involves a technique called ‘anastylosis’, where a ruined building or a broken object is restored using its original material. The vaults and parapet here were reconstructed using new pieces of Delhi quartzite and red sandstone respectively. Paint and lime-wash layers had to be painstakingly removed to reveal the incised geometric and floral patterns.

It will be another 16 to 20 months before the restoration of the tomb is complete, as there is major structural work to be done on the dome and facade.

But views on conservation can be subjective. There are those who criticise the work being carried out, saying that such techniques take away the narrative of age from the structure. Some believe that preservation is the only correct conservation technique.

But critics often focus on the aesthetics, not taking into account the structural integrity of the building. Nanda illustrates this with the analogy of skin. “You cannot say, ‘oh my skin is falling off, but I won’t repair it.’ Skin, besides making you look like who you are, is also fulfilling a lot of other functions.”

It is to counter such ‘mad arguments’ that Nanda says AKTC got the project extensively peer reviewed by over 50 different individuals — from architects, archaeologists and engineers, to historians, journalists and bureaucrats. These included Jaya Jaitly, Narayani Gupta, Saleem Beg, William Dalrymple, Gillian Wright and Lynn Meskell.

Nanda says that AKTC doesn’t take up a project unless the work can benefit local people. The Nizamuddin Basti Urban Renewal Initiative, of which the Rahim tomb renovation is a part, has also generated over five lakh man days of work for master craftsmen.

Earlier this year, a book, Celebrating Rahim, was published about Rahim’s life and and his artistic, political and intellectual work. AKTC and InterGlobe hope to bring out a compilation of Rahim’s written verses as well.

Nanda is appreciative about the private sector involvement in the project. “Unless there is a huge public interest in conservation, the future of heritage conservation is bleak.”

When he’s not chasing stories, the writer can be found playing Ultimate Frisbee or endless rounds of Catan.

source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture / by Shashank Bhargava / March 17th, 2018

RAAG TAAL GHARANA – The legend of Mian Tansen

Gwalior, MADHYA PRADESH : 

Tansen's tomb in Gwalior | Photo Credit: HINDU PHOTO ARCHIVES
Tansen’s tomb in Gwalior | Photo Credit: HINDU PHOTO ARCHIVES

He created many ragas, could produce any sound and lent a distinct style to Senia gharana

This gharana is made up of the legend of Tansen, the father of Indian classical music. Though Tansen was a vocalist, the gharana also produced sitar maestros. The Senia style of sitar playing started with the legendary Ustad Maseet Sen, who belonged to the sixth generation in the Tansen lineage. ( The pioneer of Maseetkhani style, even today, 100 years later, the Maseetkhan Baj is played by the sitarists of this gharana. These musicians came to be known as the sitarists of Jaipur Senia Gharana. They lay emphasis on the purity of raga and technique. Their style of playing was that of the bin or veena. Ustad Mushtaq Ali Khan, son of Ashiq Ali Khan of Varanasi had the privilege of learning from Ustad Barkhat Ali khan of Jaipur, who went by the title ‘Aftab-e-Sitar’. Pt. Debu Choudhuri was fortunate to learn from ‘Dada Guru’ (Ustad Mushtaq Ali Khan).

On the vocal front, the gharana is referred to as Qawwal Bachcha. Its most well-known exponent of our time is the Lucknow-based Ustad Shamshudeen Khan, popularly called Ustad Gulshan Bharathi (recepient of ‘Yash Bharathi’ award). This style is known as bol bant ki gayaki and bol banav ki gayaki. Short and crisp bol taans are significant features, while the aakar is sparingly used. Many of his disciples have made a mark in films, notable among them being Shashi Suman, music composer of Bajirao Mastani and Harjeet Saxena.

Coming back to Mian Tansen. He was born as Ramatanu and later came to be known as Tanna. There are many legends woven around his life. It is said that he could produce any sound. The story goes that once when the sadhus were crossing a field they heard a lion’s roar and located it to a young boy sitting on a tree. They advised his father to send him to Swami Haridas for training.

However, it is believed that Tansen was born dumb and was taken to the Sufi saint Murshid Mohammed Ghouse Gwaliari. On reaching Gwalior, he visited the Sufi saint and found him in the company of Swami Haridas. The saint blew air into the mouth of the child and Tanna began to speak. When the saint came to know the child was also deaf, he blew air into his ears and he was cured. The Sufi saint then asked Swami Haridas to take him into his fold. Thus began his musical journey (M.A Bakhy).

Titles to Tansen

Tansen was the title given to him by Raja Vikramjit of Gwalior. Tansen was a court musician in the darbar of Raja Ramachandra of Bandavagarh (Rewa).

When Akbar heard of his prodigious talent, he sent a ‘firman’ to the king asking for Tansen and made him one of the Navaratnas in his court. He gave him the title of ‘Mian’. Tansen is also known as the ‘Sangit Samrat’, according to Musical Heritage of India by Lalita Ramakrishna.

Abul Fazl records in his Ain-i-Akbari that Akbar gave Rs 2 lakhs to Tansen for his first performance in the court. He composed many dhrupads on Ganesha, Shiva, Parvati and Rama. He also composed songs on his patrons.

Kalpadruma is a compliation of 300 of his dhrupads that were in Gauhar Bani. Tansen composed in his favourite ragas — Multani, Bhairavi and Todi .

He invented the night raga Darbari Kanhra, morning raga Mian Ki Todi, mid-day raga, Mian ki Sarang, seasonal raga Mian ki Malhar. His descendants and disciples are called Seniyas.

While Tansen graced the court of Akbar, many aspiring singers would practice round the clock and caused a lot of disturbance to him. This came to the notice of Emperor Akbar and he banned one and all from pursuing music. The story goes that a competition was organised between Baiju Bawra, also a disciple of Swami Haridas, and Tansen. The loser was to be executed. The two sang under the magic spell of love and reverence to their Guru. Tansen’s tanpura string broke. Baiju asked Akbar to grant him three wishes — not to execute Tansen, to lift the ban on singers and to set free the people who were innocent.

Another famous story is about theintrigue to bring about Tansen’s end by making him sing Raga Deepak. Tansen, who was known for the purity of his renditions, foresaw his fate, but could not say ‘no’ to the emperor. He had asked all the lamps in the court to be extinguished. As he sang, the lamps lit and the flames engulfed him.

On hearing this, his wife Husseini broke into raga Megh Malhar, beckoned rains and saved Tansen. This was a turning point in the legendary singer’s life and he went back to Sufi saint Hazrat Ghouse Gwaliari. While the Tansen samorah in Gwalior commemorates him as a singer, the yearly Urs has canonised him as a saint.

source: http://www.thehindu.com / The Hindu / Home> Entertainment> Music / by Jyoti Nair / March 01st, 2018

Armenian X’mas link

Agra, UTTAR PRADESH :

ArmenianChurchMPOs26dec2017

This Christmas, let’s rewind to the times when the cross and the crescent met in the Capital

Christmas is much the same everywhere but the medieval Armenian one was different. Even the Cross (that proclaims Christ’s crucifixion) had its own peculiar shape, hardly seen in Catholic and Protestant churches, except in old cemeteries, like the one in Agra which was once a Mughal orchard gifted to an Armenian lady by Akbar in the 17th Century. In Armenian celebrations, cakes were there, of course, but the emphasis was on animal sacrifices. The cakes and sweet breads were embellished with raisins (kishmish). No wonder non-Christians started calling Christmas “Kishmish”.

The visit of the former Armenian President, Levon Der Petrossian during Indira Gandhi’s time was a reminder of the age-old ties between India and Armenia, two countries where the Aryan influence predominated. The visit of Vice-President Hamid Ansari earlier this year was a follow-up to the one by Mrs Gandhi’s to Yeravan.

Armenia is an ancient country which has been regarded as “the doorway between East and West.” Mount Ararat, where Noah’s Ark rested after the Deluge, was in the present Turkish part of Armenia and it was there that those who were saved from the great flood along with the patriarch settled down to create a new world. It was, therefore, natural for Christianity to take root there in its initial days. It is worth mentioning, however, that the old beliefs of the Armenians were incorporated into the Church for quite a long time. Animals were sacrificed in the church porch before the celebration of the Eucharest, especially at X’mas and Easter. The Armenians had started coming to the Mughal Empire some years before the invasion of their country by Turkey. They found the hospitality that they needed and built churches in Delhi, which, however, do not exist now.

At Agra also they built a chapel and the son of a nobleman, Mirza Zulquarnain, was brought up by Akbar. He was later to become the head of the salt works at Sambar. The Mirza is known as the Father of Christianity in North India because it was during his time that the cross and the crescent met in the Mughal Capital.

Mirza Zulquarnain’s palace occupied the land where the British later built the Agra Central Prison, which in recent times has made way for the ambitious shopping project known as Sanjay Place. It was on this piece of land that a cathedral was erected by the Capuchins 200 years later. The Armenians planted olive trees, one of which still survives near Akbar’s church. The mystical cross was used as an emblem on even residential buildings. It is said that during Akbar’s time after Christmas Mass the sick members of the congregation drank of the water in which earlier a crucifix had been bathed. It was supposed to cure patients, or so the belief went. In the Martyrs’ Cemetry at Agra are the graves of many Armenians which look like Muslim graves with Persian inscriptions. One of the graves, that of the saintly Armenian merchant, Khwaja Mortiniphas is still venerated, along with that of Fr. Santus. Some say he was related to the Bishop of Tabriz and became a hermit in later life after giving all his wealth to the poor.

In Delhi, the most famous Armenian tomb is that of Sarmad Shaheed at the foot of the Jama Masjid. Kishanganj, between old Delhi and Sarai Rohila stations, also has some Armenian graves, besides those of Dutch nationals some connected to the Mughal Court like Bibi Juliana. Incidentally, the Chief Justice in Akbar’s reign was Abdul Hayee, an Armenian Christian.

Destroyed by Nadir Shah

There were two Armenian churches in Delhi, one near the slaughter house, beyond the old Sabzi Mandi, another in Sarai Rohilla; though accounts of their exact location differ. According to Sir Edward Maclagan, there were 120 catholics in Delhi during Shah Jahan’s reign in 1650. Their number went upto 300 by 1686, when Aurangzeb was on the throne. Two priests looked after them. A Catholic cemetery was also in existence from 1656. Father Desideri, who came to the city from Tibet, found the churches in ruins in 1732 (Mohd Shah’s reign). He stayed on for three years and built a new Armenian church dedicated to the Virgin Mary and blessed on All Souls’ Day, Nov 2, 1723. In 1739, this church and another Armenian one were destroyed by the Persian invader, Nadir Shah during the massacre of Delhi. One of the churches was rebuilt in 1746, and blessed on Christmas Eve. Later another Armenian church came up, but both seem to have been razed in the early 19th century.

When the Armenians held X’mas celebrations, boys and girls dressed as angels greeted Akbar and later Jahangir at their church in Agra which still exists. After that the two emperors watched the Christmas play and later sent the ladies of the harem to see the crib depicting Christ’s truth in a manger. Armenian X’mas is now a nostalgic memory but when the church bells peal for midnight Mass at Christmas in the Cathedral near Akbar’s church, the Armenian spirit is revived as the local Padritolians pull the ropes of the five huge bells imported from Belgium by the Italian Capuchin fathers. This tradition dates back to Armenian times, when one of the bells broke and could be lifted with great difficulty by two elephants, who deposited it in the Mughal Kotwali till Jahangir had it repaired and restored to the old church.

Probably the most famous Armenian in Indian history was Shah Nazar Khan who cast the Zamzamah gun for the Third Battle of Panipat (1761) on the orders of Ahmed Shah Abdali and about which Kipling wrote: “Who hold Zam-Zamah, that fire-breathing dragon, hold the Punjab”. The giant on wheels, gun is now parked in front of the Lahore Museum, while Nazar Khan rests in Agra where father discovered the nearly-obliterated Persian inscription on his tomb in December 1935, almost two years before one was born. Merry Christmas!

source:  http://www.thehindu.com / The Hindu / Home> Miscellaenous> Othes / by R.V.  Smith / December 26th, 2017