Mughal Period

The making of manuscripts


All books in Mughal India were manuscripts, that is, they were handwritten. The centre of manuscript production was the imperial kitabkhana. Although kitabkhana can be translated as library, it was a scriptorium, that is, a place where the emperor’s collection of manuscripts was kept and new manuscripts were produced.
The creation of a manuscript involved a number of people performing a variety of tasks. Paper makers were needed to prepare the folios of the manuscript, scribes or calligraphers to copy the text, gilders to illuminate the pages, painters to illustrate scenes from the text, bookbinders to gather the individual folios and set them within ornamental covers. The finished manuscript was seen as a precious object, a work of intellectual wealth and beauty. It exemplified the power of its patron, the Mughal emperor, to bring such beauty into being. At the same time some of the people involved in the actual production of the manuscript also got recognition in the form of titles and awards. Of these, calligraphers and painters held a high social standing while others, such as paper makers or bookbinders, have remained anonymous artisans. Calligraphy, the art of handwriting, was considered a skill of great importance. It was practised using different styles. Akbar’s favourite was the nastaliq, a fluid style with long horizontal strokes. It is written using a piece of trimmed reed with a tip of five to 10 mm called qalam, dipped in carbon ink (siyahi). The nib of the qalam is usually split in the middle to facilitate the absorption of ink.






The Akbar Nama and the Badshah Nama

Among the important illustrated Mughal chronicles the Akbar Nama and Badshah Nama (The Chronicle of a King) are the most well known. Each manuscript contained an average of 150 full- or double-page paintings of battles, sieges, hunts, building construction, court scenes, etc.



The author of the Akbar Nama, Abu’l Fazl grew up in the Mughal capital of Agra. He was widely read in Arabic, Persian, Greek philosophy and Sufism. Moreover, he was a forceful debater and independent thinker who consistently opposed the views of the conservative ulama. These qualities impressed Akbar, who found Abu’l Fazl ideally suited as an adviser and a spokesperson for his policies. One major objective of the emperor was to free the state from the control of religious orthodoxy. In his role as court historian, Abu’l Fazl both shaped and articulated the ideas associated with the reign of Akbar. Beginning in 1589, Abu’l Fazl worked on the Akbar Nama for thirteen years, repeatedly revising the draft. The chronicle is based on a range of sources, including actual records of events (waqai), official documents and oral testimonies of knowledgeable persons. The Akbar Nama is divided into three books of which the first two are chronicles. The third book is the Ain-i Akbari. The first volume contains the history of mankind from Adam to one celestial cycle of Akbar’s life (30 years). The second volume closes in the fortysixth regnal year (1601) of Akbar. The very next year Abu’l Fazl fell victim to a conspiracy hatched by Prince Salim, and was murdered by his accomplice, Bir Singh Bundela.



The Akbar Nama was written to provide a detailed description of Akbar’s reign in the traditional diachronic sense of recording politically significant events across time, as well as in the more novel sense of giving a synchronic picture of all aspects of Akbar’s empire – geographic, social, administrative and cultural – without reference to chronology. In the Ain-i Akbari the Mughal Empire is presented as having a diverse population consisting of Hindus, Jainas, Buddhists and Muslims and a composite culture. Abu’l Fazl wrote in a language that was ornate and which attached importance to diction and rhythm, as texts were often read aloud. This Indo- Persian style was patronised at court, and there were a large number of writers who wanted to write like Abu’l Fazl.



A pupil of Abu’l Fazl, Abdul Hamid Lahori is known as the author of the Badshah Nama. Emperor Shah Jahan, hearing of his talents, commissioned him to write a history of his reign modelled on the Akbar Nama. The Badshah Nama is this official history in three volumes (daftars) of ten lunar years each. Lahori wrote the first and second daftars comprising the first two decades of the emperor’s rule (1627-47); these volumes were later revised by Sadullah Khan, Shah Jahan’s wazir. Infirmities of old age prevented Lahori from proceeding with the third decade which was then chronicled by the historian Waris.



During the colonial period, British administrators began to study Indian history and to create an archive of knowledge about the subcontinent to help them better understand the people and the cultures of the empire they sought to rule. The Asiatic Society of Bengal, founded by Sir William Jones in 1784, undertook the editing, printing and translation of many Indian manuscripts. Edited versions of the Akbar Nama and Badshah Nama were first published by the Asiatic Society in the nineteenth century. In the early twentieth century the Akbar Nama was translated into English by Henry Beveridge after years of hard labour. Only excerpts of the Badshah Nama have been translated into English to date; the text in its entirety still awaits translation.