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The Indus river is where I started a journey that is taking me | 0:00:07 | 0:00:11 | |
thousands of miles, deep into the Indian subcontinent | 0:00:11 | 0:00:15 | |
to which the river gave its name. | 0:00:15 | 0:00:17 | |
A journey that will help me discover some of its most hidden treasures | 0:00:17 | 0:00:22 | |
and reveal secrets from its distant past. | 0:00:22 | 0:00:24 | |
In the last programme, I travelled back five millennia in time to | 0:00:27 | 0:00:31 | |
the ancient civilisation that first grew up on the shores of the Indus, | 0:00:31 | 0:00:35 | |
and explored the lost Buddhist culture of northern Pakistan. | 0:00:35 | 0:00:39 | |
Now, I want to see what happened | 0:00:41 | 0:00:42 | |
when the Muslim invaders who had occupied modern-day Pakistan | 0:00:42 | 0:00:45 | |
moved further south, and produced an extraordinary flowering of art | 0:00:45 | 0:00:50 | |
and architecture, and some of the world's greatest treasures. | 0:00:50 | 0:00:53 | |
As an art historian and museum curator, | 0:00:57 | 0:00:59 | |
I've looked after these treasures for most of my life. | 0:00:59 | 0:01:02 | |
In this series, I want to explore their stories | 0:01:02 | 0:01:05 | |
and the people who created them. | 0:01:05 | 0:01:07 | |
For hundreds of years, India was ruled by a foreign empire. | 0:01:17 | 0:01:21 | |
These invaders came from the north and spread their influence | 0:01:21 | 0:01:24 | |
right across this vast land, from the peaks of the Himalayas, | 0:01:24 | 0:01:28 | |
to the plains of the Punjab, to the jungles of central India. | 0:01:28 | 0:01:32 | |
They were the Mughals. | 0:01:33 | 0:01:34 | |
The Mughals were a race of Islamic warrior kings | 0:01:38 | 0:01:41 | |
from Central Asia who were also poets, scholars and traders. | 0:01:41 | 0:01:46 | |
In matters of religion and philosophy, they were | 0:01:46 | 0:01:49 | |
more progressive and liberal than most European rulers of the time. | 0:01:49 | 0:01:52 | |
They made some of the world's most beautiful art. | 0:01:54 | 0:01:58 | |
They presided over advances in science and technology. | 0:01:58 | 0:02:01 | |
They brought war, but also great prosperity, | 0:02:01 | 0:02:04 | |
freedom at first, but later, intolerance. | 0:02:04 | 0:02:08 | |
In modern India, the Mughals remain controversial. | 0:02:10 | 0:02:14 | |
The question is, did their impact | 0:02:14 | 0:02:16 | |
change India for the better or the worse? | 0:02:16 | 0:02:19 | |
Where do you come from? | 0:02:31 | 0:02:33 | |
Well, my parents are from Kolkata but I was born in England, | 0:02:33 | 0:02:38 | |
so India is one of my homes. | 0:02:38 | 0:02:42 | |
Very nice. | 0:02:42 | 0:02:44 | |
Yes. My ancestral home. Being in India always feels like coming home. | 0:02:44 | 0:02:48 | |
-Very nice. -Yeah. | 0:02:48 | 0:02:50 | |
'To tell the story of the Mughals will take me | 0:02:50 | 0:02:53 | |
'not just to India, where they created an empire, | 0:02:53 | 0:02:56 | |
'but also to Pakistan, where that empire began.' | 0:02:56 | 0:02:59 | |
The Mughals originally came from the mountains of Central Asia, | 0:03:04 | 0:03:07 | |
what is now Afghanistan and Uzbekistan. | 0:03:07 | 0:03:11 | |
Then, at the beginning of the 16th century, | 0:03:11 | 0:03:14 | |
they moved south towards the riches that lay beyond the River Indus. | 0:03:14 | 0:03:18 | |
In 1526, just as King Henry VIII began to woo Anne Boleyn in England, | 0:03:26 | 0:03:31 | |
the Mughal king Babur | 0:03:31 | 0:03:33 | |
arrived at the outskirts of the great city of Lahore. | 0:03:33 | 0:03:36 | |
Babur had been a king since he was 12 years old. | 0:03:44 | 0:03:47 | |
He was descended from Genghis Khan and Tamerlane. | 0:03:47 | 0:03:50 | |
By 17 he had conquered Samarkand and by 22 he had Kabul. | 0:03:50 | 0:03:54 | |
He was 43 by the time he got to Lahore, | 0:03:56 | 0:03:59 | |
and deeply unimpressed with what he found. | 0:03:59 | 0:04:02 | |
In his diary, Babur wrote, | 0:04:02 | 0:04:04 | |
"Hindustan is a country of few charms. | 0:04:04 | 0:04:07 | |
"Its people are ugly, rude and have no artistic talent. | 0:04:07 | 0:04:11 | |
"There are no good horses, no good dogs, no grapes, musk-melons | 0:04:11 | 0:04:15 | |
"or first-rate fruits, no ice or cold water, no good bread | 0:04:15 | 0:04:20 | |
"or cooked food in the bazaars, | 0:04:20 | 0:04:22 | |
"no hot baths, and not even any candlesticks." | 0:04:22 | 0:04:25 | |
It seems that the only thing that impressed him about India was | 0:04:27 | 0:04:29 | |
that it was a large country and that there was masses of gold and silver. | 0:04:29 | 0:04:33 | |
Homesick for the ordered beauty they knew in Central Asia, | 0:04:42 | 0:04:46 | |
the Mughals transformed Lahore into a garden city. | 0:04:46 | 0:04:49 | |
These Mughal gardens were nothing like India had seen before. | 0:04:51 | 0:04:55 | |
They were grand in scale, | 0:04:55 | 0:04:56 | |
and their emphasis on symmetry and balance was completely new. | 0:04:56 | 0:04:59 | |
Flowing water was as important as greenery. | 0:05:00 | 0:05:04 | |
It helped to cool the gardens on hot days, | 0:05:04 | 0:05:06 | |
and showed off the wealth and ingenuity of the new rulers. | 0:05:06 | 0:05:09 | |
In Islam, like Judaism and Christianity, | 0:05:12 | 0:05:15 | |
Paradise is often represented as a garden. | 0:05:15 | 0:05:19 | |
The creation of beauty and order in these gardens | 0:05:19 | 0:05:22 | |
was about more than just making pleasant spaces. | 0:05:22 | 0:05:25 | |
It was symbolic of the arrival of the Mughals. | 0:05:25 | 0:05:28 | |
By the end of their rule, these gardens had been constructed | 0:05:30 | 0:05:33 | |
in all major cities and towns throughout India. | 0:05:33 | 0:05:36 | |
These warriors turned gardens into a symbol of their power. | 0:05:37 | 0:05:40 | |
But they also brought gardens and flowers into their buildings, | 0:05:44 | 0:05:48 | |
together with a sensuous love for the pleasures of life | 0:05:48 | 0:05:51 | |
that they had left behind in the valleys of Central Asia. | 0:05:51 | 0:05:54 | |
Although one pleasure, they had brought with them. | 0:05:54 | 0:05:57 | |
The Mughals created exquisite drinking vessels, | 0:05:59 | 0:06:01 | |
but they had a very complex relationship with alcohol. | 0:06:01 | 0:06:04 | |
They consumed it publicly, | 0:06:04 | 0:06:06 | |
and yet it always remained an illicit pleasure. | 0:06:06 | 0:06:10 | |
For Babur, on the one hand, he was descended from | 0:06:10 | 0:06:13 | |
the very public drinking culture of Genghis Khan, | 0:06:13 | 0:06:15 | |
and, on the other, he wanted to be a good Muslim. | 0:06:15 | 0:06:18 | |
Babur knew his drinking was controversial | 0:06:23 | 0:06:26 | |
amongst his orthodox Muslim army, and if he was to continue | 0:06:26 | 0:06:30 | |
his invasion further into India, | 0:06:30 | 0:06:32 | |
he would need to inspire his tired troops. | 0:06:32 | 0:06:36 | |
Particularly if he was to capture the fort here in Agra, | 0:06:36 | 0:06:39 | |
the second capital of Hindustan, whose sultan was fabulously wealthy. | 0:06:39 | 0:06:45 | |
A year after he had conquered Lahore, Babur arrived in Agra, | 0:06:45 | 0:06:50 | |
600km to the south. | 0:06:50 | 0:06:51 | |
He now took a vow in front of his men never to drink wine again, | 0:06:51 | 0:06:55 | |
and also not to trim his beard. | 0:06:55 | 0:06:58 | |
And he told them that the war they were engaged with, | 0:06:58 | 0:07:00 | |
with the Hindu kings of India, was a holy struggle. | 0:07:00 | 0:07:04 | |
"If we fall in the field, we die the death of martyrs. If we survive, | 0:07:07 | 0:07:12 | |
"we rise victorious, the avengers of Allah's sacred cause." | 0:07:12 | 0:07:16 | |
He then had his jewel-encrusted | 0:07:18 | 0:07:20 | |
gold and silver drinking goblets destroyed | 0:07:20 | 0:07:23 | |
and distributed amongst the poor. | 0:07:23 | 0:07:25 | |
According to legend, Babur's men were deeply moved by his vow | 0:07:28 | 0:07:33 | |
and the following day, they won a stunning victory | 0:07:33 | 0:07:36 | |
over the Hindu king. | 0:07:36 | 0:07:37 | |
We know an unusual amount about Babur | 0:07:41 | 0:07:43 | |
because he detailed both his struggles with alcohol | 0:07:43 | 0:07:46 | |
and his conquests in a remarkably frank autobiography. | 0:07:46 | 0:07:49 | |
In it, he described how once he had crossed the Indus, | 0:07:51 | 0:07:54 | |
he had found himself in another world, | 0:07:54 | 0:07:56 | |
of fakirs, magicians and exotic animals. | 0:07:56 | 0:07:59 | |
LAUGHTER | 0:08:01 | 0:08:03 | |
And how India was ruled by a whole set of Hindu Rajput princes, | 0:08:04 | 0:08:09 | |
consumed by petty infighting. | 0:08:09 | 0:08:11 | |
Babur's army swept these princes aside | 0:08:15 | 0:08:18 | |
to lay the foundations of the Mughal Empire in Northern India. | 0:08:18 | 0:08:21 | |
But he didn't only bring war. | 0:08:23 | 0:08:24 | |
He and his successors brought elements of culture | 0:08:24 | 0:08:29 | |
and architecture from Central Asia. | 0:08:29 | 0:08:31 | |
And this magnificent monument is the earliest example | 0:08:32 | 0:08:35 | |
of Indo-Persianate architecture in Mughal India. | 0:08:35 | 0:08:40 | |
It takes the shapes and forms of Central Asia and Persia, | 0:08:40 | 0:08:45 | |
in the cusped arches and the domes, | 0:08:45 | 0:08:47 | |
and marries them with the red sandstone of India. | 0:08:47 | 0:08:50 | |
And then you have these small flourishes on top of the chatris, | 0:08:50 | 0:08:54 | |
which is a Sanskrit word meaning umbrella, or pavilion. | 0:08:54 | 0:08:58 | |
You see this glistening tile work which is, of course, reminiscent | 0:08:58 | 0:09:02 | |
of the architecture of Samarkand and other places in Central Asia. | 0:09:02 | 0:09:06 | |
So they brought to bear all these different influences. | 0:09:06 | 0:09:10 | |
And for the first time you see a new kind of architecture in India. | 0:09:10 | 0:09:14 | |
Babur would only briefly enjoy the new kingdom | 0:09:19 | 0:09:22 | |
he had conquered. Four years after arriving in India, he died, | 0:09:22 | 0:09:26 | |
aged just 47, still homesick for the gardens of Central Asia. | 0:09:26 | 0:09:31 | |
And some say the greatest of all the Mughal emperors | 0:09:31 | 0:09:34 | |
who followed him was his grandson, Akbar. | 0:09:34 | 0:09:37 | |
Akbar came to the throne early, at just 13, | 0:09:47 | 0:09:50 | |
and inherited his grandfather's driving ambition and focus. | 0:09:50 | 0:09:54 | |
During Akbar's rule, India became one of the most powerful | 0:09:59 | 0:10:02 | |
and richest empires on the face of the earth. | 0:10:02 | 0:10:05 | |
He expanded it beyond even the vast lands of his grandfather Babur. | 0:10:05 | 0:10:09 | |
One reason for the Mughals' startling military success | 0:10:13 | 0:10:16 | |
was that they brought their Central Asian skills | 0:10:16 | 0:10:19 | |
as fast-wheeling horsemen down to the plains of India. | 0:10:19 | 0:10:22 | |
These descendants of Genghis Khan often had five times as many cavalry | 0:10:25 | 0:10:28 | |
as they did foot soldiers in their army, | 0:10:28 | 0:10:31 | |
so they could run rings around the slow-moving Hindu forces. | 0:10:31 | 0:10:34 | |
Traditionally, and given their nomadic roots, | 0:10:37 | 0:10:39 | |
Mughal emperors had lived most of their lives under canvas | 0:10:39 | 0:10:43 | |
and were constantly on the move, but as his military campaign | 0:10:43 | 0:10:47 | |
went from strength to strength, Akbar could indulge in the luxury | 0:10:47 | 0:10:52 | |
of a new, more permanent city to rule from. | 0:10:52 | 0:10:55 | |
Here, at Fatehpur Sikri, Akbar built a fabulous pop-up capital | 0:10:59 | 0:11:03 | |
out of red sandstone in the middle of nowhere. | 0:11:03 | 0:11:07 | |
It remains one of the most tantalising | 0:11:07 | 0:11:09 | |
and bizarre architectural sites in the whole of India. | 0:11:09 | 0:11:12 | |
English traders first arrived in the 1580s, when Elizabeth I | 0:11:14 | 0:11:19 | |
was on the throne back in London, lured by tales of its grandeur. | 0:11:19 | 0:11:23 | |
They had never seen a city so large or magnificent | 0:11:23 | 0:11:27 | |
as Fatehpur Sikri in their lives. | 0:11:27 | 0:11:29 | |
There was nothing in the world like it, | 0:11:29 | 0:11:31 | |
and certainly not in their own relatively poor nation. | 0:11:31 | 0:11:35 | |
Here courtiers wore the finest fabrics, | 0:11:35 | 0:11:37 | |
dripping in gold and jewels. | 0:11:37 | 0:11:40 | |
The palaces were cooled by continuous motion | 0:11:40 | 0:11:42 | |
of the punkahwallahs, waving peacock-feather fans. | 0:11:42 | 0:11:46 | |
Akbar created his own perfumes | 0:11:47 | 0:11:49 | |
and had the air scented with precious ambergris | 0:11:49 | 0:11:52 | |
and aloeswood. | 0:11:52 | 0:11:53 | |
Servants burned incense in gold and silver censers. | 0:11:54 | 0:11:57 | |
So the sun is setting in this beautiful open courtyard | 0:11:58 | 0:12:03 | |
with this central pool, with four paths leading to it | 0:12:03 | 0:12:08 | |
and a platform for musicians, who would have performed, | 0:12:08 | 0:12:13 | |
usually as the sun was going down and the heat of the day was passing. | 0:12:13 | 0:12:17 | |
And just up there, | 0:12:17 | 0:12:19 | |
a viewing gallery for the emperor to get the best view. | 0:12:19 | 0:12:22 | |
And this whole courtyard would have been filled with | 0:12:22 | 0:12:26 | |
the sound of music and dance. | 0:12:26 | 0:12:28 | |
All across this palace complex, | 0:12:30 | 0:12:33 | |
Babur's roving entourage of encampments and tents | 0:12:33 | 0:12:37 | |
has now been translated to stone, | 0:12:37 | 0:12:39 | |
and you have this series of spaced-out, beautiful pavilions. | 0:12:39 | 0:12:44 | |
One tradition that the Mughals had brought with them | 0:12:47 | 0:12:50 | |
from the steppes of Central Asia was a passion for the hunt. | 0:12:50 | 0:12:53 | |
As a young man, Akbar kept a thousand cheetahs, | 0:12:55 | 0:12:58 | |
trained for the chase like dogs were in Europe. | 0:12:58 | 0:13:00 | |
North India was rich in wildlife and the Mughal emperors | 0:13:02 | 0:13:06 | |
built hunting pavilions like this across their domains. | 0:13:06 | 0:13:09 | |
But it was during one of these hunts that something happened | 0:13:09 | 0:13:13 | |
that changed the entire course of Akbar's reign. | 0:13:13 | 0:13:16 | |
Hunting was a great sport during the Mughal emperors' time. | 0:13:17 | 0:13:21 | |
And Akbar, in a hunting lodge much like this one, | 0:13:21 | 0:13:25 | |
gathered his courtiers, who for ten days | 0:13:25 | 0:13:28 | |
drove animals from a circumference of 80km surrounding this lodge. | 0:13:28 | 0:13:33 | |
But just at the moment when the hunt was ready, | 0:13:34 | 0:13:37 | |
all the animals were gathered, he stopped. | 0:13:37 | 0:13:40 | |
Because he'd had an epiphany. | 0:13:40 | 0:13:42 | |
His biographers described it as an epileptic seizure | 0:13:42 | 0:13:46 | |
or some kind of delusion, but whatever it was, | 0:13:46 | 0:13:48 | |
it was the moment of complete change for Akbar and he cancelled the hunt. | 0:13:48 | 0:13:52 | |
One witness described how, "Suddenly all at once a strange state | 0:13:54 | 0:13:58 | |
"and strong frenzy came upon the Emperor, and an extraordinary | 0:13:58 | 0:14:03 | |
"change was manifested in his manner and everyone attributed it | 0:14:03 | 0:14:07 | |
"to some cause or other. But God alone knows such secrets." | 0:14:07 | 0:14:12 | |
He set the animals free and he declared that none of them | 0:14:12 | 0:14:16 | |
were going to be hurt henceforth. | 0:14:16 | 0:14:18 | |
This strange experience seems to have been the turning point | 0:14:19 | 0:14:23 | |
in Akbar's reign. | 0:14:23 | 0:14:24 | |
Because after this, nothing was the same again. | 0:14:24 | 0:14:27 | |
After the hunting incident, Akbar became a much more spiritual man. | 0:14:33 | 0:14:38 | |
He stopped eating meat, shaved his head | 0:14:39 | 0:14:42 | |
and started to ask questions of himself and of others. | 0:14:42 | 0:14:46 | |
In the middle of this whole complex, of this magnificent pop-up city | 0:14:47 | 0:14:53 | |
called Fatehpur Sikri, there is this real conundrum. | 0:14:53 | 0:14:57 | |
A hall of public audience, but architecturally it suggests... | 0:14:58 | 0:15:04 | |
Well, it remains enigmatic. | 0:15:04 | 0:15:07 | |
Why? Because in the middle you've got this central column which is | 0:15:07 | 0:15:12 | |
really reminiscent on the one hand of the pillar that you see | 0:15:12 | 0:15:16 | |
outside every Hindu temple, which represents | 0:15:16 | 0:15:19 | |
the axis of the universe, the cosmic axis, if you like. | 0:15:19 | 0:15:23 | |
But then it doesn't, the space doesn't lend itself to conversation, | 0:15:27 | 0:15:32 | |
because the seating area is up above. | 0:15:32 | 0:15:35 | |
There's a theme in Persian painting of the treehouse, | 0:15:39 | 0:15:43 | |
which is a space that's elevated, it's actually not public, | 0:15:43 | 0:15:47 | |
it's private, and really there is greater licence | 0:15:47 | 0:15:51 | |
when you're above the realm of the everyday | 0:15:51 | 0:15:56 | |
to engage in the kind of discussions or activities | 0:15:56 | 0:16:00 | |
that might not otherwise be allowed. | 0:16:00 | 0:16:02 | |
As soon as you step up here you get a real sense, of course, | 0:16:06 | 0:16:09 | |
that you're elevated in a rather unusual fashion, above the ground. | 0:16:09 | 0:16:14 | |
There are these very low balconies and wonderful ventilation | 0:16:14 | 0:16:24 | |
all around, which would have made this a fantastic little hideaway, | 0:16:24 | 0:16:29 | |
in a sense, from the world, for Akbar to come up with whomever | 0:16:29 | 0:16:34 | |
he pleased, to sit and discuss affairs of the heart or state. | 0:16:34 | 0:16:38 | |
I can imagine Akbar sitting here, | 0:16:40 | 0:16:43 | |
inviting certain people from all four corners, | 0:16:43 | 0:16:46 | |
to come and join him in the centre for intimate conversation. | 0:16:46 | 0:16:51 | |
It doesn't really give a sense of public audience, | 0:16:51 | 0:16:53 | |
it's a much more private space. | 0:16:53 | 0:16:55 | |
It's elevated above the ground and you really get a sense here | 0:16:55 | 0:16:59 | |
that you need to be invited up to the emperor's treehouse | 0:16:59 | 0:17:04 | |
in order to converse with him in the most intimate fashion. | 0:17:04 | 0:17:07 | |
For the rest of his 50-year-long reign, | 0:17:11 | 0:17:13 | |
Akbar now dedicated himself to the exploration of other religions. | 0:17:13 | 0:17:17 | |
OK, I'll take one from each. | 0:17:24 | 0:17:26 | |
One, 25. | 0:17:28 | 0:17:29 | |
'When the Mughals had first arrived in India, | 0:17:29 | 0:17:31 | |
'they found a country of many other religions.' | 0:17:31 | 0:17:35 | |
Mm, they smell beautiful. | 0:17:35 | 0:17:36 | |
'Hinduism, Jainism and Buddhism all flourished. | 0:17:36 | 0:17:39 | |
'Akbar decided he would not try to suppress any of these | 0:17:39 | 0:17:43 | |
'but rather embrace and encourage them. | 0:17:43 | 0:17:45 | |
'It is this open-mindedness that above all distinguishes Akbar | 0:17:47 | 0:17:50 | |
'from his successors. | 0:17:50 | 0:17:52 | |
'I'm on my way to the Sufi shrine of Nizamuddin in Delhi, | 0:17:55 | 0:17:59 | |
'one of the most important in India.' | 0:17:59 | 0:18:01 | |
It lies at the heart of a labyrinth of narrow alleyways | 0:18:05 | 0:18:08 | |
and stalls selling rose petals to scatter on the grave of the saint. | 0:18:08 | 0:18:12 | |
RHYTHMIC CLAPPING AND MUSIC | 0:18:14 | 0:18:16 | |
SINGING | 0:18:18 | 0:18:20 | |
Sufism is a mystical form of Islam | 0:18:23 | 0:18:25 | |
that believes there are many different pathways to God. | 0:18:25 | 0:18:29 | |
Some stricter interpretations of Islam | 0:18:29 | 0:18:31 | |
forbid music and dancing entirely, | 0:18:31 | 0:18:34 | |
but for Sufis, music is the expression of religious ecstasy. | 0:18:34 | 0:18:38 | |
Akbar came to just such a Sufi shrine | 0:18:49 | 0:18:52 | |
to pray for the birth of a son and heir to the throne. | 0:18:52 | 0:18:56 | |
It worked - he got three - and after the hunting incident, | 0:18:56 | 0:18:59 | |
he became intensely drawn to Sufism and its openness to all people | 0:18:59 | 0:19:03 | |
and all faiths. | 0:19:03 | 0:19:04 | |
The traditional music still played at Sufi shrines like this | 0:19:08 | 0:19:12 | |
is called qawwali, and fuses Indian musical styles with Arabic poetry, | 0:19:12 | 0:19:17 | |
which is why the Mughals loved it. | 0:19:17 | 0:19:19 | |
As they sought to integrate themselves into their new | 0:19:21 | 0:19:24 | |
Indian domains, Akbar looked for other ways to combine Islam | 0:19:24 | 0:19:28 | |
with elements of Hinduism, in song, in imagery and in architecture. | 0:19:28 | 0:19:33 | |
Sages, gurus and spiritual leaders of all sorts were now | 0:19:40 | 0:19:44 | |
welcomed at Fatehpur Sikri, although they did not always agree. | 0:19:44 | 0:19:49 | |
Giles Tillotson has written about how the peculiar architecture | 0:19:49 | 0:19:54 | |
of Akbar's palace both facilitated and reflected his new tolerance | 0:19:54 | 0:19:59 | |
to religions other than Islam. | 0:19:59 | 0:20:01 | |
According to Akbar's court historian, Abul Fazl, | 0:20:03 | 0:20:06 | |
these discussions had, as it were, their own institution. | 0:20:06 | 0:20:09 | |
He describes the discussions taking place in a palace | 0:20:09 | 0:20:13 | |
that contained four interlocking rooms | 0:20:13 | 0:20:15 | |
with concurrent discussions going on in each. | 0:20:15 | 0:20:18 | |
And that the emperor used to move from one room to the other. | 0:20:18 | 0:20:21 | |
-To the other. -..to participate in the discussions as they were... | 0:20:21 | 0:20:24 | |
Taking place. | 0:20:24 | 0:20:26 | |
Taking place. Exactly. | 0:20:26 | 0:20:27 | |
So, how exactly did the discussions go? | 0:20:27 | 0:20:30 | |
I mean, what sort of format did they take? | 0:20:30 | 0:20:32 | |
Well, I think, actually, | 0:20:32 | 0:20:34 | |
there's a hint in Abul Fazl that they didn't always go terribly well. | 0:20:34 | 0:20:37 | |
I think Akbar's hope was that by getting the most learned people | 0:20:37 | 0:20:41 | |
from different religions together, | 0:20:41 | 0:20:43 | |
that he would solve some of the central, eternal questions... | 0:20:43 | 0:20:46 | |
Of the universe! | 0:20:46 | 0:20:47 | |
..of the universe, as it were! | 0:20:47 | 0:20:48 | |
But to his frustration, though perhaps not to our surprise, | 0:20:48 | 0:20:51 | |
the priests often took entrenched positions | 0:20:51 | 0:20:54 | |
and refused to really... to exchange ideas at all. | 0:20:54 | 0:20:58 | |
So, how unusual was it for Akbar to have such an expansive vision | 0:20:58 | 0:21:03 | |
of all these different religions? | 0:21:03 | 0:21:05 | |
I think this was probably the first time that a Muslim court | 0:21:05 | 0:21:08 | |
had been so open to the investigation of religious matters | 0:21:08 | 0:21:12 | |
from the perspective of other religions around them, | 0:21:12 | 0:21:16 | |
rather than simply pursuing different schools within Islam itself. | 0:21:16 | 0:21:19 | |
Akbar's new openness to different religions can be seen | 0:21:23 | 0:21:26 | |
also in his playful approach to architecture. | 0:21:26 | 0:21:29 | |
When you encounter some of these buildings, | 0:21:31 | 0:21:33 | |
as you approach them, there is a sort of Christmas cake effect, | 0:21:33 | 0:21:36 | |
where different elements are sort of plonked on top of the other. | 0:21:36 | 0:21:39 | |
Yes, it's clearly a design school, if you like... | 0:21:39 | 0:21:42 | |
Slightly unresolved. | 0:21:42 | 0:21:43 | |
Yes, it's a design school | 0:21:43 | 0:21:45 | |
that's used to working with certain traditions. | 0:21:45 | 0:21:47 | |
But very different traditions have come in to the same space | 0:21:47 | 0:21:52 | |
and the designers have thought, | 0:21:52 | 0:21:53 | |
"Well, how can we play with the new material that's available to us | 0:21:53 | 0:21:57 | |
"in the hope of creating something different?" | 0:21:57 | 0:21:59 | |
The experimental nature of the design is very clear here, | 0:21:59 | 0:22:02 | |
for example, where you have above a line of ornamental niches, | 0:22:02 | 0:22:07 | |
and then below them, | 0:22:07 | 0:22:09 | |
this line of dado panels with the decorated border. | 0:22:09 | 0:22:12 | |
But these are features that you would normally | 0:22:12 | 0:22:14 | |
-expect to find on the interior of a room. -Right. | 0:22:14 | 0:22:17 | |
Here, they're expressed on the exterior of the building. | 0:22:17 | 0:22:20 | |
It would be rather like, in modern terms, | 0:22:20 | 0:22:22 | |
putting wallpaper on the outside of your house. | 0:22:22 | 0:22:24 | |
Clearly, this is meant to be experimental. It's playful. | 0:22:24 | 0:22:27 | |
It's not to be taken entirely seriously. | 0:22:27 | 0:22:30 | |
They're trying new things out and, as with the mixture of motifs from | 0:22:30 | 0:22:35 | |
different sources, it's like, again, to put it in modern-day terms, like | 0:22:35 | 0:22:40 | |
producing a design in Photoshop, to see whether it works or not. | 0:22:40 | 0:22:44 | |
But after only 14 years, | 0:22:49 | 0:22:51 | |
this fantasy city of Akbar's was abandoned as impractical, | 0:22:51 | 0:22:56 | |
some say because there was a shortage of water. | 0:22:56 | 0:22:59 | |
The ever-restless Akbar moved on, | 0:22:59 | 0:23:01 | |
leaving Fatehpur Sikri like an abandoned Las Vegas in the desert. | 0:23:01 | 0:23:05 | |
Despite his many other achievements, | 0:23:13 | 0:23:15 | |
modern Indians often think of Akbar as a romantic hero, | 0:23:15 | 0:23:19 | |
as in this Bollywood box office smash, | 0:23:19 | 0:23:21 | |
Jodhaa Akbar, about the emperor and Jodhaa, a Hindu princess. | 0:23:21 | 0:23:26 | |
'It was huge.' | 0:23:29 | 0:23:31 | |
I think it was a big hit mainly because Hrithik Roshan is so cute | 0:23:31 | 0:23:35 | |
and Aishwarya Rai is very beautiful | 0:23:35 | 0:23:37 | |
and both of them really light up the screen. | 0:23:37 | 0:23:39 | |
There's a scene in which he's waggling a sword and he's got | 0:23:43 | 0:23:47 | |
a belt also, and Aishwarya's looking at him from behind. | 0:23:47 | 0:23:51 | |
She's totally giving him the eye and there is, you know, | 0:23:51 | 0:23:55 | |
you can actually feel, you can feel the frisson. | 0:23:55 | 0:23:58 | |
So, I think the film did very well, essentially because it was, | 0:23:58 | 0:24:01 | |
it had great music, it had these two very lovely-looking leads | 0:24:01 | 0:24:05 | |
and the fact that they got together really well. | 0:24:05 | 0:24:07 | |
What has always given the story of Akbar and his Hindu wife Jodhaa | 0:24:12 | 0:24:15 | |
such box-office appeal | 0:24:15 | 0:24:16 | |
is that this is a West Side Story of Montagues and Capulets - | 0:24:16 | 0:24:21 | |
Akbar, the Muslim emperor, marrying a Hindu princess, a subject | 0:24:21 | 0:24:25 | |
that still has controversial resonance in India today | 0:24:25 | 0:24:29 | |
and has helped make Akbar a talismanic figure in history. | 0:24:29 | 0:24:34 | |
Do you think that Akbar, the historical figure, | 0:24:35 | 0:24:38 | |
makes a good hero? | 0:24:38 | 0:24:40 | |
I think he makes a wonderful hero because of the fact of what he did. | 0:24:40 | 0:24:43 | |
Because he had Jodhaa as his wife, who was a Hindu. | 0:24:43 | 0:24:48 | |
Nobody else before that had actually made one of his prime ranis a Hindu. | 0:24:48 | 0:24:53 | |
And he was steadfast. | 0:24:53 | 0:24:55 | |
He stuck to that position despite the kind of, | 0:24:55 | 0:24:58 | |
the conflict that happened as a consequence of his act. | 0:24:58 | 0:25:03 | |
He stuck firm to his guns and I think it was Akbar who gave India | 0:25:03 | 0:25:08 | |
of the medieval era its first taste of what it was like | 0:25:08 | 0:25:13 | |
to be a unified country, despite the fact that it had all these | 0:25:13 | 0:25:16 | |
little, you know, principalities and kingdoms fighting on the side. | 0:25:16 | 0:25:20 | |
-But he really brought it together. -He really unified and... | 0:25:20 | 0:25:23 | |
-And celebrated. -And the unity. | 0:25:23 | 0:25:24 | |
Yes, because Akbar did what he did, | 0:25:24 | 0:25:27 | |
it became, it became a country that it wasn't before. | 0:25:27 | 0:25:30 | |
Akbar also married Hindu and Islamic styles in art, to great effect. | 0:25:34 | 0:25:39 | |
He initiated an immense expansion of the imperial studio and recruited | 0:25:39 | 0:25:44 | |
artists from all the conquered kingdoms of northern India. | 0:25:44 | 0:25:47 | |
These brothers can trace their lineage directly down from | 0:25:50 | 0:25:53 | |
one of the greatest of the Mughal artists, who achieved an intense | 0:25:53 | 0:25:57 | |
saffron yellow in his paintings with the urine of mango-fed cows. | 0:25:57 | 0:26:01 | |
His descendants still use | 0:26:03 | 0:26:04 | |
the same painstaking technique, | 0:26:04 | 0:26:07 | |
using tiny squirrel-hair brushes, | 0:26:07 | 0:26:10 | |
which can take many months just to finish a single picture. | 0:26:10 | 0:26:13 | |
Nitin Bhayana is a leading art critic and collector | 0:26:21 | 0:26:24 | |
who is an expert on how native Rajput painting | 0:26:24 | 0:26:27 | |
changed with the arrival of the Mughals. | 0:26:27 | 0:26:30 | |
A sequence of Mughal emperors | 0:26:30 | 0:26:32 | |
brought artists from the courts of Persia, | 0:26:32 | 0:26:35 | |
and then later developed a school of painting in India | 0:26:35 | 0:26:38 | |
by enrolling various artists, and made karkhanas, or factories, | 0:26:38 | 0:26:42 | |
where they would produce huge numbers of paintings. | 0:26:42 | 0:26:46 | |
And you see, slowly but surely in a span of 50 or 100 years, | 0:26:48 | 0:26:53 | |
paintings moving from styles like this, cruder styles like this, | 0:26:53 | 0:26:58 | |
to something like that. You still see Rajput elements. | 0:26:58 | 0:27:03 | |
-Yeah. -And then you see them | 0:27:03 | 0:27:04 | |
really melting away into a painting like that from the state of Bikaner, | 0:27:04 | 0:27:09 | |
which was closely aligned to the Mughals. | 0:27:09 | 0:27:11 | |
-Yeah. -And this could be a Mughal painting. | 0:27:11 | 0:27:14 | |
Couldn't it! | 0:27:14 | 0:27:15 | |
I mean, look at the hills, look at the distance, | 0:27:15 | 0:27:19 | |
look at the perspective on the buildings and look at the faces. | 0:27:19 | 0:27:22 | |
If you look at the difference in the faces you could almost, | 0:27:22 | 0:27:25 | |
you know, you can tell who these people are. | 0:27:25 | 0:27:27 | |
Absolutely. | 0:27:27 | 0:27:28 | |
So, as we went along, I think it became more and more, | 0:27:28 | 0:27:32 | |
more and more Mughal. | 0:27:32 | 0:27:33 | |
Yeah. | 0:27:33 | 0:27:35 | |
Akbar commissioned his artists to do increasingly ambitious scenes | 0:27:36 | 0:27:40 | |
of the spectacle of court life, as here, where the Emperor | 0:27:40 | 0:27:43 | |
is seen riding an elephant, one of his great passions. | 0:27:43 | 0:27:47 | |
And here Akbar is now heroically trying to tame an escaped elephant, | 0:27:48 | 0:27:52 | |
and this picture exemplifies how the Mughals brought a new sense of | 0:27:52 | 0:27:56 | |
verve and dynamism to Indian art in their use of space and perspective. | 0:27:56 | 0:28:01 | |
One of the things that really first drew me towards Indian art | 0:28:03 | 0:28:07 | |
was its completely different conception of space. | 0:28:07 | 0:28:10 | |
Ever since the Renaissance, | 0:28:10 | 0:28:11 | |
in European art there's been this ambition to recreate reality | 0:28:11 | 0:28:15 | |
on the canvas, to effectively punch a hole through it. | 0:28:15 | 0:28:18 | |
For Indian artists, you've got reality in spades, | 0:28:18 | 0:28:20 | |
so what did they do? | 0:28:20 | 0:28:22 | |
They made space and they would use as many different viewpoints within | 0:28:22 | 0:28:26 | |
a single painting as they needed to tell the story they wanted to tell. | 0:28:26 | 0:28:30 | |
And those multiple viewpoints | 0:28:32 | 0:28:34 | |
were necessary for the stories Akbar commissioned, | 0:28:34 | 0:28:37 | |
large-scale illustrations of court life and history, | 0:28:37 | 0:28:40 | |
often with scenes of violence or boisterous energy, | 0:28:40 | 0:28:44 | |
like hunts, battles or sieges. | 0:28:44 | 0:28:46 | |
But under his successors, the painting style became more intimate. | 0:28:48 | 0:28:52 | |
You can start to see individual portraits emerge, | 0:29:01 | 0:29:04 | |
as in this picture of the most famous Mughal emperor of them all, | 0:29:04 | 0:29:07 | |
Akbar's grandson, who when he came to the throne | 0:29:07 | 0:29:11 | |
took the name Shah Jahan, "Glory of the World". | 0:29:11 | 0:29:14 | |
Patronage of the arts continued under Shah Jahan. | 0:29:21 | 0:29:23 | |
And you see the Emperor here on his imperial elephant | 0:29:23 | 0:29:28 | |
clomping through a very elegant landscape. | 0:29:28 | 0:29:32 | |
The devil is really in the detail. | 0:29:32 | 0:29:34 | |
You can see each of these individually painted flowers here. | 0:29:34 | 0:29:38 | |
And behind him there are geese flying through the sky | 0:29:39 | 0:29:42 | |
and the billowing clouds. | 0:29:42 | 0:29:44 | |
What's interesting about Mughal painting is that you have | 0:29:44 | 0:29:50 | |
the flatness and the palette of the indigenous Rajput courts | 0:29:50 | 0:29:54 | |
married with attention to detail in everyday life. | 0:29:54 | 0:29:58 | |
I mean, look at the way the Emperor's features are portrayed, | 0:29:58 | 0:30:02 | |
they're highly naturalistic. | 0:30:02 | 0:30:04 | |
And then, the halo around his head, of course, | 0:30:04 | 0:30:07 | |
comes from the European tradition. | 0:30:07 | 0:30:09 | |
So, the many different influences converging in a single painting. | 0:30:09 | 0:30:13 | |
When Shah Jahan came to the throne, | 0:30:18 | 0:30:19 | |
Mughal architecture changed dramatically. | 0:30:19 | 0:30:23 | |
All his predecessors had used red sandstone for their buildings, | 0:30:23 | 0:30:27 | |
as here at the aptly-named Red Fort in Agra, | 0:30:27 | 0:30:30 | |
where generations of Mughal emperors had lived, | 0:30:30 | 0:30:32 | |
so it's a good place to see the spectacular difference | 0:30:32 | 0:30:36 | |
when Shah Jahan decided to build in a new area of the palace. | 0:30:36 | 0:30:41 | |
He started to cover everything in dazzling white marble. | 0:30:46 | 0:30:51 | |
Unlike the roving entourage of Babur | 0:30:58 | 0:31:01 | |
and the outward-looking symposium of Akbar's court, the rituals | 0:31:01 | 0:31:05 | |
of Mughal India were literally set in stone under Shah Jahan. | 0:31:05 | 0:31:09 | |
Like the architecture, they elevated and framed | 0:31:18 | 0:31:22 | |
the impossible grandeur of the great Mughals. | 0:31:22 | 0:31:26 | |
The Mughals were really interested in gardens | 0:31:34 | 0:31:36 | |
but they weren't only concerned in their formal beauty | 0:31:36 | 0:31:40 | |
and in them as spaces for relaxation and enjoyment, but also in flora. | 0:31:40 | 0:31:46 | |
They were great botanists and they famously collected | 0:31:46 | 0:31:50 | |
specimens of different flowers, and had them painted, | 0:31:50 | 0:31:54 | |
but what you see here, | 0:31:54 | 0:31:56 | |
in Shah Jahan's magnificent private quarters, | 0:31:56 | 0:31:59 | |
is the transposing of that interest in flora into stone. | 0:31:59 | 0:32:04 | |
And they used this technique called pietra dura which was then | 0:32:04 | 0:32:08 | |
current in Renaissance Italy, so it was absolutely a la mode, | 0:32:08 | 0:32:13 | |
but made it a very Indian experience. | 0:32:13 | 0:32:17 | |
And using semi-precious stones like lapis, carnelian, jasper, jade, | 0:32:17 | 0:32:24 | |
and setting them into the marble to create these incredible designs. | 0:32:24 | 0:32:29 | |
So it wasn't about botanical representation any more, | 0:32:29 | 0:32:33 | |
it was about taking that interest | 0:32:33 | 0:32:35 | |
and creating something completely new and unique. | 0:32:35 | 0:32:39 | |
This technique was, of course, derived from Italy | 0:32:39 | 0:32:43 | |
but we see it here | 0:32:43 | 0:32:45 | |
transposed to a whole new context under the patronage of Shah Jahan. | 0:32:45 | 0:32:50 | |
In the nearby city of Agra, | 0:32:54 | 0:32:56 | |
there are still traces of the craftsmanship that was | 0:32:56 | 0:32:59 | |
brought to a peak under Shah Jahan's rule - although you have to | 0:32:59 | 0:33:03 | |
look hard to find it in the busy sprawling streets. | 0:33:03 | 0:33:06 | |
The thing about India that, even with the massive boom | 0:33:21 | 0:33:24 | |
that's driving its economy today, and throwing up skyscrapers | 0:33:24 | 0:33:29 | |
in Mumbai and Delhi, you just need to step back from that for a moment | 0:33:29 | 0:33:33 | |
and wander down some of the back streets and find life | 0:33:33 | 0:33:36 | |
pretty much unchanged for a large majority of the population, | 0:33:36 | 0:33:41 | |
and hidden away there you'll find practices, | 0:33:41 | 0:33:44 | |
crafts and techniques that are still cherished. | 0:33:44 | 0:33:48 | |
TAPPING | 0:33:48 | 0:33:49 | |
GRINDING | 0:33:49 | 0:33:51 | |
Just off the maze of back streets is a stonecutters' workshop. | 0:33:54 | 0:33:58 | |
It's a family business that seems to have been going for more generations | 0:33:58 | 0:34:02 | |
than anyone is able to remember, | 0:34:02 | 0:34:03 | |
and they specialise in decorative marble inlay. | 0:34:03 | 0:34:06 | |
Designs are traced out and like some kind of beautiful jigsaw, | 0:34:08 | 0:34:12 | |
individual elements are crafted to fit the master pattern. | 0:34:12 | 0:34:15 | |
It's very reminiscent of the emperor's quarters | 0:34:17 | 0:34:20 | |
up on the nearby hillside | 0:34:20 | 0:34:22 | |
You really get a sense of when the water is applied | 0:34:24 | 0:34:26 | |
and the dust is cleaned away, that these incredible range | 0:34:26 | 0:34:30 | |
of colours emerge, and how they stand out against the white marble. | 0:34:30 | 0:34:33 | |
They may not be big on health and safety, | 0:34:36 | 0:34:38 | |
but it's shown me how incredibly painstaking this work is | 0:34:38 | 0:34:42 | |
as they chisel away at these intricate forms and then inlay them | 0:34:42 | 0:34:45 | |
with precious stones - and how many thousands of man-hours | 0:34:45 | 0:34:49 | |
it must have taken to create these fantasy buildings | 0:34:49 | 0:34:52 | |
of white marble for Shah Jahan. | 0:34:52 | 0:34:54 | |
I first came here when I was about eight years old | 0:35:03 | 0:35:06 | |
and remember how amazed I was then at the sheer amount | 0:35:06 | 0:35:09 | |
of white marble, a fairytale wedding cake of a palace. | 0:35:09 | 0:35:13 | |
And of course I already knew the story of how its builder, | 0:35:16 | 0:35:19 | |
Shah Jahan, the grandson of Akbar and Jodhabi, | 0:35:19 | 0:35:22 | |
had his own passionate love affair - a marriage which had its final | 0:35:22 | 0:35:27 | |
consummation in one of the most famous buildings in the world. | 0:35:27 | 0:35:30 | |
Like all Mughal rulers, Shah Jahan | 0:35:33 | 0:35:35 | |
was married to several women at once. | 0:35:35 | 0:35:39 | |
Yet the love of his life was unquestionably Mumtaz Mahal, | 0:35:39 | 0:35:42 | |
here portrayed with the spring flowers | 0:35:42 | 0:35:44 | |
and cherry blossom of Kashmir that Shah Jahan loved so well. | 0:35:44 | 0:35:48 | |
Sadly in 1631, she died giving birth to their 14th child. | 0:35:49 | 0:35:54 | |
And Shah Jahan was so distraught his beard turned white overnight | 0:35:54 | 0:35:59 | |
and he kept the court in mourning for over two years. | 0:35:59 | 0:36:03 | |
He also vowed to build her the greatest monument to love | 0:36:04 | 0:36:07 | |
the world has ever seen. | 0:36:07 | 0:36:08 | |
Anywhere else, this incredible gateway would be a destination | 0:36:32 | 0:36:36 | |
in its own right, but here it serves as a magnificent reveal. | 0:36:36 | 0:36:40 | |
Every time I come here, it absolutely takes my breath away. | 0:37:18 | 0:37:22 | |
Rising like a mirage out of the early morning sunshine. | 0:37:22 | 0:37:26 | |
The Taj Mahal was built by the finest artisans | 0:37:30 | 0:37:33 | |
from across the Islamic world, stonecutters from Baluchistan, | 0:37:33 | 0:37:38 | |
architects from the Ottoman Empire and calligraphers from Persia. | 0:37:38 | 0:37:42 | |
Native Indian craftsmen also brought their own cultural influences | 0:37:42 | 0:37:46 | |
to bear on the design and detail | 0:37:46 | 0:37:48 | |
and in so doing honoured the Hindus of India as well as the Muslims. | 0:37:48 | 0:37:53 | |
A British poet, Sir Edwin Arnold, described it as, | 0:37:55 | 0:37:58 | |
"not a piece of architecture, as other buildings are, | 0:37:58 | 0:38:00 | |
"but the proud passion of an emperor's love | 0:38:00 | 0:38:03 | |
"wrought in living stone," | 0:38:03 | 0:38:05 | |
and it is still largely thought of as a monument to love. | 0:38:05 | 0:38:09 | |
Whenever I come to this place, I feel love. | 0:38:11 | 0:38:14 | |
So if I sit somewhere by myself, I just, | 0:38:14 | 0:38:16 | |
I can't express my feeling for the Taj Mahal. | 0:38:16 | 0:38:19 | |
The Taj, it symbolises only affection and love. | 0:38:19 | 0:38:23 | |
So that is the main motto of our life, so the Taj symbolises that. | 0:38:25 | 0:38:31 | |
I mean, India is generally known for the Taj. | 0:38:31 | 0:38:34 | |
People from outside come, so we thought we must. | 0:38:34 | 0:38:36 | |
My first visit was invited by Mrs Gandhi. Indira Gandhi, yeah, 1979. | 0:38:36 | 0:38:43 | |
This was the building of love. | 0:38:43 | 0:38:45 | |
A husband built this beautiful building for his beloved wife. | 0:38:45 | 0:38:48 | |
So we can all live in hope. | 0:38:48 | 0:38:50 | |
Exactly! | 0:38:50 | 0:38:51 | |
It's known as one of the seven wonders of the world | 0:38:51 | 0:38:54 | |
and is the only reason I've come and, yes, we are very close to it | 0:38:54 | 0:38:56 | |
so we should have seen one of them. | 0:38:56 | 0:38:59 | |
As Indians, what do you feel it represents | 0:38:59 | 0:39:01 | |
and symbolises for you as Indians? | 0:39:01 | 0:39:04 | |
I guess it symbolises love. | 0:39:04 | 0:39:06 | |
But in thinking of the Taj Mahal as mainly a monument to love, | 0:39:07 | 0:39:11 | |
have we completely misunderstood what the Mughals were trying to do? | 0:39:11 | 0:39:15 | |
-Giles! Hi. -Hi, Sona. I hope you've had your photograph taken, | 0:39:16 | 0:39:19 | |
there are certain important rituals in this place. | 0:39:19 | 0:39:22 | |
Absolutely, as you can see. | 0:39:22 | 0:39:24 | |
So there are a number of mythologies that one grows up with. | 0:39:25 | 0:39:29 | |
When I first came here when I was eight, I was told by a guide | 0:39:29 | 0:39:34 | |
that the architect's hands were cut off so that he couldn't | 0:39:34 | 0:39:37 | |
reproduce a monument such as this again, and I grew up believing that. | 0:39:37 | 0:39:42 | |
I think of all the myths about the Taj | 0:39:42 | 0:39:44 | |
that is perhaps the most objectionable. | 0:39:44 | 0:39:46 | |
I mean, one can't debunk all of them, people will have their myths. | 0:39:46 | 0:39:49 | |
But that one does seem particularly inappropriate. | 0:39:49 | 0:39:52 | |
In fact, the architect was busy, | 0:39:52 | 0:39:53 | |
by the time the building was completed, | 0:39:53 | 0:39:55 | |
was busy designing the Red Fort in Delhi, | 0:39:55 | 0:39:58 | |
so he didn't do another Taj but he did another great Mughal masterpiece. | 0:39:58 | 0:40:02 | |
I think it's impossible for us today | 0:40:02 | 0:40:04 | |
to approach the monument from any perspective other than | 0:40:04 | 0:40:08 | |
that of the legend or famous love story between Shah Jahan and Mumtaz. | 0:40:08 | 0:40:13 | |
We're all told so emphatically that it's a symbol of love | 0:40:13 | 0:40:17 | |
that it's impossible to see it in any other light. | 0:40:17 | 0:40:20 | |
But there's a sense in which I think we have to try | 0:40:20 | 0:40:22 | |
to get beyond that, to see it more as the Mughals saw it, | 0:40:22 | 0:40:25 | |
not as a symbol of love but as a symbol of Paradise. | 0:40:25 | 0:40:29 | |
-Recreated on earth. -Sort of thing, yes. | 0:40:29 | 0:40:31 | |
I mean, the tomb itself is actually the mansion of the departed soul | 0:40:31 | 0:40:33 | |
-in Paradise. -Right. | 0:40:33 | 0:40:35 | |
And that Paradise imagery extends not just to the building, | 0:40:35 | 0:40:39 | |
but to the whole of the garden, the layout of the garden. | 0:40:39 | 0:40:42 | |
So, have the gardens changed since Mughal times? | 0:40:42 | 0:40:45 | |
Oh, I think very considerably, yes. | 0:40:45 | 0:40:47 | |
A lot of the mature planting that we see now | 0:40:47 | 0:40:50 | |
is of much more recent times. | 0:40:50 | 0:40:52 | |
From contemporary accounts, it's clear that the garden | 0:40:52 | 0:40:55 | |
originally was mostly occupied by flowering trees and by fruit trees. | 0:40:55 | 0:40:59 | |
-Ah. -And indeed the produce was marketed. | 0:40:59 | 0:41:02 | |
It was collected and sold in the market | 0:41:02 | 0:41:04 | |
in order to raise money to pay the salaries of the tomb attendants. | 0:41:04 | 0:41:07 | |
So really quite pragmatic and sensible. | 0:41:07 | 0:41:10 | |
Yes, you had, as it were, a form of market gardening, if you will. | 0:41:10 | 0:41:13 | |
Tourists often make the mistake of thinking that | 0:41:19 | 0:41:21 | |
the gardens around the Taj are just a municipal park | 0:41:21 | 0:41:24 | |
to frame the jewel at their centre. | 0:41:24 | 0:41:27 | |
But Shah Jahan, like all his ancestors, | 0:41:28 | 0:41:30 | |
thought of the Mughals as children of the high mountain valleys, | 0:41:30 | 0:41:34 | |
of his beloved Kashmir which he visited every year, | 0:41:34 | 0:41:37 | |
and these gardens were | 0:41:37 | 0:41:39 | |
an attempt to recreate such a paradise on earth | 0:41:39 | 0:41:42 | |
for the tomb of his wife. | 0:41:42 | 0:41:43 | |
The Taj Mahal is often said to be one of the greatest monuments | 0:42:03 | 0:42:07 | |
to love. | 0:42:07 | 0:42:08 | |
And it is without doubt one of the greatest achievements | 0:42:08 | 0:42:12 | |
of Mughal architecture. | 0:42:12 | 0:42:13 | |
But while it signals the climax of the Mughal Empire, | 0:42:16 | 0:42:19 | |
in some ways it was also the start of its decline and fall. | 0:42:19 | 0:42:23 | |
You only have to travel a short distance from the Taj | 0:42:30 | 0:42:33 | |
to find yourself in another world, | 0:42:33 | 0:42:35 | |
with ruined Mughal buildings abandoned in the countryside. | 0:42:35 | 0:42:38 | |
These are the old palaces and gardens of Mughal nobles. | 0:42:40 | 0:42:43 | |
Stretching for miles up the river bank, they are not | 0:42:53 | 0:42:56 | |
protected by the Indian government and are simply rotting away. | 0:42:56 | 0:43:00 | |
BUZZING | 0:43:03 | 0:43:04 | |
This eerie, dilapidated building, which today seems only to be | 0:43:04 | 0:43:09 | |
home to a swarm of bees, was once the home of Mumtaz's eunuch, | 0:43:09 | 0:43:14 | |
and has this magnificent view of the Taj just across the water there. | 0:43:14 | 0:43:18 | |
And there's actually some graffiti here on the wall, which says, | 0:43:19 | 0:43:23 | |
"Hindu-musalman ekta jindabad" - "Hail to Hindu-Muslim Unity." | 0:43:23 | 0:43:30 | |
Quite appropriate for an old Mughal monument. | 0:43:30 | 0:43:32 | |
The Taj Mahal is the height of Mughal achievement, | 0:43:34 | 0:43:37 | |
the crowning glory of a great, if controversial, empire. | 0:43:37 | 0:43:41 | |
But the Taj also marked the beginning of a terrible end. | 0:43:42 | 0:43:46 | |
Shah Jahan and Mumtaz had many sons. | 0:43:48 | 0:43:50 | |
However, unlike in Europe, | 0:43:52 | 0:43:55 | |
the eldest son wasn't necessarily the heir and if the strongest son | 0:43:55 | 0:44:00 | |
could seize power he too could rule legitimately as any of his brothers. | 0:44:00 | 0:44:05 | |
Shah Jahan named his eldest son, Dara Shikoh, as his heir. | 0:44:11 | 0:44:15 | |
There were high hopes for him. | 0:44:15 | 0:44:18 | |
Like his great ancestor, Akbar, | 0:44:18 | 0:44:19 | |
Dara Shikoh was a progressive, tolerant and intellectual man, | 0:44:19 | 0:44:23 | |
with interests in all the world's religions. | 0:44:23 | 0:44:26 | |
Dara Shikoh, as you can see, is a pretty dressy kind of guy. | 0:44:27 | 0:44:30 | |
He's got a little string of pearls across his face. | 0:44:30 | 0:44:32 | |
-Yes. -He's dressed up in the finest Mughal kit. | 0:44:32 | 0:44:36 | |
All his jama and he's on horseback. | 0:44:36 | 0:44:39 | |
He's absolutely dripping in jewels. | 0:44:39 | 0:44:41 | |
-Yes. -And the contrast between this man settled at court, getting on | 0:44:41 | 0:44:45 | |
with his dad, living a family life, revelling in everything the capital | 0:44:45 | 0:44:50 | |
had to offer, is in stark contrast to Aurangzeb, the younger brother. | 0:44:50 | 0:44:55 | |
Aurangzeb is hated by his father and this sort of twists him. | 0:44:55 | 0:44:58 | |
-Er, he becomes this very... a child who is rejected. -Right. | 0:44:58 | 0:45:03 | |
Becomes crabbed in some way, | 0:45:03 | 0:45:05 | |
and Aurangzeb is determined to destroy the existing rulers. | 0:45:05 | 0:45:12 | |
-Mm. -His father and his obvious heir, Dara. -Mm. | 0:45:12 | 0:45:16 | |
And Aurangzeb has the advantage, of course, | 0:45:16 | 0:45:19 | |
because he's been in the field. | 0:45:19 | 0:45:21 | |
He's been a general, he's a puritan, he is ruthless, he's Machiavellian. | 0:45:21 | 0:45:25 | |
The whole thing is very like in King Lear, | 0:45:25 | 0:45:28 | |
where you have the two sons, Edgar and Edmund. | 0:45:28 | 0:45:30 | |
-And Edgar's the beloved son of Gloucester. -Sure. | 0:45:30 | 0:45:32 | |
-And grows up weak and hopeless. -Yeah. | 0:45:32 | 0:45:34 | |
While Edmund is the illegitimate one, | 0:45:34 | 0:45:36 | |
who is never given any love, but is ruthless. | 0:45:36 | 0:45:38 | |
But has to fight for his position, yeah. | 0:45:38 | 0:45:40 | |
And there's a great Shakespearean quality, I think, | 0:45:40 | 0:45:43 | |
in the way that these two sons battle it out. | 0:45:43 | 0:45:45 | |
Dara, for all that he represents, | 0:45:45 | 0:45:47 | |
he represents everything that we find most attractive in the Mughals. | 0:45:47 | 0:45:50 | |
Not only does he have exquisite taste, | 0:45:50 | 0:45:52 | |
does he commission beautiful art, is he responsible | 0:45:52 | 0:45:55 | |
for extraordinary architecture, he also has this wonderfully | 0:45:55 | 0:45:58 | |
tolerant attitude he inherits from the tradition of Akbar. | 0:45:58 | 0:46:02 | |
And Aurangzeb is this tough guy who's had to make his own way, | 0:46:02 | 0:46:06 | |
who's been ignored by the court, ignored by his father and... | 0:46:06 | 0:46:09 | |
-Who's frankly fed up. -He's frankly fed up. | 0:46:09 | 0:46:11 | |
And the more that his father and his brother indulge in jewels | 0:46:11 | 0:46:14 | |
and manuscript illumination, the more he rejects that whole world. | 0:46:14 | 0:46:17 | |
And yet, when it comes to the final battle, when Aurangzeb advances from | 0:46:17 | 0:46:20 | |
the Deccan with his battle-hardened troops, although they are | 0:46:20 | 0:46:23 | |
a fraction of the size of the Imperial Army, | 0:46:23 | 0:46:25 | |
which Dara Shikoh leads into battle, | 0:46:25 | 0:46:27 | |
the spoilt, silly young prince doesn't know how to fight a battle, | 0:46:27 | 0:46:31 | |
and Aurangzeb, with his small crack force, makes mincemeat of them. | 0:46:31 | 0:46:34 | |
Aurangzeb's war of succession was short and brutal. | 0:46:42 | 0:46:46 | |
He took his father and brother prisoner, | 0:46:46 | 0:46:49 | |
killing most of their generals and men. | 0:46:49 | 0:46:52 | |
He then began planning his coronation, to be held here, | 0:46:52 | 0:46:55 | |
in Delhi. | 0:46:55 | 0:46:56 | |
Dara Shikoh was brought back to Delhi | 0:46:59 | 0:47:01 | |
and paraded through the streets in rags and chains. | 0:47:01 | 0:47:05 | |
He was sat mockingly on top of an old, broken-down elephant. | 0:47:05 | 0:47:09 | |
Francois Bernier, | 0:47:09 | 0:47:11 | |
who worked as a doctor at the court of Shah Jahan, witnessed the event. | 0:47:11 | 0:47:15 | |
"I could not divest myself of the idea | 0:47:21 | 0:47:23 | |
"that some dreadful execution was about to take place. | 0:47:23 | 0:47:27 | |
"The crowd assembled upon this disgraceful occasion was immense, | 0:47:27 | 0:47:30 | |
"and everywhere I observed the people weeping, | 0:47:30 | 0:47:34 | |
"and lamenting the fate of Dara in the most touching language. | 0:47:34 | 0:47:39 | |
"For the Indian people have a very tender heart. | 0:47:39 | 0:47:42 | |
"Men, women and children wailing as if some mighty calamity | 0:47:42 | 0:47:45 | |
"had happened to themselves." | 0:47:45 | 0:47:48 | |
Aurangzeb was shocked that the people had wept for Dara, | 0:47:53 | 0:47:57 | |
and decided that his brother must be put to death. | 0:47:57 | 0:48:00 | |
On the 30th August 1659, he was attacked by four assassins | 0:48:01 | 0:48:06 | |
who held him down and hacked off his head. | 0:48:06 | 0:48:09 | |
Dara's head was brought to Aurangzeb, who had to | 0:48:09 | 0:48:12 | |
wash the blood away in order to recognise his brother's features. | 0:48:12 | 0:48:16 | |
Then he wept and exclaimed, "Let this shocking sight | 0:48:16 | 0:48:21 | |
no longer offend my eyes, but take away this head | 0:48:21 | 0:48:24 | |
"and let it be buried in Humayun's Tomb." | 0:48:24 | 0:48:27 | |
So Dara Shikoh was buried here, in an unmarked grave | 0:48:38 | 0:48:41 | |
amongst his ancestors, | 0:48:41 | 0:48:43 | |
and with him was buried the liberal era of Mughal rule. | 0:48:43 | 0:48:47 | |
At the end of his life, Shah Jahan was imprisoned | 0:48:59 | 0:49:01 | |
here at the Red Fort by his own son, Aurangzeb, | 0:49:01 | 0:49:04 | |
and you can imagine how he would have felt looking out at the Taj. | 0:49:04 | 0:49:10 | |
The very monument he built to his beloved Mumtaz, | 0:49:10 | 0:49:13 | |
that was later described as a teardrop on the cheek of time. | 0:49:13 | 0:49:17 | |
Aurangzeb changed the face of Mughal rule in India. | 0:49:33 | 0:49:37 | |
With fire and sword, he conquered even more territory | 0:49:37 | 0:49:40 | |
for the Mughal Empire, which had nearly doubled in size by the 1700s. | 0:49:40 | 0:49:44 | |
The generous treatment of non-Muslims, | 0:49:47 | 0:49:49 | |
which had begun under Akbar, came to an end. | 0:49:49 | 0:49:53 | |
It is said that Aurangzeb forced Hindus to convert to Islam, | 0:49:53 | 0:49:56 | |
and demolished some Hindu temples. | 0:49:56 | 0:49:59 | |
To symbolise the importance and dominance of Islam, Aurangzeb | 0:50:00 | 0:50:04 | |
built the huge Badshahi mosque in Lahore, positioned opposite | 0:50:04 | 0:50:08 | |
the fort to emphasise the unity of Islam and power. | 0:50:08 | 0:50:11 | |
Here in Delhi, too, Islamic prayer was now a very public | 0:50:15 | 0:50:19 | |
and political statement of faith. | 0:50:19 | 0:50:21 | |
But even though Aurangzeb now forbade the use of music | 0:50:22 | 0:50:25 | |
and discouraged the arts at his court, | 0:50:25 | 0:50:28 | |
the Mughal influence continued to live on elsewhere in India. | 0:50:28 | 0:50:31 | |
We've been given privileged access to this exquisite and rare | 0:50:33 | 0:50:39 | |
18th-century manuscript from Bikaner... | 0:50:39 | 0:50:42 | |
..where all the script is in Sanskrit. | 0:50:44 | 0:50:47 | |
It's been handwritten and it's got this beautiful illustration. | 0:50:47 | 0:50:53 | |
So, it's a real treasure to be able to view this at such close quarters. | 0:50:53 | 0:50:58 | |
Aurangzeb, as a more traditional Muslim, | 0:50:59 | 0:51:03 | |
did not patronise the arts in the way that his ancestors had done, | 0:51:03 | 0:51:07 | |
and the court atelier dispersed. | 0:51:07 | 0:51:10 | |
And artists moved away from the royal court | 0:51:10 | 0:51:14 | |
to the regional Hindu and Deccani courts, where they began practising, | 0:51:14 | 0:51:20 | |
but bringing the skills they had learnt in the Mughal courts | 0:51:20 | 0:51:25 | |
to the regions, such as at Bikaner, | 0:51:25 | 0:51:26 | |
which is where this manuscript is from. | 0:51:26 | 0:51:29 | |
And I've just found a snakeskin inside, | 0:51:29 | 0:51:31 | |
which is a traditional conservation technique | 0:51:31 | 0:51:33 | |
for deterring termites from eating one's paintings. | 0:51:33 | 0:51:38 | |
And what's wonderful about this manuscript is that you really | 0:51:38 | 0:51:43 | |
see the coming together, the joining of the great, | 0:51:43 | 0:51:46 | |
two great Indian traditions of Hindu and Mughal art. | 0:51:46 | 0:51:51 | |
Such as Shiva here, sitting on top of Mount Kailash. | 0:51:51 | 0:51:55 | |
And the mountains are painted in exactly | 0:51:55 | 0:51:57 | |
the tradition of Mughal painting. | 0:51:57 | 0:51:59 | |
And this painting in particular, | 0:52:06 | 0:52:08 | |
you have a very naturalistic landscape which would sit very | 0:52:08 | 0:52:12 | |
comfortably in a Mughal painting as much as it would in a Gainsborough, | 0:52:12 | 0:52:17 | |
with this elegant marble pavilion on the left-hand side. | 0:52:17 | 0:52:21 | |
Painted in full perspective, | 0:52:21 | 0:52:24 | |
and then two Shaiva yogis sitting, one of them | 0:52:24 | 0:52:27 | |
with a halo around his head, which again comes from European painting. | 0:52:27 | 0:52:33 | |
And they're holding audience with one of the princes of Bikaner, | 0:52:33 | 0:52:36 | |
who has arrived, dressed very simply apart from the crown upon his head. | 0:52:36 | 0:52:41 | |
It's a great sadness that artistic endeavours like these would not | 0:52:44 | 0:52:47 | |
have survived at Aurangzeb's court under his new austerity regime. | 0:52:47 | 0:52:51 | |
Music, painting and poetry held no interest for the Emperor. | 0:52:53 | 0:52:57 | |
Instead, he was a man whose fervent wish was to leave the legacy | 0:52:57 | 0:53:01 | |
of a well-ordered Islamic state. | 0:53:01 | 0:53:03 | |
Yet his heavy-handed rule led to resentment | 0:53:05 | 0:53:08 | |
and ultimately rebellion, and unlike his forbears it was a regime | 0:53:08 | 0:53:13 | |
that had no room for consensus. | 0:53:13 | 0:53:15 | |
After almost 50 years on the throne, he died, and the Mughal Empire | 0:53:16 | 0:53:20 | |
weakened, leaving the way clear for India's new conquerors, the British. | 0:53:20 | 0:53:26 | |
During the British empire, a far more short-lived one than | 0:53:30 | 0:53:32 | |
the Mughals, the rulers of the Raj tried to emulate | 0:53:32 | 0:53:35 | |
the grandeur of Mughal ambition. | 0:53:35 | 0:53:37 | |
However, the British, unlike the Muslims, never became Indian. | 0:53:37 | 0:53:42 | |
They capitalised on existing tensions between Hindus and Muslims, | 0:53:42 | 0:53:47 | |
befriending some communities, and fighting others. | 0:53:47 | 0:53:50 | |
This imperial strategy worked for a while, but by dividing | 0:53:50 | 0:53:55 | |
and ruling, by pursuing a strategy so different from Akbar's, | 0:53:55 | 0:53:59 | |
the British essentially created division in India and applied | 0:53:59 | 0:54:04 | |
so much pressure that eventually the country was ripped in two. | 0:54:04 | 0:54:08 | |
The prologue to agitation for Indian independence | 0:54:16 | 0:54:18 | |
caused great tensions between Hindus and Muslims | 0:54:18 | 0:54:22 | |
which resulted in communal riots across India. | 0:54:22 | 0:54:26 | |
By the time of Indian independence in 1947, the liberation | 0:54:26 | 0:54:31 | |
from British rule was short-lived, as India was brutally split. | 0:54:31 | 0:54:35 | |
And millions of lives were lost, brutalised, families were severed | 0:54:37 | 0:54:42 | |
as Hindus rushed over the border into India | 0:54:42 | 0:54:47 | |
and many Indian Muslims | 0:54:47 | 0:54:49 | |
moved north into what was to become the Islamic Republic of Pakistan. | 0:54:49 | 0:54:53 | |
And the tragedy today, is that there hasn't been any public, | 0:54:54 | 0:55:00 | |
national acknowledgement, on either side of the border, | 0:55:00 | 0:55:03 | |
of the great loss that happened at Partition. | 0:55:03 | 0:55:08 | |
Families were torn apart. | 0:55:12 | 0:55:14 | |
In my own family, | 0:55:14 | 0:55:16 | |
on the one hand people had to give up their lands overnight | 0:55:16 | 0:55:22 | |
and rush across the border into what's now West Bengal and Kolkata. | 0:55:22 | 0:55:26 | |
And the people who were living in Kolkata had to give up | 0:55:26 | 0:55:29 | |
their lands overnight for the millions of refugees | 0:55:29 | 0:55:32 | |
who were coming over the border. | 0:55:32 | 0:55:34 | |
Which they did. | 0:55:34 | 0:55:35 | |
It's one of the reasons why today Indians don't really know | 0:55:35 | 0:55:42 | |
what's happening over the border in Pakistan, and vice versa. | 0:55:42 | 0:55:46 | |
And the real tragedy of that | 0:55:46 | 0:55:48 | |
is that they have an incredible shared history. | 0:55:48 | 0:55:52 | |
And you can't really understand one country | 0:55:52 | 0:55:55 | |
without looking at the other. | 0:55:55 | 0:55:57 | |
So I've left India and come back to Lahore in Pakistan, | 0:56:02 | 0:56:05 | |
where the Mughal Empire began, to talk to leading journalist | 0:56:05 | 0:56:09 | |
Ahmed Rashid about the lasting divide left by the Mughal emperors. | 0:56:09 | 0:56:15 | |
So, I was interested in what the imprint, | 0:56:15 | 0:56:18 | |
or historical memory of Akbar and Aurangzeb is in Lahore. | 0:56:18 | 0:56:23 | |
Well, it's very, very sharp. | 0:56:25 | 0:56:26 | |
I mean, if you read the school textbooks, | 0:56:26 | 0:56:31 | |
which were really rejigged by Zia-ul-Haq, | 0:56:31 | 0:56:36 | |
the military ruler of Pakistan in the '80s, | 0:56:36 | 0:56:40 | |
who was an Islamist, he was a great admirer of Aurangzeb | 0:56:40 | 0:56:45 | |
and he saw himself as a kind of Aurangzeb-type figure. | 0:56:45 | 0:56:49 | |
Remember, under him | 0:56:49 | 0:56:51 | |
Pakistan helped the Mujahideen in Afghanistan fight the Soviets. | 0:56:51 | 0:56:55 | |
And under him, we had this whole revival of the war in Kashmir, | 0:56:55 | 0:56:59 | |
and the use of extremists in Kashmir | 0:56:59 | 0:57:02 | |
and a great belief in Islamic fundamentalism | 0:57:02 | 0:57:06 | |
and going back to the precepts of law, and all the rest of it. | 0:57:06 | 0:57:09 | |
So, in fact, I mean, the real lesson of Akbar, | 0:57:09 | 0:57:12 | |
which we desperately need now, in Pakistan, the message of tolerance, | 0:57:12 | 0:57:17 | |
of, you know, accepting other religions, accepting minorities, | 0:57:17 | 0:57:21 | |
you know, letting them pray as they wish which was, of course, | 0:57:21 | 0:57:24 | |
also the message of Muhammad Ali Jinnah, the founder of Pakistan. | 0:57:24 | 0:57:28 | |
-Of course. -In all his famous speeches he said, you know, | 0:57:28 | 0:57:31 | |
"Now you can go to your mosques and your temples and your churches | 0:57:31 | 0:57:34 | |
"and your synagogues, and you are free to pray as you like," you know. | 0:57:34 | 0:57:39 | |
All that is, unfortunately, forgotten. | 0:57:39 | 0:57:41 | |
And the originator of that was really Akbar. | 0:57:41 | 0:57:44 | |
For over 300 years, the Mughals united India, and then divided it. | 0:57:48 | 0:57:53 | |
They gave the country some of its greatest monuments, | 0:57:53 | 0:57:57 | |
but also cut some of its deepest scars. | 0:57:57 | 0:58:00 | |
They were often liberal and tolerant, but also laid | 0:58:00 | 0:58:03 | |
the foundation for a much stricter interpretation of Islam. | 0:58:03 | 0:58:07 | |
Even today, their legacy is extraordinarily controversial | 0:58:07 | 0:58:10 | |
as Mughal history has become the battleground for a new India, | 0:58:10 | 0:58:14 | |
as it struggles once again with its religious and cultural identity. | 0:58:14 | 0:58:18 | |
In the next episode, I will be travelling | 0:58:25 | 0:58:27 | |
even further down into India to explore the temples of Tamil Nadu | 0:58:27 | 0:58:31 | |
and the exuberant art of the Hindu heartland. | 0:58:31 | 0:58:34 |