The Other Side of the Taj Mahal Treasures of the Indus


The Other Side of the Taj Mahal

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The Indus river is where I started a journey that is taking me

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thousands of miles, deep into the Indian subcontinent

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to which the river gave its name.

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A journey that will help me discover some of its most hidden treasures

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and reveal secrets from its distant past.

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In the last programme, I travelled back five millennia in time to

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the ancient civilisation that first grew up on the shores of the Indus,

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and explored the lost Buddhist culture of northern Pakistan.

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Now, I want to see what happened

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when the Muslim invaders who had occupied modern-day Pakistan

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moved further south, and produced an extraordinary flowering of art

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and architecture, and some of the world's greatest treasures.

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As an art historian and museum curator,

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I've looked after these treasures for most of my life.

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In this series, I want to explore their stories

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and the people who created them.

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For hundreds of years, India was ruled by a foreign empire.

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These invaders came from the north and spread their influence

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right across this vast land, from the peaks of the Himalayas,

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to the plains of the Punjab, to the jungles of central India.

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They were the Mughals.

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The Mughals were a race of Islamic warrior kings

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from Central Asia who were also poets, scholars and traders.

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In matters of religion and philosophy, they were

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more progressive and liberal than most European rulers of the time.

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They made some of the world's most beautiful art.

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They presided over advances in science and technology.

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They brought war, but also great prosperity,

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freedom at first, but later, intolerance.

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In modern India, the Mughals remain controversial.

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The question is, did their impact

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change India for the better or the worse?

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Where do you come from?

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Well, my parents are from Kolkata but I was born in England,

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so India is one of my homes.

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Very nice.

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Yes. My ancestral home. Being in India always feels like coming home.

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-Very nice.

-Yeah.

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'To tell the story of the Mughals will take me

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'not just to India, where they created an empire,

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'but also to Pakistan, where that empire began.'

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The Mughals originally came from the mountains of Central Asia,

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what is now Afghanistan and Uzbekistan.

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Then, at the beginning of the 16th century,

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they moved south towards the riches that lay beyond the River Indus.

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In 1526, just as King Henry VIII began to woo Anne Boleyn in England,

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the Mughal king Babur

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arrived at the outskirts of the great city of Lahore.

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Babur had been a king since he was 12 years old.

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He was descended from Genghis Khan and Tamerlane.

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By 17 he had conquered Samarkand and by 22 he had Kabul.

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He was 43 by the time he got to Lahore,

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and deeply unimpressed with what he found.

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In his diary, Babur wrote,

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"Hindustan is a country of few charms.

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"Its people are ugly, rude and have no artistic talent.

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"There are no good horses, no good dogs, no grapes, musk-melons

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"or first-rate fruits, no ice or cold water, no good bread

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"or cooked food in the bazaars,

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"no hot baths, and not even any candlesticks."

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It seems that the only thing that impressed him about India was

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that it was a large country and that there was masses of gold and silver.

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Homesick for the ordered beauty they knew in Central Asia,

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the Mughals transformed Lahore into a garden city.

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These Mughal gardens were nothing like India had seen before.

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They were grand in scale,

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and their emphasis on symmetry and balance was completely new.

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Flowing water was as important as greenery.

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It helped to cool the gardens on hot days,

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and showed off the wealth and ingenuity of the new rulers.

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In Islam, like Judaism and Christianity,

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Paradise is often represented as a garden.

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The creation of beauty and order in these gardens

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was about more than just making pleasant spaces.

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It was symbolic of the arrival of the Mughals.

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By the end of their rule, these gardens had been constructed

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in all major cities and towns throughout India.

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These warriors turned gardens into a symbol of their power.

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But they also brought gardens and flowers into their buildings,

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together with a sensuous love for the pleasures of life

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that they had left behind in the valleys of Central Asia.

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Although one pleasure, they had brought with them.

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The Mughals created exquisite drinking vessels,

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but they had a very complex relationship with alcohol.

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They consumed it publicly,

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and yet it always remained an illicit pleasure.

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For Babur, on the one hand, he was descended from

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the very public drinking culture of Genghis Khan,

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and, on the other, he wanted to be a good Muslim.

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Babur knew his drinking was controversial

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amongst his orthodox Muslim army, and if he was to continue

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his invasion further into India,

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he would need to inspire his tired troops.

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Particularly if he was to capture the fort here in Agra,

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the second capital of Hindustan, whose sultan was fabulously wealthy.

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A year after he had conquered Lahore, Babur arrived in Agra,

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600km to the south.

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He now took a vow in front of his men never to drink wine again,

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and also not to trim his beard.

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And he told them that the war they were engaged with,

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with the Hindu kings of India, was a holy struggle.

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"If we fall in the field, we die the death of martyrs. If we survive,

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"we rise victorious, the avengers of Allah's sacred cause."

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He then had his jewel-encrusted

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gold and silver drinking goblets destroyed

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and distributed amongst the poor.

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According to legend, Babur's men were deeply moved by his vow

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and the following day, they won a stunning victory

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over the Hindu king.

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We know an unusual amount about Babur

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because he detailed both his struggles with alcohol

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and his conquests in a remarkably frank autobiography.

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In it, he described how once he had crossed the Indus,

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he had found himself in another world,

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of fakirs, magicians and exotic animals.

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LAUGHTER

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And how India was ruled by a whole set of Hindu Rajput princes,

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consumed by petty infighting.

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Babur's army swept these princes aside

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to lay the foundations of the Mughal Empire in Northern India.

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But he didn't only bring war.

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He and his successors brought elements of culture

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and architecture from Central Asia.

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And this magnificent monument is the earliest example

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of Indo-Persianate architecture in Mughal India.

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It takes the shapes and forms of Central Asia and Persia,

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in the cusped arches and the domes,

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and marries them with the red sandstone of India.

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And then you have these small flourishes on top of the chatris,

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which is a Sanskrit word meaning umbrella, or pavilion.

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You see this glistening tile work which is, of course, reminiscent

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of the architecture of Samarkand and other places in Central Asia.

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So they brought to bear all these different influences.

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And for the first time you see a new kind of architecture in India.

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Babur would only briefly enjoy the new kingdom

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he had conquered. Four years after arriving in India, he died,

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aged just 47, still homesick for the gardens of Central Asia.

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And some say the greatest of all the Mughal emperors

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who followed him was his grandson, Akbar.

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Akbar came to the throne early, at just 13,

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and inherited his grandfather's driving ambition and focus.

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During Akbar's rule, India became one of the most powerful

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and richest empires on the face of the earth.

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He expanded it beyond even the vast lands of his grandfather Babur.

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One reason for the Mughals' startling military success

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was that they brought their Central Asian skills

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as fast-wheeling horsemen down to the plains of India.

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These descendants of Genghis Khan often had five times as many cavalry

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as they did foot soldiers in their army,

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so they could run rings around the slow-moving Hindu forces.

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Traditionally, and given their nomadic roots,

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Mughal emperors had lived most of their lives under canvas

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and were constantly on the move, but as his military campaign

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went from strength to strength, Akbar could indulge in the luxury

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of a new, more permanent city to rule from.

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Here, at Fatehpur Sikri, Akbar built a fabulous pop-up capital

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out of red sandstone in the middle of nowhere.

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It remains one of the most tantalising

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and bizarre architectural sites in the whole of India.

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English traders first arrived in the 1580s, when Elizabeth I

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was on the throne back in London, lured by tales of its grandeur.

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They had never seen a city so large or magnificent

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as Fatehpur Sikri in their lives.

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There was nothing in the world like it,

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and certainly not in their own relatively poor nation.

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Here courtiers wore the finest fabrics,

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dripping in gold and jewels.

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The palaces were cooled by continuous motion

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of the punkahwallahs, waving peacock-feather fans.

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Akbar created his own perfumes

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and had the air scented with precious ambergris

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and aloeswood.

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Servants burned incense in gold and silver censers.

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So the sun is setting in this beautiful open courtyard

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with this central pool, with four paths leading to it

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and a platform for musicians, who would have performed,

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usually as the sun was going down and the heat of the day was passing.

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And just up there,

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a viewing gallery for the emperor to get the best view.

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And this whole courtyard would have been filled with

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the sound of music and dance.

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All across this palace complex,

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Babur's roving entourage of encampments and tents

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has now been translated to stone,

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and you have this series of spaced-out, beautiful pavilions.

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One tradition that the Mughals had brought with them

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from the steppes of Central Asia was a passion for the hunt.

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As a young man, Akbar kept a thousand cheetahs,

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trained for the chase like dogs were in Europe.

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North India was rich in wildlife and the Mughal emperors

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built hunting pavilions like this across their domains.

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But it was during one of these hunts that something happened

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that changed the entire course of Akbar's reign.

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Hunting was a great sport during the Mughal emperors' time.

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And Akbar, in a hunting lodge much like this one,

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gathered his courtiers, who for ten days

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drove animals from a circumference of 80km surrounding this lodge.

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But just at the moment when the hunt was ready,

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all the animals were gathered, he stopped.

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Because he'd had an epiphany.

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His biographers described it as an epileptic seizure

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or some kind of delusion, but whatever it was,

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it was the moment of complete change for Akbar and he cancelled the hunt.

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One witness described how, "Suddenly all at once a strange state

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"and strong frenzy came upon the Emperor, and an extraordinary

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"change was manifested in his manner and everyone attributed it

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"to some cause or other. But God alone knows such secrets."

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He set the animals free and he declared that none of them

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were going to be hurt henceforth.

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This strange experience seems to have been the turning point

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in Akbar's reign.

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Because after this, nothing was the same again.

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After the hunting incident, Akbar became a much more spiritual man.

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He stopped eating meat, shaved his head

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and started to ask questions of himself and of others.

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In the middle of this whole complex, of this magnificent pop-up city

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called Fatehpur Sikri, there is this real conundrum.

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A hall of public audience, but architecturally it suggests...

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Well, it remains enigmatic.

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Why? Because in the middle you've got this central column which is

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really reminiscent on the one hand of the pillar that you see

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outside every Hindu temple, which represents

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the axis of the universe, the cosmic axis, if you like.

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But then it doesn't, the space doesn't lend itself to conversation,

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because the seating area is up above.

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There's a theme in Persian painting of the treehouse,

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which is a space that's elevated, it's actually not public,

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it's private, and really there is greater licence

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when you're above the realm of the everyday

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to engage in the kind of discussions or activities

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that might not otherwise be allowed.

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As soon as you step up here you get a real sense, of course,

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that you're elevated in a rather unusual fashion, above the ground.

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There are these very low balconies and wonderful ventilation

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all around, which would have made this a fantastic little hideaway,

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in a sense, from the world, for Akbar to come up with whomever

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he pleased, to sit and discuss affairs of the heart or state.

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I can imagine Akbar sitting here,

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inviting certain people from all four corners,

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to come and join him in the centre for intimate conversation.

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It doesn't really give a sense of public audience,

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it's a much more private space.

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It's elevated above the ground and you really get a sense here

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that you need to be invited up to the emperor's treehouse

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in order to converse with him in the most intimate fashion.

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For the rest of his 50-year-long reign,

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Akbar now dedicated himself to the exploration of other religions.

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OK, I'll take one from each.

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One, 25.

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'When the Mughals had first arrived in India,

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'they found a country of many other religions.'

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Mm, they smell beautiful.

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'Hinduism, Jainism and Buddhism all flourished.

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'Akbar decided he would not try to suppress any of these

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'but rather embrace and encourage them.

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'It is this open-mindedness that above all distinguishes Akbar

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'from his successors.

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'I'm on my way to the Sufi shrine of Nizamuddin in Delhi,

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'one of the most important in India.'

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It lies at the heart of a labyrinth of narrow alleyways

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and stalls selling rose petals to scatter on the grave of the saint.

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RHYTHMIC CLAPPING AND MUSIC

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SINGING

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Sufism is a mystical form of Islam

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that believes there are many different pathways to God.

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Some stricter interpretations of Islam

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forbid music and dancing entirely,

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but for Sufis, music is the expression of religious ecstasy.

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Akbar came to just such a Sufi shrine

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to pray for the birth of a son and heir to the throne.

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It worked - he got three - and after the hunting incident,

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he became intensely drawn to Sufism and its openness to all people

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and all faiths.

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The traditional music still played at Sufi shrines like this

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is called qawwali, and fuses Indian musical styles with Arabic poetry,

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which is why the Mughals loved it.

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As they sought to integrate themselves into their new

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Indian domains, Akbar looked for other ways to combine Islam

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with elements of Hinduism, in song, in imagery and in architecture.

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Sages, gurus and spiritual leaders of all sorts were now

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welcomed at Fatehpur Sikri, although they did not always agree.

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Giles Tillotson has written about how the peculiar architecture

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of Akbar's palace both facilitated and reflected his new tolerance

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to religions other than Islam.

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According to Akbar's court historian, Abul Fazl,

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these discussions had, as it were, their own institution.

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He describes the discussions taking place in a palace

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that contained four interlocking rooms

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with concurrent discussions going on in each.

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And that the emperor used to move from one room to the other.

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-To the other.

-..to participate in the discussions as they were...

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Taking place.

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Taking place. Exactly.

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So, how exactly did the discussions go?

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I mean, what sort of format did they take?

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Well, I think, actually,

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there's a hint in Abul Fazl that they didn't always go terribly well.

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I think Akbar's hope was that by getting the most learned people

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from different religions together,

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that he would solve some of the central, eternal questions...

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Of the universe!

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..of the universe, as it were!

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But to his frustration, though perhaps not to our surprise,

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the priests often took entrenched positions

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and refused to really... to exchange ideas at all.

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So, how unusual was it for Akbar to have such an expansive vision

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of all these different religions?

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I think this was probably the first time that a Muslim court

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had been so open to the investigation of religious matters

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from the perspective of other religions around them,

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rather than simply pursuing different schools within Islam itself.

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Akbar's new openness to different religions can be seen

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also in his playful approach to architecture.

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When you encounter some of these buildings,

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as you approach them, there is a sort of Christmas cake effect,

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where different elements are sort of plonked on top of the other.

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Yes, it's clearly a design school, if you like...

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Slightly unresolved.

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Yes, it's a design school

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that's used to working with certain traditions.

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But very different traditions have come in to the same space

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and the designers have thought,

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"Well, how can we play with the new material that's available to us

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"in the hope of creating something different?"

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The experimental nature of the design is very clear here,

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for example, where you have above a line of ornamental niches,

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and then below them,

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this line of dado panels with the decorated border.

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But these are features that you would normally

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-expect to find on the interior of a room.

-Right.

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Here, they're expressed on the exterior of the building.

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It would be rather like, in modern terms,

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putting wallpaper on the outside of your house.

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Clearly, this is meant to be experimental. It's playful.

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It's not to be taken entirely seriously.

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They're trying new things out and, as with the mixture of motifs from

0:22:300:22:35

different sources, it's like, again, to put it in modern-day terms, like

0:22:350:22:40

producing a design in Photoshop, to see whether it works or not.

0:22:400:22:44

But after only 14 years,

0:22:490:22:51

this fantasy city of Akbar's was abandoned as impractical,

0:22:510:22:56

some say because there was a shortage of water.

0:22:560:22:59

The ever-restless Akbar moved on,

0:22:590:23:01

leaving Fatehpur Sikri like an abandoned Las Vegas in the desert.

0:23:010:23:05

Despite his many other achievements,

0:23:130:23:15

modern Indians often think of Akbar as a romantic hero,

0:23:150:23:19

as in this Bollywood box office smash,

0:23:190:23:21

Jodhaa Akbar, about the emperor and Jodhaa, a Hindu princess.

0:23:210:23:26

'It was huge.'

0:23:290:23:31

I think it was a big hit mainly because Hrithik Roshan is so cute

0:23:310:23:35

and Aishwarya Rai is very beautiful

0:23:350:23:37

and both of them really light up the screen.

0:23:370:23:39

There's a scene in which he's waggling a sword and he's got

0:23:430:23:47

a belt also, and Aishwarya's looking at him from behind.

0:23:470:23:51

She's totally giving him the eye and there is, you know,

0:23:510:23:55

you can actually feel, you can feel the frisson.

0:23:550:23:58

So, I think the film did very well, essentially because it was,

0:23:580:24:01

it had great music, it had these two very lovely-looking leads

0:24:010:24:05

and the fact that they got together really well.

0:24:050:24:07

What has always given the story of Akbar and his Hindu wife Jodhaa

0:24:120:24:15

such box-office appeal

0:24:150:24:16

is that this is a West Side Story of Montagues and Capulets -

0:24:160:24:21

Akbar, the Muslim emperor, marrying a Hindu princess, a subject

0:24:210:24:25

that still has controversial resonance in India today

0:24:250:24:29

and has helped make Akbar a talismanic figure in history.

0:24:290:24:34

Do you think that Akbar, the historical figure,

0:24:350:24:38

makes a good hero?

0:24:380:24:40

I think he makes a wonderful hero because of the fact of what he did.

0:24:400:24:43

Because he had Jodhaa as his wife, who was a Hindu.

0:24:430:24:48

Nobody else before that had actually made one of his prime ranis a Hindu.

0:24:480:24:53

And he was steadfast.

0:24:530:24:55

He stuck to that position despite the kind of,

0:24:550:24:58

the conflict that happened as a consequence of his act.

0:24:580:25:03

He stuck firm to his guns and I think it was Akbar who gave India

0:25:030:25:08

of the medieval era its first taste of what it was like

0:25:080:25:13

to be a unified country, despite the fact that it had all these

0:25:130:25:16

little, you know, principalities and kingdoms fighting on the side.

0:25:160:25:20

-But he really brought it together.

-He really unified and...

0:25:200:25:23

-And celebrated.

-And the unity.

0:25:230:25:24

Yes, because Akbar did what he did,

0:25:240:25:27

it became, it became a country that it wasn't before.

0:25:270:25:30

Akbar also married Hindu and Islamic styles in art, to great effect.

0:25:340:25:39

He initiated an immense expansion of the imperial studio and recruited

0:25:390:25:44

artists from all the conquered kingdoms of northern India.

0:25:440:25:47

These brothers can trace their lineage directly down from

0:25:500:25:53

one of the greatest of the Mughal artists, who achieved an intense

0:25:530:25:57

saffron yellow in his paintings with the urine of mango-fed cows.

0:25:570:26:01

His descendants still use

0:26:030:26:04

the same painstaking technique,

0:26:040:26:07

using tiny squirrel-hair brushes,

0:26:070:26:10

which can take many months just to finish a single picture.

0:26:100:26:13

Nitin Bhayana is a leading art critic and collector

0:26:210:26:24

who is an expert on how native Rajput painting

0:26:240:26:27

changed with the arrival of the Mughals.

0:26:270:26:30

A sequence of Mughal emperors

0:26:300:26:32

brought artists from the courts of Persia,

0:26:320:26:35

and then later developed a school of painting in India

0:26:350:26:38

by enrolling various artists, and made karkhanas, or factories,

0:26:380:26:42

where they would produce huge numbers of paintings.

0:26:420:26:46

And you see, slowly but surely in a span of 50 or 100 years,

0:26:480:26:53

paintings moving from styles like this, cruder styles like this,

0:26:530:26:58

to something like that. You still see Rajput elements.

0:26:580:27:03

-Yeah.

-And then you see them

0:27:030:27:04

really melting away into a painting like that from the state of Bikaner,

0:27:040:27:09

which was closely aligned to the Mughals.

0:27:090:27:11

-Yeah.

-And this could be a Mughal painting.

0:27:110:27:14

Couldn't it!

0:27:140:27:15

I mean, look at the hills, look at the distance,

0:27:150:27:19

look at the perspective on the buildings and look at the faces.

0:27:190:27:22

If you look at the difference in the faces you could almost,

0:27:220:27:25

you know, you can tell who these people are.

0:27:250:27:27

Absolutely.

0:27:270:27:28

So, as we went along, I think it became more and more,

0:27:280:27:32

more and more Mughal.

0:27:320:27:33

Yeah.

0:27:330:27:35

Akbar commissioned his artists to do increasingly ambitious scenes

0:27:360:27:40

of the spectacle of court life, as here, where the Emperor

0:27:400:27:43

is seen riding an elephant, one of his great passions.

0:27:430:27:47

And here Akbar is now heroically trying to tame an escaped elephant,

0:27:480:27:52

and this picture exemplifies how the Mughals brought a new sense of

0:27:520:27:56

verve and dynamism to Indian art in their use of space and perspective.

0:27:560:28:01

One of the things that really first drew me towards Indian art

0:28:030:28:07

was its completely different conception of space.

0:28:070:28:10

Ever since the Renaissance,

0:28:100:28:11

in European art there's been this ambition to recreate reality

0:28:110:28:15

on the canvas, to effectively punch a hole through it.

0:28:150:28:18

For Indian artists, you've got reality in spades,

0:28:180:28:20

so what did they do?

0:28:200:28:22

They made space and they would use as many different viewpoints within

0:28:220:28:26

a single painting as they needed to tell the story they wanted to tell.

0:28:260:28:30

And those multiple viewpoints

0:28:320:28:34

were necessary for the stories Akbar commissioned,

0:28:340:28:37

large-scale illustrations of court life and history,

0:28:370:28:40

often with scenes of violence or boisterous energy,

0:28:400:28:44

like hunts, battles or sieges.

0:28:440:28:46

But under his successors, the painting style became more intimate.

0:28:480:28:52

You can start to see individual portraits emerge,

0:29:010:29:04

as in this picture of the most famous Mughal emperor of them all,

0:29:040:29:07

Akbar's grandson, who when he came to the throne

0:29:070:29:11

took the name Shah Jahan, "Glory of the World".

0:29:110:29:14

Patronage of the arts continued under Shah Jahan.

0:29:210:29:23

And you see the Emperor here on his imperial elephant

0:29:230:29:28

clomping through a very elegant landscape.

0:29:280:29:32

The devil is really in the detail.

0:29:320:29:34

You can see each of these individually painted flowers here.

0:29:340:29:38

And behind him there are geese flying through the sky

0:29:390:29:42

and the billowing clouds.

0:29:420:29:44

What's interesting about Mughal painting is that you have

0:29:440:29:50

the flatness and the palette of the indigenous Rajput courts

0:29:500:29:54

married with attention to detail in everyday life.

0:29:540:29:58

I mean, look at the way the Emperor's features are portrayed,

0:29:580:30:02

they're highly naturalistic.

0:30:020:30:04

And then, the halo around his head, of course,

0:30:040:30:07

comes from the European tradition.

0:30:070:30:09

So, the many different influences converging in a single painting.

0:30:090:30:13

When Shah Jahan came to the throne,

0:30:180:30:19

Mughal architecture changed dramatically.

0:30:190:30:23

All his predecessors had used red sandstone for their buildings,

0:30:230:30:27

as here at the aptly-named Red Fort in Agra,

0:30:270:30:30

where generations of Mughal emperors had lived,

0:30:300:30:32

so it's a good place to see the spectacular difference

0:30:320:30:36

when Shah Jahan decided to build in a new area of the palace.

0:30:360:30:41

He started to cover everything in dazzling white marble.

0:30:460:30:51

Unlike the roving entourage of Babur

0:30:580:31:01

and the outward-looking symposium of Akbar's court, the rituals

0:31:010:31:05

of Mughal India were literally set in stone under Shah Jahan.

0:31:050:31:09

Like the architecture, they elevated and framed

0:31:180:31:22

the impossible grandeur of the great Mughals.

0:31:220:31:26

The Mughals were really interested in gardens

0:31:340:31:36

but they weren't only concerned in their formal beauty

0:31:360:31:40

and in them as spaces for relaxation and enjoyment, but also in flora.

0:31:400:31:46

They were great botanists and they famously collected

0:31:460:31:50

specimens of different flowers, and had them painted,

0:31:500:31:54

but what you see here,

0:31:540:31:56

in Shah Jahan's magnificent private quarters,

0:31:560:31:59

is the transposing of that interest in flora into stone.

0:31:590:32:04

And they used this technique called pietra dura which was then

0:32:040:32:08

current in Renaissance Italy, so it was absolutely a la mode,

0:32:080:32:13

but made it a very Indian experience.

0:32:130:32:17

And using semi-precious stones like lapis, carnelian, jasper, jade,

0:32:170:32:24

and setting them into the marble to create these incredible designs.

0:32:240:32:29

So it wasn't about botanical representation any more,

0:32:290:32:33

it was about taking that interest

0:32:330:32:35

and creating something completely new and unique.

0:32:350:32:39

This technique was, of course, derived from Italy

0:32:390:32:43

but we see it here

0:32:430:32:45

transposed to a whole new context under the patronage of Shah Jahan.

0:32:450:32:50

In the nearby city of Agra,

0:32:540:32:56

there are still traces of the craftsmanship that was

0:32:560:32:59

brought to a peak under Shah Jahan's rule - although you have to

0:32:590:33:03

look hard to find it in the busy sprawling streets.

0:33:030:33:06

The thing about India that, even with the massive boom

0:33:210:33:24

that's driving its economy today, and throwing up skyscrapers

0:33:240:33:29

in Mumbai and Delhi, you just need to step back from that for a moment

0:33:290:33:33

and wander down some of the back streets and find life

0:33:330:33:36

pretty much unchanged for a large majority of the population,

0:33:360:33:41

and hidden away there you'll find practices,

0:33:410:33:44

crafts and techniques that are still cherished.

0:33:440:33:48

TAPPING

0:33:480:33:49

GRINDING

0:33:490:33:51

Just off the maze of back streets is a stonecutters' workshop.

0:33:540:33:58

It's a family business that seems to have been going for more generations

0:33:580:34:02

than anyone is able to remember,

0:34:020:34:03

and they specialise in decorative marble inlay.

0:34:030:34:06

Designs are traced out and like some kind of beautiful jigsaw,

0:34:080:34:12

individual elements are crafted to fit the master pattern.

0:34:120:34:15

It's very reminiscent of the emperor's quarters

0:34:170:34:20

up on the nearby hillside

0:34:200:34:22

You really get a sense of when the water is applied

0:34:240:34:26

and the dust is cleaned away, that these incredible range

0:34:260:34:30

of colours emerge, and how they stand out against the white marble.

0:34:300:34:33

They may not be big on health and safety,

0:34:360:34:38

but it's shown me how incredibly painstaking this work is

0:34:380:34:42

as they chisel away at these intricate forms and then inlay them

0:34:420:34:45

with precious stones - and how many thousands of man-hours

0:34:450:34:49

it must have taken to create these fantasy buildings

0:34:490:34:52

of white marble for Shah Jahan.

0:34:520:34:54

I first came here when I was about eight years old

0:35:030:35:06

and remember how amazed I was then at the sheer amount

0:35:060:35:09

of white marble, a fairytale wedding cake of a palace.

0:35:090:35:13

And of course I already knew the story of how its builder,

0:35:160:35:19

Shah Jahan, the grandson of Akbar and Jodhabi,

0:35:190:35:22

had his own passionate love affair - a marriage which had its final

0:35:220:35:27

consummation in one of the most famous buildings in the world.

0:35:270:35:30

Like all Mughal rulers, Shah Jahan

0:35:330:35:35

was married to several women at once.

0:35:350:35:39

Yet the love of his life was unquestionably Mumtaz Mahal,

0:35:390:35:42

here portrayed with the spring flowers

0:35:420:35:44

and cherry blossom of Kashmir that Shah Jahan loved so well.

0:35:440:35:48

Sadly in 1631, she died giving birth to their 14th child.

0:35:490:35:54

And Shah Jahan was so distraught his beard turned white overnight

0:35:540:35:59

and he kept the court in mourning for over two years.

0:35:590:36:03

He also vowed to build her the greatest monument to love

0:36:040:36:07

the world has ever seen.

0:36:070:36:08

Anywhere else, this incredible gateway would be a destination

0:36:320:36:36

in its own right, but here it serves as a magnificent reveal.

0:36:360:36:40

Every time I come here, it absolutely takes my breath away.

0:37:180:37:22

Rising like a mirage out of the early morning sunshine.

0:37:220:37:26

The Taj Mahal was built by the finest artisans

0:37:300:37:33

from across the Islamic world, stonecutters from Baluchistan,

0:37:330:37:38

architects from the Ottoman Empire and calligraphers from Persia.

0:37:380:37:42

Native Indian craftsmen also brought their own cultural influences

0:37:420:37:46

to bear on the design and detail

0:37:460:37:48

and in so doing honoured the Hindus of India as well as the Muslims.

0:37:480:37:53

A British poet, Sir Edwin Arnold, described it as,

0:37:550:37:58

"not a piece of architecture, as other buildings are,

0:37:580:38:00

"but the proud passion of an emperor's love

0:38:000:38:03

"wrought in living stone,"

0:38:030:38:05

and it is still largely thought of as a monument to love.

0:38:050:38:09

Whenever I come to this place, I feel love.

0:38:110:38:14

So if I sit somewhere by myself, I just,

0:38:140:38:16

I can't express my feeling for the Taj Mahal.

0:38:160:38:19

The Taj, it symbolises only affection and love.

0:38:190:38:23

So that is the main motto of our life, so the Taj symbolises that.

0:38:250:38:31

I mean, India is generally known for the Taj.

0:38:310:38:34

People from outside come, so we thought we must.

0:38:340:38:36

My first visit was invited by Mrs Gandhi. Indira Gandhi, yeah, 1979.

0:38:360:38:43

This was the building of love.

0:38:430:38:45

A husband built this beautiful building for his beloved wife.

0:38:450:38:48

So we can all live in hope.

0:38:480:38:50

Exactly!

0:38:500:38:51

It's known as one of the seven wonders of the world

0:38:510:38:54

and is the only reason I've come and, yes, we are very close to it

0:38:540:38:56

so we should have seen one of them.

0:38:560:38:59

As Indians, what do you feel it represents

0:38:590:39:01

and symbolises for you as Indians?

0:39:010:39:04

I guess it symbolises love.

0:39:040:39:06

But in thinking of the Taj Mahal as mainly a monument to love,

0:39:070:39:11

have we completely misunderstood what the Mughals were trying to do?

0:39:110:39:15

-Giles! Hi.

-Hi, Sona. I hope you've had your photograph taken,

0:39:160:39:19

there are certain important rituals in this place.

0:39:190:39:22

Absolutely, as you can see.

0:39:220:39:24

So there are a number of mythologies that one grows up with.

0:39:250:39:29

When I first came here when I was eight, I was told by a guide

0:39:290:39:34

that the architect's hands were cut off so that he couldn't

0:39:340:39:37

reproduce a monument such as this again, and I grew up believing that.

0:39:370:39:42

I think of all the myths about the Taj

0:39:420:39:44

that is perhaps the most objectionable.

0:39:440:39:46

I mean, one can't debunk all of them, people will have their myths.

0:39:460:39:49

But that one does seem particularly inappropriate.

0:39:490:39:52

In fact, the architect was busy,

0:39:520:39:53

by the time the building was completed,

0:39:530:39:55

was busy designing the Red Fort in Delhi,

0:39:550:39:58

so he didn't do another Taj but he did another great Mughal masterpiece.

0:39:580:40:02

I think it's impossible for us today

0:40:020:40:04

to approach the monument from any perspective other than

0:40:040:40:08

that of the legend or famous love story between Shah Jahan and Mumtaz.

0:40:080:40:13

We're all told so emphatically that it's a symbol of love

0:40:130:40:17

that it's impossible to see it in any other light.

0:40:170:40:20

But there's a sense in which I think we have to try

0:40:200:40:22

to get beyond that, to see it more as the Mughals saw it,

0:40:220:40:25

not as a symbol of love but as a symbol of Paradise.

0:40:250:40:29

-Recreated on earth.

-Sort of thing, yes.

0:40:290:40:31

I mean, the tomb itself is actually the mansion of the departed soul

0:40:310:40:33

-in Paradise.

-Right.

0:40:330:40:35

And that Paradise imagery extends not just to the building,

0:40:350:40:39

but to the whole of the garden, the layout of the garden.

0:40:390:40:42

So, have the gardens changed since Mughal times?

0:40:420:40:45

Oh, I think very considerably, yes.

0:40:450:40:47

A lot of the mature planting that we see now

0:40:470:40:50

is of much more recent times.

0:40:500:40:52

From contemporary accounts, it's clear that the garden

0:40:520:40:55

originally was mostly occupied by flowering trees and by fruit trees.

0:40:550:40:59

-Ah.

-And indeed the produce was marketed.

0:40:590:41:02

It was collected and sold in the market

0:41:020:41:04

in order to raise money to pay the salaries of the tomb attendants.

0:41:040:41:07

So really quite pragmatic and sensible.

0:41:070:41:10

Yes, you had, as it were, a form of market gardening, if you will.

0:41:100:41:13

Tourists often make the mistake of thinking that

0:41:190:41:21

the gardens around the Taj are just a municipal park

0:41:210:41:24

to frame the jewel at their centre.

0:41:240:41:27

But Shah Jahan, like all his ancestors,

0:41:280:41:30

thought of the Mughals as children of the high mountain valleys,

0:41:300:41:34

of his beloved Kashmir which he visited every year,

0:41:340:41:37

and these gardens were

0:41:370:41:39

an attempt to recreate such a paradise on earth

0:41:390:41:42

for the tomb of his wife.

0:41:420:41:43

The Taj Mahal is often said to be one of the greatest monuments

0:42:030:42:07

to love.

0:42:070:42:08

And it is without doubt one of the greatest achievements

0:42:080:42:12

of Mughal architecture.

0:42:120:42:13

But while it signals the climax of the Mughal Empire,

0:42:160:42:19

in some ways it was also the start of its decline and fall.

0:42:190:42:23

You only have to travel a short distance from the Taj

0:42:300:42:33

to find yourself in another world,

0:42:330:42:35

with ruined Mughal buildings abandoned in the countryside.

0:42:350:42:38

These are the old palaces and gardens of Mughal nobles.

0:42:400:42:43

Stretching for miles up the river bank, they are not

0:42:530:42:56

protected by the Indian government and are simply rotting away.

0:42:560:43:00

BUZZING

0:43:030:43:04

This eerie, dilapidated building, which today seems only to be

0:43:040:43:09

home to a swarm of bees, was once the home of Mumtaz's eunuch,

0:43:090:43:14

and has this magnificent view of the Taj just across the water there.

0:43:140:43:18

And there's actually some graffiti here on the wall, which says,

0:43:190:43:23

"Hindu-musalman ekta jindabad" - "Hail to Hindu-Muslim Unity."

0:43:230:43:30

Quite appropriate for an old Mughal monument.

0:43:300:43:32

The Taj Mahal is the height of Mughal achievement,

0:43:340:43:37

the crowning glory of a great, if controversial, empire.

0:43:370:43:41

But the Taj also marked the beginning of a terrible end.

0:43:420:43:46

Shah Jahan and Mumtaz had many sons.

0:43:480:43:50

However, unlike in Europe,

0:43:520:43:55

the eldest son wasn't necessarily the heir and if the strongest son

0:43:550:44:00

could seize power he too could rule legitimately as any of his brothers.

0:44:000:44:05

Shah Jahan named his eldest son, Dara Shikoh, as his heir.

0:44:110:44:15

There were high hopes for him.

0:44:150:44:18

Like his great ancestor, Akbar,

0:44:180:44:19

Dara Shikoh was a progressive, tolerant and intellectual man,

0:44:190:44:23

with interests in all the world's religions.

0:44:230:44:26

Dara Shikoh, as you can see, is a pretty dressy kind of guy.

0:44:270:44:30

He's got a little string of pearls across his face.

0:44:300:44:32

-Yes.

-He's dressed up in the finest Mughal kit.

0:44:320:44:36

All his jama and he's on horseback.

0:44:360:44:39

He's absolutely dripping in jewels.

0:44:390:44:41

-Yes.

-And the contrast between this man settled at court, getting on

0:44:410:44:45

with his dad, living a family life, revelling in everything the capital

0:44:450:44:50

had to offer, is in stark contrast to Aurangzeb, the younger brother.

0:44:500:44:55

Aurangzeb is hated by his father and this sort of twists him.

0:44:550:44:58

-Er, he becomes this very... a child who is rejected.

-Right.

0:44:580:45:03

Becomes crabbed in some way,

0:45:030:45:05

and Aurangzeb is determined to destroy the existing rulers.

0:45:050:45:12

-Mm.

-His father and his obvious heir, Dara.

-Mm.

0:45:120:45:16

And Aurangzeb has the advantage, of course,

0:45:160:45:19

because he's been in the field.

0:45:190:45:21

He's been a general, he's a puritan, he is ruthless, he's Machiavellian.

0:45:210:45:25

The whole thing is very like in King Lear,

0:45:250:45:28

where you have the two sons, Edgar and Edmund.

0:45:280:45:30

-And Edgar's the beloved son of Gloucester.

-Sure.

0:45:300:45:32

-And grows up weak and hopeless.

-Yeah.

0:45:320:45:34

While Edmund is the illegitimate one,

0:45:340:45:36

who is never given any love, but is ruthless.

0:45:360:45:38

But has to fight for his position, yeah.

0:45:380:45:40

And there's a great Shakespearean quality, I think,

0:45:400:45:43

in the way that these two sons battle it out.

0:45:430:45:45

Dara, for all that he represents,

0:45:450:45:47

he represents everything that we find most attractive in the Mughals.

0:45:470:45:50

Not only does he have exquisite taste,

0:45:500:45:52

does he commission beautiful art, is he responsible

0:45:520:45:55

for extraordinary architecture, he also has this wonderfully

0:45:550:45:58

tolerant attitude he inherits from the tradition of Akbar.

0:45:580:46:02

And Aurangzeb is this tough guy who's had to make his own way,

0:46:020:46:06

who's been ignored by the court, ignored by his father and...

0:46:060:46:09

-Who's frankly fed up.

-He's frankly fed up.

0:46:090:46:11

And the more that his father and his brother indulge in jewels

0:46:110:46:14

and manuscript illumination, the more he rejects that whole world.

0:46:140:46:17

And yet, when it comes to the final battle, when Aurangzeb advances from

0:46:170:46:20

the Deccan with his battle-hardened troops, although they are

0:46:200:46:23

a fraction of the size of the Imperial Army,

0:46:230:46:25

which Dara Shikoh leads into battle,

0:46:250:46:27

the spoilt, silly young prince doesn't know how to fight a battle,

0:46:270:46:31

and Aurangzeb, with his small crack force, makes mincemeat of them.

0:46:310:46:34

Aurangzeb's war of succession was short and brutal.

0:46:420:46:46

He took his father and brother prisoner,

0:46:460:46:49

killing most of their generals and men.

0:46:490:46:52

He then began planning his coronation, to be held here,

0:46:520:46:55

in Delhi.

0:46:550:46:56

Dara Shikoh was brought back to Delhi

0:46:590:47:01

and paraded through the streets in rags and chains.

0:47:010:47:05

He was sat mockingly on top of an old, broken-down elephant.

0:47:050:47:09

Francois Bernier,

0:47:090:47:11

who worked as a doctor at the court of Shah Jahan, witnessed the event.

0:47:110:47:15

"I could not divest myself of the idea

0:47:210:47:23

"that some dreadful execution was about to take place.

0:47:230:47:27

"The crowd assembled upon this disgraceful occasion was immense,

0:47:270:47:30

"and everywhere I observed the people weeping,

0:47:300:47:34

"and lamenting the fate of Dara in the most touching language.

0:47:340:47:39

"For the Indian people have a very tender heart.

0:47:390:47:42

"Men, women and children wailing as if some mighty calamity

0:47:420:47:45

"had happened to themselves."

0:47:450:47:48

Aurangzeb was shocked that the people had wept for Dara,

0:47:530:47:57

and decided that his brother must be put to death.

0:47:570:48:00

On the 30th August 1659, he was attacked by four assassins

0:48:010:48:06

who held him down and hacked off his head.

0:48:060:48:09

Dara's head was brought to Aurangzeb, who had to

0:48:090:48:12

wash the blood away in order to recognise his brother's features.

0:48:120:48:16

Then he wept and exclaimed, "Let this shocking sight

0:48:160:48:21

no longer offend my eyes, but take away this head

0:48:210:48:24

"and let it be buried in Humayun's Tomb."

0:48:240:48:27

So Dara Shikoh was buried here, in an unmarked grave

0:48:380:48:41

amongst his ancestors,

0:48:410:48:43

and with him was buried the liberal era of Mughal rule.

0:48:430:48:47

At the end of his life, Shah Jahan was imprisoned

0:48:590:49:01

here at the Red Fort by his own son, Aurangzeb,

0:49:010:49:04

and you can imagine how he would have felt looking out at the Taj.

0:49:040:49:10

The very monument he built to his beloved Mumtaz,

0:49:100:49:13

that was later described as a teardrop on the cheek of time.

0:49:130:49:17

Aurangzeb changed the face of Mughal rule in India.

0:49:330:49:37

With fire and sword, he conquered even more territory

0:49:370:49:40

for the Mughal Empire, which had nearly doubled in size by the 1700s.

0:49:400:49:44

The generous treatment of non-Muslims,

0:49:470:49:49

which had begun under Akbar, came to an end.

0:49:490:49:53

It is said that Aurangzeb forced Hindus to convert to Islam,

0:49:530:49:56

and demolished some Hindu temples.

0:49:560:49:59

To symbolise the importance and dominance of Islam, Aurangzeb

0:50:000:50:04

built the huge Badshahi mosque in Lahore, positioned opposite

0:50:040:50:08

the fort to emphasise the unity of Islam and power.

0:50:080:50:11

Here in Delhi, too, Islamic prayer was now a very public

0:50:150:50:19

and political statement of faith.

0:50:190:50:21

But even though Aurangzeb now forbade the use of music

0:50:220:50:25

and discouraged the arts at his court,

0:50:250:50:28

the Mughal influence continued to live on elsewhere in India.

0:50:280:50:31

We've been given privileged access to this exquisite and rare

0:50:330:50:39

18th-century manuscript from Bikaner...

0:50:390:50:42

..where all the script is in Sanskrit.

0:50:440:50:47

It's been handwritten and it's got this beautiful illustration.

0:50:470:50:53

So, it's a real treasure to be able to view this at such close quarters.

0:50:530:50:58

Aurangzeb, as a more traditional Muslim,

0:50:590:51:03

did not patronise the arts in the way that his ancestors had done,

0:51:030:51:07

and the court atelier dispersed.

0:51:070:51:10

And artists moved away from the royal court

0:51:100:51:14

to the regional Hindu and Deccani courts, where they began practising,

0:51:140:51:20

but bringing the skills they had learnt in the Mughal courts

0:51:200:51:25

to the regions, such as at Bikaner,

0:51:250:51:26

which is where this manuscript is from.

0:51:260:51:29

And I've just found a snakeskin inside,

0:51:290:51:31

which is a traditional conservation technique

0:51:310:51:33

for deterring termites from eating one's paintings.

0:51:330:51:38

And what's wonderful about this manuscript is that you really

0:51:380:51:43

see the coming together, the joining of the great,

0:51:430:51:46

two great Indian traditions of Hindu and Mughal art.

0:51:460:51:51

Such as Shiva here, sitting on top of Mount Kailash.

0:51:510:51:55

And the mountains are painted in exactly

0:51:550:51:57

the tradition of Mughal painting.

0:51:570:51:59

And this painting in particular,

0:52:060:52:08

you have a very naturalistic landscape which would sit very

0:52:080:52:12

comfortably in a Mughal painting as much as it would in a Gainsborough,

0:52:120:52:17

with this elegant marble pavilion on the left-hand side.

0:52:170:52:21

Painted in full perspective,

0:52:210:52:24

and then two Shaiva yogis sitting, one of them

0:52:240:52:27

with a halo around his head, which again comes from European painting.

0:52:270:52:33

And they're holding audience with one of the princes of Bikaner,

0:52:330:52:36

who has arrived, dressed very simply apart from the crown upon his head.

0:52:360:52:41

It's a great sadness that artistic endeavours like these would not

0:52:440:52:47

have survived at Aurangzeb's court under his new austerity regime.

0:52:470:52:51

Music, painting and poetry held no interest for the Emperor.

0:52:530:52:57

Instead, he was a man whose fervent wish was to leave the legacy

0:52:570:53:01

of a well-ordered Islamic state.

0:53:010:53:03

Yet his heavy-handed rule led to resentment

0:53:050:53:08

and ultimately rebellion, and unlike his forbears it was a regime

0:53:080:53:13

that had no room for consensus.

0:53:130:53:15

After almost 50 years on the throne, he died, and the Mughal Empire

0:53:160:53:20

weakened, leaving the way clear for India's new conquerors, the British.

0:53:200:53:26

During the British empire, a far more short-lived one than

0:53:300:53:32

the Mughals, the rulers of the Raj tried to emulate

0:53:320:53:35

the grandeur of Mughal ambition.

0:53:350:53:37

However, the British, unlike the Muslims, never became Indian.

0:53:370:53:42

They capitalised on existing tensions between Hindus and Muslims,

0:53:420:53:47

befriending some communities, and fighting others.

0:53:470:53:50

This imperial strategy worked for a while, but by dividing

0:53:500:53:55

and ruling, by pursuing a strategy so different from Akbar's,

0:53:550:53:59

the British essentially created division in India and applied

0:53:590:54:04

so much pressure that eventually the country was ripped in two.

0:54:040:54:08

The prologue to agitation for Indian independence

0:54:160:54:18

caused great tensions between Hindus and Muslims

0:54:180:54:22

which resulted in communal riots across India.

0:54:220:54:26

By the time of Indian independence in 1947, the liberation

0:54:260:54:31

from British rule was short-lived, as India was brutally split.

0:54:310:54:35

And millions of lives were lost, brutalised, families were severed

0:54:370:54:42

as Hindus rushed over the border into India

0:54:420:54:47

and many Indian Muslims

0:54:470:54:49

moved north into what was to become the Islamic Republic of Pakistan.

0:54:490:54:53

And the tragedy today, is that there hasn't been any public,

0:54:540:55:00

national acknowledgement, on either side of the border,

0:55:000:55:03

of the great loss that happened at Partition.

0:55:030:55:08

Families were torn apart.

0:55:120:55:14

In my own family,

0:55:140:55:16

on the one hand people had to give up their lands overnight

0:55:160:55:22

and rush across the border into what's now West Bengal and Kolkata.

0:55:220:55:26

And the people who were living in Kolkata had to give up

0:55:260:55:29

their lands overnight for the millions of refugees

0:55:290:55:32

who were coming over the border.

0:55:320:55:34

Which they did.

0:55:340:55:35

It's one of the reasons why today Indians don't really know

0:55:350:55:42

what's happening over the border in Pakistan, and vice versa.

0:55:420:55:46

And the real tragedy of that

0:55:460:55:48

is that they have an incredible shared history.

0:55:480:55:52

And you can't really understand one country

0:55:520:55:55

without looking at the other.

0:55:550:55:57

So I've left India and come back to Lahore in Pakistan,

0:56:020:56:05

where the Mughal Empire began, to talk to leading journalist

0:56:050:56:09

Ahmed Rashid about the lasting divide left by the Mughal emperors.

0:56:090:56:15

So, I was interested in what the imprint,

0:56:150:56:18

or historical memory of Akbar and Aurangzeb is in Lahore.

0:56:180:56:23

Well, it's very, very sharp.

0:56:250:56:26

I mean, if you read the school textbooks,

0:56:260:56:31

which were really rejigged by Zia-ul-Haq,

0:56:310:56:36

the military ruler of Pakistan in the '80s,

0:56:360:56:40

who was an Islamist, he was a great admirer of Aurangzeb

0:56:400:56:45

and he saw himself as a kind of Aurangzeb-type figure.

0:56:450:56:49

Remember, under him

0:56:490:56:51

Pakistan helped the Mujahideen in Afghanistan fight the Soviets.

0:56:510:56:55

And under him, we had this whole revival of the war in Kashmir,

0:56:550:56:59

and the use of extremists in Kashmir

0:56:590:57:02

and a great belief in Islamic fundamentalism

0:57:020:57:06

and going back to the precepts of law, and all the rest of it.

0:57:060:57:09

So, in fact, I mean, the real lesson of Akbar,

0:57:090:57:12

which we desperately need now, in Pakistan, the message of tolerance,

0:57:120:57:17

of, you know, accepting other religions, accepting minorities,

0:57:170:57:21

you know, letting them pray as they wish which was, of course,

0:57:210:57:24

also the message of Muhammad Ali Jinnah, the founder of Pakistan.

0:57:240:57:28

-Of course.

-In all his famous speeches he said, you know,

0:57:280:57:31

"Now you can go to your mosques and your temples and your churches

0:57:310:57:34

"and your synagogues, and you are free to pray as you like," you know.

0:57:340:57:39

All that is, unfortunately, forgotten.

0:57:390:57:41

And the originator of that was really Akbar.

0:57:410:57:44

For over 300 years, the Mughals united India, and then divided it.

0:57:480:57:53

They gave the country some of its greatest monuments,

0:57:530:57:57

but also cut some of its deepest scars.

0:57:570:58:00

They were often liberal and tolerant, but also laid

0:58:000:58:03

the foundation for a much stricter interpretation of Islam.

0:58:030:58:07

Even today, their legacy is extraordinarily controversial

0:58:070:58:10

as Mughal history has become the battleground for a new India,

0:58:100:58:14

as it struggles once again with its religious and cultural identity.

0:58:140:58:18

In the next episode, I will be travelling

0:58:250:58:27

even further down into India to explore the temples of Tamil Nadu

0:58:270:58:31

and the exuberant art of the Hindu heartland.

0:58:310:58:34

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