Akbar - A Multi-faceted Man, A Multi-talented Emperor - Updated 21 May

Dear frnds as promised making my weekend post on Akbar.

Akbar and Scientific Concepts

The section entitled A'in-i Paida'ish-i Filizzat ('Description of Genesis of Metals') contains the Aristotelian theory of four elements of all matter and natural phenomena.

Akbar's own interest in technology enabled him to 'invent' an alloy made up of two parts white bronze and one part copper, which was 'beautiful and lustrous' (A'in-I Akbari).

Although it was a part of the usual sycophancy to credit new inventions to the emperor, in this case one could believe Abu'l Fazl, for Akbar's work in the workshop has been remarked upon by contemporary Jesuit writers as well (See Monserrate, Commentary on his Journey to the Court of Akbar, tr. J.S. Hoyland and S.N. Banerjee, Cuttack, 1922, p.201; and Du Jarric's account in Akbar and the Jesuits, tr. C.H. Payne, London, 1926).

On Sounds

Akbar enjoyed discussions on science, and interesting accounts of discussions on the movement of sound and on colours are available in the A'in, though they are more in the form of digressions than direct or consistent description. Thus, sound is dealt with in a chapter on calligraphy, the linkage being established when Abu'l Fazl takes about the letters of the alphabet and then how they sound. It is here that he draws upon the theories propounded by the secret brotherhood of rationalists, the Ikhwan u's safa and Ibn Sina, when he says, 'sound is produced by the striking together or the breaking of any hard substance. In both cases the air lying in between is set into wave-like motion and thus the state known as sound, is produced' (A'in., I, p.127. Ibn Sina, Risala al Mausiqi, Hyderabad, A.H.1353, p.10, and Rasa'il Ikhwan u's Safa, Bombay, 1886, I, p.1188).

Here, we have atoms and wave-theory on the propagation of sound, both in very clear, unambiguous terms. A'in has more information on the modifying influences on sound follows, which can be read by anyone who is interested.

It is to Akbar that due credit be given for patronizing and promoting men like Abu'l Fazl and Fat'hullah Shirazi, men who could help him introduce more scientific syllabi in the schools and more effective techniques in technology, and to initiate discussions on scientific theories (M.A. Alvi and A. Rahman, Shah Fat'hullah Shirazi, a 16th Century Indian Scientist, New Delhi, 1976).

Nonetheless, the socio-economic and ideological stimulants that this was producing were not apparently provocative enough to bring about a paradigm change in the structure of Indian science. Hence Abu'l Fazl's lament in the A'in that exchanges between scientists of various religious persuasions were not taking place because of 'the blowing of the chill blast of inflexible custom (taqlid) and the low flicker of the lamp of wisdom.'

Akbar and Technology - (This is one of the most interesting and extensive part and hence will be splitting this into 3 posts)

Akbar had a natural inclination towards industrial crafts; and this was undoubtedly a source of his concern with technological innovation, which is presented under various heads -

'Prefab' and Movable Structures

An early testimony to Akbar's interest in technology comes from 'Arif Qandahari. Writing in 1579, he says:

His high and majestic nature is such that when he journeys, the tents of His Majesty's encampment are loaded on five hundred camels. There are eighteen houses, which have been made of boards of wood, each including an upper chamber and balcony that are set up in a suitable and attractive place. At the time of departure, each board is dismantled, and, at the time of encamping, the boards are joined together by iron rings. The insides of these houses are clothed with covers of European brocade and European velvet, and the outside thereof is covered with broadcloth. ('Arif Qandahari, Tarikh-i Akbari, ed. Muinuddin Nadvi, Azhar Ali Dihlawi and Imtiyaz Ali Arshi, Rampur, 1962, p.43.)

The supplementing of tents by wooden boards to create prefabricated and movable structures was an interesting innovation, which, though described later in some detail by Abu'l Fazl in the A'in-i Akbari, appears to have escaped general attention, especially since Blochmann's translation does not bring out the fact that the structures were essentially of wood, not of cloth or canvas.

The A'in describes these structures as elaborate ones and further describes all the various parts. A wood-and-bamboo palace, like the 'wooden rawati' and a double-storeyed structure, like the Do-ashyana, could be set up and dismantled at each stage of journey. Blochmann's translation suggests that 'bolts and nuts' were put into use to attach the several parts (A'in-i Akbari)

This, if correct, would be testimony to an early use of screw as an attachment, though even in Europe, the screw did not come into use in carpentry before the sixteenth century. Though the words, dhan jama, iron-cover, are, however, decisive in excluding the screw. Obviously, what we are told of are short iron-tubes that clothed the ends of masts and beams, with protrusions ('male') designed to fit into hollows ('female') of corresponding tubes fitted to other masts and beams, and vice-versa.

Textiles

'Arif Qandahari is also the earliest source for Akbar's interest in textile technology. He says:

His Majesty has such an eye for the finer things that he has introduced silken clothes, brocade, tapestry and carpets of silk and brocade in India, and instructed highly skilled masters in that art, so that the work in India is now much better than the work of Persia and Europe. He has so well practised the making of designs (tarrahi) that if Mani [the great artist] was alive, he would bite his fingers in astonishment at such design-making and dyeing (Tarikh-i Akbari, p.45)

This passage is important in showing that Abu'l Fazl did not invent Akbar's reputation for innovativeness in the realm of textile craft, and that this was widely recognized much before he began to write the A'in-i Akbari. In a short while, the sagacious emperor obtained familiarity with all theoretical and practical aspects of that art, and, from his patronage, skilled masters of ready understanding belonging to this country also learnt it (A'in-i Akbari).

The context makes it clear that here what was involved was the diffusion, under Akbar's patronage, of the pattern-weaves of Iran, China and Europe. Though experts could only have come from Iran, the use of the draw-loom was common to the weaving techniques in all three regions. It is tantalizing not to be certain whether Abu'l Fazl is speaking of the introduction of this technique; but it is not unlikely.

Printing-block designs would be connected closely with the application of colours, and Akbar's expertise in both is indeed praised by 'Arif Qandahari. Abu'l Fazl tells us of Akbar's experiments with the dyeing of shawl-wool. Until now tus-wool had been used un-dyed, but Akbar set himself to dye it and found that it would not take red colour. Further, [the white alcha also called tarhdar, has natural colours. Its wool is either white or black in colour. It is woven in three ways: (all) white, (all) black or mixed. The first (white) in old times could take no more than three or four colours. But His Majesty has made it many-hued (gunagun) [i.e. suceeded in applying many colours to it]' (A'in-i Akbari,).

Clearly, then, there was much effort made and experimentation undertaken by Akbar to see what dye the wool would take.

Akbar and Technology - (Part - 3)

Akbar as a Patron of Music

Akbar's patronage of music and his relationship with Tansen, foremost musician of his court, is testified to in numerous written and iconographic sources, as well as the oral tradition.

1. Akbar as a Musician and a Keen Listener

From the Indo-Persian sources we can get details of different aspects of Akbar's relationship with music: as a music-composer, a musician and a keen listener, but also as a patron of theoreticians of music and musicians, with the remarkable example of Tansen, the premier musician in his court (1562-89).

a) Akbar's predisposition to Music: Among various horoscopes of Akbar cast from the Greek and Indian astrological systems, four are presented by Abu'l Fazl in the Akbarnama. All allegedly reveal exceptional qualities in all fields. According to the Indian court-astrologer Jotik Rai, who cast Akbar's horoscope probably many years after his birth states, 'he will be acute and discriminating in musical notes, in subtle harmonies and in the secrets of melody.'

b) Akbar as a Musician and a Composer of Tunes: Mentions can be found - especially in Abu'l Fazl's writings - of Akbar being himself a musician. He avers: 'His Majesty has such a knowledge of the science of music [ilm-i musiqi] as trained musicians [sahiban-i in fan] do not possess; and he is likewise an excellent hand in performing especially on the naqara.' The playing of old Khwarizmian tunes is part of the Naqara-Khana performance: 'Of these his Majesty has composed more than two hundred, which are the delight of young and old, especially the tunes Jalalshahi, Mahamir karkat and the Nawrozi.

c) Jahangir, in his Jahangirnama, also writes about Akbar's knowledge and passion for music - he writes that Akbar played the naqqara' exquisitely, his fondness for Iranian music and that he had also made a study of the Hindu system of music with the assistance of Lal Kalawant, who taught him every breathing and sound that appertains to the Hindu language'.

d) Akbar, a Knowledgeable Listener of Music: Abu'l Fazl epitomizes Akbar's knowledge of music. Elsewhere, introducing the account of the circumstances leading to Tansen's arrival at Akbar's court, he indicates that music from Persia and India was one of the sciences known to Akbar, in its theoretical and practical aspects.

Another source on Akbar's interest in music is provided by the account given by Asad Beg Qazwini of his first trip to Bijapur, in 1603-4, recorded in the Waqa'i '-i Asad Beg (1602-5). During the farewell party for the Mughal envoy, Ibrahim 'Adil Shah II, the Sultan of Bijapur (r. 1580-1627), inquired about Akbar's interest in music and whether Tansen sang standing or sitting in the imperial presence. Asad Beg replied that the emperor did sometimes listen to music and that if he stood, the singers would stand, but if he sat, the musicians would be allowed to sit, especially in great festivals and concerts, and when the emperor was busy conversing with his courtiers or entertaining them with banquets.

Akbar's curiosity extended not only to Persian and Indian music, but also to European music, which is attested by Bada'uni, who says that Akbar expressed curiosity about a European musical instrument, an organ (orghanum) displayed in Fatehpur Sikri, in 1581.

2. Akbar as a Patron of Theoreticians of Music

Abul Fazl's exposition of Indian music, in its classical as well as folk aspects, reveals the didactic spirit of its author, and hence probably the orientation of his patron, Akbar. A mention here of two texts on Persian music dedicated to Akbar, indicating that their authors were aware of Akbar's interest in music theory.

The Kashf al-autar by Qasim, b. Dost-'Ali al-Bukhari (Source: C.A. Storey) is 'a short treatise dedicated to Akbar... on the divisions of the strings in musical instruments.

The Tuhfat al-adwar by 'Inayat Allah, b. Mir Hajj al-Harawi, is 'a short tract, partly in prose and partly in verse, dedicated to Akbar...' in order to facilitate the study of music (Source: C.A. Storey).

3. Akbar as a Patron of Musicians. The Case of Tansen

'His Majesty pays much attention to music, and is the patron of all who practise this enchanting art...' (Ai'n-I Akbari)

The Indo-Persian sources also shed light on Akbar as a patron of musicians.

Akbar was interested both in music from Iran, Khurasan and Central Asia, and in music from India. The first type of music tended to be largely instrumental in character, while the latter was for the most part vocal, with a number of singers coming from the region of Gwalior, and more generally the Madhyadesh, also known as Sudesh, a remarkable artistic and literary region still remembered by later Indo-Persian writers such as Saif Khan Faqirullah'(1666).

Tansen's Arrival at the Mughal Court: First in the list of imperial musicians given by Abu'l Fazl, and the most famous recipient of Akbar's patronage, was 'Miyan Tansen Gwalyari: his equal has not appeared in a thousand years'.

In the book - Ma 'asir al-Umara (1780), the author, Shah Nawaz Khan, depicts the arrival of Tansen at Akbar's court in a way rather close to Abu'l Fazl. He precisely states the amount of money given by Akbar to Tansen: 'When Tansen arrived, the Emperor on the first day presented him two krors of dams, equal to two lacs of current rupees, and became enamoured of his performances. His compositions [tasanif], many of which bear Emperor Akbar's name, are current even today." The final remark is corroborated by the fact that many song-texts with the 'signature' (chap) of Tansen addressed to Akbar are found in late-seventeenth-century court-musicians' repertoires. (Samsam al-Daula Shah Nawaz Khan, Ma'dsir al-Umara).

Tansen was not merely a musician. He was also a poet-composer (Vaggeyakara) whose lyrics were largely produced in madhyadesiya bhasa, later known as Braj Bhasa (Tansen as a poet see also Suniti Kumar Chatterji, 'Tansen as a Poet', Acharya Sri P.C. Ray Commemoration Volume, Calcutta, 1932. pp.45-65; see also F. Delvoye, 'The Thematic Range of Dhrupad Songs attributed to Tansen, Foremost Court-Musician of the Mughal Emperor Akbar', Studies in South Asian Devotional Literature, Research Papers 1988-91).

The fact that Akbar patronized him and others like him suggests that the emperor was familiar with the vernacular languages in which the song-texts were composed, and could appreciate its imagery and aesthetic values, which were quite different from those of Persian poetry (F. Delvoye, 'Les chants dhrupad en langue braj des poetes-musiciens de l'lnde Moghole', Literatures medievales de l'Inde du Nord, contributions de Charlotte Vaudeville et de ses eleves, ed., F. Mallison, Paris, 1991, pp. 139-85).

4. The Indo-Persian Sources

The information collected from Indo-Persian texts documents both the Persian and Indian forms of music patronized at Akbar's court. Can we then call the court of Akbar a forum for experimentation in a composite musical style, which has survived in today's Hindustani music? Was there any 'Indo-Persian' musical practice by Persian and Indian musicians encouraged by Akbar, who manifested elsewhere his interest in cultural experimentation by patronizing synthesis and innovation in architecture and painting?

Akbar's patronage of great Persian poets is well known, and the protection he extended to poets composing in vernacular languages is also well attested. L'al Kalawant, being a singer, must have taught Akbar some poetical form of 'Hindi', or more precisely Braj, in which most of the lyrics sung in the vocal art-music of the period were composed. Akbar must have benefited from this linguistic and probably literary training, for understanding the poetry read out to him by his close court- poets such as Kavi Gang and ' Abdur Rahim Khan-i Khanan, and sung by his court vocalists, among whom Tansen was the most illustrious. The fact that Tansen was the favourite musician of Akbar and was known as a Dhrupad composer and performer implies the emperor's interest in that particular form of art-music.

In conclusion, in medieval Indian history the rulers who encouraged belles-lettres, architecture, painting and performing arts like music and dance, of both Indo-Persian and Indian inspiration, Akbar represents the archetype of the perfect patron, whose endless curiosity appealed to the imagination of artists from various walks of life. Among them, talented poet-composers responded in plentiful vernacular lyrics compiled in repertoires which are the extant artifacts of their prolific creativity, enduring in the memory of living musicians.

His entire family is talented

Splendid post. Loved reading it. Akbar was indeed a polymath. He had a very sharp mind and his case is illustrative in refuting the claim that you need formal education to gain knowledge and do well in life.

As far as inventions go, I believe he is credited with inventing a new kind of folding tent.

adi, great work! please do write more as people like me who do not have access to the sources would love to read more about this great personality! indeed impressive! what a multi talented personality!

Great to read all this. All these are new to me apart from what I have learnt from the movie and serial. Looking forward to reading the rest of your posts. 👏