Persian Literature
The Mughals proved to be ardent patrons of Persian literature. Persian was adopted as the court language and its literary output covered a wide range of writings, both literary and historical. The Mughal monarchs recorded their own memoirs e.g., Tuzuk-i-Babari by Babur, Gul Badan Begum’s Humayunnama, Tuzuk-i-Jahangiri by Jahangir; Abul Fazl’s monumental work, Ain-i-Akbari and Akbarnama, and various writings of the nobility comprise precious gems of unaccountable value in the evaluation of the history of the period.
The emperors extended enthusiastic patronage to the historical writers and translation important Sanskrit literature. Akbar, for the first time, regularised a translation department that was entrusted with the task of translating select Sanskrit, Arabic and even European treatises into Persian. Translation of different sections of the Mahabharata into Persian by many scholars under the title of Razm Namah, the Ramayana by Badauni, Atharva Veda by Sarhindi, Lilawati (a work on mathematics) by Faizi and Rajatarangini by Shahabadi was important.
Translation of some Greek and Arabic works also into Persian was also undertaken. Of the most outstanding works on historiography, Ain-i-Akbari and Akbarnama of Abul Fazl and Badauni’s Muntakhab-ul-Twarikh, have important pieces of information on Akbar’s reign. On Jahangir’s reign, Iqbalnama and Tarikh-i-Ferishta stand out as important contemporary writings, while Padshahnama by Abdul Hamid Lahori comprises the chief work of Shahjahan’s reign. Of Aurangazeb’s rule, Khafi Khan’s Muntakhab-ul-Lubab and Ishwar Das’s Fatuhat-i-Alamgiri are documents of priceless historical value.
The Mughal royal patronage was equally extended to the growth of Persian poetry. While Humayun himself was fond of composing verses, unprecedented growth was achieved under Akbar whose chief poets were Faizi, Ghizali and Urfi. Abul Fazl has mentioned fifty-nine poets in Akbar’s court. Zeb-un-Nisa (Aurangazeb’s daughter) proved to be an eminent poetess. The subjects covered by the poets, unfortunately, hovered around mainly eulogizing the monarch’s personality and ability.
The period also witnessed remarkable growth in vernacular literature. Akbar, in his zeal to impart a unity of polity to the diversity of culture, became the zealous patron of Hindu literature which attained fresh glories. Writings in Brij Bhasha and Avadhi, though mainly religious in nature, provide an equally elaborate commentary on the social and political ideals to be attained by any society. Of the Ram cult, Tulsidas’s Ramcharita Manas is its immortal replica.
Of the Krishna cult writers, Surdas and his verses compiled in Sursagar’ emerged as yet another outstanding immortal literary feat of Bhakti cult. Of the poets attached to the Mughal court, namely Birbal who has conferred the title of Kavi Raja’, Sundar Das, Chintamani and Abdur Rahim Khan-i-Khanan, outshone others. Of Rahim’s many works, Rahim Satsai’ till now is an essential part of the school text.
The Mughal royalty’s passion for learning extended to fine calligraphy too. Abul Fazl has mentioned eight styles of artistic writing and mentioned that eminent calligraphists were employed to execute books of the Imperial library. Their work included fine portraits, artistic borders on each page and extremely elegant binding.
The Mughal royalty’s passion for learning extended to fine calligraphy too. Abul Fazl has mentioned eight styles of artistic writing and mentioned that eminent calligraphists were employed to execute books of the Imperial library. Their work included fine portraits, artistic borders on each page and extremely elegant binding.
Music During Mughals
The music comprised an essential feature of the Mughal culture. Babur and Humayun were fond of music and devoted their leisure hours to the musicians. As for Akbar, musicians from far and wide and from all races were patronised. They were arranged in seven groups, one for each day of the week.
The Emperor himself possessed sufficient technical knowledge, played the Nagarrah (drum) and is said to have composed tunes himself. Mian Tansen, hailing from Gwalior, was appointed his poet laureate and is described as the “foremost singer of his age.” Besides Akbar, his courtiers Faizi, Abdur Rahim, Man Singh and Bhagwandas too were great patrons of music. In music too, the blending of Persian and Hindu ideas led to the development of Hindustani music.
Many Sanskrit works were translated into Persian. Shahjahan proved to be a great patron of fine arts. Himself an author of many Hindi songs, he patronised both vocal and instrumental music. Of his leading court musicians, Jagannath and Janardan Bhatta proved foremost. Aurangazeb, on the other hand, while possessing adequate knowledge of the subject, discouraged its use in the court. However, he did patronise instrumental music, and a famous treatise on music was found written in his reign. He is said to play the veena.