A MARKET SCENE AT KAND-E-BADAM, WEIGHING AND TRANSPORT OF ALMONDS
Artist, Sur Das
Babur
describes Farghana, its principal towns, villages and rivers in Section I of
the Babur Nama. Andijan was its capital, and Khujand one of its ancient
towns. He thus describes Kand-e-Badam which was known for its almonds:
"Kand:e-Badam
(village of almonds) is a dependency of Khujand ; though it is not a township
(qasbii) it is rather a good approach to one (ciasbcacha). Its almonds are
excellent, hence its name; they all go to Hormuz or to Hindustan. It is five or
six yighach east of Khu-jand."
This
painting is by Sur Das. In the background is Kand-e-Badam. In between the domes
of mosques are date-palms, reminding us of an Indian town. On the left a man is
plucking almonds and in the centre almonds are being weighed and bagged. In the
foreground they are being loaded on camels and transported to their
destination. There is action and movement in this painting which vividly
depicts trade in almonds, and how they were brought to India from Central Asia.
BABUR MEETING KHANZADA BEGAM, MEHR BANU. BEGAM AND OTHER LADIES
Artist, Mansur
"Khanzada
Begam was in Mery when Shah Ismail (Safavi) defeated the Auzbegs near that town
(916 A.H. =1510 A.D.); for my sake he treated her well, giving her sufficient
escort to Qunduz where she rejoined me. We had been apart for some ten years;
when Muhammadi Kukultash and I went to see her, neither she nor those about her
knew us, although I spoke. They recognized us after a time."
This
painting is by Mansur, who distinguished himself in painting birds and animals.
Here he depicts the reunion of brother and sister at Qunduz in Afghanistan.
Seated close to Babur is his companion Kukultash. Seated in front of Babur is
Khanzada Begam attended by maid-servants. Outside the kanat are soldiers armed
with spears, bows and arrows guarding the tent. There is no display of emotions
as the sister did not recognize her brother.
BABUR IN CHAR-BAGH AT ANDI JAN
Babur's
father Urnar Shaikh Mirza died at the fort of Akhsi while tending his pigeons.
As Babur describes, "the fort of Akhsi is situated above a deep ravine,
along this ravine stand the palace buildings, and from it on Monday, Ramzan 4,
Umar Shaikh Mirzd flew, with his pigeons and their house, and became a
falcon."
"At
the time of Umar Shaikh Mirza's accident, I was in the Four Gardens
(Char-biigh) of Andijan. The news reached Andijan on Tuesday, Ramzan 5 (June
9th); I mounted at once, with my followers and retainers, intending to go into
the fort but, on our getting near the Mirza's Gate, Shirim Taghai took hold of
my bridle and moved off towards the Praying Place. It had crossed his mind that
if a great ruler like Si. Ahmad Mirza came in force, the Andijan Begs would
make me over to him and the country, but that if he took me to Auzkint and the
foothills thereabouts, I, at any rate, should not be made over and could go to
one of my mother's (half-) brothers, Sl. Mahmud Khan or Sl. Ahmad Khdn."
The
painting shows Babur mounted on a horse followed by his retainers going to
Akhsi. In the background is the fort of Andijan. The artist has depicted Babur
in a sorrowful mood. In the foreground are soldiers armed with muskets, and a
courtier on horse-back praying with his hands raised.
ACCLAMATION OF NINE STANDARDS
Artist, Jagnath
The
Mughals observed ceremonies and rules which were laid long ago by Chingiz Khan.
For each clan a place was fixed in battle-array. One of their ceremonies was acclamation
of nine standards which is thus described by Babur:
"The
standards were acclaimed in Mughal fashion. The Khan dismounted and nine
standards were set up in front of him. A Mughal tied a long strip of white
cloth to the thigh-bone of a cow and took the other end in his hand. Three
other long strips of white cloth were tied to the staves of three of the nine
standards, just below the yak-tails, and their other ends were brought for the
Khan to stand on one and for me and SI. Muh. Khanika to stand each one of the
two others. The Mughal who had hold of the strip of cloth fastened to the cow's
leg, then said something in Mughal while he looked at the standards and made
signs towards them. The Khan and those present sprinkled quiniz in the
direction of the standards; hautbois and drums were sounded towards them ; the
army flung the war-cry out three times towards them, mounted, cried it again
and rode at the gallop round them."
This
incident relates to 1502 A.D. and took place at Bish-lcint on the Khujand-Tashkent
road. Babur is standing on a strip of white cloth. In the foreground is an old
Mughal soldier holding a piece of cloth which he has tied to the leg of a cow.
In the background trumpets are being sounded and drums beaten.
KHUSRAU SHAH PAYING HOMAGE TO BABUR AT DOSHI NEAR KABUL
Khusrau
Shah, a Turkistani Qipchaq, was a noble of Mahrmad Mirth' who ruled the country
from Amu to the Hindukush mountains. Babur describes him as 'black-souled and
vicious, dunder-headed and senseless, disloyal, traitor, and a coward who had
not the pluck to stand up to a hen!' He met Babur at Dashi near Kabul. Babur
thus describes their meeting:
"Next
day, one in the middle of the First Rabi (end of August, 1504 A.D.), riding
light, I crossed the Andar-ãb water and took my seat under a large plane-tree
near Dashi, and thither came Khusrau Shah, in pomp and splendour, with a great
company of men. According to rule and custom, he dismounted some way off and
then made his approach. Three times he knelt. When we saw one another, three
times also on taking leave; he knelt once when asking after my welfare, once
again when he offered his tribute, and he did the same with Jahangir Mirza and
with Mirza Khan (Wais)."
Babur
is seated under a plane-tree and the person kneeling in front of him is Khusrau
Shah. In the foreground are his retainers including one holding a hawk. After
receiving homage from Khusrau Shah Babur marched to Kabul.
THE GARDEN OF FIDELITY NEAR KABUL (BAGH-I-WAFA)
Artist, Bhagwan
"The
garden lies high, has running-water close at hand, and a mild winter climate.
In the middle of it, a one-mill stream flows constantly past the little hill on
which are the four garden-plots. In the south-west part of it there is a
reservoir, 10 by 10, round which are orange-trees and a few pomegranates, the
whole encircled by a trefoil-meadow. This is the best part of the garden, a
most beautiful sight when the oranges take colour. Truly that garden is
admir-ably situated !"
On the
top of the painting is Koh-i-Safed, the snow-covered mountain, and a persian
wheel for lifting water. Below is the Char-bagh divided into four plots in
which oranges are growing. A plantain and two cypresses grow in one of the
plots. A keord plant is in the plot on the top right. In the reservoir in the
centre a pair of ducks are gambolling. A solitary gardener is digging the soil
in the plot to the left.
Maur
thus records a visit to Kigh-i-wafd in A.D. 1519. "We dismounted in the
Bligh-i-wafd; its oranges had yellowed beautifully; its spring-bloom was
well-advanced, and it was very charming."
BABUR SUPERVISING THE CONSTRUCTION OF A RESERVOIR ON THE SPRING OF `KHWAJA SIH YARAN', NEAR KABUL
Artist, Prem
Babur
describes the pleasant villages around Kabul and their gardens. He records
thirty three different varieties of tulips on the foothills of Dasht-i-Shaikh.
In the ranges of Pamghan were a number of villages which grew grapes. Of these
he admired Istalif as the best of the lot.
"Few
villages match Istalif", wrote Babur, "with vineyards and fine
orchards on both sides of its great torrent, with waters needing no ice, cold
and, mostly, pure. Of its Great garden Aulugh Beg Mirza had taken forcible
possession; I took it over, after paying its price to the owners. There is a
pleasant halting-place outside it, under great planes, green, shady and
beautiful. A one-mill stream, having trees on both banks, flows constantly
through the middle of the garden; formerly its course was zig-zag and
irregular; I had it made straight and orderly; so the place became very
beautiful.
"I
ordered that the spring should be enclosed in mortared stone-work, 10 by 10,
and that a symmetrical, right-angles platform should be built on each of its
sides, so as to overlook the whole field of Judas trees. In, the world over,
there is a place to match this when the arghwans are in full bloom, I do not
know it. The yellow arghwiin grows plentifully there also, the red and the
yellow flowering at the same time.
"In
order to bring water to a large round seat which I had built on the hillside
and planted round with willows, I had a channel dug across the slope from a
half-mill stream, constantly flowing in a valley to the south-west of Sih-ydran.
The date of cutting this channel was found in jui-khush (kindly-channel)."
In this
colourful painting Babur holding a hawk is standing near the reservoir, which
he got constructed. In the background is his tent. On the top of the painting the artist has painted a dancing peacock, tail spread out into a gorgeous fan,
admired by a pair of pea-hens. Surely it is a reminder of India, the home of
the painter. On the rocks are a pair of mountain goats. In the foreground a
grey-hound is drinking water from the stream. It is undoubtedly one of the most
delightful paintings of the Babur.
BIRD CATCHING AT BARAN
Artist, Bhag
Babur Nama is in Kohistan province of Afghanistan. Babur wrote, "More beautiful in
Spring than any part even of Kabul are the openlands of Baran and the skirt of
Gul-i-bahar. Many sorts of tulips bloom there.
Kabul
in Spring is an Eden of verdure and blossom Matchless in Kabul the Spring of
Gul-i-bahar and Baran Few places are equal to these for spring excursions for
hawking or bird-shooting.
"Along
the Baran people take masses of cranes (tarnii) with the cord ; masses of
afiqdr, qargarii and qatan also. This method of bird catching is unique. They
twist a cord as long as the arrow's flight, tie the arrow at one end and a
bildfirgii at the other, and wind it up, from the arrow-end, on a piece of
wood, span-long and wrist-thick, right up to the bildfirgii. They then pull out
the piece of wood, leaving just the hole it was in. The bildfirgei being held
fast in the hand, the arrow is shot off towards the coming flock. If the cord
twist round a neck or wing, it brings the bird down. On the Baran everyone
takes birds in this way." By this device Baran people catch the many
herons from which they take the turban-aigrettes sent from Kabul for sale in
Khurasan.
"Of
bird-catchers there is also the band of slave-fowlers, two or three hundred
house-holds, whom some descendant of Timm-Beg made to migrate from near Multan
to the Baran. Bird-catching is their trade; they dig tanks, set decoy-birds on
them, put a net over the middle, and in this way take all sorts of birds."
This
painting by Bhag is one of the best studies of birds in the Babur Nama. Outside
the net set by the fowler who is hiding behind a screen are a pair of hoopoes,
sarus cranes, snipes and other water-birds. A sarus crane is innocently flying
into the net. In the foreground is a mountain stream with lotuses among whom
ducks are gambolling, providing a poetic touch to this painting.
BABUR FEASTING AT KOHAT
Artist, Daulat
STAGE SET FOR A MEETING BETWEEN BABUR AND THE MIRZAS
This
painting relates to a meeting between Babur and the Mirzas of Khurdsdn on 26th
October, 1506, on the Murghab river. About the Mirzds, Babur comments, 'They
were good enough as company and in social matters, but they were strangers to
war, strategy, equipment, bold fight and encounter.' He thus describes this
meeting:
"Four
divans (tushuk) had been placed in the tent. Always in the Mirzd's tents one
side was like a gate-way and at the edge of this gate-way he always sat. A
divan was set there now on which he and Muzaffar Mirza sat together. Abu'l
muhsin Mirzd and I sat on another, set in the right-hand place of honour (tur).
On another, to Badiuz zamdn Mirza's left, sat Ibn-i-husain Mirza with Qasim SI.
Auzbeg, a son-in-law of the late Mirza and father of Qasim-i-husain Sultan. To
my right and below my divan was one on which sat Jahangir Mirza and
Abdu'r-razzaq Mirza. To the left of Qdsim SI. and Ibn-i-husain Mirld, but a
good deal lower, were Muh. Baranduq Beg, Zu'n-nun Beg and Qasim Beg.
Although
this was not a social gathering, cooked viands were brought in, drinks were set
with the food, and near them gold and silver cups."
BABUR ENJOYING A FEAST GIVEN BY THE MIRZAS AT HERAT
In 1507
Babur paid a visit to Herat. Here he saw the gardens, mosques and mausolea
including Gazur-gah, the tomb of Khwaja Abdullah Ansari. Here he married Masrima-Sultan
Begam. The Mirzds entertained Babur at a feast.
"Bad! Uzi-zaman Mirza asked me to a party arranged in the Maqauwi-khana of the
world-adorning Garden. He asked also some of my close circle, and some of our
braves.
"At
this party they set a roast goose before me but as I was no carver or
disjointer of birds, I left it alone. 'Do you not like it?' inquired the Mirza.
Said I, 'am a poor carver.' On this he at once disjointed the bird and set it
again before me. In such matters he had no match. At the end of the party he
gave me an enamelled waist-dagger, a char-qab, and a tipu-chaqt."
This is
a beautiful painting showing a feast in a garden, under the shade of a chenart.
Cooks are busy cooking in the foreground and attendants are carrying food.
Babur is making a futile attempt to carve a goose, while Badi-u'z-zaman Mirza
is looking on and is about to intervene.
BABUR CAPTURES A FLOCK OF SHEEP FROM THE HAZARAS
After
seeing the sights of Herat, Babur left for Kabul. Instead of travelling by the
Kandahar road which though longer, was safe and easy, he took the mountain-road
which was difficult and dangerous. During the night there was heavy snow-fall
and a blizzard. He took shelter in a cave along with his men. Next morning
while he was on the move a body of Turkman Hazards attacked his army with
arrows.
"I
myself collected a few of the Hazards' sheep, gave them into Yarak Taghai's
charge, and went to the front. By ridge and valley, driving horses and sheep
before us, we went to Timur Beg's Langar and there dismounted. Fourteen or
fifteen Hazard theives had fallen into our hands; I had thought of having them
put to death when we next dismounted, with various torture, as a warning to all
high-waymen and robbers, but Qdsim Beg came across them on the road and, with
mistimed compassion, set them free."
In this
painting we see Babur on horse-back and in front of him is a flock of sheep
captured from the Hazards.
BABUR AND COMPANIONS WARMING THEMSELVES BEFORE A CAMP FIRE
While
Babur was raiding the Turkman Hazards, news came that his nobles in Kabul had
mutinied and had declared Miria Khan as Padshdh. They also spread a rumour that
the Mirzas of Herat had captured Babur and imprisoned him in a fort. On the way
to Kabul he encountered intense cold. As he describes:
"We
sent on Ahmad the messenger (yasilwal) and Qara Ahmad Yuninchi to say to the
Begs, 'Here we are at the time promised; be ready! behold!' After crossing
Minar-hill and dismounting on its skirt, helpless with cold, we lit fires to
warm ourselves. It was not time to light the signal-fire; we just lit these
because we were helpless in that mighty cold." Next morning he reached
Kabul and subdued the rebels.
This
painting of a night scene shows Babur's qualities of leadership; his concern
for his men and comradely treatment he gave them in times of adversity.
BATTLE SCENE NEAR MURGHAN KOH
Artist, Makra
Shaibaq
Khan, Uzbek captured Herat in June 1507. The Mirzas supplicated Babur for help.
Babur pushed on towards Kandahar. The Uzbeks were led by Shah Beg and his
younger brother Muqim. This painting shows a battle near Kandahar. Babur
states:
"We
mean time, after putting our adversary to flight, had crossed those same
channels towards the naze of Murghan-koh (Birds'-h ill). Someone on a grey
horse was going backwards and forwards irresolutely along the hill-skirt, while
we were getting across; I likened him to Shah Beg; seemingly it was he.
"Our
men having beaten their opponents, all went off to pursue and unhorse them.
Remained with me eleven to count, `Abdu'l-lah the librarian being one. Muqim
was still keeping his ground and fighting. Without a glance at the fewness of
our men, we had the nagarets sounded and, putting our trust in God, moved with
face set for Muqim." After this incident Babur moved on to Kandahar, and
looted the treasury.
It is
an excellent painting which conveys the excitement of a battle. It is packed
with action, and is symbolic of the restless energy of Babur. Babur holding a
naked sword is charging the enemy. Facing him is Muqim holding a shield. Drums
are being lustily beaten by the drummers of both sides.
BABUR CROSSING A RIVER SEATED ON A RAFT
In May
1508 Babur abandoned the invasion of Hindustan. He visited Lamghanat which
borders the land inhabited by Kafirs, who had resisted conversion to Islam.
Here he crossed a river seated on a raft for the first time. Thus states BAbur:
"As
it was not found desirable to go on into Hindustan, I sent Mulla Baba of
Pashaghar back to Kabul with a few braves. Mean time I marched from near
MandrAwar to Mar and Shiwa and lay there for a few days. From Atar I visited
Kanar and Nurgal; from Kfinar I went back to camp on a raft; it was the first
time I had sat on one; it pleased me much, and the raft came into common use
thereafter."
The
naked swimmers are pushing the raft with all their might. On the raft Babur is
calmly seated surrounded by his body-guards.
On 6th
March, 1506, Babur's first son Htunayun was born in the citadel of Kabul. A
feast was arranged in the Chdr-Bagh. All the Begs brought presents, and dancers
entertained the party.
DEER HUNTING IN 'ALI-SHANG AND ALANGAR MOUNTAINS
Artist, Tulsi
This
painting by Tulsi, who specializes in drawing animals, depicts a hunting scene
in Afghanistan. Apart from deer of different varieties, rabbits, foxes and wild
sheep are also depicted. On a rock a chakor is perching. Babur describes this
event as follows:
"On
Saturday (29th) we hunted the hill between 'Ali-shang and Alangair. One
hunting-circle having been made on the 'Ali-shang side, another on the Alangar,
the deer were driven down off the hill and many were killed. Returning from hunting,
we dismounted in a garden belonging to the Maliks of Alangar and there had a
party."
'Ali-shang
and Alangar are mountainous districts of Afghanistan bordering the Hindu-kush,
inhabited by Kafirs who retained their old religion and did not embrace Islam.
Babur describes that trees cover the banks of the streams of 'Ali-Shang and
Alangdr below the fort. The fort shown in the painting is probably the same. He
also mentions that the valley grows grapes, green and red, all trained on
trees.
As a
study of fauna of Afghanistan, this painting has considerable value. It also
conveys the excitement of a hunt most vividly.
BABUR HUNTING RHINOCEROS NEAR BIGRAM (PESHAWAR)
This
painting describes a hunting scene dated 10th December, 1526 near Bigram
(Pesha-war). Babur crossed the river Siyalh-fib, and formed a hunting circle
down-stream. He records.
"After
a little, a person brought word that there was a rhino in a bit of jungle near
Bigram, and that people had been stationed near-about it. We betook ourselves,
loose rein, to the place, formed a ring round the jungle, made a noise, and
brought the rhino out, when it took its way across the plain. Humdyun and those
come with him from that side (Tramoun-tana), who had never seen one before,
were much entertained. It was pursued for two miles; many arrows were shot at
it; it was brought down without having made a good set at manor horse. Two
others were killed. I had often wondered how a rhino and an elephant would
be-have if brought face to face; this time one came out right in front of some
elephants the mahauts were bringing along, it did not face them when the
mahauts drove them towards it, but got off in another direction."
In the
sixteenth century rhinos were found as far north as Peshawar and Sind. Now they
are no longer to be seen in these areas. At present rhinos are preserved in the
game sanctuaries of Assam and northern Bengal.
THE BATTLE OF PANIPAT
Babur
invaded India for the fifth time in 1525. He defeated Daulat Khan Lodi and
occupied Punjab. He marched through Jaswan dun, Rapar, Banur, Arnbala,
Shahabad, and reached Panipat on 12th April, 1525. He collected seven hundred
carts, which were joined togehter with ropes of raw hide. Between every two
carts mantelets were fixed, behind which matchlockmen were posted. Opposing him
was Ibrahim Lodi's army of 1,00,000 men and one thousand elephants. Mustafa,
his commander of artillery made excellent use of his guns.Babur records,
"Mustafa
the commissary for his part made excellent discharge of zarb-zan shots from the
left hand of the centre. Our right, left, centre and turning-parties having
surrounded the enemy rained arrows down on him and fought ungrudgingly. He made
one or two small charges on our right and left but under our men's arrows, fell
back on his own centre. His right and left hands (qui) were massed in such a
crowd that they could neither move forward against us nor force a way for
flight.
"When
the incitement to battle had come, the Sun was spear-high; till mid-day
fighting had been in full force; noon passed, the foe was crushed in defeat,
our friends rejoicing and gay. By God's mercy and kindness, this difficult
affair was made easy for us!"
Ibrahim
lay dead among thirty thousand of his soldiers, and Babur emerged the winner.
The
painting shows the battle-scene. Between the guns, soldiers armed with bows and
arrows are making sallies. It is surprising that hills are shown in the background.
The battle-field of Panipat is a flat plain. Drummers are beating drums to
infuse courage among the attackers. On the top of the painting is shown the
town of Panipat
SQUIRRELS, A PEACOCK AND A PEA-HEN, SARUS CRANES AND FISHES
Artist, Bhawani
Babur
appropriately starts his account of the birds of India with the peacock, the
national bird of India.
"The
peacock (Ar. Taus) is a beautifully coloured and splendid bird. Its form
(andam) is not equal to its colouring and beauty. Its body may be as large as
the crane's (tüawa) but it is not so tall. On the head of both cock and hen are
20 or 30 feathers rising some 2 or 3 inches high. The hen has neither colour
nor beauty. The head of the cock has an iridescent collar (tauq sfisani); its
neck is of a beautiful blue; below the neck, its back is painted in yellow,
parrot-green, blue and violet colours. The flowers on its back are much the
smaller; below the back as far as the tail-tips are larger flowers painted in
the same colours. The tail of some peacocks grows to the length of a man's
extended arms. It has a small red tail, under its flowered feathers, like the
tail of other birds. Its flight is feebler than the pheasants; it cannot do
more than one or two short flights. Hindustani call the peacock mor."
This
painting is by Bhawani, who excels in painting birds and animals. On the top
squirrels are playing on a tree. In the middle, a peacock and a pea-hen are
shown, below a pair of sarus cranes, and in the pond a pair of fishes. It is
one of the best paintings of birds and animals in this Babur Nama.
BABUR CROSSING THE RIVER SON OVER A BRIDGE OF BOATS
Artist, Jagnath
"I
left that ground by boat on Thursday. I had already ordered the boats to wait,
and on getting up with them, I had them fastened together abreast in line.
Though all were not collected there, those there were greatly exceeded the
breadth of the river. They could not move on, however, so-arranged, because the
water was here shallow, there deep, here swift, there still. A crocodile (gharial)
shewing itself, a terrified fish leaped so high as to fall into a boat; it was
caught and brought to me."
Babur
is sitting on the platform of the Gunjaish, surrounded by attendants. In the
fore-ground is a boat into which, a fish has leapt. Two soldiers armed with
muskets are firing at the crocodile. All the on-lookers are sharing the
excitement which the incident has provided.
Writer – M.S. Randhawa
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