MEMORY OF THE WORLD REGISTER
TARIKH-E-KHANDAN-E-TIMURIYAH
(India)
Ref N° 2010-62
PART A – ESSENTIAL INFORMATION
1.
SUMMARY
Highlight the nature, uniqueness and significance of the nominated documentary heritage.
The Tarikh-e-Khandan-e-Timuriyah is a richly illustrated and the only extant copy of a
manuscript which deals with the history of Timur and his descendants in Iran and India, including
the Mughal rulers Babur, Humayun and Akbar.The manuscript was compiled in the 22nd regnal year
of Akbar (1577-78 A.D).
This manuscript is one of the the most valued possessions of the Khuda Bakhsh
Oriental Public Library, Patna, an autonomous institution under the Ministry of Culture,
Governement of India. The name of the author and the original title of the work are not given in the
text; but an endorsement, by one of its former owners, mentions the title as “Tarikh-e Khandan-e
Timuriya”. This is fairly correct because it contains the history of the family of Timur, the great
Central Asian ruler and conqueror. It appears that the text was written primarily to provide basic
reference-material to Abul Fazl who was then compiling the official history of Akbar’s reign – the
Akbar Namah, which includes a history of Akbar’s ancestors. Commonly, this text is also referred
to as Timur Namah. In the year 2006, it has been identified as a Manuscript Treasure of India by
Ministry of Culture, Government of India.
The Tarikh-e-Khandan-e- Timuriyah recounts the history of the Timurids i.e. of Timur
and his successors in Iran and India. This richly illustrated manuscript was written and created
twenty two years into the reign of the great Mughal emperor and
a descendant of Timur,
Jalaluddin Mohammad Akbar, in 1577-78 A.D. The authorship and calligraphy of the manuscript is
ascribed to numerous court historians and scribes, since it is a collective work. Incidentally, this was
the case with most of the Mughal illustrated manuscripts. Attesting to its authenticity and status as
a royal copy, an brief note at the beginning of the manuscript, by Emperor Shah Jahan, in his own
hand, states that this history was written during the time of “Shah Baba”, the name by which
Emperor Shah Jahan affectionately called his grandfather, Akbar. There are also several notes and
seals of Mughal nobles, testifying to its authenticity. Unfortunately, it is incomplete at both ends on
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account of which the Introduction has an abrupt beginning and the account ends with the events of
the second campaign in Gujarat in 19th regnal year. Since the manuscript was completed in the 22nd
regnal year, it therefore appears that the account of the intervening 3 years are missing.
Abul Fazl, Akbar’s official biographer, has listed the nine most important illustrated
Persian manuscripts commissioned by Akbar in his account of the Emperor’s life and rule: Akbar
Namah complemented by the Ain-i-Akbari. While the Akbar Namah is the authentic account of
Akbar’s reign, the Ain-e Akbari is virtually a gazetteer on Mughal administration under Akbar.
Eight of these manuscripts, mentioned by Abul Fazl, have been identified. But the ninth, the
Chingiz Namah is still unknown. Some scholars suggest that this Timurid history, Tarikh-e
Khandan-e Timuriyah could be the Chingiz Namah or the ninth, as yet unidentified, manuscript in
Abul Fazl’s list of important manuscripts commissioned by Akbar.
The manuscript is remarkable for the number and splendour of its illuminations, all
representing that delicate and highly refined style that was the trademark of the important artists of
the imperial atelier under Akbar’s patronage. Some of the miniatures contain the names of the
painters. A total of 51 artists including the leading masters of the time like Daswant, Miskin, Madho
Mukund, Haidar Kashmiri, Miskeen, Manohar and Basawan have been mentioned. Most of them
have been included by Abul Fazl in his list of eminent artists at Akbar’s court. In most cases, more
than one artist has worked on some of the 133 paintings contained in the manuscript. Sieges and
battles comprise the principal themes of the paintings, as may be expected of a chronicle of
generations of conquerors and rulers.
The manuscript is written in beautiful bold nastaleeq, within coloured and gold-ruled
borders. The paper is of an excellent quality, of a sharp cream colour and with a slight ivory gloss.
2.
2.1
DETAILS OF THE NOMINATOR
Name (person or organization) :
(i) Dr Imtiaz Ahmad, Director of the Khuda Bakhsh Oriental Public Library, Patna Bihar
(ii) Ms Roopa Srinivasan, Director, Ministry of Culture, Government of India
2.2.
Relationship to the documentary heritage nominated :
Dr. Imtiaz Ahmad is the Director of the Khuda Bakhsh Library, Patna, an autonomous
institution under the Ministry of Culture, which has been declared as an Institution of National
Importance by an Act of Parliament (1969).The Institution is fully funded by the Ministry of
Culture, Government of India.The Director is the custodian of the said document and is therefore
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responsible for its maintenance, cataloguing and preservation. Ms Roopa Srinivasan is the Director,
looking after matters related to the Memory of the World Register, in the Ministry of Culture,
Government of India.
2.3
Contact person(s) : Both of the above are in charge of the nomination process.
2.4
Contact details (include address, phone, fax, email)
(1)
Dr. Imtiaz Ahmad, Director
Khuda Bakhsh Oriental Public Library, Patna, Bihar, (India)
Phone : (0091) 0612-2300209, 2301507, Fax : 0612-2300315
E-mail : pat_kbopl@dataone.in
(2)
Ms Roopa Srinivasan
Director
Ministry of Culture
Room No 320-‘C’ Wing,
Shastri Bhavan
New Delhi
India-110001
Phone: (0091) 011-23381822, Fax: (0091) 011-23381822
E-mail: railwayroopa@hotmail.com
3
IDENTITY AND DESCRIPTION OF THE DOCUMENTARY HERITAGE
3.1
Name and identification details of the item being nominated
(i) Title :
TARIKH-E KHANDAN-E TIMURIYAH
(ii) Other title : Timur Namah
(iii) Catalogue Number : H.L.(Hand List ) No. 107 Cat No. 551
(iv) Folios: 338,
(v) Size: Folio Size: 15¾” x 10½”; Text Size: 10½” x 6½”
(vi) Illustrations : 133 (Mughal School of painting)
(vii) Script : Nastaleeq
(ix) Language : Persian
(x) Date : Compiled during 16th century AD.
(xii) Material : Handmade paper of sharp cream colour and with a slight ivory gloss
3.2
Description :
3:2:1 Description, Inventory and Catalogue:
Khuda Bakhsh Oriental Public Library, Patna has one of the largest collections in the
world, of manuscripts that relate to Islamic heritage and is well-known internationally for its rare
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and unique collection of Arabic and Persian manuscripts. The documentary heritage, the Tarikh-e
Khandan-e Timuriyah, on account of its uniqueness is the Library’s most prized possession.
The work presents an illustrated history of the Timurid family to which the Mughal
rulers of India also belonged. This work spans the period from the year of Timur’s birth to the 22nd
year of Akbar’s reign.
The history opens with Timur’s march in search of Amir Husayn, a Chief in Central
Asia, (fol.7a), which corresponds with the account given in the printed edition of the Zafar Namah,
vol.I, p.60, which is an authentic history of the reign of Timur. Events mentioned in the Tarikh-e
Khandan-e Timuriyah are as follows:Timur’s campaigns in Samarqand: fol.12b.
Timur’s march against Kabul: fol.20a.
Timur’s expedition to Heart: fol.29a.
Timur’s march against Iraq and Fars: fol.51b.
Timur’s expedition to Hindustan: fol.72b.
Timur’s campaigns in Baghdad: fol.102b.
Death of Timur: fol.134a.
Mirza Khalil’s installation on the throne of Samarqand: fol.136b.
History of Mirza Shah Rukh, who ascends the throne of Khurasan: fol.138a.
Mirza Shah Rukh stabbed in the Mosque: fol.176b.
Shah Rukh’s illness and recovery: fol.184a.
History of Ulug Beg, ‘Abd-ul-Latif, ‘Abd Ullah and Abu Sa’id: fol.187a.
Abul Qasim Babur: fol.189a.
Sultan Husayn Mirza: fol.213b.
Children of Sultan Husayn: fol.234a.
Nobles and learned men of Sultan Husayn’s court: fol.234b.
Zahir-ud-Din Babur’s accession to the throne of Samarqand: fol.238a.
Babur’s campaigns in Samarqand: fol.246b.
Babur’s expedition to Kabul: fol.249b. ( It also provides the interesting information that
after the conquest of Kabul by Babur, the city was subjected every day, to jolts of
earthquakes, for a period of one month, which destroyed almost all the buildings, and
that the city was rebuilt by Babur).
Birth of Humayun: fol.253b.
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Babur takes Qandahar and gives it to Mirza Kamran: fol. 260a.
Babur’s invasion of India, and birth of Hindal, (who, it is said, was named after
Hindustan or Hind, as he was born at the time of Babur’s victory): fol.261a.
Babur’s war with Sultan Ibrahim and the latter’s defeat: fol.261a.
Defeat of Rana Sanka (Sanga): fol.270a.
Death of Babur: fo1.273a.
Humuyun’s accession: fol.273a.
Humayun takes Champanere: fol.276a.
Birth of Akbar: fol.284a.
Hamayun meets the Shah of Persia: fol.286a.
Humayun’s return from Persia and defeat of the forces of Sikandar: fol.291a.
Death of Humayun and accession of Akbar: fol.295b.
Akbar’s battle with Himu (Hemu), and the defeat and death of the latter: fo1.296b.
Bairam Khan’s revolt: fol.301b.
Akbar’s campaign in Gujarat: fol.312a.
Akbar’s conquest of Chitore: fol.325a.
Akbar obtains Ranthambhor: fol.328a.
Victory at Sarnal: fol.333a.
Conquest of Surat: fol.334a.
Akbar’s second campaign in Gujarat, and its conquest: fol.335b. (This took place in the
19th year of his reign, A.H. 981= A.D. 1573.)
The copy then breaks off abruptly with an account of Ikhtiyar-ul-Mulk’s (one of Akbar’s
nobles) death, and Akbar’s liberality to those who had rendered good service in this campaign and
had distinguished themselves in the battle; after which he, on his way back to home, halts at Sirohi.
The present manuscript, illustrated by many of the court painters of Akbar, contains 112
large “miniatures,” some of which cover two opposite pages. If each page is counted separately then
there are 133 illustrations. Unfortunately the names of most of the artists, which were given at the
bottom of each picture, have been cut off due to the ignorance of the binder. This binding was done
at some early period, before the manuscript entered this Collection.
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The names of the painters that can be read are: Lal, Madho, Basawan, Kesaw,
Daswanth, Ram Das, Manula, Jagannath, Khem, Mukund, Dhannu, Nand Gwaliori, Tulsi, Nanha,
Sarwan, Bhura, Surjeev Gujarati, Sahu, Anant, Gang, Dharam Das, Dev, Surjan, Bhagwan, Asi,
Jagjivan, Mank, Sankar, Bhim, Durdas s/o Isar, Khaen, Kanha, Narain, Jagan, Manah, Nama,
Paramjeev, Manohar, Khemkar, Paras, Behzad, Husain, Mulla Shah Muhammad, Lohanka,
Manohar, Kamal, Haidar Kashmiri, Mohammad Kahsmiri, Naqqash, Miskin, Farrukh, Mukhlis,
Kashmiri and Ali s/o Mukhlis.
The first ten, and the last three, painters are mentioned by Abul Fazl in his list of the
seventeen artists of Akbar’s court. Nos.11-13 are noticed by Vincent A. Smith in his ‘History of
Fine Art in India and Ceylon’ (pp.462, 488 and 328 ).
The miniatures in this manuscript are to be found on the folios-.1b; 3b; 4b; 5b; 6b; 7b;
8b; 9a; 10b; 11b; 14a; 15a; 16b-17a; 18a; 18b; 20a; 20b-21a; 22b; 23a-24a; 24b; 26b; 28a; 28b;
30a; 32b; 37a; 38a; 40a-40b; 42b; 44b-45a; 46b; 48b-49a; 51a; 53b-54a; 55b-56a; 57b; 58b; 59b;
60b; 61b-62a; 63b; 65b-66a; 67b-68a; 69b; 72a; 73a; 74a; 78a; 80a; 89b-90a; 97a; 99a; 101a; 103b104a; 108b; 110b; 113b; 115a; 118a; 121a; 122a; 123b; 126b; 128b-129a; 131b-132a; 134a; 136b;
138b; 140b; 143b; 144b; 145b; 146b; 147b-148a; 149b; 154b; 159b; 163b; 165b; 166b; 170b; 177a;
178b; 182a; 180a; 193a; 194b; 196b; 205b; 206b; 226a; 227b; 230a; 232a; 241b; 246b; 248a; 252a;
253a; 254a; 260b; 269a; 273b; 277b; 284a; 322a; 323b; 326b; 328b; 331a; 333b and 337b. The
most interesting of these are:—
I.
Timur as a child, playing with his younger comrades, assumes the position of a
king: fol.1b.
II.
Peace between Timur and Amir Husayn : they are embracing each other at
Qunduz.: fol.21b.
III.
Timur’s campaign against Shah Mansur, in which the latter is killed; Mirza Shah
Rukh, then seventeen years old, joins Timur: fol.53b-54a.
IV.
The death of Prince ‘Umar Shaykh (wounded in the neck) from an arrow shot at a
venture from the fort of Kharmatu: fol 59
V.
Timur’s campaign against the fort of Ounk and its conquest: fol.63b.
VI.
Timur’s campaign against Baghdad. He takes his position on the bridge. Faraj, the
governor of Bagdad, and his daughter try to escape on a boat, but being attacked by
Timur’s arches throw themselves into the water and are drowned. By Timur’s order
the boatmen bring out the dead body of Faraj. Timur then orders the town to be
sacked: fol.103b-104a.
VII.
Timur’s mourning for the death of the Prince Muhammad Sultan, the appearance of
whose two sons at that time doubles his affliction: fol.118a.
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VIII.
Timur orders preparations to be made for the marriage of Princes Mirza Ulug Beg,
Ibrahim Sultan, Jahangir Baiqara, and others. Four royal camps are pitched at
Samarqand. Amir-zadah Pir Muhammad comes from Ghaznin, and Timur receives
him with great affection. The chief ambassador of Egypt presents a giraffe to
Timur: fol.134a.
IX.
Death of Timur: fol.134a.
X.
Installation of Mirza Khalil on the throne of Samarqand: fol.136b.
XI.
Mirza Shah Rukh ascends the throne of Khurasan: fol.138b.
XII.
Mirza Badi’uz Zaman comes to beg pardon of his father Sultan Husayn, and is
received with honour. Muzaffar Husayn Mirza (the younger brother of Badiuz
Zaman) and his mother come also to receive the prince. The father forgives his son
and embraces him: fol.232a.
XIII.
Babur’s campaign against Samarqand: fol.246a-248a.
XIV.
Babur’s rejoicings at the birth of Humayun. He gives a grand feast to his chiefs and
nobles: fol.254a.
XV.
Humayun’s accession to the throne: fol.273b.
XVI.
Campaign of Humayun against the citadel of Champanere. After fixing steel spikes
in the scrap of the rock, Humayun first ascends the fort at night, with Bairam Khan
and thirty-nine other officers, and before sunrise brings his whole detachment
within the walls. The Emperor at the head of his detachment, calling out “Allahu
Akbar,” forces his way, sword in hand, through the enemy and makes himself
master of one of the gates, through which he admits his troops. The garrison is put
to the sword: fol.277b.
XVII.
Birth of Akbar. Humayun’s wife, Hamidah Banu Begum, gives birth to Akbar in
the castle of Amarkot; though some are of opinion that he was born in a field about
a mile from the fort. His mother, dressed in a green robe, is lying exhausted on a
couch, and the baby Akbar is seen in the arms of a nurse with a high conical Tartar
cap. There is general rejoicing in the harem, and the women are seen in exultation
over the birth. In the lower part of the illustration, there is a picture of Tardi Beg
Khan bringing the news to Humayun, who is encamped about fifteen kos
(approximately 45 kilometers) from Amarkot: fol.284a.
XVIII. At Thanesar, on his way to Agrah, Akbar learns of a sacred pond on the outskirts of
the city, where the Sanyasis and a large number of Hindus assemble to bathe at the
time of the sun’s eclipse. The emperor, on hearing that the Sanyasis have divided
into two parties and are about to fight, reaches the place and vainly urges them to
refrain. In the midst of the fight Akbar, seeing that one party is getting the worst of
it, orders Shamshir Yar Samarqandi to assist them with his followers; thus
strengthened, they are victorious: fol.322a.
XIX.
Akbar’s campaign against ‘Ali Quli Khan. He at first rides his favourite elephant
called Balsundar, and Mirza ‘Aziz Koka is seated by him; but when the battle
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becomes severe, he alights and mounts a horse. ‘Ali Quli Khan receives a wound
from an arrow, and immediately another arrow strikes his horse. He is thrown, and
the elephant named Narsingh comes up and crushes him under foot. Arzani, the
vakil of ‘Ali Quli Khan, recognises his master’s head, and after showing it to the
emperor, lays it at his feet: fol.323b.
XX.
Akbar’s campaign against the fort of Chitor. It is night, and Akbar is standing in a
shelter erected for him. He has a musket in his hand. The face of Jaimal, the chief
of the fort, being discernible by the light cast by the fire of the guns and muskets,
Akbar takes aim and shoots him. Jaimal falls from the fort, and the enemy
becoming disheartened give up the contest. The emperor returns victorious next
morning: fol.326b.
XXI.
In A.H. 978 = A.D. 1571, on his way from Nagore to the tomb of Shaykh Farid
Shakarganj. Akbar catches sight of a large flock of wild asses; he pursues these on
foot into the jungle, and shoots sixteen asses: fol.331a.
The Tarikh-e Khandan-e Timuriyah is a priceless work of art and more than a mere
history of the time. It contains 133 miniature paintings each in the rare size of 10½” x 6½”, crowded
with incidents, enameled in gold and exquisitely coloured. The work was prepared in a very delicate
and highly finished style by the master artists of the court of Mughal Emperor, Akbar. There is
possibly no illustrated historical work preserved within India which matches the richness of this
documentary heritage. The names of these painters were inscribed at the foot of each page. As many
as 51 names are currently legible.
Mughal art of miniature painting approached its zenith during Abkar’s period who had
utmost interest in paintings and established a full-fledged department for the purpose. “From his
earliest youth” writes Akbar’s historian, Abul Fazl, “His Majesty has shown a great predilection of
this art and given it every encouragement as he looks upon it as a means, both of study and
amusement”.
Percy Brown writing on the subject says “The number of painters employed was fairly
large, amounting to considerably over a hundred and they were all accommodated in a large studio
suitable for their work in Akbar’s newly built capital. The master painters of the school were the
two Persians, Abdus Samad and Mir Sayyid Ali…” (Percy Brown, ‘Indian Painting under the
Mughals’, p. 63)
Besides the present work, other notable works ornamented with miniatures and
paintings for the Emperor, Abul Fazl mentions, Dastan-e-Amir Hamza (12 volumes), Changiz
Namah, Zafar Namah, Akbar Namah, Razm Namah (Mahabharat), Ramayan, Nal Daman, Kalilah
wa Dimnah(Panchatantra), and Ayar Danish, all in Persian. Abul Fazl remarks: “Delicacy of work,
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clarity of line and boldness of execution as well as other fine qualities have reached perfection and
inanimate objects appear to have come alive.”
3.2.1. Inventory & Catalogue :
The manuscript has been catalogued with full details in the ‘Descriptive Catalogue of
Arabic and Persian Manuscripts’ (Persian - Vol. VII) prepared by Maulavi Abdul Muqatadir under
the supervision of Sir E. Denison Ross, the first edition of which was published with a Preface by
Sir Denison Ross in London of which second and third editions were published in 1921 and 1977
respectively. Full details of the manuscript as per the catalogue are enclosed at Annexure I.
Further the manuscript can be referred to through the printed Hand list of Manuscripts
(Persian) of the library, Vol. I. This is also available on the Library’s website www.kblibrary.nic.in
It may also be referred to through the card catalogue of manuscripts (author wise and
title wise) maintained by the Library. Computerization of the catalogue is also underway.
It has also been catalogued for the National Electronic Database created by the National
Mission for Manuscripts, a Mission set up by the Ministry of Culture, Governement of India.
3.2.2. History of the Manuscript :
The manuscript was prepared by the Court painters of the Mughal Emperor Akbar
(r.1556-1605). His grandson, the Emperor Shah Jahan (r.1628-1657) while testifying to
the
authencity of the manuscript says in his autographic note at the flyleaf that the work containing the
account of Timur and his descendants including Akbar down to the 22nd year of his reign, was
composed in the time of ‘Shah Baba’, as Shah Jahan affectionately called Akbar. It was a part of the
Imperial Library of the Mughals and was held in high esteem. During the disintegration of the
Mughal Empire the manuscript along with a number of other manuscripts went on sale. Fortunately
it came into the possession of Khuda Bakhsh, the founder of the Khuda Bakhsh Library. The cost of
the manuscript at that time, as recorded on the flyleaf of the manuscript, was eight thousand rupees.
The exact circumstances in which Khuda Bakhsh acquired the manuscript, however, are not known.
Khuda Bakhsh (1842-1908) was an ardent bibliophile, who collected over 4000 rare
Arabic and Persian manuscripts and set up the Oriental Public Library at Patna in 1891. He lived
during the tumultuous days of the decline of the Mughal Empire and the Upsurge of 1857. These
circumstances decimated the old Muslim ruling aristocracy and dealt a death blow to the patronage
of learning and art by them. The libraries of many ruling chiefs, besides the Mughal Emperors, were
plundered and rare manuscripts went on sale. In other parts of the Islamic world as well, the
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situation was not very different. Khuda Bakhsh, in spite of being a man of small means, spared no
effort to obtain as many manuscripts as he could, not only from within the subcontinent but also
from distant cities such as Cairo, Damascus and Istanbul. He appointed a retainer, Mohammad
Makki, for that purpose and spent almost all his earnings to develop this rare collection. As his
reputation spread, many persons gifted
rare manuscripts in their possession to him. Official
appreciation of his noble effort and public spirit led to the conferment of the title of Khan Bahadur
on him in 1881 and Commander of the Indian Empire (CIE) in 1903. The father of the nation,
Mahatma Gandhi during a visit to this Library on the 29th of September 1925, paid rich tribute to
Khuda Bakhsh in the following words: “I revere the memory of the great founder who spared no
pains or money to present India with such a rare collection”.
3.2.4. Condition and storage
(1)
Material :
Handmade paper of excellent quality, of a sharp cream colour and with a
slight ivory gloss.
(2)
Condition:
The manuscript is slightly incomplete at both ends, but the substantial part of
the historical narrative and its exquisite paintings are completely safe. In
some folios slight flaking of the paint has been noticed. Steps have been
taken for necessary conservation and treatment.
(3)
Storage :
The manuscript is listed among the most rare items of the library; hence it is
stored in an iron safe under double lock system, one key of which is in safe custody of the
Commissioner, Patna Division, while the other key is with the Director of the Library. The iron safe
cannot be opened in absence of one of the keys. The iron-safe, resides in a secluded area of the
Manuscript Stacks, categorised as the ‘Rare Collection Room’. It is normally locked and can be
entered only with special permission of the Director of the Library.
(4)
Preventive Measures of Conservation adopted :
a) The manuscript is kept under maintained temperature as the Mansuscript stacks are
air-conditioned.
b) The pages of the manuscript are properly bound and tissue-paper used to separate the
painted pages so that the colours do not get affected.
c) Napthalene balls and paradichlorobenzine are used for ensuring safety from insects
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and worms.
d) Digitisation of the manuscripts has been done to ensure preservation.
e) It is kept in a fire-proof iron-safe.
f) Fire safety measures, including highly sensitive fire-alarms, are in place.
g) Fire-fighting drills are occasionally conducted and proper training on this is imparted
to the staff.
(5)
Curative Measures of Conservation :
Curative treatment of the manuscript is not immediately required. But it may be taken
up soon to ensure the longevity and survival of the manuscript, especially its paintings. While funds
for conservation are made available by the Ministry of Culture, Government of India, necessary
expertise of a highly specialised level is required for actually taking up the work. If it is recorded in
the Memory of World Register, this will facilitate the availability of the necessary expertise, even
with colloboration of international institutions – if required – besides the allocation of additional
resources for future efforts at curative conservation.
3.2.6. Referees
4
1.
Prof. Irfan Habib,
former Professor and Head Dept. of History,
Centre of Advanced Study
A.M.U. Aligarh
2.
Prof. Amir Hasan Abidi, M.A. Ph.D.
Retd. Professor
Dept. of Persian,
Delhi University, Delhi
3.
Prof. Sharif Husain Qasmi
Retd. Professor,
Delhi University
Delhi
4.
Prof. M. Ghaffar Siddiqi, M.A. Ph.D.
Dept. of Persian,
Patna University, Patna
JUSTIFICATION FOR INCLUSION / ASSESSMENT AGAINST CRITERIA
Uniqueness and Significance :
The interelationship between art and the social, cultural and political institutions that
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sustain it, is an interesting one. Probing this relationship provides insights into the life and times of
patrons and artists of any period in history. Mughal art is of particular significance in this respect.
The Mughal school evidences an assimilation of various traits of the art and the schools
that flourished in India, Persia, Central Asia and Europe. Besides, the eclectic Mughal style that
developed in the 16th-17th centuries shows the continuity of various traits of Indian classical arts,
namely Ajanta art and the later Indian schools such as Pala (Buddhist- Eastern India) and Gujarat
(Jain-Western India) forms. Further the patronage given by the Mughals to new forms such as
portraiture, zoological themes, margin paintings, etc. not only added new chapters to Indian art but
also opened new vistas for paintings for future generations.
The Mughals, hailing from Central Asia, were the descendants of the Turkish conqueror
Timur. They established a mighty empire in the Indian subcontinent and ruled for more than four
hundred years (1526-1858). It was one of the mightiest empires in the world, and contributed to the
development of all branches of knowledge including the art of painting. “The initial step”, says
Percy Brown in his ‘Indian Paintings under the Mughals’, (1981 p.18,) “in its development was
taken by the Emperor Humayun, when he retained in his service two artists from Persia but the
actual foundation of the school was laid by the constructive genius of his famous son Akbar the
Great, in the course of his long reign which extended from A.D. 1556-1605. Under the aesthetic
Jahangir, with his intelligent patronage, it reached its meridian which was maintained in a slightly
less degree during the magnificent reign of Shah Jahan, the builder of the Taj Mahal.”
Akbar was considered one of the most enthusiastic patrons of the arts. He was very fond
of miniature paintings and for that purpose established a full fledged State-sponsored School of
painting under his direct supervision. More than hundred painters were working in the School of
which the two Persians, Abdus Samad and Mir Sayyid Ali, disciples of the celebrated Bihzad (head
of the school of Herat and later that of Tabriz) were the master painters.
Akbar used to check all the works done by the painters on weekly basis and confer
awards or increase their monthly salaries according to the excellence of their workmanship. “Their
talent”, so sharpened by Akbar, produced pictures, says Abul Fazl as quoted by Percy Brown
(op.cit, p.64) “surpass our conceptions of things. Few indeed, in the whole world are found equal to
them.” Percy Brown further remarks (p.108) “These works are scattered among various museums,
art galleries, libraries and collections.
In India there are two large volumes profusely pictured, a Razmnama, the property of
H.H. the Maharaja of Jaipur, mentioned in the Ain-i-Akbari list, and a Timurnama (Tarikh-e
Khandan-e-Timuriyah), or ‘History of the House of Timur’, in the Oriental Public Library at
Bankipur. (Patna, India)”
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The Tarikh--e Khandan-e-Timuriyah is thus one of the finest collections of original
Mughal paintings prepared in a highly finished style by the foremost painters of the Akbar’s court at
a time when the Mughal art of painting was at its zenith and all the prominent artists of the time
were assembled in the Court of Akbar. A number of paintings are the collaborative result of the
work of two painters: one did the drawings and the other coloured them while some paintings were
done by three painters, the third doing the most delicate work of drawing the faces. E.B. Havell in
his ‘Indian Sculpture and Painting’ (p.196) remarks that this division of labour was possibly
introduced by Akbar. The Tarikh-e-Khandan-e-Timuriyah offers a good example of such division
of work in its paintings. As many as 51 names of artists are legible, prominent among which are the
names of universally renowned artists – Daswanth and Basawan.
Thus, the manuscript is part of the most precious documentary heritage of the world
representing the most exquisite cultural history of the Timurids and their artistic genius which
influenced not only India but the world as a whole. Since it is the only extant copy, its loss or any
damage caused to it would amount to an irreplaceable loss of a unique heritage.
The manuscript has been carefully preserved in the Khuda Bakhsh Oriental Public
Library, Patna for over a century and fully deserves the highest level of attention in the future as
well. The inscription of this item in the Memory of the World Register will significantly facilitate
this process as well as the conservation of this unique manuscript according to the best available
expertise and accepted international standards.
4.1
Authenticity
a) The manuscript begins with an autographic note by Emperor Shah Jahan, on the flyleaf,
testifying to its originality and authenticity. The writing of Shah Jahan on the manuscript is
identical to that found in several other manuscripts, including some preserved at the Khuda
Bakhsh Oriental Public Library.
b) A number of seals, signatures and Arz-didahs (observations of the readers as recorded on
on the fly-leaf of the manuscript) are the living testimony of its authenticity.
c) The flyleaf also bears a signature of Francis Gladwin, a well known Orienalist who died
about 1813 (see C.E. Buckland, Dictionary of Indian Biography p. 167).
d) The paper, ink, paintings, designs and style, further confirm its authencity.
4.2
World significance, uniqueness and irreplaceability
Mughal rule in India (1526 to 1858) was founded by Babur, a descendant of the Turkish
conqueror Timur. The Mughals influenced the social, cultural and economic life both of the Indian
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people and of the world. Their contributions to the development of astrology, astronomy, medicine,
fine arts, architecture, paintings and literature are unparalleled. Mughals were renowned patrons of
art. Emperor Babur collected illuminated manuscripts and his son Emperor Humayun brought with
him Persian Painters while Emperor Akbar collected a great library and supported over 100 painters
who prepared paintings on the Persian classics, Hindu epics and histories. These paintings were
jewel-like scenes crowded with delicate and richly dressed figures and studded with flowers and
architectural detail. Undoubtedly the art of painting reached its zenith during Akbar’s period. His
magnum opus, Hamzanama, which consists of 14 volumes, each with one hundred paintings,
gained wide popularity all over the world. As per contemporary historical records, at least fifty
painters were employed on the work and about one hundred men overall. By comparison, as many
as 51 painters worked on the 133 paintings of the Tarikh-e Khandan-e Timuriyah. This indicates
the value and importance of the paintings of the Tarikh-e Khandan-e Timuriyah.
The paintings of the Tarikh-e Khandan-e Timuriyah are unique examples of the height
that was attained by the Mughals in the history of the art of painting. These are both unique and
irreplaceable.
There is no illustrated historical work preserved within India which matches the
richness of this documentary heritage.
4.3
The criteria of (a) time (b) place (c) people (d) subject and theme (e) form and style
(a)
Time :
The manuscript contains text and paintings prepared during 16th
century, at a time when the Mughal Empire was rapidly expanding.
This was a phase of brilliant and intense military activity, more or
less in keeping with the Timurid tradition of wars and conquests.
This could have been one of the possible reasons for the
compilation of this text. As can be seen from the content, the text
deals extensively with battles, sieges and other military activities.
At the same time, this was also the period when the foundations
werer being laid of a remarkable cultural efflorescence in the Indian
subcontinent. Mughal paintings, particularly, had entered a new
phase of efflorescence characterised by the fusion of Persian
influences with Indian traditions. This fact is also amply reflected in
the features of the illustrations contained in the manuscript.
(b)
Place :
The manuscript was written and illustrated around the beginning of
the last quarter of the 16th century, the time when Akbar had made
Fatehpur Sikri (near Agra) his capital. Although prepared possibly
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at Agra, the historical and artistic contents of the manuscript have a
wider geographical range and relate to the entire georaphical and
cultural zone stretching across South Asia and Central Asia. It is an
evident example of the merger of two distinct – yet complementary
– cultural traditions, and of the liberal religio-cultural outlook of the
rulers who actively patronised such a fusion.
(c)
People :
The text and paintings of the manuscript are the creation of a
number of scribes and painters mostly belonging to India, and some
with a Persian origin. They reflect different dimensions of the life
of the aristocracy as well as of the common people and provide an
insight – in fact a visual testimony – to the life style, social customs,
rituals, court ceremonies, military tools and techniques and various
other facets of life in Mughal India during one of the most important
and formative phases of its history. Significantly, it was the cultural
developments and economic prosperity of this period that made
nobles and adventurers flock to India at this time, from different
corners of the Islamic world, making the Mughal Empire a huge
cauldron in which the fusion of Indian and Islamic cultural
influences took shape and a syncretic Indo-Islamic pattern evolved.
This was patronised by the rulers and adopted by the people. It left
an enduring impact on the life of the people of all classes and
creeds and continues to constitute the most positive legacy of
Mughal rule in the Indian subcontinent
(d)
Subject & Theme : The manuscript is an illustrated history of Timur and his
descendants down to 19th year of Akbar’s reign. Thus about 2
centuries of one of the most tumultuous periods of the history of
Central and South Asia find mention here. The information
available in these pages complements other contemporary sources
and enriches our understanding and perception of Mughal history
and culture.
It contains 133 paintings which depict scenes of war and peace and
different shades of life of that time including festivities, rituals,
customs and events that shaped the history of those times.
.
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(e)
Form & Style :
The manuscript is in the form of a book. It is an illustrated history
containing 338 folios of 15¾” x 10¼” size. It contains 133
paintings in full size of the text portion of the book, some of which
cover two opposite pages. Such large ‘miniatures’ are a rarity in
Mughal painting, not to be found among the general illustrated texts
of the period. The paintings represent the Mughal style of miniature
paintings developed in 16th century in India, which was remarkably
natural and realistic, and which is universally acknowledged as one
of the most mature and rich stages in the history of Asian art. These
decorated paintings represent a fusion of the bright, decorative
Indian style with the elegant, fanciful, and symmetrically patterned
style of Islamic paintings. It is thus a part of international heritage.
The manuscript is written in beautiful bold nastaleeq, within
coloured and gold-ruled borders. The paper is of an excellent
quality, of a sharp cream colour and with a slight ivory gloss.
4.4.1
Rarity :
The content, especially the paintings, and its physical nature, the large size of the
folios used for the text and illustrations definitely make it a rare surviving example of a distinct
phase of the history of Mughal painting. In addition:a) The manuscript is not only rare but unique, as it happens to be the only extant copy.
b) It contains exquisite and richly decorated paintings representing a fusion of the
bright, decorative style with the elegant, fanciful, and symmetrically patterned style of
Islamic paintings.
c) It has the magnificent calligraphy associated with the scribes at Akbar’s court.
d) It also contains an autographic note of the Mughal Emperor Shahjahan on the flyleaf
at the beginning testifying to the authencity of the manuscript. Besides it bears several
Arz-didahs (observations of the readers as recorded on the flyleaf of the book) and
official seals of the nobles of the Mughal Court of India.
4.4.2
Integrity :
The available text of the manuscript is intact. While it appears that there are a few
minor folios missing fom the beginning and end of the text, as inferred from the abrupt start and end
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of the manuscript, the text is otherwise an integral whole. Thus, the substantial part of the historical
narrative and the exquisite paintings remain safe and intact. Significantly, it is, at present, in the
same condition as it was in the hands of Shah Jahan. In its present state, it is properly bound and
safe, and appropriately preserved.
4.4.3
Threat :
There is no immediate threat, as such, to the manuscript because of its proper custody
and careful preservation. However, all manuscripts, as a matter of fact, are likely to be worn out by
human handling, besides other factors like aging, climatic changes, and are susceptible to attacks
from vandals. It is to ensure that such long-term threats are adequately guarded against in the future
as well, that it is necessary to record the manuscript in the Memory of World Register so that its
value is duly appreciated, its contents properly introduced and publicised in the academic world
and long-term plans set in place for its effective conservation. Such measures would help in
ensuring its safety as well.
Although all care is taken by the library to preserve and conserve the manuscript,with
the available resources – both financial and technical – it is further necessary to take some specific
steps for special conservation. This need is being felt because in some paintings, the paint is flaking
and if immediate curative measures are not taken the damage can spread further.
4.4.4
Management :
The manuscript is properly maintained by the Khuda Bakhsh Oriental Public Library Library with
the available resources. This includes the followinga) The mansucript is periodically cleaned with soft brush.
b) The binding is regularly checked to ensure that there is no damage caused to it, and
that there is no threat from termites, book-worms, other insects and fungi.
d) While due care is taken for its protection, scholars can access it for research and
study with special permission and under controlled conditions.
e) The manuscript is kept under maintained temperature as the Mansucript stacks are
air-conditioned.
f) The pages of the manuscript are properly bound and tissue-paper used to separate the
painted pages so that the colours do not get affected.
g) Napthalene balls and paradichlorobenzine are used for ensuring safety from insects
and worms.
h) Digitisation of the manuscripts has been done to ensure preservation.
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i) It is kept in a fire-proof iron-safe.
j) Fire safety measures, including highly sensitive fire-alarms are in place, and firefighting drills are occasionally conducted and proper training imparted.
k)There is a proposal to publish its digitised facsimile edition.It would then be possible
to ensure wider access to the manuscript without causing wear and tear to the
manuscript due to manual handling.
l)The publication of the facsimile copy could also receive further support by this
nomination.
5
Legal Information
5.1
Owner of Documentary Heritage (name & Contact details):
Khuda Bakhsh Oriental Public Library
Ashok Rajpath
Patna
5.2
Custodian of the Documentary Heritage :
Director
Khuda Bakhsh Oriental Public Library
Ashok Rajpath
Patna
5.3
Legal Status
(a) Category of ownership :
Public Trust : The manuscript is owned by Khuda Bakhsh Oriental Public Library,
Patna. It is an autonomous organisation under the Ministry of Culture, Government
of India, with a Governing Board headed, ex-officio, by the Governor of Bihar and
consisting of the Accountant-General of Bihar, four nominees of the Central
Governement, four nominees of the State Govt, one representative of the Founder’s
family (vacant at present), the Accountant-General of Bihar and the Director of the
Library, who is also the Member-Secretary.
(b) Accessibility :
The manuscript is accessible on request for consultation during the office hours of
the library (Saturday to Thursday) from 9.30 a.m. to 5 p.m. except on holidays. Due
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formalities are to be completed for acquiring some folios of it in CD form. This
facility, however, is restricted to scholars only.
(c) Copyright status :
The copyright of the catalogue, the images etc. is vested in Khuda Bakhsh Oriental
Public Library, Patna.
(d) Responsible Administration :
Care is taken to keep the manuscript safe (under double lock & key system). The
Director of the Khuda Bakhsh Oriental Public Library is legally responsible for safe
keeping of the material. The responsibility is being exercised by keeping the
manuscript under lock & key and making it available to scholars only under strict
supervision of the Director or his nominee under stringent conditions.
6
Management Plan
While there is no separate management Plan currently in existence specifically for this
manuscript, it is part of the important manuscript collection of the Khuda Bakhsh Oriental Public
Library and is properly maintained by the Library with its available resources. Keeping in mind its
great importance and value, certain measures have been put in place to ensure its conservation. The
mansucript is periodically cleaned with soft brush. The binding is regularly checked to ensure that
there is no damage caused to it and that there is no threat from termites, book-worms, other insects
and fungi.While due care is taken for its protection, scholars can access it for research and study
with special permission and under controlled conditions. The manuscript is kept under maintained
temperature as the Mansucript stacks are air-conditioned. The pages of the manuscript are properly
bound and tissue-paper used to separate the painted pages so that the colours do not get affected.
Napthalene balls and paradichlorobenzine are used for ensuring safety from insects and worms.
Digitisation of the manuscript has been done. The Manuscript has since the start been kept in a
fire-proof iron-safe, which resides in a secluded area of the Manuscript Stacks, categorised as the
‘Rare Collection Room’. This room is normally locked and can be entered only with special
permission of the Director of the Library. Fire safety measures, including highly sensitive firealarms, are in place, and fire-fighting drills are occasionally conducted and proper training in this
area has been imparted to the staff. There is a proposal to publish its digitised facsimile edition.It
: 19 :
would then be possible to ensure wider access to the manuscript without causing wear and tear to
the Manuscript due to manual handling.
The manuscript is in full custody of Khuda Bakhsh Oriental Public Library, Patna. It is
kept in an iron safe under double lock and key system. One key of the safe is with the Director of
Khuda Bakhsh Oriental Public Library, Patna while the other is with the Commissioner, Patna
Division, Patna. The iron safe can only be opened in presence of both the keys. The safe is
periodically opened for the preventive conservation of the manuscript.
The Library has a Chief Conservator assisted by an Assistant Conservator and four
binders among the Library staff are responsible for the preservation and conservation of the
valuable manuscripts in the Collection.
The Library has a preservation laboratory, with qualified staff for treatment of books
and manuscripts for deacidification of rare books and manuscripts. It has a full-fledged preservation
Lab with a bindry where manuscripts are treated, laminated ( if necessary) and bound for better
preservation. The staff are given regular in-service training from time to time, often in collaboration
with the Manuscript Conservation Centres set up by the National Mission for Manuscripts.
The manuscript and others are well preserved and are included in the regular
preservation procedures of the Library.
The Annual Preservation/Conservation budget of the Library is:
(i)
Preservation Liability :
Rs. 350,000
(ii)
Development of book preservation
and reprography facilities :
Rs. 350,000
—————————
Rs. 700,000
7.
CONSULTATION:
The owner of this document is Khuda Bakhsh Oriental Public Library, Patna, an
Institution of national importance, duly recognised by an Act of the Parliament of India.The
custodian is the Director of the Library who is also the Member Secretary of the Library’s
Governing Body. The Nomination of this Manuscript is being done in association and consultation
with the Director of the Khuda Bakhsh Oriental Public Library, Patna.
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PART B – SUBSIDIARY INFORMATION
8.
Assessment of Risk :
The principal threat to the collection is that of decay through neglect and decay through
handling. Also power failures (affecting the airconditioning) and extreme climate changes may also
adversely affect the manuscripts. Presently there is no risk to the collection.
The manuscript collection of Khuda Bakhsh Oriental Public Library, Patna is wellmaintained. Besides giving preventive conservation to the collection on regular basis, the collection
is provided curative conservation as well. Deacidification, fumigation and periodic spraying of
chemicals are the routine works in the Library. Recently the whole building of the library has been
given anti-termite treatment. However, these measures are largely based on traditional methods with
minor improvisations made on the basis of the information obtained through periodic training of the
conservators. An adeqaute conservation plan for the Library, keeping the latest techniques and
perceptions in mind, is essential so that the manuscript remains safe from any future risk as well.
This nomination shall facilitate this process.
9.
Assessment of Preservation :
The Library has a preservation laboratory,with qualified staff for treatment of books and
manuscripts for deacidification of rare books and manuscripts. It has a full-fledged preservation Lab
with a bindry where manuscripts are treated, laminated (if necessary) and bound for better
preservation. The staff are given regular in-service training from time to time, often in collaboration
with the Manuscript Conservation Centres set up by the National Mission for Manuscripts, a
Mission set up by the Ministry of Culture, Government of India..
There is a Chief Conservator assisted by an Assistant Conservator and four binders
among the Library staff are responsible for preservation.
The manuscript and others are well preserved and are included in the regular
preservation scheme of the management.
Lodgment
This nomination is lodged by Ms Roopa Srinivasan, Director, Ministry of Culture,
Government of India
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Signature:
Date: 26/3/2010
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