To what extent do you think the visual material presented in this chapter corresponds with Abu’l Fazl’s description of the taswir (Source 1)?

(a) Abul Fazl felt that drawing the likeness of anything is called taswir. He also believed that taswir’s had the power to make inanimate objects lok as if they possessed life.

(b)    Taswir’s according to him not only enhanced the beauty of the book but used in Mughal chronicles possessed special powers of communicating ideas about the kingdom and the king’s power. The use of paintings however caused tension between the rulers and the ulema’s as Islam prohibited the depiction of human beings.

(c)    The visual material present in this chapter does correspond with his description of the taswir, as can be seen from fig. 9.4 depecting a Mughal kitabkhana. Very clearly can be seen the calligraphers using the qalam to copy the text. The paper makers preparing the folios of the manuscripts and the painters illustrating various scenes.

A Mughal kitabkhana

(d) Similarly figure 9.7 showing Jahangir shooting the figure of poverty also contains symbols representing the idea of justice to which Jahangir was dedicated. The chains of justice are shown descending from heaven having been blessed by the gods. Another symbol signifying justice was the motif of the lion and lamb peacefully nestling to each other. This is found in the picture below the king’s feet indicating his love for justice. The divind theory of kingship is depicted by the crown coming down by heaven carried by two angels to be placed on Jahangir’s head.

Jahangir shooting the figure of poverty