Monumentality and ideology as reflected in the architecture of Akbar.

By

Moin S. Hakak
Department of History and Culture

Submitted to: Department of History and Culture, Jamia Millia

Islamia
Akbar is by far the most popular and an equally beloved Mughal king to rule India. It’s a
fact that his popularity is only preceded by his contribution to the land of India. Akbar as
the herculean king of his time was not nescient towards the intricacies and ramifications
of a nation and his acknowledgement of various aspects of nation building only
galvanized his position as the Arsh-Ashyani. Though, much of his political orientation
could be identified and inferred, thanks to the historians and chroniclers like Abu’l Fazl,
Muhammad Qasim Hindu Shah, Nizam-ud-din Ahmad, Abd-ul-Qadir Bada’uni etc, a
very peculiar and interesting way of looking at the reflections of his ideologies, via
architecture, reveals some of the most interesting and intimate information about the
Sultan-ul-Azam. He integrated different architectural styles into one, aiming to replicate
the heaven as described in Quran. The influence of his sufi masters, his reverence for the
religion of the land and an unending lust to dig out the truth is acknowledged by the still
standing monuments of his time. We’ll try to analyze the monumentality as well as
ideologies, if being reflected, in his architecture by focusing on some of the most
important buildings commissioned by Akbar and the significance of these buildings.

A home away from home.

Akbar just like his grandfather was cognizant of his alienation from his homeland, as he
was born away from his native land, while his father was in exile. This must have
inspired him to build landmarks that someway remind him of his ancestral roots. Thus,
many of Akbar’s architectural accomplishments bear a mark of Timurid dynasty. One of
such example is the Tomb of Humayun at Delhi. Even though the tomb was built on the
orders of Humayun’s first wife Bega Begum, it was looked after by Jalal himself. One of
the most important features of this monument is the division of the garden into four parts
called char bagh. This was a feature of Iranian architecture replicated in India.1 On
entering the complex of Humayun’s tomb, the geometric design appears to be the canvass
of Timurid architecture.2 This could also be because the chief architect of the
construction, Mirak Mirza Ghiyath Sayyed Muhammad was mostly commissioned to
work in Bukhara (Uzbekistan) and consequently got acquainted with the Timurid style of
architecture. While strolling in the dream city of Akbar, Fatehpur Sikri, you might be

1
Catherine B. Asher, Architecture of Mughal India, Cambridge University Press, 1992 pp 45
2
Ibid pp 46
able to identify a place called Turkish Sultana’s house where the design and
ornamentation is a harmonious mixture of Timurid tradition and Indian art.3

Make hay while the sun shines.

The thirst of Northern and Central India was sated with artisans from the times of
Chandelas and that of the Delhi Sultanate. It was a visionary acknowledgement to
recognize all these distinct artistic styles and bring them together that none other than
Akbar envisioned. He introduced these different indigenous architectural styles to the
Timurid style and the result was the beautiful city of Fatehpur Sikri. This place is a vivid
representation of Akbar’s ideologies and the monuments speak of their monumentality.
Akbar built this new capital that had architectural inputs not only from Muslim world but
incorporated indigenous genius from across India. This city is a fine exhibition of the
skill of local as well as foreign artisans. There might have been alarming differences
between the techniques, styles and expression of artisans working at Fatehpur Sikri,4 yet
the amalgamation of these differences is not merely smooth but even gives rise to a
completely unique style of architecture; the Mughal architecture.

One of the most noteworthy buildings inside Agra fort is the Jahangiri Mahal. This
building is very important as it represents the indigenous skill of both Hindus and
Muslims of Northern India. It features the ‘trabeated’ style of construction, where strong
horizontal blocks are placed over strong vertical pillars. This type of architecture could be
found in the monuments of Bundela Rajputs.5 Abul Fazl also observes that the buildings
within the Agra fort were built according to the ‘fine styles of Bengal and Gujrat’.6
Similar observations could be made at Fatehpur Sikri which hosts Jodha Bai’s palace.
Catherene B. Asher observed that the ornamentation of this palace stands in similarity to
the Gujrat traditions. The hanging chain and bell motifs within the palace are carved on
the pillars of Hindu and Muslim architectures of Gujrat and Bengal.7 Another palace of
interesting similarities is that of Raja Birbal. The Arch-type chandrashala was a feature
of pre-Islamic Indian architecture and continued during the sultanate period. This was
repeated in the Palace of Raja Birbal at Fatehpur Sikri.8 Akbar not only was open to the

3
Ibid pp 61
4
Asif Ali, Syncretic Architecture of Fatehpur Sikri : A Symbol of Composite Culture, Journal of Islamic Architecture,
pp 105
5
Catherine B. Asher, Architecture of Mughal India, Cambridge University Press, 1992, pp 50
6
Ibid pp 51
7
Ibid pp 66
8
Ibid
different styles of architecture but he showed no resentment in using Hindu motifs in his
buildings. In Fatehpur Sikri, Hindu motifs such as Padma (lotus), Kirtimukha (motif over
the pinnacle of a temple as used in south Indian Hindu traditions) could be easily
identified.9 Initiating from a Hindu style, evolved during Muslims of sultanate period,
this and many such features were incorporated by Akbar in his monuments, which also
gives a peek into his ideological evolution that had space for Hindu as well as Muslim
thought. Carla M. Sinopoli very righty observes:

“These "foreign" elements were merged with indigenous Hindu and Muslim elements to
create a new form of architecture and urban place by the two greatest builders among
the Mughal rulers, Akbar and Shah Jahan. Both of these rulers sponsored extensive
building programs, adding to existing cities and building entirely new cities their
capital”10

Catherine Asher makes a very apt observation about the impact of Quranic teachings on
the ideology of Akbar which could be seen at the Humayun’s tomb. The ideology of
Akbar is quite finely reflected in this architectural building where the water channel
passes from underneath the mausoleum and reappears from the other end.11 This could be
seen as an attempt of recreating what has been mentioned in Quran.

“Whoever obeys Allah and His Messenger, He will admit him to gardens beneath which
rivers flow, where he will live forever. That is a great success.”12

Akbar always had a keen eye for theological research. Consequently, he was attracted to
Sufi order of Islam. When he built Fatehpur Sikri he made a special consideration for the
construction of the Khankah of Shaikh Salim Chisti.13 Creating a semblance between the
tomb of the master of Chisti order, Moin-ud-din Chisti and Shaikh Salim Chisti Akbar
used the white marble for the construction of Shaikh Salim Chisti’s tomb.14

9
Asif Ali, Syncretic Architecture of Fatehpur Sikri : A Symbol of Composite Culture, Journal of Islamic Architecture,
pp 104
10
Carla M. Sinopoli, Monumentality and Mobility in Mughal Capitals, University of Hawai’i Press, 1994, pp 299
11
Catherine B. Asher, Architecture of Mughal India, Cambridge University Press, 1992, pp 45

12
AL-Quran. Chapter 4 Verse 13
13
Catherine B. Asher, Architecture of Mughal India, Cambridge University Press, 1992, pp 51
14
Ibid pp 57
The best of both worlds

The grandeur of buildings and architectural excellence was the reflection of state of a
nation. And consequently, architecture during the medieval times was closely linked to
the notions of state polity and kingship.15 One of the very striking features of Akbar’s
ideology as well as personality is depicted in the construction of the tomb of Adham
Khan, the murderer of Ataga Khan. The tomb of Adham Khan was built in octagonal
format.16 Such tombs were built by the Surs, who were considered to be traitors by the
Mughals. Thus, Akbar’s royal decree of respectfully constructing a tomb for a murderer
but subtly pass on the message of traitor-ship shows the persona of Akbar as a person
keenly interested in passing his message subtly via architecture. Another peep into the
mind of Akbar is the Diwan-e-Khaas at Fatehpur Sikri. A platform was raised in the
center of Diwaan-e-Khaas where Akbar sat and addressed the special audience. This was
an architectural representation of Akbar as the center and the soul of the empire.17 This
keen interest reflects the ideology of Akbar as an excellent craftsman with a keen eye of
monuments and understanding of the significance of minutest details. This is the reason
why this emperor is showered by praises by historians of his times such as Abu al-Fazl
who praised the architects of Akbar calling them ‘lofty-minded mathematicians’ with
‘geometry decoding mind’18

Carla M. Sinopoli while quoting Petruccioli makes an excellent observation with regards
Fatehpur Sikri, saying

“Akbar’s cities, especially Fatehpur Sikri, materially expressed the worldview that he
was actively creating.”19

According to Akbar, the plebian was to follow the King as their material as well as
spiritual guide. A monumental representation of this ideology is the ‘Public Audience
Hall’ at Fatehpur Sikri where at the center of the west wall is a pulpit erected. Thus when
people faced the King, they faced the Qibla. Catherene B. Asher suggests that this hints
towards the metaphor of Akbar as the qibla of the state.20 However, this might not
necessarily be the case because usually in Muslim empires, King is also considered to be
the spiritual guide of the empire and consequently behaves in a way a spiritual master

15
Ibid pp 39
16
Ibid pp 42
17
Ibid pp 63
18
Ibid pp 58
19
Carla M. Sinopoli, Monumentality and Mobility in Mughal Capitals, University of Hawai’i Press, 1994, pp 299
20
Catherine B. Asher, Architecture of Mughal India, Cambridge University Press, 1992, pp 60
would. And always is the case that the pulpit is erected with the back towards the qibla so
that the audience may face the qibla. Therefore, this construction does not necessarily
hint towards the metaphor of Akbar as the qibla of the state as suggested by Catherine B.
Asher.

In 1575, Akbar constructed a monument that also represents his religious ideology. It is
presumed that it was in Ibadat Khana , that Din-e-Illahi was born. What remains
extremely interesting is that the philosophy behind the construction of Ibadat Khana was
not to side with any particular religion but to find the mutual path between all religions
and ascertain a universal truth. As Syed Ali Nizam Rezavi observes that Ibadat Khana was
an “instrument to uphold the principle of reason and tolerance in the socio religious
context of time”21

And to discuss these religious (rather theological) ideologies, Akbar wanted a serious
discussion involving Saiyyads and among them the Saiyyads of ‘high standing’, learned
men and Shaikhs to be the rolling wheels of this place of deliberations.22 The monument
of Ibadat Khana is a monumentality as well as ideological reference of Akbar’s persona.

Conclusion.

The question of monumentality and ideology being reflected in the architectural buildings
of Akbar is a question worthy of deliberation, but what remains unvaryingly true about
architecture is that any monument, ever built, always narrates a story of its construction
(or destruction). But not every monument allows a peek into the mind of its
commissioner. Yet what remains unique about the buildings such as Humayun’s tomb,
Turkish Sultana’s House, Jehangir Mehal, Joda Bhai’s Palace, Birbal House, Khankah of
Shaikh Salim, Tomb of Adham Khan, Deewan-e-Khaas and Ibadat Khana is that all these
monuments allow us to know about the ideology of the king as well as the monumentality
of these buildings. The panoramic understanding of the empire that these buildings
provide is stunningly surprising and extremely significant.

21
Syed Ali Nadeem Rezavi, Religious Disputations and Imperial Ideology : The Purpose and Location of Akbar’s
IbadatKhan, Centre of Advanced Study in History, Aligarh Muslim University. pp198
22
Ibid pp 199