The Emperor
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Click here for an audio guide by Srila Chatterjee
The Emperor was called Jalal-al Din [Glory of the Faith] but was intrigued by the theosophy of different religions. Unable to read, Akbar patronised translations, illustrated manuscripts, and fostered debates. His was the reign of cultural encounters: foreigners were welcome as long as they brought exotic gifts, stories, and images. Some ideas took root and flourished. The repertoire of architecture grew with Akbar, as brackets and jālis became a part of Mughal design.
To honour the Emperor’s multicultural mindset, a master tazia-maker crafted a monumental pishtaq [arched gateway or a portal], with stars decorating its border. Inside this Islamic structure, a symbol of Buddhism and Hinduism– the lotus – sits comfortably next to a Christian cross. Vintage black and white photos tell of more tolerant times, as pigeons flit about, totally unconcerned with Akbar’s monumental legacy.
Size: height 72 in. x breadth 28.5 in. x depth 6.5 in.
Materials: One panel from a folding room- divider, tazia screen, discarded old photos, pigeons made from layered sunboard, copper wires taken from burnt machinery, vintage ceramic tile, found wood and metal cross, MDF lotus by Meera Dabir, scrap metal sheet, wooden cow head, brass jewellery scrap, found gudri fabric, and scrap metal flowers.