See the Mughals in their true colours

The court is where the padishah or emperor met ambassadors from foreign lands, exchanged news and gifts with courtiers and handed out judgments and sentences to criminals. Often royal ladies followed the proceedings from behind screens (see top left of image)

‘We were struck by misinformation around the Mughal emperors'

Excerpts from an interview with co-author Ashwitha Jayakumar

Why did you pick Mughal emperors as the subject for your book?
We decided on the Mughals partly because they are more knowable than older dynasties thanks to the incredible archive of primary sources available, and partly because there isn't an accessible history of the empire that narrates the story of the empire from origins to decline.

But as we worked on the book, we were also struck by the sheer amount of misinformation about the Mughals that's being disseminated - we wanted to present something that counters this, that is both fun to read and well-researched.

Tell us about the collaborative process when you and illustrator Nikhil Gulati planned and executed the book?

We wanted this book to make people see history as fascinating, interesting and relevant. Working on the project involved many, many conversations (and arguments) over how best to capture each emperor's life, how best to choose the information that allows us to see them as real people who lived in an extraordinary time, and whose actions were motivated by ambition, fear and love - much like ours in the present.

Nur Jahan, one of the most powerful women in the history of the Mughal Empire, was married to the fourth padishah, Jahangir. Nur governed estates in her own right, was deeply involved in political intrigue, and was the only queen whose name appeared on coins. On one occasion, she even led an army to rescue her husband from the clutches of a rebellious general

To achieve this, we knew the art would be as integral as the text. So much of what we know about the Mughals comes from their art, and we wanted to capture their visual culture, while also animating their story. So the book includes double-page spreads that were carefully chosen to highlight aspects of Mughal life, from what a king's court looked like, to the functions that gardens played to what a Mughal feast might entail. The art also helped us to more clearly narrate the events of the very complex, very confusing 18th century, when the empire splintered into many smaller principalities, and the number of people involved in court politics and battles can be overwhelming.

Who would you say the book is meant for?
Although the illustrations often make people think of it as a book ‘for children', I wrote it for an all ages audience. We've had all kinds of readers tell us they enjoyed it, from 10-year-olds to 70-year-olds; from people who are already interested in the Mughals to people who want an introductory history on the dynasty. The most gratifying thing is when a reader tells me that they previously thought of history as ‘boring', and that this book changed their mind. So I'd say it's really for anyone with even the slightest interest in Indian history.

A single feast could go on for hours and include 30 or more dishes. The early emperors brought with them the foods of Central Asia and Persia, to which their cooks added local spices and ingredients

What are your favourite sections in the book?
My favourite emperor chapter is the one on Aurangzeb Alamgir. He's such a controversial figure, and yet, when I began reading about his life and especially the letters he wrote, the humanity there is undeniable. I tried very hard to portray him as he was, warts and all. The spreads are hard to choose from but I do love the one that focuses on the women of the empire, who led far more exciting lives than we're led to believe, and the one that shows a Mughal marketplace, which displays exactly why so
many European traders were drawn to India.

Excerpted with permission from The Book of Emperors by Ashwitha Jayakumar and Nikhil Gulati, Penguin Random House