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A portion of the peasants who were converts were so oppressed, that they revolted . The result was an act of terrible cruelty, the massacre of all Christians; so that none remained openly to profess the Christian faith. THE MUGHAL EMPIRE. In the latter half of the fourteenth and in the fifteenth centuries, the most of India was ruled by distinct Mohammedan dynasties.
Information having reached him that the chief of Broach had murdered the principal adherent of the Mughal cause in that city, and had then made for the interior, passing within fifteen miles of Baroda, Akbar dashed after him with what troops he had in hand, and on the second night came in sight of his camp at Sársa, on the further side of a little river.
They were the principles of the widest toleration of opinion; of justice to all, independently of caste and creed; of alleviating the burdens resting on the children of the soil; of the welding together of the interests of all classes of the community, of the Rájpút prince, proud of his ancient descent and inclined to regard the Muhammadan invader as an outcast and a stranger; of the Uzbek and Mughal noble, too apt to regard the country as his own by right of conquest, and its peoples as fit only to be his slaves; of the settlers of Afghán origin, who during four centuries had mingled with, and become a recognised part of the children of the soil; of the indigenous inhabitants, always ready to be moved by kindness and good treatment.
There have been warriors, even within the memory of living men, who have made war support war. Upon that principle acted the Khorasání and Afghán barbarians who invaded India when the Mughal power was tottering to its fall. But that principle was not the principle of Akbar.
Under Aurangzeb, tolerant understanding gave way to a vicious proselytism and it was only in remote centres such as Bikaner that later Mughal artists exercised their style on Krishna themes. It is significant that at Bikaner their leader was a Muslim, Ruknuddin, and that his chief work was a series of pictures illustrating the Rasika Priya.
In the zenith of the Mughal empire these khil'ats were expensive honours, as the receivers were obliged to make rich presents to the emperor for the khil'ats they received. The khil'at is not necessarily restricted to a rich dress; sometimes, a fine horse, or splendid armour, &c., may form an item of it. The word pari, "a fairy," is frequently used figuratively to denote a beautiful woman.
The Emperor, still chivalrous, waited till he was ready, then dashed into and crossed the river, formed on the opposite bank, and 'charged the enemy like a fierce tiger. Another body of Mughal troops took them simultaneously in flank. The shock was irresistible. The rebels were completely defeated, their leader wounded and taken prisoner.
The manuscripts in question are at Bikaner and it is possible that one or two inferior Mughal artists, deprived of work at the central court, travelled out to this northerly Rajput state, daring the desert, and there produced these vapid works.
From then onwards Mughal painting, as it developed under the emperor Shah Jahan, concentrated on more courtly themes. The early interest in dramatic action disappeared and the demand for costly manuscripts, sumptuously illustrated, withered up.
The empire conquered south of the Sutlej by the Afghán predecessors of the Mughal had no claim to be regarded as the empire of Hindustán. It was rather the empire of Delhi, that is, of the provinces called up to the year 1857 the North-western Provinces, including that part of the Bengal Presidency which we know as Western Behar, and some districts in the Central Provinces and Rájpútána.
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