V&A exhibition celebrates Mughal art and architecture’s timeless legacy
Rare manuscripts and masterpieces highlight Indian rulers' patronage of fine art
A
carpet displayed at the V&A; artefacts crafted from
mother of pearl, rock crystal, jade, and precious metals;
a model of Mumtaz Mahal’s cenotaph; bejewelled
daggers and a spoon; a painting of Akbar handing the
imperial crown to Shah Jahan in Jahangir’s presence;
another painting from the same era; Susan Stronge;
and a portrait of Shah Jahan holding an emerald by
Muhammad ‘Abed, with borders by Harif
By Amit RoyNov 16, 2024
OF COURSE, we Asians know all there is to know about Mughal history from two impeccable sources.
One is K Asif’s classic 1960 movie, Mughal-e-Azam, which stars Prithviraj Kapoor as the emperor Akbar, who forbids his son, Salim (Dilip Kumar) from pursuing his doomed love affair with a dancing girl, Anarkali (Madhubala).
And then those of us who are scholars of Mughal history have relied on the 2008 film, Jodhaa Akbar, in which the young Akbar romances a Rajput princess, Jodhaa Bai of Amber. They were played by Hrithik Roshan and Aishwarya Rai, respectively.
And so we are well prepared for our trip to the V&A to see The Great Mughals: Art, Architecture and Opulence. It’s so exquisite that I bought both the catalogue and the poster. The exhibition has been curated by Susan Stronge, senior curator in the V&A’s Asian department. One of the world’s leading experts on Mughal art, this is her swansong before she retires.
“This is the first exhibition to reveal the internationalist art and culture of the Mughal court,” she said. “Hindustani artists, Iranian masters and even a few Europeans came together in the imperial workshops to create a new, hybrid art. We are pleased to display some of their greatest creations, many of which have never been exhibited before.”
Somewhere in the exhibition are the words of the Sufi poet and scholar, Amir Khushrow (1253-1325): “If there is Paradise on earth, it is this, it is this, it is this.”
If there is an artistic paradise in London, then this exhibition at the V&A is it. It also proves that the Mughals, their art, culture and civilisation have always been an integral part of India.
The exhibition has an evocative video of the magical Taj Mahal in Agra, along with marble work from the mausoleum. I have been there a few times, seen it at dawn, at noon and at night and especially remember the trip with Princess Diana (the poor girl called it a “healing experience”).
The decoration of the Taj Mahal introduced a style that profoundly influenced all the arts of Shah Jahan’s reign. Blossoming plants and flowers were carved in stone, woven and embroidered on textiles, painted in the borders of albums and enamelled in gold on objects made for the court. These stylised blossoms evoke an ideal world in which they would live forever, untouched by decay, disease, famine or poverty. They proclaim the empire as a garden of paradise under the emperor’s just rule. And it was this which made Khushrow utter his famous words.
The exhibition showcases more than 200 objects across three sections spanning the reigns of Emperors Akbar (1556- 1605), Jahangir (1605-1627) and Shah Jahan (1628-1658) and celebrates the craftsmanship and creativity of their court workshops.
Rarely shown paintings and illustrated manuscripts not seen for a generation are displayed alongside delicate textiles, brilliantly coloured carpets and fine objects made of mother of pearl, rock crystal, jade and precious metals, the V&A points out.
The Mughal dynasty was founded in 1526 by Babur, a Timurid prince and ruler from Central Asia. At its peak, it was one of the wealthiest and most progressive empires in the world, and extended from Kabul in present-day Afghanistan, to the borders of the Deccan sultanates in the south, and from Gujarat in the west to present-day Bangladesh in the east.
Susan Stronge
The golden age of Mughal art lasted from about 1580 to 1650 and spanned the reigns of the three emperors. The imperial workshops employed Hindu and Muslim artists and craftsmen from across the newly conquered territories. Persian was the cultural language of the multilingual empire, which attracted skilled Iranian painters, calligraphers, architects and many others to the wealthy, cosmopolitan court. This exhibition traces the creation and evolution of a distinctively Mughal art. From jewelled vessels to richly coloured velvets and the art of the book to architecture, it examines the many techniques and conventions that were constantly absorbed and reimagined.
As children growing up in India, we were taught that Akbar was, as PG Wodehouse would put it, a thoroughly good egg (despite not allowing Salim to marry the girl he loved in Mughal-eAzam). He was 14 when he suddenly became emperor. He proved to be one of the greatest rulers in Indian history.
Akbar constantly encouraged innovation and c r e a t i v i t y . Workshops supplied his court with luxury products made by craftsmen from across the empire and from Iran. From the 1580s, they started to absorb elements of European art brought by Jesuit missionaries who came to Akbar’s court from the Portuguese territory of Goa. All of these different traditions were combined to create a vibrant new art.
For the Iranian festival of Nowruz (New Year), the court was decorated with luxurious textiles and carpets. Akbar championed new crafts and established court workshops, including goldsmiths and the House of Books. Precious objects made in these workshops are on display, including two rarely seen folios from the colourfully illustrated volumes of the Hamza-Nama, or Book of Hamza, commissioned by the emperor in the 1570s.
Jahangir continued his father’s legacy of artistic patronage. Jade from Khotan on the Silk Route was made into exquisite vessels for the emperor. The technique of enamelling, probably learned from Europeans, became one of the great Mughal arts. The dazzling appearance of the court inspired Sir Thomas Roe, England’s first ambassador to the Mughal emperor, to write to Prince Charles (later King Charles I) that Jahangir’s empire was “the treasury of the world”.
Under Jahangir, when the court, the royal household, servants and officials transferred from one major city to another, they were invariably accompanied by artists and craftsmen.
Shah Jahan became emperor after his father died in 1627. His coronation began a reign renowned for its sumptuous artistic production and its unified style. The vast wealth accumulated in the imperial treasuries allowed the ruler to follow his passion for architecture and to commission extravagant jewelled artefacts.
This unprecedented harmony in Mughal art was inspired by the Taj Mahal. Shah Jahan’s wife Arjumand Banu Begum, entitled “Mumtaz Mahal”, died giving birth to their 14th child. Within days, the grief-stricken emperor began planning a grand mausoleum for her in Agra, set within a large formal garden. The flowering plants, carved on its walls and inlaid in jewel-like colours on her white marble cenotaph, influenced artistic production at all levels.
Across the empire, artisans in specialist workshops replaced traditional patterns with blossoms in the new court style. Floral motifs were carved on emeralds, enamelled on gold vessels and weapons, and painted on the borders of album pages.
The Great Mughals: Art, Architecture and Opulence runs at the V&A until May 5, 2025.
From the blood-soaked backstreets of Dhaka to the polished kitchens of Manhattan’s elite, K Anis Ahmed’s new novel Carnivore is as imaginative as it is provocative. A satirical thriller steeped in class tension, culinary obsession and primal survival, Carnivore follows Kash, a Bangladeshi immigrant-turned-chef who launches a high-end restaurant serving exotic meats – only to become embroiled in a sinister world of appetite and ambition.
But this is no simple tale of knives and recipes. Ahmed – a seasoned journalist, publisher, and president of PEN Bangladesh – brings a sharp eye to the grotesqueries of power and privilege. In this exclusive interview with Eastern Eye, he speaks about his passion for food, the moral murkiness of his characters, and why even the most ordinary people can spiral into extraordinary darkness.
A compelling premise, layered and unpredictable charactersAMG
What first connected you to writing?
I have been an avid reader since childhood – starting with Bengali and Russian fairy tales, before moving on to Enid Blyton and Agatha Christie. In my teens, I discovered Somerset Maugham and Graham Greene. Their travel writing sparked my imagination. The idea of being a wanderer through the world as a writer captivated me and pulled me toward writing as a vocation.
What inspired your new novel Carnivore?
I lived in New York for a time and love the city. I have always had a strong interest in food and found the idea of running a café, bar or restaurant quite enticing. Since I could not do it in real life, I created one in fiction – and let it go in some wild directions.
Tell us a little about the story.
It is about a young immigrant, Kash, who runs a wild game restaurant in downtown Manhattan. When the 2008 financial crash hits, his investors and clientele disappear. To stay afloat, he turns to hosting private dinners for the super-rich. In chasing a gig for a secretive billionaire’s dining club – while also dealing with a Russian money-lender – things soon spiral out of control.
What drew you to the culinary aspect?
It came from my passion for food and cooking. But cooking, for me, is more than just food – it is about identity, values and cultural expression.
As a writer, how do you develop the darker elements in a story like this?
It usually begins with a simple ‘what if’. I ask myself: how far could a seemingly ordinary person be pushed, given enough pressure or temptation? And who might they take down with them?
What inspired the title?
It was suggested by my brilliant agent, Charlie Campbell. The title captures not just the wild game theme, but also the broader idea of appetite – its excesses, its destructive potential.
Anyone who enjoys a gripping story with a diverse cast and unexpected twistsHarperFiction
What was the biggest challenge in writing the book?
Making the ultimate meal they plan feel believable – both to Kash and his team, and to the clients. None of these characters are inherently sociopathic. I wanted to explore the extremes that ordinary people might reach when driven by circumstance.
What is your favourite part of the book?
There is an episode where they go “hunting” for a peacock – I really enjoyed writing that. The backstory draws from my own memories of Eid-ul-Azha in Dhaka, where animal sacrifices take place in driveways and courtyards. It is surreal to see such rituals on such a scale in a modern city.
Who are you hoping the novel resonates with?
Anyone who enjoys a gripping story with a diverse cast and unexpected twists. It is for fans of crime thrillers, but also for general fiction readers who like discovering new subcultures – and morally daring propositions.
What do you enjoy reading, and do you have a favourite author?
I read a lot – both fiction and non-fiction, from science to history. The novel is my greatest love, and my favourite authors span classics and contemporaries. Some recent writers I have particularly enjoyed include Paul Beatty, Alejandro Zambra, Rachel Kushner and Ottessa Moshfegh.
What inspires you as a writer?
Intriguing ‘what if’ ideas, morally complex characters and the challenge of crafting sentences that feel exactly right.
What are you working on next?
I am working on a story where a seemingly normal person slowly descends into sociopathy. I want to explore how someone can unravel and become unrecognisable from who they once were.
What, in your view, makes a great novel?
A compelling premise, layered and unpredictable characters, and prose that is fresh and evocative – without being overwrought.
Why should readers pick up your new book?
Because it is a truly fun read – simple as that.
Carnivore by K Anis Ahmed is published by HarperFiction, £16.99.
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In an industry long regarded as a boys’ club, Sharma brings a refreshingly unapologetic approach
As the world prepares for the second edition of the World Championship of Legends (WCL), one of its most exciting franchises, the Meteora England Champions, is being led by a compelling force. Mahima Sharma is not just making her mark in cricket – she is quietly redefining leadership in a male-dominated industry.
In an industry long regarded as a boys’ club, Sharma brings a refreshingly unapologetic approach. She is strategic, deeply rooted in her love for the game, and proudly feminine. “Cricket has always felt like home to me,” she says. “I come from a culture where cricket is an emotion, and stepping into this role carries a great deal of responsibility. Growing up, I saw very few women leaders in cricket. To now find myself in this position 15 years later feels like coming full circle.”
As co-owner and the driving force behind the Meteora England Champions, Sharma is part of a small group of women leading professional cricket teams. For her, this is not about tokenism, it’s about legacy. “I do not want to be the exception,” she says. “I want to be part of a movement where women leading in sport is normalised. As more women step into leadership, we must not only create space but also change the environment so others can thrive.”
The journey has not been without its obstacles. Sharma recalls the doubt she encountered in the early days. “You walk into certain rooms and feel it – the unspoken question of how a twenty-something woman is in charge,” she says. But instead of backing away, she leaned in. “I chose not to internalise that doubt. I focused on proving myself through action.”
Each branding move, player decision, and strategic step has helped reshape perceptions. “We are not here to just participate. We are here to lead – with vision, knowledge and authenticity.”
Sharma’s leadership story is closely tied to her family. She co-owns the team with her father, a self-made entrepreneur who built the wider Meteora Group. Their dynamic is one of mutual respect. “We do not always agree – and that is our strength. We challenge each other, and that leads to better decisions.”
This blend of tradition and innovation shapes how she runs the team. From revamping fan experiences to reviving iconic rivalries, Sharma brings together nostalgia and bold new energy. “We are embracing history while writing new chapters,” she says. “Through storytelling, digital content and match-day experiences, we are bringing legends back into the spotlight in meaningful ways.”
Those legends include the likes of Eoin Morgan and Alastair Cook – cricketing greats now representing Meteora. “It has honestly been a dream,” Sharma says. “These players are not just icons – they are grounded, inspirational, and passionate about the future of the game.”
The team is also shaped by dynamic women behind the scenes. One key figure is Bhakti Bansal, the team’s creative strategist. “Her leadership has helped shape how the Meteora brand speaks and connects,” Sharma says. “It is not about having women in leadership for the sake of it – it is about having the right leadership.”
Empowerment runs through Sharma’s journey. She is not content with simply climbing the ladder – she wants to rebuild it. “As more women take on leadership roles, we carry the responsibility not just to make space, but to transform the environment so others can thrive.”
As WCL enters its second season, Sharma is scaling upwclegends.uk
For Sharma, inclusivity and creativity are core values. “It starts internally. Our team is deliberately diverse – not just in terms of gender or ethnicity, but in background and thinking styles.” This inclusivity informs every decision, from interns to executive planning. “Everyone has a seat at the table.”
As WCL enters its second season, Sharma is scaling up. “The challenge is in the scale and speed – logistics, player schedules, fan engagement, sponsorships. But the challenges are real, and so is our drive.”
Asked what message she would give young women pursuing careers in sport or business, Sharma is clear. “You do not have to choose between being passionate and being powerful. You do not need all the answers on day one – but you do need to believe you belong.”
Her approach is grounded in authenticity. “Resilience and self-awareness are everything. You must know who you are and hold your ground, even when you do not see yourself reflected in the room.”
She adds, “You can be assertive without being abrasive, strategic without being cold, and emotional without being weak.”
Despite the pace and pressure of running a franchise, Sharma’s love for cricket keeps her grounded and ambitious. “It is still my greatest passion,” she says. But she is open to other opportunities if they align with her values.
At the heart of her leadership is a principle passed down from her father: “Build long-term relationships based on trust.” It is a value she holds close as she navigates partnerships, negotiations and team dynamics.
When she needs inspiration, she turns to her support system. “My family, my friends, my dog Lexi – and the fans. Just being in a packed stadium, hearing the cheers, wearing your team’s jersey – that feeling is unmatched.”
Sharma closes with a simple yet powerful philosophy: “We walk into the room each day with a game plan, positive energy, and a clear vision.”
As the second season of WCL approaches, it is clear that Mahima Sharma is building more than a cricket team – she is building a legacy. One that says, without apology: the future of sport belongs to everyone. And yes, that includes the women who dare to lead.
The World championship of legends cricket 2025 takes place from July 18 – August 2. wclegends.uk
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The Turkey wildfires have not been limited to Izmir
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At least 550 people evacuated from homes in the region
Over 600 personnel deployed to contain the blaze
Strong winds and heat raise risk of further fires
Wildfires force airport shutdown in Turkish holiday hotspot
Hundreds of UK tourists, including several from Glasgow, have been left stranded after major wildfires swept through a popular holiday destination in western Turkey, forcing the closure of Izmir Adnan Menderes Airport.
The blaze broke out in the resort town of Foça, near Izmir, and was rapidly intensified by strong winds, prompting large-scale evacuations and flight disruptions. All operations at the airport were suspended from 4 pm local time due to ongoing extinguishing efforts, with multiple flights reportedly diverted.
More than 550 residents were evacuated from 175 homes in the Ilıpınar district, while emergency crews battled the fire for over 22 hours. The extensive response included 625 personnel, 46 fire engines, six helicopters, nine bulldozers and 13 water tankers.
Dramatic footage showed aircraft dropping water over the blaze in an effort to slow its spread. Authorities are still investigating the cause of the fire.
Süleyman Elban, Governor of Izmir Province, has urged residents and visitors to remain cautious, citing the combination of high temperatures and low humidity as factors that could lead to additional fires.
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FILE PHOTO: A mother and daughter sit atop the Covid memorial wall on September 9, 2024 in London, England. (Photo by Carl Court/Getty Images)
THE Covid inquiry has started examining how the pandemic affected care services for older and disabled people, with families describing the crisis as one of the worst failures of the pandemic.
Nearly 46,000 care home residents died with Covid in England and Wales between March 2020 and January 2022, with many deaths happening in the first weeks of the outbreak.
Families have waited years for this part of the inquiry, which will look at key decisions including why hospital patients were moved quickly into care homes in March 2020 without being tested for Covid.
Pete Weatherby KC, representing bereaved families, told the inquiry that a top government official had called what happened a "generational slaughter" in care homes.
"We call out the callous way that family members were treated by politicians and policy makers, referring to them as bed blockers and people nearing the end regardless of the virus," he said.
The inquiry heard how care homes were told to take patients from hospitals to free up beds. Between early March and early June 2020, around 25,000 patients were moved to care homes, many without Covid tests.
Government advice on April 2, 2020 said "negative tests are not required" before patients went to care homes. This only changed on April 15, 2020.
A 2022 High Court ruling found this policy was unlawful because it failed to consider the risk to vulnerable care home residents.
Geraldine Treacy's mother Margaret Stewart died in a care home in Northern Ireland. She said: "The home had to accept people from the hospital, who hadn't been tested and subsequently they became very sick."
She described visiting her mother while wearing protective gear: "She couldn't see who I was and she was very, very upset. She was 87 and she was screaming for her mum."
Care workers described being left without proper protective equipment and testing kits early in the pandemic. One worker in Durham said their home lost 25 residents in three weeks.
"Once Covid was in our care home, it spread like wildfire and we could not do anything about it," they said. "At one point, 67 out of 87 residents tested positive."
Staff had to help families say goodbye over video calls. One worker recalled holding a resident's hand up to an iPad screen so his daughter could pretend to hold hands through the screen as he died.
The inquiry will also examine why "do not resuscitate" orders were placed on some elderly residents without their agreement, and policies that stopped families visiting for months.
Maureen Lewis, who manages St Ives Lodge care home in northeast London, lost seven residents to Covid. She remains angry about former health secretary Matt Hancock's claim in May 2020 that the government had "thrown a protective ring around care homes".
"There was no ring of protection for care homes at all," she was quoted as saying. "He needs to take accountability for the decisions he made."
Hancock will give evidence on Wednesday (2). Bereaved families say they want him to "tell the truth" about decisions made during the pandemic.
Jean Adamson, whose father Aldrick died with Covid in April 2020, called the hospital discharge policy "reckless".
"The way that my father and tens of thousands of other care home residents were sacrificed really gets me because I think it smacks of ageism and disability discrimination," Adamson said. The inquiry is expected to last five weeks, with 55 witnesses giving evidence. The final report will not be published until next year.
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Scarlett Johansson has reflected on how Hollywood roles for women have evolved, admitting that early in her career, most of her characters were written to serve male-driven storylines. Speaking in an interview, the actress said the landscape has changed, with more nuanced opportunities for women on screen.
The Black Widow star, who began acting at nine, noted a shift in the kinds of roles she’s being offered now. “When I was younger, a lot of the roles I was offered had their ambitions or arcs revolving around their desirability or the male gaze,” she said. “That is less frequent now; something has shifted.”
Scarlett Johansson opens up about breaking free from early typecastingGetty Images
Johansson says more complex roles are finally being written for women
The 39-year-old actress acknowledged that the film industry is slowly embracing more layered portrayals of women. “The messaging is different now; there are more role models, women in visible and powerful positions, and roles that aren’t just one-note,” she said.
Scarlett has long been vocal about the way she was sexualised early on in her career. In a 2022 interview, she admitted that being objectified in Hollywood made her fear she’d be stuck playing the same type of roles. “I kind of became pigeonholed… I remember thinking, ‘I think people think I’m 40 years old,’” she said.
Johansson reflects on her childhood stardom and evolving careerGetty Images
From child star to filmmaker, Johansson now takes control of the narrative
Having debuted in North (1994), Scarlett went on to star in Lost in Translation, The Horse Whisperer, Ghost World, and the Avengers franchise. Now, she’s not just acting; she’s also directing. Her first feature, Eleanor the Great, premiered at Cannes in May.
From Avengers to auteur Scarlett Johansson embraces creative control Getty Images
Alongside her current role in Wes Anderson’s The Phoenician Scheme, she has Jurassic World Rebirth, which hit theatres on 2 July. After decades in the business, Johansson seems to finally be stepping into a space where she can define her own story, both on and off the screen.