Tiziana Andina and Carola Barbero look at food as an object of aesthetic appreciation and artistic skill; in traditional understandings, food and art are seen as completely opposite things, with the former is linked to sustenance and necessity, while the latter appeals to emotion and creativity. Mohan Matthen perceives food as an art, precisely because of its savor; food, in itself, is also dynamic, interactive, participatory and fosters a unique kind of understanding between the creator and the audience.
Origin of the Mughlai cuisine
Delhi, through its varied and multifaceted layers of history, has been renowned for the myriad flavors and tastes that originated from within the narrow lanes of the city. One such genre is the Mughlai cuisine, which emerged during the Mughal rule from the 15th to the 18th centuries. It incorporated both the Central Asian flavors and techniques that the Mughals brought with them, as well as the culinary styles of the local Hindustani milieu. Some of the popular dishes include the quintessential biryani, kebabs, korma and the nihari among others.
Techniques
Cooking routines and food styles were an important aspect of the emperor’s daily life and personality, so much so, that there existed a Minister of Kitchen (Mir Baqawal), as mentioned in the Ain-i-Akbari; he was supplied with his own budget, attendants and numerous kitchen designations who worked under his command.
The Mughlai style of cooking was intended to be time-consuming in order to truly imbibe the spices and flavors of its ingredients. Curries and stews traditionally included butter, yoghurt, milk and cream along with spices such as saffron, cardamom and cinnamon. The use of a wide variety of spices was not just crucial for enhancing the flavor of the dishes, but also conveyed the symbolism of the wealth and prestige of the Mughal empire.
Some dishes were even adapted to vegetarian versions in order to blend with the religious customs of the subcontinent. Thus, lentils, vegetable curries and rice pilafs were also imbued with the same cooking techniques to be assimilated into the Mughlai genre. Dr. Madhumita Saha and Chhainyaa Lal also draw attention to the tandoor, a cylindrical clay oven which was introduced by the Mughals introduced into the culinary traditions of India. This method of cooking facilitated the preparation of meats, bread, and vegetables, resulting in dishes that are both tender and infused with a distinctive smoky flavor.
The Biryani
The biryani is perhaps one of the most trademarked dishes of the Mughlai cuisine; its origins can be traced back to ancient Persia, where the pulao or the pilaf was prepared with rice, meat and vegetables along with aromatic spices in a single pot. The word biryani itself is derived from the Persian ‘birian’ meaning to be fried before cooking. In the Mughal empire, the earliest record of biryani comes from Babur’s account, which mentions a dish made from rice, meat and spices. The Ain also mentions the biryani as being served at imperial banquets. This dish was further adapted according to local variations, for instance, the use of seafood such as prawns in many of the coastal regions of the subcontinent.
Kebabs
Another of the classic items in the Mughlai menu are the kebabs; Its beginnings can be traced to the Central Asian tribes, from where it spread across the globe. Derived from the Persian ‘kabab’ meaning to fry/roast, it refers to skewered meat which is mixed with flavorful spices and grilled over fire so that the meat acquires a succulent and smoky taste. The local styles of the subcontinent also led to the addition of herbs and local spices such as pepper, as well as nutmeg and clove which were imported from Southeast Asia.
Desserts
A variety of rich desserts such as firni, halwa, gulab jamun and jalebi were also incorporated into the cuisine, employing the use of milk, sugar, flour and nuts and spiced with traditional Mughal spices such as saffron and cardamom. The firni or phirni and the halwa is said to have originated in Persia or the Middle East, and the jalebi is believed to have migrated from West Asia (also travelling to Africa in the process) while the origins of gulab jamun remains ambiguous due to its long history (said to be either native to India or influenced by Persian desserts).
Economic importance
Food was also an important symbol for friendly and diplomatic relations; Mughal chronicles such as the Humayun Nama detail the dietary preferences and culinary requirements for serving to guests of the court. Aroma and presentation were also central to how the food was prepared and consumed; some sources claim that while dining etiquette and protocol were also crucial to mealtimes, the silverware and utensils itself were not so luxurious in appearance, perhaps because the food was so colorful and rich in flavor. Saha and Lal note that the Mughal meal consisted of several courses served at regular intervals, so as to maximize pleasure and enjoyment of the dining experience.
Food was also an important aspect of commercial and trade exchanges, thus becoming integral to the Mughal economy. Spices such as clove, nutmeg, cinnamon and pepper were traded not just for their culinary attributes, but also their medicinal properties. Rice, being a staple of the Mughal diet, was sourced from Bengal and Sindh, while sugar was also valuable in the Mughal market. Trade routes, in turn, contributed significantly to the interactions between cuisines; Lal and Saha note how the confluence of Persian, Central Asian, Indian and European influences in the making of the Mughlai cuisine was central to its diverse character.
Continuing legacy
More than its functional purpose, the Mughals treated food and the process of cooking as an art, to be appreciated according to its diversity and richness; the adaptive potential of their cuisine and the evolving nature of their palates reflect the interactions between Central Asian and Hindustani cultures that were constantly underway in the vast Mughal empire itself.
The Mughlai menu continues to linger in the narrow lanes of Old Delhi; according to the owner of the 108-year old Karim’s restaurant in the heart of the city, ““For us, almost nothing has changed aside from regional influences. The core of this patronage to authentic Mughlai food is built on the mantra of quality and consistency.” Another story of this beloved cuisine comes from the bawarchi families also nestled in Old Delhi; some of them do not even remember how exactly their families started in the culinary business, which reflects the generational dedication to the Mughlai recipes.
Conclusion
The culinary style established by the Mughal Empire set a precedent that influenced subsequent generations. Even in the wake of the empire’s decline with the colonial period, the rich culinary traditions continued to flourish at the courts of the Nizams of Hyderabad, the Nawabs of Lucknow, and the leaders of Murshidabad, Rampur, as well as among the rulers of Rajasthan and Kashmir. Today, the culinary styles of South Asia bear the enduring legacy of the Mughals, evident in the opulent and refined dishes served at formal banquets, hotel menus, as well as in roadside eateries and dhabas.
In almost all of such stories from across the city, the economic value of their business is less important than the familial commitment they have towards the Mughlai-style of cooking; one might think of this as similar to the enthusiasm and finesse that a craftsman devotes to his craft. In fact, according to chef Dominique Ansel, “If anything, food is a more intimate form of art compared to others, as it incorporates all of the senses.” Similarly, Elena Arzak also comments on the level of creative expression and awareness that is demanded by cooking as a discipline and presentation.
Sources:
1. lal, Chhainyaa and Dr.Madhumita Saha. “HISTORY OF FOOD IN MUGHAL EMPIRE” International Journal of Creative Research Thoughts, vol. 12, no. 5, 2024, pp. 193-198.
3. https://www.surfacemag.com/articles/is-food-art-experts-debate/
4. https://www.tastepak.com/p/history-of-mughal-cuisine
5. Andina, Tiziana, and Carola Barbero. “Can Food Be Art?” The Monist, vol. 101, no. 3, 2018, pp. 353–61.
6. Matthen, Mohan. “Can Food Be Art in Virtue of Its Savour Alone?” Crítica, vol. 53, 2021, pp. 95-125.