Each statement is evaluated against historical facts to determine its accuracy.
(A) Guru Arjan compiled Guru Nanak’s hymns in the Adi Granth Sahib. This statement is accurate. Guru Arjan, the fifth Sikh Guru, compiled the hymns of Guru Nanak, other Sikh Gurus, and saints into the Adi Granth Sahib.
(B) Guru Tegh Bahadur laid the foundation of the Khalsa Panth. This statement is inaccurate. Guru Gobind Singh, the tenth Sikh Guru, established the Khalsa Panth in 1699.
(C) Guru Nanak composed the Guru Granth Sahib. This statement is inaccurate. Although Guru Nanak's hymns are part of the Guru Granth Sahib, he did not compose the entire text; Guru Arjan was responsible for its compilation.
(D) Mirabai was a Maratha princess. This statement is inaccurate. Mirabai was a Rajput princess, not a Maratha princess.
(E) Mirabai was a Rajput princess. This statement is accurate. Mirabai was a Rajput princess, hailing from the Merta kingdom in Rajasthan.
Consequently, statements (A) and (E) are correct.
Therefore, the correct selections are (A) and (E) exclusively.
The imperial karkhanas
Bernier is perhaps the only historian who provides a detailed account of the working of the imperial karkhanas or workshops:
Large halls are seen at many places, called karkhanas or workshops for the artisans. In one hall, embroiderers are busily employed, superintended by a master. In another, you see the goldsmiths; in a third, painters; in a fourth, varnishers in lacquer-work; in a fifth, joiners, turners, tailors and shoe-makers; in a sixth, manufacturers of silk, brocade and fine muslins …
The artisans come every morning to their karkhanas where they remain employed the whole day; and in the evening return to their homes. In this quiet regular manner, their time glides away; no one aspiring for any improvement in the condition of life wherein he happens to be born.
Analyse the relationship between the Mughal empire and its artisans.
The imperial karkhanas
Bernier is perhaps the only historian who provides a detailed account of the working of the imperial karkhanas or workshops:
Large halls are seen at many places, called karkhanas or workshops for the artisans. In one hall, embroiderers are busily employed, superintended by a master. In another, you see the goldsmiths; in a third, painters; in a fourth, varnishers in lacquer-work; in a fifth, joiners, turners, tailors and shoe-makers; in a sixth, manufacturers of silk, brocade and fine muslins …
The artisans come every morning to their karkhanas where they remain employed the whole day; and in the evening return to their homes. In this quiet regular manner, their time glides away; no one aspiring for any improvement in the condition of life wherein he happens to be born.
How did the crafts in the karkhanas reflect the cultural diversity of the Mughal empire?
The imperial karkhanas
Bernier is perhaps the only historian who provides a detailed account of the working of the imperial karkhanas or workshops:
Large halls are seen at many places, called karkhanas or workshops for the artisans. In one hall, embroiderers are busily employed, superintended by a master. In another, you see the goldsmiths; in a third, painters; in a fourth, varnishers in lacquer-work; in a fifth, joiners, turners, tailors and shoe-makers; in a sixth, manufacturers of silk, brocade and fine muslins …
The artisans come every morning to their karkhanas where they remain employed the whole day; and in the evening return to their homes. In this quiet regular manner, their time glides away; no one aspiring for any improvement in the condition of life wherein he happens to be born.
How did Bernier’s description reflect the economic significance of the karkhanas in the Mughal empire?