Mughal India in History & Memory
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Mughal Paintings of Hunt with Their Aristocracy
Arts and Humanities Open Access Journal Research Article Open Access Mughal paintings of hunt with their aristocracy Abstract Volume 3 Issue 1 - 2019 Mughal emperor from Babur to Dara Shikoh there was a long period of animal hunting. Ashraful Kabir The founder of Mughal dynasty emperor Babur (1526-1530) killed one-horned Department of Biology, Saidpur Cantonment Public College, rhinoceros and wild ass. Then Akbar (1556-1605) in his period, he hunted wild ass Nilphamari, Bangladesh and tiger. He trained not less than 1000 Cheetah for other animal hunting especially bovid animals. Emperor Jahangir (1606-1627) killed total 17167 animals in his period. Correspondence: Ashraful Kabir, Department of Biology, He killed 1672 Antelope-Deer-Mountain Goats, 889 Bluebulls, 86 Lions, 64 Rhinos, Saidpur Cantonment Public College, Nilphamari, Bangladesh, 10348 Pigeons, 3473 Crows, and 10 Crocodiles. Shahjahan (1627-1658) who lived 74 Email years and Dara Shikoh (1657-1658) only killed Bluebull and Nur Jahan killed a tiger only. After study, the Mughal paintings there were Butterfly, Fish, Bird, and Mammal. Received: December 30, 2018 | Published: February 22, 2019 Out of 34 animal paintings, birds and mammals were each 16. In Mughal pastime there were some renowned artists who involved with these paintings. Abdus Samad, Mir Sayid Ali, Basawan, Lal, Miskin, Kesu Das, Daswanth, Govardhan, Mushfiq, Kamal, Fazl, Dalchand, Hindu community and some Mughal females all were habituated to draw paintings. In observed animals, 12 were found in hunting section (Rhino, Wild Ass, Tiger, Cheetah, Antelope, Spotted Deer, Mountain Goat, Bluebull, Lion, Pigeon, Crow, Crocodile), 35 in paintings (Butterfly, Fish, Falcon, Pigeon, Crane, Peacock, Fowl, Dodo, Duck, Bustard, Turkey, Parrot, Kingfisher, Finch, Oriole, Hornbill, Partridge, Vulture, Elephant, Lion, Cow, Horse, Squirrel, Jackal, Cheetah, Spotted Deer, Zebra, Buffalo, Bengal Tiger, Camel, Goat, Sheep, Antelope, Rabbit, Oryx) and 6 in aristocracy (Elephant, Horse, Cheetah, Falcon, Peacock, Parrot. -
Jodhaa Akbar
JODHAA AKBAR ein Film von Ashutosh Gowariker Indien 2008 ▪ 213 Min. ▪ 35mm ▪ Farbe ▪ OmU KINO START: 22. Mai 2008 www.jodhaaakbar.com polyfilm Verleih Margaretenstrasse 78 1050 Wien Tel.:+43-1-581 39 00-20 www:polyfilm.at [email protected] Pressebetreuung: Allesandra Thiele Tel.:+43-1-581 39 00-14 oder0676-3983813 Credits ...................................................2 Kurzinhalt...............................................3 Pressenotiz ............................................3 Historischer Hintergrund ........................3 Regisseur Ashutosh Gowariker..............4 Komponist A.R. Rahman .......................5 Darsteller ...............................................6 Pressestimmen ......................................9 .......................................................................................Credits JODHAA AKBAR Originaltitel: JODHAA AKBAR Indien 2008 · 213 Minuten · OmU · 35mm · FSK ab 12 beantragt Offizielle Homepage: www.jodhaaakbar.com Regie ................................................Ashutosh Gowariker Drehbuch..........................................Ashutosh Gowariker, Haidar Ali Produzenten .....................................Ronnie Screwvala and Ashutosh Gowariker Musik ................................................A. R. Rahman Lyrics ................................................Javed Akhtar Kamera.............................................Kiiran Deohans Ausführende Produzentin.................Sunita Gowariker Koproduzenten .................................Zarina Mehta, Deven Khote -
Bollywood Lens Syllabus
Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences. -
Brief Historical Overview A. Indus Valley Civilization
Brief Historical Overview A. Indus Valley civilization (3,000-1,500 B.C.) 1. 3,000-2,000 B.C.: high civilization, urban, literate, settled agriculture; Harappa/Mohenjo Daro (first grid plan cities) 2. 2,000-1,500 B.C.: Indo-Aryan invasion, pushed Dravidians South, and brought an Aryan group which had a strong hierarchical division between priests, warriors and nomads, and a language similar to Sanskrit (an Indo-Aryan/Indo-European language) B. Vedic Age - 1500 – 1000 BC 1. Vedas: poetic Sanskrit hymns passed down orally for thousands of years ( mostly fire sacrifices, chants, and spells) 2. Rig Veda: 1028 Hymns of praise to Aryan gods (personified forces of nature). C. Classical period (600 B.C. to 600 A.D.): Articulation of Hinduism (Vedas, Upanishads, Bhagavad Gita); establishment of varna system (Brahmins, Kshatriyas, Vaishyas, Shudras) - which provided the foundation of the present jajmani system (to be discussed Week Three) D. Islamic period: invasion by Mahmud of Ghazni in 1057 A.D., from Afghanistan; followed by the Sultanate of Delhi (1206-1526); the great Mughal empire (1527-1857): best known emperors were Akbar, Jehangir and Shah Jehan (builder of the Taj Mahal); effective rule ended in 1748. Akbar created a political system which provided a synthesis of the great diversities in India, which provides a model for accommodation between groups today. [Note: Be thinking of this as we watch Jodhaa Akbar.] E. The British Raj 1. First entered as the British East India Company in Bengal. 2. Established various kinds of taxation and land tenure systems, and organized groups (e.g., tribes, zamindars) into new forms. -
The Conference Brochure
The Many Lives of Indian Cinema: 1913-2013 and beyond Centre for the Study of Developing Societies, Delhi 9-11 January 2014 1 Credits Concept: Ravi Vasudevan Production: Ishita Tiwary Operations: Ashish Mahajan Programme coordinator: Tanveer Kaur Infrastructure: Sachin Kumar, Vikas Chaurasia Consultant: Ravikant Audio-visual Production: Ritika Kaushik Print Design: Mrityunjay Chatterjee Cover Image: Mrityunjay Chatterjee Back Cover Image: Shahid Datawala, Sarai Archive Staff of the Centre for the Study of Developing Societies We gratefully acknowledge support from the following institutions: Indian Council for Social Science Research; Arts and Humanities Research Council; Research Councils UK; Goethe Institute, Delhi; Indian Council for Historical Research; Sage Publishing. Doordarshan have generously extended media partnership to the conference. Images in the brochure are selected from Sarai Archive collections. Sponsors Media Partner 2 The Idea Remembering legendary beginnings provides us the occasion to redefine and make contemporary the history we set out to honour. We need to complicate the idea of origins and `firsts’ because they highlight some dimensions of film culture and usage over others, and obscure the wider network of media technologies, cultural practices, and audiences which made cinema possible. In India, it is a matter of debate whether D.G. Phalke's Raja Harishchandra (1913), popularly referred to as the first Indian feature film, deserves that accolade. As Rosie Thomas has shown, earlier instances of the story film can be identified, includingAlibaba (Hiralal Sen, 1903), an Arabian Nights fantasy which would point to the presence of a different cultural universe from that provided by Phalke's Hindu mythological film. Such a revisionary history is critical to our research agenda. -
Module 3 Shah Jahan and Aurangzeb Who Was the Successor of Jahangir
Module 3 Shah Jahan and Aurangzeb Who was the successor of Jahangir? Who was the last most power full ruler in the Mughal dynasty? What was the administrative policy of Aurangzeb? The main causes of Downfall of Mughal Empire. Shah Jahan was the successor of Jahangir and became emperor of Delhi in 1627. He followed the policy of his ancestor and campaigns continued in the Deccan under his supervision. The Afghan noble Khan Jahan Lodi rebelled and was defeated. The campaigns were launched against Ahmadnagar, The Bundelas were defeated and Orchha seized. He also launched campaigns to seize Balkh from the Uzbegs was successful and Qandhar was lost to the Safavids. In 1632Ahmadnagar was finally annexed and the Bijapur forces sued for peace. Shah Jahan commissioned the Taj Mahal. The Taj Mahal marks the apex of the Mughal Empire; it symbolizes stability, power and confidence. The building is a mausoleum built by Shah Jahan for his wife Mumtaz and it has come to symbolize the love between two people. Jahan's selection of white marble and the overall concept and design of the mausoleum give the building great power and majesty. Shah Jahan brought together fresh ideas in the creation of the Taj. Many of the skilled craftsmen involved in the construction were drawn from the empire. Many also came from other parts of the Islamic world - calligraphers from Shiraz, finial makers from Samrkand, and stone and flower cutters from Bukhara. By Jahan's period the capital had moved to the Red Fort in Delhi. Shah Jahan had these lines inscribed there: "If there is Paradise on earth, it is here, it is here." Paradise it may have been, but it was a pricey paradise. -
Baburnama Bangla Pdf
Baburnama bangla pdf Continue literally: The Story of Babur or Letters of Babur; as ,' ;ﻧﺎﻣ :Supported by WBEIDC Ltd., supported by SSTIS Technologies Pvt Ltd Memoirs Babur, founder of the Mughal Empire Awards Ceremony at the court of Sultan Ibraham, before being sent on an expedition to Sambhal Beburnama (Chagatai /Persian an alternative known as Tuzk-e-Babri) - a memoir of the Ẓahīr-ud-Dev Muhammad Babur (1483-1530), the empire of the founder of the Great Moguls and great-grandson Timur. It is written in Chagatai language, known to Baburu as Turks (meaning Turkic), the colloquial language of asijan-timurids. During the reign of Emperor Akbar, the work was fully translated into Persian, the usual literary language at the court of the Mughals, the court of the Mughals, Abdul Rahim, in 998 AD (1589-1590). Translations into many other languages followed, mostly from the 19th century. Babur was educated by Prince Timurid, and his observations and comments in his memoirs reflect an interest in nature, society, politics and economics. His vivid account of events covers not only his own life, but also the history and geography of the areas in which he lived, as well as the people with whom he came into contact. The book covers such diverse topics as astronomy, geography, state craft, military issues, weapons and battles, plants and animals, biographies and family chronicles, courtiers and artists, poetry, music and paintings, wine parties, historical monuments tours, and reflections on human nature. Although Babur himself did not appear to have ordered any illustrated versions, his grandson began as soon as he was presented with a finished Persian translation in November 1589. -
Timur in the Political Tradition and Historiography of Mughal India
Cahiers d’Asie centrale 3/4 | 1997 L’héritage timouride : Iran – Asie centrale – Inde, XVe- XVIIIe siècles Timur in the Political Tradition and Historiography of Mughal India Irfan Habib Electronic version URL: http://journals.openedition.org/asiecentrale/500 ISSN: 2075-5325 Publisher Éditions De Boccard Printed version Date of publication: 1 October 1997 Number of pages: 295-312 ISBN: 2-85744-955-0 ISSN: 1270-9247 Electronic reference Irfan Habib, « Timur in the Political Tradition and Historiography of Mughal India », Cahiers d’Asie centrale [Online], 3/4 | 1997, Online since 03 January 2011, connection on 10 December 2020. URL : http://journals.openedition.org/asiecentrale/500 © Tous droits réservés Timur in the Political Tradition and Historiography of Mughal India Irfan Habib I. Timur’s image in India before the establishment of the Indian Timurid (“Mughal”) dynasty in 526, was naturally coloured by the experience of his invasion of 397-99. This can be seen from the account of this event in ,ahya Sihrindi’s T rikh-e Mob raksh hi, which was completed in .3., though the portion containing the account of Timur’s invasion was probably written much earlier . It was, therefore, practically contemporaneous with, and is certainly completely independent of, Sharaf al-Din 01li ,a2di’s afar-n ma, which was probably completed in .2.-5, and contains the most detailed version from the official Timurid point of view2. 1 compari- son of the two narratives is 3uite instructive. Despite some slips in the Indian account, li4e ma4ing Timur go to Multan from Tulamba, or placing his occupation of Delhi late by one month, it does give some dates and details of Pir Mohammad’s attac4 on 5chh and Multan, 397-98, which are lac4ing in ,a2di. -
Historiography of Mughal Period-An Analytical Study
Imperial Journal of Interdisciplinary Research (IJIR) Vol-2, Issue-6, 2016 ISSN: 2454-1362, http://www.onlinejournal.in Historiography of Mughal Period-An Analytical Study Dr. Shahina Bano Department Of History, Assistant Professor, Maharni’s Arts College For Women-Bangalore-1 Abstract: In the Mughal period an innovative class Moghul Empire and great grandson of Timur. It is of historiography- that of official histories or an autobiographical work.It was originally written namah- came in to vogue in india under Persian in the Chagatai language, known to baburas influence.Akbar introduced the practice of “Turk”(meaning Turkic), the spoken language of commissioning officials or others to write the the Andijan-Timurids. Babur’s prose is highly history of his new empire giving them access for Persianised in its sentences structure, morphology, this purpose to state records.This practice and language. It is also contains many pharases and continued down to the reign of Aurangzeb who, smaller poems in Persian.During the Emperor’s however, stopped it in his eleventh regnal reign, the work was completely translated to year.Besides,, such official histories, biographical Persian by a Moghul courtier, Abdul Rahim, in works great historical interst were also produced (1589-90) during the period under survey. And we not entirely dependent upon chroniclers; we have in some Baburnamah can be divided into three Parts. The instances contemporary, independent historians. first part begins with his accession to the throne of The historians of the Mughal Period did not Fargana and ends with his driving out from his develop any philosophy of history from which flight to his last invasion of lndia. -
Art in Between Empires: Visual Culture & Artistic
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Columbia University Academic Commons ART IN BETWEEN EMPIRES: VISUAL CULTURE & ARTISTIC KNOWLEDGE IN LATE MUGHAL DELHI 1748-1857 Yuthika Sharma Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Yuthika Sharma All rights reserved ABSTRACT Art in between Empires: Visual Culture & Artistic Knowledge in Late Mughal Delhi 1748 -1857 Yuthika Sharma This dissertation focuses on the artistic culture of late Mughal Delhi spanning the last century of Mughal rule and the administration of the English East India Company in North India, from the mid-eighteenth to the mid-nineteenth centuries. It brings a hitherto unrecognized period of artistic accomplishment to light and studies the transformations within painting culture in the multicultural Anglo-Mughal society of Delhi. Rather than being fixated on the continuum of Mughal painting over centuries, this dissertation suggests that the art of the late Mughal period should be studied on its own terms as a response to immense socio-political and cultural changes. At its core this study is concerned with dissolving the stylistic barriers between Mughal and Company painting in the late eighteenth and nineteenth centuries. I take up the question of what the term ‘late Mughal painting’ entails and discuss how the term privileges the notion of a court centric culture of painting in an era when the Mughal court was only one of many venues of artistic expression. On the other hand, I highlight the inadequacy of the term ‘Company painting’ to address the variegated nature of works produced under East India Company patronage in this period. -
Examining Slavery in the Medieval Deccan and in the Indian
TCNJ JOURNAL OF STUDENT SCHOLARSHIP VOLUME XIV APRIL 2012 FROM AFRICAN SLAVE TO DECCANI MILITARY AND POLITICAL LEADER: EXAMINING MALIK AMBAR’S LIFE AND LEGACY Author: Riksum Kazi Faculty Sponsor: Adam Knobler, Department of History ABSTRACT This paper examines the career of Malik Ambar (1549-1646). Originally an African slave soldier, he gained power in the regional politics of medieval India. Study of his life illustrates the dynamics, complexity, and politics of military slavery in the Deccan and India. INTRODUCTION Although fewer Africans were transported to the Indian subcontinent than to the Americas, they played a significant role in Indian history.1 Malik Ambar gained control of a sizable Deccani sultanate and transcended the traditional role of slave by resisting the Mughal Empire‘s armies and maintaining the socio- economic structure of the Deccan. Despite his accomplishments, Ambar he has been forgotten by historians for a variety of political, religious, and ethnic reasons. A note on terminology: in this paper, the word slave, unless otherwise indicated, connotes people of African heritage in involuntary servitude. The term Habshi refers to African slaves from the hinterlands of Ethiopia and the Sudan.2 THE DECCAN: GEOGRAPHIC BACKGROUND The Deccan, the principal geological region of Central India, is divided into five major areas: the Western Ghats, comprised of the Sahyadri range and coastal region near those mountains; the Northern Deccan plateau; the Southern Deccan plateau; the Eastern plateau; and the Eastern Ghats, including the Bengali coastal region. Its landscapes and climates vary from cold mountains to warm coastal plains.3 Moreover, the region was populated by speakers of Sanskrit, Tamil, Gujarati, Marathi, Persian, and Urdu and practicers of Hinduism and Islam. -
Francesca Galloway
FRANCESCA GALLOWAY INDIAN PAINTINGS 1450 -1850 Catalogue by JP Losty 11th June - 20th July 2018 It is our great pleasure to introduce this group, rich in the coming year is to be decided by God. It is per- in early Mughal and pre-Mughal paintings, many of haps telling that so much of the energy of the Mughal which come from an important private collection. art of this period (the mid-18th century), when the Among this group are three folios from the first il- empire is beginning to decentralize and to decline lustrated Baburnama (cat. 5 – 7) (also known as the politically and economically, can be seen to go into V&A Baburnama), an extraordinary memoir de- the lavish detailing of courtly celebration. This is tailing the nomadic life of the Central Asian prince reflected here in the sumptuous display of conspicu- Babur, displaced from his home and in search of ous wealth, with intricately illustrated fireworks and a kingdom fit for his Timurid ancestry – an ambi- hanging lakeside lanterns, a gaudy elephant-shaped tion realised at last with his conquest of Delhi and candelabra and attending musicians, in a scene full of founding of the Mughal empire. This particular copy opulent costumes, jewels and sweetmeats. was an important event in itself, commissioned by Babur’s grandson Akbar and translated into Persian There are several fine and characterful Pahari paint- for the first time in the 1580s. In a sense this was a ings. Cat. 20 sees Raja Mahendra Pal of Basohli political act, an illustrated manuscript to enact the setting out for an expedition with his man ladies.