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215 the History and Practice of Naming Streets in Delhi
International Journal of Advanced Research and Development International Journal of Advanced Research and Development ISSN: 2455-4030, Impact Factor: RJIF 5.24 www.advancedjournal.com Volume 2; Issue 3; May 2017; Page No. 215-218 The history and practice of naming streets in Delhi Nidhi M.A (F), Delhi School of Economics, Delhi, India Introduction: History of Streets which naming streets took place have changed considerably. The word ‘Street’ was borrowed from Latin language. The Delhi, India’s capital is believed to be one of the oldest cities Roman strata or paved roads were taken up to drive the word of the world. From Indraprastha to New Delhi, it had been a street. The word street helps us to recognise the roman roads long journey. As popularly believed, Delhi has been the site which were straight as an arrow, connecting the strategic for seven historic cities- Lalkot, Siri, Tughlaqabad, Jahan positions in the region. Panah, Ferozabad, Purana Quila and Shahajahanabad. The early forms of street transport were horses or even Shahajahanabad remains a living city till present housing humans carrying goods over tracks. The first improved trails about half a million people. would have been at mountain passes and through swamps. As 2.5.1 Street names of Shahajahanabad: Mughal Capital trade increased, the tracks were often flattened or widened to The seventh city of Delhi, Shahajahanabad was built in 1638 accommodate human and animal traffic, Some of these soil on the banks of river Yamuna. The two major streets of tracks were developed into broad networks, allowing Shahajahanabad were Chandni Chowk and Faiz Bazaar. -
In Black & White
hoto feature p Clockwise from above: Rajabhai Clock Tower, Mumbai in the 19th century; Maharaja of Orcha-Sir Pratap Singh in 1890; and Raja Deen Dayal. process where the image made on a light-sensitive The wheedling of Sir Henry Daly, and silver-coated metallic plate) started flooding the European influence added to his motivation. European markets, and the influence set a pace On Sir Henry’s insistence, Deen Dayal in other colonial nations as well. India was not was given the golden opportunity to penurious of the changes, which was the result of photograph the Prince of Wales, and his rapid industrialisation in the west. The influence of entourage during his Royal Visit of India in photography was vivid, and brought about a radical 1875. change in the way events were recorded. Quickly acquiring acknowledgement, Born to this era in 1844, was an outré talented Dayal went on to tour Bundhelkhand during photographer, named Lala Deen Dayal. He spent his 1882-83, with the then Agent, Sir Lepel boyhood years in Sardhana, Meerut (now in Uttar Griffin. During this trip, he took rallying Pradesh). Brought up by a well to do family of Digamabar Jain images of many forts, palaces, temples (like the Dilwara Marwari jewellers, this academically inclined student topped temples of Mount Abu) is noteworthy. Eighty nine of these his form, earning a Diploma in Engineering, from Thomason images were reproduced and published in Sir Lepel’s, Famous College of Civil Engineering at Roorkee. Monuments of Central India, (London 1886), a book that The unflagging devotion to his métier won him the Royal reached the hands of Queen Victoria. -
Kevin Milburn, Delhi Durbar Dress. in Derbyshire.Pdf
Dr Kevin Milburn Delhi Durbar Dress. In Derbyshire. And so, with a final intense, some may say frantic, period of work, the prototype stage of our project has come to an end. All the archival work in London – such as at the British Film Institute, the National Portrait Gallery and nosing around inside Carlton House Terrace – is completed; the correspondence with American institutions, such as the Smithsonian and the Library of Congress, is over; the star-gazing at ‘celebrity’ authors and historians – step forward Owen Jones, Tristram Hunt and Kate Williams, all similarly beavering away in The British Library – is no more. All of which makes me a little sad. Following soon after that stage of the project, came the onset of the most recent editing phase, which has largely revolved around copy editing and proofing written texts for the app as well as audio/film scripts associated with it. However, in between hunter-gathering information and then giving it a bit of a polish (hopefully) came a rather jolly and extremely productive away-day, one that took me and Nicola away from this project’s more usual Exeter St. David’s-London Paddington axis, to the quiet foothills of the south-eastern corner of the Pennines, and, more specifically still, to Kedleston Hall, Derbyshire. Kedleston Hall, National Trust. Photograph: Kevin Milburn Dr Kevin Milburn Built in the mid-18th century by renowned architect Robert Adam to be the country seat of the Curzon family, Kedleston Hall is now a popular National Trust property. And it was here, that a group of enthusiastic, good hearted, shivering and, initially, blurry eyed, people, gathered to film and photograph − courtesy of 360 degree SpinMe technology − the most famous outfit associated with the subject of our app, Mary Curzon: the Peacock Dress. -
Sreekala Sivasankaran
Contents Chief Editor: vè;{k dk lans'k & jkecgknqj jk; 02 Dr Sachchidanand Joshi lnL; lfpo dh dye ls 03 lkaLd``frd i=dkfjrk vkSj lkekftd mRFkku& Editor: &MkW- lfPpnkuan tks'kh Dr Mangalam Swaminathan Inspiration from the Past 06 Editorial Assistant: - Guest Article Kritika Mudgal Threads of Continuity- 10 Exhibition at IGNCA Photo Credit: All photographs are from the IGNCA Inauguration of Svasti Sankul 13 Archives/Photography Unit unless - New at IGNCA specified otherwise. The Year at IGNCA 14 - Events and Programmes Raja Deen Dayal Permanent 16 Exhibition Gallery-News In Conversation with Arun Prem 18 - Discovering Art India's Jewish Heritage: Landmarks 22 The opinions expressed in the magazine are those of the authors/interviewees and Living Tradition- Scholar at IGNCA and IGNCA does not necessarily subscribe to them. Clayanomaly- Discovering Art 26 IGNCA Publications 28 Printed at : Pohoja Print Solutions Pvt. Ltd., 420, Patpatganj Industrial Area, Delhi-110092 Ph. 9810056872 vè;{k dk lans'k iqu% fogaxe dh ;k=k &jkecgknqj jk; vè;{k fUnjk xka/kh jk"Vªh; dyk dsUnz dh }Sekfld if=dk ckSf)d uotkxj.k dh psruk dk foLrkj djsA bl n`f"V bfogaxe dk izdk'ku iqu% izkjaHk fd;k tk jgk gSA ls ^^laLd`fr laokn Ük``a[kyk** dk izkjaHk fd;k x;k gS] ftlesa Hkkjr dh lkaLd`frd /kjksgj dks latksdj j[kus vkSj geus vHkh rd MkW- ukeoj flag vkSj lar jkekuqtkpk;Z bls lewps fo'o ds le{k iwjh 'kkL=h;rk ds lkFk izLrqr ¼ftudk ;g lglzkfCn o"kZ gS½ ds vonku vkSj muds djus dk iz;kl ;g dsUnz foxr~~ iPphl o"kksZa ls dj jgk ek/;e ls lelkef;d jpuk lalkj ij ppkZ dhA blh gSA -
China and India Timbuktu Books & Walkabout Books
CHINA AND INDIA An e-list jointly issued by TIMBUKTU BOOKS & WALKABOUT BOOKS Seattle, WA Laguna Hills, CA JUNE 2019 Terms: All items are subject to prior sale and are returnable within two weeks of receipt for any reason as long as they are returned in the same condition as sent. Shipping will be charged at cost and sales tax will be added if applicable. Payment may be made by check, credit card, or paypal. Institutions will be billed according to their needs. Standard courtesies to the trade. Susan Eggleton Elizabeth Svendsen [email protected] [email protected] 206-257-8751 949-588-6055 www.timbuktubooks.net www.walkaboutbooks.net PART I: CHINA AND WESTERN PERCEPTIONS OF THE CHINESE An Early Chinese Effort to Develop Segregated Schools for Students with Special Needs 1. [BLIND SCHOOL] Niles, Mary; Durham, Lucy. Ming Sam School for the Blind, Canton, China, 1919. 12 pp, 5.5 x 8.5 inches, in original stapled wrappers. Light stain to upper left corner of cover and Chinese characters written on the front; very good. The first-known formal school for blind or deaf students in China was set up in 1887 in Shandong Province. The Ming Nam School followed just a few years later in 1891 in Canton. As recounted in this booklet, Dr. Mary Niles, who had come to China as the first woman missionary doctor at a Canton hospital, became aware of one of the city’s blind “singing girls." The girl, with others like her, had been sold by her parents and forced to sing on the streets at night. -
THE COAT of ARMS an Heraldic Journal Published Twice Yearly by the Heraldry Society the COAT of ARMS the Journal of the Heraldry Society
Third Series Vol. II part 2. ISSN 0010-003X No. 212 Price £12.00 Autumn 2006 THE COAT OF ARMS an heraldic journal published twice yearly by The Heraldry Society THE COAT OF ARMS The journal of the Heraldry Society Third series Volume II 2006 Part 2 Number 212 in the original series started in 1952 The Coat of Arms is published twice a year by The Heraldry Society, whose registered office is 53 High Street, Burnham, Slough SL1 7JX. The Society was registered in England in 1956 as registered charity no. 241456. Founding Editor † John Brooke-Little, C.V.O., M.A., F.H.S. Honorary Editors C. E. A. Cheesman, M.A., PH.D., Rouge Dragon Pursuivant M. P. D. O'Donoghue, M.A., Bluemantle Pursuivant Editorial Committee Adrian Ailes, B.A., F.S.A., F.H.S. Jackson W. Armstrong, B.A. Andrew Hanham, B.A., PH.D Advertizing Manager John Tunesi of Liongam PLATE 4 Osmond Barnes, Chief Herald at the Imperial Assemblage at Delhi, 1876-7 Private Collection. See page 108. HERALDS AT THE DELHI DURBARS Peter O 'Donoghue Three great imperial durbars took place on the Ridge outside Delhi during the height of the British Raj, on a site which was associated with the heroics of the Mutiny. The first durbar, in 1876-77, proclaimed Queen Victoria as Empress of India, whilst the second and third, in 1902-3 and 1911, proclaimed the accessions of Edward VII and George V respectively. All three drew upon Indian traditions of ceremonial meetings or durbars between rulers and ruled, and in particular upon the Mughal Empire's manner of expressing its power to its subject princes. -
So I Knew Their Place Before I Crashed Among Them, Knew When Alexander Had Traversed It in an Earlier Age for This Cause Or That Greed
I am a man who can recognize an unnamed town by its skeletal shape on a map …. So I knew their place before I crashed among them, knew when Alexander had traversed it in an earlier age for this cause or that greed. I knew the customs of nomads besotted by silks or wells …. When I was lost among them, unsure of where I was, all I needed was the name of a small ridge, a local custom, a cell of this historical animal, and the map of the world would slide into place. – Michael Ondaatje, The English Patient (1992) 112 Marg Vol. 61 No. 1 112-120 Pramod final GJ.indd 112 18/09/09 11:32 AM Special Feature Pramod Kumar K.G. The Photography Archive at the City Palace Museum Udaipur A small slice of Udaipur’s history was uncovered in May 2008 when the City Palace Complex at Udaipur yielded several trunks packed with photographs. Safely maintained over the decades among the various storerooms and inner recesses of the vast City Palace Museum Udaipur (hereafter CPMU), the trunks hold several thousand loose photographs, folios, and framed images, which are currently being catalogued and archived. Numbering more than 15,000 images, these photographs are part of the Pictorial Archives of The Maharanas of Mewar, Udaipur, and are currently housed at the CPMU. A first exhibition of these photographs has already been mounted at the newly restored Bhagwat Prakash Gallery in the Zenana Mahal of the complex. Titled Long Exposure, 1857−1957: The Camera at Udaipur, the exhibition and the study of the collection is gradually revealing an unabashed “native” gaze and perception in what the camera’s lens set out to capture. -
The Delhi Coronation Durbars Trust Based in New Delhi
THE ALKAZI COLLECTION OF PhotographY The Alkazi Collection of Photography Codell POWER AND RESISTANCE The Alkazi Foundation for the Arts is a registered charitable The Delhi Coronation Durbars trust based in New Delhi. It is primarily dedicated to the power AND resistance exploration and study of the cultural history of India. Over the last 30 years, Ebrahim Alkazi, the Foundation’s The Delhi Coronation Durbars This volume explores how photography represented, Chairman, has amassed a private collection of photographs The Delhi Coronation Durbars Coronation The Delhi idealized and publicized the Delhi Coronation Durbars, known as The Alkazi Collection of Photography occasions marking the formal coronations of English (www.acparchives.com), an archive of nineteenth- and early- monarchs as empress and emperors of India: Victoria twentieth century photographic prints from South and power Edited by Julie F. Codell South-East Asia, amounting to over 90,000 images.The core in 1877, Edward VII in 1903 and George V in 1911. of the Collection comprises works in the form of photographic Formally schematized and instituted by the Viceroys albums, single prints, paper negatives and glass plate negatives of India—Lytton, Curzon and Hardinge—the durbars from India, Burma, Ceylon, Nepal, Afghanistan and Tibet. were the first examples of the aestheticisation of imperial Almost every region with a history touched by the British Raj politics and the inscription of the Raj in a celebratory is represented. These vintage prints document sociopolitical history that served to legitimate colonial presence. life in the subcontinent through the linked fields of history, AND architecture, anthropology, topography and archaeology, Lasting several weeks, each lavish occasion was imaged beginning from the 1840s and leading up to the rise of and described in photographs (cartes-de-visite as well as modern India and the Independence Movement of 1947. -
Pomp and Privation in Victorian India, Kapil Komireddi
Pomp and Privation in Victorian India KAPIL KOMIREDDI This essay examines British colonial rule in late nineteenth-century India through the lens of two contemporaneous artefacts. Each vivifies a reality that complicates the message sought to be advanced by the other. The first artefact, a lavishly illustrated book commemorating the opulent Proclamation Durbar of 1877, clarifies the self-image of a benignant empire in India crafted by the colonial apparatus for audiences in Britain. The second, a photograph of starving children during the Great Famine of 1876-1878—through the course of which an estimated ten million Indians perished—conveys the experiences of the colonised peoples under the reign of Queen Victoria as she formally assumed the title of Empress of India. Pomp returned to Delhi on New Year’s Day of 1887, when the former capital of the Mughals, reduced only two decades before to nonentity by the British in retaliation for the Great Rebellion of 1857, hosted the most extravagant spectacle in the subcontinent’s living memory: the Proclamation Durbar.1 The principal function of the of the 1877 Durbar, at which Queen Victoria was formally proclaimed Kaiser-e-Hind,2 was the solemnisation, through elaborate ritual, of India’s reconfigured relationship to Britain. In choosing Delhi—a city ‘for ever bound up with the history of India’—as the site of the investiture ceremony, the British were seeking to project their rule as a continuation of, not a departure from, India’s past and traditions, which, after the Durbar, would become ‘interwoven with those of the English people’.3 The official history of the Durbar was published the same year in the form of a handsome book. -
82. Indian Subcontinent, 1750–1947
82. Indian Subcontinent, 1750–1947 Tania Sengupta [CHAPTER KEYWORDS: India; Pakistan; Bangladesh; Burma; Ceylon (Sri Lanka); Britain; France; British Raj; prison; railway station; market (bazaar); bungalow; veranda; cutcherry (office); zilla sadar; cantonment; Neoclassicism; Indo-Saracenic; New Delhi; Edwin Lutyens] [CHAPTER ABSTRACT: The Indian subcontinent under colonial rule from the mid-eighteenth to mid-twentieth centuries witnessed the establishment of British economic and political dominance, suppressing other European powers, and consequently creating a long-term negative balance of the subcontinent’s trade with Europe and loss of its political sovereignty to Britain. Starting with Bengal around the mid-eighteenth century, the British gained territories across India, Ceylon and Burma over the nineteenth century. British colonial rule consisted of creating a ‘military fiscal’ state with agricultural revenues used to fund British wars worldwide. It also exploited cash cropping and plantation economies along with political control. In the full-blown imperial era (starting in 1858, following the Indian Mutiny of 1857), the colonial administration developed major institutions and other forms of infrastructure, accompanied by Victorian health and sanitary regimes, to organise and control its subjects’ lives. Following numerous peasant uprisings and increasingly including the middle classes, Nationalist resistance to British rule had intensified by the early twentieth century. This opposition, along with the war-impoverished British economy, finally led to the independence of the nations of the Indian subcontinent in the late 1940s. Colonial sociocultural encounter from the late eighteenth century involved the confrontation of European Enlightenment ideals with those prevalent in the Indian subcontinent. Early colonial travellers and Orientalists engaged in the study of Eastern cultures viewed the East as an exotic but decaying civilisation. -
The Power, Subjectivity, and Space of India's Mughal Architecture
monumental matters monumental matters The Power, Subjectivity, and Space of India’s Mughal Architecture Santhi Kavuri-Bauer Duke University Press | Durham and London | 2011 © 2011 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by April Leidig-Higgins Typeset in Garamond Premier Pro by Copperline Book Services, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. In memory of my father, Raghavayya V. Kavuri contents Acknowledgments ix Introduction 1 1 Breathing New Life into Old Stones: The Poets and Artists of the Mughal Monument in the Eighteenth Century 19 2 From Cunningham to Curzon: Producing the Mughal Monument in the Era of High Imperialism 49 3 Between Fantasy and Phantasmagoria: The Mughal Monument and the Structure of Touristic Desire 76 4 Rebuilding Indian Muslim Space from the Ruins of the Mughal “Moral City” 95 5 Tryst with Destiny: Nehru’s and Gandhi’s Mughal Monuments 127 6 The Ethics of Monumentality in Postindependence India 145 Epilogue 170 Notes 179 Bibliography 197 Index 207 acknowledgments This book is the result of over ten years of research, writing, and discus- sion. Many people and institutions provided support along the way to the book’s final publication. I want to thank the UCLA International Institute and Getty Museum for their wonderful summer institute, “Constructing the Past in the Middle East,” in Istanbul, Turkey in 2004; the Getty Foundation for a postdoctoral fellowship during 2005–2006; and the Graham Foundation for Advanced Studies in the Fine Arts Grant Award for a subvention grant toward the costs of publishing this book. -
Landscapes of the Delhi Durbar, 1903: Ritual and Politics Leo C
THE SEMIANNUAL NEWSLETTER OF THE ROBERT PENN WARREN CENTER FOR THE HUMANITIES VOL. 20, NO. 2 • SPRING 2012 • VANDERBILT UNIVERSITY Landscapes of the Delhi Durbar, 1903: Ritual and Politics Leo C. Coleman he landscape around Delhi, India, is Indian Princes, notables, and visitors. These marked out by old walls and gates were placed from four to seven miles away which once protected important from the Central (European) Camps, for “rea- settlements and royal centers, and sons of space and public health” as one colonial Tby the monuments of the various governments observer described it. that have occupied this capital city over centu- Of course, Indian participation, and pres- ries. The gates of what is called the “old city” of ence, in this ritual of colonial display was Delhi still stand, now breached by the modern indispensable for its spectacular effect, and city built up since the nineteenth century. The the officials of the Native States, which were old city, in its earlier incarnation as Shahja- an integral part of the British Indian political hanabad, was further protected by a low ridge structure, were encouraged to constitute their which bound the northwestern approach to the encampments as a kind of ethnological museum. city. The ridge also provided a redoubt, of sorts, Some, while keeping with the colonial logic of for the British when their occupation of North sumptuous display, mounted their own coun- India came under attack in the so-called Mutiny ter-display of modern technique and efficiency. of 1857. It was on the ridge that the British later The representatives from the state of Baroda, for built a memorial to the “defense” of the city.