Religious Resources for Secular Power: the Case of Nur Jahan
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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. -
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. -
Jahangir Preferring a Sufi Shaikh to Kings
An example of this last category could be “Jahangir Preferring a Sufi Shaikh to Kings” (fig. 10).7 At the center is Jahangir enthroned, his physiognomy in the strict profile known from many paintings and even — quite unusually — from gold coins. His head is the only one to be surrounded by a halo, and he is slight- ly larger than the other figures, a phenomenon that is called hierarchical or significance perspective. He is extending a book to Shaykh Husayn of the Chishti order, which played an essential role in the life of the imperial family. Below is an imaginary depiction of an Ottoman sultan, presumably inspired by a Euro- pean model, and in front is a portrait of King James I, copied directly from a contemporary painting brought to India by the English ambassador, Thom- as Roe. At the lower left-hand corner, Bichitr placed a portrait of himself, a custom that became common in the ensuing years, though often with these artist portraits more modestly included in the imperial of the same event from the time of Bahadur Shah (r. made at the Muslim courts could be harrowing in albums as margin decorations.8 A painting like this 1707–1712).10 their realism if the patron wished, and similar hor- one can be viewed as a kind of sophisticated propa- Jahangir, whose character is also familiar from rifying depictions from battlefields are also found in ganda, and this was true to an even greater extent in his autobiography, Jahangirnama or Tuzuk-i Jahangiri, some of the historical manuscripts of the period (e.g. -
Women at the Mughal Court Perception & Reality
Women at the Mughal Court Perception & Reality What assumptions or questions do you have about the women depicted in the following nine paintings? What was life like in the zenana or women’s quarters? How much freedom did they have? With our new online catalogue we are drawing attention to this under-explored area. We look at the fascinating lives and achievements of these women, and how they have been represented, or misrepresented. Women at the Mughal Court Perception & Reality When we look at cat. 1, ‘A Princess is attended by her Women’, one can imagine how such an image could be misinterpreted. For centuries, the women of the Mughal court and the space of the zenana (the women’s quarters of a household) in particular have often been neglected by art historians and represented by European visitors and later writers and artists in Orientalist terms. This is the idea of the ‘exotic’ harem as a place of purely sensuous languor, where thousands of nubile young women are imprisoned and lead restricted lives as sex objects, full of jealousy and frustration. As we might expect, the truth is far more complex, rich, and surprising. Certainly, as the wonderful details of cat. 1 attest, the highest-ranking women of this society enjoyed an extremely sophisticated luxury and beauty culture. Our princess’ every need is being attended to: women on the left bring her fruit and a covered cup with a drink; one woman shampoos her feet to cool them while others hold a peacock, a morchhal, attend the incense burner, and sing and play on the tambura as musical accompaniment. -
The Great Mughal Empire (1526-1707)
THE GREAT MUGHAL EMPIRE (152 6-1707) THE GREAT MUGHAL EMPERORS EMPEROR REIGN START REIGN END BABUR 1526 1530 HUMAYUN 1530 1556 AKBAR 1556 1605 JAHANGIR 1605 1627 SHAH JAHAN 1627 1658 AURANGZEB 1658 1707 BABUR Birth name:Zāhir ud-Dīn Maham Begum Mohammad Masumeh Begum Family name:Timurid Nargul Agacheh Title:Emperor of Mughal Sayyida Afaq Empire Zainab Sultan Begum Birth:February 14, 1483 Death:December 26, 1530 Children: Succeeded by:Humayun Humayun, son Marriage: Kamran Mirza, son Ayisheh Sultan Begum Askari Mirza, son Bibi Mubarika Yusufzay Hindal Mirza, son Dildar Begum Gulbadan Begum, daughter Gulnar Agacheh Fakhr-un-nisa, daughter Gulrukh Begum HUMANYUN Birth name: Nasiruddin Children: Akbar, son Humayun Muhammad Hakim, son Family name: Timurid Title: Emperor of Mughal Empire Birth: March 6, 1508 Place of birth: Kabul, Afghanistan Death: February 22, 1556 Succeeded by: Akbar Marriage: Hamida Banu Begum AKBAR Birth name: Jalaluddin Ruqayya Sultan Begum Muhammad Akbar Sakina Banu Begum Family name: Timurid Salima Sultan Begum Title: Emperor of Mughal Empire Children: Jahangir, son Shah Murad, son Birth: October 15, 1542 Danyal, son Place of birth: Umarkot, Shahzada Khanim, Sindh daughter Death: October 27, 1605 Shakarunnisa Begum, Succeeded by: Jahangir daughter Marriage: Jodhabai (?) or Aram Banu Begum, Jodhi Bibi daughter Mariam-uz-Zamani Ximini Begum, daughter JAHANGIR Birth name: Nuruddin Children: Nisar Begum, Jahangir daughter Family name: Timurid Khurasw, son Title: Emperor -
Power, Presents, and Persuasion: Early English Diplomacy with Mughal India
Power, Presents, and Persuasion: Early English Diplomacy with Mughal India ETHAN CARLSON It was the first of September in 1617 in the Mughal Empire. The Mughal Empire, consisting roughly of modern day India, Bengal, Pakistan, and much of Afghanistan, was ruled by the Mughal Dynasty, a powerful Muslim dynasty that ruled India for centuries. The first of September in 1617 was the celebration of the birthday of the Mughal Emperor Jahangir. Sir Thomas Roe, English Ambassador to the Mughal Court at the time, was in attendance. He entered a beautiful garden filled with flowers and trees with a pond in the center, a part of the palace where the ceremony was being held. All around the garden were beams, scales, and massive chains of gold, as well as countless rubies, turquoise, and other valuable stones. Into this scene entered Jahangir, covered from head to toe in diamonds, rubies, pearls, and other precious things. Sir Thomas Roe could only stand and marvel.1 After entering, Jahangir climbed onto one side of a giant set of scales. This was the ceremonial “weighing” of the Emperor. It occurred on every birthday and displayed the wealth of the Mughal Empire. On the other side of the scales various bags were heaped. First gold and jewels, then cloth of gold and silks, then spices, and so on in that fashion, until the bags had been changed a total of six times. As Jahangir, with garments, weighed roughly 250 lbs., the amount of wealth weighed at this time was immense. In fact, the amount of wealth displayed was so immense that even Roe doubted what he saw, and wondered if all the containers of the wares were truly filled with those items only and not augmented with rocks.2 This story serves to illustrate the complexity early European ambassadors faced in Asia. -
Dr. Rukhsana Iftikhar,; Cultural Contribution of Mughal Ladies, South Asian Studies
South Asian Studies A Research Journal of South Asian Studies Vol. 25, No. 2, July-December 2010, pp. 323-339 Cultural Contribution of Mughal Ladies Rukhsana Iftikhar University of the Punjab, Lahore ABSTRACT Hindustan was considered one of the regions which attained political and cultural strength during 16th and 17th centuries. Mughal dynasty had a lash green Central Asian cultural background enhanced the beauty of various cultural areans just like architecture, painting, dance and music etc. even Mughal women were the patrons of various cultural activites. This notion is very controversial that Mughal women who were very seculded how they could be the active participants of cultural ativities? First, Mughal ladies like Noor Jahan Jahanara, Zab-un-Nisa were educated women of age having their own libraries. Second, they consciously contributed in cultural life of that period. This paper identifies various cultural fields which were originated, financed and Iooked after by the Mughal women. KEY WORDS: Culture, Mughals, Sub-Continent, Ladies Introduction The sixteenth and seventeenth centuries were witnessed by a flurry of cultural activities in India as the land had not seen in over a thousand years. The clan of the fabulously talented Mughal dynasty catalyzed much of this. There were also substantial achievements in many fields outside royal patronage. Though there were two different religious identities i.e. Hindus and Muslims, but both these communities influenced each other and there was great cultural interaction between them. But the royal and elite cultural effervescence was primarily a royal spectacle (Early, 1997: 854). The Mughals came from a lush cultural background (Central Asia) and they valued intellectual, literary and artistic achievements. -
Hal Schrieve HSTAS 402 March 12, 2015 Gulbadan and Nur Jahan: the Role of Women in the Creation of the Mughal Court and Imperial Policy
Hal Schrieve HSTAS 402 March 12, 2015 Gulbadan and Nur Jahan: The Role of Women in the Creation of the Mughal Court and Imperial Policy In the early Mughal Empire, succession, distribution of land and wealth, and other political decisions were determined in a way that was dependent upon the close personal ties and familial and cultural traditions of the Timurid court. As the Mughal state was consolidated, the apparatus of empire became focused on the symbolic visual center of the Emperor’s person, and his behavior and preferences set a new and often evolving model for his nobles.1 At all times within the Mughal Empire, the binary between “public” and “private” lives of nobles was a fuzzy one. Likewise any line drawn between women and high politics would almost inevitably be eventually crossed—or be revealed, upon moving back, to have been an illusion in the first place. Royal and elite women present in the court, in the tent cities of the early padshahs or the marble and sandstone zananas of Fatepur Sikri, were both on the periphery of “high politics” as remembered by historians and simultaneously deeply enmeshed in the most important business of court as well as the prosperity of the growing state. This can be witnessed in the lives of both Gulbadan Banu Begum and Nur Jahan, who lived at either end of Akbar’s reign and experienced the results of the institutions he created. New Mughal institutions placed women within the court inside a formalized, hierarchical framework which mirrored that imposed upon the aristocracy and reflected Akbar’s recognition of elite women and royal female relatives as one of the many 1 John F Richards, The Mughal Empire (New York: Cambridge University Press, 1993), 60-61. -
Mughals at War: Babur, Akbar and the Indian Military Revolution, 1500 - 1605
Mughals at War: Babur, Akbar and the Indian Military Revolution, 1500 - 1605 A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Andrew de la Garza Graduate Program in History The Ohio State University 2010 Dissertation Committee: John F. Guilmartin, Advisor; Stephen Dale; Jennifer Siegel Copyright by Andrew de la Garza 2010 Abstract This doctoral dissertation, Mughals at War: Babur, Akbar and the Indian Military Revolution, examines the transformation of warfare in South Asia during the foundation and consolidation of the Mughal Empire. It emphasizes the practical specifics of how the Imperial army waged war and prepared for war—technology, tactics, operations, training and logistics. These are topics poorly covered in the existing Mughal historiography, which primarily addresses military affairs through their background and context— cultural, political and economic. I argue that events in India during this period in many ways paralleled the early stages of the ongoing “Military Revolution” in early modern Europe. The Mughals effectively combined the martial implements and practices of Europe, Central Asia and India into a model that was well suited for the unique demands and challenges of their setting. ii Dedication This document is dedicated to John Nira. iii Acknowledgments I would like to thank my advisor, Professor John F. Guilmartin and the other members of my committee, Professors Stephen Dale and Jennifer Siegel, for their invaluable advice and assistance. I am also grateful to the many other colleagues, both faculty and graduate students, who helped me in so many ways during this long, challenging process. -
Agrasain Boys' School
P a g e | 1 AGRASAIN BOYS’ SCHOOL Affiliated to the Council for the Indian School Certificate Examinations, New Delhi 21/A, AGRASAIN STREET, LILUAH, HOWRAH – 711 204 ANNUAL EXAMINATION - 2020 -21 Time: 2 hrs. Class: VII HISTORY (12-03-2021) F.M.: 80 PART I I. FILL IN THE BLANKS: - (10x1) =10 i. Sher Shah Suri introduced a silver coin called _______. ii. ______ was the de-facto ruler of the Mughal Empire during the reign of Jahangir. iii. Aurangzeb reintroduced the _____ tax. iv. Akbar defeated ______ in the Battle of Haldighati. v. On being evicted by Sher Shah, Humayun sought refuge in ______. vi. In the centre of the Diwan-i-aam was the stunning _____. vii. The new city built by Shah Jahan was ______. viii. Aurangzeb executed _____, son and successor of Shivaji. ix. The _____ was the supreme head of the Mughal administration. x. ______ was Akbar’s regent during his early years. II. WRITE TRUE OR FALSE:- (6x1)=6 i. Raja Todar Mal was the revenue minister of Akbar. ii. Aurangzeb had friendly relation with the Rajputs and the Marathas. iii. Akbar built Ibadat Khana at Fatehpur Sikri. iv. Aurangzeb died in 1707 in the Red fort at Delhi. v. The Mir bakshi was the head of the military department. vi. Sher Shah was defeated by Humayun in the battle of Kannauj. III. NAME THE FOLLOWING:- (5x2)=10 i. The title bestowed upon Mehrunnisa by Jahangir. ii. The meaning of Sul-i-Kul. iii. The book written by Abul Fazl. iv. The Mughal Emperor who ordered the establishment of a translation department. -
Jahangir Class: 12 Th
Chapter 05 Jahangir Class: 12 th Jama-dami: - The Mughal nobles had great attachment for land because control over land was a mark of social prestige. The revenue department had therefore to mark an assessment of the income of different areas so that each nobles and mansabdar was assigned land or jagir according to his status. This assessment was made in ‘dams’ Therefore, the income of the jagir was called Jamadami. Ahadi: - ‘Ahadi’ were brave soldiers who were directly recruited by the Mughal Emperor. They were besides the troops provided by the Mansabdars. As these ‘gentalman’ troopers were recruited by the Emperor himself so they were considered highly trusted and were paid higher salaries than other troopers. Karkhanas: - ‘Kurkhanas’ was a government department that catered to the needs of royal house hold not only by manufacturing but also by purchasing goods from the market. Barak-andaz and Tir-andaz: - ‘Barakandaz’ were the skilled musketeers who trained their muskets on the enemies and brought havoc upon them. On the other hand, ‘Tir-andaz’ were the bowmen who struck arrows while mounted on their horses. Both were an important part of Mughal army. Banduqchi ‘Banduqchi’ were the matchlock bearers. They farmed a part of the footmen in the Mughal army and were paid salaries between three and seven rupees a month. After the death of Akbar in 1605 his eldest son Jahangir succeeded to the throne without any difficulty. His two younger brothers Murad and Danyal had already died due to excessive drinking. However, shortly after Jahangir’s accession, his eldest son, Khusrau rebelled against his father. -
Dara-Shikoh Shooting Nilgais : Hunt and Landscape in Mughal Painting
FREER GALLERY OF ART ARTHUR M. SACKLER GALLERY Occasional apers Dara-Shikoh Shooting Nilgais Hunt and Landscape in Mughal Painting Ebba Koch SMITHSONIAN INSTITUTION WASHINGTON, D.C. Dara-Shikoh Shooting Nilgais: Hunt and Landscape in Mughal Painting 1 Dara-Shikoh Shootir Hunt and Landscape in Mughal F Ebba Koch Occasional Papers 1998/voL FREER GALLERY OF ART ARTHUR M. SACKLER GALLERY SMITHSONIAN INSTITUTION —— — HO 10(0 ©1998 Smithsonian Institution Funding for this publication was provided All rights reserved by the Freer and Sackler Galleries' Publications Endowment Fund, initially Aimed at the specialist audience, the established with a grant from the Andrew Occasional Papers series represents W, Mellon Foundation and generous important new contributions and inter- contributions from private donors. pretations by international scholars that advance art historical and conservation The paper used in this publication meets research. Published by the Freer Gallery the minimum requirements for the of Art and the Arthur M. Sackler Gallery, American National Standard for Smithsonian Institution, the series is a Permanence of Paper for Printed Library revival ot the original Freer Gallery of Materials, Z39. 48-1984. Art Occasional Papers. Contributions, including monographic studies, transla- Note: Dimensions given throughout are tions, and scientific studies oi works of in centimeters; height precedes width. art, span the broad range of Asian art. Each publication draws its primary Photo credits: emphasis from works ot art in the Freer Frontispiece