The Life and Reign of Bahadur Shah Zafar INTRODUCTION
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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. -
Atomic Energy Education Society Study Material Class-VIII Subject- History Lesson 05-When People Rebel: 1857 and After Module
Atomic Energy Education Society Study material Class-VIII Subject- History Lesson 05-When People Rebel: 1857 and After Module- 2/2 Important points The Rebellion Spreads : The British had initially taken the revolt at Meerut quite lightly. But the decision by Bahadur Shah Zafar to support the rebellion had dramatically changed the entire situation. People were emboldened by an alternative possibility. The British were routed from Delhi, and for almost a week there was no uprising. The rebellion in Delhi took almost a week to spread as news over whole of the India. Many regiments mutinied one after another at various places such as Delhi, Kanpur and Lucknow. People of the towns and the villages also rose up in rebellion and rallied around local leaders. Zamindars and chiefs were prepared to establish their authority and fight the British. Nanasaheb Peshwa gathered armed forces and expelled the British garrison in Kanpur. He proclaimed himself the Peshwa. He declared that he was a governor under Emperor Bahadur Shah Zafar. Birjis Qadr, the son of Nawab Wajid Ali shah, was proclaimed the new Nawab. He too acknowledged suzerainty of Bahadur Shah Zafar. Begum Hazrat Mahal took an active part in organizing the uprising against the British. In Jhansi, Rani Lakshmibai joined the rebel Sepoys and fought the British along with Tantia Tope. The General of Nana Saheb. Ahmadullah Shah a maulvi from Faizabad prophesied that the rule of the British would come to an end he caught the imagination of the people and raised a huge force of supporters. He came to Lucknow to fight the Britishers. -
Reactions of Emperor Bahādur Shāh Zafar and Laureate Mirzā Ghālib to the Celestial Events During 1857-1858
Indian Journal of History of Science, 53.3 (2018) 325-340 DOI: 10.16943/ijhs/2018/v53i3/49464 Historical Note Reactions of Emperor Bahādur Shāh Zafar and Laureate Mirzā Ghālib to the Celestial Events during 1857-1858 R C Kapoor* (Received 13 December 2017; revised 05 June 2018) Abstract The revolt against the British broke out at Meerut on 10th May 1857 that soon turned into a Great Uprising and shook the foundations of the colonial power in India. A conjunction of Mars and Saturn took place in July 1857. A solar eclipse occurred on 18th September 1857, two days before the capture of Delhi by the British. There followed a lunar eclipse, on 28th February 1858. Then a comet brightened up in the evening skies only days before the British Crown was about to take India in its fold on 1st November 1858. How Mughal Emperor Bahadur Shah Zafar (1775-1862), central to the upheaval, and the laureate Mirzā Ghālib (1797-1859), a remote observer, reacted in such a scenario is central to our theme. Z. afar was a superstitious man and had a spiritual incline. What is unique is that he had never mixed up the outcome of the war with the celestial events and left it to Almighty. That he was unaware of these events is difficult to believe. Ghālib was a skeptic and came to believe the celestial events as signals of divine wrath. In the process we discover an unexplored side of Mirzā Ghālib and his grasp of astronomy. Key words: Annular solar eclipse of 1857, Bahadur Shah Zafar, Donati’s Comet, India’s Great Uprising of 1857, Mirzā Ghālib, Mughal India. -
QUESTION BANK - HD HISTORY GRADE: VIII CHAPTER 6: the Revolt of 1857
QUESTION BANK - HD HISTORY GRADE: VIII CHAPTER 6: The Revolt of 1857 NOTE: ANSWERS ARE MARKED IN RED Q I. Choose the correct alternative: (1 mark each) 1. The Revolt of 1857 was a direct _______ to the British rule. (a) acceptance (b) boon (c) threat (d) shock 2. The greased paper on the new ________ Rifle was made of pork or beef fat. (a) British (b) Hunting (c) Assault (d) Enfield 3. The Revolt of 1857 began in ________. (a) Meerut (b) Delhi (c) Punjab (d) the Deccan 4. The Revolt was led by Nana Sahib Peshwa in __________. (a) Bengal (b) Surat (c) Pune (d) Kanpur 5. Bahadur Shah took shelter with his family in the tomb of _______. (a) Babbar (b) Aurangzeb (c) Humayun (d) Shahjahan Q.II Fill in the blanks: (1 Mark each) 1. The Jhansi revolt was led by __________. (Rani Lakshmibai) 2. _______ was exiled to Rangoon (Bahadur Shah) 3. Kabuli gate was renamed _________. (Khooni Darwaza) 4. _______ led the uprising in Bareilly. (Khan Bahadur Khan) 5. ________ is known as the founder of the revolutionary movement. (Vasudev Balwant Phadke) Q.III Answer the following questions in one sentence: (1 Mark each) 1. What title was given to the Governor-General by the end of the Revolt of 1857? Ans: title of Viceroy 1 2. What did the commander of the British army call Rani Lakshmibai? Ans: The best and the bravest military leader of the rebels. 3. Name the main centres of the Revolot of 1857. Ans: Delhi, Kanpur, Lucknow, Bareilly, Jhansi, Gwalior and Arrah in Bihar. -
Our Pasts – III
Social Science OUR PASTS – III TEXTBOOK IN HISTORY FOR CLASS VIII MIZORAM republished be SCERT © to not Prepared by National Council of Educational Research and Training Published by State Council of Educational Research and Training Mizoram:Aizawl MIZORAM republished be SCERT © to not MIZORAM republished be SCERT © to not MIZORAM republished be SCERT © to not FOREWORD The SCERT Mizoram has always been committed in fulfilling its role as academic think-tank for providing quality education in the State. Our role as Academic Authority for elementary education has entrusted us with the responsibility of formulating the curriculum, textbooks and evaluation procedures. It is with pleasure that I announce the introduction of NCERT textbooks on Social Studies for Classes VI – VIII which have been adapted to be user friendly for learners of Mizoram. On behalf of the SCERT, I express my gratitude to the NCERT, New Delhi for sharing the copyrights of the books and to make necessary adaptations to make the books more meaningful for students of all Elementary Schools in Mizoram. I extend my sincere gratitude to scholars, educationists, experienced teachers and my colleagues who have contributed in formulating these new set of textbooks. Textbooks used from 2020 – 21 are Energized textbooks embedded with QR codes to aid learning. MIZORAM I hand over these books to teachers and students of Mizoram with the hope that the fundamentals of education and the recommendations of the National Curriculum Framework 2005 will be realised.republished We know from experience that learning is optimized when it is fun and the selection of child-friendly materials is assurance that learning becomesbe a pleasurable journey for the child. -
Download Social Science Our Pasts
There was a time when historians were fascinated with dates. There were heated debates about the dates on which rulers were crowned or battles were fought. In the common-sense notion, history was synonymous with dates. You may have heard people say, “I find history boring because it is all about memorising dates.” Is such a conception true? History is certainly about changes that occur over time. It is about finding out how things were in the past and how things have changed. As soon as we compare the past with the present we refer to time, we talk of “before” and “after”. Living in the world we do not always ask historical questions about what we see around us. We take things for granted, as if what we see has always been in the world we inhabit. But most of us have our moments of wonder, when we are curious, and we ask questions that actually are historical. Watching Fig. 1 – Brahmans offering the someone sip a cup of tea at a roadside tea stall you Shastras to Britannia, frontispiece to the first map produced by may wonder – when did people begin to drink tea or James Rennel, 1782 coffee? Looking out of the window of a train you may Rennel was asked by Robert ask yourself – when were railways built and how did Clive to produce maps of people travel long distances before the age of railways? Hindustan. An enthusiastic Reading the newspaper in the morning you may be supporter of British conquest of curious to know how people got to hear about things India, Rennel saw preparation of maps as essential to the before newspapers began to be printed. -
Trial of Bahadur Shah Zafar
H-Announce Performing Law, Staging History: The (Re)Trial of Bahadur Shah Zafar Announcement published by Kanika Sharma on Monday, December 9, 2019 Type: Call for Papers Date: January 6, 2020 Location: India Subject Fields: Art, Art History & Visual Studies, Colonial and Post-Colonial History / Studies, South Asian History / Studies, Law and Legal History, Theatre & Performance History / Studies This one-day interdisciplinary roundtable aims to bring together academics and practitioners from various fields including law, history, military studies, theatre, visual culture, politics and literature to analyse the Uprising of 1857 and the subsequent trial of the last Mughal Emperor of India at the Red Fort in Delhi. At the roundtable we will seek to interrogate how legal and historical knowledge around the Uprising and trial was/is produced, established, legitimised and potentially subverted, with a special emphasis on the role played by images and theatricality in these processes. Papers may speak to (though they need not be limited to) the following themes in relation to the Uprising of 1857 and the subsequent trial of Bahadur Shah Zafar: Law and colonialism; International law and victor’s justice; Performance and the political trial; The use of images and architecture in show trials; Military history in India; Religion, race and nationalism; and Imaginations of the Uprising in popular culture. This roundtable is the first step in developing an interactive theatre performance around Zafar’s trial. The performance will be accompanied by a visual installation focusing on the Uprising based on rare images from The Alkazi Collection of Photography at The Alkazi Foundation for the Arts, New Delhi. -
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. -
Phoolwalon Ki Sair.Indd 1 27/07/12 1:21 PM 1
CORONATION To the south of the western gateway is the tomb of Qutb Sahib. was meant for the grave of Bahadur Shah Zafar, who was however PARK It is a simple structure enclosed by wooden railings. The marble exiled after the Mutiny and died in Burma. balustrade surrounding the tomb was added in 1882. The rear wall To the north-east of the palace enclosure lies an exquisite mosque, Phoolwalon was added by Fariduddin Ganj-e-Shakar as a place of prayer. The the Moti Masjid, built in white marble by Bahadur Shah I in the early western wall is decorated with coloured fl oral tiles added by the eighteenth century as a private mosque for the royal family and can be Delhi Metro Mughal Emperor Aurangzeb. approached from the palace dalan as well as from the Dargah Complex. Route 6 ki Sair The screens and the corner gateways in the Dargah Complex were Civil Ho Ho Bus Route built by the Mughal emperor Farrukhsiyar. The mosque of Qutb Lines Heritage Route Sahib, built in mid-sixteenth century by Islam Shah Suri, was later QUTBUDDIN BAKHTIYAR KAKI DARGAH AND ZAFAR added on to by Farrukhsiyar. MAHAL COMPLEX The Dargah of Qutbuddin Bakhtiyar Kaki continues to be a sacred place for the pilgrims of different religions. Every week on Thursday 5 SHAHJAHANABAD Red Fort and Friday qawwali is also performed in the dargah. 5. ZAFAR MAHAL COMPLEX 6 Kotla 9 Connaught Firoz Shah Adjacent to the western gate of the Dargah of Place Jantar Qutbuddin Bakhtiyar Kaki, this complex Mantar 2 7 8 NEW DELHI has various structures built in 3 Route 5 1 Rashtrapati the eighteenth and nineteenth 4 Bhavan Purana century. -
History Preserved in Names: Delhi Urban Toponyms of Perso-Arabic
History preserved in names: Delhi urban toponyms of Perso-Ara bic origin Agnieszka Kuczkiewicz-Fraś Toponyms [from the Greek topos (τόπος) ‘place’ and ónoma (δνομα) ‘name’] are often treated merely as words, or simple signs on geographical maps of various parts of the Earth. How ever, it should be remembered that toponyms are also invaluable elements of a region’s heritage, preserving and revealing differ ent aspects of its history and culture, reflecting patterns of set tlement, exploration, migration, etc. They are named points of reference in the physical as well as civilisational landscape of various areas. Place-names are an important source of information regard ing the people who have inhabited a given area. Such quality results mainly from the fact that the names attached to localities tend to be extremely durable and usually resist replacement, even when the language spoken in the area is itself replaced. The in ternal system of toponyms which is unique for every city, when analysed may give first-rate results in understanding various features, e.g. the original area of the city and its growth, the size and variety of its population, the complicated plan of its markets, 5 8 A g n ie s z k a K u c z k ie w ic z -F r a ś habitations, religious centres, educational and cultural institu tions, cemeteries etc. Toponyms are also very important land-marks of cultural and linguistic contacts of different groups of people. In a city such as Delhi, which for centuries had been conquered and in habited by populaces ethnically and linguistically different, this phenomenon becomes clear with the first glance at the city map. -
The Last Mughal: the Fall of Delhi, 1857 Pdf, Epub, Ebook
THE LAST MUGHAL: THE FALL OF DELHI, 1857 PDF, EPUB, EBOOK William Dalrymple | 608 pages | 07 Sep 2009 | Bloomsbury Publishing PLC | 9781408800928 | English | London, United Kingdom The Last Mughal: The Fall of Delhi, 1857 PDF Book A must read for all Indians. Although all these attacks were beaten off, the besiegers were ground down through exhaustion and disease. At the pivotal moment of his doomed reign, Zafar concentrated not on his role as a leader of men or on the sparing of innocent lives, but rather on his flowers. Three Bengal Native Infantry regiments the 38th, 54th and 74th were stationed in barracks 2 miles 3. When the heir apparent dies of cholera or maybe poisoning? On a dark evening in November , a cheap coffin is buried in eerie silence. Although they had ample warning of disaffection among the Bengal Army after earlier outbreaks of unrest at Berhampur , Barrackpur and Ambala , they had assumed that at Meerut, where the proportion of European to Indian troops was higher than anywhere else in India, the Bengal units would not risk open revolt. View Product. Mughal Empire. Simply put: This is how history should be written. After this, it was accepted that the odds were too great for any assault to be successful until the besiegers were reinforced. I wanted insight into complicated Muslim, Sufi, Hindu, Christian relations and got exac Fast paced, flashing like an epic movie, round about page I was convinced of Dalrymple's brilliant talent, incorporating Urdu texts and British writings from the era to show how a tolerant creative, if excessive Mughal court was torn asunder by violence and racism; how something so small and inconsiderate as to how bullets were manufactured could erupt into such violence, followed by even greater revenge. -
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.