Jahangir, Collector
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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. -
British Reaction to the Sepoy Mutiny, 1857-1858 Approved
BRITISH REACTION TO THE SEPOY MUTINY, 1857-1858 APPROVED: Major /Professor mor Frotessar of History Dean' ot the GraduatGradua' e ScHooT* BRITISH REACTION TO THE SEPOY MUTINY, 1857-185S THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Samuel Shafeeq Denton, Texas August, 1970 PREFACE English and Indian historians have devoted considerable research and analysis to the genesis of the Sepoy Mutiny of 1857 but have ignored contemporary British reaction to it, a neglect which this study attempts to satisfy. After the initial, spontaneous, condemnation of Sepoy atrocities, Queen Victoria, her Parliament, and subjects took a more rational and constructive attitude toward the insurrection in India, which stemmed primarily from British interference in Indian religious and social customs, symbolized by the cartridge issue. Englishmen demanded reform, and Parliament-- at once anxious to please the electorate and to preserve the valuable colony of India--complied within a year, although the Commons defeated the first two Indian bills, because of the interposition of other foreign and domestic problems. But John Bright, Lord Edward Stanley, William Gladstone, Benjamin Disraeli, and their friends joined forces to pass the third Indian bill, which became law on August 2, 1858. For this study, the most useful primary sources are Parliamentary Debates. Journals of the House of Commons and Lords, British and Foreign State' Papers, English Historical Queen Victoria's Letters , and the Annual' Re'g'i'st'er. Of the few secondary works which focus on British reac- tion to the Sepoy Mutiny, Anthony Wood's Nineteenth Centirr/ Britain, 1815-1914 gives a good account of British politics after the Mutiny. -
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. -
King George VI Wikipedia Page
George VI of the United Kingdom - Wikipedia, the free encyclopedia 10/6/11 10:20 PM George VI of the United Kingdom From Wikipedia, the free encyclopedia (Redirected from King George VI) George VI (Albert Frederick Arthur George; 14 December 1895 – 6 February 1952) was King of the United Kingdom George VI and the Dominions of the British Commonwealth from 11 December 1936 until his death. He was the last Emperor of India, and the first Head of the Commonwealth. As the second son of King George V, he was not expected to inherit the throne and spent his early life in the shadow of his elder brother, Edward. He served in the Royal Navy and Royal Air Force during World War I, and after the war took on the usual round of public engagements. He married Lady Elizabeth Bowes-Lyon in 1923, and they had two daughters, Elizabeth and Margaret. George's elder brother ascended the throne as Edward VIII on the death of their father in 1936. However, less than a year later Edward revealed his desire to marry the divorced American socialite Wallis Simpson. British Prime Minister Stanley Baldwin advised Edward that for political and Formal portrait, c. 1940–46 religious reasons he could not marry Mrs Simpson and remain king. Edward abdicated in order to marry, and George King of the United Kingdom and the British ascended the throne as the third monarch of the House of Dominions (more...) Windsor. Reign 11 December 1936 – 6 February On the day of his accession, the parliament of the Irish Free 1952 State removed the monarch from its constitution. -
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. -
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. -
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 -
The Development of Diplomatic Relations and Trade with Ming in the Last Years of the Koryŏ Dynasty
International Journal of Korean History (Vol.10, Dec. 2006) 1 The Development of Diplomatic Relations and Trade with Ming in the Last Years of the Koryŏ Dynasty Lee, Jin- Han∗ Introduction Although it was an unprecedented mega-empire, Yuan began to see signs of agitation in the mid-14th century onwards. Not only did there exist fierce strife for the imperial throne and conflict among the aristocracy but also the misgovernment of Emperor Shundi (Huizong) brought about financial difficulties and the misery of the masses, in turn leading to uprisings nationwide. Originally under the command of Guo Zixing from Haozhou, one of the most powerful forces involved in such unrest, Zhu Yuanzhang (the future Emperor Gaodi or Taizu) declared his independence as the Duke of Wu upon Guo Zixing’s death in 1355 (5th year of King Gongmin’s reign). He then proclaimed himself the King of Wu in 1364 in Nanjing, subdued rival forces such as Zhang Shicheng and Fang Guozhen in 1367, proclaimed himself as the Ming emperor in 1368, and initiated the conquest of Yuan to the north, thus capturing the capital and seizing control of China.1 With the founding of the Ming Dynasty, Koryŏ put its effort into forging diplomatic relations with Ming to be free from Yuan political interference. As for Ming, unlike Koryŏ’s intention, it sought to maintain ∗ Associate Professor, Dept. of Korean History, Korea University 2 The Development of Diplomatic Relations and Trade ~ the Koryŏ-Yuan diplomatic form, which had been based on suzerain-tributary relations. Consequently, as with Yuan earlier, Ming stated the types and amounts of goods that it needed and strictly controlled the number and quality of tribute despite its superficial claim that goodwill was most important to tribute. -
King of the Birds
KING OF THE BIRDS Print of a peacock. Catherine Hettler. SPRING 2020 50 KRISTEN HICKEY KING OF THE BIRDS: MAKING SYMBOL, SUBJECT, AND SCIENCE IN THE SKIES OF HINDUSTAN When the Mughals founded an empire in Hindustan, they sought to legitimize their budding dynasty through diverse sources of power. In the texts and art produced by emperors and their courts during the sixteenth and seventeenth centuries, these performances of power constantly featured birds. Birds, enfleshed and imagined, were used as motifs that positioned the Mughals as the cultural descendants of a long Islamic tradition of storytelling and spirituality. Wild and captive birds became an extension of the imperial court as emperors strove to model the legendary rule of King Solomon, who was renowned for his just power over all creatures. During this age of scientist-kings, avians also became catalysts for experimentation and the production of knowledge. This intricate relationship between birds and power reveals a Mughal conception of empire, defined by fluid boundaries between the human and animal kingdoms. Kristen Hickey Written for Ruling Hindustan (HIST 494) Dr. Lisa Balabanlilar In the Hindustani empire of the Mughals, birds were companions, partners in the hunt, playthings, and sources of great entertainment. They were fascinating airborne creatures, worthy of great scientific attention. The subject of unimaginable hours of artistic labor, they appeared in countless folios, with their feathers adorning the jeweled turbans of only the most powerful emperors.1 The presence of birds illuminated and defined the seat of the Mughal emperor as a ruler in an ancient tradition of powerful kingships. -
The Weinstein Company and UK Film Council Presentation a See Saw Films / Bedlam Production Directed by Tom Hooper
MOVIE REVIEW Afr J Psychiatry 2011;14:158 THE KING’S SPEECH The Weinstein Company and UK Film Council presentation A See Saw Films / Bedlam Production Directed by Tom Hooper. Written By David Seidler A film review by Franco P. Visser February 2012 will mark the 60th and responsibilities. anniversary of the death of King George As a pillar of strength to her husband VI, the royal Prince who was not and future Sovereign, Princess Elizabeth supposed to be King. On the morning of 2 sought the help of many professionals and February 1952 the King’s valet found him quacks in order to better Prince Albert’s dead in his room at Sandringham, the speech difficulties. Many of them had very royal family’s country retreat in Norfolk. little if any successes in their treatment The Queen Mother, then Queen Elizabeth regimes. It was Princess Elizabeth who the Queen Consort was notified and she found Lionel Logue (played by Geoffrey immediately rushed to his room, but to no Rush), an unorthodox speech therapist avail. The King had died peacefully in his from South Australia, and enlisted his help sleep after a long illness, suffering from in finding a workable solution to Prince lung cancer and arteriosclerosis amongst Albert’s pronounced stammer. As the other ailments. Prince Edward, King Duke and Duchess of York acceded to the George VI’s elder brother succeeded his throne, the nation looked to their new King father King George V as King Edward VIII, George VI in times of national crisis to relinquished the throne in order to marry lead and provide comfort and the twice divorced American socialite reassurance. -
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. -
Ancient, British and Foreign Coins and Commemorative Medals
ANCIENT, BRITISH AND FOREIGN COINS AND COMMEMORATIVE MEDALS 27-28 MARCH 2018 LONDON ANCIENT, BRITISH AND FOREIGN COINS AND COMMEMORATIVE MEDALS 69 Southampton Row, Bloomsbury London WC1B 4ET tel +44 (0)20 7563 4000 fax +44 (0)20 7563 4066 Vat No: GB 791627108 Sale Details | Tuesday 27 March 2018 at 10.00 a.m. (Lots 1-263) Tuesday 27 March 2018 at 3.00 p.m. (Lots 264-454) Wednesday 28 March 2018 at 2.00 p.m. (Lots 455-744) In sending commission bids or making enquiries, this sale should be referred to as DORRIEN - 18004 Viewing of Lots | At Spink London Friday 23 March 2018 at 10:00 a.m. – 5:00 p.m. Monday 26 March 2018 at 10:00 a.m. – 5:00 p.m. | Private viewing by appointment only Live platform | and/or (3% fee on hammer price) Your Specialists for this Sale Bids Payment Enquiries Dora Szigeti Veronica Morris [email protected] [email protected] +44 (0)20 7563 4005 +44 (0)20 7563 4018 fax +44 (0)20 7563 4037 VAT Enquiries Internet Bidding John Winchcombe Richard Bishop Greg Edmund [email protected] [email protected] Michael Lewis [email protected] +44 (0)20 7563 4053 +44 (0)20 7563 4048 [email protected] +44 (0)20 7563 4101 +44 (0)20 7563 4090 +44 (0)20 7563 4089 Barbara Mears [email protected] +44 (0)20 7563 4091 The Spink Environment Commitment: Paper from Sustainable Forests and Clean Ink Spink has a long history of preserving not only collectables but our planet, too.