The Decline of Mughal Empire and Their Contribution 5.1 Timeline

Total Page:16

File Type:pdf, Size:1020Kb

The Decline of Mughal Empire and Their Contribution 5.1 Timeline The Decline of Mughal Empire and their Contribution 5.1 Timeline Timelines (CE) Image Description 1565-73 Akbar built Redfort at Agra but it was only during the reign of Akbar’s grandson, Shah Jahan, that the site took on its current state 1569-70 HamidaBanuBegum,widow of Humayun built a mausoleum, with the help of a Persian architect, Malik Mirza Ghiyas Akbar builds his new palace of 1571 FatehpurSikri close to the shrine of a Sufi saint Akbar himself planned his own tomb and selected a suitable site for it. After his 1605-1613 death, Akbar’s son Jahangir completed the construction Mughal school of painting reaches peak of c. 1615 perfection under Jahangir. Shah Jahan begins building the Taj Mahal 1632 as a memorial for his wife, Mumtaz Mahal In 1639, when Mughal ruler Shah Jahan transferred his capital from Agra to Delhi, the construction of Red Fort was ordered 1639 by him in the north-eastern side of the newly founded city of Shahjahanabad. Shahjahanabad in present day is known as Old Delhi. The Mughal emperor Aurangzeb begins 1673 building the great Badshahi Mosque in Lahore It was built by Azam Shah,[1] son of Aurangzeb, in 1678 in memory of his 1678 mother, DilrasBanu Begum (posthumously known as Rabia- ud-Daurani) 5.2Web links Web links https://en.wikipedia.org/wiki/Mughal_architecture http://www.encyclopedia.com/doc/1E1-Mughalar.html https://en.wikipedia.org/wiki/Mughal_painting https://en.wikipedia.org/wiki/Mughal_Empire https://www.scribd.com/doc/274562048/Cultural-Contribution-of-Mughal-Empire http://indiapicks.com/annapurna/S_Mughal.htm https://en.wikipedia.org/wiki/Agra_Fort http://www.redfortdelhi.co.in/history.htm 5.3Bibliography Chandra, Satish.,Mughal Empire (1526-1748),Haranand publication, 2007 Davies, Philip. The Penguin guide to the monuments of India, Vol II. London: Viking, 1989 Habib, Irfan. The Agrarian System of Mughal India. London, 1963. Habib, Irfan. An Atlas of the Mughal Empire. Delhi, 1982 Mitchell, George and Amit Pasricha, Mughal Architecture and Gardens,ACC Art Books,2011 Mukhia, Harbans. The Mughals of India, New Delhi: Wiley-Blackwell (2004). Nath, R., Indigenous Mughal Architecture, D.K. Print World Ltd; 2004 Richard, John F. The Mughal Empire. Vol. I, Part 5, of the New Cambridge History of India, Cambridge University Press, 1993. Tadgell, Christopher. The History of Architecture in India. London: Phaidon Press, 1990 Verma, Som Prakash,Interpreting Mughal Painting: Essays on Art, Society and Culture, OUP, 2009 .
Recommended publications
  • Lesson: Two Mughal Paintings Essential
    Lesson: Two Mughal Paintings This lesson is accompanied by a handout, Visual Analysis: Four Steps toward Critically Thinking about Art. Essential Question: What role does the visual language of Mughal painting play in the expression of royal power and dynastic legitimacy? Learning Experience: Students will examine two paintings from the Mughal dynasty (1526-1828). One depicts an emperor watching an elephant fight. The second portrays another emperor seated with ten of his ancestors. Students will learn how painters of the Mughal royal workshops used art to express a vision of absolute power. Anticipatory Set: Do we encounter visual symbols or forms of architecture in our daily lives that not only tell us how to behave, but also that we must behave in certain ways? Context: At its height the Mughal Empire controlled most of the Indian subcontinent. Its founder, Babur (1483-1530), was from Central Asia, born in what is today Uzbekistan. He was a Turk, a member of one of the many Central Asian tribes speaking Turkic languages such as Uzbek, Kazakh, Turkish, etc. Babur was the great-great-great grandson of Timur (1336-1405, known as “Tamerlane” in the West). The Timurid dynasty (1370-1405) for a time ruled much of what is today Iran and Central Asia. On his mother’s side Babur claimed descent from Chinggis Khan, the great Mongol conqueror (“Mughal” derives from “Mongol”). The early Mughal rulers emphasized both their descent from Timur and their Chinggisid lineage through Babur’s mother; they were known equally as the Mughals and the Later Timurids. .Just as Timur’s descendants claimed that Timur had outdone Chinggis Khan, so Babur and his descendants recorded those aspects of Babur’s career which had surpassed the achievements of Timur (Manz 2002: 9).
    [Show full text]
  • 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.
    [Show full text]
  • Unit 17 Architecture and Painting*
    Architecture and Painting UANIT 17 RCHITECTURE AND PAINTING* Structure 17.0 Objectives 17.1 Introduction 17.2 Architecture under the Delhi Sultanate 17.2.1 New Structural Forms 17.2.2 Stylistic Evolution 17.2.3 Public Buildings and Public Works 17.3 Mughal Architecture 17.3.1 Beginning of Mughal Architecture 17.3.2 Interregunum: The Sur Architecture 17.3.3 Architecture under Akbar 17.3.4 Architecture under Jahangir and Shah Jahan 17.3.5 The Final Phase 17.4 Paintings under the Delhi Sultanate 17.4.1 Literary Evidence for Murals 17.4.2 The Quranic Calligraphy 17.4.3 Manuscript Illustation 17.5 Mughal Paintings 17.5.1 Antecedents: Paintings in the Fifteenth Century 17.5.2 Painting under Early Mughals 17.5.3 Evolution of the Mughal School under Akbar 17.5.4 Developments and Jahangir and Shahjahan 17.5.5 The Final Phase 17.5.6 European Impact on Mughal Painting 17.6 Summary 17.7 Keywords 17.8 Answers to Check Your Progress Exercises 17.9 Suggested Readings 17.10 Instructional Video Recommendations 17.0 OBJECTIVES After going through this Unit, you should be able to: • distinguish between the pre-Islamic and Indo-Islamic styles of architecture, • identify major phases of architectural development during the period, • understand the traditions of painting prevalent in the Delhi Sultanate, • learn new structural forms and techniques of Mughal architecture, and • describe the main elements of Mughal painting. * Prof. Ravindra Kumar, School of Social Sciences, Indira Gandhi National Open University, New Delhi 357 Religion and Culture 17.1 INTRODUCTION Art and architecture are true manifestations of the culture of a period as they reflect the ethos and thought of a society.
    [Show full text]
  • Non-Western Art History the Art of India 3
    Non-Western Art History The Mughal Empire 1526 - 1707 The Art of India 3 End End 1 Art of India 3 2 Art of India 3 The Mughal Empire Established by Babur, a Muslim from Central Asia, in 1526 with the help of the rulers of Persia (modern Iran) Expanded by his grandson, Akbar (r. 1556-1605), who conquered northern and central India and laid the real foundation for the empire The Mughals, during most of their dominance, were known for strong central government and tolerance of all religions Portrait of Akbar, The Mughals grew very wealthy from trade with Europeans, the by Manohar, Ottoman Empire (Turks) and along the Silk Road 16th century, Hermitage Museum The empire expanded into part of southern India under Aurangzeb (r. 1658-1707), but declined after 1707 Source: The Art of the Mughals, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art End End 3 Art of India 3 4 Art of India 3 Akbar Hears a Petition, by Manohar, c. 1604, H: 10 inches, India, Freer & Sackler Galleries Akbar Hears a Petition, by Manohar, c. 1604, H: 10 inches, India, Freer & Sackler Galleries End End 5 Art of India 3 6 Art of India 3 1 Basic Beliefs of Islam Monotheistic - a belief in only one God, Allah, who is omnipotent. The overall purpose of humanity is to serve Allah, to worship him alone and to construct a moral lifestyle The Koran or Qu’ran is the holy book of Islam, the written revelation from Allah to the prophet Muhammad in the 6th century.
    [Show full text]
  • Historical Places of Pakistan Minar-E-Pakistan
    Historical places of Pakistan Minar-e-Pakistan: • Minar-e-Pakistan (or Yadgaar-e-Pakistan ) is a tall minaret in Iqbal Park Lahore, built in commemoration of the Lahore Resolution. • The minaret reflects a blend of Mughal and modern architecture, and is constructed on the site where on March 23, 1940, seven years before the formation of Pakistan, the Muslim League passed the Lahore Resolution (Qarardad-e-Lahore ), demanding the creation of Pakistan. • The large public space around the monument is commonly used for political and public meetings, whereas Iqbal Park area is ever so popular among kite- flyers. • The tower rises about 60 meters on the base, thus the total height of minaret is about 62 meters above the ground. • The unfolding petals of the flower-like base are 9 meters high. The diameter of the tower is about 97.5 meters (320 feet). Badshahi Mosque: or the 'Emperor's Mosque', was ,( د ه :The Badshahi Mosque (Urdu • built in 1673 by the Mughal Emperor Aurangzeb in Lahore, Pakistan. • It is one of the city's best known landmarks, and a major tourist attraction epitomising the beauty and grandeur of the Mughal era. • Capable of accommodating over 55,000 worshipers. • It is the second largest mosque in Pakistan, after the Faisal Mosque in Islamabad. • The architecture and design of the Badshahi Masjid is closely related to the Jama Masjid in Delhi, India, which was built in 1648 by Aurangzeb's father and predecessor, Emperor Shah Jahan. • The Imam-e-Kaaba (Sheikh Abdur-Rahman Al-Sudais of Saudi Arabia) has also led prayers in this mosque in 2007.
    [Show full text]
  • Conservation of Historic Monuments in Lahore: Lessons from Successes and Failures
    Pak. J. Engg. & Appl. Sci. Vol. 8, Jan., 2011 (p. 61-69) Conservation of Historic Monuments in Lahore: Lessons from Successes and Failures 1 Abdul Rehman 1 Department of Architecture, University of Engineering & Technology, Lahore Abstract A number of conservation projects including World Heritage sites are underway in Lahore Pakistan. The most important concern for conservation of these monuments is to maintain authenticity in all aspects. Although we conserve, preserve and restore monuments we often neglect the aspects of authenticity from different angles. The paper will focus on three case studies built around 1640’s namely Shalamar garden, Shish Mahal and Jahangir’s tomb. The first two sites are included in the World Heritage List while the third one is a national monument and has a potential of being included in the world heritage list. Each one of these monument has a special quality of design and decorative finishes and its own peculiar conservation problems which need innovative solutions. The proposed paper will briefly discuss the history of architecture of these monuments, their conservation problems, and techniques adopted to revive them to the original glory. To what degree the government is successful in undertaking authentic conservation and restoration is examined. The paper draws conclusions with respect to successes and failures in these projects and sees to what degree the objectives of authenticity have been achieved. Key Words: Authenticity, World Heritage sites, Mughal period monuments, conservation in Lahore, role International agencies 1. Introduction 2. Authenticity and Conservation Lahore, cultural capital of Pakistan, is one of the Authentic conservation needs research most important centers of architecture (Figure 1) documentation and commitment for excellence.
    [Show full text]
  • Mughal Kings and Kingdoms From
    Mughal Kings and Kingdoms from http://www.oxfordartonline.com Dynasty of Central Asian origin that ruled portions of the Indian subcontinent from 1526 to 1857. The patronage of the Mughal emperors had a significant impact on the development of architecture, painting and a variety of other arts. The Mughal dynasty was founded by Babur (reg 1526–30), a prince descended from Timur and Chingiz Khan. Having lost his Central Asian kingdom of Ferghana, Babur conquered Kabul and then in 1526 Delhi (see Delhi, §I). He was a collector of books and his interests in art are apparent in his memoirs, the Bāburnāma, written in Chagatay Turkish. Babur built palace pavilions and laid out gardens. The latter, divided into four parts by water courses (Ind.-Pers. chār-bāgh, a four-plot garden), became a model for subsequent Mughal gardens. Babur was succeeded by Humayun (reg 1530–40, 1555–6), who initiated a number of building projects, most notably the Purana Qila‛ in Delhi. Sher Shah usurped the throne and drove Humayun into exile in 1540. During the Sur (ii) interregnum, Humayun travelled to Iran where he was able to attract a number of Safavid court artists to his service. In 1545 he re-established Mughal power in the subcontinent with the capture of Kabul, which was the centre of Humayun’s court until he took Delhi in 1555. Little is known of the Kabul period, but painters from Iran arrived there, and apparently some manuscripts were produced. Humayun died in 1556, shortly after his return to Delhi. Akbar (reg 1556–1605) inherited a small and precarious kingdom, but by the time of his death in 1605 it had been transformed into a vast empire stretching from Kabul to the Deccan.
    [Show full text]
  • History of Conservation of Shish Mahal in Lahore-Pakistan
    Int'l Journal of Research in Chemical, Metallurgical and Civil Engg. (IJRCMCE) Vol. 3, Issue 1 (2016) ISSN 2349-1442 EISSN 2349-1450 History of Conservation of Shish Mahal in Lahore-Pakistan M. Kamran1, M.Y. Awan, and S. Gulzar The most beautiful of them are Shish Mahal (Mirror Palace), Abstract— Lahore Fort is situated in north-west side of Lahore Naulakha Pavilion, Diwan-e-Aam, Diwan-e-Khas, Jehangir’s city. Lahore fort is an icon for national identity and symbol of Quadrants, Moti Masjid, Masti and Alamgiri Gates etc [2]. both historical and legendry versions of the past. It preserves all Shish Mahal is the most prominent, beautiful and precious styles of Mughal architecture. The fort has more than 20 large and small monuments, most of them are towards northern side. palace in Lahore Fort. It is situated in north-west side in the Shish Mahal is one of them and was built in 1631-1632 by Mughal Fort. It is also known as palace of mirrors because of extensive Emperor Shah Jahan. Shish Mahal being most beautiful royal use of mirror work over its walls and ceilings. It was formed as residence is also known as palace of mirrors. Shish Mahal has a harem (private) portion of the Fort. The hall was reserved for faced serious problems throughout the ages. Temperature personal use by the imperial family [3]. Shish Mahal was listed changes, heavy rains, lightning and termite effect were the as a protected monument under the Antiquities Act by serious causes of decays for Shish Mahal.
    [Show full text]
  • Mughal Court Painting
    Mughal Court Painting The Mughal school of painting had gained recognition as a distinctive style of painting which reached full maturity during the 17th century. Generally made as miniature as either book illustrations or as single works Mughal painting evolved from Persian school of miniature painting with Hindu, Buddhist and Jain influences. The early origins of the Mughal school of painting can be traced back to Kabul which was a Cultural Centre. During his stay at the court of Persian ruler, Humayun met painters Mir Saiyid Ali for Abdus Samad and promised them future employment when he retrieved his Kingdom. Later they joined Humayun in Kabul and moved with him to Delhi. After Hymayun’s death his son Akbar showed great interest in art and Mughal painting flourished under him. Akbar, who had received drawing lessons from Abdus Samad in his childhood, commissioned several literary and religious texts. He had an impressive number of painters in his court numbering almost one hundred and fifty. He is known as the real founder of Mughal school of painting. The chief painters of his time were Saiyid Ali, Abdus Samad and Baswan. Baswan is mentioned in twelve miniatures illustrating the Razam Nama. Akbar was very fond of painting and during his reign painting was organised as an imperial establishment of Karkhana (Tasvir Khana). Of the seventeen painters mentioned by name by Abul Fazal thirteen were Hindus. Even low caste people like Daswant, who was the son of a kahar or palanquin bearer, could be hired as royal artists due to their skills. Painters were given monthly salaries and the emperor gave them rewards on basis of their works.
    [Show full text]
  • 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.
    [Show full text]
  • Department of Tourism & Northern Studies MAKING LAHORE A
    Department of Tourism & Northern Studies MAKING LAHORE A BETTER HERITAGE TOURIST DESTINATION Muhammad Arshad Master thesis in Tourism- November 2015 Abstract In recent past, tourism has become one of the leading industries of the world. Whereas, heritage tourism is one of the fastest growing sectors in tourism industry. The tourist attractions especially heritage attractions play an important role in heritage destination development. Lahore is the cultural hub of Pakistan and home of great Mughal heritage. It is an important heritage tourist destination in Pakistan, because of the quantity and quality of heritage attractions. Despite having a great heritage tourism potential in Lahore the tourism industry has never flourished as it should be, because of various challenges. This Master thesis is aimed to identify the potential heritage attractions of Lahore for marketing of destination. Furthermore, the challenges being faced by heritage tourism in Lahore and on the basis of empirical data and theoretical discussion to suggest some measures to cope with these challenges to make Lahore a better heritage tourist destination. To accomplish the objectives of this thesis, various theoretical perspectives regarding tourist destination development are discussed in this thesis including, destination marketing and distribution, pricing of destination, terrorism effects on destination, image and authenticity of destination. The empirical data is collected and analyze on the basis of these theories. Finally the suggestions are made to make Lahore a better heritage tourist destination. Key words: Heritage tourism, tourist attractions, tourist destination, destination marketing, destination image, terrorism, authenticity, Lahore. 2 | Page Acknowledgement Working with this Master thesis has been very interesting and challenging at a time.
    [Show full text]
  • Gc University Lahore
    Puritan Shift: Evolution of Ahl-i-Hadith Sect in the Punjab; A Discursive Study (1880-1947) Name: Amir Khan Shahid Session: 2008-2011 Roll No: 85-GCU-PhD-HIS-08 Department: History GC UNIVERSITY LAHORE i Puritan Shift: Evolution of Ahl-i-Hadith Sect in the Punjab; A Discursive Study (1880-1947) Submitted to GC University Lahore in partial fulfillment of the requirements for the award of the degree of Ph D In History By Name Amir Khan Shahid Session: 2008-2011 Roll No: 85-GCU-PhD-His-08 Department: History GC UNIVERSITY LAHORE ii iii iv v vi DEDICATED To My Parents and teachers vii ACKNOWLEDGEMENT In the name of Allah, the Beneficent, the Merciful, who enabled me to successfully complete this work. Then, first of all, I owe special gratitude to the honourable, Chairperson of History Department, Prof. Dr. Tahir Kamran, for his constant support and encouragement, both during the course work as well as the research work. I would like to express my deepest gratitude to my supervisor respected Dr. Farhat Mahmud, who helped, encouraged and guided me throughout the process of research. I cannot forget his affectionate behavior during the whole course of my studies. I pay my warmest thanks to my ideal Prof. Dr. Irfan Waheed Usmani who devoted a lot of time in checking my work and giving necessary direction to address the queries suggested by Francis Robinson, Babra D. Metcalf, and Dietrich Reetz. He checked about three initial drafts of my thesis thoroughly and made it possible for final submission. Without the kind favour of Tahir Kamran and Irfan Waheed Usmani, I was unable to complete my research work.
    [Show full text]