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Maharaja sayajirao gaekwad III of Baroda state Tower over all the other rulers of princely states in British India. The book not only documents how a Maratha farmer's son became a Maharaja by a twist of fate, but also reveals interesting details about how the 'favourite son' Of the British Empire found himself on the brink of being deposed by the British.
Vadodara is one of four cities in the State with a population of over 1 million. It is also known as the Sayaji Nagari (Sayaji’s City after its famous Maratha ruler, Maharaja Sayajirao Gaekwad III) or Sanskari Nagari (The city of culture, a reference to its status as the cultural capital of Gujarat). Vadodara, formerly known as Baroda, is the third-largest and most populated city in the Indian state of Gujarat, after Ahmedabad and Surat. Baroda is enriched with its glorious history. The beautiful city is situated on the banks of the river Vishwamitri (the name being derived from the great saint Rishi Vishwamitra) and is home to some very interesting facts in the history. It is believed that early man lived on the banks of the Mahi River which formed the flood plains in that region. There are evidence of the existence of early man and the existence of early settlements in the Mahi river valley at several sites within 10 to 20 km to the north-east of Vadodara. During the days of the British Raj, Baroda state was a Maratha Princely state ruled by the royal Gaekwad dynasty, entitled to 21 Gun Salute’s, and was one of the largest and richest Indian Princely states. Historical and archaeological findings date this place back to the 9th century when it was a small town called Ankottaka (present akota) located on the river Vishwamitri. Baroda has interesting stories of coins, stamps and mints. It had its own coins in the name of Gaekwads kings. The history shows that the Baroda mints had a variety of coins and stamps, the majority of which are covered in the book. The author has tried to cover various images of coins and historical places of Baroda along with its history.
This is the story of Sayajirao III of Baroda, a regal personality with a complex human nature, as told by his great-grandson with invlovement, sympathy and affection, but without camouflage or evasion.
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An examination of the relationship of Indian women to education, the professions, and philanthropy.
The “compelling [and] vivid” (The New York Times Book Review) true story of a man who claimed to be a survivor of a 1919 British massacre in India, his elaborate twenty-year plan for revenge, and the mix of truth and legend that made him a hero to hundreds of millions. When Sir Michael O’Dwyer, the Lieutenant Governor of Punjab, ordered Brigadier General Reginald Dyer to Amritsar, he wanted Dyer to bring the troublesome city to heel. Sir Michael had become increasingly alarmed at the effect Gandhi was having on his province, as well as recent demonstrations, strikes, and shows of Hindu-Muslim unity. All these things, to Sir Michael, were a precursor to a second Indian revolt. What happened next shocked the world. An unauthorized gathering in the Jallianwallah Bagh in Amritsar in April 1919 became the focal point for Sir Michael’s law enforcers. Dyer marched his soldiers into the walled public park, blocking the only exit. Then, without issuing any order to disperse, he instructed his men to open fire, turning their guns on the crowd, which numbered in the thousands and included women and children. The soldiers continued firing for ten minutes, stopping only when they ran out of ammunition. According to legend, nineteen-year-old Sikh orphan Udham Singh was injured in the attack, and remained surrounded by the dead and dying until he was able to move the next morning. Then, he supposedly picked up a handful of blood-soaked earth, smeared it across his forehead, and vowed to kill the men responsible. The truth, as the author has discovered, is more complex—but no less dramatic. Award-winning journalist Anita Anand traced Singh’s journey through Africa, the United States, and across Europe until, in March 1940, the young man finally arrived in front of O’Dwyer himself in a London hall ready to shoot him down. The Patient Assassin “mixes Tom Ripley’s con-man-for-all-seasons versatility with Edmond Dantès’s persistence” (The Wall Street Journal) and reveals the incredible but true story behind a legend that still endures today.
The city of Baroda, with its vibrant history of art and architecture, is a much-sought-after destination for art education. This is due in large part to Sayajirao Gaekwad III, the maharaja of the erstwhile princely state of Baroda. His art-collecting practice significantly shaped Baroda's modern art-and-craft institutions and industries. A scientific and progressive thinker, Sayajirao encouraged Baroda's alternative experiments in art, craft, and design and contributed to the making of a new national art. During his reign, Raja Ravi Varma, Sankheda lacquerware, and the Patan patola debuted on the national and international trail of exhibitions. Employing rare archival data, back-room surveys, and exhaustive research, Fashioning a National Art discusses how a native prince not only patronized the local arts but also mediated a cross-cultural dialogue between the European and indigenous art techniques. This book also presents a rarely documented aspect of Sayajirao- as the lender of the royal collection to regional and international exhibitions and a global tastemaker. Besides tracing the history of elite patrons, famous artists, and European sculptors such as Augusto Felici and Derwent Wood, it also delves into the stories of subalterns such as master ivory craftsman Neelakandan Asari, wood-worker Keshav Mistry, and others.
The book presents a rich collection of critical essays, ethnographic writings, memoirs, and reflections, portraying a well-rounded picture of cinema culture and historical change in Pakistan. The multiplicity of voices and approaches enhances the appeal of this collection, which is the first ever to delineate the diversity in the cinematic and extra-cinematic traditions of Pakistan, as well as in the histories of production, exhibition, and reception. The work also highlights aesthetic and affective politics in relation to nationalism; Islamization in policy and practice; the biopolitics of morality, ethnicity, gender, and sexuality; and the phenomenology of film exhibition and urban formation. The book incorporates rarely seen nostalgia items, such as pictures of studio shootings, as well as of film actors, film scenes, posters, and lobby cards.