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This Book Attempts A Detailed Study Of The Political, Economic And Social Forces Which Caused, Hastened Or Simply Accompanied The Process Of Imperial Disintegration During The Reign Of Muhammad Shah. The Book Argues That The King Has Been Misjudged By Historians And Popular Writers And Painted As A Debanch, Holding Him Entirely Responsible For The Ruin Of The Empire, And That It Was A Foral Combination Of Circumstances Which Led To The Ultimate Collapse Of The Empire. Without Dustjacket.
A dazzling celebration of the art and artists of late-Mughal Delhi Between 1707 and 1857, Delhi was a hotbed of political intrigue and power struggles the Mughal Empire was on the decline and the British East India Company was emerging as a formidable power. In 1857, these tensions would culminate in the Mutiny that led to the end of Mughal dominion and the beginning of the British Raj. But this turbulent epoch also witnessed a burst of artistic innovation and experimentation. Delhis artists were increasingly employed by Company officials as well as the Mughal and regional courts, and thus became adept at improvising with a variety of techniques, creating traditional miniatures while continually experimenting with new European styles. Art historians are only now coming to recognize the richness and ingenuity of the work created in this period. With insightful essays by distinguished scholars, Princes and Painters is a stunning visual document of eighteenth- and nineteenth-century Delhi.
Kabul was an extremely important part of Mughal India. It was situated at the centre of a vibrant inter-Asian trading network. Kabul derived considerable resources from trade and commerce. Kabul, from the time of its annexation by Akbar in 1585, remained a part of Mughal India till 1739, when it was seized by Nadir Shah. Kabul also had a strategic significance, and control of Kabul was viewed by the Mughals as indispensable for the stability of their empire in India. Despite the economic and strategic significance of Kabul in Mughal India, it has not received adequate attention by historians, compared to the detailed studies we have of some other important provinces in Mughal India. This work provides a more or less comprehensive account of the suba of Kabul in the Mughal period (1585-1739) within the Mughal framework, as part of the history of Mughal India.
This book makes an extensive study of the art and culture of Awadh during the Nawabi period (c. 1722-1856), with a focus on the city of Lucknow. The work takes up evidence available in a variety of primary and secondary sources, especially in the Persian and Urdu languages, in its study of visuals and artefacts, as well as performance traditions and craft techniques which are derived from this period. Highlighting the literary milieu of the period, and the developments in the realm of music, painting, architecture and industrial arts, this volume also explores how some of the arts and crafts assumed considerable European colour, and demonstrates how the ethos of the syncretic Indo-Persian culture, the renowned ganga-jamuni tahzib, remained intact.
Nile Green reveals the politics and poetry of Indian Sufism through the study of Islamic sainthood in the midst of a cosmopolitan Indian society comprising migrants, soldiers, litterateurs and princes.
This collection of original essays brings together museum, theatre, and performance case studies with a focus on their distinctive and overlapping modes of producing memory for transnational audiences. Whether this is through narrative, object, embodied encounter or a combination of the three, this volume considers distinctions and interactions between memory and history specifically through the lenses of theatre and performance studies, visual culture, and museum and curator studies. This book is underpinned by three areas of research enquiry: How are contemporary theatre makers and museum curators staging historical narratives of difficult pasts? How might comparisons between theatre and museum practices offer new insights into the role objects play in generating and representing difficult pasts? What points of overlap, comparison, and contrast among these constructions of history and memory of authoritarianism, slavery, colonialism, genocide, armed conflict, fascism, and communism might offer an expanded understanding of difficult pasts in these transnational cultural contexts? This collection is designed for any scholar of its central disciplines, as well as for those interested in cultural geography, memory studies, and postcolonial theory. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-NoDerivatives (CC-BY-ND) 4.0 license.
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The book aims to assess whether the musicians of Varanasi are Traditional or modern. In this context, the generation gap hypothesis was psychologically tested. It appeared that the musicians of Varanasi upheld the traditional values of music as a whole. However, the older and younger generations differed significantly in the context of their professional attitude and outlook.