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On the place of Mewar, a former princely state of Rajasthan, in Indian history.
One Princess. Two Kings. Three Kingdoms. Who will win both the land and the love? Kishengarh, 1660: A reckless mistake by Princess Charumati leads to a marriage proposal by the cruel Mughal Emperor Aurangzeb. She has no choice but to turn to Rana Raj Singh, the Rajput ruler of Mewar. The great-great-grandson of Maharana Pratap, he is a true Rajput! He would never ignore a woman's plea for help— especially one he loves with all his heart. But the Rana knows that Aurangzeb is not an enemy to be taken lightly—he has the resources of the Mughal empire at his disposal and revenge to fuel his actions. How will the brave Rajput ruler keep his promise to the Princess? The Mewar Conspiracy is a historical account of the epic saga of how the Rajputs defeated Aurangzeb.
History Of Costume Is Engaged In An Adventure Of Vast Absorbing Dimensions. For The First Time A Dedicated Unique Collection Of Exquisite And Profusely Elaborated Costumes Of Rulers Of Mewar Has Been Prepared. The Author Has Made A Conscientious Effort To Present A Guideline For The Construction Of Garments, Textiles Used, Jewellery And Footwear Worn With The Costumes. The Coloured Photographs And Diagrams Explain All The Time-Honoured Traditions Of The Past And Present. The Book Will Be Immensely Useful To Apparel Designers, Merchants, Theatre People, Students, Historians, Artists As Well As To The Fashion Houses In Europe And America Which Are Always In Search Of Exotic Styles Of Dresses For Their Clients.
Heritage is a prized cultural commodity in the marketing of tourism destinations. Particular aspects of heritage are often more actively promoted, with others played down. The representation of heritage in tourism as static and timeless, derived since time immemorial from a distant past, is seductive. In Asia, a major part of the tourism market lies in the sale and consumption of highly orientalized images and versions of culture and history. In India’s marketing discourse, the state of Rajasthan symbolizes the nation in its heritage-laden, traditional and most authentic form. These images draw heavily on the British period in India - the Raj. In one sense, this vision of Rajasthan is ennobling, highlighting moments of cultural pride. In another sense, it demeans, by omitting and obscuring salient features of contemporary life. This fascinating book explores the cultural politics of tourism through interdisciplinary perspectives. Carol E. Henderson and Maxine Weisgrau demonstrate that tourism heritage privileges elite histories that recapitulate colonial relationships, compelling non-elites to collude in these narratives of subordination even as they advance their own alternative visions of history.
A richly illustrated look at the lives and careers of North Indian artists
One of the most remarkable artistic achievements of the Mughal Empire was the emergence in the early seventeenth century of portraits of identifiable individuals, unprecedented in both South Asia and the Islamic world. Appearing at a time of increasing contact between Europe and Asia, portraits from the reigns of the great Mughal emperor-patrons Akbar, Jahangir and Shah Jahan are among the best-known paintings produced in South Asia. In the following centuries portraiture became more widespread in the visual culture of South Asia, especially in the rich and varied traditions of painting, but also in sculpture and later prints and photography. This collection seeks to understand the intended purpose of a range of portrait traditions in South Asia and how their style, setting and representation may have advanced a range of aesthetic, social and political functions. The chapters range across a wide historical period, exploring ideals of portraiture in Sanskrit and Persian literature, the emergence and political symbolism of Mughal portraiture, through to the paintings of the Rajput courts, sculpture in Tamil temples and the transformation of portraiture in colonial north India and post-independence Pakistan. This specially commissioned collection of studies from a strong list of established scholars and rising stars makes a significant contribution to South Asian history, art and visual culture.
Khurram Shah Jahan, a title meaning King of the World , ruled the Mughal Empire from 1628 to 1659. His reign marked the cultural zenith of the Mughal dynasty: a period of multiculturalism, poetry, fine art and stupendous architecture. His legacy in stone embraces not only the Taj Mahal the tomb of his beloved second wife, Anjumand Mumtaz Mahal but fortresses, mosques, gardens, carvanserais and schools. But Shah Jahan was also a ruthless political operator, who only achieved power by ordering the murder of two brothers and at least six other relatives, one of them the legitimately crowned Emperor Dawar Baksh. This is the story of an enlightened despot, a king who dispensed largesse to favoured courtiers but ignored plague in the countryside. Fergus Nicholl has reconstructed this intriguing tale from contemporary biographies, edicts and correspondence. He has also traveled widely through India and Pakistan to follow in Shah Jahan's footsteps and put together an original portrait that challenges many established legends to bring the man and the emperor to life.
The Republic of India is the second most populous, the seventh largest by geographical area, and has the fourth largest economy in terms of purchasing power parity in the world. While it has always been an important country, it has often been neglected. Of late, however, there has been much talk of the 'new' India, one with greater economic dynamism, a more active foreign policy, and the emergence of a huge middle class. With over a hundred new cross-referenced dictionary entries-the majority of which pertain to the last decade-and updating others, the second edition of the Historical Dictionary of India illustrates the rapidly evolving situation without neglecting the country's ancient past. The chronology has been brought up to date, the introduction expanded, and the bibliography includes numerous new titles.
Maharana Pratap was a warrior. He fought battles and struggled all his life to preserve his self-respect. Perhaps, that could be the reason we have always seen Maharana Pratap in battle armour.