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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.
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Presents a new history of how Hindustani court music responded to the political transitions of the nineteenth century. How far did colonialism transform north Indian music? In the period between the Mughal empire and the British Raj, how did the political landscape bleed into aesthetics, music, dance, and poetry? Examining musical culture through a diverse and multilingual archive, primarily using sources in Urdu, Bengali, and Hindi that have not been translated or critically examined before, The Scattered Court challenges our assumptions about the period. Richard David Williams presents a long history of interactions between northern India and Bengal, with a core focus on the two courts of Wajid Ali Shah (1822–1887), the last ruler of the kingdom of Awadh. He charts the movement of musicians and dancers between the two courts in Lucknow and Matiyaburj, as well as the transregional circulation of intellectual traditions and musical genres, and demonstrates the importance of the exile period for the rise of Calcutta as a celebrated center of Hindustani classical music. Since Lucknow is associated with late Mughal or Nawabi society and Calcutta with colonial modernity, examining the relationship between the two cities sheds light on forms of continuity and transition over the nineteenth century, as artists and their patrons navigated political ruptures and social transformations. The Scattered Court challenges the existing historiography of Hindustani music and Indian culture under colonialism by arguing that our focus on Anglophone sources and modernizing impulses has directed us away from the aesthetic subtleties, historical continuities, and emotional dimensions of nineteenth-century music.
Vols. 1-36, 1914-1949, 1999- issued in separate parts, called sections, e.g. Journal section, Federal Court section, Privy Council section, Allahabad section, Bombay section, etc.