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Nicolas Sanson (1600-1667) was a French cartographer and geographer, credited by some as the creator of French geography and the father of French cartography. Born to an old Picardy family of Scottish descent in Abbeville, Nicolas was educated by Jesuits at Amiens.<br/><br/> In 1627, Sanson attracted the attention of Cardinal Richelieu due to a map of Gaul that he had made while only eighteen. Impressed by Sanson, Richelieu made him royal geographer and tutor to King Louis XIII and Prince Louis XIV. He was made a councillor of state by Louis XIII, who was fond of him, and published many maps of importance. He died in 1667 in Paris, and his geographic work was continued by two of his sons.
The water lily in the figure’s right hand shows that this statue represents the goddess Uma (also known as Parvati), wife of the Hindu god Shiva. She is standing in an elegant pose, with her body slightly angled at the hip and neck.<br/><br/> In a temple she would have stood to the left of Shiva, her customary position.
Tipu Sultan (November 1750, Devanahalli – 4 May 1799, Seringapatam), also known as the Tiger of Mysore, was the de facto ruler of the Kingdom of Mysore. He was the son of Hyder Ali, at that time an officer in the Mysorean army, and his second wife, Fatima or Fakhr-un-Nissa.<br/><br/> Tipu was given a number of honorific titles, and was referred to as Sultan Fateh Ali Khan Shahab, Tipu Saheb, Bahadur Khan Tipu Sultan or Fatih Ali Khan Tipu Sultan Bahadur.
The Waqwaq is a giant tree that bears humanoid fruit in Indo-Persian lore. It is similar to the Japanese Jinmenju, another Human-Like tree.<br/><br/> The Waqwaq is a Persian Oracular Tree, originating from India, whose branches or fruits become heads of men, women or monstrous animals (depending on version) all screaming 'Waq-Waq'.<br/><br/> In the Islamic world, there is a legend about a fabulous tree on the island of Waq Waq, which has fruit in the form of human figures, or heads that talk and make prophesies. Alexander the Great is said to have encountered one such talking tree with human fruit.
The text is Dakhni and in Arabic script, indicating roots in the Muslim Deccan. The dancer is trained in South Indian traditions. Bare-legged and sharply angled, she wears a short wide skirt in a manner reminiscent of today’s Bharatanatyam dancers.
Tipu Sultan (November 1750, Devanahalli – 4 May 1799, Seringapatam), also known as the Tiger of Mysore, was the de facto ruler of the Kingdom of Mysore. He was the son of Hyder Ali, at that time an officer in the Mysorean army, and his second wife, Fatima or Fakhr-un-Nissa.<br/><br/> Tipu was given a number of honorific titles, and was referred to as Sultan Fateh Ali Khan Shahab, Tipu Saheb, Bahadur Khan Tipu Sultan or Fatih Ali Khan Tipu Sultan Bahadur.
Tipu Sultan (November 1750, Devanahalli – 4 May 1799, Seringapatam), also known as the Tiger of Mysore, was the de facto ruler of the Kingdom of Mysore. He was the son of Hyder Ali, at that time an officer in the Mysorean army, and his second wife, Fatima or Fakhr-un-Nissa.<br/><br/> Tipu was given a number of honorific titles, and was referred to as Sultan Fateh Ali Khan Shahab, Tipu Saheb, Bahadur Khan Tipu Sultan or Fatih Ali Khan Tipu Sultan Bahadur.
Tipu Sultan (November 1750, Devanahalli – 4 May 1799, Seringapatam), also known as the Tiger of Mysore, was the de facto ruler of the Kingdom of Mysore. He was the son of Hyder Ali, at that time an officer in the Mysorean army, and his second wife, Fatima or Fakhr-un-Nissa.<br/><br/> Tipu was given a number of honorific titles, and was referred to as Sultan Fateh Ali Khan Shahab, Tipu Saheb, Bahadur Khan Tipu Sultan or Fatih Ali Khan Tipu Sultan Bahadur.
Tipu Sultan (November 1750, Devanahalli – 4 May 1799, Seringapatam), also known as the Tiger of Mysore, was the de facto ruler of the Kingdom of Mysore. He was the son of Hyder Ali, at that time an officer in the Mysorean army, and his second wife, Fatima or Fakhr-un-Nissa.<br/><br/> Tipu was given a number of honorific titles, and was referred to as Sultan Fateh Ali Khan Shahab, Tipu Saheb, Bahadur Khan Tipu Sultan or Fatih Ali Khan Tipu Sultan Bahadur.
Golconda lay on the south east side of the Deccan in Hyderabad district, Telangana. With rich and fertile farmland, Golconda was very attractive for European traders. The art of Golonconda tells us a lot about the traditional culture of the Deccan. We see many figures, flowers, and animal creations in decorative mortars, vessels, calligraphies (Alams) and hanging kalamkaris, or textiles of the Deccan made for courtly patrons.<br/><br/> This painting of a 'Dancing Girl' represents a classical Indian maiden dancing, wearing Indian clothes with traditional imperial jewellery.
The Throne Verse (Arabic: آية الكرسي ‎ ʾāyatu-l-kursī), or Ayatul Kursi, is 255th verse (ayah) of the second chapter (sura) Al-Baqara.<br/><br/> It is perhaps the most celebrated verse of the Qur'an and is widely memorised and displayed across the Muslim World due to its emphatic description of God's power over the entire universe.
Varahi (Sanskrit: वाराही, Vārāhī) is one of the Matrikas, a group of seven or eight mother goddesses in the Hindu religion. With the head of a sow, Varahi is the shakti (feminine energy, or sometimes, consort) of Varaha, the boar Avatar of the god Vishnu. In Nepal, she is called Barahi.<br/><br/> Varahi is worshipped by all the three major schools of Hinduism: Shaktism (goddess worship); Shaivism (followers of the god Shiva); and Vaishnavism (devotion to Vishnu). She is usually worshipped at night, and according to secretive Vamamarga Tantric practices. The Buddhist goddesses Vajravarahi and Marichi are believed to have their origins in the Hindu goddess Varahi.
Tipu Sultan (Kannada: ಟಿಪ್ಪು ಸುಲ್ತಾನ್, Urdu: سلطان فتح علی خان ٹیپو) (November 1750, Devanahalli – 4 May 1799, Seringapatam), also known as the Tiger of Mysore, was the de facto ruler of the Kingdom of Mysore. He was the son of Hyder Ali, at that time an officer in the Mysorean army, and his second wife, Fatima or Fakhr-un-Nissa. He was given a number of honorific titles, and was referred to as Sultan Fateh Ali Khan Shahab, Tipu Saheb, Bahadur Khan Tipu Sultan or Fatih Ali Khan Tipu Sultan Bahadur.<br/><br/> During Tipu's childhood, his father rose to take power in Mysore, and Tipu took over rule of the kingdom upon his father's death. In addition to his role as ruler, he was a scholar, soldier, and poet. He was a devout Muslim but the majority of his subjects were Hindus. At the request of the French, he built a church, the first in Mysore. He was proficient in many languages. In alliance with the French in their struggle with the British, and in Mysore's struggles with other surrounding powers, both Tipu Sultan and Hyder Ali used their French trained army against the Marathas, Sira, rulers of Malabar, Coorg, Bednur, Carnatic, and Travancore. He won important victories against the British in the Second Anglo-Mysore War, and negotiated the 1784 Treaty of Mangalore with them after his father died the previous year.<br/><br/> He engaged in expansionist attacks against his neighbours, and harshly put down rebellions within his territories, deporting whole populations into confinement in Seringapatam. He remained an implacable enemy of the British, bringing them into renewed conflict with an attack on British-allied Travancore in 1789. In the Third Anglo-Mysore War Tipu was forced into a humiliating peace, losing a number of previously conquered territories, such as Malabar and Mangalore. He sent embassies to foreign states, including the Ottoman Empire and France, in an attempt to rally opposition to the British. In the Fourth Anglo-Mysore War the combined forces of the British East India Company and the Nizam of Hyderabad defeated Tipu and he was killed on 4 May 1799, defending the fort of Seringapatam.<br/><br/> Tipu's treatment of conquered subjects, non-Muslims, and prisoners of war, were controversial, and continue to be a subject of debate today. He introduced a number of administrative and military innovations to Mysore (including the expansion of rocket technology), and introduced and promoted a more widespread use of Persian and Urdu languages in southern India.
Tipu Sultan (Kannada: ಟಿಪ್ಪು ಸುಲ್ತಾನ್, Urdu: سلطان فتح علی خان ٹیپو) (November 1750, Devanahalli – 4 May 1799, Seringapatam), also known as the Tiger of Mysore, was the de facto ruler of the Kingdom of Mysore. He was the son of Hyder Ali, at that time an officer in the Mysorean army, and his second wife, Fatima or Fakhr-un-Nissa. He was given a number of honorific titles, and was referred to as Sultan Fateh Ali Khan Shahab, Tipu Saheb, Bahadur Khan Tipu Sultan or Fatih Ali Khan Tipu Sultan Bahadur.<br/><br/> During Tipu's childhood, his father rose to take power in Mysore, and Tipu took over rule of the kingdom upon his father's death. In addition to his role as ruler, he was a scholar, soldier, and poet. He was a devout Muslim but the majority of his subjects were Hindus. At the request of the French, he built a church, the first in Mysore. He was proficient in many languages. In alliance with the French in their struggle with the British, and in Mysore's struggles with other surrounding powers, both Tipu Sultan and Hyder Ali used their French trained army against the Marathas, Sira, rulers of Malabar, Coorg, Bednur, Carnatic, and Travancore. He won important victories against the British in the Second Anglo-Mysore War, and negotiated the 1784 Treaty of Mangalore with them after his father died the previous year.<br/><br/> He engaged in expansionist attacks against his neighbours, and harshly put down rebellions within his territories, deporting whole populations into confinement in Seringapatam. He remained an implacable enemy of the British, bringing them into renewed conflict with an attack on British-allied Travancore in 1789. In the Third Anglo-Mysore War Tipu was forced into a humiliating peace, losing a number of previously conquered territories, such as Malabar and Mangalore. He sent embassies to foreign states, including the Ottoman Empire and France, in an attempt to rally opposition to the British. In the Fourth Anglo-Mysore War the combined forces of the British East India Company and the Nizam of Hyderabad defeated Tipu and he was killed on 4 May 1799, defending the fort of Seringapatam.<br/><br/> Tipu's treatment of conquered subjects, non-Muslims, and prisoners of war, were controversial, and continue to be a subject of debate today. He introduced a number of administrative and military innovations to Mysore (including the expansion of rocket technology), and introduced and promoted a more widespread use of Persian and Urdu languages in southern India.
Shakti (Devanagari: शक्ति) from Sanskrit shak - 'to be able', meaning sacred force or empowerment, is the primordial cosmic energy and represents the dynamic forces that are thought to move through the entire universe in Hinduism.<br/><br/> Shakti is the concept, or personification, of divine feminine creative power, sometimes referred to as 'The Great Divine Mother' in Hinduism. On the earthly plane, Shakti most actively manifests through female embodiment representing creativity and fertility, though it is also present in males in its potential, unmanifest form.<br/><br/> Not only is the Shakti responsible for creation, it is also the agent of all change. Shakti is cosmic existence as well as liberation, its most significant form being the Kundalini Shakti, a mysterious psychospiritual force. Shakti exists in a state of svātantrya, dependence on no-one, being interdependent with the entire universe.<br/><br/> In Shaktism, Shakti is worshiped as the Supreme Being. However, in other Hindu traditions of Shaivism and Vaishnavism, Shakti embodies the active feminine energy Prakriti of Purusha, who is Vishnu in Vaishnavism or Shiva in Shaivism. Vishnu's female counterpart is called Lakshmi, with Parvati being the female half of Shiva.
Vishnu (Sanskrit विष्णु Viṣṇu) is the Supreme god in the Vaishnavite tradition of Hinduism. Smarta followers of Adi Shankara, among others, venerate Vishnu as one of the five primary forms of God.<br/><br/> The Vishnu Sahasranama declares Vishnu as Paramatma (supreme soul) and Parameshwara (supreme God). It describes Vishnu as the All-Pervading essence of all beings, the master of - and beyond - the past, present and future, one who supports, sustains and governs the Universe and originates and develops all elements within. Vishnu governs the aspect of preservation and sustenance of the universe, so he is called 'Preserver of the Universe'.<br/><br/> In the Puranas, Vishnu is described as having the divine colour of water filled clouds, four-armed, holding a lotus, mace, conch (shankha) and chakra (wheel). Vishnu is also described in the Bhagavad Gita as having a 'Universal Form' (Vishvarupa) which is beyond the ordinary limits of human perception or imagination.
The Kannada script is an alphasyllabary (sometimes called an abugida) of the Brahmic family, used primarily to write the Kannada language, one of the southern languages in India, and also Sanskrit in the past.<br/><br/> The Telugu script is derived from Telugu-Kannada script, and resembles Kannada script .<br/><br/> The Kannada script displays typically rounded edges and curves, not the straight or wedge shapes as in other scripts. This script is also used to write Konkani by the Konkani diaspora in coastal Karnataka. Similarly, Goykanadi, a variant of Halekannada and Kadamba lipi has been historically used to write Konkani in the state of Goa.
Tipu's Tiger belonged to Tipu Sultan, ruler of Mysore (1782-1799). The almost life-size wooden automaton represents a tiger mauling a prostrate figure in European clothes. There is an organ inside the tiger's body. When a handle is turned, the organ plays and the victim's arm rises and falls.<br/><br/> The tiger was taken by the British from the palace at Mysorel after the Siege of Seringapatam in 1799. It was sent to the headquarters of the East India Company in London where it was exhibited. It was later transferred to the Victoria and Albert Museum in South Kensingtion.
Tipu's Tiger belonged to Tipu Sultan, ruler of Mysore (1782-1799). The almost life-size wooden automaton represents a tiger mauling a prostrate figure in European clothes. There is an organ inside the tiger's body. When a handle is turned, the organ plays and the victim's arm rises and falls.<br/><br/> The tiger was taken by the British from the palace at Mysorel after the Siege of Seringapatam in 1799. It was sent to the headquarters of the East India Company in London where it was exhibited. It was later transferred to the Victoria and Albert Museum in South Kensingtion.
Shah Shuja (June 23, 1616 – 1660) was the second son of the Mughal emperor Shah Jahan and empress Mumtaz Mahal. Emperor Shah Jahan appointed Shah Shuja as the Subahdar or governor of Bengal in 1639. In 1642, Shuja was also given the charge of the province of Orissa. He ruled the provinces for more than twenty years, from 1639 to 1660.
Shah Shuja (June 23, 1616 – 1660) was the second son of the Mughal emperor Shah Jahan and empress Mumtaz Mahal. Emperor Shah Jahan appointed Shah Shuja as the Subahdar or governor of Bengal in 1639. In 1642, Shuja was also given the charge of the province of Orissa. He ruled the provinces for more than twenty years, from 1639 to 1660.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Siyah Kalem or 'Black Pen' is the name given to the 15th century school of painting attributed to Mehmed Siyah Kalem. Nothing is known of his life, but his work indicates that he was of Central Asian Turkic origin, and thoroughly familiar with camp and military life. The paintings appear in the 'Conqueror’s Albums', so named because two portraits of Sultan Mehmed II the Conqueror are present in one of them.<br/><br/> The albums are made up of miniatures taken from manuscripts of the 14th, 15th, and early 16th centuries, and one series of paintings is inscribed 'work of Master Muḥammad Siyah Kalem'. Something of the style and techniques of Chinese paintings is apparent in these, and an acquaintance with Buddhist art, particularly in the depictions of grotesque demonic figures.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
The Nizams were the rulers of Hyderabad under the Asaf Jahi dynasty from c. 1719 until its integration into the Indian Union in September 1948 following independence from the British. The Nizams were renowned as great patrons of literature, art, architecture, culture, jewellery collection and rich food.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Title page of a book entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
Dry measures are units of volume used to measure bulk commodities which are not gas or liquid. They are typically used in agriculture, agronomy, and commodity markets to measure grain, dried beans, and dried and fresh fruit (e.g. a peck of apples is a retail unit); formerly also salt pork and fish. They are also used in fishing for clams, crabs, etc. and formerly for many other substances.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
Siyah Kalem or 'Black Pen' is the name given to the 15th century school of painting attributed to Mehmed Siyah Kalem. Nothing is known of his life, but his work indicates that he was of Central Asian Turkic origin, and thoroughly familiar with camp and military life. The paintings appear in the 'Conqueror’s Albums', so named because two portraits of Sultan Mehmed II the Conqueror are present in one of them.<br/><br/>The albums are made up of miniatures taken from manuscripts of the 14th, 15th, and early 16th centuries, and one series of paintings is inscribed 'work of Master Muḥammad Siyah Kalem'. Something of the style and techniques of Chinese paintings is apparent in these, and an acquaintance with Buddhist art, particularly in the depictions of grotesque demonic figures.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
Shekasteh or Shekasteh Nasta`liq (Persian: شکسته‌نستعلیق‎ šekaste-nasta'liq (UniPers); literally 'broken Nastaʿlīq") style is a Persian calligraphical style.<br/><br/> It is a successor of Nastaʿlīq.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
A raga is one of the melodic modes used in Indian classical music.<br/><br/> A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons.<br/><br/> Rāginī (Devanagari: रागिनी) is a term for the 'feminine' counterpart or 'wife' to a rāga. The rāga-rāgini scheme dates from about the 14th century and aligns 6 'male' rāgas with 6 'wives'.
The Goddess Durga, fighting Mahishasura, the buffalo-demon (Hindu Mythology). In the clouds the Devas or celestial beings are seen watching the event. The story is recorded in the Devi Mahatmya and the Devi Bhagavata and is the background for Durgapuja, the annual Hindu festival each autumn.<br/><br/> In Hinduism, Durga is a form of Devi, the supremely radiant goddess, depicted as having eight arms, riding a lion or a tiger, carrying weapons and a lotus flower, maintaining a meditative smile, and practicing mudras, or symbolic hand gestures.<br/><br/> An embodiment of creative feminine force (Shakti), Durga exists in a state of svātantrya (independence from the universe and anything/anybody else) and fierce compassion. Kali is considered by Hindus to be an aspect of Durga. She is thus considered the fiercer, demon-fighting form of Shiva's wife, goddess Parvati. Durga manifests fearlessness and patience, and never loses her sense of humour, even during spiritual battles of epic proportion.<br/><br/> At the Durga Puja festival, Durga is celebrated as the mother of Ganesha, Kartikeya, Lakshmi and Saraswati.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
Vishnu (Sanskrit विष्णु Viṣṇu) is the Supreme god in the Vaishnavite tradition of Hinduism. Smarta followers of Adi Shankara, among others, venerate Vishnu as one of the five primary forms of God.<br/><br/> The Vishnu Sahasranama declares Vishnu as Paramatma (supreme soul) and Parameshwara (supreme God). It describes Vishnu as the All-Pervading Essence of All Beings, the master of - and beyond - the past, present and future, one who supports, sustains and governs the Universe and originates and develops all elements within. Vishnu governs the aspect of preservation and sustenance of the universe, so he is called 'Preserver of the Universe'.<br/><br/> In the Puranas, Vishnu is described as having the divine colour of water filled clouds, four-armed, holding a lotus, mace, conch (shankha) and chakra (wheel). Vishnu is also described in the Bhagavad Gita as having a 'Universal Form' (Vishvarupa) which is beyond the ordinary limits of human perception or imagination.
Shiva (Sanskrit: शिव Śiva, meaning 'auspicious one' ) is a major Hindu deity, and is the destroyer god or transformer among the Trimurti, the Hindu Trinity of the primary aspects of the divine. In the Shaiva tradition of Hinduism, Shiva is seen as the Supreme God. In the Smarta tradition, he is regarded as one of the five primary forms of God. Followers of Hinduism who focus their worship upon Shiva are called Shaivites or Shaivas (Sanskrit Śaiva).<br/><br/> Uma or Parvati (Sanskrit: पार्वती (IAST: Pārvatī)) is a Hindu goddess. Parvati is Shakti herself, considered as wife of Shiva, albeit the gentle aspect of Mahadevi, the Supreme Goddess. Parvati is sometimes considered as the supreme Divine Mother and all other goddesses are referred to as her incarnations or manifestations.