Mar 20, 2025
Got jumpscared by gay in the history book, folks.
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Got jumpscared by gay in the history book, folks.
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Huge armies clash as the Ottoman sultan sultan Bayezid I faced off against the emir of the Timurid Empire, Timur. In this episode of Bow & B
The Mongols presented the greatest threat to the early Mamluk sultanate.
Shah Jahan (Mughal emperor) presents jewels to a princess,18th century
Christian Themes in Mughal Art: Mary
Not all European pictures received equal attention. The patrons of the painters obviously had their priorities, and I suggest five themes to be considered: 1. MARY, the Mother of Jesus is probably the Christian subject most frequently represented. The life of Mary was a constant topic, not only in the Imperial kar khana (atelier), but also in provincial courts and in the Deccan. In fact, when Jesuits came to Fatepur Sikri, they discovered a wall painting of the Annunciation over the doorway of the Palace of Maryam Makani, Akbar's mother. Maryam, the mother of Isa, is the most prominent female figure in the Koran. Her story is related in several suras. The Koran celebrates Mary as an example of chastity, obedience, and faith. This is in harmony with the gospel. The Council of Trent (1542-1556) [sic] had declared Mother Mary "cupola of chastity," the dignified abode (of her son Jesus). The honorific title "makani" is indeed a very near translation of the Latin term. The main reason for putting such emphasis on Mary might, however, not only be found in the concordance of the Bible and the Koran, but in Timurid mythology. Alanqu'a, the legendary Mongol princess, had a kind of Annunciation: She became pregnant by divine light, in the same way as the Virgin Mary. Here, Akbar had a referral point to his own genealogy. The Akbarnama (Chronicle of Akbar) mentioned: “Alanqu'a was reposing on her bed, when a glorious light cast a ray into her tent and entered the mouth and throat of that fount of spiritual knowledge and glory. The cupola of chastity became pregnant by that light, in the same way as did her Majesty Miryam." The glorious light, the farr-e-izadi, became a topos of Mughal painting for which the various European representations of the Annunciation provided the prototypes. They provided Akbar and his imperial successors with a beautiful tool to demonstrate their dynastic legitimacy. [... Angels, Saints, the Jesuit Fathers, Allegory]
- Franz-Joseph Vollmer (Angels and Madonnas in Islam: Mughal and Other Oriental Miniatures in the Vollmer Collection, pages 9-10)
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Over the years, as I laboured on this book, the dispassionate compassion of Buddha had seemed to me the perfect ideal for students of history, though of course we would all fail disgracefully to live up to it, as the passions of our lives and the furies of our age knead and rework us continually on the slow wheel of time. As time reworks us, we rework history. “All works of [historiography] are interim reports,” said John Noble Wilford. “What people did in the past is not preserved in amber…. Each generation looks back and, drawing from its own experience, presumes to find patterns that illuminate both past and present.” The past [or what remains of it] is nearly as alive as the present, and it changes as the present changes, the historical past as much as our personal past. … [T]he way facts interlock is unique to each generation, indeed to each historian. …[T]he value of [historiography] depends on the felicitous catalysis of the personal vision into a universal vision. It is essentially a triumph of art.
Abraham Eraly, the Mughal Throne: saga of India’s great emperors
1.
Mehmed Siyah Kalem school (or Siyah Kalem) (Timurids period)
Cat
15th century, Topkapi Saray, Istanbul
2.
Baysungur’s Shahnama (Timurids period)
1430, miniature, The Gulistan Palace museum, Tehran