Lipstick Under My Burkha
2017
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Maharana Jagat Singh I [1] (1607 – 10 April 1652), was the Maharana of Mewar Kingdom in Rajputana, India (r. 1628–1652). [2] He was the son of Maharana Karan Singh II. Maharana Jagat Singh built a wall around the Chittor Fort. When Mughal Emperor Shah Jahan heard of it, he sent his noble wazir Sadullah Khan to invade Mewar because Shah ...
- 1628–1652
- Karan Singh II
By Valay Singh. Mar 23, 2024 09:31 PM IST. The year was 1764, and an angry landlord, Jagat Singh, incited insurrection with a deposed nawab in a bid to free Varanasi. In 1764, the British East...
- What’s in A Story?
- The Mewar Ramayana’s Patron
- A Distinct Mewari Style
- Sahib Din Tells The Story
- Left and right, Good and Wicked
- The Mewar Ramayana as Metaphor
In its simplest form, a story has a beginning, an end, and events that unfold in between. It has a cast of characters—protagonists we cheer and villains we don’t—and backdrops that supply the appropriate context, space, and mood for a story to unfold. Stories are dynamic and are transformed by the creativity and vision of storytellers. In the paint...
The Mewar Ramayana is named for the royal Sesodiya Rajput court in the region of Mewar (in northwestern India) that commissioned it. The manuscript’s principal patron was the Maharana (Maha: great; rana: king) Jagat Singh, who ruled c. 1628–52. The rana’s investment in the production of the manuscript was immense—the illustrations in the Mewar Rama...
Manuscripts produced in the Mewari imperial workshop were wrapped, unbound, in red cloth. A single scribe was responsible for all of the text in the Mewar Ramayana. However, at least three master artists and their respective workshops were selected to work on the seven volumes. An especially engaging artist, Sahib Din was responsible for all of the...
The painted page, “Indrajit meets with Ravana” (above) is from the sixth book known as the Yuddha Kanda, or the book of battles. Many of the pages of text in the book of battles are written on the reverse side of a painted page, although a few pages have text on both sides. The text and illustrations mostly stay on pace with one another. The page “...
Sahib Din was careful to remain faithful to the details of the Ramayana, however incidental. Paradoxically, the artist’s evident knowledge of the story enable his paintings to shine independently of the text that they are meant to illustrate. The artist evokes from the reader an emotional investment in the characters he depicts. In addition to Sahi...
While the battle between good and evil forms the arc of the Ramayana, the defining message of the epicis of Rama as a paragon of dharma. Rama sought to live his life sincerely as dharma requires—as a model son, brother, husband, prince, and king—no matter the personal consequences. Scholars believe that the Sesodiya Rajputs’ claim that they were th...
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Jagat Singh II. Maharana Jagat Singh II [1] (17 September 1709 – 5 June 1751), was the Maharana of Mewar Kingdom (r. 1734 – 1751). He being the eldest among his brothers succeeded to the throne of Mewar. [2]
- 1734–1751
- Sangram Singh II
The manuscript’s principal patron was the Maharana (Maha: great; rana: king) Jagat Singh, who ruled c. 1628–52. The rana’s investment in the production of the manuscript was immense—the illustrations in the Mewar Ramayana alone number four hundred.
Jagat Singh (1786 – 21 November 1818) was the Maharaja of Amber and Jaipur. He was a son of Pratap Singh, Raja of Jaipur. Biography. Maharaja Sawai Jagat Singh ascended to the throne of Jaipur on 3 August 1803 at the age of 17.
Jagat Singh and his Queens at Jagniwas. Sukha. Syaji. ca. 1750. On view at The Met Fifth Avenue in Gallery 693. The setting of this painting, which is a testament to the opulent lifestyle of the Mewar court at Udaipur, celebrates the pleasure palace of Jagniwas.
