Question

8. Write short notes on the following.
a. Second Battle of Panipat
b. Painting and literature under Akbar.




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Answer 1

Answer:

second battle of panipat

The Second Battle of Panipat was fought between the forces of Samrat Hem Chandra Vikramaditya, popularly calledHemu, the Hindu king who was ruling North India from Delhi, and the army of Akbar, on November 5, 1556. It was a decisive victory for Akbar’s generals Khan Zaman I and Bairam Khan.

The Department of Asian Art, National Gallery of Victoria, in recent years has acquired three important Indian paintings and a related drawing belonging to the reign of the Mughal emperor Akbar (r.1556–1605). These works span the full period of Akbar’s active patronage, from his extraordinarily ambitious commissioning of the monumental Hamza-nama in the early 1560s through to the second imperial copy of his own biography, the Akbar-nama, in production around 1604–5. Each of the paintings is in the form of a single folio separated from a major illustrated manuscript of the Akbar period, namely the Hamza-nama, the Victoria and Albert Museum Akbar-nama, and the Chester Beatty Akbar-nama, which is, in fact, shared between that library and the British Museum. Substantial sections of the two copies of the Akbar-nama survive, though in each lacunae are frequent. Of the Hamza-nama it is estimated that less than one-tenth of the original 1400 paintings are extant.1 Produced over forty years of Akbar’s fifty-four year reign, these works provide an insight into the stylistic dynamics of imperial painting at the Mughal court in the latter half of the 16th century.

Painting and literature under Akbar

The principal patron, the emperor himself, inherited the throne at the age of thirteen in 1556 and, by 1600, had expanded and consolidated his precarious inheritance into the greatest empire seen in South Asia since the Guptas, a millenium earlier. The interests and preoccupations of early Mughal painting are closely identifiable with those of their imperial patron. They are reflections of both the richly cosmopolitan court which he cultivated and maintained and of his direct involvement as director of artistic activities and as principal critic. Abu’l Fazl records that the emperor directed that many books be illustrated, ‘His Majesty having indicated the scenes to be painted’.2 His description of the procedures followed at the court atelier reveal an extraordinary degree of patron involvement in the very processes of the art production. In addition he outlines clearly the criteria employed in making qualitative judgments of the works themselves:

Answer 2

Answer:

hlo.........................