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Shah Jahan was the ruler of the Mughal empire, his name translating literally from the Persian as 'King of the World'. After ruthlessly suppressing his rivals, he went on to promote Mughal artistic and architectural achievements to the zenith of their creativity. He is responsible not only for the Taj Mahal - the tomb to his beloved wife Mumtaz - but also for the Pearl Mosque, the Red Fort, Jama Masid in Delhi, the Shalimar Gardens of Kashmir and the priceless Peacock Throne.

Pierre Jahan Libre cours, Michel Frizot (Auteur), Michèle Moutashar (Préface), Actes Sud, 2010. Neuf, Envoi rapide et soigne [Expedition sous 12/24 h] [en Stock]

Shah Jahan was the ruler of the Mughal empire, his name translating literally from the Persian as 'King of the World'. After ruthlessly suppressing his rivals, he went on to promote Mughal artistic and architectural achievements to the zenith of their creativity. He is responsible not only for the Taj Mahal - the tomb to his beloved wife Mumtaz - but also for the Pearl Mosque, the Red Fort, Jama Masid in Delhi, the Shalimar Gardens of Kashmir and the priceless Peacock Throne.

Ancien livre de bibliothèque. Edition 2010. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Edition 2010. Ammareal gives back up to 15% of this item's net price to charity organizations.

A Finalist for the 2018 Los Angeles Times Book Prize in History Four centuries ago, a Muslim woman ruled an empire.When it came to hunting, she was a master shot. As a dress designer, few could compare. An ingenious architect, she innovated the use of marble in her parents’ mausoleum on the banks of the Yamuna River that inspired her stepson’s Taj Mahal. And she was both celebrated and reviled for her political acumen and diplomatic skill, which rivaled those of her female counterparts in Europe and beyond.In 1611, thirty-four-year-old Nur Jahan, daughter of a Persian noble and widow of a subversive official, became the twentieth and most cherished wife of the Emperor Jahangir. While other wives were secluded behind walls, Nur ruled the vast Mughal Empire alongside her husband, and governed in his stead as his health failed and his attentions wandered from matters of state. An astute politician and devoted partner, Nur led troops into battle to free Jahangir when he was imprisoned by one of his own officers. She signed and issued imperial orders, and coins of the realm bore her name.Acclaimed historian Ruby Lal uncovers the rich life and world of Nur Jahan, rescuing this dazzling figure from patriarchal and Orientalist clichés of romance and intrigue, and giving new insight into the lives of women and girls in the Mughal Empire, even where scholars claim there are no sources. Nur’s confident assertion of authority and talent is revelatory. In Empress, she finally receives her due in a deeply researched and evocative biography that awakens us to a fascinating history. Map; 8 pages of illustrations

The Mughal Feast is a delightful transcreation of the original handwritten Persian recipe book Nuskha-e-Shahjahani from the Mughal emperor Shah Jahan's timeGo on a culinary journey into the Mughal imperial kitchen of one of India's greatest empires in this informative and practical guideThe Mughal Feast is a delightful transcreation of the original handwritten Persian recipe book Nuskha-e-Shahjahani from the Mughal emperor Shah Jahan's time. A culinary journey into the Mughal imperial kitchen, where food was cooked with just the right amount of spices to enhance the base flavors of the dishes, this book is divided into seven sections and includes a plethora of recipes, ranging from the familiar shami kabab and baqlawa to the more exotic amba pulao (tangy mango lamb rice) and indersa (sweet, deep-fried rice-flour balls). The book also provides helpful tips for cooking, including methods to clean fish and soften bones, throwing light on the creativity of the Mughal cooks. An informative introduction offers an intriguing glimpse into the royal lifestyle of one of India's greatest empires. This book effortlessly recaptures the nostalgia of Mughal times while remaining a practical guide for the modern reader.

The Mughal Feast is a delightful transcreation of the original handwritten Persian recipe book Nuskha-e-Shahjahani from the Mughal emperor Shah Jahan's timeGo on a culinary journey into the Mughal imperial kitchen of one of India's greatest empires in this informative and practical guideThe Mughal Feast is a delightful transcreation of the original handwritten Persian recipe book Nuskha-e-Shahjahani from the Mughal emperor Shah Jahan's time. A culinary journey into the Mughal imperial kitchen, where food was cooked with just the right amount of spices to enhance the base flavors of the dishes, this book is divided into seven sections and includes a plethora of recipes, ranging from the familiar shami kabab and baqlawa to the more exotic amba pulao (tangy mango lamb rice) and indersa (sweet, deep-fried rice-flour balls). The book also provides helpful tips for cooking, including methods to clean fish and soften bones, throwing light on the creativity of the Mughal cooks. An informative introduction offers an intriguing glimpse into the royal lifestyle of one of India's greatest empires. This book effortlessly recaptures the nostalgia of Mughal times while remaining a practical guide for the modern reader.

The Magnificent Mughals of India. Shah Jahan, ruler of India, murdered three of his brothers in his bloody rise to power. Yet when his beloved wife, Mumtaz Mahal, suddenly died, the grief-stricken emperor built the world's most beautiful tomb as a monument to her memory. Shah Jahan was the fifth emperor of the Mughal dynasty. The Mughals combined the brute force and fierce ambition of their legendary ancestor Genghis Khan with a delicate artistic sensitivity. Theirs was a world where even forts were architectural gems, where emperors had their life stories told in exquisite miniature paintings, and where each new ruler competed with the previous one by building a grander palace, fort, mosque and city. The Taj Mahal tells the story of this remarkable dynasty through its greatest artistic achievement. From the soaring domes, to the marble columns inlaid with precious gems, to the vast gardens, to the perfect symmetry of its design, the Taj Mahal expressed the power, grandeur, glory and beauty of the Mughal world.

In 1632, the Emperor of Hindustan, Shah Jahan, overwhelmed with grief over the death of his beloved wife, Mumatz Mahal, commissioned the building of a grand mausoleum to symbolize the greatness of their love. The story surrounding the construction of the Taj Mahal occurs, however, against a scrim of fratricidal war, murderous rebellion, unimaginable wealth, and, not least of all, religious fundamentalism ruthlessly opposing tolerance and coexistence between the disparate peoples in the empire. At that time, Hindustan comprised all of modern Pakistan and Kashmir, most of eastern Afghanistan, and two-thirds of the Indian subcontinent (roughly north of Bombay to the Himalayas). Beneath a Marble Sky, narrated by Princess Jahanara, eldest daughter of Shah Jahan and Mumtaz Mahal, recounts their story, and her own as well, a parallel tale of forbidden love enduring censure and extreme deprivations. Beneath a Marble Sky brims with action and intrigue befitting an epic era when, alongside continuous war, architecture and its attendant arts reached a pinnacle of perfection. In a splendid debut, John Shors has crafted an immensely readable and well-researched historical novel of surprisingly contemporary relevance.

This work provides a detailed survey of the Victoria and Albert's renowned collection of painting from the great age of the Mughals, covering the reigns of three emperors: Akbar, Jahangir and Shah Jahan. The book traces the evolution of the art of the Mughals. Their land, which they called Hindustan, was a conquered one, their language was Persian; they employed Hindu and Muslim artists and commissioned books and paintings with themes drawn from these cultural and religious traditions, and from Europe. This complex framework produced some of the finest court paintings ever seen in the Indian subcontinent. The book includes pictures from the first major project of the new Mughal studio, the epic adventures of the Muslim hero, Hamza; dramatic battles and episodes from the life of the emperor Akbar, the Akbarnama; and a remarkable series of portraits of the emperors, their sons, and leading members of the court from the early 17th century. Also included are portraits and studies of wild life by masters such as Mansur and Manohar. These were preserved in albums for Jahangir and Shah Jahan, Shah Jahan's artists adding exquisite floral borders, and both rulers vividly emphasising their ownership by writing occasional comments on the pages. A rich and sophisticated culture is mirrored in the paintings and explored in the accompanying text; the result is a book of both scholarship and beauty.

Throughout history, people have assembled albums that record their lives and the world around them. Among the most remarkable of all albums ever created are those made in the years 1600-1657 for the emperors Jahangir and Shah Jahan. The Mughal dynasty ruled India for more than three centuries, but the period of greatest artistic production was that of these two great emperors, and the albums of paintings and calligraphy (called muraqqa' in Persian), that they assembled now serve as a window to understanding the history and culture of this important period of Indian history. The paintings in the albums include formal (often symbolic) portraits of the emperors themselves, depictions of members of the royal family in relaxed private settings, portraits of courtiers, Sufi saints and mystics, genre scenes, and natural history subjects.This lavishly-illustrated, color catalogue, contains essays by Elaine Wright, Curator of the Islamic Collections, Chester Beatty Library, Wheeler Thackston, Lecturer, Harvard University, Susan Stronge, Curator Asia Department, Victoria and Albert Museum, and Steven Cohen, Textile Specialist, Independent Scholar and Author, London.Exhibition ItineraryThe exhibition premieres at the Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC (May 3 - August 3, 2008). Subsequent venues include the Detroit Institute of Arts, Michigan (August 23 - November 16, 2008); the Honolulu Academy of Arts, Hawai'i (December 17, 2008 - March 1, 2009); and the Nelson-Atkins Museum of Art, Kansas City, Missouri (March 21 - June 14, 2009).

First publication ever of this treasured manuscript from Windsor Castle. The Padshahnama ("King of the World") has long been recognized as one of the greatest works made for the Mughal Emperor, Shah-Jahan, the builder of the Taj Mahal. The volume, which is now in the Royal Library at Windsor Castle, documents the first ten years of the Emperor's rule and contains works by some of the finest imperial artists of the time. Among the events recorded in the paintings are court ceremonies, hunting scenes, fortresses under siege, and the attack on the Portuguese near Calcutta in 1631. During the eighteenth century the manuscript entered the collection of the nawabs of Oudh. The Padshahnama was eventually given by a reigning nawab to the King of England, and it remains today one of the most treasured items in the collections of Her Majesty Queen Elizabeth II. The Padshahnama has seldom been exhibited, and even then only a single opening could be seen at any one time. A recent conservation project, however, means that the manuscript is now unbound, and the Royal Library has made all the pages available for an exhibition that coincides with the celebration in 1997 of the fiftieth anniversary of the Independence of India. This book accompanies the exhibition and illustrates all the paintings and illuminations in full color. The events, personalities, and settings depicted are identified and discussed with the help of enlarged details, comparative photographs, and drawings. Milo Beach, Director of the Arthur M. Sackler Gallery, Smithsonian Institution, provides a history of the volume and its context in Mughal painting. Ebba Koch, a leading authority on Mughal architecture from the University of Vienna, comments on the subject matter and analyzes the different modes of Mughal painting. Wheeler Thackston of the Department of Near Eastern Languages and Civilizations at Harvard University has translated the original text and other documents.

Called the "mother of beauty" by Wallace Stevens, death has been perhaps the favorite muse of modern poets. From Langston Hughes's lynch poems to Sylvia Plath's father elegies, modern poetry has tried to find a language of mourning in an age of mass death, religious doubt, and forgotten ritual. For this reason, Jahan Ramazani argues, the elegy, one of the most ancient of poetic genres, has remained one of the most vital to modern poets. Through subtle readings of elegies, self-elegies, war poems, and the blues, Ramazani greatly enriches our critical understanding of a wide range of poets, including Thomas Hardy, Wilfred Owen, Wallace Stevens, Langston Hughes, W. H. Auden, Sylvia Plath, and Seamus Heaney. He also interprets the signal contributions to the American family elegy of Robert Lowell, Allen Ginsberg, Anne Sexton, John Berryman, Adrienne Rich, Michael Harper, and Amy Clampitt. Finally, he suggests analogies between the elegy and other kinds of contemporary mourning art—in particular, the AIDS Memorial Quilt and the Vietnam Veterans Memorial. Grounded in genre theory and in the psychoanalysis of mourning, Ramazani's readings also draw on various historical, formal, and feminist critical approaches. This book will be of interest to anyone concerned with the psychology of mourning or the history of modern poetry. "Consists of full, intelligent and lucid exposition and close reading. . . . Poetry of Mourning is itself a welcome contribution to modern poetry's search for a 'resonant yet credible vocabulary of grief in our time."—Times Literary Supplement

From the acclaimed author of The Bastard of Istanbul, a colorful, magical tale set during the height of the Ottoman EmpireIn her latest novel, Turkey’s preeminent female writer spins an epic tale spanning nearly a century in the life of the Ottoman Empire. In 1540, twelve-year-old Jahan arrives in Istanbul. As an animal tamer in the sultan’s menagerie, he looks after the exceptionally smart elephant Chota and befriends (and falls for) the sultan’s beautiful daughter, Princess Mihrimah. A palace education leads Jahan to Mimar Sinan, the empire’s chief architect, who takes Jahan under his wing as they construct (with Chota’s help) some of the most magnificent buildings in history. Yet even as they build Sinan’s triumphant masterpieces—the incredible Suleymaniye and Selimiye mosques—dangerous undercurrents begin to emerge, with jealousy erupting among Sinan’s four apprentices.A memorable story of artistic freedom, creativity, and the clash between science and fundamentalism, Shafak’s intricate novel brims with vibrant characters, intriguing adventure, and the lavish backdrop of the Ottoman court, where love and loyalty are no match for raw power.

First publication ever of this treasured manuscript from Windsor Castle. The Padshahnama ("King of the World") has long been recognized as one of the greatest works made for the Mughal Emperor, Shah-Jahan, the builder of the Taj Mahal. The volume, which is now in the Royal Library at Windsor Castle, documents the first ten years of the Emperor's rule and contains works by some of the finest imperial artists of the time. Among the events recorded in the paintings are court ceremonies, hunting scenes, fortresses under siege, and the attack on the Portuguese near Calcutta in 1631. During the eighteenth century the manuscript entered the collection of the nawabs of Oudh. The Padshahnama was eventually given by a reigning nawab to the King of England, and it remains today one of the most treasured items in the collections of Her Majesty Queen Elizabeth II. The Padshahnama has seldom been exhibited, and even then only a single opening could be seen at any one time. A recent conservation project, however, means that the manuscript is now unbound, and the Royal Library has made all the pages available for an exhibition that coincides with the celebration in 1997 of the fiftieth anniversary of the Independence of India. This book accompanies the exhibition and illustrates all the paintings and illuminations in full color. The events, personalities, and settings depicted are identified and discussed with the help of enlarged details, comparative photographs, and drawings. Milo Beach, Director of the Arthur M. Sackler Gallery, Smithsonian Institution, provides a history of the volume and its context in Mughal painting. Ebba Koch, a leading authority on Mughal architecture from the University of Vienna, comments on the subject matter and analyzes the different modes of Mughal painting. Wheeler Thackston of the Department of Near Eastern Languages and Civilizations at Harvard University has translated the original text and other documents.

Mah Jahan is a rich merchant who travels far and wide to trade her goods, and keeps countless colorful birds in cages. When leaving for India, she promises to bring back gifts for all her servants, and for her favorite talking parrot. All that the parrot requests is for her to go to the jungle, greet his friends and ask if they have any messages for him. But when she delivers their message, she learns an important lesson about how to treat the ones you love

This bilingual edition of Faces of Love: Hafez and the Poets of Shiraz has the original Persian verses facing the English translations. The three Shirazi poets whose work is featured here, Hafez, Jahan Malek Khatun, and Obayd-e Zakani, lived at the same time (the mid fourteenth century), and certainly knew of one another – Obayd wrote at least two poems about Jahan Khatun, and Jahan Khatun quotes Hafez in one of her poems. It’s extremely likely that, during the 1340s and early 1350s at least, they also knew one another personally. The poetic life of the city during this period centered on the court of the ruling family, the Injus; Jahan Khatun was an Inju princess, while her uncle, Abu Es’haq, the head of the family and the ruler of the city, was a great patron of poets.

This bilingual edition of Faces of Love: Hafez and the Poets of Shiraz has the original Persian verses facing the English translations. The three Shirazi poets whose work is featured here, Hafez, Jahan Malek Khatun, and Obayd-e Zakani, lived at the same time (the mid fourteenth century), and certainly knew of one another – Obayd wrote at least two poems about Jahan Khatun, and Jahan Khatun quotes Hafez in one of her poems. It’s extremely likely that, during the 1340s and early 1350s at least, they also knew one another personally. The poetic life of the city during this period centered on the court of the ruling family, the Injus; Jahan Khatun was an Inju princess, while her uncle, Abu Es’haq, the head of the family and the ruler of the city, was a great patron of poets.

Together, Hafez, a giant of world literature; Jahan Malek Khatun, an eloquent princess; and Obayd-e Zakani, a dissolute satirist, represent one of the most remarkable literary flowerings of any era. All three lived in the famed city of Shiraz, a provincial capital of south-central Iran, and all three drew support from arts-loving rulers during a time better known for its violence than its creative brilliance. Here Dick Davis, an award-winning poet widely considered “our finest translator of Persian poetry” (The Times Literary Supplement), presents a diverse selection of some of the best poems by these world-renowned authors and shows us the spiritual and secular aspects of love, in varieties embracing every aspect of the human heart.

Poetry is often viewed as culturally homogeneous—“stubbornly national,” in T. S. Eliot’s phrase, or “the most provincial of the arts,” according to W. H. Auden. But in A Transnational Poetics, Jahan Ramazani uncovers the ocean-straddling energies of the poetic imagination—in modernism and the Harlem Renaissance; in post–World War II North America and the North Atlantic; and in ethnic American, postcolonial, and black British writing. Cross-cultural exchange and influence are, he argues, among the chief engines of poetic development in the twentieth and twenty-first centuries. Reexamining the work of a wide array of poets, from Eliot, Yeats, and Langston Hughes to Elizabeth Bishop, Lorna Goodison, and Agha Shahid Ali, Ramazani reveals the many ways in which modern and contemporary poetry in English overflows national borders and exceeds the scope of national literary paradigms. Through a variety of transnational templates—globalization, migration, travel, genre, influence, modernity, decolonization, and diaspora—he discovers poetic connection and dialogue across nations and even hemispheres.