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Relevant bibliographies by topics / Manipuri royalty

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Academic literature on the topic 'Manipuri royalty'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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Journal articles on the topic "Manipuri royalty"

1

Singha, Sudeshna. "THE IMPACT OF MANIPURI DANCE IN THE ROYAL COURT OF TRIPURA." International Journal of Research -GRANTHAALAYAH 9, no. 3 (2021): 360–67. http://dx.doi.org/10.29121/granthaalayah.v9.i3.2021.3785.

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Manipuri people are a small group of Tripura. During the time of the Maharaja’s these people’s song and music attained a very special status. Firstly, it was royal palace centered, secondly, in various places of Tripura in the Manipuri dominant areas and in their temples, mandaps or at various festivals. According to many writers it can be said clearly like a mirror the Manipuri culture touched Tripura during the tenure of Rajdhar Manikya from 1785 – 1804. And at that very same time the tenure of Manipuri king Bhagyachandra is 1759 – 61 and 1763 – 1798. The Manipuri Raas established by him lat

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2

Garg, Kavita, and Mohammed Zahid Saadoon. "Ethnic and Social Issues: A Study of the Social and Religious Life History of Manipur Hindus in India." Journal of Social Science and Humanities 6, no. 7 (2024): 134–38. http://dx.doi.org/10.53469/jssh.2024.06(07).27.

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Manipur is situated in the North - Eastern corner of India. Manipur is the meeting place of the two civilizations of India and Burma and homeland of a large number of cultural and ethnic groups with different languages, religions and customs. She accepted the aspect of Indian culture and transmitted them to Burma, China and other Asiatic countries. The land is a meeting point of Tibeto - Burman tribal community, the Chins and the Kachin originating from South - China and the Indo - Aryan Hindus of the Indo- Gangetic plains. The state had distinct political status ruled by the powerful Ningthou

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3

Sebastian, Rodney. "Refashioning Kingship in Manipur in the 18th Century: The Politico-Religious Projects of Garibniwaz and Bhāgyacandra." Religions 12, no. 12 (2021): 1041. http://dx.doi.org/10.3390/rel12121041.

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In the 18th century, Manipuri kings Garibniwaz and Bhāgyacandra sought to transform the indigenous religious landscape to absorb Vaiṣṇava beliefs and practices due to increasing contact with other Indian states and hostilities with Burma. Garibniwaz aligned himself with the Rāmānandī Vaiṣṇava tradition because he saw it as an effective way to increase his military prowess. He refashioned kingship to portray himself as a warrior king and a devotee of Rāmā. However, he met with resistance from other royal elites for oppressing the indigenous religious practices of Manipur. In contrast, Bhāgyacan

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4

Tirthankar, Laskar. "The Voyage of Theatre to Drama and the Intermingling of Transitional and Experimental Phases in Tripura's Pre-Independence Drama Literature from 1900-1950." Literary Druid 6, no. 1 (2024): 26–30. https://doi.org/10.5281/zenodo.10901370.

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<em>The history of theatre in Tripura dates back 150 years, with the royal family's close connection to Manipur and Manipuri society, influencing their culture through the popular Manipuri 'Giti-Natya' ballads and Radha Krishna's Rasa Lila. In the 18<sup>th</sup> century, the 'Kaliya Daman' Jatrapalawas performed in Udaipur under the patronage of Maharaja Ratna Manikya II. Meanwhile, the theatrical company "Ujjayanta Natya Samaj" had originally been established in Tripura in 1897 A.D. by Maharaja Radha Kishore Manikya, along with the Prince and other royal officials. Later, Ranbir Karta a

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5

Nongmeikapam, Nalini. "Revisiting the Royal Chronicle of Manipur: A Historiographical Analysis." International Journal of Science and Research (IJSR) 3, no. 10 (2014): 2478–81. http://dx.doi.org/10.21275/sr141015102615.

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6

Haokip, Lalsanglen. "Salt Land and State Monopoly in Manipur, circa 1890–1990." Indian Historical Review 46, no. 2 (2019): 247–62. http://dx.doi.org/10.1177/0376983619895675.

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This article explores the history of salt land in Manipur. Because of the scarcity and high price of salt cakes, salt springs were highly valued pieces of land historically. The Maharaja had control over salt wells from around mid-eighteenth century AD. After Manipur became a British protectorate, royal salt monopoly yielded handsome revenue for the State treasury. After the Palace Rebellion of 1891, road transport improved; and cheap Liverpool salt competed with local salt, which soon became unviable. When salt lost its scarcity value, the financial importance of salt wells collapsed and so d

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7

Meinam, Irikhomba Meetei. "AN ANALYTICAL STUDY OF MANIPUR PAINTINGS IN PRE AND POST INDIA INDEPENDENCE." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 244–51. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.171.

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Painting is considered as one of the oldest art forms. Every civilization has its own history of painting. Painting deals with the pigment which is used to apply on the surface by using a binder. During the early period, man used to communicate through pictographic forms by depicting drawings and paintings on the wall surfaces. From the course of time drawing and painting have been a major part of transforming our human civilization. Manipur was one of the princely kingdoms in the earlier time. The people of this state were very talented and skillful. They used to practice art activities based

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8

Sapha Wangam Apanthoi M, Yumnam. "SUBIKA ART: AN EARLY VISUAL ART FORM OF MANIPUR." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (2022): 437–51. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.126.

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There are six surviving manuscripts under the category of Subika namely Subika, Subika Achouba, Subika Laishaba, Subika Choudit, Subika Cheithil, and Thengrakhel Subika. For this paper the manuscript “Subika Laishaba'' has been discussed. Illustration of Subika Laishaba is the manuscript painting among the earliest surviving visual arts forms of Manipur. Though the advent of Subika Laishaba paintings has lately acquired from various individual collections, the painting possesses an interesting area of studying its visual elements and cultural values of Meitei community. The painting of Subika

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9

Roy, Somi. "Imasi Document: M.K. Binodini Devi in Modern Manipuri Culture." July 26, 2017. https://doi.org/10.5281/zenodo.834802.

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On M.K. Binodini Devi and Her Place in Modern Manipuri Culture L. Somi Roy, M.K. Binodini Memorial Lecture Program Booklet, 2014 [<em>Excerpt</em>] Maharaj Kumari Binodini Devi is the key renaissance figure of modern, contemporary Manipuri culture. A Manipuri writer who bridged the two worlds of ancient royalty and modern life, M.K. Binodini Devi was born as a princess into a palace life. Yet she transcended the constraints of royalty to live to the full the life of an enlightened commoner and emerged as the iconic pioneer in the evolution of Manipuri modernism. M.K. Binodini Devi brought a de

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10

Lilabati Devi, P., and Soibam Priyadarshini Devi. "TRIPURI MEITEIS IN NATIONALIZATION OF MANIPURI DANCE: AN APPRAISAL OF THEIR CONTRIBUTIONS." ShodhKosh: Journal of Visual and Performing Arts 5, no. 2 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i2.2024.1515.

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Manipur, a far northeastern state of India is known for its rich cultural heritage, prominently manifested in its performing arts. Among the performing art forms of Manipur, Manipuri Dance is regarded and well known nationally and internationally as one of the classical dances of India. It is of great importance that the great poet of India, Rabindranath Tagore institutionalized Manipuri Dance in Santiniketan and paved its way to nationalization of the dance form. And even more, of great significance, that it is the Manipuri Diasporic Community of Tripura that showcased its platform as a dance

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Books on the topic "Manipuri royalty"

1

L, Joychandra Singh, ed. The lost kingdom: Royal chronicle of Manipur. Prajatantra Pub. House, 1995.

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2

Hiyang Hiren: Royal boat of Manipur. Manipur Stae Museum, 2008.

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3

Williams, R. Two Prakrit Versions of the Manipati-carita (Royal Asiatic Society Books). RoutledgeCurzon, 2002.

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