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Journal articles on the topic 'Manipuri royalty'

Author: Grafiati
Published: 3 June 2025
Last updated: 31 July 2025

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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&nbsp;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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11

P., Lilabati Devi, and Soibam Priyadarshini Devi. "TRIPURI MEITE IS 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.i2.2024.1420.

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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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12

Nongmeikapam, Nalini. "NARRATIVES OF THE PAST: TRADITIONAL HISTORICAL WRITINGS IN MANIPUR." ShodhKosh: Journal of Visual and Performing Arts 5, no. 1 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i1.2024.2062.

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This research paper explores the vast collection of traditional historical literature in Manipur, a northeastern state of India renowned for its cultural richness and historical significance. The study examines the evolution and dissemination of Manipuri historical narratives via oral traditions, manuscripts, and chronicles. The article highlights the unique blend of mythology, folklore, and factual accounts that shape the historical understanding of the area. The study examines the role of Meitei chroniclers, who have meticulously documented the social, political, and religious aspects of Man
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13

Devi, S. Bebita. "ROLE OF KURANGANAYANI IN THE MAOMARIA UPRISING." International Journal of Humanities and Social Science, 2024. https://doi.org/10.53555/eijhss.v10i1.253.

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This study examines the multifaceted role of Kuranganayani, a Manipuri princess and Ahom queen, during the tumultuous Moamaria Uprising in 18th century Assam. Often relegated to the periphery of historical narratives, Kuranganayani emerges as a key figure whose political acumen and strategic actions significantly influenced the course of the rebellion. This analysis explores her transformation from a diplomatic bride to a pivotal player in Ahom statecraft, focusing on her contributions to undermining rebel control and restoring royal authority. Through an examination of historical texts, oral
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14

Roy, Somi. "Imasi Document: Biography of M.K. Binodini Devi." July 25, 2017. https://doi.org/10.5281/zenodo.834796.

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Biography of M. K. Binodini Devi L. Somi Roy, M.K. Binodini Memorial Lecture Program Booklet, 2013 <em>[Excerpt</em>]<strong> Maharaj Kumari Binodini Devi</strong> bridged the two worlds of ancient royalty and modern art. Born as a princess into a palace life, which she lovingly recalled in a series of late essays, she made her name in the wider world as a novelist and a writer of short stories, essays, plays and award-winning screenplays, lyrics and ballet scripts. M. K. Binodini Devi wrote under the single name of Binodini. Her screenplays were made into award-winning feature films (directed
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15

Dr., Rachita Subrat Ratho. "POLTICAL & SOCIAL EXCLUSION NORTH-EAST INDIA." April 24, 2016. https://doi.org/10.5281/zenodo.7193467.

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Northeast India is a politically vital and strategically vulnerable region of India. Surrounded by five countries, it is connected with the rest of India through a narrow, thirty-kilometre corridor. North- East India, then called Assam, is divided into Arunachal Pradesh, Assam, Manipur, Meghalaya, Mizoram, Nagaland and Tripura. Diversities in terms of Mongoloid ethnic origins, linguistic variation and religious pluralism characterise the region. This ethnic-linguistic-ecological historical heritage characterizes the pervasiveness of the ethnic populations and Tibeto-Burman languages in northea
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16

Ball, Susan. "The Story of a Diary: Document 22065, Imperial War Museum." Miranda 31 (2025). https://doi.org/10.4000/140zr.

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Robert McKay (1889–1964) a servi dans le Royal Army Medical Corps pendant la Grande Guerre, consignant ses expériences et ses observations dans des notes prises sur le Front de l’Ouest. Ces notes constituent la base du journal qu’il a rédigé à la main à son retour en Irlande et au front intérieur après la guerre. En 1976, l’Imperial War Museum (IWM) est devenu dépositaire d’une copie dactylographiée qui a récemment été numérisée. Cet article montre dans quelle mesure ce journal, qui a été façonné et manipulé par différentes mains, nous informe sur le moment de sa rédaction, sur son dépôt dans
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