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Artykuły w czasopismach na temat "Manipuri royalty"
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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 later on achieved the status of Indian classical dance. In later times, Manipuri culture started influencing the royal palace right after Harisheshwari became the queen of Tripura. In that time’s Agartala that means in Old Agartala, near to the royal palace for the first time Radhamadhab temple was established. The name of the Manipuri dominant areas in this Old Agartala is Nalgaria. This is where Maharani Tulsibati took birth. According to the writer Udainarayan Adhikari – “The Manipuri’s who came to Tripura with Princes Harisheshwari of Manipur at the fag end of the 18th century as a result of her wedding with Rajdhar Manikya II of Tripura, were settled in a village near capital old Agartala. This village now goes by the name of Mekhlipara, because Mekhli was the Tripura name for Manipur in the days of yore. There is a small township called Ranir Bazar a few kilometres east of Old Agartala or Khayerpur. It was founded by the Manipuri queen Maharani Tulsibati. Her parents lived at Nalgadiya a little east of Ranirbazar. So she founded this bazaar or township in order to develop this area. The name Ranirbaazar reminds us that it was founded by a Rani (Maharani Tulsibati).
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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 Ningthouja dynasty. The expansion of the Indian culture to the North - East part of India was mainly due to commercial activities and the visit of a large number of religious missionaries to spread the spiritual truth. In addition to these, the ambitious and discontented members of the royal families and nobility who were keen to regain their position went to neighboring countries to acquire help. The spread of Aryan culture in Manipur was largely due to the settlement of the Brahmins. The present study will highlight the changes of socio - religious life among Manipuri Hindus during the 17th & 18th Century.
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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, Bhāgyacandra aligned himself with the Gauḍīya Vaiṣṇava tradition and established his sovereignty on the basis of being a devotee of Krishna and patron of the indigenous gods. By carefully curating a hybrid religious schema, he was able to refashion Manipur kingship for generations to come. I compare the two strategies of negotiating transculturation and sociopolitical transformation and show that the latter approach proved more successful in the long term because it allowed a more organic unification of religious and political factions.
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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 and Suren Karta's theatre company sparked the emergence of several theatre groups in Agartala, but none lasted more than two to four years. However, the young students formed new theatre troupes, including the Umakant Academy Student Drama Society, Edward Memorial Medical Institute Theatre, Sreepat's Tarun Sangh, the Students Association's Drama Branch, and the Belonia Student Drama Society. It was seen after some years that Tripuresh Majumdar, a prominent figure in Tripura's theatre practice, exemplifies the palace-centric style of theatre that extended to the common arena. Later, in the </em><em>post-independence phase, the dramatists took inspiration from their predecessors and contributed to the field of theatre and drama with the ideology of deliverance and upliftment of the state’s ancient artistic heritage.</em>
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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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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 did the political significance of royal monopoly over salt.
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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 on their livelihood and the official purposes of the royal court. Visual art has taken a very important role in the formation of Manipur tradition and culture. After the Vaishnavite religion introduced in Manipur, two types of painting styles were visible in the state before the India got independence. Formal art education was started lately after the British introduce in Manipur. The trend and development of Visual Art activities in the state were closely associated with the art development in the mainland states. The paper attempt to analyzed and narrate the art practice that happen in two decades of Manipur history i.e., Art trend before India Independent and post Indian Independent.
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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 Laisaba is a composition of cultural motifs made by pre-existing features and other influences stimulated from their cultural worldviews. Such cultural ethics of scriber makes them to create a unique style seen as indication of establishing a thought of school in which cultural and regional features are highlighted. Subika Laishaba manuscripts represent the direct and authentic continuation of the tradition of Meitei cultural life projected through visual images. Though there is no particular founder mentioned in the royal chronicle/history known as Cheitharol Kumbaba, there may be a possibility that the art form may have existed when the writing tradition was introduced in the state. This paper is an attempt to study its purposes and visual language portrayed in the Subika Laishaba manuscripts to understand its school in the realm of visual art. This study of visual language may be able to work without judgment and self-criticism.
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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 deep humanism and a sense of beauty and esthetics to all her work. She made her name in the wider world as a novelist and a writer of short stories, essays, plays and screenplays of award-winning films, lyrics, poems and ballet scripts. But her work spread beyond literature and film, theater, and dance to sculpture, environmentalism, women’s issues, youth, social activism and electoral politics. Her work garnered accolades beyond Manipur on the national stage and in the international arena.
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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 form of rich heritage and of Manipuri cultural embodiments. So far, little research and study have been done regarding the contributions of Manipuri diaspora community in Tripura and their role in the propagation of Manipuri Dance.The paper is a humble study on the contributions of Manipuri Diaspora, notably the Manipuri Queens in Tripuri Royal citadel, aid of Tripuri kings in providing the platform which culminates into popularizing it beyond the kingdom, through the efforts of Rabindranath Tagore.
Książki na temat "Manipuri royalty"
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L, Joychandra Singh, ed. The lost kingdom: Royal chronicle of Manipur. Prajatantra Pub. House, 1995.
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Williams, R. Two Prakrit Versions of the Manipati-carita (Royal Asiatic Society Books). RoutledgeCurzon, 2002.
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