Red fort just behind the side tomb of Jama Masjid Essay Example for Free

Red fort just behind the side tomb of Jama Masjid Essay ?The Red Fort (usually transcribed into English as Lal Qilah or Lal Qila) is a 17th-century fort complex constructed by the Mughal emperor, Shah Jahan[1] in the walled city of Old Delhi (in present day Delhi, India) that served as the residence of the Mughal Emperors. The design is commonly credited to Mughal architect Ustad Ahmad. [2][3] The fort was the palace for Mughal Emperor Shah Jahans new capital, Shahjahanabad, the seventh city in the Delhi site. He moved his capital here from Agra in a move designed to bring prestige to his reign, and to provide ample opportunity to apply his ambitious building schemes and interests. It served as the capital of the Mughals until 1857, when Mughal emperor Bahadur Shah Zafar was exiled by the British Indian government. The fort lies along the Yamuna River, which fed the moats that surround most of the walls. [4] The wall at its north-eastern corner is adjacent to an older fort, the Salimgarh Fort, a defence built by Islam Shah Suri in 1546. The construction of the Red Fort began in 1638 and was completed by 1648. The Red Fort has had many developments added on after its construction by Emperor Shah Jahan. The significant phases of development were under Aurangzeb and later under later Mughal rulers. It was designated a UNESCO World Heritage Site in 2007. [5][6] The earlier Red Fort was built by Tomara king Anangpala, now known as the Qulb Mosque. [7] The Red Fort derives its name from the extensive use of red sandstone on the massive walls that surround the fort. [7] Shah Jahan commissioned the construction of the Red Fort in 1638 when he decided to shift his capital from Agra to Delhi. Ustad Ahmad was chosen as the architect for construction of the royal palace. Construction began in the auspicious month of Muharram on 13 May 1638. [8]:01 Construction of the fort was supervised by Shah Jahan himself and was completed in 1648. [9][10] The Red Fort was originally referred to as Qila-i-Mubarak (the blessed fort), because it was the residence of the royal family. [11][12] Unlike the other Mughal forts, layout of the boundary walls of the Red Fort is not symmetrical so as to retain and integrate the older Salimgarh Fort. [8]:04 The fortress palace was an important focal point of the medieval city of Shahjahanabad (present day Old Delhi). The planning and aesthetics of the Red Fort represent the zenith of Mughal creativity which prevailed during the reign of emperor Shah Jahan. Aurangzeb, Shah Jahans successor, added the Moti Masjid to the emperors private quarters and constructed barbicans in front of the two main gates, which made the entrance route to the palace more circuitous. [8]:08 The administrative and fiscal structure of the Mughals declined after Aurangzeb. The 18th century thus saw a degeneration of the palace and inhabitants of the Red Fort. When Jahandar Shah took over the Red Fort in 1712, the palace had been without an emperor for 30 years. Within a year of his rule, Jahandar Shah was murdered and replaced by Farukhsiyar. To combat the declining finances, the silver ceiling of the palace Rang Mahal was replaced by copper during this period. Muhammad Shah, who was also known as Rangila (the colourful) for his deep interest in arts, took over the Red Fort in 1719. In 1739, Nadir Shah, the Persian emperor, attacked the Mughals. The Mughal army was easily defeated and Nadir Shah plundered the Red Fort of its riches including the Peacock Throne. Nadir Shah returned to Persia after three months leaving a destroyed city and a weakening Mughal empire to Muhammad Shah. [8]:09 The internal weaknesses of the Mughal empire turned Mughals into titular heads of Delhi. A treaty signed in 1752 made Marathas the protector of the throne at Delhi. [13][14] The Maratha conquest of Lahore and Peshawar in 1758,[15] put them in direct confrontation with Ahmad Shah Durrani. [16][17] In 1760, the Marathas removed and melted the Silver ceiling of the Diwan-i-Khas to generate funds for the defence of Delhi from the armies of Ahmed Shah Durrani. [18][19] In 1761, after the Marathas lost the third battle of Panipat, Delhi was raided by Ahmed Shah Durrani. In 1771, Shah Alam ascended to the throne in Delhi with the support of the Marathas. [8]:10 In 1783, the Sikh Misl Karorisinghia, led by Baghel Singh Dhaliwal, conquered Delhi and the Red Fort. Sikhs agreed to restore Shah Alam as the emperor and retreat from the fort on the condition that Mughals would construct and protect seven historical Gurudwaras in Delhi associated with the Sikh gurus. [20] Red Fort Before the Seige The Illustrated London News 1858 In 1803, during the Second Anglo-Maratha War, the forces of British East India Company defeated the Maratha forces in the Battle of Delhi, ending the Maratha rule over the city and their control over the fort. [21] After the battle, British took over the administration of Mughal territories and installed a Resident at the Mughal courts in Red Fort. [8]:11 The last Mughal emperor to occupy the fort, Bahadur Shah II Zafar, emerged as a symbol of the 1857 rebellion against the British in which the residents of Shahjahanbad participated. [8]:15 Red Fort in Delhi, c. 1905 Despite being the seat of Mughal power and its defensive capabilities, the Red Fort was not defended during the 1857 uprising against the British. After the failure of the rebellion, Bahadur Shah II left the fort on 17 September and was apprehended by British forces. He returned to Red Fort as a prisoner of the British and was tried in 1858. He was exiled to Rangoon on 7 October of the same year. [22] With the end of the Mughal reign, the British gave official sanctions to remove and sell valuables from the palace at the Red Fort. In 1863, British destroyed many buildings inside and outside the fort, filled up the gardens, stripped the fort of any valuable items and reduced it to just a military structure. [8]:16–7 After Indian Independence, the site experienced few changes in terms of addition or alteration to the structures. The Red Fort continued to be used as a cantonment even after Independence. A significant part of the fort remained under the control of the Indian Army until 22 December 2003, when it was handed over to the Archaeological Survey of India for restoration. [23][24] Architectural designs The Red Fort covers a total area of about 254. 67 acres enclosed within 2. 4 kilometres of defence walls. [1] The walls are punctuated by turrets and bastions. They vary in height from 18 m on the river side to 33 m on the city side. The fort is shaped like an octagon with the north-south axis longer than the east-west axis. The use of marble, floral decorations, double domes in the buildings inside the fort exemplifies the later phase of Mughal architecture. [25] It showcases a very high level of art form and ornamental work. It is believed that the Kohinoor diamond was a part of the furniture. The art work in the Fort is a synthesis of Persian, European and Indian art which resulted in the development of unique Shahjahani style which is very rich in form, expression and colour. Red Fort is one of the important building complexes of India which encapsulates a long period of Indian history and its arts. Even before its notification as a monument of national importance in the year 1913, efforts were made to preserve and conserve the Red Fort, for posterity. The walls of Lahore and Delhi gates were for the general public and Khizrabad Gate was for emperors personal use. [8]:04 The Lahore Gate is the main entrance leading to the domed arcade containing shops called the Chatta Chowk (covered bazaar). [25] Silk, jewellery and other items which catered to the royal household were sold in Chatta Chowk in the Mughal period. Chatta Chowk leads to a large open space where it crosses the large north-south street that was originally the division between the forts military functions, to its west, and the palaces, to its east. The southern end of this street is the Delhi Gate. Important structures Lahore Gate The Indian flag flying from Lahore Gate The Lahore gate is the main gate to the Red Fort named after its orientation towards Lahore, Pakistan. It is said that during Aurangzebs reign the beauty of both the gates was spoiled by adding bastions: The vista like a veil drawn across the face of a beautiful woman. [26][27][28] Every year since Indian Independence Day 1947, the national flag has been raised and the Prime Minister has made a speech from the ramparts at the Lahore Gate. In the 1980s, the security of the area was increased by blocking the tower windows as a security measure against sniper attacks. A lift was also added to the gate. [29] Delhi Gate

The Red Convertible Essay examples -- Analysis, Louise Erdrich

Symbolism is a quintessential element in all writing, whether it is prose or a poem. â€Å"The Red Convertible,† a short story written by Louise Erdrich, tells the story of the destructive nature of war, via the strain caused on the families from improper deconditioning. The main characters in the story, Lyman and Henry Lamartine, are brothers that develop a seemingly inseparable bond through a car; a red convertible. Lyman, the younger of the two was very hard-working and could always â€Å"make money† (Erdrich 394). He manages to ascend up the employment ladder at Joliet Cafà © from â€Å"washing dishes† (Erdrich 394) to eventually owning the establishment. Henry was soon drafted into the war and became a Marine. Upon returning from the Vietnam War â€Å"Henry was very different† (Erdrich 396) and â€Å"the change was no good† (Erdrich 396). Additionally, with the name in the title, it is only befitting that the convertible play a very impo rtant factor in the short story. The red convertible, Henry’s refusal to remove his war garments, and the picture of the two brothers are symbols that make the story complete by providing a view of their lives and personality. Although there are many symbols throughout the story, the most established is the red convertible. Louise Erdrich uses the red convertible as a symbolic representation of not only Lyman and Henry’s relationship but all war separated families. The convertible served as a common enjoyment of both brothers and is representative of their independence. When Henry returned from the war scarred, â€Å"quiet, and never comfortable sitting still anywhere† (Erdrich 396). Lyman was upset that his brother was acting differently, so, in order to spark emotion and â€Å"interest† (Erdrich 396) Lyman damaged th... ...d Lyman’s relationship. A noteworthy example is when Lyman â€Å"plows† (Erdrich 400) the automobile into the river. Eventually, the car engine dies; just like Henry and the relationship of the two brothers. Clothes, an occupational indicator in this instance, show Henry’s inability to remove himself from war. His garments act as a binding force and a memory that will oppress him until death. Comparatively, the picture serves as a reminder of the past that continues to haunt Lyman, so much in fact, that he â€Å"put the picture in a brown bag and folded the bag over and over tightly† (Erdrich 398). The author uses the most disparaging facet of living, death, to portray that life is not everlasting and that although we will not live forever, our memories will. Symbols deepen the story by opening a gateway into the emotional and physical states of the brothers. The Red Convertible Essay examples -- Analysis, Louise Erdrich Symbolism is a quintessential element in all writing, whether it is prose or a poem. â€Å"The Red Convertible,† a short story written by Louise Erdrich, tells the story of the destructive nature of war, via the strain caused on the families from improper deconditioning. The main characters in the story, Lyman and Henry Lamartine, are brothers that develop a seemingly inseparable bond through a car; a red convertible. Lyman, the younger of the two was very hard-working and could always â€Å"make money† (Erdrich 394). He manages to ascend up the employment ladder at Joliet Cafà © from â€Å"washing dishes† (Erdrich 394) to eventually owning the establishment. Henry was soon drafted into the war and became a Marine. Upon returning from the Vietnam War â€Å"Henry was very different† (Erdrich 396) and â€Å"the change was no good† (Erdrich 396). Additionally, with the name in the title, it is only befitting that the convertible play a very impo rtant factor in the short story. The red convertible, Henry’s refusal to remove his war garments, and the picture of the two brothers are symbols that make the story complete by providing a view of their lives and personality. Although there are many symbols throughout the story, the most established is the red convertible. Louise Erdrich uses the red convertible as a symbolic representation of not only Lyman and Henry’s relationship but all war separated families. The convertible served as a common enjoyment of both brothers and is representative of their independence. When Henry returned from the war scarred, â€Å"quiet, and never comfortable sitting still anywhere† (Erdrich 396). Lyman was upset that his brother was acting differently, so, in order to spark emotion and â€Å"interest† (Erdrich 396) Lyman damaged th... ...d Lyman’s relationship. A noteworthy example is when Lyman â€Å"plows† (Erdrich 400) the automobile into the river. Eventually, the car engine dies; just like Henry and the relationship of the two brothers. Clothes, an occupational indicator in this instance, show Henry’s inability to remove himself from war. His garments act as a binding force and a memory that will oppress him until death. Comparatively, the picture serves as a reminder of the past that continues to haunt Lyman, so much in fact, that he â€Å"put the picture in a brown bag and folded the bag over and over tightly† (Erdrich 398). The author uses the most disparaging facet of living, death, to portray that life is not everlasting and that although we will not live forever, our memories will. Symbols deepen the story by opening a gateway into the emotional and physical states of the brothers.

Ava Wrestles the Alligator

Three Dimensions Museo del Prado in Madrid, Spain houses an unconventional triptych called The Garden of Earthly Delight painted by Hieronymus Bosch in 1504. A triptych works by combining three different panels and forming one picture, world, or scene. In the case of The Garden of Earthly Delight we are presented with a triptych that, not only has three complete scenes of Eden, Ecclesia’s Paradise, and Hell present when opened but when closed the viewer can see creation as a whole. In â€Å"Ava Wrestles the Alligator† the triptych given is Swamplandia!In this red neck fairytale the dimensions of Swamplandia! are parallel to the famous Bosch work due the ideas of Earth, Heaven, Hell, and Swamplandia! the kingdom. In Swamplandia! the idea of Earth is known as everyday activities; the running of the park, feeding the alligators. Ava and Ossie have pet lizards and giggle at night in the room they share. â€Å"We keep giggling, happy and nervous, tickled by an incomplete in nocence† (Russell 4). During these simple, earthly times of normality Ossie also begins to experiment with her newly formed womanly body.In The Garden of Earthly Delight the images of smiling, naked men and women cover the center panel. The figures in the painting are seen experiencing life as naturally as possible. Even the lives of two young girls can be represented in art painted hundreds of years before their time. This gives the reader and the avid art viewer the idea that it is human nature to experience, laugh, and dream about the world above and beyond the shell that is the human body. Ossie yearns to feel alive. With the use of her own body and her imagination she takes her kingdom and makes it her own.Far above the kingdom of Swamplandia! the spirits of past Swamplandians hover; most importantly the deceased mother of Ava and Ossie. Ava tells the reader â€Å"summer rain is still the most comforting sound I know. I like to pretend that it’s our dead motherâ⠂¬â„¢s fingers, drumming on the ceiling above us† (Russell 3). In The Garden of Earthly Delight the idea of Heaven is represented by animals, including alligators, relaxing by a pool of water and the lack of humans, comforted only by a single cloaked figure. In the ase of Ava and Ossie the cloaked figure is the thought of their mother’s spirit encasing their house with each drop of rain. One of the most focal points of The Garden of Earthly Delight is shown in the bottom right corner of the right hand panel. The image of a Bird Beast, or Prince of Hell, ruling over the Underworld is most prominent to the scene. The Prince lures in his prey and uses them for his benefit, whether it is food, pleasure, or manual labor. Like Ossie is a slave to her own pleasure and even attempts suicide to become one with her own twisted sense of desire.The women of The Garden of Earthly Delight are trapped by sex and pleasure, emotions commonly mistaken for love. Though the similarities ar e obvious between the two â€Å"men† of each story; the most striking common feature of â€Å"Ava Wrestles the Alligator† and The Garden of Earthly Delight comes from the Prince shown devouring a woman, much like how the Bird Man rapes Ava. As obvious as the painting, Ava identifies the Bird Man as â€Å"†¦no Prince Charming. He’s covered in feathers and bird shit† (Russell 11). With these three dimensions the idea of a kingdom is more apparent than the simple highway passing of Swamplandia!The reader is presented with a complex and mysterious gateway through the mind of a twelve year old and to the world of diamond lizards, grief, and the realistic notion that magic is above, below, and surrounding each human being that decides to open the doors of their own triptych. With a glance into Ava’s world and a single glance at a classic work of art each person can discover a fairytale. Works Cited Russell, Karen. â€Å"Ava Wrestles the Alligator. † St. Lucy’s Home for Girls Raised by Wolves. New York: Vintage Books, 2006. 3-25.

Sigmund Freud Commentary On Psychology - 1529 Words

Sigmund Freud Commentary Freud begins his investigation into Fetishism by making the following statement â€Å"What happened, therefore, was that the boy refused to take cognizance of the fact of his having perceived that a woman does not possess a penis. No, that could not be true: for if a woman had been castrated, then his own possession of a penis was in danger; and against that there rose in rebellion the portion of his narcissism which nature has, as a precaution, attached to that little organ.† (Freud 1927:153) in this he discusses the point at which he decides a fetish is born into existence as a necessary tool for survival in the young male’s mind. What is so interesting about this quote is the fact that Freud believes that the boy†¦show more content†¦This is part of a continued thought that penis should be disregarded in its biological nature, the important factor is in fact the power that the young male associates with it, so much so that he must fa bricate a substitute for where it is missing in his mother, and so much so that this substitute dominates the boy’s sexual life and potential to reach satisfaction. To broaden his argument and make a direct comparison regarding his investigation on psychosis and neurosis, Freud discusses another case of loss early in life; â€Å"In the analysis of two young men I learned that each – one when he was two years old and the other when he was ten – had failed to take cognizance of the death of his beloved father – had ‘scotomized’ it and yet neither of them had developed a psychosis. Thus a piece of reality which was undoubtedly important had been disavowed by the ego, just as the unwelcome fact of the woman’s castration is disavowed in fetishists.† (Freud 1927: 155). This is so important to his argument as it shows the high level of importance that he assigns to the idea of castration to a young boy – to the point that it pro duces similar effects and is as altering to the psyche as the loss of a beloved father when very young. He suggests that the penis holds all the power ofShow MoreRelatedInterpretation Of Dreams In Kalpa Sutra833 Words   |  4 PagesKalpa Sutra: Comparative Analysis with Freud’s Psychology of Dreams ---------------------------------------------------------------------------------------------------------------------Abstract The study attempts to analyze the psychology of dreams as given in ancient Jain text – Kalpa Sutra. 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