The Sons of Tipu handed over as hostages to Lord Cornwallis, 1791
Arthur Devis
Private Collection
A measure of how tastes and sensibilities change: British contemporaries somehow saw this as benign. To us, taking a five year old hostage feels profoundly cruel, even a war crime
"Cornwallis accepted Tipu's terms, but his terms were severe: Tipu must surrender half his kingdom, and pay an indemnity of 30 million rupees, release all his prisoners of war, and give his two eldest sons as hostages to guarantee full payment.
The borderlands next to the Marathas were to be handed over to the Peshwa; those next to Hyderabad to the Nizam; and the Company was to receive his territories in the Eastern Ghats as well as those in Coorg and spice-rich Malabar.
The treaty was finally signed, and the two young princes – Abdul Khaliq, who was eight, and Muizuddin, aged five – handed over to Cornwallis on 18 March 1792. The boys were taken off by elephant to Madras, which they appeared in general to like.
The boys were taken off by elephant to Madras, which they appeared in general to like, though they clearly did not enjoy being made to sit through entire performances of Handel’s Messiah and Judas Maccabaeus.
Having created a sensation in Madras society with their dignity, intelligence and politeness, they were sent back two years later when Tipu delivered the final tranche of his indemnity payment.
All this was a crushing blow to Tipu. Over the course of the war he had already lost 70 forts and 800 guns, and sustained 49,340 casualties. Now he stood to lose one entire half of the kingdom he had inherited from his father."
From The Anarchy
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The Bakhshali Manuscript, now in the Bodleian Library, is by many centuries the oldest surviving Indic mathematical text and the oldest extant manuscript in the world to use zero and decimal place values.
This remarkable birch bark manuscript consists of 70 extremely fragile folios. It has been the subject of scholarly debates over its date, its purpose, the religious world inhabited by its writers & the question if whether it is unitary text or a collection of different treatises
Over the years, the dates proposed for the Bakhshali manuscripy vary from the third to the twelfth centuries CE, but it is currently thought to have been written around 700CE, a date recently confirmed by a new set of carbon C-14 dates.
The wanton part-destruction of the great Chamunda temple in Devi Kothi is so depressing. It is the Sistine Chapel of Pahari art, and the greatest surviving ensemble of Pahari paintings still in situ. India has such spectacular artistic heritage- and does so little to protect it.
The spectacular murals of Devi Kothi- left unprotected and now lost forever
I'm become very interested in yakshas, yakshis and nagas- classes of sacred beings which seem to be relatively peripheral to modern Indian religion and spirituality, but which dominated much of the art of early India, whether Hindu, Buddhist or Jain.
Monumental stone sculptures of Yakshas —freestanding and carved in the round- begin to appear from the third century BCE, as witnessed spectacular yaksha from Parkham near Mathura made “in the guild of Manibhadra by Gomitaka, a pupil of Kunika."
The Parkham Yakshi (left) is said by the ASI to be the oldest free-standing statue in Indian art, c275 BCE, but the Mathura Museum contains several others that are only slightly younger, 200-100 BCE
Exquisitely poised and supple, Chola bronze deities are some of the greatest works of art ever created in India. They stand silent on their plinths yet with their hands they speak gently to their devotees through the noiseless lingua franca of the mudras of south Indian dance.
For their devotees, their hands are raised in blessing and reassurance, promising boons and protection, and above all, marriage, fertility and fecundity, in return for the veneration that is so clearly their divine right.
It is the Nataraja, Shiva as Lord of the Dance, that is arguably the greatest artistic creation of the Chola dynasty. It is the perfect symbol of the way their sculptors managed to imbue their creations with both a raw sensual power and a profound theological complexity.