ANTI-RUSSIAN MAP, 1904. 'A Humorous Diplomatic Atlas of Europe and Asia
ANTI-RUSSIAN MAP, 1904. 'A Humorous Diplomatic Atlas of Europe and Asia.' Japanese propaganda handbill of 1904 portraying Russia as a grasping octopus, strangling every European and Asian nation within reach of its tentacles, inspired by Frederick W. Rose's satirical map of 1877.
1904, Allegory, Anti Colonialism, Anti Russian, Calligraphy, Cartoon, Cartouche, Colonialism, Diplomacy, Early, Empire, Handbill, Japan, Japanese, Map, Meiji, Octopus, Personification, Politics, Propaganda, Russia, Russian, Satire, Tentacle
Persian metawork, (1898). Creator: Unknown
Persian metawork, (1898). Examples of metal objects with damascened designs including Arabic inscriptions: 'Figs 1 and 2: Helm [helmet] with shield belonging to it. Fig 3: Border from an armature. Figs 4-8: Decorations on metal vessels. Figs 9-12: Portions of eating-utensils. Figs 1-8 drawn after original objects from the Royal 'Landesgewerbemuseum' at Stuttgart...In all ages weapons, armature and metal vessels of Persian origin were highly estimated in the East as well as in Western countries up to the present day. Being decorated with excellent Damascene work or beautifully embossed, they exhibit in their ornaments the above-described features of the Persian style in perpetual variation. Moreover we are struck by Persian characters expressing proverbs or religious sentences...Animals and human figures are likewise represented in sometimes fantastical imitations'. Plate 21 from "The Historic Styles of Ornament" translated from the German of H. Dolmetsch. [B.T. Batford, London, 1898]
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Eight Lines of Musical Poetry of the Jajner Nauras (Rag Bhairav) of Ibrahim Adil Shah
Eight Lines of Musical Poetry of the Jajner Nauras (Rag Bhairav) of Ibrahim Adil Shah of Bijapur, late 1600s. Ibrahim Adil Shah II was a visionary ruler in the southern territories of the Deccan between 1580 and 1627 with his court based in the city of Bijapur. He maintained independence from Mughal encroachments from the north and fostered a distinctive culture infused with mystical Sufi ideals and a distinctive blending of Hindu and Islamic elements. This work of calligraphy is a verse composed by Ibrahim Adil Shah II that exemplifies his love of music and poetry. Normally a Hindu court tradition, ragamalas, or musical modes, were recast by Ibrahim Adil Shah in the local Dakhini language and incorporated into his Islamic milieu. The spectacular marbling on which the verse is written in Arabic script is a characteristic of the Deccan, where marbling was prized for its mysterious and random beauty. Mounted on an imperial Mughal album page with an image of the Hindu ruler Ram Singh on the verso, the placement of this Deccani calligraphy may have functioned as a tribute to Ram Singh's father, who served the Mughal emperor in the Deccan from 1659 until 1666.
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