ताज-ए-इज़्ज़त

ताज-ए-इज़्ज़त ("शक्ति और गौरव का मुकुट") मुग़ल साम्राज्य का एक विशेष प्रकार का मुकुट था, जो बाबर के पुत्र और उत्तराधिकारी हुमायूँ (शासनकाल १५३०–१५४० और १५५५–१५५६) के दरबार की विशेषता थी, और इसका आविष्कार स्वयं हुमायूँ ने किया था। इस मुकुट का निर्माण हुमायूँ ने १५३२ (९३९ हिजरी) में, मुग़ल सम्राट के रूप में अपने प्रथम राज्याभिषेक के दो वर्ष बाद किया था।^[2] ताज-ए-इज़्ज़त का प्रचलन उनके पुत्र अकबर के शासनकाल के आरंभ में ही बंद कर दिया गया था।^[3]

ऐसा माना जाता है कि ताज-ए-इज़्ज़त के निर्माण में हुमायूँ ने संभवतः फ़ारसी ताज-ए-हैदरी का अनुकरण और प्रतिद्वंदिता करने की कोशिश की थी, जिसे सफ़वीदों ने अपने सूफ़ी संगठन के प्रतीक के रूप में बनाया था।^[2] ताज-ए-इज़्ज़त का निर्माण बाबर की सफ़वियों के प्रति निष्ठा की प्रतिक्रिया हो सकती है, और हुमायूँ द्वारा एक आध्यात्मिक प्रणाली बनाने के प्रयास का एक हिस्सा हो सकता है जो सफ़वियों की प्रतिद्वंद्वी हो सके।^[2]

हुमायूँ का समकालीन जीवनकाल चित्र, काबुल में १५५०–५५ में चित्रित
हुमायूँ के सेवक, ताज-ए-इज़्ज़त की टोपी पहने, काबुल, १५५०–५५
हुमायूँ के पुत्र, युवा अकबर का ताज-ए-इज़्ज़त पहने हुए समकालीन चित्र

संदर्भ

↑ "Babur and Humayun with Courtiers, from the Late Shah Jahan Album". Smithsonian's National Museum of Asian Art. The first Mughal emperor, Babur, who reigned from 1526 to 1530, is shown seated on the right with his son and successor, Humayun.
1 2 3 Moin, A. Azfar (2012). The Millennial Sovereign: Sacred Kingship and Sainthood in Islam (अंग्रेज़ी भाषा में). Columbia University Press. pp. 124–125. ISBN 978-0-231-16036-0. Humayun's new taj, according to the chronogram in the poem above, was invented in 1532 (939 AH), that is, within two years of his ascension. The Taj-i 'Izzat clearly bore both a mimetic and a competitive relationship to the Safavid headgear, the Taj-i Haydari, a symbol of their Sufi brotherhood. It was meant to enact a ritual of sovereignty similar to the Safavid one, in which the ruler was the object of ritual devotion of his courtiers and soldiers. It would appear that Humayun instituted this symbolic practice in response to the loss of glory and power that his father had experienced when he became a Safavid disciple. But to become an object of ritual devotion, Humayun had to first become sacred. Thus, his keen interest in the esoteric sciences —the 'ulum-i ghariba- especially his recourse to the thaumaturgic gifts of the powerful and charismatic Shattari saints, was a means to achieve a degree of sacrality that would surpass even that of the messianic Safavid Shah Ismail. उद्धरण त्रुटि: अमान्य <ref> टैग; "AAM124" नाम कई बार भिन्न सामग्री के साथ परिभाषित है
↑ Parodi, Laura E. (2016). "Infrared Reflectography of the Mughal Painting Princes of the House of Timur (British Museum, 1913,0208,0.1)". Journal of Islamic Manuscripts 7. Brill. डीओआई:10.1163/1878464X-00701003.

[1] "Babur and Humayun with Courtiers, from the Late Shah Jahan Album". Smithsonian's National Museum of Asian Art. The first Mughal emperor, Babur, who reigned from 1526 to 1530, is shown seated on the right with his son and successor, Humayun.

[AAM124-2] 1 2 3 Moin, A. Azfar (2012). The Millennial Sovereign: Sacred Kingship and Sainthood in Islam (अंग्रेज़ी भाषा में). Columbia University Press. pp. 124–125. ISBN 978-0-231-16036-0. Humayun's new taj, according to the chronogram in the poem above, was invented in 1532 (939 AH), that is, within two years of his ascension. The Taj-i 'Izzat clearly bore both a mimetic and a competitive relationship to the Safavid headgear, the Taj-i Haydari, a symbol of their Sufi brotherhood. It was meant to enact a ritual of sovereignty similar to the Safavid one, in which the ruler was the object of ritual devotion of his courtiers and soldiers. It would appear that Humayun instituted this symbolic practice in response to the loss of glory and power that his father had experienced when he became a Safavid disciple. But to become an object of ritual devotion, Humayun had to first become sacred. Thus, his keen interest in the esoteric sciences —the 'ulum-i ghariba- especially his recourse to the thaumaturgic gifts of the powerful and charismatic Shattari saints, was a means to achieve a degree of sacrality that would surpass even that of the messianic Safavid Shah Ismail. उद्धरण त्रुटि: अमान्य <ref> टैग; "AAM124" नाम कई बार भिन्न सामग्री के साथ परिभाषित है

[3] Parodi, Laura E. (2016). "Infrared Reflectography of the Mughal Painting Princes of the House of Timur (British Museum, 1913,0208,0.1)". Journal of Islamic Manuscripts 7. Brill. डीओआई:10.1163/1878464X-00701003.

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