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Flag of South Africa
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Republic of South Africa
Use
Civil and state flag, civil and state ensign
Proportion
2:3
Adopted
27 April 1994; 24 years ago (1994-04-27)
Design
a horizontal bicolour of red and blue with a black isosceles triangle based on the hoist-side and a green pall, a central green band that splits into a horizontal Y, centred over the partition lines and was edged in both white against the red and the blue bands and gold against the triangle, in which the arms of the Y ends at the corners of the hoist and embraces the triangle on the hoist-side.
Designed by
Frederick Brownell
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The flag of South Africa was adopted on 27 April 1994, at the beginning of South Africa's 1994 general election, to replace the flag that had been used since 1928. The new national flag, designed by the then State Herald of South Africa Frederick Brownell, was chosen to represent the country's new democracy after the end of apartheid.
The flag has horizontal bands of red (on the top) and blue (on the bottom), of equal width, separated by a central green band which splits into a horizontal "Y" shape, the arms of which end at the corners of the hoist side (and follow the flag's diagonals). The "Y" embraces a black isosceles triangle from which the arms are separated by narrow yellow bands; the red and blue bands are separated from the green band and its arms by narrow white stripes. The stripes at the fly end are in the 5:1:3:1:5 ratio.
Contents
[hide]
1 Colours
2 Construction sheet
3 History
3.1 1902–1910
3.2 1910–1928
3.3 1928–1994 flag
3.4 Current flag since 1994
4 Proper display of the flag
5 Heraldic description
6 See also
7 References
8 Further reading
9 External links
Colours[edit]
At the time of its adoption, the South African flag was the only national flag in the world to comprise six colours in its primary design and without a seal and brocade. The design and colours are a synopsis of principal elements of the country's flag history.
The central design of the flag, beginning at the flagpost in a "V" form and flowing into a single horizontal band to the outer edge of the fly.
Colour
Textile colour
Pantone equivalent
RGB
RGB sample
Green CKS 42 c Spectrum green 3415 c #007C59
Black CKS 401 c Blue black #000000
White CKS 701 c National flag white #FFFFFF
Gold CKS 724 c Gold yellow 1235 c #FCB514
Red CKS 750 c Chilli red 179 c #E23D28
Blue CKS 762 c National flag blue Reflex blue c #0C1C8C
Construction sheet[edit]
Flag construction sheet
History[edit]
1902–1910[edit]
The Anglo-Boer War between 1899 and 1902 ended with the Treaty of Vereeniging on 31 May 1902 and resulted in what is now South Africa falling under the British Union Flag. The former Boer Republics of the Orange Free State and the Zuid-Afrikaanse Republiek (Transvaal) became British colonies along with the existing Cape and Natal colonies. Each was also entitled to a colonial flag following in the British tradition.
1910–1928[edit]
Main article: South Africa Red Ensign
On 31 May 1910 these four colonies came together to form the Union of South Africa and the individual colonial flags were no longer used and new South African flags came into being. Once again, as a British dominion the British Union Flag was to continue as the national flag and the standard British ensign pattern was used as a basis for distinctive South African flags.
As was the case throughout the British Empire, the Red and Blue Ensigns were the official flags for merchant and government vessels at sea, and the British Admiralty authorised them to be defaced in the fly with the shield from the South African coat of arms.[1][2] These ensigns were not intended to be used as the Union's national flag, although they were used by some people as such. Although these ensigns were primarily intended for maritime use, they were also flown on land.
The South Africa Red Ensign was South Africa's de facto national flag between 1910 and 1928 and was flown at times from Government buildings.
The design of the Red Ensign was modified slightly in 1912 when the shield was placed on a white disc so as to make it more distinguishable. The Red Ensign continued to be used as the flag of the South African merchant marine until 1951.[3]
The Blue Ensign was flown over the Union’s offices abroad between 1910 and 1928.
The Blue Ensign from 1912 to 1928.
These flags never enjoyed much popular support due to the animosities lingering after the Anglo-Boer War. The Afrikaner descendants of the Dutch settlers from the former Boer Republics found the prominent position of the British Union Flag to be offensive while the English-speakers saw any move to remove it as an Afrikaner plot to deprive them of their imperial symbol.
1928–1994 flag[edit]
Main article: Flag of South Africa (1928–1994)
South Africa
Proportion
2:3
Adopted
1928
Relinquished
April 1994
The three flags in the centre representing the former British colonies of Cape Colony and Natal with the Union Jack on the left, followed by the flags of the former Boer republics of Orange Free State and the South African Republic on the right. The Union Jack is shown with the hoist on the right.
Due to the lack of popularity of these flags, there were intermittent discussions about the desirability of a more distinctive national flag for South Africa after 1910,[4] it was only after a coalition government took office in 1925 that a bill was introduced in Parliament to introduce a national flag for the Union. This provoked an often violent controversy that lasted for three years based on whether the British Union Flag should be included in the new flag design or not. The Natal Province even threatened to secede from the Union should it be decided to remove it.
Finally, a compromise was reached that resulted in the adoption of a separate flag for the Union in late 1927 and the design was first hoisted on 31 May 1928. The design was based on the so-called Van Riebeeck flag or "Prince's Flag" (Prinsenvlag in Afrikaans) that was originally the Dutch flag; it consisted of orange, white, and blue horizontal stripes. A version of this flag had been used as the flag of the Dutch East India Company (known as the VOC) at the Cape (with the VOC logo in the centre) from 1652 until 1795. The South African addition to the design was the inclusion of three smaller flags centred in the white stripe. The miniature flags were the British Union Flag (mirrored) towards the hoist, the flag of the Orange Free State hanging vertically in the middle and the Transvaal Vierkleur towards the fly. The position of each of the miniature flags is such that each has equal status. However, to ensure that the Dutch flag in the canton of the Orange Free State flag is placed nearest to the upper hoist of the main flag, the Free State flag must be reversed. The British Union Flag, which is nearest to the hoist and is thus in a more favoured position, is spread horizontally from the Free State flag towards the hoist and is thus also reversed. Although placed horizontally furthest from the hoist, to balance the British Union Flag, the Vierkleur is the only one of the miniature flags which is spread in the same direction as the main flag. This compensates for its otherwise less favourable position. In this arrangement, each of the miniature flags enjoy equal precedence.[5] Note that the miniature flag of the Orange Free State contains a miniature of the Dutch flag, making the old South African flag the only former national flag in the world containing a flag in a flag in a flag.
The choice of the Prinsenvlag (which was believed to be the first flag hoisted on South African soil by Jan van Riebeeck of the VOC) as the basis upon which to design the South African flag had more to do with compromise than Afrikaner political desires, since the Prinsenvlag was politically neutral, as it was no longer the national flag of any nation. A further element of this compromise was that the British Union Flag would continue to fly alongside the new South African national flag over official buildings. This dual flag arrangement continued until 1957 when the British Union Flag lost its official status per an Act of Parliament.
Following a referendum the country became a republic on 31 May 1961, but the design of the flag remained unchanged. However, there was intense pressure to change the flag, particularly from Afrikaners who still resented the fact that the British Union Flag was a part of the flag. In 1968, the then Prime Minister, John Vorster, proposed the adoption of a new flag from 1971, to commemorate the tenth anniversary of the declaration of a republic but this never materialised.[6]
Current flag since 1994[edit]
South African Ambassador Harry Schwarz presenting the new flag to the U.S. president Bill Clinton and vice president Al Gore in May 1994.
The present South African national flag was first flown on 27 April 1994, the day of the 1994 election. However, the flag was first intended to be an interim flag only, and its design was decided upon only a week beforehand.[7]
The choice of a new flag was part of the negotiation process set in motion when Nelson Mandela was released from prison in 1990. When a nationwide public competition was held in 1993, the National Symbols Commission received more than 7,000 designs. Six designs were shortlisted and presented to the public and the Negotiating Council, but none elicited enthusiastic support. A number of design studios were then contacted to submit further proposals, but these also did not find favour. Parliament went into recess at the end of 1993 without a suitable candidate for the new national flag.
In February 1994, Cyril Ramaphosa and Roelf Meyer, the chief negotiators of the African National Congress and the National Party government of the day respectively, were given the task of resolving the flag issue. A final design was adopted on 15 March 1994, derived from a design developed by the State Herald Fred Brownell,[8] who had also previously designed the Flag of Namibia. This interim flag was hoisted for the first time on the 27 April 1994, the day when the nation’s first fully inclusive elections commenced which resulted in Nelson Mandela being inaugurated as South Africa’s first democratically elected president on 10 May 1994.
The flag flying at the Sydney Cricket Ground.
The proclamation of the new national flag by South African President F. W. de Klerk was only published on 20 April 1994,[9] a mere seven days before the flag was to be inaugurated, sparking a frantic last-minute flurry for flag manufacturers. As stated in South Africa's post-apartheid interim constitution, the flag was to be introduced on an interim probationary period of five years, after which there would be discussion about whether or not to change the national flag in the final draft of the constitution. The Constitutional Assembly was charged with the responsibility of drafting the country’s new constitution and had called for submissions, inter alia, on the issues of its various national symbols. It received 118 submissions recommending the retention of the new flag and 35 suggesting changes to it. Thus on 28 September 1995 it decided that the flag should be retained unchanged and accordingly it was included as Section One of the Constitution of South Africa which came into force in February 1997.[10]
Proper display of the flag[edit]
See also: List of South African flags
The South African government published guidelines for proper display of the flag at designated flag stations, in Government Notice 510 of 8 June 2001 (Gazette number 22356). These rules apply only to official flag stations and not to the general public.
The Southern African Vexillological Association (SAVA), a non-official association for the study of flags, published their own guide for proper display of the flag in 2002. This guide has no official authority but was drawn up with generally accepted vexillological etiquette and principles in mind.[11]
Heraldic description[edit]
An addendum to the Transitional Executive Council agenda (April 1994) described the flag in heraldic terms as follows:
The National flag shall be rectangular in the proportion of two in the width to three to the length; per pall from the hoist, the upper band red (chilli) and lower band blue, with a black triangle at the hoist; over the partition lines a green pall one fifth the width of the flag, fimbriated white against the red and blue, and gold against the black triangle at the hoist, and the width of the pall and its fimbriations is one third the width of the flag.
Schedule One of the Constitution of South Africa (1996) replaced the heraldic definition and described the flag in plain English as follows:[12]
The national flag is rectangular; it is one and a half times as long as it is wide.
It is black, gold, green, white, chilli red and blue.
It has a green Y-shaped band that is one fifth as wide as the flag. The centre lines of the band start in the top and bottom corners next to the flag post, converge in the centre of the flag, and continue horizontally to the middle of the free edge.
The green band is edged, above and below in white, and towards the flag post end, in gold. Each edging is one fifteenth as wide as the flag.
The triangle next to the flag post is black.
The upper horizontal band is chilli red and the lower horizontal band is blue. These bands are each one third as wide as the flag.
See also[edit]
List of South African flags
Coat of arms of South Africa
National anthem of South Africa
National symbols of South Africa
Southern African Vexillological Association
References[edit]
Jump up ^ Flags of the World. "South African Vessels Ensign". Retrieved 2005-03-20.
Jump up ^ Volker Preuß. "Südafrika – Großbritannien Flaggensystem eingeführt" (in German). Retrieved 2008-05-26.
Jump up ^ Merchant Shipping Act 1951 (South Africa); South Africa Government Gazette No 6085 dated 25 July 1958.
Jump up ^ Brownell, Frederick G (2015). Convergence and Unification : The National Flag of South Africa (1994) in historical perspective, (PhD). Pretoria: University of Pretoria.
Jump up ^ Brownell, F. G. (1993). National and Provincial Symbols and Flora and Fauna Emblems of the Republic of South Africa. C. van Rensburg. ISBN 978-0-86846-074-1.
Jump up ^ "New flag". The Glasgow Herald. 12 September 1968. p. 18 col C. Retrieved 2016-04-18.
Jump up ^ https://www.c-span.org/video/?56323-1/south-african-election-special-2
Jump up ^ "Fred Brownell: The man who made South Africa's flag". BBC News. 27 April 2014. Retrieved 27 April 2014.
Jump up ^ South Africa Government Gazette No 15663 dated 20 April 1994.
Jump up ^ Bruce B Berry : “Zero to Hero” - the role of the national flag in nation building in post-apartheid South Africa, paper presented at the 26th International Congress of Vexillology, Sydney, Australia (September 2015)
Jump up ^ "No need to get in a flap over flag etiquette". IOL News. 12 September 2002. Retrieved 2013-03-23.
Jump up ^ "Schedule 1 to the South African Constitution, 1996" (PDF). Department of Justice and Constitutional Development. Retrieved 21 January 2014.
Further reading[edit]
Saker, Harry (1980). The South African flag controversy, 1925-1928. Cape Town: Oxford University Press.
Pama, C (1984). Die vlae van Suider-Afrika (in Afrikaans). Tafelberg. ISBN 978-0-624-02070-7.
Brownell, F.G. (March 1994). "The Union Jack over Southern and Central Africa: 1795–1994". SAVA Journal. ISBN 0-620-18833-2.
Van Zyl, J.A. (April 1995). "The History of Flags of South Africa before 1900". SAVA Journal. ISBN 0-620-19798-6.
External links[edit]
Wikimedia Commons has media related to Flags of South Africa.
Wikiquote has quotations related to: Flag of South Africa
Southern African Vexillological Association (SAVA)
South Africa at Flags of the World
South Africa (1928-1994) at Flags of the World
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Peacock Throne
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Not to be confused with Sun Throne.
Painting of the (later) Peacock Throne in the Diwan-i-Khas of the Red Fort, around 1850
The Peacock Throne (Hindustani: मयूर सिंहासन تخت طاؤس: Mayūr Singhāsana, Persian: تخت طاووس, Takht-i Tāvūs) was a famous jeweled throne that was the seat of the Mughal emperors of India. It was commissioned in the early 17th century by emperor Shah Jahan and was located in the Diwan-i-Khas (Hall of Private Audiences) in the Red Fort of Delhi. The original throne was subsequently captured and taken as a war trophy in 1739 by the Persian king Nadir Shah, and has been lost ever since. A replacement throne based on the original was commissioned afterwards and existed until the Indian war of Independence in 1857.
Contents
[hide]
1 History
2 Descriptions
2.1 By Abdul Hamid Lahori
2.2 By Inayat Khan
2.3 By François Bernier
2.4 By Jean-Baptiste Tavernier
3 Discrepancies between descriptions of Lahori and Tavernier
3.1 Lahori's description
3.2 Tavernier's description
4 Later Peacock Throne
5 See also
6 References
7 Further reading
8 External links
History[edit]
Shah Jahan seated on a minor throne, which probably shared some stylistic elements with the Peacock Throne
Shah Jahan ruled in what is considered the Golden Age of the vast Mughal Empire, which covered almost all of the Indian subcontinent. It was ruled from the newly constructed capital of Shahjahanabad. The emperor was the focus around which everything else revolved, gaving audiences and receiving petitioners. This ruler and his court was to be a mirror image of paradise on earth, in the very centre of the empire; and such a ruler would be worthy of a Throne of Solomon (تخت سليمان, Takht-e-Sulaiman) to underscore his position as a just king. Just like Solomon's throne, the Peacock Throne was to be covered in gold and jewels, with steps leading up to it, with the ruler floating above ground and closer to heaven. Said Gilani and his workmen from the imperial goldsmiths' department were commissioned with the construction of this new throne. It took seven years to complete. Large amounts of solid gold, precious stones and pearls were used, creating a masterful piece of Mughal workmanship that was unsurpassed before or after its creation. It was an opulent indulgence that could only be seen by a small number of courtiers, aristocrats, and visiting dignitaries. The throne was, even by Golden Age Mughal standards, supremely extravagant, costing twice as much as the construction of the Taj Mahal.[1][2][3]
The appearance of this new throne was in stark contrast to the older throne of Jahangir, a large rectangular slab of engraved black basalt constructed in the early 1600s, used by the father of Shah Jahan.
The new throne was not initially given the name by which it became known. It was simply known as the "Jeweled Throne" or "Ornamented Throne" (Takht-Murassa). It received its name from later historians because of the peacock statues featured on it.[1]
The Peacock Throne was inaugurated in a triumphant ceremony on 22 March 1635, the formal seventh anniversary of Shah Jahan's accession.[4] The date was chosen by astrologers and was doubly auspicious, since it coincided exactly with Eid al-Fitr, the end of Ramadan, and Nowruz, the Persian Spring festival. The emperor and the court were returning from Kashmir and it was determined that the third day of Nowruz would be the most auspicious day for him to enter the capital and take his seat on the throne.[5][6]
Muhammad Qudsi, the emperor's favourite poet, was chosen to compose twenty verses that were inscribed in emerald and green enamel on the throne. He praised the matchless skill of the artisans, the "heaven-depleting grandeur" of its gold and jewels, and included the date in the letters of the phrase "the throne of the just king".[1][7]
Poet Abu-Talib Kalim was given six pieces of gold for each verse in his poem of sixty-three couplets.[8]
The master goldsmith Said Gilani was summoned by the emperor and showered with honours, including with his weight in gold coins and given the title "Peerless Master" (Bibadal Khan). Gilani produced a poem of 134 couplets, filled with chronograms, the first twelve couplets giving the date of the emperor's birth, the following thirty-two the date of his first coronation, then ninety couplets giving the date of the throne's inauguration.[8]
Towards India he turned his reins quickly and went in all glory,
Driving like the blowing wind, dapple-grey steed swift as lightning.
With bounty and liberality, he returned to the capital;
Round his stirrups were the heavens and angels round his reins.
A thousand thanks! The beauty of the world has revived
With the early glory of the throne of multi-coloured gems.[9]
After Shah Jahan's death, his son Aurangzeb, who had the regnal name of Alamgir, ascended the Peacock Throne. Aurangzeb was the last of the strong Mughal emperors. After his death, in 1707, his son Bahadur Shah I reigned from 1707–1712. Bahadur Shah I was able to keep the empire stable, by maintaining a relaxed religious policy; however, after his death the empire was in inexorable decline. A period of political instability, military defeats, and court intrigues led to a succession of weak emperors: Jahandar Shah ruled for one year from 1712–1713, Farrukhsiyar from 1713–1719, Rafi ud-Darajat and Shah Jahan II only for a couple of months in 1719. By the time Muhammad Shah came to power, Mughal power was in serious decline and the empire was vulnerable. Nevertheless, under the generous patronage of Muhammad Shah, the court at Delhi became again a beacon of the arts and culture. Administrative reforms could not however stop the later Mughal-Maratha Wars, which greatly sapped the imperial forces. It was only a question of time until forces from neighbouring Persia saw their chance to invade.
The Persian king Nader Shah seated upon the Peacock Throne with members of the court, after his victory at the Battle of Karnal
Nadir Shah's invasion of India culminated in the Battle of Karnal, on 13 February 1739, and the defeat of Muhammad Shah. Nadir Shah entered Delhi and sacked the city, in the course of which tens of thousands of inhabitants were massacred. Persian troops left Delhi at the beginning of May 1739, taking with them the throne as a war trophy, their haul of treasure amounting to a large reduction in Mughal wealth and an irreplaceable loss of cultural artefacts. Among the known precious stones that Nadir Shah looted were the Akbar Shah diamond, Great Mughal diamond, Great Table diamond, Koh-i-Noor, Shah diamond, as well as the Samarian spinel and the Timur ruby. These stones were either part of the Peacock Throne or were in possession of the Mughal emperors. The Akbar Shah Diamond was said to form one of the eyes of a peacock,[10] as well as did the Koh-i-Noor.[11] The Shah diamond was described by Jean-Baptiste Tavernier as being on the side of the throne.[12] Many of these stones ended up becoming part of the Persian crown jewels or were taken later by the British colonialists.
When Nadir Shah was assassinated by his own officers on 19 June 1747, the throne disappeared, most probably being dismantled or destroyed for its valuables, in the ensuing chaos.[13] One of the unsubstantiated rumours claimed the throne was given to the Ottoman Sultan,[14] although this could have been a minor throne produced in Persia and given as a gift. The Persian emperor Fath-Ali Shah commissioned the Sun Throne to be constructed in the early 19th century. The Sun Throne has a platform in the shape of that of the Peacock Throne. Some rumours claim that parts of the original Peacock Throne were used in its construction, although there is no evidence for that. Over time, the Sun Throne was erroneously referred to as the Peacock Throne, a term that was later appropriated by the West as a metonym for the Persian monarchy. No structural parts proven to be of the original Peacock Throne survived. Only some of diamonds and precious stones that are attributed to it have survived and re-worked.
A Sikh legend has it that a rectangular stone slab measuring 6 feet (1.8 m) by 4 feet (1.2 m) by 9 inches (230 mm) was uprooted, enchained, and brought by Jassa Singh Ramgarhia to Ramgarhia Bunga, in Amritsar, after the capture of the Red Fort by the combined Dal Khalsa forces of Jassa Singh Ahluwalia and Baghel Singh in 1783, as war booty.[15][16] However, that this stone pedestal does indeed come from the Peacock Throne has not been independently corroborated by scientists and historians.
A replacement throne that closely resembled the original was probably constructed for the Mughal emperor, after the Persian invasion.[17] The throne was located on the eastern side of the Divan-i-Khas, towards the windows. This throne however was also lost, possibly during or after the Indian Rebellion of 1857 and the subsequent looting and partial destruction of the Red Fort by the British.[18] The marble pedestal on which it rested has survived and can still be seen today.[19][20]
In 1908, the New York Times reported that Caspar Purdon Clarke, Director of the Metropolitan Museum of Art, obtained what was purported to be a marble leg from the pedestal of the throne.[21] Although mentioned in the 1908 annual report, the status of this pedestal leg remains unknown.[19][22][23] There is another marble leg in the Victoria and Albert Museum in London. Where exactly these two pedestal legs originate from, and if they are connected to the Peacock Throne at all, remains unclear.
Inspired by the legend of the throne, King Ludwig II of Bavaria installed a romanticised version of it in his Moorish Kiosk in Linderhof Palace, constructed in the 1860s.
Descriptions[edit]
The contemporary descriptions that are known today of Shah Jahan's throne are from the Mughal historians Abdul Hamid Lahori and Inayat Khan, and the French travellers François Bernier and Jean-Baptiste Tavernier. No known painting that would match their descriptions exists of the throne.
By Abdul Hamid Lahori[edit]
Abdul Hamid Lahori (d. 1654) describes, in his Padshahnama, the construction of the throne:[24]
In the course of years many valuable gems had come into the Imperial jewel-house, each one of which might serve as an ear-drop for Venus, or would adorn the girdle of the Sun. Upon the accession of the Emperor, it occurred to his mind that, in the opinion of far-seeing men, the acquisition of such rare jewels and the keeping of such wonderful brilliants can only render one service, that of adorning the throne of empire. They ought therefore, to be put to such a use, that beholders might share in and benefit by their splendour, and that Majesty might shine with increased brilliancy.
It was accordingly ordered that, in addition to the jewels in the Imperial jewel-house, rubies, garnets, diamonds, rich pearls and emeralds, to the value of 200 lacs of rupees, should be brought for the inspection of the Emperor, and that they, with some exquisite jewels of great weight, exceeding 50,000 miskals, and worth eighty-six lacs of rupees, having been carefully selected, should be handed over to Bebadal Khan, the superintendent of the goldsmith's department. There was also to be given to him one lakh of tolas of pure gold, equal to 250,000 miskals in weight and fourteen lakhs of rupees in value.
The throne was to be three gaz in length, two and a half in breadth, and five in height, and was to be set with the above-mentioned jewels. The outside of the canopy was to be of enamel work with occasional gems, the inside was to be thickly set with rubies, garnets, and other jewels, and it was to be supported by twelve emerald columns. On the top of each pillar there were to be two peacocks thick set with gems, and between each two peacocks a tree set with rubies and diamonds, emeralds and pearls. The ascent was to consist of three steps set with jewels of fine water.
This throne was completed in the course of seven years at a cost of 100 lakhs of rupees. Of the eleven jeweled recesses (takhta) formed around it for cushions, the middle one, intended for the seat of the Emperor, cost ten lakhs of rupees. Among the jewels set in this recess was a ruby worth a lac of rupees, with Shah 'Abbas, the king of Iran, had presented to the late Emperor Jahangir, who sent it to his present Majesty, the Sahib Kiran-i sani, when he accomplished the conquest of the Dakhin.
On it were engraved the names of Sahib-kiran (Timur), Mir Shah Rukh, and Mirza Ulugh Beg. When in course of time it came into the possession of Shah 'Abbas, his name was added; and when Jahangir obtained it, he added the name of himself and of his father. Now it received the addition of the name of his most gracious Majesty Shah Jahan. By command of the Emperor, the following masnawi, by Haji Muhammad Jan, the final verse of which contains the date, was placed upon the inside of the canopy in letters of green enamel. . . .
On his return to Agra, the Emperor held a court, sat for the first time on his throne.[25]
By Inayat Khan[edit]
The following is the account given of the throne in the Shahjahannama of Inayat Khan:
The Nauroz of the year 1044 fell on the 'Id-i fitr, when His Majesty was to take his seat on the new jeweled throne. This gorgeous structure, with a canopy supported on twelve pillars, measured three yards and a half in length, two and a half in breadth, and five in height, from the flight of steps to the overhanging dome. On his Majesty's accession to the throne, he had commanded that eighty-six lakhs worth of gems and precious stones, and a diamond worth fourteen lakhs, which together make a crore of rupees as money is reckoned in Hindustan, should he used in its decoration. It was completed in seven years, and among the precious stones was a ruby worth a lakh of rupees that Shah 'Abbas Safavi had sent to the late Emperor, on which were inscribed the names of the great Timur Sahih-Kiran, etc.[26]
By François Bernier[edit]
The French physician and traveller François Bernier described, in his Travels in the Mogul Empire A.D. 1656-1668, the throne in the Diwan-i-Khas:
The King appeared seated upon his throne, at the end of the great hall, in the most magnificent attire. His vest was of white and delicately flowered satin, with a silk and gold embroidery of the finest texture. The turban, of gold cloth, had an aigrette whose base was composed of diamonds of an extraordinary size and value, besides an Oriental topaz, which may be pronounced unparalleled, exhibiting a lustre like the sun. A necklace of immense pearls, suspended from his neck, reached to the stomach, in the same manner as many of the Gentiles wear their strings of beads.
The throne was supported by six massive feet, said to be of solid gold, sprinkled over with rubies, emeralds, and diamonds. I cannot tell you with accuracy the number or value of this vast collection of precious stones, because no person may approach sufficiently near to reckon them, or judge of their water and clearness; but I can assure you that there is a confusion of diamonds, as well as other jewels, and that the throne, to the best of my recollection, is valued at four crores of Rupees. I observed elsewhere that a lakh is one hundred thousand[27] rupees, and that a crore is a hundred lakh; so that the throne is estimated at forty millions of rupees, worth sixty millions of pounds [livres] or thereabouts. It was constructed by Shah Jahan, the father of Aurangzeb, for the purpose of displaying the immense quantity of precious stones accumulated successively in the treasury from the spoils of ancient Rajas and Patans, and the annual presents to the Monarch, which every Omrah is bound to make on certain festivals. The construction and workmanship of the throne are not worthy of the materials; but two peacocks, covered with jewels and pearls, are well conceived and executed. They were made by a workman of astonishing powers, a Frenchman by birth, named..... who, after defrauding several of the Princes of Europe, by means of false gems, which he fabricated with peculiar skill, sought refuge in the Great Mogul's court, where he made his fortune.
At the foot of the throne were assembled all the Omralis, in splendid apparel, upon a platform surrounded by a silver railing, and covered by a spacious canopy of brocade with deep fringes of gold. The pillars of the hall were hung with brocades of a gold ground, and flowered satin canopies were raised over the whole expanse of the extensive apartment fastened with red silken cords, from which were suspended large tassels of silk and gold. The[28] floor was covered entirely with carpets of the richest silk, of immense length and breadth.[29]
By Jean-Baptiste Tavernier[edit]
Portrait of Jean-Baptiste Tavernier, as a traveller wearing a Mughal dress, from his Les Six Voyages, published in 1679
The French jeweler Jean-Baptiste Tavernier made his sixth voyage to India between 1663 and 1668. It was his great privilege to be invited to visit the court at Delhi by emperor Aurangzeb himself, where he remained as Aurangzeb's guest for two months, from September 12, 1665 to November 11, 1665.
Tavernier was invited so the emperor could inspect the jewels he had brought from the west, with the intent of purchasing them. During this visit, Tavernier not only sold several jewels to the emperor and the emperor's uncle Jafar Khan, but established a close relationship with the emperor that led to a longer stay. Tavernier was invited to stay until the conclusion of the emperor's annual birthday celebrations, during which time he had the opportunity to visit the Red Fort and inspect the Peacock Throne. He was also given the opportunity to inspect the valuable jewels and stones belonging to the emperor, but was not able to see those still kept by Aurangzeb's father Shah Jahan, who was imprisoned at Agra Fort. In January 1666, only few months after Tavernier's stay, Shah Jahan died and Aurangzeb claimed the remaining stones.
Tavernier gives a detailed description of the Peacock Throne in his book Les Six Voyages de J. B. Tavernier, which was published in 1676 in two volumes. The account of the throne appears in Chapter VIII of Volume II, in which he describes the preparations for the emperor's annual birthday festival, and also the magnificence of the court. It should be noted that Tavernier is considered among the least reliable from a conventionally historical perspective.[30][31]
It should be stated that the Great Mogul has seven magnificent thrones, one wholly covered with diamonds, the others with rubies, emeralds, or pearls.
The principal throne, which is placed in the hall of the first court, is nearly of the form and size of our camp-beds; that is to say, it is about 6 feet (1.8 m) long and 4 feet (1.2 m) wide. Upon the four feet, which are very massive and from 20 inches (51 cm) to 25 inches (64 cm) high, are fixed the four bars[32] which support the base of the throne, and upon these bars are ranged twelve columns, which sustain the canopy on three sides, there not being any on that which faces the court. Both the feet and the bars, which are more than 18 inches long, are covered with gold inlaid and enriched with numerous diamonds, rubies, and emeralds.
In the middle of each bar there is a large balass ruby, cut en cabuchon, with four emeralds round it, which form a square cross. Next in succession, from one side to the other along the length of the bars there are similar crosses, arranged so that in one the ruby is in the middle of four emeralds, and in another the emerald is in the middle and four balass rubies surround it. The emeralds are table-cut, and the intervals between the rubies and emeralds are covered with diamonds, the largest of which do not exceed 10 to 12 carats in weight, all being showy stones, but very flat.
There are also in some parts pearls set in gold, and upon one of the longer sides of the throne there are four steps to ascend it. Of the three cushions or pillows which are upon the throne, that which is placed behind the King's back is large and round like one of our bolsters, and the two others that are placed at his sides are flat. There is to be seen, moreover, a sword suspended from this throne, a mace, a round shield, a bow and quiver with arrows; and all these weapons, as also the cushion and steps, both of this throne and the other six, are covered over with stones which match those with which each of the thrones is respectively enriched.
I counted the large balass rubies on the great throne, and there are about 108, all cabuchons, the least of which weighs 100 carats, but there are some which weigh apparently 200 and more. As for the emeralds, there are plenty of good colour, but they have many flaws; the largest may weigh 60 carats and the least 30 carats. I counted about 116; thus there are more emeralds than rubies.
The underside of the canopy is covered with diamonds and pearls, with a fringe of pearls all round, and above the canopy, which is a quadrangular-shaped dome, there is to be seen a peacock with elevated tail made of blue sapphires and other coloured stones, the body being of gold inlaid with precious stones, having a large ruby in front of the breast, from whence hangs a pear-shaped pearl of 50 carats or thereabouts, and of a somewhat yellow water. On both sides of[33] the peacock there is a large bouquet of the same height as the bird, and consisting of many kinds of flowers made of gold inlaid with precious stones. On the side of the throne which is opposite the court there is to be seen a jewel consisting of a diamond of from 80 to 90 carats weight, with rubies and emeralds round it, and when the King is seated he has this jewel in full view.
But that which in my opinion is the most costly thing about this magnificent throne is, that the twelve columns supporting the canopy are surrounded with beautiful rows of pearls, which are round and of fine water, and weigh from 6 to 10 carats each. At 4 feet distance from the throne there are fixed, on either side, two umbrellas, the sticks of which for 7 or 8 feet in height are covered with diamonds, rubies, and pearls. The umbrellas are of red velvet, and are embroidered and fringed all round with pearls.
This is what I have been able to observe regarding this famous throne, commenced by Tamerlane and completed by Shāhjahān; and those who keep the accounts of the King’s jewels, and of the cost of this great work, have assured me that it amounts to 107,000 lakhs of rupees, which amount to 160,500,000 livres of our money.[34]
Tavernier, however, describes seeing the throne in what is probably the Diwan-i-Am. One theory is that the throne was sometimes moved between the two halls, depending on the occasion. Tavernier also describes five other thrones in the Diwan-i-Khas.
Discrepancies between descriptions of Lahori and Tavernier[edit]
Shah Alam II seated on the throne, next to him the crown prince. Although the original Peacock Throne was lost by the time of this painting, it depicts what was either a replacement throne modelled on the original one, or painted from memories and descriptions (circa 1800)
Akbar II seated on the throne (circa 1811)
Akbar II in durbar (holding court) in the Diwan-i Khas at the Red Fort (circa 1830)
The descriptions of Lahori, from before 1648, and Tavernier's, published in 1676, are generally in broad agreement on the most important features of the thrones, such as its rectangular shape, standing on four legs at its corners, the 12 columns on which the canopy rests, and the type of gemstones embedded on the throne, such as balas rubies, emeralds, pearls, diamonds, and other coloured stones. There are however some significant differences between the two descriptions:
Lahori's account of the throne, based on the language used, could be a description of the projected design. Tavernier's account of the throne seems to be an eye-witness observation during his visit, in 1665, to the Red Fort. It could be that there were differences between the projected and final designs of the throne that Shah Jahān ascended for the first time on March 12, 1635.
According to Lahori, the throne was to have a length of 3 yards (9 feet) and a breadth of 2½ yards (7½ feet). Tavernier however gives the length at 6 feet and breadth of 4 feet. The height is described by Lahori as 5 yards (15 feet), but Tavernier's account does not mention its total height. Only the height of the four legs at the corners are mentioned, which was about 2 feet.
Lahori describes the canopy as being supported by 12 emerald columns, Tavernier describes 12 columns that were surrounded by and embedded with rows of pearls, which were round and of fine water, and which weighed from 6 to 10 carats each. He thinks these pearls were in fact the most costly and precious aspect of the throne.
A major difference is the position of the eponymous peacock statues. Lahori states that on the top of each pillar there were to be two peacocks, thick-set with gems, and between each two peacocks, a tree set with rubies and diamonds, emeralds and pearls. If the reference to "pillar" here means "column" there would be 24 peacocks right round the throne. Tavernier however saw only a single large peacock above the quadrangular-shaped, dome-like canopy, with an elevated tail, embedded with blue sapphires and other coloured stones, the body of the peacock being made of gold inlaid with precious stones, having a large ruby in front of the breast, from which hung a pear-shaped pearl around 60 carats in weight. Apart from the single large peacock, Tavernier's account speaks of a large bouquet, representing many kinds of flowers, made of gold inlaid with precious stones, of the same height as the peacock, situated on either side of the peacock.
According to Lahori, ascending the throne was by way of three steps, which were also set with jewels of fine water. Tavernier however describes four steps on the longer side of the throne and embedded with the same types of gemstones used on the throne, and with matching designs.
Apart from the significant differences between the two accounts given above, there are several details given in Lahori's account that are not mentioned in Tavernier's, and vice versa.
Lahori's description[edit]
Lahori's account mentions several historical diamonds that decorated the throne, such as the 186-carat Koh-i-Noor diamond, the 95-carat Akbar Shah diamond, the 88.77-carat Shah diamond and the 83-carat Jahangir diamond, apart from the 352.50-carat Timur Ruby, the third-largest balas ruby in the world. Tavernier makes no mention of these most precious stones. One explanation is that when Tavernier saw the throne in 1665, all these historical diamonds and the balas ruby were in the possession of Shah Jahan, who was under house arrest at the Fort in Agra. Shah Jahan died on 22 January 1666—two months after Tavernier left Delhi, and reached Bengal, during this, his sixth, and last, voyage to India—and his son and successor Aurangzeb was able to claim all these gems. Lahori's descriptions were made during the rule of Shah Jahan, when all the gems were probably incorporated in the throne.
According to Lahori, a twenty-couplet poem by the poet Muhammad Qudsi praising Shah Jahan in emerald letters was embedded in the throne. Tavernier does not mention this in his account, either because of his inability to read and understand what was written, or because Aurangzeb had ordered its removal.
Tavernier's description[edit]
Tavernier was allowed to closely inspect the throne and its jewels and wrote the most well known detailed description to date.
In his account, Tavernier gave details of the design in which the balas rubies, emeralds, diamonds, and pearls were arranged on the four horizontal bars connecting the four vertical legs, from which the 12 vertical columns, supporting the canopy, arose. In the middle of each bar, a large cabochon-cut balas ruby was placed, surrounded by four emeralds forming a square cross. Smaller such square crosses were situated on either side of the central large cross, along the length of the bar, but arranged in such a way that while in one square cross a balas ruby occupied the center, surrounded by four emeralds, in the next square cross, an emerald was surrounded by four balas rubies. The emeralds were table-cut and the intervals between the emerald-and-ruby crosses, were covered with diamonds, also table-cut and not exceeding 10 to 12 carats in weight.
There were three cushions or pillows upon the throne. The one placed behind the emperor's back was large and round; the other two, placed at his sides, were flat. The cushions were also studded with gems.
Tavernier mentioned some royal standards and weapons that were suspended from the throne, such as a mace, a sword and a round shield, and a bow and quiver with arrows, all studded with gemstones.
He counted the number of large balas rubies and emeralds on the throne. Accordingly, there were 108 large balas rubies on the throne, all cabochon-cut, the smallest weighing around 100 carats and the largest over 200 carats in weight. He counted 116 large emeralds on the throne, all of excellent colour, but with many flaws (a characteristic feature of emeralds), the smallest weighing around 30 carats and the largest around 60 carats.
The underside of the canopy was covered with diamonds and pearls, with a fringe of pearls all round.
On the side of the throne facing the court was suspended a diamond of 80 to 90 carats in weight, with rubies and emeralds surrounding it. When the Emperor was seated on the throne, this suspended arrangement of jewels was in full view in front of him.
Tavernier then wrote about two large gem-studded royal umbrellas, which were not part of the throne, but were placed on either side of the throne, at a distance of 4 feet from it. The central stems of these umbrellas, 7 to 8 feet long, were covered with diamonds, rubies, and pearls. The cloth of the umbrella was made of red velvet, and embroidered and fringed all round with pearls. The height of these umbrellas might give an indication as to the height of the throne, which was probably of the same height. Thus, the height of the throne would have been around 7 to 10 feet.
Later Peacock Throne[edit]
After Nader Shah looted the original, another throne was made for the Mughal emperor. Along with the Peacock Throne, Nader had also taken the fabulous Koh-i Noor and Darya-i Noor diamonds to Persia, where some became part of the Persian crown jewels, and others were sold to the Ottomans. The plunder taken by Nader was so great that he stopped taxation for 3 years. The bottom half of the Peacock Throne might have been converted into the Sun Throne also a part of the Persian crown jewels. Various 19th-century Indian paintings of this later throne exist. It was located in the Diwan-i-Khas and might have been smaller in size than the original. However, the appearance would have been similar, based on either the original plans or from memory and eye-witness accounts. The replacement throne was made out of gold, or was gilded, and was studded with precious and semi-precious stones. Just like the original, it featured 12 columns. The columns carried a Bengali do-chala roof, which was graced with two peacock statues on the two ends, carrying pearl necklaces in their beaks, and two peacocks at the top, also carrying pearl necklaces in their beaks. The two lower peacocks were in the center underneath a flower bouquet made out of jewels, or under a royal umbrella. This throne was protected by a canopy made out of precious and colorful textiles, and gold and silver threads. The canopy was carried by four slender columns or beams made out of metal. Underneath the throne, colorful and precious carpets were laid out.
See also[edit]
Golden Throne (Mysore)
Maharaja Ranjit Singh's throne
Marble Throne
Naderi Throne
Sun Throne
Throne of Jahangir
References[edit]
^ Jump up to: a b c Nicoll, Fergus (2009). Shah Jahan. London: Penguin Books. ISBN 978 0670083039.
Jump up ^ "The Sunday Tribune - Books". Tribuneindia.com. Retrieved 25 October 2014.
Jump up ^ K.R.N. Swamy (January 30, 2000). "As priceless as the Peacock Throne". The Tribune. Retrieved March 15, 2014.
Jump up ^ Nicoll, Fergus (2009). Shah Jahan. London: Penguin Books. ISBN 978 0670083039.
Jump up ^ Nicoll, Fergus (2009). Shah Jahan. London: Penguin Books. ISBN 978 0670083039.
Jump up ^ Muhammad Baqir. The Peacock Throne: Romance and Reality. Journal of the Research Society of Pakistan, 3 (1966), pp. 27-32. The inauguration of the throne took place on 3 Shawwal 1044. See Lahori's Padhshahnama in Elliot and Dowson, History of India, vol. 6, pp. 45-6. Also Inayat Khan in Begley and Desai, Shah Jahan Nama, pg. 147.
Jump up ^ Aurang shahinshah adil (1+6+200+50+20, 300+1+5+50+300+1+5, 70+1+4+30=AH 1044)
^ Jump up to: a b Nicoll, Fergus (2009). Shah Jahan. London: Penguin Books. ISBN 978 0670083039.
Jump up ^ Hasan, Mughal Poetry, pp. 56-61. Biography of Said Gilani Bibadal Khan in Nawaz Khan, Maathir, vol. 1, pp. 396-9
Jump up ^ [1] Archived January 28, 2014, at the Wayback Machine.
Jump up ^ [2] Archived November 9, 2012, at the Wayback Machine.
Jump up ^ [3] Archived July 18, 2012, at the Wayback Machine.
Jump up ^ James Fraser. Narrative of a Journey into Khorasan in the years 1821 and 1822 (n.p., 1825), p. 43, cited in Baqir "Peacock Throne", 34-41
Jump up ^ Mehmet Onder - Antika - The Turkish Journal of Collectable Art, May 1985, Issue: 2
Jump up ^ "Monumental neglect". Retrieved 21 March 2015.
Jump up ^ File:Historic stone slab of Mughal throne.jpg
Jump up ^ Swany, K.R.N. "As priceless as the Peacock Throne," The Tribune (India). January 30, 2000.
Jump up ^ https://archive.org/stream/jstor-3252550/3252550#page/n1/mode/2up
^ Jump up to: a b "The Times of India: Latest News India, World & Business News, Cricket & Sports, Bollywood". The Times Of India.
Jump up ^ "Shah Jahan's Peacock Throne". YouTube. Retrieved 25 October 2014.
Jump up ^ "INDIAN TREASURE FOR METROPOLITAN - Sir Purdon Clarke Has Purchased Pedestal of Peacock Throne of Great Mughal. MARVEL IN INLAID MARBLE Has Been Trying to Get the Relic for Years - Price Paid One-Tenth of Original Offer". New York Times. 1908-07-26. Retrieved 2013-12-09.
Jump up ^ "Annual report of the Trustees". Archive.org. Retrieved 25 October 2014.
Jump up ^ "PG Times". Pgtimes.in. Retrieved 25 October 2014.
Jump up ^ Koch, Ebba (1997). King of the world: the Padshahnama : an imperial Mughal manuscript from the Royal Library, Windsor Castle. London: Thames & Hudson. ISBN 978-1898592105.
Jump up ^ "Full text of "Shah Jahan"". Archive.org. Retrieved 25 October 2014.
Jump up ^ Khan, 'Inayat (1990). The Shah Jahan nama of 'Inayat Khan: an abridged history of the Mughal Emperor Shah Jahan, compiled by his royal librarian : the nineteenth-century manuscript translation of A.R. Fuller. Oxford: Oxford University Press. p. 147. ISBN 978-0195624892.
Jump up ^ "Columbia University Libraries: Travels in the Mogul Empire A.D. 1656-1668". Columbia.edu. Retrieved 25 October 2014.
Jump up ^ "Columbia University Libraries: Travels in the Mogul Empire A.D. 1656-1668". Columbia.edu. Retrieved 25 October 2014.
Jump up ^ "Columbia University Libraries: Travels in the Mogul Empire A.D. 1656-1668". Columbia.edu. Retrieved 25 October 2014.
Jump up ^ Kapur, Harish (18 June 2013). "Jean-Baptiste Tavernier: A Life". AuthorHouse. Retrieved 12 April 2017 – via Google Books.
Jump up ^ Longino, Michele (5 March 2015). "French Travel Writing in the Ottoman Empire: Marseilles to Constantinople, 1650-1700". Routledge. Retrieved 12 April 2017 – via Google Books.
Jump up ^ "Travels in India". Archive.org. Retrieved 25 October 2014.
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This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Delhi". Encyclopædia Britannica. 7 (11th ed.). Cambridge University Press. p. 955a.
Further reading[edit]
Curzon, George Nathaniel (1892). Persia and the Persian Question. London: Longmans, Green & Co.
Delhi Fort: A Guide to the Building and Gardens. Delhi: Archaeological Survey of India. 1929.
Hansen, Waldemar (1986). The Peacock Throne: The Drama of Mogul India. Delhi: Motilal Banarsidass. ISBN 978-81-208-0225-4.
Swamy, K.R.N.; Ravi, Meera (1993). The Peacock Thrones of the World. Alpine Fine Arts Collection.
Swamy, K.R.N.; Ravi, Meera (2003). The Mughal Peacock Throne ; A Reference Anthology. Kolkata: Writers Workshop Greybird Book.
Batra, N. L. (2008). Delhi's Red Fort by the Yamuna. Delhi: Niyogi Books. ISBN 978-8189738273.
External links[edit]
Media related to Peacock Throne at Wikimedia Commons
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