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{{ | {{Short description|Indian queen (13-14th century C.E.)}} | ||
{{About|the Queen of Mewar|the Indian actress|Rani Padmini (actress)|the Malayalam film|Rani Padmini (film)}} | {{About|the Queen of Mewar|the Indian actress|Rani Padmini (actress)|the Malayalam film|Rani Padmini (film)}} | ||
{{Use dmy dates|date= | {{pp-pc1}} | ||
{{Use dmy dates|date=April 2022}} | |||
{{Use Indian English|date=December 2015}} | {{Use Indian English|date=December 2015}} | ||
{{Infobox royalty | {{Infobox royalty | ||
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| title= [[Rani]] of [[Mewar]] | | title= [[Rani]] of [[Mewar]] | ||
| religion= [[Hinduism]] | | religion= [[Hinduism]] | ||
| dynasty= [[Guhila dynasty|Guhila]] ''(by marriage)''<br />[[Sinhalese people|Sinhalese (Sri Lankan)]] ''(by birth)'' | | dynasty= [[Guhila dynasty|Guhila]] ''(by marriage)''<br />[[Sinhalese people|Sinhalese (Sri Lankan)]] ''(by birth)''<br> Singoli Princes (as per Amara Kavya Vanshavali) {{sfn|Ram Vallabh Somani|1976|page=102}} | ||
| father= King | | father= King Gandharvasen | ||
| mother= Queen | | mother= Queen Champavati | ||
}} | }} | ||
'''Padmini''', also known as '''Padmavati''', was a | '''Padmini''', also known as '''Padmavati''', was a 13th–14th century [[Rani]] (queen) of the [[Mewar]] kingdom of present-day India. Several medieval texts mention her, although this versions are disparate and many modern historians question the extent of overall authenticity.<ref>{{harvnb|Ram Vallabh Somani|1976|page=103}}: "As regards item no.1, Kr Quanago does not seem to be right in thinking that Jayasi originated the story of Padmini. We have got the following points to disprove the above contention:- | ||
(a) Jayasi himself has mentioned that he has taken the story from the poet Bain. | |||
(b) We find this story in Chittai Charita composed at Sarangpur (M.P) in 1526 A.D.,a few years earlier to the composition of Padmavat by Jayasi. | |||
(c) Hemaratain wrote Gora Badal Chaupai, only a few years after Jayasi, He has mentioned the | |||
two names of other poets, namely Hetamadan and Kavimala, whose work he had seen. This proves that during the time of Jayasi, several versions of this story were already known</ref> | |||
The Jayasi text describes her story as follows: Padmavati was an exceptionally beautiful [[princess]] of the [[Sinhala Kingdom| | The Jayasi text describes her story as follows: Padmavati was an exceptionally beautiful [[princess]] of the [[Sinhala Kingdom|Sinhalese kingdom]] (in [[Sri Lanka]]).{{efn|name=Pungal|According to historian Lokendra Singh Chundawat (spokesperson of ''Jauhar Sewa Sansthan''),<ref name=TOI/> Padmini was not from Sri Lanka but she was born in Pungal Pradesh, an area between [[Bikaner]] and [[Jaisalmer]].<ref>{{Cite web|date=2017-02-03|title=Padmavati row: Was Padmini a fictional character or a queen who enamoured Khilji?|url=https://www.hindustantimes.com/india-news/padmavati-row-was-padmini-a-fictional-character-or-a-queen-who-enamoured-khilji/story-7wYAUtMaPEndrS2DDFlo2O.html|work=Hindustan Times|access-date=2021-11-14}}</ref><ref name=TOI_1/>}} [[Ratnasimha|Ratan Sen]], the [[Rajput]] ruler of [[Chittor Fort]], heard about her beauty from a [[talking parrot]] named Hiraman. After an adventurous [[quest]], he won her hand in marriage and brought her to [[Chittor]]. Ratan Sen was captured and imprisoned by [[Alauddin Khalji]], the [[Sultanate of Delhi|Sultan of Delhi]]. While [[Rattan|Ratan]] Sen was in prison, the king of [[Kumbhalgarh|Kumbhalner]] Devapal became enamoured with Padmavati's beauty and proposed to marry her. Ratan Sen returned to Chittor and entered into a duel with Devapal, in which both died. Alauddin Khalji laid siege to Chittor to obtain Padmavati. Facing a defeat against Khalji, before Chittor was captured, she and her companions committed [[Jauhar]] (self-immolation) thereby defeating Khalji's aim and protecting their honour. Coupled to the ''[[Jauhar]]'', the Rajput men died fighting on the battlefield. | ||
Many other written and [[oral tradition]] versions of her life exist in Hindu and Jain traditions. These versions differ from the Sufi poet Jayasi's version. For example, Rani Padmini's husband Ratan Sen dies fighting the siege of Alauddin Khalji, and thereafter she leads a jauhar. In these versions, she is characterised as a [[Hindu]] Rajput queen, who defended her honour against a [[Muslim]] invader. Over the years she came to be seen as a [[historical figure]] and appeared in several novels, plays, [[television serial]]s and movies. | Many other written and [[oral tradition]] versions of her life exist in Hindu and Jain traditions. These versions differ from the Sufi poet Jayasi's version. For example, Rani Padmini's husband Ratan Sen dies fighting the siege of Alauddin Khalji, and thereafter she leads a jauhar. In these versions, she is characterised as a [[Hindu]] Rajput queen, who defended her honour against a [[Muslim]] invader. Over the years she came to be seen as a [[historical figure]] and appeared in several novels, plays, [[television serial]]s and movies. | ||
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== Versions of the legend == | == Versions of the legend == | ||
Several 16th-century texts survive that offer varying accounts of Rani Padmini's life.{{sfn|Ramya Sreenivasan|2007|pp=2-3, Quote: "Multiple narratives of Padmini of Chitor first emerged in the sixteenth century, and survived over the next four centuries."}} Of these, the earliest is the [[Awadhi language]] ''[[Padmavat]]'' (1540 CE) of the Sufi composer [[Malik Muhammad Jayasi]], likely composed originally in the Persian script.{{sfn|Ramya Sreenivasan|2007|pp=2, 9}} The 14th-century accounts written by Muslim court historians that describe Alauddin Khalji's 1302 CE conquest of [[Chittorgarh]] make no mention of this queen.{{sfn|Ramya Sreenivasan|2007|p=4}} Jain texts between 14th and 16th century | Several 16th-century texts survive that offer varying accounts of Rani Padmini's life.{{sfn|Ramya Sreenivasan|2007|pp=2-3, Quote: "Multiple narratives of Padmini of Chitor first emerged in the sixteenth century, and survived over the next four centuries."}} Of these, the earliest is the [[Awadhi language]] ''[[Padmavat]]'' (1540 CE) of the Sufi composer [[Malik Muhammad Jayasi]], likely composed originally in the Persian script.{{sfn|Ramya Sreenivasan|2007|pp=2, 9}} The 14th-century accounts written by Muslim court historians that describe Alauddin Khalji's 1302 CE conquest of [[Chittorgarh]] make no mention of this queen.{{sfn|Ramya Sreenivasan|2007|p=4}} Jain texts between 14th and 16th century – Nabinandan Jenudhar, Chitai Charitra and Rayan Sehra have mentioned Rani Padmini.<ref name=TOI_1>{{cite web|url=https://timesofindia.indiatimes.com/city/jaipur/khilji-did-not-attack-chittor-for-padmini/articleshow/57154581.cms|title="Khilji did not attack Chittor for Padmini"|date=2017-02-15|work=The Times of India}}</ref> | ||
Subsequently, many literary works mentioning her story were produced; these can be divided into four major categories:{{sfn|Ramya Sreenivasan|2007|p=2-3}} | Subsequently, many literary works mentioning her story were produced; these can be divided into four major categories:{{sfn|Ramya Sreenivasan|2007|p=2-3}} | ||
# '''Persian and Urdu adaptions''' | # '''Persian and Urdu adaptions''' — Between 16th and 19th centuries, at least 12 [[Persian language|Persian]] and [[Urdu]] translations or adaptations of Malik Muhammad Jayasi's ''Padmavat'' were produced.{{sfn|Ramya Sreenivasan|2007|p=3}} More Urdu versions appeared in the 20th century, all adhering to Jayasi's [[love poetry]] tradition.{{sfn|Ramya Sreenivasan|2007|pp=3-4}} | ||
# '''Rajput ballads''' | # '''Rajput ballads''' — In 1589 CE, Hemratan composed ''Gora Badal Padmini Chaupai'', the first [[Rajput]] adaption of the legend, presenting it as a "true tale".{{sfn|Ramya Sreenivasan|2007|pp=3, 209}} Between 16th and 18th centuries, more Rajput versions of the Padmavati legend were compiled in present-day [[Rajasthan]], under the patronage of the Rajput chiefs. Unlike Jayasi's theme of courting and marriage, the Rajput adaptions emphasized their honour in defending their kingdom against Alauddin Khalji.{{sfn|Ramya Sreenivasan|2007|p=3}} | ||
# '''James Tod's version''' | # '''James Tod's version''' — During 1829–32, [[James Tod]] included a [[British Raj|colonial]] re-telling of the legend in his ''Annals and Antiquities of Rajast'han''. His version was based on the information compiled from the oral and textual traditions of writers employed by the Rajput chiefs.{{sfn|Ramya Sreenivasan|2007|p=3}} | ||
# '''Bengali adaptions''' | # '''Bengali adaptions''' — The [[epic poem]] [[Padmavati (poem)|Padmavati]] was written by the medieval Bengali poet [[Alaol]]. From late 19th century onward, several [[Bengali language|Bengali]] versions of the legend were produced, when James Tod's work reached [[Calcutta]], the capital of British India. These Bengali narratives portrayed Padmavati as a Hindu queen who immolated herself to protect her honour against a Muslim invader.{{sfn|Ramya Sreenivasan|2007|p=3}} | ||
In addition to these various literary accounts, a variety of legends are located in vernacular [[oral tradition]]s from about 1500 or later; these have evolved over time.{{sfn|Ramya Sreenivasan|2007|pp=3-4}}{{sfn|Ramya Sreenivasan|2007|pp=6-8}} The oral legends and the literary accounts share the same characters and general plot, but diverge in the specifics and how they express the details. The oral versions narrate the social group's perspective while the early literary versions narrate the author's court-centric context.{{sfn|Ramya Sreenivasan|2007|pp=6-8}} According to Ramya Sreenivasan, the oral and written legends about Rani Padmini likely fed each other, each version of her life affected by the sensitivities of the audience or the patron, with [[Muslim]] versions narrating the conquest of Chitor by [[Delhi Sultanate]] under Alauddin Khalji, while the [[Hindu]] and [[Jain]] versions narrating the local resistance to the sultan of Delhi exemplified in the life of Padmini.{{sfn|Ramya Sreenivasan|2007|pp=7-12}} | In addition to these various literary accounts, a variety of legends are located in vernacular [[oral tradition]]s from about 1500 or later; these have evolved over time.{{sfn|Ramya Sreenivasan|2007|pp=3-4}}{{sfn|Ramya Sreenivasan|2007|pp=6-8}} The oral legends and the literary accounts share the same characters and general plot, but diverge in the specifics and how they express the details. The oral versions narrate the social group's perspective while the early literary versions narrate the author's court-centric context.{{sfn|Ramya Sreenivasan|2007|pp=6-8}} According to Ramya Sreenivasan, the oral and written legends about Rani Padmini likely fed each other, each version of her life affected by the sensitivities of the audience or the patron, with [[Muslim]] versions narrating the conquest of Chitor by [[Delhi Sultanate]] under Alauddin Khalji, while the [[Hindu]] and [[Jain]] versions narrating the local resistance to the sultan of Delhi exemplified in the life of Padmini.{{sfn|Ramya Sreenivasan|2007|pp=7-12}} | ||
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In Chittor, while Ratan Sen and Padmini were making love, a Brahmin named Raghav Vyas accidentally interrupted them. Fearing Ratan Sen's anger, he escaped to [[Delhi Sultanate|Delhi]], where he was received honourably at the court of Alauddin Khalji. When Alauddin learned about the existence of beautiful ''padmini'' women on the island of Singhal, he set out on an expedition to Singhal. However, his soldiers drowned in the sea. Alauddin managed to obtain a tribute from the king of Singhal, but could not obtain any ''padmini'' women. Alauddin learned that the only ''padmini'' woman on the mainland was Padmavati. So, he gathered an army of 2.7 million soldiers, and besieged Chittor. He deceitfully captured Ratan Sen, after having caught a glimpse of Padmini.{{sfn|Ramya Sreenivasan|2007|p=210}} | In Chittor, while Ratan Sen and Padmini were making love, a Brahmin named Raghav Vyas accidentally interrupted them. Fearing Ratan Sen's anger, he escaped to [[Delhi Sultanate|Delhi]], where he was received honourably at the court of Alauddin Khalji. When Alauddin learned about the existence of beautiful ''padmini'' women on the island of Singhal, he set out on an expedition to Singhal. However, his soldiers drowned in the sea. Alauddin managed to obtain a tribute from the king of Singhal, but could not obtain any ''padmini'' women. Alauddin learned that the only ''padmini'' woman on the mainland was Padmavati. So, he gathered an army of 2.7 million soldiers, and besieged Chittor. He deceitfully captured Ratan Sen, after having caught a glimpse of Padmini.{{sfn|Ramya Sreenivasan|2007|p=210}} | ||
The frightened nobles of Chittor considered surrendering Padmini to Alauddin. But two brave warriors — [[Gora Badal|Goru and Badil]] (also Gora and Vadil/Badal) — agreed to defend | The frightened nobles of Chittor considered surrendering Padmini to Alauddin. But two brave warriors — [[Gora Badal|Goru and Badil]] (also Gora and Vadil/Badal) — agreed to defend her and rescue their king. The Rajputs pretended to make arrangements to bring Padmavati to Alauddin's camp, but instead brought warriors concealed in [[palanquin]]s. The Rajput warriors rescued the king; Gora died fighting Alauddin's army, as Badil escorted the king back to the Chittor fort. Gora's wife committed [[sati (practice)|self-immolation]] (''sati''). In [[heaven]], Gora was rewarded with half of [[Indra]]'s throne.{{sfn|Ramya Sreenivasan|2007|p=211}} | ||
=== James Tod's version === | === James Tod's version === | ||
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According to Tod's version, Padmini was the daughter of Hamir Sank, the Chauhan ruler of Ceylon.{{sfn|Ramya Sreenivasan|2007|p=140}} The contemporary ruler of Chittor was a minor named Lachhman Singh (alias Lakhamsi or Lakshmanasimha). Padmini was married to Lachhman Singh's uncle and regent Maharana Bhim Singh (alias Bhimsi).{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}} She was famous for her beauty, and Alauddin (alias Ala) besieged Chittor to obtain her. After negotiations, Alauddin restricted his demand to merely seeing Padmini's beauty through a mirror and do so alone as a symbol of trust. The Rajputs reciprocate the trust and arrange to have Padmini sit in a room at the edge of a water tank. Alauddin gets a fleeting glimpse of her in a mirror in a building at a distance across the water tank. That glimpse inflamed his lust for her. The unsuspecting Rajput king further reciprocates the trust shown by Alauddin by accompanying the Sultan to his camp so that he returns without harm.{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}} | According to Tod's version, Padmini was the daughter of Hamir Sank, the Chauhan ruler of Ceylon.{{sfn|Ramya Sreenivasan|2007|p=140}} The contemporary ruler of Chittor was a minor named Lachhman Singh (alias Lakhamsi or Lakshmanasimha). Padmini was married to Lachhman Singh's uncle and regent Maharana Bhim Singh (alias Bhimsi).{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}} She was famous for her beauty, and Alauddin (alias Ala) besieged Chittor to obtain her. After negotiations, Alauddin restricted his demand to merely seeing Padmini's beauty through a mirror and do so alone as a symbol of trust. The Rajputs reciprocate the trust and arrange to have Padmini sit in a room at the edge of a water tank. Alauddin gets a fleeting glimpse of her in a mirror in a building at a distance across the water tank. That glimpse inflamed his lust for her. The unsuspecting Rajput king further reciprocates the trust shown by Alauddin by accompanying the Sultan to his camp so that he returns without harm.{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}} | ||
However, Alauddin had resolved to capture Padmini by treachery. The Sultan took Bhimsi hostage when they arrived at the Muslim army camp, and he demanded Padmini in return for Rajput king's release. Padmini plots an ambush with her uncle Gora and his nephew Badal, along with a ''jauhar'' – a mass immolation – with other Rajput women.{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}} Gora and Badal attempt to rescue Bhimsi without surrendering Padmini. They informed Alauddin that Padmini would arrive accompanied by her maids and other female companions. In reality, soldiers of Chittor were placed in [[palanquins]], and accompanied by other soldiers disguised as porters.{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}} With this scheme, Gora and Badal managed to rescue Bhimsi, but a large number of the Chittor soldiers died in the mission. Alauddin then attacked Chittor once again with a larger force. Chittor faced a certain defeat. Padmini and other women | However, Alauddin had resolved to capture Padmini by treachery. The Sultan took Bhimsi hostage when they arrived at the Muslim army camp, and he demanded Padmini in return for Rajput king's release. Padmini plots an ambush with her uncle Gora and his nephew Badal, along with a ''jauhar'' – a mass immolation – with other Rajput women.{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}} Gora and Badal attempt to rescue Bhimsi without surrendering Padmini. They informed Alauddin that Padmini would arrive accompanied by her maids and other female companions. In reality, soldiers of Chittor were placed in [[palanquins]], and accompanied by other soldiers disguised as porters.{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}} With this scheme, Gora and Badal managed to rescue Bhimsi, but a large number of the Chittor soldiers died in the mission. Alauddin then attacked Chittor once again with a larger force. Chittor faced a certain defeat. Padmini and other women died from self-immolation (''jauhar''). Bhimsi and other men then fought to death, and Alauddin captured the fort.{{sfn|Lindsey Harlan|1992|pp=183-185 with footnotes}}{{sfn|Ramya Sreenivasan|2007|pp=214-217}} | ||
Inscriptions discovered after the publication of James Tod's version suggest that he incorrectly stated Lakshmanasimha (Lachhman Singh) as the ruler. According to these inscriptions, at the time of Alauddin's attack on Chittor, the local ruler was Ratnasimha (Ratan Singh or Ratan Sen), who is mentioned in other versions of the Rani Padmini-related literature.{{sfn|Subimal Chandra Datta|1931|pp=289-290}} Further, even though Lakshmanasimha's placement in 1303 was [[Anachronism|anachronistic]], the evidence confirms that Lakshmanasimha resisted the Muslim invasion of Chittor after Ratnasimha.{{sfn|Subimal Chandra Datta|1931|pp=293-294}} | Inscriptions discovered after the publication of James Tod's version suggest that he incorrectly stated Lakshmanasimha (Lachhman Singh) as the ruler. According to these inscriptions, at the time of Alauddin's attack on Chittor, the local ruler was Ratnasimha (Ratan Singh or Ratan Sen), who is mentioned in other versions of the Rani Padmini-related literature.{{sfn|Subimal Chandra Datta|1931|pp=289-290}} Further, even though Lakshmanasimha's placement in 1303 was [[Anachronism|anachronistic]], the evidence confirms that Lakshmanasimha resisted the Muslim invasion of Chittor after Ratnasimha.{{sfn|Subimal Chandra Datta|1931|pp=293-294}} | ||
=== Bengali adaptations === | === Bengali adaptations === | ||
[[Alaol|Syed Alaol]] composed the [[epic poem]] [[Padmavati (poem)|Padmavati]] in mid-17th century which was influenced by Jayasi's text. According to this text, Padmini handed over the responsibility of her two sons to Alauddin before her death by committing ''[[jauhar]]''.<ref>Dr. Ashok Kumar Mishra (2011). ''উচ্চমাধ্যমিক বাংলা সাহিত্যের ইতিহাস (Uccha Madhyamik Bangla Sahityer Itihas)'' (in Bengali). Kolkata: Rabindra Library. p. 119. Retrieved 20 November 2021. "জহরব্রতে মৃত্যুর আগে পদ্মিনী তাঁর দুই পুত্রের ভার তুলে দিয়ে যান আলাউদ্দিনের হাতে।"</ref> | |||
Yagneshwar Bandyopadhyay's ''Mewar'' (1884) vividly describes the ''[[jauhar]]'' (mass self-immolation) of Padmini and other women, who want to protect their chastity against the "wicked Musalmans".{{sfn|Ramya Sreenivasan|2007|pp=224-225}} | Yagneshwar Bandyopadhyay's ''Mewar'' (1884) vividly describes the ''[[jauhar]]'' (mass self-immolation) of Padmini and other women, who want to protect their chastity against the "wicked Musalmans".{{sfn|Ramya Sreenivasan|2007|pp=224-225}} | ||
[[Rangalal Bandyopadhyay]]'s patriotic and narrative poem ''Padmni Upakhyan'' based on the story of Rajput queen Padmini was published in 1858.<ref>{{Cite book|chapter-url=https://books.google.com/books?id=m1R2Pa3f7r0C&pg=PA81|title=Modern Indian Literature, an Anthology: Surveys and poems|author=Ajit Kumar Ghosh |chapter=Bengali |editor=K. M. George|access-date=March | [[Rangalal Bandyopadhyay]]'s patriotic and narrative poem ''Padmni Upakhyan'' based on the story of Rajput queen Padmini was published in 1858.<ref>{{Cite book|chapter-url=https://books.google.com/books?id=m1R2Pa3f7r0C&pg=PA81|title=Modern Indian Literature, an Anthology: Surveys and poems|author=Ajit Kumar Ghosh |chapter=Bengali |editor=K. M. George|access-date=1 March 2018|isbn=9788172013240|year=1992|page=81}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=sHklK65TKQ0C&pg=PA145|title=History of Indian Literature|last=Sisir Kumar Das|isbn=9788172010065|year=2005}}</ref> | ||
[[Kshirode Prasad Vidyavinode]]'s play ''Padmini'' (1906) is based on James Tod's account: The ruler of Chittor is Lakshmansinha, while Padmini is the wife of the Rajput warrior Bhimsinha. Vidyavinode's story features several sub-plots, including those about Alauddin's exiled wife Nasiban and Lakshmansinha's son Arun. Nevertheless, his account of Alauddin and Padmini follows Tod's version with some variations. Alauddin captures Bhimsinha using deceit, but Padmini manages to rescue him using the [[palanquin]] trick; another noted warrior Gora is killed in this mission. As the Rajput men fight to death, Padmini and other women immolate themselves. The lineage of Lakshmansinha survives through Arun's son with a poor forest-dwelling woman named Rukma.{{sfn|Ramya Sreenivasan|2007|pp=222-224}} | [[Kshirode Prasad Vidyavinode]]'s play ''Padmini'' (1906) is based on James Tod's account: The ruler of Chittor is Lakshmansinha, while Padmini is the wife of the Rajput warrior Bhimsinha. Vidyavinode's story features several sub-plots, including those about Alauddin's exiled wife Nasiban and Lakshmansinha's son Arun. Nevertheless, his account of Alauddin and Padmini follows Tod's version with some variations. Alauddin captures Bhimsinha using deceit, but Padmini manages to rescue him using the [[palanquin]] trick; another noted warrior Gora is killed in this mission. As the Rajput men fight to death, Padmini and other women immolate themselves. The lineage of Lakshmansinha survives through Arun's son with a poor forest-dwelling woman named Rukma.{{sfn|Ramya Sreenivasan|2007|pp=222-224}} | ||
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== Historicity == | == Historicity == | ||
[[File:Oil painting of Padmini's palace in the fort in the midst of the tank.jpg|thumb|An 1878 painting of Padmini's purported palace]] | |||
[[File:ChittorgarhFortWaterReflection.JPG|thumb|A 2010 photograph of the Padmini Palace]] | |||
[[File:Padmini Palace, Chittorgarh, Rajasthan.jpg|thumb|This building in Chittorgarh is purported to be Rani Padmini's palace, but this is not certain and is a relatively modern structure.{{sfn|Shiri Ram Bakshi|2008|p=182, Quote: "At Chitor no building of this class can with certainty be said to have existed anterior to the sack of the place by Alauddin in 1303."}}]] | [[File:Padmini Palace, Chittorgarh, Rajasthan.jpg|thumb|This building in Chittorgarh is purported to be Rani Padmini's palace, but this is not certain and is a relatively modern structure.{{sfn|Shiri Ram Bakshi|2008|p=182, Quote: "At Chitor no building of this class can with certainty be said to have existed anterior to the sack of the place by Alauddin in 1303."}}]] | ||
[[File:Interiors of Padmini Palace.jpg|thumb|Interiors of Padmini Palace]] | |||
Alauddin Khalji's [[Siege of Chittorgarh (1303)|siege of Chittor]] in 1303 CE is a historical event. Although this conquest is often narrated through the legend of Padmini wherein Sultan Khalji lusted for the queen, this narration has little historical basis.{{sfn|Catherine B. Asher|Cynthia Talbot|2006|p=41}} | Alauddin Khalji's [[Siege of Chittorgarh (1303)|siege of Chittor]] in 1303 CE is a historical event. Although this conquest is often narrated through the legend of Padmini wherein Sultan Khalji lusted for the queen, this narration has little historical basis.{{sfn|Catherine B. Asher|Cynthia Talbot|2006|p=41}} | ||
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Some scholars, such as [[Ashirbadi Lal Srivastava]], [[Dasharatha Sharma]], and [[Mohammad Habib]], have suggested that Amir Khusrau makes a veiled reference to Padmini in ''Khaza'in ul-Futuh''.{{sfn|Ram Vallabh Somani|1976|pp=97-98}} Similarly, the historian Subimal Chandra Datta in 1931 stated that the Khusrau's 14th-century poetic eulogy of his patron's conquest of Chittor, there is a mention of a bird ''[[Hudhud (mythology)|hudhud]]'' that in later accounts appears as a parrot,{{sfn|Subimal Chandra Datta|1931|p=298 footnote 3}} and implies "Alauddin insisted on the surrender of a woman, possibly Padmini".{{sfn|Subimal Chandra Datta|1931|pp=297-298}} | Some scholars, such as [[Ashirbadi Lal Srivastava]], [[Dasharatha Sharma]], and [[Mohammad Habib]], have suggested that Amir Khusrau makes a veiled reference to Padmini in ''Khaza'in ul-Futuh''.{{sfn|Ram Vallabh Somani|1976|pp=97-98}} Similarly, the historian Subimal Chandra Datta in 1931 stated that the Khusrau's 14th-century poetic eulogy of his patron's conquest of Chittor, there is a mention of a bird ''[[Hudhud (mythology)|hudhud]]'' that in later accounts appears as a parrot,{{sfn|Subimal Chandra Datta|1931|p=298 footnote 3}} and implies "Alauddin insisted on the surrender of a woman, possibly Padmini".{{sfn|Subimal Chandra Datta|1931|pp=297-298}} | ||
{{ | {{Blockquote | ||
|quote=On Monday, 11 Muharram, AH 703, the Solomon of the age [Alauddin], seated on his aerial throne, went into the fort, to which birds were unable to fly. The servant [Amir Khusrau], who is the bird of this Solomon, was also with him. They cried, "Hudhud! Hudhud!" repeatedly. But I would not return; for I feared Sultan's wrath in case he inquired, "How is it I see not Hudhud, or is he one of the absentees?" And what would be my excuse for my absence if he asked, "Bring to me a clear plea"? If the Emperor says in his anger, "I will chastise him", how can the poor bird have strength enough to bear it? It was the rainy season when the white cloud of the ruler of the land and sea appeared on the summit of this high hill. The Rai, struck with the lightning of the Emperor's wrath and burnt from hand to foot, he threw himself into the water and flew towards the imperial pavilion, thus protecting himself from the lightning of the sword. | |quote=On Monday, 11 Muharram, AH 703, the Solomon of the age [Alauddin], seated on his aerial throne, went into the fort, to which birds were unable to fly. The servant [Amir Khusrau], who is the bird of this Solomon, was also with him. They cried, "Hudhud! Hudhud!" repeatedly. But I would not return; for I feared Sultan's wrath in case he inquired, "How is it I see not Hudhud, or is he one of the absentees?" And what would be my excuse for my absence if he asked, "Bring to me a clear plea"? If the Emperor says in his anger, "I will chastise him", how can the poor bird have strength enough to bear it? It was the rainy season when the white cloud of the ruler of the land and sea appeared on the summit of this high hill. The Rai, struck with the lightning of the Emperor's wrath and burnt from hand to foot, he threw himself into the water and flew towards the imperial pavilion, thus protecting himself from the lightning of the sword. | ||
|author=Amir Khusrau | |author=Amir Khusrau | ||
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According to Datta, a definitive historical interpretation of Khusrau's poetic work is not possible. It is unlikely that Alauddin attacked Chittor because of his lust for Padmini, states Datta, and his reasons were likely political conquest just like when he attacked other parts of Mewar region.{{sfn|Subimal Chandra Datta|1931|pp=297-298}} According to [[Ziauddin Barani]], in 1297 CE, a [[Kotwal]] officer of Alauddin had told him that he would have to conquer [[Ranthambore Fort|Ranthambore]], Chittor, [[Chanderi]], [[Dhar]] and [[Ujjain]] before he could embark on a world conquest. This, not Padmini, would have prompted Alauddin to launch a campaign against Chittor.{{sfn|Subimal Chandra Datta|1931|p=290}} In addition, Mewar had given refuge to people who had rebelled or fought against Alauddin.{{sfn|Subimal Chandra Datta|1931|p=291}} Datta states that there is a mention of Alauddin demanding Padmini during negotiations of surrender, a demand aimed to humiliate the long defiant Rajput state.{{sfn|Subimal Chandra Datta|1931|p=298}} Further, Khusrau's account does abruptly mention that Alauddin went into the fort with him, but does not provide any details of why. The Khusrau source then mentions his patron emperor "crimson in rage", the Rajput king surrendering then receiving "royal mercy", followed by an order of Alauddin that led to "30,000 Hindus being slain in one day", states Datta.{{sfn|Subimal Chandra Datta|1931|p=292-293}} The word Padmini or equivalent does not appear in the Khusrau source, but it confirms the siege of Chittor, a brutal war and the kernel of facts that form the framework of later era Padmini literature.{{sfn|Subimal Chandra Datta|1931|p=289-293}} | According to Datta, a definitive historical interpretation of Khusrau's poetic work is not possible. It is unlikely that Alauddin attacked Chittor because of his lust for Padmini, states Datta, and his reasons were likely political conquest just like when he attacked other parts of Mewar region.{{sfn|Subimal Chandra Datta|1931|pp=297-298}} According to [[Ziauddin Barani]], in 1297 CE, a [[Kotwal]] officer of Alauddin had told him that he would have to conquer [[Ranthambore Fort|Ranthambore]], Chittor, [[Chanderi]], [[Dhar]] and [[Ujjain]] before he could embark on a world conquest. This, not Padmini, would have prompted Alauddin to launch a campaign against Chittor.{{sfn|Subimal Chandra Datta|1931|p=290}} In addition, Mewar had given refuge to people who had rebelled or fought against Alauddin.{{sfn|Subimal Chandra Datta|1931|p=291}} Datta states that there is a mention of Alauddin demanding Padmini during negotiations of surrender, a demand aimed to humiliate the long defiant Rajput state.{{sfn|Subimal Chandra Datta|1931|p=298}} Further, Khusrau's account does abruptly mention that Alauddin went into the fort with him, but does not provide any details of why. The Khusrau source then mentions his patron emperor "crimson in rage", the Rajput king surrendering then receiving "royal mercy", followed by an order of Alauddin that led to "30,000 Hindus being slain in one day", states Datta.{{sfn|Subimal Chandra Datta|1931|p=292-293}} The word Padmini or equivalent does not appear in the Khusrau source, but it confirms the siege of Chittor, a brutal war and the kernel of facts that form the framework of later era Padmini literature.{{sfn|Subimal Chandra Datta|1931|p=289-293}} | ||
According to archeologist Rima Hooja, most of romantic details of Jayasi's work are indeed legendary but the central plot of the text is certainly based on historical fact. Amir Khusrau's work presented Alauddin as [[Solomon]] and himself as Hud-Hud bird who carried the news of beautiful [[Queen of Sheba|Queen of Shebha]] (who lives in Chittor fort) to Solomon. Further, being a courtier of Alauddin, Khusrau was not in position to be straightforward about unpleasant facts of Alauddin's life and omitted several of those incidents from his work, including the murder of [[Jalal-ud-din Khalji]] for throne and his defeat against the Mongols and their besieging of Delhi.<ref>{{Cite book|author=Rima Hooja|url=https://books.google.com/books?id=qqd1RAAACAAJ |title=A HISTORY OF RAJASTHAN (PB) |date=2006 |publisher=Rupa & Company|isbn=978-81-291-1501-0|page=312-313|language=en}}</ref> | |||
=== Development as a historical figure === | === Development as a historical figure === | ||
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Hemratan's ''Gora Badal Padmini Chaupai'' (c. 1589 CE) narrates another version of the legend, presenting it as based on true events.{{sfn|Ramya Sreenivasan|2007|pp=3, 209}} From then until the 19th century, several other adaptions of these two versions were produced.{{sfn|Ramya Sreenivasan|2007|pp=3-4}} The 16th-century historians [[Firishta]] and Haji-ud-Dabir were among the earliest writers to mention Padmini as a historical figure, but their accounts differ with each other and with that of Jayasi. For example, according to Firishta, Padmini was a daughter (not wife) of Ratan Sen.{{sfn|Syama Prasad Basu|1963|p=139-141}} | Hemratan's ''Gora Badal Padmini Chaupai'' (c. 1589 CE) narrates another version of the legend, presenting it as based on true events.{{sfn|Ramya Sreenivasan|2007|pp=3, 209}} From then until the 19th century, several other adaptions of these two versions were produced.{{sfn|Ramya Sreenivasan|2007|pp=3-4}} The 16th-century historians [[Firishta]] and Haji-ud-Dabir were among the earliest writers to mention Padmini as a historical figure, but their accounts differ with each other and with that of Jayasi. For example, according to Firishta, Padmini was a daughter (not wife) of Ratan Sen.{{sfn|Syama Prasad Basu|1963|p=139-141}} | ||
When the British writer [[James Tod]], who is now considered to be unreliable,{{sfn|Jason Freitag|2009|pp=3-5}} compiled the legends of Rajasthan in the 1820s, he presented Padmini as a historical figure, and Padmini came to be associated with the historical siege of Chittor. In the 19th century, during the [[Swadeshi movement]], Padmini became a symbol of Indian patriotism. Indian nationalist writers portrayed her story as an example of a heroic sacrifice, and a number of plays featuring her were staged after 1905.{{sfn|Ratnabali Chatterjee|1996|p=37}} Ireland-born [[Sister Nivedita]] (1866–1971) also visited Chittor and historicised Padmini. The ''Rajkahini'' by [[Abanindranath Tagore]] (1871–1951) popularised her as a historical figure among schoolchildren. Later, some history textbooks began to refer to Khalji invading Chittor to obtain Padmini.{{sfn|Ratnabali Chatterjee|1996|p=38}} [[Jawaharlal Nehru]]'s ''[[The Discovery of India]]'' (1946) also narrates Khalji seeing Padmini in a mirror; Nehru's narrative is believed to be based on recent local poets.{{ | Regarding the historicity of Padmini's story, historian S. Roy wrote in ''[[The History and Culture of the Indian People]]'' that "...... [[Abu'l-Fazl ibn Mubarak|Abu-'l Fazl]] definitely says that he gives the story of Padminī from "ancient chronicles", which cannot obviously refer to the ''[[Padmavat|Padmāvat]]'', an almost contemporary work. ...... it must be admitted that there is no inherent impossibility in the kernel of the story of Padminī devoid of all embellishments, and it should not be totally rejected off-hand as a myth. But it is impossible, at the present state of our knowledge, to regard it definitely as a historical fact."<ref>{{cite book |editor1=[[R. C. Majumdar]] |editor2=A. D. Pusalker |editor3=A. K. Majumdar |date=1967 |title=History and Culture of the Indian People, Volume 06, The Delhi Sultanate |url=https://archive.org/details/delhisultanate00bhar/page/26/mode/2up?view=theater |location=Bombay |publisher=Bharatiya Vidya Bhavan |pages=26–27 |access-date=2021-11-15}}</ref> | ||
When the British writer [[James Tod]], who is now considered to be unreliable,{{sfn|Jason Freitag|2009|pp=3-5}} compiled the legends of Rajasthan in the 1820s, he presented Padmini as a historical figure, and Padmini came to be associated with the historical siege of Chittor. In the 19th century, during the [[Swadeshi movement]], Padmini became a symbol of Indian patriotism. Indian nationalist writers portrayed her story as an example of a heroic sacrifice, and a number of plays featuring her were staged after 1905.{{sfn|Ratnabali Chatterjee|1996|p=37}} Ireland-born [[Sister Nivedita]] (1866–1971) also visited Chittor and historicised Padmini. The ''Rajkahini'' by [[Abanindranath Tagore]] (1871–1951) popularised her as a historical figure among schoolchildren. Later, some history textbooks began to refer to Khalji invading Chittor to obtain Padmini.{{sfn|Ratnabali Chatterjee|1996|p=38}} [[Jawaharlal Nehru]]'s ''[[The Discovery of India]]'' (1946) also narrates Khalji seeing Padmini in a mirror; Nehru's narrative is believed to be based on recent local poets.{{citation needed|date=April 2020}} | |||
By the 20th century, Rajput Hindu women of Rajasthan characterised Padmini as a historical figure who exemplifies Rajput womanhood.{{sfn|Ramya Sreenivasan|2007|p=1}} Hindu activists have characterised her as a chaste Hindu woman, and her suicide as a heroic act of resistance against the invader Khalji.{{sfn|Ratnabali Chatterjee|1996|p=38}} She has been admired for her character, her willingness to commit [[jauhar]] instead of being humiliated and accosted by Muslims, as a symbol of bravery and an exemplar like [[Meera]].{{sfn|Lindsey Harlan|1992|pp=182-187}} | By the 20th century, Rajput Hindu women of Rajasthan characterised Padmini as a historical figure who exemplifies Rajput womanhood.{{sfn|Ramya Sreenivasan|2007|p=1}} Hindu activists have characterised her as a chaste Hindu woman, and her suicide as a heroic act of resistance against the invader Khalji.{{sfn|Ratnabali Chatterjee|1996|p=38}} She has been admired for her character, her willingness to commit [[jauhar]] instead of being humiliated and accosted by Muslims, as a symbol of bravery and an exemplar like [[Meera]].{{sfn|Lindsey Harlan|1992|pp=182-187}} | ||
''Padmini Mahal'' (Padmini Palace), said to be the royal abode of Queen Padmini, is situated at the southern part of [[Chittorgarh Fort]].<ref>{{Cite web|title=Padmini Palace Chittorgarh {{!}} History, Best Time & How To Reach|url=https://www.holidify.com/places/chittorgarh/padmini-palace-sightseeing-121013.html|work=Holidify|access-date=2021-11-16}}</ref><ref>{{Cite web|title=Padmini Palace, Chittorgarh - Entry Fee, Visit Timings, Things To Do & More...|url=https://www.transindiatravels.com/rajasthan/chittorgarh/padmini-palace/|work=Trans India Travels|access-date=2021-11-16}}</ref><ref>{{Cite web|title=Rani Padmini Palace / Padmini Mahal, Chittorgarh|url=https://www.trawell.in/rajasthan/chittorgarh/rani-padmini-palace-padmini-mahal|work=Trawell.in|access-date=2021-11-16}}</ref> It is said that here Alauddin Khalji had a glimpse of Padmini's legendary beauty through a mirror.<ref>{{Cite web|date=2017-11-27|title=ASI covers plaque on mirror legend outside Padmini Palace in Chittorgarh|url=https://indianexpress.com/article/india/padmavati-protest-asi-covers-plaque-on-mirror-legend-outside-padmini-palace-chittorgarh-4956204/|work=The Indian Express|access-date=2021-11-16}}</ref><ref name=TOI>{{Cite web|date=2017-11-27|title=ASI covers plaque outside Padmini Mahal that states Khilji saw the queen|url=https://timesofindia.indiatimes.com/city/jaipur/asi-covers-plaque-outside-padmini-mahal-that-states-khilji-saw-the-queen/articleshow/61812266.cms|work=The Times of India|access-date=2021-11-16}}</ref><ref name="IE_1">{{Cite web|date=2018-08-20|title=As Padmavati protests rage, a quiet rewrite at Padmini Palace in Chittorgarh|url=https://indianexpress.com/article/india/as-padmavati-protests-rage-a-quiet-rewrite-at-padmini-palace-rana-ratan-singh-alauddin-khilji-4936343/|work=The Indian Express|access-date=2021-11-16}}</ref><ref>{{Cite web|date=2018-02-12|title=History of Chittorgarh|url=https://www.chittorgarh.com/article/chittorgarh-history/231/|work=Chittorgarh|access-date=2021-11-18}}</ref>{{efn|name=mirror|The mirror through which Alauddin is said to have seen Padmini, was vandalised in the year 2018.<ref name="IE_1"/><ref>{{Cite web|date=29 December 2021|title=Mirror legend of Alauddin Khilji, Rani Padmini raises tension again in Rajasthan, show at Chittorgarh Fort stopped after objections|url=https://indianexpress.com/article/cities/jaipur/alauddin-khilji-rani-padmini-mirror-legend-chittorgarh-fort-show-tension-7694750/|work=The Indian Express|access-date=31 December 2021}}</ref>}} Padmini's Palace find its mention in several historical texts of Mewar. his Palace find its reference in some of the historical texts of Mewar. One mention of it is in Amar Kavyam which states the confinement of Mahmud Khilji- II, Sultan of Malwa here by Rana Sanga. When Maharana Udai Singh married his daughter JasmaDe to Rai Singh of Bikaner, a song was composed about the charity done by Rai Singh, in which it is mentions that he donated an elephant for each step of the stairs of Padmini's Palace. It was repaired by Maharana Sajjan Singh, who got some new constructions done before [[George Robinson, 1st Marquess of Ripon|Lord Ripon]], the then [[Governor-General of India|Governor General of India]], arrived here on 23 November 1881.<ref>{{Cite web|date=2018-01-20|title=चित्तौड़गढ़ & जैन धर्म - 10. चित्तौड़गढ़ दुर्ग पर दर्शनीय स्थल|url=https://www.chittorgarh.com/article/map-of-chittorgarh-fort/222/|work=Chittorgarh|language=hi|access-date=2021-11-18}}</ref> | |||
== Symbolism == | == Symbolism == | ||
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== In popular culture == | == In popular culture == | ||
Several films based on the legend of Padmini have been made in India. These include [[Baburao Painter]]'s ''Sati Padmini'' (1924), [[Debaki Bose]]'s ''Kamonar Agun'' or ''Flames of Flesh'' (1930),{{sfn|Kishore Valicha|1980|p=124}} Daud Chand's ''Padmini'' (1948), | Several films based on the legend of Padmini have been made in India. These include [[Baburao Painter]]'s ''Sati Padmini'' (1924), [[Debaki Bose]]'s ''Kamonar Agun'' or ''Flames of Flesh'' (1930),{{sfn|Kishore Valicha|1980|p=124}} Daud Chand's ''Padmini'' (1948), and the Hindi language ''Maharani Padmini'' (1964).{{sfn|Rajendra Ojha|1998|p=91}} | ||
* In 1963, for the first time, this story was made into film in Tamil as ''[[Chittoor Rani Padmini]]'' written by [[C. V. Sridhar]] and directed by [[Chitrapu Narayana Rao]] starring [[Sivaji Ganesan]] and [[Vyjayanthimala]] in lead roles.<ref>[http://www.thehindu.com/features/cinema/blast-from-the-past-chitoor-rani-padmini-1963/article7312841.ece Chitoor Rani Padmini (1963)]</ref> | * In 1963, for the first time, this story was made into film in Tamil as ''[[Chittoor Rani Padmini]]'' written by [[C. V. Sridhar]] and directed by [[Chitrapu Narayana Rao]] starring [[Sivaji Ganesan]] and [[Vyjayanthimala]] in lead roles.<ref>[http://www.thehindu.com/features/cinema/blast-from-the-past-chitoor-rani-padmini-1963/article7312841.ece Chitoor Rani Padmini (1963)]</ref> | ||
* In 1986, [[Hema Malini]] played the role of Rani Padmini in one of the episodes of anthology series ''Tera Panhey''.<ref>{{cite news|url=http://zeenews.india.com/people/when-hema-malini-played-rani-padmini-2067632.html|title=When Hema Malini played Rani Padmini|access-date=April | * In 1986, [[Hema Malini]] played the role of Rani Padmini in one of the episodes of anthology series ''Tera Panhey''.<ref>{{cite news|url=http://zeenews.india.com/people/when-hema-malini-played-rani-padmini-2067632.html|title=When Hema Malini played Rani Padmini|access-date=19 April 2018}}</ref> | ||
* In 1988, [[Seema Kelkar]] played the role of Rani Padmini in an episode of the Hindi drama series ''[[Bharat Ek Khoj]]'', which was based on the book ''[[The Discovery of India]]'' (1946) by [[Jawaharlal Nehru]]. | * In 1988, [[Seema Kelkar]] played the role of Rani Padmini in an episode of the Hindi drama series ''[[Bharat Ek Khoj]]'', which was based on the book ''[[The Discovery of India]]'' (1946) by [[Jawaharlal Nehru]]. | ||
* In 2009, ''[[Chittod Ki Rani Padmini Ka Johur]]'', a Hindi-language television series aired on [[Sony Entertainment Television|Sony TV]], in which Tejaswini Lonari | * In 2009, ''[[Chittod Ki Rani Padmini Ka Johur]]'', a Hindi-language television series aired on [[Sony Entertainment Television|Sony TV]], in which Tejaswini Lonari played the role of Princess Padmavati. | ||
* In 2017, film director [[Sanjay Leela Bhansali]] decided to make Hindi-language film ''[[Padmavati (film)|Padmavati]]'' where [[Deepika Padukone]] played the character. The film has been controversial, and led sharply divided populace. Prior to its release, a | * In 2017, film director [[Sanjay Leela Bhansali]] decided to make Hindi-language film ''[[Padmavati (film)|Padmavati]]'' where [[Deepika Padukone]] played the character. The film has been controversial, and led sharply divided populace. Prior to its release, a section of the population felt that the movie presented the Jayasi version and denigrated the Rajput queen. Some political leaders demanded clarification, while others supported its release.<ref>[https://www.indiatoday.in/pti-feed/story/people-feel-padmini-has-been-denigrated-in-padmavati-nitish-1099879-2017-12-04 People feel Padmini has been denigrated in Padmavati: Nitish], Press Trust of India, India Today (4 December 2017)</ref> Protests spread with groups petitioning a ban, alleging that the movie distorts history by including a romance scene between Khalji and Padmini. The film director clarified that there is no such scene in the movie. The petition to ban the movie was rejected by the [[Supreme Court of India|Indian Supreme Court]], with the ruling that movies are a form of free speech right protected by the [[Constitution of India|Indian constitution]]. The movie was released in many parts of India in late January 2018 as ''Padmaavat''.<ref>[https://www.indiatoday.in/movies/bollywood/story/padmaavat-box-office-collection-previews-deepika-padukone-ranveer-singh-shahid-kapoor-1153784-2018-01-25 Padmaavat previews box office collection: Deepika film opens to terrific response], India Today (25 January 2018)</ref><ref>[https://www.bbc.com/news/world-asia-india-42732022 Padmavat: Controversial film cleared by India's top court], BBC News (18 January 2018)</ref> | ||
==See also== | ==See also== | ||
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== References == | == References == | ||
===Notes=== | |||
{{Notelist}} | |||
===Citations=== | |||
{{Reflist|30em}} | {{Reflist|30em}} | ||
===Bibliography=== | ===Bibliography=== | ||
{{ | {{refbegin}} | ||
* {{cite book |author=Aditya Behl |title=Love's Subtle Magic: An Indian Islamic Literary Tradition, 1379–1545 |url=https://books.google.com/books?id=PK7riKO6IN8C&pg=PA177 |year=2012 |publisher=Oxford University Press |isbn=978-0-19-514670-7 }} | * {{cite book |author=Aditya Behl |title=Love's Subtle Magic: An Indian Islamic Literary Tradition, 1379–1545 |url=https://books.google.com/books?id=PK7riKO6IN8C&pg=PA177 |year=2012 |publisher=Oxford University Press |isbn=978-0-19-514670-7 }} | ||
* {{cite book |author1=Catherine B. Asher |author2=Cynthia Talbot |title=India Before Europe |url=https://books.google.com/books?id=ZvaGuaJIJgoC&pg=PA41 |year=2006 |publisher=Cambridge University Press |isbn=978-0-521-80904-7 }} | * {{cite book |author1=Catherine B. Asher |author2=Cynthia Talbot |title=India Before Europe |url=https://books.google.com/books?id=ZvaGuaJIJgoC&pg=PA41 |year=2006 |publisher=Cambridge University Press |isbn=978-0-521-80904-7 }} | ||
* {{cite book |author=Jason Freitag |title=Serving empire, serving nation: James Tod and the Rajputs of Rajasthan |publisher=Brill |location=Leiden |year=2009 |isbn=978-90-04-17594-5 |url=https://books.google.com/books?id=Ib93BhAu43gC }} | * {{cite book |author=Jason Freitag |title=Serving empire, serving nation: James Tod and the Rajputs of Rajasthan |publisher=Brill |location=Leiden |year=2009 |isbn=978-90-04-17594-5 |url=https://books.google.com/books?id=Ib93BhAu43gC }} | ||
* {{cite book |author=Kishore Valicha |title=The Moving Image: A Study of Indian Cinema |url=https://books.google.com/books?id=tGgm0z6vthYC&pg=PA124 |year=1980 |publisher=Orient Blackswan |isbn=978-81-250-1608-3 |page=124 }} | * {{cite book |author=Kishore Valicha |title=The Moving Image: A Study of Indian Cinema |url=https://books.google.com/books?id=tGgm0z6vthYC&pg=PA124 |year=1980 |publisher=Orient Blackswan |isbn=978-81-250-1608-3 |page=124 }} | ||
* {{cite book |editor=Rajendra Ojha |title=Screen World Publication presents National film award winners: 1953–1997 |url=https://books.google.com/books?id=wgEbAQAAIAAJ |year=1998 |publisher=Screen World |page=107 }} | * {{cite book |editor=Rajendra Ojha |title=Screen World Publication presents National film award winners: 1953–1997 |url=https://books.google.com/books?id=wgEbAQAAIAAJ |year=1998 |publisher=Screen World |page=107 |isbn=9788190025829 }} | ||
* {{cite book |author=Ramya Sreenivasan|author-link=Ramya Sreenivasan |title=The Many Lives of a Rajput Queen: Heroic Pasts in India C. 1500–1900 |url=https://books.google.com/books?id=GiSUwULkK64C |year=2007 |publisher=University of Washington Press |isbn=978-0-295-98760-6 }} | * {{cite book |author=Ramya Sreenivasan|author-link=Ramya Sreenivasan |title=The Many Lives of a Rajput Queen: Heroic Pasts in India C. 1500–1900 |url=https://books.google.com/books?id=GiSUwULkK64C |year=2007 |publisher=University of Washington Press |isbn=978-0-295-98760-6 }} | ||
* {{cite book |author=Ratnabali Chatterjee |editor1=Madhusree Dutta|editor2=Flavia Agnes|editor3=Neera Adarkar |title=The Nation, the State, and Indian Identity |url=https://books.google.com/books?id=clVkXbbcrhIC&pg=PA39 |year=1996 |publisher=Popular Prakashan |isbn=978-81-85604-09-1 }} | * {{cite book |author=Ratnabali Chatterjee |editor1=Madhusree Dutta|editor2=Flavia Agnes|editor3=Neera Adarkar |title=The Nation, the State, and Indian Identity |url=https://books.google.com/books?id=clVkXbbcrhIC&pg=PA39 |year=1996 |publisher=Popular Prakashan |isbn=978-81-85604-09-1 }} | ||
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* {{cite book |author=Syama Prasad Basu |title=Rise and Fall of Khilji Imperialism |url=https://books.google.com/books?id=Qw4dAAAAMAAJ |year=1963 |publisher=U. N. Dhur }} | * {{cite book |author=Syama Prasad Basu |title=Rise and Fall of Khilji Imperialism |url=https://books.google.com/books?id=Qw4dAAAAMAAJ |year=1963 |publisher=U. N. Dhur }} | ||
* {{cite book |editor=V. K. Agnihotri |title=Indian History |url=https://books.google.com/books?id=MazdaWXQFuQC&pg=SL2-PA86 |publisher=Allied |isbn=978-81-8424-568-4 |year=2010 }} | * {{cite book |editor=V. K. Agnihotri |title=Indian History |url=https://books.google.com/books?id=MazdaWXQFuQC&pg=SL2-PA86 |publisher=Allied |isbn=978-81-8424-568-4 |year=2010 }} | ||
{{ | {{refend}} | ||
{{DEFAULTSORT:Padmini, Rani}} | {{DEFAULTSORT:Padmini, Rani}} | ||