European History Peacock Pdf

[Geraldine Ferraiz]

Firstoriginating in India, peacocks can trace their history back to biblical times. They are mentioned in the Bible as being part of the treasure taken to the court of King Solomon. They are also associated with Alexander the Great. In his 1812 book The History of Animals, author Noah Webster writes:

In addition to being seen as symbols of immortality and resurrection, peacocks figured into more mundane superstitions as well. Jackson reports that, according to the 15th century Swiss physician Paracelsus:

Perhaps what Peacocks are best known for, in terms of historical association, is their long connection with the sins of pride and vanity. This arises not only from their great beauty, but also from their tendency to strut when displaying their magnificent plumage. In Renaissance art, for example, the peacock can often be found representing the sin of Pride in depictions of the Seven Deadly Sins.

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The second image is literally modeled on the first: grooves in the edges of the first painting suggest that Claesz not only used the same design for the second piece, but also directly copied from the first painting, creating a grid system out of strings to enable a more accurate transfer of the image. As in real banquets, the peacock came first.

The peacock and turkey are the centerpieces of their respective paintings, which also depict other luxury goods imported from around the globe, such as porcelain plates from China, a nautilus shell from the Indo-Pacific, and ivory-handled knives. The pies themselves would have included South Asian and South East Asian spices such as cinnamon, cloves, ginger, and mace.

Not unlike gingerbread houses today, peacocks and turkeys and the elaborate pies made from them were not necessarily consumed, though people could and did eat them. Early modern banquets were a form of domestic theater: the staging and performance of food was carefully crafted to create an immersive experience.

In the early modern period, there were complex systems of hospitality and gift giving, and food was at the center of these practices, as food was both required to be served to guests and the most common gift. For their beauty, utility, and novelty, peacocks and turkeys made excellent gifts, both dead and alive. Early modern English household accounts thus detail the difficulties of raising turkeys, a practice that took off in the mid- to late-16th century.

Today, Christmas and Thanksgiving turkey is traditionally served with gravy, which adds much-needed moisture. This history of consuming turkey with plenty of sauce goes back as far as its introduction in Europe.

Plants and Empire shows how botany and slavery, cruelty and courage, curiosity and capitalism all converged on one beautiful "peacock flower"--the ornament of European gardens, a sought-after medicament, and an abortifacient for slave women who refused to bear children into inhuman bondage. This book is rich in information and insights about how plants have transformed our world; it is above all rich in stories about the people who hunted and used them, splendidly told.

A rich, innovative analysis--laced with poignant vignettes of the lives of travelers, lovers, colonists, and slaves--of how gender structured the science of botany in the age of mercantilist empires. This book sheds light on how the knowledge of plants of Caribbean Amerindians and slaves moved into Northern European gardens and salons and back again into colonial plantations worldwide. Most importantly, it illuminates how this very knowledge was actively suppressed when it proved threatening to the gendered foundations of power at the European core.

Schiebinger brings humble plants--peacock flowers and sassafras trees--into the dark and poignant heart of eighteenth century colonial encounters and into the modern history of cultural exchange. Desperate to extract some botanical knowledge from native peoples, Europeans were equally anxious to suppress other medicines--most notably, the abortifacients with which slaves sought to cheat their master of property and through which European women might also seek to rob the mercantalist state of population. Bio-prospecting was a deeply troubled enterprise. This is a morally serious book for anyone interested in the globalization of 'intellectual property.'

Londa Schiebinger's scholarly study covers botanical exploration during what the author calls 'the long eighteenth century': from the 1670s until about 1802. This was a period of dawning European recognition that the real treasures of the New World lay not in fabled cities of gold but in the vines, bushes, and flowers that crowded village gardens and grew in the jungles beyond...Schiebinger's thoughtful study, then, sheds light not only on how new knowledge comes to be, but also on how some new knowledge comes to be ignored.

Londa Schiebinger's ambitious, eminently readable new book focuses on "the long eighteenth century" when botany reigned as queen of the colonial sciencesHopefully, Schiebinger's intellectual voyage beyond Europe's borders will lead many others to recognize the fundamental importance of knowledge formation--and non-formation--on the colonial "periphery" of the Atlantic World.

This is a curious book. The heart of it tries to explain why something did not happen...[Schiebinger's] focus is, as she puts it, 'the nontransfer of important bodies of knowledge from the New World into Europe.' It is, then, a study in 'agnotology,' that is, of 'culturally induced ignorances.' The study of things that did not happen and of ignorances does not sound promising, but Schiebinger has written an entertaining book that raises some interesting questions, and for people passionate about the history of fertility control, no doubt, an important book.

[A] fascinating study...Schiebinger has read widely in the natural-historical and medical literature of the period, and she writes engagingly, bringing to life many of the chief protoganists. This book ought to be essential reading for anyone interested in the relationship between science and empire.

Plants and Empire presents a subtle and compelling explanation for why knowledge of West Indian abortifacients was not taken up by scientists in Europe. More broadly, Schiebinger illustrates the explanatory power of agnotology. Her study of scientific ignorance demonstrates that understanding what scientists do not know is just as important as understanding what they do know.

The Peacock Throne, an emblem of the opulent Mughal Empire, was a magnificent seat of power, renowned for its lavish adornment with precious stones and intricate designs, symbolising the zenith of artistic achievement in 17th-century India. Constructed in 1628 for Emperor Shah Jahan, the creator of the Taj Mahal, this exquisite throne was coveted and looted by successive rulers, embodying the turbulent history and grandeur of the periods it witnessed. Its legacy, immortalised in literature and history, continues to fascinate scholars and enthusiasts, representing a pinnacle of imperial craftsmanship and the rich cultural heritage of the Mughals.

The Peacock Throne represents not only a marvel of artistic craftsmanship but also a symbol laden with historical significance and tales of opulence, power, and eventual plunder. This magnificent seat, named for its decorations resembling a peacock's feathers, has fascinated historians, scholars, and art enthusiasts alike.

The Peacock Throne was originally commissioned by Emperor Shah Jahan, the fifth Mughal emperor of India, known for his love for architecture and art, most famously the Taj Mahal. This throne was not merely a seat of power but an emblem of the zenith of the Mughal empire's richness. Crafted in the 17th century, it became one of the most spectacular symbols of Indian craftsmanship and the wealth of the Mughal dynasty.

The creation of the Peacock Throne marked a significant chapter in the history of the Mughal Empire. It was adorned with precious stones like diamonds, pearls, rubies, and emeralds, with a canopy of gold supported by twelve columns. The most notable feature was the representation of two peacocks, bedecked with jewels, standing behind the throne, which looked towards each other.

The Peacock Throne was not just a lavish piece of furniture; it was a potent symbol of the absolute power held by the Mughal emperors. Situated in the Diwan-i-Khas (Hall of Private Audiences) in the Red Fort of Delhi, it served as the physical and metaphorical centre of the Mughal political and cultural universe.

Every aspect of the throne's design was imbued with symbolism. The peacocks stood for royalty and beauty, while the embedded jewels represented the empire's vast wealth and resources. The throne's sheer opulence symbolized the Emperor's unrivalled status in the world, commanding respect and admiration from friends and foes alike.

Diwan-i-Khas: A term used in the Mughal empire to refer to the Hall of Private Audiences, where the emperor would meet with courtiers and state guests. It was a space where political discussions and decisions of great importance were conducted.

In 1739, the Peacock Throne was taken as a war trophy by Nadir Shah, the Persian invader, after his victory in the Battle of Karnal. This event marked a significant loss for India, not just in terms of material wealth but also of cultural heritage. The throne was transported to Iran, where it served as a symbol of Persian victory and power.

Once in Iran, the original structure of the Peacock Throne was reportedly altered or dismantled over time. Today, no exact replications of the throne exist, and its components have become part of various collections or have been lost to history. Nonetheless, the Peacock Throne remains a symbol of historical and artistic significance that transcends its original geographical and cultural boundaries.

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