Abu's Tomb Merat (Meerut)

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Details

Size: 10.5 x 12.5 inches (framed)
Medium: Hand-Coloured Engraving
Condition: Fair condition; some spots and small tears in margins

Description

A detailed hand-coloured engraving drawn by T. C. Dibdin after a sketch by T. Bacon and engraved by Finden for ‘A Gazetteer of the World’ Vol 5 published by Fullerton in 1856. The engraving is titled “Abhu’s Tomb Merat” and depicts the tomb of Abu Mohammed Khan Kamboh, the Nawab of Meerut which was constructed in 1688. Abu Mohammad Khan Kamboh, is often hailed as the visionary behind Meerut's foundation, and emerged during the 17th century, a period marked by the reigns of Jahangir and Shah Jahan. As some historians would argue, Abu Mohammad was also the Wazir at the Royal Court during the reign of Alamgir I, Aurangzeb. While the precise date of his birth remains shrouded in historical ambiguity, his influence on the city's development is undeniable.
The mausoleum is recognised as exceptional, largely owing to its impressive ten-tomb layout – an elegant arrangement of nine smaller domes encircling the central dome, at the heart of the main tomb pavilion. In total, eight chhatri or smaller pavilions with hemispherical domes circumscribe the central pavilion. Sources further reveal that sangemarmar, the finest of marbles, once graced the floors of the red stone tomb pavilions, and colourful ornamented frescos adorned the ceiling of the pavilions.
The tomb is also locally known as the “Mutineers Mosque” because it not only provided sanctuary, but also served as a strategic military base during the the Great Uprising - the Mutiny of 1857 – against the British rule in the subcontinent.
Thomas Robert Colman Dibdin (1810 - 1893) was an English water colour artist and teacher. His paintings can be seen in galleries in London and Sheffield.

The engraving measures 5 x 6.5 inches without the frame and 10.5 x 12.5 inches with the frame.

  • ABOUT Engravings & Etchings

    During the 18th and 19th centuries, several British and European men travelled within India and produced paintings, drawings, sketches and prints documenting the architecture, landscape, flora and fauna. Amongst these travellers were historians, artists, aristocrats and army officers. Upon their return to their home countries, some of them had their books published, which serve as an excellent record of India’s history, till date. The books had prints of the artworks created by these travellers, made using different printmaking techniques such as engraving, etching, aquatint, lithography and others.

    For instance, Thomas Daniell (1749 - 1840) and his nephew William Daniell (1769 - 1837) travelled extensively in India between 1786 and 1793. Thomas Daniell was the son of an innkeeper, who began his working life as a bricklayer before becoming an assistant to the coach painter of the king. On their return to Britain, Thomas and William produced many paintings, drawings and prints based on the sketches they had made while travelling. The 144 aquatint prints, collectively known as 'Oriental Scenery', represent the single largest and most impressive project by English artists to depict Indian architecture and landscape. Another famous traveller was Prince Waldemar of Prussia, Germany, who landed in Calcutta in January 1845, while on an expedition to explore distant lands. He was accompanied by a team of military men already familiar with India, a botanist and a medical doctor. Besides being a trained military man, Waldemar was also an enthusiastic artist and created many watercolour paintings and sketches depicting his travels across India. These watercolours were turned into lithographs in Berlin on his return. ‘In Memory of the Journey of Prince Waldemar of Prussia to India in the Years 1844-1846’ was printed posthumously in two volumes in 1853, and features many of his artworks. Other travellers to India whose work prints were later published include French naturalist Pierre Sonnerat, British Army Officer Captain Charles Gold, English watercolour painter Chares Bentley, amongst others.

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