"Tipu's Tiger is one of the Victoria and Albert Museum's most enduringly famous and fascinating objects. It was made for Tipu Sultan. the ruler of Mysore, who was killed by the British in 1799 during the final onslaught on his island capital, Seringapatam. After the victory, his treasury was seized and its precious contents rapidly divided between the soldiers of the East India Company army. The spectacular wooden tiger survived, however. Discovered in the music room of the palace, it was shipped to the Company's new musuem in London in 1800." "This book tells the story of the tiger's travels from India to the V&A showing how it has inspired artists and authors, and frightened or entertained the public since its first appearance in England." --Book Jacket.

Tipu s Tiger is one of the Victoria and Albert Museum`s most enduringly famous and fascinating objects. It was made for Tipu Sultan, the ruler of Mysore who was killed by the British in 1799 during the final onslaught on his island capital, Seringapatam. After the victory, his treasury was seized and its precious contents rapidly divided between the soldiers of the East India Company army. The spectacular wooden tiger survived, however. Discovered in the music room of the palace, it was shipped to the company`s new museum in London in 1800. This accessible and beautiful book tells the story of the tiger`s travels from India to the V&A, showing how it has inspired artists and authors, and frightened or entertained the public since its first appearance in England. It also discusses the intriguing meanings of the many tiger motifs on Tipu Sultan`s personal commissions, from his jewelled golden throne and idiosyncratic weapons to the emblematic wooden semi-automaton.

The treatment of cultural colonial objects is one of the most debated questions of our time. Calls for a new international cultural order go back to decolonization. However, for decades, the issue has been treated as a matter of comity or been reduced to a Shakespearean dilemma: to return or not to return. Confronting Colonial Objects seeks to go beyond these classic dichotomies and argues that contemporary practices are at a tipping point. The book shows that cultural takings were material to the colonial project throughout different periods and went far beyond looting. It presents micro histories and object biographies to trace recurring justifications and contestations of takings and returns while outlining the complicity of anthropology, racial science, and professional networks that enabled colonial collecting. The book demonstrates the dual role of law and cultural heritage regulation in facilitating colonial injustices and mobilizing resistance thereto. Drawing on the interplay between justice, ethics, and human rights, Stahn develops principles of relational cultural justice. He challenges the argument that takings were acceptable according to the standards of the time and outlines how future engagement requires a re-invention of knowledge systems and relations towards objects, including new forms of consent, provenance research, and partnership, and a re-thinking of the role of museums themselves. Following the life story and transformation of cultural objects, this book provides a fresh perspective on international law and colonial history that appeals to audiences across a variety of disciplines. This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read on the Oxford Academic platform and offered as a free PDF download from OUP and selected open access locations.

Tipu Sultan is one of the most controversial figures in Indian history. One school hails him as a valiant warrior who fought for his honour and for his country; another describes him as a ruthless and bigoted ruler. Recent researches show that Tipu was more sinned against than sinning . As B.S Gidwani points out, Tipu was the only ruler in the eighteenth century who did not side with the English at any time in a war against his fellow countrymen. Had Tipu succeeded in forming a united front with the support of the Nizam and the Marathas, the British would not have enslaved the country as easily as they did. The fall of Tipu paved the way for British supremacy in India. Even Nana Phadnavis, a bitter opponent of Tipu, acknowledged his vital role. Tipu is finished, he remarked, Poona wll now be the next victim. Evil days are ahead. There seems to be no escape from destiny. In preparing this script the works of M.H.Khan, Denys Forrest, Fazal Hasan and T.T.Sharma have been consulted. The incidents included on pages 8,9,16 and 17 are based on B.S.Gidwani's The Sword of Tipu Sultan , published by Allied Publishers Ltd., New Delhi.

In The Present Work, An Attempt Has Been Made To Give An Accurate Picture Of Tipu Sultan By Disengaging His Personality From Masses Of Fictions And Distortions Which Have Gathered Round Him. As Practically The Whole Of Tipu'S Life Was Taken Up With Fighting, The Author Has Devoted Considerable Space To Campaigns And Battles. However, He Has Not Ignored Other Aspects Of His Career. He Has Paid Sufficient Attention To The Causes And Results Of Wars, While TipuS Relation With The English, The French, The Nizam, The Marathas And The Ottoman Sultan Have Been Fully Discussed. The Last Three Chapters Of The Book Have Been Devoted To A Description Of The SultanS Government And Army, His Reforms And Religious Policy, His Efforts At Industrialisation And State Socialism, His Character, His Failures And Achievements. This Pioneering Study Will Enable The Reader To Appraise The Career And Character Of This Extraordinary Man. Its Scholarly Value Is Enhanced By Professor HasanS Extensive Use Of English, French, Persian, And Urdu Sources.