Sakti and Barakat: The Power of Tipu's Tiger

Abstract

A figure who walks larger than life through the pages of eighteenthcentury south-Indian history is Tipu Sultan Fath Ali Khan, who held power in Mysore from 1782 until his death at the hands of the British in 1799. In general, scholars of his reign have taken a mainly Eurocentric approach, essentially concentrating on his external relationships and activities, particularly with regard to the French and the British, while more recently there has been some examination of his economy and administration. Recent research into both kingship and religion in south India raises issues which suggest that it is time this ruler was reassessed in his own terms, from the point of view of the cultural environment in which he was operating.3 Little attempt so far has been made to do this.4 One matter which merits closer attention is his use of symbols, particularly in connection with the symbolic expression of kingship. Given Tipu's somewhat ambiguous status as a parvenu, whose legitimacy as ruler was questionable, this would appear to be a fruitful area for research.5 His most famous symbol was the tiger, yet while it has captured the imagination of scholars in other disciplines,6 it has not exercised the minds of historians to any extent.7 It is the aim of this paper to restore the balance by looking at this symbol in the light of the work of Susan Bayly, who has underlined the strongly syncretic nature of religion in south India. Drawing upon both written and oral material, Bayly has described the interaction which has taken place between Muslim, Hindu and Christian traditions, the result of which is a borrowing of symbols and ideas, a frequently shared vocabulary, and an interweaving of motifs within a common sacred landscape, at the centre of which is the imagery associated with the ammans or goddesses of the region.8 It is my contention that an examination of Tipu's tiger symbol will reveal that it is firmly rooted in this syncretic religious environment and that this should emphasize to us the importance of placing the Mysore ruler within his cultural context in order to understand his actions, particularly from the point of view of kingship.

Look, Look! This Shrine Is Leaking Red “Menstrual Activism in Nina Pagalies’ Graphic Temples”

“…Pagalies' temple depicts not a trickle but a gush of vibrant red blood symbolic of unbridled passion, life, vitality, and fluidity emerging from the temple structure in what can be read as a blatant defiance of the patriarchal tendencies of containment and control. The blood can be seen flowing unthwarted past the two tigers (often deciphered as symbolic of patriarchy) Brittlebank (1995), which seem to wait and serve the menstruating goddess. The skillful use of watercolours (strategically used to celebrate feminine fluidity) in varied shades of red and earthy browns pulls the audience into the realm of the carnal, visceral world of menstruation, thus, lending it immense expressive potential.…”

Tipu Sultan in History

“…267-268). For some curious interpretations of Tipu's toy, see Brittlebank (1995) and Jasanoff (2005). 17.…”