Further part of The British Residency Toung-um-mah. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Further part of The British Residency Toung-um-mah.’ REPRESENTS that portion of the Residency grounds from whence the first sketch was taken, and includes the principal entrance or gateway; on either side of which was a Bungalow; that on the right being the quarters of Major Grant Allan, and o...
‘Silleh-myo.’ ABOUT three hours steaming brought the flotilla to Silleh Myo, a town on the east bank; at some former time, says Colonel Symes ‘an ancient city, which once had been a place of considerable note.’ It was said to be famous for its silk manufacture or trade, but nothing of it was no...
Chengoo or Sengoo-Oung.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Chengoo or Sengoo-Oung.’ AFTER four hours further journeying the traveller reaches Chengoo Oung, also on the east bank, where, on a platform surrounded by a parapet, a strikingly picturesque, rather novel shaped, and ornamented Pagoda (the subject of this sketch) crowns a commanding point of t...
‘Samaik-gon.’ QUITTING Mengoon, and continuing on the eastern side of the river, the Mission passed the village of Yan-de-boo,-remembered as the locality of the Treaty bearing the name of that village. It appears to remain, as it was when visited by Colonel Symes, — ‘a town remarkable for its m...
Model of the Great Temple of Mengoon.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Model of the Great Temple of Mengoon.’ THIS model stands at a short distance from the monster pile itself. It is built of brick and mortar, and is about fourteen feet in height. Judging by the construction of the doorways, which differ materially in formation and proportion from those in the a...
Ruins of the Great Temple of Mengoon.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Ruins of the Great Temple of Mengoon.’ This stupendous ruin, which it has been shewn is visible at a distance of ten miles, stands on the western bank of the river, at the distance just named, northward of Umeerapoora. It was built by King Men-tara-gyee; and though it had not reached one-third...
Album of 60 drawings: 13 depicting relic caskets from the Buddhist stupas at Sanchi, Sonari, Satdhara and Bhojpur; 17 depicting the Sanchi ruins; 18 miscellaneous views in Rajputana and Central India; 12 drawings of the temples of Nilkanth and Kalinjar
Scope & Content:
1 Relic Series. f.1a ‘Relic Series. Plate.2. Situation of the Chamber: and the style of the relics found in Sthupa B. Sanchi.’ Fig.2. One side of the box is in the British Museum. Figs.3, 4, 6. British Museum. Fig.5. Victoria and Albert Museum (I.M.218-1921). f.1b ‘Relic Series. Plate.3. St...
Caves 10 and 12 Kanheri, Salsette: Cave 10, the 'Darbar Hall', on the right, Cave 12 on the left. 20 July 1793. Artist(s): Daniell, Thomas (1749-1840), and Daniell, William (1769-1837)
Scope & Content:
Caves 10 and 12 Kanheri, Salsette: Cave 10, the 'Darbar Hall', on the right, Cave 12 on the left. 20 July 1793. Inscribed on back in ink: ‘One of the Upper Caves at Kanaree. Salsette: July 20th, 1793.’ Wash; 13.5 by 19 ins. Purchased 4 May 1956.
Courtyard of the palace of Raja Tirumala Nayyak (1625-59), Madura. Drawn by T.A. Jenkins, William W. Whelpdale and Ravanat Naik. Artist(s): Jenkins, Thomas Askwith (1809-1877), Whelpdale, William Walter (1815-42) and Ravant Naik (fl.1835-39)
Scope & Content:
Courtyard of the palace of Raja Tirumala Nayyak (1625-59), Madura. c.1840. Inscribed on front in ink: ‘Courtyard of the Palace of Tremul Naig, Madura.’ ‘Drawn by Lieuts Jenkins and Whelpdale and Ravanat Naig.’ Water-colour; 14 by 20.25 ins. Note: 'Jenkins' is Lieutenant Thomas Askwith Jenki...
