Alauddin khilji kaun tha

अलाउद्दीन खिलजी के आर्थिक सुधारों में सबसे प्रमुख सुधार था उसकी बाजार नियंत्रण नीति। इसका उल्लेख बरनी ने अपनी पुस्तक तारीखे फिरोजशाही में किया है। गद्दी पर बैठने के बाद ही अलाउद्दीन की इच्छा सम्पूर्ण भारत को जीतने की थी। इसके लिए एक बड़ी सेना की आवश्यकता थी। मोरलैण्ड ने यह अनुमान लगाया है कि यदि वह सामान्य वेतन पर भी सेना को संगठित करता, तब भी धन मात्र पाँच वर्षों में ही समाप्त हो जाता। अतः उसने सैनिकों के वेतन को कम करने का निश्चय किया। परन्तु उन्हें किसी तरह की परेशानियों का सामना न करना पड़े इसलिए उसने उनकी आवश्यक वस्तुओं के दाम निश्चित कर दिये। इसे ही उसकी बाजार नियंत्रण नीतिकहा गया। इस बाजार नियंत्रण में चार प्रकार के प्रमुख बाजार थे- अलाउद्दीनने बाजार नियंत्रण नीति में कुल चार बाजार स्थापित किये- गल्ला मण्डी, सराय-ए-अदल, घोड़ो दासों एवं मवेशियों का बाजार एवं सामान्य बाजार इसमें गल्ला-ए-मण्डी सबसे सफल रही। • गल्ला बाजार ( अनाज मंडी ) – इस बाजार में विभिन्न प्रकार के अनाज राज्य द्वारा तय किये गये मूल्यों पर बेचे जाते थे।इस बाजार का प्रमुख शहना-ए-मण्डी होता था। इस बाजार में वे व्यापारी ही अनाज बेचते थे जो शहना-ए-मंडी के दफ्तर में नामांकित ( रजिस्टर्ड ) हो। इस बाजार में अनाजों की आपूर्ति सुलभ कराने के लिये अलाउद्दीन ने नकद की बजाय भू-राजस्व में अनाज के रूप में कर वसूला तथा बंजारों को गांवों से इन मंडियों तक अनाज लाने के लिये अधिकृत किया। अलाउद्दीन खिलजी के समय शहना-ए-मंडी के पद पर मलिक काबुल स्थापित था। • सराय-अदल ( कपङा बाजार )- इस बाजार में विभिन्न प्रकार के कपङों के अलावा जङी-बूंटी, घी, तेल आदि वस्तुयें भी बेची जाती थी। इस का प्रमुख राय परवाना कहलाता था। इस बाजार में ...

The visitors this Saturday bear the impressions of Khilji from Padmaavat to his tomb. It is a sunny Saturday winter afternoon, and Qutb Complex is teeming with people, including Indian and foreign tourists, photographers and a new breed of Instagrammars, travel bloggers, children, love-struck couples, families, and young boys and girls celebrating their birthdays. Walking past the towering corbelled arched gateways of Quwwat-ul-Islam Masjid, considered North India’s first mosque and built by Iltutmish nearly 800 years ago, in the shadow of the 238-ft-tall Qutb Minar, a young woman nudges her husband, pointing to a red sandstone block, supplanted on a green cover. “Dekhiye naa, Khilji ka maqbara (See, Khilji’s tomb),” she says. “Oh, the same Padmavati one,” her husband reacts, and as the two look at each other, the frowns on their faces leave little to the imagination about their disdain for the Sultan. Glancing at the tomb, she adds, “Lagta hi nahin hai ki raja ka maqbara hai (It doesn’t look anything like a king’s tomb).” The husband replies with a paused “hmmm”, and both move on. Alauddin Khilji, the Sultan of India, the man who aspired to be the ‘Second Alexander’ — 1,600 years after the first — lies in that 16 ft by 12 ft enclosure, on a 7ft by 4 ft stone pedestal. Surrounded by thick walls once made of limestone and rocks but now eroded, baring the sharp-edged rocks underneath, and under an open sky after the roof over him crumbled. Seven hundred years after he lorded...

If you do not believe that Ranveer Singh in Sanjay Leela Bhansali’s upcoming Padmavati and Om Puri in Shyam Benegal’s 1980s television series Bharat Ek Khoj are both playing Delhi Sultanate ruler Alauddin Khilji, you are forgiven. Singh’s Khilji appears to be a frontier savage who snarls maniacally when he is not wrestling bare-bodied or devouring meat like it is his last meal. Puri plays Khilji like a practical statesman who spends his days consulting his ministers to find ways to tax the rich, fix the prices of grains, and allocate more resources to his armies. Play Padmaavat (2018). While the Khilji of Padmavati likes to be semi-clothed in furs and would look more at home in Essos from Game of Thrones than 14th century Delhi, Puri’s Khilji is always dressed in royal garb and appears to have leapt out of the history books. These two characters share but a name, and are as similar as the sun and the moon. The different approaches draw from the same source material: Malik Muhammad Jayasi’s sixteenth-century epic poem Padmavat. Right in the beginning of the second and final Bharat Ek Khoj episode in which Khilji appears, the narrator (also Om Puri) reminds audiences that the saga of Rajput valour described in Padmavat is illustrative of the traditions of the time and not of historical accuracy. Ranveer Singh in Padmavati and Om Puri in Bharat Ek Khoj. Khilji appears in episodes 25 and 26 of Bharat Ek Khoj, which was telecast on Doordarshan in 1988 and 1989. The episodes for...

There is a lot of controversy regarding Alauddin Khilji in the wake of the new Bollywood film, “Padmavati,” which purports to depict Khilji’s conquest of Chittor in 1303 and his supposed obsession with Rani Padmini of Chittor (most of it based on a poem of questionable authenticity). Alauddin Khilji was one of India’s greatest kings and one of the world’s greatest military geniuses. He was born in Delhi in 1266 AD (and hence an Indian; not a foreign invader) and ruled as Sultan of Delhi from 1296 AD – 1316 AD. Khilji greatly expanded the empire that he inherited from his uncle, Sultan Jalaluddin Khilji, after killing him. Because many of his conquests were of Hindu kingdoms, including the kingdoms of Chittor, Devgiri, Warangal (from where he acquired the famous Kohinoor diamond), Gujarat, Ranthambore, and the Hoysala and Pandya kingdoms, Khilji is often seen as a villain by Hindutva groups. But, in fact, India owes a great debt to Alauddin Khilji. This is because during his rule, the Mongols of the Chagatai Khanate invaded India. Khilji, by his military brilliance, managed to defeat the Mongols not once, but *five* times: in 1298 AD (led by Ulugh Khan, and inflicting 20,000 casualties on the Mongols), 1299 AD in Sindh (led by Zafar Khan), 1299 AD in Delhi (leading the army himself against the Mongols), 1305 AD (led by Malik Nayak, and inflicting 8000 casualties on the Mongols), and 1306 AD (led by Malik Kafur); and a “draw” in the sixth Mongol invasion of 1303 AD (again pe...

1 / 5 No record in contemporary history Ramya Sreenivasan, an associate professor of history at the University of Pennsylvania and the author of a book on Padmavati, The Many Lives of a Rajput Queen: Heroic Pasts in Indian History c. 1500-1900 (Permanent Black), writes: “Amir Khusrau (1253–1325) provides the earliest account of Alauddin Khalji’s victory over Chitor in his Khazainul Futuh (Treasuries of Victories: completed 1311–12). As the sultan’s court poet and panegyrist, Amir Khusrau accompanied his patron on several military campaigns, including the siege of Chitor. His eyewitness account does not mention Padmini.” Sreenivasan says that even Ziauddin Barani, who chronicled Khalji reigns, does not mention Padmini/ Padmavati while describing Khalji’s conquest of Chittor in his Tarikh-i Firuzshahi. Barani writes: “Sultan Alauddin came out of the city with his army and marched to Chittor, which he invested and captured In a short time and then returned to Delhi.” 2 / 5 200 years later Padamavati appears in a text only in 1540, 224 years after the death of Alauddin Khilji, the Delhi sultan who ruled from 1296 to 1316. She is the heroine of Sufi poet Malik Muhammad Jayasi’s poem Padmavat, written in Awadhi. The story begins with a king, a princess and a parrot. Singhal princess Padmavati has a pet parrot called Hiraman. But Padmavati’s father gets enraged by their closeness and the frightened bird flies away and reaches the palace of Chittor king Ratnasen. Hearing the parro...