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‘Chauth’ was one-fourth (25%) of the land revenue of Mughal territories and neighboring states. Which dynasty’s rulers collected this tax?
The Maratha dynasty collected 'Chauth', which constituted one-fourth (25%) of the land revenue. This tax was a strategic and economic tool: it was collected from adjacent Mughal territories and Deccan states in exchange for a Maratha guarantee of protection from internal disturbances and external raRead more
The Maratha dynasty collected ‘Chauth’, which constituted one-fourth (25%) of the land revenue. This tax was a strategic and economic tool: it was collected from adjacent Mughal territories and Deccan states in exchange for a Maratha guarantee of protection from internal disturbances and external raids. The collection of Chauth formalized the Marathas’ role as power brokers in the Deccan and beyond, demonstrating their ability to dictate terms even outside their formal borders.
See lessShivaji collected ‘Sardeshmukhi’ on the basis that he was the hereditary ‘Sardeshmukh’ (chief headman) of Maharashtra. What percentage of the revenue did ‘Sardeshmukhi’ constitute?
'Sardeshmukhi' was an additional levy, constituting 10% of the land revenue, collected by Shivaji and his successors. This levy was based on the assertion that the Maratha ruler was the hereditary Sardeshmukh of the entire Deccan. Unlike Chauth, which was military protection money, Sardeshmukhi wasRead more
‘Sardeshmukhi’ was an additional levy, constituting 10% of the land revenue, collected by Shivaji and his successors. This levy was based on the assertion that the Maratha ruler was the hereditary Sardeshmukh of the entire Deccan. Unlike Chauth, which was military protection money, Sardeshmukhi was a claim of sovereign or proprietary right over the land. Its collection was a bold and direct challenge to the territorial sovereignty of the Mughal Emperor.
See lessWhat were the permanent cavalry and temporary cavalry called during the Maratha period?
During the Maratha period, the cavalry was organized into two main groups. The Paga (or Bargir) constituted the permanent state cavalry. These troopers received their horses, arms and maintenance directly from the state and were paid a regular salary. The Silahdar constituted the temporary cavalry.Read more
During the Maratha period, the cavalry was organized into two main groups. The Paga (or Bargir) constituted the permanent state cavalry. These troopers received their horses, arms and maintenance directly from the state and were paid a regular salary. The Silahdar constituted the temporary cavalry. These soldiers owned their own horses and equipment and were typically attached to the army during campaigns, reflecting a more feudal or semi-feudal arrangement.
See lessHow many cavalrymen were under a ‘Havaldar’ in the Maratha cavalry? (A) 5 (B) 20 (C) 15 (D) 25
In the Maratha cavalry, the lowest commissioned officer, the Havaldar, was in command of a unit of 25 cavalrymen. This decimal organization was a hallmark of Shivaji’s military reforms. Above the Havaldar were the Jumledar (commanding five Havaldars), the Hazari (commanding ten Jumledars) and so on.Read more
In the Maratha cavalry, the lowest commissioned officer, the Havaldar, was in command of a unit of 25 cavalrymen. This decimal organization was a hallmark of Shivaji’s military reforms. Above the Havaldar were the Jumledar (commanding five Havaldars), the Hazari (commanding ten Jumledars) and so on. . This standardized, structured hierarchy ensured excellent discipline and rapid maneuverability, contributing significantly to their military success.
See lessWhich musical instrument did the Mughal Emperor Aurangzeb play?
Mughal Emperor Aurangzeb was a skilled player of the Veena (or Vina), a classical Indian string instrument. This fact stands in sharp contrast to his public policy: Aurangzeb, adhering to orthodox Islamic views, abolished singing and instrumental music at the imperial court. He even ordered the buriRead more
Mughal Emperor Aurangzeb was a skilled player of the Veena (or Vina), a classical Indian string instrument. This fact stands in sharp contrast to his public policy: Aurangzeb, adhering to orthodox Islamic views, abolished singing and instrumental music at the imperial court. He even ordered the burial of the musical instruments, stating that music should be buried deep. His personal proficiency with the Veena, however, demonstrates the persistence of cultural interests within the royal family.
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