Portrait of Emperor Maximilian I), although succession stays within the state royal family. In 1967, after the death of Tuanku Munawir, his son, Tunku Muhriz was not selected as the next Yamtuan Besar because of his youth. Instead, the Chieftains elected his uncle, Tuanku Jaafar, to succeed his father. In 2008, upon the death of Tuanku Jaafar, the Chieftains passed over Jaafar's sons and elected Tunku Muhriz as the next ruler. In Perak, the throne is rotated among three branches of the royal family. The system originated in the 19th century during the reign of the 18th Sultan of Perak, when it was decided 	Monarchies of Malaysia
3274487	that the throne would rotate among his three sons and their descendants. There are six positions in the order of succession, appointed by the reigning Sultan advised by his Royal Council. Traditionally, the eldest son of the reigning Sultan is placed at the end of the line. When a vacancy occurs in the line of succession, the persons behind in line is typically moved up, and the branch that formerly held the vacant seat is skipped. However, the order of succession is subjected to alteration by the Sultan and his Royal Council. For example, in 1987, Sultan Azlan Shah appointed 	Monarchies of Malaysia
3274488	his eldest son, Raja Nazrin Shah as the Raja Muda (first in line to the throne), bypassing the candidates from the other two branches. The appointment was due to the demise of the previous Raja Muda, Raja Ahmed Sifuddin, and the renouncement of the Raja Di-hilir (second in line to the throne), Raja Ahmad Hisham, for health reasons. The Yang di-Pertuan Agong is elected by and among the nine rulers (excluding minors) every five years or when a vacancy arises (by death, resignation, or deposition by majority vote of the rulers). The Yang di-Pertuan Agong serves a 	Monarchies of Malaysia
3274489	maximum of five years, and may not be re-elected until after all the other states had taken their turns. When the office was established in 1957, the order of seniority of the rulers was based on the length of their reigns on the state thrones. When the first cycle of rotation was completed in 1994, the order of the states in the first cycle became the basis of the order for the second cycle. Consorts. The title of the consort of a monarch is not generally fixed and not automatically obtained by courtesy. A consort may only use a 	Monarchies of Malaysia
3274490	title if it is granted to her either by order of the ruler or during a coronation ceremony. The consorts of different states have different titles, some do not even receive one. The title of a consort in a state may also change depending on the ruler. For instance, the wife of Sultan Ismail Nasiruddin of Terengganu was known as the Tengku Ampuan Besar, while the wife of his grandson Sultan Mizan Zainal Abidin is known as the Sultanah (formerly Permaisuri). Titles of consorts usually take the form Cik Puan, Raja Perempuan, Sultanah, Tengku Ampuan, Raja Permaisuri, Tengku Permaisuri, or 	Monarchies of Malaysia
3274491	Permaisuri. Royal capitals. The royal capitals are the cities and towns where the official residences of the rulers are situated. In some states, the royal capital is different from the administrative capital. The Yang di-Pertuan Agong resides in Kuala Lumpur. Monarchies of Malaysia The monarchies of Malaysia refer to the constitutional monarchy system as practised in Malaysia. The political system of Malaysia is based on the Westminster parliamentary system in combination with features of a federation. Nine of the states of Malaysia are constitutionally headed by traditional Malay rulers, collectively referred to as the Malay states. State constitutions limit 	Monarchies of Malaysia
3274492	Portrait of Emperor Maximilian I Portrait of Emperor Maximilian I The Portrait of Emperor Maximilian I is an oil painting by Albrecht Dürer, dating to 1519 and now at the Kunsthistorisches Museum of Vienna, Austria. It portrays the emperor Maximilian I. History. In the Spring of 1512, the newly elected emperor Maximilian I of Habsburg sojourned in Nuremberg, where he got acquainted with Dürer. To celebrate the emperor and his house, the artist conceived the large Triumphal Arch" woodcut, for which he was rewarded with 100 yearly florins. In 1518, during the Diet of Augsburg, Maximilian called Dürer to portray him. The artist met the  emperor in the castle and made a pencil drawing of him, from which he later painted the panel portrait. On the drawing's margin, he noted: "Is the emperor Maximilian that I Albrecht Dürer portrayed in Augsburg, up in the high palace, in his small room, Monday 28 June 1518". The oil panel was completed when the emperor had already died, with some variants from the initial drawing. The latter is now housed in the Albertina, Vienna. Description. The emperor is portrayed from three-quarter on a green background. The arms lie on an unseen parapet coinciding with the lower  boundary of the painting, according to the Flemish painting tradition. His left hand holds a large pomegranate (his personal symbol), a symbol of cohesion in diversity and thus of the Holy Roman Empire (the grains representing his subjects). According to Stabius's explanation on the "Arch of Honour", the symbolism behind the pomegranate is like this, "although a pomegranate's exterior is neither very beautiful nor endowed with a pleasant scent, it is sweet on the inside and is filled with a great many well-shaped seeds. Likewise the Emperor is endowed with many hidden qualities which became more and  more apparent each day and continue to bear fruit." Maximilian wears a gown with a very wide fur collar and a broad-brimmed dark hat, with a brooch in the center. His grey hair crown his aged (Maximilian was 59 at the time) but still aristocratic face. In the upper left is the Habsburg coat of arms and Golden Fleece chain, near a long inscription in capital characters which gives the titles and the deeds of the emperor. Comparation with related works of Albrecht Dürer. Katherine Crawford Luber compares the more famous Vienna painting, likely a commission from Maximilian himself , with the Nuremberg version, possibly a processional banner created for the coronation of Charles V. The Nuremberg shows a younger Maximilian with more emphasized symbols of Office and Rule (whereas the Vienna painting does not even show the Order of the Golden Fleece). He is presented in half-length with his hands in a hieratic, axial position. The intimate meeting with Maximilian "high up in the palace in his tiny little cabinet" seemed to leave an impression on Dürer. Luber opines that the woodcut "The draughtsman drawing a portrait" he produced later reflected this meeting. The man enthroned was cradling  an orb just like Maximilian was holding his pomegranate. Luber writes: The significance of Dürer’s Maximilian portraits cannot be divined from their surface appearances alone. An understanding of how Dürer made the versions, repeating a single image, but disguising the repetitions, his crucial to interpretation of the portraits. Dürer’s ability to synthesize the representational, political, and anagogical aspects of portraiture in a single series of productions bears further testimony to his creative genius. In this unique group of portraits — drawing, woodcut, and two paintings – equivalence and variation converge within an unchanging structure as Dürer reveals and masters  the complex task of Imperial portraiture. Portrait of Emperor Maximilian I The Portrait of Emperor Maximilian I is an oil painting by Albrecht Dürer, dating to 1519 and now at the Kunsthistorisches Museum of Vienna, Austria. It portrays the emperor Maximilian I. History. In the Spring of 1512, the newly elected emperor Maximilian I of Habsburg sojourned in Nuremberg, where he got acquainted with Dürer. To celebrate the emperor and his house, the artist conceived the large "Triumphal Arch" woodcut, for which he was rewarded with 100 yearly florins. In 1518, during the Diet of Augsburg, Maximilian called Dürer to