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Basilica of Our Lady of Good Health

2026-05-07T04:18:49Z

Giispune: put up first post and citations

{{Use dmy dates|date=July 2020}}
{{Use Indian English|date=July 2020}}
{{Infobox church
| name = Basilica of Our Lady of Good Health
| fullname = Shrine Basilica Vailankanni
| image = Velankanni Church 2026.jpg
| landscape =
| caption = [[Façade]] of the shrine, 2026
| location = [[Velankanni]], [[Tamil Nadu]]
| country = [[India]]
| coordinates = {{coord|10|40|48|N|79|50|59|E|display=inline,title}}
| pushpin map = India
| denomination = [[Catholic Church]] 
| sui iuris church = [[Latin Church]]
| churchmanship =
| membership =
| attendance =
| website = https://vailankannishrine.net/
| former name =
| bull date =
| founded date =
| founder =
| dedication = [[Our Lady of Good Health]]
| dedicated date =
| consecrated date = 1962
| cult =
| relics =
| events =
| past bishop =
| people =
| status = [[Minor basilica]]
| functional status = Active
| heritage designation =
| designated date =
| architect =
| architectural type = [[Gothic architecture|Gothic]]
| diocese = [[Roman Catholic Diocese of Tanjore|Tanjore ''(Thanjavur)'']]
| archbishop = [[Francis Kalist]]
| bishop = [[Sagayaraj Thamburaj]]
| rector = Rev. Fr. C.Irudayaraj
| priest = Arputharaj S, Vice-Rector and parish priest
| serversguild =
| logo =
}}
The '''Basilica of Our Lady of Good Health''', also known as '''Sanctuary of Our Lady of Velankanni''', is a [[Christian]] [[Shrines to the Virgin Mary|shrine]] located at the town of [[Velankanni]], [[Tamil Nadu]], [[India]]. The shrine is dedicated to the [[Mary, mother of Jesus|Blessed Virgin Mary]].

The devotion has existed since the mid-sixteenth century, it is attributed to three separate events which occurred at the site: The [[Marian apparition|apparition]] of the [[Madonna and Child]] to a slumbering shepherd boy, the [[miraculous]] healing of a [[disability|handicapped]] buttermilk vendor and the rescue of [[Portuguese India Armadas|Portuguese sailors]] from a deadly sea storm.

Initially, a modest chapel was built by the [[Portuguese in Goa and Bombay|Portuguese from Goa and Bombay]], soon after they washed ashore safely in spite of a severe [[storm|tempest]]. An annual [[novena]] is celebrated and draws nearly 5 million pilgrims each year.

[[Pope John XXIII]] raised the Marian shrine to the status of a [[minor basilica]] via the [[Decretum laudis|pontifical decree]] ''Salutem Supplicibus Dilargiens'', signed & notarised on 3 November 1962. He called the shrine "the [[Lourdes]] of the East" due to the massive influx of [[pilgrim]]s.

==History==
[[File:Our Lady of Velankani.png|thumb|alt=Velankani Drav Mata.| ''Velankanni Maatha: அன்னை, Drav-Tarani Aṉṉai, द्रवतारणी'', [[Star of the Sea]]s]]

Marian apparitions at Velankanni include three of the Virgin of Velankanni in the 16th century, according to oral lore and popular belief. The third noteworthy incident is the reported miraculous rescue of the Portuguese in Goa and Bombay-Bassein, who were sailing away from a deadly monsoon surge and tempest, in the [[Bay of Bengal]] in the late 17th century.<ref name="history">[http://vailankanni.info/marian-apparitions/ History of the basilica on its home page] {{webarchive |url=https://web.archive.org/web/20071203024943/http://www.vailankannishrinebasilica.org/vailankannishrinebasilica/shrine-history.htm |date=3 December 2007}}</ref>

[[File:MadhaKulam.JPG|thumb|This well/pool is situated where the first apparition had occurred.]]

The first Marian apparition is said to have occurred in May 1570, when a local shepherd boy was delivering milk to a nearby house. Along the way he met a beautiful woman holding a child, who asked for some milk for the child. After giving her some milk, he continued on under the hot tropical sun, upon finishing his deliveries he found that the jug was still full of fresh and cool milk. A small shrine was built near the site where the boy encountered the woman, a location that came to be called ''Maatha Kulam'', which means "Mother's well" in [[Tamil language]].<ref name=cvoice>[https://web.archive.org/web/20110213110628/http://www.catholicvoice.ie/features/2009/08/02/our_lady_of_health_velankanni_india Thomas, William. "Our Lady of Health, Velankanni, India", ''Catholic Voice'', 2 August 2009]</ref>

The second Marian apparition is said to have happened in 1597, not far from ''Maatha Kulam''. A beautiful woman with a child in her arms appeared to a crippled boy selling buttermilk. The child asked for a drink of buttermilk. After he drank it, the woman told the boy to visit a gentleman in the next town and ask him to build a chapel in her honour at that location. As the boy set out he realised he had been healed and was no longer lame. A small thatched chapel was built shortly thereafter in honour of "Our Lady of Good Health" or ''Aarokia Maatha'' in Tamil.<ref name=cvoice/>

The third notable incident occurred when a Portuguese ship sailing from [[Macao]] to [[Ceylon (Sri Lanka)]] was caught in extreme weather in the Bay of Bengal. The terrified sailors invoked the aid of the Virgin Mary under her title [[Our Lady, Star of the Sea]]. The raging storm suddenly subsided and the entire crew of 150 on board the ship were saved from [[capsizing]]. This happened on 8 September, the feast day of the [[Nativity of Mary]]. In thanksgiving the sailors rebuilt the shrine, and continued to visit and donate to the cause of the shrine whenever their voyages brought them to the area.<ref name=cvoice/>

The shrine that began as a thatched chapel in the mid-sixteenth century and became a [[parish church]] in 1771, when [[Roman Catholicism in India|Indian Catholics]] were persecuted in the erstwhile [[Dutch Coromandel]], after the [[Luso-Dutch war]] was waged by [[Dutch Protestant]]s.<ref name="tn">[http://www.nagapattinam.tn.nic.in/church.html VAILANKANNI – an Overview] {{Webarchive|url=https://web.archive.org/web/20070929150158/http://www.nagapattinam.tn.nic.in/church.html |date=2007-09-29 }} on [[Tamil Nadu]] government website</ref>

In August 2024, the [[Dicastery for the Doctrine of the Faith]]'s Cardinal [[Víctor Manuel Fernández]] confirmed to Bishop [[Roman Catholic Diocese of Tanjore|Sagayaraj Thamburaj]], [[Pope Francis]]' approval of the devotion to [[Our Lady of Good Health]] at the Basilica of Our Lady of Good Health.<ref>{{cite news |last1=Millare |first1= Kristina |title=Vatican Approves India's Sanctuary of Our Lady of Good Health Ahead of Shrine's Feast Day|url=https://www.ncregister.com/cna/vatican-approves-india-s-sanctuary-of-our-lady-of-good-health-ahead-of-shrine-s-feast-day |accessdate=August 10, 2024 |publisher= [[National Catholic Register]]|date=August 8, 2024}}</ref>

== Significance and pilgrimage ==
{{See also|Mannat}}
[[File:Shrine basilica vailankanni.jpg|thumb|The basilica with a flag visible in the background]]
For [[Goan people|Goan]] and [[Konkani people]], she is called [[Shantadurga]] ("most compassionate one").<ref>Margaret Meibohm [http://repository.upenn.edu/dissertations/AAI3138054/ Cultural complexity in South India: Hindu and Catholic in Marian pilgrimage] University of Pennsylvania</ref>{{or|date=October 2021}} This especially includes use of ''Kotimaram'' or ''[[Dwajasthamba]]'', which has been described as an extended influence of Hinduism on Catholicism, thus making the basilica a meeting point of two of the major religions of the world.<ref>D Mosse ''Catholic Saints and the Hindu Village Pantheon in Rural Tamil Nadu, India'', Royal Anthropological Institute of Great Britain and Ireland</ref><ref>Corinne G Dempsey, Selva J. Raj [https://books.google.com/books?id=zv42cV5dQmYC&dq=Velankanni+Hindu&pg=PA27 ''Popular Christianity in India: Riting Between the Lines''] State University of New York press.</ref>

The church is dedicated to Our Lady of Good Health. The Virgin Mary is depicted wearing a [[sari]]. The usual times for pilgrimage are during the annual festival between 29 August to 8 September, [[Holy Week]] and Christmas.<ref>[https://web.archive.org/web/20110629014331/http://www.hindu.com/2006/12/25/stories/2006122505140300.htm "Thousands of pilgrims throng Velankanni for Christmas"] news from ''The Hindu''</ref> Some pilgrims, instead of using a mode of transport, perform "walking pilgrimages" to it.<ref>{{Cite news|url=https://timesofindia.indiatimes.com/city/chennai/More-than-20000-devotees-walk-to-Velankanni-ahead-of-flag-hoisting/articleshow/22130361.cms|title=More than 20,000 devotees walk to Velankanni ahead of flag-hoisting – Times of India|website=[[The Times of India]] |date=29 August 2013 |access-date=2016-09-13}}</ref> They attend [[Mass (Catholic Church)|mass]], [[novena]]s, flag-hoisting and carry a ''[[palanquin]]'' of Mary in a procession. A major event is the procession, where only women are allowed to pull the first car and a statue of Mary is in the last and most decorated one. People of other religions also take part.<ref name=":0" /> The pilgrims sometimes [[Tonsure|shave their heads]] as an offering and perform [[Ear piercing|ear-piercing]] ceremonies, both being Hindu traditions. Another ritual considered sacred is dipping oneself in the pond. There is a holy flag which is lowered to signal the end of the festival.<ref>{{Cite news|url=https://indianexpress.com/article/mumbai/melting-pot-taking-a-trip-to-velankanni-to-find-solace-in-mother-mary/|title=Melting pot: Taking a trip to Velankanni, to find solace in Mother Mary|newspaper=The Indian Express|first=Neha|last=Kulkarni|date=2016-08-29|access-date=2020-07-05}}</ref><ref>{{Cite news|url=https://www.thehindu.com/news/cities/Tiruchirapalli/thousands-throng-velankanni-to-take-part-in-the-grand-car-procession/article9082163.ece|title=Thousands throng Velankanni to take part in the grand car procession|date=2016-09-08|newspaper=The Hindu|language=en-IN|issn=0971-751X|access-date=2016-09-13}}</ref>

Due to the number of pilgrim visits during festival season, the [[Indian Railways]] introduced special train services to the town of [[Velankanni Town|Velankanni]].<ref>{{Cite news|url=https://timesofindia.indiatimes.com/city/chennai/special-trains-for-velankanni-festival-rush/articleshow/53865745.cms|title=Special trains for Velankanni festival rush – Times of India|website=[[The Times of India]] |date=26 August 2016 |access-date=2016-09-13}}</ref>

==Architecture==

[[File:Velankanni Basilica complex.png|thumb|Layout of the basilica complex: 1. Basilica, 2. ''Nadu Thittu'' shrine, site of second apparition, 3. Adoration & Reconciliation chapel, 4. Our Lady's Pond, site of first apparition, 5. [[Stations of the Cross]], 6. Mysteries of the [[Rosary]], 7. the [[Sacraments]]]]
The basilica is built in the [[Gothic architecture|Gothic]] style of architecture. The southern side was extended in 1928 and the northern in 1933.<ref name="archi1">{{usurped|1=[https://web.archive.org/web/20071009055016/http://www.vailankannichurch.org/about-vailankanni.htm About Velankanni]}} on www.velankannichurch.org.</ref> The Shrine Basilica contains three chapels, as well as Our Lady's Tank, Church Museum, Priests' Residence, Offering Center, [[Stations of the Cross]], mysteries of the [[rosary]], Shrine Mega Mahal and Vailankanni Beach. The building is painted in white, except for the roof that is made of red tiles.

[[File:Annai Velankanni Church.webm|thumb|Annai Velankanni Church]]
[[File:Annai Velankanni Feast 2012.webm|thumb|Annai Velankanni Feast 2012]]
The early part of the 20th century marked rivalry between [[Jesuits]] and [[Order of Friars Minor|Franciscans]] regarding their influence on missionary work in Velankanni. In 1928, the Jesuit Church of the Immaculate Heart of Mary was demolished and the statues were brought to the Shrine of Our Lady of Good Health; in 1933 the shrine was expanded with two new wings, to the right and to the left of the 'Main Altar', meeting the nave at right angles.<ref name="velaboutchurch"/>

A spacious vestry was provided immediately behind the altar. Thus the entire sacred edifice began to assume the shape of a Latin cross. Right over the center of the ancient main altar was the miraculous image of Our Lady of Good Health.<ref name="velaboutchurch"/>

In 1956, a new welcome arch was blessed and opened by Bishop [[Rajarethinam Arokiasamy Sundaram]]. The illuminated arch stood to show the way to eager pilgrims who sought the protection of Mary. In January 1961, a new central [[altar]], executed in white marble, replaced the former one made of cement concrete.<ref name="archi1"/> In 1974–75, an extension of the basilica was built behind the existing central altar to accommodate the multilingual pilgrims. The extension included a two-storied church with {{convert|93|ft|m}} high [[dome]] and {{convert|82|ft|m}} high gothic spirals.<ref name="velaboutchurch"/> It was designed to resemble the [[Sanctuary of Our Lady of Lourdes|Basilica]] in Lourdes, France.<ref name=":0">[https://web.archive.org/web/20050510113156/http://www.hindu.com/2005/05/08/stories/2005050800720300.htm All roads lead to Velankanni] on ''The Hindu'' news.</ref>

==List of parish priests==
The basilica first became a parish in 1771.<ref name="tn"/> The list of parish priests (mainly [[Portugal|Portuguese]]) from 1771 until now is as follows:<ref name="velaboutchurch">[http://www.velankannichurch.com/pages/aboutchurch/aboutchurch.html About Church] {{Webarchive|url=https://web.archive.org/web/20121122121922/http://www.velankannichurch.com/pages/aboutchurch/aboutchurch.html |date=2012-11-22 }} on VelankanniChurch.com</ref>
{| class="wikitable"
|+List of Parish priests of the basilica
!S.no
!Year
!Month
!Parish Priest
!Notes
|-
|1
|1771
|Sep
|António do Rosário
|
|-
|2
|1774
|Aug
|José de Santa Rosa de Viterbo
|
|-
|3
|1777
|Jul
|António do Rosário, Commissary
|
|-
|4
|1779
|Sep
|Luís dos Remédios
|
|-
|5
|1783
|Jan
|António do Rosário, Commissary
|
|-
|6
|1788
|Dec
|António de Jesus Maria José
|
|-
|7
|1789
|Sep
|António do Rosário, Commissary
|
|-
|8
|1792
|Sep
|José de Santa Rosa de Viterbo, Commissary
|
|-
|9
|1814
|May
|Constaantino de Jesus Maria, Commissary
|
|-
|10
|1819
|May
|Tomás da Piedade
|
|-
|11
|1822
|Feb
|Francisco Xavier Mascarenhas
|
|-
|12
|1822
|Aug
|Francisco das Dores
|
|-
|13
|1824
|May
|Felipe de Jesus
|
|-
|14
|1825
|Sep
|Francisco Dos Dores
|
|-
|15
|1828
|Jun
|Felipe de Jesus
|
|-
|16
|1829
|May
|Clemente das Dores
|
|-
|17
|1847
|Oct
|Isidoro Manuel Alemão
|
|-
|18
|1858
|Apr
|José Felix Fernandes, AG.PP
|
|-
|19
|1863
|Nov
|Felipe de Nery Joaquim Dias
|
|-
|20
|1876
|May
|Inácio António de Andrade
|
|-
|21
|1886
|Aug
|Miguel Francisco Fernandes
|
|-
|22
|1890
|Dec
|Joaquim José, Ag. P. Vic. Nagapattinam
|
|-
|23
|1891
|Feb
|Guilherme José Dias
|
|-
|24
|1892
|Dec
|Joaquim José Luís, Ag. P. Vic. Nagapattinam
|
|-
|25
|1893
|Mar
|Martinho Valeriano de Sá
|
|-
|26
|1899
|Sep
|Joaquim Francisco da Piedade Dias
|
|-
|27
|1900
|Aug
|Camilo Fernandes
|
|-
|28
|1910
|Jun
|Sebastião Xavier de Noronha
|
|-
|29
|1942
|Sep
|M. V. Rodrigues
|
|-
|30
|1963
|Jun
|S. Maria Soosai
|
|-
|31
|1980
|Sep
|Tomás Vaz
|
|-
|32
|1982
|Sep
|S. L. Gabriel
|
|-
|33
|1990
|May
|M.M. Sammanasu
|
|-
|34
|1997
|Jun
|G. Arul Iruthayam
|
|-
|35
|2003
|Jun
|P. Xavier
|
|-
|36
|2009
|Jun
|A. Michael
|
|-
|37
|2015
|Jun
|A.M.A. Prabakar
|
|-
|38
|2021
|Nov
|C. Irudayaraj
|
|}

==Gallery==
<gallery heights="160">
File:Basilica of Our Lady of Good Health in Velankanni, Tamil Nadu Entrance.jpg|Basilica of Our Lady of Good Health in Velankanni, Tamil Nadu - entrance
File:Basilica of Our Lady of Good Health in Velankanni, Tamil Nadu.jpg|Basilica of Our Lady of Good Health in Velankanni, Tamil Nadu
File:VeilankanniChurchExtn.jpg|Velankanni - basilica extension
File:VeilankanniPond.JPG|Velankanni Church pond
File:Holy path Vailankanni.jpg|Pilgrims walking on their knees towards the pond
File:VeilankanniAdorationCenter.jpg|Velankanni - Adoration Center
File:Vailankanni Basilica.JPG|Velankanni Basilica
File:VelankanniPanorama.jpg|Velankanni Basilica - a panoramic side view - church and church extension seen at a stretch
File:Main-Church-Left-Side-View-Veilankanni.JPG|Velankanni Basilica - side left side view
File:Velankanni Flagpole.jpg|Flag pole at the church
File:Velankanni Apostalic Brief.jpg|alt=Velankanni Apostalic Brief|Velankanni apostolic brief
File:Velankanni proclamation Inscription.jpg|Velankanni proclamation Inscription
</gallery>

== In popular culture ==
The basilica is a recurring setting in the Tamil film ''[[Annai Velankanni]]'' (1971). It also appears as a minor setting in the [[Malayalam cinema|Malayalam-]]Tamil bilingual film ''[[Nanpakal Nerathu Mayakkam]]'' (2022) and the Malayalam film ''[[Pulimada]]'' (2023).

==See also==
*[[Roman Catholic Diocese of Tanjore]]
*[[List of basilicas in India]]
*[[Basilica of Our Lady of Health, Harihar]]
*[[Marian apparitions#Apparitions with no or undocumented approval|Marian apparition]]
*[[Christianity in Tamil Nadu]]

==References==
{{reflist}}

==External links==
{{commons category|Basilica of Our Lady of Good Health}}
* [https://www.vailankannishrine.net/ Sanctuary of Our Lady of Vailankanni] – Official website
* [https://vailankannishrine.tv/ Marian Shrine of Vailankanni TV] – Live streaming
* [https://medium.com/@weareji/lourdes-of-the-east-96314c5a01e7 Lourdes of the East]

{{Nagapattinam district}}
{{Basilicas in India}}

[[Category:Shrines to the Virgin Mary|Good Health]]
[[Category:Roman Catholic church buildings in Tamil Nadu]]
[[Category:Catholic pilgrimage sites]]
[[Category:Basilica churches in Tamil Nadu|Our Lady of Good Health]]
[[Category:Churches in Nagapattinam district]]
[[Category:Roman Catholic shrines in India]]

Lojja

2026-05-06T21:28:36Z

Giispune: starting the info needs work

{{Short description|Indian Bengali drama series}}
{{Use dmy dates|date=August 2025}}
{{Use Indian English|date=August 2025}}
{{Infobox television
| image = Lojja 2 poster.jpg
| caption = Release poster
| alt_name =
| genre = [[Drama (film and television)|Social Drama]]
| creator = Samragnee Bandyopadhyay
| developer =
| based_on =
| writer = Samragnee Bandyopadhyay
| screenplay = Samragnee Bandyopadhyay
| director = Aditi Roy
| creative_director =
| starring = {{Plainlist|
* [[Priyanka Sarkar]]
* Anujoy Chattopadhyay
* [[Indrasish Roy]]
* Saoli Chattopadhyay
* [[Anindita Bose]]
* [[Dipankar Dey]]
}}
| judges =
| voices =
| narrator =
| theme_music_composer = Subhadeep Guha
| open_theme =
| end_theme =
| composer = Subhadeep Guha
| country = India
| language = Bengali
| num_seasons = 2
| num_episodes = 12
| list_episodes =
| executive_producer =
| producer =
| editor = Subhajit Singha
| location =
| cinematography = {{ubl|Alok Maity - Season 1|Ramyadip Saha - Season 2}}
| camera =
| runtime =
| company = [[Shree Venkatesh Films]]
| first_aired = {{Start date|2024||}}
| last_aired = present
| related =
}}

'''''Lojja''''' ({{Translation|'''''Shame'''''}}) is an Indian Bengali [[Drama (film and television)|social drama]] web series directed by Aditi Roy and written by Samragnee Bandyopadhyay. Produced by [[Shree Venkatesh Films]], the series deals with the themes of household verbal abuse, accompanying societal judgement and a woman's struggle to regain her lost dignity.<ref>{{cite news |last1=Rana |first1=Sayani |title=Lojja 2: এবার প্রিয়াঙ্কা বনাম অনিন্দিতা! 'লজ্জা ২'-এর ট্রেলারে দারুণ চমক, কোন ভূমিকায় থাকছেন দীপঙ্কর দে? |url=https://bangla.hindustantimes.com/entertainment/priyanka-sarkar-anindita-bose-s-series-lojja-2-trailer-is-out-know-the-release-date-31743599331508.html |archive-url=https://web.archive.org/web/20250823004411/https://bangla.hindustantimes.com/entertainment/priyanka-sarkar-anindita-bose-s-series-lojja-2-trailer-is-out-know-the-release-date-31743599331508.html |url-status=dead |archive-date=23 August 2025 |access-date=7 August 2025 |work=[[Hindustan Times]] |date=2 April 2025 |language=bn}}</ref>

The series stars [[Priyanka Sarkar]] in the lead role while Anujoy Chattopadhyay, Saoli Chattopadhyay, [[Indrasish Roy]], [[Anindita Bose]] and [[Dipankar Dey]] play other pivotal roles. Subhadeep Guha has composed the background score of the film. Two seasons of the series has been released till date and both of the seasons have aired on the Bengali OTT platform Hoichoi.<ref>{{Cite news |date=3 March 2025 |title='Lojja 2' trailer: Priyanka Sarkar's Jaya fights for survival in Hoichoi series |url=https://www.telegraphindia.com/entertainment/priyanka-sarkars-jaya-mounts-a-lone-battle-for-survival-in-the-trailer-for-hoichoi-series-lojja-2/cid/2092223 |access-date=6 August 2025 |work=[[The Telegraph (India)|The Telegraph]]}}</ref>

==Overview==
''Lojja'' focuses on how verbal abuse can have profound impact on an individual. While physical abuse is commonly fought against, many are not aware of verbal abuse and they are falling prey to them. Jaya, a victim of verbal abuse, slowly loses trust from her husband, in-laws, her only daughter and even her own mother and sister. She fights not only an abusive husband, but the whole society itself. Pushed to a limit after false allegations of her close friend's murder, she transforms from a timid and demure woman and decides to stand up for herself and regain her dignity.<ref>{{cite news |last1=Sen |first1=Subhadrika |title='Lojja Season 2' explores verbal abuse, misunderstandings; trailer out, series streaming from April 11 |url=https://www.indulgexpress.com/entertainment/tv/2025/Apr/02/lojja-season-2-explores-verbal-abuse-misunderstandings-trailer-out-series-streaming-from-april-11 |access-date=7 August 2025 |work=[[The New Indian Express|Indulge Express]] |date=2 April 2025}}</ref><ref>{{cite news |last1=Ganguly |first1=Kaushiki |title=Lojja OTT release date – Watch Priyanka Sarkar file for divorce due to verbal abuse on THIS platform |url=https://www.ottplay.com/news/lojja-ott-release-date-watch-priyanka-sarkar-file-for-divorce-due-to-verbal-abuse-on-this-platform/230a62228282 |access-date=7 August 2025 |work=[[HT Media|OTTplay]] |date=17 March 2024}}</ref>

==Cast==
* [[Priyanka Sarkar]] as Jaya Sinha
* Anujoy Chattopadhyay as Partha Sinha, Jaya's husband
* Srija Halum as Jaya and Partha's only daughter
* [[Indrasish Roy]] as Shourjya Roy, Jaya's close friend
* [[Koneenica Banerjee]] as a [[psychologist]]
* Indrajit Mazumder as Jaya's elder brother
* Namita Chakraborty
* Sneha Chatterjee as Jaya's elder brother's wife
* Kheyali Dastidar
* Saoli Chattopadhyay as Mou Mitra, Jaya's colleague
* [[Anindita Bose]] as Sneha Roy, Shourjya's wife and Partha's lawyer (Season 2)
* [[Dipankar Dey]] as Amartya Sengupta, Jaya's lawyer (Season 2)

==Episodes==
===Overview===
{{Series overview
| color1 = #000000
| link1 = Lojja#Season 1 (2024)
| episodes1 = 6
| released1 = {{Start date|2024|03|22|df=yes}}
| color2 = #383554
| link2 = Lojja#Season 2 (2025)
| episodes2 = 6
| released2 = {{Start date|2025|04|11|df=yes}}
}}

===Season 1 (2024)===
{{Episode table |background=#b30b0a |overall=5 |title=22 |director=20 |writer=20 |airdate=18 |episodes={{Episode list
|EpisodeNumber = 1
|Title = Grihoprobesh
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2024|03|22}}
|ShortSummary =
|LineColor = b30b0a
}}
{{Episode list
|EpisodeNumber = 2
|Title = Kotha
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2024|03|22}}
|ShortSummary =
|LineColor = b30b0a
}}
{{Episode list
|EpisodeNumber = 3
|Title = Ami Pagol Noi
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2024|03|22}}
|ShortSummary =
|LineColor = b30b0a
}}
{{Episode list
|EpisodeNumber = 4
|Title = Khanchay Bondi
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2024|03|22}}
|ShortSummary =
|LineColor = b30b0a
}}
{{Episode list
|EpisodeNumber = 5
|Title = Lojja Kore
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2024|03|22}}
|ShortSummary =
|LineColor = b30b0a
}}
{{Episode list
|EpisodeNumber = 6
|Title = Atmasamman
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2024|03|22}}
|ShortSummary =
|LineColor = b30b0a
}}
}}

===Season 2 (2025)===
{{Episode table |background=#b30b0a |overall=5 |title=22 |director=20 |writer=20 |airdate=18 |episodes={{Episode list
|EpisodeNumber = 1
|Title = Doibo picnic
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2025|04|11}}
|ShortSummary =
|LineColor = b30b0a
}}
{{Episode list
|EpisodeNumber = 2
|Title = Shorbonash-er ashay
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2025|04|11}}
|ShortSummary =
|LineColor = b30b0a
}}
{{Episode list
|EpisodeNumber = 3
|Title = Nirjatoner lingo hoy na
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2025|04|11}}
|ShortSummary =
|LineColor = b30b0a
}}
{{Episode list
|EpisodeNumber = 4
|Title = Ke apan ke por
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2025|04|11}}
|ShortSummary =
|LineColor = b30b0a
}}
{{Episode list
|EpisodeNumber = 5
|Title = Lojja amar noy
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2025|04|11}}
|ShortSummary =
|LineColor = b30b0a
}}
{{Episode list
|EpisodeNumber = 6
|Title = Nijer kachhe phera
|DirectedBy = Aditi Roy
|WrittenBy = Samragnee Bandyopadhyay
|OriginalAirDate = {{Start date|2025|04|11}}
|ShortSummary =
|LineColor = b30b0a
}}
}}

==Production==
===Announcement===
The second season was announced on 28 February 2025 along with 13 other web series in [[Shree Venkatesh Films|SVF]]'s ''Golper Parbon 1432''.<ref>{{cite news |title=SVF and Hoichoi roll out new slate of films and shows |url=https://t2online.in/screen/bengali/svf-and-hoichoi-roll-out-new-slate-of-films-and-shows/1355933 |access-date=12 August 2025 |work=[[The Telegraph (India)|t2 Online]] |date=28 February 2025}}</ref><ref>{{cite news |last1=Ramachandran |first1=Naman |title=Prosenjit Chatterjee, Dev Headline SVF and Hoichoi's Content Slate for 2025-26 |url=https://variety.com/2025/film/news/prosenjit-chatterjee-dev-svf-hoichoi-2025-26-slate-1236325954/ |access-date=12 August 2025 |work=[[Variety (magazine)|Variety]] |date=3 March 2025}}</ref> On 25 March 2025, the first individual announcement for the series was done.<ref>{{cite news |title=Tollywood actress Priyanka Sarkar set to return as Jaya in Hoichoi's 'Lojja' sequel |url=https://www.telegraphindia.com/entertainment/priyanka-sarkar-set-to-return-as-jaya-in-hoichois-popular-drama-series-lojja-2/cid/2090728 |access-date=7 August 2025 |work=[[The Telegraph (India)|The Telegraph]] |date=25 March 2025}}</ref><ref>{{cite news |last1=Majumder |first1=Rahul |title=রিবার-ই এবার শত্রু! জয়ার আরও তীব্র লড়াইয়ের গল্প নিয়ে কবে ফিরছে 'লজ্জা ২'? |url=https://www.aajkaal.in/entertainment/betrayed-by-family-priyanka-sarkar-starrer-lojja-2-returns-with-a-darker-twist-106846 |access-date=7 August 2025 |work=[[Aajkal]] |date=26 March 2025 |language=bn}}</ref> On 26 March 2025, an announcement video was released.<ref>{{cite news |title=The announcement video of Lojja 2 unveiled |url=https://timesofindia.indiatimes.com/entertainment/bengali/movies/news/the-announcement-video-of-lojja-2-unveiled/articleshow/119521920.cms |access-date=7 August 2025 |work=[[Times of India]] |date=26 March 2025}}</ref><ref>{{cite news |title=Hoichoi unveils announcement video of Priyanka Sarkar's Lojja 2 |url=https://www.neherald.com/showbiz/hoichoi-unveils-announcement-video-of-priyanka-sarkars-lojja-2 |access-date=7 August 2025 |work=North East Herald |date=26 March 2025}}</ref> It revealed that Jaya will be fighting a more isolated battle in the second season, with no one by her side as she is falsely accused of the murder of her close friend, Shourjya.<ref>{{cite news |title='Lojja 2' announced! Priyanka Sarkar's Jaya battles betrayal and isolation! |url=https://www.indulgexpress.com/entertainment/tv/2025/Mar/26/lojja-2-announced-priyanka-sarkars-jaya-battles-betrayal-and-isolation |access-date=7 August 2025 |work=[[The New Indian Express|Indulge Express]] |date=26 March 2025}}</ref><ref>{{cite news |title=এবার অপমানের বদলা নেওয়ার পালা ! কবে আসছে প্রিয়াঙ্কার 'লজ্জা 2' ? - LOJJA 2 DATE ANNOUNCEMENT |url=https://www.etvbharat.com/bn/!entertainment/lojja-2-date-announcement-priyanka-sarkar-anujoy-chattopadhyay-starrer-series-stremming-on-this-date-west-bengal-news-wbs25032601253 |access-date=7 August 2025 |work=[[ETV Network|ETV Bharat]] |date=26 March 2025 |language=bn}}</ref>

===Filming===
The filming of the second season was started in January 2025 and completed by March 2025.<ref>{{cite news |last1=মুখোপাধ্যায় |first1=উপালি |title='লজ্জা' সিরিজ়ের চরিত্রের সঙ্গে আমার জীবনের মিল খুঁজে পাই, খুব কষ্ট হয়েছিল: প্রিয়াঙ্কা |url=https://www.anandabazar.com/entertainment/actress-priyanka-sarkar-expresses-her-thought-on-web-series-lojja-2-and-her-personal-life-dgtl/cid/1594289 |access-date=7 August 2025 |work=[[Anandabazar Patrika]] |date=9 April 2025 |language=bn}}</ref> The first season has been mostly shot in [[Kolkata]]. Major parts in the second season have also been shot in [[Kolkata]] with a few scenes being shot at [[Bolpur]].<ref>{{cite news |last1=Dey |first1=Snigdha |title=প্রিয়াঙ্কার পাশে দাঁড়াবেন ইন্দ্রাশিস, লড়াই হবে আরও কঠিন! কবে আসছে 'লজ্জা'র দ্বিতীয় সিজন? |url=https://www.aajkaal.in/entertainment/priyanka-sarkar-and-indrasish-roy-going-to-shoot-for-hoichoi-series-lojja-season-2-which-directing-aditi-roy-ent-134649 |access-date=7 August 2025 |work=[[Aajkal]] |date=19 November 2024 |language=bn}}</ref>

==Themes==
*'''Verbal and psychological abuse'''
In our society, although physical domestic violence is spoken about, verbal abuse and its psychological effects are often not spoken about. The series shows how Partha constantly verbally abuses and demeans Jaya in front of the family, friends and even in the public places.<ref>{{cite news |last1=Poddar |first1=Atreyee |title=Priyanka Sarkar channels bold silence and strength in 'Lojja 2' |url=https://www.indulgexpress.com/entertainment/tv/2025/Apr/13/priyanka-sarkar-channels-bold-silence-and-strength-in-lojja-2 |access-date=7 August 2025 |work=[[The New Indian Express|Indulge Express]] |date=13 April 2025}}</ref> Often common in our society, verbal abuse is looked over. But in the series, Partha crosses the thin line between a joke and verbal abuse as well as the boundaries of marital relationship.<ref>{{cite news |last1=Chakraborty |first1=Shamayita |title=Talmar Romeo Juliet actor Anujoy Chattopadhyay: 'One day I want to perform like Irrfan Khan' |url=https://www.ottplay.com/interview/talmar-romeo-juliet-actor-anujoy-chattopadhyay-one-day-i-want-to-perform-like-irrfan-khan/61daae93f2490 |access-date=7 August 2025 |work=[[HT Media|OTTplay]] |date=17 November 2024}}</ref> It shows the devastating effects of mental trauma and stress that verbal abuse can have on the victim.<ref>{{cite news |last1=Sen |first1=Subhadrika |title=Here are six reasons to watch Lojja helmed by Priyanka Sarkar |url=https://www.indulgexpress.com/entertainment/tv/2024/Mar/22/here-are-six-reasons-to-watch-lojja-helmed-by-priyanka-sarkar |access-date=7 August 2025 |work=[[The New Indian Express]] |date=22 March 2024}}</ref><ref>{{cite news |title=The new Hoichoi series Lojja is a story of a woman's journey through endurance, negotiation and protest against verbal abuse |url=https://t2online.in/screen/bengali/the-new-hoichoi-series-lojja-is-a-story-of-a-woman-s-journey-through-endurance-negotiation-and-protest-against-verbal-abuse/836536 |access-date=7 August 2025 |work=[[The Telegraph (India)|t2 Online]] |date=20 March 2024}}</ref>

*''' Societal judgement and stigma'''
In our society, women are often asked to adjust; not just by her in-laws, but also by a woman's own family members, even her mother.<ref>{{cite news |title=ওরাই নির্লজ্জ... প্রিয়াঙ্কার তীর কাদের দিকে? - PRIYANKA SARKAR ON LOJJA 2 |url=https://www.etvbharat.com/bn/!entertainment/exclusive-priyanka-sarkar-talks-about-upcoming-web-series-lajja-2-west-bengal-news-wbs25040703765 |access-date=7 August 2025 |work=[[ETV Network|ETV Bharat]] |date=7 April 2025 |language=bn}}</ref> In the series, it is shown that how the society as well as her own mother asks Jaya to adjust, because after all her in-laws are open minded since they allow her to work even after marriage. It is told to her that, Partha is essentially a good human being from his heart, just a little ill-tempered and bad mouthed.<ref>{{cite news |last1=Sen |first1=Subhadrika |title=Actor Anujoy Chattopadhyay reflects on his year-long acting journey and success in OTT |url=https://www.indulgexpress.com/entertainment/tv/2025/Jan/04/actor-anujoy-chattopadhyay-reflects-on-his-year-long-acting-journey-and-success-in-ott |access-date=7 August 2025 |work=[[The New Indian Express|Indulge Express]] |date=4 January 2025}}</ref> Its good that at least, he is not physically abusing her. If a woman keeps contact with her male friend even after her marriage, her character and loyalty is questioned. The series shows how societal norms add up to increase the mental agony of a silent sufferer of verbal abuse, like Jaya.<ref>{{cite news |last1=Chakraborty |first1=Shamayita |title=Liked Lojja? Here are 4 other social dramas you can binge-watch on Hoichoi |url=https://www.ottplay.com/news/liked-lojja-here-are-4-other-social-dramas-you-can-binge-watch-on-hoichoi/57206df81b550 |access-date=7 August 2025 |work=[[HT Media|OTTplay]] |date=28 March 2024}}</ref>

==Marketing==
===Season 1===
The trailer of the first season of ''Lojja'' was released on 12 March 2024. It shows how a divorcee woman is questioned about her character and the adjustments which she is asked to make, despite constant psychological gaslighting and verbal abuse from her husband, who is apparently "short tempered, but good from heart" for the society.<ref>{{cite news |last1=দে |first1=সুস্মিতা |title=হাত বেঁধে ঘরবন্দি, অকথ্য গালাগাল-অত্যাচার! স্বামীর 'কথায়' অপমানিত হয়ে ডিভোর্স প্রিয়াঙ্কার? |url=https://eisamay.com/entertainment/tv-news/priyanka-sarkar-new-series-lojja-trailer-out-at-hoichoi/108451862.cms |access-date=7 August 2025 |work=[[Ei Samay]] |date=13 March 2024 |language=bn}}</ref>

===Season 2===
The trailer for the second season of ''Lojja'', titled as ''Lojja 2'' was released on 2 April 2025.<ref>{{cite news |last1=Nath |first1=Manasi |title=মুখোমুখি প্রিয়াঙ্কা-অনিন্দিতা! কোন 'লজ্জা'য় বিবাদে জড়ালেন দুই অভিনেত্রী? |url=https://www.sangbadpratidin.in/entertainment/cinema/priyanka-sarkars-lojja-2-trailer-is-out-now/ |access-date=7 August 2025 |work=[[Sangbad Pratidin]] |date=3 April 2025 |language=bn}}</ref> It displayed a transformation in Jaya's character - from a timid, introverted woman facing verbal domestic abuse in the first season to becoming a resilient fighter who has nothing to lose, after her friend Shourjya's death.<ref>{{cite news |title=The trailer of Lojja 2 is out |url=https://timesofindia.indiatimes.com/entertainment/bengali/movies/news/the-trailer-of-lojja-2-is-out/articleshow/119901591.cms |access-date=7 August 2025 |work=[[Times of India]] |date=2 April 2025}}</ref><ref>{{cite news |title=hoichoi drops trailer of Priyanka Sarkar starrer Lojja 2 |url=https://www.neherald.com/showbiz/hoichoi-drops-trailer-of-priyanka-sarkar-starrer-lojja-2 |access-date=7 August 2025 |work=NorthEast Herald |date=1 April 2025}}</ref>

==Reception==
===Critical reception===
====Season 1====
Shamayita Chakraborty of ''[[HT Media|OTTplay]]'' rated the series 3/5 stars and highlighted "Lojja is evidently, a part of Hoichoi’s social responsibility shows. While it has its usual problems, watch it for the heartbreak, empathy, and Priyanka and Anujoy’s performance." She praised it for highlighting the issues of verbal abuse, gaslighting, social conditioning, and Priyanka and Anujoy's acting. But criticized the rushed ending and the writing of the characters, for having almost no shades. She also bemoaned the show for following a typical Hoichoi Originals success formula, which created a lack of creative nuance.<ref>{{cite news |last1=Chakraborty |first1=Shamayita |title=Lojja review: Priyanka Sarkar and Anujoy Chatterjee tell a heartbreaking tale of verbal violence in a cliched drama |url=https://www.ottplay.com/review/lojja-review-priyanka-sarkar-and-anujoy-chatterjee-tell-a-heartbreaking-tale-of-verbal-violence-in-a-cliched-drama/26bb90db12507 |access-date=7 August 2025 |work=[[HT Media|OTTplay]] |date=23 March 2024}}{{rating|3|5}}</ref>

Poorna Bnaerjee of ''[[The Times of India]]'' rated the series 3/5 stars and praised Priyanka Sarkar and Anujoy Chatterjee for their acting. But she bemoaned "The director makes it a bit too monotonous and predictable at the same time, by showing the constant abuse that Jaya goes through. The lack of character building beyond their apparent good/evil in virtually every character makes this drama extremely stereotypical and highly foreseeable. That takes away from the essence of suspense that holds the audiences’ attention through the six episodes."<ref>{{cite news |last1=Banerjee |first1=Poorna |title=Lojja Season 1 Review : Priyanka Sarkar delivers a solid performance in this social drama about verbal abuse |url=https://timesofindia.indiatimes.com/web-series/reviews/bengali/lojja/season-1/seasonreview/108879903.cms |access-date=7 August 2025 |date=30 March 2024}}{{rating|3|5}}</ref>

Agnivo Niyogi of ''[[The Telegraph (India)|The Telegraph]]'' reviewed the series and wrote "Priyanka plays Jaya with a raw vulnerability and quiet strength that makes the character’s journey from a shy, submissive homemaker to one who stands up for herself quite convincing. Anujoy Chattopadhyay brings Partha to life with chilling authenticity but this spiteful, manipulative character devoid of any remorse feels quite black-and-white." He also criticised the series for its formulaic nature of storytelling storytelling.<ref>{{cite news |last1=Niyogi |first1=Agnivo |title=Hoichoi series Lojja uses the overdone marital abuse trope but hits the nail on the head |url=https://www.telegraphindia.com/entertainment/hoichoi-series-lojja-uses-the-overdone-marital-abuse-trope-but-hits-the-nail-on-the-head/cid/2010699 |access-date=7 August 2025 |work=[[The Telegraph (India)|The Telegraph]] |date=2 April 2024}}</ref>

Suparna Majumder of ''[[Sangbad Pratidin]]'' reviewed the series and highlighted "Can the piercing words that once escape from the mouth and wound the mind be forgotten? No." She praised the director and writer for bringing up the unspoken issue of verbal abuse in our society, Priyanka Sarkar's acting and the performance of the remaining cast but bemoaned the continuity issues between certain scenes.<ref>{{cite news |last1=Bhanja |first1=Sandipta |title=মুখের কথাতেও লাগে আঘাত, গালিগালাজের 'লজ্জা' দেখাল প্রিয়াঙ্কার নতুন ওয়েব সিরিজ |url=https://www.sangbadpratidin.in/entertainment/film-review/priyanka-sarkar-starrer-lojja-web-series-is-about-verbal-abuse-here-is-the-review/ |access-date=7 August 2025 |work=[[Sangbad Pratidin]] |date=27 March 2024 |language=bn}}</ref>

Mohona Biswas of ''[[OneIndia]]'' rated the series 4/5 stars and opined "Priyanka's fluent performance as Jaya is bound to catch the attention of the audience. Anujoy's performance as Partha is also equally impressive. Director Aditi Roy has portrayed a strange reality in this character." She applauded the makers for addressing the grave issue of verbal abuse and insult through this series.<ref>{{cite news |last1=Biswas |first1=Mohona |title=Lojja: শারীরিক নির্যাতন নয়, মৌখিক অপমানই প্রিয়াঙ্কার 'লজ্জা'! সহ্যের সীমা পেরিয়ে যেতেই ঘুরে দাঁড়াল জয়া |url=https://bengali.oneindia.com/movies/reviews/the-web-series-lojja-was-released-on-the-ott-platform-224245.html |access-date=7 August 2025 |work=[[Oneindia]] |date=22 March 2024 |language=bn}}</ref> Archi Sengupta of ''Leisure Byte'' reviewed the series and shared "The problem is the fact that the creators of this series made a series that is extremely in-your-face and works hard to make a spectacle of Jaya’s woes, so much so that it feels gimmicky. But, it leaves much to be desired, especially with a sad ending that doesn’t answer any questions that it starts off with."<ref>{{cite news |last1=Sengupta |first1=Archi |title=Lojja Review: Priyanka Sarkar's Hoichoi Series Feels Forced in Many Ways |url=https://www.leisurebyte.com/lojja-review-priyanka-sarkar-hoichoi/ |access-date=7 August 2025 |work=Leisure Byte |date=22 March 2024}}</ref>

====Season 2====
Agnivo Niyogi of ''[[The Telegraph (India)|The Telegraph]]'' reviewed the series and noted "This is Priyanka Sarkar’s series and she owns the screen without once needing to raise her voice." He added "Verbal abuse — often dismissed as just words — is positioned here not as the prelude to violence, but as violence itself. The series makes space for the quieter cruelties that women endure — a backhanded compliment meant to wound." He applauded the way in which the series positions abuse not as a single act but as a systemic design but he bemoaned Chattopadhyay's portrayal of Partha, the excessive verbal signposting in the dialogues and the underexplored flashbacks.<ref>{{cite news |last1=Niyogi |first1=Agnivo |title='Lojja' Season 2: Priyanka Sarkar elevates this nuanced take on domestic violence |url=https://www.telegraphindia.com/entertainment/lojja-season-2-priyanka-sarkar-elevates-this-nuanced-take-on-domestic-violence/cid/2096600 |access-date=6 August 2025 |work=[[The Telegraph (India)|The Telegraph]] |date=29 March 2025}}</ref>

Dolonchapa Dasgupta of ''[[Anandabazar Patrika]]'' rated the series 7/10 stars and wrote "As a series, ''Lojja'' is nothing special, but the scriptwriter and director deserve praise for their choice of the subject. Despite having plenty of loopholes, it speaks the story of victim women. It has been unnecessarily prolonged, which has weakened the script and thr series has lost its original purpose." She praised Dipankar Dey's performance and the outside courtroom scene at the end but bemoaned Priyanka's acting as monotonous and criticized the ending for not being practical.<ref>{{cite news |last1=দাশগুপ্ত |first1=দোলনচাঁপা |title=অকথ্য গালিগালাজ, পুরুষতন্ত্রের দাপট, মাঝারি অভিনয়, কী প্রাপ্তি 'লজ্জা'র দ্বিতীয় সিজ়নে? |url=https://www.anandabazar.com/entertainment/review-of-the-second-season-of-the-web-series-lajja-dgtl/cid/1596582 |access-date=7 August 2025 |work=[[Anandabazar Patrika]] |date=19 April 2025 |language=bn}}</ref>

Sandipta Bhanja of ''[[Sangbad Pratidin]]'' reviewed the series and praised Aditi Roy for her direction, Samragnee Mukhopadhyay for the writing, and Priyanka and Anujoy's acting skills. She also applauded the presence of Dipankar De, but bemoaned the over explanatory dialogues in certain scenes and the excessive use of the word "verbal abuse" in Anujoy's dialogues.<ref>{{cite news |last1=Bhanja |first1=Sandipta |title='ভারবাল অ্যাবিউজ' নিয়ে কথা বলতে ভদ্র সমাজের এত ছুঁৎমার্গ কেন? প্রশ্ন তুলল 'লজ্জা ২' |url=https://www.sangbadpratidin.in/entertainment/film-review/priyanka-sarkar-starrer-lojja-2-review/ |access-date=7 August 2025 |work=[[Sangbad Pratidin]] |date=18 April 2024 |language=bn}}</ref> Parama Dasgupta of ''[[Aajkal]]'' reviewed the series and praised the subject of the series, screenplay, dialogues and praised the director and writer duo for exposing the mental taboos deeply instilled in our society. She applauded the performance of the whole cast but criticized the loopholes in certain parts of the series and the hurried ending.<ref>{{cite news |last1=দাশগুপ্ত |first1=পরমা |title=অত্যাচারের পাহাড় ঠেলে জিতল কি 'জয়া'? কতটা মিলল আত্মসম্মানের হিসেবনিকেশ? |url=https://www.aajkaal.in/story/45671/review-of-hoichoi-series-lojja-2-starring-priyanka-sarkar-anujoy-chattopadhyay |archive-url=https://web.archive.org/web/20250514184517/https://www.aajkaal.in/story/45671/review-of-hoichoi-series-lojja-2-starring-priyanka-sarkar-anujoy-chattopadhyay |url-status=dead |archive-date=14 May 2025 |access-date=7 August 2025 |work=[[Aajkal]] |date=29 April 2025 |language=bn}}</ref>

Shatakshi Ganguly of ''IWMBuzz'' rated the series 3/5 stars and wrote "Lajja 2 is a well-intentioned but undercooked dish. It has flavour, thanks mainly to Priyanka’s grounded performance and attempts a bold conversation. However, with characters that lack depth and a narrative that forgets to breathe, it remains a series that could have been so much more. It raises its voice, yes, but it doesn’t quite roar." She praised it for the unapologetic display of verbal abuse and its effects but bemoaned its character crafting.<ref>{{cite news |last1=Ganguly |first1=Shatakshi |title=Lajja 2 Review: Powerful Premise, Patchy Delivery |url=https://www.iwmbuzz.com/movies/editorial-movies/lajja-2-review-powerful-premise-patchy-delivery/2025/04/17 |access-date=7 August 2025 |work=IWMBuzz |date=17 April 2025}}</ref>

==Remake==
A report by [[HT Media|OTTplay]] mentioned that [[Disney+ Hotstar]] is in talks with Hoichoi to purchase the Hindi remake rights of the film.<ref>{{cite news |last1=Chakraborty |first1=Shamayita |title=Exclusive! Lojja: Priyanka Sarkar's Hoichoi show to be made in Hindi |url=https://www.ottplay.com/news/exclusive-lojja-priyanka-sarkars-hoichoi-show-to-be-made-in-hindi/4aebae298a993 |access-date=7 August 2025 |work=[[HT Media|OTTplay]] |date=10 May 2024}}</ref>

==References==
{{reflist}}

==External links==
* {{IMDb title|31712399}}
*[https://www.hoichoi.tv/shows/lojja Lojja] on Hoichoi
*[https://www.primevideo.com/detail/Lojja-Bengali/0M1TU8VSEEVD9MHWHY5PMCEJE3 Lojja] on [[Amazon Prime Video]]

[[Category:Bengali-language web series]]
[[Category:Indian drama web series]]
[[Category:Hoichoi original programming]]
[[Category:Indian drama television series]]
[[Category:2020s Indian television series]]

Christianity in Goa

2026-05-04T01:18:56Z

Giispune: Starting basic info w/ refs!

{{Short description|Type of religion in Goa, India}}
{{Infobox religious group
|group=Christianity in Goa
|image=File:São Francisco Xavier pregando em Goa (1610) - André Reinoso (Museu de São Roque).png|population=366,130 ([[2011 Census of India|2011]]){{Increase}} 
25.10% {{Decrease}}|languages='''[[Latin]]''' (sacred) [[Konkani in the Roman script|Roman Konkani]] (native) [[Portuguese language|Portuguese]]}}
The Christian population of Goa consists mostly of [[Goan Catholics]], whose ancestors converted to [[Catholicism]] during the [[Portuguese India|Portuguese rule in India]].<ref name="Crowley 2015">{{cite book
|first=Roger
|last=Crowley
|year=2015
|title=Conquerors: How Portugal Forged the First Global Empire
|publisher=Faber & Faber
|location=London}}</ref><ref>{{cite book
|first=Délio
|last=de Mendonça
|year=2002
|title=Conversions and citizenry: Goa under Portugal 1510–1610
|publisher=Concept Publishing Company
|location=New Delhi}}</ref> [[Christianisation]] followed the [[Portuguese conquest of Goa]] in 1510, which was followed by the [[Goa Inquisition]] from 1560 onwards. Although Christians make up over 80% of ethnic Goans (293,628 out of a total population 365,291 in 1909),<ref>{{cite book |last1=Hull |first1=Ernest |title=Catholic Encyclopedia |date=1909 |publisher=Robert Appleton Company}}</ref> they were less than 27% of Goa's population in 2011<ref name="religion2">{{cite web|publisher=Census Department, Government of India|url=http://www.censusindia.gov.in/2011census/c-01.html|title=Indian Census 2011|access-date=25 August 2015|url-status=live|archive-url=https://web.archive.org/web/20150913045700/http://www.censusindia.gov.in/2011census/C-01.html|archive-date=13 September 2015|df=dmy-all}}</ref> because ethnic [[Goans]] are less than 50% of the state's residents.<ref>{{cite news
|first=Vivek
|last=Menezes
|title=Who belongs to Goa? This question resurfaces as the State battles the raging pandemic
|url=https://www.thehindu.com/society/who-belongs-to-goa-this-question-resurfaces-as-the-state-battles-the-raging-pandemic/article34554870.ece
|date=15 May 2021
|work=[[The Hindu]]
|access-date=30 May 2021
|archive-date=2 June 2021
|archive-url=https://web.archive.org/web/20210602213112/https://www.thehindu.com/society/who-belongs-to-goa-this-question-resurfaces-as-the-state-battles-the-raging-pandemic/article34554870.ece
|url-status=live
}}</ref> There is a higher proportion of Christians in [[Velhas Conquistas]] than in [[Novas Conquistas]].

{|class="wikitable sortable" style="text-align: right;"
|+ Christians in Goa
! Year !! Number !! Percentage
|-
| 2001<ref name="religion1">{{cite web|url=http://www.censusindia.gov.in/Census_Data_2001/Census_data_finder/C_Series/Population_by_religious_communities.htm|title=Total population by religious communities|publisher=Censusindia.gov.in|access-date=20 November 2014|url-status=live|archive-url=https://web.archive.org/web/20080119031333/http://www.censusindia.gov.in/Census_Data_2001/Census_data_finder/C_Series/Population_by_religious_communities.htm|archive-date=19 January 2008|df=dmy-all}}</ref>|| {{center|359,568}} || {{center|26.68}}
|-
| 2011<ref name="religion2">{{cite web|publisher=Census Department, Government of India|url=http://www.censusindia.gov.in/2011census/c-01.html|title=Indian Census 2011|access-date=25 August 2015|url-status=live|archive-url=https://web.archive.org/web/20150913045700/http://www.censusindia.gov.in/2011census/C-01.html|archive-date=13 September 2015|df=dmy-all}}</ref>|| {{center|366,130}} || {{center|25.10}}
|-
|}
{{Christianity}}
[[Christianity]] is the second largest religious grouping of residents in [[Goa]], [[India]]. According to the 2011 census, 25% of the resident population are [[Christians|Christian]], while 66% are [[Hindu]].<ref>{{Cite web |url=http://censusindia.gov.in/2011census/C-01/DDW30C-01%20MDDS.XLS |title=Population by Religious Community - 2011 |url-status=live |archive-url=https://web.archive.org/web/20150927181611/http://www.censusindia.gov.in/2011census/C-01/DDW30C-01%20MDDS.XLS |archive-date=2015-09-27 |access-date=}}</ref><ref name="stats">{{cite web
|url=http://www.censusindia.gov.in/Census_Data_2001/Census_data_finder/C_Series/Population_by_religious_communities.htm
|title=Population by religious communities
|publisher=Census department of India
|accessdate=10 March 2010
|archive-date=19 January 2008
|archive-url=https://web.archive.org/web/20080119031333/http://www.censusindia.gov.in/Census_Data_2001/Census_data_finder/C_Series/Population_by_religious_communities.htm
|url-status=live
}}</ref>

==History==
===Portuguese rule===
{{see also|Christianisation of Goa}}[[File: Churcholdgoa (64).JPG|thumb|Chapel of St. Catherine, built in [[Old Goa]] during Portuguese rule. It should not be confused with the Cathedral of Santa Catarina, also in Old Goa.]]

After the [[Portuguese Conquest of Goa (1510)|Portuguese Conquest of Goa]] in 1510 and its subsequent [[Portuguese India|rule]] by Portugal, Goa's indigenous population underwent a large-scale conversion to Roman Catholicism. The first converts to Christianity in Goa were native Goan women who married Portuguese men that arrived with [[Afonso de Albuquerque]].<ref name="Crowley 2015"/> The city of [[Old Goa|Goa]] became the center of [[Christianisation]] in the east.<ref>{{cite book
|title=Conversions and citizenry: Goa under Portugal 1510-1610
|first=Délio
|last=de Mendonça
|publisher=Concept Publishing Company
|date=2002
|page=67}}</ref>

The evangelisation activities in Goa were divided in 1555 by the Portuguese viceroy of Goa, [[Pedro Mascarenhas]]. He allotted [[Bardez]] to the [[Franciscans]], [[Tiswadi]] to the [[Dominican Order|Dominicans]], and [[Salcette]], together with fifteen southeastern villages of Tiswadi, including [[Chorão (Island)|Chorão]] and [[Divar]], to the [[Jesuits]].<ref>{{cite book
|last=Meersman
|first=Achilles
|year=1971
|title=The ancient Franciscan provinces in India, 1500–1835
|publisher=Christian Literature Society Press
|page=107
}}</ref>

After conversion, locals were usually granted Portuguese citizenship.<ref>
{{cite book
|title=Pidgins and Creoles: References survey
|first=John A.
|last=Holm
|publisher=Cambridge University Press
|date=1989
|page=286}}</ref> The rapid rise of converts in Goa has been described as mostly the result of Portuguese economic and political control over the Hindus, who were vassals of the Portuguese crown.<ref>{{cite book
|title=Conversions and citizenry: Goa under Portugal 1510-1610
|first=Délio
|last=de Mendonça
|publisher=Concept Publishing Company
|date=2002
|page=397}}</ref>

The process of Christianisation was simultaneously accompanied by "Lusitanisation", as the Christian converts typically assumed a Portuguese veneer. This was most visible by the discarding of old Hindu names for new Christian Portuguese names. Converts usually adopted the surnames of the Portuguese priest, governor, soldier or layman who stood as godfather for their [[baptism]] ceremony.<ref name="Prabhu 1999">{{cite book
|last=Prabhu
|first=Alan Machado
|year=1999
|title=Sarasvati's Children: A History of the Mangalorean Christians
|publisher=I.J.A. Publications
|isbn=978-81-86778-25-8
}}</ref>

For instance, the ''Boletim do Instituto Vasco da Gama'' lists the new names of some of the prominent ''ganvkars'' ([[Konkani language|Konkani]]: Freeholders):
Rama Prabhu, the son of Dado Vithal Prabhu from [[Benaulim]], [[Salcette]] became Francisco Fernandes, while Mahabal Pai, the son of Nara Pai, became Manuel Fernandes in 1596. Mahabal Kamati of [[Curtorim]] became Aleixo Menezes in 1607, while Chandrappa Naik of Gandaulim became António Dias in 1632. In 1595, Vittu Prabhu became Irmão de Diego Soares and the son of Raulu Kamat became Manuel Pinto in [[Aldona]], [[Bardez]]. Ram Kamat of Punola became Duarte Lobo in 1601, while Tados Irmaose of [[Anjuna]] became João de Souza in 1658.<ref>
{{cite book
|title=History of the Dakshinatya Saraswats
|first=Venkataraya Narayan
|last=Kudva
|publisher=Samyukta Gowda Saraswata Sabha
|date=1972
|page=359}}</ref>

However, the converted Hindus retained [[Konkani language|Konkani]] as their first language and also an approximation of their original caste status, even after becoming Catholic. Based on their previous caste affiliations, the new converts were usually lumped into their new respective Catholic castes.<ref name="Bhatt"/> All converted [[Brahmins]] (Saraswat, Daivadnya, etc.) were lumped together into the Christian caste of ''Bamonn''. The converts from the [[Kshatriya]] and even some [[Vaishya Vani]] castes became ''Chardos'' (Konkani word for [[Kshatriya]]); remaining [[Vaishyas]] became ''Gauddos''; and converts from the [[Shudra]] castes as well as the previously [[Dalit]] and [[adivasi]] groups became ''Sudirs'' (Konkani word for [[Shudra]]).<ref name="Bhatt">''Land and people of Indian states and union territories'', Gopal K. Bhargava, Gopal K.; S. C. Bhatt., p. 39.</ref>

The Portuguese also oversaw the destruction of many Hindu temples. The majority of Hindu temples had already been demolished by the [[Bahmani sultanate|Bahmani]] and [[Adil Shahi dynasty|Bijapur]] sultanates by the time the Portuguese arrived in 1510.<ref name="Prabhu 1999"/> The Portuguese demolished almost all the remaining temples from the [[Velhas Conquistas]] and converted the majority of villagers to Catholicism.<ref name="temples">{{cite book|first1=Charles J. |last1=Borges |first2=Helmut |last2=Feldmann|title=Goa and Portugal: their cultural links|year=1997|publisher=Concept Publishing Company|isbn=978-81-7022-659-8 |pages=319(refer page:58)}}</ref> The few Hindus wishing to retain their religion relocated with their idols and built temples for them in the [[Novas Conquistas]].<ref>
{{cite book
|last=Prabhu
|first=Alan Machado
|year=1999
|title=Sarasvati's Children: A History of the Mangalorean Christians
|publisher=I.J.A. Publications
|isbn=978-81-86778-25-8
|page=133
}}</ref>

[[File:Christian shrine outside Sarzora Village, Goa, India.jpg|thumb|160px|left|A typical white ''Sant Khuris'' ([[Christian cross|Holy Cross]]), of a Goan Catholic family, constructed using olden-style Portuguese architecture.]]

===Goa inquisition===
{{Main|Goa Inquisition}}

In 1560, the [[Inquisition]] established an office in Goa. It was finally abolished in 1812. Of the 1,582 persons convicted between 1560 and 1623, 45.2% were convicted for offenses related to Judaism and Islam.<ref>{{cite book
|first=João
|last=Delgado Figueira
|date=1623
|publisher=Biblioteca National
|place=Lisbon
|title=Listas da Inquisição de Goa (1560-1623)
}}</ref> A compilation of the auto-da-fé statistics from 1560 to 1812 of the Goa Inquisition reveal that a total of 57 persons were burnt in the flesh and 64 in effigy (i.e. a statue resembling the person). All the burnt were convicted as relapsed heretics or for sodomy.<ref>{{cite book
|first=Fortunato
|last=de Almeida
|title=História da Igreja em Portugal, vol. IV
|location=Porto
|publisher=Portucalense Editora
|date=1923
}}</ref>

===Indian Occupation===
Since the 20th century, the percentage of the Christian population of Goa has been facing continual decrease. This is caused by a combination of permanent emigration of native Goans from Goa to cosmopolitan Indian cities (e.g. Mumbai, Bangalore) and foreign countries,<ref>{{cite book
|last=Saldhana
|first=Arun
|title=Psychedelic White: Goa Trance and the Viscosity of Race
|publisher=University of Minnesota Press
|date=2007
|isbn=978-0-8166-4994-5}}</ref> combined with mass immigration of non-Goans from the rest of India since the 20th century, which has made Goans a virtual minority in the state.<ref name="Rajesh Ghadge 2015">Rajesh Ghadge (2015). ''The story of Goan Migration.''</ref>
According to the 1909 statistics in the Catholic Encyclopedia, the total Catholic population was 293,628 out of a total population 365,291 (80.33%).<ref>{{cite book
|chapter=Archdiocese of Goa
|first=Ernest
|last=Hull
|title=Catholic Encyclopedia, Vol. 6
|date=1909
|publisher=Robert Appleton Company
|location=New York}}</ref> Currently, Christians constitute 366,130 of the total population of 1,458,545 in Goa (25.10%) according to the 2011 census.<ref name="THReligion">
{{cite news
|url = http://www.thehindu.com/news/national/religious-communities-census-2011-what-the-numbers-say/article7582284.ece
|title = India's religions by numbers
|date = 29 March 2016
|publication-date = 26 August 2015
|work = [[The Hindu]]
|access-date = 6 September 2017
|archive-url = https://web.archive.org/web/20160110201326/http://www.thehindu.com/news/national/religious-communities-census-2011-what-the-numbers-say/article7582284.ece#
|archive-date = 10 January 2016
|url-status = live
}}</ref>

==Roman Catholicism==
The [[Archbishop]] of the [[Roman Catholic Archdiocese of Goa and Daman]] carries the title [[Patriarch of the East Indies]].<ref>{{cite encyclopedia
| last = Benigni
| first = U.
| year = 1886
| url = http://www.newadvent.org/cathen/07758a.htm
| title = Patriarchate of the East Indies
| encyclopedia = [[Catholic Encyclopedia]]
| access-date = March 13, 2006
| archive-date = February 21, 2006
| archive-url = https://web.archive.org/web/20060221234217/http://www.newadvent.org/cathen/07758a.htm
| url-status = live
}}</ref> Old Goa was once called "Rome of the East" and was the capital of the Roman church in the eastern world. The remains of the Jesuit St. Francis Xavier are kept in veneration in the [[Basilica of Bom Jesus]].<ref>{{cite web|url=http://articles.timesofindia.indiatimes.com/2011-11-12/goa/30390942_1_iffi-novena-baretto |archive-url=https://archive.today/20130216065215/http://articles.timesofindia.indiatimes.com/2011-11-12/goa/30390942_1_iffi-novena-baretto |url-status=dead |archive-date=16 February 2013 |title=Church slams govt over Iffi dates, threat to Old Goa|date=12 November 2011 |work=[[The Times of India]] |access-date=4 December 2013}}</ref> The [[Se Cathedral|Sé Catedral de Santa Catarina]] is one of the largest church buildings in Asia.<ref name="Pereira 2001">{{cite book|last=Pereira|first=José|title=Churches of Goa|year=2001|publisher=Oxford University Press|location=Delhi|isbn=978-0-19-565559-9}}</ref> The [[Church and Convent of St. Francis of Assisi|Igreja de São Francisco de Assis]], built in 1661, now houses an archaeological museum.<ref name="Pereira 2001"/> [[Churches and convents of Goa]] were declared a [[World Heritage Site]] by [[UNESCO]] in 1986.<ref name="UNESCO">{{Cite web|url=https://whc.unesco.org/en/list/234/|title=Churches and Convents of Goa|first=UNESCO World Heritage|last=Centre|website=UNESCO World Heritage Centre|access-date=26 December 2019|archive-date=26 November 2005|archive-url=https://web.archive.org/web/20051126202241/https://whc.unesco.org/en/list/234/|url-status=live}}</ref> Plenty of churches can be seen all over the state with impressive Portuguese-[[Manueline]]-[[Baroque]] architecture. The Goan Catholics still prefer to use [[Konkani in the Roman script]] rather than its Devanagiri counterpart, especially during the liturgy.<ref>{{cite book
|author1-link=Anvita Abbi |last1=Abbi |first1=Anvita |last2=Gupta |first2=R. S.|author3-link=Ayesha Kidwai |last3=Kidwai |first3=Ayesha |title= Linguistic Structure and Language Dynamics in South Asia: Papers from the Proceedings of SALA XVIII Roundtable
|year=1997
|isbn=978-81-208-1765-4
|publisher=Motilal Banarsidass Publications
}}</ref>

== Further reading ==
* [https://www.newadvent.org/cathen/06602a.htm "Archdiocese of Goa"] by Hull, E. (1909). In The Catholic Encyclopedia

==See also==

* [[Christianity in India]]
* [[Goa Inquisition]]
* [[Cuncolim Massacre]]
* [[Christianization of Goa]]

==References==
{{reflist|2}}

{{Christianity in India by region}}

[[Category:Christianity in Goa| ]]
[[Category:Religion in Goa]]

Gerard da Cunha

2026-05-01T20:50:03Z

Giispune: Starting new data needs work!

{{Short description|Indian architect (born 1955)}}
{{Infobox person
| name = Gerard da Cunha
| image = Gerard da Cunha, architect, publisher and more in Goa.jpg
| caption = Da Cunha in 2014
| birth_place = [[Godhra]], [[Bombay State]], India
| birth_date = {{birth date and age|1955|2|10|df=y}}
| occupation = Architect
| alma_mater = [[School of Planning and Architecture, New Delhi|School of Planning and Architecture]]
| children = 2
| partner = [[Arundhati Roy]] (1978–1982)
| spouses = {{marriage|Nisha da Cunha||2022|end=died}}
| years_active = 1970s–present
}}

'''Gerard da Cunha''' (born 10 February 1955) is an Indian architect based in [[Goa]], India. He is the founder and principal architect of the architecture firm Architecture Autonomous. An alumnus of the [[School of Planning and Architecture, New Delhi]], he is known for utilizing locally available materials and traditional construction techniques in harmony with its ecosystem.<ref name="nbmcw">{{cite web|url=http://www.nbmcw.com/articles/architects-project-watch/654-goas-architectural-prodigy.html|publisher=nbmcw.com|title=Goa's Architectural Prodigy|access-date=2017-01-27}}</ref>

==Early life==
Gerard da Cunha was born on 10 February 1955 in the city of [[Godhra]], [[Bombay State]] (now [[Gujarat]]), da Cunha travelled across the country since childhood as his father worked with the [[State Bank of India]] and had a transferable job. He did most of his schooling at St. Mary's in [[Mazgaon]], [[Maharashtra]].<ref name="nbmcw"/>

Later, he studied at the prestigious [[School of Planning and Architecture, Delhi]], which is regarded as the best institution in the country for architecture. During his 3rd year at SPA, da Cunha took a one-year break from the school and travelled to [[Kerala]] to work closely with the world-renowned architect [[Laurie Baker]], whom he greatly admired.<ref name="rediff">{{cite web|url=http://m.rediff.com/news/2003/nov/10spec.htm|publisher=m.rediff.com|title=A yen for India - Rediff.com India News|access-date=2017-01-27}}</ref>

After his course in architecture from School of Planning and Architecture (SPA), da Cunha joined DDA in 1979, but he found the experience of working there extremely monotonous. Bored with his job, he went to [[Goa]] (his home state), hoping for some exciting element in his life.<ref name="theguardian">{{cite news|url=https://www.theguardian.com/books/2009/jul/12/arundhati-roy-booker-prize-politics|publisher=theguardian.com|title=Tim Adams speaks to former Booker prize winner Arundhati Roy about global politics {{pipe}} Books {{pipe}} The Guardian|access-date=2017-01-27|newspaper=The Guardian|date=2009-07-11|last1=Adams|first1=Tim}}</ref><ref name="timesofindia2">{{cite web|url=https://timesofindia.indiatimes.com/ahmedabad-times/A-dreamers-blueprints-/articleshow/174786.cms|publisher=[[The Times of India]]|title=A dreamer's blueprints... {{pipe}} News|access-date=2017-01-27}}</ref><ref>[[School of Planning and Architecture, Delhi]]</ref>

==Career==
Da Cunha runs his architecture firm 'Architecture Autonomous' in [[Goa]], India. His projects are spread across the country, including resorts, townships, institutions, and even private residences.<ref name="nbmcw"/> He maintains his practice in [[Goa]], which he considers has a novel history in that it was the site of the 'first sustained encounter between the East and the West'. This encounter has engendered a unique culture and architecture that is evident in da Cunha's lively and rather Gaudíesque work.<ref name="wiley">{{cite journal|title= Architecture Autonomous (Gerard da Cunha)| doi=10.1002/ad.563|volume=77|issue = 6|journal=Architectural Design|page=68|year = 2007}}</ref><ref name="dnaindia">{{cite web|url=http://www.dnaindia.com/lifestyle/report-when-architects-graduate-to-kindergarten-2095348|publisher=dnaindia.com|title=When architects graduate to kindergarten {{pipe}} Latest News & Updates at Daily News & Analysis|access-date=2017-01-27|date=2015-06-14}}</ref><ref name="timesofindia">{{cite web|url=http://epaper.timesofindia.com/Default/Layout/Includes/pastissues2/ArtWin.asp?From=Search&Key=TOIGO%2F2008%2F07%2F23%2F21%2FAr02101.xml&CollName=TOI_GOA_ARCHIVE_2008&DOCID=24133&Keyword=(%3Cmany%3E%3Cstem%3Efort)&skin=pastissues2&AppName=2&ViewMode=HTML&GZ=T|archive-url=https://web.archive.org/web/20150622160649/http://epaper.timesofindia.com/Default/Layout/Includes/pastissues2/ArtWin.asp?From=Search&Key=TOIGO%2F2008%2F07%2F23%2F21%2FAr02101.xml&CollName=TOI_GOA_ARCHIVE_2008&DOCID=24133&Keyword=(%3Cmany%3E%3Cstem%3Efort)&skin=pastissues2&AppName=2&ViewMode=HTML&GZ=T|url-status=dead|archive-date=June 22, 2015|publisher=Times of India|title=Breathing life into a ruin|first=Cyril|last=D'Cunha|access-date=2017-01-27}}</ref>

==Personal life==
Da Cunha began a relationship with Indian writer and author [[Arundhati Roy]], moving in with her in 1978 in Delhi. They subsequently moved to Goa and later separated in 1982.<ref name="nyt">{{cite news |last1=Deb |first1=Siddhartha |title=Arundhati Roy, the Not-So-Reluctant Renegade |url=https://www.nytimes.com/2014/03/09/magazine/arundhati-roy-the-not-so-reluctant-renegade.html |work=The New York Times |date=5 March 2014 |access-date=12 April 2026 |url-access=subscription|archive-url=https://web.archive.org/web/20160421172502/http://www.nytimes.com/2014/03/09/magazine/arundhati-roy-the-not-so-reluctant-renegade.html |archive-date=21 April 2016}}</ref>

He later married Nisha da Cunha ([[née]] da Costa), an [[educationist]] who died from [[cardiac arrest]] in 2022 at the age of 63. Together they had two children, Nyhna and Taariq.<ref>{{Cite news |date=2022-08-07 |title=Goa: Pathbreaker in elementary education, Nisha da Cunha passes away at 63 |url=https://timesofindia.indiatimes.com/city/goa/pathbreaker-in-elementary-education-nisha-da-cunha-passes-away-at-63/articleshow/93399692.cms |access-date=2025-03-11 |work=The Times of India |issn=0971-8257}}</ref>

== Works ==
Da Cunha has been the architect of several projects which find places all across India. These include [[Nrityagram]] of Bangalore, Hampi's Kannada University's main building and its library, Bangalore's Taj Kutiram Tourist Resort, the Central Library in Panjim, JVSL Township in Torangallu, a house for Mr. [[Sajjan Jindal]] at Torangallu, a tourist village in Kerala, and Jimi Gazhdhar's lavish mansion on the banks of the Goan river, to name a few. Da Cunha's projects mostly portray the use of natural materials.<ref name="nbmcw"/>

One of the most impressive and unusual works of da Cunha's has been the township which he has built for the JSW Steel Plant, about 30 km from Hampi, called Vidyanagar. The entire project was built at a cost of Rs 150 crore. This township is spread across 300 acres, and the project involved creating housing to settle 10,000 people. With not even a single tree on the site, creating an entire township seemed to be an arduous task. The township also has a movie theatre, school, airstrip, parks, and botanical garden. It also houses a club, temples, a shopping centre, and restaurants, thus making it a complete city. This unusual project of creating an entire township from scratch got da Cunha the Prime Minister's Award for Excellence in Urban Planning and Design offered by the Ministry of Urban Development in 1998–99.<ref name="nbmcw"/>

Another project that gave da Cunha wide recognition is [[Nrityagram]] dance village at Bengaluru, designed for the famous Odissi dancer [[Protima Bedi]]. This center for the study of dance was built using traditional building forms and techniques, with stone and thatch being the primary materials. The whole concept of the 'village' presents a mosaic of texture and colours, earth, bricks, tiles, and thatch. [[Nrityagram]] received the award for best rural architecture from the Vice-President of India in 1991.<ref name="google">{{cite book|title=A Concise History of Modern Architecture in India|author=Lang, J.T.|date=2002|publisher=Permanent Black|isbn=9788178240176|url=https://books.google.com/books?id=gxyGbhlKQXQC&pg=PA141|page=141|access-date=2017-01-27}}</ref><ref name="google2">{{cite book|title=Development Digression Diary Of India : 3d Companion Volume To Information India 1991-92|author=Agrawal, S.P.|date=1993|publisher=Concept Publishing Company|isbn=9788170223054|url=https://books.google.com/books?id=ltoaVsL8f8cC&pg=PA22|page=22|access-date=2017-01-27}}</ref>

Da Cunha was hired to restore the oldest fort in Goa, [[Reis Magos]] Fort, which lay in ruins for a long time. It has now become a successful tourist destination showcasing the history of [[Goa]] to the visitors.<ref name="tehelka">{{cite web|url=http://www.tehelka.com/the-visionary-reformer-gerard-da-cunha/|publisher=tehelka.com|title=Gerard Da Cunha – The Visionary Reformer {{pipe}} Tehelka - Investigations, Latest News, Politics, Analysis, Blogs, Culture, Photos, Videos, Podcasts|access-date=2017-01-27|archive-date=2015-06-29|archive-url=https://web.archive.org/web/20150629131112/http://www.tehelka.com/the-visionary-reformer-gerard-da-cunha/|url-status=dead}}</ref> He also designed the [[Goa State Central Library]] located at [[Panaji]] (Panjim), which has six floors and houses more than 1,800,000 books.<ref>[[Goa State Central Library#Location]]</ref>

Da Cunha has also won wide acclaim for the unusual and vernacular designs of two schools in Goa, Nisha's Play School and Shiksha Niketan. Set in a lush green valley with a steep slope, the architect has created different levels of spatial experiences connected vertically by a chute for children and stairs. Brick arches, sometimes set so low that adults have to stoop to enter, become the doorless entryways. The highlight of the outdoor amphitheater is the walls made from recycled beer bottles arranged in artistic patterns.<ref name="berkeleyprize">{{cite web|url=http://berkeleyprize.org/competition/essay/2014/winning-essays/aparna-ramesh-proposal|publisher=berkeleyprize.org|title=Berkeley Prize Essay Competition|access-date=2017-01-27}}</ref>

Just next to the school, da Cunha built a triangular ship-like building made of laterite stones, which is an architectural oddity in itself. It is called the 'Houses of Goa' museum, designed and curated by da Cunha himself. The museum traces Goan architectural traditions, building materials, and styles in an in-depth manner.<ref name="lonelyplanet">{{cite web|url=http://www.lonelyplanet.com/india/goa/panaji-panjim/sights/museums-galleries/houses-goa-museum|author=Lonely Planet|publisher=lonelyplanet.com|title=Houses of Goa Museum in Panaji, India - Lonely Planet|access-date=2017-01-27}}</ref>

Some other selected works by da Cunha include Town Plaza at [[Aamby Valley City]].

== Awards and achievements ==
Da Cunha won the prestigious Prime Minister's National Award for Excellence in Urban Planning and Design in 1998–99 for the project Jindal Vijaynagar Steel Limited (JVSL - Now JSW Township as "Vidhya Nagar"), Toranagallu, Bellary (Karnataka, India).<ref name="pib">{{cite web|url=http://pib.nic.in/newsite/erelcontent.aspx?relid=15370|publisher=pib.nic.in|title=pib.nic.in/newsite/erelcontent.aspx?relid=15370|access-date=2017-01-27}}</ref> He is also credited with winning the 'Commendation Award-1990' for rural architecture for his project 'Nrityagram' at Bengaluru, Karnataka. The design of Nrityagram can be termed as 'Natural Architecture.'<ref name="google2"/>

Da Cunha also made it into a shortlist of eight architects, being the only Indian architect in the list, invited by the [[Government of Japan]]'s Furushima Prefecture region to draw up design proposals for a new capital city of Japan.<ref name="architectsjournal">{{cite web|url=http://www.architectsjournal.co.uk/182850.article|publisher=architectsjournal.co.uk|title=Brit on the list to design Japan's new capital city {{pipe}} Archive {{pipe}} Architects Journal|access-date=2017-01-27}}</ref>

== References ==
{{reflist}}

{{DEFAULTSORT:Cunha, Gerard da}}
[[Category:Living people]]
[[Category:20th-century Indian architects]]
[[Category:People from Panchmahal district]]
[[Category:Artists from Gujarat]]
[[Category:Businesspeople from Goa]]
[[Category:School of Planning and Architecture, New Delhi, alumni]]
[[Category:Goan Catholics]]
[[Category:1955 births]]
[[Category:Architects from Goa]]

Kurupuram

2026-04-30T22:58:19Z

Giispune: put up a pg

{{Infobox settlement
| name = Kurupuram
| settlement_type = Village
| coordinates = {{coord|16|21|30.4|N|77|32|30.6|E}}
| pushpin_map = #Karnataka#India_Telangana#India
| map_caption = Kurupuram (Karnataka)
| subdivision_type = Country
| subdivision_name = India
| subdivision_type1 = [[States and union territories of India|State]]
| subdivision_type2 = [[States and union territories of India|State]]
| subdivision_type3 = [[States and union territories of India|State]]
| subdivision_name1 = [[Karnataka]]
| subdivision_name2 = [[Telangana]]
| subdivision_name3 = [[Andhra Pradesh]]
}}
[[File:SriPada Sri vallabha.jpg|thumb|SriPada Sri Vallabha]]

'''Kurupuram,''' also known as '''Kuruvapur, Kurugadda,''' or '''Kurugaddi''' is a holy place associated with [[Shripad Shri Vallabha]] who is considered as first [[avatars]] (incarnations) of the deity Shri [[Dattatreya]] in ''[[Kali Yuga]]''. This village is located on the banks of the [[Krishna River]] in border of [[Telangana]] & [[Karnataka]] states, [[India]].<ref>{{Cite web |title=Sri Dattatreya Temple Kurvapura {{!}} Raichur District website {{!}} India |url=https://raichur.nic.in/en/tourist-place/sri-dattatreya-temple-kurvapura/ |access-date=2022-06-04 |language=en-US}}</ref> On the opposite bank of the river is [[Vallabhapuram]] belonging to Telangana state which is also sacred.

==Religious importance==
Shripad Vallabha stayed here most of his life. The religious significance of Kurupuram is duly mentioned in the book ''[[Shri GuruCharitra|Shri Guru Charitra]]'' and other holy books associated with Shri Dattatreya. Shripad Vallabha did many leelas here. According to Gurucharitra, the people who visit Kurupuram will become free from all the problems and will be blessed with a healthy and prosperous life.

== Notes ==
{{reflist}}

== References ==
* ''Shri Dattatreya Dnyankosh'' by Dr. P. N. Joshi (Shri Dattateya Dnyankosh Prakashan, Pune, 2000).
* ''Datta-Sampradyacha Itihas'' (''History of Datta Sampradaya'') by Dr. R. C. Dhere (Padmagnadha Prakashan, Pune).
* '' Sri Pada Charitra- Shankar Bhatt'' ( Submitted in Telugu Version by Sri Malladi Diskhitulu)
* [https://sites.google.com/site/sripadashrivallabha/ Sankshipta Sripada Srivallabha Charitramrutam Parayana grantham] (abridged by Smt Prasanna Kumari Telugu Version)
* SriPada Sri Vallabha Website - www.sripadavallabha.org
* SriPada Vallabha Miracles - www.sripadavallabhamiracles.com

==External links==
* [http://shripadshrivallabha.com/index2.php?tg=ad] Official website

{{morecat|date=October 2022}}
[[Category:Hindu goddesses]]

Amate, Belagavi

2026-04-30T11:30:38Z

Giispune: Made redirect

#REDIRECT [[Amate (village)]]

{{Rcat shell|
{{R from other disambiguation}}
}}

Dilli Haat – INA metro station

2026-04-27T09:11:49Z

Giispune:

{{Short description|Metro station in Delhi, India}}
{{Use Indian English|date=July 2015}}
{{Use dmy dates|date=July 2015}}
{{Infobox station
| name = [[File:Delhi Metro logo.svg|50px]] Dilli Haat - INA
| type = {{Delhi Metro Infobox station line|line=Yellow|line2=Pink}}
| style = Delhi Metro
| image = NTPC Dilli Haat INA.jpg
| image_caption =
| address = Sri Aurobindo Marg, INA Colony, New Delhi, Delhi 110023
| country = India
| coordinates = {{Coord|format=dms|display=inline,title}}
| line = {{rcb|Delhi Metro|Yellow|croute}} {{rcb|Delhi Metro|Pink|croute}}
| structure = Underground
| platform = {{ubl|[[Island platform]]|{{font color||yellow|Platform 1}} → {{ltl|Delhi Metro|Yellow|R}}|{{font color||yellow|Platform 2}} → {{ltl|Delhi Metro|Yellow|L}}|{{font color|pink|Platform 3}} → "-" Circular Line|{{font color|pink|Platform 4}} → "+" Circular Line}}
| depth =
| levels = 3
| tracks = 4
| parking =
| bicycle =
| opened = {{ubl|{{start date and age|df=yes|2010|September|3}} {{rcb|Delhi Metro|Yellow|croute}}|{{start date and age|df=yes|2018|August|6}} {{rcb|Delhi Metro|Pink|croute}}}}
| closed =
| rebuilt = 2014 – 2018 (Phase III)
| electrified = {{25 kV 50 Hz}} through [[Overhead line|overhead catenary]]
| accessible = Yes {{access icon}}
| code = {{#property:P296}}
| status = Staffed, Operational
| owned = [[Delhi Metro]]
| operator = [[Delhi Metro Rail Corporation]] (DMRC)
| zone =
| smartcardname =
| smartcardstatus =
| former =
| passengers =
| pass_year =
| pass_rank =
| pass_percent =
| pass_system =
| mpassengers =
| services = {{Adjacent stations|system=Delhi Metro|line1=Yellow|left1=Jor Bagh|right1=AIIMS
|line2=Pink|left2=Sarojini Nagar|right2=South Extension}}
| route_map = {{Delhi Metro Yellow Line Route}}{{Delhi Metro Pink Line Route}}
| map_state = collapsed
| mapframe = yes
| mapframe-marker = rail
| mapframe-marker-color =
| mapframe-zoom = 14
}}

The '''Dilli Haat – INA metro station''' is an interchange station between the [[Yellow Line (Delhi Metro)|Yellow Line]] and [[Pink Line (Delhi Metro)|Pink Line]] of [[Delhi Metro]].<ref>{{cite web|url=http://www.delhimetrorail.com/commuters/station_information.html |title=Station Information |access-date=2010-09-05 |url-status=dead |archive-url=https://web.archive.org/web/20100619035828/http://delhimetrorail.com/commuters/station_information.html |archive-date=19 June 2010 |df=dmy-all}}</ref> It serves [[INA Colony]], [[Dilli Haat]], [[INA Market]], and [[Sarojini Nagar]].<ref>{{cite news |title=INA likely to be one of the busiest metro stations |url=http://www.thehindu.com/news/cities/Delhi/article534776.ece |work=[[The Hindu]] |date=26 July 2010}}</ref>

The station, initially opened to the public on September 3, 2010, as part of the Yellow Line, became an interchange station with the commencement of operations on the Pink Line on August 6, 2018.

==Station layout==
{|table border=0 cellspacing=0 cellpadding=3
|style="border-top:solid 1px grey;border-bottom:solid 1px grey;" width=50 valign=top|'''G'''
|style="border-top:solid 1px grey;border-bottom:solid 1px grey;" width=100 valign=top|Street level
|style="border-top:solid 1px grey;border-bottom:solid 1px grey;" width=500 valign=top|Exit/Entrance
|-
|style="border-bottom:solid 1px grey;"|'''L1'''
|style="border-bottom:solid 1px grey;"|Concourse
|style="border-bottom:solid 1px grey;"|Fare control, station agent, Ticket/token, shops
|-
|style="border-bottom:solid 1px grey;" width=50 rowspan=3 valign=top|'''L3'''
|style="border-bottom:solid 1px white;" width=100|'''Platform 1''' '''Southbound'''
|style="border-bottom:solid 1px white;" width=500|Towards → {{ltl|Delhi Metro|Yellow|R}} '''Next Station:''' {{stl|Delhi Metro|AIIMS}}
|-
|style="border-top:solid 2px black;border-right:solid 2px black;border-left:solid 2px black;border-bottom:solid 2px black;text-align:center;" colspan=2|[[Island platform]] | Doors will open on the right {{access icon}}
|-
|style="border-bottom:solid 1px grey;" width=100|'''Platform 2''' '''Northbound'''
| style="border-bottom:solid 1px grey;" width="500" |Towards ← {{ltl|Delhi Metro|Yellow|L}} '''Next Station:''' {{stl|Delhi Metro|Jor Bagh}}
|-
|style="border-bottom:solid 1px grey;" width=50 rowspan=3 valign=top|'''L2'''
|style="border-bottom:solid 1px white;" width=100|'''Platform 3''' '''Anticlockwise'''
|style="border-bottom:solid 1px white;" width=500|"-" Circular Line (Anticlockwise) Via: [[South Extension metro station|South Extension]], [[Lajpat Nagar metro station|Lajpat Nagar]], [[Vinobapuri metro station|Vinobapuri]], [[Ashram metro station|Ashram]], [[Sarai Kale Khan - Nizamuddin metro station|Sarai Kale Khan - Nizamuddin]], [[Mayur Vihar-I metro station|Mayur Vihar-I]], [[Shree Ram Mandir Mayur Vihar metro station|Shree Ram Mandir Mayur Vihar]], [[Trilokpuri - Sanjay Lake metro station|Trilokpuri - Sanjay Lake]], [[IP Extension metro station|IP Extension]], [[Anand Vihar metro station|Anand Vihar]], [[Karkarduma metro station|Karkarduma]], [[Welcome metro station|Welcome]], [[Maujpur - Babarpur metro station|Maujpur - Babarpur]], [[Yamuna Vihar metro station|Yamuna Vihar]], [[Bhajanpura metro station|Bhajanpura]], [[Nanaksar - Sonia Vihar metro station|Nanaksar - Sonia Vihar]], [[Jagatpur - Wazirabad metro station|Jagatpur - Wazirabad]], [[Burari metro station|Burari]], [[Majlis Park metro station|Majlis Park]], [[Azadpur metro station|Azadpur]], [[Shalimar Bagh metro station|Shalimar Bagh]] '''Next Station:''' {{stl|Delhi Metro|South Extension}}
|-
|style="border-top:solid 2px black;border-right:solid 2px black;border-left:solid 2px black;border-bottom:solid 2px black;text-align:center;" colspan=2|[[Island platform]] | Doors will open on the right {{access icon}}
|-
|style="border-bottom:solid 1px grey;" width=100|'''Platform 4''' '''Clockwise'''
| style="border-bottom:solid 1px grey;" width="500" |"+" Circular Line (Clockwise) Via: [[Sarojini Nagar metro station|Sarojini Nagar]], [[Bhikaji Cama Place metro station|Bhikaji Cama Place]], [[Sir M. Vishweshwaraiah Moti Bagh metro station|Sir M. Vishweshwaraiah Moti Bagh]], [[Durgabai Deshmukh South Campus metro station|Durgabai Deshmukh South Campus]], [[Delhi Cantonment metro station|Delhi Cantt.]], [[Naraina Vihar metro station|Naraina Vihar]], [[Mayapuri metro station|Mayapuri]], [[Rajouri Garden metro station|Rajouri Garden]], [[ESI - Basaidarapur metro station|ESI - Basaidarapur]], [[Punjabi Bagh West metro station|Punjabi Bagh West]], [[Shakurpur metro station|Shakurpur]], [[Netaji Subhash Place metro station|Netaji Subhash Place]] '''Next Station:''' {{stl|Delhi Metro|Sarojini Nagar}}
|}

==Entry/Exit==
{|class="wikitable" style="text-align: center;" width="66%"
|-
! align="center" colspan="8" style="background:#{{rcr|Delhi Metro|Yellow}};"| Dilli Haat – INA metro station Entry/exits
|-
! style="width:15%;"|Gate No-1 {{access icon}}
! style="width:14%;"|Gate No-2 {{access icon}}
! style="width:18%;"|Gate No-3
! style="width:16%;"|Gate No-4 {{access icon}}
! style="width:14%;"|Gate No-5 {{access icon}}
! style="width:18%;"|Gate No-6
|-
| Dilli Haat / Sri Aurobindo Marg
| INA Market
| Kidwai Nagar West / Maharaja Agrasen Road
| Laxmi Bai Nagar / Sanjay Lake
| Dilli Haat
| Kidwai Nagar East / INA Market
|}

==See also==
*[[Delhi]]
*[[List of Delhi Metro stations]]
*[[Transport in Delhi]]
*[[Delhi Metro Rail Corporation]]
*[[Delhi Suburban Railway]]
*[[Inner Ring Road, Delhi]]
*[[South Extension]]
*[[Delhi Monorail]]
*[[Delhi Transport Corporation]]
*[[South Delhi]]
*[[New Delhi]]
*[[National Capital Region (India)]]
*[[List of rapid transit systems]]
*[[List of metro systems]]
{{Clear}}
{{Portal bar|Trains|Transport|Engineering}}

==References==
{{reflist}}

==External links==
{{Commons|Delhi Metro}}
{{Wikivoyage|Delhi}}
* [http://www.delhimetrorail.com/ Delhi Metro Rail Corporation Ltd. (Official site)]
* [http://www.delhimetrorail.com/annual_report.aspx/ Delhi Metro Annual Reports]
* {{cite web|title=Station Information |work=Delhi Metro Rail Corporation Ltd. (DMRC) |url=http://www.delhimetrorail.com/commuters/station_information.html |url-status=dead |archive-url=https://web.archive.org/web/20100619035828/http://delhimetrorail.com/commuters/station_information.html |archive-date=19 June 2010 |df=dmy-all}}
* [http://www.urbanrail.net ''UrbanRail.Net''] – Descriptions of all metro systems in the world, each with a schematic map showing all stations.
*{{Google maps|url=https://www.google.co.in/maps/place/Ina/@28.574841,77.2084378,316m/data=!3m1!1e3!4m12!1m6!3m5!1s0x390ce2625d0d013b:0x8def158d29b1beaa!2sIna!8m2!3d28.5745247!4d77.2095097!3m4!1s0x390ce2625d0d013b:0x8def158d29b1beaa!8m2!3d28.5745247!4d77.2095097|title= INA metro station}}

{{Delhi Metro}}
{{Delhi & NCR Metro stations|yellow line=yes|pink line=yes}}

{{DEFAULTSORT:Dilli Haat - INA metro station}}
[[Category:Railway stations in India opened in 2010]]
[[Category:Delhi Metro stations]]
[[Category:Railway stations in South Delhi district]]
[[Category:2010 establishments in Delhi]]

{{Delhi-metro-stub}}
{{Delhi-railstation-stub}}

Trigunatitananda

2026-04-26T14:11:28Z

Giispune: Done

{{Short description|Indian missionary (1865–1915)}}
{{religious text primary|date=May 2014}}
{{Use British English|date=September 2014}}
{{Use dmy dates|date=April 2026}}

{{Infobox Hindu leader
| name = Swami Trigunatitananda
| image = Swami trigunatitananda2.jpg
| caption =
| religion = [[Hinduism]]
| birth_date = {{Birth date|df=yes|1865|1|30}}
| birth_place = [[24 Parganas]], [[Bengal Presidency|Bengal]], [[British Raj|British India]] (now [[West Bengal]], [[India]])
| birth_name = Sarada Prasanna Mitra
| death_date = {{death date and age|df=yes|1915|1|10|1865|1|30}}
| death_place = [[San Francisco]], [[California]], United States
| guru = [[Ramakrishna Paramahansa]]
| philosophy = [[Advaita Vedanta]]
| honors =
| footnotes =
}}
{{quote box|width=22em|title=Quotation|quote="Work hard. Discipline yourself. Build your character. Endure to the end. Realize your Self. And be free."}}
[[File:Vivekananda Baranagar 1887.jpg|thumb|250px|Group photo taken on 30 January 1887 In [[Baranagar Math]], Kolkata. '''Standing''': (l–r) [[Shivananda]], [[Ramakrishnananda]], [[Vivekananda]], Randhuni, Debendranath Majumdar, [[Mahendranath Gupta]] (Shri M), Trigunatitananda, H.Mustafi '''Sitting''': (l–r) [[Swami Niranjanananda (Niranjan Maharaj)|Niranjanananda]], [[Saradananda]], Hutko Gopal, [[Abhedananda]]]]

'''Trigunatitananda''' (30 January 1865 – 10 January 1915), premonastic name '''Sarada Prasanna Mitra''', was a direct disciple of [[Ramakrishna]], the 19th-century Indian [[Hindu]] mystic and [[Sant (religion)|sant]]. He established the monthly Bengali magazine [[Udbodhan]] of [[Ramakrishna Math]] and later, at the behest of [[Vivekananda]], went to America in 1902 and took charge of the San Francisco centre.

==Life==
Trigunatitananda was born as Sarada Prasanna Mitra, on 30 January 1865. He was born to an aristocratic family in the village of Naora in [[Bhangar I]], (now in [[South 24 Parganas]]) near Calcutta.<ref>[http://www.belurmath.org/trigunatitananda.htm Swami Trigunatita]</ref>{{better source needed|date=June 2016}} Sarada was enrolled in the [[Vidyasagar College|Metropolitan Institution]] at [[Shyampukur]], Calcutta. This was a school of [[Iswar Chandra Vidyasagar]], a social reformer, educator and scholar of 19th century India. The headmaster there was [[Mahendranath Gupta]], better known as "M", the author of [[The Gospel of Sri Ramakrishna]] (or ''Sri Ramakrishna Kathamrita'' in Bengali). Sarada did not do well in the school-leaving "[[entrance examination]]".<ref name="disciples">''[[The Disciples of Sri Ramakrishna]]'', published by [[Advaita Ashrama, Mayawati]] (1943) {{OL|642609M}}.</ref>{{rp|172}}
"M" took young Sarada to [[Dakshineswar]] temple to meet [[Ramakrishna]] on 27 December 1884.
At a very young age Sarada had shown a religious disposition and this was reinforced by contact with Ramakrishna, whom he visited often after joining the Metropolitan college. [[File:Sarada prasanna maharaj.png|thumb|Sarada prasanna maharaj urf Swami Trigunitananda]]
When his parents decided to arrange a marriage for him according to Indian customs, he left his house for [[Puri]]{{clarify|date=May 2015}} in January 1886, but was brought back by his parents. He appeared for and passed his First Arts examination.<ref name="disciples"/>{{rp|175}} He dedicated himself to the service of Ramakrishna when the latter was terminally ill in [[Cossipore]] Garden House. After Ramakrishna died, Sarada began to stay with [[Narendranath Dutta]] (later Vivekananda) and a group of dedicated direct disciples of [[Ramakrishna]], who renounced worldly life, in "Baranagar Math".

===Monastic life===
In January 1887 Sarada took the vows of complete renunciation or [[sannyas]] along with his brother disciples, and came to be known as Trigunatitananda (one who has surpassed the three [[gunas]] or attributes and have attained supreme bliss, an enlightened one. Triguna: the three gunas or attributes of Sattva (contemplation), Rajas (activity) and Tamas (darkness or passivity)). In 1891 Trigunatita started on pilgrimage for [[Vrindaban]], [[Mathura]], [[Jaipur]], [[Ajmere]], [[Kathiawar]]. At [[Porbandar]], he met Vivekananda. After that, he returned to Baranagar Math.
In 1895, he set out on foot for [[Mount Kailash]] and [[Lake Manasarovar]].<ref name="disciples"/>{{rp|176}}
He came back to Calcutta and stayed in the house of a devotee and led a contemplative life for some time. After some time he went to stay in the newly formed [[Alambazar Math]] of the Ramakrishna order.
He was influenced by Vivekananda's ideal of service and philanthropic activities.
In 1897 when the district of Dinajpur in Bengal was in the grip of a famine, he went there and organised relief work.
Vivekananda had planned a magazine to spread the message of [[Vedanta]]. For this purpose a press was bought and Trigunatita was put in charge of publishing the magazine, ''Udbodhan''.<ref name="disciples"/>{{rp|178}}
After [[Swami Yogananda|Yogananda's]] death, Trigunatitananda became a personal attendant to [[Sarada Devi]] for a time. His brother Ashutosh Mitra, later a monk of the [[Ramakrishna Order]], also served her for a time.

===Work in America===
In 1902 when [[Turiyananda]] returned from America prematurely due to ill health, Trigunatitananda was sent to replace him. On 2 January 1903, he reached San Francisco and was taken to the house of T.H. Logan, president of the San Francisco Vedanta society. A few weeks later he went to the home of Mr. and Mrs C.F. Petersen where he was to make his headquarters. Classes and lectures were held regularly.<ref name="disciples"/>{{rp|180}} Before long the flat became too small for the Society's operations, and they moved to another flat at 40 Steiner Street.<ref name="Vedanta Society History">[http://www.sfvedanta.org/ Vedanta Society History]</ref>
In 1904, because of the work involved, Trigunatitananda felt that a new building for Vedanta Society of San Francisco was needed. Funds were raised, and in January 1906 the building in Webster Street, which came to be known as the first Hindu Temple in the western world, was established and opened to the public. The Swami published a pamphlet explaining each tower and detail of the structure. "This temple," the pamphlet began, "may be considered as a combination of a Hindu temple, a Christian church, a Mohammedan mosque, a Hindu math or monastery, and an American residence." Then it goes on to explain the symbolism built into the temple.<ref name="Vedanta Society History"/>

About this temple Trigunatitananda had said, ''Believe me, believe me, if there is least tinge of selfishness in building this temple, it will fall, but if it is the Master's work, it will stand.''<ref name="disciples"/>{{rp|182}}
It survived unscathed the major [[1906 San Francisco earthquake]].
Soon after this a monastery was set up with about ten monks, and a convent.
In 1909 the Swami started a monthly magazine called the Voice of Freedom, which was produced for seven years, based on the ideals of [[Vedanta]].

Every year the Swami led a selected group of students to Shanti Ashrama, in the San Antone valley in California, a spiritual retreat which was established by [[Turiyananda]], his predecessor and a brother disciple. The inmates spent their time in meditation and prayer.

Trigunatitananda opposed any attempt for his students to get involved in the Indian independence movement. He once said that "his society would never be mixed up with any matter affecting the British Rule in India" and actively encouraged student activists in favor of Indian independence to "give up politics." In a 1911 letter, Hopkinson wrote, "Regarding Swami Trigunatiti [sic] of the Vedanta Society, I am quite assured that we at least have one loyal East Indian … in this city."

===Last days===
Trigunatita suffered from chronic [[rheumatism]] and [[Bright's disease]], but continued his work. On 27 December 1914 he was holding a Sunday service when a bomb was thrown onto the pulpit by a former student. That student died and Trigunatita was fatally injured. On his way to the hospital, he was only concerned about the student. A nurse who attended on him commented: "I have never seen such a calm, uncomplaining, and enduring patient in my life."<ref>{{Cite web|url = http://www.rkmfiji.org/node/51|title = Swami Trigunatitananda|date = |publisher =Ramakrishna Mission, Fiji |last = |first = |archiveurl = https://web.archive.org/web/20120406183827/http://www.rkmfiji.org/node/51|archivedate=6 April 2012}}</ref>{{better source needed|date=June 2016}} He died on 10 January 1915.<ref name="disciples"/>{{rp|193}} In 1916 his relics were installed on the top of the highest hill, Siddha Giri, the "Hill of Realization" at [[Shanti Ashram]].<ref>[http://www.rkmathnagpur.org/monastic_disciples/swami_trigunatitananda.htm RKM Nagpur]</ref>

===Character and legacy===

====Quotes====
* ''Keep on praying to God with your whole heart; if the need arises for you to have a Guru, God will send somebody for you who will be just the man you want''<ref>[http://www.vedantasociety-chicago.org/thought.htm Vedanta Society Chicago]</ref>
* ''People talk of finding out the proper kind of guru. But that is not a reasonable position in all cases. Whoever the guru may be, everything will progress nicely if the disciple is earnest and sincere.''
* ''People of all castes can be initiated by a good guru who has attained perfection. What caste can a true devotee or the perfect soul have? When the individual soul merges in God (like rivers in the sea), they can no more have any individuality. So how can there be then, the distinction of caste, as Brahmin, etc., belonging to the body and never to the soul?''<ref>[http://www.abuddhistlibrary.com/Buddhism/H%20-%20World%20Religions%20and%20Poetry/World%20Religions/From%20the%20Indian%20Tradition/Teachers%20from%20the%20Indian%20Tradition/The%20Direct%20Disciples%20of%20Sri%20Ramakrishna/Life%20and%20Teachings/life_directdisciples.htm#Swami_Trigunatitananda buddhistlibrary.com]</ref>

== References ==
{{Reflist|30em}}

== External links ==
* [https://belurmath.org/swami-trigunatitananda/ Swami Trigunatitananda Biography]
* [http://www.abuddhistlibrary.com/Buddhism/H%20-%20World%20Religions%20and%20Poetry/World%20Religions/From%20the%20Indian%20Tradition/Teachers%20from%20the%20Indian%20Tradition/The%20Direct%20Disciples%20of%20Sri%20Ramakrishna/Life%20and%20Teachings/life_directdisciples.htm#Swami_Trigunatitananda Swami Trigunatitananda profile]
* {{YouTube|UmVQXh2jvyY|Swami Trigunatitananda visits Southern California}}

{{Ramakrishna}}

{{DEFAULTSORT:Trigunatitananda, Swami}}
[[Category:Scholars from West Bengal]]
[[Category:Indian Hindu missionaries]]
[[Category:1865 births]]
[[Category:1915 deaths]]
[[Category:Bengali Hindus]]
[[Category:Monks of the Ramakrishna Mission]]

Aitraaz

2026-04-19T16:32:34Z

Giispune:

{{short description|2004 Indian film by Abbas-Mustan}}
{{featured article}}
{{Use Indian English|date=December 2016}}
{{Use dmy dates|date=May 2022}}
{{Infobox film
| name = Aitraaz
| image = Aitraaz.jpg
| alt = The poster features three people, one man and two women, with green and black themed colour in the background. Text at the bottom of the poster reveals the tagline of the film while the text at the bottom of the poster reveals the title, name of the director, name of the producer, name of the distributor, the release date and the rest of the credits.
| caption = Theatrical release poster
| director = [[Abbas–Mustan]]
| producer = [[Subhash Ghai]]
| based_on = {{basedon|''[[Disclosure (1994 film)|Disclosure]]''|[[Barry Levinson]]}}
| writer = {{Plainlist|
* Shiraz Ahmed
* [[Shyam Goel]]
}}
{{Infobox
| decat=yes
| child=yes
| label1=Dialogues by
| data1=Aadesh K. Arjun
}}
| screenplay =
| starring = {{Plainlist|
* [[Akshay Kumar]]
* [[Priyanka Chopra]]
* [[Kareena Kapoor]]
* [[Amrish Puri]]
* [[Annu Kapoor]]
* [[Paresh Rawal]]
}}
| music = '''Songs:''' [[Himesh Reshammiya]] '''Background Score:''' [[Salim–Sulaiman]]
| cinematography = [[Ravi Yadav]]
| editing = Hussain A. Burmawala
| studio = [[Mukta Arts]]
| distributor = [[Zee Entertainment Enterprises|Zee Films]]
| released = {{Film date|2004|11|12|df=y}}
| country = India
| language = Hindi
| runtime = 159 minutes<ref>{{cite web|title=''Aitraaz'' (2004)|url=https://www.bbfc.co.uk/releases/aitraaz-2004|archive-url=https://web.archive.org/web/20161231175749/http://www.bbfc.co.uk/releases/aitraaz-2004|archive-date=31 December 2016|publisher=[[British Board of Film Classification]]|access-date=31 December 2016}}</ref>
| budget = {{INR}}11 crore<ref name="auto">{{cite web|url=https://boxofficeindia.com/movie.php?movieid=443|title=Aitraaz – Movie|publisher=[[Box Office India]]}}</ref>
| gross = {{INR}}26 crore<ref name="auto"/>
}}

'''''Aitraaz''''' ({{translation|Objection}}) is a 2004 Indian [[Hindi]]-language [[romantic thriller|romantic psychological thriller]] film directed by [[Abbas–Mustan]] and produced by [[Subhash Ghai]]. It stars [[Akshay Kumar]], [[Priyanka Chopra]] and [[Kareena Kapoor]].

''Aitraaz'' tells the story of a man accused of [[sexual harassment]] by his female superior, and was released on 12 November 2004 to positive reviews. Chopra received widespread critical acclaim for her performance. Loosely based on the 1994 film ''[[Disclosure (1994 film)|Disclosure]]'',<ref>{{Cite web |date=2009-05-24 |title=No ripoffs, please |url=https://www.telegraphindia.com/7-days/no-ripoffs-please/cid/623609 |website=Telegraph India}}</ref> the film was moderately successful at the box office, doing a business of {{INR}}26 crores at the box office against a budget of {{INR}}11 crores, and has been noted for its bold subject of male sexual harassment.

''Aitraaz'' received several accolades, particularly for Chopra. At the [[50th Filmfare Awards]], Chopra was nominated for the [[Filmfare Award for Best Supporting Actress|Best Supporting Actress]] and [[Filmfare Award for Best Performance in a Negative Role|Best Villain]], winning the latter and thus becoming the second (and final){{efn|The award was discontinued in 2008.}} actress to win the award.<ref name="ht"/> Chopra also won the [[Bengal Film Journalists' Association Award for Best Actress (Hindi)|Bengal Film Journalists' Association Award for Best Actress]] and the [[Screen Award for Best Actor in a Negative Role|Screen Award for Best Villain]]. The film received ten nominations at the [[6th IIFA Awards|2005 IIFA Awards]], winning three.

==Plot==
Raj Malhotra, an orphan, works as a product engineer for Voice Mobiles and lives in a rented house. Junior lawyer Priya Saxena mistakes him for his neighbor, Barrister Ram Chotrani for whom she applied for a job as an assistant due to their house numbers. Raj falls in love with Priya at first sight, and they eventually get married.

Two years later, Priya is pregnant, and they move into their own bungalow, expecting Raj’s promotion to CEO. However, at the company’s anniversary, Ranjit Roy, the chairman, arrives with his much younger wife, Sonia, who appoints his friend Rakesh as the new CEO, while Raj joins the board of directors.

A flashback shows Raj’s past in [[Cape Town, South Africa]], where he worked for MTN Mobile Company. There he met Sonia, who worked as a model, and they began a relationship. However, Raj’s insecurity about her modeling career caused tensions. When Sonia became pregnant, she refused Raj’s offer to marry and decided to abort the child to focus on her ambitions for wealth and power. This led to their breakup.

In the present, Rakesh informs Raj about a defect in their new mobile handset, causing calls to connect to the intended recipient and another random person in the contact list. Raj visits Sonia for authorization to stop production for which Sonia calls him to her house. Sonia makes inappropriate advances, which Raj continuously rejects and escapes.

The following day, Sonia falsely accuses Raj of sexual harassment and attempted rape, and Ranjit demands his resignation to avoid the downfall of the company. Raj objects by saying that he didn't sexually assault Sonia, but his colleagues and Rakesh don't believe him. During breakfast, the following day, Raj’s friend Ram advises him to resign despite him believing Raj, thinking society would not believe him and it is less likely for him to win the case, if he files a case against Sonia. Priya finds the resignation letter in his jacket pocket to which Raj explains why he is resigning, she however, doesn't want him to resign since the lie will be assumed as the truth if he does, at which point, Raj decides to send the case to court, gaining media attention. Advocate Ravi Patel tries to humiliate Raj by revealing past drunken comments from a party held after the promotions and showing scratches on his back to paint him as guilty. Despite the pressure, Raj stands firm.

A breakthrough comes when Raj’s bank manager returns with a tape from the defective handset that recorded Raj’s visit to Sonia. Ram submits the tape, but Sonia orchestrates an accident that injures Ram and has the tape swapped for a fake one. Priya overhears a call where Sonia demands Raj meet her to make the case disappear, but Priya decides to confront Sonia instead.

Priya takes over as Raj’s lawyer, exposing Sonia’s affair with Raj and playing a voicemail from Rakesh that reveals Sonia’s manipulations. It is revealed that Sonia married Ranjit for money and power but sought to rekindle her relationship with Raj when her marriage didn’t satisfy her. In the end, Priya wins the case. Ranjit divorces Sonia, and guilt-ridden, Sonia commits suicide by jumping from her office building. Later, Raj and Priya happily walk with their newborn child.

== Cast ==
The cast is listed below:<ref>{{cite web|title=Aitraaz|url=http://boxofficeindia.com/cast_crew.php?movieid=443|archive-url=https://web.archive.org/web/20170117081323/http://boxofficeindia.com/cast_crew.php?movieid=443|archive-date=17 January 2017|publisher=Box Office India|access-date=17 January 2017}}</ref>
* [[Akshay Kumar]] as Raj Malhotra, a product engineer at Voice Mobiles and a member of its board of directors. He is Priya’s husband and Sonia’s ex lover and attempted rape victim.

* [[Priyanka Chopra]] as Sonia Roy née Kapoor, the third wife of Ranjit Roy and Raj’s ex lover who schemes to enact her revenge by framing him for sexual assault after the pair broke up five years ago.

* [[Kareena Kapoor]] as Advocate Priya Raj Malhotra, a junior lawyer and Raj’s wife. She becomes his permanent lawyer to help Raj fight his false sexual assault case when he is framed by Sonia.

* [[Amrish Puri]] as Ranjit Roy, the chairman of Voice Mobiles and Raj’s boss. He demands Raj’s resignation after Sonia frames him for sexual assault.

* [[Annu Kapoor]] as Barrister Ram Chotrani, Raj and Priya’s lawyer friend who helps them try to close Raj’s false sexual assault case.

* [[Paresh Rawal]] as Advocate Ravi Patel, Sonia’s lawyer
* [[Upasana Singh]] as Kanchan Chotrani
* [[Dinesh Lamba]] as Garv
* [[Preeti Puri]] as Jenny, Raj’s secretary
* Anil Nagrath as Judge Anupam Choudhary

==Production==
[[File:Aitraaz cast.jpg|thumb|300px|alt=A photograph of Aitraaz team looking forward, smiling and posing for the camera|The cast of ''Aitraaz'' photographed on the sets]]
The director duo [[Abbas–Mustan]] took inspiration from [[National Basketball Association]] player [[Kobe Bryant]], who was accused of rape by a fan;<ref name="apr">{{cite web|title=Akshay Kumar plays a rapist!|url=http://www.sify.com/movies/Akshay-Kumar-plays-a-rapist-news-bollywood-kkfvKIjbegi.html|archive-url=https://web.archive.org/web/20160107054739/http://www.sify.com/movies/Akshay-Kumar-plays-a-rapist-news-bollywood-kkfvKIjbegi.html|archive-date=7 January 2016|website=[[Sify]]|date=13 July 2004|url-status=dead|access-date=24 June 2013}}</ref> they began developing the film after reading about [[Kobe Bryant sexual assault case|his sexual-assault case]] in the newspapers.<ref name="am">{{cite web|title=Akshay has a lot of experience: Abbas-Mustan|url=http://www.sify.com/movies/bollywood/interview.php?id=13606747&cid=2398|archive-url=https://web.archive.org/web/20160107054739/http://www.sify.com/movies/bollywood/interview.php?id=13606747&cid=2398|archive-date=7 January 2016|website=[[Sify]]|date=8 November 2004|url-status=dead|access-date=22 June 2013}}</ref> Regarding the film's unusual title, they said the word ''aitraaz'' was colloquial and suited the subject.<ref name="am"/> [[Shyam Goel]] and Shiraz Ahmed wrote the screenplay. Hussain A. Burmawala and [[R. Verman]] were responsible for film editing and [[Art director|art direction]], respectively.<ref name="BH">{{cite web|title=Aitraaz Cast & Crew|url=https://www.bollywoodhungama.com/movie/aitraaz/cast/|archive-url=https://web.archive.org/web/20170108091115/http://www.bollywoodhungama.com/movie/aitraaz/cast/|archive-date=8 January 2017|website=[[Bollywood Hungama]]|date=12 November 2004 |url-status=live|access-date=8 January 2017}}</ref>

The film was announced in October 2003 by producer [[Subhash Ghai]], to commemorate the 25th anniversary of his production company [[Mukta Arts]].<ref name="tribune">{{cite news|title=Ghai to direct a musical love story|url=http://www.tribuneindia.com/2003/20031029/ncr2.htm|archive-url=https://web.archive.org/web/20160303192219/http://www.tribuneindia.com/2003/20031029/ncr2.htm|archive-date=3 March 2016|work=[[The Tribune (Chandigarh)|The Tribune]]|date=29 October 2003|access-date=10 December 2016}}</ref> The media reported that [[Akshay Kumar]], [[Kareena Kapoor]] and [[Priyanka Chopra]] were cast in lead roles. It marked Kumar and Kapoor’s third collaboration following ''[[Ajnabee (2001 film)|Ajnabee]]'' (2001) and ''[[Talaash: The Hunt Begins...]]'' (2003). It also marked the third film collaboration between Kumar and Chopra’s after the highly successful ''[[Andaaz]]'' (2003) and ''[[Mujhse Shaadi Karogi]]'' (2004).<ref name="tribune"/><ref name="pgn">{{cite web|title=Priyanka goes negative in 'Aitraaz'|url=http://www.sify.com/movies/Priyanka-goes-negative-in--Aitraaz-news-bollywood-kkfvKJbahaa.html|archive-url=https://web.archive.org/web/20161220130115/http://www.sify.com/movies/Priyanka-goes-negative-in--Aitraaz-news-bollywood-kkfvKJbahaa.html|archive-date=20 December 2016|website=[[Sify]]|date=7 July 2004|url-status=dead|access-date=24 June 2013}}</ref> Kumar was cast as Raj, a working man accused of rape at his workplace; Kapoor portrayed his supportive wife, who goes to extremes to defend him.<ref name="apr"/> According to the directors, Kumar was cast [[Typecasting (acting)|against type]]; he generally played [[action hero]]es, and they wanted him to underplay his character.<ref name="am"/> Abbas–Mustan, known for stylish thrillers and intriguing antagonists,{{efn|Examples include [[Shah Rukh Khan]] in 1993's ''[[Baazigar]]'', [[Arbaaz Khan]] in 1996's ''[[Daraar (film)|Daraar]]'', Akshay Kumar 2001's ''[[Ajnabee (2001 film)|Ajnabee]]'' and [[Akshaye Khanna]] in 2002's ''[[Humraaz]]''.<ref name="pgn"/>}} cast Chopra in her first negative role.<ref name="pgn"/> She plays a woman, married to a business magnate more than twice her age, who seeks revenge by falsely accusing her former lover of raping her. Chopra was initially apprehensive about such a bold character, due to the controversial theme of [[sexual harassment]], but Abbas–Mastan and Subhash Ghai convinced her to accept the role.<ref name="conservative">{{cite web|title=I'm a very conservative girl: Priyanka Chopra |url=http://www.sify.com/movies/bollywood/interview.php?id=13609096&cid=2398|archive-url=https://web.archive.org/web/20140717023842/http://www.sify.com/movies/bollywood/interview.php?id=13609096&cid=2398|archive-date=17 July 2014|last=Jha|first=Subhash K.|author-link=Subhash K. Jha|website=[[Sify]]|date=12 November 2004|url-status=dead |access-date=22 June 2013}}</ref><ref name="sonia">{{cite web|title=Priyanka: 'I am not confident!'|url=http://specials.rediff.com/movies/2004/nov/10sld1.htm|date=10 November 2004|archive-url=https://web.archive.org/web/20160304054123/http://specials.rediff.com/movies/2004/nov/10sld1.htm|archive-date=4 March 2016|last=Lalwani|first=Vickey|work=Rediff.com|access-date=22 June 2013}}</ref> The director duo had previously offered her the lead in their 2002 thriller ''[[Humraaz]]'', which she could not accept.<ref name="meet">{{cite web|title=Meet Priyanka Chopra|url=http://specials.rediff.com/movies/2004/jul/29priyanka.htm|archive-url=https://web.archive.org/web/20040804064815/http://specials.rediff.com/movies/2004/jul/29priyanka.htm|archive-date=4 August 2004|work=[[Rediff.com]]|access-date=11 January 2017}}</ref>

Kumar described his character as "realistic" and a "new-age [[metrosexual]]" man. The actor revealed that he enjoyed the strengths and weaknesses of his character, adding "[he] is not afraid to show his feelings and does not feel emasculated by his situation."<ref name="raj">{{cite web|title='Aitraaz' is my boldest film: Akshay Kumar|url=http://www.sify.com/movies/bollywood/interview.php?id=13609029&cid=2398|archive-url=https://web.archive.org/web/20160107054739/http://www.sify.com/movies/bollywood/interview.php?id=13609029&cid=2398|archive-date=7 January 2016|last=Jha|first=Subhash K.|website=[[Sify]]|date=12 November 2004|url-status=dead|access-date=23 June 2013}}</ref> Kumar further stated: "There's a quiet dignity and heroism associated with my character. He doesn't fight for applause. He fights for his convictions."<ref name="raj"/> In an interview with ''[[The Tribune (Chandigarh)|The Tribune]]'', Kapoor remarked that Indian women would identify with her character.<ref name="priya">{{cite news|title=Indians want a bit of chatpata stuff|url=http://www.tribuneindia.com/2004/20041128/spectrum/main5.htm|archive-url=https://web.archive.org/web/20081203001746/http://www.tribuneindia.com/2004/20041128/spectrum/main5.htm|archive-date=3 December 2008|last=Lalwani|first=Vickey|work=The Tribune|date=24 November 2004|access-date=23 June 2013}}</ref> She said her character "stand[s] by [Raj] in his moment of distress and helplessness, like every Indian woman would."<ref name="priya"/> Chopra described her character Sonia as "charming and focused", commenting that her "philosophy is that she has to achieve her goals at any cost. She knows one thing: that nothing can come in between her desires and herself."<ref name="sonia"/> Owing to her conservative upbringing, Chopra found it difficult to identify with her "man-eater role".<ref name="conservative"/> Playing an "extremely negative character" proved a challenge, and she had to mentally prepare herself for an hour before each scene.<ref>{{cite web|title=I don't do item numbers: Priyanka Chopra|url=http://www.sify.com/movies/bollywood/interview.php?id=13557886&cid=2398|archive-url=https://web.archive.org/web/20161220124609/http://www.sify.com/movies/bollywood/interview.php?id=13557886&cid=2398|archive-date=20 December 2016|last=Jha|first=Subhash K.|website=[[Sify]]|date=1 September 2004|url-status=dead|access-date=22 June 2013}}</ref>

[[Manish Malhotra]] and Vikram Phadnis designed the costumes and the cinematography was handled by [[Ravi Yadav]].<ref name="BH"/> The film was mainly shot in Cape Town, [[Goa]], [[Pune]] and [[Mumbai]].<ref name="am"/> Chopra, who was simultaneously filming four other productions, revealed that because of her busy schedule the producers of her other films had to move their sets to the [[Filmistan Studio]], where ''Aitraaz'' was being made.<ref name="meet"/> She wept during filming of the sexual-harassment scene; it took the directors several hours to remind her she was only playing a character, and further filming was postponed.<ref>{{cite news|title=Bollywood's Good Girls Learn to Be Bad|url=https://www.nytimes.com/2005/07/24/movies/bollywoods-good-girls-learn-to-be-bad.html|archive-url=https://web.archive.org/web/20150529192103/http://www.nytimes.com/2005/07/24/movies/bollywoods-good-girls-learn-to-be-bad.html|archive-date=29 May 2015|last=Chopra|first=Anupama|work=[[The New York Times]]|date=24 July 2005|access-date=24 June 2013}}</ref> The music video of the title track "Aitraaz – I Want to Make Love to You" with Kumar and Chopra was shot in one take with a [[Steadicam]].<ref>{{cite web|title=Title song of 'Aitraaz' shot in one take|url=http://www.sify.com/movies/Title-song-of--Aitraaz--shot-in-one-take-news-bollywood-kkfvE2cgghi.html|archive-url=https://web.archive.org/web/20150912045633/http://www.sify.com/movies/Title-song-of--Aitraaz--shot-in-one-take-news-bollywood-kkfvE2cgghi.html|archive-date=12 September 2015|website=[[Sify]]|date=10 November 2004|url-status=dead|access-date=24 November 2013}}</ref> [[Salim–Sulaiman]] composed the background score for the film.<ref name="BH"/>

==Soundtrack==
{{Infobox album
| name = Aitraaz
| type = Soundtrack
| artist = [[Himesh Reshammiya]]
| cover =
| border = yes
| alt =
| caption = Soundtrack cover
| released = 24 September 2004
| recorded = 2004
| venue = [[Mumbai]]
| studio =
| genre = [[Soundtrack|Feature film soundtrack]]
| length = 71:41
| language = [[Hindi]]
| label = [[Sony Music]] [[Sony BMG]] [[Tips Industries|Tips Music Films]]
| producer = Himesh Reshammiya
| prev_title = [[Shukriya: Till Death Do Us Apart|Shukriya]]
| prev_year = 2004
| next_title = [[Aabra Ka Daabra]]
| next_year = 2004
}}

''Aitraaz''{{'}}s soundtrack was composed by [[Himesh Reshammiya]], with lyrics by [[Sameer (lyricist)|Sameer]]. The album contains fifteen songs: seven original, and eight remixes. The vocals were performed by [[Udit Narayan]], [[Alka Yagnik]], [[Sunidhi Chauhan]], [[Adnan Sami]], [[KK (singer)|K.K.]], and [[Alisha Chinai]]. It was released on 24 September 2004 by [[Sony Music India]].<ref>{{cite web|title='Aitraaz' music release on Sept. 24|url=https://www.bollywoodhungama.com/news/bollywood/aitraaz-music-release-on-sept-24/|archive-url=https://web.archive.org/web/20161220122536/http://www.bollywoodhungama.com/news/bollywood/aitraaz-music-release-on-sept-24/|archive-date=20 December 2016|website=[[Bollywood Hungama]]|date=9 September 2004|url-status=live|access-date=22 June 2013}}</ref>

The soundtrack was generally well received by music critics, who praised its lyrics and vocals. Joginder Tuteja of [[Bollywood Hungama]] rated the album 3 out of 5, praising "I Want To Make Love To You" (all three versions): "Sunidhi Chauhan is excellent in this wonderfully-composed track that shocks everyone with the intensity of the lyrics and the music". He concluded, "Except for two or three average songs here and there, the majority of songs in Aitraaz do keep you engaged".<ref name="music">{{cite web|title=Aitraaz: Music Review|url=http://www.sify.com/movies/aitraaz-news--music-kkfvHpafgjj.html|archive-url=https://web.archive.org/web/20150918093640/http://www.sify.com/movies/aitraaz-news--music-kkfvHpafgjj.html|archive-date=18 September 2015|last=Tuteja|first=Joginder|website=[[Sify]]|date=4 October 2004|url-status=dead|access-date=22 June 2013}}</ref>
{{track listing
| headline = Track listing<ref name="music"/>
| extra_column = Singer(s)
| title1 = Aankhen Bandh Karke
| extra1 = [[Udit Narayan]], [[Alka Yagnik]]
| all_lyrics = [[Sameer (lyricist)|Sameer]]
| all_music = [[Himesh Reshammiya]]
| length1 = 4:41
| title2 = Talatum Talatum
| extra2 = Alka Yagnik, Jayesh Gandhi, Udit Narayan
| length2 = 6:58
| title3 = Woh Tassavur Ka Aalam
| extra3 = Udit Narayan, Alka Yagnik
| length3 = 5:24
| title4 = Nazar Aa Raha Hai
| extra4 = Udit Narayan, Alka Yagnik
| length4 = 5:07
| title5 = Gela Gela Gela
| extra5 = [[Adnan Sami]], [[Sunidhi Chauhan]]
| length5 = 4:42
| title6 = I Want to Make Love to You
| extra6 = Sunidhi Chauhan
| length6 = 5:11
| title7 = Yeh Dil Tumpe Aa Gaya
| extra7 = [[KK (singer)|K.K.]], [[Alisha Chinai]]
| length7 = 5:23
| title8 = I Want to Make Love to You (Male)
| extra8 = [[Kunal Ganjawala]]
| length8 = 5:10
| title9 = Aankhen Bandh Karke (Remix)
| extra9 = Udit Narayan, Alka Yagnik
| length9 = 5:00
| title10 = Gela Gela Gela (Remix)
| extra10 = Adnan Sami, Sunidhi Chauhan
| length10 = 4:00
| title11 = Woh Tassavur Ka Aalam (Remix)
| extra11 = Udit Narayan, Alka Yagnik
| length11 = 4:00
| title12 = Talatum Talatum (Remix)
| extra12 = Alka Yagnik, Jayesh Gandhi, Udit Narayan
| length12 = 5:00
| title13 = Nazar Aa Raha Hai (Remix)
| extra13 = Udit Narayan, Alka Yagnik
| length13 = 4:00
| title14 = Yeh Dil Tumpe Aa Gaya (Remix)
| extra14 = K.K., Alisha Chinai
| length14 = 5:00
| title15 = I Want to Make Love to You (Remix)
| extra15 = Sunidhi Chauhan
| length15 = 4:00
}}

==Marketing and release==
The first-look poster of the film, with the tagline "In the world of women, you either play by their rules or else ...", was received positively by critics;<ref>{{cite web|title=Images: Aitraaz is coming|url=http://specials.rediff.com/movies/2004/nov/02sd5.htm|archive-url=https://web.archive.org/web/20041104032715/http://specials.rediff.com/movies/2004/nov/02sd5.htm|archive-date=4 November 2004|work=Rediff.com|access-date=22 June 2013}}</ref><ref>{{cite web|title=Aitraaz|url=http://www.sify.com/movies/aitraaz-review-bollywood-pclv8Paigihjc.html|archive-url=https://web.archive.org/web/20161231201500/http://www.sify.com/movies/aitraaz-review-bollywood-pclv8Paigihjc.html|archive-date=31 December 2016|website=[[Sify]]|date=27 September 2004|access-date=22 June 2013}}</ref> the film's trailers were also well received. In October 2004, exclusive footage from the film was screened to the trade experts and critics, creating a positive buzz. The film's trailers and the film's music aided its marketing.<ref name="talk">{{cite web|title=Aitraaz is the talk-of-the-town|url=https://www.bollywoodhungama.com/news/bollywood/aitraaz-is-the-talk-of-the-town/|archive-url=https://web.archive.org/web/20161220121953/http://www.bollywoodhungama.com/news/bollywood/aitraaz-is-the-talk-of-the-town/|archive-date=20 December 2016|website=[[Bollywood Hungama]]|date=1 November 2004|url-status=live|access-date=23 June 2013}}</ref>

Made on a production and marketing budget of {{currency|80|INR|linked=yes}} million, ''Aitraaz'' released on 375 screens on 12 November 2004 during the festive [[Diwali]] weekend.<ref name="boi">{{cite web|title=Aitraaz|url=http://boxofficeindia.com/movie.php?movieid=443|archive-url=https://web.archive.org/web/20161222195119/http://boxofficeindia.com/movie.php?movieid=443|archive-date=22 December 2016|publisher=[[Box Office India]]|access-date=17 January 2017}}</ref> It clashed with three other major releases: ''[[Veer-Zaara]]'', the coloured version of ''[[Mughal-e-Azam]]'', and ''[[Naach (2004 film)|Naach]]''. The film opened to excellent occupancy in metros and decent at other places. It was the second-best playing release of the week after [[Yash Chopra]]'s ''Veer-Zaara''.<ref>{{cite news|title=Top five movies of the week|url=http://www.sify.com/movies/top-five-movies-of-the-week-news-bollywood-kkfvDXidbfhsi.html|archive-url=https://web.archive.org/web/20161220131620/http://www.sify.com/movies/top-five-movies-of-the-week-news-bollywood-kkfvDXidbfhsi.html|archive-date=20 December 2016|last=Adarsh|first=Taran|author-link=Taran Adarsh|website=[[Sify]]|date=20 November 2004|url-status=dead|access-date=10 December 2016}}</ref><ref>{{cite news|title=Mid-Week Top Five|url=http://www.sify.com/movies/mid-week-top-five-news-bollywood-kkfvCdccejisi.html|archive-url=https://web.archive.org/web/20161220131622/http://www.sify.com/movies/mid-week-top-five-news-bollywood-kkfvCdccejisi.html|archive-date=20 December 2016|last=Adarsh|first=Taran|website=[[Sify]]|date=18 December 2004|url-status=dead|access-date=10 December 2016}}</ref> According to Box Office India, the film grossed approximately {{INR}}45 million on its opening weekend and {{INR}}76 million in its first week at the domestic box office.<ref name="boi"/> After its run, ''Aitraaz'' grossed over {{INR}}278 million at the box office, becoming the tenth highest-grossing Bollywood film of the year.<ref>{{cite web|title=Box Office 2004 |url=http://www.boxofficeindia.com/showProd.php?itemCat=210&catName=MjAwNA== |publisher=Box Office India |access-date=25 February 2011 |archive-url=https://web.archive.org/web/20110121000707/http://boxofficeindia.com/showProd.php?itemCat=210&catName=MjAwNA%3D%3D |archive-date=21 January 2011 |url-status=dead }}</ref> The film was deemed a commercial success.<ref name="boi"/>

The DVD of the film was released on 6 December 2004 across all regions in a PAL-format single disc.<ref>{{cite web|title=Aitraaz [DVD]|date=6 December 2004 |url=https://www.amazon.co.uk/dp/B0006B16OM|archive-url=https://web.archive.org/web/20160324224816/http://www.amazon.co.uk/Aitraaz-DVD-Akshay-Kumar/dp/B0006B16OM|publisher=[[Amazon.co.uk]]|archive-date=24 March 2016|access-date=23 June 2013}}</ref> Distributed by [[Shemaroo Entertainment]], it included a making-of-the-film segment and a photo gallery.<ref name="vcd">{{cite web|title=Aitraaz |url=http://www.shemaroo.com/shopping/search_result.asp#sf |publisher=[[Shemaroo Entertainment]] |access-date=23 June 2013 |url-status=dead |archive-url=https://web.archive.org/web/20130529050507/http://www.shemaroo.com/shopping/search_result.asp |archive-date=29 May 2013 }}</ref> The VCD version was released at the same time,<ref name="vcd"/> and [[Zee Network]] bought the exclusive broadcast rights.<ref>{{cite web|title=ZEE grabs Bollywood blockbuster Aitraaz|url=http://www.media247.co.uk/bizasia/zee-grabs-bollywood-blockbuster-aitraaz|archive-url=https://web.archive.org/web/20161220105342/http://www.media247.co.uk/bizasia/zee-grabs-bollywood-blockbuster-aitraaz|archive-date=20 December 2016|last=Baddhan|first=Raj|publisher=Biz Asia|date=12 December 2004|access-date=23 June 2013}}</ref> ''Aitraaz'' made its Indian television premiere on 30 October 2005 on [[Zee Cinema]].<ref>{{cite web|title=Zee Cinema presents Raaz Ya Aitraaz – Break-thru content|url=http://www.indiantelevision.com/release/y2k5/oct/octrel45.htm|archive-url=https://web.archive.org/web/20161220152759/http://www.indiantelevision.com/release/y2k5/oct/octrel45.htm|archive-date=20 December 2016|publisher=Indian Television|date=27 October 2005|access-date=23 June 2013}}</ref> The film was remade in [[Kannada]] as ''[[Shrimathi]]'' (2011), starring [[Upendra (actor)|Upendra]], [[Priyanka Trivedi]] and [[Celina Jaitley]].<ref>{{cite web|title=Two Kannada films will fight it out this weekend|url=http://www.rediff.com/movies/slide-show/slide-show-1-south-two-kannada-films-will-fight-it-out-this-weekend/20110707.htm|archive-url=https://web.archive.org/web/20161220102743/http://www.rediff.com/movies/slide-show/slide-show-1-south-two-kannada-films-will-fight-it-out-this-weekend/20110707.htm|archive-date=20 December 2016|last=Lakshminarayana|first=Shruti Indira|work=Rediff.com|date=7 July 2011|access-date=24 June 2013}}</ref>

==Critical response==
[[File:Priyanka At Nikon Camera Launch.jpg|thumb|200px|alt=A photograph of Priyanka Chopra looking forward, smiling and posing for the camera|Critics were particularly appreciative of [[Priyanka Chopra]]'s performance.]]

''Aitraaz'' received generally positive reviews from critics, who praised its direction, music and performances, particularly Chopra's.<ref>{{cite news|title=Best Performances Of Priyanka Chopra: 10 Bollywood Roles Only Priyanka Chopra Could Have Pulled Off|url=http://www.mensxp.com/entertainment/gossip/23372-10-bollywood-roles-only-priyanka-chopra-could-have-pulled-off.html|archive-url=https://web.archive.org/web/20150903023619/http://www.mensxp.com/entertainment/gossip/23372-10-bollywood-roles-only-priyanka-chopra-could-have-pulled-off.html|archive-date=3 September 2015|publisher=MensXP.com|date=18 July 2014|access-date=12 January 2017}}</ref><ref>{{cite news|title=Priyanka Chopra's BIGGEST Hits|url=http://www.rediff.com/movies/report/priyanka-chopras-biggest-hits/20140908.htm|archive-url=https://web.archive.org/web/20141011221053/http://www.rediff.com/movies/report/priyanka-chopras-biggest-hits/20140908.htm|archive-date=11 October 2014|work=Rediff.com|date=8 October 2014|access-date=17 January 2017}}</ref><ref>{{cite news|title=7 Bollywood Films That Clashed With SRK And Couldn't Handle It|url=http://www.indiatimes.com/entertainment/7-bollywood-films-that-clashed-with-srk-and-couldnt-handle-it-234075.html|archive-url=https://web.archive.org/web/20160417114821/http://www.indiatimes.com/entertainment/7-bollywood-films-that-clashed-with-srk-and-couldnt-handle-it-234075.html|archive-date=17 April 2016|last=Sharma|first=Isha|work=[[Indiatimes]]|date=28 June 2015|access-date=17 January 2017}}</ref> It was noted for its bold treatment of sexual harassment.<ref name="hungama">{{cite web|title=Aitraaz Review|url=https://www.bollywoodhungama.com/movie/aitraaz/critic-review/aitraaz-movie-review/|archive-url=https://web.archive.org/web/20161220124045/http://www.bollywoodhungama.com/movie/aitraaz/critic-review/|archive-date=20 December 2016|last=Adarsh|first=Taran|website=[[Bollywood Hungama]]|date=11 November 2004|url-status=live|access-date=22 June 2013}}</ref> Several critics observed that the premise was similar to the American film ''[[Disclosure (1994 film)|Disclosure]]'' (1994).<ref name="hungama"/><ref name="Kamath">{{cite web|title=Aitraaz Review|url=http://www.thehindu.com/fr/2004/11/19/stories/2004111902200500.htm|work=[[The Hindu]]|date=19 November 2004|access-date=22 June 2013|last=Kamath|first=Sudhish|url-status=dead|archive-url=https://archive.today/20161231163635/http://www.thehindu.com/fr/2004/11/19/stories/2004111902200500.htm|archive-date=31 December 2016}}</ref> Writing for the [[BBC]], critic Jay Mamtora praised the film's theme, music and performances, and remarked that "Abbas-Mustaan have done a good job in 'Indianising' the whole concept". He went on to describe it as "a gripping edge of the seat drama that keeps viewers glued to their seats".<ref>{{cite web|title=Aitraaz Review|url=https://www.bbc.co.uk/shropshire/films/bollywood/2004/11/aitraaz_review_02.shtml|archive-url=https://web.archive.org/web/20140628101810/http://www.bbc.co.uk/shropshire/films/bollywood/2004/11/aitraaz_review_02.shtml|archive-date=28 June 2014|last=Mamtora|first=Jay|publisher=[[BBC]]|url-status=live|access-date=22 June 2013}}</ref> [[Taran Adarsh]] of ''Bollywood Hungama'' rated the film 3.5 out of 5, calling it "a well-crafted thriller" and complimenting the directors' opting for "a theme that has been untouched on the Indian screen so far" and the film's "dramatic moments".<ref name="hungama"/>

Like Mamtora, Adarsh believed that the film belonged entirely to Priyanka Chopra, and was impressed with her understanding of the character, writing that "She sneaks her way through the role like an expert, drawing audience hatred the way a magnet collects iron filings."<ref name="hungama"/> He also complimented the performances by Kapoor and Kumar.<ref name="hungama"/> Patcy N of ''[[Rediff.com]]'' noted the film's appeal to the general public, finding its subject matter "something different from the standard fare on offer". She also praised the music and choreography.<ref name="Rediff">{{cite web|title=Aitraaz thrills audiences!|url=http://www.rediff.com/movies/2004/nov/12aitraaz.htm|archive-url=https://web.archive.org/web/20160304055444/http://www.rediff.com/movies/2004/nov/12aitraaz.htm|archive-date=4 March 2016|last=N|first=Patcy|work=Rediff.com|date=12 November 2004|access-date=22 June 2013}}</ref> Writing for ''[[India Today]]'', film critic [[Anupama Chopra]] lauded Chopra's "impressive" performance, and deemed the film "good timepass".<ref>{{cite web|title=Siren's call|url=https://www.indiatoday.in/magazine/your-week/story/20041129-film-review-of-aitraaz-by-abbas-mustan-starring-akshay-kumar-priyanka-chopra-789172-2004-11-28|archive-url=https://web.archive.org/web/20161220103005/http://indiatoday.intoday.in/story/film-review-of-aitraaz-by-abbas-mustan-starring-akshay-kumar-priyanka-chopra/1/195206.html|archive-date=20 December 2016|last=Chopra|first=Anupama|author-link=Anupama Chopra|work=[[India Today]]|date=29 November 2004|url-status=live|access-date=22 June 2013}}</ref>

[[Sudhish Kamath]] of ''[[The Hindu]]'' commented that "though the first half of the movie is well-paced, the second half sags with the songs and twists forced into the plot to buy time", but stated that it was "passable with its slick production, a few funny lines, glam quotient and star appeal."<ref name="Kamath"/> Subhash K. Jha criticised the film's "dishy digressions" and "peripheral sub-plots", rating it 2 out of 5 overall, but was impressed with the court scene, which he considered "splendid". He also found Chopra's performance to be a triumph, remarking: "A star is born! As the predatory social-climbing seductress who can go to any length to satiate her lust for life, Priyanka Chopra rocks the scene like never before." Jha believed that Kareena was miscast and seemed a little awkward in a non-glamorous role, but "comes into her own in the climactic courtroom sequence",<ref name="Jha">{{cite web|title=Aitraaz Review|url=http://www.sify.com/movies/aitraaz-news--review-kkfvEtbifhgsi.html|archive-url=https://web.archive.org/web/20161231204336/http://www.sify.com/movies/aitraaz-news--review-kkfvEtbifhgsi.html|archive-date=31 December 2016|last=Jha|first=Subhash K.|website=[[Sify]]|date=15 November 2004|url-status=dead|access-date=22 June 2013}}</ref> a sentiment echoed by Jitesh Pillai in his review for ''[[The Times of India]]''. Pillai gave a rating of 3 out of 5 and noted that "it isn't drama that directors were striving for, yet the film works."<ref>{{cite web|title=Aitraaz |url=http://timesofindia.indiatimes.com/bollywood/Aitraaz/articleshow/923438.cms |archive-url=https://web.archive.org/web/20170109175504/http://timesofindia.indiatimes.com/bollywood/Aitraaz/articleshow/923438.cms |archive-date= 9 January 2017 |last=Pillai |first=Jitesh |work=[[The Times of India]] |access-date=9 January 2017 |date=15 November 2004 |url-status=dead }}</ref>

==Accolades==
{| class="wikitable plainrowheaders sortable"
|-
!scope="col"| Award
!scope="col"| Category
!scope="col"| Recipient(s) and nominee(s)
!scope="col"| Result
! scope="col" class="unsortable"| {{Abbr|Ref.|Reference(s)}}
|-
!scope="row" | [[Bengal Film Journalists' Association Awards]]
| [[Bengal Film Journalists' Association Award for Best Actress (Hindi)|Best Actress]]
| rowspan="3"|{{sort|Chopra|[[Priyanka Chopra]]}}
|{{won}}
|style="text-align:center;" |<ref name="ht">{{cite news|title=Birthday blast: Priyanka Chopra's Top 30 moments in showbiz|url=http://www.hindustantimes.com/Entertainment/Bollywood/Birthday-blast-Priyanka-Chopra-s-Top-30-moments-in-showbiz/Article1-890611.aspx|work=[[Hindustan Times]]|date=17 July 2012|access-date=15 December 2012|url-status=dead|archive-url=https://web.archive.org/web/20141129144753/http://www.hindustantimes.com/entertainment/bollywood/birthday-blast-priyanka-chopra-s-top-30-moments-in-showbiz/article1-890611.aspx|archive-date=29 November 2014}}</ref>
|-
!scope="row" rowspan="2" | [[50th Filmfare Awards|Filmfare Awards]]
| [[Filmfare Award for Best Supporting Actress|Best Supporting Actress]]
|{{nom}}
|style="text-align:center;" rowspan="2" |<ref name="ht"/> <ref name="awards">{{cite web|url=http://www.bollywoodhungama.com/celebrities/awards/10207/index.html |title=Priyanka Chopra: Awards & nominations |access-date=27 December 2012|website=[[Bollywood Hungama]] |archive-url=https://web.archive.org/web/20090424192038/http://www.bollywoodhungama.com/celebrities/awards/10207/index.html|archive-date=24 April 2009}}</ref>
|-
| [[Filmfare Award for Best Performance in a Negative Role|Best Performance in a Negative Role]]
|{{won}}
|-
!scope="row" rowspan="2" | [[Global Indian Film Awards]]
| Best Director
| {{sort|Abbas–Mustan|[[Abbas–Mustan]]}}
|{{nom}}
|style="text-align:center;" rowspan="2" |<ref>{{cite news|title=Global Indian Film Awards Nominess - 2004|url=http://www.indiafm.com/awards/gifa/nominees2004.shtml|website=[[Bollywood Hungama]]|access-date=7 May 2020|archive-url=https://web.archive.org/web/20050207105051/http://indiafm.com/awards/gifa/nominees2004.shtml|archive-date=7 February 2005|url-status=live}}</ref> <ref>{{cite web|title=Shah Rukh, Rani bag GIFA Awards|url=http://www.hindustantimes.com/entertainment/shah-rukh-rani-bag-gifa-awards/story-MP6sbnYc5FIKmIjFgNj0RP.html|archive-url=https://web.archive.org/web/20161220120222/http://www.hindustantimes.com/entertainment/shah-rukh-rani-bag-gifa-awards/story-MP6sbnYc5FIKmIjFgNj0RP.html|archive-date=20 December 2016|work=Hindustan Times|date=28 January 2005|access-date=12 December 2016}}</ref>
|-
| Best Villain Female
| {{sort|Chopra|Priyanka Chopra}}
|{{won}}
|-
!scope="row" rowspan="10" | [[6th IIFA Awards|International Indian Film Academy Awards]]
| [[IIFA Award for Best Actress|Best Actress]]
| {{sort|Kapoor|[[Kareena Kapoor]]}}
|{{nom}}
|style="text-align:center;" rowspan="10" |<ref>{{cite web|title=Winners of 6th IIFA Awards|url=http://www.iifa.com/city_amsterdam.php |url-status=dead|archive-url=https://web.archive.org/web/20130709033239/http://www.iifa.com/city_amsterdam.php|archive-date=9 July 2013|publisher=[[International Indian Film Academy Awards|IIFA Awards]]|access-date=22 June 2013}}</ref> <ref>{{cite web|title=IIFA tech awards: 'Mujhse Shaadi Karogi', 'Aitraaz' score|url=http://www.indiantelevision.com/headlines/y2k5/may/may14.htm|archive-url=https://web.archive.org/web/20060701075350/http://www.indiantelevision.com/headlines/y2k5/may/may14.htm|archive-date=1 July 2006|publisher=Indian Television|date=2 May 2005|access-date=17 January 2017}}</ref> <ref>{{cite episode|title=6th IIFA Awards|series=IIFA Awards|network=[[Star Plus]]|date=26 June 2005}}</ref>
|-
| [[IIFA Award for Best Supporting Actor|Best Supporting Actor]]
| {{sort|Rawal|[[Paresh Rawal]]}}
|{{nom}}
|-
| [[IIFA Award for Best Music Director|Best Music Director]]
| {{sort|Reshamiya|[[Himesh Reshamiya]]}}
|{{nom}}
|-
| [[IIFA Award for Best Lyricist|Best Lyricist]]
| {{sort|Sameer|[[Sameer (lyricist)|Sameer]]}} (for song "Woh Tassavvur")
|{{nom}}
|-
| [[IIFA Award for Best Male Playback|Best Male Playback]]
| {{sort|Narayan|[[Udit Narayan]]}} (for song "Aankhen Bandh Karke")
|{{nom}}
|-
| [[IIFA Award for Best Female Playback|Best Female Playback]]
| {{sort|Yagnik|[[Alka Yagnik]]}} (for song "Aankhen Bandh Karke")
|{{nom}}
|-
| [[IIFA Award for Best Story|Best Story]]
| {{sort|Ahmed|Shiraz Ahmed}}, [[Shyam Goel]]
|{{nom}}
|-
|[[IIFA Award for Best Editing|Best Editing]]
| {{sort|Burmawala|Hussain A. Burmawala}}
|{{won}}
|-
| [[IIFA Award for Best Sound Recording|Best Sound Recording]]
| {{sort|Rajan|Rakesh Rajan}}
|{{won}}
|-
| [[IIFA Award for Best Sound Re-Recording|Best Sound Re-Recording]]
| {{sort|Dev|Anup Dev}}
|{{won}}
|-
!scope="row" | [[Producers Guild Film Awards]]
| [[Producers Guild Film Award for Best Actress in a Supporting Role|Best Actress in a Supporting Role]]
| {{sort|Chopra|Priyanka Chopra}}
|{{nom}}
|style="text-align:center;" |<ref>{{cite web|title=2nd Apsara Awards Nominees|url=http://apsaraawards.org/2nd_apsara_awards_nominees.html|archive-url=https://web.archive.org/web/20160305022604/http://apsaraawards.org/2nd_apsara_awards_nominees.html|archive-date=5 March 2016|publisher=[[Apsara Film & Television Producers Guild Awards|Apsara Awards]]|access-date=16 December 2012}}</ref>
|-
!scope="row" rowspan="2" | [[Screen Awards]]
| [[Screen Award for Best Actor in a Negative Role|Best Actor in a Negative Role]]
| {{sort|Chopra|Priyanka Chopra}}
|{{won}}
|style="text-align:center;" rowspan="2" |<ref name="awards"/> <ref>{{cite web|title=Star Jodi No.1 Nominees|url=http://www.indya.com/specials/screenawards05/jodi.html|date=6 July 2007| archive-url= https://web.archive.org/web/20070716134809/http://www.indya.com/specials/screenawards05/jodi.html|publisher=Indya.com| archive-date= 16 July 2007|access-date=15 December 2012}}</ref>
|-
| [[Screen Award for Jodi No. 1|Jodi No. 1]]
| {{sort|Kumar|[[Akshay Kumar]]}}, {{sort|Chopra|Priyanka Chopra}}
|{{nom}}
|-
!scope="row" | [[Stardust Awards]]
| [[Stardust Award for Actor of the Year – Male|Star of the Year – Male]]
| {{sort|Kumar|Akshay Kumar}}{{efn|Also for ''[[Khakee (film)|Khakee]]''.}}
| {{nom}}
|style="text-align:center;"|<ref>{{cite news|title=Stardust Awards Nominations for the year 2004|url=http://www.indiafm.com/awards/stardust/nominations04.shtml|website=[[Bollywood Hungama]]|access-date=7 May 2020|archive-url=https://web.archive.org/web/20050315101245/http://www.indiafm.com/awards/stardust/nominations04.shtml|archive-date=15 March 2005|url-status=live}}</ref>
|-
!scope="row" rowspan="3" | [[Zee Cine Awards]]
| [[Zee Cine Award for Best Actor in a Negative Role|Best Actor in a Negative Role]]
| {{sort|Chopra|Priyanka Chopra}}
|{{nom}}
|style="text-align:center;" rowspan="3" |<ref>{{cite episode|title=Zee Cine Awards 2005|series=Zee Cine Awards|network=[[Zee TV]]|date=26 March 2005}}</ref>
|-
| [[Zee Cine Award for Best Music Director|Best Music Director]]
| {{sort|Reshamiya|Himesh Reshamiya}}
|{{nom}}
|-
| [[Zee Cine Award for Best Lyricist|Best Lyricist]]
| {{sort|Sameer|Sameer}}
|{{nom}}
|}

== Explanatory notes==
{{notelist}}

== Citations ==
{{reflist}}

== Further reading ==
* {{cite book |last=Chowdhury |first=Purna |editor1-last=Mehta |editor1-first=Rini Bhattacharya |editor2-last=Pandharipande |editor2-first=Rajeshwari V. |title=Bollywood and Globalization: Indian Popular Cinema, Nation, and Diaspora |year=2010 |publisher=Anthem Press |isbn=978-1843318330 |pages=67–71 |chapter-url=https://books.google.com/books?id=p3OqmW_tQYIC&pg=PA67 |chapter=Bollywood Babes: Body and Female Desire in the Bombay Films Since the Nineties and ''Darr'', ''Mohra'' and ''Aitraaz'': A Tropic Discourse}}

==External links==
* {{Bollywood Hungama movie|aitraaz}}
* {{IMDb title}}

{{Abbas–Mustan}}
{{Subhash Ghai}}
{{Portal bar|Bollywood|Film}}

[[Category:2004 Hindi-language films]]
[[Category:2004 films]]
[[Category:2004 romantic drama films]]
[[Category:2000s romantic thriller films]]
[[Category:Indian courtroom films]]
[[Category:Films scored by Himesh Reshammiya]]
[[Category:Films directed by Abbas–Mustan]]
[[Category:Films shot in South Africa]]
[[Category:Indian erotic thriller films]]
[[Category:Indian erotic drama films]]
[[Category:Indian romantic drama films]]
[[Category:Indian legal films]]
[[Category:Indian romantic thriller films]]
[[Category:Films about sexual harassment]]
[[Category:Hindi films remade in other languages]]
[[Category:Hindi-language romantic thriller films]]
[[Category:2000s erotic thriller films]]
[[Category:Fiction about false allegations of sex crimes]]
[[Category:Films based on works by Michael Crichton]]
[[Category:Mukta Arts films]]

Chhabi Malik

2026-04-19T02:39:58Z

Giispune: Starting initial bio w/ infobox!

{{Short description|Indian politician}}
{{Use dmy dates|date=January 2025}}
{{Use Indian English|date=January 2025}}
{{Infobox officeholder
| name = Chhabi Malik
| birth_name =
| caption =
| image =
| birth_date =
| birth_place =
| death_date =
| death_place =
| office = [[Odisha Legislative Assembly|Member of Odisha Legislative Assembly]]
| constituency = [[Niali Assembly constituency|Niali]]
| term_start = 4 June 2024
| predecessor = Pramod Kumar Mallick
| constituency1 =
| term1 =
| term_end1 =
| successor1 =
| office2 =
| constituency2 =
| term_start2 =
| predecessor2 =
| successor2 =
| party = [[Bharatiya Janata Party]]
| other_party =
| website =
| alma_mater =
| profession = Politician
| date =
| year =
| source =
}}

'''Chhabi Malik''' is an Indian politician. In 2024 he was elected to the [[Odisha Legislative Assembly]] from [[Niali Assembly constituency|Niali]] as a member of the [[Bharatiya Janata Party]].<ref>{{cite web |title=Chhabi Malik Election Affidavit |url=https://www.myneta.info/Odisha2024/candidate.php?candidate_id=1133 |website=[[Election Commission of India]] |access-date=24 September 2024}}</ref><ref>{{cite web |title=Niali Election Result 2024 LIVE Updates Highlights: Chhabi Malik of BJP Wins |url=https://www.news18.com/elections/niali-election-result-2024-live-updates-highlights-assembly-winner-loser-leading-trailing-mla-margin-8916490.html |website=News18 |publisher=Election Results Hub |access-date=24 September 2024}}</ref><ref>{{cite web |title=Odisha assembly election results: Check the list of winners of 2024 election |url=https://kalingatv.com/odisha/odisha-assembly-election-results-check-the-list-of-winner-of-2024-election/ |website=Kalinga TV |publisher=Subadh Nayak |access-date=24 September 2024}}</ref>

== References ==
{{reflist}}

{{DEFAULTSORT:Malik, Chhabi}}
[[Category:Living people]]
[[Category:Bharatiya Janata Party politicians from Odisha]]
[[Category:Odisha MLAs 2024–2029]]
[[Category:Year of birth missing (living people)]]

{{Odisha-BJP-politician-stub}}

Kishunpur Assembly constituency

2026-04-16T04:49:55Z

Giispune: put up new post...

{{Short description|Former constituency of the Bihar legislative assembly in India}}
{{Use Indian English|date=February 2023}}
{{Use dmy dates|date=January 2014}}
{{Infobox Indian constituency
| name = Kishunpur
| type = SLA
| map_image =
| map_caption =
| map_alt =
| state = [[Bihar]]
| district = [[Supaul district|Supaul]]
| division =
| loksabha_cons =
| constituency_no =
| established = 1977
| reservation =
| abolished = 2008
| electors =
}}
'''Kishunpur Assembly constituency''' was an [[Vidhan Sabha|assembly]] constituency in [[Supaul district]] in the Indian state of [[Bihar]].

As a consequence of the orders of the [[Delimitation Commission of India]], Kishunpur Assembly constituency ceased to exist in 2010.<ref name=commission>{{cite web|url = http://eci.nic.in/eci_main/CurrentElections/CONSOLIDATED_ORDER%20_ECI%20.pdf |title = Schedule – XIII of Constituencies Order, 2008 of Delimitation of Parliamentary and Assembly constituencies Order, 2008 of the Election Commission of India|work= Schedule VI Bihar, Part A – Assembly constituencies, Part B – Parliamentary constituencies |access-date = 10 January 2011 }}</ref>

==Results==
===1977–2005===
In [[Bihar Assembly Election, Oct 2005|October 2005]] and [[Bihar Assembly Election, Feb 2005|February 2005 state assembly elections]] Aniruddha Prasad Yadav of [[Janata Dal (United)|JD(U)]] won the Kishunpur assembly seat defeating his nearest rival Vijay Kumar Gupta of [[Indian National Congress|Congress]] and Bijay Kumar Gupta of [[Lok Janshakti Party|LJP]] respectively. Contests in most years were multi cornered but only winners and runners are being mentioned. Yaduwansh Kumar Yadav of [[Rashtriya Janata Dal|RJD]] defeated Vijay Kumar Gupta of Congress in 2000. Vijay Kumar Gupta of Congress defeated Vinayak Prasad Yadav of [[Janata Dal|JD]] in 1995. Vinayak Prasad Yadav of JD defeated Yaduvans Kumar Yadav of Congress. Vishwanath Gurmaita of Congress defeated Vinayak Prasad Yadav of [[Lok Dal|LD]] in 1985 and Yadubans Kumar Yadav of Janata Party (Secular – Charan Singh) in 1980. Baidyanath Mehta of [[Janata Party|JP]] defeated Yamuna Prasad Mandal of Congress in 1977.<ref>{{cite web| url = http://eci.gov.in/eci_main/electionanalysis/AE/S04/partycomp111.htm |title = 111 – Kishunpur Assembly Constituency |work = Partywise Comparison Since 1977 | publisher = Election Commission of India|access-date = 10 January 2011 }}</ref>

==References==
{{reflist}}

{{Coord|26.1853500|N|86.6391600|E|display=title|format=dms|}}
{{Assembly constituencies of Bihar}}
{{Kosi Division topics}}

[[Category:Former assembly constituencies of Bihar]]
[[Category:Politics of Supaul district]]
[[Category:Legislative Assembly constituencies of Indian states established in 1977]]
[[Category:1977 establishments in Bihar]]
[[Category:Constituencies disestablished in 2010]]
[[Category:2010 disestablishments in India]]

Jagdishpur, Bihar Assembly constituency

2026-04-14T03:26:40Z

Giispune: put up pg

{{Short description|Assembly constituency in Bihar, India}}
{{Use Indian English|date=January 2021}}
{{Use dmy dates|date=January 2021}}

{{Infobox Indian constituency
|name = Jagdishpur, Bihar Assembly constituency
|type= SLA
| map_image = 197-Jagdishpur, Bihar constituency.svg
| map_caption =
| map_alt =
|mla = [[Shri Bhagwan Singh Kushwaha]]
| party = {{party index link|Janata Dal (United)}}
| alliance = {{party index link|National Democratic Alliance|NDA}} 
| latest_election_year = [[2025 Bihar Legislative Assembly election|2025]] 
|region =
|state = [[Bihar]]
|district = [[Bhojpur district, Bihar|Bhojpur]]
|division =
|loksabha_cons =
|constituency_no = [[List of constituencies of the Bihar Legislative Assembly|197]]
|established = 1951
| electors = 308,381
|abolished = 
}}

''' Jagdishpur''' is one of 243 legislative assembly seats of [[Bihar Legislative Assembly|legislative assembly of Bihar]]. It is part of [[Arrah Lok Sabha constituency|Arrah]] Lok Sabha constituency along with other assembly constituencies viz [[Sandesh Assembly constituency|Sandesh]], [[Barhara Assembly constituency|Barhara]], [[Arrah Assembly constituency|Arrah]], [[Agiaon Assembly constituency|Agiaon]] (SC), [[Tarari Assembly constituency|Tarari]] and [[Shahpur, Bihar Assembly constituency|Shahpur]].<ref name="election2014">{{cite web | url=http://www.elections.in/bihar/parliamentary-constituencies/arrah.html | title=Arrah Parliamentary Constituencies | publisher=elections.in | access-date=10 March 2014}}</ref>

==Area/wards==
Jagdishpur Assembly constituency comprises:<ref name=commission>{{cite web|url = http://eci.nic.in/eci_main/CurrentElections/CONSOLIDATED_ORDER%20_ECI%20.pdf |title = Schedule – XIII of Constituencies Order, 2008 of Delimitation of Parliamentary and Assembly constituencies Order, 2008 of the Election Commission of India|work= Schedule VI Bihar, Part A – Assembly constituencies, Part B – Parliamentary constituencies |access-date = 2013-12-20 }}</ref>

* [[Jagdishpur]] CD block
* Gram Panchayats: Ayar, Tar, Dhwarahi Jangal Mahal, Akrua, Kothua, Jamuaon, Jitaura Jangalmahal, Brawn, Tilath, Khannikala, Rajeyan, Amehta, Ktriyan, Lahthan, Agiaon and Nayka Tola Jangalmahal of [[Piro, Bihar|Piro]] CD block.

== Members of the Legislative Assembly ==
The list of the [[Member of the Legislative Assembly (India)|Members of the Legislative Assembly]] (MLA) representing Jagdishpur constituency is as follows:
{| class="wikitable sortable"
!Year
!Member
! colspan="2" |Party
|-
|[[1952 Bihar Legislative Assembly election|1952]]
|[[Sumitra Devi (politician)|Sumitra Devi]]
|{{Full party name with color|Indian National Congress}}
|-
|colspan="4" |{{center|''1957-1962: Constituency did not exit''}}
|-
|[[1962 Bihar Legislative Assembly election|1962]]
|Sukar Ram
|{{Full party name with color|Praja Socialist Party}}
|-
|[[1967 Bihar Legislative Assembly election|1967]]
|S. P. Rai
|{{Full party name with color|Indian National Congress}}
|-
|[[1969 Bihar Legislative Assembly election|1969]]
|Satya Narain Singh
|{{Full party name with color|Indian National Congress}}
|-
|[[1972 Bihar Legislative Assembly election|1972]]
|Shiv Pujan Varma
|{{Full party name with color|Indian National Congress}}
|-
|[[1977 Bihar Legislative Assembly election|1977]]
|Satya Narain Singh
| {{Full party name with color|Independent|rowspan=2}}
|-
|[[1980 Bihar Legislative Assembly election|1980]]
|Bir Bahadur Singh
|-
|[[1985 Bihar Legislative Assembly election|1985]]
|Hari Narain Singh
|{{Full party name with color|Lokdal}}
|-
|[[1990 Bihar Legislative Assembly election|1990]]
|[[Shri Bhagwan Singh Kushwaha]]
|{{Full party name with color|Indian Peoples Front}}
|-
|[[1995 Bihar Legislative Assembly election|1995]]
|Hari Narain Singh
|{{Full party name with color|Janata Dal}}
|-
|[[2000 Bihar Legislative Assembly election|2000]]
| rowspan="3" |[[Shri Bhagwan Singh Kushwaha]]
|{{Full party name with color|Samata Party}}
|-
|[[February 2005 Bihar Legislative Assembly election|2005 Feb]]
| {{Full party name with color|Janata Dal (United)|dab=y|rowspan=2}}
|-
|[[October 2005 Bihar Legislative Assembly election|2005 Oct]]
|-
|[[2010 Bihar Legislative Assembly election|2010]]
|[[Dinesh Kumar Singh|Dinesh Kumar Yadav]]
| {{Full party name with color|Rashtriya Janata Dal|rowspan=3}}
|-
|[[2015 Bihar Legislative Assembly election|2015]]
| rowspan="2" |[[Ram Vishun Singh|Ram Vishun Yadav]]
|-
|[[2020 Bihar Legislative Assembly election|2020]]
|-
|[[2025 Bihar Legislative Assembly election|2025]]
|[[Shri Bhagwan Singh Kushwaha]]
|{{Full party name with color|Janata Dal (United)|dab=yes}}
|}

==Election results==
=== 2025 ===
{{Election box begin |title=[[2025 Bihar Legislative Assembly election]]: Jagdishpur<ref name="2025 Bihar Legislative Assembly Election Results: Jagdishpur">{{cite news |title=2025 Bihar Legislative Assembly Election Results: Jagdishpur |url=https://results.eci.gov.in/ResultAcGenNov2025/candidateswise-S04197.htm |accessdate=7 December 2025 |work= |publisher=Election Commission of India |date=14 November 2025 |archiveurl=https://web.archive.org/web/20251207165435/https://results.eci.gov.in/ResultAcGenNov2025/candidateswise-S04197.htm |archivedate=7 December 2025 |language=en}}</ref>}}
{{Election box winning candidate with party link
|candidate = [[Shri Bhagwan Singh Kushwaha]]
|party = Janata Dal (United)
|votes = {{formatnum:92974}}
|percentage = 49.39
|change = +31.91
}}
{{Election box candidate with party link
|candidate = Kishore Kunal
|party = Rashtriya Janata Dal
|votes = {{formatnum:74781}}
|percentage = 39.73
|change = +0.05
}}
{{Election box candidate with party link
|candidate = Vijay Singh
|party = Jan Suraaj Party
|votes = {{formatnum:5106}}
|percentage = 2.71
|change =
}}
{{Election box candidate with party link
|party = Independent
|candidate = Rajeev Ranjan
|votes = {{formatnum:3272}}
|percentage = 1.74
|change =
}}
{{Election box candidate with party link
|party = Independent
|candidate = Hiralal Singh
|votes = {{formatnum:3070}}
|percentage = 1.63
|change =
}}
{{Election box candidate with party link
|party = Bahujan Samaj Party
|candidate = Sanjay Kumar Chaturvedi
|votes = {{formatnum:2820}}
|percentage = 1.5
|change = -0.48
}}
{{Election box candidate with party link
|party = None of the above
|candidate = [[None of the above (India)|None of the above]]
|votes = {{formatnum:3955}}
|percentage = 2.1
|change = +1.61
}}
{{Election box majority
|votes = {{formatnum:18193}}
|percentage = 9.66
|change = -3.51
}}
{{Election box turnout
|votes = {{formatnum:188244}}
|percentage = 61.04
|change = +6.65
}}
{{Election box gain with party link
|winner = Janata Dal (United)
|loser = Rashtriya Janata Dal
|swing =
}}
{{Election box end}}

=== 2020 ===
{{Election box begin |title=[[2020 Bihar Legislative Assembly election]]: Jagdishpur<ref name="Bihar Election 2020">{{cite web |title=Bihar Legislative Election 2020 |url=https://old.eci.gov.in/files/file/12787-bihar-legislative-election-2020/ |website=Election Commission of India |access-date=18 May 2022}}</ref>}}
{{Election box winning candidate with party link
|candidate = [[Ram Vishun Singh yadav]]
|party = Rashtriya Janata Dal
|votes = {{formatnum:66632}}
|percentage = 39.68
|change = +5.86
}}
{{Election box candidate with party link
|candidate = [[Shri Bhagwan Singh Kushwaha]]
|party = Lok Janshakti Party
|votes = {{formatnum:44525}}
|percentage = 26.51
|change =
}}
{{Election box candidate with party link
|candidate = Shushum Lata
|party = Janata Dal (United)
|votes = {{formatnum:29362}}
|percentage = 17.48
|change =
}}
{{Election box candidate with party link
|party = Independent
|candidate = Anil Kumar Singh
|votes = {{formatnum:7249}}
|percentage = 4.32
|change =
}}
{{Election box candidate with party link
|party = Bahujan Samaj Party
|candidate = Dr. Shyam Nandan
|votes = {{formatnum:3317}}
|percentage = 1.98
|change = +0.99
}}
{{Election box candidate with party link
|party = Jan Adhikar Party (Loktantrik)
|candidate = Dinesh Kumar Singh
|votes = {{formatnum:3131}}
|percentage = 1.86
|change = -2.56
}}
{{Election box candidate with party link
|party = Independent
|candidate = Binod Kumar
|votes = {{formatnum:2529}}
|percentage = 1.51
|change =
}}
{{Election box candidate with party link
|party = Independent
|candidate = Haribansh Pandit
|votes = {{formatnum:2277}}
|percentage = 1.36
|change =
}}
{{Election box candidate with party link
|party = Janata Party
|candidate = Sachchidanand Singh
|votes = {{formatnum:1960}}
|percentage = 1.17
|change =
}}
{{Election box candidate with party link
|party = None of the above
|candidate = [[None of the above (India)|None of the above]]
|votes = {{formatnum:817}}
|percentage = 0.49
|change = -1.07
}}
{{Election box majority
|votes = {{formatnum:22107}}
|percentage = 13.17
|change = +6.14
}}
{{Election box turnout
|votes = {{formatnum:167935}}
|percentage = 54.39
|change = +3.58
}}
{{Election box hold with party link
|winner = Rashtriya Janata Dal
|loser =
|swing =
}}
{{Election box end}}

=== 2015 ===
{{Election box begin |title=[[2015 Bihar Legislative Assembly election]]: Jagdishpur<ref name="Jagdishpur Assembly Election Results 2015 - 2025">{{cite news |title=Jagdishpur Assembly Election Results 2015 - 2025 |url=https://timesofindia.indiatimes.com/elections/assembly-elections/bihar/constituency-show/jagdishpur |accessdate=7 December 2025 |publisher=The Times of India |date=14 November 2025 |archiveurl=https://web.archive.org/web/20251207165404/https://timesofindia.indiatimes.com/elections/assembly-elections/bihar/constituency-show/jagdishpur |archivedate=7 December 2025}}</ref>}}
{{Election box winning candidate with party link
|candidate = [[Ram Vishun Singh]]
|party = Rashtriya Janata Dal
|votes = {{formatnum:49020}}
|percentage = 33.82
|change =
}}
{{Election box candidate with party link
|candidate = Rakesh Raushan
|party = Rashtriya Lok Samta Party
|votes = {{formatnum:38825}}
|percentage = 26.79
|change =
}}
{{Election box candidate with party link
|party = Communist Party of India (Marxist-Leninist) Liberation
|candidate = Chandradip Singh
|votes = {{formatnum:18154}}
|percentage = 12.53
|change =
}}
{{Election box candidate with party link
|party = Independent
|candidate = Dinesh Kumar Singh
|votes = {{formatnum:9124}}
|percentage = 6.3
|change =
}}
{{Election box candidate with party link
|party = Jan Adhikar Party (Loktantrik)
|candidate = Kanhaiya Prasad Singh
|votes = {{formatnum:6410}}
|percentage = 4.42
|change =
}}
{{Election box candidate with party link
|party = Samajwadi Party
|candidate = Uday Shankar Singh
|votes = {{formatnum:5155}}
|percentage = 3.56
|change =
}}
{{Election box candidate with party link
|party = Independent
|candidate = Binod Kumar Singh
|votes = {{formatnum:3068}}
|percentage = 2.12
|change =
}}
{{Election box candidate with party link
|party = Rashtravyapi Janta Party
|candidate = Anjani Kumar Singh
|votes = {{formatnum:1496}}
|percentage = 1.03
|change =
}}
{{Election box candidate with party link
|party = Bahujan Samaj Party
|candidate = Pamod Yadav
|votes = {{formatnum:1440}}
|percentage = 0.99
|change =
}}
{{Election box candidate with party link
|party = Independent
|candidate = Gautam Kumar Mehta
|votes = {{formatnum:1394}}
|percentage = 0.96
|change =
}}
{{Election box candidate with party link
|party = None of the above
|candidate = [[None of the above (India)|None of the above]]
|votes = {{formatnum:2263}}
|percentage = 1.56
|change =
}}
{{Election box majority
|votes = {{formatnum:10195}}
|percentage = 7.03
|change =
}}
{{Election box turnout
|votes = {{formatnum:144930}}
|percentage = 50.81
|change =
}}
{{Election box hold with party link
|winner = Rashtriya Janata Dal
|loser =
|swing =
}}
{{Election box end}}

===2010===
{{Election box begin |title=[[2010 Bihar Legislative Assembly election]]: Jagdishpur}}
{{Election box winning candidate with party link
|
|candidate = [[Dinesh Kumar Singh|Dinesh Yadav]]
|party = Rashtriya Janata Dal
|votes = 55,560
|percentage = 42.65
|change =
}}
{{Election box candidate with party link
|
|candidate = [[Shri Bhagwan Singh Kushwaha]]
|party = Janata Dal (United)
|votes = 45,374
|percentage = 34.83
|change =
}}
{{Election box candidate with party link
|
|candidate = [[Sudama Prasad]]
|party = Communist Party of India (Marxist–Leninist) Liberation
| CPI(ML)L
|votes = 16,129
|percentage = 12.38
|change =
}}
{{Election box candidate with party link
|
|candidate = Hussain Imam
|party = Independent
|votes = 3,784
|percentage = 2.9
|change =
}}
{{Election box majority
|
|votes = 10,186
|percentage = 7.82
|change =
}}
{{Election box turnout
|
|votes = 1,30,261
|percentage = 54.38
|change =
}}
{{Election box registered electors
|reg. electors = 2,39,532
}}

{{Election box end}}

==References==
{{reflist}}

==External links==
* {{cite web |title=Results of all Bihar Assembly elections |url=https://old.eci.gov.in/files/category/68-bihar/ |website=eci.gov.in |publisher=Election Commission of India |access-date=15 March 2022}}

{{Vidhan Sabha constituencies of Bihar}}

[[Category:Politics of Bhojpur district, India]]
[[Category:Assembly constituencies of Bihar]]
[[Category:1951 establishments in Bihar]]

Vishal Patil

2026-04-13T22:45:15Z

Giispune: Stub

{{Short description|Indian politician}}
{{Use Indian English|date=June 2024}}
{{Use dmy dates|date=June 2024}}
{{Infobox officeholder
| name = Vishal Patil
| native_name =
| image = MP Vishal Patil.jpg
| office = [[Member of Parliament, Lok Sabha]]
| term_start = 4 June 2024
| term_end =
| predecessor = [[Sanjaykaka Patil]]
| successor =
| birth_name = Vishal Prakashbapu Patil
| birth_date =
| birth_place =
| occupation = [[Politician]]
| party = [[Indian National Congress]]
| other_party = [[Swabhimani Paksha|Swabhimani Shetkari Sanghatana (SWP)]] (2019-2020)
| constituency = [[Sangli Lok Sabha constituency|Sangli]]
| profession =
| spouse = Pooja Vishal Patil
| children = 2
| father = [[Prakashbapu Vasantdada Patil]]
| relatives = [[Vasantdada Patil]] (grandfather) [[Pratik Prakashbapu Patil]] (brother)
| sibling =
| website = [https://teamvishal.in/ official Website]
}}
'''Vishal Prakashbapu Patil''' is an Indian politician and [[Lok Sabha]] MP representing [[Sangli Lok Sabha constituency|Sangli]] since 2024.<ref>{{Cite web |date=5 June 2024 |title=Vishal (Dada) Prakashbapu Patil (Independent) Sangli Lok Sabha Constituency – Affidavit Information of Candidate|url=https://www.myneta.info/LokSabha2024/candidate.php?candidate_id=3856 |url-status=live |archive-url=https://web.archive.org/web/20240605162100/https://www.myneta.info/LokSabha2024/candidate.php?candidate_id=3856 |archive-date=5 June 2024 |access-date=5 June 2024 |website= [[Association for Democratic Reforms|myneta.info]] |language=en}}</ref><ref name="eci">{{Cite web |url=https://results.eci.gov.in/PcResultGenJune2024/candidateswise-S1344.htm |title=Election Commission of India |publisher=[[Election Commission of India]] |website=results.eci.gov.in |access-date=5 June 2024}}</ref> He is a member of the [[Indian National Congress]] and was elected as an Independent from Sangli.<ref>{{Cite web|url=https://www.hindustantimes.com/cities/pune-news/congress-rebel-wins-sangli-mva-regains-control-over-western-maha-101717525407540.html |title=Congress rebel wins Sangli, MVA regains control over western Maha |date=5 June 2024|work=[[Hindustan Times]] |language=en|access-date=5 June 2024}}</ref><ref>{{Cite web |date=2024-06-05 |title=Vishal Patil's big Sangli win: How the rebel brought Congress back to its old bastion |url=https://www.businesstoday.in/elections/story/vishal-patils-big-sangli-win-how-the-rebel-brought-congress-back-to-its-old-bastion-432239-2024-06-05 |access-date=2024-11-25 |website=Business Today |language=en}}</ref><ref>{{Cite web |title=Newly Elected MP Vishal Patil Joins Congress |url=https://www.instagram.com/nltvnews/p/C753C7ky_NN/ |access-date=2024-11-25 |website=www.instagram.com}}</ref><ref>{{Cite web |title=Congress May Hit 100 In Lok Sabha With Maharashtra Rebel's Return |url=https://www.ndtv.com/india-news/congress-may-hit-100-in-lok-sabha-with-maharashtra-rebel-vishal-patils-return-5836936 |access-date=2024-11-25 |website=NDTV.com}}</ref><ref name="Inheritors {{!}} Next-gen netas">{{cite news|title=Inheritors {{!}} Next-gen netas|url=https://www.indiatoday.in/magazine/cover-story/18th-lok-sabha-the-debutants/story/20240722-inheritors-next-gen-netas-2565854-2024-07-13|accessdate=25 March 2025|publisher=India Today|date=13 July 2024|archiveurl=https://web.archive.org/web/20250325141549/https://www.indiatoday.in/magazine/cover-story/18th-lok-sabha-the-debutants/story/20240722-inheritors-next-gen-netas-2565854-2024-07-13|archivedate=25 March 2025|language=en}}</ref>

==Personal life==
Patil is the grandson of former Chief Minister [[Vasantdada Patil]]. He is the son of former MP [[Prakashbapu Vasantdada Patil]] and Mahila Pradesh Congress leader Shailja Patil, while former Union Minister of State for Coal [[Pratik Prakashbapu Patil]] is his elder brother. His wife's name is Pooja, and he has two daughters, Ehita and Aritra.<ref>{{Cite web|url=https://sarkarnama.esakal.com/maharashtra/paschim-maharashtra/sangli-vishal-patil-profile-in-marathi-rm89-ub73 |title=Sangli Lok Sabha constituency : वसंतदादांच्या कार्याचे, विचाराचे वारसदार विशाल पाटील |date=31 December 2024|work=[[Sakal]] |language=mr|access-date=5 June 2024}}</ref>

==Career==
In 2019, Patil contested in the [[Sangli Lok Sabha constituency]] under the [[Swabhimani Paksha]] party banner.<ref>{{Cite news |last=Banerjee |first=Shoumojit |date=30 March 2019 |title=Sangli LS seat: Shetti makes Vishal Patil his candidate |url=https://www.thehindu.com/elections/lok-sabha-2019/sangli-ls-seat-shetti-makes-vishal-patil-his-candidate/article26690104.ece |access-date=7 June 2024 |work=The Hindu |language=en-IN |issn=0971-751X}}</ref> However, he lost against [[Bharatiya Janata Party]]'s [[Sanjaykaka Patil]] by a margin of 164,352 votes.<ref>{{Cite web |date=24 May 2019 |title=Sangli Election Result 2019: BJP's Sanjaykaka Patil has won by 164352 votes and will be Sangli MP |url=https://www.timesnownews.com/elections/article/sangli-maharashtra-election-2019-sangli-election-results-candidates-voter-population-polling-percentage/411441 |access-date=7 June 2024 |website=www.timesnownews.com |language=en}}</ref>

=== 2024 Lok Sabha Election and Independent Victory ===
In 2024, Patil ran as an independent candidate after the Indian National Congress party could not reach an agreement with its ally in the Sangli constituency, [[Shiv Sena (UBT)]], to have him run under their ticket as they had fielded wrestler Chandrahar Patil.<ref>{{Cite news |last=Pathare |first=Vicky |date=26 April 2024 |title=Congress extends support to Chandrahar Patil in Sangli |url=https://www.hindustantimes.com/cities/pune-news/congress-extends-support-to-chandrahar-patil-in-sangli-101714072894600.html}}</ref><ref>{{Cite web |date=23 April 2024 |title=Trouble for India bloc in Sangli: Congress rebel Vishal Patil to fight as Independent |url=https://www.businesstoday.in/india/story/trouble-for-india-bloc-in-sangli-congress-rebel-vishal-patil-to-fight-as-independent-426599-2024-04-23 |access-date=7 June 2024 |website=Business Today |language=en}}</ref> Vishal Patil won the election and was elected to the [[Parliament of India]].<ref>{{Cite web|url=https://www.businesstoday.in/elections/story/vishal-patils-big-sangli-win-how-the-rebel-brought-congress-back-to-its-old-bastion-432239-2024-06-05 |title=Vishal Patil's big Sangli win: How the rebel brought Congress back to its old bastion |date=5 June 2024|work=[[Business Today (India)]] |language=en|access-date=5 June 2024}}</ref><ref>{{Cite news |date=5 June 2024 |title=Sangli election results 2024 live updates: Independent Vishal Prakashbapu Patil wins |url=https://timesofindia.indiatimes.com/india/sangli-election-results-2024-maharashtra-sangli-lok-sabha-elections-poll-result-updates-sanjay-patil-bjp-chandrahar-subhash-patil-ssubt/articleshow/110675365.cms |access-date=7 June 2024 |work=The Times of India |issn=0971-8257}}</ref> Vishal Patil extended his support to the INDIA coalition more specifically the Indian National Congress and thus claims to be the 100th Member of Parliament of the Indian National Congress.

==See also==
{{Portal |India|Politics}}
*[[18th Lok Sabha]]
*[[Indian National Congress]]

==References==
{{Reflist}}

~

[[Category:Living people]]
[[Category:Indian National Congress politicians from Maharashtra]]
[[Category:India MPs 2024–2029]]
[[Category:Year of birth missing (living people)]]
[[Category:Swabhimani Paksha politicians]]

{{Maharashtra-politician-stub}}

Payal Kukrani

2026-04-11T15:46:03Z

Giispune: Pg

{{Short description|Indian politician}}
{{Use dmy dates|date=August 2024}}
{{Use Indian English|date=August 2024}}
{{Infobox officeholder
| office = [[Member of the Legislative Assembly (India)|Member]] of the [[Gujarat Legislative Assembly]]
| constituency = [[Naroda Assembly Constituency|Naroda]]
| name = Dr. Payal Manojkumar Kukrani
| term_start = 20-12-2022
| birth_name = Payal Kukrani
| birth_date = {{birth date and age|1992|12|18|df=y}}
| birth_place = [[Ahmedabad]], [[Gujarat]], India
| alma_mater = DNB(Anaesthesia)
M.B.B.S
| party = [[Bharatiya Janata Party]]
| parents = {{Unbulleted_list|Manoj Kukrani|Reshma Kukrani}}
}}

'''Payal Manojkumar Kukrani''' is an Indian politician. She is Member of the [[Gujarat Legislative Assembly]] from the [[Naroda Assembly constituency]] since 8 December 2022. She is a Member of the [[Bharatiya Janata Party]].<ref>{{Cite web |title=Who Is Payal Kukrani? Gujarat Riot Convict's Daughter Wins Naroda Seat |url=https://www.shethepeople.tv/politics/gujarat-election-winner-payal-kukrani/amp/ |access-date=2022-12-11 |website=www.shethepeople.tv}}</ref><ref>{{Cite web | date=2022-12-08 |title=Gujarat Elections: Gujarat Riot Convict's Daughter Wins Naroda Seat |url=https://www.thequint.com/gujarat-elections/gujarat-elections-2022-results-naroda-how-dr-payalben-kulkarni-fared |access-date=2022-12-11 |website=TheQuint |language=en}}</ref><ref>{{Cite web |title=Kukrani Payal Manojkumar(Bharatiya Janata Party(BJP)):Constituency- NARODA(AHMEDABAD) - Affidavit Information of Candidate |url=https://myneta.info/Gujarat2022/candidate.php?candidate_id=6253 |access-date=2022-12-11 |website=myneta.info}}</ref>

== References ==
{{Reflist}}

{{DEFAULTSORT:Kukrani, Payal}}
[[Category:Living people]]
[[Category:Bharatiya Janata Party politicians from Gujarat]]
[[Category:Gujarat MLAs 2022–2027]]
[[Category:People from Ahmedabad district]]
[[Category:1992 births]]
[[Category:Women members of the Gujarat Legislative Assembly]]
[[Category:21st-century Indian women politicians]]

{{Gujarat-BJP-politician-stub}}

Doddanna Setty

2026-04-04T20:28:57Z

Giispune: Starting some post and citations

{{Short description|Indian merchant and philanthropist}}
{{Use dmy dates|date=February 2023}}
{{Use Indian English|date=February 2023}}
{{Infobox officeholder
| honorific_prefix = Janopakari
| name = Doddanna Setty
| image = Janopakari Doddanna Setty.jpg
| caption = Setty’s Portrait
| image_size =
| birth_date = {{Birth date|df=yes|1840|2|3}}
| birth_name =
| birth_place = [[Bangalore]], [[Kingdom of Mysore]] (now in [[Karnataka]]), British India
| death_date = {{Death date and age|df=yes|1921|8|05|1840|2|3}}
| death_place = [[Bangalore]], British India
| profession =
| native_name =
| known_for = • Doddanna Hall • SLN Dharmapatashale • Sri Lakshmi Narasimhaswamy Temple renovation
| occupation = [[Philanthropist]], merchant
| spouse =
| children = 2
}}

Janopakari '''Doddanna Setty''' (also spelt as '''Doddanna Shetty'''), (1840–1921), was an [[Indian people|Indian]] merchant and [[philanthropist]] from [[Bangalore]], [[Mysore State]], British India (now [[Karnataka]], India). He is known for starting the Sri Lakshmi Narasimha Institution (SLN Institution) for free education to help poor students in 1906, and he also built a public function hall, popularly called "Doddanna Hall", which used to host cultural and public activities in 1905, and later converted into Paramount Talkies.<ref name="thehindu_01">{{Cite news |date=1 October 2020 |title=The Big Brother of Bangalore |work=The Hindu|url=https://www.thehindu.com/entertainment/art/the-big-brother-of-bangalore/article32747516.ece |access-date=25 February 2023}}</ref><ref name="thehindu_02">{{Cite news |date=18 December 2020 |title=Doddanna Hall to Paramount theatre |work=The Hindu|url=https://www.thehindu.com/entertainment/art/doddanna-hall-to-paramount-theatre/article33365944.ece |access-date=25 February 2023}}</ref><ref name="indiatimes_01">{{Cite news |date=10 January 2016|title=Resident Rendezvoyeur: Giving One's All |work=bangaloremirror.indiatimes.com|url=https://bangaloremirror.indiatimes.com/opinion/others/resident-rendezvoyeur-giving-ones-all/articleshow/50522816.cms |access-date=25 February 2023}}</ref>

Doddanna Setty was given the title "Janopakari" (Generous) by the [[Maharaja of Mysore]] [[Krishnaraja Wodeyar IV]], for his social services.<ref name="gazetteer_01">{{Cite news |date=1 January 1930|title=Mysore Gazetteer Chapter 15|work=gazetteer.karnataka.gov.in|url=https://gazetteer.karnataka.gov.in/storage/pdf-files/Chapter%2015.pdf |access-date=25 February 2023}}</ref>

==Early years==
Doddanna Setty was born on February 3, 1840, to parents named Nanjundappa and Siddamma in [[Bangalore]]. They belonged to the [[Ganiga]] community and traded in [[vegetable oil]]. During the 1830s, they lived near the [[Bangalore Cantonment|Cantonment area]] at the [[Commercial Street, Bangalore|Commercial Street]]. His father was popularly known as ''Yajaman (Master)''. Doddanna received the necessary education for the family business and after his father's death, he took over the position as ''Yajaman'' and continued the family business.<ref name="thehindu_01"/>

Doddanna lost three wives one after another. Although the fourth wife gave birth to two children, she also died prematurely. There was a severe [[History of Bangalore#Plague-Crisis of 1898|plague attack in Bangalore In 1898]] and the first son, Lakshminarayan, succumbed to the [[epidemic]]. A few years later, his second son Lakshminarasimha also died.<ref name="thehindu_01"/>

==Social work==
After losing every family member in his life, Doddanna Setty decided to use his wealth to help people and provide free food, shelter and education for poor children.

===SLN Dharmapatashale===
[[File:SLN institute.jpg|right|thumb|SLN Institution entrance, Bangalore]]
Doddanna Setty decided to establish ''Sri Lakshmi Narasimha [[Dharamshala (type of building)|Dharmapathashale]]'' (later SLN Charities) to educate children from all backgrounds. The Dharmapatasale enclosure wall was built on a 5.5 acres (2.2 Hectares) of land donated by Maharaja [[Krishna Raja Wadiyar IV]] of [[Mysore]] and on March 11, 1906, [[Krishna Raja Wadiyar IV]] inaugurated it. In 1909, the [[Bruhat Bengaluru Mahanagara Palike|city municipality]] demolished the wall by mistake and so the [[Krishna Raja Wadiyar IV|Maharaja]] gave the land behind the Kote Anjaneyaswamy Temple. Uneven terrain was leveled with greater difficulty and mounting costs. In 1915, Lower [[Primary School]] was established here.<ref name="slncollege_01">{{Cite news |title=History of the SLN Institution |work=SLN College, Bangalore|url=https://slncollege.com/history.html |access-date=25 February 2023}}</ref> In 1917, it was taken over by the [[Theosophical Society]] and under the guidance of [[Annie Besant]] it was developed into the SLN National High School. Later it shifted to [[Chamarajpet]] and then to [[Basavanagudi]] where it is called as present [[National High School, Basavanagudi|National High School]]. Doddanna Setty took over the SLN Dharmapathshala in 1918. His aim was children should study diligently and those who excelled should get admitted to the [[missionary school]]s in Bangalore. Night classes were organized for students from rural background. The SLN Charity continued its service and in 1966, started ''SLN College of Arts and Commerce'' at the SLN Dharmapatashale premises, which functions at present as well.<ref name="indiatimes_01"/><ref name="thehindu_01"/><ref name="KRW_01">{{Cite news |date=1 January 1921|title=Speeches by His Highness Sri Krishnaraja Wadiyar Bahadur, Maharaja of Mysore 1902-1920|work=Government Press, Bangalore|url=https://archive.org/details/SpeechesByKrishnarajaWadiyar/page/n53/mode/2up |access-date=25 February 2023}}</ref>

===Doddanna Hall===
[[File:Doddanna hall 1905.jpg|right|thumb|Doddanna hall in early 1900s, Bangalore]]
Doddanna Setty wanted a structure large enough to serve the purpose of a choultry, school, theater and assembly hall. He built a function hall building in 1905, at [[Kalasipalyam]], [[KR Market]], this building was recognised as a landmark in the city as "Doddanna Hall". The Doddanna hall functioned as a school during the day, a public function hall in the evening and a movie theater at night. Until Sir [[K. P. Puttanna Chetty]] built the [[Bangalore Town Hall|Town Hall]] in 1935, it was the city's only large indoor venue for holding public events.
This Hall was hosted [[Music]], [[Drama]], [[Dance]], [[Concerts]] and [[Yakshagana]] performances.<ref name="gazetteer_02">{{Cite news |date=1 January 1930|title=Mysore Gazetteer, vol.5|work=Mysore Gazetteer|author=C. Hayavadana Rao|url=https://archive.org/details/in.ernet.dli.2015.94439/page/n185/mode/2up |access-date=25 February 2023}}</ref>
[[File:Doddanna Hall.jpg|right|thumb|Doddanna hall upgraded to Paramount Theatre, Bangalore]]
When silent movie era started, Doddanna Hall was upgraded to be a [[film theatre]]. In 1913, India's first silent film, ''[[Raja Harishchandra]]'' was screened in the hall. With growing popularity and diversity in films screened, the management changed the name of Doddanna Hall to Paramount Theatre. The first talkie [[Kannada cinema|film]] in [[Kannada]] language, ''[[Sati Sulochana]]'' (1934), was screened here. It was the first to be screened in the [[Mysore State]]. After playing several roles, the [[Paramount Theatre (Oakland, California)|Paramount Theater]] (Doddanna Hall) was demolished in 1974 and Pradeep and Parimala twin Theaters were built in the same place in 1976.<ref name="thehindu_02"/>

=== Devotional Services ===
[[File:Sri Lakshmi Narasimhaswamy Temple Bangalore.jpg|right|thumb|Lakshmi Narasimhaswamy Temple, Shivaji Nagar, Bangalore]]
In 1910, Doddanna Setty completely renovated the 19th-century Sri Lakshmi Narasimhaswamy Temple (located next to Jumma Masjid on OPH Road) into a full-fledged temple. In his last days, he took [[Sannyasa]] and started ''Sri Lakshmi Narasimhaswamy Aashrama''.<ref name="indiatimes_01"/>

==Death==
Janopakari Doddanna Setty died on August 5, 1921, at the age of 81. A memorial was built in his honour at the SLN Institute premises.<ref name="indiatimes_01"/>

==Honours==
* On 18 October 1907, Doddanna Setty was given the title "Janopakari" by the Maharaja of Mysore [[Krishnaraja Wodeyar IV]]<ref name="gazetteer_01"/>
* A landmark near KR Market, Bangalore is named after him as "Janopakari Doddanna Setty circle".<ref name="thehindu_02"/>

==See also==
* [[Sajjan Rao]]
* [[K. P. Puttanna Chetty]]
* [[Gubbi Thotadappa]]
* [[Arcot Ramasamy Mudaliar]]
* [[Yele Mallappa Shetty]]

==External links==
*{{Commons category-inline}}

==References==
{{reflist}}

{{DEFAULTSORT:Doddanna Setty, Janopakari}}
[[Category:1840 births]]
[[Category:1921 deaths]]
[[Category:People from the Kingdom of Mysore]]
[[Category:Indian philanthropists]]
[[Category:19th-century Indian businesspeople]]
[[Category:20th-century Indian businesspeople]]
[[Category:19th-century Indian philanthropists]]

Thayin Madiyil

2026-04-04T08:05:41Z

Giispune:

{{short description|1964 film by Adurthi Subba Rao}}
{{Use dmy dates|date=September 2021}}
{{Use Indian English|date=September 2021}}
{{Infobox film
| name = Thayin Madiyil
| image = Thayin Madiyil.jpg

| caption = Theatrical release poster
| director = [[Adurthi Subba Rao]]
| writer = Sornam
| producer = K. R. Balan
| starring = [[M. G. Ramachandran]] [[B. Saroja Devi]]
| cinematography = R. R. Chandran
| music = [[S. M. Subbaiah Naidu]]
| studio = Annai Films
| released = {{film date|1964|12|18|df=y}}
| country = India
| language = Tamil
}}

'''''Thayin Madiyil''''' ({{translation|In mother's lap}}) is a 1964 Indian [[Tamil language|Tamil]]-language film directed by [[Adurthi Subba Rao]], starring [[M. G. Ramachandran]] and [[B. Saroja Devi]]. It was released on 18 December 1964.<ref>{{Cite news |date=18 December 1964 |title=Thayin Madiyil |url=https://news.google.com/newspapers?nid=P9oYG7HA76QC&dat=19641218&printsec=frontpage&hl=en |access-date=7 October 2020 |work=[[The Indian Express]] |pages=3 |via=[[Google News Archive]]}}{{cbignore}}</ref><ref>{{Cite web |title=Table: Chronological List of MGR's Movies released between 1960 and 1967 |url=https://sangam.org/wp-content/uploads/2015/04/Table-Chronological-List-of-MGR-Movies-released-1960-1967.pdf |url-status=live |archive-url=https://web.archive.org/web/20160616112435/http://sangam.org/wp-content/uploads/2015/04/Table-Chronological-List-of-MGR-Movies-released-1960-1967.pdf |archive-date=16 June 2016 |access-date=16 April 2021 |website=[[Ilankai Tamil Sangam]]}}</ref>

== Plot ==
{{more plot|date=October 2021}}
Raja, a champion jockey leads a very happy and disciplined life. Raja meets Jeeva, the only daughter of a wealthy businessman, Bhupathi, and both fall head over heels in love with each other. Raja is an orphan. Years later, he learns of his mother and the injustice meted out to her in life. Raja vows to find his father and take revenge. Raja is overjoyed to meet his mother who he believed was dead, but his happiness is short lived, when his mother reveals that he is the son of Bhupathi.

== Cast ==
The list adapted from the book ''Thiraikalanjiyam Part-2''.<ref>{{Cite book |last=Neelamegam |first=G. |title=Thiraikalanjiyam — Part 2 |publisher=Manivasagar Publishers |year=2016 |language=Tamil}}{{Page needed|date=June 2022}}</ref>

{{Col-begin|width=65%}}
{{col-break|width=50%}}
;Male cast
*[[M. G. Ramachandran]] as Raja
*[[M. N. Nambiar]]
*[[M. R. Radha]] as Sigamani
*[[Nagesh]]
*[[T. S. Muthaiah]] as Boopathy
*[[Thirupathisamy]]
{{col-break|width=50%}}
;Female cast
*[[B. Saroja Devi]] as Jeeva
*[[Pandari Bai]] as Kaveri
*[[Manorama (Tamil actress)|Manorama]]
*[[Geetanjali (actress)|Geetanjali]]
*[[G. Sakunthala]] as Bhavani
*Lakshmiprabha
{{Col-end}}

== Production ==
The film was produced by K. R. Balan under the banner ''Annai Films'' and was directed by A. Subba Rao. R. R.Chandran handled the cinematography while Sornam wrote the screenplay and dialogues.<ref>{{Cite web |title=1964 – தாயின் மடியில் – அன்னை பிலிம்ஸ் |trans-title=1964 – Thayin Madiyil – Annai Films |url=http://www.lakshmansruthi.com/cineprofiles/1964-cinedetails13.asp |url-status=usurped |archive-url=https://archive.today/20171003043117/http://www.lakshmansruthi.com/cineprofiles/1964-cinedetails13.asp |archive-date=3 October 2017 |access-date=3 October 2017 |website=[[Lakshman Sruthi]] |language=Tamil}}</ref>

== Soundtrack ==
Music was composed by [[S. M. Subbaiah Naidu]].<ref>{{Cite book |url=https://archive.org/download/sok.ThaayinMadiyil_AdurthiSubbaRao_1964/141.%20Thaayin%20Madiyil_Adurthi%20Subba%20Rao_1964.pdf |title=தாயின் மடியில் |publisher=Annai Films |year=1964 |language=ta |type=[[song book]] |access-date=22 June 2022 |via=[[Internet Archive]]}}</ref>

{| class="wikitable" style="font-size:95%;"
! Song !! Singer/s !! Lyricist
|-
| "Penne Ondru Sollavaa" || P. Susheela || rowspan=1|[[Vaali (poet)|Vaali]]
|-
| "Kallirukkum Roja Malar" || rowspan=3|T. M. Soundararajan & P. Susheela || rowspan=1|[[Kannadasan]]
|-
| "Raajaathi Kaathirundhaa" || rowspan=4|Vaali
|-
| "Ennaip Paarthu Edhai Paarthaalum"
|-
| "Ethanai Selvangal Vandhaalume" || T. M. Soundararajan
|-
| "Paarvaiyile Pandhal Katti" || P. Susheela
|}

== Reception ==
Writing for ''[[Sport and Pastime]]'', T. M. Ramachandran said, "The story follows the beaten track and in a nutshell, the audience get the same kind of dish they are used to. A striking feature that stands out, however, in the film is the acting of M. G Ramachandran".<ref>{{Cite magazine |last=Ramachandran |first=T. M. |date=16 January 1965 |title=Thayin Madiyil |url=https://archive.org/details/dli.bengal.10689.15522/page/n167/mode/2up |url-status=live |archive-url=https://archive.today/20230324133647/https://archive.org/details/dli.bengal.10689.15522/page/n167/mode/2up |archive-date=24 March 2023 |access-date=24 March 2023 |magazine=[[Sport and Pastime]] |page=52 |via=[[Internet Archive]] |volume=19}}</ref>

== References ==
{{Reflist}}

== External links ==
* {{IMDb title|id=1475421}}

[[Category:1964 Indian films]]
[[Category:1964 Tamil-language films]]
[[Category:1964 films]]
[[Category:Films directed by Adurthi Subba Rao]]
[[Category:Films scored by S. M. Subbaiah Naidu]]
[[Category:Tamil-language Indian films]]

{{Improve categories|date=March 2024}}

Violin

2026-03-17T05:07:21Z

Giispune: updated page

{{short description|Bowed string instrument}}
{{other uses}}
{{pp-semi-indef}}
{{pp-move}}
{{Infobox Instrument
| name = Violin
| names = [[Fiddle]]
| image = Violin VL100.png
| image_capt = A standard modern violin shown from the top and the side
| background = string
| hornbostel_sachs = 321.322-71
| hornbostel_sachs_desc = Composite [[chordophone]] sounded by a [[bow (music)|bow]]
| developed = Early 16th century
| range = [[File:Range violin.svg|130px|center]]
| related = *'''[[Violin family]]''' ([[viola]], [[cello]], [[double bass]])
* [[Viol]] family (some historians argue the [[double bass]] developed from the bass viol)
| musicians = *[[List of violinists]]
| builders = *[[List of luthiers]]
| sound sample = <div style="text-align:center">[[File:Violin sounds and techniques.ogg]] Recording of violinist demonstrating different sounds of the violin</div>
}}The '''violin''', sometimes referred to as a '''[[fiddle]]''',{{Efn|In short, the difference between a fiddle and a violin is simply in the style of music they are used to play. Violin players typically perform [[classical music]], such as in [[orchestras]] and [[string quartets]]. Fiddle players, on the other hand, typically perform [[folk music]], [[country music]], and other types of traditional music. Violinists hold the bow at its extreme end, so as to use its full length, whereas some fiddlers hold it higher up, to facilitate quick movements and "jumps".}} is a wooden [[chordophone]], and is the smallest, and thus highest-pitched instrument ([[soprano]]) in regular use in the [[violin family]]. Smaller violin-type instruments exist, including the [[violino piccolo]] and the [[pochette (musical instrument)|pochette]], but these are virtually unused. Most violins have a hollow wooden body, and commonly have four [[strings (music)|strings]] (sometimes [[five-string violin|five]]{{efn|Violins with six, seven, or more strings exist, but are rare, and must be amplified electronically.}}), usually tuned in [[perfect fifth]]s with notes G3, D4, A4, E5, and are most commonly played by drawing a [[bow (music)|bow]] across the strings. The violin can also be played by plucking the strings with the fingers ([[pizzicato]]) and, in specialized cases, by striking the strings with the wooden side of the bow ([[col legno]]).

Violins are important instruments in a wide variety of musical genres. They are most prominent in the [[Western classical music|Western classical tradition]], both in ensembles (from [[chamber music]] to [[orchestra]]s) and as solo instruments. Violins are also important in many varieties of [[folk music]], including [[country music]], [[bluegrass music]], and in [[jazz violin|jazz]]. [[Electric violin]]s with solid bodies and [[Pickup (music technology)#Piezoelectric pickups|piezoelectric pickups]] are used in some forms of [[rock music]] and [[jazz fusion]], with the pickups plugged into [[instrument amplifier]]s and speakers to produce sound. The violin has come to be incorporated in many non-Western music cultures, including [[Indian music]] and [[Iranian music]]. The name ''fiddle'' is often used regardless of the type of music played on it.

The violin was first created in 16th-century Italy, with some further modifications occurring in the 18th and 19th centuries to give the instrument a more powerful sound and projection. In Europe, it served as the basis for the development of other stringed instruments used in Western classical music, such as the [[viola]].<ref>{{cite web|last1=Singh|first1=Jhujhar|title=Interview: Kala Ramnath|url=https://www.youtube.com/watch?v=l1SoZSosu6Y| archive-url=https://web.archive.org/web/20140603030520/http://www.youtube.com/watch?v=l1SoZSosu6Y| archive-date=2014-06-03|website=News X|publisher=YouTube|access-date=5 September 2015}}</ref><ref name="heron">{{cite book |last1=Allen |first1=Edward Heron |title=Violin-making, as it was and is: Being a Historical, Theoretical, and Practical Treatise on the Science and Art of Violin-making, for the Use of Violin Makers and Players, Amateur and Professional. Preceded by An Essay on the Violin and Its Position as a Musical Instrument |date=1914 |publisher=E. Howe}} Accessed 5 September 2015.</ref><ref>{{cite book |last1=Choudhary |first1=S.Dhar |url=https://books.google.com/books?id=dUQWMwEACAAJ&q=history+violin+India |title=The Origin and Evolution of Violin as a Musical Instrument and Its Contribution to the Progressive Flow of Indian Classical Music: In search of the historical roots of violin |date=2010 |publisher=Ramakrisna Vedanta Math |isbn=978-9380568065 |access-date=5 September 2015}}</ref>

Violinists and collectors particularly prize the fine historical instruments made by the [[Stradivari]], [[Guarneri]], [[Guadagnini]] and [[Amati]] families from the 16th to the 18th century in [[Brescia]] and [[Cremona]] (Italy) and by [[Jacob Stainer]] in Austria. According to their reputation, the quality of their sound has defied attempts to explain or equal it, though this belief is disputed.<ref name="NYT-201430407">{{cite news |last=Belluck |first=Pam |date=April 7, 2014 |title=A Strad? Violinists Can't Tell |url=https://www.nytimes.com/2014/04/08/science/a-strad-violinists-cant-tell.html |access-date=April 9, 2014 |work=[[New York Times]]}}</ref><ref>{{cite web |last=Joyce |first=Christopher |year=2012 |title=Double-Blind Violin Test: Can You Pick The Strad? |url=https://www.npr.org/blogs/deceptivecadence/2012/01/02/144482863/double-blind-violin-test-can-you-pick-the-strad?sc=fb&cc=fp |access-date=2012-01-02 |publisher=[[NPR]]}}</ref> Great numbers of instruments have come from the hands of less famous makers, as well as still greater numbers of mass-produced commercial "trade violins" coming from cottage industries in places such as [[Saxony]], [[Bohemia]], and [[Mirecourt]]. Many of these trade instruments were formerly sold by [[Sears|Sears, Roebuck and Co.]] and other mass merchandisers.

The components of a violin are usually made from different types of [[wood]]. Violins can be strung with [[Catgut|gut]], [[nylon 6|Perlon]] or other synthetic, or steel strings. A person who makes or repairs violins is called a [[luthier]] or violinmaker. One who makes or repairs bows is called an ''archetier'' or [[Bow maker|bowmaker]].

== Etymology ==
The word "violin" was first used in English in the 1570s.<ref name="auto">{{cite web |url=http://www.etymonline.com/index.php?allowed_in_frame=0&search=violin |title=Violin |website=Online Etymology Dictionary |access-date=20 May 2017 }}</ref> The word "violin" comes from Italian {{lang|it|violino}}, a diminutive of [[viola]]. The term "viola" comes from the expression for "tenor violin" in 1797, from Italian and [[Old Provençal]] {{lang|pro|viola}}, [which came from] [[Medieval Latin]] {{Lang|la-x-medieval|vitula}} as a term which means {{gloss|stringed instrument}}, perhaps [coming] from [[Vitula (goddess)|Vitula]], Roman goddess of joy, or from related Latin verb {{lang|la|vitulari}}, "to cry out in joy or exaltation".<ref name="auto1">{{cite web |url= http://www.etymonline.com/index.php?term=viola&allowed_in_frame=0 |title=Viola |website=Online Etymology Dictionary |access-date=20 May 2017 }}</ref> The related term {{lang|it|[[Viola da gamba]]}} meaning {{gloss|bass viol}} (1724) is from Italian, literally "a viola for the leg" (i.e. to hold between the legs)".<ref name="auto1"/> A violin is the "modern form of the smaller, medieval [[Viola da braccio (instrument)|viola da braccio]]" ("arm viola").<ref name="auto"/>

The violin is often called a fiddle. "Fiddle" can be used as the instrument's customary name in folk music, or as an informal name for the instrument in other styles of music.<ref name="ety">{{cite web |url= http://www.etymonline.com/index.php?allowed_in_frame=0&search=fiddle |title=Fiddle |website=Online Etymology Dictionary |access-date=20 May 2017 }}</ref> The word "fiddle" was first used in English in the late 14th century.<ref name=ety/> The word "fiddle" comes from ''fedele'', ''fydyll'', ''fidel'', earlier ''fithele'', from [[Old English]] {{lang|ang|fiðele}} {{gloss|fiddle}}, which is related to [[Old Norse]] {{lang|non|fiðla}}, [[Middle Dutch]] {{lang|dum|vedele}}, Dutch {{lang|nl|vedel}}, [[Old High German]] {{lang|goh|fidula}}, German {{lang|de|Fiedel}}, {{gloss|a fiddle}}; all of uncertain origin. As to the origin of the word "fiddle", the "usual suggestion, based on resemblance in sound and sense, is that it is from Medieval Latin {{Lang|la-x-medieval|vitula}}".<ref name=ety/>

==History==
{{Main|History of the violin}}

[[File:Gaudenzio Ferrari 002.jpg|thumb|right|The cupola of Madonna dei Miracoli in [[Saronno]], [[Italy]], with angels playing violin, viola, and cello, dates from 1535 and is one of the earliest depictions of the violin family.]]

The earliest stringed instruments were mostly plucked (for example, the Greek [[lyre]]). Two-stringed, bowed instruments, played upright and strung and [[Bow (music)|bowed]] with horsehair, may have originated in the nomadic [[Equestrianism|equestrian]] cultures of Central Asia, in forms closely resembling the modern-day [[Mongolia]]n [[Morin huur]] and the [[Kazakhstan|Kazakh]] [[Kobyz]]. Similar and variant types were probably disseminated along east–west trading routes from Asia into the Middle East,<ref>''The Silk Road: Connecting Cultures, Creating Trust'', Silk Road Story 2: Bowed Instruments, Smithsonian Center for Folk life and Cultural Heritage [http://www.silkroadproject.org/smithsonian/nomads/story.html] {{Webarchive|url=https://web.archive.org/web/20081013123420/http://www.silkroadproject.org/smithsonian/nomads/story.html|date=2008-10-13}} (accessed 2008-09-26)</ref>{{Failed verification|date=February 2025}}<ref>
{{Cite book
|url= https://books.google.com/books?id=e6GcPB5v0yIC
|title=The NPR Classical Music Companion: Terms and Concepts from A to Z
|last=Hoffman
|first=Miles
|publisher=[[Houghton Mifflin Harcourt]]
|year = 1997|isbn=978-0618619450
}}</ref> and the [[Byzantine Empire]].<ref name=Grillet29>{{harvnb|Grillet|1901|p=29}}</ref><ref>Margaret J. Kartomi: On Concepts and Classifications of Musical Instruments. Chicago Studies in Ethnomusicology, University of Chicago Press, 1990</ref>

[[Rebec]], [[fiddle]] and [[lira da braccio]] are generally considered the ancestors of the violin,<ref>[https://www.cambridge.org/core/books/cambridge-companion-to-the-cello/8C1492C022422732B6859906BFDF2A5C The Cambridge Companion to the Cello]</ref> Several sources suggest alternative possibilities for the violin's origins, such as northern or western Europe.<ref>{{Cite web|url=https://books.google.com/books?id=yNc5AAAAIAAJ|title=The Precursors of the Violin Family: Records, Researches & Studies|first=Kathleen|last=Schlesinger|date=May 29, 1914|page=221|publisher=W. Reeves|via=Google Books}}</ref><ref name="auto2">{{Cite web|url=http://archive.org/details/historyofviolin00sand|title=The history of the violin, and other instruments played on with the bow from the remotest times to the present. Also, an account of the principal makers, English and foreign, with numerous illustrations. By William Sandys and Simon Andrew Forster|first1=William|last1=Sandys|first2=Simon Andrew|last2=Forster|date=May 29, 1864|publisher=London W. Reeves|via=Internet Archive|page=28}}</ref><ref>{{Cite web|url=https://books.google.com/books?id=qRwvAQAAIAAJ|title=Catechism of musical history|first=Hugo|last=Riemann|date=May 29, 1892|publisher=Augener & Company, printed in Germany|via=Google Books| page=27}}</ref> The first makers of violins probably borrowed from various developments of the Byzantine lyra. These included the [[vielle]] (also known as the ''fidel'' or ''viuola'') and the ''[[lira da braccio]]''.<ref name="Grillet29"/><ref>{{Cite web |last=Arkenberg|first=Rebecca |title=Renaissance Violins |date=October 2002 |publisher=[[Metropolitan Museum of Art]] |url=http://www.metmuseum.org/toah/hd/renv/hd_renv.htm |access-date=2006-09-22}}</ref>
The violin in its present form emerged in early 16th-century [[northern Italy]]. The earliest pictures of violins, albeit with three strings, are seen in northern Italy around 1530, at around the same time as the words "violino" and "vyollon" are seen in Italian and French documents. One of the earliest explicit descriptions of the instrument, including its tuning, is from the ''Epitome musical'' by [[Jambe de Fer]], published in [[Lyon]] in 1556.<ref>
{{Cite web
|url=http://www.violinonline.com/historicalbackgroundoftheviolin.htm
|title=Historical Background of the Violin
|publisher=ViolinOnline.com
|first=Robin Kay|last=Deverich|year=2006|access-date=2006-09-22
}}</ref>

The violin proved very popular, both among street musicians and the nobility; the French king [[Charles IX of France|Charles IX]] ordered Andrea Amati to construct 24 violins for him in 1560.<ref>{{Cite web
|url=http://www.bartruff.com/history.php
|title=The History of the Violin
|first=William|last=Bartruff|access-date=2006-09-22
|archive-url = https://web.archive.org/web/20070208112530/http://www.bartruff.com/history.php  |archive-date = 2007-02-08}}</ref> One of these "noble" instruments, the ''Charles IX'', is the oldest surviving violin. It is now located in the [[Ashmolean Museum]] of [[Oxford]].<ref>{{cite web |title=''Charles IX'' violin |url=https://www.ashmolean.org/collections-online#/item/ash-object-350555 |website=Ashmolean Museum |publisher=Ashmolean Museum, University of Oxford |access-date=29 August 2025}}</ref> The finest Renaissance carved and decorated violin in the world is the [[Gasparo da Salò]] ({{circa}}1574) owned by [[Ferdinand II, Archduke of Austria]] and later, from 1841, by the Norwegian virtuoso [[Ole Bull]], who used it for forty years and thousands of concerts, for its very powerful and beautiful tone, similar to that of a Guarneri.<ref>It is now in the Vestlandske Kunstindustrimuseum in [[Bergen]], Norway.</ref> [[Messiah Stradivarius|"The Messiah"]] or ''"Le Messie"'' (also known as the "Salabue") made by [[Antonio Stradivari]] in 1716 remains pristine. It is also located in the Ashmolean Museum.<ref>{{Cite web
|url=http://www.cozio.com/Instrument.aspx?id=111
|title=Violin by Antonio Stradivari, 1716 (Messiah; la Messie, Salabue)
|publisher=Cozio.com
|access-date=2008-09-26
|archive-date=2008-10-08
|archive-url=https://web.archive.org/web/20081008063952/http://www.cozio.com/Instrument.aspx?id=111
|url-status=dead
}}</ref>

The most famous [[:Category:Violin makers|violin makers]] ([[luthiers]]) between the 16th century and the 18th century include:
[[File:Stainer.jpg|thumb|upright=1.35|1658 [[Baroque violin]] by Jacob Stainer]]
* The school of [[Brescia]], beginning in the late 14th century with liras, violettas, violas and active in the field of the violin in the first half of the 16th century
** The [[Giovan Giacomo Dalla Corna|Dalla Corna]] family, active 1510–1560 in Brescia and [[Venice]]
** The [[Zanetto Micheli|Micheli]] family, active 1530–1615 in Brescia
** The [[Inverardi]] family active 1550–1580 in Brescia
** The [[Gasparo da Salò]] family, active 1530–1615 in Brescia and [[Salò]]
** [[Giovanni Paolo Maggini]], student of Gasparo da Salò, active 1600–1630 in Brescia
** The [[Giovanni Battista Rogeri|Rogeri]] family, active 1661–1721 in Brescia
* The school of [[Cremona]], beginning in the second half of the 16th century with violas and [[violone]] and in the field of violin in the second half of the 16th century
** The [[Amati]] family, active 1550–1740 in Cremona
** The [[Guarneri]] family, active 1626–1744 in Cremona and Venice
** The [[Stradivari]] family, active 1644–1737 in Cremona<ref>{{Cite book|title=The Oxford Dictionary of Music|last=Kennedy|first=Michael|publisher=Oxford University Press|year=2017}}</ref>
** The [[Francesco Rugeri|Rugeri]] family, active 1650–1740 in Cremona
** [[Carlo Bergonzi (luthier)]] (1683–1747) in Cremona
* The school of [[Venice]], with the presence of several makers of bowed instruments from the early 16th century out of more than 140 makers of string instruments registered between 1490 and 1630.<ref>{{cite book|last=Pio Stefano|title=Viol and Lute Makers of Venice 1490 -1630|year=2012|publisher=Venice Research|location=Venice, Italy|isbn=9788890725203|pages=441|url=http://www.veniceresearch.com}}</ref>
** The [[Linarolo family]], active 1505–1640 in Venice
** [[Matteo Goffriller]], known for his celli, active 1685–1742 in Venice
** [[Pietro Guarneri]], son of [[Giuseppe Giovanni Battista Guarneri]] and from Cremona, active 1717–1762 in Venice
** [[Domenico Montagnana]], active circa 1700–1750 in Venice
** [[Sanctus Seraphin|Santo Serafin]], active before 1741 until 1776 in Venice
Significant changes occurred in the construction of the violin in the 18th century, particularly a longer neck which is angled more toward the back of the instrument than in earlier examples, heavier strings, and a heavier bass bar. The majority of old instruments have undergone these modifications, and hence are in a significantly different state than when they left the hands of their makers, doubtless with differences in sound and response.<ref>
{{Cite web
|title=Violin changes by 1800
|url=http://rperras.tripod.com/id42.htm
|first=Richard
|last=Perras
|access-date=2006-10-29
}}</ref> But it is in their present (modified) condition that these instruments have set the standard for perfection in violin craftsmanship and sound, and violin makers all over the world try to come as close to this ideal as possible.

To this day, instruments from the so-called Golden Age of [[violin making]], especially those made by Stradivari, Guarneri del Gesù, and Montagnana, are the most sought-after instruments by both collectors and performers. The current record amount paid for a Stradivari violin is [[pound sterling|£]]9.8 million ([[US$]]15.9 million at that time), when the instrument known as the [[Lady Blunt Stradivarius|Lady Blunt]] was sold by [[Tarisio Auctions]] in an online auction on June 20, 2011.<ref>{{cite news | title=Stradivarius violin sold for £9.8m at charity auction | url=https://www.bbc.co.uk/news/entertainment-arts-13852872 | work=BBC News | date=2011-06-21 | access-date=2011-06-21}}</ref>

== Construction and mechanics ==
[[File:Violinconsruction3.JPG|right|thumb|upright=1.8|The construction of a violin]]
{{Main|Violin construction and mechanics}}

[[File:Violin.JPG|thumb|Violin and bow.]]

A violin generally consists of a [[spruce]] (especially [[Norway spruce]]) top (the [[Sound board (music)|soundboard]], also known as the ''top plate'', ''table'', or ''belly''), maple ribs and back, two endblocks, a [[neck (music)|neck]], a [[bridge (instrument)|bridge]], a soundpost, four strings, and various fittings, optionally including a [[chinrest]], which may attach directly over, or to the left of, the [[tailpiece]]. A distinctive feature of a violin body is its hourglass-like shape and the [[arch]]ing of its top and back. The hourglass shape comprises two upper bouts, two lower bouts, and two concave C-bouts at the ''waist'', providing clearance for the [[bow (music)|bow]]. The "voice" or sound of a violin depends on its shape, the wood it is made from, the graduation (the thickness profile) of both the top and back, the [[varnish#Violin|varnish]] that coats its outside surface and the skill of the luthier in doing all of these steps. The varnish and especially the wood continue to improve with age, making the fixed supply of old well-made violins built by famous luthiers much sought after.

The majority of glued joints in the instrument use animal [[hide glue]] rather than common white glue for a number of reasons. Hide glue is capable of making a thinner joint than most other glues. It is reversible (brittle enough to crack with carefully applied force and removable with hot water) when disassembly is needed. Since fresh hide glue sticks to old hide glue, more original wood can be preserved when repairing a joint. (More modern glues must be cleaned off entirely for the new joint to be sound, which generally involves scraping off some wood along with the old glue.) Weaker, diluted glue is usually used to fasten the top to the ribs, and the nut to the fingerboard, since common repairs involve removing these parts. The [[purfling]] running around the edge of the spruce top provides some protection against cracks originating at the edge. It also allows the top to flex more independently of the rib structure. Painted-on [[wikt:faux|faux]] purfling on the top is usually a sign of an inferior instrument. The back and ribs are typically made of [[maple]], most often with a matching striped [[figure (wood)|figure]], referred to as ''flame'', ''fiddleback'', or ''tiger stripe''.

The [[neck (music)|neck]] is usually maple with a flamed figure compatible with that of the ribs and back. It carries the [[fingerboard]], typically made of ebony, but often some other wood stained or painted black on cheaper instruments. [[Ebony]] is the preferred material because of its hardness, beauty, and superior resistance to wear. Fingerboards are dressed to a particular transverse curve, and have a small lengthwise "scoop," or concavity, slightly more pronounced on the lower strings, especially when meant for gut or synthetic strings. Some old violins (and some made to appear old) have a grafted [[scroll (music)|scroll]], evidenced by a glue joint between the pegbox and neck. Many authentic old instruments have had their necks reset to a slightly increased angle, and lengthened by about a centimeter. The neck graft allows the original scroll to be kept with a [[Baroque]] violin when bringing its neck into conformance with modern standards.

[[File:Tailpieceandbridge.JPG|upright=0.7|thumb|left|Closeup of a violin [[tailpiece]], with a [[fleur-de-lis]]]]
[[File:Violin bridge 2 views.jpg|thumb|right|Front and back views of violin bridge]]
[[File:Soundpost end.jpg|thumb|right|upright=0.55|Sound post seen through [[f-hole]]]]
The [[bridge (instrument)|bridge]] is a precisely cut piece of maple that forms the lower anchor point of the vibrating length of the strings and transmits the vibration of the strings to the body of the instrument. Its top curve holds the strings at the proper height from the fingerboard in an arc, allowing each to be sounded separately by the bow. The [[sound post]], or ''soul post'', fits precisely inside the instrument between the back and top, at a carefully chosen spot near the treble foot of the bridge, which it helps support. It also influences the modes of vibration of the top and the back of the instrument.
[[File:Violin case owned by Ginger Smock.jpg|thumb|Violin case owned by Ginger Smock]]
The [[tailpiece]] anchors the strings to the lower bout of the violin by means of the tailgut, which loops around an ebony button called the tailpin (sometimes confusingly called the ''endpin'', like the cello's spike), which fits into a tapered hole in the bottom block. The E string will often have a fine tuning lever worked by a small screw turned by the fingers. Fine tuners may also be applied to the other strings, especially on a student instrument, and are sometimes built into the tailpiece. The fine tuners enable the performer to make small changes in the pitch of a string. At the scroll end, the strings wind around the wooden [[tuning peg]]s in the pegbox. The tuning pegs are tapered and fit into holes in the peg box. The tuning pegs are held in place by the friction of wood on wood. Strings may be made of metal or less commonly gut or gut wrapped in metal. Strings usually have a colored [[silk]] wrapping at both ends, for identification of the string (e.g., G string, D string, A string or E string) and to provide friction against the pegs. The tapered pegs allow friction to be increased or decreased by the player applying appropriate pressure along the axis of the peg while turning it.

===Strings===
{{Main|Violin construction and mechanics#Strings|l1 = Strings section of violin construction}}

[[Strings (music)|Strings]] were first made of sheep gut (commonly known as [[catgut]], which despite the name, did not come from cats), or simply gut, which was stretched, dried, and twisted. In the early years of the 20th century, strings were made of either gut or steel. Modern strings may be gut, solid [[steel]], stranded steel, or various synthetic materials such as [[Nylon 6|perlon]], wound with various metals, and sometimes plated with [[silver]]. Most E strings are unwound, either plain or plated steel. Gut strings are not as common as they once were, but many performers use them to achieve a specific sound especially in [[historically informed performance]] of [[Baroque music]]. Strings have a limited lifetime. Eventually, when oil, dirt, corrosion, and rosin accumulate, the mass of the string can become uneven along its length. Apart from obvious things, such as the winding of a string coming undone from wear, players generally change a string when it no longer plays "true" (with good intonation on the harmonics), losing the desired tone, brilliance and intonation. String longevity depends on string quality and playing intensity.

===Pitch range===
[[File:Spectrumgstring.jpg|upright=1.15|thumb|right|3D [[spectrum]] diagram of the overtones of a violin G string (foreground). Note that the [[pitch (music)|pitch]] we hear is the peak around 200 Hz.]]
A violin is tuned in fifths, in the notes G3, D4, A4, E5. The lowest note of a violin, tuned normally, is [[Scientific pitch notation|G3]], or G below [[middle C|middle C (C4)]]. (On rare occasions, the lowest string may be tuned down by as much as a fourth, to D3.) The highest note playable is less well defined: E7, the E two octaves above the open string (which is tuned to E5) may be considered a practical limit for orchestral violin parts,<ref>Piston, Walter (1955). ''Orchestration'', p.45.</ref> but it is often possible to play higher, depending on the length of the fingerboard and the skill of the violinist. Yet higher notes (up to C8) can be sounded by stopping the string, reaching the limit of the fingerboard, and/or by using [[artificial harmonic]]s.

===Acoustics===
{{Main|Violin acoustics}}

[[File:Bowed violin string in slow motion.gif|thumb|right|The Helmholtz corner traveling back and forth along the string<ref>{{cite web |url=https://plus.maths.org/content/why-violin-so-hard-play |title=Why is the violin so hard to play? |author=Jim Woodhouse and Paul Galluzzo |date=2004-09-01 |access-date=2025-06-22}}</ref>]]
The arched shape, the thickness of the wood, and its physical qualities govern the sound of a violin. Patterns of the [[node (physics)|node]] made by sand or glitter sprinkled on the plates with the plate vibrated at certain frequencies, called ''[[Ernst Chladni|Chladni]] patterns'', are occasionally used by [[luthier]]s to verify their work before assembling the instrument.<ref>{{Cite web|url=http://www.catgutacoustical.org/people/cmh/laird3.htm|title=Carleen Maley Hutchins' Work With Saunders|publisher=Violin Society of America|last=Laird|first=Paul R.|access-date=2008-09-26}}</ref>

=== Sizes ===
[[File:LembeyeLembeyon.jpg|thumb|left|Fractional ({{frac|1|16}}) and full size ({{frac|4|4}}) violins]]
Apart from the standard ''full'' ({{frac|4|4}}) size, violins are also made in so-called ''fractional'' sizes of {{frac|7|8}}, {{frac|3|4}}, {{frac|1|2}}, {{frac|1|4}}, {{frac|1|8}}, {{frac|1|10}}, {{frac|1|16}}, {{frac|1|32}} and even {{frac|1|64}}. These smaller instruments are commonly used by young players whose fingers are not long enough to reach the correct positions on full-sized instruments.

While related in some sense to the dimensions of the instruments, the fractional sizes are not intended to be literal descriptions of relative proportions. For example, a {{frac|3|4}}-sized instrument is not three-quarters the length of a full size instrument. The body length (not including the neck) of a full-size, or {{frac|4|4}}, violin is {{convert|356|mm|in|1|abbr=on}}, smaller in some 17th-century models. A {{frac|3|4}} violin's body length is {{convert|335|mm|in|1|abbr=on}}, and a {{frac|1|2}} size is {{convert|310|mm|in|1|abbr=on}}. With the violin's closest family member, the viola, size is specified as body length in inches or centimeters rather than fractional sizes. A [[Viola#Form|full-size viola]] averages {{convert|40|cm|in|0|abbr=on}}. However, each individual adult will determine which size of viola to use.

Occasionally, an adult with a small frame may use a so-called {{frac|7|8}} size violin instead of a full-size instrument. Sometimes called a ''lady's violin'', these instruments are slightly shorter than a full size violin, but tend to be high-quality instruments capable of producing a sound comparable to that of fine full size violins. The sizes of 5-string violins may differ from the normal 4-string.

=== Mezzo violin ===
The instrument which corresponds to the violin in the [[violin octet]] is the mezzo violin, tuned the same as a violin but with a slightly longer body. The strings of the mezzo violin are the same length as those of the standard violin. This instrument is not in common use.<ref>{{Cite web|url=https://nvfa.org/8tet.html|title=The New Violin Family|last=The New Violin Family Association, Inc|date=2020-04-04|website=The New Violin Family}}</ref> 

==Tuning==
[[File:Violin peg strings.jpg|thumb|left|upright=0.45|Scroll and pegbox, correctly strung]]
[[File:Violin - open strings notes.PNG|right|thumb|The pitches of open strings on a violin. The note names of the pitches are written in letter names below the stave and their French [[solfege]] equivalents above the stave. G=sol; D=re; A=la; E=mi {{audio|Violin open strings.mid|Play}}]]
Violins are tuned by turning the [[Tuning peg|pegs]] in the pegbox under the scroll or by adjusting the ''fine tuner'' screws at the [[tailpiece]]. All violins have pegs; fine tuners (also called ''fine adjusters'') are optional. Most fine tuners consist of a metal screw that moves a lever attached to the string end. They permit very small pitch adjustments much more easily than the pegs. Turning a fine tuner clockwise causes the pitch to become sharper (as the string is under more tension), and turning it counterclockwise, the pitch becomes flatter (as the string is under less tension). Fine tuners on all four of the strings are very helpful when using those with a steel core, and some players use them with synthetic strings. Since modern E strings are steel, a fine tuner is nearly always fitted for that string. Fine tuners are not used with gut strings, which are more [[Young's modulus|elastic]] than steel or synthetic-core strings and do not respond adequately to the very small movements of fine tuners.

To tune a violin, the A string is first tuned to a [[pitch (music)#Concert pitch|standard]] [[pitch (music)|pitch]] (usually A=440 [[hertz|Hz]]). (When accompanying or playing with a fixed-pitch instrument such as a piano or accordion, the violin tunes to the corresponding note on that instrument rather than to any other tuning reference. The oboe is generally the instrument used to tune orchestras where violins are present since its sound is penetrating and can be heard over the other woodwinds.) The other strings are then tuned against each other in intervals of [[perfect fifth]]s by bowing them in pairs. A minutely higher tuning is sometimes employed for solo playing to give the instrument a brighter sound; conversely, Baroque music is sometimes played using [[Concert pitch#History of pitch standards in Western music|lower tunings]] to make the violin's sound more gentle. After tuning, the instrument's bridge may be examined to ensure that it is standing straight and centered between the inner nicks of the [[f-hole]]s; a crooked bridge may significantly affect the sound of an otherwise well-made violin.

After extensive playing, the tuning pegs and their holes can become worn, making the pegs more likely to slip under tension. A slipping peg leads to the pitch of the string dropping somewhat, or if the peg becomes completely loose, to the string completely losing tension. A violin in which the tuning pegs are slipping needs to be repaired by a luthier or violin repairperson. [[Peg dope]] or peg compound, used regularly, can delay the onset of such wear while allowing the pegs to turn smoothly.

The tuning G–D–A–E is used for most violin music, including classical music, jazz, and [[folk music]]. Other tunings are occasionally employed; the G string, for example, can be tuned up to A. The use of nonstandard tunings in [[European classical music|classical music]] is known as ''[[scordatura]]''; in some folk styles, it is called ''[[cross tuning]]''. One famous example of scordatura in classical music is [[Camille Saint-Saëns]]' ''[[Danse macabre (Saint-Saëns)|Danse Macabre]]'', where the solo violin's E string is tuned down to E{{music|flat}} to impart an eerie dissonance to the composition. Other examples are the third movement of ''Contrasts'', by [[Béla Bartók]], where the E string is tuned down to E{{music|flat}} and the G tuned to a G{{music|sharp}}, [[Niccolò Paganini]]'s [[Violin Concerto No. 1 (Paganini)|First Violin Concerto]], where all four strings are designated to be tuned a semitone higher, and the [[Mystery Sonatas]] by [[Heinrich Ignaz Franz Biber|Biber]], in which each movement has different scordatura tuning.

In Indian classical music and Indian light music, the violin is likely to be tuned to D{{music|#}}–A{{music|#}}–D{{music|#}}–A{{music|#}} in the South Indian style. As there is no concept of absolute pitch in Indian classical music, musicians can use any convenient tuning to maintain these relative pitch intervals between the strings. Another prevalent tuning with these intervals is B{{music|b}}–F–B{{music|b}}–F, which corresponds to Sa–Pa–Sa–Pa in the Indian [[Carnatic music|carnatic]] classical music style. In the North Indian [[Hindustani classical music|Hindustani]] style, the tuning is usually Pa-Sa-Pa-Sa instead of Sa–Pa–Sa–Pa. This could correspond to F–B{{music|b}}–F–B{{music|b}}, for instance. In Iranian classical music and Iranian light music, the violin has different tunings in each [[Persian traditional music|Dastgah]]; it is likely to be tuned (E–A–E–A) in [[Iranian traditional music|Dastgah-h Esfahan]] or in [[Musical composition|Dastgāh-e Šur]] is (E–A–D–E) and (E–A–E–E), in [[Persian traditional music|Dastgāh-e Māhur]] is (E–A–D–A). In Arabic classical music, the A and E strings are lowered by a [[whole step]], i.e. G–D–G–D. This is to ease playing Arabic [[Arabian maqam|maqams]], especially those containing [[quarter tone]]s.

While most violins have four strings, there are violins with additional strings, some with as many as seven. Seven is generally thought to be the maximum number of strings practical on a bowed string instrument; with more than seven strings, it would be impossible to play any particular inner string individually with the bow. Violins with seven strings are very rare. The extra strings on such violins typically are lower in pitch than the G-string; these strings are usually tuned (going from the highest added string to the lowest) to C, F, and B{{music|flat}}. If the instrument's playing length, or string length from nut to bridge, is equal to that of an ordinary full-scale violin; i.e., a bit less than {{convert|13|in|cm}}, then it may be properly termed a violin. Some such instruments are somewhat longer and should be regarded as violas. Violins with five strings or more are typically used in jazz or folk music. Some custom-made instruments have extra strings which are not bowed, but which sound sympathetically, due to the vibrations of the bowed strings.

== Bows ==
{{Main|Bow (music)|Violin construction and mechanics#Bow|l2 = Violin construction (bow)}}

[[File:Punte archi storici da violino.jpg|thumb|right|Heads of three violin bows: (upper) transitional (F. Tourte), swan-bill head of a long 18th-century model, pike-head of a 17th-century model]]
A violin is usually played using a [[bow (music)|bow]] consisting of a stick with a ribbon of horsehair strung between the tip and frog (or nut, or heel) at opposite ends. A typical violin bow may be {{convert|75|cm|in|abbr=on}} overall, and weigh about {{convert|60|g|oz|abbr=on}}. Viola bows may be about {{convert|5|mm|in|abbr=on}} shorter and {{convert|10|g|oz|abbr=on}} heavier. At the frog end, a screw adjuster tightens or loosens the hair. Just forward of the frog, a [[leather]] thumb cushion (called the grip) and a winding protect the stick and provide a secure hold for the player's hand. Traditional windings are of wire (often silver or plated silver), silk, or [[baleen]] ("whalebone", now substituted by alternating strips of tan and black plastic.) Some fiberglass student bows employ a plastic sleeve as both grip and winding.

Bow hair traditionally comes from the tail of a [[grey (horse)|grey]] male horse (which has predominantly white hair). Some cheaper bows use synthetic fiber. Solid [[rosin]] is rubbed onto the hair, to render it slightly sticky; when the bow is drawn across a string, the friction between them makes the string vibrate. Traditional materials for the more costly bow sticks include [[snakewood]], and [[brazilwood]] (which is also known as Pernambuco wood). Some recent bow design innovations use [[carbon fiber]] (CodaBows) for the stick, at all levels of craftsmanship. Inexpensive bows for students are made of less costly timbers, or from fiberglass (Glasser).

==Playing==
{{Main|Violin technique}}

===Posture===

[[File:Man Playing Violin on Bench at Park.jpg|thumb|upright=0.75|A man playing the violin on a park bench]]
The violin is played either seated or standing up. Solo players (whether playing alone, with a piano or with an orchestra) play mostly standing up (unless prevented by a physical disability such as in the case of [[Itzhak Perlman]]). In contrast, in the orchestra and in chamber music it is usually played seated. In the 2000s and 2010s, some orchestras performing [[Baroque music]] (such as the [[Freiburger Barockorchester|Freiburg Baroque Orchestra]]) have had all of their violins and violas, solo and ensemble, perform standing up.

The standard way of holding the violin is with the left side of the jaw resting on the [[chinrest]] of the violin, and supported by the left shoulder, often assisted by a [[shoulder rest]] (or a sponge and an elastic band for younger players who struggle with shoulder rests). The jaw and the shoulder must hold the violin firmly enough to allow it to remain stable when the left hand goes from a high position (a high pitched note far up on the fingerboard) to a low one (nearer to the pegbox). In the Indian posture, the stability of the violin is guaranteed by its scroll resting on the side of the foot.

While teachers point out the vital importance of good posture both for the sake of the quality of the playing and to reduce the chance of [[repetitive strain injury]], advice as to what good posture is and how to achieve it differs in details. However, all insist on the importance of a natural relaxed position without tension or rigidity. Things which are almost universally recommended are keeping the left wrist straight (or very nearly so) to allow the fingers of the left hand to move freely and to reduce the chance of injury and keeping either shoulder in a natural relaxed position and avoiding raising either of them in an exaggerated manner. This, like any other unwarranted tension, would limit freedom of motion, and increase the risk of injury.

Hunching can hamper good playing because it throws the body off balance and makes the shoulders rise. Another sign that comes from unhealthy tension is pain in the left hand, which indicates too much pressure when holding the violin.

===Left hand and pitch production===
[[File:Violin first position fingering chart.svg|right|upright=1.35|thumb|First position fingerings. Note that this diagram only shows the "first position" notes. There are notes of higher pitch beyond those indicated.]]

The left hand determines the sounding length of the string, and thus the pitch of the string, by "stopping" it (pressing it) against the fingerboard with the fingertips, producing different pitches. As the violin has no [[frets]] to stop the strings, as is usual with the [[guitar]], the player must know exactly where to place the fingers on the strings to play with good [[intonation (music)|intonation]] (tuning). Beginning violinists play open strings and the lowest position, nearest to the nut. Students often start with relatively easy keys, such as A Major and G major. Students are taught scales and simple melodies. Through practice of scales and arpeggios and [[ear training]], the violinist's left hand eventually "finds" the notes intuitively by [[proprioception|muscle memory]].

Beginners sometimes rely on [[adhesive tape|tapes]] placed on the fingerboard for proper left hand finger placement, but usually abandon the tapes quickly as they advance. Another commonly used marking technique uses dots of [[correction fluid|white-out]] on the fingerboard, which wear off in a few weeks of regular practice. This practice, unfortunately, is used sometimes in lieu of adequate ear-training, guiding the placement of fingers by eye and not by ear. Especially in the early stages of learning to play, the so-called "ringing tones" are useful. There are nine such notes in first position, where a [[stopped note]] sounds a unison or octave with another (open) string, causing it to [[acoustic resonance|resonate sympathetically]]. Students often use these ringing tones to check the intonation of the stopped note by seeing if it is harmonious with the open string. For example, when playing the stopped pitch "A" on the G string, the violinist could play the open D string at the same time, to check the intonation of the stopped "A". If the "A" is in tune, the "A" and the open D string should produce a harmonious perfect fourth.

Violins are tuned in perfect fifths, like all the orchestral strings (violin, viola, cello) except the double bass, which is tuned in perfect fourths. Each subsequent note is stopped at a pitch the player perceives as the most harmonious, "when unaccompanied, [a violinist] does not play consistently in either the tempered or the natural [just] scale, but tends on the whole to conform with the [[Pythagorean tuning|Pythagorean scale]]."<ref>Seashore, Carl (1938). ''Psychology of Music'', 224. quote in Kolinski, Mieczyslaw (Summer - Autumn, 1959). "A New Equidistant 12-Tone Temperament", p.210, ''Journal of the American Musicological Society'', Vol. 12, No. 2/3, pp. 210-214.</ref> When violinists are playing in a [[string quartet]] or a [[string orchestra]], the strings typically "sweeten" their tuning to suit the key they are playing in. When playing with an instrument tuned to [[equal temperament]], such as a [[piano]], skilled violinists adjust their tuning to match the equal temperament of the piano to avoid [[Consonance and dissonance#Dissonance|discordant]] notes.

The fingers are conventionally numbered 1 (index) through 4 (little finger) in [[music notation]], such as sheet music and etude books. Especially in instructional editions of violin music, numbers over the notes may indicate which finger to use, with ''0'' or ''O'' indicating an open string. The chart to the right shows the arrangement of notes reachable in first position. Not shown on this chart is the way the spacing between note positions becomes closer as the fingers move up (in pitch) from the nut. The bars at the sides of the chart represent the usual possibilities for beginners' tape placements, at 1st, high 2nd, 3rd, and 4th fingers.

====Positions====
The placement of the left hand on the fingerboard is characterized by "positions". First position, where most beginners start (although some methods start in third position), is the most commonly used position in string music. Music composed for beginning [[youth orchestra]]s is often mostly in first position. The lowest note available in this position in standard tuning is an open G3; the highest note in first position is played with the fourth finger on the E-string, sounding a B5. Moving the hand up the neck, the first finger takes the place of the second finger, bringing the player into ''second position''. Letting the first finger take the first-position place of the third finger brings the player to ''third position'', and so on. A change of positions, with its associated movement of the hand, is referred to as a ''shift,'' and effective shifting maintaining accurate intonation and a smooth legato (connected) sound is a key element of technique at all levels. Often a "guide finger" is used; the last finger to play a note in the old position continuously lightly touches the string during the course of the shift to end up on its correct place in the new position. In elementary shifting exercises the "guide finger" is often voiced while gliding up or down the string, so the player can establish correct placement by ear. Outside of these exercises it should rarely be audible (unless the performer is consciously applying a [[portamento]] effect for expressive reasons).

In the course of a shift in low positions, the thumb of the left hand moves up or down the neck of the instrument so as to remain in the same position relative to the fingers (though the movement of the thumb may occur slightly before, or slightly after, the movement of the fingers). In such positions, the thumb is often thought of as an 'anchor' whose location defines what position the player is in. In very high positions, the thumb is unable to move with the fingers as the body of the instrument gets in the way. Instead, the thumb works around the neck of the instrument to sit at the point at which the neck meets the right bout of the body, and remains there while the fingers move between the high positions.

A note played outside of the normal compass of a position, without any shift, is referred to as an ''extension''. For instance, in third position on the A string, the hand naturally sits with the first finger on D{{music|natural}} and the fourth on either G{{music|natural}} or G{{music|sharp}}. Stretching the first finger back down to a C{{music|sharp}}, or the fourth finger up to an A{{music|natural}}, forms an extension. Extensions are commonly used where one or two notes are slightly out of an otherwise solid position, and give the benefit of being less intrusive than a shift or string crossing. The lowest position on the violin is referred to as "half position". In this position the first finger is on a "low first position" note, e.g. B{{music|flat}} on the A string, and the fourth finger is in a downward extension from its regular position, e.g. D{{music|natural}} on the A string, with the other two fingers placed in between as required. As the position of the thumb is typically the same in "half position" as in first position, it is better thought of as a backwards extension of the whole hand than as a genuine position.

The upper limit of the violin's range is largely determined by the skill of the player, who may easily play more than two octaves on a single string, and four octaves on the instrument as a whole. Position names are mostly used for the lower positions and in method books and etudes; for this reason, it is uncommon to hear references to anything higher than seventh position. The highest position, practically speaking, is 13th position. Very high positions are a particular technical challenge, for two reasons. Firstly, the difference in location of different notes becomes much narrower in high positions, making the notes more challenging to locate and in some cases to distinguish by ear. Secondly, the much shorter sounding length of the string in very high positions is a challenge for the right arm and bow in sounding the instrument effectively. The finer (and more expensive) an instrument, the better able it is to sustain good tone right to the top of the fingerboard, at the highest pitches on the E string.

All notes (except those below the open D) can be played on more than one string. This is a standard design feature of stringed instruments; however, it differs from the piano, which has only one location for each of its 88 notes. For instance, the note of open A on the violin can be played as the open A, or on the D string (in first to fourth positions) or even on the G string (very high up in sixth to ninth positions). Each string has a different [[timbre|tone quality]], because of the different weights (thicknesses) of the strings and because of the resonances of other open strings. For instance, the G string is often regarded as having a very full, sonorous sound which is particularly appropriate to late Romantic music. This is often indicated in the music by the marking, for example, ''sul G'' or ''IV'' (a Roman numeral indicating to play on the fourth string; by convention, the strings are numbered from thinnest, highest pitch (I) to the lowest pitch (IV)). Even without explicit instructions in the score, an advanced violinist will use her/his discretion and artistic sensibility to select which string to play specific notes or passages.

====Open strings====
If a string is bowed or plucked without any finger stopping it, it is said to be an ''open string''. This gives a different sound from a stopped string, since the string vibrates more freely at the nut than under a finger. Further, it is impossible to use vibrato fully on an open string (though a partial effect can be achieved by stopping a note an octave up on an adjacent string and vibrating that, which introduces an element of vibrato into the overtones). In the classical tradition, violinists will often use a string crossing or shift of position to allow them to avoid the change of timbre introduced by an open string, unless indicated by the composer. This is particularly true for the open E which is often regarded as having a harsh sound. However, there are also situations where an open string may be specifically chosen for artistic effect. This is seen in classical music which is imitating the drone of an organ (J. S. Bach, in his Partita in E for solo violin, achieved this), fiddling (e.g., ''[[Hoedown]]'') or where taking steps to avoid the open string is musically inappropriate (for instance in Baroque music where shifting position was less common). In quick passages of scales or arpeggios an open E string may simply be used for convenience if the note does not have time to ring and develop a harsh timbre. In folk music, fiddling and other [[traditional music]] genres, open strings are commonly used for their resonant timbre.

Playing an open string simultaneously with a stopped note on an adjacent string produces a [[bagpipes|bagpipe]]-like drone, often used by composers in imitation of [[folk music]]. Sometimes the two notes are identical (for instance, playing a fingered A on the D string against the open A string), giving a ringing sort of "fiddling" sound. Playing an open string simultaneously with an identical stopped note can also be called for when more volume is required, especially in orchestral playing. Some classical violin parts have notes for which the composer requests the violinist to play an open string, because of the specific sonority created by an open string.

====Double stops, triple stops, chords and drones====

[[Double stop]]ping is when two separate strings are stopped by the fingers and bowed simultaneously, producing two continuous tones (typical intervals include 3rds, 4ths, 5ths, 6ths, and octaves). Double-stops can be indicated in any position, though the widest interval that can be double-stopped naturally in one position is an octave (with the index finger on the lower string and the pinky finger on the higher string). Nonetheless, intervals of tenths or even more are sometimes required to be double-stopped in advanced repertoire, resulting in a stretched left-hand position with the fingers extended. The term "double stop" is often used to encompass sounding an open string alongside a fingered note as well, even though only one finger stops the string.

Where three or four simultaneous notes are indicated, the violinist will typically "split" the chord, choosing the lower one or two notes to play first before immediately continuing onto the upper one or two notes, with the natural resonance of the instrument producing an effect similar to if all four notes had been voiced simultaneously. In some circumstances, a "triple stop" is possible, where three notes across three strings can be voiced simultaneously. The bow will not naturally strike three strings at once, but if there is sufficient bow speed and pressure when the violinist "breaks" (sounds) a three note chord, the bow hair can be bent temporarily onto three strings, allowing each to sound simultaneously. This is accomplished with a heavy stroke, typically near the frog, and produces a loud and aggressive tone. Double stops in [[orchestra]] are occasionally marked [[divisi]] and divided between the players, with some division of the musicians playing the lower note and some division playing the higher note. Double stops (and divisi) are common in orchestral repertoire when the violins play accompaniment and another instrument or section plays melodically.

In some genres of [[historically informed performance]] (usually of Baroque music and earlier), neither split-chord nor triple-stop chords are thought to be appropriate; some violinists will arpeggiate all chords (including regular double stops), playing all or most notes individually as if they had been written as a slurred figure. However, with the development of modern violins, triple-stopping has become more natural due to the [[Bridge (instrument)|bridge]] being less curved. In some musical styles, a sustained open string [[Drone (music)|drone]] can be played during a passage mainly written on an adjacent string, to provide a basic accompaniment. This is more often seen in folk traditions than in classical music.

====Vibrato====
[[File:MHVC-KyokoYonemoto-PaganiniCaprice24.ogv|thumb|[[Kyoko Yonemoto]] playing [[Niccolò Paganini|Paganini]]'s [[Caprice No. 24 (Paganini)|Caprice No. 24]] on a violin]]
[[File:Peter Bissing.png|thumb|right|[[Petrowitsch Bissing]] was an instructor of vibrato method on the violin<ref>{{cite book|url=https://books.google.com/books?id=9-EqAAAAYAAJ&q=PETROWITCH+BISSING&pg=RA2-PA52|publisher=Jacobs' Band Monthly, Volume 4|page=52|year=1919|access-date=November 16, 2012|title=The Violin|first=Louis|last=Eaton}}</ref> and published a book titled ''Cultivation of the Violin Vibrato Tone''.<ref>{{cite book|url=https://books.google.com/books?id=IwhLMgEACAAJ|title=Cultivation of the Violin Vibrato Tone|first=Petrowitsch|last=Bissing|publisher=Central States Music Publishing Company|access-date=November 16, 2012}}</ref>]]
[[Vibrato]] is a technique of the left hand and arm in which the pitch of a note varies subtly in a pulsating rhythm. While various parts of the hand or arm may be involved in the motion, the result is a movement of the fingertip bringing about a slight change in vibrating string length, which causes an undulation in pitch. Most violinists oscillate below the note, or lower in pitch from the actual note when using vibrato, since it is believed that perception favors the highest pitch in a varying sound.<ref>{{Cite book|title=String Builder, Book 3: Teacher's Manual |last=Applebaum |first=Samuel |year=1957 |publisher=Alfred Publishing |location=New York |isbn=978-0-7579-3056-0 |page=4 }}. "Now we will discipline the shaking of the left hand in the following manner: Shake the wrist slowly and evenly in 8th notes. Start from the original position and for the second 8th note the wrist is to move backward (toward the scroll). Do this in triplets, dotted 8ths and 16ths, and 16th notes. A week or two later, the vibrato may be started on the Violin. ... The procedure will be as follows: 1. Roll the finger tip from this upright position on the note, to slightly below the pitch of this note."</ref> Vibrato does little, if anything, to disguise an out-of-tune note; in other words, misapplied vibrato is a poor substitute for good intonation. Scales and other exercises meant to work on intonation are typically played without vibrato to make the work easier and more effective. Music students are often taught that unless otherwise marked in music, vibrato is assumed. However, this is only a trend; there is nothing on the sheet music that compels violinists to add vibrato.{{cn|date=October 2024}} This can be an obstacle to a classically trained violinist wishing to play in a style that uses little or no vibrato at all, such as baroque music played in period style and many traditional fiddling styles.

Vibrato can be produced by a proper combination of finger, wrist and arm motions. One method, called ''hand vibrato'' (or ''wrist vibrato''), involves rocking the hand back at the wrist to achieve oscillation. In contrast, another method, ''arm vibrato'', modulates the pitch by movement at the elbow. A combination of these techniques allows a player to produce a large variety of tonal effects. The "when" and "what for" and "how much" of violin [[vibrato]] are artistic matters of style and taste, with different teachers, music schools and styles of music favouring different styles of vibrato. For example, overdone vibrato may become distracting. In acoustic terms, the interest that vibrato adds to the sound has to do with the way that the overtone mix<ref>{{Cite web|url=http://www.schleske.de/en/our-research/handbook-violinacoustics/vibrato-of-the-musician.html |archive-url=https://web.archive.org/web/20100207150243/http://www.schleske.de/en/our-research/handbook-violinacoustics/vibrato-of-the-musician.html |url-status=dead |archive-date=7 February 2010 |title=The psychoacoustic secret of vibrato |first=Martin |last=Schleske |access-date=11 February 2010 |quote=Accordingly, the sound level of each harmonic will have a periodically fluctuating value due to the vibrato.}}</ref> (or tone color, or timbre) and the directional pattern of sound projection change with changes in pitch. By "pointing" the sound at different parts of the room<ref>{{Cite web | last=Curtin | first=Joseph | title=Weinreich and Directional Tone Colour | url=http://www.josephcurtinstudios.com/news/strad/apr00/Gabi_strad.htm | date=April 2000 | work=Strad Magazine | access-date=May 23, 2009 | quote=In the case of string instruments, however, not only are they strongly directional, but the pattern of their directionality changes very rapidly with frequency. If you think of that pattern at a given frequency as beacons of sound, like the quills of a porcupine, then even the slight changes in pitch created by vibrato can cause those quills to be continually undulating. | url-status=dead | archive-url=https://web.archive.org/web/20090529062722/http://josephcurtinstudios.com/news/strad/apr00/Gabi_strad.htm | archive-date=May 29, 2009 }}</ref><ref>{{cite web |url=http://knutsacoustics.com/files/weinreich,-g.-directional-tone-color-jasa-1997.pdf |title=Directional tone color |last=Weinreich |first=Gabriel |date=December 16, 1996 |publisher=Acoustical Society of America |quote=The effect can be visualized in terms of a number of highly directional sound beacons, all of which the vibrato causes to undulate back and forth in a coherent and highly organized fashion. It is obvious that such a phenomenon will help immensely in fusing sounds of the differently directed partials into a single auditory stream; one may even speculate that it is a reason why vibrato is used so universally by violinists—as compared to wind players, from the sound of whose instruments directional tone color is generally absent.}}</ref> in a rhythmic way, vibrato adds a "shimmer" or "liveliness" to the sound of a well-made violin. Vibrato is, in a large part, left to the discretion of the violinist. Different types of vibrato will bring different moods to the piece, and the varying degrees and styles of vibrato are often characteristics that stand out in well-known violinists.

====Vibrato trill====

A vibrato-like motion can sometimes be used to create a fast [[Trill (music)|trill]] effect. To execute this effect, the finger above the finger stopping the note is placed very slightly off the string (firmly pressed against the finger stopping the string) and a vibrato motion is implemented. The second finger will lightly touch the string above the lower finger with each oscillation, causing the pitch to oscillate in a fashion that sounds like a mix between wide vibrato and a very fast trill. This gives a less defined transition between the higher and lower note, and is usually implemented by interpretative choice. This trill technique only works well for semi-tonal trills or trills in high positions (where the distance between notes is lessened), as it requires the trilling finger and the finger below it to be touching, limiting the distance that can be trilled. In very high positions, where the trilled distance is less than the width of the finger, a vibrato trill may be the only option for trill effects.

====Harmonics====
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A major scale (arco and pizzicato) 
Beginning of an A major scale with vibrato 
A major scale played col legno 
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Artificial (false) harmonic of A7 
Harmonic glissando on the A string – 566 KB.
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Lightly touching the string with a fingertip at a harmonic [[node (physics)|node]], but without fully pressing the string, and then plucking or bowing the string, creates [[harmonic]]s. Instead of the normal tone, a higher pitched note sounds.  Each node is at an integer division of the string, for example half-way or one-third along the length of the string. A responsive instrument will sound numerous possible harmonic nodes along the length of the string. Harmonics are marked in music either with a little circle above the note that determines the pitch of the harmonic, or by diamond-shaped note heads. There are two types of harmonics: ''natural harmonics'' and ''[[artificial harmonic]]s'' (also known as ''false harmonics'').

Natural harmonics are played on an open string. The pitch of the open string when it is plucked or bowed is called the fundamental frequency. Harmonics are also called ''overtones'' or ''partials''. They occur at whole-number multiples of the fundamental, which is called the first harmonic. The second harmonic is the first [[overtone]] (the octave above the open string), the third harmonic is the second overtone, and so on. The second harmonic is in the middle of the string and sounds an octave higher than the string's pitch. The third harmonic breaks the string into thirds and sounds an octave and a fifth above the fundamental, and the fourth harmonic breaks the string into quarters sounding two octaves above the first. The sound of the second harmonic is the clearest of them all, because it is a common [[Node (physics)|node]] with all the succeeding even-numbered harmonics (4th, 6th, etc.). The third and succeeding odd-numbered harmonics are harder to play because they break the string into an odd number of vibrating parts and do not share as many nodes with other harmonics.

Artificial harmonics are more difficult to produce than natural harmonics, as they involve both stopping the string and playing a harmonic on the stopped note. Using the ''octave frame'' (the normal distance between the first and fourth fingers in any given position) with the fourth finger just touching the string a [[interval (music)|fourth]] higher than the stopped note produces the fourth harmonic, two octaves above the stopped note. Finger placement and pressure, as well as bow speed, pressure, and sounding point are all essential in getting the desired harmonic to sound. And to add to the challenge, in passages with different notes played as false harmonics, the distance between stopping finger and harmonic finger must constantly change, since the spacing between notes changes along the length of the string.

The ''harmonic finger'' can also touch at a [[interval (music)|major third]] above the pressed note (the fifth harmonic), or a [[interval (music)|fifth]] higher (a third harmonic). These harmonics are less commonly used; in the case of the major third, both the stopped note and touched note must be played slightly sharp otherwise the harmonic does not speak as readily. In the case of the fifth, the stretch is greater than is comfortable for many violinists. In the general repertoire fractions smaller than a sixth are not used. However, divisions up to an eighth are sometimes used and, given a good instrument and a skilled player, divisions as small as a twelfth are possible. There are a few books dedicated solely to the study of violin harmonics. Two comprehensive works are Henryk Heller's seven-volume ''Theory of Harmonics'', published by [[N. Simrock|Simrock]] in 1928, and Michelangelo Abbado's five-volume ''Tecnica dei suoni armonici'' published by Ricordi in 1934.

Elaborate passages in artificial harmonics can be found in virtuoso violin literature, especially of the 19th and early 20th centuries. Two notable examples of this are an entire section of [[Vittorio Monti]]'s ''[[Csárdás (Monti)|Csárdás]]'' and a passage towards the middle of the third movement of [[Violin Concerto (Tchaikovsky)|Pyotr Ilyich Tchaikovsky's Violin Concerto]]. A section of the third movement of [[Violin Concerto No. 1 (Paganini)|Paganini's Violin Concerto No. 1]] consists of [[double-stop]]ped thirds in harmonics.

When strings are worn, dirty and old, the harmonics may no longer be accurate in pitch. For this reason, violinists change their strings regularly.

===Right hand and tone color===

The strings may be sounded by drawing the hair of the bow held by the right hand across them (''arco'') or by plucking them (''[[pizzicato]]'') most often with the right hand. In some cases, the violinist will pluck strings with the left hand. This is done to facilitate transitions from pizzicato to arco playing. It is also used in some virtuoso showpieces. Left hand pizzicato is usually done on open strings. Pizzicato is used on all of the violin family instruments; however, the systematic study of advanced pizzicato techniques is most developed in [[jazz bass]], a style in which the instrument is almost exclusively plucked.

The right arm, hand, and bow and the bow speed are responsible for tone quality, [[rhythm]], [[dynamics (music)|dynamics]], [[articulation (music)|articulation]], and most (but not all) changes in [[timbre]]. The player draws the bow over the string, causing the string to vibrate and produce a sustained tone. The bow is a wooden stick with tensioned horsetail hair, which has been rosined with a bar of [[rosin]]. The natural texture of the horsehair and the stickiness of the rosin help the bow to "grip" the string, and thus when the bow is drawn over the string, the bow causes the string to sound a pitch.

Bowing can be used to produce long sustained notes or melodies. With a [[string section]], if the players in a section change their bows at different times, a note can seem to be endlessly sustainable. As well, the bow can be used to play short, crisp little notes, such as repeated notes, scales and arpeggios, which provide a propulsive rhythm in many styles of music.

====Bowing techniques====
The most essential part of bowing technique is the bow grip. It is usually with the thumb bent in the small area between the frog and the winding of the bow. The other fingers are spread somewhat evenly across the top part of the bow. The pinky finger is curled with the tip of the finger placed on the wood next to the screw. The violin produces louder notes with greater bow speed or more weight on the string. The two methods are not equivalent, because they produce different timbres; pressing down on the string tends to produce a harsher, more intense sound. One can also achieve a louder sound by placing the bow closer to the bridge.

The sounding point where the bow intersects the string also influences timbre (or "tone colour"). Playing close to the bridge (''sul ponticello'') gives a more intense sound than usual, emphasizing the higher harmonics; and playing with the bow over the end of the fingerboard (''sul tasto'') makes for a delicate, ethereal sound, emphasizing the [[fundamental frequency]]. [[Shinichi Suzuki (violinist)|Shinichi Suzuki]] referred to the sounding point as the ''[[Fritz Kreisler|Kreisler]] highway''; one may think of different sounding points as ''lanes'' in the highway.

Various methods of attack with the bow produce [[playing the violin#Bowing|different articulations]]. There are many bowing techniques that allow for every range of playing style. Many teachers, players, and orchestras spend a lot of time developing techniques and creating a unified technique within the group. These techniques include legato-style bowing (a smooth, connected, sustained sound suitable for melodies), [[collé (violin)|collé]], and a variety of bowings which produce shorter notes, including ricochet, [[Sautillé (bow stroke)|sautillé]], [[Martelé (bowstroke)|martelé]], [[spiccato]], and staccato.

====Pizzicato====
A note marked ''pizz.'' (abbreviation for ''[[pizzicato]]'') in the written music is to be played by plucking the string with a finger of the right hand rather than by bowing. (The index finger is most commonly used here.) Sometimes in orchestra parts or virtuoso solo music where the bow hand is occupied (or for show-off effect), ''left-hand pizzicato'' will be indicated by a + (plus sign) below or above the note. In left-hand pizzicato, two fingers are put on the string; one (usually the index or middle finger) is put on the correct note, and the other (usually the ring finger or little finger) is put above the note. The higher finger then plucks the string while the lower one stays on, thus producing the correct pitch. By increasing the force of the pluck, one can increase the volume of the note that the string is producing. Pizzicato is used in orchestral works and in solo showpieces. In orchestral parts, violinists often have to make very quick shifts from arco to pizzicato, and vice versa.

====Col legno====
A marking of ''[[col legno]]'' ([[Italian language|Italian]] for "with the wood") in the written music calls for striking the string(s) with the stick of the bow, rather than by drawing the hair of the bow across the strings. This bowing technique is somewhat rarely used, and results in a muted percussive sound. The eerie quality of a violin section playing ''col legno'' is exploited in some symphonic pieces, notably the "Witches' Dance" of the last movement of [[Hector Berlioz|Berlioz's]] [[Symphonie Fantastique]]. [[Saint-Saëns]]'s symphonic poem [[Danse macabre (Saint-Saëns)|''Danse Macabre'']] includes the string section using the ''col legno'' technique to imitate the sound of dancing skeletons. "Mars" from Gustav Holst's "[[The Planets]]" uses ''col legno'' to play a repeated rhythm in {{music|time|5|4}} time signature. [[Benjamin Britten]]'s ''[[The Young Person's Guide to the Orchestra]]'' demands its use in the "[[Percussion]]" Variation. [[Dmitri Shostakovich]] uses it in his Fourteenth Symphony in the movement 'At the Sante Jail'. Some violinists, however, object to this style of playing as it can damage the finish and impair the value of a fine bow, but most of such will compromise by using a cheap bow for at least the duration of the passage in question.

====Detaché====
A smooth and even stroke during which bow speed and weight are the same from beginning of the stroke to the end.<ref>{{Cite journal|last=Fischer|first=Simon|date=1999|title=Detache|journal=Strad|volume=110|pages=638|via=Music Index}}</ref>

====Martelé====
Literally ''hammered'', a strongly accented effect produced by releasing each bowstroke forcefully and suddenly. Martelé can be played in any part of the bow. It is sometimes indicated in written music by an arrowhead.

====Tremolo====
[[Tremolo]] is the very rapid repetition (typically of a single note, but occasionally of multiple notes), usually played at the tip of the bow. Tremolo is marked with three short, slanted lines across the stem of the note. Tremolo is often used as a [[sound effect]] in orchestral music, particularly in the [[Romantic music era]] (1800–1910) and in opera music.

====Mute or ''sordino''====
[[File:Two mutes.jpg|thumb|left|''Ad hoc'' clothespin mute and a rubber practice mute]]
Attaching a small metal, rubber, leather, or wooden device called a ''[[mute (music)|mute]]'', or ''sordino'', to the bridge of the violin gives a softer, more mellow tone, with fewer audible [[overtone]]s; the sound of an entire orchestral string section playing with mutes has a hushed quality. The mute changes both the loudness and the [[timbre]] ("tone colour") of a violin. The conventional Italian markings for mute usage are ''con sord.'', or ''con sordino'', meaning 'with mute'; and ''senza sord.'', meaning 'without mute'; or ''via sord.'', meaning 'mute off'.

Larger metal, rubber, or wooden mutes are widely available, known as ''practice mutes'' or ''hotel mutes''. Such mutes are generally not used in performance, but are used to deaden the sound of the violin in practice areas such as hotel rooms. (For practicing purposes there is also the [[mute violin]], a violin without a sound box.) Some composers have used practice mutes for special effect, for example, at the end of [[Luciano Berio]]'s ''Sequenza VIII'' for solo violin.

==Musical styles==
{{Main|Violin in music}}

===Classical music===
[[File:Telemann - 2violin Sonata 1-1.ogg|thumb|right|A [[sonata]] for two violins by the [[Baroque music|Baroque]] composer [[Georg Philipp Telemann|Telemann]]. A relatively typical baroque violin composition, it would probably have been performed with less use of [[vibrato]] originally.]]

[[File:Meditation from Thais - Bomsori Kim.opus|thumb|right|The ''[[Méditation (Thaïs)|Meditation]]'' from Massenet's opera ''Thais''. The very [[legato]] style of playing, with lavish use of [[portamento]], [[rubato]] and [[vibrato]] and the higher registers of the instrument is typical of violin playing in the late [[Romantic music|Romantic]] period.]]

Since the [[Baroque music|Baroque]] era, the violin has been one of the most important of all instruments in [[European classical music|classical music]], for several reasons. The tone of the violin stands out above other instruments, making it appropriate for playing a melody line. In the hands of a good player, the violin is extremely agile, and can execute rapid and difficult sequences of notes.

Violins make up a large part of an [[orchestra]], and are usually divided into two sections, known as the first and second violins. Composers often assign the melody to the first violins, typically a more difficult part using higher positions. In contrast, second violins play harmony, accompaniment patterns or the melody an octave lower than the first violins. A [[string quartet]] similarly has parts for first and second violins, as well as a [[viola]] part, and a bass instrument, such as the [[cello]] or, rarely, the [[double bass]].

===Jazz===
The earliest references to [[jazz]] [[jazz violin|performance using the violin]] as a solo instrument are documented during the first decades of the 20th century. [[Joe Venuti]], one of the first jazz violinists, is known for his work with guitarist [[Eddie Lang]] during the 1920s. Since that time there have been many [[List of jazz violinists|improvising violinists]] including [[Stéphane Grappelli]], [[Stuff Smith]], [[Eddie South]], [[Regina Carter]], [[Johnny Frigo]], [[John Blake, Jr.|John Blake]], [[Adam Taubitz]], [[Leroy Jenkins (jazz musician)|Leroy Jenkins]], and [[Jean-Luc Ponty]]. While not primarily jazz violinists, [[Darol Anger]] and [[Mark O'Connor]] have spent significant parts of their careers playing jazz.
The Swiss-Cuban violinist [[Yilian Cañizares]] mixes jazz with Cuban music.<ref name="NZZ">{{Cite news |url= http://www.nzz.ch/zuerich/zuercher_kultur/die-gunst-der-goetter-1.18150997 |title = Die Sängerin und Geigerin Yilian Cañizares in Moods |newspaper=[[Neue Zürcher Zeitung]] | date = 16 September 2013 | access-date = 12 June 2015}}</ref>

Violins also appear in ensembles supplying orchestral backgrounds to many jazz recordings.

===Indian classical music===
The Indian violin, while essentially the same instrument as that used in Western music, is different in some senses.<ref name=FirstPost>{{cite web |first=Suryasarathi |last=Bhattacharya |work= First Post | date=December 10, 2017 |title=Violin virtuoso Dr L Subramaniam on how Indian classical music took on the world stage | url=https://www.firstpost.com/living/violin-virtuoso-dr-l-subramaniam-on-how-indian-classical-music-took-on-the-world-stage-4251501.html}}</ref> The instrument is tuned so that the IV and III strings (G and D on a western-tuned violin) and the II and I (A and E) strings are sa–pa (do–sol) pairs and sound the same but are offset by an octave, resembling common scordatura or fiddle cross-tunings such as G3–D4–G4–D5 or A3–E4–A4–E5. The tonic sa (do) is not fixed, but variably tuned to accommodate the vocalist or lead player. The way the musician holds the instrument varies from Western to Indian music. In Indian music the musician sits on the floor cross-legged with the right foot out in front of them. The scroll of the instrument rests on the foot. This position is essential to playing well due to the nature of Indian music. The hand can move all over the fingerboard and there is no set position for the left hand, so it is important for the violin to be in a steady, unmoving position.

===Popular music===
[[File:Lindsey Stirling.jpg|thumbnail|right|[[Lindsey Stirling]] performing at [[TEDx]] Berkeley, 2012]]
Up through at least the 1970s, most types of popular music used bowed [[string section]]s. They were extensively used in popular music throughout the 1920s and early 1930s. With the rise of [[swing music]], however, from 1935 to 1945, the string sound was often used to add to the fullness of [[big band]] music. Following the [[swing era]], from the late 1940s to the mid-1950s, strings began to be revived in [[traditional pop]] music. This trend accelerated in the late 1960s, with a significant revival of the use of strings, especially in [[soul music]]. Popular [[Motown]] recordings of the late 1960s and 1970s relied heavily on strings as part of their trademark texture.

With the rise of [[Electronic music|electronically created music]] in the 1980s, violins declined in use, as synthesized string sounds played by a keyboardist with a [[synthesizer]] took their place. However, while the violin has had very little usage in mainstream [[rock music]], it has some history in [[progressive rock]] (e.g., [[Electric Light Orchestra]], [[King Crimson]], [[Kansas (band)|Kansas]], [[Gentle Giant]]). The instrument has a stronger place in modern [[jazz fusion]] bands, notably [[The Corrs]].

The popularity of [[crossover music]] beginning in the last years of the 20th century has brought the violin back into the popular music arena, with both electric and acoustic violins being used by popular bands. [[Dave Matthews Band]] features violinist [[Boyd Tinsley]]. [[The Flock (band)|The Flock]] featured violinist [[Jerry Goodman]] who later joined the [[jazz-rock fusion]] band, [[The Mahavishnu Orchestra]]. [[James (band)|James]]' [[Saul Davies]], who is also a [[guitar]]ist, was enlisted by the band as a violinist. [[Vanessa-Mae]] is known for fusing classical and popular genres, which she calls "violin techno-acoustic fusion", with her success seeing her named the wealthiest entertainer under 30 in the UK in 2006.<ref>{{cite news |url=https://news.bbc.co.uk/1/hi/business/4927490.stm |title=Vanessa-Mae tops young rich list |work=[[BBC News Online]] |date=21 April 2006 |access-date=30 October 2025}}</ref>

The [[folk metal]] band [[Ithilien (band)|Ithilien]] use violin extensively along their discography.<ref>{{Cite web|url=http://www.spirit-of-metal.com/groupe-groupe-Ithilien-l-en.html|title=Ithilien - discography, line-up, biography, interviews, photos|website=www.spirit-of-metal.com|language=en|access-date=2017-03-12}}</ref> [[Progressive metal]] band [[Ne Obliviscaris (band)|Ne Obliviscaris]] feature a violin player, Tim Charles, in their line-up.<ref>{{Cite web | url=https://www.facebook.com/NeObliviscarisBand/ | title=Ne Obliviscaris| website=[[Facebook]]}}</ref>

Independent artists, such as [[Owen Pallett]], [[The Shondes]], and [[Andrew Bird]], have also spurred increased interest in the instrument.<ref name=ChicagoMag>{{cite web |first=Brian |last=Golden |work= Chicago Magazine | date=December 5, 2017 |title=Andrew Bird Brings His Sweeping Symphony of Sounds to Chicago | url=http://www.chicagomag.com/Chicago-Magazine/December-2017/Andrew-Bird-Echolocations-River}}</ref> [[Independent music|Indie]] bands have often embraced new and unusual arrangements, allowing them more freedom to feature the violin than many mainstream musical artists. [[Lindsey Stirling]] plays the violin in conjunction with electronic/dubstep/trance rifts and beats.<ref name="hercampus">{{cite journal |last= Self |first= Brooke |date= April 9, 2011 |title= Lindsey Stirling—hip hop violinist |url= http://www.hercampus.com/school/byu/lindsey-stirling%E2%80%94hip-hop-violinist |journal= [[Her Campus]] |archive-url= https://web.archive.org/web/20141205163809/http://www.hercampus.com/school/byu/lindsey-stirling-hip-hop-violinist |archive-date= 2014-12-05 |url-status= live }}</ref>

[[Eric Stanley (violinist)|Eric Stanley]] improvises on the violin with [[hip hop music]]/pop/classical elements and instrumental beats.<ref name="vh1">{{cite web |last= Tietjen |first= Alexa |url= http://www.vh1.com/music/tuner/2015-04-08/fetty-wap-trap-queen-violin-freestyle/ |archive-url= https://web.archive.org/web/20150410191820/http://www.vh1.com/music/tuner/2015-04-08/fetty-wap-trap-queen-violin-freestyle/ |url-status= dead |archive-date= April 10, 2015 |title= Get Your Life From This Violin Freestyle Of Fetty Wap's "Trap Queen" |publisher= [[VH1]] |website= vh1.com |access-date= May 13, 2016}}</ref><ref>{{cite interview |last= Martinez |first= Marc |subject-link= Eric_Stanley_(violinist)|title= Eric Stanley: Hip Hop Violinist |url= https://www.youtube.com/watch?v=H_Vew6mIV5U | archive-url=https://ghostarchive.org/varchive/youtube/20211029/H_Vew6mIV5U| archive-date=2021-10-29|publisher= [[KTSP-TV]] |location= Phoenix |date= October 3, 2010 |work= Fox 10 News |access-date= December 11, 2014 }}{{cbignore}}</ref> The successful [[indie rock]] and [[baroque pop]] band [[Arcade Fire]] use violins extensively in their arrangements.<ref>{{cite news|title=Arcade Fire – 10 of the best|newspaper=The Guardian|access-date=2019-12-12|url=https://www.theguardian.com/music/2017/may/17/arcade-fire-10-of-the-best}}</ref>

===Folk music and fiddling===
{{Main|Fiddle}}

[[File:Anders Zorn - Hins Anders (1904).jpg|thumb|The [[fiddler]] Hins Anders Ersson painted by [[Anders Zorn]], 1904]]
Like many other instruments used in [[classical music]], the violin descends from remote ancestors that were used for [[folk music]]. Following a stage of intensive development in the late [[Renaissance]], largely in [[Italy]], the violin had improved (in volume, tone, and agility), to the point that it not only became a very important instrument in art music, but proved highly appealing to folk musicians as well, ultimately spreading very widely, sometimes displacing earlier bowed instruments. [[ethnomusicology|Ethnomusicologists]] have observed its widespread use in Europe, Asia, and the Americas.

When played as a folk instrument, the violin is usually referred to in English as a ''fiddle'' (although the term ''fiddle'' can be used informally no matter what the genre of music). Worldwide, there are various stringed instruments such as the [[Hurdy-gurdy|wheel fiddle]] and [[Apache fiddle]] that are also called "fiddles". Fiddle music differs from classical in that the tunes are generally considered dance music,<ref name="OKHistory">{{cite web |url=http://www.okhistory.org/publications/enc/entry.php?entry=FI001|title=Fiddling|last=Harris |first=Rodger |publisher=The Encyclopedia of Oklahoma History and Culture|date=2009|website=okhistory.org|access-date=9 February 2018}}</ref> and various techniques, such as droning, shuffling, and ornamentation specific to particular styles are used. In many traditions of folk music, the tunes are not written but are memorized by successive generations of musicians and passed on<ref name="OKHistory" /> in what is known as the [[oral tradition]]. Many [[old-time music|old-time]] pieces call for [[Cross tuning|cross-tuning]], or using tunings other than standard GDAE. Some players of American styles of folk fiddling (such as [[bluegrass music|bluegrass]] or old-time) have their bridge's top edge cut to a slightly flatter curve, making techniques such as a "double shuffle" less taxing on the bow arm, as it reduces the range of motion needed for alternating between [[double stop]]s on different string pairs. Fiddlers who use solid steel core strings may prefer to use a [[tailpiece]] with fine tuners on all four strings, instead of the single fine tuner on the E string used by many classical players.

===Arabic music===
As well as the Arabic [[Rebab|rababah]], the violin has been used in Arabic music.

==Electric violins==
{{Main|Electric violin}}

[[File:Transformation.JPG|thumb|upright=1.2|Acoustic and electric violins]]
'''Electric violins''' have a [[Magnetism|magnetic]] or [[Piezoelectricity|piezoelectric]] [[Pickup (music technology)|pickup]] that converts string vibration to an electric signal. A [[patch cable]] or wireless transmitter sends the signal to an amplifier of a [[PA system]]. Electric violins are usually constructed as such, but a pickup can be added to a conventional acoustic violin. An electric violin with a resonating body that produces listening-level sound independently of the electric elements can be called an ''electro-acoustic violin''. To be effective as an acoustic violin, electro-acoustic violins retain much of the resonating body of the violin, and often resemble an acoustic violin or fiddle. The body may be finished in bright colors and made from alternative materials to wood. These violins may need to be hooked up to an [[instrument amplifier]] or [[PA system]]. Some types come with a silent option that allows the player to use headphones that are hooked up to the violin. The first specially built [[electric violin]]s date back to 1928 and were made by Victor Pfeil, Oskar Vierling, George Eisenberg, [[Benjamin Miessner]], [[George Beauchamp]], [[Hugo Benioff]] and Fredray Kislingbury. These violins can be plugged into [[effect unit]]s, just like an [[electric guitar]], including [[distortion (music)|distortion]], [[wah-wah pedal]] and [[reverb]]. Since electric violins do not rely on string tension and resonance to amplify their sound, they can have more strings. For example, five-stringed electric violins are available from several manufacturers, and a seven-string electric violin (with three lower strings encompassing the [[cello]]'s range) is also available.<ref>{{Cite web
|url = http://www.jordanmusic.com/V7harcom.htm
|publisher = Jordan Music
|title = 7String Violin Harlequin finish
|access-date = 2009-02-27
|archive-url = https://web.archive.org/web/20090227173942/http://www.jordanmusic.com/V7harcom.htm
|archive-date = 2009-02-27
|url-status = dead
}}</ref> The majority of the first [[electric violinist]]s were musicians playing [[jazz fusion]] (e.g., [[Jean-Luc Ponty]]) and popular music.

==Violin authentication==
{{Main|Violin authentication}}

Violin authentication is the process of determining the maker and manufacture date of a violin. This can be an important process as significant value may be attached to violins made either by specific makers or at specific times and locations. Analysis on design, model, wood characteristics, and varnish texture can be used to authenticate a violin.<ref>{{Cite web |last=Institution |first=Smithsonian |title=General Information on Violin Authentication and Appraisals |url=https://www.si.edu/spotlight/violins/appraisals |access-date=2023-05-27 |website=Smithsonian Institution |language=en}}</ref> [[art forgery|Forgery]] and other methods of [[fraud]]ulent misrepresentation can be used to inflate the value of an instrument.

==See also==
{{Div col}}
* [[Bass violin]]
* [[Cello rock]]
* [[Hardanger fiddle]]
* ''[[Kontra]]''
* ''[[Låtfiol]]''
* [[List of solo violin pieces]]
* ''[[Nyckelharpa]]''
* [[Rabeca]]
* [[Ravanahatha]]
* [[Kingri (string instrument)]]
* [[Stradivarius]]
* [[Stroh violin]]
* [[Violin concerto]]
* [[Violin sonata]]
{{Div col end}}

==Notes==
{{notelist}}

==References==
{{Reflist}}

===Bibliography===
{{Refbegin|30em}}
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* ''An Encyclopedia of the Violin'', by Alberto Bachmann (1965/1990), Da Capo Press. {{ISBN|0-306-80004-7}}
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* ''The Book of the Violin'', edited by Dominic Gill (1984), Phaidon. {{ISBN|0-7148-2286-8}}
* ''Violin-Making as it was, and is'', by [[Edward Heron-Allen]] (1885/1994), Ward Lock Limited. {{ISBN|0-7063-1045-4}}
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* ''The Complete Luthier's Library. A Useful International Critical Bibliography for the Maker and the Connoisseur of Stringed and Plucked Instruments'' by [[Roberto Regazzi]], Bologna: Florenus, 1990. {{ISBN|88-85250-01-7}}
* ''The Violin'', by George Dubourg (1854), [[Robert Cocks & Co.]]
* ''Violin Technique and Performance Practice in the Late 18th and Early 19th Centuries'', by Robin Stowell (1985), Cambridge University Press. {{ISBN|0-521-23279-1}}
* ''History of the Violin'', by William Sandys and Simon Andrew (2006), Dover Publications. {{ISBN|0-486-45269-7}}
* ''The Violin: A Research and Information Guide'', by Mark Katz (2006), Routledge. {{ISBN|0-8153-3637-3}}
* ''Per gli occhi e 'l core. Strumenti musicali nell'arte'' by Flavio Dassenno, (2004) a complete survey of the brescian school defined by the last researches and documents.
* ''Gasparo da Salò architetto del suono'' by Flavio Dassenno, (2009) a catalogue of an exhibition that gives information on the famous master life and work, Comune di Salò, Cremonabooks, 2009.
* {{Cite book
|last=Grillet |first=Laurent
|title=Les ancetres du violon v.1 |year=1901
|publisher=Paris
}}
{{Refend}}

== Further reading ==
* {{Cite book|title=Violin techniques in Western and South Indian classical music: a comparative study|last=Lalitha|first=Muthuswamy|publisher=Sundeep Prakashan|year=2004|isbn=9788175741515|oclc = 57671835}}
* [[David Schoenbaum|Schoenbaum, David]], [https://books.google.com/books?id=qBHwdR4oIvQC ''The Violin: A Social History of the World's Most Versatile Instrument''], New York, New York : W.W. Norton & Company, December 2012. {{ISBN|9780393084405}}.
* Templeton, David, [https://web.archive.org/web/20081024062309/http://www.stringsmagazine.com/issues/Strings105/coverstory.html ''Fresh Prince: Joshua Bell on composition, hyperviolins, and the future''], Strings magazine, October 2002, No. 105.
* Young, Diana. [http://www.media.mit.edu/~young/publications/Young_Dissertation_2007.pdf ''A Methodology for Investigation of Bowed String Performance Through Measurement of Violin Bowing Technique'']. PhD Thesis. M.I.T., 2007.

== External links ==
{{Sister project links|display=Violin|d=Q8355|wikt=violin|c=yes|commonscat=yes|s=no|b=no|v=no|n=no|q=no}}
* English-speaking violin organizations
** [https://www.estastrings.org.uk/ European String Teachers Association]
** [https://www.vsaweb.org/ Violin Society of America] {{Webarchive|url=https://web.archive.org/web/20241110062852/https://www.vsaweb.org/ |date=2024-11-10 }}
** [https://www.beares.com/beares-international-violin-society/ Beare's International Violin Society]
* {{Cite EB1911|wstitle=Violin|first=Robert William Frederick |last=Harrison|short=x|volume=28|pages=102–107}}
* [https://www.corilon.com/us/library/instruments/the-violin-provenance-value-and-appraisal The violin: provenance, value and appraisal]
* [https://tarisio.com/buyers-sellers/sellers/how-to-ship/ Shipping guide] for a string instrument and bow

{{Violin family}}

{{Authority control}}

[[Category:Violins| ]]
[[Category:16th-century introductions]]
[[Category:Articles containing video clips]]
[[Category:C instruments]]
[[Category:Necked box lutes]]
[[Category:Folk music instruments]]
[[Category:Italian inventions]]
[[Category:String section]]

Kaloji Kala Kshethram

2026-03-16T14:06:48Z

Giispune: put up pg

{{Infobox building
| name = Kaloji Kala Kshethram
| native_name = {{lang|te|కాళోజి కళా క్షేత్రం}}
| image =
| image_size = 270px
| alt =
| caption =
| former_names =
| alternate_names =
| pushpin_map = India Telangana
| pushpin_map_alt =
| map_caption =
| building_type = [[Auditorium]]
| architectural_style =
| structural_system =
| cost =
| location = [[Hanamkonda]], [[Telangana]]
| client =
| owner = [[Government of Telangana|Telangana government]]
| current_tenants =
| landlord =
| location_country = [[India]]
| coordinates = {{coord|17.999622|N|79.563275|E|display=inline}}
| altitude = 
| construction_start_date =
| completion_date =
| inauguration_date =
| demolished_date =
| height = 
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| other_dimensions =
| floor_count =
| floor_area = 
| architect =
| structural_engineer =
| services_engineer =
| civil_engineer =
| other_designers =
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| main_contractor =
| awards =
| parking =
| url = 
| references =
}}

'''Kaloji Kala Kshethram''' is a cultural convention center, that is being built in the memory of noted poet [[Kaloji Narayana Rao]] in [[Hanamkonda]], [[Warangal]].<ref>{{Cite web|date=2014-09-03|title=New Kaloji Kala Kendram soon in memory of poet Kaloji Narayana Rao|url=https://www.deccanchronicle.com/140903/nation-current-affairs/article/new-kaloji-kala-kendram-soon-memory-poet-kaloji-narayana-rao|access-date=2021-06-30|website=Deccan Chronicle|language=en}}</ref>

== History ==
The foundation stone was laid by K. Chandrashekhar Rao in 2014 spans 4.2 acres on Hygreevachary grounds in Hanamkonda.<ref>{{Cite news|date=2020-01-20|title=Work on Kaloji Kalakshetram to resume|language=en-IN|work=The Hindu|url=https://www.thehindu.com/news/national/telangana/work-on-kaloji-kalakshetram-to-resume/article30602302.ece|access-date=2021-06-30|issn=0971-751X}}</ref> However, the project was put on hold due to a lack of funds.

==Facilities==
The convention center is being built on a three-acre lot, comprising a state-of-the-art auditorium with a seating capacity of 1,000 besides an art gallery, library, marriage hall and a lecture hall.<ref>{{Cite news|date=2015-06-16|title=Minister releases Kaloji Kala Kshethram building model|language=en-IN|work=The Hindu|url=https://www.thehindu.com/news/cities/Hyderabad/minister-releases-kaloji-kala-kshethram-building-model/article7320361.ece|access-date=2021-06-30|issn=0971-751X}}</ref> The facilities can be leased by the general public for cultural programs.

==References==
{{Reflist|30em}}

{{Warangal topics}}

[[Category:Convention centres in India]]

Rakesh Jhaveri

2026-03-16T03:26:09Z

Giispune: Updated formatting and improved readability

{{pp-extended|small=yes}}
{{pp|small=yes}}
{{Short description|Spiritual leader, Author, and Scholar of Jainism}}
{{Use dmy dates|date=March 2019}}
{{Use Indian English|date=March 2019}}
{{Infobox person
| name = Rakesh Jhaveri
| image = Pujya-Gurudevshri-Rakeshji.jpg
| caption =
| birthname =
| other_names =
| birth_date = {{Birth date and age|df=yes|1966|9|26}}
| birth_place = [[Mumbai]], [[Maharashtra]], India
| mother =
| father =
| website =
| organisation =
| education = [[Master of Arts|MA]], [[Doctor of Philosophy | PhD]], [[Doctor of Divinity | DD]]
| alma_mater = [[Osmania University]], [[University of Mumbai]]
}}
'''Rakesh Jhaveri''' (born 26 September, 1966), is an Indian spiritual leader, [[Jainism|Jain]] scholar, author, and orator. Jhaveri follows the teachings of ''[[Shrimad Rajchandra]]'' and completed his doctoral studies on Shrimad's work: ''[[Atma Siddhi|Atmasiddhi]]''. Jhaveri founded ''The Shrimad Rajchandra Mission'' at [[Dharampur, Gujarat|Dharampur]], which supports spiritual and social activities.

==Early life and education==
On the 26th of September 1966, Jhaveri was born in [[Mumbai]], India to Dilip and Rekha Jhaveri. His parents were followers of the [[Śvētāmbara|Shwetambara]] [[Murtipujaka]] tradition and were influenced by monk, Sahaj Anandji (founder of ''The Shrimad Rajchandra Ashram at [[Hampi|Hamp]]''[[Hampi|i]]).<ref name=":0">{{cite web|url=https://www.religionworld.in/jain-saint-rakesh-bhai-the-true-successor-of-shrimad-rajchandraji/|title=Jain Saint Rakeshbhai Jhaveri: The True Successor of Shrimad Rajchandraji|author=Shweta|website=Religion World|date=26 September 2017 |publisher=ReligionWorld.in|access-date=7 June 2018}}</ref>{{sfn|Salter|2002|pp=101-102}}

Jhaveri was inclined to spirituality since a young age. At the age of four, Jhaveri began contemplating [[Jain philosophy]]. The first time he encountered Shrimad Rajchandra was via a photograph, when a copy of The Shrimad Rajchandra Vachanamrit merely fell into his view. After this event, Jhaveri took a deep 72 hour mediation. In this state, jhaveri recounted experiencing '''''jāti smaraṇa gnān''' (जाति स्मरण ज्ञान)'', or "the knowledge of past lives".{{Citation needed|date=March 2026}}{{sfn|Salter|2002|p=104}}

By 1978, an audience formed a [[satsang]] involving Jhaveri. In a short amount of time, his audience gave Jhaveri the [[Guru]] title; but he denied it, claiming inexperience. At first, Jhaveri was unsure about taking on a devotional life. Until, visiting his aunt in [[jaipur]], where he recited the [[Namokar Mantra]]. This experience aided his final decsion for his spirital advancement. In 1983, Jhaveri left for [[Hampi (town)|Hampi]] despite his parents disagreement. During his stay in Hampi, Jhaveri was nominated to be the successor of '''''Mataji Dhandeviji.{{sfn|Salter|2002|p=103}}''''' Jhaveri saught his parents approval, which they agreed in the condition that he would go into studies. Following his parents approval, Jhaveri began studying religious texts, practicing [[Yoga]], and learning [[Indian classical music]]. During 1985-1990, Jhanveri observed silence for up to 12 hours per day and traveled extensively.{{sfn|Salter|2002|pp=106-107}}<ref name="TIO2013">{{cite news|url=http://timesofindia.indiatimes.com/india/MBAs-doctors-engineers-surrender-soul-to-service-and-prayers/articleshow/18313508.cms?referral=PM|title=MBAs, doctors, engineers surrender soul to service and prayers|last=Chhapia|first=Hemali|date=February 2013|newspaper=Times of India|access-date=2014-02-24|archive-url=https://web.archive.org/web/20160714095854/http://timesofindia.indiatimes.com/india/MBAs-doctors-engineers-surrender-soul-to-service-and-prayers/articleshow/18313508.cms?referral=PM|archive-date=2016-07-14|url-status=live}}</ref> During this period, his audience grew to nearly five-hundred individuals.{{sfn|Salter|2002|p=106}}

In 1988, Jhaveri continued to his studies and completed a [[Bachelor of Arts|B. A.]] from [[Osmania University]], [[Hyderabad]].<ref name=":0" /> Later in 1991, he finished his [[Master of Arts|M.A.]] in Philosophy via The [[University of Mumbai]].<ref name="TIO2013" /> Jhaveri desired to further his studies with an aim of obtaining a [[PhD]], as he refused giving public discourses without being thoroughly educated. He began his PhD in 1998 from The University of Mumbai. His doctoral studies focused on ''[[Atmasiddhi]], a spiritual work composed by Shrimad Rajchandra. On December 2nd, 2001 Jhaveri was awarded his PhD, continuing to give his first formal discourse in [[Rajkot]] on 13 April 2001.{{sfn|Salter|2002|pp=107-108}}<ref name="TIO2013" /><ref name=":0" />''{{sfn|Salter|2002|pp=107-108}}

Jhaveri does ''not'' consider himself a monk, but follows closely to their monastic vows and adheres to a similar level of discipline. Currently, he resides with his followers at the ashram in Dharampur and with his family when visiting Mumbai.<ref name=TIO2013/>

==Shrimad Rajchandra Mission==
[[File:Shrimad Rajchandra Mission Dharampur Ashram.jpg|thumb|Ashram building at Dharampur]]
[[File:Shrimad Rajchandra Mission Dharampur Spiritual Activity.jpg|thumb|Rakeshbhai delivering discourse in Dharampur]]

Jhaveri established Shrimad Rajchandra Adhyatmik Satsang Sadhana Kendra in 1994 to organise his followers which was later succeeded by the Shrimad Rajchandra Mission Dharampur. On 13 May 1999, the construction of an [[ashram]] spread across {{convert|223| acre|ha}} at Dharampur was started<ref name=":0" /> and was opened in April 2001. The ashram is located on the hillock of Mohangadh which was an estate of the last ruler of the erstwhile [[Dharampur State]].{{sfn|Salter|2002|p=99}} In 2002, he started initiating followers, {{transliteration|gu|Atmarpit}}s, who give up worldly possessions and commit to [[celibacy]].<ref name="TIO2013" /> He gives the series of discourses to his followers at the ashram throughout the year. He gives discourses in Mumbai once a month on {{transliteration|gu|Shrimad Rajchandra Vachanamrit}}, a compilation of Shrimad Rajchandra's letters, personal diaries and transcriptions of his spiritual discourses.{{sfn|Salter|2002|pp=98-100}}{{sfn|Salter|2002|p=247}} He also prescribes an annual scriptural study schedule to his followers.{{sfn|Salter|2002|p=251}}

He established Shrimad Rajchandra Love and Care (SRLC); a [[non-governmental organisation]] that provides medical, educational and humanitarian services; in 2003.<ref>{{cite news|url=http://www.dailyrecord.com/story/news/2017/07/30/indian-charity-comes-parsippany-heads-back/104089864/|title=Indian charity comes to Parsippany and heads back|last1=Reilly|first1=Erin|date=30 July 2017|access-date=23 August 2017|publisher=USA Today|agency=The Daily Record}}</ref> The NGO received a special consultative status with the [[United Nations Economic and Social Council]] in 2020 due to its projects that work towards the UN [[Sustainable Development Goals]].<ref>{{cite news |title=South Gujarat NGO Gets Special Consultative Status from the UN |url=https://timesofindia.indiatimes.com/city/surat/south-gujarat-ngo-gets-consultative-status-from-un/articleshow/79498383.cms |website=Times of India |date=December 2020 |access-date=2 July 2021}}</ref>

In November 2016, the Mission produced a play, ''[[Yugpurush (play)|Yugpurush: Mahatma na Mahatma]]'' depicting spiritual relationship between Shrimad Rajchandra and [[Mahatma Gandhi]].<ref>{{cite web|title=Yugpurush: An Inspirational Story of Shrimad Rajchandraji|url=http://www.shrimadrajchandramission.org/asp/download_file.asp?fn=press-yugpurush-mahatma-na-mahatma-janmabhoomi-14th-nov-2016.pdf&fpath=../grace/news/press_articles/images|website=Janmabhoomi|access-date=18 November 2016|archive-url=https://web.archive.org/web/20161118100930/http://www.shrimadrajchandramission.org/asp/download_file.asp?fn=press-yugpurush-mahatma-na-mahatma-janmabhoomi-14th-nov-2016.pdf&fpath=..%2Fgrace%2Fnews%2Fpress_articles%2Fimages|archive-date=2016-11-18|url-status=live}}</ref> The Mission opened a science college in Dharampur, Shrimad Rajchandra Vidyapeeth, the same month.<ref>{{cite web|title=Gujarat CM inaugurates Science College at Shrimad Rajchandra Vidyapith in Dharampur|url=http://cmogujarat.gov.in/en/gujarat-cm-inaugurates-science-college-shrimad-rajchandra-vidyapith-dharampur/|website=CMO Gujarat|date=27 October 2016 |access-date=16 November 2016|archive-url=https://web.archive.org/web/20161116231540/http://cmogujarat.gov.in/en/gujarat-cm-inaugurates-science-college-shrimad-rajchandra-vidyapith-dharampur/|archive-date=2016-11-16|url-status=live}}</ref> In November 2017, the 34-feet tall statue of Shrimad Rajchandra was unveiled at the ashram.<ref>{{cite news|url=http://indianexpress.com/article/cities/ahmedabad/34-feet-statue-of-mahatmas-mentor-unveiled-in-valsad-4921845/|title=34-feet statue of 'Mahatma's mentor' unveiled in Valsad|last1=Das|first1=Preeti|date=4 November 2017|access-date=7 June 2018|newspaper=The Indian Express|archive-url=https://web.archive.org/web/20180612140055/http://indianexpress.com/article/cities/ahmedabad/34-feet-statue-of-mahatmas-mentor-unveiled-in-valsad-4921845/|archive-date=2018-06-12|url-status=live}}</ref> By January 2025, the Mission has 206 Satsang Centres, 96 Youth Centres and 252 Children Centres worldwide.<ref name=":1">{{cite news|url=http://www.indiawest.com/news/global_indian/modi-releases-commemorative-coins-on-th-birth-anniversary-of-shrimad/article_1170bd9e-6763-11e7-9eee-571ca9ab2522.html|title=Modi Releases Commemorative Coins on 150th Birth Anniversary of Shrimad Rajchandra, Mahatma Gandhi's Spiritual Guide|date=14 July 2017|access-date=6 June 2018|publisher=India West|archive-url=https://web.archive.org/web/20180705030616/http://www.indiawest.com/news/global_indian/modi-releases-commemorative-coins-on-th-birth-anniversary-of-shrimad/article_1170bd9e-6763-11e7-9eee-571ca9ab2522.html|archive-date=2018-07-05|url-status=live}}</ref> In 2019, the Mission and the [[Sangeet Natak Akademi]] co-produced a play ''Bharat Bhagya Vidhata'' focused on how Mahatma Gandhi cultivated the values of truth and non-violence.<ref>{{cite news |last1=Pandit |first1=Unnati |title=Bharat Bhagya Vidhata' captivates the audience |url=https://thelivenagpur.com/2019/03/05/bharat-bhagya-vidhata-captivates-the-audience/ |access-date=15 May 2019 |agency=The Live Nagpur |publisher=The Live Nagpur |date=Mar 5, 2019}}</ref> The Mission gifted statue of Mahatma Gandhi to the city of Manchester to serve as a "symbol of love and compassion" following the 2017 [[Manchester Arena bombing]]. It was unveiled in November 2019.<ref>{{cite news |title=Manchester Mahatma Gandhi statue unveiled |url=https://www.bbc.com/news/uk-england-manchester-50550085 |access-date=16 December 2019 |agency=BBC |publisher=BBC |date=25 Nov 2019}}</ref><ref>{{cite news |last1=Maidment |first1=Adam |title=All-singing, all-dancing ceremony as Manchester's Mahatma Gandhi statue unveiled |url=https://www.manchestereveningnews.co.uk/news/greater-manchester-news/mahatma-gandhi-statue-manchester-cathedral-17309551 |access-date=16 December 2019 |agency=Manchester Evening News |issue=25 Nov 2019 |publisher=M.E.N. Media |date=25 Nov 2019}}</ref><ref>{{cite web |last1=Mudgal |first1=Sparsh |title=A 9-Ft High Statue Of Mahatma Gandhi Unveiled In Manchester UK As Symbol Of Strength & Unity |url=https://www.scoopwhoop.com/news/mahatma-gandhi-bronze-statue-unveiled-in-manchester-uk-as-symbol-of-strength-unity/ |website=ScoopWhoop |date=26 November 2019 |publisher=ScoopWhoop Media Pvt. Ltd. |access-date=16 December 2019}}</ref> On April 25, 2021, [[Shrimad Rajchandra Hospital]] established a 150-bed COVID Care Centre in Dharampur during [[COVID-19 pandemic in India]].<ref>{{cite news |last1=Louis |first1=Nathan |title=Shrimad Rajchandra Mission Dharampur raises £150,000 for India Covid hospital |url=https://www.harrowtimes.co.uk/watfordnews/19283335.shrimad-rajchandra-mission-dharampur-raises-150-000-india-covid-hospital/ |access-date=23 May 2021 |date=6 May 2021}}</ref><ref>{{cite news |title=150-bed Covid care centre inaugurated near Dharampur |url=https://timesofindia.indiatimes.com/city/surat/150-bed-covid-care-centre-inaugurated-near-dharampur/articleshow/82557491.cms |website=Times of India |date=12 May 2021 |access-date=23 May 2021}}</ref>

==Influence==
Bauer notes that "[in] recent years there has been a convergence of the Kanji Swami Panth and the Shrimad Rajcandra movement, part of trend toward a more eucumenical and less sectarian Jainism among educated, mobile Jains living overseas."{{sfn|Bauer|2004|p=465}} Kanji Panth is a [[Jain schools and branches#Others|school of Jainism]],{{sfn|Shaw}} nominally belonging to the [[Śvetāmbara]]<ref name="philtar_Jainism"/> but inspired by the Digambara scholar [[Kundakunda]] (8th c. CE) and [[Shrimad Rajchandra]] (1867-1901), though "lacking a place in any Digambara ascetic lineage descending from Kundakunda."{{sfn|Shaw}}

In a 2023 ''[[Tablet (magazine)]]'' article about [[Jainism in America]], scholar Steven Vose calls Jhaveri “probably the most controversial Jain religious leader today.” Many people criticize him because his teachings focus on practical, self-help ideas such as using meditation to reduce stress and applying Jain principles in daily life. These ideas are popular among educated Jains and those living abroad, but more traditional Jains feel that this approach weakens or softens strict Jain teachings.<ref>{{Cite web |last=Phillips |first=Maggie |date=2023-11-10 |title=Jainism, American Style |url=https://www.tabletmag.com/sections/community/articles/jainism-american-style |access-date=2026-03-03 |website=Tablet Magazine |language=en}}</ref>

==Recognition==
In August 2023, the [[Claremont School of Theology]] conferred him with Honorary Doctor of Divinity (DD) for his significant contributions to the realm of spirituality and selfless service.<ref>{{Cite web |last=Maisuria |first=Abhigna |date=24 August 2023 |title=For the first time in the history of 130 years, Gurudev Shri Rakeshji was awarded the degree of 'Doctor of Divinity' (PhD). |url=https://tv9gujarati.com/international-news/honorary-doctor-of-divinity-phd-degree-has-been-awarded-to-pujya-gurudev-shri-rakeshji-founder-of-shrimad-rajchandra-mission-dharampur-834940.html |access-date=25 December 2024 |website=TV9 Gujarati}}</ref>

==Bibliography==
* 2011 – ''A Life Worth Living - Inspiring seekers to lead a Meaningful life '', 187 pp. {{ISBN|978-93-84405-47-2}}
* 2011 – ''Embark on the Inner Journey: Transformation through introspection '', 217 pp. {{ISBN|978-93-84405-22-9}}
* 2012 – ''The Path Enlightened - Discovering the essence of religion'', 179 pp. {{ISBN|978-93-84405-32-8}}
* 2012 – ''Seek Thy Eternal Self'', 179 pp. {{ISBN|978-93-84405-19-9}}
* 2013 – ''Bliss Within - Shattering the illusion of false happiness, to attain true joy '', 210 pp. {{ISBN|978-93-84405-48-9}}
* 2013 – ''Time to Awaken - "Guidance for bringing an end to transmigration and accelerating the journey to liberation'', 219 pp. {{ISBN|978-93-84405-60-1}}
* 2014 – ''Shrimad Rajchandra - Saga of Spirituality'', 275 pp. {{ISBN|978-81-929141-1-4}}
* 2015 – ''A Divine Union'', 162 pp. {{ISBN|978-93-84405-65-6}}
* 2016 – ''Sadguru Insights: 50 Enlightening Lessons from the Master'', 208 pp. {{ISBN|978-93-84405-67-0}}
* 2016 – ''Sadguru Communion'', 117 pp. {{ISBN|978-93-84405-73-1}}
* 2016 – ''Sadguru Nuggets'', 135 pp. {{ISBN|978-93-84405-68-7}}
* 2016 – ''Sadguru Alerts - 50 Insightful Questions from the Master'', 64 pp. {{ISBN|978-93-84405-74-8}}
* 2019 – ''Sadguru Capsules - Weekly Profound Contemplations from the Master'', 119 pp. {{ISBN|978-93-84405-77-9}}
* 2021 - ''Atmasiddhi Shastra: Six Spiritual Truths of the Soul (Concise & Complete Commentary)'', 568 pp. {{ISBN|978-93-54894-03-9}}

==References==
<references>



<ref name="philtar_Jainism">{{cite web|url=http://www.philtar.ac.uk/encyclopedia/jainism/index.html|title=Jainism|website=Philtar.ac.uk|access-date=22 December 2017}}</ref>

</references>

==Sources==
{{refbegin}}

* {{cite book | last =Bauer | first =Jerome | year =2004 | chapter =Kanji Swami (1890-1980) | editor-last =Jestice | editor-first =Phyllis G.| title=Holy People of the World: A Cross-Cultural Encyclopedia | publisher=ABC-CLIO | pages=464 | isbn=9781576073551 | volume=1 | url=https://books.google.com/books?id=H5cQH17-HnMC&pg=PR43}}

* {{cite thesis| last =Salter | first =Emma | date =2002 | title =Raj Bhakta Marg: the path of devotion to Srimad Rajcandra. A Jain community in the twenty first century | type =Doctoral thesis | url=http://eprints.hud.ac.uk/id/eprint/9211/ | access-date =2018-09-21|via =University of Huddersfield Repository | pages =98–108, 247, 251 | publisher =University of Wales }}
* {{cite web | last =Shaw | first =Richard | title=Kanji swami Panth | publisher=Division of Religion and philosophy | work=University of Cumbria | url=http://www.philtar.ac.uk/encyclopedia/jainism/kanji.html | access-date=21 February 2013}}
{{refend}}

{{Jain Gurus|state=collapsed}}
{{Jainism Topics|state=collapsed}}

{{DEFAULTSORT:Jhaveri, Rakesh}}
[[Category:1966 births]]
[[Category:Living people]]
[[Category:Scholars from Mumbai]]
[[Category:Gujarati people]]
[[Category:University of Mumbai alumni]]
[[Category:Osmania University alumni]]
[[Category:Writers from Mumbai]]
[[Category:20th-century Indian Jains]]
[[Category:21st-century Indian Jains]]
[[Category:Gujarati-language writers]]
[[Category:Indian Jain religious leaders]]
[[Category:Jain reformers]]
[[Category:Shrimad Rajchandra]]
[[Category:Indian male writers]]
[[Category:20th-century Indian writers]]
[[Category:21st-century Indian writers]]
[[Category:Indian philosophers]]
[[Category:People from Mumbai]]

Gohil dynasty

2026-03-12T20:42:22Z

Giispune: small changes

{{Short description|Indian ruling family in Gujarat}}
{{for|Guhilas of Rajasthan|Guhila dynasty}}
The '''Gohil dynasty''' or ''' Gohil''' or '''Guhilas of Saurashtra''' is a [[Rajput dynasty]] who ruled parts of [[Saurashtra region]] of present-day [[Gujarat]] state of India as subordinates or independents starting in the 12th century. They later moved to the east coast where they established themselves and the region came to be known as [[Gohilwar]], which included the [[princely state]]s of [[Bhavnagar State|Bhavnagar]], [[Palitana State|Palitana]], [[Lathi State|Lathi]], [[Vala State|Vala]], and [[Rajpipla State|Rajpipla]], and ruled until India gained independence in 1947.

==Origin==
Predecessor state of Sejakpur founded in 1194 (or 1240 or 1260), then the capitals were at Ranipur 1254/1309, Umrala or Gogha 1309/1445, Umrala 1445/1570, Shihor 1570/1723 then finally Bhavnagar from 1723. The Gohils claim to be descended from the celebrated [[Lord Ram|Ram]], who belonged to the [[Solar dynasty]] or [[Suryavansh|Suryavanshi]] race, and so trace their line from the celebrated Shalivahan of Guhila of Mewar, (Col. James Tod Also makes them of the solar race). The old family title of Rawal or Raol was earned at the memorable battle of Chittor, fought with [[Alauddin Khilji]] in 1303. The state motto is "Man Proposes but God disposes" on a label ''azure''. The state arms are ''Gules'', an eagle ''or'' displayed, in chief on a canton of the second, a lion statant of the first.{{cn|date=February 2025}}

Traditionally, Gohils trace their origin to the king named Shalivahana. [[D. R. Bhandarkar]], [[Chintaman Vinayak Vaidya|C. V. Vaidya]] and [[Gaurishankar Oza]] have established origin of Gohils with [[Guhila dynasty]] of Medapata (Guhilots of [[Mewar]]). This Shalivahana is identified with Shalivahana, the Guhila king of Medapata. He mentioned in Atpur (Ahar) inscription of his son Shaktikumara dated 977 [[Common Era|CE]] ([[Vikram Samvat|VS]] 1034). He is sometimes misidentified with [[Shalivahana]] of south who is sometimes associated with [[Saka Era]]. Guhilas considered themselves as [[Suryavansha|Suryavanshi]] (of solar race).<ref name="Singhji1994">{{cite book|last=Singhji|first=Virbhadra|title=The Rajputs of Saurashtra|chapter-url=https://books.google.com/books?id=NYK7ZSpPzkUC&pg=PA38|year=1994|publisher=Popular Prakashan|isbn=978-81-7154-546-9|chapter=A Historical Outline of Saurashtra|pages=38–}}</ref><ref name="Ray1935">{{cite book|last=Ray|first=H. C.|authorlink=Hem Chandra Raychaudhuri|title=The Dynastic History of Northern India: Early Mediaeval Period|chapter-url=https://archive.org/stream/in.ernet.dli.2015.461080/2015.461080.The-Dynastic-History-Of-Northern-India-Vol-2#page/n583/mode/2up/search/Sahajiga|volume=II|year=1935|publisher=University of Calcutta|location=Calcutta|pages=977, 1200–1202|chapter=Guhila-putras of Punjab, Rajputana & Kathiawar}} {{PD-notice}}</ref>

==Gohil inscriptions==
<mapframe text="[[Find spot]]s of inscriptions mentioning Gohil dynasty" width="400" height="400" zoom="7" longitude="71.31" latitude="21.84">
{
"type": "FeatureCollection",
"features": [
{
"type": "Feature",
"properties": { "marker-symbol": "monument", "title": "[[Mangrol, Gujarat|Mangrol]]" },
"geometry": { "type": "Point", "coordinates": [70.12, 21.12] }
},
{
"type": "Feature",
"properties": { "marker-symbol": "monument", "title": "Ghelana" },
"geometry": { "type": "Point", "coordinates": [70.235205, 21.2385731] }
},
{
"type": "Feature",
"properties": { "marker-symbol": "monument", "title": "Parnala" },
"geometry": { "type": "Point", "coordinates": [71.9192815, 22.6682661] }
},
{
"type": "Feature",
"properties": { "marker-symbol": "monument", "title": "[[Vartej]]" },
"geometry": { "type": "Point", "coordinates": [72.0527249, 21.7390152] }
},
{
"type": "Feature",
"properties": { "marker-symbol": "monument", "title": "[[Halvad]]" },
"geometry": { "type": "Point", "coordinates": [71.18, 23.02] }
},
{
"type": "Feature",
"properties": { "marker-symbol": "monument", "title": "Gundi" },
"geometry": { "type": "Point", "coordinates": [72.2552128, 21.613171] }
},
{
"type": "Feature",
"properties": { "marker-symbol": "monument", "title": "[[Lathi, Gujarat|Lathi]]" },
"geometry": { "type": "Point", "coordinates": [71.38, 21.45] }
}
]
}
</mapframe>

===Mangrol stone inscription===
The Mangrol stone inscription of the Guhila Thakkura Muluka was found engraved on a slab of black stone affixed to the wall of a stepwell in the town of [[Mangrol, Gujarat|Mangrol]], near Junagadh. It is the earliest known epigraph of Gohil dynasty and is dated 15 October 1145 CE. The inscription has 25 lines, beginning with ''Om Namah Sivay'' and an invocation to Hara ([[Shiva]]). It then praises [[Chaulukya dynasty|Chaulukya]] king [[Kumarapala (Chaulukya dynasty)|Kumarapala]], successor of [[Jayasimha Siddharaja]] and refers to Guhila family: Sahara, his son Sahajiga, who was an army commander (''anga-niguhaka'') of the Chaulukyas; his eldest son Muluka, who was protector of Saurashtra (''Saurashtraraksh-kshama'' and ''Saurashtra-nayaka''); his younger brother Somaraja, who built a Maheshwara (Shiva) temple at [[Somnath]] and named it ''Sahajigeshwara'' to honour his father. The inscription is composed by the [[Pashupata]] teacher Prasarvajna.<ref name="Ray1935" /><ref>{{Cite book|url=https://archive.org/details/in.ernet.dli.2015.31980|title=Appendix to Epigraphia Indica And Record of the Archeological Survey of India|last=Bhandarkar|first=D. R.|publisher=University of Calcutta|year=1929|isbn=|volume=19 - 23|location=Calcutta|pages=[https://archive.org/details/in.ernet.dli.2015.31980/page/n49 41]|chapter=Appenix - Inscriptions of North India No. 268}}</ref><ref name=":0">{{Cite book|url=https://archive.org/details/in.ernet.dli.2015.54106|title=New Indian Antiquary|last=Diskalkar|first=D. B.|date=December 1938|publisher=|isbn=|volume=1|location=|pages=[https://archive.org/details/in.ernet.dli.2015.54106/page/n13 581]-582|chapter=Inscriptions Of Kathiawad|via=|issue=9}}</ref><ref name="Sankalia1941">{{cite book|url=https://archive.org/stream/in.ernet.dli.2015.282975/2015.282975.The-Archaeology|title=The Archaeology of Gujarat: Including Kathiawar|last=Sankalia|first=H. D.|publisher=Natwarlal & Company|year=1941|page=34|authorlink=Hasmukh Dhirajlal Sankalia}}</ref>{{hidden begin|border=1px #aaa solid|title=Ancestry tree of Guhilas mentioned in Mangrol inscriptions<ref name="Sankalia1941"/>|ta1=left}}
{{Tree list}}
* Sahara
** {{Tree list/final branch}}Sahajiga
*** Mulaka (1145 CE)
*** {{Tree list/final branch}}Somaraja
{{Tree list/end}}
{{hidden end}}

===Ghelana inscription===
This inscription was found in the Kamanatha Mahadeva temple in Ghelana village near Mangrol. It is dated Vallabhi year 911 (1229 CE). It mentions Ranaka Rana(???), son of Thakur Mulu, who granted ''Asanapatta'' for worship of the god in Bhrigu Matha. Its copy is now stored in Rajkot Museum.<ref name="A1">{{Cite book|url=https://archive.org/details/in.ernet.dli.2015.54106|title=New Indian Antiquary|last=Diskalkar|first=D. B.|date=February 1939|publisher=|isbn=|volume=1|location=|pages=[https://archive.org/details/in.ernet.dli.2015.54106/page/n26 688]|chapter=Inscriptions Of Kathiawad No. 5|via=|issue=11}}</ref>

Thakur Mulu is probably the same Thakkura Muluka mentioned in the Mangrol stone-inscription. Based on this and Magrol inscriptions, it is known that they were ruling in the southwest region of Saurashtra, probably as the neighbour of [[Jethwa]]s. It is not known why they moved to the eastern coast of Saurashtra later.<ref name=":0"/>

===Parnala inscription===
This inscription was found on pedestral of Chaturbhuj Jain image in Jain temple of Parnala village. It is dated VS 1453 (1397 CE). It says about the consecration of that image by Bhavaladevi, wife of Gohil king Pratapmalla.<ref name="A2">{{Cite book|url=https://archive.org/details/in.ernet.dli.2015.54106|title=New Indian Antiquary|last=Diskalkar|first=D. B.|date=December 1939|publisher=|isbn=|volume=1|location=|pages=[https://archive.org/details/in.ernet.dli.2015.54106/page/n75 593]-594|chapter=Inscriptions Of Kathiawad No. 56|via=|issue=21}}</ref> Nothing else is known about this king Pratapmalla.<ref name=":0"/>

===Mahuva inscription===
The sub-joined inscription in the black stone slab of the pedestral of idol of Laxmi Narayan temple near the Darbargadh of [[Mahuva, Bhavnagar|Mahuva]] near [[Bhavnagar]]. This Sanskrit inscription records digging of well and seem brought here from somewhere else as it does not mention the temple. It is dated VS 1500 (1444 CE). This inscription mentions Gohil king Sarangji who must have been Sarangji, son of Kanoji and ancestor of the rulers of [[Bhavnagar State]]. It also mentions a king named Rama which is not conclusively identified as Ramji, uncle of Sarangji or Vala king Ramadeva.<ref name="A3">{{Cite book|url=https://archive.org/details/in.ernet.dli.2015.54106|title=New Indian Antiquary|last=Diskalkar|first=D. B.|date=June 1940|publisher=|isbn=|volume=2|location=|pages=[https://archive.org/details/in.ernet.dli.2015.54106/page/n75 593]-594|chapter=Inscriptions Of Kathiawad No. 75|via=}}</ref><ref name=":0"/>

Raval Sarangji is also mentioned as ruler of [[Ghogha]] port in VS 1469 as a feudatory of the [[Delhi Sultanate]] in the manuscript of ''Vishnu Bhakti Chandrodaya''.<ref name=":0"/>

===Vartej inscription===
This inscription is found on the [[Sati (practice)|Sati]] ''[[paliya]]'' (memorial stone) dated VS 1674 (1617 CE) in [[Vartej]] near Bhavnagar. It records donation by Gohil king Raval Dhunaji. Dhunaji was a son of Visoji, a Gohil chief of Sihor and ancestor of the Bhavnagar rulers. He had died fighting Kathis in 1619.<ref name="A4">{{Cite book|url=https://archive.org/details/in.ernet.dli.2015.54106|title=New Indian Antiquary|last=Diskalkar|first=D. B.|date=November 1940|publisher=|isbn=|volume=2|location=|pages=[https://archive.org/details/in.ernet.dli.2015.54106/page/n135 281]|chapter=Inscriptions Of Kathiawad No. 116|via=}}</ref>

===Halvad inscriptions===
The inscription on ''paliya'' (memorial stone) dated VS 1722 (1666 CE) standing near 36 pillared shrine (''deri'') in [[Halvad]] records death of Gohil Lakhaji, son of Asaji and his wife Potbai and grandson of Gohil Chachaji, while fighting for Raja Gajasimhaji who must have been [[Jhala (clan)|Jhala]] ruler who ruled from 1661 to 1673 CE. Another inscription on ''paliya'' near it mentions Gohil Vasaji, son of Karanji and his wife Jivibai and grandson of Govindji, who died in battle in fighting for Maharaja Jaswantsinhji in VS 1749 (1693 CE). Jaswantsinhji was a [[Jhala (clan)|Jhala]] ruler who ruled from 1683 to 1723 CE.<ref name="A5">{{Cite book|url=https://archive.org/details/in.ernet.dli.2015.54106|title=New Indian Antiquary|last=Diskalkar|first=D. B.|date=December 1940|publisher=|isbn=|volume=2|location=|pages=[https://archive.org/details/in.ernet.dli.2015.54106/page/n154 348], 352|chapter=Inscriptions Of Kathiawad No. 142, 150|via=}}</ref>

===Gundi inscription===
A ''paliya'' in Gundi village near Ghogha has inscription dated VS 1755 (1699 CE) mentioning death of Gohil Kanoji, son Lakha, in battle a year earlier. Kanoji was successor of Vijoji, the chief of Umrala, and an ancestor of Bhavnagar rulers.<ref name="A6">{{Cite book|url=https://archive.org/details/in.ernet.dli.2015.54106|title=New Indian Antiquary|last=Diskalkar|first=D. B.|date=January 1941|publisher=|isbn=|volume=2|location=|pages=[https://archive.org/details/in.ernet.dli.2015.54106/page/n165 373]|chapter=Inscriptions Of Kathiawad No. 156|via=}}</ref>

===Lathi inscriptions===
The inscription dated VS 1808 (1752 CE) in the Bhidbhanjan Mahadeva temple in [[Lathi, Gujarat|Lathi]] mentions construction of the temple during reign of Gohil Shrisimhaji. Another inscription on the pedestal of the image of [[Ganesha]] mentions its consecration during reign of Gohil Lakhaji in VS 1820 (1763 CE).<ref name="A7">{{Cite book|url=https://archive.org/details/in.ernet.dli.2015.54106|title=New Indian Antiquary|last=Diskalkar|first=D. B.|date=February 1941|publisher=|isbn=|volume=2|location=|pages=398–399|chapter=Inscriptions Of Kathiawad No. 175, 177|via=}}</ref> These who rulers must be ancestors of rulers of [[Lathi State]].

==History==
===Early Gohils===
====Mohadasa====
It is said that a descendant of Salivahana settled in Khera-gadh on the banks of [[Luni river]] in the [[Jodhpur State]]. The last prince of Khera, Mohadasa, was killed by Siaji, grandson of the Rathod ruler 'Jayacandra' of [[Kanauj]], according to the tradition.<ref name="Ray1935"/>

====Sejakji====
Traditions say that Mohadasa's grandson, Sejakji (1194–1254 CE or 1240–1290 CE), migrated to Saurashtra about VS 1250 and entered in service of [[Chudasama dynasty|Chudasama]] king Mahipala ruling from Junagadh. He obtained 12 villages around Sapur and from his progeny descended the Gohils of Saurashtra and other regions.<ref name="Ray1935"/><ref name=":0"/> According to Bardic accounts, he entered in service of another Chudasama king Kavat and had his daughter Valamkunvarba married to Khengar, son of Kavat. Kavat gave him a grant of Shahpur and surrounding twelve villages in Panchal (central Sairashtra). Sejakji's sons Shahji and Saranji obtained Mandvi Chovisi and Arthila Chovisi due to interests of their sister Valamkunvarba. The rulers of [[Palitana State]] and [[Lathi State]] traces their ancestry to these two brothers.<ref name="Singhji1994"/> James W. Watson, in ''Gazetteer of the Bombay Presidency: Kathiawar'' Volume VIII (1884) had given VS 1290 and reason as their rivalry with Rathods.<ref name="GBP1884">{{cite book|url=https://books.google.com/books?id=c70MAAAAIAAJ&pg=PA711|title=Gazetteer of the Bombay Presidency : Kathiawar|last=|first=|publisher=Government Central Press|year=1884|isbn=|editor=Watson|editor-first=James W.|volume=VIII|location=Bombay|pages=114, 547}} {{PD-notice}}</ref> Sejakji is reported to have established new village named Sejakpur and won several villages surrounding it.<ref name="Ray1935"/><ref name="Singhji1994"/>

Based on Mangrol stone-inscription, Muluka was a feudatory chief under Chaulukya king Kumarapala. Gaurishankar Oza identifies his father Sahajiga with Sejakji. He suggests that Sahajiga had first migrated from Luni valley and took service under Chaulukya king Siddharaja Jayasimha. He had participated as a commander of Chaulukya forces in his war against Saurashtra and thus he was later appointed as a chief of Saurashtra. H. C. Ray agrees with suggestion citing Muluka mentioned in the inscription as the protector of Saurashtra.<ref name="Ray1935"/>

====Ranaji and Visoji====
[[File:Ranpur-5.jpg|right|thumb|The statue of Ranaji]]
Ranaji/Ranoji (1254–1309 CE or 1290–1309 CE), descendant of Sejakji, established [[Ranpur, Gujarat|Ranpur]] and moved their capital to it. With help of Koli forces of Dhanmer, he captured Vala ([[Vallabhipur]]). It is told that he died in battle with forces of [[Ahmedabad]], the capital of [[Gujarat Sultanate]]. Virbhadra Singhji has identified him as the grandson of Sejakji<ref name="Singhji1994"/> while other sources identify him as a son of Sejakji.<ref name="GBP1884"/>

Sejakji's fifth brother Visoji married a daughter of Dhandh of Mer tribe of village Khas who was ruler of [[Dhandhuka]]. Their descendants are known as Khasiyas (Garasiya)after name of the village.<ref name="Singhji1994"/> Watson identifies Visoji as the son of Ranoji. They lived in Khas for fifteen generations and Aranji II moved to neighbouring Matiyala in the early eighteenth century.<ref name="GBP1884"/>

====''Mokhadaji'' ====
Ranaji's son, Mokhadaji (1309–1347 CE) captured Bhimdad from Vala Rajput and [[Umrala]] from Kolis. Then he captured Khokhra and later [[Ghogha]] expelling Muslim Kasbati (chief). From Baria Kolis, he conquered the [[Piram Island]] in the [[Gulf of Cambay]]. He established himself there and took up piracy. This irked [[Delhi Sultanate|Delhi Sultan]] [[Muhammad bin Tughluq]] who was in Gujarat to quell rebellion. After hard-fought battle, he killed Mokhadaji and captured Ghogha and Piram island in 1347 CE.<ref name="Singhji1994" /><ref name="GBP1884" />

According to one story, Mokhadaji had no children until he was fifty. Balansha, a Muslim saint of Karakadi, was pleased by him with sacrifice. By his grace, he had sons so he built a mosque in his honour and vowed that his descendant will offer a leather (called Budi) when they are virgin.<ref name="Singhji1994" />

===Descendant States===
The rulers of [[Palitana State|Palitana]] and [[Lathi State]]s trace their ancestry to Shahji and Saranji, two sons of Sejakji.<ref name="Singhji1994"/>

Mokhadaji's elder son Dungarji (1347–1370) fled to Und-Saravaiyawad but he was captured by the Delhi forces. He was later reinstated as a chief of Ghogha and regained his father's possession of Umrala. His successor Visoji (1370-1395) was involved in a dispute of Jani and Rana clans of Audichya Brahman landlords of [[Sihor]]. Jani clan summoned Visoji while Rana clan summoned Kandhoji Gohil of [[Gariadhar]]. Visoji defeated Kandhoji and captured Sihor. He fortified it and made it his capital. His successors were Kanoji (1395–1420 CE) and Sarangji (1420–1445 CE), Sivdasji (1445–1470 CE), Jethiji (1470–1500 CE), Ramdasji (1500–1535 CE), Sartanji (1535–1570 CE), Visoji (1570–1600 CE), Dhunaji (1600–1619 CE), Ratanji (1619–1629 CE ), Harbhamji (1620–1622 CE), Govindji (1622–1636 CE), Satrasalji (1636 CE), Akherajji II (1636–1660 CE), Ratanji II (1660–1703). His son Bhavsinhji (1703–1764) established [[Bhavnagar]] in 1722–23 and made it capital of [[Bhavnagar State|his state]] moving from [[Sihor]].<ref name="Singhji1994"/><ref name="GBP1884"/><ref>{{Cite web|url=http://members.iinet.net.au/~royalty/ips/b/bhavnagar.html|title=BHAVNAGAR|last=Soszynski|first=Henry|website=members.iinet.net.au|access-date=2017-12-25|archive-url=https://web.archive.org/web/20171225070318/http://members.iinet.net.au/~royalty/ips/b/bhavnagar.html|archive-date=2017-12-25|url-status=dead}}</ref> [[Vala State]] was founded in 1740 by Akherajji (1764–1772 CE), son of Bhavsinhji, for his twin brother Visaji.

Mokhadaji's younger son Samarsinhji was taken to his maternal uncle Chokrana, the prince of Junaraj (old Rajpipla), of Parmar dynasty of [[Ujjain]]. As Chokrana had no heir, Samarsinhji took up a new name, Arjunsinhji and succeeded him. The rulers of [[Rajpipla State]] are his descendants.<ref name="Singhji1994"/><ref name="GBP1884"/>

Many small estates in [[Gohelwar|Gohilwad]] region of Saurashtra were offshoots from the parent stem.<ref name="GBP1884"/> These States and estates were continued to rule for centuries and even under the [[British Raj]]. They were [[political integration of India|merged]] with the [[Dominion of India]] when India became [[Independence of India|independent in 1947]].

==References==
{{reflist}}

[[Category:Gohils]]
[[Category:Dynasties of India]]
[[Category:Rajput dynasties]]
[[Category:Hindu dynasties]]
[[Category:Rajput clans of Gujarat]]

Mrigayaa

2026-03-03T23:36:43Z

Giispune: expanded lead per standard format

{{Use dmy dates|date=November 2015}}
{{Use Indian English|date=November 2015}}
{{Short description|1976 Indian film directed by Mrinal Sen}}
{{Infobox film
| name = Mrigayaa
| image = Mrigayaa.jpg
| caption =
| director = [[Mrinal Sen]]
| producer = K. Rajeshwara Rao
| based_on = {{based on|''Shikar''|[[Bhagabati Charan Panigrahi]]}}
| writer = {{unbulleted list|[[Mohit Chattopadhyay]]|[[Arun Kaul]]}}
| starring = {{unbulleted list|[[Mithun Chakraborty]]|[[Mamata Shankar]]|Robert Wright|[[Sadhu Meher]]}} [[Asit Bandopadhyay]]
| music = [[Salil Chowdhury]]
| cinematography = [[K. K. Mahajan]]
| editing = {{unbulleted list|Gangadhar Naskar|Raju Naik|Dinkar Shetye}}
| distributor =
| released = {{film date|1976|6|6|df=yes}}
| runtime =
| country = India
| language = [[Hindi]]
| budget =
}}

'''''Mrigayaa''''' ({{lit|The royal hunt}}) is a 1976 Indian [[Hindi]]-language [[Epic film|epic]] [[Period film|period]] [[Drama film| drama film]] directed by [[Mrinal Sen]] and produced by K. Rajeshwara Rao. Based on ''Shikaar'', an [[Odia language|Odia]] short story by [[Bhagbati Charan Panigrahi]],<ref>{{Cite book |last1=Gulazāra |url=https://books.google.com/books?id=8y8vN9A14nkC&pg=PA338 |title=Encyclopaedia of Hindi Cinema |last2=Nihalani |first2=Govind |last3=Chatterjee |first3=Saibal |date=2003 |publisher=Popular Prakashan |isbn=978-81-7991-066-5 |language=en}}</ref> it stars [[Mithun Chakraborty]] and [[Mamata Shankar]], both making their cinematic debuts through the film.

The [[film score]] was provided by [[Salil Chowdhury]], while [[K. K. Mahajan]] handled the cinematography. At the [[24th National Film Awards]], ''Mrigayaa'' won two awards—[[National Film Award for Best Feature Film|Best Feature Film]] and [[National Film Award for Best Actor|Best Actor]] for Mithun Chakraborty. It also won the [[Filmfare Critics Award for Best Movie]] apart from being nominated for the Golden Prize at the [[10th Moscow International Film Festival]] in 1977.

==Plot==
The plot is set in the 1930s and the film is about a group of tribals who live in a small village in [[Odisha]] amidst wild animals like tigers and boars. Apart from the problems faced by the tribals from the animals that ruin their crops, they also suffer at the hands of the greedy moneylenders and police informers. Around this time, a newly posted British administrator arrives at the village who happens have a passion for hunting. He befriends Ghinua, a native tribal who is also an exceptional archer. The two get into a deal where Ghinua will be rewarded if he brings down a "big game".

The story then focusses on Sholpu, a young revolutionary who surreptitiously comes into the village to meet his mother. Knowing this, the police informer chases him down till he reaches his house, but returns after seeing the whole village turn against him. However, he waits for his turn to punish Sholpu. Suddenly there is a robbery in the village and one policeman is killed. The blame falls on Sholpu and the administrator declares a reward for his head. The informer takes the opportunity and kills Sholpu, thereby claiming the reward. Sholpu's death creates tension between the tribals and non-tribals. During this time, Dungri, Ghinua's wife, is abducted by a moneylender. Ghinua kills the moneylender to bring his wife back. Thinking that the time has come for the "big game", he goes happily to meet the Sahab, the administrator. The Sahab, however, hangs him for committing a murder. Till his death, Ghinua fails to understand why for the same action one is rewarded while the other is punished.<ref>{{Cite news |date=2013-05-16 |title=Mrigayaa (1976) |url=https://www.thehindu.com/features/cinema/cinema-columns/mrigayaa-1976/article4721021.ece |access-date=2024-06-18 |work=The Hindu |language=en-IN |issn=0971-751X}}</ref>

==Cast==
{{cast listing|
*[[Mithun Chakraborty]] as Ghinua
*[[Mamata Shankar]] as Dungri
*Robert Wright as the British administrator
*[[Asit Bandopadhyay]]
*Shekhar Chatterji
*[[Sadhu Meher]] Dora
*[[Gyanesh Mukherjee]]
*[[Anoop Kumar]]
*Sajal Roy Chowdhury as moneylender
*[[Samit Bhanja]] as Sholpu
*[[Tom Alter]]
}}

==Themes and influences==
The film was based on ''Shikar'', a short story by [[Odia language|Odia]] writer [[Bhagbati Charan Panigrahi]].{{Sfn|Gulazāra|Chatterjee|2003|p=362}} Set in the 1930s, during the apogee of the [[Indian independence movement]],<ref name=hindu1>{{cite news|last1=Lokapally|first1=Vijay|title=Mrigayaa (1976)|url=http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/mrigayaa-1976/article4728616.ece|access-date=11 February 2015|work=[[The Hindu]]|date=16 May 2013}}</ref> the tale describes the lives of a tribal community who lead a tough life in a small odisha village. While the original story was set in the 1930s, the script is set in the backdrop of a rebellion on the lines of the [[Santhal rebellion|Santhal revolt]] that took place in the 1850s;<ref name=hindu2>{{cite news|last1=Kohli|first1=Suresh|title=Mrigayaa (1976)|url=http://www.thehindu.com/features/cinema/mrigayaa-1976/article4196050.ece|access-date=11 February 2015|work=The Hindu|date=13 December 2012}}</ref> Sen claimed that the story "could have happened anytime, anywhere". The theme of the villagers' facing a tough time in the form of wild animals, and cruel moneylenders on the other hand are connected in the opening sequence where a boar is seen destroying the crops, following which a moneylender arrives.{{Sfn|Mukhopadhyay|2014|p=101}}

==Production==
[[File:Mamata-Shankar-actor-dancer-choreographer-Kolkata-India-Copyright-Foto-by-Monica-Boirar-aka-Monica-Beurer.jpg|150px|thumbnail|right|Mamata Shankar ''(pictured)'' made her acting debut through the film.<ref name=hindu1 />]]
Sen, who was making political films till then, decided to experiment on films that focus on personal relationships. He decided to film a village-based story.{{Sfn|Indian Horizons|1977|p=24}} He incurred heavy losses from his previous venture ''[[Chorus (1974 film)|Chorus]]'' (1974). He was not able to repay the loan owing to the film's financial failure. ''Mrigayaa'' was produced by K. Rajeshwara Rao. It was Sen's first colour film,{{Sfn|Mukhopadhyay|2014|p=102}} and for the role of Ghinua, he wanted to cast a henman. Unable to find one, he happened to come across Mithun Chakraborty in one of his teaching sessions at the [[Film and Television Institute of India]] where the latter was a student.<ref>{{cite web|last1=Ayaz|first1=Shaikh|title=The Poor Man's Pop Star|url=http://www.openthemagazine.com/article/cinema/the-poor-man-s-pop-star|website=[[Open (Indian magazine)|OPEN]]|access-date=11 February 2015|date=25 May 2013}}</ref> For the female lead, another newcomer, danseuse [[Mamata Shankar]], [[Uday Shankar]]'s daughter, was cast as Dungri.<ref name=hindu1 /><ref>{{cite news|title=A full life|url=http://www.thehindu.com/thehindu/mag/2002/07/14/stories/2002071400400500.htm|archive-url=https://web.archive.org/web/20050503050230/http://www.thehindu.com/thehindu/mag/2002/07/14/stories/2002071400400500.htm|url-status=dead|archive-date=3 May 2005|access-date=11 February 2015|work=[[The Hindu]]|date=14 July 2002}}</ref> The post-production work was done at [[Madras]].{{Sfn|Mukhopadhyay|2014|p=102}}

==Music==
#"Gaye Garua Se Bharti Hai" - [[Mohammed Rafi]], [[Pankaj Mitra]]
#"Suhag Reek Atauri Chetna Ko" - [[Mohammed Rafi]], [[Pankaj Mitra]]

==Reception==
''Mrigyaa'' was an average grosser at the box office. It received mixed responses from the critics and audience, who did not like the idea of mixing "story with history".{{Sfn|Mukhopadhyay|2014|p=102}} While Mithun's portrayal as a tribal fetched him unanimous acclaim, Shankar's performance was noted as being tense.{{Sfn|Mukhopadhyay|2014|p=103}} The performances of rest of the cast that includes [[Sadhu Meher]], Samit Bhanja and Sajal Roy Chowdhury were well received.<ref name=hindu2 />

==Awards==

{| class="wikitable"
|-
! Award !! Ceremony !! Category !! Nominee(s) !! Outcome
|-
| rowspan="2" | [[National Film Awards]]
| rowspan="2" | [[24th National Film Awards]] (1976)
|| [[National Film Award for Best Feature Film|Best Feature Film]] || [[K. Rajeshwara Rao]] (Producer) [[Mrinal Sen]] (Director) ||{{won}}<ref name=hindu1 />
|-
|| [[National Film Award for Best Actor|Best Actor]] || [[Mithun Chakraborty]] || {{won}}<ref name=hindu1 />
|-
| [[Filmfare Awards]] || [[24th Filmfare Awards]] (1976) || [[Filmfare Critics Award for Best Movie|Critics Award for Best Movie]] || [[K. Rajeshwara Rao]] || {{won}}<ref name=hindu2 />
|-
|| [[Moscow International Film Festival]] || [[10th Moscow International Film Festival]] (1977) || Golden St. George || Mrinal Sen ||{{nom}}<ref name="Moscow1977">{{cite web |url=http://www.moscowfilmfestival.ru/miff34/eng/archives/?year=1977 |title=10th Moscow International Film Festival (1977) |access-date=2013-01-12 |work=MIFF |url-status=dead |archive-url=https://web.archive.org/web/20130116194935/http://www.moscowfilmfestival.ru/miff34/eng/archives/?year=1977 |archive-date=16 January 2013 |df=dmy-all }}</ref>
|}

==Notes==
{{reflist}}

==References==
{{refbegin}}
*{{cite book|author1=Gulazāra|last2=Chatterjee|first2=Saibal|title=Encyclopaedia of Hindi Cinema|url=https://books.google.com/books?id=8y8vN9A14nkC|year=2003|publisher=[[Popular Prakashan]]|isbn=978-81-7991-066-5}}
*{{cite book|last=Mukhopadhyay|first=Dipankar|title=Mrinal Sen-60 Years In search of cinema|url=https://books.google.com/books?id=gGvlAgAAQBAJ|year=2014|publisher=[[HarperCollins|HarperCollins Publishers India]]|isbn=978-93-5136-048-3}}
*{{cite book|title=Indian Horizons|url=https://books.google.com/books?id=K2UHAQAAIAAJ|year=1977|publisher=[[Indian Council for Cultural Relations]]|ref={{harvid|Indian Horizons|1977}}}}
{{refend}}

==External links==
*{{IMDb title|id=0074926}}
*[http://mrinalsen.org/mrigaya.htm About the film on Mrinal Sen's official website]

{{Mrinal Sen}}
{{FilmfareCriticsAwardBestMovie}}
{{NationalFilmAwardBestFeatureFilm}}

[[Category:1976 films]]
[[Category:1976 Hindi-language films]]
[[Category:1976 Indian films]]
[[Category:Films directed by Mrinal Sen]]
[[Category:Films featuring a Best Actor National Award–winning performance]]
[[Category:Best Feature Film National Film Award winners]]
[[Category:Films scored by Salil Chowdhury]]
[[Category:Films based on Indian short stories]]

Dharma (2004 film)

2026-03-03T21:41:02Z

Giispune: minor add page for consistency and added references

{{Short description|2004 film by K. V. Chandrakanth}}
{{Use dmy dates|date = February 2020}}
{{Use Indian English|date = February 2020}}
{{Infobox film
| image = Dharma (2004 film).jpg
| caption = VCD cover
| director = K. V. Chandrakanth
| producer = M. G. Ramamurthy
| studio = Vasushree Productions
| writer = {{plainlist|
* K. V. Chandrakanth
* V. Nagendra Prasad
}}
| starring = [[Darshan Thoogudeep|Darshan]] [[Sindhu Menon]] [[Nanditha Jennifer|Manisha]]
| music = [[Hamsalekha]]
| cinematography = [[Sundarnath Suvarna]]
| released = {{Film date|2004|03|05|df=yes}}
| runtime = 149 minutes
| country = India
| language = Kannada
}}
'''''Dharma''''' is a 2004 Indian [[Kannada]]-language [[action drama film]] written and directed by K. V. Chandrakanth starring [[Darshan Thoogudeep|Darshan]], [[Sindhu Menon]] and [[Nanditha Jennifer|Manisha]]. The film has musical score by [[Hamsalekha]]. The film was released on 5 March 2004.<ref>{{Cite web|url=https://www.chitraloka.com/movie-reviews/683-dharma-review.html|title=DHARMA MOVIE REVIEW|date=4 March 2004|work=[[Chitraloka.com]]|url-status=dead|archive-url=https://web.archive.org/web/20140407154238/https://www.chitraloka.com/movie-reviews/683-dharma-review.html|archive-date=7 April 2014}}</ref>

== Plot ==
{{no plot|date=April 2025}}

== Cast ==
{{cast listing|
* [[Darshan (Kannada actor)|Darshan]] as Dharma
* [[Sindhu Menon]] as Kavya
* [[Nanditha Jennifer|Manisha]]
* [[Doddanna]]
* [[Rangayana Raghu]]
* [[Jai Jagadish]]
* Ramesh Pandith
* Harish Rai
* Bhagath Bhagavathar
}}

== Production ==
The film was launched at Thirumalagiri Venkateswara Temple at Bangalore on 10 October 2003.<ref>{{cite web|url=http://www.chitraloka.com/sections/action_cut/dharma_film_muh.html|title='DHARMA'DARSHAN|website=Chitraloka|access-date=5 September 2025|date=10 October 2003|last=CNB|archive-url=https://web.archive.org/web/20031217143637/http://www.chitraloka.com/sections/action_cut/dharma_film_muh.html|archive-date=17 December 2003}}</ref> Jennifer, credited as Manisha was signed in to play the second heroine, having worked in a few Tamil films prior to this, under the pseudonym of Nanditha. K. V. Chandrakanth, who worked as an assistant to [[P. Vasu]], made his directional debut. [[Hamsalekha]] scored the soundtrack while cinematography was handled by [[Sundarnath Suvarna]]. [[Jai Jagadish]], [[Doddanna]], [[Rangayana Raghu]], Harish Rai, Bhagath Bhaagavathar and Ramesh Pandith portrayed several supporting characters in the film. The film was shot in [[Mysore]], [[Ooty]], [[Bangalore]] and [[Goa]].<ref name="viggy">{{Cite web|url=http://www.viggy.com/english/current_dharma.asp|title=Darshan is now Dharma|accessdate=11 February 2020|website=viggy.com|archive-date=15 February 2020|archive-url=https://web.archive.org/web/20200215071518/http://www.viggy.com/english/current_dharma.asp|url-status=live}}</ref>

== Themes ==
According to writer-director K. V. Chandrakanth, the central character Dharma enacted by [[Darshan Thoogudeep]] is an uncultured rowdy. The film marks his transition from a thug to a poet thus proving that the pen is mightier than a sword. Also the character of Dharma and his transition is similar to the life of [[Valmiki]] and his evolution from a barbarian to a poet.<ref name="viggy" />

== Soundtrack ==
Soundtrack was composed by Hamsalekha.<ref>{{cite web|url=http://kannadamasti.com/mp3/23487/Dharma-songs-download.html|website=kannadamasti.com|accessdate=11 February 2020|title=Dharma Songs|archive-date=15 February 2020|archive-url=https://web.archive.org/web/20200215072430/http://kannadamasti.com/mp3/23487/Dharma-songs-download.html|url-status=live}}</ref>
# "Hrudaya Nin Impada" by Divya and Chethan
# "Kavya Amrutha" by [[S. P. Balasubrahmanyam]]
# "Nam Hero Barthan" by [[Hemanth Kumar]]
# "Meghashyama Baa" by [[Rajesh Krishnan]] and [[Nanditha]]
# "Readina" by Hemanth
# "Shocku Shocku" by [[Malgudi Subha]]

== Critical reception ==
A critic from ''indiainfo.com'' wrote that "The film has everything that could have made it successful. But everything is in the wrong quantity and Director K V Chandranath has failed in giving us wholesome entertainment".<ref>{{Cite web|url=http://movies.indiainfo.com/kannada/reviews/dharma.html|title=Dharma|date=10 March 2004|website=indiainfo.com|url-status=dead|archive-url=https://web.archive.org/web/20040625040202/http://movies.indiainfo.com/kannada/reviews/dharma.html|archive-date=25 June 2004|access-date=1 May 2024}}</ref> S. N. Deepak of ''[[Deccan Herald]]'' called it a film for action film lovers and Darshan's fans.<ref>{{cite web |last=Deepak |first=S. N. |date=27 March 2004 |title=Dharma |url=http://www.deccanherald.com/deccanherald/mar072004/mr2.asp |url-status=dead |archive-url=https://web.archive.org/web/20041210175705/http://www.deccanherald.com/deccanherald/mar072004/mr2.asp |archive-date=10 December 2004 |access-date=18 March 2025 |website=[[Deccan Herald]]}}</ref>

== References ==
{{Reflist}}

== External links ==
* {{IMDb title}}

[[Category:2004 films]]
[[Category:Indian action films]]
[[Category:2004 action films]]
[[Category:2004 Kannada-language films]]
[[Category:Films scored by Hamsalekha]]

Isai Vellalar

2026-03-03T19:48:13Z

Giispune: Content updated and refined

{{Short description|Tamil community traditionally involved in the arts of music and dance}}
{{Use dmy dates|date=August 2020}}
{{Use Indian English|date=August 2020}}
{{Infobox caste|caste_name=Isai Velalar|image=|caption=|languages=[[Tamil language|Tamil]], [[Telugu language|Telugu]]|populated_states=[[Tamil Nadu]]{{*}}[[Kerala]]{{*}}[[Andhra Pradesh]]{{*}}[[Karnataka]]|region=Northern Tamil Nadu, Southern Andhra Pradesh|population=|religions=[[Hinduism]]|country={{flag|India}}|ethnicity=[[South Asian]]|classification=[[Other Backward Class]]<ref>{{Cite web |last=Kerala |first=Government |title=The Kerala State Commission for Backward Classes |url=https://kscbc.kerala.gov.in/images/stories/docs/35_96_1996.pdf |website=kscbc.kerala.gov.in}}</ref>
|subdivisions={{*}}{{*}}Nayanakkarar{{*}}Nattuvanar{{*}}Melakkarar <ref>{{cite journal | url=https://www.epw.in/journal/2013/08/commentary/caste-tamil-nadu-iii.html | title=Caste in Tamil Nadu - III | journal=Economic and Political Weekly | date=5 June 2015 | volume=48 | issue=8 | pages=7–8 }}</ref>}}
'''Isai Vellalar ''' is a community found in [[India]] in [[Tamil Nadu]]. They are traditionally involved as performers of classical dance and music in [[Hindu temple]]s and [[court]]s of the patrons.<ref name=":1">{{Cite book|title=Historical Dictionary of the Tamils|last=University|first=Vijaya Ramaswamy, Jawaharlal Nehru|date=2017-08-25|publisher=Rowman & Littlefield|isbn=9781538106860|location=|pages=114–115, 161–162|language=en}}</ref> The term "Isai Velalar" is a recent community identity, people of [[minstrel]] occupation from various castes such as, Melakkarar, Nayanakkarar and Nattuvanar come under this term.<ref>{{Cite book|title=Of Property and Propriety: The Role of Gender and Class in Imperialism and Nationalism|last1=Bannerji|first1=Himani|last2=Mojab|first2=Shahrzad|last3=Whitehead|first3=Judith|date=2001|publisher=University of Toronto Press|isbn=9780802081926|location=|pages=162|language=en}}</ref><ref>{{Cite book|last=Soneji|first=Davesh|title=Unfinished Gestures: Devadasis, Memory, and Modernity in South India|date=2012-01-15|publisher=University of Chicago Press|isbn=978-0-226-76809-0|location=|pages=143–144|language=en}}</ref><ref name=":0">{{Cite book|title=Madras Studios: Narrative, Genre, and Ideology in Tamil Cinema|last=Pillai|first=Swarnavel Eswaran|date=2015-01-27|publisher=SAGE Publications India|isbn=9789351502128|location=|pages=231|language=en}}</ref>

Isai Vellalars are a micro community. Out of all the divisions, Melakkarars are the predominant Isai Vellalars. [[Edgar Thurston]] noted that the community had two linguistic sects within the state; being [[Tamil language|Tamil]] and [[Telugu language|Telugu]]. Tamil-speaking Melakkarars traditionally performed both ‘Chinna Melam’([[Nautch|nautch music]]) and/or ‘Periya Melam’([[nadaswaram]]), while Telugu-speaking Melakkarars of Tamil Nadu performed only ‘Periya Melam.’ and has nothing to do with dancing, The chinna melam tamils are dancing at its core, Telugu Melakkarars had surname like ‘Reddi’ and ‘Naidu’, while the Tamil sect used ‘Pillai’ and 'mudali' title. The Tamil speaking melakkarars are [[Tamil Shaivism|shaivites.]]<ref>{{Cite web |title=Castes and Tribes of Southern India/Mēlakkāran - Wikisource, the free online library |url=https://en.m.wikisource.org/wiki/Castes_and_Tribes_of_Southern_India/M%C4%93lakk%C4%81ran |access-date=2024-08-27 |website=en.wikisource.org |language=en}}</ref> There are also other sects like Nattuvanar, naayanakkarar, devaradiyar etc. under Isai Vellalar label.<ref>{{cite web |title=Isai Vellalar and their history | date=24 April 2024 |url=https://maddy06.blogspot.com/2024/04/the-music-of-melakkar.html?m=1}}</ref> Some from this community were made [[devadasi]]s until its abolition.

== Social status ==
They are listed as a [[Other Backward Class|Most Backward Class]] in the state of Tamil Nadu.<ref>{{cite web |title=state obc list tn |url=https://bcmbcmw.tn.gov.in/bclist.htm}}</ref>

==Etymology ==
The term Isai Vellalar derives from the Tamil words ''Isai'' meaning "music" and vellar a generic term roughly meaning "cultivator", thus translates as "cultivators of music".<ref name=":0" /> This term was introduced after the legal abolition of the [[Devadasi]] system as a result of the reform and anti-[[nautch]] movement in 1947.<ref name=":1" />

== History ==
The Isai Velalar communities were originally [[nomad]]s.<ref>{{Cite book|title=The Kalabhras in the Pandiya country and their impact on the life and letters there|last=Arunachalam|first=M.|date=1979|publisher=University of Madras|isbn=|location=|pages=90|language=en}}</ref> [[Bard]]ic traditions are referred in early [[Sangam literature]] and well into the early [[Pallava dynasty|Pallava]] and [[Pandya dynasty|Pandya]] periods. These were primarily ritualistic and defensive in nature. The artistic side of music and dance came to be strengthened during the [[Chola dynasty|Chola]] and [[Vijayanagara Empire|Vijayanagara]] period.

Early [[Chola dynasty|Chola]] inscriptions mentions Tevaratiyar as recipients of food offering and ritual performers of the temples, and was a term carrying honorific and high connotations.<ref name=":2">{{Cite book|title=Donors, Devotees, and Daughters of God: Temple Women in Medieval Tamilnadu|last=Orr|first=Leslie C.|date=2000-03-09|publisher=Oxford University Press|isbn=9780195356724|location=|pages=5, 52, 56|language=en}}</ref> Inscriptional evidences indicates devadasis to have been independent professionals who enjoyed property (made large land donations to temples) and a respectable position in the society. The 11th-century inscription of [[Rajaraja I]] states that the Tevaratiyar were invited to serve the [[Brihadisvara Temple, Thanjavur|Brihadisvara Temple]] and were given land near the temple.<ref name=":3">{{Cite book|title=Approaches to History: Essays in Indian Historiography|last=Bhattacharya|first=Sabyasachi|date=2011|publisher=Indian Council of Historical Research (ICHR)|isbn=9789380607177|location=|pages=206|language=en}}</ref>

Under the patronage of the [[Nayaks of Tanjavur]] and [[Thanjavur Maratha kingdom|Thanjavur Maratha]] kings, [[Telugu people|Telugu]] musicians and [[Devadasi]]s from [[Andhra Pradesh]] and [[Maharashtra]] migrated to the [[Thanjavur district|Thanjavur region]]. The Melakkarars of Thanjavur are therefore divided in two distinct linguistic groups – the Tamil and Telugu Melakkarar.<ref name=":1" />

With the entry of [[Colonial India]], great loss of temple patronage resulted in the Tevaratiyar looking for other ways of income which degraded their social status.<ref name=":3" /> The [[Devadasi]] system was legally abolished in 1947 after the campaigns of the social reformers [[Moovalur Ramamirtham]] and [[Muthulakshmi Reddi]]. The entry of [[Tamil Brahmin]]s in music and dance was seen as a threat to the traditional performers of these art forms. This led communities traditionally associated with music and dance to start forming a politicized non-Brahmin caste association which they coined as "Isai Velalar Sangam" and thereby created a political unified identity.<ref name=":1" />

== Notable people==
{{unreferenced section|date=May 2021}}

===Historical personalities===
*[[Muthu Thandavar]]

===Social activists===
*[[Moovalur Ramamirtham]]

===Politicians===
*[[M. K. Stalin|MK Stalin]]
*[[Udhayanidhi Stalin]]
*[[M Karunanidhi]]
*[[Murasoli Maran]]
*[[S. S. Thennarasu]]
*[[MK Azhagiri]]
*[[Dayanidhi Maran|Dhayanidhi Maran]]

===Business personalities===
*[[Kalanithi Maran]]
*[[Kavya Maran]]

===Arts===
*[[Thanjavur Quartet]]
*[[R Muthukannammal]]
*[[Veenai Dhanammal]]
*[[T. Brinda]]
*[[T. Muktha]]
*[[Valayapatti A. R. Subramaniam]]
*[[P. R. Thilagam]]
*[[Namagiripettai Krishnan]]
*[[Thiruvarur Bakthavathsalam]]
*[[S. Somasundaram]]
*[[Balasaraswathi]]

===Cinema===

*[[Arulnidhi]]
*[[Sivakarthikeyan]]

== References ==
<references />
{{Portal|Tamils|India|Hinduism}}

[[Category:Social groups of Tamil Nadu]]
[[Category:Indian castes]]
[[Category:Indian castes by profession]]
[[Category:South Indian communities]]
[[Category:Other Backward Classes]]
[[Category:Social groups of Kerala]]
[[Category:Social groups of Karnataka]]
[[Category:Ethnic groups in South Asia]]

Panivizhum Malarvanam

2026-03-03T03:32:05Z

Giispune: Made

{{Short description|2014 Indian film by James David}}
{{No plot|date=November 2023}}
{{Use dmy dates|date=October 2015}}
{{Use Indian English|date=October 2015}}
{{Infobox film
| name = Panivizhum Malarvanam
| image = Panivizhum Malarvanam.jpg
| caption = Poster
| native_name =
| director = James David
| producer = Maaruthy Nanthan Aravainth Indran Raveendran
| writer =
| screenplay =
| story =
| based_on = 
| narrator =
| starring = Abhilash [[Sanyathara]] [[Varsha Ashwathi]]
| music = B. R. Rajin
| cinematography = N. Raagav
| editing = Ravi Shankar
| studio =
| distributor =
| released = {{Film date|df=yes|2014|2|21}}
| runtime =
| country = [[India]]
| language = Tamil
| budget =
| gross =
}}
'''''Panivizhum Malarvanam''''' ({{Translation|A forest of flowers where dew falls}}) is a 2014 Indian [[Tamil language|Tamil]]-language [[thriller film]] written and directed by James David. The film stars Abhilash and [[Sanyathara]] in the lead roles, while [[Varsha Ashwathi]], Sai Vishal and Jawahar appear in other pivotal roles. The film's music is by music director B. R. Rajin. The film was released on 21 February 2014.

== Cast ==
*Abhilash as Tarun
*[[Sanyathara]] as Kavya
*[[Varsha Ashwathi]] as Malar
*Sai Vishal as Viju
*Ravi Venkatraman as Kavya's father
* [[Yogi Babu]] as Tarun's friend
*Jawahar

== Production ==
The film's title is derived from a song from ''[[Ninaivellam Nithya]]'' (1981).<ref>{{Cite news |date=9 June 2025 |title=Lyricist Vairamuthu criticises Tamil filmmakers for using his verses as film titles without permission |url=https://www.thehindu.com/entertainment/movies/lyricist-vairamuthu-criticises-tamil-filmmakers-for-using-his-verses-as-film-titles-without-permission/article69673753.ece |url-status=live |archive-url=https://archive.today/20250609093054/https://www.thehindu.com/entertainment/movies/lyricist-vairamuthu-criticises-tamil-filmmakers-for-using-his-verses-as-film-titles-without-permission/article69673753.ece |archive-date=9 June 2025 |access-date=9 June 2025 |work=[[The Hindu]] |language=en}}</ref> The film was written and directed by newcomer James David, who had previously assisted director Aabhavanan and was an associate director for films such as ''[[Nee Venunda Chellam]]'', ''[[Rameswaram (film)|Rameswaram]]'' and the 3D animated ''[[Inimey Nangathan]]''. The lead actor Abhilash also made his debut in a lead role, having previously portrayed a supporting role in [[Gautham Vasudev Menon]]'s ''[[Neethane En Ponvasantham]]'' (2012). The film began shoot in August 2012 and was filmed in locations across [[Kumily]] and [[Thekkady]] in [[Kerala]]. The team also claimed to have selected the tiger which had appeared in ''[[Hangover 3]]'' for the venture, while collaborating with the brands [[Incredible India]] and [[Save the Tiger]].<ref>{{Cite web |last=Ashok Kumar |first=S. R. |date=11 May 2013 |title=Audio Beat: Panivizhum Malarvanam – Breezy tunes |url=http://www.thehindu.com/features/cinema/cinema-reviews/audio-beat-panivizhum-malarvanam-breezy-tunes/article4705905.ece |url-status=live |archive-url=https://web.archive.org/web/20140308182329/http://www.thehindu.com/features/cinema/cinema-reviews/audio-beat-panivizhum-malarvanam-breezy-tunes/article4705905.ece |archive-date=8 March 2014 |access-date=8 March 2014 |website=[[The Hindu]]}}</ref> An audio release function was held in May 2013 with [[Balu Mahendra]] and [[Vairamuthu]] attending as chief guests.<ref>{{Cite web |title=New stills from Panivizhum Malarvanam |url=http://www.sify.com/movies/new-stills-from-panivizhum-malarvanam-imagegallery-kollywood-nfepgGedbad.html |url-status=dead |archive-url=https://web.archive.org/web/20130505064455/http://www.sify.com/movies/new-stills-from-panivizhum-malarvanam-imagegallery-kollywood-nfepgGedbad.html |archive-date=5 May 2013 |access-date=8 March 2014 |website=[[Sify]]}}</ref>

== Music ==
Music by B. R. Rajin. The film's audio released in May 2013 and the songs have lyrics written by [[Vairamuthu]] and Ravi Indrahan.{{citation needed|date=December 2025}}

{{Track listing
| headline = Track listing
| extra_column = Singer(s)
| total_length =
| title1 = Malaiyil Ula
| extra1 = Solar Sai
| length1 =
| title2 = Thoorathila Aagayam
| extra2 = Belly Raj, [[Chinmayi Sripada|Chinmayi]]
| length2 =
| title3 = Ava Ennannamo
| extra3 = [[Haricharan]]
| length3 =
| title4 = Amma Amma Amma
| extra4 = [[Madhu Balakrishnan]]
| length4 =
| title5 = Kaadu
| extra5 = -
| note5 = Instrumental
| length5 =
}}

== Reception ==
The film opened on 21 February 2014. Manigandan K R of ''[[The Times of India]]'' wrote, "to cut a long story short, while the messages David's film seeks to convey are significant, the manner in which they have been packaged isn't."<ref>{{Cite web |last=K R |first=Manigandan |date=1 March 2014 |title=Pani Vizhum Malarvanam |url=http://timesofindia.indiatimes.com/entertainment/pani-vizhum-malarvanam/movie-review/31201414.cms |url-status=dead |archive-url=https://web.archive.org/web/20140309221912/http://timesofindia.indiatimes.com/entertainment/pani-vizhum-malarvanam/movie-review/31201414.cms |archive-date=9 March 2014 |access-date=8 March 2014 |website=[[The Times of India]]}}</ref> Malini Mannath of ''[[The New Indian Express]]'' noted it was a "fairly engaging thriller", writing that "the narration may seem a tad loosely etched and jumpy at times and has its glitches. But it’s a debutant director’s sincere effort to move away from the beaten path and is refreshingly different."<ref>{{Cite web |last=Mannath |first=Malini |date=1 March 2014 |title=Pani Vizhum Malarvanam is a Fairly Engaging Thriller |url=https://www.newindianexpress.com/entertainment/review/2014/mar/01/pani-vizhum-malarvanam-is-a-fairly-engaging-thriller-581206.html |url-status=live |archive-url=https://web.archive.org/web/20231118173000/https://www.newindianexpress.com/entertainment/review/2014/mar/01/Pani-Vizhum-Malarvanam-is-a-Fairly-Engaging-Thriller-581206.html |archive-date=18 November 2023 |access-date=18 November 2023 |website=[[The New Indian Express]]}}</ref>

== References ==
{{reflist}}

== External links ==
* {{IMDb title}}

[[Category:2014 Indian films]]
[[Category:2014 Tamil-language films]]
[[Category:2014 films]]
[[Category:2014 thriller films]]
[[Category:Indian thriller films]]
[[Category:Tamil-language Indian films]]
[[Category:Tamil-language thriller films]]

2011 Men's Hockey Champions Trophy

2026-02-21T20:45:32Z

Giispune: put up initial article w/ refs

{{Short description|International Hockey tournament}}
{{Infobox field hockey
| tournament = 2011 Men's Hockey Champions Trophy
| other_titles =
| image = 2011_men's_champions_trophy.png
| size = 200px
| caption = official logo
| country = New Zealand
| city = [[Auckland]]
| venues = North Harbour Hockey Stadium
| teams = [[#Qualification|8]]
| champions = {{fh|Australia}}
| count = 12
| second = {{fh|Spain}}
| third = {{fh|Netherlands}}
| matches = 24
| goals = 124
| top_scorer = {{flagicon|AUS}} [[Jamie Dwyer]]
| top_scorer_goals = 7
| best_player = {{flagicon|ESP}} [[Santi Freixa]]
| previous_year = 2010
| previous_tournament = 2010 Men's Hockey Champions Trophy
| next_year = 2012
| next_tournament = 2012 Men's Hockey Champions Trophy
}}

The '''2011 Men's Hockey Champions Trophy''', officially known as the '''Owen G Glenn FIH Men's Champions Trophy''', was the 33rd edition of the [[Hockey Champions Trophy|Champions Trophy]] men's [[field hockey]] tournament. The [[International Hockey Federation]] (FIH) confirmed [[India]] as the host country,<ref>{{cite news|title=India to host Champions Trophy 2011|url=http://timesofindia.indiatimes.com/sports/more-sports/hockey/India-to-host-Champions-Trophy-2011/articleshow/6195664.cms|access-date=2010-10-14|work=The Times of India|date=2010-07-21}}</ref> and announced [[New Delhi]] as the host city on February 4, 2011. The tournament dates were December 3 to December 11, 2011.<ref>{{cite news|title=FIH President meets Ajay Maken / CT Dates announced|url=http://fih.ch/vsite/vcontent/content/transnews/0,10869,1181-18543-19728-5331-312326-9644-5039-layout169-19693-news-item,00.html|access-date=2011-02-06|work=FIH|date=2011-02-04}}</ref> However, on September 6, 2011, the FIH announced that India would no longer host the tournament due to a governance issue,<ref>{{cite news|title=2011 Men's Champions Trophy no longer in India|url=http://www.fih.ch/en/news-3258-2011-men-s-champions-trophy-no-longer-in|access-date=2011-09-06|work=FIH|date=2011-09-06}}</ref> and announced [[Auckland]], New Zealand, as the new host on September 13, 2011 with the same time schedule.<ref>{{cite news|title=New Zealand named host of 2011 Champions Trophy|url=http://www.fih.ch/en/news-3276-new-zealand-named-host-of-2011-champions|access-date=2011-09-13|work=FIH|date=2011-09-13}}</ref> The tournament was held at North Harbour Hockey Stadium.

[[Australia men's national field hockey team|Australia]] won the title for the fourth consecutive and twelfth time total by defeating [[Spain men's national field hockey team|Spain]] 1–0 in the final.<ref>{{cite web|url=http://www.fih.ch/en/news-3463-australia-win-owen-g-glenn-fih-champions|title=Australia win Owen G Glenn FIH Champions Trophy|date=2011-12-11|work=fih.ch}}</ref>

==Host city change==
For the 33rd edition of the Hockey Champions Trophy, India was elected to host the tournament by the FIH on February 4, 2011. But due to an ongoing governance issue with the Indian Hockey Federation, the FIH announced that India would no longer host the competition, instead; Auckland, New Zealand hosted the tournament. New Zealand businessman [[Owen Glenn]] was instrumental in gaining the hosting rights for New Zealand. He funded Hockey New Zealand to gain the hosting rights.

The tournament was expected to have a television audience of approximately 38 million people. It being the largest hockey event in New Zealand's history. Auckland's mayor [[Len Brown]] said: "this event should inject around $1 million of new money into New Zealand's economy. The teams and officials directly involved in the event should generate over 4,000 visitor nights alone."<ref>{{cite news|title=The biggest international hockey event for 2011 is coming to New Zealand|url=http://www.majorevents.govt.nz/upload/71419/Hockeyrelease.pdf|access-date=2011-10-25|work=New Zealand Major Events|date=2011-09-13}}{{Dead link|date=September 2018 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

==Qualification==
The new qualification criteria were determined by International Hockey Federation (FIH), as follows:<ref>{{cite news|title=FIH announces new Champions Trophy qualifications rules|url=http://www.hockey-asia.com/news/05-08_FIH_announces_new_Champions_Trophy_qualifications_rules/|access-date=2010-10-14|work=Hockey Asia|date=2010-08-05|archive-url=https://web.archive.org/web/20110711173029/http://www.hockey-asia.com/news/05-08_FIH_announces_new_Champions_Trophy_qualifications_rules/|archive-date=2011-07-11|url-status=dead}}</ref>

* {{fh|Australia}} ([[2010 Men's Hockey World Cup|2010 World Cup]] Champions)
* {{fh|Germany}} ([[Field hockey at the 2008 Summer Olympics|2008 Olympics]] Champions and 2010 World Cup Runners-up)
* {{fh|Netherlands}} (Third in 2010 World Cup)
* {{fh|Great Britain}} (Fourth in 2010 World Cup as [[England men's national field hockey team|England]])
* {{fh|Spain}} (Fifth in 2010 World Cup)
* {{fh|Pakistan}} (Invitational)<ref name=invite/>
* {{fh|South Korea}} (Invitational)<ref name=invite>{{cite news|title=FIH confirms participating teams for 2011 tournaments|url=http://www.fih.ch/vsite/vcontent/content/transnews/0,10869,1181-18543-19728-15688-311826-14316-5039-layout169-19693-news-item,00.html|access-date=2011-02-06|work=FIH|date=2010-12-16}}</ref>
* {{fh|New Zealand}} (Host nation)

==Results==
''All times are [[Time in New Zealand|New Zealand Daylight Time]] ([[UTC+13:00]])''

===First round===
====Pool A====
{{#invoke:Sports table|main|style=WDL
|source=[https://tms.fih.ch/competitions/147/reports/poolstandings FIH]
|update=complete

|team1=AUS |team2=ESP |team3=GBR |team4=PAK
|result1=MR |result2=MR

|win_AUS=3 |draw_AUS=0 |loss_AUS=0 |gf_AUS=13|ga_AUS=4
|win_GBR=1 |draw_GBR=0 |loss_GBR=2 |gf_GBR=4 |ga_GBR=13
|win_PAK=0 |draw_PAK=0 |loss_PAK=3 |gf_PAK=4 |ga_PAK=12
|win_ESP=2 |draw_ESP=0 |loss_ESP=1 |gf_ESP=14|ga_ESP=6

|name_AUS={{fh|AUS}}
|name_GBR={{fh|GBR}}
|name_PAK={{fh|PAK}}
|name_ESP={{fh|ESP}}

|class_rules = 1) Points; 2) Matches won; 3) Goal difference; 4) Goals for; 5) Head-to-head result.

|res_col_header=Q
|col_MR=green1 |text_MR=[[#Pool C|Medal Round]]
}}

{{fieldhockeybox
|date=3 December 2011
|time=16:05
|team1={{fh-rt|Australia}}
|score=3–2
|team2={{fh|Spain}}
|report=[https://tms.fih.ch/matches/3832/reports/matchreport Report]
|goals1=[[Jamie Dwyer|Dwyer]] {{fhgoal|FG|10|FG|42}} [[Des Abbott|Abbott]] {{fhgoal|PC|62}}
|goals2=[[Gabriel Dabanch|Dabanch]] {{fhgoal|FG|25}} [[Eduard Tubau|Tubau]] {{fhgoal|FG|27}}
|umpires=Hamish Jamson (ENG) Germán Montes de Oca (ARG)
}}
{{fieldhockeybox
|date=3 December 2011
|time=18:05
|team1={{fh-rt|Great Britain}}
|score=2–1
|team2={{fh|Pakistan}}
|report=[https://tms.fih.ch/matches/3833/reports/matchreport Report]
|goals1=[[Mark Pearn|Pearn]] {{fhgoal|FG|45}} [[Simon Mantell|S. Mantell]] {{fhgoal|PC|65}}
|goals2=[[Muhammad Imran (field hockey)|Imran]] {{fhgoal|PC|31}}
|umpires=[[Nigel Iggo]] (NZL) Kim Hong-lae (KOR)
}}
----
{{fieldhockeybox
|date=5 December 2011<ref name="Games rescheduled">{{cite web|url=http://www.fih.ch/en/news-3444-owen-g-glenn-fih-champions-trophy-rescheduled|title=Owen G Glenn FIH Champions Trophy: Rescheduled matches|date=2011-12-04|work=fih.ch|access-date=2011-12-04}}</ref>
|time=10:05
|team1={{fh-rt|Great Britain}}
|score=1–4
|team2={{fh|Australia}}
|report=[https://tms.fih.ch/matches/3836/reports/matchreport Report]
|goals1=[[Simon Mantell|S. Mantell]] {{fhgoal|FG|55}}
|goals2=[[Matthew Butturini|Butturini]] {{fhgoal|FG|6}} [[Matthew Gohdes|Gohdes]] {{fhgoal|FG|22}} [[Jamie Dwyer|Dwyer]] {{fhgoal|FG|57}} [[Luke Doerner|Doerner]] {{fhgoal|PC|68}}
|umpires=[[Nigel Iggo]] (NZL) Peter Wright (RSA)
}}
{{fieldhockeybox
|date=5 December 2011<ref name="Games rescheduled"/>
|time=12:05
|team1={{fh-rt|Spain}}
|score=4–2
|team2={{fh|Pakistan}}
|report=[https://tms.fih.ch/matches/3837/reports/matchreport Report]
|goals1=[[Santi Freixa|Freixa]] {{fhgoal|PC|2}} [[Gabriel Dabanch|Dabanch]] {{fhgoal|FG|25}} [[Pau Quemada|Quemada]] {{fhgoal|PC|57|PC|65}}
|goals2=[[Shakeel Abbasi|Abbasi]] {{fhgoal|FG|9}} [[Sohail Abbas|Abbas]] {{fhgoal|PC|41}}
|umpires=Murray Grime (AUS) Satoshi Kondo (JPN)
}}
----
{{fieldhockeybox
|date=6 December 2011<ref name="Games rescheduled"/>
|time=12:05
|team1={{fh-rt|Spain}}
|score=8–1
|team2={{fh|Great Britain}}
|report=[https://tms.fih.ch/matches/3841/reports/matchreport Report]
|goals1=[[Eduard Tubau|Tubau]] {{fhgoal|FG|24|FG|67}} [[Pau Quemada|Quemada]] {{fhgoal|FG|25}} [[Santi Freixa|Freixa]] {{fhgoal|FG|29|FG|66}} [[Gabriel Dabanch|Dabanch]] {{fhgoal|FG|31}} [[Juan Fernández La Villa|Fernández]] {{fhgoal|FG|44}} [[Roc Oliva|Oliva]] {{fhgoal|PC|70}}
|goals2=[[Barry Middleton|Middleton]] {{fhgoal|PC|23}}
|umpires=Kim Hong-lae (KOR) Germán Montes de Oca (ARG)
}}
{{fieldhockeybox
|date=6 December 2011<ref name="Games rescheduled"/>
|time=16:05
|team1={{fh-rt|Australia}}
|score=6–1
|team2={{fh|Pakistan}}
|report=[https://tms.fih.ch/matches/3842/reports/matchreport Report]
|goals1=[[Jamie Dwyer|Dwyer]] {{fhgoal|FG|22|FG|45|FG|48}} [[Eddie Ockenden|Ockenden]] {{fhgoal|FG|31}} [[Luke Doerner|Doerner]] {{fhgoal|PC|40}} [[Mark Paterson (field hockey)|Paterson]] {{fhgoal|FG|53}}
|goals2=[[Muhammad Tousiq|Tousiq]] {{fhgoal|PC|64}}
|umpires=Nathan Stagno (GIB) Satoshi Kondo (JPN)
}}

====Pool B====
{{#invoke:Sports table|main|style=WDL
|source=[https://tms.fih.ch/competitions/147/reports/poolstandings FIH]
|update=complete

|team1=NED |team2=NZL |team3=GER |team4=KOR
|result1=MR |result2=MR

|win_NED=2 |draw_NED=1 |loss_NED=0 |gf_NED=8 |ga_NED=5
|win_GER=1 |draw_GER=1 |loss_GER=1 |gf_GER=7 |ga_GER=7
|win_NZL=1 |draw_NZL=1 |loss_NZL=1 |gf_NZL=10|ga_NZL=6
|win_KOR=0 |draw_KOR=1 |loss_KOR=2 |gf_KOR=4 |ga_KOR=11

|name_GER={{fh|GER}}
|name_NED={{fh|NED}}
|name_NZL={{fh|NZL}}
|name_KOR={{fh|KOR}}

|class_rules = 1) Points; 2) Matches won; 3) Goal difference; 4) Goals for; 5) Head-to-head result.

|res_col_header=Q
|col_MR=green1 |text_MR=[[#Pool C|Medal Round]]
}}

{{fieldhockeybox
|date=3 December 2011
|time=14:05
|team1={{fh-rt|Germany}}
|score=2–1
|team2={{fh|New Zealand}}
|report=[https://tms.fih.ch/matches/3834/reports/matchreport Report]
|goals1=[[Thilo Stralkowski|Stralkowski]] {{fhgoal|FG|9}} [[Christopher Wesley|Wesley]] {{fhgoal|FG|59}}
|goals2=[[Hugo Inglis|Inglis]] {{fhgoal|FG|14}}
|umpires=Murray Grime (AUS) Peter Wright (RSA)
}}
{{fieldhockeybox
|date=3 December 2011
|time=18:05
|team1={{fh-rt|Netherlands}}
|score=2–0
|team2={{fh|South Korea}}
|report=[https://tms.fih.ch/matches/3835/reports/matchreport Report]
|goals1=[[Taeke Taekema|Taekema]] {{fhgoal|PC|7}} [[Billy Bakker|Bakker]] {{fhgoal|FG|54}}
|umpires=Nathan Stagno (GIB) Gareth Greenfield (NZL)
}}
----
{{fieldhockeybox
|date=5 December 2011<ref name="Games rescheduled"/>
|time=14:05
|team1={{fh-rt|Netherlands}}
|score=3–2
|team2={{fh|Germany}}
|report=[https://tms.fih.ch/matches/3839/reports/matchreport Report]
|goals1=[[Billy Bakker|Bakker]] {{fhgoal|FG|12}} [[Jeroen Hertzberger|Hertzberger]] {{fhgoal|FG|32}} [[Rogier Hofman|Hofman]] {{fhgoal|FG|66}}
|goals2=[[Tobias Matania|Matania]] {{fhgoal|FG|16}} [[Christoph Menke|Menke]] {{fhgoal|FG|21}}
|umpires=Nathan Stagno (GIB) Haider Rasool (PAK)
}}
{{fieldhockeybox
|date=5 December 2011<ref name="Games rescheduled"/>
|time=16:05
|team1={{fh-rt|South Korea}}
|score=1–6
|team2={{fh|New Zealand}}
|report=[https://tms.fih.ch/matches/3838/reports/matchreport Report]
|goals1=[[Cho Suk-hoon|Cho]] {{fhgoal|FG|33}}
|goals2=[[Shea McAleese|McAleese]] {{fhgoal|FG|26|FG|36}} [[Phil Burrows (field hockey)|Burrows]] {{fhgoal|FG|34}} [[Nick Wilson (field hockey)|Wilson]] {{fhgoal|FG|52}} [[Shay Neal|Neal]] {{fhgoal|FG|63}} [[Andy Hayward (field hockey)|Hayward]] {{fhgoal|PC|70}}
|umpires=Hamish Jamson (ENG) Gareth Greenfield (NZL)
}}
----
{{fieldhockeybox
|date=6 December 2011<ref name="Games rescheduled"/>
|time=14:05
|team1={{fh-rt|South Korea}}
|score=3–3
|team2={{fh|Germany}}
|report=[https://tms.fih.ch/matches/3840/reports/matchreport Report]
|goals1=[[You Hyo-sik|You]] {{fhgoal|FG|48}} [[Kim Young-jin|Kim Y.]] {{fhgoal|FG|54}} [[Seo Jong-ho|Seo]] {{fhgoal|FG|64}}
|goals2=[[Florian Fuchs|Fuchs]] {{fhgoal|FG|31}} [[Jan-Marco Montag|Montag]] {{fhgoal|FG|34}} [[Tobias Matania|Matania]] {{fhgoal|FG|67}}
|umpires=Haider Rasool (PAK) [[Nigel Iggo]] (NZL)
}}
{{fieldhockeybox
|date=6 December 2011<ref name="Games rescheduled"/>
|time=18:05
|team1={{fh-rt|Netherlands}}
|score=3–3
|team2={{fh|New Zealand}}
|report=[https://tms.fih.ch/matches/3843/reports/matchreport Report]
|goals1=[[Billy Bakker|Bakker]] {{fhgoal|FG|28}} [[Jeroen Hertzberger|Hertzberger]] {{fhgoal|FG|29}} [[Taeke Taekema|Taekema]] {{fhgoal|PC|48}}
|goals2=[[Blair Hilton|Hilton]] {{fhgoal|FG|53}} [[Phil Burrows (field hockey)|Burrows]] {{fhgoal|FG|55}} [[Dean Couzins|Couzins]] {{fhgoal|PS|66}}
|umpires=Peter Wright (RSA) Hamish Jamson (ENG)
}}

===Second round===
====Pool C====
{{#invoke:Sports table|main|style=WDL
|source=[https://tms.fih.ch/competitions/147/reports/poolstandings FIH]
|update=complete

|team1=AUS |team2=ESP |team3=NZL |team4=NED
|result1=F |result2=F

|win_AUS=3 |draw_AUS=0 |loss_AUS=0 |gf_AUS=9 |ga_AUS=5
|win_NED=0 |draw_NED=1 |loss_NED=2 |gf_NED=6 |ga_NED=10
|win_NZL=0 |draw_NZL=1 |loss_NZL=2 |gf_NZL=6 |ga_NZL=8
|win_ESP=2 |draw_ESP=0 |loss_ESP=1 |gf_ESP=8 |ga_ESP=6

|name_AUS={{fh|AUS}}
|name_NED={{fh|NED}}
|name_NZL={{fh|NZL}}
|name_ESP={{fh|ESP}}

|class_rules = 1) Points; 2) Matches won; 3) Goal difference; 4) Goals for; 5) Head-to-head result.

|res_col_header=Q
|col_F=green1 |text_F=[[#Final|Final]]
}}

{{fieldhockeybox
|date=8 December 2011
|time=16:05
|team1={{fh-rt|Netherlands}}
|score=2−4
|team2={{fh|Australia}}
|report=[https://tms.fih.ch/matches/3847/reports/matchreport Report]
|goals1=[[Billy Bakker|Bakker]] {{fhgoal|FG|47}} [[Valentin Verga|Verga]] {{fhgoal|FG|69}}
|goals2=[[Chris Ciriello|Ciriello]] {{fhgoal|PC|29}} [[Matthew Gohdes|Gohdes]] {{fhgoal|PC|50|FG|61}} [[Jamie Dwyer|Dwyer]] {{fhgoal|FG|64}}
|umpires=Germán Montes de Oca (ARG) [[Nigel Iggo]] (NZL)
}}
{{fieldhockeybox
|date=8 December 2011
|time=18:05
|team1={{fh-rt|Spain}}
|score=3−2
|team2={{fh|New Zealand}}
|report=[https://tms.fih.ch/matches/3846/reports/matchreport Report]
|goals1=[[Ramón Alegre|R. Alegre]] {{fhgoal|PC|32}} [[Eduard Tubau|Tubau]] {{fhgoal|FG|42}} [[David Alegre|D. Alegre]] {{fhgoal|FG|66}}
|goals2=[[Andy Hayward (field hockey)|Hayward]] {{fhgoal|PC|16}} [[Blair Hilton|Hilton]] {{fhgoal|FG|36}}
|umpires=Kim Hong-lae (KOR) Murray Grime (AUS)
}}
----
{{fieldhockeybox
|date=10 December 2011
|time=16:05
|team1={{fh-rt|Netherlands}}
|score=1−3
|team2={{fh|Spain}}
|report=[https://tms.fih.ch/matches/3850/reports/matchreport Report]
|goals1=[[Bob de Voogd|De Voogd]] {{fhgoal|FG|33}}
|goals2=[[Eduard Tubau|Tubau]] {{fhgoal|FG|2}} [[Roc Oliva|Oliva]] {{fhgoal|FG|25}} [[Jorge Gabriel Dabanch|Dabanch]] {{fhgoal|FG|51}}
|umpires=Hamish Jamson (ENG) Kim Hong-lae (KOR)
}}
{{fieldhockeybox
|date=10 December 2011
|time=18:05
|team1={{fh-rt|Australia}}
|score=2–1
|team2={{fh|New Zealand}}
|report=[https://tms.fih.ch/matches/3851/reports/matchreport Report]
|goals1=[[Des Abbott|Abbott]] {{fhgoal|FG|14}} [[Eddie Ockenden|Ockenden]] {{fhgoal|FG|58}}
|goals2=[[Andy Hayward (field hockey)|Hayward]] {{fhgoal|PC|31}}
|umpires=Nathan Stagno (GIB) Germán Montes de Oca (ARG)
}}

====Pool D====
{{#invoke:Sports table|main|style=WDL
|source=[https://tms.fih.ch/competitions/147/reports/poolstandings FIH]
|update=complete

|team1=GER |team2=GBR |team3=PAK |team4=KOR

|win_GER=2 |draw_GER=1 |loss_GER=0 |gf_GER=10|ga_GER=4
|win_GBR=2 |draw_GBR=0 |loss_GBR=1 |gf_GBR=7 |ga_GBR=6
|win_PAK=1 |draw_PAK=0 |loss_PAK=2 |gf_PAK=7 |ga_PAK=9
|win_KOR=0 |draw_KOR=1 |loss_KOR=2 |gf_KOR=8 |ga_KOR=13

|name_GER={{fh|GER}}
|name_GBR={{fh|GBR}}
|name_PAK={{fh|PAK}}
|name_KOR={{fh|KOR}}

|class_rules = 1) Points; 2) Matches won; 3) Goal difference; 4) Goals for; 5) Head-to-head result.
}}

{{fieldhockeybox
|date=8 December 2011
|time=12:05
|team1={{fh-rt|Pakistan}}
|score=6−2
|team2={{fh|South Korea}}
|report=[https://tms.fih.ch/matches/3844/reports/matchreport Report]
|goals1=[[Muhammad Imran (field hockey)|Imran]] {{fhgoal|PC|15|PC|69}} [[Abdul Haseem Khan|Khan]] {{fhgoal|FG|16|FG|61}} [[Waseem Ahmed (field hockey)|W. Ahmad]] {{fhgoal|PS|63}} [[Shafqat Rasool|Rasool]] {{fhgoal|FG|63}}
|goals2=[[Lee Nam-yong|Lee N.]] {{fhgoal|FG|7}} [[Nam Hyun-woo (field hockey)|Nam]] {{fhgoal|PC|27}}
|umpires=Satoshi Kondo (JPN) Peter Wright (RSA)
}}
{{fieldhockeybox
|date=8 December 2011
|time=14:05
|team1={{fh-rt|Great Britain}}
|score=1−2
|team2={{fh|Germany}}
|report=[https://tms.fih.ch/matches/3845/reports/matchreport Report]
|goals1=[[Glenn Kirkham|Kirkham]] {{fhgoal|FG|22}}
|goals2=[[Martin Zwicker|Zwicker]] {{fhgoal|FG|4}} [[Jan-Marco Montag|Montag]] {{fhgoal|PC|70+}}
|umpires=Haider Rasool (PAK) Gareth Greenfield (NZL)
}}
----
{{fieldhockeybox
|date=10 December 2011
|time=12:05
|team1={{fh-rt|Germany}}
|score=5−0
|team2={{fh|Pakistan}}
|report=[https://tms.fih.ch/matches/3848/reports/matchreport Report]
|goals1=[[Tobias Matania|Matania]] {{fhgoal|PC|13}} [[Jan-Marco Montag|Montag]] {{fhgoal|PC|26}} [[Benjamin Weß|Weß]] {{fhgoal|FG|42}} [[Florian Fuchs|Fuchs]] {{fhgoal|FG|49}} [[Benedikt Fürk|Fürk]] {{fhgoal|FG|62}}
|goals2=
|umpires=Murray Grime (AUS) Gareth Greenfield (NZL)
}}
{{fieldhockeybox
|date=10 December 2011
|time=14:05
|team1={{fh-rt|Great Britain}}
|score=4−3
|team2={{fh|South Korea}}
|report=[https://tms.fih.ch/matches/3849/reports/matchreport Report]
|goals1=[[James Tindall|Tindall]] {{fhgoal|FG|47|FG|66}} [[Ashley Jackson (field hockey)|Jackson]] {{fhgoal|PC|60}} [[Mark Pearn|Pearn]] {{fhgoal|FG|68}}
|goals2=[[You Hyo-sik|You]] {{fhgoal|FG|31}} [[Seo Jong-ho|Seo]] {{fhgoal|FG|45}} [[Nam Hyun-woo (field hockey)|Nam]] {{fhgoal|PS|67}}
|umpires=Satoshi Kondo (JPN) Haider Rasool (PAK)}}

===Classification===
====Seventh and eighth place====
{{fieldhockeybox
|date=11 December 2011
|time=10:35
|team1={{fh-rt|Pakistan}}
|score=5–4
|aet=yes
|team2={{fh|South Korea}}
|report=[https://tms.fih.ch/matches/3852/reports/matchreport Report]
|goals1=[[Muhammad Rizwan Sr.|Rizwan Sr.]] {{fhgoal|FG|6|FG|75}} [[Muhammad Imran (field hockey)|Imran]] {{fhgoal|PC|27}} [[Muhammad Tousiq|Tousiq]] {{fhgoal|FG|34}} [[Abdul Haseem Khan|Khan]] {{fhgoal|FG|44}}
|goals2=[[Seo Jong-ho|Seo]] {{fhgoal|FG|5}} [[Jang Kyu-yeob|Jang K.]] {{fhgoal|FG|21}} [[You Hyo-sik|You]] {{fhgoal|FG|54|FG|62}}
|umpires=Peter Wright (RSA) Gareth Greenfield (NZL)}}

====Fifth and sixth place====
{{fieldhockeybox
|date=11 December 2011
|time=13:05
|team1={{fh-rt|Germany}}
|score=1–0
|team2={{fh|Great Britain}}
|report=[https://tms.fih.ch/matches/3853/reports/matchreport Report]
|goals1=[[Thilo Stralkowski|Stralkowski]] {{fhgoal|PC|30}}
|goals2=
|umpires=[[Nigel Iggo]] (NZL) Murray Grime (AUS)}}

====Third and fourth place====
{{fieldhockeybox
|date=11 December 2011
|time=15:35
|team1={{fh-rt|New Zealand}}
|score=3–5
|team2={{fh|Netherlands}}
|report=[https://tms.fih.ch/matches/3854/reports/matchreport Report]
|goals1=[[Nick Wilson (field hockey)|Wilson]] {{fhgoal|FG|18}} [[Simon Child|Child]] {{fhgoal|FG|33}} [[Stephen Jenness|Jenness]] {{fhgoal|PC|65}}
|goals2=[[Jeroen Hertzberger|Hertzberger]] {{fhgoal|FG|5}} [[Teun de Nooijer|De Nooijer]] {{fhgoal|FG|28}} [[Mink van der Weerden|Van der Weerden]] {{fhgoal|PC|57}} [[Bob de Voogd|De Voogd]] {{fhgoal|FG|67}} [[Billy Bakker|Bakker]] {{fhgoal|FG|69}}
|umpires=Nathan Stagno (GIB) Germán Montes de Oca (ARG)}}

====Final====
{{fieldhockeybox
|date=11 December 2011
|time=18:05
|team1={{fh-rt|Australia}}
|score=1–0
|team2={{fh|Spain}}
|report=[https://tms.fih.ch/matches/3855/reports/matchreport Report]
|goals1=[[Eddie Ockenden|Ockenden]] {{fhgoal|PC|59}}
|goals2=
|umpires=Hamish Jamson (ENG) Kim Hong-lae (KOR)}}

==Awards==
{| class=wikitable style="text-align:center; margin:auto"
|-
!style="width: 220px;"|Player of the Tournament
!style="width: 220px;"|Top Goalscorer
!style="width: 220px;"|Goalkeeper of the Tournament
!style="width: 220px;"|Fair Play Trophy
|-
|{{fhicon|ESP}} [[Santi Freixa]]
|{{fhicon|AUS}} [[Jamie Dwyer]]
|{{fhicon|NZL}} [[Kyle Pontifex]]
|{{fh|AUS}}
|}

==Statistics==
===Final standings===
{{small|As per statistical convention in field hockey, matches decided in regular time are counted as wins and losses, while matches decided by [[penalty shoot-out (field hockey)|penalty shoot-outs]] are counted as draws.}}

{{#invoke:Sports table|main|style=WDL

|source=[https://tms.fih.ch/competitions/147 FIH]
|update=complete

|name_AUS={{fh|AUS}} |win_AUS=6 |draw_AUS=0 |loss_AUS=0 |gf_AUS=20|ga_AUS=7
|name_GER={{fh|GER}} |win_GER=4 |draw_GER=1 |loss_GER=1 |gf_GER=15|ga_GER=8
|name_GBR={{fh|GBR}} |win_GBR=2 |draw_GBR=0 |loss_GBR=4 |gf_GBR=9 |ga_GBR=19
|name_NED={{fh|NED}} |win_NED=3 |draw_NED=1 |loss_NED=2 |gf_NED=16|ga_NED=15
|name_NZL={{fh|NZL}} |win_NZL=1 |draw_NZL=1 |loss_NZL=4 |gf_NZL=16|ga_NZL=16|status_NZL=H
|name_PAK={{fh|PAK}} |win_PAK=2 |draw_PAK=0 |loss_PAK=4 |gf_PAK=15|ga_PAK=23
|name_KOR={{fh|KOR}} |win_KOR=0 |draw_KOR=1 |loss_KOR=5 |gf_KOR=13|ga_KOR=26
|name_ESP={{fh|ESP}} |win_ESP=4 |draw_ESP=0 |loss_ESP=2 |gf_ESP=20|ga_ESP=10

|team1=AUS |team2=ESP |team3=NED |team4=NZL |team5=GER |team6=GBR |team7=PAK |team8=KOR
|pos_AUS={{gold1}} |pos_ESP={{silver2}} |pos_NED={{bronze3}} |split4=yes

|res_col_header=Final result
|result1=1st |result2=2nd |result3=3rd |result4=4th |result5=GS |result6=GS |result7=GS |result8=GS
|col_1st=gold |text_1st=Gold Medal
|col_2nd=silver |text_2nd=Silver Medal
|col_3rd=#c96 |text_3rd=Bronze Medal
|text_4th=Fourth place
|text_GS=Eliminated in group stage
}}

===Goalscorers===
{{Goalscorers
|matches=24 |goals=124
|source=[https://tms.fih.ch/competitions/147/reports/scorers FIH]

|7 goals=
*{{fhicon|AUS}} [[Jamie Dwyer]]

|6 goals=

|5 goals=
*{{fhicon|NED}} [[Billy Bakker]]
*{{fhicon|ESP}} [[Eduardo Tubau]]

|4 goals=
*{{fhicon|PAK}} [[Muhammad Imran (field hockey)|Muhammad Imran]]
*{{fhicon|KOR}} [[You Hyo-sik|You Hyo-Sik]]
*{{fhicon|ESP}} [[Gabriel Dabanch]]

|3 goals=
*{{fhicon|AUS}} [[Matthew Gohdes]]
*{{fhicon|AUS}} [[Eddie Ockenden|Edward Ockenden]]
*{{fhicon|GER}} [[Tobias Matania]]
*{{fhicon|GER}} [[Jan-Marco Montag]]
*{{fhicon|NED}} [[Jeroen Hertzberger]]
*{{fhicon|NZL}} [[Andy Hayward (field hockey)|Andrew Hayward]]
*{{fhicon|PAK}} [[Abdul Haseem Khan]]
*{{fhicon|KOR}} [[Seo Jong-ho|Seo Jong-Ho]]
*{{fhicon|ESP}} [[Santi Freixa|Santiago Freixa]]
*{{fhicon|ESP}} [[Pau Quemada]]

|2 goals=
*{{fhicon|AUS}} [[Desmond Abbott]]
*{{fhicon|AUS}} [[Luke Doerner]]
*{{fhicon|GER}} [[Florian Fuchs]]
*{{fhicon|GER}} [[Thilo Stralkowski]]
*{{fhicon|GBR}} [[Simon Mantell]]
*{{fhicon|GBR}} [[Mark Pearn]]
*{{fhicon|GBR}} [[James Tindall]]
*{{fhicon|NED}} [[Taeke Taekema]]
*{{fhicon|NED}} [[Bob de Voogd]]
*{{fhicon|NZL}} [[Phil Burrows (field hockey)|Phil Burrows]]
*{{fhicon|NZL}} [[Blair Hilton]]
*{{fhicon|NZL}} [[Shea McAleese]]
*{{fhicon|NZL}} [[Nick Wilson (field hockey)|Nicholas Wilson]]
*{{fhicon|PAK}} [[Muhammad Rizwan Sr.]]
*{{fhicon|PAK}} [[Muhammad Tousiq]]
*{{fhicon|KOR}} [[Nam Hyun-woo (field hockey)|Nam Hyun-Woo]]
*{{fhicon|ESP}} [[Roc Oliva]]

|1 goal=
*{{fhicon|AUS}} [[Matthew Butturini]]
*{{fhicon|AUS}} [[Chris Ciriello|Christopher Ciriello]]
*{{fhicon|AUS}} [[Mark Paterson (field hockey)|Mark Paterson]]
*{{fhicon|GER}} [[Benedikt Fürk]]
*{{fhicon|GER}} [[Christoph Menke]]
*{{fhicon|GER}} [[Christopher Wesley]]
*{{fhicon|GER}} [[Benjamin Weß]]
*{{fhicon|GER}} [[Martin Zwicker]]
*{{fhicon|GBR}} [[Ashley Jackson (field hockey)|Ashley Jackson]]
*{{fhicon|GBR}} [[Glenn Kirkham]]
*{{fhicon|GBR}} [[Barry Middleton]]
*{{fhicon|NED}} [[Rogier Hofman]]
*{{fhicon|NED}} [[Teun de Nooijer]]
*{{fhicon|NED}} [[Valentin Verga]]
*{{fhicon|NED}} [[Mink van der Weerden]]
*{{fhicon|NZL}} [[Simon Child]]
*{{fhicon|NZL}} [[Dean Couzins]]
*{{fhicon|NZL}} [[Hugo Inglis]]
*{{fhicon|NZL}} [[Stephen Jenness]]
*{{fhicon|NZL}} [[Shay Neal]]
*{{fhicon|PAK}} [[Sohail Abbas]]
*{{fhicon|PAK}} [[Shakeel Abbasi]]
*{{fhicon|PAK}} [[Waseem Ahmed (field hockey)|Waseem Ahmed]]
*{{fhicon|PAK}} [[Shafqat Rasool]]
*{{fhicon|KOR}} [[Jang Kyu-yeob|Jang Kyu-Yeob]]
*{{fhicon|KOR}} [[Lee Nam-yong|Lee Nam-Yong]]
*{{fhicon|KOR}} [[Cho Suk-hoon|Cho Suk-Hoon]]
*{{fhicon|KOR}} [[Kim Young-jin|Kim Young-Jin]]
*{{fhicon|ESP}} [[David Alegre]]
*{{fhicon|ESP}} [[Ramón Alegre]]
*{{fhicon|ESP}} [[Juan Fernández La Villa]]
}}

==References==
{{Reflist}}

==External links==
*[http://www.fih.ch/events/champions-trophy/champions-trophy-auckland-2011-m/ Official FIH website]

{{CT field hockey}}

[[Category:Champions Trophy (field hockey)]]
[[Category:2011 in field hockey|Champions Trophy]]
[[Category:International field hockey competitions hosted by New Zealand]]
[[Category:2011 in New Zealand sport|Hockey Champions Trophy 2011]]
[[Category:Sports competitions in Auckland]]
[[Category:2010s in Auckland]]
[[Category:December 2011 sports events in New Zealand]]

Rupamanjari Ghosh

2026-02-21T07:58:39Z

Giispune: New

{{short description|Indian physicist}}
{{Infobox scientist
| name = Rupamanjari Ghosh
| image =
| alt =
| caption = 
| birth_date =
| birth_place =
| death_date =
| death_place =
| fields = [[Quantum Optics]], [[Nonlinear Optics]], [[Quantum Information]]
| workplaces = [[Shiv Nadar University]], [[Jawaharlal Nehru University]]
| alma_mater = [[Rajabazar Science College]] [[University of Calcutta]] [[University of Rochester]]
| doctoral_advisor = [[Leonard Mandel]]
| doctoral_students =
| known_for =
| awards = Streeshakti Science Samman, 2008<ref>{{cite web|title=Prof. Rupamanjari Ghosh|url=http://www.streeshakti.com/Rupamanjari-Ghosh.aspx|publisher=Stree Shakti|accessdate=11 October 2014}}</ref>
}}
'''Rupamanjari Ghosh''' was the second Vice-Chancellor (1 February 2016 – 31 January 2022) of [[Shiv Nadar University]], Uttar Pradesh, India. She is also the former founding Director of School of Natural Sciences and founding Dean of Research & Graduate Studies at Shiv Nadar University, and a former Professor of physics and Dean at the School of Physical Sciences, [[Jawaharlal Nehru University]], New Delhi. Her research areas include Experimental and Theoretical [[Quantum Optics]], Laser Physics, [[Nonlinear Optics]], [[Quantum Information]], Quantum Measurement and Magneto-Optics.<ref>{{cite web|last1=Ghosh|first1=Rupamanjari|title=Professor Rupamanjari Ghosh|url=http://www.jnu.ac.in/Faculty/rghosh/|publisher=Jawaharlal Nehru University|accessdate=11 October 2014}}</ref>

==Education and career==
Ghosh is a researcher, teacher, orator and an academic administrator. Ghosh has B.Sc.(Physics honors) and M.Sc.(Physics) degrees from the University of Calcutta campus - [[Rajabazar Science College]], and a Ph.D. in Physics from the [[University of Rochester]], NY in Quantum Optics where she worked as a Rush Rhees Fellow.<ref>{{cite web|title=Graduate Alumni 1980-1989|url=https://www.pas.rochester.edu/graduate/alumni-1980-1989.html|publisher=University of Rochester|accessdate=11 October 2014}}</ref> Her research interests are in Experimental and Theoretical Quantum Optics, Laser Physics, Nonlinear Optics, and Quantum Information. Her work with Prof [[Leonard Mandel]] on [[two-photon interference]] (using the nonlinear optical process of [[spontaneous parametric down-conversion]]) involved the creation and use of a source of entangled photon pairs, and of single photons.<ref>{{cite journal|title=Interference of two photons in parametric down-conversion|year=1986|url=http://journals.aps.org/pra/abstract/10.1103/PhysRevA.34.3962|publisher=American Physical Society|doi=10.1103/PhysRevA.34.3962|last1=Ghosh|first1=R.|last2=Hong|first2=C. K.|last3=Ou|first3=Z. Y.|last4=Mandel|first4=L.|journal=Physical Review A|volume=34|issue=5|pages=3962–3968|pmid=9897741|url-access=subscription}}</ref><ref>{{cite journal|title=Observation of nonclassical effects in the interference of two photons|year=1987|url=http://journals.aps.org/prl/abstract/10.1103/PhysRevLett.59.1903|publisher=American Physical Society|doi=10.1103/PhysRevLett.59.1903|accessdate=11 October 2014|last1=Ghosh|first1=R.|last2=Mandel|first2=L.|journal=Physical Review Letters|volume=59|issue=17|pages=1903–1905|pmid=10035364|url-access=subscription}}</ref> After her Ph.D., she returned to India and joined the School of Physical Sciences, [[Jawaharlal Nehru University]], where she held academic and administrative positions over a span of 24 years. She has also held several Visiting Positions at [[University of Paris-Sud|Université Paris-Sud]], [[Universite de Rennes I]] and [[École Normale Supérieure]] among others.

Ghosh is a former Dean, School of Physical Sciences at Jawaharlal Nehru University, New Delhi. Recipient of the Stree Shakti Science Samman for her "original contribution to Science",<ref>{{cite web|title=Stree Shakti Science Samman Citation|url=http://www.jnu.ac.in/Faculty/rghosh/StreeShaktiScienceAward_Citation09.pdf|publisher=Jawaharlal Nehru University|accessdate=11 October 2014}}</ref> she serves as an expert in DST (Government of India) committees in Physical Sciences, in UGC, CSIR, and in many Central and State universities and institutes. She has also served as the Chief Advisor for the National Council of Educational Research and Training (NCERT) Science textbooks for Classes IX and X, developed afresh under the National Curriculum Framework-2005.

She joined the Shiv Nadar University in 2012 as the founding Director of the School of Natural Sciences. She also took charge as the founding Dean of Research & Graduate Studies, the founding Head of the Faculty Development Center, and later, as the Director of the School of Engineering. She became the Vice-Chancellor of Shiv Nadar University in February 2016.

==Awards==
Ghosh was awarded the Streeshakti Science Samman<ref>{{cite web|title=Prof. Rupamanjari Ghosh|url=http://www.streeshakti.com/Rupamanjari-Ghosh.aspx|publisher=Stree Shakti|accessdate=11 October 2014}}</ref> in 2008.

==References==
{{reflist}}

{{Use dmy dates|date=October 2017}}

{{authority control}}

{{DEFAULTSORT:Ghosh, Rupamanjari}}
[[Category:Living people]]
[[Category:Year of birth missing (living people)]]
[[Category:Bengali physicists]]
[[Category:20th-century Indian physicists]]
[[Category:Women scientists from Uttar Pradesh]]
[[Category:Scholars from Uttar Pradesh]]
[[Category:Women in optics]]
[[Category:Optical physicists]]
[[Category:Laser researchers]]
[[Category:20th-century Indian women physicists]]

Kali

2026-02-18T00:48:00Z

Giispune: General improvements and edits

{{Short description|Major deity in Indian religions symbolizing power, time, and death}}
{{about|the form of [[Mahadevi]]|the Supreme goddess of time and death |Mahakali|the auspicious form of the goddess|Bhadrakali|the malevolent entity in Hinduism|Kali (demon)|other uses|Kali (disambiguation)}}
{{pp-move}}
{{protection padlock|small=yes}}
{{Use Indian English|date=March 2015}}
{{Use dmy dates|date=March 2015}}
{{Infobox deity
| type = Hindu
| name = Kali
| deity_of = Goddess of Time, Death and Destruction
| abode = [[Shmashana Adhipati|Cremation ground]]s, [[Battlefield]]s (varies by interpretation), [[Manidvipa|Maṇidvīpa]]
| consort = [[Shiva]]<ref>{{cite book|author=Wendy Doniger|title=Merriam-Webster's Encyclopedia of World Religions |url=https://archive.org/details/isbn_9780877790440|url-access=registration|year=1999|publisher=Merriam-Webster|isbn=978-0-87779-044-0|page=629}}</ref>
| mantra = *''oṁ jayantī maṅgalā kālī bhadrakālī kapālinī durgā śivā kṣamā dhātrī svāhā svadhā namo'stute''
*''oṁ kālī kālī mahākālī kālike parameśvari sarvānandakare devī nārāyaṇi namo'stute''
*''oṁ krīṃ kālīkāyai namaḥ''
| weapon = [[Scimitar]], [[Trishula]] ([[Trident]])
| image = Kali by Raja Ravi Varma.jpg
| festivals = {{hlist|[[Kali Puja]]|[[Navaratri|Seventh day of Navaratri]]|[[Kali Chaudas]]}}
| caption = ''Kali'' by [[Raja Ravi Varma]]
| affiliation = {{hlist|[[Shakti]]|[[Mahadevi]]|[[Durga]]|[[Parvati]]|[[Mahakali]]|[[Mahavidyas]]}}
| gender = Female
| member_of = The Ten [[Mahavidyas]]
| day = Tuesday and Friday
| texts = [[Devi-Bhagavata Purana]], [[Devi Mahatmya]], [[Kalika Purana]], [[Shakta Upanishads]], [[Tantra]]s
| mount = [[Jackal]]
}}
{{Hinduism}}
{{Saktism}}

'''Kali''' ({{IPAc-en|ˈ|k|ɑː|l|iː}}; {{langx|sa|काली}}, {{IAST3|Kālī}}), also called '''Kalika''', is a major [[Devi|goddess]] in [[Hinduism]], primarily associated with time, death, and destruction. Kali is also connected with transcendental knowledge and is the first of the ten [[Mahavidyas]], a group of goddesses who provide liberating knowledge.<ref name="Paul"/><ref>{{cite news |url=https://timesofindia.indiatimes.com/religion/rituals-puja/the-significance-of-dus-mahavidya/articleshow/68206997.cms |title=The Significance of Dus Mahavidya |work=[[The Times of India]] |access-date=4 April 2019}}</ref> Of the numerous [[List of Hindu deities#Tridevi|Hindu goddesses]], Kali is held as the most famous.<ref name="Lynn"/> She is the preeminent deity in the [[Tantra#Hindu tantra|Hindu tantric]] and the [[Shaktism#Kalikula: family of Kali|Kalikula]] worship traditions, and is a central figure in the goddess-centric sects of Hinduism as well as in [[Shaivism]].<ref name="EY"/><ref>{{Cite web |title=Dakshin Kali Khadgamala Stotra: A Hymn to the Fierce and Compassionate Goddess from Rudrayamal Tantra - Aghori Stories |url=https://aghoristories.com/tantra/dakshina-kali-khadgamala-stotra-a-hymn-to-the-fierce-and-compassionate-goddess-from-rudrayamal-tantra/?amp=1 |access-date=2024-05-06 |website=aghoristories.com |date=February 2024}}</ref> Kali is chiefly worshipped as the Divine Mother, Mother of the Universe, and [[Shakti|Divine feminine energy]].<ref name="Hawley">{{Cite book |last1=Hawley |first1=John Stratton |title=Sri Ramakrishna: The Spiritual Glow |last2=Wulff |first2=Donna Marie |publisher=Motilal Banarsidass |year=1982 |pages=152}}</ref><ref name="Harding">{{cite book |last1=Harding |first1=Elizabeth U. |title=Kali: The Black Goddess of Dakshineswar |url=https://books.google.com/books?id=4woiJbQTsBQC |year=1993 |publisher=Nicolas Hays |isbn=978-8120814509}}</ref><ref name="McDaniel">{{cite book |last1=McDaniel |first1=June |title=Offering Flowers, Feeding Skulls: Popular Goddess Worship in West Bengal |year=2004 |publisher=Oxford University Press}}</ref>

The origins of Kali can be traced to the pre-Vedic and [[Vedic period|Vedic]] era goddess worship [[Sampradaya|traditions]] in the [[Indian subcontinent]].<ref name="EY">{{cite web |url=https://www.britannica.com/topic/Kali |title=Kali |date=31 July 2024 |work=[[Encyclopædia Britannica]]|access-date= }}</ref> Etymologically, the term ''Kali'' refers to one who governs time or is black. The first major appearance of Kali in the [[Sanskrit]] literature was in the sixth-century CE text ''[[Devi Mahatmya]]''.<ref name="EY"/> Kali appears in many stories, with the most popular one being when she manifests as personification of goddess [[Durga]]'s rage to defeat the demon [[Raktabija]]. The terrifying iconography of Kali makes her a unique figure among the [[List of goddesses|goddesses]] and symbolises her embracement and embodiment of the grim worldly realities of blood, death and destruction.<ref name="Paul"/>

Kali is stated to protect and bestow liberation (''[[moksha]]'') to devotees who approach her with an attitude of a child towards mother. Devotional songs and poems that extol the motherly nature of Kali are popular in [[Bengal]], where she is most widely worshipped as the Divine Mother. [[Shaktism|Shakta]] and [[Tantra|Tantric]] traditions additionally worship Kali as the ultimate reality or ''[[Brahman]]''.<ref name="McDaniel" /> In modern times, Kali has emerged as a symbol of significance for women.<ref name="Paul"/>

==Etymology==
The term ''Kali'' is derived from ''Kala'', which is mentioned quite differently in [[Sanskrit]].<ref name="Jones">{{cite encyclopedia |last1=Jones |first1=Constance |last2=Ryan |first2=James D. |title=Encyclopedia of Hinduism |series=Encyclopedia of World Religions |location=New York |publisher=Infobase Publishing |year=2007 |isbn=9780816054589 |url=https://archive.org/details/wg992 |pages=220–221}}</ref> The homonym ''{{IAST|[[Kāla (time)|kālá]]}}'' (time) is distinct from ''kāla'' (black), but these became associated through [[popular etymology]].<ref name="Coburn111-112"/>
Kali is then understood as "she who is the ruler of time", or "she who is black".<ref name="Jones"/> Kālī is the goddess of time or death and the consort of Shiva.<ref name="McDermott2001">{{cite book |last1=McDermott |first1=Rachel Fell |url=https://books.google.com/books?id=FeMX2g8lqkAC&pg=PA175 |title=Singing to the Goddess: Poems to Kali and Uma from Bengal |publisher=[[Oxford University Press]] |year=2001 |isbn=978-0198030706}}</ref> She is called Kali Mata ("the dark mother") and also ''kālī'', which can be read here either as a [[proper name]] or as a description: "the dark (or black) one".<ref name="Coburn111-112">{{cite book |last1=Coburn |first1=Thomas |title=Devī-Māhātmya – Crystallization of the Goddess Tradition |publisher=Motilal Banarsidass, Delhi |year=1984 |isbn=978-81-208-0557-6}}</ref>

==History==
Although the word ''{{IAST|Kālī}}'' appears as early as the [[Atharva Veda]], the first use of it as a proper name is in the ''Kathaka Grhya Sutra'' (19.7).<ref name="Urban">{{cite book |last=Urban |first=Hugh B. |author-link=Hugh Urban |chapter=India's Darkest Heart: Kali in the Colonial Imagination |year=2003 |editor-last=McDermott |editor-first=Rachel Fell |editor-last2=Kripal |editor-first2=Jeffrey J. |title=Encountering Kali: In the Margins, at the Center, in the West |publisher=University of California Press |page=171 |isbn=978-0-520-92817-6}}</ref> Kali originated as a tantric and non-Vedic goddess. Her roots are most probably connected to the Pre-Aryan period.<ref>{{Cite book |last1=Mohanty |first1=Seema |url=https://books.google.com/books?id=3KyfCUvoAtoC |title=The Book of Kali |last2=Seema |date=July 2009 |publisher=Penguin Books India |isbn=978-0-14-306764-1 |language=en}}</ref> According to Indologist [[Wendy Doniger]], Kali's origins can be traced to the deities of the Pre-Vedic village, tribal, and mountain cultures of South Asia who were gradually appropriated and transformed by the Sanskritic traditions.<ref name="EY" />

==Legends==
Her most well-known appearance is on the battlefield in the sixth century text ''[[Devi Mahatmyam]]''. The deity of the first chapter of ''Devi Mahatmyam'' is Mahakali, who appears from the body of sleeping [[Vishnu]] as goddess Yoga Nidra to wake him up in order to protect [[Bramha|Brahma]] and the world from two [[asuras]] (demons), [[Madhu-Kaitabha]]. When Vishnu woke up he started a war against the two asuras. After a long battle with Vishnu, the two demons were undefeated and Mahakali took the form of Mahamaya to enchant the two asuras. When Madhu and Kaitabha were enchanted by Mahakali, Vishnu killed them.<ref name="Kinsley1997">{{cite book |last1=Kinsley |first1=David |title=Tantric Visions of the Divine Feminine: The Ten Mahavidyas |location=Berkeley |publisher=University of California Press |year=1997 |pages=70–76}}</ref>

In later chapters, the story of two asuras who were destroyed by Kali can be found. [[Chanda and Munda]] attack the goddess [[Kaushiki]]. Kaushiki responds with such anger that it causes her face to turn dark, resulting in Kali appearing out of her forehead. Kali's appearance is dark blue, gaunt with sunken eyes, wearing a tiger skin [[sari]] and a [[Mundamala|garland of human heads]]. She immediately defeats the two asuras. Later in the same battle, the asura [[Raktabija]] is undefeated because of his ability to reproduce himself from every drop of his blood that reaches the ground. Countless Raktabija clones appear on the battlefield. Kali eventually defeats him by sucking his blood before it can reach the ground, and eating the numerous clones. Kinsley writes that Kali represents "Durga's personified wrath, her embodied fury".<ref name="Kinsley1997" />

Other origin stories involve Parvati and Shiva. Parvati is typically portrayed as a benign and friendly goddess. The ''[[Linga Purana]]'' describes Shiva asking Parvati to defeat the asura [[Daruka]], who received a boon that would only allow a female to kill him. Parvati merges with Shiva's body, reappearing as Kali to defeat Daruka and his armies. Her bloodlust gets out of control, only calming when Shiva intervenes. The ''[[Vamana Purana]]'' has a different version of Kali's relationship with Parvati. When Shiva addresses Parvati as Kali, "the dark blue one", she is greatly offended. Parvati performs austerities to lose her dark complexion and becomes Gauri, the golden one. Her dark sheath becomes ''[[Kaushiki]]'', who while enraged, creates Kali.<ref name="Kinsley1997" />

In the [[Devi Bhagavata Purana]], Kali turns black out of rage, while battling the demons [[Shumbha and Nishumbha]].<ref name="Jones"/>{{rp|221}}

===Slayer of Raktabīja===
In Kāli's most famous legend, [[Durga]] and her assistants, the [[Matrikas]], wound the demon [[Raktabīja]], in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that drips from Raktabīja, he reproduces a duplicate of himself. The battlefield becomes increasingly filled with his duplicates.<ref name="Kinsley1997" /> Durga summons Kāli to combat the demons. This episode is described in the ''[[Devi Mahatmya]]m,'' Kali is depicted as being fierce, clad in a tiger's skin and armed with a sword and noose. She has deep, red eyes with tongue lolling out as she catches drops of Raktabīja's blood before they fall to the ground and create duplicates.<ref name="Wangu2003" />

Kali consumes Raktabīja and his duplicates, and dances on the corpses of the slain.<ref name="Kinsley1997" /> In the ''Devi Mahatmya'' version of this story, Kali is also described as a ''Matrika'' and as a ''[[Shakti]]'' or power of [[Durga|Devi]]. She is given the epithet ''{{IAST|Cāṃuṇḍā}}'' (''[[Chamunda]]''), that is, the slayer of the demons [[Chanda and Munda]].<ref name ="Wangu2003">{{cite book |last1=Wangu |first1=Madhu Bazaz |title=Images of Indian Goddesses |year=2003 |publisher=Abhinav Publications |isbn=978-81-7017-416-5}}</ref>{{rp|72}} ''Chamunda'' is very often identified with Kali and is very much like her in appearance and habit.<ref name="Kinsley1997" />{{rp|241 Footnotes}}

==Iconography and forms==
The goddess Kali is regarded as the most famous female deity of all the numerous [[List of Hindu deities#Tridevi|Hindu goddesses]].<ref name="Lynn">{{cite encyclopedia |last=Foulston |first=Lynn |editor-last1=Cush |editor-first1=Denise |editor-last2=Robinson |editor-first2=Catherine |editor-last3=York |editor-first3=Michael |chapter=ŚAKTI |page=730 |title=Encyclopedia of Hinduism |publisher=Routledge |year=2008 |doi=10.4324/9780203862032 |isbn=978-0-7007-1267-0 |url=https://www.taylorfrancis.com/books/mono/10.4324/9780203862032/encyclopedia-hinduism-denise-cush-catherine-robinson-michael-york |url-access=subscription}}</ref> The uncommon appearance of Kali is explained as a cause of her popularity.<ref name="Paul"/>{{rp|398}} Kali is iconographically depicted as a "terrifying emaciated woman," with black skin, long tangled hair, red eyes and a long lolling tongue. She is naked barring a grim set of ornamentation: "a necklace of skulls or freshly decapitated heads, a skirt of severed arms and jewellery made from the corpses of infants." The "wildness" is a defining aspect of her character.<ref name="Paul"/>{{rp|399}} The terrifying iconography of Kali is considered symbolic of her role as a protector and a bestower of freedom to devotees, of whom she shall take care if they come to her in the "attitude of a child."<ref name="Paul"/>{{rp|399}} Devotional songs and poems that glorify the motherly nature of Kali are popular in [[Bengal]], where she is most extensively worshipped.<ref name="Paul"/>{{rp|399}}

In the [[Devi Mahatmya]], where Kali first appeared as a personification of the rage of goddess [[Durga]], an aspect of Kali's character was her thirst for blood and fondness to stay at places of death and destruction.<ref name="Paul"/>{{rp|399}} In original depictions, Kali was often pictured in a cremation ground or battlefield standing on the corpse of [[Shiva]], which symbolized her manifestation as [[Shakti]].<ref name=":3" /> Kali represents the goddess embracing and encompassing the grim worldly realities of "blood, death and destruction".<ref name="Paul">{{cite encyclopedia |last=Reid-Bowen |first=Paul |editor-last1=Cush |editor-first1=Denise |editor-last2=Robinson |editor-first2=Catherine |editor-last3=York |editor-first3=Michael |chapter=KĀLĪ AND CAṆḌĪ |pages=398–399 |title=Encyclopedia of Hinduism |publisher=Routledge |year=2008 |doi=10.4324/9780203862032 |isbn=978-0-7007-1267-0 |url=https://www.taylorfrancis.com/books/mono/10.4324/9780203862032/encyclopedia-hinduism-denise-cush-catherine-robinson-michael-york |url-access=subscription}}</ref>

The ''Kalika [[Puranas|Purana]]'' describes Kali as "possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotus, her hair unrestrained, body firm and youthful".<ref name="White2000">{{cite book |last1=Gupta |first1=Sanjukta |editor-last1=White |editor-first1=David Gordon |editor-link=David Gordon White |chapter=The Worship of Kali According to the Todala Tantra |title=Tantra in Practice |year=2000 |publisher=Princeton Press |page=466 |isbn=0-691-05778-8 |ref=refWhite2000}}</ref> The goddess has two depictions: the popular [[Chaturbhuja|four-armed]] form and the ten-armed Mahakali avatar. In both, she is described as being black in colour, though she is often seen as blue in popular Indian art. Her eyes are described as red with intoxication and rage. Her hair is disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. Sometimes she dons a skirt made of demon arms and a [[Mundamala|garland of demon heads]]. Other times, she is seen wearing a tiger skin. She is also accompanied by [[Serpent (symbolism)|serpents]] and a [[jackal]] while standing on the calm and prostrate Shiva, usually right foot forward to symbolize the more popular ''[[dakṣiṇācāra]]'' ("right-hand path"), as opposed to the more infamous and transgressive [[vamachara]] ("left-hand path").<ref name="Rawson">{{cite book |last1=Rawson |first1=Philip |title=The Art of Tantra |url=https://archive.org/details/tantra00phil |url-access=registration |year=1973 |publisher=Thames & Hudson}}</ref> Her mount, or ''[[vahana]]'', is the lion.<ref>{{Cite book |last=Williams |first=George Mason |title=Handbook of Hindu mythology |date=2003 |publisher=ABC-CLIO |isbn=978-1-57607-106-9 |series=Handbooks of world mythology |location=Santa Barbara (Calif.) |pages=173}}</ref>

===Popular form===
[[File:Goddess Kali.jpg|thumb|A Tamil depiction of Kali, 12th century, [[National Museum of India]]|420x420px]]Kali is depicted with four arms, which symbolize the circle of creation and dissolution.<ref name=":3" /> Her left hands are depicted holding a severed head and a sword.<ref name=":3">{{Cite book |last1=Foulston |first1=Lynn |title=Hindu goddesses: beliefs and practices |last2=Abbott |first2=Stuart |date=2009 |publisher=Sussex Academic |isbn=978-1-902210-43-8 |edition= |location=Brighton |pages=34–38}}</ref> The sword signifies divine knowledge and the human head signifies human ego which must be slain by divine knowledge in order to attain [[moksha]]. The right hands are usually depicted in the [[mudra#Abhaya Mudrā|abhaya]] (fearlessness) and [[mudra#Varada Mudrā|varada]] (blessing) [[mudra]]s, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.<ref name="White2000" />{{rp|477}}

She wears a [[Mundamala|garland of demon heads]], variously enumerated at [[108 (number)|108]] (an auspicious number in Hinduism and the number of countable beads on a [[japa]] [[japa mala|mala]] or rosary for repetition of [[mantras]]) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, [[Devanagari]]. Hindus believe [[Sanskrit]] is a language of [[dynamism (metaphysics)|dynamism]], and each of these letters represents a form of energy, or a form of Kali. Therefore, she is generally seen as the mother of language, and all [[mantra]]s.<ref name="White2000" />{{rp|475}}

She is often depicted naked which symbolizes her being beyond the covering of [[Maya (Hinduism)|Maya]] since she is pure (''nirguna'') being-consciousness-bliss and far above Prakriti. She is shown as very dark as she is Brahman in its supreme unmanifest state. She has no permanent qualities—she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, and bad do not apply to her.<ref name="White2000" />{{rp|463–488}}

===Mahakali===
{{Main|Mahakali}}

[[File:Goddess Mahakali - National Museum, Delhi.jpg|thumb|upright|[[Mahakali]], goddess of time and death, depicted with a black complexion with ten heads, arms and legs.]]
Mahakali ([[Sanskrit]]: Mahākālī, [[Devanagari]]: महाकाली, [[Bengali language|Bengali]]: মহাকালী, [[Gujarati language|Gujarati]]: મહાકાળી), literally translated as "Great Kali", is sometimes considered as a greater form of Kali, identified with the Ultimate reality of [[Brahman]]. It can also be used as an honorific of the Goddess Kali,.<ref name="McDaniel"/>{{rp|257}} Mahakali symbolizes absolute night and the power of time. She is depicted with five or ten heads, each with three eyes and holding different weapons. Mahakali is known as the origin of all things, her consort is [[Mahakala]].<ref name="McDaniel" />{{rp|257}}

The [[Skanda Purana]] mentions that Kali took the form of Mahakali at the instruction of Shiva who wanted her to destroy the world during the time of universal [[Pralaya|destruction]].<ref name="McDaniel" />{{rp|242}}

In the ten-armed form of Mahakali, she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.<ref>{{cite book |last1=Sankaranarayanan |first1=Sri |title=Glory of the Divine Mother: Devi Mahatmyam |publisher=Nesma Books India |year=2001 |isbn=978-8187936008 |page=127}}</ref>

===Dakshinakali===
Dakshinakali is the most popular form of Kali in Bengal.<ref>{{cite book |last1=Harper |first1=Katherine Anne |last2=Brown |first2=Robert L. |title=The Roots of Tantra |year=2012 |publisher=SUNY Press |isbn=978-0-7914-8890-4 |page=53}}</ref> She is the benevolent mother, who protects her devotees and children from mishaps and misfortunes. There are various versions for the origin of the name ''Dakshinakali''. ''[[Dakshina]]'' refers to the gift given to a priest before performing a ritual or to one's guru. Such gifts are traditionally given with the right hand. Dakshinakali's two right hands are usually depicted in gestures of blessing and giving of boons. One version of the origin of her name comes from the story of [[Yama]], lord of death, who lives in the south (''dakshina''). When Yama heard Kali's name, he fled in terror, and so those who worship Kali are said to be able to overcome death itself.<ref name="Kinsley1998pp86-90">{{cite book |last1=Kinsley |first1=David R. |title=Hindu Goddesses: Visions of the Divine Feminine in the Hindu Religious Tradition |url=https://books.google.com/books?id=hgTOZEyrVtIC |year=1988 |publisher=[[University of California Press]] |isbn=978-8120803947 |pages=86–90}}</ref><ref name="Dold2003" />{{rp|53–55}}

Dakshinakali is typically shown with her right foot on [[Shiva]]'s chest—while depictions showing Kali with her left foot on Shiva's chest depict the even more fearsome Vamakali. Vamakali is usually worshipped by non-householders.<ref name="Pravrajika Vedantaprana 2015 p.16">Pravrajika Vedantaprana, Saptahik Bartaman, Volume 28, Issue 23, Bartaman Private Ltd., 6, JBS Haldane Avenue, 700 105 (ed. 10 October 2015) p.16</ref>

The pose shows the conclusion of an episode in which Kali was rampaging out of control after destroying many demons. Vishnu confronted Kali in an attempt to cool her down. She was unable to see beyond the limitless power of her rage and Vishnu had to move out of her way. Seeing this the devas became more fearful, afraid that in her rampage, Kali would not stop until she destroyed the entire universe. Shiva saw only one solution to prevent Kali's endless destruction. Shiva lay down on the battlefield so that Goddess Mahakali would have to step on him. When she saw her consort under her foot, Kali realized that she had gone too far. Filled with grief for the damage she had done, her blood-red tongue hung from her mouth, calming her down. In some interpretations of the story, Shiva was attempting to receive Kali's grace by receiving her foot on his chest.<ref>{{Cite book |last=Kinsley |first=David R. |editor1-last=McDermott |editor1-first=Rachel Fell |editor2-last=Kripal |editor2-first=Jeffrey J. |chapter=Kali |title=Encountering Kali: in the margins, at the center, in the West |year=2003 |publisher=University of California Press |page=36 |isbn=978-0-520-92817-6}}</ref>

Rachel Fell McDermott finds that in the [[Mahabhagavata Purana]], Shiva is portrayed as "the devotee who falls at [Kali's] feet in devotion, in the surrender of his ego, or in hopes of gaining ''moksha'' by her touch." In fact, Shiva is said to have become so enchanted by Kali that he performed austerities to win her, and having received the treasure of her feet, held them against his heart in reverence.<ref name="Dold2003">{{cite book |last1=Dold |first1=Patricia |editor-last1=McDermott |editor-first1=Rachel Fell |editor2-last=Kripal |editor2-first=Jeffrey J. |chapter=Kali the Terrific and Her Tests |title=Encountering Kali: In the Margins, at the Center, in the West |url=https://books.google.com/books?id=bMUJyU_C-LkC |year=2003 |publisher=University of California Press |page=54 |isbn=978-0-520-92817-6}}</ref>

The popularity of the worship of the Dakshinakali form of Goddess Kali is often attributed to [[Krishnananda Agamavagisha]]. He was a noted 17th-century Bengali Tantra thinker and author of ''Tantrasara''. Devi Kali reportedly appeared to him in a dream and told him to popularize her in a particular form that would appear to him the following day. The next morning he observed a young woman making cow dung patties. While placing a patty on a wall, she stood in the ''alidha'' pose, with her right foot forward. When she saw Krishnananda watching her, she was embarrassed and put her tongue between her teeth, Agamavagisha realized that this was the divine form of maa kali he was looking for.<ref name="Dold2003" />{{rp|54}}<ref name="Sircar1998">{{cite book |last1=Sircar |first1=Dineschandra |author-link=Dineschandra Sircar |title=The Śākta Pīṭhas |year=1998 |publisher=Motilal Banarsidass Publ |isbn=978-81-208-0879-9 |page=74}}</ref> Krishnananda Agamavagisha was also the guru of the Kali devotee and poet [[Ramprasad Sen]].<ref name="Harding" />{{rp|217}}

===Samhara Kali===
Samhara Kali, also called Vama Kali, is the embodiment of the power of destruction. The chief goddess of Tantric texts, Samhara Kali is the most dangerous and powerful form of Kali. Samhara Kali takes form when Kali steps out with her left foot holding her sword in her right hand. She is the Kali of death, destruction and is worshipped by tantrics. As Samhara Kali she gives death and liberation. According to the Mahakala Samhita, Samhara Kali is two armed and black in complexion. She stands on a corpse and holds a freshly cut head and a plate to collect the dripping blood. She is worshipped by warriors, tantrics – the followers of [[Tantra]].<ref name="Harding" />

===Other forms===
Other forms of Kali popularly worshipped in Bengal include Raksha Kali (form of Kali worshipped for protection against epidemics and drought), Bhadra Kali and Guhya Kali. Kali is said to have 8, 12, or 21 different forms according to different traditions. The popular forms are Adya Kali, Chintamani Kali, Sparshamani Kali, Santati Kali, Siddhi Kali, Dakshina Kali, Bhadra Kali, Adharvana Bhadra Kali, Smashana Kali, Rakta Kali, Kamakala Kali, Guhya Kali, Hamsa Kali, Shyama Kali, and Kalasankarshini Kali. In [[Gujarat]], [[Khodiyar]] is a regional form of [[Mahakali]].<ref name="Pravrajika Vedantaprana 2015 p.16"/>

==Symbolism==
[[File:Maa Bhavatarini's face @ Dakshineshwar Kali Temple.JPG|thumb|upright|In [[Bengal]] and [[Odisha]], Kali's extended tongue is widely seen as expressing embarrassment over the realization that her foot is on her husband's chest.<ref name="Dold2003" />{{rp|53–55}}<ref name="Kali's Tongue" /><ref name="Dutta2011" /><ref name="McDaniel"/>{{rp|237}} Above: idol of Kali at the [[Dakshineshwar Kali Temple]].]]

Interpretations of the symbolic meanings of Kali's appearance vary depending on Tantric or devotional approach, and on whether one views her image in a symbolic, allegorical or mystical fashion.<ref name="Kinsley1998pp86-90" /> There are many varied depictions of the different forms of Kali. The most common form shows her with four arms and hands, showing aspects of both creation and destruction. The two right hands are often held out in blessing, one in a mudra saying "fear not" ([[abhayamudra]]), the other conferring boons. Her left hands hold a severed head and blood-covered sword. The sword severs the bondage of ignorance and ego ([[Tamas (philosophy)|tamas]]), represented by the severed head. One interpretation of Kali's tongue is that the red tongue symbolizes the [[rajasic]] nature being conquered by the white (symbolizing [[sattvic]]) nature of the teeth. Her blackness represents that she is ''[[nirguna]]'', beyond all qualities of nature, and transcendent.<ref name="Kinsley1998pp86-90" /><ref name="Dold2003" />{{rp|53–55}} Kali's lolling tongue is interpreted as her being angry, enraged; while many in India interpret it as "biting the tongue" in shame.<ref name="Jones"/>{{rp|222}}

The most widespread interpretation of Kali's extended tongue involve her embarrassment over the sudden realization that she has stepped on her husband's chest. Kali's sudden "modesty and shame" over that act is the prevalent interpretation among [[Hinduism in Odisha|Odia Hindus]].<ref name="Dold2003" />{{rp|53–55}} The biting of the tongue conveys the emotion of ''lajja'' or modesty, an expression that is widely accepted as the emotion being expressed by Kali.<ref name="Kali's Tongue">{{cite book |last1=Menon |first1=Usha |last2=Shweder |first2=Richard A. |title=Emotion and Culture: Empirical Studies of Mutual Influence |chapter=Kali's Tongue: Cultural Psychology and the Power of Shame in Orissa, India |editor-last=Kitayama |editor-first=Shinobu |editor2-last=Markus |editor2-first=Hazel Rose |location=Washington, D.C. |publisher=American Psychological Association |date=1994 |pages=241–284}}</ref><ref name="McDaniel"/>{{rp|237}} In Bengal also, Kali's protruding tongue is "widely accepted... as a sign of speechless embarrassment: a gesture very common among Bengalis."<ref name="Dutta2011">{{cite book |author=Krishna Dutta |title=Calcutta: A Cultural and Literary History (Cities of the Imagination) |url=https://books.google.com/books?id=SZq_BAAAQBAJ&pg=PT18 |year=2011 |publisher=Andrews UK Ltd |isbn=978-1-904955-87-0 |page=18}}</ref><ref name="Harding" />{{rp|xxiii}}

The twin earrings of Kali are small embryos. This is because Kali likes devotees who have childlike qualities in them.<ref name="Pravrajika Vedantaprana 2015 p.16"/> The forehead of Kali is seen to be as luminous as the full moon and eternally giving out ambrosia.<ref name="Pravrajika Vedantaprana 2015 p.16"/>

Kali is often shown standing with her right foot on Shiva's chest. This represents an episode where Kali was out of control on the battlefield, such that she was about to destroy the entire universe. Shiva pacified her by laying down under her foot to pacify and calm her. Shiva is sometimes shown with a blissful smile on his face.<ref name="Dold2003" />{{rp|53–55}} She is typically shown with a garland of severed heads, often numbering fifty. This can symbolize the letters of the Sanskrit alphabet and therefore as the primordial sound of [[Aum]] from which all creation proceeds. The severed arms which make up her skirt represent her devotee's karma that she has taken on.<ref name="Kinsley1998pp86-90" />

There are several interpretations of the symbolism behind the commonly represented image of Kali standing on Shiva's supine form. A common interpretation is that Shiva symbolizes ''[[purusha]]'', the universal unchanging aspect of reality, or pure consciousness. Kali represents ''[[Prakriti]]'', nature or matter, sometimes seen as having a feminine quality of creation of life. The merging of these two qualities represent ultimate reality.<ref name="Kinsley1997" />{{rp|88}}

A tantric interpretation sees Shiva as consciousness and Kali as power or energy. Consciousness and energy are dependent upon each other, since Shiva depends on Shakti, or energy, in order to fulfill his role in creation, preservation, and destruction. In this view, without Shakti, Shiva is a corpse—unable to act.<ref name="Dold2003"/>{{rp|53}}

==Worship==
===Mantras===
Kali is closely associated with transcendent knowledge and is regarded as the first of the ten [[Mahavidya]]s, an amalgamation of goddesses who provide liberating knowledge.<ref name="Paul"/>{{rp|399}} Kali is primarily worshipped in the [[Shaktism#Kalikula: family of Kali|Kalikula]] worship tradition. The closest way of direct worship is to the forms of [[Mahakali]] or [[Bhadrakali]] (Bhadra in Sanskrit means 'gentle'). One mantra for Kali worship is:<ref name="Chawdri">{{cite book |last=Chawdhri |first=L.R. |title=Secrets of Yantra, Mantra and Tantra |year=1992 |publisher=Sterling Publishers Pvt. Ltd.}}</ref>

{{verse translation|lang=sa|italicsoff=y
|सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥
ॐ जयंती मंगला काली भद्रकाली कपालिनी । दुर्गा क्षमा शिवा धात्री स्वाहा स्वधा नमोऽस्तु‍ते ॥
|Sarvamangal-māngalyē śivē sarvārthasādhikē. Śaraṇyē tryambakē Gauri nārāyaṇi namō'stu tē.
Oṃ jayantī mangala kālī bhadrakālī kapālinī . Durgā kṣamā śivā dhātrī svāhā svadhā namō'stu‍tē.
ॐ काली काली महाकाली कालिके परमेश्वरी । सर्वानन्दकरी देवी नारायणि नमोऽस्तुते ।।
}}

===Tantra===
[[File:Kali Yantra.jpg|thumb|Kali [[Yantra]]]]

In Tantrism the cause of reality is the mutual interaction between male and female or Shiva and Shakti. As a result, goddesses play an important role in the study and practice of [[Tantra]] Yoga and are essential in understanding the nature of reality.<ref name="Kinsley1997" /> Kali is often mentioned in Tantric iconography, texts and rituals even though [[Parvati]] received [[Shiva]]'s wisdom in the form of Tantras.<ref name="Kinsley1997" /> Kali is revered as the highest reality or greatest of all deities in many Tantric texts. The ''Niruttara-tantra'' and the ''Picchila-tantra'' state that among all mantras Kali's mantras are the greatest. The ''Kdmadd-tantra'' mentions that Kali is ''sacciddnanda'' or imperishable bliss and Brahman. In other texts like the''Yogini-tantra'', ''Kamakhya-tantra'' and the ''Niruttara-tantra'' Kali is referred to as an essential form of [[Mahadevi]].<ref name="Kinsley1997" />{{rp|122–124}}

In Tantric practice, Kali's figure represents death itself. The ''Karpuradi-stotra,'' dated to approximately 10th century CE'','' describes the ''Pancatattva'' ritual which is performed on cremation grounds (''Samahana-sadhan''). It states that a ''[[sadhaka]]'' that meditates on the terrible aspects of Kali's form and confronts her can attain salvation.<ref name="Kinsley1997" />{{rp|122–124}}

The ''Karpuradi-stotra'' also describes Kali's gentler form that is young, with a smiling face and with two right hands to dispel fear and offer boons. She is also described as the supreme being of the universe. In this benign form, Kali becomes the goddess who grants salvation when fear is overcome and goes from being a symbol of death to being a symbol of triumph over death.<ref name="Kinsley1997" />{{rp|124–125}}

===In Bengali tradition===
[[File:Daksina_Kali_clay_statue_of_Bengal.jpg|thumb|upright|Statue of Kali trampling on Shiva, worshipped in [[Bengal]]]]
[[File:Kali; standing triumphantly over Shiva. Chromolitho Wellcome V0045066.jpg|thumb|upright|Kali standing triumphantly over Shiva, painting]]

Kali is a central figure in late medieval [[Bengal]] devotional literature, with such notable devotee poets as [[Kamalakanta Bhattacharya (West Bengal)|Kamalakanta Bhattacharya]] (1769–1821) and [[Ramprasad Sen]] (1718–1775). With the exception of being associated with [[Parvati]] as [[Shiva]]'s consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.<ref name="Kinsley1997" />{{rp|126}}

The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee adopts the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are addressed in Rāmprasād's work.<ref name="Kinsley1997" />{{rp|125–126}} Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas.<ref name="Kinsley1997" />{{rp|128}}

To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.<ref name="Kinsley1997" />{{rp|128}}

A significant portion of Bengali devotional music features Kāli as its central theme and is known as [[Shyama Sangeet]].<ref>{{Cite book |last1=Multani |first1=Angelie |url=https://books.google.com/books?id=qsDGEAAAQBAJ&dq=shyama+sangeet+in+bengali+tradition&pg=PT50 |title=From Canon to Covid: Transforming English Literary Studies in India. Essays in Honour of GJV Prasad |last2=Pal |first2=Swati |last3=Saha |first3=Nandini |last4=Shakil |first4=Albeena |last5=Ghosh |first5=Arjun |date=2023-08-31 |publisher=Taylor & Francis |isbn=978-1-000-89220-8 |language=en}}</ref>

Kāli is especially venerated in the festival of [[Kali Puja]] in eastern India – celebrated when the new moon day of [[Ashwin]] month coincides with the festival of [[Diwali]]. The practice of animal sacrifice is still practiced during Kali Puja in Bengal, Orissa, and Assam, though it is rare outside of those areas. The [[Hindu temple]]s where this takes place involves the ritual slaying of goats, chickens and sometimes male water buffalos. Throughout India, the practice is becoming less common.<ref name="Fuller Christopher John 2004 83">{{cite book|last=J. Fuller|first= C.|title=The Camphor Flame: Popular Hinduism and Society in India [Paperback] |edition=Revised|year=2004|publisher=[[Princeton University Press]]|isbn=978-0-691-12048-5 |page=83|quote=Animal sacrifice is still practiced widely and is an important ritual in popular Hinduism|id= {{ASIN|069112048X|country=uk}}}}</ref> The rituals in eastern India temples where animals are killed are generally led by [[Brahmin]] priests.<ref name="Fuller Christopher John 2004 83"/>{{rp|84, 101–104}} A number of [[Tantra|Tantric]] [[Puranas]] specify the ritual for how the animal should be killed. A Brahmin priest will recite a mantra in the ear of the animal to be sacrificed, in order to free the animal from the cycle of life and death. Groups such as People for Animals continue to protest animal sacrifice based on court rulings forbidding the practice in some locations.<ref>{{cite book |last1=McDermottb|first1=Rachel Fell |title=Revelry, rivalry, and longing for the goddesses of Bengal: the fortunes of Hindu festivals |date=2011 |publisher=[[Columbia University Press]] |location=New York; Chichester |isbn=978-0-231-12918-3 |page=205 |url=https://books.google.com/books?id=ggBeH_lmUu8C&pg=PR10 |access-date=17 December 2014}}</ref>

===In Tantric Buddhism===
[[File:Troma Nagmo closeup.jpg|thumb|upright|Tröma Nagm, in Tibetan Buddhism, shares some attributes of Kali]]
Tantric Kali cults such as the Kaula and Krama had a strong influence on [[Tantric Buddhism]], as can be seen in fierce-looking [[yogini]]s and [[dakini]]s such as [[Vajrayogini]] and Krodikali.<ref>{{Cite book |last=English |first=Elizabeth |title=Vajrayoginī: her visualizations, rituals & forms: a study of the cult of Vajrayoginī in India |publisher=Wisdom Publications |year=2002 |isbn=0-86171-329-X |edition=1st Wisdom |location=Boston |pages=38–40 |oclc=50234984}}</ref>

In Tibet, Krodikali (alt. Krodhakali, Kālikā, Krodheśvarī, Krishna Krodhini) is known as ''Tröma Nagmo'' ({{langx|xct|ཁྲོ་མ་ནག་མོ་}}, [[Wylie transliteration|Wylie]]: {{lang|bo-Latn|khro ma nag mo}}, English: "The Black Wrathful Lady").<ref>[http://www.himalayanart.org/pages/vajrayogini/index.html The Forms of Vajrayoginī] {{Webarchive|url=https://web.archive.org/web/20080821222811/http://www.himalayanart.org/pages/vajrayogini/index.html |date=21 August 2008 }} Himalayan Art Resources</ref><ref>{{cite web|url=http://www.himalayanart.org/image.cfm/490.html|title=Vajrayogini (Buddhist Deity) – Krodha Kali (Wrathful Black Varahi) |work=HimalayanArt}}</ref> She features as a key deity in the practice tradition of [[Chöd]] founded by [[Machig Labdron]] and is seen as a fierce form of [[Vajrayogini]].<ref>{{Cite book |last=Simmer-Brown |first=Judith |author-link=Judith Simmer-Brown |title=Dakini's warm breath: the feminine principle in Tibetan Buddhism |year=2002 |isbn=1-57062-920-X |edition=1st paperback |location=Boulder |publisher=Shambhala |pages=146 |oclc=54964040}}</ref> Other similar fierce deities include the dark blue Ugra Tara and the lion-faced [[Simhamukha]].<ref>{{Cite book |last=Shaw |first=Miranda Eberle |title=Buddhist goddesses of India |publisher=Princeton University Press |year=2006 |isbn=0-691-12758-1 |location=Princeton |pages=340, 426|oclc=62342823}}</ref>

===In Sinhala Buddhism===

In Sinhala Buddhism, Kali's origin is explained through her arriving at Munneśvaram from South India, eating humans, and attempting to eat Pattini, who instead tames her.<ref name=":2">{{Cite journal |last=Bastin |first=Rohan |date=September 1996 |title=The Regenerative Power of Kali Worship in Contemporary Sinhala Buddhism |url=https://www.jstor.org/stable/23171698 |journal=Social Analysis: The International Journal of Anthropology |issue=40 |pages=59–94 |jstor=23171698}}</ref>

She is regarded as having seven forms; Bhadrakāli, Mahābhadrakāli, Pēnakāli, Vandurukāli (Hanumāpatrakāli), Rīrikāli, Sohonkāli, and Ginikāli. These forms are subordinate to Kāliammā (the mother of Kāli). Red flowers, silver coins, blood, and oil lamps with mustard oil are offered to her, and as Pattini's servant, she accepts offerings on her behalf.<ref name=":1">{{Cite journal |last=Hewamanage |first=Wimal |date=January 2018 |title=The History of the Kāli Cult and its Implications in Modern Sri Lankan Buddhist Culture |journal=Alternative Spirituality and Religion Review |volume=9 |issue=2 |pages=246–256 |doi=10.5840/asrr2018111353}}</ref>

Her worship in Sri Lanka dates back to at least the 9th century CE, and [[Dharmasena Thera]] created the [[Sadharma Ratnavaliya]] in the 13th century based on an older 5th century work, which actively recontextualizes Kali in a Buddhist context,<ref>{{Cite web |title=Sri Kali and Sri Lanka |url=http://www.srilankaguardian.org/2011/12/sri-kali-and-sri-lanka.html}}</ref> exploring the nature of violence and vengeance and how they trap people in cycles until justification, guilt, and good and evil become irrelevant.<ref>{{Cite book |last=Thera |first=Dharmasena |title=The Jewels of the Doctrine |year=1991 |publisher=SUNY Press |isbn=0-7914-0489-7 |language=English |translator-last=Obeyesekere |translator-first=Ranjini}}</ref> Kali has been seen as both a demon (though a tamed one, thanks to Pattini<ref name=":2" />) and a goddess in Sri Lanka.<ref name=":1" /> She and mythical Sinhala Buddhist kings both use demonic fury as a necessary condition of conquest.<ref name=":2" />

Yantras are used in relation to her, sourced from the [[Pali Canon]], later Buddhist [[paritta]] chants, and from non-Buddhist yantras and mantras. The Sādhakayantra is popular, and its corresponding mantra includes Arabic words and Islamic concepts.<ref name=":1" />

===Worship in the Western world===
====Theorized early worship====
A form of Kali worship may have already been transmitted to the west in medieval times by the wandering [[Romani people|Romani]]. A few authors have drawn parallels between Kali worship and the ceremonies of the annual pilgrimage in honor of [[Saint Sarah]], also known as ''Sara-la-Kali'' ("Sara the Black", {{langx|rom|Sara e Kali}}), held at [[Saintes-Maries-de-la-Mer]], a place of [[pilgrimage]] for Roma in the [[Camargue]], in southern France.<ref>{{Cite book |last=McDowell |first=Bart |title=Gypsies: Wanderers of the World |pages=38–57}}</ref><ref>{{Cite book |last=Fonseca |first=Isabel |title=Bury me standing: the Gypsies and their journey |others=Mazal Holocaust Collection, David Lindroth Inc. |year=1995 |isbn=0-679-40678-6 |edition=1st |location=New York |publisher=Alfred A. Knopf |pages=106–107 |oclc=32387216}}</ref> [[Ronald Lee]] (2001) notes that the similarities in the ceremonies performed at the shrine if Sainte Sara (called Sara e Kali in Romani) indicate that Kali/Durga worship have been incorporated to a Christian figure.<ref name="McDermott1998p281-305" />

====In modern times====

An academic study of modern-day western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment."<ref name="McDermott1998p281-305">{{cite book |last=McDermott |first=Rachel Fell |chapter=The Western Kali |editor-last=Hawley |editor-first=John Stratton |title=Devi: Goddesses of India |publisher=Motilal Banarsidass |date=1998 |pages=281–305}}</ref> Rachel Fell McDermott, Professor of Asian and Middle Eastern Cultures at [[Columbia University]] and author of several books on Kali, has noted the evolving views in the West regarding Kali and her worship. In 1998 McDermott wrote that feminists and New Age spiritualists are drawn to Kali because they perceive her to be a symbol of repressed female power, sexuality, and healing but that this is a misinterpretation which stems from a lack of knowledge about Hindu religious tradition.<ref name="McDermott1998p281-305" /> By 2003, she amended this view stating that cross-cultural borrowing should be done thoughtfully and is natural due to religious globalization. She further stated that Kali enthusiasts since the early 1990s had sought to take on a more informed approach by incorporating more Indian perspective of her character than feminist and New Age interpretations.<ref name="McDermott1998p281-305" />

The emergence of Kali in the modern times as an image of significance for many women, both Hindu and non-Hindu, has been noteworthy.<ref name="Paul"/>{{rp|399}} Since the late twentieth century, various [[feminist movement]]s in the West have associated Kali with [[women's empowerment]].<ref name="EY" /> [[New age]] religious and spiritual movements have found in the iconographic representations and mythological stories of Kali an inspiration for [[theological]] and [[Sexual revolution|sexual liberation]].<ref name="EY" />

====In Réunion====

In [[Réunion]], an island territory of France in the Indian Ocean, veneration for Saint [[Expeditus]] ({{Langx|fr|Saint Expédit}}) is very popular. The [[Malbars]] have Tamil ancestry but are, at least nominally, Catholics.
The saint is identified with Kali.<ref name="Suryanarayan">{{cite journal |last1=Suryanarayan |first1=V. |title=Tamils In Re-Union: Losing Cultural Identity – Analysis |journal=Eurasia Review |date=12 October 2018 |url=https://www.eurasiareview.com/12102018-tamils-in-re-union-losing-cultural-identity-analysis/ |access-date=3 March 2021 |language=en |quote=Saint Expedit, worshipped locally, is identified with Goddess Kali.}}</ref>

==Comparative scholarship==
Scholar [[Marvin H. Pope]] in 1965 argues that the [[Hinduism|Hindu]] goddess Kali, who is first attested in the 7th century CE, shares some characteristics with some ancient Near Eastern goddesses, such as wearing a necklace of heads and a belt of severed hands like [[Anat]], and drinking blood like the Egyptian goddess [[Sekhmet]] and that therefore that her character might have been influenced by them.{{sfn|Pope|Röllig|1965|page=239}}

=== Levantine Anat ===
The Bronze Age epic cycles of the [[Levant]]ine city of [[Ugarit]] include a myth according to which the warrior goddess [[Anat]] started attacking warriors, with the text of the myth describing the goddess as gloating and her heart filling with joy and her liver with laughter while attaching the heads of warriors to her back and girding hands to her waist{{sfn|Pope|1977|pages=606–607}} until she is pacified by a message of peace sent by her brother and consort, the god [[Baal|Baʿlu]].{{sfn|Pope|1977|page=601}}

The Hindu goddess Kali similarly wore a necklace of severed heads and a girdle of severed hands, and was pacified by her consort, Śiva, throwing himself under her feet. The sickle sword wielded by Kali might also have been connected to similar sickle swords used in [[Early Dynastic Period (Mesopotamia)|early dynastic]] [[Mesopotamia]].{{sfn|Pope|1977|pages=608}}

=== Egyptian Sekhmet ===
According to an [[Ancient Egypt]]ian myth, called {{transliteration|en|The Deliverance of Mankind from Destruction}}, the ancient Egyptian supreme god, the Sun-god [[Ra]], suspected that mankind was plotting against him, and so he sent the goddess [[Hathor]], who was the incarnation of his violent feminine aspect, the [[Eye of Ra]], to destroy his enemies.{{sfn|Pope|1977|pages=607–608}}

Furthermore, Hathor appeared as the lion-goddess [[Sekhmet]] and carried out Ra's orders until she became so captured by her blood-lust that she would not stop despite Ra himself becoming distressed and wishing an end to the killing. Therefore, Ra concocted a ruse whereby a plain was flooded with beer which had been dyed red, which Sekhmet mistook for blood and drank until she became too inebriated to continue killing, thus saving humanity from destruction.{{sfn|Pope|1977|pages=607–608}}

Similarly, while killing demons, Kālī became ecstatic with the joy of battle and slaughter and refused to stop, so that the [[Deva (Hinduism)|Devas]] feared she would destroy the world, and she was stopped through ruse when her consort Śiva threw himself under her feet.{{sfn|Pope|1977|pages=608}}

==In popular culture==
[[File:Ms. magazine Cover - Spring 1972.jpg|thumb|''[[Ms. (magazine)|Ms.]]'' magazine cover, 1972]]
A 1939 American [[adventure film]]'', [[Gunga Din (film)|Gunga Din]]'', features a resurgent sect of [[Thuggee]]s as worshippers of Kali who are at war with the British Raj.<ref>{{Cite book |doi=10.4324/9780203720707 |title=South Asian Transnationalisms |date=2014-02-25 |publisher=Routledge |isbn=978-1-135-71832-9 |editor-last=Sinha |editor-first=Babli |pages=88–89}}</ref> In the [[Beatles]]' 1965 film ''[[Help! (film)|Help!]]'', [[Ringo Starr]] is pursued by Kali worshippers intending to sacrifice him.<ref name="Magic Circles">{{cite book |last1=McKinney |first1=Devin |title=Magic Circles: The Beatles in Dream and History |date=2003 |publisher=Harvard University Press |isbn=978-0-674-01202-8 |page=78 |url=https://books.google.com/books?id=NODXwtg3SIkC&dq=%22Help!%22+Beatles+Kali&pg=PA78 |language=en}}</ref><ref name="Vampires' Most Wanted">{{cite book |last1=Enright |first1=Laura |title=Vampires' Most Wanted: The Top 10 Book of Bloodthirsty Biters, Stake-wielding Slayers, and Other Undead Oddities |date=30 June 2011 |publisher=[[Potomac Books]], Inc. |isbn=978-1-59797-752-4 |page=12 |url=https://books.google.com/books?id=kbM7fOH5SI0C&dq=%22Help!%22+Beatles+Kali&pg=PT12 |language=en}}</ref> In ''[[Indiana Jones and the Temple of Doom]]'' (1984), an action-adventure film which takes place in 1935, a Thuggee cult of Kali worshippers are villains.<ref>{{cite book |last1=Ganguly |first1=Swagato |url=https://books.google.com/books?id=r_0wDwAAQBAJ&q=%22Indiana+Jones+and+the+Temple+of+Doom%22+kali&pg=PT12 |title=Idolatry and the Colonial Idea of India: Visions of Horror, Allegories of Enlightenment |date=2017 |publisher=Taylor & Francis |isbn=978-1351584678 |language=en |access-date=6 January 2019}}</ref> An Indian television series, ''[[Mahakali — Anth Hi Aarambh Hai]]'' (2017), has [[Parvati]] (Mahakali), Shiva's consort, assuming varied forms to destroy evil and protect the innocent.<ref>{{Cite web |last=Nathan |first=Leona |date=2017-07-23 |title=Mahakali – Anth Hi Aarambh Hai: Pooja Sharma Says, Playing Mahakali Is A Lifetime Experience |url=https://www.india.com/entertainment/mahakali-anth-hi-aarambh-hai-pooja-sharma-says-playing-mahakali-is-a-lifetime-experience-2342973/ |access-date=2020-09-27 |website=India News, Breaking News, Entertainment News {{!}} India.com |language=en}}</ref>

A modern version of Kali was featured on the cover of the first issue of feminist magazine ''[[Ms. (magazine)|Ms.]]'', published in 1972, with Kali's arms symbolizing the many tasks of the contemporary American woman.<ref>{{cite book |last1=Lemak |first1=Jennifer A. |last2=Hopkins-Benton |first2=Ashley |title=Votes for Women: Celebrating New York's Suffrage Centennial |date=2017 |publisher=[[SUNY Press]] |isbn=978-1-4384-6732-0 |pages=204 |url=https://books.google.com/books?id=tuo_DwAAQBAJ&pg=PA204 |access-date=2 July 2020 |language=en}}</ref><ref>{{cite web |last1=Donald |first1=Brooke |title=The feminist struggle continues, Gloria Steinem says, encouraging a Stanford audience toward 'one new subversive thing' |url=https://news.stanford.edu/news/2012/january/gloria-steinem-talk-012712.html |website=[[Stanford University]] |access-date=2 July 2020 |language=en |date=27 January 2012}}</ref> The [[tongue and lips logo]] of the band [[The Rolling Stones]], created in 1971, was inspired by the stuck-out tongue of Kali.<ref>{{cite news |last=Coscarelli |first=Joe |date=7 June 2015 |title=Art of the Rolling Stones: Behind That Zipper and That Tongue |url=https://www.nytimes.com/2015/06/08/arts/music/art-of-the-rolling-stones-behind-that-zipper-and-that-tongue.html |url-status=live |archive-url=https://web.archive.org/web/20150611105409/http://www.nytimes.com/2015/06/08/arts/music/art-of-the-rolling-stones-behind-that-zipper-and-that-tongue.html |archive-date=11 June 2015 |access-date=9 June 2015 |work=[[The New York Times]]}}</ref><ref>{{cite book |last1=Fornatale |first1=Peter |url=https://archive.org/details/50licksmythsstor00forn |title=50 Licks: Myths and Stories from Half a Century of the Rolling Stones |date=2013 |publisher=Bloomsbury Publishing |isbn=978-1408833834 |pages=[https://archive.org/details/50licksmythsstor00forn/page/126 126] |language=en |url-access=registration}}</ref>

==References==
{{Reflist|30em}}

==Further reading==
{{Refbegin|30em}}
* {{cite book |last1=Bowker |first1=John |title=Oxford Concise Dictionary of World Religions |year=2000 |publisher=Oxford Press |ref=refBowker2000}}
* {{cite book |last1=Bunce |first1=Frederick W. |title=A Dictionary of Buddhist and Hindu Iconography (Illustrated) |year=1997 |publisher=D.K. Print World |ref=refBunce1997}}
* {{cite book |last1=Craven |first1=Roy C. |title=Indian Art (revised) |year=1997 |publisher=Thames & Hudson |ref=refCraven1997}}
* {{cite book |last1=Harshananda |first1=Swami |title=Hindu Gods & Goddesses |year=1981 |publisher=Ramakrishna Math |ref=refHarshananda1981}}
* {{cite book |last1=Mishra |first1=T. N. |title=Impact of Tantra on Religion and Art |year=1997 |publisher=D.K. Print World |ref=refMishra1997}}
* {{cite book |last1=Santideva |first1=Sadhu |title=Ascetic Mysticism |year=2000 |publisher=Cosmo Publications |ref=refSantideva2000}}
* Loriliai Biernacki, ''Renowned Goddess of Desire: Women, Sex, and Speech in Tantra'' Oxford Scholarship Online: September 2007, {{doi| 10.1093/acprof:oso/9780195327823.001.0001}}, {{ISBN|978-0195327823}}
* {{cite book |editor-last=Haussig |editor-first=Hans Wilhelm |editor-link=:de:Hans Wilhelm Haussig |last1=Pope |first1=Marvin H. |author-link1=Marvin H. Pope |last2=Röllig |first2=Wolfgang |author-link2=:de:Wolfgang Röllig |date=1965 |title=Götter und Mythen im Vorderen Orient |trans-title=Gods and Myths in the Middle East |chapter=Syrien: Die Mythologie der Ugariter und Phönizier |trans-chapter=Syria: The Mythology of the Ugarites and Phoenicians |language=de |url= |location=[[Stuttgart]], Germany |publisher=[[:de:Ernst Klett Verlag|Ernst Klett Verlag]] |pages=217–312 |isbn=}}
* {{cite book |last=Pope |first=Marvin H. |author-link=Marvin H. Pope |date=1977 |title=Song of Songs |series=[[Anchor Bible Series|The Anchor Bible]] |volume=7C |url= |location=New York City, United States |publisher=[[Doubleday (publisher)|Doubleday]] |isbn=978-0-385-00569-2}}
* Shanmukha Anantha Natha and Shri Ma Kristina Baird, ''Divine Initiation'' Shri Kali Publications (2001) {{ISBN|0-9582324-0-7}} – Has a chapter on Mahadevi with a commentary on the ''Devi Mahatmyam'' from the Markandeya Purana.
* Ajit Mookerjee, ''Kali: The Feminine Force'' {{ISBN|0-89281-212-5}}
* [[Swami Satyananda Saraswati]], ''[https://books.google.com/books?id=in__-R6lm6sC Kali Puja]'' {{ISBN|1-887472-64-9}}
* [[Ramprasad Sen]], ''Grace and Mercy in Her Wild Hair: Selected Poems to the Mother Goddess'' {{ISBN|0-934252-94-7}}
* [[Sir John Woodroffe]] (a.k.a. Arthur Avalon) ''Hymns to the Goddess and Hymn to Kali'' {{ISBN|81-85988-16-1}}
* Robert E. Svoboda, ''Aghora, at the left hand of God'' {{ISBN|0-914732-21-8}}
* [[Dimitri Kitsikis]], ''L'Orocc, dans l'âge de Kali'' {{ISBN|2-89040-359-9}}
* [[Lex Hixon]], ''[https://books.google.com/books?id=HzNAYrZgtekC Mother of the Universe: Visions of the Goddess and Tantric Hymns of Enlightenment]'' {{ISBN|0-8356-0702-X}}
* Neela Bhattacharya Saxena, ''In the Beginning is Desire: Tracing Kali's Footprints in Indian Literature'' {{ISBN|81-87981-61-X}}
* ''The Goddess Kali of Kolkata'' ({{ISBN|81-7476-514-X}}) by Shoma A. Chatterji
* ''[[Dictionary of Hindu Lore and Legend]]'' ({{ISBN|0-500-51088-1}}) by Anna Dallapiccola
* ''In Praise of The Goddess: The Devimahatmyam and Its Meaning'' ({{ISBN|0-89254-080-X}}) by Devadatta Kali
* ''[https://books.google.com/books?id=-c_j8Xggl0gC Seeking Mahadevi: Constructing the Identities of the Hindu Great Goddess]'' ({{ISBN|0-791-45008-2}}) Edited by Tracy Pintchman
* ''[https://archive.org/details/riseofgoddessinh0000pint The Rise of the Goddess in the Hindu Tradition]'' ({{ISBN|0-7914-2112-0}}) by Tracy Pintchman
* [https://www.academia.edu/19972617/Phalaharini_Kali_Prabuddha_Bharata_January_2016 Narasimhananda, Swami, Prabuddha Bharata, January 2016, The Phalaharini Kali.]
{{Refend}}

==External links==
* [https://www.britannica.com/topic/Kali Kali] at the ''[[Encyclopædia Britannica]]''


{{Subject bar|Hinduism|India|Religion|auto=y|d=y|s=Kali the Mother}}
{{Shaktism}}
{{Hindu Deities and Texts}}
{{Authority control}}
{{Good article}}

[[Category:Kali| ]]
[[Category:Death goddesses]]
[[Category:Destroyer goddesses]]
[[Category:Creator goddesses]]
[[Category:Forms of Parvati]]
[[Category:Hindu goddesses]]
[[Category:Justice goddesses]]
[[Category:Mahavidyas]]
[[Category:Mother goddesses]]
[[Category:Supernatural beings identified with Christian saints]]
[[Category:Time and fate goddesses]]
[[Category:War goddesses]]
[[Category:Buddhist goddesses]]
[[Category:Sinhalese Buddhist deities]]

Emblem of Tamil Nadu

2026-02-10T10:55:29Z

Giispune: adjust citations to improve readability

{{Short description|none}}
{{Use dmy dates|date=July 2020}}
{{Use Indian English|date=July 2020}}
{{Infobox coat of arms
| name = Emblem of Tamil Nadu
| image = File:TamilNadu_Logo.svg
| image_width =
| middle =
| middle_width =
| middle_caption =
| lesser =
| lesser_width =
| lesser_caption =
| armiger = [[Government of Tamil Nadu]]
| year_adopted = 1949
| crest =
| torse =
| shield = [[Meenakshi Temple]]
| supporters =
| compartment =
| motto = ''[[Satyameva Jayate|Vaymaiye vellum]]'' (Truth alone triumphs)
| orders =
| other_elements =
| earlier_versions =
| use =
}}

The '''Emblem of Tamil Nadu''' is the official state emblem of the [[States and union territories of India|Indian state]] of [[Tamil Nadu]]. It is used as the seal of the [[Government of Tamil Nadu]].

Designed in 1949 by R. Krishna Rao, the emblem consists of the [[Lion Capital of Ashoka]] without the bell lotus foundation, flanked on either side by the [[Flag of India|Indian flag]] with an image of a ''[[gopuram]]'' of a [[Hindu temple]] in the background. The round emblem is flanked by the words ''Tamilnadu arasu'' (Government of Tamil Nadu) and ''Vaymaiye vellum'' (truth alone triumphs) in [[Tamil language|Tamil]].

== Designer ==
The state emblem was designed in 1949 by R. Krishna Rao from [[Madurai]].<ref name="TOI">{{cite web | url=http://timesofindia.indiatimes.com/city/madurai/Which-Tamil-Nadu-temple-is-the-state-emblem/articleshow/55285143.cms| title=Which Tamil Nadu temple is the state emblem? | date=7 November 2016 | access-date=20 January 2018 | author=Swaroop, Vishnu | location=[[Madurai]] |work=[[The Times of India]]}}</ref> Rao, who was a professor of the [[Government College of Fine Arts, Chennai|Government College of Fine Arts]] in [[Chennai]], was approached to design the emblem in 1948.<ref name="TNPSC">{{cite web |date=19 December 2023 |title=Symbols of Tamil Nadu |url=https://www.tnpscthervupettagam.com/articles-detail/symbols-of-tamil-nadu |access-date=17 August 2025 |work=[[TNPSC]]}}</ref>

== Design ==
[[File:Flag of Tamil Nadu.svg|thumb|Seal of [[Government of Tamil Nadu]]]]

The round seal consists of the [[Lion Capital of Ashoka]] without the bell lotus foundation, flanked on either side by the [[Flag of India|Indian flag]]. Behind the capital is an image of a ''[[gopuram]]'' of a [[Hindu temple]]. Around the rim of the seal runs two inscriptions in [[Tamil language|Tamil]] [[Tamil script|script]]. In the top is mentioned தமிழ் நாடு அரசு ("Tamil Nadu arasu" which translates to "[[Government of Tamil Nadu]]") and the other at the bottom states வாய்மையே வெல்லும் ("Vaymaiye vellum" which translates to "[[Satyameva Jayate|Truth alone triumphs]]"). It is the only Indian [[List of Indian state emblems|state emblem]] that has the Indian flag and a temple tower on its seal.<ref name="TOI"/> The image of the Gopuram is based on the west tower of the Madurai [[Meenakshi Temple]].<ref name="TOI"/><ref>{{cite web |last=B.A |first=Pon Vasanth |date=14 April 2022 |title=A tower that is emblematic of the State |url=https://www.thehindu.com/news/national/tamil-nadu/the-temple-that-found-a-place-in-tamil-nadus-emblem/article65320415.ece |access-date=17 August 2025 |work=[[The Hindu]] |issn=0971-751X}}</ref>

The [[Government of Tamil Nadu]] uses the emblem placed onto a white background as its official seal.<ref>{{cite web|url=https://www.worldstatesmen.org/India_states.html|title=States of India since 1947|work=World statesman|access-date=1 June 2024}}</ref><ref>{{cite web|url=http://www.vexilla-mundi.com/india_governments.html|title=Governments in India|work=Vexilla Mundi|access-date=1 June 2025}}</ref>

==Historical emblems==
<gallery>
File:Badge of British Madras (Presidency of Fort St. George).png|Emblem of [[Madras Presidency]] of [[British Raj|British India]]
</gallery>

==See also==
* [[Flag of Tamil Nadu]]
* [[National Emblem of India]]
* [[List of Indian state emblems]]
* [[List of Tamil Nadu state symbols]]
* [[Tamil Thai Valthu (Tamil Nadu)|Tamil Thai Valthu]]

==References==
{{Reflist}}

{{Indian state emblems}}

[[Category:Government of Tamil Nadu]]
[[Category:Indian state seals|Tamil Nadu]]
[[Category:Indian coats of arms with lions|Tamil Nadu]]
[[Category:Coats of arms with buildings|Tamil Nadu]]
[[Category:Coats of arms with flags|Tamil Nadu]]
[[Category:Coats of arms with the dharmachakra|Tamil Nadu]]

Bala Hijam

2026-02-05T20:56:20Z

Giispune: put up some article from scratch

{{short description|Indian actress (born 1992)}}
{{Use Indian English|date=February 2016}}
{{Use dmy dates|date=January 2023}}
{{Infobox person
| name = Bala Hijam
| image =
| alt =
| caption = ''Bala Hijam in [[Amukta Ani]] (2014)''
| birth_name = Hijam Surjabala Devi
| birth_date =
| birth_place = Sagolband Salam Leikai, [[Imphal]]
| parents = Hijam Biramangol Hijam Suniti Devi
| spouse = Ningthoujam Dinesh Singh
| occupation = Actress
| website =
| height = 162cm
}}

'''Surja Bala Hijam''', (born 9 Jun 1991; at [[Imphal]]) better known as '''Bala Hijam''' ([[Meitei language|Meitei pronunciation]]: /ba-lā hī-jam/), is an Indian actress, who predominantly appears in [[Manipuri film]]s.<ref>{{cite web |url=https://themoviean.com/bala-hijam-interview/|title=Interview of Bala Hijam, The Reigning Queen of Manipuri Cinema - TheMoviean|publisher=The Moviean|access-date=20 March 2018|archive-date=21 March 2018 |archive-url=https://web.archive.org/web/20180321063138/https://themoviean.com/bala-hijam-interview/|url-status=usurped}}</ref><ref>{{Cite web|url=https://imphalreviews.in/bridging-the-gap-the-need-to-elevate-manipuri-cinema-on-global-stages/|title=Bridging the Gap: The Need to Elevate Manipuri Cinema on Global Stage|author=Aribam Bishwajit|accessdate=10 October 2025|website=imphalreviews.in}}</ref><ref>{{cite web |author=Roy, Esha|title=From Manipur, stories of the women actors who didn't get to play Mary Kom |website=[[The Indian Express]] |date=17 August 2014 |url=http://indianexpress.com/article/entertainment/entertainment-others/shes-got-the-look-3/ |accessdate=4 March 2017|url-status=live|archiveurl=https://web.archive.org/web/20170211125149/http://indianexpress.com/article/entertainment/entertainment-others/shes-got-the-look-3/|archivedate=11 February 2017}}</ref> She is known for her roles in [[Boong (film)|''Boong'']], ''[[Neelakasham Pachakadal Chuvanna Bhoomi]],'' ''[[Yaiskulgee Pakhang Angaoba]]'', ''Manipur Express'', ''[[Sanagi Tangbal]]'', ''[[Amukta Ani]]'' and ''[[Inamma]]''.<ref>{{Cite news |date=16 September 2024 |title='Boong' Review: A Small Coming-of-Age Tale on India's Eastern Border Disguises Larger Politics |url=https://variety.com/2024/film/reviews/boong-review-lakshmipriya-devi-tiff-1236144265/ |access-date=23 June 2025 |work=Variety}}</ref><ref>{{Cite news|date=16 July 2013|title=When Kerala called Surja Bala Hijam |work=The New Indian Express|url=https://www.newindianexpress.com/entertainment/malayalam/2013/jul/16/when-kerala-called-surja-bala-hijam-497371.html|access-date=10 May 2023}}</ref>

==Career==
Bala Hijam made her debut at the age of 15 in [[Oken Amakcham]]'s ''Tellangga Mamei'', through the reference of the cinematographer of the movie [[Irom Maipak]].<ref>{{Cite web |url=https://northeastfeed.in/bala-hijam-beauty-manipuri-cinema-heart-gold/ |title=The Beauty of Manipuri Cinema with a Heart of Gold |website=NorthEast Feed |date=28 September 2018 |access-date=16 April 2020 |archive-date=12 October 2020 |archive-url=https://web.archive.org/web/20201012005846/https://northeastfeed.in/bala-hijam-beauty-manipuri-cinema-heart-gold/ |url-status=live}}</ref> She started shooting for her [[Hindi film]] debut ''Zindagi on the Rocks'', but was left incomplete due to some issues.<ref>{{Cite news |date=26 September 2023 |title=Soma Laishram is not at fault |work=The Hindu |url=https://www.thehindu.com/opinion/op-ed/soma-laishram-is-not-at-fault/article67344705.ece |access-date=6 October 2023}}</ref> Her notable role after her first film was in [[Romi Meitei]]'s ''Khangdreda Nongdamba'', where she played a supporting role alongside [[Kamala Saikhom]]. ''Panthungee Wangmada'', directed by Yoimayai Mongsaba and produced under the banner Fly High Films was her first film in a leading role. Among her popular films, ''[[Yaiskulgee Pakhang Angaoba]]'', ''Manipur Express'', ''Meerang Mahum'', ''[[Amukta Ani]]'', ''[[Delhi Mellei]]'', ''[[Sanagi Tangbal]]'' and ''[[Thabaton (film series)|Thabaton 2]]'' may be mentioned.<ref>{{Cite web |url=https://themoviean.com/bala-hijam-interview/ |title=Interview of Bala Hijam, the reigning queen of Manipuri Cinema |website=The Moviean |access-date=16 April 2020 |archive-date=7 April 2019 |archive-url=https://web.archive.org/web/20190407120346/https://themoviean.com/bala-hijam-interview/ |url-status=usurped}}</ref> She played the role of a differently-abled lady in the movie ''[[Tamoyaigee Ebecha]]''.

In 2018, she appeared in an educational film ''[[Who Said Boys Can't Wear Makeup?]]''.<ref name=":7">{{Cite news |date=16 April 2023 |title=2018 Manipuri film Who Said Boys Can't Wear Makeup Is No Less Than A Revolution |work=Imphal Times |url=https://www.imphaltimes.com/pdf/2023/April/16%20April.pdf |access-date=15 August 2023}}</ref> She also featured in the short film ''[[Lembi Leima]]'' directed by Mayank Pratap Singh in 2022.<ref>{{Cite news |date=8 April 2023 |title=Manipur: After bagging 22 awards, movie to be screened in Imphal |work=North East Now |url=https://nenow.in/north-east-news/manipur/manipur-after-bagging-22-awards-movie-to-be-screened-in-imphal.html |access-date=17 April 2023}}</ref> In 2024, she played the role of Mandakini in ''[[Boong (film)|Boong]]'', an internationally acclaimed film that had its world premiere at the [[2024 Toronto International Film Festival]].<ref>{{Cite news |date=15 September 2024 |title=TIFF 2024 {{!}} Lakshmipriya Devi: 'My film Boong is the last documentation of the unity Manipur had' |url=https://www.moneycontrol.com/entertainment/movies/tiff-2024-boong-lakshmipriya-devi-interview-article-12822041.html |access-date=23 June 2025 |work=Money Control}}</ref>

==Accolades==
Bala Hijam was honoured with different titles at several film awards and festivals.
{|class="wikitable sortable"
|-
! Award
! Category
! Film
! {{Tooltip|Ref.|References}}
|-
| 5th RJ Film Vision Special Award 2011
| Special Jury Award
| {{dash}}
|
|-
| 8th Manipur State Film Festival 2013
| Best Actress
| ''[[Yaiskulgee Pakhang Angaoba]]''
|
|-
| 11th Manipur State Film Awards 2018
| Best Actor in a Supporting Role - Female
| ''Chinglen Sana''
| <ref>{{cite web |url=http://www.ifp.co.in/page/items/54111/enakta-leirigei-to-be-awarded-best-feature-film-in-11th-manipur-state-film-awards |title='Enakta Leirigei' to be awarded best feature film in 11th Manipur State Film Awards |website=ifp.co.in |access-date=30 November 2018 |archive-url=https://web.archive.org/web/20181130114744/http://www.ifp.co.in/page/items/54111/enakta-leirigei-to-be-awarded-best-feature-film-in-11th-manipur-state-film-awards |archive-date=30 November 2018 |url-status=dead}}</ref><ref>{{cite web |url=http://www.manipur.org/news/2018/11/30/winners-of-film-awards-named-2/ |title=Winners of Film Awards named – Manipur News |date=30 November 2018 |access-date=30 November 2018 |archive-date=30 November 2018 |archive-url=https://web.archive.org/web/20181130202034/http://www.manipur.org/news/2018/11/30/winners-of-film-awards-named-2/ |url-status=live}}</ref>
|-
| 9th MANIFA 2020
| Best Actor in a Leading Role - Female
| ''[[Inamma]]''
| <ref>{{Cite news |date=13 July 2020 |title=9th MANIFA winners announced; 'Eikhoisibu Kanano' wins Best Manipuri Feature Film award |work=Imphal Free Press |url=https://www.ifp.co.in/1216/9th-manifa-winners-announced-eikhoisibu-kanano-wins-best-manipuri-feature-film-award |access-date=10 May 2023 |archive-date=16 October 2023 |archive-url=https://web.archive.org/web/20231016151346/https://www.ifp.co.in/1216/9th-manifa-winners-announced-eikhoisibu-kanano-wins-best-manipuri-feature-film-award |url-status=dead }}</ref>
|-
| 1st Northeast India International Film Festival 2022, Dimapur
| rowspan="5"|Best Actress
| rowspan="5"|''[[Lembi Leima]]''
| <ref>{{Cite news |date=27 March 2023 |title=Manipuri Film Lembi Leima won Best Film (Gold) at the 1st Northeast Film Festival, Mumbai 2023 |work=Bollywood Couch |url=https://www.bollywoodcouch.com/manipuri-film-lembi-leima-won-best-film-gold-at-the-1st-northeast-film-festival-mumbai-2023/ |access-date=11 September 2023}}</ref>
|-
| Sitannavasal International Film Festival 2022
| rowspan="2"|<ref>{{Cite news|url=https://www.thesangaiexpress.com/Encyc/2023/10/23/IMPHAL-Oct-22-Short-film-Lembi-Leima-has-won-a-host-of-awards-including-the-Best-Asian-Short-Film-at-the-Th.html#/|title='Lembi Leima'|accessdate=2 October 2024|newspaper=The Sangai Express}}</ref>
|-
| Thilsri International Film Festival 2023, Chennai
|-
| Golden Fern Films Award 2023
|
|-
| 4th Empty Space International Short Film Festival 2024
| <ref>{{Cite web|url=https://nenow.in/north-east-news/manipur/manipur-film-lembi-leima-shines-at-international-short-film-festival.html|title=Manipur film "Lembi Leima" shines at International Short Film Festival |accessdate=2 October 2024|website=nenow.in |date=17 September 2024 }}</ref>
|}

== Selected filmography ==
* ''All films are in Meitei unless otherwise noted.''
{| class="wikitable sortable"
! scope="col"| Year
! scope="col"| Title
! scope="col"| Role(s)
! scope="col"| Director(s)
! scope="col" class="unsortable" | Notes
! scope="col" class="unsortable" | {{Tooltip|Ref.|References}}
|-
| 2006 || ''Tellangga Mamei'' || Bembem || [[Oken Amakcham]] ||Child Artist, Debut film || <ref>{{Cite web|url=http://e-pao.net/epSubPageExtractor.asp?src=reviews.movies.Manipuri_cinema_Festival_and_beyond|title=Manipuri cinema: Festival and beyond|author=Angomcha Bimol Akoijam|website=e-pao.net}}</ref>
|-
| rowspan="2"|2009 || ''Khangdreda Nongdamba'' || Bala || [[Romi Meitei]] || || <ref>{{Cite web|url=https://erang.e-pao.org/Behind/Photo_gallery_bts_Khangdreda.html|title=Making of "Khangdreda Nongdamba" :: Part 1|accessdate=29 September 2024|website=erang.e-pao.org}}</ref>
|-
| ''Panthungee Wangmada'' || Linthoi || Yoimayai Mongsaba || ||
|-
| rowspan="3"|2010 || ''Imagi Laman Singamdre'' || Niti || [[Romi Meitei]] || || <ref>{{Cite web|url=https://www.e-pao.net/epGallery.asp?id=2&src=Movies/PremierImagi201010_2|title=Premiere of 'Imagi Laman Singamdre' at Bangalore :: 17 October 2010|website=www.e-pao.net}}</ref>
|-
| ''[[Kadarmapee]]'' || Nungthil Chaibi || L. Prakash || || <ref>{{Cite news|url=https://timesofindia.indiatimes.com/noted-manipuri-film-actor-saikhom-kamala-is-all-set-to-hold-a-special-show-of-her-second-production-christened-kadar-mapi-at-bangalore-on-november-8-and-at-imphal-on-november-4-i-have-chosen-november-8-to-coincide-with-ningol-chakouba-one-of-the-biggest-festivals-for-manipuri-women-kamala-25-who-has-so-far-acted-more-than-120-manipuri-feature-films-in-digital-format-said-on-sunday-/articleshow/6804070.cms|title=Kamala is all set to hold a special show of her second production christened Kadar Mapi at Bangalore on November 8 and at Imphal on November 4|accessdate=21 October 2021|newspaper=Times of India|date=24 October 2010 }}</ref>
|-
| ''21st Century's Kunti'' || Kethabi || Joy Soram || || <ref>{{Cite news|url=https://timesofindia.indiatimes.com/home/science/fish-fry-for-the-manipuri-soul/articleshow/12399081.cms|title=Fish fry for the Manipuri soul|newspaper=Times of India|date=25 March 2012 }}</ref>
|-
| rowspan="5"|2011 || ''Hanggam Maru Pokkhaibi'' || Mitlaobi || L. Surjakanta || || <ref>{{Cite web|url=https://e-pao.net/GP.asp?src=64..130622.jun22|title=Script writer Herojit Naoroibam no more|via=The Sangai Express|website=e-pao.net}}</ref>
|-
| ''Loibataare Ta Raju'' || Molly || Pilu H. || ||
|-
| ''Nongmadi Soidana'' || Leina || Ishomani || ||
|-
| ''[[Luhongbagi Ahing]]'' || Purnima || Bijgupta Laishram || || <ref>{{cite web|url=http://e-pao.net/GP.asp?src=24..040611.jun11|title=Film 'Luhongbagi Ahing' released : 04th jun11 ~ E-Pao! Headlines|website=e-pao.net}}</ref>
|-
| ''[[Yaiskulgee Pakhang Angaoba]]'' || Majaru || [[Homen D' Wai]] || Won Best Actress || <ref>{{Cite web|url=http://e-pao.org/erang/Reviews/Yaiskulgee_Pakhang_Angouba_You_will_love_it.php|title=Yaiskulgee Pakhang Angaoba - You will love it|author=Ramesh Laishram|access-date=17 December 2021|website=e-pao.org}}</ref>
|-
| rowspan="7"|2012 || ''Taru Tarubi Maktabee'' || Maktabee || Tej Kshetri || ||
|-
| ''Thouri'' || Mallu || Khoibam Homeshwori || ||
|-
| ''Nongdambada Tanoubi'' || Sanathoi || Rajen Leishangthem || ||
|-
| ''Mami'' || Lily || Jeetendra Ningomba || || <ref>{{Cite web|url=https://kanglaonline.in/2012/08/the-bad-image-manipuri-feature-film-mami-review/|title=The Bad Image – Manipuri Feature Film – Mami – Review|website=kanglaonline.in|date=17 August 2012 }}</ref>
|-
| ''Lamjasara'' || Fajarei || L. Prakash || ||<ref>{{Cite web|url=https://e-pao.net/GP.asp?src=22..110213.feb13|title=2012: A Good year for Manipur film industries|website=e-pao.net}}</ref>
|-
| ''Manipur Express'' || Tampha || [[Oinam Gautam Singh|O. Gautam]] || ||
|-
| ''Lamkhai'' || Thadoi || Ningthoukhongjam Medhajeet || ||
|-
| rowspan="5"|2013 || ''[[Neelakasham Pachakadal Chuvanna Bhoomi]]'' || Assi || [[Sameer Thahir]] || Malayalam Debut ||<ref>{{Cite web |url=https://www.newindianexpress.com/entertainment/malayalam/2013/jul/16/when-kerala-called-surja-bala-hijam-497371.html |title=When Kerala called Surja Bala Hijam |website=The New Indian Express |date=16 July 2013 |access-date=15 April 2020 |archive-date=20 December 2019 |archive-url=https://web.archive.org/web/20191220041009/https://www.newindianexpress.com/entertainment/malayalam/2013/jul/16/When-Kerala-called-Surja-Bala-Hijam-497371.html |url-status=live}}</ref><ref>{{Cite news |title=Five reasons why we love Dulquer Salmaan |work=The Times of India |url=https://timesofindia.indiatimes.com/entertainment/malayalam/movies/photo-features/five-reasons-why-we-love-dulquer-salmaan/photostory/48935745.cms?from=mdr |access-date=2023-08-11 |issn=0971-8257}}</ref>
|-
| ''Mounao Thoibi'' || Thoibi || rowspan="2"| [[Romi Meitei]] || || <ref>{{Cite web|url=http://e-pao.org/erang/Reviews/Mouna_Khatladi_Si_Ngaaktani_Observing_Manipuri_Digital_Films_By_Konsam_Panthoi.php|title=Mouna Khatladi Si Ngaaktani: Observing Manipuri Digital Films|author=Konsam Panthoi|website=e-pao.org}}</ref>
|-
| ''Thajagee Maihing'' || Thaja || || <ref>{{Cite web|url=https://e-pao.org/erang/Reviews/Screening_of_Thajagi_Maiihing_in_Bangalore.php|title=Screening of Thajagi Maihing in Bangalore|author=Pukhrambam Linthoingambi / Dr. Moirangthem Jiban|website=e-pao.org}}</ref>
|-
| ''[[Chow Chow Momo na haobara Shingju Bora na oinambara]]'' || Nungshitombi || RK Jiten || || <ref>{{Cite web|url=http://e-pao.net/epGallery.asp?id=9&src=Rock_Concert_Gallery/WildFlower20131015|title=Wild Flower performing at promotional show of 'Chow-Chow Momo na haobra, Singju Bora na oinambra" at Jalandhar, Punjab :: 13 October 2013|work=E-PAO}}</ref>
|-
| ''[[Tamoyaigee Ebecha]]'' || Ebecha || Pilu H. || || <ref>{{Cite web |title="Bala's new film "Tamoyaigee Ibecha" banned by Film Forum Manipur and MEELAL {{!}} Manipur Forum, Community, Discussions, News" |work=Manipur Forum, Community, Discussions, News |url=http://manipurtalks.com/index.php?threads/balas-new-film-tamoyaigee-ibecha-banned-by-film-forum-manipur-and-meelal.5680/ |url-status=live |archive-url=https://web.archive.org/web/20160129095812/http://manipurtalks.com/index.php?threads/balas-new-film-tamoyaigee-ibecha-banned-by-film-forum-manipur-and-meelal.5680/ |archive-date=29 January 2016 |access-date=17 January 2022}}</ref>
|-
| rowspan="8"|2014 || ''Sathiba Danger'' || Sakhenbi || Ajit Ningthouja || || <ref>{{Cite web|url=http://www.kumhei.com/kumhei/112-movies/268-sathiba-danger|title=SATHIBA DANGER PREMIERE SHOW|website=www.kumhei.com}}</ref>
|-
| ''[[Sanagi Tangbal]]'' || Lingjelthoibi || Bijgupta Laishram || || <ref>{{cite web|url=http://www.kumhei.com/kumhei/movies/278-sanagi-tangbal |title=Sanagi Tangbal Premiere Show |website=www.kumhei.com}}</ref>
|-
| ''Meerang Mahum'' || Nganthoi || Ajit Ningthouja || || <ref>{{Cite web|url=https://e-pao.org/erang/Behind/2014/Gallery_Meerang_Mahum_2014_2.html|title='Meerang Mahum' - Scenes / Behind the scenes #2 |website=e-pao.org}}</ref>
|-
| ''[[23rd Century: Ngasigee Matungda]]'' || Thambal || Dinesh Tongbram || || <ref>{{cite web|url=http://www.kumhei.com/kumhei/movies/371-23rd-century|title=23rd CENTURY Ngasigee Matungda - Kumhei}}</ref>
|-
| ''Hoo Chaage'' || Leishilembi || Denny Likmabam || ||
|-
| ''[[Amukta Ani (2014)|Amukta Ani]]'' || Thoibi || [[Romi Meitei]] || || <ref>{{Cite web|url=http://www.e-pao.net/epSubPageExtractor.asp?src=announcements.Ann_2014.2nd_Red-carpet_event_and_premier_of_Amukta_Ani_at_BOAT_20140906|title=2nd Red carpet event and premiere of Amukta Ani at BOAT - Date: 11th October 2014|website=e-pao.net}}</ref>
|-
| ''Thabaton 2'' || Nungsithoi || Bijgupta Laishram || || <ref>{{Cite web|title=Dy CM raises NE Film City in State banner : 06th oct14 ~ E-Pao! Headlines |url=http://e-pao.net/GP.asp?src=3..061014.oct14|website=e-pao.net}}</ref>
|-
| ''[[Delhi Mellei]]'' || Mellei || Ajit Ningthouja || || <ref>{{Cite web |last=KanglaOnline |date=2015-10-27 |title=Movie Review: Moral Lessons from Mellei's Life – KanglaOnline |url=http://kanglaonline.com/2015/10/moral-lessons-from-melleis-life/ |access-date=2023-08-11 |language=en-US |archive-date=11 August 2023 |archive-url=https://web.archive.org/web/20230811203609/http://kanglaonline.com/2015/10/moral-lessons-from-melleis-life/ |url-status=dead }}</ref>
|-
| rowspan="7"|2015 || ''Toro'' || Thoibi || Kirmil Soraisam || || <ref>{{Cite web|url=https://e-pao.net/epSubPageExtractor.asp?src=announcements.Ann_2015.Toro_Film_Release_at_BOAT_20150311|title=Toro : Film Release at Bhagyachandra Open Air Theatre (BOAT) Date : 9th April, 2015 |website=e-pao.net}}</ref>
|-
| ''Da Lem'' || Sorinchon || Hemanta Khuman || || <ref>{{Cite web|url=https://e-pao.net/epSubPageExtractor.asp?src=announcements.Ann_2015.Da_Lem_Film_released_at_MFDC_20150209|title=Da Lem : Film released at MFDC Date : 14th February, 2015 |website=e-pao.net}}</ref>
|-
| ''[[Nungshit Mapi]]'' || Thambal || Ajit Ningthouja || || <ref>{{Cite web|date=2015-10-13 |title=NUNGSHIT MAPI |url=http://www.kumhei.com/kumhei/movies/544-nungshit-mapi |access-date=2023-08-11 |website=www.kumhei.com}}</ref>
|-
| ''[[Cheikhei]]'' || Sanatombi || Premkumar Paonam || || <ref>{{cite web|url=http://www.kumhei.com/kumhei/movies/589-cheikhei|title=Cheikhei - Kumhei}}</ref>
|-
| ''Angangba Mayek (Pizza 2)'' || Thanil || Dinesh Tongbram || ||
|-
| ''[[Eikhoi Pabunggi]]'' || Engellei || Hemanta Khuman || || <ref>{{Cite web|url=http://e-pao.org/erang/Behind/2015/Gallery_Eikhoi_Pabunggi_2015_1.html|title=Eikhoi Pabunggi :: Behind the Scenes - Part 1|website=e-pao.org}}</ref>
|-
| ''[[Kum Kang Kum Kabi Chang]]'' || Tharo || Bishwamittra || || <ref>{{cite web |url=http://www.thesangaiexpress.com/film-released/ |title=Film released |publisher=The Sangai Express |date=2015-12-11 |accessdate=2016-01-14 |archive-date=28 January 2016 |archive-url=https://web.archive.org/web/20160128222844/http://www.thesangaiexpress.com/film-released/ |url-status=dead }}</ref>
|-
| rowspan="4"|2016 || ''[[Moreh Maru]]'' || Bala || [[Oinam Gautam Singh|O. Gautam]] || ||<ref>{{Cite web |title="MOREH MARU at BOAT on 27th October 2016" |work=MachuOnline |date=12 October 2016 |url=http://machuonline.com/moreh-maru-at-boat-on-27th-october-2016/ |url-status=live |archive-url=https://web.archive.org/web/20161107052559/http://machuonline.com/moreh-maru-at-boat-on-27th-october-2016/ |archive-date=7 November 2016 |access-date=4 March 2017}}</ref>
|-
| ''Tharo Thambal'' || Tharo || Bijgupta Laishram || ||
|-
| ''Khongfam'' || Tampha || Sudhir Kangjam || ||
|-
| ''Sor'' || Usha || Ajit Ningthouja || || <ref>{{Cite web|url=https://manipurtimes.com/sor-manipur-digital-film-releasing-at-this-ningol-chakouba/|title="Sor" Manipur Digital Film – Releasing at this Ningol Chakouba|website=manipurtimes.com|date=18 October 2016 }}</ref>
|-
| rowspan="6"|2017 || ''[[Iche Tampha]]'' || Thadoi || Bijgupta Laishram || || <ref>{{cite news |url=http://www.thesangaiexpress.com/film-released-3/ |title=Film released |newspaper=The Sangai Express |date=2017-03-06 }}{{Dead link|date=July 2025 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>
|-
| ''Mitlu'' || Thaarlin || Gyaneshwor Konj || ||<ref>{{Citation | title=Mitlu |date=2017-10-16 |url=https://www.imdb.com/title/tt7867200/ |type=Drama |access-date=2023-08-11 |others=Gokul, Hemabati, Kheda |publisher=Focus Films Manipur}}</ref>
|-
| ''Mani Mamou'' || Ningthibee || Ajit Ningthouja || || <ref>{{Cite web|url=https://e-pao.org/erang/Interview/Heart_to_heart_talk_with_Ajit_Ningthouja_By_Bidyarani_Thingujam.php|title=Heart-to-heart talk with Ajit Ningthouja : The multi-faceted personality of Manipuri Film industry |author=Bidyarani Thingujam|website=e-pao.org}}</ref>
|-
| ''[[Mr. Khadang]]'' || Thadoi || Chou En Lai || ||<ref>{{Cite web |url=http://www.thepeopleschronicle.in/Archive/chronicle/2017/July/29-07-2017/Page_2.pdf |title=Mr Khadang: Love story of a cow lover |website=The People's Chronicle |date=29 July 2017 |access-date=15 April 2020 |archive-date=30 March 2019 |archive-url=https://web.archive.org/web/20190330044454/http://www.thepeopleschronicle.in/Archive/chronicle/2017/July/29-07-2017/Page_2.pdf |url-status=live}}</ref>
|-
| ''Chinglen Sana'' || Langlen || Bijgupta Laishram || Best Actor - Supporting Role || <ref>{{Cite web|url=https://nenow.in/entertainment/manipur-state-film-awards-distributed.html#google_vignette|title=Manipur State Film awards distributed |website=nenow.in|date=16 December 2017 }}</ref>
|-
| ''Kaongamdraba Facebook'' || Tampha || AK. Gyaneshori || ||
|-
| rowspan="8" |2018 || ''Sanagi Nga'' || Thaja || [[Romi Meitei]] || || <ref>{{Cite web|url=https://northeastlivetv.com/national/cannes-film-festival-2023-here-is-the-list-of-ne-film-personalities-attending-the-coveted-event/|title=Cannes Film Festival 2023: Here is the list of NE film personalities attending the coveted event|accessdate=2 October 2024|website=northeastlivetv.com|date=17 May 2023 }}</ref>
|-
|''[[Who Said Boys Can't Wear Makeup?]]''
|Herself
|[[Priyakanta Laishram]]
|
| <ref>{{Cite news|date=3 October 2023|title=Manipuri-English film promoting gender-neutral fashion to be screened in Mumbai |work=East Mojo |url=https://www.eastmojo.com/entertainment/2023/10/03/manipuri-english-film-promoting-gender-neutral-fashion-to-be-screened-in-mumbai/|access-date=7 October 2023}}</ref>
|-
| ''Ebungee Echal'' || Leibaklei || Hemanta Khuman || ||
|-
| ''Nungshibana Loire'' || Sana || Sadananda Salam || ||
|-
| ''Chanu IPS'' || Laija || Sanaton Nongthomba || || <ref>{{Cite web|url=http://www.thepeopleschronicle.in/daily/english/3305|title=Blessing ceremony for Manipuri film held|newspaper=The People's Chronicle}}</ref>
|-
| ''Yotpi'' || Yoihenbi || [[Romi Meitei]] || || <ref>{{Cite web|url=https://e-pao.net/epSubPageExtractor.asp?src=leisure.Rock_Concert.Jack_RK_Hip_Hop_from_Manipur_A_Profile_By_Daniel_Chabungbam|title=Jack RK : Hip Hop from Manipur :: A Profile |author=Daniel Chabungbam|website=e-pao.net}}</ref>
|-
| ''Pari Imom'' || Sanatombi || Bijgupta Laishram || || <ref>{{Cite web|url=https://e-pao.org/erang/Behind/2018/Gallery_PariImom_2018_1.html|title=Scenes from 'Pari Imom' - #1 |website=e-pao.org}}</ref>
|-
| ''Hidak Tombi'' || Tombi || Chou En Lai || ||
|-
| rowspan="10"|2019 || ''Kao Phaaba'' || Matouleibi || Ishomani || ||
|-
| ''[[Ichadi Manini]]'' || Yaiphabi || Geet Yumnam || || <ref>{{Cite web|title=9th MANIFA winners announced; 'Eikhoisibu Kanano' wins Best Manipuri Feature Film award|url=https://www.ifp.co.in/1216/9th-manifa-winners-announced-eikhoisibu-kanano-wins-best-manipuri-feature-film-award|access-date=2023-08-11|website=Imphal Free Press|archive-date=16 October 2023|archive-url=https://web.archive.org/web/20231016151346/https://www.ifp.co.in/1216/9th-manifa-winners-announced-eikhoisibu-kanano-wins-best-manipuri-feature-film-award|url-status=dead}}</ref>
|-
| ''[[Inamma]]'' || Memtombi || Homeshwori || Won Best Actress at 9th MANIFA 2020 || <ref>{{Cite news|title=9th MANIFA winners announced; 'Eikhoisibu Kanano' wins Best Manipuri Feature Film award|url=https://www.ifp.co.in/movies/9th-manifa-winners-announced-eikhoisibu-kanano-wins-best-manipuri-feature-film-award|access-date=2023-08-11|newspaper=[[Imphal Free Press]]|archive-date=11 August 2023|archive-url=https://web.archive.org/web/20230811193652/https://www.ifp.co.in/movies/9th-manifa-winners-announced-eikhoisibu-kanano-wins-best-manipuri-feature-film-award|url-status=dead}}</ref>
|-
| ''Namase Chaphu Huranbini'' || Memsana || Herojit Naoroibam || || <ref>{{Cite web|url=https://www.cbfcindia.gov.in/main/hindi/pages/RTI.pdf|title=Language wise List of the feature films Indian/Foreign - CBFC|access-date=3 July 2021|website=www.cbfcindia.gov.in}}</ref>
|-
| ''Wakchingi Len'' || Yaiphabi || Bijgupta Laishram || || <ref>{{Cite web|url=https://www.cbfcindia.gov.in/main/hindi/pages/RTI.pdf|title=Language wise List of the feature films Indian/Foreign - CBFC|access-date=3 July 2021|website=www.cbfcindia.gov.in}}</ref>
|-
| ''Mutlamdai Thaomei'' || Thaballei || Sudhir Kangjam || ||
|-
| ''Thabaton 3'' || Nungsithoi || Bijgupta Laishram || || <ref>{{Cite news|title=Court restrains 'Yaipha Thouni Thouram' of Thabaton 4, 5 |url=https://www.ifp.co.in/6344/court-restrains-yaipha-thouni-thouram-of-thabaton-4-5 |access-date=2023-02-26 |newspaper=[[Imphal Free Press]]}}</ref>
|-
| ''[[Chanu IPS 2]]'' || Laija || Sanaton Nongthomba || || <ref>{{Cite web|title=Manipur Film Journalists body to introduce annual Manipuri Feature Film Award|url=https://nenow.in/entertainment/manipur-film-journalists-body-to-introduce-annual-manipuri-feature-film-award.html|publisher=Northeast Now|date=9 September 2020}}</ref>
|-
| ''[[Mamal Naidraba Thamoi]]'' || Nurei || Gyanand || || <ref>{{Cite news|title=Nominees out for 9th MANIFA 2020|url=https://www.thesangaiexpress.com/Encyc/2020/2/16/IMPHAL-Feb-16-List-of-the-nominees-for-the-9th-Manipur-Film-Awards-MANIFA-2020-is-out-Including-two-tribal-dialect-films-a-total-of-19-films-will-be-competing-for-the-MANIFA-2020-awards-.html|newspaper=The Sangai Express}}</ref>
|-
| ''Eerei'' || Eethak || Krishnakumar Gurumayum || || <ref>{{Cite web|url=https://e-pao.net/GP.asp?src=16..100920.sep20|title=Manipur Film Journalists and Critics Award to be given annually|accessdate=2 October 2024|website=e-pao.net}}</ref>
|-
| rowspan="2"|2020 || ''[[Aronba Wari]]'' || Mainoubi || OC Meira || || <ref>{{Cite news|url=https://www.thesangaiexpress.com/Encyc/2020/3/19/IMPHAL-Mar-19The-premier-of-Aronba-Wari-a-Manipuri-feature-film-produced-by-Seuti-Films-Production-slated-to-be-held-on-March-21-at-MSFDS-has-been-postponed-following-the-prohibition-by-authori.amp.html|title=Events cancelled|newspaper=The Sangai Express}}</ref>
|-
| ''15 August: A Love Story'' || || Krishnand Ningombam || ||
|-
| rowspan="4"|2022 || ''Shamjabee'' || Nungsitombi || Premkumar Paonam || ||
|-
| ''Ningol'' || Tarubi || L. Surjakanta || || <ref>{{Cite web|url=https://in.bookmyshow.com/movies/ningol/ET00352316|title=Ningol (2023) - Movie - Book My Show|accessdate=2 October 2024|website=in.bookmyshow.com}}</ref>
|-
| ''Wangma Wangmada'' || Actress || Kirmil Soraisam || || <ref>{{Cite web|url=https://e-pao.net/epSubPageExtractor.asp?src=news_section.Press_Release.Press_Release_2022.Wangma_Wangmada_Feature_Film_Media_Show_20221221|title="Wangma Wangmada" : Feature Film helds Media Show - Nambol, 17th December 2022|website=e-pao.net}}</ref>
|-
| ''[[Lembi Leima]]'' || Surjabala || Mayank Pratap Singh || ||<ref>{{Cite news|date=2022-11-26|title=Working in a Manipuri film was a first for me: Bijou Thaangjam |work=The Times of India |url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/working-in-a-manipuri-film-was-a-first-for-me-bijou-thaangjam/articleshow/95786108.cms |access-date=2023-08-11}}</ref><ref>{{Cite web|last=Journal|first=North East Film|date=2023-04-26|title=Lembi Leima (2023): A tale of a brave and honest woman|work=North East Film Journal |url=https://northeastfilmjournal.com/lembi-leima-2023-a-tale-of-a-brave-and-honest-woman|access-date=2023-08-11}}</ref>
|-
| rowspan="2"|2024 || ''[[Boong (film)|Boong]]'' || Mandakini || Lakshmipriya Devi || ||<ref>{{Cite web |title=Indian director Lakshmipriya Devi's 'Boong' premieres at TIFF|url=https://www.hindustantimes.com/world-news/indian-director-lakshmipriya-devi-s-boong-premieres-at-tiff-101726047218751-amp.html|access-date=2024-09-16|author=Anirudh Bhattacharyya|newspaper=Hindustan Times |date=11 September 2024 }}</ref>
|-
| ''Laangoi'' || Henthoi || Manoranjan Longjam || ||
|-
| 2025 || ''Nung Onkhraba Thamoi'' || Thoibi || Surjit Khuman || ||
|-
| rowspan="3"|Upcoming ||''Ahingsina Loidringei'' || Thoibi || [[Oinam Gautam Singh|O. Gautam]] || ||
|-
| ''Leishembi'' || Leishembi || Rakesh Moirangthem || ||
|-
| ''Ketukigi Leinam'' || Memthoibi/Memi || Gyanand Ksh. || ||
|}

==References==
{{reflist}}

==External links==
* {{IMDb name|nm5869061}}
* [https://klmdb.com/name/0000322 Bala Hijam] at [https://klmdb.com/ KLMDb]
* {{Instagram | id= balahijam| name= Bala Hijam}}

{{authority control}}

{{DEFAULTSORT:Hijam, Bala}}
[[Category:Living people]]
[[Category:1992 births]]
[[Category:Meitei people]]
[[Category:Indian film actresses]]
[[Category:People from Imphal West district]]
[[Category:Actresses from Manipur]]
[[Category:Actresses in Meitei cinema]]
[[Category:Actresses in Malayalam cinema]]
[[Category:21st-century Indian actresses]]

Gurvinder Singh (social worker)

2026-01-18T11:46:22Z

Giispune: put up a bio

{{Short description|Indian social worker and Padma Shri awardee}}
{{Infobox person
| name = Gurvinder Singh
| birth_date = {{Birth date and age|1969|01|04}}
| birth_place = Sirsa, Haryana, India
| occupation = Social worker
| organization = Bhai Kanhaiya Manav Sewa Trust (2005)
| known_for = Social welfare initiatives in Haryana.
| awards = Padma Shri
}}

'''Gurvinder Singh''' (born 4 January 1969) is an Indian [[Social work|social worker]] from Sirsa, Haryana. He is the founder of the Bhai Kanhaiya Manav Sewa Trust, a non-governmental organization involved in health, education, and humanitarian services. In 2024, Singh received the [[Padma Shri]], for his contributions to social work.<ref name="PadmaPDF">{{Cite web |title=Padma Awards 2024: Citation for Gurvinder Singh |url=https://www.padmaawards.gov.in/Document/pdf/CitationsForTickets/2024/2024113.pdf |publisher=Ministry of Home Affairs |access-date=14 April 2025}}</ref><ref name="Dashboard">{{Cite web |title=Padma Awards Dashboard 2024 |url=https://dashboard-padmaawards.gov.in/?Award=Padma%20Shri&Year=2024-2024&Place=Haryana |publisher=Ministry of Home Affairs |access-date=14 April 2025}}</ref>

== Early life ==
Singh was born in [[Sirsa]], [[Haryana]], in 1969. Following his education, he worked as a mechanic. A [[spinal cord injury]] resulting from a road accident led to his paralysis. During his hospitalization, his observations of [[Social services|social service]] inspired him to pursue public welfare efforts.<ref name="Tribune">{{Cite news |title=On wheelchair, Sirsa activist a pillar of support |url=https://www.tribuneindia.com/news/haryana/on-wheelchair-sirsa-activist-a-pillar-of-support-584951/ |work=The Tribune |date=26 January 2024 |access-date=14 April 2025}}</ref><ref name="LogicalIndian">{{Cite web |title=Paralysed Haryana Social Worker Helps Transform Lives of Differently-Abled |url=https://thelogicalindian.com/gurvinder-singh-haryanas-paralyzed-social-worker-transforming-lives-for-the-differently-abled/ |work=The Logical Indian |access-date=14 April 2025}}</ref>

== Social work ==

=== Bhai Kanhaiya Manav Sewa Trust ===
In 2006, Singh established the Bhai Kanhaiya Manav Sewa Trust, a non-profit organization based in Sirsa. The Trust conducts several social service initiatives, including:

* Providing ambulance services in Sirsa, Ellenabad, and Rania.<ref name="Tribune"/>
* Organizing blood donation camps.<ref name="AmarUjala">{{Cite web |title=दिव्यांग समाजसेवी गुरविंदर सिंह को पद्मश्री, हरियाणा से मिलेगा सम्मान |url=https://www.amarujala.com/chandigarh/divyang-social-worker-gurvinder-singh-from-haryana-will-get-padma-shri-2024-01-25 |publisher=Amar Ujala |access-date=14 April 2025}}</ref>
* Operating a shelter home (Bhai Kanhaiya Ashram) for orphans, abandoned individuals, and people with disabilities.<ref name="Bhaskar">{{Cite web |title=सिरसा के गुरविंदर सिंह को पद्मश्री अवॉर्ड, केंद्र सरकार का अपडेट |url=https://www.bhaskar.com/local/haryana/sirsa/news/sirsa-gurvinder-singh-padma-shri-awards-central-government-update-132500835.html |publisher=Bhaskar |access-date=14 April 2025}}</ref>

=== Educational initiatives ===
The Trust also operates the Bhai Kanhaiya Shiksha Sansthan, which provides educational support to children from economically disadvantaged backgrounds.<ref name="News18">{{Cite web |title=Sirsa Republic Day Padma Awards 2024 : सिरसा के दिव्यांग गुरविंदर सिंह को समाज सेवा के लिए पद्मश्री पुरस्कार, हादसे में गंवाए थे पैर |url=https://hindi.news18.com/news/haryana/sirsa-republic-day-padma-awards-2024-sirsa-specially-challenged-man-gurvinder-singh-gets-padma-shree-award-for-social-work-lost-his-legs-in-accident-8018318.html |publisher=News18 Hindi |access-date=14 April 2025}}</ref>

=== Other activities ===
The Trust engages in environmental initiatives, such as tree planting, and conducts vocational training programs.<ref name="LogicalIndian"/>

== Recognition ==
Singh was awarded the Padma Shri in 2024 by the [[Government of India]] for his social service contributions.<ref name="PadmaPDF"/><ref name="Dashboard"/><ref name="TimesNow">{{Cite web |title=Padma Shri Award 2024: Gurvinder Singh of Sirsa Honoured |url=https://www.timesnowhindi.com/cities/padam-awards-winner-on-republic-day-2024-social-worker-gurvinder-singh-from-sirsa-haryana-will-get-padam-shree-awards-article-107155053 |work=Times Now Hindi |access-date=14 April 2025}}</ref>

== See also ==
* [[Padma Shri]]
* [[List of Padma Shri award recipients (2020–2029)]]

== References ==
{{Reflist}}

[[Category:Recipients of the Padma Shri in social work]]
[[Category:Indian social workers]]
[[Category:People from Haryana]]
[[Category:Living people]]
[[Category:1969 births]]
[[Category:Indian activists with disabilities]]

Bhaja Caves

2026-01-15T08:17:18Z

Giispune:

{{Short description|Cave complex in Maharashtra, India}}
{{Use dmy dates|date=May 2023}}
{{Infobox Cave
| name = Bhaje Caves
| photo = [[File:The Bhaje Caves 05.jpg|250px]]
| photo_caption = Main [[Chaitya]]grha, Cave 12, with [[stupa]]
| coords ={{coord|18|43|40|N|73|28|55|E|region:IN-MH_type:landmark_source:kolossus-dewiki|display=inline,title}}
| location = Pune, Bhaje,<ref name=JAMES>{{cite book|last=Burgess|first=James|title=The Cave Temples of India|year=1880|publisher=W.H. Allen|pages=[https://archive.org/details/cavetemplesindia00burg/page/n244 223]–228|url=https://archive.org/details/cavetemplesindia00burg|quote=bhaja .|access-date=5 July 2013|chapter=The caves in vicinity of Karle and the Bor Ghat}}</ref> Maharashtra, India
| map=India
| relief=yes
| depth =
| length =
| survey =
| survey_format =
| discovery =
| geology = Basalt
| entrance_count = 22
| entrance_list =
| difficulty = easy
| hazards =
| access =
| translation =
| language =
| pronunciation = Bhaja or Bhaje
}}
'''Bhaja Caves''' are a group of 22<ref name=INDIA>{{cite web|title=Ticketed Monuments – Maharashtra Bhaja Caves, Bhaja|url=http://asi.nic.in/asi_monu_tktd_maha_bhajacaves.asp|publisher=Archaeological Survey of India, Government of India|access-date=5 July 2013|archive-url=https://web.archive.org/web/20130810133406/http://asi.nic.in/asi_monu_tktd_maha_bhajacaves.asp|archive-date=10 August 2013|url-status = dead}}</ref> [[Indian rock-cut architecture|rock-cut]] caves dating back to the 2nd century BC located off the Mumbai - Pune expressway near the city of [[Pune]], India. The caves are 400 feet above the village of Bhaja,<ref name=MAHARASHTRA>{{cite web|title=CHAPTER 20 PLACES OF INTEREST|url=http://cultural.maharashtra.gov.in/english/gazetteer/Poona/PART%20VI/Chap%20(20)/Places%20Of%20Interest.htm|publisher=Maharashtra Government – Tourism and Cultural Dept|access-date=6 July 2013}}</ref> on an important ancient trade route running from the [[Arabian Sea]] eastward into the [[Deccan Plateau]] (the division between [[North India]] and [[South India]]).<ref name="public">{{cite web |url=http://www.public.iastate.edu/~tart/arth382/lecture7.html |title=Later Andhra Period India |access-date=2007-01-24 }}</ref> The inscriptions and the cave temple are protected as a [[Monument of National Importance]], by the [[Archaeological Survey of India]] per Notification No. 2407-A.<ref>{{cite web|title=List of the protected monuments of Mumbai Circle district-wise|url=http://www.asimumbaicircle.com/images/list-of-protected-monuments-n-forts.pdf|archive-url=https://web.archive.org/web/20130606093840/http://www.asimumbaicircle.com/images/list-of-protected-monuments-n-forts.pdf|url-status=usurped|archive-date=6 June 2013}}</ref><ref>{{Cite web
| title = Bhaja Caves Visitors' Sign
| date = 15 January 2012
| access-date = 2012-10-08
| url = https://commons.wikimedia.org/wiki/File:Bhaja_caves.JPG
}}</ref> It belongs to the [[Early Buddhist schools]] in Maharashtra.<ref name=INDIA /> The caves have a number of [[stupa]]s, one of their significant features. The most prominent excavation is its [[chaitya]] (or ''chaityagrha'' – Cave XII), a good example of the early development of this form from wooden architecture, with a vaulted horseshoe ceiling. Its [[vihara]] (Cave XVIII) has a pillared verandah in front and is adorned with unique reliefs.<ref name=AHIR>{{cite book|last=Ahir|first=D. C.|title=Buddhist sites and shrines in India: history, art, and architecture|year=2003|publisher=Sri Satguru Publ.|location=Delhi|isbn=8170307740|pages=191|edition=1.}}</ref> These caves are notable for their indications of the awareness of wooden architecture.<ref name=INDIA /> The carvings prove that [[tabla]] – a percussion instrument – was used in [[India]] for at least 2300 years,<ref>Pradipkumar S. Meshram, 1981, [The tabla in the Bhaja cave sculptures: A note], Indica, Volume 18, p. 57.</ref><ref name=hilj1>Mark Hijleh, 2019, [https://books.google.com/books?id=b6h8DwAAQBAJ&dq=bhaja+caves+tabla&pg=PT48 Towards a Global Music History: Intercultural Convergence, Fusion, and Transformation in the Human Musical Story], Routledge, NY, USA.</ref> disproving the centuries-held belief that the tabla was introduced to India by outsiders or from Turko-Arab.<ref name=hilj2>1999, Parsiana, volume 22, p. 49.</ref> The carving shows a woman playing tabla and another woman [[dancing]].

They are some 9 km west from the [[Bedse Caves]]. Other caves in the area are [[Karla Caves]], [[Patan Buddhist Cave]] and [[Nasik Caves]].

==Architecture==
The Bhaja Caves share architectural design with the [[Karla Caves]]. The most impressive monument is the large shrine — chaityagriha — with an open, horseshoe-arched entrance; according to the [[Archaeological Survey of India]], the [[chaitya]]grha is the most prominent aspect of the caves, and one of the earliest of the type.<ref name=INDIA /><ref>{{Cite web|url=https://www.hindustantimes.com/photos/travel/photos-the-bhaja-caves-of-pune/photo-KHjLHfVfO5P9oP6tRrJESI.html|title = PHOTOS: The Bhaja Caves of Pune|date = 5 November 2019}}</ref> The chaitya has unique [[reliefs]] from Indian mythology. Other caves have a nave and aisle, with an apse containing a solid tupa and the aisle circling round the apse, providing the [[circumambulation]] path.<ref>{{cite web
|url=http://www.kamat.com/database/content/architecture/index.htm
|title=5000 Years of Indian Architecture|access-date=2007-03-14
| archive-url= https://web.archive.org/web/20070414175214/http://www.kamat.com/database/content/architecture/index.htm| archive-date= 14 April 2007 |url-status = live}}</ref>

[[File:Guardians Surya and Indra at the Bhaja Caves.jpg|thumb|left|Sculptures of [[Surya]] (left) and [[Indra]] (right) at the entrance of the 1st century BCE Cave 19 at Bhaja Caves.<ref>{{cite book|author1=Sita Pieris|author2=Ellen Raven|title=ABIA: South and Southeast Asian Art and Archaeology Index: Volume Three – South Asia|url=https://books.google.com/books?id=fCL8pjd0JVMC&pg=PA232|year=2010|publisher=BRILL Academic|isbn=978-90-04-19148-8|page=232}}</ref>]]
Chaitygraha has some [[Buddha]] images. A cistern inscription shows the name of a donor, ''Maharathi Kosikiputa Vihnudata'', from the 2nd century AD. A wooden beam records two more inscriptions datable to the 2nd century B.C., which indicates caves have been there for at least 2200 years.<ref name=INDIA /> Eight inscriptions are found in the caves, some giving the name of the donors.<ref name=AHIR />

The sculptures feature elaborate headdress, garlands, and jewellery; they might have originally been painted in bright colors but later covered with plaster. Characteristic for early Buddhism, initially the caves had symbolic Buddha representation. After 4 A.D. Buddha was painted in physical form as well.<ref name=BEHL>{{cite journal|last=Behl|first=Benoy K|title=Grandeur in caves|journal=Frontline|date=22 September 2007|volume=24|issue=19|access-date=6 July 2013|url=http://www.frontline.in/navigation/?type=static&page=flonnet&rdurl=fl2419/stories/20071005505506600.htm}}</ref>

Near the last cave is a waterfall that, during the monsoon season, flows water into a small pool at the bottom.<ref name=TRAVLITE>{{cite web|title=Karla & Bhaja Caves: High-Water Mark of Buddhist Architecture|url=http://www.indiatravelite.com/feature/bhajakarlacaves.htm|publisher=India Travelite|access-date=6 July 2013|url-status = dead|archive-url=https://web.archive.org/web/20130918184750/http://www.indiatravelite.com/feature/bhajakarlacaves.htm|archive-date=18 September 2013}}</ref>

==Musical Instruments==
These caves also provide important proof regarding the history of the [[Tabla]], or Pushkara then called; an Indian percussion instrument, since carvings from 200 BCE show a woman playing tabla and another performing a dance.{{Citation needed|date=March 2025}}
[[File:Stone carvings at Bhaje caves.jpg|thumb|alt=Stone carving of woman playing Tabla at Bhaje caves|Stone carving of woman playing Tabla at Bhaje caves]]

==Stupas==
[[File:Bhaja Caves IMG 5481.JPG|thumb|Outside stupas]]
A notable part of the monument is a group of 14 [[stupa]]s, five inside and nine outside an irregular excavation. The stupas are relics of resident monks, who died at Bhaja, and display an inscription with the names of three monks, Ampinika, Dhammagiri and Sanghdina.<ref name=AHIR /> One of the stupas has inscribed upon it ''Stavirana Bhadanta'', which means the venerable reverend.<ref name=JAMESB /> The stupa particulars show the name of the monks and their respective titles.<ref name=GREG>{{cite book|last=Schopen|first=Gregory|title=Bones, stones and Buddhist monks : collected papers on the archaeology, epigraphy, and texts of monastic Buddhism in India.|year=1996|publisher=University of Hawaii Press|location=Honolulu|isbn=0824818709|pages=175|url=https://books.google.com/books?id=rxdZ-BVNm_IC&q=bhaja+caves&pg=PA200}}</ref> The stupas have been carved very elaborately and two of them have a relic box on their upper side. Names of monks have been titled with ''Theras''.<ref name=JAMES />

==Caves==
;*'''Cave VI'''
It is irregular vihara, 14 feet square, has two cells on each side and three on back side. The chaitya window is ornamental all over cell doors.<ref name=JAMES /> Ploughman's wife, ''Bodhi'', gifted this Vihara as her name is inscribed on cell door.<ref name=JAMESB>{{cite book|last=Burgess|first=James|title=Inscriptions from the Cave-temples of Western India: With Descriptive Notes &c Volume 10 of Archæological Survey of Western India|year=1881|publisher=Government Central Press|pages=22–25|chapter-url=https://books.google.com/books?id=tnIIAAAAQAAJ&q=%22bhaja+caves%22&pg=PR9|author2=Indrājī Bhagvānlal|access-date=6 July 2013|chapter=Bhaja Caves and their inscriptions}}</ref>

;*'''Cave IX'''
Rail pattern ornament, broken animal figures, verandah is on frontal side. It is similar to Cave VIII at [[Pandavleni Caves]].<ref name=JAMES />

;*'''Cave XII'''
The chaitya at Bhaja Caves is perhaps the earliest surviving chaitya hall, constructed in the second century BCE. It consists of an apsidal hall with stupa. The columns slope inwards in the imitation of wooden columns that would have been structurally necessary to keep a roof up. The ceiling is [[barrel vault]]ed with ancient wooden ribs set into them. The walls are polished in the [[Maurya Empire|Mauryan]] style. It was faced by a substantial wooden [[facade]], now entirely lost. A large horseshoe-shaped window, the chaitya-window, was set above the arched doorway and the whole portico-area was carved to imitate a multi-storeyed building with balconies and windows and sculptured men and women who observed the scene below. This created the appearance of an ancient Indian mansion.<ref>[http://asi.nic.in/asi_monu_tktd_maha_bhajacaves.asp ASI, "Bhaja Caves"] {{Webarchive|url=https://web.archive.org/web/20130810133406/http://asi.nic.in/asi_monu_tktd_maha_bhajacaves.asp |date=10 August 2013 }}; Michell, 352;Dehejia</ref>

Chaitya is 26 feet 8 inches wide and 59 feet long, with semi-circular apse at back, and having aisle 3 feet 5 inches wide, separated from the nave by 27 octagonal shafts which are 11 feet 4 inches height. The dagoba is 11 feet diameter at the floor. This resembles the [[Kondana Caves]]. The pillar has 7 different symbols of Buddha shown in floral form, buds, leaves, fan.<ref name=JAMES />

{| class="wikitable" style="margin:0 auto;" align="center" colspan="2" cellpadding="3" style="font-size: 80%; width: 100%;"
|-
|state = collapsed align=center colspan=2 style="background:#D3D3D3; font-size: 100%;"| '''Cave XII "Main Chaitya"'''
|-
|<gallery mode="packed" heights="150px">
File:017 Chaitya Hall and nearby Caves (33692641645).jpg|Setting of the entrance
Bhaja cave from outside.jpg|Exterior
File:Facade of the Bhaja Caves, Maharashtra, India - 20080525.jpg|Facade of the chaitya
File:Bhaja Caves Amit R Mahadik 05.jpg|Chaityagruha at Bhaja Caves
File:Bhaja Caves Amit R Mahadik 06.jpg|Wooden Ceiling in Main Chaitygruha
</gallery>
|}
[[File:Bhaja caves plan.jpg|thumb|300px|Plan of the site]]
;*'''Cave XIII'''
This seems to be destroyed. It may have been of wood construction in ancient times. It is 30 feet long and 14.5 feet deep. It is in a rail pattern, with a few cells at the back and a bolt door system.<ref name=JAMES />

;*'''Cave XIV'''
This cave is facing towards northern side 6 feet 8 inches wide and 25.5 feet deep, with 7 cells. Stone benches, square windows, stone beds—are observed in the cells.<ref name=JAMES />

;*'''Cave XV'''
It can be reached by stairs to the south of Cave XIV. It is a small vihara 12.5 wide and 10 feet deep. It has two semi-circular niches and a bench on right side.<ref name=JAMES />

;*'''Cave XVI'''
This façade has 3 Chaitya arches and the rail pattern.<ref name=JAMES />

;*'''Cave XVII'''
It is a small vihara 18.5 feet long and 12.5 deep, with 5 cells, one of the cell has a bench in it. It has two inscriptions, one of which is damaged.<ref name=JAMES /> Cell door inscription describes "the gift of cell from ''Nadasava'', a ''Naya'' of ''Bhogwati''."<ref name=JAMESB /> One more inscription over two wells in one recess describes "a religious gift of cistern by ''Vinhudata'', son of ''Kosiki'', a great warrior."<ref name=JAMESB />

;*'''Cave XIX'''
It is a monastery with a verandah. The door has guardian figures on both sides. This cave has [[Surya]] riding a chariot and [[Indra]] riding on an elephant.<ref name=KNAPP>{{cite book|last=Knapp|first=Stephen|title=Spiritual India handbook : a guide to temples, holy sites[,] festivals and traditions|year=2009|publisher=Jaico Publishing|location=Mumbai|isbn=978-8184950243|chapter-url=https://books.google.com/books?id=djI5mL2qeocC&q=bhaja+caves&pg=PT568|access-date=6 July 2013|chapter=Karla and Bhaja Caves}}</ref>

<gallery>
File:Close view of sculpture round doorway at rightside of verandah of the small Buddhist Vihara, Bhaja Caves, a photo by Henry Cousens.jpg|[[Satavahana dynasty|Satvahana]] protecting the entrance of a cave. Bhaja Caves.
File:Bhaja Caves Amit R Mahadik 02.jpg|Stairways to Bhaja Caves
File:Bhaja Caves Amit R Mahadik 08.jpg|Carvings at Bhaja Caves
File:Bhaja Caves Amit R Mahadik 10.jpg|Bhaja Caves
File:Bhaja Caves Amit R Mahadik 11.jpg|Carvings at Bhaja Caves
File:Bhaja Caves Amit R Mahadik 12.jpg|Carvings at Bhaja Caves
File:Bhaja Caves Amit R Mahadik 14.jpg|Waterfall at Bhaja Caves
File:Bhaja Caves Amit R Mahadik 01.jpg|Stairways to Bhaja Caves
File:Panorama Bhaja Caves.jpg|Panorama Bhaja Caves
</gallery>

==Notes==
{{BuddhasHolySites}}
{{reflist}}

==References==
* Dehejia, V. (1997). ''Indian Art''. Phaidon: London. {{ISBN|0-7148-3496-3}}
* Michell, George, ''The Penguin Guide to the Monuments of India, Volume 1: Buddhist, Jain, Hindu'', 1989, Penguin Books, {{ISBN|0140081445}}

==External links==
{{Portal|India}}
{{Commons category|Bhaja Caves}}
* [https://web.archive.org/web/20130810133406/http://asi.nic.in/asi_monu_tktd_maha_bhajacaves.asp Archaeological Survey of India, "Bhaja Caves, Bhaja"]
* [https://web.archive.org/web/20140220033118/http://www.journal.au.edu/abac_journal/2003/may03/article05.pdf "Indian Tourist sites – In the footsteps of the Buddha"]

{{Indian Buddhist Caves |state=expanded}}

[[Category:Lonavala-Khandala]]
[[Category:Caves of Maharashtra]]
[[Category:Buddhist caves in Maharashtra]]
[[Category:Buddhist monasteries in India]]
[[Category:Rock-cut architecture of India]]
[[Category:Former populated places in India]]
[[Category:Buddhist pilgrimage sites in India]]
[[Category:Monuments of National Importance in Maharashtra]]

Bunty's Percussion

2026-01-14T01:32:32Z

Giispune: Starting initial info and citations!

{{Short description|Indian percussionist}}
{{Orphan|date=January 2019}}
{{Infobox musical artist
| name = Bunty's Percussion বান্টি'স পারকাশন
| image = Buntypercussion.jpg
| birth_name = Avirup Das
| birth_date = {{Birth date and age|1988|4|12|df=y}}
| death_date =
| origin = [[Kolkata]], [[West Bengal]], [[India]]
| instrument = Percussion, Drums
| occupation = Percussionist
| years_active = 1997–present
| label = Inerco, Times Music, Aatmaan Audio, Cozmik Harmony, Asha Audio, Believe Music
| website = {{URL|http://buntyspercussion.com/}}
}}

'''Avirup Das''' (born 12 April 1988), known under his stage name of '''Bunty's Percussion''',<ref>{{cite web|url=https://timesofindia.indiatimes.com/entertainment/bengali/music/percussionists-join-hands-for-an-instrumental-project/articleshow/64505853.cms|title= Percussionists join hands for an instrumental project - Times of India}}</ref> is a Kolkata based percussionist.<ref>{{cite web|url=https://timesofindia.indiatimes.com/entertainment/bengali/music/a-very-busy-april-for-drummer-bunty/articleshow/63665354.cms|title=A very busy April for drummer Bunty - Times of India}}</ref> He is one of the founder members of renowned Bengali folk band Fakira<ref>{{cite web|url=https://timesofindia.indiatimes.com/entertainment/bengali/music/Sahana-Bajpaie-Calcutta-Blues-perform-at-the-Basement/articleshow/41264001.cms|title=Sahana Bajpaie, Calcutta Blues perform at the Basement - Times of India}}</ref> He plays many instruments including Drums, Congas, Timbale, Djembe, Cajon, Darabuka, and Kanjira, as well as many more. He was featured as the percussionist Drummer at Zee Bangla Saregamapa for music producer Suvam Moitra in the year of 2018 -19 & 2020-21.

==Line up==
*Fakira <ref>{{cite web|url=https://timesofindia.indiatimes.com/city/kolkata/A-folk-musical-treat/articleshow/53859683.cms|title=A folk musical treat - Times of India}}</ref><ref>{{Cite web|url=https://timesofindia.indiatimes.com/entertainment/bengali/music/city-based-band-fakira-to-perform-at-midnapore-today/articleshow/71819709.cms?from=mdr|title = City-based band Fakira to perform at Midnapore today - Times of India}}</ref>
*Project Maya <ref>{{Cite web|url=https://eisamay.indiatimes.com/entertainment/maya-is-not-just-a-band-its-a-project/articleshow/64795519.cms|title = নেক্সট ইন থিং 'ফিউশনে শ্যামাসঙ্গীত'! প্রোজেক্ট মায়ায় আশা}}</ref>
*Bunty's Percussion Methodize <ref>{{Cite web|url=https://timesofindia.indiatimes.com/entertainment/bengali/music/percussionists-join-hands-for-an-instrumental-project/articleshow/64505853.cms|title = Percussionists join hands for an instrumental project - Times of India}}</ref>
*Sahana Bajpaie Live (Ex Percussionist)
*[[Nikhita Gandhi]] Live (Kolkata) (Ex Percussionist)
* Samantak Sinha (Ex Percussionist)
* [[Sourendro-Soumyojit]] (Ex Percussionist)

==Audio Albums==
*Itorpona By Fakira - Inerco.
*Project Maya - Asha Audio
*Blendz ft. Anup jalota, Times Music.
*Bumerang – Dhoom Music
*Rabindranath Chhara By Ananya – Aatman Audio.
*Shikawr By Sahana Bajpaie – Cozmik Harmony
*Ja Bawlo Tai Bawlo" By Sahana Bajpaie - Inerco
* Baba Tomake By Various Artist – Aatman Audio
* Mon Bandhibi Kamnone By Sahana Bajpaie – Inerco

===Mega Serial===
*Nakshi Kathar Maath
*Ranu Pelo Lottery
*Aparajita Apu ( Suvam Moitra)

===Filmography===
{|class="wikitable sortable
! Year!! Film name!! Music director/Directors
|-
| 2013 || ''Alik Sukh (Song MBBS)'' || Anindya Chatterjee
|-
| 2017 || ''Rainbow Jelly (Song Pori Pishi)'' || Nabarun Bose
|-
|2019 ||Bhoot Chaturdashi (BGM)|| Nabarun Bose
|-
|2019 ||Buro Sadhu (BGM & Song) <ref>{{Cite web|url=https://timesofindia.indiatimes.com/entertainment/bengali/music/whats-keeping-drummer-bunty-so-busy/articleshow/68092341.cms?from=mdr|title = What's keeping drummer Bunty so busy? - Times of India}}</ref>|| Pranjal Das
|-
|2019 ||Aadhaar (Maati Song) <ref>{{Cite web|url=https://timesofindia.indiatimes.com/entertainment/bengali/music/avirup-das-excited-to-collaborate-with-singer-sukhwinder-singh-for-a-project/articleshow/80927051.cms?from=mdr|title = Avirup das excited to collaborate with singer Sukhwinder Singh for a project - Times of India}}</ref>|| Shantanu Moitro/Rathijit
|-
|2020 || ''Rawkto Rawhoshyo'' (BGM) || Nabarun Bose
|-
|2020 ||Tiki-Taka (BGM & Song)|| Nabarun Bose
|-
|2021 ||Tangra Blues (BGM)|| Nabarun Bose
|}

==Theatre Live Music==
*PS Bhalobasha (4th Bell Theatres) with [[Timir Biswas]]<ref>{{cite web|url=https://timesofindia.indiatimes.com/tv/news/bengali/tv-actors-come-together-for-a-play/articleshow/63999289.cms|title=TV actors come together for a play- Times of India}}</ref>

==References==
{{Reflist}}

==External links==
* {{Official website|http://buntyspercussion.com/}}

{{authority control}}

[[Category:1988 births]]
[[Category:Living people]]
[[Category:21st-century Indian drummers]]

Khamba language

2026-01-01T11:23:36Z

Giispune: put up new info

{{Short description|Sino-Tibetan language of India}}
{{Infobox language
|name=Khamba
|nativename=
|states=[[India]]
|region=[[Arunachal Pradesh]]
|speakers=500-700
|date=2016
|ref=<ref name=borang>{{citation|last = Borang|first = Rebecca|title = A brief note on Khambas of Upper Siang|year = 2017|journal = CFEL Newsletter|volume = 1|issue = 1|page = 19|url = https://rgu.ac.in/wp-content/uploads/2021/02/NewsLetter20.pdf|accessdate = 2023-02-03}}</ref>
|familycolor=Sino-Tibetan
|fam2=[[Tibeto-Burman languages|Tibeto-Burman]]
|fam3=[[Tibeto-Kanauri languages|Tibeto-Kanauri]] (?)
|fam4=[[Bodish languages|Bodish]]
|fam5=[[Tibetic language|Tibetic]]
|fam6=(unclassified)
|iso3=kbg
|glotto=kham1283
|glottorefname=Khamba
}}

'''Khamba''' is an endangered and severely underdocumented [[Sino-Tibetan languages|Sino-Tibetan]] language spoken by [[Khamba people]] in [[Upper Siang district]], [[Arunachal Pradesh]], [[India]].

It is generally classified as [[Tibetic languages|Tibetic]] but its precise position with the branch is unclear because of lack of reliable language data. [[Glottolog]] defines it as "unclassified Southern Tibetic".<ref>{{citation|title = Khamba|website = Glottolog|url = https://glottolog.org/resource/languoid/id/kham1283|accessdate = 2023-02-03}}</ref> Van Driem classifies it with [[Khams Tibetan]].<ref>George van Driem, ''Languages of the Himalayas'', p 892</ref> According to the [[Central Institute of Indian Languages]], a grammar description and a bilingual dictionary of Khamba are being prepared under the Scheme for Protection and Preservation of Endangered Languages.<ref>{{citation|title = Khamba Documentation|website = Scheme for Protection and Preservation of Endangered Languages|url = https://www.sppel.org/khambadoc.aspx|accessdate = 2023-02-03}}</ref>

== Language situation==
Despite their small population, Khamba speakers form a separate [[Scheduled Tribe]] recognized by the government of India. Most Khamba speakers are reported to be mutilingual, with many of them speaking [[Hindi language|Hindi]], [[Mising language|Minyong]], [[Assamese language|Assamese]], [[Memba language|Memba]] and basic [[English language|English]].<ref name=borang/>

==References==
{{Reflist}}

{{Sino-Tibetan languages}}
{{Bodic languages}}

{{Authority control}}

[[Category:Languages of Arunachal Pradesh]]
[[Category:Upper Siang district]]
[[Category:Endangered languages of India]]
[[Category:Bodish languages]]
[[Category:Definitely endangered languages]]
[[Category:Endangered Sino-Tibetan languages]]
[[Category:Indigenous languages of Asia]]

Ben Antao

2025-12-27T07:52:37Z

Giispune: put up basic entry w/ refs

{{short description|Canadian writer (born 1935)}}
{{Infobox writer
| name = Ben Antao
| image = Canada, Goans, publishing (cropped).jpg
| caption = Antao in 2010
| birth_date = {{birth date and age|1935|08|12}}
| birth_place = [[Velim, Goa]], [[Portuguese India]]
| occupation = {{hlist|Journalist|teacher|writer|financial planner}}
| nationality = {{ubl|
* Portuguese (until 1961)
* Indian (former)
* Canadian}}
| alma_mater = {{plainlist|
* [[University of Toronto]] ([[B.Ed]])
* [[University of Bombay]] ([[Master of Arts|M.A.]])}}
| period = 1990–present
}}

'''Ben Antao''' (born August 12, 1935), is a Canadian writer, journalist, former teacher, and certified financial planner. He is currently based in [[Toronto]], Canada.<ref name=b&n /><ref name=goanforum /><ref name=wen />

==Early life and education==
Ben Antao was born in [[Velim, Goa]], [[Portuguese India]] during the [[Portuguese Empire]] (now in India). He graduated from the [[University of Bombay]] (M.A. in English).{{citation needed|date=March 2025}}

==Career==
===Journalism (1963–1967)===
Antao first worked as a reporter for ''[[The Navhind Times]]'' in [[Panjim]], [[Goa]] (1963–64) and later joined ''[[The Indian Express]]'' (1965–66) in [[Bombay]] as a reporter. In 1966, he was awarded a journalism fellowship by the [[World Press Institute]] based at [[Macalester College]], [[Saint Paul, Minnesota]], for a year of study and travel in the United States.<ref name=wpi /> While in the US, he worked for ten weeks as a writer and editor for ''[[The Denver Post]]'', CO. After immigrating to Canada in 1967, he worked for ''The Catholic Register'' weekly and ''[[The Globe and Mail]]'', both of Toronto.{{citation needed|date=March 2025}}

===Teaching (1976–1998)===
In 1976, he graduated from the [[University of Toronto]] (B.Ed) and switched to a teaching career. He retired from teaching English in high school in 1998.<ref name=clamor />

===Writing (1990–present)===
In 1990, he published ''Images of Goa'', a memoir of his early life and experiences in his native land. In 2004, he published ''Goa, A Rediscovery'', a travelogue of his visit to Goa. He has written five novels, over two dozen short stories, a play and a movie script based on his novel ''The Tailor's Daughter''.<ref>{{Cite book|url=https://books.google.com/books?id=lb9lAAAAMAAJ|title=The Tailor's Daughter: A Novel|last=Antao|first=Ben|date=2006|publisher=Goan Observer|isbn=9788189837020|language=en}}</ref> His other novels are ''Blood & Nemesis'', ''Penance'', ''Living on the Market'',<ref>{{Cite book|url=https://books.google.com/books?id=Jb9lAAAAMAAJ&q=ben+antao|title=Penance: A Novel|last=Antao|first=Ben|date=2006|publisher=Goan Observer|isbn=9788189837020|language=en}}</ref> ''The Priest and His Karma'', and ''Money and Politics''.<ref>{{Cite book|url=https://books.google.com/books?id=hztnPgAACAAJ|title=The Priest and His Karma|last=Antao|first=Ben|date=2009|publisher=PublishAmerica|isbn=9781607498094|language=en}}</ref> His non-fiction includes two memoirs: ''Images of Goa'' (2011, 2ed)<ref>{{Cite book|url=https://books.google.com/books?id=SxYkmAEACAAJ&q=ben+antao|title=Images of Goa: A Memoir|last=Antao|first=Ben|date=2011|publisher=CinnamonTeal Pub.|isbn=9789380151953|language=en}}</ref> and ''Images of the USA'' (2009), and two travelogues: ''Goa, A Rediscovery'' (2004)<ref>{{Cite book|url=http://library.unigoa.ac.in/cgi-bin/koha/opac-detail.pl?biblionumber=88493&query_desc=au:Antao,%20%20Ben|title=Goa a rediscovery|last=Antao|first=Ben|date=2004|publisher=Goan Observer Pvt. Ltd|location=Goa}}</ref> and ''The Lands of Sicily'' (2008).<ref name=owc /><ref name=stellar /><ref name=gat />

Antao is a former president of the [[Canadian Authors Association]] (Toronto branch).<ref name=owc />

==References==
<references>

<ref name=b&n>''Blood & Nemesis'' About the Author page</ref>
<ref name=clamor>[http://clamorworld.com/exclusive-interview-with-ben-antao-indo-candian-writer-of-five-novels-two-memoirs-two-travelogues-as-well-as-several-short-stories-by-vinita-kinra/ "ClamorWorld interview"] Retrieved 01 May 2014.</ref>
<ref name=goanforum>[http://www.colaco.net/1/ben.htm "Ben Antao at The Goan Forum"] {{Webarchive|url=https://web.archive.org/web/20150707011107/http://www.colaco.net/1/ben.htm |date=2015-07-07 }} Retrieved 01 May 2014.</ref>
<ref name=owc>[http://www.thewritersconference.com/2011-bios/Ben-Antao.html "Ontario Writers' Conference bio"] {{webarchive |url=https://web.archive.org/web/20140502002654/http://www.thewritersconference.com/2011-bios/Ben-Antao.html |date=May 2, 2014 }} Retrieved 01 May 2014.</ref>
<ref name=stellar>[http://www.stellarliteraryfestival.com/talent2013.html "Stellar Literary Festival talent"] Retrieved 01 May 2014.</ref>
<ref name=wen>[http://wenetwork.ca/site/membership/bio/?memnum=3 "Writers and Editors Network bio"] Retrieved 01 May 2014.</ref>
<ref name=wpi>[http://www.worldpressinstitute.org/1967class "WPI fellowships 1967"] {{Webarchive|url=https://web.archive.org/web/20140502000041/http://www.worldpressinstitute.org/1967class |date=2014-05-02 }} Retrieved 01 May 2014.</ref>
<ref name=gat>[http://globalasiantimes.com/financial-planner-turned-fiction-writer-talks-money-and-politics-in-new-book/ "Global Asian Times interview"] Retrieved 28 October 2015.</ref>

</references>

{{authority control}}

{{DEFAULTSORT:Antao, Ben}}
[[Category:Canadian male novelists]]
[[Category:Canadian male short story writers]]
[[Category:20th-century Canadian memoirists]]
[[Category:Canadian people of Goan descent]]
[[Category:Novelists from Toronto]]
[[Category:Living people]]
[[Category:20th-century Canadian novelists]]
[[Category:21st-century Canadian novelists]]
[[Category:20th-century Canadian dramatists and playwrights]]
[[Category:21st-century Canadian dramatists and playwrights]]
[[Category:Canadian male dramatists and playwrights]]
[[Category:20th-century Canadian short story writers]]
[[Category:21st-century Canadian short story writers]]
[[Category:1935 births]]
[[Category:Novelists from Goa]]
[[Category:Writers from North Goa district]]
[[Category:20th-century Canadian male writers]]
[[Category:21st-century Canadian male writers]]
[[Category:Canadian male non-fiction writers]]

List of Sahitya Akademi Translation Prize winners for Hindi

2025-12-11T06:50:41Z

Giispune: starting new details more to come

{{Short description|List of winners of a literary honor in India}}
{{Use dmy dates|date=May 2023}}
{{Use Indian English|date=May 2023}}
{{Sahitya Akademi Awards}}
'''Sahitya Akademi Translation Prizes''' are given each year (since 1989) to writers for their outstanding translations work in the 24 languages.

==Recipients==
Following is the list of recipients of [[Sahitya Akademi Translation Prize|Sahitya Akademi translation prizes]] for their works written in [[Hindi language|Hindi]]. The award, as of 2019, consisted of {{INR}}50,000.<ref>{{cite web | url=http://sahitya-akademi.gov.in/awards/sahitya_akademi_prize.jsp | title=..:: SAHITYA : Sahitya Akademi Prize :: }}</ref>

{| class="wikitable sortable"
! Year
! Translator
! Title of the translation
! Original Title
! Original Language
! Genre
! Original Author
! class=unsortable|References
|-
| 1989 || Noor Nabi Abbasi || ''Malabar Se Masko Tak'' || ''Many Worlds'' || English || Autobiography || [[K.P.S. Menon]] ||
|-
| 1990 || Moreshwar Tapaswi || ''Yayati'' || ''[[Yayati (novel)|Yayati]]'' || Marathi || Novel || [[Vishnu Sakharam Khandekar|V.S.Khandekar]] ||
|-
| 1991 || Bhimasen Nirmal || ''Viswambhara'' || ''[[Viswambhara]]'' || Telugu || Epic || [[C. Narayana Reddy]] ||
|-
| 1992 || Kanti Deb || ''Mrityunjay'' || ''Mrityunjay'' || Kannada || Novel || [[Niranjana (writer)|Niranjana]] ||
|-
| 1993 || Nandini D. Mehta || ''Deevaron Se Paar Aakash'' || ''Sat Paglan Aakashman'' || Gujarati || Novel || [[Kundanika Kapadia]] ||
|-
| 1994 || B.R. Narayan || ''Kshitij'' || ''Kshitij'' || Kannada || Novel || [[Shantinath Desai]] ||
|-
| 1995 || [[Sudhanshu Chaturvedi]] || ''Rassi'' || ''[[Kayar]]'' || Malayalam || Novel || [[Thakazhi Sivasankara Pillai]] || <ref name="Tribune">{{Cite web|url=https://www.tribuneindia.com/2006/20060813/spectrum/book5.htm|title=The Sunday Tribune - Books|access-date=2020-12-28|date=2020-05-07|archive-url=https://web.archive.org/web/20200507102246/https://www.tribuneindia.com/2006/20060813/spectrum/book5.htm|archive-date=2020-05-07}}</ref>
|-
| 1996 || N.E. Vishwanatha lyer || ''Dawa'' || ''Marunnu'' || Malayalam || Novel || [[Punathil Kunjabdulla]] ||
|-
| 1997 || J.L. Reddy || ''Mitti Ka Admi'' || ''Matti Manishi'' || Telugu || Novel || Vasireddy Sitadevi ||
|-
| 1998 || Rajendra Prasad Mishra || ''Varsha Ki Subah'' || ''Varsha Sakal'' || Oriya || Poetry || [[Sitakant Mahapatra]] ||
|-
| 1999 || Prayag Shukla || ''Bankimchandra Pratinidhi Nibandh'' || ''Collection of Essays by Bankim Chandra'' || Bengali || Essays || [[Bankim Chandra Chattopadhyay]] ||
|-
| 2000 || Rati Saxena || ''Ayyappa Paniker Ki Kavitayen'' || ''Ayyappa Panikarude Kritikal'' || Malayalam || Poetry || [[Ayyappa Paniker|K. Ayyappa Paniker]] ||
|-
| 2001 || [[Chaman Lal (writer)|Chaman Lal]] || ''Samaya O Bhai Samaya'' || Collection || Punjabi || Poetry || [[Pash]] ||
|-
| 2002 || Krishnamohan || ''Kaamyogi'' || ''The Ascetic of Desire'' || English || Novel || [[Sudhir Kakar]] ||
|-
| 2003 || Devesh || ''Samrachnavad, Uttar-Samrachnavad Evam Prachya Kavyashastra'' || ''Sakhtiyat, Pas-Sakhtiyat Aur Mashriqi Sheriyat'' || Urdu || Literary Criticism || [[Gopi Chand Narang]] ||
|-
| 2004 || Ramshankar Dwivedi || ''Jhansi Ki Rani'' || ''Jhansir Rani'' || Bengali || Novel || [[Mahasveta Devi]] ||
|-
| 2005 || Nirmala Jain || ''Sach, Pyar Aur Thodi Si Shararat'' || ''Truth, Love and Little Malice'' || English || Autobiography || [[Khushwant Singh]] ||
|-
| 2006 || Y. Balashowri Reddy || ''Kalatit Vyakti'' || ''Kalatit Vyaktulu'' || Telugu || Novel || Sridevi ||
|-
| 2007 || Bachchan Singh || ''Mahabharat Ki Katha'' || ''Mahabharater Katha'' || Bengali || Novel || [[Buddhadeva Bose]] ||
|-
| 2008 || Nilabh || ''Mamooli Cheezon Ka Devata'' || ''[[The God of Small Things]]'' || English || Novel || [[Arundhati Roy]] ||
|-
| 2009 || Bhalchandra Jaishetty || ''Kavyartha Chintan'' || ''Kavyartha Chintan'' || Kannada || Poetry || [[G. S. Shivarudrappa]] ||
|-
| 2010 || Shankar Lal Purohit || ''Parja'' || ''Parja'' || Oriya || Novel || [[Gopinath Mohanty]] ||
|-
| 2011 || S. Shesharattanam || ''Gift Packet'' || ''Vedukutu, Ventadutu, Vetadutu'' || Telugu || Novel || Jayanti Paparao ||
|-
| 2012 || Ramji Tiwari || ''Sambhaji'' || ''Sambhaji'' || Marathi || Novel || [[Vishwas Patil]] ||
|-
| 2013 || Bhuddhadev Chatterjee || ''Ahiran'' || ''Ahiran'' || Assamese || Novel || [[Mamoni Raisom Goswami|Indira Goswami]] || <ref name=":2">{{Cite web|url=http://sahitya-akademi.gov.in/e-newsletter/July-August_2014_NewsLetter.pdf|title=Sahitya Akademi Newsletter|website=www.sahitya-akademi.gov.in|access-date=2014-08-22|archive-date=}}</ref>
|-
| 2014 || Phoolchand Manav || ''Annadata'' || ''Annadata'' || Punjabi || Novel || Baldev Singh || <ref name=":1">{{Cite web|url=http://sahitya-akademi.gov.in/e-newsletter/sep-dec_2015_NewsLetter.pdf|title=Sahitya Akademi Newsletter|website=www.sahitya-akademi.gov.in|access-date=2015-09-04|archive-date=}}</ref>
|-
| 2015 || Damodar Khadse || ''Baromas'' || ''Baromas'' || Marathi || Novel || [[Sadanand Deshmukh]] || <ref>{{cite news |title=Sahitya Akademi announces winners of translation prize |url=https://www.indiatoday.in/pti-feed/story/sahitya-akademi-announces-winners-of-translation-prize-556372-2016-02-15 |accessdate=3 October 2019 |agency=India Today}}</ref><ref>{{cite news |title=Imphal hosts Sahitya Akademi Translation Award |url=https://indianexpress.com/article/india/india-news-india/imphal-hosts-sahitya-akademi-translation-award/ |accessdate=3 October 2019 |newspaper=Indian Express}}</ref><ref>{{cite news |title=Sahitya Akademi announces winners of translation prize |url=https://www.business-standard.com/article/pti-stories/sahitya-akademi-announces-winners-of-translation-prize-116021501187_1.html |accessdate=3 July 2019 |agency=business-standard}}</ref>
|-
| 2016 || P. Jayaraman || ''Sant Vani'' || ''Sant Vani - Nalayira Divya Prabandham'' || Tamil || Poetry || Alwar Saint ||
|-
| 2017 || [[Pratibha Agrawal]] || ''Abhinay Natak Manch'' || ''Abhinay Natak Manch'' || Bengali || Rangmunch || [[Sombhu Mitra]] ||
|-
| 2018 || Prabhat Tripathi || ''Vansha (Mahabharat Kavita)'' || ''Vansh'' || Odia || Poetry || [[Haraprasad Das]] || <ref name="sahitya-akademi3">{{Cite web|url=https://sahitya-akademi.gov.in/pdf/Translationprize_14-15-June-2019.pdf|title=Sahitya Akademi Translation Prize 2018|website=www.sahitya-akademi.gov.in|access-date=2022-03-30}}</ref>
|-
| 2019 || Alok Gupta || ''Saraswatichandra, (Part I & II)'' || ''[[Saraswatichandra (novel)|Saraswatichandra]]'' || Gujarati || Novel || [[Govardhanram Madhavaram Tripathi]] || <ref name=":3">{{Cite web|url=http://indiaculture.nic.in/sites/default/files/press_release/Pressrelease_TP_2019_25_02_2020.pdf|title=Sahitya Akademi Newsletter|website=www.sahitya-akademi.gov.in|access-date=2020-02-24|archive-date=}}</ref>
|-
| 2020 || T. E. S. Raghwan || ''Thirukkural'' || ''[[Kural|Thirukkural]]'' || Tamil || Poetry || [[Thiruvalluvar]] || <ref name=":4">{{Cite web|url=http://sahitya-akademi.gov.in/pdf/TP-2020-EWeb.pdf|title=Sahitya Akademi Prize for Translation 2020|website=www.sahitya-akademi.gov.in|access-date=2021-09-18|archive-date=}}</ref>
|-
| 2021 || Dharanendra Kurkuri || ''Jwalamukhi Par'' || ''Jwalamukhiya Mele'' || Kannada || Novel || [[Basavaraj Kattimani]] || <ref name=":5">{{Cite web|url=https://sahitya-akademi.gov.in/pdf/Pressrelease_TP-2021.pdf|title=Sahitya Akademi Prize for Translation 2021|website=www.sahitya-akademi.gov.in|access-date=2022-07-05|archive-date=}}</ref>
|-
| 2022 || Gauri Shankar Raina || ''Kashmiri Ki Pratinidhi Kahaniyan'' || ''Short Stories Kashmiri'' || Kashmiri || Short Stories || Various authors || <ref name=":6">{{Cite web|url=https://sahitya-akademi.gov.in/pdf/Pressrelease_TP-2022.pdf|title=Sahitya Akademi Translation Prize 2022|website=www.sahitya-akademi.gov.in|access-date=2023-07-03|archive-date=}}</ref>
|-
|2023 || Rita Rani Paliwal || ''Pashu, Panchhi, Manushya Aur Prakriti : Mahabharat Se Kathayen'' || ''Birds, Beasts, Man and Nature: Tales from Mahabharata'' || English || Short Stories || Kavita A. Sharma || <ref>{{cite web |title=SAHITYA AKADEMI PRIZE FOR TRANSLATION 2023 |url=https://pib.gov.in/PressReleasePage.aspx?PRID=2013527 |website=www.pib.gov.in |access-date=12 July 2024}}</ref>
|-
|}

== See also ==
{{Portal|India|Literature}}
* [[List of Sahitya Akademi Award winners for Hindi]]

==External links==
* [http://sahitya-akademi.gov.in/awards/anuvad_samman_suchi.jsp#Hindi Akademi Translation Prizes For Hindi Language]

==References==
{{Reflist}}
{{Sahitya Akademi Translation Prize}}

[[Category:Sahitya Akademi Translation Prize|Hindi]]
[[Category:Indian literary awards]]

Asansol Municipal Corporation

2025-11-15T04:55:55Z

Giispune: small fixed article per sources additionally and updated info

{{Short description|Local civic body in Asansol, West Bengal, India}}
{{Use dmy dates|date=March 2023}}
{{Use Indian English|date=March 2023}}
{{Infobox legislature
| name = Asansol Municipal Corporation
| native_name = আসানসোল পৌরনিগম
| native_name_lang = bn
| coa_pic = Logo of Asansol Municipal Corporation.jpg
| coa_res = 200px
| coa_alt = Logo of the Asansol Municipal Corporation
| coa_caption = [[Seal (emblem)|Seal]] of the Asansol Municipal Corporation
| house_type = [[Municipal corporation (India)|Municipal Corporation]]
| foundation = {{start date and age|1994}}
| term_limits = 5 years
| disbanded =
| preceded_by =
| succeeded_by =
| leader1_type = Mayor
| leader1 = [[Bidhan Upadhyay]]
| party1 = [[Trinamool Congress|AITC]]
| election1 = 19 February 2022
| leader2_type = Deputy Mayor
| leader2 = Abhijeet Ghatak
| party2 = [[Trinamool Congress|AITC]]
| election2 = 19 February 2022
| leader3_type = Deputy Mayor
| leader3 = Wasim Ul Haque
| party3 = [[Trinamool Congress|AITC]]
| election3 = 19 February 2022
| leader4_type = Chairperson
| leader4 = Amarnath Chatterjee
| party4 = [[Trinamool Congress|AITC]]
| election4 = 19 February 2022
| seats = 106
| structure1 = India Asansol, West Bengal Municipal Corporation 2022.svg
| structure1_res = 300px
| political_groups1 =
'''Government (91)'''
*{{legend|#20C646|[[Trinamool Congress|AITC]] (91)}}
'''Opposition (15)'''
*{{legend|#FF9933|[[Bharatiya Janata Party|BJP]] (7)}}
*{{legend|#00BBFF|[[Indian National Congress|INC]] (3)}}
*{{legend|#CC0D0D|[[Communist Party of India (Marxist)|CPI(M)]] (2)}}
*{{legend|#B2B2B2|[[Independent politician|IND]] (3)}}
| session_room =
| session_res = 300px
| meeting_place = [[Headquarters]] of the Asansol Municipal Corporation
| voting_system1 = [[First-past-the-post voting|First past the post]]
| last_election1 = [[2022 Asansol Municipal Corporation election|12 February 2022]]
| next_election1 = [[2027 Asansol Municipal Corporation election|February 2027]]
| motto =
| website = {{URL|https://asansolmunicipalcorporation.net/}}
| footnotes =
}}

'''Asansol Municipal Corporation''' ('''AMC''') '''(আসানসোল পৌরনিগম)''' is the civic body that governs [[Asansol]] in [[Asansol subdivision|Asansol Sadar subdivision]] of [[Paschim Bardhaman district]], [[West Bengal]], [[India]].

==History==
Union Committees were established in [[Asansol]], [[Raniganj]], [[Katwa]] and [[Kalna, India|Kalna]], according to a notification issued on 29 October 1850. These Union Committees carried out the functions of municipalities. Asensole (now Asansol) Municipality was established on 1 July 1885, according to a notification dated 23 April 1885.<ref>{{cite web | url=https://bn.wikisource.org/wiki/পাতা:গবর্ণমেণ্ট্‌_গেজেট্‌_(মার্চ)_১৮৮৬.pdf/৩৪০ | title=পাতা:গবর্ণমেণ্ট্‌ গেজেট্‌ (মার্চ) ১৮৮৬.PDF/৩৪০ - উইকিসংকলন একটি মুক্ত পাঠাগার }}</ref> Initially, the municipality covered the Railway Colony, the English area, Budhdanga village, Bastin’s Bazar, Pucca Bazar, Munshi Bazar, and Talpukur Chati areas. The first committee was formed with seven government officials as ex-officio members and twelve nominated members.<ref>Chattopadhyay, Akkori, ''Bardhaman Jelar Itihas O Lok Sanskriti'' (History and Folk lore of Bardhaman District.), {{in lang|bn}}, Vol I, page 380, 2001, Radical Impression. {{ISBN|81-85459-36-3}}</ref>

Over the years, Asansol experienced considerable growth due to coal mining, railway development, and the establishment of [[IISCO Steel Plant|IISCO]]’s steel plant at [[Burnpur]]. Asansol municipal corporation was formed in 1994, with the addition of Burnpur Notified Area Authority, some rural parts of Asansol community development block, and some colliery areas.<ref name=amc>{{cite web | url = http://asansolmunicipalcorporation.org/over_view.php | title = Asansol Municipal Corporation | work = About Asansol Municipal Corporation | publisher = AMC | access-date = 28 February 2017 | archive-url = https://web.archive.org/web/20170312080951/http://asansolmunicipalcorporation.org/over_view.php | archive-date = 12 March 2017 | url-status = dead }}</ref>

According to the Kolkata Gazette notification of 3 June 2015, the municipal areas of [[Kulti]], [[Raniganj]] and [[Jamuria]] were included within the jurisdiction of Asansol Municipal Corporation.<ref name=2015notification>{{cite web | url = https://www.wbdma.gov.in/circulars/249-135-ma_2015-2016.pdf | title = The Kolkata Gazette | work = Notification No. 335/MA/O/C-4/1M-36/2014 dated 3 June 2015 | publisher = Department of Municipal Affairs, Government of West Bengal | access-date = 9 March 2017 | archive-url = https://web.archive.org/web/20170312033552/https://www.wbdma.gov.in/circulars/249-135-ma_2015-2016.pdf | archive-date = 12 March 2017 | url-status = dead }}</ref> As of now, Asansol Municipal Corporation administers an area of 326 km2 (126 sq mi).<ref>{{cite web|title=Asansol City|url=http://www.asansolmunicipalcorporation.com/aboutus/1|archive-url=https://web.archive.org/web/20181209075129/http://asansolmunicipalcorporation.com/aboutus/1|url-status=usurped|archive-date=9 December 2018}}</ref>

==Geography==
The mouzas included in Asansol Municipal Corporation, as per 2015 Gazette notification, were as follows:<ref name=2015notification/>
[[File:Asansol Municipal Corporation Map.jpg|thumb|300px|The Asansol Municipal Corporation Jurisdiction Map]]

* '''Jamuria:''' Jhila, Shibpur, Nandi, Damodarpur, Jamuria, Kaithi, Pariharpur, Sripur, Kundlia, Joba, Khokula, Ninga, Chanda, Bogra, Banali, Mithapur, Satgram, Katagora, Bijpur, Balanpur, Mandalpur, Ikra, Sekpur, Mamudpur and Sarthakpur.<ref name="2015notification" />
* '''Raniganj:''' Raniganj, Searsole, Amrasota, Ronal, Kumar Bazar and Mangalpur.<ref name="2015notification" />
* '''Kulti:''' Debipur, Duburdi, Indkata, Damagoria, Jamaldi, Chanpatria, Digari, Sabanpur, Baria, Lalbazar, Ramnagar, Manberia, Balitora, Kendua, Petna, Kulti, Lachmanpur, Rampur, Calbalpur, Dedi, Kultora, Pupuri, Badirachak, Mahutdi, Shipur, Kuldi, Namagarapara, Gangutia, Raydi, Barakar, Chungaria, Mahatadi, Boldi, Narayanchak, Hatinal, Para, Jasaldi, Sanctoria, Dishergarh, Shitalpur, Manoharchak, Chota Demua, Sodepur, Radhanagar, Asanbani, Bhanrra, Kalikapur, Sitarampur, Belrui, Lachipur, Kumardiha, Neamatpur, Bamundiha, Alladi, Mithani, Kamalpur, Henrelgaria, Bejdi, Paidi and Chinakuri.<ref name="2015notification" />

Amongst the collieries in Asansol Municipal Corporation are: Damra, Ajay Second, Khusadanga, Girmint, Kakor Danga, C.M. Ghushik, 3 No. Ghushik, Mohishila Hattola, Narshamuda, Dhemomain and K.D. Sim.<ref name=amc/>

==Demographics==
The [[2011 Census of India]] was carried out well before the reorganisation of Asansol Municipal Corporation in 2015. Census data for the area, which is part of Asansol Municipal Corporation since 2015, is given below:<ref>{{cite web| url = http://censusindia.gov.in/pca/pcadata/Houselisting-housing-WB.html |title = 2011 Census - Primary Census Abstract Data Tables | work= West Bengal – District-wise |publisher= Registrar General and Census Commissioner, India | access-date = 10 March 2017 }}</ref>

{| class="wikitable sortable"
|-
! Name ||Total Population||Male Population % of Total||Female Population % of Total||Population above 6 years||Total Literates||Literates as % of Population above 6 years
|-
|Asansol municipal corporation||563,917||52%||48%||503,734||419,591||83.30%
|-
|Jamuria municipality||145,276||52%||48%||126,278||90,854||71.95%
|-
|Raniganj municipality||129,441||52%||48%||113,720||88,299||77.65%
|-
|Kulti municipality||313,809||52%||48%||278,424||209,952||75.41%
|-
|Total||1,152,443||52%||48%||1,022,156||808,696||79.12%
|}

===Asansol urban agglomeration===
{{Historical populations
| title= Asansol UA historic population growth
| 1901|30747
| 1911|37416
| 1921|41035
| 1931|64973
| 1941|121508
| 1951|182104
| 1961|286539
| 1971|370800
| 1981|628991
| 1991|938067
| 2001|1067369
| 2011|1243414
| estimate=
| estyear=
| estref=
| footnote= Source: [[Census of India]]<ref name="2011census-UAs"/>
}}

As of the 2011 census, the [[urban agglomeration]] (UA) centred upon Asansol had a population of 1,243,414. In addition to the erstwhile municipalities of Kulti, Jamuria, and Raniganj subsequently incorporated into the AMC, the agglomeration included the census towns of Amkula, Baktarnagar, Ballavpur, Bhanowara, Domohani, Egara, Jemari, Majiara, Murgathaul, Raghunathchak, Sahebganj and Topsi, and also Charanpur, an outgrowth of Jamuria.

This urban agglomeration was rated the second most populous in West Bengal (after [[Kolkata]]), and the 39th most populous in India.<ref name="2011census-UAs">{{cite web|title=A-4 Towns and Urban Agglomerations classified by population size class in 2011|url=http://www.censusindia.gov.in/2011census/PCA/CLASS%20I.xlsx|website=censusindia.gov.in|publisher=Government of India|date=16 September 2006}}</ref>
The expanding Asansol UA has been listed by a European research institute as the eleventh fastest growing urban area in India, and the 42nd fastest growing in the world.<ref>{{cite web|title=World's fastest growing urban areas|url=http://www.citymayors.com/statistics/urban_growth3.html|website=www.citymayors.com|publisher=City Mayors Foundation|date=17 July 2017}}</ref>

==Elections==
[[All India Trinamool Congress]] swept the first election after expansion of Asansol Municipal Corporation, held in 2015.<ref>{{cite web| url = http://indianexpress.com/article/india/india-news-india/live-trinamool-leading-as-bengal-civic-poll-results-pour-in/ |title = TMC sweeps Bengal civic body elections |date = 11 October 2015 |publisher= The Indian Express, 11 October 2015 | access-date = 9 March 2017 }}</ref>

==Boroughs==
{| class="wikitable sortable"
|-
! Borough No ||Location||Wards||Name of Chairman||Party
|-
| 1 ||[[Jamuria]]||1,2,3,4,5,6,7,8,9,10,11,12|| Sk Sandar|| AITMC
|-
| 2 ||[[Raniganj]]||32,33,34,35,36,37,88,89,90,91,92,93||Mozammil Hussain ||TMC
|-
| 3 ||[[Railpar, Asansol]]||13,14,15,24,25,26,27,28,29,30,31|| ||
|-
| 4 ||Sukanta Maidan, SB Gorai Road, [[Asansol]]||40,41,42,43,44,45,46,47,48,49||| ||
|-
| 5 ||BNR More, [[Grand Trunk Road|G.T. Road]]||20,21,22,23,50,51,52,53,54,55,76|| ||
|-
| 6 ||Kalipahari||38,39,80,82,83,84,85,86,87|| ||
|-
| 7 ||Tribeni More, [[Burnpur]]||56,57,75,77,78,79,81,94,95,96,97,98,106|| ||
|-
| 8 ||[[Kulti]]||16,18,19,58,59,60,61,73,74,99|| ||
|-
| 9 ||[[Kulti]]||67,69,72,100,101,102,103,104,105|| ||
|-
| 10 ||[[Kulti]]||17,62,63,64,65,66,68,70,71|| ||
|}

==Wards==
Details of wards are as follows:<ref>{{cite web| url = http://www.asansolmunicipalcorporation.org/councillor.php |title = Asansol Municipal Corporation | work= Who’s Who – Councillors List |publisher= AMC | access-date = 9 March 2017 }}</ref><ref>{{cite web| url = http://wbsec.gov.in/(S(s3zrywfw4c4mfkeeeittn3uq))/Municipal/Detailed_Mun.aspx |title = Municipal General Election Results | work= Asansol Municipal Elections, 2015 |publisher= West Bengal State Election Commission | access-date = 9 March 2017 }}</ref>

{| class="wikitable sortable"
|-
! Ward No ||Vidhan Sabha||Police Station||Neighbourhood1||Total Electors||Seat Type||Councillor||Party
|-
| 1 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Nandi||8,372||None||Mridul Chakraborty||AITC
|-
| 2 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Jamuria Hat||9,256||Women||Shrabani Mandal||AITC
|-
| 3 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Sripur||8,689||None||Abdul House||AITC
|-
| 4 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Jamuria Hat||10,157||None||Sk Sandar||AITC
|-
| 5 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Jamuria Hat||8,764||Women||Bandana Ruidas||AITC
|-
| 6 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Jamuria Hat||10,006||None||Sanjoy Kumar Banerjee||AITC
|-
| 7 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Jamuria Hat||9,346||SC||Susmita Bauri||AITC
|-
| 8 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Satgram||9,355||None||Subrata Adhikary||AITC
|-
| 9 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Jamuria Hat||7,804||SC Women||Baishakhi Bauri||AITC
|-
| 10 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Sripur||8,711||Women||Usha Paswan||AITC
|-
| 11 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Sripur||8,219||None||Md Arif Ali||AITC
|-
| 12 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Sripur||8,498||None||Samarjit Goswami||AITC
|-
| 13 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Dhadka||9,537||Women||Rina Mukherjee||AITC
|-
| 14 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Majiara||10,540||None||Utpal Singha||AITC
|-
| 15 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||[[Kalla, Asansol|Kalla]]||9,801||None||Shyam Saren||AITC
|-
| 16 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Debipur||7,122||Women||Moonmoon Mukherjee||AITC
|-
| 17 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Boria||9,682||SC||Lalan Mehra||BJP
|-
| 18 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Sitarampur]]||8,243||None||Amit Kumar Tulsyan||BJP
|-
| 19 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Neamatpur]]||8,101||SC||Usha Kumari Rajak||AITC
|-
| 20 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Kanyapur||7,258||None||Arjun Maji||AITC
|-
| 21 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Kalyanpur Housing Estate||8,492||Women||Shraboni Mondal||AITC
|-
| 22 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Kalyanpur Housing Estate||9,061||None||Anirban Das||AITC
|-
| 23 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Kalyanpur Housing Estate||8,198||None||CK Reshma Ramakrishnan||AITC
|-
| 24 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Quraishi Mahalla||10,732||Women||Fansabi Begum||AITC
|-
| 25 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Quraishi Mahalla||13,991||None||SM Mustafa||INC
|-
| 26 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||[[Railpar, Asansol|Railpar]]||10,312||None||Md Wasimul Haque||AITC
|-
| 27 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||[[Railpar, Asansol|Railpar]]||7,721||Women||Chaitali Tiwari||BJP
|-
| 28 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||[[Railpar, Asansol|Railpar]]||7,551||None||Ghulam Sarwar||INC
|-
| 29 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||[[Railpar, Asansol|Railpar]]||7,035||None||Gourab Gupta||BJP
|-
| 30 |||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||[[Railpar, Asansol|Railpar]]||9,167||SC Women||Gopa Roy||AITC
|-
| 31 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||[[Railpar, Asansol|Railpar]]||7,894||Women||Asha Prasad||AITC
|-
| 32 ||[[Jamuria (Vidhan Sabha constituency)|Jamuria]]||Jamuria||Jamuria Hat||6,795||SC||Bhola Kumar Hela||AITC
|-
| 33 ||[[Raniganj (West Bengal Vidhan Sabha constituency)|Raniganj]]||Raniganj||Searsole||8,649||None||Naran Bauri||CPI(M)
|-
| 34 ||[[Raniganj (West Bengal Vidhan Sabha constituency)|Raniganj]]||Raniganj||Searsole||11,583||None||Ranjit Singh||AITC
|-
| 35 ||[[Raniganj (West Bengal Vidhan Sabha constituency)|Raniganj]]||Raniganj||Ronai Haji Para||9,014||Women||Akhtari Khatoon||AITC
|-
| 36 ||[[Raniganj (West Bengal Vidhan Sabha constituency)|Raniganj]]||Raniganj||Searsole||9,816||SC||Dibyendu Bhakat||AITC
|-
| 37 ||[[Raniganj (West Bengal Vidhan Sabha constituency)|Raniganj]]||Raniganj||Damoda Colliery||8,290||None||Rupesh Kumar Yadav||AITC
|-
| 38 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Asansol North||Ushagram||8,823||ST Women||Meena Kumari Hansda||AITC
|-
| 39 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Asansol North||Ushagram||8,664||None||Jyoti Sankar Karmakar||AITC
|-
| 40 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Ushagram||8,209||Women||Moumita Biswas||AITC
|-
| 41 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Nuruddin Road||8,858||Women||Ranbir Singh Bharara||AITC
|-
| 42 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Old Hospital||8,800||None||Dr Amitava Basu||AITC
|-
| 43 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Old Hospital||9,116||Women||Amna Khatoon||CPI(M)
|-
| 44 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Subdivisional Hospital||7,118||None||Amarnath Chatterjee||AITC
|-
| 45 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol North||Asansol Village||6,677||None||Utpal Ray||AITC
|-
| 46 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol South||Hutton Road||7,642||Women||Shikha Ghatak||AITC
|-
| 47 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol South||Master Para||8,405||None||Rajesh Tiwari||AITC
|-
| 48 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol South||Budha||8,823||None||Gurudas Chatterjee||AITC
|-
| 49 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol South||Chelidanga||8,182||Women||Shampa Dawn||AITC
|-
| 50 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol South||Chelidanga, Hill View Park||8,745||None||Abhijit Ghatak||AITC
|-
| 51 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol South||Sree Pally||8,055||None||Ananta Majumdar||AITC
|-
| 52 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol South||Court Morh||6,483||Women||Mousumi Bose||AITC
|-
| 53 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol South||Burnpur Road Morh||7,083||None||Tapan Banerjee||AITC
|-
| 54 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol South||Sarada Pally Road||7,099||SC||Dilip Baral||AITC
|-
| 55 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Asansol South||Gopalpur New Colony||9,357||None||Dipa Chakraborty||AITC
|-
| 56 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Asansol South||Rabindranagar||9,443||Women||Shrabani Biswas||AITC
|-
| 57 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Asansol South||Narsamuda||11,437||SC||Samit Maji||AITC
|-
| 58 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Asansol South||Dhemo Main Colliery||9,068||None||Sanjay Nonia||AITC
|-
| 59 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Neamatpur]]||11,552||None||Md Zakir Hussain||INC
|-
| 60 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Neamatpur]]||8,942||Women||Indrani Mishra||AITC
|-
| 61 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Neamatpur]]||8,536||None||Adinath Puitandi||AITC
|-
| 62 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Upper Kulti||8,807||None||Khoma Mondal||AITC
|-
| 63 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Upper Kulti||88,51||None||Md Salim Akhtar Ansari||AITC
|-
| 64 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Kulti Town||8,636||Women||Poonam Devi||AITC
|-
| 65 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Upper Kulti||8,997||None||Nadim Akhtar||IND
|-
| 66 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Barakar]]||9,885||None||Ashok Kumar Paswan||AITC
|-
| 67 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Barakar]]||8,029||Women||Tumpa Chowdhary||IND
|-
| 68 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Barakar]]||8,333||None||Radha Singh||IND
|-
| 69 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Barakar]]||9,234||None||Sushanta Mandal||BJP
|-
| 70 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Kendwa||8,824||SC||Wakil Das||AITC
|-
| 71 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Simulgram||7,963||Women||Satabdi Bhandari||AITC
|-
| 72 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Gangutia||11,040||SC||Chaitanya Majhi||AITC
|-
| 73 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Bejdih Colliery||8,163||SC Women||Sunita Bauri||AITC
|-
| 74 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Mithani||8,135||None||Ujjal Chatterjee||AITC
|-
| 75 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Chhotodighari, New Town||8,660||None||Kanchan Mukherjee||AITC
|-
| 76 ||[[Asansol Uttar (Vidhan Sabha constituency)|Asansol Uttar]]||Hirapur||Bidhan Pally, Hill View Park||9,731||Women||Babita Das||AITC
|-
| 77 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Narsighbandh||11,643||None||Gurmit Singh||AITC
|-
| 78 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||[[Burnpur]]||6,950||None||Ashok Rudra||AITC
|-
| 79 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Subhaspally||7,099||Women||Sima Mondal||AITC
|-
| 80 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Santinagar, Puraniya Talao||8,733||None||Rakesh Sharma||AITC
|-
| 81 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Puranahat||8,751||None||Sona Gupta||AITC
|-
| 82 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Rahmatnagar||10,079||Women||Nargis Bano Begum||AITC
|-
| 83 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Asansol South||Mohisila Colony||10,523||None||Md Hasratullah||AITC
|-
| 84 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Asansol South||Ismail||9,586||None||Dr Debashish Sarkar||AITC
|-
| 85 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Asansol South||Mohisila Colony||11,718||Women||Kalyani Ray||AITC
|-
| 86 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Asansol South||Talkuri||9,414||None||Manas Das||AITC
|-
| 87 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Asansol South||Damra||8,191||None||Tarun Chakraborty||AITC
|-
| 88 ||[[Raniganj (West Bengal Vidhan Sabha constituency)|Raniganj]]||Raniganj||Raniganj Town||10,064||Women||Neha Shaw||AITC
|-
| 89 ||[[Raniganj (West Bengal Vidhan Sabha constituency)|Raniganj]]||Raniganj||Raniganj Town||9,434||None||Md Mozammil Hussain||AITC
|-
| 90 ||[[Raniganj (West Bengal Vidhan Sabha constituency)|Raniganj]]||Raniganj||Raniganj Town||6,276||SC||Shakti Ruidas||AITC
|-
| 91 ||[[Raniganj (West Bengal Vidhan Sabha constituency)|Raniganj]]||Raniganj||Raniganj Town||10,325||None||Raju Singh||AITC
|-
| 92 ||[[Raniganj (West Bengal Vidhan Sabha constituency)|Raniganj]]||Raniganj||Raniganj Town||5,937||Women||Shyama Upadhyay||AITC
|-
| 93 ||[[Raniganj (West Bengal Vidhan Sabha constituency)|Raniganj]]||Raniganj||Raniganj Town||11,057||None||Alok Bose||AITC
|-
| 94 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Kalajharia||7,443||ST||Ganesh Orang||AITC
|-
| 95 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Riverside Township||12,452||SC||Sandhya Das||AITC
|-
| 96 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Burnpur Town, Hirapur Village||10,390||SC||Shibananda Bauri||AITC
|-
| 97 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Purushattompur, Kuilapur||6,813||None||Anup Maji ||AITC
|-
| 98 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Dharampur, Suryanagar, Dihika||9,927||Women||Kahkashan Reyaz||AITC
|-
| 99 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Hirapur||Bidyanandapur||7,452||ST||Rabilal Hembram||AITC
|-
| 100 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Chinakuri||10,680||None||Haldar Karmakar||AITC
|-
| 101 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Chhoto Dhemo||9,416||ST Women||Sabita Tudu||AITC
|-
| 102 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||Radhanagar||9,987||None||Sourav Maji||AITC
|-
| 103 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Dishergarh]](Hatinol, Rokta, Josaidi Villages)||7,027||SC||Tarak Nath Dhibar||AITC
|-
| 104 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Disergarh|Dishergarh]](Sanctoria Village)||8,878||SC||Anjan Mondal||AITC
|-
| 105 ||[[Kulti (Vidhan Sabha constituency)|Kulti]]||Kulti||[[Disergarh|Dishergarh]] Village and Town||9,544||Women||Indrani Acharya||BJP
|-
| 106 ||[[Asansol Dakshin (Vidhan Sabha constituency)|Asansol Dakshin]]||Hirapur||Hirapur Village, Shamdi||6,134||None||Akshay Ghosh||AITC
|}
1 This is a broad indication of the neighbourhood covered, not a full description

==See also==
* [[Durgapur Municipal Corporation]]

==References==
{{reflist}}

{{Paschim Bardhaman topics}}
{{Paschim Bardhaman District}}
{{Authority control}}

[[Category:Organisations based in Asansol]]
[[Category:Municipal corporations in West Bengal]]
[[Category:1994 establishments in West Bengal]]
[[Category:Politics of Paschim Bardhaman district]]

Athu Ithu Ethu

2025-11-03T12:45:17Z

Giispune: put up basic entry w/ infobox

{{Use dmy dates|date=December 2024}}
{{Use Indian English|date=December 2024}}
{{Infobox television
| native_name =
| image = Athu Ithu Ethu.webp
| genre = [[Television comedy|Comedy show]]
| creator =
| writer = {{ubl|
* S. Thomson
* Ravi (S3)
}}
| director = S. Thomson
| based_on =
| screenplay =
| presenter = {{ubl|
* [[Sivakarthikeyan]]
* [[Ma Ka Pa Anand]]
}}
| country = India
| language = Tamil
| num_seasons = 3
| num_episodes =
| list_episodes =
| producer = S. Thomson
| company = Dream Big Production
| theme_music_composer =
| opentheme =
| music =
| cinematography =
| editor =
| camera = [[Multi-camera]]
| runtime = approx. 55-60 minutes per episode
| channel = [[Star Vijay]]
| first_aired = {{start date|df=yes|2009|06|05}}
| last_aired = present
| related =
}}

'''Athu Ithu Ethu''' (transl. That This which) is a 2009 Indian [[Tamil-language]] reality [[Television comedy|comedy]] and [[game show]] that airs on [[Star Vijay]] and streams on [[Disney+ Hotstar]]. Hosted by [[Sivakarthikeyan]] (former) and [[Ma Ka Pa Anand]], the first season of the show premiered on 5 June 2009. Over fifteen years, ''Athu Ithu Ethu'' has rolled out three seasons.

==Overview==
{| class="wikitable" style="text-align:center"
|-
! style="padding: 0 8px" colspan="2" rowspan="2" | Season
! style="padding: 0 8px" rowspan="2" | Episodes
! colspan="2" | Original Broadcast
! rowspan="2" |Host
|-
! style="padding: 0 8px" | First Aired
! style="padding: 0 8px" | Last Aired
|-
|style="background:Orange"|
|align="center"| '''[[Athu Ithu Ethu#Season 1|1]]'''
|394
|align="center"| {{start date|df=yes|2009|06|05}}
|align="center"| {{end date|df=yes|2017|03|27}}
| [[Sivakarthikeyan]] / [[Ma Ka Pa Anand]]
|-
|style="background:Red"|
|align="center"| '''[[Athu Ithu Ethu#Season 2|2]]'''
|74
|align="center"| {{start date|df=yes|2017|07|29}}
| 24 February 2019
| [[Ma Ka Pa Anand]]
|-
|style="background:Blue"|
|align="center"| '''[[Athu Ithu Ethu#Season 3|3]]'''
| 24
|align="center"| 31 March 2024
| 8 September 2024
| [[Ma Ka Pa Anand]]
|-
|-
|style="background:green"|
|align="center"| '''[[Athu Ithu Ethu#Season 4|4]]'''
| 24
|align="center"| 24 August 2025
| TBA
| [[Ma Ka Pa Anand]]
|-
|}

== Season 1 ==
The first season of Athu Ithu Ethu was aired on 6 June 2009 to 25 March 2017. The show host was [[Sivakarthikeyan]].<ref>{{cite web|author=|url=https://www.indiaglitz.com/vadivel-balaji-death-sivakarthikeyan-help-to-children-studies-tamil-news-269447|title=Sivakarthikeyan promises a major help to close friend Vadivel Balaji's family|website=www.indiaglitz.com|date=10 September 2020|language=en}}</ref>

=== Comedians ===
* [[Robo Shankar]]
* [[Vadivel Balaji]]
* Amuthavanan
* 'Singapore' Deepan
* Pazhani Pattalam
* Rambo Ramar
* Hulk George
* Diwakar
* Vignesh Karthick
* Prabu
* Jeyachandran
* Nanjil Vijayan

== Season 2 ==
The second season of Athu Ithu Ethu was aired on 29 July 2017 to 24 February 2019.<ref>{{cite web|author=|url=https://timesofindia.indiatimes.com/tv/news/tamil/adhu-idhu-edhu-comedy-game-show-gets-a-new-time-slot/articleshow/63614188.cms|title=Adhu Idhu Edhu comedy game show gets a new time slot|website=[[The Times of India]]|date=4 April 2018|language=en}}</ref> [[Ma Ka Pa Anand]] has officially once again been appointed as the host for the second time.<ref>{{cite web|url=https://timesofindia.indiatimes.com/tv/news/tamil/tv-host-ma-ka-pa-anand-leaves-fans-stunned-with-his-new-avatar-see-pic/articleshow/67422953.cms|title=TV host Ma Ka Pa Anand leaves fans stunned with his new avatar|work=The Times of India |date=7 January 2019 |publisher=timesofindia.indiatimes.com|access-date=7 Jan 2019|language=en}}</ref> Four celebrities will participate in two teams. The program involves three Rounds: (Sing in the Rain, Siricha Pochu and 5 Endrathukulla).

== Season 3 ==
Athu Ithu Ethu returned with its third season after five years.<ref>{{cite web|author=|url=https://kalkionline.com/entertainment/chinnathirai-ott/athu-ithu-ethu-coming-soon|title=விரைவில்... 'அது இது எது' ஷோ? குஷியில் ரசிகர்கள்!|website=kalkionline.com|date=12 March 2024|language=ta}}</ref> It began broadcasting on 31 March 2024 and aired on every Sunday at 13:30.<ref>{{cite web|author=|url=https://timesofindia.indiatimes.com/tv/news/tamil/reality-game-show-athu-idhu-yedhu-season-3-set-to-premiere-soon/articleshow/107819689.cms|title=Reality game show 'Athu Idhu Yedhu season 3|website=[[The Times of India]]|date=19 February 2024|language=en}}</ref> There are three rounds (Sing In The Rain, Siricha Pochu and Kakaka Po). [[Ma Ka Pa Anand]] has officially once again been appointed as the host for the third time.<ref>{{cite web|author=|url=https://timesofindia.indiatimes.com/tv/news/tamil/athu-ithu-yethu-touches-the-seven-year-mark/articleshow/57701267.cms|title=Athu Ithu Yethu touches the seven- year-mark|website=[[The Times of India]]|date=18 March 2024|language=en}}</ref><ref>{{cite web|author=|url=https://tamil.oneindia.com/television/athu-ithu-ethu-promo-season-3-from-32s-march-promo-594099.html|title=விஜய் டிவியில் மீண்டும் "அது இது எது".. ஆரம்பமே சிறகடிக்க ஆசை பிரபலங்கள்.. முத்து செய்த அட்ராசிட்டி|website=tamil.oneindia.com|date=27 March 2024|language=ta}}</ref> The show was ended on 8 September 2024 with 24 episodes.{{fact|date=December 2024}}

== Season 4 ==
The 4th season of the ''Athu Ithu Ethu'' show, it is premiere on 24 August 2025 on every Sunday at 14:00. [[Ma Ka Pa Anand]] has officially once again been appointed as the host.<ref>{{cite web|author=|url=https://timesofindia.indiatimes.com/tv/news/tamil/athu-idhu-yedhu-season-4-to-premiere-on-august-24-watch-promo/articleshow/123319201.cms|title='Athu Idhu Yedhu Season 4' to premiere on August 24|website=[[The Times of India]]|date=15 August 2025|language=en}}</ref>

== References ==
{{Reflist}}

==External links==
* [https://www.imdb.com/title/tt10196070/ Athu Ithu Ethu] on [[IMDb]]

{{STAR Vijay TV shows}}

[[Category:Star Vijay original programming]]
[[Category:2009 Tamil-language television series debuts]]
[[Category:2017 Tamil-language television seasons]]
[[Category:2024 Tamil-language television seasons]]
[[Category:2025 Tamil-language television seasons]]
[[Category:Tamil-language television shows]]
[[Category:Tamil-language game shows]]
[[Category:Tamil-language reality television series]]
[[Category:Tamil-language comedy television series]]
[[Category:Television shows set in Tamil Nadu]]

Jewel Bey

2025-09-25T18:31:55Z

Giispune:

{{Short description|Indian footballer (born 1969)}}
{{Use dmy dates|date=June 2022}}
{{Use Indian English|date=June 2022}}
{{Infobox football biography
|embed =
|name = Jewel Bey
|image =
|image_size =
|caption =
|fullname = Jewel Bey
|birth_date = {{Birth date and age|1969|04|16|df=yes}}
|birth_place = [[Karbi Anglong district|Karbi Anglong]], [[Assam]], [[India]]
|death_date =
|death_place =
|height =
|position = [[Midfielder]]
|youthyears1 =
|youthclubs1 =
|years1 = ?
|clubs1 = Maharana Athletic Club
|caps1 = ?
|goals1 = ?
|years2 = ?
|clubs2 = [[Gauhati Town Club]]
|caps2 = ?
|goals2 = ?
|years3 = ?
|clubs3 = [[ASEB Sports Club|ASEB]]
|caps3 = ?
|goals3 = ?
|years4 = ?
|clubs4 = SAI Guwahati
|caps4 = ?
|goals4 = ?
|years5 = ?
|clubs5 = [[Assam Police Blues]]
|caps5 = ?
|goals5 = ?
|years6 = ?
|clubs6 = [[Dempo SC|Dempo]]
|caps6 = ?
|goals6 = ?
|years7 = ?
|clubs7 = [[Mahindra United FC|Mahindra & Mahindra]]
|caps7 = ?
|goals7 = ?
|totalcaps =
|totalgoals =
|nationalyears1 = 1989–1994
|nationalteam1 = [[India national football team|India]]
|nationalcaps1 =
|nationalgoals1 =
|medaltemplates =
}}

'''Jewel Bey''' (born 16 April 1969) is a former [[India]]n [[Association football|footballer]] from [[Assam]]. Bey played as a [[midfielder]].<ref name="Bey to join as Blues coach"/>

==Playing career==

===Early career===
Bey was born in [[Karbi Anglong]] district of [[Assam]]. In 1989, he has represented the [[Assam football team|Assam state]] team for the [[Santosh Trophy]] which was held in [[Guwahati]]. In 1992, he also played for the Delhi U-23 State team and Maharashtra state team in 1994.<ref name="Assam players who represented Indian National Football team"/>

===Club career===
He has played for quite a few numbers of local clubs of Assam including Maharana Athletic Club, [[Gauhati Town Club]], [[ASEB Sports Club|ASEB SC]], SAI Guwahati and [[Assam Police Blues]].<ref name="Assam players who represented Indian National Football team"/>

Bey was signed by eminent clubs [[Dempo SC]] and [[Mahindra United FC|Mahindra & Mahindra]] for their seasons.<ref name="Assam players who represented Indian National Football team"/>

===International career===
In 1989, he made his senior International debut for [[India national football team]] in [[1989 South Asian Games|South Asian Games]]. After that he represented the senior India side many occasions including 1991 Pre Olympic, [[1993 Nehru Cup|1993 Nehru Gold Cup]] and Pre-Olympic in 1993.<ref name="Assam players who represented Indian National Football team">{{cite web|url=https://www.assamolympic.org/members/Olympic_for_Indian_National.pdf|title=List of players from Assam who represented Indian National Football team|website=www assamolympic.org|access-date=13 March 2022}}</ref>

==Coaching==
After retiring from the game, Bey is involved in coaching. In 2001, this former International midfielder joined as assistant coach of [[Assam Police Blues]]. Later, the head coach P.X. Kanan was replaced with Bey and he became the head coach cum manager of the Blues.<ref name="Bey to join as Blues coach">{{cite web|url=https://www.telegraphindia.com/north-east/bey-to-join-as-cops-coach/cid/813707|title=Bey to join as cops' coach|website=The Telegraph|access-date=13 March 2022}}</ref>

==Personal life==
Bey joined [[Assam Police]] in 2001, and now serving as an Assistant Commandant in Assam Police Battalion.<ref name="Bey to join as Blues coach"/>

==Honours==

'''India'''
*[[SAFF Championship]]: [[1993 SAARC Gold Cup|1993]]<ref>{{cite web|url=http://www.indianfootball.de/specials/india/indianteam/1993saarccup.html|title=The Indian Senior Team at the 1993 Lahore SAARC Cup|website=Indianfootball.de|last=Chaudhuri|first=Arunava|archive-url=https://web.archive.org/web/20181013172349/http://www.indianfootball.de/specials/india/indianteam/1993saarccup.html|archive-date=13 October 2018}}</ref>

==References==
{{reflist}}

{{DEFAULTSORT:Bey, Jewel}}
[[Category:Indian men's footballers]]
[[Category:1969 births]]
[[Category:Footballers from Assam]]
[[Category:Men's association football midfielders]]
[[Category:India men's international footballers]]
[[Category:Dempo SC players]]
[[Category:Mahindra United FC players]]
[[Category:Gauhati Town Club players]]
[[Category:ASEB Sports Club players]]
[[Category:People from Karbi Anglong district]]
[[Category:Living people]]

Eyarkon Kalikkama Nayanar

2025-09-11T16:15:29Z

Giispune: Starting a bio first draft!

{{Use dmy dates|date=October 2016}}
{{Use Indian English|date=October 2016}}
'''Eyarkon Kalikkama Nayanar''', also known as '''Kalikkamanar''', '''Kalikamba Nayanar''', was a King of [[Heheya Kingdom|Haihaya (Eyar)]],<ref name="Vamadeva 1995 p.101 ">{{cite book | last=Vamadeva | first=C. | title=The Concept of Van̲n̲an̲pu "violent Love" in Tamil Saivism: With Special Reference to the Periyapurāṇam | publisher=Uppsala University | series=Acta Universitatis Upsaliensis: Historia religionum | year=1995 | isbn=978-91-628-1577-6 | url=https://books.google.com/books?id=XD7kAAAAMAAJ&q=eyaRKON+HAIHAYA | access-date=2022-12-19 | page=101}}</ref><ref name="The Digital South Asia Library 2005">{{cite web | title=Tamil Lexicon | website=The Digital South Asia Library | date=2005-02-01 | url=https://dsal.uchicago.edu/cgi-bin/app/tamil-lex_query.py?qs=eyar&searchhws=yes&matchtype=exact | language=la | access-date=2022-12-19}}</ref> Commander-in-chief of the Chola army,<ref name="Venkataraman 2022 p. 121">{{cite book | last=Venkataraman | first=M. | title=Nayanmars: The Shaivite Saints | publisher=Venkataraman M | year=2022 | url=https://books.google.com/books?id=WAR2EAAAQBAJ&pg=PA121 | access-date=2022-12-19 | page=121}}</ref> a [[Nayanars|Nayanar]] saint, venerated in the [[Hinduism|Hindu]] sect of [[Shaivism]]. He is generally counted as the 29th in the list of 63 Nayanars.<ref name="Dalal2011">{{cite book|author=Roshen Dalal|title=Hinduism: An Alphabetical Guide|date=2011|publisher=Penguin Books India|isbn=978-0-14-341421-6|page=281}}</ref>

==Life==
The life of Eyarkon Kalikkama Nayanar is described in the ''[[Periya Puranam]]'' by [[Sekkizhar]] (12th century), which is a hagiography of the 63 Nayanars.<ref name="Dalal2011"/><ref>{{cite web | url= http://www.shaivam.org/english/sen_th12_eayarkone.htm | title=The Puranam of Eyarkone Kalikkama Nayanar| publisher=T N Ramachandran | access-date=15 December 2014}}</ref> He is dated to the 8th century and was a contemporary of [[Sundarar]], one of the most prominent Nayanar saints.

Kalikkama was born in [[Thiruperumangalam]] (also rendered Tiruperumangalam or Tirupperumangakalam), Ponni Nadu (region of the river [[Kaveri]]). He was a [[Vellalar]] by birth,<ref>{{cite book|url=https://books.google.com/books?id=RYjXAAAAMAAJ&q=%22EYARKON+KALIKAMAR+Caste+%3A+vaishya+%28+vellala+%29%22|title=Slaves of the Lord: The Path of the Tamil Saints|publisher=Munshiram Manoharlal|year=1988|last=Dehejia|first=Vidya|page=178|isbn=978-8-12150-044-9}}:"EYARKON KALIKAMAR Caste : vaishya ( vellala )"</ref> a great devotee of [[Shiva]], the patron god of [[Shaivism]]. He was born in the family of [[Heheya Kingdom|Eyars]]. His title "Eyarkon" means "king of Eyars" or "chief of Eyars".<ref>{{cite book|first=Alf |last=Hiltebeitel|author-link=Alf Hiltebeitel|title=Criminal Gods and Demon Devotees: Essays on the Guardians of Popular Hinduism|publisher=SUNY Press|isbn=978-1-4384-0671-8|pages=378–80}}</ref><ref name="Peterson">{{cite book|title=Poems to Śiva: The Hymns of the Tamil Saints|year=1991|publisher=Motilal Banarsidass |isbn=978-81-208-0784-6|pages=330–3}}</ref><ref name="The Digital South Asia Library 2005">{{cite web | title=Tamil Lexicon | website=The Digital South Asia Library | date=2005-02-01 | url=https://dsal.uchicago.edu/cgi-bin/app/tamil-lex_query.py?qs=eyar&searchhws=yes&matchtype=exact | language=la | access-date=2022-12-19}}</ref> The {{proper name|Eyars}} traditionally served the [[Chola]] kings and Kalikkama was the commander-in-chief of the reigning Chola ruler. He served Shiva at the temple in [[Thirupungur]] (Thiruppunkur).<ref name="Venkataraman 2022 p. 121">{{cite book | last=Venkataraman | first=M. | title=Nayanmars: The Shaivite Saints | publisher=Venkataraman M | year=2022 | url=https://books.google.com/books?id=WAR2EAAAQBAJ&pg=PA121 | access-date=2022-12-19 | page=121}}</ref>

The chapter devoted to him in the ''Periya Puranam'' tells the following account. Sundarar had asked [[Somaskanda|Thyagaraja]], the presiding form of Shiva at [[Thyagaraja Temple, Tiruvarur|Thyagaraja_Temple]] of [[Thiruvarur]] to go his wife Paravaiyar disguised as a messenger. Kalikkama thought it blasphemy to use Shiva as a servant and rebuked Sundarar (the servant) who made Shiva (the Master) a slave. Thyagaraja wanted both his devotees to be reconciled. He afflicted Kalikkama with [[colic]] pain in his stomach. The god appeared in Kalikkama's dream and informed him that only Sundarar could heal him. Similarly, he ordered Sundarar to visit Kalikkama in Thirupungur and cure him. Sundarar sent a message to Kalikkama about his arrival and set off to Thirupungur. Kalikkama chose to die instead of being cured by the "blasphemer" Sunadarar. He pierced his stomach by his sword and cut his bowels out, giving up his life. While his wife readied to kill herself, she heard about Sundarar's arrival and thought it was her duty to serve a devotee of Shiva. She hid her husband's corpse and welcomed Sundarar. Mindful of her husband's wishes, she ordered her people to inform Sundarar that Kalikkama was resting inside and did not need Sundarar's healing. However, the persistent Sundarar finally managed to see Kalikkama, who was lying in a pool of blood. Sundarar blamed himself for Kalikkama's suicide and decided to follow suit. As Sundarar was about to cut his throat, Kalikkama was resurrected by Shiva and stopped Sundarar. Sundarar prostrated before Kalikkama and begged his forgiveness. They hugged together and settled their differences. Sunadarar sang a panegyric in honour of the form of Shiva worshipped at Thirupungur as well as Kalikkama. The saints worshipped Thyagaraja in Thiruvarur together for some days, after which Kalikkama returned to Thirupungur. He spent rest of life serving Shiva at Thirupungur and finally reached [[Kailash]], Shiva's abode after death.<ref name="Peterson"/><ref name="swami">{{cite book | author = Swami Sivananda | author-link = Swami Sivananda | title = Sixty-three Nayanar Saints | edition = 4 | publisher = The Divine Life Society | year = 1999 | location = Sivanandanagar }}</ref>

Kalikkama was the husband of the daughter of [[Manakanchara Nayanar]], a Nayanar saint as well as Vellalar commander-in-chief of the Cholas. He appears in the account about his father-in-law in the ''Periya Puranam''. Kalikkama's wife is sometimes called Punniya Vardhini; she is not named in the ''Periya Puranam''. On the day of their wedding, Shiva came disguised as a Shaiva ascetic and asked for the hair of the bride, before Kalikkama arrived. Unmindful of the possibility that the bridegroom may not accept a bald bride, Manakanchara Nayanar cut off her hair and gave it to the ascetic. Shiva revealed his divine form and blessed the family. The bride's looks were also restored. Kalikkama and his wedding party arrived at the place and got to know what had happened. Kalikkama regretted that he missed to see his patron god Shiva. He felt that if he would have married to the bride when Shiva asked for the hair, he would have had the honour of gifting Shiva.<ref name="swami"/><ref>{{cite web | url=https://temple.dinamalar.com/en/new_en.php?id=1568 | title=Sri Panchavateeswarar temple | publisher=[[Dinamalar]] | access-date=15 December 2014}}</ref>

==Remembrance==
[[File:Sri Kokarneshvarar Temple in Tirukokarnam.JPG|thumb|The images of the Nayanars are found in many Shiva temples in Tamil Nadu.]]

Sundarar venerates Eyarkon Kalikkama Nayanar (called Kalikkaman, the prince of {{proper name|Eyars}}) in the ''Tiruthonda Thogai'', a hymn to Nayanar saints.<ref name="Peterson"/> An earlier hymn to Shiva recalls Eyarkon Kalikkama, who owned twelve ''veli''s (a unit of measure) of land and was cured of disease by Shiva, where Shiva had said to bring showers to the twelve ''veli''s of land in drought.<ref name=Peterson/>

Eyarkon Kalikkama Nayanar is worshipped in the [[Tamil month]] of [[Jyeshtha (month)|Aani]], when the moon enters the [[Revati (nakshatra)|Revati]] [[nakshatra]] (lunar mansion). He is depicted wearing a crown, with folded hands (see [[Anjali mudra]]) and sometimes with a sword in the crook of his arm. He receives collective worship as part of the 63 Nayanars. Their icons and brief accounts of his deeds are found in many Shiva temples in Tamil Nadu. Their images are taken out in procession in festivals.<ref name="Dalal2011"/>

==References==
{{Reflist}}

{{Nayanars}}

[[Category:Nayanars]]
[[Category:Chola generals]]
[[Category:Chola poets]]

Teghari, Murshidabad

2025-08-11T15:33:46Z

Giispune: Started.

{{distinguish|Teghari}}
{{Use dmy dates|date=December 2022}}
{{Use Indian English|date=December 2022}}
{{Infobox settlement
| name = Teghari
| native_name =
| native_name_lang =
| other_name =
| nickname =
| settlement_type = Census Town
| image_skyline =
| image_alt =
| image_caption =
| pushpin_map = India West Bengal#India3
| pushpin_label_position =
| pushpin_map_alt =
| pushpin_map_caption = Location in West Bengal, India
| coordinates = {{coord|24.4517|N|88.1316|E|display=inline,title}}
| subdivision_type =
| subdivision_name = {{flag|India}}
| subdivision_type1 = [[States and territories of India|State]]
| subdivision_name1 = [[West Bengal]]
| subdivision_type2 = [[List of districts of India|District]]
| subdivision_name2 = [[Murshidabad district|Murshidabad]]
| established_title = 
| established_date =
| founder =
| named_for =
| government_type =
| governing_body =
| unit_pref = Metric
| area_footnotes =
| area_rank =
| area_total_km2 = 3.5383
| elevation_footnotes =
| elevation_m =
| population_total = 25058
| population_as_of = 2011
| population_rank =
| population_density_km2 = auto
| population_demonym =
| population_footnotes =
| demographics_type1 = Languages
| demographics1_title1 = Official
| demographics1_info1 = [[Bengali language|Bengali]], [[English language|English]]
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| area_code_type = Telephone/STD code
| area_code = 03485
| postal_code_type = [[Postal Index Number|PIN]]
| postal_code = 742213
| registration_plate = [[List of RTO districts in India#WB.E2.80.94West Bengal|WB]]-57, [[List of RTO districts in India#WB.E2.80.94West Bengal|WB]]-58
| blank1_name_sec1 = [[Lok Sabha]] constituency
| blank1_info_sec1 = [[Jangipur (Lok Sabha constituency)|Jangipur]]
| blank2_name_sec1 = [[Vidhan Sabha]] constituency
| blank2_info_sec1 = [[Raghunathganj (Vidhan Sabha constituency)|Raghunathganj]]
| website = {{URL|murshidbad.nic.in/}}
| footnotes =
}}

'''Teghari''' is a [[census town]] in the [[Raghunathganj II]] [[Community development blocks in India|CD block]] in the [[Jangipur subdivision]] of the [[Murshidabad district]] in the state of [[West Bengal]], [[India]].

== Geography ==
{{OSM Location map
| width=400| height=550| zoom=11
| coord={{coord|24|26|0|N|88|6|0|E}}| float=left|caption='''Cities, towns and locations in the southern portion of Jangipur subdivision, Murshidabad district (including Suti I, Raghunathganj I, Raghunathganj II, Sagardighi CD blocks)''' M: municipal town, CT: census town, R: rural/ urban centre, F: Facility Abbreviation- TPS: Thermal Power Station, AMU: Aligarh Muslim University Owing to space constraints in the small map, the actual locations in a larger map may vary slightly
|mark-coord1={{coord|24|33|50|N|88|3|18|E}} | label-pos1=right|label1= Ramakantapur | numbered1=CT| mark-title1=[[Ramakantapur]] (CT)|label-color1=#800000 |label-size1=11| mark-size1=12|shape1=l-circle|shape-color1= #A40000|shape-outline1=white|label-offset-x1=2
|mark-coord2={{coord|24|31|52|N|88|4|6|E}} | label-pos2=right|label2= Fatellapur| numbered2=CT| mark-title2=[[Fatellapur]] (CT)
|mark-coord3={{coord|24|34|8|N|88|2|13|E}} | label-pos3=left|label3= Madna| numbered3=CT| mark-title3=[[Madna, West Bengal]] (CT)
|mark-coord4={{coord|24|33|0|N|88|3|46|E}} | label-pos4=right|label4= Nayabahadurpur| numbered4=CT| mark-title4=[[Nayabahadurpur]] (CT)
|mark-coord5={{coord|24|28|2|N|88|2|2|E}} | label-pos5=left|label5= Ghorsala| numbered5=CT| mark-title5=[[Ghorsala]] (CT)
|mark-coord6={{coord|24|27|36|N|88|3|0|E}} | label-pos6= bottom|label6= Srikantabati| numbered6=CT| mark-title6=[[Srikantabati]] (CT)
|mark-coord7={{coord|24|27|0|N|88|4|45|E}} | label-pos7=right|label7= Charka| numbered7=CT| mark-title7=[[Charka, Jangipur]] (CT)
|mark-coord8={{coord|24|26|35|N|88|6|9|E}} | label-pos8=left|label8= Dafarpur| numbered8=CT| mark-title8=[[Dafarpur]] (CT)
|mark-coord9={{coord|24|26|9|N|88|6|24|E}} | label-pos9=right|label9= Ramnagar| numbered9=CT| mark-title9=[[Ramnagar, Murshidabad]] (CT)
|mark-coord10={{coord|24|24|27|N|88|4|4|E}} | label-pos10=right|label10= Mirzapur| numbered10=CT| mark-title10=[[Mirzapur, Murshidabad]] (CT)
|mark-coord11={{coord|24|30|30|N|88|4|36|E}} | label-pos11=right|label11= Giria| numbered11=CT| mark-title11=[[Giria, India]] (CT)
|mark-coord12={{coord|24|29|11|N|88|4|57|E}} | label-pos12=right|label12= Mithipur| numbered12=CT| mark-title12=[[Mithipur]] (CT)
|mark-coord13={{coord|24|28|20|N|88|5|37|E}} | label-pos13=left|label13= Jot Kamal| numbered13=CT| mark-title13=[[Jot Kamal]] (CT)
|mark-coord14={{coord|24|27|54|N|88|5|44|E}} | label-pos14=left|label14= Osmanpur| numbered14=CT| mark-title14=[[Osmanpur]] (CT)
|mark-coord15={{coord|24|0|36|N|88|28|36|E}} | label-pos15=right|label15= Sahajadpur| numbered15=CT| mark-title15=[[Sahajadpur]] (CT)
|mark-coord16={{coord|24|27|45|N|88|6|27|E}} | label-pos16=right|label16= Khodarampur| numbered16=CT| mark-title16=[[Khodarampur]] (CT)
|mark-coord17={{coord|24|27|21|N|88|7|22|E}} | label-pos17=right|label17= Donalia| numbered17=CT| mark-title17=[[Donalia]] (CT)
|mark-coord18={{coord|24|26|55|N|88|7|53|E}} | label-pos18=right|label18= Teghari| numbered18=CT| mark-title18=Teghari, Murshidabad (CT)|shape-color18=black| label-size18=13|label-color18=black 
|mark-coord19={{coord|24|26|26|N|88|9|9|E}} | label-pos19=right|label19= Krishna Sali| numbered19=CT| mark-title19=[[Krishna Sali]] (CT)
|mark-coord20={{coord|24|26|0|N|88|10|32|E}} | label-pos20=bottom|label20= Bara Jumla| numbered20=CT| mark-title20=[[Bara Jumla]] (CT)
|mark-coord21={{coord|24|31|6|N|88|2|38|E}} | label-pos21=right|label21= AMU: Murshidabad Centre| numbered21=F| mark-title21= [[Aligarh Muslim University: Murshidabad Centre]] (F) |shape-color21=#967117
|mark-coord22={{coord|24|22|9|N|88|6|22|E}} | label-pos22=left|label22= Sagardighi TPS| numbered22=F| mark-title22= [[Sagardighi Thermal Power Station]] (F) |shape-color22=#967117
|mark-coord23={{coord|24|28|8|N|88|6|11|E}} | label-pos23=right|label23= Jangipur| numbered23=M| mark-title23=[[Jangipur, Murshidabad]] (M) | shape-color23= #800000
|mark-coord24={{coord|24|31|5|N|88|1|12|E}} | label-pos24=left|label24= Ahiran| numbered24=R| mark-title24= [[Ahiran]] (R) |shape-color24=#C40000
|mark-coord25={{coord|24|29|24|N|87|59|40|E}} | label-pos25=right|label25= Bansabati| numbered25=R| mark-title25= [[Bansabati]] (R) |shape-color25=#C40000
|mark-coord26={{coord|24|31|32|N|87|59|23|E}} | label-pos26=right|label26= Harua| numbered26=R| mark-title26= [[Harua]] (R) |shape-color26=#C40000
|mark-coord27={{coord|24|21|33|N|88|6|51|E}} | label-pos27=right|label27= Manigram| numbered27=R| mark-title27= [[Manigram]] (R) |shape-color27=#C40000
|mark-coord28={{coord|24|18|20|N|88|1|48|E}} | label-pos28=right|label28= Morgram| numbered28=R| mark-title28= [[Morgram]] (R) |shape-color28=#C40000
|mark-coord29={{coord|24|28|14|N|88|2|58|E}} | label-pos29=top|label29= Raghunathganj| numbered29=R| mark-title29= [[Raghunathganj]] (R) |shape-color29=#C40000
|mark-coord30={{coord|24|33|0|N|88|2|1|E}} | label-pos30=top|label30= Sadikpur| numbered30=R| mark-title30= [[Sadikpur, Murshidabad]] (R) |shape-color30=#C40000
|mark-coord31={{coord|24|17|50|N|88|5|5|E}} | label-pos31=right|label31= Sagardighi| numbered31=R| mark-title31= [[Sagardighi, Murshidabad]] (R) |shape-color31=#C40000
|mark-coord32={{coord|24|17|38|N|88|11|9|E}} | label-pos32=right|label32= Nurpur| numbered32=R| mark-title32= [[Nurpur, Murshidabad]] (R) |shape-color32=#C40000
|mark-coord33={{coord|24|25|56|N|88|5|4|E}} | label-pos33=left|label33= Rajnagar| numbered33=R| mark-title33= [[Rajnagar, Murshidabad]] (R) |shape-color33=#C40000
|mark-coord34={{coord|24|34|0|N|88|9|0|E}} | label34= Padma River| label-color34 = #77A1CB| label-angle34= 80| label-pos34=right| label-size34=10| mark-size34=0| mark-title34 =none
|mark-coord35={{coord|24|35|0|N|87|58|20|E}} | label35= Farakka Feeder Canal | label-color35 = #77A1CB| label-angle35= 43| label-pos35=right| label-size35=10| mark-size35=0| mark-title35 =none
|mark-coord36={{coord|24|33|20|N|87|58|40|E}}| label36=Bansloi River| label-color36 = #77A1CB| label-angle36= 30| label-pos36=right| label-size36=10| mark-size36=0| mark-title36 =none
|mark-coord37={{coord|24|23|0|N|88|9|0|E}} | label37= Bhagirathi River| label-color37 = #77A1CB| label-angle37= 40| label-pos37=right| label-size37=10| mark-size37=0| mark-title37 =none
|mark-coord38={{coord|24|20|57|N|88|4|23|E}} | label-pos38= left|label38=Kherur Mosque| numbered38=H| mark-title38= [[Kherur Mosque]] (H)| shape-color38=#AA6666
|arc-coordA={{coord|24|35|0|N|88|10|0|E}}|arc-textA= BANGLADESH| arc-text-colorA=hard grey| arc-angleA=50| arc-gapA=4.0| arc-radiusA=0.35}}

===Location===
Teghari is located at {{coord|24.4517|N|88.1316|E|display=inline}}.

===Area overview===
Jangipur subdivision is crowded with 52 [[census towns]] and as such it had to be presented in two location maps. One of the maps can be seen alongside. The subdivision is located in the [[Rarh region]] that is spread over from adjoining [[Santhal Pargana division]] of [[Jharkhand]]. The land is slightly higher in altitude than the surrounding plains and is gently undulating.<ref>{{cite web| url = http://www.censusindia.gov.in/2011census/dchb/DCHB_A/19/1907_PART_A_DCHB_MURSHIDABAD.pdf |title = District Census Handbook: Murshidabad, Series 20 Part XII A | work= Physiography, Page 13 |publisher= Directorate of Census Operations, West Bengal, 2011 | access-date = 24 July 2017}}</ref><ref>{{cite web| url = http://murshidabad.gov.in/About.aspx#2 | title= Murshidabad | work= Geography | publisher= Murshidabad district authorities| access-date = 24 July 2017}}</ref> The river [[Ganges]], along with its distributaries, is prominent in both the maps. At the head of the subdivision is the 2,245 m long [[Farakka Barrage]], one of the largest projects of its kind in the country.<ref>{{cite web | url = http://fbp.gov.in/ | title = Farakka Barrage Project | publisher = FBP | access-date = 12 September 2017}}</ref> Murshidabad district shares with Bangladesh a porous international border which is notoriously crime-prone (partly shown in this map).<ref>{{cite web| url = https://edgeofhumanity.com/2020/12/27/child-labor-illnesses-lost-childhoods-indias-tobacco-industry/ |title = Child labour, illness & lost childhoods, India’s tobacco industry |publisher= Edge of Humanity Magazine, 27 December 2020| access-date = 13 July 2021}}</ref> The subdivision has two large power plants - the 2,100 MW [[Farakka Super Thermal Power Station]] and the 1,600 MW [[Sagardighi Thermal Power Station]].<ref>{{cite web| url = http://ntpc.co.in/power-generation/coal-based-power-stations/farakka | title= Power Generation | work= Farakka |publisher= NTPC| access-date = 7 August 2016}}</ref><ref>{{cite web | url = http://www.wbpdcl.co.in/wbpdcl/sagardighipowerstation.html | title = The West Bengal Power Development Corporation Limited | work = Sagardighi Thermal Power Project | publisher = WBPDCL | access-date = 15 August 2017 | archive-date = 23 August 2017 | archive-url = https://web.archive.org/web/20170823115439/http://www.wbpdcl.co.in/wbpdcl/sagardighipowerstation.html | url-status = dead }}</ref> According to a 2016 report, there are around 1,000,000 (1 million/ ten lakh) workers engaged in the [[beedi]] industry in Jangipur subdivision. 90% are home-based and 70% of the home-based workers are women.<ref>{{cite web | url = http://shodhganga.inflibnet.ac.in:8080/jspui/bitstream/10603/28080/6/06_chapter%201.pdf| title = Child workers in household industry: a study of beedi industry in Murshidabad district of West Bengal | first= Sunirmal| last= Kar| work = Viswa Bharati University thesis, page 5 | publisher = Shodhganga | access-date = 28 August 2017}}</ref><ref>{{cite web | url = http://www.thestatesman.com/features/the-poor-man-s-cigarette-1485045757.html | title = The ‘Poor man’s cigarette’ | work = Gurvinder Singh | publisher = The Statesman, 22 January 2017 | access-date = 28 August 2017}}</ref><ref>{{cite web | url = http://www.thehindu.com/todays-paper/Beedi-workers-of-Jangipur-hold-key/article16588097.ece#! | title = Beedi workers of Jangipur hold key | work = Indrani Dutta | publisher = The Hindu, 1 May 2009 | access-date = 28 August 2017}}</ref> As of 2013, an estimated 2.4 million people reside along the banks of the [[Ganges]] alone in Murshidabad district. [[River bank erosion along the Ganges in Malda and Murshidabad districts|Severe erosion]] occurs along the banks.<ref name="erosion1">{{cite web | url = http://gangawaterway.in/assets/7-murshidabad.pdf | title = Types and sources of floods in Murshidabad, West Bengal | work = Swati Mollah | publisher = Indian Journal of Applied Research, February 2013 | access-date = 5 September 2017 | archive-url = https://web.archive.org/web/20170820073737/http://gangawaterway.in/assets/7-murshidabad.pdf | archive-date = 20 August 2017 | url-status = dead }}</ref>

Note: The two maps present some of the notable locations in the subdivision. All places marked in the maps are linked in the larger full screen maps.

==Demographics==
According to the [[2011 Census of India]], Teghari had a total population of 25,058, of which 12,677 (51%) were males and 12,291 (49%) were females. Population in the age range 0–6 years was 4,529. The total number of literate persons in Teghari was 12,576 (61.26% of the population 6 years).<ref>{{cite web| url = https://www.censusindia.gov.in/2011census/dchb/DCHB_A/19/1907_PART_A_DCHB_MURSHIDABAD.pdf |title = District Census Handbook, Murshidabad, Series 20, Part XII B| work= Rural PCA-C.D. blocks wise Village Primary Census Abstract, location no. 314142, page 32-33|publisher= Directorate of Census Operations West Bengal | access-date = 2 July 2021}}</ref>

==Infrastructure==
According to the ''District Census Handbook, Murshidabad'', 2011, Teghari covered an area of 3.5383 km2. The protected water-supply involved pressure tank, tube well/ bore well. It had 1,500 domestic electric connections. Among the educational facilities, it had 11 primary schools, 1 secondary school, other school facilities, general degree college at [[Jangipur, Murshidabad|Jangipur]] 7 km away. It had 3 non-formal education centres (Sarva Shiksha Abhiyan). Among the social, recreational & cultural facilities it had 1 public library. It had the branch offices of 1 nationalised bank, 1 agricultural credit society.<ref>{{cite web | url = https://www.censusindia.gov.in/2011census/dchb/DCHB_A/19/1907_PART_A_DCHB_MURSHIDABAD.pdf | title = District Census Handbook Murshidabad, Census of India 2011, Series 20, Part XII A | work= Section II Town Directory, Pages 981-987: Statement I: Growth History, Pages 990-993: Statement III: Civic & Other Amenities, Pages 993-995: Statement IV: Medical Facilities 2009, Pages 995-1001 Section V: Educational, Recreational and Cultural Facilities; Pages 1 001- 1002: Statement VI: Industry & Banking | publisher = Directorate of Census Operations, West Bengal |access-date = 26 June 2021}}</ref>

== Healthcare ==
Raghunathganj II CD block has Teghari Block Primary Health Centre (with 10 beds) and Mohammadpur [[Primary Health Centre (India)|Primary Health Centre]] at Adikantapur (with 10 beds).<ref name=medical>{{cite web | url = https://www.wbhealth.gov.in/ | title = Health & Family Welfare Department | work = Health Statistics | publisher = Government of West Bengal | access-date = 19 September 2017 | archive-date = 28 October 2021 | archive-url = https://web.archive.org/web/20211028134305/https://qphs.fs.quoracdn.net/main-qimg-99a499ee367f0c1530476c81086270c8 | url-status = dead }}</ref>

Raghunathganj II CD block is one of the areas of Murshidabad district where ground water is affected by a high level of [[Arsenic contamination of groundwater|arsenic contamination]]. The [[World Health Organization|WHO]] guideline for arsenic in drinking water is 10 mg/ litre, and the Indian Standard value is 50 mg/ litre. The maximum concentration in Raghunathaganj II CD block is 875 mg/litre.<ref>{{cite web| url = http://www.soesju.org/arsenic/wb1.htm| title = Groundwater Arsenic contamination in West Bengal-India (20 years study )| publisher = SOES| work = Murshidabad| access-date = 4 August 2017| archive-date = 22 July 2011| archive-url = https://web.archive.org/web/20110722092741/http://www.soesju.org/arsenic/wb1.htm| url-status = dead}}</ref>

==References==
{{Reflist}}

{{Murshidabad District}}

[[Category:Cities and towns in Murshidabad district]]

Kottaiyur railway station

2025-06-28T16:37:09Z

Giispune: put up new data

{{Short description|Railway station in Tamil Nadu, India}}
{{Use dmy dates|date=June 2025}}
{{Use Indian English|date=June 2025}}
{{Infobox station
| name = Kottaiyur railway station
| type = [[Indian Railways]] station
| style = Indian Railways
| image =
| image_caption =
| address = Karaikudi Bypass Road, [[Kottaiyur]], [[Karaikudi]], [[Tamil Nadu]]
| country = India
| coordinates = {{coord|8.4285|78.7882|type:railwaystation_region:IN|display=inline,title}}
| line = [[Tiruchirappalli]]–[[Karaikudi]] line
| other = bus stop
| elevation = {{convert|135|m|ft}}
| structure = Standard (on ground station)
| platform = 1
| depth =
| levels =
| tracks = 1
| parking = Yes
| bicycle = Yes
| opened =
| closed =
| rebuilt =2008
| electrified = Yes
| code = KTYR
| owned = [[Indian Railways]]
| zone = [[Southern Railway (India)|Southern Railway]]
| operator = [[Madurai railway division]]
| status = Functioning
| former = [[Madras and Southern Mahratta Railway]]
| passengers =
| pass_year =
| pass_percent =
| pass_system =
| mpassengers =
| services = 
}}
'''Kottaiyur railway station''' (station code:KTYR) is an HG-2 category [[List of railway stations in India|Indian railway station]] in [[Madurai railway division]] of [[Southern Railway zone]].<ref name="sr_stn">{{cite web |title=SOUTHERN RAILWAY LIST OF STATIONS AS ON 01.04.2023 (CATEGORY- WISE) |url=https://sr.indianrailways.gov.in/cris//uploads/files/1686913242750-SR%20-LIST%20OF%20STATIONS-2023.pdf |website=Portal of Indian Railways |publisher=Centre For Railway Information Systems |access-date=29 March 2024 |archive-url=https://web.archive.org/web/20240323095403/https://sr.indianrailways.gov.in/cris//uploads/files/1686913242750-SR%20-LIST%20OF%20STATIONS-2023.pdf |archive-date=23 March 2024 |page=21 |date=1 April 2023}}</ref> It serves [[Kottaiyur]],<ref>{{cite news |title=Kottaiyur station updates |url=https://www.dinamalar.com/news/tamil-nadu-district-news-sivagangai/kotayur-railway-station-needs-maintenance/3324774}}</ref> located in northern suburb of [[Karaikudi Municipal Corporation]] in [[Sivaganga district]] of the [[States and union territories of India|Indian state]] of [[Tamil Nadu]].<ref>{{cite web |title=Trains for Kottaiyur Station |url=https://indiarailinfo.com/departures/3888?date=undefined&bedroll=undefined&stptype=1&}}</ref>

==List of Trains stopping in Kottaiyur Railway Station ==
*Karaikudi-Tiruchirappalli Passenger
*Tiruchirappalli-Rameswaram Express
*Karaikudi-Tiruchirappalli DEMU
*Tiruchirappalli-Karaikudi Passenger
*Rameswaram-Tiruchirappalli Express
*Tiruchirappalli-Karaikudi DEMU

== References ==
{{reflist}}

{{Railway stations in Tamil Nadu}}

[[Category:Railway stations in India opened in 1930]]
[[Category:Madurai railway division]]
[[Category:Railway stations in Sivaganga district]]

R. V. Thomas

2025-05-28T02:08:49Z

Giispune: Improved wording and formatting

{{about||the 2006 Australian court case|R v Thomas|the Wyoming attorney|Richard V. Thomas}}
{{Use dmy dates|date=May 2018}}
{{Use Indian English|date=May 2018}}
'''R. V. Thomas (1899-1955)''' was a member of the [[Constituent Assembly of India]] and Speaker of the Travancore–Cochin Legislative Assembly.<ref>{{Cite web|title=ആഡംബരമല്ല, ആശ്വാസമാണ് വീട്; കുലീനതയുടെ മറുവാക്ക്, ഡോ. സിറിയക് തോമസിന്റെ വീട് {{!}} Dr. cyriac thomas dream home {{!}} home with great simplicity {{!}} Dr. Cyriac Thomas ideal home|url=https://www.vanitha.in/veedu/dream-home/Dr-cyriac-thomas-dream-home.html|access-date=2020-11-24|website=vanitha.in}}</ref><ref>{{cite book |title=Communalism vs communism: a study of the socio-religious communities and political parties in Kerala, 1892-1970 |last=Mammen |first=P. M. |page=93 |year=1981 |publisher=Minerva |isbn=978-0-8364-0041-0 }}</ref> He was a prominent freedom fighter of India and noted [[Indian National Congress|Congress Party]] leader Of Kerala. He was also the first municipal chairman of [[Palai]] Municipality and was a member of the first Travancore- Cochin State Public Service Commission.

==References==
{{reflist}}

{{DEFAULTSORT:Thomas, R. V.}}
[[Category:Year of birth missing]]
[[Category:Year of death missing]]
[[Category:Indian National Congress politicians from Kerala]]
[[Category:People from Pala, Kerala]]
[[Category:Politicians from Kottayam district]]
[[Category:Members of the Constituent Assembly of India]]

{{Kerala-INC-politician-stub}}

Manikpur Junction railway station

2025-04-10T15:13:39Z

Giispune: minor enhance article per sources and updated info

{{short description|Railway station in Uttar Pradesh, India}}
{{Use Indian English|date=February 2019}}
{{Use dmy dates|date=February 2019}}
{{Infobox station
| name = Manikpur Junction Railway Station
| style = Indian Railways
| type = [[Indian Railways]] station
| image = [[File:Indian_Railways_Suburban_Railway_Logo.svg|100px]]
| address = [[Manikpur Sarhat|Manikpur, Uttar Pradesh]]
| country = India
| elevation = {{convert|250|m|ft}}
| coordinates = {{coord|25.063340|81.093997|format=dms|display=inline,title}}
| owned = [[Indian Railways]]
| operator = [[North Central Railway zone|North Central Railway]]
| tracks = 4
| structure = Standard (on ground)
| parking = Yes
| bicycle = Yes
| status = Functioning
| code = {{Indian railway code
| code = MKP
| zone = [[North Central Railway zone|North Central Railway]]
| division = {{rwd|Prayagraj}}
}}
| opened =
| closed =
| rebuilt =
| electrified = Yes
| former =
| passengers =
| pass_system =
| pass_year =
| pass_percent =
| map_locator =
| map_type = India Uttar Pradesh
| map_dot_label = Manikpur Junction railway station
| map_size = 350
| image_size =
| image_caption =
| line = [[Prayagraj–Jabalpur section]] Jhansi–Manikpur line
| platform = 4
| entrances =
| accessible =
}}
'''Manikpur Junction railway station''' is a railway station in [[Manikpur Sarhat|Manikpur]] town of [[Chitrakoot district|Chitrakoot district, Uttar Pradesh]] on [[Prayagraj–Jabalpur section]]. It is 99 km away from {{stnlnk|Prayagraj Junction}}. It has 4 platforms. Passenger and Superfast trains halt here.<ref>{{Cite web |url=https://indiarailinfo.com/departures/manikpur-junction-mkp/484 |title=Manikpur Junction (MKP)|website=India Rail Info}}</ref><ref>{{Cite web |url=https://www.ndtv.com/indian-railway/manikpur-mkp-station |title=Manikpur Junction (MKP):Time Table|website=NDTV}}</ref><ref>{{cite web| url=https://www.raildrishti.in/raildrishti/IRDBStationPDF.jsp?stncode=MKP| title=Manikpur Junction (MKP):Passenger Amenities Details As on : 31/03/2018, Division : Allahabad| website=Raildrishti}}</ref><ref>{{cite web| url=https://www.patrika.com/indore-news/indore-khajuraho-express-train-extended-will-stop-at-these-stations-6260300/| title=इंदौर-खजुराहो एक्सप्रेस ट्रेन को प्रयागराज व अंबेडकरनगर तक बढ़ाया, इन स्टेशनों पर होगा स्टाप| website=Patrika}}</ref><ref>{{cite web| url=https://www.livehindustan.com/uttar-pradesh/prayagraj/story-speed-of-trains-increased-in-prayagraj-manikpur-section-3332866.html| title=प्रयागराज-मानिकपुर सेक्शन में बढ़ी ट्रेनों की रफ्तार| website=Live Hindustan}}</ref>

==Major trains==

* [[Yesvantpur–Lucknow Express (via Vijayawada)]]
* [[Bundelkhand Express]]
* [[Durg–Nautanwa Express (via Sultanpur)]]
* [[Durg–Nautanwa Express (via Varanasi)]]
* [[Saket Express]]
* [[Hubballi–Varanasi Weekly Express]]
* [[Yesvantpur–Lucknow Express (via Kacheguda)]]
* [[Udhna–Danapur Express]]
* [[Pune–Gorakhpur Express]]
* [[Surat–Bhagalpur Express]]
* [[Tapti Ganga Express]]
* [[Lokmanya Tilak Terminus–Darbhanga Pawan Express]]
* [[Kashi Express]]
* [[Tulsi Express]]
* [[Rewa–Anand Vihar Superfast Express]]
* [[Faizabad Superfast Express]]
* [[Chambal Express]]
* [[Howrah–Mathura Chambal Express]]
* [[Sarnath Express]]
* [[Shipra Express]]
* [[Rajendra Nagar–Lokmanya Tilak Terminus Janta Express]]
* [[Chitrakootdham (Karwi)–Kanpur Intercity Express (via Allahabad)]]
* [[Gaya–Chennai Egmore Weekly Superfast Express]]
* [[Kamayani Express]]
* [[Imperial Indian Mail]]
* [[Lokmanya Tilak Terminus–Varanasi Express]]
* [[Ahmedabad–Allahabad Weekly Superfast Express]]
* [[Lokmanya Tilak Terminus–Gorakhpur Express]]
* [[Uttar Pradesh Sampark Kranti Express]]
* [[Mahanagari Express]]

== References ==
{{Reflist}}

{{Railway stations in Uttar Pradesh}}

[[Category:Railway junction stations in Uttar Pradesh]]
[[Category:Railway stations in Chitrakoot district]]
[[Category:Prayagraj railway division]]

Karon, Deoghar (village)

2025-03-29T05:09:17Z

Giispune: refine structure per standard format further and updated info

{{About|the village in Jharkhand, India|its namesake community development block|Karon, Deoghar}}
{{other uses|Karon (disambiguation){{!}}Karon}}
{{Use Indian English|date=January 2023}}
{{Use dmy dates|date=June 2023}}
{{Infobox settlement
| name = Karon
| native_name =
| native_name_lang =
| other_name =
| nickname =
| settlement_type = Village
| image_skyline =
| image_alt =
| image_caption =
| pushpin_map = India Jharkhand#India
| pushpin_label_position = right
| pushpin_map_alt =
| pushpin_map_caption = Location in Jharkhand, India
| coordinates = {{coord|24.127222|N|86.744722|E|display=inline,title}}
| subdivision_type = Country
| subdivision_name = {{flag|India}}
| subdivision_type1 = [[States and territories of India|State]]
| subdivision_name1 = [[Jharkhand]]
| subdivision_type2 = [[List of districts of India|District]]
| subdivision_name2 = [[Deoghar district|Deoghar]]
| established_title = 
| established_date =
| founder =
| named_for =
| government_type =
| governing_body =
| unit_pref = Metric
| area_footnotes =
| area_rank =
| area_total_km2 =
| elevation_footnotes =
| elevation_m =
| population_total = 5,110
| population_as_of = 2011
| population_rank =
| population_density_km2 = auto
| population_demonym =
| population_footnotes =
| demographics_type1 = Languages .*For language details see [[Karon, Deoghar#Language and religion]]
| demographics1_title1 = Official
| demographics1_info1 = [[Hindi language|Hindi]], [[Urdu language|Urdu]]
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = [[Postal Index Number|PIN]]
| postal_code = 815357 (Karongram)
| area_code_type = Telephone/ STD code
| area_code = 06432
| registration_plate =
| blank1_name_sec1 = [[Lok Sabha]] constituency
| blank1_info_sec1 = [[Godda (Lok Sabha constituency)|Godda]]
| blank2_name_sec1 = [[Vidhan Sabha]] constituency
| blank2_info_sec1 = [[Madhupur (Vidhan Sabha constituency)|Madhupur]]
| website = {{URL|deoghar.nic.in/}}
| footnotes =
}}
'''Karon''' is a village in [[Karon, Deoghar|Karon]] [[Community development blocks in India|CD block]] in the Deoghar subdivision of the [[Deoghar district]] in the [[India]]n [[States and territories of India|state]] of [[Jharkhand]].

== Ancient names ==
* Shri Ganj
* KaranGram (during the reign of Karna of Mahabharata)
* Karon Gram (present official name)

==Geography==
{{OSM Location map
| width=440| height=350| zoom=9
| coord={{coord|24|14|0|N|87|5|0|E}}| float=left|caption='''Cities, towns and locations in the Deoghar, Dumka and Jamtara districts in Santhal Pargana Division''' M: Municipality, CT: census town, R: Rural/ Urban centre, D: Dam, Owing to space constraints in the small map, the actual locations in a larger map may vary slightly
|mark-coord1={{coord|24|7|14|N|86|52|0|E}} | label-pos1=top|label1= Chitra | numbered1=R| mark-title1=[[Chitra, Deoghar]] (R)|label-color1=#800000 |label-size1=11| mark-size1=12|shape1=l-circle|shape-color1= #C40000|shape-outline1=white|label-offset-x1=2
|mark-coord2={{coord|24|21|28|N|86|53|56|E}} | label-pos2=right|label2= Sonaraithari| numbered2=R| mark-title2=[[Sonaraithari, Deoghar]] (R)
|mark-coord3={{coord|24|26|20|N|86|30|45|E}} | label-pos3=right|label3= Devipur| numbered3=R| mark-title3=[[Devipur, Deoghar (village)]] (R)
|mark-coord4={{coord|24|7|38|N|86|44|41|E}} | label-pos4=left|label4= Karon| numbered4=R| mark-title4=Karon, Deoghar (village) (R)|shape-color4=black| label-size4=13|label-color4=black 
|mark-coord5={{coord|24|9|54|N|86|35|15|E}} | label-pos5=right|label5= Margomunda| numbered5=R| mark-title5=[[Margomunda, Deoghar]] (R)
|mark-coord6={{coord|24|29|41|N|86|46|49|E}} | label-pos6=right|label6= Mohanpur| numbered6=R| mark-title6=[[Mohanpur, Deoghar (village)]] (R)
|mark-coord7={{coord|24|14|39|N|87|1|28|E}} | label-pos7=left|label7= Palojori| numbered7=R| mark-title7=[[Palojori, Deoghar]] (R)
|mark-coord8={{coord|24|14|12|N|86|50|16|E}} | label-pos8=bottom|label8= Sarath| numbered8=R| mark-title8=[[Sarath, Deoghar (village)]] (R)
|mark-coord9={{coord|24|23|10|N|86|46|23|E}} | label-pos9=top|label9= Sarwan| numbered9=R| mark-title9=[[Sarwan, Deoghar (village)]] (R)
|mark-coord10={{coord|24|26|10|N|87|28|55|E}} | label-pos10=left|label10= Gopikandar| numbered10=R| mark-title10=[[Gopikandar, Dumka]] (R)
|mark-coord11={{coord|24|36|2|N|87|4|56|E}} | label-pos11=right|label11= Hansdiha| numbered11=R| mark-title11=[[Hansdiha]] (R)
|mark-coord12={{coord|24|22|40|N|87|15|52|E}} | label-pos12=left|label12= Jama| numbered12=R| mark-title12=[[Jama, Dumka (village)]] (R)
|mark-coord13={{coord|24|24|10|N|87|2|47|E}} | label-pos13=top|label13= Jarmundi| numbered13=R| mark-title13=[[Jarmundi, Dumka]] (R)
|mark-coord14={{coord|24|21|0|N|87|25|11|E}} | label-pos14=left|label14= Kathikund| numbered14=R| mark-title14=[[Kathikund, Dumka]] (R)
|mark-coord15={{coord|24|10|20|N|87|39|10|E}} | label-pos15=left|label15= Maluti| numbered15=R| mark-title15=[[Maluti]] (R)
|mark-coord16={{coord|24|8|40|N|87|10|42|E}} | label-pos16=bottom|label16= Masalia| numbered16=R| mark-title16=[[Masalia, Dumka (village)]] (R)
|mark-coord17={{coord|24|10|0|N|87|10|42|E}} | label-pos17=left|label17= Ramgarh| numbered17=R| mark-title17=[[Ramgarh, Dumka (village)]] (R)
|mark-coord18={{coord|24|2|17|N|87|25|20|E}} | label-pos18=top|label18= Ranishwar| numbered18=R| mark-title18=[[Ranishwar, Dumka]] (R)
|mark-coord19={{coord|24|34|30|N|87|0|47|E}} | label-pos19=right|label19= Saraiyahat| numbered19=R| mark-title19=[[Saraiyahat, Dumka]] (R)
|mark-coord20={{coord|24|14|39|N|87|28|15|E}} | label-pos20=left|label20= Shikaripara| numbered20=R| mark-title20=[[Shikaripara, Dumka]] (R)
|mark-coord21={{coord|24|25|26|N|86|55|2|E}} | label-pos21=top|label21= Taljhari| numbered21=R| mark-title21=[[Taljhari, Dumka]] (R)
|mark-coord22={{coord|24|3|40|N|87|15|20|E}} | label-pos22=left|label22= Tongra| numbered22=R| mark-title22=[[Tongra]] (R)
|mark-coord23={{coord|23|53|10|N|87|13|33|E}} | label-pos23=left|label23= Bagdahari| numbered23=R| mark-title23=[[Bagdahari]] (R)
|mark-coord24={{coord|23|58|58|N|87|6|9|E}} | label-pos24=left|label24= Basudih| numbered24=R| mark-title24=[[Basudih]] (R)
|mark-coord25={{coord|24|0|0|N|86|55|39|E}} | label-pos25=left|label25= Bindapathar| numbered25=R| mark-title25=[[Bindapathar]] (R)
|mark-coord26={{coord|24|6|55|N|86|59|51|E}} | label-pos26=bottom|label26= Fatehpur| numbered26=R| mark-title26=[[Fatehpur, Jamtara]] (R)
|mark-coord27={{coord|23|58|34|N|87|9|31|E}} | label-pos27=top|label27= Kundahit| numbered27=R| mark-title27=[[Kundahit]] (R)
|mark-coord28={{coord|23|55|25|N|87|2|7|E}} | label-pos28=left|label28= Nala| numbered28=R| mark-title28=[[Nala, Jamtara]] (R)
|mark-coord29={{coord|24|2|52|N|86|36|53|E}} | label-pos29=bottom|label29= Narayanpur| numbered29=R| mark-title29=[[Narayanpur, Jamtara]] (R)
|mark-coord30={{coord|24|28|48|N|86|42|20|E}} | label-pos30=bottom|label30=Deoghar| numbered30=M| mark-title30= [[Deoghar]] (M) |label-color30=#800000
|mark-coord31={{coord|24|31|19|N|86|38|51|E}} | label-pos31=right|label31=Jasidih| numbered31=M| mark-title31= [[Jasidih]] (M) |label-color31=#800000
|mark-coord32={{coord|24|15|36|N|86|39|0|E}} | label-pos32=bottom|label32=Madhupur| numbered32=M| mark-title32= [[Madhupur, Deoghar]] (M) |label-color32=#800000
|mark-coord33={{coord|24|16|32|N|87|15|50|E}} | label-pos33=right|label33=Dumka| numbered33=M| mark-title33= [[Dumka]] (M) |label-color33=#800000
|mark-coord34={{coord|24|24|30|N|87|5|0|E}} | label-pos34=right|label34=Basukinath| numbered34=M| mark-title34= [[Basukinath]] (M) |label-color34=#800000
|mark-coord35={{coord|23|57|47|N|86|48|5|E}} | label-pos35=bottom|label35=Jamtara| numbered35=M| mark-title35= [[Jamtara]] (M) |label-color35=#800000
|mark-coord36={{coord|23|52|12|N|86|52|12|E}} | label-pos36=top|label36=Mihijam| numbered36=M| mark-title36= [[Mihijam]] (M) |label-color36=#800000
|mark-coord37={{coord|24|5|38|N|86|42|15|E}}| label-pos37=left|label37=Karmatanr| numbered37=CT| mark-title37= [[Karmatanr, Jamtara]] (CT) |shape-color37= #A40000
|mark-coord38={{coord|24|16|42|N|87|13|50|E}}| label-pos38=left|label38=Dudhani| numbered38=CT| mark-title38= [[Dudhani, Dumka]] (CT) |shape-color38= #A40000
|mark-coord39={{coord|24|15|22|N|87|14|14|E}}| label-pos39=bottom|label39=Purana |labela39= Dumka| numbered39=CT| mark-title39= [[Purana Dumka]] (CT) |shape-color39= #A40000
|mark-coord40={{coord|24|18|10|N|87|15|19|E}}| label-pos40=left|label40=Rasikpur| numbered40=CT| mark-title40= [[Rasikpur]] (CT) |shape-color40= #A40000
|mark-coord41={{coord|24|6|24|N|87|18|30|E}}| label41= Massanjore|labela41= Dam| label-color41 = #C42222 | label-angle41=0| label-pos41=top| label-size41=10| mark-size41=12| numbered41=D|mark-title41 =[[Massanjore Dam]]| shape-color41=#C42222
|mark-coord42={{coord|23|55|30|N|86|35|0|E}} |label42=Barakar River| label-color42 = #77A1CB| label-angle42=30| label-pos42=top| label-size42=10| mark-size42=0| mark-title42 =none
|mark-coord43={{coord|24|5|0|N|86|47|0|E}} |label43=Ajay River| label-color43 = #77A1CB| label-angle43=70| label-pos43=top| label-size43=10| mark-size43=0| mark-title43 =none
|mark-coord44={{coord|24|28|0|N|87|5|0|E}} |label44=Mayurakshi River| label-color44 = #77A1CB| label-angle44=30| label-pos44=top| label-size44=10| mark-size44=0| mark-title44 =none
|arc-coordA={{coord|24|35|0|N|86|35|0|E}}|arc-textA= BIHAR| arc-text-colorA=hard grey| arc-angleA=-30| arc-gapA=6.5| arc-radiusA=0.35
|arc-coordB={{coord|23|50|30|N|87|25|0|E}}|arc-textB= WEST BENGAL| arc-text-colorB=hard grey| arc-angleB=-75| arc-gapB=3.5| arc-radiusB=0.4}}

===Location===
Karo is located at {{coord|24.127222|N|86.744722|E|display=inline}}.

In the map of Karon CD block in the District Census Handbook, Deoghar, Karon is shown as being part of Karo mouza (MDDS PLCN - 920).<ref>{{cite web| url = https://censusindia.gov.in/2011census/dchb/2005_PART_B_DCHB_DEOGHAR.pdf |title = District Census Handbook, Deoghar, Series 21, Part XII B| work= Page 126, Map of Karon CD block |publisher= Directorate of Census Operations Jharkhand | access-date = 1 November 2020}}</ref>

===Overview===
The map shows a large area, which is a plateau with low hills, except in the eastern portion where the Rajmahal hills intrude into this area and the Ramgarh hills are there. The south-western portion is just a rolling upland. The entire area is overwhelmingly rural with only small pockets of urbanisation.<ref>{{cite web| url = https://archive.org/details/dli.csl.3120/page/n1/mode/2up |title = Bihar District Gazetteers: Santhal Parganas| first= P.C.|last=Roychoudhury | work= Chapter I: General |publisher= Secretariat Press, Patna, 1965 | access-date = 10 November 2020}}</ref>

Note: The full screen map is interesting. All places marked on the map are linked in the full screen map and one can easily move on to another page of his/her choice. Enlarge the full screen map to see what else is there – one gets railway connections, many more road connections and so on.

===Area===
Karo has an area of {{convert|888|ha}}.<ref name=census2011>{{cite web| url = https://censusindia.gov.in/2011census/dchb/2005_PART_B_DCHB_DEOGHAR.pdf |title = District Census Handbook, Deoghar, Series 21, Part XII B| work= Page 25: District Primary Census Abstract, 2011 census |publisher= Directorate of Census Operations Jharkhand | access-date = 1 November 2020}}</ref>

==Demographics==
According to the [[2011 Census of India]], Karo had a total population of 5,110, of which 2,535 (50%) were males and 2,575 (50%) were females. Population in the age range 0–6 years was 643. The total number of literate persons in Karon was 4,467 (75.73% of the population over 6 years).<ref name=census2011/>

==Civic administration==
===Police station===
There is a police station at Karon.<ref>{{cite web| url = https://jhpolice.gov.in/deoghar| title = District Police Profile - Deoghar| publisher = Jharkhand Police| access-date = 1 November 2020| archive-date = 30 October 2020| archive-url = https://web.archive.org/web/20201030124441/https://jhpolice.gov.in/deoghar| url-status = dead}}</ref>

===CD block HQ===
Headquarters of [[Karon, Deoghar|Karon]] CD block is at Karon village.<ref>{{cite web| url = https://censusindia.gov.in/2011census/dchb/2005_PART_B_DCHB_DEOGHAR.pdf |title = District Census Handbook, Jamtara, Series 21, Part XII B| work= Map of Deoghar on the third page|publisher= Directorate of Census Operations Jharkhand | access-date = 1 November 2020}}</ref>

==Education==
[[Kasturba Gandhi Balika Vidyalaya]], Karon, is a Hindi-medium girls only institution established in 2005. It has facilities for teaching from class VI to class XII.<ref>{{cite web| url = https://schools.org.in/deoghar/20070813502/kgbv-karon.html |title = KGBV Karon |publisher= Schools.org | access-date = 3 November 2020}}</ref>

Rani Mandakini High School Karogram is a Hindi-medium coeducational institution established in 1946. It has facilities for teaching from class IX to class XII.<ref>{{cite web| url = https://schools.org.in/deoghar/20070813401/rani-mandakini-h-s-karogram.html|title = Rani Mandakini HS Karogram |publisher= Schools.org | access-date = 3 November 2020}}</ref>

Project Kanya High School Karon is a Hindi-medium girls only institution established at Karo in 2006. It has facilities for teaching in class IX and class X.<ref>{{cite web| url = https://schools.org.in/deoghar/20070813504/project-kanya-h-s-karon.html|title = Project Kanya HS Karon |publisher= Schools.org | access-date = 3 November 2020}}</ref>

==References==
{{Reflist}}

{{Santhal Parganas Division}}

[[Category:Villages in Deoghar district]]

Maiestas viraktamathi

2025-02-25T16:47:40Z

Giispune: starting initial data more to come

{{Short description|Species of true bug}}
{{Speciesbox
|image =
|genus = Maiestas
|species = viraktamathi
|authority = Zahniser, McKamey & Dmitriev, 2012
|synonyms = ''Deltocephalus acuminatus'' Dash & Viraktamath, 1998 (preocc.)
}}

'''''Maiestas viraktamathi''''' (formerly ''Recilia acuminatus'') is a species of [[leafhopper]] from [[Cicadellidae]] family that is endemic to [[India]].<ref>[http://globalspecies.org/ntaxa/2457836 Distribution]</ref> It was originally placed within ''[[Recilia]]'', but a 2009 revision moved it to ''[[Maiestas]]''.<ref name=WeebViraktamath2009>Webb, M.D.; Viraktamath, C.A. 2009: Annotated check-list, generic key and new species of Old World Deltocephalini leafhoppers with nomenclatorial changes in the ''Deltocephalus'' group and other Deltocephalinae (Hemiptera, Auchenorrhyncha, Cicadellidae). ''Zootaxa'', '''2163''': 1-64. [http://mapress.com/zootaxa/2009/f/z02163p064f.pdf Abstract & excerpt]</ref>

==References==
{{Reflist}}

{{Taxonbar|from=Q111746430}}

[[Category:Maiestas|viraktamathi]]
[[Category:Endemic fauna of India]]
[[Category:Hemiptera of Asia]]

{{Deltocephalinae-stub}}

Gudimangalam block

2025-02-23T12:15:22Z

Giispune: small fixed formatting to improve readability and cleaned formatting

{{onesource|date=August 2020}}
{{Use dmy dates|date=August 2020}}
{{Use Indian English|date=August 2020}}
'''Gudimangalam block''' is a revenue block in the [[Tiruppur district]] of [[Tamil Nadu]], [[India]]. It has a total of 23 panchayat villages and it is famous for wind energy production.

== References ==
*{{cite web|title=Map of revenue blocks of Tiruppur district |url=http://tnmaps.tn.nic.in/default.htm?blocks.php?dcode=32 |publisher=Government of Tamil Nadu |url-status=dead |archiveurl=https://web.archive.org/web/20160304025417/http://tnmaps.tn.nic.in/default.htm?blocks.php%3Fdcode=32 |archivedate=2016-03-04 }}

{{coord missing|Tamil Nadu}}

[[Category:Revenue blocks of Tiruppur district]]

{{Tirupur-geo-stub}}

Janai Road railway station

2024-07-30T05:48:56Z

Giispune: minor improved formatting as per guidelines further

{{Short description|Railway station in West Bengal, India}}
{{Multiple issues|
{{one source|date=January 2019}}
{{third-party|date=January 2019}}
}}
{{Use dmy dates|date=January 2016}}
{{Use Indian English|date=January 2016}}
{{Infobox station
| name = Janai Road
| type = [[File:Indian_Railways_Suburban_Railway_Logo.svg|30px]] [[Kolkata Suburban Railway]] station
| style = Kolkata Suburban Railway
| image = Janai Road railway station 03.jpg
| image_caption = Janai Road railway station
| address = [[Janai, Hooghly|Janai Road]], Hooghly, West Bengal
| country = India
| coordinates = {{Coord|22.720873|88.265695|type:railwaystation_region:IN|format=dms|display=inline,title}}
| elevation = {{convert|39.23|m|ft}}
| line = [[Howrah–Bardhaman chord]]
| other =
| structure = Standard (on-ground station)
| platform = 4
| tracks =
| parking = No
| bicycle = Yes
| opened = {{Start date and age|df=yes|1917}}{{citation needed|date=February 2019}}
| closed =
| rebuilt =
| electrified = 1964–66
| accessible =
| code = {{Indian railway code
| code = JOX
| zone = [[Eastern Railway zone]]
| division = Howrah
}}
| owned = [[Indian Railways]]
| operator = [[Eastern Railway zone]]
| status = Functioning
| former = [[East Indian Railway Company]]{{citation needed|date=February 2019}}
| passengers =
| pass_year =
| pass_percent =
| pass_system =
| map_type = India West Bengal#India
| map_dot_label = Janai Road
| map_size = 300
| map_caption = Location in West Bengal##Location in India
| services = {{Adjacent stations|system=Kolkata Suburban Railway|line=Eastern|left=Gobra|right=Begampur|to-left=Howrah Junction|to-right=Barddhaman Junction|type=[[Howrah–Bardhaman chord|Chord line]]}}
| route_map = {{Howrah–Bardhaman chord}}
| map_state = collapsed
}}
'''Janai Road railway station''' is a [[railway station]] on the [[Howrah–Bardhaman chord]] of [[Howrah railway division|Howrah Railway division]] of the Eastern Railway zone. It is located in [[Hooghly district]] in the Indian state of [[West Bengal]].<ref>{{cite web|title=Janai Road station|url=http://indiarailinfo.com/station/map/janai-road-jox/9568|publisher=Indianrailinfo|access-date=1 May 2014}}</ref>

==References==
{{reflist}}

{{commons category|Janai Road railway station}}

{{Railway stations in West Bengal}}
{{Kolkata Suburban Railway, Eastern}}
{{Hooghly topics}}

[[Category:Railway stations in India opened in 1917]]
[[Category:Railway stations in Hooghly district]]
[[Category:Howrah railway division]]
[[Category:Kolkata Suburban Railway stations]]

{{WestBengal-railstation-stub}}

Indrani (name)

2024-07-13T21:37:20Z

Giispune: put up a post...

'''Indrani''' is a feminine Indian name. [[Indrani]] is the name of [[Shachi]], wife of Hindu God [[Indra]].

==List of persons with the given name==
{{Infobox given name2
| name = Indrani
| image =
| image_size =
| caption =
| pronunciation =
| gender = Female
| nameday =
| language =
}}

*[[Indrani Haldar]] (born 1971), Indian actress
*[[Indrani Sen]], Bengali singer
*[[Indrani Mukherjee]], Indian actress
*[[Indrani (photographer)]] Indrani Pal-Chaudhuri, director, photographer, social justice advocate, Canadian-British-Indian.
*[[Indrani Pal-Chaudhuri]], director, photographer, social justice advocate, Canadian-British-Indian.
*[[Indrani Rahman]] (1930–1999), Indian dancer
*[[Indrani Dutta]] (born 1970), Indian actress
*[[Indrani Mukerjea]] (born 1972), INX Media CEO
*[[Indrani Paul]] (born 2000), Indian actress and model
*[[Indrani of Sambhupura]]

{{Given name}}

==List of people with the surname==
* [[Seeta Indrani]] (born 1963) British actress and dancer

{{surname}}
[[Category:Indian feminine given names]]
[[Category:Feminine given names]]

Habra I

2024-07-05T08:13:15Z

Giispune: enhanced references also

{{other uses|Habra (disambiguation)}}
{{Infobox settlement
| name = Habra I
| native_name = 
| native_name_lang =
| other_name =
| nickname =
| settlement_type = Community development block
| image_skyline = File:Habra-I in North 24 Parganas (West Bengal).svg
| image_alt =
| image_caption =
| pushpin_map =
| pushpin_label_position = right
| pushpin_map_alt =
| pushpin_map_caption = Location in West Bengal, India
| coordinates = {{coord|22.86|N|88.75|E|display=inline,title}}
| subdivision_type = Country
| subdivision_name = {{flag|India}}
| subdivision_type1 = [[States and territories of India|State]]
| subdivision_name1 = [[West Bengal]]
| subdivision_type2 = [[List of districts of India|District]]
| subdivision_name2 = [[North 24 Parganas district|North 24 Parganas]]
| established_title = 
| established_date =
| founder =
| named_for =
| government_type = [[Representative democracy]]
| governing_body =
| unit_pref = Metric
| area_footnotes =
| area_rank =
| area_total_km2 = 117.36
| elevation_footnotes =
| elevation_m = 9
| population_total = 225,200
| population_as_of = 2011
| population_rank =
| population_density_km2 = auto
| population_demonym =
| population_footnotes =
| demographics_type1 = Languages
| demographics1_title1 = Official
| demographics1_info1 = [[Bengali language|Bengali]], [[English language|English]]
| demographics_type2 = Literacy (2011)
| demographics2_title2 = Total literates
| demographics2_info2 = 168,687 (83.15%)
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = [[Postal Index Number|PIN]]
| postal_code = 743263 (Habra) 743704 (Guma) 743234 (Bira Ballavepara)
| area_code_type = Telephone/STD code
| area_code = 03216
| registration_plate = [[List of RTO districts in India#WB.E2.80.94West Bengal|WB]]-23, [[List of RTO districts in India#WB.E2.80.94West Bengal|WB]]-24, [[List of RTO districts in India#WB.E2.80.94West Bengal|WB]]-25, [[List of RTO districts in India#WB.E2.80.94West Bengal|WB]]-26
| blank1_name_sec1 = [[Lok Sabha]] constituency
| blank1_info_sec1 = [[Barasat (Lok Sabha constituency)|Barasat]], [[Bangaon (Lok Sabha constituency)|Bangaon]]
| blank2_name_sec1 = [[Vidhan Sabha]] constituency
| blank2_info_sec1 = [[Habra (Vidhan Sabha constituency)|Habra]], [[Gaighata (Vidhan Sabha constituency)|Gaighata]]
| website = {{URL|north24parganas.nic.in/}}
| iso_code = [[ISO 3166-2:IN|IN-WB]]
| footnotes =

}}
'''Habra I''' is a [[Community development block in India|community development block]] that forms an administrative division in [[Barasat Sadar subdivision]] of [[North 24 Parganas district]] in the [[India]]n [[States and territories of India|state]] of [[West Bengal]].

==Geography==
Sadpur, a census town in Habra I block, is located at {{coord|22.86|N|88.75|E|source:yahoomaps_region:IN-WB|format=dms}}.

Habra I CD Block is bounded by [[Gaighata]] CD Block in the north, [[Swarupnagar]] and [[Baduria (community development block)|Baduria]] CD Blocks in the east, [[Deganga]] and [[Barasat I]] CD Blocks in the south, and [[Habra II]] CD Block in the west.<ref>{{cite web | url = http://north24parganas.gov.in/n24p/page.php?nm=Map_Gallery# | title = North 24 Parganas District | work = Map Gallery – CD Blocks | publisher = North 24 Parganas district administration | access-date = 10 March 2016 | archive-url = https://web.archive.org/web/20160309211214/http://north24parganas.gov.in/n24p/page.php?nm=Map_Gallery | archive-date = 9 March 2016 | url-status = dead }}</ref>

Habra I CD Block is part of the North Bidyadhari Plain, one of the three physiographic regions in the district located in the lower [[Ganges Delta]]. The area is full of marshes and salt water lakes. The [[Bidyadhari River|Bidyadhari]] originates in this block and has a long course through the central part of the district.<ref>{{cite web| url = http://censusindia.gov.in/2011census/dchb/DCHB_A/19/1911_PART_A_DCHB_NORTH%20TWENTY%20FOUR%20PARGANAS.pdf |title = District Census Handbook North Twenty Four Parganas, Census of India 2011, Series 20, Part XII A |work = Page 13 | publisher= Directorate of Census Operations, West Bengal| access-date = 16 April 2018}}</ref> The [[Jamuna River (West Bengal)|Jamuna]] passes through this block.<ref name=censusmap>{{cite web| url = http://censusindia.gov.in/2011census/dchb/DCHB_A/19/1911_PART_A_DCHB_NORTH%20TWENTY%20FOUR%20PARGANAS.pdf |title = District Census Handbook North Twenty Four Parganas, Census of India 2011, Series 20, Part XII A |work = Map of Habra 1 CD Block, Page 289 | publisher= Directorate of Census Operations, West Bengal| access-date = 16 April 2018}}</ref>

Habra I CD Block has an area of 117.36 km2. It has 1 [[Panchayat Samiti (Block)|panchayat samity]], 7 [[gram panchayat]]s, 129 gram sansads (village councils), 58 [[mouza]]s and 58 inhabited villages, as per the District Statistical Handbook: North 24 Parganas. [[Habra#Police station|Habra]] police station serves this block.<ref>{{cite web |url = http://wbpspm.gov.in/publications/District%20Statistical%20Handbook |title = District Statistical Handbook |work = North 24 Parganas 2010-2011, Tables 2.1, 2.2 |publisher = Department of Statistics and Programme Implementation, Government of West Bengal |access-date = 16 April 2018 |archive-date = 21 January 2019 |archive-url = https://web.archive.org/web/20190121045803/http://www.wbpspm.gov.in/publications/District%20Statistical%20Handbook |url-status = dead }}</ref> Headquarters of this CD Block is at Habra.<ref>{{cite web| url = http://censusindia.gov.in/2011census/dchb/DCHB_A/19/1911_PART_A_DCHB_NORTH%20TWENTY%20FOUR%20PARGANAS.pdf |title = District Census Handbook North Twenty Four Parganas, Census of India 2011, Series 20, Part XII A |work = Map of North Twenty Four Parganas with CD Block HQs and Police Stations (on the fifth page) | publisher= Directorate of Census Operations, West Bengal| access-date = 16 April 2018}}</ref>

[[Gram panchayat]]s of Habra I block are: Bergoom-I, Bergoom-II, Kumra, Machhlandapur-I, Machhlandapur-II, Prithiba and Routara.<ref>{{cite web| url = http://wbprd.gov.in/HtmlPage/PANCHAYATS.aspx |title = Directory of District, Subdivision, Panchayat Samiti/ Block and Gram Panchayats in West Bengal |work = North Twentfour Parganas - Revised in March 2008 | publisher= Panchayats and Rural Development Department, Government of West Bengal | access-date = 30 April 2018}}</ref>

==Demographics==
===Population===
As per [[2011 Census of India]] Habra I CD Block had a total population of 225,200, of which 175,651 were rural and 49,549 were urban. There were 116,027 (52%) males and 109,173 (48%) females. Population below 6 years was 22,325. [[Scheduled Castes and Scheduled Tribes|Scheduled Castes]] numbered 77,965 (34.62%) and [[Scheduled Castes and Scheduled Tribes|Scheduled Tribes]] numbered 6,376 (2.83%).<ref name=census2011>{{cite web| url = http://censusindia.gov.in/pca/cdb_pca_census/Houselisting-housing-WB.html |title = C.D. Block Wise Primary Census Abstract Data(PCA) | work= West Bengal – District-wise CD Blocks|publisher= Registrar General and Census Commissioner, India | access-date = 10 March 2015}}</ref>

As per 2001 census, Habra I block has a total population of 188,112 out of which 97,146 were males and 90,966 were females. Population of the rural areas in the block was 165,216 and that of the urban areas was 22,096.<ref name=census>{{cite web|url=http://www.wbcensus.gov.in/DataTables/02/Table4_11.htm |title=Census of India 2001, Provisional Population Totals, West Bengal, Table - 4 |access-date=2010-10-25 |work=North Twenty Four Parganas District (11) |publisher=Government of West Bengal |url-status=dead |archive-url=https://web.archive.org/web/20070927041813/http://www.wbcensus.gov.in/DataTables/02/Table4_11.htm |archive-date=27 September 2007 }}</ref>

[[Census towns]] in Habra I CD Block were (2011 census figures in brackets): [[Nokpul]] (7,737), [[Maslandapur]] (10,790), [[Sadpur]] (7,773), [[Betpuli]] (9,404), [[Anarbaria]] (5,895) and [[Purbba Narayanpur]] (7,950).<ref name=census2011/>

Large villages in Habra I CD Block were (2011 census figures in brackets): Janaphul (9,515), Lakshmipul (4,238), Dakshin Sarai (5,285), Marakpur (5,053), Mahisa Machhlandapur (6,488), Sonakene (6,933), Bergum (6,989), Krishna Nagar (5,187), Phultala (7,775), Kashipur (5,877), Kumra (5,410) and Rajballabhpur (6,909).<ref name=census2011/>

North 24 Parganas district is densely populated, mainly because of the influx of [[East Bengali refugees|refugees from East Pakistan]] (later Bangladesh). With a density of population of 2,182 per km2 in 1971, it was 3rd in terms of density per km2 in West Bengal after Kolkata and Howrah, and 20th in India.<ref>{{cite web| url = http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| title = District Human Development Report: North 24 Parganas| work = Intro P 6| publisher = Development & Planning Department, Government of West Bengal, 2010| access-date = 20 April 2018| archive-url = https://web.archive.org/web/20180205044900/http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| archive-date = 5 February 2018| url-status = dead}}</ref> According to the District Human Development Report: North 24 Parganas, “High density is also explained partly by the rapid growth of urbanization in the district. In 1991, the percentage of urban population in the district has been 51.23.”<ref>{{cite web| url = http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| title = District Human Development Report: North 24 Parganas| work = Page 259, Table 11.2.2| publisher = Development & Planning Department, Government of West Bengal, 2010| access-date = 20 April 2018| archive-url = https://web.archive.org/web/20180205044900/http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| archive-date = 5 February 2018| url-status = dead}}</ref>

'''Decadal [[Population growth|Population Growth]] Rate (%)'''
{{Graph:Chart
|width=300
|height=200
|legend=Legend
|xAxisTitle=X
|yAxisTitle=Y
|type= rect
|x=1971-1981,1981-1991,1991-2001,2001-2011
|y1 = 0,0,19.68,17.10
|y2 = 31.4,31.7,22.7,12.0
|y3 = 23.17,24.73,17.84,13.93
|colors = olive,yellow,violet
|y1Title= Habra I CD Block
|y2Title=North 24 Parganas district
|y3Title=West Bengal
}}

The decadal growth of population in Habra I CD Block in 2001-2011 was 17.10%.<ref>{{cite web| url = http://censusindia.gov.in/2011census/dchb/DCHB_A/19/1911_PART_A_DCHB_NORTH%20TWENTY%20FOUR%20PARGANAS.pdf |title = District Census Handbook: North 24 Parganas, Series 20 Part XII A | work= Brief Analysis of Inset Tables based on Primary Census Abstract 2011 (Inset Tables 1-35), Table I: Decadal change in population of Tahsils (Sub-district) by Residence, 2001-2011, Page 52 |publisher= Directorate of Census Operations, West Bengal, 2011 | access-date = 20 April 2018 }}</ref> The decadal growth of population in Habra I CD Block in 1991-2001 was 19.68%.<ref>{{cite web | url = http://wbpspm.gov.in/publications/District%20Statistical%20Handbook | title = District Statistical Handbook | work = North 24 Parganas 2010-2011; Table 2.4A: Distribution of Rural and Urban Population by Sex in the district of North 24 Parganas, 1991; Table 2.4B: Distribution of Rural and Urban Population by Sex in the district of North 24 Parganas, 2001 | publisher = Directorate of Census Operations, West Bengal, 2011 | access-date = 20 April 2018 | archive-date = 21 January 2019 | archive-url = https://web.archive.org/web/20190121045803/http://www.wbpspm.gov.in/publications/District%20Statistical%20Handbook | url-status = dead }}</ref>

The decadal growth rate of population in North 24 Parganas district was as follows: 47.9% in 1951-61, 34.5% in 1961-71, 31.4% in 1971-81, 31.7% in 1981-91, 22.7% in 1991-2001 and 12.0% in 2001-11.<ref>{{cite web | url = http://censusindia.gov.in/2011census/dchb/DCHB_A/19/1911_PART_A_DCHB_NORTH%20TWENTY%20FOUR%20PARGANAS.pdf | title = District Census Handbook: North 24 Parganas, Series 20 Part XII A | work= Growth Rate, Page 45 |publisher= Directorate of Census Operations, West Bengal, 2011| access-date = 25 July 2017}}</ref> The decadal growth rate for West Bengal in 2001-11 was 13.93%.<ref name="Decadal Growth Rate">{{cite web | url = http://www.censusindia.gov.in/2011-prov-results/prov_data_products_wb.html | title = Census of India 2011: Provisional Totals for West Bengal | publisher = Registrar General and Census Commissioner of India | access-date = 26 April 2018}}</ref> The decadal growth rate for West Bengal was 17.84% in 1991-2001, 24.73% in 1981-1991 and 23.17% in 1971-1981.<ref>{{cite web| url = http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| title = District Human Development Report: North 24 Parganas| work = Page 40, Table 3.2.1| publisher = Development & Planning Department, Government of West Bengal, 2010| access-date = 20 April 2018| archive-url = https://web.archive.org/web/20180205044900/http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| archive-date = 5 February 2018| url-status = dead}}</ref>

Only a small portion of the border with Bangladesh has been fenced and it is popularly referred to as a porous border. It is freely used by [[Illegal immigration to India|Bangladeshi infiltrators]], terrorists, smugglers, criminals, et al.<ref>{{cite web | url = http://www.rediff.com/news/report/why-bsf-wants-817-km-of-indo-bangla-border-fenced-urgently/20160821.htm | title = Why BSF wants 81.7 km of Indo-Bangla border fenced urgently | publisher = Rediff.com. 21 August 2016 | access-date = 20 April 2018}}</ref><ref>{{cite web | url = https://www.sundayguardianlive.com/news/10049-lashkar-helped-fan-basirhat-tension | title = Laskar helped fan Basirhat tension| first = Abhinandan|last= Mishra | publisher = Sunday Guardian, 8 July 2017 | access-date = 20 April 2018}}</ref><ref>{{cite web | url = https://www.aljazeera.com/indepth/features/2015/03/infiltrating-porous-bangladesh-india-border-150323140511893.html | title = Infiltrating porous Bangladesh-India border| publisher = Aljazeera | access-date = 20 April 2018}}</ref><ref>{{cite web | url = http://www.dailypioneer.com/columnists/oped/bangladeshi-infiltration-the-reality-check.html | title = Bangladeshi Infiltrators – the Reality Check | publisher = The Pioneer, 27 June 2015 | access-date = 20 April 2018}}</ref>

===Literacy===
As per the 2011 census, the total number of literates in Habra I CD Block was 168,687 (83.15% of the population over 6 years) out of which males numbered 91,058 (87.11% of the male population over 6 years) and females numbered 77,629 (78.94% of the female population over 6 years). The [[Literacy#Gender disparities|gender disparity]] (the difference between female and male literacy rates) was 8.17%.<ref name=census2011/>

See also – [[List of West Bengal districts ranked by literacy rate]]

{{Literacy in CD Blocks of North 24 Parganas district|collapsible=y}}

===Language and religion===
{{bar box
|title=Religion in Habra I CD block (2011)<ref name="religion"/>
|titlebar=#FCD116
|left1=
|float=right
|bars=
{{bar percent|[[Hinduism in West Bengal|Hinduism]]|darkorange|73.51}}
{{bar percent|[[Islam in West Bengal|Islam]]|green|25.81}}
{{bar percent|[[Christianity in West Bengal|Christianity]]|blue|0.47}}
{{bar percent|Other or not stated|black|0.21}}
}}

In the 2011 census Hindus numbered 165,537 and formed 73.51% of the population in Habra I CD Block. Muslims numbered 58,132 and formed 25.81% of the population. Others numbered 1,531 and formed 0.68% of the population.<ref name="religion">{{Cite web |date=2011 |title=Table C-01 Population by Religion: West Bengal |url=https://censusindia.gov.in/nada/index.php/catalog/11396/download/14509/DDW19C-01%20MDDS.XLS |website=censusindia.gov.in |publisher=[[Registrar General and Census Commissioner of India]]}}</ref>

In 1981 Hindus numbered 79,050 and formed 80.30% of the population and Muslims numbered 18,883 and formed 19.20% of the population in Habra I CD Block. In 1981 Hindus numbered 60,268 and formed 67.12% of the population and Muslims numbered 29,206 and formed 32.53% of the population in Habra II CD Block. In 1991 Hindus numbered 180,690 and formed 63.80% of the population and Muslims numbered 101,571 and formed 35.84% of the population in Habra I and Habra II CD Blocks taken together. (In 1981 and 1991 census was conducted as per jurisdiction of the police station). In 2001 in Habra I CD block, Hindus were 139,603 (74.19%) and Muslims 47,623 (25.31%).<ref>{{cite web | url = http://wbplan.gov.in/docs/Handbook_2004/24Pgs(N)2.pdf | title = Block Level Statistics of North 24 Parganas District | work = Handbook 2004 | publisher = Government of West Bengal | access-date = 20 July 2016 | archive-url = https://web.archive.org/web/20160720152245/http://wbplan.gov.in/docs/Handbook_2004/24Pgs(N)2.pdf | archive-date = 20 July 2016 | url-status = dead }}</ref>

{{See also|North 24 Parganas: minority concentrated district}}

[[Bengali language|Bengali]] is the predominant language, spoken by 99.53% of the population.<ref name="languages">{{Cite web |title=Table C-16 Population by Mother Tongue: West Bengal |url=https://censusindia.gov.in/nada/index.php/catalog/10226/download/13338/DDW-C16-STMT-MDDS-1900.XLSX |website=www.censusindia.gov.in |publisher=[[Registrar General and Census Commissioner of India]]}}</ref>

==Rural Poverty==
34.81% of households in Habra I CD Block lived [[Below Poverty Line (India)|below poverty line]] in 2001, against an average of 29.28% in North 24 Parganas district.<ref>{{cite web| url = http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| title = District Human Development Report: North 24 Parganas| work = Page 259, Table 11.2.2| publisher = Development & Planning Department, Government of West Bengal, 2010| access-date = 20 April 2018| archive-url = https://web.archive.org/web/20180205044900/http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| archive-date = 5 February 2018| url-status = dead}}</ref>

==Economy==
===Livelihood===
{{Pie chart
|caption= '''Livelihood in Habra I CD Block'''
|value1 = 9.97
|label1 = Cultivators
|value2 = 25.14
|label2 = Agricultural labourers
|value3 = 6.85
|label3 = Household industries
|value4 = 58.04
|label4 = Other Workers}}

In Habra I CD Block in 2011, amongst the class of total workers, cultivators numbered 8,223 and formed 9.97% of the total workers, agricultural labourers numbered 20,733 and formed 25.14%, household industry workers numbered 5,645 and formed 6.85% and other workers numbered 47,859 and formed 58.04%. Total workers numbered 82,460 and formed 36.62% of the total population, and non-workers numbered 142,740 and formed 63.38% of the population.<ref>{{cite web| url = http://censusindia.gov.in/2011census/dchb/DCHB_A/19/1911_PART_A_DCHB_NORTH%20TWENTY%20FOUR%20PARGANAS.pdf |title = District Census Handbook North 24 Parganas, Census of India 2011, Series 20, Part XII A |work = Page 93, Table 33: Distribution of Workers by Sex in Four Categories of Economic Activity in Sub-district 2011; Page 84, Table 30: Number and Percentage of Main Workers, Marginal Workers and Non-workers by sex in sub-districts, 2011| publisher= Directorate of Census Operations, West Bengal| access-date = 19 April 2011}}</ref>

In more than 30 percent of the villages in North 24 Parganas, agriculture or household industry is no longer the major source of livelihood for the main workers there. The CD Blocks in the district can be classified as belonging to three categories: border areas, Sundarbans area and other rural areas. The percentage of other workers in the other rural areas category is considerably higher than those in the border areas and Sundarbans area.<ref>{{cite web| url = http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| title = District Human Development Report: North 24 Parganas| work = Pages 27-28| publisher = Development & Planning Department, Government of West Bengal, 2010| access-date = 20 April 2018| archive-url = https://web.archive.org/web/20180205044900/http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| archive-date = 5 February 2018| url-status = dead}}</ref>

Note: In the census records a person is considered a cultivator, if the person is engaged in cultivation/ supervision of land owned by self/government/institution. When a person who works on another person’s land for wages in cash or kind or share, is regarded as an agricultural labourer. Household industry is defined as an industry conducted by one or more members of the family within the household or village, and one that does not qualify for registration as a factory under the [[Factories Act,1948, India|Factories Act]]. Other workers are persons engaged in some economic activity other than cultivators, agricultural labourers and household workers. It includes factory, mining, plantation, transport and office workers, those engaged in business and commerce, teachers, entertainment artistes and so on.<ref>{{cite web| url = http://censusindia.gov.in/2011census/dchb/DCHB_A/19/1911_PART_A_DCHB_NORTH%20TWENTY%20FOUR%20PARGANAS.pdf |title = District Census Handbook North 24 Parganas, Census of India 2011, Series 20, Part XII A |work = Census Concepts and Definitions, Page 31 | publisher= Directorate of Census Operations, West Bengal| access-date = 19 April 2018}}</ref>

===Infrastructure===
There are 55 inhabited villages in Habra I CD Block, as per the District Census Handbook: North 24 Parganas. 100% villages have power supply and drinking water supply. 12 villages (21.82%) have post offices. 55 villages (100%) have telephones (including landlines, public call offices and mobile phones). 26 villages (47.27%) have a pucca approach road and 18 villages (32.73%) have transport communication (includes bus service, rail facility and navigable waterways). 8 villages (14.55%) have agricultural credit societies and 5 villages (9.09%) have banks.<ref>{{cite web | url = http://censusindia.gov.in/2011census/dchb/DCHB_A/19/1911_PART_A_DCHB_NORTH%20TWENTY%20FOUR%20PARGANAS.pdf | title = District Census Handbook, North 24 Parganas district, 2011, Series 20, Part XII A | work = Pages 103-104, Table 36: Distribution of villages according to availability of different amenities, 2011 | publisher = Directorate of Operations, West Bengal. | access-date = 19 April 2018}}</ref>

===Agriculture===
The North 24 Parganas district [[Human Development Report]] opines that in spite of agricultural productivity in North 24 Parganas district being rather impressive 81.84% of rural population suffered from shortage of food. With a high urbanisation of 54.3% in 2001, the land use pattern in the district is changing quite fast and the area under cultivation is declining. However, agriculture is still the major source of livelihood in the rural areas of the district.<ref>{{cite web| url = http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| title = District Human Development Report: North 24 Parganas| work = Pages 66, 195| publisher = Development & Planning Department, Government of West Bengal, 2010| access-date = 20 April 2018| archive-url = https://web.archive.org/web/20180205044900/http://wbplan.gov.in/HumanDev/DHDR/24%20pgs%20north.PDF| archive-date = 5 February 2018| url-status = dead}}</ref>

From 1977 on wards major [[Land reform in India|land reforms]] took place in West Bengal. Land in excess of land ceiling was acquired and distributed amongst the peasants.<ref>{{cite web | url = http://wbplan.gov.in/HumanDev/DHDR/24%20pgsSouth/s24prg_main.htm | title = District Human Development Report: South 24 Parganas | work = (1) Chapter 1.2, South 24 Parganas in Historical Perspective, pages 7-9 (2) Chapter 3.4, Land reforms, pages 32-33 | publisher = Development & Planning Department, Government of West Bengal, 2009 | access-date = 7 August 2016 | archive-url = https://web.archive.org/web/20161005044029/http://wbplan.gov.in/HumanDev/DHDR/24%20pgsSouth/s24prg_main.htm | archive-date = 5 October 2016 | url-status = dead }}</ref> Following land reforms land ownership pattern has undergone transformation. In 2010-11, persons engaged in agriculture in Habra I CD Block could be classified as follows: [[bargadar]]s 639 (2.30%), patta (document) holders 1,766 (6.35%), small farmers (possessing land between 1 and 2 hectares) 1,230 (4.42%), marginal farmers (possessing land up to 1 hectare) 11,663 (41.94%) and agricultural labourers 12,510 (44.99%).<ref name=handbook2010-2011>{{cite web |url = http://wbpspm.gov.in/publications/District%20Statistical%20Handbook |title = District Statistical Handbook |work = North 24 Parganas 2010-2011, Tables 17.2, 16.1, 18.1, 18.2, 18.3, 20.1, 21.2, 4.4, 3.1, 3.2 and 3.3 (arranged in order of use) |publisher = Department of Statistics and Programme Implementation, Government of West Bengal |access-date = 16 April 2018 |archive-date = 21 January 2019 |archive-url = https://web.archive.org/web/20190121045803/http://www.wbpspm.gov.in/publications/District%20Statistical%20Handbook |url-status = dead }}</ref>

Habra I CD Block had 95 fertiliser depots, 81 seed stores and 69 [[Public distribution system|fair price shops]] in 2010-11.<ref name=handbook2010-2011/>

In 2010-11, Habra I CD Block produced 11,876 tonnes of [[Rice#Ecotypes and cultivars|Aman paddy]], the main winter crop from 4,900 hectares, 12,308 tonnes of Boro paddy (spring crop) from 3,553 hectares, 1,097 tonnes of Aus paddy (summer crop) from 475 hectares, 733 tonnes of wheat from 275 hectares, 39,263 tonnes of jute from 2,073 hectares and 4,847 tonnes of potatoes from 136 hectares. It also produced pulses and oilseeds.<ref name=handbook2010-2011/>

In 2010-11, the total area irrigated in Habra I CD Block was 776 hectares, out of which 987 40 hectares were irrigated by river lift irrigation, 664 hectares by deep tube well, 18 hectares by shallow tube well and 54 hectares by other means.<ref name=handbook2010-2011/>

===Pisciculture===
In 2010-11, the net area under effective pisciculture in Habra I CD Block was 876.41 hectares. 20,750 persons were engaged in the profession. Approximate annual production was 26,292.3 quintals.<ref name=handbook2010-2011/>

===Banking===
In 2010-11, Habra I CD Block had offices of 10 commercial banks and 1 [[Regional Rural Bank|gramin bank]].<ref name=handbook2010-2011/>

==Transport==
In 2010-11, Habra I CD Block had 4 originating/ terminating bus routes.<ref name=handbook2010-2011/>

[[National Highway 112 (India)|NH 112]] (old numbering NH 35) (also known as [[Jessore Road]]) and [[State Highway 3 (West Bengal)|SH 3]] has a common route through some part of this block and then they follow separate routes.<ref name=censusmap/><ref>{{cite web| url = http://www.wbtrafficpolice.com/state-highways.php |title = List of State Highways in West Bengal | publisher= West Bengal Traffic Police | access-date = 29 April 2018}}</ref>

There are stations like - [[Gobardanga railway station]], [[Maslandapur railway station]], [[Sanhati Halt railway station]], [[Habra railway station]] and [[Ashoknagar Road railway station]] on the [[Sealdah-Hasnabad-Bangaon-Ranaghat line|Sealdah-Bangaon line]]<ref>{{cite web| url = https://indiarailinfo.com/train/timetable/sealdah-bangaon-local-33811/17298/325/7814#st |title = 33811 Sealdah-Bangaon local |work= Time Table| publisher= India Railinfo | access-date = 29 April 2018}}</ref>

==Education==
In 2010-11, Habra I CD Block had 93 primary schools with 11,409 students, 2 middle schools with 156 students, 9 high schools with 6,464 students and 10 higher secondary schools with 15,801 students. Habra I CD Block had 326 institutions for special and non-formal education with 13,692 students.<ref name=handbook2010-2011/>

As per the 2011 census, in Habra I CD Block, amongst the 55 inhabited villages, all villages had a school, 35 villages had more than 1 primary school, 26 villages had at least 1 primary and 1 middle school and 15 villages had at least 1 middle and 1 secondary school.<ref>{{cite web | url = http://censusindia.gov.in/2011census/dchb/DCHB_A/19/1911_PART_A_DCHB_NORTH%20TWENTY%20FOUR%20PARGANAS.pdf | title = District Census Handbook, North Twentyfour Parganas, 2011, Series 20, Part XII A | work = Page 717, Appendix I A: Villages by number of Primary Schools and Appendix I B: Villages by Primary, Middle and Secondary Schools | publisher = Directorate of Census Operations, West Bengal. | access-date = 28 April 2018}}</ref>

==Healthcare==
In 2011, Habra I CD Block had 1 block primary health centre and 2 [[Primary Health Centre (India)|primary health centres]], with total 26 beds and 7 doctors (excluding private bodies). It had 29 family welfare subcentres. 567 patients were treated indoors and 49,399 patients were treated outdoor in the hospitals, health centres and subcentres of the CD Block.<ref name=handbook2010-2011/>

Maslandapur Rural Hospital at [[Maslandapur]] with 30 beds functions as the main medical facility in Habra I CD Block. There is a primary health centre at Rautara (with 10 beds).<ref>{{cite web | url = https://www.wbhealth.gov.in/ | title = Health & Family Welfare Department | work = Health Statistics | publisher = Government of West Bengal | access-date = 24 May 2018 | archive-date = 28 October 2021 | archive-url = https://web.archive.org/web/20211028134305/https://qphs.fs.quoracdn.net/main-qimg-99a499ee367f0c1530476c81086270c8 | url-status = dead }}</ref>

Habra I block is one of the areas where ground water is affected by [[Arsenic contamination of groundwater|arsenic contamination]].<ref>{{cite web | url = http://www.soesju.org/arsenic/wb2.htm | title = Groundwater Arsenic contamination in West Bengal-India (20 years study ) | access-date = 2011-02-17 | work = Groundwater arsenic contamination status of North 24-Parganas district, one of the nine arsenic affected districts of West Bengal-India | publisher = SOES | archive-url = https://web.archive.org/web/20070927002938/http://www.soesju.org/arsenic/wb2.htm | archive-date = 2007-09-27 | url-status = dead }}</ref>

== See also ==
{{columns-list|colwidth=22em|
* [[Mahisha Machhlandapur]]
}}

==References==
{{reflist|3}}

{{Municipalities of West Bengal}}
{{North 24 Parganas topics}}

[[Category:Community development blocks in North 24 Parganas district]]

Jambughoda

2024-06-12T12:16:34Z

Giispune: put up new pg

{{Short description|City in Gujarat, India}}
{{Use dmy dates|date=December 2018}}
{{Use Indian English|date=December 2018}}
{{Infobox settlement
| name = Jambughoda
| other_name =
| settlement_type = city
| image_skyline =
| image_alt =
| image_caption =
| nickname =
| pushpin_map = India Gujarat#India3
| pushpin_label_position =
| pushpin_map_alt =
| pushpin_map_caption = Location in Gujarat, India
| coordinates = {{coord|22.3667000|N|73.7167000|E|display=inline,title}}
| subdivision_type = Country
| subdivision_name = {{flag|India}}
| subdivision_type1 = [[States and territories of India|State]]
| subdivision_type2 = [[List of districts of India|District]]
| subdivision_name1 = [[Gujarat]]
| subdivision_name2 = [[Panchmahal district|Panchmahal]]
| established_title = 
| established_date =
| founder =
| named_for =
| government_type =
| governing_body =
| unit_pref = Metric
| area_footnotes =
| area_total_km2 =
| area_rank =
| elevation_footnotes =
| elevation_m =
| population_total = 42476
| population_as_of = 2011
| population_footnotes =
| population_density_km2 = auto
| population_rank =
| population_demonym =
| demographics_type1 = Languages
| demographics1_title1 = Official
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = [[Postal Index Number|PIN]]
| postal_code = 389390
| area_code = 91-2676 XXXXXX
| area_code_type = Telephone code
| registration_plate = Gj-17 and GJ-20
| website =
| footnotes =
| demographics1_info1 = [[Gujarati language|Gujarati]], [[Hindi language|Hindi]]
}}
'''Jambughoda''' is a village and [[Tehsil]] in [[Panchmahal district]] in the [[India]]n [[States and territories of India|state]] of [[Gujarat]]. The village has a population of 2,731, while the overall tehsil has a population of 42,476.<ref name="Census 2011">{{cite web |title=Census of India 2011: Gujarat District Census Handbook - Panch Mahals, Part A (Village and Town Directory) |pages=24–25, 82–86, 98, 103–104, 631–640 |url=http://censusindia.gov.in/2011census/dchb/GujaratA.html |website=Census 2011 India|accessdate=1 April 2020}}</ref>

The Tehsil is well known for the [[Jambughoda Wildlife Sanctuary]].<ref>{{Cite web |url=http://www.gujaratforest.org/wildlife-jambuhoda1.htm |title=Jambughoda Wildlife Sanctuary - Forest Department, Gujarat |access-date=11 July 2014 |archive-url=https://web.archive.org/web/20140714144724/http://www.gujaratforest.org/wildlife-jambuhoda1.htm |archive-date=14 July 2014 |url-status=dead }}</ref>

==Geography==
Jambughoda is located in the eastern part of Panchmahal, in a region covered by hills and forests. This area has shallow, sandy soil and receives slightly less rainfall than the western part of Panchmahal.<ref name="Census 2011" />

==Demographics==
{{As of|2011}} India [[census]],<ref>{{Cite web |url=http://gujecostat.gujarat.gov.in/wp-content/uploads/2013/Dist_Salient_Pop_Stat_2011.pdf |title=2001 and 2011 - Government of Gujarat |access-date=11 July 2014 |archive-date=21 September 2015 |archive-url=https://web.archive.org/web/20150921165321/http://gujecostat.gujarat.gov.in/wp-content/uploads/2013/Dist_Salient_Pop_Stat_2011.pdf |url-status=dead }}</ref> Jambughoda had a population of 42,476. There are 7,900 households. People belonging to [[Scheduled Tribes]] are 15,112 (36%).

The [[Literacy in India|literacy rate]] in the tehsil of Jambughoda in 2011 was 64%, which was lower than the average rate of 71% in all of Panchmahal district.<ref name="Census 2011" />

The tehsil of Jambughoda contained 55 villages in 2011 (including Jambughoda itself), all of which had access to [[National Grid (India)|electricity]] and clean [[drinking water]], 49 of which had schools, 13 of which had medical facilities, 16 of which had [[post offices]], 49 of which had transport communications ([[bus]], [[rail transport|rail]], or navigable waterways), 3 of which had [[bank]]s, 5 of which had [[Agricultural credit society|agricultural credit societies]], and 46 of which had [[Indian vernacular architecture#pukka|pucca roads]]. 54.1% of the total land area in Jambughoda tehsil was under cultivation, and 25.8% of the land under cultivation was [[Irrigation in India|irrigated]].<ref name="Census 2011" />

In 2011, the village of Jambughoda itself had a population of 2,731 people, in 633 households. It possessed 3 [[primary schools]], 1 [[secondary school]], 2 [[senior secondary schools]], and 2 [[Vocational school|vocational training schools]], as well as a community health centre, a [[public library]], and a regular market. The town had access to [[tap water]], [[public toilets]], and [[landline|landlines]] as well as [[cell phone]] coverage. Jambughoda had pucca roads, but not water-bound [[Macadam]] roads. These roads were not connected to [[National highways in India|national highways]], but they were connected to [[State highways in India|state highways]]. Jambughoda did not have a railway station.<ref name="Census 2011" />

==History==
{{main|Jambughoda State}}
Before 1947, Jambughoda was the seat of the [[princely state]] of Jambughoda (former narukot state), which was merged with the [[Dominion of India]] on 10 June 1948. The state had been ruled by the Hindu [[Parmar (Rajput clan)|Parmar]] clan of [[Koli People|Kolis]].

===Rulers of Jambughoda State===
====Thakor Sahibs====
*.... - .... Dipsinhji Jagatsinhji (b. 1841 - d. ....)
*.... - 27 Sep 1917 Gambhirsimhji (d. 1917)
*27 Sep 1917 – 15 Aug 1947 Ranjitsinhji Gambhirsinhji (b. 1892 - d. 1962)

==Agriculture==
The predominant crops in the village of Jambughoda are [[Castor oil plant|castor]], [[corn]], [[cotton]], [[rice]], and [[pigeon pea]]. Due to an almost total lack of [[irrigation]] facilities in the village, agriculture is largely dependent on [[monsoon]].<ref name="Spiders">{{cite journal |last1=Solanki |first1=Reshma |last2=Kumar |first2=Dolly |title=Spiders (Araneae) from Five Major Agro-Ecosystems of Jambughoda Village, Panchmahal District, Gujarat, India |journal=International Journal of Science and Research |date=September 2015 |volume=4 |issue=9 |pages=958–61 |s2cid=53375942 }}</ref>

==See also==
*[[Jambughoda Wildlife Sanctuary]]

==References==
{{Reflist}}

[[Category:Cities and towns in Panchmahal district]]