Bharatpedia - User contributions [en]

Partha Pratim Chakrabarti

2026-05-03T11:47:54Z

Surendra Sharma: post

{{short description|Professor at IIT Kharagpur}}
{{Infobox officeholder
| name = Partha Pratim Chakrabarti
| image = [[File:Partha_at_ICTACEM_International_Conference,_December_2014.JPG|220px|wide]]
| caption =
| birth_date = 1962
| birth_place =
| alma_mater = [[Indian Institute of Technology Kharagpur]]
| website = {{URL|http://cse.iitkgp.ac.in/~ppchak/|Official website}} {{URL|http://www.iitkgp.ac.in/department/CS/faculty/cs-director|Institute website}}
| module = {{infobox scientist
| child = yes
| field = [[Computer science and engineering]]
}}
| awards = Shanti Swarup Bhatnagar Prize
| known_for = [[Artificial Intelligence]], [[CAD]] for [[VLSI]] & [[Embedded Systems]]
| office2 = [[Professor]] at [[IIT Kharagpur|Indian Institute of Technology Kharagpur]]
| term_start2 = 1988
| term_end2 = 2027
| profession = Professor Author Consultant
| office3 = Director [[IIT Kharagpur]]
| term_start3 = 27 July 2013
| term_end3 = 01 July 2019<ref>{{cite web |title=Grateful Thanks on Completion of Tenure as Director, IIT Kharagpur |url=https://www.facebook.com/permalink.php?story_fbid=571956719877577&id=100011897616155&__tn__=C-R |website=www.facebook.com |accessdate=2 July 2019 |language=en}}</ref>
| predecessor3 = [[Damodar Acharya]]
| successor3 = [[Virendra Kumar Tewari]]
| office4 = [[Director (education)|Mentor Director]] at [[Indian Institute of Information Technology, Kalyani|IIIT Kalyani]]
| term_start4 = 2017<ref>{{cite web |title=Message from Mentor Director |url=http://iiitkalyani.ac.in/images/administrationimg/Message-of-Mentor-Director.pdf |website=iiitkalyani.ac.in}}</ref>
| term_end4 = 2019
}}

'''Partha Pratim Chakrabarti (Chakraborty)''' (born 1962) is an Indian computer scientist. He is a distinguished professor and the former director of [[IIT Kharagpur]].<ref name = director/> Dr. Chakrabarti has made pioneering research contributions and solved a number of open problems. His work has been incorporated in standard text books as well as industry level tools of major international companies. He has published more than 200 papers in international journals and conferences and supervised two dozen PhD students. He is also an honorary awardee of [[Shanti Swarup Bhatnagar Prize for Science and Technology]], the highest science award in [[India]], for the engineering category in 2000.<ref name=directoriitkgp>{{cite web|url=http://www.iitkgp.ac.in/institute/?page=director |title=Director – Indian Institute of Technology Kharagpur|accessdate=February 2, 2017 |archivedate=February 28, 2013|url-status=dead |archiveurl=https://web.archive.org/web/20130228054742/http://www.iitkgp.ac.in/institute/?page=director}}</ref><ref name=ssbprize>{{cite web|url=http://ssbprize.gov.in/Content/Detail.aspx?AID=417|title=Partha Pratim Chakraborty – Shanti Swarup Bhatnagar Prize for Science and Technology|publisher= CSIR Human Resource Development Group, Govt. of India|accessdate=July 12, 2015}}</ref>

==Education==
He did his schooling from St.Patrick's Higher Secondary School, Asansol. Following this, he completed his B.Tech in 1985 and PhD in 1988 from the Department of Computer Science & Engineering, [[Indian Institute of Technology Kharagpur]]. He joined the same department as a faculty member in 1988 and is currently a professor.<ref name="directoriitkgp"/><ref name=csdepartmentiitkgp>{{cite web|url=http://www.iitkgp.ac.in/fac-profiles/showprofile.php?empcode=ZZmVV&depts_name=CS|title=Department of Computer Science & Engineering|publisher=[[IIT Kharagpur]]|accessdate=February 2, 2017|archivedate=July 6, 2010|url-status=live |archiveurl=https://web.archive.org/web/20100706223421/http://www.iitkgp.ac.in/fac-profiles/showprofile.php?empcode=ZZmVV&depts_name=CS}}</ref>

==Awards and honours==

*President of India Gold Medal (1985)
*INSA Young Scientist Award (1991)
*INAE Young Engineer Award (1994)
*Anil K Bose Award (1995)
*Swarnajayanti Fellowship (1998)
*Shanti Swarup Bhatnagar Prize (2000)
*INAE Viswesvarya Chair Professor (2007)
*Rotary Award for Science & Technology (2010)
*S Ramanujam Memorial Lecture of IE (2012)
*J C Bose Fellowship (2013)

==Academic career==

He was the professor-in-charge of the state of the art VLSI Design Laboratory which he helped set up and has been the Dean of Sponsored Research and Industrial Consultancy at IIT Kharagpur and head of the Advanced Technology Development Centre. He was also the co-director of the strategic General Motors-IIT Kharagpur Collaborative Research Laboratory on Electronics, Control and Software. He pioneered the development of the Incubation Programme at IIT Kharagpur. His areas of interest include Artificial Intelligence (AI), Formal Methods, CAD for VLSI & Embedded Systems, Fault Tolerance and Algorithm Design.

He has worked closely with the government as well as industry on various problems and has successfully led and completed large projects and programmes at national and international levels. The companies he has worked with include DST, CSIR, IGSTC, Volkswagen Foundation, National Semiconductor Corporation, Sun Microsystems, Intel Corporation, Synopsys, General Motors, Xerox, etc. He is a well-known teacher and mentor who has not only graduated a large number of students and developed well appreciated teaching modules but has also motivated and championed many student innovation and entrepreneurial activities which have achieved unique successes.

Prof. Chakrabarti is well-known for his teaching and supervision skills. His notable students include Pallab Dasgupta and Aritra Hazra who also joined IIT Kharagpur to serve the nation.

Dr Chakrabarti received the President of India Gold Medal (1985), the INSA Young Scientist Award (1991), Anil K Bose Award (1995), INAE Young Engineer's Award (1997) and the Swarnajayanti Fellowship (1997–98),<ref>{{cite web|url=http://www.dst.gov.in/scientific-programme/ser-hr-deve-awards.htm|accessdate=2013-08-04|title=Swarnajayanti Fellowship Awards (1997–2005)|url-status=dead|archiveurl=https://web.archive.org/web/20130912180638/http://www.dst.gov.in/scientific-programme/ser-hr-deve-awards.htm|archivedate=2013-09-12}}</ref> [[Bhatnagar Award|Shanti Swarup Bhatnagar Prize]] (2000),<ref name="ssbprize"/> INAE Visweswarya Chair Professorship (2007–9), J. C. Bose National Fellowship (2013) and many other awards. He has been elected a Fellow of the Indian National Science Academy, New Delhi and the Indian Academy of Science, Bangalore, Indian National Academy of Engineering and the West Bengal Academy of Science & Technology.

He was appointed director of [[IIT Kharagpur]] on 27 July 2013 following official clearance of allegations that he had been involved in the Coalnet scam (not to be confused with [[Indian coal allocation scam]] a.k.a. Coalgate scam).<ref name = director>{{cite web|author=Shreya Biswas |url=http://articles.economictimes.indiatimes.com/2013-07-26/news/40815161_1_coalnet-iit-kharagpur-cvc-clearance |archive-url=https://web.archive.org/web/20130730135107/http://articles.economictimes.indiatimes.com/2013-07-26/news/40815161_1_coalnet-iit-kharagpur-cvc-clearance |url-status=dead |archive-date=July 30, 2013 |title=PP Chakrabarty to be new director of IIT Kharagpur |publisher=Economic Times |date=2013-07-26 |accessdate=2013-07-29}}</ref><ref>{{cite news |url=http://www.business-standard.com/article/pti-stories/prof-chakraborty-s-name-cleared-as-iit-kharagpur-director-113072601080_1.html |title=Prof Chakraborty's name cleared as IIT Kharagpur director |publisher=Business Standard |date=29 July 2013 |accessdate=2013-07-29}}</ref><ref>{{cite web|url=http://articles.timesofindia.indiatimes.com/2013-07-26/india/40814622_1_iit-kharagpur-iit-kharagpur-coalnet |archive-url=https://archive.today/20130727104537/http://articles.timesofindia.indiatimes.com/2013-07-26/india/40814622_1_iit-kharagpur-iit-kharagpur-coalnet |url-status=dead |archive-date=2013-07-27 |title=CVC clears PP Chakraborty as IIT-Kharagpur director|date= |work=[[The Times of India]] |accessdate=2013-07-29}}</ref><ref>{{cite web|agency=TNN |url=http://articles.timesofindia.indiatimes.com/2013-07-21/news/40708459_1_iit-kharagpur-iit-kharagpur-alumni-protest |archive-url=https://web.archive.org/web/20130725005556/http://articles.timesofindia.indiatimes.com/2013-07-21/news/40708459_1_iit-kharagpur-iit-kharagpur-alumni-protest |url-status=dead |archive-date=2013-07-25 |title=IIT-Kharagpur without a head, alumni protest in capital|date=2013-07-21 |work=[[The Times of India]] |accessdate=2013-07-29}}</ref>

Chakraborti was one of the three IIT professors who had been named by the [[Central Bureau of Investigation]] in the Coalnet scam in which work given to institute was outsourced. The CBI had recommended a minor penalty against Chakraborti and more serious penalties for his colleagues, A. K. Bhowmick and R. N. Banerjee.<ref>{{cite web|url=http://articles.timesofindia.indiatimes.com/2013-03-04/india/37436123_1_iit-kharagpur-iit-professors-vigilance-clearance |archive-url=https://web.archive.org/web/20130802122046/http://articles.timesofindia.indiatimes.com/2013-03-04/india/37436123_1_iit-kharagpur-iit-professors-vigilance-clearance |url-status=dead |archive-date=2013-08-02 |title=Coalnet scam: CVC for action on 3 IIT professors|date=2013-03-04 |work=[[The Times of India]] |accessdate=2013-07-29}}</ref> The IIT Kharagpur Board of Governors (BOG) gave Chakrabarti a clean chit on 23 March 2013.<ref>{{cite web|author=Our Special Correspondent |url=http://www.telegraphindia.com/1130727/jsp/nation/story_17163211.jsp#.UfOqL9Iwerw |archive-url=https://web.archive.org/web/20180703153002/https://www.telegraphindia.com/1130727/jsp/nation/story_17163211.jsp#.UfOqL9Iwerw |url-status=dead |archive-date=July 3, 2018 |title=Vigilance clears IIT director |publisher=Telegraphindia.com |date=1999-03-01 |accessdate=2013-07-29}}</ref><ref>{{cite web|url=http://www.dnaindia.com/pressreleases/1814055/press-release-iit-kharagpur-alumni-support-prof-p-p-chakrabarti-s-candidature-for-director-iit-kharagpur |title=IIT Kharagpur Alumni Support Prof P.P.Chakrabarti's Candidature for Director, IIT Kharagpur |publisher=DNA India |date= 21 March 2013|accessdate=2013-07-29}}</ref>

==Career==
The chairman of the board of governors has been informed about the decision of Human Development Ministry that Professor Chakraborti be given the appointment, sources said.
The members and a large number of alumni of IIT Kharagpur took a protest march on July 20 to demand appointment of Professor Chakraborti as the director.
<ref>{{Cite web|url=http://www.indiaamericatoday.com/article/pp-chakrabarti-director-iit-kharagpur-outlines-his-vision-video|title = PP Chakrabarti, Director IIT Kharagpur Outlines his Vision (Video)|date = 20 November 2013}}</ref>
Union Human Development Ministry has cleared the appointment of Professor Chakraborti as director of Indian Institute of Technology Kharagpur.<ref>{{Cite web|url=http://www.ndtv.com/india-news/partha-pratim-chakraborty-appointed-as-iit-kharagpur-director-529613|title=Partha Pratim Chakraborty appointed as IIT Kharagpur director}}</ref>

==See also==
* [http://www.sac.iitkgp.ac.in/ Alumni Cell, IIT Kharagpur]

==References==
{{Reflist}}

==External links==
* [http://www.iitkgp.ac.in/fac-profiles/showprofile.php?empcode=ZZmVV Profile]

{{SSBPST recipients in Engineering Science}}

{{authority control}}

{{DEFAULTSORT:Chakraborty, Partha Pratim}}
[[Category:Living people]]
[[Category:Indian Institute of Technology directors]]
[[Category:Academic staff of IIT Kharagpur]]
[[Category:IIT Kharagpur alumni]]
[[Category:Recipients of the Shanti Swarup Bhatnagar Award in Engineering Science]]
[[Category:Fellows of the Indian National Academy of Engineering]]
[[Category:Fellows of the Indian Academy of Sciences]]
[[Category:Fellows of the Indian National Science Academy]]
[[Category:Fellows of the National Academy of Sciences, India]]
[[Category:Scientists from West Bengal]]
[[Category:Engineers from West Bengal]]
[[Category:1962 births]]

Rishikesh–Barmer Express

2026-04-30T03:05:54Z

Surendra Sharma:

{{short description|Train in India}}
{{Use dmy dates|date=September 2017}}
{{Use Indian English|date=September 2017}}
{{Infobox rail service
| name = Rishikesh–Barmer Express
| image =
| caption =
| type = [[Express trains in India|Express]]
| locale = [[Uttarakhand]], [[Uttar Pradesh]], [[Haryana]], [[Punjab, India|Punjab]] & [[Rajasthan]]
| first =
| last =
| operator = [[North Western Railway zone|North Western Railway]]
| ridership =
| start = {{stnlnk|Rishikesh}} (RKSH)
| stops = 40
| end = {{stnlnk|Barmer}} (BME)
| distance = {{convert|1190|km|0|abbr=on}}
| journeytime = 24hrs 10mins
| frequency = Daily {{efn|Runs seven days in a week for every direction.}}
| class = AC 3 tier, Sleeper class, General Unreserved
| seating = No
| sleeping = Yes
| autorack =
| catering = On-board catering, E-catering
| observation = Large windows
| entertainment =
| baggage = No
| otherfacilities = Below the seats
| stock = [[LHB coach]]
| gauge = {{track gauge|1676mm|al=on|allk=on}}
| electrification =
| trainnumber = 14887 / 14888
| speed = {{convert|50|km/h|0|abbr=on}} average including halts.
| map =
| map_state =
}}

The 14887 / 14888 '''Rishikesh–Barmer Express''' is an [[Express trains in India|Express]] train belonging to [[North Western Railway zone]] that runs between {{stnlnk|Rishikesh}} and {{stnlnk|Barmer}} in India. It is currently being operated with 14887/14888 train numbers on a daily basis.<ref>[http://www.hindustantimes.com/punjab/bid-to-derail-train-near-patiala-railway-station-narrow-escape-for-400/story-afbm1GGlHuPIxixxSuLP5M.html Bid to derail train near Patiala railway station, narrow escape for 400]</ref><ref>[http://www.hindustantimes.com/videos/cities/watch-passengers-push-train-manually/video-nZxnwKPA3tnVEvkTArquiL.html Passengers push train manually]</ref>

==Service==

The 14887 (Rishikesh–Barmer Express) and 14888 (Barmer–Rishikesh Express) trains take a full day, 24h 10m to be precise, to cover their 1190 km journey at an average speed of only 50 km/h.

== Route & halts ==

The important halts of the train are:

* '''{{stnlnk|Rishikesh}}'''
* {{stnlnk|Haridwar}}
* {{stnlnk|Roorkee}}
* {{stnlnk|Saharanpur Junction}}
* {{stnlnk|Ambala Cantonment Junction}}
* {{stnlnk|Ambala City}}
* {{stnlnk|Rajpura Junction}}
* {{stnlnk|Patiala}}
* {{stnlnk|Dhuri Junction}}
* {{stnlnk|Bathinda Cantonment}}
* {{stnlnk|Bathinda Junction}}
* {{stnlnk|Hanumangarh Junction}}
* {{stnlnk|Suratgarh Junction}}
* {{stnlnk|Lalgarh Junction}}
* {{stnlnk|Bikaner Junction}}
* {{stnlnk|Nagaur}}
* {{stnlnk|Merta Road Junction}}
* {{stnlnk|Jodhpur Junction}}
* {{stnlnk|Luni Junction}}
* {{stnlnk|Samdari Junction}}
* {{stnlnk|Balotra}}
* '''{{stnlnk|Barmer}}'''

==Coach composition==

The train has LHB rakes with max speed of 130 kmph. The train consists of 17 coaches:

* 6 AC III Tier
* 5 Sleeper coaches
* 4 General Unreserved
* 2 Seating cum Luggage Rake.

==Traction==

Both trains are hauled by a [[Diesel Loco Shed, Ludhiana|Ludhiana Loco Shed]]-based [[WDP-4D]] diesel locomotive from Rishikesh to [[Bathinda Junction railway station|Bathinda Junction]]. From Bathinda Junction it is hauled by a [[Diesel Loco Shed, Bhagat Ki Kothi|Bhagat Ki Kothi Loco Shed]]-based [[WDP-4B]] / [[WDP-4D]] diesel locomotive until Barmer and vice versa.

== Rake sharing ==
The train shares its rake with 14815/14816 '''Shri Ganganagar–Rishikesh Express'''.

==Direction reversal==

The train reverses its direction once at:

* {{stnlnk|Bathinda Junction}}.

== See also ==

* [[Rishikesh railway station]]
* [[Barmer railway station]]

== Notes ==
{{notelist}}

== References ==

{{reflist}}

== External links ==

* [https://d.indiarailinfo.com/train/265 14887/Kalka - Barmer Express]
* [https://d.indiarailinfo.com/train/266 14888/Barmer - Kalka Express]

{{Railways in Northern India}}

{{DEFAULTSORT:Kalka-Barmer Express}}
[[Category:Transport in Kalka]]
[[Category:Transport in Barmer, Rajasthan]]
[[Category:Express trains in India]]
[[Category:Rail transport in Punjab, India]]
[[Category:Rail transport in Haryana]]
[[Category:Rail transport in Chandigarh]]
[[Category:Rail transport in Rajasthan]]
[[Category:Railway services introduced in 2014]]

{{India-express-train-stub}}

Mai Ka Lal (film)

2026-04-29T06:32:41Z

Surendra Sharma: creating

{{Short description|1979 Indian Bhojpuri-language film}}
{{Use dmy dates|date=February 2026}}
{{Use Indian English|date= February 2026}}
{{AI-generated|date=March 2026|reason=since v1 in 2026, note [[WP:AISIGNS]] e.g. undue emphasis on broader trends, promotional context, etc}}
{{Infobox film
| name = Mai Ka Lal
| image = Mai Ka Lal.jpeg
| caption =
| director = Rajpati Rahi
| producer = G. L. Chadha
| starring = [[Sujit Kumar]] [[Prema Narayan]] [[Chand Usmani]] Ram Singh
| music = [[Nadeem–Shravan]]
| released = {{Film date|1979}}
| country = India
| language = Bhojpuri
}}

'''''Mai Ka Lal''''' ([[Bhojpuri language|Bhojpuri]] for ''Apple of mom’s eye'') is a 1979 Indian Bhojpuri language [[masala film]] directed by Rajpati Rahi.<ref>{{cite web |title= Mai Ka Lal(1979)|url= https://indiancine.ma/grid/year/Mai_ka_lal|website=Indiancine.ma |access-date=1 February 2026}}</ref><ref name="Moviebuff">{{cite web|url=https://www.moviebuff.com/mai-ka-lal |title= Mai Ka Lal(1979) |website=Moviebuff}}</ref> The film was produced by G. L. Chadha and starred [[Sujit Kumar]] and [[Prema Narayan]] in lead roles, with [[Chand Usmani]], Ram Singh, Hari Shukla, [[Jayshree T.]], and [[Yunus Parvez]] in supporting roles.{{sfn| Ghosh|2010|pages=236 }} Featuring music composed by [[Nadeem–Shravan]] with lyrics by Rajpati Rahi, ''Mai Ka Lal'' follows the struggles and eventual triumph of a young man facing hardship and injustice.

A defining aspect of ''Mai Ka Lal'' was its ensemble cast and creative team. The filmmakers not only brought Rajpati Rahi—fresh off the success of writing the film '' [[Dangal (1977 film)|Dangal]] '' (1977) to direct ''Mai Ka Lal'' —but also reunited several key members of ''Dangal''’s team to replicate its winning formula. As in ''Dangal'', Sujit Kumar took on the leading male role in ''Mai Ka Lal'', while Prema Narayan, known for her work in ''Dangal'', reprised her position as the leading actress. The film’s music, too, came from the same composer, Nadeem–Shravan, who had crafted the soundtrack for ''Dangal''.

Equally notable, ''Mai Ka Lal'' was distributed beyond the usual Bhojpuri strongholds of Bihar and eastern Uttar Pradesh, reaching central and western Uttar Pradesh and Delhi.{{sfn| Ghosh|2010|pages=39 }} The film reportedly cost about ₹8 lakhs and earned approximately ₹25 lakhs in Delhi and Uttar Pradesh.{{sfn| Ghosh|2010|pages=40 }} Film scholars have described ''Mai Ka Lal'' as a significant box-office success.<ref name="PrasadGupta2025">{{cite journal | last1 = Prasad | first1 = Satyendra Kumar | last2 = Gupta | first2 = Sandeep Kumar | title = Framing Bhojpuriya Identity: A Historiography of Early Bhojpuri Cinema (1962–1990s) | journal = International Journal of Interdisciplinary Cultural Studies | volume = 20 | issue = 1 | year = 2025 | pages = 755, footnote 25 | issn = 2327-008X | eissn = 2327-2554 | doi = 10.18848/cvwcs635 | url = https://www.academia.edu/164817219/Framing_Bhojpuriya_identity_A_historiography_of_early_Bhojpuri_Cinema | access-date = 7 April 2026}}</ref>

== Plot ==
''Mai Ka Lal'' follows the story of a young man who rises from a life of hardship to become a symbol of justice and resilience in his rural community. Guided by his deep bond with his mother, whose strength and moral integrity shape his character, he confronts the social inequalities and personal conflicts that define his surroundings.

The narrative combines elements of family drama, action, and emotional intensity, portraying the protagonist’s journey from obscurity to local heroism. The film includes traditional “masala” components—such as energetic dance sequences and wrestling matches—which underscore the central themes of endurance, courage, and triumph over adversity.

== Cast ==
*[[Sujit Kumar]] as the protagonist, a young man who rises from hardship to become a symbol of justice and resilience
*[[Prema Narayan]] as his love interest
*[[Chand Usmani]] as the protagonist’s mother, whose strength and guidance shape his character
*Ram Singh
*Hari Shukla
*[[Jayshree T.]]
*[[Yunus Parvez]]

== Soundtrack ==
The music was composed by [[Nadeem–Shravan]], with all lyrics written by Rajpati Rahi.<ref>{{cite web |title=Mai Ka Laal (1979) – Soundtrack |url=https://music.apple.com/us/album/mai-ka-laal-original-motion-picture-soundtrack-ep/1387768050 |website=Apple Music |language=en |access-date=7 February 2026}}</ref><ref>{{cite web |title=Mai Ka Laal (Original Motion Picture Soundtrack) |url=https://open.spotify.com/intl-de/album/64dWZazrsvo7XvHCCmFoxg |website=Spotify |language=en |access-date=7 February 2026}}</ref>

{| class="wikitable sortable"
! No.
! Song
! Singers
|-
| 1 || "Hamre Hatwa" || [[Mahendra Kapoor]]
|-
| 2 || "Chadhal Jawani" || [[Asha Bhosle]]
|-
| 3 || "Hamka Lai Chal" || Asha Bhosle, Mahendra Kapoor
|-
| 4 || "Aaj Mahafil Mei" || Asha Bhosle, Mahendra Kapoor
|-
| 5 || "Upar Baithal Ek" || Mahendra Kapoor
|}

== Bibliography ==
* {{Cite book |last=Ghosh |first=Avijit |title=Cinema Bhojpuri |publisher=[[Penguin Books]] |year=2010 | isbn=978-0-14-310378-3 |url=https://books.google.com/books?id=wAuTZ6_1XL4C |language=En}}

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

[[Category:1979 films]]
[[Category:1970s Bhojpuri-language films]]
[[Category:1979 Indian films]]
[[Category:1970s masala films]]
[[Category:Films scored by Nadeem–Shravan]]

Mugamoodi (soundtrack)

2026-04-28T16:11:29Z

Surendra Sharma: creating!

{{Use dmy dates|date=October 2024}}
{{Infobox album
| name = Mugamoodi
| type = soundtrack
| artist = [[K (composer)|K]]
| cover = Mugamoodi album cover.jpg
| alt =
| caption = Album cover
| released = 1 August 2012
| recorded = 2011–2012
| venue =
| studio = * Kalasa Studio, [[Chennai]]
* Aura Studios, Chennai
* Marian Digital Recording Studio, [[Kochi]]
* [[Panchathan Record Inn and AM Studios|AM Studios]], Chennai
* [[K (composer)|Groove Planet]], Chennai
| genre = [[Film soundtrack|Feature film soundtrack]]
| length =
40:59
| language = [[Tamil language|Tamil]]
| label = {{hlist|[[UTV Motion Pictures|UTV Music]]|[[Saregama]]}}
| producer = [[K (composer)|K]]
| prev_title = [[Yuddham Sei]]
| prev_year = 2011
| next_title = [[Aarohanam (2012 film)|Aarohanam]]
| next_year = 2012
| misc =
}}
'''''Mugamoodi''''' is the [[soundtrack album]] composed by [[K (composer)|K]] for the 2012 Tamil-language [[superhero film]] [[Mugamoodi|of the same name]] starring [[Jiiva]] and [[Pooja Hegde]] in lead roles, directed by [[Mysskin]]. The film marks K's second collaboration with Mysskin after ''[[Yuddham Sei]]'' (2011). The album consists of four songs with seven theme scores. Lyrics were penned by [[Madhan Karky]], and Mysskin himself. The soundtrack album was released by [[UTV Motion Pictures|UTV Music]] and [[Saregama]] on 1 August 2012. The release coincided with a promotional event held at the [[Sathyam Cinemas]], [[Chennai]]. The album also was dubbed and released in Telugu as ''Mask'' on 15 August 2012, by [[Aditya Music]].

The album received positive reviews from critics, praising K's composition, and lyrics. The tracks "[[Vaayamoodi Summa Iru Da]]" and "Maayavi", topped the charts and [[FM station]]s.

== Background ==
In July 2011, [[K (composer)|K]], who previously collaborated with Mysskin in his debut film ''[[Yuddham Sei]]'' (2011) was signed to compose music for ''Mugamoodi''.<ref name=":0">{{cite web |date=31 July 2011 |title=K bags UTV's Mugamoodi |url=http://www.sify.com/movies/k-bags-utv-s-mugamoodi-news-tamil-lh4lg8heaee.html?scategory=tamil |url-status=dead |archive-url=https://web.archive.org/web/20121022025117/http://www.sify.com/movies/k-bags-utv-s-mugamoodi-news-tamil-lh4lg8heaee.html?scategory=tamil |archive-date=22 October 2012 |access-date=9 December 2011 |website=[[Sify]]}}</ref><ref>{{Cite web |date=1 August 2012 |title=Video: Music composer K on Tamil film 'Mugamoodi' |url=https://www.news18.com/news/india/video-music-composer-k-on-tamil-film-mugamoodi-488914.html |url-status=live |archive-url=https://web.archive.org/web/20240415101043/https://www.news18.com/news/india/video-music-composer-k-on-tamil-film-mugamoodi-488914.html |archive-date=2024-04-15 |access-date=2024-04-15 |website=News18}}</ref> K said that he was elated when Mysskin offered him ''Mugamoodi''.<ref name=":3">{{cite news |last=Kumar |first=S. R. Ashok |date=11 August 2012 |title=Mugamoodi audio launch |url=https://www.thehindu.com/features/cinema/mugamoodi-audio-launch/article3696620.ece |archive-url=https://web.archive.org/web/20230826100223/https://www.thehindu.com/features/cinema/mugamoodi-audio-launch/article3696620.ece |archive-date=2023-08-26 |access-date=2024-04-15 |newspaper=The Hindu}}</ref> [[Madhan Karky]], and Mysskin himself penned the lyrics of the Tamil songs.<ref name=":3" /> The Telugu songs were written by [[Vanamali]], [[Bhuvana Chandra]], and [[Rakendu Mouli]].<ref>{{Cite news |date=2012-06-26 |title=Mugamoodi scheduled for an August 31 release |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/mugamoodi-scheduled-for-an-august-31-release/articleshow/14404434.cms |url-status=live |archive-url=https://web.archive.org/web/20240415100926/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/mugamoodi-scheduled-for-an-august-31-release/articleshow/14404434.cms |archive-date=2024-04-15 |access-date=2024-04-15 |newspaper=The Times of India}}</ref>

== Production and composition ==
Shortly after his involvement, K recorded a romantic melody ("[[Vaayamoodi Summa Iru Da]]") with the lyrics of Karky.<ref name=":0" /> It was his 41st song as a lyricist.<ref name=":1">{{Cite web |date=16 May 2012 |title=Madhan unplugged! |url=https://www.newindianexpress.com/entertainment/tamil/2011/Oct/13/madhan-unplugged-300016.html |url-status=live |archive-url=https://web.archive.org/web/20240415095607/https://www.newindianexpress.com/entertainment/tamil/2011/Oct/13/madhan-unplugged-300016.html |archive-date=2024-04-15 |access-date=2024-04-15 |website=The New Indian Express}}</ref> By early February 2012, K completed recording three songs for the film, adding that the film would feature four songs.<ref>{{Cite news |url=https://timesofindia.indiatimes.com/entertainment/hindi/music/news/mugamoodi-one-for-the-music/articleshow/11790509.cms |title=Mugamoodi: One for the Music |newspaper=The Times of India |date=7 February 2012 |access-date=2024-04-15 |archive-date=2024-04-15 |archive-url=https://web.archive.org/web/20240415095552/https://gum.criteo.com/syncframe?origin=publishertag&topUrl=timesofindia.indiatimes.com |url-status=live }}</ref> According to Karky, "usually Mysskin's films have fast numbers, but here, for a change, there are two melodies and I have penned them both."<ref name=":1" /> Karky revealed that he wrote lyrics for "Vaayamoodi Summa Iru Da" on a flight.<ref name=":1" />

Unlike Mysskin's previous films, the film would not feature a "yellow saree song" as it was a superhero film.<ref name=":2" /> Hence, a [[Dappankuthu|kuthu]] song was shot at a [[TASMAC]] bar entitled "Bar Anthem" which K described it as "a Kuthu song with soul".<ref>{{Cite news |title=Who is K? |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/who-is-k/articleshow/15055196.cms |url-status=live |archive-url=https://web.archive.org/web/20240415095538/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/who-is-k/articleshow/15055196.cms |archive-date=2024-04-15 |access-date=2024-04-15 |newspaper=The Times of India}}</ref> Mysskin revealed that [[Kabilan (lyricist)|Kabilan]] was the first choice to write "Bar Anthem" but could not do so citing schedule conflicts. Karky could not write the song as he never consumed alcohol. This resulted in Mysskin writing the lyrics for the song.<ref name=":2">{{Cite news |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/why-mysskin-turned-lyricist/articleshow/15055415.cms |title=Why Mysskin turned lyricist |newspaper=The Times of India |access-date=2024-04-15 |archive-date=2024-04-15 |archive-url=https://web.archive.org/web/20240415101057/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/why-mysskin-turned-lyricist/articleshow/15055415.cms |url-status=live }}</ref> K incorporated the violin portions of the song from the titular track from ''[[Annakili]]'' (1976) composed by Ilaiyaraaja.<ref>{{Cite news |date=12 August 2012 |title=Mugamoodi |url=https://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/mugamoodi/article3697982.ece |url-status=live |archive-url=https://web.archive.org/web/20220328073646/https://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/mugamoodi/article3697982.ece |archive-date=28 March 2022 |access-date=17 September 2020 |work=[[The Hindu]] |language=en-IN}}</ref>

== Release ==
The tracklist was officially released by the makers on 30 July 2012. The audio launch event was held on 1 August 2012 at [[Sathyam Cinemas]], Chennai.<ref>{{Cite news |date=2012-07-31 |title=Vijay to launch Jeeva Mugamoodi songs |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/vijay-to-launch-jeeva-mugamoodi-songs/articleshow/14668899.cms |url-status=live |archive-url=https://web.archive.org/web/20240415095539/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/vijay-to-launch-jeeva-mugamoodi-songs/articleshow/14668899.cms |archive-date=2024-04-15 |access-date=2024-04-15 |newspaper=The Times of India}}</ref> The audio was presented by [[Vijay (actor)|Vijay]] and was received by [[Puneeth Rajkumar]].<ref>{{Cite news |date=2012-08-01 |title=Vijay bonds with Puneeth Rajkumar |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/vijay-bonds-with-puneeth-rajkumar/articleshow/15054963.cms |url-status=live |archive-url=https://web.archive.org/web/20170410021424/http://timesofindia.indiatimes.com/entertainment/tamil/movies/news/Vijay-bonds-with-Puneeth-Rajkumar/articleshow/15054963.cms |archive-date=2017-04-10 |access-date=2024-04-15 |newspaper=The Times of India}}</ref><ref>{{Cite news |date=2012-08-01 |title=Vijay's son is a Jiiva fan! |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/vijays-son-is-a-jiiva-fan/articleshow/15162726.cms |url-status=live |archive-url=https://web.archive.org/web/20240415095607/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/vijays-son-is-a-jiiva-fan/articleshow/15162726.cms |archive-date=2024-04-15 |access-date=2024-04-15 |newspaper=The Times of India}}</ref> [[Mysskin]], [[Jiiva]], [[Pooja Hegde]], [[Narain (actor)|Narain]], [[Lingusamy]], [[Venkat Prabhu]], [[Gnanavel Raja]], [[Jayam Raja]], [[Madhan Karky]], [[Ravi K Chandran]], and [[R. B. Choudary]] were also present at the event.<ref name=":3" /> An online contest was conducted by UTV to which 500 winners of the contest, had received the audio launch invitation through e-mail.<ref>{{Cite news |last=Lakshmi |first=V |date=23 July 2012 |title=Mugamoodi is a hit with fans |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/mugamoodi-is-a-hit-with-fans/articleshow/14819063.cms |url-status=live |archive-url=https://web.archive.org/web/20240415100056/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/mugamoodi-is-a-hit-with-fans/articleshow/14819063.cms |archive-date=15 April 2024 |access-date=28 April 2026 |work=The Times of India |issn=0971-8257}}</ref> [[CD]]s were made available in stores on the same day.<ref>{{Cite web |date=2 August 2012 |title=Mugamoodi: Audio hits the stores |url=https://www.news18.com/news/india/mugamoodi-audio-hits-the-stores-489108.html |url-status=live |archive-url=https://web.archive.org/web/20220818202752/https://www.news18.com/news/india/mugamoodi-audio-hits-the-stores-489108.html |archive-date=2022-08-18 |access-date=2024-04-15 |website=News18}}</ref>

On 15 August 2012, the audio launch of film film's Telugu version titled ''Mask'' was held. The event was held at [[Annapurna Studios]], Hyderabad.<ref>{{Cite news |date=2012-08-15 |title=Jiiva's Mask audio to be released today |url=https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/jiivas-mask-audio-to-be-released-today/articleshow/15458073.cms |url-status=live |archive-url=https://web.archive.org/web/20240415095540/https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/jiivas-mask-audio-to-be-released-today/articleshow/15458073.cms |archive-date=2024-04-15 |access-date=2024-04-15 |newspaper=The Times of India}}</ref> Along with film's cast and crew, [[VV Vinayak]], Gemini Kiran, [[Shyam Prasad Reddy]], Ramesh Puppala, [[K. Atchi Reddy]], [[Sunil (actor)|Sunil]], [[B. V. S. N. Prasad]], [[R. B. Choudary]], and [[Bhimaneni Srinivasa Rao]] were also present at the audio launch.<ref>{{Cite news |date=15 August 2012 |title=Music launch of 'Mask' at Annapurna studios 7 acres in Hyderabad |url=https://timesofindia.indiatimes.com/entertainment/events/hyderabad/music-launch-of-mask-at-annapurna-studios-7-acres-in-hyderabad/articleshow/15460497.cms |url-status=live |archive-url=https://web.archive.org/web/20240415100927/https://timesofindia.indiatimes.com/entertainment/events/hyderabad/music-launch-of-mask-at-annapurna-studios-7-acres-in-hyderabad/articleshow/15460497.cms |archive-date=2024-04-15 |access-date=2024-04-15 |newspaper=The Times of India}}</ref>

== Track listing ==
{{track listing
| headline = ''Mugamoodi'' (Tamil)
| extra_column = Singer(s)
| total_length = 40:59
| title1 = [[Vaayamoodi Summa Iru Da]]
| extra1 = [[Aalap Raju]]
| lyrics1 = [[Madhan Karky]]
| note1 = Strings
| length1 = 4:33
| title2 = Lullaby For Loss
| extra2 =
| lyrics2 =
| length2 = 2:32
| title3 = Bar Anthem
| extra3 = Mysskin
| lyrics3 = [[Mysskin]]
| length3 = 5:11
| title4 = Blue Panther on the Prowl
| extra4 =
| lyrics4 =
| length4 = 1:37
| title5 = Maayavi
| extra5 = [[Chinmayi Sripada|Chinmayi]]
| lyrics5 = Madhan Karky
| length5 = 4:30
| title6 = Dont Drive Your Car With This Music On
| extra6 =
| lyrics6 =
| note6 = Theme
| length6 = 4:43
| title7 = [[Vaayamoodi Summa Iru Da]]
| extra7 = Aalap Raju
| lyrics7 = Madhan Karky
| note7 = Guitar
| length7 = 4:35
| title8 = Cape Of Good Hope
| extra8 =
| lyrics8 =
| note8 = Theme
| length8 = 2:44
| title9 = Hell, Heaven And The Ladder
| extra9 =
| lyrics9 =
| note9 = Theme
| length9 = 1:40
| title10 = Come Lets Fall In Love
| extra10 =
| lyrics10 =
| note10 = Theme
| length10 = 4:24
| title11 = Maayavi
| extra11 =
| lyrics11 =
| note11 = Flute Theme
| length11 = 4:28
}}

{{track listing
| headline = ''Mask'' (Telugu)
| extra_column = Singer(s)
| total_length = 40:59
| title1 = Gadiyaram
| extra1 = [[Aalap Raju]]
| lyrics1 = [[Vanamali]]
| note1 = Strings
| length1 = 4:33
| title2 = Lullaby For Loss
| extra2 =
| lyrics2 =
| note2 = Theme
| length2 = 2:32
| title3 = Naataina
| extra3 = [[S. P. Charan]]
| lyrics3 = [[Bhuvana Chandra]]
| note3 = Bar Anthem
| length3 = 5:11
| title4 = Blue Panther on the Prowl
| extra4 =
| lyrics4 =
| note4 = Theme
| length4 = 1:37
| title5 = Maayavi
| extra5 = [[Chinmayi Sripada|Chinmayi]]
| lyrics5 = Rakendu Mouli
| length5 = 4:30
| title6 = Dont Drive Your Car With This Music On
| extra6 =
| lyrics6 =
| note6 = Theme
| length6 = 4:43
| title7 = Gadiyaram
| extra7 = Aalap Raju
| lyrics7 = Vanamali
| note7 = Guitar
| length7 = 4:35
| title8 = Cape Of Good Hope
| extra8 =
| lyrics8 =
| note8 = Theme
| length8 = 2:44
| title9 = Hell, Heaven And The Ladder
| extra9 =
| lyrics9 =
| note9 = Theme
| length9 = 1:40
| title10 = Come Lets Fall In Love
| extra10 =
| lyrics10 =
| note10 = Theme
| length10 = 4:24
| title11 = Maayavi
| extra11 =
| lyrics11 =
| note11 = Flute Theme
| length11 = 4:28
}}

== Reception ==
The soundtrack album received positive reviews from critics, praising K's composition, and lyrics.<ref>{{Cite web |date=9 August 2012 |title=Jiva to be called as Bruce Lee in 'Mugamoodi' |url=https://www.news18.com/news/india/jiva-to-be-called-as-bruce-lee-in-mugamoodi-494045.html |url-status=live |archive-url=https://web.archive.org/web/20240415100906/https://www.news18.com/news/india/jiva-to-be-called-as-bruce-lee-in-mugamoodi-494045.html |archive-date=2024-04-15 |access-date=2024-04-15|website=[[News18]]}}</ref>

Reviewing the soundtrack album, Pavithra Srinivasan of ''[[Rediff]]'' rated the album with 3 stars out of 5 and wrote "With his second outing, K proves himself to be a competent musician, effectively rendering emotions into music. By and large, Mugamoodi's numbers grab your attention and carry you with them."<ref>{{Cite web |last=Srinivasan |first=Pavithra |date=2012-08-13 |title=Review: Mugamoodi's music is interesting |url=https://www.rediff.com/movies/report/south-review-mugamoodis-music-is-interesting/20120730.htm |url-status=live |archive-url=https://web.archive.org/web/20220707220401/https://www.rediff.com/movies/report/south-review-mugamoodis-music-is-interesting/20120730.htm |archive-date=2022-07-07 |access-date=2024-04-15 |website=Rediff.com}}</ref> [[Karthik Srinivasan]] of ''[[Milliblog]]'' criticized it as a "tepid soundtrack from K."<ref>{{cite web |author=Srinivasan |first=Karthik |date=20 July 2012 |title=Mugamoodi (Music review), Tamil – K |url=http://itwofs.com/milliblog/2012/07/20/mugamoodi-music-review-tamil-k/ |url-status=live |archive-url=https://web.archive.org/web/20120809025244/http://itwofs.com/milliblog/2012/07/20/mugamoodi-music-review-tamil-k/ |archive-date=9 August 2012 |access-date=18 August 2012 |work=[[Milliblog]]}}</ref>

''[[NDTV]]'' stated "The music drives the film with an adrenaline rush that will crawl through your body and make you want to cheer for the superhero".<ref>{{Cite web |date=2012-09-02 |title=Movie Review: Mugamoodi |url=https://www.ndtv.com/entertainment/movie-review-mugamoodi-627799 |url-status=live |archive-url=https://web.archive.org/web/20221202051648/https://www.ndtv.com/entertainment/movie-review-mugamoodi-627799 |archive-date=2022-12-02 |access-date=2024-04-15 |website=NDTV |agency=Indo-Asian News Service}}</ref> ''[[News18]]'' wrote "BGM in the climax adds pep to the proceedings, while a bar anthem in the first half is impressive."<ref>{{Cite web |date=1 September 2012 |title=Tamil Review: 'Mugamoodi' has a different flavour |url=https://www.news18.com/news/india/tamil-review-mugamoodi-has-a-different-flavour-503691.html |url-status=live |archive-url=https://web.archive.org/web/20160629162752/http://www.news18.com/news/india/tamil-review-mugamoodi-has-a-different-flavour-503691.html |archive-date=2016-06-29 |access-date=2024-04-15}}</ref> ''[[The Times of India]]'' commented "K was praised for his background score in Mysskin's ''Yuddham Sei'', does not disappoint in this film either. The background score is gripping and blends well with the movie. Among songs, 'Vaaya Moodi Summa Iru Da' is already a rage among youngsters and the song has been picturized aesthetically."<ref>{{Cite news |date=2012-07-23 |title=Mugamoodi is a hit with fans |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/mugamoodi-is-a-hit-with-fans/articleshow/14819063.cms |url-status=live |archive-url=https://web.archive.org/web/20240415100056/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/mugamoodi-is-a-hit-with-fans/articleshow/14819063.cms |archive-date=2024-04-15 |access-date=2024-04-15 |newspaper=The Times of India}}</ref>

== Impact ==
The songs were trending on all [[FM station]]s and internet.<ref>{{Cite web |url=https://www.cinemaexpress.com/tamil/interviews/2022/Apr/19/pooja-hegde-i-want-to-do-films-that-make-women-feel-represented-30988.html |title=Pooja Hegde: I want to do films that make women feel represented |website=Cinema Express |access-date=21 June 2024 |archive-date=25 December 2022 |archive-url=https://web.archive.org/web/20221225061641/https://www.cinemaexpress.com/tamil/interviews/2022/apr/19/pooja-hegde-i-want-to-do-films-that-make-women-feel-represented-30988.html |url-status=live }}</ref> The tracks "[[Vaayamoodi Summa Iru Da]]", "Maayavi" and "Bar Anthem" received acclaim post the audio release, with the former being a hit among youngsters and trended on numerous charts.<ref>{{Cite news |date=2012-08-11 |title=Bar songs become the rage in K-Town |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/bar-songs-become-the-rage-in-k-town/articleshow/15255036.cms |url-status=live |archive-url=https://web.archive.org/web/20210803133346/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/bar-songs-become-the-rage-in-k-town/articleshow/15255036.cms |archive-date=2021-08-03 |access-date=2024-04-15 |newspaper=The Times of India}}</ref> In 2020, ''[[Zoom (Indian TV channel)|Zoom]]'' commented "Vaaya Moodi Summa Iru da became a chartbuster and is still the favourite for many listeners."<ref>{{Cite web |date=16 December 2020 |title=Did you know Pooja Hegde made her debut in a Tamil superhero film? |url=https://www.zoomtventertainment.com/tamil-cinema/article/did-you-know-pooja-hegde-made-her-debut-in-a-tamil-superhero-film/695371 |url-status=live |archive-url=https://web.archive.org/web/20201216132559/https://www.zoomtventertainment.com/tamil-cinema/article/did-you-know-pooja-hegde-made-her-debut-in-a-tamil-superhero-film/695371 |archive-date=2020-12-16 |access-date=2024-04-15 |website=Zoom}}</ref>

== Album credits ==

=== Backing vocals ===
Vasu, [[Senthildass Velayutham]], Sam, [[Mysskin]], [[K (composer)|K]], Belliraj, [[Anand Aravindakshan]], Ravishankar, Suraj

=== Instruments ===
* Guitars{{spaced ndash}} [[Keba Jeremiah]], Bruce Lee
* Percussions{{spaced ndash}} Jeycha, Venkat, Shruthi, Avinash Jayakumar
* Winds{{spaced ndash}} Vishnu
* Brass instruments{{spaced ndash}} Maxwell Babu
* Saxophone{{spaced ndash}} A Raja
* Solo violin{{spaced ndash}} Kalyan

=== Production ===
* Composer{{spaced ndash}} [[K (composer)|K]]
* Mixing{{spaced ndash}} Tapas Nayak
* Mastering{{spaced ndash}} S. Sivakumar
* Music coordination{{spaced ndash}} R Vasu

== Accolades ==
{| class="wikitable plainrowheaders sortable"
|-
! scope="col"| Award{{efn|Awards, festivals and organizations are in alphabetical order.}}
! scope="col"| Date of ceremony{{efn|Date is linked to the article about the awards held that year, wherever possible.}}
! scope="col"| Category
! scope="col"| Recipient(s)
! scope="col"| Result
! scope="col" class="unsortable" | {{Reference column heading}}
|-
! scope="row"|[[Vijay Awards]]
| [[7th Vijay Awards|11 May 2013]]
| [[Vijay Award for Favourite Song|Favourite Song]]
| "[[Vaayamoodi Summa Iru Da]]"
| {{nom}}
| style="text-align: center;"|<ref>{{Cite AV media |url=https://www.youtube.com/watch?v=mY5eoO3MBxo |title=Vijay Awards 05/31/13 |date=31 May 2013 |publisher=[[Star Vijay|Vijay Television]] |access-date=18 February 2026 |archive-url=https://archive.org/details/vijay-awards-31-05-13 |archive-date=25 February 2025 |url-status=dead |via=[[YouTube]]}}{{cbignore}}</ref> <ref>{{Cite web |last=Naig |first=Udhav |date=14 May 2013 |title=Stars, big and small |url=http://www.thehindu.com/features/cinema/stars-big-and-small/article4714588.ece |url-status=live |archive-url=https://web.archive.org/web/20140307073045/http://www.thehindu.com/features/cinema/stars-big-and-small/article4714588.ece |archive-date=7 March 2014 |access-date=18 February 2026 |website=[[The Hindu]]}}</ref> <ref>{{Cite web |date=13 May 2013 |title=Thuppakki sweeps Vijay Awards! |url=http://timesofindia.indiatimes.com/entertainment/regional/tamil/news-interviews/Thuppakki-sweeps-Vijay-Awards/articleshow/20026331.cms |url-status=live |archive-url=https://web.archive.org/web/20130513173827/http://timesofindia.indiatimes.com/entertainment/regional/tamil/news-interviews/Thuppakki-sweeps-Vijay-Awards/articleshow/20026331.cms |archive-date=13 May 2013 |access-date=18 February 2026 |website=[[The Times of India]]}}</ref> <ref>{{Cite web |title=Dhanush, Samantha win top honours at Vijay Awards |url=http://newindianexpress.com/entertainment/tamil/Dhanush-Samantha-win-top-honours-at-Vijay-Awards/2013/05/13/article1588000.ece |url-status=dead |archive-url=https://web.archive.org/web/20130513210318/http://newindianexpress.com/entertainment/tamil/Dhanush-Samantha-win-top-honours-at-Vijay-Awards/2013/05/13/article1588000.ece |archive-date=13 May 2013 |access-date=18 February 2026 |website=[[The New Indian Express]]}}</ref>
|-
! rowspan="1" scope="row" | [[Edison Awards (India)|Edison Awards]]
| 10 February 2013
|Best Playback Singer - Male
| [[Aalap Raju]] (for "Vaayamoodi Summa Iru Da")
| {{won}}
| style="text-align: center;" |<ref>{{cite episode | title=6th Edison Awards | series=Edison Awards | date=10 February 2013 | network=[[Astro (company)|Astro]] }}</ref> <ref>{{Cite web |title=6th Edition Edison Award gets bigger and grander |url=https://sulekha.com/tamil-movie-thuppaki-news-6th-edition-edison-award-gets-bigger-and-grander |url-status=dead |archive-url=http://web.archive.org/web/20170917051101/https://sulekha.com/tamil-movie-thuppaki-news-6th-edition-edison-award-gets-bigger-and-grander |archive-date=17 September 2017 |website=[[Sulekha]]}}</ref> <ref>{{Cite web |title=Edison Awards 2013 – Winners |url=http://araciyal.com/edison/vote.html |url-status=dead |archive-url=http://web.archive.org/web/20130217121352/http://araciyal.com/edison/vote.html |archive-date=17 February 2013 |website=Araciyal.com |publisher=[[Edison Awards (India)|Edison Awards]]}}</ref>
|-
! rowspan="1" scope="row" | [[Big FM Tamil Entertainment Awards|Big Tamil Melody Awards]]
| 19 August 2013
|Best Singer (Male)
| Aalap Raju (for "Vaayamoodi Summa Iru Da")
| {{nom}}
| style="text-align: center;" |<ref>{{Cite web |date=22 July 2013 |title=Big Tamil Melody Awards launched |url=https://www.newindianexpress.com/entertainment/2013/Jul/22/big-tamil-melody-awards-launched-499075.html |url-status=live |archive-url=https://web.archive.org/web/20250410210158/https://www.newindianexpress.com/entertainment/2013/Jul/22/big-tamil-melody-awards-launched-499075.html |archive-date=10 April 2025 |access-date=27 February 2025 |website=[[The New Indian Express]] |language=en}}</ref> <ref>{{Cite news |date=19 August 2013 |title=Melody awards |url=http://newindianexpress.com/entertainment/tamil/Melody-awards/2013/08/19/article1740670.ece |url-status=dead |archive-url=https://web.archive.org/web/20130822095635/http://newindianexpress.com/entertainment/tamil/Melody-awards/2013/08/19/article1740670.ece |archive-date=22 August 2013 |access-date=22 August 2013 |work=[[The New Indian Express]]}}</ref>
|}

== Notes ==
{{notelist}}

== References ==
{{reflist}}

==External links==
* [https://www.imdb.com/title/tt2367996/soundtrack ''Mugamoodi'' (soundtrack)] at the [[IMDb]]
{{Authority control}}

{{DEFAULTSORT:Mugamoodi (soundtrack)}}
[[Category:Tamil film soundtracks]]
[[Category:Telugu film soundtracks]]
[[Category:2012 soundtrack albums]]
[[Category:Fantasy film soundtracks]]
[[Category:Action film soundtracks]]
[[Category:Superhero film soundtracks]]
[[Category:Saregama soundtracks]]

Bhajan Lal Sharma

2026-04-26T06:27:07Z

Surendra Sharma: Started bio...

{{Short description|14th Chief Minister of Rajasthan (born 1966)}}
{{Not to be confused|Bhajan Lal Sharma|text=[[Bhajan Lal Bishnoi]], 6th Chief Minister of Haryana}}
{{Use Indian English|date=February 2025}}
{{Use dmy dates|date=February 2025}}
{{Infobox officeholder
| name = Bhajan Lal Sharma
| image = Bhajan Lal Sharma and deputies meets VP of India.jpg
| caption = Official portrait, 2023
| office = Chief Minister of Rajasthan
| order = 14th
| term_start = {{Start date|2023|12|15|df=yes}}
| term_end =
| governor = [[Kalraj Mishra]] [[Haribhau Bagade]]
| predecessor = [[Ashok Gehlot]]
| deputy = {{ubl|[[Diya Kumari]]|[[Prem Chand Bairwa]]}}
| 2blankname = [[Bhajan Lal Sharma ministry|Ministry and Departments]]
| 2namedata = {{Collapsible list|
*General Administration
*Home Affairs
*Excise
*Personnel
*Anti Corruption Bureau
*Planning
*Policy making cell
*Information and Public Relations
*Other departments not allocated to any Minister}}
| successor =
| constituency1 = [[Sanganer Assembly constituency|Sanganer]]
| office1 = [[Member of the Legislative Assembly (India)|Member]] of [[Rajasthan Legislative Assembly]]
| term_start1 = 3 December 2023
| term_end1 =
| predecessor1 = [[Ashok Lahoty]]
| successor1 =
| source =
| party = [[Bharatiya Janata Party]]
| birth_name =
| birth_place = [[Nadbai|Atari]], [[Rajasthan]], India
| birth_date = {{birth date and age|df=yes|1966|12|15}}<ref>{{Cite web |title=State Portal {{!}} Govt of Rajasthan |url=https://rajasthan.gov.in/pages/sm/department-page/142677/876 |access-date=2024-01-01 |website=rajasthan.gov.in |archive-date=15 December 2023 |archive-url=https://web.archive.org/web/20231215224037/https://rajasthan.gov.in/pages/sm/department-page/142677/876 |url-status=live }}</ref>
| children = 2
| occupation = {{hlist|[[Politician]]|[[businessperson]]}}
| alma_mater = [[University of Rajasthan|Rajasthan University]]
| education = [[Bachelor of Arts]] [[Master of Arts]] [[Bachelor of Education]]
| spouse = Geeta Sharma
| father =
| mother =
| office4 = Vice President of [[Bharatiya Janata Party, Rajasthan]]
| term_start4 = 2014
| term_end4 = 2016
| office3 = General Secretary of [[Bharatiya Janata Party, Rajasthan]]
| term_start3 = 2016
| term_end3 = 2023
| office5 = [[Sarpanch|Sarpanch of Gram Panchayat Atari]]
| term_start5 = 2000
| term_end5 = 2005
| footnotes = {{URL|https://assembly.rajasthan.gov.in/Containers/Members/ConstituencyWise.aspx|Rajasthan Assembly}}
}}

'''Bhajan Lal Sharma''' (born 15 December 1966)<ref>{{cite news|title=All About Bhajanlal Sharma, Rajasthan's New CM To Be|url=https://www.timesnownews.com/india/bhajanlal-sharma-new-rajasthan-cm-elect-know-about-his-family-educational-qualification-and-more-article-105933815|access-date=13 December 2023|work=[[Times Now]]|date=12 December 2023|language=en|archive-date=13 December 2023|archive-url=https://web.archive.org/web/20231213064531/https://www.timesnownews.com/india/bhajanlal-sharma-new-rajasthan-cm-elect-know-about-his-family-educational-qualification-and-more-article-105933815|url-status=live}}</ref> is an Indian politician serving as the 14th and current [[List of chief ministers of Rajasthan|chief minister of Rajasthan]] and also as leader of the house in state assembly.<ref name="The Hindu CM name">{{Cite news|title=First-time MLA Bhajan Lal Sharma to be new Chief Minister of Rajasthan|url=https://www.thehindu.com/elections/rajasthan-assembly/bhajan-lal-sharma-chief-minister-of-rajasthan/article67630427.ece|website=The Hindu|language=en|date=12 December 2023|access-date=12 December 2023|archive-date=17 December 2023|archive-url=https://web.archive.org/web/20231217094723/https://www.thehindu.com/elections/rajasthan-assembly/bhajan-lal-sharma-chief-minister-of-rajasthan/article67630427.ece|url-status=live}}</ref><ref>{{Cite web |title=Bhajan Lal Sharma takes over as Rajasthan chief minister on his birthday, BJP top brass attend oath ceremony |url=https://www.telegraphindia.com/india/bhajan-lal-sharma-takes-over-as-rajasthan-chief-minister-on-his-birthday-bjp-top-brass-attend-oath-ceremony/cid/1987101 |access-date=2023-12-15 |website=telegraphindia.com |archive-date=15 December 2023 |archive-url=https://web.archive.org/web/20231215092644/https://www.telegraphindia.com/india/bhajan-lal-sharma-takes-over-as-rajasthan-chief-minister-on-his-birthday-bjp-top-brass-attend-oath-ceremony/cid/1987101 |url-status=live }}</ref> A member of the [[Bharatiya Janata Party]] (BJP), he represents the [[Sanganer Assembly constituency|Sanganer constituency]] in the [[16th Rajasthan Assembly]].<ref>{{Cite web|title=Election Commission of India|url=https://results.eci.gov.in/AcResultGenDecNew2023/partywisewinresult-369S20.htm|access-date=2023-12-12|website=results.eci.gov.in|archive-date=12 December 2023|archive-url=https://web.archive.org/web/20231212161632/https://results.eci.gov.in/AcResultGenDecNew2023/partywisewinresult-369S20.htm|url-status=live}}</ref><ref name="Rajasthan CM: Bhajan Lal Sharma to be Chief Minister of Rajasthan">{{cite news|last1=The Hindu|first1=|title=Rajasthan CM: Bhajan Lal Sharma to be Chief Minister of Rajasthan|url=https://www.thehindu.com/elections/rajasthan-assembly/bhajan-lal-sharma-chief-minister-of-rajasthan/article67630427.ece|access-date=13 December 2023|date=12 December 2023|archive-url=https://web.archive.org/web/20231213063117/https://www.thehindu.com/elections/rajasthan-assembly/bhajan-lal-sharma-chief-minister-of-rajasthan/article67630427.ece|archive-date=13 December 2023|url-status=live}}</ref>

==Early and personal life==
Sharma was born on 15 December 1966, in Atari village near [[Nadbai]] in [[Bharatpur district]] to Kishan Swaroop Sharma, a farmer, and Gomati Devi.<ref name="The Indian Express-BLSharma">{{Cite web|last=Mukherjee|first=Deep|date=2023-12-12|title=Meet BJP's new Rajasthan CM Bhajan Lal Sharma: Debutant MLA, party man close to RSS|url=https://indianexpress.com/article/political-pulse/who-is-bhajanlal-sharma-new-rajasthan-chief-minister-9065190/|access-date=2023-12-13|website=indianexpress.com|language=en|archive-date=12 December 2023|archive-url=https://web.archive.org/web/20231212190231/https://indianexpress.com/article/political-pulse/who-is-bhajanlal-sharma-new-rajasthan-chief-minister-9065190/|url-status=live}}</ref><ref>{{Cite web|last=Bhattacharya|first=Manish|date=2023-12-12|title=राजस्थान के नए मुख्यमंत्री भजन लाल शर्मा के परिवार में कौन-कौन है? बेटे करते हैं ये काम|url=https://www.indiatv.in/rajasthan/bhajan-lal-sharma-family-chief-minister-of-rajasthan-sons-do-this-work-2023-12-12-1007909|access-date=2023-12-13|website=indiatv.in|language=hi|archive-date=12 December 2023|archive-url=https://web.archive.org/web/20231212194912/https://www.indiatv.in/rajasthan/bhajan-lal-sharma-family-chief-minister-of-rajasthan-sons-do-this-work-2023-12-12-1007909|url-status=live}}</ref> He completed his primary education in Atari and Gagwana villages and moved to Nadbai for secondary education. In 1989, Sharma completed his [[Bachelor of Arts|BA]] from MSJ college in [[Bharatpur, Rajasthan|Bharatpur]]. In 1993, he completed his [[Master of Arts|MA]] in Political Science from the [[University of Rajasthan]].<ref name="IndiaToday">{{cite web |last1=Sharma |first1=Jaykishan |title=From grassroots worker to Chief Minister of Rajasthan: Bhajan Lal Sharma's journey |url=https://www.indiatoday.in/india/story/rajasthan-chief-minister-bhajan-lal-sharmas-journey-2475559-2023-12-13 |website=[[India Today]] |access-date=25 May 2024 |language=en |date=13 December 2023 |archive-date=25 May 2024 |archive-url=https://web.archive.org/web/20240525042522/https://www.indiatoday.in/india/story/rajasthan-chief-minister-bhajan-lal-sharmas-journey-2475559-2023-12-13 |url-status=live }}</ref><ref>{{cite web |last1=Rajpurohit |first1=Shivnarayan |title=Milk vendor, sarpanch, rebel, CM: Bhajan Lal Sharma's journey to Rajasthan's top post |url=https://www.newslaundry.com/2023/12/13/bhajan-lal-sharmas-journey-to-chief-minister-rajasthan-bypassing-vasundhara-raje |website=[[Newslaundry]] |access-date=25 May 2024 |language=en |date=13 December 2023 |archive-date=25 May 2024 |archive-url=https://web.archive.org/web/20240525042529/https://www.newslaundry.com/2023/12/13/bhajan-lal-sharmas-journey-to-chief-minister-rajasthan-bypassing-vasundhara-raje |url-status=live }}</ref> He also pursued a [[Bachelor of Education|B.Ed]] degree.<ref name="TheHindu">{{cite web |last1=Mishra |first1=Ishita |title=Bhajan Lal Sharma {{!}} Dedicated 'Sangh' volunteer |url=https://www.thehindu.com/news/national/bhajan-lal-sharma-dedicated-sangh-volunteer/article67646075.ece |website=[[The Hindu]] |access-date=25 May 2024 |language=en |date=17 December 2023 |archive-date=25 May 2024 |archive-url=https://web.archive.org/web/20240525042522/https://www.thehindu.com/news/national/bhajan-lal-sharma-dedicated-sangh-volunteer/article67646075.ece |url-status=live }}</ref>

He is married to Geeta Sharma and has two sons. His elder son is preparing for [[Union Public Service Commission|UPSC]] (CSE) and has a private business, while his younger son is a doctor who completed his [[MBBS]].<ref name="India TV, Personal details">{{Cite news|title=राजस्थान के नए मुख्यमंत्री भजन लाल शर्मा के परिवार में कौन-कौन है? बेटे करते हैं ये काम|url=https://www.indiatv.in/rajasthan/bhajan-lal-sharma-family-chief-minister-of-rajasthan-sons-do-this-work-2023-12-12-1007909|website=India TV|language=hi|date=12 December 2023|access-date=12 December 2023|archive-date=12 December 2023|archive-url=https://web.archive.org/web/20231212194912/https://www.indiatv.in/rajasthan/bhajan-lal-sharma-family-chief-minister-of-rajasthan-sons-do-this-work-2023-12-12-1007909|url-status=live}}</ref>

==Political career==
Sharma began his political career with the [[Rashtriya Swayamsevak Sangh]] (RSS) during his school days through its student wing, the [[Akhil Bharatiya Vidyarthi Parishad]] (ABVP). In 1990, he participated in the ABVP's {{Lang|hi|Kashmir Bachao Andolan}} march to [[Srinagar]] amid the [[exodus of Kashmiri Hindus]] and was arrested in [[Udhampur]]. He was also arrested in 1992 for his involvement in the [[Ayodhya dispute|Ram Janmabhoomi agitation]] during the [[Demolition of the Babri Masjid|Babri Mosque demolition]].<ref name="TheHindu"/> He later went on to become the president of the ABVP in Nadbai and the district co-convener in Bharatpur.<ref name="IndiaToday"/>

In the early 1990s, Sharma joined the [[Bharatiya Janata Yuva Morcha]] (BJYM) and served as its district president thrice. He was elected as the sarpanch of his native village at the age of 27, serving two consecutive terms.<ref name="The Indian Express-BLSharma"/> Additionally, he held the position of district president for the BJP in Bharatpur. Furthermore, he served as the vice president of the [[Bharatiya Janata Party, Rajasthan]], from 2014 to 2016, and later as the General Secretary from 2016 to 2023.<ref name="TheHindu"/><ref>{{Cite news|title=Low-profile Bhajan Lal Sharma is known for command on organisational matters|url=https://www.thehindu.com/elections/rajasthan-assembly/low-profile-bjp-leader-bhajan-lal-surpasses-veterans-to-serve-as-14th-cm-of-rajasthan/article67631691.ece|website=The Hindu|language=en|date=12 December 2023|access-date=13 December 2023|archive-date=13 December 2023|archive-url=https://web.archive.org/web/20231213034935/https://www.thehindu.com/elections/rajasthan-assembly/low-profile-bjp-leader-bhajan-lal-surpasses-veterans-to-serve-as-14th-cm-of-rajasthan/article67631691.ece|url-status=live}}</ref>

Sharma unsuccessfully contested the [[2003 Rajasthan Legislative Assembly election|2003 Assembly election]] from the [[Nadbai Assembly constituency]] in [[Bharatpur district|Bharatpur]] on the [[Rajasthan Samajik Nyaya Manch|Rajasthan Samajik Nyay Manch]] (RSNM)'s ticket and finished fifth, getting just over 5,900 votes and with 6.28% vote share he lost his deposit.<ref>{{Cite web|date=2023-12-12|title=Who is Bhajan Lal Sharma, BJP's pick for Rajasthan chief minister? Check wealth, education details|url=https://www.hindustantimes.com/india-news/who-is-bhajan-lal-sharma-bjps-pick-for-rajasthan-chief-minister-101702378923568.html|access-date=2023-12-12|website=Hindustan Times|language=en|archive-date=12 December 2023|archive-url=https://web.archive.org/web/20231212123706/https://www.hindustantimes.com/india-news/who-is-bhajan-lal-sharma-bjps-pick-for-rajasthan-chief-minister-101702378923568.html|url-status=live}}</ref><ref>{{Cite web|date=2023-12-13|title=What is Losing deposit in election ?|url=https://www.business-standard.com/about/what-is-losing-deposit-in-election|access-date=2023-12-13|website=Business Standard|language=en|archive-date=13 December 2023|archive-url=https://web.archive.org/web/20231213092440/https://www.business-standard.com/about/what-is-losing-deposit-in-election|url-status=live}}</ref>

Following the [[2023 Rajasthan Legislative Assembly election]], Sharma was elected as an MLA from the [[Sanganer Assembly constituency]] and was appointed the 14th [[Chief Minister of Rajasthan]].<ref>{{Cite news |last= |first= |date=2023-12-12 |title=Bhajan Lal Sharma to be Chief Minister of Rajasthan |url=https://www.thehindu.com/elections/rajasthan-assembly/bhajan-lal-sharma-chief-minister-of-rajasthan/article67630427.ece |url-status=live |archive-url=https://web.archive.org/web/20231217094723/https://www.thehindu.com/elections/rajasthan-assembly/bhajan-lal-sharma-chief-minister-of-rajasthan/article67630427.ece |archive-date=17 December 2023 |access-date=2023-12-12 |work=The Hindu |language=en-IN |issn=0971-751X}}</ref><ref name=vns>{{Cite web|last=Kumar|first=Devesh|date=2023-12-12|title=Rajasthan news: Vasundhara Raje suggested Bhajanlal Sharma's name for CM post|url=https://www.livemint.com/politics/news/rajasthan-news-former-cm-vasundhara-raje-suggested-bhajanlal-sharmas-name-for-cm-post-says-rajnath-singh-11702378556903.html|access-date=2023-12-12|website=mint|language=en|archive-date=12 December 2023|archive-url=https://web.archive.org/web/20231212123707/https://www.livemint.com/politics/news/rajasthan-news-former-cm-vasundhara-raje-suggested-bhajanlal-sharmas-name-for-cm-post-says-rajnath-singh-11702378556903.html|url-status=live}}</ref>

===Chief Minister of Rajasthan (2023 - present)===
On 12 December 2023, he was appointed the 14th Chief Minister of Rajasthan by the [[Bharatiya Janata Party]], with two deputy CMs, [[Diya Kumari]] and [[Prem Chand Bairwa]].<ref name="India Today CM name">{{Cite news|title=Bhajan Lal Sharma is next Rajasthan Chief Minister, Vasundhara Raje proposes name|url=https://www.indiatoday.in/india/story/bhajanlal-sharma-elected-new-rajasthan-chief-minister-2475058-2023-12-12|website=India Today|language=en|date=12 December 2023|access-date=13 December 2023|archive-date=12 December 2023|archive-url=https://web.archive.org/web/20231212111812/https://www.indiatoday.in/india/story/bhajanlal-sharma-elected-new-rajasthan-chief-minister-2475058-2023-12-12|url-status=live}}</ref><ref name="News 18 CM name">{{Cite news|title=Bhajanlal Sharma To Be Rajasthan CM: 1st-time MLA, Upper Caste Leader, All About BJP's Surprise Pick|url=https://www.news18.com/politics/bhajan-lal-sharma-to-be-new-cm-chief-minister-of-rajasthan-announced-bjp-8700798.html|website=News 18|language=en|date=12 December 2023|access-date=13 December 2023|archive-date=13 December 2023|archive-url=https://web.archive.org/web/20231213021440/https://www.news18.com/politics/bhajan-lal-sharma-to-be-new-cm-chief-minister-of-rajasthan-announced-bjp-8700798.html|url-status=live}}</ref> He, along with his two deputies, was sworn in as Rajasthan's new CM on 15 December 2023.<ref>{{Cite web |title=सूचना एवं जनसम्पर्क विभाग, राजस्थान सरकार। |url=https://dipr.rajasthan.gov.in/press-release-detail/127687/85 |access-date=2023-12-15 |website=dipr.rajasthan.gov.in |archive-date=15 December 2023 |archive-url=https://web.archive.org/web/20231215054437/https://dipr.rajasthan.gov.in/press-release-detail/127687/85 |url-status=live }}</ref>

==See also==
*[[Bhajan Lal Sharma ministry]]
*[[Government of Rajasthan]]
*[[List of chief ministers of Rajasthan]]

==References==
{{Reflist}}

{{s-start}}
{{s-off}}
{{s-bef | before = [[Ashok Gehlot]] }}
{{s-ttl| title = Chief Minister of Rajasthan | years = 2023–present }}
{{s-inc}}
{{s-bef | before = [[Ashok Lahoty]] }}
{{s-ttl | title = Member of the [[Rajasthan Legislative Assembly]] for [[Sanganer Assembly constituency|Sanganer]] | years = 2023–present }}
{{s-inc}}
{{s-end}}

{{Chief Ministers of Rajasthan}}
{{Bharatiya Janata Party chief ministers|state=collapsed}}
{{Bharatiya Janata Party}}
{{Authority control}}
{{Current Indian Chief Ministers}}
{{DEFAULTSORT:Sharma, Bhajan Lal}}
[[Category:1966 births]]
[[Category:Living people]]
[[Category:Rajasthan MLAs 2023–2028]]
[[Category:People from Bharatpur district]]
[[Category:Chief ministers of Rajasthan]]
[[Category:Chief ministers from Bharatiya Janata Party]]
[[Category:University of Rajasthan alumni]]
[[Category:Bharatiya Janata Party politicians from Rajasthan]]

Make Love Not Scars

2026-04-25T20:35:16Z

Surendra Sharma: stub

{{Short description|Indian nonprofit organisation based in New Delhi}}
{{Use dmy dates|date=February 2025}}
{{Infobox organization
| name = Make Love Not Scars
| image =
| image_size =
| caption =
| abbreviation =
| formation = 2014
| founder = [[Ria Sharma]]
| type = Nonprofit organization
| status = Active
| headquarters = [[New Delhi]], [[India]]
| region_served = India
| fields = Rehabilitation of acid attack survivors, legal aid, education, empowerment
| leader_title = CEO
| leader_name = Tania Singh
| website = [https://makelovenotscars.org makelovenotscars.org]
| awards = Warc Asian Strategy Prize (Gold, 2016); Innovative Channel Thinking Award (2016)
}}
'''Make Love Not Scars''' is an Indian [[nonprofit organisation]] based in [[New Delhi]].<ref>{{Cite news|url=https://qz.com/762840/an-indian-acid-attack-survivor-is-taking-her-inspiring-story-to-new-york-fashion-week/|title=An Indian acid attack survivor is taking her inspiring story to New York Fashion Week|last=Thomas|first=Maria|work=Quartz|access-date=2017-03-25|language=en-US}}</ref> The organisation works with [[acid attack]] survivors and was founded by [[Ria Sharma]]. [[Tania Singh]] is the C.E.O of Make Love Not Scars.<ref>{{Cite web|url=https://www.thehindu.com/news/national/telangana/attack-survivors-suffer-trauma/article28452659.ece|title=Attack survivors suffer trauma|first=K. Shiva|last=Shanker|date=15 July 2019|access-date=28 December 2021|website=The Hindu}}</ref> It assists with the rehabilitation of acid attack survivors, including providing financial, legal and educational help.<ref>Madrid, Isis, Sakuntala Narasimhan, and WeNews Staff. "This 23-year-old woman just opened India's first rehab clinic for acid attack survivors." Women's eNews. N.p., 6 April 2016. Web. 14 March 2017</ref> As of 6 November 2016, the organisation had helped approximately 70 survivors across India.<ref>"Life beyond the acid burn." ''The New Indian Express''. N.p., n.d. Web. 14 March 2017</ref>{{update inline|date=February 2025}} In 2017 the organisation faced allegations of misuse of funds and not forwarding them to the victims.<ref name="mid-day.com">{{Cite web|url=https://www.mid-day.com/articles/mumbai-cheating-fir-against-ngo-founder-for-duping-acid-attack-victims-of-lakhs/18884198|title=Mumbai: Cheating FIR against NGO founder for duping acid attack victims of lakhs|date=2018-01-03|website=Mid-day|language=en|access-date=2019-02-23}}</ref> The following year, the Mumbai police filed a closure report in the case and exonerated Sharma of all charges.

==History==
[[Ria Sharma]] founded Make Love Not Scars in 2014 while she was a fashion student at [[Leeds College of Art]] in the United Kingdom. As a part of her final year project, she set out to film a documentary on acid attack survivors in India.<ref>"Ria Sharma." Leeds College of Art. N.p., n.d. Web. 14 March 2017</ref> However, after witnessing the appalling conditions of acid attack survivors in India, she decided to start an organisation instead. She told Isis Madrid of [[Public Radio International]]:

"While I was shooting the documentary, I found myself in a government hospital burn ward. The things I saw in the ward left me forever changed. I had never witnessed so much misery all at once, I had never been surrounded by so much pain. When you are in that situation you have two options, you could either return to the comfort of your own life or you could try and make someone else's life comfortable."<ref>"This 23-year-old woman just opened India's first rehab clinic for acid attack survivors." Public Radio International. N.p., n.d. Web. 14 March 2017</ref>

The founder was also featured on Mithaq Kazimi's show ''Konversations'' in which she explored the need for social activism to be relatable to young people so they could help with various social ills.{{citation needed|date=February 2025}}

==Rehabilitation centre==
Make Love Not Scars launched India's first rehabilitation centre in New Delhi in March 2016. A first of a kind centre, it provides acid attack survivors with medical treatment, financial aid, legal support, vocational training and psychological treatment. The centre also helps survivors overcome their emotional struggles through recreational activities such as Yoga and poetry classes.<ref>"23-year-old woman runs first rehab clinic for acid attack survivors in India." ''The New York Times'', 13 April 2016. Web. 14 March 2017</ref>

The centre hosts various classes including [[English language|English]] and computer classes. Workshops consist of activities such as confidence building, makeup tutorials and legal expertise.<ref name=":0">{{Cite news|url=http://www.dnaindia.com/locality/south-delhi/delhi-get-first-its-kind-rehab-centre-acid-attack-survivors-86264|title=Delhi to get first-of-its-kind rehab centre for acid attack survivors|date=2016-02-25|website=DNA India|access-date=2017-07-29|language=en-US}}</ref>

The centre also contains accommodation for survivors who are seeking refuge from perpetrators of their attack. The centre is partly funded by community donations and largely funded by corporate funders.<ref>Sivasubramanian, Shami . "Woman opens India's first rehab clinic for acid attack survivors." Topics. N.p., n.d. Web. 14 March 2017</ref> Automotive giant [[Magneti Marelli]] donated approximately 31,000 [[USD]] for operational costs for the rehabilitation centre in the year 2016. Other corporate donors include Urban Clap and [[Urban Ladder]].<ref name=":0" />

==Criticism==
In 2017 the organisation faced allegations of misuse of funds collected for acid attack survivors. ''Mid-day'', a newspaper in India, had revealed how the organisation had collected donations under the pretext of helping the victims, but kept all or most of the money. After the report, the organisation pledged to give the victims their money.<ref>{{Cite web|url=https://www.mid-day.com/articles/mumbai-another-acid-attack-victim-claims-money-from-ngo-never-reached-her/18781189|title=Mumbai: Another acid attack victim claims money from NGO never reached her|date=2017-11-29|website=Mid-day|language=en|access-date=2019-02-23}}</ref> Sharma maintained her innocence through all statements given to ''Mid-day'' and after further investigation by online media agency, The Logical Indian, it was found that the newspaper's facts did not add up.<ref>{{Cite web|url=https://thelogicalindian.com/fact-check/make-love-not-scars/|title=Mid-Day Accuses NGO Of Fraudulent Fund Raiser; Facts Read Otherwise|first=Poorbita|last=Bagchi|date=1 December 2017|website=The Logical Indian|access-date=28 December 2021}}</ref> Sharma subsequently released a statement on her official Facebook handle with evidence of the newspaper's nonfactual reporting. Her post received online support which led to ''Mid-day'' wanting to mediate.<ref>{{Cite web|url=https://www.facebook.com/login/?next=https%3A%2F%2Fwww.facebook.com%2Fria13sharma%2Fposts%2F10156278311842990%3F__tn__%3DK-R|title=Log into Facebook|website=Facebook|access-date=28 December 2021}}{{better source needed|date=February 2025}}</ref> Sharma's side of the story was then published by the newspaper ''DNA'' shedding further light on ''Mid-day''{{'s}} reporting.<ref>{{Cite web|url=https://www.dnaindia.com/india/report-acid-attack-activist-ria-sharma-accuses-paper-of-biased-reporting-after-getting-booked-for-duping-acid-attack-victims-2592485|title=Acid attack activist Ria Sharma accuses paper of 'biased reporting' after getting booked for duping victims|website=DNA India|access-date=28 December 2021}}</ref> In June 2018, the Mumbai police filed a closure report in Sharma's case and exonerated her of all charges. The closure report further confirmed that she was falsely implicated and it is yet to be determined if Sharma will press charges of her own.<ref name="mid-day.com"/>

==Campaigns==
===#EndAcidSale===
On 30 August 2015, Make Love Not Scars released a series of beauty tutorials calling for a complete ban on the over-the-counter sale of [[acid]]. The campaign ''#EndAcidSale'' was created in collaboration with the creative agency [[Ogilvy and Mather]]. The face of the campaign is acid attack survivor [[Reshma Qureshi]] and she is seen giving beauty tips through a series of tutorials on applying eyeliner, lipstick and how to get rid of dark spots.<ref name=lighthouseinsights>{{Cite web |url=http://lighthouseinsights.in/endacidsale-make-love-not-scars.html/ |title=Acid Attack Survivor Shares Beauty Tips in Petition Campaign #EndAcidSale | Lighthouse Insights |access-date=2017-06-05 |archive-date=2017-07-29 |archive-url=https://web.archive.org/web/20170729135107/http://lighthouseinsights.in/endacidsale-make-love-not-scars.html/ |url-status=dead}}</ref>

The videos created for ''#EndAcidSale'' guided viewers towards a [[petition]] addressed to the [[Government of India]], demanding a complete ban on toilet-cleaning acid and a stronger implementation of the Poisons Act and Poisons Rules. The videos, titled "Beauty Tips by Reshma" went viral and have received over 2 million views to date{{when|date=February 2025}} and the petition garnered over 225,000 signatures within the first two weeks itself.<ref name=lighthouseinsights/> On 8 December 2015, the [[Supreme Court of India]] directed Indian states to enforce the ban on over-the-counter sale of acid.<ref>{{Cite web |url=http://awards.kyoorius.com/2016/creative/beauty-tips-by-reshma-direct-response-film-advertising |title=Beauty Tips by Reshma | Kyoorius Creative Awards |access-date=2017-06-05 |archive-date=2018-03-15 |archive-url=https://web.archive.org/web/20180315105224/http://awards.kyoorius.com/2016/creative/beauty-tips-by-reshma-direct-response-film-advertising |url-status=dead}}</ref>

The campaign ''#EndAcidSale'' went viral and was covered extensively in Indian and international news. The success of the campaign was featured on ''[[The New York Times]]'', ''[[The Wall Street Journal]]'', [[BBC World]], [[MailOnline]], [[ABC News (United States)|ABC News]], ''[[Time (magazine)|Time]]'' magazine, [[Mashable]], ''[[Daily Mirror]]'', ''[[People (magazine)|People]]'' magazine, ''[[The Independent]]'', ''[[The Huffington Post]]'' and by influencers, politicians and celebrities such as [[Amitabh Bachchan]] and [[Ashton Kutcher]].<ref>{{Cite web|url=https://www.exchange4media.com/marketing-news/ogilvy%27sendacidsale-campaign-goes-viral-61714.html|title=Ogilvy's #EndAcidSale campaign goes viral |website=Exchange 4 Media|date=19 September 2015 |access-date=28 December 2021}}</ref>

====Awards====
The campaign #EndAcidSale was awarded multiple awards for marketing. These include:
*Gold and Innovative Channel Thinking Award at the Warc Asian Prize for Asian Strategy 2016.<ref>{{Cite web|url=https://www.campaignindia.in/article/warc-prize-for-asian-strategy-2016-bbdos-share-the-load-bags-grand-prix/431203|title=Warc Prize for Asian Strategy 2016: BBDO's 'Share The Load' bags Grand Prix | Awards|website=Campaign India|access-date=28 December 2021}}</ref>

==References==
{{Reflist}}

[[Category:Non-profit organisations based in India]]

Awadhesh Kumar Singh

2026-04-18T22:52:05Z

Surendra Sharma: Started a bio...

{{Short description|Indian politician}}
{{BLP sources|date=June 2022|Indian Politician|reason=He is a [[Uttar Pradesh Legislative Council|Member of Legislative Council]]}}
{{Use dmy dates|date=June 2022}}
{{Use Indian English|date=June 2022}}
{{Infobox officeholder
| name = Awadhesh Kumar Singh
| father = Late Jagatpal Singh
| party = [[Bharatiya Janata Party]] (2016-Present)
| birth_date = {{Birth date and age|1962|1|1|df=y}}
| source =
| birth_place = [[Tarabganj]], [[Uttar Pradesh]]
| constituency = ''Gonda-Balrampur Local Authorities''
| office = [[Uttar Pradesh Legislative Council|Member of Uttar Pradesh Legislative Council]]
| predecessor = Mahfooz Khan
| mother =
| image =
| office1 = [[16th Uttar Pradesh Assembly|Member of Uttar Pradesh Legislative Assembly]]
| constituency1 = ''[[Tarabganj Assembly constituency|Tarabganj]]''
| term_start1 = 6 March 2012
| term_end1 = 11 March 2017
| successor1 = [[Prem Narayan Pandey]]
| nickname = '''Manju Singh'''
| predecessor1 = ''constituency established''
| other_party = [[Samajwadi Party]] (2008-2016)
| term_start = 12 April 2022
}}

'''Awadhesh Kumar Singh alias Manju Singh''', is an [[Indian politician]] from [[Gonda, Uttar Pradesh]].

== Career ==
Singh is a Member of the [[Uttar Pradesh Legislative Council]], representing Gonda-Balrampur Local Authorities, since 2022 as a [[Bharatiya Janata Party]] member. He was a Member of the [[16th Uttar Pradesh Assembly]], from [[Tarabganj Assembly constituency|Tarabganj]], from 2012 to 2017, on the [[Samajwadi Party]] ticket.<ref>{{Cite web |title=Uttar Pradesh Legislative Assembly |url=http://uplegisassembly.gov.in/hi_mlaBiodata.htm |url-status=dead |archive-url=https://web.archive.org/web/20160811143300/http://uplegisassembly.gov.in/hi_mlaBiodata.htm |archive-date=11 August 2016 |access-date=20 July 2016}}</ref>

==References==
{{Reflist}}
{{Bharatiya Janata Party}}

{{DEFAULTSORT:Singh, Awadhesh Kumar}}
[[Category:1962 births]]
[[Category:Living people]]
[[Category:Uttar Pradesh MLAs 2012–2017]]
[[Category:Members of the Uttar Pradesh Legislative Council]]
[[Category:Samajwadi Party politicians from Uttar Pradesh]]
[[Category:Bharatiya Janata Party politicians from Uttar Pradesh]]
[[Category:People from Gonda district]]

{{UttarPradesh-BJP-politician-stub}}
{{UttarPradesh-SP-politician-stub}}

Tapan Chatterjee

2026-04-07T03:09:43Z

Surendra Sharma: put up basic stub nd citations...

{{Short description|Indian politician}}
{{Use dmy dates|date=December 2024}}
{{Use Indian English|date=December 2024}}

'''Tapan Chatterjee''' (born 1955)<ref name=":0">{{Cite web |title=Tapan Chatterjee(All India Trinamool Congress(AITC)):Constituency- PURBASTHALI UTTAR(PURBA BARDHAMAN) - Affidavit Information of Candidate |url=https://www.myneta.info/WestBengal2021/candidate.php?candidate_id=1567 |access-date=2024-12-19 |website=www.myneta.info}}</ref> is an Indian politician from [[West Bengal]]. He is a member of the [[West Bengal Legislative Assembly]] from Purbasthali Uttar Assembly constituency in [[Purba Bardhaman district]]. He won the [[2021 West Bengal Legislative Assembly election]] representing the All India Trinamool Congress.<ref>{{Cite web |last=Live |first=A. B. P. |title=Purbasthali-uttar Election Results 2021 LIVE, Vote Counting, Leading, Trailing, Winners West bengal Purbasthali-uttar Constituency Election News LIVE |url=https://news.abplive.com/elections/west-bengal-election-results-2021/wb-purbasthali-uttar-constituency-269.html |access-date=2024-12-19 |website=news.abplive.com |language=en}}</ref>

== Early life and education ==
Chatterjee is from [[Purbasthali]], Purba Bardhaman district, West Bengal. He is the son of late Kalipada Chatterjee. He studied Class 12 at Purbasthali Nilmani Brahamchari Institution and passed the examinations conducted by the [[West Bengal Council of Higher Secondary Education]] in 1974.<ref name=":0" />

== Career ==
Chatterjee won from [[Purbasthali Uttar Assembly constituency]] representing [[All India Trinamool Congress]] in the 2021 West Bengal Legislative Assembly election. He polled 92,421 votes and defeated his nearest rival, Gobardhan Das of the [[Bharatiya Janata Party]], by a margin of 6,706 votes.<ref>{{Cite web |date=2021-05-02 |title=Purbasthali Uttar, West Bengal Assembly election result 2021 |url=https://www.indiatoday.in/elections/story/purbasthali-uttar-west-bengal-assembly-election-result-2021-live-updates-1797351-2021-05-01 |access-date=2024-12-19 |website=India Today |language=en}}</ref> He first became an MLA in the [[2011 West Bengal Legislative Assembly election]] representing the then [[Purbasthali Assembly constituency]].<ref>{{Cite web |title=Purbasthali Uttar Election Result 2021 Live Updates: Tapan Chatterjee Of TMC Wins. |url=https://www.news18.com/news/politics/purbasthali-uttar-election-result-2021-live-updates-purbasthali-uttar-winner-loser-leading-trailing-mla-margin-3695591.html |access-date=2024-12-19 |website=News18 |language=en}}</ref><ref>{{Cite web |title=Purbasthali Uttar Assembly Constituency Election Result - Legislative Assembly Constituency |url=https://resultuniversity.com/election/purbasthaliuttar-west-bengal-assembly-constituency |access-date=2024-12-19 |website=resultuniversity.com}}</ref>

== References ==
{{Reflist}}
{{Authority control}}

{{DEFAULTSORT:Chatterjee, Tapan}}
[[Category:1955 births]]
[[Category:Living people]]
[[Category:Trinamool Congress politicians from West Bengal]]
[[Category:West Bengal MLAs 2021–2026]]
[[Category:West Bengal MLAs 2011–2016]]
[[Category:Politicians from Purba Bardhaman district]]

Tamannaah Bhatia filmography

2026-03-29T14:10:00Z

Surendra Sharma: expanded content

{{Short description|none}}
{{Use Indian English|date=November 2023}}
{{Use dmy dates|date=May 2025}}
{{Infobox filmography list
| image = File:Tamannaah Bhatia at the Aaj Ki Raat launch event (cropped).jpg
| caption = Bhatia in 2024
| film = 87
| television = 6
| hosting = 1
}}

[[Tamannaah Bhatia]] is an Indian actress known for her work in [[Telugu language|Telugu]], [[Tamil language | Tamil]] and [[Hindi]] cinema. She debuted as a leading lady in the Hindi film ''[[Chand Sa Roshan Chehra]]'' in 2005.<ref>{{Cite web |date=21 December 2022 |title=Did You Know Tamannaah Bhatia Started Her Film Career At The Age Of 17? |url=https://www.news18.com/news/movies/did-you-know-tamannaah-bhatia-started-her-film-career-at-the-age-of-17-6663697.html |url-status=live |archive-url=https://web.archive.org/web/20221222063825/https://www.news18.com/news/movies/did-you-know-tamannaah-bhatia-started-her-film-career-at-the-age-of-17-6663697.html |archive-date=22 December 2022 |access-date=26 May 2024 |website=News18}}</ref> That same year marked her Telugu debut with [[Sree (film)|''Sree'']], followed by her Tamil debut in [[Kedi (2006 film)|''Kedi'']] the subsequent year.<ref>{{Cite web |date=21 December 2022 |title=Happy Birthday Tamannaah! Interesting landmarks in Baahubali actress' career |url=https://economictimes.indiatimes.com/news/new-updates/happy-birthday-tamannaah-interesting-landmarks-in-baahubali-actress-career/articleshow/96398377.cms |url-status=live |archive-url=https://web.archive.org/web/20231009115702/https://economictimes.indiatimes.com/news/new-updates/happy-birthday-tamannaah-interesting-landmarks-in-baahubali-actress-career/articleshow/96398377.cms |archive-date=9 October 2023 |access-date=26 May 2024 |website=The Economic Times}}</ref> She experienced a breakthrough in her career with the success of [[Happy Days (2007 film)|''Happy Days'']] and ''[[Kalloori]]'' in 2007, portraying college students in both films.<ref>{{Cite web |date=10 June 2019 |title=I set out to become an actor, ended up being a heroine: Tamannaah Bhatia |url=https://www.dnaindia.com/bollywood/report-i-set-out-to-become-an-actor-ended-up-being-a-heroine-tamannaah-bhatia-2759325 |url-status=live |archive-url=https://web.archive.org/web/20240526090308/https://www.dnaindia.com/bollywood/report-i-set-out-to-become-an-actor-ended-up-being-a-heroine-tamannaah-bhatia-2759325 |archive-date=26 May 2024 |access-date=26 May 2024 |website=DNA India}}</ref><ref>{{Cite web |date=31 December 2007 |title=I want to make a mark in the South |url=https://www.rediff.com/movies/report/sstam/20071231.htm |url-status=live |archive-url=https://web.archive.org/web/20230719061254/https://www.rediff.com/movies/report/sstam/20071231.htm |archive-date=19 July 2023 |access-date=26 May 2024 |website=Rediff}}</ref> Her journey continued with box-office hits like [[Ayan (film)|''Ayan'']],<ref>{{Cite web |date=15 May 2020 |title=From 'Kaakha Kaakha' to 'Singam': Five blockbuster films of Suriya that made him a bankable star |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/from-kaakha-kaakha-to-singam-five-blockbuster-films-of-suriya-that-made-him-a-bankable-star/etphotostory/75759356.cms |url-status=live |archive-url=https://web.archive.org/web/20240526090111/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/from-kaakha-kaakha-to-singam-five-blockbuster-films-of-suriya-that-made-him-a-bankable-star/photostory/75759356.cms? |archive-date=26 May 2024 |access-date=26 May 2024 |website=The Times of India}}</ref> [[100% Love (2011 film)|''100% Love'']],<ref name="100%Love">{{Cite web |last=Maddala |first=Asha |date=6 May 2020 |title=9 Years for 100% Love: 4 reasons why we never get tired of watching this Naga Chaitanya and Tamannaah starrer |url=https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/9-years-for-100-love-4-reasons-why-we-never-get-tired-of-watching-this-naga-chaitanya-and-tamannaah-starrer/photostory/75573554.cms |url-status=live |archive-url=https://web.archive.org/web/20200702152900/https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/9-years-for-100-love-4-reasons-why-we-never-get-tired-of-watching-this-naga-chaitanya-and-tamannaah-starrer/photostory/75573554.cms |archive-date=2 July 2020 |access-date=26 May 2024 |website=The Times of India}}</ref> ''[[Siruthai]]'',<ref>{{Cite web |date=19 March 2011 |title=Suraj Waits For Karthi |url=https://www.behindwoods.com/tamil-movie-news-1/mar-11-03/karthi-suraj-19-03-11.html |url-status=live |archive-url=https://web.archive.org/web/20231216042610/http://www.behindwoods.com/tamil-movie-news-1/mar-11-03/karthi-suraj-19-03-11.html |archive-date=16 December 2023 |access-date=26 May 2024 |website=Behindwoods.com}}</ref> ''[[Tadakha]]'', ''[[Oosaravelli]]'',<ref>{{Cite web |last=Balachandran |first=Logesh |date=28 November 2020 |title=After Prabhas's Chatrapathi, Jr NTR's Oosaravelli to be remade in Hindi? |url=https://www.indiatoday.in/movies/regional-cinema/story/after-prabhas-s-chatrapathi-jr-ntr-s-oosaravelli-to-be-remade-in-hindi-1744889-2020-11-28 |url-status=live |archive-url=https://web.archive.org/web/20201208022122/https://www.indiatoday.in/movies/regional-cinema/story/after-prabhas-s-chatrapathi-jr-ntr-s-oosaravelli-to-be-remade-in-hindi-1744889-2020-11-28 |archive-date=8 December 2020 |access-date=26 May 2024 |website=India Today}}</ref> [[Racha (film)|''Racha'']]<ref>{{Cite web |date=23 May 2012 |title=Ram Charan's Racha completes 50 days in 127 centers |url=https://timesofindia.indiatimes.com/entertainment/regional/telugu/news-interviews/Ram-Charans-Racha-completes-50-days-in-127-centers/articleshow/13406133.cms |url-status=live |archive-url=https://web.archive.org/web/20231213203012/https://timesofindia.indiatimes.com/entertainment/regional/telugu/news-interviews/Ram-Charans-Racha-completes-50-days-in-127-centers/articleshow/13406133.cms |archive-date=13 December 2023 |access-date=26 May 2024 |website=The Times of India}}</ref> and [[Veeram (2014 film)|''Veeram'']]<ref>{{Cite web |last=WebTeam |first=ZeeBiz |date=28 July 2019 |title=REVEALED! Bachchan Pandey is official remake of this BLOCKBUSTER! It has already been remade in two languages! Know how much it earned |url=https://www.zeebiz.com/india/news-akshay-kumar-bachchan-pandey-remake-of-thala-ajith-veeram-katamarayudu-pawan-kalyan-odeya-darshan-106824 |url-status=live |archive-url=https://web.archive.org/web/20200126072540/https://www.zeebiz.com/india/news-akshay-kumar-bachchan-pandey-remake-of-thala-ajith-veeram-katamarayudu-pawan-kalyan-odeya-darshan-106824 |archive-date=26 January 2020 |access-date=26 May 2024 |website=Zee Business}}</ref> as well as setbacks such as ''[[Ananda Thandavam]]'',<ref>{{Cite web |last=Srinivasan |first=Pavithra |date=10 April 2009 |title=Anandha Thandavam not as good as the novel |url=https://www.rediff.com/movies/review/review-anandha-thandavam/20090410.htm |url-status=live |archive-url=https://web.archive.org/web/20230718220328/https://www.rediff.com/movies/review/review-anandha-thandavam/20090410.htm |archive-date=18 July 2023 |access-date=18 July 2023 |website=Rediff}}</ref> ''[[Endukante Premanta]]'',<ref>{{Cite web |date=27 May 2016 |title=Despite no form, Ram blesses director |url=https://www.indiaglitz.com/despite-no-form-ram-blesses-director--news-159805 |url-status=live |archive-url=https://web.archive.org/web/20240526090059/https://www.indiaglitz.com/despite-no-form-ram-blesses-director--news-159805 |archive-date=26 May 2024 |access-date=26 May 2024 |website=IndiaGlitz.com}}</ref> [[Himmatwala (2013 film)|''Himmatwala'']],<ref>{{Cite web |date=30 May 2014 |title=Thank god 'Himmatwala' flopped: Sajid Khan |url=http://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/Thank-god-Himmatwala-flopped-Sajid-Khan/articleshow/35770965.cms |url-status=dead |archive-url=https://web.archive.org/web/20150516014320/http://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/Thank-god-Himmatwala-flopped-Sajid-Khan/articleshow/35770965.cms |archive-date=16 May 2015 |access-date=16 May 2015 |website=The Times of India |agency=Indo-Asian News Service}}</ref> ''[[Humshakals]]'' and ''[[Aagadu]]''.<ref>{{Cite web |last=AS |first=Sashidhar |date=30 November 2014 |title=Telugu Movie News |url=https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/aagadu-was-a-failure-mahesh-babu/articleshow/45326005.cms |url-status=live |archive-url=https://web.archive.org/web/20220923184953/https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/aagadu-was-a-failure-mahesh-babu/articleshow/45326005.cms |archive-date=23 September 2022 |access-date=26 May 2024 |website=The Times of India}}</ref> Additionally, while she received critical acclaim and several accolades for her role in ''100% Love'',<ref name="100%Love" /> her performances in ''Himmatwala'' and ''Humshakals'' faced criticism.<ref>{{Cite web |date=6 May 2020 |title=Tamannaah on Himmatwala and Humshakals failure: 'It was too much of a blow' |url=https://www.hindustantimes.com/bollywood/tamannaah-on-himmatwala-and-humshakals-bombing-at-box-office-it-was-just-too-much-of-a-blow-for-me/story-B8ZfG9lJCe2dd1rprgTAvM.html |url-status=live |archive-url=https://web.archive.org/web/20231014182033/https://www.hindustantimes.com/bollywood/tamannaah-on-himmatwala-and-humshakals-bombing-at-box-office-it-was-just-too-much-of-a-blow-for-me/story-B8ZfG9lJCe2dd1rprgTAvM.html |archive-date=14 October 2023 |access-date=26 May 2024 |website=Hindustan Times}}</ref>

In 2015, Bhatia received praised for her role in ''[[Baahubali: The Beginning]]'', which earned over ₹600 crore.<ref>{{Cite web |date=22 February 2019 |title=The Baahubali Effect: How Tamannaah Bhatia's Life Changed |url=https://www.ndtv.com/entertainment/the-baahubali-effect-how-tamannaah-bhatias-life-changed-2012496 |url-status=live |archive-url=https://web.archive.org/web/20240225065500/https://www.ndtv.com/entertainment/the-baahubali-effect-how-tamannaah-bhatias-life-changed-2012496 |archive-date=25 February 2024 |access-date=26 May 2024 |website=NDTV.com}}</ref><ref>{{Cite web |last=Sharma |first=Dipti |date=30 March 2017 |title=Baahubali 1 earned Rs 600 crore but made zero profit. The reason is Baahubali 2 |url=https://indianexpress.com/article/entertainment/telugu/baahubali-1-ss-rajamouli-earned-rs-600-crore-but-made-zero-profit-the-reason-is-baahubali-2-karan-johar-4592038/ |url-status=live |archive-url=https://web.archive.org/web/20220512190903/https://indianexpress.com/article/entertainment/telugu/baahubali-1-ss-rajamouli-earned-rs-600-crore-but-made-zero-profit-the-reason-is-baahubali-2-karan-johar-4592038/ |archive-date=12 May 2022 |access-date=26 May 2024 |website=The Indian Express}}</ref> She was praised for her performances in ''[[Oopiri]]'' and [[Dharma Durai (2016 film)|''Dharma Durai'']], and her double role in [[Devi (2016 film)|''Devi'']] was well received.<ref>{{Cite web |date=28 November 2016 |title=A great team leads to a successful film: Tamannaah Bhatia |url=https://indianexpress.com/article/entertainment/bollywood/tamannaah-bhatia-4399806/ |url-status=live |archive-url=https://web.archive.org/web/20230327115947/https://indianexpress.com/article/entertainment/bollywood/tamannaah-bhatia-4399806/ |archive-date=27 March 2023 |access-date=26 May 2024 |website=The Indian Express}}</ref> However, ''[[Vasuvum Saravananum Onna Padichavanga]]'',<ref>{{Cite web |last=Purushothaman |first=Kirubhakar |date=15 August 2015 |title=VSOP review: Vasuvum Saravananum Onna Padichavanga is a U-rated obscenity |url=https://www.indiatoday.in/movies/reviews/story/vsop-review-vasuvum-saravananum-onna-padichavanga-is-a-u-rated-obscenity-288350-2015-08-14 |url-status=live |archive-url=https://web.archive.org/web/20230405223808/https://www.indiatoday.in/movies/reviews/story/vsop-review-vasuvum-saravananum-onna-padichavanga-is-a-u-rated-obscenity-288350-2015-08-14 |archive-date=5 April 2023 |access-date=26 May 2024 |website=India Today}}</ref> [[Bengal Tiger (2015 film)|''Bengal Tiger'']]<ref>{{Cite web |last=Yellapantula |first=Suhas |date=12 December 2015 |title='Bengal Tiger' Loud, Banal and Boring |url=http://www.newindianexpress.com/entertainment/telugu/Bengal-Tiger-Loud-Banal-and-Boring/2015/12/12/article3172747.ece |archive-url=https://web.archive.org/web/20151213170349/http://www.newindianexpress.com/entertainment/telugu/Bengal-Tiger-Loud-Banal-and-Boring/2015/12/12/article3172747.ece |archive-date=13 December 2015 |access-date=13 December 2015 |website=The New Indian Express}}</ref> and ''[[Kaththi Sandai]]''<ref>{{Cite web |last=R |first=Manoj Kumar |date=23 December 2016 |title=Kaththi Sandai movie review: Skip this movie for your own good |url=https://indianexpress.com/article/entertainment/kaththi-sandai-movie-review-watching-this-movie-may-affect-your-mental-health-4441702/ |url-status=live |archive-url=https://web.archive.org/web/20221220084421/https://indianexpress.com/article/entertainment/kaththi-sandai-movie-review-watching-this-movie-may-affect-your-mental-health-4441702/ |archive-date=20 December 2022 |access-date=26 May 2024 |website=The Indian Express}}</ref> were less successful. In 2017, she reprised her role in ''[[Baahubali 2: The Conclusion]]'', which grossed over ₹1700 crore worldwide,<ref>{{Cite web |last=Entertainment desk |date=28 April 2024 |title=7 years of 'Baahubali 2: The Conclusion': Revisiting how Prabhas starrer broke all records post its release |url=https://www.moneycontrol.com/entertainment/movies/7-years-of-baahubali-2-the-conclusion-revisiting-how-prabhas-starrer-broke-all-records-post-its-release-article-12709827.html |url-status=live |archive-url=https://web.archive.org/web/20240429182037/https://www.moneycontrol.com/entertainment/movies/7-years-of-baahubali-2-the-conclusion-revisiting-how-prabhas-starrer-broke-all-records-post-its-release-article-12709827.html |archive-date=29 April 2024 |access-date=26 May 2024 |website=Moneycontrol}}</ref><ref>{{Cite web |date=12 November 2019 |title=Bigil beats Enthiran to emerge as 5th highest grossing south Indian film |url=https://www.hindustantimes.com/regional-movies/bigil-beats-rajinikanth-s-enthiran-to-emerge-as-5th-highest-grossing-south-indian-film/story-Fh8HldjIc7zFjQETSVtYQM.html |url-status=live |archive-url=https://web.archive.org/web/20221018064230/https://www.hindustantimes.com/regional-movies/bigil-beats-rajinikanth-s-enthiran-to-emerge-as-5th-highest-grossing-south-indian-film/story-Fh8HldjIc7zFjQETSVtYQM.html |archive-date=18 October 2022 |access-date=26 May 2024 |website=Hindustan Times}}</ref> while ''[[Anbanavan Asaradhavan Adangadhavan]]'' was a box office failure.<ref>{{Cite web |date=26 October 2021 |title=Filmmaker Michael Rayappan Files Complaint With Police Against Actor Simbu for Cheating |url=https://www.news18.com/news/movies/filmmaker-michael-rayappan-files-complaint-with-police-against-actor-simbu-for-cheating-4365935.html |url-status=live |archive-url=https://web.archive.org/web/20230927234835/https://www.news18.com/news/movies/filmmaker-michael-rayappan-files-complaint-with-police-against-actor-simbu-for-cheating-4365935.html |archive-date=27 September 2023 |access-date=26 May 2024 |website=News18}}</ref> In 2018, [[Sketch (2018 film)|''Sketch'']] received mixed reviews, but her performance was praised,<ref>{{Cite web |last=Menon |first=Thinkal |date=12 January 2018 |title=Sketch Movie Review {2.5/5}: Critic Review of Sketch by Times of India |url=https://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/sketch/movie-review/62470965.cms |url-status=live |archive-url=https://web.archive.org/web/20231102145251/https://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/sketch/movie-review/62470965.cms |archive-date=2 November 2023 |access-date=2 November 2023 |website=The Times of India}}</ref><ref>{{Cite web |last=K |first=Janani |date=16 April 2019 |title=Sketch Movie Review: Vikram shines in this passable commercial entertainer |url=https://www.indiatoday.in/movies/reviews/story/sketch-movie-review-tamannah-vikram-babu-raj-1143754-2018-01-12 |url-status=live |archive-url=https://web.archive.org/web/20230415112339/https://www.indiatoday.in/movies/reviews/story/sketch-movie-review-tamannah-vikram-babu-raj-1143754-2018-01-12 |archive-date=15 April 2023 |access-date=26 May 2024 |website=India Today}}</ref> while ''[[Naa Nuvve]]'' and ''[[Next Enti?]]'' were poorly received.<ref>{{Cite web |date=26 June 2018 |title=Naa Nuvve Closing Box Office Collections Report |url=https://www.thehansindia.com/posts/index/Cinema/2018-06-26/Naa-Nuvve-Closing-Box-Office-Collections-Report/392566 |url-status=live |archive-url=https://web.archive.org/web/20230827185228/https://www.thehansindia.com/posts/index/Cinema/2018-06-26/Naa-Nuvve-Closing-Box-Office-Collections-Report/392566 |archive-date=27 August 2023 |access-date=26 May 2024 |website=Andhra Pradesh Breaking News, Telangana News, Hyderabad News Updates, National News, Breaking News}}</ref><ref>{{Cite web |last=Bahukhandi |first=Shubham |date=13 December 2018 |title=Telugu Next Enti 7th Day Box office Collection Total Seventh Day... |url=https://www.dekhnews.com/entertainment/next-enti-7th-day-box-office-collection/ |url-status=usurped |archive-url=https://web.archive.org/web/20230827190732/https://www.dekhnews.com/entertainment/next-enti-7th-day-box-office-collection/ |archive-date=27 August 2023 |access-date=26 May 2024 |website=Dekh News}}</ref> In 2019, she starred in the blockbuster ''[[F2: Fun and Frustration]]''<ref>{{Cite web |last=Kumar |first=Gabbeta Ranjith |date=25 January 2019 |title=F2 box office collection: Venkatesh and Varun Tej film crosses Rs 100 crore mark |url=https://indianexpress.com/article/entertainment/telugu/f2-box-office-collection-venkatesh-varun-tej-film-crosses-rs-100-crore-mark-5555410/ |url-status=live |archive-url=https://web.archive.org/web/20190422134832/https://indianexpress.com/article/entertainment/telugu/f2-box-office-collection-venkatesh-varun-tej-film-crosses-rs-100-crore-mark-5555410/ |archive-date=22 April 2019 |access-date=26 May 2024 |website=The Indian Express}}</ref> and delivered notable performances in ''[[Kanne Kalaimaane]]'',<ref>{{Cite web |last=Purushothaman |first=Kirubhakar |date=22 February 2019 |title=Kanne Kalaimane movie review: Udhayanidhi Stalin and Tamannaah shine in optimistic romantic drama |url=https://www.indiatoday.in/movies/regional-cinema/story/kanne-kalaimane-movie-review-udhayanidhi-stalin-and-tamannaah-shine-in-optimistic-romantic-drama-1462180-2019-02-22 |url-status=live |archive-url=https://web.archive.org/web/20230618033901/https://www.indiatoday.in/movies/regional-cinema/story/kanne-kalaimane-movie-review-udhayanidhi-stalin-and-tamannaah-shine-in-optimistic-romantic-drama-1462180-2019-02-22 |archive-date=18 June 2023 |access-date=26 May 2024 |website=India Today}}</ref> ''[[Devi 2]]'',<ref>{{Cite web |date=30 May 2019 |title=Devi 2 Movie Review: Five reasons to watch this Prabhudeva-Tamannaah starrer |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/five-reasons-to-watch-this-prabhudeva-tamannaah-starrer/articleshow/69581300.cms |url-status=live |archive-url=https://web.archive.org/web/20230618033908/https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/five-reasons-to-watch-this-prabhudeva-tamannaah-starrer/articleshow/69581300.cms |archive-date=18 June 2023 |access-date=26 May 2024 |website=The Times of India}}</ref> [[Khamoshi (2019 film)|''Khamoshi'']],<ref>{{Cite web |last=Sharma |first=Devesh |date=14 June 2019 |title=Movie Review: Khamoshi |url=https://www.filmfare.com/reviews/bollywood-movies/movie-review-khamoshi-34373.html |url-status=live |archive-url=https://web.archive.org/web/20230619131455/https://www.filmfare.com/reviews/bollywood-movies/movie-review-khamoshi-34373.html |archive-date=19 June 2023 |access-date=26 May 2024 |website=Filmfare.com}}</ref> ''[[Sye Raa Narasimha Reddy]]''<ref>{{Cite web |last=Dundoo |first=Sangeetha Devi |date=2 October 2019 |title='Sye Raa Narasimha Reddy' review: Chiranjeevi leads from the front in this story of valour |url=https://www.thehindu.com/entertainment/movies/sye-raa-narasimha-reddy-review-chiranjeevi-leads-from-the-front-in-this-story-of-valour/article29573991.ece |url-status=live |archive-url=https://web.archive.org/web/20221111113055/https://www.thehindu.com/entertainment/movies/sye-raa-narasimha-reddy-review-chiranjeevi-leads-from-the-front-in-this-story-of-valour/article29573991.ece |archive-date=11 November 2022 |access-date=26 May 2024 |website=The Hindu}}</ref> and [[Petromax (2019 film)|''Petromax'']].<ref>{{Cite web |last=Aiyappan |first=Ashameera |date=12 October 2019 |title='Petromax' movie review: This Tamannaah starrer is a not-so-bright film |url=https://www.newindianexpress.com/entertainment/review/2019/Oct/12/petromax-movie-review-this-tamannaah-starrer-is-a-not-so-bright-film-2046233.html |url-status=live |archive-url=https://web.archive.org/web/20230618033909/https://www.newindianexpress.com/entertainment/review/2019/oct/12/petromax-movie-review-this-tamannaah-starrer-is-a-not-so-bright-film-2046233.amp |archive-date=18 June 2023 |access-date=26 May 2024 |website=The New Indian Express}}</ref>

In 2021, Bhatia starred in the streaming series [[11th Hour (TV series)|''11th Hour'']] and ''[[November Story]]'' both receiving mixed receptions despite her praised acting.<ref>{{Cite web |last=Vanaparthy |first=Sravan |date=1 April 2021 |title=11th Hour Season 1 Review: Tamannaah makes a stellar debut on OTT |url=https://timesofindia.indiatimes.com/web-series/reviews/telugu/11th-hour/season-1/seasonreview/81821863.cms |url-status=live |archive-url=https://web.archive.org/web/20230827185233/https://timesofindia.indiatimes.com/web-series/reviews/telugu/11th-hour/season-1/seasonreview/81821863.cms |archive-date=27 August 2023 |access-date=26 May 2024 |website=The Times of India}}</ref><ref>{{Cite web |date=21 May 2021 |title='November Story' review: This Tamannaah-starrer has too much talk, too little action |url=https://www.thehindu.com/entertainment/movies/november-story-review-this-tamannaah-starrer-has-too-much-talk-too-little-action/article34613717.ece |url-status=live |archive-url=https://web.archive.org/web/20230827185230/https://www.thehindu.com/entertainment/movies/november-story-review-this-tamannaah-starrer-has-too-much-talk-too-little-action/article34613717.ece |archive-date=27 August 2023 |access-date=26 May 2024 |website=The Hindu}}</ref> She gained acclaim for her roles in ''[[Seetimaarr]]''<ref>{{Cite web |last=Chowdhary |first=Y. Sunita |date=11 September 2021 |title='Seetimaarr' movie review: Sampath Nandi and Gopichand's film lives up to its title |url=https://www.thehindu.com/entertainment/reviews/seetimaarr-movie-review-sampath-nandi-and-gopichands-film-lives-up-to-its-title/article36399157.ece |url-status=live |archive-url=https://web.archive.org/web/20210911152543/https://www.thehindu.com/entertainment/reviews/seetimaarr-movie-review-sampath-nandi-and-gopichands-film-lives-up-to-its-title/article36399157.ece |archive-date=11 September 2021 |access-date=26 May 2024 |website=The Hindu}}</ref> and [[Maestro (2021 film)|''Maestro'']].<ref>{{Cite web |last=Ganeshan |first=Balakrishna |date=17 September 2021 |title=Maestro review: An engaging Telugu thriller from Nithiin and Tamannaah |url=https://www.thenewsminute.com/flix/maestro-review-engaging-telugu-thriller-nithiin-and-tamannaah-155424 |url-status=live |archive-url=https://web.archive.org/web/20240805211901/https://www.thenewsminute.com/flix/maestro-review-engaging-telugu-thriller-nithiin-and-tamannaah-155424 |archive-date=5 August 2024 |access-date=5 August 2024 |website=The News Minute}}</ref> The subsequent year saw her in the hit Telugu comedy ''[[F3: Fun and Frustration]]'', while ''[[Babli Bouncer]]'', ''[[Plan A Plan B]]'' and ''[[Gurthunda Seethakalam]]'' garnered mixed reception. In 2023, she starred in the streaming series ''[[Jee Karda]]''<ref>{{Cite web |last=Khurana |first=Archika |date=15 June 2023 |title=Jee Karda Season 1 Review: The show's lively performances and vibe make it a perfect guilty pleasure |url=https://timesofindia.indiatimes.com/web-series/reviews/hindi/jee-karda/season-1/seasonreview/100953198.cms |url-status=live |archive-url=https://web.archive.org/web/20230827183824/https://timesofindia.indiatimes.com/web-series/reviews/hindi/jee-karda/season-1/seasonreview/100953198.cms |archive-date=27 August 2023 |access-date=26 May 2024 |website=The Times of India}}</ref> and ''[[Aakhri Sach]]''<ref>{{Cite web |date=27 August 2023 |title=Aakhri Sach Twitter Review: Netizens laud Tamannaah Bhatia's fierce cop avatar in this bone-chilling thriller |url=https://www.pinkvilla.com/entertainment/news/aakhri-sach-twitter-review-netizens-laud-tamannaah-bhatias-fierce-cop-avatar-in-this-bone-chilling-thriller-1238842 |url-status=live |archive-url=https://web.archive.org/web/20230828013305/https://www.pinkvilla.com/entertainment/news/aakhri-sach-twitter-review-netizens-laud-tamannaah-bhatias-fierce-cop-avatar-in-this-bone-chilling-thriller-1238842 |archive-date=28 August 2023 |access-date=27 August 2023 |website=Pinkvilla}}</ref> While [[Jailer (2023 Tamil film)|''Jailer'']] was a blockbuster, ''[[Bhola Shankar]]'' and her Malayalam debut [[Bandra (film)|''Bandra'']] faced box-office disappointments.<ref>{{Cite web |last=Agarwal |first=Bhavna |date=18 September 2023 |title=Tamannaah on Bholaa Shankar's poor reviews: Don't think its a personal failure |url=https://www.indiatoday.in/movies/regional-cinema/story/tamannaah-on-bholaa-shankars-poor-reviews-dont-think-its-a-personal-failure-2437137-2023-09-18 |url-status=live |archive-url=https://web.archive.org/web/20240325091652/https://www.indiatoday.in/movies/regional-cinema/story/tamannaah-on-bholaa-shankars-poor-reviews-dont-think-its-a-personal-failure-2437137-2023-09-18 |archive-date=25 March 2024 |access-date=26 May 2024 |website=India Today}}</ref><ref>{{Cite web |date=27 November 2023 |title='Bandra' OTT release: When and where to watch Dileep's action drama |url=https://timesofindia.indiatimes.com/entertainment/malayalam/movies/news/bandra-ott-release-when-and-where-to-watch-dileeps-action-drama/articleshow/105530909.cms |url-status=live |archive-url=https://web.archive.org/web/20231128034837/https://timesofindia.indiatimes.com/entertainment/malayalam/movies/news/bandra-ott-release-when-and-where-to-watch-dileeps-action-drama/articleshow/105530909.cms |archive-date=28 November 2023 |access-date=26 May 2024 |website=The Times of India}}</ref> The following year, she had a commercial success in ''[[Aranmanai 4]]''.<ref>{{Cite web |last=Rajendran |first=Gopinath |date=3 May 2024 |title='Aranmanai 4' movie review: Despite lacking in finesse, Tamannaah anchors the best entry in the franchise |url=https://www.thehindu.com/entertainment/movies/aranmanai-4-movie-review-despite-lacking-in-finesse-tamannaah-anchors-the-best-entry-in-the-franchise/article68135134.ece |url-status=live |archive-url=https://web.archive.org/web/20240503095920/https://www.thehindu.com/entertainment/movies/aranmanai-4-movie-review-despite-lacking-in-finesse-tamannaah-anchors-the-best-entry-in-the-franchise/article68135134.ece |archive-date=3 May 2024 |access-date=26 May 2024 |website=The Hindu}}</ref><ref>{{Cite web |date=23 May 2024 |title=Amidst dry spell in Tamil Cinema, critically-panned Aranmanai 4 enters Rs 100 crore club |url=https://indianexpress.com/article/entertainment/tamil/amidst-dry-spell-in-tamil-cinema-critically-panned-aranmanai-4-enters-rs-100-crore-club-9346805/ |url-status=live |archive-url=https://web.archive.org/web/20240523102447/https://indianexpress.com/article/entertainment/tamil/amidst-dry-spell-in-tamil-cinema-critically-panned-aranmanai-4-enters-rs-100-crore-club-9346805/ |archive-date=23 May 2024 |access-date=26 May 2024 |website=The Indian Express}}</ref>.

== Films ==
{{Pending films key}}

{|class="wikitable sortable plainrowheaders" id="filmography"
|+ List of Tamannah Bhatia films and roles
|-
!scope="col" |Year
!scope="col" |Title
!scope="col" |Role(s)
!scope="col" |Language
!scope="col" class="unsortable" |Notes
!scope="col" class="unsortable" |{{Refh}}
|-
|rowspan="2"|2005
!scope="row"|''[[Chand Sa Roshan Chehra]]''
|Jia Oberoi
|[[Hindi Language|Hindi]]
|
|
|-
!scope="row"|[[Sree (film)|''Sree'']]
|Sandhya
|[[Telugu Language|Telugu]]
|
|
|-
|2006
!scope="row"|''[[Kedi (2006 film)|Kedi]]''
|Priyanka
|rowspan="2"|[[Tamil Language|Tamil]]
|
|
|-
|rowspan="3"|2007
!scope="row"|''[[Viyabari]]''
|Savitri
|
|
|-
!scope="row"|[[Happy Days (2007 film)|''Happy Days'']]
|Madhu
|Telugu
|
|
|-
!scope="row"|''[[Kalloori]]''
|Sobana
|Tamil
|
|
|-
|rowspan="4"|2008
!scope="row"|''[[Kalidasu]]''
|Archana
|rowspan="2"|Telugu
|
|
|-
!scope="row"|[[Ready (2008 film)|''Ready'']]
|Swapna
|Cameo Appearance
|
|-
!scope="row"|''[[Netru Indru Naalai (2008 film)|Netru Indru Naalai]]''
|Varsha
|Tamil
|rowspan="2"|Bilingual film cameo appereance
|
|-
!scope="row"|[[Netru Indru Naalai (2008 film)|''Ninna Nedu Repu'']]
|Varsha
|Telugu
|
|-
|rowspan="5"|2009
!scope="row"|''[[Padikkadavan (2009 film)|Padikkadavan]]''
|Gayathri
|Tamil
|
|
|-
!scope="row"|''[[Konchem Ishtam Konchem Kashtam]]''
|Geetha Subramanyam
|Telugu
|
|
|-
!scope="row"|''[[Ayan (film)|Ayan]]''
|Yamuna
|rowspan="8"|Tamil
|
|
|-
!scope="row"|''[[Ananda Thandavam]]''
|Madhumitha
|
|
|-
!scope="row"|''[[Kanden Kadhalai]]''
|Anjali
|
|
|-
|rowspan="3"|2010
!scope="row"|''[[Paiyaa]]''
|Charulatha
|
|
|-
!scope="row"|''[[Sura (film)|Sura]]''
|Poornima
|
|
|-
!scope="row"|''[[Thillalangadi]]''
|Nisha
|
|
|-
|rowspan="6"|2011
!scope="row"|''[[Siruthai]]''
|Swetha
|
|
|-
!scope="row"|''[[Ko (film)|Ko]]''
|Herself
|Cameo appearance in the song "Aga Naga"
|
|-
!scope="row"|[[100% Love (2011 film)|''100% Love'']]
|Mahalakshmi
|rowspan="2"|Telugu
|
|style="text-align: center;" |<ref>{{Cite web |last=Rajamani |first=Radhika |date=6 May 2011 |title=Review: 100 Percent Love is a cute love story |url=http://www.rediff.com/movies/review/south-movie-review-hundred-percent-love/20110506.htm |archive-url=https://web.archive.org/web/20160429170312/http://www.rediff.com/movies/review/south-movie-review-hundred-percent-love/20110506.htm |archive-date=29 April 2016 |access-date=29 April 2016 |work=[[Rediff.com]]}}</ref>
|-
!scope="row"|[[Badrinath (film)|''Badrinath'']]
|Alakananda
|
|style="text-align: center;" |<ref>{{Cite news |last=Kavirayani |first=Suresh |date=12 June 2011 |title=Badrinath Movie Review |url=http://timesofindia.indiatimes.com/entertainment/telugu/movie-reviews/Badrinath/movie-review/8815564.cms |url-status=dead |archive-url=https://web.archive.org/web/20170923225019/http://timesofindia.indiatimes.com/entertainment/telugu/movie-reviews/Badrinath/movie-review/8815564.cms |archive-date=23 September 2017 |access-date=24 June 2015 |work=[[The Times of India]]}}</ref>
|-
!scope="row"|''[[Venghai]]''
|Radhika
|Tamil
|
|
|-
!scope="row"|''[[Oosaravelli]]''
|Niharika
|rowspan="5"|Telugu
|
|style="text-align: center;" |<ref>{{Cite news |last=Kavirayani |first=Suresh |date=7 October 2011 |title=Oosaravelli Movie Review |url=http://timesofindia.indiatimes.com/entertainment/telugu/movie-reviews/Oosaravelli/movie-review/10268736.cms |url-status=dead |archive-url=https://web.archive.org/web/20170303135754/http://timesofindia.indiatimes.com/entertainment/telugu/movie-reviews/oosaravelli/movie-review/10268736.cms |archive-date=3 March 2017 |access-date=24 June 2015 |work=[[The Times of India]]}}</ref>
|-
|rowspan="4"|2012
!scope="row"|[[Racha (film)|''Racha'']]
|Chaitra "Ammu"
|
|style="text-align: center;" |<ref>{{Cite news |last=Dundoo |first=Sangeetha Devi |date=6 April 2012 |title=Tailor-made for fans |url=http://www.thehindu.com/features/cinema/tailormade-for-fans/article3284127.ece |archive-url=https://web.archive.org/web/20141120095904/http://www.thehindu.com/features/cinema/tailormade-for-fans/article3284127.ece |archive-date=20 November 2014 |access-date=29 April 2016 |work=[[The Hindu]]}}</ref>
|-
!scope="row"|''[[Endukante Premanta]]''
|Srinidhi / Sravanthi{{efn|name=dualrole}}
|
|style="text-align: center;" |<ref>{{Cite news |last=Chowdary |first=Y. Sunita |date=10 June 2012 |title='Spirited' attempt |url=http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/article3510137.ece |archive-url=https://web.archive.org/web/20160430042345/http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/article3510137.ece |archive-date=30 April 2016 |access-date=30 April 2016 |work=[[The Hindu]]}}</ref>
|-
!scope="row"|[[Rebel (2012 film)|''Rebel'']]
|Nandini
|
|style="text-align: center;" |<ref>{{Cite news |last=Pasupulate |first=Karthik |date=28 September 2012 |title=Rebel Movie Review |url=http://timesofindia.indiatimes.com/entertainment/telugu/movie-reviews/Rebel/movie-review/16588511.cms |url-status=dead |archive-url=https://web.archive.org/web/20160430042823/http://timesofindia.indiatimes.com/entertainment/telugu/movie-reviews/Rebel/movie-review/16588511.cms |archive-date=30 April 2016 |access-date=30 April 2016 |work=[[The Times of India]]}}</ref>
|-
!scope="row"|''[[Cameraman Gangatho Rambabu]]''
|Ganga
|
|style="text-align: center;" |<ref>{{Cite news |last=A. S. |first=Sashidhar |date=18 October 2012 |title=Cameraman Ganga tho Rambabu (CGTR) Telugu movie review highlights |url=http://timesofindia.indiatimes.com/entertainment/telugu/movies/news/Cameraman-Ganga-tho-Rambabu-CGTR-Telugu-movie-review-highlights/articleshow/16860731.cms |archive-url=https://web.archive.org/web/20150604093647/http://timesofindia.indiatimes.com/entertainment/telugu/movies/news/Cameraman-Ganga-tho-Rambabu-CGTR-Telugu-movie-review-highlights/articleshow/16860731.cms |archive-date=4 June 2015 |access-date=24 June 2015 |work=[[The Times of India]]}}</ref>
|-
|rowspan="2"|2013
!scope="row"|''[[Himmatwala (2013 film)|Himmatwala]]''
|Rekha
|Hindi
|
|
|-
!scope="row"|''[[Tadakha]]''
|Pallavi
|Telugu
|
|style="text-align: center;" |<ref>{{Cite news |last=Dundoo |first=Sangeetha Devi |date=11 May 2013 |title=Mindless but entertaining |url=http://www.thehindu.com/features/cinema/mindless-but-entertaining/article4702512.ece |archive-url=https://web.archive.org/web/20160430043337/http://www.thehindu.com/features/cinema/mindless-but-entertaining/article4702512.ece |archive-date=30 April 2016 |access-date=30 April 2016 |work=[[The Hindu]]}}</ref>
|-
|rowspan="5"|2014
!scope="row"|''[[Veeram (2014 film)|Veeram]]''
||Tamil
|Kopperundevi
|
|
|-
!scope="row"|''[[Humshakals]]''
|Shanya
|Hindi
|
|
|-
!scope="row"|''[[Alludu Seenu]]''
|style="text-align: center;" | —
|Telugu
|Special appearance in the song "Labbar Bomma"
|style="text-align: center;" |<ref>{{Cite AV media |url=https://www.youtube.com/watch?v=FYFhWd5a3Bc |title=Labbar Bomma Full Video Song |date=11 April 2015 |publisher=[[Aditya Music]] |access-date=30 April 2016 |archive-url=https://web.archive.org/web/20201228142303/https://www.youtube.com/watch?v=FYFhWd5a3Bc&gl=US&hl=en |archive-date=28 December 2020 |url-status=live}}</ref>
|-
!scope="row"|''[[Entertainment (2014 film)|Entertainment]]''
|Saakshi
|Hindi
|
|
|-
!scope="row"|''[[Aagadu]]''
|Saroja
|Telugu
|
|style="text-align: center;" |<ref>{{Cite web |last=S. |first=Rajitha |date=20 September 2014 |title=Watch it Only for Mahesh Babu |url=http://www.newindianexpress.com/entertainment/telugu/Watch-it-Only-for-Mahesh-Babu/2014/09/20/article2439737.ece |archive-url=https://web.archive.org/web/20140920042320/http://www.newindianexpress.com/entertainment/telugu/Watch-it-Only-for-Mahesh-Babu/2014/09/20/article2439737.ece |archive-date=20 September 2014 |access-date=14 October 2014 |website=The New Indian Express}}</ref>
|-
|rowspan="7"|2015
!scope="row"|''[[Nannbenda]]''
|Herself
|Tamil
|
|
|-
! rowspan="2" scope="row"|''[[Baahubali: The Beginning]]''
|[[List of Baahubali characters#Avanthika|Avanthika]]
|Telugu
| rowspan="2"|Bilingual film
| style="text-align:center;" |<ref>{{Cite web |date=22 February 2019 |title=How Baahubali Star Tamannaah Bhatia Transformed herself Into Avantika |url=https://www.ndtv.com/entertainment/how-baahubali-star-tamannaah-bhatia-transformed-herself-into-avantika-1686234 |url-status=live |archive-url=https://web.archive.org/web/20240527004707/https://www.ndtv.com/entertainment/how-baahubali-star-tamannaah-bhatia-transformed-herself-into-avantika-1686234 |archive-date=27 May 2024 |access-date=26 May 2024 |website=NDTV.com}}</ref>
|-
|Avanthika
|rowspan="2"|Tamil
|
|-
!scope="row"|''[[Vasuvum Saravananum Onna Padichavanga]]''
|Aishwarya Balakrishnan
|
|
|-
!scope="row"|''[[Size Zero]]''
|rowspan="2"|Herself
|Telugu
|rowspan="2"|cameo appearance
|style="text-align:center;" |<ref>{{Cite news |last=Kavirayani |first=Suresh |date=16 November 2015 |title=Big stars root for Size Zero |url=https://www.deccanchronicle.com/151116/entertainment-tollywood/article/big-stars-root-size-zero |url-status=live |archive-url=https://web.archive.org/web/20160430080359/http://www.deccanchronicle.com/151116/entertainment-tollywood/article/big-stars-root-size-zero |archive-date=30 April 2016 |access-date=30 April 2016 |work=Deccan Chronicle}}</ref>
|-
!scope="row"|''[[Size Zero|Inji Idupulapazhi]]''
|Tamil
|
|-
!scope="row"|[[Bengal Tiger (2015 film)|''Bengal Tiger'']]
|Meera
|rowspan="3"|Telugu
|
|style="text-align: center;" |<ref>{{Cite news |date=26 September 2015 |title=Tamannaah looks stunning |url=https://www.deccanchronicle.com/150925/entertainment-tollywood/article/tamannaah-looks-stunning |url-status=live |archive-url=https://web.archive.org/web/20150926034502/http://www.deccanchronicle.com/150925/entertainment-tollywood/article/tamannaah-looks-stunning |archive-date=26 September 2015 |access-date=26 September 2015 |work=Deccan Chronicle}}</ref>
|-
|rowspan="11"|2016
!scope="row"|''[[Speedunnodu]]''
|Item Dancer
|Special appearance in the song "Bachelor Babu"
|style="text-align: center;" |<ref>{{Cite AV media |url=https://www.youtube.com/watch?v=BbVmOAYMJUU |title=Bachelor Babu Promo Song |date=22 January 2016 |publisher=Aditya Music |access-date=30 April 2016 |archive-url=https://web.archive.org/web/20160126031355/https://www.youtube.com/watch?v=BbVmOAYMJUU |archive-date=26 January 2016 |url-status=live}}</ref>
|-
!scope="row"|''[[Oopiri]]''
|rowspan="2"|Keerthi
|Bilingual film
|style="text-align:center;" |<ref>{{Cite web |last=Purushothaman |first=Kirubhakar |date=26 March 2016 |title=Oopiri/Thozha review: All the right buttons pressed in this Karthi-Nagarjuna film |url=https://www.indiatoday.in/movies/regional-cinema/story/oopiri-thozha-review-all-the-right-buttons-pressed-in-this-karthi-nagarjuna-film-314843-2016-03-26 |url-status=live |archive-url=https://web.archive.org/web/20240802085827/https://www.indiatoday.in/movies/regional-cinema/story/oopiri-thozha-review-all-the-right-buttons-pressed-in-this-karthi-nagarjuna-film-314843-2016-03-26 |archive-date=2 August 2024 |access-date=18 May 2025 |website=India Today}}</ref>
|-
!scope="row"|''[[Oopiri|Thoza]]''
|Tamil
|
|
|-
!scope="row"|''[[Ranveer Ching Returns]]''
|Chings Love Intrest
|Hindi
|Short film
|
|-
!scope="row"|''[[Dharma Durai (2016 film)|Dharma Durai]]''
|Dr Subashini
|Tamil
|
|
|-
!scope="row"|[[Jaguar (2016 film)|''Jaguar'']]
|rowspan="2"|Item Dancer
|Kannada
|Special appearance in the item song "Sampige Enne"
|
|-
!scope="row"|[[Jaguar (2016 film)|''Jaguar'']]
|Telugu
|Special appearance in the item song "Mandara Thailam"
|style="text-align: center;" |<ref>{{Cite AV media |url=https://www.youtube.com/watch?v=NmE9VjA7BoQ |title=Mandara Thailam Full Video Song |date=18 November 2016 |publisher=[[Lahari Music]] |access-date=22 November 2016 |archive-url=https://web.archive.org/web/20190927095026/https://www.youtube.com/watch?v=NmE9VjA7BoQ |archive-date=27 September 2019 |url-status=live}}</ref>
|-
!scope="row"|''[[Devi (2016 film)|Devi]]''
|rowspan="3"|Devi/Ruby
|Tamil
|rowspan="3"|Trilingual film
|style="text-align: center;" |<ref>{{Cite news |last=Nadadhur |first=Srivathsan |date=7 October 2016 |title=Abhinetri: Here to entertain |url=http://www.thehindu.com/features/cinema/Abhinetri-Here-to-entertain/article15474443.ece |url-status=dead |archive-url=https://archive.today/20180522040042/http://www.thehindu.com/features/cinema/Abhinetri-Here-to-entertain/article15474443.ece |archive-date=22 May 2018 |access-date=22 May 2018 |work=[[The Hindu]]}}</ref>
|-
!scope="row"|''[[Devi (2016 film)|Abhinetri]]''
|Telugu
|
|-
!scope="row"|''[[Devi (2016 film)|Tutak Tutak Tutiya]]''
|Hindi
|
|-
!scope="row"|''[[Kaththi Sandai]]''
|Divya/Bhanu
|Tamil
|
|
|-
|rowspan="3" |2017
!scope="row"|''[[Baahubali 2: The Conclusion]]''
|Avanthika
|Telugu
|Partially reshot in Tamil
|
|-
!scope="row"|''[[Anbanavan Asaradhavan Adangadhavan]]''
|Ramya
|Tamil
|
|
|-
!scope="row"|''[[Jai Lava Kusa]]''
|Dancer
|rowspan="1"|Telugu
|Special appearance in the item song "Swing Zara"
|style="text-align: center;" |<ref>{{Cite news |date=15 September 2017 |title=Tamannaah Bhatia 'swings zara' in this item song from Jr NTR's Jai Lava Kusa. See pic |url=http://www.hindustantimes.com/regional-movies/tamannaah-bhatia-swings-zara-in-this-item-song-from-jr-ntr-s-jai-lava-kusa-see-pic/story-YoaVxXaGe4oyNjTbNWNmmM.html |url-status=dead |archive-url=https://archive.today/20170915150146/http://www.hindustantimes.com/regional-movies/tamannaah-bhatia-swings-zara-in-this-item-song-from-jr-ntr-s-jai-lava-kusa-see-pic/story-YoaVxXaGe4oyNjTbNWNmmM.html |archive-date=15 September 2017 |access-date=15 September 2017 |work=[[Hindustan Times]]}}</ref>
|-
|rowspan="5"|2018
!scope="row"|''[[Sketch (2018 film)|Sketch]]''
|Amuthavalli
|Tamil
|
|
|-
!scope="row"|''[[Aa Bb Kk]]''
|Tammannahji
|[[Marathi Language|Marathi]]
|
|
|-
!scope="row"|''[[Naa Nuvve]]''
|Meera
|rowspan="2"|Telugu
|
|
|-
!scope="row"|''[[Next Enti?]]''
|Tammy
|
|
|-
!scope="row"|''[[KGF: Chapter 1]]''
|Milky
|Kannada
|Special Appearance in the item song "Jokae"
|
|-
|rowspan="8"|2019
!scope="row"|''[[Kanne Kalaimaane]]''
|Bharathi Kamalakannan
|Tamil
|
|
|-
!scope="row"|''[[F2: Fun and Frustration]]''
|Harika Venky
|Telugu
|
|style="text-align: center;" |<ref>{{Cite news |last=Rao |first=Siddharth |date=12 January 2019 |title=F2: A thorough laughter riot |url=https://telanganatoday.com/f2-fun-laced-with-frustration |url-status=live |archive-url=https://web.archive.org/web/20190112124347/https://telanganatoday.com/f2-fun-laced-with-frustration |archive-date=12 January 2019 |access-date=12 January 2019 |work=[[Telangana Today]]}}</ref>
|-
!scope="row"|''[[Devi 2|Devi 2]]''
|rowspan="2"|Devi Krishnakumar
|Tamil
|rowspan="2"|Bilingual film
|
|-
!scope="row"|''Abinetri 2''
|Telugu
|
|-
!scope="row"|''[[Khamoshi (2019 film)|Khamoshi]]''
|Surbi
|Hindi
|
|
|-
!scope="row"|''[[Sye Raa Narasimha Reddy]]''
|Lakshmi Narasimha Reddy
|Telugu
|
|style="text-align: center;" |<ref>{{Cite news |last=Nyayapati |first=Neeshita |date=2 October 2019 |title=Sye Raa Narasimha Reddy Movie Review : Chiranjeevi's show all the way |url=https://timesofindia.indiatimes.com/entertainment/telugu/movie-reviews/sye-raa-narasimha-reddy/movie-review/71402442.cms |url-status=live |archive-url=https://archive.today/20191002043735/https://timesofindia.indiatimes.com/entertainment/telugu/movie-reviews/sye-raa-narasimha-reddy/movie-review/71402442.cms |archive-date=2 October 2019 |access-date=2 October 2019 |work=[[The Times of India]]}}</ref>
|-
!scope="row"|''[[Petromax (2019 film)|Petromax]]''
|Meera
|rowspan="2"|Tamil
|
|
|-
!scope="row"|''[[Action (2019 film)|Action]]''
|Divya
|
|
|-
|2020
!scope="row"|''[[Sarileru Neekevvaru]]''
|Tamannaah Bhatia
|rowspan="5"|Telugu
|Special appearance as herself
|style="text-align: center;" |<ref>{{Cite web |date=24 January 2020 |title=Dang Dang from Sarileru Neekevvaru: Mahesh Babu, Tamannaah Bhatia's sizzling chemistry will win you over |url=https://www.timesnownews.com/entertainment/south-gossip/article/dang-dang-from-sarileru-neekevvaru-mahesh-babu-tamannaah-bhatias-sizzling-chemistry-will-win-you-over/544649 |url-status=live |archive-url=https://web.archive.org/web/20200125063621/https://www.timesnownews.com/entertainment/south-gossip/article/dang-dang-from-sarileru-neekevvaru-mahesh-babu-tamannaah-bhatias-sizzling-chemistry-will-win-you-over/544649 |archive-date=25 January 2020 |access-date=25 January 2020 |website=[[Times Now]]}}</ref>
|-
|rowspan="2"|2021
!scope="row"|''[[Seetimaarr|Seetimaar]]''
|Jwala Reddy
|
|
|-
!scope="row"|[[Maestro (2021 film)|''Maestro'']]
|Simran Ravindar
|
|
|-
|rowspan="5"|2022
!scope="row"|[[Ghani (2022 film)|''Ghani'']]
|Sports Dancer
|Special Appearance in the item song "Kodthe"
|style="text-align: center;" |<ref>{{Cite web |date=21 May 2022 |title=Tamannaah Bhatia advises 'THIS' to SS. Rajamouli! |url=https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/tamannaah-bhatia-advises-this-to-ss-rajamouli/articleshow/91703748.cms |url-status=live |archive-url=https://web.archive.org/web/20220529092319/https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/tamannaah-bhatia-advises-this-to-ss-rajamouli/articleshow/91703748.cms |archive-date=29 May 2022 |access-date=29 May 2022 |website=[[The Times of India]]}}</ref>
|-
!scope="row"|''[[F3 (film)|F3]]''
|Harika
|
|style="text-align: center;" |<ref>{{Cite web |last=Nyayapati |first=Neeshita |date=27 May 2022 |title=F3: Fun & Frustration movie review highlights : Venkatesh, Varun Tej, Tamannaah, Mehreen Pirzada's film is mostly loud and sometimes funny |url=https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/f3-fun-frustration-movie-review-highlights-venkatesh-varun-tej-tamannaah-mehreen-pirzadas-film-is-mostly-loud-and-sometimes-funny/articleshow/91827120.cms |url-status=live |archive-url=https://web.archive.org/web/20220529092024/https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/f3-fun-frustration-movie-review-highlights-venkatesh-varun-tej-tamannaah-mehreen-pirzadas-film-is-mostly-loud-and-sometimes-funny/articleshow/91827120.cms |archive-date=29 May 2022 |access-date=29 May 2022 |website=[[The Times of India]]}}</ref>
|-
!scope="row"|''[[Babli Bouncer]]''
|Babli Tanwar
|rowspan="2"|Hindi
|
|
|-
!scope="row"|''[[Plan A Plan B]]''
|Nirali Vora
|
|
|-
|-
!scope="row"|''[[Gurthunda Seethakalam]]''
|Nidhi
|Telugu
|
|style="text-align: center;" |<ref>{{Cite web |date=9 December 2022 |title='Gurthunda Seethakalam' movie review: A dull ode to life and romance |url=https://www.thehindu.com/entertainment/movies/gurthunda-seethakalam-telugu-movie-review-a-dull-ode-to-life-and-romance/article66242426.ece |url-status=live |archive-url=https://web.archive.org/web/20221209113700/https://www.thehindu.com/entertainment/movies/gurthunda-seethakalam-telugu-movie-review-a-dull-ode-to-life-and-romance/article66242426.ece |archive-date=9 December 2022 |access-date=9 December 2022 |website=[[The Hindu]]}}</ref>
|-
|rowspan="4"|2023
!scope="row"|''[[Lust Stories 2]]''
|Shanti
|Hindi
|
|
|-
!scope="row"|''[[Jailer (2023 Tamil film)|Jailer]]''
|Kamna
|Tamil
|
|
|-
!scope="row"|''[[Bhola Shankar]]''
|Lasya Sarkar
|Telugu
|
|style="text-align: center;" |<ref>{{Cite web |date=21 August 2022 |title=Chiranjeevi's 'Bhola Shankar' to release on April 14, 2023 |url=https://www.thehindu.com/entertainment/movies/chiranjeevis-bhola-shankar-to-release-on-april-14-2023/article65793888.ece |url-status=live |archive-url=https://web.archive.org/web/20220822194546/https://www.thehindu.com/entertainment/movies/chiranjeevis-bhola-shankar-to-release-on-april-14-2023/article65793888.ece |archive-date=22 August 2022 |access-date=26 August 2022 |website=[[The Hindu]] |agency=[[Press Trust of India|PTI]]}}</ref>
|-
!scope="row"|''[[Bandra (film)|Bandra]]''
|Tara Janaki
|[[Malayalam Language|Malayalam]]
|Malayalam Debut
|
|-
|rowspan="4"|2024
!scope="row"|''[[Aranmanai 4]]''
|Selvi Santhosh
|Tamil
|
|
|-
!scope="row"|''[[Stree 2]]''
|Shama
|rowspan="3"|Hindi
|
|
|-
!scope="row"|''[[Vedaa]]''
|Raashi Kanwar
|
|
|-
!scope="row"|''[[Sikandar Ka Muqaddar]]''
|Kamini Singh
|
|
|-
|rowspan="3"|2025
!scope="row"|''[[Odela 2]]''
|Bhairavi / Bhavani{{efn|name=character}}
|Telugu
|
|style="text-align: center;" |<ref>{{Cite web |last=Nicodemus |first=Paul |date=17 April 2025 |title=Odela 2 Movie Review: Tamannaah shines in an eerie but uneven spiritual thriller |url=https://timesofindia.indiatimes.com/entertainment/telugu/movie-reviews/odela-2/movie-review/120376612.cms |url-status=live |archive-url=https://web.archive.org/web/20250425142942/https://timesofindia.indiatimes.com/entertainment/telugu/movie-reviews/odela-2/movie-review/120376612.cms |archive-date=25 April 2025 |access-date=30 April 2025 |website=The Times of India}}</ref>
|-
!scope="row"|''[[Raid 2 (film)|Raid 2]]''
|Item Dancer
|Hindi
|Special appearance in the item song "Nasha"
|
|-
!scope="row"|''[[Baahubali: The Epic]]''
|Avantika Baahubali
|Telugu
|Re-edited Rerelease of Baahubali:The Beginning and Baahubali 2:The Conclusion
|style="text-align:center;" |<ref>{{cite web | last=Mukhopadhyay | first=Sounak | title=Baahubali: The Epic all set for theatrical release; is it the longest Telugu movie ever made? | website=mint | date=28 August 2025 | url=https://www.livemint.com/entertainment/baahubali-the-epic-all-set-for-theatrical-release-is-it-the-longest-telugu-movie-ever-made-11756373915983.html | access-date=4 October 2025 | archive-date=4 September 2025 | archive-url=https://web.archive.org/web/20250904050246/https://www.livemint.com/entertainment/baahubali-the-epic-all-set-for-theatrical-release-is-it-the-longest-telugu-movie-ever-made-11756373915983.html | url-status=live }}</ref>
|-
|rowspan="7"|2026
!scope="row"|''[[O'Romeo]]''
|Rabia Jalaluddin Shah
|Hindi
|
|
|-
|{{Pending film|Purushan}}
|{{TBA}}
|Tamil
|Filming
|
|-
|{{Pending film|Vvan – Force of the Forrest}}
|{{TBA}}
|rowspan="5"|Hindi
|Filming
|<ref>{{Cite web |date=19 March 2026 |title='VVan– Force of the Forest': Sidharth Malhotra and Tamannaah Bhatia to Star in New Thriller |url=https://www.hollywoodreporterindia.com/features/insight/vvan-force-of-the-forest-sidharth-malhotra-and-tamannaah-bhatia-to-star-in-new-thriller |website=[[The Hollywood Reporter India]] |access-date=21 March 2026}}</ref>
|-
|{{Pending film|Ragini 3}}
|{{TBA}}
|Filming
|
|-
|{{Pending film|Ranger}}
|{{TBA}}
|Filming
|
|-
|{{Pending film|V. Shantaram}}
|Jayshree
|Filming
|
|-
|{{Pending film|Maria Ips}}
|Preeti
|Filming
|
|}

== Television ==
{|class="wikitable"
|+ style="text-align:left;" |Key
|{{Pending|{{dagger|alt=Denotes television programs that have not yet premiered}}}}
|Denotes television programs that have not yet premiered
|}
{|class="wikitable sortable plainrowheaders"
|+ {{Screen reader-only|List of television shows done by Tamannaah Bhatia}}
|-
!scope="col" |Year
!scope="col" |Title
!scope="col" |Role(s)
!scope="col" |Language
!scope="col" class="unsortable" |Notes
!scope="col" class="unsortable" |{{Refh}}
|-
|style="text-align: center;" |2013
|''[[Sapne Suhane Ladakpan Ke]]''
|Herself
|[[Hindi]]
|Cameo in Holi episode
|style="text-align: center;" |<ref>{{Cite news |last=Phadke |first=Aparna |date=21 March 2013 |title=Ajay Devgn makes Holi cameo on small screen |url=https://timesofindia.indiatimes.com/tv/news/hindi/Ajay-Devgn-makes-Holi-cameo-on-small-screen/articleshow/19109543.cms |url-status=live |archive-url=https://archive.today/20181210130206/https://timesofindia.indiatimes.com/tv/news/hindi/Ajay-Devgn-makes-Holi-cameo-on-small-screen/articleshow/19109543.cms?from=mdr |archive-date=10 December 2018 |access-date=10 December 2018 |work=[[The Times of India]]}}</ref>
|-
|style="text-align: center;" rowspan="3" |2021
|[[11th Hour (TV series)|''11th Hour'']]
|Aratrika Reddy
|[[Telugu language|Telugu]]
|
|style="text-align: center;" |<ref>{{Cite news |date=21 December 2020 |title=Tamannaah's Telugu web series in January 2021 |url=https://www.thehindu.com/entertainment/movies/11th-hour-telugu-web-series-starring-tamannaah-to-stream-mid-january-2021/article33383442.ece |url-status=live |archive-url=https://web.archive.org/web/20201225124904/https://www.thehindu.com/entertainment/movies/11th-hour-telugu-web-series-starring-tamannaah-to-stream-mid-january-2021/article33383442.ece |archive-date=25 December 2020 |access-date=29 December 2020 |work=[[The Hindu]]}}</ref>
|-
|''[[November Story]]''
|Anuradha "Anu" Ganesan
|[[Tamil language|Tamil]]
|
|style="text-align: center;" |<ref>{{Cite web |date=22 May 2021 |title=Tamannaah on Tamil Hotstar Special November Story: Expect a real, raw portrayal unlike my big-screen characters |url=https://www.firstpost.com/entertainment/tamannaah-on-tamil-hotstar-special-november-story-expect-a-real-raw-portrayal-unlike-my-big-screen-characters-9634801.html |url-status=live |archive-url=https://web.archive.org/web/20210524154012/https://www.firstpost.com/entertainment/tamannaah-on-tamil-hotstar-special-november-story-expect-a-real-raw-portrayal-unlike-my-big-screen-characters-9634801.html |archive-date=24 May 2021 |access-date=20 September 2023 |website=[[Firstpost]]}}</ref>
|-
|''[[MasterChef India – Telugu season 1|MasterChef India – Telugu]]''
|Host
|Telugu
|Season 1, Episodes 1–16
|style="text-align: center;" |<ref>{{Cite news |date=16 June 2021 |title=Tamannaah Bhatia to make TV debut as 'MasterChef Telugu' host |url=https://www.thehindu.com/entertainment/movies/tamannaah-bhatia-to-make-tv-debut-as-masterchef-telugu-host/article34828051.ece |url-status=live |archive-url=https://web.archive.org/web/20210628020014/https://www.thehindu.com/entertainment/movies/tamannaah-bhatia-to-make-tv-debut-as-masterchef-telugu-host/article34828051.ece |archive-date=28 June 2021 |access-date=28 June 2021 |work=[[The Hindu]] |agency=[[Press Trust of India|PTI]]}}</ref>
|-
|style="text-align: center;" rowspan="2" |2023
|''[[Jee Karda]]''
|Lavanya Singh
|rowspan="4" |Hindi
|
|style="text-align: center;" |<ref>{{Cite news |date=2 June 2023 |title=OTT release of romance drama 'Jee Karda' starring Tamannaah on June 15 |url=https://timesofindia.indiatimes.com/web-series/news/hindi/ott-release-of-romance-drama-jee-karda-starring-tamannaah-on-june-15/articleshow/100700565.cms |url-status=live |archive-url=https://web.archive.org/web/20230604003251/https://timesofindia.indiatimes.com/web-series/news/hindi/ott-release-of-romance-drama-jee-karda-starring-tamannaah-on-june-15/articleshow/100700565.cms |archive-date=4 June 2023 |access-date=3 June 2023 |work=[[The Times of India]]}}</ref>
|-
|''[[Aakhri Sach]]''
|Inspector Anya Swaroop
|
|style="text-align: center;" |<ref>{{Cite news |date=11 August 2023 |title='Aakhri Sach' trailer: Tamannaah Bhatia plays an investigative officer in this thriller |url=https://www.thehindu.com/entertainment/movies/aakhri-sach-trailer-tamannaah-bhatia-plays-an-investigative-officer-in-this-thriller/article67184103.ece |url-status=live |archive-url=https://web.archive.org/web/20230811172330/https://www.thehindu.com/entertainment/movies/aakhri-sach-trailer-tamannaah-bhatia-plays-an-investigative-officer-in-this-thriller/article67184103.ece |archive-date=11 August 2023 |access-date=11 August 2023 |work=The Hindu}}</ref>
|-
|style="text-align: center;" |2025
|''[[Do You Wanna Partner]]''
|Shikha Roy Chowdury
|
|style="text-align: center;" |<ref>{{cite web | last=Dhingra | first=Snehal | title=Do You Wanna Partner: Tamannaah Bhatia, Diana Penty, Nakuul Mehta Collaborate For Quirky Series | website=Times Now | date=25 August 2025 | url=https://www.timesnownews.com/entertainment-news/web-series/do-you-wanna-partner-tamannaah-bhatia-diana-penty-nakuul-mehta-collaborate-for-quirky-series-when-and-where-to-watch-article-152519955 | access-date=25 August 2025}}</ref>
|
|-
|2026
|''Everyone Can Design''
|Host
|
|
|}

== Music ==
{|class="wikitable sortable plainrowheaders"
|+ {{Screen reader-only|List of music videos done by Tamannaah Bhatia}}
|-
!scope="col" |Year
!scope="col" |Title
!scope="col" |Singer(s)
!scope="col" |Language
!scope="col" |Album
!scope="col" class="unsortable" |{{Refh}}
|-
!scope="row" style="text-align: center;" |2005
|"Lafzon Mein"
|[[Abhijeet Sawant]]
|rowspan = 3 | [[Hindi]]
|''Aapka... Abhijeet Sawant''
|style="text-align: center;" |<ref>{{Cite web |last=Raul |first=Anish |date=21 October 2015 |title=7 Facts You Have To Know About Tamannaah Bhatia |url=http://www.mtvindia.com/blogs/news/play/7-facts-you-have-to-know-about-tamannaah-bhatia-52196377.html |url-status=live |archive-url=https://web.archive.org/web/20180529065216/http://www.mtvindia.com/blogs/news/play/7-facts-you-have-to-know-about-tamannaah-bhatia-52196377.html |archive-date=29 May 2018 |access-date=29 May 2018 |publisher=[[MTV]] |location=India}}</ref>
|-
!scope="row" style="text-align: center;" |2022
|"Tabahi"
|[[Badshah (rapper)|Badshah]]
|''Retropanda''
|style="text-align: center;" |<ref>{{Cite news |date=22 March 2022 |title=Badshah's 'Tabahi' brings augmented reality with new lens |url=https://www.daijiworld.com/news/newsDisplay?newsID=939701 |url-status=live |archive-url=https://web.archive.org/web/20220331131254/https://www.daijiworld.com/news/newsDisplay?newsID=939701 |archive-date=31 March 2022 |access-date=31 March 2022 |work=[[Daijiworld Media|Daijiworld]] |agency=[[Indo-Asian News Service|IANS]]}}</ref>
|-
!scope="row" style="text-align: center;" |2025
|"Ghafoor"
|[[Shilpa Rao]], Ujwal Gupta
|[[The Ba***ds of Bollywood#Soundtrack|''The Ba***ds of Bollywood'']]
|style="text-align: center;" |<ref>{{cite web | title=Tamannaah Bhatia Shines in Aryan Khan's Debut Series' Track Ghafoor | website=Filmfare.com | date=19 September 2025 | url=https://www.filmfare.com/news/bollywood/tamannaah-bhatia-shines-in-aryan-khans-debut-series-track-ghafoor-77839.html | access-date=19 September 2025 | archive-date=19 September 2025 | archive-url=https://web.archive.org/web/20250919202303/https://www.filmfare.com/news/bollywood/tamannaah-bhatia-shines-in-aryan-khans-debut-series-track-ghafoor-77839.html | url-status=live }}</ref>
|}

== Notes ==
{{notelist|
*{{efn|name=dualrole|Bhatia plays two characters.}}
*{{efn|name=character|Bhatia plays a character with two names.}}
}}

== See also ==
* [[List of awards and nominations received by Tamannaah Bhatia]]

== References ==
{{reflist}}

== External links ==
*{{IMDb name|id=1961459|name=Tamannaah Bhatia}}
*{{Bollywood Hungama person|tamannaah-bhatia|Tamannaah Bhatia}}

{{featured list}}

{{DEFAULTSORT:Bhatia, Tamannaah}}
[[Category:Actress filmographies]]
[[Category:Indian filmographies]]

Simla Summit

2026-03-29T03:51:14Z

Surendra Sharma: Redirect page

#REDIRECT [[Simla Agreement]]

Markandeya

2026-03-28T16:03:30Z

Surendra Sharma: reworked content based on references

{{short description|Sage in Hindu scriptures}}
{{about||the 1935 Tamil film|Markandeya (film)|other uses|Markanda (disambiguation)}}
{{Use dmy dates|date=May 2016}}
{{Use Indian English|date=May 2016}}
{{Infobox deity
| father = [[Mrikanda]]
| image = Raja Ravi Varma, Markandeya.jpg
| type = Hindu
| caption = [[Shiva]] protects Markendeya from [[Yama (Hinduism)|Yama]] by Raja Ravi Varma
| affiliation = [[Chiranjivi]]
| mother = Manasvini
| member_of = [[Chiranjivi]]
}}
{{Hindu scriptures}}

'''Markandeya''' ({{langx|sa|मार्कण्‍डेय|translit=Mārkaṇḍeya}}) is a [[rishi]] (sage) featured in [[Hindu texts|Hindu literature]]. He is the son of the sage [[Mrikanda]] and his wife, Manasvini.<ref>{{Cite book |last=Books |first=Kausiki |url=https://books.google.com/books?id=4TxKEAAAQBAJ&dq=Dhatri+Markandeya&pg=PT444 |title=Markandeya Purana: English Translation only without Slokas |date=2021-10-24 |publisher=Kausiki Books |pages=444 |language=en}}</ref> The [[Markandeya Purana]] (one of the [[Puranas#:~:text=%5Bedit%5D-,Mahapuranas,-%5Bedit%5D|eighteen Mahāpurāṇas in Hinduism]]), attributed to the sage, comprises a dialogue between Markandeya and a sage called [[Jaimini]]. A number of chapters in the [[Bhagavata Purana]] are dedicated to his conversations and prayers.<ref>[http://srimadbhagavatam.com/12/8/en1 Srimad Bhagavatam, Canto 12, Chapter 8: Markandeya's Prayers to Nara-Narayana Rishi] {{webarchive|url=https://web.archive.org/web/20080314234023/http://srimadbhagavatam.com/12/8/en1 |date=14 March 2008 }}</ref> He is also mentioned in the [[Mahabharata]]. Markandeya is venerated within all mainstream Hindu traditions.

==Legend==

=== Rescue by Kalantaka-Shiva ===
{{main|Kalantaka}}

One legend relates the story of how [[Shiva]], one of the main deities of Hinduism, protected Markandeya from the clutches of death, personified as [[Yama (Hinduism)|Yama]].

Sage [[Mrikanda]] performed penance to propitiate Shiva for several years and sought from him the boon of begetting a son. Shiva offered him the choice of either a virtuous and pious son who would have a short life, or a dull-witted, malicious child who would have a long life. Mrikanda chose the former, and was blessed with Markandeya, an exemplary son, destined to die at the age of sixteen. Markandeya mastered the [[Vedas]] and the [[Dharmaśāstra|Shastras]] and grew up to be a great devotee of Shiva. Learning his fate from his distressed parents shortly before his sixteenth year, he started to engage in severe austerities. On the day of his destined death, he continued his worship of Shiva in the deity's aniconic form of a [[lingam]]. The [[Yamaduta|messengers]] of [[Yama (Hinduism)|Yama]], the god of death, were unable to take away his life because the power of his devotion to Shiva shielded him against them. Yama came in person to take away Markandeya's life, even as the sage embraced the lingam, crying for help. Yama sprung his noose around the young sage's neck, which also circled the lingam. Angered, Shiva emerged from the lingam, attacking Yama to save his devotee. After slaying Yama, Shiva revived him under the request of the [[Deva (Hinduism)|devas]], under the condition that Markandeya remain sixteen years old forever.<ref>{{Cite book |last=Mani |first=Vettam |url=http://archive.org/details/puranicencyclopa00maniuoft |title=Puranic encyclopaedia : a comprehensive dictionary with special reference to the epic and Puranic literature |date=1975 |publisher=Delhi : Motilal Banarsidass |others=Robarts - University of Toronto |isbn=978-0-8426-0822-0 |pages=488}}</ref> For this act, Shiva acquired the epithet [[kalantaka]] (destroyer of time and death).

=== Vision of Pralaya ===
The [[Bhagavata Purana]] describes Markandeya worshipping [[Vishnu]] for six [[Manvantara|manvanataras]] (an age of [[Manu (Hinduism)|Manu]]). Alarmed by the sage's prowess, [[Indra]] tasked a number of [[Apsara|apsaras]], [[Gandharva|gandharvas]], and the god of love, [[Kamadeva]], to disrupt his ascetic practice. The celestial beings travelled to the [[Ashram|hermitage]] of the sage, located on the [[Himalayas]] along the banks of the river Pushpabhadra. The sage remained undisturbed by the songs, dances, and attempts of seduction by the beings, after which they fled. Impressed by Markandeya, Vishnu appeared before him in his form of the sage-brothers [[Nara-Narayana]]. Markandeya extolled the sage-brothers, and requested that he be granted a sight of Vishnu's [[Maya (religion)|maya]] (illusion), which was granted. One evening, while Markandeya prayed, he experienced a vision of the [[pralaya]], the dissolution of the universe. A great deluge submerged the earth, destroying all living beings, and the sage found himself being the only creature left alive, thrashed by the waters. Even as the torrent propelled him, the sage observed a [[banyan]] tree, upon whose branch he saw a dazzling baby upon a leaf. Markandeya marvelled at the sight of its wondrous form. Entering the form of the baby, he witnessed the entire universe, the passage of the ages, all living beings, as well as a vision of his own hermitage. Leaving the baby's form and returning to the vision of the pralaya, the sage attempted to hug the baby, knowing it to be Vishnu himself. The baby vanished, and the maya was subsequently dispelled, returning Markandeya back to his hermitage. Even as Markandeya extolled [[Vishnu]], [[Shiva]] and [[Parvati]] appeared before the sage, and the latter sang their praises. Pleased by the sage, Shiva offered him a boon. The sage asked for the devotees of Vishnu and Shiva to be blessed. Shiva granted this boon, declaring that Markandeya would also be immortal, gain great [[Punya (Hinduism)|religious merit]], and also blessed with the authorship of a [[Markandeya Purana|Purana]].<ref>{{Cite book |last=Gita Press |url=https://archive.org/details/bhagavatapuranagitapress_201907/page/n1561/mode/2up |title=Bhagavata Purana Gita Press |pages=698–710}}</ref><ref>{{Cite book |last=Mani |first=Vettam |url=http://archive.org/details/puranicencyclopa00maniuoft |title=Puranic encyclopaedia : a comprehensive dictionary with special reference to the epic and Puranic literature |date=1975 |publisher=Delhi : Motilal Banarsidass |others=Robarts - University of Toronto |isbn=978-0-8426-0822-0 |pages=488}}</ref>

==Veneration==

Today, the Markandeya Tirtha, where the sage Markandeya is regarded to have written the Markandeya Purana, is situated on a trekking route to the [[Yamunotri]] shrine in the [[Uttarkashi district]], [[Uttarakhand]].<ref name=utt>[http://uttarkashi.nic.in/aboutDistt/Temple.htm Yamunotri Temple] {{webarchive|url=https://web.archive.org/web/20090731232226/http://uttarkashi.nic.in/aboutDistt/Temple.htm |date=31 July 2009 }} [[Uttarkashi district]] website.</ref>

The legend of Shiva saving Markandeya is said to have taken place on the bank of river Gomati in Kaithi, Varanasi. An ancient temple known as the Markandeya Mahadeva Temple is made on this site. Alternatively, another story states that this event happened in [[Kerala]], at the site of [[Triprangode Siva Temple]] where the Markandeya ran up to the Shiva Linga at the temple to escape from Yama. A source also claims that this incident took place at the [[Shri Vaijnath Temple|Parli Vaijnath Jyotirlinga]] in the [[Beed district|Beed]] district of Maharashtra. It is also believed to have happened in either of two temples in [[Tamil Nadu]], [[Thirukkadaiyur]] or [[Thiruvanmiyur]]. Khandya which is in Chikmaglur district of Karnataka. Also houses a shrine dedicated to Markhandeya Shiva - Mrityunjaya and legend (Sthala Purana) says that Markhandeya held on to this Shiva Linga. There are marks of a child clinging on to the Linga here. The name "Khandya" is also the short form of Markhandeya. People do 'Asthi Visarjan' here as the river Bhadra flows westerwardly direction (Paschimavaahini).

== Literature ==

=== Sapta Chiranjivi Stotram ===
The Sapta Chiranjivi Stotram is a mantra that is featured in [[Hindu texts|Hindu literature]]:

{{Blockquote|text=अश्वत्थामा बलिर्व्यासो हनुमांश्च विभीषण:। कृप: परशुरामश्च सप्तैतै चिरञ्जीविन:॥ सप्तैतान् संस्मरेन्नित्यं मार्कण्डेयमथाष्टमम्। जीवेद्वर्षशतं सोपि सर्वव्याधिविवर्जितः॥

aśvatthāmā balirvyāsō hanumāṁśca vibhīṣaṇaḥ। kṛpaḥ paraśurāmaśca saptaitai cirañjīvinaḥ॥ saptaitān saṁsmarēnnityaṁ mārkaṇḍēyamathāṣṭamam। jīvēdvarṣaśataṁ sopi sarvavyādhivivarjitaḥ॥|title=Sapta Chiranjivi Stotram}}

The mantra states that the remembrance of the eight immortals ([[Ashwatthama]], [[Mahabali]], [[Vyasa]], [[Hanuman]], [[Vibhishana]], [[Kripa]], [[Parashurama]], and [[Markandeya]]) offers one freedom from ailments and longevity.

=== The Markandeya Purana ===
The [[Markandeya Purana]] is one of the eighteen major [[Puranas]] of Hinduism. It is narrated by sage Markandeya himself to sage [[Jaimini]] and contains many topics such as [[cosmology]], [[philosophy]], [[theology]], [[dharma]], and [[Karma in Hinduism|karma]]. Detailed descriptions of sacred places and rituals are in this Purana as well. The Markandeya Purana presents Lord [[Shiva]] to be the supreme deity and includes many stories to show his divine virtues and characteristics. Moreover, it includes the [[Devi Mahatmya]], which emphasizes goddess [[Durga]]'s virtues such as her role as the embodiment of [[Shakti]] and her ability to destroy evil for the protection of her devotees.<ref>{{Cite book |last=Sharma |first=Saagar |url=https://books.google.com/books?id=ckwQEQAAQBAJ |title=SAAT CHIRANJEEVI The Eternal Guardians of Hinduism |date=2024-05-01 |publisher=Abhishek Publications |isbn=978-93-5652-581-8 |language=en}}</ref>

=== Appearance in the Mahabharata ===
In the Markandeya-Samasya Parva in the [[Vana Parva]] of the [[Mahabharata]], a conversation takes place between Markandeya and the oldest [[Pandava]] brother [[Yudhishthira]]. As a result of the game of dice in [[Hastinapur]], the five Pandava brothers and their wife [[Draupadi]] are exiled into the forest for 12 years and one extra year in hiding. Traumatized by the events of the game of dice Yudhishthira felt restless and upset and wanted to find peace and guidance. He goes to sage Markandeya with many questions and concerns. Yudhishthira went to the right man for guidance, for the great sage had lived through and experienced the great deluge, which gave him a large perspective on life. As part of their conversation, Markendeya narrates to him the story of the great deluge and his incident with lord [[Vishnu]].<ref>{{Cite web |title=Markandeya – Vyasa Mahabharata |url=https://www.vyasaonline.com/encyclopedia/markandeya/ |access-date=2025-01-11 |language=en-US}}</ref><ref>{{Cite web |last=GV |first=Shivakumar |date=2020-06-19 |title=Mahabharata Metaphors: Markandeya, The Sage Who Saw The Deluge - Indic Today |url=https://www.indica.today/long-reads/mahabharata-metaphors-markandeya-deluge/#:~:text=Sage%20Markandeya%20is%20an%20important,questions,%20concerns,%20and%20confusion |access-date=2025-01-11 |language=en-US}}</ref>

==Films on Markandeya==
* ''Markandeya'' (1922)
*''Shri Markandeya Avtaar'' (1922)
*''[[Markandeya (1935 film)|Markandeya]]'' (1935)
* ''Bhakta Markandeya'' (1938)
* ''[[Bhaktha Markandeya|Bhakta Markandeya]]'' (1956)
*''Bhakta Dhruva Markandeya'' (1982)

==See also==
*[[Narada]]
*[[Prahlada]]
*[[Four Kumaras]]
*[[Hindu calendar]]
*[[Saptarishi]]
*[[Chiranjivins]]

==References==
{{Reflist}}
*[[Dictionary of Hindu Lore and Legend]] ({{ISBN|0-500-51088-1}}) by Anna Dallapiccola
* ''The Complete Idiot's Guide to Hinduism,'' Chapter 1, pg 13

==External links==
*[https://www.wisdomlib.org/hinduism/book/the-markandeya-purana/ The Markandeya Purana (English) by F. E. Pargiter; Online HTML]
*[https://web.archive.org/web/20080314234023/http://srimadbhagavatam.com/12/8/en1 Markandeya's Prayers from the Bhagavata Purana]

*[http://www.markandeya.in Markandeya Temple Mumbai(Worli)]
*[https://shaivam.org/to-practise/12-jyotirlingas-5-sri-vaidhyanath-temple-in-parali/ Markandeya obtained his boon of life here in Parali from Vaidyanatha]

{{Rishis of Hindu mythology}}
{{HinduMythology}}
{{Authority control}}

[[Category:Rishis]]
[[Category:Characters in the Mahabharata]]
[[Category:Chiranjivins]]

Chalam (writer)

2026-03-26T20:07:27Z

Surendra Sharma: Created Basic Data And Citations

{{Short description|Indian Telugu-language writer}}
{{Use dmy dates|date=May 2018}}{{Use Indian English|date=May 2018}}
{{Infobox person
| name = Chalam
| image = Gudipati_Venkata_Chalam_(Chalam),_Tummalapalli_Kshetrayya_Kalakshetram_Vijayawada.JPG
| imagesize =
| caption =
| birth_name = Gudipati Venkata Chalam
| birth_date = {{birth date|df=yes|1894|5|19}}<ref name="TToday">{{Cite web|last=Nanisetti|first=AuthorShanti|title=A controversial writer|url=https://telanganatoday.com/a-controversial-writer|access-date=2020-06-16|website=Telangana Today|language=en-US}}</ref>
| birth_place = Valluripalem, [[Krishna district]], [[Madras Presidency]] (present-day [[Andhra Pradesh]], India)
| death_date = {{death date and age|df=yes|1979|5|4|1894|5|19}}
| death_place = [[Arunachala]], India
| yearsactive = 1920–1972
| children =
| spouse =
}}

'''Gudipati Venkatachalam''' (1894–1979), popularly known as '''Chalam''', was an Indian [[Telugu language|Telugu]]-language writer and [[philosopher]]. He was considered to be one of the most influential personalities in modern [[Telugu literature]].<ref>{{Cite news|date=2018-05-26|title=Homage paid to Chalam|language=en-IN|work=The Hindu|url=https://www.thehindu.com/news/cities/Hyderabad/homage-paid-to-chalam/article23994673.ece|access-date=2020-06-16|issn=0971-751X}}</ref>

Most of Chalam's work was regarding women, especially the kind of difficulties women encountered in the society, both physical and psychological. Chalam's work discussed how he believed women should face these problems. His writing had a distinctive style which would earn him an enviable place in the Telugu literary world.

Chalam's writings have been celebrated by his contemporaries, and are a growing influence among writers of the current generation as well.

== Life ==
Much that is known about Chalam's childhood comes from his 1972 autobiography titled ''Chalam''. In it, he vividly mentions how he suffered beatings from his father and how his mother, residing at her parents’ home (in [[Tenali]]) even after getting married and starting a family with her husband, who belongs to Valluripalem of [[Krishna district]], had to face a flurry of insults. Chalam brazenly puts across why he wrote his autobiography in its foreword:

<blockquote>
"I hate autobiographies. By writing an autobiography, I am admitting to myself and indirectly telling everybody that I am an important person, I made lots of good things to help people and society and if I do not tell the world about myself, there is great loss to the world and by not knowing about me, the world is losing something. For a person like me who always thinks and wonders, "Why was I born? And OK, I was born but why I did not die immediately without polluting my surroundings? Writing an autobiography and telling my story shamelessly is not a matter to be excused [...]"

</blockquote>

=== Birth and childhood ===
Gudipati Venkata Chalam was born on 18 May 1894, in [[Krishna district]], India. His mother was Venkata Subbamma and his father was Kommuri Sambasivarao. He was mainly raised in Tenali after his maternal grandfather adopted him and changed his surname from "Kommuri" to "Gudipati". He was an avid practitioner of [[Hinduism|Hindu]] rituals and committed himself to an exhaustive study of Hindu epics as well as Hindu doctrinal teachings. The way his father abused his mother made an indelible impression on his young mind. Besides this, the manner in which his sister "Ammanni" (Venkata Ramanamma, Dulla) was coerced into an arranged marriage also made him concentrate on the difficulties that women faced in society.

=== Education, marriage and employment ===
Chalam joined Pithapuram Maharaja College in 1911. At that time, he was attracted by the preachings of [[Raghupathi Venkataratnam Naidu|Raghupati Venkata Ratnam Naidu]]—a social reformer and the founder of [[Brahma Samaj]] in Andhra Pradesh. Chalam went to Chennai to study for his Bachelor of Arts degree. Before joining the college, he was married to Chitti Ranganayakamma. During his stay in Chennai, he got his wife admitted into a convent for her education and used to drop her at school on his bicycle. Chalam stopped wearing the sacred thread ([[Yagnopaveetham]]) and started incorporating non-vegetarian food into his diet ([[Brahmins]] were strict [[vegetarianism in Hinduism|vegetarians]]). He mingled with members of all castes which infuriated his relatives and more so his father-in-law who banished him from entering his house. At the time, Chalam's wife's age was merely 13. When his mother-in-law died, Chalam and his friends were not allowed in his father-in-law's house for the funeral, and were served food outside.

After completing his studies in Madras, Chalam joined in a job as tutor in [[Kakinada]] and started participating in the Brahma Samaj activities. He worked as a teacher in [[Karimnagar]] then joined in a job with Teacher's Training College in Rajahmundry. He later became a school inspector. About his job, Chalam wrote in his famous book "Musings" (in Telugu language) (Page 72, 5th Print in 2005) as follows:

'''I am a stone, slave of the government, school inspector and for the poor mice like teachers, I am the cat.'''

==Chalam's daughter==
Chalam's daughter, Souris, a devotee of [[Ramana Maharshi]], maintains an ashram at Bheemili, Visakhapatnam.

== Bibliography ==
===[[Novels]]===
* ''Maidanam''
* ''Sasirekha''
* ''Dyvamicchina bharya''
* ''Jeevitadarsam''
* ''Brahmanikam''
* ''Vivaham''
* ''Aruna''
* ''Anusuya''
* ''Ameena''

===[[Short story collections]]===
* ''Jealousy''
* ''Aa rathri''
* ''Prema paryavasanam''
* ''Satyam Sivam Sundaram''
* ''Vedantam''
* ''Doshagunam''
* ''Maadiga ammayi''
* ''maamagari maryada''
* ''mukkaalupeeta''
* ''mukthimaargam''
* ''mosamchesindha''
* ''yavvanavvanam''
* ''rasaputhrulu''
* ''raamabakthudu''
* ''raavanadarshanam''
* ''reddyrangamma''
* ''lancham''
* ''lakshimdevi''
* ''lakshmiuthharam''
* ''villytho snejam ela ayyindante?''
* ''vaani-a-study''
* ''vaallu naluguru''
* ''vichitranaleeyam''
* ''vithanthuvu''
* ''vennelathotalu''
* ''vendantham''
* ''vontarithanam''
* ''shamantakamanitho interview''
* ''sheshamma''
* ''saraswathee prasannam''
* ''cinema saayam''
* ''seethathalli''
* ''seethayya''
* ''sugandhi''
* ''susheela''
* ''stationpampu''
* ''hamko mohabbath''
* ''hampeekanyalu''
* ''hathya vicharana''
* ''harijana vidhyardhi''
* ''harijana samasya''
* ''hindhumusalmaan''
* ''nakshatrakaanthi''
* ''kamalaanehru samadhi vadda''
* ''anusooya''

===[[Nonfiction]]===
* ''Musings''
* ''Papam''
* ''Prema Lekhalu''
* ''Stree''
* ''Biddala Shikshana''
* '' Ramanashram lo''
* '' Bhagavan padalamundu Deewan''
* '' Sri Bhagavadgitha''
* '' Bhagawan Smruthulu''
* '' Chinta Dikshithulu gariki ''
* ' ' (Chalam lekgalu)
* ' ' Atmakatha

The novel ''Maidanam'' made an indelible mark on the reader for its free and frank way of expression, the relationship between man and woman disregarding caste and creed.<ref>{{Cite web|last=mani|date=2019-05-19|title=Controversially yours!|url=https://www.thehansindia.com/featured/sunday-hans/controversially-yours-530488|access-date=2020-06-16|website=www.thehansindia.com|language=en}}</ref>

== Philosophy ==
Chalam was a strong critic of the fundamental societal architecture of his time. He believed that the barriers created by the society precluded love and mutual understanding from human relationships.

In a society that believed in children being indebted to their parents, he proclaimed caring for and bringing up of children as the fundamental duty as parents.

He was widely shunned during his times especially for his advocacy of women's rights and his total rejection of the family system.

== Adaptations ==
His Short story Doshagunam was adapted as a Telugu movie [[Grahanam]].

== Quotes ==
Some of the dialogues spoken by the protagonists in the novels and short stories of Chalam are often cited in the form of quotations. For example, the film [[Grahanam]] opens with a recitation of a quote ``ఎదో ఒకటి నిజమనుకోకపోతే శాంతి లేదు" meaning "There is no scope for peace without agreeing on an ad-hoc truth". Although Chalam is not quoted in common parlance compared to how often dialogues from contemporary cinema popup in and outside the internet, there does exist a niche audience and readership that can recognize his quotations.

In his autobiography, he expresses his strong criticism on modern education system and the neo-imperial influence on the psyche of the education upper middleclass population during the 1950's.
<blockquote>
ప్రస్తుతం పిల్ల ఎందుకు పుట్టిందంటే చదువుకోవడానికి. ఎందుకు చదువు కుంటుందంటే పెద్ద ఉద్యోగాలు సంపాయించడానికి. పెద్ద ఉద్యోగాలు ఎందుకు సంపాయిస్తుందంటే అమెరికా పోవడానికి. ఇప్పుడు ఇండియా దేశస్తులకి స్వర్గం ఏమిటంటే అమెరికా. చిన్న చిన్న ఉద్యోగాలకి గూడా పెద్ద పెద్ద డిగ్రీలు ఉంటేగాని మనుషులు పనికిరావడంలేదు. వీళ్ళు చేసే పన్లకి, ఆ చదువుకునే కాలేజి విద్యకి ఏమీ సంబంధం లేదు. అది ఉత్త నమ్మకం. అనవసరం, డాంబికం. అవి మనిషి అన్నవాణ్ణి ఇంత లావు ఉబ్బించేటట్టు చేస్తాయి ఆ డిగ్రీలు."
</blockquote>

==References==
{{reflist}}

== External links ==
* [https://www.goodreads.com/author/show/967580.Chalam Chalam]
* [https://www.ranganayakamma.org/Chalam.htm About Chalam]

{{Authority control}}

{{DEFAULTSORT:Chalam}}
[[Category:1894 births]]
[[Category:1979 deaths]]
[[Category:20th-century Indian novelists]]
[[Category:Writers from Chennai]]
[[Category:Telugu writers]]
[[Category:Indian male novelists]]
[[Category:Novelists from Tamil Nadu]]

List of town tramway systems in India

2026-03-24T15:50:23Z

Surendra Sharma: stub!

{{Short description|none}}
'''Trams in India''' were established in the late 19th century. Horse-drawn [[tram]]s were introduced in [[Kolkata]] in 1873; in [[Mumbai]] and [[Chennai]], trams began operations in 1874; in [[Nashik]] in 1889; electric trams began in Chennai in 1895, and trams were also introduced in [[Kanpur]] and [[Delhi]]. They were discontinued in all Indian cities between 1933 and 1964, except for [[trams in Kolkata]].<ref>{{cite news |last1=Smith |first1=R.V. |title=When trams plied |url=https://www.thehindu.com/features/friday-review/history-and-culture/when-trams-plied/article4424975.ece |website=The Hindu|date=17 February 2013 }}</ref>

== Kolkata (Calcutta) ==
{{main|Trams in Kolkata}}
[[Image:Kolkata transport.jpg|thumb|alt=Two-car, white-and-orange tram|Tram in Kolkata]]

Trams in [[Kolkata]] (formerly Calcutta), [[West Bengal]] are operated by the [[West Bengal Transport Corporation]] (WBTC). It is the only operating tram network in India<ref name=onlytram>{{Cite news|title = Reaching India | url= http://timesfoundation.indiatimes.com/articleshow/657741.cms|access-date=27 February 2012 |publisher=Times Internet Limited|location=New Delhi}}</ref> and the oldest operating electric tram in Asia, running since 1902.<ref name="Kolkata trams to get a GenX makeover">{{cite news|title=Kolkata trams to get a GenX makeover|url=https://timesofindia.indiatimes.com/city/kolkata/Kolkata-trams-to-get-a-GenX-makeover/articleshow/14857280.cms|archive-url=https://web.archive.org/web/20130927133900/http://articles.timesofindia.indiatimes.com/2012-07-13/kolkata/32662823_1_tram-network-lrt-institute-of-urban-transport|url-status=live|archive-date=27 September 2013|work=[[The Times of India]]|date=13 July 2012}}</ref> There are 257 trams in total, of which 125 used to run daily on the Kolkata streets, but only 25 trams run daily nowadays.<ref name="Bankrupt CTC to introduce two more AC trams">{{cite news|title=Bankrupt CTC to introduce two more AC trams|url=https://timesofindia.indiatimes.com/city/kolkata/Bankrupt-CTC-to-introduce-two-more-AC-trams/articleshow/21814992.cms|archive-url=https://archive.today/20130816084035/http://articles.timesofindia.indiatimes.com/2013-08-14/kolkata/41408969_1_calcutta-tramways-company-ac-tourism-department|url-status=live|archive-date=16 August 2013|work=[[The Times of India]]|date=14 August 2013}}</ref> The single-deck articulated cars can carry 200 passengers (60 seated).

The first horse-drawn trams in India ran a {{convert|2.4|mi|km|adj=on}} distance between [[Sealdah]] and Armenian Ghat Street on 24 February 1873. The service was discontinued on 20 November of that year.<ref name="calcuttatramways.com">http://www.calcuttatramways.com/history.aspx {{Webarchive|url=https://web.archive.org/web/20130927004918/http://www.calcuttatramways.com/history.aspx |date=2013-09-27 }} CTC website. Accessed 16 August 2013.</ref> The Calcutta Tramway Company was formed and registered in London on 22 December 1880. Metre-gauge horse-drawn tram tracks were laid from Sealdah to Armenian Ghat via Bowbazar Street, Dalhousie Square and Strand Road. The route was inaugurated by [[George Robinson, 1st Marquess of Ripon|Viceroy Ripon]] on 1 November 1880.<ref name="calcuttatramways.com"/> In 1882, steam locomotives were deployed experimentally to haul tram cars. By the end of the 19th century, the company owned 166 tram cars, 1,000 horses, seven steam locomotives and 19 miles of tram tracks.<ref name="calcuttatramways.com"/> In 1900, electrification of the tramway and reconstruction of its tracks to {{RailGauge|ussg}} ([[standard gauge]]) began.<ref name="calcuttatramways.com"/> In 1902, the first electric tramcar in Calcutta ran from [[Esplanade, Kolkata|Esplanade]] to [[Kidderpore]] on 27 March and on 14 June from Esplanade to [[Kalighat]].

== Mumbai (Bombay) ==
[[File:Best-doubledecker-tram.jpg|thumb|alt=See caption|1920s double-decker tram in Mumbai]]

A mass public-transport system for [[Mumbai]] (then Bombay) was proposed in 1865 by an American company, which applied for a licence to operate a [[Horsecar|horse-drawn]] [[tram]] system. Although a licence was granted, the project was never realised due to the city's economic depression.

The Bombay Tramway Company was set up in 1873. After a contract was signed between the Bombay Tramway Company, the municipality and the Stearns and Kitteredge company, the Bombay Presidency enacted the Bombay Tramways Act, 1874 licensing the company to run a horsecar tram service in the city.<ref>{{cite book |title=Quarterly journal of the Local Self Government Institute (Mumbai) |chapter=Growth of Mumbai & its Municipal Corporation|year= 1976|page=13}}</ref> On 9 May 1874, the first horse-drawn carriage made its début in the city, plying the [[Colaba]]–[[Pydhone]] via [[Crawford Market]], and [[Bori Bunder]] to [[Pydhonie]] via [[Kalbadevi]] routes. The initial fare was three [[Anna (monetary subunit)|annas]] (12 [[Paisa|paise]] pre-decimalisation), and no tickets were issued. As the service became increasingly popular, the fare was reduced to two annas (8 pre-decimalisation paise). Later that year, tickets were issued to curb increasing ticket-less travel.<ref>{{cite book |title=Mumbai, the city of dreams: a history of the first city in India |last=David|first=M. D.|year=1995 |publisher=Himalaya Publishing House|pages=199–200}}</ref> Stearns and Kitteredge reportedly had a stable of 1,360 horses over the lifetime of the service.<ref name="haltstn">{{cite book |last1=Aklekar |first1=Rajendra B |title=Halt station India : the dramatic tale of the nation's first rail lines |year=2014 |publisher=[[Rupa & Co]] |isbn=9788129134974 |page=193 |access-date=23 April 2019 |url=http://rupapublications.co.in/books/halt-station-india/ }}</ref>

In 1899, the Bombay Tramway Company applied to the municipality to operate electric trams. In 1904, the [[British Electric Traction Company]] applied for a license to supply electricity to the city with the Brush Electrical Engineering Company its agent. It received the Bombay electric license on 31 July 1905, signed by Bombay Tramways Company, the Bombay Municipality and the Brush Electrical Company. In 1905, the [[Brihanmumbai Electric Supply and Transport|Bombay Electric Supply and Tramway Company]] (BEST) was formed. BEST received a monopoly on electric supply and an electric tram service in the city, and bought the Bombay Tramway Company's assets for {{INR|9850000}}.<ref name="Company">{{cite web|url=http://bestundertaking.com/his_chap05.asp |title=Electricity Arrives in Mumbai |access-date=12 October 2006 |publisher=BEST Undertaking |url-status=dead |archive-url=https://web.archive.org/web/20061011063810/http://www.bestundertaking.com/his_chap05.asp |archive-date=11 October 2006 }}</ref> Two years later, the first electric tram debuted in the city. Later that year, a {{convert|4300|kW|hp}} [[steam power]] generator was commissioned at Wari Bunder. In 1916, a power purchase from [[Tata Power]] (a private company) began, and by 1925, all power generation was outsourced from Tata.<ref name="Electricity">{{cite web|url=http://bestundertaking.com/his_chap04.asp |title=Electricity Arrives in Mumbai |access-date=12 October 2006 |publisher=BEST Undertaking |url-status=dead |archive-url=https://web.archive.org/web/20061008192531/http://www.bestundertaking.com/his_chap04.asp |archive-date=8 October 2006 }}</ref> To ease rush-hour traffic, [[double-decker tram]]s were introduced in September, 1920. The trams met travellers' needs until the betterment of the city's train network, and the service closed on 31 March 1964.<ref name="Indian trams">[http://www.tramz.com/tva/in.html Tram views of Asia] Retrieved 2011-03-16.</ref>

==Chennai (Madras)==
[[File:Madras-Tramway-Network.jpg|thumb|The Tram network in Madras operated by The Madras Electric Tramway Company from 1892 to 1953.]]
[[Chennai]] (then Madras) was the third city in India to get a tramway for passenger carriage. The first [[Horsecar|horse-drawn]] [[tram]] service in Madras began operations in June, 1874, shortly after the opening of the tramway in [[Bombay]]. The tramway used metre gauge tracks and operated on several routes, the chief of them being a route between [[Royapuram]] and [[Triplicane]]. The tramway was in service for a few years, but like the early horse-drawn trams in [[Calcutta]], it had to be discontinued due to poor financial returns.

Tramways saw a revival in the city with the opening of the [[Madras Tramways|Madras Electric Tramways]] in 1895, connecting the docks and the inland areas, carrying goods and passengers. When the system began on 7 May 1895, it was India's oldest [[electric tram]] system and it is the '''first''' [[electric tram]] system in [[India]]. The original conduit system was replaced by a conventional overhead wire system after a series of destructive [[monsoon]]s. The trams could carry heavy loads and were popular, with thousands of riders daily. The route included [[Anna Salai|Mount Road]], [[Parry's Corner]], [[Poonamallee High Road, Chennai|Poonamallee Road]] and the [[Ripon Building]]. At its height in 1921, 97 cars ran on {{convert|24|km}} of track. The tram company went bankrupt about 1950, and the system closed on 12 April 1953.<ref name="Indian trams"/>

==Nashik==
[[Nashik]] was the fourth city in India after [[Chennai]], [[Kolkata]] and [[Mumbai]] to get trams in 1889. Trams in [[Nashik]] (then Nasik) were built in 1889 as {{RailGauge|2ft6in|lk=on}} [[Narrow-gauge railway|narrow gauge]]. The consulting engineer was [[Everard Calthrop]], later known with the [[Barsi Light Railway]]. Originally, the tram used two carriages pulled by four horses. It ran from the present Old Municipal Corporation building on Main Road to the [[Nasik Road railway station]], a distance of 8 to 10 km. The stretch between Nashik and Nashik Road was jungle-covered, and the only mode of transport from the station to the city was horse-drawn carriage or one of two taxis. The tram originated from the Old Municipal Corporation building located on Main Road, and terminated at the [[Nasik Road railway station|Nashik Road railway station]] (8–10 km). It passed through the areas of Ganjamal (the now defunct bus stop was earlier a tram stop) and behind Fame Multiplex. Brady's; a private company funded the project and later introduced India's first petrol engine driven tram under the aegis of Nasik Tramway Co. The tramway closed down in around 1933 owing to the successive years of famine and plague, it had run into heavy losses.<ref>{{Cite web |title=Trams in Nashik |url=https://www.facebook.com/login/?next=https%3A%2F%2Fwww.facebook.com%2Flostbaggages%2Fposts%2Ftrams-in-nashiktruth-or-hoax-i-happened-to-visit-my-home-town-kolkata-last-year-%2F198946690311902%2F |access-date=2022-04-22 |website=Facebook |language=en}}</ref><ref>{{Cite web |title=Imperial Gazetteer2 of India, Volume 8, page 332 -- Imperial Gazetteer of India -- Digital South Asia Library |url=http://dsal.uchicago.edu/reference/gazetteer/pager.html?objectid=DS405.1.I34_V08_338.gif |access-date=2022-04-22 |website=dsal.uchicago.edu}}</ref><ref>{{Cite web |last=Pardeshi |first=Nikhil |title=1889-1933 : Remembering the good old tram of Nashik |url=https://www.deshdoot.com/deshdoot-times/1889-1933-remembering-the-good-old-tram-of-nashik |access-date=2022-04-22 |website=Latest Marathi News, Marathi News Paper, Breaking News In Marathi, Marathi Batmya Live |date=5 February 2021 |language=mr}}</ref>

==Kanpur==
In June 1907, trams were introduced in [[Kanpur]] (then Cawnpore). There were {{convert|4|mi}} of track and 20 single-deck open trams. The single-track line connected the railway station with Sirsaya Ghat on the banks of the [[Ganges]]. Photographs of Cawnpore trams are rare. The introductory stock was electric-traction single-coach; single-coach trams were also used in Delhi, Mumbai and Chennai. The service was discontinued on 16 May 1933.<ref name="Indian trams"/>

==Kochi==
The [[Cochin State Forest Tramway]] was a {{RailGauge|1000mm|allk=on}}<ref>[http://irfca.org/articles/CochinStateForestTramwayJournal.doc Journal on the Cochin State Forest Tramway]</ref><ref>{{cite web |url=http://www.hindu.com/2010/01/04/stories/2010010455160600.htm|archive-url=https://web.archive.org/web/20100120045834/http://www.hindu.com/2010/01/04/stories/2010010455160600.htm|url-status=dead|archive-date=2010-01-20|work=[[The Hindu]]|title=Tramway to a trade empire
|date=2010-01-04|access-date=2013-03-17}}</ref><ref>{{cite web|url=http://newindianexpress.com/states/kerala/article1410735.ece|archive-url=https://web.archive.org/web/20140517140257/http://www.newindianexpress.com/states/kerala/article1410735.ece|url-status=dead|archive-date=May 17, 2014|title=Public to get glimpses of the marvel of erstwhile tramway|publisher=The New Indian Express|access-date=2013-03-17}}</ref> forest tramway running from the [[Parambikulam Wildlife Sanctuary]] in [[Palakkad district]] to [[Chalakudy]] in [[Thrissur district]]. Operating from 1907 to 1963, it served then [[Kingdom of Cochin|Cochin state]] (now part of Kerala) and brought [[teak]] and [[rosewood]] from forests for global shipment.<ref>{{cite web |url=http://www.hindu.com/2010/01/04/stories/2010010455160600.htm|archive-url=https://web.archive.org/web/20100120045834/http://www.hindu.com/2010/01/04/stories/2010010455160600.htm|url-status=dead|archive-date=2010-01-20|work=[[The Hindu]]|title=Tramway to a trade empire |date=2010-01-04|access-date=2013-03-17}}</ref><ref>{{cite web |url=http://newindianexpress.com/states/kerala/article1410735.ece|archive-url=https://web.archive.org/web/20140517140257/http://www.newindianexpress.com/states/kerala/article1410735.ece|url-status=dead|archive-date=May 17, 2014|title=Public to get glimpses of the marvel of erstwhile tramway|publisher=The New Indian Express|access-date=2013-03-17}}</ref>

==Delhi==
[[File:A tram in Delhi - LIFE (2).jpg|thumb|A tram in Delhi]]
Trams in [[Delhi]] began operation on 6 March 1908. At its zenith in 1921, there were 24 open cars on {{convert|15|km}} of track. [[Jama Masjid, Delhi|Jama Masjid]], [[Chandni Chowk]], [[Chawri Bazar|Chawri Bazaar]], Katra Badiyan, [[Lalkuan|Lal Kuan, Delhi]] and Fatehpuri were linked with Sabzi Mandi, [[Sadar Bazaar, Delhi|Sadar Bazar]], [[Paharganj]], [[Gates of Delhi|Ajmeri Gate]], Bara Hindu Rao and [[Tis Hazari]].<ref>{{Cite web|url=http://www.firstpost.com/delhi/trams-set-to-make-a-comeback-on-delhis-streets-2381120.html|title=Trams set to make a comeback on Delhi's streets|date=6 August 2015}}</ref> The system closed in 1963 due to urban congestion.<ref name="Indian trams"/>

==Patna==
[[Patna]] had [[Horsecar|horse-drawn trams]] as urban transport.<ref>[https://web.archive.org/web/20121021204515/http://articles.timesofindia.indiatimes.com/2008-09-23/patna/27949532_1_patna-saheb-patna-city-paschim-darwaza "First-ever book on Patna soon". ''The Times of India'', September 23, 2008] Retrieved 2011-03-16.</ref> The tram in Patna ran in the populated area of Ashok Rajpath, from Patna City to [[Bankipore]], with its western terminus at [[Sabzibagh]] (opposite the Pirbahore police station). It was discontinued in 1903, due to low ridership, and plans to extend the route westward never materialised.

==Bhavnagar==
[[Bhavnagar]] had a {{RailGauge|2ft6in|lk=on}} narrow-gauge tram built by [[Bhavnagar State]]. The first section was built in 1926 from [[Bhavnagar]] south to [[Talaja, Bhavnagar|Talaja]], and was extended to [[Mahuva (Surat district)|Mahuva]] in 1938. The total length of the tramway was {{convert|67.5|mi}}. The tramway used small [[4-8-0]] locomotives later classified as T class. In 1947, the tramway was taken over by the [[Saurashtra Railway]], and later by the [[Western Railway (India)|Western Railway]].<ref name=Hughes>Hughes, Hugh 1994 ''Indian Locomotives Pt. 3, Narrow Gauge 1863-1940''. Continental Railway Circle.</ref> It was closed during the 1960s.

==See also==
* [[Urban rail transit in India]]
* [[Rail transport in India]]
* [[List of tram and light rail transit systems]]

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

==External links==
{{commons category|Tram transport in India}}
* [https://web.archive.org/web/20051219055921/http://www.calcuttatramways.com/schedules.htm Tram routes and fares]
* [https://web.archive.org/web/20051219051453/http://www.calcuttatramways.com/home.htm Calcutta Tramways Company website]
* [https://tripinfi.com/trams-in-india/ Trams in India – Facts and History]



{{Trams in India}}
{{Transport in India}}
{{Rapid transit in India}}

{{DEFAULTSORT:Trams In India}}
[[Category:Tram transport in India]]

Department of Cabinet Secretariat and Vigilance (Jharkhand)

2026-03-22T14:25:13Z

Surendra Sharma: Created Some Stub More To Come

{{Short description|State government department of Jharkhand}}
{{Use dmy dates|date= October 2025}}
{{Infobox government agency
| agency_name = Department of Cabinet Secretariat and Vigilance
| seal = File:Jharkhand Rajakiya Chihna.svg
| seal_size = 170
| nativename = कैबिनेट सचिवालय और सतर्कता विभाग
| jurisdiction = [[Jharkhand|State of Jharkhand]]
| headquarters = Project Building, Dhurwa, [[Ranchi]], [[Jharkhand]] - 834005
| mapframe = yes
| coordinates = {{coord|23.29417|N|85.29299|E|scale:10000|display=inline,title}}
| budget =
| minister1_name = [[Hemant Soren]]
| minister1_pfo = [[Chief Minister of Jharkhand]] and Minister of Cabinet Secretariat and Vigilance
| chief1_name = Vandana Dadel, [[Indian Administrative Service|IAS]]
| chief1_position = Principal Secretary
| website = {{Official website|https://www.jharkhand.gov.in/cabinet-secretariat}}
| parent_department = [[Government of Jharkhand]]
| formed =
}}

The '''Department of Cabinet Secretariat and Vigilance''' is department of [[Government of Jharkhand]] that assists the state cabinet in decision making and inter departmental coordination.<ref>{{Cite web |title=Department of Cabinet Secretariat and Vigilance |url=https://www.jharkhand.gov.in/cabinet-secretariat |access-date=2025-10-25 |website=www.jharkhand.gov.in}}</ref><ref>{{Cite web |date=2023-12-21 |title=The Role of Cabinet Secretariat in Indian Policy-Making • Public Administration Notes by PubAdmin.Institute |url=https://pubadmin.institute/public-policy-and-analysis/cabinet-secretariat-indian-policy-making |access-date=2025-10-25 |language=en-US}}</ref><ref>{{Cite web |title=Department of Cabinet Secretariat and Vigilance {{!}} Jharkhand.MyGov.in |url=https://jharkhand.mygov.in/en/group/department-cabinet-secretariat-and-vigilance |access-date=2025-10-25 |website=jharkhand.mygov.in}}</ref> It handles administrative reforms and cabinet affairs, while its vigilance wing monitors corruption and misconduct to ensure transparency and accountability in government operations.<ref>{{Cite web |date=2022-11-14 |title=Jharkhand CM gives nod for enquiry against 5 ex-BJP ministers in assets case |url=https://www.hindustantimes.com/cities/ranchi-news/jharkhand-cm-gives-nod-for-enquiry-against-5-ex-bjp-ministers-in-assets-case-101668420852965.html |access-date=2025-10-25 |website=Hindustan Times |language=en}}</ref><ref>{{Cite web |last=Story |first=Jharkhand |date=2025-05-21 |title=Jharkhand ACB files FIR against ex-excise secretary, commissioner in liquor scam |url=https://thejharkhandstory.co.in/jharkhand-acb-files-fir-against-ex-excise-secretary-commissioner-in-liquor-scam/ |access-date=2025-10-25 |website=The Jharkhand Story |language=en-GB}}</ref><ref>{{Cite web |last=IANS |date=2023-07-28 |title=Senior J'khand IAS officer under ED scanner in money laundering case |url=https://www.thestatesman.com/india/senior-jkhand-ias-officer-under-ed-scanner-in-money-laundering-case-1503205691.html |access-date=2025-10-25 |website=The Statesman |language=en}}</ref><ref>{{Cite web |last=Haque |first=Saiful |date=2010-09-30 |title=Officer caught taking bribe in Jharkhand |url=https://www.indiatoday.in/india/east/story/officer-caught-taking-bribe-in-jharkhand-82919-2010-09-29 |access-date=2025-10-25 |website=India Today |language=en}}</ref><ref>{{Cite news |last=Deo Jha |first=Vijay |date=1 Jan 2016 |title=Graft watchdog bites harder |url=https://www.telegraphindia.com/jharkhand/graft-watchdog-bites-harder/cid/1314058 |access-date=25 Oct 2025 |work=The Telegraph}}</ref><ref>{{Cite news |date=2002-10-19 |title=Vigilance dept arrests JSEB SDO, engineer |url=https://timesofindia.indiatimes.com/city/patna/vigilance-dept-arrests-jseb-sdo-engineer/articleshow/25611349.cms |access-date=2025-10-25 |work=The Times of India |issn=0971-8257}}</ref>

==Ministerial team==
The Department is headed by the Cabinet Minister of Secretariat and Vigilance. [[Indian Administrative Service|Civil servants]] such as the Principal Secretary are appointed to support the minister in managing the department and implementing its functions.

Since December 2024, the Minister for Department of Cabinet Secretariat and Vigilance is [[Hemant Soren]].<ref>{{Cite web |last=Service |first=Express News |date=2024-12-06 |title=Jharkhand CM Soren distributes portfolios: Radha Krishna gets finance, Irfan is health minister |url=https://www.newindianexpress.com/states/andhra-pradesh/2024/Dec/06/jharkhand-cm-soren-distributes-portfolios-radha-krishna-gets-finance-irfan-is-health-minister |access-date=2025-10-05 |website=The New Indian Express |language=en}}</ref><ref>{{Cite web |title=Soren distributes portfolios to ministers, keeps Home to himself |url=https://www.deccanherald.com/india/jharkhand/soren-distributes-portfolios-to-ministers-keeps-home-to-himself-3306486 |access-date=2025-10-05 |website=Deccan Herald |language=en}}</ref>

==References==
{{reflist}}

[[Category:Government departments of Jharkhand]]

1925 in India

2026-03-12T02:55:24Z

Surendra Sharma: basic adjusted citations for consistency and added references

{{short description|none}}
[[File:Ancient_One.jpg | thumb | right | [[Meher Baba]] in 1925]]

{{Year in India|1925}}
Events in the year '''1925 in India'''.

==Incumbents==
* [[Emperor of India]] – [[George V of the United Kingdom|George V]]
* Viceroy of India – [[Rufus Isaacs, 1st Marquess of Reading|The Earl of Reading]]

==Events==
* National income - {{INR}}31,179 million
* 3 February – The first ever electric train of India completes its journey from [[Victoria Terminus]] to [[Kurla]] on the [[Central Line (Mumbai Suburban Railway)]].<ref>{{cite web |url=http://www.irfca.org/faq/faq-elec.html |title=Indian Railways FAQ: Electric Traction – I |access-date=2008-09-14 |publisher=Indian Railways Fan Club| archive-url= https://web.archive.org/web/20080915095129/http://www.irfca.org/faq/faq-elec.html| archive-date= 15 September 2008 | url-status= live}}</ref>
* 9 March – 1 May [[Pink's War]]; RAF operations against tribesmen in Waziristan
* 12 March - Meeting and dialogue between [[Mahatma Gandhi]] and [[Narayana Guru]].<ref>{{Cite web |date=2025-03-11 |title=When Mahatma Gandhi and Sree Narayana Guru met in Kerala |url=https://english.mathrubhumi.com/features/specials/revisiting-the-historic-encounter-of-mahatma-gandhi-and-sree-narayana-guru-1.10414049 |access-date=2025-03-12 |website=English.Mathrubhumi |language=en}}</ref>
* 16 June - [[Chittaranjan Das]] passes away
* 27 September - [[Rashtriya Swayamsevak Sangh]] is founded.
* 22 November - [[Periyar]] walks out of [[Indian National Congress|Congress]] in Provincial Conference held at [[Kanchipuram]] due to non-acceptances of resolution brought against [[Caste discrimination in India|Caste discrimination]].<ref>{{Cite web |last=indiatoday |title=Alliances & Animosities: The Political Ping-Pong & Punching Bags |url=https://www.indiatoday.in/interactive/visuals/time-tide-tamil-alliances-and-animosities-the-political-ping-pong-and-punching-bags-part-21-346-05-02-2026 |access-date=2026-02-23 |website=indiatoday |language=en}}</ref>
* 23 November - [[Vaikom Satyagraha]] ends with opening of all entrances of [[Vaikom Sree Mahadeva Temple]] except the East one for all castes.<ref>{{Cite web |date=2024-03-29 |title=Vaikom Satyagraha completes a century tomorrow |url=https://english.mathrubhumi.com/news/kerala/vaikom-satyagraha-completes-a-century-tomorrow-1.9445460 |access-date=2024-03-29 |website=English.Mathrubhumi |language=en}}</ref>
* 26 December – [[Communist Party of India]] is founded at [[Kanpur]].
* Dyarchy suspended in Bengal.<ref name="Everyman">{{Cite book |title=Everyman's Dictionary of Dates |last=Dent |first=J.M. |edition=6th |publication-date=1971 |pages=262}}</ref>

==Law==
*Indian Succession Act
*Indian Carriage of Goods by Sea Act
*Sikh Gurdwaras (Supplementary) Act
*Indian Soldiers (Litigation) Act
*Provident Funds Act
*Coal Grading Board Act
*Cotton Ginning and Pressing Factories Act

==Births==
* 1 January – [[Wahiduddin Khan]], religious scholar and peace activist (died [[2021 in India|2021]])
* 19 January – [[Pradeep Kumar (actor)|Pradeep Kumar]], actor (died [[2001 in India|2001]])
* 25 January – [[Kakarla Subba Rao]], radiologist (died [[2021 in India|2021]])
* 8 May – [[G. S. Amur]], writer and critic (died [[2020 in India|2020]])
* 9 July – [[Guru Dutt]], [[film director]], producer, and actor (died [[1964 in India|1964]])
* 22 July
** [[Daasarathi Krishnamacharyulu]], [[poet]] and [[political activist]] (died [[1987 in India|1987]])
** [[Govind Talwalkar]], journalist (died [[2017 in India|2017]])<ref name=MANASE>[http://www.manase.org/en/maharashtra.php?mid=68&smid=23&pmid=9&id=764 MANASE Biography of Govind Talwalkar] {{Webarchive|url=https://web.archive.org/web/20120402064400/http://www.manase.org/en/maharashtra.php?mid=68&smid=23&pmid=9&id=764 |date=2 April 2012 }} by Raj Thackeray (Maharashtra NavNirman Sena) Retrieved 20 October 2011</ref>
* 7 August – [[M. S. Swaminathan]], [[Agricultural science|agricultural scientist]] (died [[2023 in India|2023]])
* 19 August – [[Madhav Dalvi]], cricketer (died [[2012 in India|2012]])
* 31 August – [[Aarudhra]], author, poet and historian (died [[1998 in India|1998]])
* 13 September – [[Namboothiri (artist)|Namboothiri]] (died [[2023 in India|2023]])
* 24 September – [[Autar Singh Paintal]], medical scientist (died [[2004 in India|2004]])
* 4 November – [[Ritwik Ghatak]], film director (died [[1976 in India|1976]])<ref name="Ritwik Ghatak, Los Angeles Review of Books">{{cite news |title=Los Angeles Review of Books |url=https://lareviewofbooks.org/article/out-of-the-waiting-room-of-history-ritwik-ghataks-cinema-of-partition/ |access-date=13 August 2021 |work=Los Angeles Review of Books |date=22 February 2020}}</ref>
* 29 December – [[Keshav Dutt]], hockey player (died [[2021 in India|2021]])

===Full date unknown===
* [[A. T. M. Mustafa]], lawyer, cricketer and politician (died [[1966 in Pakistan|1966]])
* [[Raja Ramanna]], nuclear scientist (died [[2004 in India|2004]]){{Citation needed|date=August 2021}}

==Deaths==
*[[Gokulchandra Nag]], writer and artist (born [[1895 in India|1895]]).
*[[Chittaranjan Das]], Freedom activist and leader of [[Swaraj Party]]

==References==
{{Reflist}}

{{India year nav}}
{{Year in Asia|1925}}

{{DEFAULTSORT:1925 In India}}
[[Category:1925 in India| ]]
[[Category:1925 by country|India]]
[[Category:Years of the 20th century in India]]
[[Category:1925 in Asia]]
[[Category:1920s in India]]

Gondwana

2026-03-09T04:48:49Z

Surendra Sharma: typo fix

{{short description|Neoproterozoic to Cretaceous landmass}}
{{About|the supercontinent|the region in India|Gondwana (India)|other uses}}
{{Use dmy dates|date=August 2022}}
{{EngvarB|date=August 2022}}

{{Infobox historical continent
|name = Gondwana
|image = Gondwana 420 Ma.png
|caption = Gondwana 420 million years ago (Late Silurian)
|formation_year = 600 Mya
|type = [[Supercontinent]]
|today = [[Africa]] [[North America]] [[South America]] [[Australia (continent)|Australia]] [[Indian subcontinent|India]] [[Arabia]] [[Antarctica]] [[Balkan Peninsula|Balkans]]
|smaller_continents = [[South America]] [[Africa]] [[Australia (continent)|Australia]] [[Antarctica]] [[Zealandia (continent)|Zealandia]]
|plate = [[African Plate]] [[Antarctic Plate]] [[Indo-Australian Plate]] [[South American Plate]]
}}

'''Gondwana''' ({{IPAc-en|ɡ|ɒ|n|ˈ|d|w|ɑː|n|ə}}<ref>{{cite LPD|3|page=347}}</ref> {{respell|gond-WAHN-ə}};<ref>{{Cite web|title= Gondwana|url= http://dictionary.reference.com/browse/gondwana|website= [[Reference.com|Dictionary.com]]|publisher= Lexico Publishing Group|access-date= 18 January 2010|archive-date= 3 March 2016|archive-url= https://web.archive.org/web/20160303214206/http://dictionary.reference.com/browse/gondwana|url-status= live}}</ref> {{IPA|sa|goːɳɖɐʋɐnɐ|lang}}) was a large landmass, sometimes referred to as a [[supercontinent]]. The remnants of Gondwana make up around two-thirds of today's continental area, including [[South America]], [[Africa]], [[Antarctica]], [[Australia (continent)|Australia]], [[Zealandia]], [[Arabian Peninsula|Arabia]], and the [[Indian subcontinent]].

Gondwana was formed by the [[Accretion (geology)|accretion]] of several [[craton|cratons]] (large stable blocks of the Earth's crust), beginning {{Circa}} {{Ma|800|650|{{Abbr|Ma|million years ago}}}} with the [[East African Orogeny]], the collision of [[India]] and [[Madagascar]] with [[East Africa]], and culminating in {{Circa}} {{Ma|600|530|Ma}} with the overlapping [[Brasiliano orogeny|Brasiliano]] and [[Kuunga orogeny|Kuunga]] orogenies, the collision of South America with Africa, and the addition of Australia and Antarctica, respectively.<ref>{{Harvnb|Meert|Van der Voo|1997|loc=Abstract}}</ref> Eventually, Gondwana became the largest piece of [[continental crust]] of the [[Paleozoic]] Era, covering an area of some {{Convert|100,000,000|km2|abbr=on}},<ref>{{Harvnb|Torsvik|Cocks|2013|loc=Abstract}}</ref> about one-fifth of the Earth's surface. It fused with [[Laurasia]] during the [[Carboniferous]] to form [[Pangaea]].

Gondwana began to separate from northern Pangea ([[Laurasia]]) during the [[Triassic]], and started to fragment during the Early [[Jurassic]] (around 180 million years ago). The final stages of break-up saw the fragmentation of the [[Antarctic land bridge]] (involving the separation of Antarctica from South America and Australia, forming the [[Drake Passage|Drake]] and [[Tasmanian Passage|Tasmanian Passages]]), which occurred during the [[Paleogene]] (from around {{Ma|66|23}} (Ma)). Gondwana was not considered a supercontinent by the earliest definition, since the landmasses of [[Baltica]], [[Laurentia]], and [[Siberia (continent)|Siberia]] were separated from it.<ref name="Bradley-2011">{{Cite journal |last=Bradley |first=D.C. |date=2011 |title=Secular Trends in the Geologic Record and the Supercontinent Cycle |journal=Earth-Science Reviews |volume=108 |issue=1–2 |pages=16–33 |doi=10.1016/j.earscirev.2011.05.003|bibcode=2011ESRv..108...16B |citeseerx=10.1.1.715.6618 |s2cid=140601854 }}</ref> To differentiate it from the Indian region of the same name (see {{section link||Name}}), it is also commonly called '''Gondwanaland'''.<ref>{{Cite web|title=Gondwanaland|url=http://www.merriam-webster.com/dictionary/gondwana|access-date=18 January 2010|publisher=[[Webster's Dictionary|Merriam-Webster Online Dictionary]]|archive-date=29 October 2020|archive-url=https://web.archive.org/web/20201029234618/https://www.merriam-webster.com/dictionary/Gondwana|url-status=live}}</ref>

Regions that were part of Gondwana shared [[Flora|floral]] and [[Fauna|faunal]] elements that persist to the present day.

== Name ==
[[File:Wegener fossils-mapped.png|thumb|249x249px|Distribution of four [[Permian]] and [[Triassic]] fossil groups used as biogeographic evidence for continental drift, land bridging.]]

The continent of Gondwana was named by the Austrian scientist [[Eduard Suess]] after the [[Gondwana (India)|Indian region of the same name]], which is derived from [[Sanskrit]] {{lang|sa|गोण्डवन}} {{transliteration|sa|goṇḍavana}} ('forest of the [[Gondi people|Gonds]]').<ref>{{cite journal |last1=Chakrabarti |first1=Pratik |title=Gondwana and the Politics of Deep Past |journal=Past & Present |date=2019 |issue=242 |pages=119–153 |doi=10.1093/pastj/gty016|doi-access=free }}</ref> The name had been previously used in a geological context, first by [[Henry Benedict Medlicott|H. B. Medlicott]] in 1872,<ref>{{Harvnb|Suess|1885|p=768}}: [https://archive.org/stream/dasantlitzderer02suesgoog#page/n760/mode/1up "Wir nennen es Gondwána-Land, nach der gemeinsamen alten Gondwána-Flora, … "(We name it Gondwána-Land, after the common ancient flora of Gondwána …)]</ref> from which the Gondwana sedimentary sequences ([[Permian]]-[[Triassic]]) are also described.<ref>{{Cite journal |last=Carrillo |first=Emilio |last2=Barragán |first2=Roberto |last3=Hurtado |first3=Christian |last4=Calderón |first4=Ysabel |last5=Martín |first5=Germán |last6=Vázquez-Taset |first6=Yaniel |last7=Parra |first7=Mauricio |last8=Rivera |first8=Ariana |last9=Cadena |first9=Fanny Mariela |last10=Sarmiento |first10=Luis |date=2021-07-06 |title=Depositional sequences in northern Peru: new insights on the palaeogeographic and palaeotectonic reconstruction of western Gondwana during late Permian and Triassic |url=https://doi.org/10.1144/jgs2020-186 |journal=Journal of the Geological Society |volume=178 |issue=6 |doi=10.1144/jgs2020-186 |issn=0016-7649|url-access=subscription }}</ref>

Some scientists prefer the term "Gondwanaland" for the supercontinent to make a clear distinction between the region and the supercontinent.<ref name="McLoughlin 2001">{{Harvnb|McLoughlin|2001|loc=Gondwana or Gondwanaland?, pp. 272–273}}</ref>

==Formation==
[[File:Kuunga2.png|thumb|left|Eastern Gondwana. {{Ma|620|550|Ma}} post-collisional extension of the East African Orogeny in blue and {{Ma|570|530|Ma}} collisional metamorphism of the Kuunga orogeny in red.<ref>{{Harvnb|Meert|2003|loc=Fig. 10, p. 19}}</ref>|207x207px]]

The assembly of Gondwana was a protracted process during the [[Neoproterozoic]] and [[Paleozoic]], which remains incompletely understood because of the lack of paleo-magnetic data. Several [[Orogeny|orogenies]], collectively known as the [[Pan-African orogeny]], caused the continental fragments of a much older supercontinent, [[Rodinia]], to amalgamate. One of those orogenic belts, the [[Mozambique Belt]], formed {{Ma|800|650|Ma}} and was originally interpreted as the [[Suture (geology)|suture]] between East (India, Madagascar, Antarctica, Australia) and West Gondwana (Africa and South America). Three orogenies were recognised during the 1990s as a result of data sets compiled on behalf of oil and mining companies:<ref>{{Cite journal |last=Fairhead |first=J.D. |date=2023-03-01 |title=The Mesozoic West and Central Africa Rift System (WCARS) and the older Kandi Shear Zone (KSZ): Rifting and tectonics of North Africa and South America and fragmentation of Gondwana based on geophysical investigations |journal=Journal of African Earth Sciences |volume=199 |article-number=104817 |doi=10.1016/j.jafrearsci.2022.104817 |issn=1464-343X|doi-access=free |bibcode=2023JAfES.19904817F }}</ref> the [[East African Orogeny]] ({{Ma|650|800|Ma}}) and [[Kuunga orogeny]] (including the [[Malagasy orogeny]] in southern Madagascar) ({{Ma|550|Ma}}), the collision between East Gondwana and East Africa in two steps, and the [[Brasiliano orogeny]] ({{Ma|660|530|Ma}}), the successive collision between South American and African [[craton]]s.<ref>{{Harvnb|Meert|Van der Voo|1997|loc=Introduction, pp. 223–226}}</ref>

The last stages of Gondwanan assembly overlapped with the opening of the [[Iapetus Ocean]] between [[Laurentia]] and western Gondwana.<ref>{{Harvnb|Miashita|Yamamoto|1996}}</ref> During this interval, the [[Cambrian explosion]] occurred. Laurentia was docked against the western shores of a united Gondwana for a brief period near the Precambrian and Cambrian boundary, forming the short-lived and still disputed supercontinent [[Pannotia]].<ref>{{Harvnb|Meert|Van der Voo|1997|p=229}}</ref>

The [[Mozambique Belt|Mozambique Ocean]] separated the [[Congo craton|Congo]]–[[Tanzania craton|Tanzania]]–[[Bangweulu Block]] of central Africa from Neoproterozoic India (India, the [[Antongil Bay|Antongil]] Block in far eastern Madagascar, the [[Seychelles]], and the Napier and Rayner Complexes in [[East Antarctica]]). The [[Azania]] continent<ref>Defined but not named in {{Harvnb|Collins|Pisarevsky|2005}}: "Azania" was a Greek name for the East African coast</ref> (much of central [[Madagascar]], the [[Horn of Africa]] and parts of [[Yemen]] and Arabia) was an island in the Mozambique Ocean.

[[File:Positions of ancient continents, 550 million years ago.jpg|thumb|[[Plate reconstruction|Reconstruction]] showing final stages of assembly of Gondwana, 550 Mya|259x259px]]
The continents of Australia and [[East Antarctic Shield|East Antarctica]] were still separated from India, eastern Africa, and Kalahari by {{Circa}} {{Ma|600|Ma}}, when most of western Gondwana had already been amalgamated. By {{Circa}} 550 Ma, India had reached its Gondwanan position, which initiated the Kuunga orogeny (also known as the Pinjarra orogeny). Meanwhile, on the other side of the newly forming Africa, Kalahari collided with Congo and Rio de la Plata which closed the [[Adamastor Ocean]]. {{Circa}} 540–530 Ma, the closure of the Mozambique Ocean brought India next to Australia–East Antarctica, and both North China and South China were in proximity to Australia.<ref>{{Harvnb|Li|Bogdanova|Collins|Davidson|2008|loc=The birth of Gondwanaland (600–530 Ma), p. 201}}</ref>

As the rest of Gondwana formed, a complex series of orogenic events assembled the eastern parts of Gondwana (eastern Africa, Arabian-Nubian Shield, Seychelles, Madagascar, India, Sri Lanka, East Antarctica, Australia) {{Circa}} {{Ma|750|530|Ma}}. First, the Arabian-Nubian Shield collided with eastern Africa (in the Kenya-Tanzania region) in the East African Orogeny {{Circa}}{{Ma|750|620|Ma}}. Then Australia and East Antarctica were merged with the remaining Gondwana {{Circa}} {{Ma|570|530|Ma}} in the Kuunga Orogeny.<ref>{{Harvnb|Meert|2003|loc=Abstract}}</ref>

The later Malagasy orogeny at about 550–515 Mya affected Madagascar, eastern East Africa and southern India. In it, Neoproterozoic India collided with the already combined Azania and Congo–Tanzania–Bangweulu Block, suturing along the Mozambique Belt.<ref>{{Harvnb|Grantham|Maboko|Eglington|2003}}</ref>

The {{Convert|18000|km|mi|abbr=on|adj=mid|-long}} [[Terra Australis Orogen]] developed along Gondwana's western, southern, and eastern margins.<ref>{{Harvnb|Cawood|2005|loc=Definition and Tectonic Framework, pp. 4–6}}</ref> Proto-Gondwanan Cambrian arc belts from this margin have been found in eastern Australia, Tasmania, New Zealand, and Antarctica. Though these belts formed a continuous arc chain, the direction of subduction was different between the Australian-Tasmanian and New Zealand-Antarctica arc segments.<ref>{{Harvnb|Münker|Crawford|2000|loc=Abstract}}</ref>

==Peri-Gondwana development: Paleozoic rifts and accretions ==
Many terranes were accreted to Eurasia during Gondwana's existence, but the Cambrian or Precambrian origin of many of these terranes remains uncertain. For example, some Paleozoic terranes and microcontinents that now make up Central Asia, often called the "Kazakh" and "Mongolian terranes", were progressively amalgamated into the continent [[Kazakhstania]] in the late [[Silurian]]. Whether these blocks originated on the shores of Gondwana is not known.<ref>{{Harvnb|Torsvik|Cocks|2013|loc=Marginal microcontinents and terranes, p. 1008}}</ref>

In the Early Paleozoic, the [[Armorican terrane]], which today form large parts of France, was part of Peri-Gondwana; the Rheic Ocean closed in front of it and the Paleo-Tethys Ocean opened behind it. Precambrian rocks from the [[Iberian Peninsula]] suggest that it, too, formed part of core Gondwana before its detachment as an [[orocline]] in the [[Variscan orogeny]] close to the Carboniferous–Permian boundary.<ref>{{Harvnb|Torsvik|Cocks|2013|loc=Southern Europe, pp. 1008–1009}}</ref>

{{Multiple image | total_width = 400 | align = right | perrow = 2
| image1 = Geology of Asia 450.Ma.jpg
| image2 = Geology of Asia 350Ma.jpg
| image3 = Geology of Asia 300Ma.jpg
| image4 = Geology of Asia 200Ma.jpg
| footer = Journey of the Asian blocks from Gondwana to Laurasia, [[Late Ordovician]] to [[Early Jurassic]] (450, 350, 300, and 200 Mya). View centred on 0°S,105°E.
}}
South-east Asia was made of Gondwanan and [[Cathaysia]]n continental fragments that were assembled during the Mid-Paleozoic and Cenozoic. This process can be divided into three phases of rifting along Gondwana's northern margin: first, in the Devonian, [[North China craton|North]] and [[South China craton|South China]], together with [[Tarim Basin|Tarim]] and Quidam (north-western China) rifted, opening the Paleo-Tethys behind them. These terranes accreted to Asia during Late Devonian and Permian. Second, in the Late Carboniferous to Early Permian, [[Cimmeria (continent)|Cimmerian terranes]] opened Meso-Tethys Ocean; [[Shan–Thai terrane|Sibumasu]] and [[Qiangtang terrane|Qiangtang]] were added to south-east Asia during [[Lopingian|Late Permian]] and Early Jurassic. Third, in the Late Triassic to Late Jurassic, [[Lhasa terrane|Lhasa]], [[Burma terrane|Burma]], [[Woyla]] terranes opened the Neo-Tethys Ocean; Lhasa collided with Asia during the Early Cretaceous, and Burma and Woyla during the Late Cretaceous.<ref>{{Harvnb|McLoughlin|2001|loc=Cimmerian terranes, p. 278}}</ref>

Gondwana's long, northern margin remained a mostly passive margin throughout the Paleozoic. The Early Permian opening of the Neo-Tethys Ocean along this margin produced a long series of terranes, many of which were and still are being deformed in the [[Geology of the Himalayas|Himalayan orogeny]]. These terranes are, from Turkey to north-eastern India: the Taurides in southern Turkey; the Lesser Caucasus Terrane in Georgia; the Sanand, Alborz, and Lut terranes in Iran; the Mangysglak Terrane in the Caspian Sea; the Afghan Terrane; the Karakorum Terrane in northern Pakistan; and the Lhasa and Qiangtang terranes in Tibet. The Permian–Triassic widening of the Neo-Tethys pushed all these terranes across the Equator and over to Eurasia.<ref>{{Harvnb|Torsvik|Cocks|2013|loc=South-central and eastern Asia}}</ref>

===Southwestern accretions===
During the Neoproterozoic to Paleozoic phase of the [[Terra Australis Orogen]], a series of terranes were rafted from the proto-Andean margin when the Iapetus Ocean opened, to be added back to Gondwana during the closure of that ocean.<ref>{{Harvnb|Cawood|2005|loc=Peri-Gondwanan continental basement assemblages, pp. 15–16}}</ref> During the Paleozoic, some blocks which helped to form parts of the [[Southern Cone]] of South America, include a piece transferred from Laurentia when the west edge of Gondwana scraped against southeast Laurentia in the [[Ordovician]].<ref>{{Harvnb|Rapalini|2001}}; {{Harvnb|Rapalini|1998|pp=105–106}}</ref> This is the [[Cuyania]] or Precordillera [[terrane]] of the [[Famatinian orogeny]] in northwest Argentina which may have continued the line of the [[Appalachian Mountains|Appalachians]] southwards.<ref>{{Harvnb|Dalla Salda|de Luchi|Cingolani|Varela|1998|loc=Abstract}}; {{Harvnb|Vujovich|van Staal|Davis|2004|loc=Conclusions, p. 1053}}</ref> [[Chilenia]] terrane accreted later against Cuyania.<ref>{{cite journal |last1=Ramos |first1=V.A.|author-link=Víctor Alberto Ramos |last2=Jordan |first2=T.E.|last3=Allmendinger |first3=R.W.|last4=Mpodozis |first4=C.|author-link4=Constantino Mpodozis|last5=Kay |first5=S.M.|last6=Cortés |first6=J.M. |last7=Palma |first7=M. |date=October 1986 |title=Paleozoic terranes of the central Argentina-Chilean Andes |url=https://www.researchgate.net/publication/252991522 |journal=Tectonics |volume=5 |issue=6 |pages=855–880 |doi= 10.1029/TC005i006p00855|bibcode=1986Tecto...5..855R}}</ref> The collision of the Patagonian terrane with the southwestern Gondwanan occurred in the late Paleozoic. Subduction-related igneous rocks from beneath the [[North Patagonian Massif]] have been dated at 320–330 million years old, indicating that the subduction process initiated in the early Carboniferous.<ref name="Pankhurst-2006">{{Cite journal|last1=Pankhurst|first1=R. J.|last2=Rapela|first2=C. W.|last3=Fanning|first3=C. M.|last4=Márquez|first4=M.|date=1 June 2006|title=Gondwanide continental collision and the origin of Patagonia|journal=Earth-Science Reviews|volume=76|issue=3–4|pages=235–257|doi=10.1016/j.earscirev.2006.02.001|bibcode=2006ESRv...76..235P|url=http://nora.nerc.ac.uk/id/eprint/211/1/Pankhurst_EARTH1090_Text.pdf|access-date=18 August 2019|archive-date=19 July 2018|archive-url=https://web.archive.org/web/20180719183250/http://nora.nerc.ac.uk/id/eprint/211/1/Pankhurst_EARTH1090_Text.pdf|url-status=live}}</ref> This was relatively short-lived (lasting about 20 million years), and initial contact of the two landmasses occurred in the mid-Carboniferous,<ref name="Pankhurst-2006" /><ref name="Ramos-2008" /> with broader collision during the early Permian.<ref name="Ramos-2008">{{Cite journal|last=Ramos|first=Victor A.|date=1 November 2008|title=Patagonia: A paleozoic continent adrift?|journal=[[Journal of South American Earth Sciences]]|volume=26|issue=3|pages=235–251 |doi=10.1016/j.jsames.2008.06.002|bibcode=2008JSAES..26..235R|hdl=11336/92748|hdl-access=free}}</ref> In the Devonian, an [[island arc]] named [[Chaitenia]] accreted to Patagonia in what is now south-central Chile.<ref name="Hervé-2018">{{cite journal |last1=Hervé |first1=Francisco|author-link1=Francisco Hervé |last2=Calderón |first2=Mauricio |last3=Fanning |first3=Mark |last4=Pankhurst |first4=Robert|author-link4=Robert John Pankhurst |last5=Rapela |first5=Carlos W. |last6=Quezada |first6=Paulo |date=2018 |title=The country rocks of Devonian magmatism in the North Patagonian Massif and Chaitenia |journal=[[Andean Geology]] |volume=45 |issue=3 |pages=301–317 |doi=10.5027/andgeoV45n3-3117 |bibcode=2018AndGe..45..301H |doi-access=free |hdl=11336/81577 |hdl-access=free }}</ref>

==Gondwana as part of Pangaea: Late Paleozoic to Early Mesozoic==
{{Main|Pangaea}}
[[File:Laurasia-Gondwana.svg|thumb|Gondwana formed part of Pangaea for {{Circa}} 150 Ma<ref>{{Harvnb|Li|Bogdanova|Collins|Davidson|2008|loc=Abstract}}</ref>]]
Gondwana and [[Laurasia]] formed the [[Pangaea]] supercontinent during the Carboniferous. Pangaea began to break up in the Mid-Jurassic when the [[Central Atlantic magmatic province|Central Atlantic opened]].<ref>{{Harvnb|Torsvik|Van der Voo|2002|loc=Data selection and reconstruction fits, p. 772}}</ref>

In the western end of Pangaea, the collision between Gondwana and Laurasia closed the [[Rheic Ocean|Rheic]] and [[Paleo-Tethys Ocean|Paleo-Tethys]] oceans. The obliquity of this closure resulted in the docking of some northern terranes in the [[Marathon Uplift|Marathon]], [[Ouachita orogeny|Ouachita]], [[Alleghanian orogeny|Alleghanian]], and [[Variscan orogeny|Variscan]] orogenies, respectively. Southern terranes, such as [[Chortis Block|Chortis]] and [[Oaxaca]], on the other hand, remained largely unaffected by the collision along the southern shores of Laurentia. Some Peri-Gondwanan terranes, such as [[Maya Block|Yucatán]] and [[Florida Platform|Florida]], were buffered from collisions by major promontories. Other terranes, such as [[Carolina terrane|Carolina]] and [[Meguma terrane|Meguma]], were directly involved in the collision. The final collision resulted in the Variscan-[[Appalachian Mountains]], stretching from present-day Mexico to southern Europe. Meanwhile, [[Baltica]] collided with [[Siberia (continent)|Siberia]] and [[Kazakhstania]] which resulted in the [[Uralian orogeny]] and [[Laurasia]]. Pangaea was finally amalgamated in the Late Carboniferous-Early Permian, but the oblique forces continued until Pangaea began to rift in the Triassic.<ref>{{Harvnb|Blakey|2003|loc=Assembly of Western Pangaea: Carboniferous–Permian, pp. 453–454}}</ref>

In the eastern end, collisions occurred slightly later. The [[North China craton|North China]], [[South China craton|South China]], and [[Sunda plate|Indochina]] blocks rifted from Gondwana during the middle Paleozoic and opened the [[Proto-Tethys Ocean]]. North China docked with Mongolia and Siberia during the Carboniferous–Permian, followed by South China. The [[Cimmeria (continent)|Cimmerian]] blocks then rifted from Gondwana to form the [[Paleo-Tethys Ocean|Paleo-Tethys]] and [[Tethys Ocean|Neo-Tethys]] oceans in the Late Carboniferous, and docked with Asia during the Triassic and Jurassic. Western Pangaea began to rift while the eastern end was still being assembled.<ref>{{Harvnb|Blakey|2003|loc=Assembly of Eastern Pangaea: Late Permian–Jurassic, p. 454}}</ref>

The formation of [[Pangaea]] and its mountains had a tremendous impact on global climate and sea levels, which resulted in glaciations and continent-wide sedimentation. In North America, the base of the [[Absaroka sequence]] coincides with the Alleghanian and Ouachita orogenies and are indicative of a large-scale change in the mode of deposition far away from the Pangaean orogenies. Ultimately, these changes contributed to the [[Permian–Triassic extinction event]] and left large deposits of hydrocarbons, coal, evaporite, and metals.<ref>{{Harvnb|Blakey|2003|loc=Summary: significance of Pangaean events, pp. 454–455}}</ref>

The breakup of Pangaea began with the [[Central Atlantic magmatic province]] (CAMP) between South America, Africa, North America, and Europe. CAMP covered more than seven million square kilometres over a few million years, reached its peak at {{Circa}} {{Ma|200|Ma}}, and coincided with the [[Triassic–Jurassic extinction event]].<ref>{{Harvnb|Marzoli|Renne|Piccirillo|Ernesto|1999|loc=Abstract}}</ref> The reformed Gondwanan continent was not precisely the same as that which had existed before Pangaea formed; for example, most of [[Florida]] and southern [[Georgia (U.S. state)|Georgia]] and [[Alabama]] is underlain by rocks that were originally part of Gondwana, but this region stayed attached to North America when the [[Atlantic Ocean#Central Atlantic|Central Atlantic opened]].<ref>{{Cite web | title = Gondwana Remnants in Alabama And Georgia: Uchee Is An 'Exotic' Peri-Gondwanan Arc Terrane, Not Part of Laurentia | work = ScienceDaily | date = 4 February 2008 | url = https://www.sciencedaily.com/releases/2008/02/080204212810.htm | access-date = 22 October 2011 | archive-date = 15 May 2019 | archive-url = https://web.archive.org/web/20190515080430/https://www.sciencedaily.com/releases/2008/02/080204212810.htm | url-status = live }}</ref>

==Break-up==
===Mesozoic===
Antarctica, the centre of the supercontinent, shared boundaries with all other Gondwana continents and the fragmentation of Gondwana propagated clockwise around it. The break-up was the result of the eruption of the [[Karoo-Ferrar|Karoo-Ferrar igneous province]], one of the Earth's most extensive [[large igneous province]]s (LIP) {{Circa}} {{Ma|200|170|Ma}}, but the oldest [[Magnetic anomaly|magnetic anomalies]] between South America, Africa, and Antarctica are found in what is now the southern [[Weddell Sea]] where initial break-up occurred during the Jurassic {{Circa}} {{Ma|180|160|Ma}}.<ref>{{Harvnb|Jokat|Boebel|König|Meyer|2003|loc=Introduction, pp. 1–2}}</ref>

==== Opening of western Indian Ocean ====
{{Multiple image
| width = 180
| image1 = Opening of western Indian Ocean 150 Ma.png
| image2 = Opening of western Indian Ocean 70 Ma.png
| footer = The oldest western Indian ocean floor formed between Madagascar and Africa c. 150 Ma (left) and between [[India]] and [[Madagascar]] c. 70 Ma (right).
}}

Gondwana began to break up in the early [[Jurassic]] following the extensive and fast emplacement of the [[Karoo-Ferrar]] [[flood basalt]]s {{Circa}} {{Ma|184|Ma}}. Before the Karoo plume initiated rifting between [[Africa]] and [[Antarctica]], it separated a series of smaller continental blocks from Gondwana's southern, Proto-Pacific margin (along what is now the [[Transantarctic Mountains]]): the [[Antarctic Peninsula]], [[Marie Byrd Land]], [[Zealandia]], and [[Thurston Island]]; the [[Falkland Islands]] and [[Ellsworth–Whitmore Mountains]] (in Antarctica) were rotated 90° in opposite directions; and South America south of the [[Gastre Fault]] (often referred to as [[Tectonic evolution of Patagonia|Patagonia]]) was pushed westward.<ref>{{Harvnb|Encarnación|Fleming|Elliot|Eales|1996|loc=Early rifting and Gondwana breakup, pp. 537–538}}</ref> The history of the Africa-Antarctica break-up can be studied in great detail in the fracture zones and magnetic anomalies flanking the [[Southwest Indian Ridge]].<ref>{{Harvnb|Royer|Patriat|Bergh|Scotese|1988|loc=Figg. 7 a–j, pp. 248–257}}</ref>

The Madagascar block and the [[Mascarene Plateau]], stretching from the [[Seychelles]] to [[Réunion]], were broken off India, causing [[Geography of Madagascar|Madagascar]] and [[Insular India]] to be separate [[landmass|landmasses]]: elements of this break-up nearly coincide with the [[Cretaceous–Paleogene extinction event]]. The India–Madagascar–Seychelles separations appear to coincide with the eruption of the [[Deccan Traps|Deccan basalts]], whose eruption site may survive as the [[Réunion hotspot]]. The Seychelles and the [[Maldives]] are now separated by the [[Central Indian Ridge]].{{citation needed|date=October 2025}}

During the initial break-up in the Early Jurassic, a [[marine transgression]] swept over the [[Horn of Africa]] covering Triassic [[planation surface]]s with [[sandstone]], [[limestone]], [[shale]], [[marl]]s and [[evaporite]]s.<ref name="Abbate-2015">{{cite book |last1=Abbate |first1=Ernesto|last2=Bruni |first2=Piero|last3=Sagri |first3=Mario |date=2015|editor-last=Billi|editor-first=Paolo |title=Landscapes and Landforms of Ethiopia |chapter=Geology of Ethiopia: A Review and Geomorphological Perspectives|series=World Geomorphological Landscapes |pages=33–64 |isbn=978-94-017-8026-1 |doi=10.1007/978-94-017-8026-1_2}}</ref><ref name="Coltorti-2007">{{cite journal |last1=Coltorti |first1=M. |last2=Dramis |first2=F.|last3=Ollier |first3=C.D.|author-link3=Cliff Ollier |date=2007 |title=Planation surfaces in Northern Ethiopia |journal=[[Geomorphology (journal)|Geomorphology]] |volume=89 |issue= 3–4|pages=287–296 |doi= 10.1016/j.geomorph.2006.12.007|bibcode=2007Geomo..89..287C }}</ref>

{{Clear|right}}

====Opening of eastern Indian Ocean====
{{Multiple image
| width =180
| image1 = Opening of eastern Indian Ocean 120 Ma.png
| image2 = Opening of eastern Indian Ocean 80 Ma.png
| image3 = Opening of eastern Indian Ocean 40 Ma.png
| footer = The oldest eastern Indian ocean floor formed between India and Antarctica c. 120 Ma (left). The Kerguelen LIP began to form the Ninety East ridge c. 80 Ma (centre). The Indian and Australian plates merged c. 40 Ma (right).
}}
East Gondwana, comprising Antarctica, Madagascar, India, and Australia, began to separate from Africa. East Gondwana then began to break up {{Circa}} {{Ma|132.5|96|Ma}} when India moved northwest from Australia-Antarctica.<ref>{{Harvnb|Powell|Roots|Veevers|1988|loc=Abstract}}</ref> The [[Indian plate]] and the [[Australian plate]] are now separated by the [[Capricorn plate]] and its diffuse boundaries.<ref>{{Harvnb|DeMets|Gordon|Royer|2005|loc=Introduction; Fig. 1, p. 446}}</ref> During the opening of the Indian Ocean, the [[Kerguelen hotspot]] first formed the [[Kerguelen Plateau]] on the [[Antarctic plate]] {{Circa}} {{Ma|118|95|Ma}} and then the [[Ninety East Ridge]] on the [[Indian plate]] at {{Circa}} {{Ma|100|Ma}}.<ref>{{Harvnb|Müller|Royer|Lawver|1993|loc=Model results, pp. 277–278}}</ref> The Kerguelen Plateau and the [[Broken Ridge]], the southern end of the Ninety East Ridge, are now separated by the [[Southeast Indian Ridge]].

Separation between Australia and [[East Antarctica]] began {{Circa}} {{Ma|132|Ma}} with seafloor spreading occurring {{Circa}} {{Ma|96|Ma}}. A shallow seaway developed over the [[South Tasman Rise]] during the Early [[Cenozoic]] and as [[oceanic crust]] started to separate the continents during the [[Eocene]] {{Circa}} {{Ma|35.5|Ma}} global ocean temperature dropped significantly.<ref>{{Harvnb|McLoughlin|2001|loc=East Antarctica–Australia, p. 280}}</ref> A dramatic shift from arc- to rift magmatism {{Circa}} {{Ma|100|Ma}} separated [[Zealandia]], including [[New Zealand]], the [[Campbell Plateau]], [[Chatham Rise]], [[Lord Howe Rise]], [[Norfolk Ridge]], and [[New Caledonia]], from [[West Antarctica]] {{Circa}} {{Ma|84|Ma}}.<ref>{{Harvnb|McLoughlin|2001|loc=West Antarctica–Tasmania, p. 280}}</ref>

{{Clear|right}}

====Opening of South Atlantic Ocean====
{{Multiple image
| width =180
| image1 = Opening of South Atlantic 126 Ma.png
| image2 = Opening of South Atlantic 83 Ma.png
| footer = At c. 126 Ma (left) the Falkland Plateau began to slide past southern Africa and the Paraná-Etendeka LIP had opened the Mid-Atlantic Ridge. At c. 83 Ma (right) the South Atlantic was fully opened and the Romanche Fracture Zone was forming near the Equator.
}}
The [[Atlantic Ocean#South Atlantic|opening of the South Atlantic Ocean]] divided West Gondwana (South America and Africa), but there is considerable debate over the exact timing of this break-up. Rifting propagated from south to north along Triassic–Early Jurassic lineaments, but intra-continental rifts also began to develop within both continents in Jurassic–Cretaceous sedimentary basins, subdividing each continent into three sub-plates. Rifting began {{Circa}} {{Ma|190|Ma}} at Falkland latitudes, forcing Patagonia to move relative to the still static remainder of South America and Africa, and this westward movement lasted until the Early Cretaceous {{Ma|126.7|Ma}}. From there rifting propagated northward during the Late Jurassic {{Circa}} {{Ma|150|Ma}} or Early Cretaceous {{Circa}} {{Ma|140|Ma}} most likely forcing dextral movements between sub-plates on either side. South of the [[Walvis Ridge]] and [[Rio Grande Rise]] the [[Paraná and Etendeka traps|Paraná and Etendeka magmatics]] resulted in further ocean-floor spreading {{Circa}} {{Ma|130|135|Ma}} and the development of rifts systems on both continents, including the [[West and Central African Rift System|Central African Rift System]] and the [[Central African Shear Zone]] which lasted until {{Circa}} {{Ma|85|Ma}}. At Brazilian latitudes spreading is more difficult to assess because of the lack of palaeo-magnetic data, but rifting occurred in Nigeria at the [[Benue Trough]] {{Circa}} {{Ma|118|Ma}}. North of the Equator the rifting began after {{Ma|120.4|Ma}} and continued until {{Circa}} {{Ma|100|96|Ma}}.<ref>{{Harvnb|Seton|Müller|Zahirovic|Gaina|2012|loc=South Atlantic, pp. 217–218}}</ref> Dinosaur footprints representing identical species assemblages are known from opposite sides of the South Atlantic (Brazil and [[Cameroon]]) dating to around {{Ma|120|3=Ma}}, suggesting that some form of land connection still existed between Africa and South America as recently as the early [[Aptian]].<ref>{{Cite web |title=Matching dinosaur footprints found on opposite sides of the Atlantic Ocean |url=https://www.smu.edu/news/research/matching-dinosaur-footprints-different-continents |access-date=2024-11-05 |website=www.smu.edu |language=en}}</ref>

{{Clear|right}}

====Early Andean orogeny====
The first phases of [[Andean orogeny]] in the [[Jurassic]] and [[Early Cretaceous]] were characterised by [[extensional tectonics]], [[rift]]ing, the development of [[back-arc basin]]s and the emplacement of large [[batholith]]s.<ref name="Ramos-2009">{{Harvnb|Ramos|2009|loc=Abstract}}</ref><ref name="Charrier-2006">{{Harvnb|Charrier|Pinto|Rodríguez|2006|pp=45–46}}</ref> This development is presumed to have been linked to the subduction of cold [[oceanic crust|oceanic]] [[lithosphere]].<ref name="Charrier-2006"/> During the mid to [[Late Cretaceous]] ({{circa|90 million years ago}}), the Andean orogeny changed significantly in character.<ref name="Ramos-2009"/><ref name="Charrier-2006"/> Warmer and younger oceanic lithosphere is believed to have started to be subducted beneath South America around this time. Such kind of subduction is held responsible not only for the intense contractional [[Deformation (engineering)|deformation]] that different lithologies were subject to, but also the [[Mountain formation|uplift]] and [[erosion]] known to have occurred from the Late Cretaceous onward.<ref name="Charrier-2006"/> [[Plate tectonics|Plate tectonic]] reorganisation since the mid-Cretaceous might also have been linked to the [[rift|opening]] of the [[Atlantic Ocean|South Atlantic Ocean]].<ref name="Ramos-2009"/> Another change related to mid-Cretaceous plate tectonic rearrangement was the change of subduction direction of the oceanic lithosphere that went from having south-east motion to having a north-east motion about 90 million years ago.<ref name="Hoffmann-2006">{{Harvnb|Hoffmann-Rothe|Kukowski|Dresen|Echtler|2006}}</ref> While subduction direction changed, it remained oblique (and not perpendicular) to the coast of South America, and the direction change affected several [[subduction|subduction zone]]-parallel faults including [[Atacama Fault|Atacama]], [[Domeyko Fault|Domeyko]] and [[Liquiñe-Ofqui Fault|Liquiñe-Ofqui]].<ref name="Charrier-2006"/><ref name="Hoffmann-2006"/>

===Cenozoic===
[[Insular India]] began to collide with Asia circa {{Ma|70|Ma}}, forming the [[Indian subcontinent]], since which more than {{Convert|1400|km|abbr=on}} of crust has been absorbed by the [[Himalayas|Himalayan]]-[[Tibet]]an orogen. During the Cenozoic, the orogen resulted in the construction of the [[Tibetan Plateau]] between the Tethyan Himalayas in the south and the [[Kunlun Mountains|Kunlun]] and [[Qilian Mountains|Qilian]] mountains in the north.<ref>{{Harvnb|Yin|Harrison|2000|loc=Abstract}}</ref>

Later, South America was connected to North America via the [[Isthmus of Panama]], cutting off a circulation of warm water and thereby making the [[Arctic]] colder,<ref>{{Harvnb|Luyendyk|Forsyth|Phillips|1972|loc=Abstract}}</ref> as well as allowing the [[Great American Interchange]].

The break-up of Gondwana can be said to continue in eastern Africa at the [[Afar triple junction]], which separates the [[Arabian plate|Arabian]], [[African plate|African]], and [[Somali plate|Somali]] plates, resulting in rifting in the [[Red Sea]] and [[East African Rift]].<ref>{{Harvnb|Jestin|Huchon|Gaulier|1994|loc=Abstract}}</ref>

====Australia–Antarctica separation====
In the Early [[Cenozoic]], Australia was still connected to Antarctica {{Circa}} 35–40° south of its current location and both continents were largely unglaciated.<ref name=":0" /> This was one end of the [[Antarctic land bridge]], the other connecting Antarctica to South America.<ref name=":1">{{Cite journal |last1=van den Ende |first1=Conrad |last2=White |first2=Lloyd T. |last3=van Welzen |first3=Peter C. |date=2017-04-01 |title=The existence and break-up of the Antarctic land bridge as indicated by both amphi-Pacific distributions and tectonics |url=https://linkinghub.elsevier.com/retrieve/pii/S1342937X16302829 |journal=Gondwana Research |volume=44 |pages=219–227 |doi=10.1016/j.gr.2016.12.006 |bibcode=2017GondR..44..219V |issn=1342-937X|url-access=subscription }}</ref> A rift between the two developed but remained an embayment until the Eocene-Oligocene boundary when the Circumpolar Current developed and the glaciation of Antarctica began.<ref name=":0">{{Harvnb|Martin|2006|loc=Palaeogeography, pp. 538–539}}</ref>

Australia was warm and wet during the Paleocene and dominated by rainforests. The opening of the Tasman Gateway at the Eocene-Oligocene boundary ({{Ma|33|Ma}}) resulted in abrupt cooling but the Oligocene became a period of high rainfall with swamps in southeastern Australia. During the Miocene, a warm and humid climate developed with pockets of rainforests in central Australia, but before the end of the period, colder and drier climate severely reduced this rainforest. A brief period of increased rainfall in the [[Pliocene]] was followed by drier climate which favoured grassland. Since then, the fluctuation between wet interglacial periods and dry glacial periods has developed into the present arid regime. Australia has thus experienced various [[climate change]]s over a 15-million-year period with a gradual decrease in precipitation.<ref>{{Harvnb|Martin|2006|loc=Conclusions, pp. 557–558}}</ref>

The Tasman Gateway between Australia and Antarctica began to open {{Circa}} {{Ma|40|30|Ma}}. Palaeontological evidence indicates the [[Antarctic Circumpolar Current]] (ACC) was established in the Late Oligocene {{Circa}} {{Ma|23|Ma}} with the full opening of the [[Drake Passage]] and the deepening of the Tasman Gateway. The oldest oceanic crust in the Drake Passage, however, is {{Ma|34|29|Ma}}-old which indicates that the spreading between the Antarctic and South American plates began near the Eocene-Oligocene boundary.<ref>{{Harvnb|Lagabrielle|Goddéris|Donnadieu|Malavieille|2009|loc=Timing of opening of the Drake Passage region, pp. 198–199}}</ref> Deep sea environments in [[Tierra del Fuego]] and the [[Scotia plate|North Scotia Ridge]] during the Eocene and Oligocene indicate a "Proto-ACC" opened during this period. Later, {{Ma|26|14|Ma}}, a series of events severally restricted the Proto-ACC: change to shallow marine conditions along the North Scotia Ridge; closure of the Fuegan Seaway, the deep sea that existed in Tierra del Fuego; and uplift of the Patagonian Cordillera. This, together with the reactivated [[Iceland hotspot|Iceland plume]], contributed to global warming. During the Miocene, the Drake Passage began to widen, and as water flow between South America and the [[Antarctic Peninsula]] increased, the renewed ACC resulted in cooler global climate.<ref>{{Harvnb|Lagabrielle|Goddéris|Donnadieu|Malavieille|2009|loc=Conclusions, p. 210}}</ref>

Since the Eocene, the northward movement of the Australian Plate has resulted in an [[Continental arc|arc-continent]] collision with the [[Philippine Sea plate|Philippine]] and [[Caroline plate|Caroline]] plates and the uplift of the [[New Guinea Highlands]].<ref>{{Harvnb|Hill|Hall|2003|loc=Abstract}}</ref> From the Oligocene to the late Miocene, the climate in Australia, dominated by warm and humid rainforests before this collision, began to alternate between open forest and rainforest before the continent became the arid or semiarid landscape it is today.<ref>{{Harvnb|Travouillon|Legendre|Archer|Hand|2009|loc=Abstract}}</ref>

==Biogeography==
{{See also|Evolutionary history of plants}}
[[File:Dryandra formosa-IMG 0335.jpg|thumb|left|''[[Banksia]]'', a [[Grevilleoideae|grevilleoid]] Proteaceae, is an example of a plant from a family with a Gondwanan distribution]]
The adjective "Gondwanan" is in common use in [[biogeography]] when referring to patterns of distribution of living organisms, typically when the organisms are restricted to two or more of the now-discontinuous regions that were once part of Gondwana, including the [[Antarctic flora]].<ref name="McLoughlin 2001" /> For example, the plant family [[Proteaceae]], known from all continents in the Southern Hemisphere, has a "Gondwanan distribution" and is often described as an archaic, or [[Relict (biology)|relict]], lineage. The distributions in the Proteaceae is, nevertheless, the result of both Gondwanan rafting and later oceanic dispersal.<ref>{{Harvnb|Barker|Weston|Rutschmann|Sauquet|2007|loc=Abstract}}</ref>

===Post-Cambrian diversification===
During the Silurian, Gondwana extended from the Equator (Australia) to the South Pole (North Africa and South America) whilst Laurasia was located on the Equator opposite to Australia. A short-lived [[Hirnantian glaciation|Late Ordovician glaciation]] was followed by a Silurian [[Greenhouse and icehouse Earth|Hot House]] period.<ref>{{Harvnb|Anderson|Anderson|Archangelsky|Bamford|1999|loc=SILURIAN: terrestrial life appears in the tropics, p. 148}}</ref> The [[Late Ordovician mass extinction|End-Ordovician extinction]], which resulted in 27% of marine invertebrate families and 57% of genera going extinct, occurred during this shift from Ice House to Hot House.<ref>{{Harvnb|Anderson|Anderson|Archangelsky|Bamford|1999|loc=The First Extinction, p. 151}}</ref>

{{Multiple image
| image1 = Cooksonia sp. - MUSE.jpg | width1 = 210
| image2 = Archaeopteris sp. - MUSE.jpg | width2 = 160
| footer = Reconstructions of (left) a late Silurian ''[[Cooksonia]]'', the first known land plant, and (right) a Late Devonian ''[[Archaeopteris]]'', the first large tree
}}
By the end of the Ordovician, ''[[Cooksonia]]'', a slender, ground-covering plant, became the first known vascular plant to establish itself on land. This first colonisation occurred exclusively around the Equator on landmasses then limited to Laurasia and, in Gondwana, to Australia. In the late Silurian, two distinctive lineages, [[zosterophyll]]s and [[Rhyniophyte|rhyniophytes]], had colonised the tropics. The former evolved into the [[Lycopodiopsida|lycopods]] that were to dominate the Gondwanan vegetation over a long period, whilst the latter evolved into [[Equisetum|horsetails]] and [[gymnosperm]]s. Most of Gondwana was located far from the Equator during this period and remained a lifeless and barren landscape.<ref>{{Harvnb|Anderson|Anderson|Archangelsky|Bamford|1999|loc=The Silurian revolution, p. 151}}</ref>

West Gondwana drifted north during the [[Devonian]], bringing Gondwana and Laurasia close together. Global cooling contributed to the [[Late Devonian extinction]] (19% of marine families and 50% of genera went extinct) and glaciation occurred in South America. Before Pangaea had formed, terrestrial plants, such as [[pteridophyte]]s, began to diversify rapidly resulting in the colonisation of Gondwana. The [[Baragwanathia]] Flora, found only in the [[Yea Flora Fossil Site|Yea Beds]] of Victoria, Australia, occurs in two strata separated by {{Convert|1700|m|abbr=on}} or 30 Ma; the upper assemblage is more diverse and includes Baragwanathia, the first primitive [[Herbaceous plant|herbaceous]] lycopod to evolve from the zosterophylls. During the Devonian, [[Lepidodendron|giant club mosses]] replaced the Baragwanathia Flora, introducing the first trees, and by the Late Devonian this first forest was accompanied by the [[progymnosperm]]s, including the first large trees ''[[Archaeopteris]]''.<ref>{{Harvnb|Anderson|Anderson|Archangelsky|Bamford|1999|loc=DEVONIAN: colonising Gondwana; The Second Extinction; Global colonisation of plants, pp. 151, 153}}</ref> The Late Devonian extinction probably also resulted in [[Osteolepiformes|osteolepiform]] fishes [[Evolution of tetrapods|evolving into the amphibian tetrapods]], the earliest land vertebrates, in Greenland and Russia. The only traces of this evolution in Gondwana are amphibian footprints and a single jaw from Australia.<ref>{{Harvnb|Anderson|Anderson|Archangelsky|Bamford|1999|loc=Amphibian prelude, p. 153}}</ref>

The closure of the Rheic Ocean and the formation of Pangaea in the Carboniferous resulted in the rerouting of ocean currents that initiated an Ice House period. As Gondwana began to rotate clockwise, Australia shifted south to more temperate latitudes. An ice cap initially covered most of southern Africa and South America but spread to eventually cover most of the supercontinent, except northernmost Africa-South America. Giant lycopod and horsetail forests continued to evolve in tropical Laurasia together with a diversified assemblage of true insects. In Gondwana, in contrast, ice and, in Australia, volcanism decimated the Devonian flora to a low-diversity seed fern flora – the pteridophytes were increasingly replaced by the gymnosperms which were to dominate until the Mid-Cretaceous. Australia, however, was still located near the Equator during the Early Carboniferous, and during this period, [[Temnospondyli|temnospondyl]] and [[Lepospondyli|lepospondyl]] amphibians and the first [[amniote]] reptilians evolved, all closely related to the Laurasian fauna, but spreading ice eventually drove these animals away from Gondwana entirely.<ref>{{Harvnb|Anderson|Anderson|Archangelsky|Bamford|1999|loc=CARBONIFEROUS: competing with ice, pp. 153–154}}</ref>

{{Multiple image
| image1 = Walchia piniformis.jpg | width1 = 170
| image2 = Lebachia piniformis.jpg | width2 = 180
| footer = Fossilised ''[[Walchia]]'' and ''[[Utrechtia]]'', two [[Voltziales|voltzialean]] pines from which modern conifers evolved
}}
{{Multiple image
| total_width = 350 | perrow = 2 | align = left
| image1 = Agathis robusta cone.jpg
| image2 = Wollemia nobilis M2.JPG
| image3 = Araucaria (La Mer de sable) cone.jpg
| image4 = Podocarpus macrophyllus (seed s3).jpg
| footer = Still extant Triassic conifers (''[[Agathis]]'', ''[[Wollemia]]'', ''[[Araucaria]]'', and ''[[Podocarpus]]'') that once dominated Gondwana
}}
The Gondwana ice sheet melted, and sea levels dropped during the Permian and Triassic global warming. During this period, the extinct [[Glossopteridales|glossopterids]] colonised Gondwana and reached peak diversity in the Late Permian when coal-forming forests covered all of Gondwana. The period also saw the evolution of [[Voltziales]], one of the few plant orders to survive the [[Permian–Triassic extinction event|Permian–Triassic extinction]] (57% of marine families and 83% of genera went extinct) and which came to dominate in the Late Permian and from whom true [[conifer]]s evolved. Tall lycopods and [[Equisetidae|horsetails]] dominated the wetlands of Gondwana in the Early Permian. Insects co-evolved with glossopterids across Gondwana and diversified with more than 200 species in 21 orders by the Late Permian, many known from South Africa and Australia. Beetles and cockroaches remained minor elements in this fauna. [[Tetrapod]] fossils from the Early Permian have only been found in Laurasia but they became common in Gondwana later during the Permian. The arrival of the [[Therapsida|therapsids]] resulted in the first plant-vertebrate-insect ecosystem.<ref>{{Harvnb|Anderson|Anderson|Archangelsky|Bamford|1999|loc=PERMIAN: the glossopterid empire, pp. 153–154}}</ref>

===Modern diversification===
During the Mid- to Late Triassic, hot-house conditions coincided with a peak in biodiversity – the end-Permian extinction was enormous and so was the radiation that followed. Two families of conifers, [[Podocarpaceae]] and [[Araucariaceae]], dominated Gondwana in the Early Triassic, but ''[[Dicroidium]]'', an extinct genus of fork-leaved seed ferns, dominated woodlands and forests of Gondwana during most of the Triassic. Conifers evolved and radiated during the period, with six of eight extant families already present before the end of it. [[Bennettitales]] and [[Pentoxylales]], two now extinct orders of gymnospermous plants, evolved in the Late Triassic and became important in the Jurassic and Cretaceous. It is possible that gymnosperm biodiversity surpassed later angiosperm biodiversity and that the evolution of angiosperms began during the Triassic but, if so, in Laurasia rather than in Gondwana. Two Gondwanan classes, [[Lycophyte|lycophytes]] and [[Equisetidae|sphenophytes]], saw a gradual decline during the Triassic while ferns, though never dominant, managed to diversify.<ref>{{Harvnb|Anderson|Anderson|Archangelsky|Bamford|1999|loc=TRIASSIC: the gymnosperm heyday, pp. 155–156}}</ref>

The brief period of icehouse conditions during the [[Triassic–Jurassic extinction event]] had a dramatic impact on dinosaurs but left plants largely unaffected. The Jurassic was mostly one of hot-house conditions and, while vertebrates managed to diversify in this environment, plants have left little evidence of such development, apart from [[Cheirolepidiaceae|Cheiroleidiacean]] conifers and [[Caytoniales]] and other groups of seed ferns. In terms of biomass, the Jurassic flora was dominated by conifer families and other gymnosperms that had evolved during the Triassic. The [[Pteridophyte]]s that had dominated during the Paleozoic were now marginalised, except for ferns. In contrast to Laurentia, very few insect fossils have been found in Gondwana, to a considerable extent because of widespread deserts and volcanism. While plants had a cosmopolitan distribution, dinosaurs evolved and diversified in a pattern that reflects the Jurassic break-up of Pangaea.<ref>{{Harvnb|Anderson|Anderson|Archangelsky|Bamford|1999|loc=JURASSIC: volcanism, conifers and bennettitaleans, pp. 156, 158}}</ref>

The Cretaceous saw the arrival of the [[Flowering plant|angiosperms]], or flowering plants, a group that probably evolved in western Gondwana (South America–Africa). From there the angiosperms diversified in two stages: the [[Monocotyledon|monocots]] and [[magnoliids]] evolved in the Early Cretaceous, followed by the [[Hamamelidaceae|hammamelid]] [[Dicotyledon|dicots]]. By the Mid-Cretaceous, angiosperms constituted half of the flora in northeastern Australia. There is, however, no obvious connection between this spectacular angiosperm radiation and any known extinction event nor with vertebrate/insect evolution. Insect orders associated with pollination, such as [[beetle]]s, [[Fly|flies]], [[Lepidoptera|butterflies and moths]], [[Hymenoptera|wasps, bees, ants]], radiated continuously from the Permian-Triassic, long before the arrival of the angiosperms. Well-preserved insect fossils have been found in the lake deposits of the [[Santana Group|Santana Formation]] in Brazil, the [[Koonwarra, Victoria#Koonwarra fossil bed|Koonwarra Lake fauna]] in Australia, and the [[Orapa diamond mine]] in Botswana.<ref name="Anderson-1999">{{Harvnb|Anderson|Anderson|Archangelsky|Bamford|1999|loc=Cretaceous: of flowers and pollination, pp. 158–159}}</ref>

Dinosaurs continued to prosper but, as the angiosperm diversified, conifers, bennettitaleans and pentoxylaleans disappeared from Gondwana {{Circa}} 115 Ma together with the specialised herbivorous [[ornithischia]]ns, whilst generalist browsers, such as several families of [[Sauropodomorpha|sauropodomorph]] [[Saurischia]], prevailed. The [[Cretaceous–Paleogene extinction event]] killed off all dinosaurs except birds, but plant evolution in Gondwana was hardly affected.<ref name="Anderson-1999" /> [[Gondwanatheria]] is an extinct group of non-[[theria]]n mammals with a Gondwanan distribution (South America, Africa, Madagascar, India, Zealandia and Antarctica) during the Late Cretaceous and Palaeogene.<ref>{{Harvnb|Gurovich|Beck|2009|loc=Introduction, pp. 25–26}}</ref> [[Xenarthra]] and [[Afrotheria]], two placental clades, are of Gondwanan origin and probably began to evolve separately {{Circa}} {{Ma|105|Ma}} when Africa and South America separated.<ref>{{Harvnb|Woodburne|Rich|Springer|2003|loc=Gondwana and early mammal evolution, p. 375}}</ref>

[[File:Nothofagus demis.JPG|thumb|upright=1.35|The plant genus ''[[Nothofagus]]'' provides a good example of a taxon with a Gondwanan distribution, having originated in the supercontinent and existing in present-day Australia, New Zealand, New Caledonia, and South America's [[Southern Cone]]. Fossils have also been found in Antarctica.<ref>{{Harvnb|HaoMin|ZheKun|2007}}</ref>]]
The [[laurel forest]]s of Australia, New Caledonia, and New Zealand have a number of species related to those of the [[Laurel forest|laurissilva]] of Valdivia, through the connection of the [[Antarctic flora]]. These include gymnosperms and the deciduous species of ''Nothofagus'', as well as the New Zealand laurel, ''[[Karaka (tree)|Corynocarpus laevigatus]]'', and ''[[Laurelia novae-zelandiae]]''. New Caledonia and New Zealand became separated from Australia by [[continental drift]] 85 million years ago. The islands still retain plants that originated in Gondwana and spread to the Southern Hemisphere continents later.

==See also==
* [[Continental drift]], the movement of the Earth's continents relative to each other
* [[Australasian realm]]
* [[Gondwana Rainforests|Gondwana Rainforests of Australia]]
* The [[Great Escarpment, Southern Africa|Great Escarpment]] of Southern Africa
* [[Plate tectonics]], a theory which describes the large-scale motions of Earth's lithosphere
* [[East Gondwana|South Polar dinosaurs]], which proliferated during the Early Cretaceous (145–100 Mya) while Australia was still linked to Antarctica to form East Gondwana
* ''[[Gondwana Research]]'', a scholarly journal including Gondwana among its emphases

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===Notes===
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{{Refend}}

== External links ==
* {{Cite web
| last = Houseman | first = Greg
| title = Animation of the dispersal of Gondwanaland | publisher = [[University of Leeds]]
| url = http://homepages.see.leeds.ac.uk/~eargah/Gond.html | access-date = 21 October 2008}}
* {{Cite web
| title = Interactive animation of the breakup of Gondwana | publisher = [[ITC Enschede|ITC]], [[University of Twente]]
| url = http://kartoweb.itc.nl/gondwana/gondwana.html | access-date = 16 October 2017 |author1=Barend Köbben |author2=Colin Reeves |author3=Maarten de Wit }}
* [http://www.scotese.com/earth.htm Graphical subjects dealing with Tectonics and Paleontology]
* [http://www.searchanddiscovery.com/documents/97019/index.htm Gondwana Reconstruction and Dispersion]
* [http://www.gondwana.geologia.ufrj.br/en/?page_id=41 The Gondwana Map Project] {{Webarchive|url=https://web.archive.org/web/20190920223629/http://www.gondwana.geologia.ufrj.br/en/?page_id=41 |date=20 September 2019 }}
* {{cite journal |last1=van Hinsbergen |first1=Douwe J.J. |last2=Torsvik |first2=Trond H. |last3=Schmid |first3=Stefan M. |last4=Maţenco |first4=Liviu C. |last5=Maffione |first5=Marco |last6=Vissers |first6=Reinoud L.M. |last7=Gürer |first7=Derya |last8=Spakman |first8=Wim |title=Orogenic architecture of the Mediterranean region and kinematic reconstruction of its tectonic evolution since the Triassic |journal=Gondwana Research |date=September 2019 |volume=81 |pages=79–229 |doi=10.1016/j.gr.2019.07.009|bibcode=2020GondR..81...79V |doi-access=free |hdl=20.500.11850/390104 |hdl-access=free }}

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[[Category:Mesozoic Asia]]
[[Category:Mesozoic South America]]

Persian miniature

2026-03-07T11:38:24Z

Surendra Sharma: page edit

{{short description|Small Persian painting on paper}}
[[File:Yusef Zuleykha.jpg|thumb|[[Yusuf and Zulaikha]] ([[Joseph (son of Jacob)|Joseph]] chased by [[Potiphar's wife]]), by [[Behzād]]. [[:Commons:Category:Bustan of Sa'di, 1488, Herat (National Library of Egypt, Adab Farisi 22)|''Bustan'' of Sa'di]], Herat, 1488, created for Timurid ruler [[Sultan Husayn Bayqara]]]]

A '''Persian miniature''' ({{langx|fa|نگارگری ایرانی|negârgari-ye Irâni}}) is a small [[Persian painting]] on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a ''[[muraqqa]]''. The techniques are broadly comparable to the [[Medieval art|Western Medieval]] and [[Byzantine art|Byzantine]] traditions of [[Miniature (illuminated manuscript)|miniatures]] in [[illuminated manuscript]]s.

Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant [[genre]] in [[Persian art]] in the 13th century, receiving [[Chinese art|Chinese influence]] after the [[Mongol conquests]], and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other [[Islamic miniature|Islamic miniature traditions]], principally the [[Ottoman miniature]] in [[Turkey]], and the [[Mughal painting|Mughal miniature]] in the [[Indian subcontinent]].

[[Persian art]] under Islam [[Aniconism in Islam|had never completely forbidden the human figure]], and in the miniature tradition the depiction of figures, often in large numbers, is central. This was partly because the miniature is a private form, kept in a book or album and only shown to those the owner chooses. It was therefore possible to be more free than in wall paintings or other works seen by a wider audience. The [[Quran]] and other purely religious works are not known to have been illustrated in this way, though histories and other works of literature may include religiously related scenes, including those [[Depictions of Muhammad|depicting the Islamic prophet Muhammad]], after 1500 usually without showing his face.<ref>Gruber, throughout; see Welch, 95-97 for one of the most famous examples, illustrated below</ref>

As well as the figurative scenes in miniatures, which this article concentrates on, there was a parallel style of non-figurative ornamental decoration which was found in borders and panels in miniature pages, and spaces at the start or end of a work or section, and often in whole pages acting as frontispieces. In [[Islamic art]] this is referred to as "illumination", and manuscripts of the Quran and other religious books often included considerable number of illuminated pages.<ref>In the terminology of Western [[illuminated manuscript]]s, "illumination" usually covers both narrative scenes and decorative elements.</ref> The designs reflected contemporary work in other media, in later periods being especially close to book-covers and [[Persian carpet]]s, and it is thought that many carpet designs were created by court artists and sent to the workshops in the provinces.<ref>Canby (2009), 83</ref>

In later periods miniatures were increasingly created as single works to be included in albums called ''[[muraqqa]]'', rather than illustrated books. This allowed non-royal collectors to afford a representative sample of works from different styles and periods.

==Style==
[[File:Хафт ауранг Джами 1556-65 Фрир.jpg|thumb|left|Camp scene from late in the classic period, with no frame ({{Circa|1556}}-1565), [[Freer Gallery of Art]], [[Washington, D.C.]]; [[Layla and Majnun|Majnun]] (at top wearing orange) spies on his beloved Layla (standing in tent doorway).]]
The bright and pure colouring of the Persian miniature is one of its most striking features. Normally all the [[pigment]]s used are mineral-based ones which keep their bright colours very well if kept in proper conditions, the main exception being silver, mostly used to depict water, which will oxidize to a rough-edged black over time.<ref>Gray (1930), 22-23</ref> The conventions of Persian miniatures changed slowly; faces are normally youthful and seen in three-quarters view, with a plump rounded lower face better suited to portraying typical Central Asian or Chinese features than those of most Persians. Lighting is even, without shadows or [[chiaroscuro]]. Walls and other surfaces are shown either frontally, or as at (to modern eyes) an angle of about 45 degrees, often giving the modern viewer the unintended impression that a building is (say) hexagonal in plan. Buildings are often shown in complex views, mixing interior views through windows or "cutaways" with exterior views of other parts of a facade. Costumes and architecture are always those of the time.<ref>Gray (1930), 22-28; Welch, 35</ref>

Many figures are often depicted, with those in the main scene normally rendered at the same size, and recession (depth in the picture space) indicated by placing more distant figures higher up in the space. More important figures may be somewhat larger than those around them, and battle scenes can be very crowded indeed. Great attention is paid to the background, whether of a landscape or buildings, and the detail and freshness with which plants and animals, the fabrics of tents, hangings or carpets, or tile patterns are shown is one of the great attractions of the form. The dress of figures is equally shown with great care, although artists understandably often avoid depicting the patterned cloth that many would have worn. Animals, especially the horses that very often appear, are mostly shown sideways on; even the love-stories that constitute much of the classic material illustrated are conducted largely in the saddle, as far as the prince-protagonist is concerned.<ref>Gray (1930), 25-26, 44-50</ref> Landscapes are very often mountainous (the plains that make up much of Persia are rarely attempted), this being indicated by a high undulating horizon, and outcrops of bare rock which, like the clouds in the normally small area of sky left above the landscape, are depicted in conventions derived from Chinese art. Even when a scene in a palace is shown, the viewpoint often appears to be from a point some metres in the air.<ref>Gray (1930), 25-26, 48-49, 64</ref>

The earliest miniatures appeared unframed horizontally across the page in the middle of text, following Byzantine and Arabic precedents, but in the 14th century the vertical format was introduced, perhaps influenced by Chinese scroll-paintings. This is used in all the luxury manuscripts for the court that constitute the most famous Persian manuscripts, and the vertical format dictates many characteristics of the style.<ref>Sims</ref>
[[File:Saki - Reza Abbasi - Moraqqa’-e Golshan 1609 Golestan Palace.jpg|thumb|''Saki'', album miniature by [[Reza Abbasi]], 1609]]

The miniatures normally occupy a full page, later sometimes spreading across two pages to regain a square or horizontal "landscape" format. There are often panels of text or captions inside the picture area, which is enclosed in a frame, eventually of several ruled lines with a broader band of gold or colour. The rest of the page is often decorated with dense designs of plants and animals in a muted ''[[grisaille]]'', often gold and brown; text pages without miniatures often also have such borders. In later manuscripts, elements of the miniature begin to expand beyond the frame, which may disappear on one side of the image, or be omitted completely.<ref>OAO (3, ii and elsewhere)</ref>

Another later development was the album miniature, conceived as a single picture rather than a book illustration, though such images may be accompanied by short lyric poems. The withdrawal of Shah [[Tahmasp I]] from commissioning illustrated books in the 1540s probably encouraged artists to transfer to these cheaper works for a wider circle of patrons.<ref>Brend, 164-165</ref> Albums or ''[[muraqqa]]s'' were assembled by collectors with album miniatures, specimen pages of calligraphy, and miniatures taken from older books, to which border paintings were often added when they were remounted. Album miniatures usually showed a few figures on a larger scale, with less attention to the background, and tended to become drawings with some tints of coloured wash, rather than fully painted.

In the example at right the clothes are fully painted, and the background uses the gold grisaille style earlier reserved for marginal decoration, as in the miniature at the head of the article. Many were individual portraits, either of notable figures (but initially rarely portraits of rulers), or of idealized beautiful youths. Others were scenes of lovers in a garden or picnics. From about the middle of the 16th century these types of images became dominant, but they gradually declined in quality and originality and tended towards conventional prettiness and sentimentality.<ref>OAO, Sims; Gray (1930), 74-81</ref>

Books were sometimes refurbished and added to after an interval of many years, adding or partly repainting miniatures, changing the border decoration, and making other changes, not all improvements.<ref>OAO</ref> The ''Conference of the Birds'' miniature in the gallery below is an addition of 1600 to a manuscript of over a century earlier, and elements of the style appear to represent an effort to match the earlier miniatures in the book.<ref>[http://www.metmuseum.org/toah/works-of-art/63.210.11 Metropolitan Museum of Art] {{Webarchive|url=https://web.archive.org/web/20110307032731/http://www.metmuseum.org/toah/works-of-art/63.210.11/ |date=2011-03-07 }} "The Conference of the Birds": Page from a manuscript of the Mantiq al-Tayr (The Language of the Birds) of Farid al-Din cAttar, [[Isfahan]] (63.210.11). In Heilbrunn Timeline of Art History. New York: The [[Metropolitan Museum of Art]], 2000–.</ref> The famous painting ''Princes of the House of Timur'' was first painted in 1550-55 in Persia for the exiled Mughal prince [[Humayun]], who largely began the Mughal miniature tradition by taking back Persian miniaturists when he gained the throne. It was then twice updated in India (c.1605 and 1628) to show later generations of the royal house.<ref>Crill and Jarilwala, 50-51; [http://www.artfund.org/artwork/4691/princes-of-the-house-of-timur Art Fund] {{Webarchive|url=https://web.archive.org/web/20110617040117/http://www.artfund.org/artwork/4691/princes-of-the-house-of-timur |date=2011-06-17 }} with image. The painting uses miniature techniques on cotton, and is much larger than most miniatures.</ref> The dimensions of the manuscripts covered a range not dissimilar to typical modern books, though with a more vertical ratio; many were as small as a modern paperback, others larger. Shah Tamasp's ''Shahnameh'' stood 47 cm high, and one exceptional ''Shahnameh'' from [[Tabriz]] of c. 1585 stood 53 cm high.<ref>Uluc, 73</ref>

==Artists and technique==
[[File:Nighttime in a City. Circa 1540, Tabriz (Sackler Museum, 1958.76).jpg|thumb|left|''Nighttime in a City'': urban activity in the Safavid capital of [[Tabriz]], painted circa 1540 for [[Shah Tahmasp]] (Sackler Museum, 1958.76).{{sfn|Melville|2021|p=[https://books.google.com/books?id=NaALEAAAQBAJ&pg=119 119], [https://books.google.com/books?id=NaALEAAAQBAJ&pg=125 note 43]}}<ref>{{cite journal |last1=Sarabi |first1=Mina |title=Architectural and Spatial Design studies of Sahibabad, Tabriz, Iran in the Persian Miniature Painting "Nighttime in a Palace" |journal=JACO Journal of Art and Civilization of the Orient Quarterly |date=10 May 2023 |issue=38 |doi=10.22034/JACO.2022.366374.1270 |url=https://www.academia.edu/101572606/Architectural_and_Spatial_Design_studies_of_Sahibabad_Tabriz_Iran_in_the_Persian_Miniature_Painting_Nighttime_in_a_Palace_}}</ref>]]
In the classic period artists were exclusively male, and normally grouped in workshops, of which the royal workshop (not necessarily in a single building) was much the most prestigious, recruiting talented artists from the [[bazaar]] workshops in the major cities. However the nature of the royal workshop remains unclear, as some manuscripts are recorded as being worked on in different cities, rulers often took artists with them on their travels, and at least some artists were able to work on private commissions.<ref>Roxburgh (2000), 6-8</ref> As in Europe, sons very often followed their father into the workshop, but boys showing talent from any background might be recruited; at least one notable painter was born a slave. There were some highly placed amateur artists, including [[Shah Tahmasp I]] (reigned 1524–1576), who was also one of the greatest patrons of miniatures. Persian artists were highly sought after by other Islamic courts, especially those of the [[Ottoman Empire|Ottoman]] and [[Mughal Empire]]s, whose own traditions of miniature were based on Persian painting but developed rather different styles.<ref>Welch, 12-14</ref>

The work was often divided between the main painter, who drew the outlines, and less senior painters who coloured in the drawing. In [[Mughal miniature]]s at least, a third artist might do just the faces. Then there might be the border paintings; in most books using them these are by far the largest area of painted material as they occur on text pages as well. The miniatures in a book were often divided up between different artists, so that the best manuscripts represent an overview of the finest work of the period. The scribes or [[Calligraphy|calligraphers]] were normally different people, on the whole regarded as having a rather higher status than the artists - their names are more likely to be noted in the manuscript.

Royal librarians probably played a significant role in managing the commissions; the extent of direct involvement by the ruler himself is normally unclear. The scribes wrote the main text first, leaving spaces for the miniatures, presumably having made a plan for these with the artist and the librarian. The book covers were also richly decorated for luxury manuscripts, and when they too have figurative scenes these presumably used drawings by the same artists who created the miniatures. Paper was the normal material for the pages, unlike the [[vellum]] normally used in Europe for as long as the illuminated manuscript tradition lasted. The paper was highly polished, and when not given painted borders might be flecked with gold leaf.<ref>Gray (1930), 22-26; Welch, 12-14</ref>

A unique survival from the Timurid period, found "pasted inconspicuously" in a muraqqa in the [[Topkapi Palace]] is thought to be a report to Baysunghur from his librarian. After a brief and high-flown introduction, "Petition from the most humble servants of the royal library, whose eyes are as expectant of the dust from the hooves of the regal steed as the ears of those who fast are for the cry of ''[[Allahu akbar]]'' ..." it continues with very businesslike and detailed notes on what each of some twenty-five named artists, scribes and craftsmen has been up to over a period of perhaps a week: "Amir Khalil has finished the waves in two sea-scenes of the ''[[Gulistan (book)|Gulistan]]'' and will begin to apply colour. ... All the painters are working on painting and tinting seventy-five tent-poles .... Mawlana Ali is designing a frontispiece illumination for the ''Shahnama''. His eyes were sore for a few days."<ref>Thackston, 43-44</ref> Apart from book arts, designs for tent-makers, tile-makers, woodwork and a saddle are mentioned, as is the progress of the "[[begum|begim]]'s little chest".<ref>Thackston, 43-44; a good number of those named are mentioned in other sources.</ref>

== History ==
The ancient Persian religion of [[Manichaeism]] made considerable use of images; not only was the founding prophet [[Mani (prophet)|Mani]] (c.216–276) a professional artist, at least according to later Islamic tradition, but one of the sacred books of the religion, the [[Arzhang]], was illustrated by the prophet himself, whose illustrations (probably essentially cosmological diagrams rather than images with figures) were regarded as part of the sacred material and always copied with the text. Unfortunately, the religion was repressed strongly from the [[Sasanian Empire|Sasanian era]] and onwards so that only tiny fragments of Manichean art survive. These no doubt influenced the continuing Persian tradition, but little can be said about how. It is also known that [[Sasanian architecture|Sasanian palaces]] had wall-paintings, but only fragments of these have survived.<ref>Gray (1930), 27-28</ref>

There are narrative scenes in pottery (''[[Mina'i ware|Mina'i]]'' ceramics), though it is hard to judge how these relate to lost contemporary book painting.<ref>Sims</ref> Recent scholarship has noted that, although surviving early examples are now uncommon, human figurative art was also a continuous tradition in Islamic lands in secular contexts (such as literature, science, and history); as early as the 9th century, such art flourished during the [[Abbasid Caliphate]] (c. 749-1258, across Spain, North Africa, Egypt, Syria, Turkey, Mesopotamia, and Persia).<ref>{{cite book|author1=J. Bloom|author2=S. Blair|name-list-style=amp|title=Grove Encyclopedia of Islamic Art|year=2009|publisher=Oxford University Press, Inc.|location=New York|isbn=978-0-19-530991-1|pages=192 and 207|url=https://books.google.com/books?id=un4WcfEASZwC&q=cairo+egypt+miniature+paintings+mamluk&pg=RA1-PA192|access-date=2020-11-02|archive-date=2023-07-01|archive-url=https://web.archive.org/web/20230701140919/https://books.google.com/books?id=un4WcfEASZwC&q=cairo+egypt+miniature+paintings+mamluk&pg=RA1-PA192|url-status=live}}</ref>

===Earliest illustrated manuscript in Persian (c.1250)===
[[File:Varka and Golshah. Battle scene 1. Mid 13th century Seljuk Anatolia.jpg|thumb|upright=1.5|Rabī cuts his adversary in half. Battle scene, in ''Varka and Golshah'', mid-13th century Seljuk Anatolia.]]
The great period of the Persian miniature began when Persia was ruled by a succession of foreign dynasties, who came from the east and north. Before the Mongol [[Ilkhanate]] (1253–1353), narrative representations are only known in Persia in architecture and ceramics.<ref name="JB214">{{cite book |last1=Bloom |first1=Jonathan |last2=Blair |first2=Sheila |title=Grove Encyclopedia of Islamic Art & Architecture: Three-Volume Set |date=14 May 2009 |publisher=OUP USA |isbn=978-0-19-530991-1 |url=https://books.google.com/books?id=un4WcfEASZwC&pg=RA1-PA214 |page=214-215 |language=en}}</ref> With the large tradition of [[Arabic miniature|Arabic manuscripts]] in the 12th-13th centuries, illustrated manuscripts probably also existed in Persia, but none are known.<ref name="RE">{{cite journal |last1=Ettinghausen |first1=Richard |title=On Some Mongol Miniatures |journal=Kunst des Orients |date=1959 |volume=3 |pages=44–45 |jstor=20752311 |url=https://www.jstor.org/stable/20752311 |issn=0023-5393}}</ref><ref name="JB214"/>

The earliest known illustrated manuscript in the Persian language is an early 13th century copy of the epic ''[[Varka and Golshah]]'', which was most probably created in [[Konya]] in [[Central Anatolia region|Central Anatolia]], under the Seljuk [[Sultanate of Rum]].<ref>{{cite book |last1=Porter |first1=Yves |last2=Flood |first2=Finbarr Barry |title=Under the adorned dome: four essays on the arts of Iran and India |date=2023 |publisher=Brill |location=Leiden Boston |isbn=978-90-04-54971-5 |page=17, note 30 |quote= The Varqa and Gulshāh was probably made in the [[Sultanate of Rum|Konya sultanate]].}}</ref><ref>{{harvnb|Hillenbrand|2021|p=208}} "The earliest illustrated Persian manuscript, signed by an artist from Khuy in north-west Iran, was produced between 1225 and 1250, almost certainly in Konya. (Cf. A. S. Melikian-Chirvani, ‘Le roman de Varqe et Golsâh’, Arts Asiatiques XXII (Paris, 1970))"</ref><ref name="SSB">{{cite book |last1=Blair |first1=Sheila S. |title=Islamic Calligraphy |date=19 January 2020 |publisher=Edinburgh University Press |isbn=978-1-4744-6447-5 |page=366 |url=https://books.google.com/books?id=m6QxEAAAQBAJ&pg=PA366 |language=en}}</ref><ref>{{cite book |last1=Necipoğlu |first1=Gülru |last2=Leal |first2=Karen A. |title=Muqarnas |date=1 October 2009 |publisher=BRILL |isbn=978-90-04-17589-1 |url=https://books.google.com/books?id=Gq6obUbnqsMC&pg=PA235 |language=en}}</ref> It is the only Persian-language illustrated manuscript securely datable to before Mongol conquest, and it can be dated to circa 1250.<ref>{{cite book |last1=Bloom |first1=Jonathan |last2=Blair |first2=Sheila |title=Grove Encyclopedia of Islamic Art & Architecture: Three-Volume Set |date=14 May 2009 |publisher=OUP USA |isbn=978-0-19-530991-1 |url=https://books.google.com/books?id=un4WcfEASZwC&pg=RA1-PA214 |page=214–215 |language=en}}</ref><ref>{{cite book |last1=Ettinghausen |first1=Richard |title=Arab painting |date=1977 |publisher=New York : Rizzoli |isbn=978-0-8478-0081-0 |page=91, [https://archive.org/details/arabpainting0000etti/page/92/mode/2up?q=%22Illustration+page+91%22 92], [https://archive.org/details/arabpainting0000etti/page/162/mode/2up?q=%22these+Turks%22 162] commentary |url=https://archive.org/details/arabpainting0000etti/page/91/mode/2up |quote=The two scenes in the top and bottom registers (...) may be strongly influenced by contemporary Seljuk Persian (...) like those in the recently discovered Varqeh and Gulshah (p.92) (...) In the painting the facial cast of these Turks is obviously reflected, and so are the special fashions and accoutrements they favored. (p.162, commentary on image from p.91)}}</ref>

===Mongol era (1260–1335)===
[[File:Suppl. Pers. 205 Frontispiece detail.jpg|thumb|upright=1.5|[[Ata-Malik Juvayni|Juvaynī]] sitting and writing in front of Mongol emir [[Arghun Aqa]]. Frontispiece of ''[[Tārīkh-i Jahān-Gushā]]'' "The History of The World Conqueror" (damaged), completed in A.H. 689/ 1290 CE. Bibliothèque Nationale de France ([[:Commons:Category:Bibliothèque Nationale de France (Suppl. Pers. 205)|Suppl. Pers. 205]]).<ref name="Groove">{{cite journal |last1=Jaber |first1=Shady |title=The Paintings of al-Āthār al-Bāqiya of al-Bīrūnī: A Turning Point in Islamic Visual Representation |journal=Lebanese American University |date=2021 |page=Figure 5 |url=https://laur.lau.edu.lb:8443/xmlui/bitstream/handle/10725/13751/Shady_Jaber_Thesis_Redacted.pdf?sequence=3}}</ref><ref>{{cite web |title=Consultation Supplément Persan 205 |url=https://archivesetmanuscrits.bnf.fr/ark:/12148/cc33978s |website=archivesetmanuscrits.bnf.fr |publisher=Bibliothèque Nationale de France}}</ref> It shows the "origin of the ''Metropolitan style''" at the [[Ilkhanid]] court.<ref>{{cite book |last1=Bloom |first1=Jonathan |last2=Blair |first2=Sheila |title=Grove Encyclopedia of Islamic Art & Architecture: Three-Volume Set |date=14 May 2009 |publisher=OUP USA |isbn=978-0-19-530991-1 |page=215 |url=https://books.google.com/books?id=un4WcfEASZwC&pg=RA1-PA215 |language=en}}</ref>]]
The traumatic [[Mongol conquests|Mongol invasion]] of [[Mongol invasion of Khwarezmia and Eastern Iran|1219]] onwards established the [[Ilkhanate]] as a branch of the [[Mongol Empire]], and despite the huge destruction of life and property, the new court had a galvanising effect on book painting, importing many Chinese works and probably artists, with their long-established tradition of narrative painting, and sponsoring a cultural revival and the creation of history-related literary works.<ref name="JB215"/> Baghdad [[Siege of Baghdad|was conquered in 1258]], and [[Mosul]] in 1262.

The earliest known Persian-language manuscript of ''[[Kalīla wa-Dimna]]'' (Topkapl Palace Museum Library, H.363) appears around this time: it is dated to 1265-80, and was likely produced in [[Baghdad]], or possibly [[Mosul]].<ref>{{cite web |title=KALILA WA DEMNA iii. ILLUSTRATIONS |url=https://www.iranicaonline.org/articles/kalila-wa-demna-iii/ |website=Encyclopaedia Iranica |quote=The earliest illustrated Arabic manuscripts that have survived date from the beginning of the 13th century, while the earliest illustrated Persian example (Istanbul, Topkapi Saray Library, MS H. 363) is from the last quarter of that century.}}</ref><ref>{{cite book |last1=Contadini |first1=Anna |title=Arab painting: text and image in illustrated Arabic manuscripts |date=2010 |publisher=Brill |location=Leiden Boston |isbn=978-90-04-18630-9 |page=140 |edition=2nd rev. |quote=...the earliest surviving Persian manuscript of the text, H. 363 of the Topkapı Saray Library, datable to 1265–80.}}</ref> Another known illustrated Persian manuscript under the Mongols is the ''[[Tarikh-i Jahangushay]]'' (1290), commissioned by the Mongol emir [[Arghun Aqa]], also one of the earliest examples of "Metropolitan style" of the Mongol [[Ilkhanid]] court, followed by the 1297-1299 manuscript ''[[Manafi' al-Hayawan (Ms M. 500)|Manafi' al-hayawan]]'' (Ms M. 500), commissioned by Mongol ruler [[Ghazan]].<ref name="JB215">{{cite book |last1=Bloom |first1=Jonathan |last2=Blair |first2=Sheila |title=Grove Encyclopedia of Islamic Art & Architecture: Three-Volume Set |date=14 May 2009 |publisher=OUP USA |isbn=978-0-19-530991-1 |url=https://books.google.com/books?id=un4WcfEASZwC&pg=RA1-PA215 |page=215 |language=en}}</ref> The Ilkhanids continued to migrate between summer and winter quarters, which together with other travels for war, hunting and administration, made the portable form of the illustrated book the most suitable vehicle for painting, as it also was for mobile European medieval rulers.<ref>Sims</ref> The ''[[Great Mongol Shahnameh]]'', now dispersed, is the outstanding manuscript of the following period.<ref>Canby (1993), 33-34</ref>

It was only in the 14th century that the practice began of commissioning illustrated copies of classic works of [[Persian poetry]], above all the ''[[Shahnameh]]'' of [[Ferdowsi]] (940–1020) and the ''[[Khamsa of Nizami]]'', which were to contain many of the finest miniatures. Previously book illustration, of works in both Arabic and Persian, had been concentrated in practical and scientific treatises, often following at several removes the Byzantine miniatures copied when ancient Greek books were translated.<ref>Gray (1976), 310-311</ref> However a 14th-century flowering of Arabic illustrated literary manuscripts in Syria and Egypt collapsed at the end of the century, leaving Persia the undisputed leader in Islamic book illustration.<ref>Sims</ref> Many of the best miniatures from early manuscripts were removed from their books in later centuries and transferred to albums, several of which are now in [[Istanbul]]; this complicates tracing the art history of the period.<ref>Simms</ref>

<gallery class="center" widths="250px" heights="150px" perrow="5">
File:Arabischer Maler um 1295 001.jpg|[['Ubayd Allah ibn Bakhtishu|Ibn Bakhtishu]]'s ''[[Manafi al-Hayawan]]'' ("Uses of Animals"), commissioned by [[Ghazan]]. [[Maragha]], Persia, 1297–1299. Morgan Library & Museum ([[:Commons:Category:Manafi' al-Hayawan (The Morgan Library & Museum MS M 500)|Ms. M.500]]).<ref name="Groove"/>
File:Muhammad during the Mi'raj - from Jami al-Tawarikh.jpg|The [[Mi'raj]] (also called the "Night Ride") of Muhammed on [[Buraq]], Tabriz, 1307; Ilkhanid, with both Christian and Chinese influences, and horizontal format.
File:Demotte Shahname 002.jpg|Scene from the [[Great Mongol Shahnameh]], a key Ilkhanid work, 1330s?
</gallery>

===Post-Mongol era (1335–1385)===
[[File:Junaid 002.jpg|thumb|''Divan of [[Khvaju Kirmani]]'', illustrations by [[Junayd (illustrator)|Junayd]], dated 1396, [[Baghdad]].<ref name="Digitised Manuscripts">{{cite web |title=Digitised Manuscripts |url=http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_18113 |website=www.bl.uk}}</ref> This is "the most firmly dated illustrated and high-quality Jalayirid manuscript".<ref name="IS198">{{cite journal |last1=Sturkenboom |first1=Ilse |title=The Paintings of the FreerDivanof Sultan Ahmad b. Shaykh Uvays and a New Taste for Decorative Design |journal=Iran |date=2018 |volume=56 |issue=2 |page=198 |doi=10.1080/05786967.2018.1482727 |s2cid=194905114 |url=https://www.academia.edu/37449326 |issn=0578-6967}}</ref>]]
Once the Ilkhanate fragmented in 1335, various dynasties fought for supremacy in Persian lands: descendants of the Mongols such as the [[Jalayirid Sultanate|Jalayirids]] and the [[Chobanids]], or local dynasties such as the [[Injuids]] and the [[Muzaffarids (Iran)|Muzaffarids]]. They all prolonged the art of the miniatures developed by the Mongols, sometimes with local refinements and variations.

The Jalayirids expanded the limits of refinement and delicacy.<ref name="IS198"/><ref name="Swietochowski">{{cite book |last1=Swietochowski |first1=Marie Lukens |last2=Carboni |first2=Stefano |title=Illustrated Poetry and Epic Images: Persian Painting of the 1330s and 1340s |date=1994 |publisher=Metropolitan Museum of Art |isbn=978-0-87099-693-1 |page=75 |url=https://books.google.com/books?id=00t6HH7RUCAC&pg=PA75 |language=en}}</ref><ref name="CH">{{cite book |title=The Cambridge History of the Mongol Empire Vol 1 |date=2023 |publisher=Cambridge University Press |isbn=978-1-316-33742-4 |page=228 |doi=10.1017/9781316337424 |url=https://doi.org/10.1017/9781316337424 |editor-last1=Biran |editor-last2=Kim |editor-first1=Michal |editor-first2=Hodong }}</ref> The Jalayirids led some of the most important changes in [[Persian art]], at the junction between the creations of the [[Il-Khanate]] in the 13-14th century, and those of the [[Safavid Empire|Safavids]] in the 16th century.<ref>{{harvnb|Wing|2016|p=185}} "Some of the most important changes in this distinctly Persian art form took place under the Jalayirids, bridging the masterpiece known as the Great Mongol Shāhnāma, produced in the late Ilkhanid period, with 15th and 16th century Timurid and Safavid painting, commonly considered the pinnacle of the Persian miniature form."</ref> They contributed to the formation of [[Persian miniatures]], especially through the introduction of Chinese-inspired natural landscapes.{{sfn|Wing|2016|pp=185-186}} According to [[Ernst J. Grube]], Jalayirid painting was the source of "modern" Persian-Islamic painting.{{sfn|Wing|2016|p=186}} The characteristics of the Jalayirid school of miniatures were lyrical scenes with elegant small figures in lavish interiors or lush natural surroundings, painted in pastel colors.{{sfn|Wing|2016|p=186}} The subject matters were generally poetic, rather than epic.{{sfn|Wing|2016|p=186}} It is known that some illustrated manuscripts of the Jalayirids were copied and emulated by the [[Timurid Empire|Timurids]]. A written remark by [[Dust Muhammad]] mentions that the Timurid ruler [[Baysunghur]] ordered a book to be made with the exact same specifications (dimensions, arrangement of text, illustrations) as a Jalayirid original.<ref>{{cite journal |last1=Soucek |first1=Priscilla |title=Comments on Persian Painting |journal=Iranian Studies |date=1974 |volume=7 |issue=1/2 |page=73}}</ref> In the 16th century, [[Dust Muhammad]] described the Timurid [[Baysunghur]]'s efforts at emulating Jalayirid art, after his [[Timeline of Tabriz|occupation of Tabriz in 1421]] and capture of artists from Tabriz:

{{quotation|''His Highness [[Baysunghur|Baysunghur Mirza]] had Master Sidi Ahmad the painter, Khwaja Ali the portraitist and Master Qiwamuddin the bookbinder brought from [[Tabriz]] and ordered that after the pleasing manner of Sultan Ahmad of Baghdad's miscellany, they should produce a book in exactly the same format and layout and with the same scenes depicted. The copying of it was given into the charge of Mawlana Fariduddin Ja 'far. The binding was commissioned of the aforementioned Master Qiwamuddin, by whom inlay in bindings was invented; and Mir Khalil was put in charge of decoration and depiction of scenes.''|Preface to the ''[[Bahram Mirza Album]]'' (extract), by Dust Muhammad.<ref>{{cite book |title=Album prefaces and other documents on the history of calligraphers and painters |date=2014 |publisher=Brill |location=Leiden Boston |isbn=978-90-04-11961-1 |page=13 |edition=Paperback [edition]}}</ref>}}

The Injuids attempted to develop an original style as a symbol of their recovered political independence.<ref name="Swietochowski"/>

<gallery class="left" widths="200px" heights="200px" perrow="5">
File:The jackals with lions and their cubs (uncropped). Kalila and Dimna. F.1422.jpg|Jalayirid ''[[:Commons:Category:Kalila and Dimna, 1370-74 (Istanbul University Library F.1422)|Kalila and Dimna]]'' (1370–74)
File:Bahram Gur and Azadeh in hunting place, Istanbul Shahnameh, Shiraz 1331.jpg|Injuid miniature: ''Bahram Gur and Azadeh in hunting place'', Istanbul Shahnameh, Shiraz 1331.<ref>{{cite web |last1=Moravej |first1=Elahe |title=COMPARING THE SCENE OF HUNTING DEER, BAHRAM GUR AND AZADEH IN SHAHNAMEHS OF 1331, 1333 AND 1352 A.D. COPIES |url=https://www.researchgate.net/figure/mage-of-Bahram-and-Azadeh-in-hunting-place-Ferdowsis-Shahnameh-of-1352-AD_fig3_308023286 |year=2016}}</ref>
File:Frontispiece with Prince and attendants, probably circa 1390, final Muzaffarid period, Shiraz. Kalila and Dimna, BNF Persan 377.jpg|Frontispiece with Prince and attendants, probably circa 1390, final Muzaffarid period, Shiraz.<ref>{{cite web |title=Consultation BNF Persan 377 |url=https://archivesetmanuscrits.bnf.fr/ark:/12148/cc101600n |website=archivesetmanuscrits.bnf.fr}}</ref>
</gallery>

===The Timurids and Turkmen (1381–1501)===
[[File:Baysunghur Shahname. Faramarz son of Rostam mourns the death of his father and of his uncle Zavareh-1430.jpg|thumb|[[Baysonghor Shahnameh]], 1430. He was a key patron of the [[Herat]] school]]
{{see also|Timurid art|Turkmen style}}
After 1335 the Ilkhanate split into several warring dynasties, all swept aside by the new invasion of [[Timur]] from 1381. He established the [[Timurid dynasty]], bringing a fresh wave of Chinese influence, who were replaced by the [[Qara Qoyunlu]] in 1452, followed by the [[Aq Qoyunlu]] from 1468, who were in turn replaced by the [[Safavid dynasty]] by 1501; they ruled until 1722. After a chaotic period [[Nader Shah]] took control, but there was no long-lived dynasty until the [[Qajar dynasty]], who ruled from 1794 to 1925.<ref>Gray (1976), 309-315, OAO; Rawson, 146-147</ref>

[[Tabriz]] in the north-west of Iran is the longest established centre of production, and [[Baghdad]] (then under Persian rule) was often important. [[Shiraz]] in the south, sometimes the capital of a sub-ruler, was a centre from the late 14th century, and [[Herat]], now in [[Afghanistan]], was important in the periods when it was controlled from Persia, especially when the Timurid prince [[Baysonqor]] was governor in the 1420s; he was then the leading patron in Persia, commissioning the [[Baysonghor Shahnameh]] and other works. Each centre developed its own style, which were largely reconciled and combined under the Safavids.<ref>Gray (1930), 37-55; Welch, 14-18; OAO</ref>

The schools of Herat, where the [[Timurid dynasty|Timurid]] royal workshops usually were, had developed a style of classical restraint and elegance, and the painters of Tabriz, a more expressive and imaginative style. Tabriz was the former capital of the Turkmen rulers, and in the early [[Safavid Iran|Safavid era]] the styles were gradually harmonized in works like the [[Shahnameh of Shah Tahmasp]].<ref>Titley, 80; Walther & Wolf, 420-424</ref> But a famous unfinished miniature showing [[Rostam]] asleep, while his horse [[Rakhsh]] fights off a lion, was probably made for this manuscript, but was never finished and bound in, perhaps because its vigorous Tabriz style did not please Tahmasp. It appears to be by Sultan Mohammad, whose later works in the manuscript show a style adapted to the court style of [[Kamāl ud-Dīn Behzād|Bizhad]]. It is now in the [[British Museum]].<ref>Canby (1993), 79-80</ref>

===Safavid synthesis (1501–1736)===
{{see also|Safavid art}}
[[File:Portrait_of_Sam_Mirza_as_a_patron;_The_feast_of_I’d_begins,_copy_of_Diwan_Hafiz_manuscript.jpg|thumb|[[Shah Tahmasp]] at the ''Celebration of `Id''. Painted by [[Sultan Mohammed]] in [[Tabriz]], circa 1531. ''[[Cartier Hafiz]]''.{{sfn|Blair|2014|pp=240-241}}]]
The Safavid art of the miniature was in many ways a synthesis and an evolution upon the achievements of the previous schools. [[Dust Muhammad]] in the 161th century attributed the current state of the art to the foundational work of [[Ahmad Musa (painter)|Ahmad Musa]] during the Il-Khanate period, while acknowledging the advances made in China and Europe:<ref>{{cite book |last1=Sims |first1=Eleanor |last2=Marshak |first2=Boris Ilʹich |last3=Grube |first3=Ernst J. |title=Peerless Images: Persian Painting and Its Sources |date=1 January 2002 |publisher=Yale University Press |isbn=978-0-300-09038-3 |page=262 |url=https://archive.org/details/peerlessimagespe0000sims/page/262/mode/1up |language=en}}</ref>
{{quotation|''The custom of portraiture flourished in the lands of [[Cathay]] and the [[Europe|Franks]] until sharp-penned Mercury scrivened the rescript of rule in the name of Sultan [[Abu Sa'id Bahadur Khan|Abusaʿid Khudaybanda]]. Master [[Ahmad Musa (painter)|Ahmad Musa]], who was his father’s pupil, lifted the veil from the face of depiction, and the [style of] depiction that is now current was invented by him.''|[[Dust Muhammad]], introduction to the ''[[Bahram Mirza Album]]'' (1544).<ref>{{cite book |last1=Sims |first1=Eleanor |last2=Marshak |first2=Boris Ilʹich |last3=Grube |first3=Ernst J. |title=Peerless Images: Persian Painting and Its Sources |date=1 January 2002 |publisher=Yale University Press |isbn=978-0-300-09038-3 |page=262 |url=https://archive.org/details/peerlessimagespe0000sims/page/262/mode/1up |language=en}}</ref><ref>{{cite book |title=Album prefaces and other documents on the history of calligraphers and painters |date=2014 |publisher=Brill |location=Leiden Boston |isbn=978-90-04-11961-1 |pages=12-13 |edition=Paperback [edition]}}</ref>}}

[[Shah Ismail]], by conquering both the Aq Qoyunlu and the Timurids, took over the two dominant Persian artistic schools of the time in the domain of calligraphy and miniatures: the western [[Turkman style|Turkoman school]] based in [[Tabriz]], characterized by vibrant and colorful compositions, which had developed under his uncle [[Yaqub Aq Qoyunlu|Sultan Yaqub Aq Qoyunlu]], and the eastern [[Timurid art|Timurid school]] based in [[Herat]] and brought to new summits by [[Sultan Husayn Bayqara]], which was more balanced and restrained and used subtle colors.{{Sfn|Soudavar|1992|p=159}} Artists from both realms were made to work together, such as [[Kamāl ud-Dīn Behzād|Behzad]] from Herat and [[Sultan Mohammed]] from Tabriz, to collaborate on major manuscripts such as the [[Tahmasp Shahnameh|Shahnameh of Shah Tahmasp]].{{Sfn|Soudavar|1992|p=159}} This synthesis created the new Safavid imperial style.{{Sfn|Soudavar|1992|p=159}} This new aesthetic also affected traditional crafts, including textiles, carpets, and metalwork, and influenced the styles of [[Ottoman Empire|Ottoman Turkey]] and [[Mughal Empire|Mughal India]].{{Sfn|Soudavar|1992|p=159}}

Miniatures from the Safavid and later periods are far more common than earlier ones, but although some prefer the simpler elegance of the early 15th and 16th centuries, most art historians agree in seeing a rise in quality up to the mid-16th century, culminating in a series of superb royal commissions by the Safavid court, such as the [[Shahnameh of Shah Tahmasp]] (or Houghton Shahnameh). There was a crisis in the 1540s when Shah [[Tahmasp I]], previously a patron on a large scale, ceased to commission works, apparently losing interest in painting. Some of his artists went to the court of his nephew [[Ibrahim Mirza]], governor of [[Mashad]] from 1556, where there was a brief flowering of painting until the Shah fell out with his nephew in 1565, including a ''[[Haft Awrang]]'', the "Freer Jami". Other artists went to the Mughal court.<ref>Titley, 103; Welch (mostly on Freer Jami after p. 24), 23-27, 31, 98-127; [http://www.asia.si.edu/exhibitions/online/loveYearning/base.html Freer Gallery] {{Webarchive|url=https://web.archive.org/web/20220104075728/https://asia.si.edu/exhibitions/online/loveYearning/base.html/ |date=2022-01-04 }}</ref>

After this period, and from the 17th century onward, the number of illustrated book manuscript commissions falls off, and the tradition falls into over-sophistication and decline.<ref>OAO; Gray (1930), 74-89; Welch, throughout</ref>

==Chinese and European influences==
===Il-Khanid period (1260-1330)===
[[File:The mountains of India, from The Jami‘ al-Tawarikh of Rashid al-Din. Khalili Collection Islamic Art mss 0727 fol 21a det.jpg|thumb|Chinese-style mountains in the [[:Commons:Category:Jami al-Tawarikh (Khalili)|''Jami al-Tawarikh'' (1314-15, Tabriz)]].<ref>{{cite book |last1=Sims |first1=Eleanor |title=Peerless images : Persian painting and its sources |date=2002 |publisher=New Haven : Yale University Press |isbn=978-0-300-09038-3 |page=69 |url=https://archive.org/details/peerlessimagespe0000sims/page/155/mode/1up |quote=...these "mountains of India" derive from Chinese landscape-models.}}</ref>]]
Chinese influence on Persian miniature painting is substantial and perceptible.<ref>Sheila S. Blair and Jonathan M. Bloom, ''The Art and Architecture of Islam 1250–1800'', Yale University Press.</ref><ref>Oleg Grabar, ''Mostly Miniatures: An Introduction to Persian Painting'', Princeton University Press.</ref> The tradition, retrospectively named, emerges under the Mongol [[Ilkhanate|(Ilkhanid)]] court in the late 13th and early 14th centuries, within an imperial context that linked Iran to East Asia through the interconnected [[Division of the Mongol Empire|Mongol khanates]].<ref>Thomas T. Allsen, ''Culture and Conquest in Mongol Eurasia'', Cambridge University Press.</ref> From its earliest surviving manifestations, Persian miniature painting develops in dialogue with Chinese pictorial devices, evident in the early adoption of elements such as cloud bands, which often permeate the whole composition, stylised rocks and trees with especially-articulated, knotted trunks, ornamental animal motifs including dragons, uses of multiple horizons, and related compositional strategies, which would be further elaborated and intensified in later periods.<ref>Robert Hillenbrand, ''Islamic Art and Architecture'', Thames & Hudson.</ref>

These Chinese pictorial devices reached Persian painters primarily through portable media, including textiles; ceramics and porcelain; and portable paintings such as scrolls, albums, and banners. They were also transmitted through decorated objects beyond fine art, including lacquerware, metalwork, carved jade and other hardstone objects, and illustrated maps and cosmological diagrams. Maybe there was influence through Central Asian and Mongol court wall-painting traditions as well. These channels shaped painters’ engagement with Chinese visual logic without necessitating sustained contact with direct Chinese-trained artists.<ref>Sheila S. Blair and Jonathan M. Bloom, ''Islamic Arts'', Phaidon Press.</ref>

===Jalayirid period (1330-1410)===
Jalayirid art was characterized by increased naturalism.<ref name="NC537">{{cite book |last1=Neci̇poğlu |first1=Gülru |title=Persianate Images between Europe and China: The “Frankish Manner” in the Diez and Topkapı Albums, c. 1350–1450 |date=2017 |url=https://www.academia.edu/42533710/Persianate_Images_between_Europe_and_China_The_Frankish_Manner_ |p=537}}</ref> Parallels have been noted with the contemporary naturalistic [[International Gothic|Late Gothic]] trends, and cross-cultural exchanges, both with the Latin West and Chinese art have been suggested.<ref name="NC537"/> In effect, Christian communities of European merchants (Genoese, Venetian, Pisan, French, Catalan) had been thriving in the Ilkhanid capitals of Tabriz and [[Soltaniyeh]], and although they faltered in the troubles after the end of the Ilkhanate and the [[Black Death]] (1348-1350), were still encouraged by the Jalayirid Sultan Uvays I through correspondence offering road
security and reduced taxes.<ref name="NC536">{{cite book |last1=Neci̇poğlu |first1=Gülru |title=Persianate Images between Europe and China: The “Frankish Manner” in the Diez and Topkapı Albums, c. 1350–1450 |date=2017 |url=https://www.academia.edu/42533710/Persianate_Images_between_Europe_and_China_The_Frankish_Manner_ |p=536}}</ref> The artist [[Dust Muhammad]] acknowledged China and Europe while describing the contributions of the great naturalistic artist [[Ahmad Musa (painter)|Ahmad Musa]], active at the end of the [[Ilkhanate]] and during the Jalayirid period:<ref>{{cite journal |last1=Necipoğlu |first1=Gülru |title=The Jalayirid Contribution: A Topkapi Palace Album with Images in the Persianate, Chinese, and European Manners (Ca. 1350–1500) |journal=Ars Orientalis |date=17 February 2026 |volume=55 |issue=0 |doi=10.3998/ars.9312 |url=https://journals.publishing.umich.edu/ars/article/id/9312/ |issn=2328-1286}}</ref>
[[File:Eight Figures in European Attire, Baghdad or Tabriz, c. 1370. Istanbul, TSMK, H. 2153, fol. 54v.jpg|thumb|upright=2|''Eight Figures in European Attire'', Jalayirid drawing in European style. Baghdad or Tabriz, c. 1370. [[:Commons:Category:Topkapı Sarayı Album Hazine 2153|''Saray Album'' H.2153]].<ref name="NC539"/>]]
{{quotation|''[T]he custom of portraiture flourished in the lands of [[Cathay]] and the [[Europe|Franks]] until sharp-penned Mercury scrivened the rescript of rule in the name of [[Abu Sa'id Bahadur Khan|Sultan Abusaʿid Khudaybanda]]. Master [[Ahmad Musa (painter)|Ahmad Musa]], who was his father’s pupil, lifted the veil from the face of depiction, and the [style of] depiction that is now current was invented by him. Among the scenes by him that lighted on the page of the world in the reign of the aforementioned emperor, an ''Abusaʿidnama'', a ''[[Kalīla wa-Dimna|Kalila u Dimna]]'', a ''Miʿrajnama'' calligraphed by Mawlana Abdullah Sayrafi, and a ''Tarikh-i Chingizi'' in beautiful script by an unknown hand were in the library of the late emperor [[Sultan Husayn Bayqara|Sultan-Husayn Mirza]].''|Preface to the ''[[Bahram Mirza Album]]'' (extract), by Dust Muhammad.<ref>{{cite book |title=Album prefaces and other documents on the history of calligraphers and painters |date=2014 |publisher=Brill |location=Leiden Boston |isbn=978-90-04-11961-1 |pages=1213 |edition=Paperback [edition]}}</ref>.}}

Albums of the period, such as [[:Commons:Category:Topkapı Sarayı Album Hazine 2153|''Saray Album'' H.2153]] or [[:Commons:Category:Topkapı Sarayı Album Hazine 2160|''Saray Album'' H.2160]] often contain foreign work or works "in the manner of", complete with labelled inscriptions of as “Cathayan work” (''kāri khaṭāy/khiṭāy'') or “Frankish work” (''kāri farang/firang'').<ref name="NC539">{{cite book |last1=Neci̇poğlu |first1=Gülru |title=Persianate Images between Europe and China: The “Frankish Manner” in the Diez and Topkapı Albums, c. 1350–1450 |date=2017 |url=https://www.academia.edu/42533710/Persianate_Images_between_Europe_and_China_The_Frankish_Manner_ |p=539}}</ref> One such example is the a Europeanizing ink and wash drawing, named ''[[:File:Eight Figures in European Attire, Baghdad or Tabriz, c. 1370. Istanbul, TSMK, H. 2153, fol. 54v.jpg|Eight Figures in European Attire]]'', a work "in the Frankish manner" in the European "[[grisaille]]" style, located next to works attributed to [[Ahmad Musa (painter)|Ahmad Musa]] ([[:File:Bifolio, TSMK, H. 2153, fols. 55r, 54v.jpg|H. 2153, fols. 55r, 54v]]).<ref name="NC542">{{cite book |last1=Neci̇poğlu |first1=Gülru |title=Persianate Images between Europe and China: The “Frankish Manner” in the Diez and Topkapı Albums, c. 1350–1450 |date=2017 |url=https://www.academia.edu/42533710/Persianate_Images_between_Europe_and_China_The_Frankish_Manner_ |p=542-544}}</ref> Another Jalayirid work, named ''[[:File:Celestial Vision, Baghdad or Tabriz, c. 1375–1400. Istanbul, TSMK, H. 2153, fol. 120v.jpg|Celestial Vision]]'', combines elements from the arts of Europe (a Christian scene of enlightenment, in the style of [[:File:Gaddi Taddeo Announcement.jpg|Taddeo Gaddi’s ''Annunciation to the Shepherds'' (1327–30)]] of [[:File:Pietro Lorenzetti - Stigmata of St Francis - WGA13527.jpg|Pietro Lorenzetti’s ''Stigmata of St. Francis'' (c. 1320)]], and China (a bent tree, a five-clawed two-horned imperial dragon, Chinese cloud bands).<ref name="NC549">{{cite book |last1=Neci̇poğlu |first1=Gülru |title=Persianate Images between Europe and China: The “Frankish Manner” in the Diez and Topkapı Albums, c. 1350–1450 |date=2017 |url=https://www.academia.edu/42533710/Persianate_Images_between_Europe_and_China_The_Frankish_Manner_ |p=549-550}}</ref>

===Timurid, Turkic and Safavid periods (15th-16th centuries)===
During the [[Timurid Empire|Timurid]] and especially the [[Safavid dynasty|Safavid]] periods, this inherited vocabulary was more fully adopted, adapted, and systematised. Painters expanded earlier devices into increasingly complex pictorial structures, developing more layered landscapes articulated across multiple spatial planes, floating figures, shifting or floating perspectives, and a more continuous, unfolding sense of space.<ref>Stuart Cary Welch, ''Persian Painting: Five Royal Safavid Manuscripts of the Sixteenth Century'', Harvard University Press.</ref> In this later phase, Chinese narrative and figural conventions further informed figural treatment, contributing to lasting transformations in the spatial logic, stylisation, and compositional organisation of Persian painting.<ref>Sheila Canby, ''Persian Painting'', British Museum Press.</ref>

<gallery class="center" widths="200px" heights="200px" perrow="5">
File:Autumn Landscape, polychrome painting, inscribed “Work of Mani (kār-i Mānī),” Tabriz or Baghdad, mid-14th century. Istanbul, TSMK, H. 2153, fol. 68r.jpg|upright|''Autumn Landscape'', a likely Jalayirid work in the Chinese manner. Tabriz or Baghdad, mid-14th century. TSMK, H. 2153.<ref>{{cite journal |last1=Necipoğlu |first1=Gülru |title=The Jalayirid Contribution: A Topkapi Palace Album with Images in the Persianate, Chinese, and European Manners (Ca. 1350–1500) |journal=Ars Orientalis |date=17 February 2026 |volume=55 |issue=0 |doi=10.3998/ars.9312 |url=https://journals.publishing.umich.edu/ars/article/id/9312/}}</ref>
File:Celestial Vision, Baghdad or Tabriz, c. 1375–1400. Istanbul, TSMK, H. 2153, fol. 120v.jpg|''Celestial Vision'', [[Jalayirid]] drawing combining European and Chinese style. Baghdad or Tabriz, c. 1375–1400. TSMK, H. 2153
File:Flute player under a plum tree.jpg|''Nobles beneath a Blossoming Branch'', [[Shaykhi]], Aq Qoyunlu [[Tabriz]], c. 1470–90.<ref>{{cite book |title=The Diez Albums: Contexts and Contents |date=14 November 2016 |publisher=BRILL |isbn=978-90-04-32348-3 |pages=164, 168 |url=https://books.google.com/books?id=PBL0DQAAQBAJ&pg=PA164 |language=en}}</ref>
File:Chinese style scene, Aqqoyunlu Turkmen, signed by Shaykhi, ca. 1480. Tabriz. Topkapı Palace Library, H.2153, fol. 146v.jpg|Chinese-style scene, signed by Shaykhi, ca. 1480. Tabriz. [[:Commons:Category:Topkapı Sarayı Album Hazine 2153|Topkapı Palace Library, H.2153]].<ref>{{cite book |title=The Diez Albums: Contexts and Contents |date=14 November 2016 |publisher=BRILL |isbn=978-90-04-32348-3 |page=164 |url=https://books.google.com/books?id=PBL0DQAAQBAJ&pg=PA164 |language=en}}</ref>
</gallery>

== Prominent Persian miniaturists ==
The workshop tradition and division of labour within both an individual miniature and a book, as described above, complicates the attribution of paintings. Some are inscribed with the name of the artist, sometimes as part of the picture itself, for example as if painted on tiles in a building, but more often as a note added on the page or elsewhere; where and when being often uncertain. Because of the nature of the works, literary and historical references to artists, even if they are relied upon, usually do not enable specific paintings to be identified, though there are exceptions. The reputation of [[Kamāl ud-Dīn Behzād|Kamāl ud-Dīn Behzād Herawī]], or Behzād, the leading miniaturist of the late Timurid era, and founder of the Safavid school, remained supreme in the [[Persianate]] world, and at least some of his work, and style, can be identified with a degree of confidence, despite a good deal of continuing scholarly debate.<ref>Gray (1930), 57-66; OAO</ref>

[[Sultan Mohammed]], [[Mir Sayyid Ali]], and [[Aqa Mirak]], were leading painters of the next generation, the Safavid culmination of the classic style, whose attributed works are found together in several manuscripts.<ref>Welch, 17-27, and many individual pictures shown</ref> [[Abd al-Samad]] was one of the most successful Persian painters recruited by the [[Mughal Emperor]]s to work in India. In the next generation, [[Reza Abbasi]] worked in the Late Safavid period producing mostly album miniatures, and his style was continued by many later painters.<ref>Gray (1930), 80-87</ref> In the 19th century, the miniatures of Abu'l-Hasan Khan Gaffari ([[Sani ol molk]]), active in [[Qajar]] Persia, showed originality, naturalism, and technical perfection.<ref>B. W. Robinson, "[http://www.iranicaonline.org/articles/abul-hasan-khan-gaffari-sani-al-molk-1814-66-painter-in-oils-and-miniature-lacquer-artist-and-book-illustrator Abu'l-Hasan Khan Gaffari] {{Webarchive|url=https://web.archive.org/web/20161117010609/http://www.iranicaonline.org/articles/abul-hasan-khan-gaffari-sani-al-molk-1814-66-painter-in-oils-and-miniature-lacquer-artist-and-book-illustrator |date=2016-11-17 }}," Encyclopædia Iranica, I/3, pp. 306-308</ref> [[Mahmoud Farshchian]] is a contemporary miniaturist whose style has broadened the scope of this art.

=== Gallery ===
<gallery widths="200px" heights="200px" perrow="4">
File:SchoolOfTabriz3.jpg|[[Tabriz]], c.1370, ''Abduction of [[Zal]] by the [[Simurgh]]''
File:Bahram Gur Kills the Dragoon. Firdawsi, Shahnama 1371.(Shiraz, Muzaffarid dyn.) Topkapi Palace Library, Istanbul.jpg|''[[Bahram Gur]] Kills the Dragon'', in a ''[[Shahnameh]]'' of 1371, Shiraz, with a very Chinese dragon
File:Big-Head Shahname.jpg|Page from the Turkmen "Big-head Shahnameh", [[Gilan Province|Gilan]], 1494
File:Behzad advice ascetic.jpg|[[Kamāl ud-Dīn Behzād|Behzad]]'s ''Advice of the Ascetic'', c. 1500–1550
File:Sleeping Rustam.jpg|[[Rostam]] sleeps, while his horse [[Rakhsh]] fends off a lion. Probably an early work by [[Sultan Mohammed]], 1515–20
File:FOLIO FROM THE SHAHNAMEH OF SHAH TAHMASP, ATTRIBUTED TO AQA MIRAK, CIRCA 1525-35, Sotheby,s.jpg|''[[Fereydun]] in the guise of a dragon tests his sons'', from the [[Shahnameh of Shah Tahmasp|''Shahnameh'' of Shah Tahmasp]], attributed to [[Aqa Mirak]], circa 1525-35
File:Nizami - Khusraw discovers Shirin bathing in a pool.jpg|[[Khosrow and Shirin|Khosraw discovers Shirin]] bathing in a pool, a favourite scene, here from 1548
Image:Divan von Hafiz.jpg|Poetry, wine and gardens are common elements in later works - 1585
File:The Mantiq al-tair.jpg|Scene from [[Attar of Nishapur|Attar]]'s ''[[The Conference of the Birds|Conference of the Birds]]'', painted c. 1600
File:Riza-yi-Abbasi 008.jpg|''Youth reading'', 1625–26 by [[Reza Abbasi]]
File:Thousand_and_One_Nights_21.jpg|Illustration of ''One Thousand and One Nights'' by [[Abu'l-Hasan Sani al-Mulk]], Iran, 1853
</gallery>

== Intangible cultural heritage ==
{{Main|UNESCO Intangible Cultural Heritage Lists}}
{{Infobox intangible heritage
| Image =
| Caption =
| ICH = Art of miniature
| Countries = Azerbaijan, Iran, Turkey, and Uzbekistan
| ID = 01598
| Region =
| Year = 2020
| Session = 15th
| List = Representative
}}
In 2020, UNESCO inscribed the art of miniature on its Representative List of the [[intangible cultural heritage|Intangible Cultural Heritage of Humanity]] upon the nomination of four countries in which it is an important element of their culture: Azerbaijan, Iran, Turkey, and Uzbekistan.<ref name="unesco">{{cite web|title=Art of miniature|url=https://ich.unesco.org/en/RL/art-of-miniature-01598|website=[[UNESCO]] Intangible Cultural Heritage|access-date=14 January 2024}}</ref>

In their rationale for inscription on the list, the nominators highlighted that "The patterns of the miniature represent beliefs, worldviews and lifestyles in a pictorial fashion and also gained a new character through the Islamic influence. While there are stylistic differences between them, the art of miniature as practised by the submitting States Parties shares crucial features. In all cases, it is a traditional craft typically transmitted through mentor-apprentice relationships (non-formal education) and considered as an integral part of each society's social and cultural identity".<ref name="unesco"/>

==In later culture==
The French painter [[Henri Matisse]] said he was inspired by Persian miniatures. He visited the 1910 Munich exhibition of Persian miniatures and carpets, and noted that:
"the Persian miniatures showed me the possibility of my sensations. That art had devices to suggest a greater space, a really plastic space. It helped me to get away from intimate painting".<ref>{{cite web |last1=Walsh |first1=Judy |title=Matisse, Persian miniatures and Modernism |url=https://www.judywalsh-artwork.com/blog/Examplehttps//www.judywalsh-artwork.com/blog-page-url/2017/12/12/new-post-title |website=judy walsh artwork |date=7 February 2018 |access-date=2019-12-17 |archive-date=2019-12-17 |archive-url=https://web.archive.org/web/20191217170052/https://www.judywalsh-artwork.com/blog/Examplehttps//www.judywalsh-artwork.com/blog-page-url/2017/12/12/new-post-title |url-status=live }}</ref>

Persian miniatures are mentioned in the novel ''[[My Name Is Red]]'' by [[Orhan Pamuk]].

==See also==
* [[Persian culture]]
* [[List of Persian painters]]
* [[Persianate]]

==Notes==
{{reflist|2}}

==References==
* Balafrej, Lamia. ''The Making of the Artist in Late Timurid Painting'', Edinburgh University Press, 2019, {{ISBN|9781474437431}}
* {{cite book |last1=Blair |first1=Sheila |title=Text and image in medieval Persian art |date=2014 |publisher=Edinburgh University Press |location=Edinburgh |isbn=978-0748655786 }}
* Brend, Barbara. ''Islamic art'', Harvard University Press, 1991, {{ISBN|0-674-46866-X}}, 9780674468665
* Canby, Sheila R. (ed) (2009). ''Shah Abbas; The Remaking of Iran'', 2009, British Museum Press, {{ISBN|978-0-7141-2452-0}}
* Canby, Sheila R. (1993), ''Persian Painting'', 1993, British Museum Press, {{ISBN|9780714114590}}
* Crill, Rosemary, and Jarilwala, Kapil. ''The Indian Portrait: 1560-1860'', 2010, National Portrait Gallery Publications, {{ISBN|1-85514-409-3}}, 978 1855144095
* ("Gray 1930") Gray, Basil, ''Persian Painting'', Ernest Benn, London, 1930
* ("Gray 1976") Gray, Basil, and others in Jones, Dalu & Michell, George, (eds); ''The Arts of Islam'', [[Arts Council of Great Britain]], 1976, {{ISBN|0-7287-0081-6}}
* Gruber, Christiane, ''Representations of the Prophet Muhammad in Islamic painting'', in Gulru Necipoglu, Karen Leal eds., [[Muqarnas (journal)|Muqarnas]], Volume 26, 2009, BRILL, {{ISBN|90-04-17589-X}}, 9789004175891, [https://books.google.com/books?id=Gq6obUbnqsMC&dq=%22Depiction+of+Muhammad%22+Muqarnas&pg=PA247 google books]
* {{cite book | last = Hillenbrand | first = Carole | title = The Medieval Turks: Collected Essays | year = 2021 | publisher = Edinburgh University Press | isbn = 978-1474485944 }}
* [[Josef W. Meri|Meri, Josef W.]] ''Medieval Islamic Civilization: An Encyclopedia'', 2005, Psychology Press, {{ISBN|0-415-96690-6}}
* [[Jessica Rawson|Rawson, Jessica]], ''Chinese Ornament: The Lotus and the Dragon'', 1984, British Museum Publications, {{ISBN|0-7141-1431-6}}
* "OAO", Sims, Eleanor, and others. [[Oxford Art Online]] (subscription required), ''Islamic art, §III, 4: Painted book illustration'' (v) ''c 1250–c 1500'', and (vi) ''c 1500–c 1900'', accessed Jan 21, 2011
* Roxburgh, David J. 2000. ''The Study of Painting and the Arts of the Book'', in [[Muqarnas (journal)|Muqarnas]], XVII, BRILL.
* {{cite book |last1=Soudavar |first1=Abolala |title=Art of the Persian courts : selections from the Art and History Trust Collection |date=1992 |publisher=New York : Rizzoli |isbn=978-0-8478-1660-6 |url=https://archive.org/details/artofpersiancour0000soud/page/172/mode/2up}}
* [[Wheeler M. Thackston|Thackston, Wheeler McIntosh]]. ''Album prefaces and other documents on the history of calligraphers and painters'', Volume 10 of Studies and sources in Islamic art and architecture: Supplements to Muqarnas, BRILL, 2001, {{ISBN|90-04-11961-2}}, {{ISBN|978-90-04-11961-1}}
* Titley, Norah M. ''Persian Miniature Painting, and Its Influence on the Art of Turkey and India: the British Library collections'', 1983, University of Texas Press, {{ISBN|0-292-76484-7}}
* [[Stuart Cary Welch|Welch, Stuart Cary]]. ''Royal Persian Manuscripts'', Thames & Hudson, 1976, {{ISBN|0-500-27074-0}}

==Further reading==
{{Culture of Iran}}
* [[Oleg Grabar|Grabar, Oleg]], ''Mostly Miniatures: An Introduction to Persian Painting'', 2001, Princeton University Press, {{ISBN|0-691-04999-8}}, {{ISBN|978-0-691-04999-1}}
* Hillenbrand, Robert. ''Shahnama: the visual language of the Persian book of kings'', Ashgate Publishing, 2004, {{ISBN|0-7546-3367-5}}, {{ISBN|978-0-7546-3367-9}}
* [[Basil William Robinson|Robinson, B. W.]], ''Islamic painting and the arts of the book'', London, Faber and Faber, 1976
* [[Basil William Robinson|Robinson, B. W.]], ''Persian paintings in the India Office Library, a descriptive catalogue'', London, Sotheby Parke Bernet, 1976
* [[Barbara Schmitz|Schmitz, Barbara]], and Desai, Ziyaud-Din A. ''Mughal and Persian paintings and illustrated manuscripts in the Raza Library, Rampur'', 2006, Indira Gandhi National Centre for the Arts, {{ISBN|81-7305-278-6}}
* "Iranica", [[Stuart Cary Welch|Welch, Stuart Cary]], and others, [http://www.iranicaonline.org/articles/art-in-iran-ix-safavid Art in Iran]:vii. Islamic pre-Safavid, ix. Safavid to Qajar Periods, in [[Encyclopædia Iranica]] (online, accessed January 27, 2011)
* {{cite book |author1=Swietochowski, Marie Lukens |author2=Babaie, Sussan |name-list-style=amp | title= ''Persian drawings in the Metropolitan Museum of Art'' | location=New York | publisher=The Metropolitan Museum of Art | year=1989 | url= http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/90639/rec/3 | isbn=0870995642}}
* {{cite book | author=Welch, S.C. | title= ''A king's book of kings: the Shah-nameh of Shah Tahmasp'' | location=New York | publisher=The Metropolitan Museum of Art | year=1972 | url= http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/36222/rec/1 | isbn=9780870990281}}
* {{cite book |author1=Swietochowski, Marie |author2=Carboni, Stefano |name-list-style=amp | title= ''Illustrated poetry and epic images : Persian painting of the 1330s and 1340s'' | location=New York | publisher=The Metropolitan Museum of Art | year=1994| url= http://libmma.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/81182}}

==External links==
{{Commons category|Persian miniatures}}
* [https://web.archive.org/web/20171028142344/http://shahnama.caret.cam.ac.uk/new/jnama/page/ The ''Shahnameh'' Project], Cambridge University – database of miniatures (archived 28 October 2017)
* [http://www.iranchamber.com/art/articles/history_iranian_miniature.php A brief history of Persian Miniature by Katy Kianush. Iran Chamber Society]
* [http://www.cbl.ie/cbl_image_gallery/collection/list.aspx?collectionId=2 Chester Beatty Library Image Gallery] {{Webarchive|url=https://web.archive.org/web/20181101015455/http://www.cbl.ie/cbl_image_gallery/collection/list.aspx?collectionId=2 |date=2018-11-01 }} mixed Islamic images
* [http://afghanistan.asiasociety.org/timeline/37/CE/1000 Video on Behzad] from the Asia Society, US
* [http://www.asia.si.edu/exhibitions/online/VisualPoetry/riza1.htm Freer Gallery of Art, Smithsonian] {{Webarchive|url=https://web.archive.org/web/20070810214227/http://www.asia.si.edu/exhibitions/online/VisualPoetry/riza1.htm |date=2007-08-10 }}
* [http://kilyos.ee.bilkent.edu.tr/~history/topkapi1.html Miniatures from the Topkapi Museum]
* [https://amazingiran.media/negargari/ Negargari: The Breathtaking World of Persian Miniature Art]

{{Islamic art}}
{{Islamic calligraphy}}
{{Safavids}}
{{Intangible Heritage Iran}}

{{DEFAULTSORT:Persian Miniature}}

[[Category:Iranian art]]
[[Category:Persian art]]
[[Category:Miniature painting]]
[[Category:Illuminated manuscripts]]
[[Category:Islamic illuminated manuscripts]]
[[Category:Islamic art]]
[[Category:Persian handicrafts]]
[[Category:Islamic arts of the book]]
[[Category:Iranian inventions]]
[[Category:Intangible Cultural Heritage of Humanity]]
[[Category:Intangible Cultural Heritage of Iran]]

Goopy Gyne Bagha Byne

2026-03-07T06:41:43Z

Surendra Sharma: minor cleanup

{{short description|1969 film by Satyajit Ray}}
{{use Indian English|date=May 2014}}
{{Use dmy dates|date=April 2020}}
{{Infobox film
| name = Goopy Gyne Bagha Byne
| image = GOOPI GYNE BAGHA BYNE - DVD COVER.jpg
| caption = DVD Cover for Goopy Gyne Bagha Byne
| director = [[Satyajit Ray]]
| producer = Nepal Dutta Asim Dutta
| writer = Satyajit Ray
| based_on = ''Goopy Gyne Bagha Byne'' by Upendrakishore Ray Chowdhury
| narrator =
| starring = [[Tapen Chatterjee]] [[Rabi Ghosh]] [[Santosh Dutta]] [[Harindranath Chattopadhyay]] [[Jahor Roy]] Santi Chatterjee [[Chinmoy Roy]]
| music = Satyajit Ray
| cinematography = [[Soumendu Roy]]
| editing = [[Dulal Dutta]]
| studio = [[Priya Cinema (Kolkata)|Purnima Pictures]]
| distributor =
| released = {{Film date|df=y|1969|05|08}}
| runtime = 120 minutes
| country = [[India]]
| language = [[Bengali language|Bengali]]
| budget = [[Indian rupee|₹]] 600,000 ($80,000)<ref>{{cite web|title=exchange rate| url=http://fxtop.com/en/currency-converter-past.php?A=100&C1=USD&C2=INR&DD=08&MM=05&YYYY=1969&B=1&P=&I=1&btnOK=Go%21}}</ref>
}}
'''''Goopy Gyne Bagha Byne''''' ({{pronunciation|LL-Q9610 (ben)-Titodutta-গুপী গাইন বাঘা বাইন.wav|Bangla pronunciation}}) is a 1969 Indian [[Satire (film and television)|satirical]] [[superhero film]] written and directed by [[Satyajit Ray]] and based on a story by his grandfather [[Upendrakishore Ray Chowdhury]]. It is a [[fantasy]] [[Musical film|musical]], with music and lyrics composed and written by Ray himself. This is the first film of the ''[[Goopy–Bagha]]'' series, and there are two sequels – ''[[Hirak Rajar Deshe]]'', which was released in 1980, and ''[[Goopy Bagha Phire Elo]]'', written by Satyajit Ray but directed by his son [[Sandip Ray]], which was released in 1992.

The film was based on the characters Goopy Gyne and Bagha Byne, who made their first appearance in the ''[[Sandesh (magazine)|Sandesh]]'' magazine in 1915, with illustrations by Ray's grandfather Upendrakishore Ray Chowdhury.{{sfn|Robinson|1989|p=183}} In 1961, after the revival of ''Sandesh'', Ray began contemplating the idea of making a film based on that story, and he was partly compelled by his son Sandip to make a film which was less 'grim and adult'.{{sfn|Robinson|1989|p=183}} This was matched by Ray's own desire to make a movie that, unlike his previous films, would cater to children. Plus, this would also give him an opportunity to lace the story with music and dancing, a point his movies' producers and distributors were always insisting upon.{{sfn|Robinson|1989|p=183}}{{sfn|Ray|2013|p=45}} Ray managed to convince producers to finance the film, even though it was clear from the beginning that the film would cost a lot of money.{{sfn|Robinson|1989|p=184}}

The movie released to great critical and commercial reception, which held the record for longest continuous run of a Bengali-language movie in Bengal, as it ran for 51 straight weeks.<ref name="official">{{cite web|url=http://www.satyajitray.org/films/goopy.htm|title=Goopy Gyne Bagha Byne|access-date=11 September 2014|archive-date=30 April 2007|archive-url=https://web.archive.org/web/20070430074555/http://www.satyajitray.org/films/goopy.htm|url-status=dead}}</ref>{{sfn|Robinson|1989|p=184}} It won the [[National Film Award for Best Feature Film|Best Feature Film]] and [[National Film Award for Best Direction|Best Direction]] awards at the [[16th National Film Awards]], and went on to win many other international awards as well.<ref name="16thawardPDF">{{cite web|url=http://dff.nic.in/2011/16th_nff_1970.pdf|title=16th National Film Awards|publisher=Directorate of Film Festivals|access-date=22 September 2011|pages=2, 4|archive-date=17 May 2015|archive-url=https://web.archive.org/web/20150517061411/http://dff.nic.in/2011/16th_nff_1970.pdf|url-status=dead}}</ref><ref name="National Awards Winners 1968: Complete list of winners of National Awards 1968">{{cite news|last1=Times of India|first1=Entertainment|title=National Awards Winners 1968: Complete list of winners of National Awards 1968|work=timesofindia.indiatimes.com|url=https://timesofindia.indiatimes.com/entertainment/movie-awards/national-awards-winners/1968/108|accessdate=11 August 2021|archiveurl=https://web.archive.org/web/20210511142357/https://timesofindia.indiatimes.com/entertainment/movie-awards/national-awards-winners/2005/108|archivedate=11 May 2021}}</ref> Critical reception was highly positive. Raja Sen called it to be the most innovative film to have ever come out of India.<ref name=rajasen>{{cite web|url=https://www.rediff.com/movies/2007/may/25goopy.htm |title=An ode to Bagha & Goopy |access-date=11 September 2014 |year=2007 |work=Rediff.com}}</ref> [[Phil Hall (US writer)|Phil Hall]] said that the film "comes as a delightful surprise – Ray, it appears, not only possessed a great sense of humor but also enjoyed a stunning talent for musical cinema".<ref name = philhall>{{cite web|url=http://www.filmthreat.com/features/1939/|title=THE BOOTLEG FILES: "GOOPY GYNE BAGHA BYNE"|access-date=11 September 2014 |year=2007 |work=Rediff.com}}</ref>

{{Listen
| image = none
| filename = Gupi Gayen Bagha Bayen - Bhuter rajar bar (Satyajit Ray).ogv
| title = The king of ghosts grants Goopy and Bagha three boons
| alt = The king of ghosts grants Goopy and Bagha three boons scene,
| description = A clipping from the film Goopy Gyne Bagha Byne where the king of ghosts ("bhuter raja") grants Goopy and Bagha three boons. Significantly Satyajit Ray used his own voice for the voice of the king of ghosts ("bhuter raja"). In these scenes, the king of ghosts is speaking in rhyme. In 1980, Ray made a sequel to ''Goopy Gyne Bagha Byne'', ''[[Hirak Rajar Deshe]]'', in this film too, most of the dialogues exchanged by the protagonists of the film were rhyming. Satyajit Ray praised S. V. Rao for the ghost dance effect by calling it a technical feat.
}}

==Plot==
Gopinath Gyne alias Goopy is the son of a poor grocer Kanu Kyne from a village called Amloki. Goopy wants to become a singer, but he sings terribly without melody, rhythm or tune. In an attempt to mock him, the village elders persuade Goopy to sing for the king in the early morning hours right under His Majesty's bedroom window. Goopy does so, but his terrible singing only disturbs the king's sleep, who then summons him to his court. There, the king humiliates him and orders for him to be driven out of Amloki on a donkey.

Exiled to a forest, he meets Bagha Byne, another exile from nearby village called Hortuki. Like Goopy, Bagha had been exiled from his village for playing the drum badly. They encounter a tiger in the forest, from which they narrowly escape by staying perfectly still. After the tiger is gone, they start to celebrate by singing and drumming. This attracts a group of [[Ghosts in Bengali culture|ghosts]], who are fascinated by their music. Happy with their performance, the king of the ghosts (Bhooter Raja) grants them three boons. These boons will only work if they are together.

* They can get any food or clothing they want by clapping their hands with each other.
* They are given a pair of magic slippers, which, when worn, will allow them to travel anywhere. All they need to do is clap their hands with each other and say the name of the place they want to go to.
* They become flawless musicians and gain the ability to hold people in awe with their music (literally, their music renders people motionless).

The pair travel to Shundi, where a benevolent king appoints them court musicians. However, the king of Halla (the long lost twin brother of Shundi's king), is planning to attack Shundi, after being poisoned by his prime minister with the help of a magic potion that makes him evil. He is aided by a senile sorcerer, who has created the evil potion.

Goopy and Bagha travel to Halla in an attempt to prevent the attack, but are captured instead. They also lose the power of their slippers when captured and hence cannot escape the jail by magic, but manage to do so by luring the famished gatekeeper with delicious foods. They arrive singing and drumming when the soldiers are about to launch their attack, rendering the army motionless. Next, they wish for unlimited food and sweets, which rain from the sky on the starving soldiers who forget the battle and settle for filling their bellies. Not only this, their singing takes off the evil effects of the potion given to the King of Halla, who drops the idea of capturing Shundi, and reunites happily with his brother. For averting the war, the two kings of Shundi and Halla respectively marry their daughters to Goopy and Bagha.

==Cast==
* [[Tapen Chatterjee]] - Goopy Gyne
* [[Rabi Ghosh]] - Bagha Byne
* [[Santosh Dutta]] - King of Shundi and King of Halla
* [[Harindranath Chattopadhyay]] - Borfi (The Magician)
* Ajoy Banerjee - Visitor to Halla
* Ratan Banerjee - Court singer at Shundi
* Durgadas Bannerjee - King of Amloki
* Binoy Bose - Village elder / visitor to Halla
* Govinda Chakravarti - Goopy's father
* Abani Chatterjee - Village elder
* Kartik Chatterjee - Court singer at Shundi / visitor to Halla
* Santi Chatterjee - Commander of Halla army
* Gopal Dey - Executioner
* Shailen Ganguli - Visitor to Halla
* [[Jahor Roy]] - Prime Minister of Halla
* Tarun Mitra - Court singer at Shundi
* Haridhan Mukherjee - Village elder
* Prasad Mukherjee - King of ghosts / village elder (bhoot er raja)
* Khagen Pathak - Village elder
* [[Chinmoy Roy]] - Spy of Halla
* Joykrishna Sanyal - Court singer at Shundi
* Mani Srimani - Visitor to Halla

==Production==
=== Origins ===
Around 1967, Ray started toying with the idea of creating a film based on extra terrestrial creatures on Earth, and wrote a screenplay to that effect.<ref name = philhall/> [[Marlon Brando]] and [[Peter Sellers]] were supposed to star in lead roles in the film.<ref name = ettimes>{{cite web|url=http://timesofindia.indiatimes.com/india/Close-encounters-with-native-E-T-finally-real/articleshow/42443247.cms?|title=Close encounters with native E.T. finally real|access-date=11 September 2014 |year=2003 |work=The Times of India}}</ref><ref name = etgrant>{{cite web|url=http://www1.ucsc.edu/currents/01-02/09-17/ray.html|title=Satyajit Ray Collection receives Packard grant and lecture endowment|access-date=11 September 2014 |year=2001 |work=The Times of India}}</ref> However, things did not turn out well between him and [[Columbia Pictures]], and the project was shelved. Unable to make a fantasy movie in [[Cinema of the United States|Hollywood]], Ray decided to make one in India instead. He intended to reach a wider audience with this film, prompted in part by the lukewarm box office performance of his previous movies ''[[Kapurush]]'', ''[[Mahapurush]]'' and ''[[Nayak (1966 film)|Nayak]]''.{{sfn|Robinson|1989|p=184}} R.D Bansal, who had produced those movies, became even less enthusiastic when he learnt of the film's estimated budget, and, as Ray told [[Marie Seton]] in December 1967, he spent the remainder of that year scouting for finance, and almost reduced to the same situation as he had been during shooting [[Pather Panchali]].{{sfn|Robinson|1989|p=184}} Finally, towards the end of 1967, Nepal Dutta and Asim Dutta of ''Purnima Pictures'' agreed to lend some financial help. But since it was not substantial enough to shoot the entire movie in color, Ray decided to do it in black and white and show only the final scene in color.{{sfn|Robinson|1989|p=184}}

===Development and filming===
The film's pivotal sequence was a six and a half-minute dance, divided into four numbers, performed by the ghosts of the forest in front of Goopy and Bagha. The numbers were intertwined into a phantasmagoria of contrasting styles and moods.<ref name = philhall/> Ray settled on four classes of ghosts keeping in line with the four common classes in the social hierarchy in [[Hinduism]], "since we have so many class divisions, the ghosts should have the same".{{sfn|Robinson|1989|p=187}} Thus came to be included the king and warriors, ''sahibs'', fat people and the common people. Ray decided that the music ought to have "some order, form and precision", instead of being just being "a wooly, formless kind of thing".{{sfn|Robinson|1989|p=187}} He remembered a South Indian classical form he had once heard in the Delhi Film Festival, which used 12 musical instruments, of which he selected four. He deliberately avoided melody, because "melody suggests a kind of sophistication".{{sfn|Robinson|1989|p=187}} Each class, except the ''sahibs'', was played by actors appropriately dressed and made-up, the ''sahibs'' were shadow-puppets expertly under-cranked to create the illusion. {{sfn|Robinson|1989|p=187}} The dance culminates with the four classes positioned vertically, with the priests at the bottom and the common people at the top, in contrast with the traditional class hierarchy. Ray imagined the caste system upside down in reaction to the evolving nature of power.{{sfn|Banerjee|2009}}

==Soundtrack and other songs==
{{Track listing
| headline = Track listing
| extra7 = Anup Ghoshal
| title6 = ওরে বাঘারে (Ore Baghare)
| extra6 = Anup Ghoshal and Rabi Ghosh
| length6 = 2:02
| music6 = Satyajit Ray
| title7 = ও মন্ত্রী মশাই (O Mantri Moshai)
| music7 = Satyajit Ray
| length7 = 1:37
| length5 = 1:50
| title8 = হল্লা চলেছে যুদ্ধে (Halla Choleche Juddhe)
| extra8 = [[Kamu Mukherjee]] and [[Jahor Roy]]
| music8 = Satyajit Ray
| title9 = এক যে ছিল রাজা... (Ek Je Chhilo Raja...)
| extra9 = Anup Ghoshal
| music5 = Satyajit Ray
| extra5 = Anup Ghoshal
| extra_column = Singer(s)
| music2 = Satyajit Ray
| title1 = ভূতের রাজার বর দেওয়া (Bhuter Rajar Bor deoa)
| extra1 = Satyajit Ray, Tapen Chatterjee and Rabi Ghosh
| music1 = Satyajit Ray
| title2 = দেখোরে নয়ন মেলে (Dekhore Nayan Mele)
| extra2 = [[Anup Ghoshal]]
| length2 = 1:55
| title3 = ভূতের রাজা দিলো বর (Bhuter Raja Dilo Bor)
| title5 = রাজা শোনো (Raja Shono)
| extra3 = Anup Ghoshal and Rabi Ghosh
| length3 = 2:22
| music3 = Satyajit Ray
| title4 = মহারাজা! তোমারে সালাম (Maharaja! Tomare Selam)
| extra4 = Anup Ghoshal
| length4 = 3:37
| music4 = Satyajit Ray
| music9 = Satyajit Ray
| title10 = ওরে বাবা দেখো চেয়ে (Ore Baba Dekho Cheye)
| music10 = Satyajit Ray
| extra10 = Anup Ghoshal
| length1 = 1:37
| length8 = 1:42
| length9 = 2:45
| length10 = 3:43
}}

==Critical reception==
Critical response was generally positive, with the length and special effects being the main points of criticism. Dennis Schwartz wrote that "its only fault is that I thought it was too lengthy to hold the attention of children. But the appealing film dazzles with Ray's lively score that's carried out very well by the film's stars".<ref>{{cite web|url=http://homepages.sover.net/~ozus/adventuresofgoopyandbagha.html|title=Delightful children's film by India's greatest director Satyajit Ray.|access-date=11 September 2014|year=2014|work=Ozus' World Movie Reviews|archive-date=12 September 2014|archive-url=https://web.archive.org/web/20140912183141/http://homepages.sover.net/~ozus/adventuresofgoopyandbagha.html|url-status=dead}}</ref> [[Lindsay Anderson]] said that it had got lovely things in it, but it went on for too long.{{sfn|Robinson|1989|p=182}} A critic, writing for [[The Guardian]], said that this was "Satyajit Ray at his least convincing". [[The Observer]] wrote that "perhaps it would appeal to singularly unfidgety children". [[The Times]] observed, "Ray is a true poet of the cinema, but he finds his poetry in everyday reality; in all-out fantasy, he seems somewhat prosaic". It was, however, a smash hit at home. Ray later wrote to [[Marie Seton]] that "it is extraordinary how quickly it has become part of popular culture. Really there isn't a single child who doesn't know and sing the songs".{{sfn|Robinson|1989|p=182}}<ref name=official/>

==Awards and honors==
At the [[16th National Film Awards]],<ref name="16thawardPDF"/>{{Dead link|date=December 2021}} the movie won two major awards:
* [[National Film Award for Best Feature Film|Best Feature Film]]
* [[National Film Award for Best Direction|Best Direction]]

It won 4 international awards:
* The Silver Cross at [[Adelaide]]
* Best director at [[Auckland Festival|Auckland Film Festival]]
* Best film at [[Melbourne International Film Festival]]
* Merit Award in [[Tokyo]]

It was also nominated for the [[Golden Bear]] at the [[19th Berlin International Film Festival|Berlin Film Festival]].

==Preservation==
The [[Academy Film Archive]] preserved ''Goopy Gyne Bagha Byne'' in 2003.<ref>{{cite web|title=Preserved Projects|url=http://www.oscars.org/academy-film-archive/preserved-projects?title=&filmmaker=satyajit+ray&category=All&collection=All|website=Academy Film Archive}}</ref>

==Remake==
''Goopy Gyne Bagha Byne'' was remade into a [[Hindi language]] animated film named ''[[Goopi Gawaiya Bagha Bajaiya]]'', directed by [[Shilpa Ranade]].<ref>[http://www.dubaifilmfest.com/en/films/detail/goopi-gawaiya-bagha-bajaiya/35306/2013 Dubaifilmfest] {{webarchive|url=https://web.archive.org/web/20140802183739/http://www.dubaifilmfest.com/en/films/detail/goopi-gawaiya-bagha-bajaiya/35306/2013 |date=2 August 2014}}</ref> It was nominated for and won for several international awards.<ref>{{cite web |url=http://dearcinema.com/news/batul-mukhtiar-wins-golden-elephant-kaphal-icffi-2013/1701 |title=Kaphal, Tamaash, Goopi Gawaiya Bagha Bajaiya win at Intl. Children's Film Festival of India | DearCinema.com |access-date=28 July 2014 |url-status=dead |archive-url=https://web.archive.org/web/20140728221059/http://dearcinema.com/news/batul-mukhtiar-wins-golden-elephant-kaphal-icffi-2013/1701 |archive-date=28 July 2014}}</ref><ref>{{cite web | url=http://www.animationxpress.com/index.php/latest-news/arjunthe-warrior-prince-goopi-gawaiya-bagha-bajaiya-win-at-18th-intl-childrens-film-festival-india | title=Arjun:The Warrior Prince & Goopi Gawaiya Bagha Bajaiya Win at 18th Intl. Children's Film Festival India | date=22 November 2013}}</ref><ref>{{cite web |url= http://www.asiapacificscreenacademy.com/2013/11/2013-asia-pacific-screen-awards-nominees/|title= Full List: 2013 APSA Nominees|access-date= 12 November 2013|work= asiapacificscreenacademy.com}}</ref><ref>{{cite web|url= http://www.filmbiz.asia/news/omar-and-japan-lead-apsa-nominations|title= Omar and Japan lead APSA nominations|date= 11 November 2013|access-date= 12 November 2013|work= [[Film Business Asia]]|url-status= dead|archive-url= https://web.archive.org/web/20131114232015/http://www.filmbiz.asia/news/omar-and-japan-lead-apsa-nominations|archive-date= 14 November 2013}}</ref>

==Sequels==
===''Hirak Rajar Deshe''===
{{main|Hirak Rajar Deshe}}
[[Satyajit Ray]] made a sequel named ''[[Hirak Rajar Deshe]]'', which released eleven years after the release of ''Goopy Gyne Bagha Byne''.

===''Goopy Bagha Phire Elo''===
{{main|Goopy Bagha Phire Elo}}
[[Sandip Ray]], son of director [[Satyajit Ray]] directed another sequel named ''[[Goopy Bagha Phire Elo]]''. The film released twelve years after the release of ''Hirak Rajar Deshe''.

===Future===
[[Sandip Ray]] wants to make another sequel to this series. He had received many requests to make the fourth ''Goopy - Bagha'' movie. Ray said to ''[[The Times of India]]'' about the plot of the fourth film: "Making a Goopy Bagha movie without Tapen and Rabi is unthinkable. The only way I can do a fourth is by taking the story forward and introducing Goopy and Bagha's sons". The idea to weave a story around the next generation came from a line from the introductory song 'Mora Dujonai Rajar Jamai' in 'Hirak Rajar Deshe'—"aar ache polapan, ek khan ek khan... (we have one child each)".<ref>[http://timesofindia.indiatimes.com/india/Satyajit-Rays-son-plan-sequel-of-fathers-films/articleshow/23075040.cms Satyajit Ray's son plan sequel of father's films]</ref>

==See also==
* [[Gayen]]
* ''[[Pather Panchali]]''

==Notes==
{{reflist|30em}}

==References==
{{refbegin}}
* {{cite book|last=Robinson|first=Andrew|title=Satyajit Ray: The Inner Eye|url=https://books.google.com/books?id=TnkcLvYRNfMC|year=1989|publisher=University of California Press|isbn=978-1-860-64965-3}}
* {{cite book|last=Banerjee|first=Deb|title=Powerful and Powerless: Power Relations in Satyajit Ray's Films
|url=http://kuscholarworks.ku.edu/dspace/bitstream/1808/6006/1/Banerjee_ku_0099M_10685_DATA_1.pdf|year=2009|publisher=University of Kansas}}
* {{cite book|last=Ray|first=Satyajit|title=Our Films, Their Films
|url=https://books.google.com/books?id=wqMHAQAAIAAJ|year=2013|publisher=Orient BlackSwan}}
{{refend}}

==External links==
* [https://ggbb.nltr.org ''Goopy Gyne Bagha Byne'' website]
::[https://ggbb.nltr.org/node.php?pageno=1&khanda=1 Screenplay]
* [http://www.satyajitray.org/films/goopy.htm Goopy Gyne Bagha Byne (SatyajitRay.org)] {{Webarchive|url=https://web.archive.org/web/20070430074555/http://www.satyajitray.org/films/goopy.htm |date=30 April 2007}}
* {{IMDb title|0063023}}

{{Goopy Gyne Bagha Byne}}
{{Satyajit Ray}}
{{NationalFilmAwardBestFeatureFilm}}

[[Category:1969 films]]
[[Category:1969 children's films]]
[[Category:Films directed by Satyajit Ray]]
[[Category:Bengali-language Indian films]]
[[Category:Indian children's films]]
[[Category:Indian superhero films]]
[[Category:Indian black-and-white films]]
[[Category:Films based on short fiction]]
[[Category:Films set in Asia]]
[[Category:Films set in fictional countries]]
[[Category:Films whose director won the Best Director National Film Award]]
[[Category:Best Feature Film National Film Award winners]]
[[Category:Films with screenplays by Satyajit Ray]]
[[Category:Articles containing video clips]]
[[Category:1960s superhero films]]
[[Category:1969 Bengali-language films]]
[[Category:Bengali-language comedy horror films]]
[[Category:Bengali-language adventure horror films]]
[[Category:Bengali-language comedy-drama films]]

Bageshwar Dham Balaji Temple

2026-03-04T14:00:06Z

Surendra Sharma: Started a place...

{{Short description|Hindu temple in Chhatarpur, India}}
{{Use dmy dates|date=April 2025}}
{{Use Indian English|date=April 2025}}
{{Infobox Hindu temple
| name = Bageshwar Dham Balaji Temple
| native_name = बागेश्वर धाम बालाजी मन्दिर
| image = Bageshwar Dham Sarkar.png
| caption = Bageshawar Balaji Dham
| religious_affiliation = [[Hinduism]]
| deity = [[Lord Hanuman]]
| festivals = [[Hanuman Jayanti]]
| district = [[Chhatarpur]]
| state = [[Madhya Pradesh]]
| country = [[India]]
| map_type = India Madhya Pradesh
|coordinates = {{coord|24.93055|N|79.59583|E|type:landmark_region:IN|display=inline,title}}
| architecture = [[Hindu temple architecture]]
}}

'''Bageshwar Dham Balaji Temple''' is a [[Hindu temple]] dedicated to [[Hanuman]], situated in Chhatarpur district of [[Madhya Pradesh]], [[India]].<ref>{{Cite web |title=प्रधानमंत्री नरेंद्र मोदी ने बागेश्वर धाम में की पूजा, कैंसर अस्पताल की रखी नींव - Prime Minister Narendra Modi Prays at Bageshwar Dham Lays Foundation Stone for Cancer Hospital |url=https://www.jagran.com/news/national-prime-minister-narendra-modi-prays-at-bageshwar-dham-lays-foundation-stone-for-cancer-hospital-23889472.html |access-date=2025-02-23 |website=Jagran |language=hi}}</ref><ref>{{Cite web |last=Goyal |first=Rahul |date=2025-02-23 |title=बागेश्वर धाम में कैंसर हॉस्पिटल की पीएम मोदी ने रखी आधारशिला, कहा- यहां मिलेगा भजन, भोजन और निरोगी जीवन |url=https://hindi.oneindia.com/news/madhya-pradesh/narendra-modi-says-bageshwar-dham-you-will-get-blessings-of-bhajan-food-and-healthy-life-1231749.html |access-date=2025-02-23 |website=hindi.oneindia.com |language=hi}}</ref> The current leader of Bageshwar Dham Balaji Temple is [[Dhirendra Krishna Shastri]].

== Location ==
It is situated in village Garha at a distance of 25 km from Chhatarpur' on Khajuraho Panna Road in [[Chhatarpur]] district, [[Madhya Pradesh]].<ref>{{Cite web |date=2023-01-24 |title=कहां पर है बागेश्वर धाम? जहां पर विराजमान हैं स्वयंभू हनुमान जी, जान लें 05 बड़ी बातें |url=https://hindi.news18.com/news/dharm/bageshwar-dham-swayambhu-hanuman-bala-ji-know-five-things-about-dhirendra-krishna-shastri-and-temple-5270845.html |access-date=2024-03-13 |website=News18 हिंदी |language=hi}}</ref>

== See also ==
* [[Dhirendra Krishna Shastri]]
* [[Khole Ke Hanuman Ji Temple]]

== References ==
{{Reflist}}

[[Category:Bageshwar]]
[[Category:Hindu temples in Madhya Pradesh]]

{{Hindu-temple-stub}}

Hasina Aur Nagina

2026-03-03T23:33:10Z

Surendra Sharma: quick update

{{Use dmy dates|date=February 2025}}
{{Use Indian English|date=October 2015}}

{{Infobox film
| name =Hasina Aur Nagina
| image =

| caption =
| director = Gautam Bhatia
| producer = Gautam Bhatia
| writer =
| narrator =
| starring = {{ubl|[[Sadashiv Amrapurkar]]|[[Jagdeep]]|[[Kiran Kumar]]|[[Ekta Sohini]]}}
| music = Dilip Sen-Sameer Sen
| cinematography =
| editing =
| distributor =
| released = {{Film date|1996}}
| runtime = 123 min
| country = India
| language = Hindi
| budget = 
| gross = 
}}

'''''Hasina Aur Nagina''''' is a [[Bollywood]] [[film]] directed and produced by Gautam Bhatia.<ref>{{Cite web|last=FilmiClub|title=Hasina Aur Nagina (1997)|url=https://www.filmiclub.com/movie/hasina-aur-nagina-1997-hindi-movie|access-date=2022-02-17|website=FilmiClub}}</ref> It was released in 1996 and stars [[Sadashiv Amrapurkar]], [[Jagdeep]], [[Kiran Kumar]] and [[Ekta Sohini]].<ref>{{Cite web|title=Hasina Aur Nagina (1996) - Review, Star Cast, News, Photos|url=https://www.cinestaan.com/movies/hasina-aur-nagina-7991|archive-url=https://web.archive.org/web/20201201183015/https://www.cinestaan.com/movies/hasina-aur-nagina-7991|url-status=live|archive-date=1 December 2020|access-date=2022-02-17|website=Cinestaan}}</ref>

==Plot==
After the murder of the parents, two sisters became separated. Years later they meet and hunt for the murderers.<ref>{{Citation|title=Hasina Aur Nagina|url=https://www.rottentomatoes.com/m/hasina_aur_nagina|access-date=2022-02-17}}</ref>

==Cast==
{{cast listing|
*[[Ekta Sohini]] as Nagina
*[[Navneet Nishan]] as Hasina
*[[Jagdeep]] as Paplu
*[[Kiran Kumar]] as Nagraj
*[[Sadashiv Amrapurkar]] as Bhanu Pratap
*[[Arif Khan (former actor)|Arif Khan]] as Vikram
*Gina Shankar as Daku Maansingh
*Madhu Malhotra as Banjarin
}}

==Music==
#"Tu Mera Raja Main Teri" – Sarika Kapoor, Simi Sinha
#"Jay Shiv Shankar" – Sarika Kapoor
#"Mai Hu Ek Hasina" – [[Kavita Krishnamurthy]], Shobha Joshi
#"Mai Tera Raja Tu Meri" – [[Sadhana Sargam]], [[Nitin Mukesh]]
#"Meri Shishe Wali" – [[Sadhana Sargam]]
#"Mujhe Ishq Ka Rog" – Shobha Joshi, Mangal Singh

==References==
{{Reflist}}

==External links==
* {{IMDb title|id=0404097 |title=Hasina Aur Nagina }}

[[Category:1996 films]]
[[Category:1996 Hindi-language films]]
[[Category:1996 Indian films]]
[[Category:Films scored by Dilip Sen-Sameer Sen]]

{{1990s-Hindi-film-stub}}

Madras Youth Choir

2026-02-24T10:17:49Z

Surendra Sharma: slightly rework article per standard format further and improved wording for clarity

{{Short description|Organization in Chennai, Tamil Nadu}}
{{Use dmy dates|date=October 2018}}
{{Use Indian English|date=October 2018}}
{{more citations needed|date=April 2017}}

The '''Madras Youth Choir''', based in [[Chennai]], [[India]], is a non-profit, voluntary organization, is the brainchild of the late composer and pioneer of Indian Choral Music, Shri. [[M. B. Sreenivasan]]. It was founded in 1971 and is one of the oldest choirs of its kind in India, after the [[Calcutta Youth Choir]] founded in 1958.<ref>{{Cite news|url=http://www.thehindu.com/features/friday-review/music/madras-youth-choir-chorusing-for-a-cause/article4478893.ece|title=Madras Youth Choir: Chorusing for a cause|last=Parthasarathy|first=Anusha|work=The Hindu|access-date=2017-04-21|language=en}}</ref><ref>{{Cite news|url=http://timesofindia.indiatimes.com/city/chennai/More-young-singers-join-the-fold-of-Madras-Youth-Choir/articleshow/16096453.cms|title=More young singers join the fold of Madras Youth Choir - Times of India|work=The Times of India|access-date=2017-04-21}}</ref> It is presently led by Shri. K.S. Subramanian, retired bureaucrat and translator of Tamil literature. The Secretary and other senior members are dedicated to the cause of spreading the movement of this genre of music.

== Overview ==
The Madras Youth Choir consists of choristers from soprano to bass, practicing a variety of songs based on Indian classical and folk music idioms adapting western harmonic arrangements. The Madras Youth Choir is a recipient of an annual grant from the [[Sangeet Natak Akademi]] for its Community Singing Programme. Its significant repertoire consists of themes such as national integration, environment, children, social values and the awakening of youth. The choir sings in as many as ten languages and takes the songs of national poets to schools to train children to perform at special occasions.

The Choir has been recognized as a reputed organization and has been called upon to perform in various places all over India, independently and along with regional youth choirs, as well as for [[Doordarshan|Doordharshan]] and [[All India Radio]]. The Choir has also performed at Delhi under the auspices of [[Sangeet Natak Akademi]] on many occasions. Many corporate organizations, banks, private and voluntary institutions, continue to invite the Choir to perform for their special functions.

== Work ==
MYC has released a twin album CD "Pallupaduvomey" which hopefully would augur well to beckon it toward the limelight. The Choir is taking efforts to convey the greatness of MBS’s music in tangible terms to the public, in the staunch faith that once people are given the chance to appreciate the music in authentic terms, they will flock to it.

MYC conducts workshops at regular intervals to create an awareness of this genre of music and also initiate those who may become interested in choral music once they got to know it better.

MYC has preserved the verdant choral pieces of Shri. [[M. B. Sreenivasan]] long after his death. This in itself is a testament of his inspiration, the vitality of his compositions and the group’s undying devotion to the man and his music.

MYC has now extended its activities to forming a Junior Group as well as a sub-junior group. Efforts are being made to also form a college choir drawing youth from various city colleges, who would be trained in this musical genre.

== References ==
{{Reflist}}
== External links ==
* [http://madrasyouthchoir.org/ MYC website]
{{authority control}}

[[Category:Music of Chennai]]
[[Category:Youth choirs]]
[[Category:Indian choirs]]

Tirthapati Institution

2026-02-21T09:19:00Z

Surendra Sharma: put up a entry initial version...

{{more citations needed|date=November 2018}}
{{Use dmy dates|date=November 2018}}
{{Use Indian English|date=November 2018}}
{{Infobox school
| name = Tirthapati Institution
| image = Tirthapati Institution.jpg
| location = 142/1 Rashbehari Avenue
| city = Kolkata
| state = West Bengal
| country = India
| schooltype = Public
| established = 4 January 1932
| headmaster = Bibhas Ghosh (High School)
| staff = 7 (High School)
| faculty = 33 (High School)
| grades = I to V (Primary school)
VI to XII (High School)
| gender = Boys
| enrollment = 1,172 (High School)
| language = Bengali
| campus_type = Metro
| colours = Navy Blue & White
| affiliation = [[West Bengal Board of Primary Education]] (Grade I to Grade V), [[West Bengal Board of Secondary Education]] (Grade VI to X), [[West Bengal Council of Higher Secondary Education]] (Grade XI & XII)
| alumni = [[R. D. Burman]], [[Chuni Goswami]], [[Amal Kumar Raychaudhuri]], [[Nrisingha Prasad Bhaduri]]
}}

'''Tirthapati Institution''' is a Bengali-English Medium Public School (10+2) located in [[Rashbehari Avenue]], [[Kolkata, West Bengal, India]]. It was established in 1932. It is situated on the opposite side of [[Deshapriya Park]].<ref name="Tirthapati Institution location">{{cite web|title=Tirthapati Institution location|url=http://www.thinkvidya.com/tirthapati-institution-kolkata/6023|accessdate=27 September 2014}}</ref>

== References ==
{{reflist}}

[[Category:Boys' schools in India]]
[[Category:Primary schools in West Bengal]]
[[Category:High schools and secondary schools in West Bengal]]
[[Category:Schools in Kolkata]]
[[Category:Educational institutions established in 1932]]
[[Category:1932 establishments in India]]

Kakanmath

2026-02-17T15:20:44Z

Surendra Sharma: Starting

{{Short description|Pratihara-style panchayatana Shiva temple complex (1000–1025 CE)}}
{{Infobox religious building
| name = Kakanmath
| native_name = ककनमठ
| native_name_lang = sa
| image = Kakan Math.jpg
| caption = Kakanmath in 2015
| map_type = India Madhya Pradesh#India
| map_caption = Location in Madhya Pradesh, India
| location = [[Sihoniya]]
| coordinates = {{coord|26.5849309|78.2485567|region:IN|display=inline,title}}
| religious_affiliation = [[Shaivism]]
| deity = [[Shiva]]
| district = [[Morena district|Morena]]
| state = [[Madhya Pradesh]]
| country = [[India]]
| established = 1015-1035 CE
}}
'''Kakanmaṭh''' is a ruined 11th century [[Shiva]] temple located at [[Sihoniya]] in [[Madhya Pradesh]], [[India]]. It was built by the [[Kachchhapaghata dynasty|Kachchhapaghata]] ruler Kirttiraja. Only a part of the original temple complex now survives. Some of the sculptures from the site are now located at [[Gwalior]].

== History ==

The Kakanmath temple was commissioned by [[Kachchhapaghata dynasty|Kachchhapaghata]] ruler Kirttiraja (r. c. 1015-1035 CE).{{sfn|ASI Bhopal Kakanmath|2016}} This can be inferred from a Kachchhapaghata inscription found at the [[Sas-Bahu Temple]] in [[Gwalior]]. The inscription states that Kirttiraja built an extraordinary temple devoted to [[Parvati]]'s lord (Shiva) at Siṁhapānīya (modern Sihoniya).{{sfn|Michael Architecture|1996|pp=13-32}}{{sfn|Harihar Vitthal Trivedi|1991|p=542}}

According to a folk legend, the temple was named "Kakanmadh" after Kakanavati or Kakanade, who was the queen of one Surajpala. The historicity of this legend is doubtful. One possibility is that the name of the temple derives from the words ''kanak'' (gold) and ''[[matha|maṭha]]'' (shrine).{{sfn|R. K. Sharma|Ramesh Chandra Agrawal|1995|p=251}}

Originally, the site had a temple complex, with a central temple surrounded by four subsidiary shrines. Only the ruins of the central temple stand now: its outer walls, balconies and a part of its [[shikhara|spire]] have fallen. This damage probably happened during an earthquake.{{sfn|Michael Architecture|1996|p=16}} A [[Sanskrit]]-language pillar inscription dated 1[4]50 [[Vikram Samvat|VS]] (1393-94 CE) records the renovation of the Mahadeva temple (that is, Kakanmath) by one Durgaprasada.{{sfn|Michael Inscriptions|1996|p=27}} A 1497 VS (1440-41 CE) pillar inscription records the visit of a pilgrim named Dekhana during the reign of Dungara (a [[Tomaras of Gwalior|Tomara]] ruler of [[Gwalior Fort|Gwalior]]). It states that Dekhana was the son of Kakaka, and a resident of [[Narwar Fort|Nalapuragaḍha]].{{sfn|Michael Inscriptions|1996|p=30}}

Now, the temple has been classified as a [[Lists of Indian Monuments of National Importance|Monument of National Importance]] by the [[Archaeological Survey of India]] (ASI).{{sfn|ASI MP List|2016}}

== Architecture ==
[[File:Kakanmath Temple, Morena.jpg|thumb|left|Kakanmath]]
[[File:Mythological statue guarding Gujari Mahal.JPG|thumb|right|Lion statues, now at Gwalior]]
The temple stands on an ornate base (''pitha''). The building includes a [[garbhagriha|sanctum]], a [[antarala|vestibule]], and two [[mandapa|halls]] (''gudha-mandapa'' and ''mukha-mandapa''). The sanctum has a [[parikrama|circumambulatory]] path with three [[transept]]s. The ''gudha-mandapa'' has lateral transepts, and four clusters of pillars; each cluster contains four pillars. The vestibule has four pillars in a row, which are aligned with the four clusters of the ''gudha-mandapa''. The [[shikhara]] (tower) of the shrine makes it around 30 m high.{{sfn|ASI Bhopal Kakanmath|2016}}

The steps at the entrance had two large lion statues, which are now located at the entrance of the Archaeological Museum, Gwalior. Many other sculptures have also been taken to Gwalior.{{sfn|Michael Architecture|1996|p=16}}

== References ==
{{reflist|30em}}

=== Bibliography ===
{{commons category}}

{{ref begin}}
* {{cite web |publisher=Archaeological Survey of India, Bhopal Circle |title=Kakanmath Temple |url=http://www.asibhopal.nic.in/monument/morena_suhania_kakanmathtemple.html |access-date=2016-11-16 |ref={{harvid|ASI Bhopal Kakanmath|2016}} }}
* {{cite web |publisher=Archaeological Survey of India, Bhopal Circle |title=Alphabetical List of Monuments - Madhya Pradesh |url=http://asi.nic.in/asi_monu_alphalist_mp.asp |access-date=2016-11-16 |ref={{harvid|ASI MP List|2016}} |archive-url=https://web.archive.org/web/20161102195954/http://asi.nic.in/asi_monu_alphalist_mp.asp |archive-date=2016-11-02 |url-status=dead }}
* {{cite book |author=Harihar Vitthal Trivedi |title=Inscriptions of the Paramāras (Part 2) |series=Corpus Inscriptionum Indicarum Volume VII: Inscriptions of the Paramāras, Chandēllas, Kachchapaghātas, and two minor dynasties |url=https://books.google.com/books?id=8B4LAQAAMAAJ |year=1991 |publisher=[[Archaeological Survey of India]] }}
* {{cite journal |author=Michael D. Willis |title=Architecture in Central India under the Kacchapaghata Rulers |journal=South Asian Studies |volume=12 |issue=1 |year=1996 |pages=13–32 |ref={{harvid|Michael Architecture|1996}} |doi=10.1080/02666030.1996.9628506 |url=https://zenodo.org/record/4264424 |doi-access=free }}
* {{cite book |author=Michael D. Willis |title=Inscriptions of Gopakṣetra: materials for the history of Central India |publisher=British Museum Press |year=1996 |url=https://books.google.com/books?id=Jl5mAAAAMAAJ |ref={{harvid|Michael Inscriptions|1996}} |isbn=9780714114750 }}
* {{cite book |author1=R. K. Sharma |author2=Ramesh Chandra Agrawal |title=Kr̥ṣṇa-smr̥ti: Studies in Indian Art and Archaeology |url=https://books.google.com/books?id=5Rp_wtgqCbMC |publisher=Aryan Books |year=1995 |isbn=9788173050558 }}
{{ref end}}

[[Category:Tourist attractions in Morena district]]
[[Category:Shiva temples in Madhya Pradesh]]
[[Category:11th-century Hindu temples]]

K. V. Sekaran

2026-02-16T18:51:41Z

Surendra Sharma: Done

'''K. V. Sekaran''' is an [[Politics of India|Indian politician]] and a member of the [[Tamil Nadu Legislative Assembly]]. He was elected to the Tamil Nadu Legislative Assembly in the 2016 elections as a candidate of the [[Dravida Munnetra Kazhagam]] (DMK) from the [[Polur Assembly constituency]].<ref>{{cite web |publisher=Election Commission of India |title=2016 Tamil Nadu General Election: Constituency Data Summary |url=http://eci.nic.in/eci_main/archiveofge2016/09-Constitutional%20Data%20Summarytamil.pdf |access-date=27 May 2016|page=66}}</ref><ref>{{cite book|editor1-last=|author2=|title=66 - போளூர்|publisher=தி இந்து தமிழ் இதழ் |date=6 April 2016|url=https://www.hindutamil.in/news/election-2016/tiruvannamalai/82357-66.html}}</ref>

==Electoral Performance==
=== 2016 ===

{{Election box begin|title= [[2016 Tamil Nadu Legislative Assembly election]]: Polur<ref>{{cite web|url=https://www.elections.tn.gov.in/TNLA2016/AC%20WISE%20CANDIDATE%20COUNT.pdf|access-date= 30 Apr 2022|archive-date= 30 Apr 2022|archive-url=https://web.archive.org/web/20220430083638/https://www.elections.tn.gov.in/TNLA2016/AC%20WISE%20CANDIDATE%20COUNT.pdf|title=Assembly wise Candidate Valid Votes count 2016, Tamil Nadu|website=www.elections.tn.gov.in}}</ref>}}
{{Election box winning candidate with party link|candidate=K. V. Sekaran |party=Dravida Munnetra Kazhagam |votes=66,588 |percentage=34.02% |change= ''New'' }}
{{Election box candidate with party link|candidate=M. Murugan |party=All India Anna Dravida Munnetra Kazhagam |votes=58,315 |percentage=29.80% |change=-25.63 }}
{{Election box candidate with party link|candidate=C. Elumalai |party=Independent politician |votes=38,861 |percentage=19.86% |change= ''New'' }}
{{Election box candidate with party link|candidate=A. Velayutham |party=Pattali Makkal Katchi |votes=17,184 |percentage=8.78% |change=-29.52 }}
{{Election box candidate with party link|candidate=P. Selvan |party=Communist Party of India (Marxist) |votes=5,000 |percentage=2.55% |change= ''New'' }}
{{Election box candidate with party link|candidate=A. Dhashanamoorthy |party=Independent politician |votes=1,858 |percentage=0.95% |change= ''New'' }}
{{Election box candidate with party link|candidate=D. Tamilarasi |party=Bharatiya Janata Party |votes=1,232 |percentage=0.63% |change=-0.19 }}
{{Election box candidate with party link|candidate=NOTA |party=None of the above |votes=1,230 |percentage=0.63% |change= ''New'' }}
{{Election box margin of victory |votes=8,273 |percentage=4.23% |change= -12.90% }}
{{Election box turnout |votes=195,714 |percentage=85.86% |change= 1.02% }}
{{Election box registered electors |reg. electors = 227,936 |change = }}
{{Election box gain with party link |winner=Dravida Munnetra Kazhagam |loser=All India Anna Dravida Munnetra Kazhagam |swing= -21.40% }}
{{Election box end}}

==References==
{{reflist}}

[[Category:Dravida Munnetra Kazhagam politicians]]
[[Category:Tamil Nadu MLAs 2016–2021]]
[[Category:Living people]]
[[Category:Year of birth missing (living people)]]

Nawabganj, Bareilly

2026-02-05T04:39:01Z

Surendra Sharma: enhanced section additionally and improved wording

{{Use dmy dates|date=October 2018}}
{{Use Indian English|date=October 2018}}
{{Infobox settlement
| name = Nawabganj
| native_name =
| native_name_lang =
| other_name =
| nickname =
| settlement_type = town
| image_skyline = NH 30 Nawabganj.jpg
| image_alt =
| image_caption = NH 30 at Nawabganj
| pushpin_map = India Uttar Pradesh
| pushpin_label_position = right
| pushpin_map_alt =
| pushpin_map_caption = Location in Uttar Pradesh, India
| coordinates = {{coord|28.540|N|79.633|E|display=inline,title}}
| subdivision_type = Country
| subdivision_name = {{flag|India}}
| subdivision_type1 = [[States and territories of India|State]]
| subdivision_name1 = [[Uttar Pradesh]]
| subdivision_type2 = [[List of districts of India|District]]
| subdivision_name2 = [[Bareilly district|Bareilly]]
| 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 = 393
| population_total = 39241 <ref name="census2011_800871" />
| population_as_of = 2011
| population_rank =
| population_density_km2 = auto
| population_demonym =
| population_footnotes =
| demographics_type1 = Languages
| demographics1_title1 = Official
| demographics1_info1 = [[Hindi language|Hindi]]
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = 
| postal_code = 262406
| registration_plate = UP 25
| website = https://nawabganj.in
| footnotes =
}}
'''Nawabganj''' (also spelled as Nawabgunj<ref name="BareillySettlementMoens_1874"/> and Nawabgunge<ref name="BareillySettlementMoens_1874"/> in [[British Raj]]) is a [[Nagar palika]] and an [[administrative subdivision]] (or [[tehsil]] or [[pargana]]) of [[Bareilly]] [[district]] in the [[India]]n [[States and territories of India|state]] of [[Uttar Pradesh]]. A [[Sub Divisional Magistrate]], also called Sub Divisional Officer, or pargana-adhikari (literally pargana-officer) is the head official.

Under the three-tier [[Panchayat Raj]] Institution system,<ref name="UP_Panchayat_Overview"/> Nawabganj comes under Bareilly Zila ([[List of districts in India|district]]) Panchayat ([[District Councils of India|ZP]]) and is a headquarters of [[block panchayat]] covering 86 [[gram panchayat]]s.<ref name="UP_Panchayat_raj"/><ref name="UP_Panchayat_raj_dept"/><ref name="UP_PanchayatAct1961"/> There are 1007 gram panchayats in Bareilly district<ref name="BareillyVillagePanchayatList"/> and 52,002 Gram Panchayats in the Uttar Pradesh state.

<ref name="UP_Panchayat_Overview" />

==History==
Nawabganj was originally called '''Bijauria'''. The present name refers to a market built here under [[Asaf-ud-Daula]], who was [[Nawab of Oudh]] in the late 1700s. The market quickly came to prosper, benefitting from its advantageous position on the road from [[Bareilly]] to [[Pilibhit]], and in 1815 it was made the headquarters of a newly created [[tehsil]] and [[pargana]] (it had previously been part of [[Karor]] pargana in Bareilly tehsil). Around the turn of the 20th century, Nawabganj was described as a compactly built town, with markets held four times a week and generating significant trade in local produce. A large fair was held on the festival day of [[Vijayadashami|Dasahra]]. The population in 1901 was 4,199, consisting of 2,352 [[Hindu]]s, 1,819 [[Muslim]]s, and 28 [[Christians]].<ref name="Gazetteer">{{cite book |last1=Nevill |first1=H.R. |title=Bareilly - A Gazetteer |date=1911 |publisher=Government Press |location=Allahabad |pages=246–52 |url=https://archive.org/details/in.ernet.dli.2015.47989 |access-date=26 January 2021}}</ref>

== Demographics and geography ==
In 1865, the population of Nawabganj town was 4,418 and population of Nawabganj pargana was 1,22,264. Population growth between 1891 and 1901 was only 2.2%<ref name="ImperialGazetteerVol7_1908"/> because of severe [[Upper Doab famine of 1860–1861|droughts in 1860-61]] and 1869-70.<ref name="BareillySettlementMoens_1874"/><ref name="Drought1868_70"/>

{| class="wikitable"
|+ Nawabganj Tahsil ([[The Imperial Gazetteer of India]] Vol 10, 1886, page 246<ref name="ImperialGazetteerVol10_1886_2ndEdition_page246"/>)
|
'''Nawābganj''' — Central ''tahsil'' of Bareli (Bareilly) District, [[North Western Provinces]], conterminous with the ''pargana'' of Nawabganj; consisting of a well-tilled portion of the level Rohilkhand plain, with a few shallow grooves cut therein by numerous rivers and canals, which form its most salient feature. The principal of these rivers, proceeding from east to west, are the following:— Deoha, Apsāra, Pangaili, Bahgul, Nakatia and Deoraniya, with several tributaries and irrigation distributary canals. Population (1871) 1,24,276; (1881) 1,17,002, namely, males 62,931 and females 54,071. decrease in population since 1872, 7274, or 5.8 percent in nine years. Classified according to religion, the population in 1881 consisted of — Hindus, 95,470; Muhammadans, 21,531; and 1 'other'. Of the 303 villages in 1881, 227 contained less than five hundred inhabitants; 61 from five hundred to a thousand; 12 from one to one to two thousand; and only 3 from two to three thousand.

According to the official statement in 1878, Nawabganj tahsil contains an area of 226 {{frac|1|3}} square miles, of which 177 square miles were then cultivated. Of the total cultivated area, [[Kharif crop|autumn crops]] occupy 73.15 percent, and [[Rabi crop|spring crops]] 26.85 percent. The principal autumn staples are [[rice]], [[Sugarcane|sugar-cane]], and [[Pearl millet|bajra]]; and the principal [[Rabi crop|spring crops]], [[wheat]] and [[barley]]. The area irrigated, either by artificial works, or by natural overflow of [[Indo-Gangetic Plain|alluvial lands]], is returned at 57 percent of the cultivated area. The Government land revenue in 1878 amounted to [[Pound sterling|£]]22,803, or an average of 4[[Shilling|s]]. 7{{frac|3|4}}[[Penny (British pre-decimal coin)|d]]. per cultivated acre. Total Government land revenue, including local rates and [[cess]]es levied on the land, [[Pound sterling|£]]25,242. Estimated total rental paid by the cultivators (a large proporation of which is paid in kind), [[Pound sterling|£]]36,720.

The landholding classes are principally [[Islam in India|Muhammadans]], [[Kayastha|Kayasths]], [[Kurmi]]s, and [[Brahmin|Brahmans]]. About 47 percent of the cultivated area is cultivated by [[Kurmi]]s, 8.6 percent by [[Brahmin|Brahmans]], and 6.6 percent by [[Chamar]]s. [[Tenant farmer|Tenants]] with rights of occupancy<ref name="LandSystem1892_OccupancyRight"/> are more than three times as numerous as any other class of cultivators. [[Jaggery|Sugar-boiling]] is the only important manufacture. The chief [[Bazaar|local marts for surplus produce]] are Nawabganj, [[Saithal]], [[Baraur]], and [[Hafizganj]]. The first and last being situated on the only road in the tahsil, the [[Gravel road|metalled]] line from Bareli to Pilibhit, and also on or near the newly opened Pilibhit branch of the [[Oudh and Rohilkhand Railway]]. In 1883, Nawabganj tahsil contained 1 criminal court, with 2 police circles ([[Police station#India|thana]]s), regular police force numbering 29 men, and a village watch or rular police of 229 ''chaukidars''.
|}

{| class="wikitable"
|+ Nawabganj Town ([[The Imperial Gazetteer of India]] Vol 10, 1886, page 246-247<ref name="ImperialGazetteerVol10_1886_2ndEdition_page246"/>)
|
'''Nawābganj''' — Town in Bareli (Bareilly) District, [[North-Western Provinces]], and headquarters of Nawabganj ''tahsil''; situated on the metalled road between Bareli and Pilibhit, 19 miles north-east of the former town. Nawabganj was founded between 1775 and 1797 by [[Asaf-Ud-Dowlah|Asaf-ud-Daula]], Nawab of [[Awadh|Oudh]]. Population (1881) 4,343. Besides the usual tahsil courts and offices, Nawabganj contains a first-class police station, imperial post-office, and Anglo-vernacular school.
|}
::The town of Hafizganj already existed when Nawabganj was founded. [[Hafiz Rahmat Khan]] founded Hafizganj in order to offer merchants a resting place on the road from Bareilly to Pilibhit. New ''ganjes'' or ''quasbas'' were established to lure foreign trade and credit towards the [[Rohilla]] territories.<ref name="RohillaRiyasat_Hafizganj"/>

{| class="wikitable"
|+ Nawabganj Tahsil ([[The Imperial Gazetteer of India]] Vol 18, 1908, page 427 <ref name="ImperialGazetteerVol18_1908"/>)
|
'''Nawābganj Tehsil''' — East Central ''tahsil'' of Bareilly District, [[United Provinces of Agra and Oudh|United Provinces]], conterminous with the ''pargana'' of the same name, lying between 28° 21′ and 28° 39′ N. and 79° 28′ and 79° 47′ E., with an area of 221 square miles. Population increased from 1,24,349 in 1891 to 1,27,160 in 1901. There are 308 villages and three towns, none of which has a population of 5000. The demand for land revenue in 1903-4 was Rs. 2,51,000 and for cesses Rs. 42,000. The density of population, 575 persons per square miles, is below the District average. The ''tahsil'' is a gently sloping plain, intersected by several small rivers from which canals are drawn. It is not so damp as the [[Baheri]] ''tahsil'' to the north, but the increase in population between 1891 and 1901 was less than in the south of District. [[Rice]] and [[Sugarcane|sugar-cane]] are largely grown. In 1903-4, 178 square miles were cultivated, of which 55 were irrigated. Canals supply half the irrigated area, and wells most of the remainder.<ref name="ImperialGazetteerVol18_1908_page427"/>
|}

[[The Imperial Gazetteer of India]] Vol 7 1908,<ref name="ImperialGazetteerVol7_1908"/> gives statistics of area and population of Nawabganj Tehsil as follows:

{| class="wikitable"
|+ Area and Population of Nawabganj Tehsil in year 1901<ref name="ImperialGazetteerVol7_1908"/>
|-
! Area in square miles !! Number of towns !! Number of Villages !! Population !! Population per square miles !! Percentage of variation in population between 1891 and 1901 !! Number of persons able to read and write
|-
| 221 || 3 || 308 || 1,27,160 || 575 || +2.2 || 1404
|}

{| class="wikitable"
|+ Agriculture statistics of Nawabganj Tehsil in year 1901 (in square miles)<ref name="ImperialGazetteerVol7_1908"/>
|-
! Total !! Cultivated !! Irrigated !! Cultivated waste
|-
| 221 || 178 || 55 || 12
|}

;Nawabganj Experimental Sugar Factory
The area was known for ingenious production of [[Jaggery|gur]] and [[sugar]]. Earliest known reference of this in [[British India]] is found in [[The Louisiana Planter and Sugar Manufacturers]] journal dated 18 January 1919.<ref name="Louisiana"/> The report titled "The Improvement of the Indigenous Methods of Gur and Sugar making in the United Provinces" was published in 1916 in [[Imperial Agricultural Research Institute]] Bulletin 82, 1916 <ref name="ArchiveOrg"/> by [[William Edward Hulme]], Sugar Engineer Expert to Government of India and [[R. P. Sanghi]], [[Sugar Chemist]], [[Nawabganj Experimental Factory]]. Reference to the paper (IOR/V/27/515/31 1916) can be found in [[British Library]].<ref name="BritishLib"/>

[[Nawabganj Experimental Factory]] was erected in 1914–15. The site chosen was a government farm.<ref name="Louisiana"/>

As a sugar engineer, William Hulme was assigned to study the indigenous methods of sugar manufacture with a view to determining the best methods of extracting and concentrating the juice for the manufacture of ''gur'' and white sugar respectively, both on the scale within the means of individuals or small groups of cultivators, and on a scale suited to the resources of capitalists now engaged in the industry in India.<ref name="WilliamHulme1912_1"/><ref name="WilliamHulme1912_2"/>

[[File:Nawabganj Experimental Sugar Factory (1914-15).jpg|thumb|alt=Nawabganj Experimental Sugar Factory (1914–15)|Nawabganj Experimental Sugar Factory (1914–15)]]

;Rivers
'''Pungheli'''
The Pungeilee rises in a jheel near Mouzah Bhugnera in Pergunnah Jehanabad, traverses Jehanabad and Nawabgunj, and joins the Apsurha at Moondeea. It is fed by springs in its bed which is of clay and sand. The stara pierced through in sinking wells of the bridge on the pillibheet road were alternately clay and sand down to 20 feet below the surface, when boulders were first met with.<ref name="BareillySettlementMoens_1874"/>

'''Kandu'''
The Kandoo is a small stream which rises near Aspore in Pergunnah Nawabgunj, and falls into the east Bygool and Bhursur in Crore. It is crossed by the Pillibheet road by an old masonry bridge near Sithra in Nawabgunj. The banks are steep, and there is very little irrigation from it.<ref name="BareillySettlementMoens_1874"/>

'''Begul River Canals'''
The Bygool Canals take their origin from the Roodpore and Bhanpore earthen dams, and the Chooreyli and Giram masonry dams. After leaving the [[Terai]], they run through Jehanabad, Ritcha, and Nawabgunj Pergunnahs. They consist of a group of small water-courses known as the Burha feeder, and the Sisona, Bhanpore, Nukutpore, Suseynia, Chooreylee, Girem, and Ougunpore Rujbuhas. None of them are more than about 10′ in width, and their velocity is 3′ per second. They can irrigate about 30,000 acres per year.<ref name="BareillySettlementMoens_1874"/>

==Politics==

* Present Member of Parliament (MP) in Lok sabha : Mr. [[Chhatrapal Gangwar]], Bhartiya Janta party, holding the charge of State Minister of Finance Ministry, in Government of India
* Present Member of Legislative Assembly (MLA) : [[Dr. Mukta Prasad Arya Gangwar]]
Mr. Kesar Singh Gangwar, who made fun of the masks belonging to Bhartiya Janta Party died of Corona virus. He was the MLA.

* Present Chairperson of Nagar Palika : Mrs. PremLata Rathore, Bhartiye Janta Party

==Education==
* University-
B.r. genius international school
* Mahatma Jyotiba Phule Rohilkhand University (Bareilly)
* Graduation College-
*Adarsh Mahavidyalaya Hardua Nawabganj
* Gangasheel Mahavidyalaya, Faijullapur, Nawanganj
* Lal Bahadur Shastri Group Of Education institutions Hardua Kifaytulla Nawabganj, Bareilly
* Inter College-
* Bhagwati inter college
* Spice Sr. Secondary School
*Jay Prakash Narayan (JPN) Inter College
* Shri Krishna Inter College
* Jesus and Mary Inter College
* Government Girls Inter College
* R P GANGWAR INTER COLLEGE
* Spice Children Academy<ref>{{Cite web|url=https://sites.google.com/site/spicenbj/|title=SPICE School, Nawabganj, Bareilly U.P. India 262406|website=sites.google.com|access-date=2016-04-22}}</ref>
* Standard Moral Junior High School
* Jesus and Mary Institute of Distance Learning
* Mission Public School
* St. Thomas
* St. Paul
* Lalta Prasad SVM Inter college Nawabganj Bareilly
* Khushi technical training centre Ghass Mandi Nawabganj
* Bala Ji Maths and Physics Classes

==Tourism==
Nearby points of interest include:
* Bijauria Railway Station (3.1 km)
* Kainchi pul (near Bijauria Railway Station)
* Laal pul (near Bijauria Railway Station)
* Kamani Bridge (Purana Pul)
* Jama Masjid (River bank of Panghaili)
* Bareilly (32 km)
* [[Nainital]] (142 km)
* Pilibhit (21 km)
* World-famous [[Jim Corbett National Park]] (178 km)
* [[Dudhwa National Park]] (120 km)
* Sitarganj (56 km)
* Haridwar (311 km)
* Nanakmatta, Nanaksagar (65 km)
* Mahendera Nagar (Nepal) (87 km)
* [[Pilibhit Tiger Reserve]] (55 km)
* Sethal (12 km)
* Hafiz Ganj (9.1 km)
* Barkhan (8.2 km)
* Oswal Sugar Mill Aurangabaad (5.1 km)
*purana pull
*Grem Dam (2 km)
*Shiv polyhouse grem (3 km)
*Ahemdabad (Village of Keshar Singh MLA)
*VIP college like Bhagwati inter college, Krishna instr college, Jpn college, Ggic, St. Thomas, mission public school...

==See also==
* [[Administrative divisions of India]]
* [[Divisions of Uttar Pradesh]]
* [[Bareilly division]]
* [[Bareilly (Lok Sabha constituency)]]
* [[Municipal governance in India]]
* [[District Councils of India|Zilla Panchayat (ZP)]]
* [[District Rural Development Agencies (India)|District Rural Development Agencies (DRDA)]]
* [[Uttar Pradesh Legislative Assembly]]

==References==
{{Reflist|refs=
<ref name="BareillySettlementMoens_1874">{{cite book|author=S. M. Moens|title=Report on the Settlement of the Bareilly District, North-Western Provinces|url=https://books.google.com/books?id=2XMIAAAAQAAJ&pg=PA3|access-date=2015-04-07|year=1874|publisher=North-Western Provinces' Government Press|page=3}}</ref>
<ref name="BareillyVillagePanchayatList">{{cite web |url=http://panchayatdirectory.gov.in/adminreps/viewpansumSQL.asp?selstate=130&pno=1&ptype=V&parenttype=D |title=Village Panchayat Names of BAREILLY, UTTAR PRADESH |publisher=Panchayatdirectory.gov.in |access-date=2015-04-07 |url-status=dead |archive-url=https://web.archive.org/web/20150413120658/http://panchayatdirectory.gov.in/adminreps/viewpansumSQL.asp?selstate=130&pno=1&ptype=V&parenttype=D |archive-date=2015-04-13 }}</ref>
<ref name="UP_Panchayat_raj">[http://panchayat.gov.in/panchayatup/index.do?siteid=34&sitename=UTTAR%20PRADESH%20State%20Panchayati%20Raj%20Portal&cToken=237995056 ]{{dead link|date=April 2015}}</ref>
<ref name="UP_Panchayat_raj_dept">{{cite web|url=http://panchayatiraj.up.nic.in |title=Panchayati Raj Department - Govt of Uttar Pradesh |publisher=Panchayatiraj.up.nic.in |date=2013-06-13 |access-date=2015-04-07}}</ref>
<ref name="UP_PanchayatAct1961">{{cite web|url=http://panchayatiraj.up.nic.in/Acts_n_Rules.aspx |title=Act and Rules - Panchayati Raj (UP)|access-date=2015-04-12}}</ref>
<ref name="UP_Panchayat_Overview">{{cite web |url=http://www.panchayat.gov.in/pris1 |title=Panchayati Raj Institutions |publisher=MINISTRY OF PANCHAYATI RAJ |access-date=2015-04-12 |url-status=dead |archive-url=https://archive.today/20150413020949/http://www.panchayat.gov.in/pris1 |archive-date=2015-04-13 }}</ref>
<ref name="ImperialGazetteerVol7_1908">{{cite web|url=https://archive.org/details/imperialgazettee07greauoft |title=The Imperial gazetteer of India : Great Britain. India Office |date= |access-date=2015-04-07}}</ref>
<ref name="ImperialGazetteerVol18_1908">{{cite web|url=https://archive.org/details/imperialgazettee18greauoft |title=The Imperial gazetteer of India : Great Britain. India Office |date= |access-date=2015-04-07}}</ref>
<ref name="ImperialGazetteerVol18_1908_page427">{{cite web|url=https://dsal.uchicago.edu/reference/gazetteer/pager.html?objectid=DS405.1.I34_V18_433.gif |title=Imperial Gazetteer2 of India, Volume 18, page 427 - Imperial Gazetteer of India - Digital South Asia Library |publisher=Dsal.uchicago.edu |date=2013-02-18 |access-date=2015-04-07}}</ref>
<ref name="ImperialGazetteerVol10_1886_2ndEdition_page246">{{cite book|author=Sir William Wilson Hunter|title=The Imperial Gazetteer of India|url=https://books.google.com/books?id=GrUBAAAAYAAJ&pg=PA246|access-date=2015-04-07|year=1886|publisher=Trübner & Company|page=246|isbn=978-81-7019-108-7 }}</ref>
<ref name="Drought1868_70">{{cite book|title=A Narrative of the Drought and Famine which Prevailed in the North-West Provinces During the Years 1868, 1869, and Beginning of 1870|url=https://books.google.com/books?id=xLkIAAAAQAAJ&pg=PA28|access-date=2015-04-07|year=1871|publisher=printed at the Government Press, North-Western Provinces|page=28}}</ref>
<ref name="Louisiana">{{cite book|title=Planter and Sugar Manufacturer|url=https://books.google.com/books?id=HcPmAAAAMAAJ&pg=PA42|access-date=2015-04-07|volume=62|year=1919|page=42}}</ref>
<ref name="ArchiveOrg">{{cite web|url=https://archive.org/stream/n01memoirsbotani11impeuoft/n01memoirsbotani11impeuoft_djvu.txt |title=Full text of "Memoirs ... Botanical series" |date= |publisher=Calcutta |access-date=2015-04-07}}</ref>
<ref name="BritishLib">{{cite web|url=https://discovery.nationalarchives.gov.uk/details/rd/ba515f00-b7b1-4582-8233-b1bf2350aee6 |title=Hulme, William and Singh, Ram Richi Pal, Note on the improvement of the indigenous methods of gur and sugar making in the United Provinces and a report on the Government Experimental Sugar Factory, Nawabganj, Bareilly District. Allahabad, 1916 |publisher=Discovery.nationalarchives.gov.uk |date= |access-date=2015-04-07}}</ref>

<ref name="RohillaRiyasat_Hafizganj">{{cite book|author=Jos J. L. Gommans|author-link=Jos Gommans|title=The Rise of the Indo-Afghan Empire: C. 1710-1780|url=https://books.google.com/books?id=-2TH8UYeAaoC&q=hafizganj&pg=PA156|access-date=2015-04-07|year=1995|publisher=BRILL|isbn=90-04-10109-8|page=156}}</ref>
<ref name="WilliamHulme1912_1">{{cite book|author=India. Dept. of Agriculture|title=Agriculture and Animal Husbandry in India|url=https://books.google.com/books?id=TcIxAQAAMAAJ&q=Hulme&pg=RA5-PA331|access-date=2015-04-07|year=1906|pages=5–}}</ref>>
<ref name="WilliamHulme1912_2">{{cite book|author=India. Dept. of Agriculture|title=Agriculture and Animal Husbandry in India|url=https://books.google.com/books?id=TcIxAQAAMAAJ&q=Hulme&pg=RA2-PA97|access-date=2015-04-07|year=1906|pages=2–}}</ref>
<ref name="LandSystem1892_OccupancyRight">{{cite book|author=Baden Henry Baden-Powell|title=The Land-systems of British India|chapter-url=https://books.google.com/books?id=b4RMAAAAMAAJ&q=Occupancy-Right&pg=PA252|access-date=2015-04-07|volume=2|year=1892|publisher=Clarendon Press|page=252|chapter=book 3. The system of village of Mahái}}</ref>

<ref name="census2011_800871">{{cite web |url=http://www.censusindia.gov.in/pca/SearchDetails.aspx?Id=143227 |title=Census of India: Search Details |publisher=Censusindia.gov.in |access-date=2015-04-07 |url-status=dead |archive-url=https://web.archive.org/web/20150924043038/http://www.censusindia.gov.in/pca/SearchDetails.aspx?Id=143227 |archive-date=2015-09-24 }}</ref>
}}

==External links==
* [https://web.archive.org/web/20120511221708/http://upgov.nic.in/ Government of Uttar Pradesh]
* [https://bareilly.nic.in Bareilly official website (NIC)]
{{Bareilly district}}
{{Historical regions of Rohilkhand}}

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

Nattar

2026-01-31T17:33:49Z

Surendra Sharma: creating!

{{context|date=March 2021}}
{{Use dmy dates|date=August 2020}}
{{Use Indian English|date=August 2020}}

The institution of the '''''nattar''''' was well-defined. It was in charge of all matters pertaining to a village, including water-management.<ref>{{Cite book|title=Contributions to Indian Sociology|author=Ecole pratique des hautes études}} {{fcn|date=August 2020}}</ref> It was noted that: "If ruling class is taken to mean those with the power and authority to manage community resources, then the ''nattar'' was this class in Tamil country".<ref>{{Cite book|title=The Cambridge Economic History of India|author1=Irfan Habib |author2=Tapan Raychaudhuri |author3=Dharma Kumar |author4=Meghnad Jagdishchandra Desai }} {{page?|date=August 2020}}</ref> [[Kallar (caste)|Kallar]] sub-division was accorded the title of nattar.<ref>{{Cite book|title=The Cambridge Economic History of India|url=https://archive.org/details/isbn_0195618300/page/110/mode/1up}}</ref>

==Description==

Ceremonial establishments of brahmin villages in the ''nadus'' to pursue dharmic ends were important in effecting links beyond the nadu. The ''brahmadeyas'' of different nadus created a network of ritual specialists and in doing so fortified the standing of the nattar upon whose patronage this depended.<ref>{{Cite book|title=Feudalism and Non-European Societies|first1=TJ|last1=Byres|first2=Harbans|last2=Mukhia |name-list-style=amp }} {{page?|date=August 2020}}</ref>

Nattar as a political body was recognized by the [[Pallava]]s and [[Pandya]]s. The [[Pallava]] and [[Pandya]] copper plates regarding grants of land had nattars mentioned in them.<ref>{{Cite book|first=Cadambi|last=Minakshi|authorlink=C. Minakshi|year=1938|title=Administration and social life under the Pallavas}} {{page?|date=August 2020}}</ref><ref>{{Cite book|first1=B. Sheikh|last1=Ali|first2=H. V. Sreenivasa|last2=Murthy |name-list-style=amp |year=1990|title=Essays on Indian History and Culture}} {{page?|date=August 2020}}</ref>

==See also==
*[[Ancient Tamil country]]
*[[Parvatha rajakulam]]
*[[Velirs]]
*[[Vellalar]]

==References==
{{reflist}}

[[Category:Tamil society]]

Manganiar

2026-01-30T06:57:26Z

Surendra Sharma: expand formatting based on references

{{Use dmy dates|date=April 2018}}
{{Use Indian English|date=April 2018}}
{{Infobox ethnic group
| group = Manghanhar
| native_name =
| native_name_lang =
| image = Manganiar performing at a festival.jpg
| image_caption = Manganiar children performing with their guru at [[Mehrangarh Fort]], [[Jodhpur]] at World Sufi Spirit Festival in 2016.
| total = Unknown
| total_year = 
| total_source = 
| total_ref = 
| genealogy =
| regions = [[Rajasthan]], [[India]]
| languages = [[Marwari language|Marwari]]{{·}}[[Sindhi language|Sindhi]]{{·}} [[Dhatki language|Dhatki]]
| religions = [[File:Allah-green.svg|15px]] [[Islam]]
| related_groups = [[Langha (tribe)]]
| footnotes =
}}
The '''Manganiar''' are a [[Muslims|Muslim]] community found in the [[Thar Desert]] region of [[Rajasthan]], India; mostly in the districts of [[Barmer district|Barmer]] and [[Jaisalmer district|Jaisalmer]], and in the districts of [[Tharparkar District|Tharparkar]] and [[Sanghar District|Sanghar]] in the bordering province of [[Sindh]] in [[Pakistan]]. They are known for various compositions describing stories focused on humans, nature, and salvation. They, along with the [[Langha (tribe)|Langha]] community, are known for their [[folk music]]. They are groups of hereditary professional musicians whose music has been supported by wealthy landlords and aristocrats, especially their traditional [[Jajmani system|Jajman]] (patrons) from the locally dominant [[Hindus|Hindu]] [[Rajput]] and [[Charan]] communities for generations.<ref name=":0" /> Some of their [[raga]]s have originated in the Thar and are not found in the [[Hindustani classical music|north Indian classical tradition]].<ref name="M1">{{cite book |last1=Abbas |first1=Shemeem Burney |title=The Female Voice in Sufi Ritual: Devotional Practices of Pakistan and India |date=4 June 2010 |publisher=University of Texas Press |isbn=978-0-292-78450-5 |pages=46–47 |url=https://books.google.com/books?id=m3IDRqlNxuMC&dq=manganhar&pg=PA46 |language=en}}</ref><ref name="k1">{{cite book |last1=Kothiyal |first1=Tanuja |title=Nomadic narratives: a history of mobility and identity in the Great Indian Desert |date=2016 |publisher=Cambridge University press |isbn=9781107080317 |page=261 |quote=The Manganiyars and Langhas are Muslim musicians and are quite different from the [[Bhopa]]s of [[Pabuji]], as they do not claim to be bards but musicians in a real sense. Using instruments like [[rubab (instrument)|rabab]], kamayacha, pyaledar [[sarangi]], chautaro, sirimandal etc., they not only sing songs of birth, marriages and death, but are also entitled to sing in the kacheris of the patrons. It is in these assemblies that they sing ballads like [[Dhola Maru|Dhola-Maru]], [[Umar Marvi|Umar-Marvi]], [[Momal Rano|Moomal-Rano]] and [[Sassui Punnhun|Sassi-Punnu]]. Manganiyars sing classical compositions like mota [[geet (song)|git]] (bada [[khayal]]) and chota git (chota khayal). Some of their ragas have originated in the Thar and are not found in north Indian classical tradition.}}</ref>

==Etymology==
Manganhar originated from the words ''mangan'', which means "to beg", and ''hār'' which means "a garland of flowers.".<ref name="M1" />

A legend is also among the people :-

In the [[Muhammad|prophet]]'s house, [[Fatima|Bibi Fatema]] offered a necklace (haar) to a Mirasi named Mangan. From this time onwards they were called the 'Manganhar' and the community is now known as Manganiyar.<ref>{{Cite web |title=Desert Music: Soul of Western Rajasthan |url=https://artsandculture.google.com/story/desert-music-soul-of-western-rajasthan/twUBeELO1jFemw |access-date=2024-12-31 |website=Google Arts & Culture |language=en}}</ref>

==History==
The Manganhars are renowned as [[folk musicians]] of the [[Thar desert]]. Their songs are passed on from generation to generation as a form of oral history of the desert. The traditional [[Jajmani system|Jajman]] (patrons) of the Manganhar are the locally dominant [[Rajput]] and [[Charan]] communities.<ref name=":0">{{Cite web |title=Musafir |url=https://www.laphil.com/musicdb/artists/3793/musafir |access-date=2022-05-30 |website=LA Phil |language=en |quote="Manghaniyars, like Langas, are sedentary Muslims whose home extends over the border into Pakistan, but their patrons are mostly Hindu Rajputs (a high caste) and Hindu Charans (a caste of poets, bards, and historians)."}}</ref><ref name="k1" />

==Instruments==
'''[[Kamancheh|Kamaicha]]''' 
The 17-string khamaycha is a bowed instrument. Made of mango wood, its rounded resonator is covered with goat skin. Three of its strings are goat intestine while the other 14 strings are steel.<ref name="k1" />

'''[[Kartal|Kartaal]]''' 
The [[Kartal|kartaal]] is a kind of castanet made of teak. Its name is derived from "Kar", meaning hand, and "Taal", meaning rhythm.{{citation needed|date=October 2023}}

'''[[Dholak]]''' 
The dholak is a hand drum similar in timbre to a bongo. A dholak may have traditional lacing or turnbuckle tuning. The dholak has a simple membrane and a handle on the right hand side. The left hand membrane has a special coating on the inner surface. This coating is a mixture of tar, clay and sand (dholak masala) which lowers the pitch.{{citation needed|date=October 2023}}

==Notable people==
* [[KANCHRA Khan]], a singer
* [[Lakha Khan]], folk musician, sarangi player and vocalist<ref>{{Cite news |last=Rahman |first=Azera Parveen |date=2021-12-09 |title=Lakha Khan: 'Music is the reason I am here today' |url=https://www.thehindu.com/entertainment/music/desert-notes/article37912057.ece |access-date=2025-04-09 |work=The Hindu |language=en-IN |issn=0971-751X}} “''The MANGANIYARR community, to which Khan belongs to, are the oral historians of the desert.''”</ref>
* [[Mai Bhagi]], Sindhi folk singer
* [[Mai Dhai]], Pakistani MANGANIYARR folk singer
* [[Mame Khan]], a folk singer
* [[Sakar Khan]], Kamaicha player, PADMASRI award winner
* [[Swaroop Khan]], playback singer

==References==
{{Reflist}}

==External links==
{{Commons}}
* [http://manganiar.com/music.html manganhar.com] {{Webarchive|url=https://web.archive.org/web/20190916124426/http://manganiar.com/music.html |date=16 September 2019 }}
* [https://web.archive.org/web/20110831211734/http://unboxedwriters.com/2011/04/manganiar-magic/ "manganhar Magic" article by Poonam Goel]
* [http://www.rajfolkseries.com/music.html "Rhythms of Rajasthan" Preservation Project]
* [https://web.archive.org/web/20110715205207/http://www.roystenabel.com/manganiyar.html "The manganhar Seduction" live show]
* [http://www.folkways.si.edu/albumdetails.aspx?itemid=3089 Smithsonian Folkways]
* {{Cite web |title=Manganiyar Musicians |url=https://www.mamekhan.com/manganiyar-musicians.html |access-date=2025-07-24 |website=www.mamekhan.com |language=en}}
{{Social groups of Rajasthan}}{{Indian Muslim}}

[[Category:Social groups of Rajasthan]]
[[Category:Muslim communities of Rajasthan]]
[[Category:Social groups of Sindh]]

Kalyan Lok Sabha constituency

2026-01-29T05:23:43Z

Surendra Sharma: Stub

{{short description|Lok Sabha constituency in Maharashtra}}
{{Use dmy dates|date=May 2015}}
{{Use Indian English|date=May 2015}}
{{Infobox Indian constituency
| name = Kalyan Lok Sabha
| type = LS
| map_image = {{Maplink|frame=yes|plain=y|frame-width=300|frame-height=300|frame-align=center|type=shape|from=Lok Sabha constituencies/2019/Maharashtra/Kalyan.map}}
| map_caption = Kalyan Lok Sabha Constituency map
| map_alt =
| state = [[Maharashtra]]
| established = {{Start date and age|df=yes|paren=yes|br=yes|2008}}<ref name=delimit>{{cite web|url=https://ceo.maharashtra.gov.in/Downloads/Notification%20_English.pdf|format=PDF|page=24|title=Delimitation Commission of India Notification|publisher=Chief Electoral Officer, Maharashtra|access-date=8 November 2014}}</ref>
| assembly_cons = [[Ambernath Assembly constituency|Ambernath]] [[Ulhasnagar Assembly constituency|Ulhasnagar]] [[Kalyan East Assembly constituency|Kalyan East]] [[Dombivali Assembly constituency|Dombivali]] [[Kalyan Rural Assembly constituency|Kalyan Rural]] [[Mumbra-Kalwa Assembly constituency|Mumbra-Kalwa]]
| latest_election_year = [[2024 Indian general election|2024]]
| reservation = None
| incumbent_image = 
| mp = [[Shrikant Shinde]]
| party = {{Party index link|Shiv Sena (2022–present)}}
|alliance = {{Party index link|National Democratic Alliance}}
| electors = 20,82,221
| preceded_by = [[Anand Paranjape]]
}}
'''Kalyan Lok Sabha constituency''' is one of the 48 [[Lok Sabha]] (lower house of the Indian Parliament) constituencies in [[Maharashtra]] state in western [[India]]. This constituency was created on 19 February 2008 as a part of the implementation of the Presidential notification based on the recommendations of the [[Delimitation Commission of India#Delimitation Commission of 2002|Delimitation Commission of India]] constituted on 12 July 2002.<ref>{{cite news|url=http://www.hindu.com/2008/02/20/stories/2008022058631200.htm|archive-url=https://web.archive.org/web/20080228022947/http://www.hindu.com/2008/02/20/stories/2008022058631200.htm|url-status=dead|archive-date=28 February 2008|work=[[The Hindu]]|title=Delimitation notification comes into effect|date=20 February 2008}}</ref> It first held elections in 2009 and its first member of parliament (MP) was [[Anand Paranjpe]] of [[Shiv Sena (1966–2022)|Shiv Sena]]. As of the 2014 elections, this constituency is represented by [[Shrikant Shinde]] also of Shiv Sena.

==Assembly segments==
At present, after the implementation of the [[President of India|Presidential]] notification on [[Electoral boundary delimitation|delimitation]] on 19 February 2008, kalyan Lok Sabha constituency comprises six Vidhan Sabha (legislative assembly) segments. These segments are:
{|class="wikitable"
! #
! Name
! District
! Member
! colspan="2" |Party
! colspan=2 |Leading {{small|(in 2024)}}
|-
|140
|[[Ambernath Assembly constituency|Ambernath]] (SC)
| rowspan="6" |[[Thane district|Thane]]
|[[Balaji Kinikar]]
|{{party name with color|Shiv Sena (2022–present)}}
|{{party name with color|Shiv Sena (2022–present)|rowspan=5}}
|-
|141
|[[Ulhasnagar Assembly constituency|Ulhasnagar]]
|[[Kumar Ailani]]
|{{party name with color|Bharatiya Janata Party|rowspan=3}}
|-
|142
|[[Kalyan East Assembly constituency|Kalyan East]]
|Sulabha Gaikwad
|-
|143
|[[Dombivali Assembly constituency|Dombivli]]
|[[Ravindra Chavan]]
|-
|144
|[[Kalyan Rural Assembly constituency|Kalyan Rural]]
|Rajesh More
|{{party name with color|Shiv Sena (2022–present)}}
|-
|149
|[[Mumbra-Kalwa Assembly constituency|Mumbra Kalwa]]
|[[Jitendra Awhad]]
|{{party name with color|Nationalist Congress Party (Sharadchandra Pawar)}}
|{{party name with color|Shiv Sena (Uddhav Balasaheb Thackeray)}}
|}

==Members of Parliament==
{| class="wikitable"
|-
!Year
!Name
!colspan="2"|Party
|-
|colspan="4" |{{Center|''Till 2008 : Constituency did not exist''}}
|-
| [[2009 Indian general election|2009]]
| [[Anand Paranjape]]
| {{Full party name with color|Shiv Sena|rowspan=3}}
|-
| [[2014 Indian general election|2014]]
| rowspan="3" | [[Shrikant Shinde]]
|-
| [[2019 Indian general election|2019]]
|-
| [[2024 Indian general election|2024]]
|{{Full party name with color|Shiv Sena (2022–present)}}
|-
|}

==Election results==
===General election 2024===
{{Election box begin | title=[[2024 Indian general election]]: [[Kalyan]]}}
{{Election box winning candidate with party link
|party=Shiv Sena (2022–present)
|candidate=[[Shrikant Shinde]]
|votes=5,89,636
|percentage=56.38
|change={{down}}6.49
}}
{{Election box candidate with party link
|party=Shiv Sena (Uddhav Balasaheb Thackeray)
|candidate=Vaishali Darekar-Rane
|votes=3,80,492
|percentage=36.39
|change=''New''
}}
{{Election box candidate with party link|
|party = Vanchit Bahujan Aaghadi
|candidate = Mo. Sahabuddin Shaikh Sulemani
|votes =18,741
|percentage = 1.79
|change ={{down}}5.58
}}
{{Election box candidate with party link|
|party = None of the above (India)
|candidate = [[None of the Above]]
|votes =11,686
|percentage = 1.12
|change ={{down}}0.34
}}
{{Election box majority
|votes=2,09,144
|percentage=19.99
|change={{down}}18.69
}}
{{Election box turnout
|votes=10,47,247
|percentage= 50.28
|change={{up}}4.97
}}
{{Election box hold with party link
| winner = Shiv Sena
| swing =
}}
{{Election box end}}

===General election 2019===
{{Election box begin | title=[[2019 Indian general elections]]: [[Kalyan]]}}
{{Election box winning candidate with party link|
|party = Shiv Sena
|candidate = [[Shrikant Shinde]]
|votes = 5,59,723
|percentage = 62.87
|change =
}}
{{Election box candidate with party link|
|party = Nationalist Congress Party
|candidate = Babaji Balaram Patil
|votes = 2,15,380
|percentage = 24.19
|change =
}}
{{Election box candidate with party link|
| party = Vanchit Bahujan Aghadi
| candidate = Sanjay Hedaoo
| votes = 65,572
| percentage = 7.37
| change =
}}

{{Election box candidate with party link|
| party = None of the above
| candidate = [[None of the above]]
| votes = 13,012
| percentage = 1.46
| change = +0.35
}}
{{Election box candidate with party link|
| party = Bahujan Samaj Party
| candidate = Ravindra (Pintu) Kene
| votes = 9,627
| percentage = 1.08
| change =
}}

{{Election box majority|
| votes = 3,44,343
| percentage = 38.68
| change =
}}
{{Election box turnout|
| votes = 8,90,692
| percentage = 45.31
| change =
}}
{{Election box hold with party link|
|winner = Shiv Sena
|swing =
}}
{{Election box end}}

===General election 2014===
{{Election box begin | title=[[2014 Indian general elections]]: [[Kalyan]]<ref name=turnout>{{cite web|archive-url=https://web.archive.org/web/20140702210941/http://eci.nic.in/eci_main1/GE2014/PC_WISE_TURNOUT.htm|archive-date=2 July 2014|title=Parliamentary Constituency wise Turnout for General Election - 2014|publisher=[[Election Commission of India]]|url=http://eci.nic.in/eci_main1/GE2014/PC_WISE_TURNOUT.htm|access-date=2 June 2014}}</ref><ref>{{cite web|archive-url=https://web.archive.org/web/20140519222818/http://eciresults.nic.in/ConstituencywiseS1324.htm?ac=24|archive-date=19 May 2014|title=Maharashtra - Kalyan|publisher=Election Commission of India|url=http://eciresults.nic.in/ConstituencywiseS1324.htm?ac=24|access-date=19 May 2014}}</ref>}}
{{Election box winning candidate with party link|
|party = Shiv Sena
|candidate = [[Shrikant Shinde]]
|votes = 4,40,892
|percentage = 53.49
|change = +14.49
}}
{{Election box candidate with party link|
|party = Nationalist Congress Party
|candidate = [[Anand Paranjape]]
|votes = 1,90,143
|percentage = 23.07
|change = -11.49
}}
{{Election box candidate with party link|
|party = Maharashtra Navnirman Sena
|candidate = [[Pramod Ratan Patil]]
|votes = 1,22,349
|percentage = 14.84
|change = -3.89
}}
{{Election box candidate with party link|
|party = Aam Aadmi Party
|candidate = Naresh Thakur
|votes = 20,347
|percentage = 2.47
|change = N/A
}}
{{Election box candidate with party link|
|party = Bahujan Samaj Party
|candidate = Dayanand Kiratkar
|votes = 19,643
|percentage = 2.38
|change = -0.50
}}
{{Election box candidate with party link|
|party = None of the above
|candidate = None of the above
|votes = 9,185
|percentage = 1.11
|change = N/A
}}
{{Election box margin of victory|
|votes = 2,50,749
|percentage = 30.42
|change = +25.98
}}
{{Election box turnout|
|votes = 8,25,414
|percentage = 42.94
|change = +8.64
}}
{{Election box hold with party link|
|winner = Shiv Sena
|swing = +12.99
}}
{{Election box end}}

===General election 2009===
{{Election box begin | title=[[2009 Indian general elections]]: [[Kalyan]]<ref>{{cite web|url=http://eci.nic.in/eci_main/archiveofge2009/Stats/VOLI/25_ConstituencyWiseDetailedResult.pdf|title=Constituency Wise Detailed Results |page=91|publisher=Election Commission of India|format=PDF|access-date=30 April 2014|archive-url=https://web.archive.org/web/20140811090059/http://eci.nic.in/eci_main/archiveofge2009/Stats/VOLI/25_ConstituencyWiseDetailedResult.pdf|archive-date=11 August 2014}}</ref>}}
{{Election box candidate with party link|
|party = Shiv Sena
|candidate = [[Anand Paranjape]]
|votes = 212,476
|percentage = 39.00
|change = N/A
}}
{{Election box candidate with party link|
|party = Nationalist Congress Party
|candidate = [[Vasant Davkhare]]
|votes = 188,267
|percentage = 34.56
|change = N/A
}}
{{Election box candidate with party link|
|party = Maharashtra Navnirman Sena
|candidate = Vaishali Darekar-Rane
|votes = 102,063
|percentage = 18.73
|change = N/A
}}
{{Election box candidate with party link|
|party = Bahujan Samaj Party
|candidate = Khan Kamruddin A. Gani
|votes = 15,709
|percentage = 2.88
|change = N/A
}}
{{Election box candidate with party link|
|party = Bharipa Bahujan Mahasangha
|candidate = S. S. Salve
|votes = 3,242
|percentage = 0.60
|change = N/A
}}
{{Election box candidate with party link|
|party = Independent (politician)
|candidate = Mohhamad Yusuf Farookh Khan
|votes = 3,103
|percentage = 0.57
|change = N/A
}}
{{Election box candidate with party link|
|party = Independent (politician)
|candidate = Siddique Asfaque Ali
|votes = 2,846
|percentage = 0.52
|change = N/A
}}
{{Election box candidate with party link|
|party = Independent (politician)
|candidate = Baban Kamble
|votes = 2,803
|percentage = 0.51
|change = N/A
}}
{{Election box candidate with party link|
|party = Independent (politician)
|candidate = Vadhvinde Mahendra Keru
|votes = 2,474
|percentage = 0.45
|change = N/A
}}
{{Election box candidate with party link|
|party = Rashtriya Samaj Paksha
|candidate = Azami Muhammad Maroof Nasim
|votes = 1,777
|percentage = 0.33
|change = N/A
}}
{{Election box candidate|
|party = NBNP
|candidate = Sayyad Hasina Mohammed Naseem
|votes = 1,416
|percentage = 0.26
|change = N/A
}}
{{Election box candidate|
|party = Prabuddha Republican Party
|candidate = Narendra Waman More
|votes = 1,269
|percentage = 0.23
|change = N/A
}}
{{Election box candidate with party link|
|party = Independent (politician)
|candidate = Suresh Ram Pandagale
|votes = 1,245
|percentage = 0.23
|change = N/A
}}
{{Election box candidate with party link|
|party = Independent (politician)
|candidate = Alok Chotelal Singh
|votes = 1,194
|percentage = 0.21
|change = N/A
}}
{{Election box candidate with party link|
|party = Independent (politician)
|candidate = Govardhan Chango Bhagat
|votes = 1,154
|percentage = 0.21
|change = N/A
}}
{{Election box candidate with party link|
|party = Independent (politician)
|candidate = Bhanushali Laxmidas Velji
|votes = 918
|percentage = 0.17
|change = N/A
}}
{{Election box candidate with party link|
|party = Indian Union Muslim League
|candidate = Khan Ayad Mohammad Nebas Ali
|votes = 859
|percentage = 0.16
|change = N/A
}}
{{Election box candidate with party link|
|party = Independent (politician)
|candidate = Dhananjay Bappasaheb Jogdand
|votes = 754
|percentage = 0.14
|change = N/A
}}
{{Election box candidate|
|party = KM
|candidate = Hrudhaynath Bapu Waghode Alias Balubhau
|votes = 733
|percentage = 0.13
|change = N/A
}}
{{Election box candidate with party link|
|party = Independent (politician)
|candidate = Shirse Ramsingh Ukhaji
|votes = 619
|percentage = 0.11
|change = N/A
}}
{{Election box margin of victory|
|votes = 24,209
|percentage = 4.44
|change = N/A
}}
{{Election box turnout|
|votes = 544,828
|percentage = 34.30
|change = N/A
}}
{{Election box new seat win |
|winner = Shiv Sena
|swing =
}}
{{Election box end}}

==See also==
* [[Kalyan, India|Kalyan]]
* [[Thane district]]
* [[Thane Lok Sabha constituency]]
* [[List of constituencies of the Lok Sabha]]

==References==
{{Reflist}}

==External links==
*[https://indiaelection.github.io/indiaelections2014info/parliament/2019/states/maharashtra/kalyan/lok_sabha_parliamentary_election_2019_results.html Kalyan lok sabha constituency election 2019 results details]

{{Lok Sabha constituencies of Maharashtra}}
{{coord|19.2|73.1|display=title}}

{{DEFAULTSORT:Kalyan Lok Sabha constituency}}
[[Category:Lok Sabha constituencies in Maharashtra]]
[[Category:Lok Sabha constituencies in Maharashtra created in 2008]]
[[Category:Kalyan-Dombivli]]
[[Category:Politics of Thane district]]

Lachhman Garhi

2026-01-26T18:42:42Z

Surendra Sharma: Redirect page

#REDIRECT [[Dehradun]]
{{R from merge}}{{R from alternative transliteration}}

Wangath temple complex

2026-01-20T10:44:08Z

Surendra Sharma: put up basic place first draft

{{Use dmy dates|date=March 2018}}
{{Use Indian English|date=September 2014}}
{{Infobox Hindu temple
| name = Wangath Temple complex
| image = Ancient Temple, Naranag, Jammu and Kashmir, India.jpg
| alt =
| caption = Main Shiva Temple, Western Complex, Naranag
| map_type = India Jammu and Kashmir#India
| map_caption = Location in Jammu and Kashmir, India
| coordinates = {{Coord|type:landmark_region:IN|format=dms|display=inline,title}}
| country = {{flag|India}}
| state = {{flagicon image|Government of Jammu and Kashmir.svg}} [[Jammu and Kashmir (union territory)|Jammu & Kashmir]]
| district = [[Ganderbal district|Ganderbal]]
| locale = [[Naranag]]
| elevation_m = 2,248
| deity = [[Shiva]]
| festivals=
| architecture =
| temple_quantity = 17 (seventeen)
| monument_quantity =
| inscriptions =
| year_completed = 8th century CE
| creator = Jaluka Maurya, Son of [[Ashoka]]{{fact|date=September 2020}} and later [[Lalitaditya Muktapida]]
| website =
}}

'''Wangath Temple complex''' is a group of [[Hindu temple]] monuments in Wangath, near [[Naranag]], in the [[Ganderbal district]] of Jammu and Kashmir, India. Wangath is a village around {{convert|48|mi}} northeast of [[Srinagar]], in the [[Himalayas]] to the northeast of the [[Kashmir Valley]].<ref>{{cite book |author=Parmanand Parashar |title=Kashmir: The Paradise of Asia |url=https://books.google.com/books?id=gylNFls7xxoC&pg=PA249 |publisher=Sarup & Sons, Darya Ganj, Delhi |isbn=81-7625-518-1 |year=2004 |page=249 }}</ref> It was built by [[Lalitaditya Muktapida]] of the Karkota dynasty in the 8th century CE, and is now in ruins.<ref>{{cite book |author=Bansi Lal Malla |title=Sculptures of Kashmir, 600 - 1200 A.D. |url=https://books.google.com/books?id=d-fVAAAAMAAJ&q=lalitaditya |publisher=Agam Kala Prakashan |year=2009 |page=41 |isbn=9780836425215 }}</ref><ref>{{cite book |author=Hermann Goetz |title=The Early Wooden Temples of Chamba |url=https://books.google.com/books?id=kMwUAAAAIAAJ&pg=PA66 |publisher=Copyright, 1955, by E.J. Brill, Leiden, Netherlands |year=1955 |pages=66, 114 }}</ref>

==History==
[[File:First group of temples near the village of Wangut in the Scind Valley.jpg|thumb|left|First group of temples near the village of Wangut in the Scind Valley]]
[[Kalhana]] notes in ''[[Rajatarangini]]'' that [[Ashoka]] built the city of Srinagar in the 3rd century BCE. His son Jaluka, 220 BCE, built the Shaivite temples Bhuteshvara, Jyestarudra, and ''[[Matha|Muthas]]'' in the Wangath valley around the holy spring of [[Naranag]]. The Wangath temples were built in three groups, around the same time as the [[Shankaracharya Temple]] in Srinagari and the Bumazuv temple near Mattan.<ref name="CL Gadoo">{{cite book |author=Chaman Lal Gadoo |title=KASHMIR: Hindu Shrines |publisher=Vidya Gauri Gadoo Research Center, Shakarpur, Delhi |isbn=978-81-910057-0-7 |year=2009 |page=67 }}</ref> King Jaluka built a stone temple at the site of the spring ''Naranag'' around 137 BCE. King Jayendra (61 BCE) used to worship Shiva Bhutesha at the shrine. [[Lalitaditya Muktapida]] (713–735 CE) donated a large sum of money to the shrine after his victorious expedition. King [[Avantivarman of Kashmir|Avantivarman]] (855–883 CE) built a stone pedestal with a silver conduit at this shrine for the bathing of sacred images. Kalhana's father Canpaka and uncle Kanka also frequented the site.

As per Kalhana, the treasury of this shrine was plundered by King [[Sangramaraja|Sangramraja]] of Kashmir (1003–28 CE), during King Uccala's time (1101–1111 CE) and later by the rebel baron Hayavadana.<ref>{{cite book |author=Bansi Lal Malla |title=Sculptures of Kashmir, 600 - 1200 A.D. |url=https://books.google.com/books?id=d-fVAAAAMAAJ&q=wangath |publisher=Agam Kala Prakashan |year=2009 |page=16 |isbn=9780836425215 }}</ref>

== Architecture and style ==
[[File:Temple Naranag.jpg|thumb|left|View of the western complex and central pavilion from the eastern complex]]
Bishop Crowie and Major Cole have identified the ruins of seventeen temple structures of various ages and dimensions in Buthser, near Wangath, in two distinct groups: the first on the western side and the second on the eastern side. Each group is enclosed by a separate stone wall, and lie a short distance from one another.<ref name="CL Gadoo"/> The temple complex is located along the ''Kanka nadi'' or the ''Kanaknai'' and is constructed of local grey granite.<ref name="Krishna Deva">{{cite book |author=Krishna Deva |title=Temples of India: Text [Vol 1] |url=https://books.google.com/books?id=StnVAAAAMAAJ&q=wangath+temple |publisher=Aryan Books International (Original from University of Michigan) |isbn=9788173050541 |year=1995 |page=230 }}</ref> Between the two groups of temples stand a number of structures of a third group, the ''Mathas''.

=== Western complex ===
The first group of six temples, also identified by [[Aurel Stein]] as ''Shiva-Jyestharudra'' or ''Shiva-Jyeshthesa'', is situated within an enclosure wall.<ref name="CL Gadoo"/> The Jyestharudra group is placed on high grounds and consists of a main temple of ''Jyeshthesa'' (Shiva) surrounded by subsidiary shrines.<ref name="Krishna Deva"/> The principal structure is a square of {{convert|25|ft}} externally and {{convert|17|ft}} internally, and has two entrances opposite each other, facing the northeast and southwest. In the center of the floor is a square space which is unpaved. It marks the site of the pedestal of the image. Internally, it has a domed ceiling. Externally, the roof is pyramidal.<ref name="CL Gadoo"/>

=== Eastern complex ===
{{multiple images |perrow=2 |total_width=380 |image1=Ancient Temple 2, Naranag.jpg|caption1=Structures of the eastern complex |image2=Shivling at Naranag Temple.jpg |caption2=Shivling at a temple in the eastern complex }}
The second group of temples is enclosed in a massive rectangular stone wall, pierced by a two-chambered gateway. The six temples inside the wall are in ruins and are partly buried in the ground. The largest temple has a {{convert|17|ft}} square base internally, similar to the largest temple in the western complex. This temple has been identified by Stein as ''Shiva-Bhuteshwara''.<ref name="CL Gadoo"/>

=== Central pavilion ===
Between the western and eastern complexes lie a number of structures of a third group. This consists of the remains of a building measuring {{convert|120|ft}} by {{convert|70|ft}}, with a height of {{convert|10|ft}}. Along the side of this structure are 30 monolithic bases or piers at intervals of {{convert|12|ft}}. This was a pillared pavilion or ''matha''. An impressive {{convert|18|ft}} rectangular cistern, hammered out of a boulder, is nearby.<ref name="CL Gadoo"/>

==Status==
[[File:Shiva shrine, Gangabal Lake.jpg|thumb|[[Shiva]] shrine at the [[Gangabal Lake]] in the mountains above the temple complex]]
===Worship===
The Temple complex is the starting point of an annual Hindu pilgrimage or ''[[yatra]]'', and is used for worship and rituals.<ref>{{cite web |last=Raina |first=Irfan |url=https://m.greaterkashmir.com/article/gangbal-yatra-commences-in-ganderbal-2/329637/amp |title=Gangbal yatra commences in Ganderbal |date=11 September 2024 |work=Greater Kashmir }}</ref><ref name=news18>{{Cite news |date=12 September 2016 |title=Braving Unrest, Pandits Perform Gangbal Yatra in Kashmir |url=https://www.news18.com/news/india/braving-unrest-pandits-perform-gangbal-yatra-in-kashmir-2-1291746.html |work=News 18 |archive-date=9 December 2024 |access-date=26 February 2025 |archive-url=https://web.archive.org/web/20241209025645/https://www.news18.com/news/india/braving-unrest-pandits-perform-gangbal-yatra-in-kashmir-2-1291746.html |url-status=live }}</ref> The pilgrimage culminates at the [[Gangabal Lake]] which is considered by Hindus to be an abode of Shiva and where [[Kashmiri Hindus]] immerse the ashes of their dead after cremation.<ref>{{cite web |url=https://www.deccanherald.com/india/harmukh-gangabal-lake-pilgrimage-performed-in-kashmir-due-to-covid-19-879203.html |title=Harmukh Gangabal lake pilgrimage performed in Kashmir due to Covid-19 |work=[[Deccan Herald]] |date=28 August 2020 }}</ref><ref name=news18/>

===Site of national importance===
The [[Archaeological Survey of India]] has declared the Wangath Temple complex at Naranag as centrally protected monuments of India.<ref>{{cite web |title=Archaeological Survey of India protected monuments |url=http://www.teindia.nic.in/mhrd/50yrsedu/12/8i/AW/8IAW0E01.htm |access-date=7 September 2014 |archive-date=4 March 2016 |archive-url=https://web.archive.org/web/20160304061303/http://www.teindia.nic.in/mhrd/50yrsedu/12/8i/AW/8IAW0E01.htm |url-status=dead }}</ref><ref>{{cite web |title=Archaeological Survey of India protected monuments |url=http://www.heritageofkashmir.org/heritage-tourism/asi-protected-monuments.html |publisher=heritageofkashmir.org |access-date=11 August 2012 |archive-date=19 September 2012 |archive-url=https://web.archive.org/web/20120919014531/http://www.heritageofkashmir.org/heritage-tourism/asi-protected-monuments.html |url-status=live }}</ref> The temple appears in the list of "centrally protected monuments" as "Group of Ancient Temples" at Naranag, Kangan.<ref>{{cite web |title=Protected monuments in Jammu & Kashmir |url=http://asi.nic.in/asi_monu_alphalist_jk.asp |publisher=asi.nic.in, Archeological Survey of India |access-date=29 October 2012 |archive-date=7 May 2012 |archive-url=https://web.archive.org/web/20120507130954/http://asi.nic.in/asi_monu_alphalist_jk.asp |url-status=live }}</ref>

==References==
{{Reflist}}

{{Jammu and Kashmir topics|state=collapsed}}

[[Category:Hindu temples in Jammu and Kashmir]]
[[Category:Destroyed temples]]
[[Category:Archaeological sites in Jammu and Kashmir]]
[[Category:Tourist attractions in Ganderbal district]]
[[Category:Shiva temples in Jammu and Kashmir]]
[[Category:2nd-century BC Hindu temples]]
[[Category:7th-century Hindu temples]]
[[Category:Ganderbal district]]

Bina Mondal

2026-01-02T20:07:19Z

Surendra Sharma: quick expanded layout per standard format and corrected details for clarity

{{Short description|Indian politician}}
{{Use dmy dates|date=July 2022}}
{{Infobox officeholder
| name = Bina Mondal
| image =
| imagesize =
| alt =
| caption =
| nationality = [[India]]n
| office = Member of the [[West Bengal Legislative Assembly]]
| term_start = May 2011
| constituency = [[Swarupnagar (Vidhan Sabha constituency)|Swarupnagar]]
| predecessor = Mustafa Bin Quassem
| office1 =
| term_start1 =
| term_end1 =
| predecessor1 =
| successor1 =
| birth_name =
| birth_date =
| birth_place =
| residence =
| website =
| spouse =
| children =
| party = [[All India Trinamool Congress|Trinamool Congress]]
| profession =
| alma_mater =
| date =
| year =
| signature =
| bodyclass =
}}
'''Bina Mondal''' is an Indian politician. She was elected to the [[West Bengal Legislative Assembly]] from [[Swarupnagar (Vidhan Sabha constituency)|Swarupnagar]] as a member of the [[All India Trinamool Congress|Trinamool Congress]].<ref>{{cite web | url=https://www.financialexpress.com/india-news/west-bengal-assembly-election-2021-full-list-of-winners/2243718/ | title=West Bengal assembly election 2021: Full list of winners | publisher=Financial Express | date=3 May 2021 | accessdate=8 May 2021}}</ref><ref>{{cite web | url=https://www.news18.com/news/politics/swarupnagar-election-result-2021-live-updates-swarupnagar-winner-loser-leading-trailing-mla-margin-3695198.html | title=Swarupnagar Election Result 2021 Live Updates: Bina Mondal of TMC wins | publisher=News18 | accessdate=8 May 2021}}</ref><ref>{{cite web | url=https://www.timesnownews.com/elections/swarupnagar-west-bengal-election-result-2021 | title=Swarupnagar Election Result 2021 | publisher=Times Now | accessdate=8 May 2021}}</ref>

==References==
{{Reflist}}

{{DEFAULTSORT:Mondal, Bina}}
[[Category:Living people]]
[[Category:Trinamool Congress politicians from West Bengal]]
[[Category:Year of birth missing (living people)]]
[[Category:West Bengal MLAs 2021–2026]]
[[Category:21st-century Indian women politicians]]
[[Category:West Bengal MLAs 2011–2016]]
[[Category:West Bengal MLAs 2016–2021]]
[[Category:Women members of the West Bengal Legislative Assembly]]
[[Category:Politicians from North 24 Parganas district]]
[[Category:People from Basirhat subdivision]]

{{WestBengal-AITC-politician-stub}}

Ahaetulla laudankia

2025-12-16T04:00:02Z

Surendra Sharma: Started a details...

{{Short description|Species of snake}}
{{Speciesbox
| image = Laudankia vine snake Ahaetulla laudankia1.jpg
| status = LC
| status_system = IUCN3.1
| status_ref = <ref name="iucn status">{{cite iucn |author=Mohapatra, P. |author2=Vyas, R. |year=2021 |title=''Ahaetulla laudankia'' |volume=2021 |article-number=e.T157579609A157579650 |doi=10.2305/IUCN.UK.2021-3.RLTS.T157579609A157579650.en |access-date=23 April 2023}}</ref>
| taxon = Ahaetulla laudankia
| authority = Deepak et al. 2019.
}}

'''''Ahaetulla laudankia''''', known as the '''Laudankia vine snake''', is a species of snake in the family [[Colubridae]]. It is [[Endemism|endemic]] to [[India]] and while being a rare species, it has a relatively large range, extending from the [[Eastern Ghats]] through [[Central India]] west to eastern [[Rajasthan]]. Its name derives from the [[Odia language|Odia]] term ''laudanka'', which translates to "dried stems of bottle gourd, as the snake closely resembles them with its thin body and brownish color.<ref>{{Cite journal|last1=Deepak|first1=V.|last2=Narayanan|first2=Surya|last3=Sarkar|first3=Vivek|last4=Dutta|first4=Sushil K.|last5=Mohapatra|first5=Pratyush P.|date=2019-03-12|title=A new species of Ahaetulla Link, 1807 (Serpentes: Colubridae: Ahaetullinae) from India|journal=Journal of Natural History|volume=53|issue=9–10|pages=497–516|doi=10.1080/00222933.2019.1589591|s2cid=155403362|issn=0022-2933}}</ref>

== References ==
{{Reflist}}

{{Taxonbar|from=Q65069233}}

[[Category:Ahaetulla|laudankia]]
[[Category:Endemic reptiles of India]]
[[Category:Reptiles described in 2019]]
[[Category:Taxa named by Veerappan Deepak]]

{{snake-stub}}

Arjuna Miśra

2025-12-06T13:15:29Z

Surendra Sharma: Started new info

'''Arjuna Miśra''' was a [[Sanskrit]] scholar and leading commentator on the ''[[Mahabharata|Mahābhārata]]'' in the fifteenth century.<ref>P. K. Gode, “Arjuna Miśra,” ''Indian Culture'' 2, no. 1 (1935): 141-46.</ref> A contemporary of Govardhana Pāthaka, he came from the village of Vārendra Campāheṭṭīya in [[Bengal]]. He flourished in between 1450 and 1500 during the turbulent days of the [[House of Ganesha|Ganesha dynasty]]. Manuscripts of his work survive, with the oldest copy of his commentary dated 1534.<ref>''Mahābhārata (Virāṭaparvan)'' (Bombay: Gujarati Printing Press, 1915): 6, note.</ref> His literary significance is evidenced by the fact that the celebrated scholar [[Neelakantha Chaturdhara|Nīlakaṇṭḥa]] quoted Arjuna Miśra in his ''Mahābhārata'' commentary, written at [[Varanasi|Varāṇāsī]] in the seventeenth century.<ref>See http://mahabharata-resources.org/mbh_comm.html</ref>

== References ==
{{Reflist}}

{{authority control}}

{{DEFAULTSORT:Misra, Arjuna}}
[[Category:Indian Sanskrit scholars]]
[[Category:Mahabharata]]
[[Category:Year of death unknown]]
[[Category:Year of birth unknown]]
[[Category:15th-century Indian scholars]]

Ekramul Karim Chowdhury

2025-12-03T16:16:20Z

Surendra Sharma:

{{Short description|Bangladeshi politician}}
{{Use dmy dates|date=July 2024}}
{{Infobox officeholder
| name = Ekramul Karim Chowdhury
| native_name = একরামুল করিম চৌধুরি
| native_name_lang = bn
| constituency_MP = [[Noakhali-4]]
| parliament = Bangladesh
| term_start = 25 January 2009
| term_end = 6 August 2024
| predecessor = [[Md. Shahjahan]]
| birth_date = {{Birth date and age|df=yes|1962|06|09}}
| birth_place = [[Noakhali]], [[East Pakistan]], Pakistan
| spouse = Kamrun Nahar Shiule<ref name="Life, Compromised" />
| party = [[Bangladesh Awami League]]
| education = HSC<ref name="constituency" />
}}

'''Ekramul Karim Chowdhury''' (born 9 June 1962)<ref>{{cite web |url=http://www.parliament.gov.bd/index.php/en/mps/members-of-parliament/current-mp-s/list-of-10th-parliament-members-english?layout=edit&id=2154 |title=Constituency 271_10th_En |website=Bangladesh Parliament |archive-url=https://web.archive.org/web/20180110193335/http://www.parliament.gov.bd/index.php/en/mps/members-of-parliament/current-mp-s/list-of-10th-parliament-members-english?layout=edit&id=2154 |archive-date=10 January 2018}}</ref> is a [[Bangladesh Awami League]] politician and a former member of parliament from [[Noakhali-4]].<ref>{{cite news |title=Joyful Joy and Durjoy |url=http://archive.dhakatribune.com/sport/2014/jan/05/joyful-joy-and-durjoy |work=Dhaka Tribune |access-date=16 November 2016 |archive-url=https://web.archive.org/web/20161117144817/http://archive.dhakatribune.com/sport/2014/jan/05/joyful-joy-and-durjoy |archive-date=17 November 2016 |url-status=dead}}</ref><ref>{{cite news |title=Work awarded within 16 days of bidding |url=https://www.thedailystar.net/backpage/work-awarded-within-15-days-bidding-103153 |work=The Daily Star |access-date=16 November 2016 |date=26 June 2015}}</ref><ref>{{cite news |title=The number now goes up to 151 |url=http://archive.dhakatribune.com/politics/2013/dec/15/number-now-goes-151 |work=Dhaka Tribune |access-date=16 November 2016 |archive-url=https://web.archive.org/web/20161117063956/http://archive.dhakatribune.com/politics/2013/dec/15/number-now-goes-151 |archive-date=17 November 2016 |url-status=dead}}</ref>

== Early life ==
Chowdhury was born on 9 June 1962 in [[Noakhali Sadar Upazila|Noakhali]]. He has studied up to [[Higher Secondary School Certificate]].<ref name="constituency">{{Cite web |title=Constituency 271_11th_En |url=http://www.parliament.gov.bd/index.php/en/contact/contact-an-mp-email-mobile/309-mps-category/mps-of-11th-parliament/3832-constituency-271-11th-en |access-date=2021-05-01 |website=Bangladesh Parliament |archive-url=https://web.archive.org/web/20230610043006/http://parliament.gov.bd/index.php/en/contact/contact-an-mp-email-mobile/309-mps-category/mps-of-11th-parliament/3832-constituency-271-11th-en |archive-date=2023-06-10}}</ref>

== Career ==
Chowdhury was elected to parliament from Noakhali-4 as an Awami League candidate in 2008.<ref name=":0">{{Cite web |date=2018-11-25 |title=Noakhali-4 - Constituency detail of Bangladesh General Election 2018 |url=https://www.thedailystar.net/bangladesh-national-election-2018/seats?s=Noakhali-4&d=chattogram |access-date=2021-05-01 |website=The Daily Star |language=en}}</ref>

Chowdhury was re-elected in an uncontested election in 2014 which was boycotted by all major opposition parties.<ref name=":0" />

Chowdhury was re-elected in 2018 as an Awami League candidate beating his nearest rival [[Md. Shahjahan]] of [[Bangladesh Nationalist Party]].<ref name=":0" />

On 23 June 2020 Chowdhury requested Prime Minister [[Sheikh Hasina]] to take action against the "''Mithu Syndicate''", led by Motazzaroul Islam Mithu, responsible for corruption in the healthcare industry of Bangladesh on Facebook live.<ref>{{Cite news |date=2020-06-23 |title=Ekramul to PM: Please abolish the 'Mithu Syndicate' from the health sector |url=https://www.dhakatribune.com/bangladesh/politics/2020/06/23/ekramul-to-pm-please-abolish-the-mithu-syndicate-from-the-health-sector |access-date=2021-05-01 |work=Dhaka Tribune}}</ref><ref>{{Cite news |date=2020-08-16 |title=Health Sector Syndicate: Strange laxity let it off hook |url=https://www.thedailystar.net/frontpage/news/health-sector-syndicate-strange-laxity-let-it-hook-1945645 |access-date=2021-05-01 |work=The Daily Star |language=en}}</ref>

In July 2019, Chowdhury was criticised for posting photos of teenagers on Facebook he said were kissing in a public park and then handing them over to the police.<ref>{{Cite news |title=Bangladesh Lawmaker Slammed For Calling Cops On Students Kissing In Park |url=https://www.ndtv.com/world-news/bangladesh-lawmaker-slammed-for-calling-cops-on-students-kissing-in-park-2071207 |access-date=2021-05-01 |work=NDTV}}</ref>

Chowdhury accused [[Obaidul Quader]], general secretary of the Awami League of belonging to a family of [[Razakar (Pakistan)|razakars]], those who fought against the [[independence of Bangladesh]], in January 2021 on [[Facebook live]].<ref>{{Cite news |date=2021-01-22 |title=Obaidul Quader belongs to a family of razakars, claims Noakhali-4 MP Ekramul |url=https://www.thedailystar.net/politics/news/obaidul-quader-belongs-family-razakars-claims-noakhali-4-mp-ekramul-2032229 |access-date=2021-05-01 |work=The Daily Star |language=en}}</ref><ref>{{Cite news |date=2021-01-23 |title=Obaidul Quader belongs to a razakar family |url=https://www.thedailystar.net/backpage/news/obaidul-quader-belongs-family-razakar-2032313 |access-date=2021-05-01 |work=The Daily Star |language=en}}</ref> His comments were protested by Nagorik Samaj who called for an eight hour strike in [[Companiganj Upazila, Noakhali|Companiganj Upazila]], [[Noakhali District]].<ref>{{Cite news |date=2021-01-23 |title=Ekramul's remarks on Quader's family: 8-hour hartal called in Noakhali's Companyganj tomorrow |url=https://www.thedailystar.net/country/news/ekramuls-remarks-quaders-family-8-hour-hartal-called-noakhalis-companyganj-tomorrow-2032557 |access-date=2021-05-01 |work=The Daily Star |language=en}}</ref>

On 20 February 2021, Chowdhury and Nizam Uddin Hazari supporters fought against the supports of Abdul Quader Mirza, younger brother of Obaidul Quader in Companiganj upazila. In the clashes 50 were injured of whom nine were hit by bullets.<ref>{{Cite news |date=2021-02-20 |title=Mayhem in Noakhali |url=https://www.thedailystar.net/frontpage/news/mayhem-noakhali-2047801 |access-date=2021-05-01 |work=The Daily Star |language=en}}</ref> Quader Mirza blamed Chowdhury after an attack on his vehicle in February 2021.<ref>{{Cite news |date=2021-02-11 |title=Quader Mirza claims motorcade attacked in Feni; blames Noakhali MP Ekramul Karim, 2 others |url=https://www.thedailystar.net/politics/news/quader-mirza-claims-motorcade-attacked-feni-blames-noakhali-mp-ekramul-karim-2-others-2043077 |access-date=2021-05-01 |work=The Daily Star |language=en}}</ref>

On 6 March 2021, Chowdhury alleged that there was a conspiracy against the Noakhali District unit of the Awami League.<ref>{{Cite news |date=2021-03-06 |title=Conspiracy being hatched against Noakhali Awami League: MP Ekramul |url=http://www.tbsnews.net/bangladesh/politics/conspiracy-being-hatched-against-noakhali-awami-league-mp-ekramul-211987 |access-date=2021-05-01 |work=The Business Standard |language=en}}</ref> He is the general secretary of Noakhali District unit of Awami League.<ref>{{Cite news |title=Expulsion of Quader Mirza from AL recommended |url=https://www.jagonews24.com/en/politics/news/54555 |access-date=2021-05-01 |work=jagonews24.com |language=en-US}}</ref>

Chowdhury was detained in October 2024 after the fall of the Sheikh Hasina led Awami League government.<ref>{{Cite web |date=2024-10-02 |title=Former principal secretary to ex-PM Hasina arrested |url=https://www.thedailystar.net/news/bangladesh/crime-justice/news/former-principal-secretary-ex-pm-hasina-arrested-3717701 |access-date=2024-10-02 |website=The Daily Star |language=en}}</ref>

== Personal life ==
Ekram is married to Kamrun Nahar Shiule<ref name="Life, Compromised">{{cite news |title=Life, Compromised |url=https://www.thedailystar.net/the-star/current-affairs/life-compromised-1596841 |work=[[The Daily Star (Bangladesh)|The Daily Star]] |access-date=7 November 2021}}</ref> who is third time upazila chairman from Kabirhat, Noakhali. The couple has a son named Shabab Chowdhury.<ref>{{Cite news |title=Bangladesh MP's son, accused of fatal hit-and-run two years ago, slams into police car |url=https://bdnews24.com/bangladesh/bangladesh-mps-son-accused-of-fatal-hit-and-run-two-years-ago-slams-into-police-car |url-status=live |access-date=2021-05-01 |work=bdnews24.com |date=13 July 2020 |archive-url=https://web.archive.org/web/20200713174700/https://bdnews24.com/bangladesh/2020/07/13/bangladesh-mps-son-accused-of-fatal-hit-and-run-two-years-ago-slams-into-police-car |archive-date=2020-07-13}}</ref> Shabab was allegedly driving when he ran over and killed a pedestrian on Mohakhali flyover in June 2018.<ref>{{Cite news |title=Noakhali MP Ekram's son Shabab 'runs over man' in Dhaka |url=https://en.banglatribune.com/others/news/5269/Noakhali-MP-Ekram%E2%80%99s-son-Shabab-runs-over-man-in |access-date=2021-05-01 |work=Bangla Tribune |language=en}}</ref><ref>{{Cite news |date=2018-06-23 |title=Hit-And-Run: Culprit will be punished |url=https://www.thedailystar.net/backpage/hit-and-run-culprit-will-be-punished-1594123 |access-date=2021-05-01 |work=The Daily Star |language=en}}</ref> Chowdhury denied his son was behind the wheels.<ref>{{Cite news |date=2018-06-20 |title='My son was not behind the wheel,' says MP after man killed by wife's car |url=https://www.dhakatribune.com/bangladesh/nation/2018/06/20/my-son-was-not-behind-wheel-says-mp-as-man-killed-by-wife-s-car |access-date=2021-05-01 |work=Dhaka Tribune}}</ref> The case over the incident did not proceed after Chowdhury paid two million taka compensation to the family of the victim.<ref>{{Cite news |title=MP Ekramul settles hit-and-run case against his son with Tk 2m |url=https://bdnews24.com/bangladesh/mp-ekramul-settles-hit-and-run-case-against-his-son-with-tk-2m |url-status=live |access-date=2021-05-01 |work=bdnews24.com |date=24 June 2018 |archive-url=https://web.archive.org/web/20180624162014/https://bdnews24.com/bangladesh/2018/06/24/mp-ekramul-settles-hit-and-run-case-against-his-son-with-tk-2m |archive-date=2018-06-24}}</ref><ref>{{Cite news |date=2018-06-26 |title=Purchasing impunity in the name of 'compensation'? |url=https://www.thedailystar.net/law-our-rights/rights-advocacy/purchasing-impunity-the-name-compensation-1595053 |access-date=2021-05-01 |work=The Daily Star |language=en}}</ref> Shabab rear ended a police van in Chittagong on 13 July 2020 and got into an argument with the police officers at the location. No charges were filed and police officers claimed it was a "misunderstanding".<ref>{{Cite news |date=2020-07-14 |title=MP's son rams police van in Ctg, same person involved in 2018 fatal hit-and-run incident |url=https://www.thedailystar.net/city/news/mps-son-rams-police-van-ctg-same-person-involved-2018-fatal-hit-and-run-incident-1930313 |access-date=2021-05-01 |work=The Daily Star |language=en}}</ref><ref>{{Cite news |date=2020-07-13 |title=Noakhali MP Ekram's son Shabab rams into police vehicle in Chittagong |url=https://www.dhakatribune.com/bangladesh/nation/2020/07/13/noakhali-mp-ekram-s-son-shabab-rams-police-vehicle-in-chittagong |access-date=2021-05-01 |work=Dhaka Tribune}}</ref>

==References==
{{Reflist}}

{{Authority control}}

{{DEFAULTSORT:Chowdhury, Ekramul Karim}}
[[Category:1962 births]]
[[Category:Living people]]
[[Category:Awami League politicians]]
[[Category:People from Maijdee]]
[[Category:Politicians from Chittagong Division]]
[[Category:9th Jatiya Sangsad members]]
[[Category:10th Jatiya Sangsad members]]
[[Category:11th Jatiya Sangsad members]]
[[Category:12th Jatiya Sangsad members]]

St. Francis Xavier's Cathedral, Bengaluru

2025-11-29T05:45:39Z

Surendra Sharma: put up initial entry first draft...

{{Use dmy dates|date=August 2018}}
{{Use Indian English|date=August 2018}}
{{Infobox church
|name = St. Francis Xavier's Cathedral
|fullname = ಸೇಂಟ್ ಫ್ರಾನ್ಸಿಸ್ ಕ್ಸೇವಿಯರ್ ಕ್ಯಾಥೆಡ್ರಲ್
|image = St_Francis_Xavier_Cathedral,_Bangalore_oblique.jpg
|imagesize =
|imagelink =
|imagealt = Photo of St. Francis Xavier's Cathedral, Bangalore

|caption = St. Francis Xavier's Cathedral

|pushpin map = India Karnataka#India
|pushpin label position =
|pushpin map alt =
|pushpin mapsize =
|map caption = Cleveland Town Bangalore

|coordinates = {{coord|12.992679|N|77.611314|E|region:IN_type:landmark|display=inline,title}}
|osgraw = 
|osgridref = 
|location = [[Cleveland Town]], [[Bangalore Urban]]
|country = [[India]]

|denomination = [[Roman Catholic Church|Roman Catholic]]
|churchmanship =
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|attendance =
|website = {{URL|http://www.bangalorearchdiocese.org}}

|former name =
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|founded date = 1851
|founder =
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|province = [[Archdiocese of Bangalore]]
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|archbishop = Very Rev. Dr. [[Peter Machado]]
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'''St. Francis Xavier's Cathedral''' is the cathedral of the [[Roman Catholic Archdiocese of Bangalore]] in [[India]]. Initially, Bangalore was the seat of the [[Roman Catholic Diocese of Mysore|diocese of Mysore]] from 1886 to 1940 and during this time, St. Patrick's church in Bangalore was the cathedral of the diocese.<ref>[http://www.dnaindia.com/lifestyle/slideshow_rediscovering-bangalore-s-museum-road_1738766-8#top Rediscovering Bangalore's Museum Road – DNA]</ref> When the diocese of Mysore was bifurcated on 13 February 1940 to form the diocese of Bangalore, St. Francis Xavier's church was chosen as its cathedral.

The first church of St. Francis Xavier was constructed in 1851 by French missionaries of the [[Paris Foreign Missions Society]].<ref>[http://www.children-of-bangalore.com/sfxchrch.htm St. Francis Xavier Cathedral , Bangalore]</ref> Due to the huge increase in the catholic population, this church eventually became inadequate. Hence in 1911, the foundation stone was laid for a new church. This church was inaugurated on 26 May 1932, which would become a cathedral in 1940. Two new domes of the facade were inaugurated on its [[platinum jubilee]] in the year 2009. [[Bangalore]] archbishop Bernard Moras re-dedicated the cathedral to [[St. Francis Xavier]]. The [[Dome|domes]] had been constructed along with several other renovations. Though they were part of the original plan of the cathedral, they could not be completed due to lack of funds.<ref>{{cite news | url=https://timesofindia.indiatimes.com/city/bangalore/Two-new-domes-inaugurated-at-St-Francis-Xaviers-Cathedral/articleshow/4567157.cms | title=Two new domes inaugurated at St Francis Xavier's Cathedral | date=23 May 2009 | newspaper=Times Of India | accessdate=17 August 2018 }}</ref>

The cathedral's large compound has three schools: [[St. Aloysius]]', [[St Anthony's Boys School, Cleveland Town|St. Anthony]]'s and [[St. Rock]]'s. There is also a Shrine dedicated to St. Anthony.

<gallery mode="packed" heights="200px">
File:St Francis Xavier Cathedral, Bangalore night.jpg | Domes and crosses of the St. Francis Xavier's Cathedral seen against the Bangalore skyline
File:St. Francis Xavier's Cathedral, Bangalore front.jpg | St. Francis Xavier's Cathedral
</gallery>

==References==
{{reflist}}

==External links==
* [http://www.gcatholic.org/churches/asia/1561.htm GCatholic.org]

[[Category:Roman Catholic cathedrals in Karnataka]]
[[Category:Roman Catholic church buildings in Bengaluru]]
[[Category:Church buildings with domes]]
[[Category:Roman Catholic churches completed in 1932]]
[[Category:20th-century Roman Catholic church buildings in India]]

Sambandam

2025-11-12T23:31:03Z

Surendra Sharma: page updated

{{Short description|Historic type of informal marriage in Kerala, India}}
{{pp-extended|small=yes}}
{{Use dmy dates|date=June 2019}}
{{Use Indian English|date=June 2019}}
{{More footnotes needed|date=September 2010}}
'''Sambandam''' was the traditional marriage practiced by [[Nambudiris]], [[Nairs]], [[Samanthan]] and [[Ambalavasis]] among their own communities as well as with each other, in [[Kerala]], [[India]].<ref>{{Cite book|last=Fuller|first=C. J.|url=https://books.google.com/books?id=yQM4AAAAIAAJ&q=sambandham+custom+of+kshatriyas+in+kerala&pg=PA116|title=The Nayars Today|date=1976-12-30|publisher=CUP Archive|isbn=978-0-521-29091-3}}</ref><ref>{{Cite news|date=3 March 2003|title=Seeking royal roots|work=The Hindu|url=http://www.hindu.com/thehindu/mp/2003/03/03/stories/2003030300550200.htm|archive-url=https://web.archive.org/web/20101022024430/http://www.hindu.com/thehindu/mp/2003/03/03/stories/2003030300550200.htm|archive-date=22 October 2010}}</ref>

"Sambandham" was derived from the [[Sanskrit]] words "Sama" meaning "equal" and "Bandham" meaning "alliance."

== Practice ==

=== Samanthan, Nairs and Ambalavasi ===
Sambantham is the marriage tradition among the traditional matrilineal castes. Members of [[Samantha Kshatriya|Samanthan]], [[Nair|Nairs]] and [[Ambalavasi]] castes can marry within their own community or from higher Brahmin ([[Nambudiri]] caste).<ref>{{Cite journal |last=Fuller |first=C. J. |date=December 1975 |title=The Internal Structure of the Nayar Caste |url=https://www.journals.uchicago.edu/doi/10.1086/jar.31.4.3629883 |journal=Journal of Anthropological Research |language=en |volume=31 |issue=4 |pages=283–312 |doi=10.1086/jar.31.4.3629883 |issn=0091-7710|url-access=subscription }}</ref>

=== Nambuthiri Brahmins ===
Nambuthiri Brahmins, in particular, follow specific marriage customs. The eldest Nambuthiri Brahmin must marry within his own community, while others can marry from the [[Kshatriya]] or equivalent. They are allowed to marry women only from [[Samantha Kshatriya|royal families]], the [[Nair|highest subcaste of Nair]], and [[Ambalavasi]] castes. Sometimes, they even engage in sambantham with Paradesi Brahmins. Marrying women from other castes is highly restricted and results in loss of caste.<ref>{{Cite journal |last=Kodoth |first=Praveena |date=April 2001 |title=Courting Legitimacy or Delegitimizing Custom? Sexuality, Sambandham, and Marriage Reform in Late Nineteenth-Century Malabar |url=https://www.cambridge.org/core/product/identifier/S0026749X01002037/type/journal_article |journal=Modern Asian Studies |language=en |volume=35 |issue=2 |pages=349–384 |doi=10.1017/S0026749X01002037 |issn=0026-749X|url-access=subscription }}</ref>

==History==
Many regions of Kerala limited this practice between [[Nambudiri]], [[Nair]], [[Samantha Kshatriya]], and [[Ambalavasi]] castes. Sambandham also denoted reciprocal marriage among Samanthan, Nairs, Amabalavasis, Nambudiris, Royal families and this term was not used just to denote hypergamous marriages between the Nambudiris and the Samanthan Nairs, Amabalavasis and Royal families.<ref name="Kodoth2001p3503">{{cite journal |last=Kodoth |first=Praveena |date=May 2001 |title=Courting Legitimacy or Delegitimizing Custom? Sexuality, Sambandham and Marriage Reform in Late Nineteenth-Century Malabar |journal=Modern Asian Studies |volume=35 |issue=2 |page=351 |doi=10.1017/s0026749x01002037 |jstor=313121 |pmid=18481401 |s2cid=7910533}}</ref> Alternate names for the system were used by different social groups and in different regions;<ref name="Kodoth2001p3503">{{cite journal |last=Kodoth |first=Praveena |date=May 2001 |title=Courting Legitimacy or Delegitimizing Custom? Sexuality, Sambandham and Marriage Reform in Late Nineteenth-Century Malabar |journal=Modern Asian Studies |volume=35 |issue=2 |page=351 |doi=10.1017/s0026749x01002037 |jstor=313121 |pmid=18481401 |s2cid=7910533}}</ref> they included ''Pudavamuri'', ''Pudavakoda'', ''Vastradanam'', ''Vitaram Kayaruka'', ''Mangalam'' and ''Uzhamporukkuka.''

The ritual starts with the matching of the horoscope of the girl with the boy and after the matching information is given to Karanavan (who is the leader of the Nair joint family) of the boy’s family. Once the horoscope gets matched the Karanavan who is the uncle of the boy along with his relatives is invited by the girl’s family for a feast in a particular place. The feasting is called Ayani Unu and the boy is called as “Manavalan” or “Pillai” which means bridegroom. F. Fawcett described the ritual in 1905:{{blockquote|"The Manavalan is then taken to the centre of the pandal where bamboo-mats, carpets, and white cloths are spread, and seated there. The brother of the girl then carries her from inside of the house, and after going round the pandal three times, places her at the left side of the Manavalan, and the father of the girl then presents a new cloth tied in a kambli to the pair, and with this new cloth (technically called ‘ mantravadi’) they change their dress. The wife of the Karanavan of the girl’s taravad, if she be of the same caste, then decorates the girl by putting anklets, etc. The Purohita called ‘ Elayatu’ (a class of Brahmans) then gives the tali to the Manavalan, and the family astrologer shouts 'Muhurtham’ (auspicious hour), and the Manavalan, putting his sword on the lap, ties tali around the girl's neck, who is then required to hold an arrow and a looking-glass in her hand. In rich families, a Brahmini sings certain songs intended to bless the couple. In ordinary families who cannot procure her presence, a certain Nayar who is versed in songs performs the office. The boy and the girl are then carried by Enangans to a decorated apartment in the inner part of the house, where they are required to remain under a sort of pollution for three days. On the fourth day they bathe in some neighbouring tank or river and, they come home preceded by a procession, which varies in importance according to the wealth of the girl’s family. Tom-toms and elephants usually form part of the procession, and saffron water is sprinkled. When they come home the doors of the house are all shut, which the Manavalan is required to force open. He then enters the house, and takes his seat in the northern wing thereof."<ref>{{Cite book |last=Moore |first=Lewis |title=Malabar Law and Customs |publisher=Higginbotham & Co. |year=1905}}{{source attribution}}</ref>}}

This practice stopped during the late 1800s, and is no longer observed.<ref name="fuller2">{{cite journal |last=Fuller |first=Christopher John |date=Winter 1975 |title=The Internal Structure of the Nayar Caste |journal=Journal of Anthropological Research |volume=31 |issue=4 |pages=283–312 |doi=10.1086/jar.31.4.3629883 |jstor=3629883 |s2cid=163592798}}</ref>

The [[Malabar Marriage Act, 1896]] defined Sambandham as, "An alliance between a man and a woman, by reason of which they, in accordance with the custom of the community to which they belong, or to which either of them belongs, cohabit or intend to cohabit as husband and wife."<ref>{{cite journal | title=Some Aspects of Nayar Life| first=K. M. |last=Panikkar | journal=Journal of the Royal Anthropological Institute| date=July 1918| volume=48| page=271| url=https://archive.org/stream/SomeAspectsOfNayarLife/SomeAspectsOfNayarLifeCopy#page/n0/mode/2up}}</ref>

The marriage traditions, as seen today are notably different from those of the past. Many Malayali communities lacked proper marriage practices compared to the Nairs and Nambudhiri Brahmins during that period. Nair women and men enjoyed the highest privileges in society, including the ability to divorce their partners at will, akin to practices in some modern European cultures.{{cn|date=September 2024}}

The ''Sambandham'' system had led to many misconceptions of associating it with [[polyandry]]. Such mentions about women having multiple ''Sambandham'' partners comes from accounts of foreigners who visited Kerala during the pre-colonial era. However, historians assert that there exists no authenticated case of polyandry among the Sambandham families. The Sambandham could be broken at the will of either party and they could move on to have another relationship. This was adopted to suit the military life, so that if the husband dies in a battle, the wife can move on and avoid widowhood. The foreign authors would’ve mistaken both of them as standard marriages in the European sense, hence would have deduced that the Sambandham women had more than one partner. This is not surprising as foreigners never would have gotten a chance to observe Sambandham family rites closely since they always had to maintain distance from the Sambandham practicing families due to rigid social rules which existed back then, and would have been confused about the Sambandham family rites. The extensive Malayalam literature on the subject provides a more nuanced and culturally informed perspective.<ref>{{Cite journal |last=Panikkar |first=K. M. |date=July 1918 |title=Some Aspects of Nayar Life. |url=https://www.jstor.org/stable/2843423 |journal=The Journal of the Royal Anthropological Institute of Great Britain and Ireland |volume=48 |pages=254–293 |doi=10.2307/2843423|jstor=2843423 |url-access=subscription }}</ref>

It is also to be noted that even though second marriage after divorce is allowed, it was looked down upon and didn’t involve celebrations as the first marriage, as the 1891 Madras census says: “''Sambandham is, strictly speaking, dissoluble at the will of either party without any formal ceremony being gone through for the purpose, but that will is controlled by public opinion which views with disfavour divorces made for trivial reasons. In cases of divorce, the children always go with their mother. Their legal guardian is their uncle, or karanavan (managing member) of the mother’s house. Both widows and divorced women are allowed to remarry, but the second and subsequent marriages of women are not celebrated with even as much formality as the first marriage. The man goes to the woman’s house with friends, and giving her betel-leaves and nut or dresses, takes her to [be his] wife''.”<ref name=":0">{{Cite journal |date=January 1923 |title=Madras Census Report, 1921 |url=https://linkinghub.elsevier.com/retrieve/pii/S0140673600549101 |journal=The Lancet |volume=201 |issue=5185 |pages=85–86 |doi=10.1016/S0140-6736(00)54910-1 |url-access=subscription }}</ref>

==See also==
* [[Kettu Kalyanam]]
* [[Malayali Brahmins]]
* [[Nair ceremonies and customs]]
* [[Aliyasantana]]

==References==
{{reflist}}

==Sources==
* Moore, Melinda. "Symbol and Meaning in Nayar Marriage Ritual." American Ethnologist. 15 (1998) 254–273
* Gough, K. (1961) Nayar: Central Kearla, in Schneider, D. M. & Gough, K. (Eds.) Matrilineal Kinship. Berkeley & Los Angeles, p298-404
* Karl, R. (2003) Women in Practice: A Comparative Analysis of Gender and Sexuality in India. [http://www.newpaltz.edu/asianstudies/nycas/2003%20UG%20Ryan%20Prize%20Renee%20Karl.doc 2003 Marleigh Grayer Ryan Student Prize ]; Moore, M. (1998) Symbol and Meaning in Nayar Marriage Ritual, American Ethnologist 15:254-73
* Damodar Dharmanand Kosambi (1975) ''An Introduction to the Study of Indian History''.
* Dirks, Nicholas. "Homo Hierarchies: Origins of an Idea." Castes of Mind. Princeton: Princeton University Press 2001.

[[Category:Indian castes]]
[[Category:Surnames of Indian origin]]
[[Category:Society of Kerala]]
[[Category:Telugu society]]
[[Category:Telugu-language surnames]]

Paavana Gowda

2025-11-05T01:08:29Z

Surendra Sharma: new

{{short description|Indian actress}}
{{Use dmy dates|date=March 2022}}
{{Use Indian English|date=March 2022}}
{{Infobox person
| name = Paavana Gowda
| image =
| caption =
| birth_name =
| birth_date =
| birth_place = [[Mandya]], [[Karnataka]]
| other_names =
| occupation = Actress, model
| years_active = 2013–present
| imagesize =
| homepage =
}}

'''Paavana Gowda''' is an Indian actress who has appeared predominantly in [[Kannada cinema|Kannada film]]s. After making her debut in ''Gombegala Love'' (2013), she has been seen in films including ''[[Tootu Madike]]'' (2022) and ''[[Vindhya Victim Verdict V3]]'' (2023).

==Career==
Paavana made her acting debut in the critically-acclaimed romantic drama ''[[Gombegala Love]]'' (2013), portraying the role of a girl who is paralysed, who is then wedded to a man also bed ridden.<ref>{{Cite news |last=R |first=SHILPA SEBASTIAN |date=2019-12-09 |title=Pavana Gowda on her next film 'Rudri', and why it's a dream role for her |language=en-IN |work=The Hindu |url=https://www.thehindu.com/entertainment/movies/pavana-gowda-on-her-next-film-rudri-and-why-its-a-dream-role-for-her/article30249152.ece |access-date=2023-01-24 |issn=0971-751X}}</ref> She then continued to play lead roles in Kannada films, notably appearing in ''[[Jatta (film)|Jatta]]'' (2013) and ''[[Kannadiga (film)|Kannadiga]]'' (2021) opposite [[Ravichandran (Kannada actor)|Ravichandran]]. In 2023, she made her debut in Tamil films with the title role in ''[[Vindhya Victim Verdict V3]]'' (2023).<ref>{{Cite web |title=Varalaxmi Sarathkumar's 'V3' trailer |url=https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/varalaxmi-sarathkumars-v3-trailer/articleshow/96593911.cms |access-date=2023-01-24 |website=The Times of India |language=en}}</ref>

In 2018, Paavana began working on Badiger Devendra's female-centric film, ''Rudri'', where she portrayed the lead role.<ref>{{Cite news |last=R |first=SHILPA SEBASTIAN |date=2018-06-28 |title=The shoot of the Kannada film Rudri takes off |language=en-IN |work=The Hindu |url=https://www.thehindu.com/entertainment/movies/a-film-saluting-the-spirit-of-women/article24279325.ece |access-date=2023-01-24 |issn=0971-751X}}</ref> The film won several awards during a run at international film festivals, including Best Actress for Paavana, and is expected to release in 2023.<ref>{{Cite web |title=Pavana Gowda as Rudri bags the prestigious VIFFMP best actress award |url=https://www.telegraphindia.com/entertainment/pavana-gowda-as-rudri-bags-the-prestigious-viffmp-best-actress-award/cid/1804260 |access-date=2023-01-24 |website=www.telegraphindia.com}}</ref> Her other completed, upcoming films include ''Mysore Diaries'', ''Prabhutva'', ''Karky'', ''Kaliveera'', ''Mehbooba'', and ''Fighter''.<ref>{{Cite web |title=I’ve finally got the stamp of a glamorous heroine, says actress Pavana gowda |url=https://www.newindianexpress.com/entertainment/kannada/2021/may/31/ive-finally-got-the-stamp-of-a-glamorous-heroine-says-actresspavana-gowda-2309622.html |access-date=2023-01-24 |website=The New Indian Express}}</ref><ref>{{Cite web |title=Pavana Gowda to collaborate with Rudri team for second time |url=https://www.newindianexpress.com/entertainment/kannada/2020/oct/01/pavana-gowda-tocollaborate-with-rudri-team-for-second-time-2204071.html |access-date=2023-01-24 |website=The New Indian Express}}</ref>

==Filmography==
;Films
*''Note: all films are in Kannada, unless otherwise noted.''
{| class="wikitable sortable"
! Year !! Film !! Role !! Notes
|-
|rowspan="2"|2013 || ''[[Gombegala Love]]'' || Kamala || Nominated, [[3rd South Indian International Movie Awards|SIIMA Best Kannada Female Debutant Award]]
|-
| ''[[Jatta (film)|Jatta]]'' || Belli ||
|-
|rowspan="2"|2015 || ''[[Jackson (2015 film)|Jackson]]'' || Kumudha ||
|-
| ''[[Aatagara]]'' || Anu || Nominated, [[Filmfare Award for Best Supporting Actress – Kannada]]
|-
|rowspan="1"|2017 || ''[[Chamak (film)|Chamak]]'' || ||
|-
|rowspan="1"|2018 || ''[[Vanilla (2018 film)|Vanilla]]'' || ||
|-
|rowspan="1"|2021 || ''[[Kannadiga (film)|Kannadiga]]'' || Gunabhadra's wife ||
|-
|rowspan="3"|2022 || ''[[Tootu Madike]]'' || Parimala ||
|-
| ''Saddu Vicharane Nadeyuttide'' || Janani ||
|-
| ''Mysore Diaries'' || || OTT release<ref>{{Cite web |last=Features |first=C. E. |date=2020-06-09 |title=Mysore Diaries to get direct OTT release |url=https://www.cinemaexpress.com/stories/news/2020/Jun/09/mysore-diaries-to-get-direct-ott-release-18843.html |access-date=2025-01-16 |website=Cinema Express |language=en}}</ref>
|-
|rowspan="4"|2023|| ''[[Vindhya Victim Verdict V3]]'' || Vindhya || [[Tamil language|Tamil]] film
|-
| ''[[Gowli (film)|Gowli]]'' || Girija ||
|-
| ''Rudri'' || || OTT release
|-
| [[Fighter (2023 film)|''Fighter'' ]]|| ||
|-
|2024||''Mehabooba''|| ||
|-
|2025 || ''[[Agnyathavasi (2025 film)|Agnyathavasi]]''|| Pankaja ||
|-
| {{TBA}} || ''Karky'' || || Post-production
|-
|}

==References==
{{Reflist|2}}

== External links ==
* {{IMDb name|nm7560974}}
* {{Instagram|paavanaofficial}}

{{authority control}}

{{DEFAULTSORT:Gowda, Paavana}}
[[Category:Indian film actresses]]
[[Category:Tamil actresses]]
[[Category:Living people]]
[[Category:Actresses in Tamil cinema]]
[[Category:Actresses in Kannada cinema]]
[[Category:21st-century Indian actresses]]
[[Category:Year of birth missing (living people)]]

Rajendra Chhetri

2025-11-03T08:01:15Z

Surendra Sharma: created initial article first draft

{{Short description|Chief of Army Staff of Nepal (born 1960)}}
{{Infobox officeholder
| honorific-prefix = [[General of the army|General]]
| name = Rajendra Chhetri
| native_name = महारथी श्री राजेन्द्र क्षत्री<ref name="armypress">{{Cite web|url=https://www.nepalarmy.mil.np/press-release/1433|title=प्रधानसेनापति महारथी श्री राजेन्द्र क्षत्री श्रीलङ्काको औपचारिक भ्रमण सम्पन्न गरी स्वदेश फिर्ता | date=25 January 2018| access-date=5 February 2022| website=nepalarmy.mil.np}}</ref>
| native_name_lang = ne
| birth_name = Rajendra Khatri Chhetri राजेन्द्र खत्री क्षत्री
| birth_date = {{birth date and age|1960|11|15}}
| death_date =
| birth_place = [[Chok Chisapani]], [[Tanahun District]]
| death_place =
| image = File:Rajendra Chhetri, 2016.jpg
| image_size =
| caption =
| office = [[Nepal Army|Chief of Army Staff of Nepal Army]]
| term_start1 = 10 September 2015
| term_end1 = 9 September 2018
| president1 = [[Bidhya Devi Bhandari]]
| deputy1 = [[Purna Chandra Thapa]] as Chief of General Staff
| preceded1 = [[Gaurav Shumsher JB Rana]]
| succeeded1 = [[Purna Chandra Thapa]]

| serviceyears = 1978–2018
| rank = [[File:US-O10 insignia.svg|30px]] General
| commands = Rajdal Battalion, Jagadal Battalion, No. 7th Brigade, No. 3 Brigade, Mid Division
| battles = Counter Insurgency and Various Peace Support Operations
| awards =
| signature =
}}
General '''Rajendra Chhetri''' ({{langx|ne|राजेन्द्र क्षत्री}};<ref name="armypress"/> [[IAST]]:'''rājendra kṣatrī''') born 15 November 1960) is a Nepali military officer and former [[Chief of Army Staff (Nepal)|Chief of Army Staff]] of the [[Nepalese Army]],<ref>{{Cite web|url=http://timesofindia.indiatimes.com/world/south-asia/Nepal-army-chief-leaves-on-China-visit/articleshow/51571835.cms|title=Nepal army chief leaves on China visit|website=The Times of India| date=27 March 2016| access-date=2016-04-27 |archive-url=https://timesofindia.indiatimes.com/world/south-asia/Nepal-army-chief-leaves-on-China-visit/articleshow/51571835.cms| archive-date=27 March 2016}}</ref><ref name="ekantipur">{{Cite web|url=http://kathmandupost.ekantipur.com/news/2016-03-27/army-chief-leaves-for-china-today.html|title=Army chief leaves for China today|website=kathmandupost.ekantipur.com| date=27 March 2016| access-date=2016-04-27}}</ref> He was conferred [[Title of honor|Honorary]] General of the [[Indian Army]].<ref>{{Cite web|url=https://thehimalayantimes.com/nepal/nepal-army-chief-conferred-honorary-rank-from-india-president/|title = Nepal Army chief conferred honorary rank of general in India|date = 3 February 2016| website=thehimalayantimes.com}}</ref>

==Career==
Chhetri joined the Nepal Army as a lieutenant on October 24, 1978,<ref name="coas"/> and was commissioned into the Rajdal Battalion from Kharipati.{{cn| date=February 2022}}
He completed war-college from the United States. He was promoted to major general in November 2011, and to lieutenant general in February 2015.<ref name="coas"/>
He assumed office of the Chief of Army Staff on 10 September 2015, following the retirement of General [[Gaurav Shumsher JB Rana]].<ref name="chief">{{Cite web|url=https://thehimalayantimes.com/kathmandu/prez-appoints-gen-rajendra-chhetri-as-new-army-chief/|title=Prez appoints Gen Rajendra Chhetri as new army chief|date=11 September 2015 |work=Himalayan News Service}}</ref>

==Family==
He was born in 1960<ref name="coas">{{cite web| url=http://kathmandupost.ekantipur.com/news/2015-02-25/chhetri-to-be-next-coas.html |title=Chhetri to be next CoAS| author=Binod Ghimire| date=25 February 2015| access-date=5 February 2022| website=kathmandupost.com}}</ref> as the second son of Colonel Gopal Bahadur Khatri Kshatri and Pramila Kshatri in Dudhekuna village, [[Chok Chisapani]] VDC of [[Tanahun District]].<ref name="nayabato">{{cite web| url=http://www.nayabato.com/archives/44936| archive-url=https://web.archive.org/web/20170411233116/http://nayabato.com/archives/44936| archive-date=11 April 2017| title=महारथी श्री राजेन्द्र क्षत्री प्रधान सेनापति को संक्षिप्त जीवनी| website=nayabato.com}}</ref><ref name="chief"/> He is married to Rita Chhetri.<ref name="ekantipur"/>

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

{{s-start}}
{{s-mil}}
|-
{{s-bef|before=[[Gaurav Shumsher JB Rana]]}}
{{s-ttl|title=Chief of Army Staff of the [[Nepali Army]]|years=2015–2018}}
{{s-aft|after=[[Purna Chandra Thapa]]}}
{{s-end}}

{{DEFAULTSORT:Chhetri, Rajendra}}
[[Category:Living people]]
[[Category:1960 births]]
[[Category:Nepalese generals]]
[[Category:People from Tanahun District]]

{{Nepal-bio-stub}}

Montessori in India

2025-10-25T14:55:03Z

Surendra Sharma: done

{{Short description|Growth of Montessori in India}}
{{Multiple issues|
{{more citations needed|date=December 2011}}
{{primary sources|date=December 2011}}
{{essay-like|date=December 2011}}
}}

[[Montessori education]] in India has grown in popularity since [[Maria Montessori]], founder of the [[Montessori method]], was forced to stay in [[India]] during [[World War II]], from 1939–1946.

==History==
Prior to [[Maria Montessori]]'s arrival in India, [[Rabindranath Tagore]] and [[Mahatma Gandhi]] were aware of her pedagogical method.<ref name="mon ref1">{{cite news |title=Cosmic learning takes off: rise in Montessori education system |url=https://www.thehindu.com/education/cosmic-learning-takes-off/article31067349.ece |access-date=17 October 2021 |publisher=thehindu.com |date=14 March 2020}}</ref> By 1929, Tagore had founded many "Tagore-Montessori" schools in India (including at [[Shantiniketan]]), and Indian interest in Montessori education was strongly represented at the International Congress in 1929.<ref>{{Cite book|last=Kramer|first=Rita|title=Maria Montessori: A Biography|publisher=University of Chicago Press|year=1976|isbn=0201092271|location=Chicago, Illinois|pages=306–307}}</ref>

Montessori's work in India began with her arrival there in 1939.<ref name="mon ref2" /><ref name="mon ref3">{{cite news |last1=peter |first1=petlee |title=The forgotten pioneer of children |url=https://timesofindia.indiatimes.com/city/bengaluru/the-forgotten-pioneer-of-childrens-education/articleshow/78088069.cms |access-date=17 October 2021 |publisher=indiatimes |date=13 September 2020}}</ref> Montessori education was established in India in the form of preschools and schools that are now affiliated with [[Association Montessori Internationale]].<ref>{{Cite journal|last=Pattnaik|first=Jyotsna|date=September 1996|title=Early childhood education in India: History, trends, issues, and achievements|journal=Early Childhood Education Journal|volume=24|issue=1|pages=11–16|doi=10.1007/bf02430544|s2cid=144072332|issn=1082-3301}}</ref> Maria Montessori was responsible for the creation of a teacher training centre in the neighbourhood of [[Adyar, Chennai|Adyar]], Madras (present-day Chennai).<ref>{{Cite journal|last1=Khan|first1=Tabassum|last2=Khan|first2=Waseem Ahmad|date=2018-12-29|title=PRE-PRIMARY EDUCATION: GROWTH AND DEVELOPMENT IN INDIA|url=https://researchersguild.eu/index.php/rg/article/view/486|journal=Researchers' Guild|language=en|volume=1|issue=2|pages=13|doi=10.15503/rg.v1i2.486|issn=2545-1952}}</ref> Her work continued on in India through her designated representatives, Albert M. Joosten and S. R. Swamy, before spreading further.

In 1939, [[George Arundale]] and [[Rukmini Devi Arundale]], leaders of the [[Theosophical Society]], extended an invitation to the 69-year-old Montessori.<ref name="mon ref2">{{cite news |title=Those Were The Days: Recollecting Maria Montessori's momentous years in Madras |url=https://www.dtnext.in/News/City/2019/03/03043841/1108945/Those-Were-The-Days-Recollecting-Maria-Montessoris-.vpf |archive-url=https://web.archive.org/web/20211017023858/https://www.dtnext.in/News/City/2019/03/03043841/1108945/Those-Were-The-Days-Recollecting-Maria-Montessoris-.vpf |url-status=dead |archive-date=October 17, 2021 |access-date=17 October 2021 |publisher=DTNext.in |date=3 March 2019}}</ref> She accepted the invitation and reached India the same year. She made [[Adyar, Chennai]] her home<ref name="mon ref2" /> and lived there along with her son, [[Mario M. Montessori]]. The Montessorians, Gool Minwala, Tehmina Wadia and Khurshed Taraporewala were students in the first training at Adyar.

In 1940, when India entered [[World War II]], Montessori and her son were interned as [[enemy alien]]s in India,<ref name="mon ref2" /> but despite this Maria was allowed to conduct training courses. Sixteen courses were conducted during this time, creating a very strong base for the method. She also had her own school in [[Kodaikanal]] for this duration. In 1947, she went back to Europe for a brief period. Montessori returned to India for a second time the same year to conduct a few more courses in [[Chennai]], [[Pune]], [[Ahmedabad]] and [[Karachi]]. The Montessoris then returned to Europe, leaving [[Albert Max Joosten]] as their representative in India. Maria Montessori died in 1952 in the Netherlands at the age of 81.

== Modern day Montessori education in India ==
Unlike many Montessori learning centers, only a few authentic Montessori schools in India abide by the mixed age group procedure. This method allows older children to assist in guiding the younger children in their groups. Groups are based upon interest and experiences rather than the capability or skill of a student.<ref>{{Cite journal|author=Shivakumara, K|author2=Dhiksha, J|author3=Nagaraj, O|date=2016|title=Efficacy of Montessori and traditional method of education on self-concept development of children|journal=International Journal of Educational Policy Research and Review|volume=3|pages=29–35|via=Google Scholar}}</ref> [[File:Farming Integration with Montessori.jpg|thumb|alt=Farming_Integration_with_Montessori|A simple Urban Farm Integration Model at Hive Montessori School Chennai]]

In an essay from 1996, Carolyn Cottom notes that the school's objective is to prepare its students for the complex issues of society that occur at the global level. Students are taken to visit the various places of worship in India. They are also taught about peace education; students learn that '[[the Golden Rule]]' is a concept that is often taught across all world religions. Furthermore, the teacher's role is not only to teach subjects to students but to act as a mentor in the child's spiritual journey.<ref>{{Cite journal|last=Cottom|first=Carolyn|date=1996|title=In India/A bold experiment in teaching values|url=https://digitalcommons.unomaha.edu/slceinternational/1|journal=Exemplary Curriculums|volume=53|issue=8|pages=54–58}}</ref><ref>{{Cite journal|last=Duckworth|first=Cheryl|date=March 2006|title=Teaching peace: a dialogue on the Montessori method|journal=Journal of Peace Education|language=en|volume=3|issue=1|pages=39–53|doi=10.1080/17400200500532128|s2cid=144242278|issn=1740-0201}}</ref>

==References==
{{Reflist}}

[[Category:Education in India]]
[[Category:Montessori education|India]]

Vogue Institute of Art And Design

2025-10-17T15:35:52Z

Surendra Sharma: Redirect page

#REDIRECT [[Bengaluru North University#Vogue Institute of Art & Design]]

{{R from merge}}
{{R to section}}

Mistri (caste)

2025-10-13T05:06:07Z

Surendra Sharma:

{{Short description|Hindu caste in Gujarat, India}}
The '''Mistri''' (or '''Mistry''') are a [[Hindu]] [[Vishwakarma community|Vishwakarma]] caste found in India.

==Castes known as Mistri==

There are two different casts by the same name:

*Mistri - which are now identified as [[Kutch Gurjar Kshatriya]], a community originally from [[Kutch]], are however known in Gujarat Government listed as Mistri, the term used for community since 15th century.
*Mistri Suthar - which is another name of [[Suthar]] community of Gujarat.

==Mistris==

{{main|Kutch Gurjar Kshatriya}}

The [[Mistris]] (also known as Kutch Gurjar Kshatriyas) are a community of [[Kutch]] who migrated into Kutch in the early 7th century from [[Rajasthan]], to [[Saurashtra (region)|Saurashtra]] region of [[Gujarat]]. In the 12th century they entered Kutch and established themselves at [[Dhaneti]], later moving on to establish eighteen villages given to them by the then rulers of Kutch.<ref name=":0">{{Cite book |last=Baitade |first=G. b |url=http://archive.org/details/in.ernet.dli.2015.494949 |title=Amchi Jata. |date=1916}}</ref><ref>[http://www.chawra.com/kgk/history2.htm Kutch Gujar Kshatriyas, History & names of their 18 Villages]</ref><ref>{{Cite web |url=http://www.expressindia.com/latest-news/Sinougra-houses-no-longer-live-up-to-their-claim-to-fame/274190/ |title=Press Report after earthquake Giving details of Villages, Art & Skills of Mistris of Kutch |access-date=31 July 2012 |archive-url=https://archive.today/20120731095454/www.expressindia.com/latest-news/Sinougra-houses-no-longer-live-up-to-their-claim-to-fame/274190/ |archive-date=31 July 2012 |url-status=dead |df=dmy-all }}</ref><ref>{{Cite web |url=http://www.expressindia.com/news/ie/daily/20010312/ina12017.html |title=Press Report on Houses, History of Mistiris of Kutch |access-date=30 September 2013 |archive-url=https://web.archive.org/web/20121220074425/http://www.expressindia.com/news/ie/daily/20010312/ina12017.html |archive-date=20 December 2012 |url-status=dead |df=dmy-all }}</ref><ref>{{Cite web |url=http://www.docstoc.com/docs/6135227/Kachchh |title=Kutch Gurjar Kshatriyas |access-date=31 October 2009 |archive-url=https://web.archive.org/web/20110710143114/http://www.docstoc.com/docs/6135227/Kachchh |archive-date=10 July 2011 |url-status=dead |df=dmy-all }}</ref><ref>[http://www.india9.com/i9show/Gurjar-Kshatriyas-36231.htm Gurjar Kshatriyas, also known as Mistris, came to Kutch from Rajasthan. They are skilled in building construction. They first established themselves at Dhaneti and were granted 18 villages by the rulers of Kutch. They are famous designers and developers of buildings and bridges]</ref>

They are a minority [[Hindu]] [[Gurjar]] Community of [[Gujarat]] and involved primarily in the building of forts, historical monuments, buildings of the [[Princely State of Cutch]] and railway lines and bridges.<ref>[{{Cite web |url=http://www.expressindia.com/latest-news/Sinougra-houses-no-longer-live-up-to-their-claim-to-fame/274190/ |title=village, one of the 18 of the 'mistry gams' or craftsmen villages scattered in Anjar and Mundra Talukas, has now nothing to show that it was once the home to some of Kutch's finest artisans.] |access-date=2010-10-20 |archive-url=https://web.archive.org/web/20120930182039/http://www.expressindia.com/latest-news/Sinougra-houses-no-longer-live-up-to-their-claim-to-fame/274190/ |archive-date=2012-09-30 |url-status=dead }}</ref><ref>[{{Cite web |url=http://www.expressindia.com/news/ie/daily/20010312/ina12017.html |title=Sinogra is known as the 'Pride of Kutch'. At least it was until January 26. The killer-temblor has taken down with it this unique village created more than a century ago by 'mistris' or masons with a plan that would make modern town developers blush.] |access-date=2011-01-19 |archive-url=https://web.archive.org/web/20121220074425/http://www.expressindia.com/news/ie/daily/20010312/ina12017.html |archive-date=2012-12-20 |url-status=dead }}</ref> This caste is also known as [[Kumawat]] in Rajasthan.<ref name=":0" />

==Mistri Suthar==
{{main|Suthar}}

The [[Suthar]] community of Gujarat are also called as Mistris or Gurjar Mistri Suthar. They are a [[Hindu]] community belonging to the [[Vishwakarma]] group involved largely in [[carpenter|carpentry works]] but also work as mason, sometimes, hence they call themselves as Mistri Suthar

==See also==

* [[Mistri]]
* [[Mistry (disambiguation)|Mistry]]
* [[Mistry (surname)]]

==References==
{{Reflist}}

{{Social groups of Gujarat}}

{{DEFAULTSORT:Mistri (Caste)}}
[[Category:Ethnic groups in India]]
[[Category:Social groups of Gujarat]]
[[Category:Tribes of Kutch]]
[[Category:Indian castes]]
[[Category:Hindu communities]]
[[Category:Gurjar]]

Shri Shankaracharya Engineering College

2025-10-06T23:22:28Z

Surendra Sharma: put up the entry nd citations...

{{Short description|Engineering college in Chhattisgarh, India}}
{{Use dmy dates|date=October 2018}}
{{Use Indian English|date=October 2018}}
{{Infobox university
| motto =
| mottoeng =
| name = Shri Shankaracharya Engineering College Bhilai
| image = |
| type = Private
| established = 2007
| affiliations = [[Chhattisgarh Swami Vivekanand Technical University]](CSVTU)
| president = Mr. I.P. Mishra
| director = Dr P.B. Deshmukh
| principal = Mrs. Smita selat
| deputy director =
| undergrad =
| postgrad =
| Faculty =
| alumni =
| free_label = Acronym
| free = SSEC
| city = [[Bhilai]], [[Durg]]
| state = [[Chhattisgarh]]
| country = [[India]]
| colors =
| coordinates =
| campus = SSTC
| website = [http://www.ssecb.ac.in www.ssecb.ac.in]
}}
The '''Shri Shankaracharya Engineering College''' (SSEC) is a private engineering college in [[Chhattisgarh]], India. The college offers education in [[Bachelor of Engineering]] and [[MBA]].

==History==
The college, established in 2007, is the second engineering college added to the chain of college/schools managed by SGES, following [[Shri Shankaracharya College of Engineering and Technology]].<ref>{{Cite web | title=Welcome to Shri Shankaracharya Engineering College Bhilai | url=http://www.ssecb.ac.in/Principals_desk.html | archive-url=https://web.archive.org/web/20130709042047/http://www.ssecb.ac.in:80/Principals_desk.html | access-date=2024-12-29 | archive-date=2013-07-09}}</ref>

==See also==
* [[Shri Shankaracharya College of Engineering and Technology]]
* Shri Gangajali Education Society
* [[Chhattisgarh Swami Vivekanand Technical University]]

==References==
{{Reflist}}

==External links==
* [http://www.ssecb.ac.in/ SSEC home page]
{{Chhattisgarh Swami Vivekanand Technical University}}
{{coord missing|Chhattisgarh}}

{{DEFAULTSORT:Shri Shankaracharya Engineering College}}
[[Category:Engineering colleges in Chhattisgarh]]
[[Category:Education in Bhilai]]
[[Category:Universities and colleges established in 2007]]
[[Category:2007 establishments in Chhattisgarh]]

Palakkad South

2025-10-01T00:24:57Z

Surendra Sharma: done

{{Use dmy dates|date=September 2018}}
{{Use Indian English|date=October 2022}}
{{Infobox settlement
| name = Palakkad South
|image_skyline = Chandranagar Roundabout.jpg
|image_caption =Chandranagar roundabout
| coordinates = {{coord|11.14135|75.82970|display=inline}}
| subdivision_type = Country
| subdivision_name = [[India]]
| subdivision_type1 = State
| subdivision_name1 = [[Kerala]]
| population_demonym = Palakkadan
| demographics_type1 = Language
| demographics1_title1 = Official
| demographics1_info1 = [[Malayalam language|Malayalam]]
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = Postal Index Number
| postal_code = 678 xxx
| area_code = [[Telephone numbers in India|+91-(0)491]]
| registration_plate = KL-09
}}
Palakkad South is a region in [[Palakkad]] city consisting of the southern suburbs of the city.<ref>{{Cite news |author=Staff Reporter |date=2021-02-04 |title=CM opens OP wing of Palakkad MCH |language=en-IN |work=The Hindu |url=https://www.thehindu.com/news/national/kerala/cm-opens-op-wing-of-palakkad-mch/article33751983.ece |access-date=2022-10-07 |issn=0971-751X}}</ref> [[Kanjikode|Kanjikode Industrial Area]], the second largest industrial area in [[Kerala]] after [[Kochi]] forms part of Palakkad South.<ref>{{Cite web |agency=TNN|date=28 Apr 2021 |title=Kerala: Kanjikode becoming a medical oxygen hub {{!}} Kochi News - Times of India |url=https://timesofindia.indiatimes.com/city/kochi/kanjikode-becoming-a-medical-oxygen-hub/articleshow/82280476.cms |access-date=2022-10-07 |website=The Times of India |language=en}}</ref><ref>{{Cite web |title=Kerala intensifies land acquisition for Kochi Bangalore Industrial Corridor |url=https://www.onmanorama.com/news/kerala/2022/08/21/kochi-bangalore-industrial-corridor-kerala.html |access-date=2022-10-07 |website=OnManorama}}</ref> [[IIT Palakkad|Indian Institute of Technology, Palakkad]], first and the only [[Indian Institute of Technology]] in Kerala also forms part.<ref>https://iitpkd.ac.in/</ref> South police station is located at Kunnathurmedu.<ref>{{Cite web |title=Official Website of Palakkad - Town South Police Station |url=https://palakkad.keralapolice.gov.in/page/town-south-police-station |access-date=2022-10-07 |website=palakkad.keralapolice.gov.in}}</ref><ref>{{Cite web |title=Pincode of SOUTH POLICE STATION KUNNATHURMEDU PALAKKAD KERALA 678013 Pincode.net.in |url=https://pincode.net.in/south-police-station-kunnathurmedu-palakkad-kerala-678013 |access-date=2022-10-07 |website=pincode.net.in}}</ref>

==Suburbs==
*[[Chandranagar, Palakkad|Chandranagar]]
*[[Yakkara|East Yakkara]]
*[[Manapullikavu]]
*[[Marutharode]]
*[[Nurani]]
*[[Kanjikode]]
*[[Kunnathurmedu]]
*[[Pudussery West]]
*[[Pudussery Central]]
*[[Thirunellai]]
*[[Vennakkara]]
*[[Yakkara|West Yakkara]]

==Institutions==
*[[IIT Palakkad|Indian Institute of Technology, Palakkad]]
*[[Government Medical College, Palakkad]]
*[[Ahalia Health Heritage and Knowledge Village|Ahalia Edu-Health Campus, Palakkad]]

==Facilities==
Map view of facilities in and around Palakkad <ref>{{cite web|url=https://www.google.com/maps/d/edit?mid=1zOLHgGuZQnZrN7d1PPs1RZ0irnHyUJ4&usp=sharing |title=Map View of Facilities in and around Palakkad}}</ref>

==Things to Do==
Map view of things to do in and around palakkad <ref>{{cite web|url=https://www.google.com/maps/d/edit?mid=1jolv005WlHGEy3jPOzCmGNMhS-sGFGM&usp=sharing |title=Map View of Things to do in and around Palakkad}}</ref>

==See also==
[[Palakkad North]]

==References==
{{Reflist}}
<ref>{{cite news | url=https://www.thehindu.com/news/national/kerala/palakkad-iit-to-start-functioning-from-august/article7152810.ece | title=Palakkad IIT to start functioning from August | newspaper=The Hindu | date=28 April 2015 | last1=Shaji | first1=K. a. }}</ref>
<ref>https://ilpgt.com/</ref>
<ref>{{cite news | url=https://www.thehindu.com/news/national/kerala/High-hopes-for-Palakkad%E2%80%99s-industrialisation/article12305468.ece | title=High hopes for Palakkad's industrialisation | newspaper=The Hindu | date=15 January 2013 }}</ref>

[[Category:Palakkad| ]]
[[Category:Suburbs of Palakkad]]
[[Category:Cities and towns in Palakkad district]]

{{Palakkad district}}

Jazz in India

2025-09-04T16:57:54Z

Surendra Sharma: quick update

{{Short description|Indian music genre}}
{{Indian music|expanded=Genres}}
'''Jazz music in India''' originated in the 1920s in [[Mumbai]] (formerly known as Bombay) and in [[Kolkata]] (formerly known as Calcutta), where African-American jazz musicians performed.<ref>{{Cite web|url=http://www.kahajaun.com/delhi/events/172/8th-international-jazz-festival-delhi/|title = 8th International Jazz Festival Delhi 2019|date = 6 October 2018}}</ref> They inspired Goan musicians who then absorbed aspects of jazz into the sounds of India’s [[Hindi film music]] industry. There has been much interaction between Indian music and jazz music. An active jazz scene exists today in cities like [[Mumbai]] (formerly known as Bombay), [[Pune]], [[Delhi]], [[Goa]], and Kolkata.

==History==
In India, [[jazz]] was probably first performed regularly in the metropoles [[Calcutta]] and [[Bombay]] in the early or middle 1920s.<ref>{{cite web |author=Sahar Adil |url=http://www.mybangalore.com/article/0809/jazz-music-and-india-by-madhav-chari-.html |title=Jazz Music and India, By Madhav Chari |publisher=Mybangalore.com |date=2009-08-10 |access-date=2012-07-17 |archive-date=2020-11-28 |archive-url=https://web.archive.org/web/20201128041813/http://www.mybangalore.com/article/0809/jazz-music-and-india-by-madhav-chari-.html |url-status=dead }}</ref><ref>{{Cite book|title=American Popular Music in Britain's Raj|last=Shope|first=Bradley|publisher=University of Rochester Press|year=2016|isbn=9781580465489|location=Rochester, NY|pages=63}}</ref> The era from the 1930s to the 1950s is often called as the golden age of jazz in India. It began with jazz musicians like [[Leon Abbey]], Crickett Smith, Creighton Thompson, Ken Mac, Roy Butler, [[Teddy Weatherford]] (who recorded with [[Louis Armstrong]]), and Rudy Jackson who toured India to avoid the racial discrimination they faced in the United States.<ref>Taj Mahal Foxtrot: The Story of Bombay's Jazz Age, Naresh Fernandes, 2012, {{ISBN|9788174367594}}</ref> In the winter of 1935, Leon Abbey, a violinist from [[Minnesota]] brought the first 8-piece band to Bombay.<ref>{{Cite web |url=http://www.afropop.org/wp/8489/hip-deep-interview-naresh-fernandes-on-bombays-jazz-age/ |title=HIP DEEP INTERVIEW: Naresh Fernandes on Bombay's Jazz Age • Hip Deep • Afropop Worldwide |access-date=2013-08-09 |archive-url=https://web.archive.org/web/20130708094023/http://www.afropop.org/wp/8489/hip-deep-interview-naresh-fernandes-on-bombays-jazz-age/ |archive-date=2013-07-08 |url-status=dead }}</ref>

In the 1930s, India’s freedom struggle against the British had reached a crucial stage. Bombay was a rising metropolis. There was also a great sense of political freedom, which was being transmitted into the arts. The ballrooms of five-star hotels and in the nightclubs of major Indian cities were jazz centres. As nationalism swept the country, these venues became the refuge of the European and Indian elite, the aristocrats, the moneyed and the public servants. During this period, musicians such as [[Chic Chocolate]], [[Frank Fernand]], [[Micky Correa]],<ref>{{Cite web |date=2012-11-10 |title=Mickey Correa – Taj Mahal Foxtrot |url=https://www.tajmahalfoxtrot.com/tag/mickey-correa/ |access-date=2023-10-22 |language=en-US}}</ref> Rudy Cotton, Hal and Henry Green, Josic Menzie, Pamela McCarthy, and [[Chris Perry (musician)|Chris Perry]] were at the forefront of the burgeoning jazz scene in [[Bombay]], the nerve center of which was at the [[Taj Mahal Palace & Tower|Taj Mahal hotel]] ballroom, which became the node of essential transmission of cultural messages between East and West. These musicians often played at five-star hotels, but they were regulars at the second level, at the Ambassador Starlight Roof Gardens, the Bristol Grill, the Dadar Catholic Institute, the Greens Hotel, the Ritz Roof Garden, the West End Hotel Roof Garden and the YMCA. Many of these musicians were [[Goa]]ns, because Goans learnt western music under [[Portugal|Portuguese]] rule. Most of the Goan jazz musicians also [[Goans in Hindi film music composition|worked in the Bollywood film industry]] and were responsible for the introduction of genres like jazz and swing to Hindi film music. Although jazz in India began as an entertainment for the elite, it made its way to the working class and into Hindi films. Frank Fernand and [[Anthony Gonsalves]] not only infused the sound of western music into Bollywood, but were also filled with India's new-found nationalism and developed an authentic foundation to link the world of jazz with that of Indian classical music.<ref>{{cite web|url=http://www.frontlineonnet.com/fl2906/stories/20120406290607300.htm |title=The Indian jazz age |publisher=Frontlineonnet.com |date=2012-04-06 |access-date=2012-07-17 |url-status=dead |archive-url=https://web.archive.org/web/20120411020314/http://www.frontlineonnet.com/fl2906/stories/20120406290607300.htm |archive-date=2012-04-11 }}</ref> The jazz fraternity was also a melting pot of people of different communities because there were Goans, [[Anglo-Indians]] and people from other communities like Rudy Cotton who was a [[Parsi]].

==Indo jazz==
{{see also|Indo jazz|Sitar in jazz}}

Jazz and [[Indian classical music]] share some similarities, one of them being that they both involve improvisation. Musicians realised this and collaborations between Indian classical musicians and [[Western world|Western jazz]] musicians which had commenced in the 1940s led to the development of a new genre of music called [[Indo jazz]] consisting of jazz, classical and Indian influences. [[Ravi Shankar]], [[John Coltrane]], [[John Mayer (composer)|John Mayer]] and [[John McLaughlin (musician)|John McLaughlin]] were some of the pioneers of the fusion of jazz and Indian music.<ref>{{cite web|url=http://www.congosquarejazz.com/Indian_Music___Jazz.pdf |title=Indian Music and Jazz: Reflections of Form |author=Satyajit Roychaudhury |access-date=2012-07-17}}</ref><ref>{{cite web|url=https://timesofindia.indiatimes.com/entertainment/music/news-and-interviews/All-about-Jazz/articleshow/5059085.cms |archive-url=https://web.archive.org/web/20131105105056/http://articles.timesofindia.indiatimes.com/2009-09-26/news-and-interviews/28070107_1_jazz-isham-jones-charlie-parker |url-status=live |archive-date=2013-11-05 |title=All about 'Jazz' |date=2009-09-26 |work=[[The Times of India]] |access-date=2012-07-17}}</ref> Conversely, Indian classical music has also had a significant impact on a subgenre of jazz music known as [[free jazz]].<ref>{{cite web|last=Rossi |first=Marc |url=http://raincomputers.com/pro/music-education/the-influence-of-indian-music-on-jazz/ |title=The Influence of Indian Music on Jazz | The Current |publisher=Rain Computers |date=2003-03-29 |access-date=2012-07-17}}</ref><ref>{{cite web|url=http://www.rootsworld.com/rw/feature/redd_india.html |title=Jazz and the Subcontinent |publisher=Rootsworld.com |access-date=2012-07-17}}</ref>

==References==
{{Reflist}}

==External links==
* [https://web.archive.org/web/20120127061628/http://www.bbc.co.uk/news/magazine-16740486 BBC audio slideshow] about the jazz age in [[Bombay]] and Chic Chocolate

== Further reading ==
* Bradley Shope. ''American Popular Music in Britain's Raj''. Rochester, NY: University of Rochester Press, 2016 {{ISBN|9781580465489}}.

{{Jazz}}

[[Category:Music of India]]
[[Category:Indian styles of music]]
[[Category:Indian jazz]]

Kushan art

2025-07-12T10:08:38Z

Surendra Sharma: Data

{{Short description|Art of the Kushan Empire}}
{{Use dmy dates|date=May 2021}}
{{multiple image
| align = right
| direction =vertical
| header=Kushan art
| total_width=250
| caption_align = center
| image1 = Kanishka enhanced.jpg
| caption1 = Statue of Kushan emperor [[Kanishka I]] in long coat and boots, holding a [[Mace (bludgeon)|mace]] and a [[sword]], in the [[Mathura Museum]]. An inscription runs along the bottom of the coat.
| image2 = Kanishka statue inscription.jpg
| caption2 = The inscription is in middle [[Brahmi script]]: [[File:Gupta ashoka m.svg|12px]] [[File:Gupta ashoka haa.jpg|14px]] [[File:Gupta allahabad raa.jpg|10px]] [[File:Gupta ashoka j.svg|12px]] [[File:Gupta allahabad raa.jpg|10px]] [[File:Gupta ashoka j.svg|12px]] [[File:Gupta allahabad dhi.jpg|10px]] [[File:Gupta allahabad raa.jpg|10px]] [[File:Gupta ashoka j.svg|12px]] [[File:Gupta ashoka d.svg|12px]] [[File:Gupta ashoka v.svg|12px]][[File:Gupta ashoka pu.jpg|12px]][[File:Gupta ashoka tr.jpg|12px]] [[File:Gupta ashoka kaa.svg|14px]][[File:Gupta ashoka nni.jpg|14px]][[File:Gupta ashoka ssk.jpg|16px]] ''Mahārāja Rājadhirāja Devaputra Kāṇiṣka'' "The Great King, King of Kings, Son of God, Kanishka".<ref name="India under the Kushāṇas">{{cite book |last1=Puri |first1=Baij Nath |title=India under the Kushāṇas |date=1965 |publisher=Bharatiya Vidya Bhavan |url=https://books.google.com/books?id=bxZuAAAAMAAJ |language=en}}</ref> [[Mathura art]], [[Mathura Museum]]
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'''Kushan art''', the art of the [[Kushan Empire]] in northern India, flourished between the 1st and the 4th century CE. It blended the traditions of the [[Greco-Buddhist art]] of [[Gandhara]], influenced by [[Hellenistic]] artistic canons, and the more Indian [[Mathura art|art of Mathura]].<ref name="AH">{{cite book |last1=Stokstad |first1=Marilyn |last2=Cothren |first2=Michael W. |title=Art History (5th Edition) Chapter 10: Art Of South And Southeast Asia Before 1200 |date=2013 |publisher=Pearson |isbn=978-0205873487 |pages=[https://archive.org/details/ArtHistory5thEditionCH10ArtOfSouthAndSoutheastAsiaBefore1200/page/n12 306]–308 |url=https://archive.org/details/ArtHistory5thEditionCH10ArtOfSouthAndSoutheastAsiaBefore1200 |language=English}}</ref> Kushan art follows the [[Hellenistic art]] of the [[Greco-Bactrian Kingdom]] as well as [[Indo-Greek art]] which had been flourishing between the 3rd century BCE and 1st century CE in [[Bactria]] and northwestern [[India]], and the succeeding [[Indo-Scythian art]]. Before invading northern and central India and establishing themselves as a full-fledged empire, the Kushans had migrated from northwestern [[China]] and occupied for more than a century these [[Central Asia]]n lands, where they are thought to have assimilated remnants of Greek populations, Greek culture, and [[Greek art]], as well as the languages and scripts which they used in their coins and inscriptions: [[Greek language|Greek]] and [[Bactrian language|Bactrian]], which they used together with the Indian [[Brahmi script]].<ref>{{cite book |last1=Holt |first1=Frank Lee |title=Thundering Zeus: The Making of Hellenistic Bactria |date=1999 |publisher=University of California Press |isbn=9780520920095 |page=136 |url=https://books.google.com/books?id=RZGi_RRZ6EIC&pg=PA136 |language=en}}</ref>

With the demise of the Kushans in the 4th century CE, the Indian [[Gupta Empire]] prevailed, and [[Gupta art]] developed. The Gupta Empire incorporated vast portions of central, northern, and northwestern India, as far as [[Punjab]] and the [[Arabian Sea]], continuing and expanding on the earlier artistic tradition of the Kushans and developing a unique Gupta style.<ref>{{cite book |last1=Duiker |first1=William J. |last2=Spielvogel |first2=Jackson J. |title=World History |date=2015 |publisher=Cengage Learning |isbn=9781305537781 |page=279 |url=https://books.google.com/books?id=hqKaBAAAQBAJ&pg=PT279 |language=en}}</ref><ref>{{cite book |last1=Mookerji |first1=Radhakumud |title=The Gupta Empire |date=1997 |publisher=Motilal Banarsidass Publ. |isbn=9788120804401 |page=143 |url=https://books.google.com/books?id=uYXDB2gIYbwC&pg=PA142 |language=en}}</ref><ref>{{cite book |last1=Gokhale |first1=Balkrishna Govind |author-link=Balkrishna Govind Gokhale |title=Ancient India: History and Culture |date=1995 |publisher=Popular Prakashan |isbn=9788171546947 |pages=171–173 |url=https://books.google.com/books?id=AOiBLjroszoC&pg=PA172 |language=en}}</ref><ref>{{cite book |last1=Lowenstein |first1=Tom |title=The Civilization of Ancient India and Southeast Asia |date=2012 |publisher=The Rosen Publishing Group, Inc |isbn=9781448885077 |page=53 |url=https://books.google.com/books?id=w5m5wyAvSq0C&pg=PA53 |language=en}}</ref>

==Dynastic art of the Kushans==
Some traces remain of the presence of the Kushans in the areas of [[Bactria]] and [[Sogdiana]]. Archaeological structures are known in [[Takht-I-Sangin]], [[Surkh Kotal]] (a monumental temple), and the palace of [[Khalchayan]]. Various sculptures and friezes are known representing horse-riding archers and, significantly, men with [[Artificial cranial deformation|artificially deformed skulls]], such as the Kushan prince of Khalchayan (a practice well attested in nomadic Central Asia).<ref name="RSC">{{cite journal |last1=Fedorov |first1=Michael |title=On the origin of the Kushans with reference to numismatic and anthropological data |journal=Oriental Numismatic Society |date=2004 |volume=181 |issue=Autumn |page=32 |url=http://orientalnumismaticsociety.org/JONS/Files/ONS_181.pdf |access-date=4 November 2019 |archive-date=6 October 2019 |archive-url=https://web.archive.org/web/20191006154907/http://orientalnumismaticsociety.org/JONS/Files/ONS_181.pdf |url-status=dead }}{{free access}}</ref>

===Khalchayan (1st century BCE)===
{{main|Khalchayan}}
{{multiple image|perrow=2|total_width=300|caption_align=center
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| header=Kushan art at Khalchayan (1st century BCE)
| image1 = Kalchayan Prince 2.jpg
| caption1 = Head of a [[Yuezhi]] prince (Khalchayan palace, [[Uzbekistan]]).<ref>{{cite book |title=KHALCHAYAN – Encyclopaedia Iranica |page=Figure 1 |url=http://www.iranicaonline.org/articles/khalchayan#prettyPhoto[content]/0/}}</ref><ref>{{cite web |title=View in real colors |url=http://warfare.tk/Ancient/Khaltchayan-Armour_bearer.htm |access-date=23 January 2020 |archive-date=10 June 2020 |archive-url=https://web.archive.org/web/20200610164034/http://warfare.tk/Ancient/Khaltchayan-Armour_bearer.htm |url-status=dead }}</ref>
| image2 = Scythian_soldier,_Kalchayan.jpg
| caption2 = Head of a [[Saka]] warrior, as a defeated enemy of the Yuezhi, Khalchayan.<ref>{{cite journal |last1=Abdullaev |first1=Kazim |title=Nomad Migration in Central Asia (in After Alexander: Central Asia before Islam) |journal=Proceedings of the British Academy |date=2007 |volume=133 |pages=87–98 |url=https://www.academia.edu/6864202 |language=en}}</ref><ref>{{cite book |title=Greek Art in Central Asia, Afghan – Encyclopaedia Iranica |url=http://www.iranicaonline.org/articles/greece-viii#prettyPhoto[content]/7/}}</ref><ref>[https://i.pinimg.com/originals/bf/c2/42/bfc242271c38d714044837d179faab53.jpg Also a Saka according to this source]</ref>
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The art of [[Khalchayan]] at the end of the 2nd-1st century BCE is probably one of the first known manifestations of Kushan art.<ref name="BR"/> It is ultimately derived from [[Hellenistic art]] and possibly from the art of the cities of [[Ai-Khanoum]] and [[Nisa, Turkmenistan|Nysa]].<ref name="BR"/> At Khalchayan, rows of in-the-round [[terracotta]] statues showed Kushan princes in dignified attitudes, while some of the sculptural scenes are thought to depict the Kushans fighting against the [[Saka]]s.<ref name="KA"/> The Yuezis are shown with a majestic demeanour, whereas the Sakas are typically represented with side-[[whiskers]], displaying expressive and sometimes grotesque features.<ref name="KA">"The knights in chain-mail armour have analogies in the Khalchayan reliefs depicting a battle of the Yuezhi against a Saka tribe (probably the Sakaraules). Apart from the chain-mail armour worn by the heavy cavalry of the enemies of the Yuezhi, the other characteristic sign of these warriors is long side-whiskers (...) We think it is possible to identify all these grotesque personages with long side-whiskers as enemies of the Yuezhi and relate them to the Sakaraules (...) Indeed these expressive figures with side-whiskers differ greatly from the tranquil and majestic faces and poses of the Yuezhi depictions." {{cite journal |last1=Abdullaev |first1=Kazim |title=Nomad Migration in Central Asia (in After Alexander: Central Asia before Islam) |journal=Proceedings of the British Academy |date=2007 |volume=133 |page=89 |url=https://www.academia.edu/6864202 |language=en}}</ref>

According to Benjamin Rowland, the styles and ethnic type visible in Kalchayan already anticipate the characteristics of the later [[Greco-Buddhist art|Art of Gandhara]] and may even have been at the origin of its development.<ref name="BR"/> Rowland particularly draws attention to the similarity of the ethnic types represented at Khalchayan, in the art of Gandhara, and in the style of portraiture itself.<ref name="BR">{{cite journal |last1=Rowland |first1=Benjamin |title=Graeco-Bactrian Art and Gandhāra: Khalchayan and the Gandhāra Bodhisattvas |journal=Archives of Asian Art |date=1971 |volume=25 |pages=29–35 |jstor=20111029 |issn=0066-6637}}</ref> For example, Rowland find a great proximity between [[:File:Kalchayan_Prince_(frontal).jpg|the famous head of a Yuezhi prince]] from Khalchayan, and the head of Gandharan [[Bodhisattva]]s, giving the example of [[:File:Gandhara,_testa_di_bodhisattva,_190-210_dc_ca..JPG|the Gandharan head of a Bodhisattva]] in the [[Philadelphia Museum of Art]].<ref name="BR"/> The similarity of the Gandhara Bodhisattva with the portrait of the Kushan ruler [[Heraios]] is also striking.<ref name="BR"/> According to Rowland, the Bactrian art of Khalchayan thus survived for several centuries through its influence in the art of Gandhara, thanks to the patronage of the [[Kushans]].<ref name="BR"/>

===Bactria and India (1st-2nd century CE)===
The Kushans favoured royal portraiture, as can be seen in their coins and dynastic sculptures.<ref name="AH306">{{cite book |last1=Stokstad |first1=Marilyn |last2=Cothren |first2=Michael W. |title=Art History 5th Edition CH 10 Art Of South And Southeast Asia Before 1200 |date=2014 |publisher=Pearson |isbn=978-0205873470 |pages=[https://archive.org/details/ArtHistory5thEditionCH10ArtOfSouthAndSoutheastAsiaBefore1200/page/n12 306]–308 |url=https://archive.org/details/ArtHistory5thEditionCH10ArtOfSouthAndSoutheastAsiaBefore1200 |language=English}}</ref> A monumental sculpture of King [[Kanishka I]] has been found in [[Mathura]] in northern India, which is characterized by its frontality and martial stance, as he holds firmly his sword and a mace.<ref name="AH306"/> His heavy coat and riding boots are typically nomadic Central Asian and are way too heavy for the warm climate of India.<ref name="AH306"/> His coat is decorated by hundreds of pearls, which probably symbolize his wealth.<ref name="AH306"/> His grandiose regnal title is inscribed with the [[Brahmi script]]: "The Great King, King of Kings, Son of God, Kanishka".<ref name="India under the Kushāṇas">{{cite book |last1=Puri |first1=Baij Nath |title=India under the Kushāṇas |date=1965 |publisher=Bharatiya Vidya Bhavan |url=https://books.google.com/books?id=bxZuAAAAMAAJ |language=en}}</ref><ref name="AH306"/>

As the Kushans gradually assimilated into Indian society, their attire became lighter and their depictions more natural, moving away from frontal representation. However, they still retained distinctive elements of their nomadic dress, including trousers, boots, heavy tunics, and robust belts.{{citation needed|date=May 2021}}

<gallery>
File:Heraios_profile.jpg|Early Kushan ruler [[Heraios]] (1–30 CE), from his coinage.
File:Panel with the god Zeus-Serapis-Ohrmazd and worshiper, ca 3rd century CE Kushan.jpg|Kushan worshiper with deity [[Zeus]]/ [[Serapis]]/ [[Ohrmazd]], [[Bactria]], 3rd century CE.<ref>{{cite web|title=Panel with the god Zeus/Serapis/Ohrmazd and worshiper|url=https://www.metmuseum.org/toah/works-of-art/2000.42.2/|website=www.metmuseum.org|publisher=Metropolitan Museum of Art}}</ref>
File:WimaKadphisesCoin.jpg|[[Vima Kadphises]] in full dress on his coinage in the Greek language, 1st century CE
File:Vima_Kadphises_statue_Mathura_Museum.jpg|Monumental statue of [[Vima Kadphises]], 1st century CE
File:Kushan king or prince.jpg|Kushan king or prince, said to be [[Huvishka]] (150–180 CE), [[Gandhara art]].<ref>{{cite journal|last1=Marshak|first1=Boris|last2=Grenet|first2=Frantz|title=Une peinture kouchane sur toile|journal=Comptes rendus des séances de l'Académie des Inscriptions et Belles-Lettres|date=2006|volume=150|issue=2|pages=257|doi=10.3406/crai.2006.87101 }}</ref>
File:Kushan ruler and attendants, Bactria 74-258 CE.jpg|Painting of a Kushan ruler (probably [[Huvishka]], seated) and attendants, Bactria, 74-258 CE.<ref>{{cite journal|last1=Marshak|first1=Boris|last2=Grenet|first2=Frantz|title=Une peinture kouchane sur toile|journal=Comptes rendus des séances de l'Académie des Inscriptions et Belles-Lettres|volume=150|issue=2|pages=947–963|url=https://www.academia.edu/24546293|language=en|issn=0065-0536|doi=10.3406/crai.2006.87101|year=2006 }}</ref>
</gallery>

==Art of Gandhara under the Kushans==
{{main|Greco-Buddhist art}}
[[File:Loriya Tangai standing Buddha.jpg|thumb|upright|Statues of the type of the [[Loriyan Tangai]] buddha, dated to 143 CE, during the reign of [[Kanishka I]]. The features are already rather late, and show a degeneration compared to [[:File:Gandhara_Buddha_(tnm).jpeg|more classical types]]: the drapery is already not as three-dimensional, and the head is large and broad-jawed.<ref>{{cite book |last1=Rhi |first1=Juhyung |title=Problems of Chronology in Gandharan Art |date=2018 |publisher=Archaeopress Archaeology |pages=40–41 |url=http://www.carc.ox.ac.uk/PublicFiles/media/Final%20e-version%20Problems%20of%20Chronology%20in%20Gandharan%20Art.pdf}}</ref>]]
Kushan art blended the traditions of the [[Greco-Buddhist art]] of [[Gandhara]], influenced by [[Hellenistic]] artistic canons, and the more Indian [[Mathura art|art of Mathura]].<ref name="AH"/> Most of the [[Greco-Buddhist art]] of Gandhara is thought to have been produced by the Kushans, starting from the end of the 1st century CE.<ref name="AH306"/>

The Kushans were eclectic in their religions, venerating tens of Gods from Iranian, Greek, or Indian traditions as can be seen on their coins.<ref name="AH306"/> It is thought that this tolerant religious climate, together with an openness towards visual arts encouraged the creation of innovative figural art in the [[Jain]], [[Buddhist]], and [[Brahmanic]] traditions.<ref name="AH306"/> The Buddha was only represented with symbols in earlier Indian art as in [[Sanchi]] or [[Bharhut]]. The first known representations of the Buddha seem to appear before the arrival of the Kushans, as shown with the [[Bimaran casket]], but Buddhist art undoubtedly flourished under their rule, and most of the known early statues of the Buddha dated to the period of the Kushans.<ref name="AH306"/>

The characteristics of early Kushan art in depicting the Buddha can be ascertained through the study of several statues bearing dated inscriptions. Some statues of the standing Buddha with inscriptions dating them to 143 CE, such as the [[Loriyan Tangai]] buddha, show that the features of that time are already rather late and somewhat degenerate compared to [[:File:Gandhara_Buddha_(tnm).jpeg|more classical types]]: the figure of the Buddha is comparatively more stout, shorter and broader, the drapery is already not as three-dimensional, and the head is large and broad-jawed.<ref>{{cite book |last1=Rhi |first1=Juhyung |title=Problems of Chronology in Gandharan Art |date=2018 |publisher=Archaeopress Archaeology |pages=40–41 |url=http://www.carc.ox.ac.uk/PublicFiles/media/Final%20e-version%20Problems%20of%20Chronology%20in%20Gandharan%20Art.pdf}}</ref>

Numerous Kushan devotees, with their characteristic Central Asia costume, can be seen on the Buddhist statuary of Gandhara and Mathura:

<gallery>
File:Gandhara, testa di bodhisattva, 190-210 dc ca..JPG|Head of a [[Bodhisattva]], said to reproduce the Kushan princely types seen in [[Khalchayan]]. [[Philadelphia Museum of Art]]<ref name="BR"/>
Cross-legged Bodhisattva, Mardan, Pakistan, Kushan dynasty, 100s-200s AD, schist - Tokyo National Museum - Tokyo, Japan.jpg|Maitreya, with Kushan devotee couple at his feet. 2nd century, [[Mardan]], [[Gandhara]].
Image:Kushans&Maitreya.JPG|Maitreya, with Kushan devotees, left and right. 2nd century Gandhara.
Image:Kanishka casket, Asia, G33 South Asia.jpg|The "[[Kanishka casket]]," with the Buddha surrounded by [[Brahma]] and [[Indra]], and [[Kanishka]] on the lower part, 127 CE.
File:Buddhist Triad Peshawar Museum.jpg|A seated Buddha triad from [[Sahr-i-Bahlol]], similar to the ''[[Brussels Buddha]]'', possibly dated to 132 CE.<ref name="GF">{{cite journal|last1=FUSSMAN|first1=Gérard|title=Documents Epigraphiques Kouchans|journal=Bulletin de l'École Française d'Extrême-Orient|date=1974|volume=61|pages=54–57|doi=10.3406/befeo.1974.5193|issn=0336-1519|jstor=43732476 }}</ref> [[Peshawar Museum]].<ref>{{cite book|last1=Rhi|first1=Juhyung|title=Identifying Several Visual Types of Gandharan Buddha Images. Archives of Asian Art 58 (2008).|pages=53–56|url=https://www.academia.edu/7976078|language=en}}</ref><ref>{{cite book|last1=The Classical Art Research Centre|first1=University of Oxford|title=Problems of Chronology in Gandhāran Art: Proceedings of the First International Workshop of the Gandhāra Connections Project, University of Oxford, 23rd-24th March, 2017|date=2018|publisher=Archaeopress|page=[https://archive.org/details/ProblemsOfChronologyInGandharanArt/page/n52 45], notes 28, 29|url=https://archive.org/details/ProblemsOfChronologyInGandharanArt}}</ref>
</gallery>

==Art of Mathura under the Kushans==
{{main|Mathura art}}
[[File:Bala Bodhisattva with shaft and umbrella.jpg|upright|thumb|The "[[Bala Bodhisattva]]" with shaft and ''[[chatra (umbrella)|chatra]]'' umbrella, dedicated in "the year 3 of [[Kanishka]]" (circa 130 CE) by "brother (''Bhikshu'') Bala". The right arm would have been raised in a salutation gesture. [[Sarnath Museum]].]]
From the time of [[Vima Kadphises]] or [[Kanishka I]] the Kushans established one of their capitals at [[Mathura]] in northern India. Mathura already had an important artistic tradition by that time, but the Kushan greatly developed its production, especially through Buddhist art.<ref name="AH306"/> A few sculptures of the Buddha, such as the "[[:File:Isapur Buddha.jpg|Isapur Buddha]]" are known from Mathura from circa 15 CE, well before the arrival of the Kushans, at a time when the [[Northern Satrap]] [[Sodasa]] still ruled in Mathura, but the style and symbolism of these early depictions were still tentative.<ref name="SRQ199">{{cite book |last1=Quintanilla |first1=Sonya Rhie |title=History of Early Stone Sculpture at Mathura: Ca. 150 BCE - 100 CE |date=2007 |publisher=BRILL |isbn=9789004155374 |pages=199–206 |url=https://books.google.com/books?id=X7Cb8IkZVSMC&pg=PA199 |language=en}}</ref> The Kushans standardized the symbolism of these early Buddha statues, developing their attributes and aesthetic qualities in an exuberant manner and on an unprecedentedly large scale.<ref name="SRQ199"/><ref name="RS439">{{cite book |last1=Stoneman |first1=Richard |title=The Greek Experience of India: From Alexander to the Indo-Greeks |date=2019 |publisher=Princeton University Press |isbn=9780691185385 |pages=439–440 |url=https://books.google.com/books?id=8MFnDwAAQBAJ&pg=PA439 |language=en}}</ref>

===Bodhisattvas===
The style of the statues of [[Bodhisattvas]] at Mathura is somewhat reminiscent of the earlier monumental [[Yaksha]] statues, usually dated one or two centuries earlier. The [[Greco-Buddhist art]] of [[Gandhara]], although belonging to the same realm under the Kushans, seems to have had only limited influence on these creations.<ref>{{Cite web |url=http://www.tepotech.com/Art_Bulletin/192794JuneCoomaraswamyOriginoftheBuddhaImage.pdf |title=Origin of the Buddha Image, June Coomaraswamy, pp. 300–301 |access-date=2019-11-04 |archive-url=https://web.archive.org/web/20161220145624/http://www.tepotech.com/Art_Bulletin/192794JuneCoomaraswamyOriginoftheBuddhaImage.pdf |archive-date=2016-12-20 |url-status=dead }}</ref> Some authors consider that Hellenistic influence appears in the liveliness and the realistic details of the figures (an evolution compared to the stiffness of [[Mauryan art]]), the use of perspective from 150 BCE, iconographical details such as the knot and the club of [[Heracles]], the wavy folds of the dresses, or the depiction of [[bacchanalian]] scenes.<ref name="RS436">{{cite book |last1=Stoneman |first1=Richard |title=The Greek Experience of India: From Alexander to the Indo-Greeks |date=2019 |publisher=Princeton University Press |isbn=9780691185385 |pages=436–437 |url=https://books.google.com/books?id=8MFnDwAAQBAJ&pg=PA436 |language=en}}</ref><ref name="JB112">John Boardman, "The Diffusion of Classical Art in Antiquity", Princeton University Press, 1993, p.112</ref> The art of Mathura became extremely influential over the rest of India, and was "the most prominent artistic production center from the second century BCE".<ref name="RS436"/>

<gallery>
File:Kimbell_seated_Buddha_with_attendants,_Mathura.jpg|The ''[[Kimbell seated Bodhisattva]]'', with an inscription "in year 4 of [[Kanishka I|Kanishka]]".<ref name="Kimbell">Seated Buddha with inscription starting with [[File:Gupta_ashoka_m.svg|12px]][[File:Gupta_ashoka_haa.jpg|14px]][[File:Gupta_allahabad_raa.jpg|10px]][[File:Gupta_ashoka_j.svg|12px]][[File:Gupta_ashoka_sya.svg|19px]] [[File:Gupta ashoka kaa.svg|14px]][[File:Gupta ashoka nni.jpg|14px]][[File:Gupta ashoka ssk.jpg|16px]][[File:Gupta_ashoka_sya.svg|19px]] [[File:Gupta ashoka sam.jpg|14px]]'''<big><big>𑁕</big></big>''' ''Maharajasya Kanishkasya Sam 4'' "Year 4 of the Great King Kanishka" in {{cite web|title=Seated Buddha with Two Attendants|url=https://www.kimbellart.org/collection/ap-198606|website=kimbellart.org|publisher=Kimbell Art Museum|language=en}}</ref><ref name="GPK">"The Buddhist Triad, from Haryana or Mathura, Year 4 of Kaniska (ad 82). Kimbell Art Museum, Fort Worth." in {{cite book|last1=Museum (Singapore)|first1=Asian Civilisations|last2=Krishnan|first2=Gauri Parimoo|title=The Divine Within: Art & Living Culture of India & South Asia|date=2007|publisher=World Scientific Pub|isbn=9789810567057|page=113|url=https://books.google.com/books?id=c-ny6Kmvu6cC|language=en}}</ref><ref>Close-up image of the inscription of the Kimbell Buddha in {{cite journal|last1=Fussman|first1=Gérard|title=Documents épigraphiques kouchans (V). Buddha et Bodhisattva dans l'art de Mathura : deux Bodhisattvas inscrits de l'an 4 et l'an 8|journal=Bulletin de l'École Française d'Extrême-Orient|volume=77|date=1988|page=27, planche 2|doi=10.3406/befeo.1988.1739 }}</ref>
File:Seated Buddha, Ramnagar Ahicchatra (Mathurā). National Museum-New Delhi Dated year 32.jpg|Seated Bodhisattva, inscribed "Year 32" of [[Kanishka]] (159 CE), Mathura.<ref name="Bodhisattvas and Buddhas: Early Bud">{{cite journal|last1=Myer|first1=Prudence R.|title=Bodhisattvas and Buddhas: Early Buddhist Images from Mathurā|journal=Artibus Asiae|date=1986|volume=47|issue=2|pages=107–142|doi=10.2307/3249969|issn=0004-3648|jstor=3249969 }}</ref><ref name="Metropolitan Museum of Art">{{cite book|last1=Behrendt|first1=Kurt A.|title=The Art of Gandhara in the Metropolitan Museum of Art|date=2007|publisher=Metropolitan Museum of Art|isbn=9781588392244|page=48, Fig. 18|url=https://books.google.com/books?id=MJ3eCZVlT48C|language=en}}</ref>
File:Seated Buddha.jpg|Seated Bodhisattva, uninscribed.<ref>{{cite book|title=Annual report 1909–10|publisher=ASI|pages=[https://archive.org/details/in.gov.ignca.6601/page/n113 63]–65|url=https://archive.org/details/in.gov.ignca.6601}}</ref>
File:MathuraBuddha.JPG|A Bodhisattva, 2nd century, Mathura
File:Sanchi Buddha piedestal inscribed Year 22 of Vaskushana.jpg|Kushan devotees around a Bodhisattva, on a Buddha pedestal. Reign of [[Vāsishka]], Mathura, circa 250 CE.
</gallery>

===Standing Buddhas===
[[File:Buddha in Abhaya Mudra - Circa 2nd Century CE - ACCN 00-A-4 - Government Museum - Mathura 2013-02-23 5692.JPG|thumb|upright|A Mathura standing Buddha, circa 2nd century CE, [[Mathura Museum]]]]
The Mathura standing Buddha seems to be a slightly later development compared to the Bodhisattvas of the type of the [[Bala Bodhisattva]]. Although several are dated to the 2nd century CE, they often tend to display characteristics that would become the hallmark of [[Gupta Empire|Gupta art]], especially the very thin dress seemingly sticking to the body of the Buddha. These statues of the standing Buddha however tend to display characteristic and attitudes more readily seen in the [[Greco-Buddhist art]] of [[Gandhara]]: the head of the Buddha is surrounded by a [[Halo (religious iconography)|halo]], the clothing covers both shoulders, the left hand hold the gown of the Buddha while the other hand form an [[Mudra|Abbhiya mudra]], and the folds in the clothing are more typical of the Gandharan styles.<ref name="Banerjee">[https://books.google.com/books?id=mCtKn4J1n38C&pg=PA97 Hellenism in Ancient India, Gauranga Nath Banerjee, p.96-98]</ref>

In many respect, the standing Buddha of Mathura seems to be a combination of the local sculptural tradition initiated by the [[Yaksha]]s with the Hellenistic designs of the Buddhas from the [[Greco-Buddhist art]] of Gandhara.<ref name="Banerjee"/>

===Other sculptural works===
The Mathura sculptures incorporate many Hellenistic elements, such as the general idealistic realism, and key design elements such as the curly hair, and folded garment. Specific Mathuran adaptations tend to reflect warmer climatic conditions, as they consist in a higher fluidity of the clothing, which progressively tends to cover only one shoulder instead of both. Facial types also tend to become more Indianized. Banerjee in ''Hellenism in ancient India'' describes "the mixed character of the Mathura School in which we find on the one hand, a direct continuation of the old Indian art of [[Barhut]] and [[Sanchi]] and on the other hand, the classical influence derived from Gandhara".<ref>Banerjee, ''Hellenism in ancient India''</ref>

In some cases however, a clear influence from the art of Gandhara can also be felt, as in the case of the "[[Mathura Herakles]]", a Hellenistic statue of [[Herakles]] strangling the [[Nemean lion]], discovered in Mathura, and now in the [[Kolkota]] [[Indian Museum]], as well as [[Bacchanalian]] scenes.<ref>Aspects of Indian Art, by J.E. Van Lohuizen-De Leuve, published by Pratapaditya Pal [https://books.google.com/books?id=ttEUAAAAIAAJ&pg=PR7]</ref><ref>Hellenism in Ancient India by Gauranga Nath Banerjee [https://books.google.com/books?id=mCtKn4J1n38C&pg=PA90 p.90]</ref><ref>Art of India by Vincent Arthur Smith [https://books.google.com/books?id=s3elCgAAQBAJ&pg=PT98 p.98]</ref> Although inspired from the art of Gandhara, the portraiture of Herakles is not perfectly exact and may show a lack of understanding of the subject matter, as Herakles is shown already wearing the skin of the lion he is fighting.<ref>History of Early Stone Sculpture at Mathura: Ca. 150 BCE - 100 CE by Sonya Rhie Quintanilla [https://books.google.com/books?id=X7Cb8IkZVSMC&pg=PA158 p.158]</ref><ref>The Dynastic Arts of the Kushans by John M. Rosenfield [https://books.google.com/books?id=udnBkQhzHH4C&pg=PR9 p.9]</ref>

<gallery>
File:Vasantsena (cropped).jpg|[[Bacchanalian]] scene. Mathura
File:17. Bacchanalian scene-2nd century CE-Mathura Uttar Pradesh-Spotted red sandstone -Sculptural Gallery- Indian Museum-Kolkata-M1.jpg|Bacchanalian, with women in Greek dress.<ref>{{cite book|last1=Harle|first1=James C.|title=The Art and Architecture of the Indian Subcontinent|date=1994|publisher=Yale University Press|isbn=978-0-300-06217-5|page=[https://archive.org/details/artarchitectureo00harl/page/67 67]|url=https://archive.org/details/artarchitectureo00harl|url-access=registration|language=en}}</ref> Mathura
File:Corner Railing Pillar with Drinking Scenes, Yakshis, and Musicians Mathura Kushan period circa 100 CE (angle and two sides).jpg|Corner railing pillar with drinking scenes, Yakshis, and Musicians, incorporating Hellenistic elements. Mathura, Kushan period circa 100 CE.<ref>{{cite book|last1=Bracey|first1=Robert|title=Problems of Chronology in Gandhāran Art. "Is it appropriate to ask a celestial lady's age?"|date=2018|publisher=Archaeopress. The Classical Art Research Centre. University of Oxford|pages=[https://archive.org/details/ProblemsOfChronologyInGandharanArt/page/n142 135]–138|url=https://archive.org/details/ProblemsOfChronologyInGandharanArt}}</ref>
File:Bhutesvara_Yakshis_Mathura_reliefs_2nd_century_CE_front.jpg|[[Bhutesvara Yakshis]], Mathura ca. 2nd century CE.
File:Life of the Buddha Mathura.jpg|A Mathura relief showing the complete life of the Buddha, from birth to death. The clothing is Gandharan.
File:Mathura Herakles.jpg|The [[Mathura Herakles]]. A statue of [[Herakles]] strangling the [[Nemean lion]] discovered in Mathura. For a recent photograph see [http://www2.nau.edu/~d-ctel/hum/hum362/slideshows/Kushan_Mathura/images/img0073.jpg] {{Webarchive|url=https://web.archive.org/web/20170729230651/http://www2.nau.edu/~d-ctel/hum/hum362/slideshows/Kushan_Mathura/images/img0073.jpg |date=29 July 2017 }}. Early 2nd century CE.<ref>{{cite book|last1=Bachhofer|first1=Ludwig|title=Early Indian sculpture vol.2|date=1929|page=Notice 97|url=https://archive.org/details/in.gov.ignca.41425/page/n147}}</ref>
</gallery>

===Hindu art at Mathura under the Kushans===
{{multiple image|perrow=2|total_width=400|caption_align=center
| align = right
| direction =horizontal
| header=''Chatur-vyūha'' "The four emanations"
| image1 = Chaturvuyha Sankarshan Vasudeva 2nd century CE, Mathura Museum.jpg
| caption1 = Front
| image2 =Vishnu image rear view, background, Mathura Museum.jpg
| caption2= Back
| footer=The ''[[Chatur-vyūha]]'': [[Vāsudeva]] and other members of the [[Vrishni clan]].<ref name="CV">{{cite journal |last1=Paul |first1=Pran Gopal |last2=Paul |first2=Debjani |title=Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations |journal=East and West |date=1989 |volume=39 |issue=1/4 |pages=132–136, for the photograph p.138 |issn=0012-8376|jstor=29756891 }}</ref> [[Vāsudeva]] is fittingly in the center with his heavy decorated mace on the side and holding a conch, his elder brother [[Balarama]] to his right under a serpent hood, his son [[Pradyumna]] to his left (lost), and his grandson [[Aniruddha]] on top.<ref name="CV"/><ref name="DS39"/> The back of the statue shows the trunk of a tree with branches, thus highlighting the genealogical relationship between the divinities.<ref>{{cite journal |last1=Paul |first1=Pran Gopal |last2=Paul |first2=Debjani |title=Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations |journal=East and West |date=1989 |volume=39 |issue=1/4 |page=136 [26] |issn=0012-8376|jstor=29756891 }}</ref> 2nd century CE, Mathura Museum.
| footer_align = center
}}
[[Hindu art]] started to develop fully from the 1st to the 2nd century CE, and there are only very few examples of artistic representation before that time.<ref name="PPG125">{{cite journal |last1=Paul |first1=Pran Gopal |last2=Paul |first2=Debjani |title=Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations |journal=East and West |date=1989 |volume=39 |issue=1/4 |page=125 |issn=0012-8376|jstor=29756891 }}</ref> Almost all of the first known instances of Hindu art have been discovered in the areas of Mathura and [[Gandhara]].<ref>{{cite book |last1=Blurton |first1=T. Richard |title=Hindu Art |date=1993 |publisher=Harvard University Press |isbn=978-0-674-39189-5 |page=103 |url=https://books.google.com/books?id=xJ-lzU_nj_MC&pg=PA103 |language=en}}</ref> Hindu art found its first inspiration in the Buddhist art of Mathura. The three Vedic gods [[Indra]], [[Brahma]], and [[Surya]] were first depicted in Buddhist sculpture from the 2nd-1st century BCE, as attendants in scenes commemorating the life of the Buddha, even when the Buddha himself was not yet shown in human form [[Aniconism in Buddhism|but only through his symbols]], such as the scenes of his Birth, his [[Trāyastriṃśa|Descent from the Trāyastriṃśa Heaven]], or his retreat in the [[Indrasala Cave]].<ref name="PPG125"/> During the time of the Kushans, Hindu art progressively incorporated a profusion of original Hindu stylistic and symbolic elements, in contrast with the general balance and simplicity of Buddhist art. The differences appear in iconography rather than in style.<ref>{{cite book |last1=Honour |first1=Hugh |last2=Fleming |first2=John |title=A World History of Art |date=2005 |publisher=Laurence King Publishing |isbn=978-1-85669-451-3 |page=244 |url=https://books.google.com/books?id=qGb4pyoseH4C&pg=PP244 |language=en}}</ref> It is generally considered that it is in Mathura, during the time of the Kushans, that the Brahmanical deities were given their standard form:
{{quote|"To a great extent it is in the visual rendering of the various gods and goddesses of theistic Brahmanism that the Mathura artist displayed his ingenuity and inventiveness at their best. Along with almost all the major cult icons Visnu, Siva, Surya, Sakti and Ganapati, a number of subsidiary deities of the faith were given tangible form in Indian art here for the first time in an organized manner. In view of this and for the variety and multiplicity of devotional images then made, the history of Mathura during the first three centuries of the Christian era, which coincided with the rule of the Kusanas, can very well be called revolutionary in the development of Brahmanical sculpture"|Pran Gopal Paul and Debjani Paul, in ''Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations''<ref>{{cite journal |last1=Paul |first1=Pran Gopal |last2=Paul |first2=Debjani |title=Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations |journal=East and West |date=1989 |volume=39 |issue=1/4 |pages=111–143 |issn=0012-8376|jstor=29756891 }}</ref>}}

====Cult images of Vāsudeva====
[[File:Vishnu_statuette,_3rd-4th_century_CE,_Udayagiri,_Vidisha_District.jpg|thumb|left|upright=0.5|{{center|Vasudeva-Krishna with three attributes, a making a salutation gesture, and without an aureole, terracotta.<ref name="CS"/>}}]]
Cult images of [[Vāsudeva]] continued to be produced during the period, the worship of this Mathuran deity being much more important than that of [[Vishnu]] until the 4th century CE.<ref name="CS"/> Statues dating to the 2nd and 3rd centuries show a possibly four-armed Vāsudeva standing with his attributes: the wheel, the mace, and the conch, his right hand saluting in ''[[Abhaya mudra]]''.<ref>Fig.1 Fig.2 Fig.3 in {{cite journal |last1=Schmid |first1=Charlotte |title=Les Vaikuṇṭha gupta de Mathura : Viṣṇu ou Kṛṣṇa? |journal=Arts Asiatiques |volume=52 |date=1997 |page=60 |doi=10.3406/arasi.1997.1401 |url=https://halshs.archives-ouvertes.fr/halshs-02555783/file/Charlotte%20Schmid_Les%20Vaiku%E1%B9%87%E1%B9%ADha%20gupta%20de%20Mathur%C4%81.pdf }}{{free access}}</ref> Only during the Gupta period, did statues focusing on the worship of [[Vishnu]] himself start to appear, using the same iconography as the statues of Vāsudeva, but with the addition of an [[aureole]] starting at the shoulders.<ref name="CS">For English summary, see page 80 {{cite journal |last1=Schmid |first1=Charlotte |title=Les Vaikuṇṭha gupta de Mathura : Viṣṇu ou Kṛṣṇa? |journal=Arts Asiatiques |volume=52 |date=1997 |pages=60–88 |doi=10.3406/arasi.1997.1401 |url=https://halshs.archives-ouvertes.fr/halshs-02555783/file/Charlotte%20Schmid_Les%20Vaiku%E1%B9%87%E1%B9%ADha%20gupta%20de%20Mathur%C4%81.pdf }}</ref> During this time, statues of [[Gopala-Krishna]], the other main component of the amalgamated [[Krishna]], are absent from Mathura, suggesting the near absence of this cult in northern India down to the end of the Gupta period (6th century CE).<ref>{{cite book |last1=Srinivasan |first1=Doris |title=Kalādarśana: American Studies in the Art of India |date=1981 |publisher=BRILL |isbn=978-90-04-06498-0 |pages=128–129 |url=https://books.google.com/books?id=-qoeAAAAIAAJ&pg=PA128 |language=en}}</ref>

Some sculptures during this period suggest that the "Vyūha doctrine" ''(Vyūhavāda'', "Doctrine of the emanations") was starting to emerge, as images of ''"[[Chatur-vyūha]]"'' (the "four emanations of Vāsudeva") are appearing.<ref name="US439">{{cite book |last1=Singh |first1=Upinder |title=A History of Ancient and Early Medieval India: From the Stone Age to the 12th Century |date=2008 |publisher=Pearson Education India |isbn=978-81-317-1677-9 |page=439 |url=https://books.google.com/books?id=Pq2iCwAAQBAJ&pg=PA439 |language=en}}</ref> The famous "Caturvyūha" statue in Mathura Museum is an attempt to show in one composition [[Vāsudeva]] as the central deity together with the other members of the [[Vrishni clan]] of the [[Pancharatra]] system emanating from him: [[Samkarsana]], [[Pradyumna]], and [[Aniruddha]], with [[Samba (Krishna's son)|Samba]] missing.<ref name="CV"/><ref name="DS39">{{cite journal |last1=Srinivasan |first1=Doris |title=Early Vaiṣṇava Imagery: Caturvyūha and Variant Forms |journal=Archives of Asian Art |date=1979 |volume=32 |pages=39–40 |issn=0066-6637|jstor=20111096 }}</ref> The back of the relief is carved with the branches of a [[Kadamba tree]], symbolically showing the genealogical relationship being the different deities.<ref name="CV"/> The depiction of Vāsudeva and later Vishnu was stylistically derived from the type of the ornate Bodhisattvas, with rich jewelry and ornate headdress.<ref name="CBP2013">{{cite journal |last1=Bautze-Picron |first1=Claudine |title=A neglected Aspect of the Iconography of Viṣṇu and other Gods and Goddesses |journal=Journal of the Indian Society of Oriental Arts |date=2013 |volume=XXVIII-XXIX |pages=81–92 |url=https://hal.archives-ouvertes.fr/hal-00753613v2/document}}</ref>
{{clear}}
<gallery>
File:Surya - Kushan Period - Kankali Mound - ACCN 12-269 - Government Museum - Mathura 2013-02-23 5839.JPG|Sun God [[Surya]], also revered in Buddhism, Kushan Period
Shiva Linga worshipped by Kushan devotees Mathura circa 2nd century CE.jpg|[[Shiva]] [[Linga]] worshipped by Indo-Scythian,<ref name="PPG128">{{cite journal|last1=Paul|first1=Pran Gopal|last2=Paul|first2=Debjani|title=Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations|journal=East and West|date=1989|volume=39|issue=1/4|page=128|issn=0012-8376|jstor=29756891 }}</ref> or Kushan devotees, 2nd century CE.
File:Karttikeya and Agni - Circa 1st Century CE - Katra Keshav Dev - ACCN 40-2883 - Government Museum - Mathura 2013-02-23 5717.JPG|War God [[Karttikeya]] and Fire God [[Agni]], Kushan Period, 1st century CE
File:The Hindu God Shiva LACMA M.69.15.1 (3 of 3).jpg|The Hindu God Shiva, 3rd century CE. Mathura or Ahichchhatra.<ref>{{cite book|last1=Pal|first1=Pratapaditya|title=Indian sculpture, Volume 1|date=1986|page=[https://archive.org/details/indiansculpturec01palp/page/199 199]|url=https://archive.org/details/indiansculpturec01palp}}</ref>
File:Standing Goddess Sashti Between Two Warriors Skanda and Visakha - Circa 2nd Century CE - ACCN 00-F-13 - Government Museum - Mathura 2013-02-23 5789.JPG|Kushan-era image of [[Shashthi]] between [[Kartikeya|Skanda]] and [[Vishakha]], c. 2nd century CE
File:CoinOfHuvishkaWithOisho.JPG|Three-faced four-armed [[Oesho]] with attributes, often identified with [[Shiva]], on a coin of [[Huvishka]].<ref name="JMR93">{{cite book|last1=Rosenfield|first1=John M.|title=The Dynastic Arts of the Kushans|date=1967|publisher=University of California Press|page=93|url=https://books.google.com/books?id=udnBkQhzHH4C&pg=PA93|language=en}}</ref>
</gallery>

===Jain art===
Various dedications in the name of Kushan kings, such as [[Vasudeva I]], with dates, appear on fragments of Jain statuary discovered in [[Mathura]].<ref>{{cite book |last1=Burgess |first1=Jas |title=Epigraphia Indica Vol.-i |year=1892 |page=392 |url=https://archive.org/details/in.ernet.dli.2015.121005/page/n417/mode/2up}}</ref><ref>{{cite journal |last1=Dowson |first1=J. |last2=Cunningham |first2=A. |title=Ancient Inscriptions from Mathura |journal=The Journal of the Royal Asiatic Society of Great Britain and Ireland |date=1871 |volume=5 |issue=1 |page=194 |jstor=44012780 |url=https://www.jstor.org/stable/44012780 |issn=0035-869X}}</ref>
<gallery>
File:Mathura (Uttar pradesh), tirthankara parshvanatha, II sec.JPG|[[Parshvanatha]], Kushan Period
File:Goat-faced God Harinaigamesha - Kushan Period - ACCN 2547 - Government Museum - Mathura 2013-02-24 5995.JPG|Goat-faced God [[Harinaigamesha]], Kushan Period, Mathura
File:Goat-headed God Naigamesha Presiding Deity of Childbirth among Ancient Jainas - ACCN 15-1115 - Government Museum - Mathura 2013-02-24 6067.JPG|Jain god of Childbirth [[Naigamesha]], 1st-3rd century CE.<ref>"Naigamesa was a popular deity in the Kushana period and we have at least eight figures of this god from Mathura assignable to c. 1st to 3rd century A.D. (GMM., E. 1, 15.909, 15, 1001, 15. 1046, '''15. 1115''', 34.2402, 34. 2547, SML., J 626, etc)" in {{cite book|last1=Joshi|first1=Nilakanth Purushottam|title=Mātr̥kās, Mothers in Kuṣāṇa Art|date=1986|publisher=Kanak Publications|page=41|url=https://books.google.com/books?id=geYjAAAAMAAJ|language=en}}</ref>
File:Zina in Meditation - Kushan Period - ACCN 00-863 - Government Museum - Mathura 2013-02-24 5978.JPG|[[Arihant (Jainism)|Jina]] in Meditation, Kushan Period, Mathura
File:Tirthankara Head - Kushan Period - ACCN 18-1536 - Government Museum - Mathura 2013-02-24 6040.JPG|[[Tirthankara]] Head, Kushan Period, Mathura
File:Uttar pradesh, epoca kusana, testa di tirthankara, 150-200 ca..JPG|[[Tirthankara]] Head, Kushan Period, Mathura
</gallery>

==Chronology==
[[File:Coin of Kanishka I.jpg|thumb|Gold coin of [[Kanishka I]] with a representation of the [[Gautama Buddha|Buddha]] and [[Bactrian language|Bactrian]] legend in Greek script: ΒΟΔΔΟ "Boddo", for "Buddha", c. 127–150 CE.]]
The chronology of Kushan art is quite critical to the art history of the region. Fortunately, several statues are dated and have inscriptions referring to the various rulers of the Kushan Empire.<ref name="PC"/>

Coinage is also very important in determining the evolution of style, as in the case of the famous "Buddha" coins of [[Kanishka I]], which are dated to his reign (c. 127–150 CE) and already displays an accomplished form of the standing Buddha, probably derived from pre-existing statuary.<ref name="PC"/>

While the early styles of Kushan statues seem comparatively crude, later, highly ornamented statues are generally dated to the 3rd-4th century CE.<ref name="PC"/>

The [[Brussels Buddha]] is one of the rare Gandharan statues with a dated inscription, and it bears the date "Year 5", possibly referring to the Kanishka era, hence 132 CE.<ref name="PCGA">{{cite book |last1=The Classical Art Research Centre |first1=University of Oxford |title=Problems of Chronology in Gandhāran Art: Proceedings of the First International Workshop of the Gandhāra Connections Project, University of Oxford, 23rd-24th March, 2017 |date=2018 |publisher=Archaeopress |pages=[https://archive.org/details/ProblemsOfChronologyInGandharanArt/page/n50 43]–44|url=https://archive.org/details/ProblemsOfChronologyInGandharanArt}}</ref> However, its sophisticated style has led some authors to suggest a later era for the calculation of the date.<ref name="PCGA"/>

{| class="wikitable" style="margin:0 auto;" align="center" colspan="2" cellpadding="3" style="font-size: 80%; width: 100%;"
|align=center colspan=2 style="background:#C0C0C0; font-size: 100%;"| '''Dated art under the Kushans''' (30–375 CE)
|-
|align=center colspan=2 style="background:#CDCDCD; font-size: 100%;"| '''Gandhara region'''
|-
|
<gallery mode="packed" heights="150px">
File:KujulaKadphisesCoinAugustusImitation.jpg|{{center|'''40-80 CE''' Coin of [[Kujula Kadphises]], on the model of Roman Emperor [[Augustus]]}}
File:Kanishka casket, Asia, G33 South Asia.jpg|{{center|'''127 CE''' [[Kanishka casket]], inscribed "year 1 of Kanishka" (127 CE)}}
File:Kanishka Buddha detail.jpg|{{center|'''127-150 CE''' The Buddha in [[Greco-Buddhist art|Gandhara style]] on a coin of [[Kanishka I]]}}
File:Buddhist Triad Peshawar Museum.jpg|<div class="center">'''132 CE''' Gandhara Buddhist Triad from [[Sahr-i-Bahlol]], similar to the dated [[Brussels Buddha]], "Year 5", circa 132 CE.<ref name="GF"/> [[Peshawar Museum]].<ref>{{cite book |last1=Rhi |first1=Juhyung |title=Identifying Several Visual Types of Gandharan Buddha Images. Archives of Asian Art 58 (2008). |pages=53–56 |url=https://www.academia.edu/7976078 |language=en}}</ref><ref>{{cite book |last1=The Classical Art Research Centre |first1=University of Oxford |title=Problems of Chronology in Gandhāran Art: Proceedings of the First International Workshop of the Gandhāra Connections Project, University of Oxford, 23rd-24th March, 2017 |date=2018 |publisher=Archaeopress |page=[https://archive.org/details/ProblemsOfChronologyInGandharanArt/page/n52 45], notes 28, 29 |url=https://archive.org/details/ProblemsOfChronologyInGandharanArt}}</ref></div>
File:Loriya Tangai Buddha.jpg|<div class="center">'''143 CE''' [[Kanishka I]]: Buddha from [[Loriyan Tangai]] with inscription "year 318" of the [[Yavana era]] (143 CE).<ref name="PC"/></div>
File:Hashtnagar Buddha and piedestal.jpg|<div class="center">'''209 CE''' [[Vasudeva I]]: [[Hashtnagar]] Buddha with "year 384" of the [[Yavana era]] (c.209 CE).<ref name="PC">{{cite book|last1=Rhi|first1=Juhyung|title=Problems of Chronology in Gandharan. Positioning Gandharan Buddhas in Chronology|date=2017|publisher=Archaeopress Archaeology|location=Oxford|pages=35–51|url=http://www.carc.ox.ac.uk/PublicFiles/media/Final%20e-version%20Problems%20of%20Chronology%20in%20Gandharan%20Art.pdf}}{{free access}}</ref></div>
Mamane Dheri sculpture Year 89.jpg|<div class="center">'''216CE''' [[Vasudeva I]]: Mamane Dheri Buddha, inscribed with "Year 89", probably of the [[Kanishka]] era (216 CE).<ref name="PC"/></div>
File:Skarah Dheri Hariti inscribed Year 399.jpg|<div class="center">'''244 CE''' [[Kanishka II]]: Statue of [[Hariti]] from [[Gandhara]], "Year 399" of the Yavana era (244 CE).<ref name="PC"/></div>
</gallery>
|-
|align=center colspan=2 style="background:#CDCDCD; font-size: 100%;"| '''Mathura region'''
|-
|
<gallery mode="packed" heights="150px">
File:Vima_Kadphises_statue_Mathura_Museum.jpg|{{center|'''90-100 CE''' Dynastic statue of [[Vima Kadphises]], with inscription. Mathura}}
File:Kanishka_enhanced.jpg|{{center|'''127-150 CE''' [[Kanishka I]]: Dynastic statue of Kanishka with inscription (127-151 CE)}}
File:Standing Bodhisattva Dedicated by Buddhamitra Year 2 of Kanishka.jpg|<div class="center">'''129 CE''' [[Kanishka I]]: [[Kosambi]] Bodhisattva, inscribed "Year 2 of Kanishka" (129 CE).<ref>Early History of Kausambi [https://archive.org/stream/earlyhistoryofka035153mbp#page/n25/mode/2up/search/Bhikkhuni p.xxi]</ref></div>
File:Bodhisattva dedicated by Bhikshu Bala at Sarnath 123 CE.jpg|<div class="center">'''130 CE''' [[Kanishka I]]: [[Bala Bodhisattva]], [[Sarnath]], inscribed "Year 3 of Kanishka" (130 CE).<ref>[https://archive.org/stream/EpigraphiaIndica/Epigraphia_Indica#page/n235/mode/2up Epigraphia Indica 8 p.179]</ref></div>
File:Kimbell seated Buddha with attendants, Mathura.jpg|<div class="center">'''131 CE''' Kanishka I: "[[Kimbell seated Buddha]]", with inscription "year 4 of [[Kanishka I|Kanishka]]" (131 CE).<ref name="Kimbell"/><ref name="GPK"/></div>
File:Nāga between two Nāgīs, inscribed in the year 8 of Emperor Kanishka 135 CE.jpg|<div class="center">'''135 CE''' Image of a [[Nāga]] between two [[Nāgī]]s, inscribed in "the year 8 of Emperor Kanishka". 135 CE.<ref>{{cite book |last1=Sircar |first1=Dineschandra |title=Studies in the Religious Life of Ancient and Medieval India |date=1971 |publisher=Motilal Banarsidass Publ. |isbn=978-81-208-2790-5 |url=https://books.google.com/books?id=mh1y1eMgGBMC&pg=PA134 |language=en}}</ref><ref>{{cite book |last1=Sastri |first1=H. krishna |title=Epigraphia Indica Vol-17 |date=1923 |pages=[https://archive.org/details/in.ernet.dli.2015.70170/page/n31 11]–15 |url=https://archive.org/details/in.ernet.dli.2015.70170}}</ref><ref>{{cite book |last1=Luders |first1=Heinrich |title=Mathura Inscriptions |date=1961 |pages=[https://archive.org/details/in.ernet.dli.2015.201093/page/n148 148]–149 |url=https://archive.org/details/in.ernet.dli.2015.201093}}</ref></div>
File:Seated Buddha, Ramnagar Ahicchatra (Mathurā). National Museum-New Delhi Dated year 32.jpg|<div class="center">'''159 CE''' Seated Bodhisattva, inscribed "Year 32" of [[Kanishka]] (159 CE), Mathura.<ref name="Bodhisattvas and Buddhas: Early Bud"/><ref name="Metropolitan Museum of Art"/></div>
File:Naga statue with inscription from the reign of Huvishka. Mathura Museum.jpg|{{center|'''140-180 CE''' [[Huvishka]]: [[Nāga]] statue with inscription from the reign of [[Huvishka]] (140–180 CE)}}
File:Sanchi Bodhisattva with inscription of Year 28 of Kushan King Vasishka.jpg|{{center|'''c.270 CE''' Bodhisattva with inscription of Year 28 of Kushan King [[Vasishka]], art of Mathura, found in [[Sanchi]].}}
</gallery>
|}

==Kushan coinage==
{{main|Kushan coinage}}
The coinage of the Kushans was abundant and an important tool of propaganda in promoting each Kushan ruler.<ref name="Sen">{{cite book |last1=Sen |first1=Sudipta |title=Ganges: The Many Pasts of an Indian River |date=2019 |publisher=Yale University Press |isbn=9780300119169 |page=205 |url=https://books.google.com/books?id=BHN_DwAAQBAJ&pg=PA205 |language=en}}</ref> One of the names for Kushan coins was ''[[Dinar]]a'', which ultimately came from the Roman name ''[[Denarius]] [[aureus]]''.<ref name="Sen"/><ref>"Known by the term [[Dinar]]s in early Gupta inscriptions, their gold coinage was based on the weight standard of the Kushans i.e. 8 gms/120 grains. It was replaced in the time of [[Skandagupta]] by a standard of 80 ratis or 144 grains" {{cite book |last1=Vanaja |first1=R. |title=Indian Coinage |date=1983 |publisher=National Museum |url=https://books.google.com/books?id=DVdmAAAAMAAJ |language=en}}</ref><ref>{{cite book |last1=Mookerji |first1=Radhakumud |title=The Gupta Empire |date=1997 |publisher=Motilal Banarsidass Publ. |isbn=9788120804401 |page=31 |url=https://books.google.com/books?id=uYXDB2gIYbwC&pg=PA31 |language=en}}</ref> The coinage of the Kushans was copied as far as the [[Kushano-Sasanians]] in the west, and the kingdom of [[Samatata]] in [[Bengal]] to the east. The coinage of the [[Gupta Empire]] was also initially derived from the coinage of the Kushan Empire, adopting its weight standard, techniques, and designs, following the conquests of [[Samudragupta]] in the northwest.<ref>Gupta inscriptions using the term "Dinara" for money: No 5-9, 62, 64 in {{cite book |last1=Fleet |first1=John Faithfull |title=Inscriptions Of The Early Gupta Kings And Their Successors |date=1960 |url=https://archive.org/details/in.ernet.dli.2015.463254/page/n229}}</ref><ref name="RM">{{cite book |last1=Mookerji |first1=Radhakumud |title=The Gupta Empire |date=1997 |publisher=Motilal Banarsidass Publ. |isbn=9788120804401 |page=30 |url=https://books.google.com/books?id=uYXDB2gIYbwC&pg=PA30 |language=en}}</ref><ref>{{cite book |last1=Higham |first1=Charles |title=Encyclopedia of Ancient Asian Civilizations |date=2014 |publisher=Infobase Publishing |isbn=9781438109961 |page=82 |url=https://books.google.com/books?id=H1c1UIEVH9gC&pg=PA82 |language=en}}</ref> The imagery on Gupta coins then became more Indian in both style and subject matter compared to earlier dynasties, where Greco-Roman and Persian styles were mostly followed.<ref>Pal, 78</ref><ref name="RM"/><ref>{{cite book |last1=Art |first1=Los Angeles County Museum of |last2=Pal |first2=Pratapaditya |title=Indian Sculpture: Circa 500 B.C.-A.D. 700 |date=1986 |publisher=University of California Press |isbn=9780520059917 |page=[https://archive.org/details/indiansculpturec00losa/page/73 73] |url=https://archive.org/details/indiansculpturec00losa |url-access=registration |language=en}}</ref>

==Influence of the Parthian cultural sphere==
[[File:King cornucopia Louvre Sb7302.jpg|thumb|Parthian king making an offering to god [[Herakles]]-[[Verethragna]]. [[Masdjid-e Suleiman]], [[Iran]]. 2nd-3rd century AD. Louvre Museum Sb 7302.<ref>{{cite web |title=Louvre Museum Sb 7302 |url=https://www.louvre.fr/oeuvre-notices/bas-relief}}</ref>]]
According to [[John M. Rosenfield]], the statuary of the Kushans has strong similarities with [[Parthian art|the art]] of the [[Parthian Empire|Parthian cultural area]].<ref name="JMR">{{cite book |last1=Rosenfield |first1=John M. |title=The Dynastic Arts of the Kushans |date=1967 |publisher=University of California Press |pages=170–173 |url=https://books.google.com/books?id=udnBkQhzHH4C&pg=PA170 |language=en}}</ref> Similarities are numerous in terms of clothing, decorative elements, or posture, which tend to be massive and frontal, with feet often splayed.<ref name="JMR"/> In particular, the statuary of [[Hatra]], which has remained in a relatively good state of preservation, shows such similarities.<ref name="JMR"/> This could be due either to direct cultural exchanges between the area of Mesopotamia and the Kushan Empire at that time, or from a common Parthian artistic background leading to similar types of representation.<ref name="JMR"/>
<gallery>
File:Parthian King Vologases at Behistun.jpg|[[Vologases's relief|Rock relief]] of Parthian king at [[Mount Behistun|Behistun]], most likely [[Vologases III]] (''r''. c. 110–147 AD)
File:Relief of Sanatruk I.jpg|Victory relief of [[Sanatruq I]]. He is using a small altar at his feet.
File:Military commander from the city of Hatra. National Museum of Iraq (closeup).jpg|Military commander from the city of Hatra. [[National Museum of Iraq]]
Ancient Parthian relief carving of the god Nergal from Hatra.jpg|Relief of the god [[Nergal]] from Hatra.
</gallery>

==See also==
{{Commons category|Art of the Kushan Empire}}
* [[Indo-Scythians]]
* [[Greco-Buddhist art]]
* [[Gupta art]]

==References==
{{Indian art}}
{{reflist}}
{{Mathura Museum}}

[[Category:Kushan art| ]]
[[Category:Buddhist art]]
[[Category:Ancient Central Asian art]]
[[Category:Hindu art]]
[[Category:Hellenistic art]]

Phi I, Greater Noida

2025-07-09T22:51:55Z

Surendra Sharma: new

{{Use dmy dates|date=July 2025}}
{{Use Indian English|date=July 2025}}
{{Infobox settlement
| name = Phi I
| subdivision_name3 = Greater Noida
| native_name_lang = hi
| settlement_type = [[Neighborhood]]
| image_skyline =
| pushpin_map = India Uttar Pradesh
| coordinates = {{Coord|28|28|23|N|77|32|28|E|type:city_region:IN|display=inline,title}}
| subdivision_type = Country
| subdivision_name = India
| subdivision_type1 = [[Regions of India|Region]]
| subdivision_name1 = [[North India]]
| subdivision_type2 = [[States of India|State]]
| subdivision_name2 = Uttar Pradesh
| subdivision_type3 = City
| official_name =
| unit_pref =
| governing_body = Greater Noida Industrial Development Authority
| elevation_m =
| demographics_type1 = Languages
| demographics1_title1 = Official
| demographics1_info1 = [[Hindi]], [[English language|English]]
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = [[Postal Index Number|PIN]]
| postal_code = 201310
| area_code =
| registration_plate =
| native_name = फ़ाई 1
| other_name =
}}
'''Phi I''' or '''Phi 1''' ({{Langx|hi|फ़ाई 1}}) is a residential locality in south-western [[Greater Noida]], [[Uttar Pradesh]], India.<ref>{{Cite web|agency=TNN|date=19 Jan 2022|title=gnida: Gnida Issues Tenders For 18 Infra Projects Worth 40 Crore {{!}} Noida News - Times of India|url=https://timesofindia.indiatimes.com/city/noida/gnida-issues-tenders-for-18-infra-projects-worth-40-crore/articleshow/88983304.cms|access-date=2022-02-11|website=The Times of India|language=en}}</ref><ref>{{Cite web|author=Meenakshi Sinha|date=6 Dec 2021|title=GNIDA divides Greater Noida into 5 zones for waste collection {{!}} Noida News - Times of India|url=https://timesofindia.indiatimes.com/city/noida/gnida-divides-city-into-5-zones-for-waste-collection/articleshow/88111427.cms|access-date=2022-02-11|website=The Times of India|language=en}}</ref><ref>{{Cite web|last=Service|first=Tribune News|title=Why Greater Noida outshines its neighbours|url=https://www.tribuneindia.com/news/archive/features/why-greater-noida-outshines-its-neighbours-236300 |archive-url=https://ghostarchive.org/archive/20220211/https://www.tribuneindia.com/news/archive/features/why-greater-noida-outshines-its-neighbours-236300 |archive-date=2022-02-11 |url-status=live|access-date=2022-02-11|website=Tribuneindia News Service|language=en}}{{cbignore}}</ref> Bordered by [[Omega I, Greater Noida|Omega I]] to the north and [[Phi II, Greater Noida|Phi II]] to the east, it is known to be one of the [[real estate]] hotspots of [[Greater Noida]], alongside [[Omega II, Greater Noida|Omega II]], [[Omega I, Greater Noida|Omega I]], [[Phi II, Greater Noida|Phi II]], Chi I and Chi II.<ref>{{Cite news|title=Realty hot spot series: A well-connected area in NCR with good infrastructure|work=The Economic Times|url=https://economictimes.indiatimes.com/wealth/real-estate/realty-hot-spot-series-a-well-connected-area-in-ncr-with-good-infrastructure/articleshow/82855865.cms |archive-url=https://ghostarchive.org/archive/20220211/https://economictimes.indiatimes.com/wealth/real-estate/realty-hot-spot-series-a-well-connected-area-in-ncr-with-good-infrastructure/articleshow/82855865.cms |archive-date=2022-02-11 |url-status=live|access-date=2022-02-11}}{{cbignore}}</ref> It is named after the [[Greek alphabet|Greek letter]] [[Phi]].{{fact|date=July 2025}}

== References ==
{{reflist}}

[[Category:Neighbourhoods in Greater Noida]]

{{UttarPradesh-geo-stub}}

Chandan Nagar, Indore

2025-04-04T11:15:00Z

Surendra Sharma: improved article

{{Use dmy dates|date=May 2017}}
{{Use Indian English|date=May 2017}}
{{refimprove|date=August 2015}}
{{Infobox settlement
| name = Chandan Nagar
| other_name =
| nickname =
| settlement_type = suburb
| image_skyline =
| image_alt =
| image_caption =
| pushpin_map = 
| pushpin_label_position = right
| pushpin_map_alt =
| pushpin_map_caption = Location in Madhya Pradesh, India
| coordinates =
| subdivision_type = Country
| subdivision_name = {{flagu|India}}
| subdivision_type1 = [[States and territories of India|State]]
| subdivision_name1 = [[Madhya Pradesh]]
| subdivision_type2 = [[List of districts of India|District]]
| subdivision_name2 = [[Indore District]]
| subdivision_type3 = City
| subdivision_name3 = [[Indore]]
| subdivision_type4 = Zone
| subdivision_name4 =
| subdivision_type5 = Ward
| subdivision_name5 =
| established_title =
| established_date =
| founder =
| named_for =
| government_type = [[Municipal Corporation]]
| governing_body = [[Indore Municipal Corporation]] (IMC)
| unit_pref = Metric
| leader_title = [[Mayor]]
| leader_name = Malini Laxmansingh Gaur
| leader_title1 = [[District Collector]]
| leader_name1 = Manish Singh, IAS
| leader_title3 = Corporator
| leader_name3 =
| area_footnotes =
| area_rank =
| area_total_km2 =
| elevation_footnotes =
| elevation_m =
| population_total = 35000
| population_as_of = 2010
| population_rank =
| population_density_km2 = auto
| population_demonym =
| population_footnotes =
| demographics_type1 = Languages
| demographics1_title1 = Official
| demographics1_info1 = [[Hindi]]
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = [[Postal Index Number|PIN]]
| postal_code = 452001
| registration_plate = MP-09
| blank1_name_sec1 = [[Lok Sabha]] constituency
| blank1_info_sec1 = [[Indore (Lok Sabha constituency)|Indore]]
| blank2_name_sec1 = [[Vidhan Sabha]] constituency
| blank2_info_sec1 = [[Indore-1 (Vidhan Sabha constituency)|Indore-1]]
| website = {{url|http://imcindore.mp.gov.in/}}
| footnotes =
}}

'''Chandan Nagar''' is a sub-urban locality of [[Indore]] in the state of [[Madhya Pradesh]], [[India]].

It lies under the jurisdiction of the [[Indore Municipal Corporation]]. The name's literal meaning is [[Sandalwood]].<ref>{{Cite web|url=http://www.sheknows.com/baby-names/name/chandan|title = Chandan|date = 22 August 2018}}</ref>

==History==
It is composed of 8 sectors designated A to H, with more than 300 houses in each. There are many high schools and [[madrasas]] in the locality.

==Geography==
The [[Devi Ahilya Bai Holkar Airport|Indore International Airport]] campus borders Chandan Nagar on the Northern end. It is surrounded by Kalani Nagar on the Eastern side. The [[Sirpur Lake]] occupies its southern border.

==Politics==
Chandan Nagar area falls under the [[Indore-1 (Vidhan Sabha constituency)|Indore-1]] Assembly Constituency in [[Indore District]]. The current elected Member is Sanjay Shukla from the [[Indian National Congress|Congress]].

==Transport==
The nearest railway station is [[Indore Junction railway station]]. Public transport such as autos, taxis, magic-vans, city buses are readily available.
Bus Routes passing by the main Chandan Nagar Square are:-
{|class="sortable plainrowheaders wikitable"
|-
!scope="col"|S. No.
!scope="col"|Route No.
!scope="col"|Start
!scope="col"|End
|-
!scope="row" style=text-align:center| 1
|align=center | 2
|align=right | Musakhedi Ring Road
|align=center| Kalaria
|-
|}

==Places of interest==

*[[Sirpur Lake]]: A Lake, which is a biodiversity hotspot<ref>{{cite news |last1=Correspondent |first1=HT |title=Indore's Sirpur Lake marked 'important bird area' |url=https://www.hindustantimes.com/indore/indore-s-sirpur-lake-marked-important-bird-area/story-LP3F30tRliAEAlgsM36rQP.html |access-date=8 December 2021 |work=Hindustan Times |publisher=hindustantimes.com |date=20 Nov 2015 |location=Indore |language=English}}</ref><ref>{{cite news |last1=Mekaad |first1=Salil |title=Indore's Sirpur Lake gets IBA status |url=https://timesofindia.indiatimes.com/city/indore/indores-sirpur-lake-gets-iba-status/articleshow/60425023.cms |access-date=8 December 2021 |work=The Times of India |agency=TNN |publisher=timesofindia.indiatimes.com |date=8 Sep 2017 |location=Indore |language=English}}</ref> and famous for being the destination of migratory birds during winters.<ref>{{cite news |last1=Sharma |first1=Meenakshi |title=Madhya Pradesh: Bird lovers rejoice as new winged guests land at Sirpur |url=https://timesofindia.indiatimes.com/city/indore/madhya-pradesh-bird-lovers-rejoice-as-new-winged-guests-land-at-sirpur/articleshow/79356154.cms |access-date=8 December 2021 |work=The Times of India |agency=TNN |publisher=timesofindia.indiatimes.com |date=22 Nov 2020 |location=Indore |language=English}}</ref>
*[[Gangwal Bus Stand]]: An Inter-State Bus Stand for hopping onto buses on [[National Highway 47 (India)|NH 47]] for Ahmedabad, Dhar, Betma, Rajgarh.

==See also==
*[[Azad Nagar, Indore|Azad Nagar]]
==References==
{{Reflist}}

{{Neighbourhoods of Indore}}

[[Category:Suburbs of Indore]]
[[Category:Neighbourhoods in Indore]]

Chandwara

2025-04-04T01:23:30Z

Surendra Sharma: Created Some Entry Initial Version

{{Use Indian English|date=January 2023}}
{{Use dmy dates|date=June 2023}}
{{Infobox settlement
| name = Chandwara
| 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|24.391328|N|85.476154|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 = [[Koderma district|Koderma]]
| established_title = 
| established_date =
| founder =
| named_for =
| government_type = [[Gram panchayat]]
| governing_body =
| unit_pref = Metric
| area_footnotes =
| area_rank =
| area_total_km2 =
| elevation_footnotes =
| elevation_m =
| population_total = 9097
| population_as_of = 2011
| population_rank =
| population_density_km2 = auto
| population_demonym =
| population_footnotes =
| demographics_type1 = Languages (*For language details see [[Chandwara (community development block)#Language and religion]])
| demographics1_title1 = Official
| demographics1_info1 = [[Hindi]], [[Urdu]]
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = [[Postal Index Number|PIN]]
| postal_code = 825409
| area_code_type = Telephone/ STD code
| area_code = 06543
| registration_plate = JH 12
| blank1_name_sec1 = [[Lok Sabha]] constituency
| blank1_info_sec1 = [[Hazaribagh (Lok Sabha constituency)|Hazaribagh]]
| blank2_name_sec1 = [[Vidhan Sabha]] constituency
| blank2_info_sec1 = [[Barhi (Vidhan Sabha constituency)|Barhi]]
| website = {{URL|koderma.nic.in/}}
| footnotes =
}}
'''Chandwara''' is a village and [[gram panchayat]] in the [[Chandwara (community development block)|Chandwara]] [[Community development blocks in India|CD block]] in the [[Koderma subdivision]] of the [[Koderma district]] in the [[India]]n [[States and territories of India|state]] of [[Jharkhand]].

==Geography==
{{OSM Location map
| width=380| height=450| zoom=10
| coord={{coord|24|33|0|N|85|38|0|E}}| float=left|caption='''Cities, towns and locations in Koderma district in North Chotanagpur Division''' M: municipality, CT: census town, R: rural/ urban centre, D: dam, P: power plant, T: tourist centre Owing to space constraints in the small map, the actual locations in a larger map may vary slightly
|mark-coord1= {{coord|24|34|48|N|85|46|18|E}} | label-pos1=left|label1= Dhab | numbered1=R| mark-title1=[[Dhab]] (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|23|28|N|85|28|34|E}}| label-pos2=bottom|label2= Chandwara| numbered2=R| mark-title2=Chandwara (R)|shape-color2=black| label-size2=13|label-color2=black 
|mark-coord3={{coord|24|22|33|N|85|38|37|E}} | label-pos3=left|label3= Jainagar| numbered3=R| mark-title3=[[Jainagar, Koderma]] (R)
|mark-coord4={{coord|24|19|38|N|85|50|4|E}} | label-pos4=left|label4= Markacho| numbered4=R| mark-title4=[[Markacho]] (R)
|mark-coord5={{coord|24|24|26|N|85|48|41|E}} | label-pos5=right|label5= Nawadih| numbered5=R| mark-title5=[[Nawadih, Markacho]] (R)
|mark-coord6={{coord|24|25|51|N|85|46|21|E}} | label-pos6=left|label6= Nawalsahi| numbered6=R| mark-title6=[[Nawalsahi]] (R)
|mark-coord7={{coord|24|44|47|N|85|46|10|E}} | label-pos7=right|label7= Satgawan| numbered7=R| mark-title7=[[Satgawan]] (R)
|mark-coord8={{coord|24|19|55|N|85|31|0|E}} | label-pos8=left|label8= Tilaiya| numbered8=R| mark-title8=[[Tilaiya]] (R)
|mark-coord9={{coord|24|21|20|N|85|27|55|E}} | label-pos9=right|label9= Urwan| numbered9=R| mark-title9=[[Urwan]] (R)
|mark-coord10={{coord|24|28|12|N|85|36|0|E}} | label-pos10=bottom|label10=Kodarma| numbered10=M| mark-title10= [[Kodarma]] (M) |label-size10=13 |label-color10=#800000
|mark-coord11={{coord|24|25|44|N|85|32|7|E}} | label-pos11=bottom|label11=Jhumri Telaiya| numbered11=M| mark-title11= [[Jhumri Telaiya]] (M) |label-size11=13 |label-color11=#800000
|mark-coord12={{coord|24|28|23|N|85|41|23|E}}| label-pos12=top|label12=Domchanch| numbered12=CT| mark-title12= [[Domchanch]] (CT) |shape-color12= #A40000
|mark-coord13={{coord|24|25|50|N|85|35|22|E}}| label-pos13=right|label13=Bekobar| numbered13=CT| mark-title13= [[Bekobar]] (CT) |shape-color13= #A40000
|mark-coord14={{coord|24|26|40|N|85|33|9|E}}| label-pos14=left|label14=Karma| numbered14=CT| mark-title14= [[Karma, Koderma]] (CT) |shape-color14= #A40000
|mark-coord15={{coord|24|19|26|N|85|31|40|E}}| label15= Tilaiya|labela15= Dam| label-color15 = #C42222 | label-angle15=0| label-pos15=right| label-size15=10| mark-size15=12| numbered15=D|mark-title15 =[[Tilaiya Dam]]| shape-color15=#C42222
|mark-coord16={{coord|24|23|28|N|85|33|40|E}} | label-pos16=right|label16= Koderma Thermal Power Station | numbered16=P| mark-title16= [[Koderma Thermal Power Station]] |shape-color16=#967117
|mark-coord17={{coord|24|34|0|N|85|36|0|E}} | label-pos17=bottom|label17=Koderma|labela17=Wildlife|labelb17= Sanctuary| numbered17=T|shape-color17= #74C365| mark-title17= [[Koderma Wildlife Sanctuary]] (T)
|mark-coord18={{coord|24|20|0|N|85|37|0|E}} |label18= Barakar River |label-color18 = #77A1CB| label-angle18= 10| label-pos18=top| label-size18=10| mark-size18=0| mark-title18 =none
|mark-coord19={{coord|24|40|0|N|85|50|0|E}} |label19= Sakri River|label-color19 = #77A1CB| label-angle19= 50| label-pos19=top| label-size19=10| mark-size19=0| mark-title19 =none
|arc-coordA={{coord|24|40|0|N|85|25|0|E}}|arc-textA= BIHAR| arc-text-colorA=hard grey| arc-angleA= -75| arc-gapA=15.0| arc-radiusA=0.35}}

===Location===
Chandwara is located at {{coord|24.391328|N|85.476154|E|display=inline}} in Jharkhand, India.

===Overview===
Koderma district is plateau territory and around 60% of the total area is covered with forests. The first dam of the [[Damodar Valley Corporation]], at [[Tilaiya]], was built across the [[Barakar River]] and inaugurated in 1953. [[Koderma Junction railway station]] has emerged as an important railway centre in the region. It is a predominantly rural district with only 19.72% urban population.<ref>{{cite web | url = https://censusindia.gov.in/2011census/dchb/DCHB_A/20/2003_PART_A_DCHB_KODARMA.pdf | title = District Census Handbook 2011 Kodarma, Series 21, Part XII A| work = Pages 8 and 9 | publisher = Directorate of Census Operations, Jharkhand | accessdate = 2 January 2021}}</ref><ref>{{cite web | url = https://censusindia.gov.in/2011census/dchb/2003_PART_B_DCHB_KODARMA.pdf | title = District Census Handbook 2011 Kodarma, Series 21, Part XII B| work = Page 18| publisher = Directorate of Census Operations, Jharkhand | accessdate = 2 January 2021}}</ref><ref>{{cite web |url =http://www.dvc.gov.in/activitiesdamsbarrages.htm |title =Damodar Valley Corporation |work =Dams and Barrages |publisher =DVC|accessdate =2 January 2021 |url-status =dead |archive-url =https://web.archive.org/web/20100429025712/http://www.dvc.gov.in/activitiesdamsbarrages.htm |archive-date =2010-04-29 }}</ref>

Note: The map alongside presents some of the notable locations in the district. All places marked in the map are linked in the larger full screen map.

==Demographics==
According to the [[2011 Census of India]], Chandwara had a total population of 9,097, of which 4,624 (51%) were males and 4,473 (49%) were females. Population in the age range 0–6 years was 1,698. The total number of literate persons in Chandwara was 5,160 (69.74% of the population over 6 years).<ref name=census2011>{{cite web| url = https://censusindia.gov.in/2011census/dchb/2004_PART_B_DCHB_GIRIDIH.pdf| title = District Census Handbook, Giridih, Series 21, Part XII B| work= Page 292: District Primary Census Abstract, 2011 census |publisher= Directorate of Census Operations Jharkhand | accessdate = 20 December 2020}}</ref>

==Civic administration==
===Police station===
Chandwara police station serves Chandwara CD block.<ref>{{cite web | url = https://www.jhpolice.gov.in/koderma | title = District Police Profile - Koderma | work = Contact Numbers | publisher = Jharkhand Police | accessdate = 20 December 2020 | archive-date = 2 January 2021 | archive-url = https://web.archive.org/web/20210102033429/https://jhpolice.gov.in/koderma | url-status = dead }}</ref>

===CD block HQ===
Headquarters of Chandwara CD block is at Chandwara village.<ref>{{cite web| url = https://censusindia.gov.in/2011census/dchb/DCHB_A/20/2003_PART_A_DCHB_KODARMA.pdf |title = District Census Handbook, Kodarma, Series 21, Part XII A| work= Map of Kodarma on the third page|publisher= Directorate of Census Operations Jharkhand | accessdate = 20 December 2020}}</ref>

==Transport==
There is a train station nearby at Pipradih on the [[Koderma-Hazaribagh-Barkakana-Ranchi line]].<ref>{{cite web| url = https://indiarailinfo.com/train/timetable/koderma-barkakana-passenger-53371/30224/1428/10614 |title = Koderma-Barkakana Passenger | work= Time Table |publisher= IndiaRailInfo | accessdate = 20 December 2019}}</ref>

==References==
{{Reflist}}

{{Koderma District}}

[[Category:Villages in Koderma district]]

{{Jharkhand-geo-stub}}

Veti, Dahanu

2025-03-31T21:30:57Z

Surendra Sharma: put up the data first draft...

{{short description|Village in Maharashtra}}
{{Use dmy dates|date=March 2025}}
{{Use Indian English|date=June 2016}}
{{Infobox settlement
| name = Veti
| native_name =
| native_name_lang =
| settlement_type = village
| image_skyline =
| image_alt =
| image_caption =
| etymology =
| pushpin_map = India Maharashtra#India
| pushpin_map_caption = Location in Maharashtra, India
| coordinates = {{coord|19.9059519|N|72.9755829|E|display=inline,title}}
| coordinates_footnotes =
| subdivision_type = Country
| subdivision_name = India
| subdivision_type1 = State
| subdivision_name1 = [[Maharashtra]]
| subdivision_type2 = [[List of districts of India|District]]
| subdivision_name2 = [[Palghar district|Palghar]]
| subdivision_type3 = [[Taluka]]
| subdivision_name3 = [[Dahanu]]
| established_title =
| established_date =
| founder =
| seat_type = [[Panchayat]]
| seat =
| leader_party =
| leader_title =
| leader_name =
| unit_pref = Metric
| area_total_km2 =
| elevation_m = 58
| population_as_of = 2011
| population_total = 2796
| population_density_km2 = auto
| population_demonym =
| timezone1 = [[Indian Standard Time|IST]]
| utc_offset1 = +5:30
| postal_code_type = 
| postal_code =
| area_code_type = 
| area_code =
| blank_name_sec1 = [[2011 Census of India|2011 census]] code
| blank_info_sec1 = 551746
| footnotes =
}}
'''Veti''' is a village in the [[Palghar district]] of Maharashtra, India. It is located in the [[Dahanu]] [[taluka]].<ref>{{cite web |url=http://dolr.nic.in/dolr/mpr/revenuevillagedirectorypdf/Maharashtra.pdf |title=Maharashtra villages |publisher=Land Records Information Systems Division, NIC |access-date=17 August 2015 |archive-url=https://web.archive.org/web/20160304095320/http://dolr.nic.in/dolr/mpr/revenuevillagedirectorypdf/Maharashtra.pdf |archive-date=4 March 2016 |url-status=dead }}</ref>

== Demographics ==

According to the [[2011 census of India]], Veti has 520 households. The effective literacy rate (i.e. the literacy rate of population excluding children aged 6 and below) is 47.23%.<ref name="census_2011"/>

{| class="wikitable sortable"
|+ Demographics (2011 Census)<ref name="census_2011">{{cite web |url=http://censusindia.gov.in/pca/cdb_pca_census/PCA%20CDB-2721-F-Census.xlsx |title=District census data |work=[[2011 Census of India]] |publisher=Directorate of Census Operations |access-date=17 August 2015 }}</ref>
! !! Total !! Male !! Female
|-
| Population || 2796 || 1350 || 1446
|-
| Children aged below 6 years || 486 || 252 || 234
|-
| [[Scheduled caste]] || 10 || 7 || 3
|-
| [[Scheduled tribe]] || 2667 || 1285 || 1382
|-
| Literates || 1091 || 657 || 434
|-
| Workers (all) || 1377 || 710 || 667
|-
| Main workers (total) || 986 || 645 || 341
|-
| Main workers: Cultivators || 586 || 384 || 202
|-
| Main workers: Agricultural labourers || 295 || 177 || 118
|-
| Main workers: Household industry workers || 4 || 4 || 0
|-
| Main workers: Other || 101 || 80 || 21
|-
| Marginal workers (total) || 391 || 65 || 326
|-
| Marginal workers: Cultivators || 238 || 29 || 209
|-
| Marginal workers: Agricultural labourers || 123 || 18 || 105
|-
| Marginal workers: Household industry workers || 17 || 9 || 8
|-
| Marginal workers: Others || 13 || 9 || 4
|-
| Non-workers || 1419 || 640 || 779
|}

== References ==
{{reflist}}

{{Dahanu taluka}}

[[Category:Villages in Dahanu taluka]]

Imrana rape case

2025-03-02T17:14:32Z

Surendra Sharma: small reworked citations as per guidelines and improved wording to improve readability

{{Use dmy dates|date=June 2018}}
{{Use Indian English|date=June 2018}}
The '''Imrana rape case''' is a case of [[sexual assault]] of a 28-year-old [[India]]n woman by her [[father-in-law]] on 6 June 2005 in [[Charthaval|Charthawal]] in the Indian state of [[Uttar Pradesh]]. Village elders demanded she leave her home and husband because she had been raped by her father-in-law and a [[fatwa]] was given which supported this view.<ref>{{cite news|url=http://www.expressindia.com/fullstory.php?newsid=50422|title=Let's be fair to Imrana|publisher=Expressindia.com|access-date=2012-09-22|archive-url=https://web.archive.org/web/20070314211025/http://www.expressindia.com/fullstory.php?newsid=50422|archive-date=14 March 2007|url-status=dead}}</ref><ref>{{cite web|title=Tahir Mahmood, The legal fiction behind the controversy|url=http://www.tehelka.com/story_main13.asp?filename=Ne071605The_legal_fiction.asp|publisher=Tehelka.com|access-date=29 September 2007|archive-url=https://web.archive.org/web/20120208012437/http://www.tehelka.com/story_main13.asp?filename=Ne071605The_legal_fiction.asp|archive-date=8 February 2012|url-status=dead}}</ref>

==Timeline==
*6 June 2005: Ali Mohammed raped his [[daughter-in-law]] Imrana.
*13 June 2005: A local ''panchayat'' declared Imrana's marriage to Nur Ilahi void as she "had sex" with her father-in-law and asked her to treat her husband as her son, which means she would have to stop living with him.
*13 June 2005: Ali Mohammed is arrested.
*16 June 2005: Ali Mohammed is sent to judicial custody.
*30 June 2005: The police filed cases against Ali Mohammed along with a medical report. Imrana's statement is recorded before a magistrate.
*5 December 2005: The court turned down Ali Mohammed's [[bail]] plea.
*30 December 2005: The charges are framed against Ali Mohammed.
*19 October 2006: The court sentenced Ali Mohammed to 10 years in prison for raping Imrana. He received a three-year term for a separate charge of criminal intimidation.

==See also==
*[[Shah Bano case]]

==References==
{{Reflist}}

{{Social issues in India}}
{{Sexual abuse}}
{{Rape in India}}

{{DEFAULTSORT:Imrana Rape Case}}
[[Category:History of Uttar Pradesh (1947–present)]]
[[Category:Women's rights in Islam]]
[[Category:Fatwas]]
[[Category:Rape in India]]
[[Category:Sharia in India]]
[[Category:Muzaffarnagar district]]
[[Category:2005 crimes in India]]
[[Category:Crime in Uttar Pradesh]]
[[Category:Incidents of violence against women]]
[[Category:Affinity (law)]]
[[Category:Annulment]]
[[Category:Violence against women in India]]