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Introduction

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India, officially the Republic of India, is a country in South Asia. It is the seventh-largest country in the world by area and the most populous country. Bounded by the Indian Ocean on the south, the Arabian Sea on the southwest, and the Bay of Bengal on the southeast, it shares land borders with Pakistan to the west; China, Nepal, and Bhutan to the north; and Bangladesh and Myanmar to the east. In the Indian Ocean, India is in the vicinity of Sri Lanka and the Maldives; its Andaman and Nicobar Islands share a maritime border with Thailand, Myanmar, and Indonesia. (Full article...)

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  • Image 1 Husain on a 1998 stamp of India Dr. Zakir Husain Khan (8 February 1897 – 3 May 1969) was an Indian educationist and politician who served as the 3rd president of India from 13 May 1967 until his death on 3 May 1969. Born in Hyderabad in an Afridi Pashtun family, Husain completed his schooling in Etawah and went on to study at the Muhammadan Anglo-Oriental College, Aligarh and the University of Berlin from where he obtained a doctoral degree in economics. A close associate of Mahatma Gandhi, Husain was a founding member of the Jamia Millia Islamia which was established as an independent national university in response to the Non-cooperation movement. He served as the university's vice-chancellor from 1926 to 1948. In 1937, Husain chaired the Basic National Education Committee which framed a new educational policy known as Nai Talim which emphasized free and compulsory education in the first language. He was opposed to the policy of separate electorates for Muslims and, in 1946, the Muslim League under Muhammad Ali Jinnah vetoed a proposal by the Indian National Congress to include Husain in the Interim Government of India. (Full article...)

    Husain on a 1998 stamp of India

    Dr. Zakir Husain Khan (8 February 1897 – 3 May 1969) was an Indian educationist and politician who served as the 3rd president of India from 13 May 1967 until his death on 3 May 1969.

    Born in Hyderabad in an Afridi Pashtun family, Husain completed his schooling in Etawah and went on to study at the Muhammadan Anglo-Oriental College, Aligarh and the University of Berlin from where he obtained a doctoral degree in economics. A close associate of Mahatma Gandhi, Husain was a founding member of the Jamia Millia Islamia which was established as an independent national university in response to the Non-cooperation movement. He served as the university's vice-chancellor from 1926 to 1948. In 1937, Husain chaired the Basic National Education Committee which framed a new educational policy known as Nai Talim which emphasized free and compulsory education in the first language. He was opposed to the policy of separate electorates for Muslims and, in 1946, the Muslim League under Muhammad Ali Jinnah vetoed a proposal by the Indian National Congress to include Husain in the Interim Government of India. (Full article...)
  • Image 2 Abu'l Hasan, Emperor Jahangir at the jharoka window of the Agra Fort, c. 1620, Aga Khan Museum Jharokha Darshan (Persian: جهروکه درشن) (Hindi: झरोखा दर्शन) was a daily practice of addressing the public audience (darshan) at the balcony (jharokha) at the forts and palaces of medieval kings in India. It was an essential and direct way of communicating face-to-face with the public, and was a practice which was adopted by the Mughal emperors. The balcony appearance in the name of Jharokha Darshan also spelled jharokha-i darshan was adopted by the 16th-century Mughal Emperor Akbar, even though it was contrary to Islamic injunctions. Earlier, Akbar's father Emperor Humayun had also adopted this Hindu practice of appearing before his subjects at the jharokha to hear their public grievances. Darshan is a Sanskrit word which means "sight" and "beholding" (also means: "the viewing of an idol or a saint") which was adopted by Mughals for their daily appearance before their subjects. This also showed a Hindu influence, It was first practiced by Humayun before Akbar adopted it as a practice at sunrise. Jharokha is an easterly facing "ornate bay-window", canopied, throne-balcony, the "balcony for viewing" (an oriel window projecting out of the wall) provided in every palace or fort where the kings or emperors resided during their reign. Its architecture served not only the basic need for lighting and ventilation but also attained a divine concept during the reign of Mughals. The jharokha appearances by the Mughals have been depicted by many paintings. (Full article...)
    Abu'l Hasan, Emperor Jahangir at the jharoka window of the Agra Fort, c. 1620, Aga Khan Museum

    Jharokha Darshan (Persian: جهروکه درشن) (Hindi: झरोखा दर्शन) was a daily practice of addressing the public audience (darshan) at the balcony (jharokha) at the forts and palaces of medieval kings in India. It was an essential and direct way of communicating face-to-face with the public, and was a practice which was adopted by the Mughal emperors. The balcony appearance in the name of Jharokha Darshan also spelled jharokha-i darshan was adopted by the 16th-century Mughal Emperor Akbar, even though it was contrary to Islamic injunctions. Earlier, Akbar's father Emperor Humayun had also adopted this Hindu practice of appearing before his subjects at the jharokha to hear their public grievances.

    Darshan is a Sanskrit word which means "sight" and "beholding" (also means: "the viewing of an idol or a saint") which was adopted by Mughals for their daily appearance before their subjects. This also showed a Hindu influence, It was first practiced by Humayun before Akbar adopted it as a practice at sunrise. Jharokha is an easterly facing "ornate bay-window", canopied, throne-balcony, the "balcony for viewing" (an oriel window projecting out of the wall) provided in every palace or fort where the kings or emperors resided during their reign. Its architecture served not only the basic need for lighting and ventilation but also attained a divine concept during the reign of Mughals. The jharokha appearances by the Mughals have been depicted by many paintings. (Full article...)
  • Image 3 Goddess Dhumavati, one of the Mahavidyas Dhumavati (Sanskrit: धूमावती, Dhūmāvatī, literally "the smoky one") is one of the Mahavidyas, a group of ten Hindu Tantric goddesses. Dhumavati represents the fearsome aspect of Mahadevi, the supreme goddess in Hindu traditions such as Shaktism. She is often portrayed as an old, ugly widow, and is associated with things considered inauspicious and unattractive in Hinduism, such as the crow and the chaturmasya period. The goddess is often depicted carrying a winnowing basket on a horseless chariot or riding a crow, usually in a cremation ground. Dhumavati is said to manifest herself at the time of cosmic dissolution (pralaya) and is "the Void" that exists before creation and after dissolution. While Dhumavati is generally associated with only inauspicious qualities, her thousand-name hymn relates her positive aspects as well as her negative ones. She is often called tender-hearted and a bestower of boons. Dhumavati is described as a great teacher, one who reveals ultimate knowledge of the universe, which is beyond the illusory divisions, like auspicious and inauspicious. Her ugly form teaches the devotee to look beyond the superficial, to look inwards and seek the inner truths of life. (Full article...)

    Goddess Dhumavati, one of the Mahavidyas

    Dhumavati (Sanskrit: धूमावती, Dhūmāvatī, literally "the smoky one") is one of the Mahavidyas, a group of ten Hindu Tantric goddesses. Dhumavati represents the fearsome aspect of Mahadevi, the supreme goddess in Hindu traditions such as Shaktism. She is often portrayed as an old, ugly widow, and is associated with things considered inauspicious and unattractive in Hinduism, such as the crow and the chaturmasya period. The goddess is often depicted carrying a winnowing basket on a horseless chariot or riding a crow, usually in a cremation ground.

    Dhumavati is said to manifest herself at the time of cosmic dissolution (pralaya) and is "the Void" that exists before creation and after dissolution. While Dhumavati is generally associated with only inauspicious qualities, her thousand-name hymn relates her positive aspects as well as her negative ones. She is often called tender-hearted and a bestower of boons. Dhumavati is described as a great teacher, one who reveals ultimate knowledge of the universe, which is beyond the illusory divisions, like auspicious and inauspicious. Her ugly form teaches the devotee to look beyond the superficial, to look inwards and seek the inner truths of life. (Full article...)
  • Image 4 Kartik bowling for Somerset in 2010. Murali Kartik (pronunciation, born 11 September 1976) is a Cricket commentator and former Indian cricketer who sporadically represented the national team from 2000 to 2007. He was a slow left-arm orthodox bowler. He was not selected for international matches during his prime years due to the presence of Anil Kumble and Harbhajan Singh in the Indian squad. A left-handed batsman who had some success with the bat at first-class level with 21 half-centuries, Murli was not able to repeat such performances at international level. After starting out in the Delhi junior system, Murali moved through the age group ranks at Railways and was selected for the Indian Under-19 team. He made his first-class debut in 1996–97 and after a few productive seasons at the domestic level, made his Test debut in early 2000 as Kumble's bowling partner. However, he ran into disciplinary problems and was expelled from the National Cricket Academy in the same year. At the same time, new national captain Sourav Ganguly was reluctant to entrust him with responsibility. Ganguly called for off-spinner Harbhajan Singh to be recalled in 2001 and was rewarded with a series-winning performance against Australia. This entrenched the off-spinner in the team and left Kartik on the outer. (Full article...)

    Kartik bowling for Somerset in 2010.

    Murali Kartik (pronunciation, born 11 September 1976) is a Cricket commentator and former Indian cricketer who sporadically represented the national team from 2000 to 2007. He was a slow left-arm orthodox bowler. He was not selected for international matches during his prime years due to the presence of Anil Kumble and Harbhajan Singh in the Indian squad. A left-handed batsman who had some success with the bat at first-class level with 21 half-centuries, Murli was not able to repeat such performances at international level.

    After starting out in the Delhi junior system, Murali moved through the age group ranks at Railways and was selected for the Indian Under-19 team. He made his first-class debut in 1996–97 and after a few productive seasons at the domestic level, made his Test debut in early 2000 as Kumble's bowling partner. However, he ran into disciplinary problems and was expelled from the National Cricket Academy in the same year. At the same time, new national captain Sourav Ganguly was reluctant to entrust him with responsibility. Ganguly called for off-spinner Harbhajan Singh to be recalled in 2001 and was rewarded with a series-winning performance against Australia. This entrenched the off-spinner in the team and left Kartik on the outer. (Full article...)
  • Image 5 Dulquer in 2018 Dulquer Salmaan (IPA: [d̪ulkʰɐr salmaːn]; born 28 July 1983/1986) is an Indian actor, playback singer and film producer who predominantly works in Malayalam, Tamil, Telugu and Hindi films. He graduated with a bachelor's degree in business management from Purdue University and worked as a business manager in Dubai before pursuing a career in acting. Dulquer is a recipient of several awards including, five Filmfare Awards South and a Kerala State Film Award. After a three-month course at the Barry John acting Studio, Salmaan made his acting debut with Second Show (2012).[better source needed] He has since established himself as a leading actor in Indian cinema with several critically and commercially successful films including Ustad Hotel (2012), ABCD (2013), Neelakasham Pachakadal Chuvanna Bhoomi (2013), Vaayai Moodi Pesavum (2014), Bangalore Days (2014), Vikramadithyan (2014), O Kadhal Kanmani (2015), Charlie (2015), Kali (2016), Kammatti Paadam (2016), Jomonte Suvisheshangal (2017) and Kurup (2021). His highest-grossing releases came with Mahanati (2018), Sita Ramam (2022) and Lucky Baskhar (2024). (Full article...)

    Dulquer in 2018

    Dulquer Salmaan (IPA: [d̪ulkʰɐr salmaːn]; born 28 July 1983/1986) is an Indian actor, playback singer and film producer who predominantly works in Malayalam, Tamil, Telugu and Hindi films. He graduated with a bachelor's degree in business management from Purdue University and worked as a business manager in Dubai before pursuing a career in acting. Dulquer is a recipient of several awards including, five Filmfare Awards South and a Kerala State Film Award.

    After a three-month course at the Barry John acting Studio, Salmaan made his acting debut with Second Show (2012).[better source needed] He has since established himself as a leading actor in Indian cinema with several critically and commercially successful films including Ustad Hotel (2012), ABCD (2013), Neelakasham Pachakadal Chuvanna Bhoomi (2013), Vaayai Moodi Pesavum (2014), Bangalore Days (2014), Vikramadithyan (2014), O Kadhal Kanmani (2015), Charlie (2015), Kali (2016), Kammatti Paadam (2016), Jomonte Suvisheshangal (2017) and Kurup (2021). His highest-grossing releases came with Mahanati (2018), Sita Ramam (2022) and Lucky Baskhar (2024). (Full article...)
  • Image 6 Pakeezah (Hindustani pronunciation: [ˈpaːkiːzaː]; transl. The Pure One) is a 1972 Indian musical romantic drama written, directed, and produced by Kamal Amrohi. The film stars Meena Kumari as the eponymous lead, alongside Ashok Kumar and Raaj Kumar. It tells the story of Sahibjaan, a Lucknow-based tawaif. While asleep on a train, Sahibjaan receives a note from a stranger praising her beauty. Later, evacuating from a broken boat, she takes shelter in a tent and finds out its owner, a forest ranger named Salim, wrote the letter. Sahibjaan and Salim plan to get married, causing conflicts with Sahibjaan's professional background. Amrohi, to whom Kumari was married, wanted to make a film dedicated to his wife; he began conceiving the story after the release of their collaborative film Daaera (1953). Production of the film lasted 15 years. Pakeezah's principal photography commenced in 1956 under the German cinematographer Josef Wirsching. The film faced many obstacles, particularly Kumari and Amrohi's separation in 1964 and Kumari's addiction to alcohol, which often made her unable to perform. After being postponed for many years, filming resumed in 1969 and finished in November 1971. The film's soundtrack, which became one of the highest-selling Bollywood soundtracks of the 1970s, was composed by Ghulam Mohammed and finished by Naushad, who also composed the background score. (Full article...)
    Pakeezah (Hindustani pronunciation: [ˈpaːkiːzaː]; transl. The Pure One) is a 1972 Indian musical romantic drama written, directed, and produced by Kamal Amrohi. The film stars Meena Kumari as the eponymous lead, alongside Ashok Kumar and Raaj Kumar. It tells the story of Sahibjaan, a Lucknow-based tawaif. While asleep on a train, Sahibjaan receives a note from a stranger praising her beauty. Later, evacuating from a broken boat, she takes shelter in a tent and finds out its owner, a forest ranger named Salim, wrote the letter. Sahibjaan and Salim plan to get married, causing conflicts with Sahibjaan's professional background.

    Amrohi, to whom Kumari was married, wanted to make a film dedicated to his wife; he began conceiving the story after the release of their collaborative film Daaera (1953). Production of the film lasted 15 years. Pakeezah's principal photography commenced in 1956 under the German cinematographer Josef Wirsching. The film faced many obstacles, particularly Kumari and Amrohi's separation in 1964 and Kumari's addiction to alcohol, which often made her unable to perform. After being postponed for many years, filming resumed in 1969 and finished in November 1971. The film's soundtrack, which became one of the highest-selling Bollywood soundtracks of the 1970s, was composed by Ghulam Mohammed and finished by Naushad, who also composed the background score. (Full article...)
  • Image 7 N. manalari, with Indian five-rupee coin for scale Nyctibatrachus manalari, the Manalar night frog, is a species of frog in the robust frog family Nyctibatrachidae. It was described in 2017, along with six other species in its genus, by the herpetologist Sonali Garg and her colleagues. A small frog, it has an adult male snout–vent length of 13.1–15.4 mm (0.52–0.61 in). It is mainly reddish-brown in color, with a pale patch on the snout, lighter undersides, and dark brown horizontal lines on the limbs. When preserved in ethanol, it is mostly grey to greyish-brown, with grayish-white undersides. It is endemic to the Western Ghats of India, where it is known from the Periyar Tiger Reserve in Kerala and Meghamalai Wildlife Sanctuary in Tamil Nadu, although its range is likely larger than currently known. It reproduces by laying eggs, with the only known clutch having eight eggs. The species is currently classified as being data deficient by the IUCN due to a lack of information about it; threats to the species include pesticide usage and chytridiomycosis. (Full article...)

    N. manalari, with Indian five-rupee coin for scale

    Nyctibatrachus manalari, the Manalar night frog, is a species of frog in the robust frog family Nyctibatrachidae. It was described in 2017, along with six other species in its genus, by the herpetologist Sonali Garg and her colleagues. A small frog, it has an adult male snout–vent length of 13.1–15.4 mm (0.52–0.61 in). It is mainly reddish-brown in color, with a pale patch on the snout, lighter undersides, and dark brown horizontal lines on the limbs. When preserved in ethanol, it is mostly grey to greyish-brown, with grayish-white undersides.

    It is endemic to the Western Ghats of India, where it is known from the Periyar Tiger Reserve in Kerala and Meghamalai Wildlife Sanctuary in Tamil Nadu, although its range is likely larger than currently known. It reproduces by laying eggs, with the only known clutch having eight eggs. The species is currently classified as being data deficient by the IUCN due to a lack of information about it; threats to the species include pesticide usage and chytridiomycosis. (Full article...)
  • Image 8 Birbhum district (IPA: [biːrbʰuːm]) is an administrative unit in the Indian state of West Bengal. It is the northernmost district of Burdwan division—one of the five administrative divisions of West Bengal. The district headquarters is in Suri. Other important cities are Bolpur, Rampurhat and Sainthia. Jamtara, Dumka and Pakur districts of the state of Jharkhand lie at the western border of this district; the border in other directions is covered by the districts of Bardhaman of Purba Bardhaman, Paschim Bardhaman and Murshidabad of West Bengal. Often called "the land of red soil", Birbhum is noted for its topography and its cultural heritage which is somewhat different from the other districts in West Bengal. The western part of Birbhum is a bushy region, a part of the Chota Nagpur Plateau. This region gradually merges with the fertile alluvial farmlands in the east. (Full article...)

    Birbhum district (IPA: [biːrbʰuːm]) is an administrative unit in the Indian state of West Bengal. It is the northernmost district of Burdwan division—one of the five administrative divisions of West Bengal. The district headquarters is in Suri. Other important cities are Bolpur, Rampurhat and Sainthia. Jamtara, Dumka and Pakur districts of the state of Jharkhand lie at the western border of this district; the border in other directions is covered by the districts of Bardhaman of Purba Bardhaman, Paschim Bardhaman and Murshidabad of West Bengal.

    Often called "the land of red soil", Birbhum is noted for its topography and its cultural heritage which is somewhat different from the other districts in West Bengal. The western part of Birbhum is a bushy region, a part of the Chota Nagpur Plateau. This region gradually merges with the fertile alluvial farmlands in the east. (Full article...)
  • Image 9 The central panel portrays Yama, aided by Chitragupta and Yamadutas, judging the dead. Other panels depict various realms/hells of Naraka. Naraka (Sanskrit: नरक), also called Yamaloka, is the Hindu equivalent of Hell, where sinners are tormented after death. It is also the abode of Yama, the god of Death. It is described as located in the south of the universe and beneath the earth. The number and names of hells, as well as the type of sinners sent to a particular hell, varies from text to text; however, many scriptures describe 28 hells. After death, messengers of Yama called Yamadutas bring all beings to the court of Yama, where he weighs the virtues and the vices of the being and passes a judgement, sending the virtuous to Svarga (heaven) and the sinners to one of the hells. The stay in Svarga or Naraka is generally described as temporary. After the quantum of punishment is over, the souls are reborn as lower or higher beings as per their merits (the exception being Hindu philosopher Madhvacharya, who believes in eternal damnation of the Tamo-yogyas in Andhantamas). (Full article...)
    The central panel portrays Yama, aided by Chitragupta and Yamadutas, judging the dead. Other panels depict various realms/hells of Naraka.


    Naraka (Sanskrit: नरक), also called Yamaloka, is the Hindu equivalent of Hell, where sinners are tormented after death. It is also the abode of Yama, the god of Death. It is described as located in the south of the universe and beneath the earth.

    The number and names of hells, as well as the type of sinners sent to a particular hell, varies from text to text; however, many scriptures describe 28 hells. After death, messengers of Yama called Yamadutas bring all beings to the court of Yama, where he weighs the virtues and the vices of the being and passes a judgement, sending the virtuous to Svarga (heaven) and the sinners to one of the hells. The stay in Svarga or Naraka is generally described as temporary. After the quantum of punishment is over, the souls are reborn as lower or higher beings as per their merits (the exception being Hindu philosopher Madhvacharya, who believes in eternal damnation of the Tamo-yogyas in Andhantamas). (Full article...)
  • Image 10 Mayawati in 2016 Kumari Mayawati (born Kumari Mayawati Das; 15 January 1956) is an Indian politician who served as the 18th Chief Minister of Uttar Pradesh from 1995 to 1995, 1997 to 1997, 2002 to 2003 and from 2007 to 2012. She is the national president of the Bahujan Samaj Party (BSP), which focuses on a platform of social change for Bahujans, more commonly known as Other Backward Classes, Scheduled Castes and Scheduled Tribes as well as religious minorities since 2003. She had also served as a Member of Parliament, Rajya Sabha from 2012 to 2017 from Uttar Pradesh. Mayawati's rise from humble beginnings has been called a "miracle of democracy" by P. V. Narasimha Rao, former prime minister of India. In 1993, Kanshi Ram formed a coalition with the Samajwadi Party and Mayawati became the Chief Minister of Uttar Pradesh in 1995. She was the first female Scheduled Caste chief minister in India. In 1997 and in 2002 she was chief minister with outside support from the Bharatiya Janata Party (BJP), the second time only for a year up to 26 August 2003 due to BJP withdrawing support. Mayawati's tenure has attracted praise and criticism. Millions of Dalits across India popularly view her as an icon, and refer to her as Behen-ji (elder sister). She has been praised for her fundraising efforts on behalf of her party and her birthdays have been widely celebrated by her supporters. On the contrary, the rise in her personal wealth and that of her party have been criticised as indicative of corruption. (Full article...)

    Mayawati in 2016

    Kumari Mayawati (born Kumari Mayawati Das; 15 January 1956) is an Indian politician who served as the 18th Chief Minister of Uttar Pradesh from 1995 to 1995, 1997 to 1997, 2002 to 2003 and from 2007 to 2012. She is the national president of the Bahujan Samaj Party (BSP), which focuses on a platform of social change for Bahujans, more commonly known as Other Backward Classes, Scheduled Castes and Scheduled Tribes as well as religious minorities since 2003. She had also served as a Member of Parliament, Rajya Sabha from 2012 to 2017 from Uttar Pradesh. Mayawati's rise from humble beginnings has been called a "miracle of democracy" by P. V. Narasimha Rao, former prime minister of India. In 1993, Kanshi Ram formed a coalition with the Samajwadi Party and Mayawati became the Chief Minister of Uttar Pradesh in 1995. She was the first female Scheduled Caste chief minister in India. In 1997 and in 2002 she was chief minister with outside support from the Bharatiya Janata Party (BJP), the second time only for a year up to 26 August 2003 due to BJP withdrawing support.

    Mayawati's tenure has attracted praise and criticism. Millions of Dalits across India popularly view her as an icon, and refer to her as Behen-ji (elder sister). She has been praised for her fundraising efforts on behalf of her party and her birthdays have been widely celebrated by her supporters. On the contrary, the rise in her personal wealth and that of her party have been criticised as indicative of corruption. (Full article...)
  • Image 11 Jamiat Ulema-e-Hind or Jamiat Ulama-i-Hind (Urdu: جمعیۃ علماءِ ہند transl. Council of Indian Muslim Theologians) is one of the leading organizations of Islamic scholars belonging to the Deobandi school of thought in India. It was founded in November 1919 by a group of Muslim scholars including Abdul Bari Firangi Mahali, Kifayatullah Dehlawi, Muhammad Ibrahim Mir Sialkoti and Sanaullah Amritsari. The Jamiat was an active participant in the Khilafat Movement in collaboration with the Indian National Congress. It also opposed the partition of India, taking the position of composite nationalism: that Muslims and non-Muslims form one nation. As a result, this organisation had a small break-away faction known as the Jamiat Ulema-e-Islam, which decided to support the Pakistan movement. (Full article...)
    Jamiat Ulema-e-Hind or Jamiat Ulama-i-Hind (Urdu: جمعیۃ علماءِ ہند transl. Council of Indian Muslim Theologians) is one of the leading organizations of Islamic scholars belonging to the Deobandi school of thought in India. It was founded in November 1919 by a group of Muslim scholars including Abdul Bari Firangi Mahali, Kifayatullah Dehlawi, Muhammad Ibrahim Mir Sialkoti and Sanaullah Amritsari.

    The Jamiat was an active participant in the Khilafat Movement in collaboration with the Indian National Congress. It also opposed the partition of India, taking the position of composite nationalism: that Muslims and non-Muslims form one nation. As a result, this organisation had a small break-away faction known as the Jamiat Ulema-e-Islam, which decided to support the Pakistan movement. (Full article...)
  • Image 12 Jab Tak Hai Jaan (transl. As Long as I Live), abbreviated as JTHJ, is a 2012 Indian Hindi-language romantic drama film directed by Yash Chopra and written and produced by his son Aditya Chopra under their banner Yash Raj Films. The film stars Shah Rukh Khan, Katrina Kaif, and Anushka Sharma. The story revolves around Samar Anand (Khan), a bomb disposal expert whose diary falls into the hands of an intern Akira Rai (Sharma); the diary recounts his time as a struggling immigrant in London, and later details his whirlwind romance with Meera Thapar (Kaif). (Full article...)
    Jab Tak Hai Jaan (transl. As Long as I Live), abbreviated as JTHJ, is a 2012 Indian Hindi-language romantic drama film directed by Yash Chopra and written and produced by his son Aditya Chopra under their banner Yash Raj Films. The film stars Shah Rukh Khan, Katrina Kaif, and Anushka Sharma.

    The story revolves around Samar Anand (Khan), a bomb disposal expert whose diary falls into the hands of an intern Akira Rai (Sharma); the diary recounts his time as a struggling immigrant in London, and later details his whirlwind romance with Meera Thapar (Kaif). (Full article...)
  • Image 13 The supreme God is Shiva, Shiva is Brahman, Brahman is Atman, Know your Atman, Know yourself to be that Brahman, states the Kaivalya Upanishad The Kaivalya Upanishad (Sanskrit: कैवल्य उपनिषद्) is an ancient Sanskrit text and one of the minor Upanishads of Hinduism. It is classified as a Shaiva Upanishad, and survives into modern times in two versions, one attached to the Krishna Yajurveda and other attached to the Atharvaveda. It is, as an Upanishad, a part of the corpus of Vedanta literature collection that presents the philosophical concepts of Hinduism. The Upanishad extols Shiva, aloneness and renunciation, describes the inner state of man in his personal spiritual journey detached from the world. The text is notable for presenting Shaivism in Vedanta, discussing Atman (Self) and its relation to Brahman, and Self-knowledge as the path to kaivalya (liberation). (Full article...)

    The supreme God is Shiva, Shiva is Brahman, Brahman is Atman, Know your Atman, Know yourself to be that Brahman, states the Kaivalya Upanishad

    The Kaivalya Upanishad (Sanskrit: कैवल्य उपनिषद्) is an ancient Sanskrit text and one of the minor Upanishads of Hinduism. It is classified as a Shaiva Upanishad, and survives into modern times in two versions, one attached to the Krishna Yajurveda and other attached to the Atharvaveda. It is, as an Upanishad, a part of the corpus of Vedanta literature collection that presents the philosophical concepts of Hinduism.

    The Upanishad extols Shiva, aloneness and renunciation, describes the inner state of man in his personal spiritual journey detached from the world. The text is notable for presenting Shaivism in Vedanta, discussing Atman (Self) and its relation to Brahman, and Self-knowledge as the path to kaivalya (liberation). (Full article...)
  • Image 14 Alexander in the Alexander Mosaic Alexander III of Macedon (Ancient Greek: Ἀλέξανδρος, romanized: Alexandros; 20/21 July 356 BC – 10/11 June 323 BC), most commonly known as Alexander the Great, was a king of the ancient Greek kingdom of Macedon. He succeeded his father Philip II to the throne in 336 BC at the age of 20 and spent most of his ruling years conducting a lengthy military campaign throughout Western Asia, Central Asia, parts of South Asia, and Egypt. By the age of 30, he had created one of the largest empires in history, stretching from Greece to northwestern India. He was undefeated in battle and is widely considered to be one of history's greatest and most successful military commanders. Until the age of 16, Alexander was tutored by Aristotle. In 335 BC, shortly after his assumption of kingship over Macedon, he campaigned in the Balkans and reasserted control over Thrace and parts of Illyria before marching on the city of Thebes, which was subsequently destroyed in battle. Alexander then led the League of Corinth, and used his authority to launch the pan-Hellenic project envisaged by his father, assuming leadership over all Greeks in their conquest of Persia. (Full article...)

    Alexander in the Alexander Mosaic

    Alexander III of Macedon (Ancient Greek: Ἀλέξανδρος, romanized: Alexandros; 20/21 July 356 BC – 10/11 June 323 BC), most commonly known as Alexander the Great, was a king of the ancient Greek kingdom of Macedon. He succeeded his father Philip II to the throne in 336 BC at the age of 20 and spent most of his ruling years conducting a lengthy military campaign throughout Western Asia, Central Asia, parts of South Asia, and Egypt. By the age of 30, he had created one of the largest empires in history, stretching from Greece to northwestern India. He was undefeated in battle and is widely considered to be one of history's greatest and most successful military commanders.

    Until the age of 16, Alexander was tutored by Aristotle. In 335 BC, shortly after his assumption of kingship over Macedon, he campaigned in the Balkans and reasserted control over Thrace and parts of Illyria before marching on the city of Thebes, which was subsequently destroyed in battle. Alexander then led the League of Corinth, and used his authority to launch the pan-Hellenic project envisaged by his father, assuming leadership over all Greeks in their conquest of Persia. (Full article...)
  • Image 15 Malliswari is a 1951 Indian Telugu-language historical romance film produced and directed by B. N. Reddi under his banner Vauhini Studios. P. Bhanumathi and N. T. Rama Rao star as a couple – Nagaraju and Malliswari – who are separated by Malliswari's greedy mother. Malliswari is sent to the king's palace according to the custom of "Rani Vasam", a tradition during the Vijayanagara Empire wherein young women were fetched to the palace with an offering of gold and jewellery to their parents. The rest of the film focuses on the consequences faced by Nagaraju when he, against all rules, surreptitiously enters the palace to meet Malliswari. B. N. Reddi had envisioned a film about Sri Krishnadevaraya since his visit to Hampi during the production of his debut film, Vande Mataram (1939). He enlisted Devulapalli Krishnasastri to write the script, drawing inspiration from Butchi Babu's play Rayalavari Karunakruthyamu and Devan Sharar's short story The Emperor and the Slave Girl. B. N. Reddi also incorporated elements from his own childhood to enhance the narrative's authenticity, particularly in the playful interactions between Nagaraju and Malliswari. To ensure historical accuracy, B. N. Reddi consulted Mallampalli Somasekhara Sarma, a noted historian and epigraphist. Art director A. K. Shekar devoted nearly two years to designing the sets, meticulously preparing sketches to reflect the period’s aesthetics. The film's music was composed by S. Rajeswara Rao, with cinematography by Adi M. Irani and B. N. Konda Reddy. (Full article...)
    Malliswari is a 1951 Indian Telugu-language historical romance film produced and directed by B. N. Reddi under his banner Vauhini Studios. P. Bhanumathi and N. T. Rama Rao star as a couple – Nagaraju and Malliswari – who are separated by Malliswari's greedy mother. Malliswari is sent to the king's palace according to the custom of "Rani Vasam", a tradition during the Vijayanagara Empire wherein young women were fetched to the palace with an offering of gold and jewellery to their parents. The rest of the film focuses on the consequences faced by Nagaraju when he, against all rules, surreptitiously enters the palace to meet Malliswari.

    B. N. Reddi had envisioned a film about Sri Krishnadevaraya since his visit to Hampi during the production of his debut film, Vande Mataram (1939). He enlisted Devulapalli Krishnasastri to write the script, drawing inspiration from Butchi Babu's play Rayalavari Karunakruthyamu and Devan Sharar's short story The Emperor and the Slave Girl. B. N. Reddi also incorporated elements from his own childhood to enhance the narrative's authenticity, particularly in the playful interactions between Nagaraju and Malliswari. To ensure historical accuracy, B. N. Reddi consulted Mallampalli Somasekhara Sarma, a noted historian and epigraphist. Art director A. K. Shekar devoted nearly two years to designing the sets, meticulously preparing sketches to reflect the period’s aesthetics. The film's music was composed by S. Rajeswara Rao, with cinematography by Adi M. Irani and B. N. Konda Reddy. (Full article...)
  • Image 16 Defence of the Centurion in Vizagapatam Road, Septr. 15th 1804, Thomas Sutherland The Battle of Vizagapatam was a minor naval engagement fought in the approaches to Vizagapatam harbour in the Coastal Andhra region of British India on the Bay of Bengal on 15 September 1804 during the Napoleonic Wars. A French squadron under Contre-Admiral Charles-Alexandre Léon Durand Linois in the ship of the line Marengo attacked the British Royal Navy fourth rate ship HMS Centurion and two East Indiaman merchant ships anchored in the harbour roads. Linois was engaged in an extended raiding campaign, which had already involved operations in the South China Sea, in the Mozambique Channel, off Ceylon and along the Indian coast of the Bay of Bengal. The French squadron had fought one notable engagement, at the Battle of Pulo Aura on 15 February 1804, in which Linois had attacked the Honourable East India Company's (HEIC) China Fleet, a large convoy of well-armed merchant ships carrying cargo worth £8 million. Linois failed to press the attack and withdrew with the convoy at his mercy, invoking the anger of Napoleon when the news reached France. Since his failure at Pulo Aura, Linois had been cruising the Indian Ocean, and during August and September 1804 had seized a number of valuable merchant ships as his squadron travelled north from Ceylon along the Indian coast of the Bay of Bengal. From a ship captured off Masulipatam, Linois learned of the presence of the East Indiamen at Vizagapatam and determined to attack, unaware that British Rear-Admiral Peter Rainier had replaced the small frigate HMS Wilhelmina with the larger Centurion as the convoy's escort. Arriving off the port at 06:00, Linois advanced on the convoy, causing one of the East Indiamen to drive ashore in panic. The other merchant vessel failed to support the outnumbered Centurion and was captured, but Centurion continued fighting alone. Initially supported by the fire of gun batteries on shore, Centurion later moved out of their range while engaging the French flagship Marengo, which remained well offshore to avoid the coastal shoals. After an engagement lasting four hours Marengo withdrew, the badly damaged Centurion attempting to pursue but without success. Linois's squadron was forced to return to Île de France in the aftermath of the engagement, where Marengo required six months of repairs. (Full article...)

    Defence of the Centurion in Vizagapatam Road, Septr. 15th 1804, Thomas Sutherland

    The Battle of Vizagapatam was a minor naval engagement fought in the approaches to Vizagapatam harbour in the Coastal Andhra region of British India on the Bay of Bengal on 15 September 1804 during the Napoleonic Wars. A French squadron under Contre-Admiral Charles-Alexandre Léon Durand Linois in the ship of the line Marengo attacked the British Royal Navy fourth rate ship HMS Centurion and two East Indiaman merchant ships anchored in the harbour roads. Linois was engaged in an extended raiding campaign, which had already involved operations in the South China Sea, in the Mozambique Channel, off Ceylon and along the Indian coast of the Bay of Bengal. The French squadron had fought one notable engagement, at the Battle of Pulo Aura on 15 February 1804, in which Linois had attacked the Honourable East India Company's (HEIC) China Fleet, a large convoy of well-armed merchant ships carrying cargo worth £8 million. Linois failed to press the attack and withdrew with the convoy at his mercy, invoking the anger of Napoleon when the news reached France.

    Since his failure at Pulo Aura, Linois had been cruising the Indian Ocean, and during August and September 1804 had seized a number of valuable merchant ships as his squadron travelled north from Ceylon along the Indian coast of the Bay of Bengal. From a ship captured off Masulipatam, Linois learned of the presence of the East Indiamen at Vizagapatam and determined to attack, unaware that British Rear-Admiral Peter Rainier had replaced the small frigate HMS Wilhelmina with the larger Centurion as the convoy's escort. Arriving off the port at 06:00, Linois advanced on the convoy, causing one of the East Indiamen to drive ashore in panic. The other merchant vessel failed to support the outnumbered Centurion and was captured, but Centurion continued fighting alone. Initially supported by the fire of gun batteries on shore, Centurion later moved out of their range while engaging the French flagship Marengo, which remained well offshore to avoid the coastal shoals. After an engagement lasting four hours Marengo withdrew, the badly damaged Centurion attempting to pursue but without success. Linois's squadron was forced to return to Île de France in the aftermath of the engagement, where Marengo required six months of repairs. (Full article...)
  • Image 17 Swaminarayan Akshardham in Delhi, India Swaminarayan Akshardham is a Hindu temple and spiritual-cultural campus in Delhi, India. The temple is close to the border with Noida. Also referred to as Akshardham Temple or Akshardham Delhi, the complex displays millennia of traditional and modern Hindu culture, spirituality, and architecture. Inspired by Yogiji Maharaj and created by Pramukh Swami Maharaj, it was constructed by BAPS. It is the world's second-largest BAPS Hindu temple, following Akshardham, New Jersey, in the United States. The temple was officially opened on 6 November 2005 by Pramukh Swami Maharaj in the presence of A. P. J. Abdul Kalam, Manmohan Singh, L.K Advani and B.L Joshi. The temple, at the centre of the complex, was built according to the Vastu shastra and Pancharatra shastra. (Full article...)

    Swaminarayan Akshardham in Delhi, India

    Swaminarayan Akshardham is a Hindu temple and spiritual-cultural campus in Delhi, India. The temple is close to the border with Noida. Also referred to as Akshardham Temple or Akshardham Delhi, the complex displays millennia of traditional and modern Hindu culture, spirituality, and architecture. Inspired by Yogiji Maharaj and created by Pramukh Swami Maharaj, it was constructed by BAPS. It is the world's second-largest BAPS Hindu temple, following Akshardham, New Jersey, in the United States.

    The temple was officially opened on 6 November 2005 by Pramukh Swami Maharaj in the presence of A. P. J. Abdul Kalam, Manmohan Singh, L.K Advani and B.L Joshi. The temple, at the centre of the complex, was built according to the Vastu shastra and Pancharatra shastra. (Full article...)
  • Image 18 Ardhanarishvara Ardhanarishvara (Sanskrit: अर्धनारीश्वर, romanized: Ardhanārīśvara, lit. 'the half-female Lord'), is a form of the Hindu deity Shiva combined with his consort Parvati. Ardhanarishvara is depicted as half-male and half-female, equally split down the middle. Ardhanarishvara represents the synthesis of masculine and feminine energies of the universe (Purusha and Prakriti) and illustrates how Shakti, the female principle of God, is inseparable from (or the same as, according to some interpretations) Shiva, the male principle of God, and vice versa. The union of these principles is exalted as the root and womb of all creation. Another view is that Ardhanarishvara is a symbol of Shiva's all-pervasive nature. The right half is usually the male Shiva, illustrating his traditional attributes. (Full article...)

    Ardhanarishvara

    Ardhanarishvara (Sanskrit: अर्धनारीश्वर, romanized: Ardhanārīśvara, lit. 'the half-female Lord'), is a form of the Hindu deity Shiva combined with his consort Parvati. Ardhanarishvara is depicted as half-male and half-female, equally split down the middle.

    Ardhanarishvara represents the synthesis of masculine and feminine energies of the universe (Purusha and Prakriti) and illustrates how Shakti, the female principle of God, is inseparable from (or the same as, according to some interpretations) Shiva, the male principle of God, and vice versa. The union of these principles is exalted as the root and womb of all creation. Another view is that Ardhanarishvara is a symbol of Shiva's all-pervasive nature. The right half is usually the male Shiva, illustrating his traditional attributes. (Full article...)
  • Image 19 Indian camp scene The Third Anglo-Maratha War (1817–1819) was the final and decisive conflict between the British East India Company and the Maratha Empire in India. The war left the Company in control of most of India. It began with an invasion of Maratha territory by British East India Company troops, and although the British were outnumbered, the Maratha army was decimated. The troops were led by Governor General Hastings, supported by a force under General Thomas Hislop. Operations began against the Pindaris, a band of Muslim mercenaries and Marathas from central India. Peshwa Baji Rao II's forces, supported by those of Mudhoji II Bhonsle of Nagpur and Malharrao Holkar III of Indore, rose against the East India Company. Pressure and diplomacy convinced the fourth major Maratha leader, Daulatrao Scindia of Gwalior, to remain neutral even though he lost control of Rajasthan. (Full article...)

    Indian camp scene

    The Third Anglo-Maratha War (1817–1819) was the final and decisive conflict between the British East India Company and the Maratha Empire in India. The war left the Company in control of most of India. It began with an invasion of Maratha territory by British East India Company troops, and although the British were outnumbered, the Maratha army was decimated. The troops were led by Governor General Hastings, supported by a force under General Thomas Hislop. Operations began against the Pindaris, a band of Muslim mercenaries and Marathas from central India.

    Peshwa Baji Rao II's forces, supported by those of Mudhoji II Bhonsle of Nagpur and Malharrao Holkar III of Indore, rose against the East India Company. Pressure and diplomacy convinced the fourth major Maratha leader, Daulatrao Scindia of Gwalior, to remain neutral even though he lost control of Rajasthan. (Full article...)
  • Image 20 View of Dal lake and Char Chinar Dal is a freshwater lake in Srinagar, the summer capital of Jammu and Kashmir in Indian-administered Kashmir. It is an urban lake, the second largest lake in Jammu and Kashmir, and the most visited place in Srinagar by tourists and locals. It is integral to tourism and recreation in the Kashmir valley and is variously known as the "Lake of Flowers", "Jewel in the crown of Kashmir" or "Srinagar's Jewel". The lake is also an important source for commercial operations in fishing and water plant harvesting. The shore line of the lake, about 15.5 kilometres (9.6 mi), is encompassed by a boulevard lined with Mughal era gardens, parks, houseboats and hotels. Scenic views of the lake can be witnessed from the shore line Mughal gardens, such as Shalimar Bagh and Nishat Bagh built during the reign of Mughal Emperor Jahangir, and from houseboats cruising along the lake in the colourful shikaras. During the winter season, the temperature can sometimes reach as low as −11 °C (12 °F), freezing the lake. (Full article...)

    View of Dal lake and Char Chinar

    Dal is a freshwater lake in Srinagar, the summer capital of Jammu and Kashmir in Indian-administered Kashmir. It is an urban lake, the second largest lake in Jammu and Kashmir, and the most visited place in Srinagar by tourists and locals. It is integral to tourism and recreation in the Kashmir valley and is variously known as the "Lake of Flowers", "Jewel in the crown of Kashmir" or "Srinagar's Jewel". The lake is also an important source for commercial operations in fishing and water plant harvesting.

    The shore line of the lake, about 15.5 kilometres (9.6 mi), is encompassed by a boulevard lined with Mughal era gardens, parks, houseboats and hotels. Scenic views of the lake can be witnessed from the shore line Mughal gardens, such as Shalimar Bagh and Nishat Bagh built during the reign of Mughal Emperor Jahangir, and from houseboats cruising along the lake in the colourful shikaras. During the winter season, the temperature can sometimes reach as low as −11 °C (12 °F), freezing the lake. (Full article...)
  • Image 21 Mujhse Dosti Karoge! (transl. Will you be my friend!) is a 2002 Indian Hindi-language romantic comedy film directed by Kunal Kohli and produced by Yash Chopra for his banner, Yash Raj Films. The film stars Hrithik Roshan, Rani Mukerji and Kareena Kapoor in the lead roles, with Uday Chopra in a supporting role. The film follows the love triangle of 3 childhood friends: Pooja (Mukerji), Raj (Roshan) and Tina (Kapoor). Mujhse Dosti Karoge! marked the directorial debut of Kohli, who also wrote the dialogue and co-wrote the screenplay and story with Aditya Chopra. The film's cinematography was jointly handled by Ravi K. Chandran and Gopal Shah, while Rahul Sharma served as the soundtrack composer. (Full article...)
    Mujhse Dosti Karoge! (transl. Will you be my friend!) is a 2002 Indian Hindi-language romantic comedy film directed by Kunal Kohli and produced by Yash Chopra for his banner, Yash Raj Films. The film stars Hrithik Roshan, Rani Mukerji and Kareena Kapoor in the lead roles, with Uday Chopra in a supporting role. The film follows the love triangle of 3 childhood friends: Pooja (Mukerji), Raj (Roshan) and Tina (Kapoor).

    Mujhse Dosti Karoge! marked the directorial debut of Kohli, who also wrote the dialogue and co-wrote the screenplay and story with Aditya Chopra. The film's cinematography was jointly handled by Ravi K. Chandran and Gopal Shah, while Rahul Sharma served as the soundtrack composer. (Full article...)
  • Image 22 Collaborations is a four-disc compilation box set by the Indian classical musician Ravi Shankar and the former Beatle George Harrison. Released in October 2010 on Dark Horse Records, it compiles two studio albums originally issued on that label – the long-unavailable Shankar Family & Friends (1974) and Ravi Shankar's Music Festival from India (1976) – and Chants of India, first issued on Angel Records in 1997. Although all three albums were originally Shankar releases, for which Harrison served in the role of music producer and guest musician, both Shankar and Harrison are credited as artists on the box set. Each of the collaborative projects represents a departure from Shankar's more typical work as a sitarist and performer of Hindustani classical ragas, with the box set showcasing his forays into, variously, jazz and rock, Indian folk and orchestral ensembles, and devotional music. The fourth disc of Collaborations is a DVD containing previously unissued film of a performance by the Music Festival from India, recorded at London's Royal Albert Hall in September 1974. Filmed by director Stuart Cooper, the footage required substantial restoration for its 2010 release. An audio-only track on the DVD, prepared by Anoushka Shankar and Paul Hicks, provides a more complete record of the concert. (Full article...)
    Collaborations is a four-disc compilation box set by the Indian classical musician Ravi Shankar and the former Beatle George Harrison. Released in October 2010 on Dark Horse Records, it compiles two studio albums originally issued on that label – the long-unavailable Shankar Family & Friends (1974) and Ravi Shankar's Music Festival from India (1976) – and Chants of India, first issued on Angel Records in 1997. Although all three albums were originally Shankar releases, for which Harrison served in the role of music producer and guest musician, both Shankar and Harrison are credited as artists on the box set. Each of the collaborative projects represents a departure from Shankar's more typical work as a sitarist and performer of Hindustani classical ragas, with the box set showcasing his forays into, variously, jazz and rock, Indian folk and orchestral ensembles, and devotional music.

    The fourth disc of Collaborations is a DVD containing previously unissued film of a performance by the Music Festival from India, recorded at London's Royal Albert Hall in September 1974. Filmed by director Stuart Cooper, the footage required substantial restoration for its 2010 release. An audio-only track on the DVD, prepared by Anoushka Shankar and Paul Hicks, provides a more complete record of the concert. (Full article...)
  • Image 23 Rati Rati (Sanskrit: रति, Rati) is the Hindu goddess of love, carnal desire, lust, passion, and sexual pleasure. Usually described as the daughter of Prajapati Daksha, Rati is the female counterpart, the chief consort and the assistant of Kama (Kamadeva), the god of love. A constant companion of Kama, she is often depicted with him in legend and temple sculpture. She also enjoys worship along with Kama. The Hindu scriptures stress Rati's beauty and sensuality. They depict her as a maiden who has the power to enchant the God of Love. When the deity Shiva burns her husband to ashes, it is Rati, whose beseeching or penance, leads to the promise of Kama's resurrection. Often, this resurrection occurs when Kama is reborn as Pradyumna, the son of Krishna and Rukmini. Rati – under the name of Mayavati – plays a critical role in the upbringing of Pradyumna, who is separated from his parents at birth. She acts as his nanny, as well as his lover, and tells him the way to return to his parents by slaying the demon-king, who is destined to die at his hands. Later, Kama-Pradyumna accepts Rati-Mayavati as his wife. (Full article...)

    Rati

    Rati (Sanskrit: रति, Rati) is the Hindu goddess of love, carnal desire, lust, passion, and sexual pleasure. Usually described as the daughter of Prajapati Daksha, Rati is the female counterpart, the chief consort and the assistant of Kama (Kamadeva), the god of love. A constant companion of Kama, she is often depicted with him in legend and temple sculpture. She also enjoys worship along with Kama.

    The Hindu scriptures stress Rati's beauty and sensuality. They depict her as a maiden who has the power to enchant the God of Love. When the deity Shiva burns her husband to ashes, it is Rati, whose beseeching or penance, leads to the promise of Kama's resurrection. Often, this resurrection occurs when Kama is reborn as Pradyumna, the son of Krishna and Rukmini. Rati – under the name of Mayavati – plays a critical role in the upbringing of Pradyumna, who is separated from his parents at birth. She acts as his nanny, as well as his lover, and tells him the way to return to his parents by slaying the demon-king, who is destined to die at his hands. Later, Kama-Pradyumna accepts Rati-Mayavati as his wife. (Full article...)
  • Image 24 Vanaja is a 2006 Telugu-language drama film written and directed by Rajnesh Domalpalli on a story that constituted his Master of Fine Arts thesis at Columbia University. The film was made on a shoestring budget using a cast of non-professional first-timers for two and a half months. The film stars Mamatha Bhukya as the title character: a 15-year-old daughter of a poor fisherman set in the backdrop of a rustic state of Andhra Pradesh in Southern India. She learns Kuchipudi, a classical Indian dance form, while being employed at a local landlady's house. All seems to be going well for her until sexual chemistry evolves between her and the landlady's son, and this eventually leads her being raped by him. The ensuing pregnancy disrupts her simple life, and she must choose how to deal with the child. (Full article...)
    Vanaja is a 2006 Telugu-language drama film written and directed by Rajnesh Domalpalli on a story that constituted his Master of Fine Arts thesis at Columbia University. The film was made on a shoestring budget using a cast of non-professional first-timers for two and a half months.

    The film stars Mamatha Bhukya as the title character: a 15-year-old daughter of a poor fisherman set in the backdrop of a rustic state of Andhra Pradesh in Southern India. She learns Kuchipudi, a classical Indian dance form, while being employed at a local landlady's house. All seems to be going well for her until sexual chemistry evolves between her and the landlady's son, and this eventually leads her being raped by him. The ensuing pregnancy disrupts her simple life, and she must choose how to deal with the child. (Full article...)
  • Image 25 Geet Ramayan (Marathi: गीत रामायण, English: The Ramayana in Songs) is a collection of 56 Marathi language songs chronologically describing events from the Indian Hindu epic, the Ramayana. It was broadcast by All India Radio, Pune in 1955–1956, four years before television was introduced in India. Written by G. D. Madgulkar and the songs being composed by Sudhir Phadke, Geet Ramayan was acclaimed for its lyrics, music and singing. It is considered a "milestone of Marathi light music" and the "most popular" Marathi version of Ramayana. The team of Madgulkar and Phadke presented a new song every week for a year with every song being aired first on a Friday morning and then again on Saturday and Sunday morning, between 8:45 AM and 9:00 AM IST. The program's first song "Kuśa Lava Rāmāyaṇ Gātī" was aired on 1 April 1955. Though Geet Ramayan is based on sage Valmiki's epic Ramayana, Madgulkar chose a different narrative format and was praised for the lyrics, and was called Ādhunik Valmiki (the modern Valmiki). The Geet Ramayan is considered as "the crescendo of Madgulkar's literary vigour". Phadke mainly used ragas of Hindustani classical music to compose the songs. He also selected the raga and the Tāla of a song to suit the time of the incident and the narrative mood. The poet and composer were praised for their contribution to the series. (Full article...)
    Geet Ramayan (Marathi: गीत रामायण, English: The Ramayana in Songs) is a collection of 56 Marathi language songs chronologically describing events from the Indian Hindu epic, the Ramayana. It was broadcast by All India Radio, Pune in 1955–1956, four years before television was introduced in India. Written by G. D. Madgulkar and the songs being composed by Sudhir Phadke, Geet Ramayan was acclaimed for its lyrics, music and singing. It is considered a "milestone of Marathi light music" and the "most popular" Marathi version of Ramayana.

    The team of Madgulkar and Phadke presented a new song every week for a year with every song being aired first on a Friday morning and then again on Saturday and Sunday morning, between 8:45 AM and 9:00 AM IST. The program's first song "Kuśa Lava Rāmāyaṇ Gātī" was aired on 1 April 1955. Though Geet Ramayan is based on sage Valmiki's epic Ramayana, Madgulkar chose a different narrative format and was praised for the lyrics, and was called Ādhunik Valmiki (the modern Valmiki). The Geet Ramayan is considered as "the crescendo of Madgulkar's literary vigour". Phadke mainly used ragas of Hindustani classical music to compose the songs. He also selected the raga and the Tāla of a song to suit the time of the incident and the narrative mood. The poet and composer were praised for their contribution to the series. (Full article...)
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4 November 2024 – 2024 Almora bus accident
At least 36 people are killed and 27 others are injured when a bus plunges into a gorge near Marchula, Uttarakhand, India. (The Indian Express) (ABC News)
3 November 2024 – Insurgency in Jammu and Kashmir
At least eleven people are injured in a grenade explosion caused by an unknown militant group in a flea market in Srinagar, Jammu and Kashmir, India. (Reuters)
Three rebels are killed and four security personnel are injured during two separate shootouts in Anantnag district, Jammu and Kashmir, India. (AP)
3 November 2024 – Naxalite–Maoist insurgency
Two police officers are injured in a stabbing attack by Naxalite insurgents in Sukma, Chhattisgarh, India, with their weapons being stolen. (Indian Express)
24 October 2024 – Insurgency in Jammu and Kashmir
Islamist insurgents target an Indian Army vehicle with small arms fire near Gulmarg, Jammu and Kashmir, India, killing two soldiers and two civilian porters and injuring three other soldiers. (The Indian Express)

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