Portal:India

Source: Wikipedia, the free encyclopedia.
(Redirected from Indian current events)
Parent portals : Geography / Asia / India
Welcome to the
PORTAL

Introduction

Flag of India
Flag of India
Location on the world map
Location on the world map

India, officially the Republic of India (ISO: Bhārat Gaṇarājya), is a country in South Asia. It is the seventh-largest country by area; the most populous country as of June 2023; and from the time of its independence in 1947, the world's most populous democracy. It is physiographically bounded by the Indian Ocean on the south, the Arabian Sea on the southwest, the Bay of Bengal on the southeast, and High-mountain Asia on the northeast. It shares land borders with Pakistan to the northwest; 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...)

This is a Featured article, which represents some of the best content on English Wikipedia..

  • Image 1 Basohli miniature, c. 1730. National Museum, New Delhi Ganesha (Sanskrit: गणेश, IAST: Gaṇeśa), also spelled Ganesh, and also known as Ganapati, Vinayaka, Lambodara and Pillaiyar, is one of the best-known and most worshipped deities in the Hindu pantheon and is the Supreme God in the Ganapatya sect. His depictions are found throughout India. Hindu denominations worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains and Buddhists and beyond India. Although Ganesha has many attributes, he is readily identified by his elephant head and four arms. He is widely revered, more specifically, as the remover of obstacles and bringer of good luck; the patron of arts and sciences; and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rites and ceremonies. Ganesha is also invoked during writing sessions as a patron of letters and learning. Several texts relate anecdotes associated with his birth and exploits. (Full article...)

    Ganesha (Sanskrit: गणेश, IAST: Gaṇeśa), also spelled Ganesh, and also known as Ganapati, Vinayaka, Lambodara and Pillaiyar, is one of the best-known and most worshipped deities in the Hindu pantheon and is the Supreme God in the Ganapatya sect. His depictions are found throughout India. Hindu denominations worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains and Buddhists and beyond India.

    Although Ganesha has many attributes, he is readily identified by his elephant head and four arms. He is widely revered, more specifically, as the remover of obstacles and bringer of good luck; the patron of arts and sciences; and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rites and ceremonies. Ganesha is also invoked during writing sessions as a patron of letters and learning. Several texts relate anecdotes associated with his birth and exploits. (Full article...)
  • Image 2 Osbert Guy Stanhope Crawford CBE FBA FSA (28 October 1886 – 28 November 1957) was a British archaeologist who specialised in the archaeology of prehistoric Britain and Sudan. A keen proponent of aerial archaeology, he spent most of his career as the archaeological officer of the Ordnance Survey (OS) and also wrote a range of books on archaeological subjects. Born in Bombay, British India, to a wealthy middle-class Scottish family, Crawford moved to England as an infant and was raised by his aunts in London and Hampshire. He studied geography at Keble College, Oxford, and worked briefly in that field before devoting himself professionally to archaeology. Employed by the philanthropist Henry Wellcome, Crawford oversaw the excavation of Abu Geili in Sudan before returning to England shortly before the First World War. During the conflict he served in both the London Scottish Regiment and the Royal Flying Corps, where he was involved in ground and aerial reconnaissance along the Western Front. After an injury forced a period of convalescence in England, he returned to the Western Front, where he was captured by the German Army in 1918 and held as a prisoner of war until the end of the conflict. (Full article...)
    Osbert Guy Stanhope Crawford CBE FBA FSA (28 October 1886 – 28 November 1957) was a British archaeologist who specialised in the archaeology of prehistoric Britain and Sudan. A keen proponent of aerial archaeology, he spent most of his career as the archaeological officer of the Ordnance Survey (OS) and also wrote a range of books on archaeological subjects.

    Born in Bombay, British India, to a wealthy middle-class Scottish family, Crawford moved to England as an infant and was raised by his aunts in London and Hampshire. He studied geography at Keble College, Oxford, and worked briefly in that field before devoting himself professionally to archaeology. Employed by the philanthropist Henry Wellcome, Crawford oversaw the excavation of Abu Geili in Sudan before returning to England shortly before the First World War. During the conflict he served in both the London Scottish Regiment and the Royal Flying Corps, where he was involved in ground and aerial reconnaissance along the Western Front. After an injury forced a period of convalescence in England, he returned to the Western Front, where he was captured by the German Army in 1918 and held as a prisoner of war until the end of the conflict. (Full article...)
  • Image 3 Kahaani (IPA: [kəˈɦaːni]; transl. Story) is a 2012 Indian Hindi-language thriller film co-written, co-produced, and directed by Sujoy Ghosh. It stars Vidya Balan as Vidya Bagchi, a pregnant woman looking for her missing husband in Kolkata during the festival of Durga Puja, assisted by Assist Sub-Inspector Satyoki "Rana" Sinha (Parambrata Chatterjee) and Inspector General A. Khan (Nawazuddin Siddiqui). Made on a shoestring budget of ₹80 million (US$960,000), Kahaani was conceived and developed by Ghosh, who co-wrote the film with Advaita Kala. The crew often employed guerrilla-filmmaking techniques on Kolkata's city streets to avoid attracting attention. Its creative portrayal of the city and its use of local crew and cast members made it a notable film. Kahaani explores themes of feminism and motherhood in a male-dominated Indian society. The film also makes several allusions to Satyajit Ray's films, such as Charulata (1964), Aranyer Din Ratri (1970), and Joi Baba Felunath (1979). The film's musical score and soundtrack are composed by Clinton Cerejo and Vishal–Shekhar respectively, with cinematography handled by Setu and editing done by Namrata Rao. (Full article...)
    Kahaani (IPA: [kəˈɦaːni]; transl.Story) is a 2012 Indian Hindi-language thriller film co-written, co-produced, and directed by Sujoy Ghosh. It stars Vidya Balan as Vidya Bagchi, a pregnant woman looking for her missing husband in Kolkata during the festival of Durga Puja, assisted by Assist Sub-Inspector Satyoki "Rana" Sinha (Parambrata Chatterjee) and Inspector General A. Khan (Nawazuddin Siddiqui).

    Made on a shoestring budget of 80 million (US$960,000), Kahaani was conceived and developed by Ghosh, who co-wrote the film with Advaita Kala. The crew often employed guerrilla-filmmaking techniques on Kolkata's city streets to avoid attracting attention. Its creative portrayal of the city and its use of local crew and cast members made it a notable film. Kahaani explores themes of feminism and motherhood in a male-dominated Indian society. The film also makes several allusions to Satyajit Ray's films, such as Charulata (1964), Aranyer Din Ratri (1970), and Joi Baba Felunath (1979). The film's musical score and soundtrack are composed by Clinton Cerejo and Vishal–Shekhar respectively, with cinematography handled by Setu and editing done by Namrata Rao. (Full article...)
  • Image 4 The frontispiece of the 1920 edition of Tod's Annals and Antiquities of Rajast'han Lieutenant-Colonel James Tod (20 March 1782 – 18 November 1835) was an officer of the British East India Company and an Oriental scholar. He combined his official role and his amateur interests to create a series of works about the history and geography of India, and in particular the area then known as Rajputana that corresponds to the present day state of Rajasthan, and which Tod referred to as Rajast'han. Tod was born in London and educated in Scotland. He joined the East India Company as a military officer and travelled to India in 1799 as a cadet in the Bengal Army. He rose quickly in rank, eventually becoming captain of an escort for an envoy in a Sindian royal court. After the Third Anglo-Maratha War, during which Tod was involved in the intelligence department, he was appointed Political Agent for some areas of Rajputana. His task was to help unify the region under the control of the East India Company. During this period Tod conducted most of the research that he would later publish. Tod was initially successful in his official role, but his methods were questioned by other members of the East India Company. Over time, his work was restricted and his areas of oversight were significantly curtailed. In 1823, owing to declining health and reputation, Tod resigned his post as Political Agent and returned to England. (Full article...)

    The frontispiece of the 1920 edition of Tod's Annals and Antiquities of Rajast'han

    Lieutenant-Colonel James Tod (20 March 1782 – 18 November 1835) was an officer of the British East India Company and an Oriental scholar. He combined his official role and his amateur interests to create a series of works about the history and geography of India, and in particular the area then known as Rajputana that corresponds to the present day state of Rajasthan, and which Tod referred to as Rajast'han.

    Tod was born in London and educated in Scotland. He joined the East India Company as a military officer and travelled to India in 1799 as a cadet in the Bengal Army. He rose quickly in rank, eventually becoming captain of an escort for an envoy in a Sindian royal court. After the Third Anglo-Maratha War, during which Tod was involved in the intelligence department, he was appointed Political Agent for some areas of Rajputana. His task was to help unify the region under the control of the East India Company. During this period Tod conducted most of the research that he would later publish. Tod was initially successful in his official role, but his methods were questioned by other members of the East India Company. Over time, his work was restricted and his areas of oversight were significantly curtailed. In 1823, owing to declining health and reputation, Tod resigned his post as Political Agent and returned to England. (Full article...)
  • Image 5 Anbe Sivam (transl. Love Is God) is a 2003 Indian Tamil-language slice-of-life drama film directed by Sundar C. and produced by K. Muralitharan, V. Swaminathan and G. Venugopal under the banner of Lakshmi Movie Makers. The film was written by Kamal Haasan, and Madhan provided the dialogues. Anbe Sivam stars Haasan, Madhavan and Kiran Rathod, with Nassar, Santhana Bharathi, Seema and Uma Riyaz Khan playing supporting characters. The film tells the story of Nallasivam and Anbarasu, two men of contrasting personalities who undertake an unexpected journey from Bhubaneswar to Chennai. Produced on a budget of ₹120 million, Anbe Sivam takes on themes such as communism, atheism, and altruism and depicts Haasan's humanist views. The music was composed by Vidyasagar. Arthur A. Wilson served as the cinematographer and M. Prabhaharan served as the art director. (Full article...)
    Anbe Sivam (transl. Love Is God) is a 2003 Indian Tamil-language slice-of-life drama film directed by Sundar C. and produced by K. Muralitharan, V. Swaminathan and G. Venugopal under the banner of Lakshmi Movie Makers. The film was written by Kamal Haasan, and Madhan provided the dialogues. Anbe Sivam stars Haasan, Madhavan and Kiran Rathod, with Nassar, Santhana Bharathi, Seema and Uma Riyaz Khan playing supporting characters. The film tells the story of Nallasivam and Anbarasu, two men of contrasting personalities who undertake an unexpected journey from Bhubaneswar to Chennai.

    Produced on a budget of 120 million, Anbe Sivam takes on themes such as communism, atheism, and altruism and depicts Haasan's humanist views. The music was composed by Vidyasagar. Arthur A. Wilson served as the cinematographer and M. Prabhaharan served as the art director. (Full article...)
  • Image 6 Kalidas (transl. The Servant of Kali, pronounced [kaːɭidaːs]) is a 1931 Indian biographical film directed by H. M. Reddy and produced by Ardeshir Irani. It is notable for being the first sound film in the Tamil and Telugu languages, and the first sound film to be made in a language from South India. It was based on the life of the Sanskrit poet Kalidasa; it featured P. G. Venkatesan in the title role and T. P. Rajalakshmi as the female lead, with L. V. Prasad, Thevaram Rajambal, T. Susheela Devi, J. Sushila, and M. S. Santhanalakshmi in supporting roles. Kalidas, principally in Tamil, contained additional dialogue in Telugu and Hindi. While Rajalakshmi spoke Tamil, Venkatesan spoke only Telugu due to his lack of fluency in Tamil, and Prasad spoke only Hindi. Despite its mythological theme, the film featured songs from much later time periods, such as the compositions of Carnatic musician Tyagaraja, publicity songs of the Indian National Congress, and songs about Mahatma Gandhi and the Indian independence movement. The sound was recorded using German-made technology. Kalidas was shot in Bombay on the sets of India's first sound film Alam Ara (1931) and was completed in eight days. (Full article...)

    Kalidas (transl. The Servant of Kali, pronounced [kaːɭidaːs]) is a 1931 Indian biographical film directed by H. M. Reddy and produced by Ardeshir Irani. It is notable for being the first sound film in the Tamil and Telugu languages, and the first sound film to be made in a language from South India. It was based on the life of the Sanskrit poet Kalidasa; it featured P. G. Venkatesan in the title role and T. P. Rajalakshmi as the female lead, with L. V. Prasad, Thevaram Rajambal, T. Susheela Devi, J. Sushila, and M. S. Santhanalakshmi in supporting roles.

    Kalidas, principally in Tamil, contained additional dialogue in Telugu and Hindi. While Rajalakshmi spoke Tamil, Venkatesan spoke only Telugu due to his lack of fluency in Tamil, and Prasad spoke only Hindi. Despite its mythological theme, the film featured songs from much later time periods, such as the compositions of Carnatic musician Tyagaraja, publicity songs of the Indian National Congress, and songs about Mahatma Gandhi and the Indian independence movement. The sound was recorded using German-made technology. Kalidas was shot in Bombay on the sets of India's first sound film Alam Ara (1931) and was completed in eight days. (Full article...)
  • Image 7 Profile of a Hoysala temple at Somanathapura Hoysala architecture is the building style in Hindu temple architecture developed under the rule of the Hoysala Empire between the 11th and 14th centuries, in the region known today as Karnataka, a state of India. Hoysala influence was at its peak in the 13th century, when it dominated the Southern Deccan Plateau region. Large and small temples built during this era remain as examples of the Hoysala architectural style, including the Chennakesava Temple at Belur, the Hoysaleswara Temple at Halebidu, and the Kesava Temple at Somanathapura. These three temples were accorded UNESCO world heritage site status in 2023. Other examples of Hoysala craftsmanship are the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere, Basaralu, Kikkeri and Nuggehalli. Study of the Hoysala architectural style has revealed a negligible Indo-Aryan influence while the impact of Southern Indian style is more distinct. Temples built prior to Hoysala independence in the mid-12th century reflect significant Western Chalukya influences, while later temples retain some features salient to Western Chalukya architecture but have additional inventive decoration and ornamentation, features unique to Hoysala artisans. Some three hundred temples are known to survive in present-day Karnataka state and many more are mentioned in inscriptions, though only about seventy have been documented. The greatest concentration of these are in the Malnad (hill) districts, the native home of the Hoysala kings. (Full article...)
    Profile of a Hoysala temple at Somanathapura

    Hoysala architecture is the building style in Hindu temple architecture developed under the rule of the Hoysala Empire between the 11th and 14th centuries, in the region known today as Karnataka, a state of India. Hoysala influence was at its peak in the 13th century, when it dominated the Southern Deccan Plateau region. Large and small temples built during this era remain as examples of the Hoysala architectural style, including the Chennakesava Temple at Belur, the Hoysaleswara Temple at Halebidu, and the Kesava Temple at Somanathapura. These three temples were accorded UNESCO world heritage site status in 2023. Other examples of Hoysala craftsmanship are the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere, Basaralu, Kikkeri and Nuggehalli. Study of the Hoysala architectural style has revealed a negligible Indo-Aryan influence while the impact of Southern Indian style is more distinct.

    Temples built prior to Hoysala independence in the mid-12th century reflect significant Western Chalukya influences, while later temples retain some features salient to Western Chalukya architecture but have additional inventive decoration and ornamentation, features unique to Hoysala artisans. Some three hundred temples are known to survive in present-day Karnataka state and many more are mentioned in inscriptions, though only about seventy have been documented. The greatest concentration of these are in the Malnad (hill) districts, the native home of the Hoysala kings. (Full article...)
  • Image 8 Reginald Heber (21 April 1783 – 3 April 1826) was an English Anglican bishop, a man of letters, and hymn-writer. After 16 years as a country parson, he served as Bishop of Calcutta until his death at the age of 42. The son of a rich landowner and cleric, Heber gained fame at the University of Oxford as a poet. After graduation he made an extended tour of Scandinavia, Russia and Central Europe. Ordained in 1807, he took over his father's old parish, Hodnet, Shropshire. He also wrote hymns and general literature, including a study of the works of the 17th-century cleric Jeremy Taylor. He was consecrated Bishop of Calcutta in October 1823. He travelled widely and worked to improve the spiritual and general living conditions of his flock. Arduous duties, a hostile climate and poor health led to his collapse and death after less than three years in India. Memorials were erected there and in St Paul's Cathedral, London. A collection of his hymns appeared soon after his death. "Holy, Holy, Holy! Lord God Almighty" remains popular for Trinity Sunday, while "Brightest and Best" is frequently sung during Epiphany. (Full article...)

    Reginald Heber (21 April 1783 – 3 April 1826) was an English Anglican bishop, a man of letters, and hymn-writer. After 16 years as a country parson, he served as Bishop of Calcutta until his death at the age of 42. The son of a rich landowner and cleric, Heber gained fame at the University of Oxford as a poet. After graduation he made an extended tour of Scandinavia, Russia and Central Europe. Ordained in 1807, he took over his father's old parish, Hodnet, Shropshire. He also wrote hymns and general literature, including a study of the works of the 17th-century cleric Jeremy Taylor.

    He was consecrated Bishop of Calcutta in October 1823. He travelled widely and worked to improve the spiritual and general living conditions of his flock. Arduous duties, a hostile climate and poor health led to his collapse and death after less than three years in India. Memorials were erected there and in St Paul's Cathedral, London. A collection of his hymns appeared soon after his death. "Holy, Holy, Holy! Lord God Almighty" remains popular for Trinity Sunday, while "Brightest and Best" is frequently sung during Epiphany. (Full article...)
  • Image 9 Murray in 1928 Margaret Alice Murray FSA Scot FRAI (13 July 1863 – 13 November 1963) was an Anglo-Indian Egyptologist, archaeologist, anthropologist, historian, and folklorist. The first woman to be appointed as a lecturer in archaeology in the United Kingdom, she worked at University College London (UCL) from 1898 to 1935. She served as president of the Folklore Society from 1953 to 1955, and published widely over the course of her career. Born to a wealthy middle-class English family in Calcutta, British India, Murray divided her youth between India, Britain, and Germany, training as both a nurse and a social worker. Moving to London, in 1894 she began studying Egyptology at UCL, developing a friendship with department head Flinders Petrie, who encouraged her early academic publications and appointed her junior lecturer in 1898. In 1902–03, she took part in Petrie's excavations at Abydos, Egypt, there discovering the Osireion temple and the following season investigated the Saqqara cemetery, both of which established her reputation in Egyptology. Supplementing her UCL wage by giving public classes and lectures at the British Museum and Manchester Museum, it was at the latter in 1908 that she led the unwrapping of Khnum-nakht, one of the mummies recovered from the Tomb of two Brothers – the first time that a woman had publicly unwrapped a mummy. Recognising that British Egyptomania reflected the existence of a widespread public interest in Ancient Egypt, Murray wrote several books on Egyptology targeted at a general audience. (Full article...)

    Murray in 1928

    Margaret Alice Murray FSA Scot FRAI (13 July 1863 – 13 November 1963) was an Anglo-Indian Egyptologist, archaeologist, anthropologist, historian, and folklorist. The first woman to be appointed as a lecturer in archaeology in the United Kingdom, she worked at University College London (UCL) from 1898 to 1935. She served as president of the Folklore Society from 1953 to 1955, and published widely over the course of her career.

    Born to a wealthy middle-class English family in Calcutta, British India, Murray divided her youth between India, Britain, and Germany, training as both a nurse and a social worker. Moving to London, in 1894 she began studying Egyptology at UCL, developing a friendship with department head Flinders Petrie, who encouraged her early academic publications and appointed her junior lecturer in 1898. In 1902–03, she took part in Petrie's excavations at Abydos, Egypt, there discovering the Osireion temple and the following season investigated the Saqqara cemetery, both of which established her reputation in Egyptology. Supplementing her UCL wage by giving public classes and lectures at the British Museum and Manchester Museum, it was at the latter in 1908 that she led the unwrapping of Khnum-nakht, one of the mummies recovered from the Tomb of two Brothers – the first time that a woman had publicly unwrapped a mummy. Recognising that British Egyptomania reflected the existence of a widespread public interest in Ancient Egypt, Murray wrote several books on Egyptology targeted at a general audience. (Full article...)
  • Image 10 Ganges river dolphin breaking the surface South Asian river dolphins are toothed whales in the genus Platanista, which inhabit the waterways of the Indian subcontinent. They were historically considered to be one species (P. gangetica) with the Ganges river dolphin and the Indus river dolphin being subspecies (P. g. gangetica and P. g. minor respectively). Genetic and morphological evidence led to their being described as separate species in 2021. The Ganges and Indus river dolphins are estimated to have diverged 550,000 years ago. They are the only living members of the family Platanistidae and the superfamily Platanistoidea. Fossils of ancient relatives date to the late Oligocene. South Asian river dolphins are small but stocky cetaceans with long snouts or rostra, broad flippers, and small dorsal fins. They have several unusual features. Living in murky river waters, they have eyes that are tiny and lensless; the dolphins rely instead on echolocation for navigation. The skull has large crests over the melon, which help direct their echolocation signals. These dolphins prey mainly on fish and shrimp and hunt them throughout the water column. They are active through the day and are sighted in small groups. Both species are listed as endangered by the IUCN Red List of mammals. Major threats include dams, barrages, fishing nets, and both chemical and acoustic pollution. (Full article...)

    Ganges river dolphin breaking the surface

    South Asian river dolphins are toothed whales in the genus Platanista, which inhabit the waterways of the Indian subcontinent. They were historically considered to be one species (P. gangetica) with the Ganges river dolphin and the Indus river dolphin being subspecies (P. g. gangetica and P. g. minor respectively). Genetic and morphological evidence led to their being described as separate species in 2021. The Ganges and Indus river dolphins are estimated to have diverged 550,000 years ago. They are the only living members of the family Platanistidae and the superfamily Platanistoidea. Fossils of ancient relatives date to the late Oligocene.

    South Asian river dolphins are small but stocky cetaceans with long snouts or rostra, broad flippers, and small dorsal fins. They have several unusual features. Living in murky river waters, they have eyes that are tiny and lensless; the dolphins rely instead on echolocation for navigation. The skull has large crests over the melon, which help direct their echolocation signals. These dolphins prey mainly on fish and shrimp and hunt them throughout the water column. They are active through the day and are sighted in small groups. Both species are listed as endangered by the IUCN Red List of mammals. Major threats include dams, barrages, fishing nets, and both chemical and acoustic pollution. (Full article...)
  • Image 11 Darjeeling (/dɑːrˈdʒiːlɪŋ/, Bengali: [ˈdarˌdʒiliŋ], Nepali: [ˈdard͡ziliŋ]) is a city in the northernmost region of the Indian state of West Bengal. Located in the Eastern Himalayas, it has an average elevation of 2,045 metres (6,709 ft). To the west of Darjeeling lies the easternmost province of Nepal, to the east the Kingdom of Bhutan, to the north the Indian state of Sikkim, and farther north the Tibet Autonomous Region region of China. Bangladesh lies to the south and southeast, and most of the state of West Bengal lies to the south and southwest, connected to the Darjeeling region by a narrow tract. Kangchenjunga, the world's third-highest mountain, rises to the north and is prominently visible on clear days. In the early 19th century, during East India Company rule in India, Darjeeling was identified as a potential summer retreat for British officials, soldiers and their families. The narrow mountain ridge was leased from the Kingdom of Sikkim, and eventually annexed to British India. Experimentation with growing tea on the slopes below Darjeeling was highly successful. Thousands of labourers were recruited chiefly from Nepal to clear the forests, build European-style cottages and work in the tea plantations. The widespread deforestation displaced the indigenous peoples. Residential schools were established in and around Darjeeling for the education of children of the domiciled British in India. By the late-19th century, a novel narrow-gauge mountain railway, the Darjeeling Himalayan Railway, was bringing summer residents into the town and carrying a freight of tea out for export to the world. After India's independence in 1947, as the British left Darjeeling, its cottages were purchased by wealthy Indians from the plains and its tea plantations by out-of-town Indian business owners and conglomerates. (Full article...)

    Darjeeling (/dɑːrˈlɪŋ/, Bengali: [ˈdarˌdʒiliŋ], Nepali: [ˈdard͡ziliŋ]) is a city in the northernmost region of the Indian state of West Bengal. Located in the Eastern Himalayas, it has an average elevation of 2,045 metres (6,709 ft). To the west of Darjeeling lies the easternmost province of Nepal, to the east the Kingdom of Bhutan, to the north the Indian state of Sikkim, and farther north the Tibet Autonomous Region region of China. Bangladesh lies to the south and southeast, and most of the state of West Bengal lies to the south and southwest, connected to the Darjeeling region by a narrow tract. Kangchenjunga, the world's third-highest mountain, rises to the north and is prominently visible on clear days.

    In the early 19th century, during East India Company rule in India, Darjeeling was identified as a potential summer retreat for British officials, soldiers and their families. The narrow mountain ridge was leased from the Kingdom of Sikkim, and eventually annexed to British India. Experimentation with growing tea on the slopes below Darjeeling was highly successful. Thousands of labourers were recruited chiefly from Nepal to clear the forests, build European-style cottages and work in the tea plantations. The widespread deforestation displaced the indigenous peoples. Residential schools were established in and around Darjeeling for the education of children of the domiciled British in India. By the late-19th century, a novel narrow-gauge mountain railway, the Darjeeling Himalayan Railway, was bringing summer residents into the town and carrying a freight of tea out for export to the world. After India's independence in 1947, as the British left Darjeeling, its cottages were purchased by wealthy Indians from the plains and its tea plantations by out-of-town Indian business owners and conglomerates. (Full article...)
  • Image 12 The 44th Chess Olympiad was an international team chess event organised by the International Chess Federation (FIDE) in Chennai, India, from 28 July to 10 August 2022. It consisted of Open and Women's tournaments, as well as several events to promote chess. The Olympiad was initially supposed to take place in Khanty-Mansiysk, Russia, the host of the Chess World Cup 2019, in August 2020, but it was later moved to Moscow. However, it was postponed due to the COVID-19 pandemic and then relocated to Chennai following Russia's invasion of Ukraine. This was the first Chess Olympiad to take place in India. The total number of participants was 1,737: 937 in the Open and 800 in the Women's event. The number of registered teams was 188 from 186 nations in the Open section and 162 from 160 nations in the Women's section; being the host nation, India had three teams participating in each section. Both sections set team participation records. The main venue of the Chess Olympiad was the convention centre at the Four Points by Sheraton, while the opening and closing ceremonies were held at the Jawaharlal Nehru Stadium. The Chief Arbiter of the event was France's Laurent Freyd. (Full article...)
    The 44th Chess Olympiad was an international team chess event organised by the International Chess Federation (FIDE) in Chennai, India, from 28 July to 10 August 2022. It consisted of Open and Women's tournaments, as well as several events to promote chess. The Olympiad was initially supposed to take place in Khanty-Mansiysk, Russia, the host of the Chess World Cup 2019, in August 2020, but it was later moved to Moscow. However, it was postponed due to the COVID-19 pandemic and then relocated to Chennai following Russia's invasion of Ukraine. This was the first Chess Olympiad to take place in India.

    The total number of participants was 1,737: 937 in the Open and 800 in the Women's event. The number of registered teams was 188 from 186 nations in the Open section and 162 from 160 nations in the Women's section; being the host nation, India had three teams participating in each section. Both sections set team participation records. The main venue of the Chess Olympiad was the convention centre at the Four Points by Sheraton, while the opening and closing ceremonies were held at the Jawaharlal Nehru Stadium. The Chief Arbiter of the event was France's Laurent Freyd. (Full article...)
  • Image 13 Chopra Jonas in 2024 Priyanka Chopra Jonas (pronounced [pɾɪˈjəŋka ˈtʃoːpɽa]; née Chopra; born 18 July 1982) is an Indian actress and producer. The winner of the Miss World 2000 pageant, Chopra is one of India's highest-paid actresses and has received numerous accolades, including two National Film Awards and five Filmfare Awards. In 2016, the Government of India honoured her with the Padma Shri, and Time named her one of the 100 most influential people in the world. In the next two years, Forbes listed her among the World's 100 Most Powerful Women, and in 2022, she was named in the BBC 100 Women list. Chopra accepted offers to join the Indian film industry following her pageant wins. Her acting debut came in the Tamil film Thamizhan (2002), followed by her first Bollywood feature in The Hero: Love Story of a Spy (2003). She played the leading lady in the box-office hits Andaaz (2003) and Mujhse Shaadi Karogi (2004) and had her breakout role in the 2004 romantic thriller Aitraaz. Chopra established herself with starring roles in the top-grossing productions Krrish and Don (both 2006), and later reprised her role in their sequels. For playing a troubled model in the drama Fashion (2008), Chopra won a National Film Award and a Filmfare Award for Best Actress. Chopra gained further praise for portraying a range of characters in the films Kaminey (2009), 7 Khoon Maaf (2011), Barfi! (2012), Mary Kom (2014), Dil Dhadakne Do (2015) and Bajirao Mastani (2015). (Full article...)

    Chopra Jonas in 2024

    Priyanka Chopra Jonas (pronounced [pɾɪˈjəŋka ˈtʃoːpɽa]; née Chopra; born 18 July 1982) is an Indian actress and producer. The winner of the Miss World 2000 pageant, Chopra is one of India's highest-paid actresses and has received numerous accolades, including two National Film Awards and five Filmfare Awards. In 2016, the Government of India honoured her with the Padma Shri, and Time named her one of the 100 most influential people in the world. In the next two years, Forbes listed her among the World's 100 Most Powerful Women, and in 2022, she was named in the BBC 100 Women list.

    Chopra accepted offers to join the Indian film industry following her pageant wins. Her acting debut came in the Tamil film Thamizhan (2002), followed by her first Bollywood feature in The Hero: Love Story of a Spy (2003). She played the leading lady in the box-office hits Andaaz (2003) and Mujhse Shaadi Karogi (2004) and had her breakout role in the 2004 romantic thriller Aitraaz. Chopra established herself with starring roles in the top-grossing productions Krrish and Don (both 2006), and later reprised her role in their sequels. For playing a troubled model in the drama Fashion (2008), Chopra won a National Film Award and a Filmfare Award for Best Actress. Chopra gained further praise for portraying a range of characters in the films Kaminey (2009), 7 Khoon Maaf (2011), Barfi! (2012), Mary Kom (2014), Dil Dhadakne Do (2015) and Bajirao Mastani (2015). (Full article...)
  • Image 14 Core area of Western Chalukya architectural activity in modern Karnataka state, India Western Chalukya architecture (Kannada: ಪಶ್ಚಿಮ ಚಾಲುಕ್ಯ ವಾಸ್ತುಶಿಲ್ಪ), also known as Kalyani Chalukya or Later Chalukya architecture and broadly classified under the Vesara Style, is the distinctive style of ornamented architecture that evolved during the rule of the Western Chalukya Empire in the Tungabhadra region of modern central Karnataka, India, during the 11th and 12th centuries. Western Chalukyan political influence was at its peak in the Deccan Plateau during this period. The centre of cultural and temple-building activity lay in the Tungabhadra region, where large medieval workshops built numerous monuments. These monuments, regional variants of pre-existing dravida (South Indian) temples, form a climax to the wider regional temple architecture tradition called Vesara or Karnata dravida. Temples of all sizes built by the Chalukyan architects during this era remain today as examples of the architectural style. Most notable of the many buildings dating from this period are the Mahadeva Temple at Itagi in the Koppal district, the Kasivisvesvara Temple at Lakkundi in the Gadag district, the Mallikarjuna Temple at Kuruvatti in the Bellary district and the Kallesvara Temple at Bagali in the Davangere district. Other monuments notable for their craftsmanship include the Kaitabheshvara Temple in Kubatur and Kedareshvara Temple in Balligavi, both in the Shimoga district, the Siddhesvara Temple at Haveri in the Haveri district, the Amrtesvara Temple at Annigeri in the Dharwad district, the Sarasvati Temple in Gadag, and the Dodda Basappa Temple at Dambal, both in the Gadag district. (Full article...)
    Core area of Western Chalukya architectural activity in modern Karnataka state, India

    Western Chalukya architecture (Kannada: ಪಶ್ಚಿಮ ಚಾಲುಕ್ಯ ವಾಸ್ತುಶಿಲ್ಪ), also known as Kalyani Chalukya or Later Chalukya architecture and broadly classified under the Vesara Style, is the distinctive style of ornamented architecture that evolved during the rule of the Western Chalukya Empire in the Tungabhadra region of modern central Karnataka, India, during the 11th and 12th centuries. Western Chalukyan political influence was at its peak in the Deccan Plateau during this period. The centre of cultural and temple-building activity lay in the Tungabhadra region, where large medieval workshops built numerous monuments. These monuments, regional variants of pre-existing dravida (South Indian) temples, form a climax to the wider regional temple architecture tradition called Vesara or Karnata dravida. Temples of all sizes built by the Chalukyan architects during this era remain today as examples of the architectural style.

    Most notable of the many buildings dating from this period are the Mahadeva Temple at Itagi in the Koppal district, the Kasivisvesvara Temple at Lakkundi in the Gadag district, the Mallikarjuna Temple at Kuruvatti in the Bellary district and the Kallesvara Temple at Bagali in the Davangere district. Other monuments notable for their craftsmanship include the Kaitabheshvara Temple in Kubatur and Kedareshvara Temple in Balligavi, both in the Shimoga district, the Siddhesvara Temple at Haveri in the Haveri district, the Amrtesvara Temple at Annigeri in the Dharwad district, the Sarasvati Temple in Gadag, and the Dodda Basappa Temple at Dambal, both in the Gadag district. (Full article...)
  • Image 15 Mother India is a 1957 Indian epic drama film, directed by Mehboob Khan and starring Nargis, Sunil Dutt, Rajendra Kumar and Raaj Kumar. A remake of Khan's earlier film Aurat (1940), it is the story of a poverty-stricken village woman named Radha (Nargis), who in the absence of her husband, struggles to raise her sons and survive against a cunning money-lender amidst many troubles. The title of the film was chosen to counter American author Katherine Mayo's 1927 polemical book Mother India, which vilified Indian culture. Mother India metaphorically represents India as a nation in the aftermath of its independence in 1947, and alludes to a strong sense of Indian nationalism and nation-building. Allusions to Hindu mythology are abundant in the film, and its lead character has been seen as a metonymic representation of an Indian woman who reflects high moral values and the concept of what it means to be a mother to society through self-sacrifice. While some authors treat Radha as the symbol of women's empowerment, others see her cast in female stereotypes. The film was shot in Mumbai's Mehboob Studios and in the villages of Maharashtra, Gujarat, and Uttar Pradesh. The music by Naushad introduced global music, including Western classical music and orchestra, to Hindi cinema. (Full article...)
    Mother India is a 1957 Indian epic drama film, directed by Mehboob Khan and starring Nargis, Sunil Dutt, Rajendra Kumar and Raaj Kumar. A remake of Khan's earlier film Aurat (1940), it is the story of a poverty-stricken village woman named Radha (Nargis), who in the absence of her husband, struggles to raise her sons and survive against a cunning money-lender amidst many troubles.

    The title of the film was chosen to counter American author Katherine Mayo's 1927 polemical book Mother India, which vilified Indian culture. Mother India metaphorically represents India as a nation in the aftermath of its independence in 1947, and alludes to a strong sense of Indian nationalism and nation-building. Allusions to Hindu mythology are abundant in the film, and its lead character has been seen as a metonymic representation of an Indian woman who reflects high moral values and the concept of what it means to be a mother to society through self-sacrifice. While some authors treat Radha as the symbol of women's empowerment, others see her cast in female stereotypes. The film was shot in Mumbai's Mehboob Studios and in the villages of Maharashtra, Gujarat, and Uttar Pradesh. The music by Naushad introduced global music, including Western classical music and orchestra, to Hindi cinema. (Full article...)
  • Image 16 Margarita with a Straw is a 2014 Indian Hindi-language drama film directed by Shonali Bose. It stars Kalki Koechlin as an Indian teenager with cerebral palsy who relocates to America for her undergraduate education and comes of age following her complex relationship with a blind girl, played by Sayani Gupta. Revathi, Kuljeet Singh, and William Moseley play supporting roles. Produced by Bose in partnership with Viacom18 Motion Pictures, Margarita with a Straw was co-written by Bose and Nilesh Maniyar. The film deals with the challenging concepts of sexuality, inclusion, self-love, and self-acceptance. Bose conceived the idea for the film in January 2011 during a conversation with Malini Chib, her cousin and a disability rights activist, about the latter's desire to have a normal sex life. Inspired by Chib's story, Bose wrote the first draft of the film's script. After winning a Sundance Mahindra Global Filmmaker Award for the draft, she modified the script to reflect her own perspective, incorporating several personal experiences into the narrative. Bose completed the screenplay with co-writer Maniyar and the advisory council of the Sundance Institute. (Full article...)
    Margarita with a Straw is a 2014 Indian Hindi-language drama film directed by Shonali Bose. It stars Kalki Koechlin as an Indian teenager with cerebral palsy who relocates to America for her undergraduate education and comes of age following her complex relationship with a blind girl, played by Sayani Gupta. Revathi, Kuljeet Singh, and William Moseley play supporting roles. Produced by Bose in partnership with Viacom18 Motion Pictures, Margarita with a Straw was co-written by Bose and Nilesh Maniyar. The film deals with the challenging concepts of sexuality, inclusion, self-love, and self-acceptance.

    Bose conceived the idea for the film in January 2011 during a conversation with Malini Chib, her cousin and a disability rights activist, about the latter's desire to have a normal sex life. Inspired by Chib's story, Bose wrote the first draft of the film's script. After winning a Sundance Mahindra Global Filmmaker Award for the draft, she modified the script to reflect her own perspective, incorporating several personal experiences into the narrative. Bose completed the screenplay with co-writer Maniyar and the advisory council of the Sundance Institute. (Full article...)
  • Image 17 Virupaksha temple at Hampi, the sacred centre at Vijayanagara, the royal capital Vijayanagara literature in Kannada is the body of literature composed in the Kannada language of South India during the ascendancy of the Vijayanagara Empire which lasted from the 14th through the 16th century. The Vijayanagara empire was established in 1336 by Harihara I and his brother Bukka Raya I. Although it lasted until 1664, its power declined after a major military defeat by the Shahi Sultanates in the battle of Talikota in 1565. The empire is named after its capital city Vijayanagara, whose ruins surround modern Hampi, now a World Heritage Site in Karnataka. Kannada literature during this period consisted of writings relating to the socio-religious developments of the Veerashaiva and Vaishnava faiths, and to a lesser extent to that of Jainism. Writing on secular topics was popular throughout this period. Authorship of these writings was not limited to poets and scholars alone. Significant literary contributions were made by members of the royal family, their ministers, army commanders of rank, nobility and the various subordinate rulers. In addition, a vast body of devotional folk literature was written by musical bards, mystics and saint-poets, influencing society in the empire. Writers of this period popularised use of the native metres: shatpadi (six-line verse), sangatya (compositions meant to be sung to the accompaniment of a musical instrument), and tripadi (three-line verse). (Full article...)
    Virupaksha temple at Hampi, the sacred centre at Vijayanagara, the royal capital

    Vijayanagara literature in Kannada is the body of literature composed in the Kannada language of South India during the ascendancy of the Vijayanagara Empire which lasted from the 14th through the 16th century. The Vijayanagara empire was established in 1336 by Harihara I and his brother Bukka Raya I. Although it lasted until 1664, its power declined after a major military defeat by the Shahi Sultanates in the battle of Talikota in 1565. The empire is named after its capital city Vijayanagara, whose ruins surround modern Hampi, now a World Heritage Site in Karnataka.

    Kannada literature during this period consisted of writings relating to the socio-religious developments of the Veerashaiva and Vaishnava faiths, and to a lesser extent to that of Jainism. Writing on secular topics was popular throughout this period. Authorship of these writings was not limited to poets and scholars alone. Significant literary contributions were made by members of the royal family, their ministers, army commanders of rank, nobility and the various subordinate rulers. In addition, a vast body of devotional folk literature was written by musical bards, mystics and saint-poets, influencing society in the empire. Writers of this period popularised use of the native metres: shatpadi (six-line verse), sangatya (compositions meant to be sung to the accompaniment of a musical instrument), and tripadi (three-line verse). (Full article...)
  • Image 18 The Legend of Bhagat Singh is a 2002 Indian Hindi-language biographical period film directed by Rajkumar Santoshi. The film is about Bhagat Singh, a revolutionary who fought for Indian independence along with fellow members of the Hindustan Socialist Republican Association. It features Ajay Devgan as the titular character along with Sushant Singh, D. Santosh and Akhilendra Mishra as the other lead characters. Raj Babbar, Farida Jalal and Amrita Rao play supporting roles. The film chronicles Singh's life from his childhood where he witnesses the Jallianwala Bagh massacre until the day he was hanged to death before the official trial dated 24 March 1931. The film was produced by Kumar and Ramesh Taurani's Tips Industries on a budget of ₹200–250 million (about US$4.2–5.2 million in 2002). The story and dialogue were written by Santoshi and Piyush Mishra respectively, while Anjum Rajabali drafted the screenplay. K. V. Anand, V. N. Mayekar and Nitin Chandrakant Desai were in charge of the cinematography, editing and production design respectively. Principal photography took place in Agra, Manali, Mumbai and Pune from January to May 2002. The soundtrack and film score is composed by A. R. Rahman, with the songs "Mera Rang De Basanti" and "Sarfaroshi Ki Tamanna" being well received in particular. (Full article...)
    The Legend of Bhagat Singh is a 2002 Indian Hindi-language biographical period film directed by Rajkumar Santoshi. The film is about Bhagat Singh, a revolutionary who fought for Indian independence along with fellow members of the Hindustan Socialist Republican Association. It features Ajay Devgan as the titular character along with Sushant Singh, D. Santosh and Akhilendra Mishra as the other lead characters. Raj Babbar, Farida Jalal and Amrita Rao play supporting roles. The film chronicles Singh's life from his childhood where he witnesses the Jallianwala Bagh massacre until the day he was hanged to death before the official trial dated 24 March 1931.

    The film was produced by Kumar and Ramesh Taurani's Tips Industries on a budget of 200–250 million (about US$4.2–5.2 million in 2002). The story and dialogue were written by Santoshi and Piyush Mishra respectively, while Anjum Rajabali drafted the screenplay. K. V. Anand, V. N. Mayekar and Nitin Chandrakant Desai were in charge of the cinematography, editing and production design respectively. Principal photography took place in Agra, Manali, Mumbai and Pune from January to May 2002. The soundtrack and film score is composed by A. R. Rahman, with the songs "Mera Rang De Basanti" and "Sarfaroshi Ki Tamanna" being well received in particular. (Full article...)
  • Image 19 Monier Williams, elected as the second Boden Professor of Sanskrit in 1860; this photograph was taken by Lewis Carroll. The election in 1860 for the position of Boden Professor of Sanskrit at the University of Oxford was a competition between two candidates offering different approaches to Sanskrit scholarship. One was Monier Williams, an Oxford-educated Englishman who had spent 14 years teaching Sanskrit to those preparing to work in British India for the East India Company. The other, Max Müller, was a German-born lecturer at Oxford specialising in comparative philology, the science of language. He had spent many years working on an edition of the Rig Veda (an ancient collection of Vedic Sanskrit hymns) and had gained an international reputation for his scholarship. Williams, in contrast, worked on later material and had little time for the "continental" school of Sanskrit scholarship that Müller exemplified. Williams regarded the study of Sanskrit as a means to an end, namely the conversion of India to Christianity. In Müller's opinion, his own work, while it would assist missionaries, was also valuable as an end in itself. The election came at a time of public debate about Britain's role in India in the wake of the Indian Rebellion of 1857. Opinions were divided on whether greater efforts should be made to convert India or whether to remain sensitive to local culture and traditions. Both men battled for the votes of the electorate (the Convocation of the university, consisting of over 3,700 graduates) through manifestos and newspaper correspondence. Williams laid great stress in his campaign on the intention of the original founder of the chair, that the holder should assist in converting India through dissemination of the Christian scriptures. Müller's view was that his work on the Rig Veda was of great value for missionary work, and published testimonials accordingly. He also wanted to teach wider subjects such as Indian history and literature to assist missionaries, scholars, and civil servants – a proposal that Williams criticised as not in accordance with the original benefactor's wishes. The rival campaigns took out newspaper advertisements and circulated manifestos, and different newspapers backed each man. Although generally regarded as superior to Williams in scholarship, Müller had the double disadvantage (in the eyes of some) of being German and having liberal Christian views. Some of the newspaper pronouncements in favour of Williams were based on a claimed national interest of having an Englishman as Boden professor to assist with the work of governing and converting India. (Full article...)
    Monier Williams, elected as the second Boden Professor of Sanskrit in 1860; this photograph was taken by Lewis Carroll.

    The election in 1860 for the position of Boden Professor of Sanskrit at the University of Oxford was a competition between two candidates offering different approaches to Sanskrit scholarship. One was Monier Williams, an Oxford-educated Englishman who had spent 14 years teaching Sanskrit to those preparing to work in British India for the East India Company. The other, Max Müller, was a German-born lecturer at Oxford specialising in comparative philology, the science of language. He had spent many years working on an edition of the Rig Veda (an ancient collection of Vedic Sanskrit hymns) and had gained an international reputation for his scholarship. Williams, in contrast, worked on later material and had little time for the "continental" school of Sanskrit scholarship that Müller exemplified. Williams regarded the study of Sanskrit as a means to an end, namely the conversion of India to Christianity. In Müller's opinion, his own work, while it would assist missionaries, was also valuable as an end in itself.

    The election came at a time of public debate about Britain's role in India in the wake of the Indian Rebellion of 1857. Opinions were divided on whether greater efforts should be made to convert India or whether to remain sensitive to local culture and traditions. Both men battled for the votes of the electorate (the Convocation of the university, consisting of over 3,700 graduates) through manifestos and newspaper correspondence. Williams laid great stress in his campaign on the intention of the original founder of the chair, that the holder should assist in converting India through dissemination of the Christian scriptures. Müller's view was that his work on the Rig Veda was of great value for missionary work, and published testimonials accordingly. He also wanted to teach wider subjects such as Indian history and literature to assist missionaries, scholars, and civil servants – a proposal that Williams criticised as not in accordance with the original benefactor's wishes. The rival campaigns took out newspaper advertisements and circulated manifestos, and different newspapers backed each man. Although generally regarded as superior to Williams in scholarship, Müller had the double disadvantage (in the eyes of some) of being German and having liberal Christian views. Some of the newspaper pronouncements in favour of Williams were based on a claimed national interest of having an Englishman as Boden professor to assist with the work of governing and converting India. (Full article...)
  • Image 20 Aravan worshipped at Sri Mariamman Temple, Singapore. A cobra hood is sheltering Aravan's head. Iravan also known as Iravat and Iravant, is a minor character from the Hindu epic Mahabharata. The son of Pandava prince Arjuna (one of the main heroes of the Mahabharata) and the Naga princess Ulupi, Iravan is the central deity of the cult of Kuttantavar (Kuttandavar) which is also the name commonly given to him in that tradition—and plays a major role in the sect of Draupadi. Both these sects are of Tamil origin, from a region of the country where he is worshipped as a village deity and is known as Aravan. He is also a patron god of well-known transgender communities called Alis (also Aravani in Tamil, and Hijra throughout South Asia). The Mahabharata portrays Iravan as dying a heroic death on the 8th day of the 18-day Kurukshetra War (Mahabharata war), the epic's main subject. However, the South Indian traditions have a supplementary practice of honouring Aravan's self-sacrifice to the goddess Kali to ensure her favour and the victory of the Pandavas in the war. The Kuttantavar tradition focuses on one of the three boons granted to Aravan by the god Krishna in honour of this self-sacrifice. Aravan requested that he be married before his death. Krishna satisfied this boon in his female form, Mohini. In Koovagam, Tamil Nadu, this incident is re-enacted in an 18-day festival, first by a ceremonial marriage of Aravan to Alis and male villagers (who have taken vows to Aravan) and then by their widowhood after ritual re-enactment of Aravan's sacrifice. (Full article...)

    Aravan worshipped at Sri Mariamman Temple, Singapore. A cobra hood is sheltering Aravan's head.

    Iravan also known as Iravat and Iravant, is a minor character from the Hindu epic Mahabharata. The son of Pandava prince Arjuna (one of the main heroes of the Mahabharata) and the Naga princess Ulupi, Iravan is the central deity of the cult of Kuttantavar (Kuttandavar) which is also the name commonly given to him in that tradition—and plays a major role in the sect of Draupadi. Both these sects are of Tamil origin, from a region of the country where he is worshipped as a village deity and is known as Aravan. He is also a patron god of well-known transgender communities called Alis (also Aravani in Tamil, and Hijra throughout South Asia).

    The Mahabharata portrays Iravan as dying a heroic death on the 8th day of the 18-day Kurukshetra War (Mahabharata war), the epic's main subject. However, the South Indian traditions have a supplementary practice of honouring Aravan's self-sacrifice to the goddess Kali to ensure her favour and the victory of the Pandavas in the war. The Kuttantavar tradition focuses on one of the three boons granted to Aravan by the god Krishna in honour of this self-sacrifice. Aravan requested that he be married before his death. Krishna satisfied this boon in his female form, Mohini. In Koovagam, Tamil Nadu, this incident is re-enacted in an 18-day festival, first by a ceremonial marriage of Aravan to Alis and male villagers (who have taken vows to Aravan) and then by their widowhood after ritual re-enactment of Aravan's sacrifice. (Full article...)
  • Image 21 Aitraaz (transl. Objection) is a 2004 Indian Hindi-language romantic thriller film directed by Abbas–Mustan and produced by Subhash Ghai. It stars Akshay Kumar, Priyanka Chopra and Kareena Kapoor. Aitraaz tells the story of a man accused of sexual harassment by his female superior, and was released on 12 November 2004 to positive reviews. Chopra received widespread critical acclaim for her performance. Loosely based on the 1994 film Disclosure, the film was a commercial success grossing ₹260 million at the box office against a budget of ₹80 million, and has been noted for its bold subject of sexual harassment. (Full article...)
    Aitraaz (transl. Objection) is a 2004 Indian Hindi-language romantic thriller film directed by Abbas–Mustan and produced by Subhash Ghai. It stars Akshay Kumar, Priyanka Chopra and Kareena Kapoor.

    Aitraaz tells the story of a man accused of sexual harassment by his female superior, and was released on 12 November 2004 to positive reviews. Chopra received widespread critical acclaim for her performance. Loosely based on the 1994 film Disclosure, the film was a commercial success grossing 260 million at the box office against a budget of 80 million, and has been noted for its bold subject of sexual harassment. (Full article...)
  • Image 22 Mukerji promoting Hichki in 2018 Rani Mukerji (pronounced [raːni mʊkʰərdʒi]; born 21 March 1978) is an Indian actress who works in Hindi films. Noted for her versatility, she is the recipient of multiple accolades, including eight Filmfare Awards. Mukerji has featured in listings of the leading and highest-paid actresses of the 2000s. Born into the Mukherjee-Samarth family, Mukerji dabbled with acting as a teenager by starring in her father Ram Mukherjee's Bengali-language film Biyer Phool and in the social drama Raja Ki Aayegi Baaraat (both 1996). Mukerji had her first commercial success with the action film Ghulam and breakthrough with the romance Kuch Kuch Hota Hai (both 1998). Following a brief setback, the year 2002 marked a turning point for her when she was cast by Yash Raj Films as the star of the drama Saathiya. (Full article...)

    Mukerji promoting Hichki in 2018

    Rani Mukerji (pronounced [raːni mʊkʰərdʒi]; born 21 March 1978) is an Indian actress who works in Hindi films. Noted for her versatility, she is the recipient of multiple accolades, including eight Filmfare Awards. Mukerji has featured in listings of the leading and highest-paid actresses of the 2000s.

    Born into the Mukherjee-Samarth family, Mukerji dabbled with acting as a teenager by starring in her father Ram Mukherjee's Bengali-language film Biyer Phool and in the social drama Raja Ki Aayegi Baaraat (both 1996). Mukerji had her first commercial success with the action film Ghulam and breakthrough with the romance Kuch Kuch Hota Hai (both 1998). Following a brief setback, the year 2002 marked a turning point for her when she was cast by Yash Raj Films as the star of the drama Saathiya. (Full article...)
  • Image 23 Collins on an 1899 postcard Arthur Edward Jeune Collins (18 August 1885 – 11 November 1914) was an English cricketer and soldier. He held, for 116 years, the record of highest score in cricket: as a 13-year-old schoolboy, he scored 628 not out over four afternoons in June 1899. Collins's record-making innings drew a large crowd and increasing media interest; spectators at the Old Cliftonian match being played nearby were drawn away to watch the junior school house cricket match in which Collins was playing. Despite this achievement, Collins never played first-class cricket. Collins's 628 not out stood as the record score until January 2016 when an Indian boy, Pranav Dhanawade, scored 1009 in a single innings. Collins joined the British Army in 1902 and studied at the Royal Military Academy, Woolwich, before becoming an officer in the Royal Engineers. He served in France during the First World War, where he was killed in action in 1914 during the First Battle of Ypres. Collins had been mentioned in despatches and also represented the Royal Military Academy at cricket and rugby union. (Full article...)

    Collins on an 1899 postcard

    Arthur Edward Jeune Collins (18 August 1885 – 11 November 1914) was an English cricketer and soldier. He held, for 116 years, the record of highest score in cricket: as a 13-year-old schoolboy, he scored 628 not out over four afternoons in June 1899. Collins's record-making innings drew a large crowd and increasing media interest; spectators at the Old Cliftonian match being played nearby were drawn away to watch the junior school house cricket match in which Collins was playing. Despite this achievement, Collins never played first-class cricket. Collins's 628 not out stood as the record score until January 2016 when an Indian boy, Pranav Dhanawade, scored 1009 in a single innings.

    Collins joined the British Army in 1902 and studied at the Royal Military Academy, Woolwich, before becoming an officer in the Royal Engineers. He served in France during the First World War, where he was killed in action in 1914 during the First Battle of Ypres. Collins had been mentioned in despatches and also represented the Royal Military Academy at cricket and rugby union. (Full article...)
  • Image 24 Gay at peak intensity before making landfall on India, on 8 November Typhoon Gay, also known as the Kavali Cyclone of 1989, was a small but powerful tropical cyclone which caused more than 800 fatalities in and around the Gulf of Thailand in November 1989. The worst typhoon to affect the Malay Peninsula in thirty-five years, Gay originated from a monsoon trough over the Gulf of Thailand in early November. Owing to favorable atmospheric conditions, the storm rapidly intensified, attaining winds over 120 km/h (75 mph) by 3 November. Later that day, Gay became the first typhoon since 1891 to make landfall in Thailand, striking Chumphon Province with winds of 185 km/h (115 mph). The small storm emerged into the Bay of Bengal and gradually reorganized over the following days as it approached southeastern India. On 8 November, Gay attained its peak intensity as a Category 5-equivalent cyclone with winds of 260 km/h (160 mph). The cyclone then moved ashore near Kavali, Andhra Pradesh. Rapid weakening ensued inland, and Gay dissipated over Maharashtra early on 10 November. The typhoon's rapid development took hundreds of vessels by surprise, leading to 275 offshore fatalities. Of these, 91 occurred after an oil drilling ship, the Seacrest, capsized amid 6–11 m (20–36 ft) swells. Across the Malay Peninsula, 588 people died from various storm-related incidents. Several towns in coastal Chumphon were destroyed. Losses throughout Thailand totaled ฿11 billion (US $497 million). Striking India as a powerful cyclone, Gay damaged or destroyed about 20,000 homes in Andhra Pradesh, leaving 100,000 people homeless. In that country, 69 deaths and ₹410 million (US $25.3 million) in damage were attributed to Gay. (Full article...)

    Gay at peak intensity before making landfall on India, on 8 November

    Typhoon Gay, also known as the Kavali Cyclone of 1989, was a small but powerful tropical cyclone which caused more than 800 fatalities in and around the Gulf of Thailand in November 1989. The worst typhoon to affect the Malay Peninsula in thirty-five years, Gay originated from a monsoon trough over the Gulf of Thailand in early November. Owing to favorable atmospheric conditions, the storm rapidly intensified, attaining winds over 120 km/h (75 mph) by 3 November. Later that day, Gay became the first typhoon since 1891 to make landfall in Thailand, striking Chumphon Province with winds of 185 km/h (115 mph). The small storm emerged into the Bay of Bengal and gradually reorganized over the following days as it approached southeastern India. On 8 November, Gay attained its peak intensity as a Category 5-equivalent cyclone with winds of 260 km/h (160 mph). The cyclone then moved ashore near Kavali, Andhra Pradesh. Rapid weakening ensued inland, and Gay dissipated over Maharashtra early on 10 November.

    The typhoon's rapid development took hundreds of vessels by surprise, leading to 275 offshore fatalities. Of these, 91 occurred after an oil drilling ship, the Seacrest, capsized amid 6–11 m (20–36 ft) swells. Across the Malay Peninsula, 588 people died from various storm-related incidents. Several towns in coastal Chumphon were destroyed. Losses throughout Thailand totaled ฿11 billion (US $497 million). Striking India as a powerful cyclone, Gay damaged or destroyed about 20,000 homes in Andhra Pradesh, leaving 100,000 people homeless. In that country, 69 deaths and 410 million (US $25.3 million) in damage were attributed to Gay. (Full article...)
  • Image 25 Core Western Ganga Territory Western Ganga was an important ruling dynasty of ancient Karnataka in India which lasted from about 350 to 1000 CE. They are known as "Western Gangas" to distinguish them from the Eastern Gangas who in later centuries ruled over Kalinga (modern Odisha and Northern Andhra Pradesh). The general belief is that the Western Gangas began their rule during a time when multiple native clans asserted their freedom due to the weakening of the Pallava empire in South India, a geo-political event sometimes attributed to the southern conquests of Samudra Gupta. The Western Ganga sovereignty lasted from about 350 to 550 CE, initially ruling from Kolar and later, moving their capital to Talakadu on the banks of the Kaveri River in modern Mysore district. After the rise of the imperial Chalukyas of Badami, the Gangas accepted Chalukya overlordship and fought for the cause of their overlords against the Pallavas of Kanchi. The Chalukyas were replaced by the Rashtrakutas of Manyakheta in 753 CE as the dominant power in the Deccan. After a century of struggle for autonomy, the Western Gangas finally accepted Rashtrakuta overlordship and successfully fought alongside them against their foes, the Chola Dynasty of Tanjavur. In the late 10th century, north of Tungabhadra river, the Rashtrakutas were replaced by the emerging Western Chalukya Empire and the Chola Dynasty saw renewed power south of the Kaveri river. The defeat of the Western Gangas by Cholas around 1000 resulted in the end of the Ganga influence over the region. (Full article...)

    Core Western Ganga Territory

    Western Ganga was an important ruling dynasty of ancient Karnataka in India which lasted from about 350 to 1000 CE. They are known as "Western Gangas" to distinguish them from the Eastern Gangas who in later centuries ruled over Kalinga (modern Odisha and Northern Andhra Pradesh). The general belief is that the Western Gangas began their rule during a time when multiple native clans asserted their freedom due to the weakening of the Pallava empire in South India, a geo-political event sometimes attributed to the southern conquests of Samudra Gupta. The Western Ganga sovereignty lasted from about 350 to 550 CE, initially ruling from Kolar and later, moving their capital to Talakadu on the banks of the Kaveri River in modern Mysore district.

    After the rise of the imperial Chalukyas of Badami, the Gangas accepted Chalukya overlordship and fought for the cause of their overlords against the Pallavas of Kanchi. The Chalukyas were replaced by the Rashtrakutas of Manyakheta in 753 CE as the dominant power in the Deccan. After a century of struggle for autonomy, the Western Gangas finally accepted Rashtrakuta overlordship and successfully fought alongside them against their foes, the Chola Dynasty of Tanjavur. In the late 10th century, north of Tungabhadra river, the Rashtrakutas were replaced by the emerging Western Chalukya Empire and the Chola Dynasty saw renewed power south of the Kaveri river. The defeat of the Western Gangas by Cholas around 1000 resulted in the end of the Ganga influence over the region. (Full article...)

Selected pictures

Featured list – show another

This is a Featured list, which the Wikipedia community considers to be the best lists on English Wikipedia.

Good article – show another

This is a Good article, an article that meets a core set of high editorial standards.

  • Image 1 P. labiata from Hong Kong Portia labiata is a jumping spider (family Salticidae) found in Sri Lanka, India, southern China, Burma (Myanmar), Malaysia, Singapore, Java, Sumatra and the Philippines. In this medium-sized jumping spider, the front part is orange-brown and the back part is brownish. The conspicuous main eyes provide vision more acute than a cat's during the day and 10 times more acute than a dragonfly's, and this is essential in P. labiata′s navigation, hunting and mating. The genus Portia has been called "eight-legged cats", as their hunting tactics are as versatile and adaptable as a lion's. All members of Portia have instinctive hunting tactics for their most common prey, but often can improvise by trial and error against unfamiliar prey or in unfamiliar situations, and then remember the new approach. While most jumping spiders prey mainly on insects and by active hunting, females of Portia also build webs to catch prey directly and sometimes join their own webs on to those of web-based spiders. Both females and males prefer web spiders as prey, followed by other jumping spiders, and finally insects. In all cases females are more effective predators than males. (Full article...)

    P. labiata from Hong Kong

    Portia labiata is a jumping spider (family Salticidae) found in Sri Lanka, India, southern China, Burma (Myanmar), Malaysia, Singapore, Java, Sumatra and the Philippines. In this medium-sized jumping spider, the front part is orange-brown and the back part is brownish. The conspicuous main eyes provide vision more acute than a cat's during the day and 10 times more acute than a dragonfly's, and this is essential in P. labiata′s navigation, hunting and mating.

    The genus Portia has been called "eight-legged cats", as their hunting tactics are as versatile and adaptable as a lion's. All members of Portia have instinctive hunting tactics for their most common prey, but often can improvise by trial and error against unfamiliar prey or in unfamiliar situations, and then remember the new approach. While most jumping spiders prey mainly on insects and by active hunting, females of Portia also build webs to catch prey directly and sometimes join their own webs on to those of web-based spiders. Both females and males prefer web spiders as prey, followed by other jumping spiders, and finally insects. In all cases females are more effective predators than males. (Full article...)
  • Image 2 Male gharial The gharial (Gavialis gangeticus), also known as gavial or fish-eating crocodile, is a crocodilian in the family Gavialidae and among the longest of all living crocodilians. Mature females are 2.6 to 4.5 m (8 ft 6 in to 14 ft 9 in) long, and males 3 to 6 m (9 ft 10 in to 19 ft 8 in). Adult males have a distinct boss at the end of the snout, which resembles an earthenware pot known as a ghara, hence the name "gharial". The gharial is well adapted to catching fish because of its long, narrow snout and 110 sharp, interlocking teeth. The gharial probably evolved in the northern Indian subcontinent. Fossil gharial remains were excavated in Pliocene deposits in the Sivalik Hills and the Narmada River valley. It currently inhabits rivers in the plains of the northern part of the Indian subcontinent. It is the most thoroughly aquatic crocodilian, and leaves the water only for basking and building nests on moist sandbanks. Adults mate at the end of the cold season. Females congregate in spring to dig nests, in which they lay 20–95 eggs. They guard the nests and the young, which hatch before the onset of the monsoon. The hatchlings stay and forage in shallow water during their first year, but move to sites with deeper water as they grow. (Full article...)

    Male gharial

    The gharial (Gavialis gangeticus), also known as gavial or fish-eating crocodile, is a crocodilian in the family Gavialidae and among the longest of all living crocodilians. Mature females are 2.6 to 4.5 m (8 ft 6 in to 14 ft 9 in) long, and males 3 to 6 m (9 ft 10 in to 19 ft 8 in). Adult males have a distinct boss at the end of the snout, which resembles an earthenware pot known as a ghara, hence the name "gharial". The gharial is well adapted to catching fish because of its long, narrow snout and 110 sharp, interlocking teeth.

    The gharial probably evolved in the northern Indian subcontinent. Fossil gharial remains were excavated in Pliocene deposits in the Sivalik Hills and the Narmada River valley. It currently inhabits rivers in the plains of the northern part of the Indian subcontinent. It is the most thoroughly aquatic crocodilian, and leaves the water only for basking and building nests on moist sandbanks. Adults mate at the end of the cold season. Females congregate in spring to dig nests, in which they lay 20–95 eggs. They guard the nests and the young, which hatch before the onset of the monsoon. The hatchlings stay and forage in shallow water during their first year, but move to sites with deeper water as they grow. (Full article...)
  • Image 3 The Kolkata Suburban Railway (colloquially called Kolkata local trains or simply locals locally) is a set of suburban and regional rail services serving the Kolkata metropolitan area and its surroundings in India. It is the largest suburban railway network in the country by number of stations and track length, and also one of the largest in the world. There are five main lines and nineteen branch lines. It operates more than 1,500 services, carrying 3.5 million people daily and 1.2 billion people every year. It runs from 03:00 am until 02:00 am and fares range from Rs.5 to Rs.25. The system uses 25 kV 50 Hz AC power supply and runs on 5 ft 6 in (1,676 mm) broad gauge track. It has interchange stations with the Kolkata Metro at various locations. The Kolkata Suburban Railway is part of the second passenger railway constructed in British India during the mid 19th century. The first train ran between Howrah and Hooghly stations. A hundred years after the initial run, Electric Multiple Unit (EMU) services began. It has 458 stations and a track length of 1,501 km (933 mi). (Full article...)

    The Kolkata Suburban Railway (colloquially called Kolkata local trains or simply locals locally) is a set of suburban and regional rail services serving the Kolkata metropolitan area and its surroundings in India. It is the largest suburban railway network in the country by number of stations and track length, and also one of the largest in the world. There are five main lines and nineteen branch lines. It operates more than 1,500 services, carrying 3.5 million people daily and 1.2 billion people every year. It runs from 03:00 am until 02:00 am and fares range from Rs.5 to Rs.25. The system uses 25 kV 50 Hz AC power supply and runs on 5 ft 6 in (1,676 mm) broad gauge track. It has interchange stations with the Kolkata Metro at various locations.

    The Kolkata Suburban Railway is part of the second passenger railway constructed in British India during the mid 19th century. The first train ran between Howrah and Hooghly stations. A hundred years after the initial run, Electric Multiple Unit (EMU) services began. It has 458 stations and a track length of 1,501 km (933 mi). (Full article...)
  • Image 4 The spinular night frog (Nyctibatrachus acanthodermis), also known as the spinular wrinkled frog, is a species of frog in the family Nyctibatrachidae, commonly known as the robust frogs. It was described in 2011 as one of 12 new species in its genus by the herpetologist Sathyabhama Das Biju and his colleagues. A large frog for its genus, it has an adult male snout–vent length of 52.9–66.2 mm (2.08–2.61 in). It has a brownish-grey back, a grey underside, dark brown limbs, and dark grey feet. When preserved in ethanol, it is black above with greyish-brown undersides. The species is endemic to the Western Ghats of India, where it is known from the states of Kerala and Tamil Nadu, where the specimens used to describe the species were originally collected. It is found under rocks in streams in forests. The species has not been assigned a conservation status by the IUCN. (Full article...)

    The spinular night frog (Nyctibatrachus acanthodermis), also known as the spinular wrinkled frog, is a species of frog in the family Nyctibatrachidae, commonly known as the robust frogs. It was described in 2011 as one of 12 new species in its genus by the herpetologist Sathyabhama Das Biju and his colleagues. A large frog for its genus, it has an adult male snout–vent length of 52.9–66.2 mm (2.08–2.61 in). It has a brownish-grey back, a grey underside, dark brown limbs, and dark grey feet. When preserved in ethanol, it is black above with greyish-brown undersides. The species is endemic to the Western Ghats of India, where it is known from the states of Kerala and Tamil Nadu, where the specimens used to describe the species were originally collected. It is found under rocks in streams in forests. The species has not been assigned a conservation status by the IUCN. (Full article...)
  • Image 5 Attarintiki Daredi (transl. Which way to aunt's house?) is a 2013 Indian Telugu-language comedy drama film written and directed by Trivikram Srinivas. Produced by Sri Venkateswara Cine Chitra and Reliance Entertainment, the film stars Pawan Kalyan, Samantha and Pranitha Subhash. Nadhiya, Boman Irani and Brahmanandam feature in supporting roles. The film score and soundtrack album were composed by Devi Sri Prasad. Prasad Murella was the cinematographer. The film focuses on Gautham Nanda, a business heir who acts as a driver in his estranged aunt Sunanda's house to mend her strained relationship with his grandfather Raghunandan who expelled her for marrying against his wishes years before. Attarintiki Daredi was made on a budget of ₹55 crore. Principal photography began in January 2013 and ended in July 2013, with the film being primarily shot in and around Hyderabad. Significant portions were shot in Pollachi and Europe. (Full article...)
    Attarintiki Daredi (transl.Which way to aunt's house?) is a 2013 Indian Telugu-language comedy drama film written and directed by Trivikram Srinivas. Produced by Sri Venkateswara Cine Chitra and Reliance Entertainment, the film stars Pawan Kalyan, Samantha and Pranitha Subhash. Nadhiya, Boman Irani and Brahmanandam feature in supporting roles. The film score and soundtrack album were composed by Devi Sri Prasad. Prasad Murella was the cinematographer.

    The film focuses on Gautham Nanda, a business heir who acts as a driver in his estranged aunt Sunanda's house to mend her strained relationship with his grandfather Raghunandan who expelled her for marrying against his wishes years before. Attarintiki Daredi was made on a budget of ₹55 crore. Principal photography began in January 2013 and ended in July 2013, with the film being primarily shot in and around Hyderabad. Significant portions were shot in Pollachi and Europe. (Full article...)
  • Image 6 Mahadevi Verma (26 March 1907 – 11 September 1987) was an Indian Hindi-language poet, essayist, sketch story writer and an eminent personality of Hindi literature. She is considered one of the four major pillars of the Chhayawadi era in Hindi literature. She has been also addressed as the Modern Meera. Poet Nirala had once called her "Saraswati in the vast temple of Hindi Literature". Varma had witnessed India both before and after independence. She was one of those poets who worked for the wider society of India. Not only her poetry but also her social upliftment work and welfare development among women were also depicted deeply in her writings. These largely influenced not only the readers but also the critics, especially through her novel Deepshikha. She developed a soft vocabulary in the Hindi poetry of Khadi Boli, which before her was considered possible only in Braj bhasha. For this, she chose the soft words of Sanskrit and Bangla and adapted them to Hindi. She was well-versed in music. The beauty of her songs lies in the tone that captures the euphemistic style of sharp expressions. She started her career with teaching. She was the Principal of Prayag Mahila Vidyapeeth. She was married, but she chose to live an ascetic life. She was also a skilled painter and creative translator. She had the distinction of receiving all the important awards in Hindi literature. As the most popular female litterateur of the last century, she remained revered throughout her life. The year 2007 was celebrated as her birth centenary. Later, Google also celebrated the day through its Google Doodle. (Full article...)

    Mahadevi Verma (26 March 1907 – 11 September 1987) was an Indian Hindi-language poet, essayist, sketch story writer and an eminent personality of Hindi literature. She is considered one of the four major pillars of the Chhayawadi era in Hindi literature. She has been also addressed as the Modern Meera. Poet Nirala had once called her "Saraswati in the vast temple of Hindi Literature". Varma had witnessed India both before and after independence. She was one of those poets who worked for the wider society of India. Not only her poetry but also her social upliftment work and welfare development among women were also depicted deeply in her writings. These largely influenced not only the readers but also the critics, especially through her novel Deepshikha.

    She developed a soft vocabulary in the Hindi poetry of Khadi Boli, which before her was considered possible only in Braj bhasha. For this, she chose the soft words of Sanskrit and Bangla and adapted them to Hindi. She was well-versed in music. The beauty of her songs lies in the tone that captures the euphemistic style of sharp expressions. She started her career with teaching. She was the Principal of Prayag Mahila Vidyapeeth. She was married, but she chose to live an ascetic life. She was also a skilled painter and creative translator. She had the distinction of receiving all the important awards in Hindi literature. As the most popular female litterateur of the last century, she remained revered throughout her life. The year 2007 was celebrated as her birth centenary. Later, Google also celebrated the day through its Google Doodle. (Full article...)
  • Image 7 My Life in Orange: Growing Up with the Guru is an account of a child growing up in the Rajneesh movement led by Bhagwan Shree Rajneesh. The book is a firsthand account, written by Tim Guest at the age of 27, years after his experiences. The book was published in 2004 by Granta Books. The book's title is a reference to the term "the orange people", which was used to refer to members of the Rajneesh movement due to the color they dyed their clothes. Guest describes how his mother was initially raised in strict Catholicism, but later turned to a tape of Bhagwan Shree Rajneesh after going through a period of experimenting with sex and drugs. She dyed all of her clothes orange, took on the name of "Ma Prem Vismaya", and "Yogesh" for her son, and moved to a Rajneesh movement commune near Bombay. Guest's mother moved to many different communes, and had leadership roles within the movement, eventually running a commune in Suffolk. Guest recounts how he regretted the absence of his mother's presence during this time, and describes controversial living conditions with other children at the various ashrams. Guest and his mother moved to the 64,000-acre (260 km2) commune in Oregon, but his mother was demoted in position and sent to live at a different commune in Cologne. His family later disassociated from the Rajneesh movement and moved back to North London, where they each encountered difficulties reintegrating back into mainstream society. (Full article...)
    My Life in Orange: Growing Up with the Guru is an account of a child growing up in the Rajneesh movement led by Bhagwan Shree Rajneesh. The book is a firsthand account, written by Tim Guest at the age of 27, years after his experiences. The book was published in 2004 by Granta Books. The book's title is a reference to the term "the orange people", which was used to refer to members of the Rajneesh movement due to the color they dyed their clothes.

    Guest describes how his mother was initially raised in strict Catholicism, but later turned to a tape of Bhagwan Shree Rajneesh after going through a period of experimenting with sex and drugs. She dyed all of her clothes orange, took on the name of "Ma Prem Vismaya", and "Yogesh" for her son, and moved to a Rajneesh movement commune near Bombay. Guest's mother moved to many different communes, and had leadership roles within the movement, eventually running a commune in Suffolk. Guest recounts how he regretted the absence of his mother's presence during this time, and describes controversial living conditions with other children at the various ashrams. Guest and his mother moved to the 64,000-acre (260 km2) commune in Oregon, but his mother was demoted in position and sent to live at a different commune in Cologne. His family later disassociated from the Rajneesh movement and moved back to North London, where they each encountered difficulties reintegrating back into mainstream society. (Full article...)
  • Image 8 Missamma (transl. Miss Madam) is a 1955 Indian Telugu-language romantic comedy film directed by L. V. Prasad. It was produced by Nagi Reddi and Chakrapani on Vijaya Productions banner. The film stars N. T. Rama Rao, Savitri, Akkineni Nageswara Rao and Jamuna. The script was adapted by Chakrapani from Rabindranath Maitra's Bengali play Manmoyee Girls' School. It revolves around two unemployed people — M. T. Rao and Mary — who pose as a married couple to obtain employment in a high school founded by Gopalam, a zamindar. As Rao and Mary fall in love, Gopalam's nephew A. K. Raju learns that Mary is Gopalam's missing elder daughter Mahalakshmi; she is unaware of her true identity. Production began in early 1954 with P. Bhanumathi cast as the female lead, though she would eventually be replaced by Savitri. The film was simultaneously shot in Tamil as Missiamma, with an altered cast. Principal photography ended that December; filming was delayed because of Bhanumathi's exit after filming a few reels, and the difficulty of managing two casts simultaneously. C. P. Jambulingam and Kalyanam edited the film; Marcus Bartley was the cinematographer, and S. Rajeswara Rao composed the music. Missamma focused on social issues such as unemployment, corruption, and freedom of worship. (Full article...)
    Missamma (transl. Miss Madam) is a 1955 Indian Telugu-language romantic comedy film directed by L. V. Prasad. It was produced by Nagi Reddi and Chakrapani on Vijaya Productions banner. The film stars N. T. Rama Rao, Savitri, Akkineni Nageswara Rao and Jamuna. The script was adapted by Chakrapani from Rabindranath Maitra's Bengali play Manmoyee Girls' School. It revolves around two unemployed people — M. T. Rao and Mary — who pose as a married couple to obtain employment in a high school founded by Gopalam, a zamindar. As Rao and Mary fall in love, Gopalam's nephew A. K. Raju learns that Mary is Gopalam's missing elder daughter Mahalakshmi; she is unaware of her true identity.

    Production began in early 1954 with P. Bhanumathi cast as the female lead, though she would eventually be replaced by Savitri. The film was simultaneously shot in Tamil as Missiamma, with an altered cast. Principal photography ended that December; filming was delayed because of Bhanumathi's exit after filming a few reels, and the difficulty of managing two casts simultaneously. C. P. Jambulingam and Kalyanam edited the film; Marcus Bartley was the cinematographer, and S. Rajeswara Rao composed the music. Missamma focused on social issues such as unemployment, corruption, and freedom of worship. (Full article...)
  • Image 9 The roots of Shaktism – a Hindu denomination that focuses worship upon Shakti or Devi, the Hindu Divine Mother – penetrate deeply into India's prehistory. The Devi's earliest known appearance in Indian Paleolithic settlements is believed to go back more than 8000 years ago. Shaktism as it exists today began with the literature of the Shankara Age, further evolved during the formative period of the Hindu epics, reached its full flower during the Khmer period, (1000CE) and continued to expand and develop thereafter. Devi Mahatmya, an important text in Shaktism, was composed around tenth or eleventh century CE. Here, for the first time, "the various mythic, cultic and theological elements relating to diverse female divinities were brought together in what has been called the 'crystallization of the Goddess tradition.'" Other important texts include the Lalita Sahasranama, the Devi Gita, Adi Shankara's Saundaryalahari and the Tantras. (Full article...)
    The roots of Shaktism – a Hindu denomination that focuses worship upon Shakti or Devi, the Hindu Divine Mother – penetrate deeply into India's prehistory. The Devi's earliest known appearance in Indian Paleolithic settlements is believed to go back more than 8000 years ago.

    Shaktism as it exists today began with the literature of the Shankara Age, further evolved during the formative period of the Hindu epics, reached its full flower during the Khmer period, (1000CE) and continued to expand and develop thereafter. Devi Mahatmya, an important text in Shaktism, was composed around tenth or eleventh century CE. Here, for the first time, "the various mythic, cultic and theological elements relating to diverse female divinities were brought together in what has been called the 'crystallization of the Goddess tradition.'" Other important texts include the Lalita Sahasranama, the Devi Gita, Adi Shankara's Saundaryalahari and the Tantras. (Full article...)
  • Image 10 Painting of Adi Shankara, exponent of Advaita Vedanta with his disciples by Raja Ravi Varma Adi Shankara (8th c. CE), also called Adi Shankaracharya (Sanskrit: आदि शङ्कर, आदि शङ्कराचार्य, romanized: Ādi Śaṅkara, Ādi Śaṅkarācārya, lit. 'First Shankaracharya', pronounced [aːdɪ ɕɐŋkɐraːt͡ɕaːrjɐ]), was an Indian Vedic scholar and teacher (acharya) of Advaita Vedanta. Reliable information on Shankara's actual life is scanty, and his true impact lies in his "iconic representation of Hindu religion and culture," despite the fact that most Hindus do not adhere to Advaita Vedanta. He is seen as "the one who restored the Hindu dharma against the attacks of the Buddhists (and Jains) and in the process helped to drive Buddhism out of India." Tradition also portrays him as the one who reconciled the various sects (Vaishnavism, Shaivism, and Saktism) with the introduction of the Pañcāyatana form of worship, the simultaneous worship of five deities – Ganesha, Surya, Vishnu, Shiva and Devi, arguing that all deities were but different forms of the one Brahman, the invisible Supreme Being. The historical influence of his works on Hindu intellectual thought has been questioned. Until the 10th century Shankara was overshadowed by his older contemporary Maṇḍana Miśra, and there is no mention of him in concurring Hindu, Buddhist or Jain sources until the 11th century. The popular image of Shankara started to take shape in the 14th century, centuries after his death, when Sringeri matha started to receive patronage from the kings of the Vijayanagara Empire and shifted their allegiance from Advaitic Agamic Shaivism to Brahmanical Advaita orthodoxy. Hagiographies dating from the 14th-17th centuries deified him as a ruler-renunciate, travelling on a digvijaya (conquest of the four quarters) across the Indian subcontinent to propagate his philosophy, defeating his opponents in theological debates. These hagiographies portray him as founding four mathas ("monasteries"), and Adi Shankara also came to be regarded as the organiser of the Dashanami monastic order, and the unifier of the Shanmata tradition of worship. The title of Shankaracharya, used by heads of certain monasteries in India, is derived from his name. (Full article...)

    Painting of Adi Shankara, exponent of Advaita Vedanta with his disciples by Raja Ravi Varma

    Adi Shankara (8th c. CE), also called Adi Shankaracharya (Sanskrit: आदि शङ्कर, आदि शङ्कराचार्य, romanizedĀdi Śaṅkara, Ādi Śaṅkarācārya, lit.'First Shankaracharya', pronounced [aːdɪ ɕɐŋkɐraːt͡ɕaːrjɐ]), was an Indian Vedic scholar and teacher (acharya) of Advaita Vedanta. Reliable information on Shankara's actual life is scanty, and his true impact lies in his "iconic representation of Hindu religion and culture," despite the fact that most Hindus do not adhere to Advaita Vedanta. He is seen as "the one who restored the Hindu dharma against the attacks of the Buddhists (and Jains) and in the process helped to drive Buddhism out of India." Tradition also portrays him as the one who reconciled the various sects (Vaishnavism, Shaivism, and Saktism) with the introduction of the Pañcāyatana form of worship, the simultaneous worship of five deities – Ganesha, Surya, Vishnu, Shiva and Devi, arguing that all deities were but different forms of the one Brahman, the invisible Supreme Being.

    The historical influence of his works on Hindu intellectual thought has been questioned. Until the 10th century Shankara was overshadowed by his older contemporary Maṇḍana Miśra, and there is no mention of him in concurring Hindu, Buddhist or Jain sources until the 11th century. The popular image of Shankara started to take shape in the 14th century, centuries after his death, when Sringeri matha started to receive patronage from the kings of the Vijayanagara Empire and shifted their allegiance from Advaitic Agamic Shaivism to Brahmanical Advaita orthodoxy. Hagiographies dating from the 14th-17th centuries deified him as a ruler-renunciate, travelling on a digvijaya (conquest of the four quarters) across the Indian subcontinent to propagate his philosophy, defeating his opponents in theological debates. These hagiographies portray him as founding four mathas ("monasteries"), and Adi Shankara also came to be regarded as the organiser of the Dashanami monastic order, and the unifier of the Shanmata tradition of worship. The title of Shankaracharya, used by heads of certain monasteries in India, is derived from his name. (Full article...)
  • Image 11 Defence of the Arrah House, 1857 (1858) by William Tayler The siege of Arrah (27 July – 3 August 1857) took place during the Indian Mutiny (also known as the Indian Rebellion of 1857). It was the eight-day defence of a fortified outbuilding, occupied by a combination of 18 civilians and 50 members of the Bengal Military Police Battalion, against 2,500 to 3,000 mutinying Bengal Native Infantry sepoys from three regiments and an estimated 8,000 men from irregular forces commanded by Kunwar Singh, the local zamindar or chieftain who controlled the Jagdishpur estate. An attempt to break the siege failed, with around 290 casualties out of around 415 men in the relief party. Shortly afterwards, a second relief effort consisting of 225 men and three artillery guns—carried out despite specific orders that it should not take place—dispersed the forces surrounding the building, suffering two casualties, and the besieged party escaped. Only one member of the besieged group was injured. (Full article...)

    Defence of the Arrah House, 1857 (1858) by William Tayler

    The siege of Arrah (27 July – 3 August 1857) took place during the Indian Mutiny (also known as the Indian Rebellion of 1857). It was the eight-day defence of a fortified outbuilding, occupied by a combination of 18 civilians and 50 members of the Bengal Military Police Battalion, against 2,500 to 3,000 mutinying Bengal Native Infantry sepoys from three regiments and an estimated 8,000 men from irregular forces commanded by Kunwar Singh, the local zamindar or chieftain who controlled the Jagdishpur estate.

    An attempt to break the siege failed, with around 290 casualties out of around 415 men in the relief party. Shortly afterwards, a second relief effort consisting of 225 men and three artillery guns—carried out despite specific orders that it should not take place—dispersed the forces surrounding the building, suffering two casualties, and the besieged party escaped. Only one member of the besieged group was injured. (Full article...)
  • Image 12 Mahākāśyapa (left) meets an ājīvika ascetic (right) and learns of the parinirvāna of the Buddha, Gandhāran sculpture. c. 2nd–3rd century CE. Mahākāśyapa (Pali: Mahākassapa) was one of the principal disciples of Gautama Buddha. He is regarded in Buddhism as an enlightened disciple, being foremost in ascetic practice. Mahākāśyapa assumed leadership of the monastic community following the parinirvāṇa (death) of the Buddha, presiding over the First Buddhist Council. He was considered to be the first patriarch in a number of Early Buddhist schools and continued to have an important role as patriarch in the Chan/Zen tradition. In Buddhist texts, he assumed many identities, that of a renunciant saint, a lawgiver, an anti-establishment figure, but also a "guarantor of future justice" in the time of Maitreya, the future Buddha—he has been described as "both the anchorite and the friend of mankind, even of the outcast". In canonical Buddhist texts in several traditions, Mahākāśyapa was born as Pippali in a village and entered an arranged marriage with a woman named Bhadra-Kapilānī. Both of them aspired to lead a celibate life, however, and they decided not to consummate their marriage. Having grown weary of the agricultural profession and the damage it did, they both left the lay life behind to become mendicants. Pippali later met the Buddha, under whom he was ordained as a monk, named Kāśyapa, but later called Mahākāśyapa to distinguish him from other disciples. Mahākāśyapa became an important disciple of the Buddha, to the extent that the Buddha exchanged his robe with him, which was a symbol of the transmittance of the Buddhist teaching. He became foremost in ascetic practices and attained enlightenment shortly after. He often had disputes with Ānanda, the attendant of the Buddha, due to their different dispositions and views. Despite his ascetic, strict and stern reputation, he paid an interest in community matters and teaching, and was known for his compassion for the poor, which sometimes caused him to be depicted as an anti-establishment figure. He had a prominent role in the cremation of the Buddha, acting as a sort of eldest son of the Buddha, as well as being the leader in the subsequent First Council. He is depicted as hesitatingly allowing Ānanda to participate in the council, and chastising him afterwards for a number of offenses the latter was regarded to have committed. (Full article...)

    Mahākāśyapa (left) meets an ājīvika ascetic (right) and learns of the parinirvāna of the Buddha, Gandhāran sculpture. c. 2nd–3rd century CE.

    Mahākāśyapa (Pali: Mahākassapa) was one of the principal disciples of Gautama Buddha. He is regarded in Buddhism as an enlightened disciple, being foremost in ascetic practice. Mahākāśyapa assumed leadership of the monastic community following the parinirvāṇa (death) of the Buddha, presiding over the First Buddhist Council. He was considered to be the first patriarch in a number of Early Buddhist schools and continued to have an important role as patriarch in the Chan/Zen tradition. In Buddhist texts, he assumed many identities, that of a renunciant saint, a lawgiver, an anti-establishment figure, but also a "guarantor of future justice" in the time of Maitreya, the future Buddha—he has been described as "both the anchorite and the friend of mankind, even of the outcast".

    In canonical Buddhist texts in several traditions, Mahākāśyapa was born as Pippali in a village and entered an arranged marriage with a woman named Bhadra-Kapilānī. Both of them aspired to lead a celibate life, however, and they decided not to consummate their marriage. Having grown weary of the agricultural profession and the damage it did, they both left the lay life behind to become mendicants. Pippali later met the Buddha, under whom he was ordained as a monk, named Kāśyapa, but later called Mahākāśyapa to distinguish him from other disciples. Mahākāśyapa became an important disciple of the Buddha, to the extent that the Buddha exchanged his robe with him, which was a symbol of the transmittance of the Buddhist teaching. He became foremost in ascetic practices and attained enlightenment shortly after. He often had disputes with Ānanda, the attendant of the Buddha, due to their different dispositions and views. Despite his ascetic, strict and stern reputation, he paid an interest in community matters and teaching, and was known for his compassion for the poor, which sometimes caused him to be depicted as an anti-establishment figure. He had a prominent role in the cremation of the Buddha, acting as a sort of eldest son of the Buddha, as well as being the leader in the subsequent First Council. He is depicted as hesitatingly allowing Ānanda to participate in the council, and chastising him afterwards for a number of offenses the latter was regarded to have committed. (Full article...)
  • Image 13 Stephen Fuchs (April 30, 1908 – January 17, 2000) was an Austrian Catholic priest, missionary, and anthropologist who researched the ethnology and prehistory of India. After obtaining a Ph.D. in ethnology and Indology from the University of Vienna in 1950, Fuchs moved to India where he assisted in founding the Department of Anthropology at St. Xavier's College in Bombay. After a brief imprisonment for being misidentified as a German missionary by the British government during World War II, Fuchs founded the Indian Branch of the Anthropos Institute [de], later renamed the Institute of Indian Culture. Fuchs, because of health concerns, moved to Austria in 1996 and died at the age of 91 in Mödling, Austria. In his research, Fuchs conducted field studies in Central India. He focused particularly on the customs and beliefs of modern Indian tribes. Originally when he moved to India, he researched solely the social and cultural customs of modern-day central Indian tribes. After founding the Institute of Indian Culture, Fuchs researched the cultures of ancient India, back to India's original inhabitants. (Full article...)
    Stephen Fuchs (April 30, 1908 – January 17, 2000) was an Austrian Catholic priest, missionary, and anthropologist who researched the ethnology and prehistory of India. After obtaining a Ph.D. in ethnology and Indology from the University of Vienna in 1950, Fuchs moved to India where he assisted in founding the Department of Anthropology at St. Xavier's College in Bombay. After a brief imprisonment for being misidentified as a German missionary by the British government during World War II, Fuchs founded the Indian Branch of the Anthropos Institute [de], later renamed the Institute of Indian Culture. Fuchs, because of health concerns, moved to Austria in 1996 and died at the age of 91 in Mödling, Austria.

    In his research, Fuchs conducted field studies in Central India. He focused particularly on the customs and beliefs of modern Indian tribes. Originally when he moved to India, he researched solely the social and cultural customs of modern-day central Indian tribes. After founding the Institute of Indian Culture, Fuchs researched the cultures of ancient India, back to India's original inhabitants. (Full article...)
  • Image 14 Racha (transl. Chaos), is a 2012 Indian Telugu-language action drama film directed by Sampath Nandi and co-written by the Paruchuri Brothers. Produced by R. B. Choudary in association with N. V. Prasad and Paras Jain under their banner Megaa Super Good Films, it stars Ram Charan and Tamannaah Bhatia, with Ajmal Ameer, Mukesh Rishi, Dev Gill and Kota Srinivasa Rao. The film marks the Telugu debuts of Ajmal Ameer and R. Parthiban, who makes a cameo appearance. The film was edited by Gautham Raju; Sameer Reddy provided the cinematography; Mani Sharma composed the film's score and soundtrack. Principal photography commenced in June 2011 and was shot in various locations throughout Asia, mainly in Telangana, Andhra Pradesh, Tamil Nadu of India apart from Sri Lanka and Bangkok. It was also shot in the Anji County of China making it the first Telugu film to do so. (Full article...)
    Racha (transl.Chaos), is a 2012 Indian Telugu-language action drama film directed by Sampath Nandi and co-written by the Paruchuri Brothers. Produced by R. B. Choudary in association with N. V. Prasad and Paras Jain under their banner Megaa Super Good Films, it stars Ram Charan and Tamannaah Bhatia, with Ajmal Ameer, Mukesh Rishi, Dev Gill and Kota Srinivasa Rao. The film marks the Telugu debuts of Ajmal Ameer and R. Parthiban, who makes a cameo appearance.

    The film was edited by Gautham Raju; Sameer Reddy provided the cinematography; Mani Sharma composed the film's score and soundtrack. Principal photography commenced in June 2011 and was shot in various locations throughout Asia, mainly in Telangana, Andhra Pradesh, Tamil Nadu of India apart from Sri Lanka and Bangkok. It was also shot in the Anji County of China making it the first Telugu film to do so. (Full article...)
  • Image 15 Kalpataru, the divine tree of life being guarded by mythical creatures at the 8th century Pawon temple, a Buddhist temple in Java, Indonesia. Kalpavriksha (Sanskrit: कल्पवृक्ष, lit. 'age tree', Kalpavṛkṣa) is a wish-fulfilling divine tree in religions like Hinduism, Jainism, and Buddhism. In Buddhism, another term, ratnavṛkṣa (jeweled tree), is also common. Its earliest descriptions are mentioned in Sanskrit literature. It is also a popular theme in Jain cosmology and Buddhism. The Kalpavriksha originated during the Samudra Manthana or the "churning of the ocean" along with Kamadhenu, the divine cow, providing for all needs. The king of the gods, Indra, returned with this tree to his paradise. Kalpavriksha is also identified with many trees such as parijata (Nyctanthes arbor-tristis), Ficus benghalensis, Acacia, Madhuca longifolia, Prosopis cineraria, Diploknema butyracea, and mulberry tree (Morus nigra tree). The tree is also extolled in iconography and literature. (Full article...)
    The divine Kalpavriksha tree in mythology, a stone carving of a tree with mythical characters surrounding it.
    Kalpataru, the divine tree of life being guarded by mythical creatures at the 8th century Pawon temple, a Buddhist temple in Java, Indonesia.


    Kalpavriksha (Sanskrit: कल्पवृक्ष, lit.'age tree', Kalpavṛkṣa) is a wish-fulfilling divine tree in religions like Hinduism, Jainism, and Buddhism. In Buddhism, another term, ratnavṛkṣa (jeweled tree), is also common. Its earliest descriptions are mentioned in Sanskrit literature. It is also a popular theme in Jain cosmology and Buddhism.

    The Kalpavriksha originated during the Samudra Manthana or the "churning of the ocean" along with Kamadhenu, the divine cow, providing for all needs. The king of the gods, Indra, returned with this tree to his paradise. Kalpavriksha is also identified with many trees such as parijata (Nyctanthes arbor-tristis), Ficus benghalensis, Acacia, Madhuca longifolia, Prosopis cineraria, Diploknema butyracea, and mulberry tree (Morus nigra tree). The tree is also extolled in iconography and literature. (Full article...)
  • Image 16 Dor (Hindi pronunciation: [ɖoːɾ]; transl. String) is a 2006 Indian Hindi-language drama film written and directed by Nagesh Kukunoor and features Ayesha Takia, Gul Panag and Shreyas Talpade as the lead actors. The film is an official adaptation of the Malayalam film, Perumazhakkalam (2004) and was well received by the critics after its release on 22 September 2006. Dor, which was produced by Elahe Hiptoola, had cinematography by Sudeep Chatterjee and editing by Sanjib Datta. For a film that had Hindi as the predominant language with a sporadic use of Urdu, Salim–Sulaiman composed the background score. (Full article...)
    Dor (Hindi pronunciation: [ɖoːɾ]; transl.String) is a 2006 Indian Hindi-language drama film written and directed by Nagesh Kukunoor and features Ayesha Takia, Gul Panag and Shreyas Talpade as the lead actors. The film is an official adaptation of the Malayalam film, Perumazhakkalam (2004) and was well received by the critics after its release on 22 September 2006.

    Dor, which was produced by Elahe Hiptoola, had cinematography by Sudeep Chatterjee and editing by Sanjib Datta. For a film that had Hindi as the predominant language with a sporadic use of Urdu, Salim–Sulaiman composed the background score. (Full article...)
  • Image 17 Dabangg (transl. Fearless) is a 2010 Indian Hindi-language action comedy film directed by Abhinav Singh Kashyap and produced by Malaika Arora Khan and Arbaaz Khan under Arbaaz Khan Productions with Dhilin Mehta under Shree Ashtavinayak Cine Vision. The film stars Salman Khan, Sonakshi Sinha (in her acting debut) Arbaaz Khan and Sonu Sood in the lead roles, while Om Puri, Dimple Kapadia, Vinod Khanna, Anupam Kher, Mahesh Manjrekar and Mahie Gill featuring in supporting roles. The film marks the debut of Arbaaz Khan as a producer and Kashyap as a director. Malaika makes a special appearance in the song "Munni Badnaam Hui". Dabangg is set in the Indian state of Uttar Pradesh. It was made with a budget of ₹30 crore and marketed at ₹12 crore. The film was shot primarily in the town of Wai in Maharashtra, while other major scenes were shot in the United Arab Emirates. (Full article...)
    Dabangg (transl. Fearless) is a 2010 Indian Hindi-language action comedy film directed by Abhinav Singh Kashyap and produced by Malaika Arora Khan and Arbaaz Khan under Arbaaz Khan Productions with Dhilin Mehta under Shree Ashtavinayak Cine Vision. The film stars Salman Khan, Sonakshi Sinha (in her acting debut) Arbaaz Khan and Sonu Sood in the lead roles, while Om Puri, Dimple Kapadia, Vinod Khanna, Anupam Kher, Mahesh Manjrekar and Mahie Gill featuring in supporting roles. The film marks the debut of Arbaaz Khan as a producer and Kashyap as a director. Malaika makes a special appearance in the song "Munni Badnaam Hui".

    Dabangg is set in the Indian state of Uttar Pradesh. It was made with a budget of 30 crore and marketed at 12 crore. The film was shot primarily in the town of Wai in Maharashtra, while other major scenes were shot in the United Arab Emirates. (Full article...)
  • Image 18 Kapoor in 2022 Ranbir Kapoor (pronounced [ɾəɳˈbiːɾ kəˈpuːɾ], born 28 September 1982) is an Indian actor known for his work in Hindi-language films. He is one of the highest-paid actors of Hindi cinema and has featured in Forbes India's Celebrity 100 list since 2012. Kapoor is the recipient of several awards, including seven Filmfare Awards. The son of actors Rishi Kapoor and Neetu Singh, and the grandson of actor-director Raj Kapoor, Kapoor pursued filmmaking and method acting at the School of Visual Arts and the Lee Strasberg Theatre and Film Institute, respectively. He subsequently assisted Sanjay Leela Bhansali on the film Black (2005) and made his acting debut with Bhansali's tragic romance Saawariya (2007), a critical and commercial failure. He rose to prominence with the coming-of-age film Wake Up Sid, the romantic comedy Ajab Prem Ki Ghazab Kahani (both 2009), and the political drama Raajneeti (2010). (Full article...)

    Kapoor in 2022

    Ranbir Kapoor (pronounced [ɾəɳˈbiːɾ kəˈpuːɾ], born 28 September 1982) is an Indian actor known for his work in Hindi-language films. He is one of the highest-paid actors of Hindi cinema and has featured in Forbes India's Celebrity 100 list since 2012. Kapoor is the recipient of several awards, including seven Filmfare Awards.

    The son of actors Rishi Kapoor and Neetu Singh, and the grandson of actor-director Raj Kapoor, Kapoor pursued filmmaking and method acting at the School of Visual Arts and the Lee Strasberg Theatre and Film Institute, respectively. He subsequently assisted Sanjay Leela Bhansali on the film Black (2005) and made his acting debut with Bhansali's tragic romance Saawariya (2007), a critical and commercial failure. He rose to prominence with the coming-of-age film Wake Up Sid, the romantic comedy Ajab Prem Ki Ghazab Kahani (both 2009), and the political drama Raajneeti (2010). (Full article...)
  • Image 19 Ganguly in 2008 Sourav Chandidas Ganguly (/sʃuːrəv ɡɛnɡuːlj/ ⓘ; natively spelled as Gangopadhyay; born 8 July 1972), also known as Dada (meaning "elder brother" in Bengali), is an Indian cricket commentator and former cricketer. He is popularly called the Maharaja of Indian Cricket. He was captain of the Indian national cricket team and is regarded as one of India's most successful cricket captains. As captain, he led Indian national team to win the 2002 ICC Champions Trophy and reach the final of the 2003 Cricket World Cup, the 2000 ICC Champions Trophy and the 2004 Asia Cup. Ganguly scored 11363 runs in his ODI career which stands at ninth position in the world for most runs scored in ODI matches. He was the third batsman to cross the 10,000 runs in One day cricket, after Sachin Tendulkar and Inzamam Ul Haq. He holds the record for highest score in an innings (183) by an Indian batsman in the ODI Cricket World Cup. In 2002, the Wisden Cricketers' Almanack ranked him the sixth greatest ODI batsman of all time. He announced his retirement from international cricket in 2008 and from all forms of cricket in 2012. (Full article...)

    Ganguly in 2008

    Sourav Chandidas Ganguly (/sʃrəv ɡɛnɡlj/ ; natively spelled as Gangopadhyay; born 8 July 1972), also known as Dada (meaning "elder brother" in Bengali), is an Indian cricket commentator and former cricketer. He is popularly called the Maharaja of Indian Cricket. He was captain of the Indian national cricket team and is regarded as one of India's most successful cricket captains. As captain, he led Indian national team to win the 2002 ICC Champions Trophy and reach the final of the 2003 Cricket World Cup, the 2000 ICC Champions Trophy and the 2004 Asia Cup.

    Ganguly scored 11363 runs in his ODI career which stands at ninth position in the world for most runs scored in ODI matches. He was the third batsman to cross the 10,000 runs in One day cricket, after Sachin Tendulkar and Inzamam Ul Haq. He holds the record for highest score in an innings (183) by an Indian batsman in the ODI Cricket World Cup. In 2002, the Wisden Cricketers' Almanack ranked him the sixth greatest ODI batsman of all time. He announced his retirement from international cricket in 2008 and from all forms of cricket in 2012. (Full article...)
  • Image 20 Guru Dutt: An Unfinished Story is a 2021 Indian biographical book written by Yasser Usman, chronicling the life and career of the Indian actor and filmmaker Guru Dutt. It describes Dutt's birth in Panambur in 1925, his 18-year-long film career, his marriage to the playback singer Geeta Dutt, with whom he had three children, and his death in 1964. The book was written by Usman in the period of two years. He collected archives of Dutt's accounts and information from Dutt's family members, close friends, and colleagues, compiling them in a book that was later published on 7 January 2021 by Simon & Schuster. It received positive feedback from critics, with most attention directed towards Usman's writing. (Full article...)
    Guru Dutt: An Unfinished Story is a 2021 Indian biographical book written by Yasser Usman, chronicling the life and career of the Indian actor and filmmaker Guru Dutt. It describes Dutt's birth in Panambur in 1925, his 18-year-long film career, his marriage to the playback singer Geeta Dutt, with whom he had three children, and his death in 1964.

    The book was written by Usman in the period of two years. He collected archives of Dutt's accounts and information from Dutt's family members, close friends, and colleagues, compiling them in a book that was later published on 7 January 2021 by Simon & Schuster. It received positive feedback from critics, with most attention directed towards Usman's writing. (Full article...)
  • Image 21 Ahmed in 1976 Fakhruddin Ali Ahmed (13 May 1905 – 11 February 1977) was an Indian lawyer and politician who served as the fifth president of India from 1974 to 1977. Born in Delhi, Ahmed studied in Delhi and Cambridge and was called to the bar from the Inner Temple, London in 1928. Returning to India, he practiced law in Lahore and then in Guwahati. Beginning a long association with the Indian National Congress in the 1930s, Ahmed was finance minister of Assam in the Gopinath Bordoloi ministry in 1939. He became the Advocate General of Assam in 1946, and was finance minister again from 1957 to 1966 under Bimala Prasad Chaliha. He was made a national cabinet minister by Prime Minister Indira Gandhi in 1966 and was in charge of various ministries including Power, Irrigation, Industries and Agriculture. He was elected president of India over Tridib Chaudhuri in 1974. (Full article...)

    Ahmed in 1976

    Fakhruddin Ali Ahmed (13 May 1905 – 11 February 1977) was an Indian lawyer and politician who served as the fifth president of India from 1974 to 1977.

    Born in Delhi, Ahmed studied in Delhi and Cambridge and was called to the bar from the Inner Temple, London in 1928. Returning to India, he practiced law in Lahore and then in Guwahati. Beginning a long association with the Indian National Congress in the 1930s, Ahmed was finance minister of Assam in the Gopinath Bordoloi ministry in 1939. He became the Advocate General of Assam in 1946, and was finance minister again from 1957 to 1966 under Bimala Prasad Chaliha. He was made a national cabinet minister by Prime Minister Indira Gandhi in 1966 and was in charge of various ministries including Power, Irrigation, Industries and Agriculture. He was elected president of India over Tridib Chaudhuri in 1974. (Full article...)
  • Image 22 Pitri Paksha rites being performed on the banks of the Banganga Tank in Mumbai, 2007 Pitru Paksha (Sanskrit: पितृ पक्ष, lit. '"fortnight of the paternal ancestors"', IAST: Pitṛ pakṣa), also spelt Pitri Paksha, is a 16-lunar day period in the Hindu calendar when Hindus pay homage to their ancestors (Pitrs), especially through food offerings. The period is also known as Pitri Paksha/Pitr-Paksha, Pitri Pokkho, Sorah Shraddha ("sixteen shraddhas"), Kanagat, Jitiya, Mahalaya, Apara Paksha and akhadpak. Pitru Paksha is considered by Hindus to be inauspicious, given the death rite performed during the ceremony, known as Shraddha or Tarpana. In southern and western India, it falls in the second paksha (fortnight) Hindu lunar month of Bhadrapada (September) and follows the fortnight immediately after Ganesh Utsav. It begins on the Pratipada (first day of the fortnight) ending with the no moon day known as Sarvapitri Amavasya, Pitri Amavasya, Peddala Amavasya or Mahalaya Amavasya (simply Mahalaya) Most years, the autumnal equinox falls within this period, i.e. the Sun transitions from the northern to the southern hemisphere during this period. In North India and Nepal, and cultures following the purnimanta calendar or the solar calendar, this period may correspond to the waning fortnight of the luni-solar month Ashvina, instead of Bhadrapada. (Full article...)

    Pitri Paksha rites being performed on the banks of the Banganga Tank in Mumbai, 2007

    Pitru Paksha (Sanskrit: पितृ पक्ष, lit.'"fortnight of the paternal ancestors"', IAST: Pitṛ pakṣa), also spelt Pitri Paksha, is a 16-lunar day period in the Hindu calendar when Hindus pay homage to their ancestors (Pitrs), especially through food offerings. The period is also known as Pitri Paksha/Pitr-Paksha, Pitri Pokkho, Sorah Shraddha ("sixteen shraddhas"), Kanagat, Jitiya, Mahalaya, Apara Paksha and akhadpak.

    Pitru Paksha is considered by Hindus to be inauspicious, given the death rite performed during the ceremony, known as Shraddha or Tarpana. In southern and western India, it falls in the second paksha (fortnight) Hindu lunar month of Bhadrapada (September) and follows the fortnight immediately after Ganesh Utsav. It begins on the Pratipada (first day of the fortnight) ending with the no moon day known as Sarvapitri Amavasya, Pitri Amavasya, Peddala Amavasya or Mahalaya Amavasya (simply Mahalaya) Most years, the autumnal equinox falls within this period, i.e. the Sun transitions from the northern to the southern hemisphere during this period. In North India and Nepal, and cultures following the purnimanta calendar or the solar calendar, this period may correspond to the waning fortnight of the luni-solar month Ashvina, instead of Bhadrapada. (Full article...)
  • Image 23 The Sky Is Pink is a 2019 biographical romantic comedy-drama film written and directed by Shonali Bose and produced by Siddharth Roy Kapur, Ronnie Screwvala and Priyanka Chopra Jonas under their production companies Roy Kapur Films, RSVP Movies, and Purple Pebble Pictures, respectively, in association with Ivanhoe Pictures. A co-production between India and the United States, the film stars Priyanka Chopra Jonas, Farhan Akhtar, Zaira Wasim and Rohit Suresh Saraf, and is based on the true story of Aisha Chaudhary, who suffered from severe combined immunodeficiency and pulmonary fibrosis, and tells the story of her parents Aditi and Niren as they navigate their marriage while dealing with their daughter's illness. The film marked the last film of Wasim's career prior to her retirement from Bollywood. Aditi Chaudhary approached Bose to make a film based on her daughter's life story. Although intrigued by the story, Bose instead chose to depict the parents' story from Aisha's point of view by incorporating first-person narrative, focusing on their marriage and the effect of their child's illness on their lives and relationship. Bose wrote the screenplay based on the details she gathered through interviewing both of her parents. Nilesh Maniyar wrote the additional screenplay while Juhi Chaturvedi wrote the Hindi dialogues. Principal photography took place in Mumbai, London, Delhi and the Andaman Islands. The film's soundtrack was composed by Pritam while Gulzar wrote the lyrics for the songs. The film explores themes such as death and its acceptance, motherhood, grief and the effect of the loss of a child on relationships, particularly on the parents' companionship. (Full article...)
    The Sky Is Pink is a 2019 biographical romantic comedy-drama film written and directed by Shonali Bose and produced by Siddharth Roy Kapur, Ronnie Screwvala and Priyanka Chopra Jonas under their production companies Roy Kapur Films, RSVP Movies, and Purple Pebble Pictures, respectively, in association with Ivanhoe Pictures. A co-production between India and the United States, the film stars Priyanka Chopra Jonas, Farhan Akhtar, Zaira Wasim and Rohit Suresh Saraf, and is based on the true story of Aisha Chaudhary, who suffered from severe combined immunodeficiency and pulmonary fibrosis, and tells the story of her parents Aditi and Niren as they navigate their marriage while dealing with their daughter's illness. The film marked the last film of Wasim's career prior to her retirement from Bollywood.

    Aditi Chaudhary approached Bose to make a film based on her daughter's life story. Although intrigued by the story, Bose instead chose to depict the parents' story from Aisha's point of view by incorporating first-person narrative, focusing on their marriage and the effect of their child's illness on their lives and relationship. Bose wrote the screenplay based on the details she gathered through interviewing both of her parents. Nilesh Maniyar wrote the additional screenplay while Juhi Chaturvedi wrote the Hindi dialogues. Principal photography took place in Mumbai, London, Delhi and the Andaman Islands. The film's soundtrack was composed by Pritam while Gulzar wrote the lyrics for the songs. The film explores themes such as death and its acceptance, motherhood, grief and the effect of the loss of a child on relationships, particularly on the parents' companionship. (Full article...)
  • Image 24 Hichki (pronounced [ɦɪtʃʰkɪ]; transl. Hiccup) is a 2018 Indian Hindi-language comedy drama film co-written and directed by Siddharth P. Malhotra and produced by Aditya Chopra and Maneesh Sharma under the former's banner of Yash Raj Films. Based on American motivational speaker Brad Cohen's autobiography Front of the Class, it stars Rani Mukerji in her comeback appearance as Naina Mathur, an aspiring teacher who was rejected by many schools because of her Tourette syndrome until she is accepted at the St. Notker's School, her alma mater. She is assigned to teach students from a nearby slum in the class 9F, which was created by the Government of India to fill a quota for the underprivileged. Malhotra struggled to find a studio to finance Hichki, since the film, which had begun scripting in 2013 after he acquired the rights to Front of the Class, was felt to lack potential for the box office. Chopra and Sharma later insisted on producing Hichki with Malhotra as director. Principal photography was handled by Avinash Arun and took place in Mumbai between April and June 2017, with Meenal Agarwal as the art director and Vaibhavi Merchant providing the choreography. The film was edited by Shweta Venkat Matthew. Jasleen Royal and Hitesh Sonik composed the soundtrack and background score, respectively. (Full article...)
    Hichki (pronounced [ɦɪtʃʰkɪ]; transl.Hiccup) is a 2018 Indian Hindi-language comedy drama film co-written and directed by Siddharth P. Malhotra and produced by Aditya Chopra and Maneesh Sharma under the former's banner of Yash Raj Films. Based on American motivational speaker Brad Cohen's autobiography Front of the Class, it stars Rani Mukerji in her comeback appearance as Naina Mathur, an aspiring teacher who was rejected by many schools because of her Tourette syndrome until she is accepted at the St. Notker's School, her alma mater. She is assigned to teach students from a nearby slum in the class 9F, which was created by the Government of India to fill a quota for the underprivileged.

    Malhotra struggled to find a studio to finance Hichki, since the film, which had begun scripting in 2013 after he acquired the rights to Front of the Class, was felt to lack potential for the box office. Chopra and Sharma later insisted on producing Hichki with Malhotra as director. Principal photography was handled by Avinash Arun and took place in Mumbai between April and June 2017, with Meenal Agarwal as the art director and Vaibhavi Merchant providing the choreography. The film was edited by Shweta Venkat Matthew. Jasleen Royal and Hitesh Sonik composed the soundtrack and background score, respectively. (Full article...)
  • Image 25 Tawang Monastery Tawang Monastery is a Buddhist monastery located in Tawang, Arunachal Pradesh, India. It is the largest monastery in the country. It is situated in the valley of the Tawang Chu, in close proximity to the Chinese and Bhutanese border. Tawang Monastery is known in Tibetan as Gaden Namgyal Lhatse, which translates to "the divine paradise of complete victory". It was founded by Merak Lama Lodre Gyatso in 1680–1681 in accordance with the wishes of the 5th Dalai Lama, Ngawang Lobsang Gyatso. It belongs to the Gelug school of Vajrayana Buddhism and had a religious association with Drepung Monastery of Lhasa, which continued during the period of British rule. (Full article...)

    Tawang Monastery

    Tawang Monastery is a Buddhist monastery located in Tawang, Arunachal Pradesh, India. It is the largest monastery in the country. It is situated in the valley of the Tawang Chu, in close proximity to the Chinese and Bhutanese border.

    Tawang Monastery is known in Tibetan as Gaden Namgyal Lhatse, which translates to "the divine paradise of complete victory". It was founded by Merak Lama Lodre Gyatso in 1680–1681 in accordance with the wishes of the 5th Dalai Lama, Ngawang Lobsang Gyatso. It belongs to the Gelug school of Vajrayana Buddhism and had a religious association with Drepung Monastery of Lhasa, which continued during the period of British rule. (Full article...)

News

19 June 2024 –
Landslides caused by heavy monsoon rains in Bangladesh and India kill at least 15 people, injure several others, and displace millions of people. (Al Jazeera)
17 June 2024 – 2024 West Bengal train collision
Fifteen people are killed and several others are injured when a cargo train collides with a Kanchanjungha Express passenger train in Darjeeling district, West Bengal, India. (Al Jazeera)
14 June 2024 –
At least six people are killed and more than 1,000 tourists are stranded in heavy rains and landslides across the state of Sikkim, India. (Reuters)
The World Health Organization officially confirms a human Influenza A virus subtype H9N2 case in a child in West Bengal state, India. (Business Insider)
12 June 2024 – Russian invasion of Ukraine
Foreign involvement in the Russian invasion of Ukraine, India–Russia relations

Did you know...

Topics related to India

Timeline of Indian history, Indus Valley Civilisation, Dholavira, Science and technology in ancient India, Meluhha, Aryan invasion theory, Out of India theory, Greek conquests in India, Indian maritime history, Maurya Empire, Ashoka, Shunga Empire, Hoysala Empire, Vijayanagara, Satavahana dynasty, Indo-Greek Kingdom, Indo-Scythians, Indo-Parthian Kingdom, Kushan Empire, Western Satraps, Gupta Empire, Chola dynasty, Pala Empire, Islamic incursions in India, Mughal Empire, Maratha Empire, British Raj, East India Company, Governor-General, Viceroy, War of Independence, 1857, Indian independence movement, Indian National Army, Azad Hind, Quit India Movement, Partition of India, History of Republic of India, Non-Aligned Movement, Sino-Indian War, Indo-Pakistani War of 1947–1948, Indo-Pakistani War of 1965, Indo-Pakistani War of 1971, Kargil War, 2001–02 India–Pakistan standoff, Military, Demographic


Law, Hindu law, Constitution, Political parties (Indian National Congress, Bharatiya Janata Party), Foreign relations, Elections, Political divisions, Reservation in India


Government agencies, Legislative branch (Lok Sabha, Rajya Sabha) Executive branch (President & Vice President, Prime Minister & Deputy Prime Minister, Cabinet Ministers, Cabinet Secretary, Election Commission, Foreign Minister; Law enforcement: CBI, CID, Intelligence: IB, RAW), Directorate General of Income Tax Investigation Judicial branch (Supreme Court), Armed Forces (Army, Navy, Air Force, Border Security Force, Coast Guard)


Himalayas, Western Ghats, Eastern Ghats, Indo-Gangetic Plain, Deccan Plateau, Thar Desert, Ganges, Rann of Kutch, Brahmaputra River, Northeast India; Mountains, Valleys, Islands, Rivers; States and union territories, Cities, Districts, Regions, Fauna, Flora


Rupee, Bombay Stock Exchange, National Stock Exchange, Standard of living, Companies, Reserve Bank of India, Energy policy (Solar, Wind, Nuclear), Tourism, Transport (Expressways, Rail transport, Auto rickshaw),


Languages, Standard of living, Religion


Music (Carnatic, Hindustani, Indi-pop), Dance, Languages, Literature, Architecture, Film & TV, Cuisine, Holidays, Folklore, Education, Media, Indian martial arts


Indian Council of Agricultural Research (ICAR), Indian Institute of Astrophysics, National Centre for Software Technology, AIIMS, IISc, IIT, NIT, BITS-Pilani, INRegistry, Indian numbering system, Indian Space Research Organisation, National Internet Exchange of India, ICRISAT, International Institute of Information Technology, Hyderabad


Other

Indian English, Indian nationality law, Numbering system, Indian Space Research Organisation, Telecommunications, National Highways Development Project, Flag, Vehicle registration plates, Indian nationalism, Metrication in India

Categories

Category puzzle
Category puzzle
Select [►] to view subcategories

Related portals


Religions in India


Indian Subcontinent


Other countries


Wikipedias in Indian languages

Associated Wikimedia

The following Wikimedia Foundation sister projects provide more on this subject:

Discover Wikipedia using portals