Kshatriya (, from , ) or Kashtriya meaning warrior is one of the four varnas (social orders) in Hinduism. शर्म ब्राह्मणस्य वर्म क्षत्रियस्य गुप्तेति वैश्यस्य (Pāraskara Gṛhyasūtras 17.4). It traditionally constituted the military and ruling elite of the Vedic-Hindu social system outlined by the Vedas and the Laws of Manu.

Etymology

In Sanskrit, it is derived from meaning "roof, umbrella, dominion, power, government" from a root "to rule, govern, possess". Old Persian xšaθra ("realm, power"), xšaθrya ("royal"), and xšāyaθiya ("emperor") are related to it, as are the New Persian words šāh ("emperor") and šahr ("city", "realm"). The Thai word for "king", kasat, and the Malay word for "knight" or "warrior", kesatria or satria, are also derived from it. The term denotes aristocratic status.

In the early Vedic civilization, the warrior caste was called rājanya (or kšatrīya). Rājanya was an adjectival form of rāja "ruler, king" from a root rāj "to rule", cognate to the Latin rex "king", the German Reich "empire/realm", and the Thai racha "king". In Persia, the satraps, or "kshatrapa", were the governors, or "protectors", of the Persian Empire's provinces.

History

Initially in ancient Vedic society, this position was achieved on the merits of a person's aptitude (Sam), conduct (Sam), and nature (Sam). The earliest Vedic literature listed by organization of function, not of caste, the Kshatriya (holders of , or authority) as first in rank, and the Brahmins second (priests and teachers of law), before the Vaisya (merchant-traders, farmers and some artisan castes), and the Sudra (labourers, some farming castes and other artisan castes). Movements of individuals and groups from one class to another, both upward and downward, were not uncommon; a rise in status even to the rank of Kshatriya was a recognized reward for outstanding service to the rulers of the day. Over the years it became hereditary. In modern times, the Kshatriya varna includes a broad class of caste groups, differing considerably in status and function but united by their claims to ruler-ship, the pursuit of war, or the possession of land.

The legend that the Kshatriyas, with the exception of the Ikshvakus, were destroyed by Parasurama, the sixth reincarnation of Vishnu, as a punishment for their tyranny is thought by some scholars to reflect a long struggle for supremacy between priests and rulers that ended in victory for the former. By the end of the Vedic era, the Brahmins were supreme, and the Kshatriya had fallen to second place. Texts such as the Manusmṛti (a book of Hindu law) and most other dharmashastras (works of jurisprudence) report a Brahman victory, but epic texts often offer a different account, and it is likely that in social reality rulers have usually ranked first. The persistent representation of deities (especially Vishnu, Krishna, and Rama) as rulers underscores the point, as does the elaborate series of ritual roles and privileges pertaining to kings through most of Hindu history.

Kshatriya descriptions and references throughout Indian history

war. Krishna, is believed to be a Chandravanshi Kshatriya, He is considered another incarnation of Lord Vishnu. In the Bhagavad Gita he taught Arjuna about the duty of a Kshatriya.]]

A Hindu ruler was bound by the holy scriptures to govern as a Dharma-Raja (Just Rule), with the main duties being protection of his subjects and livestock.

The Rig Veda states:

:''praja arya jyotiragrah'. RV, VII. 33.17

People ruled by Aryans are led by the Divine light.

King Rama of Ayodhya is considered the greatest of the Dharma-Rajas:

:arya sarva samascaiva sadaiva priyadarsanah

An Aryan who worked for the equality of all, was dear to everyone. Rama is also considered an avatar of Vishnu.

The word Arya (Aryan) means "Noble" (Noble/Lord/Perfect/Pure/Excellent...) and was initially only used for Kshatriyas (Kings & Nobles) as it is related to the word "Aristocracy".

The Ramayana states:

:''Like the ancient monarch Manu, father of the human race

:Dasaratha ruled his people with a father's loving grace.

Vedic origin

In the Rig Veda the varnas are not rigid and were related to ones actions. The Rig Veda refers to the ways in which Gods four body parts make up the four classes, depending on the nature or values that the human holds. The Brahmans were to signify spiritual and intellectual values and were to be in charge of teaching the Vedic Sanskrit, thus are made up of his head. The Kshatryas were the warriors who protected the countries and thus are made up of his arms. The Vaishyas were the farmers and merchants in the production nature and thus are made up of his belly and the Shudras were the laborers who perform menial chores of farming, labor, artisans and all the jobs required of a society and thus are made up of his legs. This was interpreted as meaning that no one caste is more important than the other and that society cannot survive without all parts working together.

According to Vedic theology , Manu is considered the law-giver and progenitor of humanity. He had over 50 sons. Manu was both king and priest and his children (and thus all of humanity) are considered highborn. Due to the eventual differences in occupations, people ended up in different jātis and castes. Those who studied the Vedas became known as Brahmins, those who practiced trade became Vaishya, those who labored became Sudra, and those who took up martial arts became Kshatriyas.

According to popular myth/lore Rajputs/Thakurs came into being in 6th century AD through a of yagya done by Sage Agastya, though this might refer to Yagya done to provide regal legitimacy to certain warrior tribes. As Jats, assimilated many Surya, Chandra, Nag and Yaduvanshis into their being, same way Rajputs increased their vansh by assimilating same clans of Kshatriyas. Most Yaduvanshis became part of Jat and Rajput clans. For example, Bharatpur's Jat kingdom belong to Sri Krishna's Vrishni clan. Many Gurjar clans like Bhati got divided between Rajput, Jat and Muslims.

Most of the Gurjars (or Gujjars) believe to have descended from Suryavanshi Kshatriyas (Sun Dynasty) and connect themselves with Shri Ram Chandra. Historically, the Gurjars were Sun-worshipers and are described as devoted to the Sun-god (God Surya).Their copper-plate grants bear an emblem of the Sun and on their seals too, this symbol is depicted. Also the Gurjar title of honor is Mihir which means Sun.

Varna-Jati-Caste

There is confusion between Varna, Jati and Caste. While the term varna refers to the four broad different classes in society, the term jati refers to the different specific endogamous sections of the Hindu Society which are known as castes. Varna means "color" as well as "veil". It shows the four different ways in which the Divine Self is hidden in human beings. In the context of color people have confused it to mean race but it actually represents the distinct qualities (guna) that the four functional classes possess in their hearts and minds. The four different qualities of human beings:

#If a person possessed the qualities of purity, love, faith and detachment, seek true knowledge and have a spiritual temperament, they would be represented by the color White (sattva = truthful). Those that belong to this color, belong to the Brahman class. #If a person possessed the qualities of action, will, aggression, and energy, seek honor, power, status and have a martial and political temperament, they would be represented by the color Red (rajas = energetic; the color of blood, sacrifice). Those that belong to this color belong to the Kshatriya class. #If a person tried to seek communication, interchange, trade, business and possessed a commercial temperament they were represented by the color Yellow. They make up the Vaishya class. #For those individual in society who love of growing crops (nature) the love of arts(shudra)(farmers and artisans) they were represented by the color Black (tamas = inert, solid). Those belonging to this color are shudras

One hymn of the Rig Veda states:

:कारुरहं ततो भिषगुपलप्रक्षिणी नना । (RV 9.112.3)

:"I am a bard, my father is a physician, my mother's job is to grind the corn......"

The use of 'color' in this sense is metaphorical, however over time racialist interpretations, most notably the 'martial races' theory of the British Raj, gave way to the concept of 'heritable dharma', family castes, and the present divisions in Indian society.

Panchjanya, meaning five people, is the common name given to the five most ancient Vedic kshatriya tribes. It is supposed they are all descendants of the Turvasu. They are Yadu, , Puru, Anu and Druhyu. For example, Yadav is descended from the Yadu; Saini is descended from Shini and Shoorsen both of whom were Yaduvanshi kings, Paurav is descended from the Puru; etc.

Theories of origin

The caste system was very fluid early on and an individual rose or fell depending on his own merit . Historians generally agree that caste became hereditary around the time of the rise of Buddhism and Jainism based on archaeological, literary, and artistic evidence of the communities that existed in India. Gautama Buddha and Mahavira are two Kshatriya sages who made a lasting impression on the world. They did not believe in the preeminence of the Vedas and taught to the masses, not keeping spirituality to an elite few. Ashoka Maurya became ardent follower of this faith and promoted it throughout the Mauryan empire. This resulted in the decline in status of the Brahman order. Priests in all three faiths were the record keeper and as you will see in the coming examples there was a definite trend towards placing rulers in the Sudra varna if they did not follow Vedic teachings and maintain the prominence of the priestly order, losing their Kshatriya status . Puranic origins for Kshatriyas begins from Brahma. They were originated from the chest and arms of Lord Brahma, except for Jats, who originated from the Jata (locks) of Lord Shiva . Two camps exist about the importance of these texts. One camp is similar to the literalists of the Christian faith who believe that their holy texts are verbatim documentation of real people, events and dates and that modern society is descended from them. The other camp believes that the holy texts are not meant to be taken literally and should be used symbolically as examples of the proper way to live.

Those who believe the Mahabharata, Ramayana and Puranas were verbatim documents feel that modern Kshatriyas are descended from the Vedic Kshatriyas . The reason for the controversy is that we do not have any physical evidence of their existence. There are no bones, forts, weapons, coins, monuments, pictures etc. discovered to state unequivocally that they existed. However the clans as mentioned in Mahabharat for certain castes has existed as it is since time unknown, and provides the basis for belief in these texts. The literalists believe that most of the Kshatriya communities descend from Surya, Chandra, or Agni. The Surya descendants claim descent from the Sun Dynasty (Suryavanshi). Rama also belonged to this dynasty, and the Suryavanshis, who trace this lineage via Rama's son, Luv) trace their linage back to him. The Chandra descendants claim descent from the Lunar Dynasty (Chandravansh). Krishna is believed to be born in this dynasty. Chandravanshi Kshtriyas consider him as an ancestor. This is mentioned in the Rig Veda and other Puranas as well as in Great epics, the Ramayana, the Mahabharata and the Raghuvaṃśa.

Jain origin

, the last Tirthankara, was born into the Kshatriya caste.(All of 24 Thirtakaras were born into Kshatriya Varna)]] According to Jainism, Rishabh, the first Tirthankar founded three varnas namely Kshatriyas, Vaishyas, and Shudras. Later, Bharat, eldest son of Rishabh, and the first Chakravarti founded the Brahmin varna in the absence of Rishabh. "They will promote inequality in people."

Thus four varnas came into existence: namely, the Kshatriyas, Brahmins, Vaishyas and Shudras. According to Jain and Buddhist literature, Kshatriyas are nothing but those who own a land. And Kshatriyas are descendants of Rishabh, the first Jain Tirthankar. This fact is clearly stated in many Hindu puranic texts like the Bhagwat Purana, Brahma Purana, Vishnu Purana, etc..

The clan of Rishabh was called Ikshwaku and is thus the clan of all Kshatiyas. He was descended from Rama's son Lava. Later two branches of this clan came into existence. The first was Suryavanshi which was named after Adityayash (Ark kirti), the elder son of Bharat and the Grand Son of Rishabh and second Somvansh named after Somyash, the elder son of Bahubali. (Bahubali was younger brother of Bharat and son of Rishabh). Rajputs and Marathas believe that Suryavansh was divided, later, into 36 clans and Somvansh was divided into 60 clans. Thus the total number of Kshatriya clans became 96. , due to assimilations of all Mahabharat clans, all Hun, Kushan, Parthian invaders, part of Khatri, Rajput, etc. along with portions of Surya, Chandra, Nag and yaduvash.

Establishments and assimilation

In ancient times there was mobility between varnas, as people learned new skills and changed their actions and occupations. The nomadic tribes of ancient India did not have a fixed caste system. They initially assigned roles based on an individual's aptitude and ability. This was necessary in order to ensure the tribe's survival. The stronger members of the tribe became the warriors and were given higher status in society, as they were more important to the survival of the tribe at the time. As the tribes became more familiar with farming they built up surpluses and settled. This more sedentary and leisurely lifestyle shifted the people's focus to accumulating wealth and finding a meaning to life. Priests began to take the preeminent role in society as they ensured spiritual salvation. This led to society forming a more rigid social system, where one's position was determined by birth rather than merit. Thereafter, those in the more powerful classes enforced this caste system to remain in power, a pattern also exhibited by the nobles of Europe. During the Epic Age people began to question these institutions.

Social Status

Past

File:Rajpoots_small.jpg|thumb|right|350px|An 1876 engraving of Khokar Rajputs of Punjab from the Illustrated London News. rect 0 0 1000 751 desc bottom-left In the past people looked upon Kshatriyans to protect them from all dangers. Kshatriyans were kings and warriors in the army, all soldiers knew basics of Kshatriyan martial arts. The folklore talks of some great Kshatriyans and legends. The status of Kshatriyans was clearly exalted. Legends tell that Kshatriyan could be told by sight because of his tall, strong and muscular male look. They were supposedly able to fight blindfolded and archers could hit a target by just sound in the dead of the night. Stories of exemplary courage still circulate by word of mouth and are recorded as folk-tales. Teachers of Kshatriyans never accepted non-kshatriyans, for example see the story of Ekalavya.

Present

While some Kshatriya-families survive from the past, many claim to be descendants of particular Kshatriyans or Kshatriya-kula's . Raja-kudumba's also exist but the number has fairly decreased. Kshatriyan martial arts have survived and are being revived . Families consider it as a status symbol or a decoration to have the famous two crossed swords in a shield symbol of a Kshatriyan hung in their house. The Kshatriyan is still a great name and older generation of rural India still attach a great value to it. South Indian Kalarippayattu gurukal teach the old martial art still. The Kalarippayattu is seriously being revived but the old tradition of accepting only Kshatriyans to learn Kalarippayattu has been dropped. The Marathas in Maharashtra and central India attach great pride and command a sense of respect among common people by their lineage while Rajput in Rajasthan.

Present social situation

The situation has changed in modern times and Kshatriyas do not have much to gain or lose in status by their Kshatriya lineage. One area where the Kshatriya heritage reigns supreme is the Indian Army. The majority of the Indian army is composed of Kshatriyas. Many of the high ranking officers state openly that they are proud to be born as Kshatriya. For example, Major General KP Candeth once told reporters during the Indo-Pakistani War of 1971:"I am a Nair from Kerala. I am a Kshatriya"

Kshatriya regiments make up a large portion of the Indian and Nepali Armed forces. Notable among them are Punjab Regiment, 9th, 16th and 17th Battalions of Madras Regiment (Nair), Maratha Light Infantry (Maratha), Rajputana Rifles (Mainly of Rajasthani Rajputs, Gurjars but decreased to 14.41% in 1968 and further decreased to 12.88% in 2000. Frequent warfare was the main cause for demographic decline during early years, but low fertility is the main problem nowadays. (In Kerala, the Malayala Kshatriyas are having a fertility of 1.47 children per women, while the Muslims are having 2.97 children per women). Demographic studies for Kshatriya communities in other Indian states are not available, but almost all of them seem to have low birth rates compared to the general population.

Kshatriya Women and children

Women

The women in the past were mainly confined to their houses and did not play a significant role. Once the girl marries a man the husbands home becomes hers and her main job was to do puja to the family deity . Each Kshatriya family had its own God which may or may not have been similar to Gods of other Kshatriya families. They were also supposed to maintain a certain decorum as a Kshatriyans wife. At times the most influential wife's son would become the next king or head of the family. If there were many sons for that particular wife then the mothers favorite would get the throne or family heirloom.

Male child

A boy child was taught by a Kshatriya guru or even a Brahmin teacher who knew about the Kshatriya ways. A male child was the symbol of masculinity of a Kshatriya father and was the future of the family. While the family was always the foremost in a Kshatriyans mind the country's honor was also to be cared for by a Kshatriyan. All these and many other finer aspects of Kshatriyan life were taught to a male child and he was introduced to the society of Kshatriyans before being taught the weapons and martial arts.

Female child

The girl child was supposed to be docile and gentle. She was supposed to be spiritual and devoted. The girl child was usually well-educated in the social subjects of that time and was usually prepared to become the woman she was expected to become. In contrast to the male child, the female child was never let out of the women circles in a Kshatriya society . She was considered to be a weakling in general and to be served by servants and protected by husband . Manu Smriti, a sacred Hindu scripture, describes a woman's life as:

In childhood a female must be subject to her father, in youth to her husband, when her lord is dead to her sons; a woman must never be independent. (Manu Smrithi 5:148)

As always, exceptions existed, even in this case like the Rani of Jhansi. However in the past, Kshatriya women were also trained in martial arts and other arts of warfare. Remarkable examples of Kshatranis include Rani Durgavati, VeerMata Jijabai. in Mahabharata, Princess Chitrangada was described as a valiant warrior. When trying times required, they would themselves take up the reins of the their clan as Rani Ahilya bai Holkar.

Specialties

The Rajputs were known to make deft political maneuvers to consolidate their kingdom or to defeat an enemy. They are also known to follow certain codes of war to fight a battle. They are recorded in history as a kind of fierce warrior clan who make brave attempts within their war codes to retrieve a lost kingdom or defeat a dangerous enemy. They are also legendarily said to have untiring persistence to attain their goal as in the case of Maharana Pratap.The rajputs are considered to be most revered and persistent Kshatriyas.Legendary Rajputs like Rana kumbha,Rana sanga,Raja Bhoja,Rana Mokal,Prithiviraj Chauhan,Rana Hamir,Hadi ke rani.

Praiseful references of might and administration of the Gurjars can be found in Arab records as well as Indian inscriptions.Kupadvanj inscription of 910A.D. mentions them as Roaring Gurjar.Arab records say that the Gurjar king maintained numerous forces and no other Indian prince had so fine a cavalry.Arab invaders referred Gurjars as their greatest foe.

The Kshatriyans were specialized in guerrilla warfare . History has it that the Maratha warrior and emperor Shivaji Bhonsale, born April, 1627 (also Shrimant Rajaram Shivaji Raje Bhonsle - Chhatrapati Maharaj) had his own army specialized in guerrilla warfare and a particular tale of valor is also a historical fact. It is the tale of Sinhagad Fort. Jats employed guerilla warfare in Bharatpur, which was very close to the stronghold of Mughals. They were able to fight successfully against Mughal ruler Aurangzeb just 30 km from Agra.

South India, particularly Kerala also has its own share of Kshatriyans who are better known as members of Raja-Kudumba's or royal families. They practice the worlds oldest martial art known as Kalarippayattu. The Kalarippayattu has something commonly known as Marma Kalai or Varma Kalai where the Marmam is attacked which instantly disables or kills the enemy without making any externally visible injury.

Codes of war

Codes of war were very important to a Kshatriyan and his lineage. They are still talked about for their innate decency and respect of the enemy and women. There exist old palm-leaf inscriptions on these topics. They are known to many a Kshatriyan families which still believe in the old ways of virtuous Kshatriya living. A trained Kshatriyan -it is said- is never trained till he knows and follows the codes of war. Charans in the medieval times ensured that code of war is complied with by the Rajput.Charans constantly reminded them the deeds of their ancestors in the times of peace and War apart from motivating them to wage war for the cause. In the battlefield also Charans fought along with the Rajputs and simultaneously encouraged them to fight with courage and dignity.Later Charan would make the folklore of his fallen brave friend and these are sung till date by the Dholis ( the singer community ) specially in marriages and other ceremonies which are performed in Charans and Rajputs.

The Kshatriyan codes of war are stuff of legends and folklore in India. Mahabharatha a Hindu epic also talks about war codes. Conclusive archaeological evidence has not yet been obtained but more or less all sources agree that such codes of war existed and they were followed. Some of the more important codes are listed below.

War should not affect the unarmed - meaning that the civilian population should not be attacked for any reason nor should the disarmed and seriously wounded soldiers or warriors unless it is for killing them as an act of mercy.

Rest should be provided for both sides - meaning that the war should not continue after sunset unless or otherwise it is a guerrilla war.

All foes should be defeated - meaning that even if your kinsman fought against you, you should not hesitate to defeat him.

Raids should not be undertaken unless completely necessary - meaning that a raid should not be undertaken unless the motive is to compensate for past losses or to humiliate the enemy.

Women should not be looked at unless she challenges you - meaning that unless a woman is in your enemy's army as a soldier or warrior you should not attack her. If the woman is the ruler then she can be attacked or asked to surrender only after the whole army is defeated.

A guerrilla war should not be waged unless the objective is victory - meaning that the warriors chosen for a guerrilla war should be the best, able to defeat any large army in the given situation and such an attack should be done only to attain a political goal and not to raid the enemy's supplies.

A traitor should never escape death - meaning that a traitor or defector of ones own army should be guaranteed death.

Kshatriya Dharma

Kshatriya Dharma is the rules to be followed by a Kshatriyan to do justice to his caste and status. it still exists in more logical and evolved forms.

It used to be unthinkable for a Kshatriya to marry outside his class . It would be breaking the biggest tradition of his family and would cause disgrace to his whole family and community;it has still not changed for most families even today. There is a very strong emphasis on following the customs and traditions of the class which have evolved over centuries . In addition to these, there are also further traditions which will be specific only to particular prominent Kshatryia families which has been handed down from generations. Following these traditions are a matter of great honour and importance that breaking them has resulted in families splitting up or being excluded permanently from the caste (jati) even in the present times. The Joint family system is still widely practised among the Kshatriya families and the family elders have the final say on all important decisions. It was believed that the Kshatriyas were assigned to be protectors of Dharma (duty/justice) and their people.They were sanctioned by the Gods to serve humanity. The noble king is regarded as a Dharma Raja (Just Ruler). People ruled by aryas (honourable men) are led by the Divine light .

Kshtariya Dharma is specifically described in the Mahabharata: "Have you never heard the Kshatriya Dharma: Stand straight and never bow down, for this alone is manliness. Rather break at the knots than bend!"

Symbols Associated with Kshatriya

In rituals, the Nyagrodha (Ficus Indica or India Fig/Banyan tree) danda, or staff, is assigned to the Kshatriya class, and along with a mantra, intended to impart physical vitality or 'ojas'.

The Nyagrodha or Banyan tree, (not to be confused with the Pipul, Ficus Religiosus or Sacred Fig), with its hanging, branch-like root-trunks which can grow to several acres, is considered symbolically equivalent to the Kshtariya. Where the Nyragrodha is fastened to the ground and supported by its downward growths, the Kshatriya is thought of as supported by the larger society 'beneath' it.

In the Manu Smriti, or Laws of Manu, the Kshatriya caste is given the Varna (Color) red.

Kshatriya lineage

or Gautama Buddha was born into a Hindu Kshatriya family]] The major branches of Kshatriya varna are Suryavanshi (solar line), claiming direct descent from Ramachandra and descent from Surya, Chandravanshi (lunar line), claiming descent from Chandra, Agnivanshi, claiming descent from Agni, and the Nagavanshi, claiming descent from the Nāgas.

Suryavanshi

The Suryavanshi or Solar dynasty lineage claims descent from Surya. Suryavanshis also claim descent from Rama, who was himself born into a Suryavanshi dynasty. Out of the 36 major clans of Rajastani Rajputs, 10 belong to the Suryavanshi lineage (Shekhawat, Rathore, Sisodia, Kachwaha.etc) Bedi Maurya

Shakya

Kurmi

Bisen Gurjar Jhala Rajputs Rana Rajputs Rajus

Kachwaha Rajputs

Arora and Khatri Manhas Rajputs Ror

Shekhawat Rajputs

Sisodia Rajputs

Pundir Rajputs

Rathore Rajputs

Chandravanshi

The Chandravanshi or Lunar dynasty lineage claims descent from Chandra.

Chandravansh encompasses the descendants of Som. Yadavansh and Puru Vansha are prominent divisions of the Chandravanshi. Yaduvanshi Lord Sri Krishna is Isht Dev of most Chandravanshi Rajputs. Rajputs of Kanwar, Bhati Clan, Tomar/Tanwar clan, Jadaun Rajputs (Madhya Pradesh) and Rajputs of Mathura and Bharatpur, claim descent from the Chandravanshi lineage.

Baghel Rajputs Katoch Rajputs Sinsinwar Jats Bundela Rajputs Chandela Rajputs Bhati Rajputs Khokhar Rajputs Kukhran - Kukhrans are a sub-group of Khatris. Haihaya Jadaun Rajputs Jadeja Rajputs Jethwa Rajputs Pathani Rajputs Sainis of Punjab

Pathania Rajputs

Tanwar/Tomar Rajputs

Agnivanshi

The Agnivanshi lineage claims descent from Agni. Clans like Bhadauria, Chauhan, Parihar, Panwar & Solanki are of Agnivanshi lineage.

Bhaduria Rajputs

Chauhan Rajputs

Gurjar / Gujjars

Paramara / Pawar Rajputs

Panwar Rajputs

Parihar Rajputs / Gurjara Pratihara

Sena of Bengal

Solanki Rajputs / Chalukya / Vaghela

Nāgvanshi

The Nāgvanshi or Serpent dynasty is a sub-clan of Suryavanshi kshatriyas. They adopted Naga as their symbol and worshipped Lord Shiva in various forms. Nāgvanshis include most of the Nair and Bunt clans as well as some Rajput (Saharan Rajputs, Bais Rajputs, Naga Rajputs, Takshak Rajputs. etc) and Jat clans. The Nāgvanshi (or Nāgbanshi) are known for ruling Chhotanagpur. Most important among the Jat clans which are of Nāga origin includes Bachak, Kaliramna, and Katewa. Outside India, the Balinese Kshatriyas claim descent from Nāgvanshis. In South West India, the Naga Sendraka rulers of Nayarkhanda (Nagarkhanda) were feudatories to the Chalukyas. The Sindas of Bastar were also of Nagavanshi origin.

Notable Nāgvanshi clans are as follows:

Bachak

Bais Rajputs

Balinese Kshatriya

Bunts

Gaur Rajputs

Illathu Nair

Kaliramna

Kārkotaka

Kiryathil Nair

Naga Rajputs

Nagyal Rajputs

Saharan Rajputs

Samanthan Nairs

Swaroopathil Nair

Samanta Kshatriya

Takshak Jats

Takshak Rajputs

Others

Velirs/Vellalars, Tamil gentry, ancient feudal landlords. Chera/Chola/Pandya, Tamil royal lineage linked to the Velir/Vellalar caste. Kodavas, like the Nāgas, they didn't wear the sacred thread, but they owned land, carried arms, and had other such warrior customs, they originated from the Coorg (Kodagu) region of Karnataka. Ahom kings of Assam claimed descent from Indra (identified with Khunlung) and Syama (a low-caste woman), and called themselves Indravanshi (or Indravamsa) Kshatriyas. The Brahmavansha lineage descends from the Brahmavanshi king Chulki. The Vayuvanshi are another Kshatriya clan although not much is known about the clan. The Rexulvanshis are popular for being the kings of Surguja. The alien hordes that didn't follow priestly customs or traditions (Shakas, Kushans, Indo-Greeks, Hunas and Parthians) were stated as Vratya Kshatriyas in Manusmriti. The Meitei of Manipur were recognized as Kshatriyas by the Bengali and Assamese Brahmins as they are thought to be the descendants of Lord Arjuna. Gurung and Magar ethnic groups are recognized as Kshatriyas in Nepal by the Bahun, along with other Kshatriya groups such as Thakur and Chhetri. Shrestha subdivision among ethnic Newar is recognized as Kshatriya in Nepal.

Non-orthodox Kshatriyas

Though the Ashtadhyayi of Pāṇini (sutra 4.1.168-175) attests that the Kamboja and Gandhara were very important Kshatriya kingdoms of Uttarapatha during or prior to Pāṇinian times (500 BC), they came to be regarded as Sudras for not following the teachings of the Vedas. See more on ancient .

The Manusmriti, written about 200 AD states that the Sakas (Scythians), Yavanas (Ionian, Indo-Greeks), Kambojas (Central Asians), Paradas (Sinkiang), Pahlavas (Persians), Kiratas (Nepal, Assam), and Daradas (Dards) were originally noble Kshatriyas but were relegated to the Barbaric (Vrishala) status due to their neglect of the Brahmanas as well as due to their non-observance of the sacred Brahmanical codes (X/43-44).

Anushasanaparava of the Mahabharata also views the Sakas, Kambojas and the Yavanas etc. in the same light. Patanjali in his Mahabhasya regards the Sakas and Yavanas as pure Sudras (II.4.10).

The Vartika of the Katyayana informs us that the kings of the Sakas and the Yavanas, like those of the Kambojas, may also be addressed by their respective tribal names.

The Mahabharata also associates the Sakas, Yavanas, Gandharas (Northwest India), Kambojas (Pamir-Badakshan), Pallar, Tusharas, Sabaras, Barbaras, Dravidas, Boyars etc.. and addresses them all as the Barbaric tribes of Uttarapatha.

In another verse the epic groups the Shakas, Kambojas and Khashas together and state them as the tribes from Udichya, i.e. north division (5/169/20).

The Kishkindha Kanda of the Ramayana locates the Sakas, Kambojas, Yavanas and the Paradas in the extreme north-west beyond the Himavat (i.e. Hindukush) (43/12) in the Shakadvipa, adjoining the land of Uttarakurus.

The Udyogaparava of the Mahabharata (5/19/21-23) tells us that the composite army of the Kambojas, Yavanas and Sakas had participated in the Mahabharata war under the supreme command of Sudakshina Kamboja. The epic repeatedly applauds this composite army as being very fierce and wrathful. Some verses of Mahabharata also attest that the Tusharas or Tukharas were also included in the Kamboja division (e.g.: MBH 6.66.17-21; MBH 8.88.17). '' Tocharians

Puranic accounts attest that the Dravidas are Kshatriyas and are said to be descendants of the sons of Vishwamitra. Like the Kambojas, Sakas, Yavanas, Daradas, Khashas etc, the Dravidas were recorded as originally a noble Kshatriya people who no longer were initiated into the sacred thread due to their neglect of the Brahmanas as well as due to their non-observance of the sacred Brahmanical codes.

Outside the Indian subcontinent

About 40 percent of the total population of Bali is Balinese Kshatriyas. Balinese Hinduism has a caste system and is heavily influenced by the Vedas. The Balamon Hindu Cham people of Vietnam consist of 70% Kshatriyas (pronounced in Vietnamese as "Satrias"). Although Balamon make up only 25% of the over all Cham population (the other 75% are Muslims or Cham Bani). These Balamon Kshatriyas claim to be the descendants of the Champa Empire.

References

Further reading

History and Culture of Indian People, The Vedic Age, p 313-314

The late Shri Harilal Upadhyay: This great Gujarati author researched both the ancient and modern eras and wrote books which can be considered as encyclopedic novels. He wrote books on both the Chandravansh and Suryavash. Further details are found at his official web site. Although he wrote all his work in his mother tongue (Gujarati) the site provides some comprehensive information in English.

See also

Varna in Hinduism

Indian caste system

Forward Castes

Jāti

For the Bollywood film of the same name see Kshatriya (film)''

Category:Varnas in Hinduism Category:Sanskrit words and phrases

Name	Raveena Tandon
Birthdate	October 26, 1974
Birth place	Mumbai, Maharashtra, India
Yearsactive	1991 – present
Occupation	Actress Producer
Spouse	Anil Thadani (2004-present)

Raveena Tandon (; born 26 October 1974) is a National Film Award winning Indian actress, producer, and a former model. She has primarily worked in Bollywood films, though she appeared in a few Tamil, Kannada and Telugu films as well.

Tandon made her acting debut with Patthar Ke Phool (1991), and won a Filmfare Lux New Face Award for her performance in the film. During the 90s, she was part of several commercial successes such as Mohra (1994), Khiladiyon Ka Khiladi (1996) and Ziddi (1997), among others. Despite attaining popularity, she was not particularly recognised as an actor. This however changed in the early 2000s, when she ventured into more serious roles and turned towards arthouse and parallel cinema. She got high critical acclaim for her performances in films like Aks (2001) and Satta (2003), and had the peak of her career in 2002, when she won the National Film Award for Best Actress for her performance in Kalpana Lazmi's (2001).

Early life

Raveena Tandon was born in Mumbai, to filmmaker Ravi Tandon and Veena. Her name is an amalgamation of her parents' name. She attended Jamnabai Narsee School in Juhu and studied at Mithibai College. She completed her first and second years at the college. During her time as an intern, she got her first film offer from Shantanu Sheorey which she accepted. She dropped out of college and decided to pursue her film career.

Career

Raveena Tandon debuted with the film Patthar Ke Phool (1991) which was a hit; she received the Filmfare Lux New Face Award for her debut performance.

Her next films Mohra (1994) and Dilwale (1994) were big hits at the box office whilst Laadla (1994), although an average performer, still earned her a Filmfare nomination as best supporting actress. Mohra was the second biggest hit of 1994. Her other releases of that year included the thriller Imtihaan and the comedy Andaz Apna Apna. The former was an average performer whilst the latter was unsuccessful at the box office Her next few films also failed to do well at the box office and her career saw a drop in her success. Her career was back on track with hit films like Khiladiyon Ka Khiladi (1996) and Ziddi (1997), both being big hits each of its respective year. In 1997, she was to play her first villainous role in Dus but the film was shelved after the director's death when 40% of the film's shooting had been completed.

In 1998, Tandon had eight releases. Her last release of that year Bade Miyan Chote Miyan co-starring Amitabh Bachchan and Govinda turned out to the second biggest hit of the year. Coincidentally, Tandon was offered the second lead in Kuch Kuch Hota Hai which went on to be the biggest hit of 1998, but she turned it down. Her other releases of that year were Gharwali Baharwali which gained a below average status and Vinashak, Pardesi Babu and Aunty No. 1 all of which were un-successful.

Her years in the industry paid off when she won the coveted National Film Award for Best Actress for her performance in Kalpana Lazmi's (2001), where she played a battered wife to an abusive husband. She surprised critics and audiences with her performance in the film and received much appreciation for her work. Critic, Taran Adarsh said, "Raveena Tandon lends credibility to the role of a battered wife and walks away with the honours. The pathos she conveys through her expressions makes you realise that she's a performer of substance".

Since then, she has starred in a number of critically acclaimed films, such as Satta (2003) and Dobara (2004), but has not had much box office success. Her role as a middle class woman thrust into the world of politics in the former was praised. Critic, Taran Adarsh wrote, "Raveena Tandon delivers a bravura performance. The actress takes giant strides as a performer, giving the right touches to her character. Here's a performance that's bound to be noticed". Her role as a schizophrenic in Dobara was also praised with one critic saying, "Raveena is in sync with her character, essaying her part with elaan". Her last release was Sandwich in 2006 which opened to poor reviews and reception. She has not acted in films since. Tandon has also produced the films Stumped (2003) and (2005), neither of which had much success at the box office.

Personal life

She adopted two children Pooja and Chhaya as a single mother in the 1990s. Tandon previously dated actor Akshay Kumar and was set to be engaged to him, however they broke up soon after.

Tandon began dating film distributor Anil Thadani during the making of her film Stumped (2003). Their engagement was announced in November 2003. She married Thadani on 22 February 2004 in Jag Mandir Palace in Udaipur, Rajasthan according to Punjabi style. She gave birth to a baby girl called Rasha on 16 March 2005. She gave birth to her second child, a baby boy named Ranbir on 12 July 2007.

Controversies

Tandon was chairperson of the Children's Film Society of India from 2003, but from 2004 the actress began to get complaints that she did not attend the organization's meetings and that she was not involved with the activities set up by the society. In September 2005, Tandon resigned from her post citing personal reasons.

In November 2005, Tandon sued the websites, Shaadi.com and Shaaditimes.com, claiming that they were using un-authorized images of her to promote the site. She also sued the owner Satyanet Solutions, as they claimed that Tandon and her husband had met through the website.

Commitments

In November 2002, Tandon signed on to support the People for the Ethical Treatment of Animals. She has posed in many advertisement campaigns joining the likes of Shilpa Shetty, Amisha Patel and John Abraham. On the issue of cows being slaughtered for their skin, she said "their abuse at the hands of corrupt skin and meat traders must be stopped".

Awards

1992: Filmfare Lux New Face Award, Patthar Ke Phool

2002: Bengal Film Journalists' Association Awards Best Supporting Actress, Aks

2002: National Film Award for Best Actress, Daman: A Victim of Marital Violence

2002: Filmfare Special Performance Award, Aks

2002: Star Screen Award Best Supporting Actress, Aks

2002: Bollywood Movie Award - Best Supporting Actress, Aks

2002: Bollywood Movie Award - Critics Award Female, Aks

2002: Awadh Samman by the Government of Uttar Pradesh

Filmography

{| border="2" cellpadding="4" cellspacing="0" style="margin:1em 1em 1em 0; background:#f9f9f9; border:1px #aaa solid; border-collapse:collapse; font-size:95%;" |- bgcolor="#CCCCCC" align="center" ! Year ! Film ! Role ! Other Notes |- | 1991 | Patthar Ke Phool | Kiran | Winner, Filmfare Lux New Face Award |- | 1992 | Parampara | Vijaya | |- | rowspan=4|1993 |Ek Hi Raasta |Priya Choudhry | |- |Divya Shakti |Priya | |- |Kshatriya |Neelima | |- |Pehla Nasha |Avantika | |- | rowspan=10|1994 | Zamane Se Kya Darna | | |- | Laadla | Kaajal |Filmfare Nomination as Best Supporting Actress |- | Insaniyat | Salma | |- | Dilwale | Sapna | |- | Aatish | Nisha | |- | Andaz Apna Apna | Karishma/Raveena | |- | Mohra | Roma | |- | Imtihaan | Priti | |- | Main Khiladi Tu Anari | Raveena (herself) | Special appearance |- | Saadu | | Tamil film |- | rowspan=2|1995 | Zamana Deewana | Priya Malhotra | |- | Saajan Ki Baahon Mein |Sapna Narang | |- | rowspan=4|1996 | Rakshak | | Special Appearance (song 'Shahar Ki Ladki') |- | Ek Anari Do Khiladi | Priya Rao | |- | Vijeta | Vijaya | |- | Khiladiyon Ka Khiladi | Priya | |- | rowspan=4|1997 | Ghulam-E-Musthafa | Kavita | |- | Dus | Nasheman (Terrorist) | |- | Ziddi | Jaya | |- | Daava | Seema | |- | rowspan=9|1998 | Gharwali Baharwali | Kajol | |- | Vinashak - Destroyer | Kajol Agnihotri | |- | | Sharmili | |- |Salaakhen | | |- | Aunty No. 1 | Sandhaya | |- | Dulhe Raja | Kiran Singhania | |- | Barood | Neha | |- | Bade Miyan Chote Miyan | Seema | |- | Pardesi Babu | Karuna | |- | rowspan=1|1999 | Shool | Manjari Singh | |- | rowspan=4|2000 | Anjaane | | |- | Bulandi | Meena | |- | Khauff | | Special Appearance |- | Ghaath | | Special Appearance |- | rowspan=4|2001 | | Durga | Winner, National Film Award for Best Actress |- | Aks | Neeta | Winner, Filmfare Special Performance Award |- | Akasa Veedhilo | Indu |Telugu film |- | Aalavandhan | Tejaswini |Tamil film Dubbed into Telugu and Hindi as Abhay |- | rowspan=3|2002 | Agni Varsha | Vishaka | |- | Ankhiyon Se Goli Maare | Kiran | |- | Soch | Preeti Sardesai | |- | rowspan=6|2003 | Ek Hindustani | | |- | Satta | Anuradha Sehgal | |- | Pran Jaye Par Shaan Na Jaye | Laxmi Rathod | |- | Stumped | Reema Seth | |- | | Mamta | |- | LOC Kargil | Rampal's wife | |- | rowspan=6|2004 | Jaago | Shweta | |- | Yeh Lamhe Judaai Ke | Jaya | |- | | Roma | |- | | Roshni Verma | |- | Dobara | Ria | |- | Ek Se Badhkar Ek'' | Kanchan Dhillon | |- | 2005 | | Advocate Mridula M. Khanna | |- | 2006 | Sandwich | Nisha S. Singh | |- | rowspan=3|2011 | The Laboratory | Sohini | |- | Aap Ke Liye Hum | |- | | | |- |}

See also

List of Indian film actresses

|- ! colspan="3" style="background:GoldenRod;" | Filmfare Award |- |- |- ! colspan="3" style="background:GoldenRod;" | National Film Award |- |-

References

External links

Category:1974 births Category:Living people Category:Indian film actors Category:People from Mumbai Category:Indian female models Category:Hindi film actors Category:Indian actors Category:Indian film producers

Name	Divya Bharti
Birth date	25 February 1974
Birth place	Bombay, India
Death date	April 05, 1993
Death place	Bombay, India
Years active	1990-1993
Spouse	Sajid Nadiadwala (1992-1993)
Website	http://www.divyabhartiportal.com
Notable role	Vishwatma (Actress In Debut Film & Song) (Saat Samundar)
Filmfareawards	Lux New Face surgery : Deewana 2 (2011)
Occupation	Actress

Divya Bharti (February 25, 1974 - April 5, 1993) was an Indian Bollywood Actress. She started her career in 1990 with Telugu films making her debut in Bobbili Raja. After several other hits in the South, she entered Hindi films with 'Vishwatma' in 1992 as her debut film, where she earned accolades for performing the song Saat Samundar Paar. She appeared in more than 14 Hindi films between 1992 and 1993 - a world record for a newcomer. She married Sajid Nadiadwala in May 1992. Her career was cut short by her death in April 1993 at the age of 19. The investigation into the circumstances of her death was closed in 1998, and the exact nature of her death still remains a mystery.

Career

Early Struggle 1988

Divya was in the ninth grade when she began to get film offers. Her face resembled those days' superstar Sridevi and so got noticed by many directors and producers. At first her parents were hesitant, till Nandu Tolani offered h er Gunahon Ka Devta around mid 1988. Divya was 14 and a 1/2 at that time.

Meanwhile, Divya learned via a friend that Dilip Shankar wanted a new girl opposite Aamir Khan in Aatank Hi Aatank and Rudra Avtaar. With her parents permission, she signed up both films. During those times, Kirti Kumar, Govinda's brother noticed the charming Divya at a video library. He followed her to her residence and then called up director Nandu Tolani, who lived in the building next to hers and asked about Divya.

Radha Ka Sangam Episode

The next thing the Bhartis knew was that Kirti Kumar was eager to sign up Divya for Radha Ka Sangam opposite Govinda. Kirti went personally to meet Dilip Shankar and managed to release Divya from their contract. Kirti quoted in March 1989 in Showtime Magazine "I told Dalip that he could take any girl, but he'd never be able to find another Radha" . Kirti changed her name from Divya to Radha. Producer Kirti launched her with much fanfare. He gave interviews on how he found his perfect Radha after scouring the whole of India for her. And then before the first shot was taken, Divya "Radha" Bharti was out of the film after being groomed for two years and replaced by Juhi Chawla. The reasons each side gave for the fall-out were different. Various Magazines wrote different things behind the dropout. Some said "Kirti became over-possessive about her", others said "Lawrence D'Souza, who was to direct the film, left the project. Then Kirti decided to take over the film. Being new to direction, he had to drop Divya because he felt he could not handle a newcomer", other magazines wrote that Divya was having an affair with Govinda and the smitten, jealous, Kirti couldn't tolerate that. Others wrote it was Divya's immaturity that made her drop out of the film.

Re-struggle

And that was the green signal for other film makers to enter the fray. She was screen-tested by big names Boney Kapoor, Shabnam Kapoor, Shekhar Kapoor and Subhash Ghai. They all raved about her but no one signed her up. There were rumors that her childish reputation had preceded her. In magazines, she had earned a name for being wild and crazy. In fact, for his big budget film Prem, Boney Kapoor signed up Divya. Eight days later, Divya was out and Tabu was signed in. Later Subhash Ghai too called her for Saudagar opposite Aamir Khan and 20 days later she was out and he signed up Manisha Koirala and Vivek Mushran. By then, the rejections had affected fifteen year old Divya. Since she was already out of school, they would not accept her back. As a result, she was forced to sit idle. Fortunately, One of the biggest producers of Telugu cinema, D. Ramanaidu landed up at Divya's doorstep. He offered Divya , Bobbili Raja, a telugu film opposite Daggubati Venkatesh. Immediately, Divya got a Tamil Film and Rajiv Rai approached her for Vishwatma.

Rise to Stardom in Telugu Cinema 1990 - 1992

After being dropped out of so many Big Projects, Divya got depressed and left Mumbai. On the evening of her return, the producer of Bobbili Raja approached her for his upcoming project. They wanted Divya to fly down the same night. As Divya quoted in the Nov 1991 "Movie" magazine, "I didn't want to go. I said no but mummy said yes. Imagine, the film became a super-hit and I became a superstar". The move paid off. Bobbili Raja released in the summer of 1990 became a colossal hit. She had captured the south by storm, and she was a goddess there. Even a temple had been built in her name. With more hits, she became a big name in Telugu cinema. In box-office rating, she figured next only to the indomitable Vijayshanti. Her price, according to an insider, had touched a whopping 25 Lakhs per film and 1 lakh per each additional day (If shooting postponed south producers were paying 15 lakhs for 15 days) , which was a big amount in 1991. In Bollywood, only Madhuri Dixit and Sridevi were getting those kinds of price. In 1991 Divya gave back-to-back hits including Rowdy Alludu, and Assembly Rowdy opposite superstars of Telugu cinema including Chiranjeevi, Mohan Babu. In north India, she was known as the Sridevi of Telugu films. But, that was not what Divya was looking for. She wanted to make it big in Bombay. And she was back with fresh determination. Meanwhile, She didn't want to disappoint her Telugu audience and she cut down to do one movie per year.

Rise to Stardom in Bollywood 1992 - 1993

When Divya heard that Rajiv Rai was on the lookout for a new face for his film Vishwatma opposite Sunny Deol, she daringly walked into Rajiv Rai's office with her portfolio. And the same day signed the film. Rajiv was making the sequel to his Blockbuster film Tridev.

The film was produced by Trimurti Films Pvt. Ltd. is one of the biggest and oldest film production. Vishwatma was launched in the late 1990 with grand mahurat. Film actor Dharmendra gave the mahurat shot. Soon Divya was left for long outdoor shooting in Nairobi. By the time Divya came back, film offers started pouring up in Divya's lap. Without single release so far, Divya signed 14 films.

2 January 1992 was a big day for Divya. She had many reasons for wanting the film to be successful. Vishwatma did do well however the film's success didn't come close to that of Tridev and the film was declared an average grosser. Notably, the film's most popular song "Saat Samundar Paar", which was picturized with Divya, became a hit and even today the audience remembers Divya in that song.

Seven days later, Divya's musical bonanzas Dil Ka Kya Kasoor released. It was supposed to establish her as popular heroine but opened to empty theaters. No one expected film to bomb so badly. Although, the film failed to impress an audience, Filmfare magazines started including Diyva in the list of 1992 top ten best actress performances. Surprisingly, even when other now-well known newcomers was introducing to showbiz), Divya collapsed debut made a magazine headline, when many actress included Madhoo in Phool Aur Kaante and Chandni in Sanam Bewafa super hit films didn't made them star, Divya's flops made her star. Divya defended herself by quoted, " I wanted to prove myself. But, I've fallen flat on my face. Now, I have to begun my climb all over again. Yet, I'm positive that one day success will be mine", (Stardust, March 1992).

And, Thus Divya too was deleted from the ranks of the promising newcomers for a while. Then Pehlaj Nihlani's Shola Aur Shabnam came along. The film proved a box office hit and Divya was riding high again. Not only did it present Divya in a noble character, but also gave big boost to Govinda's career and launched David Dhawan as established director.

Four Months later, Raj Kanwar's love story Deewana became the biggest hit of 1992, where she held her own against veteran Rishi Kapoor and the debutant Shahrukh Khan, who later went on to become Bollywood superstar and an icon of Indian Cinema. With the super success of Deewana, Divya got rid of her promising newcomer status and entered the A-list. Her performance in Deewana was highly appreciated. Around that time, Divya's other films Balwaan with another debutant Sunil Shetty and Jaan Se Pyaara with Govinda released and did well at the box office. By the end of the year, Hema Malini's Dil Aashna Hai released, in which Divya played a bar dancer, who searches for her birth mother. Although the film was a box-office failure, her performance in the film was much appreciated by critics.

Suddenly, with big hits under her belt, Divya had become the hottest property in showbiz. And many predicted that she was poised to hit the number one slot not very far. In fact, In September,'Movie' magazines such as "Movie", "Stardust" an "Filmfare" put her at the 3rd position actress by the bases of price, popularity and position right after Madhuri Dixit and Sridevi.

Personal life

Barely 16, Divya met Sajid Nadiadwala in 1990 at Film City, when Sajid dropped by the sets to meet his friend Govinda. Divya was shooting with Govinda Ahuja on the sets of Shola Aur Shabnam. It was Govinda who introduced Sajid to Divya. Soon, it became a routine for the unit to see Sajid on sets everyday.

As Sajid quotes in Movie June 1993 issue "Somewhere around 15 January 1992 Divya told me that she wanted to get married. The very next day she was tense because her name was being linked with all heroes. She wanted to marry and put an end to all these controversies. People expect me to have a relationship with everyone, she would complain.

Then on 20 May 1992. Divya got married to Sajid in the presence of her hairdresser Sandhya, the hairdresser's husband and a kazi at Tulsi apartments, Sajid's Versova residence. She converted to Islam and took on a new name "Sana". As Sajid quotes "We kept the marriage a secret because her career was at stake. Her producers would have panicked. In retrospect, I wish we had told the truth. Divya wanted to announce that we were married but I kept telling her to wait for a while. I wish I hadn't. Every time she saw the rushes of her films, she would sigh, "This will flop and people will ask me to quit". But that never happened, her films were hits. By the end of 1993, she would have completed all her assignments.

Death

Around midnight 5 April 1993, Divya fell to her death off her husband's 5-storey Versova apartment building, Tulsi 2 in Mumbai. There were numerous speculations by the media regarding Divya's sudden demise, including the possibility of accidental death, suicide and even murder. Divya's dress designer Neeta Lulla is believed to have been present at the apartment at the time of death but the unfortunate event could not be avoided. Police closed the investigation into her death in 1998, but the circumstances of her death still remain a mystery. Curious is the silence which enveloped the people close to her when she died. There were strange about-turns in the statements they gave to the police, and there were several sinister lapses in the investigation and inquiry. Neeta Lulla stated in her first police statement that when Divya returned home , she was accompanied by her brother Kunal and father O.P. Bharati, then she changed her statement. Perhaps Mr Bharati saw something and might have blurted it out under the tough police questioning. Sajid himself was under a cloud. Not only did the newspapers make much of his underworld connections, a fact he hotly denied. but he too blundered through his police statement. He had claimed that he was out when Divya jumped/fell/was flung to death , five floors down. Where had he gone. He first mentioned the name of Pankaj Kharbanda and later changed his statement and said that he had gone to meet Kulbhushan Gupta , a producer friend from whom he had bought the flat he and Divya occupied. More suspicious was her climbing up the balcony and standing on the parapet without anyone trying to stop her.

Her body was released on 7 April 1993 and the funeral took place the same day. About 500 people attended the funeral of then youngest heroine of the silver screen, including Anil Kapoor, Govinda, Kamal Sadanah, Raj Babbar, Yash Chopra, Jimmy Nirula, Aruna Irani, Raza Murad, Chiranjeevi, Vikas Anand, Venkatesh, Ram Mohan, Javed Khan, Raj Kanwar, Nitin Manmohan and Pehlaj Nehlani, maker of her first hit, Shola Aur Shabnam. A large number of film personalities, including Hema Malini, Urmila Matondkar, Saif Ali Khan, Shahrukh Khan, Shilpa Shirodkar, Sonu Walia, Somy Ali, Babita, Karisma Kapoor, Sangeeta Bijlani, Tabu, Manisha Koirala and Asha Parekh, offered condolences to the bereaved family members at their residence.

She was scheduled to star in movies including Mohra, Laadla, Andolan, Angrakshak ,Kartavya and Vijaypath before her death; her roles were recast. Divya had almost completed 80% of Laadla before her death but the entire movie was redone with Sridevi. The footage of her performance that she had completed was seen in a special television programme which compared her performance with Sridevi's. The film was to be released in 1993 had Divya completed the movie but it was eventually released in 1994.

Divya's two final completed films, Rang and Shatranj, were released months after her death. These films in addition to several films produced by her husband Sajid Nadiadwala were dedicated to her memory.

The investigation into the circumstances of DIVYA Bharti's death was closed in 1998 without any definite verdict.

Filmography

! colspan="3" style="background: #DAA520;" | Filmfare Award

Incomplete films

{| class="wikitable sortable" |- ! Year of release ! Title ! Co-Star ! Replacements ! Box-office |- | 1993 |Dhanwan | Ajay Devgan | Karisma Kapoor | Average |- |1994 |Mohra | Akshay Kumar and Sunil Shetty | Raveena Tandon | SuperHit |- |1994 |Laadla | Anil Kapoor | Sridevi | Hit |- |1994 |Vijaypath | Ajay Devgan | Tabu | Hit |- |1995 |Andolan | Govinda | Mamta Kulkarni | Average |- |1995 |Kartavya | Sanjay Kapoor | Juhi Chawla | Flop |- |1995 |Angrakshak | Sunny Deol | Pooja Bhatt | Flop |- |1995 |Hulchul | Ajay Devgan | Kajol | Below Average |- |1995 |Kanyadaan | Rishi Kapoor | Manisha Koirala | Stuck |- |1993 |Do Kadam | Salman Khan | | Movie never made |- |1993 |Parinaam | Akshay Kumar | | Movie Never Made |- |1993 |Chal Pe Chal | Jackie Shroff | | Movie Never Made |- |1993 |Bajrangi | Sunny Deol | | Movie Never Made |- |1993 |Tholi Muddhu | Prashanth | Rambha | Hit |}

Note

All the list of Incomplete films is copyright from Filmfare, and Cineblitz Magazines of May 1993.

References

External links

Category:1974 births Category:1993 deaths Category:Indian film actors Category:Telugu actors Category:Accidental deaths from falls

Category:Accidental deaths in India Category:Indian actors Category:Hindi film actors

Name	Sanjay Dutt
Parents	Sunil Dutt Nargis Dutt
Birthdate	July 29, 1959
Birthplace	Mumbai, Maharashtra, India
Othername	Sanju Baba Munna Bhai Raghu Bhai Baba
Birthname	Sanjay Sunil Dutt
Occupation	Film actor Politician
Yearsactive	1971, 1981 - Present
Religion	Hindu
Spouse	Richa Sharma (1987–1996) (Deceased) Rhea Pillai (1998–2005) (Divorced) Manyata Dutt (2008–present)
Children	Trishala, Shahraan, Iqra

Sanjay Dutt (Hindi: संजय दत्त), born 29 July 1959) is an Indian Hindi film actor and politician. Dutt is the son of Hindi film stars Sunil and Nargis Dutt. He made his debut in 1981.

Personal life

Dutt was born on 29 July 1959 to Bollywood actors Sunil Dutt and Nargis. He was educated at the Lawrence School Sanawar. Dutt married actress Richa Sharma in 1987. Sharma died of brain tumor on 10 December 1996. Dutt's second marriage was to model Rhea Pillai in 1998. They divorced in 2005. Dutt married Manyata (also known as Dilnawaz Sheikh) in 2008, after two years of dating. On 21 October 2010, he became a father to twins, a boy named Shahraan and a girl named Iqra.

Film career

As a child actor, Dutt appeared in the 1971 film Reshma Aur Shera, starring his father. He appears briefly as a qawali singer in his first film appearance. Dutt made his Bollywood movie debut with Rocky in 1981. He went on to act in many 1980's films including Vidhata, Jeeva, Naam and Taaqatwar.

In the 1990s Dutt acted in films such as Sadak and Khoon Ka Karz. He starred in the 1991 movie Saajan for which he was nominated for the Filmfare Best Actor Award. In 1993 he starred in the movie Khal Nayak for which he earned his second Filmfare Best Actor Award nomination. In 1999's , he finally won his first Filmfare Best Actor Award.

In the 2000s Dutt acted in many films such as Mission Kashmir, Jodi No.1, Hathyar, Kaante, Munna Bhai M.B.B.S, Dus, Lage Raho Munna Bhai, Shootout at Lokhandwala, Dhamaal, Blue (2009), and Knockout (2010). During this time he got several more nominations and awards.

Illegal possession of arms

Due to terrorist interactions, and supposed weapons possession, on 19 April 1993, Sanjay was arrested under the Terrorist and Disruptive Activities Act (TADA). He spent 16 months in jail as an undertrial until he was granted bail in October 1995 by the Supreme Court of India.

In November 1993, a 90,000-page long primary chargesheet was filed against the 189 accused in the 1993 Mumbai bomb blasts case including Sanjay.

In March 2006, when framing muthar charges against extradited Abu Salem and co-accused Riyaz Siddiqui in the 1993 Mumbai bomb blasts case, the prosecution said that Salem delivered 9 AK-56 rifles and some hand grenades to actor Sanjay Dutt at his Bandra house in the second week of January 1993.

On 13 February 2007, the special branch of Mumbai police arrested Abdul Qayyum Abdul Karim Shaikh, a close aide of Dawood Ibrahim and wanted by Mumbai Police Special Task Force for his role in the 1993 Mumbai serial blasts from Mumbai. Qayuum had been named by Sanjay Dutt in his confessional statement. Sanjay had said that he met Qayuum in Dubai in September 1992 and bought a pistol from him. According to CBI, the pistol was sold to Sanjay at the instance of Dawood's brother Anees Ibrahim.

On 31 July 2007, Dutt was sentenced to six years rigorous imprisonment for illegally possessing weapons. At the same time, Dutt was also "cleared of terrorism conspiracy charges in the blasts" related to the 1993 bombings. On 7 August 2007, Dutt appealed the sentence. Later, on 20 August 2007, the Supreme Court of India granted Dutt interim bail. He was released after Yeravada Jail authorities received a copy of the court's bail order. The bail was valid until the time the special TADA court, which sentenced Dutt on 31 July, provides a copy of its judgment to him. Dutt was released from jail on 23 August. On 22 October 2007 Dutt was back in jail but again applied for bail. On 27 November 2007, Dutt was granted bail by the Supreme Court. He currently has an appeal for an acquittal pending. In January 2009, Dutt announced that he would contest the 2009 Lok Sabha elections on the Samajwadi Party ticket. However, he withdrew his candidacy in March 2009 after the Supreme Court refused to suspend his conviction.

International humanitarian initiatives

On 16 December 2008, he was appointed a Goodwill Ambassador for IIMSAM - the Intergovernmental Institution for the use of Micro-algae Spirulina Against Malnutrition. He will be promoting the use of Spirulina to help the organization's advocacy and endeavor against malnutrition and hunger. His role will also support IIMSAM's efforts to secure the United Nations Millennium Development Goals by mainstreaming the use of Spirulina to eradicate malnutrition, achieve food security and bridge the health divide with a special priority for the developing and the least developed countries.

Filmography

1980s

{| border="2" cellpadding="4" cellspacing="0" style="margin: 1em 1em 1em 0; background: #f9f9f9; border: 1px #aaa solid; border-collapse: collapse; " |- bgcolor="#CCCCCC" align="center" ! Year !! Film !! Role !! Awards |- |1981 ||Rocky|| Rakesh/Rocky D'Souza || |- |rowspan="2" | 1982 || Vidhaata || Kunal Singh || |- | Johny I Love You || Raju S. Singh/Johny || |- |rowspan="2" | 1983 || Main Awara Hoon || Sanjeev 'Sanju' Kumar || |- | Bekaraar || Shyam || |- |rowspan="2" | 1984 || Mera Faisla || Raj Saxena || |- | Zameen Aasmaan || || |- |rowspan="2" | 1985 || Jaan Ki Baazi || || |- | Do Dilon Ki Dastaan || Vijay Kumar Saxena || |- |rowspan="4" | 1986 || Mera Haque || Prince Amar Singh || |- | Jeeva || Jeeva/Jeevan Thakur || |- | Jalwa || Himalya Chand || |- | Naam || Vicky Kapoor || |- |rowspan="3" | 1987 || Naam O Nishan || Inspector Suraj Singh || |- | Inaam Dus Hazaar || Kamal Malhotra || |- | Imaandaar || Rajesh || |- |rowspan="5" | 1988 || Jeete Hain Shaan Se || Govinda || |- | Mohabbat Ke Dushman || Hisham || |- | Khatron Ke Khiladi || Raja || |- | Kabzaa || Ravi Varma || |- | Mardon Wali Baat || Tinku || |- |rowspan="7"| 1989 || Itihaas || Karan || |- | Taaqatwar || Inspector Sharma || |- | Kanoon Apna Apna || Ravi || |- | Hum Bhi Insaan Hain || Bhola || |- | Hathyar || Avinash || |- | Do Qaidi || Manu || |- | Ilaaka || Inspector Suraj Verma || |- |}

1990s

{| border="2" cellpadding="4" cellspacing="0" style="margin: 1em 1em 1em 0; background: #f9f9f9; border: 1px #aaa solid; border-collapse: collapse; " |- bgcolor="#CCCCCC" align="center" ! Year !! Film !! Role !! Awards |- |rowspan="6"| 1990 ||Zahreelay || Raaka || |- | Tejaa || Tejaa/Sanjay || |- | Khatarnaak || Suraj/Sunny || |- | Jeene Do || Karamvir || |- | Krodh || Vijay/Munna || |- | Thanedaar || umair mirza|| |- |rowspan="7"| 1991 || Yodha || Suraj Singh || |- | Sadak || Ali Mirza|| |- | Qurbani Rang Layegi || Raj Kishen || |- | Khoon Ka Karz || Arjun || |- | Fateh || Karan || |- | Do Matwale || Ajay 'James Bond 009' || |- | Saajan || Aman Verma/Sagar || Nominated, Filmfare Best Actor Award |- |rowspan="5"| 1992 || Jeena Marna Tere Sang || || |- | Adharm || Vicky Verma || |- | Sahebzaade || Raja || |- | Sarphira || Suresh Sinha || |- | Yalgaar || Vishal Singhal || |- |rowspan="4"| 1993 || Sahibaan || Prince Vijay Pal Singh || |- | Khal Nayak || Ballu || Nominated, Filmfare Best Actor Award |- | Kshatriya || Vikram Singh || |- | Gumrah || Jagan Nath (Jaggu) || |- |rowspan="4"| 1994 || Zamane Se Kya Darna || || |- | Insaaf Apne Lahoo Se || Raju || |- | Aatish || Baba || |- | Amaanat || Vijay || |- |rowspan="2"| 1995 || Jai Vikraanta || Vikraanta || |- | Andolan || Adarsh || |- |rowspan="2"| 1996 || Namak || Gopal || |- | Vijeta || Ashok || |- |rowspan="4"| 1997 || Sanam || Narendra Anand || |- | Mahaanta || Sanjay 'Sanju' Malhotra || |- | Dus || Captain Raja Sethi || |- | Daud || Nandu || |- |rowspan="1"| 1998 || Dushman || Major Suraj Singh Rathod || |- |rowspan="6"| 1999 || || Karan Singh || |- | Kartoos || Raja/Jeet Balraj || |- | Safari|| Captain Kishan || |- | Haseena Maan Jaayegi || Sonu || |- | || Raghu || Winner, Filmfare Best Actor Award |- | Khoobsurat || Sanju || |}

2000s

{| border="2" cellpadding="4" cellspacing="0" style="margin: 1em 1em 1em 0; background: #f9f9f9; border: 1px #aaa solid; border-collapse: collapse; " |- bgcolor="#CCCCCC" align="center" !Year !! Film !! Role !! Other notes |- |rowspan="7"| 2000 || Khauff || Anthony/Vicky/Babu || |- | Baaghi || Raja || |- | Chal Mere Bhai || Vicky Oberoi || |- | Jung || Balli || |- | Mission Kashmir || SSP Inayat Khan || Nominated, Filmfare Best Actor Award |- | Kurukshetra || A.C.P Prithviraj Singh || |- | Raju Chacha || Gafoor || |- |rowspan="1"| 2001 || Jodi No.1 || Jai || |- |rowspan="7"| 2002 || Pitaah|| Rudra || |- | Hum Kisise Kum Nahin|| Munna Bhai || |- | Yeh Hai Jalwa|| Shera, Uncredited || |- | Maine Dil Tujhko Diya|| Bhai-Jaan || |- | Hathyar|| Rohit Raghunath Shivalkar/Raghunath Namdev Shivalkar || |- | Annarth|| Iqbal Danger || |- | Kaante || Jay Rehan 'Ajju'|| Nominated, Filmfare Best Supporting Actor Award |- |rowspan="3"| 2003 || Ek Aur Ek Gyarah || Sitara || |- | LOC Kargil || Lt. Col. Y. K. Joshi || |- | Munnabhai M.B.B.S. || Murli Prasad Sharma (Munna Bhai) || Winner, Filmfare Best Comedian Award |- |rowspan="5"| 2004 || Plan || Mussabhai || |- | Rudraksh|| Varun || |- | Rakht|| Rahul || |- | Deewaar|| Khan || |- | Musafir|| Billa || |- |rowspan="9"| 2005 || Tango Charlie || Squadron Leader Vikram Rathore || |- | Parineeta|| Girish Babu || Nominated, Filmfare Best Supporting Actor Award |- | Dus|| S. Dheer || |- | Viruddh... Family Comes First|| Ali || |- | Shaadi No. 1|| Lukhwinder Singh (Lucky) || |- | Ek Ajnabee|| ||DJ Special appearance |- | Vaah! Life Ho Toh Aisi!|| Yamaraj M. A., Himself || |- | Shabd|| Shaukat Vashisht || |- | Mohabbat Ho Gayi Hai Tumse || || |- |rowspan="4"| 2006 || Zinda || Balajeet Roy || |- | Tathastu|| Ravi Rajput || |- | Anthony Kaun Hai|| Master Madan || |- | Lage Raho Munna Bhai|| Murli Prasad Sharma (Munna Bhai) || Nominated, Filmfare Best Actor Award |- |rowspan="7"| 2007 || || Pannalal Chohar || |- | Nehlle Pe Dehlla|| Johnny || |- | Sarhad Paar|| Ranjeet Singh || |- | Shootout at Lokhandwala|| Shamsher Khan || |- | Dhamaal|| Kabir Nayak || |- | Om Shanti Om|| Himself || Special appearance in song Deewangi Deewangi |- | Dus Kahaniyan|| Baba || |- |rowspan="5"| 2008 || Woodstock Villa|| || Special appearance in item number Kyun |- | Superstar|| Himself || Special Appearance |- | Mehbooba|| Shravan Dhaliwal || |- | Kidnap|| Vikrant Raina || |- | EMI – Liya Hai Toh Chukana Parega|| Sattar Bhai || |- |rowspan="4"| 2009 || Luck|| Musa || |- | Aladin || The Ring Master || |- | Blue || Sagar || |- | || Dharam Bhai || |- | rowspan="7"| 2010 ||Lamhaa || Vikram || |- | Chatur Singh Two Star || Chatur Singh || |- | No Problem|||| |- | Knock Out || Veer Vijay Singh || |- |Power || || |- |}

Awards and nominations

References

External links

Category:1959 births Category:Old Sanawarians Category:Indian film actors Category:Indian actors Category:Living people Category:1993 Bombay bombings Category:Filmfare Awards winners Category:Indian child actors Category:Indian prisoners and detainees Category:Indian singers Category:Indian comedians Category:Prisoners and detainees of India Category:Hindi film actors Category:Samajwadi Party politicians Category:Indian Hindus Category:Punjabi people Category:People from Mumbai Category:Indian film producers Category:Indian actor-politicians