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The Aranyakas (Sanskrit āraṇyaka आरण्यक) are part of the Hindu śruti, the four Vedas; they were composed in late Vedic Sanskrit typical of the Brahmanas and early Upanishads; indeed, they frequently form part of either the Brahmanas or the Upanishads.

"Aranyaka" (āraṇyaka) means "belonging to the wilderness" (araṇya), that is, as Taittiriya Ar. 2 says, "from where one cannot see the roofs of the settlement". The term is translated as "Forest Books" or "Wilderness Books" in English.

They contain Brahmana-style discussion of ritual regarded as especially dangerous, such as the Mahavrata and Pravargya,^[1] and therefore had to be learned in the wilderness. They have also served as receptacles of later additions to the Vedic corpus. They appear to be closer in content to the Brahmanas than the esoteric Upanishads.

The Wilderness Books[link]

The Aranyakas discuss sacrifices, in the style of the Brahmanas, and thus are primarily concerned with the proper performance of ritual (orthopraxy). The Aranyakas were restricted to a particular class of rituals that nevertheless were frequently included in the Vedic curriculum.

The Aranyakas are associated with, and named for, individual Vedic shakhas.

• Rigveda
  • Aitareya Aranyaka belongs to the Aitareya Shakha of Rigveda
  • Kaushitaki Aranyaka belongs to the Kaushitaki and Shankhayana Shakhas of Rigveda
• Yajurveda
  • Taittiriya Aranyaka belongs to the Taittiriya Shakha of the Black Yajurveda
  • Maitrayaniya Aranyaka belongs to the Maitrayaniya Shakha of the Black Yajurveda
  • Katha Aranyaka belongs to the (Caraka)Katha Shakha of the Black Yajurveda^[2]
  • Brihad Aranyaka in the Madhyandina and the Kanva versions of the White Yajurveda. The Madhyandina version has 9 sections, of which the last 6 are the Brihadaranyaka Upanishad.
• Samaveda
  • Talavakara Aranyaka or Jaiminiya Upanishad Brahmana belongs to the Talavakara or Jaiminiya Shakha of the Samaveda
  • Aranyaka Samhita The Purvarchika of the Samaveda Samhitas have a section called the 'Aranyaka Samhita' on which the Aranyagana Samans are sung.

The Atharvaveda has no surviving Aranyaka, though the Gopatha Brahmana is regarded as its Aranyaka, a remnant of a larger, lost Atharva (Paippalada) Brahmana.

Aitareya Aranyaka[link]

There are five chapters each of which is even considered as a full Aranyaka. The first one deals with the regimen known as ‘Mahaa-vrata’. The explanations are both ritualistic as well as speculative. The second one has six chapters of which the first three are about ‘Praana-vidyaa’ – meaning, Prana, the Vital Air that constitutes the life-breath of a living body is also the life-breath of all mantras, all vedas and all vedic declarations (cf. 2.2.2 of Aitareya Aranyaka). It is in this portion of the Aranyaka that one finds specific statements about how one who follows the vedic injunctions and performs the sacrifices goes to become the God of Fire, or the Sun or Air and how one who transgresses the Vedic prescriptions is born into lower levels of being, namely, as birds and reptiles.

The 4th, 5th and 6th chapters of this second Aranyaka constitute what is known as Aitareya Upanishad.

The third Aranyaka in this chain of Aranyakas is also known as ‘Samhitopanishad’. This elaborates on the various ways – like pada-paatha, krama-paatha, etc. – of reciting the Vedas and the nuances of the ‘svaras’.

The fourth and the fifth Aranyaka are technical and dwell respectively on the mantras known as ‘MahaanaamnI’ and the yajna known as ‘Madhyandina’.

Taittiriya Aranyaka[link]

There are ten chapters, of which, one to six form the Aranyaka proper. The first two chapters are part of the aṣṭau kāṭhakāni (the "8 Kathaka sections"),^[3] which were not native to the tradition of the Taittiriya shakha. They were adopted from the Kāṭhaka shakha, and mostly deal with varieties of the Agnicayana ritual.^[4]

Chapter 1, is a very late Vedic chapter, which even has some Puranic names; it is usually called the Āruṇa praśna for the particular style of fire-brick piling dealt with in the text. It is also referred to as the "Surya namaskara chapter" by South Indian Brahmins who have created a ritual of reciting it with surya namaskara exercises after each of its 132 anuvakas.^{[citation needed][5]} Parts of the Kaṭha version of this section has been published by L. v. Schroeder in 1898.^[6]

Chapter 2, discusses the five Mahā-yajñas that every Brahmin has to do daily, most importantly the daily recitation of the Veda (svādhyāya). Further, the sacred thread, the yajñopavīta, sāndhyā worship, that of the ancestors (pitṛ), the brahma-yajña, and the cleansing homa-sacrifice ('kūṣmāṇḍa-homa') are all treated in detail. – In this chapter the word 'shramana' is used (2-7-1) in the meaning of an ascetic (tapasvin); this word was later used also for the Buddhist and Jain ascetics. – Discussed and translated by Ch. Malamoud (in French, 1977); the Kaṭha version of this section has been published by L. v. Schroeder in 1898.

Chapter 3, treats technicalities of several other homas and yajnas.

Chapter 4, provides the mantras used in the pravargya Shrauta ritual that is considered to be dangerous as it involves heating a specially prepared clay vessel full of milk until it is glowing red.

Chapter 5, treats the Pravargya-yajña in prose discussion (brāhmaṇa style).

Chapter 6, records the ‘pitṛmedha’ mantras, recited during the rituals for the disposal of the dead body.

Chapters 7, 8 and 9, are the three vallis of the well-known Taittiriya Upanishad.

Chapter 10, is also known as "Mahanarayana Upanishad". It has several important mantras culled from the three Samhitas.^{[citation needed]} TA 10.41–44 is known as the "Me–dha sukta".

Shankhayana Aranyaka[link]

There are fifteen chapters:

Chapters 1–2 deal with the Mahavrata.

Chapters 3–6 constitute the Kaushitaki Upanishad.

Chapters 7–8 are known as a Samhitopanishad.

Chapter 9 presents the greatness of Prana.

Chapter 10 deals with the esoteric implications of the Agnihotra ritual. All divine personalities are inherent in the Purusha, just as Agni in speech, Vayu in Prana, the Sun in the eyes, the Moon in the mind, the directions in the ears and water in the potency. The one who knows this, says the Aranyaka, and in the strength of that conviction goes about eating, walking, taking and giving, satisfies all the gods and what he offers in the fire reaches those gods in heaven. (cf.10-1).

Chapter 11 prescribes several antidotes in the form of rituals for warding off death and sickness. It also details the effects of dreams.

Chapter 12 elaborates the fruits of prayer.

Chapter 13 treats more philosophical matters and says one must first attitudinally discard one’s bodily attachment and then carry on the ‘shravana’, manana and nidhidhyasana and practise all the disciplines of penance, faith, self-control etc.

Chapter 14 gives just two mantras. One extols the “I am Brahman” mantra and says it is the apex of all Vedic mantras. The second mantra declares that one who does not get the meaning of mantras but only recites vedic chants is like an animal which does not know the value of the weight it carries.

Chapter 15 gives a long genealogy of spiritual teachers from Brahma down to Guna-Sankhayana.

Brihad-Aranyaka[link]

The Aranyaka of the White Yajurvda is part of its Brahmana: Satapatha Br. 14,1–3 in the Madhyandina version. It exclusively deals with the Parvargya ritual, and is followed by the Brihad-Aranyaka Upanishad (Satapatha Br. 14.4–9).

Rahasya Brahmanas[link]

There is also a certain continuity of the Aranyakas from the Brahmanas in the sense that the Aranyakas go into the meanings of the 'secret' rituals not detailed in the Brahmanas. Later tradition sees this as a leap into subtlety that provides the reason for Durgacharya in his commentary on the Nirukta to say that the Aranyakas are ‘Rahasya Brahmana’, that is, the Brahmana of secrets.

See also[link]

• Brihad-Aranyaka Upanishad

Work online[link]

• Rajendralal Mitra, ed. (1872). The Taittiriya Aranyaka. Baptist Mission Press. http://www.archive.org/stream/bibliothecaindi00indigoog#page/n6/mode/1up. 
• W. Caland, ed. (1907). Baudhyana Sarauta Sutra of Taittiriya Aranyaka. Asiatic Society. http://www.archive.org/stream/bibliothecaindi03indigoog#page/n5/mode/1up. 

Notes[link]

References[link]

• Vaidik Sahitya aur Samskriti ka swarup (in Hindi) by Om Prakash Pande. Vishwa Prakashan (A unit of Wylie Eastern) 1994, New Delhi .ISBN 81-7328-037-1
• Aitareya Aranyaka – English Translation by A. B. Keith, London 1909
  • Arthur Berriedale Keith, The Aitareya Aranyaka: Edited from the manuscripts in the India Office and the Library of the Royal Asiatic Society with introduction, translation, notes, ... unpublished of the Sankhayana Aranyaka, Eastern Book Linkers (1995) ISBN 81-86339-14-0
• Aitareya Aranyaka – A Study . Dr. Suman Sharma. Eastern Book Linkers. New Delhi 1981
• Taittiriya Aranyaka, with Sayana Bhashya . Anandashram, Pune 1926.
• B.D. Dhawan. Mysticism and Symbolism in Aitareya and Taittiriya Aranyakas, South Asia Books (1989), ISBN 81-212-0094-6
• Charles Malamoud, Svādhyāya : récitation personelle du Veda Taittirīya-Āranyaka livre II : texte; traduit et commenté par Charles Malamoud. Paris : Institut de civilisation indienne, 1977
• Houben, Jan. The Pravargya Brāhmaṇa of the Taittirīya Āraṇyaka : an ancient commentary on the Pravargya ritual; introduction, translation, and notes by Jan E.M. Houben. Delhi : Motilal Banarsidass Publishers, 1991.
• Michael Witzel, Katha Aranyaka : Critical Edition with a Translation into German and an Introduction, Harvard Oriental Series, Harvard Department of Sanskrit and Indian Studies (2005) ISBN 0-674-01806-0
• Bhagyalata A. Pataskar, The Kaṭhakāraṇyakam (With text in Devanāgarī, Introduction and translation. New Delhi: Adarsha Sanskrit Shodha Samstha / Vaidika Samshodhana Mandala

2009.

Template:Check translation

Basu Chatterjee (Bengali: বাসু চ্যাটার্জ্জী) (born 10 January 1930) is an Indian film director. His films are very similar to those of Hrishikesh Mukherjee. Like Mukherjee, he built his plots on middle-class lives.

He was born in Ajmer, Rajasthan, India.

Some of his best films are Rajnigandha (1974), Dillagi, Chitchor, Choti Si Baat, Khatta Meetha, Ek Ruka Hua Faisla. He has directed many Bengali films. He has also directed the Detective Series for Doordarshan Byomkesh Bakshi. Chatterjee is the member of International Film And Television Club of Asian Academy Of Film & Television. He had his retrospective as part of Kala Ghoda Art Festival Mumbai in February 2011.

His daughter Rupali Guha is also a film director, with her first Hindi film "Aamras", released in September 2009, a coming of age youth film, involving four schoolgirls. She also produces TV serials under the Filmfarm banner. Her current serials include Uttaran (COLORS TV) & Dil Se Diya Vachan on ZEE TV.

Awards[link]

• 2007: IIFA Lifetime Achievement Award
• 1991: Filmfare Best Screenplay Award - Kamla Ki Maut
• 1980: Filmfare Critics Award for Best Movie - Jeena Yahan
• 1977: Filmfare Best Director Award - Swami
• 1976: Filmfare Best Screenplay Award - Chhoti Si Baat
• 1975: Filmfare Critics Award for Best Movie - Rajnigandha
• 1972: Filmfare Best Screenplay Award - Sara Akash

Filmography[link]

Dialogue writer[link]

• Lakhon Ki Baat (1984) (Released)
• Hamari Bahu Alka (1982) (Released)
• Dillagi (1978) (Released)
• Khatta Meetha (1977) (Released)
• Rajnigandha (1974) (Released)
• Piya Ka Ghar (1972) (Released)

Director[link]

• Trishanku (2nd December, 2011) (Released)
• Hochheta Ki (2008) (Released)
• Kuch Khatta Kuch Meetha (2007) (Released)
• Ek Ladki Bholi Bhali Si – Adds Spice To Your Life (2007) (Under Production)
• Prateeksha (2007) (Released)
• Gudgudee (4 April 1997) (Released)
• Triyacharittar (1997) (Released)
• Kamla Ki Maut (1990) (Released)
• Sheesha_(1986_film) (3 October 1986) (Released)
• Chameli Ki Shaadi (21 February 1986) (Released)
• Ek Ruka Hua Faisla (1986) (Released)
• Kirayedar (1986) (Released)
• Lakhon Ki Baat (1984) (Released)
• Pasand Apni Apni (1983) (Released)
• Shaukeen (1982) (Released)
• Hamari Bahu Alka (1982) (Released)
• Jeena Yahan (1981) (Released)
• Apne Paray (8 August 1980) (Released)
• Man Pasand (1980) (Released)
• Ratan Deep (21 December 1979) (Released)
• Prem Vivah (14 September 1979) (Released)
• Chakravyuh (29 June 1979) (Released)
• Manzil (14 May 1979) (Released)
• Baton Baton Mein (13 April 1979) (Released)
• Do Ladke Dono Kadke (1979) (Released)
• Dillagi (1978) (Released)
• Tumhare Liye (1978) (Released)
• Swami (1977 film) (Released)
• Safed Jhooth (1977) (Released)
• Priyatma (1977) (Released)
• Khatta Meetha (1977) (Released)
• Chhoti Si Baat (1976) (Released)
• Chitchor (1976) (Released)
• Rajnigandha (1974) (Released)
• Us Paar (1974) (Released)
• Piya Ka Ghar (1972) (Released)
• Sara Akash (1969) (Released)

Screenplay[link]

• Lakhon Ki Baat (1984) (Released)
• Hamari Bahu Alka (1982) (Released)
• Dillagi (1978) (Released)
• Khatta Meetha (1977) (Released)
• Rajnigandha (1974) (Released)
• Sara Akash (1969) (Released)

Producer[link]

• Ek Ruka Hua Faisla (1986) (Released)
• Lakhon Ki Baat (1984) (Released)
• Pasand Apni Apni (1983) (Released)
• Baton Baton Mein (13 April 1979) (Released)

Director (TV series)[link]

• Rajani (1985)
• Darpan (1985)
• Ek Ruka Hua Faisla (1986)
• Kakkaji Kahin (1988)
• Byomkesh Bakshi (1993)

Assistant director[link]

• Saraswatichandra (1968)
• Teesri Kasam (1966)

Bengali films[link]

• Trishanku
• Hochheta Ki
• Tak Jhal Mishti
• Chupi Chupi
• Hothat Brishti

External links[link]

• Basu Chatterjee at the Internet Movie Database
• Official website

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Dilip Purushottam Chitre (Marathi: दिलीप पुरुषोत्तम चित्रे) (17 September 1938 – 10 December 2009) was one of the foremost Indian writers and critics to emerge in the post Independence India. Apart from being a very important bilingual writer, writing in Marathi and English, he was also a painter and filmmaker.

Biography[link]

He was born in Baroda on 17 September 1938. His father Purushottam Chitre used to publish a periodical named Abhiruchi which was highly treasured for its high, uncompromising quality. Dilip Chitre's family moved to Mumbai in 1951 and he published his first collection of poems in 1960. He was one of the earliest and the most important influences behind the famous "little magazine movement" of the sixties in Marathi. He started Shabda with Arun Kolatkar and Ramesh Samarth. In 1975, he was awarded a visiting fellowship by the International Writing Programme of the University of Iowa in Iowa City, Iowa in the United States. He has also worked as a director of the Indian Poetry Library, archive, and translation centre at Bharat Bhavan, a multi arts foundation, Bhopal. He also convened a world poetry festival in New Delhi followed by an international symposium of poets in Bhopal.

Works[link]

Poetry[link]

His Ekun Kavita or Collected Poems were published in the nineteen nineties in three volumes. As Is,Where Is selected English poems (1964-2007) and "Shesha" English translation of selected Marathi poems both published by Poetrywala are among his last books published in 2007. He has also edited An Anthology of Marathi Poetry (1945–1965). He is also an accomplished translator and has prolifically translated prose and poetry. His most famous translation is of the celebrated 17th century Marathi bhakti poet Tukaram (published as Says Tuka). He has also translated Anubhavamrut by the twelfth century bhakti poet Dnyaneshwar.

Films[link]

He started his professional film career in 1969 and has since made one feature film, about a dozen documentary films, several short films in the cinema format, and about twenty video documentary features. He wrote the scripts of most of his films as well as directed or co-directed them. He also scored the music for some of them.

Awards and honors[link]

He worked as an honorary editor of the quarterly New Quest, a journal of participative inquiry, Mumbai.

Among Chitre’s honours and awards are several Maharashtra State Awards, the Prix Special du Jury for his film Godam at the Festival des Trois Continents at Nantes in France in 1984, the Ministry of Human Resource Development’s Emeritua Fellowship, the University of Iowa’s International Writing Program Fellowship, the Indira Gandhi Fellowship, the Villa Waldberta Fellowship for residence given by the city of Munich, Bavaria, Germany and so forth. He was D.A.A.D. ( German Academic Exchange) Fellow and Writer-in-Residence at the Universities of Heidelberg and Bamberg in Germany in 1991–92. He was Director of Vagarth, Bharat Bhavan Bhopal and the convenor-director of Valmiki World Poetry Festival ( New Delhi,1985) and International Symposium of Poets ( Bhopal, 1985), a Keynote Speaker at the World Poetry Congress in Maebashi, Japan (1996) and at the Ninth International Conference on Maharashtra at Saint Paul, Minnesota, USA in 2001 and Member of the International Jury at the recent Literature festival Berlin, 2001;

He was member of a three-writer delegation ( along with Nirmal Verma and U. R. Ananthamurthy) to the Soviet Union (Russia, Ukraine, and Georgia), Hungary, the Federal Republic of Germany and France in the spring and summer of 1980 and to the Frankfurter Buchmesse in Frankfurt, Germany in 1986; he has given readings, lectures, talks, participated in seminars and symposia, and conducted workshops in creative writing and literary translation in Iowa City, Chicago, Tempe, Paris, London, Weimar, Saint Petersburg, Berlin, Frankfurt, Konstanz, Heidelberg, Bamberg, Tübingen, Northfield, Saint-Paul/Minneapolis, New Delhi, Bhopal, Mumbai, Kochi, Vadodara, Kolhapur, Aurangabad, Pune, Maebashi, and Dhule among other places;

He travelled widely in Asia, Africa, Europe, and North America as well as in the interiors of India; been on the visiting faculty of many universities and institutions, a consultant to projects. He was the Honorary President of the Sonthhheimer Cultural Association, of which he was also a Founder-Trustee.

After a long bout with cancer, Dilip Chitre died at his residence in Pune on 10 December 2009.^[1]

Bibliography[link]

In Marathi[link]

• Kavita, Mouj Prakashan, Mumbai, 1960
• Orpheus, Mouj Prakashan, Mumbai,1968; 2nd Ed: Shabdalay Prakashan, Srirampur,2010
• Sheeba Raneechya Shodhaat, Majestic Prakashan, Mumbai,1969
• Kavitenantarchyaa Kavita, Vacha Prakashan, Aurangabad,1978
• Chaavyaa; Pras Prakashan, Mumbai, 1983
• Dahaa By Dahaa, Pras Prakashan, Mumbai, 1983
• Mithu Mithu Porat ani Sutak, Saket Prakashan, Aurangabad,1989
• Tirkas Ani Chaukas, Lok Vangmay Griha, Mumbai;1980;2nd Ed: Shabdalay Prakashan, Srirampur,2010
• Punha Tukaram, S.K.Belvalkar, Pune, 1990; 2nd edition: Popular Prakashan, Mumbai, 1995; 3rd edition:Popular Prakashan, Mumbai, 2001
• Shatakaanchaa Sandhikaal, Lok Vangmay Griha, Mumbai
• Bhau Padhye Yanchyaa Shreshtha Kathaa ( Editor), Lok Vangmay Griha, Mumbai, 1995
• Ekoon Kavita-1, Popular Prakashan, Mumbai, 1992; 2nd edition:1995
• Ekoon Kavita-2, Popular Prakashan; Mumbai;1995
• Ekoon Kavita-3, Popular Prakashan; Mumbai
• Chaturang, Popular Prakashan, Mumbai;1995
• Tukobache Vaikunthagaman,Shabdalay Prakashan, Srirampur,2010
• Agatikanche Jaagatikikaran, Shabdalay Prakashan, Srirampur,2010
• Kavi Kai Kaam Karto(in Gujarati and English translation), Poetrywala, Mumbai,2010

In English[link]

• An Anthology of Marathi Poetry (1945–1965) (Editor), Nirmala-Sadanand, Mumbai, 1968
• Ambulance Ride, Self, Mumbai, 1972
• Travelling In A Cage; Clearing House; Mumbai; 1980
• The Reasoning Vision: Jehangir Sabavala’s Painterly Universe, Introduction and Notes on the paintings by Dilip Chitre
• Tata-McGraw-Hill, New Delhi, 1980
• Says Tuka: Translation of Tukaram, Penguin, 1991
• Tender Ironies: A Tribute To Lothar Lutze (Editor), Manohar, New Delhi, 1994
• Shri Jnandev’s Anubhavamrut: The Immortal Experience of Being, Sahitya Akademi, New Delhi, 1996
• The Mountain, Vijaya Chitre, Pune, 1998
• No-Moon Monday On The River Karha, Vijaya Chitre, Pune, 2000
• Virus Alert: Poems of Hemant Divate,( as translator) Mumbai: Poetrywala, 2003
• Namdeo Dhasal: Poet of the Underground: Poems 1972-2006 (as Translator), Navayana Publishing, Chennai, 2007
• As Is, Where Is: Selected Poems, Poetrywala, Mumbai,2008
• Shesha: Selected Marathi poems in English Translation, Poetrywala, Mumbai, 2008

In Hindi[link]

• Pisati ka Burz: Dileep Chitre ki Chuni Huvi Kavitaayen, translated by Chandrakant Deotale, Rajkamal, New Delhi, 1987

In Gujarati[link]

• Milton-na Mahaakaavyo, translated by Yashwant Dashi and the author, Parichay Pustakavali, Mumbai, 1970
• Kavya Vishva Shreni: Marathi: Dileep Chitre, translated by Jaya Mehta, Gujarat Sahitya Academy, Gandhinagar

In German[link]

• Das Fallen des Banyanbaums, translated by Lothar Lutze, Botschaft der Bundesrepublik Deutschland, New Delhi, 1980
• BOMBAY/MUMBAI: Bilder einer Mega-Stadt ( with Henning Stegmuller and Namdeo Dhasal) Translated by Lothar Lutze, A-1 Verlag, Munchen
• Worte des Tukaram, Translated by Lothar Lutze, A=1 Verlag, Munchen
• Lotos Blatter 1: Dilip Chitre: Aus dem Englischen und dem Marathi, translated by Lothar Lutze, Proben Indische Poesie:Lotos Verlag Roland Beer; Berlin,2001

Paintings and exhibitions[link]

• 1969, First One Man Show of Oil Paintings; Bombay; India;
• 1975, Triple Triptych; in collaboration with Peter Clarke and Ahmed Muhammad Imamovic; Iowa City, Iowa; USA;
• Participation in group shows in India and the Netherlands;
• Dilip Chitre 63: Mini-Retrospective of Paintings in Pune (1986–2001); Studio S, Pune;2001;
• In the collection of Air-India International, Bombay, India; John Deere Inc. Administrative Centre, Moline, Illinois, USA; Dr. Viktor Ionesescu, Iowa City, USA; Mr. and Mrs. Robert E. Yaw, Cedar Rapids, USA; Mr. Peter Clarke, Cape Town, South Africa; Marie Jose Van de Loo and Henning Stegmuller, Munich, Germany; Dr. Lothar Lutze, Berlin, Germany; Frau Petra Matusche, Goethe=Institute, Germany; Vijay Shinde, Pune; Sujit Patwardhan, Pune; Mrs. Statira Wadia, Pune; Jayant Risbud, Pune; Dr. Sameer Kulkarni, Pune; Bhaskar Hande, Den Haag, The Netherlands; Daniel Weissbort, Iowa City, Iowa, USA/ London United Kingdom; Sanat and Kunda Sashital, Los Angeles, USA; Evonna Lee Landwehr, Evanston, Illinois, USA; Milind and Kirti Gupte, Mumbai; Ganesh Vispute and Shruti Tambe, Pune;Sanjeevani Nerkar, N.Y.City, USA; Vasant Ksheersagar, New Jersey, USA; Bhalchandra Nemade, Mumbai; Ashok Shahane, Mumbai; Sphurti and Ashok Patil, Pune; Ananya Parekh, Mumbai; and others.

Filmography and videography[link]

• Vijeta, produced by Filmvalas, Mumbai, Directed by Govind Nihalani; Story and Screenplay
• Godam, produced by the National Film Development Corporation, Mumbai; Screenplay, Direction, and Music
• Ardha Satya, Directed by Govind Nihalani; Theme Poem
• A Tryst With Destiny, produced by S.S. Oberoi; Script and Direction
• Education ’72, produced by S.S. Oberoi; Script and Direction
• A Question of Identity, produced by Y.R.Khandekar; Script, Direction, and Narration
• Dattu, produced by Dnyada Naik; Script and Direction
• Made In India, Producer, Scriptwriter, and Directior, on behalf of the Industrial Design Centre, Indian Institute of Technology, Powai, Mumbao
• Bombay:Geliebte Moloch, produced by Adanos-Film, gmbh, Munich, Germany; Co-Scriptwriter and C-Director; Videofilms Made For The Archives of Bharat Bhavan, Bhopal (1984–85)
• Shakti Chattopadhyaya: Portrait of the Poet, produced by Bharat Bhavan, Bhopal; Concept, Script, and Direction
• Translating Shakti Chattopadhyaya into English: A discussion with Jyotirmoy Datta and Arvind Krishna Meherotra, Concept and Direction, Produced by Bharat Bhavan, Bhopal
• Translating Shakti Chattopadhyaya into Hindi a discussion with Kedar Nath Singh and Prayag Shukla, Concept and Direction
• Shamsher Bahadur Singh: A Portrait of the Poet, Concept and Direction
• Shamsher Bahadur Singh in discussion with Namvar Singh and Ashok Vajpeyi, Concept and Direction, produced by Bharat Bhavan Bhopal
• K.Satchidanandan: A Portrait of the Poet and a discussion by Sudha Gopalakrishnan and Rajendra Dhodapkar, Concept and Direction, produced by Bharat Bhavan, Bhopal
• In The Darkness of the Twentieth Century: A discussion featuring Shrikant, Verma, Namvar Singh, and Ashok Vajpeyi, Concept and Direction, produced by Bharat Bhavan, Bhopal
• Kunwar Narayan: A Portrait of the Poet, Concept and Direction, produced by Bharat Bhavan, Bhopal
• B.C.Sanyal: Memories of Life and Art at 82, Concept and Direction. For Sahitya Akademi, New Delhi
• Narayan Surve: A Poet of The Proliterait (in Marathi,Hindi,and English versions), 2000

Editor[link]

• Shabda (1954–1960), Mumbai
• New Quest (1978–1980), (2001–), Mumbai

Columnist[link]

• The Free Press Journal, Mumbai (1959–1960)
• Loksatta, Mumbai
• Dinank, Mumbai
• Ravivar Sakal, Pune
• Quest
• New Quest
• Abhiruchi

Occasional book reviewer/contributor of articles[link]

• The Indian Express
• The Times of India
• Sakaal Times
• Quest
• New Quest
• Granth
• The Illustrated Weekly of India
• Times Weekly
• Biblio
• Gallery
• Kala-Varta
• Sakshatkar
• Poorvagraha

References[link]

External links[link]

• Chitre Home Page
• Tribute to Chitre at Cerebration.org by Sachin Ketkar
• Chitre's Interview at Rediff.com
• A very Important Article by Chitre on Marathi Poetry
• Dilip Chitre Interview
• Articles on various topics written by Chitre. Many of them unpublished

Online Paintings[link]

• Paintings of Dilip Chitre online

Online Poetry[link]

• At Poetry International Web
• At Muse India
• at Kavitayan
• Childhood
• Haikus
• Rape of Gujarat
• Ode to Bombay
• Frescos on Little Mag
• Hindi Translations of some poems at Pratilipi
• Poems from Shesha
• Gujarati translations of some poems by Hemang Desai