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Name | Bhanwar |
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Director | Bhappi Sonie |
Starring | Ashok KumarRandhir Kapoor |
Music | R. D. Burman |
Released | |
Country | India |
Language | Hindi |
Category:1976 films Category:Indian films Category:Hindi-language films
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Kishore Kumar |
---|---|
Background | solo_singer |
Spouse | Rama Devi, Madhubala, Yogeeta Bali, Leena Chandawarkar |
Birth name | Abhas Kumar Ganguly |
Born | August 04, 1929Khandwa, Central Provinces and Berar |
Died | October 13, 1987Mumbai, Maharashtra |
Genre | Playback, Rabindra Sangeet, rock and roll |
Occupation | Singer, actor, director, musician, producer |
Years active | 1946–1987 |
Kishore Kumar (, ; 4 August 1929 – 13 October 1987) was an Indian film playback singer and an actor who also worked as lyricist, composer, producer, director, screenwriter and scriptwriter. Kishore Kumar sang in many Indian languages including Bengali, Hindi, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam and Oriya. He was the winner of 8 Filmfare Award for Best Male Playback Singer and holds the record for most number of Filmfare Awards won for that category.
While Kishore Kumar was still a child, Ashok Kumar became a popular Bollywood actor. (Later, Anoop Kumar also ventured into cinema with the help of Ashok Kumar). Spending time with his brothers, Kishore Kumar also started to take a keen interest in movies and music. He became a fan of singer-actor Kundan Lal Saigal, whom he considered his guru, and he tried to follow Saigal's singing style.
Kishore Kumar played hero in the Bombay Talkies film Andolan (1951), directed by Phani Majumdar. Although Kishore Kumar got some assignments as an actor with help of his brother, he was more interested in becoming a singer. He was not interested in acting, but his elder brother Ashok Kumar wanted him to be an actor like himself.
He starred in Bimal Roy's Naukri (1954) and Hrishikesh Mukherjee's directorial debut Musafir (1957). Salil Chowdhury, the music director for Naukri was initially dismissive of him as a singer, when he came to know that Kishore Kumar didn't have any formal training in music. However, after hearing his voice, he gave him the song Chhota sa ghar hoga, which was supposed to be sung by Hemant Kumar.
Kishore Kumar starred in films New Delhi (1957), Aasha (1957), Chalti Ka Naam Gaadi (1958), Half Ticket (1962), and Padosan (1968). Chalti Ka Naam Gaadi, his home production, starred the three Ganguly brothers, and Madhubala. The film is about romance between a city girl (Madhubala) and a car mechanic (Kishore Kumar), with a subplot involving brothers.
Music director S. D. Burman is credited with spotting Kishore Kumar's talent as a singer, and advancing his singing career. During the making of Mashaal (1950), Burman visited Ashok Kumar's house, where he heard Kishore imitating K. L. Saigal. He complimented Kishore, but also told him that he should develop a style of his own, instead of copying Saigal. He kept Burman's advice in mind, and eventually developed his own style of singing, which featured the yodeling that he had heard on some records of Jimmie Rodgers bought by his brother Anoop Kumar.
S. D. Burman recorded with Kishore for Dev Anand's Munimji (1954), Taxi Driver (1954), House No. 44 (1955), Funtoosh (1956), Nau Do Gyarah (1957), Paying Guest (1957), Guide (1965), Jewel Thief (1967), Prem Pujari (1970), and Tere Mere Sapne (1971). He also composed music for Kishore Kumar's home production Chalti Ka Naam Gaadi (1958). Some of their initial films included the songs "Maana Janaab Ne Pukara Nahin" from Paying Guest, "Hum Hain Rahi Pyar Ke" from Nau Do Gyarah (1957), "Ai Meri Topi Palat Ke Aa" from Funtoosh, and "Ek Ladki Bheegi Bhaagi Si" and "Haal Kaisa Hai Janaab Ka" from Chalti Ka Naam Gaadi (1958). When S. D. Burman was not on good terms with Lata Mangeshkar during 1957-62, he gave patronage to her younger sister, Asha Bhosle. The Asha Bhosle-Kishore Kumar duets composed by S. D. Burman include "Chhod Do Aanchal" from Paying Guest (1957), "Ankhon Mein Kya Ji" from Nau Do Gyarah (1957), "Haal Kaisa Hai Janaab Ka" and "Paanch Rupaiya Baara Aana" from Chalti Ka Naam Gaadi (1958), "Chhedo Na Meri Zulfein" from Ganga Ki Lahren (1964), and "Arre Yaar Meri Tum Bhi Ho Gajab" from [Teen Devian|Teen Deviyan] (1965).
C. Ramchandra was another music director who recognized Kishore Kumar's talent as a singer.
R. D. Burman frequently used Kishore Kumar as the male singer, and recorded several hit songs with him in the 1970s. Some of the popular Kishore Kumar-R. D. Burman songs include "O Maajhi Re" from Khushboo, "Yeh Shaam Mastaani" and "Yeh Jo Mohabbat Hai" from Kati Patang (1971), "Kuchh To Log Kahenge" from Amar Prem (1972), "Raat Kali Ek Khwab Mein Aayi" from Buddha Mil Gaya (1971), "Musafir Hoon Yaaron" from Parichay (1972), "Diye Jalte Hain" from Namak Haraam (1973), "Meri Bheegi Bheegi Si" from Anamika (1973), "Zindagi Ke Safar Mein" from Aap Ki Kasam (1974), "Agar Tum Na Hote", Humein Tum Se Pyaar Kitna from Kudrat, "Mere Naina Saawan Bhadon" from Mehbooba, and "Chingari Koi Bhadke" (Amar Prem), "Jab Bhi Koi Kangana" from Shaukeen (1986). R. D. Burman also recorded several hit duets pairing Kishore Kumar with Asha Bhosle and with Lata Mangeshkar. Some of these duets include "Panna Ki Tamanna" from Heera Panna (1973), "Neend Chura Ke Raaton Mein" from the film Shareef Budmaash, "Kya Yehi Pyaar Hai" from Sanjay Dutt's debut film Rocky (1981), "Sagar Kinare" from Sagar in [1985], "Aap Ki Aankhon Mein Kuchh" from Ghar, "Jaane Ja Dhoondta" and "Nahi Nahi" from Jawani Diwani, "Kharoshoo" from Harjai (1982).
Apart from the Burmans, Kishore Kumar worked with other music directors as well. The composer duo Laxmikant-Pyarelal (L-P) also composed many hit songs sung by Kishore Kumar. Some of their hit songs include Mere Mehboob Qayamat Hogi from Mr. X In Bombay, Mere Naseeb Mein Aye Dost from Do Raaste, Yeh Jeevan Hai from Piya Ka Ghar, Mere Dil Mein Aaj Kya Hai from , Nahi Mai Nahi Dekh Sakta from Majboor, Mere diwanepan ki bhi from Mehboob Ki Mehndi, Naach Meri Bulbul from Roti, Chal Chal Mere Haathi from Haathi Mere Saathi, Gaadi Bula Rahi Hai from Dost, Ruk Jaana Nahi from Imtihaan, Ek Ritu Aaye from Gautam Govinda, My Name Is Anthony Gonsalves from Amar Akbar Anthony Bahut Khoobsurat Jawan Ek Ladki from Dostana and Om Shanti Om as well as Paisa Yeh Paisa from Karz. L-P, also composed several hit Kishore-Lata duets, including Achchha To Hum Chalte Hain from Aan Milo Sajna, Gore Rang Pe Na Itna from Roti, Main Solah Baras Ki from Karz, and Din Mahine Saal from Avtaar, Tu Kitne Baras Ki from Karz. L-P also got Kishore Kumar and Mohammed Rafi to sing duets for the films Dostana, Ram Balram and Deedaar-E-Yaar. L-P composed a duet with Kishore Kumar and Alisha Chinoy, I love you (Kaate Nahin Katate Yeh Din Yeh Raat) from Mr. India in (1987). Salil Chowdhury recorded songs like Koi Hota Jisko Apna from Mere Apne and Gujar Gaye Din Din from Annadata. Ravindra Jain recorded Ghungroo Ki Tarah, and the duet Tota Maina Ki Kahani from Fakira. Khaiyyaam recorded beautiful duets with Lata Mangeshkar such as Hazar Rahein from Thodisi Bewafai, Aankhon Mein Humne Aapke Sapne Sajaye Hain, Chandani Raat Mein Ek Bar. Hridaynath Mangeshkar recorded Zindagi Aa Raha Hoon Main from Mashaal. Kalyanji-Anandji recorded several hit songs with Kishore Kumar including Zindagi Ka Safar and Jeevan se na haar Jeenewale , from Safar, Pal Pal Dil Ke Paas from Black Mail, Apne Jeevan Ki Uljhan from Uljhan, Mera Jeevan Kora Kagaz from Kora Kagaz, O Saathi Re from Muqaddar Ka Sikandar, Khaike Paan Banaraswala from Don, Neele Neele Ambar Par from Kalakar and Pal Bhar Ke Liye from Johny Mera Naam''.
Other composers including Rajesh Roshan, Sapan Chakravarty, and Bappi Lahiri also worked with Kishore Kumar. Rajesh Roshan's first hit film Julie featured hit songs sung by Kishore Kumar, Bhool Gaya Saab Kuchh (duet with Lata Mangeshkar) and Dil Kya Kare Jab Kisise. Their other hits include Chhookar mere man ko from Yaarana , Tune Abhi Dekha Nahin from Do Aur Do Paanch and Kahan Tak Ye Man Ko Andhere Chhalenge from Baaton Baaton Mein. Bappi Lahiri also recorded many popular songs with Kishore Kumar, including Pag Ghunghroo Bandh from Namak Halal (1982), Manzilen Apni Jagah Hai from Sharaabi (1984) and Chalte Chalte Mere Ye Geet from Chalte Chalte (1976), Saason Se Nahi Kadmose Nahi from Mohabbat in (1987) and duets with (Lata Mangeshkar)) like Taa thaiya from Himmatwala in (1984), Albela Mausam from Tohfa in (1985) and another duet Pyar Ka Tohfa from the same film.
During the Indian Emergency (1975–1977), Sanjay Gandhi asked Kishore Kumar to sing for a Congress rally in Mumbai, but Kishore Kumar refused. As a result, the Government put an unofficial ban on playing Kishore Kumar songs on the All India Radio or television.
With patronage from R. D. Burman and Rajesh Roshan, Kishore Kumar's son Amit Kumar also became a Bollywood singer in the 1980s. Kishore Kumar also continuted singing for several actors. He also did some stage shows, apparently to earn money to pay his income tax arrears.
However, on 13 October 1987, he died of a heart attack in Mumbai at 4:45 pm. His body was taken to Khandwa for cremation. He had recorded his last song a day before he died. The song was Guru Guru, a duet with Asha Bhosle, for the film Waqt Ki Aawaz (1988) composed by Bappi Lahiri for Mithun Chakraborty and Sridevi.
Kishore Kumar's song Pal Bhar Ke Liye from the film Johny Mera Naam (1970) was used in an episode of The Simpsons titled Kiss Kiss, Bang Bangalore. His songs have also been featured in several films, including Such a Long Journey (1998) and Side Streets (1998). Sony TV organised the television singing contest K for Kishore to search for a singer like Kishore Kumar.
He married four times. His first wife was Ruma Guha Thakurta aka Ruma Ghosh. Their marriage lasted from 1950 to 1958. Kishore Kumar's second wife was the actress Madhubala, who had worked with him on many films including his home production Chalti Ka Naam Gaadi (1958). When Kishore Kumar proposed to her, Madhubala was sick and was planning to go to London for treatment. At this time, she didn't know that she had a ventricular septal defect, and her father wanted her to wait and consult the London doctors first. Nevertheless, Madhubala married Kishore Kumar in 1960. Madhubala was a Muslim, and the two had a civil marriage. Kishore Kumar even converted to Islam, and took the name Karim Abdul.
His family was against the marriage, and the couple also had a Hindu marriage to please them, but Madhubala was not accepted by them. The doctors in London told Madhubala that she would not live for long. The marriage lasted for 9 years, and ended with Madhubala's death on 23 February 1969. Kishore Kumar's third marriage was to Yogeeta Bali, and lasted from 1976 to 4 August 1978. Kishore Kumar was married to Leena Chandavarkar from 1980 until his death.
Kishore Kumar had two sons, Amit Kumar (playback singer) with Ruma, and Sumit Kumar with Leena Chandavarkar.
Kishore Kumar is said to have been paranoid about not being paid. Once, when he discovered that his dues hadn't been fully paid, he landed up for shooting with make-up on only one side of his face. When the director questioned him, he replied "Aadha paisa to aadha make-up." (Half make-up for half payment). Hrishikesh Mukherjee, the director of the film, was asked to meet Kishore Kumar to discuss the project. However, when he went to Kishore Kumar's house, he was driven away by the gatekeeper due to a misunderstanding. Kishore Kumar (himself a Bengali) hadn't been paid for a stage show organized by another Bengali man, and had instructed his gatekeeper to drive away this "Bengali", if he ever visited the house. When Hrishikesh Mukherjee (also a Bengali) went to Kishore Kumar's house, the gatekeeper drove him away, mistaking him for the "Bengali" that Kishore Kumar had asked him to drive away. Consequently, Mehmood had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the film.
In spite of his "no money, no work" principle, sometimes Kishore Kumar recorded for free even when the producers were willing to pay. He recorded for free, for some films produced by Rajesh Khanna and Danny Denzongpa. On one occasion, Kishore Kumar helped actor-turned-producer Bipin Gupta, by giving him Rs. 20,000 for the film Dal Mein Kala (1964). When the little-known actor Arun Kumar Mukherjee died, Kishore Kumar regularly sent money to his family in Bhagalpur. Kishore Kumar had put a "Beware of Kishore" sign at the door of his Warden Road flat, where he stayed for some time while his bungalow was being done up. Once, the producer-director H. S. Rawail, who owed him some money, visited his flat to pay the dues. Kishore Kumar took the money, and when Rawail offered to shake hands with him, he reportedly put Rawail's hand in his mouth, bit it, and asked "Didn’t you see the sign?". Rawail laughed off the incident and left quickly. Once, when a reporter made a comment about how lonely he must be, Kishore Kumar took her to his garden. He then named some of the trees in his garden, and introduced them to the reporter as his closest friends.
Once, a producer went to court to get a decree that Kishore Kumar must follow the director's orders. As a consequence, Kishore Kumar obeyed the director to the letter. He refused to alight from his car until the director ordered him to do so. Once, after a car scene in Mumbai, he drove on till Khandala because the director forgot to say "Cut". 1972 - Best Male Playback Singer for Andaz 1973 - Best Male Playback Singer for Hare Rama Hare Krishna 1975 - Best Male Playback Singer for Kora Kagaz
Category:1929 births Category:1987 deaths Category:Bengali people Category:People from Khandwa Category:Indian male singers Category:Indian actors Category:Indian film actors Category:Indian film singers Category:Cardiovascular disease deaths in India Category:Indian comedians Category:Bollywood playback singers Category:Yodelers Category:Bengali musicians Category:Bengali actors Category:Assamese playback singers Category:Indian former Muslims Category:People from Mumbai Category:Hindi film actors Category:Hindi film directors Category:Indian film directors Category:Indian film producers
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Caption | Randhir (very right) at an event |
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Name | Randhir Kapoor |
Birth date | February 15, 1947 |
Birth place | India |
Occupation | Film actor, Producer, Director |
Randhir Kapoor hails from the legendary Kapoor family. He is the eldest son of Raj Kapoor. He is a fourth generation Kapoor and comes from a distinguished Punjabi Hindu family who have been part of the Hindi film industry for many years. His great-great grandfather was Dewan Keshavmal Kapoor, his great-grandfather was Dewan Basheswarnath Kapoor, his grandfather was actor Prithviraj Kapoor, his paternal uncles are actors Shammi Kapoor and Shashi Kapoor. His brothers are actors Rishi Kapoor and Rajiv Kapoor. His wife is actress Babita and his daughters are actresses Karisma Kapoor and Kareena Kapoor. His nephew is actor Ranbir Kapoor, son of Rishi Kapoor.
After his debut, he scored with two successful movies, the first with Jaya Bachchan in the film Jawani Diwani (1972) which also included the hit song "Jaane Jaan." This movie was one of the biggest hits of that year and was applauded because of the music and performances. The other success, released the same year, was Raampur Ka Lakshman, with Shatrughan Sinha and Rekha, and directed by Manmohan Desai, with music by the legendary R.D. Burman.
In 1975 he directed and starred alongside his father once again in Dharam Karam which was a failure at the box office.
He went on to appear in other multi-star hit films: Chacha Bhatija (1977), Kasme Vaade (1978) (he earned a Filmfare nomination as Best Supporting Actor) and Pukar (1983). Except for Jawani Diwani, which was successful to a major extent because of music by Rahul Dev Burman, Randhir Kapoor never had a single successful movie in which he was the leading man. All his other hits were with other major stars and in which Randhir Kapoor himself was the secondary lead.
After the 1984 film Khazana he quit acting and took to producing and directing. In 1991 he directed Henna. It was at first directed by his father. But when his father died during production, Randhir completed the film for him. He earned a Filmfare nomination for Best Director. In 1996 he was the producer of PremGranth which was the directorial debut of his younger brother Rajiv and in 1999 he was the producer of Aa Ab Laut Chalen which was the directorial debut of his brother Rishi.
In 1999 he returned to acting with the film Mother. After another break he appeared in the film Armaan (2003).
On 13 May 2007 he made an appearance on the television chat show Koffee with Karan where his brothers and sister Rima as well as his sister-in-law Neetu Singh appeared. On the show, it was mentioned how Randhir had been Neetu's first leading man in the film Rikshawala (1972), and they laughed about how the film hadn't done well.
He appeared in the movie House Full (film) in 2010.
Category:Indian Hindus Category:1947 births Category:Living people Category:Indian film actors Category:Indian film directors Category:Indian film producers
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Parveen Babi |
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Caption | Parveen Babi in the 1970s |
Birth date | April 04, 1949 |
Birth place | Junagadh |
Occupation | Actress |
Years active | 1973 - 1983 |
Death date | January 20, 2005 |
Death place | Mumbai |
Parveen did not marry but had live in relationships with married men: director Mahesh Bhatt, actors Kabir Bedi, and Danny Denzongpa. She was also strongly rumoured to have had an affair with her co-star Amitabh Bachchan. Mahesh Bhatt later wrote and directed Arth (1982), a semi-autobiographical film about his extramarital relationship with Babi, and wrote and produced Woh Lamhe (2006) based on actual facts about his relationship with her.
She was the first Indian actress to have been featured on TIME magazine's cover , in July 1976, much to the consternation of her contemporaries. In her most successful films, she was paired opposite Amitabh Bachchan, who was one of the biggest stars of the decade, in cinematic blockbusters like Deewaar (1975) Amar Akbar Anthony (1977), Shaan (1980), Kaalia (1981), and Khud-daar (1982), a pairing which became very popular. However, she also gave hits opposite actors like Shashi Kapoor in Suhaag (1979 film) (1979), Kaala Patthar (1979) and Namak Halaal (1982), Jeetendra in Meri Aawaaz Suno (1981) and Vinod Khanna in The Burning Train (1980).
She was often compared with her contemporary Zeenat Aman due to their common image as sex symbols. In fact, she acted alongside Zeenat in Mahaan (1983) and Ashanti (1982) (inspired by the American television show Charlie's Angels, with the third role played by Shabana Azmi). In films like Deewar (1975), Shaan (1980) and Namak Halaal (1982) her screen presence may have been minimal (the films largely working around the hero) but Parveen brought a certain attractive aloofness to the roles and songs she appeared in. In Manoj Kumar's big hit Kranti (1981) she overshadowed Hema Malini who played the main lead. Parveen also acted in offbeat films like Vinod Pande's Yeh Nazdeekiyan (1982) playing the role of the "other woman" opposite Marc Zuber.
Her success did not run into the mid-eighties as she had left the film industry to move to New York in 1983. Many of her completed films released in the following years right up until her last film, Iraada, which released in 1990.
After her death, her body was taken to Cooper Hospital, where it lay unclaimed till evening. Soon after, filmmakers Mahesh Bhatt and Ashok Pandit offered to perform the last rites if there was no claimant. However, her close relatives in Junagadh were informed and the closest relative was found to be H.H. Begum Farhat Sultana Babi of Balasinor. She along with her son, Nawabzada Salauddinkhan Babi rushed to Mumbai and after completing the formalities the body of Parveen Babi was handed over to her by the Mumbai Police for the last rites. Her burial was conducted according to Islamic rites and Babi was buried next to her mother at Santa Cruz, in Mumbai on 23 January 2005.
Category:1949 births Category:2005 deaths Category:Deaths from diabetes Category:Indian film actors Category:Hindi film actors Category:Indian Muslims Category:People from Junagadh Category:Actors from Gujarat Category:Indian actors
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Lata Mangeshkar |
---|---|
Background | solo_singer |
Born | September 28, 1929Indore, Central India Agency |
Instrument | Vocals |
Genre | Film music (playback singing) |
Occupation | Singer |
Years active | 1942–present |
Lata Mangeshkar (; born September 28, 1929) is a singer from India. She is one of the best-known and most respected playback singers in India. Mangeshkar's career started in 1942 and has spanned over six and a half decades. She has recorded songs for over a thousand Bollywood movies and has sung songs in over thirty-six regional Indian languages and foreign languages, but primarily in Hindi. She is the elder sister of Asha Bhosle and brother Hridayanath Mangeshkar and sisters Usha Mangeshkar and Meena Mangeshkar. She is the second vocalist ever to have received the Bharat Ratna, India's highest civilian honour.
Mangeshkar was featured in the Guinness Book of World Records from 1974 to 1991 for having made the most recordings in the world. The claim was that she had recorded no less than 25,000 solo, duet, and chorus-backed songs in 20 Indian languages between 1948 to 1974 (30,000 songs between 1948 and 1987, according to the 1987 edition). Over the years, while several sources have supported this claim, others have raised concerns over its veracity, claiming that this number was highly exaggerated and that Mangeshkar's younger sister, Asha Bhosle, had more song recordings than she had.
Mangeshkar took her first music lessons from her father. At the age of five, she started to work as an actress in her father's musical plays (sangeet naatak in Marathi). On the first day in the school, she started teaching songs to other children. When the teacher stopped her, she was so angry that she stopped going to the school.
“Aayega Aanewaala,” a song in the movie Mahal (1949) was composed by music director Khemchand Prakash and lip-synced on screen by actress Madhubala.
Mangeshkar sang many raga-based songs for Naushad in movies such as Baiju Bawra (1952), Mughal-E-Azam (1960), and Kohinoor (1960). Ae Chorre Ki Jaat Badi Bewafa, a duet with G. M. Durrani, was her first song for composer, Naushad. The duo, Shankar-Jaikishan, chose Mangeshkar for Aag, Aah (1953), Shree 420 (1955), and Chori Chori (1956). Before 1957, composer Sachin Dev (S. D.) Burman chose Mangeshkar as the leading female singer for his musical scores in Sazaa (1951), House No. 44 (1955), and Devdas (1955). However a rift developed between Lata and Burman in 1957, and Lata did not sing Burman's compositions again until 1962.
In 1963, Mangeshkar returned to collaboration with S. D. Burman. She also sang for R. D. Burman's very first film Chhote Nawaab and later for his films such as Bhoot Bangla (1965), Pati Patni (1966), Baharon ke Sapne (1967) and Abhilasha (1969). She also recorded several popular songs for S. D. Burman, including Aaj Phir Jeene Ki Tamanna Hai, Gata Rahe Mera Dil (duet with Kishore Kumar) and Piya Tose from Guide (1965), and Hothon Pe Aisi Baat from Jewel Thief (1967).
During the 1960s, Lata Mangeshkar continued her association with Madan Mohan which included the songs Aap Ki Nazron Ne Samjha from Anpadh (1962), Lag Ja Gale and Naina Barse Rim Jhim from Woh Kaun Thi? (1964), Woh Chup Rahen To from Jahan Ara (1964), and Tu Jahan Jahan Chalega from Mera Saaya (1966).
The 1960s also witnessed the beginning of Mangeshkar's association with Laxmikant-Pyarelal, the music directors for whom she sang the most songs in her career.
She also sang several playback songs for Marathi films, composed by Marathi music directors including Hridaynath Mangeshkar, Vasant Prabhu, Srinivas Khale, Sudhir Phadke and herself (under the name Anandghan). During the 1960s and 1970s, she also sang several Bengali songs, composed by music directors like Salil Chowdhury and Hemant Kumar.
Lata Mangeshkar has recorded duets with Mukesh, Manna Dey, Mohammed Rafi, and Kishore Kumar. From the 1960s, she was not on good terms with Mohammed Rafi over the issue of royalty payments to singers. Mangeshkar wanted Rafi to back her in demanding a half-share from the five percent song royalty that the film's producer conceded to select composers. But Rafi took a diametrically opposite view, and believed that a playback singer's claim on the filmmaker ended with the payment of the agreed fee for the song. During the recording of the song Tasveer Teri Dil Mein (Maya, 1961), Mangeshkar lost her cool with Rafi in a certain passage of the song. Rafi felt belittled, as the music director Salil Chowdhury chose to back Mangeshkar . The situation worsened as Lata Mangeshkar declared that she would no longer sing with Rafi. Rafi stated that he was only as keen to sing with Mangeshkar as she was with him.
In 1999, she was nominated as a member of Rajya Sabha. However, she did not attend the Rajya Sabha sessions regularly, inviting criticism from several members of the House, including the Deputy Chairperson Najma Heptullah, Pranab Mukherjee and Shabana Azmi. She stated the reason for her absence as ill-health; it was also reported that she had not taken a salary, allowance or a house in Delhi for being a Member of Parliament.
In 2001, Lata Mangeshkar was awarded Bharat Ratna, India's highest civilian honor. In the same year, she established the Master Deenanath Mangeshkar Hospital in Pune, managed by the Lata Mangeshkar Medical Foundation (founded by the Mangeshkar family in October 1989). In 2005, she designed a jewellery collection called Swaranjali, which was crafted by Adora, an Indian diamond export company. Five pieces from the collection raised £105,000 at a Christie's auction, and a part of the money was donated for the 2005 Pakistan earthquake relief. Also in 2001, she recorded her first Hindi song with the composer Ilaiyaraaja, for the film Lajja (2001); she had earlier recorded Tamil and Telugu songs composed by Ilaiyaraaja.
In 2000s, Lata Mangeshkar, along with other residents of the Peddar Road area in Mumbai, opposed the construction of a flyover in the area. She believed that construction of the flyover would increase air and noise pollution in the area, and threatened to quit the city if the flyover was built. In 2006, it was reported that she and her sister Asha Bhosle had purchased apartments in Parel and were planning to move out of Peddar Road.
Lata Mangeshkar's song Wada Na Tod is in the film Eternal Sunshine of the Spotless Mind (2004) and on the film's soundtrack.
On June 21, 2007, she released an album Saadgi, featuring eight ghazal-like songs written by Javed Akhtar and composed by Mayuresh Pai.
She won Maharashtra State Government's Best Music Director Award for the film Sadhi Manase. The song Airanichya deva tula from the same film received best song award.
Lata Mangeshkar has won several awards and honors, including Padma Bhushan (1969), Padma Vibhushan (1999), Dada Saheb Phalke Award (1989), Maharashtra Bhushan Award (1997), NTR National Award (1999), Bharat Ratna (2001), ANR National Award (2009), three National Film Awards, and 12 Bengal Film Journalists' Association Awards. She has also won four Filmfare Best Female Playback Awards. In 1969, she made the unusual gesture of giving up the Filmfare Best Female Playback Award, in order to promote fresh talent. She was later awarded Filmfare Lifetime Achievement Award in 1993.
In 1984, the State Government of Madhya Pradesh instituted the Lata Mangeshkar Award in honor of Lata Mangeshkar. The State Government of Maharashtra also instituted a Lata Mangeshkar Award in 1992.
In 1974, The Guinness Book of Records listed Lata Mangeshkar as the most recorded artist in the history, stating that she had reportedly recorded "not less than 25,000 solo, duet and chorus backed songs in 20 Indian languages" between 1948 and 1974. Her record was contested by Mohammed Rafi, who was claimed to have sung around 28,000 songs. After Rafi's death, in its 1984 edition, the Guinness Book of World Records stated Lata Mangeshkar's name for the "Most Recordings", but also stated Rafi's claim. The later editions of Guinness Book stated that Lata Mangeshkar had sung no fewer than 30,000 songs between 1948 and 1987.
Although the entry has not been printed in Guinness editions since 1991, reputable sources claim that she has recorded thousands of songs, with estimates ranging up to figures as large as 50,000. However, even the earliest Guinness claim of 25,000 songs (between 1948–1974) was claimed to be exaggerated by other sources, who stated that the number of songs sung by Lata Mangeshkar in Hindustani (Hindi-Urdu films till 1991 was found to be 5250. Mangeshkar herself stated that she does not keep a record of the number of songs recorded by her, and that she did not know from where Guinness Book editors got their information.
Category:1929 births Category:Indian female singers Category:Indian film singers Category:Recipients of the Bharat Ratna Category:Recipients of the Padma Vibhushan Category:Recipients of the Padma Bhushan Category:Living people Category:Bollywood playback singers Category:Marathi people Category:Kollywood playback singers Category:People from Indore Category:Marathi playback singers Category:Telugu playback singers Category:Kannada playback singers Category:Hindi-language singers Category:Marathi-language singers Category:Bengali-language singers Category:Gujarati-language singers Category:Tamil-language singers Category:English-language singers Category:Dadasaheb Phalke Award recipients Category:Recipients of the Maharashtra Bhushan Award
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Name | Mohammed Rafi |
---|---|
Background | solo_singer |
Born | December 24, 1924 Kotla Sultan Singh, Punjab, British India |
Died | July 31, 1980 Mumbai, Maharashtra, India |
Origin | Indian |
Instrument | Vocalist |
Genre | Indian classical, ghazal, playback singing |
Occupation | Hindi and regional playback singer |
Years active | 1944–1980 |
In a career spanning about 40 years, Rafi sang over 26,000 film songs. His songs ranged from classical numbers to patriotic songs, sad lamentations to highly romantic numbers, qawwalis to ghazals and bhajans, and from slow melancholic tunes to fast fun filled songs. He had a strong command of Hindi and Urdu and a powerful range that could accommodate this variety. He sang in many Indian languages including Hindi, Konkani, Urdu, Bhojpuri, Oriya, Punjabi, Bengali, Marathi, Sindhi, Kannada, Gujarati, Telugu, Maghi, Maithili and Assamese. He also recorded a few English, Persian, Spanish and Dutch songs.
An article in Times of India, published on July 24, 2010 sums up his voice as, "If there are 101 ways of saying "I love you" in a song, Mohammed Rafi knew them all. The awkwardness of puppy love, the friskiness of teen romance, the philosophy of unrequited love and the anguish of heartbreak - he could explore every crevice of ardour. It wasn't just love, his voice could capture the navras of life - a failed poet's melancholy, a fiery unionist's vim, a debt-ridden farmer's despair, really anybody at all.Rafi, whose career spanned nearly four decades, was a singer for every season and every reason."
Rafi's first public performance came at the age of 13, when he was allowed to sing at a concert featuring K. L. Saigal. In that same year, Rafi was invited by All India Radio Lahore station to sing for them. He made his professional debut in the Shyam Sunder-directed 1941 film Gul Baloch and the Bombay film, Gaon Ki Gauri, the following year.
Rafi also did brief roles in movies like Laila-Majnu (1945) and Jugnu. In Laila-Majnu, he was seen singing ‘tera jalwa’ as a part of the chorus.
In 1948, after the assassination of Mahatma Gandhi, the team of Husanlal Bhagatram-Rajendra Krishan-Rafi had overnight created the song ‘Suno suno ae duniyawalon, Bapuji ki amar kahani…’. and "Khabar Kisi ko Nahiin, woh kidhar Dekhte (Beqasoor, 1950), etc.
Rafi's association with Naushad helped the former establish himself as one of the most prominent playback singers in Hindi Cinema.
Ravi and Rafi produced several other songs, in the films China Town (1962), Kaajal (1965), and Do Badan (1966).
In an interview to BBC recorded in Nov 1977, Rafi claimed to have sung 25,000 to 26,000 songs till then. According to the available figures, Rafi has sung 4,516 Hindi film songs, 112 non-Hindi film songs, and 328 private (non-film) songs from 1945 to 1980.
At the same period Kishore Kumar's popularity increased due to the songs he sang, controversially, for the film Aradhana in Mohd Rafi`s absence during Rafi's Hajj pilgrimage in 1969. The music for Aradhana was composed by S. D. Burman, and he had used Rafi as the male playback voice for the first two recorded duets, "Baaghon Mein Bahaar Hai" and "Gunguna Rahen Hain Bhanwre". Some of Rafi's songs of the early 1970s were with music directors like Laxmikant Pyarelal, Madan Mohan, R. D. Burman and S. D. Burman. These include "Tum mujhe Yun Bhula na Paoge" (a signature song of Rafi in 1971) from Pagla Kahin Ka, "Yeh Duniya Yeh Mehfil" from Heer Ranjha (1970), "Jhilmil Sitaron ka" from Jeevan Mrityu (a duet with Lata Mangeshkar, 1970), "Gulabi Aankhen" from The Train (1970), "Yeh Jo Chilman Hain" and "Itna to Yaad Hain Mujhe" from Mehboob Ki Mehndi (1971), "Mera mann tera pyasa" Gambler, "Chalo Dildar Chalo" from 1972 released Pakeezah, "Chura Liya Hain Tumne" from Yaadon Ki Baarat (a duet with Asha Bhosle, 1973), "Na tu Zameen Ke liye" from 1973 released Dilip Kumar movie Dastan, "Tum Jo Mil Gaye Ho" from Hanste Zakhm (1973), "teri bindiya re", from Abhimaan(1973) and "Aaj mausam bada beimaan hai" from Loafer (1973).
Rafi was buried at the Juhu Muslim cemetery. It was one of the biggest funeral processions Mumbai had ever witnessed, with over 10,000 people attending.
In 2010, his tomb was demolished to make space for new bodies. Fans of Mohammed Rafi who arrive twice a year at his tomb, on December 24 and July 31, to mark his birth and death anniversary, use the coconut tree nearest to his grave as a marker.
He was a teetotaller, a highly religious and extremely humble person. He was a devout Muslim. Once, when a lesser-known composer Nisar Bazmi (who had migrated from Pakistan) didn’t have enough money to pay him, Rafi charged a fee of one rupee and sang for him. He also helped producers financially. As Laxmikant (of the Laxmikant-Pyarelal duo) once observed – “He always gave without thinking of the returns”.
Rafi's song from the film Gumnaam (1965), "Jaan Pehechan Ho", was used on the soundtrack of Ghost World (2001). The film opens with the lead character dancing around in her bedroom to a video of Gumnaam.
His "Aaj Mausam Bada Beiman Hai" is featured in the 2001 film Monsoon Wedding.
His song "Mera Man Tera Pyasa" (Gambler, 1970) has been used as one of the soundtracks in the Jim Carrey-Kate Winslet starrer Eternal Sunshine of the Spotless Mind (2004). This song is played in the background in Kate Winslet's character's home while the lead pair are having a drink - at approx 00.11.14 runtime.
Several of Rafi's unreleased songs will be used for an upcoming film titled Sorry Madam.
A documentary about Rafi’s life is under production by The Films Division of India.
In the summer of 2008, the City of Birmingham Symphony Orchestra released a double CD entitled Rafi Resurrected comprising 16 songs by Rafi. Bollywood playback singer Sonu Nigam provided the vocals for this project and toured with the CBSO in July 2008 at venues including the English National Opera in London, Manchester's Apollo Theatre and Symphony Hall, Birmingham.
The Padma Shri Mohammed Rafi Chowk in the Bandra suburb of Mumbai and Pune (extending MG Road) is named after Rafi. The same Poll voted "Man re, tu kahe na Dheer Dhare" (Chitralekha, 1964), sung by Rafi as the #1 song. Three songs tied up for the #2 place and two of them were sung by Rafi. The songs were "Tere Mere Sapne Ab Ek Rang Hain" (Guide, 1965) and "Din Dhal Jaye, hai raat na jaye" (Guide, 1965).
This poll was published in Outlook Magazine, the jury of which included many people in the Indian music industry; Abhijeet, Adesh Srivastava, Alisha Chinai, Anu Malik, Ehsaan, Gulzar, Hariharan, Himesh Reshammiya, Jatin, Javed Akhtar, Kailash Kher, Kavita Krishnamurthy, Khayyam, Kumar Sanu, Lalit, Loy, Mahalaxmi Iyer, Mahendra Kapoor, Manna Dey, Prasoon Joshi, Rajesh Roshan, Sadhna Sargam, Sameer, Sandesh Shandilya, Shaan, Shankar, Shantanu Moitra, Shreya Ghoshal, Sonu Nigam and Talat Aziz.
In an article in Times of India, Rafi is described as "a versatile singer, who could render classical, rock and roll, indeed any kind of song with ease, he was Hindi film's favourite male voice through the 1950s and 1960s". Music director Rajesh Roshan, who composed some of the songs with Rafi, remembers him as "a warm-hearted simple person with no ego".
Music lovers have appealed to the Government of India to honour the singer, posthumously, with Bharat Ratna (India's Highest Civilian Award)
Veteran actor Shammi Kapoor said, "I am incomplete without Mohammad Rafi. I used to often go for the recoding of my song, which was sung by Mohammad Rafi, only because I used to like telling him how I would perform on this song on screen so that he can sing it that way. Even he liked my involvement".
On September 22, 2007, a shrine to Rafi designed by artist Tasawar Bashir was unveiled on Fazeley Street, Birmingham, UK. Bashir is hoping that Rafi will attain sainthood as a result.
Singers like Shabbir Kumar, Mohammed Aziz and, more recently, Sonu Nigam, who made a name by adopting his style, perhaps owe their entire careers to Rafi.
After his death, seven Hindi movies have been dedicated to Mohd Rafi; Allah Rakha, Mard, Coolie, Desh-Premee, Naseeb, Aas-Paas and Heeralal-Pannalal.
Nominated: | Dosti | Laxmikant Pyarelal | Majrooh Sultanpuri |- | 1966 | Arzoo | Shankar Jaikishan | Hasrat Jaipuri |}
Winner {| class="wikitable sortable" |- ! Year ! Film ! Music director ! Lyricist |- | 1964 | Chitralekha | Roshan | Sahir Ludhyanvi |}
Category:1924 births Category:1980 deaths Category:Bollywood playback singers Category:Indian film singers Category:Indian Muslims Category:People from Amritsar Category:Indian male singers Category:Filmfare Awards winners Category:Deaths from myocardial infarction Category:Recipients of the Padma Shri Category:Punjabi people Category:Indian musicians Category:Indian singers Category:People from Mumbai Category:Marathi-language singers
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Manna Dey |
---|---|
Background | solo_singer |
Birth name | Prabodh Chandra Dey |
Born | May 01, 1919Calcutta, British India |
Instrument | Vocalist |
Genre | Playback singing |
Occupation | Singer |
Years active | 1939–present |
Url | http://www.mannadey.in |
During Dey’s years at Scottish Church College, he sang to entertain his classmates. He began taking singing lessons from his uncle, Krishna Chandra Dey and Ustad Dabir Khan. During this period, Manna Dey stood first for three consecutive years in three different categories of inter-collegiate singing competitions.
In 1942, Dey accompanied Krishna Chandra Dey on a visit to Bombay. There he started working as an assistant, first under Krishna Chandra Dey, and then under Sachin Dev Burman. Later he assisted other music composers and then started to work independently. While working independently as a music director for various Hindi movies, Manna Dey continued to take musical lessons in Hindustani classical music from Ustad Aman Ali Khan and Ustad Abdul Rahman Khan.
Dey started his career in playback singing with the movie, Tamanna, in 1943. The musical score was by Krishna Chandra Dey and Manna sang a duet with Suraiya. The song was an instant hit. He sang a solo composed by Sachin Dev Burman, Upar Gagan Vishal, in the 1950 movie, Mashal. Its lyrics were written by Kavi Pradeep. In 1952, Dey sang for a Bengali and a Marathi movie with the same name and storyline, Amar Bhupali. This established him as a leading playback singer.
Dey recorded a popular duet, Ketaki Gulab Juhi, with classicist Bhimsen Joshi. With Kishore Kumar, he sang duets of different genres such as, Yeh Dosti Hum Nehi Torenge (Sholay) and Ek Chatur Naar (Padosan). Dey sang with singer/composer, Hemant Kumar (Hemanta Mukherjee), in Bengali movies, and also for some other Bengali composers. He sang a duet, "Ke Prothom Kachhe Esechi", with Lata Mangeshkar in the movie Sankhyabela. He also performed Rabindra Sangeet and has recorded over 3500 songs.
Manna Dey currently lives in Bangalore in the township of Kalyannagar after spending more than fifty years in Mumbai. He also maintains a Calcutta address. He still travels widely in the world to present musical programs.
His Bengali-language autobiography, Jiboner Jalsaghorey, has been published by the renowned Ananda Publisher in the year 2005 which has been translated in English as Memories Come Alive, in Hindi as Yaden Jee Uthi and in Marathi as Jiboner Jalsaghorey.
Jibaner Jalsaghore, a documentary on Dey's life, was released in 2008. Manna Dey Sangeet Academy is developing a complete archive on Manna Dey. In association with Rabindra Bharati University, Kolkata, the Manna Dey Music Archive has been developed in the Sangeet Bhawan.
The following is the list of Manna Dey's other awards:
Category:1919 births Category:Living people Category:Bollywood playback singers Category:Indian actors Category:Indian autobiographers Category:Indian film singers Category:Indian male singers Category:Indian memoirists Category:Recipients of the Padma Bhushan Category:Recipients of the Padma Shri Category:Alumni of Vidyasagar College, Kolkata Category:Alumni of Scottish Church College, Calcutta Category:University of Calcutta alumni Category:Dadasaheb Phalke Award recipients Category:Marathi-language singers Category:Marathi playback singers
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Ashoka |
---|---|
Title | Mauryan Samrat |
Caption | A "Chakravatin" ruler, first century BC/CE. Andhra Pradesh, Amaravati. Preserved at Musee Guimet |
Reign | 273–232 BC |
Coronation | 270 BC |
Othertitles | Samraat Chakravartin; other titles include Devanampriya and Priyadarsin |
Full name | Ashoka Bindusara Maurya |
Religion | Hinduism, later on embraced Buddhism |
Predecessor | Bindusara |
Successor | Dasaratha Maurya |
Queen | Maharani Devi |
Spouse 1 | Rani Tishyaraksha |
Spouse 2 | Rani Padmavati |
Spouse 3 | Rani Kaurwaki |
Issue | Mahendra, Sanghamitra,Teevala, Kunala |
Royal house | Mauryan dynasty |
Father | Bindusara |
Mother | Rani Dharma or Shubhadrangi |
Brothers | Vitthashoka, Susima |
Date of birth | 304 BC |
Place of birth | Pataliputra, Patna |
Date of death | 232 BC (aged 72) |
Place of death | Pataliputra, Patna |
Date of burial | Cremated 232 BC, less than 24 hours after death |
Place of burial | Ashes immersed in the Ganges River, possibly at Varanasi |
Influenced by | Buddha Chandragupta Maurya Bindusara Chanakya MahaviraAlexandar Seleucus I Nicator Diodotus I Antiochus I Soter |
Influenced | Kunal Harsha Samudragupta Ramagupta Chandragupta II Kumaragupta Skandagupta Purugupta Vishnugupta |
Ashoka (Devanāgarī: अशोक, IAST: , , 304–232 BC), popularly known as Ashoka the Great, was an Indian emperor of the Maurya Dynasty who ruled almost all of the Indian subcontinent from 269 BC to 232 BC. One of India's greatest emperors, Ashoka reigned over most of present-day India after a number of military conquests. His empire stretched from present-day Pakistan, Afghanistan in the west, to the present-day Bangladesh and the Indian state of Assam in the east, and as far south as northern Kerala and Andhra. He conquered the kingdom named Kalinga, which no one in his dynasty had conquered starting from Chandragupta Maurya. His reign was headquartered in Magadha (present-day Bihar, India). He embraced Buddhism from the prevalent Vedic tradition after witnessing the mass deaths of the war of Kalinga, which he himself had waged out of a desire for conquest. He was later dedicated to the propagation of Buddhism across Asia and established monuments marking several significant sites in the life of Gautama Buddha. Ashoka was a devotee of ahimsa (nonviolence), love, truth, tolerance and vegetarianism. Ashoka is remembered in history as a philanthropic administrator. In the history of India Ashoka is referred to as Samraat Chakravartin Ashoka- the Emperor of Emperors Ashoka.
His name "" means "painless, without sorrow" in Sanskrit (the a privativum and śoka "pain, distress"). In his edicts, he is referred to as (Pali or "The Beloved Of The Gods"), and (Pali or "He who regards everyone with affection").
Along with the Edicts of Ashoka, his legend is related in the later 2nd century ("Narrative of Asoka") and ("Divine narrative"), and in the Sri Lankan text Mahavamsa ("Great Chronicle").
Ashoka played a critical role in helping make Buddhism a world religion. As the peace-loving ruler of one of the world's largest, richest and most powerful multi-ethnic states, he is considered an exemplar ruler, who tried to put into practice a secular state ethic of non-violence. The emblem of the modern Republic of India is an adaptation of the Lion Capital of Ashoka.
Ashoka had several elder siblings, all of whom were his half-brothers from other wives of Bindusara. He had just one younger sibling, Vitthashoka, a much loved brother from the same mother. Because of his exemplary intellect and warrior skills, he was said to have been the favorite of his grandfather Chandragupta Maurya. The legend goes that Chandragupta Maurya threw away his sword, when he left his empire for an ascetic Jain living. Ashoka found the sword and kept it, in spite of his grandfather's warning.
In his adolescence, Ashoka is said to have been an arrogant person. As a Kshatriya, he had been givng the royal military training and other Vedic knowledge. He was a fearsome hunter, and according to a legend, he killed a lion with just a wooden rod. He was very adventurous and a trained fighter, who was known for his skills with the sword. Because of his reputation as a frightening warrior and a heartless general, he was sent to curb the riots in the Avanti province of the Mauryan empire.
Ashoka's success made his stepbrothers more wary of his intentions of becoming the emperor and more incitements from Susima led Bindusara to send Ashoka into exile. He went into Kalinga and stayed there incognito. There he met a fisher woman named Kaurwaki, with whom he fell in love. Recently found inscriptions indicate that she would later become either his second or third queen.
Meanwhile, there was again a violent uprising in Ujjain. Emperor Bindusara summoned Ashoka out of exile after two years. Ashoka went into Ujjain and in the ensuing battle was injured, but his generals quelled the uprising. Ashoka was treated in hiding so that loyalists of the Susima group could not harm him. He was treated by Buddhist monks and nuns. This is where he first learned the teachings of the Buddha, and it is also where he met Devi, who was his personal nurse and the daughter of a merchant from adjacent Vidisha. After recovering, he married her. It was quite unacceptable to Bindusara that one of his sons should marry a Buddhist, so he did not allow Ashoka to stay in Pataliputra but instead sent him back to Ujjain and made him the governor of Ujjain.
The following year passed quite peacefully for him, and Devi was about to deliver his first child. In the meanwhile, Emperor Bindusara died. As the news of the unborn heir to the throne spread, Prince Susima planned the execution of the unborn child; however, the assassin who came to kill Devi and her child killed his mother instead. Ashoka beheads his elder brother to ascend the throne. In this phase of his life, Ashoka was known for his unquenched thirst for wars and campaigns launched to conquer the lands of other rulers and became known as Chandashok (terrible Ashoka), the Sanskrit word chanda meaning cruel, fierce, or rude, Chandi-devi being associated with Kali.
Ascending the throne, Ashoka expanded his empire over the next eight years, from the present-day boundaries and regions of Burma–Bangladesh and the state of Assam in India in the east to the territory of present-day Iran / Persia and Afghanistan in the west; from the Pamir Knots in the north almost to the peninsular of southern India (i.e. Tamilnadu / Andhra pradesh).
The pretext for the start of the Kalinga War (265 BC or 263 BC) is uncertain. One of Susima's brothers might have fled to Kalinga and found official refuge there. This enraged Ashoka immensely. He was advised by his ministers to attack Kalinga for this act of treachery. Ashoka then asked Kalinga's royalty to submit before his supremacy. When they defied this diktat, Ashoka sent one of his generals to Kalinga to make them submit.
The general and his forces were, however, completely routed through the skilled tact of Kalinga's commander-in-chief. Ashoka, baffled at this defeat, attacked with invasion ever recorded in Indian history until then. Kalinga put up a stiff resistance, but they were no match for Ashoka's brutal strength. The whole of Kalinga was plundered and destroyed. Ashoka's later edicts state that about 100,000 people were killed on the Kalinga side and 10,000 from Ashoka's army. Thousands of men and women were deported.
As the legend goes, one day after the war was over, Ashoka ventured out to roam the city and all he could see were burnt houses and scattered corpses. This sight made him sick and he cried the famous monologue:
What have I done? If this is a victory, what's a defeat then? Is this a victory or a defeat? Is this justice or injustice? Is it gallantry or a rout? Is it valor to kill innocent children and women? Do I do it to widen the empire and for prosperity or to destroy the other's kingdom and splendor? One has lost her husband, someone else a father, someone a child, someone an unborn infant.... What's this debris of the corpses? Are these marks of victory or defeat? Are these vultures, crows, eagles the messengers of death or evil?The brutality of the conquest led him to adopt Buddhism and he used his position to propagate the relatively new religion to new heights, as far as ancient Rome and Egypt. He made Buddhism his state religion around 260 BC, and propagated it and preached it within his domain and worldwide from about 250 BC. Emperor Ashoka undoubtedly has to be credited with the first serious attempt to develop a Buddhist policy.
Prominent in this cause were his son Venerable Mahindra and daughter Sanghamitra (whose name means "friend of the Sangha"), who established Buddhism in Ceylon (now Sri Lanka). He built thousands of Stupas and Viharas for Buddhist followers. The Stupas of Sanchi are world famous and the stupa named Sanchi Stupa was built by Emperor Ashoka. During the remaining portion of Ashoka's reign, he pursued an official policy of nonviolence (ahimsa). Even the unnecessary slaughter or mutilation of people was immediately abolished. Everyone became protected by the king's law against sport hunting and branding. Limited hunting was permitted for consumption reasons but Ashoka also promoted the concept of vegetarianism. Ashoka also showed mercy to those imprisoned, allowing them leave for the outside a day of the year. He attempted to raise the professional ambition of the common man by building universities for study, and water transit and irrigation systems for trade and agriculture. He treated his subjects as equals regardless of their religion, politics and caste. The kingdoms surrounding his, so easily overthrown, were instead made to be well-respected allies.
He is acclaimed for constructing hospitals for animals and renovating major roads throughout India. After this transformation, Ashoka came to be known as Dhammashoka (Sanskrit), meaning Ashoka, the follower of Dharma. Ashoka defined the main principles of dharma (dhamma) as nonviolence, tolerance of all sects and opinions, obedience to parents, respect for the Brahmans and other religious teachers and priests, liberality towards friends, humane treatment of servants, and generosity towards all. These principles suggest a general ethic of behaviour to which no religious or social group could object.
Some critics say that Ashoka was afraid of more wars, but among his neighbors, including the Seleucid Empire and the Greco-Bactrian kingdom established by Diodotus I, none could match his strength. He was a contemporary of both Antiochus I Soter and his successor Antiochus II Theos of the Seleucid dynasty as well as Diodotus I and his son Diodotus II of the Greco-Bactrian kingdom. If his inscriptions and edicts are well studied one finds that he was familiar with the Hellenic world but never in awe of it. His edicts, which talk of friendly relations, give the names of both Antiochus of the Seleucid empire and Ptolemy III of Egypt. The fame of the Mauryan empire was widespread from the time that Ashoka's grandfather Chandragupta Maurya defeated Seleucus Nicator, the founder of the Seleucid Dynasty. .]]
The source of much of our knowledge of Ashoka is the many inscriptions he had carved on pillars and rocks throughout the empire. All his inscriptions have the imperial touch and show compassionate loving. He addressed his people as his "children". These inscriptions promoted Buddhist morality and encouraged nonviolence and adherence to Dharma (duty or proper behavior), and they talk of his fame and conquered lands as well as the neighboring kingdoms holding up his might. One also gets some primary information about the Kalinga War and Ashoka's allies plus some useful knowledge on the civil administration. The Ashoka Pillar at Sarnath is the most popular of the relics left by Ashoka. Made of sandstone, this pillar records the visit of the emperor to Sarnath, in the 3rd century BC. It has a four-lion capital (four lions standing back to back) which was adopted as the emblem of the modern Indian republic. The lion symbolizes both Ashoka's imperial rule and the kingship of the Buddha. In translating these monuments, historians learn the bulk of what is assumed to have been true fact of the Mauryan Empire. It is difficult to determine whether or not some actual events ever happened, but the stone etchings clearly depict how Ashoka wanted to be thought of and remembered.
Ashoka's own words as known from his Edicts are: "All men are my children. I am like a father to them. As every father desires the good and the happiness of his children, I wish that all men should be happy always." Edward D'Cruz interprets the Ashokan dharma as a "religion to be used as a symbol of a new imperial unity and a cementing force to weld the diverse and heterogeneous elements of the empire".
Also, in the Edicts, Ashoka mentions Hellenistic kings of the period as converts to Buddhism, although no Hellenic historical record of this event remain:
Ashoka also claims that he encouraged the development of herbal medicine, for human and nonhuman animals, in their territories:
The Greeks in India even seem to have played an active role in the propagation of Buddhism, as some of the emissaries of Ashoka, such as Dharmaraksita, are described in Pali sources as leading Greek (Yona) Buddhist monks, active in spreading Buddhism (the Mahavamsa, XII).
In his old age, he seems to have come under the spell of his youngest wife Tishyaraksha. It is said that she had got his son Kunala, the regent in Takshashila, blinded by a wily . The official executioners spared Kunala and he became a wandering singer accompanied by his favourite wife Kanchanmala. In Pataliputra, Ashoka hears Kunala's song, and realizes that Kunala's misfortune may have been a punishment for some past sin of the emperor himself and condemns Tishyaraksha to death, restoring Kunala to the court. Kunala was succeeded by his son, Samprati, but his rule did not last long after Ashoka's death.
The reign of Ashoka Maurya could easily have disappeared into history as the ages passed by, and would have had he not left behind a record of his trials. The testimony of this wise king was discovered in the form of magnificently sculpted pillars and boulders with a variety of actions and teachings he wished to be published etched into the stone. What Ashoka left behind was the first written language in India since the ancient city of Harappa. The language used for inscription was the then current spoken form called Prakrit.
In the year 185 BC, about fifty years after Ashoka's death, the last Maurya ruler, Brhadrata, was assassinated by the commander-in-chief of the Mauryan armed forces, Pusyamitra Sunga, while he was taking the Guard of Honor of his forces. Pusyamitra Sunga founded the Sunga dynasty (185 BC-78 BC) and ruled just a fragmented part of the Mauryan Empire. Many of the northwestern territories of the Mauryan Empire (modern-day Iran, Afghanistan and Pakistan) became the Indo-Greek Kingdom.
In 1992, Ashoka was ranked #53 on Michael H. Hart's list of the most influential figures in history. In 2001, a semi-fictionalized portrayal of Ashoka's life was produced as a motion picture under the title Asoka. King Ashoka, the third monarch of the Indian Mauryan dynasty, has come to be regarded as one of the most exemplary rulers in world history. The British historian H.G. Wells has written: "Amidst the tens of thousands of names of monarchs that crowd the columns of history ... the name of Asoka shines, and shines almost alone, a star."
Edicts of Ashoka -The Edicts of Ashoka are a collection of 33 inscriptions on the Pillars of Ashoka, as well as boulders and cave walls, made by the Emperor Ashoka of the Mauryan dynasty during his reign from 272 to 231 BC. These inscriptions are dispersed throughout the areas of modern-day Pakistan and India, and represent the first tangible evidence of Buddhism. The edicts describe in detail the first wide expansion of Buddhism through the sponsorship of one of the most powerful kings of Indian history.It give more information about Ashoka's proselytism, Moral precepts, Religious precepts, Social and animal welfare .
Ashokavadana - The Ashokavadana is a 2nd century CE text related to the legend of the Maurya Emperor Ashoka. The legend was translated into Chinese by Fa Hien in 300 CE.
Mahavamsa -The Mahavamsa ("Great Chronicle") is a historical poem written in the Pali language, of the kings of Sri Lanka. It covers the period from the coming of King Vijaya of Kalinga (ancient Orissa) in 543 BC to the reign of King Mahasena (334–361).As it often refers to the royal dynasties of India, the Mahavamsa is also valuable for historians who wish to date and relate contemporary royal dynasties in the Indian subcontinent. It is very important in dating the consecration of the Maurya emperor Ashoka.
Dipavamsa -The Dipavamsa, or "Deepavamsa", (i.e., Chronicle of the Island, in Pali) is the oldest historical record of Sri Lanka. The chronicle is believe to be compiled from Atthakatha and other sources around the 3–4th century, King Dhatusena (4th century CE) had ordered that the Dipavamsa be recited at the Mahinda (son to Ashoka) festival held annually in Anuradhapura.
The use of Buddhist sources in reconstructing the life of Ashoka has had a strong influence on perceptions of Ashoka, as well as the interpretations of his edicts. Building on traditional accounts, early scholars regarded Ashoka as a primarily Buddhist monarch who underwent a conversion to Buddhism and was actively engaged in sponsoring and supporting the Buddhist monastic institution. Some scholars have tended to question this assessment. The only source of information not attributable to Buddhist sources are the Ashokan edicts, and these do not explicitly state that Ashoka was a Buddhist. In his edicts, Ashoka expresses support for all the major religions of his time: Buddhism, Brahmanism, Jainism, and Ajivikaism, and his edicts addressed to the population at large (there are some addressed specifically to Buddhists; this is not the case for the other religions) generally focus on moral themes members of all the religions would accept.
However, there is strong evidence in the edicts alone that he was a Buddhist. In one edict he belittles rituals, and he banned Vedic animal sacrifices; these strongly suggest that he at least did not look to the Vedic tradition for guidance. Furthermore, there are many edicts expressed to Buddhists alone; in one, Ashoka declares himself to be an "upasaka", and in another he demonstrates a close familiarity with Buddhist texts. He erected rock pillars at Buddhist holy sites, but did not so for the sites of other religions. He also used the word "dhamma" to refer to qualities of the heart that underlie moral action; this was an exclusively Buddhist use of the word. Finally, the ideals he promotes correspond to the first three steps of the Buddha's graduated discourse.
Ashoka's military power was so strong that he was able to crush those empires that went to war against him still, he was on friendly terms with kingdoms in the South like Cholas, Pandya, Keralputra, the post Alexandrian empire, Tamraparni, and Suvarnabhumi who were strong enough to remain outside his empire and continued to profess Hinduism. According to his edicts we know that he provided humanitarian help including doctors, hospitals, inns, wells, medical herbs and engineers to his neighboring countries. In his neighboring countries Ashoka helped humans as well as animals. Ashoka also planted trees in his empire and his neighboring countries. Ashoka was perhaps the first emperor in human history to ban slavery, hunting, fishing and deforestation. Ashoka also banned the death sentence and asked the same for the neighboring countries. Ashoka commanded his people to serve the orders of their elders parents) and religious monks (shramana and Brahmin). Ashoka also recommended his people study all religions and respect all religions. According to Ashoka, to harm another's religion is a harm to someone's owns religion. Ashoka asserted his people to live with Dharmmacharana. Ashoka asked people to live with harmony, peace, love and tolerance. Ashoka called his people as his children, and they could call him when they need him. He also asked people to save money and not to spend for immoral causes. Ashoka also believed in dharmacharana (dhammacharana) and dharmavijaya (dhammavijaya). According to many European and Asian historians the age of Ashoka was the age of light and delightment. He was the first emperor in human history who has taught the lesson of unity, peace, equality and love. Ashoka's aim was not to expand the territories but the welfare of all of his subjects (sarvajansukhay). In his vast empire there was no evidence of recognizable mutiny or civil war. Ashoka was the true devotee of nonviolence, peace and love. This made him different from other emperors. Ashoka also helped Buddhism as well as religions like Jainism, Hinduism, Hellenic polytheism and Ajivikas. Ashoka was against any discrimination among humans. He helped students, the poor, orphans and the elderly with social, political and economic help. According to Ashoka, hatred gives birth to hatred and a feeling of love gives birth to love and mercy. According to him the happiness of people is the happiness of the ruler. His opinion was that the sword is not as powerful as love. Ashoka was also Kind to prisoners, and respected animal life and tree life. Ashoka allowed females to be educated. He also permitted females to enter religious institutions. He allowed female Buddhist monastic such as Bhikkhuni. He combined in himself the complexity a king and a simplicity of a buddhist monk. Because of these reasons he is known as the emperor of all ages and thus became a milestone in the History of the world.
The Ashoka Chakra (the wheel of Ashoka) is a depiction of the Dharmachakra or Dhammachakka in Pali, the Wheel of Dharma (Sanskrit: Chakra means wheel). The wheel has 24 spokes. The Ashoka Chakra has been widely inscribed on many relics of the Mauryan Emperor, most prominent among which is the Lion Capital of Sarnath and The Ashoka Pillar. The most visible use of the Ashoka Chakra today is at the centre of the National flag of the Republic of India (adopted on 22 July 1947), where it is rendered in a Navy-blue color on a White background, by replacing the symbol of Charkha (Spinning wheel) of the pre-independence versions of the flag. Ashoka Chakra can also been seen on the base of Lion Capital of Ashoka which has been adopted as the National Emblem of India.
The Ashoka chakra was built by Ashoka during his reign. Chakra is a Sanskrit word which also means cycle or self repeating process. The process it signifies is the cycle of time as how the world changes with time. The horse means accuracy and speed while the bull means hardwork.
A few days before India became independent on August 1947, the specially constituted Constituent Assembly decided that the flag of India must be acceptable to all parties and communities. A flag with three colours, Saffron, White and Green with the Ashoka Chakra was selected.
The Lion capital of Ashoka is a sculpture of four "Indian lions" standing back to back. It was originally placed atop the Aśoka pillar at Sarnath, now in the state of Uttar Pradesh, India. The pillar, sometimes called the Aśoka Column is still in its original location, but the Lion Capital is now in the Sarnath Museum. This Lion Capital of Ashoka from Sarnath has been adopted as the National Emblem of India and the wheel "Ashoka Chakra" from its base was placed onto the center of the National Flag of India.
The capital contains four lions (Indian / Asiatic Lions), standing back to back, mounted on an abacus, with a frieze carrying sculptures in high relief of an elephant, a galloping horse, a bull, and a lion, separated by intervening spoked chariot-wheels over a bell-shaped lotus. Carved out of a single block of polished sandstone, the capital was believed to be crowned by a 'Wheel of Dharma' (Dharmachakra popularly known in India as the "Ashoka Chakra").
The Ashoka Lion capital or the Sarnath lion capital is also known as the national symbol of India. The Sarnath pillar bears one of the Edicts of Ashoka, an inscription against division within the Buddhist community, which reads, "No one shall cause division in the order of monks". The Sarnath pillar is a column surmounted by a capital, which consists of a canopy representing an inverted bell-shaped lotus flower, a short cylindrical abacus with four 24-spoked Dharma wheels with four animals (an elephant, a bull, a horse, a lion).
The four animals in the Sarnath capital are believed to symbolize different steps of Lord Buddha's life.
Besides the religious interpretations, there are some non-religious interpretations also about the symbolism of the Ashoka capital pillar at Sarnath. According to them, the four lions symbolize Ashoka's rule over the four directions, the wheels as symbols of his enlightened rule (Chakravartin) and the four animals as symbols of four adjoining territories of India.
Category:Indian monarchs Category:Indian vegetarians Category:304 BC births Category:232 BC deaths Category:Mauryan dynasty Category:Converts to Buddhism Category:Indian Theravada Buddhists Category:People from Patna Category:Indian Buddhist missionaries Category:Ancient history of Pakistan Category:3rd-century BC rulers
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