A 10th century sandstone statue of an Apsara from Madhya Pradesh, India.

An Apsara (Sanskrit: अप्सराः apsarāḥ, plural अप्सरसः apsarasaḥ, stem apsaras-, a feminine consonant stem, អប្សរា), also known as Vidhya Dhari or Tep Apsar (ទេព​អប្សរ) in Khmer, Accharā (Pāli) or A Bố Sa La Tư (Vietnamese), Bidadari (Indonesian & Malay), Biraddali (Tausug), Hapsari or Widodari (Javanese) and Apson (Thai: อัปสร), is a female spirit of the clouds and waters in Hindu and Buddhist mythology. English translations of the word "Apsara" include "nymph," "celestial nymph," and "celestial maiden."

Apsaras are beautiful, supernatural female beings. They are youthful and elegant, and superb in the art of dancing. They are often the wives of the Gandharvas, the court musicians of Indra. They dance to the music made by the Gandharvas, usually in the palaces of the gods, entertain and sometimes seduce gods and men. As caretakers of fallen heroes, they may be compared to the valkyries of Norse mythology. As ethereal beings who inhabit the skies, and are often depicted taking flight, or at service of a god, they may be compared to angels.

Apsaras are said to be able to change their shape at will, and rule over the fortunes of gaming and gambling. Urvasi, Menaka, Rambha and Tilottama are the most famous among them. Apsaras are sometimes compared to the muses of ancient Greece, with each of the 26 Apsaras at Indra's court representing a distinct aspect of the performing arts. Apsaras are associated with water; thus, they may be compared to the nymphs, dryads and naiads of ancient Greece. They are associated with fertility rites.

There are two types of Apsaras; Laukika (worldly), of whom thirty-four are specified, and Daivika (divine), of which there are ten.

The Bhagavata Purana also states that the Apsaras were born from Kashyap and Muni.

Apsaras in literature[link]

Apsara, Devi Jgadambi Temple, Khajuraho, Madhya Pradesh, India

Rig Veda[link]

The Rig Veda tells of an Apsara who is the wife of Gandharva; however, the Rig Veda also seems to allow for the existence of more than one Apsara. The only Apsara specifically named is Urvashi. An entire hymn deals with the colloquy between Urvashi and her mortal lover Pururavas.^[1] Later Hindu scriptures allow for the existence of numerous Apsaras, who act as the handmaidens of Indra or as dancers at his celestial court.

Golden apsara in Majapahit style, Java, Indonesia.

Mahabharata[link]

In many of the stories related in the Mahabharata, Apsaras appear in important supporting roles. The epic contains several lists of the principal Apsaras, which lists are not always identical. Here is one such list, together with a description of how the celestial dancers appeared to the residents and guests at the court of the gods:

Ghritachi and Menaka and Rambha and Purvachitti and Swayamprabha and Urvashi and Misrakeshi and Dandagauri and Varuthini and Gopali and Sahajanya and Kumbhayoni and Prajagara and Chitrasena and Chitralekha and Saha and Madhuraswana, these and others by thousands, possessed of eyes like lotus leaves, who were employed in enticing the hearts of persons practising rigid austerities, danced there. And possessing slim waists and fair large hips, they began to perform various evolutions, shaking their deep bosoms, and casting their glances around, and exhibiting other attractive attitudes capable of stealing the hearts and resolutions and minds of the spectators.^[2]

Exploits of individual Apsaras[link]

The Mahabharata documents the exploits of individual Apsaras, such as Tilottama, who rescued the world from the rampaging asura brothers Sunda and Upasunda, and Urvashi, who attempted to seduce the hero Arjuna.

The Nymph and the Sage[link]

A story type or theme appearing over and over again in the Mahabharata is that of an Apsara sent to distract a sage or spiritual master from his ascetic practices. One story embodying this theme is that recounted by the epic heroine Shakuntala to explain her own parentage.^[3] Once upon a time, the sage Viswamitra generated such intense energy by means of his asceticism that Indra himself became fearful. Deciding that the sage would have to be distracted from his penances, he sent the Apsara Menaka to work her charms. Menaka trembled at the thought of angering such a powerful ascetic, but she obeyed the god's order. As she approached Viswamitra, the wind god Vayu tore away her garments. Seeing her thus disrobed, the sage abandoned himself to lust. Nymph and sage engaged in sex for some time, during which Viswamitra's asceticism was put on hold. As a consequence, Menaka gave birth to a daughter, whom she abandoned on the banks of a river. That daughter was Shakuntala herself, the narrator of the story.

Natya Shastra[link]

A stone sculpture of an Apsara holding a diya to be lit inside, Padmanabhapuram Palace.

Natya Shastra, the principle work of dramatic theory for Sanskrit drama, lists the following apsaras: Manjukesi, Sukesi, Misrakesi, Sulochana, Saudamini, Devadatta, Devasena, Manorama, Sudati, Sundari, Vigagdha, Vividha, Budha, Sumala, Santati, Sunanda, Sumukhi, Magadhi, Arjuni, Sarala, Kerala, Dhrti, Nanda, Supuskala, Supuspamala and Kalabha.

Apsaras in Indonesian and Malay culture[link]

The term 'Bidadari' (from sanskrit vidhya dharya; 'the bearer of knowledge') is a Malay-Indonesian word that equates refer Indian concept; as heavenly maidens living in the svargaloka or in celestial palace of Indra, described in Balinese dedari (Bidadari or Apsara) dance. However after the adoption of Islam, bidadari is equated with heavenly maiden mentioned in the Quran, in which God stated that the 'forbidden pearls' of heaven are for those men who have resisted temptation and borne life's trials. Islam spread in the Malay archipelago when Arabic traders came to trade spices with the Malays; at that time, Hinduism formed the basis of the Malay culture, but syncretism with the Islamic religion and culture spawned the idea of a Bidadari. It is usually seen as a prized offer to those who lived a lifestyle in service to and pleasing to God; after death, the Bidadari was the man's wife or wives, depending on what type of person he was. The worthiness of a man who was offered Bidadari depended upon his holiness: how often he prayed, how much he turned away from the 'outside world', and how little he heeded worldly desires.

In the visual arts[link]

The Apsara of Borobudur, the flying celestial maiden depicted in bas-relief of 8th century Borobudur temple, Java, Indonesia.

Apsaras in the art of ancient Indonesia (Java and Bali)[link]

Images of Apsaras are found in several temples of ancient Java dating from the era of the Sailendra dynasty to that of the Majapahit empire. Usually they are not found as decorative motifs but as integral parts of a story in bas-relief, as for example at Borobudur, Mendut, Prambanan, Plaosan, and Penataran. At Borobudur apsaras are depicted as divinely beautiful celestial maidens, pictured either in standing or in flying positions, usually holding lotus blossoms, spreading flower petals, or waving celestial clothes as if they were wings enabling them to fly. The temple of Mendut near Borobudur depicted groups of devatas, divine beings flying in heaven, which included apsaras.

The Balinese Legong dance depict celestial maidens, Bali, Indonesia.

Traditionally apsaras are described as celestial maidens living in Indra's heaven (Kaéndran). They are well known for their special task: being sent to earth by Indra to seduce ascetics who by their severe practices may become more powerful than the gods. This theme occurs frequently in Javanese traditions, including the "Kakawin Arjunawiwaha", written by mpu Kanwa in 1030 during the reign of king Airlangga. The story tells that Arjuna, in order to defeat the giant Niwatakawaca, engaged in meditation and asceticism, whereupon Indra sent apsaras to seduce him. Arjuna, however, managed to conquer his lust and then to win the ultimate weapons from the gods to defeat the giant.

Later in the Javanese tradition the apsara was also called Hapsari, also known as Widodari (from sanskrit word Vidhyadhari, vidhya: knowledge, dharya: having, bearer, or bringer), and finally known as Bidadari in the modern Indonesian language (the same form of the word is now present in the Malay language, as well). The Javanese Hindu-Buddhist tradition also influenced Bali. In Balinese dance the theme of celestial maidens often occurred. Dances such as Sanghyang Dedari and Legong depicted divine maidens in their own way. In the court of Mataram Sultanate the tradition of depicting heavenly maidens in dances still alive and well. The Javanese court dances of Bedhaya portray apsaras.

Apsaras in the art and architecture of Cambodia[link]

Khmer Apsara dancers

Apsaras represent an important motif in the stone bas-reliefs of the Angkorian temples in Cambodia (8th–13th century AD), however all female images are not considered to be apsaras. In harmony with the Indian association of dance with apsaras, Khmer female figures that are dancing or are poised to dance are considered apsaras; female figures, depicted individually or in groups, who are standing still and facing forward in the manner of temple guardians or custodians are called devatas.^[4]

Angkor Wat, the largest Angkorian temple built (1116–1150 AD), features both apsaras and devata, however the devata type are the most numerous with more than 1,796 in the present research inventory.^[5] Angkor Wat architects employed small apsara images (30–40 cm as seen at left) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period. Some devata appear with arms around each other and seem to be greeting the viewer. “The devatas seem to epitomize all the elements of a refined elegance,” wrote Marchal.^[6]

Khmer classical dance[link]

Khmer classical dance, the indigenous ballet-like performance art of Cambodia, is frequently called "Apsara Dance".

Apsaras in the art of Champa[link]

Apsaras were also an important motif in the art of Champa, medieval Angkor's neighbor to the east along the coast of what is now central Vietnam. Especially noteworthy are the depictions of apsaras in the Tra Kieu Style of Cham art, a style which flourished in the 10th and 11th centuries A.D.

Apsaras in the cave art of China[link]

Apsaras are often depicted as flying figures in the mural paintings and sculptures of Buddhist cave sites in China such as in the Mogao Caves, Yulin Caves, and the Yungang and Longmen Grottoes. They may also be depicted as dancers or musicians. They may be referred to as feitian in Chinese.

• 

  Apsaras dance taken from the 12th century Bayon temple at Angkor in Cambodia.

• 

  Apsaras are depicted on the base of the Tra Kieu Pedestal, a work of 10th c. Cham art.

• 

  Apsara from Yulin Caves near Dunhuang, China

• 

  Apsara Surasundari in Borobudur

See also[link]

• Angel
• Angkor Wat
• Architecture of Cambodia
• Art of Champa
• Dakini
• Devata
• Elf
• Ethereal being
• Fairy
• Gandharva - Celestial male companions of the asparas
• Houri
• Nymph
• Tennin, a Japanese development of Indian apsaras
• Valkyrie from Norse mythology
• Vishnu
• Yakshini

Footnotes[link]

References[link]

•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 
• Marchal, Sappho. Khmer Costumes and Ornaments of the Devatas of Angkor Wat. First English edition. Orchid Press, 2005. ISBN 978-974-524-057-5
• The Rig Veda in the English translation prepared by Ralph T.H. Griffith is available online at sacred-texts.com.
• The Mahabharata in the English translation prepared by Kisari Mohan Ganguli is available online at sacred-texts.com.
• The Monuments of the Angkor Group by Maurice Glaize is available online in English translation.

External links[link]

Wikimedia Commons has media related to: Apsara

• Chinese Apsaras depicted in Dunhuang Caves
• Comparison of Khmer Apsaras and Devata
• Costumes and Ornaments after the Devata of Angkor Wat by Sappho Marchal - Book review
• Indian Devata at Rajarani Temple in Orissa
• Japanese traditions of celestial maidens Tennin (apsara), Hiten (flying apsara), Tennyo (celestial maiden) & Karyobinga (bird body with angel head)
• Rice Goddesses of Indonesia, Cambodia and Thailand
• Apsara Dance at Siem Reap, Cambodia
• Sanghyang Dedari, Balinese dance depicting bidadari (vidhyadari) celestial maiden

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Sinn Sisamouth
King of Khmer Music
Background information
Born	August 23, 1932 Stung Treng, Cambodia
Died	June 18, 1976 Koh Thom, Kandal Province, Cambodia
Genres	Psychedelic rock Garage rock Traditional Khmer music Romvong Saravan Jazz Bosanova Twist Jerk Latin Blues Cha Cha Cha Madizon Hala Hala Agogo Film Music
Occupations	Singer, Lyric and Music composer, bandleader, producer, Film producer
Instruments	Mandolin Sro lai Pey Pok
Years active	1957–1975
Labels	Independent
Associated acts	Ros Sereysothea, Pan Ron, So Savoeun, Houy Meas, Haim Sovann
Notable instruments
Mandolin

This article contains Khmer text. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Khmer script.

Sinn Sisamouth (Khmer: ស៊ីន ស៊ីសាមុត [sɨn siːsaːmut]; 23 August 1932 – 18 June 1976) was a famous and highly prolific Cambodian singer-songwriter in the 1950s to the 1970s.

Widely considered the "King of Khmer music", Sisamouth, along with Ros Sereysothea, Pan Ron, and other artists, was part of a thriving pop music scene in Phnom Penh that blended elements of Khmer traditional music with the sounds of rhythm and blues and rock and roll to make a Westernized sound akin to psychedelic or garage rock. Sisamouth is believed to have been killed under the Khmer Rouge regime.

Biography[link]

Early life[link]

Sinn Sisamouth was born in August 23, 1932 in Stung Treng Province, the son of Sinn Leang and mother Seb Bunlei who was of Lao-Chinese descent.^[1]

He was the youngest of four siblings, with one brother and two sisters. His father was a prison warden in Battambang Province and was then a soldier during the Colonial Cambodia period. His father died of disease and his mother remarried, and the union resulted in two more children.

Sisamouth attended Central Province of Stung Treng Elementary School when he was five. At the age of six or seven, he started to show interest in the guitar, and he would be asked to perform at school functions. He was also interested in Buddhist scripture and other books, as well as playing soccer and flying kites.

Around 1951, he passed elementary school and intended to study medicine in Phnom Penh, but continued working at becoming a singer and writing songs. Just as he had in elementary school, he became well known in his school for his music, and was asked to sing at school ceremonies.

By the time Cambodia was granted independence from France in 1953, Sisamouth's fine singing voice landed him a spot on national radio as a regular singer. He also continued his studies, working at Preah Ketomealea Hospital.

Music career[link]

After completing medical school, Sisamouth became a nurse and married his cousin, Keo Thorng Gnut in an arranged marriage. The couple had four children. But he was also a very famous singing star in Cambodia, and his life as a celebrity eclipsed his family life.

He possessed a clear crooning voice which, combined with his own compositions about the pleasures and pains of romance, made him an idol. He sang many ballads, as well uptempo rock numbers that featured prominent, distortion-laden guitar, pumping organ and loud, driving drums. Other arrangements were more Latin jazz-sounding, featuring woodwinds, brass, and auxiliary percussion.

In the early 1950s he became a protege of Queen Kossomak Nearyrath. He was selected into the Vong Phleng Preah Reach Troap (classical ensemble of the Royal Treasury) where together with Sos Matt, he performed at royal receptions and state functions. A number of songs he wrote subsequently bore the unmistakable melancholic melodies of traditional Khmer music he performed in those formative years. In the mid-1950s a romantic ballad "Violon Sneha", composed by violinist Hass Salan, catapulted Sisamouth into stardom. In recent years the song has been re-issued by a large number of modern performers, including Song Seng Horn, who comes from Rhode Island, Mol Kamach (a singer and guitarist of the 1960s who escaped the Khmer Rouge rule and is now living in France), Nay Sieng (a Khmer based in France), and Him Sivonn (a female vocalist from Phnom Penh).

Most of Sisamouth's tape recordings from this period did not survive the years of social upheaval however, although now and then some of Sisamouth's 1950s and early 1960s hits are rerecorded successfully. One such hit, "Srey Sros Khmeng", re-emerged from oblivion with Suong Chantha's 2002 faithful rendition. Sisamouth's other hits of the same period include "Anussavry Phnom Kravanh", "(Chett Srey doch) Chong Srol", "Thngay Dob Pee Thnou", "Thngay Muoy Kakkda", "Teuk Keb", "Stung Pursat", and "Prek Eng Oss Sangkhim".

Beginning in around 1963, Sisamouth started recording on the Vat Phnom label. His "Champa Batdambang" won immediate acclaim across the country. In a 1971 Phnom Penh television show, Sisamouth's interviewer recalled that "Champa Batdambang" was the first song sung on the inauguration of the station in 1965.

What captured Sisamouth's audience was the use of a four-piece, rock and roll band instrumentation with guitars and percussion, a departure from a backing band of wind instruments. He also experimented with Latin music, an infatuation that may have started with Prince Norodom Sihanouk's compositions such as "Reatry Del Ban Chuop Pheak" and "Phnom Penh".

Sisamouth's popularity nevertheless did not eclipse the work of other recording artists, notably those who sang at the National Radio such as Eum Song Seurm and Huoy Meas. Meas Hok Seng, a voice artist at the Phnom Penh University of Arts ("Sala Rachna") also achieved celebrity status in 1966 with "Lolok Nhi Chmaul". Hits by these artists often came from the pen of lyricist Ma Lao Pi, a talented poet and broadcaster now living in California, whose masterpieces include "Day Samot Trapaing Roung" and "Lolok Nhi Chmaul". Despite occasional hits such as "Akassyean", Sos Matt on the other hand appeared to have been unfairly sidelined in the commercialisation of music that took place with the arrival of recording productions such as Vat Phnom and Chan Chaya.

In the late 1960s and early 1970s, Sisamouth sang the soundtrack songs to a number of popular films, such as Orn Euy Srey Orn, Tep Sodachan, and Thavory Meas Bong. In "Peou Chhouk Sar", a 1967 success directed by Tea Lim Kaing, Sisamouth captured the poignant breakup of lead actors Dy Saveth and Chea Yuthan with his "Neavea Chivit". Over his long career, Samuth recorded many duets with female singing partners including, in the early 1960s, Mao Sareth, Keo Settha, Chhunn Vanna, Huoy Meas, Ros Sereysothea, and Penn Ron. Penn Ron began recording with Sisamouth in 1966. Ros Sereysothea started her career in around 1967 with the hit "Stung Khieu". Her high, crisp voice nicely balanced the deeper-toned voice of Sisamouth. Nevertheless the quality of Sisamouth's songs deteriorated rapidly in the 1970s, save for a few notable examples written by lyricist Voy Ho who had been a long standing colleague. Over that same period Samuth adapted a number of Thai songs into his repertoire.

From 1972 to 1973 music publisher Kruorch Bunlyhe issued A Collection of Sentimental Songs, which contained 500 of Sinn Sisamouth's songs. It is estimated that he wrote thousands of songs, possibly at least one for each day he was famous, his son Sinn Chaya has said.

Along with his original works, Sisamouth also introduced many Western pop tunes to Cambodia, simply writing new verses in Khmer language. Examples include "The House of the Rising Sun" as "I'm Still Waiting for You" (a particularly good showcase of his sustained phrasing and baritone voice), "Black Magic Woman" (drawing influence from the Santana version) under the title "I Love Petite Women", "Sugar Sugar" and "Quando My Love".

The Killing Fields[link]

This unreferenced section requires citations to ensure verifiability.

In the aftermath of the coup d'état by the Lon Nol government on March 18, 1970, which saw the overthrow of the rule of Prince Norodom Sihanouk, Sisamouth started to sing propaganda songs in support of the fledgling Khmer Republic. One such song that became an enduring classic was "Mae Owy Ao Yoann", telling the story of a mother giving a mantra-covered magic vest to her soldier son on his way to battle. Referring to communist troop movements over Cambodian territory during the Vietnam War, a verse in the same song said that the deposed king had sold out Cambodian land to the Viet Cong. Such criticisms of the royal family were unprecedented, not least given that Sisamouth had been a protege of Queen Kossomak Nirirath, mother of Prince Sihanouk. The Khmer Rouge takeover of Phnom Penh on April 17, 1975 saw Sisamouth forced out of the city, along with millions of other residents.

By this time he had remarried, to a dancer in the royal ballet, who was pregnant at the time with the couple's second child.

The circumstances of his death in the Killing Fields are unknown, but he had connections with the old government, was highly educated, and was an artist – all trappings of a society that Pol Pot sought to eradicate. One apocryphal story is that before he was to be executed, Sisamouth asked that he be allowed to sing a song for the cadre; but the cold-hearted soldiers were unmoved and after he finished singing, killed him anyhow.

Legacy[link]

Because his presence and influence on Cambodian music was so great, he is still a household name and remains popular to this day in Cambodia. Three children from Sisamouth's first marriage survived the Khmer Rouge and one son, Sinn Chanchhaya, became a singer for the Cambodian Radio, though he himself has admitted he could not be compared to his father.

Although all the master tapes of his studio recordings are thought to have been destroyed by the Khmer Rouge, his work lives on in recordings created from cassettes and LPs that have subsequently been transferred to CD, and are often heard on Cambodian radio stations.

Sisamouth, his frequent duet partner Ros Sereysothea. and other Cambodian singers of the era, including Meas Samoun, Chan Chaya, Choun Malai, and Pan Ron, are featured on the soundtrack to Matt Dillon's film City of Ghosts. Tracks by Sisamouth are "Mou Pei Na" and "Ne Te Fache Pas".

See also[link]

• Sinn Sisamouth discography

References[link]

• A Brief Biography of Sinn Sisamouth (retrieved from archive.org on December 22, 2006).

External links[link]

• Camweb: Sinn Sisamouth Songs Some songs of Sisamouth in Real Audio format
• Sinn Sisamouth song downloads at Khmer Rocks
• Don't Think I've Forgotten – A documentary about the Khmer rock and roll scene.
• km:ស៊ីន ស៊ីសាមុត

• Sinn Sisamouth Biography

Anushka Sharma
Anushka Sharma at Women's Health inaugural issue launch
Born	(1988-05-01) 1 May 1988 (age 24)[1]
Nationality	Indian
Occupation	Model, Actress
Years active	2008–present

Anushka Sharma (Hindi: अनुष्का शर्मा pronounced [əˈnʊʂkaː ˈʃərmaː]; born 1 May 1988)^[1] is an Indian actress and former model who appears in Hindi films. In 2008, she was signed by Aditya Chopra for a three-film contract with Yash Raj Films and made her screen debut in Chopra's Rab Ne Bana Di Jodi. She later received acclaim for her role as Shruti Kakkar in Band Baaja Baaraat (2010).^[2] Both films fetched her a Best Actress nomination at the Filmfare Awards ceremony.^[3]

Early life and background[link]

Sharma's father, Col. Ajay Kumar Sharma, is an army officer and her mother Ashima Sharma is a housewife. She has an elder brother named Karnesh,^[4] who was a state-level cricketer and now, is in the Merchant Navy. She studied in Army School and graduated with specialization in arts from Mount Carmel College, Bangalore.^[5] She later moved to Mumbai to further pursue her modelling career, where she currently resides.

Career[link]

Early Career & Debut (2007-2009)[link]

Sharma says she originally wished to make it big in the modeling world but had no strong aspirations for films.^[5] She began her modeling career at the Lakme Fashion Week as a model for Wendell Rodricks's Les Vamps Show and was picked to be Rodricks's finale model at the Spring Summer '07 Collection. Since then she has done campaigns for Silk & Shine, Whisper, Nathella Jewelry and Fiat Palio.

Her first acting role was in Aditya Chopra's Rab Ne Bana Di Jodi (2008) opposite Shahrukh Khan. Her performance was appreciated with film critic Taran Adarsh stating, "Anushka looks the character and surprises you with a confident performance. It's no small achievement to share screen space with an actor of the caliber of SRK and Anushka manages it very well from start to end."^[6] The film received positive reviews and was declared a blockbuster, and had been concluded as the second-highest grossing film of all-time to that point by the end of the year.^[7]

Breakthrough & Initial Success (2010-present)[link]

Her second film, Badmaash Company, also under Yash Raj Films, was released on May 7, 2010. While Taran Adarsh added, "Anushka is a revelation. She looks stunning, her performance is livewire and the chemistry with Shahid is electrifying."^[8]

In 2010, Sharma completed her three-film contract with Yash Raj Films, starring in Band Baaja Baaraat, a romantic comedy directed by Maneesh Sharma and co-starring debutant Ranveer Singh.^[10] She played a middle-class Delhi-Punjabi girl who goes on to launch her own independent business of wedding planning and later falls for her partner. In preparation for the part, Sharma was required to master the dialect of a young Punjabi woman from Delhi. She cited it as the toughest part of her role, describing the way the lead characters in the film interact as "crude but cute", and calling for her to "talk fast, sometimes mix words and even omit words completely".^[11] Prior to its release, she referred to it as her "best film till date".^[12] Some pundits, however, had expressed doubts about the film's prospects to leave a mark, citing the middling response to Yash Raj Films' last few productions, the lack of a male star, and claiming that by then Sharma was an "almost-forgotten" actress.^[13]

Band Baaja Baaraat was released on December 10, 2010 to positive reviews and went on to become a sleeper hit. Box Office India website reported that the film grossed approximately  21.44 crore after five weeks, making it a moderate box office success.^[14] Sharma's performance was praised by critics, many of whom called it her best work up to that point.^[15] Taran Adarsh described her as "truly wonderful," noting that it is "the first time in her 3-film career, a film rests mainly on Anushka's shoulders, and she handles the responsibility so well."^[16] For her work in the film, Sharma received her second nomination for the Filmfare Award for Best Actress and earned several awards and nominations at different award ceremonies.^[17]

Sharma's first venture outside the Yash Raj banner was Patiala House directed by Nikhil Advani and co-starring Akshay Kumar. Patiala House was released on February 11, 2011.^[18] Despite the film's lukewarm performance at the box office, Sharma received positive reviews. Nikhat Kazmi of The Times Of India wrote, "Anushka Sharma’s vivacity may have an after taste of her bubbling Band Baaja Baraat act but her passage from Janakpuri’s dhinchak girl to Southall’s siren is sweet and smooth. Watch out for the girl; she’s truly on a roll."^[19]

In December 2011, she re-united with her Band Baaja Baarat team of Ranveer Singh and Maneesh Sharma for Yashraj Films's Ladies vs Ricky Bahl. Despite negative media perception, the film was a moderate success at the box office.^[20][21]

Filmography[link]

Awards and nominations[link]

Filmfare Awards[link]

Nominated

• 2009: Filmfare Best Actress Award; Rab Ne Bana Di Jodi^[23]
• 2011: Filmfare Best Actress Award; Band Baaja Baaraat^[24]

Star Screen Awards[link]

Nominated

• 2008: Star Screen Award for Most Promising Newcomer - Female; Rab Ne Bana Di Jodi
• 2011: Star Screen Award for Best Actress; Band Baaja Baaraat

IIFA Awards[link]

Winner

• 2011: IIFA Award for Best Actress; Band Baaja Baaraat^[25]

Apsara Film and Television Producers Guild Awards[link]

Winner

• 2009: Best Debut (Female); Rab Ne Bana Di Jodi^[26]
• 2011: Best Actress in a Leading Role; Band Baaja Baaraat^[27]

Zee Cine Awards[link]

Nominated

• 2011: Zee Cine Award for Best Actor – Female; Band Baaja Baaraat^[28]
• 2012: Zee Cine Awards, International Icon Female

Other awards[link]

• 2011 - GQ Men of the Year Awards: Excellence Award^[29]

References[link]

External links[link]

• Anushka Sharma at the Internet Movie Database

Wikimedia Commons has media related to: Anushka Sharma