Saraswati
Saraswati sits on the bank of a river, holds a book and beads, and plays music on Veena, as a peacock looks on, in a painting by Mysore Wodeyar kingdomRaja Ravi Varma
Devanagari	सरस्वती
Sanskrit Transliteration	Saraswatī
Affiliation	Devi (Tridevi)
Abode	Brahmapura
Mantra	Om Aim Sarasvatyai Svāhā
Consort	Brahma
Mount	swan, Hansa Bird, and often peacock

This article contains Indic text. Without proper rendering support, you may see question marks or boxes, misplaced vowels or missing conjuncts instead of Indic text.

In Hinduism, Saraswati (Sanskrit: सरस्वती, Sarasvatī ^?), is the goddess of knowledge, music, arts and science. She is the consort of Brahma, also revered as his Shakti.^[1][2] Her figure is also popular in the Jain religion of west and central India.^[3] In Konkani she is Saraswati, Sharada, Veenapani, Pustaka dharini, Vidyadayini. In Kannada, she is Sharade, Sharadamba, Vani, Veenapani in the famous Shringeri temple. In Tamil, she is also known as kalaimagal (கலைமகள்), Kalaivaani (கலைவாணி), Vaani (வாணி). She is also addressed as sharadha, Veena pustaka dharani, vaakdevi, varadhanayagi and many other names.

The name Saraswati comes from saras (meaning "flow") and wati (meaning "she who has ..."), i.e., "she who has flow". So, Saraswati is symbol of knowledge; its flow (or growth) is like a river, and knowledge is supremely alluring, like a beautiful woman. She is depicted as a beautiful fair goddess with four arms, wearing a spotless white saree and seated on a white lotus. She is also known as Sharada, Vani and Vagdevi (all meaning "speech").

Saraswati is the guardian of Earth. She is also called Druga for fighting off Drug (Drug, the name for female demon in ancient Veda, from the Sanskrit root druh, "to be hostile"). The name Druga is made of Sanskrit dru or dur ("with difficulty") and gā or jā ("come", "go"). Saraswati is known as a guardian deity in Buddhism who upholds the teachings of Gautama Buddha by offering protection and assistance to practitioners. She is known in Burmese as Thurathadi (သူရဿတီ, pronounced: [θùja̰ðədì] or [θùɹa̰ðədì]) or Tipitaka Medaw (တိပိဋကမယ်တော်, pronounced: [tḭpḭtəka̰ mɛ̀dɔ̀]), in Chinese as Biàncáitiān (辯才天), in Thai as Surasawadee (สุรัสวดี) and in Japanese as Benzaiten (弁才天/弁財天). In the East Indian states of Bihar, West Bengal, and Orissa, Saraswati is considered to be a daughter of Durga along with her sister Lakshmi and her brothers Ganesha and Karthikeya.^[4]

History[link]

Saraswati depicted in Mysore painting

In the Rigveda, Saraswati is a river as well as its personification as a goddess. In the post-Vedic age, she began to lose her status as a river goddess and became increasingly associated with literature, arts, music, etc. In Hinduism, Saraswati represents intelligence, consciousness, cosmic knowledge, creativity, education, enlightenment, music, the arts, eloquence and power. Hindus worship her not only for "academic knowledge", but for "divine knowledge" essential to achieve moksha.

In some Puranas (like Skanda Purana), she is the daughter of Shiva (Shivaanujaa), and, in some Tantras, with Ganesha. However, across India, she is worshipped as the wife of Lord (God)Brahma. In the Devi Mahatyam, it mentions her as Brahmapatni. According to some sects, Saraswati was born from the left body part of Vishnu when Vishnu was in his eternal sleep.

The original (spiritual) forms of devas including Saraswati are present in the spiritual world:

In the center reside the deities of fire, sun and moon, Kurma-avatara, Ananta Sesha, and Garuda, the master of the three Vedas. The Vedic hymns and all sacred mantras also stay in that holy place, which is made of all the Vedas and which is known in the Smriti-sastra (Scriptures of Remembrance) as the yoga-pitha (Sanctuary of Union). (Padma Purana Uttara-khanda 256.23)

Accompanied by Lakshmi and other associates, the chatur-vyuha (Four Expansions) headed by Lord Vasudeva are manifest in the eight directions, beginning with the east. In the directions beginning with the southeast, the palaces of Lakshmi, Saraswati, Rati, and Kanti, respectively, are situated.^{[5][clarification needed]}

According to Vedanta, she is considered to be the feminine energy and knowledge aspect (Shakti) of Brahma, as one of many aspects of Adi Shakti.

Maha Saraswati[link]

In the Devi Mahatmya, Saraswati is in the trinity of Maha Kali, Maha Lakshmi and Maha Saraswati. She is depicted as eight-armed.

Her dhyāna shloka given at the beginning of the fifth chapter of Devi Mahatmya is:

Wielding in her lotus-hands the bell, trident, ploughshare, conch, pestle, discus, bow, and arrow, her lustre is like that of a moon shining in the autumn sky. She is born from the body of Gowri and is the sustaining base of the three worlds. That Mahasaraswati I worship here who destroyed Sumbha and other asuras.^[6]

Mahavidya Nila Saraswati[link]

Nilasaraswati is another form of Mahavidya Tara. There are separate dhyana shlokas and mantras for her worship in Tantrasara.^[7]

Other associations[link]

Saraswati is known as a guardian deity in Buddhism who upholds the teachings of Gautama Buddha by offering protection and assistance to practitioners.

Iconography[link]

9th-century marble sculpture of Saraswati

The goddess Saraswati is often depicted as a beautiful woman dressed in pure white, often seated on a white lotus, which symbolizes that she is founded in the experience of the absolute truth. Thus, she not only has the knowledge but also the experience of the highest reality. She is mainly associated with the color white, which signifies the purity of true knowledge. Occasionally, however, she is also associated with the colour yellow, the colour of the flowers of the mustard plant that bloom at the time of her festival in the spring. Unlike the goddess Lakshmi, Saraswati is adorned with simple jewels and gold, representing her preference of knowledge over worldly material things.^[8]

She is generally shown to have four arms, which represent the four aspects of human personality in learning: mind, intellect, alertness, and ego. Alternatively, these four arms also represent the four Vedas, the primary sacred books for Hindus. The Vedas, in turn, represent the three forms of literature:

• Poetry — the Rigveda contains hymns, representing poetry.
• Prose — Yajurveda contains prose.
• Music — Samaveda represents music.

The four hands also depict this thus—prose is represented by the book in one hand, poetry by the garland of crystal, and music by the veena. The pot of sacred water represents purity in all of these three, or their power to purify human thought.

She is shown to hold the following in her hands:

• A book, which is the sacred Vedas, representing the universal, divine, eternal, and true knowledge as well as her perfection of the sciences and the scriptures.
• A mālā of crystals, representing the power of meditation and spirituality.
• A pot of sacred water, representing creative and purification powers.
• The vina, a musical instrument that represents her perfection of all arts and sciences. Saraswati is also associated with anurāga, the love for and rhythm of music, which represents all emotions and feelings expressed in speech or music.

The beautiful human form of Saraswati comes to the fore in this English translation of the Saraswati hymn:

"May Goddess Saraswati, who is fair like the jasmine-colored moon, and whose pure white garland is like frosty dew drops, who is adorned in radiant white attire, on whose beautiful arm rests the veena, and whose throne is a white lotus, who is surrounded and respected by the Gods, protect me. May you fully remove my lethargy, sluggishness, and ignorance."^[9]

A hamsa or goose is often located next to her feet. The sacred bird, if offered a mixture of milk and water, is said to be able to drink the milk alone. It thus symbolizes discrimination between the good and the bad or the eternal and the evanescent. Due to her association with the bird, Saraswati is also referred to as Hamsavahini, which means "she who has a hamsa as her vehicle".

She is usually depicted near a flowing river, which may be related to her early history as a river goddess.

Sometimes a peacock is shown beside the goddess. The peacock represents arrogance and pride over its beauty, and by having a peacock as her mount, the goddess teaches not to be concerned with external appearance and to be wise regarding the eternal truth.

Worship[link]

In Hindu beliefs, great significance is attached to offering honey to this goddess, as honey is representative of perfect knowledge. Hymns dedicated to her include Saraswati Vandana Mantra.

Festivals[link]

In Goa,Maharashtra and Karnataka, Saraswati Puja starts with Saraswati Avahan on Maha Saptami and ends on Vijayadashami with Saraswati Udwasan or Visarjan.

Saraswati Puja calendar:

• Saraswati Puja Avahan – Maha Saptami – Triratra vratam starts in Andhra Pradesh.
• Saraswati Puja (main puja) – Durgashtami
• Saraswati Uttara Puja – Mahanavami
• Saraswati Visarjan or Udwasan – Vijaya Dashami
• Saraswati Kartik Purnima on (Sristhal) siddhpur of Gujaratis ancient festival since Solanki ruling of Patan state.

Saraswati

Sarasvati Puja in Eastern India

In the eastern part of India—Orissa, West Bengal, Bihār and Assam,—Saraswati Puja is celebrated in the Magha month (January–February). It coincides with Vasant Panchami or Shree Panchami, i.e., the fifth day of the bright fortnight of the lunar month of Magha. People place books near the goddess' statue or picture and worship the goddess. Book reading is not allowed on this day.

Sarasvati Puja in South India

In the southern states of India, Saraswati Puja is conducted during the Navaratri. Navaratri literally means "nine nights", but the actual celebrations continue during the 10th day, which is considered as Vijaya Dashami or the Victorious Tenth Day. Navaratri starts with the new-moon day of the bright fortnight of the Sharad Ritu (Sharad Season of the six seasons of India) during September–October. The festival celebrates the power of the feminine aspect of divinity or shakti. The last two or three days are dedicated to Goddess Saraswati in South India.

In Karnataka, the Shringeri Sharadamba temple is a revered pilgrimage spot. There are other Sharada temples also. The Mysore Dasara festival includes Sharada puje. During the Navarathri season they keep various dolls on raised platforms this arrangement is called ("Gombe koorisuvudu") .Pustaka puje and musical instuments puja is also done on Saraswati pooja day.

The Gnana Saraswathi Temple in Basar, Andhra Pradesh, on the banks of the River Godavari is considered only one of two temples in India dedicated to the goddess.

In Tamil Nadu, Sarasvati Puja is conducted along with the Ayudha Puja (the worship of weapons and implements including machines). On the ninth day of Navaratri, i.e., the Mahanavami day, books and all musical instruments are ceremoniously kept in front of the Goddess Sarasvati early at dawn and worshipped with special prayers. No studies or any performance of arts is carried out, as it is considered that the goddess herself is blessing the books and the instruments. The festival concludes on the tenth day of Navaratri (Vijaya Dashami), and the goddess is worshipped again before the books and the musical instruments are removed. It is customary to start the study afresh on this day, which is called Vidyarambham (literally, "Commencement of Knowledge").

In Kerala, the last three days of the Navaratri festival, i.e., Ashtami, Navami, and Dashami, are celebrated as Sarasvati Puja. The celebrations start with the Puja Veypu (Placing for Worship). It consists of placing the books for Pooja on the Ashtami day. It may be in one's own house, in the local nursery school run by traditional teachers, or in the local temple. The books will be taken out for reading, after worship, only on the morning of the third day (Vijaya Dashami). It is called Puja Eduppu (Taking [from] Puja). Children are happy, since they are not expected to study on these days. On the Vijaya Dashami day, Kerala celebrates the Ezhuthiniruthu or Initiation of Writing for the little children before they are admitted to nursery schools. This is also called Vidyarambham. The child is made to write for the first time on the rice spread in a plate with the index finger, guided by an elder of the family or by a reputed teacher. The little ones will have to write "Hari Shri Ganapataye Namah" and recite the same to mark the auspicious entry into the world of education. This is considered a memorable event in the life of a person. In some parts of Kerala bordering Tamil Nadu, Ayudha Puja is also conducted during this period.

Respect for written material[link]

In India, it is customary that, out of respect, when a person's foot accidentally touches a book or any written material (which are considered a manifestation of Saraswati) or another person's leg, it will be followed by an apology in the form of a single hand gesture (Pranāma) with the right hand, where the offending person first touches the object with the fingertips and then the forehead and/or chest. This also counts for money, which is considered a manifestation of the goddess of wealth, Lakshmi.^[10]

Images[link]

• 

  Bani Archana, 2012 (Saraswati puja festival, 2012), Jagannath Hall, University of Dhaka

• 

  Saraswati Temple in Bali, Indonesia

• 

  Stone sculpture of Gnana Saraswathi at the Gangaikonda Cholapuram

• 

  Sringeri Temple of Toronto

See also[link]

• Benzaiten, Japanese goddess equated with Saraswati
• Hindu Goddess
• Sarasvati River
• Sharada Peeth
• Saraswati Puja

Notes[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. 
• Kinsley, David (1998). Tantric visions of the divine feminine : the ten mahāvidyās (Repr. ed.). Delhi: Motilal Banarsidass. ISBN 81-208-1523-8. 
• Sankaranarayanan, S. (2001). Glory of the Divine Mother (Devī Māhātmyam). India: Nesma Books. ISBN 81-87936-00-2. 

Further reading[link]

• Saraswati, Swami Satyananda. Saraswati Puja for Children. ISBN 1-877795-31-3. 
• Ankerl, Guy (2000). Global communication without universal civilization. INU societal research. Vol.1: Coexisting contemporary civilizations : Arabo-Muslim, Bharati, Chinese, and Western. Geneva: INU Press. ISBN 2-88155-004-5. 

External links[link]

Wikimedia Commons has media related to: Sarasvati

• Vasant Panchami, a celebration of Goddess Saraswati

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Jagadguru Chandrasekharendra Saraswati Swamigal (Tamil: சந்திரசேகரேந்திர சரஸ்வதி சுவாமிகள்) (May 20, 1894 – January 8, 1994) or the Sage of Kanchi was the 68th Jagadguru in the Kanchi Kamakoti Peetam. He is usually referred to as Paramacharya or Mahaswami or Maha Periyavaal.

Early life[link]

Maha Periyavaal was born on 20 May 1894, under Anuradha star according to the Hindu calendar, into a Kannadiga Smartha Hoysala Karnataka Brahmin family in Viluppuram, South Arcot District, Tamil Nadu as Swaminatha. He was the second son of Subramanya Sastri, a District Education Officer. The child was named Swaminatha, after the family deity, Lord Swaminatha of Swamimalai, near Kumbakonam. Swaminatha began his early education at the Arcot American Mission High School at Tindivanam, where his father was working. He was an exceptional student and excelled in several subjects.^{[citation needed]} In 1905, his parents performed his Upanayanam, a Vedic ceremony which qualifies a Brahmin boy to begin his Vedic studies under an accomplished teacher.^{[citation needed]}

Incidents leading to Sainthood[link]

During the childhood of the Acharya, his father consulted an astrologer who, upon studying the boy's horoscope, is said to have been so stunned that he prostrated himself before the boy exclaiming that "One day the whole world will fall at his feet".In 1906, the 66th Acharya of Sri Kanchi Kamakoti Peetham performed the annual Chaturmasyam (a forty-day annual ritual performed by Hindu ascetics while remaining in one place), in a village near Tindivanam in Tamil Nadu. This was Swaminathan’s first exposure to the Math and its Acharya. Later, Swaminathan accompanied his father whenever he visited the Math where the Acharya was deeply impressed by the young boy.

In the first week of February 1907, the Kanchi Kamakoti Math had informed Subramanya Sastrigal that Swaminathan's first cousin (son of his mother's sister) was to be installed as the 67th Peetathipathi. The presiding Acharya was then suffering from smallpox and had the premonition that he might not live long. He had, therefore, administered upadesa to his disciple Lakshminathan before he died. Sastrigal being away in Trichinopoly on duty arranged for the departure of Swaminathan with his mother to Kanchipuram. The boy and his mother started for Kalavai (where Lakshminathan was camping) to console his aunt who, while also being a widow, had just given up her only son to be an ascetic. They traveled by train to Kanchipuram and halted at the Sankara Math. By then, Lakshminathan had fallen ill:

I had a bath at the Kumara Koshta Tirtha. A carriage of the Math had come there from Kalavai with the people to buy articles for the Maha Puja on the tenth day of the passing of the previous 66th Acharya. One of them, a hereditary maistry (mason) of the Math, asked me to accompany him. A separate cart was engaged for the rest of the family to follow me. During the journey the maistry hinted to me that I might not return home and that the rest of my life might be spent in the Math itself. At first I thought that my elder cousin having become the Head of the Math, it was his wish that I should live with him. But the maistry gradually clarified matters as the cart rolled on. The acharya had fever which developed into delirium and that was why I was being separated from the family to be taken to Kalavai... I was stunned by this unexpected turn of events. I lay in a kneeling posture in the cart, shocked as I was, repeating "Rama... Rama," the only prayer I knew. My mother and other children came some time later only to find that instead of her mission of consoling her sister, she herself was placed in the state of having to be consoled

—T.M.P. Mahadevan, The Sage of Kanchi

^{[citation needed]}

The 67th Acharya also died, after reigning for a brief seven days as the head of the Math. Swaminathan was immediately installed as the 68th head of the Kanchi Kamakoti Peetam on February 13, 1907, the second day of the Tamil month of Masi, Prabhava year. He was given Sanyasa Asramam at the early age of 13 and was named Chandrasekharendra Saraswati. On May 9, 1907 his "Pattabishekam" as the 68th Peetathipathi of Kanchi Kamakoti Peetam was performed at the Kumbakonam Math. Devotees including Shivaji Maharaja of Tanjavur, government officials and pundits participated in the event.

Even though there was not enough property in the mutt to be administered, the court considering the benefit of the mutt, ordered the mutt to be administered under the “Guardian and Wards Act”. Sri C.H.Venkataramana Iyer, an illustrious personality from Kolinjivadi (Colinjivadi) village near Coimbatore was appointed as guardian by the court. The administration of the mutt was under guardianship from 1911 to May,1915. On the day of Sankara Jayanthi in the year 1915, Swamigal took over the administration of the mutt on the completion of his 21 st year. The administration of the mutt was taken over in name, but the actual work was taken care of by an agent, one Sri Pasupathi Iyer. He was an able administrator who volunteered to do the job without compensation and hailed from Thirupathiripuliyur. Sri Swamigal does not sign any document, instead Sri Mukham stamp is placed on documents.[1]

Mahaswami had vedic studies at Kumbakonam Mutt oppostie the mahamaham tank. In 1915, Sri Anantharama Srouthigal was his prathama adhyayana tutor. As a little girl, his granddaughter Nagam used to carry milk in a pot to the pontiff next door. She said the acharya was sharp in memory and divinely blessed with prediction. Avidly she recalled how the acharya directed her father Narayana Iyer (S/o Anantharama Srouthigal) to vacate the place and go to his house next door. Narayana came home and died within minutes. Thus was his spiritual darshan. When her family visited the Kanchi Mutt in 1991, the aged acharya blessed the family members and enquired if they were Nagam's children. It is understood that the house was later donated to Mutt by the family.[2]

Maha Periyavaal spent several years in the study of the scriptures and dharma shastras and acquainted himself with his role as the Head of the Math. He soon gained the reverence and respect of the devotees and people around him. To millions of devotees he was simply "Periyavar"—the revered one or Maha-Periyavar or Periya-Periyavar. "Periyavar" in Tamil means a great person, and conveys endearment, reverence, and devotion. "Mahaswami" and "Paramacharya" are his other well-known appellations.^{[citation needed]}

Maha Periyavaal was the head of the Mutt for eighty-seven years. During this period, the Sri Kanchi Kamakoti Peetam acquired new strength as an institution that propagated Śankara's teachings. The devotion, fervour, and intensity with which the Paramacharya practiced what Śankara had taught are considered to be unparalleled by his devotees.^{[citation needed]} Throughout his life, the focus of his concern and activities was rejuvenating Veda adhyayana, the Dharma Sasthras, and the age-old tradition, which had suffered decline. "Veda rakshanam" was his very life breath, and he referred to this in most of his talks.

Remaining active throughout his life, the sage of Kanchi twice undertook pilgrimages on foot from Rameshwaram in the far south of the Indian peninsula to Benares in the North.

Providing support through Veda Patashalas (schools teaching Vedic lore) through the Veda Rakshana Nidhi which he founded and honouring Vedic scholars, he reinvigorated Vedic studies in India. He organised regular sadhas ('conferences') which included discussions on arts and culture—these led to a renewed interest in Vedic religion, Dharma sasthras, and the Sanskrit language. His long tenure as Pitadhipathi is considered by many to have been the Golden Era of the Kanchi Kamakoti Peetham.^{[citation needed]} He attained Mukti (died) on January 8, 1994 at the age of 100 and was succeeded by Jayendra Saraswati Swamigal.

Spiritual leadership[link]

Periyava stressed the importance of a Guru in one's life. He repeatedly preached about the importance of following the Dharmic path. His various discourses are available in a volume of books called 'Deivathin Kural' (Voice of the Divine) which have been compiled by R. Ganapathi, a devotee of Periyava, and published by vaanathi publications. These books are available both in Tamil and English. A condensed form of these books is also available in English. These are available in any branch of the Kanchi math. He was a pure Gnani - (Sanskrit - he knew every thing happening in the world). He had proved this several times. So many devotee's mentioning this in there experience accounts for this. His advice to Paul Brunton is a classic example. He treated all religions equally and with respect. He guided the devotees by spiritual means.

Periyava and the Indian Freedom Movement[link]

Though Periyavaa did not get directly into politics, he was interested in the happenings. At Nellichery in Palakkad (Present Day Kerala), Rajaji and Mahatma Gandhi met the Acharya in a cow shed. It was a practice in the mutt to wear silk clothes. But Acharya was the first one to do away with them and shifted to Khadi robes at Rameshwaram. He requested his devotees to do away with foreign/ non natural clothes some time earlier at Trichy. The day India became free, he gave the Maithreem Bhajata song, which was later to be sung at the UN by M S Subbulakshmi. He gave a speech on the significance of the flag and the Dharma chakra in it on that day.^[1]

Devotees[link]

Periyava's charm invited the rich and the poor, the old and the young alike to be his devotees. Some of his famous devotees include, their highness the King and Queen of Nepal, the Queen Mother of Greece, the Dalai Lama, M. S. Subbulakshmi, Subramanian Swamy, Indira Gandhi, R. Venkatraman and Atal Bihari Vajpayee among others. To the Acharya, the VIPs and the common man were one and the same. There were thousands of personal experiences to lakhs of his devotees, who still revere him, and pray to him as a messenger of the Supreme or an ultimate Guru.

After the defeat of Congress in 1972 election under the symbol of 'Cow & calf', Indira Gandhi came on a tour to pay respects to the Acharya. Acharya who was in meditation at backyard, asked the assistant to offer a wooden plank for her to sit on the floor at backyard. After she spoke to him, the Paramacharya lifted his hands and blessed her. Later Indira adopted his blessing palm as the symbol for Congress (I).

See also[link]

• Kanchi Kamakoti Peetham

References[link]

Sources[link]

• A search in Secret India—Paul Brunton
• Sri Kanchi Mahaswamy Charitram

External links[link]

• Official website of Kanchi Kamakoti peetham
• A web site dedicated to The Sage of Kanchi
• Sri Mahaswamy Charitram[3]
• English translation of Sri Kanchi Mahaswami's discourses at [4] under following titles:
  • Amrita-Moksha
  • Isvara-Bhakti
  • Music-Peace
  • Ananda-Bliss
  • Jnaanaambika
  • Sharanam
  • Brahmam
• http://hinduonline.co/VideoGallery.html
• http://hinduonline.co/Books/BooksOnline.html
• http://www.youtube.com/watch?v=wTLwFZIBGF0 - A Rare Video of Paramacharya Swamiji's discourse

Anuradha Paudwal
Background information
Born	(1954-10-27) October 27, 1954 (age 57)
Genres	playback singing, bhajans
Occupations	Singer
Instruments	Vocalist
Years active	1973–present

Anuradha Paudwal is a popular playback singer in Bollywood in India.^[1] She has sung songs in Hindi, Marathi, Oriya, and Nepali.

Biography[link]

She studied at Xavier's College in Mumbai. She was married to the late Arun Paudwal, who worked with music director S. D. Burman as his assistant. Her singing career started in 1973 with the movie, Abhimaan, (starring Amitabh Bachchan and Jaya Bachchan) in which she sang a Shloka (a Sanskrit verse). In the same year she also made her Marathi film debut with "Yashoda" (music by Datta Davjekar). In 1974, she brought out a record of Non-film Marathi songs or "bhav geeten" which became very popular.

In 1976, she got her break as a playback singer in Hindi films with Kalicharan (starring Shatrughan Sinha and Reena Roy). Her first solo was in the movie, Aap Beati, (starring Hema Malini and Shashi Kapoor). Laxmikant-Pyarelal were the music-composer duo for that movie. She also occasionally sang songs for composers Rajesh Roshan (Des Pardes), Jaidev (Dooriyan, Laila Majnu), Kalyanji Anandji (Kalaakar, Vidhaata), and Usha Khanna (Souten, Sajan Bina Suhagan).

Anuradha apparently never received any formal training in classical music, stating in an interview, "I have not received any formal training in classical music. I have tried many times, but it has never worked out. I learnt a little here and a little there, but ultimately, I just practiced for many hours listening to Lataji".^[2]

Anuradha gained recognition with her popular numbers for the movie, Hero, for composers Laxmikant-Pyarelal. Her collaboration with Laxmikant-Pyarelal produced more success with songs for Meri Jung ("O Mere Kwabon Ke"), Batwara ("Thaare Vaaste Re Dola-Tu Maaro Kaun Lage"), Nagina and many more.Ram Lakhan saw Laxmikant-Pyarelal giving three major hit songs to Anuradha. Their association ended with Tezaab where she sang two good numbers for them - "Kehdo Ki Tum" and "Hum Tumko Dilbar Kyon Maane".

Following this she collaborated with movie producer, Gulshan Kumar, and began a success streak with the movies, Lal Dupatta Malmal Ka, Tezaab, Aashiqui and Dil Hai Ke Manta Nahin. She along with Gulshan Kumar were instrumental in getting many unknown playback singers to the fore, including Kumar Sanu, Udit Narayan, Abhijeet, Sonu Nigam. New Music directors, including her husband Arun Paudwal, were introduced to the music world. Nadeem-Shravan, Anu Malik, Anand-Milind, Nikhil Vinay and Amar Utpal all collaborated with T-Series (Gulshan Kumar's music label) and started a new era of melody in Bollywood. She has sung over 2000 songs til now from the start of her career. Most of her duets have been with Udit Narayan, Kumar Sanu, Mohammed Aziz. She sang some songs with Kishore Kumar, Mohammed Rafi and also with her female co-singers; Lata Mangeshkar, Asha Bhosle, Alka Yagnik, Kavita Krishnamurthy and Sadhana Sargam. Her other notable songs were also for the famous duo Shiv-Hari, for the movie "Sahebaan". She has also sung for R.D. Burman in her initial days and actually convinced him to make songs for Gulshan Kumar's label in his last days and the song "Aja Meri Jaan" set to one of the background score of R.D.Burman from Saagar is still popular. She also sang beautiful duets with her co-singers from Tamil Nadu and Kerala, notably S. P. Balasubrahmanyam and K. J. Yesudas.

Controversies[link]

Anuradha has had her share of controversies as well. She was one of the rare singers to bloom during the reign of the Mangeshkar sisters in the Bollywood music industry. She was also under much controversy when she dubbed the songs of Alka Yagnik in the film "Dil". This also caused rifts between Anand-Milind and Alka Yagnik, thereby causing them to not collaborate for 2 years. Later in 1998, Anuradha Paudwal dubbed the songs of Alka Yagnik once again for the film Itihaas, this time under the music direction of Dilip Sen-Sameer Sen. However, Alka Yagnik, protested, to which the music company, T-Series was forced to include both versions of the same song, one in the voice of Alka Yagnik and the other in the voice of Anuradha Paudwal. She further went to dub Lata Mangeshkar's song in "Radha Ka Sangam" citing that her voice suited the heroine better. Anu Malik, a smaller name then, who had composed the soundtrack of Radha Ka Sangam, protested against this move.

At her peak, Anuradha announced that henceforth she would sing exclusively for "T-Series", and concentrated on devotional songs and "cover-version" albums. T-Series used her attractive and pleasing looks to good effect in numerous Bhajan and promotional videos. She was the first playback singer whose face featured on music covers more than the film's actors. She sang for T-series for some time and then went into a sabbatical. After about five years, she restarted her playback career. She sang a few hit songs for her old music directors but the reception for her comeback was mild.

Although Anuradha has significantly cutback in singing for films, she has continued on with her popularity for singing devotional songs and creating devotional albums, which ultimately remains her forte. She has collaborated with Pandit Jasraj on his "Geet Govind , many devotional albums with Anup Jalota. Her voice is well suited on devotional numbers.

Marathi[link]

Anuradha sang in a number of Marathi movies including the memorable Disate Majalaa, Raja Lalakaari, and Kaalyaa Maatita Maatitaa. Most of these movies had music by the duo of Anil-Arun, Arun being her husband, who collaborated with Anil Mohile to form a pair.

Bollywood Songs[link]

Awards and recognition[link]

• 1986: Filmfare Award for "Mere Mann Bajaa Mridang" from Utsav.
• 1990: National Film Award for "He Ek Reshami" from Kalat Nakalat
• 1991: Filmfare Award for "Nazar Ke Saamne" from Aashiqui.
• 1992: Filmfare Award for "Dil Hai Ke Manta Nahi" from Dil Hai Ke Manta Nahin.
• 1993: Filmfare Award form "Dhak Dhak Karne Laga" from Beta.
• 2011: Mother Teresa Award for Lifetime Achievement ^[3]

References[link]

External links[link]

• Anuradha Paudwal at the Internet Movie Database
• List of Hindi movies with songs by Anuradha Paudwal
• Bio at HindiLyrix.com