Iranian shatranj set, glazed fritware, 12th century. New York Metropolitan Museum of Art.

Shatranj (Devanagari: शतरंज, Middle Persian: Chatrang) is an old form of chess, which came to the Western world from India. Modern chess gradually developed from this game.

Etymology and origins[link]

	a	b	c	d	e	f	g	h
8									8
7									7
6									6
5									5
4									4
3									3
2									2
1									1
	a	b	c	d	e	f	g	h

Shataranj starting position. The Shahs face each other, either on the d-file (as shown) or e-file.

Krishna and Radha playing chaturanga on an 8x8 Ashtāpada.

The Arabic word shatranj is derived from the Sanskrit chaturanga (catuḥ="four", anga="arm"). In Middle Persian the word appears as chatrang, with the 'u' lost due to syncope and the 'a' lost to apocope, e.g., in the title of the text Mâdayân î chatrang ("Book of Chess") from the 7th century AD. In Persian folk etymology, the word is sometimes re-bracketed as sad ("hundred") + ranj ("worries"), which might appear quite meaningful to players. The word was adapted into Arabic as shatranj, and then into the Portuguese xadrez, Spanish ajedrez, and Greek ζατρίκιον; but English chess and check come via French échecs (Old French eschecs) from Persian شَاه (shāh = "king").

The game came to Persia from India in the early centuries of the Christian Era (Common Era). The earliest Persian reference to shataranj is found in the Middle Persian book Karnamak-i Artaxshir-i Papakan, which was written between the 3rd and 7th centuries AD (Common Era). This ancient Persian text refers to Shah Ardashir I, who ruled from 224–241, as a master of the game:^[1]

By the help of Providence Ardeshir became more victorious and warlike than all, on the polo and the riding-ground, at Chatrang and Vine-Artakhshir, and in several other arts.

However, Karnamak contains many fables and legends, and this only establishes the popularity of chatrang at the time of its composition.^[2]

• 

  Playing shatranj in a Persian miniature painting of Bayasanghori Shahname made in 1430 CE. Image:Shatranj.jpg|Iranian shatranj set, glazed fritware, 12th century. New York Metropolitan Museum of Art.

• 

  Persian manuscript from the 14th century describing how an ambassador from India brought chess to the Persian court.

• 

  Shams-e-Tabrīzī as portrayed in a 1500 painting in a page of a copy of Rumi's poem dedicated to Shams.

During the reign of the later Sassanid king Khosrau I (531–579), a gift from an Indian king (possibly a Maukhari Dynasty king of Kannauj)^[3] included a chess game with sixteen pieces of emerald and sixteen of ruby (green vs. red).^[2] The game came with a challenge which was successfully resolved by Khosrau's courtiers. This incident, originally referred to in the Mâdayân î chatrang (c. 620 AD), is also mentioned in Firdausi's Shahnama (c. 1010 AD).

The rules of chaturanga seen in India today have enormous variation, but all involve four branches (angas) of the army: the horse, the elephant (bishop), the chariot (rook) and the foot-soldier (pawn), played on a 8x8 board. Shatranj adapted much of the same rules as chaturanga, and also the basic 16 piece structure. There is also a larger 10x11 board derivate; the 14th century Tamerlane chess, or shatranj kamil (perfect chess), with a slighly different piece structure.

In some later variants the darker squares were engraved. The game spread Westwards after the Islamic conquest of Persia and a considerable body of literature on game tactics and strategy was produced from the 8th c. onwards.

With the spread of Islam, chess diffused into the Maghreb and then to Andalusian Spain. During the Islamic conquest of India (c.12th c.), some forms came back to India as well, as evidenced in the N. Indian term māt (mate, derivaative from Persian māt) or the Bengali borey (pawn, presumed der. Arabic baidaq).^[4] Over the following centuries, chess became popular in Europe eventually giving rise to modern chess.

Rules[link]

Shatranj pieces
	Shah (King)
	Fers or Wazīr (Counsellor)
	Rukh (Chariot or Rook)
	"Pīl" in Persian and "al-Fīl" in Arabic (Elephant)
	Asb (Horse in Persian) or Knight
	Sarbaz (piyadeh) (Pawn)

Fers. A move diagram for the fers.

Pīl, Alfil, Aufin, and similar. A move diagram for a Pīl. This piece can jump over other pieces.

The initial setup in shatranj was essentially the same as in modern chess. However the position of the white shah (king), on the right or left side was not fixed. Either the arrangement as in modern chess or as shown on the diagram above were possible. In either case, however, the white and black shāh would be on the same file (but not always in modern India). The game was played with these pieces:

• Shāh (king) moves like the king in chess.
• Fers (counsellor; also spelled ferz; Arabic firz, from Persian فرزين farzīn ; also called Wazīr) moves exactly one square diagonally, which makes it a rather weak piece. It was renamed "queen" in Europe. Even today, the word for the queen piece is ферзь (ferz) in Russian, vezér in Hungarian, "vezir" in Turkish and "vazīr" in Persian. It has analogues to the guards in xiangqi and Gold Generals in shogi.
• Rukh (chariot; from Persian رخ rokh) moves like the rook in chess.
• Pīl, Alfil, Aufin, and similar (elephant; from Persian پيل pīl; al- is the Arabic for "the") moves exactly two squares diagonally, jumping over the square between. Each Pīl could reach only one-eighth of the squares on the board, and because their circuits were disjoint, they could never capture one another. This piece might have had a different move sometimes in chaturanga, where the piece is also called "elephant". The Pīl was replaced by the bishop in modern chess. Even today, the word for the bishop piece is alfil in Spanish, alfiere in Italian, "fil" in Turkish, "fīl" in Persian and слон (which means elephant) in Russian. The elephant piece survives in xiangqi with the limitations that the elephant in xiangqi cannot jump over an intervening piece and is restricted to the owner's half of the board. In janggi, its movement was changed to become a slightly further-reaching version of the horse.
• Faras (horse, from Arabic; Persian اسپ asp) moves like the knight in chess.
• Baidaq (from Arabic بيدق from Persian پياده piyāda, foot-soldier, by adapting the Persian word as Arabic bayādiq, which was treated as a broken plural from which was extracted an apparent singular baidaq) moves and captures like the pawns in chess, but not moving two squares on the first move. When they reach the eighth rank, baidaqs are promoted, but only to fers.

Pieces are shown on the diagrams and recorded in the notation using the equivalent modern symbols, as in the table above. In modern descriptions of shatranj, the names king, rook, knight and pawn are commonly used for shah, rukh, faras, and baidaq.

There were also other differences compared to modern chess: Castling was not allowed (it was invented much later). Stalemating the opposing king resulted in a win for the player delivering stalemate. Capturing all one's opponent's pieces apart from the king (baring the king) was a win, unless your opponent could capture your last piece on his or her next move, then in most parts of the Islamic world it was a draw, but in Medina it was a win.^[2]

History[link]

Early Arabic shatranj literature[link]

During the Golden Age of Arabic, many works on shatranj were written, recording for the first time the analysis of opening games, chess problems, the knight's tour, and many more subjects common in modern chess books. Many of these manuscripts are missing, but their content is known due to compilation work done by the later authors.^[2]

The earliest listing of works on chess is in the Fihrist, a general bibliography produced in 377 AH (988 CE) by Ibn al-Nadim. It includes an entire section on the topic of chess, listing:

• Al-Adli's Kitab ash-shatranj ('Book of chess')
• Ar-Razi's Latif fi'sh-shatranj ('Elegance in chess')
• As-Suli's Kitab ash-shatranj (two volumes)
• Al-Lajlaj's Kitab mansubat ash-shatranj ('Book of chess-positions or problems')
• B. Aliqlidisi's Kitab majmu'fi mansubat ash-shatranj ('Collection of chess problems')

There is a passage referring to chess in a work said to be by Hasan, a philosopher from Basra who died in 728 CE. However the attribution of authorship is dubious.

Player classification[link]

Al-Adli as well as as-Suli introduced classifications of players by their playing strength. Both of them specify 5 classes of players:

• Aliyat (or aliya), grandees
• Mutaqaribat, proximes - players who could win 2-4 games out of 10 in the match against grandee. They received odds of a pawn from grandee (better players g-, a- or h-pawn, weaker ones d- or e-pawn).
• Third class - players who received odds of a fers from grandee.
• Fourth class - received odds of a knight.
• Fifth class - received odds of a rook.

To determine his or her class, a player would play a series or match with a player of a known class without odds. If he won 7 or more games out of 10, he belonged to a higher class.

Players[link]

During the reign of the Arab caliphs, shatranj players of highest class were called aliyat or grandees.^[2] There were only a very few players in this category including:

• Jabir al-Kufi, Rabrab and Abun-Naam were three aliyat players during the rule of caliph al-Ma'mun.
• Al-Adli was the strongest player during the rule of caliph al-Wathiq. At this time he was the only player in aliyat category.
• Ar-Razi in 847 won a match against an already old al-Adli in the presence of caliph al-Mutawakkil and so become a player of aliyat category.
• As-Suli was the strongest player during the reign of caliph al-Muktafi. Ar-Razi was already dead and there were no players of comparable strength before as-Suli appeared on the scene. In the presence of al-Muktafi he easily won a match against a certain al-Mawardi and thus proved that he was the best player of that time. As-Suli considered Rabrab and ar-Razi as the greatest of his predecessors.
• Al-Lajlaj was a pupil of as-Suli and also a great shatranj master of his time.

Game play[link]

Openings[link]

	a	b	c	d	e	f	g	h
8									8
7									7
6									6
5									5
4									4
3									3
2									2
1									1
	a	b	c	d	e	f	g	h

Mujannah - Mashaikhi opening. In opening shatranj players usually tried to reach a specific position, tabiya.

Openings in shatranj were usually called tabbiyyaتَبِّيّة (pl. tabbiyyaat),تَبِيّات which can be translated as battle array. Due to slow piece development in shatranj, the exact sequence of moves was relatively unimportant. Instead players aimed to reach a specific position, tabiya, mostly ignoring the play of their opponent.

The works of al-Adli and as-Suli contain collections of tabiyat. Tabiyat were usually given as position on a half-board with some comments about them. The concrete sequence of moves to reach them was not specified. In his book Al-Lajlaj analyzed some tabiya in detail. He started his analysis from some given opening, for example "Double Mujannah" or "Mujannah - Mashaikhi", and then continued up to move 40., giving numerous variations.

Piece values[link]

Both al-Adli and as-Suli provided estimation of piece values in their books on shatranj. They used a monetary system to specify piece values. For example, as-Suli gives piece values in dirhem, the currency in use in his time:^[2]

Piece	Value
Rook	1 dirhem
Knight	2/3 dirhem
Ferzan	1/3 - 3/8 dirhem
War elephant	1/4 dirhem
Central pawn (d-, or e-pawn)	1/4 dirhem
Knight's or Alfil's pawn (b-, c-, f-, or g-pawn)	1/6 - 1/5 dirhem
Rook's pawn (a- or h-pawn)	1/8 dirhem

As-Suli also believed that the b-pawn was better than the f-pawn and King's side Alfil (on the c-file) was better than Queen's side one (on the f-file). Furthemore, an Alfil on the c-file was better than the d-pawn and the Alfil on the f-file was better than an e-pawn.

Mansubat[link]

Dilaram Problem,
ca. 10th century

	a	b	c	d	e	f	g	h
8									8
7									7
6									6
5									5
4									4
3									3
2									2
1									1
	a	b	c	d	e	f	g	h

White to move and win. This is a typical example of a shatranj problem, Mansuba.

Persian chess masters composed many shatranj problems. Such shatranj problems were called mansūba (pl. mansūbāt). This word can be translated from Arabic as arrangement, position or situation. Mansubat were typically composed in such a way that a win could be achieved as a sequence of checks. One's own king was usually threatened by immediate checkmate.

One Mansuba is the Dilaram Problem shown at the right. Black threatens immediate checkmate by 1...Ra2 or Ra8. However, white can win with a two-rook sacrifice:

1. Rh8+ Kxh8; 2. Bf5+ Kg8; 3. Rh8+ Kxh8; 4. g7+ Kg8; 5. Nh6#. or

1. Rh8+ Kxh8; 2. Bf5+ Rh2; 3. Rxh2+ Kg8; 4. Rh8+ Kxh8; 5. g7+ Kg8; 6. Nh6#.

Note that the Alfil (bishop) moves two squares diagonally, jumping over intermediate pieces; this allows it to jump over the white knight to deliver the discovered check from the second rook with 2.Bf5+. It was said that a nobleman wagered (playing white) his wife Dilārām on a chess game, and this position arose, and she appealed "Sacrifice your two Rooks, and not me."^[5]

See also[link]

• Chess in early literature
• History of chess
• Tamerlane chess
• Timeline of chess

References[link]

External links[link]

• Shatranj, the medieval Arabian Chess by Jean-Louis Cazaux
• Shatranj by Hans L. Bodlaender, The Chess Variant Pages
• The Time of Shatranj and the Aliyat by Miguel Villa
• ICC shatranj rules
• igGameCenter play Shatranj online via browser or iGoogle gadget
• Shatranj at BoardGameGeek

Divya Bharti (25 February 1974 – 5 April 1993) was an Indian film actress,^[1] whose acting variety hailed her as "the most interesting young actress of her generation" starring in a number of commercially successful motion pictures during the early 1990s. She appeared in Hindi films of Bollywood, as well as Telugu and Tamil films. Bharti played a variety of character types; her film roles along with her screen persona contributed to a change in the concept of a Hindi film heroine.^[2]

After spending much of her childhood in Mumbai, Bharti began a career as an actress in 1990 with the Telugu film Bobbili Raja. Her early film appearances were minor, but in films like Vishwatma (1992) where her performance in the song "Saat Samundar Paar" drew attention to her. By 1992, Bharti had progressed to leading roles in films like Shola Aur Shabnam , a melodramatic film that dwelt on her undauntedness. Her dramatic performance in Deewana later that year was hailed by critics and garnered a Filmfare Award for Best Female Debut.^[3] Bharti has acted in over 14 Hindi films between 1992 and 1993.^[4] Throughout her career, she often played strong female characters and, apart from mainstream cinema. Bharti's last completed films were Rang, co-starring Kamal Sadanah and Shatranj with Jackie Shroff, both released posthumously. ^[5]

Though her career went through certain periods of decline, she reinvented herself numerous times and was credited for her ability to sustain her status.^[6] The final years of Bharti's life were marked by personal problems, and a reputation for unreliability and difficulty to work with. Her career was cut short by her mysterious death on 5 April 1993.^[7] The circumstances of her death, falling from the window ledge of her five-story Versova apartment have been the subject of conjecture.

Family and early life[link]

Divya Bharti was born on February 25 1974, in the Mumbai, India, the eldest child of Omprakash Bharti an insurance officer and Meeta Bharti.^[8] Meeta Bharti was the second wife of Omprakash Bharti. She had a younger brother Kunal. Bharti Studied at Maneckji Cooper High School in Juhu, Mumbai, in same era as actors Farhan Akhtar and Rani Mukherji attended. She was an average in studies and completed grade 9th.^[9]

Career[link]

1988-1990: Early work and career beginnings[link]

In 1988, Bharti met film-maker Nandu Tolani when she accompanied a friend. Upon seeing her, Nandu Tolani insisted that she become an actress. At that time Bharti was in the ninth standard. She was originally scheduled to make her screen debut in Gunahon Ka Devta in 1988, but her role was cancelled later.^[10] Kirti Kumar (Govinda's brother) noticed the Divya at a video library, was eager to sign up Divya for Radha Ka Sangam opposite Govinda. Weeks later Kirti went personally to meet Dilip Shankar and managed to release Divya from their contract. Before the first shot was taken, Bharti was out of the film after being groomed for two years and replaced by Juhi Chawla.^[11]

Bharti's career was on end until D. Ramanaidu, one of the biggest producers of Telugu cinema offered Bobbili Raja opposite his son Daggubati Venkatesh. She commenced shooting for her first release. The film was released in the summer of 1990 and became a colossal hit.^[12] She was introduced as Rani, daughter of the minister who has had all the comforts of life. The film was considered an usual launch for a newcomer, However, she was eventually noticed for her role, particularly for the forthright character she played.

Although highly regarded for her acting abilities, Bharti acted in only one Tamil film titled Nila Penne opposite Anand Babu, the son of legendary actor, Nagesh who was most widely known for several leading roles in the early 1990s and his dancing exploits. The film was critically and financially unsuccessful.^[13]

1990–1992:Rise to stardom in Telugu cinema[link]

With more hits, Bharti became a bigger name in Telugu cinema.^[14] In box-office ratings, she figured next to Vijayshanti. In 1991, Bharti gave back-to-back hits, including Rowdy Alludu and Assembly Rowdy opposite Chiranjeevi and Mohan Babu.^[15]

Later that year, A Kodandarami Reddy's action romantic Dharma Kshetram under Sri Rajeev Productions released. Bharti essayed the role of beautiful girl along with a prominent Telugu film actor Nandamuri Balakrishna, who then starred in many critical and commercial films with the highest number of dual roles (Thirteen). The film went on to become one of the biggest hits of Telugu cinema of its time.^[16] Nandamuri Balakrishna said about her performance, "This is an exceptional position reflecting an exceptional role she has played for us." ^[17]

1992–1993:Rise to stardom in Bollywood[link]

Bharti's first Bollywood film was Vishwatma opposite Sunny Deol, directed by Rajiv Rai which released on January 2, 1992. The film was an average grosser at the box office but gained Bharti wider recognition from the public as well as film critics.^[18] the film was only declared an average grosser.^[19] Notably, the music of the film was very successful especially the song "Saat Samundar" which became a favorite and gave Bharti the limelight into Bollywood..^[20]

Seven days later, Bharti's next film, Lawrence D'Souza's romantic drama Dil Ka Kya Kasoor alongside Prithvi and Sanam released but opened badly.^[21] Bharti's role was that of a girl by the name of Seema, who is secretly in love with a guy who wants to be a singer. She secretly helps him become a successful singer by writing songs for him but keeps her identity a secret from him. Through her songs he becomes popular and wealthy virtually overnight. The music of this film from duo Nadeem-Shravan was an instant hit due to its catchy melody. But the film din't do well at the box office. However, Filmfare magazines started including Bharti in the list of 1992 "Top Ten Best Actress Performances". After Bharti's flops, she was quoted as saying, "I wanted to prove myself. But I've fallen flat on my face. Now, I have to begin my climb all over again. Yet, I'm positive that one day, success will be mine." (Stardust, March 1992).^[22]

In March 1992, David Dhawan's Shola Aur Shabnam was released. Bharti starred as Divya, the love interest of Karan (Govinda. Karan and Divya both plan to marry each other. Circumstances act against them, and they flee together, with Kali Baba's (Gulshan Grover) men after them. Shola Aur Shabnam was popular with critics and was a box office hit in India,^[23] establishing Bharti once again. She received a Lux Face of the Year title. It also gave a big boost to Govinda's career^[24], as well as launching David Dhawan as an established director.^[25].

Four months later, Bharti received further success in Raj Kanwar's Filmfare award winning love story Deewana ^[26] starred veteran actor Rishi Kapoor, and newcomer Shahrukh Khan. Bharti essayed the role of Kajal who falls in love and marries a famous singer named Ravi (Rishi Kapoor). After Ravi is presumed dead after falling off a cliff, the widowed and depressed Kajal meets a young man named Raja (Shahrukh Khan). Deewana grossed 14 crore, and Boxoffice India declared it a hit.^[27] Her performance in Deewana was highly appreciated. ^[28] Critics reported that Bharti belonged to a new breed of Hindi film actors that breaks away from character stereotypes. Bharti and Shahrukh Khan both were awarded with Filmfare Award for Best Female Debut and Filmfare Award for Best Male Debut respectively.

By July 1992, Bharti's work in Deewana was said to have earned her more acknowledge. She was listed as one of the "Most Valuable Young Stars". Further films like Jaan Se Pyaara, once again with Govinda, Geet and Balwaan with another debutant Sunil Shetty followed. Balwaan premiered on 11 September 1992 and was an success, establishing Sunil Shetty as a tough action hero. The film was considered an unusual for Bharti, as her role called for only minutes of screen time. Her role was small, and was not well received. She was mostly criticised for taking a role of minimal importance. Although she explained that the decision was significant, so even when characters are being unkind it's hard not to like

By the end of the year, She starred in Hema Malini's Dil Aashna Hai once again co-starring Shahrukh Khan. The film tells the story of a young girl brought up in a brothel, who is a cabaret dancer in Digvijay Singh's (Kabir Bedi) five-star hotel. Karan (Shahrukh Khan) falls in love with Laila. Laila is aided by Karan in the search for her birth mother. Laila is determined to bring seek answers and find acceptance from her real mother. The film garnered negative reviews and poor box office returns.^[29] She described the role as an attempt to pretext her cursorial public image. Hema Malini labelled her role by stating that "The lady has not just looked glamorous but she has walked with symmetry, smiled with austerity and spoke with sangfroid" ^[30]

Bharti's final film before her death was the ensemble film Kshatriya, released just 10 days before her death. Her last completed films Rang and Shatranj were released months after her death and dedicated to her memory. She had completed 80% shooting of the film Laadla before her role was recast with Sridevi. She was also set to star in films like Mohra, Vijaypath, Kartavya and Andolan but was replaced by other actresses.

Personal life[link]

Bharti married film producer Sajid Nadiadwala in 1992.^[7] They had met in 1990 at Film City, when Sajid dropped by the sets to meet Govinda on the sets of Shola Aur Shabnam.^[31]

Death and aftermath[link]

Around midnight of 5 April 1993, Bharti fell to her death from a five-storey Versova apartment building in Mumbai. There was much speculation by the media regarding Bharti's sudden demise, including the possibility of accidental death, well planned conspiracy or even murder. ^[32] Mumbai Police failed to find evidences and closed the investigation in 1998. Some conspiracy theories involved her husband Sajid Nadiadwala, while other theories suggested Mafia complicity. But the circumstances of her death still remain a mystery.^[33]

Bharti's body was released to her family, who had arranged for a cremation ceremony.^[34] On 7 April 1993, Bharti was cremated in Hindu fashion.

Filmography[link]

Incomplete films[link]

Year of release	Title	Co-Star	Replacement
1993	Dhanwan	Ajay Devgan	Karisma Kapoor
1993	Tholi Muddhu	Prashanth	Rambha
1993	Do Kadam	Salman Khan	N
1993	Parinaam	Akshay Kumar	N
1993	Chal Pe Chal	Jackie Shroff	N
1993	Bajrangi	Sunny Deol	N
1994	Mohra	Akshay Kumar	Raveena Tandon
1994	Laadla	Anil Kapoor	Sridevi
1994	Vijaypath	Ajay Devgan	Tabu
1995	Andolan	Ajay Sharma	Mamta Kulkarni
1995	Kartavya (1995 film)	Sanjay Kapoor	Juhi Chawla
1995	Angrakshak	Sunny Deol	Pooja Bhatt
1995	Hulchul	Ajay Devgan	Kajol
1995	Kanyadaan	Rishi Kapoor	Manisha Koirala

The list of incomplete films is copyright from Filmfare and Cineblitz magazines of May 1993.

N = Indicates that the movie wasn't made.

References[link]

External links[link]

• Divya Bharti at the Internet Movie Database
• http://articles.timesofindia.indiatimes.com/2012-04-07/news-interviews/31300649_1_biopic-bollywood-debut-mystery
• http://www.hindustantimes.com/Entertainment/Bollywood/Not-making-film-based-on-Divya-Bharti-Sandhu/Article1-837814.aspx

Jackie Shroff (Hindi: जैकी श्रॉफ़) (born 1 February 1960)^[1] is an Indian actor. He has been in the industry for more than 28 years and has appeared in over 150 films in Hindi, Tamil, Telugu, Malayalam, Bengali, Kannada, and Marathi.

Personal life[link]

He belongs to Gujarati-speaking Shroff family born on February 1, 1960.^[1] His brother's name is Hemant, and they live in Bandra, Mumbai. He is a non-vegetarian.

He married his longtime girlfriend, Ayesha Dutt, who is a producer. Both husband and wife run Jackie Shroff Entertainment Limited. They have two children: a son, Tiger, and a daughter, Krishna.

Career[link]

He made his acting debut in a bit-role as a villain in the 1973 hit Heera Panna which starred Dev Anand.^[2]He then went on to act in another Dev Anand starer, Swami Dada.

Subhash Ghai signed him up for the 1983 hit Hero that catapulted him to stardom, followed by yet another hit Andar Bahar with Anil Kapoor as his co-star.

Since then he went on to star in close to 150 movies. Since 2000 or thereabouts, he has appeared in main character roles.^[2]

Awards[link]

• 1990: Won: Filmfare Best Actor Award-Parinda
• 1994:Nominated: Filmfare Best Supporting Actor Award-Khalnayak
• 1995: Won: Filmfare Best Supporting Actor Award-1942: A Love Story
• 1996: Won: Filmfare Best Supporting Actor Award-Rangeela
• 1997:Nominated: Filmfare Best Supporting Actor Award-Agni Sakshi
• 2002:Nominated: Filmfare Best Supporting Actor Award-Yaadein
• 2001:Nominated: Filmfare Best Villain Award-Mission Kashmir
• 2003:Nominated: Filmfare Best Supporting Actor Award-Devdas

• 2007 - Special Honour Jury Award for Outstanding Contribution to Indian cinema

Other information[link]

Jackie Shroff was a judge on a magic show called India's Magic Star broadcast on Indian channel Star One on a weekend. The show began on 3 July 2010 and will run till the final "India's Magic Star" is revealed.

Filmography[link]