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Bollywood (Hindi) cinema
Top-grossing
1930s
1940s
1940 1941 1942 1943 1944 1945 1946 1947 1948 1949
1950s
1950 1951 1952 1953 1954 1955 1956 1957 1958 1959
1960s
1960 1961 1962 1963 1964 1965 1966 1967 1968 1969
1970s
1970 1971 1972 1973 1974 1975 1976 1977 1978 1979
1980s
1980 1981 1982 1983 1984 1985 1986 1987 1988 1989
1990s
1990 1991 1992 1993 1994 1995 1996 1997 1998 1999
2000s
2000 2001 2002 2003 2004 2005 2006 2007 2008 2009
2010s
2010 2011 2012

A list of films produced by the Bollywood film industry based in Mumbai in 1941:

Highest grossing[link]

The top five grossing films at the Indian Box Office in 1941:^[1]

1941[link]

References[link]

External links[link]

• Bollywood films of 1941 at the Internet Movie Database
• Listen to songs from Bollywood films of 1941

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2011)

Sohrab Modi in film Sikandar (1941).

Sohrab Modi (1897–1984) was an Indian Parsi stage and film actor, director and producer. His films include Khoon Ka Khoon (1935), a version of Shakespeare's Hamlet, Sikandar, Pukar, Prithvi Vallabh, Jhansi ki Rani, Mirza Ghalib, and Nausherwan-e-dil (1957). His films always carried a message of strong commitment to social and national issues. A whole generation's image of history is based on his historical films.^{[citation needed]}

Biography[link]

Sohrab Merwanji Modi was born 2 November 1897 in Bombay. After finishing school, he became travelling exhibitor in Gwalior with his brother Keki Modi. At 16 he used project films in Gwalior's Town Hall and at 26 set up his Arya Subhodh Theatrical Company.^[1]. Sohrab began as a Parsi stage actor with some experience in silent films. He earned quite a reputation as a Shakespearean actor, travelling throughout India with his brother's theatrical company and enjoying the tremendous sense of fulfillment every time the curtain came down and the audience applauded. However, with the advent of the sound film in 1931, theatre was declining. To rescue this dying art, Modi set up the Stage Film Company in 1935. His first two films were filmed versions of plays. Khoon ka Khoon (1935) was an adaptation of Hamlet and marked Naseem Bano's acting debut. The second, Saed-e-Havas (1936) was based on Shakespeare's King John. Both films failed.

He then launched Minerva Movietone in 1936. His early films at Minerva dealt with contemporary social issues such as alcoholism in Meetha Zaher (1938) and the right of Hindu women to divorce in Talaq (1938). Though the films did well, what attracted Modi was the historic genre. Minerva Movietone became famous for its trilogy of historical spectaculars that were to follow - Pukar (1939), Sikander (1941) and Prithvi Vallabh (1943), wherein Modi made the most of his gift for grandiloquence to evoke historical grandeur.

Pukar was set in the court of the Mughal Emperor Jehangir and is based on an incident, perhaps fictional, that highlights Jehangir's fair sense of justice. Many of the key scenes were staged in the magnificent courts and palaces of the Mughals, which gave the film an authenticity that studio built sets could never achieve. The charisma of its stars, Chandramohan and Naseem Bano, and Kamaal Amrohi's oration, with its literary flourish and innate grace, ensured the film's popularity.

Perhaps Modi's greatest film was Sikander, which immortalized Prithviraj Kapoor playing the title role. This epic film was set in 326 BC when Alexander the Great, having conquered Persia and the Kabul Valley, descends on the Indian border at Jhelum and encounters Porus (Modi), who stops the advance with his troops. Sikander's lavish mounting, huge sets, and production values equalled Hollywood's best, particularly in its rousing and spectacular battle scenes. The movie was rated by a British writer as "well up to the standard of that old masterpiece The Birth of a Nation." Its dramatic, declamatory dialogue gave both Prithviraj Kapoor and Sohrab Modi free rein to their histrionic proclivities.

The release of the film coincided with World War II at its peak and in India the political atmosphere was tense following Gandhiji's call to Civil Disobedience. Sikander further aroused patriotic feelings and national sentiment. Thus, though Sikander was approved by the Bombay censor board, it was later banned from some of the theatres serving army cantonments. However, its appeal to nationalism was so great and direct, it remained popular for years. It was revived in Delhi in 1961 during the Indian March into Goa.

Prithvi Vallabh was based on K.M. Munshi's novel of the same name. The film's major highlights were the confrontations between Modi and Durga Khote, the haughty queen Mrinalvati, who tries to humiliate him publicly but then falls in love with him.

Although Modi went beyond Parsee theatre with such themes as illicit passion (Jailor (1938), remade in 1958) and incest (Bharosa (1940)), his formal approach still remained tied to the theatre. He re-created the look and sound of Parsee theatre by using frontal compositions and staging the narrative in spatial layers with copious use of Urdu dialogue.

In 1946 after his relationship with Naseem had run its course (though she continued to work with him in Sheesh Mahal (1950) and Nausherwan-e-Adil (1957)), he married Mehtab, an actress 20 years his junior whom he had directed in Parakh (1944).

In 1950, when Sohrab Modi's Sheesh Mahal was being screened at Minerva Theatre in Bombay, the actor was present at the hall. Mr. Modi noticed a man sitting in the front row with closed eyes. Upset with such a reaction, he asked an attendant to let the viewer out and to return his money. The employee came back to say that the person was blind but had come just to hear Sohrab Modi's lines.

For Jhansi ki Rani (1953), India's first technicolour film, Modi had technicians flown in from Hollywood. Mehtab starred as the young queen of Jhansi who took up arms against the British during the Mutiny of 1857 with Modi essaying the role of the Rajguru, her chief advisor. The film was notable for its authenticity in creating the right period and delineating historical events, its spectacular battle scenes and Mehtab's stirring performance though she was far too old for the role. She achieves stirring dignity in the role as she vows to protect Jhansi from all enemies both within and without. The ball sequence in Jhansi's palace was superbly shot and Modi's characters held great emotional appeal. Sadly the film failed to connect with the audience and was a costly misfire for Modi as a box office crash.

Modi however bounced back with Mirza Ghalib (1954). The film, based on the life of the great Indian poet who lived during the reign of Bahadur Shah Zafar, the last of the Mughal Emperors, won the President's Gold Medal for Best Feature Film of 1954. The film beautifully captured the mood of the period, its hedonistic pursuits and the fading magnificence of the court of the last Mughal, where poets like Zauq, Momin, Tishna, Shefta and Ghalib assembled to recite their verse. Mirza Ghalib also saw Suraiya's finest dramatic performance as she embodied the role of the married Ghalib's lover, a courtesan. Ghalib also saw some of her finest singing - "Aah ko Chaihiye Ek Umar," "Nuktacheen Hai Gham-e-Dil," "Dil-e-Nadaan Tujhe Hua Kya Hai," "Yeh Na Thi Humari Kismet," etc. Her singing is to date regarded as the definitive portrayal of Ghalib. In fact India's then Prime Minister Jawaharlal Nehru paid her the ultimate compliment by telling her she had brought Mirza Ghalib to life. ("Tumne Mirza Ghalib ki Rooh ko Zinda Kar Diya").

Though Kundan (1955), Nausherwan-e-Adil and Jailor (1958) had their moments, particularly the latter in which Modi gave a chilling portrayal of a rational man turned into a tyrant, Modi's later films did not reach the heights of his earlier work.

In 1960 he was a member of the jury at the 10th Berlin International Film Festival.^[2]

Sohrab Modi received the Dadasaheb Phalke Award in 1980. He was the tenth recipient of the award. In 2005, the Phalke medallion and some ceramic pieces from Modi's Cuffe Parade home were sold to Mumbai's most resourceful and notorious antiques market, Chor Bazaar.

Sohrab Modi died of cancer on 28 January 1984 at the age of 86.

Filmography (as actor)[link]

1. Khoon Ka Khoon (1935) .... Hamlet
2. Jailor (1938) .... The Jailor
3. Pukar (1939) .... Sardar Sangram Singh
4. Sikandar (1941) .... King Porus
5. Prithvi Vallabh (1943) .... Munja
6. Sheesh Mahal (1950) .... Thakur Jaspal Singh
7. Jhansi Ki Rani (1952) .... Raj Guru
8. Kundan (1955) .... Kundan
9. Raj Hath (1956) .... Raja Babu
10. Farz Aur Mohobbat alias Navsherwan-E-Adil (1957) .... Sultan-e-Iran Nausherwan-e-Adil
11. Yahudi (1958) .... Ezra, the Jew
12. Jailor (1958) .... Dilip
13. Pehli Raat (1959)
14. Woh Koi Aur Hoga (1967)
15. Jwala (1971)
16. Ek Nari Ek Brahmachari (1971) .... Raisaheb Surajbhan Chaudhary
17. Razia Sultan (1983) .... Vazir-e-Azam

References[link]

External links[link]

• Sohrab Modi
• Sohrab Modi Profile
• Sohrab Modi at the Internet Movie Database
• http://www.flickr.com/photos/29284105@N04/6520694645/in/photostream

v t e Bollywood (Hindi cinema) Directors · Actors · Playback singers · Music Directors · Songs · Bibliography Hindi films A–Z—Highest-grossing Films by year: 1930s · 1940 · 1941 · 1942 · 1943 · 1944 · 1945 · 1946 · 1947 · 1948 · 1949 · 1950 · 1951 · 1952 · 1953 · 1954 · 1955 · 1956 · 1957 · 1958 · 1959 · 1960 · 1961 · 1962 · 1963 · 1964 · 1965 · 1966 · 1967 · 1968 · 1969 · 1970 · 1971 · 1972 · 1973 · 1974 · 1975 · 1976 · 1977 · 1978 · 1979 · 1980 · 1981 · 1982 · 1983 · 1984 · 1985 · 1986 · 1987 · 1988 · 1989 · 1990 · 1991 · 1992 · 1993 · 1994 · 1995 · 1996 · 1997 · 1998 · 1999 · 2000 · 2001 · 2002 · 2003 · 2004 · 2005 · 2006 · 2007 · 2008 · 2009 · 2010 · 2011 · 2012

Prithviraj Kapoor
Born	(1906-11-03)3 November 1906 Lyallpur, Punjab (now in)Pakistan
Died	29 May 1972(1972-05-29) (aged 65)
Years active	1927–1971
Spouse	Ramsarni "Rama" Mehra (1923/24–1972)

Prithviraj Kapoor (Hindi:पृथ्वीराज कपूर, Pṛithvīrāj Kapūr), 3 November 1906 –29 May 1972) was a pioneer of Indian theatre and of the Hindi film industry, who started his career as an actor, in the silent era of Hindi cinema, associated with IPTA and who founded Prithvi Theatres, a travelling theatre company based in Mumbai, in 1944.^[1]

He was also the patriarch of the Kapoor family of Hindi films, five generations of which family, beginning with him, have played active roles in Hindi film industry. The Government of India honoured him with the Padma Bhushan in 1969 and the Dadasaheb Phalke Award in 1971 for his contributions towards Indian cinema.^{[citation needed]}

Early life[link]

Prithviraj was born on November 3, 1906 at Samundri^[2][3] near the town of Lyallpur (currently Faisalabad, Pakistan) in Punjab, then under British colonial rule. His ancestors had earlier lived in Peshawar.^[4] Prithviraj could speak English, Hindi, Punjabi, and Hindko.^[5][6]

His father, Dewan Basheswarnath Kapoor, was a sub-inspector of police. Prithviraj received his initial education at Khalsa College Lyallpur and at Lahore. His paternal grandfather, Dewan Keshavmal, was a powerful influence during his childhood. Baseshwarnath was posted at Peshawar, and so Prithviraj received his higher education at the Edwardes College, Peshawar, Pakistan and joined a one year program in Law to become a Lawyer. It was here that his talents on stage first received expression. Prithviraj's son Shammi recollects^[2] that Prof. Jai Dayal, a member of the faculty, was instrumental in nurturing his talent. The professor was in love with an English lady by the name of Nora Richard, who in turn was a theatre aficionado with a passion for Shakespeare and Ibsen. The couple found Prithviraj the perfect material for many roles in the plays they mounted. This was his grounding in the art of the theatre.

Career[link]

Prithviraj did his B.A. at Edwardes College, Peshawar, a feat that few of his descendants were destined to match. He also studied law as a graduate student for one year, but his heart was in the theatre. In 1928, with the help of a loan from his aunt, Prithviraj moved to the city of Bombay (present-day Mumbai) which is the hub of the Hindi film industry.

He acted as an extra in his first film role, though he grew up to get a lead role for his third Cinema Girl in 1929.^[7] After featuring in nine silent films,^[8] Kapoor did a supporting role in India's first film talkie, Alam Ara (1931). His performance in Vidyapati (1937) was much appreciated. His best-known performance is perhaps as Alexander the Great in Sohrab Modi’s Sikandar (1941). He also joined the only English theatrical company called 'J. Grant Anderson' which remained in India for a year.^[7] Through all these years Prithviraj remained devoted to the theatre and performed on stage regularly. He developed a reputation as a fine actor on both stage and screen.

Prithvi Theatres[link]

By 1944, Prithviraj had the wherewithal and standing to found his own theatre group, Prithvi Theatres, its premiere performance was, Kalidasa's "Shakuntala" in 1944. His eldest son, Raj Kapoor, had already struck out on his own; the films he produced had been successful and this was also an enabling factor. Prithviraj invested in and founded Prithvi Theatres, a travelling troupe which staged memorable productions across India. In over 16 years of existence, the theater staged some 2,662 shows. Prithviraj starred as the lead actor in every single show.^[9]

By the late 1950s, it was clear that the era of the travelling theatre was past; that art-form had been irreversibly supplanted by the cinema. No longer was it financially feasible for a troupe of up to 80 people (as Prithvi theatre was) to travel the country for four to six months at a time with their tons of stage props and equipment, living in hotels where possible and at campsites otherwise. The financial returns, through ticket sales and the rapidly diminishing largesse of patrons from the erstwhile princely class of India, was just not adequate to support such an effort. Many of the fine actors and technicians that Prithvi Theatres nurtured had found their way to the movies. Indeed, this was the case with all of Prithviraj's own sons. As Prithviraj progressed into his 50's, he gradually ceased theatre activities and accepted occasional offers from film-makers, including his own sons. Later, under his son, Shashi Kapoor, and his wife Jennifer Kendal, it merged with the Indian Shakespeare theatre company, "Shakespeareana", and the company got a permanent home, with the inauguration of the "Prithvi Theatre" in Mumbai 5 November 1978.^[10]

Postage stamp[link]

In 1996, the 'Golden Jubilee year' of the founding of Prithvi Theatre, India Post, issued a special two Rupee, 'commemorative' postage stamp in New Delhi,^[11] it featured the logo of Prithvi Theatre 1945-1995, and an image its founder 'Prithviraj Kapoor', without the name, as just his face seemed enough, being the legend that he had become in his lifetime and beyond in Hindi theatre.^[12] The first day cover, (stamped 15-1-95) showed an illustration of performance of travelling theatre in progress, on a stage that seem fit for a travelling theatre, as Prithvi theatre was for sixteen, till 1960.^[10]

Later years[link]

His filmography of this period includes Mughal E Azam (1960) where he gave his most memorable performance as the Mughal emperor Akbar, Harishchandra Taramati (1963) where he played the lead role and unforgettable performances as Porus in Sikandar-e-Azam (1965) and the stentorian grandfather in Kal Aaj Aur Kal (1971) where he appeared with his son and grandson Randhir Kapoor.

Kapoor starred in the legendary religious Punjabi film Nanak Naam Jahaz Hai (1969), a film so revered in Punjab that there were lines many kilometers long to purchase tickets.^{[citation needed]}

He also starred in the Punjabi films Nanak Dukhiya Sub Sansar (1970) and Mele Mittran De (1972).

Awards and honours[link]

In 1954, he was awarded the Sangeet Natak Akademi Fellowship, and in 1969, the Padma Bhushan by the government of India. He remained Nominated Rajya Sabha Member for eight years.^[8]

After his death in 1972, he was posthumously awarded the Dadasaheb Phalke Award for the year 1971. He was the third recipient of that award, the highest accolade in Indian cinema.

Legacy[link]

Main article: Kapoor Family (film)

This unreferenced section requires citations to ensure verifiability.

Prithviraj Kapoor's descendants have contributed richly to the Hindi film industry and he is thus reckoned the patriarch of the 'first family of Hindi films.' All three of his sons Raj Kapoor,Shammi Kapoor,Shashi Kapoor became noted actors and film-makers and two of his daughters-in-law worked in the same field. Nearly all his grandchildren, including Randhir Kapoor, Rishi Kapoor, Rajiv Kapoor, Karan Kapoor, Kunal Kapoor, and granddaughter Sanjana Kapoor have worked in the field of films, either as actors or film-makers or both. Karisma Kapoor and Kareena Kapoor, two of the top film-stars of today, are Prithviraj's great-granddaughters, being the granddaughters of his eldest son Raj Kapoor. His great-grandson Ranbir Kapoor, son of Rishi Kapoor, the fourth generation of leading heroes, made his debut in the Hindi film Saawariya in 2007.

Personal life[link]

As was customary in that era, Prithviraj married at a young age. At age 17, Prithviraj married the 14-year-old Ramsarni Mehra, in a match that was arranged by their families. Their eldest child, Raj Kapoor, was born in December 1924. By the time Prithviraj moved to Bombay in 1928, the couple were the parents of three children. In 1930, Ramsarni joined Prithviraj in Bombay. The following year, while she was pregnant for the fourth time, the couple suffered the tragic loss of two of their three children in the space of one week.^[13] One of their children, Devi, died of double pneumonia while the other child, Nandi, died of poisoning in a freak incident when he swallowed some rat-poison pills strewn in the garden.

Prithviraj could speak fluent Hindko, Hindi, Urdu, and English.

The couple went on to have four children further. All three of their surviving sons, Raj Kapoor, Shammi Kapoor and Shashi Kapoor, were to become famous actors and film-makers in their own right. They also had one daughter, Urmila Sial.

After his retirement, Prithviraj settled in Bombay, in a cottage near Juhu beach. The property was later to be converted into a small, experimental theatre, the Prithvi Theatre. Both Prithviraj and Ramsarni suffered from cancer in their declining years and died within a fortnight of each other. Prithviraj died on 29 May 1972 and was followed by his wife of 63 years on 14 June the same year.

Selected filmography[link]

• Alam Ara (1931)
• Vidyapati (1937)
• Sikandar (1941)
• Ishara (1943)
• Awaara (1951)
• Anand Math (1952)
• Pardesi
• Mughal-e-Azam (1960)
• Zindagi (1964)
• Janwar (1965)
• Sikandar-e-Azam (1965)
• Daku Mangal Singh (1966)
• Nanak Naam Jahaz Hai (1969)
• Heer Raanjha (1970)
• Kal Aaj Aur Kal (1971)
• Sakshatkara - (Kannada) (1971)

Further reading[link]

• Shashi Kapoor presents the Prithviwallahs, by Shashi Kapoor, Deepa Gahlot, Prithvi Theatre (Bombay, India). Roli Books, 2004. ISBN 81-7436-348-3.
• The Kapoors: the first family of Indian cinema, by Madhu Jain. Penguin, Viking, 2005. ISBN 0-670-05837-8.

References[link]

External links[link]

• Prithviraj Kapoor at the Internet Movie Database
• Prithviraj, My father by Shamsherraj (Shammi) Kapoor
• Detailed biography of Prithviraj Kapoor
• Peshawarites still remember the Kapoor family
• Prithviraj Kapoor @ SPICE
• [http://www.youtube.com/watch?v=9aTBu0WZnsQ

]

Pankaj Mullick, also known as Pankaj Kumar Mullick (Bengali: পঙ্কজ কুমার মল্লিক Pôngkoj Kumar Mollik; 10 May 1905 - 19 February 1978) was a Bengali Indian music director, who was a pioneer of film music in Bengali cinema and Hindi cinema at the advent of playback singing, as well as an early exponent of Rabindra Sangeet.^[1][2][3][4]

He was awarded the Padma Shri in 1970,^[5] followed by the Dadasaheb Phalke Award (India's highest award in cinema, given by the Government of India) in 1972 for lifetime contribution to Indian cinema.^[4][6]

Early life and training[link]

He was born in Kolkata in 1905, to Monimohan Mullick and Monomohini. His father had a deep interest in traditional Bengali music. He started his early training in Indian classical music under the tutelage of Durgadas Bandopadhaya. He studied at the Scottish Church College of the University of Calcutta.^[7] An important turning point in his life came when, after finishing his studies, he came in contact with Dinendranath Tagore, who was Rabindranath Tagore's great-nephew. This led to Pankaj Mullick's lasting interest in Rabindra Sangeet. Rabindranath Tagore, in turn, grew fond of him, and soon Mullick became known as one of the leading exponents of Tagore’s songs.^[1][8][9]

Career[link]

Tagore's song, Nemecche Aaj Prothom Badal became his first commercial recording, with the Kolkata-based Videophone Company in 1926, at the age of eighteen. This was the first of many albums which made him a household name in Rabindra sangeet.^[1]

He started his career with the Indian Broadcasting Corporation in Calcutta in 1927, the forerunner of All India Radio (AIR), along with composer R. C. Boral, where he contributed as a music director and artist for nearly fifty years.^[1][3]

He contributed in various capacities to Bengali, Hindi, Urdu and Tamil language films for 38 years, starting in 1931. He worked as music director to artists like K.L. Saigal, S.D. Burman, Hemanta Mukherjee, Geeta Dutt and Asha Bhosle. He acted with famous film actors like K L Saigal, P.C. Barua and Kanan Devi. Along with Nitin Bose and R.C. Boral, Mullick introduced playback singing in Indian cinema.^[3][9]

He worked with one of the early film studios, New Theatres Calcutta for 25 years.^[3]

Legacy[link]

The Indian Postal Service released a postage stamp on his birth centenary in 2006,^[10] and on May 10, Doordarshan, India's state television channel, telecast a special music program to commemorate the occasion. Five decades earlier, it was he and Bharatanatyam danseuse Vyjayanthimala who were lead performers at the nationwide launch of the channel in 1959.^[4]

Filmography[link]

See also[link]

• Indian film music directors

Works[link]

• Aamar Jug Aamar Gaan (Bengali). Firma KLM Pvt Ltd., Calcutta 1980.

References[link]

External links[link]

• Pankaj Mullick Official Website
• Pankaj Mullick at the Internet Movie Database

v t e Cinema of West Bengal Directors · Actors Films Bengali films A-Z—Films by year: Silent films · 1931 · 1932 · 1933 · 1934 · 1935 · 1936 · 1937 · 1938 · 1939 · 1940 · 1941 · 1942 · 1943 · 1944 · 1945 · 1946 · 1947 · 1948 · 1949 · 1950 · 1951 · 1952 · 1953 · 1954 · 1955 · 1956 · 1957 · 1958 · 1959 · 1960 · 1961 · 1962 · 1963 · 1964 · 1965 · 1966 · 1967 · 1968 · 1969 · 1970 · 1971 · 1972 · 1973 · 1974 · 1975 · 1976 · 1977 · 1978 · 1979 · 1980 · 1981 · 1982 · 1983 · 1984 · 1985 · 1986 · 1987 · 1988 · 1989 · 1990 · 1991 · 1992 · 1993 · 1994 · 1995 · 1996 · 1997 · 1998 · 1999 · 2000 · 2001 · 2002 · 2003 · 2004 · 2005 · 2006 · 2007 · 2008 · 2009 · 2010 · 2011 · 2012

v t e Bollywood (Hindi cinema) Directors · Actors · Playback singers · Music Directors · Songs · Bibliography Hindi films A–Z—Highest-grossing Films by year: 1930s · 1940 · 1941 · 1942 · 1943 · 1944 · 1945 · 1946 · 1947 · 1948 · 1949 · 1950 · 1951 · 1952 · 1953 · 1954 · 1955 · 1956 · 1957 · 1958 · 1959 · 1960 · 1961 · 1962 · 1963 · 1964 · 1965 · 1966 · 1967 · 1968 · 1969 · 1970 · 1971 · 1972 · 1973 · 1974 · 1975 · 1976 · 1977 · 1978 · 1979 · 1980 · 1981 · 1982 · 1983 · 1984 · 1985 · 1986 · 1987 · 1988 · 1989 · 1990 · 1991 · 1992 · 1993 · 1994 · 1995 · 1996 · 1997 · 1998 · 1999 · 2000 · 2001 · 2002 · 2003 · 2004 · 2005 · 2006 · 2007 · 2008 · 2009 · 2010 · 2011 · 2012

Song In (in hangul 송인, in hanja 宋仁) was a civil official in the mid-Goryeo era who became the intermediary founder of the Jincheon Song clan. His highest post was munha pyeongjangsa (문하 평장사). This was the highest government position in the period. Song In was responsible for administration, judicial affairs and economy in the district.^[1]

As he performed meritorious deeds during the King, he was conferred with Chanhwagongsin and Jincheonbaek. Baek was a position of politicians who were responsible for administration, judicial affairs and economy in the district. As the government created him Jincheonbaek, his family started regarding Jincheon as their origin. Hence, the family origin became Jincheon Song.

When he was in the position of Sangsanbaek, he tried to be just and fair in all the administrative affairs and strived to enhance the welfare of his people. He also focused on education for the youth and courtesy for people, which made his district famous for most excellent behaviors in the nation. After that, the people have long paid tribute to his feats.

During the insurrection of Yi Jagyeom in the 4th year of King Injong of Goryeo's reign in 1126, he was killed by a rebellious band led by Cheok Jun-gyeong while escorting the king. After the rebels were put down, Song In was posthumously named 'meritous subject' and titled Lord Sangsanbaek (상산백).

Song In was born in Durujinmaeul (village), Duchon-ri, Deoksan-myeon in 1125 during the reign of King Injong of the Goryeo Dynasty. He was promoted to Pyeonjangsa, which was the highest government position in the period.

Tomb of Song In[link]

Chungcheongbuk-do Monument No. 91 Location: Duchon-ri, Deoksan-myeon, Jincheon-gun

This is the tomb of Song In (?-1126). It has a rectangular-shaped protective wall surrounding the tomb, typical of the Goryeo style. There are two tombstones erected in the late Joseon Dynasty period.

In the grave area, there are many tombs that belong to the clan. In front of his tomb stands the jaesil (chamber for memorial rites) with the tablet reading 'Sangsanjae'.

His grave is in Duchon-ri, Deoksan-myeon, which had been called Duruji, Sanjeong-myeon. The beautiful peak behind his grave is called Mountain Bibong which was named after Bongsae (bird) that is said to live in heaven and to fly down to sit on the summit. However, after the statue was inscribed of In Gong, the founder of Jincheon Song, the peak was compared to a slowly dropped ume flower. Thus, Mountain Bibong was called Maesanbibong, in which 'Mae' was named after an ume flower instead of a bird.

As he was a meritorious subject and served as a Pyeongjangsa (higher government official), the government ordered his grave mound to be surrounded by stones and a monument. The grave is one of the oldest ones in Jincheon and is recorded in Seokchong (stone tomb) in Hwanyeoseungram.

Thousands of descendents of Jincheon Song are living across the nation. Song Guk-cheom and Song Eon-gi who were devoted to fight against the Mongolian invasion into Goryeo are also the offspring of Jincheonbaek.

See also[link]

• Song (Korean name)
• Bon-gwan

References[link]

External links[link]

• Photo of the tomb
• Song In
• Monument 91, Tomb of Song In
• Jincheon Song bon-gwan information (Korean)
• Jincheon Song bon-gwan website (Korean)
• http://www.jincheon.go.kr/english/sub04/sub0404_01.jsp

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