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India, officially the Republic of India, is a country in South Asia. It is the seventh-largest country in the world by area and the most populous country. Bounded by the Indian Ocean on the south, the Arabian Sea on the southwest, and the Bay of Bengal on the southeast, it shares land borders with Pakistan to the west; China, Nepal, and Bhutan to the north; and Bangladesh and Myanmar to the east. In the Indian Ocean, India is in the vicinity of Sri Lanka and the Maldives; its Andaman and Nicobar Islands share a maritime border with Thailand, Myanmar, and Indonesia. (Full article...)

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  • Image 1 Nyctibatrachus major, the Malabar night frog, large wrinkled frog, or Boulenger's narrow-eyed frog is a species of frog in the family Nyctibatrachidae, commonly known as the robust frogs. It was described in 1882 by the zoologist George Albert Boulenger, and is the type species of the genus Nyctibatrachus. It is a large frog for its genus, with an adult snout–vent length of 31.5–52.0 mm (1.24–2.05 in) for males and 43.7–54.2 mm (1.72–2.13 in) for females. It is mainly brownish to greyish in colour, with a dark greyish-brown upperside, a greyish-white underside, and light grey sides. It also has a variety of grey or brown markings. When preserved in ethanol, it is mostly greyish-brown to grey, with whitish sides. Sexes can be told apart by the presence of the femoral glands (bulbous glands near the inner thigh) in males. The species is endemic to the Western Ghats mountain range of India, where it is found in Kerala, Tamil Nadu, and Karnataka. Adults inhabit fast-moving forest streams at elevations of up to 900 m (3,000 ft) and have highly specific habitat requirements. Adults are mostly found in or near water and are nocturnal; subadults can be found during both the night and day. Its diet mainly consists of other frogs and insect larvae. Over a period of several days or weeks, females lay multiple small clutches of eggs on leaves and rocks overhanging water; tadpoles drop into the water below on hatching. The species is currently classified as being vulnerable on the IUCN Red List owing to its small and fragmented range and ongoing habitat degradation. Threats to the species include habitat loss, increased human presence near the streams it inhabits, and possibly nitrate pollution caused by fertiliser overuse. (Full article...)

    Nyctibatrachus major, the Malabar night frog, large wrinkled frog, or Boulenger's narrow-eyed frog is a species of frog in the family Nyctibatrachidae, commonly known as the robust frogs. It was described in 1882 by the zoologist George Albert Boulenger, and is the type species of the genus Nyctibatrachus. It is a large frog for its genus, with an adult snout–vent length of 31.5–52.0 mm (1.24–2.05 in) for males and 43.7–54.2 mm (1.72–2.13 in) for females. It is mainly brownish to greyish in colour, with a dark greyish-brown upperside, a greyish-white underside, and light grey sides. It also has a variety of grey or brown markings. When preserved in ethanol, it is mostly greyish-brown to grey, with whitish sides. Sexes can be told apart by the presence of the femoral glands (bulbous glands near the inner thigh) in males.

    The species is endemic to the Western Ghats mountain range of India, where it is found in Kerala, Tamil Nadu, and Karnataka. Adults inhabit fast-moving forest streams at elevations of up to 900 m (3,000 ft) and have highly specific habitat requirements. Adults are mostly found in or near water and are nocturnal; subadults can be found during both the night and day. Its diet mainly consists of other frogs and insect larvae. Over a period of several days or weeks, females lay multiple small clutches of eggs on leaves and rocks overhanging water; tadpoles drop into the water below on hatching. The species is currently classified as being vulnerable on the IUCN Red List owing to its small and fragmented range and ongoing habitat degradation. Threats to the species include habitat loss, increased human presence near the streams it inhabits, and possibly nitrate pollution caused by fertiliser overuse. (Full article...)
  • Image 2 Territory of the Western Chalukyas (c. 1100 CE) in India (modern boundaries shown) and the empire's capital, Kalyani, in the modern Bidar district, Karnataka state, India A large body of Western Chalukya literature in the Kannada language was produced during the reign of the Western Chalukya Empire (973–1200 CE) in what is now southern India. This dynasty, which ruled most of the western Deccan in South India, is sometimes called the Kalyani Chalukya dynasty after its royal capital at Kalyani (now Basavakalyan), and sometimes called the Later Chalukya dynasty for its theoretical relationship to the 6th-century Chalukya dynasty of Badami. For a brief period (1162–1183), the Kalachuris of Kalyani, a dynasty of kings who had earlier migrated to the Karnataka region from central India and served as vassals for several generations, exploited the growing weakness of their overlords and annexed the Kalyani. Around 1183, the last Chalukya scion, Someshvara IV, overthrew the Kalachuris to regain control of the royal city. But his efforts were in vain, as other prominent Chalukya vassals in the Deccan, the Hoysalas, the Kakatiyas and the Seunas destroyed the remnants of the Chalukya power. Kannada literature from this period is usually categorised into the linguistic phase called Old-Kannada. It constituted the bulk of the Chalukya court's textual production and pertained mostly to writings relating to the socio-religious development of the Jain faith. The earliest well-known writers belonging to the Shaiva faith are also from this period. Under the patronage of Kalachuri King Bijjala II, whose prime minister was the well-known Kannada poet and social reformer Basavanna, a native form of poetic literature called Vachana literature (lit "utterance", "saying" or "sentence") proliferated. The beginnings of the Vachana poetic tradition in the Kannada-speaking region trace back to the early 11th century. Kannada literature written in the champu metre, composed of prose and verse, was popularised by the Chalukyan court poets. However, with the advent of the Veerashaiva (lit, "brave devotees of the god Shiva") religious movement in the mid-12th century, poets favoured the native tripadi (three-line verse composed of eleven ganas or prosodic units), hadugabba (song-poem) and free verse metres for their poems. (Full article...)
    Territory of the Western Chalukyas (c. 1100 CE) in India (modern boundaries shown) and the empire's capital, Kalyani, in the modern Bidar district, Karnataka state, India

    A large body of Western Chalukya literature in the Kannada language was produced during the reign of the Western Chalukya Empire (973–1200 CE) in what is now southern India. This dynasty, which ruled most of the western Deccan in South India, is sometimes called the Kalyani Chalukya dynasty after its royal capital at Kalyani (now Basavakalyan), and sometimes called the Later Chalukya dynasty for its theoretical relationship to the 6th-century Chalukya dynasty of Badami. For a brief period (1162–1183), the Kalachuris of Kalyani, a dynasty of kings who had earlier migrated to the Karnataka region from central India and served as vassals for several generations, exploited the growing weakness of their overlords and annexed the Kalyani. Around 1183, the last Chalukya scion, Someshvara IV, overthrew the Kalachuris to regain control of the royal city. But his efforts were in vain, as other prominent Chalukya vassals in the Deccan, the Hoysalas, the Kakatiyas and the Seunas destroyed the remnants of the Chalukya power.

    Kannada literature from this period is usually categorised into the linguistic phase called Old-Kannada. It constituted the bulk of the Chalukya court's textual production and pertained mostly to writings relating to the socio-religious development of the Jain faith. The earliest well-known writers belonging to the Shaiva faith are also from this period. Under the patronage of Kalachuri King Bijjala II, whose prime minister was the well-known Kannada poet and social reformer Basavanna, a native form of poetic literature called Vachana literature (lit "utterance", "saying" or "sentence") proliferated. The beginnings of the Vachana poetic tradition in the Kannada-speaking region trace back to the early 11th century. Kannada literature written in the champu metre, composed of prose and verse, was popularised by the Chalukyan court poets. However, with the advent of the Veerashaiva (lit, "brave devotees of the god Shiva") religious movement in the mid-12th century, poets favoured the native tripadi (three-line verse composed of eleven ganas or prosodic units), hadugabba (song-poem) and free verse metres for their poems. (Full article...)
  • Image 3 Greatest extent of the Western Chalukya Empire, 1121D The Western Chalukya Empire (/tʃəˈluːkjə/ chə-LOO-kyə) ruled most of the western Deccan, South India, between the 10th and 12th centuries. This Kannada-speaking dynasty is sometimes called the Kalyani Chalukya after its regal capital at Kalyani, today's Basavakalyan in the modern Bidar district of Karnataka state, and alternatively the Later Chalukya from its theoretical relationship to the 6th-century Chalukya dynasty of Badami. The dynasty is called Western Chalukyas to differentiate from the contemporaneous Eastern Chalukyas of Vengi, a separate dynasty. Before the rise of these Chalukyas, the Rashtrakuta Empire of Manyakheta controlled most of the Deccan Plateau and Central India for over two centuries. In 973, seeing confusion in the Rashtrakuta empire after a successful invasion of their capital by the ruler of the Paramara dynasty of Malwa, Tailapa II, a feudatory of the Rashtrakuta dynasty ruling from Bijapur region defeated his overlords and made Manyakheta his capital. The dynasty quickly rose to power and grew into an empire under Someshvara I who moved the capital to Kalyani. For over a century, the two empires of South India, the Western Chalukyas and the Chola dynasty of Thanjavur fought many fierce wars to control the fertile region of Vengi. During these conflicts, the Eastern Chalukyas of Vengi, distant cousins of the Western Chalukyas but related to the Cholas by marriage, took sides with the Cholas further complicating the situation. During the rule of Vikramaditya VI, in the late 11th and early 12th centuries, the Western Chalukyas convincingly contended with the Cholas and reached a peak, ruling territories that spread over most of the Deccan, between the Narmada River in the north and Kaveri River in the south. His exploits were not limited to the south for even as a prince, during the rule of Someshvara I, he had led successful military campaigns as far east as modern Bihar and Bengal. During this period the other major ruling families of the Deccan, the Hoysala Empire, the Seuna dynasty, the Kakatiya dynasty and the Kalachuris of Kalyani, were subordinates of the Western Chalukyas and gained their independence only when the power of the Chalukya waned during the later half of the 12th century. (Full article...)

    Greatest extent of the Western Chalukya Empire, 1121D

    The Western Chalukya Empire (/tʃəˈluːkjə/ chə-LOO-kyə) ruled most of the western Deccan, South India, between the 10th and 12th centuries. This Kannada-speaking dynasty is sometimes called the Kalyani Chalukya after its regal capital at Kalyani, today's Basavakalyan in the modern Bidar district of Karnataka state, and alternatively the Later Chalukya from its theoretical relationship to the 6th-century Chalukya dynasty of Badami. The dynasty is called Western Chalukyas to differentiate from the contemporaneous Eastern Chalukyas of Vengi, a separate dynasty. Before the rise of these Chalukyas, the Rashtrakuta Empire of Manyakheta controlled most of the Deccan Plateau and Central India for over two centuries. In 973, seeing confusion in the Rashtrakuta empire after a successful invasion of their capital by the ruler of the Paramara dynasty of Malwa, Tailapa II, a feudatory of the Rashtrakuta dynasty ruling from Bijapur region defeated his overlords and made Manyakheta his capital. The dynasty quickly rose to power and grew into an empire under Someshvara I who moved the capital to Kalyani.

    For over a century, the two empires of South India, the Western Chalukyas and the Chola dynasty of Thanjavur fought many fierce wars to control the fertile region of Vengi. During these conflicts, the Eastern Chalukyas of Vengi, distant cousins of the Western Chalukyas but related to the Cholas by marriage, took sides with the Cholas further complicating the situation. During the rule of Vikramaditya VI, in the late 11th and early 12th centuries, the Western Chalukyas convincingly contended with the Cholas and reached a peak, ruling territories that spread over most of the Deccan, between the Narmada River in the north and Kaveri River in the south. His exploits were not limited to the south for even as a prince, during the rule of Someshvara I, he had led successful military campaigns as far east as modern Bihar and Bengal. During this period the other major ruling families of the Deccan, the Hoysala Empire, the Seuna dynasty, the Kakatiya dynasty and the Kalachuris of Kalyani, were subordinates of the Western Chalukyas and gained their independence only when the power of the Chalukya waned during the later half of the 12th century. (Full article...)
  • Image 4 Padukone at the 2018 Cannes Film Festival Deepika Padukone (pronounced [d̪iːpɪkaː pəɖʊkoːɳeː]; born 5 January 1986) is an Indian actress who works predominantly in Hindi films. She is India's highest-paid actress, as of 2023, and her accolades include three Filmfare Awards. She features in listings of the nation's most popular personalities; Time named her one of the 100 most influential people in the world in 2018 and awarded her the Time100 Impact Award in 2022. Padukone, the daughter of the badminton player Prakash Padukone, was born in Copenhagen and raised in Bangalore. As a teenager, she played badminton in national level championships but left her career in the sport to become a fashion model. She soon received offers for film roles and made her acting debut in 2006 as the title character of the Kannada film Aishwarya. Padukone then played a dual role opposite Shah Rukh Khan in her first Bollywood release, the romance Om Shanti Om (2007), which won her the Filmfare Award for Best Female Debut. Padukone received praise for her starring role in the romance Love Aaj Kal (2009), but this was followed by a brief setback. (Full article...)

    Padukone at the 2018 Cannes Film Festival

    Deepika Padukone (pronounced [d̪iːpɪkaː pəɖʊkoːɳeː]; born 5 January 1986) is an Indian actress who works predominantly in Hindi films. She is India's highest-paid actress, as of 2023, and her accolades include three Filmfare Awards. She features in listings of the nation's most popular personalities; Time named her one of the 100 most influential people in the world in 2018 and awarded her the Time100 Impact Award in 2022.

    Padukone, the daughter of the badminton player Prakash Padukone, was born in Copenhagen and raised in Bangalore. As a teenager, she played badminton in national level championships but left her career in the sport to become a fashion model. She soon received offers for film roles and made her acting debut in 2006 as the title character of the Kannada film Aishwarya. Padukone then played a dual role opposite Shah Rukh Khan in her first Bollywood release, the romance Om Shanti Om (2007), which won her the Filmfare Award for Best Female Debut. Padukone received praise for her starring role in the romance Love Aaj Kal (2009), but this was followed by a brief setback. (Full article...)
  • Image 5 Ahalya by Raja Ravi Varma (1848–1906) In Hinduism, Ahalya (Sanskrit: अहल्या, IAST: Ahalyā) also spelt as Ahilya, is the wife of the sage Gautama Maharishi. Many Hindu scriptures describe her legend of seduction by the king of the gods Indra, her husband's curse for her infidelity, and her liberation from the curse by the god Rama. Created by the god Brahma as the most beautiful woman, Ahalya was married to the much older Gautama. In the earliest full narrative, when Indra comes disguised as her husband, Ahalya sees through his disguise but nevertheless accepts his advances. Later sources often absolve her of all guilt, describing how she falls prey to Indra's trickery. In all narratives, Ahalya and Indra are cursed by Gautama. The curse varies from text to text, but almost all versions describe Rama as the eventual agent of her liberation and redemption. Although early texts describe how Ahalya must atone by undergoing severe penance while remaining invisible to the world and how she is purified by offering Rama hospitality, in the popular retelling developed over time, Ahalya is cursed to become a stone and regains her human form after she is brushed by Rama's foot. (Full article...)

    Ahalya by Raja Ravi Varma (1848–1906)

    In Hinduism, Ahalya (Sanskrit: अहल्या, IAST: Ahalyā) also spelt as Ahilya, is the wife of the sage Gautama Maharishi. Many Hindu scriptures describe her legend of seduction by the king of the gods Indra, her husband's curse for her infidelity, and her liberation from the curse by the god Rama.

    Created by the god Brahma as the most beautiful woman, Ahalya was married to the much older Gautama. In the earliest full narrative, when Indra comes disguised as her husband, Ahalya sees through his disguise but nevertheless accepts his advances. Later sources often absolve her of all guilt, describing how she falls prey to Indra's trickery. In all narratives, Ahalya and Indra are cursed by Gautama. The curse varies from text to text, but almost all versions describe Rama as the eventual agent of her liberation and redemption. Although early texts describe how Ahalya must atone by undergoing severe penance while remaining invisible to the world and how she is purified by offering Rama hospitality, in the popular retelling developed over time, Ahalya is cursed to become a stone and regains her human form after she is brushed by Rama's foot. (Full article...)
  • Image 6 Kaif promoting Bharat in 2019 Katrina Kaif (pronounced [kəˈʈriːna kɛːf]; born Katrina Turquotte, 16 July 1983) is a British actress who works in Hindi-language films. One of the highest-paid actresses in India, she has received accolades, including four Screen Awards and four Zee Cine Awards, in addition to three Filmfare nominations. Though reception to her acting has varied, she is noted for her action film roles and her dancing ability. Born in British Hong Kong, Kaif lived in several countries before she moved to London for three years. She received her first modelling assignment as a teenager and later pursued a career as a fashion model. At a fashion show in London, Indian filmmaker Kaizad Gustad cast her in Boom (2003), a critical and commercial failure. While Kaif established a successful modelling career in India, she initially had difficulty finding film roles due to her poor command of Hindi. After appearing in the Telugu film Malliswari (2004), Kaif earned commercial success in Bollywood with the romantic comedies Maine Pyaar Kyun Kiya? (2005) and Namastey London (2007). Further success followed with a series of box-office hits, but she was criticised for her acting, repetitive roles, and inclination to male-dominated films. (Full article...)

    Kaif promoting Bharat in 2019

    Katrina Kaif (pronounced [kəˈʈriːna kɛːf]; born Katrina Turquotte, 16 July 1983) is a British actress who works in Hindi-language films. One of the highest-paid actresses in India, she has received accolades, including four Screen Awards and four Zee Cine Awards, in addition to three Filmfare nominations. Though reception to her acting has varied, she is noted for her action film roles and her dancing ability.

    Born in British Hong Kong, Kaif lived in several countries before she moved to London for three years. She received her first modelling assignment as a teenager and later pursued a career as a fashion model. At a fashion show in London, Indian filmmaker Kaizad Gustad cast her in Boom (2003), a critical and commercial failure. While Kaif established a successful modelling career in India, she initially had difficulty finding film roles due to her poor command of Hindi. After appearing in the Telugu film Malliswari (2004), Kaif earned commercial success in Bollywood with the romantic comedies Maine Pyaar Kyun Kiya? (2005) and Namastey London (2007). Further success followed with a series of box-office hits, but she was criticised for her acting, repetitive roles, and inclination to male-dominated films. (Full article...)
  • Image 7 Shah in 2022 Shefali Shah (née Shetty; born 22 May 1973) is an Indian actress of film, television and theatre. Working primarily in independent Hindi films, she has received multiple local and foreign accolades for her performances. Shah's acting career started on the Gujarati stage before she debuted on television in 1993. After small parts on television and a brief stint with cinema in Rangeela (1995), she gained wider recognition in 1997 for her role in the popular series Hasratein. This was followed by lead roles in the TV series Kabhie Kabhie (1997) and Raahein (1999). A supporting role in the crime film Satya (1998) won her positive notice and a Filmfare Critics Award, and she soon shifted her focus to film acting starting with a lead role in the Gujarati drama Dariya Chhoru (1999). Shah was selective about her roles through the following decades, resulting in intermittent film work, mostly in character parts and often to appreciation from critics. She appeared in the international co-production Monsoon Wedding (2001) and the mainstream comedy-drama Waqt: The Race Against Time (2005). In 2007, her portrayal of Kasturba Gandhi in the biographical drama Gandhi, My Father won her the Best Actress prize at the Tokyo International Film Festival, and she received the National Film Award for Best Supporting Actress for the drama film The Last Lear. Among her subsequent film roles, she played a leading part in Kucch Luv Jaisaa (2011) and was noted for her work in the social problem film Lakshmi (2014) and the ensemble drama Dil Dhadakne Do (2015). (Full article...)

    Shah in 2022

    Shefali Shah (née Shetty; born 22 May 1973) is an Indian actress of film, television and theatre. Working primarily in independent Hindi films, she has received multiple local and foreign accolades for her performances. Shah's acting career started on the Gujarati stage before she debuted on television in 1993. After small parts on television and a brief stint with cinema in Rangeela (1995), she gained wider recognition in 1997 for her role in the popular series Hasratein. This was followed by lead roles in the TV series Kabhie Kabhie (1997) and Raahein (1999). A supporting role in the crime film Satya (1998) won her positive notice and a Filmfare Critics Award, and she soon shifted her focus to film acting starting with a lead role in the Gujarati drama Dariya Chhoru (1999).

    Shah was selective about her roles through the following decades, resulting in intermittent film work, mostly in character parts and often to appreciation from critics. She appeared in the international co-production Monsoon Wedding (2001) and the mainstream comedy-drama Waqt: The Race Against Time (2005). In 2007, her portrayal of Kasturba Gandhi in the biographical drama Gandhi, My Father won her the Best Actress prize at the Tokyo International Film Festival, and she received the National Film Award for Best Supporting Actress for the drama film The Last Lear. Among her subsequent film roles, she played a leading part in Kucch Luv Jaisaa (2011) and was noted for her work in the social problem film Lakshmi (2014) and the ensemble drama Dil Dhadakne Do (2015). (Full article...)
  • Image 8 INS Vikrant in 1984 INS Vikrant (from Sanskrit vikrānta, "courageous") was a Majestic-class aircraft carrier of the Indian Navy. The ship was laid down as HMS Hercules for the British Royal Navy during World War II, but was put on hold when the war ended. India purchased the incomplete carrier in 1957, and construction was completed in 1961. Vikrant was commissioned as the first aircraft carrier of the Indian Navy and played a key role in enforcing the naval blockade of East Pakistan during the Indo-Pakistani War of 1971. In its later years, the ship underwent major refits to embark modern aircraft, before being decommissioned in January 1997. She was preserved as a museum ship in Naval Docks, Mumbai until 2012. In January 2014, the ship was sold through an online auction and scrapped in November 2014 after final clearance from the Supreme Court. (Full article...)

    INS Vikrant in 1984

    INS Vikrant (from Sanskrit vikrānta, "courageous") was a Majestic-class aircraft carrier of the Indian Navy. The ship was laid down as HMS Hercules for the British Royal Navy during World War II, but was put on hold when the war ended. India purchased the incomplete carrier in 1957, and construction was completed in 1961. Vikrant was commissioned as the first aircraft carrier of the Indian Navy and played a key role in enforcing the naval blockade of East Pakistan during the Indo-Pakistani War of 1971.

    In its later years, the ship underwent major refits to embark modern aircraft, before being decommissioned in January 1997. She was preserved as a museum ship in Naval Docks, Mumbai until 2012. In January 2014, the ship was sold through an online auction and scrapped in November 2014 after final clearance from the Supreme Court. (Full article...)
  • Image 9 Core area of Western Chalukya architectural activity in modern Karnataka state, India Western Chalukya architecture (Kannada: ಪಶ್ಚಿಮ ಚಾಲುಕ್ಯ ವಾಸ್ತುಶಿಲ್ಪ), also known as Kalyani Chalukya or Later Chalukya architecture and broadly classified under the Vesara Style, is the distinctive style of ornamented architecture that evolved during the rule of the Western Chalukya Empire in the Tungabhadra region of modern central Karnataka, India, during the 11th and 12th centuries. Western Chalukyan political influence was at its peak in the Deccan Plateau during this period. The centre of cultural and temple-building activity lay in the Tungabhadra region, where large medieval workshops built numerous monuments. These monuments, regional variants of pre-existing dravida (South Indian) temples, form a climax to the wider regional temple architecture tradition called Vesara or Karnata dravida. Temples of all sizes built by the Chalukyan architects during this era remain today as examples of the architectural style. Most notable of the many buildings dating from this period are the Mahadeva Temple at Itagi in the Koppal district, the Kasivisvesvara Temple at Lakkundi in the Gadag district, the Mallikarjuna Temple at Kuruvatti in the Bellary district and the Kallesvara Temple at Bagali in the Davangere district. Other monuments notable for their craftsmanship include the Kaitabheshvara Temple in Kubatur and Kedareshvara Temple in Balligavi, both in the Shimoga district, the Siddhesvara Temple at Haveri in the Haveri district, the Amrtesvara Temple at Annigeri in the Dharwad district, the Sarasvati Temple in Gadag, and the Dodda Basappa Temple at Dambal, both in the Gadag district. (Full article...)
    Core area of Western Chalukya architectural activity in modern Karnataka state, India

    Western Chalukya architecture (Kannada: ಪಶ್ಚಿಮ ಚಾಲುಕ್ಯ ವಾಸ್ತುಶಿಲ್ಪ), also known as Kalyani Chalukya or Later Chalukya architecture and broadly classified under the Vesara Style, is the distinctive style of ornamented architecture that evolved during the rule of the Western Chalukya Empire in the Tungabhadra region of modern central Karnataka, India, during the 11th and 12th centuries. Western Chalukyan political influence was at its peak in the Deccan Plateau during this period. The centre of cultural and temple-building activity lay in the Tungabhadra region, where large medieval workshops built numerous monuments. These monuments, regional variants of pre-existing dravida (South Indian) temples, form a climax to the wider regional temple architecture tradition called Vesara or Karnata dravida. Temples of all sizes built by the Chalukyan architects during this era remain today as examples of the architectural style.

    Most notable of the many buildings dating from this period are the Mahadeva Temple at Itagi in the Koppal district, the Kasivisvesvara Temple at Lakkundi in the Gadag district, the Mallikarjuna Temple at Kuruvatti in the Bellary district and the Kallesvara Temple at Bagali in the Davangere district. Other monuments notable for their craftsmanship include the Kaitabheshvara Temple in Kubatur and Kedareshvara Temple in Balligavi, both in the Shimoga district, the Siddhesvara Temple at Haveri in the Haveri district, the Amrtesvara Temple at Annigeri in the Dharwad district, the Sarasvati Temple in Gadag, and the Dodda Basappa Temple at Dambal, both in the Gadag district. (Full article...)
  • Image 10 A Bengal tigress in Kanha Tiger Reserve, India The tiger (Panthera tigris) is a large cat and a member of the genus Panthera native to Asia. It has a powerful, muscular body with a large head and paws, a long tail and orange fur with black, mostly vertical stripes. It is traditionally classified into nine recent subspecies, though some recognise only two subspecies, mainland Asian tigers and the island tigers of the Sunda Islands. Throughout the tiger's range, it inhabits mainly forests, from coniferous and temperate broadleaf and mixed forests in the Russian Far East and Northeast China to tropical and subtropical moist broadleaf forests on the Indian subcontinent and Southeast Asia. The tiger is an apex predator and preys mainly on ungulates, which it takes by ambush. It lives a mostly solitary life and occupies home ranges, defending these from individuals of the same sex. The range of a male tiger overlaps with that of multiple females with whom he mates. Females give birth to usually two or three cubs that stay with their mother for about two years. When becoming independent, they leave their mother's home range and establish their own. (Full article...)

    A Bengal tigress in Kanha Tiger Reserve, India

    The tiger (Panthera tigris) is a large cat and a member of the genus Panthera native to Asia. It has a powerful, muscular body with a large head and paws, a long tail and orange fur with black, mostly vertical stripes. It is traditionally classified into nine recent subspecies, though some recognise only two subspecies, mainland Asian tigers and the island tigers of the Sunda Islands.

    Throughout the tiger's range, it inhabits mainly forests, from coniferous and temperate broadleaf and mixed forests in the Russian Far East and Northeast China to tropical and subtropical moist broadleaf forests on the Indian subcontinent and Southeast Asia. The tiger is an apex predator and preys mainly on ungulates, which it takes by ambush. It lives a mostly solitary life and occupies home ranges, defending these from individuals of the same sex. The range of a male tiger overlaps with that of multiple females with whom he mates. Females give birth to usually two or three cubs that stay with their mother for about two years. When becoming independent, they leave their mother's home range and establish their own. (Full article...)
  • Image 11 Darjeeling (/dɑːrˈdʒiːlɪŋ/, Nepali: [ˈdard͡ziliŋ], Bengali: [ˈdarˌdʒiliŋ]) is a city in the northernmost region of the Indian state of West Bengal. Located in the Eastern Himalayas, it has an average elevation of 2,045 metres (6,709 ft). To the west of Darjeeling lies the easternmost province of Nepal, to the east the Kingdom of Bhutan, to the north the Indian state of Sikkim, and farther north the Tibet Autonomous Region region of China. Bangladesh lies to the south and southeast, and most of the state of West Bengal lies to the south and southwest, connected to the Darjeeling region by a narrow tract. Kangchenjunga, the world's third-highest mountain, rises to the north and is prominently visible on clear days. In the early 19th century, during East India Company rule in India, Darjeeling was identified as a potential summer retreat for British officials, soldiers and their families. The narrow mountain ridge was leased from the Kingdom of Sikkim, and eventually annexed to British India. Experimentation with growing tea on the slopes below Darjeeling was highly successful. Thousands of labourers were recruited chiefly from Nepal to clear the forests, build European-style cottages and work in the tea plantations. The widespread deforestation displaced the indigenous peoples. Residential schools were established in and around Darjeeling for the education of children of the domiciled British in India. By the late-19th century, a novel narrow-gauge mountain railway, the Darjeeling Himalayan Railway, was bringing summer residents into the town and carrying a freight of tea out for export to the world. After India's independence in 1947, as the British left Darjeeling, its cottages were purchased by wealthy Indians from the plains and its tea plantations by out-of-town Indian business owners and conglomerates. (Full article...)

    Darjeeling (/dɑːrˈdʒiːlɪŋ/, Nepali: [ˈdard͡ziliŋ], Bengali: [ˈdarˌdʒiliŋ]) is a city in the northernmost region of the Indian state of West Bengal. Located in the Eastern Himalayas, it has an average elevation of 2,045 metres (6,709 ft). To the west of Darjeeling lies the easternmost province of Nepal, to the east the Kingdom of Bhutan, to the north the Indian state of Sikkim, and farther north the Tibet Autonomous Region region of China. Bangladesh lies to the south and southeast, and most of the state of West Bengal lies to the south and southwest, connected to the Darjeeling region by a narrow tract. Kangchenjunga, the world's third-highest mountain, rises to the north and is prominently visible on clear days.

    In the early 19th century, during East India Company rule in India, Darjeeling was identified as a potential summer retreat for British officials, soldiers and their families. The narrow mountain ridge was leased from the Kingdom of Sikkim, and eventually annexed to British India. Experimentation with growing tea on the slopes below Darjeeling was highly successful. Thousands of labourers were recruited chiefly from Nepal to clear the forests, build European-style cottages and work in the tea plantations. The widespread deforestation displaced the indigenous peoples. Residential schools were established in and around Darjeeling for the education of children of the domiciled British in India. By the late-19th century, a novel narrow-gauge mountain railway, the Darjeeling Himalayan Railway, was bringing summer residents into the town and carrying a freight of tea out for export to the world. After India's independence in 1947, as the British left Darjeeling, its cottages were purchased by wealthy Indians from the plains and its tea plantations by out-of-town Indian business owners and conglomerates. (Full article...)
  • Image 12 Male in Serengeti National Park, Tanzania The lion (Panthera leo) is a large cat of the genus Panthera, native to Africa and India. It has a muscular, broad-chested body; a short, rounded head; round ears; and a dark, hairy tuft at the tip of its tail. It is sexually dimorphic; adult male lions are larger than females and have a prominent mane. It is a social species, forming groups called prides. A lion's pride consists of a few adult males, related females, and cubs. Groups of female lions usually hunt together, preying mostly on medium-sized and large ungulates. The lion is an apex and keystone predator; although some lions scavenge when opportunities occur and have been known to hunt humans, lions typically do not actively seek out and prey on humans. The lion inhabits grasslands, savannahs, and shrublands. It is usually more diurnal than other wild cats, but when persecuted, it adapts to being active at night and at twilight. During the Neolithic period, the lion ranged throughout Africa and Eurasia, from Southeast Europe to India, but it has been reduced to fragmented populations in sub-Saharan Africa and one population in western India. It has been listed as Vulnerable on the IUCN Red List since 1996 because populations in African countries have declined by about 43% since the early 1990s. Lion populations are untenable outside designated protected areas. Although the cause of the decline is not fully understood, habitat loss and conflicts with humans are the greatest causes for concern. (Full article...)

    Male in Serengeti National Park, Tanzania

    The lion (Panthera leo) is a large cat of the genus Panthera, native to Africa and India. It has a muscular, broad-chested body; a short, rounded head; round ears; and a dark, hairy tuft at the tip of its tail. It is sexually dimorphic; adult male lions are larger than females and have a prominent mane. It is a social species, forming groups called prides. A lion's pride consists of a few adult males, related females, and cubs. Groups of female lions usually hunt together, preying mostly on medium-sized and large ungulates. The lion is an apex and keystone predator; although some lions scavenge when opportunities occur and have been known to hunt humans, lions typically do not actively seek out and prey on humans.

    The lion inhabits grasslands, savannahs, and shrublands. It is usually more diurnal than other wild cats, but when persecuted, it adapts to being active at night and at twilight. During the Neolithic period, the lion ranged throughout Africa and Eurasia, from Southeast Europe to India, but it has been reduced to fragmented populations in sub-Saharan Africa and one population in western India. It has been listed as Vulnerable on the IUCN Red List since 1996 because populations in African countries have declined by about 43% since the early 1990s. Lion populations are untenable outside designated protected areas. Although the cause of the decline is not fully understood, habitat loss and conflicts with humans are the greatest causes for concern. (Full article...)
  • Image 13 Pather Panchali (pronounced [pɔtʰer pãtʃali] transl. Song of the Little Road) is a 1955 Indian Bengali-language drama film written and directed by Satyajit Ray in his directoral debut and produced by the Government of West Bengal. It is an adaptation of Bibhutibhushan Bandyopadhyay's 1929 Bengali novel of the same name and features Subir Banerjee, Kanu Banerjee, Karuna Banerjee, Uma Dasgupta, Pinaki Sengupta and Chunibala Devi in major roles. The first film in The Apu Trilogy, Pather Panchali depicts the childhood travails of the protagonist Apu and his elder sister Durga amidst the harsh village life of their poor family. The film was shot mainly on location, had a limited budget, featured mostly amateur actors, and was made by an inexperienced crew. Lack of funds led to frequent interruptions in production, which took nearly three years, but the West Bengal government pulled Ray out of debt by buying the film for the equivalent of $60,000, which it turned into a profit of $700,000 by 1980. The sitar player Ravi Shankar composed the film's soundtrack and score using classical Indian ragas. Subrata Mitra was in charge of the cinematography while editing was handled by Dulal Dutta. Following its premiere on 3 May 1955 during an exhibition at New York's Museum of Modern Art, Pather Panchali was released in Calcutta the same year to an enthusiastic reception. A special screening was attended by the Chief Minister of West Bengal and the Prime Minister of India. (Full article...)
    Pather Panchali (pronounced [pɔtʰer pãtʃali] transl. Song of the Little Road) is a 1955 Indian Bengali-language drama film written and directed by Satyajit Ray in his directoral debut and produced by the Government of West Bengal. It is an adaptation of Bibhutibhushan Bandyopadhyay's 1929 Bengali novel of the same name and features Subir Banerjee, Kanu Banerjee, Karuna Banerjee, Uma Dasgupta, Pinaki Sengupta and Chunibala Devi in major roles. The first film in The Apu Trilogy, Pather Panchali depicts the childhood travails of the protagonist Apu and his elder sister Durga amidst the harsh village life of their poor family.

    The film was shot mainly on location, had a limited budget, featured mostly amateur actors, and was made by an inexperienced crew. Lack of funds led to frequent interruptions in production, which took nearly three years, but the West Bengal government pulled Ray out of debt by buying the film for the equivalent of $60,000, which it turned into a profit of $700,000 by 1980. The sitar player Ravi Shankar composed the film's soundtrack and score using classical Indian ragas. Subrata Mitra was in charge of the cinematography while editing was handled by Dulal Dutta. Following its premiere on 3 May 1955 during an exhibition at New York's Museum of Modern Art, Pather Panchali was released in Calcutta the same year to an enthusiastic reception. A special screening was attended by the Chief Minister of West Bengal and the Prime Minister of India. (Full article...)
  • Image 14 Monier Williams, elected as the second Boden Professor of Sanskrit in 1860; this photograph was taken by Lewis Carroll. The election in 1860 for the position of Boden Professor of Sanskrit at the University of Oxford was a competition between two candidates offering different approaches to Sanskrit scholarship. One was Monier Williams, an Oxford-educated Englishman who had spent 14 years teaching Sanskrit to those preparing to work in British India for the East India Company. The other, Max Müller, was a German-born lecturer at Oxford specialising in comparative philology, the science of language. He had spent many years working on an edition of the Rig Veda (an ancient collection of Vedic Sanskrit hymns) and had gained an international reputation for his scholarship. Williams, in contrast, worked on later material and had little time for the "continental" school of Sanskrit scholarship that Müller exemplified. Williams regarded the study of Sanskrit as a means to an end, namely the conversion of India to Christianity. In Müller's opinion, his own work, while it would assist missionaries, was also valuable as an end in itself. The election came at a time of public debate about Britain's role in India in the wake of the Indian Rebellion of 1857. Opinions were divided on whether greater efforts should be made to convert India or whether to remain sensitive to local culture and traditions. Both men battled for the votes of the electorate (the Convocation of the university, consisting of over 3,700 graduates) through manifestos and newspaper correspondence. Williams laid great stress in his campaign on the intention of the original founder of the chair, that the holder should assist in converting India through dissemination of the Christian scriptures. Müller's view was that his work on the Rig Veda was of great value for missionary work, and published testimonials accordingly. He also wanted to teach wider subjects such as Indian history and literature to assist missionaries, scholars, and civil servants – a proposal that Williams criticised as not in accordance with the original benefactor's wishes. The rival campaigns took out newspaper advertisements and circulated manifestos, and different newspapers backed each man. Although generally regarded as superior to Williams in scholarship, Müller had the double disadvantage (in the eyes of some) of being German and having liberal Christian views. Some of the newspaper pronouncements in favour of Williams were based on a claimed national interest of having an Englishman as Boden professor to assist with the work of governing and converting India. (Full article...)
    Monier Williams, elected as the second Boden Professor of Sanskrit in 1860; this photograph was taken by Lewis Carroll.

    The election in 1860 for the position of Boden Professor of Sanskrit at the University of Oxford was a competition between two candidates offering different approaches to Sanskrit scholarship. One was Monier Williams, an Oxford-educated Englishman who had spent 14 years teaching Sanskrit to those preparing to work in British India for the East India Company. The other, Max Müller, was a German-born lecturer at Oxford specialising in comparative philology, the science of language. He had spent many years working on an edition of the Rig Veda (an ancient collection of Vedic Sanskrit hymns) and had gained an international reputation for his scholarship. Williams, in contrast, worked on later material and had little time for the "continental" school of Sanskrit scholarship that Müller exemplified. Williams regarded the study of Sanskrit as a means to an end, namely the conversion of India to Christianity. In Müller's opinion, his own work, while it would assist missionaries, was also valuable as an end in itself.

    The election came at a time of public debate about Britain's role in India in the wake of the Indian Rebellion of 1857. Opinions were divided on whether greater efforts should be made to convert India or whether to remain sensitive to local culture and traditions. Both men battled for the votes of the electorate (the Convocation of the university, consisting of over 3,700 graduates) through manifestos and newspaper correspondence. Williams laid great stress in his campaign on the intention of the original founder of the chair, that the holder should assist in converting India through dissemination of the Christian scriptures. Müller's view was that his work on the Rig Veda was of great value for missionary work, and published testimonials accordingly. He also wanted to teach wider subjects such as Indian history and literature to assist missionaries, scholars, and civil servants – a proposal that Williams criticised as not in accordance with the original benefactor's wishes. The rival campaigns took out newspaper advertisements and circulated manifestos, and different newspapers backed each man. Although generally regarded as superior to Williams in scholarship, Müller had the double disadvantage (in the eyes of some) of being German and having liberal Christian views. Some of the newspaper pronouncements in favour of Williams were based on a claimed national interest of having an Englishman as Boden professor to assist with the work of governing and converting India. (Full article...)
  • Image 15 Collins on an 1899 postcard Arthur Edward Jeune Collins (18 August 1885 – 11 November 1914) was an English cricketer and soldier. He held, for 116 years, the record of highest score in cricket: as a 13-year-old schoolboy, he scored 628 not out over four afternoons in June 1899. Collins's record-making innings drew a large crowd and increasing media interest; spectators at the Old Cliftonian match being played nearby were drawn away to watch the junior school house cricket match in which Collins was playing. Despite this achievement, Collins never played first-class cricket. Collins's 628 not out stood as the record score until January 2016 when an Indian boy, Pranav Dhanawade, scored 1009 in a single innings. Collins joined the British Army in 1902 and studied at the Royal Military Academy, Woolwich, before becoming an officer in the Royal Engineers. He served in France during the First World War, where he was killed in action in 1914 during the First Battle of Ypres. Collins had been mentioned in despatches and also represented the Royal Military Academy at cricket and rugby union. (Full article...)

    Collins on an 1899 postcard

    Arthur Edward Jeune Collins (18 August 1885 – 11 November 1914) was an English cricketer and soldier. He held, for 116 years, the record of highest score in cricket: as a 13-year-old schoolboy, he scored 628 not out over four afternoons in June 1899. Collins's record-making innings drew a large crowd and increasing media interest; spectators at the Old Cliftonian match being played nearby were drawn away to watch the junior school house cricket match in which Collins was playing. Despite this achievement, Collins never played first-class cricket. Collins's 628 not out stood as the record score until January 2016 when an Indian boy, Pranav Dhanawade, scored 1009 in a single innings.

    Collins joined the British Army in 1902 and studied at the Royal Military Academy, Woolwich, before becoming an officer in the Royal Engineers. He served in France during the First World War, where he was killed in action in 1914 during the First Battle of Ypres. Collins had been mentioned in despatches and also represented the Royal Military Academy at cricket and rugby union. (Full article...)
  • Image 16 Sholay (Hindustani: [ˈʃoːleː] ⓘ, transl. 'Embers') is a 1975 Indian Hindi-language action-adventure film directed by Ramesh Sippy, produced by his father G. P. Sippy, and written by Salim–Javed. The film is about two criminals, Veeru (Dharmendra) and Jai (Amitabh Bachchan), hired by a retired police officer (Sanjeev Kumar) to capture the ruthless dacoit Gabbar Singh (Amjad Khan). Hema Malini and Jaya Bhaduri also star, as Veeru and Jai's love interests, Basanti and Radha, respectively. The music was composed by R D Burman. The film was shot in the rocky terrain of Ramanagara, in the southern state of Karnataka, over a span of two and a half years. Shot was started in October 1973. After the Central Board of Film Certification mandated the removal of several violent scenes, Sholay was released as a 198-minute long film. In 1990, the original director's cut of 204 minutes became available on home media. When first released, Sholay received negative critical reviews and a tepid commercial response, but favourable word-of-mouth publicity helped it to become a box office success. It broke records for continuous showings in many theatres across India, and ran for more than five years at Mumbai's Minerva theatre. The film was also an overseas success in the Soviet Union. It was the highest-grossing Indian film ever at the time, and was the highest-grossing film in India up until Hum Aapke Hain Koun..! (1994). By numerous accounts, Sholay remains one of the highest-grossing Indian films of all time, adjusted for inflation. (Full article...)
    Sholay (Hindustani: [ˈʃoːleː] ⓘ, transl. 'Embers') is a 1975 Indian Hindi-language action-adventure film directed by Ramesh Sippy, produced by his father G. P. Sippy, and written by Salim–Javed. The film is about two criminals, Veeru (Dharmendra) and Jai (Amitabh Bachchan), hired by a retired police officer (Sanjeev Kumar) to capture the ruthless dacoit Gabbar Singh (Amjad Khan). Hema Malini and Jaya Bhaduri also star, as Veeru and Jai's love interests, Basanti and Radha, respectively. The music was composed by R D Burman.

    The film was shot in the rocky terrain of Ramanagara, in the southern state of Karnataka, over a span of two and a half years. Shot was started in October 1973. After the Central Board of Film Certification mandated the removal of several violent scenes, Sholay was released as a 198-minute long film. In 1990, the original director's cut of 204 minutes became available on home media. When first released, Sholay received negative critical reviews and a tepid commercial response, but favourable word-of-mouth publicity helped it to become a box office success. It broke records for continuous showings in many theatres across India, and ran for more than five years at Mumbai's Minerva theatre. The film was also an overseas success in the Soviet Union. It was the highest-grossing Indian film ever at the time, and was the highest-grossing film in India up until Hum Aapke Hain Koun..! (1994). By numerous accounts, Sholay remains one of the highest-grossing Indian films of all time, adjusted for inflation. (Full article...)
  • Image 17 Enthiran (transl. Robot) is a 2010 Indian Tamil-language science fiction action film co-written and directed by S. Shankar. It is the first instalment in the Enthiran film series. The film stars Rajinikanth in the main dual lead role as a scientist and the robot he created. Aishwarya Rai Bachchan, Danny Denzongpa, Santhanam and Karunas play supporting roles. The soundtrack album and background score were composed by A. R. Rahman while the dialogues, cinematography, editing and art direction were handled by Madhan Karky, R. Rathnavelu, Anthony and Sabu Cyril respectively. The story revolves around the struggle of a scientist named Vaseegaran to control his sophisticated android robot named Chitti, after Chitti's software is upgraded to give it the ability to comprehend and exhibit human emotions and to commission it to the Indian Army. The project backfires when Chitti falls in love with Vaseegaran's girlfriend Sana, and is manipulated by Vaseegaran's mentor Bohra into becoming homicidal. After being stalled in the development phase for nearly a decade, the film's principal photography began in 2008 and lasted two years. The film marked the debut of Legacy Effects studio (which was responsible for the film's prosthetic make-up and animatronics) in Indian cinema. Enthiran was released worldwide on 1 October 2010. Produced by Kalanithi Maran, it was India's most expensive film up to that point. (Full article...)
    Enthiran (transl. Robot) is a 2010 Indian Tamil-language science fiction action film co-written and directed by S. Shankar. It is the first instalment in the Enthiran film series. The film stars Rajinikanth in the main dual lead role as a scientist and the robot he created. Aishwarya Rai Bachchan, Danny Denzongpa, Santhanam and Karunas play supporting roles. The soundtrack album and background score were composed by A. R. Rahman while the dialogues, cinematography, editing and art direction were handled by Madhan Karky, R. Rathnavelu, Anthony and Sabu Cyril respectively. The story revolves around the struggle of a scientist named Vaseegaran to control his sophisticated android robot named Chitti, after Chitti's software is upgraded to give it the ability to comprehend and exhibit human emotions and to commission it to the Indian Army. The project backfires when Chitti falls in love with Vaseegaran's girlfriend Sana, and is manipulated by Vaseegaran's mentor Bohra into becoming homicidal.

    After being stalled in the development phase for nearly a decade, the film's principal photography began in 2008 and lasted two years. The film marked the debut of Legacy Effects studio (which was responsible for the film's prosthetic make-up and animatronics) in Indian cinema. Enthiran was released worldwide on 1 October 2010. Produced by Kalanithi Maran, it was India's most expensive film up to that point. (Full article...)
  • Image 18 In Kruger National Park, South Africa The black stork (Ciconia nigra) is a large bird in the stork family Ciconiidae. It was first described by Carl Linnaeus in the 10th edition of his Systema Naturae. Measuring on average 95 to 100 cm (37 to 39 in) from beak tip to end of tail with a 145-to-155 cm (57-to-61 in) wingspan, the adult black stork has mainly black plumage, with white underparts, long red legs and a long pointed red beak. A widespread but uncommon species, it breeds in scattered locations across Europe (predominantly in Portugal and Spain, and central and eastern parts), and east across the Palearctic to the Pacific Ocean. It is a long-distance migrant, with European populations wintering in tropical Sub-Saharan Africa, and Asian populations in the Indian subcontinent. When migrating between Europe and Africa, it avoids crossing broad expanses of the Mediterranean Sea and detours via the Levant in the east, the Strait of Sicily in the center, or the Strait of Gibraltar in the west. An isolated non-migratory population lives in Southern Africa. Unlike the closely related white stork, the black stork is a shy and wary species. It is seen singly or in pairs, usually in marshy areas, rivers or inland waters. It feeds on amphibians, small fish and insects, generally wading slowly in shallow water stalking its prey. Breeding pairs usually build nests in large forest trees—most commonly deciduous but also coniferous—which can be seen from long distances, as well as on large boulders, or under overhanging ledges in mountainous areas. The female lays two to five greyish-white eggs, which become soiled over time in the nest. Incubation takes 32 to 38 days, with both sexes sharing duties, and fledging takes 60 to 71 days. (Full article...)

    In Kruger National Park, South Africa

    The black stork (Ciconia nigra) is a large bird in the stork family Ciconiidae. It was first described by Carl Linnaeus in the 10th edition of his Systema Naturae. Measuring on average 95 to 100 cm (37 to 39 in) from beak tip to end of tail with a 145-to-155 cm (57-to-61 in) wingspan, the adult black stork has mainly black plumage, with white underparts, long red legs and a long pointed red beak. A widespread but uncommon species, it breeds in scattered locations across Europe (predominantly in Portugal and Spain, and central and eastern parts), and east across the Palearctic to the Pacific Ocean. It is a long-distance migrant, with European populations wintering in tropical Sub-Saharan Africa, and Asian populations in the Indian subcontinent. When migrating between Europe and Africa, it avoids crossing broad expanses of the Mediterranean Sea and detours via the Levant in the east, the Strait of Sicily in the center, or the Strait of Gibraltar in the west. An isolated non-migratory population lives in Southern Africa.

    Unlike the closely related white stork, the black stork is a shy and wary species. It is seen singly or in pairs, usually in marshy areas, rivers or inland waters. It feeds on amphibians, small fish and insects, generally wading slowly in shallow water stalking its prey. Breeding pairs usually build nests in large forest trees—most commonly deciduous but also coniferous—which can be seen from long distances, as well as on large boulders, or under overhanging ledges in mountainous areas. The female lays two to five greyish-white eggs, which become soiled over time in the nest. Incubation takes 32 to 38 days, with both sexes sharing duties, and fledging takes 60 to 71 days. (Full article...)
  • Image 19 Loev (pronounced love) is a 2015 Indian romantic drama film written and directed by Sudhanshu Saria. It stars Dhruv Ganesh and Shiv Panditt as two friends who set off to the Western Ghats for a weekend trip and focuses on their complex emotional and sexual relationship. It was Ganesh's final film, as he died from tuberculosis before its release. Loev also features Siddharth Menon and Rishabh Chaddha in supporting roles. The film's title is a deliberate misspelling of the word "love". Saria wrote Loev's script while he was working on the draft of the unreleased film I Am Here and drew heavily from his personal experiences. It was eventually picked up for production by Arfi Lamba and Katherine Suckale despite Saria's own doubts on its viability. Principal photography took place at Mahabaleshwar, in the Western Ghats in peninsular India, and at Mumbai. The film was shot in the summer of 2014 over the course of sixteen days by the cinematographer Sherri Kauk in 2K resolution. It relied on crowdfunding and cost-cutting measures; its budget was relatively low at US$1 million. (Full article...)
    Loev (pronounced love) is a 2015 Indian romantic drama film written and directed by Sudhanshu Saria. It stars Dhruv Ganesh and Shiv Panditt as two friends who set off to the Western Ghats for a weekend trip and focuses on their complex emotional and sexual relationship. It was Ganesh's final film, as he died from tuberculosis before its release. Loev also features Siddharth Menon and Rishabh Chaddha in supporting roles. The film's title is a deliberate misspelling of the word "love".

    Saria wrote Loev's script while he was working on the draft of the unreleased film I Am Here and drew heavily from his personal experiences. It was eventually picked up for production by Arfi Lamba and Katherine Suckale despite Saria's own doubts on its viability. Principal photography took place at Mahabaleshwar, in the Western Ghats in peninsular India, and at Mumbai. The film was shot in the summer of 2014 over the course of sixteen days by the cinematographer Sherri Kauk in 2K resolution. It relied on crowdfunding and cost-cutting measures; its budget was relatively low at US$1 million. (Full article...)
  • Image 20 Greatest extent of the Chalukya Empire, 636 AD, 740 AD The Chalukya dynasty ([tʃaːɭukjə]) was a Classical Indian dynasty that ruled large parts of southern and central India between the 6th and the 12th centuries. During this period, they ruled as three related yet individual dynasties. The earliest dynasty, known as the "Badami Chalukyas", ruled from Vatapi (modern Badami) from the middle of the 6th century. The Badami Chalukyas began to assert their independence at the decline of the Kadamba kingdom of Banavasi and rapidly rose to prominence during the reign of Pulakeshin II. After the death of Pulakeshin II, the Eastern Chalukyas became an independent kingdom in the eastern Deccan. They ruled from Vengi until about the 11th century. In the western Deccan, the rise of the Rashtrakutas in the middle of the 8th century eclipsed the Chalukyas of Badami before being revived by their descendants, the Western Chalukyas, in the late 10th century. These Western Chalukyas ruled from Kalyani (modern Basavakalyan) until the end of the 12th century. The rule of the Chalukyas marks an important milestone in the history of South India and a golden age in the history of Karnataka. The political atmosphere in South India shifted from smaller kingdoms to large empires with the ascendancy of Badami Chalukyas. A Southern India-based kingdom took control and consolidated the entire region between the Kaveri and the Narmada rivers. The rise of this empire saw the birth of efficient administration, overseas trade and commerce and the development of new style of architecture called "Chalukyan architecture". Kannada literature, which had enjoyed royal support in the 9th century Rashtrakuta court found eager patronage from the Western Chalukyas in the Jain and Veerashaiva traditions. The 11th century saw the patronage of Telugu literature under the Eastern Chalukyas. (Full article...)

    Greatest extent of the Chalukya Empire, 636 AD, 740 AD

    The Chalukya dynasty ([tʃaːɭukjə]) was a Classical Indian dynasty that ruled large parts of southern and central India between the 6th and the 12th centuries. During this period, they ruled as three related yet individual dynasties. The earliest dynasty, known as the "Badami Chalukyas", ruled from Vatapi (modern Badami) from the middle of the 6th century. The Badami Chalukyas began to assert their independence at the decline of the Kadamba kingdom of Banavasi and rapidly rose to prominence during the reign of Pulakeshin II. After the death of Pulakeshin II, the Eastern Chalukyas became an independent kingdom in the eastern Deccan. They ruled from Vengi until about the 11th century. In the western Deccan, the rise of the Rashtrakutas in the middle of the 8th century eclipsed the Chalukyas of Badami before being revived by their descendants, the Western Chalukyas, in the late 10th century. These Western Chalukyas ruled from Kalyani (modern Basavakalyan) until the end of the 12th century.

    The rule of the Chalukyas marks an important milestone in the history of South India and a golden age in the history of Karnataka. The political atmosphere in South India shifted from smaller kingdoms to large empires with the ascendancy of Badami Chalukyas. A Southern India-based kingdom took control and consolidated the entire region between the Kaveri and the Narmada rivers. The rise of this empire saw the birth of efficient administration, overseas trade and commerce and the development of new style of architecture called "Chalukyan architecture". Kannada literature, which had enjoyed royal support in the 9th century Rashtrakuta court found eager patronage from the Western Chalukyas in the Jain and Veerashaiva traditions. The 11th century saw the patronage of Telugu literature under the Eastern Chalukyas. (Full article...)
  • Image 21 Core Western Ganga Territory Western Ganga was an important ruling dynasty of ancient Karnataka in India which lasted from about 350 to 999 CE. They are known as "Western Gangas" to distinguish them from the Eastern Gangas who in later centuries ruled over Kalinga (modern Odisha and Northern Andhra Pradesh). The general belief is that the Western Gangas began their rule during a time when multiple native clans asserted their freedom due to the weakening of the Pallava empire in South India, a geo-political event sometimes attributed to the southern conquests of Samudra Gupta. The Western Ganga sovereignty lasted from about 350 to 550 CE, initially ruling from Kolar and later, moving their capital to Talakadu on the banks of the Kaveri River in modern Mysore district. After the rise of the imperial Chalukyas of Badami, the Gangas accepted Chalukya overlordship and fought for the cause of their overlords against the Pallavas of Kanchi. The Chalukyas were replaced by the Rashtrakutas of Manyakheta in 753 CE as the dominant power in the Deccan. After a century of struggle for autonomy, the Western Gangas finally accepted Rashtrakuta overlordship and successfully fought alongside them against their foes, the Chola Dynasty of Tanjavur. In the late 10th century, north of Tungabhadra river, the Rashtrakutas were replaced by the emerging Western Chalukya Empire and the Chola Dynasty saw renewed power south of the Kaveri river. The defeat of the Western Gangas by Cholas around 1000 resulted in the end of the Ganga influence over the region. (Full article...)

    Core Western Ganga Territory

    Western Ganga was an important ruling dynasty of ancient Karnataka in India which lasted from about 350 to 999 CE. They are known as "Western Gangas" to distinguish them from the Eastern Gangas who in later centuries ruled over Kalinga (modern Odisha and Northern Andhra Pradesh). The general belief is that the Western Gangas began their rule during a time when multiple native clans asserted their freedom due to the weakening of the Pallava empire in South India, a geo-political event sometimes attributed to the southern conquests of Samudra Gupta. The Western Ganga sovereignty lasted from about 350 to 550 CE, initially ruling from Kolar and later, moving their capital to Talakadu on the banks of the Kaveri River in modern Mysore district.

    After the rise of the imperial Chalukyas of Badami, the Gangas accepted Chalukya overlordship and fought for the cause of their overlords against the Pallavas of Kanchi. The Chalukyas were replaced by the Rashtrakutas of Manyakheta in 753 CE as the dominant power in the Deccan. After a century of struggle for autonomy, the Western Gangas finally accepted Rashtrakuta overlordship and successfully fought alongside them against their foes, the Chola Dynasty of Tanjavur. In the late 10th century, north of Tungabhadra river, the Rashtrakutas were replaced by the emerging Western Chalukya Empire and the Chola Dynasty saw renewed power south of the Kaveri river. The defeat of the Western Gangas by Cholas around 1000 resulted in the end of the Ganga influence over the region. (Full article...)
  • Image 22 Poore pictured in 1899 Brigadier-General Robert Montagu Poore CIE DSO DL JP (20 March 1866 – 14 July 1938) was an Anglo-Irish cricketer and British Army officer who, while serving in South Africa in 1896, played in three Test matches for the South African cricket team. He featured most prominently in first-class cricket playing county cricket in England for Hampshire between 1898 and 1906, where he gained a reputation as a batsman, having notable success in 1899 when he was the highest first-class run-scorer in England. Alongside playing for Hampshire, Poore also played first-class cricket in India for the Europeans in the Bombay Presidency Matches. An all-round sportsman, he was also a capable swordsman, and polo, tennis, racquets, and squash player, in addition to being a skilled marksman. Poore had success in the Royal Naval and Military Tournaments, being adjudged the best man-at-arms on four occasions. Poore began his military service in the Volunteer Force with the 3rd (Royal Wiltshire Militia) Battalion of the Wiltshire Regiment in 1883, before gaining a regular commission in the British Army in 1886. From there, he transferred to the 7th Hussars in the same year and shortly after served in British India, where he was aide-de-camp to the Governor of Bombay. Poore served in the Second Matabele War in Southern Africa and later in the Second Boer War from 1899 to 1902, during which he was seconded to the Mounted Military Police and served as provost marshal at Army Headquarters Pretoria. In this role, he played an important part in investigating and recording the war–crimes trial and execution of Breaker Morant and Peter Handcock. Decorated with the Distinguished Service Order during the war, Poore later returned to the Hussars and served in the First World War between 1914 and 1918, commanding the Jhansi Brigade of the British Indian Army from 1915, for which he was made a Companion of the Order of the Indian Empire in 1918. He retired from active military service in 1921. In later life, he was a deputy lieutenant for Dorset. (Full article...)

    Poore pictured in 1899

    Brigadier-General Robert Montagu Poore CIE DSO DL JP (20 March 1866 – 14 July 1938) was an Anglo-Irish cricketer and British Army officer who, while serving in South Africa in 1896, played in three Test matches for the South African cricket team. He featured most prominently in first-class cricket playing county cricket in England for Hampshire between 1898 and 1906, where he gained a reputation as a batsman, having notable success in 1899 when he was the highest first-class run-scorer in England. Alongside playing for Hampshire, Poore also played first-class cricket in India for the Europeans in the Bombay Presidency Matches. An all-round sportsman, he was also a capable swordsman, and polo, tennis, racquets, and squash player, in addition to being a skilled marksman. Poore had success in the Royal Naval and Military Tournaments, being adjudged the best man-at-arms on four occasions.

    Poore began his military service in the Volunteer Force with the 3rd (Royal Wiltshire Militia) Battalion of the Wiltshire Regiment in 1883, before gaining a regular commission in the British Army in 1886. From there, he transferred to the 7th Hussars in the same year and shortly after served in British India, where he was aide-de-camp to the Governor of Bombay. Poore served in the Second Matabele War in Southern Africa and later in the Second Boer War from 1899 to 1902, during which he was seconded to the Mounted Military Police and served as provost marshal at Army Headquarters Pretoria. In this role, he played an important part in investigating and recording the war–crimes trial and execution of Breaker Morant and Peter Handcock. Decorated with the Distinguished Service Order during the war, Poore later returned to the Hussars and served in the First World War between 1914 and 1918, commanding the Jhansi Brigade of the British Indian Army from 1915, for which he was made a Companion of the Order of the Indian Empire in 1918. He retired from active military service in 1921. In later life, he was a deputy lieutenant for Dorset. (Full article...)
  • Image 23 Lage Raho Munna Bhai (pronounced [ləˈɡeː rəˈɦoː mʊnːaːˈbʱaːi] ⓘ; translation: Keep Going, Munna Bro) is a 2006 Indian Hindi-language satirical comedy drama film written, edited and directed by Rajkumar Hirani, who also co-wrote the screenplay with Abhijat Joshi, and produced by Vidhu Vinod Chopra under the banner Vinod Chopra Films. A sequel to Munna Bhai M.B.B.S. (2003), the film is the second installment of the Munna Bhai series. Sanjay Dutt and Arshad Warsi reprised their roles as Munna Bhai and Circuit, respectively. New additions to the cast include Vidya Balan, Dilip Prabhavalkar and Dia Mirza, while several actors from the original, notably Jimmy Sheirgill and Boman Irani, appear in new roles. In this film, the eponymous lead character, a don in the Mumbai underworld, begins to see visions of Mahatma Gandhi. Through his interactions with Gandhi, he begins to practice what he refers to as "Gandhigiri" (a neologism for "Gandhism") to help ordinary people solve their problems. (Full article...)
    Lage Raho Munna Bhai (pronounced [ləˈɡeː rəˈɦoː mʊnːaːˈbʱaːi] ⓘ; translation: Keep Going, Munna Bro) is a 2006 Indian Hindi-language satirical comedy drama film written, edited and directed by Rajkumar Hirani, who also co-wrote the screenplay with Abhijat Joshi, and produced by Vidhu Vinod Chopra under the banner Vinod Chopra Films. A sequel to Munna Bhai M.B.B.S. (2003), the film is the second installment of the Munna Bhai series. Sanjay Dutt and Arshad Warsi reprised their roles as Munna Bhai and Circuit, respectively. New additions to the cast include Vidya Balan, Dilip Prabhavalkar and Dia Mirza, while several actors from the original, notably Jimmy Sheirgill and Boman Irani, appear in new roles.

    In this film, the eponymous lead character, a don in the Mumbai underworld, begins to see visions of Mahatma Gandhi. Through his interactions with Gandhi, he begins to practice what he refers to as "Gandhigiri" (a neologism for "Gandhism") to help ordinary people solve their problems. (Full article...)
  • Image 24 Andha Naal (pronounced [an̪da naːɭ] transl. That Day) is a 1954 Indian Tamil-language mystery-thriller film, produced by A. V. Meiyappan and directed by S. Balachander. It is the first film noir in Tamil cinema, and the first Tamil film to be made without songs, dance, or stunt sequences. Set in the milieu of World War II, the story is about the killing of a radio engineer Rajan (Sivaji Ganesan). The suspects are Rajan's wife Usha (Pandari Bai), the neighbour Chinnaiya Pillai (P. D. Sambandam), Rajan's brother Pattabi (T. K. Balachandran), Rajan's sister-in-law Hema (Menaka), and Rajan's mistress Ambujam (K. Sooryakala). Each one's account of the incident points to a new suspect. Balachander watched Akira Kurosawa's Rashomon (1950) at a film festival, was inspired by it and wrote a play in the same narrative style, but the script was rejected by All India Radio; Meiyappan later agreed to produce it as the film that would later be titled Andha Naal under AVM Productions. The screenplay was written by Javar Seetharaman, who also played a prominent role as an investigative officer in the film. The cinematography was handled by S. Maruti Rao, and the background score was composed by AVM's own music troupe, Saraswathy Stores Orchestra. The film was shorter than most contemporaneous Tamil films. It was the only film directed by Balachander for AVM. (Full article...)
    Andha Naal (pronounced [an̪da naːɭ] transl. That Day) is a 1954 Indian Tamil-language mystery-thriller film, produced by A. V. Meiyappan and directed by S. Balachander. It is the first film noir in Tamil cinema, and the first Tamil film to be made without songs, dance, or stunt sequences. Set in the milieu of World War II, the story is about the killing of a radio engineer Rajan (Sivaji Ganesan). The suspects are Rajan's wife Usha (Pandari Bai), the neighbour Chinnaiya Pillai (P. D. Sambandam), Rajan's brother Pattabi (T. K. Balachandran), Rajan's sister-in-law Hema (Menaka), and Rajan's mistress Ambujam (K. Sooryakala). Each one's account of the incident points to a new suspect.

    Balachander watched Akira Kurosawa's Rashomon (1950) at a film festival, was inspired by it and wrote a play in the same narrative style, but the script was rejected by All India Radio; Meiyappan later agreed to produce it as the film that would later be titled Andha Naal under AVM Productions. The screenplay was written by Javar Seetharaman, who also played a prominent role as an investigative officer in the film. The cinematography was handled by S. Maruti Rao, and the background score was composed by AVM's own music troupe, Saraswathy Stores Orchestra. The film was shorter than most contemporaneous Tamil films. It was the only film directed by Balachander for AVM. (Full article...)
  • Image 25 Mayabazar (transl. Market of illusions) is a 1957 Indian epic Hindu mythological film directed by K. V. Reddy. It was produced by Nagi Reddi and Chakrapani under their banner, Vijaya Productions. The film was shot simultaneously in Telugu and Tamil, with a few differences in the cast. The story is an adaptation of the folk tale Sasirekha Parinayam, which is based on the characters of the epic Mahabharata. It revolves around the roles of Krishna (N. T. Rama Rao) and Ghatotkacha (S. V. Ranga Rao), as they try to reunite Arjuna's son Abhimanyu (Telugu: Akkineni Nageswara Rao, Tamil: Gemini Ganesan) with his love, Balarama's daughter Sasirekha (Savitri). The Telugu version features Gummadi, Mukkamala, Ramana Reddy, and Relangi in supporting roles, with D. Balasubramaniam, R. Balasubramaniam, V. M. Ezhumalai, and K. A. Thangavelu playing those parts in the Tamil version. The first mythological film produced by their studio, Mayabazar marked a milestone for Nagi Reddi and Chakrapani. In addition to the technical crew, 400 studio workers – including light men, carpenters, and painters – participated in the development of the film. Director Reddy was meticulous with the pre-production and casting phases, which took nearly a year to complete. Though Rama Rao was initially reluctant to play the lead role, his portrayal of Krishna received acclaim and yielded more offers to reprise the same role in several unrelated films. The soundtrack features twelve songs, with most of the musical score composed by Ghantasala. Telugu lyrics were written by Pingali Nagendrarao and Tamil lyrics were written by Thanjai N. Ramaiah Dass. One of those songs, Lahiri Lahiri, was accompanied by the first illusion of moonlight in Indian cinema, shot by cinematographer Marcus Bartley. (Full article...)
    Mayabazar (transl. Market of illusions) is a 1957 Indian epic Hindu mythological film directed by K. V. Reddy. It was produced by Nagi Reddi and Chakrapani under their banner, Vijaya Productions. The film was shot simultaneously in Telugu and Tamil, with a few differences in the cast. The story is an adaptation of the folk tale Sasirekha Parinayam, which is based on the characters of the epic Mahabharata. It revolves around the roles of Krishna (N. T. Rama Rao) and Ghatotkacha (S. V. Ranga Rao), as they try to reunite Arjuna's son Abhimanyu (Telugu: Akkineni Nageswara Rao, Tamil: Gemini Ganesan) with his love, Balarama's daughter Sasirekha (Savitri). The Telugu version features Gummadi, Mukkamala, Ramana Reddy, and Relangi in supporting roles, with D. Balasubramaniam, R. Balasubramaniam, V. M. Ezhumalai, and K. A. Thangavelu playing those parts in the Tamil version.

    The first mythological film produced by their studio, Mayabazar marked a milestone for Nagi Reddi and Chakrapani. In addition to the technical crew, 400 studio workers – including light men, carpenters, and painters – participated in the development of the film. Director Reddy was meticulous with the pre-production and casting phases, which took nearly a year to complete. Though Rama Rao was initially reluctant to play the lead role, his portrayal of Krishna received acclaim and yielded more offers to reprise the same role in several unrelated films. The soundtrack features twelve songs, with most of the musical score composed by Ghantasala. Telugu lyrics were written by Pingali Nagendrarao and Tamil lyrics were written by Thanjai N. Ramaiah Dass. One of those songs, Lahiri Lahiri, was accompanied by the first illusion of moonlight in Indian cinema, shot by cinematographer Marcus Bartley. (Full article...)
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  • Image 1 Missamma is the soundtrack of the 1955 Indian Telugu-language film of the same name directed by L. V. Prasad. Composed by S. Rajeswara Rao, the soundtrack contains 11 songs with lyrics by Pingali. The film was written by Chakrapani, who co-produced it with B. Nagi Reddi for Vijaya Productions. N. T. Rama Rao and Savitri played the lead roles the Telugu version, with Akkineni Nageswara Rao, Jamuna, S. V. Ranga Rao, Rushyendramani, Relangi and Ramana Reddy in supporting roles. Until Bhanumathi Ramakrishna was replaced by Savitri as the female lead, she was planned to provide vocals for her character in the film. After Ramakrishna left, P. Leela was chosen as Savitri's playback singer. Unlike their previous films, Vijaya Productions preferred A. M. Rajah over Ghantasala to sing for Rama Rao in the Telugu version. Chakrapani chose P. Susheela to sing the remaining two songs featuring Jamuna, and Venkata Ramaiah sang two uncredited songs. (Full article...)
    Missamma is the soundtrack of the 1955 Indian Telugu-language film of the same name directed by L. V. Prasad. Composed by S. Rajeswara Rao, the soundtrack contains 11 songs with lyrics by Pingali. The film was written by Chakrapani, who co-produced it with B. Nagi Reddi for Vijaya Productions. N. T. Rama Rao and Savitri played the lead roles the Telugu version, with Akkineni Nageswara Rao, Jamuna, S. V. Ranga Rao, Rushyendramani, Relangi and Ramana Reddy in supporting roles.

    Until Bhanumathi Ramakrishna was replaced by Savitri as the female lead, she was planned to provide vocals for her character in the film. After Ramakrishna left, P. Leela was chosen as Savitri's playback singer. Unlike their previous films, Vijaya Productions preferred A. M. Rajah over Ghantasala to sing for Rama Rao in the Telugu version. Chakrapani chose P. Susheela to sing the remaining two songs featuring Jamuna, and Venkata Ramaiah sang two uncredited songs. (Full article...)
  • Image 2 The balcony of Rajasthan Royals during the match. The British Asian Cup was a day/night Twenty20 cricket charity match played between the 2008 Indian Premier League (IPL) champion Rajasthan Royals and the 2008 Twenty20 Cup champion Middlesex Panthers played at the Lord's Cricket Ground, London, England. A portion of the earnings of the match went to the British Asian Trust. It ended as the Royals defeated the Panthers by 46 runs. Shaun Udal and Shane Warne were the captains for the Panthers and the Royals respectively. The Royals played a warm-up game with the Middlesex Second XI before the match, and won it by 28 runs. The match attracted a crowd of 20,000 people, but was delayed due to rain. (Full article...)
    The balcony of Rajasthan Royals during the match.

    The British Asian Cup was a day/night Twenty20 cricket charity match played between the 2008 Indian Premier League (IPL) champion Rajasthan Royals and the 2008 Twenty20 Cup champion Middlesex Panthers played at the Lord's Cricket Ground, London, England. A portion of the earnings of the match went to the British Asian Trust. It ended as the Royals defeated the Panthers by 46 runs.

    Shaun Udal and Shane Warne were the captains for the Panthers and the Royals respectively. The Royals played a warm-up game with the Middlesex Second XI before the match, and won it by 28 runs. The match attracted a crowd of 20,000 people, but was delayed due to rain. (Full article...)
  • Image 3 The Sky Is Pink is a 2019 biographical romantic comedy-drama film written and directed by Shonali Bose and produced by Siddharth Roy Kapur, Ronnie Screwvala and Priyanka Chopra Jonas under their production companies Roy Kapur Films, RSVP Movies, and Purple Pebble Pictures, respectively, in association with Ivanhoe Pictures. A co-production between India and the United States, the film stars Priyanka Chopra Jonas, Farhan Akhtar, Zaira Wasim and Rohit Suresh Saraf, and is based on the true story of Aisha Chaudhary, who suffered from severe combined immunodeficiency and pulmonary fibrosis, and tells the story of her parents Aditi and Niren as they navigate their marriage while dealing with their daughter's illness. The film marked the last film of Wasim's career prior to her retirement from Hindi cinema. Aditi Chaudhary approached Bose to make a film based on her daughter's life story. Although intrigued by the story, Bose instead chose to depict the parents' story from Aisha's point of view by incorporating first-person narrative, focusing on their marriage and the effect of their child's illness on their lives and relationship. Bose wrote the screenplay based on the details she gathered through interviewing both of her parents. Nilesh Maniyar wrote the additional screenplay while Juhi Chaturvedi wrote the Hindi dialogues. Principal photography took place in Mumbai, London, Delhi and the Andaman Islands. The film's soundtrack was composed by Pritam while Gulzar wrote the lyrics for the songs. The film explores themes such as death and its acceptance, motherhood, grief and the effect of the loss of a child on relationships, particularly on the parents' companionship. (Full article...)
    The Sky Is Pink is a 2019 biographical romantic comedy-drama film written and directed by Shonali Bose and produced by Siddharth Roy Kapur, Ronnie Screwvala and Priyanka Chopra Jonas under their production companies Roy Kapur Films, RSVP Movies, and Purple Pebble Pictures, respectively, in association with Ivanhoe Pictures. A co-production between India and the United States, the film stars Priyanka Chopra Jonas, Farhan Akhtar, Zaira Wasim and Rohit Suresh Saraf, and is based on the true story of Aisha Chaudhary, who suffered from severe combined immunodeficiency and pulmonary fibrosis, and tells the story of her parents Aditi and Niren as they navigate their marriage while dealing with their daughter's illness. The film marked the last film of Wasim's career prior to her retirement from Hindi cinema.

    Aditi Chaudhary approached Bose to make a film based on her daughter's life story. Although intrigued by the story, Bose instead chose to depict the parents' story from Aisha's point of view by incorporating first-person narrative, focusing on their marriage and the effect of their child's illness on their lives and relationship. Bose wrote the screenplay based on the details she gathered through interviewing both of her parents. Nilesh Maniyar wrote the additional screenplay while Juhi Chaturvedi wrote the Hindi dialogues. Principal photography took place in Mumbai, London, Delhi and the Andaman Islands. The film's soundtrack was composed by Pritam while Gulzar wrote the lyrics for the songs. The film explores themes such as death and its acceptance, motherhood, grief and the effect of the loss of a child on relationships, particularly on the parents' companionship. (Full article...)
  • Image 4 Delhi Daredevils (abbreviated as DD) is a franchise cricket team based in Delhi, India, which plays in the Indian Premier League (IPL). The team competed in the 2012 IPL and finished at the third place, thus qualified for the 2012 Champions League Twenty20 (CLT20). It topped the league and the group stage in the IPL and the CLT20 respectively; however, it failed to win any match in the playoffs. After finishing last in the previous season, the Daredevils added players such as Mahela Jayawardene, Andre Russell, Kevin Pietersen and Ross Taylor to the squad. Eric Simons succeeded Greg Shipperd as the head coach and T. A. Sekhar took the mentorship. The team won 11 of the 16 matches played in the league stage of the IPL and topped the point table. However, it lost both its two matches in the playoffs and finished at the third place. In the CLT20, they won two of its four group stage matches, while the other two were abandoned due to rain. It topped its group and reached the semi-final, where it lost to the Highveld Lions. Morné Morkel was the highest wicket-taker in the IPL, whereas skipper Virender Sehwag became the first batsman to score five consecutive fifties in the league. After the CLT20, the team released fourteen of its players, including Robin Bist, Aaron Finch and Venugopal Rao, signing Jesse Ryder, Johan Botha and Jeevan Mendis. (Full article...)
    Delhi Daredevils (abbreviated as DD) is a franchise cricket team based in Delhi, India, which plays in the Indian Premier League (IPL). The team competed in the 2012 IPL and finished at the third place, thus qualified for the 2012 Champions League Twenty20 (CLT20). It topped the league and the group stage in the IPL and the CLT20 respectively; however, it failed to win any match in the playoffs.

    After finishing last in the previous season, the Daredevils added players such as Mahela Jayawardene, Andre Russell, Kevin Pietersen and Ross Taylor to the squad. Eric Simons succeeded Greg Shipperd as the head coach and T. A. Sekhar took the mentorship. The team won 11 of the 16 matches played in the league stage of the IPL and topped the point table. However, it lost both its two matches in the playoffs and finished at the third place. In the CLT20, they won two of its four group stage matches, while the other two were abandoned due to rain. It topped its group and reached the semi-final, where it lost to the Highveld Lions. Morné Morkel was the highest wicket-taker in the IPL, whereas skipper Virender Sehwag became the first batsman to score five consecutive fifties in the league. After the CLT20, the team released fourteen of its players, including Robin Bist, Aaron Finch and Venugopal Rao, signing Jesse Ryder, Johan Botha and Jeevan Mendis. (Full article...)
  • Image 5 Uyarndha Manithan (transl. The Noble Man) is a 1968 Indian Tamil-language drama film written by Javar Seetharaman and directed by Krishnan–Panju. The film was produced by A. V. Meiyappan, M. Saravanan, M. Kumaran and M. Murugan under AVM Productions. It stars Sivaji Ganesan and Sowcar Janaki, while S. A. Ashokan, Major Sundarrajan, Vanisri and Sivakumar play pivotal roles. The film's soundtrack and background score were composed by M. S. Viswanathan, while the lyrics for the songs were written by Vaali. The film was Sivaji Ganesan's 125th as an actor. It was a remake of the 1966 Bengali film Uttar Purush. The plot revolves around a wealthy industrialist's son who secretly marries the daughter of his family estate's accountant, only for his father to discover it and burn down the estate along with his son's pregnant wife, who is inside. The remainder of the film reveals the truth behind how she and her progeny survive. (Full article...)
    Uyarndha Manithan (transl. The Noble Man) is a 1968 Indian Tamil-language drama film written by Javar Seetharaman and directed by Krishnan–Panju. The film was produced by A. V. Meiyappan, M. Saravanan, M. Kumaran and M. Murugan under AVM Productions. It stars Sivaji Ganesan and Sowcar Janaki, while S. A. Ashokan, Major Sundarrajan, Vanisri and Sivakumar play pivotal roles. The film's soundtrack and background score were composed by M. S. Viswanathan, while the lyrics for the songs were written by Vaali.

    The film was Sivaji Ganesan's 125th as an actor. It was a remake of the 1966 Bengali film Uttar Purush. The plot revolves around a wealthy industrialist's son who secretly marries the daughter of his family estate's accountant, only for his father to discover it and burn down the estate along with his son's pregnant wife, who is inside. The remainder of the film reveals the truth behind how she and her progeny survive. (Full article...)
  • Image 6 Map of Nilgiris Biosphere Reserve, showing Sathyamangalam Wildlife Sanctuary Sathyamangalam Tiger Reserve is a protected area and tiger reserve located along the area straddling both the Western Ghats and Eastern Ghats in the Erode district of the Indian state of Tamil Nadu. The Sathyamangalam Forest Division is part of the Bramhagiri-Nilgiris-Eastern Ghats Elephant Reserve notified in 2003. In 2008, part of the Sathyamangalam Forest Division was declared a wildlife sanctuary, which was further enlarged in 2011 to cover a forest area of 1,411.6 km2 (545.0 sq mi). It is the largest wildlife sanctuary in Tamil Nadu. In 2013, an area of 1,408.6 km2 (543.9 sq mi) of the erstwhile sanctuary was notified as a tiger reserve and it was the fourth tiger reserve established in the state as a part of Project Tiger. The reserve is a significant ecosystem and a wildlife corridor in the Nilgiri Biosphere Reserve between the Western Ghats and the Eastern Ghats and a genetic link between the five other protected areas which it adjoins, including the Sigur Plateau, Mudumalai and Bandipur National Parks, Billigiriranga Swamy Temple and Cauvery Wildlife Sanctuaries. The reserve covers parts of Sathyamangalam and Gobichettipalayam taluks of Erode district in western Tamil Nadu. (Full article...)

    Map of Nilgiris Biosphere Reserve, showing Sathyamangalam Wildlife Sanctuary

    Sathyamangalam Tiger Reserve is a protected area and tiger reserve located along the area straddling both the Western Ghats and Eastern Ghats in the Erode district of the Indian state of Tamil Nadu. The Sathyamangalam Forest Division is part of the Bramhagiri-Nilgiris-Eastern Ghats Elephant Reserve notified in 2003. In 2008, part of the Sathyamangalam Forest Division was declared a wildlife sanctuary, which was further enlarged in 2011 to cover a forest area of 1,411.6 km2 (545.0 sq mi). It is the largest wildlife sanctuary in Tamil Nadu. In 2013, an area of 1,408.6 km2 (543.9 sq mi) of the erstwhile sanctuary was notified as a tiger reserve and it was the fourth tiger reserve established in the state as a part of Project Tiger.

    The reserve is a significant ecosystem and a wildlife corridor in the Nilgiri Biosphere Reserve between the Western Ghats and the Eastern Ghats and a genetic link between the five other protected areas which it adjoins, including the Sigur Plateau, Mudumalai and Bandipur National Parks, Billigiriranga Swamy Temple and Cauvery Wildlife Sanctuaries. The reserve covers parts of Sathyamangalam and Gobichettipalayam taluks of Erode district in western Tamil Nadu. (Full article...)
  • Image 7 Rain water sample (left) and after the particles settled (right). Dried sediment (centre) The Kerala red rain phenomenon was a blood rain event that occurred in Wayanad district of southern Indian state Kerala on Monday, 15 July 1957 and the colour subsequently turned yellow and also 25 July to 23 September 2001, when heavy downpours of red-coloured rain fell sporadically in Kerala, staining clothes pink. Yellow, green and black rain was also reported. Coloured rain was also reported in Kerala in 1896 and several times since, most recently in June 2012, and from 15 November 2012 to 27 December 2012 in eastern and north-central provinces of Sri Lanka. Following a light-microscopy examination in 2001, it was initially thought that the rains were coloured by fallout from a hypothetical meteor burst, but a study commissioned by the Government of India concluded that the rains had been coloured by airborne spores from a locally prolific terrestrial green algae from the genus Trentepohlia. (Full article...)
    Rain water sample (left) and after the particles settled (right). Dried sediment (centre)


    The Kerala red rain phenomenon was a blood rain event that occurred in Wayanad district of southern Indian state Kerala on Monday, 15 July 1957 and the colour subsequently turned yellow and also 25 July to 23 September 2001, when heavy downpours of red-coloured rain fell sporadically in Kerala, staining clothes pink. Yellow, green and black rain was also reported. Coloured rain was also reported in Kerala in 1896 and several times since, most recently in June 2012, and from 15 November 2012 to 27 December 2012 in eastern and north-central provinces of Sri Lanka.

    Following a light-microscopy examination in 2001, it was initially thought that the rains were coloured by fallout from a hypothetical meteor burst, but a study commissioned by the Government of India concluded that the rains had been coloured by airborne spores from a locally prolific terrestrial green algae from the genus Trentepohlia. (Full article...)
  • Image 8 Indian jungle cat The jungle cat (Felis chaus), also called reed cat and swamp cat, is a medium-sized cat native from the Eastern Mediterranean region and the Caucasus to parts of Central, South and Southeast Asia. It inhabits foremost wetlands like swamps, littoral and riparian areas with dense vegetation. It is listed as Least Concern on the IUCN Red List, and is mainly threatened by destruction of wetlands, trapping and poisoning. The jungle cat has a uniformly sandy, reddish-brown or grey fur without spots; melanistic and albino individuals are also known. It is solitary in nature, except during the mating season and mother-kitten families. (Full article...)

    Indian jungle cat

    The jungle cat (Felis chaus), also called reed cat and swamp cat, is a medium-sized cat native from the Eastern Mediterranean region and the Caucasus to parts of Central, South and Southeast Asia. It inhabits foremost wetlands like swamps, littoral and riparian areas with dense vegetation. It is listed as Least Concern on the IUCN Red List, and is mainly threatened by destruction of wetlands, trapping and poisoning.

    The jungle cat has a uniformly sandy, reddish-brown or grey fur without spots; melanistic and albino individuals are also known. It is solitary in nature, except during the mating season and mother-kitten families. (Full article...)
  • Image 9 Devadasu is a 1953 Indian romantic drama film directed by Vedantam Raghavayya and produced by D. L. Narayana for Vinodha Pictures. Chakrapani wrote the script based on Sarat Chandra Chattopadhyay's novel, Devdas. C. R. Subbaraman composed the film's music. The film was edited by P. V. Narayanan, while B. S. Ranga provided the cinematography. The film focuses on Devadasu and Parvati, who have been in love since childhood. Devadas' father rejects the proposal from Parvati's family. Parvati's father forces her to marry a middle-aged zamindar. Unable to cope with his failure to win Parvati, Devadas turns into a drunkard, and the rest of the film is about whether or not Devadas meets Parvati again. (Full article...)
    Devadasu is a 1953 Indian romantic drama film directed by Vedantam Raghavayya and produced by D. L. Narayana for Vinodha Pictures. Chakrapani wrote the script based on Sarat Chandra Chattopadhyay's novel, Devdas. C. R. Subbaraman composed the film's music. The film was edited by P. V. Narayanan, while B. S. Ranga provided the cinematography.

    The film focuses on Devadasu and Parvati, who have been in love since childhood. Devadas' father rejects the proposal from Parvati's family. Parvati's father forces her to marry a middle-aged zamindar. Unable to cope with his failure to win Parvati, Devadas turns into a drunkard, and the rest of the film is about whether or not Devadas meets Parvati again. (Full article...)
  • Image 10 Depiction of Kalyanasundara, Ellora caves. Kalyanasundara (कल्याणसुन्दर, literally "beautiful wedding"), also spelt as Kalyansundar and Kalyana Sundara, and known as Kalyanasundara-murti ("icon of the beautiful wedding"), Vaivahika-murti (वैवाहिक-मूर्ति, "nuptial icon") and Panigrahana-murti ( पाणिंग्रहण-मूर्ति) ("icon related to panigrahana ritual"), is the iconographical depiction of the wedding of the Hindu deities Shiva and Parvati. The couple are often depicted performing the panigrahana ("accepting the hand") ritual of a Hindu wedding, where the groom accepts the bride by taking her right hand in his. The couple, depicted in the centre, are accompanied by a host of divinities and other celestial beings. The god Vishnu and his wife Lakshmi are often pictured as giving away Parvati to Shiva. The god Brahma is shown as the officiating priest. (Full article...)
    Depiction of Kalyanasundara, Ellora caves.




    Kalyanasundara (कल्याणसुन्दर, literally "beautiful wedding"), also spelt as Kalyansundar and Kalyana Sundara, and known as Kalyanasundara-murti ("icon of the beautiful wedding"), Vaivahika-murti (वैवाहिक-मूर्ति, "nuptial icon") and Panigrahana-murti ( पाणिंग्रहण-मूर्ति) ("icon related to panigrahana ritual"), is the iconographical depiction of the wedding of the Hindu deities Shiva and Parvati. The couple are often depicted performing the panigrahana ("accepting the hand") ritual of a Hindu wedding, where the groom accepts the bride by taking her right hand in his.

    The couple, depicted in the centre, are accompanied by a host of divinities and other celestial beings. The god Vishnu and his wife Lakshmi are often pictured as giving away Parvati to Shiva. The god Brahma is shown as the officiating priest. (Full article...)
  • Image 11 The 1960 North Indian Ocean cyclone season featured two deadly tropical cyclones that collectively killed approximately 20,000 people collectively in East Pakistan (present-day Bangladesh). The Indian subcontinent divides the North Indian Ocean into two areas: the Bay of Bengal to the east and the Arabian Sea to the west. The official Regional Specialized Meteorological Centre for this basin is the India Meteorological Department (IMD), while the Joint Typhoon Warning Center releases unofficial advisories. On average, five storms form in the North Indian Ocean every season with dual peaks in activity during May and November. Cyclones that occurred between 45°E and 100°E were included in seasonal records by the IMD. Fifteen depressions developed during the 1960 season, with five becoming cyclonic storms. The majority of the activity took place in the Bay of Bengal, where eleven systems formed; however, the season's first storm formed over the Arabian Sea on May 10. The storm produced hurricane-force winds and attained a barometric air pressure of 974 mbar (hPa; 28.76 inHg). The deadliest and most intense cyclone of the season was Severe Cyclonic Storm Ten, which killed 14,174 in East Pakistan in early November. With peak winds estimated at 150 km/h (95 mph) and a pressure of 966.7 mbar (hPa; 28.55 inHg), it struck just three weeks after the previous system devastated the same area. The storm produced a 6.1 m (20 ft) storm tide that swept 16 km (10 mi) inland, submerging several small islands. The two storms left a combined 200,000–300,000 people homeless. These systems marked the start of an unusually active period of cyclones impacting East Pakistan, culminating ten years later with the 1970 Bhola cyclone, which killed between 300,000 and 500,000 people. During the 1960 season, several depressions impacted India with heavy rainfall. Collectively, these systems killed 167 people. (Full article...)

    The 1960 North Indian Ocean cyclone season featured two deadly tropical cyclones that collectively killed approximately 20,000 people collectively in East Pakistan (present-day Bangladesh). The Indian subcontinent divides the North Indian Ocean into two areas: the Bay of Bengal to the east and the Arabian Sea to the west. The official Regional Specialized Meteorological Centre for this basin is the India Meteorological Department (IMD), while the Joint Typhoon Warning Center releases unofficial advisories. On average, five storms form in the North Indian Ocean every season with dual peaks in activity during May and November. Cyclones that occurred between 45°E and 100°E were included in seasonal records by the IMD.

    Fifteen depressions developed during the 1960 season, with five becoming cyclonic storms. The majority of the activity took place in the Bay of Bengal, where eleven systems formed; however, the season's first storm formed over the Arabian Sea on May 10. The storm produced hurricane-force winds and attained a barometric air pressure of 974 mbar (hPa; 28.76 inHg). The deadliest and most intense cyclone of the season was Severe Cyclonic Storm Ten, which killed 14,174 in East Pakistan in early November. With peak winds estimated at 150 km/h (95 mph) and a pressure of 966.7 mbar (hPa; 28.55 inHg), it struck just three weeks after the previous system devastated the same area. The storm produced a 6.1 m (20 ft) storm tide that swept 16 km (10 mi) inland, submerging several small islands. The two storms left a combined 200,000–300,000 people homeless. These systems marked the start of an unusually active period of cyclones impacting East Pakistan, culminating ten years later with the 1970 Bhola cyclone, which killed between 300,000 and 500,000 people. During the 1960 season, several depressions impacted India with heavy rainfall. Collectively, these systems killed 167 people. (Full article...)
  • Image 12 The skyline of Ahmedabad filled with smoke as buildings and shops are set on fire by rioting mobs. The Naroda Patiya massacre took place on 28 February 2002 at Naroda, in Ahmedabad, India, during the 2002 Gujarat riots. 97 Muslims were killed by a mob of approximately 5,000 people, organised by the Bajrang Dal, a wing of the Vishva Hindu Parishad, and allegedly supported by the Bharatiya Janata Party which was in power in the Gujarat State Government. The massacre at Naroda occurred during the bandh (strike) called by Vishwa Hindu Parishad a day after the Godhra train burning. The riot lasted over 10 hours, during which the mob plundered, stabbed, sexually assaulted, gang-raped and burnt people individually and in groups. After the conflict, a curfew was imposed in the state and Indian Army troops were called in to contain further violence. The communal violence at Naroda was deemed "the largest single case of mass murder" during the 2002 Gujarat riots; it accounted for the greatest number of deaths during a single event. Survivors faced socio-economic problems; many were left homeless, orphaned and injured. A number of shrines were destroyed and many schools were adversely affected, cancelled exams or closed entirely. The surviving victims were given shelter in relief camps provided by both the state and central government, and efforts were begun to restore destroyed properties and shrines. The state government formed a "Gujarat state commission of inquiry" for citizens to have a forum in which to make recommendations and suggest reforms. Mainstream media criticised the Gujarat government's handling of the riots; it was remarked that a number of news reports were exaggerated, and "inflammatory headlines, stories and pictures" were published, resulting in anti-Muslim prejudice among the Hindu readership. (Full article...)

    The skyline of Ahmedabad filled with smoke as buildings and shops are set on fire by rioting mobs.

    The Naroda Patiya massacre took place on 28 February 2002 at Naroda, in Ahmedabad, India, during the 2002 Gujarat riots. 97 Muslims were killed by a mob of approximately 5,000 people, organised by the Bajrang Dal, a wing of the Vishva Hindu Parishad, and allegedly supported by the Bharatiya Janata Party which was in power in the Gujarat State Government. The massacre at Naroda occurred during the bandh (strike) called by Vishwa Hindu Parishad a day after the Godhra train burning. The riot lasted over 10 hours, during which the mob plundered, stabbed, sexually assaulted, gang-raped and burnt people individually and in groups. After the conflict, a curfew was imposed in the state and Indian Army troops were called in to contain further violence.

    The communal violence at Naroda was deemed "the largest single case of mass murder" during the 2002 Gujarat riots; it accounted for the greatest number of deaths during a single event. Survivors faced socio-economic problems; many were left homeless, orphaned and injured. A number of shrines were destroyed and many schools were adversely affected, cancelled exams or closed entirely. The surviving victims were given shelter in relief camps provided by both the state and central government, and efforts were begun to restore destroyed properties and shrines. The state government formed a "Gujarat state commission of inquiry" for citizens to have a forum in which to make recommendations and suggest reforms. Mainstream media criticised the Gujarat government's handling of the riots; it was remarked that a number of news reports were exaggerated, and "inflammatory headlines, stories and pictures" were published, resulting in anti-Muslim prejudice among the Hindu readership. (Full article...)
  • Image 13 A panoramic view of Nagore Dargah; dome, sacred water tank and the five minarets Nagore Dargah (also called Nagoor Dargah or Syed Shahul Hameed Dargah or Nagore Andavar dargah) is a dargah built over the tomb of the Sufi saint Nagore Syed Abdul Qadir Shahul Hamid (1490–1579 CE). It is located in Nagore, a coastal town in the South Indian state of Tamil Nadu. The outer doors of the dargah are kept open always, while the internal doors are open from 4:00 am to 07:00 am and from 6:00 pm to 10:00 pm. On Fridays, the doors are additionally kept open between 12:00 pm and 2:30 pm. Shahul Hamid is believed to have performed many miracles in Nagore, and cured the physical affliction of king Achuthappa Nayak, a 16th-century Hindu ruler of Thanjavur. He is locally referred to as Nagore Andavar, meaning the "Ruler of Nagore" and Qadir wali baba. Nagore dargah as it stands now, is believed to have been built by ardent devotees of Shahul Hamid, with major contribution from Hindus. There are five minarets in the dargah, with the Hindu Maratha ruler of Thanjavur Pratap Singh (1739–1763 CE), building the tallest minaret. The dargah is a major pilgrimage centre that attracts pilgrims from both sufi Islam and Hinduism, symbolizing peaceful coexistence between the two religions. The most prominent event celebrated at Nagore Dargah is the Kanduri festival (Urus Mubarak), a fourteen-day commemoration of the death anniversary of Shahul Hamid. Common worship practices at Nagore dargah include the presentation of offerings, accompanied by the playing of musical instruments like nadaswaram, typical of Hindu religious tradition. The Shifa Gunta, a pool within the precincts of the dargah, is considered sacred; pilgrims take a holy dip in it. The hereditary board of trustees performs all the official and duties of the dargah. The governance and upkeep of the dargah are overseen by an 11 Member board of trustees, which operates under a court-decreed scheme established by the Madras High Court. (Full article...)

    A panoramic view of Nagore Dargah; dome, sacred water tank and the five minarets

    Nagore Dargah (also called Nagoor Dargah or Syed Shahul Hameed Dargah or Nagore Andavar dargah) is a dargah built over the tomb of the Sufi saint Nagore Syed Abdul Qadir Shahul Hamid (1490–1579 CE). It is located in Nagore, a coastal town in the South Indian state of Tamil Nadu. The outer doors of the dargah are kept open always, while the internal doors are open from 4:00 am to 07:00 am and from 6:00 pm to 10:00 pm. On Fridays, the doors are additionally kept open between 12:00 pm and 2:30 pm. Shahul Hamid is believed to have performed many miracles in Nagore, and cured the physical affliction of king Achuthappa Nayak, a 16th-century Hindu ruler of Thanjavur. He is locally referred to as Nagore Andavar, meaning the "Ruler of Nagore" and Qadir wali baba. Nagore dargah as it stands now, is believed to have been built by ardent devotees of Shahul Hamid, with major contribution from Hindus. There are five minarets in the dargah, with the Hindu Maratha ruler of Thanjavur Pratap Singh (1739–1763 CE), building the tallest minaret. The dargah is a major pilgrimage centre that attracts pilgrims from both sufi Islam and Hinduism, symbolizing peaceful coexistence between the two religions.

    The most prominent event celebrated at Nagore Dargah is the Kanduri festival (Urus Mubarak), a fourteen-day commemoration of the death anniversary of Shahul Hamid. Common worship practices at Nagore dargah include the presentation of offerings, accompanied by the playing of musical instruments like nadaswaram, typical of Hindu religious tradition. The Shifa Gunta, a pool within the precincts of the dargah, is considered sacred; pilgrims take a holy dip in it. The hereditary board of trustees performs all the official and duties of the dargah. The governance and upkeep of the dargah are overseen by an 11 Member board of trustees, which operates under a court-decreed scheme established by the Madras High Court. (Full article...)
  • Image 14 Rati Rati (Sanskrit: रति, Rati) is the Hindu goddess of love, carnal desire, lust, passion, and sexual pleasure. Usually described as the daughter of Prajapati Daksha, Rati is the female counterpart, the chief consort and the assistant of Kama (Kamadeva), the god of love. A constant companion of Kama, she is often depicted with him in legend and temple sculpture. She also enjoys worship along with Kama. The Hindu scriptures stress Rati's beauty and sensuality. They depict her as a maiden who has the power to enchant the God of Love. When the deity Shiva burns her husband to ashes, it is Rati, whose beseeching or penance, leads to the promise of Kama's resurrection. Often, this resurrection occurs when Kama is reborn as Pradyumna, the son of Krishna and Rukmini. Rati – under the name of Mayavati – plays a critical role in the upbringing of Pradyumna, who is separated from his parents at birth. She acts as his nanny, as well as his lover, and tells him the way to return to his parents by slaying the demon-king, who is destined to die at his hands. Later, Kama-Pradyumna accepts Rati-Mayavati as his wife. (Full article...)

    Rati

    Rati (Sanskrit: रति, Rati) is the Hindu goddess of love, carnal desire, lust, passion, and sexual pleasure. Usually described as the daughter of Prajapati Daksha, Rati is the female counterpart, the chief consort and the assistant of Kama (Kamadeva), the god of love. A constant companion of Kama, she is often depicted with him in legend and temple sculpture. She also enjoys worship along with Kama.

    The Hindu scriptures stress Rati's beauty and sensuality. They depict her as a maiden who has the power to enchant the God of Love. When the deity Shiva burns her husband to ashes, it is Rati, whose beseeching or penance, leads to the promise of Kama's resurrection. Often, this resurrection occurs when Kama is reborn as Pradyumna, the son of Krishna and Rukmini. Rati – under the name of Mayavati – plays a critical role in the upbringing of Pradyumna, who is separated from his parents at birth. She acts as his nanny, as well as his lover, and tells him the way to return to his parents by slaying the demon-king, who is destined to die at his hands. Later, Kama-Pradyumna accepts Rati-Mayavati as his wife. (Full article...)
  • Image 15 The 1970 North Indian Ocean cyclone season had no bounds, but tropical cyclones in the North Indian Ocean tend to form between April and December, with peaks in May and November. The 1970 season saw a total of seven cyclonic storms, of which three developed into severe cyclonic storms. The Bay of Bengal was more active than the Arabian Sea during 1970, with all of the three severe cyclonic storms in the season forming there. Unusually, none of the storms in the Arabian Sea made landfall this year. The most significant storm of the season was the Bhola cyclone, which formed in the Bay of Bengal and hit Bangladesh on November 12. The storm killed at least 500,000, making it the deadliest tropical cyclone in recorded history. The season was also the deadliest tropical cyclone season globally, with 500,805 fatalities, mostly due to the aforementioned Bhola cyclone. (Full article...)

    The 1970 North Indian Ocean cyclone season had no bounds, but tropical cyclones in the North Indian Ocean tend to form between April and December, with peaks in May and November. The 1970 season saw a total of seven cyclonic storms, of which three developed into severe cyclonic storms. The Bay of Bengal was more active than the Arabian Sea during 1970, with all of the three severe cyclonic storms in the season forming there. Unusually, none of the storms in the Arabian Sea made landfall this year. The most significant storm of the season was the Bhola cyclone, which formed in the Bay of Bengal and hit Bangladesh on November 12. The storm killed at least 500,000, making it the deadliest tropical cyclone in recorded history. The season was also the deadliest tropical cyclone season globally, with 500,805 fatalities, mostly due to the aforementioned Bhola cyclone. (Full article...)
  • Image 16 Swayamvaram (English: One's Own Choice) is a 1972 Indian Malayalam-language drama film co-written and directed by Adoor Gopalakrishnan, starring Madhu and Sharada in the lead roles. Notable smaller roles were played by Thikkurisi Sukumaran Nair, Adoor Bhavani, K. P. A. C. Lalitha, and Bharath Gopi. The film depicts the life of a couple—Vishwam (Madhu) and Sita (Sharada)—who have married against their parents' wishes and want to start a new life at a new place. The title is an allusion to the ancient Indian practice of a girl of marriageable age choosing a husband from among a list of suitors. Swayamvaram marked several debuts—directorial of Gopalakrishnan, acting of the Malayalam star Bharath Gopi, and film producing of the Chitralekha Film Cooperative, an organisation cofounded by Gopalakrishnan himself. The film features an original score by M. B. Sreenivasan, camerawork by Mankada Ravi Varma, and film editing by Ramesan. Writer-director K. P. Kumaran co-scripted the film with Gopalakrishnan. It took seven years for Gopalakrishnan to get the project rolling when his initial proposal for a loan to make a film was turned down by the Film Finance Corporation (FFC). The FFC later partially financed the film when Chitralekha provided the rest. (Full article...)
    Swayamvaram (English: One's Own Choice) is a 1972 Indian Malayalam-language drama film co-written and directed by Adoor Gopalakrishnan, starring Madhu and Sharada in the lead roles. Notable smaller roles were played by Thikkurisi Sukumaran Nair, Adoor Bhavani, K. P. A. C. Lalitha, and Bharath Gopi. The film depicts the life of a couple—Vishwam (Madhu) and Sita (Sharada)—who have married against their parents' wishes and want to start a new life at a new place. The title is an allusion to the ancient Indian practice of a girl of marriageable age choosing a husband from among a list of suitors.

    Swayamvaram marked several debuts—directorial of Gopalakrishnan, acting of the Malayalam star Bharath Gopi, and film producing of the Chitralekha Film Cooperative, an organisation cofounded by Gopalakrishnan himself. The film features an original score by M. B. Sreenivasan, camerawork by Mankada Ravi Varma, and film editing by Ramesan. Writer-director K. P. Kumaran co-scripted the film with Gopalakrishnan. It took seven years for Gopalakrishnan to get the project rolling when his initial proposal for a loan to make a film was turned down by the Film Finance Corporation (FFC). The FFC later partially financed the film when Chitralekha provided the rest. (Full article...)
  • Image 17 Indian Institute of Management Rohtak (IIM Rohtak or IIM-R) is a public business school located in Rohtak, Haryana, India. As one of India's premier Indian Institutes of Management, the school has been accorded the status of an Institute of National Importance. IIM Rohtak was established in the year 2010 as one of the six new IIMs announced under the 11th Five Year Plan. It offers mainly five courses, an Integrated Programs in Management (IPM), Integrated Program in Law (IPL), the Post-Graduate Program (PGP) in Management, Executive Post Graduate Program for Executives (EPGPX) and Doctoral Program in Management (DPM). (Full article...)
    Indian Institute of Management Rohtak (IIM Rohtak or IIM-R) is a public business school located in Rohtak, Haryana, India. As one of India's premier Indian Institutes of Management, the school has been accorded the status of an Institute of National Importance.

    IIM Rohtak was established in the year 2010 as one of the six new IIMs announced under the 11th Five Year Plan. It offers mainly five courses, an Integrated Programs in Management (IPM), Integrated Program in Law (IPL), the Post-Graduate Program (PGP) in Management, Executive Post Graduate Program for Executives (EPGPX) and Doctoral Program in Management (DPM). (Full article...)
  • Image 18 A. a. antigone from India with the distinct white "collar" The sarus crane (Antigone antigone) is a large nonmigratory crane found in parts of the Indian subcontinent, Southeast Asia, and northern Australia. The tallest of the flying birds, standing at a height of up to 1.8 m (5 ft 11 in), they are a conspicuous species of open wetlands in South Asia, seasonally flooded Dipterocarpus forests in Southeast Asia, and Eucalyptus-dominated woodlands and grasslands in Australia. The sarus crane is easily distinguished from other cranes in the region by its overall grey colour and the contrasting red head and upper neck. They forage on marshes and shallow wetlands for roots, tubers, insects, crustaceans, and small vertebrate prey. Like other cranes, they form long-lasting pair bonds and maintain territories within which they perform territorial and courtship displays that include loud trumpeting, leaps, and dance-like movements. In India, they are considered symbols of marital fidelity, believed to mate for life and pine the loss of their mates, even to the point of starving to death. (Full article...)

    A. a. antigone from India with the distinct white "collar"

    The sarus crane (Antigone antigone) is a large nonmigratory crane found in parts of the Indian subcontinent, Southeast Asia, and northern Australia. The tallest of the flying birds, standing at a height of up to 1.8 m (5 ft 11 in), they are a conspicuous species of open wetlands in South Asia, seasonally flooded Dipterocarpus forests in Southeast Asia, and Eucalyptus-dominated woodlands and grasslands in Australia.

    The sarus crane is easily distinguished from other cranes in the region by its overall grey colour and the contrasting red head and upper neck. They forage on marshes and shallow wetlands for roots, tubers, insects, crustaceans, and small vertebrate prey. Like other cranes, they form long-lasting pair bonds and maintain territories within which they perform territorial and courtship displays that include loud trumpeting, leaps, and dance-like movements. In India, they are considered symbols of marital fidelity, believed to mate for life and pine the loss of their mates, even to the point of starving to death. (Full article...)
  • Image 19 Bhardwaj in 2016 Vishal Bhardwaj (born 4 August 1965) is an Indian filmmaker, music composer and playback singer. He is known for his work in Hindi cinema, and is the recipient of nine National Film Awards and a Filmfare Award. Bhardwaj made his debut as a music composer with the children's film Abhay (1995), and received wider recognition with his compositions in Gulzar's Maachis (1996). He received the Filmfare R. D. Burman Award for New Music Talent for the latter. He went on to compose music for the films Satya (1998) and Godmother (1999). For the latter, he won the National Film Award for Best Music Direction. (Full article...)

    Bhardwaj in 2016

    Vishal Bhardwaj (born 4 August 1965) is an Indian filmmaker, music composer and playback singer. He is known for his work in Hindi cinema, and is the recipient of nine National Film Awards and a Filmfare Award.

    Bhardwaj made his debut as a music composer with the children's film Abhay (1995), and received wider recognition with his compositions in Gulzar's Maachis (1996). He received the Filmfare R. D. Burman Award for New Music Talent for the latter. He went on to compose music for the films Satya (1998) and Godmother (1999). For the latter, he won the National Film Award for Best Music Direction. (Full article...)
  • Image 20 India competed at the 2022 Winter Olympics in Beijing, China, from 4 to 20 February 2022. The country's participation in Beijing marked its eleventh appearance at the Winter Olympics since its debut in 1964. The India team consisted of one male alpine skier, Arif Khan, who was the country's flag-bearer during the opening ceremony. He did not win a medal, and as of these Games, India had not earned a Winter Olympic medal. A volunteer served as the flag-bearer during the closing ceremony. (Full article...)
    India competed at the 2022 Winter Olympics in Beijing, China, from 4 to 20 February 2022. The country's participation in Beijing marked its eleventh appearance at the Winter Olympics since its debut in 1964.

    The India team consisted of one male alpine skier, Arif Khan, who was the country's flag-bearer during the opening ceremony. He did not win a medal, and as of these Games, India had not earned a Winter Olympic medal. A volunteer served as the flag-bearer during the closing ceremony. (Full article...)
  • Image 21 Mohini on a swing by Raja Ravi Varma Mohini (Sanskrit: मोहिनी, Mohinī) is the Hindu goddess of enchantment. She is the only female avatar of the Hindu god Vishnu. She is portrayed as a femme fatale, an enchantress, who maddens lovers and demons, sometimes leading them to their doom. Mohini is introduced into Hinduism in the narrative epic of the Mahabharata. Here, she appears as a form of Vishnu following the Churning of the Ocean, a mesmerising beauty who distributes the amrita (the elixir of immortality) to the weakened devas (gods) and depriving it to the dominant asuras (demons), allowing the former to defeat the latter with their newfound immortality. Many different legends tell of her various exploits and marriages, including her union with the god Shiva. These tales relate, among other things, the birth of the god Shasta and the destruction of Bhasmasura, the ash-demon. Mohini's main modus operandi is to trick or beguile those she encounters. She is worshipped throughout Indian culture, but mainly in Western India, where temples are devoted to her depicted as Mahalasa, the consort of Khandoba, a regional avatar of Shiva. (Full article...)

    Mohini on a swing by Raja Ravi Varma

    Mohini (Sanskrit: मोहिनी, Mohinī) is the Hindu goddess of enchantment. She is the only female avatar of the Hindu god Vishnu. She is portrayed as a femme fatale, an enchantress, who maddens lovers and demons, sometimes leading them to their doom. Mohini is introduced into Hinduism in the narrative epic of the Mahabharata. Here, she appears as a form of Vishnu following the Churning of the Ocean, a mesmerising beauty who distributes the amrita (the elixir of immortality) to the weakened devas (gods) and depriving it to the dominant asuras (demons), allowing the former to defeat the latter with their newfound immortality.

    Many different legends tell of her various exploits and marriages, including her union with the god Shiva. These tales relate, among other things, the birth of the god Shasta and the destruction of Bhasmasura, the ash-demon. Mohini's main modus operandi is to trick or beguile those she encounters. She is worshipped throughout Indian culture, but mainly in Western India, where temples are devoted to her depicted as Mahalasa, the consort of Khandoba, a regional avatar of Shiva. (Full article...)
  • Image 22 Ponnar Shankar is a 2011 Indian Tamil-language epic historical drama film produced and directed by Thiagarajan. It is a fictionalised account of the Ponnar Shankar epic, adapted from M. Karunanidhi's novel of the same name. It features Thiagarajan's son Prashanth in lead dual roles as warrior princes, portraying the title characters, also Jayaram in an important role with actresses Pooja Chopra and Divya Parameshwaran making their film debut as princesses and Prakash Raj as the main antagonist. The film also features an extensive cast of supporting actors with Prabhu, Khushbu Sundar, Sneha, Vijayakumar, Nassar, Rajkiran, Napoleon, and Ponvannan, amongst others. The background score and soundtrack of the film, composed by Ilaiyaraaja, with cinematography handled by Shaji Kumar and editing done by Don Max. Filming, although significantly delayed, began in August 2009 at Valluvar Kottam in Chennai, where an ancient township film set with temples, forts, a lake and palaces had been built. The film's producers encountered difficulties in making prompt payments to its crew that consisted of more than 1000 members during the filming in the forests of Pollachi. The filming then shifted to Guindy National Park in Chennai, with the battle sequences shot in Kerala and Karnataka. (Full article...)
    Ponnar Shankar is a 2011 Indian Tamil-language epic historical drama film produced and directed by Thiagarajan. It is a fictionalised account of the Ponnar Shankar epic, adapted from M. Karunanidhi's novel of the same name. It features Thiagarajan's son Prashanth in lead dual roles as warrior princes, portraying the title characters, also Jayaram in an important role with actresses Pooja Chopra and Divya Parameshwaran making their film debut as princesses and Prakash Raj as the main antagonist. The film also features an extensive cast of supporting actors with Prabhu, Khushbu Sundar, Sneha, Vijayakumar, Nassar, Rajkiran, Napoleon, and Ponvannan, amongst others. The background score and soundtrack of the film, composed by Ilaiyaraaja, with cinematography handled by Shaji Kumar and editing done by Don Max.

    Filming, although significantly delayed, began in August 2009 at Valluvar Kottam in Chennai, where an ancient township film set with temples, forts, a lake and palaces had been built. The film's producers encountered difficulties in making prompt payments to its crew that consisted of more than 1000 members during the filming in the forests of Pollachi. The filming then shifted to Guindy National Park in Chennai, with the battle sequences shot in Kerala and Karnataka. (Full article...)
  • Image 23 rameless (Full article...)
    rameless (Full article...)
  • Image 24 The 2008 Indian Premier League final was a day/night Twenty20 cricket match played between the Rajasthan Royals and the Chennai Super Kings on 1 June 2008 at the DY Patil Stadium, Navi Mumbai to determine the winner of the 2008 Indian Premier League, a professional Twenty20 cricket league in India. It ended as the Royals defeated the Super Kings by three wickets. The Royals, captained by Shane Warne, topped the group stage table, whereas the Super Kings, led by Mahendra Singh Dhoni, stood at the third position. They had defeated the Delhi Daredevils and the Kings XI Punjab respectively in the semi-finals. (Full article...)
    The 2008 Indian Premier League final was a day/night Twenty20 cricket match played between the Rajasthan Royals and the Chennai Super Kings on 1 June 2008 at the DY Patil Stadium, Navi Mumbai to determine the winner of the 2008 Indian Premier League, a professional Twenty20 cricket league in India. It ended as the Royals defeated the Super Kings by three wickets.

    The Royals, captained by Shane Warne, topped the group stage table, whereas the Super Kings, led by Mahendra Singh Dhoni, stood at the third position. They had defeated the Delhi Daredevils and the Kings XI Punjab respectively in the semi-finals. (Full article...)
  • Image 25 Shahid is a 2012 Indian Hindi-language biographical drama film directed by Hansal Mehta, written by Sameer Gautam Singh and jointly produced by Anurag Kashyap and Sunil Bohra in association with Ronnie Screwvala and Siddharth Roy Kapur under the UTV Spotboy banner. Based on the life of lawyer and human rights activist Shahid Azmi, who was assassinated in 2010, the film stars Rajkummar Rao as Azmi; Mohammed Zeeshan Ayyub, Prabhleen Sandhu and Baljinder Kaur appear in supporting roles. Mehta took a break after some of his films were box-office failures. When he heard about Azmi's murder, he felt the need to make a film about his life. He began his research for the film nearly three months after Azmi's murder. Eventually, he met Singh, who wrote the script after researching Azmi's life and spending months interviewing Azmi's family. Apurva Asrani contributed additional inputs on the script with Mehta and also served as the film's editor. Anuj Rakesh Dhawan was the director of photography. (Full article...)
    Shahid is a 2012 Indian Hindi-language biographical drama film directed by Hansal Mehta, written by Sameer Gautam Singh and jointly produced by Anurag Kashyap and Sunil Bohra in association with Ronnie Screwvala and Siddharth Roy Kapur under the UTV Spotboy banner. Based on the life of lawyer and human rights activist Shahid Azmi, who was assassinated in 2010, the film stars Rajkummar Rao as Azmi; Mohammed Zeeshan Ayyub, Prabhleen Sandhu and Baljinder Kaur appear in supporting roles.

    Mehta took a break after some of his films were box-office failures. When he heard about Azmi's murder, he felt the need to make a film about his life. He began his research for the film nearly three months after Azmi's murder. Eventually, he met Singh, who wrote the script after researching Azmi's life and spending months interviewing Azmi's family. Apurva Asrani contributed additional inputs on the script with Mehta and also served as the film's editor. Anuj Rakesh Dhawan was the director of photography. (Full article...)
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News

20 November 2024 –
Indian billionaire and Adani Group chairman Gautam Adani is indicted in the U.S. for his role in an alleged multi-billion dollar bribery and fraud scheme where he and seven others paid Indian government officials US$265 million to obtain contracts for Adani Green Energy. (AsiaOne) (Bloomberg)
13 November 2024 – 2024 Indo-Pakistani smog
New Delhi, India, reports its 15th consecutive day with a "very poor" recorded air quality index due to significant air pollution causing zero meter visibility smog. (The Hindu)
13 November 2024 – Bulldozer Justice
The Supreme Court of India rules that it is unconstitutional for the government to demolish property belonging to people suspected of crimes without a legal process, a practice common in states ruled by the Bharatiya Janata Party. (The Times of India) (DW)
4 November 2024 – 2024 Almora bus accident
At least 36 people are killed and 27 others are injured when a bus plunges into a gorge near Marchula, Uttarakhand, India. (The Indian Express) (ABC News)
3 November 2024 – Insurgency in Jammu and Kashmir
At least eleven people are injured in a grenade explosion caused by an unknown militant group in a flea market in Srinagar, Jammu and Kashmir, India. (Reuters)

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