Jump to content

User:Malaiya/sandbox2

From Wikipedia, the free encyclopedia

Stephen Y. H. Su
Yueh-Hsung Su
Born (1938-07-06) 6 July 1938 (age 86)
Fukien, China
Education
Scientific career
Doctoral advisorDonald L. Dietmeyer

Stephen Y. H. Su (born July 6, 1938) was a professor of Professor of Computer Science at Binghamton University. He has over four decades of industry and university experience, including working at IBM on array logic, for UNIVAC on design automation, for Bell Laboratories on digital simulation and fault diagnosis. His research contributions include design automation and testing for digital systems.

Education

[edit]

He received the a B.S. degree in electrical engineering from the National Taiwan University, Taiwan, in 1960. He earned his M.S. degree in electrical engineering and Ph.D. degree in computer engineering, both from the University of Wisconsin, Madison, in 1963 and 1967, respectively.

Contributions

[edit]

His research included computer-aided logic/system design, design automation, hardware testing, and multiple-valued logic.[1] [2] [3]

Career

[edit]

His industrial experience included work for IBM on array logic, for UNIVAC on design automation, for Bell Laboratories on digital simulation and fault diagnosis.[4]

He was the General Chair of the 1975 International Symposium on Computer Hardware Description Languages and their Applications, and of the 1976 International Symposium on Multiple-Valued Logic. He served as an associate editor of IEEE Transactions on Computers handling design automation, logic design, and combinational theory.

Recognitions

[edit]

He received the 1981 Engineer of the Year Award. He served as an advisor for the IEEE Distinguished Visitor Program. He has been an invited speaker at computer seminars at over 80 institutions world-wide.

Students and collaborators

[edit]

He advised a number of PhD students including Tyrone T. Lin, Chi Chang Liaw, Yacoub M. El-Ziq, John G. Yee, Yashwant Malaiya and Chi-Lai Huang. Chi-Lai Huang became a founder of Gateway and a contributor to the Verilog hardware description language. His other research collaborators include Israel Koren, Yinghua Min, Shiyi Xu, Kewal Saluja, Mark Karpovsky, Michal Cutler, Li Shen and Melvin Breuer.

Personal life

[edit]

He was married to Anna Su. They have a son Yeemay Su and a daughter Lu Su.

Personal life

[edit]

He was born in Allahabad, India. He moved to the United States in 1966, however he remained a citizen of India until 2014. He lives in Auburn Alabama with his wife, Prathima Agrawal, formerly Samuel Ginn Distinguished Professor at Auburn University. Their son Vikas Agrawal, a graduate of UC Berkeley Haas School of Business, lives in San Francisco and is the founder of ExpensePath.[5] Their daughter Chitra Agrawal, a graduate of NYU Stern School of Business and former Marketing Director, is now a cookbook author[6][7] and founder of "Brooklyn Delhi",[8] producing a line of achaars.

References

[edit]
  1. ^ D. L. Dietmeyer and Yueh-Hsung Su, "Logic Design Automation of Fan-In Limited NAND Networks," in IEEE Transactions on Computers, vol. C-18, no. 1, pp. 11-22, Jan. 1969.
  2. ^ [https://ieeexplore.ieee.org/document/1674970 Yacoub M. El-Ziq, Stephen Y. H. Su: Computer-Aided Logic Design of Two-Level MOS Combinational Networks with Statistical Results. IEEE Trans. Computers 27(10): 911-923 (1978)]
  3. ^ S. Y. H. Su, "A survey of computer hardware description languages in the U.S.A.," in Computer, vol. 7, no. 12, pp. 45-51, Dec. 1974.
  4. ^ YACOUB M. El-Ziq, and Stephen Y. H. SU, Computer-Aided Logic Design of Two-Level, MOS Combinational Networks with Statistical Results, IEEE TRANSACTIONS ON COMPUTERS, VOL. c-27, NO. 10, OCTOBER 1978, pp. 911-923
  5. ^ ExpensePath Official Website
  6. ^ Rhubarb Strawberry Indian Pickle, Huffington Post, 17 June 2013
  7. ^ Chitra Agrawal: From Brooklyn to Bangalore (and back), Deepi Ahluwalia
  8. ^ Brooklyn Delhi Official Website
[edit]

Authority control

D EFAULTSORT:Agrawal, Vishwani Category:Auburn University faculty Category:Auburn University Category:Electrical engineers Category:Computer engineering Category:Living people Category:1943 births Category:Indian American Category:Indian Institute of Science alumni

The Gupta period Buddha in Sarnath Museum in the Dharmachakra Pravartana Mudra


Dharmachakra Pravartana Buddha at Sarnath

[edit]

Dharmachakra Pravartana Buddha at Sarnath is the famous Gupta period sculpture of the Buddha Shakyamuni in the Dharmachakra Pravartana mudra discovred during the excavations at Sarnath, near Varanasi in Uttar Pradesh, India. It is regarded to be a masterpiece of Gupta craftsmanship and has been widely reproduced. After the Lion Capital of Ashoka, which now serves as the symbol of the nation of India, this is the best known sculpture at Sarnath. It is now preserved at the Sarnath Museum

The Buddha triumphing over Mara

[edit]

The Buddha triumphing over Mara

[edit]
WLA lacma Buddha Shakyamuni ca 850 Gaya District

This exceptional sculpture depicts the Buddha sitting under the Bodhi tree on the verge of enlightenment.[1] Expertly carved in basalt, it has two important inscriptions, one related to the religious nature of the sculpture and the other to its patron.

This sculpture was carved in northeastern India, possibly at Kurkihar, around 850–950, close to where Buddha's encounter with Mara occurred before his enlightenment. The Mahabodhi (“Great Enlightenment”) temple at Bodhgaya has marked the spot of these great events. It is a part of the he Avery Brundage Collection, B60S598 at the Asian Art Museum.

The inscription on the base says that the sculpture was donated by the senior monk Prajnaprabha.

The sculpture

[edit]

He sits under branches of heart-shaped leaves indicating the sacred bodhi tree. His right hand reaches downward to touch the pedestal — symbolizing the earth.[2] This is referred to as the bhumi-sparsha-mudra. This mudra (gesture) marks the triumph of the soon Buddha-to-be over the demon Mara, who is an embodiment of passions.

The lump on the top of his head may represent the knot of hair, it is sometimes said to indicate his wisdom. He is represented in the padmasana (lotus position) pose. The twisted garland behind the head represents a halo. Around the inside of this halo, is a standard formulation "Ye Dharma Hetu.." dharani (mantra).

References

[edit]
  1. ^ The Buddha triumphing over Mara, The Asian Art Museum
  2. ^ The Buddha triumphing over Mara, Khan Academy/Asian Art Museum

Dharmachakra Pravartana at Sarnath

[edit]

The sculpture is symbolic of the Saranath itself, where the Buddha initiated his teachings, which are recorded on the Pali Dhammacakkappavattana Sutta. In this sculpture, the Buddha is seated in Vajra-paryankasana and is delivering the first Sermon to the five disciples shown on the pedestal with the Dharmachakra in its centre. It is flanked by a pair of gazelles, symbolizing the deer park at Sarnath.

The hands of the Buddha are in the dharmachakra pravartana mudra, as of the Buddha is rotating the wheel of Dharma. The dharam chakra represents the dharma as preached by the Shakyamuni Buddha. According to some scholars, the dharmachakra pravartana mudra was first used by the sculptors at Sarnath.

Sarnatha is intimately connected by the Dharma-chakra. The Lion Capital of Ashoka originally supported a large Dharma-chakra (thus the lions served as the support for the Dharma Chakra). During the excavations, the stone Dharma Chakra was found broken. The Dharma Chakra Jina Vihar at Sarnath was built by Kumaradevi, a wife of Gahadavala Govindachandra (c. 1114–1155 CE), which was the last structured constructed before the devastation of Sarnath.

The sculpture as a Gupta Masterpiece

[edit]
Excavation at Sarnath, with the Ashoka Lion Capital and the Dharma-chakra-pravartana Budhha sculpture

Of the hundreds of Buddha images produced by the Sarnath School, most significant being the Dharmachakrapravartana image of Lord Buddha which is symbolic of the First Sermon preached by the Master at the Deer Parks in Sarnath.

Krishna Dev described the sculpture as follows.[1]

"This outstanding image radiates the Master's adamant resolve and strength, combined with complete equanimity, compassion and tender grace. The inspired artist of this masterpiece has caught the moment when the great teacher who had achieved Supreme Enlightenment after six years of strenous exertion, felt overwhelmed with compassion for the suffering humanity and condescended to turn the Wheel of Law

The momentous events of the First Sermon and the founding of the Buddhist Sangha are immortalised in this unique sculpture .. Combining elemental strength with tender grace and subtle delicacy with transcendental sublimation, this luminous image indeed constitutes a masterpiece of the Indian, nay World art, enshrining the noble teachings of Lord Buddha.

Radha Kumud Mookerji writes.[2]

"The Sarnath seated image of the Buddha in the act of his preaching the first sermon is considered as one of the masterpieces of Indian Art, and of its Gupta style marked by its symbolism. .. His hands are shown in the position known as Dharma- Chakra-pravartana-mudra. Indeed, there was a great development in the mudras in the Buddhist Iconography of the time."

Catherine Becker writes [3]

"This Gupta period depiction of the Buddha turning the wheel of dharma in the deer park at Sarnath is arguably one of the most famous Buddha images from ancient South Asia - a canonical example of the "golden age" of Gupta sculpture."

The Dharmachakra Pravarana Buddha image at the Mulagandhakuti Vihara

[edit]
The replica at the Mulgandha Kuti Vihar

After the excavations, a new temple was commissioned by the Maha Bodhi Society for construction in 1931. The frescoes on the walls were created attractively by the leading Japanese Painter, Kosetsu Nosu. The focal point of the temple is a replica of the famous sculpture of the Buddha in the Dharmachakra Pravartana mudra.

Replicas of the Saranath Buddha

[edit]

The image is sometimes referred to as simply as the Saranath Buddha. This is one of the most reproduced Buddha images. Major reproductions include the following.

  • India gifted a 16-feet high Buddha statue to Sri Lanka to be installed at the sacred Sri Dalada Maligawa temple at Kandy in 2010.[4]

Also see

[edit]

References

[edit]
  1. ^ [https://books.google.com/books?id=H4fXAAAAMAAJ&pg=PA131&dq=sarnath+buddha+image+dharma+chakra&hl=en&sa=X&ved=0ahUKEwi46PqRvP7iAhXIZc0KHXq3Bec4ChDoAQguMAE#v=onepage&q=sarnath%20buddha%20image%20dharma%20chakra&f=false Dharmachakra Pravartana Image of Buddha at Sarnath, Krishna Deva, The Maha Bodhi Centenaray Volume. 1891 - 1991 p. 131-132]
  2. ^ [https://books.google.com/books?id=uYXDB2gIYbwC&pg=PA142&dq=dharma+chakra&hl=en&sa=X&ved=0ahUKEwir0uSysf7iAhXHQs0KHQb8AKUQ6AEINzAD#v=onepage&q=dharma%20chakra&f=false Radha Kumud Mookerji, The Gupta Empire, Motilal Banarasidas, 1973, p. 142]
  3. ^ Catherine Becker, Shifting Stones, Shaping the Past: Sculpture from the Buddhist Stupas of Andhra Pradesh Oxford University Press, 2014, p. 156
  4. ^ [https://buddhistartnews.wordpress.com/2010/12/28/india-to-gift-buddha-statue-to-lanka/, India to gift Buddha statue to Lanka Sutirtho Patranobis, Hindustan Times, Colombo, December 21, 2010]

Karanthai is a village that has a complex of well known Jain temples. This was once a site where the Jain munis often resided, and hence it is also termed Munigiri. This is also the site associated with the famed Jain logician acharya Akalanka 720-780 A.D, and hence is also called Akalankabasti.[1]. The Jain complex has three temples. The main temple is dedicated to Lord Kunthunath, believed to have been established by Pallava ruler nandivarma in 806-896 AD. The Mahavira temple to the south is from the 12th century. The Adinath temple, and the adjacent shrine of Goddess Kushmandini (Ambika) is from 15th century. A Brhmadeva shrine to the southwest.

Karandai Digambar Jain Temple complex

A panchakalyanaka was conducted here in 1991 and then again in 2017 to install new Jain images.[2] Everyyear in Falguna month, a brahmostavam is celegrated. Special worship is conducted on Akshaya Tritiya, Mahavir Jayanti, Diwali, Jinaratri and Vasant Panchami.

The Karanthai complex is famous for its Vijayanagar period murals.[3][4]

The adjacent Thirupanamoor village has a temple dedicated to Lord Pushpadanta and houses a rare gilded plaster image of Lord Pushpadanta. There are hundreds of brass images and alibrary. Between Thirupanamoor and Karanthai there is a memorial with chhatris with footprints of ancient Jain sages.

Location: the Karanthai and Thirupanamoor villages are aboput 15 KM from Kanchi. There is a population of local Jains in these and nearby villages.[5]

References

[edit]
  1. ^ Tamilnadu Digambar Jain Tirthakshetra Sandarshan, Bharatvarshiya Digambar Jain Tirtha Samrakshini MahaSabha, 2001, p. 51-52
  2. ^ Jains celebrate life of Tirthankara through 'Pancha Kalyana' Fest, Times Of India, Feb 20, 2017
  3. ^ Directive to Endowments department on renovation of temples, The Hindu, DECEMBER 25, 2009
  4. ^ Targets of destruction, T. S. Subramanian, The Hindu, JUNE 16, 2011
  5. ^ Tamil Nadu village prays for safe return of pilot Abhinandan, The New Indian Express, 28th February 2019


Rajmata (Hindi: राजमाता; lit. king's mother) is a Indian term used for the mother of the head of a princely family in India.

Examples include

This iconic song [4] is regarded to be one of songs by which Lata Mangeshkar is remembered. Lata herself considered this song to be among her top six favourite songs in 2016 [5] and among her favourite 20 in 2012.[6].

In 2014, on the fiftieth anniversary of the she tweeted: ""Namaskar Is varsh 'Lag ja gale ke phir ye hasee'n raat' is geet ko 50 saal pure ho rahe hain. aisa madhur geet aaj bhi purana nahi lagta" (This year the song 'Lag ja gale ke phir ye hasee'n raat' is 50 years old, but it is so sweet, it does not feel old at all)[7] The singer Amit Mishra claims that "My favourite song by Lata ji is Lag Ja Gale and I can hear it a million times on repeat mode"[8]

In the song, the singer expresses that this evening may the last time she will see her beloved:

लग जा गले कि फिर ये हसीं रात हो न हो
शायद फिर इस जनम में मुलाक़ात हो न हो
हमको मिली हैं आज ये घडीयाँ नसीब से
जी भर के देख लीजिये हमको करीब से
Embrace me, for this beautiful evening may come again,
perhaps we may never meet gain in this life.
fate has given us these few moments,
you can look at me from up close, as much as you wish.

The Hindi expression "ho an ho" implies that it may or may not happen in future.

The song expresses profound sadness on the impeding partition, which is perhaps final. The Hindi expression "ho na ho" implies that it may or may not happen in future. In Hinduism, death is the parting for this life. The parting, although expresses separation of two lovers in the movie, can also mean death in the Indian context. Some individuals remember having sung this song for the dying grandmother. Others member a close relative, with impending death due to cancer, dancing her last dance with this song. It is sometimes sung at Indian funerals.

It is also considered to be an iconic song composed by Madan Mohan.[9]

[edit]

It is said that for the movie Woh Kaun Thi, the song was originally rejected by the movie directory. He decided to inclused it when he heard it the second time.[10]

When the former star Sadhna passed way in 2015, he was often recalled be referring to her as the actress of this song.Cite error: A <ref> tag is missing the closing </ref> (see the help page). [11]

See also

[edit]

References

[edit]
  1. ^ The Hindu Nationalist Movement and Indian Politics: 1925 to the 1990s : Strategies of Identity-building, Implantation and Mobilisation (with Special Reference to Central India), Christophe Jaffrelot, Penguin Books India, 1999 p. 219
  2. ^ [https://books.google.com/books?id=qzkqAAAACAAJ&dq=rajmata&hl=en&sa=X&ved=0ahUKEwiW9LmItIrgAhXSpYMKHT9UDeIQ6AEINzAD Rajmata Gayatri Devi: Enduring Grace, Roli Books Pvt Limited, 2005]
  3. ^ [https://www.vogue.in/content/inside-rajmata-padmini-devi-of-jaipurs-75th-birthday-celebrations/ Inside Rajmata Padmini Devi of Jaipur’s 75th birthday celebrations, DEVIKA MANGHNANI, OCTOBER 4, 2018]
  4. ^ Love the iconic song Lag Ja Gale from Woh Kaun Thi? Here's an interesting story, SUBHASH K JHA, DECCAN CHRONICLE, Mar 20, 2018
  5. ^ Lata Mangeshkar birthday: The legendary singer lists her six favourite songs, Hindustan times, Sep 28, 2016
  6. ^ Lata Mangeshkar first time chooses her favourite songs Subhash K Jha, Entertainment Times, Sep 28, 2012
  7. ^ Lag ja gale’ still sounds fresh: Lata, Jagran, 30 Jun 2014,
  8. ^ World Music Day: Celebrating Musical Maestros Of Bollywood, Mid-Day Jun 21, 2018
  9. ^ लग जा गले कि फिर मुलाकात हो, न हो...' यतींद्र मिश्र, BBC Hindi, 7 मई 2017
  10. ^ jansatta, Feb 21, 2018
  11. ^ Shreya Ghoshal Week: Best live performances in UK, Feb 5, 2018



==

[edit]
Part of a series on
Jainism
Philosophy
Ethics
Ethics of Jainism
Mahavratas (major vows)
Anuvratas (further vows)
Jain prayers
Major figures
Major sects
Schools and Branches
Jain literature
Festivals
Pilgrimages
Tirth
Other

Veerwal (also spelled as Viraval) is a Jain in the Chittorgarh region in Rajasthan, India.

The Veerwals are followers of Sameer Muniji Maharaj who introduced them to jainism in 1950.[1] His death anniversay is celebrated by the All Indian Jain Veerwal Jain Sangh every year.[2][3]

Sameer Pavan Dham in Ahimsa Nagar in Chittorgarh serves as a main center.[4]. Even though Sameer Muniji belonged to the Sthanakvasi tradition, Sameer Pavan Dham hosts Jain dignitaries from other traditons also[5]

Kalpit Veerwal of Udaipur has been entered in the Limca book of records for achieving 100 per cent score in in JEE-Mains in 2017.[6][7]

See also

[edit]

References

[edit]
  1. ^ The Jain Movement and the socio-religious transformation, Shyamlal, Indian Journal of Social Work, V. 53, 1992, pp. 59-68
  2. ^ [https://www.bhaskar.com/news/RAJ-CHIT-MAT-latest-chittorgarh-news-034514-2147875-NOR.html?PageSpeed=noscript समीर मुनि का पुण्य स्मरण दिवस मनाया, Bhaskar News Network , Mar 07, 2017 ]
  3. ^ अभा वीरवाल जैन समाज का राष्ट्रीय अधिवेशन 6 को होगा, Bhaskar News Network, Oct 31, 2016
  4. ^ [https://www.bhaskar.com/news/MAT-RAJ-OTH-c-199-70431-NOR.html समीर मुनि का स्मरण दिवस मनाया, Bhaskar News Network, Mar 10, 2014]
  5. ^ आतंकवाद से मुक्ति जैन सिद्धांत से ही संभव : मुनिश्री, Samachar Jagat, 20 May 2017
  6. ^ Udaipur’s Kalpit Veerwal in Limca book of records for 100 per cent in JEE-Mains, PTI, August 21, 2017
  7. ^ All India Veerwal Jain Youth Udaipur, May 5, 2017

==



'Caste Purana is a term used by some researchers for texts related to evolution of some of the castes (jnatis) written as purported chapters or appendices of specific puranas.[1]


References

[edit]
  1. ^ A Sociological Approach to the Caste Puranas : A Case Study, Veena Das, Sociological Bulletin, Vol. 17, No. 2 (September 1968), pp. 141-164

Tarachand Ghanshyamdas

[edit]

Tarachand Ghanshyamdas was a famous Marwari trading firm that flourished from 1791 to 1957. [1] It is believed to have been responsible to introducing many of now famous Marwari clans to national and international business field. [2] The grandfathers of both G.D. Birla and Lakshmi Mittalworked for Tarachand Ghanshyamdas. [3] Tarachand Ghanshyamdas in 1870, had offices at Kolkata, Mumbai, Amritsar, the Malwa opium belt of Madhya Pradesh and elsewhere. Sevaram Ramrikhdas employed, the RPG Group patriarch, Rama Prasad Goenka’s grandfather’s great-grandfather, Ramdutt. It's division resulted in independent branches at Kanpur, Mirzapur, Farrukhabad and Kolkata, the Singhanias are descendents of the Kanpur branch. [4]

The firm initially dealt in woolen garments. In early 19th Century many Marwari merchants settled in the Opium tracts of Malwa, amajority of them Shekhavati Aggarwals, connected to prominent merchants in Calcutta. Opium soon became a major commodity. The records of “Sevaram Ramrikhdas”, a Marwari firm based our of Mirzapur in 1830’s show Opium to have been their major commodity. Tarachand Ghanshyamdas had several branches in the opium tracts of Malwa. Opium sales were Legalized in Hong Kong in 1845 after the British defeated China in the 1st Opium War. The opium trade was expanded after the 2nd Opium War in 1860. Calcutta became an important market for opium trading after auctions in Bombay were discontinued in 1830s. [5]

The founder of the family was Bugotee Ram (Bhagoti Ram), the treasurer or the fotedar (the term became poddar) of the nawab of Fatehpur.[6] He was also a banker to the royal families of Jaipur, Bikaner, and Hyderabad. The Poddar family originally belonged to Churu, but when the local thakur imposed heavy tax on the wool trade, the Poddars moved to a vilage in 1791 in the domain of raja of Sikar and named it Ramgarh. [7] Bhagoti Ram belonged to this clan.

Bhagoti Ram's son, Chaterbhuj, started branches in Amritsar, Bhatinda and Hissar. Chaterbhuj's son, Tarachand, added the trading of opium.[8]

Tarachand Ghanshyamdas was the greatest Marwari firm during 1860s and 1914 when it rivalled British companies in size. [9] They took deposits, gave loans, engaged in the wholesale trade, transferred money for clients to distant cities, cashed bills of trade, insured shipments, as well as speculated on commodity futures.[10]

After the dissolution of Tarachand Ghanshyamdas, the three brothers Bimal Kumar Poddar (was was adopted), Suresh Neotia and Vinod Neotia set up Radhakrishna Bimalkumar in the mid 50's. As a leading agent of Burma Shell in India it operated several branches across UP, Bihar and West Bengal.[11]

References

[edit]
  1. ^ Industrial Entreprenuership of Shekhawati Marwaris, D.K. Taknet, Kumar Prakashan, Jaipur, 1987 p. 76-80.
  2. ^ What’s caste got to do with business? Vivek Kaul, DNA, 23 August 2008.
  3. ^ The Marwari business model-I, HARISH DAMODARAN, The Hindu Businessline, April 7, 2013.
  4. ^ The Marwari business model-I, HARISH DAMODARAN, The Hindu Businessline, April 7, 2013.
  5. ^ Marwari Identity: Tracing Its Origin, OCCUPATIONS - Commodities Trading & Speculation - Opium, Nikunj, 1 September 2013
  6. ^ Popular Literature and Pre-modern Societies in South Asia, Surinder Singh, I. D. Gaur, Pearson Education India, 2008, p. 71
  7. ^ Ramgarh Origin
  8. ^ Prakash Narain Agarwala, Vikas Publishing House Private, Limited, 1985, p. 216, 225, 226
  9. ^ The desert breeding ground of India’s billionaires, Richard Orange, The Spectator, 5 September 2007
  10. ^ The Oxford Companion to Economics in India, Edited by Kaushik Basu, Pages 141 - 145, Oxford University Press, New Delhi, 2007
  11. ^ Ambuja Neotia, History of the Group


Sarla Birla

=

[edit]
Sarla Birla
Sarla Birla
Born (1923-11-23) 23 November 1923 (age 101)
Kuchhaman, Rajasthan India
NationalityIndian
Known forEducationist
SpouseBasant Kumar BIRLA[1]
ParentBrajlal Biyani

Dr. Sarla Birla (born November 23, 1924)[2] was the founder of about 45 educational institutions supported by the Birla family. She was the daughter of the freedom fighter Brijlal Biyani, daughter-in-law of the pioneering industrialist GD Birla and the grandmother of billionaire Kumar Mangalam Birla.

Biography

[edit]

In April 1942, she married Basant Kumar Birla, the son of GD Birla, after having been introduced to each other by Jamnalal Bajaj and Mahatma Gandhi.[3] They had a son, Aditya Vikram Birla, and two daughters, Jayashree Mohta and Manjushree Khaitan.



Philanthropy

[edit]

He has made notable contributions through his social and institutional activities and takes an active part in their working. He is associated as governor, trustee, or otherwise by establishing the following institutions:

Life

[edit]

Although raised in a progressive family, Sarala often at husband's side for 73 years. She was 91 years old, but it was a familiar sight to see her holding her husband's hand during family functions, and accompanying him to the annual general meetings of various group companies. [4]

Her collection of Indian art, including that on display at the Birla Academy of Art and Culture in Kolkata, ranks amongst India's notable private collections. The Sangit Kala Mandir, besides the Birla Academy of Art and Culture, were both set up by the couple. [5]

See also

[edit]

References

[edit]
Wikimedia Commons has media related to Malaiya/sandbox2.
  1. ^ डॉ सरला बिरला पंचतत्व में विलीन Prabhat Khabar, Mar 30 2015
  2. ^ Sarala Birla passes away, The Hindu March 29, 2015,
  3. ^ "Story of India's prominent family".
  4. ^ [http://economictimes.indiatimes.com/magazines/panache/sarala-birla-a-businessmans-wife-who-won-hearts-with-her-humanity/articleshow/46741619.cms Sarala Birla: A businessman's wife, who won hearts with her humanity, ET Bureau, 30 Mar, 2015]
  5. ^ Sarala Birla, Wife of BK Birla, passes away, DNA India, 28 March 2015
[edit]

Documentary Film on Century Rayon – Tyre Cord Plant by Makshi Infotech


{DEFAULTSORT:Birla, Sarla} Category:Rajasthani people Category:1921 births Category:Founders of Indian schools and colleges Category:Indian philanthropists

=

[edit]

Ghantaghar (literally clock-tower) is a location in the center of Chandni Chowk, Delhi, where an iconic clock tower stood until 1950.[1] The term "Chandni Chowk" (literally silvery or moonlit square) originally referred to this location which later came to designate the entire street. The Ghantaghar location has been regarded as the center of Delhi, and even now serves as a center for major civic events.[2]

While the clock tower is long gone, the location is still termed Ghantaghar within Old Delhi.

Ghantaghar was the location of some of the events relating to Indian's freedom movement. On March 30, 1919, many protesters were killed by the British soldiers.[3] It is still a very popular spot for organizing protests.

Jahanara's caravanserai that formed the original Chandni Chowk, from Sir Thomas Theophilus Metcalf's 1843 album

The Caravanserai and Town Hall

[edit]

The old city of Delhi was laid out by princess Jahanara Begum, who constructed an elegent caravanserai on the East side of the street with gardens in the back. Herbert Charles Fanshawe, in 1902, mentions about the serai:

"Proceeding up the Chandni Chauk and passing many shops of the principal dealers in jewels, embroideries, and other products of Delhi handicrafts, the Northbrook Clock Tower and the principal entrance to the Queen's Gardens are reached. The former is situated at the site of the Karavan Sarai of the Princess Jahanara Begam (p. 239), known by the title of Shah Begam. The Sarai, the square in front of which projected across the street, was considered by Bernier one of the finest buildings in Delhi, and was compared by him with the Palais Royal, because of its arcades below and rooms with a gallery in front above. Bernier was of opinion that the population of Delhi in 1665 was much the same as that of Paris, a striking instance of how population follows the court in the East. The gardens must at one time have been extremely beautiful specimens of eastern pleasure retreats, and even now are very pretty." [4]

The serai was demolished perhaps even before the the ghadar of 1857. The seari was replaced by the Victorian-Edwardian architecture [5] building now known as the Town Hall, and the pool in the middle of the square was replaced by a grand clock tower. The Town Hall was acually planned before the Revolt, and was built in 1860-5, as a center for the Europeans and and was initially called the Lawrence Institute. The Institute, contained a Darbar Hall with a publio library and reading rooms. According to MCD, the Town Hall had been planned to serve as an office for the municipality, chamber of commerce, a literary society and a museum to ‘improve the local minds and to forward intercourse between Europeans and natives.’ [6]

"A street scene in the imperial City," photo by Jadu Kissen, acquired by a visitor in 1910, as viewed from Nai Sarak

The Northbrook Clocktower

[edit]

In front of Lawrence Institute, in the center of the Chandni Chauk, a 128 feet tall lofty Gothic clock-tower with four faces was constructed. [7]

Built by Delhi Municipality at a Cost of Rs. 28,000, it was formally termed the Northbrook Clocktower.[8] after Thomas Northbrook, the Viceroy of India from 1872 to 1876. Northbrook hotel, a famous hotel near the Moree gate was also named after him. The tower is said to have been 80 years old when it collapsed, implying its construction occurred in early 1870.

It is said that the pigeons sat on its hands so that it never showed the correct time. When Lord Northbrook visited Delhi, he did not quite like the architecture.[9]

Statue of Queen Victoria

[edit]

Inside the railings of the street will be placed the Statue of the late Queen Empress of India, presented to his fellow-citizens by Mr James Skinner, a grandson of Colonel Skinner, C.B. Further back are the Municipal Buildings, and a museum with a number of objects of much interest. In the gardens ii.] QUEEN'S GARDENS—FATAHPUR MASJID 53 is also one of the restored stone elephants which stood before the Delhi Gate of the Fort. Through the middle of them runs the channel of the tail of the Western Jumna Canal, the water of which was held up at places along its course in reservoirs.[10]

Indian National Flag hoisted at Chandni Chowk, 15 August, 1947
Delhi Town Hall at Chandni Chowk, with statue of Swami Shraddhanand in front


Statue of Queen victoria stood between the tower and the municiple building. [11] also image on cover



1902 Queen Victoria Outside Town Hall, Delhi, India Alfred Turner [12] 

1876 The statue of Queen Victoria at Delhi College of Art [13]

bronze statue of Victoria Regina was installed in front of the Town Hall. Lawrence Institute. 1866 Municiple bought it, library and european club remained upstairs. [14]

Partial collapse and dismantling of the Clocktower

[edit]

The leading case in this regard is Municipal Corporation of Delhi v. Subhagwanti, AlR 1966 SC 1750, where due to the collapse of a Clock Tower, a number of person died. The Clock Tower belonged to the Municipal Corporation of Delhi and ...[15] The facts disclosed in his statement and that of Mr. Chakravarty, the Municipal Engineer were that the building was 80 years old and the life of the structure of the top storey, having regard to the type of mortar used, could be only 40 to 45 years and the middle storey could be saved for another 10 years. The High Court also took into consideration the statement of Mr. Puri to the effect that the collapse of the Clock Tower was due to thrust of the arches on the top portion. Mr. Puri was of the opinion that if an expert had examined this building specifically for the purpose he might have found out that it was likely to fall. The witness further disclosed that when he inspected the building after the collapse and took the mortar in his hands he found that it had deteriorated to such an extent that it was reduced to powder without any cementing properties. [16]

Wandering around in Chandni Chowk, I caught a breathtaking glimpse of the clock tower, Ghanta Ghar, all lit up for the occasion. I stopped to take some pictures of this magnificent tower.[17]

1957 allocated 2 lakh but english relic.

Sabzi Mandi clock tower was covered in a bamboo screen[18] Ramrup Tower, 1941[19]

[edit]

An old song reacall the clocktower (ghantaghar) that once stood in the center, and India's freedom struggle ([1] video search):

घंटाघर की चार घड़ी
चारों में ज़ंजीर पड़ी,
जब भी घंटा बजता था
खड़ा मुसाफिर हंसता था।

हँसता था वो बेधड़क आगे देखो नयी सड़क | नयी सड़क पर बुआ बाजरा आगे देखो शहर शाहदरा | शहर शाहदरा में लग गयी आग आगे देखो गजियाबाद | गजियाबाद में फूटा अंडा उसमे से निकला तिरंगा झंडा | झन्डे से आई आवाज़ इंक़लाब ज़िन्दाबाद || It recalls the satyagrah by Swami Shraddhanand in 1930s near the Ghantaghar. Close the site, now his statue marks the event. 

परंतु इस बार घंटाघर की रिपेयर व घड़ी ठीक न किए जाने के कारण शहर निवासियों में रोष पाया जा रहा है।

सन् 1902 में राजा बलबीर सिंह ने महारानी विक्टोरिया की याद में घंटाघर बनवाया था। इसे फ्रांसीसी नमूने के आधार पर तैयार करवाया गया था, इसकी लंबाई 115 फीट http://m.punjabkesari.in/detail.aspx?news_id=301510

आ ही गई दून के दिल घंटाघर की याद http://theveergorkha.blogspot.com/2011/09/blog-post_3178.html

See also

[edit]

References

[edit]
  1. ^ Clock Tower, Chandni Chowk, Delhi
  2. ^ मोदी के शपथ लेते ही जश्न का माहौल Bhaskar News Network|May 27, 2014
  3. ^ [https://books.google.com/books?id=Dz43BGinltEC&pg=PA180&lpg=PA180&dq=%E0%A4%9A%E0%A4%BE%E0%A4%82%E0%A4%A6%E0%A4%A8%E0%A5%80+%E0%A4%9A%E0%A5%8C%E0%A4%95+%E0%A4%98%E0%A4%82%E0%A4%9F%E0%A4%BE%E0%A4%98%E0%A4%B0&source=bl&ots=nx9gZNTq4&sig=Vxa_IVe7aMycawcKfS4jW_Ml9NU&hl=en&sa=X&ei=SMWVNuWNJKlyQTMnYDADQ&ved=0CCgQ6AEwAg#v=onepage&q=%E0%A4%9A%E0%A4%BE%E0%A4%82%E0%A4%A6%E0%A4%A8%E0%A5%80%20%E0%A4%9A%E0%A5%8C%E0%A4%95%20%E0%A4%98%E0%A4%82%E0%A4%9F%E0%A4%BE%E0%A4%98%E0%A4%B0&f=false Svatantratā senānī granthamālā Suprasiddha Prasaṅga vol.6 Krātikāri āndolana Revolutionary movement, Mast Ram Kapoor, Phūlacanda Jaina, Phoolchand Jain, Mast Ram Kapoor, India Institute of Social Sciences New Delhi, Concept Publishing Company p. 180]
  4. ^ Delhi Past and Present, Herbert Charles Fanshawe, J. Murray, 1902 p.52
  5. ^ Landmark building with uncertain fate, Nivedita Khandekar, Hindustan Times New Delhi, December 08, 2012
  6. ^ From civic centre to museum, Kusum Kanojia, Aug 29, 2012
  7. ^ Punjab gazetteers, 1883, p. 314
  8. ^ A Handbook for Travellers in India, Burma and Ceylon, John Murray, 1907, p. 201
  9. ^ [ The Delhi Omnibus, Thomas George Percival Spear, Narayani Gupta, Robert Eric Frykenberg, Oxford University Press, 2002, p. 86]
  10. ^ Delhi Past and Present, Herbert Charles Fanshawe, J. Murray, 1902 p.52
  11. ^ Ek Delhi Aur, Rajendra Sharma, Atmaram & Sons, 1987, p. 49-51
  12. ^ list of castings by Parlanti
  13. ^ The crowned in a corner, SANGEETA BAROOAH PISHAROTY, The Hindu, June 15, 2014
  14. ^ Capital Vignettes: A Peep Into Delhi's Ethos, Ronald Vivian Smith, Rupa Publications, 2008
  15. ^ Law Students Companion QA, Manish Arora, Universal Law Publishing p. 1297
  16. ^ Municipal Corporation Of Delhi vs Subhagwanti & Others(With ... on 24 February, 1966
  17. ^ [http://www.outlookindia.com/printarticle.aspx?235342 There Were A Million Revellers That Night, August 1947, and a 20-year-old with a camera. A never-before-seen album. Munir Kadri, Outlook, Aug 20, 2007]
  18. ^ [https://books.google.com/books?id=v_aZm_MQjygC&pg=PA38&dq=Clock+tower+delhi&hl=en&sa=X&ei=PBu_VIquGoatyATc24DIDA&ved=0CDAQ6AEwAA#v=onepage&q=Clock%20tower%20delhi&f=false Bhangi, Scavenger in Indian Society: Marginality, Identity, and Politicization of the Community, Editor Dr. Rama Sharma,, M.D. Publications Pvt. Ltd., 1995 p. 38]
  19. ^ Left behind by the times, SANGEETA BAROOAH PISHAROTY, Hindu, May 26, 2014


Kesar Da Dhaba is a famous restaurant[1] in Amritsar that originated as a small restaurant selling dal and roti set up by Lala Kesar Mal in Lahore in 1916.[2] It moved to Amritsar after the partition of India in 1947. It is famous for its signature dish Dal Makhani[3]

Anthony Bourdain in his "Parts Unknown", stated": "If this is what vegetarianism meant in most of the places that practice it in the West, I’d be at least half as much less of a dick about the subject,”.[4]

See also

[edit]

References

[edit]
  1. ^ Outlook, Volume 46, Issues 13-25, 2006, p. 80
  2. ^ Time Out India: Perfect Places to Stay, Eat and Explore, By Time Out, 2010, p. 276
  3. ^ A Culinary Pilgrimage to Punjab By SHIVANI VORA, New York Times, MARCH 18, 2014
  4. ^ [http://www.cnn.com/video/shows/anthony-bourdain-parts-unknown/season-3/punjab-india/index.html#autoplay=true SEASON 3, EPISODE 1 Punjab, India]

{Punjab topics}


{DEFAULTSORT:Kesar Da Dhaba} Category:Indian Cuisine Category:Ammritsar Category:Punjab


Brahma from MIrpur Khas
220px
Brahma from MIrpur Khas on display in the Karachi Museum
MaterialBronze/Copper
SizeHeight: 95 cm

Width: 53 cm

Depth: 24 cm
Period/culturec. 5-6 Century
PlaceSindh, Pakistan
Present locationPakistan

The Brahma from Mirpur Khas is a famous bronze image of the Brahma made in Sindh, in modern Pakistan, dated to the 5-6th century, during the Gupta period.[1] It is the earliest known [2] metallic image of Lord Brahma and the only known representative if the school it represents.[3] It has been described as "an immense artistic creation" of the Gupta period.[4]

It was found in a field near Mirpur-Khas as first reported by Henry Cousens in 1929.[5][6] Some report it as having been found at Brahmanabad.[7]

Description

[edit]

The four-headed Brahma bronze statue has a height over 3 feet. Vasudeva Sharana Agrawala calls it "an exceptionally good specimen of the art of metal-casting in this period".[8]. Śrīrāma and ‎Śaṅkara Goyala term is "true memorial of Gupta metalsmith's artistic genius"[9]. It is said to the best example of Gupta art in Sindh.[10]

The object suggests that Sindh was a major center of merworking.[11]

It used to be at the Karachi Museum, but it is reported that it is no longer there.[12]

[edit]

Brahma from Mirpur Khas has been widely used by art historians for comparison with other artwork of historical significance.[13] Cite error: There are <ref> tags on this page without content in them (see the help page). Cite error: There are <ref> tags on this page without content in them (see the help page).

References

[edit]
  1. ^ Indian Art of the Gupta Age: From Pre-classical Roots to the Emergence of Medieval Trends, Editors Śrīrāma Goyala, Śaṅkara Goyala, Kusumanjali Book World, 2000, p. 85
  2. ^ Essays on Buddhist, Hindu, Jain Iconography & Epigraphy, Gouriswar Bhattacharya, International Centre for Study of Bengal Art, 2000, p. 236
  3. ^ , Early Brass Image of Bodhisattva, J.C. Harle, in South Asian Archaeology 1975: Papers from the Third International Conference of the Association of South Asian Archaeologists in Western Europe Held in Paris,J. E. Van Lohuizen-De Leeuw, BRILL, 1979 p. 134
  4. ^ Arts of Asia, Volume 4 Publisher Arts of Asia, 1974, p. 110, The immense artistic creation of the period was distinguished by the exercise of greater restraint, elegance of form and spiritual expression.
  5. ^ The Antiquities of Sind: With Historical Outline, Henry Cousens, Bhartiya Publishing House, 1929 - Sindh (Pakistan) p.10
  6. ^ Sind Quarterly, Volume 8, Contributor Shah Abdul Latif Cultural Society, Publisher Mazhar Yusuf, 1980, p.24 "absolutely magnificent brass image of Brahma (7i) from the neighbourhood of Mirpur Khas".
  7. ^ Five deities of Panchopasana, G. Bhattacharya, in Studies in Hindu and Buddhist Art edited by P. K. Mishra, p. 199-200
  8. ^ Indian Art - Volume 2, Vasudeva Sharana Agrawala, Prithivi Prakashan, 1977, Page 43
  9. ^ Indian Art of the Gupta Age: From Pre-classical Roots to the Emergence of Medieval Trends, Editors Śrīrāma Goyala, Śaṅkara Goyala, Kusumanjali Book World, 2000, p. 85
  10. ^ Vakataka - Gupta Age Circa 200-550 A.D., Ramesh Chandra Majumdar, Anant Sadashiv Altekar, Motilal Banarsidass Publ., 1967, p. 435
  11. ^ Objects of Translation: Material Culture and Medieval "Hindu-Muslim" Encounter, Finbarr Barry Flood, Princeton University Press, 2009, p. 50
  12. ^ Indian Bronzes in the Salar Jung Museum, Salar Jung Museum, ‎D. N. Varma, 1996, Page 2
  13. ^ South Asian Archaeology 1975: Papers from the Third International Conference of the Association of South Asian Archaeologists in Western Europe Held in Paris, J. E. Van Lohuizen-De Leeuw BRILL, 1979. The image of the Brahma from Mirpur Khas is on the cover. http://books.google.com/books?id=H2GW1PTHQ1YC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false


{DEFAULTSORT:Brahma, Mirpur-Khas} Category:Pakistani art Category:Buddha statues Category:Indian sculpture Category:Sindh

Retrieved from "https://wiki.riteme.site/w/index.php?title=User:Malaiya/sandbox2&oldid=1256702546"