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indiesole · 1 year

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INDIES TOP 500 GOLDEN HINDIS ! - PART 1/2

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FROM BOLLYWOOD’S GOLDEN ERA (1948 - 63)

Maya Machhindra (60)

Sangdil (52)

Uran Khatola (55)

Sahib Biwi Aur Ghulam (62)

Pyaasa (57)

Samrat Prithviraj Chauhan (59)

Godaan (63)

Mughal-e-Azam (60)

Navrang (59)

Anari (59)

Tere Ghar Ke Saamne (63)

Sautela Bhai (62)

Heera Moti (59)

Devdas (55)

Tarana (51)

Naya Daur (57)

Jaagte Raho (56)

Kanoon (60)

Do Aankhen Barah Haath (57)

Hatim Tai (56)

Bhabhi Ki Chudiyan (61)

Jis Desh Mein Ganga Behti Hai (60)

Jogan (50)

Aan (52)

Jeevan Jyoti (53)

Shikast (53)

Arzoo (50)

Char Diwari (61)

Sant Janabai (49)

Asli Naqli (62)

Munimji (55)

Nau Do Gyarah (57)

Maya (61)

Pocketmaar (56)

Daag (52)

Ganga Jumna (61)

Yahudi (58)

Paighaam (58)

Musafir (51)

Amar (54)

Gopinath (48)

Hulchul (51)

Deedar (51)

Har Har Mahadev (50)

Shiv Parvati (62)

Waman Avtar (55)

Ram Bhakt Hanuman (48)

Jai Mahadev (56)

Raja Harishchandra (52)

Ganga Maiya (55)

Bhabhi (57)

Howrah Bridge(58)

Sati Ansuya (56)

Baiju Bawra (52)

Heera Moti (59)

Dil Ek Mandir (56)

Batwara (61)

Aarti (62)

Sangeet Samrat Tansen (62)

Biraj Bahu (54)

Subah Ka Tara (54)

Taj Mahal (63)

Shabab (54)

Maa Ke Aansoo (62)

Kabuliwala (61)

Hum Dono (61)

Awara (51)

Yatrik (52)

Ashiana (52)

Solva Saal (58)

Anarkali (53)

Basant Bahar (56)

Chakradhari (54)

Baraat (60)

Do Beegha Zameen (53)

Ujala (59)

Garm Coat (55)

Bambai Ka Babu (60)

Ye Rastey Hain Pyaar Ke (63)

Shole (53)

Chaudhvin Ka Chand (60)

Laila Majnu (53)

Barsaat (49)

Aah (53)

Jhansi Ki Rani (53)

Bazaar (49)

Aah (53)

CID (56)

Shri Chaitanya Mahaprabhu (54)

Shaheed (48)

Aakhri Dao (58)

Daaera (53)

Bandhan (56)

Ladki (53)

Ziddi (48)

Bezubaan (62)

Sanjog (61)

Dil Hi Toh Hai (63)

Phagun (58)

Madhumati (58)

Ghunghat (60)

Professor (62)

Parakh (60)

Milap (55)

Mai Baap (56)

Nagin (54)

Funtoosh (56)

Gateway Of India (57)

Dil Apna aur Preet Parai (60)

Abhimaan (57)

Mere Mehboob (63)

Love in Simla (60)

Barsaat Ki Raat (60)

Dharmputra (61)

Aar Paar (54)

New Delhi (56)

Dillagi (49)

Samadhi (56)

Senapati (61)

Junglee (61)

Panchayat (58)

Nau Bahar (56)

Veer Ghatotkacha (49)

Hamlet (54)

Dekh Kabira Roya (57)

Santan (59)

Gehra Daag (63)

Lal Batti (57)

Raj Tilak (58)

Kala Pani (58)

Babul (50)

Taxi Driver (54)

Manzil (58)

Dr. Vidya (62)

Begaana (63)

Kanch Ki Gudiya (61)

Footpath (53)

Ali Baba Aur 40 Chor (54)

Faulad (63)

Raj Hat (56)

Satta Bazaar(59)

Ek Shola (56)

Mirza Ghalib (54)

Sohni Mahiwal (58)

Kaagaz Ke Phool (59)

Mr. Sampat (52)

Sahara (58)

Bade Sarkar (57)

Naukri (54)

Chhaya (61)

Hariyali Aur Rasta (62)

Main Chup Rahungi (62)

Nadiya Ke Paar (48)

Halaku (56)

Bahurani (63)

Andaz (49)

Ek Gaon Ki Kahani (57)

Actress (48)

Ghar Sansar (58)

Sasural (61)

Gharana (61)

Balam (49)

Harishchandra Taramati (63)

Krishna Sudama (57)

Radha Krishna (54)

Bahut Din Huwe (54)

Tulsidas (54)

Shree 420 (55)

Zimbo (58)

Bhagwat Mahima (55)

Bandini (63)

Nartaki (63)

Ek Musafir Ek Hasina (62)

Shatranj (56)

Waris (54)

Parineeta (53)

Do Gunde (59)

Deep Jalta Rahe (59)

Madhosh (51)

Champakali (57)

Sunehre Din (49)

Do Behnen (59)

Ek Thi Ladki (49)

Dastaan (50)

Hum Log (51)

Gumrah (63)

Sitaron Se Aage (58)

Magroor (50)

Chacha Zindabad (59)

Chand (59)

Amar Rahe Yeh Pyar (61)

Mela (48)

Love Marriage (59)

Paying Guest (57)

Basant (60)

Adl-e-Jehangir (55)

Sawan Aaya Re (49)

Goonj Uthi Shehnai (58)

Grahasti (63)

Humrahi (63)

Savera (58)

Roop Ki Rani Choron Ka Raja (61)

Aulad (54)

Sujata (59)

Taksaal (56)

Rungoli (62)

Lahore (49)

Madhu (59)

Sharada (57)

Pehla Aadmi (50)

Insaan Jaag Utha (59)

Dil Tera Deewana (62)

Dholak (51)

Bahu Beti (65)

Darogaji (49)

Ghar Ki Izzat (48)

Chhoti Bhabhi (50)

Ghar Grihasti (58)

Shama (61)

Shola Aur Shabnam (61)

Pardesi (56)

The Householder (63)

Apna Ghar (60)

Ilzam (54)

Mehndi (58)

Anhonee (52)

Teen Batti Chaar Raasta (53)

Black Cat (59)

12 O’ Clock (58)

Chhoo Mantar (58)

China Town (62)

Aag (48)

Milan (58)

Amar Saigal (55)

Stage (51)

Jawani Ki Hawa (59)

Niraala (50)

Duniya Na Maane (59)

Dahej (50)

Jagriti (54)

Seema (55)

Nastik (54)

Kala Bazaar (60)

Gangu (62)

Bhai Bhai (56)

Miss Bombay (57)

Dulhan (58)

Baghi Sipahi (58)

Zindagi Aur Hum (62)

Adalat (58)

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indiejones · 2 years

Text

INDIES GOLDEN HINDIS! - TOP 500 FILMS FROM GOLDEN/RAMAYAN ERA OF BOLLYWOOD (1948-63) !

1. Maya Machhindra (60)

2. Sangdil (52)

3. Uran Khatola (55)

4. Sahib Biwi Aur Ghulam (62)

5. Pyaasa (57)

6. Samrat Prithviraj Chauhan (59)

7. Godaan (63)

8. Mughal-e-Azam (60)

9. Navrang (59)

10. Anari (59)

11. Tere Ghar Ke Saamne (63)

12. Sautela Bhai (62)

13. Heera Moti (59)

14. Devdas (55)

15. Tarana (51)

16. Naya Daur (57)

17. Jaagte Raho (56)

18. Kanoon (60)

19. Do Aankhen Barah Haath (57)

20. Hatim Tai (56)

21. Bhabhi Ki Chudiyan (61)

22. Jis Desh Mein Ganga Behti Hai (60)

23. Jogan (50)

24. Aan (52)

25. Jeevan Jyoti (53)

26. Shikast (53)

27. Arzoo (50)

28. Char Diwari (61)

29. Sant Janabai (49)

30. Asli Naqli (62)

31. Munimji (55)

32. Nau Do Gyarah (57)

33. Maya (61)

34. Pocketmaar (56)

35. Daag (52)

36. Ganga Jumna (61)

37. Yahudi (58)

38. Paighaam (58)

39. Musafir (51)

40. Amar (54)

41. Gopinath (48)

42. Hulchul (51)

43. Deedar (51)

44. Har Har Mahadev (50)

45. Shiv Parvati (62)

46. Waman Avtar (55)

47. Ram Bhakt Hanuman (48)

48. Jai Mahadev (56)

49. Raja Harishchandra (52)

50. Ganga Maiya (55)

51. Bhabhi (57)

52. Howrah Bridge(58)

53. Sati Ansuya (56)

54. Baiju Bawra (52)

55. Heera Moti (59)

56. Dil Ek Mandir (56)

57. Batwara (61)

58. Aarti (62)

59. Sangeet Samrat Tansen (62)

60. Biraj Bahu (54)

61. Subah Ka Tara (54)

62. Taj Mahal (63)

63. Shabab (54)

64. Maa Ke Aansoo (62)

65. Kabuliwala (61)

66. Hum Dono (61)

67. Awara (51)

68. Yatrik (52)

69. Ashiana (52)

70. Solva Saal (58)

71. Anarkali (53)

72. Basant Bahar (56)

73. Chakradhari (54)

74. Baraat (60)

75. Do Beegha Zameen (53)

76. Ujala (59)

77. Garm Coat (55)

78. Bambai Ka Babu (60)

79. Ye Rastey Hain Pyaar Ke (63)

80. Shole (53)

81. Chaudhvin Ka Chand (60)

82. Laila Majnu (53)

83. Barsaat (49)

84. Aah (53)

85. Jhansi Ki Rani (53)

86. Bazaar (49)

87. Aah (53)

88. CID (56)

89. Shri Chaitanya Mahaprabhu (54)

90. Shaheed (48)

91. Aakhri Dao (58)

92. Daaera (53)

93. Bandhan (56)

94. Ladki (53)

95. Ziddi (48)

96. Bezubaan (62)

97. Sanjog (61)

98. Dil Hi Toh Hai (63)

99. Phagun (58)

100. Madhumati (58)

101. Ghunghat (60)

102. Professor (62)

103. Parakh (60)

104. Milap (55)

105. Mai Baap (56)

106. Nagin (54)

107. Funtoosh (56)

108. Gateway Of India (57)

109. Dil Apna aur Preet Parai (60)

110. Abhimaan (57)

111. Mere Mehboob (63)

112. Love in Simla (60)

113. Barsaat Ki Raat (60)

114. Dharmputra (61)

115. Aar Paar (54)

116. New Delhi (56)

117. Dillagi (49)

118. Samadhi (56)

119. Senapati (61)

120. Junglee (61)

121. Panchayat (58)

122. Nau Bahar (56)

123. Veer Ghatotkacha (49)

124. Hamlet (54)

125. Dekh Kabira Roya (57)

126. Santan (59)

127. Gehra Daag (63)

128. Lal Batti (57)

129. Raj Tilak (58)

130. Kala Pani (58)

131. Babul (50)

132. Taxi Driver (54)

133. Manzil (58)

134. Dr. Vidya (62)

135. Begaana (63)

136. Kanch Ki Gudiya (61)

137. Footpath (53)

138. Ali Baba Aur 40 Chor (54)

139. Faulad (63)

140. Raj Hat (56)

141. Satta Bazaar(59)

142. Ek Shola (56)

143. Mirza Ghalib (54)

144. Sohni Mahiwal (58)

145. Kaagaz Ke Phool (59)

146. Mr. Sampat (52)

147. Sahara (58)

148. Bade Sarkar (57)

149. Naukri (54)

150. Chhaya (61)

151. Hariyali Aur Rasta (62)

152. Main Chup Rahungi (62)

153. Nadiya Ke Paar (48)

154. Halaku (56)

155. Bahurani (63)

156. Andaz (49)

157. Ek Gaon Ki Kahani (57)

158. Actress (48)

159. Ghar Sansar (58)

160. Sasural (61)

161. Gharana (61)

162. Balam (49)

163. Harishchandra Taramati (63)

164. Krishna Sudama (57)

165. Radha Krishna (54)

166. Prabhu Ku Maya (55)

167. Bahut Din Huwe (54)

168. Tulsidas (54)

169. Shree 420 (55)

170. Zimbo (58)

171. Bhagwat Mahima (55)

172. Bandini (63)

173. Nartaki (63)

174. Ek Musafir Ek Hasina (62)

175. Shatranj (56)

176. Waris (54)

177. Parineeta (53)

178. Do Gunde (59)

179. Deep Jalta Rahe (59)

180. Madhosh (51)

181. Champakali (57)

182. Sunehre Din (49)

183. Do Behnen (59)

184. Ek Thi Ladki (49)

185. Dastaan (50)

186. Hum Log (51)

187. Gumrah (63)

188. Sitaron Se Aage (58)

189. Magroor (50)

190. Chacha Zindabad (59)

191. Chand (59)

192. Amar Rahe Yeh Pyar (61)

193. Mela (48)

194. Love Marriage (59)

195. Paying Guest (57)

196. Basant (60)

197. Adl-e-Jehangir (55)

198. Sawan Aaya Re (49)

199. Goonj Uthi Shehnai (58)

200. Grahasti (63)

201. Humrahi (63)

202. Savera (58)

203. Roop Ki Rani Choron Ka Raja (61)

204. Aulad (54)

205. Sujata (59)

206. Taksaal (56)

207. Rungoli (62)

208. Lahore (49)

209. Madhu (59)

210. Sharada (57)

211. Pehla Aadmi (50)

212. Insaan Jaag Utha (59)

213. Dil Tera Deewana (62)

214. Dholak (51)

215. Bahu Beti (65)

216. Darogaji (49)

217. Ghar Ki Izzat (48)

218. Chhoti Bhabhi (50)

219. Ghar Grihasti (58)

220. Shama (61)

221. Shola Aur Shabnam (61)

222. Pardesi (56)

223. The Householder (63)

224. Apna Ghar (60)

225. Ilzam (54)

226. Mehndi (58)

227. Anhonee (52)

228. Teen Batti Chaar Raasta (53)

229. Black Cat (59)

230. 12 O’ Clock (58)

231. Chhoo Mantar (58)

232. China Town (62)

233. Aag (48)

234. Milan (58)

235. Amar Saigal (55)

236. Stage (51)

237. Jawani Ki Hawa (59)

238. Niraala (50)

239. Duniya Na Maane (59)

240. Dahej (50)

241. Jagriti (54)

242. Seema (55)

243. Nastik (54)

244. Kala Bazaar (60)

245. Gangu (62)

246. Bhai Bhai (56)

247. Miss Bombay (57)

248. Dulhan (58)

249. Baghi Sipahi (58)

250. Zindagi Aur Hum (62)

251. Adalat (58)

252. Apna Desh (49)

253. Baazi (51)

254. Bank Manager (58)

255. Shri Krishna Vivah (54)

256. Kavi Kalidas (60)

257. Nausherwan-e-Adil (54)

258. Dushman (57)

259. Baarish (59)

260. Tangewali (55)

261. Maa (52)

262. Dhool Ka Phool (59)

263. Dil Deke Dekho (58)

264. Aansoo (53)

265. Pyaar Ki Raahen (59)

266. Duniya Gol Hai (55)

267. Piya Milan Ki Aas (61)

268. Naata (51)

269. Bin Badal Barsaat (63)

270. Rikshawala (60)

271. Post Box No 999 (58)

272. Chalti Ka Naam Gaadi (58)

273. Opera House (61)

274. Naqli Nawab (62)

275. Pyaar Kiya Toh Darna Kya (63)

276. Abe Hayat (55)

277. Saqi (52)

278. Chor Bazar (54)

279. Suhag Sindoor (61)

280. Hill Station (57)

281. Bluff Master (63)

282. Do Dooni Chaar (63)

283. Tumsa Nahi Dekha (57)

284. Mashaal (56)

285. Ram Hanuman Yudh (57)

286. Veer Durgadas (60)

287. Surang (53)

288. Shokhiyan (51)

289. Jai Chittod (61)

290. Tipu Sultan (59)

291. Razia Sultana (61)

292. Rahi (52)

293. Veer Rajputani (55)

294. Sangram (50)

295. Oonche Log (61)

296. Chhatrapati Shivaji (53)

297. Phool Bane Angaray (63)

298. Baadbaan (54)

299. Bara Dari (55)

300. Chirag Kahan Aur Roshni Kahan (59)

301. Dil-e-Nadaan (53)

302. Shaadi (62)

303. Bahu (55)

304. Nazrana (61)

305. Joru Ka Bhai (57)

306. Detective (58)

307. Devar Bhabhi (58)

308. Mehlon Ke Khwab (60)

309. Apradhi (49)

310. Teerandaz (55)

311. Nai Maa (60)

312. Joru Ka Bhai (55)

313. Jabse Tumhe Dekha hai (63)

314. Aashiq (62)

315. Sardar (55)

316. Miya Bibi Raazi (60)

317. Parvarish (58)

318. Hyderabad ki Nazneen (52)

319. Adhikaar (54)

320. Kali Ghata (51)

321. Ghar Ghar Ki Baat (59)

322. Chhoti Bahen (59)

323. Aanchal (60)

324. Ardhangini (59)

325. Sansar (51)

326. Maa beta (62)

327. Shair (49)

328. Talaq (58)

329. Aas (53)

330. Vachan (55)

331. Jungle Ka Jawahar (53)

332. Jalpari (52)

333. Insaaniyat (55)

334. Miss India (57)

335. Jab Pyaar Kisise Hota hai (62)

336. Durgesh Nandini (56)

337. Bhagam Bhaag (56)

338. Reshmi Roomal (61)

339. Zindagi Aur Khwab (61)

340. Pyar ki Pyas (61)

341. Paisa Hi Paisa (56)

342. Kinare Kinare (63)

343. Kundan (55)

344. House No 44 (55)

345. Kohinoor (60)

346. Apna Hath Jagannath (60)

347. Aandhiyan (52)

348. Chaar Dil Chaar Raahen (59)

349. Usne Kaha Tha (60)

350. Girlfriend (60)

351. Ek Phool Chaar Kaante (60)

352. Azaad (55)

353. Farishta (58)

354. Naag Padmini (57)

355. Sampoorna Ramayan (61)

356. Neelam Pari (52)

357. Circus Queen (59)

358. Jagir (59)

359. Barood (60)

360. Bewafa (52)

361. Do Roti (57)

362. Zara Bachke (59)

363. Aas Ka Panchhi (61)

364. Tu Nahi Aur Sahi (60)

365. Bharosa (63)

366. Ek Dil Sau Afsane (63)

367. Sindbad The Sailor (52)

368. Ghar Basake Dekho (63)

369. Kangan (59)

370. Soorat Aur Seerat (62)

371. Pehli Jhalak (55)

372. College Girl (60)

373. Chacha Chowdhary (53)

374. Changez Khan (57)

375. Baaz (53)

376. Phir Subah Hogi (58)

377. 26 January / Bharati (56)

378. Sone Ki Chidiya (58)

379. Anjaan (56)

380. Khazanchi (58)

381. Shikari (63)

382. Dhanyawaad (48)

383. Zameen Ke Taare (60)

384. Reporter Raju (62)

385. Bandi (57)

386. Parivar (56)

387. Mr X (57)

388. Jhumroo (61)

389. Boot Polish (54)

390. Chhalia (56)

391. Shiv Kanya (54)

392. Albela (58)

393. Kitna Badal Gaya Insaan (57)

394. Gyarah Hazaar Ladkiyaan (62)

395. Naya Andaz (56)

396. Faraar (55)

397. Pyar Ki Jeet (48)

398. Kashti (54)

399. Jhanak Jhanak Payal Baaje (55)

400. Burmah Road (62)

401. Forty Days (59)

402. Dhaake Ki Malmal (56)

403. Laxmi Narayan (50)

404. Sudarshan Chakra (56)

405. Amaanat (55)

406. Inspector (56)

407. Anand Math (52)

408. Chandni Chowk (54)

409. 11 O’ clock (48)

410. Buzdil (51)

411. Dulari (49)

412. Meenar (54)

413. Masoom ( 60)

414. Maya Bazar (58)

415. Mr & Mrs 55 (55)

416. Singapore (60)

417. Sheesh Mahal (50)

418. Masoom (60)

419. Heer (56)

420. Paapi (55)

421. Rakhi (62)

422. Rustom Sohrab (63)

423. Maa Baap (50)

424. Raagini (58)

425. Shabnam (48)

426. Beqasoor (50)

427. Jhumroo (61)

428. Meri Surat Teri Aankhen (63)

429. Patanga (49)

430. Badi Bahen (50)

431. Kalpana (60)

432. Janampatri (49)

433. Babar (60)

434. Badi Maa (48)

435. Ek Saal (57)

436. Miss Mary (57)

437. Shrimatiji (52)

438. Jadoo (51)

439. Payal (57)

440. Ek Hi Raasta (56)

441. Akeli Mat Jaiyo (63)

442. Pyar Ka Sagar (61)

443. Bandish (57)

444. Miss Mala (54)

445. Marine Drive (55)

446. Maa Baap (60)

447. School Master (59)

448. 10 O’Clock (58)

449. Afsar (50)

450. Jaali Note (60)

451. Patita (55)

452. Bindya (60)

453. Nadaan (51)

454. Ek Ke Baad Ek (60)

455. Tumsa Nahi Dekha (57)

456. Tamasha (52)

457. Shirin Farhad (56)

458. Man Mauji (62)

459. Parasmani (63)

460. Paristaan (49)

461. Anokha Pyaar (48)

462. Krorepati (61)

463. Jhoola (62)

464. Bazooband (54)

465. Rani Rupmati (59)

466. Hum Bhi Insaan Hain (48)

467. Jailor (58)

468. Bus Conductor (59)

469. Lagan (55)

470. Pardes (50)

471. Rami Dhoban (53)

472. Chalis Baba Ek Chor (53)

473. Suhagan (54)

474. Vidya (48)

475. Musafirkhana (55)

476. Agra Road (57)

477. Kathputli (57)

478. Naujawan (51)

479. Ustaadon Ke Ustaad (59)

480. Lajwanti (58)

481. Kal Hamara Hai (59)

482. Baap Re Baap (55)

483. Ghar Ki Laaj (60)

484. Aurat (55)

485. Poonam (52)

486. Shararat (59)

487. Boyfriend (61)

488. Railway Platform (55)

489. Chori Chori 56)

490. Ek Jhalak (57)

491. Badal (51)

492. Anpadh (62)

493. Aaram (51)

494. Chaar Paise (55 )

495. Rakhi (49)

496. Mayurpankh (54)

497. Naache Naagin Baaje Been (60)

498. Amar Prem (48)

499. Passport (61)

500. Mujhe Jeene Do (63)

501. Baap Beti (54)

502. Chandralekha (48)

503. Ek Do Teen (53)

3 notes · View notes

indianminiaturepaintings · 3 years

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RADHA AND KRISHNA IN THE GROVE. Kangra, c. 1785. Victoria and Albert Museum Description: With Plate 1, an example of the delicate poetic style which from Guler antecedents came to maturity at Kangra early in the reign of Raja Sansar Chand. The images which serve as a symbolic background are, in each case, taken from Hindi and Sanskrit poetry. Particularly common symbols for physical enchantment were the lotus plants which appear, nodding and swaying in the stream. If a poet wished to praise a lady's hands and feet, he said they were 'soft as lotuses' or if his concern was with her features, he wrote 'Your face is lovely as a lotus flower'. A shapely arm was 'graceful as a lotus stalk', while lovers sitting by a stream immediately called to mind the same exquisite plant with its delicate leaves and matchless blossom. 'My love and I sit together Like lotus and its leaves.' Besides the lotus, flowering trees were also regarded as symbolic—their spear-shaped branches, laden with flowers, being treated as poetic parallels for upsurging love. The waxen stems of plantains were other images which brought to mind the absent lover2 while their large cool leaves were often used in poetry as romantic symbols for a girl's smooth thighs. Even more common as an image for embracing lovers was the creeper entwined about a trunk while streams with tossing waves vividly evoked the force and flow of passion. In the picture, all these images are fused in one - form, line and colour all serving to express and emphasize the associations of poetry. The girl's hair is treated with the same twining lines as is the water in the stream, the edge of her dress with the same scalloped curves which appear in the leaves of the lotuses. The curving outlines of her thigh are paralleled by the oval plantain leaves, while the thick creeper coiling round the tree echoes the blending postures of the two lovers. It is in ways such as these that Kangra artists accomplished the supremely difficult task of translating poetry into painting, creating in the process a type of art which, if literary in origin, transcends literature in its ultimate achievement.

#indian miniature painting #krishna and radha #devotional love #sacred

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fishstickmonkey · 6 years

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Portrait of Raja Sansar Chand of Kangra

Punjab Hills, India, ca. 1800-1810.

Opaque watercolor and gold on paper

Brooklyn Museum

#Punjabi #painting #Kangra

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hk1417 · 6 years

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Mysterious Masroor

Our architectural inclination took us (H-K & family) to Mysterious Masroor temples in January 2018. Why mysterious? Because it has indistinct stories related to its existence. Lot of stories and questions came across by visiting this place and we bring it on to you for answers and for more inquisitiveness (Post in the comment box :) through our photographic journey.

Location: Masroor, Lahalpur, Himachal Pradesh which is 59.6 km from Jia village (Of course Jia is our reference point :)

Time taken: 1h 43min drive from Jia.

Altitude: 2500 ft above sea level. Jia is at 4114 ft. This information actually helps in shedding off your layers :P.

A great little drive with changing landscapes, even the sand color changes from brown to a reddish tone, made our way to these majestic rock cut temples. The temple complex caged in a metal railing boundary is accessed from the back side raising the curiosity of the visitor. The temples are set in the terrain in such a way that one doesn’t realize its magnificence until you see from the front. Moreover, the reflection of temple in the ‘kund’ opposite to it glorifies its presence.

It is stated that it was built for Draupadi, wife of Pandavas for her ablution purpose during their exile period from the kingdom. Really? These temples are that old and were built around 3081 BC? Let’s take a sneak peek into the other facts as well,

Story 1 (3081 BC) – Local tale narrates that around five thousand years ago; Pandavas of the Mahabharata built this temple and resided here during their incognito exile. The temples remain unfinished because they shifted from here as their identity and location was revealed.

Story 2 (Around 8 -9th Century AD) – It is assumed that these temples were built during the time same as of Kailasa temple at Ellora, Aurangabad, Maharashtra because of being rock cut in nature. It is suggested by scholars that this could be the work of unknown imperial rulers of Jalandhara kingdom of Punjab plains and might have remained as a capital-in-transit of the Jalandhara rulers and later the capital shifted to Nagarkot i.e. the Kangra Fort.

Story 3 (Tadda!!! - The Discovery) - The temples were first noted among the Objects of antiquarian interest in the Punjab and its dependencies, Lahore, 1875. However it continued to be hidden until 1913 H.L.Shuttleworth discovered and later description of these temples was published in 1915 by H. Heargreaves.

Story 4 (Shaivite converted to Vaishnavite in 1980’s?) – The main temple is known as the ‘Thakurdwara’ which means God’s (Thakur) place (dwara) i.e. the place of God. It enshrines stone images of Ram, Laxman and Sita which seems to of recent date. It is said that originally it was a Shiva temple because of the presence of Shiva on the doorway lintel of the central shrine and other Shaiv figural forms found in the temple complex.

But where’s the Nandi? Was it destroyed? Because presently a sacred Tulsi plant resides at the entrance of the temple shrine. Traditionally in Shiva temples, Nandi (the gate- guardian deity of Lord Shiva, depicted as a bull which also serves as the mount to the god Shiva) sits on a porch in front of the central temple.

Other visual thing that pops in our minds is the Buddha or Mahavira resembling figures on the Shikharas of the temples. Was there any relation to Buddhism or Jainism?

There might be some relation to Jainism because there is an ancient Jain temple of Lord Adinath present in the Kangra Fort also which was established by Raja Sansar Chand (I) in 1523 AD. So, there could be some influence.

If these temples are built around the late medieval period under the Gupta patronage when Ajanta-Ellora caves were built then there could be some Buddhist influence as well on the artists while building this beauty.

The ‘May’ or ‘May not’ situation definitely got to dig us in to books like:

Architectural Heritage of Himachal Pradesh: Origin and development of Temple style - S. Laxman Thakur

Coronation of Shiva-Rediscovering Masrur Temple – N.K. Singh

Temples of Himachal Pradesh – Shantilal Nagar

Surprisingly, very detailed information and references is provided in the Wikipedia link below which also provides drawings as documented by historians.

https://en.wikipedia.org/wiki/Masrur_Temples

Architecturally, Masroor temples are one of the early phase temples built in Nagara style in Himachal Pradesh. Due to the remote locations and very secluded lifestyles of the people in the mountains there were very few shrines built in Nagara style temples before 8th century.

The main shrine faces north east and two cruciform shrines, which are independently carved from the main ridge, flank the both sides of the temple. In the present scenario it is difficult to identify the no. of Shikharas. According to various scholars fifteen or seventeen Shikharas of Valabhi type (rectangular buildings with a roof that rises into a vaulted chamber) are observed.

Iconography on the temple walls and Shikharas has weathered a lot over the period of time. Efforts are being done by Archeological Survey of India (ASI) to conserve these temples. Would love to explore the techniques of restoration in our upcoming blogs.

The temple is carved out of a natural sandstone rock of size 148ft x 137ft. The ‘kund’ in front of the temple is around 165ft x 82ft. Height of the temple is varying from 40ft- 50ft ranging according to different shikharas (10 times of me :P). The photo below can give you idea of scale in relation to human beings.

Imagine a sight of lighting diyas (lamp) or water lilies in pink in the pool. What an abode to God! We are mesmerized :)

End Note: The Photographs included in the blog is solely H’s skill & talent and the writing content is researched by K and reproduced by going through the following links and books:

Ancient Monuments of Himachal Pradesh – O.C. Handa

Kangra Darpan – Satish Bassi

Mountains and Temples- A study of Architectural Evolution of Hindu temples in Kangra (9th to 18th century A.D) – Unpublished Thesis, CEPT University – Karan Sharma

http://www.academia.edu/12616519/Architecture_of_the_Rock-Cut_Temples_of_Masroor

http://123himachal.com/temple/masroor.htm

http://www.wondermondo.com/Countries/As/India/HimachalPradesh/Masroor.htm

http://www.mysteryofindia.com/2015/12/rock-cut-temples-masroor.html

#masroor temple architecture #architectural photography #himachal pradesh #jia #h&k

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buzz-london · 7 years

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This illustration from the Mahabharata is possibly a depiction of the scene after the marriage of Draupadi and Arjuna. Attributed to the family workshop of Purkhu, the master artist at the court of Raja Sansar Chand who ruled Kangra from 1775 to 1823.

The King of Panchala, the father of Draupadi and his son Drashtadumna are identified with an inscription along with the five Pandavas, Yudhishtara, Bhim, Arjuna, Nakula and Sahadeva, they're mother Kunti and consort Draupadi. Within the composition the Pandavas are shown receiving Krishna and Balarama.

http://www.sothebys.com/en/auctions/ecatalogue/2015/arts-islamic-world-l15223/lot.288.html

#Krushna #Hindu #art #kangra #mahabharata

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arjuna-vallabha · 7 years

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Raja Sansar Chand and his son Anirudh Chand worshipping Sita and Rama

#miniature painting #hindu #hindu art #Sita #Rama #vaishnavism

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marymosley · 6 years

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Extra-Judicial Confession Of Accused Need Not In All Cases Be Corroborated : SC

To begin with, in a latest landmark judgment with far reaching consequences, the Apex Court Bench comprising of Justice R Banumathi and Justice Indira Banerjee in Ram Lal vs. State of Himachal Pradesh in Criminal Appeal No. 576 of 2010 with Criminal Appeal No. 577 of 2010, Criminal Appeal No. 578 of 2010 on October 3, 2018 minced no words in stating it clearly and convincingly that, “If the court is satisfied that if the confession is voluntary, the conviction can be based upon the same. Rule of prudence does not require that each and every circumstance mentioned in the confession must be separately and independently corroborated.” Absolutely right! There can be no denying it!

At the outset, this landmark judgment begins by first and foremost pointing out that, “These appeals arise out of the judgment dated 22.12.2008 passed by the High Court of Himachal Pradesh at Shimla in Criminal Appeal Nos. 710-712 of 2000 in and by which the High Court affirmed the judgment passed by the trial court thereby affirming the conviction of the appellant under Section 13(1)(C) read with Section 13(2) of Prevention of Corruption Act, 1988 and under Sections 409 and 477-A IPC and the sentence of imprisonment imposed upon him.”

To recapitulate, para 2 of this landmark judgment points out that, “Briefly stated case of the prosecution is that accused was employed as a Peon in the United Commercial Bank in January 1987. He was assigned the job of the Clerk as there was a shortage of clerical staff in the bank and his job was of manning Saving Bank accounts counter. His job was to receive money from the account holders for deposit in Saving Bank accounts. He used to make entries in their pass books in his own hand but would not account money in the account banks of the bank nor did he pass it to the cashier. It is alleged that neither the appellant filled the pay-in-slips nor was any deposit made in the scroll, daily case receipt book and the cash payment book maintained by the cashier and he used to pocket that money. When the depositors approached him for withdrawals of money, he would make fake credit entries in the ledger accounts and fill in the withdrawal slips and submit the same to the officer concerned for payment. The Passing Officer misled by the fake credit entry would allow the withdrawals. This way, the appellant caused wrongful loss to the Bank to the tune of Rs 38,500/- during the year 1994. When the fraud came to light, a Committee of two officers namely, R.C. Chhabra (PW-3) and M.P. Sethi was deputed to hold a preliminary enquiry and the Committee noticed bungling of accounts by the appellant. After that, Enquiry Committee recommended thorough investigation in the matter. After the preliminary enquiry, FIR was registered against the appellant under Sections 409, 468, 471, 477-A IPC and under Section 13(1)(C) read with Section 13(2) of the Prevention of Corruption Act, 1988 (PC Act, 1988). After investigation, the appellant was charge sheeted for the said offences.”

Having said this, the Court then observes in para 3 that, “To prove the guilt of the accused, prosecution has examined thirteen witnesses and produced documentary evidence. Upon consideration of the oral and documentary evidence, the trial court held that the appellant in his capacity as a public servant, had misappropriated the money entrusted to him, in discharge of his duty, as a public servant. The trial court convicted him for the offences under Section 13(1)(c) read with Section 13(2) of the PC Act, 1988 and Section 477-A IPC for falsification of accounts with intent to defraud the Bank and he was sentenced to undergo rigorous imprisonment for a period of two years along with a fine of Rs 5,000/. For the offence under Section 409 IPC, the appellant was sentenced to undergo rigorous imprisonment for a period of five years with a fine of Rs 5,000/- and all the sentences were directed to run concurrently. The appellant was, however, acquitted for the offences under Sections 468 and 471 IPC for the charge of forgery by holding that the opinion expert is not precise. Being aggrieved by the conviction, the appellant preferred the appeal before the High Court which was dismissed by the impugned judgment.”

Be it noted, para 4 while putting forward the contention of the appellant points out that, “Learned counsel for the appellant contended that the appellant was working as Peon in the bank and as per bank rules, no clerical job can be assigned to Peon/sub-staff which was admitted by the officers of the bank viz. Prem Chand (PW-1), R.K. Soni (PW-2), R.C. Chhabra (PW-3) and A.K. Gupta (PW-10). It was contended that when any particular job is assigned to an employee different from his duty, then the Manager is supposed to issue office order/duty sheet whereas in the present case, no office order/duty sheet was placed on record to establish that the appellant was assigned the clerical job as alleged. The appellant mainly assails the confessional statement contending that he did not voluntarily make any confession statement and the confessional statement could not have been made the basis for conviction.”

As it turned out, the Apex Court in para 5 while putting forward the contention of the State brought out that, “Learned counsel for the State contended that the appellant acted with dishonest intention to defraud the Bank by making false credit and debit entries in the accounts of various account holders thereby falsifying the account books of the Bank and the courts below rightly convicted the appellant for defrauding the Bank and the impugned judgment warrants no interference.”

Truth be told, it is revealed in para 10 about the confessional statement that, “After the preliminary enquiry was conducted, the Divisional Office nominated two senior officers namely, R.K. Soni (PW-2) and H.O. Aggarwal, who submitted the report consisting of 202 pages, which has been made part of the investigation report, Ex-PW-2/A. R.K. Soni (PW-2) deposed in his evidence that the writings at pages (143) and (144) of report Ex-PW-2/A, was prepared by the appellant-accused voluntarily in his own handwriting, in his presence and in the presence of his co-investigator H.O. Aggarwal and the appellant-accused admitted having received money from various account holders, for being deposited in their Saving Bank accounts and having made entries in their pass books. In his confession statement, the appellant also admitted that he did not account for the money, but misappropriated the same and that when the account holder visited the bank for the withdrawal of the money, he used to make fake credit entries in the ledger folio of their accounts and on the basis of those fake entries, withdrawals used to be made.”

Needless to say, in para 13, it was observed that, “Extra-judicial confession is a weak piece of evidence and the court must ensure that the same inspires confidence and is corroborated by other prosecution evidence. In order to accept extra-judicial confession, it must be voluntary and must inspire confidence. If the court is satisfied that the extra-judicial confession is voluntary, it can be acted upon to base the conviction. Considering the admissibility and evidentiary value of extra-judicial confession, after referring to various judgments, in Sahadevan and Another v. State of Tamil Nadu (2012) 6 SCC 403, this Court held as under:-

“15.1. In Balwinder Singh v State of Punjab 1995 Supp (4) SCC 259 this Court stated the principle that:

“10. An extra-judicial confession by its very nature is rather a weak type of evidence and requires appreciation with a great deal of care and caution. Where an extra-judicial confession is surrounded by suspicious circumstances, its credibility becomes doubtful and it loses its importance.”

15.4 While explaining the dimensions of the principles governing the admissibility and evidentiary value of an extra-judicial confession, this Court in State of Rajasthan v. Raja Ram (2003) 8 SCC 180 stated the principle that:

“19. An extra-judicial confession, if voluntary and true and made in a fit state of mind, can be relied upon by the court. The confession will have to be proved like any other fact. The value of the evidence as to confession, like any other evidence, depends upon the veracity of the witness to whom it has been made.”

The Court further expressed the view that:

“19 …Such a confession can be relied upon and conviction can be founded thereon if the evidence about the confession comes from the mouth of witnesses who appear to be unbiased, not even remotely inimical to the accused, and in respect of whom nothing is brought out which may tend to indicate that he may have a motive of attributing an untruthful statement to the accused….”

15.6 Accepting the admissibility of the extra-judicial confession, the Court in Sansar Chand v. State of Rajasthan (2010) 10 SCC 604 held that:

“29. There is no absolute rule that an extra-judicial confession can never be the basis of a conviction, although ordinarily an extra-judicial confession should be corroborated by some other material. [Vide Thimma and Thimma Raju v. State of Mysore (1970) 2 SCC 105, Mulk Raj v State of U.P. AIR 1959 SC 902, Sivakumar v. State By Inspector of Police (2006) 1 SCC 714 (SCC paras 40 and 41: AIR paras 41 and 42), Shiva Karam Payaswami Tewari v. State of Maharashtra (2009) 11 SCC 262 and Mohd. Azad alias Shamin v. State of W.B. (2008) 15 SCC 449).”

To put things in perspective, the Apex Court Bench then held in para 14 conclusively and convincingly that, “It is well settled that conviction can be based on a voluntarily confession but the rule of prudence requires that wherever possible it should be corroborated by independent evidence. Extra-judicial confession of accused need not in all cases be corroborated. In Madan Gopal Kakkad v. Naval Dubey and Another (1992) 3 SCC 204, this court after referring to Piara Singh and Others v. State of Punjab (1977) 4 SCC 452 held that the law does not require that the evidence of an extra-judicial confession should in all cases be corroborated. The rule of prudence does not require that each and every circumstance mentioned in the confession must be separately and independently corroborated.”

Going forward, it is then further held in para 15 that, “As discussed above, if the court is satisfied that if the confession is voluntary, the conviction can be based upon the same. Rule of Prudence does not require that each and every circumstance mentioned in the confession with regard to the participation of the accused must be separately and independently corroborated. In the case at hand, as pointed out by the trial court as well as by the High Court, R.K. Soni (PW-2) and R.C. Chhabra (PW-3) were the senior officers of the bank and when they reached the bank for inspection on 23.04.1994, the accused submitted his confessional statement (Ex.-PW-2/A). Likewise, in the enquiry conducted by R.C. Chhabra (PW-3), the accused had given confession statement (Ex-PW-3/A).”

Not stopping here, it is then held in para 16 that, “Contention of the appellant is that PWs 2 and 3 being the higher officials, it cannot be said that the confession statement of the accused has been made voluntarily and it must have been under the inducement or under false promise of favour. Mere allegation of threat or inducement is not enough; in the court’s opinion, such inducement must be sufficient to cause a reasonable belief in the mind of the accused that by so confessing, he would get an advantage. As pointed out by the trial court and the High Court, though the confession statement has been initially made in the presence of R.C. Chhabra (PW-3) and M.P. Sethi by the appellant, no question was put to R.C. Chhabra (PW-3) that extra-judicial confession (Ex-PW3/A) was an outcome of any threat, inducement or allurement. The statement which runs to eleven sheets has been held to be made by the appellant voluntarily. Likewise, confession statement (Ex-PW-2/A) was in the handwriting of the appellant made in the presence of R.K. Soni (PW-2) and H.O. Agrawal, the then Assistant Chief Officer (Inspection). Here again, it was not suggested to R.K. Soni (PW-2) that Ex-PW-2/A was outcome of some threat or pressure. The trial court as well as the High Court concurrently held that the confession statements (Ex-PW-3/A and PW-2/A) were voluntarily made and that the same can form the basis for conviction. We do not find any good ground warranting interference with the said concurrent findings.”

What does all this adds up to? It clearly vindicates what the trial court as well as the High Court held concurrently that the confession statements were voluntarily made and this can form the basis for conviction. Regarding conviction, it was clarified in para 17 that, “In so far as the conviction under Section 13(1)(c) read with Section 13(2) of PC Act, 1988, the appellant was sentenced to undergo rigorous imprisonment for two years. For conviction under Section 477-A IPC, the appellant was sentenced to undergo rigorous imprisonment for two years. For conviction under Section 409 IPC, the appellant was sentenced to undergo rigorous imprisonment for five years. The occurrence was of the year 1992-94. Considering the passage of time and the facts and circumstances of the case, the sentence of imprisonment imposed on the appellant is reduced to three years.”

Finally and most importantly, it is then held in the concluding para 18 of this landmark judgment that, “In the result, the conviction of the appellant under Section 13(1)(c) read with Section 13(2) of the Prevention of Corruption Act, 1988 and sentence of imprisonment of two years is confirmed. The conviction under Sections 477-A and 409 IPC is confirmed and the sentence of imprisonment under Section 409 IPC is reduced to three years. These appeals are accordingly partly allowed. The appellant shall surrender himself within four weeks from today to serve the remaining sentence, failing which the appellant shall be taken into custody.”

In conclusion, this landmark ruling explicitly states that, “Extra-judicial confession of accused need not in all cases be corroborated.” Conviction of an accused can be based even on uncorroborated extra-judicial confession if it inspires confidence. This is exactly what we see here also in this landmark case! All courts must abide by this landmark ruling and should ensure that conviction of an accused is not rejected just because it proceeds upon the uncorroborated extra-judicial confession of the accused!

Author:

Sanjeev Sirohi, Advocate

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