#Under Construction Property in india

[fatehbaz]

Most books on the Bengal delta begin by describing it as “riverine,” [...] the land is the product of fluvial action [...]. [I]n thinking about Bengal, one tends to imagine the ricepaddy fields [...]. It was not so all the time; Bengal was never really a land of farming [...]. Traveling through Bengal in the eighteenth century, the French traveler Orme saw a highly sophisticated water-based economy - the blessing of rivers - irrigated [...] by the monsoon rains and annual flooding. [...] The rivers were not just channels of water; they carried a thriving trade, transporting people and goods from one part of the delta to another. Today, Bengal is generally seen as comprising lush green rice paddies [...]. Rivers are often presented as causing immense grief [through seasonal flooding] [...]. Clearly, there is a mismatch here. [...] How (and when) did Bengal’s social milieu transform from water-based to land-based? [...] Bengal’s essential character as a fluid landscape was changed during the colonial times through legal interventions that were aimed at stabilizing lands and waters, at creating permanent boundaries between them, and at privileging land over water, in a land of shifting river courses, inundated irrigation, and river-based life.

Such a separation of land and water was made possible not just by physical constructions but first and foremost by engineering a legal framework that gradually entered the popular vocabulary. [...] BADA, which stands for the Bengal Alluvion and Diluvion Act, [was] a law passed by the colonial British rulers in 1825, following the Permanent Settlement of 1793. [...] The environment of Bengal can be described as hybrid, where the demarcation between land and water is neither well-defined nor permanent. Nature here represents a borderless world, or at best one in which borders are not fixed lines on the ground demarcating a territory, but are negotiated spaces or zones. Such “[...] spaces” comprise “not [only] lines of separation but zones of interaction…transformation, transgression, and possibility” (Howitt 2001, 240).

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Current boundaries of land and water are as much products of history as nature and the colonial rule of Bengal played a key role in changing the ideas and valuations of both. [...] The debate on what constituted productive and unproductive uses of land preceded the application of English property law not only to establish permanent zamindari (a common term for the system of landlordism) settlement of land tenure in India, but also to valorize land in what had essentially been a land-water hybrid environment. The colonial land revenue system, by seeing land as more productive (being able to yield revenue) and useful, began the long historical process of branding the rivers of Bengal as uncivil and in need of control. [...] The problem with deltaic land is its non-permanent nature, as silt is stored by rivers: rivers do not always flow along a certain route [...] The laws that the colonial British brought to Bengal, however, were founded upon the thinking of land as being fixed in place. [...]

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Experiments to fine-tune the land-based economy began in 1760 when Bengal, and its ceded territories, came under the East India Company rule. [...] To entrench the system, the Permanent Settlement of 1793 created zamindars (or landlords) “in perpetuity” - meaning for good. The system was aimed at reducing the complexities of revenue collection due to erratically shifting lands and unpredictable harvests in a monsoon-dependent area [...]. Alarmed at the possibility of dismemberment of their estates, the zamindars decided to bind tenants to the same conditions to which they themselves were bound by the colonial government, and one of their actions was to create patni tenures or perpetual leases. [...]

It also meant that the right to collect rent from the tenants, often through the use of force, devolved to the lower layers, making the upper-layer zamindars more of a juridical rather than a real social entity in the eyes of the peasants. The patnidars, finding how much trouble this arrangement took off their own back, created dar-patnis or patnis of the second degree [...]. The dar-patnis created se-patnis or patnis of the third degree. The East India Company, therefore, had to legalize, through Regulation VIII of 1819, the creation of such formations, thus giving a de jure recognition post facto [...].

The regulation, although innocuous and simple, was of great historical potency: it became the key that unlocked the door to environmental and socio-economic changes of unparalleled magnitude. From a riverine community, within a hundred years, Bengal was transformed into a land-based community. [...]

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The meaning of property also changed as a result of this law: the cultivators began to lose the right to occupy the land that they had enjoyed since ancient times because the colonial British had enumerated the characteristics of the zamindari property as an absolute right of proprietorship in the soil [...].

[T]he Company then began to contemplate the problematic issue of legalizing the fictional entities of chars [...]. The law that was created for this purpose -- and still rules the rights of ownership of charlands -- is the Bengal Alluvion and Diluvion Regulation Act (BADA) of 1825. [...] BADA was meant to establish a set of rules to guide the courts to determine the claims to land “gained by alluvion” or accretion, and the resurfaced land previously lost by diluvion or erosion. Even if one takes it for granted that chars are technically non-land in the sense that they exist within river banks, the difficulty remains that when a piece of land is lost to bank erosion, it may not arise in exactly the same location or arise at all within the foreseeable future. This means the owner has no certainty that they will get it back when it resurfaces or when another char rises nearby. [...] Thus, the key to establishing land rights in the court of law remained the payment of rent, even on diluviated land. [...] Such a rule will, however, not be applicable if a river suddenly changes its course and separates a considerable piece of land from one to join it with another farm, but without destroying the identity of the land so removed -- thus preventing legal recognition. New accretions in large navigable rivers would be the property of the state [...].

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All text above by: Kuntala Lahiri-Dutt. “Commodified Land, Dangerous Water: Colonial Perceptions of Riverine Bengal.” In: “Asian Environments: Connections across Borders, Landscapes, and Times.” Edited by Ursula Munster, Shiho Satsuka, and Gunnel Cederlof. RCC Perspectives, no. 3, 17-22. 2014. [Bold emphasis and some paragraph breaks/contractions added by me.]

[newsfromstolenland]

Do you think Asian Americans need to work on anti-black racism in their communities? It seems like some Asian Americans are against affirmative action, even though it benefits them too. And some seem happy it was overturned. Which seems a little racist.

oh absolutely, anti-blackness is rampant in asian communities

opposition to affirmative action from asian communities has been a problem for as long as affirmative action has been in place. it's hypocritical, because many implementations of affirmative action have provided opportunities for asian people as well

it also ties in to the whole "model minority" concept, and the extremely racist idea that asians are the good, smart, hardworking racial minorities and that black people are none of those things

when in reality, non-black people of colour like myself have a leg up over black people for multiple reasons. colourism is a huge factor. also, the stereotype of the "smart nerdy asian", while racist in it's own right, does provide an advantage in accessing education and finding jobs. and then of course there's the fact that many black people in canada and the united states are descended from slaves, making them significantly less likely to have family wealth being passed down to them, because their ancestors didn't own property, instead they were considered property. while all people of colour face systemic racial injustice, there are specific and heightened systemic injustices that black people face and that the rest of us do not

and those are just the systemic factors! there's also cultural factors among asian communities, including my community as an indian person. colourism is rampant in asia and among asians all over the world. stereotypes about black people are shared between white people and non black people of colour, and we are absolutely complicit in their oppression

a few years ago it came to light that the government in india had as a part of its education curriculum for children an extremely racist concept floated by the hindu nationalist government. the story that was being taught in schools was that when the deities created the first humans, they constructed them and cooked them over a fire. and that the first attempt was undercooked, and those were white people. then the second attempt was "overcooked and burned", and those were black people. then the third attempt was "perfect" and when they "got it right", cooked the right amount, and that was indian people.

I don't think I need to explain how racist that concept is and how it negatively impacts how indian people treat black people, and is outright claiming that we're genetically superior in some way

when it comes to affirmative action, a lot of asians have bought into the "pulling yourself up by your bootstraps" bullshit, and view it as giving unfair "handouts" to black people. of course, the truth is that affirmative action is nowhere near enough to balance out the injustices faced by black people, and any asian who thinks that it is too much is both a hypocrite and a racist who has decided to side with the oppressor and throw black people under the bus for their own benefit

[beardedmrbean]

LUCKNOW, India (AP) — Authorities in a northern Indian town imposed an indefinite curfew and ordered police to shoot violators after clashes over the construction of a Muslim seminary and a mosque left at least five people dead and more than 150 injured, officials said Friday.

The violence Thursday also led authorities to shut down internet services and schools in Haldwani, Uttarakhand state government official Chief Radha Raturi said.

The situation was brought under control with nearly 4,000 police officers rushing to the area, said police officer A.P. Anshuman. He said police were ordered to shoot protesters violating the curfew.

On Thursday, thousands of protesters tried to block government officials and police who arrived to demolish the seminary and mosque following a court order that the structures were being built on government land without local authorization, Anshuman said.

As violence escalated, police fired live ammunition and tear gas to disperse protesters using petrol bombs and stones to attack a police station and set several vehicles on fire, Anshuman said.

State police chief Abhinav Kumar said five people died in the violence. He did not give details but said no fresh violence was reported on Friday.

Government administrator Vandana Singh Chauhan over 150 police officers were injured and several people were hospitalized.

Anshuman did not say whether police fire killed the protesters. He also didn't identify the religion of the victims.

Haldwani is about 270 kilometers (170 miles) northeast of New Delhi.

Muslim groups and rights organizations have accused India’s Hindu-nationalist government of demolishing their homes and businesses in the past. Officials have defended their actions, saying they are only targeting illegal buildings, but critics call it a growing pattern of “bulldozer justice” aimed at punishing activists from minority group.

In a report released this week, Amnesty International condemned several instances of bulldozers razing Muslims’ homes, businesses and places of worship, which it said was often done under the guise of illegal encroachment and without adequate notice.

“The unlawful demolition of Muslim properties by the Indian authorities, peddled as ‘bulldozer justice’ by political leaders and media, is cruel and appalling. Such displacement and dispossession is deeply unjust, unlawful and discriminatory,” said Agnès Callamard, the rights group’s secretary general.

The group’s researchers found that between April and June 2022, authorities in five states used demolitions as punishment following incidents of communal violence or protests, and documented at least 128 demolitions during this period.

Critics and opponents have long accused Prime Minister Narendra Modi of looking the other way and sometimes enabling hate speech against Muslims, who comprise 14% of India’s 1.4 billion people.

Modi’s Bhartiya Janata Party denies the accusations.

[talenlee]

What's Marriage For?

Marriage is a thing that’s so important to our culture and media that you’ll see it in an embarrassing quantity of everything. Setting aside media genres that are just dedicated to some version of it (and yeah, a lot of those ‘romantic’ things people are making are really just just about marriage things), there’s still stuff in our language and everyday common existence that speaks of marriage. If nothing else, consider we have a mode of address that specifies whether or not a woman is married, and asking to not be treated with that language is seen as a different dispensation. It is, to the audience of most of this conversation, a thing that The Empire tells us

What does it mean to be ‘married?’

In the context of our world, western European world, marriage is a simple idea with complex surroundings. The idea is that two people who are married are people who have agreed upon sharing their lives and assets. All the permutations of it, from signataries, name changes, the ceremony of a wedding, inheritance, offspring and property rights, oh and divorce law and all its stuff, that’s all things that flow from ideology in our own world about what marriage is and how our lives work.

It’s all built on our own base assumptions. It’s been changed, in your lifetime. It used to be that wives didn’t have legal rights for protections from their spouses, which were men. If you’re younger than that, it used to be that marriage had to be between men and women only. If you’re pretty young, you might even be born around the same time as Ireland legalised divorce – 1996. There’s a lot of things about marriage that are directly reflecting the ideology and history of our own reality, which you might notice are based around ideas like patriarchy and capitalism. A woman is titled as a married woman to indicate not that she should merit more respect, but rather to signal to everyone around her that she is not an unmarried woman and therefore there is no reason to treat her as if she is unmarried.

Our vision of what a marriage is, and therefore, what flows from that, is about property and control.

Is that necessary for your world?

This isn’t about the different rites. Rites are ways of representing arrangements. A marriage in Korea and a marriage in India and a marriage in England are all going to have very different rites, but it’s not an unreasonable comparison to say that to some extent those rites follow on from the actual action, which is a committed unified action about the you know, the capital stuff. I don’t even know if it’s how things worked in those countries now, but sometime in oh say the past two centuries, some culture did a whole mass colonialism thing and then another culture kept doing it, so a lot of what culture is going on in the world is kinda stamped with that.

The point is, the coloniser created the default and now we all get to operate under it, and that means, if you’re building a world, you have the opportunity to construct this idea without the pre-existing assumptions about what it means. To that end, I’m not actually going to try and tell you about how you should do marriage. I’m going to, instead, present examples of different approaches to marriage from another culture I’ve used in Cobrin’Seil, and how I built it out based on cultural assumptions about what they don’t care about.

The one I’ve written the most about is the culture of Orcs in Cobrin’Seil. These Orcs don’t have an idea of privatised property; there’s the personal property, but to an Orc, personal property is your immediate stuff; you don’t own things that aren’t enclosed by your personal sphere. If it’s something too big for you to carry off, it’s not a thing you own. This relationship to property means that Orcs in general don’t have a problem with unasked borrowing, either; if you cohabitate with someone and they use something of yours without asking, it was clearly happening because you weren’t holding it. This absence of an attitude towards property means that marriage isn’t really a thing for needing public declaration.

What Orcs do have public rituals about is child-rearing. Someone has a kid – from birth or adoption or a raid – and then they negotiate a couple or more rearing the kid. This is a thing that tells the community ‘hey, we won’t be contributing to group resources as much,’ and that’s its purpose. I guess there’s also an element of consideration of how Orcs lack the idea of familial ownership – you know, the idea that parents own their children.

(“They don’t,” you may say but trust me, look at how parents talk about their children and the legal rights of those children, and uh, you own your kids more than you tend to own the house you’re raising them in.)

The lack of private propery plays into the way orcs regard children. You don’t need children because they’ll take care of you in an ongoing capitalist drain on your resources. You don’t need children because of investments of worth, you take care of kids because kids are kids and someone needs to take care of them. It’s not a matter of imprinting legacy or having enduring influence. And there’s more here of course; orcish society has some degree of kyriarchy to it in that classic ‘bigger punch wins the conversation’ way that comes up in heated moments, but as a rule orcs don’t have the prebuilt bias towards patriarchal structures we do and the assumption of things like birthright and blood lines.

These are all deliberate choices! Orcs are independent, Orcs are tough and when I say ‘independent’ I mean an individual orc is likely to overproduce things they use, and leave those things in caches for other Orcs. To have orcs do marriage rituals about shared ownership and obligations and like, tax law, that’s strange. That would imply things about Orcs that don’t make sense for the setting.

Don’t think you need to reinvent marriage from the ground up in your setting. Worldbuilding is not the task of creating a coherent alternate reality ex nihilo, it’s the task of considering what differs from your norm in order to help engaging with the world embracing the different space. But it’s also a thing worth examining and asking the question of if this ritual, if this practice, is similar to how it is in our world, then it probably indicates a similarity in the history of your world to the history in our world.

You can do this backwards too; you can start with the idea of ‘here are the things I want a ritual to include because I think they’re dope,’ then work backwards to what those things represent, and how they inform ideology. Remember, that cultural behaviour is not agnostic to the culture it’s from. Right now, we have gay marriage and interracial marriage, and divorce and financial independence but those things needed to be bolted onto another system. You can bolt on other things or even open it up and clear out stuff from under the hood!

Check it out on PRESS.exe to see it with images and links!

[protrainy]

In a heart-wrenching episode that unfolded recently, an under-construction overbridge in Mizoram gave way, exacting an unforgiving toll of at least 17 lives. This tragic incident inevitably compels us to ponder over the often neglected but indispensable aspects of safety protocols at construction sites and the indispensability of employing materials of the utmost quality. Regrettably, India’s chronicles bear the scars of numerous bridge collapses, shining a glaring spotlight on the pressing need for invigorated measures to thwart such heartrending catastrophes.In recent years, India has witnessed a series of harrowing bridge collapses, triggering both loss of precious life and severe damage to property. The ensuing apprehensions regarding the safety of bridges across the nation demand immediate, introspective contemplation. Among the distressing episodes etched in our collective memory are:

1. Katra Bridge Collapse (2018)

2. Mumbai Bridge Collapse (2017)

3. Uttar Pradesh Bridge Collapse (2016)

4. Andhra Pradesh Bridge Collapse (2015)

5. Assam Bridge Collapse (2014)

To read more about accident, follow our guide on instagram : https://www.instagram.com/protrainy/guide/the-mizoram-flyover-incident-17-dead/17989776476206988/

To read more about the measures for a safer, more secure infrastructure landscape, read our blog on : https://medium.com/@trainy.learning10/when-bridges-crumble-reflecting-on-indias-bridge-collapses-and-their-underlying-causes-d8df7960e9d6

[salmankhanholics]

★ Salman Khan to construct 19-floor sea-facing hotel in Bandra with cafe, gym, swimming pool!

May 20, 2023

Bollywood superstar Salman Khan is known to be one of the biggest investors in the city when it comes to hotels, restaurants and pubs. And looks like there is no stopping for Bhaijaan as he is now set to construct a swanky 19-storeyed hotel in a posh locality of Mumbai's suburban area of Bandra.

The hotel will be equipped with state-of-art amenities, right from a cafeteria and a gym to a huge swimming pool.

The hotel will reportedly be constructed under the name of Salman's mother, Salma Khan.

Salman Khan's 19-floor hotel in Mumbai

According to a report in Times of India, the plot where the hotel is being constructed once housed a residential building named Starlet CHS, in which the Khans had purchased several apartments.

Located at Carter Road in Bandra, the plot is a prime, sea-facing property, and a hotel there would sure attract hoards of customers.

The report stated that the proposal to build a hotel on the plot was submitted by the Khan-daan a year ago, and as per official papers, Salman's mother, Salma Khan, is the owner of the property.

As per the report, Khans' architect, Sapre & Associates, submitted a plan to authorities for a commercial building with a height of 69.90 metres which will be centrally air-conditioned.

The report also revealed that out of the 19 floors, the first and second floors will be occupied by a cafe and a restaurant, while the third floor has been reserved for a swanky gym and a swimming pool. The fourth floor will be used a service floor, and the fifth and sixth floors will house a convention centre.

From 7th to 19th floor, the building has been reserved for hotel use. Not just that, but there will also be a three-level basement at the property.

The actor and his family are yet to give out an official statement yet.

[usafphantom2]

Lockheed Martin releases new conceptual images of NGAD

Fernando Valduga By Fernando Valduga 10/27/22 - 18:07 in Military

The sixth-generation stealth game development program "NGAD - Next Generation Air Dominance" under development by the US has come to light once again, after the publication of new conceptual arts from the Lockheed Martin company, in which this time the proposal for a next generation LMXT strategic refueling aircraft also appears.

In the new images, an aircraft, which has several similarities with the previous preliminary NGAD projects, is shown being refueled by an LMXT tanker aircraft, with Lockheed Martin showing how it predicts future USAF operations and how new generation fighters and air refuelling aircraft will be developed with a high degree of interoperability.

As reported by the analysts of "The Drive", what "highs" in the construction and appearance of the aircraft is that the nozzles are diamond-shaped and the exhaust of its double engines is located at the top of the fuselage, a specific tactical project aimed at reducing the thermal trace and radar signature of the fighter, to serve its stealthy properties.

In fact, to reduce the radar section (RCS - Radar Cross Section), that is, as it calculates how detectable an object or a platform by radars is and is a key element for the characterization of an aircraft as "stealth", the aircraft in Locheed Martin's design concept have a new, bright and possibly reflective painting, which was recently seen in test flights

At this point, we must emphasize that it is not yet clear whether these preliminary projects are the final choice for the construction and development of the NGAD fighter, as several companies are working to present competing proposals. However, Lockheed Martin's decision to disclose these images may indicate his philosophy and vision for sixth generation aircraft, at a time when the secret Collaborative Combat Aircraft - NGAD CCA subprogram has also become known, which concerns the deployment of a sufficient number of UAVs to operate alongside the sixth-generation manned fighter.

Previous conceptual art of the NGAD released by Lockheed Martin shows similarity to the new arts.

It is recalled that a year ago, Will Roper, a senior civil officer of the USAF, revealed that the U.S. Air Force secretly designed, built and flew a prototype of the new and enigmatic next-generation fighter.

Tags: Military AviationLockheed MartinNGADUSAF - United States Air Force / US Air Force

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Fernando Valduga

Fernando Valduga

Aviation photographer and pilot since 1992, he has participated in several events and air operations, such as Cruzex, AirVenture, Dayton Airshow and FIDAE. It has works published in specialized aviation magazines in Brazil and abroad. Uses Canon equipment during his photographic work in the world of aviation.

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[rabbitcruiser]

Padrão dos Descobrimentos, Lisbon (No. 1)

Padrão dos Descobrimentos (lit. Monument of the Discoveries) is a monument on the northern bank of the Tagus river estuary, in the civil parish of Santa Maria de Belém, Lisbon. Located along the river where ships departed to explore and trade with India and the Orient, the monument celebrates the Portuguese Age of Discovery (or "Age of Exploration") during the 15th and 16th centuries.

The monument was conceived in 1939 by Portuguese architect José Ângelo Cottinelli Telmo, and sculptor Leopoldo de Almeida, as a temporary beacon during the Portuguese World Exhibition opening in June 1940. The Monument to the Discoveries represented a romanticized idealization of the Portuguese exploration that was typical of the Estado Novo regime of António de Oliveira Salazar. It was originally constructed as a temporary construction, located in the Praça do Império as part of an urban renewal project favoured by minister Duarte Pacheco, but with the resistance of Cottinelli Telmo. Yet, by June 1943, the original structure was demolished after the exposition as there was no concrete formalization of the project.

On 3 February 1958, in decree No. 41-517, the government, through the Ministério de Obras Publicas (Ministry of Public Works), the Overseas Provinces and the Câmara Municipal of Lisbon, promoted the intent to construct a permanent Monument to the Discoveries. Between November 1958 and January 1960, the new monument was constructed in cement and rose-tinted stone (from Leiria), and the statues sculpted from limestone excavated from the region of Sintra. The new project was enlarged from the original 1940 model as part of the commemorations to celebrate the fifth centennial of the death of Infante Henry the Navigator.

Although the project was based on Cottinelli Telmo's plan, he was replaced after his death by António Pardal Monteiro (as primary architect), and stability studies were completed under the direction of engineers Edgar Cardoso, Ruy Correia and António Franco e Abreu. The interior plan was executed by António Pardal Monteiro, who also worked with Cristino da Silva to plan the monumental square. The northern part of the property was completed by the firm Pardal Monteiro, while the southern area was completed by José Raimundo. The sculptures were modeled by Leopoldo de Almeida, with the assistance of sculptors Soares Branco and António Santos, using models by António Cândido and Carlos Escobar (under the direction of António Branco and Alfredo Henriques).

Source: Wikipedia    

[abirpothi]

Rajesh Ram’s Sculptures Show: Carving the Present with Historical Context

Ved Prakash Bhardwaj

The essence of Rajesh Ram Sculptures is memories, understanding the past, and understanding the threads between the histories made and the histories under construction, i.e., the present, and expressing the impact of power, power of all kinds of politics in human life. His sculptures are a journey from history to the present. In this journey, he gives voice to the contradictions of life. Rajesh Ram creates stories in his sculptures that are very real. For this, sometimes he goes into the history and sometimes while walking in the corridors of the present, he expresses the seen-unseen scenes in the context of human destiny. That’s why there is a kind of conflict in his art. This conflict sometimes appears in a religious-social context and sometimes in the form of crises derived from the power of political power. Will it ever be possible to compensate for the damage caused by pollution in public life due to the power play of religious, social, and political authorities? Rajesh Ram tackles these questions on a creative level. That’s why he calls his sculptures the carvings of time. His initial identity as a sculptor has been as a socially conscious artist. His current exhibition Carving Time is currently running at the Palette Art Gallery, in Delhi. Some of the works of this series were also recently displayed at the India Art Fair 2023.

Rajesh Ram Rajesh Ram is known for his analytical presentation of social and political situations in his sculptures. Right from his early sculptures, he started probing the layers of social reality. Through local symbols, he has now come to historical references. In his current exhibition, he has gone back in history and selected some references that represent those innate human tendencies that are present in today’s man as well. He says, “I’m constantly exploring the properties of the place of history amidst a fluidity and movement created with heavy connotations of human reality and the power of politics in the life of man.”

Rajesh Ram’s solo exhibition is going on at Palette Art Gallery, New Delhi. For his recent stoneware sculptures, he has combined two types of sculptures installed in Indian temples with the face of Homo sapiens. On one side there are erotic poses, and on the other side, there are poses of the goddess of knowledge and art. Looking at these sculptures, one gets the impression that the artist has presented the immutable physical and intellectual psyche of man. The expressions on the faces of Homo sapiens reveal the present conditions. On the one hand, there is talk of cultural liberalism, and on the other hand, there is an attack on the arts in the name of obscenity. This contradiction baffles the artist. This is what Rajesh Ram has called the relation of political power to human reality. Rajesh Ram constantly investigates this relationship.

An artwork by Rajesh Ram

Ram’s Homo sapiens series is a Darwinian delight. He juxtaposes Homo sapiens with Indian temple sculptures. “I have always had a fascination for the roots of human history, it creates an unending curiosity within me,” says Ram. “In this sculpture, I am creating a bridge between the past and the present. I have portrayed an erotic figurine style from Indian temple sculptures. I wanted to represent fertility and the procreation of civilizations by making these sculptures. Here I have created 10 Homo sapiens sculptures in different styles and figurations.”

By keeping the past and the present together, he looks towards the future. His work proves that Indian artists have much in their tradition that can be the basis for contemporary art. Stoneware is usually a ceramic art material with most artists doing pottery. Rajesh Ram has given it a new dimension.

On the one hand, the displayed sculptures have the realistic form of the sculptures of Hindu temples, and on the other hand, by combining those sculptures and structures with human faces and other shapes, they create surrealist art. This surrealism also has a contemporary consciousness. Through these crafts, many contemporary realities like increasing animalistic tendencies in man, big heads, and materialistic pressure in the form of houses over the heart come to the fore other shapes, they create surrealist art. This surrealism also has a contemporary consciousness. Through these crafts, many contemporary realities, like increasing animalistic tendencies in men, big heads, and materialistic pressure in the form of houses over the heart, come to the fore. Two crafts that highlight the contradictions between private and public life are Relation of War and Relation and War. There is no narration in these crafts, just an idea that helps the viewer access multiple stories from their own experiences.

An artwork by Rajesh Ram.

Rajesh Ram has worked in many of his crafts by combining animal or bird faces with human faces. This is an indication of the growing animalism in humans, which is one dimension of their relation to human life in terms of political power. But these crafts have another meaning which indicates the need for ecological balance. Only the balance between all the living beings on earth can save human society.

There are some crafts in this exhibition that point towards the growing materialistic pressures in human life. For example, we can see the structure of the building above the heart in a sculpture. In metropolitan life, on the one hand, people struggle for living space. On the other hand, the concept of home is becoming increasingly vulnerable. A house means a family whose symbol we can see in the form of a building structure.

While working in ceramics, Rajesh Ram has maintained the texture quality of stoneware. These stoneware crafts have softness as well as strength. For this reason, in their composition, these crafts effectively reveal the physical dualities of human life. These crafts awaken our memory. Prompt us to go back in history to understand our times and their contradictions. This can be called a big success of Rajesh Ram. The work of art is not only to awaken an aesthetic sense but also to make man aware of his surroundings.

If we think about all the crafts in this exhibition together, we find that the artist has created such a surreal environment that inspires us to think about life from many directions. Even while sitting in the temple, our mind wanders in many directions; the pressure of material life does not allow it to remain stable. This is the dilemma of today’s life. Rajesh Ram can be said to be composing it as a group of different crafts.

An artwork by Rajesh Ram.

Blending religious art and architecture in some works that are wall stories avoids human and animal depictions, and these constraints seem to be spiritually effective. Visually glorious botanical patterns and small, specific depictions result in something that feels universal. The pillars and arches constructed during the golden age of innovations in math and science seem to have fed such stunning decorative geometries. Human Roots and Spacecraft are two works that play with symbolism and geometry.

“Sculptures and architecture are records of the past,” says Ram. “Somehow we can track the passage of history through these artworks. It also talks about human development and so many journeys. So I portrayed the human brain to show the roots of human existence. I use architectural representation because it is my favourite expression for my art practice.”

In one sculpture, we can see a hippo with its mouth wide open and a man’s head attached. Ram says that when he sculpted this roaring hippo a few years ago, he was describing a story of power and taking notes on a trip through history. Half the head represents the politics behind the throne. “The composition is a scene that describes how my mind describes the reality of history and the beauty of its many elements,” says Ram.

An artwork by Rajesh Ram.

Rama’s hybrid fragments of Purusha (man) and Prakriti (woman or nature) give us a sense of wonder at both inclusion and exclusion. It’s like travelling at a crossroads. Rama transforms these conflicting feelings into his sculptures, creating a contemplative space of his own duality that is open to all. He employs simple means to achieve the dramatic effect: a single human head or figure, as well as the plant’s stems and roots, shine through complex botanical elements made of stone and treated with ash. Each side of these idols is a mark of brilliance in comparison and form, repeating contrasting patterns that Rama designs by combining and adapting various decorative elements in different visits to different parts of the world. Ancient figures and motifs of human and animal faces cast shadows on the gallery walls. No clear boundaries or separations exist within the fusion of human and animal forms; as we move freely through the dense silhouettes in the gallery, our moving eyes transform the nature of the patterns.

For More Visit On: Art News

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How did Mihira got the name Varaha Mihira?

Astrology is a fantastic science that needs Logic and Intuition and last but not the least the Gift of God. Don't take my word - read this real account and come to your own conclusions - this is real astrology...hope it inspires real Astrologers and hope it shows the light of Jyotish to the sceptics...Mihira was a brahmana, the son of Aditya Dasa, from the region of Avanti, near present day Ujjain, in Western India. He was instructed in astrology by his father and was a

devout worshipper of Surya Narayana, that is, Krsna who manifests as the Sun. By performing severe austerities to please Surya Narayana, Mihira got blessed with knowledge of ganita, hora, and samhita.Mihira was one of the Nine Gems, navaratna, in the court of the great king, Vikramaditya of Ujjain. He was greatly honored by the king for his vast learning and correct predictions. Once, after the birth of the King's son Mihira was asked to make predictions about the prince's future. Going into meditation after studying the chart Mihira "observed that a serious and irremediable danger beset the path of the longevity of the royal child and that he would be killed by a varaha, or boar, on a particular day in a certain month of his 18th year and no human remedies could save the prince from the jaws of death."Having learnt of this danger to his son from his most reliable of court astrologers, Vikramaditya consulted with Bhatti, his Chief Minister. It was decided that a special palace would be constructed with stupendous walls 80 feet high. Ten thousand elite troops would patrol both inside and outside the property as well as in the palace. Such careful watch was taken of the palace that not even a cat or rat could enter the compound what to speak of a wild boar. Every precaution was taken and the prince was under constant guard and practically under house arrest, he was not allowed to leave his compound for any reason. In fact he was ensconced on the seventh floor and not allowed to go to a lower floor. The precautions were so thorough that they boasted that the prince may die but certainly not by the agency of a varaha.After such security measures were put into place Mihira was asked if he would like to reconsider his former prediction. He emphatically stated that there was nothing that could save the boy. As the date grew near he was again asked to reconsider, and again gave the same reply. Tension began to mount, not so much for the sake of the boy but for the reputation of Mihira. His detractors thought that Mihira's reputation exceeded his ability, and though the boy might die, the possibility of it be caused by a boar was so remote that Mihira would be publicly disgraced. Even his friends, who had implicit faith in him and knew of his great abilities, had doubts as to how his prediction would be successful, because it was impossible for even a rat to move about undetected in that palace.On the fateful day Vikramaditya held court. Reports were brought to him every hour on the safety and health of the Prince, now 18 years old. All the chief pandits were assembled as well as the navaratnas, the nine greatly learned men, of the King's court. The whole city was waiting for the result of Mihira's prediction. Would it come true or not? The time of death had been fixed at 5:00 PM in the afternoon. The King, though a great admirer of Mihira, was beginning to doubt Mihira's abilities. With a condescending smile he addressed Mihira, did he still want to maintain his previous prediction that the boy should be killed by a wild boar this afternoon. Did any new calculation possibly change his mind, would the child just die, this was possible, but death by a wild boar would be impossible. The King suggested that Mihira gracefully back down from his former stance, without losing face. The King vowed that if the impossible happened he would give Mihira the highest honor and bestow on him the golden and be-jeweled Royal ensign or emblem, the Varaha, wild boar, that was currently on his crown and transfer it to Mihira's head-dress and that for posterity he would henceforth be given the title Varaha Mihira. Everyone applauded the King.All eyes focused on Mihira. He rose and gave a speech in which he deprecated his own learning, that unfortunately no great rishis such as Vasishta were present to reverse the karma of the Prince. He took a vow that if his prediction failed he would never practice astrology again, he would never enter the court of the king, and indeed, would leave Ujjain altogether and go deep into the forest to practice tapasya, austerities, till his last day. But Mihira stated that indeed the death would come true as predicted, there could be no thwarting of fate and the Prince would be killed by a boar. He then calmly sat down.In the afternoon at 2:00 PM the King again convened his court. Senior military commanders came every half hour with news of the Prince. He was hale and hearty. Everything was going smoothly. The King had given orders that the guard be on the highest alert and was confident that no harm could befall his son. But Mihiracarya was totally calm, how could this be so, in only a few hours his prediction would be proven wrong, yet he was still placid. Time went on, a half hour after the appointed time of death a guard reported that there was no disturbance in the Prince's palace. Mihira calmly told the King that the boy had already died at the appointed time and they should go see for themselves. Just then another guard came to report that all was still peaceful in the palace. On the way to the palace other guards confirmed that all was quite and calm at the palace. It was now about 6:00 PM and the King told Mihira that his prediction must have been wrong because nothing at all wrong had been reported, he couldn't believe that his officers were liars.Mihira replied: "Victorious Monarch! the prince has died at the hour, minute, and second, I have named and none of your watchmen has noticed it. It is a sad event no doubt but it has happened and your son is lying dead in a pool of blood, unnoticed by his watchmen and personal companions, and you will see the truth of my prediction. Let us go and examine."On entering the palace they noticed on every floor that peace and calm prevailed. On the 7th floor they found a dozen or so of the Prince's friends engaged in assorted games such as chess. When the Emperor made inquiries about the Prince, they all replied that he had been playing with them a little while ago and that he was quite hale and hearty and that he had just gone out to take some air on the open terrace of the 7th floor.Mihira said: "The Prince must be lying dead in a pool of blood caused by the injuries of a boar, and if you go to the terrace you will be shocked to find him dead as predicted by me. This wonderful prediction is not mine. My knowledge is too humble and too limited to make such inconceivable and surprising predictions. I have made all my predictions under the guidance of Surya Narayana. Could such predictions inspired under His grace ever fail?"They all went to the terrace and saw with horror and sorrow the Prince lying dead on a cot in pool of blood. He was disfigured by the iron hooves of the artificial boar-the Royal Emblem-that was attached to the flag staff. Everyone was thrown into simultaneous gloom and ecstasy by the successful prediction. Vikramaditya awarded Mihira with the Royal Emblem and he was hence forth called Varaha Mihira.The Prince's death had transpired in the following way. At about 4:00 PM, the Prince, who had been playing with his friends, began to feel a sort of oppression in his chest and giving over his cards to a nearby friend asked him to play in his place. He then rose without complaint and went out to the terrace. A tall flag staff, emblem of Royalty, rose high in the air, it had an artificial boar attached to its top.As this emblem of royalty was affixed to all important turrets and towers of all the Emperor's palaces no one took any notice of them. Near the flag staff was a cot with soft cushions for the Prince to take rest whenever he felt fatigued. The Prince feeling tired while playing games with his friends came to lay down in the cool air. At 5:00 PM precisely, a very strong gust of wind knocked loose the iron boar. This fell down onto the Prince who was lying on his back. The hooves struck severely against his breast and stomach and the tusks struck his head and mouth. The Prince lost copious amounts of blood and died immediately. The mattress on the cot absorbed the sound of the crash so no one heard it fall. And as the Prince would often go to the terrace, and as the game was very absorbing, no one noticed the Prince's absence.

[fatehbaz]

In this remarkably rich account of land and profit-making in colonial Calcutta (now Kolkata), Debjani Bhattacharyya traces the transformation of marshes, bogs, and muddy riverbanks into parcels of fixed, bounded, and alienable property under British colonial rule. Framed evocatively as a “history of forgetting” (6), Bhattacharyya details the everyday enactments and contestations of imperial power undertaken by colonial officials and merchants, hydrographers, Indian property owners, urban planners, surveyors, and speculators between the 1760s and 1920. Over this period, the fluid and culturally multivalent spaces of the delta were translated and transformed into “dried urban landscapes of economic value” (12). [...] [T]he economization of space was so encompassing that earlier ways of understanding and inhabiting the delta’s shifting lands and waters were [obscured] [...].

The British thus had to produce landed property both conceptually and materially in a process that proceeded through two entangled registers of power. The first was the legal register, which translated shifting and indeterminate aqueous spaces into apparently solid landed property through modes of legal classification and arbitration. The second register of power concerned hydraulic technologies of drying and draining the landscape (10), which materialized these legal categorizations in the production of urban space. 

By the early twentieth century, these “technologies of property” (5) had produced new lines between land and water in the city and rendered its fluid ecologies, such as marshes and bogs, as valuable “land-in-waiting” (172) for property development and financial speculation. [...] 

[T]he delta’s fluid ecology emerges at times as a limit on the property-making activities of the East India Company and the British Crown [...]. Bhattacharyya’s account highlights the mobility of the delta’s fluid landscape, with water, silt, and mud taking on agentic roles and shaping historical trajectories. [...] [Bhattacharyya] provides a fascinating account of the meanings of rivers and other watery spaces in Bengali cultural life, drawing on folk songs, poetic genres such as the maṅgalkāvya, storytelling, and forms of artistic representation such as painted narrative scrolls. [...] Bhattacharyya recovers forms of relationality and claim-making in the fluid deltaic environment that exceed the representations of colonial cadastral surveys and revenue records. [...] 

[H]owever, Calcutta became increasingly disconnected from its watery past. [...] [There was an] increasing entanglement of the urban land market with infrastructural projects to dry land and control water. These included the excavation of an extensive network of canals; the construction of docks in Khidderpore and the draining of the Maidan [...]. A collective amnesia about Calcutta’s fluid ecologies set the stage for the emergence of a speculative real estate market by the beginning of the twentieth century [...]. This period saw Calcutta’s remaining wetlands and marshes rendered as “land-in-waiting for property development” (169) in a process that continues to the present day.

---

All text above by: Calynn Dowler. “Debjani Bhattacharyya, Empire and Ecology in the Bengal Delta: The Making of Calcutta.” Asian Ethnology Volume 80 Issue 1. 2021. [Bold emphasis and some paragraph breaks/contractions added by me.]

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Several reasons make stainless steel bright square profile bar irreplaceable. Whether concrete, wood, or other synthetic fibers are found in the surrounding area, the anti-corrosion qualities, durability, strength, and dependability make the stainless steel square profile bar remain unmatched. The size of the square profile bars determines its application space. These bars have a wide range of uses and are available in various grades.

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Why Choose Kumar Builders?

Kumar Builders offers a wide range of residential properties that are move-in ready—ideal for those who are keen on settling in quickly. Their focus on timely delivery ensures that buyers can move into their ready-to-occupy flats in Pune without the hassle of waiting for extended periods. This commitment to excellence and customer satisfaction sets them apart from the competition.

Quality Construction and Prime Locations

Kumar Builders are known for their meticulously planned projects, featuring top-notch amenities and strategically chosen locations. Whether you're a first-time homebuyer or an investor, their immediate possession flats in Pune promise a combination of comfort, convenience, and modern living.

Their projects are spread across some of the most sought-after locations in Pune, making them perfect for individuals or families who desire proximity to commercial hubs, schools, hospitals, and recreational areas. When you choose ready possession flats in Pune from Kumar Builders, you're investing in a home that offers both a lifestyle upgrade and a smart financial decision.

A Legacy of Trust

With over 50 years in the industry, Kumar Builders has a reputation for transparency and reliability. They consistently meet their delivery timelines, ensuring that buyers get possession of their flats without any delays. Their move-in-ready flats in Pune are built with the highest quality standards, ensuring safety, durability, and long-term value for every resident.

Why Invest in Ready Possession Flats?

Purchasing a ready possession flat eliminates the uncertainty and risks associated with under-construction properties. With Kumar Builders’ ready possession flats in Pune, you get the advantage of seeing the finished product before making a decision, which adds peace of mind. There are no hidden surprises—what you see is what you get.

Additionally, these properties allow you to save on rent and benefit from immediate rental income if you're buying for investment purposes. The ability to move in quickly and the guarantee of quality construction make immediate possession flats in Pune from Kumar Builders a wise choice.

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Affordable Housing in Gurugram: A Reality or a Myth?

Gurugram (formerly Gurgaon), one of India’s fastest-growing urban hubs, symbolizes the rapid pace of economic growth and urbanization. Located in the National Capital Region (NCR), it has evolved from being a quiet suburb to a bustling metropolis with modern infrastructure, a thriving corporate ecosystem, and skyscrapers that house Fortune 500 companies. But beneath this façade of growth and affluence, there lies a pressing question: Is affordable housing in Gurugram a reality or just a myth?

As property prices have skyrocketed over the years, the dream of owning a house for many middle-class families seems increasingly distant. This blog will explore the affordable housing landscape in Gurugram, the challenges, government initiatives, and the potential way forward.

The Rise of Gurugram: A Tale of Unprecedented Growth

Over the last two decades, Gurugram has transformed from being a satellite town to an economic powerhouse. It has attracted multinational companies, real estate developers, and a large influx of skilled professionals. The city’s infrastructure—boasting world-class shopping malls, high-end restaurants, and luxury residential projects—has also fueled a real estate boom. However, this prosperity has come with its own set of challenges.

As Gurugram continues to expand, the demand for housing has surged, pushing property prices to levels unattainable for a significant portion of the population. The high-end residential complexes, luxury apartments, and gated communities are largely out of reach for lower and middle-income groups. This leads to the question: where does the common man fit into this urban landscape?

Affordable Housing: Definition and Need

Affordable housing refers to residential units that are reasonably priced, allowing individuals and families from lower- and middle-income groups to purchase or rent without straining their finances. Typically, housing affordability is defined by the household's ability to pay no more than 30% of their monthly income on housing costs.

The need for affordable housing in Gurugram is more pressing than ever. As the population swells, many people who work in the city—especially those in sectors like retail, education, healthcare, and blue-collar jobs—cannot afford to live in the very city they serve. This growing gap between housing availability and affordability is a concern that, if not addressed, could lead to long-term socio-economic issues.

Affordable Housing Policies in Gurugram: A Government Push

The Haryana government and the central government have recognized this issue and have rolled out several schemes to boost affordable housing.

Pradhan Mantri Awas Yojana (PMAY): Launched in 2015, the PMAY aims to provide affordable housing for all by 2022. The scheme offers subsidies on home loans to individuals from the economically weaker sections (EWS), low-income groups (LIG), and middle-income groups (MIG). In Gurugram, several developers have tied up with the PMAY scheme to offer affordable housing units.

Deen Dayal Jan Awas Yojana (DDJAY): This scheme, launched by the Haryana government, aims to create affordable plotted housing in low and medium-potential towns across the state, including Gurugram. The plots developed under this scheme are intended for individuals and families who wish to build their homes but cannot afford high-end projects.

Affordable Housing Policy 2013: Haryana’s Affordable Housing Policy 2013 was a landmark initiative to provide reasonably priced residential units within the city. Under this policy, developers were offered incentives to construct affordable housing projects. The policy limits the price of apartments and sets a cap on the size, thus ensuring that they remain within the reach of lower and middle-income groups.

Affordable Housing Projects: What’s Available?

Several affordable housing projects have sprung up in Gurugram in recent years. Most of these projects are located in the city’s outskirts, such as sectors 58–115, which are still developing in terms of infrastructure and connectivity. While they are not in the prime areas of the city, these projects offer residents a chance to own a home at a fraction of the cost of a luxury apartment.

Some notable affordable housing projects include:

Signature Global Group: This developer has been at the forefront of affordable housing in Gurugram, with several projects launched under the state government’s affordable housing scheme. Projects like Signature Global The Millennia, Signature Global Orchard Avenue, and Signature Global Grand Iva have garnered positive responses due to their pricing, amenities, and adherence to government guidelines.

Pyramid Infratech: Another key player in the affordable housing sector, Pyramid Infratech, has developed projects like Pyramid Urban Homes 2, Pyramid Fusion Homes, and Pyramid Pride. These projects offer amenities such as 24x7 security, ample green spaces, and proximity to essential services, making them attractive for homebuyers seeking affordability without compromising on quality.

ROF Group: ROF Amaltas and ROF Ananda are two affordable housing projects in Gurugram that cater to the needs of middle-class families. These projects are located near employment hubs and offer a mix of 1 and 2 BHK apartments, ensuring options for varying needs.

Challenges Facing Affordable Housing in Gurugram

Despite the push from the government and the increasing number of affordable housing projects, several challenges persist:

Location and Connectivity: Most affordable housing projects are located in the outskirts of Gurugram, where infrastructure is still under development. This makes daily commuting a challenge for residents, especially those working in the city center or neighboring Delhi. Connectivity via public transport is often limited, which can increase travel time and costs for residents.

Quality of Construction: Some affordable housing projects have been criticized for subpar construction quality and lack of amenities. Buyers often compromise on the quality of the materials used, the overall aesthetics, and the long-term durability of the project in exchange for lower prices.

Delayed Possession: Delays in possession remain a common issue in many affordable housing projects. Construction timelines often get extended due to bureaucratic hurdles, financial issues, or lack of regulatory clearances, leaving buyers in limbo.

Limited Options for Rental Housing: While there has been a focus on affordable housing for purchase, rental housing remains limited. Many people who migrate to Gurugram for work cannot afford to buy homes but need rental options. Unfortunately, affordable rental housing has not kept pace with the city’s demand.

The Future of Affordable Housing in Gurugram

Affordable housing in Gurugram is both a reality and a challenge. The various government policies and incentives have paved the way for a growing number of affordable housing projects. However, affordability is relative, and what might be considered affordable in Gurugram may still be expensive for many.

To make affordable housing truly accessible, the focus needs to shift toward holistic urban planning. This includes developing better infrastructure in the outskirts, improving public transport connectivity, and ensuring that affordable housing projects offer good construction quality and amenities. Additionally, encouraging the rental housing market will be key to catering to the needs of the migrant population.

In conclusion, while Gurugram is making strides toward offering affordable housing, there is still a long way to go. The dream of owning a home in this city remains a reality for some and a distant myth for others. As the city continues to grow, striking the right balance between luxury and affordability will be crucial in ensuring an inclusive and sustainable urban future.