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khushi ties rakhi on the wrist of her brother krish
Rakhi Song Title: Behna Ne Bhai Ki Kalai Se
Movie: Resham Ki Dori
Singer: Suman Kalyanpur
Lyrics:
(Behna ne bhai ki kalaai se
behna ne bhaai ki kalaai se pyaar baandha hai
pyaar ke do taar se, sansaar baandha hai
resham ki dori se -2
resham ki dori se sansaar baandha hai) -2
Sundarta mein jo kanhaiya hai
mamta mein yashoda maiyya hai
vo aur nahi dooja koi
vo to mera raaja bhaiya hai
Behna ne bhai ....
Mera phool hai tu, talvaar hai tu
meri laaj ka pehredaar hai tu
main akeli kahaan is duniya mein
mera saara sansaar hai tu
behna ne bhai ....
Hamein duur bhale kismat kar de
apne man se na juda karna
saavan ke paavan din bhaiya
behna ko yaad kiya karna
behna ne bhai ...
Rakhi Song Title: Bhaiyya Mere Rakhi Ke Bandhan
Movie: Chhoti Behan
Singer: Lata Mangeshkar
Lyrics:
Bhaiyya mere, raakhi ke bandhan ko nibhana
bhaiyya mere, choti behan ko na bhulana
dekho ye nata nibhana, nibhana
bhaiyaa mere...
Ye din ye tyohaar khushi ka, paavan jaise neer nadi ka
bhai ke ujle maathe pe, behan lagaaye mangal tika
jhume ye saavan suhana, suhana
bhaiyya mere ...
Baandh ke hamne resham dori, tum se vo ummeed hai jodi
naazuk hai jo kaanch ke jaisi, par jeevan bhar jaaye na todi
jaane ye sara zamana, zamana
bhaiyaa mere ...
Shaayad vo saavan bhi aaye, jo behna ka rang na laaye
behan paraye desh basi ho, agar vo tum tak pahunch na paaye
yaad ka deepak jalana, jalana
bhaiyaa mere ...
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Rakhi Song Title: Yeh Raakhi Bandhan Hai Aisa
Movie: Beimaan
Singers: Mukesh, Lata Mangeshkar
Lyrics:
Chorus
(Ye raakhi bandhan hai aisa -3
jaise chanda aur kiran ka
jaisa badari aur pavan ka
jaise dharati aur gagan kaa) -2
ye raakhi bandhan hai aisa -3
Duniya ki jitani bahanen hain
un sabaki shraddha hai isamein
hai dharam karam bhaiya ka ye
bahana ki raksha isamein hai
jaise subhadra aur kishan ka
jaise badari aur pavan ka
jaise dharati aur gagan ka
ye raakhi bandhan ...
m: aaj khushi ke din bhaai ke
bhar-bhar aaye naina -2
kadar bahan ki unase poochho
jinaki nahi hai bahana
mol nahi koi is bandhan ka
jaise badari aur pavan ka v jaise dharati aur gagan ka
ye raakhi bandhan hai aisa -3
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Rakhi Song Title: Rang Birangi Raakhi
Movie: Anpadh
Singer: Lata Mangeshkar
Lyrics:
Rang-birangi raakhi leke aayi bahana
o raakhi bandhava le mere veer - 2
Chorus: Rang-birangi raakhi ... mere veer
Main na chaandi, na sone ke naar maangu -2
apne bhaiya ka thoda sa pyaar maangu
thoda sa pyaar maangu
is raakhi mein pyaar chupa le laayi bahana
Chorus: raakhi bandhwaale mere veer
Neele ambar se taare utaar laau-2
ya main chanda ki kiranon ke haar laau
kiranon ke haar laau
pyaar ke badle ban le leharaai behna
Chorus: raakhi bandhawaale mere veer
Kabhi bhaiya ye behna na paas hogi -2
kahi pardes baithi udaas hogi, behna udaas hogi
milne ki aas hogi
jaane kab bichhad jaayen bhai-behna
Chorus: raakhi bandhawaale mere veer
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Rakhi Song Title: Mere Bhaiyya Mere Chanda
Movie: Kajal
Singer: Asha Bhosle
Lyrics:
Chorus
(Mere bhaiya mere chanda
mere anamol ratan
tere badale main zamaane ki
koi cheez na lu) 2
Teri saanson ki kasam khaake, hava chalti hai
tere chehare ki khalak paake, bahaar aati hai
ek pal bhi meri nazaron se tu jo ojhal ho
har taraf meri nazar tujhko pukaar aati hai
(Chorus) 2
Tere chehare ki mehakti hui ladiyon ke liye
anaginat phool ummeedo ke chune hain maine
vo bhi din aayen ki un khwaabo ke taabeer milen
tere kaatir jo haseen khwaab bune hain mainne
(Chorus) 2
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Rakhi Song Title: Phoolon Ka Taaron Ka
Movie: Hare Rama Hare Krishna
Singer: Kishore Kumar
Phoolon ka taaron ka sabka kehna hai
ek hazaron mein meri behna hai
sari umar hame sang rehna hai
Ye na jaana duniya ne tu hai kyon udaas
teri pyaari aankhon mein pyar ki hai pyaas
aa mere paas aa keh jo kehna hai
ek hazaron mein ...
Jabse meri aankhon se ho gayi tu door
tabse sare jeevan ke sapne hain choor
aankhon mein neend na dil mein chaina hai
ek hazaron mein ...
Dekho hum tum dono hain ek dali ke phool
maein na bhoola tu kaise mujhko gai bhool
aa mere paas aa keh jo kehna hai
ek hazaron mein ...
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Rakhi Song Title: Chanda Re Mere Bhaiyya Se Kehna
Movie: Chambal Ki Kasam
Singer: Lata Mangeshkar
Lyrics:
(Chanda re, mere bhaiyya se kehna,
o mere bhaiyya se kehna, behna yaad kare) -2
o chanda re ...
Kya batalaau kaisa hai vo
bilkul tere jaisa hai vo
tu usko pehchaan hi lega
dekhega to jaan hi lega
tu saare sansaar mein chamke
har basti har gaanv mein damke
kehna ab ghar vaapas aa ja -2
tu hai ghar ka gehna
behna yaad kare
O chanda re...
Raakhi ke dhaage sab laaye
kehna ab na raah dikhaaye
maan ke naam ki kasmein dena
bhent meri ke rasamein dena
poochhana us roothe bhai se
bhool hui kya maan-jaai se
behan paraaya dhan hai kehna
usne sada nahi rehna
bahana yaad kare
O chanda re ...
The imposing mosque of Sirdar Khan is located in the area of Mozang. According to historians, Kanhaiya Lal and Latif, Sirdar Khan Baloch was the Lumbardar of Mozang and he built this mosque in 1858, close to the tomb of Sheikh Abdullah Shah Baloch, Sirdar Khan Mosquewhich he also had a dome built over. The original construction included a magnificent 3-storey central prayer chamber surmounted by a multitude of domes embellished with petal-like ornamentation. The surrounding boundary wall was intersected with lofty towers at the corners. Sirdar Khan had intended to build four of these lofty towers but only two of these had been erected and the mosque hadn't even been painted yet that he died. Though incomplete, the mosque was still an imposing edifice in its time and its lofty minarets could be seen from a considerable distance. The boundary wall and the two corner towers were later demolished leaving only the central prayer chamber which has now been painted white.
Presently, the mosque is known as the Mosque of Abdullah Shah Baloch. The residents of the area, which include the subsequent family members of Abdullah Shah Baloch, maintain that the mosque was started by Sheikh Abdullah Shah Baloch but remained unfinished when he died and was later completed by his nephew Sirdar Khan Baloch. Abdullah Shah Baloch flourished at the time of three Sikh rulers of Lahore and was a well known poet of the Punjabi language. He founded a new village west of Mozang which is called, after his name, Kot Abdullah Shah. He died in 1797 and is revered as a saint by the people of the area.
Śrī Dāmodarāṣṭakam
Spoken by Satyavrata Muni
recorded in the Padma Purāṇa
by Śrī Kṛṣṇa Dvaipāyana Vedavyāsa
namāmīśvaraṁ sac-cid-ānanda-rūpaṁ
lasat-kuṇḍalaṁ gokule bhrājamānam
yaśodā-bhiyolūkhalād dhāvamānaṁ
parāmṛṣṭam atyantato drutya gopyā (1)
I worship the Supreme Controller, whose form is eternal, full of knowledge and bliss. Upon His cheeks, makara-shaped earrings are swinging, and He shines most brilliantly in Gokula. Running away from the grinding mortar in great fear of Mother Yaśodā, He was ultimately caught from behind.
rudantaṁ muhur netra-yugmaṁ mṛjantaṁ
karāmbhoja-yugmena sātaṅka-netram
muhuḥ śvāsa-kampa-tri-rekhāṅka-kaṇṭha-
sthita-graiva-dāmodaraṁ bhakti-baddham (2)
Weeping incessantly, He rubs His eyes with His two lotus hands. His eyes are filled with fear. He takes heavy breaths again and again that cause the pearls and other ornaments around His neck, which is marked by three gracefully curving lines, to tremble. ( I offer praṇāma unto) that Dāmodara, who is bound by His mother’s vātsalya-bhakti.
itīdṛk sva-līlābhir ānanda-kuṇḍe
sva-ghoṣaṁ nimajjantam ākhyāpayantam
tadīyeśita-jñeṣu bhaktair jitatvaṁ
punaḥ prematas taṁ śatāvṛtti vande (3)
Through pastimes such as these, He drowns the residents of Gokula in pools of bliss, thereby informing people who are aware of His Godhood that He can only be conquered by His devotees. Hundreds of times, I again offer loving obeisance to Him.
varaṁ deva! mokṣaṁ na mokṣāvadhiṁ vā
na cānyaṁ vṛṇe ’haṁ vareśād apīha
idaṁ te vapur nātha! gopāla-bālaṁ
sadā me manasy āvirāstāṁ kim anyaiḥ (4)
O Deva, I do not ask for liberation [from this world], nor the highest liberation (of residence in Vaikuṇṭha). Nor do I seek any other benediction6 from You, the supreme benefactor. O Nātha! May this form of Yours as Bāla-gopāla (a little cowherd boy) in Vṛndāvana forever remain visible in my heart. What is the use of any other benediction?
idaṁ te mukhāmbhojam avyakta-nīlair
vṛtaṁ kuntalaiḥ snigdha-raktaiś ca gopyā
muhuś cumbitaṁ bimba-raktādharaṁ me
manasy āvirāstām alaṁ lakṣa-lābhaiḥ (5)
Your lotus-like face, encircled by soft, blackish-blue curly locks of hair that have a reddish glow, is repeatedly kissed by the gopī Śrī Yaśodā. May Your lotus face, with lips like red bimba-fruit, always remain manifest in my heart. I do not care about millions of other attainments.
namo deva! dāmodarānanta! viṣṇo!
prasīda prabho! duḥkha-jālābdhi-magnam
kṛpā-dṛṣṭi-vṛṣṭyāti-dīnaṁ batānu-
gṛhāṇeśa! mām ajñam edhy akṣi-dṛśyaḥ (6)
O Deva! O Dāmodara! O Ananta! O Viṣṇu! Obeisance unto You! O Prabhu, be pleased with me. I am drowning in an ocean of miseries. Alas, I am most afflicted and do not know what to do. O Īśa, shower me with Your merciful glance and kindly uplift me by becoming directly visible to my eyes.
kuverātmajau baddha-mūrtyaiva yadvat
tvayā mocitau bhakti-bhājau kṛtau ca
tathā prema-bhaktiṁ svakāṁ me prayaccha
na mokṣe graho me ’sti dāmodareha (7)
Just as You freed the two sons of Kuvera, even while bound around the belly, and made them recipients of devotion, similarly, please bestow upon me profuse prema-bhakti to You (in Your form as a little cowherd boy). O Dāmodara! I long for this alone; I do not want any other kind of liberation.
namas te ’stu dāmne sphurad-dīpti-dhāmne
tvadīyodarāyātha viśvasya dhāmne
namo rādhikāyai tvadīya priyāyai
namo ’nanta-līlāya devāya tubhyam (8)
O Dāmodara, I offer praṇāma to the rope binding Your belly, for it is an abode of brilliant effulgence. I offer praṇāma to Your belly, which is the mainstay of the entire universe. I offer praṇāma again and again to Śrīmatī Rādhikā, Your most beloved. And I offer praṇāma to You, my Divine Lord, who perform unlimited transcendental pastimes.
6 Na cānyam—others also—can refer either to the benediction of performing the nine limbs of bhakti or to achieving any other worthy attainment.
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Sri Sri Radha Londonisvara mandir, London 🇬🇧
11th November, 2018
Time and Tide waits for none. How great Kingdoms of the past that rules the land for generations vanish forever.
Mahan Singh son of Charhat Singh of the Sukkarchakkia misl, was young in years when his father died. During his minority, his mother, Mai Desan, carried on the administration, with the help of her brothers. As soon as he came of age, Mahan Singh embarked upon a career of conquest. He took the fort of Rohtas back from Nur ud-Din Bamezai. Aided by Jai Singh Kanhaiya, he advanced upon Rasulnagar. The powerful Chattha chief, Pir Muhammad, offered him stiff resistance, but was at last overcome. The town was occupied and renamed Ramnagar.
As Mahan Singh returned from his victorious campaign, he received the news of a son having been born to him on 13 November 1780. He named his son Ranjit Singh, Victor in War, and celebrated the event with great rejoicing. Continuing his campaign of conquest, Mahan Singh took Pindi Bhattian, Sahival,'Isa Khel and Jhang. He then seized Kotli Loharan, in the neighbourhood of Sialkot. In 1782, he, like his father, got involved in the affairs of Jammu. Taking advantage of the internecine feud between the Jammu brothers, he plundered the town, collecting a huge booty, which he refused to share with his partners, the Kanhaiyas. Mahan Singh won over Jassa Singh Ramgarhia to his side, and both of them challenged the Kanhaiyas near Batala. In the battle that followed, Jai Singh's only son, Gurbakhsh Singh, was killed, and the Kanhaiyas suffered a defeat. Later, Sada Kaur, widow of Gurbakhsh Singh, betrothed her daughter, Mahitab Kaur, to Mahan Singh's only son, Ranjit Singh.
Mahan Singh's next target was the Bhangi misl. He picked a quarrel with his brother-in-law, Sahib Singh Bhangi, after the death of his father, Gujjar Singh Bhangi. Sahib Singh shut himself up in the fort of Sodhra, which was invested by the Sukkarchakkia chief. During the protracted siege, Mahan Singh fell seriously ill with dysentery, and was forced to retire. He died in April 1790.
Baradari in Sheranwala Bagh, Gujranwala was built in 1788 on orders of Sardar Mahan Singh. Sheranwala Bagh destroyed by rioters in 1992 in the wake of the demolition of Babri Masjid in India. It is later restored by respective departments.
When I visited the site, I found an old man sleeping in middle of that Bardari. This scene was simple but made me lost for a while to think, how time clock turn around. From beginning of establishment of great Sikh Empire in Punjab and vanishing everything in two centuries….
This massive tomb stands in the locality of Kot Khwaja Saeed and is generally attributed to Prince Pervez, son of Emperor Jahangir. According to Kanhaiya Lal, Prince Pervez was buried in this tomb after he was slaughtered by the order of Asaf Khan, when he returned from Kashmir. However, this view is incorrect as Prince Pervez died at Burhanpur in his 37th year on October 28, 1625, from where his body was brought to Agra and buried in his garden there. Some accounts also attribute this tomb to Dara Shaikoh but Dara Shaikoh is reported to have been assassinated at Delhi and buried there in the complex of Humayun's tomb. According to Abdullah Chughtai, the area of the tomb was originally a garden owned by Prince Pervez and the surrounding area was known as Mandi Pervezabad. After the death of Prince Pervez, the garden was transferred to his daughter, Nadira Begum, wife of Prince Dara Shaikoh. According to Chughtai, Merh Shaikoh, son of Dara Shaikoh lies buried in this tomb; however, this statement has not been historically proven.
According to Latif, it was the burial place of Pervez's two sons who were murdered at Lahore along with other princes of royal blood, by the order of their uncle Shah Jahan, on his accession to the throne. Latif also does not provide any contemporary source for his information. Whosoever is buried there, it is apparent that he was a royal personality as the tomb has been built befitting to a royal status.
Details of the construction of the tomb are not known. However, some writers of the 19th century had made some reference to its history and architecture. Chishti wrote in 1864 that "originally, the tomb was wholly in white marble and its eight openings were furnished with marble door frames, but Maharaja Ranjit Singh removed all the marble to use it in the Darbar Sahib at Amritsar." Kanhaiya Lal, writing in 1884, records that "the tomb originally was in marble, including its floor. All its four sides had magnificent gates. Maharaja Ranjit Singh removed its marble and got it repaired in brick. The brick repairs done by Ranjit Singh had also decayed by his time, and the tomb was in a very bad condition of preservation and was then repaired by the British Government."
Latif described the tomb in 1892 as standing eminently in the midst of cultivated fields on a circular platform resting on another platform of octagonal base, of the height of a man. The dome rose gracefully from an octagonal platform duly supported by arches.
Muhammad-ud-Din Fauq visited the tomb in 1923 and according to him, "the tomb was octagonal in shape and the grave was set inside. The white marble Taweez (sarcophagus) was missing. To approach the grave, on the east, north, and south of the platform, there were two sets of stairs flight to the platforms, seven and five in numbers respectively. The platform was five feet high from the ground level. In front of the stairs, on the north, the floor of the terrace was badly in wreck. The ground around the platform was in depression. The traces of a canal were visible which led to the garden of Sardar Teja Singh."
Octagonal on plan with the inner diameter of 22 feet 2 inches and outer diameter of 31 feet 4 inches (wall thickness of 4 feet 7 inches), the tomb stands on double platform. The lower platform measures 95 feet 6 inches in length and the upper 66 feet 6 inches. Around the lower tier of the platform there are remains of kankar lime terrace about 3 to 4 inches thick. Modern houses have encroached over the whole area and on the west they even touch the structure of the lower platform. Kanhaiya Lal had mentioned that there were magnificent gates on all four sides of the tomb. Perhaps these gates were at the extremity of the terrace which might have been the base of the geometrical pattern brick pavement in hexagonal and octagonal forms, whose sufficient remains still exist on the lower and upper tiers of the platform. The structure of the tomb is built in small Lahori bricks of the size of 8 inches by 5¼ inches by 1 inch – a size of Shah Jahan’s period. The interior of the tomb was once decorated with the usual fresco work whose traces are still extant here and there. At the top of the platform, a terracotta frieze in two tiers in the form of a leaf design has been applied by the way of decoration. Such a terracotta decoration on a Mughal monument at Lahore is seldom met and is, therefore, rare. The dome appears to be single storey, but the measurement of height of the soffit in the interior and at the outer apex there is a difference of some 14 feet. From this, it can be inferred that actually it is a double dome, but the usual small opening which is provided between the two domes has not been kept for some reason or maybe it was blocked some time later. The tomb has a high neck like that of Ali Mardan Khan's tomb with which it has some similarity in expression. The possible date of its construction falls in the fourth decade of the 17th century – from 1630 to 1640.
The tomb is in a lamentable state of neglect. Its arches which take the load of the heavy dome are broken, and the structure is in danger of a sudden collapse. Most of the pavement on the interior and of the platforms has disappeared. The stairs to the platforms are mostly dilapidated and there is wild growth all over the dome itself which allows leakage of rain water to the core. Currently, the tomb is almost hemmed in by modern houses.
his well preserved baradari is located at Shiwala Chowk in Singhpura area of Bhogiwal. According to Kanhaiya Lal's Tarikh-e-Lahore written in 1884, it is the same baradari that houses Mian Khan's grave. Nawab Mian Khan was the son of Nawab Saadullah Khan who was the Prime Minister of Lahore under Shah Jahan.
Main Khan died in 1671 during the reign of Aurangzeb and was buried inside this baradari. Since he hailed from Chiniot in Punjab, and Chiniot being famous for having black stone, he used the same black stone in all of his constructions. At the time of its construction, hundreds of thousands of rupees were spent on this tomb. During the time of Sikh triumvirate in Lahore, this tomb and its garden became desolate. The marble and other precious stone were removed and bricks were stolen by brick sellers. For some time, the tomb structures came under possession of Sheikh Imam-ud-Din who removed a large number of black stone slabs from the main podium on which the baradari stands and used them in his haveli. By the time of Maharaja Ranjit Singh, the structure was in ruins but had still retained some beauty. Having found it without an owner, Raja Suchet Singh occupied it, repaired the surrounding walls, and planted a garden in its grounds. During his life-time, the place was known as Raja Suchet Singh's Bagh. During the British rule, it was put on auction and was bought by Nawab Ali Raza Khan Qazilbaksh for 2200 rupees.
Many a changes have taken place in the buildings that originally occupied the tomb garden. Some were taken down and rebuilt by Raja Suchet Singh while others were renovated by Nawab Ali Raza Khan. There was a gateway to the south which is no longer extant. Also lost are a square water tank with running waterfall and a beautiful mosque supporting a dome. There was also an "answering mosque" on the eastern side in exact same dimensions and style as the one on the western side. Only the mosque on the western side was used while the one on the eastern side was only for architectural symmetry.
On all four sides of the baradari, there is a large podium which is the height of a man. The floor of the podium is made of large slabs of black stone and infact, the whole podium including the sides are constructed of the same Chinioti black stone. In the middle of the main podium, there is another black stone podium of the height of 1/2 a yard on which the building of the baradari stands. In the middle of the baradari, there is another podium of the height of 6 inches upon which stood the marble sarcophagus of Mian Khan which was removed by Raja Suchet Singh and now only the podium remains.
Maharaja Kharak Singh (9 February 1801 - 5 November 1840) was the eldest son of Maharaja Ranjit Singh. Raised in the Sikh martial tradition he was , even as a child barely six years old, given the 'nominal' command of the Sheikhupura expedition (1807); was placed in charge of the kanhaiya estates in 1811 at the age of 10; and deputed in 1812 to punish the recalcitrant chiefs of Bhimbar and Rajauri. He was given the command of the Multan expedition (1818) as well as of Kashmir (1819). He was also sent on a similar campaigns undertaken by Ranjit Singh for the conquest of Peshawar and against the Mazaris of Shikarpur.
In 1812 at age 11 his was married to Chand Kaur, daughter of Jaimal Singh Kanhaiya.
Frail in both mental and physical constitution, he was given to using wine and opium, he ascended the throne in June 1839 on the death of his father. His father's powerful Wazir (chief minister), Dhian singh Dogra was an and ambitious man who immediately resented the sudden ascendancy of Kharak Singh's friend, his former tutor, Chet Singh Bajwa, a trusted Sikh courtier. The Dogra brothers, Dhian and Gulab Singh Dogra were Rajputs, Hindus who had cast their fortunes in Maharaja Ranjit Singh's court. They had worked hard to earn their positions of power and influence and had no intentions of seeing that power slip away. Dhian singh's brother had been made Raja of Jammu and intended to see his son one day occupy Ranjit Sing's Golden Gaddi.
So the brothers, masters of deception, spread rumors against the Maharaja and Chet Singh. It was wispered that both the Maharaja and Chet Singh were secretly planning to sell out the Punjab to the British, pay them six annas in every rupee of state revenue and, worse of all, disband the Sikh army. To fan their fire the Dogras had letters forged with their interception being discreetly arranged. Gulab Singh Dogra, Dhian Singh's elder brother, was charged to work upon Kharak Singh's son, Kanvar Nau Nihal Singh, then travelling in his company from Peshawar to Lahore. Misled by these fictitious tales, the young prince became estranged from his father.
With a majority of the Sikh court now turned against the new Maharaja, a plot to assassinate Chet Singh Bajwa was sent in motion on Oct. 9, 1839. Early that morning the conspirators entered the Maharaja's residence in the Fort and assassinated Chet Singh in the presence of their royal master, who vainly implored them to spare the life of his friend.
Maharaja Kharak singh was removed from the Fort and held in a Haveli, a prisoner in the hands of Dhian Singh. Kanvar Nau Nihal Singh was seemingly put in charge, but the Dogra vazir was once again in control. The Dogra Brothers enjoyed a moment of popularity having, it seemed, just saved the Sikh kingdom from the British. Dhian Singh rationalized Kharak Singh confinement, explaining the measures were neccessary to prevent his escaping to the British territory, joining several powerful Sikh Sardars who had recently crossed the Sutlej, fearing for their own lives, and returning with British help to regain his rightful throne.
Doses of mercury and another poison were administered to the Maharaja concealed in his food. The already sickly Karak Singh quickly grew sicker. He died November 5, 1840 with his son, who had never returned to visit his father, returning 'one last time' to light his father's funeral pyre.
Time and Tide waits for none. How great Kingdoms of the past that rules the land for generations vanish forever.
Mahan Singh son of Charhat Singh of the Sukkarchakkia misl, was young in years when his father died. During his minority, his mother, Mai Desan, carried on the administration, with the help of her brothers. As soon as he came of age, Mahan Singh embarked upon a career of conquest. He took the fort of Rohtas back from Nur ud-Din Bamezai. Aided by Jai Singh Kanhaiya, he advanced upon Rasulnagar. The powerful Chattha chief, Pir Muhammad, offered him stiff resistance, but was at last overcome. The town was occupied and renamed Ramnagar.
As Mahan Singh returned from his victorious campaign, he received the news of a son having been born to him on 13 November 1780. He named his son Ranjit Singh, Victor in War, and celebrated the event with great rejoicing. Continuing his campaign of conquest, Mahan Singh took Pindi Bhattian, Sahival,'Isa Khel and Jhang. He then seized Kotli Loharan, in the neighbourhood of Sialkot. In 1782, he, like his father, got involved in the affairs of Jammu. Taking advantage of the internecine feud between the Jammu brothers, he plundered the town, collecting a huge booty, which he refused to share with his partners, the Kanhaiyas. Mahan Singh won over Jassa Singh Ramgarhia to his side, and both of them challenged the Kanhaiyas near Batala. In the battle that followed, Jai Singh's only son, Gurbakhsh Singh, was killed, and the Kanhaiyas suffered a defeat. Later, Sada Kaur, widow of Gurbakhsh Singh, betrothed her daughter, Mahitab Kaur, to Mahan Singh's only son, Ranjit Singh.
Mahan Singh's next target was the Bhangi misl. He picked a quarrel with his brother-in-law, Sahib Singh Bhangi, after the death of his father, Gujjar Singh Bhangi. Sahib Singh shut himself up in the fort of Sodhra, which was invested by the Sukkarchakkia chief. During the protracted siege, Mahan Singh fell seriously ill with dysentery, and was forced to retire. He died in April 1790.
Baradari in Sheranwala Bagh, Gujranwala was built in 1788 on orders of Sardar Mahan Singh. Sheranwala Bagh destroyed by rioters in 1992 in the wake of the demolition of Babri Masjid in India. It is later restored by respective departments.
When I visited the site, I found an old man sleeping in middle of that Bardari. This scene was simple but made me lost for a while to think, how time clock turn around. From beginning of establishment of great Sikh Empire in Punjab and vanishing everything in two centuries….
This ancient mosque is located at the crossing of busy thoroughfares. Since there are one-way roads around the building, it is best to take Nisbet Road from Mayo Hospital Chowk, and turn towards Hall Road to the south.
You can view the modern entrance of the mosque in the middle of other structures, at the rear of which is located this old mosque, its lofty dome visible from Hall Road.
There is some controversy regarding the exact lifetime of Dai Lado. Latif places her as the wet nurse of Emperor Jahangir. However, Nur Ahmed Chishti's account seems plausible, according to which 'Lado Dai' was a midwife who delivered Shah Jahan, and rose to eminence during his reign. Shah Jahan called her Mai Lado, hence the alias she is remembered by. Shahjahanama (a chronicle of Shah Jahan period) mentions her as an extremely pious woman of the imperial entourage, who performed hajj during Shah Jahan's fourth regnal year. She was a devotee of Hazrat Salim Chishti, the celebrated saint whose sepulcher became the religious focus of emperor Akbar's new capital, Fatehpur Sikri.
Mai Lado built the mosque and a madrassah in her lifetime, building them in the midst of her estate and gardens, once known as Talla Muhallah (an area which encompassed the present Mayo Hospital, Serai Rattan Chand and Bharat Buildings). She and her husband were both buried in the courtyard of the mosque. After the death of her son, who died childless, the extensive property became waqf property and reverted to the emperor. However, according to Latif, the madrassah and mosque continued to function until the collapse of the Mughal Empire.
Kanhaiya Lal reports that during Ranjit Singh's reign, a Hindu jogi (mendicant) called Basant Gar occupied the mosque for 30 years. He established a shawala (a refuge) on one side and a thakurdawara on the other; however, during the British rule the mosque, for that seems to have been all that was left of Dai Lado's large estate, reverted to the Muslims—the remaining area having been taken over partly by missionaries, and partly for a medical college hostel.
The Emperor's Brother: Prince Pervez's and his tomb
Hidden in the ancient part of Lahore's Kot Khawaja Saeed is Prince Pervez's solitary tomb. Khawaja Saeed, after whom the area is named, was a Mahavat (Elephant Driver) of Prince Pervez.
Prince Pervez was Emperor Jahangir's son, and Shah Jehan's brother. While Shah Jehan is believed to have killed all of Pervez's son to eliminate future threats to his rule, he married his eldesr son Dara Shikoh to Prince Pervez's daughter, Nadira Begum.
The historian Kanhaiya Lal, whom we often refer to, as he is one of the most prominent 19th Century historians, says that Prince Pervez was buried in this tomb after he was slaughtered by the order of Asaf Khan (his father's brother in law and Empress Nur Jehan's brother, also Mumtaz Mahal's father) when he returned from Kashmir. However, this view is incorrect as Prince Pervez died at Burhanpur in his 37th year on October 28, 1625, from where his body was brought to Agra and buried in his garden there.
Some historians erroneously claim that this tomb holds the remains of Prince Dara Shikoh, the ill-fated crown prince of the Mughal Empire, but he was assassinated at Delhi and is buried there in the complex of Humayun's tomb.
According to Abdullah Chughtai, the area of the tomb was originally a garden owned by Prince Pervez and the surrounding area was known as Mandi Pervezabad. After the death of Prince Pervez, the garden was transferred to his daughter, Nadira Begum, wife of Prince Dara Shikoh. According to Chughtai, Merh Shikoh, son of Dara Shikoh lies buried in this tomb; however, this statement has not been historically proven. The remains of Dara Shikoh, and his son's, all brutally assasinated by Aurangzeb Alamgir, lie in absolute mystery and remain unanswered.
According to historian Latif, it was the burial place of Pervez's two sons who were murdered at Lahore along with other princes of royal blood, by the order of their uncle Shah Jahan, on his accession to the throne. Latif also does not provide any contemporary source for his information. Whosoever is buried there, it is apparent that he was a royal personality as the tomb has been built befitting to a royal status.
Details of the construction of the tomb are not known. However, some writers of the 19th century had made some reference to its history and architecture. Chishti wrote in 1864 that "originally, the tomb was wholly in white marble and its eight openings were furnished with marble door frames, but Maharaja Ranjit Singh removed all the marble to use it in the Darbar Sahib at Amritsar."
Kanhaiya Lal, writing in 1884, records that "the tomb originally was in marble, including its floor. All its four sides had magnificent gates. Maharaja Ranjit Singh removed its marble and got it repaired in brick. The brick repairs done by Ranjit Singh had also decayed by his time, and the tomb was in a very bad condition of preservation and was then repaired by the British Government."
Latif described the tomb in 1892 as standing eminently in the midst of cultivated fields on a circular platform resting on another platform of octagonal base, of the height of a man. Now the tomb stands in absolute fear among houses which have encroached upon it. In 2010, I was able to visit it, but last month (Jan 2014) it has been surrounded completely by houses and the only way to access it is to jump over its boundary wall or see it from a distant street. While it restricts visitors, I hope the walls protect the monument.
The dome rose gracefully from an octagonal platform duly supported by arches.
Muhammad-ud-Din Fauq visited the tomb in 1923 and according to him, "the tomb was octagonal in shape and the grave was set inside. The white marble Taweez (sarcophagus) was missing. To approach the grave, on the east, north, and south of the platform, there were two sets of stairs flight to the platforms, seven and five in numbers respectively. The platform was five feet high from the ground level. In front of the stairs, on the north, the floor of the terrace was badly in wreck. The ground around the platform was in depression. The traces of a canal were visible which led to the garden of Sardar Teja Singh."
Octagonal on plan with the inner diameter of 22 feet 2 inches and outer diameter of 31 feet 4 inches (wall thickness of 4 feet 7 inches), the tomb stands on double platform. The lower platform measures 95 feet 6 inches in length and the upper 66 feet 6 inches. Around the lower tier of the platform there are remains of kankar lime terrace about 3 to 4 inches thick. Lime/limestone plastering is a highlight of 16-17th Century Mughal architecture and Nawab Zafar Jang Kokaltash's Tomb in Mughalpura still has most of it in tact.
Modern houses have encroached over the whole area and on the west they even touch the structure of the lower platform. Kanhaiya Lal had mentioned that there were magnificent gates on all four sides of the tomb. Perhaps these gates were at the extremity of the terrace which might have been the base of the geometrical pattern brick pavement in hexagonal and octagonal forms, whose sufficient remains still exist on the lower and upper tiers of the platform. The structure of the tomb is built in small Lahori bricks of the size of 8 inches by 5¼ inches by 1 inch – a size of Shah Jahan’s period. The interior of the tomb was once decorated with the usual fresco work whose traces are still extant here and there. At the top of the platform, a terracotta frieze in two tiers in the form of a leaf design has been applied by the way of decoration. Such a terracotta decoration on a Mughal monument at Lahore is seldom met and is, therefore, rare. The dome appears to be single storey, but the measurement of height of the soffit in the interior and at the outer apex there is a difference of some 14 feet. From this, it can be inferred that actually it is a double dome, but the usual small opening which is provided between the two domes has not been kept for some reason or maybe it was blocked some time later. (Again, if you want to see such an opening, Zafar Jang's tomb offer that sight, but please do not climb in, as the structure is fragile!)
The tomb has a neck higher than Ali Mardan Khan's tomb with which it has some similarity in expression. The possible date of its construction falls in the fourth decade of the 17th century – from 1630 to 1640.
The tomb is in a lamentable state of neglect. Its arches which take the load of the heavy dome are broken, and the structure is in danger of a sudden collapse. Most of the pavement on the interior and of the platforms has disappeared. The stairs to the platforms are mostly dilapidated and there is wild growth all over the dome itself which allows leakage of rain water to the core. Currently, the tomb is almost hemmed in by modern houses.
Sonehri Mosque, also known as Masjid Talai (Talai=sonehri or golden), is a late-Mughal structure built by Nawab Bhikari Khan, son of Raushauddawla Turrabbaz Khan, Governor of Lahore during the viceroyalty of Mir Moin-ul-Mulk or Mir Mannu (d. 1753), well known for his victorious battle with Ahmad Shah Durrani in Sirhind (1748).
Bhikari Khan himself acted as confidante of Mir Mannu's wife, who, on the death of her husband, acted as regent for her infant son. Known for his piety, Bhikari Khan constructed his mosque in Chowk Kashmiri Bazaar. According to epigraphical evidence provided on the facade of the prayer chamber, the mosque was built in 1749. The somewhat irregular plan of the mosque and necessity of providing two access staircases was due to the constrained site conditions. Although he was permitted to occupy an open space in the chowk (square) he could not persuade the religious authorities to allow incorporation of an existing small mosque into the new structure. Historian and Engineer Kanhaiya Lal credits Deputy Commissioner Lahore, Captain Nisbet in bringing Bhikari Khan's concept to fruition one hundred years later, by demolishing the small mosque in question and incorporating the space within Sonehri Mosque compound.
Built on a raised vaulted platform about 11 feet above the surrounding level, the structure covers a rectangular area measuring 102 feet by 45 feet. The basement is composed of deep, narrow cells. A flight of sixteen steps has been provided against a small entrance gate on the east. An open courtyard measuring 65 feet by 43 feet, with an ablution tank 25 feet by 27 feet, has been provided in front of the prayer chamber, measuring 40 feet by 16 feet. The northeast and southeast corners of the prayer chamber have minarets which rise 46 feet 9 inches, crowned with blind pavilions. The eastern facade of the prayer chamber, including the corner minarets, is lime-plastered, with panels of various sizes which originally had fresco decoration.
The prayer chamber is a single-aisle 3-bay structure, surmounted by 3 distinctive copper domes carrying polished gilding, which due to its shine, is visible from a great distance. Its four minarets marking the four extremities are also capped by golden cupolas, and are a reconstruction since their collapse in the earthquake of 1905.
The prayer chamber is divided into three compartments by four centered cusped arches carried on jambs nearly three feet thick. The central bay, nearly square and measuring around 15 feet, is bigger than those flanking it. In the centre of the western wall is the mihrab, balanced by similar niches in each of the two side bays. Pointed arched openings are provided in the eastern facade. The entire interim is decorated with frescos work. However, much of it was badly repainted later.
The roof of the mosque carries double bulbous domes with a high neck at the springing level, on which there is a row of pseudo-acanthus leaves. The domes are crowned with pinnacles and gilded. The core of each dome is of masonry, over which a casing of wood has been applied. Copper plates have been fixed over the wooden casing. The central dome is the largest.
The foresight of Bhikari Khan in elevating the mosque above shops—the rent from shops providing a source of revenue—ensured the upkeep of the mosque even during most of the Sikh rule. It was only when the Garanth Sahib (Sikh Holy Book) was placed in the adjacent baoli (stepped well) of Ranjit Singh, that complaints of disturbance from the azan (Muslim call for prayers) began to be voiced by the Sikh community. The orders of Ranjit Singh for dispossessing the imam (the custodian of the mosque) and placing the Garanth in the mosque were received with dismay by the Muslim populace. According to Kanhaiya Lal it was the efforts of Fakir Aziz-ud-Din and Noor-ud-Din in enlisting support of Gullu Mashki (the watercarrier in high favour with Mahrani Jindan), to influence Ranjit Singh that resulted in the reversal of the Sikh ruler's decision. The undertaking given by the imam included reduced pitch of the azan and forfeiting the rent of the shops attached to the mosque.
These samadhis of the royal ladies of the Sikh Empire are situated within the grounds of the Islamia College at Civil Lines, just south west of the Chilla of Baba Farid Ganj Shakar. The samadhis are placed on a solid 10 feet high square platform. The original staircase was on the east end of the platform and led up to the samadhi of Maharani Nakain Kaur. Her samadhi is square in structure measuring 16 feet on each side surmounted by a fluted dome. The dome was topped by a metal finial, which is no longer extant. A door has been provided on each of the four sides. Inside, at the center was an 18 inches high and 3x3 feet wide platform on which was placed the stone urn containing the ashes of the second wife of Maharaja Ranjit Singh and mother of Kharak Singh. Her original name was Raj Kaur but she changed her name to Datar Kaur because Ranjit Singh's mother was also named Raj Kaur. She was married to the Maharaja in 1798 who lovingly addressed her as Mal Nakain. She died on 20 June 1838 and her samadhi was built around the same time.
South of the samadhi of Nakain Kaur, on the same platform is the samadhi of Maharani Chand Kaur, wife of Kharak Singh and mother of Naunehal Singh. Her samadhi is also square in construction and measures 16 feet on each side, similar to that of her mother-in-law's. Each of the four corners of the building are topped by small domed towers. In the center is a fluted dome similar to that of Nakain Kaur's samadhi, however; it was never topped with a finial and only the metal rod could be seen emanating from the top of the dome when Kanhaiya Lal wrote about them in 1884. Chand Kaur was married to Kharak Singh in 1812 at the age of 10. She claimed the throne of Lahore in November 1840 for about two and a half months following the deaths of her husband Kharak Singh and son Naunehal Singh. She challenged Sher Singh, the second son of Maharaja Ranjit Singh, on the grounds that her daughter in law, Kanvar Naunehal Singh's widow, Sahib Kaur, was pregnant and that she would assume regency on behalf of the unborn legal successor to her husband's throne. Sher Singh, winning support of a rival group at the court and of a section of the army, marched upon Lahore. In July 1841, Nau Nihal Singh's widow Sahib Kaur delivered a stillborn son. This ended whatever hopes Chand Kaur had of realizing her claims. She was killed on 11 June 1842 by her maids who had been appointed by Dhian Singh in collusion with Sher Singh.
Between these samadhis, to the west is another smaller samadhi belonging to Sahib Kaur, wife of Naunehal Singh. It is octagonal in shape, about half the height of the other two samadhis and topped by a smaller simpler dome. Naunehal Singh was married to Sahib Kaur in 1837 at the age of 16. She died in 1841.
Krishna’s flute is the symbol of freedom or pranava. He has preached prema, love, through his flute. He has created this world out of the sound of Omkara that emanates from his flute.
Samadhi of Sir Ganga Ram is located on Ravi Road, in the locality of Karim Park. It is an imposing structure built in 1927 in the style of a Mughal baradari and is topped by a raised bulbous dome. On the inside, it is a rather simple structure owing to renovation work following the damage done to the building during the riots of 1992, after the demolition of Babri Mosque in India. Currently, it is quickly being encroached upon and is in dire need of attention from the relevant authorities.Sir Ganga Ram's Samadhi
Sir Ganga Ram, the great son of Punjab, was born in 1851 in Mangtanwala, a small town about 64 km from Lahore. From the beginning, he proved to be a brilliant student and in 1869, he joined the Government College in Lahore on a scholarship. In 1871, he obtained a scholarship to the Thompson Engineering College at Roorkee, India. He graduated in 1873 and was awarded with a gold medal.
In 1873, he was appointed to Lahore in the engineering department, where he served under Rai Bahadur Kanhaiya Lal, the Executive Engineer, and author of the distinguished "History of Lahore". In 1885, he was appointed Assistant Engineer at Lahore. Here, he supervised the construction of the new High Court Building and the beautiful Lahore Cathedral. He occasionally officiated as Executive Engineer, and four years later became Special Engineer for the design and construction of Aitchison College, where he worked in conjunction with Bhai Ram Singh. Finally, once his work at Aitchison College was completed, Ganga Ram was promoted to the post of Executive Engineer of the Lahore Division, occupying the chair he had once sat in as a lowly student, but which he could now occupy in his own right. He held this position for the next twelve years, during which time he constructed the Lahore Museum, the Mayo School of Arts, the General Post Office, the Albert Victor Wing of Mayo Hospital, and the Government College Chemical Laboratory. The City of Lahore substantially owes its metalled streets, its paved lanes and its properly laid drains to Ganga Ram's unstinting efforts. In 1900, Ganga Ram was selected by Lord Curzon to act as Superintendent of Works in the Imperial Durbar to be held in Delhi in connection with the accession of King Edward VII.
In 1917, he applied for 23,000 acres of barren, unirrigated land in Montgomery District near Bari Doab Canal. The land was situated on higher ground and he could only water it by the lift irrigation system. He was successful in his endeavours, and his arid acres soon turned into tracts of rich soil. He was then leased another 40,000 acres of higher ground land for a period of seven years, which he was able to irrigate successfully once again. He constructed a hydro-electric station on the Bari Doab Canal, and was able to complete his project within the time limit given to him. By 1925, he had constructed 75 miles of irrigation channels, 625 miles of water courses, 45 bridges, 565 miles of village roads, and 121 miles of boundary roads, all at his own cost – the list of his achievements is endless. Altogether 89,000 acres of waste land had been developed successfully by this miracle worker. This was the biggest private enterprise of the kind, unknown and unthought-of in the country before. By now he was 70, and in 1922 he was recommended for a richly deserved knighthood by the then Governor of Punjab, Sir Edward Maclagan.
Sir Ganga Ram’s services to education included the establishment of the Lady Maclagan School for Girls and Punjab’s first college of commerce, Hailey College, was made possible by a donation of his residential building “Nabha House” opposite the University Grounds for exclusive use to establish a College of Commerce.
However, the most impressive charitable act of all performed by him was the construction of the Sir Ganga Ram Free Hospital. In 1921, he purchased a piece of land at the junction of Queen’s Road and Lawrence Road to construct a hospital building at a cost of Rupees 131,500 which was open to the needy, irrespective of caste or creed. In 1923 the hospital was taken over by the Ganga Ram Trust Society, and today it ranks second only to Mayo Hospital in its services to the people of Lahore.
In 1927, Sir Ganga Ram traveled to London where he suffered a heart attack and passed away at his London home. The cremation ceremony took place at the Golders Green Crematorium, and was attended by dignitaries befitting a man of his stature. His ashes were brought back to India by his son, and the main portion of these were scattered in the waters of the Ganges, where about ten thousand people attended the ceremony. The remaining ashes were then taken to Lahore, and the urn containing his ashes was bedecked with roses and jasmine blossoms. It was carried on the back of a magnificently caparisoned Kotul horse from his house to the Town Hall and then to his samadhi near Taxali Gate. The crowds chanted ‘Gharibon key wali ki jai’ (Long Live the Friend of the Poor) as the procession wended its way towards the old city. After his death and right up to 1947, on Baisakhi Day a great fair used to be held in honour of him.
A statue of Sir Ganga Ram once stood on Mall Road outside Lahore Museum. Saadat Hasan Manto, a famous Urdu writer, relates a shameful incident that occurred during the frenzy of religious riots of 1947 when an inflamed mob in Lahore, attacked the statue of Sir Ganga Ram. They first pelted the statue with stones; then smothered its face with coal tar. Then a man made a garland of old shoes and climbed up to put it round the neck of the statue. He was shot by the police and as he fell to the ground, ironically the mob shouted: “Let us rush him to Ganga Ram Hospital.”
Sir Ganga Ram was a great engineer and a great philanthropist and no doubt a great human being. He devoted his life to the service of the common man. Sir Ganga Ram is also known as “Father of Modern Lahore”, but unfortunately like many others we have forgotten this great man, the son of our soil. He was truly a legend. In the words of Sir Malcolm Hailey, the once Governor of Punjab, "he won like a hero and gave like a Saint". What he did for Lahore can never be forgotten.
Enjoy this performance by dancers Gopi Krishna and Sandhya from a 1955 Indian film "Jhanak Jhanak Payal Baaje" , here :
Old Monument
In DAV College
Now Islamia College Civil Lines
Lahore
Punjab
Pakistan
These are Nakain Kaur, Chand Kaur and Sahib Kaur's Samadhis. A brief history about these is as under........These samadhis of the royal ladies of the Sikh Empire are situated within the grounds of the Islamia College at Civil Lines, just south west of the Chilla of Baba Farid Ganj Shakar. The samadhis are placed on a solid 10 feet high square platform. The original staircase was on the east end of the platform and led up to the samadhi of Maharani Nakain Kaur. Her samadhi is square in structure measuring 16 feet on each side surmounted by a fluted dome. The dome was topped by a metal finial, which is no longer extant. A door has been provided on each of the four sides. Inside, at the center was an 18 inches high and 3x3 feet wide platform on which was placed the stone urn containing the ashes of the second wife of Maharaja Ranjit Singh and mother of Kharak Singh. Her original name was Raj Kaur but she changed her name to Datar Kaur because Ranjit Singh's mother was also named Raj Kaur. She was married to the Maharaja in 1798 who lovingly addressed her as Mal Nakain. She died on 20 June 1838 and her samadhi was built around the same time.
South of the samadhi of Nakain Kaur, on the same platform is the samadhi of Maharani Chand Kaur, wife of Kharak Singh and mother of Naunehal Singh. Her samadhi is also square in construction and measures 16 feet on each side, similar to that of her mother-in-law's. Each of the four corners of the building are topped by small domed towers. In the center is a fluted dome similar to that of Nakain Kaur's samadhi, however; it was never topped with a finial and only the metal rod could be seen emanating from the top of the dome when Kanhaiya Lal wrote about them in 1884. Chand Kaur was married to Kharak Singh in 1812 at the age of 10. She claimed the throne of Lahore in November 1840 for about two and a half months following the deaths of her husband Kharak Singh and son Naunehal Singh. She challenged Sher Singh, the second son of Maharaja Ranjit Singh, on the grounds that her daughter in law, Kanvar Naunehal Singh's widow, Sahib Kaur, was pregnant and that she would assume regency on behalf of the unborn legal successor to her husband's throne. Sher Singh, winning support of a rival group at the court and of a section of the army, marched upon Lahore. In July 1841, Nau Nihal Singh's widow Sahib Kaur delivered a stillborn son. This ended whatever hopes Chand Kaur had of realizing her claims. She was killed on 11 June 1842 by her maids who had been appointed by Dhian Singh in collusion with Sher Singh.
Between these samadhis, to the west is another smaller samadhi belonging to Sahib Kaur, wife of Naunehal Singh. It is octagonal in shape, about half the height of the other two samadhis and topped by a smaller simpler dome. Naunehal Singh was married to Sahib Kaur in 1837 at the age of 16. She died in 1841.
Presently, the samadhis are utilized for a debased function of a dispensary, a far cry from their original purpose of safeguarding the ashes of the royal ladies of the once proud rulers of Punjab.
Tomb of Jani Khan or Khan-i-Khanan is situated south of the road to Shalimar Gardens and to the southwest of garden of Mahabat Khan in Baghbanpura. The tomb was likely constructed during the reign of Mughal Emperor Muhammed Shah or his son Ahmed Shah. The dome is decorated with porcelain tiles of blue and yellow color. Some of the tile work is still extant. The pyramidal dome sits atop a low height neck which is decorated with pottery work in beautiful floral patterns similar to those seen on tomb of Sharf-un-Nisa Begum (Cypress Tomb), built in 1745. The tomb originally stood in a garden with a beautiful gateway but no trace of them exists now, the gateway having been dismantled in the late 1800s. Today, the remaining structure is hidden between some houses on a small plot of land bounded by a wall. The door to the enclosure is locked but i was able to access the enclosure by climbing over the wall.
The building, quadrangular in form, is provided with an arched entrance on each side, with an arcaded niche on either side. The corridors or galleries are supported by buttresses of brick-work and give the edifice a graceful and pleasing appearance. The buttresses, made from burnt bricks, are painted in yellow, red, and green with simple geometrical patterns. Presently, the arched entrances have been closed up with metallic fence with a door provided through one of the fenced in arches. Inside, the floor is covered with years of accumulated dust and debris and it is impossible to see any of the original flooring. The inside walls are however; some of the best preserved of the Mughal era tombs in Lahore. One can see panels of beautiful floral frescoes on the upper portions of the walls and the corner niches. Even the domed ceiling retains good portions of its floral frescoes laid out elegantly in geometrical patterns. There are three graves inside but due to the paucity of information, it is not known as to which one belongs to Jani Khan. Furthermore, there is even confusion about the personage of Jani Khan as the historians are not clear about who Jani Khan was.
Kanhaiya Lal, in his book Tarikh-e-Lahore attributes the tomb to Jani Khan, titled Intizam-ud-Daula, son of Nawab Qamar-ud-Din Khan, and elder brother of Moin-ul-Mulk, titled Mir Mannu. According to his account, Qamar-ud-Din Khan, minister of Emperor Muhammed Shah died while fighting Ahmed Shah Durrani in 1748. Following which, Jani Khan, along with his brother Moin-ul-Mulk launched a fierce attack and forced Ahmed Shah Durrani to return back to Kabul. Moin-ul-Mulk then became the governor of Punjab and appointed Jani Khan as Commander of the army. Jani Khan died in 1778 and was buried here. Latif gives a similar account of the occupant of the tomb but refers to him as Khan-i-Khanan, surnamed Yamin-ud-Daula. Latif also writes that Khan-i-Khanan came to Lahore to settle a dispute between his sister and Nawab Zakariya Khan, to whom she was married, and fell ill and died in Lahore in 1778.
This view is incorrect because Intizam-ud-Daula, the eldest son of Qamar-ud-Din Khan was assassinated in Delhi in 1759 on the orders Imad-ul-Mulk and could not be the Jani Khan in question here. Jani Khan was infact the father-in-law of Moin-ul-Mulk on the account of his daughter Mughlani Begum being married to Moin-ul-Mulk. Mughlani Begum, herself administered Lahore from 1754 - 1756 for her infant son after the death of Moin-ul-Mulk. Jani Khan was married to Dardana Begum, sister of Zakariya Khan and was therefore also brother-in-law to one of the most powerful and influential governors of Lahore . Yahya Khan, son of Zakariya Khan, after having been defeated by his brother Shah Nawaz in 1747, initially hid at his aunt Dardana Begum's house and then escaped to his maternal uncle and father-in-law Qamar-ud-din Khan (father of Moin-ul-Mulk) in Delhi. The following year in 1748, when Ahmed Shah Durrani invaded Lahore, Nawaz Shah escaped to Delhi. Emperor Muhammed Shah sent sent Qamar-ud-Din Khan with the crown prince Ahmed Shah to drive out Ahmed Shah Durrani. Qamar-ud-Din Khan died during the battle in 1748, however, Moin-ul-Mulk (who took command after his father's death) along with his father-in-law Jani Khan managed to defeat Durrani and regain seat of Lahore from the invader. The same year, Muhammed Shah died in Delhi and his son, Ahmed Shah made Moin-ul-Mulk governor of Lahore and returned to Delhi to take the throne. Jani Khan probably also died in the same battle or possibly a year after and was buried in Mir Mannu's garden near the family graveyard of his father-in-law Abdul Samad Khan.
Basjid Mai Lado
Front Chamber lane Road
Back Opposite First Gate Mayo Hospital
Lahore
Punjab
Pakistan
This ancient mosque is located at the crossing of busy thoroughfares. Since there are one-way roads around the building, it is best to take Nisbet Road from Mayo Hospital Chowk, and turn towards Hall Road to the south.
You can view the modern entrance of the mosque in the middle of other structures, at the rear of which is located this old mosque, its lofty dome visible from Hall Road.
There is some controversy regarding the exact lifetime of Dai Lado. Latif places her as the wet nurse of Emperor Jahangir. However, Nur Ahmed Chishti's account seems plausible, according to which 'Lado Dai' was a midwife who delivered Shah Jahan, and rose to eminence during his reign. Shah Jahan called her Mai Lado, hence the alias she is remembered by. Shahjahanama (a chronicle of Shah Jahan period) mentions her as an extremely pious woman of the imperial entourage, who performed hajj during Shah Jahan's fourth regnal year. She was a devotee of Hazrat Salim Chishti, the celebrated saint whose sepulcher became the religious focus of emperor Akbar's new capital, Fatehpur Sikri.
Mai Lado built the mosque and a madrassah in her lifetime, building them in the midst of her estate and gardens, once known as Talla Muhallah (an area which encompassed the present Mayo Hospital, Serai Rattan Chand and Bharat Buildings). She and her husband were both buried in the courtyard of the mosque. After the death of her son, who died childless, the extensive property became waqf property and reverted to the emperor. However, according to Latif, the madrassah and mosque continued to function until the collapse of the Mughal Empire.
Kanhaiya Lal reports that during Ranjit Singh's reign, a Hindu jogi (mendicant) called Basant Gar occupied the mosque for 30 years. He established a shawala (a refuge) on one side and a thakurdawara on the other; however, during the British rule the mosque, for that seems to have been all that was left of Dai Lado's large estate, reverted to the Muslims—the remaining area having been taken over partly by missionaries, and partly for a medical college hostel.
Lahore
Punjab
Pakistan
Mayo Hospital
one of the last few standing mandir in lahore. Bansi ka mandir...http://aliusmanbaig.blogspot.com/2018/05/bansi-mandir-anarkali-lahore.html
Bansi Mandir located in congested streets of Anarkali Bazaar.
The mandir itself is located within the courtyard of a massive haveli. At present, portions are rented out to various tenants and even the main building of the mandir is used as a home by one of the number of families here. This building would have been built during the colonial period by a prosperous family wanting to expand out of the congested walled city. Kanhaiya Lal and Latif don't mention it in their descriptions of Anarkali so it must have been built or completed after the 1890s.
The façade is a long one and lines the Anarkali bazaar. The decorative features on the main façade are broadly European but the central section has a traditional arch framed by pillars and contains an elaborate jharoka above the entrance. The wooden jharoka or balcony with its fine woodwork is still in good state of preservation. I could not able to take photo of that jhork. The stairs lead up to the courtyard, in the center of which is located the fine temple with plaster mouldings.
These samadhis of the royal ladies of the Sikh Empire are situated within the grounds of the Islamia College at Civil Lines, just south west of the Chilla of Baba Farid Ganj Shakar. The samadhis are placed on a solid 10 feet high square platform. The original staircase was on the east end of the platform and led up to the samadhi of Maharani Nakain Kaur. Her samadhi is square in structure measuring 16 feet on each side surmounted by a fluted dome. The dome was topped by a metal finial, which is no longer extant. A door has been provided on each of the four sides. Inside, at the center was an 18 inches high and 3x3 feet wide platform on which was placed the stone urn containing the ashes of the second wife of Maharaja Ranjit Singh and mother of Kharak Singh. Her original name was Raj Kaur but she changed her name to Datar Kaur because Ranjit Singh's mother was also named Raj Kaur. She was married to the Maharaja in 1798 who lovingly addressed her as Mal Nakain. She died on 20 June 1838 and her samadhi was built around the same time.
South of the samadhi of Nakain Kaur, on the same platform is the samadhi of Maharani Chand Kaur, wife of Kharak Singh and mother of Naunehal Singh. Her samadhi is also square in construction and measures 16 feet on each side, similar to that of her mother-in-law's. Each of the four corners of the building are topped by small domed towers. In the center is a fluted dome similar to that of Nakain Kaur's samadhi, however; it was never topped with a finial and only the metal rod could be seen emanating from the top of the dome when Kanhaiya Lal wrote about them in 1884. Chand Kaur was married to Kharak Singh in 1812 at the age of 10. She claimed the throne of Lahore in November 1840 for about two and a half months following the deaths of her husband Kharak Singh and son Naunehal Singh. She challenged Sher Singh, the second son of Maharaja Ranjit Singh, on the grounds that her daughter in law, Kanvar Naunehal Singh's widow, Sahib Kaur, was pregnant and that she would assume regency on behalf of the unborn legal successor to her husband's throne. Sher Singh, winning support of a rival group at the court and of a section of the army, marched upon Lahore. In July 1841, Nau Nihal Singh's widow Sahib Kaur delivered a stillborn son. This ended whatever hopes Chand Kaur had of realizing her claims. She was killed on 11 June 1842 by her maids who had been appointed by Dhian Singh in collusion with Sher Singh.
Between these samadhis, to the west is another smaller samadhi belonging to Sahib Kaur, wife of Naunehal Singh. It is octagonal in shape, about half the height of the other two samadhis and topped by a smaller simpler dome. Naunehal Singh was married to Sahib Kaur in 1837 at the age of 16. She died in 1841.
This well preserved baradari is located at Shiwala Chowk in Singhpura area of Bhogewal. According to Kanhaiya Lal's Tarikh-e-Lahore written in 1884, it is the same baradari that houses Mian Khan's grave. Nawab Mian Khan was the son of Nawab Saadullah Khan who was the Prime Minister of Lahore under Shah Jahan.
Main Khan died in 1671 during the reign of Aurangzeb and was buried inside this baradari. Since he hailed from Chiniot in Punjab, and Chiniot was famous for having black stone, he used the same black stone in all of his constructions. At the time of its construction, hundreds of thousands of rupees were spent on this tomb. During the time of Sikh triumvirate in Lahore, this tomb and its garden became desolate. The marble and other precious stone were removed and bricks were stolen by brick sellers. For some time, the tomb structures came under possession of Sheikh Imam-ud-Din who removed a large number of black stone slabs from the main podium on which the baradari stands and used them in his haveli. By the time of Maharaja Ranjit Singh, the structure was in ruins but had still retained some beauty. Having found it without an owner, Raja Suchet Singh occupied it, repaired the surrounding walls, and planted a garden in its grounds. During his life-time, the place was known as Raja Suchet Singh's Bagh. During the British rule, it was put on auction and was bought by Nawab Ali Raza Khan Qazilbaksh for 2200 rupees.
Many a changes have taken place in the buildings that originally occupied the tomb garden. Some were taken down and rebuilt by Raja Suchet Singh while others were renovated by Nawab Ali Raza Khan. There was a gateway to the south which is no longer extant. Also lost are a square water tank with running waterfall and a beautiful mosque supporting a dome. There was also an "answering mosque" on the eastern side in exact same dimensions and style as the one on the western side. Only the mosque on the western side was used while the one on the eastern side was only for architectural symmetry.
On all four sides of the baradari, there is a large podium which is the height of a man. The floor of the podium is made of large slabs of black stone and infact, the whole podium including the sides are constructed of the same Chinioti black stone. In the middle of the main podium, there is another black stone podium of the height of 1/2 a yard on which the building of the baradari stands. In the middle of the baradari, there is another podium of the height of 6 inches upon which stood the marble sarcophagus of Mian Khan which was removed by Raja Suchet Singh and now only the podium remains.
Sikh Stamps : Sikh Personalities on Indian Stamps : Sikh Thematic Indian Philately www.singhsahib.com/sikh-stamps/
Old Monument
In DAV College
Now Islamia College Civil Lines
Lahore
Punjab
Pakistan
These are Nakain Kaur, Chand Kaur and Sahib Kaur's Samadhis. A brief history about these is as under........These samadhis of the royal ladies of the Sikh Empire are situated within the grounds of the Islamia College at Civil Lines, just south west of the Chilla of Baba Farid Ganj Shakar. The samadhis are placed on a solid 10 feet high square platform. The original staircase was on the east end of the platform and led up to the samadhi of Maharani Nakain Kaur. Her samadhi is square in structure measuring 16 feet on each side surmounted by a fluted dome. The dome was topped by a metal finial, which is no longer extant. A door has been provided on each of the four sides. Inside, at the center was an 18 inches high and 3x3 feet wide platform on which was placed the stone urn containing the ashes of the second wife of Maharaja Ranjit Singh and mother of Kharak Singh. Her original name was Raj Kaur but she changed her name to Datar Kaur because Ranjit Singh's mother was also named Raj Kaur. She was married to the Maharaja in 1798 who lovingly addressed her as Mal Nakain. She died on 20 June 1838 and her samadhi was built around the same time.
South of the samadhi of Nakain Kaur, on the same platform is the samadhi of Maharani Chand Kaur, wife of Kharak Singh and mother of Naunehal Singh. Her samadhi is also square in construction and measures 16 feet on each side, similar to that of her mother-in-law's. Each of the four corners of the building are topped by small domed towers. In the center is a fluted dome similar to that of Nakain Kaur's samadhi, however; it was never topped with a finial and only the metal rod could be seen emanating from the top of the dome when Kanhaiya Lal wrote about them in 1884. Chand Kaur was married to Kharak Singh in 1812 at the age of 10. She claimed the throne of Lahore in November 1840 for about two and a half months following the deaths of her husband Kharak Singh and son Naunehal Singh. She challenged Sher Singh, the second son of Maharaja Ranjit Singh, on the grounds that her daughter in law, Kanvar Naunehal Singh's widow, Sahib Kaur, was pregnant and that she would assume regency on behalf of the unborn legal successor to her husband's throne. Sher Singh, winning support of a rival group at the court and of a section of the army, marched upon Lahore. In July 1841, Nau Nihal Singh's widow Sahib Kaur delivered a stillborn son. This ended whatever hopes Chand Kaur had of realizing her claims. She was killed on 11 June 1842 by her maids who had been appointed by Dhian Singh in collusion with Sher Singh.
Between these samadhis, to the west is another smaller samadhi belonging to Sahib Kaur, wife of Naunehal Singh. It is octagonal in shape, about half the height of the other two samadhis and topped by a smaller simpler dome. Naunehal Singh was married to Sahib Kaur in 1837 at the age of 16. She died in 1841.
Presently, the samadhis are utilized for a debased function of a dispensary, a far cry from their original purpose of safeguarding the ashes of the royal ladies of the once proud rulers of Punjab.
Once the world was overburdened by the unnecessary defense force of different kings, who were actually demons, but were posing themselves as the royal order. At that time, the whole world became perturbed, and the predominating deity of this earth, known as Bhūmi, went to see Lord Brahmā to tell of her calamities due to the demoniac kings. Bhūmi assumed the shape of a cow and presented herself before Lord Brahmā with tears in her eyes. She was bereaved and was weeping just to invoke the Lord's compassion. She related the calamitous position of the earth, and after hearing this, Lord Brahmā became much aggrieved, and he at once started for the ocean of milk, where Lord Viṣṇu resides. Lord Brahmā was accompanied by all the demigods headed by Lord Śiva, and Bhūmi also followed. Arriving on the shore of the milk ocean, Lord Brahmā began to pacify the Lord Viṣṇu who formerly saved the earthly planet by assuming the transcendental form of a boar.
In the Vedic mantras, there is a particular type of prayer called Puruṣa-sūkta. Generally, the demigods offer their obeisances unto Viṣṇu, the Supreme Personality of Godhead, by chanting the Puruṣa-sūkta. It is understood herein that the predominating deity of every planet can see the supreme lord of this universe, Brahmā, whenever there is some disturbance in his planet. And Brahmā can approach the Supreme Lord Viṣṇu, not by seeing Him directly, but by standing on the shore of the ocean of milk. There is a planet within this universe called Śvetadvīpa, and on that planet there is an ocean of milk. It is understood from various Vedic literatures that just as there is the ocean of salt water within this planet, there are various kinds of oceans in other planets. Somewhere there is an ocean of milk, somewhere there is an ocean of oil, and somewhere there is an ocean of liquor and many other types of oceans. Puruṣa-sūkta is the standard prayer which the demigods recite to appease the Supreme Personality of Godhead, Kṣīrodakaśāyī-Viṣṇu. Because He is lying on the ocean of milk, He is called Kṣīrodakaśāyī-Viṣṇu. He is the Supreme Personality of Godhead, through whom all the incarnations within this universe appear.
After all the demigods offered the Puruṣa-sūkta prayer to the Supreme Personality of Godhead, they apparently heard no response. Then Lord Brahmā personally sat in meditation, and there was a message- transmission from Lord Viṣṇu to Brahmā. Brahmā then broadcast the message to the demigods. That is the system of receiving Vedic knowledge. The Vedic knowledge is received first by Brahmā from the Supreme Personality of Godhead, through the medium of the heart. As stated in the beginning of Śrīmad-Bhāgavatam, tene brahma hṛdā: the transcendental knowledge of the Vedas was transmitted to Lord Brahmā through the heart. Here also, in the same way, only Brahmā could understand the message transmitted by Lord Viṣṇu, and he broadcast it to the demigods for their immediate action. The message was: the Supreme Personality of Godhead will appear on the earth very soon along with His supreme powerful potencies, and as long as He remains on the earth planet to execute His mission of annihilating the demons and establishing the devotees, the demigods should also remain there to assist Him. They should all immediately take birth in the family of the Yadu dynasty, wherein the Lord will also appear in due course of time.
The Supreme Personality of Godhead Himself, Kṛṣṇa, personally appeared as the son of Vasudeva. Before He appeared, all the demigods, along with their wives, appeared in different pious families in the world just to assist the Lord in executing His mission. The exact word used here is tatpriyārtham, which means the demigods should appear on the earth in order to please the Lord. In other words, any living entity who lives only to satisfy the Lord is a demigod. The demigods were further informed that the plenary portion of Lord Kṛṣṇa, Ananta, who is maintaining the universal planets by extending His millions of hoods, would also appear on earth before Lord Kṛṣṇa's appearance. They were also informed that the external potency of Viṣṇu (māyā), with whom all the conditioned souls are enamored, would also appear just to execute the purpose of the Supreme Lord.
After instructing and pacifying all the demigods, as well as Bhūmi, with sweet words, Lord Brahmā, the father of all prajāpatis, or progenitors of universal population, departed for his own abode, the highest material planet, called Brahmaloka.
The leader of the dynasty, King Śūrasena, was ruling over the country known as Mathurā (the district of Mathurā), as well as the district known as Śūrasena. On account of the rule of King Śūrasena, Mathurā became the capital city of all the kings of the Yadus. Mathurā was also made the capital of the kings of the Yadu dynasty because the Yadus were a very pious family and knew that Mathurā is the place where Lord Śrī Kṛṣṇa lives eternally, just as He also lives in Dvārakā.
Once upon a time, Vasudeva, the son of Śūrasena, just after marrying Devakī, was going home on his chariot with his newly wedded wife. The father of Devakī, known as Devaka, had contributed a sufficient dowry because he was very affectionate toward his daughter. He had contributed hundreds of chariots completely decorated with gold equipment. At that time, Kaṁsa, the son of Ugrasena, in order to please his sister, Devakī, had voluntarily taken the reins of the horses of Vasudeva's chariot and was driving. According to the custom of the Vedic civilization, when a girl is married, the brother takes the sister and brother-in-law to their home. Because the newly married girl may feel too much separation from her father's family, the brother goes with her until she reaches her father-in- law's house. The full dowry contributed by Devaka was as follows: 400 elephants fully decorated with golden garlands, 15,000 decorated horses, and 1800 chariots. He also arranged for two hundred beautiful girls to follow his daughter. The kṣatriya system of marriage, still current in India, dictates that when a kṣatriya is married, a few dozen of the bride's young girlfriends (in addition to the bride) go to the house of the king. The followers of the queen are called maidservants, but actually they act as friends of the queen. This practice is prevalent from time immemorial, traceable at least to the time before the advent of Lord Kṛṣṇa 5,000 years ago. So Vasudeva brought home another two hundred beautiful girls along with his wife.
While the bride and bridegroom were passing along on the chariot, there were different kinds of musical instruments playing to indicate the auspicious moment. There were conchshells, bugles, drums and kettledrums; combined together, they were vibrating a nice concert. The procession was passing very pleasingly, and Kaṁsa was driving the chariot, when suddenly there was a miraculous sound vibrated from the sky which especially announced to Kaṁsa: "Kaṁsa: you are such a fool. You are driving the chariot of your sister and your brother-in-law, but you do not know that the eighth child of this sister will kill you."
Kaṁsa was the son of Ugrasena, of the Bhoja dynasty. It is said that Kaṁsa was the most demonic of all the Bhoja dynasty kings. Immediately after hearing the prophecy from the sky, he caught hold of Devakī's hair and was just about to kill her with his sword. Vasudeva was astonished at Kaṁsa's behavior, and in order to pacify the cruel, shameless brother-in- law, he began to speak as follows, with great reason and evidence. He said, "My dear brother-in-law Kaṁsa, you are the most famous king of the Bhoja dynasty, and people know that you are the greatest warrior and a valiant king. How is it that you are so infuriated that you are prepared to kill a woman who is your own sister at this auspicious time of her marriage? Why should you be so much afraid of death? Death is already born along with your birth. From the very day you took your birth, you began to die. Suppose you are twenty-five years old; that means you have already died twenty-five years. Every moment, every second, you are dying. Why then should you be so much afraid of death? Final death is inevitable. You may die either today or in a hundred years; you cannot avoid death. Why should you be so much afraid? Actually, death means annihilation of the present body. As soon as the present body stops functioning and mixes with the five elements of material nature, the living entity within the body accepts another body, according to his present action and reaction. It is just as when a man walks on the street; he puts forward his foot, and when he is confident that his foot is situated on sound ground, he lifts the other foot. In this way, one after another, the body changes and the soul transmigrates. See how the plantworms change from one twig to another so carefully! Similarly, the living entity changes his body as soon as the higher authorities decide on his next body. As long as a living entity is conditioned within this material world, he must take material bodies one after another. His next particular body is offered by the laws of nature, according to the actions and reactions of this life.
"This body is exactly like one of the bodies which we always see in dreams. During our dream of sleep, we create so many bodies according to mental creation. We have seen gold and we have also seen a mountain, so in a dream we can see a golden mountain by combining the two ideas. Sometimes in dreams, we see that we have a body which is flying in the sky, and at that time we completely forget our present body. Similarly, these bodies are changing. When you have one body, you forget the past body. During a dream, we may make contact with so many new kinds of bodies, but when we are awake we forget them all. And actually these material bodies are the creations of our mental activities. But at the present moment we do not recollect our past bodies.
"The nature of the mind is flickering. Sometimes it accepts something, and immediately it rejects the same thing. Accepting and rejecting is the process of the mind in contact with the five objects of sense gratification: form, taste, smell, sound, and touch. In its speculative way, the mind comes in touch with the objects of sense gratification, and when the living entity desires a particular type of body, he gets it. Therefore, the body is an offering by the laws of material nature. The living entity accepts a body and comes out again into the material world to enjoy or suffer according to the construction of the body. Unless we have a particular type of body, we cannot enjoy or suffer according to our mental proclivities inherited from the previous life. The particular type of body is actually offered to us according to our mental condition at the time of death.
"The luminous planets like the sun, moon or the stars reflect themselves in different types of reservoirs, like water, oil or ghee. The reflection moves according to the movement of the reservoir. The reflection of the moon is on the water, and the moving water makes the moon also appear to be moving, but actually the moon is not moving. Similarly, by mental concoction, the living entity attains different kinds of bodies, although actually he has no connection with such bodies. But on account of illusion, being enchanted by the influence of māyā, the living entity thinks that he belongs to a particular type of body. That is the way of conditioned life. Suppose a living entity is now in a human form of body. He thinks that he belongs to the human community, or a particular country or particular place. He identifies himself in that way and unnecessarily prepares for another body which is not required by him. Such desires and mental concoctions are the cause of different types of body. The covering influence of material nature is so strong that the living entity is satisfied in whatever body he gets, and he identifies with that body with great pleasure. Therefore, I beg to request you not to be overwhelmed by the dictation of your mind and body."
Vasudeva thus requested Kaṁsa not to be envious of his newly married sister. One should not be envious of anyone, because envy is the cause of
fear both in this world and in the next when one is before Yamarāja (the lord of punishment after death). Vasudeva appealed to Kaṁsa on behalf of Devakī, stating that she was his younger sister. He also appealed at an auspicious moment, at the time of marriage. A younger sister or brother are supposed to be protected as one's children. "The position is overall so delicate," Vasudeva reasoned, "that if you kill her, it will go against your high reputation."
Vasudeva tried to pacify Kaṁsa by good instruction as well as by philosophical discrimination, but Kaṁsa was not to be pacified because his association was demoniac. Because of his demoniac associations, he was always a demon, although born in a very high royal family. A demon never cares for any good instruction. He is just like a determined thief: one can give him moral instruction, but it will not be effective. Similarly, those who are demoniac or atheistic by nature can hardly assimilate any good instruction, however authorized it may be. That is the difference between demigod and demon. Those who can accept good instruction and try to live their lives in that way are called demigods, and those who are unable to take such good instruction are called demons. Failing in his attempt to pacify Kaṁsa, Vasudeva wondered how he would protect his wife Devakī. When there is imminent danger, an intelligent person should try to avoid the dangerous position as far as possible. But if, in spite of endeavoring by all intelligence, one fails to avoid the dangerous position, there is no fault on his part. One should try his best to execute his duties, but if the attempt fails, he is not at fault.
Vasudeva thought of his wife as follows: "For the present let me save the life of Devakī, then later on, if there are children, I shall see how to save them." He further thought, "If in the future I get a child who can kill Kaṁsa--just as Kaṁsa is thinking--then both Devakī and the child will be saved because the law of Providence is inconceivable. But now, some way or other, let me save the life of Devakī."
There is no certainty how a living entity contacts a certain type of body, just as there is no certainty how the blazing fire comes in contact with a certain type of wood in the forest. When there is a forest fire, it is experienced that the blazing fire sometimes leaps over one tree and catches another by the influence of the wind. Similarly, a living entity may be very careful and fearful in the matter of executing his duties, but it is still very difficult for him to know what type of body he is going to get in the next life. Mahārāja Bharata was very faithfully executing the duties of self-realization, but by chance he contacted temporary affection for a deer, and he had to accept his next life in the body of a deer.
Vasudeva, after deliberating on how to save his wife, began to speak to Kaṁsa with great respect, although Kaṁsa was the most sinful man. Sometimes it happens that a most virtuous person like Vasudeva has to flatter a person like Kaṁsa, a most vicious person. That is the way of all diplomatic transactions. Although Vasudeva was deeply aggrieved, he presented himself outwardly as cheerful. He addressed the shameless Kaṁsa in that way because he was so atrocious. Vasudeva said to Kaṁsa, "My dear brother-in-law, please consider that you have no danger from your sister. You are awaiting some danger because you have heard a prophetic voice in the sky. But the danger is to come from the sons of your sister, who are not present now. And who knows? There may or may not be sons in the future. Considering all this, you are safe for the present. Nor is there cause of fear from your sister. If there are any sons born of her, I promise that I shall present all of them to you for necessary action."
Kaṁsa knew the value of Vasudeva's word of honor, and he was convinced by his argument. For the time being, he desisted from the heinous killing of his sister. Thus Vasudeva was pleased and praised the decision of Kaṁsa. In this way, he returned to his home.
After due course of time, Vasudeva and Devakī gave birth to eight male children, as well as one daughter. When the first son was born, Vasudeva kept his word of honor and immediately brought the child before Kaṁsa. It is said that Vasudeva was very much elevated and famous for his word of honor, and he wanted to maintain this fame. Although it was very painful for Vasudeva to hand over the newly born child, Kaṁsa was very glad to receive him. But he became a little compassionate with the behavior of Vasudeva. This event is very exemplary. For a great soul like Vasudeva, there is nothing considered to be painful in the course of discharging one's duty. A learned person like Vasudeva carries out his duties without hesitation. On the other hand, a demon like Kaṁsa never hesitates in committing any abominable action. It is said, therefore, that a saintly person can tolerate all kinds of miserable conditions of life, a learned man can discharge his duties without awaiting favorable circumstances, a heinous person like Kaṁsa can act in any sinful way, and a devotee can sacrifice everything to satisfy the Supreme Personality of Godhead.
Kaṁsa became satisfied by the action of Vasudeva. He was surprised to see Vasudeva keeping his promise, and being compassionate upon him and pleased, he began to speak as follows: "My dear Vasudeva, you need not present this child to me. I am not in danger from this child. I have heard that the eighth child born of you and Devakī will kill me. Why should I accept this child unnecessarily? You can take him back."
When Vasudeva was returning home with his first-born child, although he was pleased by the behavior of Kaṁsa, he could not believe in him because he knew that Kaṁsa was uncontrolled. An atheistic person cannot be firm in his word of honor. One who cannot control the senses cannot be steady in his determination. The great politician, Cāṇakya Paṇḍit, said, "Never put your trust in a diplomat or in a woman." Those who are addicted to unrestricted sense gratification can never be truthful, nor can they be trusted with any faith.
At that time the great sage Nārada came to Kaṁsa. He was informed of Kaṁsa's becoming compassionate to Vasudeva and returning his first- born child. Nārada was very anxious to accelerate the descent of Lord Kṛṣṇa as soon as possible. He therefore informed Kaṁsa that personalities like Nanda Mahārāja and all the cowherd men and girls and the wives of the cowherd men in Vṛndāvana, and, on the other side, Vasudeva, his father Śūrasena and all his relatives born in the family of Vṛṣṇi of the Yadu Dynasty, were preparing for the appearance of the Lord. Nārada warned Kaṁsa to be careful of the friends and well-wishers and all the demigods taking birth in those families. Kaṁsa and his friends and advisors were all demons. Demons are always afraid of demigods. After being thus informed by Nārada about the appearance of the demigods in different families, Kaṁsa at once became alert. He understood that since the demigods had already appeared, Lord Viṣṇu must be coming soon. He at once arrested both his brother-in-law Vasudeva and Devakī and put them behind prison bars.
Within the prison, shackled in iron chains, Vasudeva and Devakī gave birth to a male child year after year, and Kaṁsa, thinking each of the babies to be the incarnation of Viṣṇu, killed them one after another. He was particularly afraid of the eighth child, but after the visit of Nārada, he came to the conclusion that any child might be Kṛṣṇa. Therefore it was better to kill all the babies who took birth of Devakī and Vasudeva.
This action of Kaṁsa is not very difficult to understand. There are many instances in the history of the world of persons in the royal order who have killed father, brother, or a whole family and friends for the satisfaction of their ambitions. There is nothing astonishing about this, for the demoniac can kill anyone for their nefarious ambitions.
Kaṁsa was made aware of his previous birth by the grace of Nārada. He learned that in his previous birth he was a demon of the name Kālanemi and that he was killed by Viṣṇu. Having taken his birth in the Bhoja family, he decided to become the deadly enemy of the Yadu dynasty; Kṛṣṇa was going to take birth in that family, and Kaṁsa was very much afraid that he would be killed by Kṛṣṇa, just as he was killed in his last birth.
He first of all imprisoned his father Ugrasena because he was the chief king among the Yadu, Bhoja, and Andhaka dynasties, and he also occupied the kingdom of Śūrasena, Vasudeva's father. He declared himself the king of all such places.
Thus ends the Bhaktivedanta purport of the First Chapter of Kṛṣṇa, "Advent of Lord Kṛṣṇa."
- The Krsna book
by Srila A C Bhaktivedanta Swami Prabhupad
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Sri Sri Londonisvara mandir, London 🇬🇧
3rd September, 2018
One of the most humble kind courteous human being , a great versatile actor ..I have known Bhaiji as he is fondly called since 1975 .. and he has always supported me and we share a great rapport..
From Wikipedia, the free encyclopedia
Kiran Kumar (Kashmiri: किरण कुमार (Devanagari), کرن کمار (Nastaleeq)) is a Mumbai-based Kashmiri Indian actor. He has worked in many Hindi and Gujarati films. He has been the hero in most of the Gujarati movies.[citation needed] He is the son of veteran character actor Jeevan.
Kiran Dhar (stage name- Kiran Kumar) is a descendant of a Kashmir royal family.He is the son of legendary character actor Jeevan. He is married to a Gujarati actress Sushma Verma.[citation needed] They have two children: Vikas Kumar who was working with David Dhawan as an Assistant Director and Srishti, who is a Mass Media graduate and runs a jewellery and clothing label with her mother called "Sush & Shish".
Kiran is a Kashmiri by birth and has ties with the Royal Family by virtue of being the grand son of the Vazir-e-Vazarat of Gilgit.[1] He is a devout believer of Sai baba and has a production house named after the saint- "Sainama Visions"
Recently he has been honoured with the life membership of International Film And Television Club of Asian Academy Of Film & Television
He is a member of CINTAA and is a part of the core committee. He was responsible, along with others, in organising the "Star CINTAA superstars ka jalwa" - a televised event that brought the entire hindi film and television industry together to perform and raise funds for CINTAA.
[edit]Career
He attended Daly College, a boarding school in Indore. He enrolled at R. D. National College in Bandra, Mumbai, and later joined the Film and Television Institute of India (FTTI) in Pune.[1] As a young boy it was the film industry which drew him because of his father's association with it.[citation needed] Kumar starred in Do Boond Pani in 1971, and went on to play the lead in several movies. Due to bad decisions to choose roles his career saw a slump with the onset of movies like jungle mein mangal and other such oddball films. During this phase Kumar started to work in Gujarati movies, where he quickly reached cult status getting him the "Bachhan of Gujarati cinema" title. Rakesh Roshan's "Khudgarz" got him back to Hindi cinema, and then on negative roles in films like "Tezaab" and "Khuda Gawah" won him accolades as an antihero.
Sunil Mehta's Prem Kishan was his first television serial. He's established himself as a reining star in the television industry with serials like Zindagi, Ghutan, Sahil, Manzil, Katha Sagar, Aur Phir ek Din, Papa, miilee, chhajje chajje ka pyar and more.
He was in the process of starting a production house called "Sainama Visions" for which the pilot episode of a show called "Aashiana" was also shot.
[edit]Films
Om Allah (2011)
Aseema: Beyond Boundaries (2009)
Aisi Deewangi (2009) (credit only) .... SP Jaidev Rana
Modh (2009)
Love Has No Language (2008) .... Mr Roy
Mr. White Mr. Black (2008)
Sandwich (2006) .... Balbir Singh
Dosti: Friends Forever (2005) .... Thapar
Chetna: The Excitement (2005) .... Jairaj Mittal
Revati (2005)
Chand Sa Roshan Chehra (2005) .... Heroine's Father
Ho Jaata Hai Pyaar (2005) .... Balwant Roy
AK 47 (2004)
Julie (2004) .... Wadhawan
Meri Biwi Ka Jawab Nahin (2004)Osman .... ASP Chaurasia
Agni Pankh (2004) .... Shamsher Singh Shekawat
LOC: Kargil (2003) .... Col. Bawa, 17 JAT
Humein Tumse Pyar Ho Gaya Chupke Chupke (2003) .... Surendra Nath
Surya (2003) .... Thakur's brother
Oops! (2003) .... Mr. Rai
Dabdaba (2003) .... Rajpal Singh
Dil Vil Pyar Vyar Murat (2002) .... Mittal
Jaani Dushman: Ek Anokhi Kahani (2002) .... Police Inspector
Gangobai (2002)
Mujhse Dosti Karoge! (2002) .... Mr. Khanna
Yeh Hai Jalwa (2002) .... Club Owner's elder brother
... aka "Youthful Life" - International (English title) (informal literal title)
Aap Mujhe Achche Lagne Lage (2002) .... Pratap Dholakia
... aka "Head Over Heels in Love" - India (English title) (informal title) ... aka "I've Started to Like You" - India (English title) (literal title)
Junoon (2002)
Ek Aur Visphot (2002) .... Subedar Bhuta Singh
Tum Jiyo Hazaron Saal (2002) .... Mr. Kapur
Moksha: Salvation (2001) .... Head lawyer
Dial 100 (2001) .... Bajaj
Kyo Kii... Main Jhuth Nahin Bolta (2001) .... Khurana
Yeh Raaste Hain Pyaar Ke (2001)
Qatil Haseeno Ka (2001) .... Police Inspector
Jagira (2001)
Galiyon Ka Badshah (2001)
Inteqam (2001) .... Inspector Madhukar Shende
Hum Deewane Pyar Ke (2001) .... Aslambhai
Aaj Ka Gunda (2001)
Dil Ne Phir Yaad Kiya (2001) .... Mahendra Pratap Khanna (Rahul's dad)
Maharaani (2001) .... Inspector Jagjit Singh
Bhooka Sher (2001)
Hadh: Life on the Edge of Death (2001) .... Dalal
Shikari (2000) .... Arjun Singh
Woh Bewafa Thi (2000)
Dhadkan (2000) .... Anjali's father
Daku Ramkali (2000)
Jallad No. 1 (2000) .... Inspector Arjun
Apradhi Kaun (2000) .... MLA Malhotra
Bechainee (2000) .... Swami Prakash Anand
Gair (1999) .... Sampat
Dracula (1999) .... Abdullah
Sarfarosh-E-Hind (1999) .... Ranjit Singh
Benaam (1999) .... Jagral
Aaag Hi Aag (1999) .... Police Commissioner
Kudrat (1998) .... Vijay's uncle
Sar Utha Ke Jiyo (1998)
Yamraaj (1998) .... Officer Hamid Khan
Pyaar Kiya To Darna Kya (1998) .... Akash Khanna
Zanjeer (1998)
Phool Bane Patthar (1998) .... ACP Jaspal Choudhary
Qahar (1997) .... Nageshwar Patel (Velji's brother)
Krishna Arjun (1997) .... Rana
Loha (1997) .... Police Commissioner
Ek Phool Teen Kante (1997)
Do Ankhen Barah Hath (1997)
Dil Kitna Nadan Hai (1997)
Auzaar (1997)
Dil Ke Jharoke Main (1997) .... Heera Pratap
Judge Mujrim (1997) .... D.V.M.
Kaalia (1997)
Ajay (1996) .... Chote Raja Ranbir
Sapoot (1996)
Rangbaaz (1996)
Zordaar (1996) .... Fox
Himmat (1996) .... Kundan
Aur Nagina (1996)
Vishwasghaat (1996) .... Advocate Chhadha
English Babu Desi Mem (1996) .... Bheema Khalasi
Jurmana (1996) .... Police Commissioner
Army (1996) .... Jailer Raghuvir Singh
Ke Avtaar (1995) .... Dhamu Dada
Veer (1995) .... Police Inspector Amar Mukhtar
Gaddaar (1995) .... Professor Nag
Hathkadi (1995)
Sauda (1995) .... Pradeep Singh
Guneghar (1995) .... Habibullah
Bewafa Sanam (1995) .... Jailer Ram Prasad Shukla
Fauji (1995) .... Dhurjan Singh
Nazar Ke Samne (1994) .... Advocate Sangram Singh Sahni
Amaanat (1994) .... Rajeshwar/Lankeshwar
Jazbaat (1994)
Dilbar (1994) .... Defending Lawyer
Anjaam (1994) .... Inpsector Arjun Singh
The Law (1994) .... Police Commissioner Kiran Shroff
... aka "Kanoon" - India (original title)
Madhosh (1994)
Sangdil Sanam (1994) .... Shankar Dayal Khurana
... aka "Sangdil Sanam: The Heartless Lover" - USA (DVD box title)
Ganga Aur Ranga (1994) .... Police Commissioner
Eena Meena Deeka (1994) .... Bhujang
Aag Aur Chingari (1994)
Karan (1994)
Gopalaa (1994) .... Mahamaya B. Singh
Juaari (1994)
Sholay Aur Toofan (1994)
Kasam Teri Kasam (1993)
Shatranj (1993) .... Prajapati
Ke Dushman (1993) .... Raghva
Boy Friend (1993)
Khoon Ka Sindoor (1993)
Chor Aur Chaand (1993) .... Inspector Vivek
Police Wala (1993) .... Tejeshwar Choudhury
Intaquam (1993)
Platform (1993) .... Inspector Joshi
Baaghi Sultana (1993)
Phoolan Hasina Ramkali (1993)
Gurudev (1993) .... Bhola Pandey
Game (1993) .... Qamaal Khan
Ki Shatranj (1993) .... Dhogra
Kohra (1993) .... IGP Suryakant Sharma/Mr. John
Zakhmo Ka Hisaab (1993) .... Dhaneshwar
Pyar (1993) .... Rajkumar Chauhan
Bedardi (1993) .... Kanhaiya aka K.K. aka Kanya
Pehchaan (1993) .... Yogi Shankar
(1993) .... Tikka
Rani Aur Maharani (1993)
Anaam (1992) .... Hyder Ali
Zamana (1992)
Fire (1992) .... Anwar Khan
... aka "Angaar" - India (original title)
Mashooq (1992) .... Shankar Kumar
Bol Radha Bol (1992) .... Inspector Dholakia
Jaan Se Pyaara (1992) .... Jagtap Singh
Basanti Tangewali (1992)
(1992) .... Kapoor - Sarita's husband
Adharm (1992) .... Jaggan Verma
Vishwatma (1992) .... Naagdansh Jurhad
Dada (1992) .... Bhairav Singh
Khuda Gawah (1992) .... Pasha
Tilak (1992)
Parda Hai Parda (1992)
(1992) .... Kumar
Daulat Ki Jung (1992) .... Rana
Radha Ka Sangam (1992)
Jeevan Daata (1991) .... Shivram/Vishwaraj Singh
Rupaye Dus Karod (1991)
Shiv Ram (1991)
Henna (1991) .... Ashraf
Do Matwale (1991) .... Kasturi
Inspector Balram (1991) .... Sayed Mohammad Shah
Pyar Ka (1991) .... Mahendra Behl (Raj's Father)
Paap Ki Aandhi (1991) .... Gorakh - Bade
Khoon Ka Karz (1991) .... Ramesh 'Robin'
Aaj Ka Samson (1991) .... Karan Singh
Patthar Ke Phool (1991) .... Karim Khan
Roohani Taaqat (1991)
Shankara (1991) .... Kehar Singh
Sau Crore (1991)
Hag Toofan (1991)
Apmaan Ki Aag (1990) .... Kailash
Baaghi: A Rebel for Love (1990) .... Colonel D.N. Sood
Thanedaar (1990) .... Thakur Azghar Singh
Agneekaal (1990) .... D.S.P. Anand Saxena
Aaj Ka Arjun (1990) .... Lakhan
Chor Pe Mor (1990) .... Dhanpat Inderjeet Garodia 'D.I.G.'
C.I.D. (1990) .... Roshan Lala
Zahreelay (1990) .... Taneja
Maha-Sangram (1990) .... Vishwaraj 'Vishwa'
Khatarnaak (1990) .... Jaunpuriya
Atishbaz (1990) .... Tony 'Tiger' Gonsalves
Lashkar (1989) .... Sangram 'Sanga' Singh
Dost (1989) .... Nagendra S. Singh
Na-Insaafi (1989) .... Numbari Kaalia
Khooni Murdaa (1989) .... Ranjeet ... aka "Deadly Corpse" - USA (informal English title)
Ghabrahat (1989)
Boss (1989)
Jurrat (1989) .... Raja
Hum Bhi Insaan Hain (1989)
Main Tera Dushman (1989) .... Inspector Kiran Kumar
Mahaadev (1989) .... Umesh Heera
Kala Bazaar (1989) .... Jaggan Dhamaliya ... aka "Black Market" - International (English title) (informal literal title)
Rama O Rama (1988) .... Sahoo dada
Agnee (1988) .... Sheru Menghi
Tezaab Is Acid (1988) .... Lotiya Pathan
Hero Hiralal (1988) .... Prem Kumar
Ganga Tere Desh Mein (1988) .... Zalim Singh
Zulm Ko Jala Doonga (1988)
Khatron Ke Khiladi (1988)
Falak (The Sky) (1988) .... Bagga
Zinda Jala Doonga (1988)
Qatil (1988) .... Inspector Shyam Verma4
Kab Tak Chup Rahungi (1988)
Kudrat Ka Kanoon (1987) .... Inspector Pandey
Khudgarz (1987) .... Sudhir
Daraar (1987)
Karamdaata (1986) .... Street dancer in song "Pyar tujhse hi kiya".
Yeh Preet Na Hogi Kam (1986)
Maut Ke Saudagar (1986)
Zakhmi Sher (1984)
Kaise Kaise Log (1983) .... Verma
Kanchan Aur Ganga (1982)
Jagya Tyathi Sawaar (1981)
Garvi Naar Gujaratan (1981)
Teen Ekkey (1980)
Dhamaka (1980)
Ashaati Beej (1979)
Pandit Aur Pathan (1977) .... Inspector Anand
Abhi To Jee Lein (1977) .... Deepak
Kulvadhu (1977)
Bhoola Bhatka (1976) .... Ram Shivprasad Khanna
Raees (1976)
Raja Kaka (1974)
Mr. Romeo (1974) .... Suresh Saxena
Anjaan Raahen (1974) .... Gautam
Azad Mohabbat (1974) .... Actor
... aka "Free Love" - India (English title)
Apradhi (1974) .... Inspector Shankar
Chalaak (1973) .... Amar
Jalte Badan (1973) .... Kiran
Aaj Ki Taaza Khabar (1973) .... Sunil Mehta
Jangal Mein Mangal (1972) .... Rajesh
Bindiya Aur Bandook (1972)
Inspector (1970)
Love in Simla (1960)
One of the most humble kind courteous human being , a great versatile actor ..I have known Bhaiji as he is fondly called since 1975 .. and he has always supported me and we share a great rapport..
From Wikipedia, the free encyclopedia
Kiran Kumar (Kashmiri: किरण कुमार (Devanagari), کرن کمار (Nastaleeq)) is a Mumbai-based Kashmiri Indian actor. He has worked in many Hindi and Gujarati films. He has been the hero in most of the Gujarati movies.[citation needed] He is the son of veteran character actor Jeevan.
Kiran Dhar (stage name- Kiran Kumar) is a descendant of a Kashmir royal family.He is the son of legendary character actor Jeevan. He is married to a Gujarati actress Sushma Verma.[citation needed] They have two children: Vikas Kumar who was working with David Dhawan as an Assistant Director and Srishti, who is a Mass Media graduate and runs a jewellery and clothing label with her mother called "Sush & Shish".
Kiran is a Kashmiri by birth and has ties with the Royal Family by virtue of being the grand son of the Vazir-e-Vazarat of Gilgit.[1] He is a devout believer of Sai baba and has a production house named after the saint- "Sainama Visions"
Recently he has been honoured with the life membership of International Film And Television Club of Asian Academy Of Film & Television
He is a member of CINTAA and is a part of the core committee. He was responsible, along with others, in organising the "Star CINTAA superstars ka jalwa" - a televised event that brought the entire hindi film and television industry together to perform and raise funds for CINTAA.
[edit]Career
He attended Daly College, a boarding school in Indore. He enrolled at R. D. National College in Bandra, Mumbai, and later joined the Film and Television Institute of India (FTTI) in Pune.[1] As a young boy it was the film industry which drew him because of his father's association with it.[citation needed] Kumar starred in Do Boond Pani in 1971, and went on to play the lead in several movies. Due to bad decisions to choose roles his career saw a slump with the onset of movies like jungle mein mangal and other such oddball films. During this phase Kumar started to work in Gujarati movies, where he quickly reached cult status getting him the "Bachhan of Gujarati cinema" title. Rakesh Roshan's "Khudgarz" got him back to Hindi cinema, and then on negative roles in films like "Tezaab" and "Khuda Gawah" won him accolades as an antihero.
Sunil Mehta's Prem Kishan was his first television serial. He's established himself as a reining star in the television industry with serials like Zindagi, Ghutan, Sahil, Manzil, Katha Sagar, Aur Phir ek Din, Papa, miilee, chhajje chajje ka pyar and more.
He was in the process of starting a production house called "Sainama Visions" for which the pilot episode of a show called "Aashiana" was also shot.
[edit]Films
Om Allah (2011)
Aseema: Beyond Boundaries (2009)
Aisi Deewangi (2009) (credit only) .... SP Jaidev Rana
Modh (2009)
Love Has No Language (2008) .... Mr Roy
Mr. White Mr. Black (2008)
Sandwich (2006) .... Balbir Singh
Dosti: Friends Forever (2005) .... Thapar
Chetna: The Excitement (2005) .... Jairaj Mittal
Revati (2005)
Chand Sa Roshan Chehra (2005) .... Heroine's Father
Ho Jaata Hai Pyaar (2005) .... Balwant Roy
AK 47 (2004)
Julie (2004) .... Wadhawan
Meri Biwi Ka Jawab Nahin (2004)Osman .... ASP Chaurasia
Agni Pankh (2004) .... Shamsher Singh Shekawat
LOC: Kargil (2003) .... Col. Bawa, 17 JAT
Humein Tumse Pyar Ho Gaya Chupke Chupke (2003) .... Surendra Nath
Surya (2003) .... Thakur's brother
Oops! (2003) .... Mr. Rai
Dabdaba (2003) .... Rajpal Singh
Dil Vil Pyar Vyar Murat (2002) .... Mittal
Jaani Dushman: Ek Anokhi Kahani (2002) .... Police Inspector
Gangobai (2002)
Mujhse Dosti Karoge! (2002) .... Mr. Khanna
Yeh Hai Jalwa (2002) .... Club Owner's elder brother
... aka "Youthful Life" - International (English title) (informal literal title)
Aap Mujhe Achche Lagne Lage (2002) .... Pratap Dholakia
... aka "Head Over Heels in Love" - India (English title) (informal title) ... aka "I've Started to Like You" - India (English title) (literal title)
Junoon (2002)
Ek Aur Visphot (2002) .... Subedar Bhuta Singh
Tum Jiyo Hazaron Saal (2002) .... Mr. Kapur
Moksha: Salvation (2001) .... Head lawyer
Dial 100 (2001) .... Bajaj
Kyo Kii... Main Jhuth Nahin Bolta (2001) .... Khurana
Yeh Raaste Hain Pyaar Ke (2001)
Qatil Haseeno Ka (2001) .... Police Inspector
Jagira (2001)
Galiyon Ka Badshah (2001)
Inteqam (2001) .... Inspector Madhukar Shende
Hum Deewane Pyar Ke (2001) .... Aslambhai
Aaj Ka Gunda (2001)
Dil Ne Phir Yaad Kiya (2001) .... Mahendra Pratap Khanna (Rahul's dad)
Maharaani (2001) .... Inspector Jagjit Singh
Bhooka Sher (2001)
Hadh: Life on the Edge of Death (2001) .... Dalal
Shikari (2000) .... Arjun Singh
Woh Bewafa Thi (2000)
Dhadkan (2000) .... Anjali's father
Daku Ramkali (2000)
Jallad No. 1 (2000) .... Inspector Arjun
Apradhi Kaun (2000) .... MLA Malhotra
Bechainee (2000) .... Swami Prakash Anand
Gair (1999) .... Sampat
Dracula (1999) .... Abdullah
Sarfarosh-E-Hind (1999) .... Ranjit Singh
Benaam (1999) .... Jagral
Aaag Hi Aag (1999) .... Police Commissioner
Kudrat (1998) .... Vijay's uncle
Sar Utha Ke Jiyo (1998)
Yamraaj (1998) .... Officer Hamid Khan
Pyaar Kiya To Darna Kya (1998) .... Akash Khanna
Zanjeer (1998)
Phool Bane Patthar (1998) .... ACP Jaspal Choudhary
Qahar (1997) .... Nageshwar Patel (Velji's brother)
Krishna Arjun (1997) .... Rana
Loha (1997) .... Police Commissioner
Ek Phool Teen Kante (1997)
Do Ankhen Barah Hath (1997)
Dil Kitna Nadan Hai (1997)
Auzaar (1997)
Dil Ke Jharoke Main (1997) .... Heera Pratap
Judge Mujrim (1997) .... D.V.M.
Kaalia (1997)
Ajay (1996) .... Chote Raja Ranbir
Sapoot (1996)
Rangbaaz (1996)
Zordaar (1996) .... Fox
Himmat (1996) .... Kundan
Aur Nagina (1996)
Vishwasghaat (1996) .... Advocate Chhadha
English Babu Desi Mem (1996) .... Bheema Khalasi
Jurmana (1996) .... Police Commissioner
Army (1996) .... Jailer Raghuvir Singh
Ke Avtaar (1995) .... Dhamu Dada
Veer (1995) .... Police Inspector Amar Mukhtar
Gaddaar (1995) .... Professor Nag
Hathkadi (1995)
Sauda (1995) .... Pradeep Singh
Guneghar (1995) .... Habibullah
Bewafa Sanam (1995) .... Jailer Ram Prasad Shukla
Fauji (1995) .... Dhurjan Singh
Nazar Ke Samne (1994) .... Advocate Sangram Singh Sahni
Amaanat (1994) .... Rajeshwar/Lankeshwar
Jazbaat (1994)
Dilbar (1994) .... Defending Lawyer
Anjaam (1994) .... Inpsector Arjun Singh
The Law (1994) .... Police Commissioner Kiran Shroff
... aka "Kanoon" - India (original title)
Madhosh (1994)
Sangdil Sanam (1994) .... Shankar Dayal Khurana
... aka "Sangdil Sanam: The Heartless Lover" - USA (DVD box title)
Ganga Aur Ranga (1994) .... Police Commissioner
Eena Meena Deeka (1994) .... Bhujang
Aag Aur Chingari (1994)
Karan (1994)
Gopalaa (1994) .... Mahamaya B. Singh
Juaari (1994)
Sholay Aur Toofan (1994)
Kasam Teri Kasam (1993)
Shatranj (1993) .... Prajapati
Ke Dushman (1993) .... Raghva
Boy Friend (1993)
Khoon Ka Sindoor (1993)
Chor Aur Chaand (1993) .... Inspector Vivek
Police Wala (1993) .... Tejeshwar Choudhury
Intaquam (1993)
Platform (1993) .... Inspector Joshi
Baaghi Sultana (1993)
Phoolan Hasina Ramkali (1993)
Gurudev (1993) .... Bhola Pandey
Game (1993) .... Qamaal Khan
Ki Shatranj (1993) .... Dhogra
Kohra (1993) .... IGP Suryakant Sharma/Mr. John
Zakhmo Ka Hisaab (1993) .... Dhaneshwar
Pyar (1993) .... Rajkumar Chauhan
Bedardi (1993) .... Kanhaiya aka K.K. aka Kanya
Pehchaan (1993) .... Yogi Shankar
(1993) .... Tikka
Rani Aur Maharani (1993)
Anaam (1992) .... Hyder Ali
Zamana (1992)
Fire (1992) .... Anwar Khan
... aka "Angaar" - India (original title)
Mashooq (1992) .... Shankar Kumar
Bol Radha Bol (1992) .... Inspector Dholakia
Jaan Se Pyaara (1992) .... Jagtap Singh
Basanti Tangewali (1992)
(1992) .... Kapoor - Sarita's husband
Adharm (1992) .... Jaggan Verma
Vishwatma (1992) .... Naagdansh Jurhad
Dada (1992) .... Bhairav Singh
Khuda Gawah (1992) .... Pasha
Tilak (1992)
Parda Hai Parda (1992)
(1992) .... Kumar
Daulat Ki Jung (1992) .... Rana
Radha Ka Sangam (1992)
Jeevan Daata (1991) .... Shivram/Vishwaraj Singh
Rupaye Dus Karod (1991)
Shiv Ram (1991)
Henna (1991) .... Ashraf
Do Matwale (1991) .... Kasturi
Inspector Balram (1991) .... Sayed Mohammad Shah
Pyar Ka (1991) .... Mahendra Behl (Raj's Father)
Paap Ki Aandhi (1991) .... Gorakh - Bade
Khoon Ka Karz (1991) .... Ramesh 'Robin'
Aaj Ka Samson (1991) .... Karan Singh
Patthar Ke Phool (1991) .... Karim Khan
Roohani Taaqat (1991)
Shankara (1991) .... Kehar Singh
Sau Crore (1991)
Hag Toofan (1991)
Apmaan Ki Aag (1990) .... Kailash
Baaghi: A Rebel for Love (1990) .... Colonel D.N. Sood
Thanedaar (1990) .... Thakur Azghar Singh
Agneekaal (1990) .... D.S.P. Anand Saxena
Aaj Ka Arjun (1990) .... Lakhan
Chor Pe Mor (1990) .... Dhanpat Inderjeet Garodia 'D.I.G.'
C.I.D. (1990) .... Roshan Lala
Zahreelay (1990) .... Taneja
Maha-Sangram (1990) .... Vishwaraj 'Vishwa'
Khatarnaak (1990) .... Jaunpuriya
Atishbaz (1990) .... Tony 'Tiger' Gonsalves
Lashkar (1989) .... Sangram 'Sanga' Singh
Dost (1989) .... Nagendra S. Singh
Na-Insaafi (1989) .... Numbari Kaalia
Khooni Murdaa (1989) .... Ranjeet ... aka "Deadly Corpse" - USA (informal English title)
Ghabrahat (1989)
Boss (1989)
Jurrat (1989) .... Raja
Hum Bhi Insaan Hain (1989)
Main Tera Dushman (1989) .... Inspector Kiran Kumar
Mahaadev (1989) .... Umesh Heera
Kala Bazaar (1989) .... Jaggan Dhamaliya ... aka "Black Market" - International (English title) (informal literal title)
Rama O Rama (1988) .... Sahoo dada
Agnee (1988) .... Sheru Menghi
Tezaab Is Acid (1988) .... Lotiya Pathan
Hero Hiralal (1988) .... Prem Kumar
Ganga Tere Desh Mein (1988) .... Zalim Singh
Zulm Ko Jala Doonga (1988)
Khatron Ke Khiladi (1988)
Falak (The Sky) (1988) .... Bagga
Zinda Jala Doonga (1988)
Qatil (1988) .... Inspector Shyam Verma4
Kab Tak Chup Rahungi (1988)
Kudrat Ka Kanoon (1987) .... Inspector Pandey
Khudgarz (1987) .... Sudhir
Daraar (1987)
Karamdaata (1986) .... Street dancer in song "Pyar tujhse hi kiya".
Yeh Preet Na Hogi Kam (1986)
Maut Ke Saudagar (1986)
Zakhmi Sher (1984)
Kaise Kaise Log (1983) .... Verma
Kanchan Aur Ganga (1982)
Jagya Tyathi Sawaar (1981)
Garvi Naar Gujaratan (1981)
Teen Ekkey (1980)
Dhamaka (1980)
Ashaati Beej (1979)
Pandit Aur Pathan (1977) .... Inspector Anand
Abhi To Jee Lein (1977) .... Deepak
Kulvadhu (1977)
Bhoola Bhatka (1976) .... Ram Shivprasad Khanna
Raees (1976)
Raja Kaka (1974)
Mr. Romeo (1974) .... Suresh Saxena
Anjaan Raahen (1974) .... Gautam
Azad Mohabbat (1974) .... Actor
... aka "Free Love" - India (English title)
Apradhi (1974) .... Inspector Shankar
Chalaak (1973) .... Amar
Jalte Badan (1973) .... Kiran
Aaj Ki Taaza Khabar (1973) .... Sunil Mehta
Jangal Mein Mangal (1972) .... Rajesh
Bindiya Aur Bandook (1972)
Inspector (1970)
Love in Simla (1960)
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Basjid Mai Lado
Front Chamber lane Road
Back Opposite First Gate Mayo Hospital
Lahore
Punjab
Pakistan
This ancient mosque is located at the crossing of busy thoroughfares. Since there are one-way roads around the building, it is best to take Nisbet Road from Mayo Hospital Chowk, and turn towards Hall Road to the south.
You can view the modern entrance of the mosque in the middle of other structures, at the rear of which is located this old mosque, its lofty dome visible from Hall Road.
There is some controversy regarding the exact lifetime of Dai Lado. Latif places her as the wet nurse of Emperor Jahangir. However, Nur Ahmed Chishti's account seems plausible, according to which 'Lado Dai' was a midwife who delivered Shah Jahan, and rose to eminence during his reign. Shah Jahan called her Mai Lado, hence the alias she is remembered by. Shahjahanama (a chronicle of Shah Jahan period) mentions her as an extremely pious woman of the imperial entourage, who performed hajj during Shah Jahan's fourth regnal year. She was a devotee of Hazrat Salim Chishti, the celebrated saint whose sepulcher became the religious focus of emperor Akbar's new capital, Fatehpur Sikri.
Mai Lado built the mosque and a madrassah in her lifetime, building them in the midst of her estate and gardens, once known as Talla Muhallah (an area which encompassed the present Mayo Hospital, Serai Rattan Chand and Bharat Buildings). She and her husband were both buried in the courtyard of the mosque. After the death of her son, who died childless, the extensive property became waqf property and reverted to the emperor. However, according to Latif, the madrassah and mosque continued to function until the collapse of the Mughal Empire.
Kanhaiya Lal reports that during Ranjit Singh's reign, a Hindu jogi (mendicant) called Basant Gar occupied the mosque for 30 years. He established a shawala (a refuge) on one side and a thakurdawara on the other; however, during the British rule the mosque, for that seems to have been all that was left of Dai Lado's large estate, reverted to the Muslims—the remaining area having been taken over partly by missionaries, and partly for a medical college hostel.
Lahore
Punjab
Pakistan
Mayo Hospital
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
This massive tomb stands in the locality of Kot Khwaja Saeed and is generally attributed to Prince Pervez, son of Emperor Jahangir. According to Kanhaiya Lal, Prince Pervez was buried in this tomb after he was slaughtered by the order of Asaf Khan, when he returned from Kashmir. However, this view is incorrect as Prince Pervez died at Burhanpur in his 37th year on October 28, 1625, from where his body was brought to Agra and buried in his garden there. Some accounts also attribute this tomb to Dara Shaikoh but Dara Shaikoh is reported to have been assassinated at Delhi and buried there in the complex of Humayun’s tomb. According to Abdullah Chughtai, the area of the tomb was originally a garden owned by Prince Pervez and the surrounding area was known as Mandi Pervezabad. After the death of Prince Pervez, the garden was transferred to his daughter, Nadira Begum, wife of Prince Dara Shaikoh. According to Chughtai, Merh Shaikoh, son of Dara Shaikoh lies buried in this tomb; however, this statement has not been historically proven.
According to Latif, it was the burial place of Pervez's two sons who were murdered at Lahore along with other princes of royal blood, by the order of their uncle Shah Jahan, on his accession to the throne. Latif also does not provide any contemporary source for his information. Whosoever is buried there, it is apparent that he was a royal personality as the tomb has been built befitting to a royal status.
Details of the construction of the tomb are not known. However, some writers of the 19th century had made some reference to its history and architecture. Chishti wrote in 1864 that "originally, the tomb was wholly in white marble and its eight openings were furnished with marble door frames, but Maharaja Ranjit Singh removed all the marble to use it in the Darbar Sahib at Amritsar." Kanhaiya Lal, writing in 1884, records that "the tomb originally was in marble, including its floor. All its four sides had magnificent gates. Maharaja Ranjit Singh removed its marble and got it repaired in brick. The brick repairs done by Ranjit Singh had also decayed by his time, and the tomb was in a very bad condition of preservation and was then repaired by the British Government."
Latif described the tomb in 1892 as standing eminently in the midst of cultivated fields on a circular platform resting on another platform of octagonal base, of the height of a man. The dome rose gracefully from an octagonal platform duly supported by arches.
Muhammad-ud-Din Fauq visited the tomb in 1923 and according to him, "the tomb was octagonal in shape and the grave was set inside. The white marble Taweez (sarcophagus) was missing. To approach the grave, on the east-north and south of the platform, there were two sets of stairs flying to the platforms, seven and five in numbers respectively. The platform was five feet high from the ground level. In front of the stairs, on the north, the floor of the terrace was badly in wreck. The ground around the platform was in depression. The traces of a canal were visible which led to the garden of Sardar Teja Singh."
Octagonal on plan with the inner diameter of 22 feet 2 inches and outer diameter of 31 feet 4 inches (wall thickness of 4 feet 7 inches), the tomb stands on double platform. The lower platform measures 95 feet 6 inches in length and the upper 66 feet 6 inches. Around the lower tier of the platform there are remains of Kankar lime terrace about 3 to 4 inches thick. Modern houses have encroached over the whole arean and on the west they even touch the structure of the lower platform. Kanhaiya Lal had mentioned that there were magnificent gates on all four sides of the tomb. Perhaps these gates were at the extremity of the terrace which might have been the base of the geometrical pattern brick pavement in hexagonal and octagonal forms, whose sufficient remains still exist on the lower and upper tiers of the platform. The structure of the tomb is built in small Lahori bricks of the size of 8 inches by 5¼ inches by 1 inch – a size of Shah Jahan’s period. The interior of the tomb was once decorated with the usual fresco work whose traces are still extant here and there. At the top of the platform, a terracotta frieze in tow tiers in the form of a leaf design has been applied by the way of decoration. Such a terracotta decoration on a Mughal monument at Lahore is seldom met and is, therefore, rare. The dome appears to be single storey, but the measurement of height of the soffit in the interior and at the outer apex there is a difference of some 14 feet. From this, it can be inferred that actually it is a double dome, but the usual small opening which is provided between the two domes has not been kept for some reason or maybe it was blocked some time later. The tomb has a high neck like that of Ali Mardan Khan's tomb with which it has some similarity in expression. The possible date of its construction falls in the fourth decade of the 17th century – from 1630 to 1640.
The tomb is in a lamentable state of neglect. Its arches which take the load of the heavy dome are broken, and the structure is in danger of a sudden collapse. Most of the pavement on the interior and of the platforms has disappeared. The stairs to the platforms are mostly dilapidated and there is wild growth all over the dome itself which allows leakage of rain water to the core. Currently, the tomb is almost hemmed in by modern houses.
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
These samadhis of the royal ladies of the Sikh Empire are situated within the grounds of the Islamia College at Civil Lines, just south west of the Chilla of Baba Farid Ganj Shakar. The samadhis are placed on a solid 10 feet high square platform. The original staircase was on the east end of the platform and led up to the samadhi of Maharani Nakain Kaur. Her samadhi is square in structure measuring 16 feet on each side surmounted by a fluted dome. The dome was topped by a metal finial, which is no longer extant. A door has been provided on each of the four sides. Inside, at the center was an 18 inches high and 3x3 feet wide platform on which was placed the stone urn containing the ashes of the second wife of Maharaja Ranjit Singh and mother of Kharak Singh. Her original name was Raj Kaur but she changed her name to Datar Kaur because Ranjit Singh's mother was also named Raj Kaur. She was married to the Maharaja in 1798 who lovingly addressed her as Mal Nakain. She died on 20 June 1838 and her samadhi was built around the same time.
South of the samadhi of Nakain Kaur, on the same platform is the samadhi of Maharani Chand Kaur, wife of Kharak Singh and mother of Naunehal Singh. Her samadhi is also square in construction and measures 16 feet on each side, similar to that of her mother-in-law's. Each of the four corners of the building are topped by small domed towers. In the center is a fluted dome similar to that of Nakain Kaur's samadhi, however; it was never topped with a finial and only the metal rod could be seen emanating from the top of the dome when Kanhaiya Lal wrote about them in 1884. Chand Kaur was married to Kharak Singh in 1812 at the age of 10. She claimed the throne of Lahore in November 1840 for about two and a half months following the deaths of her husband Kharak Singh and son Naunehal Singh. She challenged Sher Singh, the second son of Maharaja Ranjit Singh, on the grounds that her daughter in law, Kanvar Naunehal Singh's widow, Sahib Kaur, was pregnant and that she would assume regency on behalf of the unborn legal successor to her husband's throne. Sher Singh, winning support of a rival group at the court and of a section of the army, marched upon Lahore. In July 1841, Nau Nihal Singh's widow Sahib Kaur delivered a stillborn son. This ended whatever hopes Chand Kaur had of realizing her claims. She was killed on 11 June 1842 by her maids who had been appointed by Dhian Singh in collusion with Sher Singh.
Between these samadhis, to the west is another smaller samadhi belonging to Sahib Kaur, wife of Naunehal Singh. It is octagonal in shape, about half the height of the other two samadhis and topped by a smaller simpler dome. Naunehal Singh was married to Sahib Kaur in 1837 at the age of 16. She died in 1841.
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower
Making Of Kabootar- A Peace Anthem
Shooting a short film with one red scarlet dragon 6K camera and one helicam dji phantom 3 professional drone with a 4K camera. Love Doshi
Colors and Project Equal Rights Music celebrate wings of freedom with Kabootar, a Peace Anthem
Colors will also air the 67th Republic Day celebrations for its viewers across the globe for the second year in a row
an initiative by colors viacom18
Equal Rights Music Project
Kabootar- A Peace Anthem
Concept Lyrics - Manish Bhatt
Music Director - Eddie T Avil
Visualised by - Manish Bhatt & Lalit Sakurkar
Director - Beeswaranjan Pradhan
Director of Photography - Riju Samanta
Singers - Jigardan Gadhvi & Kunal Bhadra
Instrument Players - Omkar Patil | Harmonium, Vijay Jadhav | Tabla, Dholak, Daf,
Vaibhav Panch | Bass Guitar, Tapas Roy | Mandolin, Saz, Oud
Sound Engineer - Kunal Dabholkar
Offline Editor - Dev Jadav | Pixion Studio
Online Editor - Augustine Noronha | Splice Studio
Colour Correction - Tony Ford | Pixion Studio
Editing Studio - Pixion Studio & Splice Studio
Recording Studio - Sounds Good
production house - Bhumisha Soni
Special Thanks to - Colors Viacom 18, Raj Nayak, Sapangeet Rajwant, Tony Pratap
Scarecrow Communications Ltd.
Ashley, Hitesh Patel, Badal Patel, Monark Patel, Maulana (Jumma Masjid)
Archeological Survey of India, Ranchhodraiji Temple Committee, Dakor
Jaipur Pulice, Bhargav Purohit, Gomtidasji Maharaj, Junagarh Pulice
Dharmaj Village Panchayat, Antonio D'Souza High School, Byculla, Father Michael
Sana Ahmad, Kamlesh Soni, Shraddha Sangvi, Pooja Chakraborty, Vishal Sharma
Anita Keelor, Pixion Studio
Cast -
Sadhu 1 - Govind
Buddhist Monk - Dhamraj Singh
Nun - Monica
Jew - Md. Umar
Maulana 2 - Sayied Amin Miya Qadri
Maulana 3 - Yogesh
Sadhu 2 - Gomtidasji Maharaj
Sadhu 3 - Sadhu Premjivan Das Swami
Burkha Girl - Sonail Sharma
Qawal - Haslam Faheem Qawal Group, Jaipur
Prince - Ankit Raj
Princess - Divina
Solider - Rajiv
Shayar - Inder Singh Rathore
Rajasthani Kid - Harsh
Dadi - Jamila
Lama Kid - Devraaj
1st Asst. Director - Dikshant Kala
1st Asst. Director - Yogesh Pawar
Casting - Global Casting
Line Producer - Sadanand Ankali
Stylist - Prachi Dhamnaskar
Makeup Artist - Narendra Pande
Hair Stylist - Sadhna Pande
Art Director - Satyajeet Roy
Settings Boy - Feroz
Dress Man - Tukuna Kuldip
Jaipur / Sambhar Lake -
Local Line Producer: Sanjay Chaturvedi (Amer Fort)
Location: Anurag Biswal (Amer Fort)
Location: Raju Pandit (Sambhar Salt Lake)
Lighting Equipment Rental: Bollywood Helpline
Light Man in-Chsrge: Shankarlal Sharma
Light Man: Rajesh Sharma, Gopalji, Kanhaiya
Tailor: Kamal
Jimmy jib Operator: Nagesh Budania
Jimmy Jib Assistant: Rahul, Jitu
Camera Rental: Java Motion Pictures
Camera in-Charge: Pradeep Kumar
Attendant: Shiv Kumar, Bhim
Junagadh -
Local Line Producer: Vikram Singh Rathore
Location: Abbas
Drone: Love Doshi Attendant: Rajesh
Camera Rental: Bollywood Video
Camera in-charge: Jagdish Shelar
Attendant: Rahul Jadhav, Sunil Kumar
Dakor / Dharmaj -
Drone: Rakesh
Camera Rental: Bollywood Video
Camera In-charge: Jagdish Shelar
Atlendant: Rahul Jadhav, Sunil Kumar
Mumbai -
DOP: Chetan Shinde
Camera: Camera Plus Pvt. Ltd.
Camera Atlendant: Santosh Singh and Ganesh
Locations -
Ranchhodraiji Temple: Dakor
Swami Narayan Temple: Dakor
Amer Fort: Jaipur
Jumma Masjid: Junagadh
Mahabat Maqbara: Junagadh
Sambhar Lake: Jaipur
Gloria Church: Byculla
Dharmaj Village
Junagarh Clock Tower