View allAll Photos Tagged Shroff,
Johann Scheffer von Leonhart Shroff. 1795-1822.
Vierge et l'enfant avec le jeune saint Jean-Baptiste.
Virgin and Child with the Young St John the Baptist.
Hamburg Kunsthalle.
LA FEMME ET L'ENFANT DANS LA PEINTURE EUROPÉENNE
C'est un fait que la femme a tenu dans l'histoire européenne, artistique mais aussi politique et sociale, une très grande place. La peinture européenne en témoigne à l'évidence ( cf La femme dans la peinture européenne 1 et 2, Les femmes dans la culture catholique et orthodoxe, et la femme dans la Mythologie grecque).
Selon que l'inspiration des artistes prenait sa source dans la religion catholique ou l'antiquité grecque et romaine la femme représentée n'était pas la même et ces différences ont des conséquences dans les représentations de l'enfant. Car c'est un fait aussi que la peinture européenne a beaucoup représenté l'enfant, et que cette représentation de l'enfant était liée à celle de la femme-mère privilégiée par le christianisme catholique et orthodoxe.
L'Antiquité privilégiait la femme-femme, bien plus que la femme-mère. L'Antiquité Gréco-romaine représente de préférence la femme symbole de l'amour profane et de l'érotisme. Tout au moins dans les représentations artistiques, sinon dans la vie quotidienne. En Grèce comme à Rome le modèle de la femme, dans la vie quotidienne, est la mère de famille vertueuse qui dirige sa maison et élève ses filles. Aphrodite-Vénus, Artémis-Diane, les Nymphes et les innombrables déesses ou mortelles maîtresses de Zeus donnent à la femme amoureuse, amante, une présence étonnamment puissante dans une société gréco-romaine dont les valeurs principales restent par ailleurs très masculines. La société grecque encore plus que celle romaine, moins misogyne dans la vie quotidienne.
Les religions catholique et orthodoxe ont modelé l'art européen, de manière exclusive, pendant des siècles : du 5è au 15è siècle, soit pendant mille ans. Sous leur influence la femme représentée n'était plus celle de l'Antiquité. C'était une évidente rupture dans la culture : la femme valorisée par l'art catholique et orthodoxe européen devient la Mère ou/et la Vierge.Bien sûr Artémis-Diane était vierge, mais pas pure ! D'ailleurs les contemporains de la christianisation de la société antique reprochaient au christianisme d'être une religion pour les femmes (et les esclaves) et répandue par les femmes. D'où aussi le nombre très importants et le rôle décisif des saintes dans la religion catholique. Culturellement on est à l'opposé de l'Islam.
La femme de l'Europe catholique et orthodoxe symbolise toujours l'Amour, mais ce n'est plus du tout le même amour que dans l'art de l'antiquité grecque et romaine : c'est l'Amour maternel et l'Amour mystique (le mariage mystique de Sainte Catherine thème de nombreux tableaux), et non plus l'Amour érotique.
Évidemment l'Enfant (Christ) allait avec la Mère (Marie). Et l'Enfant, comme la Mère était à l'image de l'enfant et de la mère, c'est à dire une valorisation, indirecte mais extrêmement puissante, de la maternité et de l'enfance dans la société humaine. L'anthropomorphisme et l'acceptation des images religieuses présentent des avantages, pas seulement artistiques mais aussi idéologiques, symboliques et offrent des possibilités d'identification. Ils autorisent un "jeu de rôle" influent sur les sociétés. La mère symbolise l'amour qui donne, l'amour sacrifice de soi, et l'enfant l'innocence.
Dans la peinture européenne l'enfant ou l'adolescent prend la forme du Christ-enfant ou de Jean Baptiste enfant bien sûr, mais aussi des chérubins, des séraphins, des anges, et des putti, dont il ne faut pas sous estimer l'importance quantitative et symbolique. Ces enfants là sont partout dans la peinture européenne de l'art roman à l'art baroque.
C'est l'école chrétienne, d'abord monastique avant de devenir cathédrale et paroissiale, qui a bouleversé la pédagogie en préconisant la douceur dans l'instruction. L'école primaire romaine, municipale, ne connait que la pédagogie de la férule, du fouet et des verges. L'éducation gauloise ou germanique, barbare, est uniquement un apprentissage de l'usage de la force et de la violence. Saint Benoit recommandait la douceur dans la correction, et pour les moines, l'innocence est la caractéristique fondamentale de l'enfant. Saint Colomban constatait que l'enfant ne persévère pas dans la colère, n'est pas rancunier et dit ce qu'il pense.Une découverte des vertus de l'enfance qui se fait dans les monastères européens du 7è siècle, qui se répandra très lentement, mais que l'art de la peinture européenne met bien en évidence avec ses représentations systématiques des Nativité, Présentation au Temple, des Circoncision, Vierge à l'Enfant. Il s'agit, dans toute l'Europe catholique et orthodoxe d'une découverte de la petite enfance et de l'enfance. Pas de l'adolescence,période suspecte pour la morale du temps, qui reste soumise à une éducation sévère et contraignante.
Comme pour la femme, l'art européen se distingue beaucoup de l'art d'autres grandes civilisations (sauf sans doute de l'Inde hindouiste, une fois de plus) par sa représentation systématique, pendant deux mille ans de la maternité et de l'enfant, depuis le nourrisson jusqu'à l'adolescent. Un thème constant partout présent, dans les foyers même les plus humbles, et dans toutes les églises même les plus modestes. La crèche de l'Enfant Jésus et l'Adoration des Rois chaque année, et les Saintes Familles toute l'année...et le Massacre des Innocents comme contrepoint....quels puissants symboles maternel et familial ! Quelles valeurs sous-jacentes, contrariantes, dialectiques, suggérées par l’Église à une société masculine, restée très guerrière.
Contrairement à la représentation de la femme, la "Renaissance" au 16è siècle, n'a pas apporté d'évolution notable dans l'image de l'enfant. Eros-Cupidon est réapparu, certes, mais marginalement et dans les seuls milieux aristocratiques. Cet enfant là n'a pas fait partie de l'imagerie populaire européenne, et les représentations catholiques de l'enfant sont restées maîtresses des foyers européens. La Renaissance n'existe pas, du point de vue de l'enfant.
La Réforme a des conséquences bien illustrée par les Pays Bas dès le 17è siècle : La Mère divine disparaît, mais la mère humaine est abondamment représentée. En conséquence l'enfant divin disparait aussi, sauf quelques peintures du Christ adolescent chez les Docteurs de la Loi. Par contre l'enfant humain est très représenté, et il appartient à toutes les classes de la société, paysans, artisans, bourgeois,aristocrates, dans les scènes de société et les paysages. Habillé exactement comme les adultes, l'enfant est souvent une image un peu caricaturale de l'âge adulte.
L'Art Moderne européen continue de représenter fréquemment la femme et l'enfant. Pendant toute la période très diversifiée qui va de 1815 à 1940, l'enfant, comme la femme, est très présent dans la peinture européenne,de moins en moins sous l'aspect religieux. C'est de plus en plus l'enfant profane, le petit de l'homme, qui l'emporte.
L'Art Contemporain, dans nos musées ? Des enfants ? Non. des carrés blancs, noir, rouge... des lignes droites et courbes, des zigzags, et beaucoup de taches colorées. Un art enfantin ou infantile peut être, mais où l'enfant est absent.
Il est vrai qu'avec une humanité qui dépasse 7 milliards de personnes, il est peut-être préférable de faire des zig zags que des enfants. Mais il est vrai aussi que dans une certaine culture mondialiste et capitaliste qui a fait le choix de la provocation et de la remise en question des esthétiques et des éthiques traditionnelles, l'absence de la femme dans l'art officiel, et par contre son omniprésence dans la publicité à but mercantile, sont très révélateurs des valeurs et anti-valeurs de notre société.
THE WOMAN AND THE CHILD IN THE EUROPEAN PAINTING
It is a fact that women have held a very important place in European, artistic, but also political and social history. European painting is obvious evidence of this (see Women in European painting 1 and 2, women in Catholic and Orthodox culture, and women in Greek mythology).
Depending on whether the inspiration of the artists originated in the Catholic religion or in the Greek and Roman antiquity, the woman represented was not the same, and these differences have consequences in the representations of the child. For it is also a fact that European painting has represented the child very much and that this representation of the child was linked to that of the woman-mother privileged by the Catholic and Orthodox Christianity.
Antiquity favored the woman-woman, far more than the woman-mother. It represents preferably the woman symbol of profane love and eroticism. At least in artistic representations, if not in everyday life. In Greece as in Rome the model of the woman, in the daily life, is the virtuous mother who runs her house and raises her daughters. Aphrodite-Venus, Artemis-Diana, the Nymphs and the innumerable goddesses or mortal mistresses of Zeus give the amorous woman, paramour, a surprisingly powerful presence in a Greco-Roman society whose main values remain very masculine. In Greek society even more than in the Roman society, less misogynous in everyday life.
The Catholic and Orthodox religions have shaped European art exclusively during centuries: from the 5th to the 15th century, either during a thousand years. Under their influence the woman represented was no longer that of antiquity. It was an obvious break in culture: the woman valued by European Catholic and Orthodox art becomes the Mother and / or the Virgin. Of course Artemis-Diana was a virgin, but not pure! Besides, the contemporaries of the Christianization of the ancient society reproached Christianity for being a religion for women (and slaves) and spread by women. Hence also the very important number and the decisive role of the holy womens in the catholic religion. Culturally, it is the opposite of Islam.
The woman of Catholic and Orthodox Europe still symbolizes Love, but it is not at all the same love as in art of the Greek and Roman antiquity: it is the Maternal Love and the Mystical Love (The mystical marriage of St. Catherine's, theme of many paintings), and not Erotic Love.
Obviously the Child (Christ) is inseparable with the Mother (Mary). And the Child, as the Mother was in the image of the child and the mother, that is to say, an indirect but extremely powerful valorization of motherhood and childhood in human society. Anthropomorphism and the acceptance of religious images have advantages, not only artistic, but also ideological, symbolic and offer possibilitys of identification. They allow "role playing" to influence societies. The woman-mother symbolizes the love that gives, the self-sacrifice, and the child symbolizes the innocence.
In European painting, the child or adolescent takes the form of the child-Christ or of John the Baptist-child, of course, but also of cherubim, seraphim, angels, and putti, of which we must not under estimate the quantitative and symbolic importance. These children there are everywhere in the European painting of Romanesque art to baroque art.
It is the Christian school, first in the monasteries, before in the cathedrals and parochials, which upset the pedagogy by advocating the sweetness in education. The Roman elementary school, municipal, knows only the pedagogy of the ferule, the whip and the rods. Gallic or Germanic education, barbaric, is only an apprenticeship of the use of force and violence. A contrario Saint Benoit recommended gentleness in correction, and for the monks, innocence is the fundamental characteristic of the child. Saint Columban noted that the child does not persevere in anger, is not resentful and says what he thinks. A discovery of the virtues of childhood in the European monasteries of the 7th century, which will spread very slowly, but that the art of European painting highlights with its systematic representations of Nativity, Presentation to the Temple, Circumcision, Virgin and Child. It is, throughout Catholic and Orthodox Europe, a discovery of early childhood and childhood. Not adolescence, a suspicious period for the morality of time, which remains subject to a severe and restrictive education.
As for the woman, European art is very different from the art of other great civilizations (except perhaps from Hindu India) by its systematic representation, during two thousand years of the maternity and the child, since the infant until the adolescent. A constant theme everywhere, in even the most humble homes, and in all even the most modest churches. The Nativity scene of the Child Jesus and the Adoration of the Kings each year, and the Holy Family all year round ... And the Massacre of the Innocents as a counterpoint .... what powerful maternal and family symbols! What underlying, contrarian, dialectical values suggested by the Church to a male society, which remained very warlike !
Unlike the representation of woman, the "Renaissance" in the 16th century, did not bring a notable evolution in the image of the child. Eros-Cupid has reappeared, admittedly, but marginally and in the only aristocratic circles. This child was not part of European popular imagery, and Catholic representations of the child remained masters of European homes. The Renaissance does not exist, from the point of view of the child.
The Reformation has consequences well illustrated by the Netherlands since the 17th century: The divine Mother disappears, but the human mother is abundantly represented. As a result, the divine child also disappears, except some paintings of Christ adolescent among the Doctors of the Law. On the other hand, the human child is very represented, and it belongs to all classes of society, peasants, artisans, bourgeois, aristocrats, in scenes of society and landscapes. Dressed exactly like adults, the child is often a somewhat caricatured image of adulthood.
European Modern Art continues to represent women and children frequently. Throughout the very diversified period from 1815 to 1940, the child, like the woman, is very present in European painting, less and less in the religious aspect. It is more and more the profane child, the child of man, who prevails.
Contemporary Art, in our museums? Children? No. White squares, black, red ... straight and curved lines, zigzags, and lots of colorful spots. A childish or infantile art can be, but where the child is absent.
It is true that with a humanity that exceeds 7 billion people, it may have become better to make zig zags than children.
But it is also true that in a certain globalist and capitalist culture that has chosen to challenge and question traditional aesthetics and ethics, the absence of women in official art, and on the other hand her omnipresence in commercial advertising, are very revealing of the values and anti-values of our society.
In the silver market off Shroff Bazaar. Please note that no colour work has been done in Photoshop. He mentioned that he had coloured his beard with henna about 6 weeks back.
Jacqueline Fernandez and Tiger Shroff romance mid-air in 'A Flying Jatt' - Times of India #Jatt, #Jacqueline, #Fernandez, #Superhero, #Remo, #Tiger, #Shroff, #Superpowers, #Nathan, #Souza #Contfeed
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For more hot videos |http://goo.gl/HkMg02 Itunes itunes.apple.com/au/album/lucky-di-unlucky-story-original... Nokia www.mixrad.io/in/en/products/gippy-grewal/desi-ganna/5242... Saavn www.saavn.com/p/song/punjabi/Gippy-Rocks/Desi-Ganna/EQcTa... Movie: Lucky Di Unlucky Story Starring Gippy Grewal, Jackie Shroff, Surveen Chawla, Gurpreet Ghughi, Binnu Dhillon, Jasvinder Bhalla, Produced By Gurfateh Films & Sippy Grewal Productions Directed by Smeep Kang Music Jatinder Shah Story & Screenplay Smeep Kang DOP Toby Goreman Choreographer Racka Official Fb www.facebook.com/movieluckydiunluckystory. Song Lyrics Oh Tere Wala Nachna Kehndi Suit Oh Naabhi Paake Main, Oh Desi Gaana Laade Kehndi Main Bhangra Pauna, Kehndi Main Bhangra Pauna, Oh Tere Wala Nachna Kehndi Suit Oh Naabhi Paake Main, Oh Desi Gaana Laade Kehndi Main Bhangra Pauna, Kehndi Main Bhangra Pauna, . . Oh Laal Savatar Mere Vicho Nikal Rahe Chinghaare Veh, Oh Saukha Kitho Haan Deya Alarha Layi Ishq Kamauna, Oh Desi Gaana Laade Kehndi Main Bhangra Pauna, Kehndi Main Bhangra Pauna, . . Ve Mundeya High Heel Meri Ne Vehra Ditta Pattna Ve, Addiaan Naal Bharey Patole Ne Kudiya Ne Piche Kattna Ve, Oh Jor Jawani Wala Ve Main Dj Te Ajmauna, Oh Desi Gaana Laade Kehndi Main Bhangra Pauna, Kehndi Main Bhangra Pauna,
Jigra Fakira - Aurangzeb (2013) | Prithviraj Sukumaran, Arjun Kapoor, Amrita Singh, Jackie Shroff
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Bollywood filmmaker Karan Johar's film "Student of the Year 2" will be released on May 10. In this film, Tiger Shroff, Ananya Pandey and Tara Sutariya will be seen together in lead role. Recently, the trailer of this movie was launched in Bhay where the entire star cast reached
Barbadiyaan - Aurangzeb (2013) | Prithviraj Sukumaran, Arjun Kapoor, Amrita Singh, Jackie Shroff
www.rangooski.com/video/3780/barbadiyaan-aurangzeb-2013-p...
Jagat Seth was a rich businessman from Murshidabad during the rule of Nawab Siraj-ud-Daula. He came from a rich Jain Marwari business family in Murshidabad.[1] His spiritual guru was Jain Acharya Sri BhratruChandra Suri. Jagat Seths were among the most powerful bankers of India during the first half of 18th century. Roben Orme (official historian of East India Company) described Jagat Seths as the greatest shroff (money changer) and banker in the known world.[2]
According to Nick Robins:[3]
"The Jagat Seths were unrivalled in northern India for their financial power. Known as 'banker of the world', this Marwari family had build up formindable economic resources on the back of its control of the imperial mint and extensive monelylending. They wielded this financial clout at the Bengali court and were judged to be 'the chief cause of revolutions in Bengal' by a French commentator at the time."
He, along with Omichund and Mir Jafar joined the successful conspiracy against the Nawab, engineered by Robert Clive, due to which the Nawab lost the battle of Plassey. The British thus established the first colony in India.[4] Mir Jafar was installed as the puppet ruler of Bengal.
The Jagat Seth family were beheaded in 1763, during the reign of Mir Jafar's successor, by the troops of Mir Kasim. Mir Kasim had initially been installed by the East India Company as a puppet, but had attempted to rebel. -- Wikipedia. www.fluidr.com/photos/rajeve
Tiger shroff-sudheer babu’s stareer baaghi started on a decent note at boxoffice which criticks are not impressed with story praised action scenes ,As of now movie is super strong in xingle screens and movie surprised with boxoffice collections.
The film’s opening is comparable to the b...
I have known him for many years he is from Bihar begs in Mumbai he is married has two kids , he prays to God if somebody could help him he would give up begging open a small shop on a wheelchair selling toys and never return to Mumbai ,,
He lost the use of his legs due to polio ,,earlier people like Jackie Shroff used to help such cripples with wheelchairs but all that has stopped ,,,he was not well today and had lost his sheen.. This is my second video with him.
Jagat Seth was a rich businessman from Murshidabad during the rule of Nawab Siraj-ud-Daula. He came from a rich Jain Marwari business family in Murshidabad. Jagat Seths were among the most powerful bankers of India during the first half of 18th century. Roben Orme (official historian of East India Company) described Jagat Seths as the greatest shroff (money changer) and banker in the known world.
"Saffron Days"
Ph. Jean Francois Campos
Fashion Editor: Anaita Shroff Adajania
Models: Lakshmi Menon, Preeti Dhata and Miriam Ilorah
Main aur meri Tanhai
Uska Dharm kuch bhi Ho
Rishte main woh mera bhai
Chahey woh Ho Hindu
Dalit Sikh ya Isai
Meri ma ke charno
Main maine Akal paie
Ma kehti thi sab dharm ek
Sabko Adar Karo
Ismey tumhari bhalaie
Man ke in Shabdon se
Maine zindagi main.
Khushiyan Payi..
Maine apne camera
Se ap sab ko Har
Dharm ki Kahani
Sunaiee..
Khush rahiye ap Sab
Apas main na karen ladiee
Main Hindi main kamzor Hoon
Angrezi main thi meri soch
Aur Padiee..
Now for God sake
Please don't ask me why ?
My parentage my upbringing
Made me what I am..
Having lived peacefully
In Mumbai..
My parents started their journey of life
In a fetid Kurla slum. They asked me
To always remember this till the day
I die..
My tears are drops in Memory
Of a divine Mother.. Born a Shia
Lover of Hussein and Humanity
Now don't ask me why I cry.
My camera holds the power
Of Shiva's third eye..
I shoot what others don't shoot
My vision you can never buy
I did the costumes of Jackie Shroff
In Hero humbly directed by Subhash Ghai..
I did the costumes of Salman Khan s first film Biwi Ho to Aisi. But I don't call him Sallu Bhai.
I did the costumes of Govinda in Coolie no 1 Aunty no 1 Hero no 1 Maharajah
Sajan Chale Sasural Bade Miyan Chotey Miya.. Colors to defy.
I have been designing for Mr Danny Denzongpa for last 40 years.
Boxer Ghayal Ghatak Army Jai Ho Baby Pukar Barsat China Gate my contribution I cannot deny.
I acted in Phata Poster Nikla Hero China Gate thanks to Mr Raj Kumar Santoshi the greatest director with a magic eye.
Shakti Kapoor Kadar Khan Shatrughan Sinha sab Om Puri Mukesh Tiwari have worn my creations.. Giving my talent a high.
But the most phenomenal actor I worked for was Mr Rajesh Khanna Babu Moshai.. Bollywood's most talented actor and a beautiful guy.
This is my story in a nutshell
A moment on a clothesline
Left to dry..
Don't ask my cell phone number
I am a recluse living out my dreams
At Bandra in self exile.
I made Mr Amitabh Bacchan to dress like Govinda in Bade Miya Chotey Miya
An actor who touched me deeply
Made me fly..
Catcher in the Eye
Stewardship Board Meeting on Food Systems
Qu Dongyu, Director-General, Food and Agriculture Organization of the United Nations (FAO), Rome; Clare Akamanzi, Chief Executive Officer, Rwanda Development Board (RDB); David Beasley, Executive Director, United Nations World Food Programme (WFP), Rome; Agnes Matilda Kalibata, President, Alliance for a Green Revolution in Africa (AGRA), Kenya; Geraldine Matchett, Co-Chief Executive Officer and Chief Financial Officer, Royal DSM, Netherlands; Jai Shroff, Global Chief Executive Officer, UPL, India; Anne Beathe Tvinnereim, Minister of International Development of Norway; Martien Van Nieuwkoop, Global Director, Agriculture and Food Global Practice, World Bank, Washington DC; Sean de Cleene, Head, Food Systems Initiative; Member of the Executive Committee, World Economic Forum; Klaus Schwab, Founder and Executive Chairman, World Economic Forum
Copyright: World Economic Forum/Jeffery Jones
Sustainable Development Impact Meetings, New York, USA 19 - 23 September
Stewardship Board Meeting on Food Systems
Qu Dongyu, Director-General, Food and Agriculture Organization of the United Nations (FAO), Rome; Clare Akamanzi, Chief Executive Officer, Rwanda Development Board (RDB); David Beasley, Executive Director, United Nations World Food Programme (WFP), Rome; Agnes Matilda Kalibata, President, Alliance for a Green Revolution in Africa (AGRA), Kenya; Geraldine Matchett, Co-Chief Executive Officer and Chief Financial Officer, Royal DSM, Netherlands; Jai Shroff, Global Chief Executive Officer, UPL, India; Anne Beathe Tvinnereim, Minister of International Development of Norway; Martien Van Nieuwkoop, Global Director, Agriculture and Food Global Practice, World Bank, Washington DC; Sean de Cleene, Head, Food Systems Initiative; Member of the Executive Committee, World Economic Forum; Klaus Schwab, Founder and Executive Chairman, World Economic Forum
Copyright: World Economic Forum/Jeffery Jones
Sustainable Development Impact Meetings, New York, USA 19 - 23 September
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Lyrics:- kumaar
Directed By:- Sam Bombay
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Zara Zara Kareeb
Udne Laga Dil
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Kafiran Dil Is
Hello Heloo Music
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Sab Tera - Baaghi (2016) | Tiger Shroff, Shraddha Kapoor
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A Flying Jatt | Official Trailer | Tiger Shroff, Jacqueline Fernandez and Nathan Jones #Jatt, #Shroff, #Trailer, #Balajimotionpictures, #Tiger, #Nathan, #Jacqueline, #Flying, #Fernandez, #Duration #Contfeed
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From left;
ENGELHART, W.C., Kapitein-Luitenant Monteur Onderzeedienst, Koningklijke Marine. (Submarine Captain-Lieutenant Engineer, Royal Netherlands Navy)
CHERKOWSKI, Maksymilian, Marynarc, Marynarka Wojenna. (Sailor, Polish Navy)
HENDERSON, William George, 413766, Pilot Officer, Royal Australian Air Force. Killed at 15h21 on 31 March 1943 when DH86B Rapide AX844 of 782 Squadron, Fleet Air Arm crashed on take off from HMS Merlin en route to RAF Turnhouse (now Edinburgh Airport) on a familiarisation flight. P/O Henderson was the son of William Gordon and Pauline Elvira de Lerma Henderson, of Roseville, New South Wales, Australia. The aircraft was impressed for military service upon the invasion of the Channel Islands formerly flying as G-ACZR "La Saline Bay" of Jersey Airways.
SHROFF, Owen Mortimer, 416645, Flying Officer, Royal New Zealand Air Force. Killed in the above accident. F/O Shroff was the son of Alfred Homy and Kathleen Robert Shroff of Lower Hutt, Wellington, New Zealand.
SMITH, Alfred, Fireman, Merchant Navy, S.S. British Progress (tanker). Fireman Smith was the son of James and Annie Smith and husband of Mary Ann Smith, of Tilbury, Essex.
DOBSON, Margaret Ethne Jean, First Officer, Womens Royal Naval Service. Killed when DH.89A Rapide, R9563, 782 Squadron, Fleet Air Arm, crashed into Kempstone Hill, 3 miles north of Stonehaven, Aberdeenshire whilst en route from Hatston, Kirkwall, Orkney to HMS Merlin, RNAS Donibristle. First Officer Dobson was the daughter of Richard Augustus and Margaret Augusta Dobson. She is also listed as being a Flying Officer and being the co-pilot and navigator on this fatal flight.
The inscription at the foot of her grave is from the poem "Break, Break, Break" by Alfred Lord Tennyson. Perhaps her parents wanted us to read the following lines of the poem;
"But O for the touch of a vanished hand,
and the sound of a voice that is still"
TENNYSON, Frederick Penrose, Lieutenant, Royal Naval Volunteer Reserve. Killed in same crash as First Officer Dobson.
Son of Charles Bruce Locker and Ivy Gladys Pretious Tennyson. Husband of Nova Pilbeam.
Great grandson of Alfred Lord Tennyson.
Lt. Tennyson was a film director attached to the Royal Navy Instructional Film Unit. He had previously worked as assistant to Alfred Hitchcock.
About your easy heads my prayers
I say with syllables of clay.
"What gift," I asked, "shall I bring now
Before I weep and walk away?"
"Take," they replied, "the oak and the laurel
Take our fortune of tears and live
Like a spendthrift lover. All we ask
Is the one gift you cannot give."
Charles Causley.
UPLOAD BY SAJJAN ALI ABBASI ANY INFO CONTACTS MOB 03033888813 WABSITE { WWW.SAJJANSINDHI.PEPERONITY.COM } E-MAIL SAJJANSINDHI1@GMAIL.COM
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Another group portrait from the same provenance as the previous shot, but definitely older.
European merchants with their chinese compradors. A comprador was a native-born contract supplier who worked for foreign companies in China and certain other Asian countries.
I think the sequence is wrong (since compradors must have been chinese), but on the backside is written:
Standing from left to right: Shipping clerk - Shroff (?) - Pearce – Shipping Comprador - General Comprador - Arms Comprador - Behmez (?)
Sitting from left to right: Sievers - Carter - Mander
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Anushka Ranjan at the Launch of Matrix Fight Night by Tiger & Krishna Shroff at NSCI worli on 12th March 2019 shown to user
From Wikipedia, the free encyclopedia
Abhishek Bachchan (born 5 February 1976) is an Indian film actor, producer and occasional playback singer.
Bachchan made his acting debut in the drama film Refugee (2000). After earning little praise for his roles in a series of commercially unsuccessful films, he starred in the action thriller Dhoom (2004), a box office hit and the first film in the popular Dhoom series.[1] Bachchan received critical acclaim for supporting role in Yuva (2004), and starred in commercially successful films like Bunty Aur Babli (2005), Sarkar (2005), Kabhi Alvida Naa Kehna (2006) and Guru (2007).[2] He also starred in Dhoom 2 (2006), Dostana (2008), Paa (2009), Bol Bachchan (2012), Dhoom 3 (2013) and Happy New Year (2014).[2] He produced Paa along with Sunil Manchanda which won the National Film Award for Best Feature Film in Hindi.
Married to actress and former Miss World Aishwarya Rai, Bachchan comes from an illustrious Bollywood family.[3][4] His father Amitabh Bachchan is a leading actor in Hindi cinema and his mother Jaya Bhaduri Bachchan is a former leading actress.[5]
Abhishek Bachchan was born on 5th February, 1976. His grandfather, Harivansh Rai Bachchan, was a poet of Hindi literature and professor at the Allahabad University in Uttar Pradesh. The original surname of his family is Srivastava, Bachchan being the pen name used by his grandfather. However, when Amitabh entered films, he did so under his father's pen name. Bachchan is of Kayastha heritage on his father's side,[6] Bengali from his mother's side[7] and Punjabi from his grandmother's side.[8] Time magazine listed Amitabh Bachchan and Aishwarya Rai on its list of most influential Indians.[9][10]
Bachchan was dyslexic as a child; this was referred to by Aamir Khan in the film Taare Zameen Par.[11] He attended Jamnabai Narsee School and Bombay Scottish School in Mumbai, Modern School, Vasant Vihar, New Delhi, and Aiglon College in Switzerland.[12] He then attended Boston University, but dropped out.[13][14]
Career[edit]
Film debut and initial struggle (2000-2003)[edit]
In 2000, Bachchan made his film debut playing the male lead in J. P. Dutta's war drama Refugee opposite Kareena Kapoor, who was also making her debut in the film. Although the film did not fare very well at the box office, both Bachchan and Kapoor received positive reviews for their performances. Film critic Taran Adarsh wrote that he "has all it takes to emerge a competent actor in years to come. Even in his debut-making film, Abhishek comes across as a fine actor and lives up to his family name."[15]
After Refugee, Bachchan starred in a series of poorly received films that failed to make a mark at the box office. However, his performance in Sooraj R. Barjatya's romantic dramedy Main Prem Ki Diwani Hoon (2003) earned him his first nomination for the Filmfare Award for Best Supporting Actor, and he went on to win the award the following year for his performance in Mani Ratnam's political drama Yuva (2004).
Widespread success (2004-2008)[edit]
Bachchan better established himself in Hindi cinema playing a no-nonsense Mumbai police officer in the blockbuster action thriller Dhoom (2004), which also starred Uday Chopra, John Abraham, Esha Deol, and Rimi Sen in pivotal roles. His next two films were Phir Milenge (2004) and Naach (2004), neither of which performed very well at the box office.
Bachchan's first release of 2005 was the crime comedy Bunty Aur Babli, which featured him and Rani Mukerji as the titular con artist duo who perform several successful heists and fall in love along the way. The film emerged as the second highest-grossing Bollywood film of 2005, and earned him a nomination for the Filmfare Award for Best Actor. This film also marked his first professional collaboration with his father Amitabh Bachchan, who played a police officer closely following the lead pair.
Bachchan was next seen in Ram Gopal Varma's political drama Sarkar, which was a moderate success at the box office. His performance as the morally upright son of a troubled politician (played by his father) earned him rave reviews from critics as well as his second consecutive Filmfare Award for Best Supporting Actor. His next two releases Dus (2005) and Bluffmaster! (2005) were both moderately successful, but did not earn much critical appreciation.
Bachchan won his third consecutive Filmfare Award for Best Supporting Actor for his performance in Karan Johar's critically acclaimed romantic drama Kabhi Alvida Naa Kehna (2006), which emerged as a moderate commercial success despite the fact that it dealt with the controversial subject of marital infidelity. Bachchan played the role of a man whose wife (Rani Mukerji) is unhappy with their marriage, and so begins an affair with a friend (Shahrukh Khan) who is also unhappy with his marriage to his wife (Preity Zinta).
Bachchan then starred opposite Aishwarya Rai in the period romance Umrao Jaan, a remake of the 1981 film of the same name starring Rekha and Farooq Sheikh in the lead roles. The film failed to earn the same level of appreciation as the original, and was also a commercial failure. He was next seen in Dhoom 2 (2006), which featured him and Uday Chopra reprising their roles from the original Dhoom (2004) joined by new cast members Hrithik Roshan, Aishwarya Rai, and Bipasha Basu. The film emerged as the highest-grossing Bollywood film of 2006, but some critics commented that Bachchan was "reduced to a mere supporting player"[16] to his co-star Roshan.
Bachchan earned much critical acclaim for his performance in Mani Ratnam's Guru (2007), loosely based on the life of business magnate Dhirubhai Ambani. Film critic Raja Sen wrote that “Abhishek Bachchan owns the movie... [He] forces himself under the skin of the character, and from gait to accent, proves constantly credible.”[17] The film starred him alongside Aishwarya Rai Bachchan (making the film their first collaboration after their marriage), R. Madhavan, Mithun Chakraborty, Vidya Balan, and Arya Babbar.
His next release was the dance comedy Jhoom Barabar Jhoom (2007) alongside Preity Zinta, Bobby Deol, and Lara Dutta. Although the film failed at the Indian box office, it was a moderate success overseas. He was then seen playing a minor role in the female-centric drama Laaga Chunari Mein Daag (2007) as the love interest of the film's lead actress Rani Mukerji.
Bachchan's first release of 2008 was Ram Gopal Varma's Sarkar Raj, which featured him and his father reprising their roles from Sarkar (2005) while his wife Aishwarya Rai Bachchan entered the cast as a new addition. This film proved to be a major success at the box office, and earned him a nomination for the Filmfare Award for Best Supporting Actor. His next release was the fantasy adventure film Drona (2008), which was a major failure both critically and commercially.
Bachchan was next seen in Dostana (2008), a romantic comedy about two men (Bachchan and John Abraham) who pretend to be gay in order to be allowed to live with a girl (Priyanka Chopra), but then find that they have both fallen in love with her. John Abraham overshadowed Bachchan in this film with his power packed performance.The film was a major success at the box office, and earned him a nomination for the Filmfare Award for Best Actor.
Bachchan's first release of 2009 was Delhi-6, which received a lukewarm response from critics. Later that year he was seen in the family dramedy Paa, which he also produced. The film's plot centered on a boy (Amitabh Bachchan) suffering from progeria as well as his relationships with his father (Bachchan) and his mother (Vidya Balan). For his work as a producer on the film, Bachchan earned the National Film Award for Best Feature Film in Hindi.
Brief setback and recent success (2010-present)[edit]
Bachchan experienced a brief setback in his career[18] with five films that failed critically and commercially. These films were the thriller Raavan (2010), the social drama Khelein Hum Jee Jaan Sey (2010), the action thriller Game (2011), the crime drama Dum Maaro Dum (2011), and the heist thriller Players (2012).
Bachchan then played supporting role alongside Ajay Devgan, Asin, and Prachi Desai in Rohit Shetty's comedy Bol Bachchan (2012), which was a major blockbuster at the box office despite receiving mixed reviews from critics. Film critic Anupama Chopra called Bachchan a "good part of the film" and also commented that he "manages to sparkle even in a script that is lazy and determinedly lowbrow".[19]
Bachchan then appeared in Dhoom 3 (2013). Like Dhoom 2 (2006), he and Uday Chopra were the only cast members reprising their roles. In this installment of the series, they were joined by Aamir Khan and Katrina Kaif. While the film became a major blockbuster and currently ranks as the highest-grossing Bollywood film of all-time, most critics commented that Bachchan was a good supporting actor in Dhoom 3. Bachchan also starred in Farah Khan's Happy New Year, a musical heist film which featured an ensemble cast of Shahrukh Khan, Deepika Padukone, Sonu Sood, Boman Irani, Vivaan Shah and Jackie Shroff. Shahrukh Khan's stellar performance was hailed by the audience. Bachchan had a double role in the film as Nandu Bhide, a street loafer and Vikki Grover, the son of a business tycoon. Critics praised his comic timings and acting and felt that he was a good supporting actor.
Upcoming projects[edit]
He is filming for the romantic drama All Is Well opposite Asin, which was initially set to release in December 2014 but has now been delayed as cabinet minister Smriti Irani, who plays a vital role in the film has not been able to allocate any dates since the Indian general elections 2014. He has also signed on to star with Akshay Kumar and Riteish Deshmukh as the three male leads of Housefull 3, the sequel to Housefull (2010) and Housefull 2 (2012). This installment is to be directed by Sajid-Farhad and produced by Sajid Nadiadwala.[20]
Sports ventures[edit]
Abhishek Bachchan bought the Pro Kabaddi League franchise team Jaipur Pink Panthers[21][22] and co-bought the Indian Super League football team Chennaiyin FC.[23] in 2014. Jaipur Pink Panthers won the first ever championships held in 2014.[24]
Other work[edit]
In 2005, he was a part of Tamil director Mani Ratnam's stage show, Netru, Indru, Naalai, an event which sought to raise funds for The Banyan, a voluntary organisation which rehabilitates homeless women with mental illness in Chennai.[25]
In the summer of 2008, Bachchan, his wife, his father, and actors Preity Zinta, Riteish Deshmukh, and Madhuri Dixit starred in the "Unforgettable World Tour" stage production. The first leg covered the USA, Canada, Trinidad, and London. Bachchan is also involved in the functional and administrative operations of his father's company, originally known as ABCL, and renamed as AB Corp. Ltd. That company, along with Wizcraft International Entertainment Pvt. Ltd., developed the Unforgettable production.[26]
In 2011, Bachchan has promoted awareness of drug abuse in India as part of a citizen education campaign. The actor launched the Awareness Day race, which celebrated the silver jubilee of the country's Narcotics Control Bureau.[27][28]
Brand ambassador[edit]
Bachchan has been brand ambassador for products like LG Home appliances,[29] American Express credit cards,[30] Videocon DTH,[31] Motorola mobiles,[32] Ford Fiesta[33] and Idea mobiles.[34]
In 2009, Abhishek Bachchan was announced the winner of the 'Best Brand Ambassador of the Year' award at the NDTV Techlife Awards 2009.[35]
AdEx India,a division of TAM Media Research conducted a study on celebrity brand endorsements for the period of Jan–Dec 2010 in which Abhishek Bachchan eats the pie with a 4.7% share ad volume out of the 41.5% film actors on the endorsement circuit.[36][37]
Abhishek Bachchan became the brand ambassador for TTK Prestige, part of the TTK Group in October 2013 [38] along with his wife Aishwarya Rai Bachchan.
In 2014, he became the brand ambassador for the END7 campaign of the Global Network for Neglected Tropical Diseases. The goal of the campaign is to eradicate seven different tropical diseases by 2020.[39]
Personal life[edit]
Bachchan with his wife Aishwarya Rai, 2013.
In October 2002, at his father Amitabh Bachchan's 60th birthday celebration, Abhishek and actress Karisma Kapoor announced their engagement.[40] The engagement was called off in January 2003. Bachchan fell in love with Aishwarya Rai, who is two years older than him, whilst filming for Dhoom 2,[41] though both of them had already appeared together in Dhai Akshar Prem Ke (in which her then longtime boyfriend, Salman Khan, made a brief cameo) and Kuch Naa Kaho. Bachchan and Rai announced their engagement on 14 January 2007 later confirmed by his father, Amitabh Bachchan.[42][43] The couple was married on 20 April 2007, according to traditional Hindu rituals of the Bunt community, to which Rai belongs. The wedding took place in a private ceremony at the Bachchan residence, Prateeksha, in Juhu, Mumbai,[44] but was heavily covered by the entertainment media. The couple appeared on The Oprah Winfrey Show in September 2009,[45] and were described as more famous than Brangelina.[46] They have been described as a supercouple in the Indian media.[47][48] Rai gave birth to a baby girl on 16 November 2011.[49][50] Her daughter became quite popular by the name of "Beti B" which was named by the fans and the media, since the couple took over four months to name their daughter. The baby girl was finally named as Aaradhya Bachchan in March 2012.[51]
Aurangzeb (2013) Trailer | Prithviraj Sukumaran, Arjun Kapoor, Amrita Singh, Jackie Shroff
www.rangooski.com/video/3782/aurangzeb-2013-trailer-prith...
Baaghi (2016) - Official Trailer | Tiger Shroff, Shraddha Kapoor
www.rangooski.com/video/3084/baaghi-2016-official-trailer...