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Vik, Iceland by Arti Panchal
Excerpt from burlingtonculturalmap.ca:
Landscape Watchers
Panchal Mansaram, 1996 (installed 2014)
Colour xerography on paper and wood
Landscape Watchers was inspired by the Burlington landscape and the natural life found in the artist’s own backyard. The artwork was created using a technique called xerography, one of the first forms of photocopying. Starting with photographs, the artist copied and manipulated the images to create a multi-layered collage effect. Landscape Watchers was donated to the City of Burlington’s Public Art Collection by local artist Panchal Mansaram.
Cash Macanaya’s Astronaut pic and Jigar Panchal’s lighted doorway scene contributed to this creation.Thankyou both for your contributions to Unsplash that made it possible and inspired me to bring it to a whole new state of being.
Excerpt from burlingtonculturalmap.ca:
Magic Light
Panchal Mansaram, 1994 (installed 2014)
Colour xerography on paper and wood
Magic Light was inspired by Hidden Valley Park. Mansaram noticed the beautiful light in the park and took the photograph that is the starting point for this artwork. The piece was created using a technique called xerography, one of the first forms of photocopying. Starting with photographs, the artist copied and manipulated the images to create a multi-layered collage effect. Magic Light was donated to the City of Burlington’s Public Art Collection by local artist Panchal Mansaram.
Nissan 350Z Coupe (2003-08) Engine 3498cc V6
Registration Number NY 03 OKC (Stockton)
NISSAN SET
www.flickr.com/photos/45676495@N05/sets/72157623814850528...
The 350Z was launched as a two seater Coupe in 2003 with a Roadster version following in 2004. designed by Ajay Panchal of Nissan Design America. Intially powered by a Nissan VQ35DE 3.5 L with 287bhp, which was uprated in 2005 to 304bhp.
The model was given a mid-life facelift in 2006 for the 2007 model year New features included bi-xenon projectors, a revised front fascia, new LED rear lights, and changes to the interior trim. For the 2007 model year, the 350Z was again moderately revised. The VQ35DE V6 was replaced with a new VQ35HR V6. It produced 306 bhp the bommet was redesigned featuring a bulge to accommodate the revised twin-throttle design of the new VQ35HR V6 engine.
In 2008 the Coupe was discontinued, the Roadster continuing to 2009.
Thankyou for a massive 53,508472 views (Flickrs latest count adjustment)
Shot 29.05.2016 at Curborough Sprit Course, Curborough, Lichfield REF 119-217
Uttarakhand ,(Hindi Uttarakha), formerly known as Uttaranchal, is a state in the northern part of India. It is often referred to as the Devbhumi (literally: "Land of the Gods") due to many Hindu temples and pilgrimage centres found throughout the state. Uttarakhand is known for its natural beauty of the Himalayas, the Bhabhar and the Terai. On 9 November 2000, this 27th state of the Republic of India was created from the Himalayan and adjoining northwestern districts of Uttar Pradesh. It borders Tibet Autonomous Region of the People's Republic of China on the north; the Mahakali Zone of the Far-Western Region, Nepal on the east; and the Indian states of Uttar Pradesh to the south and Himachal Pradesh to the west and north-west as well as Haryana to its south-western corner. The state is divided into two divisions, Garhwal and Kumaon, with a total of 13 districts. The interim capital of Uttarakhand is Dehradun, the largest city in the region, which is a railhead. The High Court of the state is in Nainital.
Archaeological evidence support the existence of humans in the region since prehistoric times. The region formed a part of the Kuru and the Panchal kingdoms (mahajanpads) during the Vedic age of ancient India. Among the first major dynasties of Kumaon were the Kunindas in the 2nd century BCE who practised an early form of Shaivism. Ashokan edicts at Kalsi show the early presence of Buddhism in this region. During the medieval period the region was consolidated under the Kumaon Kingdom and Garhwal Kingdom. In 1816 most of modern Uttarakhand was ceded to the British as part of the Treaty of Sugauli. Although the erstwhile hill kingdoms of Garhwal and Kumaon were traditional rivals, the proximity of different neighbouring ethnic groups and the inseparable and complementary nature of their geography, economy, culture, language, and traditions created strong bonds between the two regions which further strengthened during the Uttarakhand movement for statehood in the 1990s.
The natives of the state are generally called Uttarakhandi or more specifically either Garhwali or Kumaoni depending on their place of origin. According to the 2011 Census of India, Uttarakhand has a population of 10,116,752, making it the 19th most populous state in India. A large portion of the population consists of Rajputs and Brahmins. About 83% of the population follow Hinduism. Islam is the second largest majority religion in the state, followed by the Minority Sikhism & Micro-Minority Christianity, Buddhism, and Jainism. Garhwali and Kumaoni along with other hilly dialects and sub-dialects are the main regional languages, whereas Hindi is the most widely spoken language. Uttarakhand is the only state in India with Sanskrit as one of its official languages.
Nissan 350Z Coupe (2003-08) Engine 3498cc V6
Race Number - Driver John Williams (Castle Donington)
Registration Number NY 03 OKC (Stockton)
NISSAN SET
www.flickr.com/photos/45676495@N05/sets/72157623814850528...
The 350Z was launched as a two seater Coupe in 2003 with a Roadster version following in 2004. designed by Ajay Panchal of Nissan Design America. Intially powered by a Nissan VQ35DE 3.5 L with 287bhp, which was uprated in 2005 to 304bhp.
The model was given a mid-life facelift in 2006 for the 2007 model year New features included bi-xenon projectors, a revised front fascia, new LED rear lights, and changes to the interior trim. For the 2007 model year, the 350Z was again moderately revised. The VQ35DE V6 was replaced with a new VQ35HR V6. It produced 306 bhp the bommet was redesigned featuring a bulge to accommodate the revised twin-throttle design of the new VQ35HR V6 engine.
In 2008 the Coupe was discontinued, the Roadster continuing to 2009.
Diolch am 76,889,602 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 76,889,602 amazing views, every one is greatly appreciated.
Shot 08..09.2019 at Curborough Sprint course, Curborough, Lichfield, Staffordshire 143-814
This Webb model was made by Darshan Panchal.
Share your model of Webb with us! jwst.nasa.gov/content/features/educational/paperModel/mod...
Image Credit: Darshan Panchal
Nissan 350Z Coupe (2003-08) Engine 3498cc V6
Race Number - Driver John Williams (Castle Donington)
Registration Number NY 03 OKC (Stockton)
NISSAN SET
www.flickr.com/photos/45676495@N05/sets/72157623814850528...
The 350Z was launched as a two seater Coupe in 2003 with a Roadster version following in 2004. designed by Ajay Panchal of Nissan Design America. Intially powered by a Nissan VQ35DE 3.5 L with 287bhp, which was uprated in 2005 to 304bhp.
The model was given a mid-life facelift in 2006 for the 2007 model year New features included bi-xenon projectors, a revised front fascia, new LED rear lights, and changes to the interior trim. For the 2007 model year, the 350Z was again moderately revised. The VQ35DE V6 was replaced with a new VQ35HR V6. It produced 306 bhp the bommet was redesigned featuring a bulge to accommodate the revised twin-throttle design of the new VQ35HR V6 engine.
In 2008 the Coupe was discontinued, the Roadster continuing to 2009.
Diolch am 76,889,602 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 76,889,602 amazing views, every one is greatly appreciated.
Shot 08..09.2019 at Curborough Sprint course, Curborough, Lichfield, Staffordshire 143-813
Nissan 350Z Coupe (2002-09) Engine 3498cc V6
Registration Number V 60 OHH (Cherished number, first allocated from Carlisle)
NISSAN SET
www.flickr.com/photos/45676495@N05/sets/72157623814850528...
The 350Z was launched as a two seater Coupe in 2002 for the 2003 model year with a Roadster version following in 2004. designed by Ajay Panchal of Nissan Design America. Intially powered by a Nissan VQ35DE 3.5 L with 287bhp, which was uprated in 2005 to 304bhp. the 350Z coupé was available in 5 trim packages: '350Z' (Base), 'Enthusiast', 'Performance', 'Touring', and 'Track' editions. In Europe, only the 'Track' trim was available, although it was badged and marketed as '350Z'. The Track trim version came with lightweight wheels and Brembo brakes, but its suspension tuning was the same as all other coupes
The model was given a mid-life facelift for the 2006 model year New features included bi-xenon projectors, a revised front fascia, new LED rear lights, and changes to the interior trim. For the 2007 model year, the 350Z was again moderately revised. The VQ35DE V6 was replaced with a new VQ35HR V6. It produced 306 bhp the bommet was redesigned featuring a bulge to accommodate the revised twin-throttle design of the new VQ35HR V6 engine.
In 2008 the Coupe was discontinued, the Roadster continuing to 2009.
The 350Z spawned many track based variants and was raced extensively, making its debut in Grand Am as early as the 2003 season The Grand-Am Cup car has also been used in the new FIA GT4 European Cup. Schumacher Motorsports with drivers Michael Schumacher and BJ Zacharias won 3rd place in the '03 Grand-Am Cup season going one better with 2nd place in 2004.
In JGTC/Super GT a lightened Nismo version won the 2004 series, In 2003 Hasemi Sports won the GT300 championship.
Z33s also raced in the Japanese Super Taikyu Series and as privateer entries in the British GT Championship. The car has also seen success in SCCA races in the USA and is a popular choice of car in Drift racing and even appeared in The Fast and the Furious: Tokyo Drift, where it was fitted with a Veilside bodykit
Diolch yn fawr am 67,857,691 o olygfeydd anhygoel, mwynhewch ac arhoswch yn ddiogel
Thank you 67,857,691 amazing views, enjoy and stay safe
Shot 02.09.2018 at Himley Hall, Wolverhampton Ref 136-210
Nissan 350Z Coupe (2003-08) Engine 3498cc V6 296hp
Registration Number H 14 AYD (Cherished number, originally allocated for issue c. 1990 from Taunton))
NISSAN ALBUM
www.flickr.com/photos/45676495@N05/sets/72157623814850528...
The 350Z was launched as a two seater Coupe in 2003 with a Roadster version following in 2004. designed by Ajay Panchal of Nissan Design America. Initially powered by a Nissan VQ35DE 3.5 L with 287bhp, which was uprated in 2005 to 304bhp.
The model was given a mid-life facelift in 2006 for the 2007 model year New features included bi-xenon projectors, a revised front fascia, new LED rear lights, and changes to the interior trim. For the 2007 model year, the 350Z was again moderately revised. The VQ35DE V6 was replaced with a new VQ35HR V6. It produced 306 bhp the bonnet was redesigned featuring a bulge to accommodate the revised twin-throttle design of the new VQ35HR V6 engine.
In 2008 the Coupe was discontinued, the Roadster continuing to 2009.
Diolch am 85,962,081 o olygfeydd anhygoel, mae pob un yn 90cael ei werthfawrogi'n fawr.
Thanks for 85,962,081 amazing views, every one is greatly appreciated.
Shot 01.08-2021 exiting the Silverstone Festival 01.08.2021 Ref 150-263
Nissan 350Z Coupe (2003-08) Engine 3498cc V6
Race Number 12 John Williams
Registration Number NY 03 OKC (Stockton)
NISSAN SET
www.flickr.com/photos/45676495@N05/sets/72157623814850528...
The 350Z was launched as a two seater Coupe in 2003 with a Roadster version following in 2004. designed by Ajay Panchal of Nissan Design America. Intially powered by a Nissan VQ35DE 3.5 L with 287bhp, which was uprated in 2005 to 304bhp.
The model was given a mid-life facelift in 2006 for the 2007 model year New features included bi-xenon projectors, a revised front fascia, new LED rear lights, and changes to the interior trim. For the 2007 model year, the 350Z was again moderately revised. The VQ35DE V6 was replaced with a new VQ35HR V6. It produced 306 bhp the bommet was redesigned featuring a bulge to accommodate the revised twin-throttle design of the new VQ35HR V6 engine.
In 2008 the Coupe was discontinued, the Roadster continuing to 2009.
Thankyou for a massive 56,837,475 views
Shot 11.09.2016 at Curborough Sprint Course, Fradley, Lichfield REF 123-024
Nissan 350Z Coupe (2003-08) Engine 3498cc V6 296hp
Registration Number B 8 MTJ (Cherished number, now transferred to a BMW M3, originally issued at Liverpool)
NISSAN ALBUM
www.flickr.com/photos/45676495@N05/sets/72157623814850528...
The 350Z was launched as a two seater Coupe in 2003 with a Roadster version following in 2004. designed by Ajay Panchal of Nissan Design America. Intially powered by a Nissan VQ35DE 3.5 L with 287bhp, which was uprated in 2005 to 304bhp.
The model was given a mid-life facelift in 2006 for the 2007 model year New features included bi-xenon projectors, a revised front fascia, new LED rear lights, and changes to the interior trim. For the 2007 model year, the 350Z was again moderately revised. The VQ35DE V6 was replaced with a new VQ35HR V6. It produced 306 bhp the bommet was redesigned featuring a bulge to accommodate the revised twin-throttle design of the new VQ35HR V6 engine.
In 2008 the Coupe was discontinued, the Roadster continuing to 2009.
Many thanks for a Marmalising
51,441,121 views
Shot 01.05.2016 Shot at Catton Hall, nr. Weston on Trent Derbs. REF 116-142
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Nissan 350Z Coupe (2003-08) Engine 3498cc V6
Registration Number OE 54 RKV (Oxford)
NISSAN SET
www.flickr.com/photos/45676495@N05/sets/72157623814850528...
The 350Z was launched as a two seater Coupe in 2003 with a Roadster version following in 2004. designed by Ajay Panchal of Nissan Design America. Intially powered by a Nissan VQ35DE 3.5 L with 287bhp, which was uprated in 2005 to 304bhp.
The model was given a mid-life facelift in 2006 for the 2007 model year New features included bi-xenon projectors, a revised front fascia, new LED rear lights, and changes to the interior trim. For the 2007 model year, the 350Z was again moderately revised. The VQ35DE V6 was replaced with a new VQ35HR V6. It produced 306 bhp the bommet was redesigned featuring a bulge to accommodate the revised twin-throttle design of the new VQ35HR V6 engine.
In 2008 the Coupe was discontinued, the Roadster continuing to 2009.
Diolch am olygfa anhygoel, 62,321,113 oblogaeth y Lloegr honno dros y Mynyddoedd
Thanks for a stonking 62,321,113 views
Shot 30-07-2017 exiting the 2017 Silverstone Classic REF 129-536
Nissan Altima (4th Gen) Sedan (2007-13) Engine 2500cc S4
Decals NYC Taxi
The fourth generation Nissan Altima Sedan was designed by Ajay Panchal, and Takashi Noguchi was launched at the 2006 New York Auto Show as the first vehicle to use the smaller Nissan D platform. Followed by the Altima Coupe launched in 2007 for the 2008 model year designed by Toshiyuki Abe. The fourth generation is slightly shorter than its predecessor but with simular interior space The fourth generation Altima used revised versions of the engines from the third generation model. The VQ35DE 3.5 L V6 engine produces 270 hp and the QR25DE 2.5 L straight-4 produces 175 hp both mated to six speed transmission. For 2008, a new base model, named the 2.5, became available as a more affordable version of the Altima, with wiring for but no factory radio amongst other cost saving options
In 2009 for the 2010 model year, the Nissan Altima was facelifted with a new front fascia, hood, and headlights, as well as new wheels and interior materials, electronic stability control now offered as standard
The Altima Hybrid was Nissan's first hybrid car, was introduced in 2007 and discontinued in the 2011 model year. and was only available in 10 States which followed California's strict energy laws (California, Oregon, Connecticut, Maine, Maryland, Massachusetts, New Jersey, New York, Rhode Island and Vermont) and was also available in Canada
Nissan 350Z (Z33) Coupe (2003-08) Engine 3498cc VQ35HR V6
Registration Number H 14 AYD (Cherished number, originally allocated from Taunton)
NISSAN ALBUM
www.flickr.com/photos/45676495@N05/sets/72157623814850528...
The 350Z was launched as a two seater Coupe in 2003 with a Roadster version following in 2004. designed by Ajay Panchal of Nissan Design America. Intially powered by a Nissan VQ35DE 3.5 L with 287bhp, which was uprated in 2005 to 304bhp.
The model was given a mid-life facelift in 2006 for the 2007 model year New features included bi-xenon projectors, a revised front fascia, new LED rear lights, and changes to the interior trim. For the 2007 model year, the 350Z was again moderately revised. The VQ35DE V6 was replaced with a new VQ35HR V6. It produced 306 bhp the bommet was redesigned featuring a bulge to accommodate the revised twin-throttle design of the new VQ35HR V6 engine.
In 2008 the Coupe was discontinued, the Roadster continuing to 2009.
Diolch am olygfa anhygoel, 64,747,843
oblogaeth y Lloegr honno dros y Mynyddoedd
Thanks for a stonking 64,747,843 views
Shot 05.05.2018 at Donington Historic Festival, Donington Park, Leic Ref 133-272
.
Nissan 350Z Coupe (2003-08) Engine 3498cc V6
Registration Number OU 08 YOR (Oxford)
NISSAN SET
www.flickr.com/photos/45676495@N05/sets/72157623814850528...
The 350Z was launched as a two seater Coupe in 2003 with a Roadster version following in 2004. designed by Ajay Panchal of Nissan Design America. Intially powered by a Nissan VQ35DE 3.5 L with 287bhp, which was uprated in 2005 to 304bhp.
The model was given a mid-life facelift in 2006 for the 2007 model year New features included bi-xenon projectors, a revised front fascia, new LED rear lights, and changes to the interior trim. For the 2007 model year, the 350Z was again moderately revised. The VQ35DE V6 was replaced with a new VQ35HR V6. It produced 306 bhp the bommet was redesigned featuring a bulge to accommodate the revised twin-throttle design of the new VQ35HR V6 engine.
In 2008 the Coupe was discontinued, the Roadster continuing to 2009.
Thankyou for a massive 58,122,987 views
Shot 30.04.2017 in Donington Park,Car Park REF 125-329
Arjuna (pronounced [ərˈd͡ʑun] in classical Sanskrit) was the 3rd of the Pandava brothers. He is considered the protagonist of the Mahabharata with Krishna and plays a key role in the Bhagavad Gita. He was married multiple times, to Draupadi, Subhadra (Krishna's sister), Ulupi, and Chitrangada. His children included Srutakarma, Iravan, Babruvahana, and Abhimanyu.
ETYMOLOGY AND OTHER NAMES
The name Arjuna means "bright" or "shining" (lit. "bright" or "silver" (cf. Latin argentum)). Arjuna in Sanskrit is also interpreted as 'na arjayate Arjuna' which translates to the 'one who is not un-victorius'
The Mahabharata refers to Arjuna by twelve different names. In the story, these names are given when Prince Uttara of Matsya asks Arjuna to prove his identity. The first ten names are spoken by Arjuna himself, while the name "Kapi Dhwaja" is also used to refer to his chariot, the "Nandi Ghosha" . The names and their meanings are as follow:
- Arjuna (अर्जुन) - shining or famous like silver.
- Phalguna (फाल्गुन) - one born under the star named 'Uttara Phalguni'.
- Jishnu (जिष्णु) - triumphant.
- Kiritin (किरीटिन्) - one who wears the celestial diadem, Kiriti, presented by Indra.
- Shwetavahana (श्वेतवाहन) - one with white horses mounted to his chariot.
- Bibhatsu (बीभत्सु) - one who always fights wars in a fair manner.
- Vijaya (विजय) - always wins on war.
- Partha (पार्थ) - son of Pritha, another name for Kunti.
- Savyasachin (सव्यसाचिन्) - ambidextrous
- Dhananjaya (धनञ्जय) - one who brings prosperity and wealth in the land where he goes to.
- Gudakesha (गुडाकेश) - someone who have control over sleeps
- Kapidhwaja (कपिध्वज) - having flag of Kapi (monkey) in his chariot (Arjuna's flag displayed an image of Hanuman from a previous encounter).
- Parantapa (परन्तप) - one who concentrates the most, destroyer of enemies from his concentration.
- Gandivadhanvan (गाण्डीवधन्वन्) - one who possessed the mighty bow named 'Gandiva' which was created by Lord Brahma.
-Gandivadhara (गाण्डीवधर) - Gandiva holder
- Madhyapandava (मध्यपाण्डव) - the third of Pandavas, younger to Yudhisthira and Bhima and elder to Nakula and Sahadeva.
BIRTH AND YOUTH
Arjuna was born into the royal family of Hastinapura. He was acknowledged as a son of Pandu by his first wife Kunti, though he was fathered by the grace of the god Indra, rather than by Pandu who was cursed that he would die if he tried to father children. Arjuna was the third son, after Yudhishthira and Bhima. Younger to him were the twin sons born of Pandu's second wife Madri, Nakula and Sahadeva.
After the death of Pandu (and Madri's subsequent suicide), the Pandavas and their mother lived in Hastinapura, where they were brought up together with their cousins, the Kaurava brothers. Along with his brothers, Arjuna was trained in religion, science, administration and military arts by Bhisma.
One day, when the princes were playing a game, they lost their ball in a well. When the rest of the children gave up the ball as being lost, Arjuna stayed behind trying to get it. A stranger came by and extracted the ball for him by making a chain of "sarkanda" (a wild grass). When an astonished Arjuna related the story to Bhishma, Bhishma realized that the stranger was none other than Drona. Bhishma asked Drona to become the Kuru princes' teacher. Seeking refuge from Panchala, Drona agreed.
TUTELAGE UNDER DRONA
Under Drona's tutelage, the Kauravas and the Pandavas, along with the princes of Hastinapura's allies and vassals, learned weaponry. Arjuna became Drona's favorite and most accomplished pupil; specifically, he became a master in using the bow and the arrow. In a famous incident, Drona deemed that out of all his students, even his own son Ashwatthama, none but Arjuna had the steadfast focus to shoot the eye of a bird on a tree; he was proven right.
In two other incidents, the reader sees how Arjuna's destiny is shaped. Arjuna was the only one with the skill and fortitude to save his teacher from an attack from a crocodile. In reality, the attack was a ruse Drona used to test his students. In another story, Arjuna, noticing Bhima eating in the dark, trained himself to shoot accurately without visualizing his target. Impressed by Arjuna, Drona promised his pupil that he would make Arjuna the greatest archer that ever lived or ever would live. Drona adhered to this vow so strongly, that when he discovered a Kirat prince Ekalavya of superior archery skill, Drona demands him into cutting off the thumb of his hand (needed to draw the bow) so that he kept his promise to Arjuna.
As part of his gurudakshina, Arjuna and his brothers, attacked Panchal and captured King Drupada, with Arjuna making the arrest himself. Drona requested this in order to settle an old grudge he had with Drupada. Secretly, Drupada was greatly impressed by Arjuna and wished for him to marry his daughter, Draupadi.
At the end of their training, the Kuru princes displayed their talents to their elders in an arena. There, Arjuna steals the show, using divine weapons to great effect. However, before he can be crowned as the victor of the tournament, he is challenged by Karna. Karna matched Arjuna's feats. But due to his low birth, Karna is not allowed to compete and gets insulted by Bhima and the others for being a sutaputra; this incident marks the beginning of a feud between Karna and Arjuna that lasts until the end of the story.
As the Pandavas and Kauravas grew older, a crown prince had to be named. Yudhishthira won the nomination over Duryodhana. Angered, Duryodhana plotted with his uncle Shakuni, who masterminded a plan to kill the Pandavas. The Kauravas have a house of wax built; they desired to send the Pandavas vacationing to the wax house, under some pretense, before setting the house on fire. Alerted of the scheme by Vidura, the Pandavas evaded the trap. Arjuna and Bhima wanted to declare war, but Yudhisthira cooled them down. Under his orders, Arjuna, Kunti, and the Pandavas faked their deaths and went into hiding.
MARRIAGE TO DRAUPADI
Still in hiding, the Pandavas disguise themselves as brahmins and attend the Swayamvara of Panchala princess Draupadi. Out of all of the great kings and other Kaurava princes, only Karna and Arjuna are able to do the established challenge. The test is to lift, string, and fire Pinakin to pierce the eye of a golden fish whilst only looking at its reflection; Drupada had designed this test with Arjuna in mind. At first Karna is able to lift and string the bow, but when he is aiming to fire the shot, Draupadi rejects Karna (in some depictions with Krishna's prodding) for his low-birth. Afterwards, the disguised Arjuna accomplished the stringing and shooting of the bow.
In some versions of the story, Arjuna is the only prince (of the Kaurava/Pandava party) to have interacted with Draupadi before. When attacking/kidnapping Drupada, Draupadi, trained in martial arts due to Panchal's attitudes towards gender neutrality, fights with Arjuna, but Arjuna after some while stops and evades Draupadi, saying that he cannot fight a woman.
In some versions of the Swayamvara, Arjuna is forbidden by Kunti to attend the Swayamvara. Kunti's reasoning is that only Yudhishthira and Duryodhana would be acceptable candidates for Draupadi's hand; anyone else, not set to inherit the throne, would be an insult to Panchal. She allows Bhima to attend because he is Yudhishthira's heir and could win Draupadi for his brother without controversy. When Arjuna disobeys her anyways, as he is firing the arrow, he swears to God that if wins Draupadi's hand, he would never disobey his mother's commands.
When the brothers returned with Draupadi, Arjuna joked to his mother that they had brought alms. Dismissively, and without looking because she was preoccupied, Kunti asks him to share it with his brothers. Holding his mother's orders as a divine command, he requested his elder brother to accept Draupadi. Draupadi had to marry all five of the Pandavas. Her five sons, one from each of the Pandava brothers, are known as the Upapandavas. Srutakarma is the son of Arjuna.
The brothers follow Narada's advice on a sharing arrangement with regard to Draupadi: each brother would have exclusive rights over her for a year, after which the mantle will shift to the next brother. Moreover, any brother intruding on the privacy of the couple would have to go on a twelve-year Tirtha-yatra.
At this point in the Mahabharatha, the Pandavas revealed that they were alive. With both Duryodhana and Yudhishthira being crown princes, tensions are high. Under Bhishma's advice, the kingdom is split, with the Kauravas getting Hastinapur and the Pandavas getting Khandavaprastha. Khandavaprastha, however, was an extremely underdeveloped land and had infertile soil, requiring extensive tilling, so the Pandavas set to work rebuilding the land. Their cousins Krishna and Balarama gave them aid.
BURNING OF KHANDAVA VANA
In some versions of the story, this was the first time Arjuna meets Krishna. In any case, Khandavaprastha was where Arjuna and Krishna's friendship is truly forged. Once when roaming in the Khandava Vana, Arjuna and Krishna met the god of fire, Agni. Agni was in great hunger and needed to burn down the entire Khandava Vana to quench his hunger. But Takshaka, the serpent-king lived in the same forest and was a friend of Indra's. So the latter brought down heavy rains to thwart Agni's plans to burn the woods. Agni requested Krishna and Arjuna to help him realize his goal.
The three of them then invoked Varuna, the God of the oceans, who blessed Arjuna with the Gandiva – the moon bow created by Brahma. In this way, Arjuna came into possession of his famous bow. Agni also gave Arjuna an incandescent chariot with four horses yoked, and bearing a flag that would one-day be occupied by Hanuman. Arjuna also obtained his famous conch.
With Krishna using the Sudarshana Chakra Arjuna and Krishna waged a successful battle against Indra and helped Agni burn down the entire Khandava Vana including all its demons and evil spirits. Indra's anger was metered by his pride in his son.
SAVING MAYASURA
In their demolition of Khandava Krishna and Arjuna had saved one demon, Mayasura. Owing Arjuna a boon, Mayasura told that he would build a palace for Yudhishtra. As Mayasura was a great architect of the Asuras, he soon constructed the Maya assembly hall – a gigantic palace for the Pandavas, filled with ancient books, artifacts, and jewels. This hall was famous for visual illusions. Thus, Khandavaprastha was renamed Indraprastha.
ARJUNA`S TIRTHA-YATRA AND INDRAPRASTHA
During an incident when Takshaka stole Brahmins cows, Arjuna was forced to violate Yudhishthira and Draupadi's privacy while they were playing the game of dice, as he had left the Gandiva in their room. Despite the understanding of all and being forgiven by both Yudhishthira and Draupadi, Arjuna accepted the punishment agreed with Narada and set off on a twelve-year tirtha-yatra.
MEETING ULOOPI
Arjuna started his pilgrimage by visiting the source of the river Ganga. It was here that he met the Naga princess, Uloopi. She was mesmerized by Arjun and forcefully took him to Naga Lok (the land of the snake-people) and gave him a choice: if he married her, she would let him go; otherwise, she would not. He married her, and they had a son called Iravan.
CHITRANGADAA AT MANIPURA
Arjuna visited other Tirthas in India, including Kalinga and the ashrams of the Saptarishis, Agastya, Vasishta and Bhrigu. Finally he reached the palace of Manipur. Here he met king Chitravahana's daughter, Chitrangadaa. Arjun fell in love with her and requested the king for her marriage. Upon discovering Arjuna's true identity, the king readily agreed. Since Chitrangadaa was his oldest child and Manipur practiced equal primogeniture, which Hastinapur did not practice, the king sought a promise from Arjuna that Chitrangadaa and any of her and Arjuna's children would remain in Manipur as Chitravahana's heirs. Arjuna thought for some while and agreed. They both had a son, who survived the Mahabharata war and ruled the small kingdom peacefully.
REACHING DWARKA AND SUBHADRA
Arjuna moved to other Tirthas, including the southern regions in Kerala. Finally he reached Dwarka, the place where his cousin Krishna resided. Arjuna had, in his childhood, heard about Krishna's sister, Subhadra. Krishna, wishing to further tie their families, knew of Arjuna's visit and devised a plan to arrange their meet. Accordingly, Arjuna disguised himself as a “yati” and stayed at Krishna's palace. Arjuna fell in love with Subhadra and desired to marry her . Because Balarama had already promised Subhadra to his favorite disciple, Duryodhana, Krishna advised Arjuna to kidnap Subhadra. Balarama became furious upon learning of the abduction but is pacified by Krishna, after he showed that the wedding rein was in Sudhadra's hand, which showed her consent. The couple stayed in Dwaraka for a year, and then another year in Pushkar. However, Draupadi had made it clear that no other Pandava wife would be allowed to stay in her city, so Arjun, as per Krishna's advice, tricked Draupadi into meeting Subhadra as a milkmaid. Draupadi realized she had been tricked, but she forgave Subhadra and let her stay in Indra-prastha, allowing her to give company to Arjuna in the four years when he was not with Draupadi. In due course,Arjuna and Subhadra gave birth to a son, Abhimanyu.
CONQUEST FOR RAJASUYA
Arjuna was sent north by Yudhisthira to subjugate kingdoms for the Rajasuya Yagya, so that he could be crowned Emperor of Indraprastha. The Mahabharata mentions several kingdoms to the east of Indraprastha which were conquered (or otherwise peacefully bent-the-knee) by Arjuna.
Some of them are:
- Bhagadatta of Pragjyotisha- He repelled Arjuna for eight days straight but impressed with Arjuna's skill agreed to pay tribute. Bhagadatta was also a great friend of Pandu.
- Vrihanta, the king of Uluka
- Modapura, Vamadeva, Sudaman, Susankula, the Northern Ulukas, and the kings of those countries and peoples
- Devaprastha, the city of Senavindu
- Viswagaswa of Puru's race
- Seven tribes called Utsava-sanketa
- Kshatriyas of Kashmir and also king Lohita along with ten minor chiefs
- Trigartas, the Daravas, the Kokonadas, and various other Kshatriyas
- town of Avisari
- Rochamana ruling in Uraga
- Singhapura adi
- Regions Suhma and Sumala
- Valhikas
- Daradas along with the Kambojas
- Robber tribes that dwelt in the north-eastern regions
- Lohas, the eastern Kambojas, and northern Rishikas
- country of the Limpurushas ruled by Durmaputra
- Harataka
- Various lakes and tanks sacred to the Rishis
- regions ruled by the Gandharvas that lay around the Harataka territories. Here the conqueror took, as tribute from the country, numerous excellent horses called Tittiri, Kalmasha, Manduka.
- North Harivarsha
- city of Sakraprastha
EXILE
After Yudhisthira succumbed to Shakuni's challenge in the game of dice, the Pandavas were forced to be in exile for 13 years, which included one year in anonymity.
PENANCE FOR PASHUPATASTRA
After the battle at Khandava Indra had promised Arjuna to give him all his weapons as a boon for matching him in battle with the requirement that Shiva is pleased with him. Sensing an impending war with the Kauravas, Sage Vyasa advised Arjuna that he obtain the Pashupatastra from Lord Shiva. Following the advice of Sage Vyasa to go on a meditation or "tapasya" to attain this divine weapon, Arjuna left his brothers for a penance.
Arjuna traveled for a while before reaching the mountain Indra keeladri, Vijayawada. Here he sat in meditation in the name of Lord Shiva. Shiva appeared soon enough in the guise of a hunter, who challenged Arjuna to a fight. While being thoroughly dominated by Shiva, Arjuna became confused as to how an ordinary hunter could best a warrior like himself. He prays to Shiva for strength, and then sees the offerings he made to Shiva around the hunter's neck. Shiva was very pleased with the bravery and prowess of the prince. Consequently, Shiva transformed himself to show his real avatar and blessed Arjuna with the Pashupatastra. Shiva lectures Arjuna on the abilities of the weapon, as well as the judgement he must use while wielding it.
After Shiva left the Lokapalas appeared before Arjuna and then Kubera, Yama, and Varuna also blessed each of their potent weapons to Arjuna. Indra then invited his son to his palace in heaven.
Arjuna was amazed at the splendor of his father's palace at Amaravati. Dancers like Urvashi, Tilottama, Rambha and Menaka entertained him. There was a huge banquet serving different varieties of heavenly dishes. Arjuna learnt song and dance from the Gandharva, Chitrasena and Indra himself taught him all the divine weapons and also gave him his Vajra.
URVASHI´S CURSE
Indra noted the passionate glances exchanged between Arjuna and Urvashi during his stay. However, Arjuna refused her advances, alleging that he had heard of her relationship with his ancestor Pururava, and hence she had the status of a mother, equal in respect to Kunti. Urvashi, annoyed at this, cursed him that he would become a eunuch who would have to live among women, singing and dancing. On Indra's request, and regretting her anger, Urvashi reduced her curse to a period of one year of Arjuna's choice. In some versions of the story, Urvashi curses Arjuna with womanhood, but always reduces the curse to a year's length.
NIVATA-KAVACHAS AND HIRANYAPURA
Arjuna gets the opportunity to test his skill when Indra asked him to defeat his enemy as the price of his training. Arjuna was taken to the palace of the Nivata-kavachas, a tribe of Rakshasas who had a magnificent palace under the oceans. Arjuna used the Mohini-astra and the Madhava-astra to demolish these asuras.
He was also taken to Hiranyapura, a palace in the sky created by a witch Puloma and his asura tribe of the Kalakanjas. Here Arjuna uses the Raudra-astra and annihilates the demons.
MEETING HANUMAN
Continuing his quest, Arjuna visits the site of Rama Setu in Dhanushkodi. There, he openly questions why, if Rama had been such a great archer, he hadn't simply built the bridge out of arrows. Angered at Arjuna's tone and his apparent questioning of Rama's prowess, Hanuman confronts Arjuna in the form of an ordinary monkey and challenges him to prove his superiority by building a bridge of arrows that could bear his (Hanuman's) weight. Tensions escalate until Arjuna pledges to defeat Hanuman or kill himself, going so far as to frivolously use divine weapons to build bridge after bridge, while Hanuman uses his god-given strength to destroy them all. Eventually, Krishna intervenes, chiding Arjuna for his excessive pride and Hanuman for allowing his love of Rama to overcome his pacifism. Regaining his composure, Hanuman pledges to reside in Arjuna's battle standard (flag) during the Kurukshetra war.
EUNUCH AT VIRATA´S KINGDOM
Along with his brothers, Arjuna spent his last year of exile in the kingdom of Matsya. This is the place where Urvashi's curse is implemented and Arjuna becomes a eunuch called Brihannala (within themselves Pandavas called him Vijaya). At the palace, he teaches song and dance, qualities he had learnt from Chitrasena [King of the Gandharvas in Devalok], to the King Virata's daughter, Uttarā. Later, Arjuna arranges for Uttara to become his daughter-in-law by marrying his son Abhimanyu to her. At the same time, he prevents Subhadra from marrying Abhimanyu to Balarama's daughter Vatsala, as the Kurus find cousin-cousin marriages taboo.
Hearing about the death of Kichaka, Duryodhana surmises that the Pandavas were hiding in Matsya. A host of Kaurava warriors attack Virata, presumably to steal their cattle, but in reality, desiring to pierce the Pandavas' veil of anonymity. Full of bravado, Virata's son Uttar attempts to take on the army by himself while the rest of the Matsya army has been lured away to fight Susharma and the Trigartas. Per Draupadi's suggestion, Uttar takes Brihannala with him, as his charioteer. When he sees the Kaurava army, Uttar loses his nerve and attempts to flee. There, Arjuna reveals his identity and those of his brothers'. Switching places with Uttar, Arjuna takes up the Gandiva and Devadatta. Eager to defend the land that had given him refuge, Arjuna dressed up as Brihannala encountered the legion of Kaurava warriors.Virat war is considered as an interpolation by many schlors.Many versions of Mahabharata do not mention it. In some versions Arjuna was defeated by Bhishma Drona and Karna and Arjuna finally chased duryodhana and defeated him . According to many schlors Virat war is an interpolated medicine to recover the cheater and weak image of Arjuna.Schlors do also argue that if Arjuna defeated the Kaurava army in just half a day then why he had done cheating to kill Bhishma Karna Bhagadatta Bhurisrava and Jayadrath in Kurushetra war.
KURUKSHETRA WAR
BHAGAVAD GITA
As the battle draws close, Arjuna is overcome with self-doubt about the righteousness of the war against his own kith and kin. He is distraught at the thought of having to fight with his friends and family such as his dear teacher, Drona and grandsire Bhishma. It was then that Krishna took charge and explained the necessity and inevitability of the war to Arjuna. This conversation is a key part of the Mahabharata known as Bhagavad gita, and is considered as a holy scripture of Hinduism.
Arjuna plays the role of the reader in the Bhagavad Gita. As Krishna dispenses the advice, Arjuna asks the questions.
The Bhagavad Gita primarily takes the form of a philosophical dialogue between Arjuna and Krishna.
BATTLES FOUGHT AT KURUKSHETRA
Arjuna was a key Pandava warrior and played a huge role in the Kurukshetra war. His flag bore the symbol of Hanuman.
Some of the crucial battles fought by Arjuna are as follows:
Death of Bhagadatta: On the thirteenth day when Abhimanyu was slayed. Arjuna was busy fighting Bhagaddata the king of Pragjyotisha who came with a thousand elephants and attacked him. During the battle Bhagaddata shot an irresistible arrow Vaishnavastra which could kill Arjun but he was saved by Krishnas timely intervation. Which fell on Krishna and formed a garland. Bhagadatta was later decapitated by Arjuna's arrow.
Fall of Bhishma: Throughout the first nine-days of battle, Arjuna was unable to defeat Bhisma.This was partially due to his own reluctance to fight his grandsire, as well as Bhisma's terrific skill. As Krishna became frustrated with Arjuna, he took up arms against Bhishma himself, at least twice. Not wanting history to blame Arjuna for forcing Krishna to break his vow of non-aggression, Arjuna managed to talk Krishna down and fought with renewed vigor. On the tenth day of the war, after asking Bhishma himself how to best defeat him, Arjuna took Shikhandi in his chariot. As Bhishma would not raise weapons against a woman, Arjuna was able to attack Bhisma unimpeded. Tears flowing from his eyes, Arjuna pierced Bhishma's entire body with arrows, eventually forcing Bhisma to fall down with Arjuna's arrows acting as a bed. Per Bhishma's request, he provided a pillow of arrows for his head, as well as water by piercing the earth and allowing Ganga to nourish her son. Bhishma praises Arjuna for this and asks Duryodhana to make peace with the Pandavas.
Killing of the Trigartas: Attempting to distract him so that Dronacharya could capture Yudhishthira, Susharma and the Trigartas challenged Arjuna to a fight to the death. On the twelfth and thirteenth days of battle, Arjuna killed them to a man. And on the eighteenth day, Arjuna killed Susharma with an arrow which ended the Trigarta saga.
Death of Jayadratha: Arjuna held Jayadratha responsible for Abhimanyu's death on the thirteenth day of the war. He vowed to kill him the very next day before sunset, failing which he would kill himself by jumping in a pyre. The Kauravas hid Jayadratha from Arjuna in a formation, knowing that Arjuna's death would result in a Kaurava victory. However, Krishna created an artificial eclipse by using his Sudarshana Chakra to hide the sun, forcing Kauravas to believe the day was over and Arjuna's death was imminent. Wishing to mock Arjuna, Jayadratha went to the head of the army in joy, even as the sun emerged from the eclipse. Arjuna makes his arrows to carry away Jayadratha's head. This was because Jayadratha had a boon from his father that whoever would be responsible for his head falling to the ground would have his own head blown up. That is why Arjuna carried the severed head of Jayadratha to his father, who was awoken from his meditation by the sudden landing of a severed head on his body and since he ended up dropping it to the ground, he had his head blown up.
Death of Karna: Karna and Arjuna were sworn enemies in the epic, each having taken an oath to kill the other in the battle. Anticipating a likely battle to the death between Karna and Arjuna, Krishna warned Arjuna calling Karna to be the foremost of the heroes. Lord Krishna reminded Arjuna about the life, prowess, and past heroic actions of Karna.
After the terrible death of Dushassana, Karna decided to personally take on Arjuna and finish him off for once and all. Karna cut his way ruthlessly through the Pandava forces and headed straight for Arjuna. So violet and offensive was Karna's attacks that Arjuna's defenses soon crumbled before it. Karna used Nagastra in an attempt to kill Arjuna, but Krishna saved Arjuna from certain death by lowering the chariot wheel into the earth. Karna and Arjuna then waged a rough war against each other. Karna had Arjuna at his mercy, but spared the latter as the sun was about to set. In some versions, Lord Krishna realized that only a miracle would save Arjuna from death, and he causes the sun to set prematurely.
Lord Krishna made plans to kill Karna by deceit and revealed his plan to Arjuna. Lord Krishna told Arjuna that Karna would be defeated while unarmed and distracted, and that Arjuna should not hesitate when Krishna told him to attack.
On the seventeenth day of battle the two foes faced each other once more. This battle between Arjuna and Karna is perhaps the most cataclysmic and awesome of the great epic. The warriors on the battlefield and the devas in heaven watched the battle in speechless amazement and terrified admiration of the strength and skill of these two greatest of warriors. The battle again continued with neither warriors gaining the upper hand; but then Karna's chariot wheel gets stuck in the mud resulting from a prior curse on Karna. Further, owing to a curse Karna received from his guru Parasurama, Karna forgot the mantra to invoke the Brahmanda astra. Karna got down from his chariot to free the wheel and asked Arjuna to pause, reminding him of the etiquette of war. But Krishna reminded Arjuna of all the incidents - Draupadi’s insult, Abhimanyu’s death and the enraged Arjuna attacked Karna while he was trying to lift his sunken chariot wheel. Karna defended himself and invoked Rudraastra against Arjuna and this astra hit Arjuna on his chest.[34] Swooning, Arjuna lost his grip on his bow, Gandiva, which fell down from his hand for the first time. Following the rules of engagement of war, Karna did not try to kill him but instead tried to utilize the time in extracting the wheels of his chariot. Arjuna recovered and using the Anjalika weapon decapitated the weaponless Karna, who was still trying to lift the sunken chariot wheel. Though it was highly forbidden according to the rules of engagement of the war to attack a weaponless warrior or to attack an enemy from the back, Arjuna was spurred by Lord Krishna to do so.
CONQUEST FOR ASHVAMEDHA
After the conclusion of the war, the Pandavas take charge of Hastinapura, the undivided realm of their ancestors. Yudhishira appointed Arjuna as the Yuvaraj of Hastinapura.
Yudhisthira decided to hold the Ashvamedha Yagna, or "horse sacrifice", to grant them the title of Chakravarti ("Emperor"). Arjuna led the armed forces which followed the horse around its random wanderings. He received the submission of many kings, either without or following an armed confrontation. He was thus instrumental in the expansion of the Pandava domains. Some of the campaigns are as under:
- Uttarapatha, including those of Pragjyotisha, Uluka, Modapura, Vamadeva, Sudaman, Susankula, Northern Uluka, Puru kingdom of Viswagaswa, Utsava-Sanketa, Lohita, Trigarta, Darava, Abhisara, Kokonada, Ursa, Simhapura, Suhma, Sumala, Balhika, Darada, Kamboja.
- Transoxiana region (Sakadvipa or Scythia), the Lohas, Parama Kambojas, Northern Rishikas (or Parama Rishikas), Limpurushas, Haratakas, Gandharvas and the Uttarakurus.
- Trigarta: Ketuvarman and Dhritavarman
- King Vajradatta, son of Bhagadatta
- Saindhava
MANIPURA AND DEATH BY BABRUVAHANA
Arjuna went to Manipura, where the king was Babruvahana, his own son with Chitrangadaa. Seeing his father Babruvahana came all the way to receive Arjuna. Arjuna was very upset that Babruvahana did not respect the duties worthy of a King and did not ask for war. He cursed his son as a coward and asked him to prepare for war. In the fight between father and son Babruvahana killed Arjuna, but Ulupi, the snake-princess used the Mritasanjivani, a boon from Ganga Devi to bring Arjuna back to life. It is later stated that the defeat was because of Arjuna's using of Shikhandi to plot Bhishma's death and the unethical killing of Karna.
- Magadha, Rajagriha and King Meghasandhi
- Chedi and other kingdoms
- Kasi, Anga, Kosala, Kirata and Tanga kingdoms. Arjuna accepted due honors from respective rulers.
- Dakarna
- Nishada: Arjuna was able to defeat the Nishada King, the son of Eklavya.
- Andhra people led by Mahishaksha, tribes of Kolwa hills
- Saurashtra, Gokarn city and Prabhaska
- Dwarvati and Vrishni race
- Punjab
- Gandhara
ARANMULA PARTHASARATHY TEMPLE
Arjuna built the Aranmula Parthasarathy Temple during his conquest in South India.Aranmula Parthasarathy Temple is one of the "Divya Desams", the 108 temples of Vishnu revered by the 12 poet saints, or Alwars located near Aranmula, a village in Pathanamthitta District, Kerala, South India.The temple is dedicated to Parthasarathy, Lord Krishna's role as Arjuna's Charioteer in the Mahabharatha war. Legend has it that Arjuna built this temple, to expiate for the sin of having killed Karna on the battlefield, against the dharma of killing an unarmed enemy.
DEATH
After Shri Krishna left his mortal body, Arjuna took the citizens of Dwaraka including 16,000 women that had formed Krishna's harem to Indraprastha. On the way, they were attacked by a group of bandits. Arjuna fought with them but he already lost his divine energy and even lost the power to wield the celestial bow Gandiva. Arjuna forgot all his celestial weapons and soon his inexhaustible quiver become empty due to the disappearance of divine energy owing to the death of Krishna. Arjuna was defeated by mere robbers and in his very sight the ladies of the Vrishnis, Andhakas and the 16000 wives of Krishna were taken away.
Upon the onset of the Kali yuga and as per the advice of Vyasa, Arjuna and other Pandavas retired, leaving the throne to their only descendant to survive the war of Kurukshetra, Arjuna's grandson Parikshit. Giving up all their belongings and ties, the Pandavas, accompanied by a dog, made their final journey of pilgrimage to the Himalayas. It is also to be noted that the listener of the Mahabharata is Janamejaya, Parkishit's son.
Except for Yudhishthira, all of the Pandavas grew weak and died before reaching heaven (only Yudhishthira is allowed to keep his mortal body). Arjuna was the fourth one to fall after Draupadi, Sahadeva and Nakula. When Bhima asks Yudhishthira why Arjuna isn't permitted the same, the reason given is Arjuna's extreme pride in his skills as an archer. Draupadi also falls because while she claimed to love all the Pandavas equally, she had a soft spot for Arjuna.
IN POPULARE CULTURE
Arjuna is one of the most popular choices of name for Hindu male child in the Indian subcontinent. As per the verses in Harivamsha or Harivamsha purana, the name Arjuna is cursed by sage Parashurama. After the defeat of mighty evil king Kartavirya Arjuna or otherwise called Sahasra Arjuna, sage Parashurama cursed that who ever holds the name Arjuna will never become a king and always be a servant of others.
MODERN REFERENCES
Arjuna's extraordinary talents and skills have made him a common name in popular culture.
The American astronomer Tom Gehrels named a class of asteroids with low inclination, low eccentricity and earth-like orbital period as Arjuna asteroids.
- The Arjuna Award is presented every year in India to one talented sportsman in every national sport.
- Arjun is a third generation main battle tank developed for the Indian Army.
- Mayilpeeli Thookkam is a ritual art of dance performed in the temples of Kerala. It is also known as Arjuna Nrithyam (lit. Arjuna's dance) as a tribute to his dancing abilities.
There have been a serial and a film based on Arjuna's life and exploits.
- Earth Maiden Arjuna is a Japanese animated television series created by Shoji Kawamori. This series is based on Arjuna and the Mahabharata. Arjuna: Into the Another World is the soundtrack produced for the series.
- Arjun: The Warrior Prince is a 2012 mythological action film narrating the events in Arjuna's life.
Additionally, the protagonist in Steven Pressfield's book The Legend of Bagger Vance, Rannulph Junuh, is based in part on Arjuna (R. Junuh).
IN MODERN TELEVISION
In B.R.Chopra's Mahabharat, Arjuna's role is played by Arjun (Firoz Khan).
In 2013 Mahabharat Television series, Arjuna is portrayed by Shaheer Sheikh.
WIKIPEDIA
Oeuvre de Gyan Panchal (2018), collection Frac Normandie
Exposition temporaire "Fortuna" mise en place par l'artisteRaphaël Zarka à l'initiative de Clément Nouet, directeur du Mrac.
"Par l'exploration des matériaux, Gyan Panchal interroge le rapport de l'homme à son environnement, les notions de suspens, de travail et de perte."
SIC plaquette de l'exposition temporaire "Fortuna"
"Nismo" stands for Nissan Motorsports and this example is one of the participants in the "Ace Parade" performance car display on the forecourt of Coventry University during Coventry Motofest 2019.
Based on the 350Z (Z33) Ajay Panchal, one of the design team, attained a BA in automotive design at this university during the 1990's.
www.autonews.com/article/20021028/REG/210280709/design-yo...
The basic responsibility of each the inside decorators and interior designers is to make an attractive house to measure in. the simplest issue concerning interior decoration is, since you’ve got embellished your home in step with your style and preferences, it’s a complete reflection of your temperament.panchal interiors is best interiors designing service Bangalore...visit:http://bit.ly/1oCOyo8
Odissi, also known as Orissi (Odia: ଓଡିଶୀ Oḍiśī), is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneswar) testify to its antiquity. It was suppressed under the British Rule, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.
Though a very old dance form, Odissi got recognition as a classical dance from the Central government officially, after efforts by many scholars and performers in the 1950s, including a powerful lec-dem in April 1958 by Kavichandra Kalicharan Pattanayak, an Oriya poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odissi".
ORIGIN AND HISTORY
The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela in the first or second century BCE. Flanked by two queens, emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it was attached to the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It closely resembles sculptures of the Indian temples.
The history of Odissi dance has been traced to early sculptures found in the Ranigumpha caves at Udaygiri (Odisha), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Odisha.
TEMPLE HISTORY
In Bhubaneswar, the capital city of Odisha, Udayagiri Caves, Khandagiri Caves and Jain Caves are present which date back to the 2nd century BCE, that served as a royal palace for emperor Kharavela. It is suggested by scholars that Odissi is archaeologically the oldest Indian classical dance form due to sculptural evidence found in the caves. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.
In the excavated ruins of the Buddhist Ratnagiri hills in Odisha, dating back to the 6th thru 9th centuries, several panels and icons of dance are found resembling present-day Odissi dance.
In the Tantric temples, such as the Hirapur Shrine, many of the yoginis especially are depicted in poses reminiscent of present-day Odissi. When Odisha became a big centre of worship of Lord Shiva, it is only natural that dance would be used as a form of worship, since Lord Shiva was a master dancer himself. He is also known as Nataraj, the Cosmic Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures of Odissi. The Vaishnavite Temples such as Jagannath Temple and Konark Sun Temple abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the Shaivite art tradition to the Vaishnavite art form.
MANUSCIPT EVIDENCE
Sage Bharata's Natya Shastra, written in the 2nd century CE, speaks of four types of Pravrittis (local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi, and the areas where each type is employed. Some scholars have interpreted that Odra Magadhi is "the earliest literary reference" to Odissi.
Abhinaya Chandrika written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in NãtyaShãstra.
The illustrated manuscript Shilpaprakãsha deals with Odia architecture and sculpture as well as the figures of dance. In this, one finds an elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the Alasa Kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence of sculpture in temples.
A rather unexpected source, the Jain Manuscripts, especially the Kalpasutra and Kalkacharya Kathãs show traces of Odia dance style although they were being executed in Gujarat. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the Samapada, the Tribhangi and the Chuaka.
This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to Puri from Gujarat and Andhra.
MUGHAL AND BRITISH PERIOD
During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as they were employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage to the king and ceased to be respected solely as servants to Lord Jagannath. A decline and degradation occurred in all the Indian classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their respected place in society, were forced into prostitution to survive in the changing climate of political and cultural oppression by the British.
TRADITION AND DANCERS
The Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua.
Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the sanctum sanctorum.
By the 6th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Odia dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.
Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.
MAHARI TADITION
The consecration of females to the service of temple dancing began in the Shaivite temples and continued in the Jagannath temple in service of the Lord Jagannath. These attendants have been known as Maharis (great women) or Devadasis (servants of the lord), and have been considered the wives of Lord Jagannath. Odissi developed through their art.
The first evidence of the Mahari institution in Odisha comes from a commemorative inscription by Udyota Kesari, the last King of the dynasty. In the 10th century the King’s mother, Kolavati Devi, dedicated temple dancers to Lord Shiva in the Brahmeswara Temple.
Raja Anantavarma Chodagangadeva appointed dancing girls for ritual services in the Jagannatha temple in the 11th century, and these Maharis were the ones responsible for keeping the dance alive for centuries. Through the technique of unequal division of weight and firm footwork balancing a fluid upper torso, the dancer achieves a sensuality that is uncommon in other classical dance styles. Some eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya), and Padmashri Guru Pankaj Charan Das.
GOTIPUA TRADITION
In the Odia language Gotipua means single boy. Gotipua dance is performed only by boys who dress up as girls. During the rule of King Prataprudra Dev, who was a follower of Sri Chaityana, renewed this dancing tradition by boys, as the Vaishnavas did not approve of dances by girls.
DANCE VOCABULARY AND REPERTOIRE
TRADITIONAL ODISSI REPERTOIRE CONSISTS OF:
MANGALACHARANA
An invocation piece. After paying homage to Lord Jagannath a shloka (hymn) in praise of some God or Goddess is sung, the meaning of which is brought out through dance. Mangalacharan also includes the Bhumi Pranam (salutation to Mother Earth) which is offered to Mother Earth as a way of begging forgiveness for stamping on her and the Trikhandi Pranam or the three-fold salutation – above the head to the Gods, in front of the face to the gurus and in front of the chest to the audience.
BATTU NRUTYA
Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance) it is performed in the honor of Lord Shiva- the cosmic Lord of Dance. It is one of the 64 furious-aspects of Lord Shiva known. The origin of dance is believed to be from Tantrism that had flourished in Odisha. Linga Purana and Mahanirvanatantra give an elaborate description of Batuka Bhairava in three aspects, and the results of their worship have also been explained elaborately in the texts. Battu Nrutya is an item of pure Nrutya (Dance)and remains the most difficult item of Odissi dance. The dance begins with a series of sculpturesque poses depicting such actions as the playing of a Veena (Lute), Mardala or Pakhawaj (Drum), Karatala (Cymbals) and Venu (Flute), that brings out the interrelationships between this dance and the dance sculptures adorning the temples of Odisha. These poses are stringed together with steps in different rhythms. There is no song or recitation accompanying the dance, but throughout the item a refrain of rhythmic syllables is provided. The accompanying refrain is in the form of one line of Ukuta and as this is recited in the Tala, different Jathi-patterns are improvised and are executed with the feet. Some Tala variations are introduced and each sequence of the dance terminates with a Tehdi known as Katam. The last sequence is always in Jhula Pahapata Tala and is performed with a fast tempo.
PallaviA pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork. Pallavi literally means "blossoming". This is applicable not only to the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multilayered dimensions of taal (rhythm) and laya (speed).
ABHINAYA
An expressional dance which is an enactment of a song or poetry, where a story conveyed to the audience through mudras (hand gestures), bhavas (facial expression), eye movement and body movement. The dance is fluid, very graceful, and sensual. Abhinaya can be performed on verses in Sanskrit or Odia language. The verses are extremely ornate in content and suggestion. Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram. Most of the Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the kãvya Gita Govinda written by the Saint Jayadev are an integral part of its repertoire. The beginning pieces are dedicated to Lord Jagannath – an incarnation of Lord Vishnu.
DANCE DRAMA
Usually longer than Abhinaya and typically performed by more than one dancers. Some of the much appreciated dance dramas composed by Guru Kelucharan Mahapatra are: Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu Samhara, Krishna Sudama, Dushmanta Sakuntala, Utkala Mauda Mani, Yagnaseni, Meghadoot, Kumara Sambhava, Sapan Nayaka. Usually Hindu mythologies are chosen as themes, but experimenting with the theme and form in recent years have led to extremely unique creations. Some worth-mentioning themes in recent years are Panchakanya, Ganga Yamuna, Chitrangadaa, Shrita Kamalam, Mrutyuh, Tantra, Padapallavam, and Raavana.
MOKSHA
The concluding item of a recital. Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movement and pose merge to create ever new patterns, ever new designs in space and time. The dance moves onto a crescendo that is thrilling to both, the eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness — just like Moksha or the deliverance of the soul in real life.
LANGUAGES
Odissi music is mainly accompanied by odia but also sometimes bengali or sanskrit verses.
ODISSI MUSIC
Odissi dance is accompanied by Odissi music, a synthesis of four classes of music, i.e. Dhruvapada, Chitrapada, Chitrakala and Panchal. The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladev Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.
Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chaurisha represents the originality of Odissi style. All the thirty four letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.
A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.
Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.
Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.
COSTUME AND JEWELRY
The jewellery is made from intricate filigree silver jewellery pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Odisha. The process of creating each piece takes the collaboration of many artisans each specialised in one step of the many that turns a lump of raw silver into a handcrafted work of art.
The jewellery pieces are an important part of the female Odissi dancer’s costume. The hair is drawn into an elaborate bun on which the Tahiya is placed. The Seenthi is a jewellery piece placed on the hair and forehead. The dancers face is adorned with Tikka (decorations made by hand with sandalwood paste), Mathami or Matha Patti (forehead ornament), Allaka (head piece on which the tikka hangs), unique ear covers called Kapa in intricate shapes usually depicting a peacock’s feathers, an ear chain, Jhumkas (bell shaped earrings), a short necklace, and a longer necklace with a hanging pendant.
The dancer wears a pair of armlets also called Bahichudi or Bajuband, that is worn on the upper arm. They wear a pair of Kankana (bangles) at the wrist. At the waist they wear an elaborate belt made of silver or similar materials that's silver plated. They wear a pair of ankle bells (numerous small bells strung together on a single string) tied around their ankles. The dancer's palms and soles are painted with red coloured dye called the Alta.
The crown or Mukoot or Mookut, worn by the Odissi dancer is made only in the devotional city of Puri in Eastern Odisha. It is formed from the dried reeds called Sola in a tradition called Sola Kama. The reed is carved by a series of cuts into the rod-like stem and forms various types of flowers when a string is tied in the middle of the rod and pulled tight. As the string is tightened, the flowers shape into Jasmines, Champa (one of the five flowers of Lord Krishna’s arrows), and Kadamba (the flowers of the tree under which Radha would wait for her beloved Lord Krishna).
The Mukoot consists of two parts i.e. Ghoba and Tahiya. The flower decorated back piece, called the Ghoba, sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the Lotus flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the Tahiya, and this represents the temple spire of Lord Jagannath or the flute of Lord Krishna.
The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterised by features of traditional prints of Odisha, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.
The makeup of an Odissi dancer includes Bindi (red dot), applied on the forehead with a pattern made from sandalwood around it, Kajal (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.
IN GUINNESS WORLD RECORDS
Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Orissa. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.
WIKIPEDIA
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The 350Z was launched as a two seater Coupe in 2003 with a Roadster version following in 2004. designed by Ajay Panchal of Nissan Design America. Intially powered by a Nissan VQ35DE 3.5 L with 287bhp, which was uprated in 2005 to 304bhp.
The model was given a mid-life facelift in 2006 for the 2007 model year New features included bi-xenon projectors, a revised front fascia, new LED rear lights, and changes to the interior trim. For the 2007 model year, the 350Z was again moderately revised. The VQ35DE V6 was replaced with a new VQ35HR V6. It produced 306 bhp the bommet was redesigned featuring a bulge to accommodate the revised twin-throttle design of the new VQ35HR V6 engine.
In 2008 the Coupe was discontinued, the Roadster continuing to 2009.
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I have used a peacock to represent myself in my artwork because it stands out with its colorful character and brings joy to others. I have used pictures showing different occupations to show all the opportunities available for me.
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SWARN PARK NANGLOI
TIKRI KALAN
VIKAS NAGAR NILOTHI
VILL GHEVRA
VILL RANI KHERA
VILL RASUL PUR
VILLAGE JAUNTI
VILLAGE KANJHAWLA
VILLAGE LADPUR
VILLAGE NANGLOI
VILLAGE TATESAR
YADAV PARK VILLAGE QUMARUDDIN NAGAR
9KIRARIVILLAGE NITHARI
KIRARI SULEMAN
KIRARI SULEMAN NAGAR
KIRARI SULEMAN VILLAGE
MUBARAK PUR DABAS VILLAGE
MUBARAKPUR ROAD
VILLAGE NITHARI
10SULTANPUR MAJRAMANGOLPURI
RAJ PARK
SULTAN PURI
SULTANPURI
11NANGLOI JATADHYAPAK NAGAR
AMAN PURI
AMBIKA ENCLAVE
AMBIKA VIHAR. PASCHIM VIHAR
BHERA ENCLAVE
BHIM NAGAR
BLOCK "Y"
CHANDAN VIHAR
GURU HAR KISHAN PASCHIM VIHAR
JIWAN NIKETAN PASCHIM VIHAR
JJ COLONY BLOCK "X"
JJ COLONY-III BLOCK M & N
JWALA PURI
KAVITA COLONY
LAXMI PARK
MEERA BAGH
MIANWALI NAGAR
NANGLOI JAT
NANGLOI VILL.
NIHAL VIHAR
PASCHIM VIHAR
PEERA GARHI
PUNJABI BASTI
QAMRUDDIN NAGAR SHIV RAM PARK
SAINI MOHALLA
SANGAM APPT. PASCHIM VIHAR
SHIV PARK VILL. NANGLOI
SHIV RAM PARK
SHIV RAM PARK QAMRUDDIN NAGAR
VANDANA VIHAR
YADAV PARK EXTN.
12MANGOL PURI (SC)MANGOL PURI
MANGOLPURI
ROHINI
13ROHINIBADLI INDUS. AREA
BADLI INDUS. AREA & SURAJ PARK
NAHARPUR VILLAGE
NAHARPUR VILLAGE & ROHINI SEC 7
PRASHANT VIHAR
RAJA VIHAR
ROHINI SEC 13
ROHINI SEC 14
ROHINI SEC 15
ROHINI SEC 7
ROHINI SEC 8
ROHINI SEC 9
ROHINI SEC-15
ROHINI SEC-9
ROHINI SECTOR -7
ROHINI SECTOR-13
SEC 14 EXTEN. ROHINI
SECTOR -13 ROHINI
SECTOR -9 & 13 ROHINI
SECTOR -9 ROHINI
SECTOR-18 ROHINI
SURAJ PARK
VILLAGE RAJAPUR SEC-9
14SHALIMAR BAGHHAIDER PUR VILLAGE
PITAMPURA
SHALIMAR BAGH
SHALIMAR VILLAGE
15SHAKUR BASTIJWALA HERI VILL
MULTAN NAGAR
NEW MULTAN NAGAR
PASCHIM PURI
PASCHIM VIHAR
PEERA GARHI CAMP
PITAMPURA PUBLIC SCHOOL PITAMPURA, DELHI
PITAMPURA SARASWATI VIHAR
RANI BAGH
RISHI NAGAR
SARASWATI VIHAR
SHAKUR BASTI
16TRI NAGARASHOKA PARK
CHANDER NAGAR
DEVA RAM PARK
DEVA RAM PARK, TRI NAGAR
GANESH PURA
GANESH PURA, KANHIYA NAGAR
GANESH PURA, TRI NAGAR
GOLDEN PARK
HANSA PURI
HARSH VIHAR
HARYANA POWER STATION COLONY
JAI MATA MARKET
KANHIYA NAGAR
LAWRANCE ROAD
LEKHU NAGAR, TRI NAGAR
MAHENDER PARK
NARANG COLONY
ONKAR NAGAR
PITAMPURA
RAJA PARK
RAJDHANI ENCLAVE
RAM PURA
RAMPURA
SHAKUR PUR
SHAKURPUR
SHAKURPUR VILLAGE
SHANTI NAGAR(GANESH PURA), TRI NAGAR
SHANTI NAGAR, GANESH PURA, TRI NAGAR
SHANTI NAGAR, TRI NAGAR
SRI NAGAR, SHAKURPUR
VISHRAM NAGAR
17WAZIRPURASHOK VIHAR PH I
ASHOK VIHAR PH I& II
ASHOK VIHAR PH II
ASHOK VIHAR PH III
ASHOK VIHAR PH IV
BHARAT NAGAR
INDL AREA WAZIRPUR
KESHAV PURAM
NIMRI COLONY
SATYAWATI COLONY
SAWAN PARK
SHAKTI NAGAR EXTN
WAZIR PUR INDL AREA
WAZIR PURI INDL AREA
WAZIRPUR INDL AREA
WAZIRPUR JJ COLONY
WAZIRPUR VILLAGE
WAZIRPURI INDL AREA
WAZUR PUR INDL AREA
18MODEL TOWN'A' BLOCK 'B' BLOCK MODEL TOWN-I
'B' BLOCK MODEL TOWN-III
BHAGWAN DASS AHATA DELHI ADMN. FLATS
BIRLA MILL QTRS
BLOCK 1, 2 ROOP NAGAR
BLOCK 3, 4 ROOP NAGAR
BLOCK-2 MCD QTRS ROOP NAGAR
BLOCK-4, 5, 6, 8 ROOP NAGAR
BLOCK-A, KAMLA NAGAR
BLOCK-D, KAMLA NAGAR
BLOCK-E BANGLOW ROAD
BLOCK-E KAMLA NAGAR
BLOCK-F KAMLA NAGAR
BLOCK-G & UB JAWAHAR NAGAR
BLOCK-UA JAWAHAR NAGAR
BLOCK-UB JAWAHAR NAGAR
BLOOK-7 ROOP NAGAR
C. C. COLONY
C-BLOCK MODEL TOWN-II
C-BLOCK MODEL TOWN-III
C-BLOCK, R P BAGH
D & F-BLOCK MODEL TOWN-1/2
D T C COLONY
D, H & G BLOCK MODEL TOWN-III
D-BLOCK MODEL TOWN-III
D-BLOCK, R P BAGH
DERAWAL NAGAR
DERAWALA NAGAR
DERAWALA NAGAR GUJRAWALA TOWN
DESU COLONY
'F' BLOCK MODEL TOWN-II
GHANTA GHAR
GT KARNAL ROAD
GUJRANWALA TOWN-1
GUJRAWALA TOWN BIJLI APARTMENT
GUJRAWALAN TOWN
GULABI BAGH
GUR MANDI
ISHWAR COLONY NEW GUPTA COLONY
JAIN COLONY, R P BAGH
JAWAHAR NAGAR NEW CHANDRAWAL
K & D-BLOCK MODEL TOWN-III
K BLOCK MODEL TOWN-II
KABIR NAGAR, R P BAGH
KALYAN VIHAR
KAMLA NAGAR KOHLAPUR RD CHANDRAWAL
KAUSHALPURI AZADPUR
KAUSHALPURI, LAL BAGH, C-BLOCK, AZADPUR
KAUSHALPURI, LAL BAGH, T-HUTS, AZADPUR
KHILONA BAGH GURDWARA NANAK PIO
LAL BAGH AZAD PUR
LAL BAGH MAUZI WALA BAGH AZADPUR
LAL BAGH(HUTS), AZADPUR
LAL BAGH, AZADPUR
MAHENDRU ENCLAVE
MCD COLONY AZAD PUR
MOJIWALA BAGH AZADPUR
MUBARAK BAGH BEHIND P.S.MODAL TOWN
N-BLOCK, LAL BAGH, AZAD PUR
NEW CHANDRAWAL JAWAHAR NAGAR
NEW GUPTA COLONY
NEW POLICE LINE KINGSWAY CAMP
OLD GUPTA COLONY
PREM NAGAR
PRIYADARSHNI VIHAR
R P BAGH
R P BAGH, T-HUTS, AHATA
R P BAGH, T-HUTS, KABIR NAGAR
ROSHANARA ROAD
SANGAM PARK
SANGAM PARK DHOBI GHAT
SANGAM PARK R P BAGH
SANGAM PARK, R P BAGH
SHAKTI NAGAR
SINDHORA KALAN
STATE BANK COLONY
T-HUTS VILLAGE RAJPURA GURMANDI, DOBLE STORY FLATS
T-HUTS, LAL BAGH AZAD PUR
TRIPOLIA , R P BAGH
VILLAGE RAJPURA GURMANDI
VILLAGE RAJPURA GURMANDI T-HUTS
VILLAGE RAJPURA T-HUTS GURMANDI
VILLAGE RAJPURA, T-HUTS, GURMANDI
VILLAGE SINDHORA KALAN
19SADAR BAZARANAND PARBAT
AZAD MARKET TELIWARA
BAHADUR GARH ROAD
BAHADUR GARH ROAD, QUTAB ROAD
BARA HINDU RAO
BERI WALA BAGH
DAYA BASTI
DAYA BASTI RAILWAY COLONY
DEPUTY GANJ
GULABI BAGH
INDER LOK
KISHAN GANJ
KISHAN GANJ, AMBA BAGH, PADAM NAGAR
KISHAN GANJ, BAGH KARE KHAN
KISHAN GANJ, CHANDER SHEKHAR AZAD COLONY
KISHAN GANJ, PADAM NAGAR
KISHAN GANJ, RLWY COLONY
KISHAN GANJ, SWAMI DAYANAND COLONY
KISHAN GANJ, BALJEET NAGAR
PAHARI DHIRAJ
PAHARI DHIRAJ, DEPUTY GANJ
PAHARI DHIRAJ, GALI AHIRAN
PRATAP NAGAR
PULBANGANSH, RAM BAGH ROAD
RAM BAGH ROAD
ROSHAN ARA ROAD
ROSHNARA ROAD
ROSHNARA ROAD, SUBZI MANDI
SADAR BAZAR
SADAR BAZAR, BAHADUR GARH ROAD
SADAR BAZAR, FAIZ GANJ
SADAR BAZAR, GALI AHIRAN
SADAR NALA ROAD BARA TOOTI
SARAI ROHILLA
SARAI ROHILLA, EST MOTI BAGH
SARAI ROHILLA, VIVEKA NANDPURI
SARAI ROHILLA, WEST MOTI BAGH
SHASTRI NAGAR
SUBHADRA COLONY
SUBZI MANDI
SUBZI MANDI, AZAD MARKET
TELIWARA
TELIWARA PUL MITHAI
TELIWARA, PARTAP MARKET
TELIWARA, SHEESH MAHAL
TELIWARI, KISHAN GANJ
TOKRI WALAN, AZAD MARKET
TULSI NAGAR
VASU DEV NAGAR, PRATAP NAGAR
20CHANDNI CHOWKKHARI BAOLI
ALIPUR ROAD
ARUNA NAGAR
BELA ROAD
BHAGIRATH PALACE
BOULWARD ROAD
CHAHAL PURI
CHANDGI RAM AKHARA
CHANDRAWAL ROAD
CHIRA KHANA
DARIBA KALAN
DARYA GANJ
DHARAM PURA
FAIZ BAZAR
FATEH PURI
H.C. SEN MARG
JAMA MASJID
KASHMERE GATE
KATRA NEEL CHANDNI CHOWK
KHYBER PASS
KINARI BAZAR
KUCHA CHELAN
KUCHA MAUTHER KHAN
LAL QUILA YAMUNA BRIDGE
MADARSHA ROAD
MALIWARA
MATIA MAHAL
MORI GATE
MOTIA BAGH
NAI BASTI NAYA BAZAR
NAI SARAK
NAWAB GANJ
NAYA BAZAR
NICLSON ROAD
OLD CHANDRAWAL
PHATAK RANG MAHAL
PULL MITHAI
RAJNIWAS MARG
RAJPUR ROAD
RAM KISHOR ROAD
S P MUKHERJEE MARG
SARAI PHOOSE
TIS HAZARI
UNDER HILL ROAD
VAID WARA
YAMUNA BAZAR
21MATIA MAHALAJMERI GATE
ASAF ALI ROAD
CHANDNI MAHAL
CHATTA LAL MIAN
CHAWRI BAZAR
CHHATTA LAL MIAN
CHITLI QABAR
CHURIWALAN
DDU MARG
DELHI GATE
G B PANT COMPLEX
GANJ MIR KHAN
HAUZ QAZI
JAMA MASJID
LAL KUAN
M A M C
MAHARAJA RANJIT SINGH MARG
MAMC COMPLEX
MATA SUNDRI ROAD
MATIA MAHAL
MINTO ROAD
MIRDARD ROAD
PAHARI BHOJLA
RAKAB GANJ
RAUSE AVENUE
SITA RAM BAZAR
SUIWALAN
TAGORE ROAD
THOMSON ROAD
TIRAHA BEHRAM KHAN
TURKMAN GATE
22BALLIMARANAHATA KALE SAHIB
AHATA KIDARA
AHATA KIDARA DOUBLE STOREY QRS.
AHATA KIDARA SADARNALA ROAD
AHATAKALE SAHIB
AMARPURI
AMARPURI, NABI KARIM
BAGICHI ALLAUDDIN
BAGICHI RAGHUNATH
BAGICHI RAGHUNATH BASTI JULAHAN
BARA DARI SHER AFGAN
BARA HINDU RAO
BARADARI SHER AFGAN
BASTI BAGRIAN
BASTI HARPHOOL SINGH
BASTI JULAHAN
BAZAR BALLI MARAN
BAZAR CHANDNI CHOWK
BAZAR LAL KUAN
BAZAR LAL KUAN (NAYABANS)
BAZAR LAL KUAN AHATA KALE SAHIB
BAZAR LAL KUAN NAYA BANS FARASH KHANA
CHAMELIAN ROAD
CHAMELIAN ROAD AHATA KIDARA
CHAWRI BAZAR NAI SARAK
CHINYOT BASTI
DHARAM PURA
FAIZAL ROAD
FARASH KHANA
GALI SHYAMJI
HAVELI HISSAMUDDIN HAIDER
HOSHIAR SINGH MARG
IDGAH ROAD
IDGHA ROAD
JHANDEWALAN ROAD
JOGIWARA
KHARI BAOLI
KRISHNA BASTI
KRISHNA BASTI, AMARPURI
KUCHA REHMAN
KUCHA REHMAN CHANDNI CHOWK
KUCHA REHMAN NAI SARAK
KUNCHA PANDIT
LAXMAN PURA
MM ROAD
MOHALLA CHARAN DASS
MOHALLA CHARAN DASS GALI LOHE WALI
MOHALLA NIYARIYAN
MOHALLA SIKRIGRAN
MOHALLA YOGMAYA, BAGICHI, ALLAUDDIN
MOTIA KHAN
MOTIA KHAN AKHARA, JAIN MANDIRIDGAH ROAD
MULTANI DHANDA, PAHAR GANJ
NABI KARIM
NABI KARIM, QUTAB ROAD
NAI SARAK
NAI WARA
NAYA BANS
PAHARI DHIRAJ RANI JHANSI ROAD
PAHARIDHIRAJ
PREM NAGAR
QASAB PURA
QASAB PURA SADAR NALA ROAD
QASABPURA CHAMELIAN RD
QUTAB MARG, NABI KARIM
QUTAB MARG, NABI KARIM, HANUMAN MANDIR, BALLAH
QUTAB ROAD
RAILWAY AREA, RAM NAGAR
RAM NAGAR , QUTAB ROAD
RAM NAGAR AARAKASHAN ROAD
RANI JHANSI ROAD
RODGRAN
SADAR BAZAR
SADAR NALA ROAD
SADAR NALA ROAD GALI KHIRKI SARAI KHALIL
SADAR NALA ROAD GALI NO.11
SADAR NALA ROAD GHASMANDI
SADAR NALA ROAD QUTAB ROAD
SADAR THANA ROAD
SARAI KHALIL KUCHA LALLU MISSAR
SARDHA NAND MKT.
SHANKAR MARG
SHANKAR MARG, NABI KARIM
TEL MILL MARG
23KAROL BAGH (SC)RAMESHWARI NEHRU NAGAR
AHATA THAKAR DASS, NEAR SARAI ROHILLA RLWY STATION
AMBEDKAR BHAWAN
ARAM BAGH
ARYA NAGAR
BAGH RAOJI
BAPA NAGAR
BEADON PURA
CHANDIWALAN
CHUNA MANDI
DB GUPTA ROAD
DEV NAGAR
DORIWALAN
FAIZ ROAD
GAUSHALA BARADARI
GAUSHALA MARG
JHANDEWALAN
JOSHI ROAD
KASERUWALAN
KATRA GANGA BISHAN
KISHAN GANJ
KISHAN GANJ RAILWAY AREA
LADDU GHATI
MAIN BAZAR PAHAR GANJ
MANAK PURA
MANTOLA
MOHALLA BHAGRAOJI
MOTIA KHAN
MULTANI DHANDA
NAIWALA
NAIWALA, KAROL BAGH
NEW ROHTAK ROAD
RAIGAR PURA
RAILWAY COLONY BASANT ROAD
RAMJAS ROAD
REGAR PURA
SHIDHI PURA
SHORA KOTHI
SIDHIPURA
TIBBIA COLLEGE
24PATEL NAGARANAND PARBAT THAN SINGH NAGAR
BALJEET NAGAR
DMS PATEL NAGAR
DTC COLONY PATEL NAGAR
EAST PATEL NAGAR
MC PRY SCHOOL MOLAR BASTI
NEHRU NAGAR
NEW RANJIT NAGAR
NEW RANJIT NAGAR (DDA FLATS)
OLD RANJIT NAGAR
PARSAD NAGAR
PATEL NAGAR
PREM NAGAR
RANJEET NAGAR
SHADI KHAM PUR
SHADI KHAMPUR
SHADI PUR MOLAR BASTI
SHADIPUR MOLAR BASTI
SOUTH PATEL NAGAR
WEST PATEL NAGAR
25MOTI NAGARMOTI NAGAR
ASHOKA PARK EAST PUNJABI BAGH
BHAGWAN DASS NAGAR
EAST PUNJABI BAGH
EAST PUNJABI BAGH
JAIDEV PARK, BHAGWAN DASS NAGAR EXTN.
KARAMPURA
KIRTI NAGAR
KIRTI NAGAR (JAWAHAR CAMP)
KIRTI NAGAR , HARIJAN CAMP
KIRTI NAGAR CHUNA BHATTI INDL. AREA,
KIRTI NAGAR INDL. AREA
KIRTI NAGAR INDL. AREA (KAMLA NEHRU CAMP)
KIRTI NAGAR TIMBER MARKET
MADAN PARK
MANOHAR PARK EAST PUNJABI BAGH
MANSAROVER GARDEN
MOTI NAGAR
NAJAFGARH ROAD FACTORIES
NEW MOTI NAGAR
NEW MOTI NAGAR H-IL COLONY GURUNANAK COLONY
NEW MOTI NAGAR KARAM PURA MARKET
NEW MOTI NAGAR, FIRE STATION, . H-IL COLONY
RAILWAY COLONY EAST PUNJABI BAGH
RAJOURI GARDEN
RAJOURI GARDEN .BANK ENCLAVE
RAMA ROAD
RAMA ROAD ZAKHIRA
RAMESH NAGAR
RAMESH NAGAR (SHARDAPURI)
SARASWATI GARDEN
SHARDAPURI MANSAROVER GARDEN
SUDERSHAN PARK
T HUTS NEAR SOI STEEL INDUSTRY, RAMA ROAD
ZAKHIRA
ZAKHIRA (RAKHI MARKET)
ZAKHIRA AMAR PARK
ZAKHIRA DAYA BASTI RLY STATION
26MADIPUR (SC)BALI NAGAR
BASAI DARAPUR
MADIPUR
MADIPUR COLONY
MADIPUR JJ COLONY
MADIPUR VILLAGE
PASCHIM PURI
PUNJABI BAGH
PUNJABI BAGH EXTENSION
PUNJABI BAGH EXTN
RAGHUBIR NAGAR
RAJA GARDEN
RAJOURI GARDEN EXTN
SFS MADIPUR
SFS MADIPUR COMMUNITY CENTER
TAGORE GARDEN EXT.
VISHAL ENCLAVE
27RAJOURI GARDENCHAND NAGAR
CHAUKHANDI
GANGA RAM VATIKA
GURU GOVIND SINGH RAGHUBIR NAGAR
HMP RAGHUBIR NAGAR
HMP, RGB RAGHUBI NAGAR
J J COLONY CHAUKHANDI
J J COLONY KHYALA
KHYALA VILLAGE
MUKH RAM GARDEN
MUKH RAM GARDEN EXTN
MUKHARJI PARK
MUKHERJEE PARK EXTN
MUKHRA PARK EXTN
NARSING GARDEN
RAGHUBIR NAGAR
RAJOURI GARDEN
RAM NAGAR
RAVI NAGAR
RGB, RGA RAGHUBIR NAGAR
SANT NAGAR
SANT NAGAR EXTN
SHAM NAGAR EXTN.
SHAYAM NAGAR
SHYAM NAGAR
SHYAM NAGAR VISHNU GARDEN
TAGORE GARDEN
TAGORE GARDEN EXTN
TC CAMP RAGHUBIR NAGAR
TILAK NAGAR
TITAR PUR
TITAR PUR & TAGORE GARDEN
VISHNU GARDEN
28HARI NAGARASHA PARK
FATEH NAGAR
GOPAL NAGAR
HARI NAGAR
HARI NAGAR MAYA PURI
HARI NAGAR PRATAP NAGAR
JANAK PARK
JANAK PURI
JANAKPURI
LAJWANTI GARDEN
MAYA PURI
MAYAPURI, PH-II KHAZAN BASTI
MAYAPURI, PH-II, KHAZAN BASTI
MAYAPURI, PH-IIKHAZAN BASTI
MAYAPURIPH-II, KHAZAN BASTI
NANGAL RAYA
NANGAL RAYA VILLAGE
PARTAP NAGAR
SUBHASH NAGAR
TIHAR VILLAGE
VIKRANT ENCLAVE
29TILAK NAGARAJAY ENCLAVE, ASHOK NAGAR ASHOK NAGAR
ASHOK NAGAR
ASHOK NAGAR DOUBLE & SINGLE QUARTER
GANESH NAGAR
GURU NANAK NAGAR
HARIJAN COLONY DOUBLE STOREY
INDRA CAMP NO4 VIKAS PURI
JANTA FLAT KG-3 VIKAS PURI
JANTA FLATS SITE I & BLOCK A VIKAS PURI
JANTA FLATS SITE-1 VIKAS PURI
KESHOPUR TANK
KESHOPUR VILLAGE
KRISHNA PARK
KRISHNA PARK EXTN
KRISHNA PURI
LIG FLAT KG-2 VIKAS PURI
M.B.S. NAGAR SATN GARH
MEENAKSHI GARDEN TILAK NAGAR POLICE STATION
NEW KRISHNA PARK AND P M SOCIETY FLATS
NEW MAHAVIR NAGAR
NEW MAHAVIR NAGAR DELHI ADM QTR
NEW MAHAVIR NAGAR KRISHNA PARK GALI NO 16, 17, 13, 14
NEW MAHAVIR NAGAR L BLOCK GALI NO 21, 22, 18, 19, 20
NEW MAHAVIR NAGAR L-2 BLOCK
NEW SHAHPURA M.B.S. NAGAR
OLD MAHAVIR NAAR S-4
OLD MAHAVIR NAGAR
POLICE COLONY QUARTERS VIKAS PURI
PRITHVI PARK
RAVI NAGAR EXTN
RESETTLEMENT COLONY BLOCK B KHYALA
RESETTLEMENT COLONY KHYALA
SANT GARH
SHANKAR GARDEN A& B BLOCK VIKAS PURI KRISHNA PARK
SHANKAR GARDEN T-HUT VIKAS PURI
TILAK NAGAR
TILAK VIHAR
VIKAS KUNJ VIKAS PURI
VIKAS KUNJ VIKAS PURI
VIKAS PURI
VIKAS PURI BLOCK A
VIKAS PURI EXT
VISHNU GARDEN
VISHNU GARDEN EXT
30JANAK PURICHANAKYA PLACE
CHANAKYA PLACE PART-I
CHANAKYA PLACE PART-II
DAYAL SIR COLONY UTTAM NAGAR
EAST UTTAM NAGAR
HARI NAGAR
INDIRA PARK
INDIRA PARK EXT & RAM DATT ENCLAVE
JANAK PURI
JANAKPURI
JEEWAN PARK
MAHAVIR ENCLAVE Par2 & PART-III
MAHAVIR ENCLAVE PART-2
MAHAVIR ENCLAVE PART-3
MAHAVIR ENCLAVE PART-II
MAHAVIR ENCLAVE PART-III
MAHINDRA PARK
OLD SITA PURI
PREM NAGAR UTTAM NAGAR
SHIV NAGAR
SITA PURI
SITA PURI EXT
SITA PURI PART-I
SITA PURI PART-I & HARIJAN BASTI SITA PURI
SITA PURI PART-II
TIHAR JAIL
UTTAM NAGAR
VARINDER NAGAR
31VIKASPURIA-1 BLOCK HASTSAL ROAD, UTTAM NAGAR
A-1 BLOCK MARKET HASTSAL ROAD, UTTAM NAGAR
A-1 BLOCK, OM VIHAR PH-V
A-2 & B-2 BLOCK HASTSAL VIHAR
A-2 BLOCK HASTSAL ROAD, UTTAM NAGAR
A-BLOCK HASTSAL ROAD, UTTAM NAGAR
A-BLOCK HASTSAL VIHAR
A-BLOCK VIKAS NAGAR EXTN.
A-BLOCK, J.J.COLONY, HASTSAL
A-BLOCK, J.J.COLONY, SHIV VIHAR
A-BLOCK, VIKAS NAGAR
AG-1, VIKAS PURI
AMAR SINGH PARK, BAPROLA
AMBEDKAR PLACE, BAPROLA
ANAND KUNJ, KG-1, VIKAS PURI
ARUNODAYA & MINOCHA APTTS., VIKAS PURI
B & C-BLOCK VIKAS NAGAR EXTN.
BAKARWALA VILLAGE, BAKKARWALA
BAPROLA VIHAR, BAPROLA
BAPROLA VILLAGE
B-BLOCK, HASTSAL VIHAR
B-BLOCK, J.J.COLONY, HASTSAL
B-BLOCK, J.J.COLONY, SHIV VIHAR
B-BLOCK, VIKAS NAGAR
BLOCK-A, VIKAS NAGAR PH-1
BLOCK-B, VIKAS NAGAR PH-II & III
BRAHMPURI, RANHOLA
C, D, E & F BLOCK, VIKAS NAGAR
C-BLOCK VIKAS PURI
C-BLOCK, J.J.COLONY, HASTSAL
C-BLOCK, J.J.COLONY, SHIV VIHAR
CHANCHAL PARK BAKKARWALA
D & E BLOCK, VIKAS NAGAR
D-1 BLOCK, OM VIHAR PH-V
D-2 BLOCK, OM VIHAR PH-V
DALL MILL ROAD, UTTAM NAGAR
DASS GARDEN, BAPROLA
D-BLOCK, HASTSAL VIHAR
D-BLOCK, J.J.COLONY, SHIV VIHAR
D-BLOCK, OM VIHAR PH-V
DEEP ENCLAVE, VIKAS NAGAR
DEEP VIHAR, VIKAS NAGAR
DEEPAK VIHAR, VIKAS NAGAR
DEFENCE ENCLAVE, MOHAN GARDEN
DG-1, VIKAS PURI
DG-II, VIKAS PURI
DG-III & CHARAK SADAN, VIKAS PURI
DG-III, VIKAS PURI
E & E1 BLOCK, OM VIHAR PH-V
E & G-BLOCK, HASTSAL VIHAR
E-BLOCK, J.J.COLONY, SHIV VIHAR
E-BLOCK, OM VIHAR PH-V
E-BLOCK, OM VIHAR PH-V & ROOP VIHAR
F-BLOCK, HASTSAL VIHAR
F-BLOCK, VIKAS PURI
FG-1, AIRPORT, OXFORD SR. SEC. SCHOOL APTTS., VIKAS PURI
G-1 BLOCK GOVERDHAN PARK, UTTAM NAGAR
GUPTA ENCLAVE, VIKAS NAGAR
GURDAYAL VIHAR BAKKARWALA
HASTSAL ROAD, UTTAM NAGAR
HASTSAL VILLAGE
HEMANT ENCLAVE & TILAK ENCLAVE, MOHAN GARDEN
INDIRA CAMP NO.3, VIKAS PURI
INDIRA CAMP NO.5, VIKAS PURI
J J COLONY, BAKKARWALA
JAI VIHAR (HARPHOOL VIHAR), BAPROLA
JAI VIHAR BAPROLA
JAI VIHAR EXTN. BAPROLA
JANTA FLATS, HASTSAL
JANTA FLATS, SITE-3, VIKAS PURI
JHUGGI, KALI BASTI, HASTSAL
K-5 EXTN. MOHAN GARDEN
K-6 & K-5 EXTN., MOHAN GARDEN
KALI BASTI, T-CAMP, HASTSAL
KANGRA NIKETAN, VIKAS PURI
KG-1 VIKAS PURI
KG-1, MG-1, VIKAS PURI
KRISHI APPTT., VIKAS PURI
KUNWAR SINGH NAGAR, RANHOLA
LIG FLATS, HASTSAL
LIONS ENCLAVE, VIKAS NAGAR
M, M EXTN. & A-BLOCK VIKAS NAGAR
MAHARANI ENCLAVE, VIKAS NAGAR
MAHENDRA, GULMOHAR, SHIVAM
MAHESH VIHAR, OM VIHAR
M-BLOCK, VIKAS PURI
MEHTA ENCLAVE, RAJHANS VIHAR, BHIM ENCLAVE, VIKAS NAGAR
NANGLI VIHAR EXTN. BAPROLA
NEW SAINIK VIHAR MOHAN GARDEN
NIGHTINGALE, EVERSHINE, VIASHALI
OM VIHAR, PH-V
PARMARTH APTT., RAKSHA VIKAS, LOKVIHAR
POONAM VIHAR, PANCHSHEEL ENCLAVE, MOHAN GARDEN
PRASHANT ENCLAVE, BAPROLA
PRESS ENCLAVE, VIKAS NAGAR
PRIYA SADAN & RAVI APTTS., VIKAS PURI
PROMISE & PANCHWATI SOCIETY, VIKAS PURI
PURTI, ORDINANCE & NAVYUG APTTS., VIKAS PURI
R-4 & 5 BLOCK, MOHAN GARDEN
RAJAN VIHAR, VIKAS NAGAR
RAKSHA ENCLAVE, MOHAN GARDEN
RANHOLA VILLAGE
R-BLOCK, VIKAS NAGAR
RISHAL GARDEN, RANHOLA
SAI ENCLAVE, MOHAN GARDEN
SAINIK ENCLAVE MOHAN GARDEN
SAINIK ENCLAVE, MOHAN GARDEN
SAINIK ENCLAVE, VIKAS NAGAR
SAINIK ENCLAVE, KUMHAAR COLONY
SAINIK VIHAR, MOHAN GARDEN
SAMAJ KALYAN, MAYA APTTS., VIKAS PURI
S-BLOCK, VIKAS NAGAR
SETHI ENCLAVE, MOHAN GARDEN
SHIV RAM PARK EXTN. RANHOLA
SHIV VIHAR, RANHOLA
SITE-II & C-BLOCK, VIKAS PURI
SITE-IV, GANGOTRI APTTS, VIKAS PURI
SUNRISE, JUPITAR & NALNANDA
SURAKSHA VIHAR, VIKAS NAGAR
SURAKSHA, ENCLAVE
SURYA KIRAN, ARJUN GEVA & PANCHDEEP APTTS., VIKAS PURI
TILAK ENCLAVE, GANGA VIHAR, MOHAN GARDEN
TILANG PUR KOTLA, VIHAR
TILANGPUR KOTLA VILLAGE
TYAGI ENCLAVE, MOHAN GARDEN
VIDYA VIHAR, HASTSAL
VIKAS ENCLAVE, VIKAS NAGAR
VIKAS KUNJ, VIKAS NAGAR
VIKAS VIHAR, VIKAS NAGAR
VILLAGE BUDHELA
YADAV ENCLAVE, VIKAS NAGAR
32UTTAM NAGARVIPIN GARDEN
ANAND VIHAR
ANOOP NAGAR
BHAGWATI GARDEN
BHAGWATI VIHAR
BINDA PUR
BINDAPUR
GEETA ENCLAVE
GULAB BAGH
INDRA PARK
JANAKI PURI
KESHO RAM PARK
KIRAN GARDEN
MOHAN GARDEN
NAND RAM PARK
NAWADA
NEW JANAKI PURI
OM VIHAR
PRATAP GARDEN
RAMA PARK
ROHTASH NAGAR
SANJAY ENCLAVE
SANTOSH PARK
SEWAK PARK
SUBHASH PARK
UTTAM NAGAR
UTTAM VIHAR
VANI VIHAR
VIJAY VIHAR
VIKAS VIHAR
VIPIN GARDEN
VISHU VIHAR
33DWARKABRAHMPURI , PANKHA ROAD
DABRI EXT.
DABRI VAISHALI
DABRI VILLAGE
DABRI VILLAVE
DASHRATH PURI
DDA POCKET-6, NASIR PUR
DURGA PARK
EAST SAGAR PUR
EAST SAGAR PUR BASTI
EAST SAGAR PUR HARIJAN BASTI
G BLOCK, SAGARPUR WEST
GANDHI MARKET, WEST SAGARPUR
GEETANJALI PARK, WEST SAGARPUR
H BLOCK, WEST SAGARPUR
HARIJAN BASTI, WEST SAGARPUR
I BLOCK, WEST SAGARPUR
INDRAPARK, PALAM COLONY
J BLOCK, SAGARPUR WEST
JAGDAMBA VIHAR , WEST SAGARPUR
KAILASH PURI EXTENSION
KAMAL PARK, PALAM
M BLOCK, WEST SAGARPUR
MADAN PURI, WEST SAGARPUR
MAHAVIR ENCLAVE
MAHAVIR ENCLAVE-I
MAIN SAGAR PUR
MAIN SAGAR PUR, GALI NO. 7
MANGALA PURI
MOHAN BLOCK, WEST SAGARPUR
NASIR PUR VILLAGE
NASIR PUR VILLAGE, HARIZAN BASTI
PANKHA ROAD MOHAN NAGAR
PANKHA ROAD VASIST PARK
PANKHA ROAD, VASIST PARK
RAGHU NAGAR
SAGARPUR WEST, DAYAL PARK
SAGARPUR WEST, HANSA PARK
SAGARPUR, SHIV PURI
SANKAR PARK, WEST SAGARPUR
SYNDICATE ENCLAVE
VEER NAGAR, SHANKER PARK
VEER NAGAR, WEST SAGARPUR
WEST SAGARPUR, ASHOK PARK
34MATIALAA BLOCK BHARAT VIHAR KAKRAULA
A BLOCK TARA NAGAR, KAKRAULA VILLAGE
AMBER HAI VILLAGE
ARJUN PARK A BLOCK
ARJUN PARK B BLOCK
ARJUN PARK C BLOCK
ARJUN PARK D BLOCK
BADU SARAI
BAJAJ ENCLAVE EXTN.
BHARAT VIHAR KAKRAULA
CHHAWLA
D BLOCK BHARAT VIHAR KAKRAULA
DARIYA PUR KHURD
DAULATPUR VILLAGE
DEENDARPUR SHYAM VIHAR
DINDARPUR
DINDARPUR VILLAGE SHYAM VIHAR
DWARKA SECTOR 12
DWARKA SECTOR 14
DWARKA SECTOR 11 & 12
DWARKA SECTOR 13
DWARKA SECTOR 13 & 14
DWARKA SECTOR 13 & SFS FLATS
DWARKA SECTOR 13 & 14
DWARKA SECTOR 13& 14
DWARKA SECTOR 16A J J COLONY
DWARKA SECTOR- 18A & 17
DWARKA SECTOR 22 & 23
DWARKA SECTOR 3 J J COLONY
DWARKA SECTOR-10
DWARKA SECTOR-11
DWARKA SECTOR-11& 12
DWARKA SECTOR-16A J J COLONY
DWARKA SECTOR-17, 18A & 19
DWARKA SECTOR-17, 18A & 19
DWARKA SECTOR-19
DWARKA SECTOR-22 & 23
DWARKA SECTOR-3
DWARKA SECTOR-3 DDA PKT
DWARKA SECTOR-4
DWARKA SECTOR-5
DWARKA SECTOR-6
DWRKA SECTOR-10
GALIBPUR VILLAGE
GHASIPURA
GHASIPURA ISHWAR COLONY
GHASIPURA NANGLI DAIRY
GHASIPURA NANGLI VIHAR
GHUMAN HERA VILLAGE
GOYLA DAIRY JHUGGI BASTI
GOYLA KHURD VILLAGE
HARI VIHAR KAKRAULA
HASANPUR VILLAGE
JAIN COLONY PART-I
JAIN COLONY PART-II& III
JAIN PARK A BLOCK
JAIN PARK B, C& D BLOCK
JHATIKRA VILLAGE
JHULJHULI VILLAGE
KAKRAULA VILLAGE
KANGANHERI
KHARKHARI (NAHAR)
KHARKHARI JATMAL
KHARKHARI RAUNDH VILLAGE
KHERA DABUR
MANSA RAM PARK
MANSA RAM PARK B BLOCK
MANSA RAM PARK B& C BLOCK
MANSA RAM PARK E BLOCK
MATIALA VILLAGE
MATIALA VILLAGE NANHE PARK
NANAKHERI
NAND VIHAR KAKRAULA DAIRY
NANGLI SAKRAWATI
NANGLI SAKRAWATI ANAND VIHAR
NANHE PARK NEW T BLOCK
OM VIHAR EXTENSION
OM VIHAR EXTENSION KHUSHI RAM PARK
PANDWALA KALAN VILLAGE
PANDWALA KHURD VILLAGE
PAPRAWAT VILLAGE
PATEL GARDEN
POCHAN PUR VILLAGE
POCHAN PUR VILLAGE EXTN.
QUTUB VIHAR C, D & H BLOCK
QUTUB VIHAR PH-1 A& B BLOCK
QUTUB VIHAR PHASE-2 A& B BLOCK
QUTUB VIHAR PHASE-2 C& D BLOCK
QUTUB VIHAR PHASE-2 E BLOCK
QUTUB VIHAR PHASE-2 F BLOCK
RANAJI ENCLAVE PART-1
RANAJI ENCLAVE PART-2
RANAJI ENCLAVE PART-3
RAWTA VILLAGE
RAWTA VILLAGE/DAURALA VILLAGE
REWLA KHANPUR VILLAGE
SAHYOG VIHAR (MATIALA)
SAINIK NAGAR
SARANGPUR
SECTOR -15 POCKET A BHARAT VIHAR
SECTOR 15 POCKET A J J COLONY BHARAT VIHAR
SECTOR 15 POCKET B J J COLONY BHARAT VIHAR
SHIKARPUR VILLAGE
SRI CHAND PARK MATIALA VILLAGE
SUKHI RAM PARK, GURU HAR KISHAN NAGAR
TAJPUR KHURD VILLAGE
VIKAS VIHAR KAKRAULA
VISHWAS PARK SOLANKI ROAD & SHIKSHA DEEP PUBLIC SCHOOL
35NAJAFGARHBABA HARIDASS ENCLAVE
BAKARGARH
BOSCO COLONY GOPAL NAGAR
CHANDAN PLACE, SARSWATI KUNJ
DHANSA
DHARAMPURA
DHARAMPURA EXTN.
DHARAMSHALA AREA GOPAL NAGAR
DICHAON KALAN
GOPAL NAGAR
GOPAL NAGAR EXTN.
GULIA ENCLAVE, RAJEEV VIHAR
HAIBATPURA
HANUMAN MANDIR GOPAL NAGAR
HEERA PARK
INDRA PARK
ISSAPUR
JAFFARPUR KALAN
JAI VIHAR
JHARODA KALAN
KAIR
KAZI PUR
KHAIRA
LAXMI GARDENROSHAN MANDI
LOKESH PARK
MAIN NAJAFGARH
MAKSOODABAD COLONY
MALIK PUR
MD ROAD GOPAL NAGAR
MITRAON
MUNDELA KALAN
MUNDELA KHURD
NANAK PIYAOO GOPAL NAGAR
NANDA ENCLAVE
NAVEEN PLACE, SURYA KUNJ
NAWADA BAZAR
NAYA BAZAR
NEW HEERA PARK, NAJAFGARH PARK COLONY
NEW ROSHANPURA
NEW ROSHANPURA EXTN.
NEW ROSHANPURA VILLAGE
OLD ROSHANPURA
POLICE STATION TRANSFORMER
PREM NAGAR
RAIL FACTORY ROAD GOPAL NAGAR
RGHUBIR ENCLAVE, BLOCK - B C-HEERA PARK
ROSHAN GARDEN
ROSHAN VIHAR
SAINIK ENCLAVE
SAINIK ENCLAVE NEAR INDRA PARK
SAMASPUR KHALSA
SARASWATI ENCLAVE
SHIV ENCLAVE
SURAKHPUR
SUREHRA
THANA ROAD
TODARMAL COLONY
UGAR SEN PARK
UJWA VILLAGE
VINOBA ENCLAVE
36BIJWASANBagdola
Bamnoli
Bharthal
Bijwasan
Dhool Siras
DWARKA
Kapashera
Mahipal Pur
RAJ NAGAR-II
Rangpuri
RANGPURI PAHARI
Samalka
Shahbad Mohammad Pur
Vasant Kunj
37PALAMBHARAT VIHAR/ RAJA PURI C, BLOCK
BHARAT VIHAR/ RAJA PURI , B BLOCK
BHARAT VIHAR/ RAJA PURI A, BLOCK
DWARKA J J COLONY SECTOR -7
DWARKA PURI
DWARKA PURI/VIJAY ENCLAVE
DWARKA SECTOR-1 JJ COLONY A& B BLOCK
DWARKA SECTOR-1 JJ COLONY C BLOCK
DWARKA SECTOR-2
DWRKA SECTOR-7
EAST RAJAPURI B2 & T BLOCK
HARIJAN BASTI/ PALAM EXTN.
INDRA PARK
INDRAPARK, PALAM COLONY
KAILAS PURI
KAILASH PURI
MADHU VIHAR
MADHU VIHAR (A-BLOCK)
MADHU VIHAR(A1-BLOCK)
MAHAVIR ENCLAVE-I
MAHAVIR VIHAR A BLOCK
MAHAVIR VIHAR B & RZ BLOCK
MAHAVIR VIHAR C BLOCK
MAHAVIR VIHAR D BLOCK
OLD RAJAPURI & RAJAPURI A & A1 BLOCK
PALAM VILLAGE
PALAM VILLAGE BALMIKI VIHAR
PALAM VILLAGE, DDA LIG FLATS
PURAN NAGAR
PURAN NAGAR PALAM
RAJ NAGAR-I (PALAM)
RAJA PURI
RAJA PURI K , BLOCK
RAJA PURI K1, BLOCK
RAJA PURI B BLOCK
RAJA PURI B, D, D1 BLOCK
RAJA PURI B1 & C1 BLOCK
RAJA PURI G BLOCK
RAJA PURI H & H1 BLOCK
RAJA PURI J, I BLOCK
RAJAPURI E & F BLOCK
SADH NAGAR
SADH NAGAR, PALAM COLONY
SADH NAGAR-II
SEC-1 PAPPANKALAN DWARKA
TAMIL ENCLAVE
VIJAY ENCLAVE
VINOD PURI/VIJAY ENCLAVE
VISHWAS PARK B, Block
VISHWAS PARK A , Block
VISHWAS PARK EXTN F-BLOCK
VISHWAS PARK EXTN E -BLOCK
VISHWAS PARK EXTN G BLOCK
VISHWAS PARK RZ & T BLOCK
VISHWAS PARK T EXTN BLOCK
VISHWAS PARK(C, D BLOCK)
38DELHI CANTTARJUN VIHAR
BAPU DHAM
BAPU DHAM CHANAKYA PURI
BRAR SQUARE
CB NARAINA
CHANAKYA PURI
COD ME LINE KIRBY PLACE
CVD LINE SADAR BAZAR
DHAULA KUAN
DHOBI GHAT KIRBY PLACE
GOPI NATH BAZAR
GOPINATH BAZAR
JHARERA VILLAGE
KABUL LINE
KAUTILYA MARG
MANAS MARG BAPU DHAM
MEHRAM NAGAR
MORE LINE
MOTI BAGH - I
MOTI BAGH -1
NETAJI NAGAR
OLD NANGAL
PANCHVATI
PINTO PARK
RK PURAM SECTOR-13
ROCK VIEW
SADAR BAZAR
SARDAR PATEL MARG
SATYA MARG
SUBROTO PARK
URI ENCLAVE
VINAY MARG
39RAJENDRA NAGARDASGHARA/TODAPUR
INDERPURI
J J COLONY INDERPURI
KAROL BAGH
KAROL BAGH PUSA ROAD
KRISHI KUNJ
LOHA MANDI NARAINA
NARAINA
NARAINA VIHAR
PANDAV NAGAR
PUSA INSTITUTE
RAJINDER NAGAR
40NEW DELHIALI GANJ
ANSARI NAGAR (EAST)
ANSARI NAGAR (WEST)
ARMY PUBLIC SCHOOL
ASHOK ROAD
ATUL GROVER ROAD
AURANGZEB ROAD
B. K. DUTT COLONY
BABA KHADAK SINGH MARG
BABA KHARAG SINGH MARG
BABAR ROAD
BANGALI MARKET
BANGLA SAHIB ROAD
BAPA NAGAR
BARAKHAMBA ROAD
BASANT LANE
BHAGWAN DASS ROAD
CHELMSFORD ROAD
CONNAUGHT PLACE
COPERNICUS MARG
FIROZSHAH ROAD
GOLF LINKS
GURUDWARA RAKAB GANJ ROAD
HAILEY ROAD
HANUMAN ROAD
JANPATH
JASWANT SINGH ROAD
JOR BAGH
K G MARG
KAKA NAGAR
KALI BARI MARG
KASHTURBA GANDHI MARG
KHAN MARKET
KIDWAI NAGAR (EAST)
KIDWAI NAGAR (WEST)
KIDWAI NAGAR WEST
KIDWAI NAGAR(EAST)
LAXMI BAI NAGAR
LODHI COLONY
LODHI ESTATE
MAHARISHI RAMAN MARG
MAN SINGH ROAD
MANDIR MARG
MAULANA AZAD ROAD
MOTHER TERESSA CRESCENT
NAUROJI NAGAR
NORTH AVENUE
PALIKA KUNJ
PALIKA NIWAS
PANCHKUIAN ROAD
PANDARA PARK
PANDARA ROAD
PESHWA ROAD
PILLANGI VILLAGE
PRESIDENT ESTATE
PRITHVI RAJ ROAD
PURANA QUILLA ROAD
RACE COURSE
RACE COURSE ROAD
RAJA BAZAR
RAMA KRISHNA ASHRAM MARG
RAVINDRA NAGAR
SAFDARJUNG AIRPORT
SAROJINI NAGAR
SHAHEED BHAGAT SINGH MARG
SIKANDRA ROAD
SOUTH AVENUE
SOUTH END LANE
SUJAN SINGH PARK
SUNEHRI BAGH
TAL KATORA ROAD
TEEN MURTI MARG
TEES JANUARY MARG
TILAK MARG
41JANGPURAASHRAM
BHOGAL
DARYA GANJ
DARYAGANJ
HARI NAGAR ASHRAM
HAZRAT NIZAMUDDIN WEST
JAL VIHAR
JANGPURA B
JANGPURA EXT.
JANGPURA LANE
JANGPURA MATHURA ROAD
KILOKARI
LAJPAT NAGAR I
LAJPAT NAGAR II
NEHRU NAGAR
NIZAMUDDIN WEST
NIZAUDDIN WEST
P.S.STAAF QTRS
PRAGATI MAIDAN
RAJ GHAT
RING ROAD IP DEPOT
SARAI KALE KHAN
SARAIKALE KHAN
SIDHARTH BASTI
SIDHARTH EXT.
SUNDER NAGAR
SUNLIGHT COLONY
TILAK BRIDGE
VIKRAM NAGAR
42KASTURBA NAGARANDREWS GANJ
AYURVIGYAN NAGAR
BAPU PARK KOTLA MUBARAKPUR
BLOCK-A DEFENCE COLONY
BLOCK-C DEFENCE COLONY
BLOCK-C LAJPAT NAGAR-I
BLOCK-D DEFENCE COLONY
GARHI
INA COLONY
JANG PURA EXTNSION
KOTLA MUBARAK PUR
LAJPAT NAGAR
LAJPAT NAGAR PART -IV
LAJPAT NAGAR PART-IV
LAJPAT NAGAR-I
LAJPAT NAGAR-III
LODHI COLONY
LODHI ROAD
LODHI ROAD COMPLEX
LODHI ROAD COMPLEX
N D S E PART II
NDSE-I
PANT NAGAR
SADIQ NAGAR
SANWAL NAGAR
SEWA NAGAR
SOUTH EXTENSION PART II
SOUTH EXTENSION-I
SRINIWAS PURI
TYAG RAJ NAGAR
VILLAGE ALI GANJ
VILLAGE PILLANJI
VILLANGE ALI GANJ
WAZIR NAGAR
43MALVIYA NAGARADCHINI VILLAGE
ADHCHINI & NCERT
ARJUN NAGAR
BEGUM PUR BALMILKI CAMP
BEGUM PUR INDRA CAMP
BEGUM PUR VILLAGE
GAUTAM NAGAR
GEETANJALI & MALVIYA NAGAR
GEETANJALI & NAVJIVAN VIHAR
GREEN PARK EXTENSION
GREEN PARK MAIN
GULMOHAR ENCLAVE
GULMOHAR PARK
HAUZ KHAS
HAUZ KHAS ENCLAVE
HAUZ KHAS VILLAGE
HAUZ RANI
HUMAYUN PUR VILLAGE
IIT CAMPUS
JIA SARAI
KALU SARAI VILLAGE
KHIRKI VILLAGE
KRISHNA NAGAR
MALVIYA NAGAR
MASJID MOTH
MAY FAIR GARDEN
MMTC COLONY
NAVKETAN GROUP HOUSING SOCIETY
NCERT
NCERT STAFF QRTS
NITI BAGH
PADMINI ENCLAVE
POLICE TRAINING SCHOOL
QUTUB INSTITUTIONAL AREA
SAFDARJUNG DEVELOPMENT AREA BHIM NAGRI
SAFDARJUNG ENCLAVE
SARVODAYA ENCLAVE
SARVPRIYA VIHAR
SHIVALIK
SONA APPARTMENT
STC COLONY
UDAY PARK
YUSUF SARAI
YUSUF SRAI & GREEN PARK EXTENSION
44R.K.PURAMANAND NIKETAN
Basant Nagar
MOHAMMAD PUR VILLAGE
MUNIRKA DDA FLATS
Munirka Village
NANAK PURA
R K Puram Sec-1
R K Puram Sec-10
R K Puram Sec-12
R K Puram Sec-2
R K Puram Sec-3
R K Puram Sec-4
R K Puram Sec-5
R K Puram Sec-6
R K Puram Sec-7
R K Puram Sec-8
R K Puram Sec-9
R.K.PURAM SEC-12
SATYA NIKETAN
Vasant Vihar
45MEHRAULIBER SARAI
JNU (JAWAHAR LAL NEHRU UNIVERSITY)
KATWARIA SARAI
KISHAN GARH VILLAGE
KUSUMPUR PAHARI
LADO SARAI
MASOOD PUR
MEHRAULI
RAJOKARI VILLAGE
SAKET
VASANT KUNJ
46CHHATARPURASOLA
AYA NAGAR
BHATTI MINES
BHATTI VILLAGE
CHANDAN HULLA
CHATTARPUR
DERA VILLAGE
FATEHPUR BERI
GADAI PUR
GHITORNI
JONAPUR
MAIDAN GARHI
MANDI VILLAGE
MANGLA PURI
NEB SARAI
RAJPUR KHURD
SAIDULAJAB
SATBARI
SHAHURPUR
SULTAN PUR
47DEOLI (SC)DAKSHINPURI EXTENSION
DEOLI EXTENSION
DEOLI VILLAGE
DURGA VIHAR
J.J.CAMP, TIGRI
J.J.COLONY, TIGRI
MADANGIR VILLAGE
NAI BASTI
SAINIK FARM
SANGAM VIHAR
SANJAY CAMP
SHAHEED CAMP
SOUTH ENCLAVE DDA FLATS
SUBHASH CAMP
TIGRI EXTENSION
48AMBEDKAR NAGAR (SC)BIHARI PARK, KHANPUR
DAKSHIN PURI
DUGGAL COLONY, KHANPUR
J.J.COLONY, KHANPUR
JAWAHAR PARK
KHANPUR
KHANPUR EXTN
KHANPUR VILLAGE
KRISHNA PARK
MADANGIR
MADANGIR DDA FLATS
PUSHP VIHAR
RAJU PARK, KHANPUR
SAINIK FARM
SHIV PARK, KHANPUR
49SANGAM VIHARHAMDARD NAGAR
LAL KUAN
SANGAM VIHAR
TUGHLAKABAD EXTENSION
TUGHLAKABAD EXTENSION, TA-BLOCK
50GREATER KAILASHASIAD VILLAGE COMPLEX
C R PARK
CHIRAG DELHI
CHIRAG ENCLAVE HEMKUNT
DDA JANTA FLATS KHIRKI VILLAGE
DDA MASJID MOTH PHASE-I
DDA MIG/SFS SHEIKH SARAI PH-I
DDA SFS SHEIKH SARAI PH-I
EAST OF KAILASH
EAST OF KAILASH (KAILASH TOWER)
EPR REFUGEE REH HOUSING BLDG SOCIETY
G K II
G.K II
GREATER KAILASH - 1
GREATER KAILASH 1
GREATER KAILASH-I
ICAR COLONY (KRISHI VIHAR)
JAGDAMBA CAMP
KAILASH COLONY
KALKA JI
KALKAJI
KHIRKI EXTENSION
MASJID MOTH
PAMPOSH ENCLAVE
PANCHSHEEL COLONY (EAST) SWAMI COLONY
PANCHSHEEL COLONY (GOKUL WALI MASJID)
PANCHSHEEL COLONY/SADNA
PANCHSHEEL ENCLAVE (MASJID MOTH)
PANCHSHEEL PARK (SOUTH)
PANCHSHEEL PARK(EAST)
PANCHSHEEL VIHAR
RPS DDA FLATS SHEIKH SARAI PHASE-I
SANT NAGAR
SAVITRI NAGAR
SHAHPUR JAT
SHEIKH SARAI-PHASE-II
ZAMRUD PUR
51KALKAJIBHARAT NAGAR
EAST OF KAILASH
GARHI EAST OF KAILASH
GIRI NAGAR
GOVIND PURI
ISHWAR NAGAR
KALKAJI
MAHARANI BAGH
MASIH GARH
NEW FRIENDS COLONY
SARAI JULLENA
SHYAM NAGAR
SRINIWASPURI
SUKHDEV VIHAR
52TUGHLAKABADGOLA KUAN
HARKESH NAGAR
INDRA KALYAN VIHAR
J.J. CAMP
J.J.R.CAMP OKHLA INDUSTRIAL AREA PH-II
JANTA JEEWAN CAMP
KALKAJI EXTN
LAL KUAN
MAJDOOR KALYAN CAMP
MAJDOOR KALYAN VIHAR
MOHAN CO-OPERATIVE
NEW SANJAY CAMP
NEW SANJAY COLONY
OKHLA INDUSTRIAL AREA
OKHLA PH-III
PUL PRAHLAD PUR
RAILWAY COLONY TUGHLKABAD
SANJAY COLONY
SANJAY COLONY OKHLA INDUSTRIAL AREA
SONIYA GANDHI CAMP
TEHKHAND VILLAGE
TUGHLAKABAD
TUGHLAKABAD VILLAGE
YOGHSHALA CAMP
53BADARPURBADARPUR
GAUTAM PURI
HARI NAGAR
JAITPUR
MITHAPUR
MOLARBAND
SAURABH VIHAR
TAJPUR
54OKHLAAALI VIHAR
ABUL FAZAL ENCLAVE
ALI VILLAGE
BATLA HOUSE
CANAL COLONY
GAFFAR MANZIL
GHAFOOR NAGAR
HAZI COLONY
JAMIA NAGAR
JASOLA EXTENSION
JASOLA VIHAR
JASOLA VILLAGE
JOGA BAI
JOGABAI
KALINIDI COLONY
KHIZARBAD VILLAGE
MADANPUR KHADAR
MASHIGARH VILLAGE
MUJEEB BAGH
NAI BASTI
NEW FRIENDS COLONY
NOOR NAGAR
OKHLA VIHAR
OKHLA VILLAGE
SARITA VIHAR
SHAHEEN BAGH
TAIMOOR NAGAR
ZAKIR NAGAR
55TRILOKPURI (SC)KOTLA VILLAGE
MAYUR VIHAR
MAYUR VIHAR PHASE-I EXTN.
NEW ASHOK NAGAR
TRILOKPURI
56KONDLIDallupura village
DDA Flats
DDA Janta Flats
Gazipur DDA Flat
Gharoli Dairy Farms
Gharoli Extension
Gharoli village
Kalyanpuri
Khichripur
Kondli
Mayur Vihar-III
New Kondli
Vasundhara Enclave
57PATPARGANJACHARYA NIKETAN
EAST VINOD NAGAR
I.P.EXTENSION
I.P.EXTENSTION PATPARGANJ
KALYAN VAS
KHICHRIPUR VILLAGE
MANDAWALI
MAYUR VIHAR PHASE-I
MAYUR VIHAR PHASE-II
PANDAV NAGAR
PATPARGANJ VILLAGE
SHASHI GARDEN
WEST VINOD NAGAR
58LAXMI NAGARGARHWALI MOHALLA, LAXMI NAGAR
GURU RAMDAS NAGAR
GURURAM DAS NAGAR
KRISHAN KUNJ
KUNDAN NAGAR
LALITA PARK, LAXMI NAGAR
LAXMI NAGAR
MANDWALI
PANDAV NAGAR
RAMESH PARK
SAMAS PUR
SHAKARPUR
59VISHWAS NAGARAGCR ENCL
ANAND VIHAR
ARYA NAGAR
DAYANAND VIHAR
DEFENCE ENCL.
EAST ARJUN NAGAR
EAST LAXMI MARKET NEAR RADHU PALACE
GAGAN VIHAR
GAZI PUR VILLAGE
GROUP HOUSING SOCIETY NEAR DTC DEPOT PATPAR GANJ
GROUP HOUSING SOCIETY, NEAR DTC DEPOT, PATPARGANJ
GUJARAT VIHAR
GURU ANGAD NAGAR
HARGOBIND ENCL
JAGRITI ENCL
JOSHI COLONY NEAR DTC DEPOT PATPARGANJ
karkardooma
KARKARDOOMA VILLAGE
LEHRI COLONY
MADHU VIHAR
MADHUBAN
MANAK VIHAR
NEW RAJDHANI ENCL.
NIRMAN VIHAR
NRIMAN VIHAR
PREET VIHAR
PRIYA ENCALAVE
PUSHPANJALI
RAHU PALACE PATPARGANJ ROAD
RAM VIHAR
SAINI ENCL
SAVITA VIHAR
SHARAD VIHAR
SHRESTHA VIHAR
SURAJMAL VIHAR
SURYA NIKETAN
SWASTHYA VIHAR
VIGYAN VIHAR
VISHWAS NAGAR
VIVEK VIHAR
YOJANA VIHAR
60KRISHNA NAGARANARKALI GARDEN
ARAM PARK & OLD ANARKLI EXTN.
ARJUN NAGAR
BALDEV PARK
BALMIKI BASTI & NEW GANESH PARK
BRIJ PURI & NEW GOVIND PURA
CHANDER NAGAR
CHANDU PARK
CHANDU PARK, NEW LAYAL PUR
EAST BALDEV PARK
EAST KRISHNA NAGAR
GEETA COLONY
GHONDLI VILLAGE
GOPAL PARK
GOPAL PARK & HAZARA PARK
GOVIND PARK
GYAN PARK
HAZARA PARK & SILVER PARK
INDRA PARK
JAGAT PURI
JHEEL KHURANJA
JITAR NAGAR
JITAR NAGAR & OLD GOVIND PURA EXTN.
KHUREJI KHAS
KRISHNA NAGAR
LAXMAN PARK
LAXMAN PARK & CHANDER NAGAR
MAHILA COLONY
MAUSAM VIHAR
NEW BRIJ PURI
NEW BRIJ PURI & NEW GOVIND PURA
NEW GOVIND PURA
NEW GOVIND PURA EXTN. & OLD GOVIND PURA
NEW KRISHNA NAGAR
NEW LAHORE COLONY
NEW LAYAL PUR
OLD ANARKALI
OLD BRIJ PURI
OLD GOVIND PURA
OLD GOVIND PURA & OLD ANARKALI
OLD GOVIND PURA & SOUTH ANARKALI
OLD GOVIND PURA EXTN.
PANDIT PARK & EXTN.SHIVAJI GALI, KRISHNA NAGAR EXTN.SHIVPURI
POLICE COLONY, POLICE STATION PREET VIHAR
RADEHY PURI EXTENSION
RADHEY PURI
RADHEY SHYAM PARK
RADHEY SHYAM PARK EXTN.
RAM NAGAR
RAM NAGAR & RAM NAGAR EXTN.
RAM NAGAR EXTN.
RANI GARDEN
RANI GARDEN EXTN.
RASHID MARKET
RASHID MARKET EXTN.
SHAHI MASJID , RASHID/NEW RASHID MARKET , GANESH PARK
SHASTRI NAGAR
SHASTRI PARK & SATNAM PARK
SHIV PURI
SHIV PURI EXTN. & SHIV PURI
SHYAM NAGAR & OLD GOVIND PURA
SOUTH ANARKALI
SOUTH ANARKALI EXTN.
SOUTH ANARKALI MAIN
TAJ ENCLAVE & GEETA COLONY
61GANDHI NAGARDHARAMPURA
EAST AZAD NAGAR
GANDHI NAGAR
KAILASH NAGAR
KANTI NAGAR
KANTI NAGAR (EAST)
KANTI NAGAR EAST AND EAST AZAD NAGAR
KANTI NAGAR EXTENSION
NEW SEELAM PUR
OLD DHARAMPURA
OLD SEELAMPUR
OLD SEELAMPUR (EAST)
RAGHUBARPURA NO 1
RAGHUBARPURA NO 2
RAJGARH COLONY
SARTAJ MOHALLA
SHANKAR NAGAR
SHANKAR NAGAR EXTENSION
SHASTRI PARK
WEST AZAD NAGAR
62SHAHADARABEHARI COLONY
BHOLA NATH NAGAR
DILSHAD COLONY
DILSHAD GARDEN
FRIENDS COLONY JHILMIL
JHILMIL
JHILMIL COLONY
JHILMIL INDL. AREA
JWALA NAGAR
SEEMA PURI
SHAHDRA
VIVEK VIHAR
63SEEMA PURI (SC)DILASHAD COLONY
DILSHAD GARDEN
GTB ENCLAVE
GTB HOSPITAL CAMPUS
JAGATPURI EXTN.
JANTA FLATS GTB ENCLAVE
NAND NAGARI
NAND NAGRI
NEW SEEMAPURI
SUNDER NAGARI
TAHIRPUR
VILL KHERA
VILL TAHIRPUR
64ROHTAS NAGARA-BLOCK ASHOK NAGAR
B-BLOCK ASHOK NAGAR
BHAGWAN PUR KHERA
BHAGWAN PUR KHERA RAM NAGAR EXTN.
C-1 BLOCK NAND NAGRI
C-2 BLOCK NAND NAGRI
C-3 BLOCK NAND NAGRI
CHANDER LOK
D-1 BLOCK ASHOK NAGAR
D-BLOCK ASHOK NAGAR
D-BLOCK NATTHU COLONY
DURGAPURI
DURGAPURI EXTN.
EAST RAM NAGAR
EAST ROHTASH NAGAR
EAST ROHTASH NAGAR SHIVAJI PARK
E-BLOCK ASHOK NAGAR
HARDEV PURI
JAGAT PURI
JAGJEEVAN NAGAR
JHUGGI OPP. B-BLOCK
KABUL NAGAR
LIG FLATS EAST OF LONI ROAD
MANSAROVER PARK
MANSROVER PARK D.D.A. FLATS
MIG FLATS EAST OF LONI ROAD
NATHU COLONY
NAVEEN SHAHDARA
NEW MODERN SHAHDARA
PANCHSHEEL GARDEN
PANCHSHEEL GARDEN SUBHASH PARK
RAM NAGAR
RAM NAGAR EXT.
SHIVAJI PARK
SHRIRAM NAGAR
SUBHASH PARK
ULDHAN PUR PANCHSHEEL GARDEN
WELCOME SEELAMPUR PH-III
WEST ROHTAS NAGAR
WEST ROHTAS NAGAR MOHAN PARK
65SEELAMPURSEELAMPUR
BRAHAMPURI
BRAHMPURI
CHAUHAN BANGAR
GAUTAM PURI
JAFFRABAD
KAITHWARA
MAUJPUR
NEW SEELAMPUR
NEW USMANPUR
SEELAMPUR
SHASTRI PARK
WELCOME
66GHONDA4TH PUSTA KARTAR NAGAR J-BLOCK
A-BLOCK BHAJAN PURA
AMBEDKAR BASTI
AMBEDKAR BASTI GHONDA VILL
AMBEDKAR MURTI GHONDA VILL
ARVIND NAGAR
B-1, BLOCK YAMUNA VIHAR
B-2, BLOCK YAMUNA VIHAR
B-3, BLOCK YAMUNA VIHAR
B-4, BLOCK YAMUNA VIHAR
B-5, BLOCK YAMUNA VIHAR
B-BLOCK BHAJAN PURA
BHAJAN PURA
BRAHAMPURI X-BLOCK
C-1, BLOCK YAMUNA VIHAR
C-10, BLOCK YAMUNA VIHAR
C-12, BLOCK YAMUNA VIHAR
C-2, BLOCK YAMUNA VIHAR
C-3, BLOCK YAMUNA VIHAR
C-4, BLOCK YAMUNA VIHAR
C-5, BLOCK YAMUNA VIHAR
C-6, BLOCK YAMUNA VIHAR
C-7, BLOCK YAMUNA VIHAR
C-8, BLOCK YAMUNA VIHAR
C-9, BLOCK YAMUNA VIHAR
C-BLOCK BHAJAN PURA
D-BLOCK BHAJAN PURA
D-BLOCK SANJAY MOHALLA
GAMRI EXTN. A-BLOCK
GAMRI EXTN. C-BLOCK
GAMRI EXTN. D-BLOCK
GAMRI VILL.
GARHI MENDU
GAUTAM VIHAR
GHONDA VILLAGE
JAGJIT NAGAR D-BLOCK
JAGJIT NAGAR E-BLOCK
JAGJIT NAGAR G-BLOCK
JAI PARKASH NAGAR
KARTAR NAGAR
KARTAR NAGAR J-BLOCK
KARTAR NAGAR L K C J-BLOCK
KHUMARA MOHLLA GHONDA VILL
SOUTH GAMRIEXTN.
SOUTH GAMRIEXTN. A-BLOCK
SOUTH GAMRIEXTN. B-BLOCK
SUBHASH VIHAR E-BLOCK
SUBHASH VIHAR F-BLOCK
SUBHASH VIHAR NORTH GHONDA
USMAN PUR C-BLOCK
USMANPUR
VIJAY COLONY
VILL GHONDA
VILLAGE USMANPUR
WEST GHONDA K BLOCK
67BABARPURBABAR PUR VILLAGE (EAST BABAR PUR)
BALBIR NAGAR & BALBIR NAGAR EXTN.
BALBIR NAGAR & BALBIR NAGAR EXTN. NALA PAR
BALBIR NAGAR EXTN.
BALBIR NAGAR EXTN. NALA PAR
CHHAJJUPUR (EAST BABAR PUR)
D.D.A FLATS WEST GORAKH PARK
EAST BABARPUR
EAST GORAKH PARK
GHONDA EXTN.
GHONDA EXTN. NOOR-E-ILAHI
HARIJAN BASTI WEST JYOTI NAGAR.
INDIRA NIKETAN
JANTA MAZDOOR COLONY.
JYOTI COLONY
JYOTI NAGAR RISHI KARDAM PURI
KABIR NAGAR
KARDAM PURI
KARDAM PURI EXTN.
KARDAM PURI JYOTI NAGAR
MAUJPUR
NEW JAFARABAD WEST GORAKH PARK
NORTH GHONDA
OLD KARDAM PURI
SHANTI BAZAR WALA ROAD KABIR NAGAR.
SUBHASH MOHALLA NORTH GHONDA
VIJAY PARK
WEST BABARPUR
WEST GORAKHPARK
WEST JYOTI NAGAR
YAMUNA VIHAR
68GOKALPURBHAGIRATHI VIHAR
EAST GOKALPUR
GANGA VIHAR
GOKALPURI
HARSH VIHAR
JOHRIPUR
MANDOLI EXTN.
MANDOLI EXTN
MANDOLI EXTN.
MANDOLI VILL.
MEET NAGAR
MEETNAGAR
PRATAP NAGAR
SABOLI VILL.
SHAKTI GARDEN
VILL. GOKALPUR
VILLAGE GOKALPUR
69MUSTAFABADAMAR VIHAR
AMBIKA VIHAR
BABU NAGAR
BHAGAT VIHAR
BHGIRATH VIHAR
BRIJPURI
CHANDU NAGAR
CHOUHAN PUR
DAYAL PUR
DEVI NAGAR, SHIV VIHAR
E-BLOCK DAYAL PUR EXTN. NEHRU VIHAR
GOVIND VIHAR
GURU NANAK NAGAR
HARIJAN BASTI KARAWAL NAGAR
HARIJAN BASTI SADATPUR VILL
HARIJAN BASTI, KARAWAL NAGAR
KAMAL VIHAR
KARAWAL NAGAR EXT
MAAN SINGH NAGAR
MAHA LAXMI ENCLAVE
MAHA LAXMI VIHAR
MOONGA NAGAR
MUSTAFABAD
MUSTAFABAD, DILSHAD MASJID
MUSTFABAD
MUSTFABAD EXTN
NEHRU VIHAR
OLD MUSTAFABAD
PANCHAL VIHAR
PREM NAGAR, KARAWAL NAGAR
PREM VIHAR
RAJIV GANDI NAGAR, NEW MUSTAFABAD
RAJIV GANDI NAGAR, NEW MUSTAFABAD
RAMA GARDEN
ROSHAN VIHAR
SADATPUR EXTN.
SHAKTI VIHAR
SHIV VIHAR
SHIV VIHAR, PUSHKAR VIHAR
SURIYA VIHAR
ZIAUDDIN PUR
70KARAWAL NAGARA - BLOCK, PART - II, SONIA VIHAR
A - BLOCK, PART - III & IV, SONIA VIHAR
A - BLOCK, SONIA VIHAR
A & B - BLOCK, SONIA VIHAR
A & B BLOCK, SONIA VIHAR
A BLOCK, PART - II, SONIA VIHAR
A BLOCK, SONIA VIHAR
ANKUR ENCLAVE
ANKUR ENCLAVE, PRAKASH VIHAR
B - BLOCK, SONIA VIHAR
BADARPUR KHADAR, PUR, DELHI, SHAHDRA
BIHARIPUR EXTN
BIHARIPUR VILL
C - BLOCK, SONIA VIHAR
CHANDBAGH
CHAUHAN PATTI SABHAPUR SHAHDARA VILL
D - BLOCK, SONIA VIHAR
DAYAL PUR
E - BLOCK, SONIA VIHAR
G - BLOCK, SONIA VIHAR
KARAWAL NAGAR VILLAGE
KHAJOORI KHAS
MUKUND VIHAR
NEW SABHAPUR
SABHAPUR SHAHDARA VILL
SABHAPUR VILL & CHAUHAN PATTI
SADATPUR EXTN
SHAHID BHAGAT SINGH COLONY
SHERPUR VILL
SHRI RAM COLONY
TUKMIRPUR & VILL
TUKMIRPUR EXTN
VILL KHAJOORI KHAS
WEST KAMAL VIHAR
WEST KARAWAL NAGAR
Tuesday, September 20, 2016 |
Arjuna (pronounced [ərˈd͡ʑun] in classical Sanskrit) was the 3rd of the Pandava brothers. He is considered the protagonist of the Mahabharata with Krishna and plays a key role in the Bhagavad Gita. He was married multiple times, to Draupadi, Subhadra (Krishna's sister), Ulupi, and Chitrangada. His children included Srutakarma, Iravan, Babruvahana, and Abhimanyu.
ETYMOLOGY AND OTHER NAMES
The name Arjuna means "bright" or "shining" (lit. "bright" or "silver" (cf. Latin argentum)). Arjuna in Sanskrit is also interpreted as 'na arjayate Arjuna' which translates to the 'one who is not un-victorius'
The Mahabharata refers to Arjuna by twelve different names. In the story, these names are given when Prince Uttara of Matsya asks Arjuna to prove his identity. The first ten names are spoken by Arjuna himself, while the name "Kapi Dhwaja" is also used to refer to his chariot, the "Nandi Ghosha" . The names and their meanings are as follow:
- Arjuna (अर्जुन) - shining or famous like silver.
- Phalguna (फाल्गुन) - one born under the star named 'Uttara Phalguni'.
- Jishnu (जिष्णु) - triumphant.
- Kiritin (किरीटिन्) - one who wears the celestial diadem, Kiriti, presented by Indra.
- Shwetavahana (श्वेतवाहन) - one with white horses mounted to his chariot.
- Bibhatsu (बीभत्सु) - one who always fights wars in a fair manner.
- Vijaya (विजय) - always wins on war.
- Partha (पार्थ) - son of Pritha, another name for Kunti.
- Savyasachin (सव्यसाचिन्) - ambidextrous
- Dhananjaya (धनञ्जय) - one who brings prosperity and wealth in the land where he goes to.
- Gudakesha (गुडाकेश) - someone who have control over sleeps
- Kapidhwaja (कपिध्वज) - having flag of Kapi (monkey) in his chariot (Arjuna's flag displayed an image of Hanuman from a previous encounter).
- Parantapa (परन्तप) - one who concentrates the most, destroyer of enemies from his concentration.
- Gandivadhanvan (गाण्डीवधन्वन्) - one who possessed the mighty bow named 'Gandiva' which was created by Lord Brahma.
- Gandivadhara (गाण्डीवधर) - Gandiva holder
- Madhyapandava (मध्यपाण्डव) - the third of Pandavas, younger to Yudhishthira and Bhima and elder to Nakula and Sahadeva.
BIRTH AND YOUTH
Arjuna was born into the royal family of Hastinapura. He was acknowledged as a son of Pandu by his first wife Kunti, though he was fathered by the grace of the god Indra, rather than by Pandu who was cursed that he would die if he tried to father children. Arjuna was the third son, after Yudhishthira and Bhima. Younger to him were the twin sons born of Pandu's second wife Madri, Nakula and Sahadeva.
After the death of Pandu (and Madri's subsequent suicide), the Pandavas and their mother lived in Hastinapura, where they were brought up together with their cousins, the Kaurava brothers. Along with his brothers, Arjuna was trained in religion, science, administration and military arts by Bhishma.
One day, when the princes were playing a game, they lost their ball in a well. When the rest of the children gave up the ball as being lost, Arjuna stayed behind trying to get it. A stranger came by and extracted the ball for him by making a chain of "sarkanda" (a wild grass). When an astonished Arjuna related the story to Bhishma, Bhishma realized that the stranger was none other than Drona. Bhishma asked Drona to become the Kuru princes' teacher. Seeking refuge from Panchala, Drona agreed.
TUTELAGE UNDER DRONA
Under Drona's tutelage, the Kauravas and the Pandavas, along with the princes of Hastinapura's allies and vassals, learned weaponry. Arjuna became Drona's favorite and most accomplished pupil; specifically, he became a master in using the bow and the arrow. In a famous incident, Drona deemed that out of all his students, even his own son Ashwatthama, none but Arjuna had the steadfast focus to shoot the eye of a bird on a tree; he was proven right.
In two other incidents, the reader sees how Arjuna's destiny is shaped. Arjuna was the only one with the skill and fortitude to save his teacher from an attack from a crocodile. In reality, the attack was a ruse Drona used to test his students. In another story, Arjuna, noticing Bhima eating in the dark, trained himself to shoot accurately without visualizing his target. Impressed by Arjuna, Drona promised his pupil that he would make Arjuna the greatest archer that ever lived or ever would live. Drona adhered to this vow so strongly, that when he discovered a Kirat prince Ekalavya of superior archery skill, Drona demands him into cutting off the thumb of his hand (needed to draw the bow) so that he kept his promise to Arjuna.
As part of his gurudakshina, Arjuna and his brothers, attacked Panchal and captured King Drupada, with Arjuna making the arrest himself. Drona requested this in order to settle an old grudge he had with Drupada. Secretly, Drupada was greatly impressed by Arjuna and wished for him to marry his daughter, Draupadi.
At the end of their training, the Kuru princes displayed their talents to their elders in an arena. There, Arjuna steals the show, using divine weapons to great effect. However, before he can be crowned as the victor of the tournament, he is challenged by Karna. Karna matched Arjuna's feats. But due to his low birth, Karna is not allowed to compete and gets insulted by Bhima and the others for being a sutaputra; this incident marks the beginning of a feud between Karna and Arjuna that lasts until the end of the story.
As the Pandavas and Kauravas grew older, a crown prince had to be named. Yudhishthira won the nomination over Duryodhana. Angered, Duryodhana plotted with his uncle Shakuni, who masterminded a plan to kill the Pandavas. The Kauravas have a house of wax built; they desired to send the Pandavas vacationing to the wax house, under some pretense, before setting the house on fire. Alerted of the scheme by Vidura, the Pandavas evaded the trap. Arjuna and Bhima wanted to declare war, but Yudhishthira cooled them down. Under his orders, Arjuna, Kunti, and the Pandavas faked their deaths and went into hiding.
MARRIAGE TO DRAUPADI
Still in hiding, the Pandavas disguise themselves as brahmins and attend the Swayamvara of Panchala princess Draupadi. Out of all of the great kings and other Kaurava princes, only Karna and Arjuna are able to do the established challenge. The test is to lift, string, and fire Pinakin to pierce the eye of a golden fish whilst only looking at its reflection; Drupada had designed this test with Arjuna in mind. At first Karna is able to lift and string the bow, but when he is aiming to fire the shot, Draupadi rejects Karna (in some depictions with Krishna's prodding) for his low-birth. Afterwards, the disguised Arjuna accomplished the stringing and shooting of the bow.
In some versions of the story, Arjuna is the only prince (of the Kaurava/Pandava party) to have interacted with Draupadi before. When attacking/kidnapping Drupada, Draupadi, trained in martial arts due to Panchal's attitudes towards gender neutrality, fights with Arjuna, but Arjuna after some while stops and evades Draupadi, saying that he cannot fight a woman.
In some versions of the Swayamvara, Arjuna is forbidden by Kunti to attend the Swayamvara. Kunti's reasoning is that only Yudhishthira and Duryodhana would be acceptable candidates for Draupadi's hand; anyone else, not set to inherit the throne, would be an insult to Panchal. She allows Bhima to attend because he is Yudhishthira's heir and could win Draupadi for his brother without controversy. When Arjuna disobeys her anyways, as he is firing the arrow, he swears to God that if wins Draupadi's hand, he would never disobey his mother's commands.
When the brothers returned with Draupadi, Arjuna joked to his mother that they had brought alms. Dismissively, and without looking because she was preoccupied, Kunti asks him to share it with his brothers. Holding his mother's orders as a divine command, he requested his elder brother to accept Draupadi. Draupadi had to marry all five of the Pandavas. Her five sons, one from each of the Pandava brothers, are known as the Upapandavas. Srutakarma is the son of Arjuna.
The brothers follow Narada's advice on a sharing arrangement with regard to Draupadi: each brother would have exclusive rights over her for a year, after which the mantle will shift to the next brother. Moreover, any brother intruding on the privacy of the couple would have to go on a twelve-year Tirtha-yatra.
At this point in the Mahabharatha, the Pandavas revealed that they were alive. With both Duryodhana and Yudhishthira being crown princes, tensions are high. Under Bhishma's advice, the kingdom is split, with the Kauravas getting Hastinapur and the Pandavas getting Khandavaprastha. Khandavaprastha, however, was an extremely underdeveloped land and had infertile soil, requiring extensive tilling, so the Pandavas set to work rebuilding the land. Their cousins Krishna and Balarama gave them aid.
BURNING OF KHANDAVA VANA
In some versions of the story, this was the first time Arjuna meets Krishna. In any case, Khandavaprastha was where Arjuna and Krishna's friendship is truly forged. Once when roaming in the Khandava Vana, Arjuna and Krishna met the god of fire, Agni. Agni was in great hunger and needed to burn down the entire Khandava Vana to quench his hunger. But Takshaka, the serpent-king lived in the same forest and was a friend of Indra's. So the latter brought down heavy rains to thwart Agni's plans to burn the woods. Agni requested Krishna and Arjuna to help him realize his goal.
The three of them then invoked Varuna, the God of the oceans, who blessed Arjuna with the Gandiva – the moon bow created by Brahma. In this way, Arjuna came into possession of his famous bow. Agni also gave Arjuna an incandescent chariot with four horses yoked, and bearing a flag that would one-day be occupied by Hanuman. Arjuna also obtained his famous conch.
With Krishna using the Sudarshana Chakra Arjuna and Krishna waged a successful battle against Indra and helped Agni burn down the entire Khandava Vana including all its demons and evil spirits. Indra's anger was metered by his pride in his son.
SAVING MAYASURA
In their demolition of Khandava Krishna and Arjuna had saved one demon, Mayasura. Owing Arjuna a boon, Mayasura told that he would build a palace for Yudhishtra. As Mayasura was a great architect of the Asuras, he soon constructed the Maya assembly hall – a gigantic palace for the Pandavas, filled with ancient books, artifacts, and jewels. This hall was famous for visual illusions. Thus, Khandavaprastha was renamed Indraprastha.
ARJUNA´S TIRTHA-YATRA AND INDRAPRASTHA
During an incident when Takshaka stole Brahmins cows, Arjuna was forced to violate Yudhishthira and Draupadi's privacy while they were playing the game of dice, as he had left the Gandiva in their room. Despite the understanding of all and being forgiven by both Yudhishthira and Draupadi, Arjuna accepted the punishment agreed with Narada and set off on a twelve-year tirtha-yatra.
MEETING ULOOPI
Arjuna started his pilgrimage by visiting the source of the river Ganga. It was here that he met the Naga princess, Uloopi. She was mesmerized by Arjun and forcefully took him to Naga Lok (the land of the snake-people) and gave him a choice: if he married her, she would let him go; otherwise, she would not. He married her, and they had a son called Iravan.
CHITRANGADAA AT MANIPURA
Arjuna visited other Tirthas in India, including Kalinga and the ashrams of the Saptarishis, Agastya, Vasishta and Bhrigu. Finally he reached the palace of Manipur. Here he met king Chitravahana's daughter, Chitrangadaa. Arjun fell in love with her and requested the king for her marriage. Upon discovering Arjuna's true identity, the king readily agreed. Since Chitrangadaa was his oldest child and Manipur practiced equal primogeniture, which Hastinapur did not practice, the king sought a promise from Arjuna that Chitrangadaa and any of her and Arjuna's children would remain in Manipur as Chitravahana's heirs. Arjuna thought for some while and agreed. They both had a son, who survived the Mahabharata war and ruled the small kingdom peacefully.
REACHING DWARKA AND SUBHADRA
Arjuna moved to other Tirthas, including the southern regions in Kerala. Finally he reached Dwarka, the place where his cousin Krishna resided. Arjuna had, in his childhood, heard about Krishna's sister, Subhadra. Krishna, wishing to further tie their families, knew of Arjuna's visit and devised a plan to arrange their meet. Accordingly, Arjuna disguised himself as a “yati” and stayed at Krishna's palace. Arjuna fell in love with Subhadra and desired to marry her . Because Balarama had already promised Subhadra to his favorite disciple, Duryodhana, Krishna advised Arjuna to kidnap Subhadra. Balarama became furious upon learning of the abduction but is pacified by Krishna, after he showed that the wedding rein was in Sudhadra's hand, which showed her consent. The couple stayed in Dwaraka for a year, and then another year in Pushkar. However, Draupadi had made it clear that no other Pandava wife would be allowed to stay in her city, so Arjun, as per Krishna's advice, tricked Draupadi into meeting Subhadra as a milkmaid. Draupadi realized she had been tricked, but she forgave Subhadra and let her stay in Indra-prastha, allowing her to give company to Arjuna in the four years when he was not with Draupadi. In due course,Arjuna and Subhadra gave birth to a son, Abhimanyu.
CONQUEST FOR RAJASUYA
Arjuna was sent north by Yudhishthira to subjugate kingdoms for the Rajasuya Yagya, so that he could be crowned Emperor of Indraprastha. The Mahabharata mentions several kingdoms to the east of Indraprastha which were conquered (or otherwise peacefully bent-the-knee) by Arjuna. Some of them are:
- Bhagadatta of Pragjyotisha - He repelled Arjuna for eight days straight but impressed with Arjuna's skill agreed to pay tribute. Bhagadatta was also a great friend of Pandu.
- Vrihanta, the king of Uluka
- Modapura, Vamadeva, Sudaman, Susankula, the Northern Ulukas, and the kings of those countries and peoples
- Devaprastha, the city of Senavindu
- Viswagaswa of Puru's race
- Seven tribes called Utsava-sanketa
- Kshatriyas of Kashmir and also king Lohita along with ten minor chiefs
- Trigartas, the Daravas, the Kokonadas, and various other Kshatriyas
- town of Avisari
- Rochamana ruling in Uraga
- Singhapura adi
- Regions Suhma and Sumala
- Valhikas
- Daradas along with the Kambojas
- Robber tribes that dwelt in the north-eastern regions
- Lohas, the eastern Kambojas, and northern Rishikas
- country of the Limpurushas ruled by Durmaputra
- Harataka
- Various lakes and tanks sacred to the Rishis
- regions ruled by the Gandharvas that lay around the Harataka territories. Here the conqueror took, as tribute from the country, numerous excellent horses called Tittiri, Kalmasha, Manduka.
- North Harivarsha
- city of Sakraprastha
EXILE
After Yudhishthira succumbed to Shakuni's challenge in the game of dice, the Pandavas were forced to be in exile for 13 years, which included one year in anonymity.
PENANCE FOR PASHUPATASTRA
After the battle at Khandava Indra had promised Arjuna to give him all his weapons as a boon for matching him in battle with the requirement that Shiva is pleased with him. Sensing an impending war with the Kauravas, Sage Vyasa advised Arjuna that he obtain the Pashupatastra from Lord Shiva. Following the advice of Sage Vyasa to go on a meditation or "tapasya" to attain this divine weapon, Arjuna left his brothers for a penance.
Arjuna traveled for a while before reaching the mountain Indra keeladri, Vijayawada. Here he sat in meditation in the name of Lord Shiva. Shiva appeared soon enough in the guise of a hunter, who challenged Arjuna to a fight. While being thoroughly dominated by Shiva, Arjuna became confused as to how an ordinary hunter could best a warrior like himself. He prays to Shiva for strength, and then sees the offerings he made to Shiva around the hunter's neck. Shiva was very pleased with the bravery and prowess of the prince. Consequently, Shiva transformed himself to show his real avatar and blessed Arjuna with the Pashupatastra. Shiva lectures Arjuna on the abilities of the weapon, as well as the judgement he must use while wielding it.
After Shiva left the Lokapalas appeared before Arjuna and then Kubera, Yama, and Varuna also blessed each of their potent weapons to Arjuna. Indra then invited his son to his palace in heaven.
Arjuna was amazed at the splendor of his father's palace at Amaravati. Dancers like Urvashi, Tilottama, Rambha and Menaka entertained him. There was a huge banquet serving different varieties of heavenly dishes. Arjuna learnt song and dance from the Gandharva, Chitrasena and Indra himself taught him all the divine weapons and also gave him his Vajra.
REACHING DWARKA AND SUBHADRA
Arjuna moved to other Tirthas, including the southern regions in Kerala. Finally he reached Dwarka, the place where his cousin Krishna resided. Arjuna had, in his childhood, heard about Krishna's sister, Subhadra. Krishna, wishing to further tie their families, knew of Arjuna's visit and devised a plan to arrange their meet. Accordingly, Arjuna disguised himself as a “yati” and stayed at Krishna's palace. Arjuna fell in love with Subhadra and desired to marry her . Because Balarama had already promised Subhadra to his favorite disciple, Duryodhana, Krishna advised Arjuna to kidnap Subhadra. Balarama became furious upon learning of the abduction but is pacified by Krishna, after he showed that the wedding rein was in Sudhadra's hand, which showed her consent. The couple stayed in Dwaraka for a year, and then another year in Pushkar. However, Draupadi had made it clear that no other Pandava wife would be allowed to stay in her city, so Arjun, as per Krishna's advice, tricked Draupadi into meeting Subhadra as a milkmaid. Draupadi realized she had been tricked, but she forgave Subhadra and let her stay in Indra-prastha, allowing her to give company to Arjuna in the four years when he was not with Draupadi. In due course, Arjuna and Subhadra gave birth to a son, Abhimanyu.
CONQUEST FOR RAJASUYA
Arjuna was sent north by Yudhishthira to subjugate kingdoms for the Rajasuya Yagya, so that he could be crowned Emperor of Indraprastha. The Mahabharata mentions several kingdoms to the east of Indraprastha which were conquered (or otherwise peacefully bent-the-knee) by Arjuna. Some of them are:
- Bhagadatta of Pragjyotisha- He repelled Arjuna for eight days straight but impressed with Arjuna's skill agreed to pay tribute. Bhagadatta was also a great friend of Pandu.
- Vrihanta, the king of Uluka
- Modapura, Vamadeva, Sudaman, Susankula, the Northern Ulukas, and the kings of those countries and peoples
- Devaprastha, the city of Senavindu
- Viswagaswa of Puru's race
- Seven tribes called Utsava-sanketa
- Kshatriyas of Kashmir and also king Lohita along with ten minor chiefs
- Trigartas, the Daravas, the Kokonadas, and various other Kshatriyas
- town of Avisari
- Rochamana ruling in Uraga
- Singhapura adi
- Regions Suhma and Sumala
- Valhikas
- Daradas along with the Kambojas
- Robber tribes that dwelt in the north-eastern regions
- Lohas, the eastern Kambojas, and northern Rishikas
- country of the Limpurushas ruled by Durmaputra
- Harataka
- Various lakes and tanks sacred to the Rishis
- regions ruled by the Gandharvas that lay around the Harataka territories. Here the conqueror took, as tribute from the country, numerous excellent horses called Tittiri, Kalmasha, Manduka.
- North Harivarsha
- city of Sakraprastha
EXILE
After Yudhishthira succumbed to Shakuni's challenge in the game of dice, the Pandavas were forced to be in exile for 13 years, which included one year in anonymity.
PENANCE FOR PASHUPATASTRA
After the battle at Khandava Indra had promised Arjuna to give him all his weapons as a boon for matching him in battle with the requirement that Shiva is pleased with him. Sensing an impending war with the Kauravas, Sage Vyasa advised Arjuna that he obtain the Pashupatastra from Lord Shiva. Following the advice of Sage Vyasa to go on a meditation or "tapasya" to attain this divine weapon, Arjuna left his brothers for a penance.
Arjuna traveled for a while before reaching the mountain Indra keeladri, Vijayawada. Here he sat in meditation in the name of Lord Shiva. Shiva appeared soon enough in the guise of a hunter, who challenged Arjuna to a fight. While being thoroughly dominated by Shiva, Arjuna became confused as to how an ordinary hunter could best a warrior like himself. He prays to Shiva for strength, and then sees the offerings he made to Shiva around the hunter's neck. Shiva was very pleased with the bravery and prowess of the prince. Consequently, Shiva transformed himself to show his real avatar and blessed Arjuna with the Pashupatastra. Shiva lectures Arjuna on the abilities of the weapon, as well as the judgement he must use while wielding it.
After Shiva left the Lokapalas appeared before Arjuna and then Kubera, Yama, and Varuna also blessed each of their potent weapons to Arjuna. Indra then invited his son to his palace in heaven.
Arjuna was amazed at the splendor of his father's palace at Amaravati. Dancers like Urvashi, Tilottama, Rambha and Menaka entertained him. There was a huge banquet serving different varieties of heavenly dishes. Arjuna learnt song and dance from the Gandharva, Chitrasena and Indra himself taught him all the divine weapons and also gave him his Vajra.
URVASHI´S CURSE
Indra noted the passionate glances exchanged between Arjuna and Urvashi during his stay. However, Arjuna refused her advances, alleging that he had heard of her relationship with his ancestor Pururava, and hence she had the status of a mother, equal in respect to Kunti. Urvashi, annoyed at this, cursed him that he would become a eunuch who would have to live among women, singing and dancing. On Indra's request, and regretting her anger, Urvashi reduced her curse to a period of one year of Arjuna's choice. In some versions of the story, Urvashi curses Arjuna with womanhood, but always reduces the curse to a year's length.
NIVATA-KAVACHAS AND HIRANYAPURA
Arjuna gets the opportunity to test his skill when Indra asked him to defeat his enemy as the price of his training. Arjuna was taken to the palace of the Nivata-kavachas, a tribe of Rakshasas who had a magnificent palace under the oceans. Arjuna used the Mohini-astra and the Madhava-astra to demolish these asuras.
He was also taken to Hiranyapura, a palace in the sky created by a witch Puloma and his asura tribe of the Kalakanjas. Here Arjuna uses the Raudra-astra and annihilates the demons.
MEETING HANUMAN
Continuing his quest, Arjuna visits the site of Rama Setu in Dhanushkodi. There, he openly questions why, if Rama had been such a great archer, he hadn't simply built the bridge out of arrows. Angered at Arjuna's tone and his apparent questioning of Rama's prowess, Hanuman confronts Arjuna in the form of an ordinary monkey and challenges him to prove his superiority by building a bridge of arrows that could bear his (Hanuman's) weight. Tensions escalate until Arjuna pledges to defeat Hanuman or kill himself, going so far as to frivolously use divine weapons to build bridge after bridge, while Hanuman uses his god-given strength to destroy them all. Eventually, Krishna intervenes, chiding Arjuna for his excessive pride and Hanuman for allowing his love of Rama to overcome his pacifism. Regaining his composure, Hanuman pledges to reside in Arjuna's battle standard (flag) during the Kurukshetra war.
EUNUCH AT VIRATA´S KINGDOM
Along with his brothers, Arjuna spent his last year of exile in the kingdom of Matsya. This is the place where Urvashi's curse is implemented and Arjuna becomes a eunuch called Brihannala (within themselves Pandavas called him Vijaya).[25] At the palace, he teaches song and dance, qualities he had learnt from Chitrasena [King of the Gandharvas in Devalok], to the King Virata's daughter, Uttarā. Later, Arjuna arranges for Uttara to become his daughter-in-law by marrying his son Abhimanyu to her. At the same time, he prevents Subhadra from marrying Abhimanyu to Balarama's daughter Vatsala, as the Kurus find cousin-cousin marriages taboo. But Arjun and Subhadra are cousins too since Kunti (Arjun's Mother) and Vasudeva (Subhadra's father) are brother and sister.
Hearing about the death of Kichaka, Duryodhana surmises that the Pandavas were hiding in Matsya. A host of Kaurava warriors attack Virata, presumably to steal their cattle, but in reality, desiring to pierce the Pandavas' veil of anonymity. Full of bravado, Virata's son Uttar attempts to take on the army by himself while the rest of the Matsya army has been lured away to fight Susharma and the Trigartas. Per Draupadi's suggestion, Uttar takes Brihannala with him, as his charioteer. When he sees the Kaurava army, Uttar loses his nerve and attempts to flee. There, Arjuna reveals his identity and those of his brothers'. Switching places with Uttar, Arjuna takes up the Gandiva and Devadatta. Eager to defend the land that had given him refuge, Arjuna dressed up as Brihannala encountered the legion of Kaurava warriors. Virat war is considered as an interpolation by many schlors.Many versions of Mahabharata do not mention it. In some versions Arjuna was defeated by Bhishma Drona and Karna and Arjuna finally chased duryodhana and defeated him. According to many schlors Virat war is an interpolated medicine to recover the cheater and weak image of Arjuna. Schlors do also argue that if Arjuna defeated the Kaurava army in just half a day then why he had done cheating to kill Bhishma Karna Bhagadatta Bhurisrava and Jayadrath in Kurushetra war.
KURUKSHETRA WAR
BHAGAVAD GITA
As the battle draws close, Arjuna is overcome with self-doubt about the righteousness of the war against his own kith and kin. He is distraught at the thought of having to fight with his friends and family such as his dear teacher, Drona and grandsire Bhishma. It was then that Krishna took charge and explained the necessity and inevitability of the war to Arjuna. This conversation is a key part of the Mahabharata known as Bhagavad gita, and is considered as a holy scripture of Hinduism.
Arjuna plays the role of the reader in the Bhagavad Gita. As Krishna dispenses the advice, Arjuna asks the questions.
The Bhagavad Gita primarily takes the form of a philosophical dialogue between Arjuna and Krishna.
BATTLES FOUGHT AT KURUKSHETRA
Arjuna was a key Pandava warrior and played a huge role in the Kurukshetra war. His flag bore the symbol of Hanuman.
Some of the crucial battles fought by Arjuna are as follows:
- Death of Bhagadatta: On the thirteenth day when Abhimanyu was slayed. Arjuna was busy fighting Bhagaddata the king of Pragjyotisha who came with a thousand elephants and attacked him. During the battle Bhagaddata shot an irresistible arrow Vaishnavastra which could kill Arjun but he was saved by Krishnas timely intervation. Which fell on Krishna and formed a garland. Bhagadatta was later decapitated by Arjuna's arrow.
- Fall of Bhishma: Throughout the first nine-days of battle, Arjuna was unable to defeat Bhishma. This was partially due to his own reluctance to fight his grandsire, as well as Bhishma's terrific skill. As Krishna became frustrated with Arjuna, he took up arms against Bhishma himself, at least twice. Not wanting history to blame Arjuna for forcing Krishna to break his vow of non-aggression, Arjuna managed to talk Krishna down and fought with renewed vigor. On the tenth day of the war, after asking Bhishma himself how to best defeat him, Arjuna took Shikhandi in his chariot. As Bhishma would not raise weapons against a woman, Arjuna was able to attack Bhishma unimpeded. Tears flowing from his eyes, Arjuna pierced Bhishma's entire body with arrows, eventually forcing Bhishma to fall down with Arjuna's arrows acting as a bed. Per Bhishma's request, he provided a pillow of arrows for his head, as well as water by piercing the earth and allowing Ganga to nourish her son. Bhishma praises Arjuna for this and asks Duryodhana to make peace with the Pandavas.
- Killing of the Trigartas: Attempting to distract him so that Dronacharya could capture Yudhishthira, Susharma and the Trigartas challenged Arjuna to a fight to the death. On the twelfth and thirteenth days of battle, Arjuna killed them to a man. And on the eighteenth day, Arjuna killed Susharma with an arrow which ended the Trigarta saga.
- Death of Jayadratha: Arjuna held Jayadratha responsible for Abhimanyu's death on the thirteenth day of the war. He vowed to kill him the very next day before sunset, failing which he would kill himself by jumping in a pyre. The Kauravas hid Jayadratha from Arjuna in a formation, knowing that Arjuna's death would result in a Kaurava victory. However, Krishna created an artificial eclipse by using his Sudarshana Chakra to hide the sun, forcing Kauravas to believe the day was over and Arjuna's death was imminent. Wishing to mock Arjuna, Jayadratha went to the head of the army in joy, even as the sun emerged from the eclipse. Arjuna makes his arrows to carry away Jayadratha's head. This was because Jayadratha had a boon from his father that whoever would be responsible for his head falling to the ground would have his own head blown up. That is why Arjuna carried the severed head of Jayadratha to his father, who was awoken from his meditation by the sudden landing of a severed head on his body and since he ended up dropping it to the ground, he had his head blown up.
- Death of Karna: Karna and Arjuna were sworn enemies in the epic, each having taken an oath to kill the other in the battle. Anticipating a likely battle to the death between Karna and Arjuna, Krishna warned Arjuna calling Karna to be the foremost of the heroes. Lord Krishna reminded Arjuna about the life, prowess, and past heroic actions of Karna.
After the terrible death of Dushassana, Karna decided to personally take on Arjuna and finish him off for once and all. Karna cut his way ruthlessly through the Pandava forces and headed straight for Arjuna. So violet and offensive was Karna's attacks that Arjuna's defenses soon crumbled before it. Karna used Nagastra in an attempt to kill Arjuna, but Krishna saved Arjuna from certain death by lowering the chariot wheel into the earth. Karna and Arjuna then waged a rough war against each other. Karna had Arjuna at his mercy, but spared the latter as the sun was about to set. In some versions, Lord Krishna realized that only a miracle would save Arjuna from death, and he causes the sun to set prematurely.
Lord Krishna made plans to kill Karna by deceit and revealed his plan to Arjuna. Lord Krishna told Arjuna that Karna would be defeated while unarmed and distracted, and that Arjuna should not hesitate when Krishna told him to attack.
On the seventeenth day of battle the two foes faced each other once more. This battle between Arjuna and Karna is perhaps the most cataclysmic and awesome of the great epic. The warriors on the battlefield and the devas in heaven watched the battle in speechless amazement and terrified admiration of the strength and skill of these two greatest of warriors. The battle again continued with neither warriors gaining the upper hand; but then Karna's chariot wheel gets stuck in the mud resulting from a prior curse on Karna. Further, owing to a curse Karna received from his guru Parasurama, Karna forgot the mantra to invoke the Brahmanda astra. Karna got down from his chariot to free the wheel and asked Arjuna to pause, reminding him of the etiquette of war. But Krishna reminded Arjuna of all the incidents - Draupadi’s insult, Abhimanyu’s death and the enraged Arjuna attacked Karna while he was trying to lift his sunken chariot wheel. Karna defended himself and invoked Rudraastra against Arjuna and this astra hit Arjuna on his chest. Swooning, Arjuna lost his grip on his bow, Gandiva, which fell down from his hand for the first time. Following the rules of engagement of war, Karna did not try to kill him but instead tried to utilize the time in extracting the wheels of his chariot. Arjuna recovered and using the Anjalika weapon decapitated the weaponless Karna, who was still trying to lift the sunken chariot wheel. Though it was highly forbidden according to the rules of engagement of the war to attack a weaponless warrior or to attack an enemy from the back, Arjuna was spurred by Lord Krishna to do so.
CONQUEST FOR ASHVAMEDHA
After the conclusion of the war, the Pandavas take charge of Hastinapura, the undivided realm of their ancestors. Yudhishira appointed Arjuna as the Yuvaraj of Hastinapura.
Yudhishthira decided to hold the Ashvamedha Yagna, or "horse sacrifice", to grant them the title of Chakravarti ("Emperor"). Arjuna led the armed forces which followed the horse around its random wanderings. He received the submission of many kings, either without or following an armed confrontation. He was thus instrumental in the expansion of the Pandava domains. Some of the campaigns are as under:
- Uttarapatha, including those of Pragjyotisha, Uluka, Modapura, Vamadeva, Sudaman, Susankula, Northern Uluka, Puru kingdom of Viswagaswa, Utsava-Sanketa, Lohita, Trigarta, Darava, Abhisara, Kokonada, Ursa, Simhapura, Suhma, Sumala, Balhika, Darada, Kamboja.
- Transoxiana region (Sakadvipa or Scythia), the Lohas, Parama Kambojas, Northern Rishikas (or Parama Rishikas), Limpurushas, Haratakas, Gandharvas and the Uttarakurus.
- Trigarta: Ketuvarman and Dhritavarman
- King Vajradatta, son of Bhagadatta
- Saindhava
MANIPURA AND DEATH BY BABRUVAHANA
Arjuna went to Manipura, where the king was Babruvahana, his own son with Chitrangadaa. Seeing his father Babruvahana came all the way to receive Arjuna. Arjuna was very upset that Babruvahana did not respect the duties worthy of a King and did not ask for war. He cursed his son as a coward and asked him to prepare for war. In the fight between father and son Babruvahana killed Arjuna, but Ulupi, the snake-princess used the Mritasanjivani, a boon from Ganga Devi to bring Arjuna back to life. It is later stated that the defeat was because of Arjuna's using of Shikhandi to plot Bhishma's death and the unethical killing of Karna.
- Magadha, Rajagriha and King Meghasandhi
- Chedi and other kingdoms
- Kasi, Anga, Kosala, Kirata and Tanga kingdoms. Arjuna accepted due honors from respective rulers.
- Dakarna
- Nishada: Arjuna was able to defeat the Nishada King, the son of Eklavya.
- Andhra people led by Mahishaksha, tribes of Kolwa hills
- Saurashtra, Gokarn city and Prabhaska
- Dwarvati and Vrishni race
- Punjab
- Gandhara
ARANMULA PARTHASARATHY TEMPLE
Arjuna built the Aranmula Parthasarathy Temple during his conquest in South India. Aranmula Parthasarathy Temple is one of the "Divya Desams", the 108 temples of Vishnu revered by the 12 poet saints, or Alwars located near Aranmula, a village in Pathanamthitta District, Kerala, South India.The temple is dedicated to Parthasarathy, Lord Krishna's role as Arjuna's Charioteer in the Mahabharatha war. Legend has it that Arjuna built this temple, to expiate for the sin of having killed Karna on the battlefield, against the dharma of killing an unarmed enemy.
DEATH
After Shri Krishna left his mortal body, Arjuna took the citizens of Dwaraka including 16,000 women that had formed Krishna's harem to Indraprastha. On the way, they were attacked by a group of bandits. Arjuna fought with them but he already lost his divine energy and even lost the power to wield the celestial bow Gandiva. Arjuna forgot all his celestial weapons and soon his inexhaustible quiver become empty due to the disappearance of divine energy owing to the death of Krishna. Arjuna was defeated by mere robbers and in his very sight the ladies of the Vrishnis, Andhakas and the 16000 wives of Krishna were taken away.
Upon the onset of the Kali yuga and as per the advice of Vyasa, Arjuna and other Pandavas retired, leaving the throne to their only descendant to survive the war of Kurukshetra, Arjuna's grandson Parikshit. Giving up all their belongings and ties, the Pandavas, accompanied by a dog, made their final journey of pilgrimage to the Himalayas. It is also to be noted that the listener of the Mahabharata is Janamejaya, Parkishit's son.
Except for Yudhishthira, all of the Pandavas grew weak and died before reaching heaven (only Yudhishthira is allowed to keep his mortal body). Arjuna was the fourth one to fall after Draupadi, Sahadeva and Nakula. When Bhima asks Yudhishthira why Arjuna isn't permitted the same, the reason given is Arjuna's extreme pride in his skills as an archer. Draupadi also falls because while she claimed to love all the Pandavas equally, she had a soft spot for Arjuna.
IN POPULAR CULTURE
Arjuna is one of the most popular choices of name for Hindu male child in the Indian subcontinent. As per the verses in Harivamsha or Harivamsha purana, the name Arjuna is cursed by sage Parashurama. After the defeat of mighty evil king Kartavirya Arjuna or otherwise called Sahasra Arjuna, sage Parashurama cursed that who ever holds the name Arjuna will never become a king and always be a servant of others.
MODERN REFERENCES
Arjuna's extraordinary talents and skills have made him a common name in popular culture.
- The American astronomer Tom Gehrels named a class of asteroids with low inclination, low eccentricity and earth-like orbital period as Arjuna asteroids.
- The Arjuna Award is presented every year in India to one talented sportsman in every national sport.
- Arjun is a third generation main battle tank developed for the Indian Army.
- Mayilpeeli Thookkam is a ritual art of dance performed in the temples of Kerala. It is also known as Arjuna Nrithyam (lit. Arjuna's dance) as a tribute to his dancing abilities.
There have been a serial and a film based on Arjuna's life and exploits.
- Earth Maiden Arjuna is a Japanese animated television series created by Shoji Kawamori. This series is based on Arjuna and the Mahabharata. Arjuna: Into the Another World is the soundtrack produced for the series.
- Arjun: The Warrior Prince is a 2012 mythological action film narrating the events in Arjuna's life.
Additionally, the protagonist in Steven Pressfield's book The Legend of Bagger Vance, Rannulph Junuh, is based in part on Arjuna (R. Junuh).
IN MODERN TELEVISION
In B.R.Chopra's Mahabharat, Arjuna's role is played by Arjun (Firoz Khan).
In 2013 Mahabharat Television series, Arjuna is portrayed by Shaheer Sheikh.
WIKIPEDIA
Odissi, also known as Orissi (Odia: ଓଡିଶୀ Oḍiśī), is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneswar) testify to its antiquity. It was suppressed under the British Rule, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.
Though a very old dance form, Odissi got recognition as a classical dance from the Central government officially, after efforts by many scholars and performers in the 1950s, including a powerful lec-dem in April 1958 by Kavichandra Kalicharan Pattanayak, an Oriya poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odissi".
ORIGIN AND HISTORY
The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela in the first or second century BCE. Flanked by two queens, emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it was attached to the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It closely resembles sculptures of the Indian temples.
The history of Odissi dance has been traced to early sculptures found in the Ranigumpha caves at Udaygiri (Odisha), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Odisha.
TEMPLE HISTORY
In Bhubaneswar, the capital city of Odisha, Udayagiri Caves, Khandagiri Caves and Jain Caves are present which date back to the 2nd century BCE, that served as a royal palace for emperor Kharavela. It is suggested by scholars that Odissi is archaeologically the oldest Indian classical dance form due to sculptural evidence found in the caves. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.
In the excavated ruins of the Buddhist Ratnagiri hills in Odisha, dating back to the 6th thru 9th centuries, several panels and icons of dance are found resembling present-day Odissi dance.
In the Tantric temples, such as the Hirapur Shrine, many of the yoginis especially are depicted in poses reminiscent of present-day Odissi. When Odisha became a big centre of worship of Lord Shiva, it is only natural that dance would be used as a form of worship, since Lord Shiva was a master dancer himself. He is also known as Nataraj, the Cosmic Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures of Odissi. The Vaishnavite Temples such as Jagannath Temple and Konark Sun Temple abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the Shaivite art tradition to the Vaishnavite art form.
MANUSCIPT EVIDENCE
Sage Bharata's Natya Shastra, written in the 2nd century CE, speaks of four types of Pravrittis (local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi, and the areas where each type is employed. Some scholars have interpreted that Odra Magadhi is "the earliest literary reference" to Odissi.
Abhinaya Chandrika written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in NãtyaShãstra.
The illustrated manuscript Shilpaprakãsha deals with Odia architecture and sculpture as well as the figures of dance. In this, one finds an elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the Alasa Kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence of sculpture in temples.
A rather unexpected source, the Jain Manuscripts, especially the Kalpasutra and Kalkacharya Kathãs show traces of Odia dance style although they were being executed in Gujarat. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the Samapada, the Tribhangi and the Chuaka.
This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to Puri from Gujarat and Andhra.
MUGHAL AND BRITISH PERIOD
During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as they were employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage to the king and ceased to be respected solely as servants to Lord Jagannath. A decline and degradation occurred in all the Indian classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their respected place in society, were forced into prostitution to survive in the changing climate of political and cultural oppression by the British.
TRADITION AND DANCERS
The Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua.
Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the sanctum sanctorum.
By the 6th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Odia dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.
Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.
MAHARI TADITION
The consecration of females to the service of temple dancing began in the Shaivite temples and continued in the Jagannath temple in service of the Lord Jagannath. These attendants have been known as Maharis (great women) or Devadasis (servants of the lord), and have been considered the wives of Lord Jagannath. Odissi developed through their art.
The first evidence of the Mahari institution in Odisha comes from a commemorative inscription by Udyota Kesari, the last King of the dynasty. In the 10th century the King’s mother, Kolavati Devi, dedicated temple dancers to Lord Shiva in the Brahmeswara Temple.
Raja Anantavarma Chodagangadeva appointed dancing girls for ritual services in the Jagannatha temple in the 11th century, and these Maharis were the ones responsible for keeping the dance alive for centuries. Through the technique of unequal division of weight and firm footwork balancing a fluid upper torso, the dancer achieves a sensuality that is uncommon in other classical dance styles. Some eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya), and Padmashri Guru Pankaj Charan Das.
GOTIPUA TRADITION
In the Odia language Gotipua means single boy. Gotipua dance is performed only by boys who dress up as girls. During the rule of King Prataprudra Dev, who was a follower of Sri Chaityana, renewed this dancing tradition by boys, as the Vaishnavas did not approve of dances by girls.
DANCE VOCABULARY AND REPERTOIRE
TRADITIONAL ODISSI REPERTOIRE CONSISTS OF:
MANGALACHARANA
An invocation piece. After paying homage to Lord Jagannath a shloka (hymn) in praise of some God or Goddess is sung, the meaning of which is brought out through dance. Mangalacharan also includes the Bhumi Pranam (salutation to Mother Earth) which is offered to Mother Earth as a way of begging forgiveness for stamping on her and the Trikhandi Pranam or the three-fold salutation – above the head to the Gods, in front of the face to the gurus and in front of the chest to the audience.
BATTU NRUTYA
Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance) it is performed in the honor of Lord Shiva- the cosmic Lord of Dance. It is one of the 64 furious-aspects of Lord Shiva known. The origin of dance is believed to be from Tantrism that had flourished in Odisha. Linga Purana and Mahanirvanatantra give an elaborate description of Batuka Bhairava in three aspects, and the results of their worship have also been explained elaborately in the texts. Battu Nrutya is an item of pure Nrutya (Dance)and remains the most difficult item of Odissi dance. The dance begins with a series of sculpturesque poses depicting such actions as the playing of a Veena (Lute), Mardala or Pakhawaj (Drum), Karatala (Cymbals) and Venu (Flute), that brings out the interrelationships between this dance and the dance sculptures adorning the temples of Odisha. These poses are stringed together with steps in different rhythms. There is no song or recitation accompanying the dance, but throughout the item a refrain of rhythmic syllables is provided. The accompanying refrain is in the form of one line of Ukuta and as this is recited in the Tala, different Jathi-patterns are improvised and are executed with the feet. Some Tala variations are introduced and each sequence of the dance terminates with a Tehdi known as Katam. The last sequence is always in Jhula Pahapata Tala and is performed with a fast tempo.
PallaviA pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork. Pallavi literally means "blossoming". This is applicable not only to the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multilayered dimensions of taal (rhythm) and laya (speed).
ABHINAYA
An expressional dance which is an enactment of a song or poetry, where a story conveyed to the audience through mudras (hand gestures), bhavas (facial expression), eye movement and body movement. The dance is fluid, very graceful, and sensual. Abhinaya can be performed on verses in Sanskrit or Odia language. The verses are extremely ornate in content and suggestion. Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram. Most of the Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the kãvya Gita Govinda written by the Saint Jayadev are an integral part of its repertoire. The beginning pieces are dedicated to Lord Jagannath – an incarnation of Lord Vishnu.
DANCE DRAMA
Usually longer than Abhinaya and typically performed by more than one dancers. Some of the much appreciated dance dramas composed by Guru Kelucharan Mahapatra are: Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu Samhara, Krishna Sudama, Dushmanta Sakuntala, Utkala Mauda Mani, Yagnaseni, Meghadoot, Kumara Sambhava, Sapan Nayaka. Usually Hindu mythologies are chosen as themes, but experimenting with the theme and form in recent years have led to extremely unique creations. Some worth-mentioning themes in recent years are Panchakanya, Ganga Yamuna, Chitrangadaa, Shrita Kamalam, Mrutyuh, Tantra, Padapallavam, and Raavana.
MOKSHA
The concluding item of a recital. Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movement and pose merge to create ever new patterns, ever new designs in space and time. The dance moves onto a crescendo that is thrilling to both, the eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness — just like Moksha or the deliverance of the soul in real life.
LANGUAGES
Odissi music is mainly accompanied by odia but also sometimes bengali or sanskrit verses.
ODISSI MUSIC
Odissi dance is accompanied by Odissi music, a synthesis of four classes of music, i.e. Dhruvapada, Chitrapada, Chitrakala and Panchal. The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladev Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.
Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chaurisha represents the originality of Odissi style. All the thirty four letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.
A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.
Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.
Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.
COSTUME AND JEWELRY
The jewellery is made from intricate filigree silver jewellery pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Odisha. The process of creating each piece takes the collaboration of many artisans each specialised in one step of the many that turns a lump of raw silver into a handcrafted work of art.
The jewellery pieces are an important part of the female Odissi dancer’s costume. The hair is drawn into an elaborate bun on which the Tahiya is placed. The Seenthi is a jewellery piece placed on the hair and forehead. The dancers face is adorned with Tikka (decorations made by hand with sandalwood paste), Mathami or Matha Patti (forehead ornament), Allaka (head piece on which the tikka hangs), unique ear covers called Kapa in intricate shapes usually depicting a peacock’s feathers, an ear chain, Jhumkas (bell shaped earrings), a short necklace, and a longer necklace with a hanging pendant.
The dancer wears a pair of armlets also called Bahichudi or Bajuband, that is worn on the upper arm. They wear a pair of Kankana (bangles) at the wrist. At the waist they wear an elaborate belt made of silver or similar materials that's silver plated. They wear a pair of ankle bells (numerous small bells strung together on a single string) tied around their ankles. The dancer's palms and soles are painted with red coloured dye called the Alta.
The crown or Mukoot or Mookut, worn by the Odissi dancer is made only in the devotional city of Puri in Eastern Odisha. It is formed from the dried reeds called Sola in a tradition called Sola Kama. The reed is carved by a series of cuts into the rod-like stem and forms various types of flowers when a string is tied in the middle of the rod and pulled tight. As the string is tightened, the flowers shape into Jasmines, Champa (one of the five flowers of Lord Krishna’s arrows), and Kadamba (the flowers of the tree under which Radha would wait for her beloved Lord Krishna).
The Mukoot consists of two parts i.e. Ghoba and Tahiya. The flower decorated back piece, called the Ghoba, sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the Lotus flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the Tahiya, and this represents the temple spire of Lord Jagannath or the flute of Lord Krishna.
The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterised by features of traditional prints of Odisha, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.
The makeup of an Odissi dancer includes Bindi (red dot), applied on the forehead with a pattern made from sandalwood around it, Kajal (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.
IN GUINNESS WORLD RECORDS
Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Orissa. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.
WIKIPEDIA
From Wikipedia, the free encyclopedia
Lalbaugcha Raja (Marathi: लालबागचा राजा) is the most famous Sarvajanik Ganapati, [1] kept at Lalbaug, a prominent locality in Mumbai during Ganesh Chaturthi festival. The idol is kept for public display for Eleven days thereafter it is immersed on the auspicious day of Anant Chaturdashi.
It is believed that this Idol of Lord Ganesha is Navsacha Ganpati (Marathi: नवसाचा गणपती) (which means the "one who fulfills all wishes") and hence over 1.5 million people visit this Ganesh Pandal daily during the 10 day Ganesha festival. [2]
Since the last few years, a few days prior to the Ganesh Chaturthi, a Mukh Darshan Ceremony (Lalbaugcha Raja's first look and photoshoot) is organized by the Lalbaug Sarvajanik Ganeshostav mandal. Last year the ceremony took place on Thursday, September 5, 2013. This unveiling of Lalbaugcha Raja is covered every year by all national and regional channels.[3]
There are two queues for taking blessings of the Lalbaugcha Raja - Navsachi Line and Mukh Darshanachi Line.
The Navsachi line is for people who want to get their wishes fulfilled. In this line you get to go on the stage and touch the feet of Lalbaugcha Raja and take his blessings so that all your wishes get fulfilled. However this line attracts huge public and it takes around 25 – 30 and sometimes up to 40 hours to get darshan in this line.
The second line in meant for Mukh darshan i.e., to get a glimpse of Lalbaugcha Raja Ganesha Idol from some distance without going onto the stage. This line also attracts huge public and it takes around 5 – 8 hours and sometimes up to 12 – 14 hours to get darshan in this line as well, especially on Weekends. [4]
In 2014, the Lalbaugcha Raja Ganpati is now in its 80th year.
Contents [hide]
1 History
2 The Idol
3 Gallary
4 References
5 External links
History[edit]
Lalbaugcha Raja is the popular Ganesh Idol of the Lalbaugcha Raja Sarvajanik Ganeshotsav Mandal. The Mandal, formerly known as Sarvajanik Ganeshotsav Mandal, Lalbaug[5] was founded in 1934 at Lalbaug Market.
The Mandal, formarly known as 'Sarvajanik Ganeshotsav Mandal, Lalbaug' was founded in 1934,[6] because of a vow (Nav'as) for construction of the present Lalbaug Market at its existing place. The market place at Peru Chawl was shut down in 1932. Hence, the fishermen and vendors who used to sit in the open place vowed to Ganesha for permanent place for their market. With the consistent efforts and support of the then local Councillor-Late Shri. Kuwarji Jethabhai Shah, Dr. V. B. Korgaonkar, Shri. Nakhawa Kokam Mama, Bhausaheb Shinde, Dr. U. A. Rao and the local residents, the landlord Rajabai Tayyabali agreed to give a plot for construction of a market. As fulfillment of their wish, the fisherman and the traders established the Ganesh Idol on 12 September 1934. The idol was dressed in the customary fashion of fisherman. Since that day onwards, this idol of Lord Ganesh has become popular as He fulfills the wishes of devotees. The Mandal was formed in the era when the freedom struggle was at its peak.
The Idol[edit]
The Lalbaugcha Raja Ganesh idol has been sculpted by the Kambli family for over eight decades now. The Kambli family have their workshop in a little lane off the main road in Lalbaug, not very far from where the pandal is located.
The father of Ratnakar Kambli, who is the current head of the Kambli family, was a sculptor of idols and would have roaming exhibitions at festivals across Maharashtra. He began sculpting the idol for Lalbaugcha Raja in 1935, when some of his friends recommended his name to the organisers of Lalbaugcha Raja. After his demise in in 1952, his eldest son Venkatesh took over, and after his death, Ratnakar Kambli, the current head of the family, started designing the idol.
Kambli Arts makes the parts of the Lalbaugcha Raja idol at its workshop and these are then taken to the pandal where they are assembled and painted. Finally, Ratnakar, who is 73 years old, goes to the pandal and draws the eyes the height is 20 ft
Lalbaugcha Raja Committee Members
PresidentShri Ashok Maruti Pawar
Vice PresidentShri Machindranath Genu Dighe
Shri Balasaheb Sudam Kamble
Shri Mangesh Dattaram Dalavi
Shri Suryakant Bapu Pawar
SecretaryShri Sudhir Sitaram Salvi
Vice SecreatryShri Rajendra Madhukar Haldankar
Shri Ganesh Shantaram Mane
Shri Mahesh Mahadev Pawaskar
Shri Rajan Manohar Kotawadekar
TreasurerShri Mahesh Suresh Jadhav
Committee Members
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Odissi, also known as Orissi (Odia: ଓଡିଶୀ Oḍiśī), is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneswar) testify to its antiquity. It was suppressed under the British Rule, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.
Though a very old dance form, Odissi got recognition as a classical dance from the Central government officially, after efforts by many scholars and performers in the 1950s, including a powerful lec-dem in April 1958 by Kavichandra Kalicharan Pattanayak, an Oriya poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odissi".
ORIGIN AND HISTORY
The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela in the first or second century BCE. Flanked by two queens, emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it was attached to the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It closely resembles sculptures of the Indian temples.
The history of Odissi dance has been traced to early sculptures found in the Ranigumpha caves at Udaygiri (Odisha), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Odisha.
TEMPLE HISTORY
In Bhubaneswar, the capital city of Odisha, Udayagiri Caves, Khandagiri Caves and Jain Caves are present which date back to the 2nd century BCE, that served as a royal palace for emperor Kharavela. It is suggested by scholars that Odissi is archaeologically the oldest Indian classical dance form due to sculptural evidence found in the caves. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.
In the excavated ruins of the Buddhist Ratnagiri hills in Odisha, dating back to the 6th thru 9th centuries, several panels and icons of dance are found resembling present-day Odissi dance.
In the Tantric temples, such as the Hirapur Shrine, many of the yoginis especially are depicted in poses reminiscent of present-day Odissi. When Odisha became a big centre of worship of Lord Shiva, it is only natural that dance would be used as a form of worship, since Lord Shiva was a master dancer himself. He is also known as Nataraj, the Cosmic Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures of Odissi. The Vaishnavite Temples such as Jagannath Temple and Konark Sun Temple abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the Shaivite art tradition to the Vaishnavite art form.
MANUSCIPT EVIDENCE
Sage Bharata's Natya Shastra, written in the 2nd century CE, speaks of four types of Pravrittis (local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi, and the areas where each type is employed. Some scholars have interpreted that Odra Magadhi is "the earliest literary reference" to Odissi.
Abhinaya Chandrika written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in NãtyaShãstra.
The illustrated manuscript Shilpaprakãsha deals with Odia architecture and sculpture as well as the figures of dance. In this, one finds an elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the Alasa Kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence of sculpture in temples.
A rather unexpected source, the Jain Manuscripts, especially the Kalpasutra and Kalkacharya Kathãs show traces of Odia dance style although they were being executed in Gujarat. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the Samapada, the Tribhangi and the Chuaka.
This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to Puri from Gujarat and Andhra.
MUGHAL AND BRITISH PERIOD
During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as they were employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage to the king and ceased to be respected solely as servants to Lord Jagannath. A decline and degradation occurred in all the Indian classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their respected place in society, were forced into prostitution to survive in the changing climate of political and cultural oppression by the British.
TRADITION AND DANCERS
The Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua.
Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the sanctum sanctorum.
By the 6th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Odia dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.
Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.
MAHARI TADITION
The consecration of females to the service of temple dancing began in the Shaivite temples and continued in the Jagannath temple in service of the Lord Jagannath. These attendants have been known as Maharis (great women) or Devadasis (servants of the lord), and have been considered the wives of Lord Jagannath. Odissi developed through their art.
The first evidence of the Mahari institution in Odisha comes from a commemorative inscription by Udyota Kesari, the last King of the dynasty. In the 10th century the King’s mother, Kolavati Devi, dedicated temple dancers to Lord Shiva in the Brahmeswara Temple.
Raja Anantavarma Chodagangadeva appointed dancing girls for ritual services in the Jagannatha temple in the 11th century, and these Maharis were the ones responsible for keeping the dance alive for centuries. Through the technique of unequal division of weight and firm footwork balancing a fluid upper torso, the dancer achieves a sensuality that is uncommon in other classical dance styles. Some eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya), and Padmashri Guru Pankaj Charan Das.
GOTIPUA TRADITION
In the Odia language Gotipua means single boy. Gotipua dance is performed only by boys who dress up as girls. During the rule of King Prataprudra Dev, who was a follower of Sri Chaityana, renewed this dancing tradition by boys, as the Vaishnavas did not approve of dances by girls.
DANCE VOCABULARY AND REPERTOIRE
TRADITIONAL ODISSI REPERTOIRE CONSISTS OF:
MANGALACHARANA
An invocation piece. After paying homage to Lord Jagannath a shloka (hymn) in praise of some God or Goddess is sung, the meaning of which is brought out through dance. Mangalacharan also includes the Bhumi Pranam (salutation to Mother Earth) which is offered to Mother Earth as a way of begging forgiveness for stamping on her and the Trikhandi Pranam or the three-fold salutation – above the head to the Gods, in front of the face to the gurus and in front of the chest to the audience.
BATTU NRUTYA
Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance) it is performed in the honor of Lord Shiva- the cosmic Lord of Dance. It is one of the 64 furious-aspects of Lord Shiva known. The origin of dance is believed to be from Tantrism that had flourished in Odisha. Linga Purana and Mahanirvanatantra give an elaborate description of Batuka Bhairava in three aspects, and the results of their worship have also been explained elaborately in the texts. Battu Nrutya is an item of pure Nrutya (Dance)and remains the most difficult item of Odissi dance. The dance begins with a series of sculpturesque poses depicting such actions as the playing of a Veena (Lute), Mardala or Pakhawaj (Drum), Karatala (Cymbals) and Venu (Flute), that brings out the interrelationships between this dance and the dance sculptures adorning the temples of Odisha. These poses are stringed together with steps in different rhythms. There is no song or recitation accompanying the dance, but throughout the item a refrain of rhythmic syllables is provided. The accompanying refrain is in the form of one line of Ukuta and as this is recited in the Tala, different Jathi-patterns are improvised and are executed with the feet. Some Tala variations are introduced and each sequence of the dance terminates with a Tehdi known as Katam. The last sequence is always in Jhula Pahapata Tala and is performed with a fast tempo.
PallaviA pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork. Pallavi literally means "blossoming". This is applicable not only to the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multilayered dimensions of taal (rhythm) and laya (speed).
ABHINAYA
An expressional dance which is an enactment of a song or poetry, where a story conveyed to the audience through mudras (hand gestures), bhavas (facial expression), eye movement and body movement. The dance is fluid, very graceful, and sensual. Abhinaya can be performed on verses in Sanskrit or Odia language. The verses are extremely ornate in content and suggestion. Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram. Most of the Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the kãvya Gita Govinda written by the Saint Jayadev are an integral part of its repertoire. The beginning pieces are dedicated to Lord Jagannath – an incarnation of Lord Vishnu.
DANCE DRAMA
Usually longer than Abhinaya and typically performed by more than one dancers. Some of the much appreciated dance dramas composed by Guru Kelucharan Mahapatra are: Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu Samhara, Krishna Sudama, Dushmanta Sakuntala, Utkala Mauda Mani, Yagnaseni, Meghadoot, Kumara Sambhava, Sapan Nayaka. Usually Hindu mythologies are chosen as themes, but experimenting with the theme and form in recent years have led to extremely unique creations. Some worth-mentioning themes in recent years are Panchakanya, Ganga Yamuna, Chitrangadaa, Shrita Kamalam, Mrutyuh, Tantra, Padapallavam, and Raavana.
MOKSHA
The concluding item of a recital. Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movement and pose merge to create ever new patterns, ever new designs in space and time. The dance moves onto a crescendo that is thrilling to both, the eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness — just like Moksha or the deliverance of the soul in real life.
LANGUAGES
Odissi music is mainly accompanied by odia but also sometimes bengali or sanskrit verses.
ODISSI MUSIC
Odissi dance is accompanied by Odissi music, a synthesis of four classes of music, i.e. Dhruvapada, Chitrapada, Chitrakala and Panchal. The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladev Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.
Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chaurisha represents the originality of Odissi style. All the thirty four letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.
A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.
Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.
Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.
COSTUME AND JEWELRY
The jewellery is made from intricate filigree silver jewellery pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Odisha. The process of creating each piece takes the collaboration of many artisans each specialised in one step of the many that turns a lump of raw silver into a handcrafted work of art.
The jewellery pieces are an important part of the female Odissi dancer’s costume. The hair is drawn into an elaborate bun on which the Tahiya is placed. The Seenthi is a jewellery piece placed on the hair and forehead. The dancers face is adorned with Tikka (decorations made by hand with sandalwood paste), Mathami or Matha Patti (forehead ornament), Allaka (head piece on which the tikka hangs), unique ear covers called Kapa in intricate shapes usually depicting a peacock’s feathers, an ear chain, Jhumkas (bell shaped earrings), a short necklace, and a longer necklace with a hanging pendant.
The dancer wears a pair of armlets also called Bahichudi or Bajuband, that is worn on the upper arm. They wear a pair of Kankana (bangles) at the wrist. At the waist they wear an elaborate belt made of silver or similar materials that's silver plated. They wear a pair of ankle bells (numerous small bells strung together on a single string) tied around their ankles. The dancer's palms and soles are painted with red coloured dye called the Alta.
The crown or Mukoot or Mookut, worn by the Odissi dancer is made only in the devotional city of Puri in Eastern Odisha. It is formed from the dried reeds called Sola in a tradition called Sola Kama. The reed is carved by a series of cuts into the rod-like stem and forms various types of flowers when a string is tied in the middle of the rod and pulled tight. As the string is tightened, the flowers shape into Jasmines, Champa (one of the five flowers of Lord Krishna’s arrows), and Kadamba (the flowers of the tree under which Radha would wait for her beloved Lord Krishna).
The Mukoot consists of two parts i.e. Ghoba and Tahiya. The flower decorated back piece, called the Ghoba, sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the Lotus flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the Tahiya, and this represents the temple spire of Lord Jagannath or the flute of Lord Krishna.
The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterised by features of traditional prints of Odisha, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.
The makeup of an Odissi dancer includes Bindi (red dot), applied on the forehead with a pattern made from sandalwood around it, Kajal (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.
IN GUINNESS WORLD RECORDS
Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Orissa. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.
WIKIPEDIA
Odissi, also known as Orissi (Odia: ଓଡିଶୀ Oḍiśī), is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneswar) testify to its antiquity. It was suppressed under the British Rule, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.
Though a very old dance form, Odissi got recognition as a classical dance from the Central government officially, after efforts by many scholars and performers in the 1950s, including a powerful lec-dem in April 1958 by Kavichandra Kalicharan Pattanayak, an Oriya poet, dramatist and researcher. Pattanayak is also credited with naming the dance form as "Odissi".
ORIGIN AND HISTORY
The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela in the first or second century BCE. Flanked by two queens, emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it was attached to the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It closely resembles sculptures of the Indian temples.
The history of Odissi dance has been traced to early sculptures found in the Ranigumpha caves at Udaygiri (Odisha), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Odisha.
TEMPLE HISTORY
In Bhubaneswar, the capital city of Odisha, Udayagiri Caves, Khandagiri Caves and Jain Caves are present which date back to the 2nd century BCE, that served as a royal palace for emperor Kharavela. It is suggested by scholars that Odissi is archaeologically the oldest Indian classical dance form due to sculptural evidence found in the caves. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar.
In the excavated ruins of the Buddhist Ratnagiri hills in Odisha, dating back to the 6th thru 9th centuries, several panels and icons of dance are found resembling present-day Odissi dance.
In the Tantric temples, such as the Hirapur Shrine, many of the yoginis especially are depicted in poses reminiscent of present-day Odissi. When Odisha became a big centre of worship of Lord Shiva, it is only natural that dance would be used as a form of worship, since Lord Shiva was a master dancer himself. He is also known as Nataraj, the Cosmic Lord of Dance. The Shaivite temples of Bhubaneswar display innumerable sculptures in postures of Odissi. The Vaishnavite Temples such as Jagannath Temple and Konark Sun Temple abound with an array of dancing sculptures carved into the temple walls, giving testimony that a particular school of dancing had continued from the Shaivite art tradition to the Vaishnavite art form.
MANUSCIPT EVIDENCE
Sage Bharata's Natya Shastra, written in the 2nd century CE, speaks of four types of Pravrittis (local usages): Avanti, Dakshinatya, Panchali, and Odra Magadhi, and the areas where each type is employed. Some scholars have interpreted that Odra Magadhi is "the earliest literary reference" to Odissi.
Abhinaya Chandrika written by Maheshvara Mahapatra is a detailed study of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanãs mentioned in NãtyaShãstra.
The illustrated manuscript Shilpaprakãsha deals with Odia architecture and sculpture as well as the figures of dance. In this, one finds an elaborate analysis of the manner in which the salabhanjikãs or the feminine figures called the Alasa Kanyas are carved in the temple. The illustrations of Shilpaprakãsha reinforces the evidence of sculpture in temples.
A rather unexpected source, the Jain Manuscripts, especially the Kalpasutra and Kalkacharya Kathãs show traces of Odia dance style although they were being executed in Gujarat. The marginal figures of dancers show women in poses and movements similar to the distinctive style of Odissi. For example, in one of the famous illustrated Jain Manuscripts called the Devasanpada Kalpasutra (1501, Jamnagar), there is depiction of the Samapada, the Tribhangi and the Chuaka.
This shows that there was a great deal of mobility between east and west and many migrations took place. According to some historians, there were groups of dancers who were brought to Puri from Gujarat and Andhra.
MUGHAL AND BRITISH PERIOD
During the Mughal rule of India, the duties of the Maharis (the temple dancers) shifted, as they were employed to entertain the royal family and courtiers in the royal courts. They became associated with concubinage to the king and ceased to be respected solely as servants to Lord Jagannath. A decline and degradation occurred in all the Indian classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing. Most of these dancers, losing their respected place in society, were forced into prostitution to survive in the changing climate of political and cultural oppression by the British.
TRADITION AND DANCERS
The Odissi tradition existed in three schools: Mahari, Nartaki, and Gotipua.
Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples, were excluded from the sanctum sanctorum.
By the 6th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Odia dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.
Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.
MAHARI TADITION
The consecration of females to the service of temple dancing began in the Shaivite temples and continued in the Jagannath temple in service of the Lord Jagannath. These attendants have been known as Maharis (great women) or Devadasis (servants of the lord), and have been considered the wives of Lord Jagannath. Odissi developed through their art.
The first evidence of the Mahari institution in Odisha comes from a commemorative inscription by Udyota Kesari, the last King of the dynasty. In the 10th century the King’s mother, Kolavati Devi, dedicated temple dancers to Lord Shiva in the Brahmeswara Temple.
Raja Anantavarma Chodagangadeva appointed dancing girls for ritual services in the Jagannatha temple in the 11th century, and these Maharis were the ones responsible for keeping the dance alive for centuries. Through the technique of unequal division of weight and firm footwork balancing a fluid upper torso, the dancer achieves a sensuality that is uncommon in other classical dance styles. Some eminent Mahari dancers are Moni Mahari, Dimmi (Domi) Mahari, Dungri Mahari (Harapriya), and Padmashri Guru Pankaj Charan Das.
GOTIPUA TRADITION
In the Odia language Gotipua means single boy. Gotipua dance is performed only by boys who dress up as girls. During the rule of King Prataprudra Dev, who was a follower of Sri Chaityana, renewed this dancing tradition by boys, as the Vaishnavas did not approve of dances by girls.
DANCE VOCABULARY AND REPERTOIRE
TRADITIONAL ODISSI REPERTOIRE CONSISTS OF:
MANGALACHARANA
An invocation piece. After paying homage to Lord Jagannath a shloka (hymn) in praise of some God or Goddess is sung, the meaning of which is brought out through dance. Mangalacharan also includes the Bhumi Pranam (salutation to Mother Earth) which is offered to Mother Earth as a way of begging forgiveness for stamping on her and the Trikhandi Pranam or the three-fold salutation – above the head to the Gods, in front of the face to the gurus and in front of the chest to the audience.
BATTU NRUTYA
Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance) it is performed in the honor of Lord Shiva- the cosmic Lord of Dance. It is one of the 64 furious-aspects of Lord Shiva known. The origin of dance is believed to be from Tantrism that had flourished in Odisha. Linga Purana and Mahanirvanatantra give an elaborate description of Batuka Bhairava in three aspects, and the results of their worship have also been explained elaborately in the texts. Battu Nrutya is an item of pure Nrutya (Dance)and remains the most difficult item of Odissi dance. The dance begins with a series of sculpturesque poses depicting such actions as the playing of a Veena (Lute), Mardala or Pakhawaj (Drum), Karatala (Cymbals) and Venu (Flute), that brings out the interrelationships between this dance and the dance sculptures adorning the temples of Odisha. These poses are stringed together with steps in different rhythms. There is no song or recitation accompanying the dance, but throughout the item a refrain of rhythmic syllables is provided. The accompanying refrain is in the form of one line of Ukuta and as this is recited in the Tala, different Jathi-patterns are improvised and are executed with the feet. Some Tala variations are introduced and each sequence of the dance terminates with a Tehdi known as Katam. The last sequence is always in Jhula Pahapata Tala and is performed with a fast tempo.
PallaviA pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork. Pallavi literally means "blossoming". This is applicable not only to the dance, but also to the music, which accompanies it. Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a crescendo to climax in a fast tempo at the end. Both the dance and the music evolve in complexity as the dancer traces multiple patterns in space, interpreting the music dexterously in the multilayered dimensions of taal (rhythm) and laya (speed).
ABHINAYA
An expressional dance which is an enactment of a song or poetry, where a story conveyed to the audience through mudras (hand gestures), bhavas (facial expression), eye movement and body movement. The dance is fluid, very graceful, and sensual. Abhinaya can be performed on verses in Sanskrit or Odia language. The verses are extremely ornate in content and suggestion. Most common are Abhinayas on Oriya songs or Sanskrit Ashthapadis or Sanskrit stutis like Dasavatar Stotram (depicting the ten incarnations of Lord Vishnu) or Ardhanari Stotram. Most of the Abhinaya compositions are based on the Radha-Krishna theme. The Astapadis of the kãvya Gita Govinda written by the Saint Jayadev are an integral part of its repertoire. The beginning pieces are dedicated to Lord Jagannath – an incarnation of Lord Vishnu.
DANCE DRAMA
Usually longer than Abhinaya and typically performed by more than one dancers. Some of the much appreciated dance dramas composed by Guru Kelucharan Mahapatra are: Sudama Dharitra Bhanjana, Mathamani Pradhana, Balya Leela, Rutu Samhara, Krishna Sudama, Dushmanta Sakuntala, Utkala Mauda Mani, Yagnaseni, Meghadoot, Kumara Sambhava, Sapan Nayaka. Usually Hindu mythologies are chosen as themes, but experimenting with the theme and form in recent years have led to extremely unique creations. Some worth-mentioning themes in recent years are Panchakanya, Ganga Yamuna, Chitrangadaa, Shrita Kamalam, Mrutyuh, Tantra, Padapallavam, and Raavana.
MOKSHA
The concluding item of a recital. Moksha means “spiritual liberation”. This dance represents a spiritual culmination for the dancer who soars into the realm of pure aesthetic delight. Movement and pose merge to create ever new patterns, ever new designs in space and time. The dance moves onto a crescendo that is thrilling to both, the eye and the ear. With the cosmic sound of the “Om”, the dance dissolves into nothingness — just like Moksha or the deliverance of the soul in real life.
LANGUAGES
Odissi music is mainly accompanied by odia but also sometimes bengali or sanskrit verses.
ODISSI MUSIC
Odissi dance is accompanied by Odissi music, a synthesis of four classes of music, i.e. Dhruvapada, Chitrapada, Chitrakala and Panchal. The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladev Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.
Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chaurisha represents the originality of Odissi style. All the thirty four letters of the Oriya alphabet from 'Ka' to 'Ksha' are used chronologically at the beginning of each line.
A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.
Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.
Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.
COSTUME AND JEWELRY
The jewellery is made from intricate filigree silver jewellery pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Odisha. The process of creating each piece takes the collaboration of many artisans each specialised in one step of the many that turns a lump of raw silver into a handcrafted work of art.
The jewellery pieces are an important part of the female Odissi dancer’s costume. The hair is drawn into an elaborate bun on which the Tahiya is placed. The Seenthi is a jewellery piece placed on the hair and forehead. The dancers face is adorned with Tikka (decorations made by hand with sandalwood paste), Mathami or Matha Patti (forehead ornament), Allaka (head piece on which the tikka hangs), unique ear covers called Kapa in intricate shapes usually depicting a peacock’s feathers, an ear chain, Jhumkas (bell shaped earrings), a short necklace, and a longer necklace with a hanging pendant.
The dancer wears a pair of armlets also called Bahichudi or Bajuband, that is worn on the upper arm. They wear a pair of Kankana (bangles) at the wrist. At the waist they wear an elaborate belt made of silver or similar materials that's silver plated. They wear a pair of ankle bells (numerous small bells strung together on a single string) tied around their ankles. The dancer's palms and soles are painted with red coloured dye called the Alta.
The crown or Mukoot or Mookut, worn by the Odissi dancer is made only in the devotional city of Puri in Eastern Odisha. It is formed from the dried reeds called Sola in a tradition called Sola Kama. The reed is carved by a series of cuts into the rod-like stem and forms various types of flowers when a string is tied in the middle of the rod and pulled tight. As the string is tightened, the flowers shape into Jasmines, Champa (one of the five flowers of Lord Krishna’s arrows), and Kadamba (the flowers of the tree under which Radha would wait for her beloved Lord Krishna).
The Mukoot consists of two parts i.e. Ghoba and Tahiya. The flower decorated back piece, called the Ghoba, sits around the dancer’s hair pulled into a bun at the back of the head. This piece represents the Lotus flower with a thousand petals that lies above the head in the head Chakra, or energy center. The longer piece that emerges from the center of the back piece is called the Tahiya, and this represents the temple spire of Lord Jagannath or the flute of Lord Krishna.
The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterised by features of traditional prints of Odisha, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.
The makeup of an Odissi dancer includes Bindi (red dot), applied on the forehead with a pattern made from sandalwood around it, Kajal (black eyeliner), applied around the eyes with a broad outline to give them an elongated look, among others.
IN GUINNESS WORLD RECORDS
Guinness World Records has acknowledged the feat of the largest congregation of Odissi dancers in a single event. 555 Odissi dancers performed at the event hosted on 23 December 2011, in the Kalinga stadium, Bhubaneswar, Orissa. The dancers performed the Mangalacharan, Battu, Pallavi, Abhinay and Mokshya dance items from the Odissi repertoire.
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