DOCSLIB.ORG

Indian Art & Culture by Teju, Nextgen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Indian Art & Culture by Teju, Nextgen Indian Art & Culture by Teju, NextGen IAS PDF – Table of Contents 1. Cave Architecture ............................................................................................................................ 14 1.1 Origin ..................................................................................................................................................... 14 1.2 History ................................................................................................................................................... 15 1.3 Types of Caves ...................................................................................................................................... 15 1.3.1 Buddhist Caves ........................................................................................................................................................................................... 15 1.3.2 Hindu Caves ................................................................................................................................................................................................. 17 1.3.3 Jain Caves ...................................................................................................................................................................................................... 17 1.3.4 Cave Architecture during Gupta Period ............................................................................................................................................ 25 1.4 Evolution of Buddhist Cave Architecture ........................................................................................... 30 1.4.1 Phase 1 ........................................................................................................................................................................................................... 30 1.4.2 Phase 2 ........................................................................................................................................................................................................... 30 1.4.3 Phase3 ............................................................................................................................................................................................................ 31 1.4.4 Phase 4 ........................................................................................................................................................................................................... 31 1.5 Jaina Caves vs Buddhist Caves ............................................................................................................ 32 2. Stupa Architecture .......................................................................................................................... 33 2.1 Stupa ...................................................................................................................................................... 35 2.1.1 Stupa Architecture in North India ....................................................................................................................................................... 38 2.1.2 Stupa Architecture in South India ....................................................................................................................................................... 38 2.1.3 Differences between the North Indian and South Indian Stupas ........................................................................................... 38 Structure of Stupa –terminology ..................................................................................................................... 38 2.1.4 Basic structure of stupa ........................................................................................................................................................................... 40 2.2 Stupa Architecture in different periods ............................................................................................. 41 2.3 Different kinds of stupas ..................................................................................................................... 44 2.4 Classification of Stupas based on form and function ....................................................................... 45 2.4.1 Sanchi Stupa ................................................................................................................................................................................................ 45 2.4.2 Amaravati Stupa ......................................................................................................................................................................................... 46 2.4.3 Bharhut stupa .............................................................................................................................................................................................. 47 2.4.4 Gandhara stupa .......................................................................................................................................................................................... 47 2.4.5 Sungas, Kushans and Satavahanas ..................................................................................................................................................... 48 2.4.6 Amaravathi School of Art ....................................................................................................................................................................... 48 2.4.7 Differences between Mathura and Gandhara art ......................................................................................................................... 50 3. Temple Architecture ....................................................................................................................... 50 3.2 Temples Architecture @ Pre-Gupta Period ........................................................................................ 51 3.3 Temple Archiecture @ Gupta Dynasty ............................................................................................... 52 3.3.1 Evolution of Gupta Style Temple Architecture ............................................................................................................................... 52 3.3.2 Important Temples @ Gupta Style of Temple Architecture ..................................................................................................... 55 3.4 Rock-Cut temple architecture ............................................................................................................. 59 3.4.1 Monolithic Temples .................................................................................................................................................................................. 59 3.4.2 Important sites of Rock-cut Temples of the Gupta Period ....................................................................................................... 60 3.5 Stages of Temple Architecture ............................................................................................................ 61 3.5.1 First Stage ..................................................................................................................................................................................................... 61 3.5.2 Second stage ............................................................................................................................................................................................... 62 3.5.3 Third stage .................................................................................................................................................................................................... 62 3.5.4 Fourth Stage ................................................................................................................................................................................................ 63 3.5.5 Fifth Stage ..................................................................................................................................................................................................... 64 3.6 Styles of Temple Architecture ............................................................................................................. 64 3.6.1 Nagara School of Architecture ............................................................................................................................................................. 65 3.6.2 Dravidian Style of Temple Architecture ............................................................................................................................................ 72 3.6.3 Differences between Nagara and Dravida Style of temple architecture ............................................................................. 73 3.7 Temple Architecture in South India .................................................................................................... 73 3.7.1 Stage I - Mahendra Group ..................................................................................................................................................................... 74 3.7.2 Stage II - Narasimha Group ................................................................................................................................................................... 74 3.7.3 Stage III - Rajasimha Group ..................................................................................................................................................................
Load more

Recommended publications
  • Sr. No. College Name University Name Taluka District JD Region
    Non-Aided College List Sr. College Name University Name Taluka District JD Region Correspondence College No. Address Type 1 Shri. KGM Newaskar Sarvajanik Savitribai Phule Ahmednag Ahmednag Pune Pandit neheru Hindi Non-Aided Trust's K.G. College of Arts & Pune University, ar ar vidalaya campus,Near Commerece, Ahmednagar Pune LIC office,Kings Road Ahmednagrcampus,Near LIC office,Kings 2 Masumiya College of Education Savitribai Phule Ahmednag Ahmednag Pune wable Non-Aided Pune University, ar ar colony,Mukundnagar,Ah Pune mednagar.414001 3 Janata Arts & Science Collge Savitribai Phule Ahmednag Ahmednag Pune A/P:- Ruichhattishi ,Tal:- Non-Aided Pune University, ar ar Nagar, Dist;- Pune Ahmednagarpin;-414002 4 Gramin Vikas Shikshan Sanstha,Sant Savitribai Phule Ahmednag Ahmednag Pune At Post Akolner Tal Non-Aided Dasganu Arts, Commerce and Science Pune University, ar ar Nagar Dist Ahmednagar College,Akolenagar, Ahmednagar Pune 414005 5 Dr.N.J.Paulbudhe Arts, Commerce & Savitribai Phule Ahmednag Ahmednag Pune shaneshwar nagarvasant Non-Aided Science Women`s College, Pune University, ar ar tekadi savedi Ahmednagar Pune 6 Xavier Institute of Natural Resource Savitribai Phule Ahmednag Ahmednag Pune Behind Market Yard, Non-Aided Management, Ahmednagar Pune University, ar ar Social Centre, Pune Ahmednagar. 7 Shivajirao Kardile Arts, Commerce & Savitribai Phule Ahmednag Ahmednag Pune Jambjamb Non-Aided Science College, Jamb Kaudagav, Pune University, ar ar Ahmednagar-414002 Pune 8 A.J.M.V.P.S., Institute Of Hotel Savitribai Phule Ahmednag Ahmednag
    [Show full text]
  • “I Cannot Live Without Music”
    INTERVIEW “I cannot live without music” Swati Tirunal was undoubtedly one of the most important modern composers, one who included Hindustani styles in his compositions. Nowadays it has become fashionable to say you must avoid Hindustani in Carnatic music or the other way around. But looking back, Bhimsen Joshi was among those south Indians who became luminaries in the north Indian style. How many south Indians are really open to Hindustani music is debatable. The late M.S. Gopalakrishnan was very competent in the Hindustani field, and my colleague Sanjay Subrahmanyan is a Carnatic musician open to Hindustani ragas – he sings a Rama Varma at the Swarasadhana workshop focussing on Swati Tirunal’s compositions pallavi in Bagesree, for instance. Then again there are ‘fundamentalist’ groups Well known Carnatic vocalist Rama Varma was in Chennai recently to who think Behag, Sindhubhairavi, conduct a two-day workshop (9 and 10 February 2013) Swarasadhana, Yamunakalyani, Sivaranjani and their at the Satyananda Yoga Centre at Triplicane. Here he speaks of the event, ilk should be totally done away with. his journey in classical music and his thoughts on the changing trends of the art form. Rama Varma How did Swarasadhana happen? in conversation with I have been teaching in a village called Perla near Mangalore for the past M. Ramakrishnan four years, at a music school called Veenavadini, run by the musician Yogeesh Sharma. He invites musicians to visit there once a year. Four years ago Veenavadini invited me. They enjoyed my teaching and Do you follow the same style of teaching I enjoyed being there too, and my visits became regular.
    [Show full text]
  • Material Culture and Asian Religions Text, Linage, Object
    Material Culture and Asian Religions Text, linage, Object Edited by Benjamin J. Fleming and Richard D. Mann I~ ~~o~~~~n~~~p NEW YORK AND LONDON First published 2014 b) Routledge 711 Third Avenue, Ne" York, NY 10017 and b) Routledge 2 Park Square, Milton Parl... Abingdon, Oxon OX 14 4RN Routledge is an impri111 q(1he Taylor & Francis Group, a11 informa business C 2014 Taylor & Francis The right of the editors to be identified as the author of the editorial material. and of the: authors for their individual chapters, has been asserted in accordance 11 ith sections 77 and 78 of the Cop)-right, Designs and Patents Act 1988. All rights reserved. No part of this book ma~ be reprinted or reproduced or utilized in an1 form or b1 am electronic, mechanical, or other means, now known or he;eafter ime~ted: including photocop) ing and recording, or in an) information storage or retrieval S) stem, without permission in writing from the publishers. Trademark 1'otice: Product or corporate names ma) be trademarks or registered trademarl~. and are used onl) for identification and explanation "ithout intent to infringe. library ofCongress Ca1alogi11g-in-Publication Dala Material culture and Asian religions: te'l.t, image, object I edited by Benjamin J. Fleming and Richard D. Mann. - 1 [edition]. pages cm. - (Routledge research in religion, media and culture; 4) Includes bibliographical references and index. 1. Asia-Religion. 2. material culture- Asia. 3. Material culture-Religious aspects. I. Fleming, Benjamin J., 1967-, editor of compilation. RLI033.M38 2014 200.95-<lc23 2013041860 ISBr-i: 978-0-415-84378-2 (hbk) ISBN: 978-0-203-75303-3 (ebk) T~ pcset in limes New Roman b) Apex CoVantage , LLC Contents List ofFigures xiii A bbnn.·iations XVII A cknoll'ledgments XIX Introduction: Material Culture and Religious Studies BE'\J,\ \'If'\' J.
    [Show full text]
  • Shiva's Waterfront Temples
    Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Subhashini Kaligotla All rights reserved ABSTRACT Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla This dissertation examines Deccan India’s earliest surviving stone constructions, which were founded during the 6th through the 8th centuries and are known for their unparalleled formal eclecticism. Whereas past scholarship explains their heterogeneous formal character as an organic outcome of the Deccan’s “borderland” location between north India and south India, my study challenges the very conceptualization of the Deccan temple within a binary taxonomy that recognizes only northern and southern temple types. Rejecting the passivity implied by the borderland metaphor, I emphasize the role of human agents—particularly architects and makers—in establishing a dialectic between the north Indian and the south Indian architectural systems in the Deccan’s built worlds and built spaces. Secondly, by adopting the Deccan temple cluster as an analytical category in its own right, the present work contributes to the still developing field of landscape studies of the premodern Deccan. I read traditional art-historical evidence—the built environment, sculpture, and stone and copperplate inscriptions—alongside discursive treatments of landscape cultures and phenomenological and experiential perspectives. As a result, I am able to present hitherto unexamined aspects of the cluster’s spatial arrangement: the interrelationships between structures and the ways those relationships influence ritual and processional movements, as well as the symbolic, locative, and organizing role played by water bodies.
    [Show full text]
  • ANSWERED ON:25.11.2014 TOURIST SITES Singh Shri Rama Kishore
    GOVERNMENT OF INDIA TOURISM LOK SABHA UNSTARRED QUESTION NO:403 ANSWERED ON:25.11.2014 TOURIST SITES Singh Shri Rama Kishore Will the Minister of TOURISM be pleased to state: (a) whether tourist sites have been categorised grade-wise in the country and if so, the details thereof; (b) the details of tourist sites covered under Buddhist circuit and developed as world heritage tourist sites during the last three years and the current year; (c) whether the Government has any tourism related proposals for Vaishali in Bihar including financial assistance; and (d) if so, the details thereof? Answer MINISTER OF STATE FOR TOURISM (INDEPENDENT CHARGE) (DR. MAHESH SHARMA) (a): Madam. At present there is no grade wise categorization of tourist sites. (b): The Ministry of Tourism has identified following three circuits to be developed as Buddhist Circuits in the country with the help of Central Government/State Government/Private stake holders: Circuit 1: The Dharmayatra or the Sacred Circuit - This will be a 5 to 7 days circuit and will include visits to Gaya (Bodhgaya), Varanasi (Sarnath), Kushinagar, Piparva (Kapilvastu) with a day trip to Lumbini in Nepal. Circuit 2: Extended Dharmayatra or Extended Sacred Circuit or Retracing Buddha's Footsteps - This will be a 10 to 15 day circuit and will include visits to Bodhgaya (Nalanda, Rajgir, Barabar caves, Pragbodhi Hill, Gaya), Patna (Vaishali, Lauriya Nandangarh, Lauriya Areraj, Kesariya, Patna Museum), Varanasi (Sarnath), Kushinagar, Piparva (Kapilvastu, Shravasti, Sankisa) with a day trip to Lumbini in Nepal. Circuit 3: Buddhist Heritage Trails (State Circuits). i. Jammu and Kashmir - Ladakh, Srinagar (Harwan, Parihaspora) and Jammu (Ambaran).
    [Show full text]
  • 6. Art of Mauryan Period
    ASHOKA THE GREAT : REPRESENTING THE ACME OF INDIAN CULTURE 1 ARTS OF THE MAURYAN PERIOD 3 Royal Palace 4 Pillars, Sculptures and Rock-cut Architecture 5 Pillars 5 LION CAPITAL, SARNATH 6 Bull Capital , Rampurva 8 Sculptures 9 DIDARGUNJ YAKSHINI 9 Yaksha, Parkham, Mathura 11 Rock Cut Cave- Lomus Rishi 12 Chaitya, karle 14 Stupas 15 Pottery 19 Coins 20 Donors and Patronage 21 ASHOKA THE GREAT : REPRESENTING THE ACME OF INDIAN CULTURE Ashoka occupies a unique place in the history of India. His policies of universal peace, non-violence and religious harmony find no parallel in the monarchs of the world. Ashoka stands out as a monarch who combined successful kingship with idealism and philosophy. Like other rulers, Ashoka too began his reign with war - the conquest of Kalinga. However, the mindless destruction of life and property in this war shattered him so greatly that he vowed never to wage any war again. Instead he adopted the policy of Dhamma Vijaya that is conquest through dhamma. Page !1 of !22 In his thirteenth major Rock Edict, Asoka states that true conquest is by piety (the quality of being religious or reverent) and virtue. Such a decision taken by a king, who lived in an era where military might was the measure of power, earned him a unique place in history. Ashoka was a true humanist. His policies were oriented towards the welfare of his people. His dhamma was based on social responsibility. Besides giving importance to respecting brahmins, and servants, obedience to elders, abstention from killing living beings, dhamma also asked people to live in religious harmony.
    [Show full text]
  • Adopt a Heritage Project - List of Adarsh Monuments
    Adopt a Heritage Project - List of Adarsh Monuments Monument Mitras are invited under the Adopt a Heritage project for selecting/opting monuments from the below list of Adarsh Monuments under the protection of Archaeological Survey of India. As provided under the Adopta Heritage guidelines, a prospective Monument Mitra needs to opt for monuments under a package. i.e Green monument has to be accompanied with a monument from the Blue or Orange Category. For further details please refer to project guidelines at https://www.adoptaheritage.in/pdf/adopt-a-Heritage-Project-Guidelines.pdf Please put forth your EoI (Expression of Interest) for selected sites, as prescribed in the format available for download on the Adopt a Heritage website: https://adoptaheritage.in/ Sl.No Name of Monument Image Historical Information Category The Veerabhadra temple is in Lepakshi in the Anantapur district of the Indian state of Andhra Virabhadra Temple, Pradesh. Built in the 16th century, the architectural Lepakshi Dist. features of the temple are in the Vijayanagara style 1 Orange Anantpur, Andhra with profusion of carvings and paintings at almost Pradesh every exposed surface of the temple. It is one of the centrally protected monumemts of national importance. 1 | Page Nagarjunakonda is a historical town, now an island located near Nagarjuna Sagar in Guntur district of Nagarjunakonda, 2 the Indian state of Andhra Pradesh, near the state Orange Andhra Pradesh border with Telangana. It is 160 km west of another important historic site Amaravati Stupa. Salihundam, a historically important Buddhist Bhuddist Remains, monument and a major tourist attraction is a village 3 Salihundum, Andhra lying on top of the hill on the south bank of the Orange Pradesh Vamsadhara River.
    [Show full text]
  • Evidence from Ancient Indian Art
    Antiquity of Sailing Ships of the IndianOcean: Evidence from ancient Indian art Dr. Alok Tripathi Underwater Archaeology Wing Archaeological Survey of India ndia has an exceptionally varied and rich art heritage. Varieties of themes depicted in art throw light on various aspects of human history. A number of ships, including sailing ships, have been found depicted in ancient Indian art in the form of terracotta models, Ibas-reliefs, seals, sealing and plaques, paintings on pots and walls, sculptural panels, represen- tation on coins, etc. These representations of ships are in different art media and are widely spread in time, from prehistoric period to the recent past, and space. Such representations in art reveal useful information about the use of sails and development of sailing ships through the ages. The ancient Indian art tradition was not confined to India but also spread as far as Southeast Asia. A systematic study of these representations may help to reconstruct the long maritime history in the Indian Ocean. Although, archaeological explorations and excavations conducted in India so far have not yielded many ancient boats or ships, some of the excavated structures have been identified as evidence of maritime activities during the ancient period. In the absence of sufficient archae- ological evidence it is difficult to reconstruct the long maritime history of the subcontinent having the most prominent position in the Indian Ocean. Systematic study of archaeological evidence, literary references and the study of ancient representations may contribute signifi- cantly to the understanding of the evolution and development of shipping and shipbuilding technology. Representations of ships and boats in Indian art also provide a continuous histo- ry of shipping in India from the Mesolithic to the recent period.(1) Some of the depictions exhibit the actual picture of ships of those days.
    [Show full text]
  • 79-20 Rorient 73 Z. 1-20.Indd
    ROCZNIK ORIENTALISTYCZNY, T. LXXIII, Z. 1, 2020, (s. 119–153) DOI 10.24425/ro.2020.134049 RAJESH KUMAR SINGH (Ajanta Caves Research Programme, Dharohar, SML, Udaipur, India) ORCID: 0000-0003-4309-4943 The Earliest Two and a Half Shrine-antechambers of India Abstract The shrine antechamber is a standard component of the Indian temple architecture. It was originated in the Buddhist context, and the context was the rock-cut architecture of the Deccan and central India. The first antechamber was attempted in circa 125 CE in the Nasik Cave 17. It was patronised by Indrāgnidatta, a yavana, who possibly hailed from Bactria. The second antechamber was created in Bāgh Cave 2 in ca. late 466 CE. The patron remains unknown. The third antechamber was initiated in Ajanta Cave 16 within a few months. It was patronised by Varāhadeva, the Prime Minister of Vākāṭaka Mahārāj Hari Ṣeṇa. When the third antechamber was only half excavated, the plan was cancelled by the patron himself due to a sudden threat posed by the Alchon Hūṇs led by Mahā-Ṣāhi Khingila. The Nasik antechamber was inspired from Bactria, the Bāgh antechamber was inspired from the parrallels in the Greater Gandhāra region, whereas the Ajanta Cave 16 antechamber was inspired from Bāgh Cave 2. Keywords: Buddhist rock-cut architecture, Nasik caves, Bagh caves, Ajanta caves, shrine antechamber, central pillar, Gandhara, Alchon Hun Khingila, Vakataka Introduction This article shows how the earliest two and a half shrine-antechambers of India were developed. The shrine antechamber, as we know, is an integral part of the Indian temple architecture.
    [Show full text]
  • Agri Tourism Educational Tours Brochure 2019
    AWARDS & RECOGNITIONS EXPERIENCE EXPLORE AND GET ENRICHED Agri Tourism Development Company Pvt. Ltd. CALL TODAY : Agri Tourism Development Corporation), l Deep Bungalow Chowk, Model Colony, Pune - 411 016. 98811 33694 88060 25006 Tel.: 020-25660345, 25660343, Fax: 020-25660342, l Mobile No.: 9822090005, 9881133694 98220 90005 020 - 2566 0343 / 345 [email protected] l www.agritourism.in © ATDC | PUNE | JUNE | 2019 EXPERIENCE EXPLORE AND GET ENRICHED Agri Tourism Centres for Educational Tours | 2019 - 2020 1 2 EXPERIENCE EXPLORE AND GET ENRICHED Agri Tourism Centres for Educational Tours | 2019 - 2020 1 Day Package EXPERIENCE, EXPLORE AND GET ENRICHED Agri Tourism Centres for Educational Tours 2019 - 2020 PACKAGES INCLUDE : Traditional Welcome, Breakfast & Tea, Lunch, Evening Tea & Snacks, Farm & Educational Activities, Local visits with guide. Tractor & bullock cart Rides. NOTE : ● Rate is per student in INR Three Teachers Free per 50 Students ● Transport Charges are considered for minimum 50 Students per bus ● Maharashtra State Transport (S.T.Bus) buses are also available on request. BANESHWAR AGRI TOURISM BARAMATI AGRI TOURISM NO 01 Distance from city : Pune - 35 KM Distance from city : Pune - 105 KM Educational Activities : Farm Visit With Guide, Vegetable Educational Activities : 110 acre agriculture farm visit with guide, Plantation, Fruit Plantation, Polyhouse, Vermiculture Farm Different types of fruit plantation, Nursery Unit, Cow Farming, Goat Equipment's, Drip Irrigation, Traditional and Modern Technics of Farming, Poultry Farming, Flowers Plantation, Honey Bee Project, farming, Poly House, Hydroponic farming, Varmiculture Project, Soil Testing Entertainments Activities : Bullock Cart Ride, Tractor Ride, Lab, Water Testing Lab, Water Irrigation System, Agriculture Archery, Rain Dance, Music System, Rural Games, Outdoor research Center.
    [Show full text]
  • The Image of the Winged Celestial and Its Travels Along the Silk Road
    SINO-PLATONIC PAPERS Number 225 June, 2012 The Image of the Winged Celestial and Its Travels along the Silk Road by Patricia Eichenbaum Karetzky Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form.
    [Show full text]
  • List of Cooperative Societies / Banks Registered Under MSCS Act W.E.F. 1986 Onwards Principal Date of Registration No
    List of Cooperative Societies / Banks registered under MSCS Act w.e.f. 1986 onwards Principal Date of Registration No. S No Name of the Cooperative and its address Area of operation Type Remarks place Registration and file No. 1 All India Scheduled Castes Development Coop. Society All India Delhi 5.9.1986 MSCS Act/CR-1/86 Welfare Ltd.11, Race Course Road, New Delhi 110003 L.11015/3/86-L&M 2 Tribal Cooperative Marketing Development federation All India Delhi 6.8.1987 MSCS Act/CR-2/87 Marketing of India(TRIFED), Savitri Sadan, 15, Preet Vihar L.11015/10/87-L&M Community Center, Delhi 110092 3 All India Cooperative Cotton Federation Ltd., C/o All India Delhi 3.3.1988 MSCS Act/CR-3/88 Federation National Agricultural Cooperative Marketing L11015/11/84-L&M Federation of India Ltd. Sapna Building, 54, East of Kailash, New Delhi 110065 4 The British Council Division Calcutta L/E Staff Co- West Bengal, Tamil Kolkata 11.4.1988 MSCS Act/CR-4/88 Credit Converted into operative Credit Society Ltd , 5, Shakespeare Sarani, Nadu, Maharashtra & L.11016/8/88-L&M MSCS Kolkata, West Bengal 700017 Delhi 5 National Tree Growers Cooperative Federation Ltd., A.P., Gujarat, Odisha, Gujarat 13.5.1988 MSCS Act/CR-5/88 Credit C/o N.D.D.B, Anand-388001, District Kheda, Gujarat. Rajasthan & Karnataka L 11015/7/87-L&M 6 New Name : Ideal Commercial Credit Multistate Co- Maharashtra, Gujarat, Pune 22.6.1988 MSCS Act/CR-6/88 Amendment on Operative Society Ltd Karnataka, Goa, Tamil L 11016/49/87-L&M 23-02-2008 New Address: 1143, Khodayar Society, Model Nadu, Seemandhra, & 18-11-2014, Colony, Near Shivaji Nagar Police ground, Shivaji Telangana and New Amend on Nagar, Pune, 411016, Maharashtra 12-01-2017 Delhi.
    [Show full text]