2009-10 to 2015-16 – Shares Transferred to IEPF

Total Page:16

File Type:pdf, Size:1020Kb

2009-10 to 2015-16 – Shares Transferred to IEPF NOVARTIS INDIA LTD - UNPAID DATA FROM THE YEAR 2009-10 To 2015-16 COMMON FOLIOS SRNO FOLIO NAM1 CITY SHARES 1 01000101 AHAMED MOHAMED AFINIA CHENNAI 50 2 01000365 PARMANAND JETHANAND AHUJA THANE 14 3 01000446 ANNAMMA ALEXANDER BANGALORE 146 4 01000527 AUGUSTINE ALVARES MUMBAI 64 5 01000535 EDDIE MARTIN ALVARES THANE 92 6 01000756 VEDANTHAM ARAVAMUDAN CHENNAI 206 7 01000772 SANTOSH ARORA KOLKATA 146 8 01000781 SATYAVATI ARORA KOLKATA 146 9 01000802 REGINA ARTHUR CHENNAI 146 10 01000861 V S RAMA AYYAR CHENNAI 58 11 01000977 ALEYAMMA ABRAHAM SINGHBHUM 56 12 01001086 RANI AGA NEW DELHI 10 13 01001485 NAEEM AFROZE AINAPORE NAGPUR 166 14 01001566 MATHEW KARAVADASERIL ABRAHAM KOLKATA 24 15 01001957 ROSE MARIA ALMEIDA MUMBAI 34 16 01001965 NEWTON OLIVER ALMEIDA PANAJI GOA PANAJI 6 17 01002988 MOHD WASI AHMAD MIRZAPUR 16 18 01003348 S ANJALI MUMBAI 50 19 01003755 ANAGHA ARVIND ATRE AHMEDNAGAR 6 20 01003763 V AMIRTHAVALLI SALEM 3 21 01003801 NARESH KUMAR AGGARWAL JALANDHAR 6 22 01004018 ARU ARUNACHALAM TIRUCHIRAPPALLI 4 23 01004158 SABITA DEVI AGARWALA DELHI 333 24 01004255 BHUPINDER BIR AKALI 100 25 01004450 CHINOO ARORA NEW DELHI 2 26 01004689 ANJU SHAMLAL AHUJA MUMBAI 4 27 01004735 ATUL PURUSHOTTAM ASHER MUMBAI 66 28 01004808 BIMAL KUMAR AGARWAL HOOGHLY 1 29 01005154 RAVIKANT NARAYAN ANWEKAR NAGPUR NAGPUR 33 30 01006231 NAINA ADATIYA DURG 2 31 01006240 VIJESH B AGGARWAL PUNE 33 NOVARTIS INDIA LTD - UNPAID DATA FROM THE YEAR 2009-10 To 2015-16 COMMON FOLIOS SRNO FOLIO NAM1 CITY SHARES 32 01006525 VANDANA S ASAIKAR MUMBAI 66 33 01006631 ASHOK AVASTHIE JAIPUR 76 34 01007351 ANIMA SEN KOLKATA 1 35 01008994 ASHOK AGARWAL THANE 6 36 01009206 AMOL JAMDAR THANE 10 37 01009338 AJAB SINGH NEW DELHI 6 38 01009371 ASHOK KUMAR SANYAL LUCKNOW 20 39 01009397 AVIJIT SANYAL THANE THANE 20 VIKHROLI (WEST) BOMBAY 40 01009443 ASHOKE KUMAR BHATTACHARYA MUMBAI 40 41 01009508 AVIJIT SANYAL THANE THANE 20 42 01009516 ARUNACHALAM SELVARAJ 20 43 01009621 A P SANJEEV BANGALORE 40 44 01009711 TRICHY AYYASWAMI BAGYALAKSHMI MADURAI 72 45 01009729 BHAJANDAS MOHANDAS BAJAJ CHENNAI 6 46 01009818 NAFISA ABDEMANAN BANDUKWALA MUMBAI 48 47 01009923 SUKUMAR BANERJEE DELHI 162 48 01009931 LALBIHARI BANERJI HOWRAH 146 49 01010085 SHAKUNTLA BATRA MUMBAI 82 50 01010433 BALWANTRAI GULABRAI BHATT MUMBAI 66 51 01010441 GIRJASHANKER REVASHANKER BHATT RAJKOT 102 52 01010531 LILABAI SHRIKRISHNA BHAVE MUMBAI 146 53 01010603 BALAI CHANDRA BISWAS KOLKATA 146 54 01010654 RISHI KESH BOGRA LUCKNOW 6 55 01010662 SURJYA KUMAR BOHIDAR BOLANGIR 146 56 01010701 ARUN KUMAR BOSE KOLKATA 28 57 01010751 REGINALD JULIAN BURKE ALLAHABAD 146 58 01011201 JAYANT JITENDRARAI BHUTA MUMBAI 19 59 01011448 NANABHOY DOSABHOY BILIMORIA MUMBAI 21 60 01012088 SHIB NARAYAN BASAK KOLKATA 18 61 01012193 ROSHANLI ABDULTAYEB BAHRAINWALA MUMBAI 24 62 01012614 RAMESH KUMAR BHARTIYA BURDWAN 2 NOVARTIS INDIA LTD - UNPAID DATA FROM THE YEAR 2009-10 To 2015-16 COMMON FOLIOS SRNO FOLIO NAM1 CITY SHARES 63 01013645 PRADEEP KUMAR BAJAJ 4 64 01013912 MOHANLAL TULSIDAS BHATIA MUMBAI 4 65 01014331 JAYSHREE BAGRI KOLKATA 1 66 01014749 HARI BALUSU BANGALORE 16 67 01015800 SUSHIL KUMAR BHATTACHARYA BURDWAN 16 68 01016105 MANOHAR SINGH BRAR NEW DELHI 13 69 01016351 JAYANTA BASU KOLKATA 72 70 01017179 SUMAN BAHETI KOLKATA 4 71 01017624 PRAKASH BAID KOLKATA 1 72 01018205 MANOHAR SINGH BRAR NEW DELHI 83 73 01018230 MULJI U BHANUSHALI MUMBAI 3 74 01018558 V R BABU CHENNAI 6 75 01018698 BANK OF AMERICA NT & SA MUMBAI 40 76 01018701 BANK OF AMERICA NT & SA MUMBAI 160 77 01019112 BANK OF AMERICA N T & S A NEW DELHI 66 78 01019171 KARTAR BASANTANI MUMBAI 6 79 01020811 BHARATI A SHETH MUMBAI 33 80 01021290 BHARAT SHESHGIRI COWLAGI MUMBAI 6 81 01021346 BALRAJ MEHTA BHATINDA 16 82 01021583 MURARI MOHON CHAKRAVORTI KOLKATA 139 83 01021664 PRABHAKAR MAHADEO CHANDE 46 84 01021681 BHOLA NATH CHANDRA KOLKATA 222 85 01021826 G NAMMALWAR CHETTY CHENNAI 8 86 01021834 AMRIK SINGH CHHABRA MUMBAI 14 87 01021940 SWADESH BHUSAN CHOUDHURY WEST MIDNAPORE 146 88 01021966 PRAN KUMAR CHOUDHURY NEW DELHI 1 89 01022016 SAROJ CHUGH NEW DELHI 146 90 01022067 NAJA C CONTRACTOR PUNE 28 91 01022199 SETHURAMAN CHETTIAR ANNAMALAI CHETTIAR PUDUKKOTTAI 28 92 01022326 DURGA DEVI CHOWDHURY KOLKATA 146 93 01022857 SUSHILKUMARI CHAWLA THANE 6 NOVARTIS INDIA LTD - UNPAID DATA FROM THE YEAR 2009-10 To 2015-16 COMMON FOLIOS SRNO FOLIO NAM1 CITY SHARES 94 01023039 BIMAL KUMAR CHATTERJEE HOWRAH 72 95 01023233 MADHAVRAO GUNDAJI CHAVAN MUMBAI 14 96 01023446 M V CHANDRASEKHAR MYSORE 32 97 01023667 RAJ RANI CHOPRA LUDHIANA 6 98 01023713 R CHENRAJ BANGALORE 13 99 01023764 H R CHATURVEDI NEW DELHI 36 100 01023926 CHAMANLAL CHUNILAL CHHOTAI MUMBAI 72 101 01024159 SUDHIR CHAUDHRY HISSAR 1 102 01025473 SANTOSH CHANDRA NEW DELHI 66 103 01025856 CITIBANK N A MUMBAI 266 104 01025988 SHIRIN PESI CHOTHIA MUMBAI 2 105 01026046 CITIBANK N A MUMBAI 50 106 01026097 CITIBANK N A MUMBAI 1 107 01026160 CITIBANK N A MUMBAI 66 108 01026178 CITIBANK N A MUMBAI 16 109 01026372 CITI BANK N A NEW DELHI 66 110 01027221 GURBACHANLAL CHADDHA MUMBAI 33 111 01027310 RATAN ARDESHIR CHOKSEY MUMBAI 350 112 01027409 SUMITRA SADASHIV CHITALI MUMBAI 3 113 01028251 A J DANIEL TRICHUR 226 114 01028260 LALITH DANIEL CHENNAI 72 115 01028308 KALI KINKAR DAS KOLKATA 122 116 01028391 SATYABRATA DAS GUPTA KOLKATA 222 117 01028405 SUSHIL KUMAR DASGUPTA KOLKATA 72 118 01028421 AJIT KUMAR DASS BURDWAN 298 119 01028537 SUBHASH CHANDRA DATTA KOLKATA 298 120 01028928 CELINE MARQUES DESOUZA MUMBAI 10 121 01029461 JOSEPH IGNATIUS JOHN DE DEUS D SOUZA MUMBAI 38 122 01029495 PHIROZA SOHRAB DUBASH PUNE 6 123 01029517 MOHANDAS VISHNU DUBHASHI MUMBAI 50 124 01029576 DWIJENDRA CHANDRA DUTTA HOWRAH 41 NOVARTIS INDIA LTD - UNPAID DATA FROM THE YEAR 2009-10 To 2015-16 COMMON FOLIOS SRNO FOLIO NAM1 CITY SHARES 125 01029584 HIRENDRA DUTTA GUWAHATI 28 126 01029860 ESTELITE D SOUZA MUMBAI 298 127 01030256 INEZ VERE DULLAS MUMBAI 58 128 01030272 NATVERLAL CHANDULAL DALAL MUMBAI 4 129 01030396 ANIL KUMAR DHAWAN PUNE 6 130 01031872 RATH MARGARET DESHPANDE MUMBAI 40 131 01032542 LAXMIBAI PURUSHOTTAM DEOOLKAR MUMBAI 102 132 01032607 MAKI SHIAVAX DHANBHOORA MUMBAI 72 133 01032810 MADANBEN HASMUKHLAL DADARWALA MUMBAI 24 134 01033271 INDUBEN SHANTANU DESAI MUMBAI 166 135 01034791 PRAMODKUMAR T DHAWAN 100 136 01034987 HORMAZDIAR KERSI DHONDY AHMEDNAGAR 2 137 01035355 DADABHAI DOSIBAI(H) ZAL CHARITABLE TRUST NAGPUR 6 138 01035363 GAUTAM D DESAI MUMBAI 33 139 01036360 NIRMAL KUMAR DUGAR KOLKATA 18 140 01036386 ROHINTON JAMSHED DARUKHANAWALA MUMBAI 70 141 01036947 MANAHARBEN BACHUBHAI DANI 20 142 01038401 VIMLA DEVI MEERUT 33 143 01038834 GAUTAM KUMAR DUGAR KOLKATA 14 144 01040201 DINYAR NARIMAN HANSOTIA MUMBAI 13 145 01040260 DINAZ ASPI SUNTOKE MUMBAI 30 146 01040448 DILIP VAMAN GORE THANE 40 147 01040588 DILIP KUMAR ROY PATNA 20 148 01040634 DHANKUMAR NAIK MUMBAI MUMBAI 40 149 01040791 K K EBRAHIM COCHIN 56 150 01040839 SAFIYABAI EBRAHIM MUMBAI 79 151 01041215 ANGELA FERNANDES VASCO-DA-GAMA 21 152 01041231 JOHN FERNANDES THANE 38 153 01041258 PAUL DOMINIC FERNANDES MUMBAI 6 154 01041282 CHAKALAKAL SIMON ALOYSIUS FRANCIS MUMBAI 146 155 01041452 OMVATI DEVI NATHI FAKIRA BULANDSHAHR 2 NOVARTIS INDIA LTD - UNPAID DATA FROM THE YEAR 2009-10 To 2015-16 COMMON FOLIOS SRNO FOLIO NAM1 CITY SHARES 156 01042335 GANESHDAS DELHI 222 157 01042513 ARUN B GHOSH NEW DELHI 46 158 01042548 INDIRA GHOSH KOLKATA 72 159 01042564 MAHADEO KUMAR GHOSH DARBHANGA 28 160 01042742 NARANAMANGALAM A GOPALAKRISHNAN CHENNAI 2 161 01042955 KAMALA GUPTA JALPAIGURI 72 162 01043340 GUDU GUPTA KOLKATA 9 163 01043757 MOHINI HIRANAND GIDWANI MUMBAI 28 164 01044206 VINOD JAGJIWANDAS GOSALIA MUMBAI 24 165 01044401 ANUP R GHEEWALA MUMBAI 38 166 01044435 S K GIRIDHAR CHENNAI 24 167 01044648 PRAFULLA KUMAR GHOSH RAIBAREILLY 232 168 01044656 PRAFULLA KUMAR GHOSH RAIBAREILLY 66 169 01045776 SHEELA GUPTA KOLKATA 6 170 01046055 RATAN PRABHAKAR GUPTE MUMBAI 100 171 01049593 SANJAY GANDHI KACHCHH 33 172 01049836 PRAKASH CHAND GUPTA NEW DELHI 66 173 01051547 GOPAL DAS SETH 50 174 01051636 MEGHSHAM SAMBHA HAMAND MUMBAI 215 175 01051911 MADHUMOHAN NATH HUKKU FARIDABAD 16 176 01052209 JAGADISH NARAINDESAI HINDUJA MUMBAI 238 177 01052322 GAJENDRA SHANTILAL HATHI MUMBAI 37 178 01052900 K HARIHARAN THANE 6 179 01052926 SALMA HEBTULLA MUMBAI 26 180 01053485 HIFAME LIMITED BANGALORE 404 181 01053698 HARISHBHAI K THAKKAR AHMEDABAD 1 182 01054635 ASPY HOMI IRANI MUMBAI 132 183 01054651 K R R IYENGAR NEW DELHI 72 184 01055003 SURESH S INDULKAR THANE 2 185 01055453 BIMAL KUMARI JAIN DEORIA 72 186 01055534 NOORUNNISSA ABDULLA JANAI MUMBAI 72 NOVARTIS INDIA LTD - UNPAID DATA FROM THE YEAR 2009-10 To 2015-16 COMMON FOLIOS SRNO FOLIO NAM1 CITY SHARES 187 01055577 KANTILAL BHOLABHAI JAVERI MUMBAI 82 188 01055666 K C JOSEPH MUMBAI 4 189 01055682 IQBAL NATH JOSHI NEW DELHI 66 190 01055909 FIDAALY MULLA ABDULHUSAIN JARIWALLA MUMBAI 206 191 01056867 VIRENDRA KUMAR JOHRI MUMBAI 94 192 01056891 REKHA JOSHI PUNE 6 193 01057073 SMITA H JOSHIPURA MUMBAI 14 194 01057260 T JAGANNATH BHUBHANESHWAR 6 195 01058037 ASHOK DHIRAJLAL JOSHI MUMBAI 14 196 01058134 SUSHILA R.JOGALEKAR PUNE 42 197 01058169 PERSEED ERUCH JALL NAGPUR 5 198 01058410 VANCHIT JOHN BANGALORE 100 199 01058436 SANJAY JALAN NEW DELHI 16 200 01058606 SHARDA JHA PATNA 1 201 01058711 SUNANDA NISHIKANT JOSHI MUMBAI 16 202 01058746 RAGHAVENDRA JOSHI MUMBAI 16 203 01062352 JAMNABEN BHIKHALAL VORA MUMBAI 20 204 01063235 JOHN FERNANDES THANE 10 205 01063570 RAJINDER SINGH KALRA NEW DELHI 298 206 01063634 DWARKANATH GANGARAM KAMAT MUMBAI 3 207 01063804 DIGAMBAR MURLIDHAR
Recommended publications
  • Executive Master in Art Market Studies University of Zürich. (07.12.2014
    Executive Master in Art Market Studies University of Zürich, May 2013 Indian Art Deco An Ambivalent Feeling Towards Western Modernity Denise Marroquin This work has been supervised by Ghislaine Wood, Senior curator at the Victoria & Albert Museum and Dr. Nicolas Galley, Director of the Executive Master in Art Market Studies, University of Zürich. Executive Master in Art Market Studies University of Zürich I hereby certify that this Master’s Thesis has been composed by myself, and describes my own work, unless otherwise acknowledged in the text. All references and verbatim extracts have been quoted, and all sources of information have been specifically acknowledged. This Master’s Thesis has not been accepted in any previous application for a degree. Geneva, June 2013 Denise Marroquin 2 Table of Contents Acknowledgements 4 Introduction 5 Chapter I The Dissemination of the Art Deco Style 1.1. Art Deco as an international phenomenon 7 1.2.The spread of the style in India: an attempt at explaining 14 1.3 The commercialization and the public 22 Chapter II The Modern Style “Made in India” 2.1. Designers and manufactures 32 2.2. Major references: European and Americans 42 2.3. “Westernization” in the applied arts: press’ reception 67 Chapter III The Indian Manner1 3.1 A quest for national identity 69 3.2 Jewellery, fashion, silver and bidri 74 3.3 Furniture and carpet 89 Conclusion 102 Bibliography 104 List of Illustrations 125 1 Expression borrowed to the following article: Alida 1937 Alida “Modern Decoration in the Indian Manner”; in: The Illustrated Weekly of India, October 3rd 1937, p.
    [Show full text]
  • Ifl. Jf. A. Miiitimion
    WORK AND STYLE OF NANDLAL BOSE A CRITICAL STUDY ifl. Jf. a. Miiitimion BY Miss RANA RAHMAN Prof. ASHFAQ M. RIZVI Dr. (Mrs.) SIRTAJ RIZVI Supervisor Co-Supervisor DEPARTMENT OF FINE ARTS ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 1997 S R P u I V'' D82886 ALIGARH MUSLIM UNIVERSITY AIRMAN 'APARTMENT OF FINE ARTS ALIGARH—202 002 (U.P.), INDIA Dated- TO WHOM IT MAY CONCERN This is to certify that Miss Rana Rehman of Master of Fine Art (M.F.A.) has coniijleted her dissertation entitled "Work Style of Nandalal Bose A Critical Study" under the sujjervision of Prof. Ashfaq M. Rizvi and co-supervision of Dr. (Mrs.) Sirtaj Rizvi (Reader). To the best of my knowled«^e and belief the work is based on the investii^ations made, data collected and analysed by her and it has not been submitted in any other University or Institution for any Dei^ree. ALIGARH (MRS. SEEMA JAVED) 20th May, 1997 CHAIRMAN -HONES-OFF. : 400920,400921,400937 Extn. 368 RES. ; (0571)402399 TELEX : 564-230 AMU IN FAX : 91-0571-400528 ACKNOWLEDGEMENT I had feel new experience and new style of work with my Supervisor and Co-supervisor Dr. Ashfaq M. Rizvi and Dr (Mrs.) Sirtaj Rizvi. I wish to extend my thanks to Chairperson, Mrs. Seema Javed, Department of Fine Arts. I am 9rateful my sister and my friends Hina , Sabiya for help, encourayement and support. '..v^f^ ( RANA RAHMAN ) CONTENTS PAGE NO. CHAPTER - I INTRODUCTION 1-5 CHAPTER - II DEVELOPMENT OF THE BENGAL SCHOOL 6-11 OF ART CHAPTER - III LIFE SKETCH OF NANDALAL BOSE 12-44 CHAPTER - IV MAJOR ARTISTIC ACHIEVEMENTS OF 45-69 NANDALAL
    [Show full text]
  • Arte Indiana: Dal Moderno Alla Generazione 3.0 I Protagonisti Del Mercato Dell’Arte Indiana Di Oggi E Di Domani
    Corso di Laurea Magistrale in Economia e Gestione delle Arti e delle Attività Culturali Scuola in Conservazione e Produzione dei Beni Culturali, c/o Dipartimento di Filosofia e Beni Culturali Tesi di Laurea Magistrale Arte indiana: dal moderno alla generazione 3.0 I protagonisti del mercato dell’arte indiana di oggi e di domani Relatore: prof. Nico Stringa Correlatore: prof.ssa Stefania Funari Laureanda: Gaia Romano Matricola: 846515 Anno Accademico 2015/2016 2 Ad Ettore 3 4 INTRODUZIONE 9 CAPITOLO I – L’ARTE PRIMA DELL’INDIPENDENZA 13 1.1 DA COLONIA INGLESE A REPUBBLICA INDIPENDENTE 13 1.2 L’ARTE DELLA COLONIA 17 1.2.1 BENGAL SCHOOL 18 1.2.2 CUBISMO INDIANO 20 1.2.3 PRIMITIVISMO 23 1.3 L’ARTE DELLA REPUBBLICA 25 1.3.1 CALCUTTA GROUP 25 1.3.2 PROGRESSIVE ARTISTS GROUP 27 1.3.3 DELHI SHILPA CHAKRA 31 1.3.4 BARODA GROUP 31 CAPITOLO II – I PROTAGONISTI DELL’ARTE INDIANA CONTEMPORANEA 33 2.1 NALINI MALANI (1946) 34 2.2 RANBIR KALEKA (1953) 36 2.3 ANISH KAPOOR (1954) 39 2.4 RAVINDER REDDY (1956) 42 2.5 ANITA DUBE (1958) 44 2.6 ATUL DODIYA (1959) 45 2.7 BOSE KRISHNAMACHARI (1963) 47 2.8 SUBODH GUPTA (1964) 49 2.9 RAQS MEDIA COLLECTIVE: JEEBESH BAGCHI (1965), MONICA NARULA (1969) SHUDDHABRATA SENGUPTA (1968) 52 2.10 SONIA KHURANA (1968) 53 2.11 T. V. SANTHOSH (1968) 54 2.12 BHARTI KHER (1969) 55 2.13 N. S. HARSHA (1969) 57 2.14 JITISH KALLAT (1974) 59 2.15 SHILPA GUPTA (1976) 60 2.16 THUKRAL & TAGRA (1976, 1979) 62 2.17 TEJAL SHAH (1979) 63 2.18 VALAY SHENDE (1980) 65 2.19 CHI SONO GLI ARTISTI INDIANI 66 CAPITOLO III - IL COLLEZIONISMO DELL’ARTE
    [Show full text]
  • The Crow Collection of Asian Art Presents Time and Eternity: Landscape Paintings by Bireswar Sen January 23, 2016 - April 24, 2016
    FOR IMMEDIATE RELEASE MEDIA CONTACT: Stacie Wheelock Adams work/ 214-271-4485 cell/214-552-6416 [email protected] The Crow Collection of Asian Art Presents Time and Eternity: Landscape Paintings by Bireswar Sen January 23, 2016 - April 24, 2016 DALLAS (December 28, 2015) – The Crow Collection of Asian Art presents Time and Eternity: Landscape Paintings by Bireswar Sen, featuring miniature, almost playing-card sized, landscape watercolors of uncommon intensity and detail. The exhibition is on view to the public from January 23, 2016 to April 24, 2016 in the museum’s mezzanine gallery. Born in Bengal in 1897, Bireswar Sen grew up in stirring times for the cultural field; something of a renaissance in the arts was in the air, led by the celebrated Tagore family. For the young man, there was inspiration to be drawn from the newly founded “Bengal School” of painting, from great teachers like Abanindranath Tagore and Nandalal Bose, from the Bengali’s inherent devotion to the Great Goddess, and from a natural tendency to be immersed in nature. Growing up, Bireswar was as fond of English literature – a love that never left him – as he was of painting. Eventually, however, painting won out when he made the formal transition from teaching English to teaching art, and moved from Calcutta, India to Lucknow, India. The year was 1926. But things changed for him again when he came into contact, in the early thirties, with the great Russian painter and mystic, Nicholas Roerich, who used to lose himself in the Himalayas and kept painting them in all their majesty and their mystic immensity.
    [Show full text]
  • MOUNTAIN MUSE’- an EXPLORATION to HUMAN CONSCIOUSNESS and ETERNITY Dr
    Gyankosh: An Interdisciplinary e-Journal Volume I, December 2018 ‘MOUNTAIN MUSE’- AN EXPLORATION TO HUMAN CONSCIOUSNESS AND ETERNITY Dr. Kavita Singh Abstract This research paper is a visual exploration to the mighty and ageless mountains especially the „Himalayas‟ and the journey of four prominent painters who devoted their lives painting the magnificent moods of the mountains discovering, exploring and demystifying the layers of mysticism, mystery and the heights and depths human consciousness in search of eternity and sublime divinity. It throws ample light on the monumental work these artists created by sharing a single muse that is the mountains. It captures the richness of their precious contribution to the world of art. It is heartening to note that their muse was our own Himalayas which opened new vistas for the creative people to explore and it is sincerely hoped a new generation of artists will be inspired and motivated enough to further carry forward this spiritual exploration in quest of peace and harmony for the mankind. Keywords: Shan Shui, Himalayas, Nicholas Roerich, Altai Himalaya, Roerich Pact and Banner of Peace, Bireswar Sen, Abanindranath Tagore, Nandlal Bose, Wash Painting, Taiken, Arai Kampo, Serbjeet Singh, Himalaya Darshan, Satwant Singh. Assistant Professor, S. Sobha Singh Department of Fine Arts, Punjabi University, Patiala, Punjab, Email: [email protected] 41 Guru Gobind Singh College for Women, Sector 26, Chandigarh Gyankosh: An Interdisciplinary e-Journal Volume I, December 2018 Introduction The enigmatic and myriad moods of mountains have always been a source of wonder and delight for the mankind with mesmerizing and enchanting glimpses of snow-covered peaks, roaring waterfalls, cascading brooks and rivers meandering in the valleys covered with bounties of flora and fauna.
    [Show full text]
  • Powered by TCPDF ( Gyankosh: an Interdisciplinary E-Journal Volume I, December 2018
    Powered by TCPDF (www.tcpdf.org) Gyankosh: An Interdisciplinary e-Journal Volume I, December 2018 CONTENTS Sr. No. Title Author Page No. 1. GENDER GAP IN FINANCIAL SERVICES Dr. Jatinder Kaur 1-18 IN INDIA: A STATE LEVEL ANALYSIS 2. PUNJAB: CRADLE OF INDIAN CIVILIZATION AND Mr. Anurag Singh 19-29 KHALSA GURU GOBIND SINGH 3. COLLABORATIVE HOSTING PLATFORMS: A CASE Dr. Preet Kamal 30-39 STUDY OF FOSSHUB 4. ‘MOUNTAIN MUSE’- AN EXPLORATION TO Dr. Kavita Singh 40-51 HUMAN CONSCIOUSNESS AND ETERNITY 5. SPIRIT OF FREEDOM Dr. Savneet 52-56 6. SOCIAL FORESTRY IN INDIA: ITS SOCIO-ECONOMIC Dr. Bindu Dogra 57-67 DIMENSIONS AND IMPACTS 7. RESTORING THE TRADITIONAL TECHNIQUE OF Dr. Rohini Arora 68-80 RUMAL EMBROIDERY FROM HILL STATES OF PUNJAB 8. म셂थालऱया वनपति की जििीववषा : कर्ण (रलसमरथी के डॉ. सररिा चौहान 81-90 ववशेष सꅍदर्ण मᴂ) 9. ;zB ;zzskbh dk d[yKs vkH jogqhs f;zx j[zdb 91-96 10. wod ekwBk dk g?Zsfoe ntu/sB L i;tzs dhd owBgqhs e"o 97-109 11. is`K prMprw iv`c nwrI 110-122 ꩍਰੋ. ꩍਰਭਜੋਤ ਕੌਰ 81 Gyankosh: An Interdisciplinary e-Journal Volume I, December 2018 GENDER GAP IN FINANCIAL SERVICES IN INDIA: A STATE LEVEL ANALYSIS Dr. Jatinder Kaur Abstract Despite a tremendous progress in financial inclusion levels of different countries across the globe, the World Bank Findex data did not show any signs of improvement as far as gender gap in financial services is concerned over a period of three years from 2011 to 2014.
    [Show full text]
  • LIST of BOOKS in the ART REFERENCE LIBRARY of NGMA BENGALURU As on 18Th July 2014 Year,Edition & SL NO Sub Code Subject ACC
    Subject and Period wise classification of Art Reference Library Books,NGMA.Bengaluru. LIST OF BOOKS IN THE ART REFERENCE LIBRARY OF NGMA BENGALURU as on 18th July 2014 Year,Edition & SL NO Sub Code Subject ACC. NO Author Title Volume Publisher Keywoards Book Description Classification No Reference Sources : 1 Western Reference Sources : Encyclopaedia Britannica Bronze Age, Iron Age, Neolithic,Egyptian, Ancient Near The Encyclopedia of Visual Art subsumes six approaches to visual art: a History of Art, a Biographical Dictionary of Artists, a Glossary of Terms, Three 1 1 Western 21 Gowing.Sir Lawrence The Encyclopaedia of Visual Art 1965 International.London Eastern,Sculpture,Tomb ,Aegean, Greek, sets of illustrated studies [Special studies,Comparative studies,Media Studies] a summary guide to Museums and Galleries of the world and an 703 GOW Reference Sources : Encyclopaedia Britannica Bronze, Sculpture,Ellora,Mughal, Buddhist,Roman, Celtic, 2 1 Western 22 Gowing.Sir Lawrence The Encyclopaedia of Visual Art 1965 International.London Parthian, Indian,Southeast Asian. The book speaks about the art of the city of Rome or art executed by or for Romans. 703 GOW Reference Sources : Encyclopaedia Britannica North American,African, Oceanic,Irish,Bronze, Reference, This volume of the encyclopedia contains information about the art of Islamic, Irish, Byzantine, Anglo-Saxon, Viking, Pre-Columbian, North American 3 1 Western 23 Gowing.Sir Lawrence The Encyclopaedia of Visual Art 1965 International.London Islamic, Pre-columbian,Ottonian. Indian and Eskimo,African, Oceanic, Carolingian,Ottonian cities. 703 GOW Reference Sources : Encyclopaedia Britannica Neoclassicism,Romanticism, Manuscript, Gothic, 4 1 Western 24 Gowing.Sir Lawrence The Encyclopaedia of Visual Art 1965 International.London Antiquity,Renaissance,Reference, Rococo.
    [Show full text]
  • An Interdisciplinary Journal ISSN : 2581-8252 Volume I, December 2018
    Gyankosh: An Interdisciplinary Journal ISSN : 2581-8252 Volume I, December 2018 ‘MOUNTAIN MUSE’- AN EXPLORATION TO HUMAN CONSCIOUSNESS AND ETERNITY Dr. Kavita Singh Abstract This research paper is a visual exploration to the mighty and ageless mountains especially the ‘Himalayas’ and the journey of four prominent painters who devoted their lives painting the magnificent moods of the mountains discovering, exploring and demystifying the layers of mysticism, mystery and the heights and depths human consciousness in search of eternity and sublime divinity. It throws ample light on the monumental work these artists created by sharing a single muse that is the mountains. It captures the richness of their precious contribution to the world of art. It is heartening to note that their muse was our own Himalayas which opened new vistas for the creative people to explore and it is sincerely hoped a new generation of artists will be inspired and motivated enough to further carry forward this spiritual exploration in quest of peace and harmony for the mankind. Keywords: Shan Shui, Himalayas, Nicholas Roerich, Altai Himalaya, Roerich Pact and Banner of Peace, Bireswar Sen, Abanindranath Tagore, Nandlal Bose, Wash Painting, Taiken, Arai Kampo, Serbjeet Singh, Himalaya Darshan, Satwant Singh. Assistant Professor, S. Sobha Singh Department of Fine Arts, Punjabi University, Patiala, Punjab, Email: [email protected] 41 Guru Gobind Singh College for Women, Sector 26, Chandigarh Gyankosh: An Interdisciplinary Journal ISSN : 2581-8252 Volume I, December 2018 Introduction The enigmatic and myriad moods of mountains have always been a source of wonder and delight for the mankind with mesmerizing and enchanting glimpses of snow-covered peaks, roaring waterfalls, cascading brooks and rivers meandering in the valleys covered with bounties of flora and fauna.
    [Show full text]
  • Revelations I
    Revelations Revelations Revelations I CONTEMPORARY ART 47 ARTISTS I Janua R y 2013 THE PUNE ART GALLERY ART PUNE THE TPAG TPAG THE PUNE ART GALLERY 2 3 Revelations I CONTEMPORARY ART 47 ARTISTS JanUARY 2013 TPAG THE PUNE ART GALLERY 4 TPAG THE PUNE ART GALLERY Foreword The Pune Art Gallery A cycle oF Art at Oakwood Premier Hotel by K.S. SHeKHAwAt 4-5 81, Mundhwa, Koregaon Park Annex Pune 411036, Maharasthra, India E: [email protected] gAllery Note W: www.thepuneartgallery.com SANjAy KumAr SetHiA 7 For enquiries please contact: AnaidA pArvANeH Ms. Shashi Rajan, Gallery Manager M: +91 9730767995 Help cAre iNdiA 8-9 Essay: K.S. Shekhawat coNteNtS exHibitioN plAteS 10-13 Concept & Design: Sanjay Kumar Sethia & Anaida Parvaneh ArtworKS 14-82 Printed at Archana ArtiSt proFileS 83-94 www.archanapress.com No part of this publication may be reproduced, SpoNSorS stored in or introduced into a retrieval system, or transmitted in any form by any means PancHSHil reAlty 96 (electronic, mechanical, photocopy, recording or Oakwood premier puNe 98 otherwise), without the prior written permission of the copyright owner of this catalogue. The iNdigo AirliNeS 101 Pune Art Gallery will not be held responsible for any typing / printing errors or spelling errors in the catalogue. 2 3 a CyCle of aRt The trajectories of Indian modern art have been shaped by so many hands and minds that Nor would the section be complete without Seema Kohli’s canvases in which she brings her its legacy continues to bind artists of even the current generation. The baton of culture belief in the universe of man and nature, of man and woman, together, like the deeply rooted is the overwhelming yoke they have inherited with its deeply entrenched layers that shape trees she is so fond of.
    [Show full text]
  • INDIA INTERNATIONAL CENTRE V O L U M E X X V
    Price Re. 1/- INDIA INTERNATIONAL CENTRE v o l u m e X X V. No. 1 January–February 2011 told the audience how this was the result of an event The Golden Boat held the previous year at the annual IIC Festival BOOK RELEASE AND PERFORMANCE when twelve poets from various Indian languages IIC Annual Day: The Golden Boat – 50 Indian River came together to read out their original poems with Poems (New Delhi, Yoda Press and IIC 2011) English translations in praise of the River, the theme chosen for the IIC Experience, 2009. Life Trustee Edited by Professor K. Satchidanandan Dr. Kapila Vatsyayan, and the Director, Dr. Kavita A. Followed by Synthesis of Strings-Sitar and Cello, Sharma who were present that day, took an active role January 22 in promoting the idea of a book to commemorate that memorable event. Also present was publisher The Annual Day of the IIC is celebrated each year Arpita Das, who recalled the challenge of producing to mark the anniversary of the turning of the first a multi-lingual text to celebrate the linguistic diversity sod of earth by Smt. Kamaladevi Chattopadhyaya at of India. the site that is now known as the India International This was followed by an unusual concert, ‘A Centre. This year, in addition to the Members’ tea on Symphony of Strings’, a stirring jugalbandi between the Fountain Lawns, the anniversary was celebrated Shubhendra Rao on the sitar and Saskia de Haas on by two memorable events. the cello. Moving in perfect harmony, they played The first was the release of a book of poems, The a medley of ragas and a fusion composition that Golden Boat – 50 Indian River Poems edited by Professor brought the evening to a perfect end.
    [Show full text]
  • This Glimpse of Parsi Culture Comprised an Exhibition, a Seminar, a Three-Day Workshop on Parsi Embroidery, and a Gala Musical E
    majestic garas were arranged across the gallery. Also on display were a kusti (sacred girdle) weaving loom, a glorious embroidered toran hanging, tanchoi work, and furniture. Curated by Ashdeen Lilaowala, it was an embodiment of a living tradition. A small area also 'displayed Parzor's revival of the dying art of Parsi embroidery. This glimpse of Parsi culture comprised an exhibition, A seminar featured several eminent scholars who a seminar, a three-day workshop on Parsi embroidery, discussed various topics, from Parsi crafts and their and a gala musical evening. Complemented by its religious and ecological significance,to Parsi textiles in delectable cuisine, the event ended with an extravagant India and Iran, the practice of kusti weaving and the lagan-nu-bhonu dinner. challenges facing attempts to revive these dying arts. The embroidery work- shop proved an interesting gathering of participants from Ahmedabad to Iran. Special demonstrations of the difficult and precise art of kusti weaving and toran making were shown by experts from Navsari. The gala evening on the final day presented Penaaz Masani, who sang not only ghazals but also some Persian songs, Parsi monaiats, a Sufi number and even a Punjabi song on popular demand! Dr. Parsi Festivel Kapila Vatsyayan was The exhibition, when Parzor also released a souvenir, honoured at the ceremony and Mrs. Gursharan Kaur was truly a panorama of everything Parsi. Walls was the guest of honour. were adorned with photographs depicting the religious ceremonies; interiors of the Meherjirana The event was truly an introduction to the syncretic Library; people and palatial houses; the unique water nature of Parsi culture, a vital part of the rich cultural harvesting system Tanka and the medical Hadvaid tapestry of India.
    [Show full text]
  • CHITRAKAR I See My Childhood in the Grey Light of My Memory. It Is
    CHITRAKAR I see my childhood in the grey light of my memory. It is afternoon. I am lying on a huge bed like the ones they used those days. My mother is sitting by my side. She asks me, 'Will you eat some rice?' and I say,v 'Yes.' The kitchen is next door; the smell of ghutey smoke hits my nostrils. Soon my mother brings a small plate and an earthen pot and lifts and seats me before the plate. She serves rice out of the pot onto the plate and says, 'Wait, I am coming.' By the time she does, with some stew made of magur fish, I have nearly fin­ ished the rice. 'Good heavens! You have eaten up all the rice! What will you eat the fish stew with?' she exclaims. Anyway, she kneaded the little rice left with trie stew and a few left-over pieces of bananas and fed it to me. Then she wiped my mouth and put me back in bed, content. Outside, I could hear her say, 'I have fulfilled his wish to eat rice before he went,' and another voice responding, 'When the doctor has written off his case that was the right thing to do.' I feel that I knew my mother the first time that day. I do not quite recollect what our relationship was earlier to this. That evening my father came straight to my room when he came home. He sat on my bed, felt my pulse, tapped my stomach and said, 'He looks good now.' And added while getting up and leaving the room, 'Why did the doctor make such an ominous remark this morning?' 6 Benodebehari Mukherjee A few days later there was a big commotion in the house; my father was shouting, 'You fed rice to a child face to face with death! What kind of brains do you all have?' He went on raving outside the room, while my mother came and sat silently by my bedside without saying a word.
    [Show full text]