Chhatrapathi Shivaji

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<!--QuoteBegin-Hauma Hamiddha+Nov 30 2006, 06:12 AM-->QUOTE(Hauma Hamiddha @ Nov 30 2006, 06:12 AM)<!--QuoteEBegin--><!--QuoteBegin--><div class='quotetop'>QUOTE<!--QuoteEBegin-->Second interesting thing took place when Hammir was married. Chittor was being looked after by a Chauhan rajput for the delhi sultanate. His daughter was a child widow.<!--QuoteEnd--><!--QuoteEEnd-->

Apparently, Vanvir the son of this Maldev Chauhan joined Hammir latter and fought on his side against the Moslems. But what was the ancestry of Maldev- did he belong to the Shakambari or Naddula branch of Chahamanas?
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Hello Hauma,
Nadolia (of Nadol: a small town in Godwad region of Marwar) chauhans are also from the Sakhambri line of chauhans. Lakshman or Lakha the progenitor of Nadolia chauhans was the son of Vakpati of Sakhambri: (from Sahajpala's fragmentary Mandor inscription line 6).

In Lakha's line came Alhana, whose son was Kirtipala, who perhaps because of a falling out with his brothers, conquered Jalore and started the Svarngiri line of Jalore Chauhans.
Maldev is of the Jalore line.

-Digvijay

[Bharatvarsh]

<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->Movies on Chatrapati Shivaji Maharaj

Sinhagad (1932) - Produced by Prabhat Film Company
Directed by V. Shantaram, Music, Screenplay and Dialogues by Govindrao Tembe, Story by H.N. Apte, Lighting by Keshavrao Dhaibhar, Art Direction: Saheb Mama Fatehlal, Sound by Vishnupant Damle. Location: Kolhapur, Laboratory: Prabhat Film Company.

Cast: Shinde, Shankarrao Bhonsale, Keshavrao Dhaibhar, Bajarbattu, Baburao Pendharkar, Buvasaheb, Nimbalkar, Master Vinayak, Leela Chandragiri, Prabhavati.

Songs: Suman he adara, Suprabhati suryaa, Uth gadya chal veer gadya, Yeda zaala jeev, Ha kuthwari chhal sahan karu, Jyachi kirti sarya jagataat, Hi duniya char dinanchi, Deva he Dayasagara.

Comment: Along with this movie, a special documentary on the major poets of Maharashtra used to be screened.



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Chatrapati Sambhaji (1934) - Produced by Saraswati Cinetone Company

Directed by Parshwanath Artekar, Music, Annasaheb Mainkar, Story, Screenplay, Dialogues and Lyrics by D.K. Kane, Lighting by S.D. Patil, Sound Recording: Lajpatrai, Art Direction: G.V. Vategaonkar, Sets: V.D. Gokhale. Location: Pune.

Cast: Master Vithal, Dada Salvi, Vasantrao Pehelwaan, Jawdekar, Vijaya Devi, Shakuntala, Kishori Ingle, Shahir Nanivadekar, Varne, Kamble, Patil.

Songs: Aika Aika Sambhaji Maharajanchya shouryala, Thamb jara jeevalaga, Chamke paani, Tu kanvalu bhav bhukela, Mashi ka ruslas sajana, Phoolnar to khudile, Krodhan jwalantima.

Comment: First ever Sanskrit Song Krodhan jwalantima.



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Shakakarta Shivaji (1934) - Produced by Shri Jaidevi Cinetone Company

Directed by Nagendra Mazumdar, Story by Y.N. Tipnis, Lighting by Y.D. Sarpotdar, Sound Recording: Minoo Katrak. Location: Mumbai.

Cast: Madhav Kale, Muzumdar, Athavale, Madhukar Gupte, B. Apte, Master Amritlal, Master Umesh, Gohar Karanataki, Indira Wadkar.

Songs: Kalyugi Kalki avtaar, Karuna kashi na tula, Raigadi aala Raja, Ye nabhala charuta, Kare tuzla daya na, Patit tu pawana, Sur lalana vanaa aali, Padas Rajas kari chaala, Tochi sajila navra, Jani aakant ha, Vimal ha chandra nabhaala.

Comment: This movie was based on the Marathi play "Amche Imaan". It was later dubbed in Hindi too. This was Gohar Karnataki's first marathi film debut.



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Swarajya Seemevar (1937) - Produced by Prince Shivaji Productions

Directed by Major Dadasaheb Nimbalkar, Music by Dada Chandekar, Story, Screenplay, Dialogues and Lyrics by Bhalji Pendharkar, Lighting by S.P. Shinde, Sound Recording: Chintamanrao Modak, Art Direction by Shankarrao Shinde. Location: Kolhapur

Cast: Col. Nanasaheb Hungle, Kumar Dilip, Nanasaheb Phatak, Shankarrao Bhonsale, Jayshree Ghorpade, Master Suresh, Dinkar Kamhana, Raja Pandit, Samarth.

Songs: Teenhi sanjacha geli ga paanyala, Shunya sadan diste bai, Gele mohuniya anand sadani, Sangte suchavale ga, Naari nadaan chakri ga sutli, Pati charan phiruniya sadani, Bhave poojila nita, Vad kutla mazla thaara, Daya daavi Deva dayala, Phakad umde he jawan, Veer vritticha bhagwa zhenda.



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Baji Prabhu Deshpande (1939) - Produced by Maharashtra Pictures

Directed by Balasaheb Yadav. Location: Kolhapur

Cast: Balasaheb Yadav, Zunzarrao Pawar, Ganpat Bakre, Amjad Khan, Bapurao Pawar, Noorjehan, Sharda.

Songs: Vaya ajuni lahan yeudya, Deh tumchya charni arpan, Bhan nase sajana, Jirli na shur shipahi, Ae shok liye yaad liye, Dayala kari dhaava, Lai zhal he Deva, Jane kya kya teri aankho main, Jyachi kirti ajaramar zhali.



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Netaji Palkar (1939) - Produced by Arun Pictures

Directed by Major Dadasaheb Nimbalkar, Music by Dada Chandekar, Story, Screenplay, Dialogues and Lyrics by Bhalji Pendharkar, Lighting by S.P. Shinde, Sound Recording: Chintamanrao Modak, Art Direction by Shankarrao Shinde. Location: Kolhapur

Cast: Col. Nanasaheb Hungle, Kumar Dilip, Nanasaheb Phatak, Shankarrao Bhonsale, Jayshree Ghorpade, Master Suresh, Dinkar Kamhana, Raja Pandit, Samarth.

Songs: Teenhi sanjacha geli ga paanyala, Shunya sadan diste bai, Gele mohuniya anand sadani, Sangte suchavale ga, Naari nadaan chakri ga sutli, Pati charan phiruniya sadani, Bhave poojila nita, Vad kutla mazla thaara, Daya daavi Deva dayala, Phakad umde he jawan, Veer vritticha bhagwa zhenda.



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Bhagwa Zhenda (1939) - Produced by Saraswati Cinetone

Directed, Story, Screenplay, Dialogues and Lyrics by Bhalji Pendharkar, Music by C. Balaji, Lighting by Sazu Naik, Sound Recording: Chintamanrao Modak, Records on HMV. Location: Pune

Cast: Lalita Pawar, Bakulabai, Bhaurao Datar, Master Vithal, I.T. Nimbalkar, G.R. Sandow, Krishnarao Gote, Shahir Naniwadekar, Anandrao Sheikh.

Songs: Utha utha Bharat aji, Swarajyachya swadharmachya dhwaja re, Bol pritiche hasuniya, Yek mujra Mahadevaala, Bag bag teenhi sanz zhaali, Chalita ka ya jeeva, Aala bahar naari navtila.



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Raigad (1940) - Produced by Bhagyodaya Pictures

Directed by Narayan Devhare and Gajanan Devhare, Music by Dinanath Mangeshkar and Shanti Kumar, Story, Dialogues and Lyrics by V.C. Gurjar, Scenario Treatment and Dialogues by Raghuvir Rele and Sundar Mankar, Lighting by Anantrao Devhare, Sound Recording: Mahadev Jadhav and Sunny Benjamin, Art Direction by More. Location: Mumbai

Cast: Durga Khote, Shantakumari Kothare, Bhaurao Datar, Manohar Gharvai, S. Baburao, Kamala Varerkar, P.R. Joshi, Omkar Devaskar, Balwantrao Parchure, Shankarrao Bhosale, Kanse.

Songs: Shivrayache athvave roop Shivrajas athvave, Glani jeevanala dehahi nimala, Haati shant ramya poornima, Maji hi priya bhari, Majla zulvita baala, Aali ya kaali, Tuzya vina Prabhu kuni savarena.



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Thoratanchi Kamala (1941) - Produced by Famous Arun Chitra

Directed, Story, Screenplay, Dialogues and Lyrics by Bhalji Pendharkar, Music by Kashalkar and Pyaara Saheb, Lighting by Sazu Naik, Sound Recording by Chintamanrao Modak, Art Direction by Bal Gajbhar. Location: Pune

Cast: Sumati Gupte, Chandrakant, Nanasaheb Phatak, Nimbalkar, Jaishanker Daanve, Kamalabai, Shanta, Chitnis, Bapurao Pawar.

Songs: Yei surya maathyavari, Naga jaoo to lamb lamb, Chal ga jaoo shetavarti, Shobhla veer ha dheer ha, Sakhi lagbag lagbag chalat, Sangu kunaala mod manaala, Geli laaj sharam, Ka ho chara chara kalaj chiruni.

Comments: A movie based on poems by "B" (This apparently is a nom de plume for the poet. We shall put up his name as soon as we find out.)



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Jai Bhawani (1947) - Produced by Prabhakar Chitra

Producer Prabhakar's Marathi employees, Directed by Jaishanker Danve, Music by C. Balaji, Story, Screenplay, Dialogues and Lyrics by Bhalji Pendharkar, Lighting by Vasudeo Karnataki and Shinde, Sound Recording: Mhamulkar, Art Direction by Dere, Records on HMV. Location: Prabhar Pictures Kolhapur.

Cast: Suryakant, Master Vithal, Jaishanker Danve, Vasant Shinde, Vishwas Kunte, Bhimrao Kale, Barchibahadar, Sulochana, Sheela, Anjani, Leela Joshi.

Songs: Hushar bhaino hushar, Swarajyachya swadharmachya dhwaja ghe mawali mujra, Mulukh mawali boli Marathi, Tuzhavin Deva mazha kuni nahin, Ye ga ye ga phoolwali, Don dagrivar haath tekle, Akashi chand sazala chandni save rahe.



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Shilanganache Sone (1949) - Produced by Prabhakar Chitra

Produced, Directed, Story, Screenplay, Dialogues and Lyrics by Bhalji Pendharkar , Music by Laxman Beralekar , Lighting by Ganpat Shinde, Sound Recording: Jadhav and Chintamanrao Modak, Art Direction by Nilkanth and Dere,Still Photography by Dada Gajbar, Make-up by Dinkar, Dress designed by Vishwasrao and Narayanrao, Records on HMV. Location: Jayprabha Studios (Kolhapur).

Cast: Shanta Apte, Hansa Wadkar, Baburao Pendharkar, Master Vitthal, Jayshankar Danve, Sulochana, Bhimrao Kale, Suryakant, Anjani, Latkar, Ibrahim, Lila Danave.

Songs: Nahi laj zhale bejar, Ek bani ek vachani ek patni Ram te, Padate paya lotu naka raya, Jalipashi markata kay tu re vrutha, Sukh lavakar ya jagatee milawe, Jawoo kuthe sangu kevi, Sunder hari Shyamal tanu roop gojire, Bandhite mana wegale, Indu tewi savita taw.



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Kalyan Khajina (1950) - Produced by Manik Chitra

Producer P. K. Pathak, Directed by D. S. Ambapkar, Music by Dutta Dawjekar, Story, Screenplay, Dialogues by G. D. Madgulkar and P. L. Deshpande, Lyrics by G. D. Madgulkar, Lighting by Bal Bapat, Sound Recording: Balasaheb Chavhan, Art Direction by Parisa Mule. Still Photography by Dewdhar, Make-up by Jawdekar, Dress designed by Dawlatrao. Location: Manik Studios (Pune).

Cast: Durga Khote, Rajan, Baburao Pendharkar, Usha Kiran, Vivek, Ganpatrao Tambat, Hansa Wadkar, Purnima, Dhumal, Balkoba Gokhale, Chandrakant Gokhale, Shakuntala, Jadhav, Manjrekar, Shankar Kulkarni, Master Ravindra, Prabhakar Muzumdar, Gramopadhye.

Songs: Nrusinha Shivajiraja sadhi deshkaja, Bhaldar chapdar chalati pudhe, udya tari tumhi janar dur, Rohidyachya dongarat sambala ga abhishek, Mere pyare chand tu mayke mere jayega, Eik Krushna hak mazhi kaurawanni ganjile, Shivarayache athawawe roop.



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Mard Maratha (1951) - Produced by Suramya Chitra

Producer Keshavrao Talpade, Govind Bhadsavle,Kashinath Paralkar and Sadashivrao Kavi, Directed by Keshavrao Talapade, Music by Shridhar Parsekar, Story by Nath Madhav based on "Swarajyacha Shriganesha",Screenplay, Dialogues by Vyankatesh Madgulkar , Lyrics by Shantaram Athawale, P. Sawalaram, Amarshekh, Sarswati Kumar "Deepak", Lighting by Shankarrao Patil, Playback Singers Vinodinee Dixit, Amarshekh, Mohantara and Ajinkya, Sound Recording: Nair, Minu Tampal, Art Direction by Shri. D. Achrekar, Still Photography by Kumkum Art Studio, Make-up by Laxman Kasegaonkar and More, Dress designed by Salunkhe and Ganpat. Location: Mumbai.

Cast: Usha Kiran, Master Vitthal, Vivek, Master Chhotu, Mangala, Vasant Shinde, Angre, Raj Basant, Parshuram Samant, Sudha Apte, Krushnarao Chonkar, Takalkar, Bhalerao, Hareesh, lata Rao, Kusum Sukhtankar, H. Prakash, Chittaranjan Kolhatkar.

Songs: Shetet mazhya ghewan dharaliya sonya rupyachi dhar, Nirale ghadle kaheetaree, Malujee mairalare dhanya tu anyay dhong andhar pasarala, Teree daulat hai bekar, Maharashtra sara jaga zala, Doodharee nayan samasheree, Sahyadrichya Warya jauni sangh.



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Swarajyacha Sheeledar (1951) - Produced by Shree Gauri Chitra

Directed by Master Vitthal, Music by Dutta Dawjekar, Story by Shyamsunder, Lyrics by Shanta Shelke, Lighting by Ganpat Shinde, Sound Recording: Anand Masoji and Ramnath, Art Direction by Nilkanth Dere, Still Photography by Dada Gajbar, Make-up by Dinkar Jadhav, Dress designed by Narayanrao and Vishwas, Recorded on HMV. Location: Jayaprabha Cinetone (Kolhapur).

Cast: Suryakant, Chandrakant, Chintamanrao Kolhatkar, Jayashankar Danwe, Balkoba Gokhle, Vasant Latkar, Shankarrao Bhonsle, Bhimrao Kale, Shankarrao Kawthe, Anjani, Subodheeni, Kirtimala.

Songs: Kiti hinwiti sangatini ga, He ramraya tuj winwite, Shur phakda shiledar mi, kay zhal maz gadya umazhachana, Parvati howuni mi bhillini hindati wani, Lajri ga mazhi preet, Dum dum dum damaru wajavi kailasawari bholanath, Satichi laj sati tula.



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Chhatrapati Shivaji (1952) - Produced by Prabhakar Chitra

Produced, Directed, Story, Screenplay, and Dialogues by Bhalji Pendharkar , Music by C. Ramchandra , Lyric by P. Sawalaram, Bhalji Pendharkar and Shailendra, Playback Singer : Lata Mangeshkar, Lighting by G. Shinde, Sound Recording: Jadhav and Mole, Art Direction by Ganpatrao wadangekar,Still Photography by Dada Gajbar, Make-up by Marathe and Jadhav, Dress designed by Vishwasrao, Dance directed by Hazarilal, Aadamsaheb, Kumar Atre and Kusum, Records on HMV. Location: Jayprabha Studios (Kolhapur).

Cast: Chandrakant, Parshwanath Aaltekar, Gajanan jagirdar, Leela Chandragiri, Lalita Pawar, Ranjana, Ratnmala, Vanmala, Baburao Pendharkar, Master Vithhal, Krushnrao Chonkar, Jayshankar Danwe, Sureshnath, Vasantrao Pahelwan, Shakuntala varne, Vasant Thengdi, Umesh, Shankar Kulkarni, Takalkar, Vinay Kale, Shankarrao Bhosle, Bagalkote, Hasabnis, B. kale, Lata Mamgeshkar.

Songs: Kuni Govind ghya kuni Gopal ghya, Wajav danka dahi dishela, Yare ya veer ya shur ya, Gawat gaon mazh maherch gaon, Muzhpe hi raham mere, Chhan chhabeli mi albeli, Sata janmichi son paule, Dhwaj tejalun swatantryacha, Shivarayache roop pahawe.

Comments: The first hindi song written by Shilenra for Marathi movie, Lata Mangeshkar's last movie as an actress. The same movie was also dubbed in Hindi. Parshwnath Aaltekar played Mirza raje Jaysingh in Marathi version whereas Pruthvi Raj Kapoor played the same role in Hindi version.



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Naraveer Tanaji (1952) - Produced by Kohinoor Production (Mumbai)

Directed by Ram Gabale, Story, Screenplay, Dialogues and Lyrics by G. D. Madgulkar , Music by Sudhir Phadke, Playback Singer : Asha Bhonsle, Shamshad Begum, Sudhir Phadke, Amar Shekh and Vasantrao Deshpande, Lighting by Vasant Beltangadi, Sound Recording: Shankarrao Damle, Art Direction by Thatte and Dalvi, Still Photography by Anant Agashe, Make-up by Jawdekar and Guruppa, Dress designed by A. K. Kagdi and Shankar Kadam, Dance directed by Vasant Pawar and Mohanlal Pande. Location: Prabhat Film Company (Pune).

Cast: Baburao Pahelwan, Vasantrao Pahelwan, Keshavrao Dhaybar, Durgabai Khote, Master Vitthal, Madanmohan, Vivek, Prabhakar Mujumdar, Ganpatrao, Manemama, Dinanath Takalkar, Govindswami Aphle, Vasant Shinde, Balkoba Gokhle, Ranjit Budhkar, Vijay Damle, Sulochana, Ranjana, Chitra, Rekha, Indira Chitnis, Hira Sawant.

Songs: Marathyacha mard umrao, Dhire jara gadiwana, Madhachi raat chandanyat kushi, Mi tula Ishwar kay mhanu, Ranhalgiwar dya tipru aamhi rayach gondhali ghalato, Mast hai ishq main mahaphil.



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Pawankhind (1956) - Produced by JayBhavani Chitra

Directed, Story, Screenplay, and Dialogues by Bhalji Pendharkar , Music by Vasant Prabhu , Lyrics by P. Sawalaram, Playback Singer : Lata Mangeshkar, Pirajirao Sarnaik and Vitthal Shinde, Lighting by Vasant Shinde, Sound Recording: Appa Jadhav, Art Direction by Pandurang Haval, Still Photography by Shyam Sasne, Make-up by Dinkar Jadhav, Dress designed by Vishwasrao. Location: Jayprabha Chitra Mandir (Kolhapur).

Cast: Suryakant, Vasantrao Pahelwan, Baburao Pendharkar, Sulochana, Nalini Borkar, Sheela, Master Vitthal, D. S. Ambapkar, Barchi Bahadar, Ganpat Patil, Ingawle, Minche, Amol Kinikar, Vasant Latkar.

Songs: Himalayala Dwaparamadhi bhete, Malhari maza malhari bhatrar maza malhari, Kuni kahi mhano ho, Tuzhyasathi tuzhe gheuni naav, Ganjipha nar khelate daav tumhi taka nazar mazhi jinka.



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Mohityanchi Manjula (1963) - Produced by Jaybhavani Chitra

Produced, Directed, Story, Screenplay, and Dialogues by Bhalji Pendharkar , Music by Anandghan , Lyrics by Shanta Shelke and Jagdish Khebudkar, Playback Singer : Lata Mangeshkar, Lighting by Arvind Lad, Sound Recording: Kaushik. Location: Jayprabha Cinetone (Kolhapur).

Cast: Suryakant, Jayashri Gadkar, Chandrakant, Raja Patwardhan, Indira Chitnis, Chittaranjan Kolhatkar, Jayshankar Danve, Shanta Tambe, Shankar Kulkarni, Raja Mayekar, Baburao Pendharkar, Master Vitthal, Vasant Shinde.

Songs: Pandhara kavala, Sonsakali, Nilya abhali katarveli, Bai bai man moracha kasa pisara phulala, Zhala sakharpuda ga bai thataat.

Comments: Lata Mangeshkar composed the music for this movie under the assumed name 'Anandghan'. This was the first movie for which she composed the music.



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Thorataanchi Kamala (1963) - Produced by Surel Chitra

Produced and Directed by Madhav Shinde , Music by Datta Davjekar , Lyrics by Kavi Sanjeev and Suryakant Khandekar, Story, Screenplay and Dialogues by Bhalji Pendharkar Playback Singer : Lata Mangeshkar, Asha Bhosale, Usha Mangeshkar, Meena Khadikar, Lighting by Vasant Shinde, Sound Recording: Ramnath Jathar, Art Direction by Pandurang Haaval, Still Photography by Ram Shinde, Make-up by Dinkar Jadhav, Dresses designed by Narayan Yadav and Vithal Ingavale, Records on HMV. Location: Jayprabha Studios (Kolhapur).

Cast: Uma, Suryakant, Chandrakant, Indira Chitnis, Vasant Shinde, Chitra, Tara, Manikraj, Baburao Pendharkar, Barchibahadar, Ganpat Patil, Gulab Mokashi, Ranjana, Jog, Shankarrao Bhosale, Kamal Jamenis.

Songs: Zul zule nadi hi bai, Chala lavkari, Mathyavarti oon kiti taple, Nahin jodi vachun godi hya jalmala, Majhya othaat rangeet gane, Kadi Shivraya yayche tari, Mandiri Shivbhushan yetil.



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Maratha Tituka Melwava (1964) - Produced by JayBhawani Chitra

Produced, Directed, Story, Screenplay and Dialogues by Bhalji Pendharkar , Music by Anandghan , Lyrics by Shanta Shelke and Kavi Sanjeev, Playback Singer : Lata Mangeshkar, Asha Bhosale, Hridayanath Mangeshkar, Lighting by Dattaram Bhatavedkar, Sound Recording: Ramnath Jathar, Art Direction by Pandurang Haaval, Still Photography by Shyam Sasne, Make-up by Dinkar Jadhav, Dresses designed by Narayan Yadav, Records on HMV.

Cast: Alhaad, Chandrakant Gokhale, Jaishanker Daanve, Dr. Kashinath Ghanekar, Raj Shekhar, Bhimrao, Barchibahadar, Govind, Arun Naik, R. Shinde, Sulochana, Jeevankala, Tara Redkar, Latkar, B. Gavde, Baby Mala, Sarkavas, Indu Galadghekar.

Songs: Daya teeche naav, Sang sang sang sang sang, Akhercha ha tula dandavat, Reshamanchya reghani lal kalya dhaagyani, Shur amhi sardar amhala kai kunaachi bheeti, Aga swadharmu ha apula, Marathi paool padte pudhe.



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Raigadcha Rajbandhi (1965) - Produced by Swanand Chitra

Narrator : Anant Joshi, Produced by Raja Badhe, Directed Raja Thakur, Story by D.G. Godse, Screenplay and Dialogues by P.B. Bhave, Music by D.P. Korgaonkar, (K.Datta) , Lyrics by Raja Badhe, Playback Singer : Asha Bhosale, Suma Kalyanpur, Ramdas Kamat, Jaywant Kulkarni, Sarnaik and Group, Mubarak Begum, Lighting by Madhukar Kharkar, Sound Recording: Reddy and Vishnupant Chavan, Art Direction by K.D. Mahajani, Still Photography by D.V. Rao, Make-up by Ramchandra Narayan Surve, Dresses designed by Baban Aitole, Song Recording by B.N. Sharma. Location: Film Institute (Pune)

Cast: Sulochana, Chitranjan Kolhatkar, Chandrakant Gokhale, Balkoba Gokhale, Mai Bhide, Baby Nayan, Vasant Shinde, Durga Khote, Ganpat Patil, Jaishanker Danve, Mokashi, Dinanath Takalkar, Javdekar.

Songs: Chashme paimana uthale ashk aahe bhari, Tung Raigad rajgajendra ubhar zhukta zhok, Sutena maheraachi meethi, Sakali uthani mukh pahava aaicha, Hi gunaachi gojeeri ga gaur maaji sajeeri, Anand mani maina kasa ga savru, Daar ughad baye daar ughad.



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Dhanya te Santaji Dhanaji (1968) - Produced by Sahyadri Pictures

Produced by Dattaram Chougule and Nagesh Redij, Directed by Dinkar D. Patil, Music by Vasant Desai , Story, Screenplay and Dialogues by Datta Kadam, Lyrics by Jagdish Khebudkar, Playback Singer : Asha Bhosale, Mana Dey, Vasant Deshpande, Shobha Gurtu, Jaywant Kulkarni, Lighting by M.N. Kulkarni, Sound Recording: Ramnath Jathar and Baba Lingnoorkar, Art Direction by Pandurang Haaval, Still Photography by Patil Photo Studio and Mayur Studio, Make-up by Dinkar Jadhav, Dresses designed by R.N. Mahajan, Dances by Parvati Kumar and Ranjan Salvi. Location: Jaiprabha Studio, Shantakiran Studio (Kolhapur)

Cast: Chandrakant, Suryakant, Uma, Sujata, Mama Pendse, Ratnamaala, Datta Kale, Jaishanker Daanve, Ganpat Patil, Rajas Sathe, Bal Jamenis, Nargis Banu, Vishnupant Jog, Arun Karnataki, Gulab Mokashi, Bharat Redij, Sanjay.

Songs: Jai jai ho Maharashtracha, Desh ha Deva ase maazha, Gheona mehfilicha ratritala nivaara, Sanamadhye sana bai, Mathurela Krishna nighaala, Pahuni pyaara bhari muskan, Gulzar gulchaddhi nadun, Aali gaavamandhi pheri Vasudevaachi, Shankara karunakaara.



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Raja ShivChhatrapati (1974) - Produced by Shivshakti Production

Narrated by Shalini, Produced by Kishor Miskin, Directed by Chandravadan, Screenplay and Dialogues by Pradeep Dixit, Music by Vasant Desai, Lyrics by Sudheer Moghe and Yogesh, Playback Singers : Mahendra Kapoor, Usha Mangeshkar, Asha Bhosale, Mallesh, Waghmare, K. Jayswal, Bogum, Pundit Bhimsen Joshi, Manna De, Minu Purshottam, Shobha Gurtu, Lighting by Tyagraj Pendharkar, Sound Recording by Raghuveer Date, Art Direction by B. Jadhavrao, Still Photography by Kanti Thakkar and Bacchubhai, Make-up by Chandrakant Deshpande, Dresses designed by Ganapatrao, Dances by Chetan Kumar, Records on HMV. Location : Rajkamal Kalamandir.

Cast: Shriram Gojamgunde, Sumati Gupte, Smita Patil, Anupama, Kanan Kaushal, Veena, Bharat Kapoor, Chandrashekhar, Iftekar, Shrikant Moghe, Gajanan Jagirdar, Chandrakant Gokhle, Harindnath Chattopaddhyay, Malati Pendharkar, Girija Pendharkar, Charushila Oak, Vasant Athawale, Viju Khote, Bindu, Mahipal.

Songs: Divsa ujedi poonav nasun aabhali chandava aala, Lal gulabi malawat bhali, Dhund shobhato ga bhutya houn tuza Shivaji nachato ga, Sosatyacha aala wara, Ratrandin amha yudhhacha prasang, Ye madhahosh mousam ye sawan ki rimzhim, Jo chakuonse jo khanjaronse na mare kisi bhi jaharase. Dri jimijbhar.

Comments: Smita Patil's first Marathi movie.



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Netaji Palkar (1978) - Produced by Bani Enterprises

Produced by Shantaram Sawant, Directed by Kamalakar Torane, Screenplay and Dialogues by Dinkar D. Patil, Music by Ram Kadam, Story and Lyrics by Jagdish Khebudkar, Playback Singers : Usha Mangeshkar, Jaywant Kulkarni, Pushpa Pagdhare, Lighting by Ratnakar Lad, Sound Recording: L. M. Deshpande, Baba Linganurkar, Vishnupant Chavhan and Ramnath Jathar, Art Direction by K. D. Mahajani, Still Photography by Jagat Prakash, Make-up by Vinayak Kawalekar, Dresses designed by Chand Badshah, Dances by Sohanlal, Records on Montage Cassettes. Location : Technicians United Studio, Shri Sound, Rooptara, Mumbai, Jayprabha, Shantikiran, (Kolhapur).

Cast: Suryakant, Sarla Yewalekar, Chittaranjan Kolhatkar, Kuldeep Pawar, Sanjivani Bidkar, Rajshekhar, Ranjit Budhkar, Ganpat Patil, Kamini Bhatiya, Vivek, Premkumar, Madhukar Todarmal, Pudma Chavhan, B. Majnalakar, Bhalchandra Kulkarni, Aswale Guruji.

Songs: Samindar nadikad bhetaya yeil ka?, Waghala maruni aala Shivacha Chhava, Bhole bhole Shankar mar dam, Sat rangacha bharala heet madan darbar, Pipani dhol ga tasha sung.

Comments: Video cassettes available on Surya-Bharati video cassettes.



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Bal Shivaji (1981) - Produced by Balchitra Samiti

Directed by Prabhakar Pendharkar, Music by Datta Dawjekar, Story and Dialogues by Bhalji Pendharkar, Screenplay by Prabhakar Pendharkar, Lyrics by Bhalji Pendharkar and Vasant Ninave, Playback Singer : Jaywant Kulkarni, Lighting by Tyagraj Pendharkar, Art Direction by Bapusaheb Pawar. Location : Prabhakar Studios, (Kolhapur).

Cast: Anand Joshi, Janhavi Khandekar, Bhalchandra Kulkarni, Manikraj, Bapusaheb Gawde, Madhoo Apte, Iftekar, Avinash Narkar, Ajay Tipre.

Songs: Umathyavari Sarja aala, Uncha uncha dongar techya khandyavari gad tu gadkari, Surya aabhali aala maratha jaga zhala.

Comments: This movie bagged the second prize at the International Competitive New Age Film Festival. In the same Film Festival Anand Joshi bagged the best child actor award for his role of Bal Shivaji.



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Ganimi Kawa (1981) - Produced by Sohadam Chitra

Directed, Story and Dialogues by Bhalji Pendharkar, Music by Ram Kadam, Screenplay by Bhalji Pendharkar and Dada Kondke, Lyrics by Dada Kondke and Yogesh, Playback Singers : Usha Mangeshkar and Jaywant Kulkarni, Lighting by Arvind Lad, Sound Recording by Ramnath Jathar, Art Direction by Dinanath Chavhan and Sharad Pol, Still Photography by Chimasaheb Ghorpade, Make-up by Shantaram Vichare, Dresses designed by Yashwant Bhalkar and Vitthal Ingawale, Dances by Subal Sarkar, Records on HMV. Location : Jayprabha Studio, (Kolhapur).

Cast: Dada Kondke, Usha Chavhan, Yashwant Datt, Suryakant, Manikraj, Vilas Rakte, Barchribahaddar, Leelabai, Asha Kale, Chandrakant Gokhle, Chittaranjan Kolhatkar.

Songs: Mazhya jiwat hurhur bhari, Ho bhal bhal bhal bhal Sadanandachya nawacha yalkot, Barshingyach lagin baaraw beduk daraw daraw kari, Potapayi parakyach ra paijar ka pujata?.



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Sarja (1987) - Produced by Dattatray Chitra

Produced by Seema Dev, Directed by Raj Dutt, Music by Hridaynath Mangeshkar, Story by Babasaheb Purandare, Screenplay and Dialogues by Yashwant Rajankar, Lyrics by N. D. Mahanor, Playback by : Lata Mangeshkar and Suresh Wadkar, Lighting by Jaywant Pathare, Sound Recording by Dasharath and Samsan Menahem, Art Direction by Guruji Brothers and Pandurang Hawal, Make-up by Pandhari Jukar and Nivruti Dalvi, Dresses designed by P. Khatawkar and Shrikant Satoskar. Location : Rajgad, Pratapgad, Naldurg, Pune, Wai Saswad, Chitranagari Goregaon.

Cast: Ajinkya Dev, Pooja, Ramesh Dev, Seema, Kuldeep Pawar, Nilu Phule, Baldev Ingawale, Ravi Patwardhan, Ramesh Kadam, Tukaram Birkad, Sunil Sonawane, Sanjay Shinde, Datta Puranik, Dabke, Smita Prayani, Chanchal Bharti, Karve, Govind Mithare, Motiraj Rajpoot, Ravindra Mahajani.

Songs: Chimb pawasan ran zhal abadani, Mi katyatun chalun thakale tu ghodyawar bharadari.

Comments: Video cassettes available on Video Plaza.<!--QuoteEnd--><!--QuoteEEnd-->

[Guest]

Quiz time: Who are these muslims? And their connection with Shivaji?
Noor Khan Baig, Siddhi Hillal, Madari Mhetar, Kazi Haidar, Rustum-e-Jaman, Darya Sarang, Daulat Khan, Meer Mohammad, Sant Baba Yakut of Kelshi?

[Guest]

Dang, week goes by and no answers!!??

Here it is: Shivaji's 'Khan'dan
Noor Khan Baig: Chief of bodyguards
Siddhi Hillal: head of cavalry
Madari Mhetar: first <i>sarnobat</i>
Kazi Haidar: lawyer and secretary
Rustum-e-Jaman: dear friend
Darya Sarang: first subedar in Shivaji's navy
Daulat Khan: Chief of navy
Meer Mohammad: painted first portrait of Shivaji
Sant Baba Yakut of Kelshi: Muslim peer held in high regard by Shivaji
----------------------
People following the court ruling on the Laine's Shivaji book issue?

[Bharatvarsh]

Lyrics of a Poem by Veer Savarkar on Shivaji titled "He Hindu Nrusinha, Prabho Shivajiraja":
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->हे हिंदू नृसिंहा, प्रभो शिवाजीराजा

हे हिंदुशक्ति-संभूत-दीप्तितम-तेजा
हे हिंदुतपस्या-पूत ईश्वरी ओजा
हे हिंदुश्री-सौभाग्य-भूतीच्या साजा
हे हिंदु-नृसिंहा प्रभो शिवाजीराजा

करि हिंदुराष्ट्र हें तूतें, वंदना
करि अंतःकरणज तुज, अभि-नंदना
तव चरणिं भक्तिच्या चर्ची, चंदना
गूढाशा पुरवीं त्या न कथूं शकतों ज्या
हे हिंदु-नृसिंहा प्रभो शिवाजीराजा

जी शुद्धि हृदाची रामदास शिर डुलवी
जी बुद्धि पांच शाह्यांस शत्रुच्या झुलवी
जी युक्ति कूटनीतींत खलांसी बुडवी
जी शक्ति बलोन्मत्तास पदतलीं तुडवी
ती शुद्ध हेतुची कर्मी, राहुं दे
ती बुद्धि भाबडया जीवां, लाहुं दे
ती शक्ति शोणितामाजीं, वाहुं दे
दे मंत्र पुन्हा तो, दिले समर्थे तुज ज्या
हे हिंदु-नृसिंहा प्रभो शिवाजीराजा

http://www.geetmanjusha.com/marathi/lyrics/1356.html<!--QuoteEnd--><!--QuoteEEnd-->

[Guest]

<img src='http://www.kamat.com/kalranga/deccan/dakhani/5921.jpg' border='0' alt='user posted image' />

Horse Mounted Shivaji
Deccan Miniature Painting by Artist Mir Mohammad, 17th Century

[Guest]

kimvadanti about kavi-var Bhushan:

Certain Mugal satrap sent for Bhushan to accompany him to the Mugal court to recite his poems. In response he sent a sarcastic and insultful line, which enraged this Nawab. Roughly translated the line meant:

Bhushan only knows those poems which force the fingers of the listener to their mostaches (veer-rasa).
But Mugals are used to listening the poems that take their fingers to some other parts (shringaar-rasa).
So, before taking Bhushan with you to recite his poems, it is recommended that Mugals wash the hands first, lest their mostaches get dirtied and blame comes on Bhushan.

Insulted thus, mughal satrap sent soldiers to arrest Bhushan. But before that, Bhushan disappeared and took shelter in Shivaji's regions.

Reaching Shivaji, Bhushan recited a beautiful chhanda, which was so much liked by Shivaji that he asked him to recite it once more, and then again and again 52 times, it is said. Shivaji granted a jagir of 52 villages to Bhushan.

this was that chhanda:

<b>indra jimi jambha par, bADav su-ambha par, rAvaNa sadambha par raghu-kul-rAj hai;
paun bAribAha par, Sambhu rati-nAh par, jyaun sahasrabAhu par rAm dwijarAj hai;
dAvA drum-danDa par, cheetA mrig-jhunDa par, bhUSaN vitunDa par jaise mrigrAj hai;
tej tam ansa par, kAnha jimi kansa par, tyon malechchha-vansha par sher shivarAj hai!!!</b>

translation, no matter how well done, would not convey even a fraction of the energy in the above beautiful lines. A bad and ugly one:

like indra on demons, (*), like lord of the raghus on boastful ravana,
like vamana on bali, like lord Siva on rati's husband, and like parasurama, the lord of brahmana-s, on sahasrabahu,
like fire acts upon woods, and a tiger on a herd of deers or like lion on hogs,
says Bhusana, like a ray of light upon darkness, or like boy Krishna upon kansa,
like that, upon the pack of mlechchha-s, has descended king Shivaji the lion.

{* 'bADav su-ambha par' means?}

[Bharatvarsh]

Not sure what that means, amba in sanskrit is used for mother but i dont know if its the same here.

Bodhiji do u know if his works have been translated into English, all of them are online in Hindi as Bhooshan Granthavali but I have a hard time understand the older Hindi used.

He was called "Kaviraaj" or "King of poets".

"Shiv Baani" in praise of Shivaji was his most famous work I think.

[Guest]

<!--QuoteBegin-->QUOTE<!--QuoteEBegin--> if his works have been translated into English<!--QuoteEnd--><!--QuoteEEnd-->

I am not aware of translations.

[Hauma Hamiddha]

<!--QuoteBegin-Bodhi+Nov 30 2007, 01:55 AM-->QUOTE(Bodhi @ Nov 30 2007, 01:55 AM)<!--QuoteEBegin-->indra jimi jambha par, bADav su-ambha par,
{* 'bADav su-ambha par' means?}
<!--QuoteEnd--><!--QuoteEEnd-->

indra wining over jambha- that is jambhAsura whose head was smashed by the vajra of indra. bADav: vADabAgni: the submarine fire at the south pole; su-ambha from saMskR^ita: su-ambu = great waters or ocean.
i.e like the vADabAnala burning the ocean.

[Guest]

Thanks Hauma Hamiddha Ji.

[Bharatvarsh]

<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->Prior to Shivaji's ascent to the throne, during the Yadav period, there was a mention of 'Bhativ Kavane' in Dnyaneshwari (17.294.97). Bhativ Kavane is supposed to be a form of powade. There are 2-3 more references in Dnyaneshwari (3.5.163 and 2.0.10). Powada during Dnyaneshwari period was in the form of a song in praise of gods – 'nivrutti muktabai changvev gadha| haricha pavada zeltati'. Originally, shahirs performed at open places or grounds in front of local temples. The seeds of the classical form of powade that flourished during Shivaji were sown during this time.

Shahiri literature began during the reign of the great Chhatrapati Shivaji Maharaj (1630-1680 A.D.) The literature developed further during the Peshwa period, but declined with their downfall. After the decline it took rebirth in the form of modern Marathi poetry. The classical Marathi ballad continues to contribute significantly to Marathi culture.

The oldest powada still available is "Afazal Khanacha Vadh" (The Killing of Afzal Khan) by Shahir Agindas alias Adnyandas. Judging by the well-knit of composition and style of the ballad, we can safely assume that the art of 'Shahiri' had developed considerably at the time it was written.

From the 1st period only 3-4 powade are available.

Afzal Khan Vadh by Addnyandas [PDF]
Tanaji Malusara by Tulsidas [PDF]
Vaijapurcha poawada - only a line – author unknown, and
Baji Pasalkar by Yamaji.

http://www.powade.com/essays/overview.html<!--QuoteEnd--><!--QuoteEEnd-->
The powada is available in Devnagari lipi here:

http://www.powade.com/lyrics/agindas/agindas.pdf

[Shambhu]

Lines 5-6 of page 6: using the waghnakh (metal tigerclaws slipped onto the hands) shivaji tore open abdulkhan's (it always calls him abdulkhan) stomach..

Just as I leant in school!

[Bodhi]

Lokmanya Tilak made several contributions to rediscovering Indic history in general, and on Shivaji's life in particular. His contributions are also significant because as it now seems, British had especially selected the Maratha History to defame or at least neglect, right after having subjugated Marathas - for the reasons that are obvious.

Tialk's contributions, apart from the attempts to assigning the dates to Vedas and place where they were originally coded, include researching into the accurate Birth Date of Shivaji. The quest began for a very simple reason - when to hold his birthday celebration, and then spanned into an elaborate topic of research.

<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->Tilak organised a public meeting on 30th May 1895 at Hirabag, Pune on the same lines as Justice Ranade had done in 1886. A Smarak Committee of 50 members including Tilak was appointed in this meeting to raise substantial funds for the Shivaji Memorial to give a fitting reply to the Bombay Government which had sanctioned a ridiculous grant of Rs. five per annum for the repairs and maintenance of the tomb of the Maratha Chhatrapati. This appeal touched the public and donations started pouring into the Memorial Fund from two annas of a student to one thousand of Maharaj Sayajirao Gaikwad of Baroda, and within a period of six months an amount to the tune of Rs. Nine thousand was collected.

In view of this unexpected response from the public it was decided that henceforth the birthday of Shivaji be celebrated on the Raigad fort itself, instead of the earlier practice of organising it at Mahad. The Committee also framed provisional rules to regulate celebrations to be held at Raigad from 1896 on a large scale, and published them in the Kesari (3rd March 1896).

Tilak had also planned to direct the attention of the National leaders and make the birthday celebrations of Shivaji, a national festival. He organised a meeting on 29th December 1895 at the Reay Market (now known as Phule Market) which was addressed by national leaders like Surendra Nath Banerjee, President of the Indian National Congress, and Pandit Madan Mohan Malviya.

<b>Tilak had decided to hold the Birthday celebrations at Raigad with a double purpose, firstly to take the people to the fort and let them see for themselves the dilapidated position of the Shivaji Memorial and make them contribute generously to the Fund; and secondly, to declare that what government could not do, the people of Maharashtra will do i.e. the repairs and maintenance by raising funds.</b>

Several objections were raised by the Government while granting permission to hold the function at Raigad. The proposal was rejected first on the ground that Raigad was a reserved forest area, and secondly by objecting to the Marathi term Yatra used in the letter of the organizers which was translated into English by the Oriental Translator to the Government as Fair, which was considered equivalent in English to Market and as per the provisions of the Markets and Fairs Act of 1862 for want of sufficient notice, the request of the organisers was turned down. The organisers substituted the word `Yatra' by `Utsava' and approached the Government again.

Tilak was an elected member of the Legislative Council of the Bombay Government since 1893. He arranged a personal interview with the Governor of Bombay who was holidaying in Mahabaleshwar in April 1896 and obtained the necessary permission from the Governor by promising him that no untoward incidents would take place during the course of the festival. Thus, with the explicit permission of the Government, the celebrations were held on 15th April 1896, as declared, and the National Festival of Shivajayanti was inaugurated with great pomp and splendour. <b>The Kesari of 21st April 1896 reported that over 6000 persons from various places of Maharashtra had gathered on the fort to witness the festival and pay their humble homage to their great national hero. The press in general reported it as `the most glorious and successful function that was ever held at the Raigad fort.' Probably since the coronation of Shivaji which was held over 250 years ago, there had been no function similar to the one held this year.</b>

The Government, however, was not prepared to express any opinion in favour or otherwise on this movement officially called `the Shivaji boom'. <b>To Mr. Nugent, a member of the Council of Governor, `the entire agitation is purely a Brahmin move. The Marathas have held aloof' (25-7-1897).</b>

The initial success in celebrating the birthday of Shivaji, involved him in direct research in Maratha history, <b>particularly regarding fixing the correct date and place of Shivaji's birth. As regards, the place of birth of Shivaji, all historians unanimously accepted the fort of Shivaneri as the place where Shivaji was born; but opinion was divided about the year and date of his birth -whether it was Vaishakha of Shaka 1549 (1627 AD) or Falgun of Shaka 1551 (1630 AD).</b>

V. K. Rajwade, the doyen among the Maratha historians, in his introduction to the Marathyanchya Itihasachi Sadhane vol. IV published in 1900 discusses the issue of Shivaji's birthdate and on the basis of a chronological note submitted by one Kashinath Krishna Lele of Dhar (Dewas) in 1801 for publication in Kavyeitihas Samgraha periodical of K.N. Sane. This chronology of Dhar mentions that Shivaji was born on Monday, the Vaishakha Shudha Panchami of the Prabhav Samvatsar and the nakshatra (constellation) was Rohini. According to the English calender the birthday falls on 10th April 1627. Grant Duff denies it and says that Shivaji was born in the month May of the Year 1627 which is obviously not correct. He examined the bakhars (chronicles) saptaprakarnatmak Charitra of Shivaji by Malhar Ramrao Chitnis and Shivadigvijya (found in Baroda in 1818, written by an unknown author) suggesting Shaka 1549 Vaishakha Shudha Dwitiya, Thursday as the birthday of Shivaji, and rejected it on the ground that the Rohini nakshatra does not occur on Thursday. Rajwade doubts the motives of the chroniclers in advocating Vaishaka Dwitiya (7 April 1627) instead of Panchami. It was believed in those days that the king must be born on an auspicious day, and as Panchami did not fulfil that, they must have rejected it and conveniently fixed the birthdate on Dwitiya.

Tilak who was anxious to determine the exact birth date of Shivaji , was dragged into this birthday controversy by the above mentioned Introduction of Rajwade. He elaborately examined this issue in his article in the Kesari of 24th April 1900. He read Rajwade's 140 pages long introduction, it seems and appreciated his efforts of collecting all available information and examining it scientifically and carefully and arriving at some conclusions after examining the contradictory views of scholars. He also hoped that Rajwade would continue his research and examine the controversial or doubtful issues and enlighten his readers by supplying proper information.

Tilak was amazed to see that there was lack of consistency in the chronicles and historical documents about the birth date of a person who was born some 275 years ago, and that five to six versions about his birth date differing in the shaka (year) or, samvatsar (era) or tithi (date). On the basis of information that was available for him he could only surmise that most of the sources agree only on the month of birth, i.e. vaishakha but not with the date and other details, and therefore, he says, one can arrive at a proper decision only after critically examining all the issues involved in it.

Tilak critically examined nearly fourteen sources of information, contemporary and of little later period produced between 17th and early 19th century. They included poetic works like Shivaraj Bhushan or Shiva-Bhavani of a contemporary Hindi poet Bhushan of the North India, Shivakaya by Purushottam, bakhars like Sabhasadi, Citnisi, Chitragupta, Rairi, Shivadgvijaya, Shivapratap, Marathi Samrajyachi Choti Bakhar, 91 Qalimi bakhar, Panditrao bakhar, Pratinidhi bakhar, a chronological note from Dhar and horoscope published in Kavyeitihas Samgraha a periodical of K.N. Sane, and a chronology of the Chhatrpatis published in the Bharatvarsha periodical of D.B. Parasnis. This long list of sources alone is enough to show the deep interest taken by Tilak to establish a single point, namely the birth date of Shivaji.

He did not find a single correct date in all these sources which would fulfil all the tests of astronomical calculations. Out of the 14 sources, 9 give 11 different dates, and the remaining five are unanimous on one date but it does not pass the test of astronomy. He thus came to the conclusion that there are four major versions found in these sources and one has to decide the exact date of birth only after examining them. These probable four dates are :

1. Shaka 1549, Prabhav, Vaishakah Shudha 2, Saturday (7th April 1627)

2. Shaka 1549, Prabhav, Vaishakha Shudha 5, Tuesday (10th April 1627)

3. Shaka 1548, Kshaya, Samvatsar, Vaishakh 2, Monday (17th April 1626)

4. Shaka 1548, Kshaya, Vaishakha Shudha 5, Thursday (20th April 1626)

In these four versions, the month Vaishakha is common in all, but there is a difference in the tithi or day. As regards the difference in the year, Tilak rejects the year 1548 on the basis of the references to the date of his death which was shaka 1602, Chaitra Shudha 15, Sunday (4th April 1680) as all sources were unanimous on it, and after calculating the span of the career of Shivaji, he fixed the year 1549 as the year of birth.

He finally accepted a date which was nearer to the bakhar than that of Rajwade and it was Shaka 1549, Pravhav Samvatsar, Vaishakha Shudha Pratipada (nor 2nd or 5th Thursday, Ashwinin nakshatra (not Rohini) equivalent to 6th April 1627. However, he confessed that there was good deal of confusion regarding the date of birth of Shivaji, and appealed to the research scholars to express their views on this issue which he would gladly publish in his newspaper. He requested the organizers of the birthday celebrations to be held on Vaishakha Shudha pratipada from 1900 onwards.

The year and month, thus continued to be followed by the people for a fairly long time till new sources came forward. In the subsequent years two major sources namely the Jedhe Shakavali and the Sanskrit epic Shiva Bharat and epic composed by Kavindra Paramanand the poet laureate of Shivaji. However, when Tilak wrote the article in 1900 non of these sources of information were available to him. His search for getting an authentic source continued and he succeeded in laying his hands on the Jedhe Shakavali which he secured from Daji Saheb Jedhe Deshmukh of Kari (Bhor princely state ) by 1906-7 but could not find enough time to analyse it and so published it as he found it with a brief note, in the journal of the Bharat Itihas Samshodhak Mandal (BISM) in 1916.

The other source i.e. Shivabharat came to light only in 1927, which confirmed the date given in the Jedhe Shakavali. <b>A learned research scholar Dattopant Vinayak Apte of the BISM considered afresh in the light of these two new sources and rejected the findings of both Rajwade and Tilak, and declared Shaka 1551, Shukla Samvatsar, Falgun Vadya Tritiya, Friday, nakshtra, hasta, equivalent to 19th February 1630, as the correct date of Shivaji's birth.</b> For a long time historians like G.S. Sardesai, Jadunath Sarkar and others, however did not accept the date advocated by the BISM, and the celebrations continued to be held at two different dates. After the information of Samyukta Maharashtra, the Government appointed a Committee of historians in 1960 to give a finality to this long pending controversy. But the majority decision of the committee submitted in 1966 was not implemented by the Government till February 2000, and now it is officially declared that Falgun Vadya Tritiya of Shaka 1551 (1630 AD) approved by the majority and advocated by the BISM as the authentic date for the celebration of Shiva Jayanti. Thus after nearly hundred years i.e. since Tilak wrote his article in April 1900, the controversy is now resolved. Tilak must get credit for this.

Tilak wrote a number of articles on Shivaji and other historical matters connected with Maharashtra since 1895 practically till the end of his life in 1920. During his long imprisonment at Mandalay (1908-1914) it is discovered from his note book, among other things, like history of Hinduism, Indian nationality, Hindu law, Geeta Rahasya, etc. he had even planned to write a biography of Shivaji. He also jotted down the purpose of his Shiva Charitra.

http://www.ncte-in.org/pub/tilak/4.10.htm
<!--QuoteEnd--><!--QuoteEEnd-->

[Bodhi]

This place is near the compound of the Pratapgadh fort, not far from Mahabaleshwar, where Chhatrapati Shivaji tore open the intestines of the burly Afghan twice his own size, Adil general Afzal Khan on November 10, 1659. Later Shivaji allowed the relatives of the slain to erect a small kabr (not even a tomb) at this place.

The place should have served as the reminder of this immortal story for ages and a lesson to Hindus.

However the purpose got subverted a few years back under the respective muslim appeasing congress governments. The obscure tomb became a dargah when the local musalmans formed a committee with help from state govt to 'look after' the memory of Khan. Committee is called "Hazrat Mohmmed Afzal Khan Memorial Society". (Recall the previous post - what a contrast - Lokmanya Tilak's movement began with forming a soceity to look after the samadhi of Shivaji Maharaj)

This committee has over time glorified the tomb otherwise lost, and has created a shrine, several structures on the periphery of the monument, along with some sort of a dargah-like outlook, and a mini bazar. As usual all the dargah-like fanfare has begun a few years back as if Afzal Khan was some saint.

The similar thing had happened in my neighbourhood town of Bahraich, where there is a Dargah of Syed Salar Masood Ghazi. This is actually a tomb of the nephew (or son?) of Mahmud of Gazni who was slayed here along with his invading Afghan army in the 11th century by the combined Hindu armies of Chandel-Bundel-Tomar-Bisen kings. The tomb remains, and in later periods while the history got forgotten, today the invader's tomb has become a dargah. The place is frequented by the stupid and ignorant Hindus in large numbers to offer their respects. The annual fair (urs) that takes place is more than half populated by these ignorant Hindu masses.

Likewise you must notice a small mosque in the 7 tombs complex near Golkonda, which has been erected in respect to Awrangzeb, - who had offered his Namaz-es there during the seige of Deccan. Even today faithfuls would thong to this place to offer respects. Who knows in a few centuries this would become an important Mosque.

Anyways, some Hindu organizations went to Bombay High court in 2004 against the recent constructions at the tomb of Afzal Guru.... sorry Khan. A few months back, on Jan 30, the court has decided in their favour and ordered that the government demolish the dargah-izing constructions which have come up at the tomb. The court deadline for demolition comes to an end in June-08. So far the govt has done nothing, and I would guess just before the deadline is to end, they would probably move the supreme court.

Where are the NDTV and CNN-IBN, that were so much hyper about a Hindu temple (illegal structure in their lexicon) in a street of Chennai that the christian fanatic engineer (law enforcement official in their terms) wanted to destroy in the name of obeying the Madras High courts order? I would recommend TN Govt lending this "law enforcement official" to Maharashtra Govt.

Report from Jagran:

<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->अफजल खां की कब्र बनी महाराष्ट्र सरकार की मुसीबत Mar 14, 02:31 am

मुंबई [ओमप्रकाश तिवारी]। छत्रपति शिवाजी के महाराष्ट्र में अफजल खां की कब्र का विस्तारीकरण कांग्रेसनीत सरकार के लिए सिरदर्द बन गया है। मुंबई हाईकोर्ट ने सरकार को कब्र के आसपास हुआ अवैध विस्तारीकरण हटाने का आदेश दिया है। सरकार इसे हटाकर एक वर्ग विशेष को नाराज नहीं करना चाहती।

महाराष्ट्र के महाबलेश्वर हिल स्टेशन पर स्थित प्रतापगढ़ किले के पास उस अफजल खां की कब्र स्थित है जिसका वध छत्रपति शिवाजी ने 10 नवंबर, 1659 को अपने बघनखे से किया था। जिस स्थान पर अफजल का वध हुआ था वहीं उसकी कब्र बनाई गई थी। वन विभाग की जमीन पर बनी इस कब्र की देखरेख के लिए वर्षो पहले एक समूह ने अफजल खां मेमोरियल ट्रस्ट बना लिया था। इस ट्रस्ट ने कब्र के इर्द गिर्द 23 कमरों का अवैध रूप से निर्माण कर लिया है। इस निर्माण एवं अफजल खां के महिमामंडन के खिलाफ चार वर्ष पहले एक याचिका मुंबई हाईकोर्ट में दायर की गई थी। इस पर फैसला सुनाते हुए हाईकोर्ट ने गत 30 जनवरी को आदेश दिया है कि सरकार छह माह के अंदर इन अवैध निर्माणों को हटाए।

विश्व हिंदू परिषद इस मुद्दे को लेकर पहले भी आंदोलन करती रही है । उसके अखिल भारतीय मंत्री प्रो. व्यंकटेश आबदेव ने चेतावनी दी है कि यदि राज्य सरकार ने हाईकोर्ट के आदेश का पालन करते हुए 30 जून तक अवैध निर्माण नही हटवाए तो विहिप स्वयं इन्हें तोड़ने पर बाध्य होगी। विहिप का तर्क है कि जहां छत्रपति शिवाजी को श्रद्धा व आस्था का केंद्र माना जाता हो, वहां अफजल खां का महिमामंडन नहीं किया जा सकता। विहिप ने कहा कि यदि राज्य सरकार ने निर्धारित अवधि में ये अवैध निर्माण नहीं हटाया तो वह इस मामले को सुप्रीमकोर्ट में भी ले जाएगी।

http://in.jagran.yahoo.com/news/national/g..._1_4265452.html
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[Bodhi]

<b>Shivaji and his times </b>, by Jadunath Sarkar(1920)
Downloadable from Archive.org:Pdf - 24 MB | Plain Text - 0.7 MB

[Pandyan]

I have heard that about one-third of Shivaji's army was composed of Muslims. Heard the same about his naval forces as well. Is there any truth to this?

[Bodhi]

Pandyan,

if you read the Jadunath Sarkar's account (link pasted above), it mentions in detail about shivaji's tactic of gaining strength in early days. In order to consolidate the military muscles of marAThA empire in its infancy, he bound himself in least scruples, and moved tactically taking every decision to consolidate his strength, faced with two major hostile forces - AdilshAhi ofbIjApur in south and mugals in North to the core domains of his control.

In doing so he enlisted to his early army, besides others, two major fighters - a) mAvale-s who were hill people with excellent fighting abilities, and b) the defeated pathan mercenaries who had fled deccan/bijApur armies during or after the AlamgIr's excursions in south. The latter were obviousely muslims, and the number given by different accounts hover at around 5000. These two were what gave an invincible edge to his attacking forces.

In this phase, he even wrote many 'friendly' and 'flattering' letters to the princes/governors of mugals, to awranzib himself, as well as to the courts of bIjApur - keeping all of them in generally good humour for about a decade and half. His weakness in the early days was (as it seems) the position/imprisonment of his father, and the overawing military presence of enemy forces in south at the time.

Subsequently, when his kingdom moves south-west and a long coast-line fell to his command - from vasaI, thaNe, kolAbA, to many ex-bIjapur coastal commands of konkaNa annexed into his domains, he did set up a naval wing. At one time, the naval commander in charge was also a muslim.

In being a visionary hindu revivalist, he was not an anti-muslim bigot, as is clear from his life and that of latter marAThA leaders in general. Jadunath compares his military tactic during the early period to that used by shershah suri-hemachandra in bihar, in erasing out the rule of humayun from India about one century before shivaji's birth.

[Bharatvarsh]

I think its naive to consider him anti muslim bigot even if he had no Muslim in his army because that means he rightly foresaw from history the propensity of Muslim soldiers to switch sides and bertray Hindu kings during crucial moments of battle, this has happened many times, and Hindu kings being naive never learnt their lessons.

The most famous of these was during Talikota, during Panipat some Pathans who joined Marathas also bertrayed them, later Hyder Ali gradually took control and imprisoned the Hindu ruler and his family who employed him in the first place, and we got Tipu Sultan because of the kings naive thinking.

In fact I would say this was one of Shivajis bad decisions that fortunately didn't backfire, I can understand if he did it during the early days when he was in need of soldiers, but it was dangerous to hand over control of something crucial like the Navy to a Muslim, all that was needed was one betrayal and a decisive defeat to set back or totally crush the fledgling Hindu movement. There were a few Muslims like Ibrahim Khan Gardi and Shamsher Bahadur who fought and died on the Maratha side in Panipat but these were exceptions in the long history (anyway Shamsher was related by blood being the son of Mastani and Baji Rao, he was only brought up as a Muslim because of the myopic insistence of Hindu orthodoxy, otherwise Baji Rao wanted his thread ceremony performed).

If you want modern examples, just look at what happened when the Indian army invaded Hyderabad or Kashmir, you will hear of many defections of Muslim soldiers.

The only Hindu parallels I can think of were Khusrau Khan who breifly restablished Hindu rule in Delhi, he was a slave boy of Aladdin Khilji who was sodomised, he waited for the right moment and when it came seized the kingdom after putting Aladdins son to death in concert with Devala Devi who was also a former Hindu queen kidnapped, all the Mosques in and around Delhi were sacked or converted into temples in retaliation to Muslim atrocities, cow slaughter was also banned and so on, unfortunately his rule was short and he was defeated and killed by Ghiyasuddin Tughlak who founded the Tughlak dynasty. The other case of Hemachandra Vikramaditya is more well known. But most Hindus know neither of them and are busy worshipping the tombs of Salar Masud and Afzal Khan.

[Hauma Hamiddha]

<!--QuoteBegin-Bharatvarsh+May 13 2008, 08:04 AM-->QUOTE(Bharatvarsh @ May 13 2008, 08:04 AM)<!--QuoteEBegin-->In fact I would say this was one of Shivajis bad decisions that fortunately didn't backfire, I can understand if he did it during the early days when he was in need of soldiers, but it was dangerous to hand over control of something crucial like the Navy to a Muslim, all that was needed was one betrayal and a decisive defeat to set back or totally crush the fledgling Hindu movement. There were a few Muslims like Ibrahim Khan Gardi and Shamsher Bahadur who fought and died on the Maratha side in Panipat but these were exceptions in the long history (anyway Shamsher was related by blood being the son of Mastani and  Baji Rao, he was only brought up as a Muslim because of the myopic insistence of Hindu orthodoxy, otherwise Baji Rao wanted his thread ceremony performed).
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As ever BhV's lucidity on the matter is admirable. I would however say that looking at Shivaji's records he was fully conscious of the possibility of Islamic perfidy. He never placed a command entirely in Islamic hands. They were always backed up or sandwiched by Hindu commanders. On the naval front the overall command was under the Angre-s (Angria) Tanoji and Kanhoji. With great foresight Shivaji directed Kahnoji Angre to attack the Christian navies on the West coast of India. As Angre launched attacks on Portuguese and British Mullah Haidar Ali Kohari led a part of the Maratha fleet under Angre's command. Shivaji knew well that the Mullah, who was a local Moslem did not have particular affinities to White Christians to turn against the Maharattas. He also gauged that the local Moslem was less likely to make common cause with the African Moslems in case they appeared on the scene against the Maharattas.

I believe there is temple in Pune where apparently Shamsher Bahadur's upanayanaM was performed. I am not sure if this is apocryphal though.