#Essay on Maharana Pratap in Hindi
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Essay on Maharana Pratap in Hindi: рдкреНрд░рд┐рдп рд╕рдореНрдорд╛рдирд┐рдд рдЕрддрд┐рдерд┐, рдореЗрд░реЗ рдкреНрдпрд╛рд░реЗ рдЫрд╛рддреНрд░реЛрдВ рдФрд░ рд╕рд╛рдереАрдЬрдиреЛрдВ,рдЖрдЬ рдореИрдВ рдЕрддреНрдпрдВрдд рдЧрд░реНрд╡ рдХреЗ рд╕рд╛рде рдпрд╣рд╛рдВ рдЦрдбрд╝рд╛ рд╣реЛрдХрд░ "рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдЬрдпрдВрддреА" рдкрд░ рднрд╛рд╖рдг рджреЗрдиреЗ рдХрд╛ рд╕реМрднрд╛рдЧреНрдп рдкреНрд░рд╛рдкреНрдд рдХрд░ рд░рд╣рд╛ рд╣реВрдБред рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдЬреА рдПрдХ рдорд╣рд╛рди рдпреЛрджреНрдзрд╛, рд╡реАрд░ рдФрд░ рдПрдХ рд╕реНрд╡рддрдВрддреНрд░рддрд╛ рд╕реЗрдирд╛рдиреА рдереЗ, рдЬрд┐рдирдХреЗ рдмрд▓рд┐рджрд╛рди рдФрд░ рд╕рд╛рд╣рд╕ рдиреЗ рд╣рдорд╛рд░реЗ рджреЗрд╢ рдХреЛ рдЕрднрд┐рдорд╛рди рджрд┐рдпрд╛ рд╣реИред
#рдорд╣рд╛рд░рд╛рдгрд╛ я┐╜я┐╜реНрд░рддрд╛рдк рдЬрдпрдВрддреА рдкрд░ рднрд╛рд╖рдг#Essay on Maharana Pratap in Hindi#Essay on Maharana Pratap#рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдЬрдпрдВрддреА#рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк#Maharana Pratap#maharana pratap in hindi
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Paidi Jairaj (born Paidipati Jairula Naidu - 28 September 1909 тАУ 11 August 2000) was a film, superstar, director, and producer known for his works primarily in Hindi cinema, Marathi, Gujarati language films, and Telugu theatre. During the talkie period, from 1931 onwards, he started with Shikari in Urdu and English languages. Subsequently he became one of the leading actors for about two decades along with Shantaram, Prithviraj Kapoor, Motilal etc. He was starred in about 170 feature films in a variety of roles. He directed a few films like Mohar, Mala (1943), Pratima, Rajghar and Saagar (1951) which he produced. In 1980, He was honored with the Dadasaheb Phalke Award the highest award for films in India, for his contributions to Indian cinema. Jairaj was born in Karimnagar, Hyderabad State (of which the present day Telangana State was a part) on 28 September 1909. A close relative (Nephew) of Sarojini Naidu, They were three brothers - P.Sundarraj Naidu, P. Deendayal Naidu ( Artist), P.Jairaj was the Youngest. Jairaj developed interest in theatre, and films during his graduate studies at Nizam College and left for Bombay in 1929. He made his acting debut in 1929 with the silent film Star Kling Youth, and subsequently he acted in about eleven silent films including Triangle of Love, Mathru Bhoomi, All for Lover, Mahasagar Mothi, Flight into Death, My Hero etc.
Jairaj's effective dialogue delivery, and experience in Telugu theatre made him an instant choice to play the roles of the sword wielding Rajputs. He played the characters of Amar Singh Rathore [1957], Prithviraj Chauhan[1959], and Maharana Pratap[1960] among notable films. He also essayed the roles of Shah Jahan [1947], Tipu Sultan [1959] and Haider Ali [1962] with equal aplomb. His other memorable portrayals have been in the films like тАШSassi PunnuтАЩ [1947], тАШHatimTaiтАЩ[1956], тАШChandrashekar AzadтАЩ[1963] тАШDurga DasтАЩ[1964] among others. Jairaj did six films with Suraiya in 1940s and 1950s, five of them, viz. 'Humaari Baat' (1943), 'Singaar' (1949), 'Amar Kahani' (1949), 'Rajput' (1951), 'Resham' (1952) as her hero, and one of them, 'Lal Kunwar' (1952} as second lead. In 1952, he produced and directed his own film, Sagar, which was not very well received by the audiences. But his commitment to cinema remained undisputed.
Like рдмреЙрд▓реАрд╡реБрдб рдбрд╛рдпрд░реЗрдХреНрдЯ Bollywoodirect
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рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдкрд░ рдирд┐рдмрдВрдз | MAHARANA PRATAP ESSAY IN HINDI
рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдкрд░ рдирд┐рдмрдВрдз | MAHARANA PRATAP ESSAY IN┬аHINDI
Essay on Maharana Pratap┬аMaharana Pratap Essay in Hindi:┬аRajasthan is the land of Veer Shurmahs.┬аThe particles of the particles here have the bravery.┬аThis land was given to the heroes like Maharana Pratap.┬аInstead of bowing their heads in front of lifelong foreign powers, they chose the path of struggle.┬аToday the story of Jan Jan Maharana Pratap sees his history biography with an honor.┬аTodayтАж
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рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдкрд░ рдирд┐рдмрдВрдз | MAHARANA PRATAP ESSAY IN HINDI
Essay on Maharana Pratap Maharana Pratap Essay in Hindi: Rajasthan is the land of Veer Shurmahs. The particles of the particles here have the bravery. This land was given to the heroes like Maharana Pratap. Instead of bowing their heads in front of lifelong foreign powers, they chose the path of struggle. Today the story of Jan Jan Maharana Pratap sees his history biography with an honor. Today we are explaining the essay on Rana Pratap / Maharana Pratap Essay in Hindi for students .
Essay on Maharana Pratap Best Maharana Pratap Essay in Hindi
Maharana Pratap and Chetak's History Jubilee | Maharana Pratap and Chetak History, Jayanti In Hindi Maharana Pratap: ┬аPratap, born on 9th May, 1540, became the ruler of Mewar in 1572. Maharana Uday Singh made Jagmal his successor. But the warlords did not accept it and put Pratap on the throne. Pratap, known by the name of Keka in the mountainous regions of Mewar, spent his life in the jungles, valleys, and mountains with his father.
Due to the Mughal invasion the state's system was not satisfactory. Mewar did not even have economic status. Chittor, Badnaur, Shahpura, Rayal, etc. The marginal portion of Mewar had gone to the hands of the Mughals. Thereby, the income and reputation of the state has decreased. In order to solve these problems, two paths were open in front of Pratap.
Maharana Pratap Essay in Hindi
Either he should accept the submission of Akbar and live a comfortable life or maintain his independent existence and the prestige of his country's pride. For the second option he had to carry many troubles. Nevertheless, Pratap chose another option, ie conflict. He made Kumbhalgarh his center.
Akbar wanted to subdue Mewar in any way. So, he made attempts to compromise. Between 1572 and 1576, he sent four delegations to the leadership of Jalal Khan, Mansingh, Bhagwandas and Todrammal, respectively.
But Maharana Pratap did not show any interest in the treaty. Hence Mewar faced the Mughal invasion. In the beginning of 1576 AD, Akbar reached Ajmer for the preparation of the Mewar campaign and he gave Mansingh the leadership of the Mewar campaign. Mansingh left the civilian Ajmer and stopped at a place named Mokle.
Pratap also took his army and took him to Losing. On 18 June 1576, the Mughal army of Khamanor fought a battle with Pratap, which is famous as the battle of Haldighati. Hakim Khan was leading the leadership of Pratap's army. While the nephew himself was fighting on the Mughal army. Who later described this war in his book Manthek Ut Takkarkh.
Seeing the life of Pratap in crisis in battle, Bidaa fought the battle with Pratap's crown. And Pratap sent away from the battlefield. Could not get the result of the Battle of Haldighati The purpose of Akbar could not be completed. He could not take Maharana alive or dead in his possession. Pratap went to the mountains after the Battle of Haldi valley. And from the beginning, he began to fight for the troubles of the Mughals.
From 1576 to 1585, Akbar was sending an expedition to Mewar. Armies, led by Shahbaz Khan, Abdurrahman Khankhana, were sent, but they did not get much success. After 1585 AD, Akbar could not send any campaign towards Mewar. Between 1585 and 1597, Pratap retained the rest of the state except Chittotor and Datalgarh.
He made Chavand his capital and established good governance in the state. Pratap died on January 19, 1597. Pratap was burnt in a village called Bandoli near Chawand. Maharana Pratap's name is the most honorable and proud in the history of Rajputana.
He was an indigenous, priest of independence, strategic, self-sacrificing, true heroic and liberal Kshatriya. Due to these qualities, Akbar, who was the most powerful and prosperous emperor of the world at that time, continued to bother for years on the strength of his small kingdom and did not accept submission.
In relation to Pratap, Colonel Todd writes that there is no such valley in the Aravali like the Alps Mount, which has not been sanctified by any heroic act of glory, a bright victory or more disastrous defeat. Haldighati is a marathon of Dharmapalli of Mewar and Divar Mewar.
History of Maharana Pratap
Maharana Pratap's Battle of Haldighati
History of Maharana Pratap Story & Biography
History of Maharana Raj Singh
History of Rana Sah
History of Rana Uday Singh
I hope friends ┬аwould love this article in Maharana Pratap Essay in Hindi . If you liked the information given ┬аin Maharana Pratap Story in Hindi then share it with your friends.
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Maharana Pratap Essay in Hindi
Maharana Pratap Essay in Hindi: рд░рд╛рдЬрд╕реНрдерд╛рди рд╡реАрд░ рд╢реВрд░рдорд╛рдУрдВ рдХреА рдзрд░рддреА рд░рд╣реА рд╣реИрдВ. рдпрд╣рд╛рдБ рдХреЗ рдХрдг рдХрдг рдореЗрдВ рд╡реАрд░рддрд╛ рд╕рдорд╛рдИ рд╣реБрдИ рд╣реИрдВ. рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдЬреИрд╕реЗ рд╡реАрд░реЛрдВ рдХреЛ рдЗрд╕ рднреВрдорд┐ рдиреЗ рдЬрдиреНрдо рджрд┐рдпрд╛. рдЬрд┐рдиреНрд╣реЛрдВрдиреЗ рдЖрдЬреАрд╡рди рд╡рд┐рджреЗрд╢реА рд╢рдХреНрддрд┐рдпреЛрдВ рдХреЗ
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рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдкрд░ рдирд┐рдмрдВрдз | Maharana Pratap Essay in Hindi
Maharana Pratap Essay in Hindi: рд░рд╛рдЬрд╕реНрдерд╛рди рд╡реАрд░ рд╢реВрд░рдорд╛рдУрдВ рдХреА рдзрд░рддреА рд░рд╣реА рд╣реИрдВ. рдпрд╣рд╛рдБ рдХреЗ рдХрдг рдХрдг рдореЗрдВ рд╡реАрд░рддрд╛ рд╕рдорд╛рдИ рд╣реБрдИ рд╣реИрдВ. рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдЬреИрд╕реЗ рд╡реАрд░реЛрдВ рдХреЛ рдЗрд╕ рднреВрдорд┐ рдиреЗ рдЬрдиреНрдо рджрд┐рдпрд╛. рдЬрд┐рдиреНрд╣реЛрдВрдиреЗ рдЖрдЬреАрд╡рди рд╡рд┐рджреЗрд╢реА рд╢рдХреНрддрд┐рдпреЛрдВ рдХреЗ рд╕рд╛рдордиреЗ рд╕рд┐рд░ рдЭреБрдХрд╛рдиреЗ рдХреА рдмрдЬрд╛рдп рдЙрдирд╕реЗ рд╕рдВя┐╜я┐╜рд░реНрд╖ рдХрд╛ рд░рд╛рд╕реНрддрд╛ рдЪреБрдирд╛. рдЖрдЬ рдЬрди рдЬрди рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдХреА рдХрд╣рд╛рдиреА рдЙрдирдХреЗ рдЗрддрд┐рд╣рд╛рд╕ рдЬреАрд╡рдиреА рдХреЛ рдПрдХ рдЖрджрд░ рднрд╛рд╡ рд╕реЗ рджреЗрдЦрддрд╛ рд╣реИрдВ. рдЖрдЬ рд╣рдо рд╕реНрдЯреВрдбреЗрдВрдЯреНрд╕ рдХреЗ рд▓рд┐рдП рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдкрд░ рдирд┐рдмрдВрдз рдмрддрд╛ рд░рд╣реЗ рд╣реИрдВ.
рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдкрд░ рдирд┐рдмрдВрдз | Best Maharana Pratap Essay in Hindi
9 рдордИ 1540 рдХреЛ рдЬрдиреНрдореЗ рдкреНрд░рддрд╛рдк, 1572 рдИ рдореЗрдВ рдореЗрд╡рд╛реЬ рдХреЗ рд╢рд╛рд╕рдХ рдмрдиреЗ. рдорд╣рд╛рд░рд╛рдгрд╛ рдЙрджрдпрд╕рд┐рдВрд╣ рдиреЗ рдЬрдЧрдорд╛рд▓ рдХреЛ рдЕрдкрдирд╛ рдЙрддреНрддрд░рд╛рдзрд┐рдХрд╛рд░реА рдмрдирд╛рдпрд╛ рдерд╛. рдордЧрд░ рд╕рд░рджрд╛рд░реЛрдВ рдиреЗ рдЙрд╕реЗ рд╕реНрд╡реАрдХрд╛рд░ рдирд╣реАрдВ рдХрд┐рдпрд╛ рдЧрдпрд╛ рдФрд░ рдкреНрд░рддрд╛рдк рдХреЛ рдЧрджреНрджреА рдкрд░ рдмрд┐рдард╛ рджрд┐рдпрд╛. рдореЗрд╡рд╛реЬ рдХреЗ рдкрд╣рд╛реЬреА рдкреНрд░рджреЗрд╢реЛрдВ рдореЗрдВ рдХреАрдХрд╛ рдХреЗ рдирд╛рдо рд╕реЗ рд╡рд┐рдЦреНрдпрд╛рдд рдкреНрд░рддрд╛рдк рдиреЗ рдЕрдкрдиреЗ рдкрд┐рддрд╛ рдХреЗ рд╕рд╛рде рдЬрдВрдЧрд▓реЛрдВ, рдШрд╛рдЯрд┐рдпреЛрдВ, рдПрд╡рдВ рдкрд╣рд╛реЬреЛрдВ рдореЗрдВ рд░рд╣рдХрд░ рдХрдареЛрд░ рдЬреАрд╡рди рдмрд┐рддрд╛рдпрд╛.
рдореБрдЧрд▓ рдЖрдХреНрд░рдордг рдХреЗ рдХрд╛рд░рдг рд░рд╛рдЬреНрдп рдХреА рд╡реНрдпрд╡рд╕реНрдерд╛ рд╕рдВрддреЛрд╖рдкреНрд░рдж рдирд╣реАрдВ рдереА. рдореЗрд╡рд╛реЬ рдХреА рдЖрд░реНрдерд┐рдХ рд╕реНрдерд┐рддрд┐ рднреА рдирд╣реАрдВ рдереА. рдЪрд┐рддреНрддреМреЬ, рдмрджрдиреМрд░, рд╢рд╛рд╣рдкреБрд░рд╛, рд░рд╛рдпрд▓рд╛ рдЖрджрд┐ рдореЗрд╡рд╛реЬ рдХреЗ рд╕реАрдорд╛рдВрдд рднрд╛рдЧ рдореБрдЧрд▓реЛрдВ рдХреЗ рд╣рд╛рде рдореЗрдВ рдЪрд▓реЗ рдЧрдпреЗ рдереЗ. рдЬрд┐рд╕рд╕реЗ рд░рд╛рдЬреНрдп рдХреА рдЖрдп рдФрд░ рдкреНрд░рддрд┐рд╖реНрдард╛ рдШрдЯ рдЪреБрдХреА рд╣реИрдВ. рдЗрди рд╕рдорд╕реНрдпрд╛рдУрдВ рдХреЛ рд╣рд▓ рдХрд░рдиреЗ рдХреЗ рд▓рд┐рдП рдкреНрд░рддрд╛рдк рдХреЗ рд╕рд╛рдордиреЗ рджреЛ рдорд╛рд░реНрдЧ рдЦреБрд▓реЗ рдереЗ.
рдпрд╛ рддреЛ рд╡рд╣ рдЕрдХрдмрд░ рдХреА рдЕрдзреАрдирддрд╛ рд╕реНрд╡реАрдХрд╛рд░ рдХрд░ рд╕реБрд╡рд┐рдзрд╛рдкреВрд░реНрдг рдЬреАрд╡рди рдмрд┐рддрд╛рдП рдпрд╛ рдЕрдкрдирд╛ рд╕реНрд╡рддрдВрддреНрд░ рдЕрд╕реНрддрд┐рддреНрд╡ рдФрд░ рдЕрдкрдиреЗ рджреЗрд╢ рдХреЗ рдЧреМрд░рд╡ рдХреА рдкреНрд░рддрд┐рд╖реНрдард╛ рдмрдирд╛рдП рд░рдЦреЗ. рджреВрд╕рд░реЗ рд╡рд┐рдХрд▓реНрдк рдХреЗ рд▓рд┐рдП рдЙрдиреНрд╣реЗрдВ рдЕрдиреЗрдХ рдХрд╖реНрдЯ рдЙрдард╛рдиреЗ рдереЗ. рдлрд┐рд░ рднреА рдкреНрд░рддрд╛рдк рдиреЗ рджреВрд╕рд░реЗ рд╡рд┐рдХрд▓реНрдк рдЕрд░реНрдерд╛рдд рд╕рдВрдШрд░реНрд╖ рдХреЛ рдЪреБрдирд╛. рдЙрдиреНрд╣реЛрдВрдиреЗ рдХреБрдореНрднрд▓рдЧреЭ рдХреЛ рдЕрдкрдирд╛ рдХреЗрдВрджреНрд░ рдмрдирд╛рдпрд╛.
рдЕрдХрдмрд░ рдХрд┐рд╕реА рднреА рддрд░рд╣ рдореЗрд╡рд╛реЬ рдХреЛ рдЕрдкрдиреЗ рдЕрдзреАрди рдХрд░рдирд╛ рдЪрд╛рд╣рддрд╛ рдерд╛. рдЕрддрдГ рдЙрд╕рдиреЗ рд╕рдордЭреМрддреЗ рдХреЗ рдкреНрд░рдпрд╛рд╕ рдХрд┐рдпреЗ. 1572 рдИ рд╕реЗ 1576 рдИ рдХреЗ рдордзреНрдп рдЙрд╕рдиреЗ рдЪрд╛рд░ рд╢рд┐рд╖реНрдЯ рдордВрдбрд▓ рдХреНрд░рдорд╢рдГ рдЬрд▓рд╛рд▓ рдЦрд╛рдВ, рдорд╛рдирд╕рд┐рдВрд╣, рднрдЧрд╡рд╛рдирджрд╛рд╕ рдФрд░ рдЯреЛрдбрд░рдорд▓ рдХреЗ рдиреЗрддреГрддреНрд╡ рдореЗрдВ рднреЗрдЬреЗ.
рдордЧрд░ рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдиреЗ рд╕рдВрдзрд┐ рдХрд░рдиреЗ рдореЗрдВ рдХрд┐рд╕реА рдкреНрд░рдХрд╛рд░ рдХреА рд░реВрдЪрд┐ рдирд╣реАрдВ рджрд┐рдЦрд╛рдИ. рдЕрддрдГ рдореЗрд╡рд╛реЬ рдХреЛ рдореБрдЧрд▓ рдЖрдХреНрд░рдордг рдХрд╛ рд╕рд╛рдордирд╛ рдХрд░рдирд╛ рдкреЬрд╛. 1576 рдИ рдХреЗ рдкреНрд░рд╛рд░рдореНрдн рдореЗрдВ рдЕрдХрдмрд░ рдореЗрд╡рд╛реЬ рдЕрднрд┐рдпрд╛рди рдХреА рддреИрдпрд╛рд░реА рд╣реЗрддреБ рдЕрдЬрдореЗрд░ рдкрд╣реБрдЪрд╛ рдФрд░ рд╡рд╣реАрдБ рдЙрд╕рдиреЗ рдорд╛рдирд╕рд┐рдВрд╣ рдХреЛ рдореЗрд╡рд╛реЬ рдЕрднрд┐рдпрд╛рди рдХрд╛ рдиреЗрддреГрддреНрд╡ рд╕реМрдкрд╛. рдорд╛рдирд╕рд┐рдВрд╣ рдиреЗ рд╕рд╕реИрдиреНрдп рдЕрдЬрдореЗрд░ рд╕реЗ рд░рд╡рд╛рдирд╛ рд╣реЛрдХрд░ рдореЛрд▓реЗрд▓рд╛ рдирд╛рдордХ рд╕реНрдерд╛рди рдкрд░ рдкреЬрд╛рд╡ рдбрд╛рд▓рд╛.
рдкреНрд░рддрд╛рдк рднреА рдЕрдкрдиреА рд╕реЗрдирд╛ рд▓реЗрдХрд░ рд▓реЛрд╕рд┐рдВрдЧ рдореЗрдВ рдЖ рдбрдЯрд╛. 18 рдЬреВрди 1576 рдХреЛ рдЦрдордиреЛрд░ рдХреЗ рдкрд╛рд╕ рдореБрдЧрд▓ рд╕реЗрдирд╛ рдХрд╛ рдкреНрд░рддрд╛рдк рд╕реЗ рдпреБрджреНрдз рд╣реБрдЖ, рдЬреЛ рд╣рд▓реНрджреАрдШрд╛рдЯреА рдХреЗ рдпреБрджреНрдз рдХреЗ рдирд╛рдо рд╕реЗ рдкреНрд░рд╕рд┐рджреНрдз рд╣реИрдВ. рдкреНрд░рддрд╛рдк рдХреА рд╕реЗрдирд╛ рдореЗрдВ рд╣рд░рд╛рд╡рд▓ рдХрд╛ рдиреЗрддреГрддреНрд╡ рд╣рдХреАрдо рдЦрд╛рдВ рд╕реВрд░реА рдХрд░ рд░рд╣рд╛ рдерд╛. рдЬрдмрдХрд┐ рдмрджрд╛рдпреВрдБрдиреА рд╕реНрд╡рдпрдВ рдореБрдЧрд▓ рд╕реЗрдирд╛ рдХреА рдкрд░ рд╕реЗ рд▓реЬ рд░рд╣рд╛ рдерд╛. рдЬрд┐рд╕рдиреЗ рдмрд╛рдж рдореЗрдВ я┐╜я┐╜рдкрдиреЗ рдЧреНрд░рдВрде рдореБрдиреНрддрдЦ рдЙрдд рддрд╡рд╛рд░реАрдЦ рдореЗрдВ рдЗрд╕ рдпреБрджреНрдз рдХрд╛ рд╡рд░реНрдгрди рдХрд┐рдпрд╛.
рдпреБрджреНрдз рдореЗрдВ рдкреНрд░рддрд╛рдк рдХреЗ рдЬреАрд╡рди рдХреЛ рд╕рдВрдХрдЯ рдореЗрдВ рджреЗрдЦрдХрд░ рдЭрд╛рд▓рд╛ рдмреАрджрд╛ рдиреЗ рдкреНрд░рддрд╛рдк рдХрд╛ рдореБрдХреБрдЯ рдзрд╛рд░рдг рдХрд░ рдпреБрджреНрдз рдХрд┐рдпрд╛. рдПрд╡рдВ рдкреНрд░рддрд╛рдк рдХреЛ рдпреБрджреНрдзрднреВрдорд┐ рд╕реЗ рджреВрд░ рднреЗрдЬ рджрд┐рдпрд╛. рд╣рд▓реНрджреАрдШрд╛рдЯреА рдХреЗ рдпреБрджреНрдз рдХрд╛ рдкрд░рд┐рдгрд╛рдо рдирд╣реАрдВ рдирд┐рдХрд▓ рд╕рдХрд╛. рдЕрдХрдмрд░ рдХрд╛ рдЙрджреНрджреЗрд╢реНрдп рдкреВрд░рд╛ рдирд╣реАрдВ рд╣реЛ рд╕рдХрд╛. рд╡рд╣ рдорд╣рд╛рд░рд╛рдгрд╛ рдХреЛ рдЬреАрд╡рд┐рдд рдпрд╛ рдореГрдд рдЕрдкрдиреЗ рдХрдмреНрдЬреЗ рдореЗрдВ рдирд╣реАрдВ рд▓реЗ рд╕рдХрд╛. рд╣рд▓реНрджреА рдШрд╛рдЯреА рдХреЗ рдпреБрджреНрдз рдХреЗ рдмрд╛рдж рдкреНрд░рддрд╛рдк рдкрд╣рд╛реЬреЛрдВ рдореЗрдВ рдЪрд▓реЗ рдЧрдпреЗ. рдФрд░ рд╡рд╣реАрдБ рд╕реЗ рдореБрдЧрд▓реЛрдВ рдХреЛ рдкрд░реЗрд╢рд╛рди рдХрд░рдиреЗ рдХреЗ рд▓рд┐рдП рдзрд╛рд╡реЗ рдорд╛рд░рдирд╛ рд╢реБрд░реВ рдХрд░ рджрд┐рдпрд╛.
1576 рдИ рд╕реЗ 1585 рдИ рддрдХ рдЕрдХрдмрд░ рдореЗрд╡рд╛реЬ рдкрд░ рдЕрднрд┐рдпрд╛рди рднреЗрдЬрддрд╛ рд░рд╣рд╛. рд╢рд╛рд╣рдмрд╛рдЬ рдЦрд╛рдВ, рдЕрдмреНрджреБрд░реНрд░рд╣рдорд╛рди рдЦрд╛рдирдЦрд╛рдирд╛ рдХреЗ рдиреЗрддреГрддреНрд╡ рдореЗрдВ рд╕реЗрдирд╛рдПрдВ рднреЗрдЬреА рдЧрдИ, рдордЧрд░ рдЙрдиреНрд╣реЗрдВ рдЬреНрдпрд╛рджрд╛ рд╕рдлрд▓рддрд╛ рдирд╣реАрдВ рдорд┐рд▓реА. 1585 рдИ рдХреЗ рдмрд╛рдж рдЕрдХрдмрд░ рдореЗрд╡рд╛реЬ рдХреА рддрд░рдл рдХреЛрдИ рдЕрднрд┐рдпрд╛рди рдирд╣реАрдВ рднреЗрдЬ рд╕рдХрд╛. 1585 рд╕реЗ 1597 рдИ рдХреЗ рдмреАрдЪ рдкреНрд░рддрд╛рдк рдиреЗ рдЪрд┐рддреНрддреМреЬ рдПрд╡рдВ рдорд╛рдВрдбрд▓рдЧреЭ рдХреЛ рдЫреЛреЬрдХрд░ рд╢реЗрд╖ рд░рд╛рдЬреНрдп рдкрд░ рдкреБрдирдГ рдЕрдзрд┐рдХрд╛рд░ рдХрд░ рд▓рд┐рдпрд╛.
рдЙрдиреНрд╣реЛрдВрдиреЗ рдЪрд╛рд╡рдВрдб рдХреЛ рдЕрдкрдиреА рд░рд╛рдЬрдзрд╛рдиреА рдмрдирд╛рдпрд╛ рдФрд░ рд░рд╛рдЬреНрдп рдореЗрдВ рд╕реБрд╡реНрдпрд╡рд╕реНрдерд╛ рд╕реНрдерд╛рдкрд┐рдд рдХреА. 19 рдЬрдирд╡рд░реА 1597 рдХреЛ рдкреНрд░рддрд╛рдк рдХреА рдореГрддреНрдпреБ рд╣реЛ рдЧрдИ. рдЪрд╛рд╡рдВрдб рдХреЗ рдкрд╛рд╕ рдмрд╛рдВрдбреЛрд▓реА рдирд╛рдордХ рдЧрд╛рдБрд╡ рдореЗрдВ рдкреНрд░рддрд╛рдк рдХрд╛ рдЕрдЧреНрдирд┐ рд╕рдВрд╕реНрдХрд╛рд░ рдХрд┐рдпрд╛ рдЧрдпрд╛. рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдХрд╛ рдирд╛рдо рд░рд╛рдЬрдкреВрддрд╛рдиреЗ рдХреЗ рдЗрддрд┐рд╣рд╛рд╕ рдореЗрдВ рд╕рдмрд╕реЗ рдЕрдзрд┐рдХ рд╕рдореНрдорд╛рдиреАрдп рдФрд░ рдЧреМрд░рд╡рд╛рдиреНрд╡рд┐рдд рд╣реИрдВ.
рд╡рд╣ рд╕реНрд╡рджреЗрд╢рд╛рднрд┐рдорд╛рдиреА, рд╕реНрд╡рддрдВрддреНрд░рддрд╛ рдХрд╛ рдкреБрдЬрд╛рд░реА, рд░рдгрдХреБрд╢рд▓, рд╕реНрд╡рд╛рд░реНрдерддреНрдпрд╛рдЧреА, рд╕рдЪреНрдЪрд╛ рд╡реАрд░ рдФрд░ рдЙрджрд╛рд░ рдХреНрд╖рддреНрд░рд┐рдп рдереЗ. рдЗрдиреНрд╣реА рдЧреБрдгреЛрдВ рдХреЗ рдХрд╛рд░рдг рд╡реЗ рдЕрдХрдмрд░ рдХреЛ рдЬреЛ рдЙрд╕ рд╕рдордп рд╕рдВрд╕рд╛рд░ рдХрд╛ рд╕рдмрд╕реЗ рдЕрдзрд┐рдХ рд╢рдХреНрддрд┐рд╢рд╛рд▓реА рдПрд╡рдВ рдРрд╢реНрд╡рд░реНрдп рд╕рдореНрдкрдиреНрди рд╕рдореНрд░рд╛рдЯ рдерд╛, рдЕрдкрдиреЗ рдЫреЛрдЯреЗ рд╕реЗ рд░рд╛рдЬреНрдп рдХреЗ рдмрд▓ рдкрд░ рд╡рд░реНрд╖реЛрдВ рддрдХ рдкрд░реЗрд╢рд╛рди рдХрд░рддрд╛ рд░рд╣рд╛ рдФрд░ рдЕрдзреАрдирддрд╛ рдирд╣реАрдВ рдорд╛рдиреА.
рдкреНрд░рддрд╛рдк рдХреЗ рд╕рдореНрдмрдиреНрдз рдореЗрдВ рдХрд░реНрдирд▓ рдЯреЙрдб рд▓рд┐рдЦрддреЗ рд╣реИ рдХрд┐ рдЖрд▓реНрдкреНрд╕ рдкрд░реНрд╡рдд рдХреЗ рд╕рдорд╛рди рдЕрд░рд╛рд╡рд▓реА рдореЗрдВ рдХреЛрдИ рднреА рдРрд╕реА рдШрд╛рдЯреА рдирд╣реАрдВ, рдЬреЛ рдкреНрд░рддрд╛рдк рдХреЗ рдХрд┐рд╕реА рди рдХрд┐рд╕реА рд╡реАрд░ рдХрд╛рд░реНрдп, рдЙрдЬреНрдЬреНрд╡рд▓ рд╡рд┐рдЬрдп рдпрд╛ рдЙрд╕рд╕реЗ рдЕрдзрд┐рдХ рдХрд┐рд░реНрддрд┐рдпреБрдХреНрдд рдкрд░рд╛рдЬрдп рд╕реЗ рдкрд╡рд┐рддреНрд░ рди рд╣реБрдИ рд╣реЛ. рд╣рд▓реНрджреАрдШрд╛рдЯреА рдореЗрд╡рд╛реЬ рдХреА рдзрд░реНрдореЛрдкрд▓реНрд▓реА рдФрд░ рджрд┐рд╡реЗрд░ рдореЗрд╡рд╛реЬ рдХрд╛ рдореЗрд░рд╛рдерди рд╣реИрдВ.
рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдХрд╛ рдЗрддрд┐рд╣рд╛рд╕ рдХреА рдЬрд╛рдирдХрд╛рд░реА
рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдХрд╛ рд╣рд▓реНрджреАрдШрд╛рдЯреА рдХрд╛ рдпреБрджреНрдз
рдорд╣рд╛рд░рд╛рдгрд╛ рдкреНрд░рддрд╛рдк рдХрд╛ рдЗрддрд┐рд╣рд╛рд╕ рдХрд╣рд╛рдиреА & рдЬреАрд╡рдиреА
рдорд╣рд╛рд░рд╛рдгрд╛ рд░рд╛рдЬрд╕рд┐рдВрд╣ рдХрд╛ рдЗрддрд┐рд╣рд╛рд╕
рд░рд╛рдгрд╛ рд╕рд╛рдВрдЧрд╛ рдХрд╛ рдЗрддрд┐рд╣рд╛рд╕
рд░рд╛рдгрд╛ рдЙрджрдпрд╕рд┐рдВрд╣ рдХрд╛ рдЗрддрд┐рд╣рд╛рд╕
рдЖрд╢рд╛ рдХрд░рддрд╛ рд╣реВрдБ рджреЛрд╕реНрддреЛрдВ рдЖрдкрдХреЛрдВ Maharana Pratap Essay in Hindi рдХрд╛ рдпрд╣ рд▓реЗрдЦ рдЕрдЪреНрдЫрд╛ рд▓рдЧрд╛ рд╣реЛрдЧрд╛. рдпрджрд┐ рдЖрдкрдХреЛрдВ Maharana Pratap Story in Hindi рдореЗрдВ рджреА рдЧрдИ рдЬрд╛рдирдХрд╛рд░реА рдкрд╕рдВрдж рдЖрдИ рд╣реЛ рддреЛ рдЕрдкрдиреЗ рджреЛрд╕реНрддреЛрдВ рдХреЗ рд╕рд╛рде рд╢реЗрдпрд░ рдХрд░реЗ.
рджреЛрд╕реНрддреЛрдВ рдпрджрд┐ рдЖрдкрдХреЗ рдкрд╛рд╕ рднреА maharana pratap history in hindi рдХреЗ рд╕рдореНрдмрдиреНрдз рдореЗрдВ рдЗрд╕ рддрд░рд╣ рдХреА рдХреЛрдИ я┐╜я┐╜рд╛рдирдХрд╛рд░реА рд╣реЛ maharana pratap ki kahani рдХреЗ рд░реВрдк рдореЗрдВ рд╣рдорд╛рд░реЗ рд╕рд╛рде рднреА рд╢реЗрдпрд░ рдХрд░реЗ. maharana pratap ki kahani рдореЗрдВ рдЖрдкрдХреЛрдВ Maharana Pratap Essay in Hindi Language рд╕реЗ рд╕рдореНрдмрдиреНрдзрд┐рдд рдЕрдиреНрдп рд▓реЗрдЦ рдкреЭрдирд╛ рдЪрд╛рд╣рддреЗ рд╣реИ рддреЛ Hihindi рдХреЛ рдирд┐рддреНрдп рд╡рд┐рдЬрд┐рдЯ рдХрд░реЗ.
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Remembering P. Jairaj actor, director & producer on his 17th death anniversary.
Paidi Jairaj (born Paidipati Jairula Naidu - 28 September 1909 тАУ 11 August 2000) was a film, superstar, director, and producer known for his works primarily in Hindi cinema, Marathi, Gujarati language films, and Telugu theatre.
During the talkie period, from 1931 onwards, he started with Shikari in Urdu and English languages. Subsequently he became one of the leading actors for about two decades along with Shantaram, Prithviraj Kapoor, Motilal etc. He was starred in about 170 feature films in a variety of roles. He directed a few films like Mohar, Mala (1943), Pratima, Rajghar and Saagar (1951) which he produced. In 1980, He was honored with the Dadasaheb Phalke Award the highest award for films in India, for his contributions to Indian cinema.
Jairaj was born in Karimnagar, Hyderabad State (of which the present day Telangana State was a part) on 28 September 1909. A close relative (Nephew) of Sarojini Naidu, They were three brothers - P.Sundarraj Naidu, P. Deendayal Naidu ( Artist), P.Jairaj was the Youngest. Jairaj developed interest in theatre, and films during his graduate studies at Nizam College and left for Bombay in 1929. He made his acting debut in 1929 with the silent film Star Kling Youth, and subsequently he acted in about eleven silent films including Triangle of Love, Mathru Bhoomi, All for Lover, Mahasagar Mothi, Flight into Death, My Hero etc.
Jairaj's effective dialogue delivery, and experience in Telugu theatre made him an instant choice to play the roles of the sword wielding Rajputs. He played the characters of Amar Singh Rathore [1957], Prithviraj Chauhan[1959], and Maharana Pratap[1960] among notable films. He also essayed the roles of Shah Jahan [1947], Tipu Sultan [1959] and Haider Ali [1962] with equal aplomb. His other memorable portrayals have been in the films like тАШSassi PunnuтАЩ [1947], тАШHatimTaiтАЩ[1956], тАШChandrashekar AzadтАЩ[1963] тАШDurga DasтАЩ[1964] among others. Jairaj did six films with Suraiya in 1940s and 1950s, five of them, viz. 'Humaari Baat' (1943), 'Singaar' (1949), 'Amar Kahani' (1949), 'Rajput' (1951), 'Resham' (1952) as her hero, and one of them, 'Lal Kunwar' (1952} as second lead. In 1952, he produced and directed his own film, Sagar, which was not very well received by the audiences. But his commitment to cinema remained undisputed.
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