#Rani Padmavati

[decemberpdf]

(left) painting of rani padmini’s jauhar to prevent being captured by alauddin khilji, gallery at maharana pratap smarak samiti

(right) site of rani padmini’s jauhar at chittorgarh

[kajra-re]

Deepika Padukone, Padmaavat, 2018.

[perioddramapolls]

Period dramas dresses tournament: Green dresses Round 1- Group A: Princess Margaret, The crown vs Rani Padmavati, Padmaavat (gifset)

[webflairs]

Rani Padmavati Johar Real Place – रानी पद्मावती का जौहर कुंड

जब रावल रतन सिंह के युद्ध में हारने की खबर किले के अंदर पहुँची तब रानी पद्मावती और उनके साथ अनेकों राजपूतानियाँ किले के गुप्त मार्ग से ज़ौहर कुंड तक पहुँची और रानी पद्मावती के नेतृत्व में आग से धधकते कुंड में छलांग लगा दी।

रानी पद्मावती के ज़ौहर की गाथा आज भी चित्तौरगढ़ शहर के आम लोगो के बिच प्रशिद्ध हैं।

Check full post: Rani Padmavati Johar Real Place

[indrajasthantourism]

VISIT NOW

[internationalroyals]

𝑰𝒏𝒕𝒆𝒓𝒏𝒂𝒕𝒊𝒐𝒏𝒂𝒍 𝑹𝒐𝒚𝒂𝒍/𝑰𝒎𝒑𝒆𝒓𝒊𝒂𝒍 𝑯𝒊𝒔𝒕𝒐𝒓𝒚 𝑨𝒑𝒑𝒓𝒆𝒄𝒊𝒂𝒕𝒊𝒐𝒏 𝑴𝒐𝒏𝒕𝒉:

𝑾𝒆𝒆𝒌 2: 𝑸𝒖𝒆𝒆𝒏𝒔/𝑬𝒎𝒑𝒓𝒆𝒔𝒔𝒆𝒔

𝑫𝒂𝒚 11: 𝑷𝒂𝒅𝒎𝒂𝒗𝒂𝒕𝒊, 𝑹𝒂𝒏𝒊 𝒐𝒇 𝑴𝒆𝒘𝒂𝒓

"𝑨𝑳𝑳 𝒈𝒊𝒇 𝒄𝒓𝒆𝒅𝒊𝒕𝒔 𝒈𝒐 𝒕𝒐 𝒕𝒉𝒆 𝒐𝒓𝒊𝒈𝒊𝒏𝒂𝒍 𝒐𝒘𝒏𝒆𝒓*

[southasiansource]

DEEPIKA PADUKONE as Rani Padmavati in PADMAAVAT (2018) dir. Sanjay Leela Bhansali

[hum-budbak-hai]

While scrolling I suddenly saw that someone was actually claiming that "sanjay leela bhansali is not a good director".

Bhai ap ek kaam kijiye, aap mumbai jaiye jake SLB ji se baat kijiye. Aur unse kaam mangiye. Aabh aap puchenge ki kaunsa kaam. Aap unse "personal adviser" ka kaam mangiye. Aapka kaam ek ghanta bhi nahi rahega janab.

That dumbo even said that "people started glorifying jauhar" bhai apka dimag ghutno pe hai kya? Alauddin Khalji Rani Padmavati ko apaharan karne wala tha.. Since he already won the war, Rani Padmavati understood that there is no other way to survive knowing Khalji had a huge lust for girls. She didnot had the urge to get physical abuse and die in the hands of a brutal person. That is the reason why she performed "jauhar". And you are talking about glorification? lemme explain. People glorified jauhar because it was no doubt a challenging work but she was not scared. Her bravery was glorified.

Now Heeramandi, Tawaiffs are like modern day Posh Prostitutes. And Tawaiffs were prostitutes. They used to dance, sing and after that they gave sexual pleasures to those rich men. Bro they are also human being. They need love as well. Again here Tawaiffs were not glorified their emotions were glorified in the series. And the world would die if there is a crisis of Tawaiifs or Prostitutes in the world. And because of these tawaiffs India got to know about kathak and other dance forms. Gajagamini and these types of walks were actually done by Tawaiffs. They were highly cultural. Some people even took there daughters to learn dance from them. They were the most cultural people out there. Kathak and Mujra songs are famous for them.

Bro going around telling that "they have no power" I mean what type of power are you talking about? They had servants because they worked on their own. They didn't had to depend on anyone. And as mallika jaan said that, "chaand kisike banrande mein nahi ata, chaand ko doorse hi dekhna padhta hai". And girls were not wanting their lifes they were wanting this type of posh treatments my dear. Girls want to be treated like queens but they don't want to be tawaiffs. (I have huge respect for tawaiffs) No one wants to be a tawaiff they were forced to do that. And once again GIRLS WANTED THEIR POSH AND RICH LIFESTYLE NOT THEIR LIFESTYLE.

The moral of the story of Heeramandi is, we need to respect everyone in this world even the Tawaiifs and Prostitutes because if they don't exist men will die. And yes I have no shame in telling this that yes men will die.

And one more, They were ROYAL thats why ROYALTY was showcased my dear.

And yes SLB did films which were not royal but they were Royal by heart like "Black" , "Guzarish" and many more. And he has budget my friend. Everytime, he makes a come back after 4 to 5years because he choose projects which will touch the heart of every individual and he showcases Indian Cultural in his creation. That why SANJAY LEELA BHANSALI IS SANJAY LEELA BHANSALI.

"YEE SAKAL BAN, SAKAL BAN," , "GHOOMAR GHOOMAR GHOOMAR GHOOMAR GHOOME RE", "PINGA RA PORI PINGA RA PORI PINGAAA"

[writingsofwesteros]

I'm missing the sun in oldtown au lately, and this new photoshoot, plus all the great social media aus and modern aus on here lately have made me think about a modern Otto x Elia, so here's a thought:

Modern sun in oldtown

Nobody knew they were even together except for maybe Oberyn and Elllaria for a long while. Both of them being hesitant to display another relationship in the public eye, he hasn't been seen dating much following his wifes death years ago, and she hasn't been seen with a man on her arm since her ex-husband. In the beginning Elia Martell was just seen as this young dornish singer/dancer/model from Sunspear that became known for marrying young heartthrob Rhaegar Targaryen. She then also became an infamously known entrepreneur/photographer/business woman/etc. as well, when she took her kids and divorced her husband, after paparazzi outed his cheating on her with the young up and coming Lyanna Stark. The humiliation was so public, the run of the gossip mill for months after. She despised it, and went back home to make sure young Rhaenys and Aegon didn't grow up around too much craziness as she was then raising them as a single mother, Rhaegar beign a dead beat dad, having had a kid with Lyanna the following year and leaving them too. Yeah even Daemon is seen slightly better in the eyes of the public than his wild younger cousin, a surprise.

Nobody knew anything about her love life after that, though paparazzi and gossip hounds tried to get any details they could. Especially as time went on and her kids grew a few years older, and she returned to the limelight, working in other businesses as well now. She still avoids social media for a while. Most glimpses of her personal life are seen through posts by her family or friends in the business. When she becomes the new ambassador for her families company after Oberyn and Ellaria had yet another scandal needing to be contained, everyone assumed that her and her brothers rival Otto Hightower hated each other just as much... fans thinking they were two popular higher ups that butted heads often, from two rival media companies, the Martells and the Hightowers both being old money and having a foot in many business ventures, ranging from business to music to acting to modeling etc. Imagine the shock that goes through twitter and instagram and other social media platforms from fans when Elias next magazine photoshoot to come out after almost a year of no direct sightings of her.. is her doing a pregnancy photoshoot, outing their apparently well contained enemies to lovers/whirlwind romance and soon to be born baby, and the shock when she even gets him to be in a few pictures with her..

https://www.tumblr.com/rani-padmavati/760516082141396993/deepika-padukone-for-her-pregnancy-photoshoot?source=share

https://www.tumblr.com/rani-padmavati/760516227277930496/deepika-padukone-and-ranveer-singh-for-their?source=share

OH ! I adore those photos when they came out, the most stunning and precious !

Otto and Elia being so precious once more and you know the fans are wild for it

[ramayantika]

So in my old school in kolkata, there was a girl. Let's call her Indu. So when I joined this school, the class teacher had told the class about me and my brother because we were the first and the only twins to join the class. Naturally, all the girls said hi and talked to me and told me about the class and the students.

Indu was dark skinned, wore specs and sometimes combed her hair in very unique hairstyles that made one question: How on earth do you do that and come to school.

But anyway Indu befriended me, gave my school notes just like the others too and helped me out for the first week of school.

Cut to grade nine and ten. Now we all were fair skinned girls. Half of them were think and had good figures too which made them attractive and boys had no problem talking to us. And colourism is still deeply rooted in us that the guys made fun of Indu and the girls just rolled their eyes or avoided her path. Indu would get annoyed easily and she had her own family problema tok which she had solely shared with me and I understood why sometimes she used to have angry outbursts. Like imagine a 14 year old with whom nobody wants to be friends because they are dark in colour and don't look nice and pretty plus the classmates openly boycott you too. So sometimes she used to answer back in anger, but she never did that with me or my brother.

In the tenth grade, I don't know why the boys started this trend of calling her 'cancer'. Each morning she would enter the class, they announced, "cancer is coming. Bey cancer aarhi hai jaldi chal" And by chance if any boy saw her before coming to class they would groan and say that aaj din kharab jayega. They would also gag and make sounds when she raised her hand to give an answer to a question.

Now the girls wouldn't engage in that openly, but they would sideline her or just smile in front of her for two minutes and walk away. I remember one time she was sitting beside me, and in front of me the girls were signalling me to leave her and sit with them. Each time I talked to her, they would joke, "indu toh is your best friend now, isn't it?"

My close guy friend too called her Cancer and onetime my brother stood up and asked him what has she done too you so bad that you need to call her cancer. He said, she deserves it because she is rude everytime.

I was silent. I couldn't take any stand for her even though she had helped me out because I didn't want to lose my friendship with others. During picnic and children's day parties, we all would est together and joke while she went alone to the food counter and got her food. Some girls out of pity called her just to be 'nice' to her but behind her they made fun of her sparkly stone pink dress.

There was a dance competition I was supposed to take part in, but I couldn't. She was performing on ghoomar and had dressed exactly like rani padmavati. People in class were whispering all sorts of things yet she walked with her head held high. I could never tell her that she really good in that lehenga.

Anyway she was among the best students in our class too. Now that I live in isolation with no friends, though my situation is still far better than what she had to face because I have never been mistreated, I feel bad that I couldn't do a single thing for her. If I were in her place I would dread coming to school knowing that people see you as a curse each morning. For me, all my friends have gone ahead and found their friends and stuff in uni and I feel that I am good for nothing and I am bad at everything. Thinking about her makes me think that what strength she must have had back then to still come to school and perform well in class.

Anyway she got her good friends in 11th and 12th. She had changed her school I think it was Mahadevi Birla girls in kolkata and now she is here in Kiit bhubaneshwar. I am sure that she is really going to be a very strong individual in life and I really hope that she becomes so successfull so all those people in class who made fun of her literally go silent.

The other girls I remember they would sing those songs which mean everyone is beautiful, scars, colour weight doesn't matter, yet they treated her this way, and I am no good too because knowing it to be wrong I could never call them out.

They post stuff like inner beauty and stuff but do we really believe that? Do they really believe that?

[if-redcherry-become-person]

An 18th century painting of Rani Padmini

Spouse

Ratan Singh

Dynasty- Guhila (by marriage)

Sinhalese (Sri Lankan) (by birth)

Singoli Princess (as per Amara Kavya Vanshavali)

Father- King Gandharvasen

Mother- Queen Champavati

Religion- Hinduism

[starfriday]

*5 Times Bollywood Diva's Mesmerized Us With Their Royal Ethereal Beauty*

*Aditi Rao Hydari as Anarkali:*

Aditi Rao Hydari is been seen portraying the role of Anarkali in the period drama Taj: Divided by Blood. The audience blazed the internet by praising Aditi's character & her surreal royal beauty. Aditi Rao's elegance, grace & delicate features with her fierce side is what makes the series an exciting one to watch.

*Deepika Padukone as Rani Padmavati:*

Every time Deepika walked in as Rani Padmavati, the room was still and mesmerized by her beauty. Her royal avatar stands one of the most elegant, fierce and strong willed till date.

*Aishwarya Rai Bachchan as Jodha:*

The iconic actress of the early 2000s era still makes her mark with her poised, elegant body language. Jodha Akbar is one of the most loved movies till date & Aishwariya Rai as Jodha is a character that lives in hearts forever.

*Aishwarya Rai Bachchan as Nandini: *

She recently essayed the character of Nandini in PS-1. The internet couldn't get enough of her beauty and charm in the film. From her costumes, expressions to her body language, she screamed royalty in the most beautiful and elegant way through the film. It was a raging success.

*Priyanka Chopra Jonas as Kashibai:*

Her royal on screen presence was a treat to the sore eyes as Kashibai. Priyanka stole the show with her strong yet calm character which the audience highly applauded. She knew exactly where to strike a balance. Her royalty is one to look out for in every period drama she signs in for.

[legacyofhistory]

Rani Padmini Queen Consort of Mewar

Padmini, also known as Padmavati, was a 13th–14th century Rani (queen) of the Mewar kingdom of present-day India. Several medieval texts mention her, although these versions are disparate and many modern historians question the extent of their overall authenticity.[2

The Jayasi text describes her story as follows: Padmavati was an exceptionally beautiful princess of the Sinhalese kingdom (in Sri Lanka).[a]Ratan Sen, the Rajput ruler of Chittor Fort, heard about her beauty from a talking parrot named Hiraman. After an adventurous quest, he won her hand in marriage and brought her to Chittor. Ratan Sen was captured and imprisoned by Alauddin Khalji, the Sultan of Delhi. While Ratan Sen was in prison, the king of Kumbhalner Devapal became enamoured with Padmavati's beauty and proposed to marry her. Ratan Sen returned to Chittor and entered into a duel with Devapal, in which both died. Alauddin Khalji laid siege to Chittor to obtain Padmavati. Facing a defeat against Khalji, before Chittor was captured, she and her companions committed Jauhar (self-immolation) thereby defeating Khalji's aim and protecting their honour. Coupled to the Jauhar, the Rajput men died fighting on the battlefield.

In the Jayasi version, states Ramya Sreenivasan, Padmavati is described as the daughter of Gandharvsen, the king of the island kingdom of Sinhala (Singhal kingdom, Sri Lanka).[15] A parrot tells Chittor's king Ratansen of Padmavati and her beauty. Ratansen is so moved by the parrot's description that he renounces his kingdom, becomes an ascetic, follows the parrot as the bird leads him across seven seas to the island kingdom.[16] There he meets Padmavati, overcomes obstacles and risks his life to win her. He succeeds, marries her and brings his wife to Chittor where he becomes king again. Ratansen expels a Brahmin scholar for misconduct, who then reaches Sultan Alauddin and tells him about the beautiful Padmavati.[16] The sultan lusts for Padmavati, and invades Chittor in his quest for her. Ratansen, meanwhile, dies in another battle with a rival Rajput ruler.[16] Padmavati immolates herself. Alauddin thus conquers Chitor for the Islamic state, but Alauddin fails in his personal quest.[17] This earliest known literary version is attributed to Jayasi, whose year of birth and death are unclear.[18] He lived during the rule of Babur, the Islamic emperor who started the Mughal Empire after ending the Delhi Sultanate. Jayasi's compositions spread in the Sufi tradition across the Indian subcontinent.[19] Variants derived from Jayasi's work on Padmavati were composed between the 16th and 19th centuries and these manuscripts exist in the Sufi tradition.[20] In one, princess Padmavati became close friends with a talking parrot named Hiraman. She and the parrot together studied the Vedas – the Hindu scriptures.[21] Her father resented the parrot's closeness to his daughter, and ordered the bird to be killed. The panicked parrot bade goodbye to the princess and flew away to save its life. It was trapped by a bird catcher, and sold to a Brahmin. The Brahmin bought it to Chittor, where the local king Ratan Sen purchased it, impressed by its ability to talk.[21] The parrot greatly praised Padmavati's beauty in front of Ratan Sen, who became determined to marry Padmavati. He leaves his kingdom as a Nath yogi. Guided by the parrot and accompanied by his 16,000 followers, Ratan Sen reached Singhal after crossing the seven seas. There, he commenced austerities in a temple to seek Padmavati. Meanwhile, Padmavati came to the temple, informed by the parrot, but quickly returned to her palace without meeting Ratan Sen. Once she reached the palace, she started longing for Ratan Sen.[21] Meanwhile, Ratan Sen realized that he had missed a chance to meet Padmavati. In desolation, he decided to immolate himself, but was interrupted by the deities Shiva and Parvati.[22] On Shiva's advice, Ratan Sen and his followers attacked the royal fortress of Singhal kingdom. They were defeated and imprisoned, while still dressed as ascetics. Just as Ratan Sen was about to be executed, his royal bard revealed to the captors that he was the king of Chittor. Gandharv Sen then married Padmavati to Ratan Sen, and also arranged 16,000 padmini women of Singhal for the 16,000 men accompanying Ratan Sen.[23]

[musicverse11]

Sanjay Leela Bhansali’s Spotify Hits and Their Cultural Impact

In the vast and dynamic landscape of Indian cinema, a few names rise above the rest, leaving an indelible mark on the industry. One such name is Sanjay Leela Bhansali — a filmmaker whose dedication to storytelling, artistic vision, and unrelenting pursuit of perfection have cemented his legacy as one of the most influential figures in Bollywood. Known for his larger-than-life sets, emotionally charged narratives, and soulful music, Bhansali has redefined what it means to create cinema that is not just watched but felt.

From his directorial debut in Khamoshi: The Musical (1996) to his magnum opuses like Bajirao Mastani and Padmaavat, Bhansali has consistently pushed the boundaries of storytelling and production, setting new benchmarks for the industry. His films are more than just movies; they are cultural phenomena that reflect the essence of Indian heritage, emotion, and grandeur.

The Bhansali Aesthetic: Where Art Meets Storytelling

One of the most defining aspects of Bhansali’s work is his unique aesthetic. He doesn’t just direct films; he orchestrates an immersive experience that blends art, music, and narrative into a seamless whole. His attention to detail is unparalleled, as evident in his meticulous set designs, costumes, and cinematography.

Take Devdas (2002), for example. The film’s opulent sets, including Chandramukhi’s kotha and Paro’s mansion, became iconic symbols of cinematic artistry. Every frame was a painting, every costume a masterpiece. Bhansali’s films often use visual elements to complement and elevate the story. Whether it’s the sweeping deserts of Padmaavat or the vibrant courtyards of Bajirao Mastani, his use of light, color, and composition creates a visual language that captivates audiences worldwide.

Beyond the visuals, Bhansali’s dedication to authenticity is evident in his storytelling. His narratives often delve into themes of love, betrayal, and sacrifice, making his characters and plots relatable yet profound. Films like Hum Dil De Chuke Sanam (1999) and Black (2005) showcase his ability to handle complex emotions with sensitivity, resonating deeply with audiences.

Pioneering Grand Historical Dramas

Bhansali’s most celebrated works are arguably his historical dramas, where he blends factual events with artistic liberty to craft stories that are both educational and entertaining. Bajirao Mastani (2015) and Padmaavat (2018) are prime examples of this genre, where he brought forgotten chapters of Indian history to life with grandeur and emotional depth.

In Bajirao Mastani, Bhansali explored the life of Peshwa Bajirao I and his relationship with Mastani, a Muslim warrior princess. The film’s sweeping battle scenes, intense drama, and unforgettable music made it a cinematic triumph. Similarly, Padmaavat wove a tale of valor and sacrifice, immortalizing the legend of Rani Padmavati with visually arresting sequences and powerful performances.

These films not only broke box-office records but also initiated conversations about Indian history and culture. Bhansali’s commitment to showcasing India’s rich past has elevated him to the status of a cultural ambassador through cinema.

A Musical Maestro: Bhansali’s Dual Talent

While his directorial prowess is widely recognized, Bhansali’s talent as a music composer often flies under the radar. His musical compositions are as emotionally evocative as his storytelling. Tracks like Deewani Mastani (Bajirao Mastani), Ghoomar (Padmaavat), and Mohe Rang Do Laal (Bajirao Mastani) are not just chart-toppers but enduring pieces of art that have become part of India’s cultural fabric.

Bhansali’s ability to seamlessly integrate music into his films enhances the emotional resonance of his narratives. His songs don’t just complement the story — they drive it forward, making them integral to the cinematic experience. His soundtracks often blend classical Indian instruments with contemporary arrangements, creating timeless melodies that transcend generations.

Redefining Female Characters in Bollywood

Another notable aspect of Bhansali’s filmmaking is his portrayal of women. His female characters are strong, multi-dimensional, and central to the narrative. In Devdas, Paro and Chandramukhi defy societal norms to assert their identities. In Padmaavat, Rani Padmavati embodies courage and dignity, while in Gangubai Kathiawadi (2022), Bhansali narrates the story of a woman’s rise to power in a patriarchal society.

By focusing on their resilience, vulnerabilities, and aspirations, Bhansali has redefined the portrayal of women in Indian cinema. His characters are not mere accessories to the male protagonists but are, in many cases, the driving force of the story.

Global Recognition and Legacy

Sanjay Leela Bhansali’s work has not only captivated Indian audiences but also garnered international acclaim. Films like Devdas were showcased at prestigious festivals like Cannes, and his contributions to cinema have been recognized with multiple awards, including National Film Awards and Filmfare trophies. His ability to bridge the gap between Indian tradition and global appeal has made him a cultural icon.

Bhansali’s storytelling also resonates deeply on digital platforms like Spotify, where his soundtracks attract millions of listeners globally. This accessibility has introduced his artistry to a new generation of fans, ensuring that his legacy continues to grow.

Conclusion: The Eternal Legacy of a Visionary

Sanjay Leela Bhansali is not just a filmmaker; he is an artist whose canvas is the silver screen. His films transcend entertainment, offering viewers a deeply emotional and immersive experience. By merging the traditional with the modern, the grand with the intimate, Bhansali has carved a unique niche in the world of cinema.

His influence on Indian cinema is unparalleled, inspiring both audiences and aspiring filmmakers. As he continues to create, one can only anticipate what new masterpieces he will bring to life. For fans and cinephiles alike, Bhansali���s work is a testament to the power of storytelling, proving that cinema, at its best, is an art form that speaks to the soul.

[indrajasthantourism]

VISIT NOW

[internationalroyals]

International Historical Drama Deaths That Broke Me (18/?)

Rani Padmavati of Mewar