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Australian twenty-dollar note
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Twenty Dollars
(Australia)
Value
20 Australian dollars
Width
144 mm
Height
65 mm
Security features
Window, Watermark
Paper type
Polymer
Years of printing
1994–1998, 2002–2003, 2005–2008, 2010, 2013
Obverse
Design
Mary Reibey
Designer
Garry Emery
Design date
31 October 1994
Reverse
Design
John Flynn
Designer
Garry Emery
Design date
31 October 1994
The Australian twenty-dollar banknote was issued when the currency was changed from the Australian pound to the Australian dollar on 14 February 1966.[1] It replaced the £10 note which had similar orange colouration. There have been only two different issues of this denomination: a paper note which had a gradient of yellow and red, with a distinct orange background, and a polymer note which can be recognised for its distinct red-orange colouration. The polymer note was issued on 31 October 1994.[2]
As of June 2016[update], 160 million $20 banknotes were in circulation, 11% of the total notes in circulation; worth $3,196 million, or 5% of the total value for all denominations.[3]
Since the start of issuance there have been 14 signature combinations, of which the 1967 issue is of the greatest value, issued for one year only; and the 1989 Phillip/Fraser being issued for less than a year.
From 1966 to 1974 the main title identifying the country was Commonwealth of Australia, there were 146,960,000 notes issued in its life. This was subsequently changed to Australia until the end of the issuance of paper currency for this denomination in 1994 with 1,661,970,048 of these notes being issued.
Design[edit]
Obverse with Charles Kingsford Smith.
Reverse with Lawrence Hargrave.
The people depicted on the paper note issue were Sir Charles Kingsford Smith on the obverse along with five Lissajous curves drawn by a two-pendulum harmonograph, and Lawrence Hargrave on the reverse with his drawings of kites and type aircraft designs.[1]
The polymer note features Mary Reibey on the obverse with an early colonial building and sailing ship including her signature. John Flynn is on the reverse with features of the Royal Flying Doctor Service of Australia of a De Havilland DH.50 biplane Victory supplied by Qantas, medical instruments, Coledge Harland (the man on the camel), who was a missionary to the inland people of Australia. His signature is included. A compass is in the clear window with the raised 20 lettering.[4] These famous people are depicted against a definite red background. The note was designed by Garry Emery.[4]
Colouration is said to be either red or orange but has been debated many times over the years. Official documentation states that the colour of the twenty dollar note is predominantly orange. This polymer note is colloquially known as a "lobster", due to its red colour.
Security features[edit]
The paper design included a watermark in the white field of Captain James Cook, the watermark was also used in the last issue of pound banknotes. A metallic strip, first near the centre of the note, then from 1976 moved to the left side on the obverse of the note. Polymer issue includes a watermark or clear imprint of the coat of arms which is printed over. Embossing or a raised image in the clear panel of the number 20. Also for this issue fluorescent colouring was added to the serial numbers, and a patch that shows the banknote's value. A star with four points on the obverse and three on the reverse which join under light. Raised print and micro printing of the denomination name are included.[4][5]
References[edit]
^ Jump up to: a b "The Reserve Bank and Reform of the Currency: 1960–1988, Australia's first decimal banknotes". Reserve Bank of Australia Museum. Reserve Bank of Australia. Retrieved 31 December 2015.
Jump up ^ "$20 BANKNOTE". Banknotes in Circulation. Reserve Bank of Australia. Retrieved 9 February 2015.
Jump up ^ "DISTRIBUTION-CIRCULATION AND PRODUCTION STATISTICS, AS AT END JUNE 2016". banknotes.rba.gov.au. Reserve Bank of Australia. June 2016. Retrieved 18 January 2017.
^ Jump up to: a b c "THE $20 BANKNOTE (interactive)". Banknote Features. Reserve Bank of Australia. Retrieved 9 February 2015.
Jump up ^ "List of Security Features". Counterfeit Detection. Reserve Bank of Australia. Retrieved 9 February 2015.
Ian W. Pitt, ed. (2000). Renniks Australian Coin and Banknote Values (19th ed.). Chippendale, N.S.W.: Renniks Publications. pp. 171–172. ISBN 0-9585574-4-6.
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text:
Misleading or deceptive conduct
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Misleading or deceptive conduct (often referred to as just misleading conduct) is a doctrine of Australian law.
Section 18 of the Australian Consumer Law,[1] which is found in schedule 2 of the Competition and Consumer Act 2010,[2][3] prohibits conduct by corporations in trade or commerce which is misleading or deceptive or is likely to mislead or deceive. The states and territories of Australia each have Fair Trading Legislation either containing similar provisions in relation to misleading or deceptive conduct by individuals, or simply applies the federal law to the state or territory.[4] Section 12DA of the Australian Securities and Investment Commission Act 2001 prohibits misleading or deceptive conduct in financial services.[5]
The doctrine aims primarily to provide consumer protection by preventing businesses from misleading their customers. However, it extends to all situations in the course of trade or commerce. A range of remedies are available in the event of misleading or deceptive conduct.
Contents
[hide]
1 Application
1.1 Trade or commerce
1.2 Misleading or deceptive
1.3 Reliance and intent
1.4 Loss
1.5 Other relevant matters
1.6 Contractual modification
2 Exceptions
3 Remedies
3.1 Fines
3.2 Damages
4 References
Application[edit]
The prohibition on misleading conduct is set out in section 18(1) of the Australian Consumer Law:[1]
"A person must not, in trade or commerce, engage in conduct that is misleading or deceptive or is likely to mislead or deceive."
The Australian Consumer Law defines conduct as:
"...doing or refusing to do any act, including the making of, or the giving effect to a provision of, a contract or arrangement, the arriving at, or the giving effect to a provision of, and understanding or the requiring of the giving of, or the giving of, a covenant;"[1]:s 2(2)(a)
Section 18 of the Australian Consumer Law essentially mirrors the previous ban on misleading or deceptive conduct in section 52 of the Trade Practices Act.[6]
The elements required to establish misleading or deceptive conduct are:
the impugned conduct was done in trade or commerce;
the impugned conduct was, in all the circumstances, misleading or deceptive;
the claimant relied on the conduct; and
as a result of its reliance on the conduct, the claimant suffered a loss.
Trade or commerce[edit]
"Trade or commerce" is given its ordinary construction, and applies not only to transactions between corporations and consumers, but to anyone providing or acquiring goods or services.[7] However, purely private or domestic transactions will not be captured within the ambit of section 18.[8]
Misleading or deceptive[edit]
Unlike related doctrines in contract or tort law, such as the tort of deceit and misrepresentation, misleading or deceptive conduct applies to any conduct that is, or is likely to be, misleading or deceptive, and does not require the making of a representation.[9]:at [31]
Conduct is likely to mislead or deceive where there is a "real and not remote" chance that it will mislead or deceive, which can be true even where the probability of misleading or deceiving is less than 50%.[10] When the allegedly misleading or deceptive conduct is directed towards the public at large, the relevant reaction is that of the ordinary or reasonable members of the class of prospective purchasers.[11] If the conduct is directed at specific individuals, the conduct as a whole is relevant, considering the nature of the parties and transaction.[10]
Reliance and intent[edit]
Misleading or deceptive conduct is a "strict liability" offence, in that it does not matter whether the conduct was intended to mislead or deceive,[12] or even whether the claimant could reasonably have protected its interests.[9]:at [42] This means that so long as there is an element of reliance on the part of the claimant, a respondent could be found to have engaged in misleading or deceptive conduct even if they had every reason to believe that their representations were true.
The reason for strict liability in this instance that a person making a representation is always better placed to know about whether or not it is true than the person relying on the representation, so the law is constructed to shift the onus of ensuring that the representation is true onto the person making it. This is in contrast to the traditional common law principle of "caveat emptor" or "let the buyer beware".[13]
Loss[edit]
As a tort-style offence applying to cases of "pure economic loss" (as opposed to physical harm), a cause of action in misleading or deceptive conduct will only accrue from the time that any loss is suffered – i.e. conduct could be misleading and deceptive, and a person could rely on it and still have no claim. There would only be a claim when that person suffers a loss as a result of the conduct.[14]
Other relevant matters[edit]
Individuals may be ancillary liable for breaches of s18 if they are "knowingly concerned" in the breach.[1]:s 237
Where conduct is a representation about the future (as opposed to a representation about present facts), then that conduct will be taken to be misleading if the person making it cannot show they made the representation on reasonable grounds.[1]:s 4 In these situations, representations about the future are presumed to be misleading, and the burden of proof is on the person making the representation to produce evidence to show that they had reasonable grounds.
Contractual modification[edit]
Parties to a contract cannot exclude liability for misleading or deceptive conduct under section 18 of the Australian Consumer Law. Terms that purport to do so will be unenforceable to protect the public interest in ensuring that statutory remedies are available to persons who are misled or deceived into entering an agreement. As was stated in reference to section 52 of the Trade Practices Act 1974 (Cth),[6] the modern equivalent of which is section 18 of the Australian Consumer Law:
49. Irrespective of the construction of these two special conditions it does not matter ultimately whether the impugned conduct with which this case is concerned falls literally within them or not. Section 52 is a section in the consumer protection provisions of an Act concerned to protect the public from misleading or deceptive conduct and unfair trade practices which may result in contravention of the Act. It has been held that exclusion clauses, of which special conditions 6 and 7 are examples, cannot operate to defeat claims under s. 52. It may be ... that such exclusion clauses will generally be ineffective because they cannot break the nexus between the conduct in contravention of s. 52 and the making of the agreement in issue. ...
50. There are wider objections to allowing effect to such clauses. Otherwise the operation of the Act, a public policy statute, could be ousted by private agreement. Parliament passed the Act to stamp out unfair or improper conduct in trade or in commerce; it would be contrary to public policy for special conditions such as those with which this contract was concerned to deny or prohibit a statutory remedy for offending conduct under the Act.[9]:at [49]-[50]
Exceptions[edit]
Despite the strict liability nature of the offence, a person will not be deemed to have engaged in misleading or deceptive conduct where:[10]:at [123]
the circumstances make it apparent that the person is not the source of the information and that it expressly or impliedly disclaims any belief in its truth or falsity and is merely passing on the information for what it is worth;[15]
the person, while believing the information, expressly or impliedly disclaims personal responsibility for what it conveys, for example, by disclaiming personal knowledge; or
the person, while believing the information, ensures that its name is not used in association with the information.
Remedies[edit]
Fines[edit]
There are no pecuniary penalties available for a breach of section 18. However, for a breach of many of the related provisions in the Australian Consumer Law, the Australian Competition and Consumer Commission (ACCC) can seek pecuniary penalties of up to $1.1 million from corporations and $220,000 from individuals.
Damages[edit]
A victim of misleading or deceptive conduct is only entitled to damages (i.e., monetary compensation) if they have suffered loss or damage as a result of the conduct. The measure of loss or damage here is generally the same as it is in contract law or tort law. Since 2004, if a victim contributed to the loss or damage that they suffered, then the court can reduce the amount of damages that they are awarded, in a similar fashion to the reduction of damages in a negligence claim if the plaintiff is guilty of contributory negligence. However, if the person engaging in the conduct intended to mislead or deceive, or was fraudulent in their conduct, then the courts cannot reduce the damages.[2]:s 82(1B)
There is a limitation period of six years on actions for damages.[1]:s 236(2)
References[edit]
^ Jump up to: a b c d e f Competition and Consumer Act 2010 (Cth) Schedule 2, The Australian Consumer Law.
^ Jump up to: a b Competition and Consumer Act 2010 (Cth)
Jump up ^ formerly the Trade Practices Act 1974 (Cth).
Jump up ^ Fair Trading Act 1987 (NSW) s 28; Australian Consumer Law and Fair Trading Act 2012 (Vic) s 8; Fair Trading Act 1989 (Qld) s 16; Fair Trading Act 1987 (SA) s 14; Fair Trading Act 1990 (Tas) s 14; Fair Trading Act 1987 (WA) s 10; Consumer Affaris and Fair Trading Act 1990 (NT) s 27; Fair Trading (Australian Consumer Law) Act 1992 s 7.
Jump up ^ Australian Securities and Investment Commission Act 2001 (Cth)
^ Jump up to: a b Trade Practices Act 1974 (Cth) s 52 Misleading or deceptive conduct.
Jump up ^ Concrete Constructions (NSW) Pty Limited v Nelson [1990] HCA 17, (1990) 169 CLR 594; see also Houghton v Arms [2006] HCA 59, (2006) 225 CLR 553.
Jump up ^ Re Paul Smolonogov and Adrian Lapardin v Raymond Lawrence O'Brien and Barbara Annette O'Brien [1982] FCA 189, (1982) 67 FLR 311.
^ Jump up to: a b c Re Henjo Investments Pty Limited [1988] FCA 40.
^ Jump up to: a b c Butcher v Lachlan Elder Realty Pty Ltd [2004] HCA 60, (2004) 218 CLR 592.
Jump up ^ Campomar Sociedad Limited v Nike International Limited [2000] HCA 12, (2000) 202 CLR 45.
Jump up ^ Yorke v Lucas [1985] HCA 65 at [11], (1985) 158 CLR 661.
Jump up ^ Perre v Apand Pty Ltd [1999] HCA 36, (1999) 198 CLR 180 per Callinan J at [114]-[118].
Jump up ^ HTW Valuers (Central Qld) Pty Ltd v Astonland Pty Ltd [2004] HCA 54, (2004) 217 CLR 640 at pp. 665–6 (Gleeson CJ, McHugh, Gummow, Kirby and Heydon JJ).
Jump up ^ Google v ACCC [2013] HCA 1, (2004) 249 CLR 435.
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Qayamat Se Qayamat Tak
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For other films named "Qayamat", see Qayamat (disambiguation).
Qayamat Se Qayamat Tak
Movie Poster
Hindi
क़यामत से क़यामत तक
Directed by
Mansoor Khan
Produced by
Nasir Hussain
Written by
Nasir Hussain
Starring
Aamir Khan
Juhi Chawla
Dalip Tahil
Alok Nath
Music by
Anand-Milind
Cinematography
Kiran Deohans
Edited by
Zafar Sultan
Production
company
Nasir Hussain Films
Release date
29 April 1988 (1988-04-29)[1]
Running time
163 mins
Country
India
Language
Hindi
Box office
₹5 crore[2]
Qayamat Se Qayamat Tak (English: From Doom till Doom), also known by the initialism QSQT, is a 1988 Indian Hindi-language romantic drama film, directed by Mansoor Khan, written and produced by his father Nasir Hussain, and starring his cousin Aamir Khan with Juhi Chawla in the lead roles. The film was released on 29 April 1988 to critical acclaim, and was a major commercial success,and was a Blockbuster turning Khan and Chawla into hugely popular stars.[3] The plot was a modern-day take on classic tragic romance stories such as Layla and Majnun, Heer Ranjha,[4] and Romeo and Juliet.[5] QSQT was a milestone in the history of Hindi cinema, setting the template for Bollywood musical romance films that defined Hindi cinema in the 1990s.[6][7]
Composed by Anand-Milind, the soundtrack of the film was equally successful and popular. Indiatimes Movies ranks the movie amongst the "Top 25 Must See Bollywood Films".[8] It won the National Film Award for Best Popular Film Providing Wholesome Entertainment, and eight Filmfare Awards from eleven nominations including Best Film, and Best Director for Mansoor Khan.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Music
5 Box office
6 Accolades
7 Remakes
8 Legacy
9 Notes
10 References
11 External links
Plot[edit]
Dhanakpur village farmer Thakur Jaswant Singh (Alok Nath) and Dhanraj Singh (Dalip Tahil) are brothers. They have a younger sister Madhumati, who was used, made pregnant and ditched by Ratan Singh (played by Arjun), the son of Thakur Raghuveer Singh from a big Rajput family. The family refuses Jaswant Singh's request to get his sister married to Ratan. Ratan's family refuses to accept that he is guilty, as they are interested in their status.
Insulted, Jaswant leaves the village. Unable to tolerate the events, Madhumati commits suicide. Frustrated, Dhanraj kills Ratan at his wedding and gets imprisoned. The two families are now bitter enemies. Jaswant moves to Delhi, develops his business, and reaches good status; he also raises Dhanraj's kids. Years later, Dhanraj gets released from the prison. Upon release, Dhanraj receives a letter from his son, Raj (Aamir Khan), an ardent music lover, who completes his education in Rajput College. An emotional Dhanraj sneaks into Raj's college farewell party and is glad to see his son fulfill his dreams.
In a twist of fate, Raj and his cousin go to Dhanakpur to clear his family's land deal. While returning home, Raj falls for Rashmi (Juhi Chawla), a relative of Raghuveer Singh. Raj sneaks into Rashmi's birthday bash. The two meet again at a holiday spot. They become lost in the forest and fall in love while finding a way out. Raj finds out about Rashmi's family but is unable to tell her the truth. When Randhir Singh, Rashmi's father, finds out about the affair, he immediately arranges Rashmi's wedding. The lovers take on their families and elope, dreaming of an idyllic life together.
Furious, Randhir hires a contract killer to kill Raj. The lovers have a brief interval of happiness. They stay in a deserted fort, happy in their own paradise. When Randhir learns their whereabouts, he goes there to bring Rashmi home and ensure that Raj is killed. Randhir's mother does not wish for this so she goes to Dhanraj and tells him to save them. Raj leaves the fort to bring some wood for their house. While Raj is away, Randhir meets with Rashmi and tells her to come home; he has "accepted their love". Rashmi is overjoyed at her father's words, not knowing the truth. In the forest, Raj is chased by the henchmen.
Dhanraj reaches the fort and repeatedly asks about his son's whereabouts. They get in a fight and a gunshot is heard. Rashmi leaves the scene to make sure that Raj is okay. He is about to be shot but, on seeing Rashmi, the henchman shoots her instead. She is shot twice and rolls down the hill. Raj overpowers the henchman and reaches Rashmi's side, crying. They promise never to leave each other. On saying this, Rashmi breathes her last in Raj's arms. A grief-stricken Raj is devastated by Rashmi's death, and says that nothing can separate them. He commits suicide with a dagger given to him by Rashmi and dies with his head on her chest.
The final scene is both families running toward them; the lovers are together, never to be separated, as the sun sets behind them.
Cast[edit]
Aamir Khan as Raj
Juhi Chawla as Rashmi
Goga Kapoor as Randhir Singh
Dalip Tahil as Dhanraj Singh
Ravindra Kapoor as Dharampal Singh
Asha Sharma as Mrs. Saraswati Singh
Alok Nath as Jaswant Singh
Rajendranath Zutshi as Shyam
Shehnaz Kudia as Kavita
Charushila as Parvati
Beena Banerjee as Saroj
Reema Lagoo as Mrs. Kamla Singh
Nandita Thakur as Indumati
Ahmed Khan as Bhagwandas
Arjun as Ratan Singh
Ajit Vachani as Vakil Biharilal
Yunus Parvez as in a special appearance as a truck driver
Viju Khote as Maan Singh
Babbanlal Yadav as Totaram
Arun Mathur as Raghuveer Singh
Seema Vaz as Madhumati
Mukesh as Hamid Khan
Shehzad Khan as Shahid Khan
Makrand Deshpande as Baba
Shiva Rindani as Balwant Singh
Usha as Seema
Imran Khan as young Raj
Production[edit]
The film marked the directorial debut of Mansoor Khan, son of Nasir Hussain and his cousin Aamir Khan. The film was a tale of unrequited love and parental opposition, with Khan portraying Raj, a "clean-cut, wholesome boy-next-door".[5] The plot was a modern-day take on classic tragic romance stories such as Layla and Majnun, Heer Ranjha,[4] and Romeo and Juliet.[5]
Mansoor recalled that his father Nasir wanted to launch Aamir as a leading actor and got convinced that Mansoor would direct the film after watching his telefilm.[9][10] The film was initially titled Nafrat Ke Waaris before returning to original title.[11]
Music[edit]
Qayamat Se Qayamat Tak
Studio album by Anand-Milind
Released
1988
Genre
Feature film soundtrack
Label
T-Series
Producer
Anand-Milind
Anand-Milind chronology
Qayamat Se Qayamat Tak
(1989) Shiv Shakti
(1989)Shiv Shakti1989
Professional ratings
Review scores
Source
Rating
Planet Bollywood [12]
Pancham (R.D. Burman) was to compose the soundtrack, but director Mansoor Khan wanted a young music director. That's how Anand-Milind, who had worked with him earlier on this tele-film, secured this project.[9] Mansoor selected Udit to sing all songs because he felt that his voice would suit Aamir.[9] The soundtrack contains five songs composed by duo Anand-Milind and songs written by veteran Majrooh Sultanpuri. All the tracks were sung by Udit Narayan and Alka Yagnik. Majroosh saab (as he is fondly known) wrote the song "Papa Kehte Hain" at the age of 70. Anand-Milind won the Filmfare Best Music Director Award while Udit Narayan won best male playback singer for "Papa Kehte Hain". The music for "Akele Hain To Kya Gum Hai" is copied from the instrumental number "Return to the Alamo" by the band The Shadows.[13]
The hit "Papa Kehte Hain"
was used in Hum Saath Saath Hain in a parody. It was rendered by the original singer Udit Narayan and re-written by Ravinder Rawal.
was used in Andaz Apna Apna in a sequence.
was recreated by Vishal-Shekhar for the 2013 film Student Of The Year, which was Varun Dhawan's debut.
The song became successful in Binaca Geetmala.[14]
The song "Aye Mere Humsafar" was recreated by Mithoon and sung by Mithoon and Tulsi Kumar for the 2015 film All Is Well. Amitabh Verma wrote additional lyrics for this version.[15]
No.
Song
Singer(s)
Length
1. "Papa Kehte Hain" Udit Narayan 05:55
2. "Ae Mere Humsafar" Udit Narayan Alka Yagnik 05:58
3. "Akele Hain To Kya Gum Hai" Udit Narayan, Alka Yagnik 05:59
4. "Gazab Ka Hai Din" Udit Narayan, Alka Yagnik 04:26
5. "Kahe Sataye" Alka Yagnik 02:19
6. "Papa Kehte Hain (Sad)" Udit Narayan 04:01
Box office[edit]
In 1988, Qayamat Se Qayamat Tak earned a domestic net collection of ₹5 crore,[2] and was Blockbuster making it the year's third highest-earning film, after Tezaab and Shahenshah.[16] Adjusted for inflation, the domestic net collection of Qayamat Se Qayamat Tak is equivalent to more than ₹90 crore (US$14 million) in 2016.[a]
Accolades[edit]
Award
Date of Ceremony
Category
Recipient(s) and nominee(s)
Result
Ref(s)
Filmfare Awards 34th Filmfare Awards Best Film Qayamat Se Qayamat Tak Won [18]
Best Director Khan !Mansoor Khan Won
Best Male Debut Khan !Aamir Khan Won
Best Female Debut Chawla !Juhi Chawla Won
Best Music Director Anand-Milind !Anand-Milind Won
Best Male Playback Narayan !Udit Narayan Won
Best Screenplay Hussain !Nasir Hussain Won
Best Cinematography Deohans !Kiran Deohans Won
Best Actor Khan !Aamir Khan Nominated
Best Actress Chawla !Juhi Chawla Nominated
Best Lyricist Sultanpuri !Majrooh Sultanpuri Nominated
National Film Awards 36th National Film Awards Best Popular Film Providing Wholesome Entertainment Qayamat Se Qayamat Tak Won [19]
Special Mention Khan !Aamir Khan Won
Remakes[edit]
The film was remade in Telugu as Akkada Ammayi Ikkada Abbayi, which marked the debut for Telugu megastar Chiranjeevi's brother Pawan Kalyan. It was also remade in Bangladesh as Keyamat Theke Keyamat at 1993 marking the debut film for Bangladeshi superstar Salman Shah and Moushumi.
Legacy[edit]
Qayamat Se Qayamat Tak proved to be a major commercial success, catapulting both Khan and Chawla to stardom.[20] It received seven Filmfare Awards including a Best Male Debut trophy for Khan.[21] The film has since attained cult status.[22] Bollywood Hungama credits it as a "path-breaking and trend setting film" for Indian cinema.[23]
Gautam Chintamani's book Qayamat Se Qayamat Tak: The Film That Revived Hindi Cinema (2016) credits the film with revitalizing Hindi cinema.[7] In the late 1980s, Hindi cinema was experiencing a decline in box office turnout, due to increasing violence, decline in musical melodic quality, and rise in video piracy, leading to middle-class family audiences abandoning theaters. Qayamat Se Qayamat Tak's blend of youthfulness, wholesome entertainment, emotional quotients and strong melodies is credited with luring family audiences back to the big screen.[23][7] Chintamani credits it as one of the most important films of the last three decades. It was a milestone in the history of Hindi cinema, setting the template for Bollywood musical romance films that defined Hindi cinema in the 1990s.[6]
Notes[edit]
Jump up ^ 1993 inflation rate was 17.18 times: Darr's domestic nett of ₹10.73 crore in 1993 is equivalent to ₹184.37 crore in 2016.[17]
References[edit]
Jump up ^ "Qayamat Se Qayamat Tak release date". NDTV. 2013-04-28. Retrieved 2013-04-28.
^ Jump up to: a b "Fifty shades of K". The Times of India. 22 February 2015.
Jump up ^ "Domestic Box Office". 2013. Retrieved November 4, 2014.
^ Jump up to: a b Panjwani, Narendra (2006). Emotion pictures: cinematic journeys into the Indian self. Rainbow Publishers. p. 112. ISBN 9788186962725.
^ Jump up to: a b c Tejaswini Ganti (2004). Bollywood: A Guidebook to Popular Hindi Cinema. Psychology Press. pp. 122–123. ISBN 978-0-415-28854-5.
^ Jump up to: a b Ray, Kunal (18 December 2016). "Romancing the 1980s". The Hindu.
^ Jump up to: a b c Chintamani, Gautam (2016). Qayamat Se Qayamat Tak: The Film That Revived Hindi Cinema. HarperCollins. ISBN 9789352640980.
Jump up ^ Kanwar, Rachna (3 October 2005). "25 Must See Bollywood Movies". Indiatimes movies. Archived from the original on 15 October 2007. Retrieved 2010-11-08.
^ Jump up to: a b c http://www.rediff.com/movies/2008/may/27khan.htm
Jump up ^ http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/silver-lining/article4684859.ece
Jump up ^ http://www.thehindu.com/news/cities/mumbai/the-majrooh-sultanpuri-of-writers/article9311345.ece
Jump up ^ "QSQT Music Review". Retrieved 17 October 2011.
Jump up ^ Karthik, S. "itwofs.com: Anand-Milind". Retrieved 23 September 2011.
Jump up ^ http://www.thehindu.com/features/metroplus/on-a-nostalgia-trip-with-the-vividh-bharti-app/article9036224.ece
Jump up ^ http://www.thehindu.com/todays-paper/tp-features/tp-metroplus/recreating-a-cult-number/article7482778.ece
Jump up ^ "Box Office 1988". Box Office India. 31 January 2009.
Jump up ^ "Darr". Box Office India. Retrieved 18 October 2017.
Jump up ^ "Filmfare Nominees and Winners" (PDF). Filmfare. pp. 91–93. Retrieved 29 June 2015.
Jump up ^ "36th National Film Awards (PDF)" (PDF). Directorate of Film Festivals. Retrieved 14 February 2016d.
Jump up ^ Derek Bose (1 January 2006). Everybody Wants a Hit: 10 Mantras of Success in Bollywood Cinema. Jaico Publishing House. p. 29. ISBN 978-81-7992-558-4.
Jump up ^ Verma, Sukanya (29 April 2013). "Celebrating 25 years of Qayamat Se Qayamat Tak". Rediff.com. Retrieved 26 January 2014.
Jump up ^ Chatterjee, Rituparna (5 August 2011). "Holi to Munna Bhai: Aamir Khan, Bollywood's evolving genius". CNN-IBN. Retrieved 20 February 2014.
^ Jump up to: a b Vijaykar, Rajeev (18 June 2012). "Qayamat Se Qayamat Tak: Turning-point". Bollywood Hungama. Retrieved 26 January 2014.
External links[edit]
Qayamat Se Qayamat Tak on IMDb
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Mughal painting
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Babur Receives a Courtier by Farrukh Beg c. 1580-85. Opaque watercolor and gold on paper, painted and mounted within borders of a Rawżat aṣ-ṣafāʾ page. Freer Sackler Gallery S1986.230
17th-century Mughal painting
Painting by Ustad Mansur (fl. 1590-1624), who came to prominence during the reign of Jahangir
Mughal paintings are a particular style of South Asian painting, generally confined to miniatures either as book illustrations or as single works to be kept in albums, which emerged from Persian miniature painting (itself largely of Chinese origin), with Indian Hindu, Jain, and Buddhist influences, and developed largely in the court of the Mughal Empire of the 16th to 18th centuries.
Mughal paintings later spread to other Indian courts, both Muslim and Hindu, and later Sikh. The mingling of foreign Persian and indigenous Indian elements was a continuation of the patronisation of other aspects of foreign culture as initiated by the earlier Turko-Afghan Delhi Sultanate, and the introduction of it into the subcontinent by various Central Asian Turkic dynasties, such as the Ghaznavids.
Contents
1 Origins
2 Development
2.1 Humayun (1530–40 and 1555–56)
2.2 Akbar (1556-1605)
2.3 Jahangir (1605–25)
2.4 Shah Jahan (1628–59)
3 Later paintings
4 Artists
5 Mughal style today
6 Gallery
7 See also
8 Notes
9 References
10 Further reading
11 External links
Origins[edit]
This art of painting developed as a blending of Persian and Indian ideas. There was already a Muslim tradition of miniature painting under the Turko-Afghan Sultanate of Delhi which the Mughals overthrew, and like the Mughals, and the very earliest of Central Asian invaders into the subcontinent, patronized foreign culture. Although the first surviving manuscripts are from Mandu in the years either side of 1500, there were very likely earlier ones which are either lost, or perhaps now attributed to southern Persia, as later manuscripts can be hard to distinguish from these by style alone, and some remain the subject of debate among specialists.[1] By the time of the Mughal invasion, the tradition had abandoned the high viewpoint typical of the Persian style, and adopted a more realistic style for animals and plants.[2]
No miniatures survive from the reign of the founder of the dynasty, Babur, nor does he mention commissioning any in his diaries, the Baburnama. Copies of this were illustrated by his descendents, Akbar in particular, with many portraits of the many new animals Babur encountered when he invaded India, which are carefully described.[3] However some surviving un-illustrated manuscripts may have been commissioned by him, and he comments on the style of some famous past Persian masters. Some older illustrated manuscripts have his seal on them; the Mughals came from a long line stretching back to Timur and were fully assimilated into Persianate culture, and expected to patronize literature and the arts.
Mughal painting immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were also more realistically shown. Although many classic works of Persian literature continued to be illustrated, as well as Indian works, the taste of the Mughal emperors for writing memoirs or diaries, begun by Babur, provided some of the most lavishly decorated texts, such as the Padshahnama genre of official histories. Subjects are rich in variety and include portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles. The Persian tradition of richly decorated borders framing the central image was continued.
The style of the Mughal school developed within the royal atelier. Knowledge was primarily transmitted through familial and apprenticeship relationships, and the system of joint manuscript production which brought multiple artists together for single works.[4]
Development[edit]
Humayun (1530–40 and 1555–56)[edit]
Princes of the House of Timur, attributed to Abd as-Samad, c. 1550–55.
The Parrot addresses Khojasta, a scene from the Tutinama. Reign of Akbar.
Emperor Jahangir weighs Prince Khurram by Manohar Das, 1610-15. British Museum
The Emperor Shah Jahan standing on a globe, c. 1618-19 to 1629. Opaque Watercolor, ink and gold on paper. Freer Sackler Gallery F1939.49a
When the second Mughal emperor, Humayun was in exile in Tabriz in the Safavid court of Shah Tahmasp I of Persia, he was exposed to Persian miniature painting, and commissioned at least one work there, an unusually large painting of Princes of the House of Timur, now in the British Museum. When Humayun returned to India, he brought two accomplished Persian artists Abd al-Samad and Mir Sayyid Ali with him. His usurping brother Kamran Mirza had maintained a workshop in Kabul, which Humayan perhaps took over into his own. Humayan's major known commission was a Khamsa of Nizami with 36 illuminated pages, in which the different styles of the various artists are mostly still apparent.[5] Apart from the London painting, he also commissioned at least two miniatures showing himself with family members,[6] a type of subject that was rare in Persia but was to be common among the Mughals.[7]
Mughal painting developed and flourished during the reigns of Akbar, Jahangir and Shah Jahan.
Akbar (1556-1605)[edit]
During the reign of Humayun's son Akbar (r. 1556-1605), the imperial court, apart from being the centre of administrative authority to manage and rule the vast Mughal empire, also emerged as a centre of cultural excellence. Akbar inherited and expanded his father's library and atelier of court painters, and paid close personal attention to its output. He had studied painting in his youth under Abd as-Samad, though it is not clear how far these studies went.[8]
Between 1560 and 1566 the Tutinama ("Tales of a Parrot"), now in the Cleveland Museum of Art was illustrated, showing "the stylistic components of the imperial Mughal style at a formative stage".[9] Among other manuscripts, between 1562 and 1577 the atelier worked on an illustrated manuscript of the Hamzanama consisting of 1,400 canvas folios. Sa'di's masterpiece The Gulistan was produced at Fatehpur Sikri in 1582, a Darab Nama around 1585; the Khamsa of Nizami (British Library, Or. 12208) followed in the 1590s and Jami's Baharistan around 1595 in Lahore. As Mughal-derived painting spread to Hindu courts the texts illustrated included the Hindu epics including the Ramayana and the Mahabharata; themes with animal fables; individual portraits; and paintings on scores of different themes. Mughal style during this period continued to refine itself with elements of realism and naturalism coming to the fore. Between the years of 1570 to 1585 Akbar hired over a one hundred painters to practice Mughal style painting.[10]
Jahangir (1605–25)[edit]
Jahangir had an artistic inclination and during his reign Mughal painting developed further. Brushwork became finer and the colors lighter. Jahangir was also deeply influenced by European painting. During his reign he came into direct contact with the English Crown and was sent gifts of oil paintings, which included portraits of the King and Queen. He encouraged his royal atelier to take up the single point perspective favoured by European artists, unlike the flattened multi-layered style used in traditional miniatures. He particularly encouraged paintings depicting events of his own life, individual portraits, and studies of birds, flowers and animals. The Jahangirnama, written during his lifetime, which is an autobiographical account of Jahangir's reign, has several paintings, including some unusual subjects such as the union of a saint with a tigress, and fights between spiders.[citation needed]
Shah Jahan (1628–59)[edit]
During the reign of Shah Jahan (1628–58), Mughal paintings continued to develop, but court paintings became more rigid and formal. The illustrations from the "Padshanama" (chronicle of the King of the world), one of the finest Islamic manuscripts from the Royal Collection, at Windsor, were painted during the reign of Shah Jahan. Written in Persian on paper that is flecked with gold, has exquisitely rendered paintings. The "Padshahnama" has portraits of the courtiers and servants of the King painted with great detail and individuality. In keeping with the strict formality at court, however the portraits of the King and important nobles was rendered in strict profile, whereas servants and common people, depicted with individual features have been portrayed in the three -quarter view or the frontal view. Themes including musical parties; lovers, sometimes in intimate positions, on terraces and gardens; and ascetics gathered around a fire, abound in the Mughal paintings of this period.[11][citation needed]
Later paintings[edit]
Aurangzeb (1658-1707) did not actively encourage Mughal paintings, but as this art form had gathered momentum and had a number of patrons, Mughal paintings continued to survive, but the decline had set in. Some sources however note that a few of the best Mughal paintings were made for Aurangzeb, speculating that they believed that he was about to close the workshops and thus exceeded themselves in his behalf.[12] There was a brief revival during the reign of Muhammad Shah 'Rangeela' (1719–48), but by the time of Shah Alam II (1759–1806), the art of Mughal painting had lost its glory. By that time, other schools of Indian painting had developed, including, in the royal courts of the Rajput kingdoms of Rajputana, Rajput painting and in the cities ruled by the British East India Company, the Company style under Western influence. Late Mughal style often shows increased use of perspective and recession under Western influence.
Artists[edit]
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A durbar scene with the newly crowned Emperor Aurangzeb in his golden throne. Though he did not encourage Mughal painting, some of the best work was done during in his reign.
The Persian master artists Abd al-Samad and Mir Sayyid Ali, who had accompanied Humayun to India in the 16th century, were in charge of the imperial atelier during the formative stages of Mughal painting. Many artists worked on large commissions, the majority of them apparently Hindu, to judge by the names recorded. Mughal painting flourished during the late 16th and early 17th centuries with spectacular works of art by master artists such as Basawan, Lal, Daswanth,[13] and Miskin. Another influence on the evolution of style during Akbar's reign was Kesu Das, who understood and developed "European techniques of rendering space and volume".[14]
Govardhan was a noted painter during the reigns of Akbar, Jahangir and Shah Jahan.
The sub-imperial school of Mughal painting included artists such as Mushfiq, Kamal, and Fazl.
During the first half of the 18th century, many Mughal-trained artists left the imperial workshop to work at Rajput courts. These include artists such as Bhawanidas and his son Dalchand.
Mughal painting generally involved a group of artists, one to decide the composition, the second to actually paint, and the third to focus on portraiture, executing individual faces.[15]
Mughal style today[edit]
Mughal-style miniature paintings are still being created today by a small number of artists in Lahore concentrated mainly in the National College of Arts. Although many of these miniatures are skillful copies of the originals, some artists have produced contemporary works using classic methods with, at times, remarkable artistic effect.
The skills needed to produce these modern versions of Mughal miniatures are still passed on from generation to generation, although many artisans also employ dozens of workers, often painting under trying working conditions, to produce works sold under the signature of their modern masters.
Gallery[edit]
Portrait of Akbar
Portrait of Bahadur Shah
A noble lady, Mughal dynasty, India. 17th century. Color and gold on paper. Freer Gallery of Art F1907.219
A Mughal prince and ladies in a garden
Nur Jahan
Shah Jahan on a terrace holding a pendant set with his portrait
Daud Khan Karrani receives a Kaftan of honor from Munim Khan
A Mughal tournament
Victory of Ali Quli Khan on the river Gomti-Akbarnama, 1561
Mir Sayyid Ali's depiction of a young scholar in the Mughal Empire, reading and writing a commentary on the Quran, 1559.
The scribe and painter of the Khamsa of Nizami manuscript for Akbar
Battle scene from the Hamzanama of Akbar, 1570
The Submission of the rebel brothers Ali Quli and Bahadur Khan. Akbarnama, 1561[16]
Akbar riding the elephant Hawa'I pursuing another elephant across a collapsing bridge of boats (right), 1561
Pir Muhammad Drowns While Crossing the Narbada-Akbarnama, 1562
Akbar receiving his sons at Fatehpur Sikri. Akbarnama, 1573
Lion at rest Met
A young woman playing a Veena to a parakeet, a symbol of her absent lover. 18th-century painting in the provincial Mughal style of Bengal
Female performer with a tanpura, 18th century. Color and gold on paper. Freer Gallery of Art F1907.195
Ascetic Seated on Leopard's Skin, late 18th century
Mughal Ganjifa Playing Cards, Early 19th century, with miniature paintings - courtesy of the Wovensouls collection
See also[edit]
Persian miniature
Ottoman miniature
Arabic miniature
Indian painting
Tanjore painting
Rajput painting
Madhubani painting
Mushfiq, a sub-imperial Mughal painter
Notes[edit]
Jump up ^ Titley, 161-166
Jump up ^ Titley, 161
Jump up ^ Titley, 187
Jump up ^ Sarafan, Greg (6 November 2011). "Artistic Stylistic Transmission in the Royal Mughal Atelier". Sensible Reason.
Jump up ^ Grove
Jump up ^ Grove
Jump up ^ Beach, 58
Jump up ^ Beach, 49
Jump up ^ Grove
Jump up ^ Eastman
Jump up ^ Britannica
Jump up ^ Commentary by Stuart Cary Welch
Jump up ^ Diamind, Maurice. "Mughal Painting Under Akbar the Great" Metropolitan Museum of Art
Jump up ^ Bloom, Jonathan M.; Blair, Sheila S. (2009). The Grove Encyclopedia of Islamic Art and Architecture. 1. Oxford University Press. p. 380. ISBN 978-0-19-530991-1.
Jump up ^ Britannica
Jump up ^ Basawan & Chitra (c.1590-95). "The Submission of the rebel brothers Ali Quli and Bahadur Khan-Akbarnama". Akbarnama. Check date values in: |date= (help)
References[edit]
Beach, Milo Cleveland, Early Mughal painting, Harvard University Press, 1987, ISBN 0-674-22185-0, ISBN 978-0-674-22185-7
Eastman, Alvan C. "Mughal painting." College Art Association . 3.2 (1993): 36. Web. 30 Sep. 2013.
"Grove", Oxford Art Online, "Indian sub., §VI, 4(i): Mughal ptg styles, 16th–19th centuries", restricted access.
"Mughal Painting." Encyclopædia Britannica. Encyclopædia Britannica Academic Online Edition. Encyclopædia Britannica Inc., 2013.Web. 30 Sep 2013.
Titley, Norah M., Persian Miniature Painting, and its Influence on the Art of Turkey and India, 1983, University of Texas Press, 0292764847
Sarafan, Greg, "Artistic Stylistic Transmission in the Royal Mughal Atelier", Sensible Reason, LLC, 2007, SensibleReason.com
Further reading[edit]
Kossak, Steven. (1997). Indian court painting, 16th-19th century. Metropolitan Museum of Art. ISBN 0870997831
Painting for the Mughal Emperor (The Art of the Book 1560-1660) by Susan Stronge (ISBN 0-8109-6596-8)
Fiction in Mughal Miniature Painting by Prof. P. C. Jain and Dr. Daljeet
Painting the Mughal Experience by Som Prakash Verma, 2005 (ISBN 0-19-566756-5)
Chitra, Die Tradition der Miniaturmalerei in Rajasthan by K.D. Christof & Renate Haass, 1999 (ISBN 978-3-89754-231-0)
Welch, Stuart Cary; et al. (1987). The Emperors' album: images of Mughal India. New York: The Metropolitan Museum of Art. ISBN 0870994999.
Welch, Stuart Cary (1985). India: art and culture, 1300-1900. New York: The Metropolitan Museum of Art. ISBN 9780944142134.
Artistic Stylistic Transmission in the Royal Mughal Atelier by Greg Sarafan, Esq., 2007
External links[edit]
Indian Court Painting, 16th-19th Century from the Metropolitan Museum of Art
National Museum, Delhi - Mughal paintings
San Diego Museum of Art
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Silver service
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This article is about the form of foodservice. For the train, see Silver Service.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2015) (Learn how and when to remove this template message)
Silver service (in British English) is a method of foodservice that usually includes serving food at the table. It is a technique of transferring food from a service dish to the guest's plate from the left.
It is performed by a waiter by using service forks and spoons from the diner's left. In France, it is known as service à l'anglaise ("English service").[1]
Contents
1 Features
2 See also
3 References
4 External links
Features[edit]
Silver service food is served from the left, and drinks and plated meals are served from the right.[citation needed]
Meals are served to the diner from platters, not plated in the kitchen.
The guest to the host's right is served first, usually a female guest.
Service continues to the right.
Plates are cleared from the right,[2] glasses from the right; again by starting with the guest to the host's right.
Glasses are stacked in a diagonal to the right and away, with wine (by course) in order and then water glass in front.
At a wedding, The Bride is served first, followed by the Bride's mother, then the Bridegroom, then to the left of the "top table" with the bridal party, restarting again at the other side of the table with the "Best Man" first then any other member of the Bridegroom's party.
Silver service, like all formal food service, is oriented for a right-handed waiter, left-handed waiters may use their right hand: to serve the food, the waiter stands behind the guest and to the guest's left, holds or supports the platter with their left hand and serves the food with their right hand. It is common for the waiter to hold the serving-fork above the serving-spoon both in the right hand, and use the fingers to manipulate the two as a pincer for picking up, holding and transferring the food. This technique or form requires much practice and dexterity.

A modification of silver service is known as butler service.[3]
In butler service, the diner helps himself from a serving plate held by the waiter (butler). Traditionally, this type of service was used on Sunday evenings, when the waiting staff had the evening off and the butler helped out at dinner.[citation needed] In France, this kind of service is known as service à la francaise ("French service").[4]
See also[edit]
Food portal
Table setting
Service à la russe
Service à la française
References[edit]
Jump up ^ "Le dictionnaire de la restauration" (in French). N’S&O. Retrieved 29 September 2015. SERVICE A L'ANGLAISE: Principe identique au service à la Française mais, muni d'un couvert de service dans la main droite, le serveur (ou la serveuse) effectue lui-même le service
Jump up ^ http://www.nzqa.govt.nz/nqfdocs/units/pdf/14438.pdf
Jump up ^ "Table Settings". The International Guild of Professional Butlers. Archived from the original on 21 July 2011. Retrieved 29 September 2015. BUTLER: The most time consuming. When seated, warm plates are placed before the guests. The meal is presented to the guest. This service has limited use today. If you are the only one serving, the number of diners has to be kept small. Six is the largest that one person can serve and keep the food hot. Many people are not accustomed to serving themselves from a platter and the delay just lets the food get cold.
Jump up ^ "Archived copy". Archived from the original on 2011-07-15. Retrieved 2011-02-16. CS1 maint: Archived copy as title (link)
External links[edit]
Look up silver service in Wiktionary, the free dictionary.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Silver_service&oldid=812823991"
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