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Gulf Today
a day ago
- Entertainment
- Gulf Today
Ananya Panday says ‘Wah Taj' as she poses in front of the Taj Mahal
Actress Ananya Panday had a 'Wah Taj' moment as she soaked in the breathtaking beauty of the Taj Mahal in Agra. Ananya took to Instagram, where she shared a string of pictures from her visit. The actress looked stunning in a mustard yellow and deep blue printed dress as she posed in front of the ivory-white marble mausoleum, which in 2007 was declared a winner of the New 7 Wonders of the World initiative. For the caption, the actress simply wrote: 'Wah Taj!' Ananya added the song 'Jashn-E-Bahaaraa' by A. R. Rahman and Javed Ali from the 2008 film 'Jodhaa Akbar' starring Hritihk Roshan and Aishwarya Rai Bachchan. She took to her stories section and reposted the pictures she had shared. Ananya added the caption: 'Pictures don't do this beauty justice. You have to see it to believe it.' The Taj Mahal was commissioned in 1631 by the fifth Mughal emperor, Shah Jahan to house the tomb of his beloved wife, Mumtaz Mahal; it also houses the tomb of Shah Jahan himself. The tomb is the centrepiece of a 17-hectare complex, which includes a mosque and a guest house, and is set in formal gardens bounded on three sides by a crenellated wall. Ananya in her stories section also shared a glimpse of veteran star Jackie Shroff and wrote: 'Guess who I'm shooting with.' In the picture, Jackie's face is not visible, however his iconic plant neck piece with 'Bhidu' written on it gives away that the actress is shooting with the veteran star. The actress will next be seen in 'Tu Meri Main Tera Main Tera Tu Meri' starring Kartik Aaryan, Neena Gupta and Jackie. The project marks Kartik and Ananya's second on-screen collaboration after their 2019 release 'Pati Patni Aur Woh'. Backed by Karan Johar in collaboration with Adar Poonawalla, Apoorva Mehta, Shareen Mantri Kedia, and Kishor Arora, 'Tu Meri Main Tera Main Tera Tu Meri' is likely to reach the cinema halls on Feb.13 next year. Meanwhile, Ananya with the help of her initiative So Positive in partnership with an NGO, has launched aKindness Curriculum designed for schools across India and said that she feels if kindness is instilled in children from a young age, it becomes second nature to them. Ananya said, 'Kindness has always been at the heart of everything we do at So Positive. It's something I deeply believe in-not just as an idea, but as a way of life. I truly feel that if we can instill kindness in kids from a young age, it becomes second nature to them as they grow up.' She added: 'That's why the Kindness Curriculum is so close to my heart. With everything going on in the world, I feel an even stronger need to help build a generation that's more empathetic, emotionally aware, and simply... kind.' Ananya's initiative So Positive, in partnership with the inspiring NGO Slam Out Loud. Indo-Asian News Service
Hindustan Times
4 days ago
- Politics
- Hindustan Times
Just like that: Mangoes, chaat, nostalgia at Tharoor's annual spread
Last week, I attended Shashi Tharoor's annual lunch party, where he serves only mangoes and chaat. It is a popular event, and his spacious lawn was full of guests. On one side, there was a long table where mangoes of a great many species were available. On the adjoining row were the chaat specialties. One would have thought that, being a Lok Sabha MP from Kerala for several terms and a proud Keralite, he might have made his annual lunch a Kerala food extravaganza. But, while being a great fan of Kerala food myself, I appreciate his cosmopolitanism and ability to rise above solely regional or parochial considerations. Perhaps it is not sufficiently known that Dilli ki Chaat is an art. Each of the succulent items available—golgappas, papri chaat, chillas, aloo tikkis, dahi bhallas, and chhole kulchas—comes with a hoary evolutionary lineage that makes them—even though the same dishes are available all across India—specifically that of Delhi. To understand chaat in Delhi is not merely to understand a category of street food. It is to understand an ethos—a syncretic celebration of taste that defies hierarchy and resists classification. It is a cultural emblem, the gastronomic result of centuries of migration, conflict, syncretism, and innovation. It is the city's edible biography. Delhi, that ancient city of seven avatars, has been burnt and built, looted and loved, ruled and rebelled against. And through each of its transformations, it absorbed people—and their palates. The Mughals brought saffron and dried fruits; the Punjabis, following the Partition, brought spice, butter, and bravado; while Kayasthas, Banias, and Muslims all added to the culinary chorus. It is no coincidence that chaat, that riotous mix of textures and tastes, found its most iconic expression in this city of juxtaposed histories. The word chaat itself is derived from the Hindi verb chaatna, to lick—suggesting a dish so delicious that one licks not just the plate but, figuratively, the soul. Historically, its origins are often traced to the kitchens of Emperor Shah Jahan. When water contamination in Delhi led to a spate of illnesses, his hakims recommended the liberal use of spices, tamarind, and rock salt in food to balance the body's humours. What began as medicinal—tangy, piquant, invigorating—became irresistible. The word chaat itself is derived from the Hindi verb chaatna, to lick—suggesting a dish so delicious that one licks not just the plate but, figuratively, the soul (iStock/ Representative photo) It is thus not mere street fare but a curious confluence of culinary science and sensuality. And Delhi, even the aesthetic alchemist, perfected it. In doing so, for Dilli-wallahs, chaat is not just food. It is a theatre. It is Delhi's secular sermon. It is the pulse of the city's street life, the confidante of gossip, the sustenance of first dates, the affordable indulgence of every class. Unlike the rigidity of silver cutlery, it demands nothing but a willing tongue and a forgiving gut. There are fruits, and then there is the mango. And in India, the mango is not a fruit—it is an inheritance, a season, a sentiment, a sensuous experience elevated to poetic devotion. It is not mere produce; it is pedigree. It is history dipped in syrup. Also Read: Just Like That | From witty one-liners to humorous viral memes: Why humour is the safety valve of a vibrant democracy In the sweltering heart of the Indian summer, something miraculous occurs in orchards from Ratnagiri to Malihabad, from Salem to Murshidabad. The mango ripens—aam in Hindi, maambazham in Tamil, and mamidi in Telugu. The great Sanskrit poet Kālidāsa sang of mango blossoms in Ritusamhāra. The gourmet Mughal emperor Akbar planted over 100,000 mango trees in his Lakhi Bagh in Darbhanga. Jahangir said, 'No other fruit can equal the flavour of mango.' In one of his letters, Ghalib wrote that 'if there are no mangoes in paradise, I don't want to go.' There is the story that once Ghalib was eating mangoes with one of his close friends who did not share his enthusiasm for the fruit. Just then, a donkey ambling along sniffed at some of the mango skins and passed on. His friend could not help remarking that even donkeys did not like mangoes. Like lightning came Ghalib's reply: 'Of course, donkeys don't like them.' What makes India's mangoes truly unique is their astonishing variety. More than a thousand varieties are grown across the country, the more well-known ones being Alphonso, Ratnagiri, Malda, Langda, Chausa, Dussehri, Himsagar, Totapuri, and the Banganapalle. Each mango carries its own personality, like regional dialects of the same mother tongue. And each has its fierce supporters. In my own opinion, no mango can beat the Langda—although a good Chausa just manages to. Also Read: Just Like That| Aap Jaisa Koi: Exploring patriarchy, gender bias in modern India Seeing the variety of mangoes arrayed by Shashi, I was overtaken by a sense of nostalgia. At one time, my family owned a ten-acre Langda orchard in Ghazipur, near Varanasi, on the border of Bihar. As children, I remember, we used to be taken for picnics to the orchard, where the most succulent mangoes were put into buckets and let down into a well to cool. Rugs were spread on the ground for us to eat. And when the mangoes were brought out, there was hardly a mouth not visibly salivating at the treat that lay ahead. Alas, the orchard has long been sold. But the memories remain. Thank you, Shashi. And may you have a tangy and fruitful year ahead.
The Standard
19-07-2025
- Entertainment
- The Standard
Hong Kong Palace Museum to showcase Mughal Empire's artistic splendor
This exhibition features an immersive digital installation titled 'Taj Mahal: A Love Story in a Majestic Monument', offering a captivating exploration of the historical and artistic significance of this iconic world heritage monument.
Time of India
17-07-2025
- General
- Time of India
Echoes of past: How Delhi's forgotten monuments are coming back to life
NEW DELHI: On the Delhi state archaeology department's agenda is the restoration of four historic sites in the city - the Dwarka baoli, the kos minars near Indraprastha Apollo Hospitals and at Badarpur border and a minar in Hastsal village. While work on the Dwarka stepwell and the milestone at Badarpur border have been completed, the process is nearing completion at the other two sites. The estimated cost of these projects was over Rs 30 lakh. The baoli at Dwarka, also known as Loharheri ki Baoli, is a 16th-century stepwell built in the Lodhi era to serve the ironsmith community of Loharheri village. Hidden for years under vegetation, it was rediscovered and is now recognised as an important architectural site. Located between a school and residential complex in Sector 12, the restored structure now features repaired stone flooring, lime replastering and repainted grilles and gates. You Can Also Check: Delhi AQI | Weather in Delhi | Bank Holidays in Delhi | Public Holidays in Delhi The kos minar on Mathura Road close to Badarpur metro station is a Mughal-era milestone that once marked distances along imperial travel routes. These minars played a crucial role in communication and navigation during the Mughal period. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Nvidia's AI Strategy Is Clear - But Is Wall Street Paying Attention? Seeking Alpha Read More Undo Restoration work at the site included repairs to the rubble masonry boundary wall, stone paving, repointing and repainting of grilles. Work at the kos minar near Apollo Hospital is in its final stages and is likely to be completed at the end of this month. According to INTACH, the minar is a cylindrical, tapering structure with three horizontal moulded sections, an octagonal base and a domed top. Once used to mark distances - one kos equals approximately 3km - these structures were part of India's medieval road system. Restoration includes building a brick boundary wall, stone flooring, masonry reinforcement, chemical cleaning and installation of new grilles and a gate. In Hastsal village, restoration is under way on a 17-metre-high, three-storeyed brick minar built during emperor Shah Jahan's reign. Likely intended as a shooting tower near the Mughal emperor's hunting lodge, the minar features red sandstone facades, a narrow internal staircase and architectural elements reminiscent of Qutub Minar. Ongoing work includes boundary wall construction, lime plastering, red sandstone flooring and painting of grilles and walls. Completion is expected by Aug-end. In addition to these projects, the Delhi Tourism and Transport Development Corporation is overseeing the restoration of several other monuments and improve public access to them. These include six monuments within Mehrauli Archaeological Park, three in Lodhi Garden, as well as Ghost Gumbad, Baradari Qudsia, the Tomb of Bijri Khan, Mutiny Memorial, Turkmen Gate and Bawana Jail. Plans include adding amenities like restrooms and lighting wherever space allows. Department officials said that while some sites like Quli Khan's Tomb in Mehrauli Archaeological Park and Shah Jahan's Turkman Gate will undergo structural stabilisation and restoration, others were being given visitor-friendly features. The Mughal-era tomb of Paik, located near Mukarba Chowk, is getting a complete makeover. An amphitheatre and cafeteria are under construction, along with an interpretation room to help visitors understand the monument's historical significance and boost tourist engagement.
Daily News Egypt
14-07-2025
- Daily News Egypt
Taj Mahal: Not just India's crown jewel, but humanity's timeless treasure
In the heart of Agra—a city steeped in history and echoing with tales of empires past—stands a monument that transcends time, culture, and even death itself. The Taj Mahal, often hailed as the most beautiful building ever created, is more than just a mausoleum; it is a poem in marble, a testament to eternal love, and a masterpiece that continues to captivate millions from every corner of the globe. For us in Egypt, whose soil breathes the grandeur of ancient civilizations and monumental architecture, the Taj Mahal resonates with a familiar sense of awe—a shared human endeavour to immortalise beauty and devotion. My journey began in the vibrant streets of Delhi, where the rich tapestry of culture and history unfolded before me. From bustling markets to serene gardens, the city thrummed with an energy both exhilarating and overwhelming. After soaking in Delhi's sights and sounds, I travelled to Agra, eager to behold the jewel of Mughal architecture. First Impressions of the Taj Mahal Upon arriving in Agra, I felt a surge of anticipation. Stepping into the sprawling Taj Mahal complex, I was immediately struck by the sheer scale and perfect symmetry that define this architectural wonder. The vivid red sandstone of the main gate, the Darwaza-i-Rauza, offered a dramatic prelude, framing the pristine white marble mausoleum that shimmered like a distant mirage. Passing through the archway, the Taj Mahal revealed itself in its full glory—an ethereal vision that took my breath away. The perfectly manicured gardens, divided by reflecting pools that mirror the monument flawlessly, guide the eye toward the central dome, creating an illusion of floating grace. Though photographed countless times, nothing truly prepares you for the profound emotional impact of witnessing it firsthand. The Love Story Behind the Monument At its heart, the Taj Mahal is a deeply human story of love and loss. Commissioned by Mughal emperor Shah Jahan in memory of his beloved wife, Arjumand Banu Begum—known as Mumtaz Mahal—the monument is the embodiment of his grief. Mumtaz died in 1631 while giving birth to their 14th child, leaving Shah Jahan devastated. Vowing to build a mausoleum so magnificent it would have no equal, he dedicated over two decades, from 1632 to 1653, to bring this vision to life. Mumtaz Mahal was far more than a consort; she was a trusted advisor and confidante. Her death transformed Shah Jahan, driving him to create a memorial of such splendour that her memory would be enshrined forever. Architectural Brilliance The Taj Mahal's architecture is a harmonious synthesis of Persian, Islamic, and Indian styles, blending grandeur with delicate artistry. Constructed entirely of translucent white Makrana marble, the monument seems to change hues with the light—from a soft pink at dawn, to a dazzling white at midday, and a golden glow under moonlight. This shifting palette lends it an almost otherworldly aura. Intricate floral motifs and elegant calligraphic inscriptions, meticulously inlaid with semi-precious stones like lapis lazuli and turquoise, transform its surfaces into a jewelled tapestry. Each detail is a miniature masterpiece. The four minarets that stand at each corner lean very slightly outward—a deliberate design choice so that, in the event of an earthquake, they would fall away from the central dome. This subtlety reveals the advanced engineering and foresight of Mughal architects. Symbolism and Spirituality Beyond its architectural brilliance, the Taj Mahal is steeped in symbolism. It is said to represent a vision of Mumtaz Mahal's house in Paradise, reflecting the Mughal tradition of a garden tomb as an earthly echo of the divine. The garden's layout—divided into four equal parts by water channels—mirrors the four rivers of Paradise, embodying the classic charbagh design. As I wandered through the gardens, I was reminded of Egypt's ancient funerary complexes, where monumental construction sought to achieve immortality. The inscriptions on the Taj Mahal speak of the soul's journey and the promise of eternal beauty, echoing themes deeply familiar to my own cultural heritage. The Construction Marvel Building the Taj Mahal was an extraordinary feat, mobilising around 20,000 artisans and craftsmen from India, Persia, and Central Asia. Though Ustad Ahmad Lahori is often credited as the chief architect, the monument was the result of a remarkable collaborative effort. Transporting marble and precious stones over great distances required ingenuity and resilience, often relying on elephants and bullock carts. The sheer scale of the endeavour, combined with artistic mastery, reflects the resources and ambition of the Mughal Empire. Preservation Efforts Today, the Taj Mahal is a UNESCO World Heritage Site and continues to draw millions of visitors each year. Yet its very popularity also threatens its delicate beauty. Pollution from nearby industry poses risks to the marble's luminous sheen. In response, the Indian government has introduced measures including restricted vehicle access and the promotion of electric transport to help protect this irreplaceable monument. A Shared Human Legacy As I departed Agra and continued my journey to Bengaluru, the memory of the Taj Mahal lingered—a timeless embrace of love and artistry. For an Egyptian, used to the imposing pyramids and temples of millennia-old civilisation, the Taj Mahal offered a different yet equally powerful narrative. It reminds us that across continents and centuries, humanity has always strived to build monuments that speak to our deepest emotions, aspirations, and devotion. The Taj Mahal is not merely India's crown jewel; it is a treasure of humanity—an eternal embrace carved in stone, forever inviting us to bear witness to the enduring power of love and beauty.
