• Suryakant Tripathi Nirala', one of the greatest Hindi poets of all times, was born on February 16, 1896. His father, Ram Sahai Tripathi, held double charge under the then King of Mahishadal in Bengal as a Police Officer and keeper of the State Treasury. His mother died when he was hardly 3 years old.
• Nirala' had his formal education only up to the 10th standard. However, he had already developed a great interest in Bengali, English, Sanskrit and Hindi literatures, thanks to the rich Royal Library Mahishadal. He also excelled in singing, wrestling, shooting and writing. It was during his adolescence that he was introduced to the poetry of Rabindranath Tagore who inspired him to be a poet.
• Nirala' was married at the age of 15. His wife, Manohara Devi, was a great lover of Hindi and it was partly due to her inspiration that "Nirala' started writing poetry in Hindi. Nirala had a son andaughter  the latter's death at the young age of 18 moved him to write one of the greatest elegies in Hindi poetry - Saroj Smriti. 'Nirala's wife died in 1918.
• Nirala' was an independent man with a high sense of self-respect. He could not continue for long in Mahishadal and got interested in the teachings of Ramakrishna Paramahamsa as well as the National  Movement for Independence and the struggles of farmers and workers. He resigned from his job in 1920 and decided to live on writing alone.
• Nirala' had started writing in 1916 and already had such a finished poem as Juhi Ki Kali behind him. His first collection of verse Anamika was published in 1922. He was offered the editorship of the Matwala in 1923 which he edited with rare zeal and insight. It was then that he started writing under the nom de plume "Nirala .
• The concept of 'free verse' or blank verse was almost unknown in Hindi till then. 'Nirala' broke the bonds of rhyme and metre and in the face of almost universal antagonism championed the case of free verse in Hindi. He was ridiculed, boycotted and condemned for this, but he had such indomitable courage of his conviction that he lived to see free verse firmly established in Hindi. It would, however, be erroneous to suppose that he could not write in rhyme or metre. Many of his best poems follow the rules of traditional poetry as well. "Nirala' was a restless spirit and he shifted from Calcutta to Varanasi and went back to his ancestral village Garhrakola. From there he went on to edit the Sudha at Lucknow and mature works like Geetika, Tulsidas (poetry), Alka and Apsara (novels) were written  here. He left Lucknow in 1940 and staying briefly at Unnao, Allahabad and Varanasi, finally settled down in Allahabad.
• Though 'Nirala' is known primarily as a poet, he has few rivals in the field of prose. In his novels like Billesurebakariha and short stories like Chaturi Chamar and Sukul ki Bibi, he write struggling men and women of India in a style that is bereft of ornamentation and is extremely powerful in its stark directness. 
• Nirala's life was one of tragedies, struggle and chronic poverty. The poet in him refused to bow before any individual. 'Nirala' remained a fighter throughout his life and had to pay a heavy psychological price for it. He died in Allahabad on October 15, 1961. While he was often on the verge of penury, he would give away whatever money he had and even clothes, to the poor around him.        

• The 8th Conference of Heads of State or Government of Nonaligned Countries held in Harare in September, 1986 expressed its grave concern over the continuing deterioration of the situation in Southern Africa. The Summit  regretted that instead of heeding the call of the international community to eradicate apartheid, the racist regime had stepped up its oppression and subjugation of the disenfranchised and dispossessed people of South Africa through the imposition of the state of emergency and other repressive measures.
• The Summit renewed its abiding commitment to the eradication of the pernicious system of apartheid. It was reaffirmed that the imposition of comprehensive and mandatory sanctions against South Africa in accordance with Chapter 7 of the Charter of the United Nations was the only peaceful option to compel the racist Pretoria regime to abandon apartheid. Pending adoption of comprehensive and mandatory sanctions, the Summit recommended a number of measures for implementation by the International community. It was noted with satisfaction that at the London Review Meeting of the Commonwealth Leaders, six countries, including three from the Non-aligned Movement, had agreed to impose a number of economic measures against South Africa.
• As a concrete measure, the Summit resolved to establish the AFRICA Fund with the following objectives to strengthen the economic and financial capability of the Front-line States to fight the apartheid regime of South Africa, to support the liberation movements in South Africa and Namibia, to assist the Frontline States to enforce sanctions against South Africa and to cope with any retaliatory action by the racist regime. AFRICA Fund stands for Action For Resisting Invasion Colonialism and Apartheid, Fund.
• The nine-Member Fund Committee consists of India Chairman), Zambia (Vice-Chairman), Zimbabwe, Nigeria, Algeria, Congo, Yugoslavia, Peru and Argentina.
• (Courtesy - Ministry of External Affairs).

• Fashion is a universal subject, a language understood and spoken by one and all. Fashion is one of the most popular modes of expression. It describes the ever-changing style of clothes worn by those with cultural status. Fashions vary greatly within a society over time and are affected by age, occupation, location and social class.
• India's recorded history of clothing goes back to the fifth millennium BC in the Indus Valley Civilization. India was one of the first places where cotton was cultivated and used even as early as 2500 BC during the Harappan era. The remnants of the ancient Indian clothing can be found in the figurines discovered from the sites near the Indus Valley Civilization, the rock cut sculptures, the cave paintings and human art forms found in temples and monuments. Dating back to the Mohenjo-daro civilization, the earliest preliminary version was found in the statue of Mother Goddess wearing an elaborate headgear  supported by a pair of bands and a brooch, tight fitted tunic and skirt fastened with a broad waist band using a medallion like clasp. She is adorned with two necklaces, the smaller one has a set of four cylindrical pendants.  he "Priest-king and other stone figures are also depicted wearing a long robe over the left shoulder, leaving the right shoulder bare. The clothing system was also related to the social and economic status of the person.  The upper classes of the society wore fine muslin garments and silk fabrics while the common casses wore garments made up of locally made fabrics.
• During the Mauryan Period, the most common attire of the people was antaria, which they used to wear as a lower garment. A cloth was covered in lehnga style to form a tubular skirt. An embellished long piece of doth wrapped around the waist pleated into the antariya was called patka. As an upper garment, people's main garb was utlariy, a long scarf.  The difference existed only in the manner of wearing. Textiles were dyed and printed. Resist dyeing and hand printing has been mentioned by Megasthenes as a common sight during the Mauryan period as has glazed cotton. Felting of fibres instead of weaving was also a generally used technique. 
• The Mughals played a vital role in Indian Fashion and exerted a huge influence on the Indian dressing style. Men wore jams which was considered as the main royal garb of Mughal emperors, patka to keep the jewelled sword around the waist of jama. The patka is a type of girdle made of a fine fibre which is hand painted, printed or embroidered and choge embroidered, long sleeved coats generally worn over jamas and angrakhas. Mughal women wore a large variety of ornaments from head to toe. Their costumes generally included Peshwaj, Yalek, Pajama, Churidar, Dhillija, Garara and Farshi, they all included head amaments, anklets and necklaces. This was done as a distinctive mark of their prosperity and their rank in society. Head-dresses were often worm by Mughal women and were available in various styles. 
• Empress Nur Jahan, consort of Jahangir, epitomising beauty, wore a short sleeved long or short jacket aver her kurta. While she wore it to maintain her saphistication, the outfit made a style statement.
• Awadh (the region of the modern state of Uttar Pradesh around Ayodhya, west of Varanasi) has historicaly been among the most important regions in India, politically, religiously and socially and holds a vital position with respect to the development of Indian fashion. For centuries, the Awadhi style of dressing has intrigued fashion enthusiasts. Its fabrics, embroideries and precisio design, influencconnais connaisseurs  of fashion style enthusi Nawabs were predominant  in Awadh during the 18th and 19th  century  particular  influenced  the evolution of  fashion The arisidancy  of Lucknow lavishly on their dress This had an impact on the dresses of the courtiers and the Awadhi people in general. The emphasis was not only on costumes and textiles, but also on how they were worn.
• Indian Princely states also displayed evolution of fashion through fusion of local traditional dresses with the trends from other parts of India. For instance, for aristocratic Reput men court dresses included angaarkhi, pagdi, chudidar pyjama and a cummerbund (belt). Dhoti  was also in tradition but it was warn in different styles across various princely states. This period also saw a fusion of diverse Indian attire and dathing trends infused with elements of European fashion.
• Text: Based on the material provided by Prof. 

• The Institute of Chartered Accountants of India (CAI) is a statutory body established by the Chartered Accountants Act, 1949 for regulating the profession of Chartered Accountants in the country. It is   noteworthy that the Act came into force from 1st July, 1949 even before the Constitution was adopted by India. The creation of the Institute was a very important step in the progress of the profession. The Indian legislature placed a great responsibility an the Council of ICAI expecting them to establish standards of professional efficiency and professional integrity.

• Since its inception in 1949, the ICA has come a long way as an autonomous regulator of accounting and auditing profession in line with its role defined under the Act. It has been in the forefront of  propagating sound and resilient accounting and auditing practices. The role of ICAI as a National Standard Setter and as an educator has been the hallmark of its existence.

• Since 1949, the profession has grown by leaps and bounds in terms of membership and student base. Starting with a handful of about 1700 members, the strength of the Chartered Accountant  fraternity today, has grown to over 2.70 lakh members. On the education front, the ICAI began with mere 259 students and today about 725 lakh active students are a part of ICAI.

• ICAI is the second largest accounting body in the world with a strong tradition of service to the Indian economy. It has achieved recognition as a premier accounting body for maintaining highest standards in technical as well as ethical areas and for sustaining stringent examination and education standards.

• The affairs  of the ICAI are managed by a Council in accordance with the provisions of the Chartered Accountants Act, 1949 and the Chartered Accountants Regulations 1988. The Council is composed  of 40 members of whom 32 are elected by the members and remaining eight are nominated by the Central Government generally representing the Comptroller and Auditor General of India, Securities and Exchange Board of India, Ministry of Corporate Affairs, Ministry of Finance Ministry of Commerce and other shareholders.

• In terms of the Act of 1949, the President is the Chief Executive Authority of the Council. The Secretariat of the ICAI is headed by the Secretary who is in-charge of the office of the ICAI as it Executive 

• Head. The activities of the ICAI can be broadly divided into regulatory, standard setting, disciplinary and education and training. The Institute functions under the administrative control of Ministry of Corporate Affairs, Government of India. It has its headquarters in New Delhi and 5 regional offices in Chennai, Kanpur, Kolkata, Mumbai  and New Delhi. It presently has 163 branches spread all over the country. In addition, it has also set up 31 chapters outside India and an overseas office in Dubai.

• The ICA is often called upon by various regulatory /statutory authorities of India on issues related to the profession and otherwise. Several Departments of the Central and State Governments of India approach the ICA for utilizing the services of Chartered Accountants for advice on economy in expenditure, development of control mechanism over public funds and optimum and effective cost of funds. Members of the ICAI contribute to public interest and national growth with the motto of Independence, Integrity and Excellence.

• Text:  Based on information received from proponent.

• Port Blair in modern times, as the capital of the Andaman and Nicobar Islands, is a picturesque tourist location and serves as the gateway to pristine beaches and exotic marine life. To those interested in history, the place is a constant reminder of "Kala Paani housing the Cellular Jail as well as the stories of torture and in human acts meted  out to the prisoners, most of them being Indian revolutionaries of the freedom struggle. The first batch of freedom fighters of First War of Independence was brought here on 10 March, 1858, thus marking the beginning of the penal settlement. Since then, the convicts brought here, mostly political prisoners, suffered life imprisonment and hard labour under cruel and degrading conditions. Many were hanged, while others died of disease and starvation.
• The Cellular Jail, now a National Memorial is a witness to the glorious contribution of revolutionary patriots in the history of the Indian Freedom Movement. Many charismatic personalities were imprisoned here. Veer Savarkar, Ganesh Damodar Savarkar, Barindra Kumar Ghosh, Utaskar Dutt, Indu Bhushan Roy. Prithvi Singh Azad. Trallokyanath Chakravarthy, Mahavir Singh among others; the catalogue is long and distinguished. The stories of their suffering and sacrifice for India's independence and their defiance and Colour in the face of imperial oppression, have elevated the Cellular Jail to a place of pilgrimage in India's collective national memory.
• The more significant fact however, is that Port Blair was the first Indian territory liberated from imperial British rule. In 1943-44 during World War II, this territory served as the headquarters of the Azad Hind government under Netaji Subhas Chandra Bose. The island at the time was liberated from British rule by Japan which captured it during the World War II.
• Netaji ,accompanied by members of the Azad Hind Government and his staff had paid an official visit to the Andaman Islands from 29-31 December, 1943. He stayed at the former British Chief commissioner's official residence on Rose Island. His visit followed the Japanese Prime Minister's historic declaration at the Assembly of Greater East Asiatic Nations in Tokyo on 6 November, 1943 that the Andaman and Nicobar Islands would be transferred to the Provincial Government of Azad Hind.
• On 30 December, 1943 Netaji addressed a mass rally of Indians at the Gymkhana ground in front of the Andaman Club. On the same day, the hosted the Tricolour for the first time at the Gymkhana Ground in Port Blair. He also announced the Islands as the first Indian Territory freed from the British rule. 
• After the flag hoisting, Netaji visited the Cellular Jail the same afternoon. He spent two hours there going around the Indian Bastille. Describing his visit to the islands later, Netaji said, "For Indians the return of the Andaman represents the first territory to be liberated from British yoke. By the acquisition of this territory, the provincial government has now become a national entity in fact as well as in name. The liberation of the Andamans has symbolic significance because the Andaman has always been used by the British as a prison for political prisoners. Most of the political prisoners sentenced to servitude for conspiracies to overthrow the British Government and there have been hundreds of them were looked up in this island. Like the Bastille in Paris, which was liberated first in the French Revolution, setting free political prisoners, the Andaman where our patriots suffered is the first to be liberated in India's fight for independence. Netaji named Andaman Island as Shaheed" and Nicobar Island as "Swaraj".
• Today, the place where Netaji hointed the flag stands as a great memorial.
• Text: Sh. Pallab Bose and material provided by the proponent.

• Port Blair in modern times, as the capital of the Andaman and Nicobar Islands, is a picturesque tourist location and serves as the gateway to pristine beaches and exotic marine life. To those interested in history, the place is a constant reminder of "Kala Paani housing the Cellular Jail as well as the stories of torture and inhuman acts meted out to the prisoners, most of them being Indian revolutionaries of the freedom struggle. The first batch of freedom fighters of First War of Independence was brought here on 10 March, 1858, thus marking the beginning of the penal settlement. Since then, the convicts brought here, mostly political prisoners, suffered life imprisonment and hard labour under cruel and degrading conditions. Many were hanged, while others died of disease and starvation.
• The Cellular Jail, now a National Memorial is a witness to the glorious contribution of revolutionary patriots in the history of the Indian Freedom Movement. Many charismatic personalities were imprisoned here. Veer Savarkar, Ganesh Damodar Savarkar, Barindra Kumar Ghosh, Ullaskar Dutt, Indu Bhushan Roy, Prithvi Singh Azad, Trailokyanath Chakravarthy, Mahavir Singh among others; the catalogue is long and distinguished. The stories of their suffering and sacrifice for India's independence and their defiance and valour in the face of imperial oppression, have elevated the Cellular Jail to a place of pilgrimage in India's collective national memory.
• The more significant fact however, is that Port Blair was the first Indian territory liberated from imperial British rule .In 1943-44 during World War II, this territory served as the headquarters of the Azad Hind government under Netaji Subhas Chandra Bose. The island at the time was liberated from British rule by Japan which captured it during the World War-II.
• Netaji, accompanied by members of the Azad Hind Government and his staff had paid an official visit to the Andaman Islands from 29-31 December, 1943. He stayed at the former British Chief commissioner's official residence on Ross Island. His visit followed the Japanese Prime Minister's historic declaration at the Assembly of Greater East Asiatic Nations in Tokyo on 6 November, 1943 that the Andaman and Nicobar Islands would be transferred to the Provincial Government of Azad Hind.
• On 30 December, 1943 Netaji addressed a mass rally of Indians at the Gymkhana ground in front of the Andaman Club. On the same day, he hoisted the Tricolour for the first time at the Gymkhana Ground in Port Blair. He also announced the Islands as the first Indian Territory freed from the British rule. 
• After the flag hoisting, Netaji visited the Cellular Jail the same afternoon. He spent two hours there going around the Indian Bastille. Describing his visit to the islands later, Netaji said, "For Indians the return of the Andaman represents the first territory to be liberated from British yoke. By the acquisition of this territory, the provincial government has now become a national entity in fact as well as in name. The liberation of the Andamans has symbolic significance because the Andaman has always been used by the British as a prison for political prisoners. Most of the political prisoners sentenced to servitude for conspiracies to overthrow the British Government - and there have been hundreds of them - were looked up in this island. Like the Bastille in Paris, which was liberated first in the French Revolution, setting free political prisoners, the Andaman where our patriots suffered is the first to be liberated in India's fight for independence. Netaji named Andaman Island as "Shaheed" and Nicobar Island as "Swaraj".
• Today, the place where Netaji hoisted the flag stands as a great memorial.
• Text : Sh. Pallab Bose and material provided by the proponent.

• Port Blair in modern times, as the capital of the Andaman and Nicobar Islands, is a picturesque tourist location and serves as the gateway to pristine beaches and exotic marine life. To those interested in history, the place is a constant reminder of "Kala Paani" housing the Cellular Jail as well as the stories of torture and in human acts meted out to the prisoners, most of them being Indian revolutionaries of the freedom struggle. first batch of freedom fighters of First War of Independence was brought here on 10 March, 1858, thus marking the beginning of the penal settlement. Since then, the convicts brought here, mostly political prisoners, suffered life imprisonment and hard labour under cruel and degrading conditions. Many were hanged, while others died of disease and starvation.
• The Cellular Jail, now a National Memorial is a witness to the glorious contribution of revolutionary patriots in the history of the Indian Freedom Movement. Many charismatic personalities were imprisoned here. Veer Savarkar, Ganesh Damodar Savarkar, Barindra Kumar Ghosh, Utaskar Dutt, Indu Bhushan Roy. Prithvi Singh Azad. Trallo kyanath Chakravarthy, Mahavir Singh among others, the catalogue is long and distinguished. The stories of their suffering and sacrifice for India's independence and their defiance and valour in the face of imperial oppression, have elevated the Cellular  Jail to a place of pilgrimage in India's collective national memory.
• The more significant fact however, is that Port Blair was the first Indian territory liberated from imperial British rule. In 1943-44 during World War II, this territory served as the headquarters of the Azad Hind government under Netaji Subhas Chandra Bose. The island at the time was liberated from British rule by Japan which captured it during the World War II.
• Netaji, accompanied by members of the Azad Hind Government and his staff had paid an official visit to the Andaman Islands from 29-31 December, 1943. He stayed at the former British Chief commissioner's official residence on Rosa Island. His visit followed the Japanese Prime Minister's historic declaration at the Assembly of Greater East Asiatic Nations in Tokyo on 6 November, 1943 that the Andaman and Nicobar Islands would be transferred to the Provincial Government of Azad Hind .
• On 30 December 1943 Netaji addressed a mass rally of Indians at the Gymkhana ground in front of the Andaman Club. On the same day, he hosted the Tricolour for the first time at the Gymkhana Ground in Port Blair. He also announced the Islands as the first Indian Territory freed from the British rule.
• After the flag hoisting, Netaji visited the Cellular Jail the same afternoon. He spent two hours there going around the Indian Bastille. Describing his visit to the islands later, Netaji said, For Indians the return of the Andaman represents the first territory to be liberated from British yoke. By the acquisition of this territory, the provincial government has now become a national entity in fact as well as in name. The liberation of the Andaman has symbolic significance because the Andaman has always been used by the British as a prison for political prisoners. Most of the political prisoners sentenced to servitude for conspiracies to overthrow the British Government and there have been hundreds of them were looked up in this island. Like the Bastille in Paris, which was liberated first in the French Revolution, setting free political prisoners, the Andaman where our patriots suffered is the first to be liberated in India's fight for independence. Netaji named Andaman Island as Shaheed" and Nicobar Island as "Swaraj". 
• Today, the place where Netaji hoisted the flag stands as a great memorial.
• Text: Sh. Pallab Bose and material provided by the proponent .   

• The Institute of Chartered Accountants of India (ICAI) is a statutory body established by the Chartered Accountants Act, 1949 for regulating the profession of Chartered Accountants in the country. It is noteworthy that the Act came into force from 1 July, 1949 even before the Constitution was adopted by India The creation of the Institute was a very important step in the progress of the profession. The Indian legislature placed a great responsibility on the Council of ICA expecting them to establish standards of professional efficiency and professional integrity. 
• Since its inception in 1949, the ICAI  has come a long way as an autonomous regulator of accounting and auditing profession in in with its role defined under the Act. It has been in the forefront of propagating sound and resilient accounting and auditing practices. The role of ICAI as a National Standard Secrate and as an educator has been the hallmark of its existence.
• Since 1949, the profession has grown by leaps and bounds in terms of membership and student base. Starting with a handful of about 1700 members, the strength of the Chartered Accountant fraternity today, has grown to over 2.70 lakh members. On the education front, the ICAI began with mere 259 students and today about 7.25 lakh active students are a part of ICAI.
• ICAI is the second largest accounting body in the world with a strong tradition of service to the Indian economy. It has achieved recognition as a premier accounting body for maintaining highest standards in technical as well as ethical areas and for sustaining stringent examination and education standards. 
• The affairs of the ICAI are managed by a Council in accordance with the provisions of the Chartered Accountants Act, 1949 and the Chartered Accountants Regulations, 1988.The Council is composed of 40 members of whom 32 are elected by the members and remaining eight are nominated by the Central Government generally representing the Comptroller and Auditor General of India, Securities and Exchange Board of  India, Ministry of Corporate Affairs, Ministry of  Finance Ministry of  Commerce and  other  stakeholders.
• In terms of the Act of 1949, the President is the Chief Executive Authority of the Council. The Secretariat of the ICAI is headed by the Secretary who is in-charge of the office of the ICAI as its Executive Head. The activities of the ICAI can be broadly divided into regulatory, standard setting, disciplinary and education and training.
• The Institute functions under the administrative control of Ministry of Corporate Affairs, Government of India. It has its headquarters in New Delhi and 5 regional offices in Chennai, Kanpur, Kolkata, Mumbai  and New Delhi. It presently has 163 branches spread all over the country. In addition, it has also set up 31 chapters outside India and an overseas office in Dubai
• The ICAI is after called upon by various regulatory /statutory authorities of India on issues related to the profession and otherwise. Several Departments of the Central and State Governments of India approach the ICAI for utilizing the services of Chartered Accountants for advice on economy in expenditure, development of control mechanism over public funds and optimum and effective cost o
• funds. Members of the ICAI contribute to public interest and national growth with the motto of Independence, Integrity and Excellence. 
• Text: Based on information received from proponent .

• Fashion is a universal subject, a language understood and spoken by one and all. Fashion is one of the most popular modes of expression. It describes the ever-changing style of clothes worn by those with cultural status. Fashions vary greatly within a society over time and are affected by age, occupation, location and social class.
• India's recorded history of clothing goes back to the fifth millennium BC in the Indus Valley Civilization. India was one of the first places where cotton was cultivated and used even as early as 2500 BC during the Harappan era. The remnants of the ancient Indian clothing can be found in the figurines discovered from the sites near the Indus Valley Civilization, the rock cut sculptures, the cave paintings and human art forms found in temples and monuments. Dating back to the Mohenjo-daro civilization, the earliest preliminary version was found in the statue of Mother Goddess wearing an elaborate headgear supported by a pair of bands and a broach, tight-fitted tunic and skirt fastened with a broad waist band using a medallion like clasp. She is adorned with two necklaces, the smaller one has a set of four cylindrical pendants. The "Priest-king and other stone figures are also depicted wearing a long robe over the left shoulder, leaving the right shoulder bare. The clothing system was also related to the social and economic status of the person.  The upper classes of the society wore fine muslin garments and silk fabrics while the common classes wore garments made up of locally made fabrics.
• During the Mauryan Period, the most common attire of the people was antariya, which they used to wear as a lower garment. A cloth was covered in lehnga style to form a tubular skirt An embellished long piece of cloth wrapped around the waist pleated into the antariya was called patka. As an upper garment, people's main garb was utariya, a long scarf. The difference existed only in the manner of wearing. Textiles were dyed and printed. Resist dyeing and hand printing has been mentioned by Megasthenes as a common sight during the Mauryan period as has glazed cotton. Felting of fibres instead of weaving was also a generally used technique.
• The Mughals played a vital role in Indian Fashion and exerted a huge influence on the Indian dressing style. Men wore jams which was considered as the main royal gart of Mughal emperors, patka to keep the jewelled sword around the waist of jama. The patka is a type of girdle made of a fine fibre which is hand painted, printed or embroidered and choge embroidered, long sleeved coats generally worn over jamas and angrakhas. Mughal women wore a large variety of ornaments from head to toe. Their costumes generally included Peshwaj, Yalek, Pajama. Churidar, Dhillija, Garara and Fashion , they all included head garments , anklets and necklaces. This was done as a distinctive mark of their prosperity and their rank in society. Head-dresses were often worm by Mughal women and were available in various styles. Empress Nur Jahan, consort of Jahangir, epitomising beauty, wore a short sleeved long or r saphistication, the outfit made a style statement.
• Awadh (the region of the modern state of Uttar Pradesh around Ayodhya, west of Varana short jacket over her kurta. While she wore it to maintain he el) has historically been among the most important regions in India, politically, religiously and socially and holds a vital position with respect to the development of Indian fashion.  For centuries, the Awadhi style of dressing has intrigued fashion enthusiasts. Its fabrics, embroideries and precisidesign ,influencconnais connaiscoseurs  of fashion style enthusi The Nawabs who were predominant in Awadh during the 18th and 19h centurie particularly influenced  the evolution fashion The aristocracry of Lucknow spent Lavishly on their dresses had an impact on the dresses of the courtiers and the Awadhi people in general .The emphasis was not only on costumes and textiles, but also on how they were worm. 
• Indian Princely states also displayed evolution of fashion through fusion of local traditional dresses with the trends from other parts of India. For instance, for aristocratic Reput men court dresses included angaarkhi, pagdi, chudidar pyjama and a cummerbund (belt). Dhoti was also in tradition but it was warn in different styles across various princely states. This period also saw a fusion of diverse Indian attire and clothing trends infused with elements of European fashion.
• Text: Based on the material provided by Prof. Manika Wali a and other sources.

• Central Institute of Plastics Engineering & Tools, renamed as Central Institute of Plastics Engineering & Technology (CIPET) was established in 1968 by Govt. of India with the assistance of United Nations Development Programme (UNDP) at Chennai .The main objective of setting up the Institute was to develop manpower in different disciplines of Plastics Engineering & Technology as no similar institute was in existence in the country than International Labour Organization (ILO) served as the executing agency. 
• During the initial stages of the project between 1968 and 1973, the Institute achieved its targets and was adjudged as one of the most successful UNDP projects implemented worldwide. Today CIPET is a premier national institution under the aegis of the Department of Chemicals & Petrochemicals Ministry of Chemicals & Fertilizers, Govt. of India fully devoted to Skill Development, Technology Support Services, Academic and Research (STAR) in the field of Plastics Engineering & Technology. CIPET has extended its wings to meet the demand of plastics & allied industries for skill manpower and technical support by upgrading the infrastructure as well as setting up new centres since 1980. 07 centres were set up during Vii th Plan, 07 centres during Viii to X Plan, 06 centres in Xi Plan and 16thcentres(including approved) in Xii Plan. The Institute is operating through 34 centres across the country and 06 more centres are in process. The functional centres are located at Ahmedabad Amritsar, Aurangabad, Baddi Balasore, Bengaluru, Bhopal Bhubaneswar,Chennai,Dehradun,GuwahatiGwaliorHajipur,Haldia,Hyderabad,Imphal,Jaipur,Kochi. Lucknow, Madurai Murthai, Mysor Raipur, Ranchi.
• CIPET stands tall not only as a premier institute in the country but also as a global institution renowned for its Research & Development in the riche areas of Polymer Science & Technology and high quality education and skill development CIPET has been accredited with ISO 9001:2008 OMS, ISOVIEC - 17025, ISO/IEC - 17020 certification on Design, Development and Conduct of specialized training courses in the field of Plastics Engineering & Technology.  CIPET renders technical consultancy services in design, tooling, polymer processing and testing for the benefit of plastics and allied industry. 
• All the CIPET centers are equipped with excellent infrastructure facilities in the areas of design, CAD/CAM/CAE, tooling and would  manufacturing, plastics processing, testing and quality assurance. The infrastructure facilities in terms of machinery, equipments and technology are continuously upgraded and modernized in tune with needs of plastics and allied industries by Government of India.
• CIPET also plays pivotal role in generating employment opportunities especially for unemployed and under employed youth, promoting entrepreneurs through various skill development training programs. The Institute has produced about 4 lakh operators, 50,000 technicians, 5000 engineers, with focus on socio-economically weaker sections, out of which 1.72 lakh were trained during last 3 years. After implementation of National Policy on Skill Development and Entrepreneurship skill development courses of CIPET have been standardized and aligned with the National Skill Qualification Framework (NSOF) guidelines.
• CIPET has signed 16 Month  with renowned institutions across the globe in order to facilitate faculty student exchange programs and collaborative research projects in the field of Polymer Science Technology.
• CIPET offers its technology support services in all key sectors of Indian Economy including Automobiles, Aerospace, Agriculture, Building & Construction, Defence, Fast Moving Consumer Goods (FMCG),Information Technology, Medical Packaging, Electronics, etc CIPET renders Technology Support Services in Design (CAD/CAM/CAE). Tooling, Processing and Testing & Quality Assurance to the plastics and its a  lied industry in India and abroad. In line with the "Make in India initiative by Govt. of India, CIPET is contributing towards development of would s & dies, manufacturing of plastics products, import substitutes etc. All  the Plastics Testing Centres of CIPET are accredited by National Accreditation Board for Testing & Calibration Laboratories (NABL) and Bureau of Indian Standard (BIS). The faculty members of CIPET, as Technical Experts to BIS, were actively involved in the formulation of standards for plastic products manufactured by the industries, CIPET is playing a vital role and rendering Third Party Inspection Services for plastic products across the country particularly in the agriculture irrigation sectors.
• In an effort to encourage research and development and nurture research activities, CIPET has created an outstanding research environment that results in providing a perfect ambience for the aspiring  researchers to pursue their goal. Envisioned to be a Global R&D hub, CIPET has established three exclusive R&D Units since 2008 ie. Advanced Research School for Technology and Product Simulation (ARSTPS) at Chennai: Laboratory for Advanced Research in Polymeric Materials (LARPM) at Bhubaneswar and Advanced Polymer Design & Development Research Laboratory (APDDRL) at Bengaluru. 
• These research centers of CIPET across the country boast of excellent infrastructure facilities at par with international standards. Recognized by Department of Scientific & Industrial Research (DSIR), Department of Science & Technology. Government of India, CIPET has successfully accomplished many R & D projects in different disciplines in the field of Plastics Engineering & Technology.
• CIPET works in close liaison with industries to implement its initiatives in the areas of polymer and allied industries in accordance with the environmental policies of the country. CIPET's sustained efforts in creating awareness an environmental issues such as plastics waste management has been very well received by the industry. It has established a model Plastics Waste Management Centre at Guwahati to train manpower for plastics recycling industries. CIPET has made significant contributions towards major initiatives of Govt. of India viz. Skill India Swachh Bharat Abhiyan" ,"lake in India Digital India", "Start Up Indie", etc.  
• Text: Based on the information received from proponent.

• Central Institute of Plastics Engineering & Tools, renamed as Central Institute of Plastics Engineering & Technology (CIPET) was established in 1968 by Govt. of India with the assistance of United Nations Development Programmes (UNDP) at Chennai. The main objective of setting up the Institute was to develop manpower in different disciplines of Plastics Engineering & Technology as no similar institute was in existence in the country then. International Labour Organization (ILO) served as the executing agency. 
• During the initial stages of the project between 1968 and 1973, the Institute achieved its targets and was adjudged as one of the most successful UNDP projects implemented worldwide. Today CIPET is a premier national institution under the aegis of the Department of Chemicals & Petrochemicals, Ministry of Chemicals & Fertilizers, Govt. of India fully devoted to Skill Development, Technology Support Services, Academic and Research (STAR) in the field of Plastics Engineering & Technology. CIPET has extended its wings to meet the demand of plastics & allied industries for skilled manpower and technical support by upgrading the infrastructure as well as setting up new centres since 1980.  07 centres were set up during vilth Plan, 07 centres during Viith to Xth Plan, 06 centers Xith Plan and 16 centers  (including approved) in Xi th  Plan. The Institute is operating through 34 centres across the country and 06 more centres are in process. The functional centres are located at Ahmedabad, Amritsar, Aurangabad, Baddi, Balasore, Bengaluru, Bhopal, Bhubaneswar, Chennai, Dehradun, Guwahati, Gwalior, Hajipur, Haldia, Hyderabad, Imphal, Jaipur, Kochi, Lucknow, Madurai, Murthai, Mysore, Raipur, Ranchi.
• CIPET stands tall not only as a premier institute in the country but also as a global institution renowned for its Research & Development in the niche areas of Polymer Science & Technology and high quality education and skill development CIPET has been accredited with ISO 9001:2008 QMS, ISO/IEC - 17025, ISO/IEC- 17020 certification on Design, Development and Conduct of specialized training courses in the field of Plastics Engineering & Technology. CIPET renders technical consultancy services in design, tooling, polymer processing and testing for the benefit of plastics and allied industry All the CIPET centers are equipped with excellent infrastructure facilities in the areas of design, CAD/CAM/CAE, tooling and would manufacturing, plastics processing, testing and quality assurance. The infrastructure facilities in terms of machinery, equipments and technology are continuously upgraded and modernized in tune with needs of plastics and allied industries by Government of India. 
• CIPET also plays pivotal role in generating employment opportunities especially for unemployed and underemployed youth, promoting entrepreneurs through various skill development training programs. The Institute has produced about 4 lakh operators, 50,000 technicians, 5000 engineers, with focus on socio-economically weaker sections, out of which 1.72 lakh were trained during last 3 years. After implementation of National Policy on Skill Development and Entrepreneurship skill, development courses of CIPET have been standardized and aligned with the National Skill Qualification Framework (NSQF) guidelines. 
• CIPET has signed 16 MoUs with renowned institutions across the globe in order to facilitate faculty/student exchange programs and collaborative research projects in the field of Polymer Science & Technology.
• CIPET offers its technology support services in all key sectors of Indian Economy including Automobiles, Aerospace, Agriculture, Building & Construction, Defence, Fast Moving Consumer Goods (FMCG), Information Technology, Medical, Packaging, Teletronics, etc. CIPET renders Technology Support Services in Design (CAD/CAM/CAE), Tooling, Processing and Testing & Quality Assurance to the plastics and its allied industry in India and abroad.  In line with the "Make in India" initiative by Govt. of India, CIPET is contributing towards development of would & dies, manufacturing of plastics products, import substitutes etc. All the Plastics Testing Centres of CIPET are accredited by National Accreditation Board for Testing & Calibration Laboratories (NABL) and Bureaus of Indian Standard (BIS).The faculty members of CIPET, as Technical Experts to BIS, were actively involved in the formulation of standards for plastic products manufactured by the industries. CIPET is playing a vital role and rendering Third Party Inspection Services for plastic products across the country particularly in the agriculture/irrigation sectors.
• In an effort to encourage research and development and nurture research activities, CIPET has created an outstanding research environment that results in providing a perfect ambience for the aspiring researchers to pursue their goal. Envisioned to be a Global R&D hub, CIPET has established three exclusive R & D Units since 2008 i.e. Advanced Research School for Technology and Product Simulation (ARSTPS) at Chennai; Laboratory for Advanced Research in Polymeric Materials (LARPM) at Bhubaneswar and Advanced Polymer Design & Development Research Laboratory (APDDRL) at Bengaluru. These research centers of CIPET across the country boast of excellent infrastructure facilities at par with international standards. Recognized by Department of Scientific & Industrial Research (DSIR), Department of Science & Technology, Government of India, CIPET has successfully accomplished many R & D projects in different disciplines in the field of Plastics Engineering & Technology.
• CIPET works in close liaison with industries to implement its initiatives in the areas of polymer and allied industries in accordance with the environmental policies of the country. CIPET's sustained efforts in creating awareness on environmental issues such as plastics waste management has been very well received by the industry. It has established a model Plastics Waste Management Centre at Guwahati to train manpower for plastics recycling industries. CIPET has made significant contributions towards major initiatives of Govt. of India viz. “Skill India", "Swachh Bharat Abhiyan", "Make in India", "Digital India", "Start Up India", etc.
• Text:  Based on the information received from proponent.

• A Geographical Indication (GI) is a name or sign used on certain products which corresponds to a specific geographical location or origin (e.g. a town, region, or country). India, as a member of the World Trade Organization (WTO). enacted the Geographical Indication of Goods Registration and Protection Act, 1999 with effect from 15 September 2003. The GI tag ensures that none other than those registered as authorised users (or at least those residing inside the geographic territory) are allowed to use the popular product name. Darjeeling tea became the first GI tagged product in India, in 2004-05 since then by May 2017, 295 other GI tagged products have been added to the list.
• Department of Posts is releasing a set of Commemorative Postage Stamps on GI Registered Handicraft Products as follows: GI Registered Handicraft Products:
• Blue Pottery of Jaipur: The art of blue pottery came to Jaipur from Perala and Afghanistan in the 14h century. The use of blue glaze on pottery made from Multani Mitti, or Fuler's earth, is an imported technique, first developed by enterprising Mongai artisans who combined Chinese glazing technology with Persian decorative arts. Man Singh I was the first to bring the art of blue and white to Jaipur subsequent to his interactions with the Mughals through his campaign in Afghanistan. Blue Pottery has unique features as the pottery is completely hand painted, does not develop cracks and is impervious, hygienic and suitable for daily use. 
• Karnataka Bronzeware: In Karnataka, bronze casting flourished under Chalukyas, Rasirakulas, Hoysalas and the Vieyanagara period .The Haysala king Vishnuvardhana under Vaishnava faith, erected many magnificent temples with exquisite metal icons. Bangalore, the capital city of Karnataka, is the chief craft cluster for Bronze Casting. Traditional Indian bronzeware has worldwide reputation in overseas market because of its superior workmanship and modest price. Indian bronzes find place in museums at Boston, New York, Paris, London, Berlin etc. The artisans engaged in making bronze icons known as 'Stapathies are bound by faith, tradition and religion for making branze icons and should be well versed in chynanaslokas', which gives the physical attributes to the deity. The traditional crafts persons were an unbraken chain of evolution passing from teacher to the disciple and father to son.
• Kutch Embroidery: The Kutch Embroidery originated in Kutch-Gujarat with the arrival of different communities that migrated from countries like Iran, Iraq, Greece, Germany, Afghanistan during 16 & 17th centuries, Kutch embroidery is basically practised by women. Kutch work is unique in the sense that a net is was even on a cloth using thread. The net is then filed in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes. Designs of Kutch Embroidery are inspired by legend and everyday life. Each individual community expresses its own identity through a sense of aesthetics, colour, layout and motif preferences that evolved out of specific aspects of their history, including migration patterns and contact with surrounding people. However, the different adornment traditions are unified by regional styles and by motifs that bridge cultures: peacocks, parrots, temples, flowers, camels and elephants, human figures in dancing poses, dancing peacocks. It's a tradition which is handed down from generation to generation (mothers to daughters), thereby skilling and empowering them.
• Maddalam of Palakkad: Maddalam is considered a divine instrument on account of its inclusion as a major accompaniment in the dance of Shiva. Maddalam dates back to 13th century. The sound produced by Maddalarn is considered to be Pranavam or the sound of 'Om' or 'Aur. It is very similar to the midangam. The madalam is the classical drum of South India and is used as an accompaniment for vocal, instrumental and dance performances. Panchavadyam which is regarded as one of the most sophisticated art forms of Kerala is an ensemble of five percussion instruments viz. drumstimila, maddalar, edakka, the symbals lathalam and the kombu homage .Cylindrical in shape, maddalam till today is chiselled out of a single piece of jack wood. There are two varieties of maddalam Suddha maddalam and Toppi maddalam. The former is tied around the waist of the drummer with a cloth while the latter is a smaller version suspended from the neck.
• Sikki Grass Products of Bihar: Sikki, the golden grass of Bihar, is found growing in the wet and marshy area of Madhubani district. Sikki work is practised by women in the region of Bihar. There is growing demand for Sikki Grass work not only for outstanding beauty but also for its cultural value. At one point of time, a very large part of the population in North Bihar (i.e. pockets in Darbhanga, Madhubani and Sitamarhi districts of Bihar) was engaged in this craft. The sikki is characterized by its wonderful golder hue, is also coloured into myriad shades to make the products more attractive. The products made from sikki grass are as utilitarian as they are uniquely ornamental. They include containers to store grain, rice, and lentils; boxes to keep clothes and jewellery, baskets to store sweets and masalas (spices) etc. 
• Text: Based on information received from Ministry of Textiles.

• A Geographical Indication (GI) is a name or sign used on certain products which corresponds to a specific geographical location or origin (e.g. a town, region, or country). India as a member of the World Trade Organization (WTO) enacted the Geographical indicationes  Registration and client) Act 1999 with effect from 15 September 2003.The GI tag ensures that none other than those registered as authorised users (or at least those residing inside the geographic territory) are allowed to use the popular product name. Darjeeling tea became the first GI tagged product in India, in 2004-05 since then by May 2017. 295 other GI tagged products have been added to the list.
• Department of Posts is releasing a set of Commemorative Postage Stamps on GI Registered Handicraft Products as follows: 
• GI Registered Handicraft Product.
• Blue Pottery of Jaipur: The art of blue pottery came to Jaipur from Perala and Afghanistan in the 14h century. The use of blue glaze on pottery made from Multani Mitti, or Fuler's earth, is an imported technique, first developed by enterprising Mongai artisans who combined Chinese glazing technology with Persian decorative arts. Man Singh I was the first to bring the art of blue and white to Jaipur subsequent to his interactions with the Mughals through his campaign in Afghanistan. Blue Pottery has unique features as the pottery is completely hand painted, does not develop cracks and is impervious, hygienic and suitable for daily use.
• Karnataka Bronzeware: In Karnataka, bronze casting flourished under Chalukyas, Rasirakulas, Hoysalas and the Vieyanagara period. The Haysala king Vishnuvardhana under Vaishnava faith, erected many magnificent temples with exquisite metal icons. Bangalore, the capital city of Karnataka, is the chief craft cluster for Bronze Casting. Traditional Indian bronzeware has worldwide reputation in overseas market because of its superior workmanship and modest price. Indian bronzes find place in museums at Boston, New York, Paris, London, Berlin etc. The artisans engaged in making bronze icons known as 'Stapathies are bound by faith, tradition and religion for making branze icons and should be well versed in chynanaslokas', which gives the physical attributes to the deity. The traditional crafts persons were an un braken chain of evolution passing from teacher to the disciple and father to son.
• Kutch Embroidery: The Kutch Embroidery originated in Kutch-Gujarat with the arrival of different communities that migrated from countries like Iran, Iraq, Greece, Germany, Afghanistan during 16 &17th centuries, Kutch embroidery is basically practised by women. Kutch work is unique in the sense that a net is waven on a cloth using thread. The net is then filed in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes. Designs of Kutch Embroidery are inspired by legend and everyday life. Each individual community expresses its own identity through a sense of aesthetics, colour, layout and motif preferences that evolved out of specific aspects of their history, including migration patterns and contact with surrounding people. However, the different adornment traditions are unified by regional styles and by motifs that bridge cultures: peacocks, parrots, temples, flowers, camels and elephants, human figures in dancing poses, dancing peacocks. It's a tradition which is handed down from generation to generation (mothers to daughters), thereby skilling and empowering them.
• Maddalam of Palakkad: Maddalam is considered a divine instrument on account of its inclusion as a major accompaniment in the dance of Shiva. Maddalam dates back to 13h century. The sound produced by Maddalam is considered to be Pranavam or the sound of 'Om' or 'Aur'. It is very similar to the midangam. The maddalam is the classical drum of South India and is used as an accompaniment for vocal, instrumental and dance performances. Panchavadyam which is regarded as one of the most sophisticated art forms of Kerala is an ensemble of five percussion instruments viz. drumstimila, maddalam, palakkad, the gymbals lathalam and the kombu how. Cylindrical in shape, maddalam till today is chiselled out of a single piece of jack wood. There are two varieties of maddalam Suddha maddalam and Toppi maddalam. The former is tied around the waist of the drummer with a cloth while the latter is a smaller version suspended from the neck.
• Sikki Grass Products of Bihar: Sikki, the golden grass of Bihar, is found growing in the wet and marshy area of  Madhubani district. Sikki work is practised by women in the region of Bihar. There is growing demand for Sikki Grass work not only for outstanding beauty but also for its cultural value. At one point of time, a very large part of the population in North Bihar (i.e. pockets in Darbhanga, Madhubani and Sitamarhi districts of Bihar) was engaged in this craft. The sikki is characterized by its wonderful golden hue, is also coloured into myriad shades to make the products more attractive. The products made from sikki grass are as utilitarian as they are uniquely ornamental. They include containers to store grain, rice, and lentils; boxes to keep clothes and jewellery, baskets to store sweets and masalas (spices) etc. 
• Text: Based on information received from Ministry of Textiles.

• A Geographical Indication (GI) is a name or sign used on certain products which corresponds to a specific geographical location or origin (e.g. a town, region, or country). India as a member of the World Trade Organization (WTO) enacted the Geographical indicationes  Registration and client) Act 1999 with effect from 15 September 2003. The GI tag ensures that none other than those registered as authorised users (or at least those residing inside the geographic territory) are allowed to use the popular product name. Darjeeling tea became the first GI tagged product in India, in 2004-05 since then by May 2017. 295 other GI tagged products have been added to the list.
• Department of Posts is releasing a set of Commemorative Postage Stamps on GI Registered Handicraft Products as follows: 
• GI Registered Handicraft Product: 
• Blue Pottery of Jaipur: The art of blue pottery came to Jaipur from Perala and Afghanistan in the 14" century. The use of blue glaze on pottery made from Multani Mitt, or Fuller's earth, is an imported technique, first developed by enterprising Mongol artisans who combined Chinese glazing technology with Persian decorative arts. Man Singh was the first to bring the art of blue and white to Jaipur sub sequent to his interactions with the Mughals through his campaign in Afghanistan. Blue Pottery has unique features as the pattery is completely hand painted, does not develop cracks and is impervious, hygienic and suitable for daily use.
• Karnataka Bronzeware: In Karnataka, bronze casting flourished under Chalukyas, Rastrakulas, Hoysalas and the Vieyanagara period. The Haysala king Vishnuvardhana under Vaishnava faith, erected many magnificent temples with exquisite metal icons. Bangalore, the capital city of Karnataka, is the chief craft cluster for Bronze Casting. Traditional Indian bronzeware has worldwide reputation in overseas market because of its superior workmanship and modest price. Indian bronzes find place in museums at Boston, New York, Paris, London, Berlin etc. The artisans engaged in making bronze icons known as 'Stapathies' are bound by faith, tradition and religion for making branze icons and should be well versed in chynanaslokas', which gives the physical attributes to the deity. The traditional rafts persons were an broken chain of evolution passing from teacher to the disciple and father to son.
• Kutch Embroidery: The Kutch Embroidery originated in Kutch-Gujarat with the arrival of different communities that migrated from countries like Iran, Iraq, Greece, Germany, Afghanistan during 16&17"centuries, Kutch embroidery is basically practised by women. Kutch work is unique in the sense that a net is waven on a cloth using thread. The net is then filed in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes. Designs of Kutch Embroidery are inspired by legend and everyday life. Each individual community expresses its own identity through a sense of aesthetics, colour, layout and motif preferences that evolved out of specific aspects of their history, including migration patterns and contact with surrounding people. However, the different adornment traditions are unified by regional styles and by motifs that bridge cultures peacocks, parrots, temples, flowers, camels and elephants, human figer dancing poses,dancing peacocks. It's a tradition which is handed down from generation to generation (mothers to daughters), thereby skilling and empowering them.
• Maddala of Palakkad: Maddalam is considered a divine instrument on account of its inclusion as a major accompaniment in the dance of Shiva. Maddalam dates back to 13h century. The sound produced by Maddalarn is considered to be Pranavam or the sound of 'Om' or 'Aur'. It is very similar to the midangam. The madalam is the classical drum of South India and is used as an accompaniment for vocal, instrumental and dance performances. Panchavadyam which is regarded as one of the most sophisticated art forms of Kerala is an ensemble of five percussion instruments viz. drum simila, maddalar, edakka, the gymbals lathalam and the kombuhom, Cylindrical in shape, maddalam till today is chinelled out of a single piece of jack wood. There are two varieties of maddalam Suddha maddalam and Toppi maddalam. The former is tied around the waist of the drummer with a cloth while the latter is a smaller version suspended from the neck.
• Sikki Grass Products of Bihar: Sikki, the golden grass of Bihar, is found growing in the wet and marshy area of Madhubani district. Sikki work is practised by women in the region of Bihar. There is growing demand for Sikki Grass work not only for outstanding beauty but also for its cultural value. At one point of time, a very large part of the population in North Bihar i.e. pockets in Darbhanga, Madhubani and Sitamarhi  districts of Bihar) was engaged in this call. The sikki  is characterized by its wonderful golden hue, is also coloured into myriad shades to make the products more attractive. The products made from sikki grass are as utilitarian as they are uniquely ornamental. They include containers to store grain, rice, and lentils, boxes to keep clothes and jewellery, baskets to store sweets and masalas (spices) etc.
• Text: Based on information received from Ministry of Textiles.

• A Geographical Indication (GI) is a name or sign used on certain products which corresponds to a specific geographical location or origin (e.g. a town, region or country). India as a member of the World Trade Organization (WTO). enacted the Geographical Indication of Goods Registration and Protection Act 1999 with effect from 15 September 2003.The GI tag ensures that none other than those registered as authorised users for at least those residing inside the geographic territory) are allowed to use the popular product name. Darjeeling tea became the first GI tagged product in India, in 2004-05 since then by May 2017. 295 other GI taged products have been added to the list.

• Department of Posts is releasing a set of Commemorative Postage Stamps on GI Registered Handicraft Products as follows: . 

• GI Registered Handicraft Products:

• Blue Pottery of Jaipur: The art of blue pottery came to Jaipur from Perala and Afghanistan in the 14" century. The use of blue glaze on pottery made from Multani Mitt, or Fuller's earth, is an imported technique, first developed by enterprising Mongol artisans who combined Chinese glazing technology with Persian decorative arts. Man Singh was the first to bring the art of blue and white to Jaipur subsequent to his interactions with the Mughals through his campaign in Afghanistan. Blue Pottery has unique features as the pattery is completely hand painted, does not develop cracks and is impervious, hygienic and suitable for daily use. 

• Karnataka Bronzeware: In Karnataka, bronze casting flourished under Chalukyas, Rastrakulas, Hoysalas and the Vieyanagara period. The Haysala king Vishnuva Ardhana under Vaishnava faith, erected many magnificent temples with exquisite metal icons. Bangalore, the capital city of Karnataka, is the chief craft cluster for Bronze Casting. Traditional Indian bronzeware has worldwide reputation in overseas market because of its superior workmanship and modest price. Indian bronzes find place in museums at Boston, New York, Paris, London, Berlin etc. The artisans engaged in making bronze icons known as 'Stapathies' are bound by faith, tradition and religion for making branze icons and should be well; versed in chynanaslokas', which gives the physical attributes to the deity. The traditional crafts persons were an unbraken chain of evolution passing from teacher to the disciple and father to son.

• Kutch Embroidery: The Kutch Embroidery originated in Kutch-Gujarat with the arrival of different communities that migrated from countries like Iran, Iraq, Greece, Germany, Afghanistan during 16 &17"centuries, Kutch embroidery is basically practised by women. Kutch work is unique in the sense that a net is waven on a cloth using thread. The net is then filed in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes. Designs of Kutch Embroidery are inspired by legend and everyday life. Each individual community expresses its own identity through a sense of aesthetics, colour, layout and motif preferences that evolved out of specific aspects of their history, including migration pattern sand contact with surrounding people. However, the different adornment traditions are unified by regional styles and by motifs that bridge cultures peacocks, parrots, temples, flowers, camels and elephants, human figures in dancing poses, dancing peacocks. It's a tradition which is handed down from generation to generation (mothers to daughters), thereby skilling and empowering them.

• Maddala of Palakkad: Maddalam is considered a divine instrument on account of its inclusion as a major accompaniment in the dance of Shiva. Maddalam dates back to 13th century. The sound produced by Maddalarn is considered to be Pranavam or the sound of 'Om' or 'Aur'. It is very similar to the midangam. The madalam is the classical drum of South India and is used as an accompaniment for vocal, instrumental and dance performances. Panchavadyam which is regarded as one of the most sophisticated art forms of Kerala is an ensemble of five percussion instruments viz.
• drumsimila, maddalar, edakka, the gymbals lathalam and the kombuhom, Cylindrical in shape, maddalam till today is chinelled out of a single piece of jack wood. There are two varieties of maddalam Suddha maddalam and Toppi maddalam. The former is tied around the waist of the drummer with a cloth while the latter is a smaller version suspended from the neck.

• Sikki Grass Products of Bihar: Sikki, the golden grass of Bihar, is found growing in the wet and marshy area of Madhubani district Sikki work is practised by women in the region of Bihar. There is growing demand for Sikki Grass work not only for outstanding beauty but also for its cultural value. At one point of time, a very large part of the population in North Bihar i.e. pockets in Darbhanga, Madhubani and Sitamarhi districts of Bihar) was engaged in this call. The sikki is characterized by its wonderful golden hue, is also coloured into myriad shades to make the products more attractive. The products made from sikki grass are as utilitarian as they are uniquely ornamental. They include containers to store grain, rice, and lentils, boxes to keep clothes and jewellery, baskets to store sweets and masalas (spices) etc. 

• Text: Based on information received from Ministry of Textiles.

• Fashion is a universal subject, a language understood and spoken by one and all Fashion is one of the most popular modes of expression. It describes the ever-changing style of clothes worn by those with cultural status. Fashions vary greatly within a society over time and are affected by age, occupation, location and social class.
• India's recorded history of clothing goes back to the fifth millennium BC in the Indus Valley Civilization India was one of the first places where cotton was cultivated and used even as early as 2500 BC during the Hagane. The remnants of the ancient Indian clothing can be found in the figurines discovered from the sites near the Indus Valley Civilization, the rock cut sculptures, the cave paintings and human art forms found in temples and monuments. Dating back to the h o m the earliest preliminary version was found in the statue of the wearing an elaborate headgear supported by a pair of bands and a brooch tightedunic and skirtastened with a broad waistband using a medallion like diasp. She is adorned with two necklaces the smaller one has a set of four cylindrical pendants. The king and other stone figures are also depicted wearing a long robe over the left shoulder, leaving the right shoulder bare. The clothing system was also related to the social and economic status of the person. The upper classes of the society wore fine muslin garments and silk fabrics while the common classes wore garments made up of locally made fabrics.
• During the Maunan Period, the most common attire of the people was antaria, which they used to wear as a lower garment. A doth was covered in a style to forma tubular skirt. An embellished long piece of cloth wrapped around the waist pleated into the antariya was called patka. As an upper garment, people's main garb wasani, a long scarf. The difference existed only in the manner of wearing Textiles were dyed and printed. Resist dyeing and hand printing has been mentioned by Megasthenes as a common sight during the Mauryan period as has glazed cotton. Felting of fibres instead of weaving was also a generally used technique.
• The Mughals played a vital role in Indian Fashion and exerted a huge influence on the Indian dressing style. Men ware jama which was considered as the main royal garb of Mughal emperors, patka to keep the jewelled sword around the waist of jams. The patka is a type of girdle made of a fine fire which is hand painted printed or embroidered and chega embroidered, long sleeved coats generally worn aver jamas and angrakhas. Mughal women wore a large variety of comaments from head to toe. Their costumes generally included Peshwaj, Yalek, Pajama, Churidar, Dhillja, Garara and Farshi, they all included head or naments, anklets and necklaces. This was done as a distinctive mark of their prosperity and their rank in society. Head-dresses were often worn by Mughal women and were available in various styles. Empress Nur Jahan, consort of Jahangir, epitomising beauty, ware a short-sleeved long or short jacket over her kurta. While she wore it to maintain her sophistication, the outfit made a style statement.
• Awadh (the region of the modem state of Uttar Pradesh around Ayodhya, west of Varanaai) has historically been among the most important regions in India, politically, religiously and socially and holds avital position with respect to the development of Indian fashion. For centuries, the Awadhi style of dressing has intrigued fashion enthusiasts. Its fabrics, embroideries and precision in design, influence connoisseurs of fashion and style enthusiasts alike. The Nawabs, who were predominant in Awadh during the 18h and 19 centuries, particularly influenced the evolution of fashion. The aristocracy of Lucknow spent lavishly on their dresses. This had an impact on the dresses of the courtiers and the Awadhi people in general. The emphasis was not only on costumes and textiles, but also on how they were worn.
• Indian Princely states also displayed evolution of fashion through fusion of local traditional dresses with the trends from other parts of India. For instance, for aristocratic Rajput men court dresses included angarkhi, pagdi, chudidar pyjama and a cummerbund (belt). Dhoti was also in tradition but it was worn in different styles across various princely states. This period also saw a fusion of diverse Indian attire and clothing trends infused with elements of European fashion.
• Text: Based on the material provided by Prof. Manika Walia and other sources.

• Fashion is a universal subject, a language understood and spoken by one and all. Fashion is one of the most popular modes of expression. It describes the ever-changing style of clothes worn by those with cultural status. Fashions vary greatly within a society over time and are affected by age, occupation, location and social class.
• India's recorded history of clothing goes back to the fifth millennium BC in the Indus Valley Civilization. India was one of the first places where cotton was cultivated and used even as early as 2500 BC during the Harappan era. The remnants of the ancient Indian clothing can be found in the figurines discovered from the sites near the Indus Valley Civilization, the rock cut sculptures, the cave paintings and human art forms found in temples and monuments Dating back to the Mahenjo - daro civilization, the earliest preliminary version was found in the statue of Mother Goddess wearing an elaborate headgear supported by a pair of bands and a broach, tight-fitted tunic and skirt fastened with a broad waistband using a medallion like clasp. She is adomed with two necklaces, the smaller one has a set of four cylindrical pandants. The "Print king' and other stone figures are also depicted wearing a long robe over the left shoulder, leaving the right shoulder bare. The clothing system was also related to the social and economic status of the person. The upper classes of the society wore fine muslin garments and silk fabrics while the common a wore caments made up of locally made fabrics.
• During the Mauryan Period, the most common attire of the people was an anariya, which they used to wear as a lower garment. A cloth was covered in lehnga style to form a tubular skirt .An embelished long piece of cloth wrapped around the waist pleated into the antariya was called patka. As an upper garment, people's main garb was utariya, a long scarf. The difference existed only in the manner of wearing. Textiles were dyed and printed. Resist dyeing and hand printing has been mentioned by Megasthenes as a common sight during the Mauryan period as has glazed cotton. Felting of fibres instead of weaving was also a generally used technique.
• The Mughals played a vital role in Indian Fashion and exerted a huge influence on the Indian dressing style. Men wore jams which was considered as the main royal garb of Mughal emperors, patka to keep the jewelled sword around the waist of jama. The patka is a type of girdle made of a fine fibre which is hand painted, printed or embroidered and choge embroidered, long sleeved coats generally worn over jamas and angrakhas. Mughal women wore a large variety of ornaments from head to toe. Their costumes generally included Peshwaj, Yalek, Pajama, Churidar, Dhillija, Garara and Farshi, they all included head amaments, anklets and necklaces. This was done as a distinctive mark of their prosperity and their rank in society. Head-dresses were often wom by Mughal women and were available in various styles. Empress Nur Jahan, consort of Jahangir, epitomising beauty, wore a short sleeved long or short jacket  over her kurta. While she wore it to maintain her sophistication, the outfit made a style statement.
• Awadh (the region of the modern state of Uttar Pradesh around Ayodhya, west of Varanasi) has historically been among the most important regions in India, politically, religiously and socially and holds a vital position with respect to the development of Indian fashion. For centuries, the Awadhi style of dressing has intrigued fashion enthusiasts. Its fabrics, embroid and precisio design influ connaisseurs of fashion and style enthusi Nawabs were predomi nantin Awadh during the 18th and centurie particular influened  the evolution of fashion The aristocracy of Lucknow spent Lavishly on heir dresses This had an impact on the dresses of the courtiers and the Awadhi people in general. The emphasis was not only on costumes and textiles, but also on how they were worm.
• Indian Princely states also displayed evolution of fashion through fusion of local traditional dresses with the trends from other parts of India. For instance, for aristocratic Reput men court dresse included angerkhi, pagdi, chudidar pyjama and a cummerbund (belt).Dhoti was also in tradition but it was warn in different styles across various princely states. This period also saw a fusion of diverse Indian attire and dating trends infused with elements of European fashion.
• Text: Based on the material provided by Prof. Manika Walia and other sources.

• Maharati Prannath was born on 28 October, 1618 in Jamnagar, Gujarat. His childhood name was Mehraj Thakur. His father, Keshav Thakur, was a Diwan in the state of Jamnagar. Mehraj's mother Smt. Dhanbai, was a pious lady. He was the fourth amongst their five sons. 
• At an early age, Mehraj was well versed in worldly knowledge. He was bold and aggressive and had good aptitude for spiritual knowledge. He came to listen to Shri Devchandral's discourses at the early age of twelve. Shri Devchandra saw in him a great visionary who was to carry on the work of awakening the souls.
• Mehraj was with his Guru for three weeks. In this period, every aspect of spiritual, political, religious and social matters, was discussed and plan for the future was drawn up. After bestowing his powers and blessings on Mehraj, Shri Devchandra left the mortal world and assigned his job of Jagnito Mehraj. Mehraj later disclosed that Lord's consort, Shyama, working through Devchandra, had made him her instrument to perform the great task of taking the divine souls back to their abode - Paramdham.
• While fulfilling this assigned job.Mehraj - Mahamati Pranath - brought many changes into the Hindu society While traveling throughout the country. he talked to many people in their language. That is the reason why there are six languages - Gujarati, Sindhi, Arabic, Persian Urdu. Hindi and also wards from many other prevalent languages in his works called Kuljam Swarup.
• In his task of promulgating the faith, Mahamati Pramnath travelled to every corner of India and to the Arab lands: Muscat Basra and to Bandar Abbas in Iran. In India he went to Junagarh, That thanagar, Nallya. Khambhallya. In Surat he established the holy shrine of Shri Mahamangalpuri Dham.
• Mahamati Pranath never stayed in one place for long. In spite of the difficulties of traveling, he moved around from place to place to awaken the divine souls. At that time, the Hindus were divided in thename of caste, creed, rituals etc. Exploitation of the poor, downtrodden and low castes was a comman feature. Was men were regarded as a low species, not allowed to remarry even if they became widows atan early age. Women were not allowed to read scriptures or  to receive the sacred mantras. Sati or bride burning was in voque. Mahamat Pranath, in his travels and discourses, tried to reform the Hindu society. He gave Tartam Mantra' to women. Some of them became preachers and started many centers for bringing awareness into the society. 
• During his travels, Mahamati met many saints and tried to unite them so that they could face the growing tyranny of the Mughal King, Aurangzeb. He attended many religious congregations like the Kumbh in Haridwar and tried to convince many Hindu saints that instead of praying to thousands of deities, we should pray to the Lord Supreme - the Adwait Brahman. In Haridwar, many saints and learned people were impressed by his philosophy. In Haridwar, in the year Samal 1735, the great Kumbh Mela took place and there Mahamati Prannath introduced a number of people to Nijanand Sampraday. Followers of Shiva, of Shakti and of Vishnu, the Four Sects, the Dasnam, ancies, the followers of the six philosophies, all had realized the unparalleled wisdom of Maharati Prannath.
• In the year 1740 of the Hindu calendar, he met Maharaja Chhatrasal.Under the protection of Chhatrasal, the shrine of Padmavatipuri Dham was established and it was during his eleven years in Panna Mahamati Prannath spoke the inspired message of the Tartan Vanior Kuljam Swarup, the sacred book which is the essence of all sacred books. The Kuljam Swarup contains fourteen books in 18758 verses which were compiled by his followers, as they were spoken by the Lord.Thus the Kuljam Swarup is the most authentic scripture of the world to Pranamis. Most of the books of Kuljarn Swarup are in Hindi - Hindustani, in Devnagri script.
• He emphasized the oneness of the Muslim and Hindu faiths and established a universal religion - a religion for all mankind and called it "Nijanand Dharma" or the blissful religion for the souls .
• In the year 1751 of the Hindu calendar, on the fourth day of the dark half of Shravan, the fifth month, Mahamati Prannath completed his purpose in this world and prepared to reside in the Highest Abode,"Paramdham". He passed down to Maharaja Chhatrasal the task of awakening the souls.
• Besides India, the followers of Mahamati Prannath are spread over many countries, namely - Nepal, Bhutan, USA Canada, UK, Australia, Singapore etc. Their number exceeds five million and about six hundred centres are continuously engaged in extending their services in the field of education, social service, medical facilities, other welfare activities and spiritual awakening programmes.
• Text: Based on the information received from proponent.

• Paika Rebellion popularly known as Paika Bidroha" was a well organized struggle against the oppressive rule of British East India Company. Paikas were essentially the peasant militias of the Gajapati rulers of Odisha who rendered military service to the king during times of war while taking up cultivation during times of peace. Immediately after the advent of company rule in Odisha, discontent spread rapidly amongst the people of Odisha. The British were fiddling with the revenue system, bringing about land reforms that increased taxes on the land owned by the local peasants and the natives. The money lenders took advantage of this creating huge debts for the common man. In fact, the socio economic fabric of the peasants of Odisha was disturbed completely. This inked the rulers of Khurda, who protested. Khurda, which is twenty-five kilometres from Bhubaneswar, was the centre of the Paika Rebellion.

• The Paika Bidraha was an armed revolt of the traditional Paika militia in the state of Khurda in Odisha in the year 1817. It began in the month of March and sporadically and intermittently continued up to 1838 after the formal suppression of the rebelion. It was led by Jagabandhu  Bidyadhar Mahapatra, who was traditionally a Buxi, military commander, under the king of Khurda. It had nearly swept away the British in Khurda, Pipill, Banapur and Purl for months before being crushed by the forces of East India Company. It was not a purely military revolt of disgruntled or demobilized soldiers but had a component that gave it a character of a civil uprising in which the Khurdapaikas, tribesmen, peasants, the traditional rent collectors and people engaged in native salt manufacturing, an industry tottering due to the manopoly of salt trade by the Company, all had joined. The uprising was against the unjust Company rules and set a strong tradition of defiance.

• The revolt began in March, 1817, when the Kondhs from Ghumear and the Paikas of Khurda jointly raided Banapur and attacked everything that symbolized the new Company's establishment there.  Even the mahajans and sahukars advancing loan to the peasants with the sole motive of appropriating their land and other valuable materials were not spared. A 400 strong contingent of Kandh tribesmen from Ghumsar crossed into Khurda; the Dalabeheras and Paikas joined them. The rebels attacked the police station and other Government buildings at Banapur. The Salt Agent of the southern division, narrowly escaped from this popular fury. However, his boat on the Chilika Lake was captured and plundered. The rebels then marched on ta hurda. More crowds joined them on the way, because of their success at Banapur. The officials did not dare to offer any resistance. All the official buildings were burnt. The Magistrate of Cuttack moved to Khurdato control the rebellion.  By the beginning of April 1817, the number of rebels had swelled to about 3000. They constantly attacked the Government forces thereby forcing the Magistrate to retreat to Cuttack on 4 April, 1817.

• The rebels under the leadership of the Buxi also reached Puri and requested Mukunda Deva II, the former king of Khurda, confined to Puri, to join them and to lead the revolt.The pilgrim city, Puri, came under the control of the rebels. The covert support of the prince in Puri gave strength and popular legitimacy to them. The Magistrate of Cuttack recommended that one the Company re-gained the control over this most important pilgrim city, the prince should be removed to Cuttack, the Company's headquarter in Odisha. A reward of Rs.5000 was also announced on the head of the rebel sirdars on 12 April, 1817 and martial law was imposed in the entire Khurda territory.

• On 12 April, 1817 the rebels burnt the Government cutchery and several other public buildings in Puri. In the resultant clash, 15 rebels were killed and many more were wounded. However, very soon more people joined the rebels. The priests of the temple openly proclaimed the fall of British rule and the restoration of the king's rule in Odisha. This created a mass upsurge forcing the European officials stationed in Puri to leave for Cuttack, where they reached on 18 April, 1817.

• By the second half of April, 1817 martial law had been proclaimed in Puri, Pipili, Lembai, Kotdesh, Khurda and Banapur. All communications between Cuttack and southern part of the province were completely cut off. By the end of April, 1817, the British swung into action in repressive mode. An armed British contingent returned to Puri and took the prince to Cuttack as their captive. There were attempts to rescue the prince on the way. Some 2500 rebels encountered the British forces escorting the prince. The British used modern arms and scared the mass of crowd whereas the rebels had only traditional arms, which were no match to the British arms. On 11 May, 1817 the prince reached Cuttack as a Company prisoner and was placed in close confinement in the Barabati fort till his death on 30 November, 1817. Although by the end of May, 1817, the revolt had been effectively suppressed, the resistance continued to prevail thereafter in pockets.

• Text: Ms. Shaili Dhagat and as per information received from the proponent.
  

• Kumbh Mela (the festival of the sacred pitcher) is a religious pilgrimage that is celebrated four times over a course of 12 years. Kumbh Mela is anchored in Hindu mythology and is the largest public gathering and collective act of faith, anywhere in the world. The Mela draws tens of millions of pilgrims over the course of approximately 48 days to bathe at the sacred confluence of the Ganga, the Yamuna and the mystical Sarasvati. Primarily, this congregation includes ascetics, saints, sadhus, sadhvis, kalpvasis and pilgrims from all walks of life.
• The origin of Kumbh Mela was transcribed by the century philosopher Shankara. The term "Kumbh comes from the root kumbhak (the sacred pitcher of elixir of immorality).The founding myth of the Kumbh Mela points out to the Puranas. It recounts how Gods and demons fought over the sacred pitcher (Kumbh) of Amrit (nectar of immortality) called the Ratna of Samudra Manthan. It is widely believed that Lord Vishnu (disguised as the enchantress Mohini) whisked the Kumbh out of the grasp of the cavelous demans who had tried to claim it. As he took it heaverwards, a few drops of the precious nectar fell on the four sacred sites we know as Haridwar, ujjain, Nashik and Prayag. The flight and the following pursuit is said to have lasted twelve divine days which is equivalent to twelve human years and therefore, the Mela is celebrated every twelve years, staggered at each of the four sacred sites in this cycle.The corresponding rivers are believed to have turned into Amrit at the cosmic moment, giving pilgrims the chance to bathe in the essence of purity, auspiciousness and immortality.
• There is a mention of "Kumbh' and the bathing ritual associated with it in the Rig Veda. It speaks of the benefits of bathing at sangam during this period, elimination of negative influences and rejuvenation of mind and soul. Payers for the Kumbh' are also expressed in Atharva Veda and Yajur Veda. The main bathing days this time are during Makar Sankranti, Paush Purnima, Mauni Amavasya, Basant Panchami, Magh Purnima and Maha Shivratri.
• Kumbh Mela gat widespread recognition across geographies during the rule of King Harshvardhana (c. 590-847 CE) as per historical evidences. Famous traveler Hauan Tsang has prominently mentioned the grandeur of Kumbh Mela in his travelogue. The traveler's account also summarizes King Harsh's charities at the confluence of have  rivers where he gave gifts and donations to the scholars and sanyasis. King Harsh used to hold a great quinquennial assembly on the sands of the holy confluence at Prayag and would distribute all his possessions.
• The geographical location of Kumbh Mela spans over four locations in India and the Mela site keeps rotating between one of the four pilgrimages on four sacred rivers as per astrological conditions. Each site's celebration is based on a distinct set of astrological positions of the Sun, the Moon and the Jupiter. The celebrations occur at the exact moment when these positions are fully occupied, as it is considered to be the holiest time.
• The Kumbh Mela is an event that intrinsically encapsulates the science of astronomy, astrology, spirituality, ritualistic traditions and socio-cultural customs and practices, making it extremely rich in knowledge. Pilgrims to the Kumbh Mela come from all sections of the society ranging from Sadhus (saints) and Naga Sadhus who practice sadhana' and keenly follow a strict path of spiritual discipline, to Hermits who leave their seclusion and come to visit the civilization only during the Kumbh Mela, to seekers of spirituality and to common people practising Hinduism.
• During the Kumbh Mela, a number of ceremonies take place, the traditional procession of Akharas called 'Peshwai' on elephant backs, horses and chariots, the shining swords and rituals of Naga Sadhus during 'Shahi Snaan' and many other cultural activities that attract millions of pilgrims to attend the Kumbh Mela.
• The Kumbh Mela at Prayagra is widely considered as the most significant among all the Kumbh festivals held at other locations. It is considered as the source of light and knowledge. It is believed that Prajapati Brahma performed Ashvamedha Yajna at Dashash vamedha Ghat situated at the confluence of the Ganga and Yamuna and created the universe due to which, it is the most famous and significant among all other Kumbh festivals. Apart from its primary bathing rituals, the social aspect of the festival also revolves around the various Yanes, the chanting of Vedic Mantras, have education, traditional dance, devotional songs, programs based on mythical stories and prayers. Religious assemblies are held where doctrines are debated, standardized and conducted by renowned saints and spaces .A prominent part of the festival is the act of donations to the poor and helpless, to the saints and to cows. Donations range from basic food and clothing to even precious metals.
• Kumbh Mela at Prayagraj, is considered to be the world's largest congregation of religious pilgrims. An estimated 120 million people visited Kumbh Mela in 2013 in Prayagraj over a two-month period, Kumbh Mela has been inscribed on the UNESCO's Representative List of Intangible Cultural Heritage fimanity, Uttar Pradesh Government has envisioned Kumbh Mela 2019 at Prayagraj as 'Divya Kumbh Bhavya Kumbh'.
• The welfare of all beings, sharing of noble thoughts and maintaining good relationships with all the beings across the world is the core message prevalent during the Kumbh festival. Kumbh has been spiritually uniting the people of India and across the world since time immemorial and will continue doing so for years to come.
• Text: Information available government source.

• Maharaja Suheldev was a legendary Indian king of Shravasti, who is said to have defeated and killed the Ghaznavid general Ghazi Saiyad Salar Masud in the early 11th century. The legend of Salar Masud and Maharaja Suheldev is found in the text Mirat Masud .It is a historical romance, and a biography of Salar Masud written by Abdur-Rahman Chianti during the reign of the Mughal emperor Jahangir (1605-1627).
• According to the legend, Maharaja Suheldev was the eldest son of King Mordhwaj of Shravasti. Ghazi Sayyad Salar Masud, a nephew of Mahmud of Ghazni, invaded India at the age of 16. He crossed the Indus river, and conquered Multan, Delhi, Meerut and finally Satrikh in Uttar Pradesh. At Satrikh, he established his headquarters, and dispatched armies to defeat the local kings. Sayyad Salf ud din and Mian Rajab were dispatched to Bahraich. The local Raja of Bahraich and other neighbouring kings formed a confederation, but an army led by Masud's father Gazi Sayyed Salar Sahu defeated them. Nevertheless, they continued to threaten the invaders, and therefore, in 1033 CE, Masud himself arrived in Bahraich to check their advance. Masud inflicted defeat after defeat on his enemies, until the arrival of Maharaja Suheldev. Maharaja Suheldev's army defeated Masud's forces and Masud was killed in a battle in 1034 CE.
• Maharaja Suheldev is remembered for his kindness and compassion and as a patron of saints. On one of these versions of the battle between Maharaja Suheldev and Salar Masud, Salar Masud planned to place a herd of cattle in front of his army, so that Maharaja Suheldev could not attack him. Maharaja Suheldev came to know about this plan, and released the cattle on the night before the battle, thus defeating his enemy in the battle of wits before the actual battle begins.
• Text: Based on the information available on internet.

• Provision of access to financial services to low-income households and small businesses has been a long standing goal of Government of India. The Committee on Comprehensive Financial Services for Small Businesses and Low Income Households had observed that on aspects of both Financial Inclusion and Financial Depth, the overall situation was very poor and, on a regional and sectoral basis, very uneven. Financial Inclusion is defined as the spread of financial institutions and financial services across the country while Financial Depth is defined as the percentage of credit to GDP at various levels of the economy. Majority of small businesses have no links with formal financial institutions and close to half of the rural and urban population do not even have a functional bank account. There is high demand for a wide range of financial services by small businesses and low-income households combined with a willingness to pay for them. The challenge is clearly the ability of the formal financial system to mount a strong supply response, which needs to be strengthened considerably. It is in this context that the role of Post Office towards Financial Inclusion needs to be understood. 
• The Post Office Savings Bank (POSB) founded in 1873 to promote thrift and savings, much before commercial banks made their appearance, is the sheet anchor of financial inclusion in India. With a spread across 155,000 Post Offices it has been rendering years service to the nation.
• On 15 August, 2016 the Prime Minister announced the setting up of India Post Payments Bank (IPPB) during his 70 Independence Day address to the nation from the Red Fort. The subsequent incorporation of the bank, grant of the final license by the Reserve Bank of India and launch of two pilot branches on 30 January, 2017 have brought to fruition the long standing quest of the Post Office to contribute its might to the formal banking sector.
• IPPB is committed to achieving the objective of financial inclusion in India. The motto of the bank, Aapka Bank Aapke Dwar will translate into more than three lakh Postmen and Gramin Dak Sewaks providing assisted banking at door steps in rural, urban and remote areas particularly to those not familiar with technology such as the rural poor and the elderly. The bank is focusing on equipping and enabling small merchants and vendors to accept cashless payments and thereby foster a digital acceptance ecosystem. IPPB is creating infrastructure at the last mile to strengthen and deepen DBT. The association with India Post and the Dakiya infuses trust and confidence amongst users to try out electronic banking, including UPL IPPB will make banking and payments simple. Using technology, it simplifies opening of accounts in minutes and allows customers to make digital transactions with the help of OR Cards and biometric authentication The bank also runs financial literacy programmes to teach electronic banking to those not comfortable with information technology based applications including homemakers, farmers and workers. IPPB enables the post office to accept digital payments at counters, offer small savings schemes online (NSCIK PIPPE) and increase its footprint in the e-commerce world by providing electronic cash on delivery options to its customers at their door step.
• In perspective, the IPPB is a seminal part of the objective of the Government of India to promote financial inclusion of the weakest and least accessed segments of the country. It is a critical building block of the Government of India's financial inclusion strategy.
• Since the nationwide launch of IPP increased by Prime Minister on 1st September , 2018  the bank has expanded its network from 350 branches and 3250 access points to 1,19,640 access points as on 14-01-2019 in the  process the banking network of the country has double while the network has increase by 2.5 times.
• Text: Based on the information received from PBI Division, Department of Pasts.

• "The passing away of Jawaharlal Nehru marks the end of an epoch in the life of our nation. Yet the ideals for which he worked and the values for which he stood will abide for all time to come. We find ourselves today overwhelmed with grief and a sense of loss. But we would not be true to his memory if we give ourselves to despair and uncertainty. Let us keep alive his torch, which he lit for the freedom and progress of the country, and unswervingly follow the path, which he has lighted for us. May his memory remain evergreen with us - an inspiration for achieving the goal, which he has set before the country and the people. He did not fails, let us not fail him." (Message by S. Radhakrishnan, Prime Minister House, New Delhi, 9 June, 1984). 

• "Pandit Jawaharlal Nehruji's memory will be cherished by a grateful world as long as humanity lives. But we whom he has left desolate strive to seek solace to fill the aching void. It is for this that we think in terms of tangible steps like memorials and monuments to remain ourselves of what he lived for and to feel some nearness to him again. This commemorative stamp is such humble tribute to his memory .But his real memorial will be if we carry on his work as he would have wanted us to do, and so conduct ourselves that we would have been proud of us." (Message by Lal Bahadur Shastri, Communication and Law Minister of India, New Delhi, 7.6.1964).

•  "The Posts and Telegraphs Department offers its homage to our great leader on his passing away. The stamp, which we are bringing out, is a humble effort to remind us and the world that death cannot part a leader from his people with whom destiny had bound him imperishably and whose life, therefore, remains inextricably inter-woven into their texture. Death has snapped his mortal bands but his spirit will ever guide us through our long and arduous journey towards the goal he left for us. We shall be worthy of being his followers only if we keep his torch aflame by our work and devotion for the cause, which was so dear to him." (A. K. Sen, Registered No. D221 The Gazette of India, Extraordinary Part 1 Section 1 Published by Authority No. 70, New Delhi, Friday, May 29, 1964, yaishtha 8, 1836. Separate paging is given to this part in order that it may be filed as a separate compilation President Secretariat Notification, New Delhi, the 29th May 1984. No. 43-Pres./84.)

•  The passing away of India's beloved leader and Prime Minister, Jawaharlal Nehru on May 27, 1984, has plunged the whole nation into the profoundest grief. The country has suffered its greatest lost since the death of the Father of the nation. Jawaharlal Nehru belonged to the whole of mankind, as he belonged to the people of India and the world today mourns the departure of this great figure. A valiant fighter for the people of India, all his life, Jawaharlal Nehru was the chief architect of modern India. His entire life was dedicated not only to the ideals of national freedom, unity and solidarity but equally to those of world peace and progress. Born at Allahabad, on November 14, 1889, Jawaharlal Nehru was the son of Pandit Motilal Nehru, an eminent lawyer and one of India's greatest patria its. At the age of 15, he went to England and after two years at Harrow, studied at Trinity College, Cambridge. He was later called to the Bar from the Inner Temple and he returned to India in 1912. Destiny has not intended him to confine himself to the legal profession and he was drawn irresistibly towards the movement of India's freedom.  His meeting with Mahatma Gandhi in 1916 was the coming together of two great sources and was to prove to be a landmark in Jawaharlal Nehru's life. In the same year he was married to Kamal Kaul, who stood by him throughout all the jays and tribulations of his life until her early death in 1936, leaving behind her only child and daughter Indira. 

•  After the epochal meeting with Mahatma Gandhi, Jawaharlal Nehru and his whole family were plunged in the main stream of the freedom struggle. In 1918, he was elected Secretary of Home Rule League, Allahabad, and became a member of the all India Congress Committee of which he remained a member for the rest of his life. He was soon assisting Deshabandhu Chittaranjan Das in tenquiries into the repression that followed the Jallianwala Bagh tragedy in Punjab and by 1920 he was in close contact with the problems and aspirations of the Indian peasantry, beginning with the Kissan Agitation in Eastern U.P. In 1921 came the first of the many occasions on which he courted arrest by refusing to obey arders he considered unjust. In 1923, he was arrested for disobeying orders to leave the then state of Nehru .Thus began his special association with the freedom struggle in the Indian State. In 1927, began his long association with the International democratic movements with his participation in the Congress of Oppressed Nationalists in Brussels as an official delegate of the Indian National Congress, which he followed up with an extensive tour of Europe and his first visit to the U.S.S.R. In 1929 he was elected President of the Lahore session of the Indian National Congress .

• The national struggle entered a new and significant phase when on the sacred banks of the Ravi the Congress took the pledge on the historic day of December 31, 1929, of complete independence as it's goal. The thirties saw Jawaharlal Nehru become the acknowledge heir to Mahatma Gandhi in between recurrent spells of incarceration and despite his preoccupations with national problems he found time also to participate in the struggle against the onslaughts of fascism in different parts of the world. He lent courageous support to the republican forces in Spain and visited the country during turbulent days. His was one of the resounding voices in the years preceding the holocaust of the Second World War, warning the democratic forces all over the world against its coming menace. The failure of the then Government of India to give the Indian people a meaningful opportunity to participate in the world struggle against fascism inexorably led to a conflict. The historic Quit India Resolution was passed by the All India Congress Committee at Bombay on August 9, 1942, and immediately thereafter Mahatma Gandhi, Jawaharlal Nehru and other leaders were imprisoned. On their release three after negotiations with the British Government began and Jawaharlal Nehru took office as Vice-President of the Executive Council when the Interim Goverment of India was formed on September 2, 1946. The constituent assembly met on December 9 in the same year. Events followed in rapid successions leading to the partition of India. On August 15, 1947, India and Pakistan came into being as two separate countries. On that solemn midnight when India became free Jawaharlal Nehru declared.

        "Long years ago, we made a tryst with destiny, and now the time comes when we shall redeem our pledge, not whole or in full measure but very substantially.

        "To the people of India, whose representatives we are, we make an appeal to join us with faith and confidence in this great adventure. We have to build the noble mansion of a free India where all children may dwell.

           "A great disaster is a symbol to us to remember all the things of life and forget the small things of which we have thought too much." 

•  As the years passed Jawaharlal Nehru lost many a trusted lieutenant and comrade in arms; undeterred he strave to build the India of his dreams. His world vision remained undimmed. He convened the Asian Relations Conferences in March, 1947 and was it's moving spirit. In 1954 he enunciated the Panch shila ,the five principles of peaceful co-existence. There were other International Conferences leading to the Bandung Conference in 1956. He gave the world the Doctrine of non-alignment, which was affirmed at the summit meeting of the non-aligned nations in Belgrade in 1961. Jawaharlal Nehru was dedicated to the ideals of the United Nations and the principles of the Charter. He addressed the third General Assembly session in Paris in 1948. His last appearance at the United Nations was in the year 1960. There he moved to a significant resolution stressing the need for world peace and urging the leaders of the great powers to renew their contacts. He was the first head of Government to support the partial test ban pact signed by the three Nuclear Powers in August, 1963. He strove tirelessly against war and for total disarmament. He initialized and supported action for the liberation of dependent countries. He fought against the exploitation of man by a man and worked ceaselessly to bring freedom from fear a hunger not only to his own people but to the world at large. He set his face against all political and military blocs as the greatest impediments to world peace. Not the least abiding of Jawaharlal Nehru's contributions was his concept of a revolution in our national economy through planning within a democratic framework. Even before India had attained freedom, he foresaw the need for economic planning and was instrumental in setting up the National Planning Committee under the aegis of The Indian National Congress as early as in 1936. When freedom came, the earlier efforts bare fruit. The planning Commission was setup and in 1951, India embarked upon her historic series of five-year plans. The acceptance of Economic Planning as a way of life by many new free nations is an eloquent tribute to his basic social and economic thinking.  Jawaharlal Nehru was unremitting in his end favour for the unity and solidarity of the Indian Nation. He struggled ceaselessly to blend the different elements of our national life into an integrated social structure. He fought against al the barriers of cast, religion and language and for the uplift of the less privileged. He constantly affirmed the secular concept of our State as necessary for all sections of the people to live together in peace and harmony.

• Jawaharlal Nehru was a distinguished man of letters. He utilised his spells in prison to write "Autobiography. "Letters from a father to his daughter. "Glimpses of World History" and "Discovery of India which have found a permanent place in literature. Such was the man who led this country for so many decades and administrated it so wisely for eighteen years an upholders of the noble values of human life and dignity of man. There could be no finer epitaph for Jawaharlal Nehru than that which he himself suggested in a persive mood, with characteristic humility "If any people choose to think of me then, I should like them to say This was a man who with all his mind and heart loved India and Indian people. And they in turn, were indulgent to him and gave all their love most abundantl extravagantly That loving memory the Indian people, and indeed, the people of world, will always cherish for Jawaharlal. For as Rabindranath Tagore said, "he had never fought shy of truth when it was dangerous, nor made alliance with falsehood when it would be convenient."

face value   :   30 c - Australian cent

FACE VALUE     :   3½ ( Australian penny )

FACE VALUE   :   3 1/2d (pence)

face value    :   50 Spanish céntimo

Face value  :   2½ d - Australian penny

Face value  :   25 Philippine centavo

• The Statue of Liberty has become known as the foremost symbol of American freedom and democracy. A gift to the American people from the people of France, the monument celebrates the friendship between the two nations. It was formally presented to an ambassador to the United States in Paris on July 4, 1884.
• Officially named "Liberty Enlightening the World", the statue towers 305 feet above Liberty Island at the entrance to New York Harbor. It is constructed of copper sheets and depicts a woman dressed in loose robes raising the torch of liberty in her right hand. Her left hand holds a tablet on which the date July 4, 1776 is inscribed. 
• French historian Edouard de Laboulaye, a great admirer of American political institutions, proposed the building of the statue. It was designed by Frederic Auguste Bartholdi, who also selected the site on which it stands. Construction costs of about $250,000 were funded by the French people, and Americans contributed a similar amount for the building of the pedestal.
• After the official unveiling in 1884, the Statue of Liberty was disassembled, packed into 214 cases, and shipped to the United States. Reconstruction at its permanent home took more than a year. The last rivet was driven on October 28, 1886, the day the monument was formally dedicated by President Grover Cleveland.
• In 1903, Emma Lazarus' poem, "The New Colossus", was inscribed on a tablet in the pedestal. Lights were added at the base in 1924, and a massive reconstruction project was completed in 1986 in time for the Statue of Liberty's 100th birthday celebration.
• The original stamps comprising the brilliantly colored stamp sheet were issued as part of the Liberty Series. The 3¢ Statue of Liberty stamp was issued June 24, 1954 in Albany, New York and the 8¢ stamp was issued April 9, 1954 in Washington, D.C. Taken together with the background, these stamps make this one of the most dramatic Special Collector stamp sheets produced.

Face value   :   12½ p - British penny

Face value  :   30 Nigerian kobo

Face value  :  0.15   - Indian paisa

Denomination  :   5 paise

Denomination  : 3 1/2d

Face Value   :   3 Australian penny

• Maharaja Suheldev was a legendary Indian king of Shravasti, who is said to have defeated and killed the Ghaznavid general Ghazi Saiyyad Salar Masud in the early 19th century. The legend of Salar Masud and Maharaja Suheldev is found in the text Mirat-i-Masudi. It is a historical romance, and a biography of Salar Masud written by Abd-ur-Rahman Chishti during the reign of the Mughal emperor Jahangir (1605-1627) .
• According to the legend, Maharaja Suheldev was the eldest son of King Mordhwaj of Shravasti. Ghazi Saiyyad Salar Masud, a nephew of Mahmud of Ghazni, invaded India at the age of 16. He crossed the Indus river, and conquered Multan, Delhi, Meerut and finally Satrikh in Uttar Pradesh. At Satrikh, he established his headquarters, and dispatched armies to defeat the local kings. Sayyad Saif-ud-din and Mian Rajjab were dispatched to Bahraich. The local Raja of Bahraich and other neighbouring kings formed a confederation, but an army led by Masud's father Gazi Saiyyed Salar Sahu defeated them. Nevertheless, they continued to threaten the invaders, and therefore, in 1033 CE, Masud himself arrived in Bahraich to check their advance. Masud inflicted defeat after defeat on his enemies, until the arrival of Maharaja Suheldev. Maharaja Suheldev's army defeated Masud's forces, and Masud was killed in a battle in 1034 CE.
•  Maharaja Suheldev is remembered for his kindness and compassion and as a patron of saints. On one of these versions of the battle between Maharaja  Suheldev and Salar Masud, Salar Masud planned to place a herd of cattle in front of his army, so that Maharaja Suheldev could not attack him. Maharaja Suheldev came to know about this plan, and released the cattle on the night before the battle, thus defeating his enemy in the battle of wits before the actual battle begins.
• Text: Based on the information available on internet.

• Port Blair in modern times, as the capital of the Andaman and Nicobar Islands, is a picturesque tourist location and serves as the gateway to pristine beaches and exotic marine life. To those interested in history, the place is a constant reminder of "Kala Paani" housing the Cellular Jail as well as the stories of torture and inhuman acts meted out to the prisoners, most of them being Indian revolutionaries of the freedom struggle The first batch of freedom fighters of First War of Independence was brought here on 10 March, 1858, thus marking the beginning of the penal settlement. Since then, the convicts brought here, mostly political prisoners, suffered life imprisonment and hard labour under cruel and degrading conditions .Many were hanged, while others died of disease and starvation.
• The Cellular Jail, now a National Memorial is a witness to the glorious contribution of revolutionary patriots in the history of the Indian Freedom Movement. Many charismatic personalities were imprisoned here. Veer Savarkar, Ganesh Damodar Savarkar, Barindra Kumar Ghosh, Ullaskar Dutt, Indu Bhushan Roy, Prithvi Singh Azad, Trailo kyanath Chakravarthy, Mahavir Singh among others; the catalogue is long and distinguished. The stories of their suffering and sacrifice for India's independence and their defiance and valour in the face of imperial oppression, have elevated the Cellular Jail to a place of pilgrimage in India's collective national memory.
• The more significant fact however, is that Port Blair was the first Indian territory liberated from imperial British rule. In 1943-44 during World War II, this territory served as the headquarters of the Azad Hind government under Netaji Subhas Chandra Bose The island at the time was liberated from British rule by Japan which captured it during the World War-II.
• Netaji, accompanied by members of the Azad Hind Government and his staff had paid an official visit to the Andaman Islands from 29-31 December, 1943.  He stayed at the former British Chief commissioner's official residence on Ross Island.  His visit followed the Japanese Prime Minister's historic declaration at the Assembly of Greater East Asiatic Nations in Tokyo on 6 November, 1943 that the Andaman and Nicobar Islands would be transferred to the Provincial Government of Azad Hind.
• On 30 December, 1943 Netaji addressed a mass rally of Indians at the Gymkhana ground in front of the Andaman Club. On the same day, he hoisted the Tricolour for the first time at the Gymkhana Ground in Port Blair. He also announced the Islands as the first Indian Territory freed from the British rule.
• After the flag hoisting, Netaji visited the Cellular Jail the same afternoon. He spent two hours there going around the Indian Bastille. Describing his visit to the islands later, Netaji said, "For Indians the return of the Andaman represents the first territory to be liberated from British yoke. By the acquisition of this territory, the provincial government has now become a national entity in fact as well as in name. The liberation of the Andamans has symbolic significance because the Andaman has always been used by the British as a prison for political prisoners Most of the political prisoners sentenced to servitude for conspiracies to overthrow the British Government - and there have been hundreds of them - were looked up in this island. Like the Bastille in Paris, which was liberated first in the French Revolution, setting free political prisoners, the Andaman where our patriots suffered is the first to be liberated in India's fight for independence. "Netaji named Andaman Island as "Shaheed and Nicobar Island as "Swaraj".
• Today, the place where Netaji hoisted the flag stands as a great memorial.
• Text: Sh. Pallab Bose and material provided by the proponent.

• A Geographical Indication (GI) is a name or sign used on certain products which corresponds to a specific geographical location or origin (e.g. a town, region, or country). India, as a member of the World Trade Organization (WTO), enacted the Geographical Indication of Goods (Registration and Protection Act, 1999 with effect from 15 September 2003. The GI tag ensures that none other than those registered as authorised users (or at least those residing inside the geographic territory) are allowed to use the popular product name. Darjeeling tea became the first GI tagged product in India, in 2004-05, since then by May 2017,295 other GI tagged products have been added to the list.
• Department of Posts is releasing a set of Commemorative Postage Stamps on GI Registered Handicraft Products as follows:
• GI Registered Handicraft Products: Blue Pottery of Jaipur: 
• The art of blue pottery came to Jaipur from Persia and Afghanistan in the 14th century. The use of blue glaze on pottery made from Multani Mitti, or Fuller's earth, is an imported technique, first developed by enterprising Mongol artisans who combined Chinese glazing technology with Persian decorative arts. Man Singh- was the first to bring the art of blue and white to Jaipur subsequent to his interactions with the Mughals through his campaign in Afghanistan. Blue Pottery has unique features as the pottery is completely hand painted, does not develop cracks and is impervious, hygienic and suitable for daily use.
• Karnataka Bronzeware: In Karnataka, bronze casting flourished under Chalukyas, Rastrakutas, Hoysalas and the Vijayanagara period. The Hoysala king Vishnuvardhana under Vaishnava faith, erected many magnificent temples with exquisite metal icons. Bangalore, the capital city of Karnataka, is the chief craft cluster for Bronze Casting. Traditional Indian bronzeware has worldwide reputation in overseas market because of its superior workmanship and modest price. Indian bronzes find place in museums at Boston, New York, Paris, London, Berlin etc. The artisans engaged in making bronze icons known as 'Stapathies' are bound by faith, tradition and religion for making bronze icons and should be well versed in 'dhynanaslokas', which gives the physical attributes to the deity. The traditional crafts persons were an unbroken chain of evolution passing from teacher to the disciple and father to son.
• Kutch Embroidery: The Kutch Embroidery originated in Kutch-Gujarat with the arrival of different communities that migrated from countries like Iran, Iraq, Greece, Germany, Afghanistan during 16th & 17th centuries, Kutch embroidery is basically practised by women. Kutch work is unique in the sense that a net is woven on a cloth using thread. The net is then filled in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes. Designs of Kutch Embroidery are inspired by legend and everyday life. Each individual community expresses its own identity through a sense of aesthetics, colour, layout and motif preferences that evolved out of specific aspects of their history, including migration patterns and contact with surrounding people. However, the different adornment traditions are unified by regional styles and by motifs that bridge cultures: peacocks, parrots, temples, flowers, camels and elephants, human figures in dancing poses, dancing peacocks. It's a tradition which is handed down from generation to generation (mothers to daughters), thereby skilling and empowering them.
• Maddalam of Palakkad: Maddalam is considered a divine instrument on account of its inclusion as a major accompaniment in the dance of Shiva. Maddalam dates back to 13th century. The sound produced by Maddalam is considered to be Pranavam or the sound of 'Om' or 'Aum'. It is very similar to the mridangam. The maddalam is the classical drum of South India and is used as an accompaniment for vocal, instrumental and dance performances. Panchavadyam which is regarded as one of the most sophisticated art forms of Kerala is an ensemble of five percussion instruments viz. drums timila, maddalam, edaykka, the cymbals ilathalam and the kombu horn. Cylindrical in shape, maddalam till today is chiselled out of a single piece of jack wood. There are two varieties of maddalam-Suddha maddalam and Toppi maddalam. The former is tied around the waist of the drummer with a cloth while the latter is a smaller version suspended from the neck.
• Sikki Grass Products of Bihar: Sikki, the golden grass of Bihar, is found growing in the wet and marshy area of Madhubani district. Sikki work is practised by women in the region of Bihar. There is growing demand for Sikki Grass work not only for outstanding beauty but also for its cultural value. At one point of time, a very large part of the population in North Bihar (i.e. pockets in Darbhanga,  Madhubani and Sitamarhi districts of Bihar) was engaged in this craft. The sikki is characterized by its wonderful golden hue, is also coloured into myriad shades to make the products more attractive. The products made from sikki grass are as utilitarian as they are uniquely ornamental. They include containers to store grain, rice, and lentils; boxes to keep clothes and jewellery, baskets to store sweets and masalas (spices) etc.
• Text : Based on information received from Ministry of Textiles.

• Fashion is a universal subject, a language understood and spoken by one and all. Fashion is one of the most popular modes of expression. It describes the ever-changing style of clothes worn by those with cultural status. Fashions very greatly within a society over time and are affected by age, occupation, location and social class.
• India's recorded history of clothing goes back to the fifth millennium BC in the Indus Valley Civilization. India was one of the first places where cotton was cultivated and used even as early as 2500 BC during the Harappan era. The remnants of the ancient Indian clothing can be found in the figurines discovered from the sites near the Indus Valley Civilization, the rock cut sculptures, the cave paintings and human art forms found in temples and monuments. Dating back to the Mohenjo-daro civilization, the earliest preliminary version was found in the statue of Mother Goddess wearing an elaborate headgear supported by a pair of bands and a brooch, tight fitted tunic and skirt fastened with a broad waist-band using a medallion like clasp. She is adorned with two necklaces, the smaller one has a set of four cylindrical pendants. The "Priestking" and other stone figures are also depicted wearing a long robe over the left shoulder, leaving the right shoulder bare. The clothing system was also related to the social and economic status of the person. The upper classes of the society wore fine muslin garments and silk fabrics while the common classes wore garments made up of locally made fabrics.
• During the Mauryan Period, the most common attire of the people was antariya, which they used to wear as a lower garment. A cloth was covered in lehnga style to form a tubular skirt. An embellished long piece of cloth wrapped around the waist pleated into the antariya was called patka .As an upper garment, people's main garb was uttariya, a long scarf. The difference existed only in the manner ofwearing. Textiles were dyed and printed. Resist dyeing and hand printing has been mentioned by Megasthenes as a common sight during the Mauryan period as has glazed cotton. Felting of fibres instead of weaving was also a generally used technique. The Mughals played a vital role in Indian Fashion and exerted a huge influence on the Indian dressing style. Men wore jama which was considered as the main royal garb of Mughal emperors, patka to keep the jewelled sword around the waist of jama. The patka is a type of girdle made of a fine fibre which is hand painted, printed or embroidered and choga embroidered, long sleeved coats generally worn over jamas and angrakhas. Mughal women wore a large variety of ornaments from head to toe. Their costumes generally included Peshwaj, Yalek, Pajama, Churidar, Dhillija, Garara and Farshi, they all included head ornaments, anklets and necklaces. This was done as a distinctive mark of their prosperity and their rank in society. Head-dresses were often worn by Mughal women and were available in various styles. Empress Nur Jahan, consort of Jahangir, epitomising beauty, wore a short-sleeved long or short jacket over her kurta. While she wore it to maintain her sophistication, the outfit made a style statement.
• Awadh (the region of the modern state of Uttar Pradesh around Ayodhya, west of Varanasi) has historically been among the most important regions in India, politically, religiously and socially and holds avital position with respect to the development of Indian fashion. For centuries, the Awadhi style of dressing has intrigued fashion enthusiasts. Its fabrics, embroideries and precision in design, influence connoisseurs of fashion and style enthusiasts alike. The Nawabs, who were predominant in Awadh during the 18th and 19th centuries, particularly influenced the evolution of fashion. The aristocracy of Lucknow spent lavishly on their dresses. This had an impact on the dresses of the courtiers and the Awadhi people in general. The emphasis was not only on costumes and textiles, but also on how they were worn.
• Indian Princely states also displayed evolution of fashion through fusion of local traditional dresses with the trends from other parts of India. For instance, for aristocratic Rajput men court dresses included angarkhi, pagdi, chudidar pyjama and a cummerbund (belt).Dhoti was also in tradition but it was worn in different styles across various princely states. This period also saw a fusion of diverse Indian attire and clothing trends infused with elements of European fashion.
• Text : Based on the material provided by Prof. Manika Walia and other sources.

• A Geographical Indication (GI) is a name or sign used on certain products which corresponds to a specific geographical location or origin (e.g. a town, region, or country). India, as a member of the World Trade Organization (WTO), enacted the Geographical Indication of Goods (Registration and Protection Act, 1999 with effect from 15 September 2003. The GI tag ensures that none other than those registered as authorised users (or at least those residing inside the geographic territory) are allowed to use the popular product name. Darjeeling tea became the first GI tagged product in India, in 2004-05, since then by May 2017, 295 other GI tagged products have been added to the list. 
• Department of Posts is releasing a set of Commemorative Postage Stamps on GI Registered Handicraft Products as follows:
• GI Registered Handicraft Products: 
• Blue Pottery of Jaipur: The art of blue pottery came to Jaipur from Persia and Afghanistan in the 14th century. The use of blue glaze on pottery made from Multani Mitti, or Fuller's earth, is an imported technique, first developed by enterprising Mongol artisans who combined Chinese glazing technology with Persian decorative arts. Man Singh was the first to bring the art of blue and white to Jaipur subsequent to his interactions with the Mughals through his campaign in Afghanistan. Blue Pottery has unique features as the pottery is completely hand painted, does not develop cracks and is impervious, hygienic and suitable for daily use..
• Karnataka Bronzeware: In Karnataka, bronze casting flourished under Chalukyas, Rastrakutas, Hoysalas and the Vijayanagara period. The Hoysala king Vishnuvardhana under Vaishnava faith, erected many magnificent temples with exquisite metal icons. Bangalore, the capital city of Karnataka, is the chief craft cluster for Bronze Casting. Traditional Indian bronzeware has worldwide reputation inoverseas market because of its superior workmanship and modest price. Indian bronzes find place in museums at Boston, New York, Paris, London, Berlin etc. The artisans engaged in making bronze icons known as 'Stapathies' are bound by faith, tradition and religion for making bronze icons and should be well versed in 'dhynanaslokas', which gives the physical attributes to the deity. The traditional crafts persons were an unbroken chain of evolution passing from teacher to the disciple and father to son.
• Kutch Embroidery: The Kutch Embroidery originated in Kutch-Gujarat with the arrival of different communities that migrated from countries like Iran, Iraq, Greece, Germany, Afghanistan during 16th & 17th centuriesKutch embroidery is basically practised by women. Kutch work is unique in the sense that a net is woven on a cloth using thread. The net is then filled in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes. Designs of Kutch Embroidery are inspired by legend and everyday life. Each individual community expresses its own identity through a sense of aesthetics, colour, layout and motif preferences that evolved out of specific aspects of their history, including migration patterns and contact with surrounding people. However, the different adornment traditions are unified by regional styles and by motifs that bridge cultures: peacocks, parrots, temples, flowers, camels and elephants, human figures in dancing poses, dancing peacocks. It's a tradition which is handed down from generation to generation (mothers to daughters), thereby skilling and empowering them.
• Maddalam of Palakkad: Maddalam is considered a divine instrument on account of its inclusion as a major accompaniment in the dance of Shiva. Maddalam dates back to 13th century. The sound produced by Maddalam is considered to be Pranavam or the sound of 'Om' or 'Aum'. It is very similar to the mridangam. The maddalam is the classical drum of South India and is used as an accompaniment for vocal, instrumental and dance performances. Panchavadyam which is regarded as one of the most sophisticated art forms of Kerala is an ensemble of five percussion instruments viz. drums timila, maddalam, edaykka, the cymbals ilathalam and the kombu horn. Cylindrical in shape, maddalam till today is chiselled out of a single piece of jack wood. There are two varieties of maddalam-Suddha maddalam and Toppi maddalam. The former is tied around the waist of the drummer with a cloth while the latter is a smaller version suspended from the neck.
• Sikki Grass Products of Bihar: Sikki, the golden grass of Bihar, is found growing in the wet and marshy area of Madhubani district. Sikki work is practised by women in the region of Bihar. There is growing demand for Sikki Grass work not only for outstanding beauty but also for its cultural value. At one point of time, a very large part of the population in North Bihar (i.e. pockets in Darbhanga, Madhubani and Sitamarhi districts of Bihar) was engaged in this craft. The sikki is characterized by its wonderful golden hue, is also coloured into myriad shades to make the products more attractive. The products made from sikki grass are as utilitarian as they are uniquely ornamental. They include containers to store grain, rice, and lentils; boxes to keep clothes and jewellery, baskets to store sweets and masalas (spices) etc.
• Text: Based on information received from Ministry of Textiles.

• A Geographical Indication (GI) is a name or sign used on certain products which corresponds to a specific geographical location or origin (e.g. a town, region, or country). India, as a member of the World Trade Organization (WTO), enacted the Geographical Indication of Goods (Registration and Protection Act, 1999 with effect from 15 September 2003. The GI tag ensures that none other than those registered as authorised users (or at least those residing inside the geographic territory) are allowed to use the popular product name. Darjeeling tea became the first GI tagged product in India, in 2004-05, since then by May 2017, 295 other GI tagged products have been added to the list.
• Department of Posts is releasing a set of Commemorative Postage Stamps on GI Registered Handicraft Products as follows:
• GI Registered Handicraft Products:
• Blue Pottery of Jaipur: The art of blue pottery came to Jaipur from Persia and Afghanistan in the 14th century. The use of blue glaze on pottery made from Multani Mitti, or Fuller's earth, is an imported technique, first developed by enterprising Mongol artisans who combined Chinese glazing technology with Persian decorative arts. Man Singh was the first to bring the art of blue and white to Jaipur subsequent to his interactions with the Mughals through his campaign in Afghanistan. Blue Pottery has unique features as the pottery is completely hand painted, does not develop cracks and is impervious, hygienic and suitable for daily use.
• Karnataka Bronzeware: In Karnataka, bronze casting flourished under Chalukyas, Rastrakutas, Hoysalas and the Vijayanagara period. The Hoysala king Vishnuv ardhana under Vaishnava faith, erected many magnificent temples with exquisite metal icons. Bangalore, the capital city of Karnataka, is the chief craft cluster for Bronze Casting. Traditional Indian bronzeware has worldwide reputation in overseas market because of its superior workmanship and modest price. Indian bronzes find place in museums at Boston, New York, Paris, London, Berlin etc. The artisans engaged in making bronze icons known as 'Stapathies' are bound by faith, tradition and religion for making bronze icons and should be well versed in 'dhynanaslokas', which gives the physical attributes to the deity. The traditional crafts persons were an unbroken chain of evolution passing from teacher to the disciple and father to son.
• Kutch Embroidery: The Kutch Embroidery originated in Kutch-Gujarat with the arrival of different communities that migrated from countries like Iran, Iraq, Greece, Germany, Afghanistan during 16th & 17th centuries. Kutch embroidery is basically practised by women. Kutch work is unique in the sense that a net is woven on a cloth using thread. The net is then filled in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes. Designs of Kutch Embroidery are inspired by legend and everyday life. Each individual community expresses its own identity through a sense of aesthetics, colour, layout and motif preferences that evolved out of specific aspects of their history, including migration patterns and contact with surrounding people. However, the different adornment traditions are unified by regional styles and by motifs that bridge cultures: peacocks, parrots, temples, flowers, camels and elephants, human figures in dancing poses, dancing peacocks. It's a tradition which is handed down from generation to generation (mothers to daughters), thereby skilling and empowering them.
• Maddalam of Palakkad: Maddalam is considered a divine instrument on account of its inclusion as a major accompaniment in the dance of Shiva. Maddalam dates back to 13th century. The sound produced by Maddalam is considered to be Pranavam or the sound of 'Om' or 'Aum'. It is very similar to the mridangam. The maddalam is the classical drum of South India and is used as an accompaniment for vocal, instrumental and dance performances. Panchavadyam which is regarded as one of the most sophisticated art forms of Kerala is an ensemble of five percussion instruments viz. drums timila, maddalam, edaykka, the cymbals ilathalam and the kombu horn. Cylindrical in shape, maddalam till today is chiselled out of a single piece of jack wood. There are two varieties of maddalam -Suddha  maddalam and Toppi maddalam. The former is tied around the waist of the drummer with a cloth while the latter is a smaller version suspended from the neck.
• Sikki Grass Products of Bihar: Sikki, the golden grass of Bihar, is found growing in the wet and marshy area of Madhubani district. Sikki work is practised by women in the region of Bihar. There is growing demand for Sikki Grass work not only for outstanding beauty but also for its cultural value. At one point of time, a very large part of the population in North Bihar (i.e. pockets in Darbhanga, Madhubani and Sitamarhi districts of Bihar) was engaged in this craft. The sikki is characterized by its wonderful golden hue, is also coloured into myriad shades to make the products more attractive. The products made from sikki grass are as utilitarian as they are uniquely ornamental. They include containers to store grain, rice, and lentils; boxes to keep clothes and jewellery, baskets to store sweets and masalas (spices) etc.
•  Text: Based on information received from Ministry of Textiles.

• Mahamati Prannath was born on 26th October, 1618 in Jamnagar, Gujarat. His childhood name was Mehraj Thakur. His father, Keshav Thakur, was a Diwan in the state of Jamnagar. Mehraj's mother Smt. Dhanbai, was a pious lady. He was the fourth amongst their five sons.
•  At an early age, Mehraj was well versed in worldly knowledge He was bold and aggressive and had good aptitude for spiritual knowledge. He came to listen to Shri Devchandraji's discourses at the early age of twelve. Shri Devchandra saw in him a great visionary who was to carry on the work of awakening the souls.
• Mehraj was with his Guru for three weeks. In this period, every aspect of spiritual, political, religious and social matters, was discussed and plan for the future was drawn up. After bestowing his powers and blessings on Mehraj, Shri Devchandra left the mortal world and assigned his job of Jagni to Mehraj. Mehraj later disclosed that Lord's consort, Shyama, working through Devchandra, had made him her instrument to perform the great task of taking the divine souls back to their abode - Paramdham.
• While fulfilling this assigned job, Mehraj - Mahamati  Prannath - brought many changes into the Hindu society.  While traveling throughout the country, he talked to many people in their language. 
• That is the reason why there are six languages - Gujarati, Sindhi, Arabic, Persian, Urdu, Hindi and also words from many other prevalent languages in his works called Kuljam Swarup.
• In his task of promulgating the faith, Mahamati Prannath travelled to every corner of India and to the Arab lands: Muscat, Basra and to Bandar Abbas in Iran. In India he went to Junagarh, Thatthanagar, Naliya, Khambhaliya, In Surat, he established the holy shrine of Shri Mahamangalpuri Dham.
• Mahamati  Prannath never stayed in one place for long . In spite of the difficulties of traveling, he moved around from place to place to awaken the divine souls.  At that time, the Hindus were divided in the name of caste, creed, rituals etc. Exploitation of the poor, downtrodden and low castes was a common feature.  Women were regarded as a low species, not allowed to remarry even if they became widows at an early age.  Women were not allowed to read scriptures or to receive the sacred mantras.  Sati or bride burning was in vogue. Mahamati Prannath, in his travels and discourses, tried to reform the Hindu society. He gave "Tartam Mantra" to women Some of them became preachers and started many centers for bringing awareness into the society.
• During his travels, Mahamati met many saints and tried to unite them so that they could face the growing tyranny of the Mughal King, Aurangzeb. He attended many religious congregations like the Kumbh in Haridwar and tried to convince many Hindu saints that instead of praying to thousands of deities, we should pray to the Lord Supreme - the Adwait Brahman. In Haridwar, many saints and learned people were impressed by his philosophy. In Haridwar, in the year Samvat 1735, the great Kumbh Mela took place and there Mahamati Prannath introduced a number of people to Nijanand Sampraday. Followers of Shiva, of Shakti and of Vishnu; the Four Sects, the Dasnam, ascetics, the followers of the six philosophies; all had realized the unparalleled wisdom of Mahamati Prannath.
• In the year 1740 of the Hindu calendar, he met Maharaja Chhatrasal. Under the protection of Chhatrasal, the shrine of Padmavatipuri Dham was established and it was during his eleven years in Panna,Mahamati Prannath spoke the inspired message of the Tartam Vani or Kuljam Swarup, the sacred book which is the essence of all sacred books.The Kuljam Swarup contains fourteen books in 18758 verses which were compiled by his followers, as they were spoken by the Lord. Thus the Kuljam Swarup is the most authentic scripture of the world to Pranamis. Most of the books of Kuljam Swarup are in Hindi - Hindustani, in Devnagri script.
• He emphasized the oneness of the Muslim and Hindu faiths and established a universal religion - a religion for all mankind and called it "Nijanand Dharma or the blissful religion for the souls.
• In the year 1751 of the Hindu calendar, on the fourth day of the dark half of Shravan, the fifth month, Mahamati Prannath completed his purpose in this world and prepared to reside in the Highest Abode,"Paramdham". He passed down to Maharaja Chhatrasal the task of awakening the souls.
• Besides India, the followers of Mahamati Prannath are spread over many countries, namely - Nepal, Bhutan, USA, Canada, UK, Australia, Singapore etc. Their number exceeds five million and about six hundred centres are continuously engaged in extending their services in the field of education, social service, medical facilities, other welfare activities and spiritual awakening programmes.
• Text: Based on the information received from proponent.

• Central Institute of Plastics Engineering & Tools, renamed as Central Institute of Plastics Engineering & Technology (CIPET) was established in 1968 by Govt. of India with the assistance of United Nations Development Programme (UNDP) at Chennai. The main objective of setting up the Institute was to develop manpower in different disciplines of Plastics Engineering & Technology as no similar institute was in existence in the country then. International Labour Organization (ILO) served as the executing agency. 
• During the initial stages of the project between 1968 and 1973, the Institute achieved its targets and was adjudged as one of the most successful UNDP projects implemented worldwide. Today CIPET is a premier national institution under the aegis of the Department of Chemicals & Petrochemicals, Ministry of Chemicals & Fertilizers, Govt. of India fully devoted to Skill Development, Technology Support Services, Academic and Research (STAR) in the field of Plastics Engineering & Technology. CIPET has extended its wings to meet the demand of plastics & allied industries for skilled manpower and technical support by upgrading the infrastructure as well as setting up new centres since 1980. 07 centres were set up during viith Plan, 07 centres during Virth to Xth Plan, 06 centres in Xith Plan and 16 centres (including approved) in Xith Plan. The Institute is operating through 34 centres across the country and 06 more centres are in process. The functional centres are located at Ahmedabad, Amritsar, Aurangabad, Baddi, Balasore, Bengaluru, Bhopal, Bhubaneswar, Chennai, Dehradun, Guwahati, Gwalior, Hajipur, Haldia, Hyderabad, Imphal, Jaipur, Kochi, Lucknow, Madurai, Murthal, Mysore, Raipur, Ranchi.
• CIPET stands tall not only as a premier institute in the country but also as a global institution renowned for its Research & Development in the niche areas of Polymer Science & Technology and high quality education and skill development. CIPET has been accredited with ISO 9001:2008 QMS, ISO/IEC - 17025, ISO/IEC - 17020 certification on Design, Development and Conduct of specialized training courses in the field of Plastics Engineering & Technology. CIPET renders technical consultancy services in design, tooling, polymer processing and testing for the benefit of plastics and allied industry. All the CIPET centers are equipped with excellent infrastructure facilities in the areas of design, CAD/CAM/CAE, tooling and mould manufacturing, plastics processing, testing and quality assurance. The infrastructure facilities in terms of machinery, equipments and technology are continuously upgraded and modernized in tune with needs of plastics and allied industries by Government of India.
• CIPET also plays pivotal role in generating employment opportunities especially for unemployed and underemployed youth, promoting entrepreneurs through various skill development trainin programs. The Institute has produced about 4 lakh operators, 50,000 technicians, 5000 engineers, with focus on socio-economically weaker sections, out of which 1.72 lakh were trained during last 3 years. After implementation of National Policy on Skill Development and Entrepreneurship skill, development courses of CIPET have been standardized and aligned with the National Skill Qualification Framework (NSQF) guidelines.
• CIPET has signed 16 MoUs with renowned institutions across the globe in order to facilitate faculty/student exchange programs and collaborative research projects in the field of Polymer Science & Technology.
• CIPET offers its technology support services in all key sectors of Indian Economy including Automobiles, Aerospace, Agriculture, Building & Construction, Defence, Fast Moving Consumer Goods (FMCG), Information Technology, Medical, Packaging, Tetronics, etc. CIPET renders Technology Support Services in Design (CAD/CAM/CAE), Tooling, Processing and Testing & Quality Assurance to the plastics and its allied industry in India and abroad. In line with the "Make in India" initiative by Govt. of India, CIPET is contributing towards development of moulds & dies, manufacturing of plastics products, import substitutes etc . All the Plastics Testing Centres of CIPET are accredited by National Accreditation Board for Testing & Calibration Laboratories (NABL) and Bureaus of Indian Standard (BIS). The faculty members of CIPET, as Technical Experts to BIS, were actively involved in the formulation of standards for plastic products manufactured by the industries. CIPET is playing a vital role and rendering Third Party Inspection Services for plastic products across the country particularly in the agriculture/irrigation sectors.
• In an effort to encourage research and development and nurture research activities, CIPET has created an outstanding research environment that results in providing a perfect ambience for the aspiring researchers to pursue their goal. Envisioned to be a Global R&D hub, CIPET has established three exclusive R & D Units since 2008 i.e. Advanced Research School for Technology and Product Simulation (ARSTPS) at Chennai; Laboratory for Advanced Research in Polymeric Materials (LARPM) at Bhubaneswar and Advanced Polymer Design & Development Research Laboratory (APDDRL) at Bengaluru. These research centers of CIPET across the country boast of excellent infrastructure facilities at par with international standards. Recognized by Department of Scientific & Industrial Research (DSIR), Department of Science & Technology, Government of India, CIPET has successfully accomplished many R & D projects in different disciplines in the field of Plastics Engineering & Technology.
• CIPET works in close liaison with industries to implement its initiatives in the areas of polymer and allied industries in accordance with the environmental policies of the country. CIPET's sustained efforts in creating awareness on environmental issues such as plastics waste management has been very well received by the industry. It has established a model Plastics Waste Management Centre at Guwahati to train manpower for plastics recycling industries. CIPET has made significant contributions towards major initiatives of Govt. of India viz. "Skill India", "Swachh Bharat Abhiyan", "Make in India", "Digital India", "Start Up India", etc.
• Text: Based on the information received from proponent.

• The Institute of Chartered Accountants of India (ICAI) is a statutory body established by the Chartered Accountants Act, 1949 for regulating the profession of Chartered Accountants in the country. It is noteworthy that the Act came into force from 1st July, 1949 even before the Constitution was adopted by India. The creation of the Institute was a very important step in the progress of the profession. The Indian legislature placed a great responsibility on the Council of ICAI expecting them to establish standards of professional efficiency and professional integrity.
• Since its inception in 1949, the ICAI has come a long way as an autonomous regulator of accounting and auditing profession in line with its role defined under the Act. It  has  been  in the forefront of  propagating  sound  and  resilient  accounting  and  auditing  practices. The  role of ICAI as  a National Standard Setter  and  as  an educator  has  been  the  hallmark  of  its  existence.
•  Since 1949, the profession has grown by leaps and bounds in terms of membership and student base. Starting with a handful of about 1700 members, the strength of the Chartered Accountant fraternity today, has grown to over 2.70 lakh members. On the education front, the ICAI began with mere 259 students and today about 7.25 lakh active students are a part of ICAI .
• ICAI is the second largest accounting body in the world with a strong tradition of service to the Indian economy. It has achieved recognition as a premier accounting body for maintaining highest standards in technical as well as ethical areas and for sustaining stringent examination and education standards.
• The affairs of the ICAI are managed by a Council in accordance with the provisions of the Chartered Accountants Act, 1949 and the Chartered Accountants Regulations, 1988. The Council is composed  of  40 members of whom 32 are elected by the member s and remaining eight  are nominated by he Central Government generally representing  the Comptroller and Auditor General of India, Securities and Exchange  Board of  India ,Ministry of Corporate  Affairs ,Ministry of  Finance ,Ministry of Commerce  and  other stakeholders. 
• In terms of the Act of 1949, the President is the Chief Executive Authority of the Council. The Secretariat of the ICAI is headed by the Secretary who is in-charge of the office of the ICAI as its Executive Head. The activities of the ICAI can be broadly divided into regulatory, standard setting, disciplinary and education and training.
• The Institute functions under the administrative control of Ministry of Corporate Affairs, Government of India.It has its headquarters in New Delhi and 5 regional offices in Chennai, Kanpur, Kolkata, Mumbai and New Delhi. It presently has 163 branches spread all over the country. In addition, it has also set up 31 chapters outside India and an overseas office in Dubai.
• The ICAI is often called upon by various regulatory /statutory authorities of India on issues related to the profession and otherwise. Several Departments of the Central and State Governments of India approach the ICAI for utilizing the services of Chartered Accountants for advice on economy in expenditure, development of control mechanism over public funds and optimum and effective cost of funds. Members of the ICAI contribute to public interest and national growth with the motto of Independence, Integrity and Excellence.
• Text: Based on information received from proponent.

Denomination :  65c 

• Heart disease is today the single biggest killer. Rapid moder nisation and fast lives have taken man away from the natural way of living. Sedentary life styles, changing diet menus for the worse and over consumption of addictive substances like tobacco and alcohol have been the end result of this always on the run' society.
• Lack of exercise has been proved to be one of the most significant causative factors of this biggest killer - heart disease. Over mechanisation and lack of time from the daily hustle and bustle have contributed even more to man becoming an in-home, in-office creature. The importance of daily exercise is now being stressed with renewed vigour.
• To make people aware of this essentially, the Heart Care Foundation of India, a voluntary charitable organisation, had organised a mammoth health awareness campaign in the form of a symbolic marathon termed 'RUN FOR YOUR HEART' on December 11, 1991. Being organised on Rajpath in India's capital city, New Delhi, the Run for Your Heart had over 50,000 participants from all walks of life. Eminent cardiologists from India as well as from over the globe participated in the event being organised on the theme "Physical exercise is good for the heart".
• The Run for Your Heart was the inaugural event of the Heart care Fortnight being organised by the Heart Care of India as a major public awareness and social service programme.
• The participants in the run included policy makers and political personalities, sports persons and athletes, film stars, school and college children, medical and para-medical staff, representatives of the armed forces and police etc. The aim is to create a phenomenal awareness about the usefulness of daily exercise including running and jogging.
• The fact that practically all sectors and strata of society participated in the run shows that we understand and that those who understand want others to understand too! 
• The event was positively a precursor to the initiation of an ongoing system of public health awareness campaigns.
• Text : Courtesy Heart Care Foundation of India.

• Laxman Nayak, a folk-hero of Orissa and a cult-figure among its tribals, was born on 22nd November, 1899 in Tentuliguma village of Koraput district and his father Padlam Nayak was a tribal chieftain and 'Mustadar under Jeypore Samasthanam' in the then Madras Presidency.
• The local administration worked as an agent of the British Government. The tribals under this administration were treated like children of a lesser God and were subjected to inhuman torture and serfdom even by petty revenue officials, forest guards and police constables. Laxman Nayak organised the tribals against exploitation by the officials of Jeypore Samasthanam and its British masters successfully, This brought him recognition as a potential tribal leader and the National Congress admitted Laxman Nayak into its fold. During the course of his training in Naupat training center for Congress workers, Laxman Nayak had the opportunity to meet and interact with several Zonal and State level leaders and get a chance to broaden his horizons. This training inculcated in him a spirit for Nationalism and indoctrinated him with the Gandhian principles of truth, nonviolence and peaceful noncooperation with the British Government. He carried a Charkha, with the message of adult education and abstinence from alcohol, to every tribal household of his area and brought about a total change in the rural scenario. He became the Chef de mission in the Congress campaign in the Malkangiri Sub-division during the first ever election in 1936. 
• However, greater things were in store for him. Responding to the call of Mahatma Gandhi, Laxman Nayak led a procession on 21st August 1942 and demonstrated peacefully in front of Mathili Police Station. But the police fired at the demonstrators indiscriminately, which claimed forty lives and more than two hundred were injured. But the administration further falsely implicated Laxman Nayak in a case of murder and the death sentence was pronounced on him on 13th November, 1942. He was hanged to death on 29th March, 1943 in Berhampur.
• Jail. Nayak in Oriya means chief of a tribe, a leader and a hero. Laxman Nayak was all these and much more.
• Text Courtesy: Government of Orissa.

• Provision of access to financial services to low-income households and small businesses has been a long standing goal of Government of India. The Committee on Comprehensive Financial Services for Small Businesses and Low Income Households' had observed that on aspects of both Financial Inclusion and Financial Depth, the overall situation was very poor and, on a regional and sectoral basis, very uneven. Financial Inclusion is defined as the spread of financial institutions and financial services across the country while Financial Depth is defined as the percentage of credit to GDP at various levels of the economy. Majority of small businesses have no links with formal financial institutions and close to half of the rural and urban population do not even have a functional bank account. There is high demand for a wide range of financial services by small businesses and low-income households combined with a willingness to pay for them. The challenge is clearly the ability of the formal financial system to mount a strong supply response, which needs to be strengthened considerably. It is in this context that the role of Post Office towards Financial Inclusion needs to be understood. 

• The Post Office Savings Bank (POSB) founded in 1873 to promote thrift and savings, much before commercial banks made their appearance, is the sheet anchor of financial inclusion in India. With a spread across 155,000 Post Offices it has been rendering yeoman service to the nation.

• On 15 August, 2016 the Prime Minister announced the setting up of India Post Payments Bank (IPPB) during his 70th Independence Day address to the nation from the Red Fort. The subsequent incorporation of the bank, grant of the final license by the Reserve Bank of India and launch of two pilot branches on 30 January, 2017 have brought to fruition the long standing quest of the Post Office to contribute its might to the formal banking sector. 

• IPPB is committed to achieving the objective of financial inclusion in India. The motto of the bank, Aapka Bank Aapke Dwar' will translate into more than three lakh Postmen and Gramin Dak Sewaks providing assisted banking at door steps in rural, urban and remote areas particularly to those not familiar with technology such as the rural poor and the elderly. The bank is focussing on equipping and enabling small merchants and vendors to accept cashless payments and thereby foster a digital acceptance ecosystem. IPPB is creating infrastructure at the last mile to strengthen and deepen DBT. The association with India Post and the Dakiya infuses trust and confidence amongst users to try out electronic banking, including UPI. IPPB will make banking and payments simple. Using technology, it simplifies opening of accounts in minutes and allows customers to make digital transactions with the help of QR Cards and biometric authentication. The bank also runs financial literacy programmes to teach electronic banking to those not comfortable with information technology based applications including homemakers, farmers and workers. IPPB enables the post office to accept digital payments at counters, offer small savings schemes online (NSC/KVP/PPF) and increase its footprint in the e-commerce world by providing electronic cash on delivery options to its customers at their door step.
• In perspective, the IPPB is a seminal part of the objective of the Government of India to promote financial inclusion of the weakest and least accessed segments of the country. It is a critical building block of the Government of India's financial inclusion strategy.

• Since the nationwide launch of IPPB by the Prime Minister on 1st September, 2018 the bank has expanded its network from 350 branches and 3250 access points to 1,19,640 access points as on 14-01-2019. In the process, the banking network of the country has doubled while the bank network has increased by 2.5 times.

• Text: Based on the information received from PBI Division, Department of Posts.

• A Geographical Indication (GI) is a name or sign used on certain products which corresponds to a specific geographical location or origin (e.g. a town, region, or country) India, as a member of the World Trade Organization (WTO), enacted the Geographical Indication of Goods (Registration and Protection Act, 1999 with effect from 15 September 2003. The GI tag ensures that none other than those registered as authorised users (or at least those residing inside the geographic territory) are allowed to use the popular product name. Darjeeling tea became the first GI tagged product in India, in 2004-05, since then by May 2017, 295 other GI tagged products have been added to the list. 
• Department of Posts is releasing a set of Commemorative Postage Stamps on GI Registered Handicraft Products as follows:
• GI Registered Handicraft Products:
• Blue Pottery of Jaipur: The art of blue pottery came to Jaipur from Persia and Afghanistan in the 14th century. The use of blue glaze on pottery made from Multani Mitti, or Fuller's earth, is an imported technique, first developed by enterprising Mongol artisans who combined Chinese glazing technology with Persian decorative arts. Man Singh was the first to bring the art of blue and white to Jaipur subsequent to his interactions with the Mughals through his campaign in Afghanistan. Blue Pottery has unique features as the pottery is completely hand painted, does not develop cracks and is impervious, hygienic and suitable for daily use.
• Karnataka Bronzeware: In Karnataka, bronze casting flourished under Chalukyas, Rastrakutas, Hoysalas and the Vijayanagara period. The Hoysala king Vishnuvardhana under Vaishnava faith, erected many magnificent temples with exquisite metal icons. Bangalore, the capital city of Karnataka, is the chief craft cluster for Bronze Casting. Traditional Indian bronzeware has worldwide reputation in overseas market because of its superior workmanship and modest price. Indian bronzes find place in museums at Boston, New York, Paris, London, Berlin etc. The artisans engaged in making bronze icons known as 'Stapathies' are bound by faith, tradition and religion for making bronze icons and should be well versed in 'dhynanaslokas", which gives the physical attributes to the deity. The traditional crafts persons were an unbroken chain of evolution passing from teacher to the disciple and father to son.
• Kutch Embroidery: The Kutch Embroidery originated in Kutch-Gujarat with the arrival of different communities that migrated from countries like Iran, Iraq, Greece Germany, Afghanistan during 16th & 17th centuries, Kutch embroidery is basically practised by women. Kutch work is unique in the sense that a net is woven on a cloth using thread. The net is then filled in using the same thread by intricate interlocking stitches. The patterns are usually built around geometric shapes. Designs of Kutch Embroidery are inspired by legend and everyday life. Each individual community expresses its own identity through a sense of aesthetics, colour, layout and motif preferences that evolved out of specific aspects of their history, including migration patterns and contact with surrounding people. However, the different adornment traditions are unified by regional styles and by motifs that bridge cultures: peacocks, parrots, temples, flowers, camels and elephants, human figures in dancing poses, dancing peacocks. It's a tradition which is handed down from generation to generation (mothers to daughters), thereby skilling and empowering them. 
• Maddalam of Palakkad: Maddalam is considered a divine instrument on account of its inclusion as a major accompaniment in the dance of Shiva. Maddalam dates back to 13th century. The sound produced by Maddalam is considered to be Pranavam or the sound of 'Om' or 'Aur'. It is very similar to the mridangam. The maddalam is the classical drum of South India and is used as an accompaniment for vocal, instrumental and dance performances. Panchavadyam which is regarded as one of the most sophisticated art forms of Kerala is an ensemble of five percussion instruments viz. drums timila, maddalam, edaykka, the cymbals ilathalam and the kombu horn. Cylindrical in shape, maddalam till today is chiselled out of a single piece of jack wood. There are two varieties of maddalam- Suddha maddalam and Toppi maddalam. The former is tied around the waist of the drummer with a cloth while the latter is a smaller version suspended from the neck.
• Sikki Grass Products of Bihar: Sikki, the golden grass of Bihar, is found growing in the wet and marshy area of Madhubani district. Sikki work is practised by women in the region of Bihar. There is growing demand for Sikki Grass work not only for outstanding beauty but also for its cultural value. At one point of time, a very large part of the population in North Bihar (i.e. pockets in Darbhanga, Madhubani and Sitamarhi districts of Bihar) was engaged in this craft. The sikki is characterized by its wonderful golden hue, is also coloured into myriad shades to make the products more attractive. The products made from sikki grass are as utilitarian as they are uniquely ornamental. They include containers to store grain, rice, and lentils; boxes to keep clothes and jewellery, baskets to store sweets and masalas (spices) etc.
• Text: Based on information received from Ministry of Textiles.

• Kumbh Mela (the festival of the sacred pitcher) is a religious pilgrimage that is celebrated four times over a course of 12 years. Kumbh Mela is anchored in Hindu mythology and is the largest public gathering and collective act of faith, anywhere in the world. The Mela draws tens of millions of pilgrims over the course of approximately 48 days to bathe at the sacred confluence of the Ganga, the Yamuna and the mystical Sarasvati. Primarily, this congregation includes ascetics, saints, sadhus, sadhvis, kalpvasis and pilgrims from all walks of life.
• The origin of Kumbh Mela was transcribed by the 3th-century philosopher Shankara. The term 'Kumbh comes from the root 'kumbhak (the sacred pitcher of elixir of immorality) The founding myth of the Kumbh Mela points out to the Puranas. It recounts how Gods and demons fought over the sacred pitcher (Kumbh) of Amrit (nectar of immortality) called the Ratna of Samudra Manthan. It is widely believed that Lord Vishnu (disguised as the enchantress 'Mohini') whisked the Kumbh out of the grasp of the covetous demons who had tried to claim it. As he took it heavenwards, a few drops of the precious nectar fell on the four sacred sites we know as Haridwar, Ujjain, Nashik and Prayag The flight and the following pursuit is said to have lasted twelve divine days which is equivalent to twelve human years and therefore, the Mela is celebrated every twelve years, staggered at each of the four sacred sites in this cycle. The corresponding rivers are believed to have turned into Amrit at the cosmic moment, giving pilgrims the chance to bathe in the essence of purity, auspiciousness and immortality.
• There is a mention of Kumbh' and the bathing ritual associated with it in the Rig Veda. It speaks of the benefits of bathing at sangam during this period, elimination of negative influences and rejuvenation of mind and soul. Payers for the "Kumbh' are also expressed in Atharva Veda and Yajur Veda. The main bathing days this time are during Makar Sankranti, Paush Purnima, Mauni Amavasya, Basant Panchami, Maghi Purnima and Maha Shivratri. 
• Kumbh Mela got widespread recognition across geographies during the rule of King Harshvardhana (c. 590-647 CE) as per historical evidences. Famous traveler Hsuan Tsang has prominently mentioned the grandeur of Kumbh Mela in his travelogue. The traveler's account also summarizes King Harsh's charities at the confluence of holy rivers where he gave gifts and donations to the scholars and sanyasis. King Harsh used to hold a great quinquennial assembly on the sands of the holy confluence at Prayag and would distribute all his possessions.
• The geographical location of Kumbh Mela spans over four locations in India and the Mela site keeps rotating between one of the four pilgrimages on four sacred rivers as per astrological conditions. Each site's celebration is based on a distinct set of astrological positions of the Sun, the Moon and the Jupiter. The celebrations occur at the exact moment when these positions are fully occupied, as it is considered to be the holiest time.
• The Kumbh Mela is an event that intrinsically encapsulates the science of astronomy, astrology, spirituality, ritualistic traditions and socio-cultural customs and practices, making it extremely rich in knowledge. 
• Pilgrims to the Kumbh Mela come from all sections of the society ranging from Sadhus (saints) and Naga Sadhus who practice 'sadhana' and keenly follow a strict path of spiritual discipline, to Hermits who leave their seclusion and come to visit the civilization only during the Kumbh Mela, to seekers of spirituality and to common people practising Hinduism. 
• During the Kumbh Mela, a number of ceremonies take place, the traditional procession of Akharas called 'Peshwai' on elephant backs, horses and chariots, the shining swords and rituals of Naga Sadhus during 'Shahi Snaan' and many other cultural activities that attract millions of pilgrims to attend the Kumbh Mela. 
• The Kumbh Mela at Prayagraj is widely considered as the most significant among all the Kumbh festivals held at other locations. It is considered as the source of light and knowledge. It is believed that Prajapati Brahma performed Ashvamedha Yajna at Dashashv amedha Ghat situated at the confluence of the Ganga and Yamuna and created the universe due to which, it is the most famous and significant among all other Kumbh festivals.
• Apart from its primary bathing rituals, the social aspect of the festival also revolves around the various Yajnas, the chanting of Vedic Mantras, holy educations, traditional dances, devotional songs, programs based on mythical stories and prayers. Religious assemblies are held where doctrines are debated, standardized and conducted by renowned saints and sages A prominent part of the festival is the act of donations to the poor and helpless, to the saints and to cows. Donations range from basic food and clothing to even precious metals.
• Kumbh Mela at Prayagraj, is considered to be the "world's largest congregation of religious pilgrims". An estimated 120 million people visited Kumbh Mela in 2013 in Prayagraj over a two-month period, including over 30 million on a single day, on 10 February 2013 (the day of Mauni Amavasya). This year, the attendance is expected to hit a record high. Kumbh Mela has been inscribed on the UNESCO's Representative List of Intangible Cultural Heritage of Humanity. Uttar Pradesh Government has envisioned Kumbh Mela 2019 at Prayagraj as 'Divya Kumbh, Bhavya Kumbh'.
• The welfare of all beings, sharing of noble thoughts and maintaining good relationships with all the beings across the world is the core message prevalent during the Kumbh festival. Kumbh has been spiritually uniting the people of India and across the world since time immemorial and will continue doing so for years to come.
• Text : Information available from Government sources.

• Paika Rebellion popularly known as "Paika Bidroha was a well organized struggle against the oppressive rule of British East India Company. Paikas were essentially the peasant militias of the Gajapati rulers of Odisha who rendered military service to the king during times of war while taking up cultivation during times of peace. Immediately after the advent of company rule in Odisha, discontent spread rapidly amongst the people of Odisha. The British were fiddling with the revenue system, bringing about land reforms that increased taxes on the land owned by the local peasants and the natives. The money lenders took advantage of this creating huge debts for the common man. In fact, the socio economic fabric of the peasants of Odisha was disturbed completely. This irked the rulers of Khurda, who protested. Khurda, which is twenty-five kilometres from Bhubaneswar, was the centre of the Paika Rebellion.

• The Paika Bidroha was an armed revolt of the traditional Paika militia in the state of Khurda in Odisha in the year 1817. It began in the month of March and sporadically and intermittently continued up to 1836 after the formal suppression of the rebellion. It was led by Jagabandhu Bidyadhar Mahapatra, who was traditionally a Buxi, military commander, under the king of Khurda. It had nearly swept away the British in Khurda, Pipili, Banapur and Puri for months before being crushed by the forces of East India Company. It was not a purely military revolt of disgruntled or demobilized soldiers but had a component that gave it a character of a civil uprising in which the Khurdapaikas, tribesmen, peasants, the traditional rent collectors and people engaged in native salt manufacturing, an industry tottering due to them monopoly of salt trade by the Company, all had joined. The uprising was against the unjust Company rule and set a strong tradition of defiance.

• The revolt began in March, 1817, when the Kondhs from Ghumsar and the Paikas of Khurda jointly raided Banapur and attacked everything that symbolized the new Company's establishment there. Even the mahajans and sahukars advancing loan to the peasants with the sole motive of appropriating their land and other valuable materials were not spared. A 400 strong contingent of Kondh tribesmen from Ghumsar crossed into Khurda, the Dalabeheras and Paikas joined them. The rebels attacked the police station and other Government buildings at Banapur. The Salt Agent of the southern division, narrowly escaped from this  popular fury. However, his boat on the Chilika Lake was captured and plundered. The rebels then marched on to Khurda. More crowds joined them on the way, because of their success at Banapur. The officials did not dare to offer any resistance. All the official buildings were burnt. The Magistrate of Cuttack moved to Khurda to control the rebellion. By the beginning of April 1817 the number of rebels had swelled to about 3000. They constantly attacked the Government forces thereby forcing the Magistrate to retreat to Cuttack on 4 April, 1817.

• The rebels under the leadership of the Buxi also reached Puri and requested Mukunda Deva II, the former king of Khurda, confined to Puri, to join them and to lead the revolt. The pilgrim city, Puri, came under the control of the rebels. The covert support of the prince in Puri gave strength and popular legitimacy to them. The Magistrate of Cuttack recommended that one the Company re-gained the control over this most important pilgrim city, the prince should be removed to Cuttack, the Company's headquarter in Odisha. A reward of Rs. 5000 was also announced on the head of the rebel sirdars on 12 April, 1817 and martial law was imposed in the entire Khurda territory.

• On 12 April, 1817 the rebels burnt the Government cutchery and several other public buildings in Puri. In the resultant clash, 15 rebels were killed and many more were wounded. However, very soon more people joined the rebels. The priests of the temple openly proclaimed the fall of British rule and the restoration of the king's rule in Odisha. This created a mass upsurge forcing the European officials stationed in Puri to leave for Cuttack, where they reached on 18 April, 1817.

• By the second half of April, 1817 martial law had been proclaimed in Puri, Pipili, Lembai, Kotdesh, Khurda and Banapur. All communications between Cuttack and southern part of the province were completely cut off. By the end of April, 1817, the British swung into action in repressive mode. An armed British contingent returned to Puri and took the prince to Cuttack as their captive. There were attempts to rescue the prince on the way. Some 2500 rebels encountered the British forces escorting the prince. The British used modern arms and scared the mass of crowd whereas the rebels had only traditional arms, which were no match to the British arms. On 11 May, 1817 the prince reached Cuttack as a Company prisoner and was placed in close confinement in the Barabati fort till his death on 30 November, 1817. Although by the end of May, 1817, the revolt had been effectively suppressed, the resistance continued to prevail thereafter in pockets.

•  Text : Ms. Shaili Dhagat and as per information received from the proponent.

• Setsubun (節分) is the day before the beginning of spring in Japan. The name literally means 'seasonal division', but usually the term refers to the spring Setsubun, properly called Risshun (立春) celebrated yearly on February 3 as part of the Spring Festival (春祭, haru matsuri). Part of the celebration is a special ritual called mamemaki (豆撒き, "bean scattering"), which is depicted on the stamp.

Denomination      :   15 naye paisa

Denomination    :   1 anna

Denomination   :  3 1/2p

• Jamsetji N. Tata was born a little more than 125 years ago on the 3rd March, 1839 and was educated at the Elphinstone College, Bombay. He joined his father's trading firm in 1858 and had an outstandingly successful business career during which he made a massive contribution to India's industrial development. He set up cotton mills in Bombay and Nagpur and founded the Tata Iron and Steel Company which is among the largest integrated steel mills in the world. He planned the utilisation of hydro-electric power which resulted in the formation, after his death, of the Tata Power Companies which supply electric power to Bombay city and the surrounding areas.
• Jamsetji Tata's contribution to India's industrial advance was monumental. Even when the country was under foreign rule he had the vision to realise the importance of a modern industry for giving a better life to the people. His activities were many-sided. He introduced sericulture into India, founded the Indian Institute of Science in Bangalore and applied scientific techniques to the cultivation of cotton and other crops. 
• He freely donated his wealth to worthy causes and is best remembered for the munificent endowment which he established for the advanced professional and technical training of Indians abroad. He was a man of high social ideals and was a pioneer in his enlightened attitude towards labour. Jamsetji died on the 19th May, 1904.In the words of our late Prime Minister Pandit Jawaharlal Nehru he was, one of the great founders of modern India"and there cannot be a more succinct yet fuller tribute.

DENOMINATION   :   6 PIES

Face value   :  40 p - Indian paisa

Face value  :   50 East African cent

• Rajiv Gandhi was born in Bombay on 20th August 1944 into a distinguished family of freedom fighters and patriots. His great grandfather Motilal Nehru was president of the Indian National Congress, his grandfather Jawaharlal Nehru became free India's first Prime Minister from 1947 till his death in 1964. His mother Indira Gandhi served as Prime Minister of India from 1966 to 1977 and again from 1980 to 1984. Rajiv Gandhi's father Feroze Gandhi was an eminent parliamentarian.
• Rajiv Gandhi was educated at the Doon School, Dehra Dun and at the University of Cambridge in the United Kingdom. While at the University, he met Sonia Maino. They were married in 1968 and have two children, Rahul and Priyanka.
• Rajiv Gandhi was a pilot with the Indian Airlines till family circumstances compelled him to join politics. He was elected a Member of Parliament from Amethi in 1981 and re-elected at all subsequent elections. He became the General Secretary of the Congress (l) in 1983. After the dastardly assassination of his mother on 31st October 1984, he was sworn in as the Prime Minister of India and went on to win the elections in December 1984 with the most massive mandate ever received by any party in the history of independent India.
• Rajiv Gandhi assumed the office of prime minister at a time of grave internal crisis, and many believed the unity of the country itself was threatened. Within months of assuming office he signed an accord with Sant Longowal which gave a new hope of harmony in Punjab. 
• The Assam Accord brought that critically strategic North Eastern State back into the national mainstream.
• In the years that followed, he ended insurgency in Mizoram, Tripura and the Darjeeling Hills, forging links of emotional integration between these far-flung parts of the country and the nation as a whole. 
• Rajiv Gandhi bequeathed to his successors a strong, stable and united India.
• History will remember his prime ministership as a period of dynamic change and imaginative innovation. While firmly adhering to the basic principles and ideology of Mahatma Gandhi and Jawaharlal Nehru, Rajiv Gandhi initiated several steps for the moder nasation of the Indian economy, the application of science and technology for the service of the poor (including technology missions directed to areas of the greatest concern for poverty eradication), numerous improvements in anti-poverty programmes, the Jawahar and Nehru Rozgar Yojanas, and the strengthening of democracy at the grassroots through the devolution of power, authority and responsibility to institutions of local government - Panchayati Raj and Nagarpalikas. In the field of foreign policy, he acquired immense stature in the comity of nations as a forceful advocate of nonalignment, non-violence and disarmament, as a crusader against racial discrimination, as an environmentalist of eminence, and as a staunch defender of the economic rights of the developing countries.
• For November 1989, he adorned the opposition benches in Parliament with distinction till his life was cut brutally short by a bomb blast at Sriperumbudur, Tamil Nadu at 10:20 p.m. on 21st May 1991. 
• He will be remembered as a man of immense personal courage who never let the fear of death stand in the way of taking the right decision, a man of profound compassion whose heart reached out to the oppressed, the deprived and the unfortunate the world over, a man who, free of all prejudices, identified himself with all humanity, a deeply patriotic Indian who gloried in the country's tradition of unity in diversity; a statesman of vision determined to restore his beloved country to its traditional place in the vanguard of human civilization.

• Fashion is a universal subject, a language understood and spoken by one and all. Fashion is one of the most popular modes of expression. It describes the ever-changing style of clothes worn by those with cultural status .Fashions vary greatly within a society over time and are affected by age, occupation, location and social class.
• India's recorded history of clothing goes back to the fifth millennium BC in the Indus Valley Civilization. India was one of the first places where cotton was cultivated and used even as early as 2500 BC during the Harappan era. The remnants of the ancient Indian clothing can be found in the figurines discovered from the sites near the Indus Valley Civilization, the rock cut sculptures, the cave paintings and human art forms found in temples and monuments. Dating back to the Mohenjo-daro civilization, the earliest preliminary version was found in the statue of Mother Goddess wearing an elaborate headgear supported by a pair of bands and a brooch, tight fitted tunic and skirt fastened with a broad waist-band using a medallion like clasp. She is adorned with two necklaces, the smaller one has a set of four cylindrical pendants. The "Priest king" and other stone figures are also depicted wearing a long robe over the left shoulder, leaving the right shoulder bare. The clothing system was also related to the social and economic status of the person. The upper classes of the society wore fine muslin garments and silk fabrics while the common classes wore garments made up of locally made fabrics.
• During the Mauryan Period, the most common attire of the people was antariya, which they used to wear as a lower garment. A cloth was covered in lehnga style to form a tubular skirt.  An embellished long piece of cloth wrapped around the waist pleated into the antariya was called patka. As an upper garment, people's main garb was uttariya, a long scarf. The difference existed only in the manner of wearing. Textiles were dyed and printed.  Resist dyeing and hand printing has been mentioned by Megasthenes as a common sight during the Mauryan period ashas glazed cotton. Felting of fibres instead of weaving was also a generally used technique.
• The Mughals played a vital role in Indian Fashion and exerted a huge influence on the Indian dressing style. Men wore jama which was considered as the main royal garb of Mughal emperors, patka to keepthe jewelled sword around the waist of jama. The patka is a type of girdle made of a fine fibre which is hand painted, printed or embroidered and choga embroidered, long sleeved coats generally worn over jamasand angrakhas. Mughal women wore a large variety of ornaments from head to toe. heir costumes generally included Peshwaj, Yalek, Pajama, Churidar, Dhillija, Garara and Farshi, they all included head ornaments, anklets and necklaces. This was done as a distinctive mark of their prosperity and their rank in society. Head-dresses were often worn by Mughal women and were available in various styles. Empress Nur Jahan, consort of Jahangir, epito mising beauty, wore a short-sleeved long or short jacket over her kurta. While she wore it to maintain her sophistication, the outfit made a style statement.
• Awadh (the region of the modern state of Uttar Pradesh around Ayodhya, west of Varanasi) has historically been among the most important regions in India, politically, religiously and socially and holds avital position with respect to the development of Indian fashion. For centuries, the Awadhi style of dressing has intrigued fashion enthusiasts.  Its fabrics, embroideries and precision in design, influence connoisseurs of fashion and style enthusiasts alike. The Nawabs, who were predominant in Awadh during the 18th and 19th centuries, particularly influenced the evolution of fashion. The aristocracy of Lucknow spent lavishly on their dresses. This had an impact on the dresses of the courtiers and the Awadhi people in general. The emphasis was not only on costumes and textiles, but also on how they were worn. 
• Indian Princely states also displayed evolution of fashion through fusion of local traditional dresses with the trends from other parts of India. For instance, for aristocratic Rajput men court dresses included angarkhi, pagdi, chudidar  pyjama and a cummerbund (belt). Dhoti was also in tradition but it was worn in different styles across various princely states. This period also saw a fusion of diverse Indian attire and clothing trends infused with elements of European fashion.
• Text : Based on the material provided by Prof. Manika Walia and other sources.

• Fashion is a universal subject, a language understood and spoken by one and all. Fashion is one of the most popular modes of expression It describes the ever-changing style of clothes worn by those with cultural status. Fashions vary greatly within a society over time and are affected by age, occupation, location and social class.
• India's recorded history of clothing goes back to the fifth millennium BC in the Indus Valley Civilization. India was one of the first places where cotton was cultivated and used even as early as 2500 BC during the Harappan era. The remnants of the ancient Indian clothing can be found in the figurines discovered from the sites near the Indus Valley Civilization, the rock cut sculptures, the cave paintings and human art forms found in temples and monuments. Dating back to the Mohenjo-daro civilization, the earliest preliminary version was found in the statue of Mother Goddess wearing an elaborate headgear supported by a pair of bands and a brooch, tight fitted tunic and skirt fastened with a broad waist-band using a medallion like clasp. She is adorned with two necklaces, the smaller one has a set of four cylindrical pendants. The "Priest king" and other stone figures are also depicted wearing a long robe over the left shoulder, leaving the right shoulder bare. The clothing system was also related to the social and economic status of the person. The upper classes of the society wore fine muslin garments and silk fabrics while the common classes wore garments made up of locally made fabrics.
• During the Mauryan Period, the most common attire of the people was antariya, which they used to wear as a lower garment. A cloth was covered in lehnga style to form a tubular skirt. An embellished long piece of cloth wrapped around the waist pleated into the antariya was called patka. As an upper garment, people's main garb was uttariya, a long scarf. The difference existed only in them an nee off wearing. Textiles were dyed and printed. Resist dyeing and hand printing has been mentioned by Megasthenes as a common sight during the Mauryan period as has glazed cotton. Felting of fibres instead of weaving was also a generally used technique.
• The Mughals played a vital role in Indian Fashion and exerted a huge influence on the Indian dressing style. Men wore jama which was considered as the main royal garb of Mughal emperors, patka to keep the jewelled sword around the waist of jama. The patka is a type of girdle made of a fine fibre which is hand painted, printed or embroidered and choose embroidered, long sleeved coats generally worn over jamas and angrakhas. Mughal women wore a large variety of ornaments from head to toe. Their costumes generally included Peshwaj, Yalek, Pajama, Churidar, Dhillija, Garara and Farshi, they all included head ornaments, anklets and necklaces. This was done as a distinctive mark of their prosperity and their rank in society. Head-dresses were often worn by Mughal women and were available in various styles. Empress Nur Jahan, consort of Jahangir, epitomising beauty, wore a short-sleeved long or short jacket over her kurta. While she wore it to maintain her sophistication, the outfit made a style statement.
• Awadh (the region of the modern state of Uttar Pradesh around Ayodhya, west of Varanasi) has historically been among the most important regions in India, politically, religiously and socially and hold savital position with respect to the development of Indian fashion. For centuries, the Awadhi style of dressing has intrigued fashion enthusiasts. Its fabrics, embroideries and precision in design, influence connoisseurs of fashion and style enthusiasts alike. The Nawabs, who were predominant in Awadh during the 18th and 19th centuries, particularly influenced the evolution of fashion. The aristocracy of Lucknow spent lavishly on their dresses. This had an impact on the dresses of the courtiers and the Awadhi people in general.The emphasis was not only on costumes and textiles, but also on how they were worn. 
•  Indian Princely states also displayed evolution of fashion through fusion of local traditional dresses with the trends from other parts of India. For instance, for aristocratic Rajput men court dresses included angarkhi, pagdi, chudidar pyjama and a cummerbund (belt). Dhoti was also in tradition but it was worn in different styles across various princely states. This period also saw a fashion of diverse Indian attire and clothing trends infused with elements of European fashion.
• Text : Based on the material provided by Prof. Manika Walia and other sources.

• Fashion is a universal subject, a language understood and spoken by one and all. Fashion is one of the most popular modes of expression It describes the ever-changing style of clothes worn by those with cultural status. Fashions vary greatly within a society over time and are affected by age occupation, location and social class. 
• India's recorded history of clothing goes back to the fifth millennium BC in the Indus Valley Civilization. India was one of the first places where cotton was cultivated and used even as early as 2500 BC during the Harappan era. The remnants of the ancient Indian clothing can be found in the figurines discovered from the sites near the Indus Valley Civilization, the rock cut sculptures, the cave paintings and human art forms found in temples and monuments. Dating back to the Mohenjo-daro civilization, the earliest preliminary version was found in the statue of Mother Goddess wearing an elaborate headgear supported by a pair of bands and a brooch, tightfitted tunic and skirt fastened with a broad waist-band using a medallion like clasp. She is adorned with two necklaces, the smaller one has a set of four cylindrical pendants. The "Priest king" and other stone figures are also depicted wearing a long robe over the left shoulder, leaving the right shoulder bare. The clothing system was also related to the social and economic status of the person. The upper classes of the society wore fine muslin garments and silk fabrics while the common classes wore garments made up of locally made fabrics.
• During the Mauryan Period, the most common attire of the people was antariya, which they used to wear as a lower garment. A cloth was covered in lehnga style to form a tubular skirt. An embellished long piece of cloth wrapped around the waist pleated into the antariya was called patka. As an upper garment, people's main garb was uttariya, a long scarf. The difference existed only in the manner of wearing. Textiles were dyed and printed. Resist dyeing and hand printing has been mentioned by Megasthenes as a common sight during the Mauryan period as has glazed cotton. Felting of fibres instead of weaving was also a generally used technique.
• The Mughals played a vital role in Indian Fashion and exerted a huge influence on the Indian dressing style. Men wore jama which was considered as the main royal garb of Mughal emperors, patka to keep the jewelled sword around the waist of jama. The patka is a type of girdle made of a fine fibre which is hand painted, printed or embroidered and choga embroidered, long sleeved coats generally worn over jamas and angrakhas. Mughal women wore a large variety of ornaments from head to toe. Their costumes generally included Peshwaj, Yalek, Pajama, Churidar, Dhillija, Garara and Farshi, they all included head ornaments, anklets and necklaces This was done as a distinctive mark of their prosperity and their rank in society. Head-dresses were often worn by Mughal women and were available in various styles. Empress Nur Jahan, consort of Jahangir, epitomising beauty, wore a short-sleeved long or short jacket over her kurta. While she wore it to maintain her sophistication, the outfit made a style statement.
• Awadh (the region of the modern state of Uttar Pradesh around Ayodhya, west of Varanasi) has historically been among the most important regions in India, politically, religiously and socially and holds a vital position with respect to the development of Indian fashion. For centuries, the Awadhi style of dressing has intrigued fashion enthusiasts. Its fabrics, embroideries and precision in design, influence connoisseurs of fashion and style enthusiasts alike. The Nawabs, who were predominant in Awadh during the 18th and 19th centuries, particularly influenced the evolution of fashion. The aristocracy of Lucknow spent lavishly on their dresses. This had an impact on the dresses of the courtiers and the Awadhi people in general. The emphasis was not only on costumes and textiles, but also on how they were worn.
• Indian Princely states also displayed evolution of fashion through fusion of local traditional dresses with the trends from other parts of India. For instance, for aristocratic Rajput men court dresses included angarkhi, pagdi, chudidar pyjama and a cummerbund (belt). Dhoti was also in tradition but it was worn in different styles across various princely states. This period also saw a fusion of diverse Indian attire and clothing trends infused with elements of European fashion.
• Text: Based on the material provided by Prof. Manika Walia and other sources.

denomination   :   2 anna

Denomination :   25c

Face value   :   50 p

Face value  :   5 d - Australian penny

Denomination    :   15 c

Face Value     :   1 Anna

Denomination   :   1000

Face value   :  20 Nigerian kobo

Face Value  :   20 Nigerian kobo

Face value  :   30 c - Australian cent

Face value   :   3 d - Nigerian penny

Face value  :   25 p - Indian paisa

Denomination   :  25 c

Denomination    :   50 Indian paisa

Face value  :   50 p - Indian paisa

Face value  :  15 p - Indian paisa

DENOMINATION    :   2 RUPEES

DENOMINATION   :    10 PAISA

Face value   :    5 p - Indian paisa

Denomination   :   15  np

Denomination   :   15 np

Denomination  :   15  RF

Denomination   :  80 ¢

Face value  :  80   Pf - German pfennig

Denomination  :  60 ¥ - Japanese yen

Denomination    :   3 cents

FACE VALUE    :   15 C

FACE VALUE     :   4 C 

face value    :   5 d

Denomination   :  5 d

Denomination   :  20  pf

Denomination   :   5f

Denomination  :   80c

Denomination   :  1  Pta  - Spanish  peseta 

Denomination   :  5 p - Indian paisa

Denomination   :   22c

Denomination   :  3 np

Face value  :   25 Indian naye paisa

Denomination     :   3 ¢ - United States cent

Denomination   :   30  pf

Face value    :   3 1/2 d

denomination    :   7Australian Cent

face value    :   6 1/2 pence 

face value   :   9 pence

face value    :   5 d

FACE VALUE   :   3 d - Australian penny

face value  : 3 d