title: Georgian architecture

text: Windows in all types of buildings were large and regularly placed on a grid; this was partly to minimize window tax, which was in force throughout the period in the United Kingdom. Some windows were subsequently bricked-in. Their height increasingly varied between the floors, and they increasingly began below waist-height in the main rooms, making a small balcony desirable. Before this the internal plan and function of the rooms can generally not be deduced from the outside. To open these large windows the sash window, already developed by the 1670s, became very widespread. Corridor plans became universal inside larger houses.


title: Georgian architecture

text: Internal courtyards became more rare, except beside the stables, and the functional parts of the building were placed at the sides, or in separate buildings nearby hidden by trees. The views to and from the front and rear of the main block were concentrated on, with the side approaches usually much less important. The roof was typically invisible from the ground, though domes were sometimes visible in grander buildings. The roofline was generally clear of ornament except for a balustrade or the top of a pediment. Columns or pilasters, often topped by a pediment, were popular for ornament inside and out, and other ornament was generally geometrical or plant-based, rather than using the human figure.


title: Georgian architecture

text: Inside ornament was far more generous, and could sometimes be overwhelming. The chimneypiece continued to be the usual main focus of rooms, and was now given a classical treatment, and increasingly topped by a painting or a mirror. Plasterwork ceilings, carved wood, and bold schemes of wallpaint formed a backdrop to increasingly rich collections of furniture, paintings, porcelain, mirrors, and objets d'art of all kinds. Wood-panelling, very common since about 1500, fell from favour around the mid-century, and wallpaper included very expensive imports from China.


title: Georgian architecture

text: Smaller houses in the country, such as vicarages, were simple regular blocks with visible raked roofs, and a central doorway, often the only ornamented area. Similar houses, often referred to as "villas" became common around the fringes of the larger cities, especially London, and detached houses in towns remained common, though only the very rich could afford them in central London.


title: Georgian architecture

text: In towns even most better-off people lived in terraced houses, which typically opened straight onto the street, often with a few steps up to the door. There was often an open space, protected by iron railings, dropping down to the basement level, with a discreet entrance down steps off the street for servants and deliveries; this is known as the "area". This meant that the ground floor front was now removed and protected from the street and encouraged the main reception rooms to move there from the floor above. Often, when a new street or set of streets was developed, the road and pavements were raised up, and the gardens or yards behind the houses remained at a lower level, usually representing the original one.


title: Georgian architecture

text: Town terraced houses for all social classes remained resolutely tall and narrow, each dwelling occupying the whole height of the building. This contrasted with well-off continental dwellings, which had already begun to be formed of wide apartments occupying only one or two floors of a building; such arrangements were only typical in England when housing groups of batchelors, as in Oxbridge colleges, the lawyers in the Inns of Court or The Albany after it was converted in 1802. In the period in question, only in Edinburgh were working-class purpose-built tenements common, though lodgers were common in other cities. A curving crescent, often looking out at gardens or a park, was popular for terraces where space allowed. In early and central schemes of development, plots were sold and built on individually, though there was often an attempt to enforce some uniformity, but as development reached further out schemes were increasingly built as a uniform scheme and then sold.


title: Georgian architecture

text: The late Georgian period saw the birth of the semi-detached house, planned systematically, as a suburban compromise between the terraced houses of the city and the detached "villas" further out, where land was cheaper. There had been occasional examples in town centres going back to medieval times. Most early suburban examples are large, and in what are now the outer fringes of Central London, but were then in areas being built up for the first time. Blackheath, Chalk Farm and St John's Wood are among the areas contesting being the original home of the semi. Sir John Summerson gave primacy to the Eyre Estate of St John's Wood. A plan for this exists dated 1794, where "the whole development consists of "pairs of semi-detached houses", So far as I know, this is the first recorded scheme of the kind". In fact the French Wars put an end to this scheme, but when the development was finally built it retained the semi-detached form, "a revolution of striking significance and far-reaching effect".


title: Georgian architecture

text: Until the Church Building Act 1818, the period saw relatively few churches built in Britain, which was already well-supplied, although in the later years of the period the demand for Non-conformist and Roman Catholic places of worship greatly increased. Anglican churches that were built were designed internally to allow maximum audibility, and visibility, for preaching, so the main nave was generally wider and shorter than in medieval plans, and often there were no side-aisles. Galleries were common in new churches. Especially in country parishes, the external appearance generally retained the familiar signifiers of a Gothic church, with a tower or spire, a large west front with one or more doors, and very large windows along the nave, but all with any ornament drawn from the classical vocabulary. Where funds permitted, a classical temple portico with columns and a pediment might be used at the west front. Interior decoration was generally chaste; however, walls often became lined with plaques and monuments to the more prosperous members of the congregation.


title: Georgian architecture

text: In the colonies new churches were certainly required, and generally repeated similar formulae. British Non-conformist churches were often more classical in mood, and tended not to feel the need for a tower or steeple.


title: Georgian architecture

text: The archetypal Georgian church is St Martin-in-the-Fields in London (1720), by Gibbs, who boldly added to the classical temple façade at the west end a large steeple on top of a tower, set back slightly from the main frontage. This formula shocked purists and foreigners, but became accepted and was very widely emulated, at home and in the colonies, for example at St Andrew's Church, Chennai in India. And in Dublin, the extremely similar St. George's Church, Dublin.


title: Georgian architecture

text: The 1818 Act allocated some public money for new churches required to reflect changes in population, and a commission to allocate it. Building of Commissioners' churches gathered pace in the 1820s, and continued until the 1850s. The early churches, falling into the Georgian period, show a high proportion of Gothic Revival buildings, along with the classically inspired.


title: Georgian architecture

text: Public buildings generally varied between the extremes of plain boxes with grid windows and Italian Late Renaissance palaces, depending on budget. Somerset House in London, designed by Sir William Chambers in 1776 for government offices, was as magnificent as any country house, though never quite finished, as funds ran out. Barracks and other less prestigious buildings could be as functional as the mills and factories that were growing increasingly large by the end of the period. But as the period came to an end many commercial projects were becoming sufficiently large, and well-funded, to become "architectural in intention", rather than having their design left to the lesser class of "surveyors".


title: Georgian architecture

text: Georgian architecture was widely disseminated in the English colonies during the Georgian era. American buildings of the Georgian period were very often constructed of wood with clapboards; even columns were made of timber, framed up, and turned on an oversized lathe. At the start of the period the difficulties of obtaining and transporting brick or stone made them a common alternative only in the larger cities, or where they were obtainable locally. Dartmouth College, Harvard University and the College of William and Mary offer leading examples of Georgian architecture in the Americas.


title: Georgian architecture

text: Unlike the Baroque style that it replaced, which was mostly used for palaces and churches, and had little representation in the British colonies, simpler Georgian styles were widely used by the upper and middle classes. Perhaps the best remaining house is the pristine Hammond-Harwood House (1774) in Annapolis, Maryland, designed by the colonial architect William Buckland and modelled on the Villa Pisani at Montagnana, Italy as depicted in Andrea Palladio's "I quattro libri dell'architettura" ("The Four Books of Architecture").


title: Georgian architecture

text: After independence, in the former American colonies, Federal-style architecture represented the equivalent of Regency architecture, with which it had much in common.


title: Georgian architecture

text: In Canada, the United Empire Loyalists embraced Georgian architecture as a sign of their fealty to Britain, and the Georgian style was dominant in the country for most of the first half of the 19th century. The Grange, for example, is a Georgian manor built in Toronto in 1817. In Montreal, English-born architect John Ostell worked on a significant number of remarkable constructions in the Georgian style such as the Old Montreal Custom House and the Grand séminaire de Montréal.


title: Georgian architecture

text: In Australia, the Old Colonial Georgian residential and non-residential styles were developed in the period from .


title: Georgian architecture

text: After about 1840, Georgian conventions were slowly abandoned as a number of revival styles, including Gothic Revival, that had originated in the Georgian period, developed and contested in Victorian architecture, and in the case of Gothic became better researched, and closer to their originals. Neoclassical architecture remained popular, and was the opponent of Gothic in the Battle of the Styles of the early Victorian period. In the United States the Federalist Style contained many elements of Georgian style, but incorporated revolutionary symbols.


title: Georgian architecture

text: In the early decades of the twentieth century when there was a growing nostalgia for its sense of order, the style was revived and adapted and in the United States came to be known as the Colonial Revival. The revived Georgian style that emerged in Britain during the same period is usually referred to as Neo-Georgian; the work of Edwin Lutyens and Vincent Harris includes some examples. The British town of Welwyn Garden City, established in the 1920s, is an example of "pastiche" or Neo-Georgian development of the early 20th century in Britain. Versions of the Neo-Georgian style were commonly used in Britain for certain types of urban architecture until the late 1950s, Bradshaw Gass & Hope's Police Headquarters in Salford of 1958 being a good example. Architects such as Raymond Erith, and Donald McMorran were among the few architects who continued the neo-Georgian style into the 1960s. Both in the United States and Britain, the Georgian style is still employed by architects like Quinlan Terry, Julian Bicknell, Ben Pentreath, Robert Adam Architects, and Fairfax and Sammons for private residences. A debased form in commercial housing developments, especially in the suburbs, is known in the UK as mock-Georgian.


title: Dryad

text: A dryad (; , "sing".: ) is a tree nymph or tree spirit in Greek mythology. "Drys" (δρῦς) signifies "oak" in Greek, and dryads were originally considered the nymphs of oak trees specifically, but the term has evolved towards tree nymphs in general, or human-tree hybrids in fantasy. Often their life force was connected to the tree in which they resided and they were usually found in sacred groves of the gods. They were considered to be very shy creatures except around the goddess Artemis, who was known to be a friend to most nymphs.


title: Dryad

text: The Maliades, Meliades or Epimelides were nymphs of apple and other fruit trees and the protectors of sheep. The Greek word "melas", from which their name derives, means both apple and sheep. Hesperides, the guardians of the golden apples were regarded as this type of dryad.


title: Dryad

text: Dryads, like all nymphs, were supernaturally long-lived and tied to their homes, but some were a step beyond most nymphs. These were the hamadryads who were an integral part of their trees, such that if the tree died, the hamadryad associated with it also died. For these reasons, dryads and the Greek gods punished any mortal who harmed trees without first propitiating the tree-nymphs. (associated with Oak trees)


title: Dryad

text: The dryads of the ash tree were called the Meliae. The Meliae sisters tended the infant Zeus in Rhea's Cretan cave. Gaea gave birth to the Meliae after being made fertile by the blood of castrated Uranus. The Caryatids were associated with walnut trees.


title: Greater India

text: Greater India, or the Indian cultural sphere, is an area composed of many countries and regions in South and Southeast Asia that were historically influenced by Indian culture, which itself formed from the various distinct indigenous cultures of these regions. Specifically Southeast Asian influence on early India had lasting impacts on the formation of Hinduism and Indian mythology. Hinduism itself formed from various distinct folk religions, which merged during the Vedic period and following periods. The term "Greater India" as a reference to the Indian cultural sphere was popularised by a network of Bengali scholars in the 1920s. It is an umbrella term encompassing the Indian subcontinent, and surrounding countries which are culturally linked through a diverse cultural cline. These countries have been transformed to varying degrees by the acceptance and induction of cultural and institutional elements from each other. Since around 500 BCE, Asia's expanding land and maritime trade had resulted in prolonged socio-economic and cultural stimulation and diffusion of Hindu and Buddhist beliefs into the region's cosmology, in particular in Southeast Asia and Sri Lanka. In Central Asia, transmission of ideas were predominantly of a religious nature. The spread of Islam significantly altered the course of the history of Greater India.


title: Greater India

text: By the early centuries of the common era, most of the principalities of Southeast Asia had effectively absorbed defining aspects of Hindu culture, religion and administration. The notion of divine god-kingship was introduced by the concept of Harihara, Sanskrit and other Indian epigraphic systems were declared official, like those of the south Indian Pallava dynasty and Chalukya dynasty. These Indianized Kingdoms, a term coined by George Cœdès in his work "Histoire ancienne des états hindouisés d'Extrême-Orient", were characterized by surprising resilience, political integrity and administrative stability.


title: Greater India

text: To the north, Indian religious ideas were assimilated into the cosmology of Himalayan peoples, most profoundly in Tibet and Bhutan and merged with indigenous traditions. Buddhist monasticism extended into Afghanistan, Uzbekistan and other parts of Central Asia, and Buddhist texts and ideas were readily accepted in China and Japan in the east. To the west, Indian culture converged with Greater Persia via the Hindukush and the Pamir Mountains.


title: Greater India

text: The concept of the "Three Indias" was in common circulation in pre-industrial Europe. "Greater India" was the southern part of South Asia, "Lesser India" was the northern part of South Asia, and "Middle India" was the region near the Middle East. The Portuguese form () was used at least since the mid-15th century. The term, which seems to have been used with variable precision, sometimes meant only the Indian subcontinent; Europeans used a variety of terms related to South Asia to designate the South Asian peninsula, including "High India", "Greater India", "Exterior India" and "India aquosa".


title: Greater India

text: However, in some accounts of European nautical voyages, Greater India (or "India Major") extended from the Malabar Coast (present-day Kerala) to "India extra Gangem" (lit. "India, beyond the Ganges," but usually the East Indies, i.e. present-day Malay Archipelago) and "India Minor", from Malabar to Sind. "Farther India" was sometimes used to cover all of modern Southeast Asia. Until the fourteenth century, India could also mean areas along the Red Sea, including Somalia, South Arabia, and Ethiopia (e.g., Diodorus of Sicily of the first century BC says that "the Nile rises in India" and Marco Polo of the fourteenth century says that "Lesser India ... contains ... Abash [Abyssinia]").


title: Greater India

text: In late 19th-century geography, "Greater India" referred to a region that included: "(a) Himalaya, (b) Punjab, (c) Hindustan, (d) Burma, (e) Indo-China, (f) Sunda Islands, (g) Borneo, (h) Celebes, and (i) Philippines." German atlases distinguished "Vorder-Indien" (Anterior India) as the South Asian peninsula and "Hinter-Indien" as Southeast Asia.


title: Greater India

text: "Greater India", or "Greater India Basin" also signifies "the Indian Plate plus a postulated northern extension", the product of the "Indian–Asia collision". Although its usage in geology pre-dates Plate tectonic theory, the term has seen increased usage since the 1970s. It is unknown when and where the India–Asia (Indian and Eurasian Plate) convergence occurred, at or before 52 million years ago. The plates have converged up to ± . The upper crustal shortening is documented from geological record of Asia and the Himalaya as up to approximately less.


title: Greater India

text: The concept of the Indianized kingdoms, a term coined by George Coedès, describes Southeast Asian principalities that flourished from the early common era as a result of centuries of socio-economic interaction having incorporated central aspects of Indian institutions, religion, statecraft, administration, culture, epigraphy, literature and architecture.


title: Greater India

text: Iron Age trade expansion caused regional geostrategic remodeling. Southeast Asia was now situated in the central area of convergence of the Indian and the East Asian maritime trade routes, the basis for economic and cultural growth. The earliest Hindu kingdoms emerged in Sumatra and Java, followed by mainland polities such as Funan and Champa. Adoption of Indian civilization elements and individual adaptation stimulated the emergence of centralized states and the development of highly organized societies. Ambitious local leaders realized the benefits of Hinduism and Indian methods of administration, culture, literature, etc. Rule in accord with universal moral principles, represented in the concept of the "devaraja", was more appealing than the Chinese concept of intermediaries.


title: Greater India

text: As conclusive evidence is missing, numerous Indianization theories of Southeast Asia have emerged since the early 20th century. The central question usually revolves around the main propagator of Indian institutional and cultural ideas in Southeast Asia.


title: Greater India

text: One theory of the spread of Indianization that focuses on the caste of Vaishya traders and their role for spreading Indian culture and language into Southeast Asia through trade. There were many trade incentives that brought Vaishya traders to Southeast Asia, the most important of which was gold. During the 4th century C.E., when the first evidence of Indian trader in Southeast Asia, the Indian sub-continent was at a deficiency for gold due to extensive control of overland trade routes by the Roman Empire. This made many Vaishya traders look to the seas to acquire new gold, of which Southeast Asia was abundant. However, the conclusion that Indianization was just spread through trade is insufficient, as Indianization permeated through all classes of Southeast Asian society, not just the merchant classes.


title: Greater India

text: Another theory states that Indianization spread through the warrior class of Kshatriya. This hypothesis effectively explains state formation in Southeast Asia, as these warriors came with the intention of conquering the local peoples and establishing their own political power in the region. However, this theory hasn't attracted much interest from historians as there is very little literary evidence to support it.


title: Greater India

text: The most widely accepted theory for the spread of Indianization into Southeast Asia is through the class of Brahman scholars. These Brahmans brought with them many of the Hindu religious and philosophical traditions and spread them to the elite classes of Southeast Asian polities. Once these traditions were adopted into the elite classes, it disseminated throughout all the lower classes, thus explaining the Indianization present in all classes of Southeast Asian society. Brahmans were also experts in art and architecture, and political affairs, thus explaining the adoption of many Indian style law codes and architecture into Southeast Asian society


title: Greater India

text: It is unknown how immigration, interaction, and settlement took place, whether by key figures from India or through Southeast Asians visiting India who took elements of Indian culture back home. It is likely that Hindu and Buddhist traders, priests, and princes traveled to Southeast Asia from India in the first few centuries of the Common Era and eventually settled there. Strong impulse most certainly came from the region's ruling classes who invited Brahmans to serve at their courts as priests, astrologers and advisers. Divinity and royalty were closely connected in these polities as Hindu rituals validated the powers of the monarch. Brahmans and priests from India proper played a key role in supporting ruling dynasties through exact rituals. Dynastic consolidation was the basis for more centralized kingdoms that emerged in Java, Sumatra, Cambodia, Burma, and along the central and south coasts of Vietnam from the 4th to 8th centuries.


title: Greater India

text: Art, architecture, rituals, and cultural elements such as the Rāmāyaṇa and the Mahābhārata had been adopted and customized increasingly with a regional character. The caste system, although adopted, was never applied universally and reduced to serve for a selected group of nobles only. Many struggle to date and determine when Indianizaton in Southeast Asia occurred because of the structures and ruins found that were similar to those in India.


title: Greater India

text: States such as Srivijaya, Majapahit and the Khmer empire had territorial continuity, resilient population and surplus economies that rivaled those in India itself. Borobudur in Java and Angkor in Cambodia are, apart from their grandeur, examples of a distinctly developed regional culture, style, and expression.


title: Greater India

text: Southeast Asia is called Suvarnabhumi or Sovannah Phoum – the golden land and Suvarnadvipa – the golden Islands in Sanskrit. It was frequented by traders from eastern India, particularly Kalinga. Cultural and trading relations between the powerful Chola dynasty of South India and the Southeast Asian Hindu kingdoms led the Bay of Bengal to be called "The Chola Lake", and the Chola attacks on Srivijaya in the 10th century CE are the sole example of military attacks by Indian rulers against Southeast Asia. The Pala dynasty of Bengal, which controlled the heartland of Buddhist India, maintained close economic, cultural and religious ties, particularly with Srivijaya.


title: Greater India

text: The pre-Indic political and social systems in Southeast Asia were marked by a relative indifference towards lineage descent. Hindu God kingship enabled rulers to supersede loyalties, forge cosmopolitan polities and the worship of Shiva and Vishnu was combined with ancestor worship, so that Khmer, Javanese, and Cham rulers claimed semi-divine status as descendants of a God. Hindu traditions, especially the relationship to the sacrality of the land and social structures, are inherent in Hinduism's transnational features. The epic traditions of the Mahābhārata and the Rāmāyaṇa further legitimized a ruler identified with a God who battled and defeated the wrong doers that threaten the ethical order of the world.


title: Greater India

text: Hinduism does not have a single historical founder, a centralized imperial authority in India proper nor a bureaucratic structure, thus ensuring relative religious independence for the individual ruler. It also allows for multiple forms of divinity, centered upon the Trimurti the triad of Brahma, Vishnu, and Shiva, the deities responsible for the creation, preservation, and destruction of the universe.


title: Greater India

text: The effects of Hinduism and Buddhism applied a tremendous impact on the many civilizations inhabiting Southeast Asia which significantly provided some structure to the composition of written traditions. An essential factor for the spread and adaptation of these religions originated from trading systems of the third and fourth century. In order to spread the message of these religions Buddhist monks and Hindu priests joined mercantile classes in the quest to share their religious and cultural values and beliefs. Along the Mekong delta, evidence of Indianized religious models can be observed in communities labeled Funan. There can be found the earliest records engraved on a rock in Vocanh. The engravings consist of Buddhist archives and a south Indian scripts are written in Sanskrit that have been dated to belong to the early half of the third century. Indian religion was profoundly absorbed by local cultures that formed their own distinctive variations of these structures in order to reflect their own ideals.


title: Greater India

text: The indianized kingdoms had by the 1st to 4th centuries CE adopted Hinduism's cosmology and rituals, the "devaraja" concept of kingship, and Sanskrit as official writing. Despite the fundamental cultural integration, these kingdoms were autonomous in their own right and functioned independently.


title: Greater India

text: Beginning shortly after the 12th century, the Khmer kingdom, one of the first kingdoms that began the dissipation of Indianization started after Jayavarman VII in which expanded a substantial amount of territory, thus going into war with Champa. Leading into the fall of the Khmer Kingdom, the Khmer political and cultural zones were taken, overthrown, and fallen as well. Not only did Indianization change many cultural and political aspects, but it also changed the spiritual realm as well, creating a type of Northern Culture which began in the early 14th century, prevalent for its rapid decline in the Indian kingdoms. The decline of Hinduism kingdoms and spark of Buddhist kingdoms led to the formation of orthodox Sinhalese Buddhism and is a key factor leading to the decline of Indianization. Sukhothai and Ceylon are the prominent characters who formulated the center of Buddhism and this became more popularized over Hinduism.


title: Greater India

text: Not only was the spark of Buddhism the driving force for Indianization coming to an end, but Islamic control took over as well in the midst of the thirteenth century to trump the Hinduist kingdoms. In the process of Islam coming to the traditional Hinduism kingdoms, trade was heavily practiced and the now Islamic Indians started becoming merchants all over Southeast Asia. Moreover, as trade became more saturated in the Southeast Asian regions wherein Indianization once persisted, the regions had become more Muslim populated. This so-called Islamic control has spanned to many of the trading centers across the regions of Southeast Asia, including one of the most dominant centers, Malacca, and has therefore stressed a widespread rise of Islamization.


title: Greater India

text: The eastern regions of Afghanistan were considered politically as parts of India. Buddhism and Hinduism held sway over the region until the Muslim conquest. Kabul and Zabulistan which housed Buddhism and other Indian religions, offered stiff resistance to the Muslim advance for two centuries, with the Kabul Shahi and Zunbils remaining unconquered until the Saffarid and Ghaznavid conquests. The significance of the realm of Zun and its rulers Zunbils had laid in them blocking the path of Arabs in invading the Indus Valley.


title: Greater India

text: According to historian André Wink, "In southern and eastern Afghanistan, the regions of Zamindawar (Zamin I Datbar or land of the justice giver, the classical Arachosia) and Zabulistan or Zabul (Jabala, Kapisha, Kia pi shi) and Kabul, the Arabs were effectively opposed for more than two centuries, from 643 to 870 AD, by the indigenous rulers the Zunbils and the related Kabul-Shahs of the dynasty which became known as the Buddhist-Shahi. With Makran and Baluchistan and much of Sindh this area can be reckoned to belong to the cultural and political frontier zone between India and Persia." He also wrote, "It is clear however that in the seventh to ninth centuries the Zunbils and their kinsmen the Kabulshahs ruled over a predominantly Indian rather than a Persianate realm. The Arab geographers, in effect, commonly speak of 'that king of al-Hind ... (who) bore the title of Zunbil."


title: Greater India

text: Archaeological sites such as the 8th-century Tapa Sardar and Gardez show a blend of Buddhism with strong Shaivst iconography. Around 644 CE, the Chinese travelling monk Xuanzang made an account of Zabul (which he called by its Sanskrit name "Jaguda"), which he describes as mainly pagan, though also respecting Mahayana Buddhism, which although in the minority had the support of its royals. In terms of other cults, the god Śuna, is described to be the prime deity of the country.


title: Greater India

text: The Caliph Al-Ma'mun (r. 813–833 A.D.) led the last Arab expeditions on Kabul and Zabul, after which the long-drawn conflict ended with the dissolution of the empire. Rutbil were made to pay double the tribute to the Caliph. The king of Kabul was captured by him and converted to Islam. The last Zunbil was killed by Ya'qub bin al-Layth along with his former overlord Salih b. al-Nadr in 865. Meanwhile, the Hindu Shahi of Kabul were defeated under Mahmud of Ghazni. Indian soldiers were a part of the Ghaznavid army, Baihaki mentioned Hindu officers employed by Ma'sud. The 14th-century scholar Muslim scholar Ibn Battuta described the Hindu Kush as meaning "slayer of Indians", because large numbers of slaves brought from India died from its treacherous weather.


title: Greater India

text: Zabulistan, a historical region in southern Afghanistan roughly corresponding to the modern provinces of Zabul and Ghazni, was a collection of loose suzerains of the Hindu rulers when it fell to the Turk Shahis in the 7th century, though the suzerainty continued up to the 11th century. The Hindu kingdom of Kapisha had split up as its western part formed a separate state called the kingdom of Zabul. It was a family division because there were consanguineous and political relationships between the states of Kabul and Zabul.


title: Greater India

text: The Zunbils, a royal dynasty south of the Hindu Kush in present-day southern Afghanistan region, worshiped the Zhuna, possibly a sun god connected to the Hindu god Surya and is sometimes referred to as Zoor or Zoon. He is represented with flames radiating from his head on coins. Statues were adorned with gold and used rubies for eyes. Huen Tsang calls him "sunagir". It has been linked with the Hindu god Aditya at Multan, pre-Buddhist religious and kingship practices of Tibet as well as Shaivism. His shrine lay on a sacred mountain in Zamindawar. Originally it appears to have been brought there by Hepthalites, displacing an earlier god on the same site. Parallels have been noted with the pre-Buddhist monarchy of Tibet, next to Zoroastrian influence on its ritual. Whatever its origins, it was certainly superimposed on a mountain and on a pre-existing mountain god while merging with Shaiva doctrines of worship.


title: Greater India

text: The area had been under the rule of the Turk Shahi who took over the rule of Kabul in the seventh century and later were attacked by the Arabs. The Turk Shahi dynasty was Buddhist and were followed by a Hindu dynasty shortly before the Saffarid conquest in 870 A.D.


title: Greater India

text: The Turk Shahi were a Buddhist Turkic dynasty that ruled from Kabul and Kapisa in the 7th to 9th centuries. They replaced the Nezak – the last dynasty of Bactrian rulers. Kabulistan was the heartland of the Turk Shahi domain, which at times included Zabulistan and Gandhara. The last Shahi ruler of Kabul, Lagaturman, was deposed by a Brahmin minister, possibly named Vakkadeva, in c. 850, signaling the end of the Buddhist Turk Shahi dynasty, and the beginning of the Hindu Shahi dynasty of Kabul.


title: Greater India

text: The Hindu Shahi (850–1026 CE) was a Hindu dynasty that held sway over the Kabul Valley, Gandhara (modern-day Pakistan and northeastern Afghanistan), and present-day northwestern India, during the early medieval period in the Indian subcontinent. They succeeded the Turk Shahis. There were two successive dynasties in Kabul Valley and Gandhara &ndash the Kshatriya dynasty and the Brahmana dynasty which replaced it. Both used the title of "Shahi". Details about these rulers have been assembled from chronicles, coins and stone inscriptions by researchers as no consolidated account of their history has become available. In 1973, Historian Yogendra Mishra proposed that according to Rajatarangini, Hindu Shahis were Kshatriyas.


title: Greater India

text: According to available inscriptions following are the names of Hindu Shahi kings: Vakkadeva, Kamalavarman, Bhimadeva, Jayapala, Anandapala, Trilochanapala and Bhimpala.


title: Greater India

text: From historical evidence, it appears Tokharistan (Bactria) was the only area heavily colonized by Arabs where Buddhism flourished and the only area incorporated into the Arab empire where Sanskrit studies were pursued up to the conquest. Hui'Chao, who visited around 726, mentions that the Arabs ruled it and all the inhabitants were Buddhists. Balkh's final conquest was undertaken by Qutayba ibn Muslim in 705. Among Balkh's Buddhist monasteries, the largest was "Nava Vihara", later Persianized to "Naw Bahara" after the Islamic conquest of Balkh. It is not known how long it continued to serve as a place of worship after the conquest. Accounts of early Arabs offer contradictory narratives.


title: Greater India

text: Amir Suri, a king of the Ghurid dynasty, in the Ghor region of present-day central Afghanistan, and his son Muhammad ibn Suri, despite bearing Arabic names were Buddhists. During their rule from the 9th-century to the 10th-century, they were considered pagans by the surrounding Muslim people, and it was only during the reign of Muhammad's son Abu Ali ibn Muhammad that the Ghurid dynasty became an Islamic dynasty. Amir Suri was a descendant of the Ghurid king Amir Banji, whose rule was legitimized by the Abbasid caliph Harun al-Rashid. He is known to have fought the Saffarid ruler Ya'qub ibn al-Layth al-Saffar, who managed to conquer much of Khurasan except Ghur. Ghur remained a pagan enclave until the 11th century. Mahmud of Ghazni, who raided it, left Muslim precepts to teach Islam to the local population. The region became Muslim by 12th century though the historian Satish Chandra states that Mahayana Buddhism is believed to have existed until the end of the century.


title: Greater India

text: The vast area extending from modern Nuristan to Kashmir (styled "Peristan" by A. M. Cacopardo) containing host of "Kafir" cultures and Indo-European languages that became Islamized over a long period. Earlier, it was surrounded by Buddhist areas. The Islamization of the nearby Badakhshan began in the 8th century and Peristan was completely surrounded by Muslim states in the 16th century with Islamization of Baltistan. The Buddhist states temporarily brought literacy and state rule into the region. The decline of Buddhism resulted in it becoming heavily isolated.


title: Greater India

text: Successive wave of Pashtun immigration, before or during 16th and 17th centuries, displaced the original Kafirs and Pashayi people from Kunar Valley and Laghman valley, the two eastern provinces near Jalalabad, to the less fertile mountains. Before their conversion, the "Kafir" people of Kafiristan practiced a form of ancient Hinduism infused with locally developed accretions. The region from Nuristan to Kashmir (styled "Peristan" by A. M. Cacopardo) was host to a vast number of "Kafir" cultures. They were called Kafirs due to their enduring paganism, remaining politically independent until being conquered and forcibly converted by Afghan Amir Abdul Rahman Khan in 1895–1896 while others also converted to avoid paying "jizya".


title: Greater India

text: In 1020–21, Sultan Mahmud of Ghazna led a campaign against Kafiristan and the people of the "pleasant valleys of Nur and Qirat" according to Gardizi. These people worshipped the lion. Mohammad Habib however considers they might have been worshipping Buddha in form of a lion ("Sakya Sinha"). Ramesh Chandra Majumdar states they had a Hindu temple which was destroyed by Mahmud's general.


title: Greater India

text: The use of "Greater India" to refer to an Indian cultural sphere was popularised by a network of Bengali scholars in the 1920s who were all members of the Calcutta-based Greater India Society. The movement's early leaders included the historian R. C. Majumdar (1888–1980); the philologists Suniti Kumar Chatterji (1890–1977) and P. C. Bagchi (1898–1956), and the historians Phanindranath Bose and Kalidas Nag (1891–1966). Some of their formulations were inspired by concurrent excavations in Angkor by French archaeologists and by the writings of French Indologist Sylvain Lévi. The scholars of the society postulated a benevolent ancient Indian cultural colonisation of Southeast Asia, in stark contrast – in their view – to the Western colonialism of the early 20th century.


title: Greater India

text: The term "Greater India" and the notion of an explicit Hindu expansion of ancient Southeast Asia have been linked to both Indian nationalism and Hindu nationalism. However, many Indian nationalists, like Jawaharlal Nehru and Rabindranath Tagore, although receptive to "an idealisation of India as a benign and uncoercive world civiliser and font of global enlightenment," stayed away from explicit "Greater India" formulations. In addition, some scholars have seen the Hindu/Buddhist acculturation in ancient Southeast Asia as "a single cultural process in which Southeast Asia was the matrix and South Asia the mediatrix." In the field of art history, especially in American writings, the term survived due to the influence of art theorist Ananda Coomaraswamy. Coomaraswamy's view of pan-Indian art history was influenced by the "Calcutta cultural nationalists."


title: Greater India

text: By some accounts Greater India consists of "lands including Burma, Java, Cambodia, Bali, and the former Champa and Funan polities of present-day Vietnam," in which Indian and Hindu culture left an "imprint in the form of monuments, inscriptions and other traces of the historic "Indianizing" process." By some other accounts, many Pacific societies and "most of the Buddhist world including Ceylon, Tibet, Central Asia, and even Japan were held to fall within this web of Indianizing "culture colonies"" This particular usage – implying cultural "sphere of influence" of India – was promoted by the Greater India Society, formed by a group of Bengali men of letters, and is not found before the 1920s. The term "Greater India" was used in historical writing in India into the 1970s.


title: Greater India

text: Culture spread via the trade routes that linked India with southern Burma, central and southern Siam, the Malay peninsula and Sumatra to Java, lower Cambodia and Champa. The Pali and Sanskrit languages and the Indian script, together with Theravada and Mahayana Buddhism, Brahmanism and Hinduism, were transmitted from direct contact as well as through sacred texts and Indian literature. Southeast Asia had developed some prosperous and very powerful colonial empires that contributed to Hindu-Buddhist artistic creations and architectural developments. Art and architectural creations that rivaled those built in India, especially in its sheer size, design and aesthetic achievements. The notable examples are Borobudur in Java and Angkor monuments in Cambodia. The Srivijaya Empire to the south and the Khmer Empire to the north competed for influence in the region.


title: Greater India

text: A defining characteristic of the cultural link between Southeast Asia and the Indian subcontinent was the adoption of ancient Indian Vedic/Hindu and Buddhist culture and philosophy into Myanmar, Tibet, Thailand, Indonesia, Malaya, Laos and Cambodia. Indian scripts are found in Southeast Asian islands ranging from Sumatra, Java, Bali, South Sulawesi and the Philippines. The Ramayana and the Mahabharata have had a large impact on South Asia and Southeast Asia. One of the most tangible evidence of dharmic Hindu traditions is the widespread use of the "Añjali Mudrā" gesture of greeting and respect. It is seen in the Indian "namasté" and similar gestures known throughout Southeast Asia; its cognates include the Cambodian "sampeah", the Indonesian "sembah", the Japanese "gassho" and Thai "wai".


title: Greater India

text: Beyond the Himalaya and Hindukush mountains in the north, along the Silk Route Indian influence was linked with Buddhism. Tibet and Khotan was direct heirs of Gangetic Buddhism, despite the difference in languages. Many Tibetan monks even used to know Sanskrit very well. In Khotan the Ramayana was well cicrulated in Khotanese language, though the narrative is slightly different from the Gangetic version. In Afghanistan, Uzbekistan and Tajikistan many Buddhist monasteries were established. These countries were used as a kind of springboard for the monks who brought Indian Buddhist texts and images to China. Further north, in the Gobi Desert, statues of Ganesha and Kartikeya was found alongside Buddhist imagery in Mogao Caves.


title: Greater India

text: Indians spread their religion to Southeast Asia, beginning the Hindu and Buddhist cultures there. They introduced the caste system to the region, especially to Java, Bali, Madura, and Sumatra. The adopted caste system was not as strict as in India, tempered to the local context. There are multiple similarities between the two caste systems such that both state that no one is equal within society and that everyone has his own place. It also promoted the upbringing of highly organized central states. Indians were still able to implement their religion, political ideas, literature, mythology, and art.


title: Greater India

text: Scholars like Sheldon Pollock have used the term "Sanskrit Cosmopolis" to describe the region and argued for millennium-long cultural exchanges without necessarily involving migration of peoples or colonisation. Pollock's 2006 book "The Language of the Gods in the World of Men" makes a case for studying the region as comparable with Latin Europe and argues that the Sanskrit language was its unifying element.


title: Greater India

text: Scripts in Sanskrit discovered during the early centuries of the Common Era are the earliest known forms of writing to have extended all the way to Southeast Asia. Its gradual impact ultimately resulted in its widespread domain as a means of dialect which evident in regions, from Bangladesh to Cambodia, Malaysia and Thailand and additionally a few of the larger Indonesian islands. In addition, alphabets from languages spoken in Burmese, Thai, Laos, and Cambodia are variations formed off of Indian ideals that have localized the language.


title: Greater India

text: The spread of Buddhism to Tibet allowed many Sanskrit texts to survive only in Tibetan translation (in the Tanjur). Buddhism was similarly introduced to China by Mahayanist missionaries sent by the Indian Emperor Ashoka mostly through translations of Buddhist Hybrid Sanskrit and Classical Sanskrit texts, and many terms were transliterated directly and added to the Chinese vocabulary.


title: Greater India

text: In Southeast Asia, languages such as Thai and Lao contain many loan words from Sanskrit, as does Khmer to a lesser extent. For example, in Thai, Rāvaṇa, the legendary emperor of Sri Lanka, is called 'Thosakanth' which is derived from his Sanskrit name 'Daśakaṇṭha' ("having ten necks").


title: Greater India

text: Many Sanskrit loanwords are also found in Austronesian languages, such as Javanese particularly the old form from which nearly half the vocabulary is derived from the language. Other Austronesian languages, such as traditional Malay, modern Indonesian, also derive much of their vocabulary from Sanskrit, albeit to a lesser extent, with a large proportion of words being derived from Arabic. Similarly, Philippine languages such as Tagalog have many Sanskrit loanwords.


title: Greater India

text: A Sanskrit loanword encountered in many Southeast Asian languages is the word "bhāṣā", or spoken language, which is used to mean language in general, for example "bahasa" in Malay, Indonesian and Tausug, "basa" in Javanese, Sundanese, and Balinese, "phasa" in Thai and Lao, "bhasa" in Burmese, and "phiesa" in Khmer.


title: Greater India

text: The utilization of Sanskrit has been prevalent in all aspects of life including legal purposes. Sanskrit terminology and vernacular appears in ancient courts to establish procedures that have been structured by Indian models such as a system composed of a code of laws. The concept of legislation demonstrated through codes of law and organizations particularly the idea of "God King" was embraced by numerous rulers of Southeast Asia. The rulers amid this time, for example, the Lin-I Dynasty of Vietnam once embraced the Sanskrit dialect and devoted sanctuaries to the Indian divinity Shiva. Many rulers following even viewed themselves as "reincarnations or descendants" of the Hindu gods. However once Buddhism began entering the nations, this practiced view was eventually altered.


title: Greater India

text: The utilization of Sanskrit has been prevalent in all aspects of life including legal purposes. Sanskrit terminology and vernacular appears in ancient courts to establish procedures that have been structured by Indian models such as a system composed of a code of laws. The concept of legislation demonstrated through codes of law and organizations particularly the idea of "God King" was embraced by numerous rulers of Southeast Asia. The rulers amid this time, for example, the Lin-I Dynasty of Vietnam once embraced the Sanskrit dialect and devoted sanctuaries to the Indian divinity, Shiva. Many rulers following even viewed themselves as "reincarnations or descendants" of the Hindu Gods. However, once Buddhism began entering the nations, this practiced view was eventually altered.


title: Manish Malhotra

text: Manish Malhotra (born December 5 1966) is an Indian fashion designer, couturier, costume stylist, entrepreneur, filmmaker, revivalist based in Mumbai, India.


title: Manish Malhotra

text: The founder of the eponymous label, Manish Malhotra, he has been deeply entrenched in the twin worlds of fashion and film for the past three decades. He has styled and designed for more than thousands of movies and won numerous awards. He is known for redefining and modernizing how actors look in Indian films and reviving some of the country's forgotten crafts.


title: Manish Malhotra

text: The recipient of several awards, Malhotra rose to prominence for his elaborate work in cinema with Bollywood, Telugu, Tamil, Hollywood, Television, and the Fashion industry.


title: Manish Malhotra

text: Malhotra became famous for his outlook on the importance of costumes in films, often becoming a part of the narration and script reading process to develop costumes for films.


title: Manish Malhotra

text: Malhotra has been felicitated with Priyadarshini Memorial Award for his contribution to the fashion industry. Filmfare introduced the Filmfare Award for Best Costume Design in 1996 to acknowledge Malhotra for his styling and designing work in the film "Rangeela" (1995).


title: Manish Malhotra

text: Since 2018, Manish has launched four other new verticals - Manish Malhotra Beauty, Manish Malhotra Jewellery, a Film Production company, and Home decor.


title: Manish Malhotra

text: He is set to make his directorial debut with a musical love story, set against the backdrop of the partition, produced by Dharma Productions.


title: Manish Malhotra

text: Accoladed as a pioneer in the Indian design space, Malhotra's areas of creativity span the broad spheres of cinema, design, styling, diffusion, timeless bridal couture, jewelry, beauty, film direction, virtual store, and now tech with his recent launch of NFT's in the blockchain business.


title: Manish Malhotra

text: Manish Malhotra was born to a Punjabi family in Mumbai, India. He studied at the Sacred Heart Boys High School, Mumbai.


title: Manish Malhotra

text: Growing up, he was heavily influenced by Bollywood films – the songs, the storytelling, the colors, the costumes, the actors who adorned them and made it a point to watch every film which released in cinemas. As he had a knack for sketching, he joined a painting class in the tenth grade as per his brother's suggestion.


title: Manish Malhotra

text: From watching films, painting, being surrounded by mother's clothes, recreating her sarees, being strongly opinionated about his family's sartorial choices, his love for fashion, styling, and cinema grew.


title: Manish Malhotra

text: While studying Arts at Elphinstone College in Mumbai, Manish was 19 when he forayed into modeling ad campaigns for brands like Fu's, Weekender, Frooti, and Goldspot. He managed to save Rs 90,000 through his modeling gigs and flew to Bangkok and Singapore in a quest to explore the world.


title: Manish Malhotra

text: On his return at the onset, he joined a boutique in Bandra called Equinox, where he spent his time sketching and draping the mannequins for a year, which paid him lower than 500 Indian rupees per month.


title: Manish Malhotra

text: In 1987, he decided to hire two tailors and started taking customized couture orders from his house. He wished to showcase his collection at Ensemble but didn't have the monetary means to create them at that point in time.


title: Manish Malhotra

text: In 1989, he was offered a chance to style the celebrated actress Divya Bharti in a song sequence for a film by David Dhawan. However, the film was later shelved.


title: Manish Malhotra

text: Though he did not have a formal education in fashion design, Malhotra's love for sketching, painting, and his passion for cinema and clothes saw him veer towards the world of films and styling. He debuted in the Hindi Film Industry as a costume stylist in 1990. Since then, Malhotra has dressed an entire generation of Bollywood actors and their progeny on-screen while also extending his aesthetics with his private label.


title: Manish Malhotra

text: Malhotra made his costume designing debut with the film "Swarg" (1990), starring Rajesh Khanna, Govinda and Juhi Chawla.


title: Manish Malhotra

text: The same year, his gateway to the fashion industry opened when Rakesh Sreshtha, a photographer, introduced him to the late Sridevi to style her photoshoot looks.


title: Manish Malhotra

text: His creative process as a costume stylist began with script readings – an unheard-of practice in Hindi films then. He believed that costumes were an integral part of visual storytelling to make the characters more relatable to the audience.


title: Manish Malhotra

text: Malhotra was known to be the first costume stylist and designer to view the film as a whole. He advised the actresses and filmmakers on aspects where the character's look would just be a subset of the overall creative input, lending the costume looks their due credit.


title: Manish Malhotra

text: The designer said it was during the shooting of the Telugu thriller "Govinda Govinda" (1994) when Ram Gopal Varma first noticed his designs for Sridevi and reached out to him for "Rangeela" (1995). The film proved a career-changing experience for him as the success of the film and the popularity of the fashion trends the film established led Filmfare to introduce a new category for costume designing, the Filmfare Award for Best Costume Design, with Malhotra being its first recipient.


title: Manish Malhotra

text: Malhotra was credited for his modern and minimal yet impactful costume styling - be it the chiffon sarees in "Hai Rama”, the tangerine skater dress and the printed dress on a white base in "Tanha Tanha", the pleated skirts and boyfriend shorts in "Rangeela Re", or the Chaplinesque look in "Kya Kare Kya Na Kare". The casual style of Urmila Matondkar, who played the film's central protagonist - from co-ords, skater dresses, leotards with scarves to oversized shirts, high-waist jeans with figure-hugging tees, and wool berets - were noted to be one of the main talking points of the film.


title: Manish Malhotra

text: In 1997, Malhotra was offered a styling and designing project for Yash Raj Chopra's "Dil To Pagal Hai". The film depicts the love lives of the cast and crew in a musical dance troupe while introducing stylish athleisure wear, sheer traditional outfits, and minimal styling to Hindi Cinema. From bicycle shorts, sports bras, wrist bands on Karisma Kapoor to Madhuri Dixit's sheer salwar suit sets in lace and chiffon symbolic of her coy nature; made most Indian women line up at the shops for copies.


title: Manish Malhotra

text: The costumes, looks and styling of Karan Johar's "Kuch Kuch Hota Hai" created an absolute frenzy back in 1998, courtesy of the man behind the fashion department, Malhotra, for which he won 7 individual category awards. The DKNY tracksuits, activewear, uber-casual sweatshirts, logo tees, and denim adorned by Kajol or the minimal dress to co-ords layered with oversized outerwear and the high-octane mini dress worn by Rani Mukerji, In the latter half of the film, Kajol was seen draped in sheer sarees with a hint of lace, or solid versions with an emphasis on the blouse; pastel hues and layering kurtas with sleek trousers which came to the forefront, bringing with them a timeless appeal. The off-route orange and beige lehenga as opposed to the go-to bridal red iteration. From athleisure, casual to bridal looks, Malhotra garnered recognition to create an array of fashion-forward looks now omnipresent and trendsetting.


title: Manish Malhotra

text: In 1999, Johar hired Malhotra to design for his multi-starrer family drama "Kabhi Khushi Kabhie Gham..." (2001). Malhotra styled Kareena Kapoor's look in the film, which helped cement her position as a true style icon of Bollywood and set the entire tone for the film. The styling of the film earned Malhotra high acclaim - right from the red coordinated set of sequin top with bell-bottom pants from "You Are My Soniya", the pastel pink choli-pants paired with an asymmetrical cut bodice from "Bole Chudiyaan", to the yellow strapless top with the sunflower choker and ombre sunglasses, shimmer crop tops, mini-skirts, leather pants, jackets, scarves and fur collars. Malhotra's styling in the film is perceived to be timeless, relevant and inspirational for every generation.


title: Manish Malhotra

text: In 2001, Malhotra won his first IIFA Award for Best Costume Design for his work in Aditya Chopra's "Mohabbatein".


title: Manish Malhotra

text: In 2003, Malhotra styled Johar's "Kal Ho Naa Ho", a romantic comedy-drama based on NRI's ;iving in New York City. Preity Zinta's statement pieces included scarves, trench coats, halter dresses (including the now-iconic red one from "Kuch Toh Hua Hai"), sweaters, slip dresses, flared pants, and one-shoulder dresses - all relevant to the era and character. Shah Rukh Khan and Saif Ali Khan's embroidered kurtas and Zinta's blue "Maahi Ve" lehenga, and Jaya Bachchan's makeover look, which including jeans, sweaters, sweatshirts and long trench and overcoats also received acclaim.


title: Manish Malhotra

text: The same year, he designed the wedding outfits for Karishma Kapoor subsequently leading to inquiries from high-profile clientele like the Raheja Builders and many more.


title: Manish Malhotra

text: In 2004, Malhotra generated quite a buzz after styling Sushmita Sen in Farah Khan's "Main Hoon Na", in flowy chiffon sarees, vibrant colors, and prints


title: Manish Malhotra

text: In 2006, Johar once again reached out to Malhotra to style the entire cast of his ensemble musical romantic drama "Kabhi Alvida Naa Kehna". Malhotra received widespread acclaim for his styling in the film - right from Shah Rukh Khan's preppy athleisure wear, Rani Mukherji's chiffon sarees, halter blouses and trench coats, Abhishek Bachchan's working guy formal wear, Preity Zinta's chic fashionista skirts, scarves, tops and dresses, Amitabh Bachchan's classic suits to Kirron Kher's homely long skirts, sweaters, stoles and kurtas - all of which received praise from critics and the audience.


title: Manish Malhotra

text: In 2007, Malhotra styled Kareena Kapoor's character, Geet in the film "Jab We Met". The film saw the rise of harem pants paired with long t-shirts, phulkari scarves, corset tops (with the popular red skirt), and hoop earrings with short kurtas.


title: Manish Malhotra

text: In 2008, Malhotra was widely praised for Priyanka Chopra's look in the film "Dostana". Based in Miami. the vibe of the film was cool chic, and so were the costumes. It saw her in the iconic shimmering golden swimsuit, and her classic silver saree with a sensuous blouse from the song "Desi Girl" launched many versions of the same.


title: Manish Malhotra

text: In 2013, Malhotra styled and designed the look for Deepika Padukone's character, Naina Talwar, in Ayan Mukerji's "Yeh Jawaani Hai Deewani". The electric blue saree with a black shimmer blouse, her form-fitting kurtas with plunging necklines, low waist lehengas with short blouses, or floral dresses paired with sweaters and denim jackets, Malhotra's outfits received a lot of attention and praise.


title: Manish Malhotra

text: His body of work of over 1000 films and designing innumerable looks for actors including Rekha, Sridevi, Raveena Tandon, Kajol, Sushmita Sen to the generation of Aishwarya Rai Bachchan, Priyanka Chopra, Kareena Kapoor Khan, Deepika Padukone, Katrina Kaif, Anushka Sharma, Alia Bhatt, Janhvi Kapoor, Sara Ali Khan, Ananya Pandey, and many others, Malhotra has been telling stories through all his creations for three decades now.


title: Manish Malhotra

text: The veteran was bestowed with the Filmfare Award for 30 years of outstanding contribution to Bollywood fashion.


title: Manish Malhotra

text: His label "Manish Malhotra" is synonymous with opulent, contemporary, and larger-than-life glamour Indian wear.


title: Manish Malhotra

text: In 1999, he collaborated with his friends, the industrialist Kajal Anand, Avanti, and Yash Birla for a brief period to design collections for their store, Reverie.


title: Manish Malhotra

text: Manish Malhotra tied up with Sheetal Design Studio and set up a workshop there. He virtually became a face of the Sheetal Design Studio, and exclusively retailed out of their store at Bombay's Grant Road for 4 years.


title: Manish Malhotra

text: After claiming his position as a costume director, stylist, and Hindi Film Industry fashion designer, he launched his couture label Manish Malhotra in 2005. It offers bridal, couture, diffusion, men's wear, and bespoke collections that now retail at four Mumbai, New Delhi, and Hyderabad stores.


title: Manish Malhotra

text: In 2006, Manish Malhotra teamed up with Saif Belhasa Group of Companies to open his first flagship store in Dubai that catered to Arab and Global customers. The collection portrayed a range of specially designed shelas, abhayas and jalabiyas, an amalgamation of traditional craft and modern design sensibilities to reflect the essence of his designs. The store later shut in 2017.


title: Manish Malhotra

text: In 2013, Manish Malhotra was the first Indian designer to have opened the largest, Indian stand-alone store sprawled over 6,000 sq.ft, located in a gorgeous haveli on Kalkadas Marg in Mehrauli, Delhi. The space reflects Malhotra's trademark opulent style with arched windows, high ceilings, and vintage chandeliers.


title: Manish Malhotra

text: In 2017, Manish launched the Hyderabad store, which spreads over 15,000 sq. ft. It is located in the city's posh Jubilee Hills locality to meet the designer's grand visionary identity.


title: Manish Malhotra

text: Over the years, the label's aesthetic has aimed to bring together traditional Indian craftsmanship with contemporary silhouettes like gowns with intricate gold embroidery, cigarette pants paired with long jackets for women, voluminous lehengas worn with cropped blouses, or the use of non-traditional colors like royal blue, soft pink, maroon, etc., in bridal ensembles. The label's design language is claimed to exhibit glamour and is a reflection of modern India.


title: Manish Malhotra

text: In 2019, many actresses wore the signature "Manish Malhotra saree" that the designer introduced in a variety of colours.


title: Manish Malhotra

text: He launched his first-ever haute-couture make-up line, 'Manish Malhotra Beauty', in collaboration with My Glamm in December 2018.


title: Manish Malhotra

text: 2019, the celebrity couturier ventured into a new space, 'Manish Malhotra Jewellery' in partnership with heritage jeweler brand Raniwala 1881. The curation is a medley of heritage with a modern touch, much like his line of clothes, entailing an expansive range of chandbalis, danglers, studs, jhumkis, kadas, chokers, layered necklaces in a combination of uncut palkis, emeralds, diamonds, jadau, coloured stones and pearls.


title: Manish Malhotra

text: Reliance Brands Limited (RBL) - part of the retail arm of billionaire Mukesh Ambani-owned Reliance Industries acquired a 40 percent stake in brand 'Manish Malhotra' (within the lifestyle space domain) to accelerate the 16-year old couture house's growth in India and across the globe. On Friday, October 15, Reliance Brands and Manish Malhotra announced a strategic partnership as part of the deal. This is the first external investment for Manish Malhotra's brand, which has been privately held by the designer so far. The brand will continue to be led by Manish Malhotra, as Managing and Creative Director after the partnership with Reliance.


title: Manish Malhotra

text: On January 14, 2021, Manish Malhotra was the first in the Indian design space to launch the first-ever virtual store.


title: Manish Malhotra

text: The designer's virtual store allows the customers to walk through the Delhi flagship store spanning over 15,000 sq. ft. The virtual tour's design house is built with online navigation systems and custom configurations, and customers can walk through the aisles, zoom in on the products, and get the item's details.


title: Manish Malhotra

text: In addition, guests traveling on Etihad Airways got the chance to watch the normal version of the movie as part of the flight’s inflight entertainment.


title: Manish Malhotra

text: The NFT collection had the sketches and GIFs of five couture pieces worn by famous artists like Lisa Ray, Deepika Padukone, Kareena Kapoor Khan, and Alia Bhatt. The auctioning was done in WRX—which is the native token of WazirX based on the Binance blockchain. The dropped collection made the sale within 12 seconds.


title: Manish Malhotra

text: Manish Malhotra has been a judge panellist on a reality show called Myntra Fashion Superstar, aimed at identifying India’s next big fashion influencer on the Myntra App.class.org.in


title: Manish Malhotra

text: Manish Malhotra, the designer, started his Productions arm in 2018 with India's most elite and beau monde wedding of Isha Ambani and Anand Piramal. The entire Sangeet event was conceptualized, curated, and executed by Manish Malhotra Productions. Guests included global business tycoons, politicians, sports stars, Hollywood, Bollywood personalities, and International celebrities such as Hillary Clinton and Beyoncé.


title: Manish Malhotra

text: Cinema has defined, decorated, fired and fuelled Malhotra’s work—an aspect and quality he masterfully employed to present his recent collections.


title: Manish Malhotra

text: To conclude India Couture Week (ICW) 2020, Malhotra was the first in the Indian fashion space to stage the grand finale in a virtual format with ‘Ruhaniyat’ —a medium that gave him the chance to sit in the director’s chair and visualize clothes as characters. The couture film conjured a mood of mysticism laced by the Sufi notes of singer Abi Sampa and musician Rushil Ranjan. Malhotra’s inspiration is pivoted on the princely histories of Punjab and Awadh, with styling, music and the overall old-word opulence borrowed from the Mughal era bringing forth the real fraction of the Awadhi-Punjabi repertoire with voluminous silhouettes, deft embroidery, and layerings. Janhvi Kapoor, the young film star and daughter of the late Bollywood actor Sridevi, became the revered muse, invoking bridal emotions at different points in the fashion film.


title: Manish Malhotra

text: The multi-faceted designer introduced his timeless and seasonless 'Nooraniyat' collection through a couture film in April 2021, featuring the millennial actress Sara Ali Khan and Kriti Sanon for the bridal collection. The couture video hallmarks his three decades of designing for film and the runway.


title: Manish Malhotra

text: After reshaping Bollywood's fashion story, designer Manish Malhotra will go behind the camera and make his directorial debut with a musical love story set in the backdrop of the partition, produced by Dharma Productions.


title: Manish Malhotra

text: Manish Malhotra marked another first to add to his repertoire of accomplishments. He partnered with Etihad Airways to become the first Indian designer to create a virtual reality fashion show filmed using the pioneering technology at Lakme Fashion Week in Mumbai in August, 2016. All the goings-on, both onstage and backstage, were covered with 360-degree cameras for the world to see. In addition, guests traveling on Etihad Airways got the chance to watch the normal version of the movie as part of the inflight entertainment.


title: Manish Malhotra

text: In 2021, Manish Malhotra was the first Indian designer forayed into the crypto world with his first-ever collection of non-fungible tokens (NFTs) — unique digital items that can be bought using cryptocurrencies. The NFT collection had the sketches and GIFs of five couture pieces worn by famous artists like Lisa Ray, Deepika Padukone, Kareena Kapoor Khan, and Alia Bhatt.


title: Manish Malhotra

text: The auctioning was done in WRX—which is the native token of WazirX based on the Binance blockchain. The dropped collection made the sale within 12 seconds.


title: Manish Malhotra

text: Manish Malhotra has been a significant judge panellist on a unique reality show called Myntra Fashion Superstar, aimed at identifying India’s next big fashion influencer on the Myntra App.


title: Manish Malhotra

text: Achint Setia, VP & Business Head, Social Commerce, Myntra, said : “As it enters its third edition, Myntra Fashion Superstar is a fashion, entertainment, and content space, creating a strong fan-following by driving relevant conversations around authenticity, inclusivity and challenging societal norms for the better. This edition will focus on shaping mindsets around celebrating unfiltered, and real conversations alongside the most relevant and credible voices.


title: Manish Malhotra

text: Malhotra has made contributions to India's largest education NGO, Pratham, once in 2013 and then in 2016. Manish Malhotra celebrated 100 years of Indian Cinema at the ARTiculate the Pratham Ball 2013, in London and raised 3,00,000 pounds for the Indian Education Charity. His collection was inspired by the three main eras of Indian Cinema, spanning from 1913 to 2013. It took the audience through the black and white era of "Mughal-E-Azam" and "Awara".


title: Manish Malhotra

text: Again on 23 April 2016, at the Pratham's Annual Gala, held at Hilton America's, Manish Malhotra raised $1.8 million to eradicate illiteracy in India


title: Manish Malhotra

text: Manish Malhotra debuted his exquisite collection at a spectacular gala evening in aid of The Angeli Foundation and in association with Rivaage Boutique that took place at the Grosvenor House Hotel on 23rd February 2013. Angel Foundation is a charity that works towards the empowerment of women in India and fights the cause of female foeticide and related crimes against women in India. Manish in support of the Angel! Foundation said, "I work in an industry where women are revered and respected. I have had the privilege of dressing some of the most beautiful and powerful women in the world, but when I step out of the door and into the stark reality of India, I see the injustice and inequality all around me.


title: Manish Malhotra

text: On 20 February 2014, Malhotra along with 20 models from Mumbai showcased his latest creations and couture in a binding show. The show was in association with Oman Cancer Association and Dar Al’ Atta’a to support cancer awareness. The show was held on 20 February 2014 at the lawns of the Intercontinental Muscat. The RO20,000 raised during the event were donated to the Oman Cancer Association. Manish, through this show, brought to life India's regal heritage with the royalty in chiffon saris, flowing anarkalis, kalidar lehengas and double-breasted bandhgalas.[]


title: Manish Malhotra

text: NDTV in association with Aircel embarked upon a unique programming initiative to support its ongoing "Save our Tiger" campaign by telecasting a 12-hour nonstop program from 11 am to 11 pm, in March 20101. Malhotra was among the many generous donors like Amitabh Bachchan, Diya Mirza, Priya Dutt etc. the campaign raised about Rs. 10 crore and had a great impact on the policies.


title: Manish Malhotra

text: Malhotra introduced a new dimension to his summer collection in 2015 with ‘The Blue Runway’ at the Jabong Lakme Fashion Week 2015. The show was in association with the WEvolve campaign and World Bank as the partner. WEvolve is a global campaign bringing men and women together to end inequality using the power of art and media to inspire action and change. The highlight of the show was the finale segment where the models were seen carrying messages of change and positivity on placards that read – gender, equality, society, empower and justice. The show derived its name, ‘The Blue Runway’ from the color palette it featured – different hues of blue from powder to midnight. Also the collection was designed to be worn in any part of the world with the women's line including flowy gowns, jacket-saris, off-shoulder and halter crop tops, and skirts as and long shirts in structured and easy styles.


title: Manish Malhotra

text: Malhotra also contributed to ensuring underprivileged children their basic rights. He made a generous donation of a Manish Malhotra garment at the CRY gala dinner 2017.


title: Manish Malhotra

text: Among the prominent personalities who walked the ramp for them were Shabana Azmi, Sophie Choudry, Huma Qureshi, Athiya Shetty, Tara Sharma, Kajol, Riya Sen, Tisca Chopra etc.


title: Manish Malhotra

text: Manish Malhotra worked towards promoting the regional handicrafts of India in 2012. He associated with craftsmen of Kashmir who had been creating intricate embroideries for his label and created the Kashmiri Heritage Collection which was showcased on the third day of Wills Lifestyle India Fashion Week. His collection was Kashmir-inspired and it was a tribute to the craftsmen from Kashmir working for him for a year.


title: Manish Malhotra

text: Malhotra has been involved with the Mijwan Welfare Society since its very first show. Mijwan Welfare Society was founded by Kaifi Azmi that promotes the village based small-scale industries and supporting it with marketing skills and strategies and it also facilitates viable self-employment. The women of the Mijwan village have sustained themselves by learning chikankari embroidery, which Malhotra has transformed into his signature Indian wear. Kaifi Azmi Embroidery and Sewing centre was set up in 1994 and Manish Malhotra adopted the school in 2012. He showcased his 2012 Mijwan collection at the India Fashion Week held at Grand Hyatt, Mumbai to promote Mijwan's female population and their craftsmanship. In 2015, having completed 4 years of working with Mijwan Welfare Society, he put up a show on 4 April 2015. The collection was called, The Legacy and the list of showstoppers included five parent-child duos: Amitabh Bachchan and Shweta Nanda, Anil and Sonam Kapoor, Shatrugan and Sonakshi Sinha, Jaya and Abhishek Bachchan, and Javed and Farhan Akhtar.


title: Manish Malhotra

text: The idea behind putting family on the forefront was simple: To represent the legacy the late Kaifi Azmi left for his daughter Shabana Azmi, who now heads the NGO of Mijwan Welfare Society along with her god daughter Namrata Goyal. In 2017, he put up his sixth Mijwan show at the Grand Hyatt, Mumbai. Shah Rukh Khan and Anushka Sharma walked the ramp for him, and the collection showcased an amalgamation of classic chikankari in modern silhouettes, renewing the vintage charm of elaborate jackets, cocktail dresses, saris, crop tops, fluid skirts and evening gowns—with rich zardozi, romantic sequins and fringes.


title: Manish Malhotra

text: To support the 'Save & Empower The Girl Child' campaign held at JW Marriott in Mumbai on 11 April 2012, Manish Malhotra put up a show where many celebrities walked the ramp with their daughters. The collection embraced traditional Indian crafts like Chikankari and Kashmiri embroidery. It traced the birth of the Indian Girl Child from soft shades to vibrant hues signaling her arrival into womanhood.


title: Manish Malhotra

text: At the Lilavati hospital, Manish Malhotra put up a show to support the ‘Save the Girl Child’ campaign where Bollywood divas Madhuri Dixit Nene, Malaika Arora Khan, Mandira Bedi, and Lara Dutta walked the ramp for him.


title: Manish Malhotra

text: Manish Malhotra created an eponymous collection of bathroom suites for Hindware and launched super-premium bathware brand ALCHYMI.


title: Manish Malhotra

text: Manish Malhotra recreated the romance of traditional and contemporary worlds through an exclusive range for 30 finale contestants gracing the Femina Miss India 2017 runway. For the very first time in Miss India’s history, all finalists walked the ramp wearing Indian Couture instead of western silhouettes for their final round.


title: Manish Malhotra

text: Smartphone maker Vivo has collaborated with Manish Malhotra and launched ‘Infinite Red’ Vivo V7+ limited edition smartphone, targeting millennials in India.


title: Manish Malhotra

text: In 2016, Manish Malhotra was associated with Director Feroz Abbas Khan for his ambitious musical adaptation of ‘Mughal-e-Azam.’ He designed all the 550 costumes for the play.


title: Manish Malhotra

text: Manish Malhotra joined hands with the International Institute of Fashion Design (INIFD) and London School of Trends (LST). The program facilitates students through extensive video lectures by Manish Malhotra to learn from his experience from over 30 years in film and fashion.


title: Manish Malhotra

text: In August 2016, Malhotra's show for Lakme Fashion Week's Winter-Festive edition was shot for a Virtual Reality fashion experience by Etihad Airways. The Virtual Reality video was released earlier in January 2017 at Etihad’s Innovation Centre in Abu Dhabi. He also worked with Google on launch promotions for ‘G Suite’ – a set of intelligent apps designed for modern professionals.


title: Manish Malhotra

text: Manish Malhotra was invited to share his design journey at the 2017 edition of the India Conference at Harvard Business School


title: Manish Malhotra

text: In 2018, Manish Malhotra was invited by the Academy of Motion Pictures Arts and Sciences to be a member.


title: Manish Malhotra

text: Malhotra worked on a traditional outfit design for Michael Jackson, during his visit to India in the late 1990s.


title: Manish Malhotra

text: He has also worked for Jean-Claude Van Damme, Reese Witherspoon in Mira Nair’s Vanity Fair, Kylie Minogue, and Jermaine Jackson and wife Halima


title: Manish Malhotra

text: Sundar Pichai and his wife Anjali Pichai wore Manish Malhotra outfits for a wedding ceremony in Mumbai, India.


title: Manish Malhotra

text: The designer has also dressed Hillary Clinton, Kylie Minogue, and supermodels Kate Moss and Naomi Campbell.


title: Tinker Bell (film series)

text: Tinker Bell is a direct-to-video computer-animated fantasy film series produced by DisneyToon Studios as part of the "Disney Fairies" franchise. Voices of Mae Whitman, Lucy Liu, Raven-Symoné, America Ferrera, Kristin Chenoweth and Pamela Adlon are featured in the films. Six feature films and one TV special were produced: "Tinker Bell", "Tinker Bell and the Lost Treasure", "Tinker Bell and the Great Fairy Rescue", "Secret of the Wings," "Pixie Hollow Games" (the special), "The Pirate Fairy", and "Tinker Bell and the Legend of the NeverBeast". The series is a spin-off of and prequel to "Peter Pan".


title: Tinker Bell (film series)

text: Tinker Bell (Mae Whitman) is born from the first laugh of a baby and is brought by the winds to Pixie Hollow (which is part of the island of Never Land). She learns that her talent is to be one of the tinkers, the fairies who make and fix things. Two other tinker fairies, Bobble (Rob Paulsen) and Clank (Jeff Bennett) teach her their craft and tell her about the fairies who visit the mainland to bring each season. Tink is thrilled and can't wait to go to the mainland for spring.


title: Tinker Bell (film series)

text: While out working, she meets a water fairy named Silvermist (Lucy Liu); a garden fairy named Rosetta (Kristin Chenoweth); a light fairy named Iridessa (Raven-Symoné), and an animal fairy named Fawn (America Ferrera). After meeting them, she notices an ill-tempered fast-flying fairy named Vidia (Pamela Adlon), who immediately dislikes her because of her unusually strong talent. Vidia challenges her to prove she'll be able to go to the mainland, and Tink creates several inventions out of Lost Things (to which some other fairies see as junk) that she found on the beach, which she shows to the Minister of Spring (Steve Valentine). But Tinker Bell soon learns from Queen Clarion (Anjelica Huston) that only nature-talent fairies visit the mainland.


title: Tinker Bell (film series)

text: Desperate to help change the seasons in the mainland, Tink tries her hand at nature skills—making dewdrops with Silvermist, lighting fireflies with Iridessa, and trying with Fawn to teach baby birds to fly but she fails miserably at all of these when she gets attacked by a hawk. Meanwhile, Bobble and Clank cover for Tink when questioned by Fairy Mary (Jane Horrocks), the tinker fairy overseer. When Tinker Bell returns, she tries to explain, but Mary simply responds that she knows, and expresses her disappointment with Tink's actions.


title: Tinker Bell (film series)

text: On the beach, Tinker Bell finds parts of a music box and figures out how to put them together. Iridessa, Fawn, Silvermist, and Rosetta witness her doing this, then tell her that she was tinkering and that she should be proud of her talent—if this is what she's good at, the mainland shouldn't matter. But Tinker Bell still wants to go to the mainland. She asks Rosetta if she'll still teach her to be a garden fairy, but Rosetta says that tinkering is Tinker Bell's natural talent.


title: Tinker Bell (film series)

text: As a last resort, Tinker Bell asks Vidia for help in becoming a garden fairy. Vidia craftily tells her that capturing the sprinting thistles would prove her worth. However, once she sees Tink making progress, she lets the captured thistles loose, and in attempting to recapture them, Tink destroys all the preparations for spring. After seeing the destruction she caused, Tink decides to run, but after talking with the dust-keeper Terence (Jesse McCartney) about how important his job is, she realizes the importance of a tinker.


title: Tinker Bell (film series)

text: Tinker Bell redeems herself by using Lost Things to invent machines that quicken the process of doing tedious tasks, such as decorating flowers, painting bugs, planting seeds, etc. This allows the other fairies to get back on schedule, thus saving the arrival of spring. Vidia is punished for prompting her to cause the chaos, and Queen Clarion allows Tink to join the nature-talent fairies when they bring spring to the mainland. Tinker Bell is given the task of delivering the music box to its original owner (shown to be Wendy Darling). After, she goes with her friends across the continent while the narrator ends by saying that when lost toys are found or a broken clock starts to work, "it all means that one very special fairy might be near."


title: Tinker Bell (film series)

text: Friendly fairy Tinker Bell (Mae Whitman) means well but often gets into trouble. All the same, Pixie Hollow has entrusted her with making sure their magical moonstone keeps their pixie dust in plentiful supply. But tragedy strikes when Tinker Bell fumbles this important task—accidentally breaking the moonstone. In order to get it back into one piece, Tinker Bell will have to find an enchanted mirror and accept a little assistance from pestering pixie Terence (Jesse McCartney).


title: Tinker Bell (film series)

text: Years before meeting Wendy and the Lost Boys, Tinker Bell (Mae Whitman) met Lizzy (Lauren Mote), a little girl with a steadfast belief in the power of pixie dust and the magic land of fairies. During the fairies' summer visit to the flowering meadows of England, two very different worlds unite for the first time and Tink develops a special bond with a curious child in need of a friend. As her fellow fairies Iridessa (Raven-Symoné), Silvermist (Lucy Liu), Rosetta (Kristin Chenoweth), Fawn (Angela Bartys), and Vidia (Pamela Adlon) launch a daring rescue, Tinker Bell takes a huge risk, putting her own safety and the future of all fairykind in jeopardy.


title: Tinker Bell (film series)

text: "Secret of the Wings" (originally titled "Tinker Bell and the Mysterious Winter Woods") was released on DVD on October 23, 2012. Tinker Bell (Mae Whitman) crosses over to the forbidden area in Winter Woods, where it is always winter. While there her wings begin to sparkle so she sets off on a quest to discover why. She is overjoyed to learn that her wings sparkled because she was close to her sister, Periwinkle (Lucy Hale). They were born when a baby's laugh split in two. They visit for a few hours before Tinker Bell is told she has to leave. Determined to help her sister visit Pixie Hollow, she crafts a contraption that grates snow to keep Peri cold during her visit. The device malfunctions badly, causing a freeze to slowly envelop Pixie Hollow.


title: Tinker Bell (film series)

text: Tinker Bell flies to Winter Woods to get Periwinkle and her friends to help save Pixie Hollow. They realize that frost protects the trees in Winter Woods from the cold, so the winter fairies all work together to frost the trees of Pixie Hollow to save them from the accelerating freeze. They learn, however, that when Tink crashed in Winter Woods she tore her wing, and broken wings can't be repaired. But when Tink and Peri come together their wings again sparkle, and they learn that identical wings can heal each other, so they restore Tink's broken wing. They also discover that winter fairies can frost the wings of warm-weather fairies, keeping them from breaking in the cold, thus allowing them to visit their friends in Winter Woods.


title: Tinker Bell (film series)

text: Another feature-length film, titled "The Pirate Fairy", (originally titled "Quest for the Queen") was released on April 1, 2014. The film was originally scheduled for Fall 2013, but another DisneyToon Studios film, "Planes", took its place. A trailer for the film was released on the "Secret of the Wings" Blu-ray and DVD on October 23, 2012. It was directed by the "Secret of the Wings" director, Peggy Holmes. The film introduced new characters, Zarina, voiced by Christina Hendricks, and James aka Captain Hook, voiced by Tom Hiddleston. Carlos Ponce also voiced one of the characters in the film.


title: Tinker Bell (film series)

text: When a misunderstood dust-keeper fairy named Zarina steals Pixie Hollow's all-important Blue Pixie Dust and flies away to join forces with the pirates of Skull Rock, Tinker Bell and her fairy friends must embark on the adventure of a lifetime to return it to its rightful place. However, in the midst of their pursuit of Zarina, Tink's world is turned upside down. She and her friends find that their respective talents have been switched and they have to race against time to retrieve the Blue Pixie Dust and return home to save Pixie Hollow.


title: Tinker Bell (film series)

text: "Tinker Bell and the Legend of the NeverBeast" was released in cinemas in selected markets from March 2015, and was released direct-to-video in the United States on March 3, 2015. It was directed by Steve Loter and produced by Makul Wigert. Composer Joel McNeely returned to the film. Mae Whitman, Lucy Liu, Raven-Symoné, Megan Hilty, Pamela Adlon and Anjelica Huston reprise their roles of Tinker Bell, Silvermist, Iridessa, Rosetta, Vidia and Queen Clarion. Ginnifer Goodwin replaces Angela Bartys as the voice of Fawn in this film. Rosario Dawson and Olivia Holt join the cast as new characters Nyx and Morgan, respectively.


title: Tinker Bell (film series)

text: When Fawn meets a legendary creature, the Neverbeast, she befriends the creature in no time. But when she learns that the creature could be part of a terrible event, she will have to trust her instincts in order to save her new friend and all of Pixie Hollow.


title: Tinker Bell (film series)

text: The early draft for the first Tinker Bell film, alternatively titled "Tinker Bell and the Ring of Belief" in unreleased promotional material, designed Tinker Bell and her friends traveling to the mainland to restore children’s belief in fairies. In addition, the film would also show how Tinker Bell met Peter Pan and encountered a young girl from an orphanage in London. Captain Hook, the pirates, and the Lost Boys were also planned to be featured in the film as key factors. Trailers of the original film were included in several Disney DVD releases, with the initial release date being 2007. Due to budget constraints and the film being deemed “virtually unwatchable”, the script underwent many rewrites and 90% of the completed prototype film is scrapped. The film ended up being delayed to 2008 with an entirely new storyline.


title: Tinker Bell (film series)

text: In addition to "Tinker Bell and the Legend of the NeverBeast", Disney also had plans for a seventh film. In 2015, "The Hollywood Reporter" stated that the seventh film was canceled due to story problems. The title of the film and the storyline were unknown. On June 28, 2018, The Walt Disney Company had officially closed the film series' production studio, DisneyToon Studios.


title: Tinker Bell (film series)

text: On August 28, 2022, Stephen Anderson stated on Twitter about working on an eighth Tinker Bell film in late 2014/early 2015. The working title of the film was “Tink Meets Peter”. It was intended to be the final installment in the "Tinker Bell" film series and a direct prequel to Walt Disney’s 1953 film, "Peter Pan". The storyline would show how Peter came to Neverland, the genesis of Peter and Tink’s relationship, how Peter cut off Hook’s hand, etc. The film was under production during the time home video marketing was plummeting and DisneyToon Studios’ closure. All production on the seventh and eighth Tinker Bell films were eventually cancelled once DisneyToon Studios officially closed in June 2018.


title: Tinker Bell (film series)

text: In 2015, it was announced that "Tink", a live-action film, with Reese Witherspoon playing Tinker Bell and Victoria Strouse writing the script, was in development. In 2020, the development on the project was in question following the casting of Yara Shahidi as Tinker Bell in "Peter Pan & Wendy". In 2021, the project re-entered development as a part of Gary Marsh's overall deal with Disney. Witherspoon is still attached to the project as a producer and Maria Melnik ("Escape Room") was hired to rewrite the script.


title: Tinker Bell (film series)

text: Originally planned to feature the entire ensemble cast of the earlier films in Olympic-style games spanning the four seasons, presumably due to the original plot vetoed by the producers, the story was scaled back into a shorter scenario focusing primarily on Rosetta (Megan Hilty, replacing Kristin Chenoweth) and a new fairy character, Chloe (Brenda Song). They are teamed up against Rosetta's will representing the "garden fairies" in a competition in which they hope to unseat the undefeated "storm fairies". They overcome their differences and Rosetta's fear of getting dirty, to emerge victorious at the end of the games.


title: Tinker Bell (film series)

text: A six-minute short film, titled "Pixie Hollow Bake Off", aired in the United Kingdom on October 20, 2013, on Disney Channel. Lisa Faulkner provided a voice for a baking fairy named Gelata.


title: Tinker Bell (film series)

text: The short was released in the United States as a bonus DVD in a Walmart-exclusive edition of "The Pirate Fairy" on Blu-ray Disc, but with Giada De Laurentiis as the voice of Gelata. In July 2014 the short was made available on the digital movie service Disney Movies Anywhere.


title: Tinker Bell (film series)

text: According to "The Hollywood Reporter", the first four full-length films ("Tinker Bell", "Tinker Bell and the Lost Treasure", "Tinker Bell and the Great Fairy Rescue", and "Secret of the Wings") were made for $30 million to $35 million.


title: Andrew McCollum

text: Andrew McCollum (born September 4, 1983) is an American angel investor and businessman. McCollum is a co-founder of Facebook and current CEO of Philo.


title: Andrew McCollum

text: He attended Harvard University with co-founder Mark Zuckerberg and others on the founding team. He worked at Facebook from February 2004 to September 2007. Initially, he worked on Wirehog, a file sharing program, together with Adam D'Angelo. McCollum returned to Harvard College, and graduated in 2007 with a Bachelor's degree in Computer Science. He later earned a master's degree in education from the Harvard Graduate School of Education.


title: Andrew McCollum

text: McCollum was a member of the Harvard team that competed in the 31st Association for Computing Machinery International Collegiate Programming Contest in Tokyo, having placed second in the regional competitions behind Massachusetts Institute of Technology.


title: Andrew McCollum

text: Andrew McCollum was the cofounder of JobSpice, an online resume preparation tool. He currently acts as Entrepreneur in Residence at New Enterprise Associates and Flybridge Capital Partners.


title: W Series (championship)

text: W Series is an all-female single-seater racing championship. The series' first season was in 2019; it featured twenty drivers contesting six races.


title: W Series (championship)

text: The W Series was publicly launched on 10 October 2018. Rumours about the creation of a female-only racing series had begun to circulate in November 2017. It was created in response to the lack of female drivers progressing to the highest levels of motorsport, particularly Formula 1.


title: W Series (championship)

text: The series has the backing of a number of prominent members of the motorsport community, including former F1 driver David Coulthard and engineer Adrian Newey.


title: W Series (championship)

text: For the inaugural season in 2019, all cars were operated by Hitech GP. The 2019 championship consisted of six races, all of which were run in Europe in support of the 2019 DTM.


title: W Series (championship)

text: The calendar for the 2020 W Series was announced in early 2020. The initial drivers' list confirmed that the top twelve finishers from the 2019 championship were automatically qualified for the 2020 series. The 2020 season was cancelled due to the COVID-19 pandemic and a 10-event eSports series was held on the iRacing platform in its place.


title: W Series (championship)

text: The 2021 W Series featured eight races, and was run in support of the 2021 Formula One World Championship.


title: W Series (championship)

text: In September 2022, it was reported that the series is facing significant financial difficulties, as reported in the recent company accounts filed with Companies House on 5 September 2022, which showed that it had net liabilities of over £7.5 million to 31 December 2021, with debts to a number of creditors, including Whisper, the media production company owned by Jake Humphrey and David Coulthard, and Velocity Experience, the company that provides hospitality services to the series. Doubts were expressed whether it would be able to complete the 2022 season; these doubts were realized in October, when the two remaining W Series rounds after Singapore for 2022 were cancelled due to financial issues. CEO Catherine Bond Muir expressed confidence that the series would return in 2023.


title: W Series (championship)

text: The series features eighteen female racers from around the globe, plus two reserve drivers. The drivers were selected through a selection process that began with fifty-four participants.


title: W Series (championship)

text: The W Series championship title is awarded to the competitor with the highest number of points from all qualifying rounds run, excluding any penalty points incurred. If two or more drivers finish the season with the same number of points, the higher place in the series shall be awarded to the driver with the highest number of race wins. If the number of race wins is the same, the championship title shall be awarded according to the number of second-place finishes, third-place finishes and so on.


title: W Series (championship)

text: The 15 Super Licence points for the champion are fewer than those awarded for winning the various Formula Regional championships, other series that use the same machinery as W Series.


title: W Series (championship)

text: The W Series features mechanically identical cars. In 2018, it was announced that the inaugural 2019 season would use the Tatuus–Alfa Romeo F3 T-318, homologated by the FIA for use in Formula 3 in Formula Regional European Championship, powered by Autotecnica Motori-tuned Alfa Romeo 1.8-litre turbocharged engines, and equipped with a halo cockpit safety device.


title: W Series (championship)

text: For 2022, to keep the carbon footprint as low as possible by using sea freight, the Toyota Racing Series will ship 18 Tatuus–Toyota F3 FT-60 cars to be used at the Circuit de Barcelona-Catalunya in May and to Singapore in October.


title: W Series (championship)

text: The inaugural W Series Championship is free to enter; competitors are not required to bring any sponsorship.


title: W Series (championship)

text: The championship offers a total prize fund of $1.5 million, with the series champion receiving a top prize of $500,000, and the remaining $1 million being divided among the rest of the drivers.


title: W Series (championship)

text: W Series race coverage was initially available on Channel 4 in the UK. The show was presented by long-time F1 journalist and sports presenter Lee McKenzie who shared the duties with fellow presenter Anna Woolhouse and joined by 2019 W-Series driver Naomi Schiff as studio analyst. Channel 4's Formula One commentator Alex Jacques replaced Claire Cottingham as the series' lead race commentator, with former Formula One driver David Coulthard and double-amputee driver Billy Monger in co-commentary roles and both Ted Kravitz and Amy Reynolds acting as pit-lane reporters. Both Jacques and Monger were forced to miss the opening two rounds of 2021 after Billy Monger tested positive for COVID-19, therefore Ben Edwards had substituted as lead commentator for Alex.


title: W Series (championship)

text: W Series races are live-streamed on Facebook, YouTube and/or Twitter in countries without television broadcasts.


title: W Series (championship)

text: In May 2022, Sky Sports UK announced it had obtained exclusive live broadcast rights for three years. A broadcast partnership was also made with Sky Italia. In the UK, Channel 4 now show only race highlights, with the exception of the Silverstone race which will show live coverage alongside Sky.


title: W Series (championship)

text: The W Series has faced criticism since it was publicly announced, with opponents of the series claiming the category segregated female racers rather than promoting their inclusion in established series.


title: W Series (championship)

text: British IndyCar Series driver Pippa Mann responded to the series’ announcement on Twitter, saying "What a sad day for motorsport. Those with funding to help female racers are choosing to segregate them as opposed to supporting them. I am deeply disappointed to see such an historic step backwards take place in my life time."