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Actress Model Divya Karkhur Gorgeous Hot And Sexy Pics

Actress Model Divya Karkhur Gorgeous Hot And Sexy Pics

कर्णिका मंडल ‘याना…?’ की मुख्य अभिनेत्री के रूप में सुर्खियों में हैं, और प्रोडक्शन टीम के अनुसार, यह एक “आश्चर्यजनक और चुनौतीपूर्ण भूमिका” है। उनका किरदार कथित तौर पर 1840 के दशक के ऐतिहासिक किरदारों से प्रेरित है, जिसके लिए व्यापक तैयारी और भावनात्मक विविधता की आवश्यकता थी।

कर्णिका मंडल कहती हैं, “इस फ़िल्म की कहानी सुनने के बाद मुझे यकीन है कि यह मेरी ड्रीम फ़िल्म है जिसका मैं अपने फ़िल्मी करियर में बेसब्री से इंतज़ार कर रही थी।”

“कर्णिका मंडल इस बायोपिक में अपने किरदार में असाधारण गहराई लाती हैं,” प्रोडक्शन से जुड़े एक सूत्र ने बताया। “इस किरदार के लिए शारीरिक बदलाव और एक बिल्कुल अलग दौर के किरदार में मानसिक रूप से डूब जाना ज़रूरी है।”

प्री-प्रोडक्शन के दौरान, अभिनेत्री को विभिन्न ऐतिहासिक स्थलों पर देखा गया है, जहाँ वे 1840 के दशक के भारत में महिलाओं के सामाजिक संदर्भ को बेहतर ढंग से समझने के लिए कलाकृतियों और ऐतिहासिक दस्तावेजों का अध्ययन करती हैं। ऐतिहासिक सटीकता के प्रति उनका समर्पण, फिल्म की प्रामाणिक कहानी कहने की प्रतिबद्धता को दर्शाता है, भले ही इसमें संगीत की शैली अलग-अलग हो।

श्री प्रजापति के निर्देशन में, ‘याना…?’ एक बहुभाषी प्रोडक्शन के रूप में आकार ले रही है, जिसे हिंदी, तेलुगु, तमिल, कन्नड़ और मलयालम में एक साथ रिलीज़ किया जाएगा। यह महत्वाकांक्षी दृष्टिकोण फिल्म में चित्रित ऐतिहासिक घटनाओं के अखिल भारतीय महत्व को दर्शाता है, साथ ही पूरे उपमहाद्वीप में विविध भाषाई दर्शकों तक पहुँचने के लिए प्रोडक्शन टीम की प्रतिबद्धता को भी दर्शाता है।

बहुभाषी निर्माण रणनीति में केवल फिल्म की डबिंग ही शामिल नहीं है, बल्कि प्रत्येक क्षेत्रीय संस्करण के लिए सांस्कृतिक और भाषाई बारीकियों को अपनाना भी शामिल है, जिससे विभिन्न दर्शकों के साथ प्रामाणिक तालमेल सुनिश्चित होता है। प्रजापति की निर्देशकीय दृष्टि इस जटिलता को समाहित करते हुए सभी भाषाई संस्करणों में कथात्मक सामंजस्य बनाए रखती है।

श्री प्रजापति की रचनात्मक दृष्टि को कुशल पेशेवरों की एक टीम का समर्थन प्राप्त है। फिल्म की पटकथा और संवाद पिंकू दुबे और सोनू दंडोरिया ने लिखे हैं। कहानी कहने का यह सहयोगात्मक दृष्टिकोण सुनिश्चित करता है कि ऐतिहासिक कथा तथ्यात्मक अखंडता और नाटकीय प्रभाव, दोनों को बनाए रखे।

संगीतकार देव चौहान को एक ऐसा संगीत परिदृश्य रचने का काम सौंपा गया है जो लगभग दो शताब्दियों के संगीत विकास को जोड़ता हो। ‘याना…?’ के उनके साउंडट्रैक में 1840 के दशक की प्रामाणिक पारंपरिक रचनाएँ शामिल होंगी, साथ ही समकालीन तत्व भी शामिल होंगे—खासकर एक अंग्रेजी भाषा का गीत जो अंतरराष्ट्रीय स्तर पर लोकप्रिय हो।

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कर्णिका मंडल ऐतिहासिक फिल्म ‘याना’ में राहुल बी कुमार के साथ नजर आएंगी

12^th to 18^th November 2025

“Echoes of Silence”

An Exhibition of Photographs

By Eminent Photographer DevInder

VENUE:

Jehangir Art Gallery

Terrace Gallery

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Contact: +91 9872401204

This show was inaugurated on 12th November 2025 by Honourable Guest Mr. Rishiraj Sethi (CA, CFA Director, Aura Art Development Pvt. Ltd. in the presence of Mr. Sidharth(Eminent Artist), Gurcharan Singh(Eminent Artist), Mr. Mukesh Parpiani (Eminent Photographer), Bhupinder Brar, Jaspal Kamana, Ram Pratap Verma, Nirlep Singh, Amarjit Grewal, Subhash Parihar among others,

Dev Inder tries to comprehend the world of relationships through is photography work. Therefore, the three dimensional space he steps into becomes a suggestion and a cue for him creating “a relationship between two figures that had not existed before” John Szarkowski in The Photographer’s Eye. Endowed with an acute sense of seeing everything in the landscape comes forward to help unlock the doors of perception. Things like fallen branches, everydayness of a billboard,  reeds bending light’ly to the breeze, earth as seed of grass, clouds emanations of the trees, autumnal ciphers of grass are the anagrams he tries to read through portal of 35 mm. This diversity enhances his range of expression  with images happening at the focal plane of his artistic consciousness.

Nothing dies.

The ephemeral and the eternal coexisting as juxtaposed poles guide the compassionate lense of Dev Inder. Whatever he touches comes alive. “Landscape are culture before they are nature; constructs of the imagination projected onto wood, and water and rock.” Simon Schama (Landscape and Memory). And so, imbued with presences; actual or of the imagination Dev Inder’s pictures are the sites where he goes looking for resolution.

The photographer till the moment of shutter release is a condensed presence, all faculties summoned just to see. The very next moment everything evaporates; the scene, the self, the eye. The photographer folds his tripod and walks back. Behind his back the scene disintegrates into a lot of rock, trees, water and light. What of the nature shall we capture in a moment so profound? Dev Inder recounts visiting the same place to have a better shot but concludes “It’s not worth it. The moment was only  then.”

Aware of the paradox, Dev Inder invites life into the landscape with all its presences, real or metaphoric, arranging them in a rhythmic correspondence. The sky and the clouds in the  pictures lend weight to the frames, at once embracing and inhabiting the scene. The elements have terra-firma to stand on and solid space to grow into. Restrained tonal range subsumes hierarchies in participatory fervour.

He is also a minimalist in the sense in which he transforms landscapes into relationships with minimum appurtenance. In one of the photograph through deft composition he has tried to bind the entire valley in visual embrace with warped arms as tendrils curling around the visibilities in the frame. It is a photograph about union, the tree supplanting Dev Inder to enter into an embrace.  Dwelling on the same strand let’s look at the picture of the More’ plains from Ladakh. By now most of us are familiar with the sweeping vistas of More’ plains and to most of us a wide angle shot of its immense physicality is enough to fill the frame of our imagination.  But Dev Inder’s picture shows a vehicle emerging out of the far end of the convergence. Far from being a sedate perspective shot it seems to suggest life emerging out of land’s end, throbbing with presence.

The contemplative spirit of his work is also visible in another photograph; a small plant with broad leaves cradled by a rock with a shoot circling over to the top of the rock. There’s a risk of it being viewed as a binary of the animate and inanimate. But rounded edges of the rock and the encircling branch, the third element in the picture, make it into a picture of ecology. Rock is not passive. Giving off itself, rounding off angularities it supports and germinates life. He rock is not a theatre where life is enacted. It is part of life itself. The picture stops us to ponder.

Dev Inder also converses through spatial ambiguity and abstraction. Pliant space gets modulated into anagrams of intrigue and discovery. Abstraction is a reality whose meaning is yet to arrive. But this doesn’t make all randomness abstract. Unless the artist stands at the cusp of intelligibility of the patterns he/she ciphers the end product would be still-born. Aware of this, his semantic lexicon employs symbols with cultural affinity, for example concentric rings at the heart of a rock evoke the memory of a tree, towering rocks come alive with human forms in another picture. By reflecting near in the far Dev Inder is able to locate rhythm in seemingly vast randomness of the landscape. At times acute compression  of the perspective melds the landscape into architecture. Afterall “it is our shaping perception that makes the difference between raw material and landscape” (Simon Schama; Landscape and Memory).

On rare occasion when he uses negative space he does so with finesse and purpose. In the picture where a man rests under the shadow of a rock which rests upon rather tenuously on a bigger rock. The chunk of negative space on the left if not attended to properly  would make the composition precarious. However an aware photographer waits for the arrival of human form to step into that space, solidly anchoring the rock. Visually addressing the precarity of the rock tremendously enhances the restfulness of the scene.

In creating a consciousness of relationships, intimacy and intrigue Dev Inder invites the landscape to partner him. Dead stumps rise up in vertical verse. Lifeless branches of trees lying on the ground, breathless and bleached, become animated limbs by delicate handling of the form and tones. Landscapes of grit start teaming with life and redemption. As Walter Pater has famously said “All art constantly aspires towards condition of music”, we hear notes of music rise in Dev Inder’s “The Echoes of Silence”

Nirlep Singh – Mohali, October 2025

“Echoes Of Silence” An Exhibition Of Photographs By Eminent Photographer Dev Inder In Jehangir Art Gallery