Shrikrishna ramanand sagar

Hey Praneshwar Vida Hey Sarweshwar Vida गीत कविता कृष्णामुर्थी द्वारा प्रस्तुत किया गया हे | श्रीकृष्णा रामानंद सागर द्वारा निर्देशित एक भारतीय टेलीविजन धारावाहिक है। मूल रूप से इस श्रृंखला का दूरदर्शन पर साप्ताहिक प्रसारण किया जाता था। यह धारावाहिक कृष्ण के जीवन से सम्बंधित कहानियों पर आधारित है | श्री कृष्ण और बलराम दोनों भई अक्रूर जी के साथ रथ में बैठ कर मथुरा की ओर निकल पड़ते हैं। रस्ते में राधा उन्हें अलविदा करने के लिए रस्ते में उनसे मिलती है।Hey Praneshwar Vida Hey Sarweshwar Vida Song Detail:गीत / Songहे प्राणेश्वर विदा हे सर्वेश्वर विदा (Hey Praneshwar Vida Hey Sarweshwar Vida)निर्देशक / Directorरामानंद सागर / आनंद सागर / मोती सागर (Ramanand Sagar / Aanand Sagar / Moti Sagar)स्वर / Lyricsसतीश डेहरा, चंद्रानी मुखर्जी और साथीसंगीत / Musicरवींद्र जैन (Ravindra Jain)नेटवर्क / Networkदूरदर्शन नेशनल (DD National)शैली / Genreश्रीकृष्ण भजन (Krishna Bhajan)सहायक निर्देशक / Asst. Directorsराजेंद्र शुक्ला / श्रीधर जेट्टी / ज्योति सागर (Rajendra Shukla / Sridhar Jetty / Jyoti Sagar)पटकथा और संवाद / Screenplay & Dialoguesरामानंद सागर (Ramanand Sagar)कैमरा / Cameraअविनाश सतोसकर (Avinash Satoskar)गीतकार / Lyricsरवींद्र जैन (Ravindra Jain)पार्श्व गायक: (Playback Singers)सुरेश वाडकर / हेमलता / रवींद्र जैन / अरविंदर सिंह / सुशील (Suresh Wadkar / Hemlata / Ravindra Jain / Arvinder Singh / Sushil)संपादक / Editorगिरीश दादा / मोरेश्वर / आर मिश्रा / सहदेव (Girish Daada / Moreshwar / R. Mishra / Sahdev)निर्माता / Producersरामानन्द सागर / सुभाष सागर / प्रेम सागर (Ramanand Sagar / Subhash Sagar / Pren Sagar)Cast / पात्रसर्वदमन डी. बनर्जी/ स्वप्निल जोशी / दीपक डेओलकर / संजीव शर्मा / पिंकी पारिख / रेशमा मोदी / श्वेता रस्तोगी (Sarvadaman D. Banerjee / Swapnil Joshi / Deepak Deulkar / Sanjeev Sharma / Pinky Parikh / Reshma Modi) हे परमेश्वर विदा Lyrics in Hindiहे प्राणेश्वर विदा, हे सर्वेश्वर विदाभग्न ह्रदय, मूक प्रणय, कहता प्रियवर विदाविदा… विदा….विदा… विदा….संग तुम्हारें जा न सकुं मैं, तुमको रोक न पाऊंतुम तो चलें कर्त्तव्य के पथ पर, मैं किस पथ पर जाऊंहे योगेश्वर विदा, हे मूरलीधर विदा,,,भग्न ह्रदय, मूक प्रणय, कहता प्रियवर विदा,,,विदा… विदा….विदा… विदा….दो ह्रदयों के बीच बहेगी, यमुना की इक धारा,,,धरती के इस आँगन में जहाँ,अन्तिम मिलन हमारा,,,धर्म के रथ

On August 28, 1989 thousands of people were gathered in the southern English town of Milton Keynes. The gathering, instructively titled ‘Sammelan,’ sought to bring together Hindus living in Britain and called for the reawakening of a larger Hindu identity. As part of the agenda, the need to move – politically and physically – for a Ram Mandir in Ayodhya was unanimously pushed. Among the attendees – which included local labour MPs, gurus and other religious leaders – one man stood out, perhaps for the influence he had already built up and the wave of Hindu approval and recognition he had ridden on on his way to the Sammelan – Ramanand Sagar. Thirty years on, and a week after his 100 birth anniversary, Sagar’s legacy is more a source of questions than answers. The pilot episode of the show was culled out of four episodes which Ramanand Sagar had shot before Doordarshan commissioned him the show.(Courtesy: Sagar Arts.) In January 1987, Sagar received a call from the offices of Doordarshan in Delhi’s Mandi House. Asked if he could present a pilot episode of the Ramayana within two weeks, Sagar said yes. “We met, my brothers and dad, when the call came in. I told dad we couldn’t do it,” says Sagar’s son, Prem Sagar. “We had shot four episodes. But turning that into a pilot was next to impossible. It required so much work. And we had little time.” The four episodes, Prem mentions, were eventually cut and stitched together

But have no knowledge,” says Sagar. Following the success of the serial, maker Ramanand Sagar (seen above, directing actor Arun Govil, who played Ram, in a scene) became an industry in himself, going on to make Sri Krishna, Luv aur Kush, Alif Laila and many more serials . (Courtesy: Sagar Arts. ) Ramanand Sagar modelled his telling of the epic to Tulsidas’ Ramayana and chose to end the show with the coronation and homecoming of Ram (the beginning of Ram Rajya), omitting the part of Sita’s trial and the chapters about Luv and Kush. “Baba said his Ram couldn’t banish Sita as had been written by many. Mere Ram aisa nai kar sakte, he used to say, whenever there was criticism. But even he bowed under pressure. We made a special Luv-Kush episode for a man who was hospitalised in Chennai because he demanded that missing episode. We flew an exclusive tape to him. Such was the influence of the show on some people,” Sagar adds. After the show, Sagar became an industry in himself, going on to make Sri Krishna, Luv aur Kush, Alif Laila and many more serials that became synonymous with mythology as text in India, before globalisation and foreign media altered the picture. Sagar’s image outside the context of television had been elevated to the level that he was carried on chariots through Ayodhya. The political clout that the TV series came to hold can be adjudged by the fact that Arun Govil (who played Ram)

Yatra (from Somnath to Ayodhya) was like a lit fuse that traced a no doubt carefully selected trail across the Hindi belt – all of which responded enthusiastically to the show. Bear in mind that penetration was limited, only 14 million TV households in 1987. But hundreds watched at many viewing points,” says Rajagopal. Coincidentally, Advani was also present at the mahurat of Yogeshwar Krishna, a film project with Shashi Kapoor playing Krishna, to be helmed by Sagar, which however failed to materialise after its launch in 1975. Rajagopal believes that the very idea of telecasting a Hindu epic on national television was in violation of a secular standpoint that at least the Congress government in power should have stayed true to. Then there were the likes of SS Gill, then a former I & B Secretary, who openly, in a newspaper article, took credit for having floated the idea of the Ramayana. The Hindi press largely followed Gill’s line in venerating the idea and Sagar’s execution. The English press though remained mute. “They couldn’t reconcile its popularity with their classicist and Orientalist understanding of the Ramayan as an Indian classic, and as somehow representative of the culture,” Rajagopal says. Ramanand Sagar had begun working on the concept as far back as 1975. (Courtesy:Sagar Arts.) The abandonment of the Nehruvian secular ethos in favour of a Hindu-centric aesthetic troubled many within Doordarshan as well. Sharad Dutt, then a producer there, and one of the first reviewers of Sagar’s tape of