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O. P. Vyas (Om Prakash Vyas) was an Indian lyricist, musician, singer and poet from Rajasthan. He wrote primarily in the Rajasthani language and focused on themes of Rajasthani culture. He received the Sangeet Purodha Award from the Rajasthan Sangeet Natak Academy for his incorporation of folk music into his compositions.
Rajasthan has a diverse collection of musician castes, including langas, Sapera, Bhopa, and Manganiar.There are two traditional classes of musicians: the Langas, who stuck mostly exclusively to Muslim audiences and styles, and the Manganiars, who had a more liberal approach.
Following is the list of recipients of Bal Sahitya Puraskar for their works written in Urdu. The award comprises a cash prize of Rs . 50,000 and an engraved copper plaque. [ 1 ]
Dhrupad was the main form of northern Indian classical music until two centuries ago when it gave way to the somewhat less austere khyal, a more free-form style of singing. Since losing its main patrons among the royalty in Indian princely states, dhrupad risked becoming extinct in the first half of the twentieth century.
The Aitareya Brahmana (7.18.13) explains Om as "an acknowledgment, melodic confirmation, something that gives momentum and energy to a hymn". [3] Om is the agreement (pratigara) with a hymn. Likewise is tathā = 'so be it' [the agreement] with a [worldly] song (gāthā) [= the applause]. But Om is something divine, and tathā is something human.
Updeshmala, Manuscript in Jain Prakrit and Old Gujarati on paper, Rupnagar, Rajasthan, India, 1666, 76 ff. (−16 ff.), 11x25 cm, single column, (10x22 cm), 4 lines main text, 2–4 lines of interlinear commentary for each text line, in Jain Devanagari book script, filled with red and yellow, 17 paintings in colours mostly of Śvetāmbara Jain monks, influenced by the Mughal style.
Following is the list of recipients of Yuva Puraskar for their works written in Urdu. The award comprises a cash prize of Rs . 50,000 and an engraved copper plaque. [ 1 ]
Urdu Drama evolved from the prevailing dramatic traditions of North India shaping Rahas or Raas as practiced by exponents like Wajid Ali Shah, Nawab of Awadh. His dramatic experiments led to the famous Inder Sabha of Agha Hasan Amanat and later this tradition took the shape of Parsi theatre .