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Govt: 500-year-old stolen Hanuman idol to be repatriated to India soon

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Govt: 500-year-old stolen Hanuman idol to be repatriated to India soon

An idol of Lord Hanuman, which was stolen a decade ago from Tamil Nadu’s Ariyalur district and smuggled abroad, will be brought back to India soon. Built between the 14th and 15th centuries, during the period of the Vijayanagara empire, the statue was recently found in possession of a private buyer in Australia.

Union Culture Minister G Kishan Reddy tweeted on Wednesday: “Five hundred-year-old Lord Hanuman bronze idol stolen from Tamil Nadu temple, to be repatriated back to India. The stolen idol retrieved by US Homeland Security was handed over to @HCICanberra by US CDA.”

On Tuesday, it was returned to Indian High Commissioner Manpreet Vohra at Canberra by Australian Chargé d’Affaires Michael Goldman.

An official in the Archaeological Survey of India (ASI), which is the custodian of such artefacts till they are handed back to their state of origin, said: “This Anjaneyar (Hanuman) idol was burgled along with Sri Devi idol and Boodevi idol from the Varadharaja Perumal temple in Vellur village, Ariyalur, on April 9, 2012.”

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Officials said that in March 2014, the idol was auctioned by Christie’s for $37,500 to a buyer in Australia. Upon discovery and subsequent investigation, it was found to be the same idol that was stolen from India. The Tamil Nadu Police’s Idol Wing was assisted in the case by US Homeland Security.

Sources said the auction house and the buyer in Australia were unaware that the idol was stolen.

The idol will be brought back to India within a month and handed over to the Idol Wing. It will be restored to the temple from where it was stolen, the ASI official added.

Another prominent artefact that went missing two decades ago, the idol of Avalokiteshvara Padmapani (Buddha) at the Devisthan Kundalpur temple in Bihar, was handed over to the Indian consulate in Milan. It is also likely to reach New Delhi within a month. The statue was created between the 8th and 12th centuries, and smuggled out of the country around the year 2000.

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The 18th-century statue of Goddess Annapurna, stolen 100 years ago from Varanasi, was brought back from Ottawa, Canada, in October. It was installed at Kashi Vishwanath Temple in Varanasi a month later.

The government has retrieved around 212 artefacts, mainly statues and idols made of metal, stone, and terracotta, in the last seven years. According to the Ministry of Culture, most of them (including the 157 that were handed to Prime Minister Narendra Modi in New York last year) have come from the United States.

Complete News Source : The Indian Express

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According to Kangana Ranaut, she and Shah Rukh Khan represent the final generation of stars. “Stars nahin ban rahe hain OTT pe”

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According to Kangana Ranaut, she and Shah Rukh Khan represent the final generation of stars. “Stars nahin ban rahe hain OTT pe”

Kangana Ranaut has denied speculations about joining politics solely due to the box office failure of her films.

Kangana Ranaut, the BJP’s Lok Sabha candidate from Mandi for the 2024 elections, expressed gratitude towards Prime Minister Narendra Modi for her political entrance. In an interview with Times Now, she questioned whether she joined politics due to her movies’ poor box office performance, comparing it to Shah Rukh Khan’s previous unsuccessful films.

Reacting to her films’ box office failure, Kangana Ranaut

Kangana responded to a question about her career, stating that she has never had a flop. She compared Shah Rukh Khan’s films to Pathaan, Queen, and Manikarnika, noting that if she had a flop in Emergency, it would be a big hit. Kangana compared her career to Shah Rukh Khan, who had consecutive flops for ten years. She also mentioned that she had not had a single hit for 7-8 years before Queen, but after that, she had a few good movies.

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No stars from OTT?

The last generation of stars, known for their talent and demand, are now able to showcase their talents more through OTT. However, the author expresses a desire to involve themselves more with the real world, rather than being consumed by the arts, stating that they are not satisfied with the current status quo.

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