title: Frans Hals

text: From 1620 till 1640, he painted many double portraits of married couples on separate panels, the man on the left panel and his wife on the right panel. Only once did Hals portray a couple on a single canvas: "Couple in a garden: Wedding portrait of Isaac Abrahamsz. Massa and Beatrix van der Laan", (, Rijksmuseum Amsterdam).


title: Frans Hals

text: His style changed throughout his life. Paintings of vivid color were gradually replaced by pieces where one color dominated: black. This was probably due to the sober dress of his Protestant sitters, more than any personal preference. One simple way to observe this change is to look at all of the portraits that he painted through the years with his trademark pose leaning over the back of a chair:


title: Frans Hals

text: Later in his life, his brush strokes became looser, fine detail becoming less important than the overall impression. His earlier pieces radiated gaiety and liveliness, while his later portraits emphasized the stature and dignity of the people portrayed. This austerity is displayed in "" in 1641 and, two decades later, "The Regents" and "Regentesses of the Old Men's Almshouse" (), which are masterpieces of color, though in substance all but monochromes. His restricted palette is particularly noticeable in his flesh tints, which became greyer from year to year, until finally the shadows were painted in almost absolute black, as in the "".


title: Frans Hals

text: This tendency coincides with the period when Hals gained fewer commissions from the wealthy, and some historians have suggested that a reason for his predilection for black and white pigment was the low price of these colors as compared with the costly lakes and carmines. Both conclusions are probably correct, however, because Hals did not travel to his sitters, unlike his contemporaries, but let them come to him. This was good for business because he was exceptionally quick and efficient in his own well-fitted studio, but it was bad for business when Haarlem fell on hard times.


title: Frans Hals

text: As a portrait painter, Hals had scarcely the psychological insight of a Rembrandt or Velázquez, though in a few works, like the "Admiral de Ruyter", the "Jacob Olycan", and the "Albert van der Meer" paintings, he reveals a searching analysis of character which has little in common with the instantaneous expression of his character portraits. In these, he generally sets upon the canvas the fleeting aspect of the various stages of merriment, from the subtle, half ironic smile that quivers round the lips of the curiously misnamed "Laughing Cavalier" to the grin of the "Malle Babbe". To this group of pictures belong the "Lute Player", the "Gypsy Girl" and the "Laughing Fisherboy", whilst the "Marriage Portrait of Isaac Massa and Beatrix van der Laen" and the somewhat confused group of the "" at the Louvre show a similar tendency. Far less scattered in arrangement than this Beresteyn group, and in every respect one of the most masterly of Hals's achievements is the group called "", which was almost unknown until it appeared at the winter exhibition at the Royal Academy in 1906.


title: Frans Hals

text: According to the Frans Hals catalog raisonné, 1974, 222 known paintings can be ascribed to Hals. This list was compiled by Seymour Slive in 1970−1974 who also wrote an exhibition catalogue in 1989 and produced an update to his catalog raisonné work in 2014. In 1989, another authority on Hals, Claus Grimm, disagreed with Slive and published a shorter "œuvre" of 145 paintings in his "Frans Hals. Das Gesamtwerk".


title: Frans Hals

text: It is not known whether Hals ever painted landscapes, still lifes or narrative pieces, but it is unlikely. His debut for Haarlem society in 1616 with his large group portrait for the St George militia shows all three disciplines, but if that painting was his signboard for future commissions, it seems he was subsequently only hired for portraits. Many artists in the 17th century in Holland opted to specialise, and Hals also appears to have been a pure portrait specialist.


title: Frans Hals

text: Hals was a master of a technique that utilized something previously seen as a flaw in painting, the visible brushstroke. The soft curling lines of Hals's brush are always clear upon the surface: "materially just lying there, flat, while conjuring substance and space in the eye."


title: Frans Hals

text: Lively and exciting, the technique can appear "ostensibly slapdash" – people often think that Hals 'threw' his works 'in one toss' ("aus einem Guss") onto the canvas. This impression is not correct. Hals did occasionally paint without underdrawings or underpainting ("alla prima"), but most of the works were created in successive layers, as was customary at that time. Sometimes a drawing was made with chalk or paint on top of a grey or pink undercoat, and was then more or less filled in, in stages. It does seem that Hals usually applied his underpainting very loosely: he was a virtuoso from the beginning. This applies, of course, particularly to his genre works and his somewhat later, mature works. Hals displayed tremendous daring, great courage and virtuosity, and had a great capacity to pull back his hands from the canvas, or panel, at the moment of the most telling statement. He didn't 'paint them to death', as many of his contemporaries did, in their great accuracy and diligence whether requested by their clients or not.


title: Frans Hals

text: In the 17th century his first biographer, Schrevelius wrote: "An unusual manner of painting, all his own, surpassing almost everyone," on Hals's painting methods. For that matter, schematic painting was not Hals's own idea (the approach already existed in 16th century Italy), and Hals was probably inspired by Flemish contemporaries, Rubens and Van Dyck, in his painting method. Haarlem resident Theodorus Schrevelius was struck by the vitality of Hals's portraits which reflected 'such power and life' that the painter 'seems to challenge nature with his brush'.


title: Frans Hals

text: Frans influenced his brother Dirck Hals (born at Haarlem, 1591–1656), who was also a painter. Additionally, five of his sons became painters:


title: Frans Hals

text: Though most of his sons became portrait painters, some of them took up still-life painting or architectural studies and landscapes. Still-lifes formerly attributed to his son Frans II have since been re-attributed to other painters, however. Hals painted a young woman reaching into a basket in a still life market scene by Claes van Heussen.


title: Frans Hals

text: Other contemporary painters who took inspiration from Hals were, with the main cities they were based in:


title: Frans Hals

text: Hals had a large workshop in Haarlem and many students, though 19th century biographers questioned some of his pupils, since their painting styles were so dissimilar to Hals. In his "De Groote Schouburgh" (1718–21), Arnold Houbraken mentions Philips Wouwerman, Adriaen Brouwer, Pieter Gerritsz van Roestraten, Adriaen van Ostade and Dirck van Delen as students. Vincent Laurensz van der Vinne was also a student, according to his diary with notes left by his son Laurens Vincentsz van der Vinne. Roestraten was not only a student (the Haarlem archives contain a notarised document, which supports this fact), but he also became a son-in-law of Hals when he married his daughter Adriaentje. The Haarlem portrait painter, Johannes Verspronck, one of about 10 competing portraitists in Haarlem at the time, possibly studied for some time with Hals.


title: Frans Hals

text: In terms of style, the closest to Hals's work is the handful of paintings that are ascribed to Judith Leyster, which she often signed. She also 'qualifies' as a possible student, as does her husband, the painter Jan Miense Molenaer.


title: Frans Hals

text: In the 19th century, his technique influenced the work of impressionists and realists including Claude Monet, Édouard Manet, Charles-François Daubigny, Max Liebermann, James Abbott McNeill Whistler, Gustave Courbet, and in the Netherlands, Jacobus van Looy and Isaac Israëls. Lovis Corinth named Hals as his biggest influence.


title: Frans Hals

text: The post-impressionist artist Vincent van Gogh wrote to his brother Theo: 'What a joy it is to see a Frans Hals, how different it is from the paintings – so many of them – where everything is carefully smoothed out in the same manner.' Hals chose not to give a smooth finish to his painting, as most of his contemporaries did, but mimicked the vitality of his subject by using smears, lines, spots, large patches of color and hardly any details.


title: Frans Hals

text: The 1911 "Encyclopædia Britannica" has an article on Frans Hals by "P.G.K.", who observes: Hals's reputation waned after his death and for two centuries he was held in such poor esteem that some of his paintings, which are now among the proudest possessions of public galleries, were sold at auction for a few pounds or even shillings. The portrait of Johannes Acronius realized five shillings at the Enschede sale in 1786. The at the Alte Pinakothek sold in 1800 for £4: 5s (£4.25 in decimal notation).


title: Frans Hals

text: Nevertheless, Hals's art did not go altogether unappreciated in the time between his death in 1666 and the 1860s. In his "Groote Schouburgh" (1718–1721), Arnold Houbraken recorded Hals's life and praised his style, adding that the figures in one of the large group portraits: "... zoo kragtig en natuurlyk geschildert zyn, dat zy de aanschouwers schynen te willen aanspreken" ("... are painted so powerfully and naturally, they seem to want to talk to us"). Dutch artists known to have admired Hals enough to make copies of his paintings include Cornelis van Noorde (1731–1795) and Wybrand Hendricks (1744–1831). Empress Catherine the Great (reigned 1762–1796) acquired ten Hals works for her collection. Jean-Honoré Fragonard (1732–1806) visited the Alte Pinakothek to copy Hals's work, and Hals's influence is apparent in Fragonard's "portraits de fantaisie". Antoine Watteau (1684–1721) made study sketches after Hals. At the Royal Academy in London, Joshua Reynolds (1723–1792) lectured on Hals in 1774, praising his handling of faces and the consequent remarkable individuality of his portraits. Reynolds was less enthusiastic about Hals's characteristic loose finish, which he thought betrayed impatience. Subsequently, in 1781 Reynolds visited the Hals collection then at Haarlem Town Hall (now at the Frans Hals Museum) and soon after bought two Hals works. Reynolds's biographer James Northcote (1736–1831), who was a fellow portraitist, remarked that Hals could have caught a bird in flight, grasping it, as it were, from life – something he said Titian would not have been capable of.


title: Frans Hals

text: Starting at the middle of the 1860s his prestige rose again thanks to the efforts of critic Théophile Thoré-Bürger. With his rehabilitation in public esteem came the enormous rise in value, and, at the Secretan sale in 1889, the portrait of Pieter van den Broecke was bid up to 4,420 francs, while in 1908 the National Gallery paid £25,000 for the from the collection of Lord Talbot de Malahide.


title: Frans Hals

text: Hals's work remains admired, particularly with young painters who can find many lessons about practical technique from his unconcealed brushstrokes. Hals's works have found their way to countless cities all over the world and into museum collections. From the late 19th century, they were collected everywhere—from Antwerp to Toronto, and from London to New York. Many of his paintings were then sold to American collectors.


title: Frans Hals

text: Several of his most important works are owned by the town council of Haarlem. They are now at the Frans Hals Museum in the Groot Heiligland, Haarlem. Before 1913 they hung in the Town Hall, where impressionists went to see them.


title: Frans Hals

text: "The Banquet of the Officers of the St George Militia Company in 1616" appears on the restaurant wall in the 1989 Peter Greenaway film "The Cook, the Thief, His Wife & Her Lover".


title: Bindle

text: A bindle is the bag, sack, or carrying device stereotypically used by the American sub-culture of hobos. The bindle is colloquially known as the "blanket stick", particularly within the Northeastern hobo community.


title: Bindle

text: A hobo who carried a bindle was known as a bindlestiff. According to James Blish in his novel, "A Life for the Stars", a bindlestiff was specifically a hobo who had stolen another hobo's bindle, from the colloquium "stiff", as in steal.


title: Bindle

text: In modern popular culture the bindle is portrayed as a stick with cloth or a blanket tied around one end for carrying items, with the entire array being carried over the shoulder. This transferred force to the shoulder, which allowed a longer-lasting and comfortable grip, especially with larger heavier loads. Particularly in cartoons, the bindles' sacks usually have a polka-dot or bandanna design. However, in actual use the bindle can take many forms.


title: Bindle

text: One example of the stick-type bindle can be seen in the illustration entitled "The Runaway" created by Norman Rockwell for the cover of the September 20, 1958, edition of "The Saturday Evening Post". This depiction has led to a standard in modern cartoons for if a character runs away.


title: Bindle

text: Though bindles are virtually gone, they are still widely seen in popular culture as a prevalent anachronism.


title: Bindle

text: The term "bindle" may descend from the German word "Bündel", meaning something wrapped up in a blanket and bound by cord for carrying ("cf." originally Middle Dutch "bundel"), or have arisen as a portmanteau of "bind" and "spindle".


title: Bindle

text: "Bindle" is also a term used in forensics. It is the name for a piece of paper folded into an envelope or packet to hold trace evidence: hairs, fibers or powders. Similarly, "bindle" is sometimes used to describe a small package of powdered drugs.


title: Murder of Pradyuman Thakur

text: Pradyuman Thakur was a seven year old student at Ryan International School, in Gurugram, in the state of Haryana in India. His body was found with injuries to the neck outside a washroom at the school on 8 September 2017, and he later succumbed to his wounds. A bus conductor who provided assistance with carrying the injured Pradyuman was initially charged with the murder, and allegedly confessed to police, but was later found to be innocent. Four police officers were later charged with framing him for the murder. Following a transfer of the case to the Central Bureau of Investigation, an unnamed sixteen year old student from the same school has since been charged with his murder. The case is still ongoing, and the trial proceedings have not begun as of December 2021.


title: Murder of Pradyuman Thakur

text: Thakur's death attracted widespread public concern and criticism for the conditions regarding safety in schools in Delhi NCR. A number of government reviews of Ryan International School's functioning were conducted following the investigation into Thakur's death, and revised guidelines for safety in schools were issued by both, State and Union governmental bodies.


title: Murder of Pradyuman Thakur

text: On 8 September 2017, Barun Chandra Thakur drove his 7 year old son, Pradyuman, and 11 year old daughter Vidhi, to Ryan International School, in Gurugram, Haryana, where both children were students. Thakur later stated that he had begun driving his children to school instead of sending them by school bus, because of safety concerns.


title: Murder of Pradyuman Thakur

text: Thakur left his children at the school gates at 7:55 a.m. At 8:08 a.m., several students alerted school staff that Pradyuman had been injured, and was bleeding from two neck wounds, outside a washroom near his classroom, on the ground floor of the building. Staff members asked a school bus conductor, Ashok Kumar, to assist them with carrying Pradyuman to a car belonging to one of the school teachers, and drove Pradyuman to a nearby hospital in Badshahpur. He was transferred from there to Artemis Hospital in Gurugram, where he was declared dead on arrival.


title: Murder of Pradyuman Thakur

text: Pradyuman's parents, Barun and Sushma Thakur, were contacted by the school authorities after he was found, at 8:15 a.m, and went directly to the hospital where he had been taken. They later stated to press that school officials had not informed them about the injuries their son had suffered, and that the police had not been called by the school, but instead had been called by themselves.


title: Murder of Pradyuman Thakur

text: Several hundreds attended the last rites for Pradyuman, who was cremated with police protection, in Gurugram.


title: Murder of Pradyuman Thakur

text: The Haryana State Police were alerted about the incident by Pradyuman's parents, and arrived at the school at 11:30 AM on the same day. Police officials stated to media that a blood stained knife was recovered from the area where Pradyuman was found, and a police forensics team examined the area and collected evidence, including fingerprints, from the area. CCTV footage recovered from the hallway near the scene of the crime showed Pradyuman attempting to crawl out of the washroom, while bleeding from the neck, before collapsing in the hallway. Police detained and questioned ten persons, and observed blood stains on the shirt of Ashok Kumar, the school bus conductor who had assisted with carrying Pradyuman to a car which took him to the hospital. A cellphone video recorded by a witness at the scene of the crime showed school authorities asking Kumar to help pick up Pradyuman to transport him to the hospital. Kumar was arrested by the Haryana Police in connection with the murder at 12 noon, on the same day.


title: Murder of Pradyuman Thakur

text: The Deputy Commissioner of Police, Sumit Kumar, stated that Kumar had arrived with a school bus at 7:50 AM and had gone to the ground floor washroom in the school building, which was commonly used by staff and students. According to the police, he was carrying a knife that he had found in the bus tool kit, and had gone to the washroom to rinse off the knife before taking it home for his own use. When Pradyuman entered the washroom, the police suggested that Kumar attempted to sexually assault Pradyuman, and on meeting with resistance, had attempted to murder him with the knife, which was left behind at the scene of the crime. Haryana Police also initially told a Gurugram court that they believed an additional suspect was involved, and that an attempt had been made to tamper with the crime scene. However, this statement was contradicted by a senior police official who stated to the press that "Only Ashok has murdered Pradyuman, no other person is involved." Police officials alleged that Kumar had confessed to the murder while in custody.


title: Murder of Pradyuman Thakur

text: The arrest of Ashok was met with public doubts and concern, including from Pradyuman Thakur's family. Thakur's mother stated later that she had believed the conductor was being framed. Saurabh Raghav, a bus driver working for Ryan International School on the bus which Ashok Kumar conducted, later stated that he was pressured by the Gurugram Police to state that the knife found at the scene of the murder was part of the bus tool kit. A medical examination of Pradyuman Thakur's body ruled out any sexual assault. Another witness, a school gardener named Harpal Singh, who was one of the first on the scene to find Pradyuman, stated that he had not seen any bloodstains on Kumar's clothes before he assisted with picking up Pradyuman to take him to hospital. Harpal Singh also stated that he had also been repeatedly physically assaulted by the police in an attempt to force him to confess to the murder.


title: Murder of Pradyuman Thakur

text: Kumar maintained publicly that he was innocent and had not committed the murder. He later stated that he had been tortured by the Haryana Police while in custody, and that he had confessed to prevent being further tortured. Kumar stated that he was denied food for two days while in custody, and was repeatedly slapped and beaten by police officials.


title: Murder of Pradyuman Thakur

text: On 15 September 2017, the case was transferred to the Central Bureau of Investigation, a federal investigative agency, after Pradyuman's parents petitioned the state government and the Supreme Court of India. The CBI assumed custody of the persons arrested by the Haryana Police, including Thakur, and reopened the investigation. On 7 November 2017, the CBI arrested an unnamed student for the murder of Pradyuman Thakur. The Central Bureau of Investigation subsequently cleared Kumar of any involvement in the murder.


title: Murder of Pradyuman Thakur

text: Following this, on 22 November 2017, Kumar was granted bail by a District Court in Gurugram. On 28 February 2018, Kumar was acquitted of all charges relating to the murder of Pradyuman Thakur by a special court.


title: Murder of Pradyuman Thakur

text: At the time of Kumar's arrest, a Bar Association of lawyers in Gurugram had passed a resolution stating that its members would not defend Kumar against the accusations of murder of Pradyuman Thakur. The Bar Association subsequently retracted their position when he was released on bail after being cleared by the CBI. Kumar's family stated that he had eventually been able to obtain legal representation after reaching out through personal connections. The Supreme Court subsequently disciplined the Bar Association for this resolution.


title: Murder of Pradyuman Thakur

text: Following Ashok Kumar's release, the Haryana Police stated that while Ashok Kumar had been arrested as part of an ongoing investigation, and that no charges had been filed against him at the time. The National Human Rights Commission ordered the Haryana Police to compensate Kumar for the wrongful arrest, but he declined to accept, terming the compensation to be insufficient. Kumar has sought legal action against the police officers who arrested him. In January 2021, four police officers of the Gurugram Police were charged with framing Ashok Kumar, by the Central Bureau of Investigation. The charges including offences relating to falsifying documents, torture, and criminal conspiracy. They have not yet been arrested on these charges, as of November 2021.


title: Murder of Pradyuman Thakur

text: The initial investigation of the murder by Gurugram Police was met with wide public criticism, including by Pradyuman's father, Barun Thakur. Barun Thakur filed a petition at the Supreme Court, asking for the investigation to be transferred to the Central Bureau of Investigation (CBI). On 15 September 2017, Haryana Chief Minister Manohar Lal Khattar announced that the case had been transferred to the CBI in response to requests by the parents of Pradyuman Thakur, although he affirmed that in his view, the investigation had been correctly handled by the Haryana Police. The Haryana Police also denied any mishandling of the investigation, stating that their findings were preliminary and that the investigation had still been ongoing when it was transferred to the CBI. Pradyuman Thakur's family stated that they had asked the CBI to investigate the possibility of the involvement of other students at the school in Pradyuman's death, as they had received information that some older students had consumed alcohol in the presence of younger students and had threatened the younger students to prevent them from telling school authorities.


title: Murder of Pradyuman Thakur

text: The CBI sent a forensic team to the school to review the evidence and scene of crime independently from the Haryana Police investigation on 22 September 2017 . They took over custody of the persons arrested by the Haryana Police. Following their investigation, the CBI identified a different knife as the murder weapon, stating that they had recovered it from the scene of the crime and that it had been hidden inside one of the washrooms. This contradicted the Haryana Police's statement that a knife recovered at the scene of the crime, and identified as part of the school bus tool kit, was the murder weapon. The CBI also reviewed CCTV footage from the crime scene and found that there were some students visible in the footage apart from Pradyuman Thakur. The CBI worked with the school administration to identify these students and then questioned them. They re-examined forensic evidence and found no evidence that Ashok Kumar, the bus conductor arrested by the Haryana Police, was involved in the murder. A forensic investigation by the CBI found that Pradyuman's body had bloodstains that were not matched to himself, and that Kumar was also ruled out forensically as a match. The CBI also stated that the Haryana Police's claim that a semen sample had been found on Pradyuman's body and had been sent for testing could not be confirmed, and that they could not find any evidence that such a sample had been found or tested.


title: Murder of Pradyuman Thakur

text: On 7 November 2017, the CBI arrested an unnamed class XI student, aged 16, from Ryan International School for Pradyuman Thakur's murder. The student was one of the first on the scene of the crime, and had informed school authorities that another student had been injured. The Haryana Police later stated that while they had questioned the unnamed student as a witness immediately after the murder, they had found no evidence suggesting that he was responsible for the death of Pradyuman Thakur at the time.


title: Murder of Pradyuman Thakur

text: Following the arrest of the unnamed student, the Juvenile Justice Board, a state body constituted under the Juvenile Justice Act to determine whether juveniles arrested of offenses should be tried as children or adults, gave the CBI permission to interrogate the student. Based on CCTV footage, the CBI questioned the unnamed student, who could be seen on the footage exiting the washroom around the time that the crime was committed. The CBI also stated later that cellphone records and forensic evidence were used in order to identify the student. Following the arrest, the CBI also took the arrested unnamed student back to the school and recreated the scene of the crime. The CBI stated that they were able to establish that the knife recovered from the washroom had been purchased by the unnamed student at a local market, a few days earlier. They also seized his computer and phone and stated that the student's social media was being investigated for evidence regarding the crime.


title: Murder of Pradyuman Thakur

text: The CBI further stated to a Juvenile Court in Gurugram that on questioning, the unnamed student had confessed to the murder, in the presence of his father, independent witnesses, and a juvenile welfare officer. The CBI stated that the student had not been performing well academically, and had been unable to write a scheduled exam on the day of the murder. He was also reported to have three more examinations and a parent-teacher meeting scheduled for that week. A statement from the CBI indicated that they believed the unnamed student killed Pradyuman to postpone his examinations and parent-teacher meetings at the school. A CBI official stated to press that the student "...believed that a sensational act would either force the school to shut down for a few days or create enough disruption to cancel the exams and the parent-teacher meeting." The CBI has initially stated that they believe that the choice of victim was random. The unnamed student was quoted as later confirming to the Juvenile Justice Board that he knew Pradyuman as they attended the same music class. The unnamed student's father has subsequently accused the CBI of torturing his son in order to elicit a false confession.


title: Murder of Pradyuman Thakur

text: Following the murder of Pradyuman Thakur, parents of several students filed a police complaint stating that the school had been negligent in maintaining security measures, and particularly pointed out a collapsed boundary wall that allowed access to school grounds, as well as several dysfunctional CCTVs on the school premises, resulting in the arrest of several school officials. A team of Haryana Police travelled to Mumbai to investigate the owners of Ryan International School.


title: Murder of Pradyuman Thakur

text: The founders of the Ryan Group of Schools, Augustine and Grace Pinto, and their son, Ryan Pinto, applied for and were denied anticipatory bail at the Bombay High Court, with Pradyuman Thakur's father filing an application to the court opposing their plea. They were also denied anticipatory bail from the Punjab and Haryana High Court. On appeal to the Supreme Court, senior officials and owners of the Ryan International School were granted a bail order, and the Supreme Court described the proceedings against them as a 'media trial'. Ryan International School management made a motion to the Supreme Court to transfer the case outside Haryana to ensure a fair trial. The court began hearing the case on 18 September 2017.


title: Murder of Pradyuman Thakur

text: The Central Board of Secondary Education investigated Ryan International School, and reported to the Supreme Court that school authorities had been negligent in maintaining safety and security conditions on the school premises. The CBSE further found that the school had failed to report the incident to the police when it occurred, and that the police had been contacted by the victim's family.


title: Murder of Pradyuman Thakur

text: In order to determine how the trial would proceed, the Juvenile Justice Board set up a committee which included a psychologist from the Pandit Bhagwat Dayal Sharma Post Graduate Institute of Medical Sciences (PGIMS, Rohtak) for an expert opinion on the accused unnamed student. On 11 November 2017, the unnamed student was placed in a juvenile home for observation, following an order from a juvenile court in Gurugram. The Court had also appointed a welfare officer to act as a liaison for the unnamed student. The Juvenile Justice Board is responsible for determining whether the unnamed student would be tried as an adult or a juvenile. If tried as a juvenile, in accordance with the Juvenile Justice Act 2015, the unnamed student can only be remanded to a correctional facility for youth where he will remain until the age of 21, after which he may be transferred to jail to complete a sentence of punishment. In such a case, he cannot be sentenced to life imprisonment or the death penalty. If tried as an adult, he would face the normal conditions of trial under the Indian Penal Code and Code of Criminal Procedure.


title: Murder of Pradyuman Thakur

text: After conducting evaluations on the unnamed student's mental and physical state, the Juvenile Justice Board declared on 20 December 2017, that he would be treated as an adult and undergo a regular trial in court. The Juvenile Justice Board noted that the student "...had the adequate ability to understand the consequences of his acts." The Board had also ordered an investigation into the unnamed student's conduct, based on allegations that his behavior in school had been "aggressive". The Board also heard an application from Pradyuman Thakur's family, asking that the unnamed student be tried as an adult.


title: Murder of Pradyuman Thakur

text: In 2018, the Punjab and Haryana High Court heard an appeal against the decision of the JJB to have the unnamed student tried as an adult. They remanded the matter back to the JJB for reconsideration. An appeal was filed against this decision at the Supreme Court, which stayed all proceedings in the case until it had determined the question of whether the student should be tried as a juvenile or adult. As of November 2021, the trial proceedings are yet to begin, as the Supreme Court has not made a decision in this regard. In October 2022, the Supreme Court granted interim bail to the unnamed accused.


title: Murder of Pradyuman Thakur

text: The news of Pradyuman's murder resulted in protests by parents at the Ryan International School and several people were subsequently arrested for vandalizing school property. Police officials responded with a baton charge on the protesters, and one police official was subsequently suspended in connection with this. Barun Thakur appealed for peace, publicly accused the school of being negligent regarding the safety of the students, and moved the Supreme Court of India for an investigation into the school, as well as for a transfer of the case to the Central Bureau of Investigation. A police force was deployed inside and around the school in response to the anxious parents who barged into the school and began throwing furniture as well as breaking glass awards cases. In response to these protests, the Chief Minister of Haryana, Manohar Lal Khattar, assured parents that strict action would be taken against the criminal.


title: Murder of Pradyuman Thakur

text: On 11 September 2017, the Supreme Court issued a notice to the Central Government, the Haryana Government, and the Central Board of Secondary Education after the child's father, Barun Thakur, petitioned for a CBI probe into his son's murder and into the safety guidelines for children in school. Following this, two officials of the Ryan International School were arrested after an investigation pointed out serious security lapses. For example, most of the school's closed-circuit television (CCTV) cameras were not working, and there was no CCTV camera in the area of the incident.


title: Murder of Pradyuman Thakur

text: Ryan International School principal was reinstated at another branch after a short suspension. Neerja Batra was placed as a teacher at a school in Gurugram's sector 40 by Deputy Commissioner, Vinay Pratap Singh. This relocation by the administration angered Thakur's parents who called the principal "irresponsible". Since Batra revealed the insufficient security, and had no financial resources to deal with the situation herself, she was deemed not responsible for the murder of the young child.


title: Murder of Pradyuman Thakur

text: Due to the incident, many students have come forward with stories of violence conducted by their teachers and principal. As a result, many measures have been taken by the Ryan Group, such as: metal detectors in school, female security guards, bathrooms not being open between school periods, and parents not being allowed to enter the school during school hours.


title: Murder of Pradyuman Thakur

text: Following the murder of Pradyuman Thakur, the Haryana government instituted a number of policies aimed at improving school safety. Mandatory police checks on school staff, including transport staff were instituted. The Ministry of Human Resources and Development announced an initiative to train school teachers to address mental health issues following the murder.


title: Murder of Pradyuman Thakur

text: In 2018, director and screenwriter Vishal Bhardwaj stated that he would be making a film based on the murder of Pradyuman Thakur.


title: Murder of Pradyuman Thakur

text: A Book named "The Mysterious Killer of Class 2 Student" written by B. R. Sekar has been published on August 5, 2018. Even though the book contain a similar plot to the incident, it is not fully based on the real story.


title: Murder of Pradyuman Thakur

text: A documentary series named "A Big Little Murder" directed by Mayurica Biswas was released on Netflix at August 2021. However, The Delhi high court has restrained the platform from showing the documentary. The ruling was done in favor of the Gurugram based Ryan International School, who pleaded against the streaming of the documentary. The court ruled as "The defendants are restrained from streaming, broadcasting, telecasting etc. the documentary titled "A Big Little Murder" or any of its abridged versions. The court clarify that the defendants may stream the said documentary after deleting all references to the plaintiff school in question and deleting the portion where the building of the school is depicted". As of January 2022, the documentary is now available on Netflix Australia.


title: Michael Smith (darts player)

text: Michael Smith (born 18 September 1990) is an English professional darts player. Nicknamed "Bully Boy", he plays in Professional Darts Corporation (PDC) events. He was the 2013 PDC Under-21 World Champion and has since won 17 titles on the PDC Pro Tour. He won his first PDC major title at the 2022 Grand Slam of Darts, having previously been a runner-up at the World Championship (2019 and 2022), the Premier League (2018), the World Matchplay (2019), the European Championship (2022), the UK Open (2022), The Masters (2020) and the World Series Finals (2018).


title: Michael Smith (darts player)

text: Smith attended Saint Cuthbert's High School in St Helens. When he was 15 he fell off his bike on the way to school breaking his hip, which required him to use crutches for 16 weeks. During that period, Smith threw his first 180 whilst on crutches. After leaving school, he took a joinery course at college, but he decided to drop out with one exam remaining to play in a darts tournament instead, a decision that he has described as the best of his life. He was a regular winner of local darts events and made his debut in a PDC major at the 2009 UK Open where he lost 6–5 to Dave Ladley in the first round.


title: Michael Smith (darts player)

text: Smith reached the last 32 of the 2010 UK Open, knocking out Peter Manley and Matt Clark before losing to Mervyn King. He was one of a number of young players to make a significant impact in the tournament, along with William O'Connor, Arron Monk and Reece Robinson.


title: Michael Smith (darts player)

text: He was the number four seed for the 2011 PDC Under-21 World Championship, where he lost in the quarter-finals to Benito van de Pas.


title: Michael Smith (darts player)

text: On 26 February 2011, Smith hit a nine-dart finish in a PDC Youth Tour event in Barnsley, against Michael van Gerwen. He reached the final but lost to Shaun Griffiths. The following day, he won his first PDC Pro Tour event, defeating Dave Chisnall 6–5 in the final of the 2011 UK Open Qualifier 2.


title: Michael Smith (darts player)

text: Smith had now become a full-time professional on the PDC darts Circuit and made his debut at the World Championships in 2012, losing 0–3 to Co Stompé in the first round. Smith only hit 3 of his 14 darts at a double during the match.


title: Michael Smith (darts player)

text: Smith won his second professional tournament in January 2012, at the Players Championship Event 2 in Benidorm. He won seven matches, concluding with a 6–3 victory over Justin Pipe to take the title and the £6,000 prize money. In April, he earned a place in the European Tour Event 1 in Vienna by defeating Les Wallace and Shaun Griffiths in the UK qualifier. He played Jamie Caven in the first round and hit a nine dart finish on his way to a 6–4 win, but then lost 5–6 to Mark Walsh in round two. His results meant he qualified for the World Matchplay for the first time in his career via the ProTour Order of Merit. He faced Raymond van Barneveld in the first round and was beaten 4–10. Smith also played in the World Grand Prix for the first time, losing to Phil Taylor 0–2 in the first round. After all 33 ProTour events of 2012 had been played, Smith was 25th on the Order of Merit, inside the top 32 who qualified for the Players Championship Finals. It was Smith's first appearance in the tournament and he beat Ian White 6–5 in the first round before losing 6–10 to Kim Huybrechts.


title: Michael Smith (darts player)

text: Smith's position on the ProTour Order of Merit also saw him qualify for the 2013 World Championship, as he took the second of sixteen places that were awarded to the highest non-qualified players. However, he ran into an in-form Raymond van Barneveld in the first round who averaged 108.31 as Smith could only win one leg during the match in a 0–3 defeat.


title: Michael Smith (darts player)

text: Smith reached the final of the third UK Open Qualifier in March, but was beaten 2–6 by Michael van Gerwen.


title: Michael Smith (darts player)

text: Smith won the 2013 PDC World Youth Championship with a 6–1 victory over Ricky Evans, which was broadcast just before the 2013 Premier League Darts Final. Smith led van Barneveld 3–0 in the third round of the UK Open but went on to lose 8–9. In October, he advanced to the semi-finals for the second time in 2013 at the 12th Players Championship but his run was ended with a 6–3 defeat to Kevin Painter. His youth title earned him a place in the Grand Slam of Darts and he produced an impressive display in his first group match against Dave Chisnall as from 3–1 down he hit legs of 11, 12, 14 and 13 darts to win 5–3 with an average of 103.17. However, he then lost 5–2 to Scott Waites and 5–1 to Ted Hankey to finish third in Group H and be eliminated from the tournament.


title: Michael Smith (darts player)

text: Smith broke into the world's top 32 on the Order of Merit just before the cut-off for the 2014 World Championship to qualify through the main ranking list for the first time. He beat Morihiro Hashimoto 3–1 in the first round.


title: Michael Smith (darts player)

text: He then defeated reigning and 16-time world champion Phil Taylor 4–3 in the second round, taking out the bullseye on a 128 finish to win the match. In the next round Smith hit a 136 finish, with his opponent Peter Wright waiting on 41, to lead 3–2 but only won one more leg after this to lose 4–3. He was named the PDC's Young Player of the Year at the Annual Awards in January. Smith won through to the final of the sixth UK Open Qualifier of the year but averaged just 70.94 as he was whitewashed 6–0 by Michael van Gerwen. A rematch against Wright followed in the third round of the UK Open with Smith throwing for the match in the final leg, but he missed a total of seven darts at doubles to lose 9–8. His second final of 2014 was at the fifth Players Championship, which he reached by beating Raymond van Barneveld 6–3 in the quarter-finals and Gary Anderson 6–4 in the semis, but was again whitewashed in the decider, this time by Brendan Dolan.


title: Michael Smith (darts player)

text: At the World Matchplay he recorded a 10–8 victory over Justin Pipe before losing 13–6 to Taylor in the second round. At the European Darts Grand Prix, Smith eliminated Gary Anderson, Adrian Lewis and Stephen Bunting en route to facing Mervyn King in the final. Smith missed too many doubles throughout the match, including one to claim the title, as he lost his third ranking final of the year 6–5. Another final followed a week later at the 14th Players Championship where he lost 6–4 to Van Gerwen. Smith's rich vein of form continued into the European Darts Trophy as he reached the final and came back from 3–0 against Van Gerwen to win the title 6–5, which included a 158 finish to break throw in the ninth leg. He suffered first round exits at the World Grand Prix and European Championship, but topped Group F at the Grand Slam by winning all three of his games. Smith knocked out Christian Kist 10–5 but was then beaten 16–3 by Taylor in the quarter-finals, losing 13 consecutive legs from 3–3. His year in the major events concluded with a 6–4 defeat to Andy Smith in the opening round of the Players Championship Finals.


title: Michael Smith (darts player)

text: After seeing off Mensur Suljović 3–1 in the first round of the 2015 World Championship, Smith beat Brendan Dolan 4–2 after having been 2–0 down, to set up a third round tie with fellow St. Helens player Stephen Bunting. Despite taking out checkouts of 170 and 132, Smith was 3–0 down, before finding his scoring game to restrict Bunting to one leg as he closed the gap to 3–2. Ultimately his slow start to the match proved costly as he lost the next set to be knocked out 4–2 in a game that saw each player average 102 and hit eight 180s apiece. Smith won the fifth UK Open Qualifier by beating Adrian Lewis 6–5. A rematch with Bunting followed in the third round of the UK Open, with Smith missing two match darts in the deciding leg to be beaten 9–8. He claimed the second European Tour title of his career by winning the International Darts Open with a 6–3 victory over Benito van de Pas in the final. Smith suffered a 10–4 defeat to Gerwyn Price in the first round of the World Matchplay, but retained his European Darts Trophy title by seeing off Michael van Gerwen in the final for the second year in a row. At the World Grand Prix he punished two missed match darts from Price to beat him 2–1, but Smith then lost from 2–0 up in sets against Jamie Lewis in the second round. Wins over Wayne Jones, Lewis and Andy Fordham saw Smith top his group at the Grand Slam and he then averaged 104.59 to beat Dave Chisnall 10–7 and reach the quarter-finals. Smith's first major event semi-final soon followed as he defeated Lewis 16–11, but he was heavily beaten 16–6 by Van Gerwen.


title: Michael Smith (darts player)

text: At the 2016 World Championship wins over Jeffrey de Zwaan, Steve Beaton and Benito van de Pas saw Smith reach the quarter-finals for the first time, where he was 3–0 ahead of Raymond van Barneveld. He could only win two legs as Van Barneveld moved 4–3 up, but he took the next to take the match to a ninth and final set. Smith finished 130 on double five to move within a leg of the match and missed one dart to win it, before Van Barneveld won four legs in a row to end Smith's event. Smith made his debut in the Premier League after receiving a wildcard from the PDC. On the opening night he played twice due to Gary Anderson being ill. Smith lost his first matches 7–2 to Peter Wright and 7–1 to Adrian Lewis. His first point came in week three courtesy of a 6–6 draw with Dave Chisnall. Michael van Gerwen scored a world record three-dart average of 123.40 against Smith in a 7–1 win, but the following week Smith got his first Premier League victory by beating Van Barneveld 7–5. However, Smith lost his last two matches to finish bottom of the table and be eliminated from the event.


title: Michael Smith (darts player)

text: Smith played in the final of the 2016 Austrian Darts Open and lost 6–4 to Phil Taylor. He saw off Simon Whitlock 10–6 at the World Matchplay, before losing 11–7 to Steve Beaton in the second round and was knocked out 2–1 in sets by Alan Norris in the first round of the World Grand Prix. Smith was also eliminated in the first round of the European Championship and Players Championship Finals.


title: Michael Smith (darts player)

text: Smith entered the 2017 World Championship without a match win since September 2016 having lost 10 in a row. He took the deciding set of his first round match with Ricky Evans without dropping a leg and said he had been fighting his demons recently. In the next round he missed five darts to eliminate Mervyn King 4–1, but kept his composure to eventually see him off 4–3. Smith went 3–1 up on James Wade in the third round, but after Wade took the next set, Smith lost six legs in a row to be eliminated 4–3. He missed two darts to win the third UK Open Qualifier as Peter Wright beat him 6–5. Four 6–5 wins saw him reach the final of the Gibraltar Darts Trophy and at 4–4 he took out a 132 finish with Mensur Suljović waiting on 56 to break throw and took home his first title in nearly two years with a 6–4 victory. Smith qualified for the 2017 European Championship as third seed, losing in the quarter-final to Rob Cross.


title: Michael Smith (darts player)

text: Smith was thirteenth seeded at the 2018 PDC World Darts Championship, losing in the second round to eventual champion Rob Cross, having missed two match darts. Following the championship, Smith was invited into the 2018 Premier League, the second invitation to the Premier League he had received. Smith finished the league phase in second place, qualifying for the play-offs. He beat Gary Anderson in the semi-final before losing in the final 4–11 to Michael van Gerwen.


title: Michael Smith (darts player)

text: 2018 also saw Smith win his first event on the World Series of Darts, taking the 2018 Shanghai Darts Masters with an 8–2 win over Rob Cross in the final. Smith reached the final of the 2018 World Series of Darts Finals, missing five darts to take the title in a 10–11 defeat to James Wade.


title: Michael Smith (darts player)

text: Smith was tenth seed at the 2019 PDC World Darts Championship. In the second round, he eliminated Ron Meulenkamp before beating John Henderson and Ryan Searle to reach the quarter-final. He reached his first World Championship semi-final with a 5–1 victory over Luke Humphries, then beat Nathan Aspinall in the semi-final to set up a final against Michael van Gerwen. Smith was defeated in the final, 7–3.


title: Michael Smith (darts player)

text: He reached the final of the 2019 World Matchplay, where he lost 18–13 to Rob Cross despite a comeback from 9–0 down.


title: Michael Smith (darts player)

text: Smith suffered an early exit at the 2020 PDC World Darts Championship, losing to Luke Woodhouse in the second round. Smith missed three match darts to beat Peter Wright in the final of the 2020 Masters, losing 11–10 in a last leg decider. He had previously defeated Mensur Suljović, Adrian Lewis and Nathan Aspinall to reach the final.


title: Michael Smith (darts player)

text: On 27 February 2020, in week 4 of the 2020 Premier League, Smith hit his first televised nine-dart leg in a 7–5 victory over Daryl Gurney.


title: Michael Smith (darts player)

text: Smith had another early exit at the 2021 PDC World Darts Championship, losing again in the second round, this time to Jason Lowe.


title: Michael Smith (darts player)

text: At the 2021 Grand Slam of Darts he beat Michael van Gerwen 16–13 to reach the semifinals, where he eventually lost 16–12 to Peter Wright. Smith led 12–8, but Wright won eight consecutive legs to clinch a place in the final against Gerwyn Price.


title: Michael Smith (darts player)

text: Smith began his 2022 PDC World Darts Championship campaign with a comfortable 3–0 win over Ron Meulenkamp, before defeating William O'Connor 4–2. The next two games saw him take on two of the most in-form players from the 2021 season; first defeating Jonny Clayton in a last-set shootout that went to extra legs; and then triumphing over defending champion Gerwyn Price, surviving two match darts before winning the final set. In the semi-final Smith took an early lead over James Wade and eventually triumphed 6–3, reaching the final for the second time in his career. Smith lost the final 7–5 to Peter Wright and claimed £200,000 as runner-up.


title: Michael Smith (darts player)

text: Smith reached the final of the UK Open in March, but lost 11–10 to Danny Noppert despite Noppert only averaging 84.82 to see his 7th final defeat. He recovered well to win a night event on the final standard night of the 2022 Premier League, but came 7th in the table and did not qualify for the playoff places. His good form after the UK Open continued, winning 3 Pro Tour titles in a short period and performing well in the European Tour.


title: Michael Smith (darts player)

text: In July, Smith reached the last 16 of the 2022 World Matchplay, where he was beaten 11–7 by Dirk van Duijvenbode. In October, Smith reached an eighth major televised final, losing 11–8 to namesake Ross in the European Championship final. The following month, Smith finally won his first major title at his ninth attempt in the 2022 Grand Slam of Darts. He consecutively defeated Lisa Ashton, Joe Cullen, Ritchie Edhouse, Rob Cross, Joe Cullen (second time in the tournament), and Raymond van Barneveld before defeating Nathan Aspinall 16–5 in the final.


title: Zaira Nara

text: Second daughter of Andrés Nara and Nora Colosimo, Zaira is the junior sister of Wanda Nara, and was ranked 47th in a list of the world's sexiest women published by FHM magazine in 2010. She is of Lebanese descent. She has modelled for brands such as Herbal Essences, McDonald's, Promesse, La Serenísima, Gillette, Pantene and Falabella. She is also a social media influencer with over 4,5 million of followers on Instagram, over 2,5 million on Twitter and over 1,2 million on Facebook. She has also been featured in the cover of the Argentine editions of "Cosmopolitan" and "Women's Health". She also has a personal blog and a personal online business named "Zaira Beauty".


title: Zaira Nara

text: Zaira Nara was born in Boulogne Sur Mer, Argentina. She began her career as a child model and professionally in adolescence for the agency "Dotto Models", but later in 2008 she left that agency to join "Chekka Buenos Aires", the agency of Mauricio Catarain in which she won numerous advertising contracts to be the image of prestigious brands of clothing, lingerie and cosmetics. In 2010 she competed as contestant in the Marcelo Tinelli's show "Bailando 2010", being eliminated ninth, and in the same year she became also the host of "La Cocina del Show". In 2011 she became the winner of the "Balón Rosa de Oro" (the "Pink Ballon d'Or"), an Argentine female prize, and replaced her elder sister Wanda in "Bailando 2011" when the latter left the show because of her third pregnancy.


title: Zaira Nara

text: On 9 March 2011, after two years of relationship, the Diego Forlán announced on his Twitter page that he and Zaira were engaged to be married: however, in June 2011, this couple announced they were breaking their engagement and Zaira stated «Now what I can say is thank goodness I didn't get married!» after the breakup; from October 2011 to November 2014 she dated Juan Mónaco.


title: Zaira Nara

text: Zaira became engaged to horseback rider Jakob von Plessen in April 2015; they announced Zaira's first pregnancy in October 2015; Zaira and Jakob have a daughter, named Malaika "Mali" von Plessen Nara, born on 1 April 2016. Zaira announced her second pregnancy during her live television program "Morfi, todos a la mesa" (aired by Telefe) on 15 August 2019; she and Jakob have a son, Viggo Silvestre Barón von Plessen Nara, born on 6 February 2020.


title: Vertical Horizon

text: Vertical Horizon is an American alternative rock band, formed in Washington, D.C. Vocalists and guitarists Matt Scannell and Keith Kane started the band in 1991 when they were students at Georgetown University. The band have undergone multiple line-up changes since their formation, with Scannell overseeing every iteration as the band's leader. Vertical Horizon are best known for their "Billboard" number one single "Everything You Want", the title track to their third studio album. Other notable singles from the band's career include "You're a God", "Best I Ever Had (Grey Sky Morning)", and "I'm Still Here".


title: Vertical Horizon

text: Vertical Horizon was formed in 1991 by Georgetown University undergraduate students Matt Scannell and Keith Kane. In 1992, after graduating from Georgetown, the duo relocated to Boston and self-released their debut album "There and Back Again". Scannell and Kane toured as a duo for the next few years, mostly appearing with similar bands, such as Jackopierce. Their next album was 1995's "Running on Ice", produced by John Alagia (Dave Matthews Band, John Mayer), Doug Derryberry, and Scannell. Drummer Ed Toth joined the band in 1996.


title: Vertical Horizon

text: The band released a live album, "Live Stages", in January 1997. In 1998, bassist Sean Hurley was invited to join Vertical Horizon. The band's indie albums began to attract record executives from several record labels during the late 1990s. The band signed with RCA Records in 1998. RCA re-released Vertical Horizon's independent albums, with new packaging and graphics. Before the RCA re-release, the band's first three albums had sold 70,000 combined units.


title: Vertical Horizon

text: The band's first album with a major label was 1999's "Everything You Want". It was a breakthrough album for the band. Four singles were released from the album. The album's first single was "We Are," which reached the Modern Rock Tracks chart and peaked at no. 21. The album's second single was "Everything You Want." The song became a massive hit, reaching number one at the "Billboard" Hot 100 chart and the Adult Top 40 chart and becoming Billboard's Most Played Single of 2000. As of 2022, "Everything You Want" is Vertical Horizon's most successful single. Two other singles from the album, "You're a God" and "Best I Ever Had (Grey Sky Morning)," were also hits; they peaked at 23 and 58, respectively, at the "Billboard" Hot 100 chart.


title: Vertical Horizon

text: Vertical Horizon's next album, "Go", was released in September 2003. "Go" was released while RCA was going through a major restructuring and as a result, the album received little support from the label. The album's first single, "I'm Still Here," peaked at number 17 on the Adult Top 40. RCA did little to promote the album causing Scannell to state "Without the label behind us, it just floundered and sort of withered on the vine, which is just a heartbreaker."


title: Vertical Horizon

text: "Burning the Days" was released on September 22, 2009, and was the group's first release after a five-year hiatus. Singer/songwriter Matt Scannell has said that "Burning the Days" marks a shift in his songwriting, both musically and lyrically. According to Scannell, "There is a lot more variety and quite a few different artistic moods on this record - almost different sonic landscapes... a lot of these songs feel like a faster tempo than anything we’ve ever done before."


title: Vertical Horizon

text: The late Neil Peart of the Canadian rock band Rush played drums on three songs on the album, "Save Me From Myself," "Welcome to the Bottom," and "Even Now." "Even Now" was co-written by Scannell and Peart, with Peart writing the lyrics and Scannell writing the music.


title: Vertical Horizon

text: Vertical Horizon announced in June 2011 that they had begun recording new material for a new album. The album, "Echoes from the Underground", was released on October 8, 2013.


title: Vertical Horizon

text: In June 2017, Scannell announced at a concert in Fairfax, Virginia, that another album was forthcoming. The band's seventh album, "The Lost Mile", was released on February 23, 2018.


title: Javanese script

text: The Javanese script (natively known as "Aksara Jawa", "Hanacaraka", "Carakan", and "Dentawyanjana") is one of Indonesia's traditional scripts developed on the island of Java. The script is primarily used to write the Javanese language, but in the course of its development has also been used to write several other regional languages such as Sundanese, Madurese, and Sasak; the lingua franca of the region, Malay; as well as the historical languages Kawi and Sanskrit. Javanese script was actively used by the Javanese people for writing day-to-day and literary texts from at least the mid-15th century CE until the mid-20th century CE, before its function was gradually supplanted by the Latin alphabet. Today the script is taught in DI Yogyakarta, Central Java, and the East Java Province as part of the local curriculum, but with very limited function in everyday use.


title: Javanese script

text: The Javanese script is an abugida writing system which consists of 20 to 33 basic letters, depending on the language being written. Like other Brahmic scripts, each letter (called an "aksara") represents a syllable with the inherent vowel /a/ or /ɔ/ which can be changed with the placement of diacritics around the letter. Each letter has a conjunct form called "pasangan", which nullifies the inherent vowel of the previous letter. Traditionally, the script is written without space between words ("scriptio continua") but is interspersed with a group of decorative punctuation.


title: Javanese script

text: Javanese script is one of the Brahmi descendants in Indonesia in which its evolutionary history can be traced fairly well due to the numerous inscriptional evidences that permitted epigraphical studies. The oldest root of the Javanese script is Indian Brahmi script which evolves into Pallava script in Southern India and Southeast Asia between the 6th and 8th centuries. Pallava script, in turn, evolved into Kawi script which was actively used throughout Indonesia's Hindu-Buddhist period between the 8th and 15th centuries. In various parts of Indonesia, Kawi script would evolve into one of Indonesia's traditional scripts, among them, Javanese script. Modern Javanese script evolved over time from the late Kawi script between the 14th and 15th centuries, a period in which Java began to receive significant Islamic influence.


title: Javanese script

text: For at least 500 years, from the 15th until the mid 20th century, Javanese script was actively used by the Javanese people for writing day-to-day and literary texts with a wide range of a theme and content. Javanese script was used throughout the island at a time when there was no easy means of communication between remote areas and no impulse towards standardization. As a result, there is a huge variety in historical and local styles of Javanese writing throughout the ages. The ability of a person to read a bark-paper manuscript from the town of Demak, say, written around 1700, is no guarantee that the same person would also be able to make sense of a palm-leaf manuscript written at the same time only 50 miles away on the slopes of Mount Merapi. The great differences between regional styles almost makes it seem that the "Javanese script" is in fact a family of scripts. Javanese writing traditions are especially cultivated in the Kraton environment, but Javanese texts are known to be made and used by all layers of society. Javanese literature is almost always composed in metrical verses that are designed to be sung, thus Javanese texts are not only judged by their content and language but also by the merit of their melody and rhythm during recitation sessions. Javanese writing tradition also relied on periodic copying due to deterioration of writing materials in the tropical Javanese climate; as a result, many physical manuscripts that are available now are 18th or 19th century copies, though their contents can usually be traced to far older prototypes.


title: Javanese script

text: Javanese script has been written with numerous media that have shifted over time. Kawi script, which is ancestral to Javanese script, is often found on stone inscriptions and copper plates. Everyday writing in Kawi was done in palm leaf form locally known as "lontar", which are processed leaves of the tal palm ("Borassus flabellifer"). Each "lontar" leaf has the shape of a slim rectangle 2.8 to 4 cm in width and varied length between 20 and 80 cm. Each leaf can only accommodate around 4 lines of writing, which are incised in horizontal orientation with a small knife and then blackened with soot to increase readability. This media has a long history of attested use all over South and Southeast Asia.


title: Javanese script

text: In the 13th century, paper began to be used in the Malay archipelago. This introduction is related to spread of Islam in the region, due to the Islamic writing tradition that is supported by the use of paper and codex manuscript. As Java began to receive significant Islamic influence in the 15th century, coinciding with the period in which the Kawi script began to transitioned into the modern Javanese script, paper became widespread in Java while the use of "lontar" only persisted in a few places. There are two kinds of paper that are commonly used in Javanese manuscript: locally produced paper called "daluang", and imported paper. "Daluang" (also spelled "dluwang") is a paper made from the beaten bark of the "saéh" tree ("Broussonetia papyrifera"). Visually, "daluang" can be easily differentiated from regular paper by its distinctive brown tint and fibrous appearance. A well made "daluang" has a smooth surface and is quite durable against manuscript damage commonly associated with tropical climates, especially insect damage. Meanwhile, a coarse "daluang" has a bumpy surface and tends to break easily. "Daluang" is commonly used in manuscripts produced by Javanese Kratons (palaces) and "pesantren" (Islamic boarding schools) between the 16th to 17th centuries.


title: Javanese script

text: Most imported paper in Indonesian manuscripts came from Europe. In the beginning, only a few scribes were able to use European paper due to its high cost—paper made with using European methods of the time could only be imported in limited number. In colonial administration, the use of European paper had to be supplemented with Javanese "daluang" and imported Chinese paper until at least the 19th century. As paper supply increased due to growing imports from Europe, scribes in palaces and urban settlements gradually opted to use European paper as the primary media for writing, while "daluang" paper was increasingly associated with "pesantren" and rural manuscripts. Alongside the increase of European paper supply, attempts to create Javanese printing type began, spearheaded by several European figures. With the establishment of printing technology in 1825, materials in Javanese script could be mass-produced and became increasingly common in various aspect of pre-independence Javanese life, from letters, books, and newspapers, to magazines, and even advertisements and paper currency.


title: Javanese script

text: For at least 500 years, from the 15th century until the mid 20th century, Javanese script was used by all layers of Javanese society for writing day-to-day and literary texts with a wide range of theme and content. Due to the significant influence of oral tradition, reading in pre-independence Javanese society is usually a performance; Javanese literature texts are almost always composed in metrical verses that are designed to be recited, thus Javanese texts are not only judged by their content and language, but also by the merit of their melody and rhythm during recitation sessions. Javanese poets are not expected to create new stories and characters; instead the role of the poet is to rewrite and recompose existing stories into forms that are suitable to local taste and prevailing trends. As a result, Javanese literary works such as the "Cerita Panji" do not have a single authoritative version referenced by all others, instead, the "Cerita Panji" is a loose collection of numerous tales with various versions bound together by the common thread of the Panji character. Literature genres with the longest attested history are Sanskrit epics such as the "Ramayana" and the "Mahabharata", which have been recomposed since the Kawi period and which introduced hundreds of characters familiar in Javanese wayang stories today, including Arjuna, Srikandi, Ghatotkacha and many others. Since the introduction of Islam, characters of Middle-Eastern provenance such as Amir Hamzah and the Prophet Joseph have also been frequent subjects of writing. There are also local characters, usually set in Java's semi-legendary past, such as Prince Panji, Damar Wulan, and Calon Arang.


title: Javanese script

text: When studies of Javanese language and literature began to attract European attention in the 19th century, an initiative to create a Javanese movable type began to take place in order to mass-produce and quickly disseminate Javanese literary materials. One of the earliest attempts to create a movable Javanese type was by Paul van Vlissingen. His typeface was first put in use in the "Bataviasche Courant" newspaper's October 1825 issue. While lauded as a considerable technical achievement, many at the time felt that Vlissingen's design was a coarse copy of the fine Javanese hand used in literary texts, and so this early attempt was further developed by numerous other people to varying degrees of success as the study of Javanese developed over the years. In 1838, completed his typeface, known as Tuladha Jejeg, that was based on the hand of Surakartan scribes with some European typographical elements mixed in. Roorda's font garnered positive feedback and soon became the main choice to print any Javanese text. From then, reading materials in printed Javanese using Roorda's typeface became widespread among the Javanese populace and were widely used in materials other than literature. The establishment of print technology enabled a printing industry which, for the next century, produced various materials in printed Javanese, from administrative papers and school books, to mass media such as the magazine which was entirely printed in Javanese in all of its article and columns. In the governmental context, one application of the Javanese script was the multilingual legal text on the Netherlands Indies gulden banknotes circulated by the Bank of Java.


title: Javanese script

text: As literacy and demand for reading materials increased in the beginning of the 20th century, Javanese publishers paradoxically began to decrease the amount of Javanese script publication due to a practical and economic consideration: printing any text in Javanese script at the time required twice the amount of paper compared to the same text rendered in the Latin alphabet, so that Javanese texts were more expensive and time-consuming to produce. In order to lower production costs and keep book prices affordable to the general populace, many publishers (such as the government-owned Balai Pustaka) gradually prioritized publication in the Latin alphabet. However, the Javanese population at the beginning of the 20th century maintained the use of Javanese script in various aspects of everyday life. It was, for example, considered more polite to write a letter using Javanese script, especially one addressed toward an elder or superior. Many publishers, including Balai Pustaka, continued to print books, newspapers, and magazines in Javanese script due to sufficient, albeit declining, demand. The use of Javanese script only started to drop significantly during the Japanese occupation of Indonesia beginning in 1942. Some writers attribute this sudden decline to prohibitions issued by the Japanese government banning the use of native script in the public sphere, though no documentary evidence of such a ban has yet been found. Nevertheless, the use of Javanese script did decline significantly during the Japanese occupation and it never recovered its previous widespread use in post-independence Indonesia.


title: Javanese script

text: In contemporary usage, Javanese script is still taught as part of the local curriculum in Yogyakarta, Central Java, and the East Java Province. Several local newspapers and magazines have columns written in Javanese script, and the script can frequently be seen on public signage. However, many contemporary attempts to revive Javanese script are symbolic rather than functional; there are no longer, for example, periodicals like "Kajawèn" magazine that publish significant content in Javanese script. Most Javanese people today know the existence of the script and recognize a few letters, but it is rare to find someone who can read and write it meaningfully. Therefore, as recently as 2019, it is not uncommon to see Javanese script signage in public places with numerous misspellings and basic mistakes. Several hurdles in revitalizing the use of Javanese script includes information technology equipment that does not support correct rendering of the Javanese script, lack of governing bodies with sufficient competence to consult on its usage, and lack of typographical explorations that may intrigue contemporary viewers. Nevertheless, attempts to revive the script are still being conducted by several communities and public figures who encouraged the use of Javanese script in the public sphere, especially with digital devices.


title: Javanese script

text: A basic letter in the Javanese script is called an "aksara" which represents a syllable. Javanese script contains around 45 letters, but not all of them are used equally. Over the course of its development, some letters became obsolete and some are only used in certain contexts. As such, it is common to divide the letters in several groups based on their function.


title: Javanese script

text: The "Aksara wyanjana" (ꦲꦏ꧀ꦱꦫ ꦮꦾꦚ꧀ꦗꦤ) are consonant letters with an inherent vowel, either /a/ or /ɔ/. As a Brahmi derived script, the Javanese script originally had 33 "wyanjana" letters to write the 33 consonants that are used in Sanskrit and Kawi. Their forms are as follows:


title: Javanese script

text: Over the course of its development, the modern Javanese language no longer uses all letters in the Sanskrit-Kawi inventory. The modern Javanese script only uses 20 consonants and 20 basic letters known as "aksara nglegéna" (ꦲꦏ꧀ꦱꦫ ꦔ꧀ꦭꦼꦒꦺꦤ). Some of the remaining letters are repurposed as "aksara murda" (ꦲꦏ꧀ꦱꦫ ꦩꦸꦂꦢ) which are used for honorific purposes in writing respected names, be it legendary (for example Bima ꦨꦶꦩ) or real (for example Pakubuwana ꦦꦑꦸꦨꦸꦮꦟ). From the 20 "nglegéna" basic letters, only 9 have corresponding "murda" forms. Because of this, the use of "murda" is not identical to capitalization of proper names in Latin orthography; if the first syllable of a name does not have a "murda" form, the second syllable would use "murda". If the second syllable also does not have a "murda" form, the third syllable would use "murda", and so on. Highly respected names may be written completely in "murda" if possible, but in essence, the use of "murda" is optional and may be inconsistent in traditional texts. For example, the name "Gani" can be spelled as ꦒꦤꦶ (without "murda"), ꦓꦤꦶ (with "murda" on the first syllable), or ꦓꦟꦶ (with "murda" on all syllables) depending on the background and context of the writing. The remaining letters that are not classified as "nglegéna" or repurposed as "murda" are "aksara mahaprana", letters that are used in Sanskrit and Kawi texts but obsolete in modern Javanese.


title: Javanese script

text: "Aksara swara" (ꦲꦏ꧀ꦱꦫ ꦱ꧀ꦮꦫ) are letters that represent pure vowels. Javanese script has 14 vowel letters inherited from the Sanskrit tradition. Their forms are as follows:


title: Javanese script

text: Similar to "wyanjana" letters, modern Javanese language no longer uses the whole inventory of "swara" letters, only short vowel letters are now commonly used and taught. In modern orthography, "swara" letters may be used to replace "wyanjana" ha ꦲ (which may have caused ambiguous readings between /ha/ or /a/) to disambiguate the pronunciation of unfamiliar terms and names.


title: Javanese script

text: "Pa cerek" ꦉ, "pa cerek dirgha" ꦉꦴ, "nga lelet" ꦊ, and "nga lelet raswadi" ꦋ are syllabic consonants that are primarily used in specific Sanskrit cases. When adapted to languages outside of Sanskrit, the function and pronunciation of these letters tend to vary. In modern Javanese language, only "pa cerek" and "nga lelet" are used; "pa cerek" is pronounced /rə/ while "nga lelet" is pronounced /lə/. Both letters are usually re-categorized into their own class called "aksara gantèn" in modern tables. These letters are mandatory shorthand that replace every combination of "ra pepet" (ꦫꦼ → ꦉ) and "la pepet" (ꦭꦼ → ꦊ).


title: Javanese script

text: "Aksara rékan" (ꦲꦏ꧀ꦱꦫ ꦫꦺꦏꦤ꧀) are additional letters used to write foreign sounds. This type of letters were initially developed to write Arabic loanwords, later adapted to write Dutch loanwords, and in contemporary usage are also used to write Indonesian and English loanwords. Most "rékan" letters are formed by adding the "cecak telu" diacritic on the native letters that are considered closest-sounding to the foreign sound in question. For example, "rékan" letter fa ꦥ꦳ is formed by adding "cecak telu" over the "wyanjana" letter pa ꦥ. The combination of "wyanjana" letter and corresponding foreign sounds for each "rékan" may be different between sources. Some "rékan" letters are as follows:


title: Javanese script

text: Diacritics ("sandhangan" ꦱꦤ꧀ꦝꦔꦤ꧀) are dependent signs that are used to modify the inherent vowel of a letter. Similar to Javanese letters, Javanese diacritics may be divided into several groups based on their function.


title: Javanese script

text: "Sandhangan swara" (ꦱꦤ꧀ꦝꦁꦔꦤ꧀ꦱ꧀ꦮꦫ) are diacritics that are used to change the inherent /a/ into different vowels. Their forms are as follows:


title: Javanese script

text: Similar to "swara" letters, only short vowel diacritics are taught and used in contemporary Javanese, while long vowel diacritics are only used in Sanskrit and Kawi writing.


title: Javanese script

text: "Sandhangan panyigeging wanda" (ꦱꦤ꧀ꦝꦁꦔꦤ꧀ꦥꦚꦶꦒꦼꦒꦶꦁ ꦮꦤ꧀ꦢ) are diacritics used to write closed syllables. Their forms are as follows:


title: Javanese script

text: "Sandhangan wyanjana" (ꦱꦤ꧀ꦝꦁꦔꦤ꧀ꦮꦾꦚ꧀ꦗꦤ) are diacritics that are used to write consonant cluster with semivowels that occur in a single syllable. Their forms are as follows:


title: Javanese script

text: The inherent vowel of each basic letter can be suppressed with the use of the virama, natively known as "pangkon". However, the "pangkon" is not normally used in the middle of a word or sentence. For closed syllables in such positions, a conjunct form called "pasangan" (ꦥꦱꦔꦤ꧀) is used instead. Every basic letter has a "pasangan" counterpart, and if a "pasangan" is attached to a basic letter, the inherent vowel of the attached letter is nullified. Their forms are as follows:


title: Javanese script

text: Examples of "pasangan" use, using characters from the Unicode Standard for Javanese script (which is used in this article), are as follows:


title: Javanese script

text: Note that the "pasangan" of a letter can be produced by typing the "pangkon" followed by the letter in its "aksara"/basic form. This appeals to the idea that a "pangkon" mutes the vowel of previous letter, and that adding a "pasangan" is phonetically equivalent to first muting the vowel of the previous letter and then adding a new letter.


title: Javanese script

text: The Javanese script has its own numerals ("angka" ꦲꦁꦏ) that behave similarly to Arabic numerals. However, most Javanese numerals has the exact same glyph as several basic letters, for example the numeral 1 ꧑ and "wyanjana" letter ga ꦒ, or the numeral 8 ꧘ and "murda" letter pa ꦦ. To avoid confusion, numerals that are used in the middle of sentences must be enclosed within "pada pangkat" or "pada lingsa" punctuations. For example, "tanggal 17 Juni" (the date 17 June) is written ꦠꦁꦒꦭ꧀꧇꧑꧗꧇ꦗꦸꦤꦶ or ꦠꦁꦒꦭ꧀꧈꧑꧗꧈ꦗꦸꦤꦶ. Enclosing punctuation may be ignored if their use as numerals is understood by context, for example as page numbers in the corner of pages. Their forms are as follows:


title: Javanese script

text: Traditional Javanese texts are written with no spaces between words ("scriptio continua") with several punctuation marks called "pada" (ꦥꦢ). Their form are as follows:


title: Javanese script

text: In contemporary teaching, the most frequently used punctuations are "pada adeg-adeg", "pada lingsa", and "pada lungsi", which are used to open paragraphs (similar to pillcrow), separating sentences (similar to comma), and ending sentences (similar to full stop). "Pada adeg" and "pada pisélèh" may be used to indicate insertion in the middle of sentences similar to parenthesis or quotation marks, while "pada pangkat" has a similar function to the colon. "Pada rangkap" is sometimes used as an iteration mark for reduplicated words (for example "kata-kata" ꦏꦠꦏꦠ → "kata2" ꦏꦠꧏ).


title: Javanese script

text: Several punctuation marks do not have Latin equivalents and are often decorative in nature with numerous variant shapes, for example the "rerenggan" which is sometimes used to enclose titles. In epistolary usage, several punctuations are used in the beginning of letters and may also be used to indicate the social status of the letter writer; from the lowest "pada andhap", to middle "pada madya", and the highest "pada luhur". "Pada guru" is sometimes used as a neutral option without social connotation, while "pada pancak" is used to end a letter. However this is a generalized function. In practice, similar to "rerenggan" these epistolary punctuation marks are often decorative and optional with various shape used in different regions and by different scribes.


title: Javanese script

text: When errors occurred during manuscript copying, several Kraton scribes used special correction marks instead of crossing out the erroneous parts: "tirta tumétès" normally found in Yogyakarta manuscripts, and "isèn-isèn" found in Surakarta manuscripts. These correction marks are directly applied following the erroneous part before the scribe continued writing. For example, if a scribe wanted to write "pada luhur" ꦥꦢꦭꦸꦲꦸꦂ but accidentally wrote "pada hu" ꦥꦢꦲꦸ before realizing the mistake, this word may be corrected into "pada hu···luhur" ꦥꦢꦲꦸ꧞꧞꧞ꦭꦸꦲꦸꦂ or ꦥꦢꦲꦸ꧟꧟꧟ꦭꦸꦲꦸꦂ.


title: Javanese script

text: Other than the regular punctuation, one of Javanese texts' distinctive characteristics is "pepadan" (ꦥꦼꦥꦢꦤ꧀), a series of highly ornate verse marks. Several of their form are as follows:


title: Javanese script

text: The series of punctuation marks that forms "pepadan" have numerous names in traditional texts. Behrend (1996) divides "pepadan" into two general groups: the minor "pada" which consist of a single mark, and the major "pada" which are composed of several marks. Minor "pada" are used to indicate divisions of poetic stanzas, which usually came up every 32 or 48 syllables depending on the poetic metre. Major "pada" are used to demarcate a change of canto (which includes a change of the metre, rhythm, and mood of the recitation) occurring every 5 to 10 pages, though this may vary considerably depending on the structure of the text. Javanese guides often list three kinds of major "pada": "purwa pada" ꧅ ꦧ꧀ꦖ ꧅ which is used in the beginning of the first canto, "madya pada" ꧅ ꦟ꧀ꦢꦿ ꧅ which is used in between different cantos, and "wasana pada" ꧅ ꦆ ꧅ which is used in the end of the final canto. But due to the large variety of shapes between manuscripts, these three punctuations are essentially treated as a single punctuation in most Javanese manuscripts.


title: Javanese script

text: "Pepadan" is one of the most prominent elements in a typical Javanese manuscript and are almost always written with high artistic skills, including calligraphy, coloring, and even gilding. In luxurious royal manuscripts, the shape of the "pepadan" may even contain visual puns that gave clues to the readers regarding the canto of the text; a "pepadan" with wings or bird figure resembling a crow (called "dhandhang" in Javanese) indicates the "dhandhanggula" metre, while "pepadan" with elements of a goldfish indicates the "maskumambang" metre (literally "gold floating on water"). One of the scribal centers with the most elaborate and ornate "pepadan" is the scriptorium of Pakualaman in Yogyakarta.


title: Javanese script

text: Modern Javanese script is commonly arranged in the Hanacaraka sequence, named in accordance to the first five letters in the sequence. In this sequence, the 20 consonant letters that are used in the modern Javanese language formed a perfect pangram that is often linked to the myth of Aji Saka. This sequence has been used by pre-independence Javanese people from at least the 15th century when the island of Java started to receive significant Islamic influence. There are numerous interpretations on the supposed philosophical and esoteric qualities of the hanacaraka sequence.


title: Javanese script

text: The hanacaraka sequence is not the only collation scheme that is used to arrange the Javanese script. For Sanskrit and Kawi orthography that requires 33 basic letters, the Javanese script can be arranged phonologically by its place of articulation in accordance to the Sanskrit principle established by Pāṇini. This sequence, sometimes called the Kaganga sequence based on its first four letters, is a standard sequence used by other Brahmi descendant scripts such as Devanagari, Tamil, Thai, and Khmer.


title: Javanese script

text: The closest relative to the Javanese script is the Balinese script. As direct descendants of the Kawi script, Javanese and Balinese still retain many similarities in terms of basic glyph shape for each letter. One noticeable difference between both scripts is in their orthography; Modern Balinese orthography is more conservative in nature than Modern Javanese counterpart.


title: Javanese script

text: is one of Sundanese language writing system, which means "similar to Carakan". It was officially used from 16 to 20 centuries. However, there are several places which use . There are several orthographic difference to modern Javanese orthography:


title: Javanese script

text: Similar to Balinese "wianjana", Cacarakan "ngalagena" or "wianjana" consists of 18 letters instead of 20 letters in Carakan "nglegena" or "wianjana". The two letters are ꦝ <ḍa> and ꦛ <ṭa>. For more details in seeing these differences, below is shown a table of the Sundanese "Cacarakan" and Javanese "Carakan Ngalagena" or Consonant Letters.


title: Javanese script

text: From the table it can be seen that the letter /dha/ in "Carakan" (Javanese) is used to represent the sound "da" in "Cacarakan" (Sundanese). Whereas for produces the sound "nya", "Cacarakan" (Sundanese) uses a series of letters /a/ plus a "pengkal" ("Carakan"). Sundanese "Cacarakan" uses the same letter pairs as "Carakan", with the same writing rules. It's just different at times giving "sandhangan" ("Carakan") or "rarangkén" ("Cacarakan") used modified rules to produce Sundanese vowel sounds.


title: Javanese script

text: In the Cacarakan swara/sora script the letter /i/ is written with a series of letters /a/ added with "wulu" ("Carakan") or "panghulu" ("Cacarakan"). In the Javanese "Carakan" alphabet no special vowels are used for the sound /e/ ("pepet"), while in "Cacarakan" the letters /e/ pepet are written independently in a series the letter /a/ is added with "pepet" ("Cacarakan") or "pamepet" ("Cacarakan"). Another vowel that appears is to describe the sound [ö] or the letter / eu / that quite dominant used in Sundanese. The letter /eu/ is written with a series of letters / a / added by "tarung" ("Carakan") and "pepet" ("Carakan") or simply called "paneuleung" in the term Sundanese "Cacarakan".


title: Javanese script

text: In Madurese language, Javanese script is called "Carakan Madhurâ" or "Carakan Jhâbân" (script derived from Javanese). If in Javanese language each character can represent the sound /a /or /ɔ /, then in Madurese language it represents the sound /a /or /ɤ /. The "carakan Madhurâ" form itself consists of "aksara ghâjâng" ("aksara nglegena"), "aksara rajâ" or "murdâ" ("aksara murda"), " aksara sowara" or "swara" ("aksara swara"), and "aksara rèka'an" ("aksara rékan"). There is also "pangangghuy" ("sandhangan") which consists of "pangangguy aksara" ("sandhangan swara"), "pangangghuy panyèghek" ("sandhangan panyigeging wanda"), and "pangangghuy panambâ" ("sandhangan wyanjana").


title: Javanese script

text: Broadly speaking, there is no significant difference with the Javanese. However, in the Madurese language there is no difference in the use of aspirate and tanaspirate consonants.


title: Javanese script

text: "Aksara rèka'an" in Madurese language as taught in schools has only five characters, while in "Madoereesche Spraakkunst" and "Sorat tjarakan Madurah" there are seven and nine respectively:


title: Javanese script

text: Another difference is the use of "wignyan" which in Javanese functions as the "-h" suffix, while in Madurese it becomes the "-" as shown in the following table:


title: Javanese script

text: The Unicode block for Javanese is U+A980–U+A9DF. There are 91 code points for Javanese script: 53 letters, 19 punctuation marks, 10 numbers, and 9 vowels:


title: 2022 World Wrestling Championships

text: The 2022 World Wrestling Championships was the 17th edition of the World Wrestling Championships of combined events and was held between 10 and 18 September 2022 in Belgrade, Serbia.


title: 2022 World Wrestling Championships

text: The UWW Bureau approved the candidature of Belgrade, Serbia as the host of the 2023 Senior World Championships. However, due to the restrictions on Russia for hosting World Championships in 2021–2022, Belgrade replaced the former city of Krasnoyarsk as the World Championships host for 2022. For 2023 the World Championships host will be reallocated to Russia. In addition, Russian and Belarusian athletes have been banned from 2022 World Championships.


title: Blue diamond

text: Blue diamond is a type of diamond which exhibits all of the same inherent properties of the mineral except with the additional element of blue color in the stone. They are colored blue by trace amounts of boron that contaminate the crystalline lattice structure. Blue diamonds belong to a subcategory of diamonds called fancy color diamonds, the generic name for diamonds that exhibit intense color.


title: Blue diamond

text: The same four basic parameters that govern the grading of all gemstones are used to grade blue diamonds–the four Cs of Connoisseurship: "color", "clarity," "cut" and "carat weight". Color is considered the absolute most important criterion in grading a blue diamond and determining its value. However, the most valuable of blue diamonds also exhibit the highest clarity grades. There is no known blue diamond with a completely flawless (F) clarity grading, although several are known which are graded Internally Flawless (IF).


title: Blue diamond

text: One of the earliest mentioned blue diamonds is the Hope Diamond, a 45.52 carat fancy dark grayish-blue which is believed to have been discovered in India but whose first recorded presence was in 1666 by French gem merchant Jean-Baptiste Tavernier, after whom it was called the Tavernier Blue. Its last owner was famed jeweler Harry Winston before he donated it to the Smithsonian National Museum of Natural History in Washington, D.C. Colorless (“White”) diamonds have remained the most popular type of diamond through the millennia, but the existence of this blue diamond so long ago affirms the reality of the demand for fancy color diamonds over the years.


title: Blue diamond

text: In gemology, color is divided into three components: "hue", "saturation" and "tone". Blue diamonds occur in hues ranging from green-blue to gray-blue, with the primary hue necessarily being blue. Green and gray are the normal secondary hues that can be found in blue diamonds. Blue diamonds are considered most beautiful and valuable when there is no secondary color present but rather are a pure blue color. However, a pure blue diamond of light color may be considered less valuable than a green-blue or gray-blue diamond whose color is more vivid. The characteristic of color is very complex in blue diamonds for this reason. Most pure blue diamonds are Type IIb, meaning they contain either very few or a complete lack of nitrogen impurities. Type Ia blue stones contain a secondary hue and get their color from the presence of hydrogen.


title: Blue diamond

text: As with all diamonds, the loupe standard is used to grade clarity. This means that the inclusions are judged based on the appearance of the diamond under 10x magnification, and not how it would appear to the naked eye. Unlike in colorless diamonds, the clarity in blue diamonds has little effect on the diamond’s value. The exception is when there is an especially high clarity on a very vividly colored diamond. In this case, the clarity can add tremendous value.


title: Blue diamond

text: Blue diamonds are only considered rare and valuable if they are natural. The definition of a natural blue diamond is a blue diamond that was mined with its blue color already present. Since the 1950s, many methods have been developed to change a diamond’s appearance, including adding color to a colorless stone. These are considered "enhanced" diamonds and do not have the value or resale value of a natural blue diamond. Enhanced blue diamonds are not bought with the intention of investment or eventual resale. Synthetic blue diamonds have also been made, using the HPHT method.


title: Blue diamond

text: The earliest recorded blue diamond, the Hope Diamond, was discovered in India, in the Kollur mine in the Guntur district of Andhra Pradesh (which at the time was part of the Golconda kingdom), in the seventeenth century. However, blue diamonds have also been discovered in the Cullinan Mine in South Africa and the Golconda region. A few blue diamonds have been discovered in the Argyle Mine in Western Australia as well, and are offered at their annual Argyle Tender when they are found. It is thought that blue diamonds, unlike most other diamonds, are formed in the lower part of Earth’s mantle, and that the boron creating their blue color originates from serpentinite carried down to the mantle by subducting ocean tectonic plates.


title: Blue diamond

text: Aside from the fabled curse of the Hope Diamond, blue diamonds do not yet represent a large part of world culture. However, as of 2015, blue diamonds have become the most sought-after gems at auction. This was instigated by the sale of the 9.75-carat fancy vivid blue "Zoe" diamond to Hong Kong billionaire Joseph Lau, who bought it for, and named it after, his young daughter, Zoe.


title: Blue diamond

text: An anthropomorphic character known as Blue Diamond is a member of the Great Diamond Authority in the TV show Steven Universe.


title: Essence

text: Essence () is a polysemic term, used in philosophy and theology as a designation for the property or set of properties that make an entity or substance what it fundamentally is, and which it has by necessity, and without which it loses its identity. Essence is contrasted with accident: a property that the entity or substance has contingently, without which the substance can still retain its identity.


title: Essence

text: The concept originates rigorously with Aristotle (although it can also be found in Plato), who used the Greek expression "to ti ên einai" (τὸ τί ἦν εἶναι, literally meaning "the what it was to be" and corresponding to the scholastic term quiddity) or sometimes the shorter phrase "to ti esti" (τὸ τί ἐστι, literally meaning "the what it is" and corresponding to the scholastic term haecceity) for the same idea. This phrase presented such difficulties for its Latin translators that they coined the word "essentia" (English "essence") to represent the whole expression. For Aristotle and his scholastic followers, the notion of essence is closely linked to that of definition (ὁρισμός "horismos").


title: Essence

text: In the history of Western philosophy, essence has often served as a vehicle for doctrines that tend to individuate different forms of existence as well as different identity conditions for objects and properties; in this logical meaning, the concept has given a strong theoretical and common-sense basis to the whole family of logical theories based on the "possible worlds" analogy set up by Leibniz and developed in the intensional logic from Carnap to Kripke, which was later challenged by "extensionalist" philosophers such as Quine.


title: Essence

text: The English word "essence" comes from Latin "essentia", via French "essence". The original Latin word was created purposefully, by Ancient Roman philosophers, in order to provide an adequate Latin translation for the Greek term οὐσία ("ousia"). Stoic philosopher Seneca (d. 65 AD) attributed creation of the word to Cicero (d. 43 BC), while rhetor Quintilian (d. 100 AD) claimed that the word was created much earlier, by writer Plautus (184 BC). Early use of the term is also attested in works of Apuleius (d. 170 AD) and Tertullian (d. 240 AD). During Late Antiquity, the term was often used in Christian theology, and through the works of Augustine (d. 430), Boethius (d. 524) and later theologians, who wrote in Medieval Latin, it became the basis for consequent creation of derived terms in many languages.


title: Essence

text: In his dialogues Plato suggests that concrete beings acquire their essence through their relations to "Forms"abstract universals logically or ontologically separate from the objects of sense perception. These Forms are often put forth as the models or paradigms of which sensible things are "copies". When used in this sense, the word form is often capitalized. Sensible bodies are in constant flux and imperfect and hence, by Plato's reckoning, less real than the Forms which are eternal, unchanging and complete. Typical examples of Forms given by Plato are largeness, smallness, equality, unity, goodness, beauty and justice.


title: Essence

text: Aristotle moves the Forms of Plato to the nucleus of the individual thing, which is called "ousia" or substance. Essence is the "ti" of the thing, the "to ti en einai". Essence corresponds to the "ousia"<nowiki></nowiki>'s definition; essence is a real and physical aspect of the "ousia" (Aristotle, "Metaphysics", I).


title: Essence

text: According to nominalists (Roscelin of Compiègne, William of Ockham, Bernard of Chartres), universals aren't concrete entities, just voice's sounds; there are only individuals: ""nam cum habeat eorum sententia nihil esse praeter individuum [...]"" (Roscelin, "De gener. et spec.", 524). Universals are words that can call to several individuals; for example the word "homo". Therefore, a universal is reduced to a sound's emission (Roscelin, "De generibus et speciebus").


title: Essence

text: John Locke distinguished between "real essences" and "nominal essences". Real essences are the thing(s) that makes a thing a thing, whereas nominal essences are our conception of what makes a thing a thing.


title: Essence

text: According to Edmund Husserl essence is "ideal". However, "ideal" means that essence is an intentional object of consciousness. Essence is interpreted as "sense" (E. Husserl, "Ideas pertaining to a pure phenomenology and to a phenomenological philosophy", paragraphs 3 and 4).


title: Essence

text: Existentialism was coined by Jean-Paul Sartre's endorsement of Martin Heidegger's statement that for human beings "existence precedes essence." In as much as "essence" is a cornerstone of all metaphysical philosophy and of Rationalism, Sartre's statement was a repudiation of the philosophical system that had come before him (and, in particular, that of Husserl, Hegel, and Heidegger). Instead of "is-ness" generating "actuality," he argued that existence and actuality come first, and the essence is derived afterward. For Kierkegaard, it is the individual person who is the supreme moral entity, and the personal, subjective aspects of human life that are the most important; also, for Kierkegaard all of this had religious implications.