Elephants continue to be symbolic in multiple ways in Indian culture, whether it be because of the legends that compare them to Lord Ganesha or because of their historical importance as a result of their military prowess. There have been numerous mannered portrayals of the need to preserve the animal, from the renowned Bollywood film 'Haathi mere Saathi' to the current Oscar-winning 'The Elephant Whisperers'.  Apart from that, World Elephant Day is observed every year on 12 August to celebrate these creatures.

In India, there is no shortage of intriguing and unusual architectural structures. While some are renowned for their complex and ornate patterns, others have a mysterious aura around them. In the midst of all of this, the Ahmedabad-based Jhulta minarets, which are constructed of hard sandstone, are considered nothing short of a miracle when they shake and sway when given a little push. What is the cause of the mystery surrounding the minarets in Jhulta? Let's investigate.

Kebab is a word that brings to mind history, royalty, delicacy, and culture. It never fails to satisfy our craving for delectable and mouthwatering food. Though thought to be of Arabic origin, it has traveled across continents, bringing people from different cultures together. Over time, kebabs came to dominate most platters, particularly in Indian platters during the medieval period. There have been several varieties of soul-filling kebabs suited for every occasion, and one such variation is the Bihari Kebab.

Dubbed "English Khan" by Jahangir, William Hawkins, an agent of the British East India Company and envoy of King James I, first set foot on the Indian subcontinent on August 24, 1608. Hawkins' interest as an East India Company ambassador lay in negotiating and establishing an English factory in the Indian subcontinent. For the same reason, he traveled to Agra to meet Jahangir, the emperor of the Mughal Court.

For generations, visiting and exploring a foreign country has been an exciting activity. Immersion in new cultures and traditions, as well as new experiences and familiarity with people who once seemed foreign, not only helps to broaden the lens of our thinking telescope but also helps to provide new perspectives on a region. This time, it was about the Chinese travelers who visited the Indian subcontinent in a quest to achieve authentic Buddhist texts and knowledge.

Big screens with moving images can capture the attention of the audience in a way that other forms of media usually cannot. They perfectly convey the essence of a specific incident or tale. In addition to this, they foster a sense of unity and belongingness and recount our shared history. Films like Rang De Basanti, Mangal Pandey, Border, and many others make it difficult to dissociate oneself from their history. If films about India's freedom struggle are this compelling, how about the movie industry that was developing during the time of the struggle itself? What was its nature? In what ways did it help Indians gain their freedom?

'Apsara Aali' and 'Wajle ki Bara' are two popular Marathi songs. They are well-known throughout India for their rhythmic music and Lavani dance performances. Lavani, a folk dance predominantly performed by women, stands out for its convoluted historical narrative concerning the status of women in society.

Love can be expressed in a variety of ways, one of which is through acts of service. Sukanya, the beautiful daughter of King Sharyati, was forced to marry an old sage named Chyavana due to the circumstances. However, she won his heart with her acts of service, whipping off one of the most eventful love stories in ancient India.

Every love story carries within itself a wider and deeper emotional learning which passes through its own course. From longing in winter to intimacy in summer, every loving tale inevitably experiences all the seasons. In a way, a saga of love is no less than the Earth revolving around the Sun, changing seasons as it moves. Among the many endearing tales that are mentioned in classical Hindu literature, Kalidasa’s ‘Abhijnanashakuntalam’ stands out in all its splendor.

During colonial rule, the image of thugs and their discourse received great attention. Thugs according to the British were highway criminals who engaged in robbery, strangulation, murder, and looting. As a result, in the 1830s, British authorities took drastic measures to combat the threat posed by thugs.