Talk:Gill (clan)
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Mostly gills are settled in malwa and majha(punjab). They are very takitive and egoistic people. They are nice to talk and everything but they go off topic really fast.but they are really cccooooollll ppl. so yaaaaa go gills.
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Associating people all over the world as originating from the Gill clan just because they share an old Indo-European word for a surname is nonsense.Why not say all fish originate from the Gill clan,because they have gills. —The preceding unsigned comment was added by 172.203.66.59 (talk • contribs) .
I've just removed possibly the most ridiculous claims I've ever read on Wikipedia: one saying that people named "Gill" in Britain and Scandinavia were probably decended from the same Indo-European tribe as the Indian Gills, and another giving Middle English and Old Norse "variants" for Gill. I mean, wow. --Saforrest 15:13, 14 September 2006 (UTC)
I suggest you use Yhrd to study the Y dna distribution in Euro-Asia.
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^ to add: hm. both groups migrated out of central asia at roughly the same time and the meaning of the world gill is also the same throughout the indo-european language tree.
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[edit] The Vikings and Baron Dupuytren’s disease
Are you a Gill and have the following genetic disease,I do.It may be associated with R1a1 http://www.pubmedcentral.nih.gov/picrender.fcgi?artid=1305903&blobtype=pdf
[edit] Bactrian letters
http://www.gengo.l.u-tokyo.ac.jp/~hkum/bactrian.html
from the above link
'One of the less well-preserved letters is particularly interesting because it mentions a Kushan-shah [Slide 12 12KB]. This letter can hardly be later than the latter half of the fourth century, when the rule of the Kushan-shahs came to an end. The Kushan-shah here seems to be named as Warahran, though the reading of the name is not quite clear [Slide 13 10KB]. Since Warahran (or Bahram) was the name of the last Kushan-shah --- or the last two Kushan-shahs --- known from the coins, the letter probably belongs to the very end of the Kushano-Sasanian period. '
Could the name Warahran be connected to A Jat king, Vinaypal, who was a descendant of Waryah.
'I suspect that the title khar is an Iranian --- but not necessarily Bactrian --- dialect form derived from Old Iranian *xshathriya- "ruler" [Slide 23 11KB]. The true Bactrian form may be sher, which is mentioned by Muslim writers as the title of the rulers of Bamiyan, Gharchistan, and other places in the area around ancient Bactria'
Could above be related to sher as in Shergill
[edit] Gill bullar lineage
The story goes that a Rajput King(a Gill?) having 3 wives could not produce a son.So he took as wife a woman of the Bhullar clan.The new wife produced a son;the other wives being jealous kidnapped the boy and left him to die in a marsh.The king found the boy in the Marsh and hence called him shergill,meaning Lion of the Marsh or Moist lands.Of course this could be the origin of shergill clan not Gill.
[edit] Erm... no they don't.
"The Scots and Irish for instance, also claim lineage from the same original Scythians that simultaneously settled in Northern India."
There is a legend about one tribe arriving in Pict land from Scythia. However, this is one tribe in the Pits and dates to pre Roman times. Can you reference the dates and times for the word "simultaneously". Also the Picts are not the Scots and Irish. It is well known that the Scots and Irish can be traced to Spain - both in ledgend and in modern genetics.
Many other claims in this article are without referance. Rincewind42 16:32, 8 November 2006 (UTC)
Although the Macdonald clan is partly decended from somerled whose marker is R1a1,a marker which is spread throughout Euroasia.Also J2 is also present in Scotish Borders and be Sarmatian
[edit] bio of ?
Sher-Gil returned to India at the end of 1934, not yet twenty-two, but already a technically accomplished painter, equipped with some of the most essential ingredients that make an artist great – an unquenchable thirst to know, a virile tenacity of purpose and a single-mindednesss about her role in life. Sher-Gil sought to come to terms with her Indian heritge – being only half Indian, she must have known that she would never have an insider’s view of India or be able to claim a full share of its psyche.
While still a student in Paris, she wrote in a letter how she ‘began to be haunted by an intense longing to return to India, feeling in some strange way that there lay my destiny as a painter’. This was a remarkable statement for a twenty-year-old half-Indian woman, however westernized, to make in 1933. In those days, women of her background did not have vocations or careers; only lower-working-class women had jobs, and they were menial. Few Indian girls had an advanced education of any nature and those who did never took up a profession or employment, let alone declared their independence in such an unusual way as by becoming an artist. By her age, most women had been relegated to wedlock through the normal channel of an arranged marriage, and many had borne a couple of children. A casual remark by one of her Beaux-Arts tutors about her palette being more suitable for the colours and light of the East – as has been suggested by her nephew, the artist Vivan Sundaram – was all that it took to impel the impressionable girl, barely out of her teens, to long to hasten ‘home’. Sher-Gil’s statement was a powerful indication of her intent, revealing the passion and the fire behind it. And, upon her return to India late the following year, she lost no time in getting to grips with her ambition. In Paris she may have been thirty years behind the European art movements and current trends, as hinted at by Sundaram, but she was certainly as many years ahead of her time in India in the mid-1930s – only in the 1960s did Indian artists begin to display her kind of self-assurance and purpose. She went to live in Simla, the fashionable summer capital of the Raj in the Himalayan foothills, where her liberated lifestyle caused a stir. She began painting poor hill people who, to her romantic and naïve mind, embodies the spirit of India. She gave them large doleful eyes and vacant stares, exuding an expression of utter hopelessness. Her lanky and angular figures shrouded in homespun materials look fragile and melancholic, reflecting, perhaps, an inner melancholy of her own. The freshness and originality of Ajanta and Ellora, the sensuous murals of the Mattancheri Palace in Cochin and the strength of the Kushan sculpture which she saw at Mathura, began to characterize her work. She became acquainted with Indian miniatures and fell in love with the intense Basohli school. She even attempted to include certain elements of Rajput painting in her later work, doing so with feeling and flair and avoiding Abanindranath’s sentimentality. Sher-Gil has been accused of neither having any political awareness, nor identifying with the national struggle for independence which was entering its final phase during her last years. What, perhaps, she did not know was that she would not live long enough to see how soon these strengths would rejuvenate Indian art.
