Evidence record · given name

Meaning and use are separate questions.

Lexical evidence: Bhai Maya Singh records anaṇd with senses including joy, happiness, pleasure and contentment; a particular bearer’s intended personal association remains unestablished.

Documented use: Anand occurs at the start of Anand Patwardhan’s documented full public name in archive credits and an institutional interview.

A documented Punjabi word

Bhai Maya Singh’s 1895 Punjabi dictionary records anaṇd with senses including joy, happiness, delight, ease and contentment. It gives examples involving greeting, being happy and rejoicing. These examples show a word used in statements and encounters, rather than merely matching a modern personal name with one attractive English adjective.[1]

The dictionary also records devotional applications, including an epithet of the deity. Such uses form part of the word’s lexical history; they do not establish that a particular person was named for a devotional reason. The same caution applies to identity: people who use Anand need not share one community or language, and this entry does not document the filmmaker’s family naming decision.[1]

Anand at the start of a recorded public name

Harvard Film Archive’s programme for 21 September 2002 identifies Anand Patwardhan as director of Prisoners of Conscience. On the same page, A Narmada Diary is credited jointly to Anand Patwardhan and Simantini Dhuru. This preserves the full name in two precise cultural credits while distinguishing individual direction from collaboration.[2]

The listing attaches the name to films made in different years and gives the screening its own date. Those are separate kinds of chronology: a film’s production date is not the date of its later archive presentation. The consistent public name can be followed across the records without deriving the filmmaker’s identity or naming intention from Anand alone.[2]

A named interview supplies a voice

The British Film Institute published Georgia Korossi’s interview with Anand Patwardhan on 21 February 2013. The full form appears in the heading, introduction and discussion of his work. In his answers, Patwardhan describes how a film’s essay-like structure emerged from editing and recalls relationships with filmmakers and cultural organisers in Britain.[3]

This is evidence of a person speaking under a documented public name, rather than a story invented to illustrate a dictionary gloss. The archive credits and interview establish usage in wider Indian and international cultural settings. They provide no personal explanation that selects joy, contentment or another dictionary sense as the intended meaning of his name.[3]

Sources & notes

Source records include access dates and, where known, limits on what was examined. Checks used AI assistance; independent human or specialist review has not been completed.

  1. Bhai Maya Singh; Digital Dictionaries of South Asia, University of Chicago. The Panjabi Dictionary: anaṇd ↗historical Punjabi dictionary entry · Source date: 1895 · Locator: Original 1895 printed pages 31; full-scan PDF pages 49; right column, ANAND/ANAND entry; complete paired forms and examples. Accessed 2026-11-01.The specified passage was actually inspected; the evidence is used only for the claims identified in this entry. The corresponding original 1895 printed page was visually reinspected; modern interface descriptions and Dalby’s 1998 guide are outside this original-text scope.Return to Script form 1 ↑Return to A documented Punjabi word, paragraph 1 ↑Return to A documented Punjabi word, paragraph 2 ↑
  2. Harvard Film Archive. Prisoners of Conscience / A Narmada Diary ↗university film-archive programme · Source date: 2002-09-21 · Locator: 21 September 2002 event heading and distinct directing credits for the two films. Accessed 2026-11-01.The specified passage was actually inspected; the evidence is used only for the claims identified in this entry.Return to Anand at the start of a recorded public name, paragraph 1 ↑Return to Anand at the start of a recorded public name, paragraph 2 ↑
  3. Georgia Korossi; British Film Institute. Portraits of India: interview with Anand Patwardhan ↗first-person filmmaker interview · Source date: 2013-02-21 · Locator: 21 February 2013 heading/byline; introductory identification, first answer about essay form and answer about UK film connections. Accessed 2026-11-01.The specified passage was actually inspected; the evidence is used only for the claims identified in this entry.Return to A named interview supplies a voice, paragraph 1 ↑Return to A named interview supplies a voice, paragraph 2 ↑
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Record PH-NAM-0009 · English edition · human review not performed