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Showing posts with label INDOLOGY. Show all posts
Showing posts with label INDOLOGY. Show all posts

Monday, July 28, 2025

Why is there a tradition in Hinduism of immersing idols of gods or goddesses in water?






In the Hindu culture of the Indian subcontinent, the immersion (visarjan) of idols of gods or goddesses in water is an ancient ritual rich with deep meaning. It is not merely a religious custom, but rather carries profound philosophical insights, ecological awareness, and life lessons for humanity. This essay discusses the reasons, significance, and both immediate and long-term impacts of this practice.

 Reflection of the cycle of creation and dissolution

Hindu philosophy holds that the world is impermanent; everything that has been created will eventually decay or dissolve. Idols of deities are usually made from river clay, straw, wood, and other natural materials. At the end of worship, immersing these idols back into water returns them to the lap of nature. This reflects nature’s eternal cycle of creation, preservation, and dissolution, reminding humans that all aspects of life are transient.

God is omnipresent — not limited to idols

In Hindu thought, God does not reside solely within an idol but pervades all of existence. Through worship, devotees focus on a specific form of God; through immersion, it is expressed that God once again merges into everything around us, into every part of nature. This helps shift the mind of devotees from 'idol worship' to 'spiritual worship' or devotion beyond form.

The lesson of detachment and renunciation

During festivals and worship, deep attachment and emotion develop in the hearts of devotees towards the deity. Through immersion, devotees learn to free themselves from this attachment. The lesson is to know how to let go of beloved things or people when the time comes, which helps maintain balance in life.

Aspect of ecological balance

According to ancient practice, idols were made from Ganga clay, straw, wood, and natural colors, which, when immersed in rivers, would not harm the environment. This created an eco-friendly tradition of returning natural materials back to nature. Although nowadays the use of chemical colors and plaster of Paris has raised environmental concerns, the original purpose of the ritual was to protect and respect nature.

Conclusion of the festival and new beginnings

Immersion formally marks the end of the festival. It is also a kind of mental preparation, where after days of joy and devotion, people return to their daily lives inspired. Within this conclusion lies the hope and anticipation for the next year’s celebration.



Immersing idols of gods or goddesses in water is not merely a ritual but carries a deep philosophical message, respect for nature, and a profound lesson for human life. It teaches us that all creation will one day dissolve, that God is omnipresent, and that humanity’s relationship with nature is eternal. Thus, immersion reminds us that true peace lies in renunciation, and the real beauty of life is found in detachment.

Wednesday, July 23, 2025

Anjali — More Than Flowers: The Heart of Indian Spiritual Tradition





Whether it’s Durga Puja or any other ritual, offering anjali at the feet of the Goddess is an integral part of our culture. Many people think anjali simply means holding flowers in hand while reciting mantras. But in truth, anjali is much more than just a handful of flowers; it is the expression of our devotion, humility, and ultimate surrender. While this ritual appears graceful on the outside, it holds deep spiritual and philosophical significance within.

🌸 The meaning of the word ‘Anjali’

The word anjali comes from the Sanskrit root “anj”, which means “to smear” or “to cover.” Over time, it came to signify the special cup-like shape formed by joining both palms together — called hastaputa — in which we offer something sacred (arghya). Thus, anjali is not merely the flowers we hold; it is the sacred vessel made by our own hands, in which we offer our mind, heart, and consciousness.

đŸĒˇ Not just flowers, but surrender

Anjali is offered to the deity — but the deity doesn’t really need anything from us. The true meaning lies in our act of surrender: letting go of pride, greed, anger, envy, and inner conflict at the feet of the Divine. The flowers are merely symbols; the real offering is the purity of our heart and our self-restraint.

The threefold Anjali: its spiritual interpretation

During Durga Puja, anjali is offered three times along with sacred chants. These three rounds of anjali symbolize our prayer for purification in thought, word, and deed — so that we may attain not only external but also inner purity.

First anjali: the resolve to rid the body of impurity
Second anjali: the prayer to cleanse the mind of negative thoughts
Third anjali: the prayer to be freed from harsh or hurtful words

 Social and psychological aspects

Anjali is usually offered collectively, by many devotees at once. This creates a sense of shared devotion and emotional connection. In that moment, people feel each other’s presence and grow closer as a community. Bowing our heads in anjali teaches us to let go of our ego and pride.

Anjali as the language of surrender
Anjali is not merely an offering of flowers; it is an act of complete surrender. When we offer anjali at the feet of the Goddess, we silently say:

> “Mother, whatever flaws lie within me, I surrender them to you. Please teach me to become a truly good human being.”


This is what anjali teaches us that the greatest gift we can offer to the Divine is a pure heart and a selfless soul.

Friday, July 18, 2025

āĻĒ্āϰাāϚীāύ āĻ­াāϰāϤেāϰ āϚিāĻ•িā§ŽāϏা āϏāϰāĻž্āϜাāĻŽ āĻ“ āĻ…āĻĒাāϰেāĻļāύ āĻĒāĻĻ্āϧāϤি





(āĻ­িāϤ্āϤি: āϏুāĻļ্āϰুāϤ āϏংāĻšিāϤা, āϚāϰāĻ• āϏংāĻšিāϤা āĻāĻŦং āĻ…āύ্āϝাāύ্āϝ āĻĒ্āϰাāϚীāύ āĻ—্āϰāύ্āĻĨ)


āĻĒ্āϰাāϚীāύ āĻ­াāϰāϤ āĻ›িāϞ āϚিāĻ•িā§ŽāϏা āĻŦিāϜ্āĻžাāύেāϰ āĻ•্āώেāϤ্āϰে āĻŦিāĻļ্āĻŦে āĻ…āĻ—্āϰāĻ—āĻŖ্āϝ। āĻĒ্āϰাāϚীāύ āϚিāĻ•িā§ŽāϏা āĻĒāĻĻ্āϧāϤি āĻŽূāϞāϤ āĻ†ā§Ÿুāϰ্āĻŦেāĻĻেāϰ āωāĻĒāϰ āĻ­িāϤ্āϤি āĻ•āϰে āĻ—ā§œে āωāĻ েāĻ›িāϞ, āϝাāϰ āĻĻুāϟি āĻĒ্āϰāϧাāύ āĻļাāĻ–া āĻ›িāϞ –

āϚিāĻ•িā§ŽāϏা (medicine) – āϝাāϰ āĻŽূāϞ āĻ—্āϰāύ্āĻĨ āϚāϰāĻ• āϏংāĻšিāϤা
āĻļāϞ্āϝ āϚিāĻ•িā§ŽāϏা (surgery) – āϝাāϰ āĻŽূāϞ āĻ—্āϰāύ্āĻĨ āϏুāĻļ্āϰুāϤ āϏংāĻšিāϤা

āĻŦিāĻļেāώāϤ āĻļāϞ্āϝ āϚিāĻ•িā§ŽāϏা⧟ (surgery) āĻĒ্āϰাāϚীāύ āĻ­াāϰāϤী⧟āϰা āĻ…āϏাāϧাāϰāĻŖ āĻ…āĻ—্āϰāĻ—āϤি āĻ•āϰেāĻ›িāϞ। āϏুāĻļ্āϰুāϤāĻ•ে “āϏাāϰ্āϜাāϰিāϰ āϜāύāĻ•” (Father of Surgery) āĻŦāϞা āĻšā§Ÿ।




āĻĒ্āϰাāϚীāύ āϚিāĻ•িā§ŽāϏা āϏāϰāĻž্āϜাāĻŽ:

āϏুāĻļ্āϰুāϤ āϏংāĻšিāϤা āϤে āĻĒ্āϰা⧟ ā§§ā§Ļā§§āϟি āϧাāϤāĻŦ āĻ…āϏ্āϤ্āϰোāĻĒāϚাāϰ āϏāϰāĻž্āϜাāĻŽ (āϝেāĻŽāύ āϚিāĻŽāϟি, āĻ›ুāϰি, āϏুāχ āχāϤ্āϝাāĻĻি) āĻāĻŦং ⧍ā§Ļāϟি non-metallic instrument āĻāϰ āĻŦāϰ্āĻŖāύা āφāĻ›ে।

āĻ•িāĻ›ু āωāĻĻাāĻšāϰāĻŖ:
āĻ•াāϰ্āύী (Karni) – āĻ•াঁāϚি āϜাāϤী⧟ āϝāύ্āϤ্āϰ, āĻ•াāύ āĻŦা āύাāĻ•েāϰ āĻ…āĻĒাāϰেāĻļāύে
āĻ‰ā§ŽāϏাāϧāύ (Utsadana) – āĻ•্āώāϤ āĻŦা āĻĢো⧜াāϰ āĻĒুঁāϜ āĻŦেāϰ āĻ•āϰāϤে
āĻļāϰ্āϝ (Sharri) – āĻ›োāϟ āĻ›ুāϰি
āĻŦেāϤāϏ্āϝ (Vetasya) – āϤীāĻ•্āώ্āĻŖ āĻ›ুāϰি, āϚāϰ্āĻŽ āϰোāĻ— āĻŦা āĻ•্āώāϤ āĻ•াāϟা
āϏুāϚী (Suchi) – āϏূāϚ, āϏেāϞাāχ āĻ•āϰাāϰ āϜāύ্āϝ
āφāϰ্āϤু (Artru) – āĻšা⧜ āĻ•েāϟে āĻĢেāϞাāϰ āϝāύ্āϤ্āϰ
āϏ্āĻŦāϏ্āϤিāĻ• (Swastika) – āĻšা⧜ āϧāϰে āϰাāĻ–াāϰ āϝāύ্āϤ্āϰ
āϤ্āϰিāĻ•ূāϟী (Trikurti) – āϤিāύ āĻŽাāĻĨাāϰ āϚিāĻŽāϟি
āϤাāϞ্āϝ (Talya) – āĻšাāϤু⧜ি āϜাāϤী⧟ āϝāύ্āϤ্āϰ

āϤāĻ–āύāĻ•াāϰ āϏāϰāĻž্āϜাāĻŽāĻ—ুāϞো āĻĒ্āϰāϧাāύāϤ āϞোāĻšা, āϤাāĻŽা āĻ“ āĻŦ্āϰোāĻž্āϜ āĻĻি⧟ে āϤৈāϰি āĻšāϤো, āĻāĻŦং āϏāϰāĻž্āϜাāĻŽāĻ—ুāϞো sterilize āĻ•āϰাāϰ āϜāύ্āϝ āφāĻ—ুāύে āĻŦা āĻ—āϰāĻŽ āϜāϞে āϏিāĻĻ্āϧ āĻ•āϰāϤ।


āĻ…āĻĒাāϰেāĻļāύ āĻĒāĻĻ্āϧāϤি:

āĻĒ্āϰাāϚীāύ āĻ­াāϰāϤীāϝ় āϚিāĻ•িā§ŽāϏāĻ•āϰা āĻŦিāĻ­িāύ্āύ āϧāϰāύেāϰ āĻ…āĻĒাāϰেāĻļāύ āĻ•āϰāϤেāύ, āϝেāĻŽāύ:

āϰাāχāύোāĻĒ্āϞাāϏ্āϟি (āύাāĻ• āĻĒুāύāϰ্āĻ—āĻ āύ) – āϤāĻ–āύ āϝুāĻĻ্āϧ āĻŦা āĻļাāϏ্āϤিāϏ্āĻŦāϰূāĻĒ āύাāĻ• āĻ•েāϟে āĻĢেāϞাāϰ āĻĒ্āϰāϚāϞāύ āĻ›িāϞ; āϏুāĻļ্āϰুāϤ āĻāχ āύাāĻ• āĻ—āĻ āύ āύāϤুāύ āĻ•āϰে āĻ•āϰāϤেāύ āĻ•āĻĒাāϞেāϰ āϚাāĻŽā§œা āĻ•েāϟে āĻāύে।

āĻ•াāϟাāϰি āϚিāĻ•িā§ŽāϏা (Excision) – āϟিāωāĻŽাāϰ āĻŦা āĻ—ুāϟিāϞ āĻ•েāϟে āĻĢেāϞা।

āĻ•্āϝাāĻĨাāϰাāχāϜেāĻļāύ (Cauterization) – āφāĻ—ুāύ āĻŦা āĻ—āϰāĻŽ āϧাāϤু āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰে āĻ•্āώāϤ āĻŦা āϰāĻ•্āϤāĻĒাāϤ āĻŦāύ্āϧ āĻ•āϰা।

āĻāĻŦāϏেāϏ āĻ“ āĻĢো⧜া āĻĢোঁ⧜াāύো – Utsadana āχāϤ্āϝাāĻĻি āϝāύ্āϤ্āϰ āĻĻি⧟ে।

āĻ•্āϞিāύāϜিং āĻ…āĻĢ āĻŦ্āϞাāĻĄ āĻ“ āĻĒুঁāϜ – āϝাāϤে āĻ•্āώāϤ āĻĻ্āϰুāϤ āĻļুāĻ•া⧟।

āϚোāĻ–েāϰ āĻ›াāύি āĻ…āĻĒাāϰেāĻļāύ (Couching technique) – āϚোāĻ–েāϰ āϞেāύ্āϏ āϏāϰি⧟ে āĻ›াāύি āĻ•āĻŽাāύো।


āϏাāϰ্āϜাāϰি āĻ•āϰাāϰ āϏāĻŽā§Ÿ āϤাāϰা āύাāύা āϧāϰāĻŖেāϰ āĻ”āώāϧি (āĻ­েāώāϜ) āĻŦ্āϝāĻĨাāύাāĻļāĻ• āĻ“ āĻ…্āϝাāύ্āϟিāϏেāĻĒāϟিāĻ• āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰāϤ, āϝেāĻŽāύ: āĻŽāϧু, āϘৃāϤ, āĻšāϰিāĻĻ্āϰা (āĻšāϞুāĻĻ), āϤুāϞāϏী āχāϤ্āϝাāĻĻি।



āĻ…্āϝাāύাāϏ্āĻĨেāϏি⧟া āĻ“ āĻĒ্āϰাāĻ•-āĻ…āĻĒাāϰেāϟিāĻ­ āĻ•েāϝ়াāϰ:

āĻ…āĻĒাāϰেāĻļāύেāϰ āφāĻ—ে āϰোāĻ—ীāĻ•ে āĻŽāĻĻāϜাāϤীāϝ় āĻĒাāύীāϝ় āĻŦা āĻŦিāĻļেāώ āĻ­েāώāϜ āĻŽিāĻļ্āϰāĻŖ āĻ–াāĻ“āϝ়াāύো āĻšāϤো, āϝাāϤে āϏে āĻ…āϚেāϤāύ āĻŦা āĻŦ্āϝāĻĨাāĻšীāύ āĻĨাāĻ•ে।
āĻāĻ›া⧜া āĻ…āĻĒাāϰেāĻļāύেāϰ āĻĒāϰ āĻ•্āώāϤ āϧো⧟া āĻšāϤো āĻ—āϰāĻŽ āϜāϞ āĻŦা āĻ­েāώāϜ āĻ•্āĻŦাāĻĨ āĻĻিāϝ়ে।



āĻļিāĻ•্āώাāĻŦ্āϝāĻŦāϏ্āĻĨা:

āϏুāĻļ্āϰুāϤ āϏংāĻšিāϤা āĻ…āύুāϝা⧟ী, āĻ›াāϤ্āϰāĻĻেāϰ āĻ—ুāϰুāϰ āĻ•াāĻ›ে āϏāϰাāϏāϰি āĻšাāϤে-āĻ•āϞāĻŽে āĻĒ্āϰāĻļিāĻ•্āώāĻŖ āύিāϤে āĻšāϤো।

āĻļāϞ্āϝāĻŦিāĻĻ্āϝা āĻļিāĻ–āϤে āĻŽৃāϤāĻĻেāĻšে āĻĒ্āϰ্āϝাāĻ•্āϟিāϏ āĻ•āϰা āĻŦাāϧ্āϝāϤাāĻŽূāϞāĻ• āĻ›িāϞ।

āĻ—াāĻ›েāϰ āĻ–োāϏা, āĻ•ুāĻŽā§œো āĻŦা āϤাāϞেāϰ āĻĒাāϤা āĻ•াāϟাāϰ āĻŽাāϧ্āϝāĻŽে āĻ•েāϟে āϏেāϞাāχ āĻļেāĻ–াāύো āĻšāϤো।



āĻĒ্āϰāĻ­াāĻŦ āĻ“ āϐāϤিāĻšাāϏিāĻ• āĻ—ুāϰুāϤ্āĻŦ:

• āϏুāĻļ্āϰুāϤ āϏংāĻšিāϤা āϞাāϤিāύ, āφāϰāĻŦি, āĻĢাāϰ্āϏি āĻ“ āĻ…āύ্āϝাāύ্āϝ āĻ­াāώা⧟ āĻ…āύূāĻĻিāϤ āĻšā§ŸেāĻ›িāϞ।
• āĻŽāϧ্āϝāϝুāĻ—ীāϝ় āχāωāϰোāĻĒেāϰ āϚিāĻ•িā§ŽāϏা āĻŦāχāĻ—ুāϞোāϤেāĻ“ āĻāϰ āĻĒ্āϰāĻ­াāĻŦ āĻĻেāĻ–া āϝা⧟।
• āφāϜāĻ•েāϰ āĻĒ্āϞাāϏ্āϟিāĻ• āϏাāϰ্āϜাāϰিāϰ āĻāĻ•েāĻŦাāϰে āĻ—ো⧜াāϰ āĻ­িāϤ্āϤি āϰাāĻ–া āĻšā§ŸেāĻ›িāϞ āϤāĻ–āύāχ।



āĻĒ্āϰাāϚীāύ āĻ­াāϰāϤেāϰ āϚিāĻ•িā§ŽāϏা āĻ“ āϏাāϰ্āϜাāϰি āĻļুāϧু āĻĒ্āϰāϝুāĻ•্āϤিāĻ—āϤ āĻ•ৌāĻļāϞ āύ⧟, āĻŦāϰং āĻŦিāϜ্āĻžাāύ, āύৈāϤিāĻ•āϤা, āϧৈāϰ্āϝ āĻ“ āĻļুāĻļ্āϰূāώাāϰ āĻŽিāĻļ্āϰāĻŖ āĻ›িāϞ।
āϏুāĻļ্āϰুāϤ āĻ“ āϤাāϰ āϏāĻŽāϏাāĻŽāϝ়িāĻ• āϚিāĻ•িā§ŽāϏāĻ•েāϰা āφāĻŽাāĻĻেāϰ āĻāĻŽāύ āĻāĻ• āϐāϤিāĻš্āϝ āωāĻĒāĻšাāϰ āĻĻি⧟েāĻ›েāύ, āϝা āφāϜāĻ“ āĻŦিāĻļ্āĻŦেāϰ āϚিāĻ•িā§ŽāϏাāĻŦিāĻĻ্āϝাāϰ āχāϤিāĻšাāϏে āϏ্āĻŦāϰ্āĻŖাāĻ•্āώāϰে āϞেāĻ–া āĻĨাāĻ•āĻŦে।

Saturday, July 12, 2025

āĻĻ্āĻŦাāϰāĻ•া – āĻāĻ• āĻšাāϰাāύো āĻĒৌāϰাāĻŖিāĻ• āĻļāĻšāϰেāϰ āĻ—āϞ্āĻĒ




āĻĻ্āĻŦাāϰāĻ•া (Dwarka) āĻļāĻŦ্āĻĻেāϰ āĻ…āϰ্āĻĨāχ āĻšāϞ ‘āĻĻ্āĻŦাāϰ’ āĻŦা ‘āĻĻ্āĻŦাāϰāĻ•া’ āĻŽাāύে ‘āĻ—েāϟāĻ“āϝ়ে’। āĻšিāύ্āĻĻু āĻĒুāϰাāĻŖ āĻ…āύুāϏাāϰে, āĻāϟি āĻ›িāϞ āĻļ্āϰীāĻ•ৃāώ্āĻŖেāϰ āϰাāϜāϧাāύী, āϝিāύি āĻŽāĻĨুāϰা āĻ›েāĻĄ়ে āϏāĻŽুāĻĻ্āϰেāϰ āϧাāϰে āĻāĻ• āĻĻুāϰ্āĻ­েāĻĻ্āϝ āύāĻ—āϰী āĻ—āĻĄ়েāĻ›িāϞেāύ।



🕉️ āĻĒুāϰাāĻŖে āĻĻ্āĻŦাāϰāĻ•া

āĻŽāĻšাāĻ­াāϰāϤ āĻāĻŦং āĻšāϰিāĻŦংāĻļ āĻĒুāϰাāĻŖ āĻ…āύুāϝাāϝ়ী, āĻ•ৃāώ্āĻŖ āϝāĻ–āύ āĻŽāĻĨুāϰাāϝ় āϜāϰাāϏāύ্āϧেāϰ āφāĻ•্āϰāĻŽāĻŖ āĻĨেāĻ•ে āĻŦাঁāϚāϤে āϚাāχāϞেāύ, āϤāĻ–āύ āϏāĻŽুāĻĻ্āϰেāϰ āϜāϞে āĻāĻ• āύāϤুāύ āĻļāĻšāϰ āϤৈāϰি āĻ•āϰāϞেāύ – āϏেāϟিāχ āĻĻ্āĻŦাāϰāĻ•া।

āĻŦāϞা āĻšāϝ়, āĻĻ্āĻŦাāϰāĻ•া āĻ›িāϞ āĻāĻ• āĻŦিāĻļাāϞ āĻĻুāϰ্āĻ—āύāĻ—āϰী, āϏোāύাāϰ āĻĒ্āϰাāϏাāĻĻ, āĻŽāĻŖিāĻŽুāĻ•্āϤাāϰ āĻĻেāϝ়াāϞ āφāϰ āĻŦিāϏ্āϤৃāϤ āĻŦāύ্āĻĻāϰ āĻ›িāϞ।

āĻ•ৃāώ্āĻŖেāϰ āĻŽৃāϤ্āϝুāϰ āĻĒāϰে, āĻĒৌāϰাāĻŖিāĻ• āĻ—āϞ্āĻĒে āĻŦāϞা āĻšāϝ় āĻĻ্āĻŦাāϰāĻ•া āϏāĻŽুāĻĻ্āϰāĻ—āϰ্āĻ­ে āĻĄুāĻŦে āϝাāϝ়।



🔍 āĻĒ্āϰাāϚীāύ āĻ—্āϰāύ্āĻĨ āĻ“ āĻŦিāĻĻেāĻļী āĻŦāϰ্āĻŖāύা

āĻ—্āϰীāĻ• āĻāĻŦং āϰোāĻŽাāύ āĻĒāϰ্āϝāϟāĻ• āĻŦা āĻŦāĻŖিāĻ•āĻĻেāϰ āϰেāĻ•āϰ্āĻĄে āĻĒāĻļ্āϚিāĻŽ āĻ­াāϰāϤেāϰ āĻŦāύ্āĻĻāϰ āύāĻ—āϰী āĻšিāϏেāĻŦে āĻĻ্āĻŦাāϰāĻ•াāϰ āωāϞ্āϞেāĻ– āφāĻ›ে।

āϚীāύা āĻĒāϰিāĻŦ্āϰাāϜāĻ• āĻšিāωāϝ়েāύ āϏাāĻ™ āĻ“ āĻ•িāĻ›ু āφāϰāĻŦ āĻĒāϰ্āϝāϟāĻ• āĻĻ্āĻŦাāϰāĻ•াāϰ āϏāĻŽুāĻĻ্āϰāĻĒāĻĨেāϰ āĻŦাāĻŖিāϜ্āϝেāϰ āĻ•āĻĨা āĻŦāϞেāĻ›েāύ।



🌊 āφāϧুāύিāĻ• āĻŦিāϜ্āĻžাāύ āĻ•ী āĻŦāϞে?

🧭 āφāϰ্āĻ•িāĻ“āϞāϜিāĻ•্āϝাāϞ āϏাāϰ্āĻ­ে āĻ…āĻĢ āχāύ্āĻĄিāϝ়া (ASI)

ā§§ā§¯ā§Žā§Š āϏাāϞে āĻ­াāϰāϤেāϰ ASI āĻ“ āύ্āϝাāĻļāύাāϞ āχāύāϏ্āϟিāϟিāωāϟ āĻ…āĻĢ āĻ“āĻļিāϝ়াāύোāĻ—্āϰাāĻĢি (NIO) āϏāĻŽুāĻĻ্āϰāϤāϞে āĻĒ্āϰāĻĨāĻŽ āĻŦāĻĄ়āϏāĻĄ় āĻ…āύুāϏāύ্āϧাāύ āϚাāϞাāϝ়।

āĻ—ুāϜāϰাāϟ āωāĻĒāĻ•ূāϞে āĻŦেāϤ āĻĻ্āĻŦাāϰāĻ•া (Bet Dwarka) āĻ“ āĻĻ্āĻŦাāϰāĻ•া āĻļāĻšāϰেāϰ āĻ•াāĻ›ে ā§Šā§Ļ-ā§Ēā§Ļ āĻĢুāϟ āĻ—āĻ­ীāϰে āϏ্āĻĨাāĻĒāύা, āύোāĻ™āϰেāϰ āĻ–ুঁāϟি, āĻĻেāϝ়াāϞেāϰ āĻ…ংāĻļ, āĻĒাāĻĨāϰেāϰ āĻŦ্āϞāĻ•, āĻŽৃā§ŽāĻĒাāϤ্āϰেāϰ āϟুāĻ•āϰো āĻĒাāĻ“āϝ়া āϝাāϝ়।

āĻ•াāϰ্āĻŦāύ āĻĄেāϟিংāϝ়ে āĻāĻĻেāϰ āĻŦāϝ়āϏ āϧāϰা āĻšāϝ় āĻ–্āϰিāϏ্āϟāĻĒূāϰ্āĻŦ ā§§ā§Ģā§Ļā§Ļ āĻĨেāĻ•ে ⧍ā§Ļā§Ļā§Ļ āĻāϰ āĻŽāϧ্āϝে।

āĻ•িāĻ›ু āĻĒāĻŖ্āĻĄিāϤ āĻŦāϞেāύ, āĻāĻ—ুāϞোāχ āĻĒৌāϰাāĻŖিāĻ• āĻĻ্āĻŦাāϰāĻ•াāϰ āĻ…āĻŦāĻļিāώ্āϟাংāĻļ।


 

🔍 āφāϧুāύিāĻ• āϏāĻŽুāĻĻ্āϰāĻŦিāϜ্āĻžাāύ

āϏāĻŽুāĻĻ্āϰেāϰ āύিāϚে āĻĒাāĻ“āϝ়া āĻ•াāĻ াāĻŽোāĻ—ুāϞি āĻĒ্āϰāĻŽাāĻŖ āĻ•āϰে āϝে āĻĒ্āϰাāϚীāύ āϏāĻŽāϝ়ে āϏāĻŽুāĻĻ্āϰāĻĒৃāώ্āĻ েāϰ āĻĒāϰিāĻŦāϰ্āϤāύ āĻāĻŦং āύāĻĻীāϰ āϧাāϰা āĻāχ āĻļāĻšāϰāϟিāĻ•ে āĻĄুāĻŦিāϝ়ে āĻĻিāϝ়েāĻ›িāϞ।

āĻāĻ–াāύāĻ•াāϰ āϏ্āĻĨাāĻĒāύা āĻĨেāĻ•ে āĻŦোāĻা āϝাāϝ় āĻāϟি āϏāĻŽুāĻĻ্āϰāĻŦাāĻŖিāϜ্āϝāύিāϰ্āĻ­āϰ āϏāĻŽৃāĻĻ্āϧ āĻļāĻšāϰ āĻ›িāϞ।





⚖️ āĻŦিāϤāϰ্āĻ•

āĻ•িāĻ›ু āĻŦিāϜ্āĻžাāύী āĻŦāϞেāύ, āĻāχ āĻ•াāĻ াāĻŽো āĻĒ্āϰাāĻ•ৃāϤিāĻ•।

āĻ…āύ্āϝāĻĻেāϰ āĻŽāϤে, āĻāĻ—ুāϞো āĻŽাāύুāώেāϰ āϤৈāϰি। āϤāĻŦে āϏāϰাāϏāϰি ‘āĻ•ৃāώ্āĻŖেāϰ āĻĻ্āĻŦাāϰāĻ•া’ āĻ•িāύা, āϏেāϟা āύিāĻļ্āϚিāϤāĻ­াāĻŦে āĻĒ্āϰāĻŽাāĻŖিāϤ āύāϝ়।

āύāϤুāύ āĻĄুāĻŦো āĻ…āύুāϏāύ্āϧাāύ āĻĒ্āϰāĻŽাāĻŖ āĻ•āϰāĻ›ে, āĻ…āύ্āϤāϤ āĻĒ্āϰাāϚীāύ āĻāĻ• āĻŦāύ্āĻĻāϰāύāĻ—āϰী āĻāĻ–াāύে āĻ›িāϞāχ।



🕍 āĻŦāϰ্āϤāĻŽাāύ āĻĻ্āĻŦাāϰāĻ•া

āφāϜāĻ•েāϰ āĻĻ্āĻŦাāϰāĻ•া (āĻ—ুāϜāϰাāϟেāϰ āϜাāĻŽে āύāĻ—āϰ āϜেāϞাāϰ āĻ•াāĻ›ে) āĻšিāύ্āĻĻুāĻĻেāϰ ā§­āϟি ‘āĻŽোāĻ•্āώāϧাāĻŽ’ āϤীāϰ্āĻĨেāϰ āĻāĻ•āϟি।

āĻĻ্āĻŦাāϰāĻ•াāϧীāĻļ āĻŽāύ্āĻĻিāϰ (āĻļ্āϰীāĻ•ৃāώ্āĻŖ āĻŽāύ্āĻĻিāϰ) āĻŦāĻ›āϰে āϞāĻ•্āώ āϞāĻ•্āώ āϤীāϰ্āĻĨāϝাāϤ্āϰীāĻ•ে āϟাāύে।

āϏāĻŽুāĻĻ্āϰāĻ—āϰ্āĻ­ে āĻĻ্āĻŦাāϰāĻ•া āĻāĻ–āύāĻ“ āϰāĻšāϏ্āϝ, āϝা āĻĒāϰ্āϝāϟāĻ• āĻ“ āĻ—āĻŦেāώāĻ•āĻĻেāϰ āφāĻ•āϰ্āώāĻŖ āĻ•āϰāĻ›ে।

 

āĻĻāϰ্āĻļāύাāϰ্āĻĨীāϰ āϜāύ্āϝ āϤāĻĨ্āϝ

 

 āĻ•ীāĻ­াāĻŦে āϝাāĻŦেāύ:

 

āύিāĻ•āϟāϤāĻŽ āĻŦিāĻŽাāύāĻŦāύ্āĻĻāϰ: āϜাāĻŽāύāĻ—āϰ (āĻĒ্āϰা⧟ ā§§ā§Šā§­ āĻ•িāĻŽি)।

 

āϟ্āϰেāύে: āĻĻ্āĻŦাāϰāĻ•া āϰেāϞāϏ্āϟেāĻļāύ āĻĻিāϞ্āϞি, āĻŽুāĻŽ্āĻŦাāχ, āφāĻšāĻŽেāĻĻাāĻŦাāĻĻ āχāϤ্āϝাāĻĻি āĻļāĻšāϰেāϰ āϏāĻ™্āĻ—ে āϏংāϝুāĻ•্āϤ।

 

āϰোāĻĄে: āϰাāϜ্āϝ āϏāĻĄ়āĻ• āĻŦা āĻŦাāϏে āϏāĻšāϜেāχ āĻĒৌঁāĻ›াāύো āϝাāϝ়।

 

🏨 āĻ•োāĻĨাāϝ় āĻĨাāĻ•āĻŦেāύ:

 

āĻĻ্āĻŦাāϰāĻ•াāϝ় āĻŦāĻšু āĻšোāϟেāϞ, āϧāϰ্āĻŽāĻļাāϞা āĻ“ āĻ—েāϏ্āϟ āĻšাāωāϏ āφāĻ›ে।

 

🕰 āĻ­্āϰāĻŽāĻŖেāϰ āϏেāϰা āϏāĻŽāϝ়:

 

āĻ…āĻ•্āϟোāĻŦāϰ āĻĨেāĻ•ে āĻŽাāϰ্āϚ।

 āĻĒৌāϰাāĻŖিāĻ• āĻ•াāĻšিāύী āφāϰ āφāϧুāύিāĻ• āϏāĻŽুāĻĻ্āϰāĻŦিāϜ্āĻžাāύ āĻŽিāϞে āĻŦāϞāĻ›ে – āĻš্āϝাঁ, āĻāĻ•āϟা āϏāĻŽৃāĻĻ্āϧ āĻĒ্āϰাāϚীāύ āύāĻ—āϰী āϏāϤ্āϝিāχ āĻāĻ–াāύে āĻ›িāϞ।
āϤāĻŦে āĻĒুāϰোāĻĒুāϰি ‘āĻ•ৃāώ্āĻŖেāϰ āĻĻ্āĻŦাāϰāĻ•া’ āĻ•িāύা, āϤাāϰ āϰāĻšāϏ্āϝ āĻāĻ–āύো āϏāĻŽুāĻĻ্āϰāĻ—āϰ্āĻ­েāχ āϞুāĻ•াāύো। āϤāĻŦে āĻĒুāϰাāĻŖ āφāϰ āχāϤিāĻšাāϏ āĻŽিāϞিāϝ়ে āĻāĻ• āĻŦিāϏ্āĻŽāϝ়āĻ•āϰ āϰāĻšāϏ্āϝ āĻĻ্āĻŦাāϰāĻ•া। āϏāĻŽুāĻĻ্āϰেāϰ āϤāϞা⧟ āĻāĻ–āύāĻ“ āϞুāĻ•ি⧟ে āφāĻ›ে āϏেāχ āĻšাāϰাāύো āĻļāĻšāϰেāϰ āĻ—āϞ্āĻĒ, āϝা āφāĻŽাāĻĻেāϰ āĻĒ্āϰাāϚীāύ āϏāĻ­্āϝāϤা āĻ“ āϏংāϏ্āĻ•ৃāϤিāϰ āĻ…āĻŽূāϞ্āϝ āϏাāĻ•্āώী।

 

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Thursday, April 3, 2025

āϰাāĻŽāĻ•িāĻ™্āĻ•āϰ āĻŦেāχāϜ - āφāϧুāύিāĻ• āĻ­াāϏ্āĻ•āϰ্āϝেāϰ āĻĒāĻĨāĻĒ্āϰāĻĻāϰ্āĻļāĻ•  āϰাāĻŽāĻ•িāĻ™্āĻ•āϰ āĻŦেāχāϜ āĻ›িāϞেāύ āĻāĻ•āϜāύ āĻ­াāϰāϤীāϝ় āĻ­াāϏ্āĻ•āϰ āĻāĻŦং āϚিāϤ্āϰāĻļিāϞ্āĻĒী, āφāϧুāύিāĻ• āĻ­াāϰāϤীāϝ় āĻ­াāϏ্āĻ•āϰ্āϝেāϰ āĻĒāĻĨāĻĒ্āϰāĻĻāϰ্āĻļāĻ•āĻĻেāϰ āĻāĻ•āϜāύ āĻāĻŦং āĻĒ্āϰাāϏāĻ™্āĻ—িāĻ• āφāϧুāύিāĻ•āϤাāĻŦাāĻĻেāϰ āĻāĻ•āϜāύ āĻĒ্āϰāϧাāύ āĻŦ্āϝāĻ•্āϤিāϤ্āĻŦ।  āĻŦেāχāϜ āĻ­াāϰāϤেāϰ āĻĒāĻļ্āϚিāĻŽāĻŦāĻ™্āĻ—েāϰ āĻŦাঁāĻ•ুāĻĄ়া āϜেāϞাāϝ় āĻ…āϰ্āĻĨāύৈāϤিāĻ•āĻ­াāĻŦে āĻŦিāύāϝ়ী āĻĒāϰিāĻŦাāϰে āϜāύ্āĻŽāĻ—্āϰāĻšāĻŖ āĻ•āϰেāύ।  āĻ•িāĻļোāϰ āĻŦāϝ়āϏে āϰাāĻŽāĻ•িāĻ™্āĻ•āϰ āĻ­াāϰāϤেāϰ āĻŦ্āϰিāϟিāĻļ āĻļাāϏāĻ•āĻĻেāϰ āĻŦিāϰুāĻĻ্āϧে āĻ…āϏāĻšāϝোāĻ— āφāύ্āĻĻোāϞāύে āϜāĻĄ়িāϤ āĻ­াāϰāϤীāϝ় āϏ্āĻŦাāϧীāύāϤা āϏংāĻ—্āϰাāĻŽীāĻĻেāϰ āĻĒ্āϰāϤিāĻ•ৃāϤি āφঁāĻ•āϤেāύ।  16 āĻŦāĻ›āϰ āĻŦāϝ়āϏে āϤিāύি āĻĒ্āϰāĻ–্āϝাāϤ āϏাংāĻŦাāĻĻিāĻ• āϰাāĻŽাāύāύ্āĻĻ āϚ্āϝাāϟাāϰ্āϜিāϰ āύāϜāϰে āĻĒāĻĄ়েāύ। āϚাāϰ āĻŦāĻ›āϰ āĻĒāϰ āϰাāĻŽāĻ•িāĻ™্āĻ•āϰ āĻļাāύ্āϤিāύিāĻ•েāϤāύেāϰ āĻŦিāĻļ্āĻŦāĻ­াāϰāϤী āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ়ে āϚাāϰুāĻ•āϞাāϰ āĻ›াāϤ্āϰ āĻšিāϏেāĻŦে āϝোāĻ— āĻĻেāύ।  āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ় āĻĨেāĻ•ে āĻĄিāĻĒ্āϞোāĻŽা āĻ…āϰ্āϜāύেāϰ āĻĒāϰ āϤিāύি āĻ­াāϏ্āĻ•āϰ্āϝ āĻŦিāĻ­াāĻ—েāϰ āĻĒ্āϰāϧাāύ āĻšāύ।  āϰাāĻŽāĻ•িāĻ™্āĻ•āϰেāϰ āĻŦিāĻ–্āϝাāϤ āĻ­াāϏ্āĻ•āϰ্āϝ āĻļিāώ্āϝāĻĻেāϰ āĻŽāϧ্āϝে āϰāϝ়েāĻ›ে āĻĒ্āϰāĻ­াāϏ āϏেāύ, āĻļāĻ™্āĻ–ো āϚৌāϧুāϰী, āĻ…āĻŦāϤাāϰ āϏিং āĻĒাāύāĻ“āϝ়াāϰ, āĻŽāĻĻāύ āĻ­াāϟāύāĻ—āϰ, āϧāϰ্āĻŽাāύি, āĻŦāϞāĻŦীāϰ āϏিং āĻ•াāϟ্āϟ, āϰাāϜুāϞ āϧাāϰিāϝ়াāϞ āĻāĻŦং āϏুāϏাāύ āϘোāϏ āĻāĻ•āϟি āĻ›োāϟ āĻ›েāϞে āĻšিāϏাāĻŦে, āϤিāύি āϏ্āĻĨাāύীāϝ় āĻ•াāϰিāĻ—āϰ āĻāĻŦং āϚিāϤ্āϰ-āύিāϰ্āĻŽাāϤাāĻĻেāϰ āĻ•াāϜেāϰ āϏāĻŽāϝ় āĻĻেāĻ–ে āĻŦāĻĄ় āĻšāϝ়েāĻ›িāϞেāύ;  āĻāĻŦং āϤাāϰ āĻĒāĻĨে āϝা āφāϏে āϤা āĻĻিāϝ়ে āĻ›োāϟ āĻŽাāϟিāϰ āϚিāϤ্āϰ āĻāĻŦং āĻĒেāχāύ্āϟিং āϤৈāϰি āĻ•āϰে। 1938 āϏাāϞে āĻļাāύ্āϤিāύিāĻ•েāϤāύে āϤৈāϰি "āϏাঁāĻ“āϤাāϞ āĻĒāϰিāĻŦাāϰ"  āĻāϟি āϤাāĻ•ে 1925 āϏাāϞে, āϜাāϤীāϝ়āϤাāĻŦাāĻĻী āĻĒ্āϰāĻ•াāĻļāĻ• āĻāĻŦং āύāϤুāύ āĻ­াāϰāϤীāϝ় āĻļিāϞ্āĻĒ āφāύ্āĻĻোāϞāύেāϰ āϜāύ্āϝ āϰাāĻŽাāύāύ্āĻĻ āϚ্āϝাāϟাāϰ্āϜিāϰ āĻĒāϰাāĻŽāϰ্āĻļে āĻļাāύ্āϤিāύিāĻ•েāϤāύেāϰ āφāϰ্āϟ āϏ্āĻ•ুāϞ āĻ•āϞা āĻ­াāĻŦāύাāϝ় āϤাāϰ āĻĒāĻĨ āϚিāĻš্āύিāϤ āĻ•āϰāϤে āĻĒāϰিāϚাāϞিāϤ āĻ•āϰেāĻ›িāϞ।  āĻļাāύ্āϤিāύিāĻ•েāϤāύে, āύāύ্āĻĻāϞাāϞ āĻŦোāϏেāϰ āύিāϰ্āĻĻেāĻļāύাāϝ় āĻāĻŦং āϰāĻŦীāύ্āĻĻ্āϰāύাāĻĨ āĻ াāĻ•ুāϰেāϰ āĻĻ্āĻŦাāϰা āφāĻ•ৃāϤিāϰ āĻŽুāĻ•্āϤ āĻŦৌāĻĻ্āϧিāĻ• āĻĒāϰিāĻŦেāĻļেāϰ āĻĻ্āĻŦাāϰা āĻ‰ā§ŽāϏাāĻšিāϤ āĻšāϝ়ে, āϤাঁāϰ āĻļৈāϞ্āĻĒিāĻ• āĻĻāĻ•্āώāϤা āĻāĻŦং āĻŦুāĻĻ্āϧিāĻŦৃāϤ্āϤিāĻ• āĻĻিāĻ—āύ্āϤ āύāϤুāύ āĻ—āĻ­ীāϰāϤা āĻāĻŦং āϜāϟিāϞāϤা āĻ…āϰ্āϜāύ āĻ•āϰে।  āĻ•āϞা āĻ­āĻŦāύে āĻĒāĻĄ়াāĻļোāύা āĻļেāώ āĻ•āϰাāϰ āĻĒāϰ āĻļীāϘ্āϰāχ āϤিāύি āĻāϰ āĻ…āύুāώāĻĻেāϰ āϏāĻĻāϏ্āϝ āĻšāύ āĻāĻŦং āύāύ্āĻĻāϞাāϞ āĻāĻŦং āĻŦিāύোāĻĻ āĻŦিāĻšাāϰী āĻŽুāĻ–াāϰ্āϜিāϰ āϏাāĻĨে āĻļাāύ্āϤিāύিāĻ•েāϤāύāĻ•ে āϏ্āĻŦাāϧীāύāϤা-āĻĒূāϰ্āĻŦ āĻ­াāϰāϤে āφāϧুāύিāĻ• āĻļিāϞ্āĻĒেāϰ āϏāĻŦāϚেāϝ়ে āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻ•েāύ্āĻĻ্āϰে āĻĒāϰিāĻŖāϤ āĻ•āϰাāϰ āĻ•্āώেāϤ্āϰে āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻ­ূāĻŽিāĻ•া āĻĒাāϞāύ āĻ•āϰেāύ।  āϤিāϰিāĻļেāϰ āĻĻāĻļāĻ•েāϰ āĻ—োāĻĄ়াāϰ āĻĻিāĻ•ে āϤিāύি āĻ•্āϝাāĻŽ্āĻĒাāϏāĻ•ে āĻāĻ•েāϰ āĻĒāϰ āĻāĻ• āĻ­াāϏ্āĻ•āϰ্āϝে āĻ­āϰিāϝ়ে āĻĻিāϤে āĻļুāϰু āĻ•āϰেāύ, āϝা āĻŦিāώāϝ়āĻŦāϏ্āϤুāϤে āωāĻĻ্āĻ­াāĻŦāύী āĻāĻŦং āĻŦ্āϝāĻ•্āϤিāĻ—āϤ āĻļৈāϞীāϤেāĻ“ āĻ›িāϞ। āĻāχ āϧাāϰাāϝ় āϤাঁāϰ āĻĒ্āϰāĻĨāĻŽ āĻļ্āϰেāώ্āĻ  āϰāϚāύা āĻ›িāϞ 1938 āϏাāϞে āĻ•āϰা āϏাঁāĻ“āϤাāϞ āĻĒāϰিāĻŦাāϰ। āĻāχ āĻŦৃāĻšāϤ্āϤāϰ āϜীāĻŦāύ āĻ­াāϏ্āĻ•āϰ্āϝে āϤিāύি āĻāχ āĻ…āĻž্āϚāϞেāϰ āωāĻĒāϜাāϤীāϝ় āĻ•ৃāώāĻ•āĻĻেāϰ āĻĒ্āϰāϤিāύিāϧিāϤ্āĻŦ āĻ•āϰেāĻ›িāϞেāύ, āϚিāϤ্āϰāĻ—ুāϞিāĻ•ে āφāχāĻ•āύিāĻ• āωāĻĒāϏ্āĻĨিāϤি āĻāĻŦং āĻŽāϰ্āϝাāĻĻাāĻĒূāϰ্āĻŖ āĻ…āύুāĻ—্āϰāĻš āĻĒ্āϰāĻĻাāύ āĻ•āϰেāĻ›িāϞেāύ āϝা āĻāĻ–āύāĻ“ āĻĒāϰ্āϝāύ্āϤ āψāĻļ্āĻŦāϰ āĻāĻŦং āĻļাāϏāĻ•āĻĻেāϰ āϚিāϤ্āϰেāϰ āĻŽāϧ্āϝে āϏীāĻŽাāĻŦāĻĻ্āϧ āĻ›িāϞ। āϏিāĻŽেāύ্āϟ āĻāĻŦং āϞ্āϝাāϟাāϰাāχāϟ āĻŽāϰ্āϟাāϰ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰে āϚিāϤ্āϰāĻ—ুāϞিāĻ•ে āĻŽāĻĄেāϞ āĻ•āϰা, āĻāĻŦং āĻāĻ•āϟি āĻŦ্āϝāĻ•্āϤিāĻ—āϤ āĻļৈāϞীāϰ āĻŦ্āϝāĻŦāĻšাāϰ āϝাāϤে āφāϧুāύিāĻ• āĻĒāĻļ্āϚিāĻŽা āĻāĻŦং āĻ­াāϰāϤীāϝ় āĻĒ্āϰাāĻ•-āĻļাāϏ্āϤ্āϰীāϝ় āĻ­াāϏ্āĻ•āϰ্āϝেāϰ āĻŽূāϞ্āϝāĻŦোāϧāĻ—ুāϞিāĻ•ে āĻāĻ•āϤ্āϰিāϤ āĻ•āϰা āĻšāϝ়েāĻ›িāϞ।  āĻāχ āĻŽৌāϞিāĻ• āĻ•াāϜেāϰ āĻŽাāϧ্āϝāĻŽে āϰাāĻŽāĻ•িāĻ™্āĻ•āϰ āύিāϜেāĻ•ে āύিঃāϏāύ্āĻĻেāĻšে āφāϧুāύিāĻ• āĻ­াāϰāϤীāϝ় āĻ­াāϏ্āĻ•āϰ āĻšিāϏেāĻŦে āĻĒ্āϰāϤিāώ্āĻ িāϤ āĻ•āϰেāύ।  āĻ‹āϤ্āĻŦিāĻ• āϘāϟāĻ• āĻŦিāϚāĻ•্āώāĻŖāϤাāϰ āϏাāĻĨে āĻŦেāχāϜেāϰ āωāĻĒāϰ 'āϰাāĻŽāĻ•িāĻ™্āĻ•āϰ' (1975) āύাāĻŽে āĻāĻ•āϟি āϤāĻĨ্āϝāϚিāϤ্āϰ āϤৈāϰি āĻ•āϰেāĻ›িāϞেāύ āϝেāĻ–াāύে āϤিāύি āϤাāĻ•ে āĻāĻ•āϜāύ āϰাāϜāύৈāϤিāĻ• āφāχāĻ•āύ āĻšিāϏেāĻŦে āϤুāϞে āϧāϰেāύ।  2012 āϏাāϞে āĻ­াāϏ্āĻ•āϰ āĻ•ে.āĻāϏ.  āϰাāϧাāĻ•ৃāώ্āĻŖাāύ āĻĻিāϞ্āϞিāϰ āύ্āϝাāĻļāύাāϞ āĻ—্āϝাāϞাāϰি āĻ…āĻĢ āĻŽāĻĄাāϰ্āύ āφāϰ্āϟ-āĻ āϰাāĻŽāĻ•িāĻ™্āĻ•āϰেāϰ āĻāĻ•āϟি āĻ—্āϰ্āϝাāύ্āĻĄ āϰেāϟ্āϰোāϏ্āĻĒেāĻ•āϟিāĻ­ āĻ•িāωāϰেāϟ āĻ•āϰেāĻ›েāύ।  āϰাāĻŽāĻ•িāĻ™্āĻ•āϰ āĻŦাāχāϜ (āĻŦāχ), āĻŦিāĻļিāώ্āϟ āĻļিāϞ্āĻĒ āχāϤিāĻšাāϏāĻŦিāĻĻ āĻ…āϧ্āϝাāĻĒāĻ• āφāϰ. āĻļিāĻŦ āĻ•ুāĻŽাāϰেāϰ āĻŦāχāϟি āϰাāĻŽāĻ•িāĻ™্āĻ•āϰ āĻŦাāχāϜেāϰ āϏāĻŦāϚেāϝ়ে āĻŦ্āϝাāĻĒāĻ• āĻ—্āϰāύ্āĻĨ āĻŦāϞে āĻŽāύে āĻ•āϰা āĻšāϝ়।   āϤāĻĨ্āϝāϏূāϤ্āϰ : Wikipedia, Google.  "(āĻ›āĻŦি Google āĻĨেāĻ•ে āϏংāĻ—ৃāĻšীāϤ) āĻĒ⧜াāϰ āϜāύ্āϝ āĻ…āϏংāĻ–্āϝ āϧāύ্āϝāĻŦাāĻĻ। āĻļিāϞ্āĻĒ āχāϤিāĻšাāϏেāϰ āφāϰāĻ“ āύāϤুāύ āύāϤুāύ āĻŦিāώ⧟ āύি⧟ে āφāϰāĻ“ āϞেāĻ–া āĻāχ āĻŦ্āϞāĻ— āύি⧟āĻŽিāϤ āĻĒাāĻŦেāύ। āϤাāχ āύি⧟āĻŽিāϤ āφāĻŽাāĻĻেāϰ āĻŦ্āϞāĻ— Follow āĻ•āϰুāύ।

 



 

āĻ…āϝোāϧ্āϝা, āϰাāĻŽ āϜāύ্āĻŽāĻ­ূāĻŽি (āĻĒ্āϰāĻ­ু āĻļ্āϰীāϰাāĻŽেāϰ āϜāύ্āĻŽāϏ্āĻĨাāύ), āĻĻৈāĻŦ āĻļāĻ•্āϤি āĻ…āύুāĻ­āĻŦ āĻ•āϰাāϰ āϜāύ্āϝ āĻāĻ•āϟি āĻĻুāϰ্āĻĻাāύ্āϤ āϜাāϝ়āĻ—া āĻāĻŦং āĻŦিāĻļ্āĻŦাāϏ āĻ•āϰা āĻšāϝ় āϝে āĻāϟি āψāĻļ্āĻŦāϰ āύিāϜেāχ āϤৈāϰি āĻ•āϰেāĻ›েāύ। āĻļāĻšāϰāϟি āĻĒāĻŦিāϤ্āϰ āϏাāϰ্āϝু āύāĻĻীāϰ āϤীāϰে āĻ…āĻŦāϏ্āĻĨিāϤ āĻāĻŦং āĻāϟি āĻ…āύ্āϝāϤāĻŽ āĻļ্āϰāĻĻ্āϧেāϝ় āĻļāĻšāϰ, āĻ•াāϰāĻŖ āĻāϟি āĻŦেāĻļ āĻ•āϝ়েāĻ•āϟি āĻŽāύ্āĻĻিāϰেāϰ āφāĻŦাāϏāϏ্āĻĨāϞ।

āĻ…āϝোāϧ্āϝা āϏাāĻ•েāϤ āύাāĻŽেāĻ“ āĻĒāϰিāϚিāϤ, āϝা āĻŽāĻšাāĻ•াāĻŦ্āϝ āĻ—াāĻĨা āϰাāĻŽাāϝ়āĻŖেāϰ āϏাāĻĨে āϝুāĻ•্āϤ āĻāĻ•āϟি āĻĒ্āϰাāϚীāύ āĻļāĻšāϰ: āĻļ্āϰী āϰাāĻŽেāϰ āĻŽāĻšাāύ āĻŦীāϰāϤ্āĻŦেāϰ āĻ—āϞ্āĻĒ āĻāĻŦং āϤাঁāϰ āĻĒিāϤা āϰাāϜা āĻĻāĻļāϰāĻĨেāϰ āĻļাāϏāύ। āĻŦāϰ্āϤāĻŽাāύে, āĻ…āϝোāϧ্āϝা āĻļāĻšāϰে āĻŽāύ্āĻĻিāϰāĻ—ুāϞিāϰ āϏāĻŦāϚেāϝ়ে āĻ…āϏাāϧাāϰāĻŖ āύিāϰ্āĻŽাāĻŖেāϰ āĻ•াāϜ āϚāϞāĻ›ে। āĻ…āϝোāϧ্āϝা āϰাāĻŽāĻŽāύ্āĻĻিāϰ āύিāϰ্āĻŽাāĻŖেāϰ āĻ•াāϜ āϏেāχ āϜāĻŽিāϤে āĻšāϚ্āĻ›ে āϝেāĻ–াāύে āĻĒ্āϰāĻ­ু āĻļ্āϰী āϰাāĻŽ āϜāύ্āĻŽāĻ—্āϰāĻšāĻŖ āĻ•āϰেāĻ›িāϞেāύ। āĻ­াāϰāϤেāϰ āĻŦৃāĻšāϤ্āϤāĻŽ āĻŽāύ্āĻĻিāϰ- āĻāϰ āύāĻ•āĻļা āĻ•াāĻ াāĻŽো āĻ…āύুāϏাāϰে, āĻ…āϝোāϧ্āϝা āϰাāĻŽ āĻŽāύ্āĻĻিāϰ āĻ­াāϰāϤেāϰ āĻŦৃāĻšāϤ্āϤāĻŽ āĻŽāύ্āĻĻিāϰ āĻšāϤে āϚāϞেāĻ›ে৷ āĻŽāύ্āĻĻিāϰেāϰ āĻ•াāĻ াāĻŽো āĻĄিāϜাāχāύāĻ•াāϰী āϏোāĻŽāĻĒুāϰা āĻĒāϰিāĻŦাāϰেāϰ āĻŽāϤে, āĻŽāύ্āĻĻিāϰেāϰ āωāϚ্āϚāϤা āĻĒ্āϰাāϝ় 161 āĻĢুāϟ āĻāĻŦং 28,000 āĻŦāϰ্āĻ—āĻĢুāϟ āĻāϞাāĻ•া।

āϚāϞুāύ āϜেāύে āύিāχ āĻ…āϝোāϧ্āϝাāϰ āϰাāĻŽāĻŽāύ্āĻĻিāϰ āϏāĻŽ্āĻĒāϰ্āĻ•ে āĻ•িāĻ›ু āĻĒ্āϰাāϏāĻ™্āĻ—িāĻ• āĻāĻŦং āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āϐāϤিāĻšাāϏিāĻ• āϤāĻĨ্āϝ āϝা āĻāĻ–āύāĻ“ āĻ…āύেāĻ•েāϰ āĻ•াāĻ›েāχ āĻ…āϜাāύা। āĻŽāύ্āĻĻিāϰāĻ•ে āφāϰāĻ“ āĻŽāĻšিāĻŽাāύ্āĻŦিāϤ āĻ•āϰে āĻāĻŽāύ āϘāϟāύা!

āĻ…āϝোāϧ্āϝাāϰ āϰাāĻŽ āĻŽāύ্āĻĻিāϰ āϏāĻŽ্āĻĒāϰ্āĻ•ে āϤāĻĨ্āϝ: āĻāĻ•āϟি āĻŦ্āϝাāĻĒāĻ• āύিāϰ্āĻĻেāĻļিāĻ•া

1. āĻĒāĻŦিāϤ্āϰ āĻĒ্āϰāϤিāώ্āĻ া

āϰাāĻŽ āĻŽāύ্āĻĻিāϰেāϰ āĻ­িāϤ্āϤি āĻāĻ•āϟি āĻ—āĻ­ীāϰ āφāϧ্āϝাāϤ্āĻŽিāĻ• āϤাā§ŽāĻĒāϰ্āϝ āĻŦāĻšāύ āĻ•āϰে। āĻাঁāϏি, āĻŦিāĻĨুāϰি, āϝāĻŽুāύোāϤ্āϰী, āĻšāϞāĻĻিāϘাāϟি, āϚিāϤোāϰāĻ—āĻĄ় āĻāĻŦং āϏ্āĻŦāϰ্āĻŖ āĻŽāύ্āĻĻিāϰেāϰ āĻŽāϤো āωāϞ্āϞেāĻ–āϝোāĻ—্āϝ āϏ্āĻĨাāύ āϏāĻš 2587āϟি āĻ…āĻž্āϚāϞেāϰ āĻĒāĻŦিāϤ্āϰ āĻŽাāϟি āύিāϝ়ে āĻ—āĻ িāϤ, āĻĒ্āϰāϤিāϟি āĻ•āĻŖা āĻŽāύ্āĻĻিāϰেāϰ āĻĒāĻŦিāϤ্āϰāϤাāϝ় āĻ…āĻŦāĻĻাāύ āϰাāĻ–ে, āĻŦিāĻ­িāύ্āύ āĻ…āĻž্āϚāϞāĻ•ে āφāϧ্āϝাāϤ্āĻŽিāĻ• āϐāĻ•্āϝেāϰ āϟেāĻĒেāϏ্āϟ্āϰিāϤে āϏংāϝুāĻ•্āϤ āĻ•āϰে।

2. āϏোāĻŽāĻĒুāϰেāϰ āωāϤ্āϤāϰাāϧিāĻ•াāϰ

āϰাāĻŽ āĻŽāύ্āĻĻিāϰেāϰ āϜাঁāĻ•āϜāĻŽāĻ•েāϰ āĻĒিāĻ›āύেāϰ āϏ্āĻĨāĻĒāϤিāϰা āĻŦিāĻ–্āϝাāϤ āϏোāĻŽāĻĒুāϰা āĻĒāϰিāĻŦাāϰেāϰ āĻ…āύ্āϤāϰ্āĻ—āϤ, āϝা āĻŦিāĻļ্āĻŦāĻŦ্āϝাāĻĒী 100 āϟিāϰāĻ“ āĻŦেāĻļি āĻŽāύ্āĻĻিāϰ āϤৈāϰিāϰ āϜāύ্āϝ āĻŦিāĻ–্āϝাāϤ। āωāϞ্āϞেāĻ–āϝোāĻ—্āϝāĻ­াāĻŦে, āϤাāĻĻেāϰ āĻ…āĻŦāĻĻাāύ āĻļ্āϰāĻĻ্āϧেāϝ় āϏোāĻŽāύাāĻĨ āĻŽāύ্āĻĻিāϰে āĻĒ্āϰāϏাāϰিāϤ। āĻĒ্āϰāϧাāύ āϏ্āĻĨāĻĒāϤি, āϚāύ্āĻĻ্āϰāĻ•াāύ্āϤ āϏোāĻŽāĻĒুāϰা, āϤাঁāϰ āĻ›েāϞে āφāĻļিāϏ āĻāĻŦং āύিāĻ–িāϞ āĻĻ্āĻŦাāϰা āϏāĻŽāϰ্āĻĨিāϤ, āĻāĻ•āϟি āωāϤ্āϤāϰাāϧিāĻ•াāϰ āĻŦুāύেāĻ›েāύ āϝা āĻŽāύ্āĻĻিāϰ āϏ্āĻĨাāĻĒāϤ্āϝে āĻĒ্āϰāϜāύ্āĻŽেāϰ āĻĒāϰ āĻĒ্āϰāϜāύ্āĻŽ āĻ…āϤিāĻ•্āϰāĻŽ āĻ•āϰে।

3. āχāϏ্āĻĒাāϤ āύেāχ, āϞোāĻšা āύেāχ, āĻāĻŦং āĻļāĻ•্āϤিāϰ āϏāĻšāϏ্āϰাāĻŦ্āĻĻ

āĻĒ্āϰāϚāϞিāϤ āύিāϰ্āĻŽাāĻŖ āĻĒāĻĻ্āϧāϤি āĻĨেāĻ•ে āĻāĻ•āϟি āĻ…āϏাāϧাāϰāĻŖ āĻĒ্āϰāϏ্āĻĨাāύ, āχāϏ্āĻĒাāϤ āĻŦা āϞোāĻšাāϰ āĻŦ্āϝāĻŦāĻšাāϰ āĻ›াāĻĄ়াāχ āϰাāĻŽ āĻŽāύ্āĻĻিāϰ āύিāϰ্āĻŽাāĻŖ āĻ•āϰা āĻšāϚ্āĻ›ে। āĻļ্āϰীāϰাāĻŽ āϜāύ্āĻŽāĻ­ূāĻŽি āϤীāϰ্āĻĨāĻ•্āώেāϤ্āϰ āϟ্āϰাāϏ্āϟেāϰ āϏাāϧাāϰāĻŖ āϏāĻŽ্āĻĒাāĻĻāĻ• āϚāĻŽ্āĻĒāϤ āϰাāχ āĻĻাāĻŦি āĻ•āϰেāύ āϝে āĻĒাāĻĨāϰেāϰ āĻāĻ•āϚেāϟিāϝ়া āĻŦ্āϝāĻŦāĻšাāϰ āϏāĻšāϏ্āϰাāĻŦ্āĻĻেāϰ āϜāύ্āϝ āĻŽāύ্āĻĻিāϰেāϰ āĻ•াāĻ াāĻŽোāĻ—āϤ āĻ…āĻ–āĻŖ্āĻĄāϤা āύিāĻļ্āϚিāϤ āĻ•āϰে, āϝা āϐāϤিāĻš্āϝāĻ—āϤ āύিāϰ্āĻŽাāĻŖ āĻĒāĻĻ্āϧāϤি āĻĨেāĻ•ে āĻ—ৃāĻšীāϤ āϏ্āĻĨাāϝ়ী āĻļāĻ•্āϤিāϰ āĻĒ্āϰāĻŽাāĻŖ।

4. āĻļ্āϰী āϰাāĻŽ āχāϟ

āχāϤিāĻšাāϏেāϰ āĻ•াāĻŦ্āϝিāĻ• āϏāĻŽ্āĻŽāϤিāϤে, āϰাāĻŽ āĻŽāύ্āĻĻিāϰ āύিāϰ্āĻŽাāĻŖে āύিāϝুāĻ•্āϤ āχāϟāĻ—ুāϞি āĻĒāĻŦিāϤ্āϰ āĻļিāϞাāϞিāĻĒি āĻŦāĻšāύ āĻ•āϰে 'āĻļ্āϰী āϰাāĻŽ'। āĻāϟি āϰাāĻŽ āϏেāϤু āύিāϰ্āĻŽাāĻŖেāϰ āϏāĻŽāϝ় āĻāĻ•āϟি āĻĒ্āϰাāϚীāύ āϰীāϤিāϰ āĻĒ্āϰāϤিāϧ্āĻŦāύি āĻ•āϰে, āϝেāĻ–াāύে 'āĻļ্āϰী āϰাāĻŽ' āύাāĻŽ āϧাāϰāĻŖ āĻ•āϰা āĻĒাāĻĨāϰāĻ—ুāϞি āϜāϞেāϰ āωāĻĒāϰ āϤাāĻĻেāϰ āωāϚ্āĻ›্āĻŦাāϏāĻ•ে āϏāĻšāϜāϤāϰ āĻ•āϰেāĻ›িāϞ। āĻāχ āχāϟেāϰ āφāϧুāύিāĻ• āĻĒুāύāϰাāĻŦৃāϤ্āϤি āĻļāĻ•্āϤি āĻāĻŦং āϏ্āĻĨাāϝ়িāϤ্āĻŦ āωāύ্āύāϤ āĻ•āϰাāϰ āĻĒ্āϰāϤিāĻļ্āϰুāϤি āĻĻেāϝ়।

5. āĻļাāϏ্āϤ্āϰ āĻāĻŦং āϚৌāϞুāĻ•্āϝ āĻļৈāϞীāϰ āĻāĻ•ীāĻ•āϰāĻŖ

āϰাāĻŽ āĻŽāύ্āĻĻিāϰেāϰ āϏ্āĻĨাāĻĒāϤ্āϝেāϰ āĻŦ্āϞুāĻĒ্āϰিāύ্āϟ āϏাāĻŦāϧাāύে āĻŦাāϏ্āϤুāĻļাāϏ্āϤ্āϰ āĻāĻŦং āĻļিāϞ্āĻĒ āĻļাāϏ্āϤ্āϰেāϰ āύীāϤিāĻ—ুāϞি āĻŽেāύে āϚāϞে। āωāϤ্āϤāϰ āĻ­াāϰāϤীāϝ় āĻŽāύ্āĻĻিāϰ āϏ্āĻĨাāĻĒāϤ্āϝেāϰ āĻ—ুāϜāϰা-āϚৌāϞুāĻ•্āϝ āĻļৈāϞীāϤে āĻĄিāϜাāχāύ āĻ•āϰা, āĻŽāύ্āĻĻিāϰāϟি āĻĒ্āϰাāϚীāύ āϜ্āĻžাāύ āĻāĻŦং āύাāύ্āĻĻāύিāĻ• āĻ•āϰুāĻŖাāϰ āϏুāϰেāϞা āĻŽিāĻļ্āϰāĻŖে āĻ…āύুāϰāĻŖিāϤ।

6. āĻĨাāχāϞ্āϝাāύ্āĻĄেāϰ āĻŽাāϟি

āφāύ্āϤāϰ্āϜাāϤিāĻ• āφāϧ্āϝাāϤ্āĻŽিāĻ• āĻŦāύ্āϧুāϤ্āĻŦেāϰ āχāĻ™্āĻ—িāϤে, 22 āϜাāύুāϝ়াāϰী, 2024-āĻ āϰাāĻŽ āϞাāϞাāϰ āĻ…āĻ­িāώেāĻ• āĻ…āύুāώ্āĻ াāύেāϰ āϜāύ্āϝ āĻĨাāχāϞ্āϝাāύ্āĻĄ āĻĨেāĻ•ে āĻŽাāϟি āĻĒাāĻ াāύো āĻšāϝ়েāĻ›ে। āĻāχ āĻŦিāύিāĻŽāϝ় āĻ­ৌāĻ—āϞিāĻ• āϏীāĻŽাāύা āĻ…āϤিāĻ•্āϰāĻŽ āĻ•āϰে, āĻ­āĻ—āĻŦাāύ āϰাāĻŽেāϰ āωāϤ্āϤāϰাāϧিāĻ•াāϰেāϰ āϏāϰ্āĻŦāϜāύীāύ āĻ…āύুāϰāĻŖāύāĻ•ে āĻļāĻ•্āϤিāĻļাāϞী āĻ•āϰে।

7. āĻ­āĻ—āĻŦাāύ āϰাāĻŽেāϰ āĻĻāϰāĻŦাāϰ

āϰাāĻŽ āĻŽāύ্āĻĻিāϰেāϰ āϏ্āĻĨাāĻĒāϤ্āϝ āφāĻ–্āϝাāύāϟি 2.7 āĻāĻ•āϰ āĻŦিāϏ্āϤীāϰ্āĻŖ āĻāϞাāĻ•া āϜুāĻĄ়ে āϤিāύāϟি āϤāϞা āϜুāĻĄ়ে āĻĢুāϟে āωāĻ েāĻ›ে। āύিāϚāϤāϞাāϝ় āĻ­āĻ—āĻŦাāύ āϰাāĻŽেāϰ āϜীāĻŦāύāĻ•ে āϜāϟিāϞāĻ­াāĻŦে āϚিāϤ্āϰিāϤ āĻ•āϰা āĻšāϝ়েāĻ›ে, āϤাāϰ āϜāύ্āĻŽ āĻ“ āĻļৈāĻļāĻŦāĻ•ে āϜুāĻĄ়ে āϰāϝ়েāĻ›ে। āĻĒ্āϰāĻĨāĻŽ āϤāϞাāϝ় āωāĻ ে, āĻĻāϰ্āĻļāύাāϰ্āĻĨীāϰা āĻ­āĻ—āĻŦাāύ āϰাāĻŽেāϰ āĻĻāϰāĻŦাāϰেāϰ āĻŽāĻšিāĻŽাāϝ় āύিāĻŽāϜ্āϜিāϤ āĻšāĻŦে, āϰাāϜāϏ্āĻĨাāύেāϰ āĻ­āϰāϤāĻĒুāϰ āĻĨেāĻ•ে āĻ‰ā§ŽāĻĒāύ্āύ āĻāĻ•āϟি āĻ—োāϞাāĻĒী āĻŦেāϞেāĻĒাāĻĨāϰ āĻŦাঁāĻļি āĻĒাāĻšাāĻĄ়āĻĒুāϰ āĻĻিāϝ়ে āϤৈāϰি āĻāĻ•āϟি āϚাāĻ•্āώুāώ āĻĻৃāĻļ্āϝ।

8. āϏংāĻ–্āϝা āωāύ্āĻŽোāϚāύ

āϰাāĻŽ āĻŽāύ্āĻĻিāϰেāϰ āϏাংāĻ–্āϝিāĻ• āĻŽাāϤ্āϰাāϰ āĻŽāϧ্āϝে āĻĒāĻĄ়ে, āĻāϟি 360 āĻĢুāϟ āĻĻৈāϰ্āϘ্āϝ āĻāĻŦং 235 āĻĢুāϟ āĻĒ্āϰāϏ্āĻĨে āĻŦিāϏ্āϤৃāϤ। āĻļিāĻ–āϰ āϏāĻš āĻŽোāϟ āωāϚ্āϚāϤা 161 āĻĢুāϟে āĻĒৌঁāĻ›েāĻ›ে। āϤিāύāϟি āϤāϞা āĻāĻŦং āĻŽোāϟ 12āϟি āĻ—েāϟ āϏāĻš, āĻŽāύ্āĻĻিāϰāϟি āϏ্āĻĨাāĻĒāϤ্āϝেāϰ āĻŽāĻšিāĻŽাāϰ āĻāĻ•āϟি āĻŽāĻšিāĻŽাāύ্āĻŦিāϤ āĻĒ্āϰāĻŽাāĻŖ āĻšিāϏাāĻŦে āĻĻাঁāĻĄ়িāϝ়ে āφāĻ›ে।

9. āĻĒāĻŦিāϤ্āϰ āύāĻĻীāϰ āϜāϞেāϰ āĻ…āĻŦāĻĻাāύ

5 āφāĻ—āϏ্āϟেāϰ āĻĒāĻŦিāϤ্āϰāϤা āĻ…āύুāώ্āĻ াāύāϟি āĻ­াāϰāϤāϜুāĻĄ়ে 150āϟি āύāĻĻীāϰ āĻĒāĻŦিāϤ্āϰ āϜāϞেāϰ āωāĻĒāϏ্āĻĨিāϤিāϰ āĻĻ্āĻŦাāϰা āϏāĻŽৃāĻĻ্āϧ āĻšāϝ়েāĻ›িāϞ। āĻāχ āĻĒāĻŦিāϤ্āϰ āĻŽিāĻļ্āϰāĻŖ, āĻŦিāĻ­িāύ্āύ āύāĻĻী āĻāĻŦং āĻ…āĻŦāϏ্āĻĨাāύ āĻĨেāĻ•ে āĻ‰ā§ŽāϏাāϰিāϤ, āĻāĻ•āϟি āφāϧ্āϝাāϤ্āĻŽিāĻ• āĻŽিāϞāύেāϰ āĻĒ্āϰāϤীāĻ•, āϝা āĻāĻ•āϟি āĻ…āύāύ্āϝ āϏংāĻŽিāĻļ্āϰāĻŖ āϤৈāϰি āĻ•āϰে āϝা āĻ­াāϰāϤেāϰ āĻĒāĻŦিāϤ্āϰ āϜāϞেāϰ āĻŦৈāϚিāϤ্āϰ্āϝāĻ•ে āĻĒ্āϰāϤিāĻĢāϞিāϤ āĻ•āϰে।

10. āφāϰ্āĻĨিāĻ• āĻ…āύুāĻĻাāύ āĻāĻŦং āĻšাāχ-āĻĒ্āϰোāĻĢাāχāϞ āϏāĻŽāϰ্āĻĨāύ

āϰাāĻŽ āĻŽāύ্āĻĻিāϰ āύিāϰ্āĻŽাāĻŖ āĻŦিāĻ­িāύ্āύ āĻŽāĻšāϞ āĻĨেāĻ•ে āωāϞ্āϞেāĻ–āϝোāĻ—্āϝ āφāϰ্āĻĨিāĻ• āϏāĻšাāϝ়āϤা āĻ…āϰ্āϜāύ āĻ•āϰেāĻ›ে। āĻŽুāĻ–্āϝāĻŽāύ্āϤ্āϰী āφāĻĻিāϤ্āϝāύাāĻĨ āϝোāĻ—ী, āĻĄেāĻĒুāϟি āϏিāĻāĻŽ āĻ•েāĻļāĻŦ āĻĒ্āϰāϏাāĻĻ āĻŽৌāϰ্āϝ āĻŦাāĻĒু āĻāĻŦং āφāϧ্āϝাāϤ্āĻŽিāĻ• āύেāϤা āĻŽোāϰাāϰি āĻŦাāĻĒু āϏāĻš āωāϞ্āϞেāĻ–āϝোāĻ—্āϝ āĻŦ্āϝāĻ•্āϤিāϰা āĻāχ āϏ্āĻŽাāϰāĻ• āĻĒ্āϰāĻ•āϞ্āĻĒেāϰ āĻŦাāϏ্āϤāĻŦাāϝ়āύে āϝāĻĨেāώ্āϟ āĻĒāϰিāĻŽাāĻŖে āĻ…āĻŦāĻĻাāύ āϰেāĻ–েāĻ›েāύ।

11. āωāϤ্āϤāϰোāϤ্āϤāϰ āϜāύ্āϝ āĻāĻ•āϟি āϟাāχāĻŽ āĻ•্āϝাāĻĒāϏুāϞ

āĻŽāύ্āĻĻিāϰেāϰ āύিāϰ্āĻŽাāĻŖে āĻāĻ•āϟি āĻŦাāϧ্āϝāϤাāĻŽূāϞāĻ• āϏংāϝোāϜāύ āĻšāϞ āĻāĻ•āϟি āϟাāχāĻŽ āĻ•্āϝাāĻĒāϏুāϞ āϏ্āĻĨাāĻĒāύ āĻ•āϰা, āϝা āĻŽāύ্āĻĻিāϰেāϰ āύীāϚে āĻŽাāϟিāϰ 2000 āĻĢুāϟ āύীāϚে āĻĒুঁāϤে āϰাāĻ–া āĻšāϝ়েāĻ›ে। āĻŽāύ্āĻĻিāϰ, āĻ­āĻ—āĻŦাāύ āϰাāĻŽ āĻāĻŦং āĻ…āϝোāϧ্āϝা āϏāĻŽ্āĻĒāϰ্āĻ•ে āĻĒ্āϰাāϏāĻ™্āĻ—িāĻ• āϤāĻĨ্āϝেāϰ āϏাāĻĨে āĻ–োāĻĻাāχ āĻ•āϰা āĻāĻ•āϟি āϤাāĻŽাāϰ āĻĒ্āϞেāϟে āϏāϜ্āϜিāϤ āĻāχ āĻ•্āϝাāĻĒāϏুāϞāϟি āĻ­āĻŦিāώ্āϝāϤ āĻĒ্āϰāϜāύ্āĻŽেāϰ āϜāύ্āϝ āĻŽāύ্āĻĻিāϰেāϰ āĻĒāϰিāϚāϝ় āϏংāϰāĻ•্āώāĻŖেāϰ āĻāĻ•āϟি āĻĻূāϰāĻĻāϰ্āĻļী āĻĒ্āϰāϚেāώ্āϟা।

12. āĻĒৌāϰাāĻŖিāĻ• āĻŽāύ্āĻĻিāϰেāϰ āωāĻĒāϰ āĻ…āĻŽীāĻŽাংāϏিāϤ āϏāĻŽীāĻ•্āώা:

āφāĻļ্āϚāϰ্āϝāϜāύāĻ•āĻ­াāĻŦে, āĻĒ্āϰāϤ্āύāϤাāϤ্āϤ্āĻŦিāĻ• āϜāϰিāĻĒ āĻĨেāĻ•ে āϜাāύা āϝাāϝ় āϝে āĻŦাāĻŦāϰি āĻŽāϏāϜিāĻĻāϟি āĻāĻ•āϟি āĻĒূāϰ্āĻŦ-āĻŦিāĻĻ্āϝāĻŽাāύ āĻ•াāĻ াāĻŽোāϰ āωāĻĒāϰ āύিāϰ্āĻŽিāϤ āĻšāϝ়েāĻ›িāϞ। āϝāĻĻিāĻ“ āĻ•িāĻ›ু āϏāĻŽীāĻ•্āώা āĻāχ āĻ•াāĻ াāĻŽোāϟিāĻ•ে āĻ­āĻ—āĻŦাāύ āϰাāĻŽেāϰ āϝুāĻ—েāϰ āĻŦāϞে āĻŽāύে āĻ•āϰে, āĻ­াāϰāϤীāϝ় āχāϤিāĻšাāϏāĻŦিāĻĻ āϏāϰ্āĻŦāĻĒāϞ্āϞী āĻ—োāĻĒাāϞ āϏāĻš āĻ…āύ্āϝāϰা āĻĻাāĻŦি āĻ•āϰেāύ āϝে āĻ…āϝোāϧ্āϝাāϰ āĻŽাāύāĻŦ āϏāĻ­্āϝāϤা āĻŽাāϤ্āϰ 2800 āĻŦāĻ›āϰ āφāĻ—েāϰ। āĻĒৌāϰাāĻŖিāĻ• āĻ•াāĻšিāύী āĻāĻŦং āĻĒ্āϰāϤ্āύāϤāϤ্āϤ্āĻŦেāϰ āĻŽিāϞāύ āϏ্āĻĨাāύāϟিāϰ āϐāϤিāĻšাāϏিāĻ• āĻŦāϰ্āĻŖāύাāϝ় āϰāĻšāϏ্āϝেāϰ āϏ্āϤāϰ āϝুāĻ•্āϤ āĻ•āϰে।

13. āϏূāĻ•্āώ্āĻŽ āϏ্āϤāĻŽ্āĻ­ āĻāĻŦং āύাāĻ—āϰ āĻļৈāϞী āύāĻ•āĻļা

āĻŽāύ্āĻĻিāϰেāϰ āύāĻ•āĻļাāϝ় āύāĻ—āϰ āĻļৈāϞীāϤে āĻ•াāϰুāĻ•াāϜ āĻ•āϰা 360āϟি āϏ্āϤāĻŽ্āĻ­ āĻ…āύ্āϤāϰ্āĻ­ুāĻ•্āϤ āĻ•āϰা āĻšāϝ়েāĻ›ে, āϝা āĻāϰ āĻĻৃāώ্āϟি āφāĻ•āϰ্āώāĻŖāĻ•ে āĻŦাāĻĄ়িāϝ়ে āϤুāϞেāĻ›ে। āĻŦংāĻļী āĻĒাāĻšাāĻĄ়āĻĒুāϰ āĻāĻŦং āύāĻ—āϰ āĻļৈāϞীāϰ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•াāĻ াāĻŽোāϟিāĻ•ে āĻāĻ•āϟি āĻ…āύāύ্āϝ āύাāύ্āĻĻāύিāĻ•āϤা āĻĒ্āϰāĻĻাāύ āĻ•āϰে, āĻāϟিāĻ•ে āĻ•েāĻŦāϞ āĻāĻ•āϟি āωāĻĒাāϏāύাāϞāϝ় āύāϝ় āĻŦāϰং āϏ্āĻĨাāĻĒāϤ্āϝেāϰ āϏূāĻ•্āώ্āĻŽ āύৈāĻĒুāĻŖ্āϝে āĻĒāϰিāĻŖāϤ āĻ•āϰে।

14. āĻŽāύ্āĻĻিāϰ āĻļāĻšāϰ āĻĒুāύāϰ্āĻ—āĻ āύেāϰ āϜāύ্āϝ āĻ…āϤিāϰিāĻ•্āϤ āϤāĻšāĻŦিāϞ

āϰাāĻŽāĻŽāύ্āĻĻিāϰ āύিāϰ্āĻŽাāĻŖ āĻĒুāϰো āĻ…āϝোāϧ্āϝা āĻļāĻšāϰāĻ•ে āĻĒুāύāϰ্āύিāϰ্āĻŽাāĻŖেāϰ āϜāύ্āϝ āĻāĻ•āϟি āĻŦিāϏ্āϤৃāϤ āωāĻĻ্āϝোāĻ—েāϰ āϏূāϤ্āϰāĻĒাāϤ āĻ•āϰেāĻ›ে। āύāϤুāύ āĻĒāϰিāĻ•াāĻ াāĻŽো āĻāĻŦং āϏুāϝোāĻ—-āϏুāĻŦিāϧা āϏāĻš 500 āĻ•োāϟি āϟাāĻ•াāϰ āωāύ্āύāϝ়āύ āĻĒ্āϰāĻ•āϞ্āĻĒেāϰ āĻŽাāϧ্āϝāĻŽে āĻĒ্āϰāϧাāύāĻŽāύ্āϤ্āϰী āĻŽোāĻĻি āĻ…āϝোāϧ্āϝাāĻ•ে āĻāĻ•āϟি āϏāĻŽৃāĻĻ্āϧ āϏাংāϏ্āĻ•ৃāϤিāĻ• āĻ“ āφāϧ্āϝাāϤ্āĻŽিāĻ• āĻ•েāύ্āĻĻ্āϰে āϰূāĻĒাāύ্āϤāϰিāϤ āĻ•āϰাāϰ āϞāĻ•্āώ্āϝ āϰেāĻ–েāĻ›েāύ।

15. āĻ­āĻŦিāώ্āϝāϤেāϰ āϜāύ্āϝ āĻĻৃāώ্āϟি

āϤāϤ্āϤ্āĻŦাāĻŦāϧাāύāĻ•াāϰী āϏংāϏ্āĻĨা, āĻļ্āϰী āϰাāĻŽ āϜāύ্āĻŽāĻ­ূāĻŽি āϤীāϰ্āĻĨāĻ•্āώেāϤ্āϰ āϟ্āϰাāϏ্āϟেāϰ āĻŽāϤে, āĻŽāύ্āĻĻিāϰেāϰ āύিāϰ্āĻŽাāĻŖ āĻĒ্āϰাāϝ় āϏāĻŽাāĻĒ্āϤিāϤে āĻĒৌঁāĻ›েāĻ›ে। āφāĻ—াāĻŽী 2024 āϏাāϞেāϰ 22 āĻļে āϜাāύুāϝ়াāϰী āύাāĻ—াāĻĻ āĻ­āĻ•্āϤāĻĻেāϰ āϜāύ্āϝ āϤাāϰ āĻĻāϰāϜা āĻ–োāϞাāϰ āĻĒ্āϰāϤ্āϝাāĻļিāϤ, āĻ…āϝোāϧ্āϝা āϰাāĻŽ āĻŽāύ্āĻĻিāϰ āĻļুāϧু āĻ…āϤীāϤেāϰ āĻĒ্āϰāĻŽাāĻŖ āĻšিāϏাāĻŦে āύāϝ় āĻŦāϰং āĻ­āĻŦিāώ্āϝāϤ āĻĒ্āϰāϜāύ্āĻŽেāϰ āφāϧ্āϝাāϤ্āĻŽিāĻ• āĻāĻŦং āϏাংāϏ্āĻ•ৃāϤিāĻ• āφāĻ•াāĻ™্āĻ•্āώাāϰ āĻĒāĻĨāĻĒ্āϰāĻĻāϰ্āĻļāĻ• āĻšিāϏাāĻŦে āĻĻাঁāĻĄ়িāϝ়ে āφāĻ›ে।

āĻ…āϝোāϧ্āϝা āϰাāĻŽāĻŽāύ্āĻĻিāϰ āĻāĻ•āϟি āύিāϰ্āĻŽাāĻŖ āĻĒ্āϰāĻ•āϞ্āĻĒেāϰ āϚেāϝ়ে āĻŦেāĻļি āĻšিāϏাāĻŦে āφāĻŦিāϰ্āĻ­ূāϤ āĻšāϝ়; āĻāϟি āĻŦিāĻļ্āĻŦাāϏ, āχāϤিāĻšাāϏ āĻāĻŦং āϏ্āĻĨাāĻĒāϤ্āϝেāϰ āωāϜ্āϜ্āĻŦāϞāϤাāϰ āϏāĻ™্āĻ—āĻŽেāϰ āĻāĻ•āϟি āϜীāĻŦāύ্āϤ āĻŽূāϰ্āϤ āĻĒ্āϰāϤীāĻ•। āύিāϰ্āĻŽাāĻŖেāϰ āĻ…āĻ—্āϰāĻ—āϤিāϰ āϏাāĻĨে āϏাāĻĨে, āĻŽāύ্āĻĻিāϰāϟি āĻŦিāĻļ্āĻŦাāϏীāĻĻেāϰ āĻāĻŦং āωāϤ্āϏাāĻšীāĻĻেāϰ āĻāĻ•āχāĻ­াāĻŦে āĻāϰ āĻŦāĻšুāĻŽুāĻ–ী āφāĻ–্āϝাāύāϟি āĻ…āύ্āĻŦেāώāĻŖ āĻ•āϰাāϰ āϜāύ্āϝ āχāĻļাāϰা āĻĻেāϝ়, āϝেāĻ–াāύে āĻĒ্āϰāϤিāϟি āχāϟ āĻāĻŦং āĻļিāϞাāϞিāĻĒি āφāϧ্āϝাāϤ্āĻŽিāĻ• āϐāϤিāĻš্āϝ āĻāĻŦং āϏাংāϏ্āĻ•ৃāϤিāĻ• āĻ…āύুāϰāĻŖāύে āĻŦāĻĻ্āϧ āĻāĻ•āϟি āĻ—āϞ্āĻĒ āĻĒ্āϰāĻ•াāĻļ āĻ•āϰে।

āĻāχāϰāĻ•āĻŽ āύāϤুāύ āύāϤুāύ āĻŦিāώāϝ় āĻŦাংāϞাāϝ় āĻĒāĻĄ়াāϰ āϜāύ্āϝ āφāĻŽাāĻĻেāϰ āĻāχ āĻŦ্āϞāĻ— āύিāϝ়āĻŽিāϤ Follow āĻ•āϰুāύ। āϧāύ্āϝāĻŦাāĻĻ।।

Sunday, February 23, 2025

|| āĻ…āĻ™্āĻ•āύ āĻ•āĻĨা || āĻĒāϰ্āĻŦ - ā§Š




āĻĒ্āϰāĻ•ৃāϤিāϰ āĻŦিāĻ­িāύ্āύ āĻĻৃāĻļ্āϝ āφāĻŽāϰা āĻ“āχāĻ–াāύে āĻŦāϏে āφঁāĻ•āϤে āĻĒাāϰি āĻ…āĻĨāĻŦা āϤাāϰ āĻāĻ•āϟি āĻĢāϟোāĻ—্āϰাāĻĢি āĻ•āϰে āϏেāϟা āĻĻেāĻ–ে āĻ…āĻĨāĻŦা āϤাāϰ āĻĒ্āϰিāύ্āϟ āφāωāϟ āĻŦেāϰ āĻ•āϰে āφāĻŽāϰা āφঁāĻ•āϤে āĻĒাāϰি āĻŦিāĻ­িāύ্āύ āĻŽিāĻĄিāϝ়াāĻŽে āϝেāĻŽāύ- āĻĒ্āϝাāϏ্āϟেāϞ, āĻ“āϝ়াāϟাāϰ āĻ•াāϞাāϰ, āĻ“āϝ়েāϞ āχāϤ্āϝাāĻĻি।

 

āĻĒ্āϰāĻ•ৃāϤিāϰ āĻ•িāϰāĻ•āĻŽ āĻĻৃāĻļ্āϝ āφāĻŽাāĻĻেāϰ āĻŦিāώ⧟ āĻšিāϏাāĻŦে āύেāĻŦ?

 

āϏেāϟা āϝে āĻ•োāύ āϞ্āϝাāύ্āĻĄāϏ্āĻ•েāĻĒ āĻšāϤে āĻĒাāϰে āϝেāĻŽāύ āĻ—্āϰাāĻŽেāϰ āĻ•োāύ āĻĻৃāĻļ্āϝ, āύāĻĻী-āĻĒুāĻ•ুāϰ,āĻļāĻšāϰেāϰ āĻ•োāύ āĻĻৃāĻļ্āϝ āϝেāĻ–াāύে āφāĻŽāϰা āĻ­ূāĻŽিāϟাāĻ•ে āĻŦেāĻļি āĻĒ্āϰাāϧাāύ্āϝ āĻĻেāĻŦ। āϤাāĻ›াāĻĄ়া āφāĻŽāϰা āĻ•োāύ āĻĒ্āϰাāĻ•ৃāϤিāĻ• āĻĻৃāĻļ্āϝ āĻšিāϏাāĻŦেāĻ“ āĻŦিāώ⧟ āύিāϤে āĻĒাāϰি āϝেāĻŽāύ - āĻ•োāύ āϚাāϝ়েāϰ āĻĻোāĻ•াāύ, āĻŽাāĻ›েāϰ āĻŦাāϜাāϰ, āϏāĻŦāϜি āĻŦাāϜাāϰ āχāϤ্āϝাāĻĻি āĻŦিāĻ­িāύ্āύ āĻĻৃāĻļ্āϝ āφāĻŽāϰা āύিāϤে āĻĒাāϰি।

 

āĻĒ্āϰāĻ•ৃāϤিāϤে āĻŦāϏে āϞ্āϝাāύ্āĻĄāϏ্āĻ•েāĻĒ āφঁāĻ•āϤে āĻ—েāϞে āφāĻŽāϰা āĻ•িāĻ­াāĻŦে āĻŦুāĻāĻŦ āϝে āφāĻŽাāĻĻেāϰ āĻ•āϤāϟা āϜিāύিāϏ āφāĻŽাāĻĻেāϰ āφঁāĻ•āϤে āĻšāĻŦে?

 

āĻ•োāύ āϜাāϝ়āĻ—াāϝ় āĻŦāϏে āĻĒ্āϰāĻ•ৃāϤিāĻ•ে āφঁāĻ•āϤে āĻ—েāϞে āφāĻŽāϰা āĻŦেāĻļিāϰāĻ­াāĻ— āĻĒেāύ্āϏিāϞ āϏ্āĻ•েāϚ, āĻ“āϝ়াāϟাāϰ āĻ•াāϞাāϰ, āĻĒেāύ āχāϤ্āϝাāĻĻি āĻŽিāĻĄিāϝ়াāĻŽ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰে āĻĨাāĻ•ি āϝাāϤে āϏেāϟা āĻ–ুāĻŦ āϤাāĻĄ়াāϤাāĻĄ়ি āφঁāĻ•া āϝাāϝ়। āϤাāχ āĻŦāϞে āĻāχ āύāϝ় āϝে āĻ…āύ্āϝ āĻŽিāĻĄিāϝ়াāĻŽেāĻ“ āφāĻŽāϰা āφঁāĻ•āϤে āĻĒাāϰāĻŦো āύা, āϏāĻ•āϞ āĻŽিāĻĄিāϝ়াāĻŽে āĻĒ্āϰāĻ•ৃāϤিāϤে āĻŦāϏে āφঁāĻ•া āϏāĻŽ্āĻ­āĻŦ। āϝāĻ–āύ āφāĻŽাāϰ āĻāĻ•āϟা āϞ্āϝাāύ্āĻĄāϏ্āĻ•েāĻĒ āĻ•āϰāϤে āĻŦāϏāĻŦো āϤāĻ–āύ āφāĻŽāϰা āĻ•āϤāϟা āφঁāĻ•āĻŦো āĻŦুāĻে āωāĻ āϤে āĻĒাāϰিāύা, āϤāĻ–āύ āφāĻŽাāϰা āĻāĻ•āϟা āϜিāύিāϏ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰāϤে āĻĒাāϰি। āĻāĻ•āϟা āĻ›োāϟ āφāϝ়āϤāĻ•্āώেāϤ্āϰ āĻ•াāĻ—āϜ āϤাāϰ āĻŽাāĻāĻ–াāύāϟা āĻ†ā§ŸāϤāĻ•্āώেāϤ্āϰ āĻ…āύুāϝা⧟ী āĻ•েāϟে āύিāϝ়ে āĻāĻ•āϟা āĻĢ্āϰেāĻŽেāϰ āĻŽāϤো āĻŦাāύিāϝ়ে āύিāϤে āĻĒাāϰি āϝাāϤে āϤাāϰ āĻŽāϧ্āϝ āĻĻিāϝ়ে āĻĻেāĻ–া āϝাāϝ় āĻāĻŦং āϝāĻ–āύ āφāĻŽāϰা āĻ•োāύ āϞ্āϝাāύ্āĻĄāϏ্āĻ•েāĻĒ āφঁāĻ•āϤে āĻŦāϏāĻŦো āϤāĻ–āύ āφāĻŽāϰা āĻ“āχ āĻĢ্āϰেāĻŽেāϰ āĻŽāϤ āĻ•াāĻ—āϜāϟি āĻŦাঁ āϚোāĻ–েāϰ āĻ•াāĻ›ে āύিāϝ়ে āφāϏāϞে āφāĻŽāϰা āĻāĻ•āϟি āϞ্āϝাāύ্āĻĄāϏ্āĻ•েāĻĒেāϰ āĻŽাāĻĒ āĻĒে⧟ে āϝাāĻŦ āϝে āφāĻŽাāĻ•ে āĻ•āϤāϟা āĻŦাāĻĻ āĻĻিāϤে āĻšāĻŦে āĻŦা āĻ•āϤāϟা āϰাāĻ–āϤে āĻšāĻŦে।

 

āĻĒ্āϰāĻ•ৃāϤিāϰ āĻ•োāύ āĻ•āĻŽ্āĻĒোāϜিāĻļāύ āĻ“āĻ–াāύে āĻŦāϏে āφঁāĻ•া āϏāĻŽ্āĻ­āĻŦ?

 

āĻš্āϝাঁ āĻ“āĻ–াāύে āĻŦāϏে āφঁāĻ•া āϏāĻŽ্āĻ­āĻŦ, āϤāĻŦে āĻāχ āĻ•্āώেāϤ্āϰে āϝে āĻŽিāĻĄি⧟াāĻŽ āϏāĻŦāϚেāϝ়ে āĻŦেāĻļি āϤাāĻĄ়াāϤাāĻĄ়ি āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰা āϝাāϝ় āϏেāϟি āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰāϤে āĻšāĻŦে। āĻ•াāϰāĻŖ āϝāĻ–āύ āφāĻŽāϰা āĻ•োāύ āĻĻৃāĻļ্āϝāĻ•ে āφঁāĻ•āĻ›ি āϝেāĻŽāύ āĻ•োāύ  āĻŦাāϜাāϰেāϰ āĻĻৃāĻļ্āϝ, āϏেāĻ–াāύে āĻŽাāύুāώāϜāύ āϏāϰ্āĻŦāĻĻা āϚāϞাāĻĢেāϰা āĻ•āϰāĻ›ে āϤাāχ āϏে āĻ•্āώেāϤ্āϰে āϝāϤ āĻĻ্āϰুāϤ āφঁāĻ•া āϝাāϝ় āϏেāϰāĻ•āĻŽ āĻŽিāĻĄিāϝ়াāĻŽ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰāϤে āĻšāĻŦে। āϝেāĻŽāύ āĻ“āϝ়াāϟাāϰ āĻ•াāϞাāϰ, āĻĒেāύ্āϏিāϞ āϏ্āĻ•েāϚ। āϤāĻŦে āĻĢāϟোāĻ—্āϰাāĻĢি āĻ•āϰে āĻŦাāĻĄ়িāϤে āĻŦāϏে āĻ•াāϜ āĻ•āϰāϞেāĻ“ āφāĻŽāϰা āĻ…āύেāĻ•āĻ•্āώāĻŖ āϏāĻŽāϝ় āĻĻিāϝ়ে āϏে āĻ•াāϜ āĻ•āϰāϤে āĻĒাāϰি āĻŦিāĻ­িāύ্āύ āĻŽিāĻĄিāϝ়াāĻŽে।

 

āĻŦাāĻĄ়িāϤে āĻŦāϏে āφāĻŽāϰা āϝেāĻ•োāύো āĻŽিāĻĄিāϝ়াāĻŽে āφāϰ āĻ•ি āφঁāĻ•āϤে āĻĒাāϰি?

 

āĻŦাāĻĄ়িāϤে āĻŦāϏে āϏ্āϟিāϞ āϞাāχāĻĢ āφঁāĻ•āϤে āĻĒাāϰি। āφāĻŽāϰা āϝে āĻ•োāύ āĻĢুāϞেāϰ āĻĢুāϞেāϰ āϟāĻŦ, āĻĢুāϞāĻĻাāύি, āĻŦিāĻ­িāύ্āύ āϧāϰāύেāϰ āĻĢāϞ āĻāĻŦং āφāϰো āĻŽāϜাāĻĻাāϰ āĻŦিāĻ­িāύ্āύ āϧāϰāύেāϰ āϜিāύিāϏ āφāĻŽāϰা āĻāĻ•āϟা āϏুāύ্āĻĻāϰ āĻ•āĻŽ্āĻĒোāϜিāĻļāύ āĻ…āύুāϝাāϝ়ী āϏাāϜিāϝ়ে āϏেāϟি āĻĻেāĻ–ে āϏ্āϟাāĻĄি āĻ•āϰāϤে āĻĒাāϰি। āĻāĻŦং āϏুāύ্āĻĻāϰāĻ­াāĻŦে āϰāĻ™েāϰ āϏাāĻšাāϝ্āϝে āĻĢুāϟিāϝ়ে āϤুāϞāϤে āĻĒাāϰি।

 

āϤাāĻĄ়াāϤাāĻĄ়ি āϏ্āĻ•েāϚ āĻ•āϰাāϰ āĻĒāĻĻ্āϧāϤি āĻ•ি?

 

āφāĻŽাāĻĻেāϰ āĻĄ্āϰ⧟িং āĻāϰ āϏ্āĻĒিāĻĄ āĻŦা āϏ্āĻ•েāϚ āĻ•āϰাāϰ āĻĒāĻĻ্āϧāϤি āωāύ্āύāϤ āĻ•āϰাāϰ āϜāύ্āϝ āφāĻŽāϰা āφāĻŽাāĻĻেāϰ āĻŦাāĻĄ়িāϰ āϝাāϰা āϝাāϰা āϰāϝ়েāĻ›েāύ āĻŦা āĻŦাāχāϰে āφāĻŽāϰা āϝাāĻĻেāϰ āĻĻেāĻ–āϤে āĻĒাāϚ্āĻ›ি āϝাāϰা āĻŦāϏে āφāĻ›ে āĻŦা āĻšাঁāϟাāϚāϞা āĻ•āϰāĻ›ে āϤাāĻĻেāϰ āĻ–ুāĻŦ āĻļিāĻ—āĻ—িāϰāχ āϏ্āĻ•েāϚ āĻ•āϰাāϰ āĻ…āĻ­্āϝাāϏ āĻ•āϰāϤে āĻĒাāϰি। āĻāϰ āĻĢāϞে āφāĻŽাāĻĻেāϰ āĻšাāϤে āĻĄ্āϰāϝ়িং āĻ–ুāĻŦ āĻĻ্āϰুāϤ āωāύ্āύāϤি āĻšāĻŦে।

 

।।āϧāύ্āϝāĻŦাāĻĻ।।

[Content subject to copyright.]

Written by Bachchu Chanda (Master's of Fine Art, Kolkata)

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Sunday, February 16, 2025

|| āĻ…āĻ™্āĻ•āύ āĻ•āĻĨা || āĻĒāϰ্āĻŦ - ⧍







āĻāχ āĻĒāϰ্āĻŦ āφāĻŽাāĻĻেāϰ Intermediate āϚিāϤ্āϰāĻļিāϞ্āĻĒী āĻŦা āĻļিāĻ•্āώাāϰ্āĻĨীāĻĻেāϰ āϜāύ্āϝ āϝাāϰা āĻĒ্āϝাāϏ্āϟেāϞ, āĻ“ā§Ÿাāϟাāϰ āĻ•াāϞাāϰেāϰ āϏাāĻĨে āĻĒāϰিāϚিāϤ। āφāĻŽāϰা āϝāĻ–āύ āφঁāĻ•া āĻļিāĻ–ি, āϤāĻ–āύ āφāĻŽাāĻĻেāϰ āĻŦা⧜িāϰ āĻ•াāĻ›াāĻ•াāĻ›ি āϝে āϏāĻŦ āĻļিāĻ•্āώāĻ•āϰা āφāĻ›েāύ āϤাāϰা āĻŦিāĻ­িāύ্āύ āĻĄ্āϰāϝ়িং āĻŦāχ āĻĨেāĻ•ে āĻŦিāĻ­িāύ্āύ āϏিāύাāϰী āφঁāĻ•āϤে āĻĻেāύ। āφāĻŽāϰা āϏেāϟা āĻĨেāĻ•েāχ āĻ•āĻĒি āĻ•āϰে āĻĨাāĻ•ি। āĻāϟা āĻļুāϰুāϤে āĻĄ্āϰ⧟িং āĻļেāĻ–াāϰ āϜāύ্āϝ āĻ িāĻ• āφāĻ›ে। āĻ•িāύ্āϤু āĻĒāϰāĻŦāϰ্āϤীāϤে āĻĒ্āϰāϤিāύি⧟āϤ āĻ•āĻĒি āĻ•āϰা āĻāĻ•āϟা āĻ­ুāϞ āĻĒāĻĻ্āϧāϤি। āĻĒ্āϰāϤ্āϝেāĻ• āĻļিāĻ•্āώাāϰ্āĻĨীāϰ āĻĻেāĻ–াāϰ āĻĻৃāώ্āϟিāĻ­āĻ™্āĻ—ি āĻ­িāύ্āύ āĻšā§Ÿ। āϝে āĻļিāϞ্āĻĒীāϰ āĻŦāχāϟা āĻĨেāĻ•ে āφāĻŽāϰা āĻ•āĻĒি āĻ•āϰāĻ›ি āϤাāϰ āϏিāύাāϰী āĻŦা āĻ•āĻŽ্āĻĒোāϜিāĻļāύ, āĻĻেāĻ–াāϰ āĻĻৃāώ্āϟিāĻ­āĻ™্āĻ—ি, āĻ•াāϞাāϰ, āĻ•āύ্āϏেāĻĒ্āϟ āφāϞাāĻĻা। āϏেāχ āĻļিāϞ্āĻĒীāĻ“ āĻāĻ•āϟা āĻĒ্āϰāĻ•ৃāϤিāϰ āĻ•োāύ āĻĻৃāĻļ্āϝāĻ•ে āϏেāĻ–াāύে āĻŦāϏে āĻŦা āϤাāϰ āĻĢāϟোāĻ—্āϰাāĻĢী āĻ•āϰে āĻ•াāϜ āĻ•āϰāĻ›েāύ। āϏেāĻ•্āώেāϤ্āϰে āϤিāύি āĻ“āχ āĻĒ্āϰāĻ•ৃāϤি āĻ•ে āϤাāϰ āϚোāĻ–ে āϤিāύি āϝেāĻ­াāĻŦে āĻĻেāĻ–āĻ›েāύ āϏেāĻ­াāĻŦেāχ āĻāĻ•েāĻ›েāύ। āϤাāχ āφāĻĒāύি āĻĻেāĻ–āĻŦেāύ āĻŦিāĻ­িāύ্āύ āĻŦāχ āĻ āĻŦিāĻ­িāύ্āύ āĻļিāϞ্āĻĒীāϰ āĻ•াāϜ āĻ“ āĻĄ্āϰ⧟িং āĻ­িāύ্āύ, āĻ…āϤāĻāĻŦ āĻ“āϟা āĻ“āύাāĻĻেāϰ āĻāĻ•āϜāύেāϰ āύিāϜāϏ্āĻŦ āĻļৈāϞী। āϏেāϟা āĻĻেāĻ–ে āĻ•āĻĒি āĻ•āϰāϞে āφāĻŽāϰা āύিāϜে āĻ•িāĻ›ু āĻļিāĻ–āϤে āĻĒাāϰāĻŦ āύা। āĻ•াāϰāĻŖ āϤিāύি āϏেāĻ–াāύে āϤাāϰ āĻĄ্āϰ⧟িং āϤাāϰ āĻ•াāϞাāϰ āϤিāύি āĻ•āϰে āϏāĻŦāĻ•িāĻ›ু āĻ•āϰে āĻĻি⧟েāĻ›েāύ। āϏেāϟা āĻĻেāĻ–ে āφঁāĻ•āϞে āφāĻŽāϰা āϤাāĻ•ে āĻ•āĻĒি āĻ•āϰāĻ›ি, āϤাāϰ āĻ•াāϜেāϰ āϏ্āϟাāχāϞ āφāĻŽাāϰা āĻ…āĻ­্āϝাāϏ āĻ•āϰে āĻĢেāϞেāĻ›ি। āĻĢāϞে āφāĻŽāϰা āφāĻŽাāĻĻেāϰ āύিāϜāϏ্āĻŦāϤা āĻšাāϰি⧟ে āĻĢেāϞāĻŦ āĻāĻŦং āφāĻŽাāϰা āύāϤুāύ āĻ•িāĻ›ু āĻ­াāĻŦāϤে āĻŦা āĻĻেāĻ–āϤে āĻĒাāϰāĻŦো āύা। āĻ›āĻŦি āφঁāĻ•া āĻļেāĻ–াāϰ āϜāύ্āϝ āφāĻŽāϰা āĻŦিāĻ­িāύ্āύ āĻŦ⧜ āĻŦ⧜ āĻļিāϞ্āĻĒীāϰ āĻ•াāϜ āĻ—াāχāĻĄ āĻšিāϏাāĻŦে āĻĻেāĻ–āϤে āĻĒাāϰি। āĻ•িāύ্āϤ āϏেāϟা āĻĨেāĻ•ে āϏāĻŦāϏāĻŽā§Ÿ āĻšুāĻŦুāĻš āĻ•āĻĒি āĻ•āϰাāϰ āϚেāώ্āϟা āĻ•āϰāϤে āĻĒাāϰি āύা। āĻš্āϝা āĻšā§ŸāϤ āĻ•োāύ āϏāĻŽā§Ÿ āĻāĻ•āϟু āϤাāϰ āĻ•াāϜ āĻĻেāĻ–ে āĻ•āϰāϤে āχāϚ্āĻ›ে āĻ•āϰāĻ›ে āϏেāĻ•্āώāϤ্āϰে āφāĻĒāύি āĻ•āϰāϤেāχ āĻĒাāϰেāύ, āϤāĻŦে āĻĒ্āϰāϤিāύি⧟āϤ āύা। āϏে āĻ•্āώেāϤ্āϰে āφāĻŽāϰা āϝেāϟা āĻ•āϰāϤে āĻĒাāϰি āϏেāϟা āĻšāϞ āφāĻŽāϰা āĻ•োāύ āĻŦাāχāϰেāϰ āĻĻৃāĻļ্āϝ āĻĻেāĻ–ে āϏেāĻ–াāύে āĻŦāϏে āĻŦা āĻĢāϟোāĻ—্āϰাāĻĢি āĻ•āϰে āϏেāϟা āĻĻেāĻ–ে āĻĄ্āϰāϝ়িং āĻ“ āĻ•াāϞাāϰ āĻ•āϰāϤে āĻĒাāϰি। āĻāϰāĻĢāϞে āϝে āĻ•াāϜāϟা āϤৈāϰি āĻšāĻŦে āϏেāϟা āĻšāĻŦে āϏāĻŽ্āĻĒূāϰ্āĻŖ āφāĻŽাāϰ āύিāϜāϏ্āĻŦ āĻļৈāϞী। āĻĢāϞে āϧীāϰে āϧীāϰে āφāĻŽāϰা āύিāϜেāχ āĻĒ্āϰāĻ•ৃāϤিāϰ āϰāĻ™, āϤাāϰ āĻĄ্āϰāĻ‡ā§Ÿিং āĻāϰ āϏাāĻĨে āĻĒāϰিāϚিāϤ āĻšāĻŦ। āϤাāϰ āĻĢāϞে āϝেāϟা āϏৃāώ্āϟি āĻšāĻŦে āϏেāϟা āϏāĻŽ্āĻĒূāϰ্āύ āφāĻĒāύাāϰ āύিāϜāϏ্āĻŦ āĻāĻ•āϟা āĻ•াāϜ। āĻāĻ•āϟা āĻ›āĻŦি। āĻāĻŦং āϏেāϟা āĻšāĻŦে āĻ…āĻĻ্āĻŦিāϤী⧟।

Writing by Bachchu Chanda (Masters of Fine Art, kolkata)n

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**āĻĒ্āϰāĻ•ৃāϤিāϰ āĻ•ি āĻ•ি āϜিāύিāϏ āφāĻŽāϰা āĻ•িāĻ­াāĻŦে āφঁāĻ•āĻŦ āϏেāϟা āĻĒāϰāĻŦāϰ্āϤী āĻĒāϰ্āĻŦে āφāϞোāϚāύা āĻ•āϰāĻŦো।

 

Wednesday, February 12, 2025

।। āĻ…āĻ™্āĻ•āύ āĻ•āĻĨা ।। - āĻĒāϰ্āĻŦ -ā§§






'āĻ›āĻŦি āφঁāĻ•া āĻŽাāύে āϏāϰ্āĻŦāĻĻা āĻāχ āύ⧟ āϝে āĻāĻ•āϟা āĻ–ুāĻŦ āĻĒāϰিāĻĒাāϟি āϏুāύ্āĻĻāϰ āϜিāύিāϏāχ āφঁāĻ•āϤে āĻšāĻŦে। āĻ…āύেāĻ•েāχ āĻŽāύে āĻ•āϰেāύ āĻĒেāχāύ্āϟিং āĻŽāύে āϏুāύ্āĻĻāϰ āĻĻৃāĻļ্āϝ, āϏুāύ্āĻĻāϰ āĻŽুāĻ–। āϏেāϟা āϏāĻŦāϏāĻŽā§Ÿ āύাāĻ“ āĻšāϤে āĻĒাāϰে। āφāĻĒāύি āĻĒৃāĻĨিāĻŦীāϟাāĻ•ে āĻ•িāĻ­াāĻŦে āĻĻেāĻ–āĻ›েāύ, āϤাāϰ āĻ­িāϤ্āϤিāϤেāĻ“ āĻ•াāϜে āĻĒāϰিāĻŦāϰ্āϤāύ āφāϏāϤে āĻĒাāϰে। āĻĒ্āϰাāĻĨāĻŽিāĻ• āĻĒāϰ্āĻŦে āφāĻŽāϰা āϏāĻ•āϞেāχ āϏুāύ্āĻĻāϰ āĻ­াāĻŦে āĻĄ্āϰ⧟িং, āĻ›āĻŦি āĻļিāĻ–ি āĻŦা āĻ•āϰি। āφāĻŽি āĻļুāϧু āφāϰ্āϟ āĻ•āϞেāϜেāϰ āϏ্āϟুāĻĄেāύ্āϟāĻĻেāϰ āĻ•āĻĨা āĻŦāϞāĻ›ি āύা āϝাāϰা āĻāĻ–āύāĻ“ āϏ্āĻ•ুāϞ āϜীāĻŦāύে āφāĻ›েāύ āĻāĻŦং āĻ›āĻŦি āφঁāĻ•েāύ āϤাāĻĻেāϰāĻ“ āĻŦāϞāĻ›ি। āĻ›āĻŦি āĻŽাāύে āĻāĻ•āϟা āĻļিāϞ্āĻĒ āĻāĻ•āϟা āϏৃāώ্āϟি। āĻ›āĻŦিāϰ āĻŽাāϧ্āϝāĻŽে āφāĻŽāϰা āĻ…āύেāĻ• āĻ•িāĻ›ু āĻĒ্āϰāĻ•াāĻļ āĻ•āϰāϤে āĻĒাāϰি, āĻāĻ•āϟা āύāϤুāύ āϏৃāώ্āϟি āĻ•āϰāϤে āĻĒাāϰি, āϝেāϟা āĻšāĻŦে āϏāĻŦাāϰ āĻĨেāĻ•ে āφāϞাāĻĻা। āϤাāχ āφāĻŽি āύিāϜে āύāϤুāύ āĻ•ি āϏৃāώ্āϟি āĻ•āϰāϞাāĻŽ āϏেāϟাāχ āϏāϰ্āĻŦāĻĻা āĻŽাāĻĨা⧟ āϰাāĻ–āϤে āĻšāĻŦে। āφāĻŽāϰা āĻāϤāĻĻিāύ āϝাāĻŦā§Ž āϝে āϝে āĻŦিāώ⧟ āĻŦা āĻŦāϏ্āϤু āĻঁāĻ•েāĻ›ি āĻŦা āĻļিāĻ–েāĻ›ি āϏেāχ āϏāĻŦ āĻ…āĻŦāϜেāĻ•্āϟ āĻāϰ āϏাāĻĨে āĻŽāύেāϰ āĻ­াāĻŦ āĻāĻ•āϤ্āϰিāϤ āĻ•āϰে āύāϤুāύ āĻ•িāĻ›ু āĻāĻ•āϟা āϏৃāώ্āϟি āĻ•āϰা, āϏেāĻ–াāύে āĻŦিāĻ­িāύ্āύ āĻļিāϞ্āĻĒীāϰ āĻŦিāώ⧟ āĻ“ āϚিāύ্āϤা āĻ­াāĻŦāύা āĻ­িāύ্āύ āĻšāĻŦে। āĻ…āϰ্āĻĨাā§Ž āĻ•āĻŦি āĻŦা āϏাāĻšিāϤ্āϝিāĻ• āϤাঁāϰ āϜীāĻŦāύেāϰ āĻ—āϞ্āĻĒ āĻŦা āĻŦাāϏ্āϤāĻŦিāĻ• āϜীāĻŦāύেāϰ āĻĒ্āϰāϤিāĻ•্āϰি⧟া, āĻĒ্āϰāϤিāĻŦাāĻĻ, āφāύāύ্āĻĻ, āĻĻুঃāĻ–, āϏāĻŦāĻ•িāĻ›ু āϤাāϰ āϞেāĻ–াāϰ āĻŽাāϧ্āϝāĻŽে āĻĢুāϟি⧟ে āϤোāϞেāύ, āĻ িāĻ• āϏেāχ āĻ­াāĻŦেāχ āĻ›āĻŦিāϤেāĻ“ āφāĻŽāϰা āφāĻŽাāĻĻেāϰ āĻ­াāĻŦ āĻĒ্āϰāĻ•াāĻļ āĻ•āϰāϤে āĻĒাāϰি। āϏেāĻ•্āώেāϤ্āϰে āĻĒ্āϰāϤিāϟি āĻļিāϞ্āĻĒীāϰ āĻŦিāώ⧟, āĻ›āĻŦিāϰ āϞাāχāύ, āϰং, āϏাāϰāĻĢেāϏ āφāϞাāĻĻা āφāϞাāĻĻা āĻšāϤে āĻĒাāϰে। āĻ…āϰ্āĻĨাā§Ž āφāĻŽি āφāĻŽাāϰ āĻ•াāϜেāϰ āĻŽāϧ্āϝে āϝেāϟা āĻĢুāϟি⧟ে āϤোāϞাāϰ āϚেāώ্āϟা āĻ•āϰāĻ›ি, āϏেāϟাāϰ āĻĄ্āϰ⧟িং, āϰং, āϟেāĻ•্āϏāϚাāϰ āĻ•িāϰāĻ•āĻŽ āĻ•āϰāϞে āĻ­াāϞো āĻšāĻŦে āϏেāϟা āφāĻĒāύাāϰ āĻŦিāώ⧟ āĻ“ āϚিāύ্āϤাāĻ­াāĻŦāύাāϰ āĻ“āĻĒāϰ āύিāϰ্āĻ­āϰ āĻ•āϰāĻŦে। āĻāĻŽāύāĻ•ি āφāĻĒāύাāϰ āĻĒেāύ্āϏিāϞ āĻĄ্āϰ⧟িং, āĻĒ্āϝাāϏ্āϟেāϞ, āĻ“ā§Ÿাāϟাāϰ āĻ•াāϞাāϰ āĻāϰ āĻ•াāϜেāĻ“ āύিāϜāϏ্āĻŦ āĻļৈāϞী āφāύāϤে āĻĒাāϰেāύ, āĻļুāϧুāĻŽাāϤ্āϰ āĻāĻ•āϟু āĻ…āĻ­্āϝাāϏেāϰ āĻĻ্āĻŦাāϰা। āφāĻĒāύি āĻŦিāĻ­িāύ্āύ āĻŦিāĻ–্āϝাāϤ āĻļিāϞ্āĻĒীāϰ āĻ•াāϜāĻ“ āĻĻেāĻ–āϤে āĻĒাāϰেāύ, āĻāĻŦং āϤাāĻĻেāϰ āĻ•াāϜেāϰ āĻŦিāώ⧟ āϝāĻĻি āφāĻĒāύাāϰ āϚিāύ্āϤাāĻ­াāĻŦāύাāϰ āϏাāĻĨে āĻŽেāϞে, āϤাāϰ āĻ•াāϜ āĻĨেāĻ•ে āφāĻĒāύি āĻ…āύুāĻĒ্āϰাāĻŖিāϤ āĻšāϤে āĻĒাāϰেāύ āĻāĻŦং āφāĻĒāύি āύāϤুāύ āĻ•িāĻ›ু āϏৃāώ্āϟি āĻ•āϰāϤে āĻĒাāϰেāύ। āĻāϰāĻĒāϰ āφāĻĒāύি āϝেāϟা āϏৃāώ্āϟি āĻ•āϰāĻŦেāύ āϏেāϟা āϏāĻŽ্āĻĒূāϰ্āύ āφāĻĒāύাāϰ āύিāϜāϏ্āĻŦ āφāϰ āϤāĻ–āύāχ āϏেāϟা āĻāĻ•āϟা āĻĒ্āϰāĻ•ৃāϤ āĻ›āĻŦি āĻšā§Ÿে āĻ“āĻ āĻŦে।

।।āĻĒ⧜াāϰ āϜāύ্āϝ  āĻ…āϏংāĻ–্āϝ āϧāύ্āϝāĻŦাāĻĻ।।

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(Writer - Bachchu Chanda)

Masters of Fine Art, Kolkata

Monday, February 3, 2025

Science of Vedic Sobon and Technique

āĻŦেāĻĻে SOM(āϏāĻ“āĻŽ)-āĻāϰ āĻ…āĻĒāϰ āύাāĻŽ SOB(āϏāĻŦ)। āĻĻেāĻšে SOM āϤৈāϰিāϰ āĻĒ্āϰāĻ•্āϰিāϝ়া āĻšāϞ SOBON। āϝāϜুāϰ্āĻŦেāĻĻেāϰ āĻĒৃāώ্āĻ া 634-āĻ, āĻ­ূāϤেāĻ•āώ্āϟāĻ•া: SOB āĻšāϞ Aviseka Yukta Yagya। āĻļুāĻĻ্āϧিāĻ•āϰāĻŖ āĻ…ংāĻļ āϏāĻš āĻāĻ•āϟি āĻšোāĻŽ āĻ•্āϰিāϝ়া। āĻ­াāϰāϤে Hobon/Havan āĻšāϞ āĻŦৈāĻĻিāĻ• Yagya। āϝāϜ্āĻžে āĻŦাāϝ়ুāϏ্āϤāĻŽ্āĻ­ে āĻāĻ•āϟি āĻ›āύ্āĻĻāĻŦāĻĻ্āϧ āĻ•āĻŽ্āĻĒāύ āĻ‰ā§ŽāĻĒāύ্āύ āĻšāϝ়। āĻĢāϞāϏ্āĻŦāϰূāĻĒ āφāĻ—ুāύে āĻāĻŦং āĻŦাāϤাāϏে āωāĻĒāϏ্āĻĨিāϤ āφāϤ্āĻŽা āφāϏে। āϤাāϰা āφāĻŦেāĻ—āĻ—āϤ āĻ…āύুāĻ­ূāϤি āĻŦিāύিāĻŽāϝ় āĻ•āϰে। āϏাāĻĢāϞ্āϝ āĻāĻŦং āĻŦ্āϝāϰ্āĻĨāϤা āĻāχ āϏāϤ্āϝেāϰ āωāĻĒāϰ āύিāϰ্āĻ­āϰ āĻ•āϰে। āĻāϟি āĻšোāĻŽ [HAVAN] āĻŦিāϜ্āĻžাāύেāϰ āĻĒ্āϰāϧাāύ āĻ…ংāĻļ। āϝāĻ–āύ āĻļāϰীāϰেāϰ āĻŽāϧ্āϝে āĻāĻ•āχ āύীāϤি āĻĒ্āϰāϝ়োāĻ— āĻ•āϰা āĻšāϝ় āϤāĻ–āύ SOBON āĻļুāϰু āĻšāϝ়। āϝেāĻŽāύ Grita/āϏ্āĻĒāώ্āϟ āĻŽাāĻ–āύ āĻāĻŦং āĻ•াāĻ  āĻšোāĻŽেāϰ āωāĻĒাāĻĻাāύ āĻāĻŦং āφāĻ—ুāύ āĻĻৃāĻļ্āϝāĻŽাāύ āĻšāϝ়, āϤেāĻŽāύি āĻ›āύ্āĻĻāĻŦāĻĻ্āϧ āĻŽāύ্āϤ্āϰ āĻŦা āϜāĻĒ āĻšāϞ SOBON-āĻāϰ āϜ্āĻŦাāϞাāύী। āĻāχ SOBON āĻĨেāĻ•ে SOMA āĻŦা āĻ›āύ্āĻĻāĻŦāĻĻ্āϧ āχāϤিāĻŦাāϚāĻ• āϜীāĻŦāύীāĻļāĻ•্āϤি āĻ‰ā§ŽāĻĒāύ্āύ āĻšāϝ়। āϏুāϤāϰাং SOM āĻšāϞ āĻĻেāĻšে āĻĒāϰāĻŽ āφāϤ্āĻŽাāϰ āĻĒ্āϰāĻ•াāĻļ। āϝেāĻŽāύ āĻāχ āĻŦāχāϟিāϤে āχংāϰেāϜিāϤে āĻ…āύেāĻ• āĻŦৈāĻĻিāĻ• āĻ­াāώা āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰা āĻšāϝ়েāĻ›ে, āϝা āωāϚ্āϚাāϰāĻŖে āĻ•িāĻ›ু āĻŦিāĻ­্āϰাāύ্āϤি āϤৈāϰি āĻ•āϰāϤে āĻĒাāϰে। āĻŦিāĻ­িāύ্āύ āϜাāϝ়āĻ—াāϝ় āĻŦিāĻ­িāύ্āύ āĻŦাāύাāύ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰা āĻšāϤে āĻĒাāϰে। āφāĻĒāύাāĻ•ে āϏংāϏ্āĻ•ৃāϤেāϰ āϞাāχāύে āĻŦ্āϝাāĻ–্āϝা āĻ•āϰāϤে āĻšāĻŦে। āĻ•িāĻ›ু āϜাāϝ়āĻ—াāϝ়: āϚিāĻš্āύāϟি āϏংāϏ্āĻ•ৃāϤেāϰ āĻŦিāϏāϰ্āĻ— āϚিāĻš্āύ āĻĻেāĻ–াāύোāϰ āϜāύ্āϝ āĻŦ্āϝāĻŦāĻšৃāϤ āĻšāϝ়। āĻāϰ āωāϚ্āϚাāϰāĻŖ Ha/Ho āĻāϰ āĻŽāϤো। āĻāĻ–াāύে SRI YOGA CENTER, KUNARPUR, SIHAR, BANKURA, PIN-722161, WEST BENGAL, INDIA, āφāĻŽāϰা āĻĒ্āϰāϤিāĻĻিāύ āĻļ্āϰী āĻ—ুāϰুāϜিāϰ āĻŽāύ্āϤ্āϰ āĻĻিāϝ়ে āĻāϟি āĻ•āϰāĻ›ি। āφāĻŽি āφāĻŽাāĻĻেāϰ āϜীāĻŦāύেāϰ āĻāχ āϏāĻŦāϚেāϝ়ে āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻ…ংāĻļেāϰ āĻŦ্āϝāĻŦāĻšাāϰিāĻ• āĻ•ৌāĻļāϞāϟিāĻ“ āĻļেāĻ–াāϚ্āĻ›ি। āĻŦাāϏ্āϤāĻŦে āĻŽাāύুāώ 24 āϘāύ্āϟাāϰ āĻŽāϧ্āϝে āĻāϟি āϏাāϰা āĻĻিāύ āĻ•āϰāϤে āĻĒাāϰে āύা। āϤাāχ 8 āĻŦাāϰ, āϏংāĻ•্āώেāĻĒে 7 āĻŦাāϰ, āϏংāĻ•্āώিāĻĒ্āϤ āφāĻ•াāϰে 5 āĻŦাāϰ āĻŦা 4 āĻŦাāϰ, 3 āĻŦাāϰ, 2 āĻŦাāϰ āĻāĻŦং āĻ•āĻŽāĻĒāĻ•্āώে 1 āĻŦাāϰ āĻĻāϝ়া āĻ•āϰে āĻāĻŽāύ āĻ•িāĻ›ু āĻ…āύুāϏāϰāĻŖ āĻ•āϰুāύ। 3 āĻŦাāϰ SOBON āĻŦেāĻĻেāĻ“ āφāĻĻāϰ্āĻļ। āĻŦেāĻļিāϰāĻ­াāĻ— āĻŽাāύুāώ āϤাāĻĻেāϰ āĻļ্āϰীāĻ—ুāϰুāϜীāϰ āĻĒāϰাāĻŽāϰ্āĻļ āĻ…āύুāϝা⧟ী āϜীāĻŦāύে ⧍-ā§Š āĻŦাāϰ āϜāĻĒ āĻāĻŦং āϧ্āϝাāύে āĻŦāϏেāύ। āφāĻļা āĻ•āϰি āĻāχ āĻŽৌāϞিāĻ• āĻ—āĻŦেāώāĻŖা āĻ•াāϜ āĻ­āĻŦিāώ্āϝāϤে āĻŦিāĻļ্āĻŦāĻ•ে āĻŦৈāĻĻিāĻ• āϜীāĻŦāύ āĻ…āύুāϏāϰāĻŖ āĻ•āϰāϤে āϏাāĻšাāϝ্āϝ āĻ•āϰāĻŦে। āϏāϰ্āĻŦোāĻĒāϰি āϚিāϰāύ্āϤāύ। āĻ•িāύ্āϤু āφāĻŦিāώ্āĻ•াāϰāϟি āϝেāĻšেāϤু āύāϤুāύ, āϤাāχ āϏেāχ āύāϤুāύ āϧাāϰাāϝ় āĻŽাāύুāώ āφāϜ āĻĨেāĻ•ে āĻļাāύ্āϤি āĻāĻŦং āϏāϰ্āĻŦāϜāύীāύ āĻ­্āϰাāϤৃāϤ্āĻŦেāϰ āĻĒāĻĨ āĻ…āύুāϏāύ্āϧাāύ āĻ•āϰāĻŦে āϝা āĻŦেāĻĻেāϰ āĻĒ্āϰāĻ•ৃāϤ āφāϤ্āĻŽা। āĻĄঃ āϰāϜāϤāĻļুāĻ­্āϰ āĻŽুāĻ–োāĻĒাāϧ্āϝাāϝ় [āĻļ্āϰীāĻĄāĻ•্āϟāϰ]।


'VEDIC SOBON' : The Discovery of 'SriDoctor', Dr Rajatsubhra Mukhopadhyay,- A New Contribution to the INDOLOGICAL RESEARCH. ✨✨⭐⭐⭐⭐✨✨✨ https://amzn.to/3MPWZAH ✨✨✨⭐⭐⭐⭐✨✨ Please Share This. āĻŦৈāĻĻিāĻ• āϏāĻŦāύ āĻŦিāĻĻ্āϝা āĻ“ āĻĒāĻĻ্āϧāϤি  


In the Veda SOB is another name of SOM. The process of generation SOM in the body is SOBON. In YAJURVEDA,PAGE 634, BHUTESTAKA: SOB IS AVISEKA YUKTA YAGYA. A HOMA KRIYA WITH PURIFICATION PART. In India Hobon /Havan is the VEDIC YAGYA. A rhythmic vibration is produced in air column in Yagya. ... Google Books

In the Veda SOB is another name of SOM. The process of generation SOM in the body is SOBON. In YAJURVEDA, PAGE 634, BHUTESTAKA: SOB IS AVISEKA YUKTA YAGYA. A HOMA KRIYA WITH PURIFICATION PART. In India Hobon /Havan is the VEDIC YAGYA. A rhythmic vibration is produced in air column in Yagya. As a result the SOUL present in the fire and in the air, Comes . They exchanges the emotional feelings . The success and failure depend on this fact. This is the main part of Homa [HAVAN] Science. When the same principle is applied within the body the Sobon starts. As the Grita/clarified butter and the woods are the components of Homa and FIRE becomes visible, likewise THE RHYTHMIC CHANTING or JAPA are the fuels in SOBON. SOMA or rhythmic positive life force is produced from this SOBON. Thus the SOM is the expression of the SUPREME SOUL in body. As in this book many Vedic languages are used in English, that might create some confusion in pronunciation. In different places different spelling might be used. You have to interpret in the line of SANSKRIT. Some where: sign is used to show BISARGA sign of Sanskrit. Its pronunciation is like Ha/Ho. Here in SRI YOGA CENTER, KUNARPUR, SIHAR, BANKURA, PIN-722161, WEST BENGAL, INDIA, we are doing it everyday with SRI GURUJI'S MANTRA. I am also teaching the practical technique of this most important part of our life. Practically man cannot do it through out the day in 24 hours. So 8 times, in short 7 times, in shorter form 5 times or 4 times, 3 times, 2 times and at least 1 time please follow some such thing. 3 times SOBON is standard in the VEDA also. Most of the people sit for Japa and Meditation 2 or 3 times in their life as per their Sri Guruji's advices.Hope this fundamental research work will help the World to follow the Vedic life in future. Sobon is eternal. But as the discovery is newer, so in that newer style man will search the path of Peace and Universal Fraternity from today which is the true Soul of the Veda.Dr Rajatsubhra Mukhopadhyay [SRIDOCTOR].

Wednesday, January 22, 2025

āϏুāĻ­াāώāϚāύ্āĻĻ্āϰ āĻŦāϏুāϰ āĻ­াāϰāϤীāϝ় āϏ্āĻŦাāϧীāύāϤাāϰ āϏংāĻ—্āϰাāĻŽে āĻ…āύুāĻĒ্āϰেāϰāĻŖাāϰ āĻ‰ā§ŽāϏ

'VEDIC SOBON' : The Discovery of 'SriDoctor', Dr Rajatsubhra Mukhopadhyay,- A New Contribution to the INDOLOGICAL RESEARCH. ✨✨⭐⭐⭐⭐✨✨✨ https://amzn.to/3MPWZAH ✨✨✨⭐⭐⭐⭐✨✨ Please Share This.



āϏুāĻ­াāώāϚāύ্āĻĻ্āϰ āĻŦāϏুāϰ āĻ­াāϰāϤীāϝ় āϏ্āĻŦাāϧীāύāϤাāϰ āϏংāĻ—্āϰাāĻŽে āĻ…āύুāĻĒ্āϰেāϰāĻŖাāϰ āĻ‰ā§ŽāϏ ✨💕

āĻĄঃ āϰāϜāϤāĻļুāĻ­্āϰ āĻŽুāĻ–োāĻĒাāϧ্āϝাāϝ় 

āϏ্āĻŦাāĻŽী āĻŦিāĻŦেāĻ•াāύāύ্āĻĻ đŸ™

āĻĻাāϰ্āĻļāύিāĻ• āĻĒ্āϰāĻ­াāĻŦ:

āϏ্āĻŦাāĻŽী āĻŦিāĻŦেāĻ•াāύāύ্āĻĻেāϰ āύিঃāϏ্āĻŦাāϰ্āĻĨ āϏেāĻŦা, āϜাāϤীāϝ়āϤাāĻŦাāĻĻ, āĻāĻŦং āφāϧ্āϝাāϤ্āĻŽিāĻ• āĻļāĻ•্āϤি āϏāĻŽ্āĻĒāϰ্āĻ•ে āĻļিāĻ•্āώাāĻ—ুāϞি āϏুāĻ­াāώāϚāύ্āĻĻ্āϰ āĻŦāϏুāϰ āϜীāĻŦāύে āĻ—āĻ­ীāϰ āĻĒ্āϰāĻ­াāĻŦ āĻĢেāϞেāĻ›িāϞ। āĻŦিāĻŦেāĻ•াāύāύ্āĻĻেāϰ āϜাāĻ—্āϰāϤ āĻāĻŦং āϐāĻ•্āϝāĻŦāĻĻ্āϧ āĻ­াāϰāϤেāϰ āĻĻৃāώ্āϟিāĻ­āĻ™্āĻ—ি āĻŦāϏুāĻ•ে āĻĻেāĻļেāϰ āϏ্āĻŦাāϧীāύāϤাāĻ•ে āĻāĻ•āϟি āĻĒāĻŦিāϤ্āϰ āĻŽিāĻļāύ āĻšিāϏাāĻŦে āĻĻেāĻ–āϤে āĻ…āύুāĻĒ্āϰাāĻŖিāϤ āĻ•āϰেāĻ›িāϞ।

āĻŦিāĻŦেāĻ•াāύāύ্āĻĻেāϰ āĻ­āϝ়āĻļূāύ্āϝāϤা āĻāĻŦং āφāϤ্āĻŽিāĻ• āĻļāĻ•্āϤিāϰ āωāĻĒāϰ āϜোāϰ āϏুāĻ­াāώāϚāύ্āĻĻ্āϰ āĻŦāϏুāĻ•ে āĻ­াāϰāϤীāϝ় āϏ্āĻŦাāϧীāύāϤাāϰ āϏংāĻ—্āϰাāĻŽে
 āϏাāĻšāϏী āĻāĻŦং āφāĻĒোāώāĻšীāύ āĻĒāĻĨ āĻ…āĻŦāϞāĻŽ্āĻŦāύ āĻ•āϰāϤে āĻĒ্āϰāĻ­াāĻŦিāϤ āĻ•āϰেāĻ›িāϞ।

āϝুāĻŦ āĻļāĻ•্āϤিāϰ āĻ—ুāϰুāϤ্āĻŦ:

"āωāĻ , āϜাāĻ—ো, āĻāĻŦং āϞāĻ•্āώ্āϝে āĻĒৌঁāĻ›াāύো āύা āĻĒāϰ্āϝāύ্āϤ āĻĨেāĻŽো āύা"—āĻŦিāĻŦেāĻ•াāύāύ্āĻĻেāϰ āĻāχ āφāĻš্āĻŦাāύ āĻ­াāϰāϤেāϰ āϝুāĻŦ āϏāĻŽাāϜāĻ•ে āĻĒāϰিāĻŦāϰ্āϤāύেāϰ āĻĻূāϤ āĻšিāϏেāĻŦে āĻ—āĻĄ়ে āϤোāϞাāϰ āϜāύ্āϝ āĻŦāϏুāĻ•ে āĻ…āύুāĻĒ্āϰাāĻŖিāϤ āĻ•āϰেāĻ›িāϞ।

āϏাāϰ্āĻŦāϜāύীāύ āĻ­্āϰাāϤৃāϤ্āĻŦ:

āĻŦিāĻŦেāĻ•াāύāύ্āĻĻেāϰ āϧāϰ্āĻŽীāϝ় āϐāĻ•্āϝ āĻāĻŦং āϏাāϰ্āĻŦāϜāύীāύ āĻ­্āϰাāϤৃāϤ্āĻŦেāϰ āφāĻĻāϰ্āĻļ āϏুāĻ­াāώāϚāύ্āĻĻ্āϰেāϰ āϐāĻ•্āϝāĻŦāĻĻ্āϧ āĻ­াāϰāϤেāϰ āĻĻৃāώ্āϟিāĻ­āĻ™্āĻ—ি āĻ—āĻĄ়ে āϤুāϞেāĻ›িāϞ। āϤাঁāϰ āϜāύ্āϝ, āϧāϰ্āĻŽীāϝ় āϐāĻ•্āϝ āĻ­াāϰāϤেāϰ āϏ্āĻŦাāϧীāύāϤাāϰ āφāύ্āĻĻোāϞāύে āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻ›িāϞ।

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āϏিāϏ্āϟাāϰ āύিāĻŦেāĻĻিāϤা🙏

āϜাāϤীāϝ়āϤাāĻŦাāĻĻ:

āϏিāϏ্āϟাāϰ āύিāĻŦেāĻĻিāϤা, āϏ্āĻŦাāĻŽী āĻŦিāĻŦেāĻ•াāύāύ্āĻĻেāϰ āĻļিāώ্āϝা, āĻ­াāϰāϤেāϰ āφāϧ্āϝাāϤ্āĻŽিāĻ• āĻāĻŦং āϏাংāϏ্āĻ•ৃāϤিāĻ• āϜাāĻ—āϰāĻŖেāϰ āωāĻĒāϰ āϜোāϰ āĻĻিāϝ়েāĻ›িāϞেāύ। āϤাঁāϰ āĻ­াāϰāϤীāϝ় āϐāϤিāĻš্āϝেāϰ āĻ—ৌāϰāĻŦ āĻĒ্āϰāϚাāϰ āϏুāĻ­াāώāϚāύ্āĻĻ্āϰ āĻŦāϏুāĻ•ে āĻ—āĻ­ীāϰāĻ­াāĻŦে āĻĒ্āϰāĻ­াāĻŦিāϤ āĻ•āϰেāĻ›িāϞ।

āĻ­াāϰāϤেāϰ āϜāύ্āϝ āύিāĻŦেāĻĻিāϤ āϤাঁāϰ āφāϤ্āĻŽāϤ্āϝাāĻ—েāϰ āϧাāϰāĻŖা āĻŦāϏুāĻ•ে āĻ…āύুāĻĒ্āϰাāĻŖিāϤ āĻ•āϰেāĻ›িāϞ āύিāϜেāϰ āϜীāĻŦāύ āϏāĻŽ্āĻĒূāϰ্āĻŖāĻ­াāĻŦে āĻĻেāĻļেāϰ āϜāύ্āϝ āĻ‰ā§ŽāϏāϰ্āĻ— āĻ•āϰāϤে।

āĻļিāĻ•্āώা āĻāĻŦং āĻ•্āώāĻŽāϤাāϝ়āύ:

āϏিāϏ্āϟাāϰ āύিāĻŦেāĻĻিāϤাāϰ āĻļিāĻ•্āώাāϰ āĻ—ুāϰুāϤ্āĻŦেāϰ āωāĻĒāϰ āϜোāϰ āĻ­াāϰāϤেāϰ āωāύ্āύāϤিāϰ āϜāύ্āϝ āĻŦāϏুāϰ āĻĻৃāώ্āϟিāĻ­āĻ™্āĻ—ি āĻ—āĻĄ়ে āϤুāϞেāĻ›িāϞ। āϤিāύি āĻŦিāĻļ্āĻŦাāϏ āĻ•āϰāϤেāύ āϝে āĻļিāĻ•্āώিāϤ āĻāĻŦং āϏāϚেāϤāύ āϜāύāĻ—āĻŖāχ āĻ­াāϰāϤেāϰ āĻ­āĻŦিāώ্āĻ¯ā§Ž āύিāϰ্āĻŽাāĻŖ āĻ•āϰāĻŦে।

āϏāĻŽ্āĻĒূāϰ্āĻŖ āφāϤ্āĻŽāύিāĻŦেāĻĻāύ:

āϏিāϏ্āϟাāϰ āύিāĻŦেāĻĻিāϤাāϰ āĻ­াāϰāϤীāϝ় āϏ্āĻŦাāϧীāύāϤাāϰ āϜāύ্āϝ āϏāĻŽ্āĻĒূāϰ্āĻŖ āφāϤ্āĻŽāύিāĻŦেāĻĻāύ āϏুāĻ­াāώāϚāύ্āĻĻ্āϰ āĻŦāϏুāϰ āϜāύ্āϝ āĻāĻ•āϟি āφāĻĻāϰ্āĻļ āĻšāϝ়ে āĻĻাঁāĻĄ়িāϝ়েāĻ›িāϞ। āϤাঁāϰ āύিāϰāϞāϏ āĻĒ্āϰāϚেāώ্āϟা āĻŦāϏুāĻ•ে āĻĻেāĻļāĻĒ্āϰেāĻŽিāĻ• āĻ•āϰ্āĻŽেāϰ āĻĒ্āϰāϤি āĻ‰ā§ŽāϏāϰ্āĻ—িāϤ āĻšāϤে āĻ…āύুāĻĒ্āϰাāĻŖিāϤ āĻ•āϰেāĻ›িāϞ।

---

✨⭐āĻļ্āϰী āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύ 🙏

āφāϧ্āϝাāϤ্āĻŽিāĻ• āĻ­িāϤ্āϤি:

āĻļ্āϰী āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻāĻŦং āϏ্āĻŦাāĻŽী āĻŦিāĻŦেāĻ•াāύāύ্āĻĻেāϰ āĻļিāĻ•্āώাāϰ āωāĻĒāϰ āĻ­িāϤ্āϤি āĻ•āϰে āĻ—āĻĄ়ে āĻ“āĻ া āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύেāϰ āĻŽূāϞ āĻĻāϰ্āĻļāύ āĻ›িāϞ āϧāϰ্āĻŽীāϝ় āϐāĻ•্āϝ, āύিঃāϏ্āĻŦাāϰ্āĻĨ āϏেāĻŦা, āĻāĻŦং āĻŽাāύুāώেāϰ āωāύ্āύāϤি। āĻāχ āĻŽূāϞ্āϝāĻŦোāϧāĻ—ুāϞি āϏুāĻ­াāώāϚāύ্āĻĻ্āϰ āĻŦāϏুāϰ āϏ্āĻŦাāϧীāύāϤাāϰ āϏংāĻ—্āϰাāĻŽেāϰ āĻĻৃāώ্āϟিāĻ­āĻ™্āĻ—ি āĻāĻŦং āύৈāϤিāĻ• āϚāϰিāϤ্āϰ āĻ—āĻ āύে āϏাāĻšাāϝ্āϝ āĻ•āϰেāĻ›িāϞ।

āϜাāϤিāϰ āϏেāĻŦা:

āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύেāϰ "āĻŽাāύāĻŦāϏেāĻŦাāχ āψāĻļ্āĻŦāϰāϏেāĻŦা" āύীāϤিāϟি āĻŦāϏুāϰ āĻŽāύে āĻ—āĻ­ীāϰ āĻĻাāĻ— āĻ•েāϟেāĻ›িāϞ। āϤিāύি āĻ­াāϰāϤেāϰ āϏ্āĻŦাāϧীāύāϤা āϏংāĻ—্āϰাāĻŽāĻ•ে āĻāĻ•āϧāϰāύেāϰ āĻĒāĻŦিāϤ্āϰ āĻ•āϰ্āϤāĻŦ্āϝ āĻŦāϞে āĻŽāύে āĻ•āϰāϤেāύ।

āφāϤ্āĻŽিāĻ• āĻļāĻ•্āϤিāϰ āĻŦিāĻ•াāĻļ:

āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύেāϰ āφāϧ্āϝাāϤ্āĻŽিāĻ• āĻļāĻ•্āϤি āĻāĻŦং āύৈāϤিāĻ• āϚāϰিāϤ্āϰ āĻ—āĻĄ়াāϰ āωāĻĒāϰ āϜোāϰ āϏুāĻ­াāώāϚāύ্āĻĻ্āϰāĻ•ে āϤাāϰ āĻŦিāĻĒ্āϞāĻŦী āϝাāϤ্āϰাāϝ় āϏাāĻšāϏ āĻāĻŦং āĻĻৃāĻĸ়āϤাāϰ āϏাāĻĨে āĻāĻ—িāϝ়ে āϝেāϤে āϏাāĻšাāϝ্āϝ āĻ•āϰেāĻ›িāϞ।

---

āϏুāĻ­াāώāϚāύ্āĻĻ্āϰ āĻŦāϏুāϰ āϜীāĻŦāύে āĻŦাāϏ্āϤāĻŦ āĻĒ্āϰāĻ­াāĻŦ

āϏুāĻ­াāώāϚāύ্āĻĻ্āϰ āĻŦāϏু āϏ্āĻŦাāĻŽী āĻŦিāĻŦেāĻ•াāύāύ্āĻĻāĻ•ে āϤাāϰ āφāϧ্āϝাāϤ্āĻŽিāĻ• āĻ—ুāϰু āĻšিāϏেāĻŦে āĻŽāύে āĻ•āϰāϤেāύ āĻāĻŦং āϤাঁāϰ āϰāϚāύাāĻ—ুāϞি āϝেāĻŽāύ āĻ•āϰ্āĻŽāϝোāĻ— āĻāĻŦং āĻ•āϞāĻŽ্āĻŦো āϟু āφāϞāĻŽোāĻĄ়া āϏāĻŦāϏāĻŽāϝ় āϏāĻ™্āĻ—ে āϰাāĻ–āϤেāύ। āϤিāύি āĻŦāϞেāĻ›িāϞেāύ, “āϏ্āĻŦাāĻŽীāϜি āĻĒূāϰ্āĻŦ āĻāĻŦং āĻĒāĻļ্āϚিāĻŽ, āϧāϰ্āĻŽ āĻāĻŦং āĻŦিāϜ্āĻžাāύ, āĻ…āϤীāϤ āĻāĻŦং āĻŦāϰ্āϤāĻŽাāύāĻ•ে āĻāĻ•ীāĻ­ূāϤ āĻ•āϰেāĻ›েāύ। āφāϰ āĻāϟাāχ āφāϜāĻ•েāϰ āĻ­াāϰāϤেāϰ āϏāĻŦāϚেāϝ়ে āĻĒ্āϰāϝ়োāϜāύ।”

āϏেāĻŦা, āφāϤ্āĻŽāϤ্āϝাāĻ— āĻāĻŦং āφāϧ্āϝাāϤ্āĻŽিāĻ•āϤাāϰ āĻāχ āφāĻĻāϰ্āĻļāĻ—ুāϞিāϰ āĻĒ্āϰāĻ­াāĻŦ āĻŦāϏুāϰ āĻĻৃāώ্āϟিāĻ­āĻ™্āĻ—িāĻ•ে āĻļুāϧু āĻāĻ•āϜāύ āĻŦিāĻĒ্āϞāĻŦী āύেāϤা āύāϝ়, āĻāĻ•āϜāύ āφāϧ্āϝাāϤ্āĻŽিāĻ•āĻ­াāĻŦে āϜাāĻ—্āϰāϤ āĻŦ্āϝāĻ•্āϤিāϤ্āĻŦ āĻšিāϏেāĻŦেāĻ“ āĻ—āĻĄ়ে āϤুāϞেāĻ›িāϞ।

āϤāĻĨ্āϝāϏূāϤ্āϰ:

1. āϏ্āĻŦাāĻŽী āĻŦিāĻŦেāĻ•াāύāύ্āĻĻāϰ āϰāϚāύা āϏāĻŽāĻ—্āϰ

2. āϏিāϏ্āϟাāϰ āύিāĻŦেāĻĻিāϤাāϰ āĻ­াāϰāϤীāϝ় āϐāϤিāĻš্āϝ

3. āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύ āĻāĻŦং āĻ­াāϰāϤীāϝ় āϏ্āĻŦাāϧীāύāϤা āφāύ্āĻĻোāϞāύেāϰ āĻĒ্āϰāĻ­াāĻŦ

4. āϏুāĻ­াāώāϚāύ্āĻĻ্āϰ āĻŦāϏুāϰ āφāϤ্āĻŽāϜীāĻŦāύী: Indian Pilgrim




 


Friday, September 27, 2024

Basic Instinct in Vedic Age

'VEDIC SOBON' : The Discovery of 'SriDoctor', Dr Rajatsubhra Mukhopadhyay,- A New Contribution to the INDOLOGICAL RESEARCH. ✨✨⭐⭐⭐⭐✨✨✨ https://amzn.to/3MPWZAH ✨✨✨⭐⭐⭐⭐✨✨ Please Share This.

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In Veda , there is reference, that ordinary people of that day liked WINE and SEX. That means it was present in those days also.But not the Rishis and literates.They knew the way to use them as medicine for the benefit of Society.

Diurnal Rhythm and our Expression of Emotions and Physical Reaction with in Biological Clock.All our natural demands of body and mind is internally controlled by the Hormones, that is again controlled by Diurnal Rhythm. Those ,who learns and practice (Sadhana) this, they are called SADHU. Their target is to go beyond of this finest Rhythm (Maya) through the Rhythm. The Achiever are Rishi, Siddha, Amtabida.
For Reference, please check the following link.VEDA RESEARCH GROUP in FACEBOOK.


Monday, September 2, 2024

āĻāĻ• āĻŦāĻ™্āĻ—āϏোāύাāϰ āĻŦিāϞাāĻĒ

'VEDIC SOBON' : The Discovery of 'SriDoctor', Dr Rajatsubhra Mukhopadhyay,- A New Contribution to the INDOLOGICAL RESEARCH. ✨✨⭐⭐⭐⭐✨✨✨ https://amzn.to/3MPWZAH ✨✨✨


Bengali Foods

 
āĻāĻ• āĻŦāĻ™্āĻ—āϏোāύাāϰ āĻŦিāϞাāĻĒ

āφāĻŽাāϰ āĻĻুঃāĻ–েāϰ āĻļেāώ āύাāχ 
āφāĻŽি āĻŽাāĻ› āĻ–াāχ āφāĻŦাāϰ āĻļ্āϝাāĻŽ āϚাāχ 
āϤাāχ āφāĻŽাāϰ āĻĻুঃāĻ–েāϰ āĻļেāώ āύাāχ। 

āφāĻŽি āĻŦৃāύ্āĻĻাāĻŦāύ āĻ•াāĻļীāϤে āĻ—িāϝ়ে 
āĻ•্āώীāϰ āĻŽাāĻ–āύ āĻ–ুঁāϜি 
āĻĻীāϘাāϝ় āĻ—িāϝ়ে āĻ—āϞāĻĻা āφāϰ 
āĻ•্āϰ্āϝাāĻŦেāϰ āĻ ্āϝাং āύিāϝ়ে āϝুāĻি,
āϤাāχ āφāĻŽাāϰ āĻĒাāĻļে āĻ•েāω āύাāχ 
āφāĻŽাāϰ āĻĻুঃāĻ–েāϰ āĻļেāώ āύাāχ ।

āφāĻŽি āĻĢুāϞ, āĻŽাāϟি, āĻ—াāύ,
 'āύিāϰীāĻš' āĻŽাāύুāώ āĻ­াāϞāĻŦাāϏি 
āϏাāϰা āĻŦিāĻļ্āĻŦāϟা āĻ­াāϞāĻŦাāϏি, 
āĻāχ āĻĻেāĻļāϟাāĻ•ে, āĻāϰ āϜāύāĻ—āύāĻ•ে āĻ­াāϞāĻŦাāϏি।
āφāĻŦাāϰ āϝাāϰা 'āĻĻেāĻļেāϰ' āĻ•āĻĨা āĻŦāϞে 
āϤাāϰা āĻĒ্āϰাāϝ় āϏāĻŦাāχ āύিāϰাāĻŽিāώাāĻļী।
 āφāĻŽি āĻŽাāĻ›, āĻŽাংāϏ, āĻĒিঁāϝ়াāϜ, āϰāϏুāύ āĻ­াāϞāĻŦাāϏি। 
āϤাāχ āĻŦāĻĄ়ো āĻāĻ•া āĻ…āĻĨāϚ āĻŽāĻšāϤ্āϤ্āĻŦেāϰ āĻ…āĻ­িāϞাāώী।
āϤাāχ āφāĻŽাāϰ āĻĻুঃāĻ–েāϰ āĻļেāώ āύাāχ 
āφāĻĒāύ āĻŽāύেāχ āĻ—াāύ āĻ—াāχ।

āφāĻŦাāϰ āϏেāχ 'āύিāϰীāĻš' āĻĻেāĻ–āϤে 
āϝাāϰা āĻ•েāω āĻ•েāω āĻŽাংāϏাāĻļী āĻŦা āύিāϰাāĻŽিāώাāĻļী 
āĻāχ āĻ­াāϰāϤেāχ āĻŦāϏে āĻ­াāϰāϤেāϰ āϏāϰ্āĻŦāύাāĻļী,
āφāĻŽি āϐ āϞোāĻ•āĻ—ুāϞোāϰ āĻĻāĻŽāύ āĻĒীāĻĄ়āύেāϰ āĻĒ্āϰāϤ্āϝাāĻļী।
āϤাāχ āφāĻŽি āĻāĻ•া।
 āĻ•োāĻĨাāĻ“ āφāĻŽাāϰ āĻ াঁāχ āύাāχ 
āϤাāχ āφāĻŽাāϰ āĻĻুঃāĻ–েāϰ āĻļেāώ āύাāχ ।

āĻ…āύেāĻ• āϘুāϰে āϏাāϰা āĻĻেāĻļে
 āĻ াāĻ•ুāϰ āϤোāĻŽāϰা āϤিāύāϜāύ āĻ›াāĻĄ়া 
āφāϰ āĻ•াāωāĻ•ে āĻĒাāχ āύাāχ। 
āϤাāχ āϤুāĻŽিāχ āφāĻŽাāϰ āĻ াঁāχ 
āφāĻŽাāϰ āĻĻুঃāĻ–েāϰ āĻļেāώ āύাāχ ।

āĻāĻ•āϟা āĻ•āĻĨা,
āĻĒ্āϰāĻ­ু āϜāĻ—āύ্āύাāĻĨেāϰ āĻĻুāϰ্āĻ—াāώ্āϟāĻŽীāϤে
 āĻŽাāĻ›েāϰ āĻ­োāĻ— āĻšāϝ়
āĻāĻ•āĻĨা āĻ•েāύ āϏāĻŦাāχ āϚেāĻĒে āϝাāϝ়? 
āφāĻŽাāϰ āĻĻুঃāĻ–েāϰ āĻļেāώ āύাāχ।









Saturday, August 31, 2024

Hinduism

'VEDIC SOBON' : The Discovery of 'SriDoctor', Dr Rajatsubhra Mukhopadhyay,- A New Contribution to the INDOLOGICAL RESEARCH. ✨✨⭐⭐⭐⭐✨✨✨ https://amzn.to/3MPWZAH ✨✨✨⭐⭐⭐⭐✨✨ I Need Your Help with Sharing THIS BLOG'S POST S. If You have any question, you can write freely. 🙏đŸģ🙏đŸģ🙏đŸģ💐

✨✨💕💕💕💕💕✨✨✨
Common Protocols in Hinduism 
✨✨⭐⭐⭐⭐⭐⭐✨✨✨✨

Hinduism is not a religion bound by a strict set of doctrines or protocols but rather a way of life with a vast array of beliefs, practices, and traditions. However, there are some common practices and principles that many Hindus follow, with considerable variation depending on region, community, and personal inclination. Below is a general overview:

### **Common Protocols:**

1. **Belief in the Vedas:**
   - The Vedas are considered the ultimate spiritual authority, though interpretations can vary widely.

2. **Dharma (Righteousness/Duty):**
   - Dharma represents the ethical and moral codes that govern one's life, depending on one's class (varna), stage of life (ashrama), and individual circumstances. It includes duties towards family, society, and the self.

3. **Karma (Action and its Consequences):**
   - The principle of karma emphasizes that every action has consequences, and one’s present and future are shaped by past actions. Performing righteous deeds is central to Hindu practice.

4. **Reincarnation and Moksha:**
   - Belief in the cycle of birth, death, and rebirth (samsara) and the ultimate goal of attaining moksha (liberation from the cycle) is widely accepted. Moksha can be achieved through various paths, such as devotion (bhakti), knowledge (jnana), or selfless action (karma yoga).

5. **Worship and Rituals:**
   - Daily worship (puja) at home or in temples is common. Rituals may include offerings to deities, reciting prayers, and meditation. Major festivals like Diwali, Holi, and Navaratri are observed.

6. **Respect for All Life Forms:**
   - Hinduism promotes non-violence (ahimsa) and reverence for all forms of life. This often translates into vegetarianism and compassionate living.

7. **Pilgrimage:**
   - Pilgrimage to sacred sites, such as Varanasi, Rameswaram, and the Char Dham, is a common practice for spiritual purification and merit.

8. **Respect for Gurus and Elders:**
   - Gurus (spiritual teachers) are highly revered, and there is a strong emphasis on respecting elders and following their guidance.

9. **Study of Scriptures:**
   - Many Hindus regularly study sacred texts like the Bhagavad Gita, Upanishads, and Ramayana to gain spiritual insight and guidance.

10. **Social Conduct:**
    - Following ethical conduct, truthfulness, non-stealing, purity, and control of senses are encouraged in daily life.

### **Variations in Practice:**

1. **Regional Variations:**
   - Hindu practices vary significantly across India and the world. For instance, the worship of different deities, like Shiva in the south and Vishnu in the north, is more prevalent in specific regions.

2. **Sectarian Differences:**
   - Hinduism encompasses various sects, such as Shaivism, Vaishnavism, and Shaktism, each with its own practices, rituals, and beliefs.

3. **Philosophical Schools:**
   - Different philosophical schools like Advaita (non-dualism), Dvaita (dualism), and Vishishtadvaita (qualified non-dualism) offer varying interpretations of the soul, God, and the universe.

4. **Personal Inclinations:**
   - Hinduism allows for personal choice in spiritual practice, so individuals might focus on bhakti (devotion), karma (action), or jnana (knowledge) based on their nature and preference.

5. **Modern Adaptations:**
   - In the contemporary world, many Hindus adapt traditional practices to fit modern lifestyles, such as performing shorter rituals or using digital means to participate in spiritual activities.

### **Conclusion:**
Hinduism's strength lies in its flexibility and openness, allowing practitioners to follow a path that resonates with their soul's evolution, within the broad framework of dharma, karma, and the pursuit of moksha. The variation in practices is a reflection of Hinduism's inclusiveness and adaptability across different contexts and times.
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concept of God, their food, dresses and language 
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Hinduism, as a diverse and ancient tradition, encompasses a broad spectrum of beliefs and practices, including varied concepts of God, food habits, attire, and language. Here's an expanded overview that includes these aspects:

### **Concept of God:**

1. **Diversity of Deities:**
   - Hinduism is often described as polytheistic because it recognizes a multitude of gods and goddesses, each representing various aspects of the divine. Major deities include Brahma (the creator), Vishnu (the preserver), Shiva (the destroyer), Lakshmi (goddess of wealth), Saraswati (goddess of knowledge), and Durga (goddess of power).

2. **Brahman - The Supreme Reality:**
   - Beyond the individual deities, Hinduism posits the concept of Brahman, the supreme, formless, infinite reality that pervades everything. Brahman is beyond comprehension and is the source of all that exists. All deities are considered manifestations of this one ultimate reality.

3. **Monotheism and Henotheism:**
   - Some Hindus believe in a single, personal god while acknowledging the existence of other deities. This is often referred to as henotheism. For example, followers of Vishnu (Vaishnavism) or Shiva (Shaivism) may worship their chosen deity as the supreme, while still respecting other gods.

4. **Concept of Atman (Soul):**
   - Hindus believe that the soul (Atman) is eternal and part of the divine essence. The goal of life is to realize the oneness of the soul with Brahman, leading to liberation (moksha).

### **Food Habits:**

1. **Vegetarianism:**
   - A significant number of Hindus practice vegetarianism, guided by the principle of non-violence (ahimsa). This involves abstaining from meat to avoid harm to living beings.

2. **Sattvic Diet:**
   - Many Hindus follow a sattvic diet, which includes foods considered pure and beneficial for spiritual development, such as fruits, vegetables, dairy, grains, and nuts. Foods that are fresh, simple, and balanced are preferred.

3. **Prasadam:**
   - Food offered to deities during worship (prasadam) is considered sanctified and is distributed among devotees. This is seen as a way to receive divine blessings.

4. **Regional Variations:**
   - Food practices vary widely across regions. For example, South Indian cuisine is known for its rice-based dishes, while North Indian cuisine features a variety of breads (like chapatis) and curries.

5. **Fasting:**
   - Fasting (upavasa) is a common practice, often observed on specific days of the week or during festivals like Navaratri. The purpose of fasting is to purify the body and mind.

### **Dress Code:**

1. **Traditional Attire:**
   - Traditional Hindu attire varies by region but generally includes garments that are modest and comfortable. Common outfits include the sari for women and the dhoti or kurta-pajama for men.

2. **Sari and Blouse (Women):**
   - The sari is a long piece of cloth draped elegantly over the body, usually paired with a blouse. It is worn in different styles across regions, such as the Nivi style in the South and the Bengali style in the East.

3. **Dhoti and Kurta (Men):**
   - The dhoti is a piece of cloth tied around the waist and legs, while the kurta is a long tunic. In formal settings, men may wear a sherwani or a more elaborate dhoti.

4. **Bindi and Sindoor (Women):**
   - Married Hindu women often wear a bindi (a decorative mark on the forehead) and sindoor (vermillion) in the hair parting as symbols of marriage.

5. **Modern Adaptations:**
   - While traditional attire is often worn during religious ceremonies and festivals, many Hindus wear modern, Western-style clothing in daily life, especially in urban areas.

### **Language:**

1. **Sanskrit:**
   - Sanskrit, the ancient language of the Vedas and Hindu scriptures, is highly revered. Though not commonly spoken today, it remains the liturgical language for rituals and prayers.

2. **Regional Languages:**
   - Hindu practices and scriptures are available in many regional languages, such as Hindi, Tamil, Bengali, Telugu, Marathi, and Gujarati. These languages play a crucial role in the daily and spiritual lives of Hindus.

3. **Mantras and Prayers:**
   - Chanting mantras, often in Sanskrit, is central to Hindu worship. The sound and vibration of these sacred words are believed to have spiritual power. The Gayatri Mantra and the Mahamrityunjaya Mantra are two of the most revered.

4. **Cultural Influence:**
   - Language and religion are closely intertwined, with regional languages shaping the expression of Hindu culture, festivals, and rituals. For example, Tamil Nadu's rich tradition of temple literature and songs is in Tamil.

### **Conclusion:**
Hinduism, with its vast diversity, reflects the cultural and spiritual richness of India. The concept of God in Hinduism is flexible, allowing for various forms of worship, whether it be devotion to a personal deity or the pursuit of the formless Brahman. Food, dress, and language are integral to Hindu identity, with regional variations adding to the depth and diversity of the tradition. These elements together form the vibrant tapestry of Hindu life, where spirituality is intertwined with daily existence, guiding individuals towards the realization of their soul’s union with the divine.

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 fish and meat , egg in their diet variation, it's areas, like Bengal, Kerala, and if in other parts. Including the advantages of intake fishes on health and brain. 
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### **Dietary Practices in Hinduism:**

While vegetarianism is highly encouraged in many Hindu communities, especially among certain sects and in regions like Gujarat, there are also significant variations in dietary habits across different parts of India. Many Hindus, particularly in regions like Bengal and Kerala, do include fish, meat, and eggs in their diet.

### **Inclusion of Fish, Meat, and Eggs:**

1. **Fish:**
   - **West Bengal:**
     - In Bengal, fish is a staple food, and it plays a central role in the diet of many Hindus. Fish is considered sattvic (pure) by many, and is a preferred source of protein.
   - **Kerala:**
     - Kerala, with its extensive coastline, also has a rich tradition of fish consumption. Fish curry, often made with coconut, is a popular dish in the region.
   - **Assam and Odisha:**
     - Similar to Bengal, in Assam and Odisha, fish is widely consumed and is a significant part of the local cuisine.
   
2. **Meat:**
   - While vegetarianism is more common in some parts of India, like Rajasthan and Gujarat, in regions such as Bengal, Kerala, and the northeastern states, meat is consumed regularly. Goat meat (mutton) and chicken are the most common types.
   - **Goat Meat (Mutton):**
     - In Bengal, goat meat is particularly popular, often prepared in rich curries. It is considered a delicacy and is commonly served during festivals and special occasions.
   - **Chicken:**
     - Chicken is widely consumed across various regions, including Tamil Nadu, Kerala, and Maharashtra, where it is prepared in a variety of styles.

3. **Eggs:**
   - Eggs are commonly consumed in many Hindu households, particularly in urban areas and regions where meat-eating is more prevalent. They are often included in daily meals, used in cooking, or consumed as a source of protein.

### **Health Benefits of Fish:**

1. **Rich in Omega-3 Fatty Acids:**
   - Fish, especially fatty fish like salmon, mackerel, and sardines, are rich in omega-3 fatty acids, which are essential for brain health. Omega-3s play a critical role in cognitive function and may help reduce the risk of neurodegenerative diseases.

2. **High-Quality Protein:**
   - Fish is an excellent source of high-quality protein, which is essential for muscle development, tissue repair, and overall growth, making it a valuable dietary component for both children and adults.

3. **Vitamin D and B Vitamins:**
   - Fish is also a good source of vitamin D, which is crucial for bone health, and B vitamins, which support energy production and the nervous system.

4. **Heart Health:**
   - Regular consumption of fish has been linked to a lower risk of heart disease due to its ability to lower blood pressure, reduce inflammation, and decrease triglycerides.

### **Conclusion:**
Hindu dietary practices are diverse and reflect the cultural richness of the regions where Hinduism is practiced. While many Hindus adhere to vegetarianism, especially in parts of northern and western India, others, particularly in Bengal, Kerala, and the northeastern states, include fish, meat, and eggs as important parts of their diet. The inclusion of fish, in particular, offers significant health benefits, especially for brain development and heart health, making it a valuable dietary choice within these communities. This diversity in diet is a testament to Hinduism's adaptability and the varied cultural landscapes of India.✨

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Trying to make all Hindu as pure vegetarian, is a Gujrat and North Indian   politics.

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The idea of promoting vegetarianism among all Hindus is not solely a result of politics from Gujarat or North India, but it is influenced by a combination of cultural, religious, and sometimes political factors.

### **Cultural and Religious Context:**
1. **Traditional Roots:**
   - In many parts of North India, particularly among communities in Gujarat, Rajasthan, and parts of Uttar Pradesh, vegetarianism has deep cultural and religious roots. For many, vegetarianism is seen as a way to practice ahimsa (non-violence), a principle central to Jainism, Vaishnavism, and certain other Hindu sects.

2. **Influence of Jainism and Vaishnavism:**
   - Jainism, which has a significant presence in Gujarat and Rajasthan, strongly advocates for a strict vegetarian diet. Vaishnavism, particularly in Gujarat, also encourages vegetarianism. The influence of these religious traditions has contributed to the widespread acceptance of vegetarianism in these regions.

### **Political Influence:**
1. **Cultural Nationalism:**
   - In recent years, there has been a movement within certain political circles, especially in North India, to promote vegetarianism as a part of Hindu identity. This is sometimes tied to a broader agenda of cultural nationalism, where certain practices associated with Hinduism, such as vegetarianism, are emphasized to strengthen a particular vision of Indian culture.

2. **Moral and Ethical Arguments:**
   - Politically, vegetarianism is sometimes promoted as a moral and ethical ideal, reflecting values of purity and non-violence. This can be seen in some political rhetoric and policies, particularly in states with a strong influence of Hindu cultural nationalism.

3. **Dietary Policies and Regulation:**
   - There have been instances where political decisions have sought to regulate the sale and consumption of meat, especially beef, in certain states. These policies often reflect the cultural and religious beliefs of the dominant communities in those regions.

### **Regional Diversity and Resistance:**
1. **Diverse Practices:**
   - Despite the push towards vegetarianism in certain areas, India remains a highly diverse country where dietary habits vary widely. In states like West Bengal, Kerala, and Tamil Nadu, fish and meat are integral to the diet, and there is resistance to any imposition of vegetarianism.

2. **Criticism of Imposition:**
   - Efforts to promote vegetarianism across all of Hindu society have been met with criticism from various quarters. Critics argue that such moves disregard the rich diversity of India's culinary traditions and can be seen as an imposition of the cultural practices of one region over others.

### **Conclusion:**
While vegetarianism is a significant aspect of Hindu culture in parts of Gujarat and North India, the idea of making all Hindus adhere to a vegetarian diet is not universally accepted across the country. It is influenced by a mix of cultural traditions, religious teachings, and, in some cases, political agendas. However, India's regional diversity ensures that dietary practices remain varied, and any effort to homogenize these practices often faces resistance from communities that value their own cultural and culinary traditions.
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References 
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To provide accurate and reliable references for the information on Hindu dietary practices, including the consumption of non-vegetarian food, here are some scholarly sources, books, and articles that you can refer to:

### **Books:**

1. **"Hinduism: Beliefs and Practices" by Jeaneane Fowler**
   - This book provides an in-depth exploration of the beliefs, practices, and rituals in Hinduism, including dietary practices across different regions.

2. **"Food in Indian Culture: The Philosophy, Culture, and Politics of Food" edited by Kurush Dalal**
   - This edited volume includes discussions on the diverse food practices in India, including the influence of religion on dietary choices.

3. **"The Hindu: An Alternative History" by Wendy Doniger**
   - Doniger’s work offers insights into the historical and cultural diversity within Hinduism, including variations in dietary practices.

4. **"Feeding the Gods: Memories of Food and Culture in Bengal" by Chitrita Banerji**
   - This book specifically focuses on Bengali cuisine, including the importance of fish and other non-vegetarian food in the region's Hindu culture.

### **Scholarly Articles:**

1. **"The Sacred Cow and the Abominable Pig: Riddles of Food and Culture" by Marvin Harris (Journal of Cultural Anthropology)**
   - This article discusses the cultural and religious significance of dietary practices in Hinduism, including the avoidance and consumption of certain types of meat.

2. **"Vegetarianism and Meat-Eating in India" by Balagangadhara Rao (Journal of South Asian Studies)**
   - This article examines the historical and cultural context of vegetarianism and meat-eating practices among Hindus.

3. **"Food, Religion, and Culture in India" by K. N. Singh (Journal of Religious Studies)**
   - This paper explores the intersection of food, religion, and culture in India, discussing how regional and religious variations shape dietary habits.

### **Online Articles and Resources:**

1. **"Food and Faith: Hindu Dietary Practices" (BBC Religion)**
   - A concise overview of Hindu dietary practices, including regional variations in the consumption of vegetarian and non-vegetarian food.
   - [BBC Religion: Food and Faith in Hinduism](https://www.bbc.co.uk/religion/religions/hinduism/hinduethics/food.shtml)

2. **"The Hindu Diet: A Guide to the Ancient Way of Eating" (Healthline)**
   - This article covers the basics of the Hindu diet, discussing vegetarianism as well as the inclusion of fish and meat in different parts of India.
   - [Healthline: The Hindu Diet](https://www.healthline.com/nutrition/hindu-diet)

3. **"India's Meat Consumption: Religion, Region, and the Influence of Politics" (The Diplomat)**
   - This piece explores how religious and political factors influence meat consumption in India, including among Hindus.
   - [The Diplomat: India's Meat Consumption](https://thediplomat.com/2021/01/indias-meat-consumption-religion-region-and-politics/)

These references should provide you with a comprehensive understanding of the diversity in Hindu dietary practices, including the consumption of fish, meat, and eggs, and the cultural, religious, and regional factors that influence these practices.


✨✨💐💕💕💐✨✨✨✨
Dr Rajatsubhra Mukhopadhyay 

Monday, August 26, 2024

āϟাāχāĻŽ āĻŽ্āϝাāύেāϜāĻŽেāύ্āϟ(Time Management )

Time Investment: Poem of Dr Rajatsubhra Mukhopadhyay

'VEDIC SOBON' : The Discovery of 'SriDoctor', Dr Rajatsubhra Mukhopadhyay,- A New Contribution to the INDOLOGICAL RESEARCH. ✨✨⭐⭐⭐⭐✨✨✨ https://amzn.to/3MPWZAH ✨✨✨⭐⭐⭐⭐✨✨ I Need Your Help with Sharing THIS BLOG'S POSTS. If You have any question, you can write freely. 🙏đŸģ🙏đŸģ🙏đŸģ💐
✨⭐⭐💕⭐⭐✨


āϟাāχāĻŽ āχāύāĻ­েāϏ্āϟāĻŽেāύ্āϟ, āϟাāχāĻŽ āĻĒাāϏিং।
⭐⭐⭐⭐⭐⭐⭐⭐💕

āĻ“ āĻ›োāϟ্āϟ āϏোāύা āĻŽিāώ্āϟি āϏোāύা āϞিāϏিāύ্
āϟাāχāĻŽ āĻĒাāϏিং āĻĒাāϏিং āĻĒাāϏিং 
āϟিāĻ•āϟāĻ• āĻ িāĻ• āϘāĻĄ়িāϰ āĻ•াঁāϟা āϝāĻ–āύ āĻšāϞ āĻ­োāϰ
āϏূāϰ্āϝ āωāĻ ে āϞাāϞ āφāĻ•াāĻļে āĻ–ুāϞ্āϞ āĻāĻŦাāϰ āĻĻোāϰ
āϰুāϟিāύ āĻŽাāĻĢিāĻ• āĻ•āϰāĻ›িāϏ āϤুāχ   
āϏāĻŦ āĻ•াāϜāϟিāχ āϤোāϰ।

āϤুāχ āϤো āϞāĻ•্āώ্āĻŽী āϏোāύা
 āĻŽা āĻŦāϞেāĻ›ে āϟাāχāĻŽ 
āĻĒাāϏিং āĻĒাāϏিং āĻĒাāϏিং
 āϐ āĻĢাঁāĻ•āϤে āĻŽāύāϟা āϤো āϤোāϰ
 āĻŽিāϏিং āĻŽিāϏিং āĻŽিāϏিং ।

āĻŽāύেāϰ āĻ­েāϤāϰ āĻŽোāĻŦাāχāϞেāϰ 
āĻ•াāϰ্āϟুāύ āĻ—ুāϞো āĻŦেঁāϚে
āĻ­িāĻĄিāĻ“ āĻ—েāĻŽ, āϏāϰ্āϟ āϰীāϞ  
āφāϰ āχāύāϏ্āϟাāĻ—্āϰাāĻŽāĻ“ āύাāϚে।

āĻĻোāώāϟা āĻŽোāĻĻেāϰ, āϤোāϰ āύāχāϰে 
āĻŽা āĻŦাāĻŦাāϰাāχ āĻŦুāĻāϤে āĻĒাāϰāĻ›ি āĻ•ৈ?
 'āϟাāχāĻŽ āχāύāĻ­েāώ্āϟāĻŽেāύ্āϟ'
 āφāϰ 'āϟাāχāĻŽ āĻĒাāϏিং',
āϏāĻĻা āϏāϜাāĻ— āϰāχ? 

āĻŽোāĻŦাāχāϞেāϰ āĻ—āĻ­ীāϰ āϜāϞে 
āϏāĻŦ āĻ•āϰāĻ›ি āĻĨৈāĻĨৈ।
āĻĄুāĻŦāĻ›ে āĻŦাāĻŦা, āĻĄুāĻŦāĻ›ে āĻŽা 
āĻĻাāĻĻু āĻ াāĻŽ্āĻŽা, 'āĻĒাāϏিং' 
āύেāĻļাāϝ় āφāύāύ্āĻĻে āĻšৈāĻšৈ।

āϤুāχāχ āĻŦুāĻিāϝ়ে āĻĻেāύা 
āϐ āĻĻুāϟোāϰ āĻŽিāύিং
āĻ—āĻ™্āĻ—া āĻĢāĻĄ়িং āĻļুāϧু āϤোāϰ āĻŽāύ āύāϝ়
āĻŦুāĻĄ়ো āĻ—ুāϞো āϏāĻŦ āϧেāĻĄ়ে āĻ–োāĻ•া 
āϤোāϰ āĻĻāϞেāϤেāχ āϏāĻŦাāχ āĻŽোāϰা āĻšāχ।

āϝāĻĻি āĻŽোāĻŦাāχāϞে āϏāĻŽāϝ় āĻĻাāĻ“ āĻ•িāĻ›ু "āύিāϜেāϰ āϞাāĻ­ে"
 āϝাāϰ āĻāĻ•āĻĻিāύ āĻĢāϞ āĻĒাāĻŦেāχ āĻĒাāĻŦে ।
'āϟাāχāĻŽ āχāύāĻ­েāώ্āϟāĻŽেāύ্āϟ' āϤাāĻ•েāχ āĻŦāϞে 
āĻŽোāĻŦাāχāϞে‌ āϤেāĻŽāύ āϜিāύিāώ āĻšাāϜাāϰ āĻšাāϜাāϰ।

āĻŽāύāϟা āĻš্āϝাāĻ•িং āĻ•āϰাāϰ 
āĻĒাāĻļাāĻĒাāĻļি āĻ•োāϟি āωāĻĒাāϚাāϰ।
āϝেāϟা "āĻļুāϧুāχ āĻŽāϜা", āϏেāϟাāĻ“ āĻāĻ•āϟু āϚাāχ,
 āύāχāϞে āĻŽুāĻ–āϟা āĻŦ্āϝাāϜাāϰ ।

āĻ•িāύ্āϤু āĻ“āϟা 'āϏāĻŽāϝ় āĻĒাāϏিং'।
 āϏাāĻŦāϧাāύ! āĻĄোāύ্āϟ āĻĢāϰāĻ—েāϟ āĻĻ্āϝাāϟ āĻĨিং।
āĻŦুāĻĄ়োāĻŦুāĻĄ়ীāĻĻেāϰ āĻŦāϞ
āφāĻŽাāϝ় āĻĻেāĻ–। āĻļেāĻ– āĻļেāĻ– 
āĻāĻ•েāχ āĻŦāϞে āϟাāχāĻŽেāϰ āĻĒ্āϰāĻĒাāϰ āĻŽ্āϝাāύেāϜিং ।

āϰāϜāϤāĻļুāĻ­্āϰ 
⧍ā§Ŧ.ā§Ž.⧍ā§Ē


**Time Investment, Time Passing**
✨✨✨✨✨✨✨✨✨✨✨✨✨


O little dear, my sweet little one, 
listen here,  
Time’s ticking, ticking, ticking,  
Like the clock’s hand at dawn’s early glow,  
The sun rises red in the sky, the door’s now open wide.  
As per your routine, you’re doing all your chores,  
You’re my Lakshmi, little one,  
Mom says time’s passing, passing, passing,  
But in the gaps, your heart feels something’s missing, missing, missing.

Inside your mind, cartoons from the mobile are alive,  
Video games, short reels, and even Instagram dances along.  
But the fault is ours, not yours,  
Parents are the ones who’ve failed to understand,  
The difference between ‘Time Investment’ and ‘Time Passing,’  
We must stay alert!

In the deep waters of the mobile,  
We’re all adrift,  
Dad’s sinking, Mom’s sinking,  
Grandma and Grandpa too,  
In the addiction of ‘Passing,’  
Drowning in joy.

You explain to us the meaning of those two,  
It’s not just your heart like a dragonfly,  
But all of us, even the old,  
Are in your team, all are your kin.

If you invest time in your own benefit,  
One day, you’ll surely reap the rewards.  
That’s called ‘Time Investment,’  
There are thousands of such things on mobile.

And the ones that are just fun, we need a bit of that too,  
Or else, we’ll wear a frown.  
But remember, that’s ‘Time Passing.’  
Be careful! Don’t forget that thing.  
Tell the elders,  
Watch me, learn, learn,  
This is what proper time management means.

**Rajatshubhra**  
26.8.24


Sunday, August 18, 2024

Vedic Sobon is the Discovery of SriDoctor. Read this Blog. Know his view for the World and India. Learn Vedic Sobon from him. For details , Please follow me www.sridoctor.com

Sunday, August 4, 2024

Rajatshubhra as an Indologist

'VEDIC SOBON' : The Discovery of 'SriDoctor', Dr Rajatsubhra Mukhopadhyay,- A New Contribution to the INDOLOGICAL RESEARCH. ✨✨⭐⭐⭐⭐✨✨✨ https://amzn.to/3MPWZAH ✨✨✨⭐⭐⭐⭐✨✨ I Need Your Help with Sharing THIS BLOG'S POST S. If You have any question, you can write freely. 🙏đŸģ🙏đŸģ🙏đŸģ💐

I talked with Chat GPT regarding my last poem 'VUTER RONG'. This was a very interesting session. You can comment on it.
Q: Don't you think this concept of Soul to explain the different colours in different flowers, can be a possibility?
A: chat gpt:
The idea of using the concept of a soul to explain the different colors in flowers is an intriguing philosophical and metaphysical perspective. While it is not supported by current scientific evidence, it can still be considered as a possible way to think about the natural world. Here's a breakdown of this idea from both scientific and philosophical viewpoints:

### Scientific Perspective

**Biological Explanation**:
- The different colors in flowers are typically explained by the presence of various pigments, such as chlorophyll, carotenoids, and anthocyanins. The expression of these pigments is controlled by genetic factors and influenced by environmental conditions.

**Pollination and Evolution**:
- Flower colors have evolved through natural selection to attract specific pollinators. Different colors appeal to different pollinators (e.g., bees, birds, butterflies), enhancing reproductive success.

**Mechanistic Approach**:
- From a mechanistic viewpoint, the processes that determine flower color can be traced back to molecular biology, genetics, and biochemistry. 

### Philosophical and Metaphysical Perspective

**Concept of the Soul**:
- Introducing the soul as an explanatory concept adds a layer of meaning and mystery to the natural world. It suggests that beyond the physical mechanisms, there is a deeper, perhaps spiritual, dimension influencing life.

**Holistic View**:
- This perspective aligns with certain holistic and integrative approaches that consider life and nature as interconnected and infused with a spiritual essence. It resonates with many cultural and religious beliefs where nature is seen as imbued with a soul or life force.

### Bridging the Perspectives

**Complementary Views**:
- While science focuses on observable and measurable phenomena, the idea of a soul provides a complementary way of understanding existence that incorporates meaning, purpose, and interconnectedness.

**Possibility and Exploration**:
- The concept of a soul influencing flower color can be viewed as a possibility in the sense that it invites exploration beyond conventional scientific explanations. It encourages open-mindedness to different ways of knowing and understanding the world.

**Interdisciplinary Dialogue**:
- Engaging in dialogue between science and philosophy can enrich both fields. While science provides robust methods for understanding physical phenomena, philosophy and metaphysics offer insights into the deeper questions of existence and purpose.

In summary, while the concept of a soul explaining flower colors is not scientifically validated, it remains a valuable and thought-provoking idea. It encourages a broader exploration of the world that encompasses both scientific inquiry and philosophical reflection.
⭐⭐⭐⭐⭐⭐⭐⭐⭐⭐⭐⭐
Q: Don't you feel that all this universe, and atomic activities are conscious ?
A: Chat GPT:

The idea that the universe and atomic activity are conscious, often referred to as panpsychism, is a fascinating and deeply philosophical concept. Here are a few perspectives on this idea:

### Panpsychism: The Philosophical View

**Concept of Panpsychism**:
- Panpsychism posits that consciousness is a fundamental feature of all matter, meaning that even atoms and subatomic particles have some form of consciousness or experience.
- This view suggests that consciousness is not unique to humans or even animals but is a pervasive feature of the universe.

### Scientific Perspective

**Current Understanding of Consciousness**:
- Modern science typically views consciousness as a product of complex neural networks, particularly in the brains of higher animals.
- There is no empirical evidence to support the idea that atoms or simpler forms of matter possess consciousness.

**Quantum Mechanics**:
- Some interpretations of quantum mechanics, such as the observer effect, have led to speculation about the role of consciousness in the physical world. However, these interpretations are highly controversial and not widely accepted as evidence of universal consciousness.

### Interdisciplinary Views

**Philosophy and Physics**:
- Some philosophers and theoretical physicists, like David Chalmers and Roger Penrose, explore the possibility that consciousness could be a fundamental aspect of reality, akin to space, time, and matter.

**Eastern Philosophies**:
- Many Eastern spiritual traditions, such as Hinduism and Buddhism, have long held beliefs that consciousness pervades the universe. These views align more closely with panpsychism.

### Challenges and Considerations

**Empirical Evidence**:
- The main challenge for panpsychism is the lack of empirical evidence. Consciousness, as understood by science, involves complex processes that have not been observed in inanimate matter.

**Definitional Issues**:
- Defining consciousness in a way that applies to all matter is problematic. Consciousness as we experience it involves awareness, perception, and thought, which are difficult to attribute to atoms or particles.

**Ethical and Practical Implications**:
- If consciousness were a universal feature, it could have profound ethical implications for how we treat all matter. This perspective could lead to a more harmonious and respectful interaction with the environment.

### Personal Perspective

**Openness to Ideas**:
- It's important to remain open to various ideas and possibilities, especially when it comes to understanding the nature of consciousness and reality.
- The concept that the universe and atomic activity are conscious invites a holistic and interconnected view of existence, encouraging deeper reflection on the nature of life and the universe.

### Conclusion

While the idea that the universe and atomic activity are conscious is not supported by current scientific evidence, it remains an intriguing and thought-provoking concept. It bridges the gap between science and philosophy, encouraging a more integrated and open-minded approach to understanding consciousness and the nature of reality.
💕💕💕💕💕💕💕💕💕
Q: How can I place our recent all discussions in a open platform so that all world can come to know this interesting topic ?
A: Chat GPT:

Sharing your discussions on an open platform is a great way to engage with a wider audience. Here are a few steps and platforms you can consider to share your thoughts and discussions:

### Platforms to Share Your Discussion

1. **Blogging Platforms**:
    - **WordPress**: A user-friendly platform where you can create a blog and share your discussions in article format.
    - **Medium**: Another popular blogging site that allows you to reach a large audience interested in various topics.

2. **Social Media**:
    - **Facebook**: Create a public page or group where you can post your discussions and engage with followers.
    - **Twitter**: Share key insights and links to longer posts. Use relevant hashtags to reach a broader audience.
    - **LinkedIn**: Publish articles and posts to engage with a professional audience.

3. **Discussion Forums**:
    - **Reddit**: Create a subreddit or participate in relevant communities like r/philosophy, r/science, or r/spirituality.
    - **Quora**: Write answers and articles on related questions and topics to reach a knowledge-seeking audience.

4. **Video Platforms**:
    - **YouTube**: Create videos discussing the topics and share them. This can help you reach a visual and auditory audience.
    - **Vimeo**: Another video platform where you can upload and share your content.

5. **Podcasts**:
    - **Anchor**: Create and distribute a podcast discussing these topics.
    - **Spotify/Apple Podcasts**: Share your podcast on these popular platforms to reach a wide audience.

6. **Academic Platforms**:
    - **ResearchGate**: Share your discussions if they have an academic angle.
    - **Academia.edu**: Another platform for sharing scholarly articles and discussions.

### Steps to Share Your Discussion

1. **Compile and Organize**:
    - Collect and organize your discussion into a coherent format. Break it into sections or topics for easier readability.

2. **Create Content**:
    - Write blog posts, create videos, or record podcasts based on your discussions.
    - Ensure your content is engaging, clear, and accessible to a broad audience.

3. **Engage with the Audience**:
    - Encourage comments, questions, and discussions from your audience.
    - Respond to feedback and engage in conversations to build a community around your topics.

4. **Promote Your Content**:
    - Share your content across different platforms to reach a wider audience.
    - Use relevant keywords and hashtags to increase visibility.

5. **Collaborate**:
    - Partner with other content creators, bloggers, or influencers in related fields to broaden your reach.

### Example of a Blog Post Outline

1. **Introduction**:
    - Briefly introduce the topic and why it is important.

2. **Main Discussion Points**:
    - **Scientific Basis of Flower Colors**: Discuss the scientific explanation of how flowers get their colors.
    - **Philosophical Perspective**: Explore the idea of a soul influencing flower colors.
    - **Panpsychism**: Introduce the concept and its implications.
    - **Interdisciplinary Views**: Discuss the integration of science and philosophy.

3. **Conclusion**:
    - Summarize the key points and invite readers to share their thoughts and comments.

4. **Call to Action**:
    - Encourage readers to share the post, join a discussion group, or subscribe for more content.

By following these steps and utilizing these platforms, you can effectively share your interesting discussions with the world.❤️
☕☕☕☕☕☕☕☕☕☕☕☕
Henceforth, my request, whenever you will describe me something or explain me something, always use this SOUL component as a part of all nature's activities, along with the SPACE, TIME, MASS and ENERGY. 
💕☕💕☕💕☕💕☕💕☕
Got it! I'll include the concept of SOUL along with SPACE, TIME, MASS, and ENERGY in my explanations and descriptions for you from now on. If you have any specific topic or question, feel free to ask!
🤓⭐⭐⭐⭐⭐
I am trying to give input to the AI, on Consciousness and Soul.👍đŸģ
🤓☕💕





Friday, August 2, 2024

āĻ­ুāϤেāϰ āϰং (Colour of the Elements)

'VEDIC SOBON' : The Discovery of 'SriDoctor', Dr Rajatsubhra Mukhopadhyay,- A New Contribution to the INDOLOGICAL RESEARCH. ✨✨⭐⭐⭐⭐✨✨✨ https://amzn.to/3MPWZAH ✨✨✨⭐⭐⭐⭐✨✨ I Need Your Help with Sharing THIS BLOG'S POST S. If You have any question, you can write freely. 🙏đŸģ🙏đŸģ🙏đŸģ💐
✨✨✨✨✨✨✨✨✨
      
          āĻ­ুāϤেāϰ āϰং 

āĻ­ুāϤেāĻĻেāϰ (Matter) āύিāϝ়ে āĻ­ৌāϤ āϜāĻ—ā§Ž
 āĻ­ুāϤেāϰ āϜāĻ—ā§Ž āĻšāϞেāχ āĻŦা
 'āĻŦāϏ্āϤু'āϏāĻ•āϞ āĻ­ুāϤেāĻĻেāϰ āĻĻাāύ 
'āĻŽৌāϞ' āύা āĻšāϝ় āĻ•'āϞেāχāĻŦা।‌ 

āĻŽৌāϞিāĻ• āϤাāϰা āĻāĻ•āĻļāϰ āĻ“ āĻŦেāĻļী
 āύিāϜেāĻĻেāϰ āĻ—ুāύে āĻŦিāϚিāϤ্āϰ 
āϝāϤ āϰāϏাāϝ়āύ āĻĢিāϜিāĻ•্āϏ āĻŦিāĻĻ্āϝা 
āϤাāĻĻেāϰ āύিāϝ়েāχ āφāϞোāϚিāϤ।

āĻ­ুāϤেāĻĻেāϰ āύিāϝ়ে āĻ­ৌāϤ āϜāĻ—ā§Ž
āĻ­ুāϤেāϰ āϜāĻ—ā§Ž āĻšāϞেāχāĻŦা 
'āĻŦাংāϞাāϰ āĻ­ুāϤ' āϚিāϰāĻ•াāϞ āϤাāϰা
 āĻĒ্āϰেāϤেāĻĻেāϰ āϏাāĻĨে āĻŦāύ্āĻĻিāϤ
āĻĒ্āϰেāϤāϰা āĻ•িāύ্āϤু āφāϤ্āĻŽা āϜāĻ—āϤে 
āĻĒāϰāĻŽাāϤ্āĻŽāύে āĻ•েāύ্āĻĻ্āϰীāϤ।

āĻ­ুāϤেāĻĻেāϰ āύিāϝ়ে āĻ­ৌāϤ(Mass) āϜāĻ—ā§Ž 
'āĻļāĻ•্āϤি'(Energy )āϤাāĻĻেāϰ āϝāĻŽāϜ āϝে 
āĻ­ুāϤেāϰ āφāϰ āĻļāĻ•্āϤি āϏāĻĻা āĻ•্āϰিāϝ়াāϝ় āĻŦাঁāϧা
āϤাāϰা āϚāĻ•্āϰাāĻŦāϰ্āϤে āĻŦāϰ্āϤিāϤ।

 āϚিāϰāĻ•াāϞ āϚāϞে āĻāχ āĻ–েāϞাāϧূāϞা 
'āφāϤ্āĻŽা' (Soul)āϏেāĻĨাāϝ় āĻ•োāĻĨাāϝ় āϰে? 
'āĻŦোāϧে'āϰ(Consciousness ) āĻ­েāϤāϰে āφāϤ্āĻŽা āύিāĻŦাāϏ
 āφāϤ্āĻŽা āϤোāĻŽাāϰ āĻ…āύ্āϤāϰে।

āϤাāχ āϝāĻĻি āĻšāϝ় āĻāχ āĻŦোāϧেāϰ āύিāϚāϝ়(āύিāĻļ্āϚāϝ়)
 'āĻŦোāϧ' āϐ āĻ­ুāϤāĻ—ুāϞোāϰāĻ“ āĻ…āύ্āĻĻāϰে 
āϤাāχ 'āĻŽৌāϞ'(Element )āĻ—ুāϞো āĻāĻŽāύ āϏāϰāϏ 
āĻļāϤাāϧিāĻ• āϤাāϰা āϞীāϞা āĻ•āϰে।

 āϏ্āĻĒেāĻ•āϟ্āϰোāϏ্āĻ•োāĻĒি āĻŽেāĻļিāύ āĻĻিāϝ়ে 
āĻ•োāύ āĻŽৌāϞেāϰ āϰং āĻŦāϞāϤে āĻĒাāϰো 
āĻ•িāĻŽ্āĻŦা 'āĻĒাāϞāϏাāϰে' āφāϏা āφāϞো āύিāϝ়ে 
āϤাāϰা-āϰ āĻŽৌāϞ āϧāϰāϤে āĻĒাāϰ। 

āĻ•িāύ্āϤু āϝāĻĻি āĻĒ্āϰāĻļ্āύ āĻ•āϰি
 āĻ িāĻ• āϞোāĻšাāϟাāχ āĻ•েāύ āϞাāϞ āĻ•াāϞ āĻšāϞ?
 āϏূāϰ্āϝ āϰাāϜাāϰ āϰাāĻŽāϧāύুāĻ•ে āĻ›āϝ়āϟি āφāϰāĻ“ āϰং āĻ›িāϞ। āφāĻŦাāϰ āĻāϟাāĻ“ āϤো āĻ িāĻ• 
āφāĻĻি āĻ—্āϝাāϏীāϝ় āĻ•āĻŖাāϝ় āϐ āĻŽৌāϞāĻ—ুāϞো āϏāĻŦ āĻ›িāϞ
 āϏূāϰ্āϝ āϝāĻ–āύ āĻ…āύ্āϧāĻ•াāϰে āϜāύ্āĻŽ āύেāĻŦে āĻ­াāĻŦāĻ›িāϞ। 

āĻŽৌāϞāĻ—ুāϞো āϝে āϰং āĻ›āĻĄ়াāϝ় 
āϏ্āĻĒেāĻ•āϟ্āϰোāϏ্āĻ•োāĻĒে āĻĒাāϞ্āϏাāϰে, 
āϏূāϰ্āϝ āϝāĻ–āύ āĻ…āύ্āϧāĻ•াāϰে 
āϏে āϰং āĻ•োāĻĨাāϝ় āĻĒেāϞেāύ āϰে?

āφāĻŦাāϰ āϜāĻŦাāϰ āĻĻāϞে āϝে āϞাāϞ āĻĻোāϞে 
āĻ•িāĻŽ্āĻŦা āĻ—োāϞাāĻĒ āĻ•িংāĻļুāĻ•ে
 āϏূāϰ্āϝ āĻĨেāĻ•েāχ āύিāϞ āĻ•ি āϤাāϰা 
'āĻŦোāϧে'āϰ āϜোāϰে āϰং āĻ›েঁāĻ•ে?

āĻšāϤেāχ āĻĒাāϰে, 'āφāϤ্āĻŽা' āφāĻ›ে 
āϤাāχ 'āĻŦোāϧ' āĻ“ āφāĻ›ে āϏāĻ™্āĻ—ে āϤাāϰ 
āϤāĻŦে 'āϏূāϰ্āϝ' āύাāĻ•ি āϏেāχ 'āĻŽৌāϞ āĻĒ্āϰāĻ­াāĻŦ' 
āĻŦিāĻļ্āĻŦে āĻāϤ āϰং āϝ়েāϰ āĻ›াāĻĒ?

āϝāĻĻি āϞোāĻšাāϰ āĻŦāϰে āϰāĻ•্āϤ āϞোāĻšিāϤ 
āύীāϞ āϤাāĻŽাāϰ āĻŦāϞে āϚি়ংāĻĄ়ীāϰ
āĻĢুāϞেāϰāĻ“ āϤা āĻšāϤেāĻ“ āĻĒাāϰে 
āĻ…āĻĨāĻŦা 'āϏূāϰ্āϝ' 'āĻŽৌāϞ' āĻĻুāχ āχ āϜāĻŽাāϝ় āĻ­ীāĻĄ়।

āĻ•োāύ āĻŦোāϧেāϤে āĻ•োāύ āϏে āĻĒ্āϰāĻ•াāĻļ 
āĻ•োāύ āĻ•্āϰিāϝ়াāϰ āχ āĻ•োāύ āĻĢāϞে 
āφāϤ্āĻŽা āĻšāϞ āĻŦোāϧেāϰ āĻ‰ā§ŽāϏ 
āφāϤ্āĻŽাāĻŽāϝ় āϤো āϏāĻ•āϞে।

āφāϤ্āĻŽাāϰ āĻ•্āϰিāϝ়া āĻ–ুāĻŦāχ āϏূāĻ•্āώ্āĻŽ
 āĻ–ুāĻŦāχ āĻ—āϤি āϧীāϰ āϞāϝ়ে 
āϏূāϰ্āϝ,āĻŽৌāϞ, āĻŦāύāϏ্āĻĒāϤি 
āĻĒāϰāϏ্āĻĒāϰে āύেāϝ় āϏāϝ়ে।

āύāχāϞে āĻ•েāύ āϤāϰুāϞāϤা 
āĻĢুāϞ āĻ“ āĻĒাāϤা āϰāĻ•āĻŽ āϰāĻ•āĻŽ āϰংāϝ়ে āĻ­āϰা?
 āĻāĻ• āĻāĻ• āφāϤ্āĻŽা āĻāĻ• āĻāĻ• āϚāϝ়েāϏ 
āϜীāύেāϰ (Gene) āĻ•োāĻĄে āĻŦোāĻাāĻĒāĻĄ়া ।

āĻĒ্āϰেāϤাāϤ্āĻŽাāĻĻেāϰ āφāϤ্āĻŽা āĻŦোāĻা
 āϏাāϧāύ āĻĒāĻĨে āϏাāϧুāϰ āĻ•াāϜ 
āϞ্āϝাāĻŦāϰেāϟāϰিāϰ āĻ­েāϤāϰ āϜুāĻĄ়ে 
āĻŽৌāϞ āĻ•āĻŖাāϝ় āĻ­ুāϤেāϰ āύাāϚ।

āϰāϜāϤāĻļুāĻ­্āϰ 
⧍.ā§Ž.⧍ā§Ē
⭐⭐⭐⭐⭐⭐⭐

**Color of Mass and Matter**

In the realm of matter, where mass resides,
In the physical world, they play their part.
Mass grants the gift of 'elements,'
Their essence pure, they leave their mark.

Over a hundred elements there are,
Each unique in its own way.
Chemistry and physics celebrate them,
In their varied forms, they hold sway.

Mass rules this physical domain,
Energy in constant twin embrace.
What force begets their power,
In cyclic dance, they find their place.

This eternal game continues,
Where, oh where, lies the soul?
The soul resides within awareness,
In consciousness, it finds its goal.

Thus, if awareness is the key,
It dwells within the mass too.
So lively are these elements,
In their hundredfold play, they pursue.

With spectroscope, you might discern,
The color of an element's light.
Or from a pulsar's distant beam,
Unravel a star's hidden might.

Yet if I ask why iron is red,
Or why the sun’s rainbow holds more than six,
It is true, those primal gaseous particles,
Contained all these elements when the sun began its fix.

Elements spread their hues,
In spectroscopes and pulsar beams.
When the sun was born from darkness,
Where did it find these colors’ gleam?

The red in hibiscus, the rose's blush,
Did they siphon sun's light through conscious grasp?
Perhaps, with soul comes awareness,
They sieved the colors through their clasp.

It might be so, for soul exists,
And with it, awareness stands.
Sun’s influence or elemental might,
Could craft this colorful expanse.

If iron makes our blood red,
And copper blue in shrimp’s display,
Flowers too might follow suit,
Or the sun and elements blend their way.

In what awareness, which display,
Which action's consequence can tell?
Soul is the source of all insight,
In its essence, we all dwell.

Soul’s actions are subtle,
Its motion gentle, slow.
Sun, elements, and flora,
Together in a steady flow.

Otherwise, why would flora,
Show such varied hues in bloom?
Each soul chooses, in its genes,
Colors coded in nature's loom.

Understanding souls and the mass,
A saint’s journey to comprehend.
In labs, the elements dance,
A physicist’s quest to attend.

Rajatsubhra
02.08.24
✨✨☕☕☕✨✨✨
The poem "Color of Mass and Matter" is a poetic exploration of scientific concepts, merging them with philosophical and spiritual ideas. Here’s an analysis from a scientific standpoint:

1. **Elements and Their Properties**:
    - The poem correctly identifies that there are over a hundred elements, each unique and central to the study of chemistry and physics. This aligns with the periodic table and the diverse properties of elements.

2. **Spectroscopy**:
    - The poem mentions using a spectroscope to discern the color of elements, which is scientifically accurate. Spectroscopy is a fundamental tool in identifying elements and understanding their properties based on emitted or absorbed light.

3. **Pulsars and Starlight**:
    - Referring to pulsars and stars to understand elements is accurate. Astronomers study light from these celestial bodies to determine their composition, which is a core aspect of astrophysics.

4. **Origin of Elements**:
    - The poem alludes to the formation of elements from primal gaseous particles during the birth of the sun, which is consistent with scientific theories of stellar nucleosynthesis.

5. **Color Perception**:
    - Discussing why elements exhibit specific colors (e.g., iron being red in rust, copper turning blue) is accurate, as these colors result from the interaction of light with the electronic structure of the elements.

6. **Biological Aspects**:
    - The poem touches on the role of iron in making blood red and copper influencing color in shrimp, which are scientifically valid observations related to hemoglobin and crustacyanin, respectively.

7. **Soul and Consciousness**:
    - The poem poetically associates elements and their properties with awareness and the soul, which is more philosophical and metaphysical rather than scientific. While it is an interesting perspective, it steps outside the realm of empirical science.

**Objections from a Scientific Perspective**:

- **Metaphysical Connections**:
    - The idea of elements having awareness or a soul is not supported by scientific evidence. These concepts belong to philosophy and spirituality rather than empirical science.
  
- **Interpretation of Colors and Forces**:
    - While the poem poetically interprets the origin and influence of colors and forces, these interpretations blend scientific facts with metaphysical ideas, which could be seen as speculative from a purely scientific viewpoint.

Overall, the poem's scientific basis is sound when it comes to describing elements, spectroscopy, and the physical properties of matter. The objections arise primarily from its metaphysical and philosophical interpretations, which are beyond the scope of empirical science but add a layer of poetic depth.
The Colour of the Gaseous Particle
Indabted to the owner of the Picture.Collected from Tumblr.



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