Intezar

Ek Asman Hain Nila Sa

Khula Khula Sa Asman

Barish Ke Baad Fiza Mein Khusbu Luta Ti Hui

Dhula Dhula Sa Asman  

Tumhare Intezar Mein Sahayed Chand Uga Nehi

Aaj Gum Sum Sa Hain Sitaron Ki Barat

Kuch Lamhe Bikhri Hui Hain Idhar Udhar

Badal Ki Shakal Mein

Kuch Pal Pahele Thi Kaale Rang Mein

Abb Safed Titliyon Ke Jaise Urte Hue

Kuch Albela Sa Bekhayal Mehmaan

Bekhayal Toh Tum Bhi Ho

Kuch Bezuban Kahani 

Tumhari Hoton Mein Dabi Hain

Kuch Lamhe Chhut Rahin Hain

Waqt Ki Hisab Ki Gayi Har Pahar Ke Saath

Waqt Kal Bhi Duniya Se Anjan Tha

Waqt Aaj Bhi Hain Anjan

Main Tumhari Shaher Se Dur Ja Rahin Hoon

Tumhari Dil Se Toh Nehi

Tumse Juda Toh Sadiyon Se Hoon

Meri Badan Tumse Juda Hain

Tumhare Parchayi Se Nehi

Waqt Kaheta Hain Tum Ko Bhula Du

Kaise Bhulau? Tum Ho Meri Pehchan

Tum Nivate Jana Duniya Dari Ki Rasmein

Tum Nivate Jana Har Ek Vaada Har Ek Kasmein

Main Nivate Rahungi Vaada-e- Mohabbat

Mohabbat Karna Na Hoti Hain

Har Kisike Ke Bas Mein

Tujhe Salam Hain Aye Mohabbat

Mujhe Kabul Hain Teri Har Ek Imtehaan

Mujhse Sirf Ek Wada Karo

Sirf Ek Wada Meri Jaan

Ke Jab Duniya Mujhe Degi

Amabas Ki Gaheri Andhera

Jab Mujhe Kar Degi Bebas Akela

Tum Ugna Meri Khali Asman Mein 

Ujle Hue Punam Ke Chand Ke Jaise

Jaise Sheeshe Ki Dewar Ke Vitar

Ek Shamma Jalte Hain Alishaan

Tum Shamma Ho Toh Mujhe 

Parwana Hone Ki Koi Gum Nehi

Jalna Bhi Hain Teri Ulfat Mein

Aur Raakh Bhi Ban Jana  Hain Teri Aagosh Mein

Koun Jita Hain Duniya Mein Hosh Mein

Main Teri Behoshi Mein

Main Teri Madhoshi Mein

Har Baar Har Ek Janam Main Ho Jau Kurbaan

Aye Sharab-e-Saqi Meri

Teri Paymane Mein Khud Ko Duba Ke

Main Ban Jau Ek Baar Fir Se Insaan

Main Ban Jau Ekbaar Fir Se Insaan 

In Love of  Honey Flower :D

Love You Baby <3<3<3 

  

             M-e-Z  

                          

                                                    

DIVINE DIVA :D

                                                                             

                                                                           

                         

Anandamayi Ma was born in East Bengal (now Bangladesh) in 1896. Her father, Bipin Behari Bhattacarya, sang Vaisnava songs often appearing to be intoxicated. He would rise at 3 AM and sing songs, and was given to wandering for long periods. His wife would go searching for him and bring him back home. On one occasion, during a storm, the roof blew off the house and he continued singing in the rain. Anandamayi's mother, Moksada Sundari Devi, was also known for her states of bhava or religious emotion. She was visited by avatars and deities who shown with light as she performed her household duties. While pregnant with Nirmala (Anandamayi's given name), she would see visions of sages and statues of deities which would appear, and then suddenly disappear. She later took vows and became a female renunciant. Anandamayi Ma was very sensitive to religious ritual as a child, and the sound of religious chanting would bring about ecstatic feelings in her. At temples, she would also see religious figures emerging from religious statues and reentering them. She was often distracted and would be seen gazing into space, her eyes not focused on outer objects. Her education was very limited and her writing skills were minimal. She married at 13 years of age to Ramani Mohan Cakravarti or Bholanath as he was known, and spent a few years living in her brother-in-law's house, much of it apparently in trance. She was a hard worker but sometimes had a difficult time concentrating on housework. Her relatives assumed that the trances were due to overwork. Her brother-in-law died, and she went to live with her husband at age 18, where she met a young man who was impressed by her quiet way of being. He called her "mother" (Ma in Bengali) and predicted that one day the entire world would address her in that way. It was a celibate marriage though not by her husband's choice. When thoughts of sexuality occurred to Bholanath, Anandamayi's body would take on the qualities of death and she would grow faint. He had to repeat mantras to bring her back to normal consciousness. Sometimes in such situations, her body would become distorted in various ways or it would stiffen. She later said that she had given her husband spontaneous electrical shocks when he touched her the wrong way. Bholanath thought the situation was temporary but it proved to be permanent. His relatives said he should remarry but he did not follow their advice. Later, Bholanath took initiation from her and accepted Anandamayi as his guru. While living in Dacca, others came to recognize her spiritual qualities. At the sound of religious chanting, she would become stiff and even fall to the ground in a faint. Her body would occasionally become deformed during these events. Sometimes it would lengthen. At others, it would shrink or its limbs would seemingly go into impossible positions as if the skeletal structure had changed shape beneath her skin. She would hold difficult yogic positions (asanas) for long periods and spontaneously form complex tantric hand positions (mudras) and gestures. Her husband thought she might be possessed, and took her to exorcists. One physician suggested she was not mad in the conventional sense but instead had a kind of god intoxication - a divine madness for which there was no secular cure. In 1916, she became ill and moved back to her parent's home in Vadyakuta. In 1918 she and her husband moved to Bajitpur where she began to do Shaivite and Vaisnavite spiritual practices. Inner voices would tell her what actions to perform and which images to visualize. Her yogic practices (kryias) were spontaneous and she described them as occurring much like a factory where the various machines all worked automatically and in perfect sequence to produce a product. Anandamayi would shed profuse tears, laugh for hours, and talk at tremendous speed in a Sanskrit-like language. Other unusual actions included rolling in the dust and dancing for long periods whirling like a leaf in the wind. She would also fast for long periods and at other times consume enough food for eight or nine people. In the history of Indian devotional traditions, changes in bodily structure and state are considered to be spontaneous expressions of religious emotion. Anandamayi's changes were more extreme than these more common sattvika bhavas (sweating, fainting, crying, change in skin color, hair standing on end, etc.) which also normally indicate strong religious emotion. Some respected Indian saints of the past were described as having had similar bodily changes. Anandamayi went on various pilgrimages traveling throughout India stopping in ashrams and attending religious festivals. She had a temple built for her by disciples in Dacca but left the day it was completed. She traveled to Dehradun where she lived in an abandoned Shiva temple for almost a year without money and often in freezing temperatures without blankets. She was known for her siddhis or yogic powers where she could read her devotee's thoughts and emotions at a distance, make her body shrink and expand, and cure the sick. One disciple claimed that she was saved from death after a car accident when Anandamayi grasped her "life substance" and brought it back into her dead body. Anandamayi was sensitive to environmental influences as was demonstrated when she once passed a Muslim tomb. She immediately began to recite portions of the Quran, and to perform the Namaj ritual (Muslim prayers). These and other similar acts showed Anandamayi to be someone always moving through a wide variety of psychic and religious states, each one expressing itself through her. She often objectified her body by describing her actions in phases like "this body did this" or "this body went there". She believed her chaotic actions were expressions of the divine will. She sometimes ascribed her actions to a personal though unnamed god: I have no sense of pleasure or pain, and I stay as I have always been. Sometimes He draws me outside, and sometimes He takes me inside and I am completely withdrawn. I am nobody, all of my actions are done by him and not by me. Gopinath Kaviraj, Sri Sri Ma Anandamayi: Upadesa O Prasnottara (Calcutta: Pasyant Prakasani, 1382 B.S.), p. 1 She also sometimes described herself as completely empty with no sense of the "I am" remaining. She was lost in the great void (mahasunya) which was responsible for her actions. The action that emanated from this void was often chaotic and incoherent. Her view was that a universal state of chaos arises due to spontaneous eruptions of the divine will which arise out of this nothingness. But she also talked in theological terms stating that her bhavas or expressions were the play of the Lord (Bhagavan) acting through her body. Anandamayi considered individual identity to be a kind of spiritual disease. She called it bhava roga, or the disease of feeling where every person looks at him or herself as a separate individual. When some of her disciples complained about the large crowds of people that would sometimes follow her, she responded, As you do not feel the weight of your head, of hands, and of feet ... so do I feel that these persons are all organic members of THIS BODY; so I don't feel their pressure or find their worries weighing on me. Their joys and sorrows, problems and their solutions, I feel to be vitally mine ... I have no ego sense nor conception of separateness. Gopinath Kaviraj, ed., Mother as Seen by Her Devotees (Varanasi: Shree Shree Anandamayee Sangha, 1967), p. 94 Though she was never formally initiated by a guru, one evening she spontaneously performed her own initiation, visualizing both the ritual scene and movements. Simultaneously, she heard the chanting of initiatory sacred words (mantras) inwardly. She explained that there were four stages in her spiritual evolution. In the first, the mind was "dried" of desire and passion so it could catch the fire of spiritual knowledge easily. Next the body became still and the mind was drawn inward, as religious emotion flowed in the heart like a stream. Thirdly, her personal identity was absorbed by an individual deity, but some distinction between form and formlessness still remained. Lastly, there was a melting away of all duality. Here the mind was completely free from the movement of thought. There was also full consciousness even in what is normally characterized as the dream state. While sometimes speaking of spiritual evolution, she also maintained that her spiritual identity had not changed since early childhood. She claimed that all the outer changes in her life were for the benefit of her disciples. When Paramahansa Yogananda met Anandamayi Ma and asked her about her life, she answered: "Father, there is little to tell." She spread her graceful hands in a deprecatory gesture. "My consciousness has never associated itself with this temporary body. Before I came on this earth, Father, 'I was the same.' As a little girl, 'I was the same.' I grew into womanhood, but still 'I was the same.' When the family in which I had been born made arrangements to have this body married, 'I was the same.' ...And, Father, in front of you now, 'I am the same.' Ever afterward, though the dance of creation change[s] around me in the hall of eternity, 'I shall be the same.'"  Paramahansa Yogananda, Autobiography of a Yogi, (New York, Philosophical Library in New York City, 1946), Chapter 46 Anandamayi Ma would sometimes express a variety of roles, and later explain that this was a performance staged to teach one of the people present some lesson. However, such actions were not a function of her will and occurred without planning or intent. Anandamayi was a holy woman without formal religious training or initiation whose status was based entirely on her ecstatic states. She did not have an outer guru, though she did hear voices that told her what religious and meditative practices to perform. She emphasized the importance of detachment from the world and religious devotion. She also encouraged her devotees to serve others. She did much traveling and wandering, at times refusing to stay at the ashrams her devotees provided for her. While her parents worshiped Krishna, she could not be placed in any definite tradition. An ecstatic child of ecstatic parents, she became a famous saint who like many other female Indian saints stood on the edge of several religious traditions, and in the midst of none. She influenced the spirituality of thousands of people who came to see her throughout her long life, and died in 1981.

A COURTESY OF http://www.om-guru.com/html/saints/anandamayi.html

                                                                           

Bekhabar :D

Bekhabar Hain Bekhabar

Yeh Dil Hain Bekhabar

Kavi Behosh Kavi Madhose Kavi Nakhosh

Bekhabar Hain Bekhabar 

Yeh Dil Hain Khud Se Bekhabar

Aye Dil Tu Parinde Banke Urr Ja

Aye Dil Tu Awargi Se Jurr Ja

Aye Dil Tu Bhatak Ja Kisi Rah Mein

Aye Dil Tu Hawayon Ke Sang Murr Ja

Tu Agar Khat Hain Khali Safed Panno Ki Tarha

Toh Har Rang Zindegi Ke Samet Le Likhawat Mein

Aur Bikhar Ja Hazaron Rangon Ki Bundon Mein

Hazar Tukron Ki Tute Hue Ruh Mein Simat Ja

Tu Ashkon Mein Bhigi Raat Ki Tarha

Hothon Mein Dabi Bin Bole Baat Ki Tarha

Kisi Paharon Ki Khamosh Paher Ki Dhun Mein Ghuli

Kisi Bebas Jasbaton Ki Bahon Se Lipat Ja

Tujhe Kya Hain Matlab Duniya Ki Khabar Se

Tujhe Kya Hain Matlab Sone Ki Bani Ujli Nazar Se

Ek Khowab Vari Nigahein Dhundti Hain Tu

Usi Sukun Vari Aakhon Mein Dub Ja

Bahut Mushkil Hain Bekhabar Ban Jana

Akhir Sari Duniya Dubi Hain Khabron Ki Bheer Mein

Kavi Apni Jeb Mein Dhunde Kavi Asman Ki Sitaron Mein

Shayed Koi Manzil Chhut Gayi Phir Se

Aye Nadan Insan Tu Takdir Se Khel Ta Ja

Lekin Aye Dil Tu Bekhabar Ban Ja

Pankh Laga Le Mann Ki Udaan

Jis Manzil Ki Koi Thikana Nehi

Aisi Manzil Ki Talash Tu Kar Ta Ja

Bekhabar Ban Ja Aye Bawre Tu Bekhabar Ban Ja

M-e-Z

Be Aware of Unaware :D  

Jiyah

Hum Charagoun Ke Diye

Yun Hi Jaal Jaal Ke Jiye

Tu Hi Bata De Sawal

Yeh Zaher Kaise Piye

Na Hain Yeh  Dil Ki Sukun

Na Hain Ye Jaan Ki Chayen

Hain Raat Din Ki Khumari Meri

Ke Jis Mein Dooba Hain

Shaashon Ki Dhun

Koi Parda Hain Nazar Ke Samne

Lekin Uss Ki Chehra Phir Vi Nazar Aati Hain

Mujh Se Chhura Ke Woh Daman Meri

Meri Ruh Se Lipat Jati Hain

Pina Chahti Hoon Main Koi Sharab

Lekin Khowabon Mein Woh Har Roz Aati Hain

Meri Nass Nass Mein Ghul Ja Ti Hain Lahar

Jab Woh Apni Hothon Se

Meri Labon Pe Jaam Pilati hain

Aisa Nasha Aisi Madhoshi

Aisa Tarap Aisi Bechaini

Kisi Sharab Mein Woh Baat Kaha

Aisi Madira Kisi Maykhane Mein Nehi

Uss Ki Dharkan Pe Shar Rakhti Hoon Main

Uss Ki Aagosh Mein Yeh Raat Guzar Jati Hain

Hosh Mein Jine Ka Kya Faida Hain Yaaron

Na Agar Behoshi Ka Surur Sar Pe Charha Ho

Woh Bhi Toh Tarapti Hain 

Bekarar Hain Bebas Hain Meri Tarah

Usse Bahon Mein Leke Khud Ki Pyass Bujhalu

Woh Bhi Toh Pyassi Hain Meri Tarah 

Mohabbat Humne Aise Kiya

Ke Jaise Tofaan Mein Rakkhi Hain Diya

Hawayon Ne Bhuja Diya Hain Charag

Lekin Tanhaiyon Mein Jalti Hain Jiyah

M-e-Z

Love is Enlightenment :)

                                                                <3 <3 <3
                                                                         

                                                                           

Kajori :D

                                                                             

Tumse Hui Deedar 

Ekbar, Paheli Bar Phir Bahut Baar

Tumko Dekha Toh Dekhte Hi Rahe Gaya

Tumko Socha Aur Sochte Hi Rahe Gaya

Kavi Din Ki Sannatein Mein

Kavi Raat Ki Khamosh Paher Mein

Tumhari Aakhein Kuch Bol Ta Gaya

Aur Tumhari Paigam 

Kano Se Hote Huye Meri Ruh Mein Sama Gayi

April Ki Garmahat, July Ki Barish

December Ki Thandak Aur February Ki Bahar

Tumhe Tarpa Ke, Rula ke

Thithur Ke, Hanssa ke Chali Gayi

Maine Apni Haathon Se Tumhare

Labon Ko Chhua, Tumhari Balon Ko Sahelaya

Kya Tumne Kavi Meri Chhuan Ko Mehsus Kiya Hain?

Main Jaan Ti Hu Har Koi Khud Se Ajnabi Hota Hain

Khud Ko Jan Na Hi Zindegi Hoti Hain

Lekin Ajnabi Hoon Issiliyeh Toh Haar Bar

Tumhe Jan Ne Ki Armaan Dil Mein Ujagaar Hoti Hain

Paheli Kavi Paheli Aur Aakhri Daur Nehi Hota

Woh Toh Waqt Ke Sang Sang Rang Badalti Hain

Jaise Mausam Har Pal Karbaat Leti Hain

Har Waqt Fizayon Ki Canvas Pe  

Iss Chaanbin Ki Iss Daryaaft Ki Ek Alag Nasha Hain

Tum Ek Pyass Ho Aur Main Pyassa Hoon

Main Mussafir Hoon Aur Tum Dariyah Ho

Main Asman Mein Urr Jati Hoon

Tum Zamin Pe Bahe Jati Ho

Hum Dono Tarap Te Hain 

Ek Dussrein Ki Bagyer

Iss Liyeh Ek Dussrein Se 

Baar Baar Milne Aati Hoon

Tumhari Tasavvur Mein Tumhari Intezar Mein

Main Tanha Hoke Bhi Tanha Nehi

Tumhe Aagosh Mein Leke Khud Ko Janti Hoon

Tumhari Badan Ki Khusbu Mein

Main Apni Wajood Ki Pahechan Karti Hoon

Tumhari Shaash Ki Garmi Jab Vi Meri

Shasoon Mein Ghul Jati Hain

Main Har Baar Maar Ke Zinda Hoti Hu

Kajori Meri Aakhon Ki Kajal

Kavi Raheti Ho Aakhon Ke Samne

Kavi Ho Jati Ho Aakhon Se Bojhal

Kavi Leti Ho Mujhe Sambhal

Kavi Kar Jati Ho Mujhe Badhal

Haal Ho Behaal Meri

Tumare Bina Jina Hain Mohal

Tumhari Likkhi Hui Har Gazal

Kisi Jungle Ki Gaherai Mein Gum Ho Gayi

Lekin Meri Har Panno Mein 

Tumhari Hi Charcha Hain

Tum Jag Ti Shab Bhar 

Meri Asman Mein Sitaron Ke Jaise

Aur Din Ki Ujale Mein 

Meri Palkon Ki Tabassum Ban Gayi

In Love Of Kajori <3 <3 <3

Every Character is Imaginary :D

I AM HINDU :D

                                                                                   

WHAT IS HINDUISM ?

1) Believe in god! - you're accepted - Aastik   
2) Don't believe in god! - You're accepted - Nastik 
3) You want to worship idols , please go ahead. You are "saakaar-brahm poojak"
4) You dont want to worship idols, please go ahead. You are "Niraakaar-brahm poojak"
5) You want to criticise something in our religion. Come forward. We are logical. You will be Hindu.
6) You want to accept a scripture as it is. Please go ahead with it.
7) You want to start your journey by reading Bhagvad Gita - Go ahead
8) You want to start your journey by reading Upanishads - Go ahead.
9) You want to start your journey by reading Puranas - Go ahead.
10) You just don't like reading. No problem. Go by Bhakti tradition . ( Bhakti- Devotion)
11) You don't like idea of Bhakti! No problem, dude. Do your Karma with full heart.
12) You want to enjoy life. Very good. Go ahead. No problem at all.
13) You want to abstain from all the enjoyment of life & find God. Great ! Be a Sadhu!
14) You don't like the concept of God. You believe in Nature only. - Welcome. "Vrukshavalli Amha Soyare" (Trees are our friends)
15) You believe in one ulrimate God or supreme energy. Superb! Follow Advaita Philosophy.
16) You want a Guru. Go ahead.
17) You don't want a Guru. Go ahead.
18) You believe in Female energy. Welcome! Shaakt is another form of Hinduism.
19) You believe every human is the same. Yeah! You're awesome, come let's celebrate Hinduism! "Vasudhaiva Kutumbakam" (the world is a family)
20) You don't have anything to do. Don't worry. One more festival is coming! Celebrate it. Spread happiness.
21) You are a working person. Don't have time for religion. Its perfectly fine. You will be a Hindu.
22) You like to go to temples. Please go ahead.
23) You don't like to go to temples, no problem. You are still a Hindu!
24) You know that your religion is a way of life. With freedom.
25) You believe that everything have God in them. So you worship your mother, father, guru, tree, River, Prani-matra, Earth, Universe!
26) And If you don't believe that everything have God in them - No problems. Respect your viewpoint.
27) "Sarve bhavantu sukhinah" (May all live happy.) You represent this!
*HINDUISM is not a RELIGION.... It is WAY OF LIFE*

It's Very Secular..

Ageless Baba :D

                                                                                       

In the pantheon of saints and yogis in modern India, one name stands out: Devraha Baba, who is believed to have lived up to the age of an amazing 250 years. Yes, there is proof that he was indeed over 250 when he gave up his body in 1990. But it is not important how long he lived, it is important what level of spirituality he achieved and what he contributed to the society.
For somebody like me of the post-Independence generation, we grew up reading about the living legend named Devraha Baba. There used to be his black and white or sepia photographs -- matted locks and all -  in newspapers and magazines, aloft a ‘machan’ (wooden platform), blessing people, from pauper to the prince, by putting his foot on their heads. Eminent people who sought him out regularly included Mrs Indira Gandhi and Rajiv Gandhi, He also ‘touched’ the lives of visiting dignitaries from abroad.

There are various claims of Baba’s longevity, starting from 150 years and above. The most credible account comes from none other than  Dr. Rajendra Prasad,  the first President of Independent India. Dr Prasad wrote in his autobiography that he could personally establish that Devraha Baba was at least 150 years old. At the age of 73, more than fifty years ago, Dr Prasad wrote that his father had sat at the feet of the Baba as a child - that is, in the middle of the nineteenth century - and Devraha Baba was already elderly at that time.

The appearance of Devraha Baba at the Kumbh Mela which takes place every 12 years was recorded 12 times. The last time he was at the Allahabad Kumbh Mela in 1989. Famous BBC correspondent Mark Tully has recorded his observations of the Baba from that Kumbh Mela, which formed a chapter in ‘Penguin Book of Indian Journeys’. Tully was told that one reason for Baba’s amazing longevity was that he was forever in Uddiyana Bandha (literally, ‘upward energy lock’, it moves the energy up from the earth, water and fire centers into the heart or air chakra).

When Tully asked, “What does the Baba eat?” his interlocutor replied: “Air. He does not even eat fruit. You see, any great yogi can extend his tongue from inside until it touches the top of his head. That’s where the nectar is situated and one drop of nectar is all you need to live for a very long time.”

So, a fairly scientific hypothesis of how Baba dramatically prolonged his lifespan is that he drew his required energy from cosmic sources, thus eliminating the toxic fallout (free radicals, etc) that occurs from eating food. Secondly, meditation and a hermit lifestyle lowered his metabolism, minimizing wear and tear in the body. Thirdly, yoga postures and mudras stimulated his endocrine system.    
From most accounts, we know that Devraha Baba was born in the Deoria district in Uttar Pradesh and was the eleventh in the lineage of Sri Ramanuja Acharya who founded Vaishnavism. Though an itinerant yogi, Devraha Baba was often stationed in Mathura on the banks of river Yamuna, where huge crowds would gather to have his darshan and blessings.  

We may never fathom the higher levels of spirituality he achieved, but we can salute what he contributed to the society. His very existence inspired people to believe in and take to the yogic path. All-loving and prescient, he guided people who sought him out on the right course to take in life. Apocryphal anecdotes have him warning famous personalities against impending danger.

One life Yogiraj Devraha Baba transformed is that of Brahmrishi Shri Guruvanand Swami (called ‘Gurudev’ or ‘Guruji’ by his devotees), who in turn is changing the lives of millions in present times. Devraha Baba brought Guruji to his ashram to save his life from a terminal illness. He predicted that Guruji would achieve the pinnacle of spirituality and he will use that divine energy to serve humanity. Yogiraj’s predictions have come true. Guruji has invoked all Chakras of his Kundalini and with 42 years of rigorous Sadhana he has acquired all Siddhis.
Brahmrishi Shri Guruvanand Swami is using the enormous divine energy that he has acquired to help those in distress and to uplift the lives of hundreds of thousands of people around the globe. He has traveled to over 170 countries to teach people the art of living a moral, spiritual life. Guruji has made it very easy for us to understand the true meaning of religion so we can overcome our Karmic debts while we fulfill our worldly duties.

The World Spiritual Awareness Forum is delighted that Gurudev will grace the First International Guru Poornima to be held at New Jersey Performing Arts Center, Newark, NJ, on July 12, 2014. This event, that is open to public, is getting very enthusiastic response from all over the world. Over 500 spiritually-inclined attendees are expected from India and other countries.
 A Courtesy of www.thesouthasiantimes.info › new york
                                                      
                                                       YOU LIVE THOUSAND YEARS :D
                                                             LOVE YOU BABA <3<3<3 :D

                                                                                      

Nasha-e-Sawan :D

Raat Ki Ruki Khamosh Paaher Mein

Mehtab Ki Badan  Badal Ki Taqiye Pe Shou Gaya

Nindoun Mein Dubi Adh Khuli Sharab-e-Kajal Bhari

Ek Nazar Ki Deedar Hamari Pyassi Nigahon Se Ho Gaya

Main Toh Mujh Mein Kavi Thi Hi Nehi

Bechain Kaal Bhi Thi Bechain Aaj Bhi Hoon

Bass Uss Nazrein-e-Chahat Ki Talash Mein Begana

Main Musaffir Kal Bhi Thi Main Musaffir Aaj Bhi Hoon

Shayed Meri Pyassi Nazar Ki Khabar

Manchala Badalon Ko Ho Gaya

Kuch Badal  Meri Pyassi Nazar Se Barsi

Kuch Lamhon Ke Jaise Palkon Se Guzar Ke Kho Gaya

Pani Se Vara Sawan Ki Badal

Jaise Uchalti Machalti Umang Si Vari Kehkasha

Jaise  Ab-e-Hayat Ki Mithas Se Vari Ek Sawal

Zindegi Mein Chalak Ti Hui Katra Katra Ek Nasha

Pila De Pila De Kuch Toh Sila De

Ulfat Ki Barish Mein Mujh Ko Gila De

Maut Se Har Din Hoti Hain Guftugu

Aye Sawan Mujhe Kavi Zindegi Se Vi Mila De

Mitti Se Bani Yeh Dhool Si Badan

Asman Mein Jism-e-Khak Banke Urr Jaye Ga

Haqikat Se Larta Muqaddar Ka Sipahi

Kisi Din Tarikh Ki Panno Mein Jur Jaye Ga

Khanabadosh Awara Mitti Hain Meri

Aye Sawan Kavi Simat Ja Meri Bahon Se

Teri Thandi Chuyan Mein Main Bhigu Sari Raat

Tu Khusbu Banke Mehke Meri Badan Se

Meri Fariyaad Meri Ilteja Aaj Tune Sun Liya

Isiliyeh Iss Pal Ki Shaan Mein Kuch Dhune

Saaz-e-Barkha Ki Santoor Ne Chun Liya

Rimjhim Rimjhim Gun Gun Gun Gun 

Baarsat Ki Thirakti Yeh Boondein

Na Jane Koun Si Payal Ki Jhankar

Koi Banshuri Ki Sadayein Dhunde

Main Sunti Hoon Sawan Ki Sangeet

Behosh Woh Kar Jati Hain Mujhe

Sawan Ki Rass Chak Ti Hoon Itminaan Se

Imtihaan Se Ab Tang Aati Hain Mujhe

Teri Maykhane Ki Sharab Mein Dub Jau

Teri Barasti Bahaw Ki Lahar Mein Bahe Jau

Jina Hain Mujhe Teri Sailab Mein

Ek Bar Zara Sahil Se Alvida Kahe Jau

Tu Toh Kavi Thaher Ti Nehi

Kahin Barasti Hain Kahin Bahe Jati Hain

Itni Raftar Itni Besavri Yeh Tarap

Jane Khudah Kahan Se Lati Hain

Mujhe Le Chal Teri Nasheman

Teri Basera Hain Kaha

Teri Boondon Ki Ujale Dekha Hain Aftab Ki Kirno Mein

Aye Sawan Teri Andheron Ki Kalighata Hain Kaha

Teri Khusi Se Duniya Hain Khuss

Teri Dard Ko Bhi Samjhu Zara

Kin Siyahi Se Likhti Hain Kahani

Main Woh Khat Aye Badal Par Lu Zara

Teri Garaj Ti Shiqayaton Se

Sari Duniya Hain Waqif

Sara Alam Mein Hain Mashwara 

Lekin Koun Sunti Hain Teri Tanhai Ki Kahani

Koun Sunti Hain Teri Dabi Si Siskiyan

Bijli Si Karakti Hain

Gumsum Si Dharakti Hain

Koun Si Nashe Mein Hoke Magan Tu

Bekhauf Bahel Jati Hain

Mujhe Bhi Nasha Chahiye Teri

Mujhe Bhi Befiqar Bana De

Main Toh Lakeer Ki Faqir Hoon Sawan

Mujhe Badal-e-Darbesh Ki Vesh Pahena De

M-e-Z 

IN LOVE OF RAIN 

I LOVE YOU RAIN :D <3 <3 <3

                                                                           

Afshar :D

Likhna Chahti Hoon Tumhare Barein Mein

Tumhe Mehsus Kiya Hain Mausam Ke Jaise

Kavi Khushi Ki Pal Mein Chalke Ho Palkon Se

Kavi Dard Banke Guzrein Ho Dharkan Se

Dekha Nehi Kavi Tumko 

Kisi Shakal Mein Ya Phir Kisi Roop Mein

Hamesha Ek Lamhe Ki Pahechan Banke Aayi Ho tum

Kavi Dulhan Ki Ghunghat Mein

Toh Kavi Maiyat Ki Naqab Mein

Tumse Main Darr Ti Hoon Daheshat Ki Tarha

Tumse Main Mohabbat Karti Hoon Sukun Ki Tarha

Kavi Meri Jaan Ke Piche Par Ja Ti Ho Dushman Ki Tarha

Aur Kavi Simat Jati Ho Sine Mein Mehboob Ki Tarha

Aye Dard Tum Darar Kar Jati Ho Dil Ki  Diwar Pe

Aur Tum Hi Marham Lagati Ho Zakham-e-Aitbaar Pe

Maine Dekha Hain Waqt Ki Sitam

Maine Dekha Hai Kismat Ki Matam

Har Waqt Tumne Kiya Hain Basera Num-e-Rukhsar Pe

Har Pal Labzon Mein Basi Ho Duah Ki Pukar Mein

Jan Pahechan Tum Se Hain Purani

Phir Vi Har Bar Dastak Deti Ho Dil Mein Ajnabi Ke Jaise

Khud Ko Pahechan Na Vi Ab Tak Hua Hain Dushwar

Aye Afshar Main Tumhe Pahechanu Kaise?

Safar Pe Chalti Hoon Tumse Milti Hoon

Tumhe Main Deti Hoon BadDuah

Aur Khudah Se Tum Hi Ko Mangti Hoon

Tum Chahat Hi Nehi Tum Toh Aadat Ho

Tum Meri Bad Naseebi Aur Tum Meri Ibadat Ho

Jiya Bhi Na Jaye Saha Bhi Na Jaye

Yeh Jalti Zahar Bin Piye Raha Na Jaye

Kya Kahu Tumhe?

Kya Tum Meri Khowahish Ho

Kya Kahu Tumhe?

Kya Tum Meri Azmaish Ho

Zindegi Ki Baheti Dariyah Mein

Main Tumhe Dhundti Hoon Duniya Dari Ki Kashti Mein

Kavi Hosh Mein Jhumti Hoon Main

Nadan Si Bachkana Si Masti Mein

Kavi Behoshi Mein Dub Jati Hoon Main

Gum Ho Jati Hoon Sanjida Ek Haasti Mein

Meri Thikana Na Dhunda Karo Dewano

Aye Afshar Main Raheti Hoon Diljale Ki Basti Mein 

M-e-Z

 

Pankh :)

Pankh Chahiye Mujhe Zindegi

Mujhe Ek Jori Pankh Mil Jaye

Dil Mein Kuch Gul Murjha Rahe Hain

Unn Gulon Mein Armano Ki Rang Khil Jaye

Nazrein Dekh Ti Hain Door Asman Ki Taraf

Koi Urta Badal Kash Meri Angan Mein Ruk Jaye

Pakar Le Woh Daman Meri Aur Mujhe Woh Saath Le Jaye

Main Musaffir Hoon Ghar Hain Raahein Meri

Chalna Meri Kismat Hain

 Aur Yeh Nazrein Hain Rahgir Meri

Jaha Tak Main Dekhu Sab Kuch Hain Apni Jagah Par

Lekin Man Hi Man Chalta Hain Har Koi

Koi Tammana Apni Manzil Pe Rukti Nehi

Ek Mit Jaye Toh Dusre Ki Safar Shuru Ho Jaye Avi

Talash Pe Zindegi Shuru Hoti Hain

Talash Pe Zindegi Hoti Hain Khatam

Dar Ba Dar Vatakti Hain Zindegi

Jane Khudayi Ki Hain Kaisi Yeh Sitam

Ruh Ki Tarha Zindegi Vi Ek Dhuyan Hain

Zindegi Dard Mein Jalke Hoti Hain Dhuyan

Aur Kavi Khushiyon Ki Barsat Mein Zindegi

Mitti Ki Khusbu Ke Jaise Mahek Jati Hain Yeh Rahnuma

Main Mujh Mein Hoon Phir Vi Mujh Mein Nehi

Janam Se Maran Tak Main Hoon Ajnabi

Manzil Vi Kya Aur Safar Vi Kya

Pal Pal Hain Ek Pyassi Trishnagi

Yeh Koun Si Pyass Hain Khudah ?

Jo Mit Ne Se Vi Mit Ti Nehi 

Dikhai Nehi Dete Sunai Nehi Dete

Bass Apni Wajood Ki Aheshaas Kara Jati Hain

Ke Main Hoon Tumhare Saath 

Aye Mere Rahgir Musffir Tum Raho Mujh Se Ajnabi 

Haan Main Vi Toh Hoon Khud Se Ajnabi

Toh Chalo Aye Meri Pyass Aye Meri Trishnagi

Hum Dono Ajnabi Saath Saath Chale

Ek Lambi Safar Pe Nikal Jaye

Jahan Na Ho Manzil Ki Talash

Jahan Na Ho Basera Ki Arzoo

Bass Bahe Chale Berang Dhuan Ki Tarha

Badal Ruh Main Aur Pyass

Sab Ek Saath Mil Jaye Pani Ki Tarha

Kavi Barish Ki Shakal Mein

Kavi Bukharat Ki Shakal Mein

Guzar De Zindegi Panchiyon Ki Tarha

THE THIRSTY WINGS OF LIFE  :D

M-e-Z 

                                                                               

Soulful Somnath :D

                                                                               

                                                                               

The Somnath temple is the first among the 12 Jyotirlinga shrines of the Lord Shiva. It is a tourist as well as a pilgrimage spot.  This Indian temple is believed sacred due to the various legends connected to it. Somnath means "The Protector of the God Moon ". The Somnath temple had been destroyed many times by the Islamic ruler Mahmud of Ghazni. Hence it is called  "The Shrine Eternal". This is one of the most famous of  Hindu temples in India.
According to legend, Soma, the moon god constructed the temple in gold, Ravan in silver, Krishna in wood and king Bhimdev of Anhilwad in stone. Soma constructed the temple as a gesture after Lord Shiva cured him of an illness. This illness was caused by his father-in-law Daksha Prajapati's curse.
Daksha cursed him to wane as he was infatuated with Rohini and was neglecting the other 26 wives, all 26 of whom were the daughters of Prajapati. It is said that Brahma advised Soma to build the temple in honour of Shiva.
According to the Shivapurana legend,once Brahma and Vishnu had an argument over the supremacy of creation. To examine them, Shiva pieced the three worlds as a big endless pillar of light,the jyotirlinga. Then Vishnu and Brahma separated their ways upwards and downwards to find the end of the light.Brahma told a lie that he had found the end of light.Shiva came to know about the lie  and cursed him that he would have no place in ceremonies while Vishnu would be worshipped till the end of time.Shiva appearing as a fiery column of light is considered  a jyotirlinga.There were 64 jyotirlingas. Among them 12 are considered as holy and auspicious. Each of the twelve jyothirlinga sites takes the name of the presiding deity - each considered a different manifestation of Shiva.At all these sites, the primary image is a lingam representing the beginning and end symbolizing the infinite nature of Shiva.
The twelve Jyothirlinga are
Somnath in Gujarat,

Mallikarjuna at Shrisailam in Andra Pradesh,

Mahakaleswar at Ujjain in Madhya Pradesh,

Omkareshwar in Madhya Pradesh,

Kedarnath in Uttarakhand,

Bhimashankar in Maharastra,

Viswanath at Varanasi in Uttar Pradesh,

Triambakeshwar in Maharastra,

Vaidyanath Jyotirlinga, Deogarh in Deoghar, Jharkhand,

Nageswar at Dwarka in Gujarat,

Rameshwar at Rameswaram in Tamil Nadu and

Grishneshwar at Aurangabad in Maharastra.

Recently this Hindu temple was reconstructed in November 1947, when Sardar Vallabhbhai Patel visited the area for the integration of Junagadh and mooted a plan for restoration.The current temple was constructed in Chalukyan style or Kailash Mahameru style.The temple's tower is 15 meters in height,and it has an 8.2 meter tall flag staff at the top.

A COURTESY OF http://www.templeadvisor.com

                                                 JAI SOMENATH JI
                                                OM NAMAH SHIVAY  :D

                                                                                       

Mulaqat :D

 Aaj Ek Hasin Lamhe Se Mulaqat Ho Gayi

Usski Bolti Nazar Kuch Sawal Ka Jabab De Gayi

Main Mehfil Aaj Yun Tanha Rahe Gaya

Jane Kaise Woh Lamha Anchua Rahe Gaya

Woh Aaya Tha Ek Ajnabi Paheli Ki Tarha

Jaise Bin Mausamon Ke Barish Ki Boond

Meri Badan Ko Chhu Gaya 

Ek Thandak Hain Ek Sargoshi Hain

Ek Surur Mein Chhayi Madhoshi Hain

Main Toh Bahe Rahi Thi Duniya Ki Laay Mein

Uss Lamhe Ne Mujh Ko Phir Se Begana Kar Diya

Mithi Si Dard Hain Halki Si Muskan Hain

Bahar Jate Jate Mujh Ko Sharabi Kar Gaya

Yun Toh Nashe Mein Sara Alam Duba Hua Hain

Main Toh Dariya-e-Ishq Mein Dub Gaya

Shab Ke Jaage Hue Hain Yeh Aaakhen

Raat Ke Sitarein Din Mein Vi Chamak Ne Lage

Balkhatein Hue Aate Uss Lamhe Ne

Shahed Ki Tarha Chu Liya Hothon Ko

Banke Tabassum Boond Boond Badan Pe Gir Gaya

Ishq-e-Dariya Ki Laherein Safed Kyun Hain?

Kya Chand Aaj Pani Main Ghul Gaya?

Main Toh Khari Thi Kinare Pe Tanha

Aaj Pani Mein Baheke Yeh Ruh Dhul Gaya  

Pani Ki Thandak Sukun Dene Lagi

Mujhe Toh Uss Lamhon Ki Lagan Lagi

Bekarari Bhi Hain Bekhayali Bhi Hain

Fazar Mein Phul-e- Phugun Ki Fuhar Lagi

Resham Si Nazar Resham Si Baatein

Resham Si Fitoor Resham Si Mulaqatein

Roz Toh Hoti Nehi Zindegi Inn Lamhon Se Mutaliq

Gul-e-Khusbu Si Yeh Mahole Mahekaye Jassbatein

Tumhari Awaz Toh Na Sun Saki Main

Yeh Pyassi Laab Jaam-e-Ulfat Ko Chhu Gaya

Yun Paymano Ki Asar Avi Tak Hain Jawan

Sare Ranj O Gaam Se Beasar Kar Gaya

Tum Haqikat Bhi Ho Aur Tum Hasraat Bhi Ho

Tum Mehmaan Ho Chaand Palon Ki  

Aur Tum Har Pal Ki Masarrat Bhi Ho

Main Talash Karu Tumhari Nishan Ki

Phir Soch Ti Hoon Tum Toh Meri Saath Hi Ho

Din Dhaal Jaye Shyed Dilason Ki Intezar Mein

Raat Ki Khamoshi Mein Chhayi 

Husn-e-Mehtab Tum Hi Toh Ho

Koi Na Zinda Rahega Hamesha 

Yeh Waqt Bhi Guzar Jaye Ga

Tumhari Mulaqat Thahera Gaya

Kuch Beshkimat Pal Ko

Mujh Pe Zindegi Ka Yeh Hain Karz Rahe Gaya

Phir Se Milne Aana Kisi Din

Hum Bhi Yeh Pal Tumhe Lauta Denge

Tum Bhi Rahoge Hum Bhi Rahenge

Yeh Mulaqat Har Baar Janam Lenge

Living a Moment

Meeting a Moment

Loving a Moment :D

M-e-Z