Lakeer

Khudah Ne Kiyah Faisla

Vej Diyah Duniya Mein

Chand Dino Ke Mehman Banake

Badan Pe Pahena Diya

Chhay Rangon Ke Libaas

Aur Haath Mein Kheech Diya

Kuch Ubar Khabar Lakeerein

Kahe Diya Ke Jao Ab Tum

Dekh Lo Kya Hoti Hain Duniya

Sambhalo Khud Ko Dard-e-Duniya Se

Aur Chhan Ke Dekho Chappa Chappa

Aakhir Kahan Bikhar Ke Parhi Hain Khusiyan

Ek Kokh Ne Mujhe Khun Se Seecha 

Aur Ek Kokh Ne Meri 

Jism Ko Diya Namak Ka Swad

Ek Kokh Ne Diya Naam Mujhe

Aur Ek Kokh Ne Meri Pair Ke Niche 

Kiya Apni Badan Ko Azad

Dono Ki Goud Mein Maine Khela

Dular Kushi Ashu Bebasi 

Har Ek Lamha Mujhe In Dono Ne Sambhala

Ek Guzar Gayi Mazi Ke Aagosh Mein

Aur Ek Deta Saath Jab Tak Na Nikle

Hamari Iss Bekar Badan Ki Khubsurat Zanazah  

Bachpan Bita Hassi Khusi Mein

Kuch Nadan Si Armano Ki Garam Joshi Mein

Jab Aayi Thi Mujh Mein Umang Bhari Jawani

Tab Pahena Diya Mitti Mujh Ko Ulfat Ki Rawani

Phir Ek Din Ek Tufani Waqt Aaya

Kuch Darinday Deheshat Ke Mahole Laya

Ek Safed Chamri Ke Gubar-e-Badshah Aaya

Uss Ko Yeh Sone Ke Mitti Chiriyah Ke Mafiq Vaya

Vej Diya Apne Siyasat Ke Sau Sipahi

Likh Diyah Iss Mitti Mein Banduk Aur Talwar Se

Khun-e-Nafrat Ki  Haiwaniyat Se Vara Ek Likhawat

Kar Liyah Kabza Aye Mitti Tujhko

Aur Shuru Kiya Teri Badan Pe Zabardasti Se Hukumat

Kuch Din Kiya Maine Sabar

Raha Khud Mein Khoya 

Aur Teri Dard Tha Se Yun Hi Bekhabar

Lekin Jab Hone Lagi 

Meri Pardah Nashin Be-Abru

Tab Maine Samjha Aakhir Kya Hota Hain Teri Qadar

Maine Phir Aisa Kiya Wagawat

Bhul Gayi Sari Duniya Ki Chahat

Chun Chun Ke Mara Zahannum Ke Bando Ko

Dar Ke Bhagne Laga Badshah

Dekh Liyah Kya Hoti Hain Qayamat

Zaise Har Burai Ke Dena Parhta Hain Keemat

Waise Aacchai Ke Vi Hoti Hain Kuch

Kurbani Se Bhara Saude Ki Zarurat

Jeet Gaye Hum Begano Se Par Haar Gaya Apno Se

Na Jane Kyun Hoti Hain Aisi Mohabbat

Aye Khudah Tumne Haath Pe Kheecha Tha Lakeer

Shayed Issiliyeh  Khela Aisa Khel Taqdeer

Janam Se Tha Jo Zameen Mera

Mere Apne Mujh Se Ban Gaye Ajnabi

Aur Laut Gaya Woh Badshah 

Meri Mitti Meri Badan Aur Meri Zameer Pe Kheech Ke Lakeer

Ab Kismat Bhaga Rahi Hain Mujhe

Bhagte Bhagte Khud Se Ban Gaya Ajnabi

Na Pata Hain Koi Gali Ka Musafir

Na Koi Khabar Hain Basar-e-Shaher Ki

Ek Thikana Mil Gaya Naseeb Se

Lekin Kahete Hain Yahan Sab Mujhe Mohajir

Raheta Hoon Main Apne 

Hum Mazhab Ke Bhaiyon Ke Saath

Lekin Karte Hain Woh Aisa Sulug

Jaise Main Hoon Koi Qafer

Main Jab Khata Hoon Roti

Toh Tumhari Mitti Ki Khusbu Aati Hain

Jab Orr Ta Hoon Libas Duniyadari Ke Liyeh

Tumhari Dhul Ki Mahek Yaad Aati Hain

Jab Khel Te Hain Bacche Hassi Khushi Se

Tumhe Yaad Karke Meri Aakhen Bhar Aati Hain

Jab Hoti Hain Shaadi Meri Inn Ajnabi Mohalle Mein

Tumhari Yaadon Ke Mahendi Ki Lali 

Nazar Ke Samne Hatheli Failake Khari Raheti Hain

Gunj Te Hain Jab Koi Shahenai

Toh Mere Dil Mein Vi Kuch Dhun Bajti Hain

Jab Aati Hain Eid Ke Teuhar Sawan Mein

Meri Chand Tumhari Angan Ko 

Chandni Mein Chupke Se Dekhti Hain   

Dhal Gaya Hain Meri Jawani

Kya Tum Avi Tak Utna Hi Hasin Ho?

Dhundle Dhundle Hain Meri Nazar

Aye Mitti Meri Kya Avi Tak Tum Rangin Ho?

Haqeeqat Se Jujh Raha Hoon Har Dam

Na Mil Sakta Hoon Tumse 

Tum Ab Woh Durr Asman Ki Khowab Ho

Jo Khoye Hue Lamhon Mein Daabi

Dhundti Hoon Roz Bebas Halat Mein

Lauta Do Mujhe Woh Pal Ek Bar Phir Se 

Kyun Ke Tumhi Meri Har Sawal Ka Jabab Ho      

                        

                                                     A TRIBUTE TO THOSE PEOPLE

                                                       WHO KNOWS THE SUFFERING

                                                  OF  THE BURDEN OF BOUNDARIES  !!!
                                                                                 
                                                                                  M-e-Z 

     COURTESY OF MAMMO 
                                        
                                              THE MASTER PIECE OF Mr. SHYAM BENEGAL 
                                                             :D LOVE YOU SIR ! <3<3<3

                                                                                

                                                                                                                                                        

Mughal Magic @- :)

                                                                              

Art and Architecture of Mughal Art have been successful in creating huge aura among the art lovers. The splendour of Mughal art always appeals to the aesthetic spirit of all art enthusiasts. The subtlety of the finesse and the dazzle of the aura associated with the artistic achievements calls for a keen interest in the subject.


Under the Mughals (1526-1858) India grew into a prolific centre of cultural cultivation, literary pursuit and architectural marvel, comparable to the Iran under the Safavids.

A fundamental feature of Mughal art was manuscript-illumination. A noteworthy example is Persian miniature painting. One of such painting shows a small figure of Akbar, holding a flower and carrying a sword by his side.

The presence of the flower and the sword is very symbolic. Flower represents calmness and peace-loving attributes of Akbar, while the sword speaks for his royal origin, blue-blood and inherent bravery. These Mughul paintings were usually invested with rich imagery and profound meanings. During Humayun`s rule, the intricate illustration of Amir Hamza, a fabulous narrative produced 1400 paintings on cloth were conducted by expert Persian painters.

Building style flourished under the Mughal emperors from the mid 16th to the 17th century. The Mughal period marked a striking revival of Islamic architecture in northern India, where Persian and Indian provincial styles were fused to produce works of great refinement. White marble and red sandstone were favoured material. The mausoleum built to commemorate Humayun was probably the first great Mughal architecture. The tomb is laid down in a garden with octagonal chambers linked to an exquisite archway and with kiosks, cupolas and pinnacles affixed to it. The eminent Persian architect, Mirza Miyak Ghiyas, gave shape to it. The use of double dome, and archway inside a rectangular fronton (arena), and park like surroundings are typical of the Shah Jahan period, when Mughal design reached its zenith.

The Fatehpur Sikhri, built in 1571, is a wonderful manifestation of a beautiful blend of Christain, Hindu, Persian, Buddhist and Jain architectural influences, besides being an Islamic artistry. The building reflects Akbar`s design of making it a House of Worship, for the syncretic religion " Din-i -illahi".

The Panch Mahal, the tallest tower in the premises of the Mughal Palace, and the Diwan-i-Khas are elegant architectural constructions. Akbar promoted the writings of literary figures like Abul Fazl composing informative texts like Ain-I-Akbari and Akbarnama. The "Lilabati", an enlightening work on mathematics by Faizi, casts light on the Mughals` in depth knowledge of the discipline. Even the "Memoirs" of Babur, a comprehensive literature of human history received its Persian version from the famous Abdur Rahim Khan is and important literary development of Akbar`s regime.

Jahangir prioritized the portraiture of events from his own life, scientific study of the flora and the fauna above manuscript-illumination. Mansur and Manohar were his favourite painters. The fascination for nature`s beauty is demonstrated in the creation of the gorgeous Shalimar Bagh, one of his most beautiful gardens, on the heavenly banks of the Dal Lake in Kashmir.

Architectural excellences like the five-tiered tomb of his father, Akbar, the white marble magic in Ajmer and other opulent marble formations soothes the eye. The acme of perfection of Mughal architecture is the Taj Mahal (made from 1628-1658), set on the banks of the river Yamuna. This romantic structure, all the more divine-looking in a moonlit night, is vocal of the emotional intensity in the perpetual perennial love of Shah Jahan and Mumtaz.

In 1638, Shah Jahan declared Delhi as the capital, and authenticated his decision with the foundation of the historic Red Fort in Delhi. Another testimony of artistic grandeur is the ravishing peacock throne, which is itself beauty personified.

Artistic ventures started experiencing decline since the orthodox rule of Aurangzeb. However, the Mughals never perished into the void of oblivion .Their artistic richness continues to enchant admirers forever.

A COURTESY OF www.indianetzone.com
                                                                 Enjoy the Essence of India !!! :D

                                                                                    

Ani-Buddies ! :D

                                                                                  
They Are Precious, Faithful, Caring, Adorable, Dependable,Warm Heart , Sensitive, Intelligent, Looking Beautiful , Understanding & The Best Companion & True Server of Mankind !!! Yes We Call Them ANIMAL , But Sometime they prove themselves more Humanly & Kind Nature More than so called Civilized Human . Here is A Little Tribute to Them :D . MY DEAREST ANI-BUDDIES !!!!! <3<3<3 LOVE YOU :O :) ALLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL 
 Mmmmmmmmmmmmmmmaaaaaaaaaaaahhhhhhhhhhhh     
ENJOY EVERY BODY !! :D

1. DOGGY  

2. Catty                  

      3. Penguin                                                                                       

  4.Lioness

     5. Swans                    

                                                                                                                                            

Bekhudi

Ho Gayi Main Aaj Deewani

Hoke Sari Duniya Se Begani

Tor  Ke Sari Rasmein Zamane Ki

Chha Gayi Hain Dekho Mujh Mein Rawani

Lagan Lagi Hain Aaj Dhuno Ki

Barhti Dharkan Ke Raag Suno Ji

Saat Rangon Ki Mele Pankh Pasarein

Dil Hi Dil Mein Asmani Khowab Buno Ji

Koi Na Aaj Hosh Mein Rahein

Na Koi Aaj Dard Sahein

Pilado Pilado Kurbat Ke Madira

Jism Pe Jism Orr Ke Sab Behosh Rahein

Bajao Bansuri Lao Ektara

Khushi Se Jhumein Barish Ke Sitara

Bheeg Ne Do Tan Ko Bheeg Ne Do Mann Ko

Dhuan Dhuan Sa Yeh Mausam Hain

Rass Bhari Chalakti Hothon Ki Chumban Ki Madhusala

Tut Jane Doh Mujhe

Lut Jane Doh Mujhe

Bahene Do Meri Rag Rag Mein

Lal Pile Kesariya Chahat Ki Fuhar

Pahena Do Mujhe Chameli Ke Kangan

Mere Gale Mein Dalo Pritam Ke Haar

Kaise Batau Kya Dil-e-Mahole Hain

Tan Bhi Jale Maan Mein Vi Aagan Hain

Jao Jao Badra Leke Aao Kahin Se 

Iss Hasin Bechain Zakhmon Ki Marham 

Koun Pukarein Mujhe Sadiyon Se

Haasti Uchalti Machalti Nadiyon Se

Baheti Ek Nau Se Aati Hain Madhur Si Sadah

Woh Koun Hain Albela Sajan Zara Pucho Laheron Se 

                                                       Let's Celebrate Drunken Dancing Rain !!!!
                                                                         M-e-Z  :D  <3 <3 <3

                                                                                 

Aghori - The Awareness :)

                                                                                                                       
                                                  

The Aghoris are one of the principal Indian traditions and the most extreme and fascinating form of the Tantra. Dattatreya, a divinity that includes the Trimurti Brahma, Vishnu and Shiva, are considered to be the founder of this school.

The sanscrit term Aghora is the combination among two words and has various meanings: A is a negation; Ghora is the obscurity of the ignorance, but it also means intense, deep; Aghora therefore means Light, absence of obscurity, awareness, but it also symbolizes a style of life where a person of the Aghori tradition doesn't have intense or deep feelings, it doesn't make difference among the various feelings, seems to be indifferent to the various stories of the life.

It is said that Aghoris drink liqueurs, smoke Ganja, eat meat (in some rites also human meat); they use a human skull as a bowl, they wander among the funeral pyres, meditate at night and don't have any sex inhibition. This path seems to be detached completely from hinduist philosophies and it deceives the true nature of this little known reality in the indian sadhus (ascetics) panorama.

They are also known for their knowledge of magic arts; many people believe they owns magic powers and it is not difficult to hear histories of miraculous recoveries. Among the people, the word Aghori always arouses a mixture between respect and suspect; anyway they also have many devotees among the various religion present in India. Together with an Aghori you can easily found hindus, sicks, muslims, jains, Christians or other.

In reality when we are together with these sadhus seems to be in front of a mystical crazy person,The Fools of the tarots, all the rational thoughts seem to fade away for leaving place to an intense spiritual experience, over every duality.

The death's theme, so recurrent among the Aghoris, constantly remembers us our mortality but it is also a challenge to transcend the duality between life and death. Breaking every mental scheme, going over every taboo makes aware of the illusion of this world and becomes a path toward the liberation (moksha), the realization of the itself with the absolute one. Also the conventional Hindu distinction among pure and impure for the Aghoris is an illusion.

The site proposes to spread and to let know the Aghori culture too often misunderstood and stigmatized as one dark "sect". It doesn't absolutely want to make proselytism in accord with the conviction that any religion is pure illusion, fruit of mental conjectures and that in sum it estranges the man from the native spiritual message. 

A Courtesy of www.aghori.it

Death is Not the End of Life, The Real Journey of Awareness  Begins after the Death ! :) That's Why Death is Eternal Truth & We Should Welcome It with Peacefully & Respectively With Love . Aghori's are the Real searchers of Life  ! That's Why I Love them So Much !!! :D This is A Little Tribute to Them . <3 <3 <3 

 

 

                   

                                                                    

                                                               

                                                            

                                                            

Ritu's Richness

                                                                                   

"I DON’T WANT TO BECOME A WOMAN"
RITUPARNO GHOSH DOESN’T WANT TO BECOME A WOMAN, BECAUSE HE FINDS UNIQUENESS IN HIS GENDER FLUIDITY. MAKING HIS ACTING DEBUT THIS FRIDAY AS A GAY FILMMAKER IN AAREKTI PREMER GALPO, GHOSH TELLS T2 HOW THE KAUSHIK GANGULY FILM MIRRORS HIS PERSONAL JOURNEY OF SELF-DISCOVERY.

Your cross-dressing has always raised eyebrows. Will Aarekti Premer Galpo give people more reason to talk about the ambiguity of your sexuality?
There’s always been a lot of speculation about me on approaching femininity… whether I am going in for a sex change or a breast augmentation. All kinds of speculation. But I was never embarrassed. If I want to change my identity by changing my sex, I would be the first person to let the world know about my new identity. I consider myself privileged because of my gender fluidity, the fact that I am in between.

I don’t consider myself a woman and I don’t want to become a woman. I can wear kurta pyjama and direct a film; I can also wear kajal and jewellery and attend a social do.... The concept of unisex has been monopolised by women. Women can wear men’s clothes. The problem arises when men wear women’s clothes. Whatever I wear has always been worn by men. Wearing things like earrings and necklaces has always been a part of our sartorial history and tradition. These were tagged as feminine frills during colonial rule and I don’t see anything wrong in reinstating it. My point is why shouldn’t I celebrate my sexuality?

A COURTESY OF www.telegraphindia.com

My One of the most Favorite  Director in All kind of World Cinema, Not Just For His/Her Diversity in His/Her  Creative Work of Cinema, But at Same time His/Her Sensitiveness  & Very  Keen Intellect Thoughts to Produce the Excellence of  Acting in Indian & world Art of Cinema. He/She is Making Us To Feel Proud As a Bengali & Indian :D. Here is a Tribute to This Veteran TRANSGENDER  Actor/Director with Some of His/Her Best Works . Love You Ritu. <3 <3 <3 :D ENJOY !!

1. Unishe April

2.Shob Charitro Kalponik

                                          
3. Chokher Bali

4.UTSAB 

                                       
5.   Dosar   

                                  

6. The Last Lear

  7.Premer golpo niye Rituparno part 3                    

                                                    
8.Antarmahal

                                             

Walking Shiva ! :)

                                                                                      

Trailanga Swami (also Tailang Swami, Telang Swami)  1529 or 1607 was a Hindu yogi famed for his spiritual powers who lived in Varanasi, India. He is regarded as a legendary figure in Bengal, with many stories told about his yogic powers, longevity. According to some accounts, Trailanga Swami lived to be around 300 years old, residing at Varanasi between 1737-1887. He is regarded as an incarnation of god Shiva, and Ramakrishna, a contemporary Bengali saint referred to him as the "The walking Shiva of Varanasi".

Trailanga Swami was from Vizianagaram in Andhra Pradesh and belonged to the Dashanami order. He became known as Trailanga Swami during his settlement in Varanasi. His biographers and his disciples differ on his birth date and the period of his longevity. According to one disciple biographer, he was born in 1529, while according to another biographer it was 1607. His pre-monastic name was Shivarama and was born in Holia at Vizianagaram in Andhra Pradesh. His parents were Narashingha Rao and Vidyavati Devi, who were devotees of god Shiva. After the death of his parents, at the age of forty, Shivaram renounced the world and lived the life of a recluse in a cottage near a cremation ground. After practicing sadhana (spiritual practice) for twenty years, he met his preceptor Swami Bhagirathananda Saraswati in 1679 from Punjab. Bhagirathananda initiated Shivaram into sannyasa (monastic vows) and named him Swami Ganapati Saraswati in 1685. Ganapati reportedly led a life of severe austerities and went on a pilgrimage, reaching Prayag in 1733, and finally settling in Varanasi in 1737.

Varanasi in 1922, where the Swami spent considerable part of his life.

Life

In Varanasi, till his death in 1887, he lived at different places including Asi Ghat, the Vedavyas Asharama at Hanuman Ghat, Dashashwamedh Ghat. The Swami was often found roaming the streets or the ghats, naked and "carefree as a child". He was reportedly seen swimming or floating on Ganges for hours. The Swami talked very little and at times not at all. A large number of people became attracted to him upon hearing of his yogic powers to ameliorate their sufferings. During his stay in Varanasi, several prominent contemporary Bengali saints met and described him, including Ramakrishna, Swami Vivekananda, Mahendranath Gupta, Lahiri Mahasaya, and Swami Abhedananda.,Swami Bhaskarananda Saraswati, Swami Vishuddhananda Saraswati, and Mahatma Vijaykrishna Goswami. After seeing Trailanga Swami, Ramakrishna said, "I saw that the universal Lord Himself was using his body as a vehicle for manifestation. He was in an exalted state of knowledge. There was no body-consciousness in him. Sand there became so hot in the sun that no one could set foot on it. But he lay comfortably on it." Ramakrishna also stated that Trailanga Swami was a real paramahansa (lit:"Supreme swan", used as a honorific for a spiritual teacher) and that "all Benares was illuminated by his stay there."

The Swami had taken the vow of ayachaka (non seeking) — remaining satisfied with whatever he received. In the later stage of his life, as his fame spread, pilgrims visited him in multitudes. During his last days, he took up ajagaravritti (living like a python) in which he sat still without any movement, and devotees poured water (abhisheka) on him from early morning till noon, looking upon him as a living incarnation of Shiva.He died on Monday evening, December 26, 1887. His body was given salilasamadhi in the Ganges river, according to the funeral customs of the monks of the Dashanami sect, in the presence of a multitude of mourning devotees standing on the ghats.

Legends and stories

There are many stories told about Telang Swami and his spiritual powers, such that he has become a nearly mythical figure in India. Robert Arnett writes that Telang Swami's miracles are "well documented" and "he displayed miraculous powers that cannot be dismissed as myth" and there were living witnesses to his "amazing feats". He was reputed to have lived to be around 300 years, and was a larger than life figure, reportedly weighing over 300 pounds (140 kg), though he seldom ate. One account said that he could "read people’s minds like books."

On many occasions, he was seen to drink deadly poisons with no ill effect. In one instance, a skeptic wanted to expose him as a fraud. The monk was accustomed to breaking his long fasts with buckets of clabbered milk, so the skeptic brought him a bucket of calcium-lime mixture used for whitewashing walls instead. The monk drank the entire bucket with no ill effect — instead, the skeptic fell to the ground writhing in pain. The monk broke his usual silence to explain the law of karma, of cause and effect.

According to another story, he often walked around without any clothes, much like the naga (or "sky-clad") sadhus. The Varanasi police were scandalized by his behaviour, and had him locked in a jail cell. He was soon seen on the prison roof, in all his 'sky-clad' glory. The police put him back into his locked cell, only to see him appear again on the jail roof. They soon gave up, and let him again walk the streets of Varanasi.

Thousands of people reportedly saw him levitating in a sitting position on the surface of the river Ganges for days at a time. He would also apparently disappear under the waves for long periods, and reappear unharmed. Swami Sivananda attributed some of his miracles to the siddhi or yogic power Bhutajaya — conquest over the five elements, "Fire will not burn such a Yogi. Water will not drown him."

 With respect to his reportedly yogic powers, miracles abundant in his biographies and exceptionally long life, Swami Medhasananda writes that according to the "science of yoga", attainment of these is not "impossible".

Teachings

The teachings of Telang Swami are extant and are available in the biography of the Swami by Umacharan Mukhopadhyay, one of his disciples. Telang Swami describes bondage as "attachment to the world" and liberation as "renunciation of the world and absorption in God." He further says that after attaining the state of desirelessness, "this world is transformed into heaven" and one can be liberated from samsara (the Hindu belief that life is a cycle of birth and death) through "spiritual knowledge". He remarks that attachment to the "evanescent" world is "our chronic disease" and the medicine is "detachment".

The Swami describes man's senses as his enemy and his controlled senses as his friend. His description of a poor person is one who is "very greedy" and regards one who always remains content as rich. The Swami says that the greatest place of pilgrimage is "Our own pure mind" and instructs to follow the "Vedantic truth from the Guru." He describes a Sadhu as the one who is free from attachment and delusion.

A COURTESY OF GOOGLE
OM NAMAH SIVA YE <3<3<3