Rass : Divine Dance of Love :)

                                                                               

   

The Rasa lila or Rasa dance is part of the traditional story of Krishna described in Hindu scriptures such as the Bhagavata Purana and literature such as the Gita Govinda, where he dances liki with Radha and her sakhis. The Indian classical dance of Kathak evolved from the 'Raslila of Braj and Manipuri Classical Dance' (Vrindavan) also known as Natwari Nritya, which was revived in 1960s by Kathak dancer, Uma Sharma.

The term, rasa meaning "aesthetics" and lila meaning "act," "play" or "dance" is a concept from Hinduism, which roughly translates to "play (lila) of aesthetics (rasa)," or more broadly as "Dance of Divine Love"

The rasa lila takes place one night when the gopis of Vrindavan, upon hearing the sound of Krishna's flute, sneak away from their households and families to the forest to dance with Krishna throughout the night, which Krishna supernaturally stretches to the length of one Night of Brahma, a Hindu unit of time lasting approximately 4.32 billion years. In the Krishna Bhakti traditions, the rasa-lila is considered to be one of the highest and most esoteric of Krishna's pastimes. In these traditions, romantic love between human beings in the material world is seen as merely a diminished, illusionary reflection of the soul’s original, ecstatic spiritual love for Krishna, God, in the spiritual world.

In the Bhagavata Purana it is stated that whoever faithfully hears or describes the Rasa lila attains Krishna's pure loving devotion (Shuddha - Bhakti)

Just as a child plays at its own will with its reflection in a mirror, even so with the help of His Yogamāyā Bhagavān Śrī Kṛṣṇa sported with the Gopīs, who were like many shadows of His own form

The gopis are considered to be Sati. The word Sati is used to represent a chaste married woman but Sayana in his commentary of the Taittiriya Aranyaka explains that the word “sati” refers to “realized souls”. Krishna plays the flute to call the gopis. The flute is given the status of a teacher, Acharya. The music is knowledge which is Brahma-Vidhya. The music flowing from the flute awakens the thirst for spiritual knowledge in the gopis. This also shows us that we can only learn Brahma-Vidhya through an Acharya. Krishna prefers to use an Acharya as an intermediary to teach us Brahma-Vidhya. Once Brahma-Vidhya is awakened, the gopis abandon their husbands to reach Krishna. The husbands represent our selfish materialistic desires.

True knowledge kills these selfish desires. The gopis want only that which is true and approach Krishna. The Raasa dance takes place in a circle. The gopis represent the jeeva atma. There is one Krishna in the middle surrounded by the gopis. Not only is there a Krishna in the middle but He also appears as a partner for each and every gopi. There are as many Krishnas as there are gopis.

The Krishna in the middle represents Paramatma in His absolute form. The Krishna dancing with each and every gopi represents His Antaryami form. As antaryami He exists as our soul. He is always with us. He exists in each and every one of us. Thus the entire Raasa dance represents the Vishwaroopa Swaroopa of God; He exists as antaryami (soul of every soul) as well as the Absolute God head.

The Raasa dance is performed with the gopis who are women. This represents that all jeeva atmas are feminine. The only male in this entire Universe is Paramatma Sri Krishna. He is known as the Para Purusha or the great Purusha. The Raasa dance shows us one of the nine relationships we share with Paramatma which is that of a husband & a wife. He is our husband. This relationship is a spiritual relationship and differs from the type of spousal relationships we are familiar to.

The gopis encircling Krishna on either side represent students and Krishna is the object of knowledge sought by them. If we look at the two Krishnas encircling a gopi then we see the student in the middle. Knowledge gains importance only when there are students to learn. The two Krishnas encircling a gopi show us the importance of the student or the jeeva atma. The two gopis encircling a Krishna show us the supremacy of the knowledge or Paramatma.

The Raasa dance has deep esoteric meaning and has nothing to do with sensual indulgence. When the esoteric meaning of the dance is illuminated, it helps us to shed our desires for materialistic sensual pleasures. It awakens the thirst to learn Brahma-Vidhya in us; with the help of this knowledge we can reach the feet of Paramatma. The dance takes place at night to show us that the union with Paramatma is beyond time and space. At nighttime the normal boundaries of time and space are not illuminated. Night here represents the transcendental nature of the union of a jeeva atma with Paramatma.

A COURTESY OF WIKIPEDIA .

Rass - The Divine Dance of LOVE,  is the Pure Divine Surrender of Love & Devotion to God, Every Human Being Can Imagine Himself or Herself to the Attachment to Krishna with His/Her Own Desired or Chosen Relation form of Love. It Could be Father,Mother, Brother ,Sister, Husband , Wife, Friend, Lover,  Whatever Earthly Relation is Exist, Krishna Can Accept Your Love in Various Way.Nothing is Forbidden or Immoral in The Path of Love Krishna, Because Krishna  Only want Your Pure Dedication of Love & He will be Forever with You. He Accept Your Love with Open Heart That's Why He is GOD. :) JAI SRI KRISHNA :) <3<3<3  

                                                                                                     

Love Potion :)

                                                                             

                                                                           
       
This Hot Love Potion I am offering to My Fire , My Baby to Keep My Love Warm & Cheerful !!! With a Lots of Passionate Kiss & Warm Hug Mmmuuuaahhhh :O :D <3<3<3

All of My Viewer's & Readers are Also Welcome to My Winter Chocolate Corner !! Enjoy Every Body !! :)


Excellent refreshing drink –hot chocolate and vanilla make a wonderful combination :

Ingredients 

Milk 4 cups

Vanilla pod 1

Cinnamon 1 inch stick

Sugar 2 tablespoons

Cocoa powder 4 teaspoons

Dark chocolate,grated 1 cup

Vanilla essence 2-3 drops

Method

Heat two cups of milk in a deep pan. Add vanilla pod and cinnamon stick and bring it to a boil. Lower the heat and let it simmer, stirring continuously, till it reduces slightly. Pour the remaining milk into the Frothie machine. Add one tablespoon sugar, two teaspoons of cocoa powder, half the dark chocolate and vanilla essence. Switch it on. Add the remaining sugar to the pan along with remaining cocoa powder and stir. Add the remaining dark chocolate and mix. Line a strainer with muslin cloth and strain the milk into the serving cups. Pour the milk from the Frothie machine into some more serving cups. Serve hot. 

                                                                                 

    Cookies :                                                                         

Chocolate chips 3/4 cup

Refined flour (maida) 3/4 cup

low fat butter 60 grams

Egg white 1

Vanilla essence 1/2 teaspoon

Soda bicarbonate 1/2 teaspoon

Salt 1/4 teaspoon

Sugar Free 12 measures / 5 teaspoons

Walnut kernels,coarsely crushed 1/2 cup

Preheat oven to 180˚C/ 350 ˚F/ Gas Mark 4. Grease a baking tray. Take butter in a bowl and cream it. Add egg white and vanilla essence and continue to cream for sometime and set aside. In a separate bowl, sift together flour, soda bicarbonate and salt and fold into the butter mixture and mix well. Add Sugar Free, walnuts and chocolate chips, reserving a few chocolate chips and mix. Divide the dough into twelve equal portions and shape each into a round cookie Place the cookies on the greased baking tray keeping enough distance between each. Sprinkle the remaining chocolate chips on top and bake in the preheated oven for twenty to twenty five minutes. When done remove onto a wire rack to cool before serving or store in an airtight container.  

                                                                                

A COURTESY OF www.sanjeevkapoor.com

GOD :D

GOD NEVER SAY'S "GOODBYE"
BECAUSE GOD HIMSELF IS GLOBAL
MY & EVERY INDIAN'S TRIBUTE TO THE GOD OF CRICKET 
MY SILENT CENTURION SACHIN :D

                                                                             

Tarapith-- The Maha Shakti Pith :)

Kali is regarded as one of the principal deities of Bengal. Kali is a powerful and complex Goddess with multiple forms. The Divine can be manifested in many different forms, with various roles and personalities. According to legend, not withstanding her husband Shiva’s insult by her father Daksha, Sati jumped into fire and gave her life. Enraged by this mishap, Shiva went wild. To pacify Him,Vishnu decimated the body of Sati with his chakra into 51 different parts. The body parts fell all over the Indian subcontinent. The places where the body parts fell – have become centres of worship of the Goddess in different manifestations. There are 51 of those and they are called Shakti Peethas. Some of them are in West Bengal.

Sage Vasishtha had seen this form and worshipped goddess Sati in the form of Tara. Tara is no one but Maa Kali. Maa Kali is fiery and violent, has four hands and blood drips from Her tongue. Kali temples are found in numbers all over India. Hindus all over the world worship Maa Kali in various forms. Some of the famous Kali temples are at Kalighat, Dakshineshwar, Tarapith etc. The great devotees of Maa Kali, namely Ramkrishna, Bamakhepa etc used to worship Maa Kali in these Kali temples. The Kali temples draw immense attraction during the festive times, especially during Kali Puja.                                                                                                                                                                 THE STORY OF BAMDEV  Although Bamakhepa is not particularly know for worshipping Kali, he was such a great Mother worshipper and contemporary of Sri Ramakrishna that he should be mentioned. Bamakhepa worshipped Mother in the form of Tara and became a famous Tantric saint practicing sadhana at the Trapith cremation ground. Tarapith in West Bengal is difficult to get to and, therefore, only a few Westerners have visited this ancient spiritual center. Tarapith is situated in the district of Birbhum, home of the Bauls and birthplace of famous Vaishnava and Shakta saints. Bamakhepa was born in 1837-one year after Sri Ramakrishna-near Tarapith in the village of Alta. Although his parents were poor Brahmins, Bamakhepa’s father, Sarvananda Chatterjee, was well known and respected for his piety and so was Bamakhepa’s mother, Rajkumari. His name was actually Bama, but since he showed absolutely no interest in worldly matters even from early youth on, people called him mad and added “khepa” (mad) to his name. Khepa is a term used mostly by Tantrics and Bauls and is not an ordinary madness. One who is called khepa is generally considered a great soul. As a young boy, Bamakhepa had a peculiar habit. At the dead of night, he liked to steal into his neighbors’ houses, take their images of Gods and Goddesses and carry them to a riverbank some distance away. There he worshipped the images all night long. When, in the morning, the villagers couldn’t find their family deities, they would make a big scene. Bamakhepa was discovered as the culprit but, no matter how severely his parents scolded him, they could not prevent him from taking the images. Bamakhepa’s education never went beyond the simple village school he attended. There was not enough money in the family to send the boy away for higher education and study of the scriptures. His father died when Bamakhepa was very young, and, therefore, his mother and widowed elder sister were the first ones who gave him any kind of spiritual instructions. They told the boy ancient Hindu stories from the Ramayana and Mahabharata, and it was due to their efforts that Bamakhepa developed a spiritual sentiment early in life. He enjoyed singing devotional songs which he became rather good at it, to the delight of his mother and elder sister. Financial troubles worsened, and Bamakhepa’s mother had to send him and his brother to live at an uncle’s house. The uncle made and effort to make the boys active parts of his family and dispatched them to look after his cows. But when he found Bamakhepa unfit to take care even this simple task, he sent him back home to his mother. Bamakhepa proved incompetent to perform any kind of work. All he wanted to do was worship Mother Tara. When he saw a red hibiscus flower, he thought of Ma Tara. When he uttered “Ma Tara,” he became unconscious of his surroundings. Even his mother was convinced her son was mad and, in order to keep him out of harm’s way, she put him under house arrest. But at an opportune moment, Bamakhepa broke out, swam across the river Dwaraka and walked all the way to holy Tarapith. He had heard about Kailaspati Baba, the well-known Tantric who was believed to be a realized soul. Bamakhepa went straight to his cottage. Recognizing Bamakhepa’s potential for spiritual realization, the Baba accepted him as his disciple. Bamakhepa began to practice serious Tantric sadhana under the guidance of Kailaspati Baba. Meanwhile, Bamakhepa’s mother was worried about her son and, after a long search, found him in Kailaspati Baba’s cottage. When she realized that she couldn’t persuade him to come with her, she asked one of her family members who was a prominent man in town to help him. This uncle, by the name of Durga Charan Sarkar, was an agent of the Maharaja of Natore and, using his influence in Tarapith, he procured Bamakhepa a job of collection flowers for the service at the Tarapith Temple. But Bamakhepa was not meant for work, and couldn’t perform this task. Instead of picking flowers, he sat absorbed in thoughts of the Divine Mother. Forgetful of his physical comforts, he was unaware if it was day or night, hot or cold, rain or sunshine. Smoking hemp, he lived in the Tarapith cremation ground surrounded by snakes, dogs, cats, and jackals Although Bamakhepa seemed to have caused nothing but trouble to his mother, and he had not contacted her for a long time, he had great love and reverence for her. When news reached Tarapith that she had died and that her body could not be brought to the Tarapith cremation ground due to excessive flooding, Bamakhepa swam across the flood-swollen river. With his mother’s dead body in his arms, he returned to Tarapith and asked his brother Ramcharan to perform the funeral rites. How could this poor family afford to pay for the funeral? By divine providence, as it were, money and good came to feed all the guests. People in Tarapith still tell the story about the dark clouds that appeared in the sky as the body of Bamakhepa’s mother was burnt. Though a sudden heavy downpour flooded all of Tarpith, not a single drop fell on the funeral gathering. Bamakhepa was in the habit of moving around completely naked. One day someone asked him, “Why are you naked?” Bamakhepa replied, “My Father (Shiva) is naked; my Mother (Tara) is also naked. So, I am practicing that. Moreover, I don’t live in society. I live in the cremation ground with my Mother. So I have no shame or fear!” Under the guidance of his guru Kaliaspati Baba and the Tantric master Mokshananda, Bamakhepa completed all the major Tantric rites and sadhana in accordance with the shastras (scriptures). It is interesting that Bamakhepa, like Sri Ramakrishna, practiced Tantra while remaining absolutely celibate. Just as Sri Ramakrishna, Bamakhepa also looked upon women as mother. One day a beautiful, young woman tried to tempt Bamakhepa by offering herself to him as his bhairavi (here meaning: “partner in sexual practices”). No matter how much she tried, she could find no “male sign” in him. Suddenly, Bamakhepa cried out “Ma Tara” and bit the woman’s breast. Blood oozed from her breast and she fell down unconscious. When Bamakhepa’s spiritual guides saw that their disciple had attained perfection, Kailaspati Baba and Mokshananda installed him as the spiritual leader of Tarapith and left. Yet nothing, not even this high honor, could bind Bamakhepa. He neglected to follow temple regulations and did not obey social rules. Sometimes he sat with stray dogs, sharing his food with them, and sometimes he answered calls of nature within the holy temple terrain. He was not concerned, and the thought of purity or impurity did not enter his mind. He had practiced same-sightedness for so long. One day the temple priests caught Bamakhepa eating the temple food before it was offered to Ma Tara. They were so angry with him that they stopped supplying him with food. Four days after this incident, the Maharani (queen) of Natore had a strange dream. Ma Tara appeared to her and said: “I am thinking of leaving this place. I asked my favorite son Bamakhepa to eat, the priests have beaten him and taken away his food. If my son does not eat first, how can I, his mother?” When she woke up, the Maharani ordered that, henceforth, Bamakhepa should be fed before Ma Tara. After that, nobody dared to obstruct Bamakhepa. The mad saint of Tarapith became famous for his yogic powers and even people from far away came to see him. Some sought nothing but his blessings while others asked to be healed or helped in distress. Bamakhepa healed many sick people with his psychic powers. Once a dying man came to Tarapith and asked Bamakhepa for prasad (consecrated food). Bamakhepa took pity on him and fed him with his own hand. Soon after, the man miraculously recovered and walked home. There was a leper in Tarapith by the name of Nanda Handi, who belonged to the untouchable caste. Nanda often brought Bamakhepa food and, although he was a Brahmin of the highest caste, Bamakhepa accepted Nanda’s food. In return for the favor, he gave Nanda some mud one day and asked him to rub it on his sours. Nanda did as told and the terrible leprosy left his body. A man form Balagram by the name of Nimai suffered terribly form hernia problems. He had so much pain that he was unable to maintain his family. Thinking he was of no use to anybody, not even to himself, he resoled the commit suicide. Rope in hand; he came to Tarapith one dark night with the intention to hang himself. Suddenly, he heard a terrible voice. It was Bamakhepa calling upon Ma Tara. Nimai was too scared to commit suicide and, not knowing what to do with himself, he remained in Tarapith near Bamakhepa. One day Nimai enraged Bamakhepa because he lit his pipe on Bamakhepa’s holy dhuni fire. The angry saint kicked the hernia patient in the lower part of his abdomen and Nimai fell down unconscious. But to his great surprise, when Nimai got up some time later, he was completely cured of the hernia afflictions. Another story about Bamakhepa tells of a dying tuberculosis patient who was brought to the saint on a stretcher for final blessings. Instead of blessing the man, Bamakhepa caught him by the neck. Furiously choking and shaking the man, Bamakhepa shouted, “Now, will you commit any more sin?” Strangely enough, after Bamakhepa’s rough treatment, the man got off the stretcher, asked for some food and drink and then walked home, healthier and wiser. But not all people who approached Bamakhepa were so lucky. When a couple of snobbish young men made fun of Bamakhepa because he shared his food with stray dogs, Bamakhepa suddenly touched them. To their horror, they saw in a vision that Bamakhepa and the dogs had turned into Gods while they had turned into hideous bats. Having heard about Bamakhepa’s healing powers, a priest by the name of Nagen Panda brought a dying man to Tarapith. The sick man was very rich, and Nagen Panda thought that he would be richly rewarded if he could get Bamakhepa to cure him. But contrary to Nagen Panda’s expectation, Bamakhepa did nothing of the sort. He just uttered the word “phat” and the man died immediately. Furious, Nagen Panda accused Bamakhepa of killing the man. “I am not responsible,” said Bamakhepa, “for it was the Mother who spoke through me.” Bamakhepa was not learned but the Mother revealed everything to him, as he used to say. The saint of Tarapith lived a long life and through his holy presence sanctified the place and the people who came in contact with him. He entered mahasamadhi (final liberation) in 1911.                                                                                         A COURTESY OF www.Kalimandir.org & google

Dhun :D

Zindegi Hoti Hain Sangeet Ke Jaise

Kavi Hain Yeh Manchala

Kavi Hain Yeh Khubsurat Reet Ke Jaise

Kavi Uthti Hain Dharkan Se Yeh

Machal Ke Uchal Ke Laheron Ke Jaise

Aur Kavi Tham Jati Hain Yeh

Sheet Ke Bistar Mein Simti Dhund Ki Tarha

Tum Toh Dhun Ho Meri Zindegi Ke

Tumhe Main Khushi Mein Gungunati Hoon

Tum Toh Chahat Ho Meri Bandegi Ke

Tumse Tanhai Mein Apni Fariyaad Sunati Hoon

Tumse Hi Ruth Ke Kuch Nazmein 

Inn Palkon Se Girte Hain

Aur Betaab-e-Dil Tumhari Talash Mein

Kuch Aah Vari Awaz Dil Se Chunti Hain

Lekin Har Lamha Zindegi Ke

Sirf Apna Nehi Hota

Kuch Saaz Kuch Awaz Dharkan Ko

Kuch Iss Tarha Se Chhu Jati Hain

Jaise Bahete Hue Iss Sur Ki Nadiya Ko

Kuch Gaheri Laheron Se Dol Jati Hain

Yeh Laheren Zindegi Ko 

Kuch Aur Rang Kuch Aur Tarang Se Sajati Hain

Tumhari Meri Aur Sabki Yeh Jo Zindegi Ki Lahar

Rab Ke Sagar Ki Bahon Mein Jaake Ghul Jati Hain

Tum Meri Aks Ho Aur Main Tumhari Aaina

Meri Tumhari Pehchan Ya Soch Kuch Alag Nehi

Meri Wajood Tumhari Dharkan Mein Maujud Hain

Aur Main Tumari Jism Ko Lipte Hue Woh Raag Hun

Jaise Har Pal Dhak Dhak Dhun Se Dharakti Hui Atma

Har Raat Tum Mujhse Milti Ho

Bansuri Ke Jaise Inn Hothon Pe Baajti Ho

Aur Din Bhaar Lahera Ke Balkha Ke

Meri Badan Pe Tum 

Roshni Ke Bahaw Mein Bahe Jati Ho

Jab Kudrat Panchiyon Ke Sur Mein Gati Hain

Jab Yeh Tabassum Ke Boondein

Unn Gulabon Ki Resham Si Badan Se Guzar Jati Hain

Yaad Dilati Hain Ailan Karti Hain

Hamari Jawan Mohabbat Ki Kahani

Tumhari Aur Meri Reshmi Nazkaqat Se Likhi

Uss Aag Aur Pani Ke Milan Ki Rubayee

Tumse Kuch Gila Nehi Hain Meri Jaan

Meri Apni Kuch Gile Siqwe Kuch Tanhai Ke Pal

Iss Safed Panno Pe Tut Ke Bikhar Jate Hain

Lekin Jab Bhi Milti Hain Mujhe Tumhari Sahara

Woh Hasin Muskan Se Vari Shayerana Si Sadah

Main Sambhal Jati Hoon Sawar Jati Hoon Aise

Jaise Sadiyon Se Chalti Rahun Main Aise Hi

Tumhari Pukar -e-Intezar Ki Dhun Aati Rahen Sada  

M-e-Z 

Happy Diwali My Fire !!! :D

Excellent Poetry , Excellent Creation !!! :D

Lagey  Rahooooooooooo Lioness !! :D

Muuuuuaaaahhhhhhh :O :D <3<3<3 .

Zarina

Tumhari Naam Zarina Hain

Maine Tumhe Kaal Dekha

Gaate Hue Ek Mehfil Mein

Aur Bhi Sare Log Tumhe Dekh Rahin Thi

In mein Mard, Aurat, Buzurg Aur Jawan Bhi The

Tum Ek Ghazal Ga Rahin Thi

Maine Yeh Ghazal Kai Bar Suni Hain

Lekin Tumhari Gale Ki Aawaz

Iss Gazal Ko Kuch Alag Sa Mayne De Rahin Thi

Kabhi Mihti Lagti Kabhi Udaas Lagti

Kavi Lag Rahin Thi Ke Tum Shayed 

Apne Aap Mein Moujud Nehi

Aur Kavi Unn Geheri Alfazon Se

Tumhari Sadiyon Pehchan Lag Rahin Thi

Tum Aaakhen Band Karke Ga Rahin Thi

Koi Bhi Hulchul, Koi Bhi Rok Tok Se

Tum Bilkul Bekhabar Aur BeRukhui Thi

Na Mehfil Ki WAH WAH 

Tumhe Joshilepaan Mein Dhaalti

Aur Na Unn Sab Naazrein Jo

Ghur Rahin Thi Tumhe, 

Taq Rahin Thi Tumhe,

Naap Rahin Thi Tumhe,

Tumhari Saaz Ki Jagah 

Tumhari Sajawat Ko Tarash Rahin Thi

Tum The Inn Sare Harqatyon Se Bekhabar

Jaise Tum Sare Imtehaan Se Guzar Ke

Sur Ke Laher Mein Koi Khoyee Hui

Suroor Ko Pakar Na Chahti Thi

Jakar Na Chahti Thi

Tum Rona Chahti Thi

Tum Larhna Chahti Thi

Phir Thak Har Ke Ussi

Suroor Ke Aagosh Mein Shona Chahti Thi

Lag Rahan Tha Ke Tum Jee Rahin Ho

Iss Dhun Ki Beparwah Bahaw Mein

Kabhi Khushi Ki Kabhi Ghum Ki

Raaz-e-Ankh Micholi Ki Dhup Chhawn Mein

Jaise Dhund Rahin Ho Khud Ko

Yah Kisi Ki Talash Mein Khud Ko Kho Rahin Ho

Jab Do Ek Boond Gire Tumhari Kajrare Akhon Se

Tab Laga Ke Shayed Kisi Banjar Zameen Pe

Tum Khushi Se Apni Khoon-e-Ashq Ke Beej

Suhane Mausam Yaad Mein Aur Phir Se

Unn Mahole-e-Rut Ki Aane Ki Chahat Mein

 Bahut Mohabbat Ke Saath Bou Rahin Ho

Jab Tumne Shuru Kiya Tha Woh Ghazal

Tab Meri Haath Mein Thi

Ek Sharab Se Vari Paymana

Uski Laal Rang Ki Badan 

Meri Hothon Ko Chhune Ke Liyeh

Taras Rahin Thi Uchal Rahin Thi Chalak Rahin Thi

Jab Tumhari Ghazal Khatam Hui Toh

Maine Mehsus Kiya Ke 

Main Nashe Mein Nehin Hoon

Meri Khali Jaam-e-Paymane Haath Mein Thi

Lekin Tumhari Unn Berang Ashq-e-Nazar

Mujhe Jaane Kya Pila Gayi

Ke Main Aab Taq Uss Aawaz Ki Khumari Mein Hoon

Dil Bhar Gaya Iss Qadar Ke

Jaise Koi Saab Kuch Hasil Karke Bhi

Dil -e-Betaabi Se Sab Kuch Luta Dena Chahe

Aisi Kisi Hasin Khowabon Ki Sawari Mein Hoon

                                                            
                                                                      M-e-Z
 
                                                        A TRIBUTE TO ZARINA

                                                AN UNKNOWN SINGER OF LIFE ! :)

                                                                         

Pujor Bhoj !!! :D

            LET'S ENJOY THIS ASTHAMI WITH PURE BONG STYLE !!! :D
                                                     THE FESTIVAL OF FEAST !!!!  :)
                                              TO MY DEAR FIRE & ALL OF YOU 
                                                             WELCOME & ENJOY!!!!!!
                                                    HAPPY PUJA !!!!  :D :) ;) <3<3<3  
                                         

Veg Fried Rice

Prep Time: Under 15 min

Cook Time: Under 15 min

Serves: 3 people

Yield: Makes around 4-6 servings depending on the additions made 

Ingredients

For the Basic Fried Rice
• 3 cups cooked rice, see Tips
• 1/4 cup minced Scallion (Green Onion), sliced thinly - green and white separated
• 1/4 cup Red Bell Pepper, see Tips
• 1/2 cup Green peas
• 1/4 cup Green Beans
• 1/4 cup Carrots
• 1/4 cup Cabbage
• 1/4 cup Celery
• 2 tbsp Soy Sauce (or Tamari), or to taste
• 1 tbsp Sesame Oil, see Tips
• 1 tbsp Garlic, minced
• 1 tbsp Ginger, peeled and minced, see Tips

Optional Additions
• 1 tsp Chilli sauce, or to taste
• 1/8 tsp Vinegar

Optional Protein Additions
• 1/2 cup Baked Tofu (or)
• 1/2 cup Fried Extra Firm Tofu (or)
• 2 Eggs, scrambled or hard boiled (or)
• 1/2 cup Soya Chunks (meal maker/TVP) (or)
• 1/2 cup fried cubed Tempeh (or)
• 1/2 cup crumbled Seitan (or)
• 1/2 cup Edamame

Tips

 
1. Rice: You can use 3-4 cups of rice for this recipe. If you do not have leftover rice, then you would have to a little bit of prep of cooking and cooling the rice. Preferably you want the rice to be a little separated, not as much as say a pulao recipe  and not a mushy rice either. See step 1 for details on how to cook the rice for this.
 
2. Bell pepper (Capsicum): You can use any color you like. I use the Red variety for their health benefits, superior to that of the green variety.
 
3. Sesame oil: I usually use a chilli + sesame oil mix for the spiciness. But you can use regular sesame oil and add chilli sauce additionally. You can also use the toasted sesame oil towards the end if you like. If sesame oil is not your thing, just add regular vegetable oil.
 
4. Ginger: Depending upon the quality and taste preference, you might need add more or less ginger (ditto for garlic) 

Method

 If the rice is freshly cooked, set aside to cool naturally (or refrigerate it for at least 3 hours uncovered or until completely dry and grains are easily separated). I use 1 cup raw rice that I cooked in 1-1/2 cups water with 1 tsp vegetable oil. I, at times, also add salt which is optional. Saute the rice in oil until translucent, stirring constantly for 2-3 minutes. Add water and salt if using. Bring it to boil, stir and then reduce the heat to low-medium. Cover and cook until liquid is absorbed - around 10-12 minutes. Cool as mentioned in the first line.

Heat a wok (or any skillet) in high heat. Make sure to keep all the ingredients already. Add the sesame oil, followed by scallion whites, ginger and garlic.

Stir for 5-6 seconds and the minute the aroma starts wafting, add rest of the vegetables.  Make sure nothing burns given that you are cooking in high heat. You want the vegetables to be cooked but still crunchy which is why it is important to chop the vegetables into small pieces (and also keep them uniform in size). Keep stirring. This whole things should take around 30-40 seconds.

If using edamame, thaw it at room temperature or soak in warm water to defrost and add it here. Same for Soy chunks (prep as per package directions and add it here). Seitan can also be added at this point. Rest of the additions, if using, can be added along with rice /or towards the end since they are already cooked. 

Next add the soy sauce (and/or toasted sesame oil + chilli sauce if using). Stir for the flavors to combine. Make sure you don't stir it too much 'cos that might make the rice mushy.

Combine well. If it looks dry, you can sprinkle some water. For it to look closer to restaurant style, you would need to add more oil.

Serve garnished with scallion greens. It tastes best when hot. Enjoy them with Gobi Manchurian, Baby Corn, Manchurian, Vegetable Manchurian or any other side dish of your choice.

        

                                                                             

 

                                                                               

2. Shahi Paneer

Ingredients

		Paneer (cottage cheese)	400 grams
	Onion ,quartered	2 large
	Oil	2 tablespoons
	Cloves	3
•	Black peppercorns	4-5
•	Cinnamon	2 one inch sticks
•	Bay leaf	1
•	Green chillies,slit	2
•	Ginger paste	1 teaspoon
•	Garlic paste	1 teaspoon
•	Cashewnut paste	1/4 cup
•	Yogurt	1/2 cup
•	Cream	1/2 cup
•	Saffron (kesar)	a pinch
•	Garam masala powder	1/2 teaspoon
•	Salt	to taste

Green cardamom powder                              1/4 teaspoon

Method
 
Cut the paneer into half inch wide and one inch long pieces. Boil the onions in quarter cup of water. Drain and allow to cool. Grind to a fine paste. Heat the oil in a kadai, add the cloves, peppercorns, cinnamon and bay leaf and sauté till fragrant. Add the green chillies and boiled onion paste and sauté for three to four minutes on low heat so it does not get coloured. Add the ginger paste and garlic paste and continue to sauté for half a minute. Add the cashewnut paste and sauté for another two minutes. Add the yogurt and sauté till the water from the yogurt gets absorbed. Stir in the cream, saffron and garam masala powder and salt to taste. Add the paneer and stir gently to mix. Sprinkle green cardamom powder and serve hot. 

                                                                             
Dhokar Dalna                                                        

Ingredients

250 grams Chana Dal or split chick peas 6 tablespoon Cooking oil 2 Tomato 1 teaspoon Cumin or jeera 2 teaspoon Cumin powder 1/2 teaspoon Turmeric Powder 1/2 teaspoon Garam Masala 4 Bay leaves (Large) 1 tablespoon Ghee 3 tablespoon Ginger chili paste 2 teaspoon Salt

1 Prepare the Chana Dal paste: Soak Chana Dal for 6-7 hours in water(room temperature). Drain out the excess water. Add 2 Tea spoon of Ginger Chili paste, 1 Tea spoon of salt and � Tea spoon of sugar. Grind the ingredients using a mixer/grinder. Grind it in mixer to form a smooth paste of Chana dal.

2. Heat 2 tea spoon of oil in a deep pan or kadai for 2 mins. Add the Chana Dal paste and fry it till the semi-liquid state is lost (dry the paste)

3 Take a dish and spread 4-5 drops of oil on the surface and spread it. Take the paste from Kadai and spread it evenly on the plate

4 Cut the spread into diamond shaped cubes and keep them aside. Now add 5 Table spoon of oil in the kadai and allow it to heat (4 minutes). Deep fry the diamond shaped cubes in the heated oil

5 Keep the fried cubes aside.

6 Add Cumin seeds and bay leaves to the left over oil in Kadai and fry it for 30 seconds

Directions

1 Prepare the Chana Dal paste: Soak Chana Dal for 6-7 hours in water(room temperature). Drain out the excess water. Add 2 Tea spoon of Ginger Chili paste, 1 Tea spoon of salt and � Tea spoon of sugar. Grind the ingredients using a mixer/grinder. Grind it in mixer to form a smooth paste of Chana dal.  2 Heat 2 tea spoon of oil in a deep pan or kadai for 2 mins. Add the Chana Dal paste and fry it till the semi-liquid state is lost (dry the paste) 3 Take a dish and spread 4-5 drops of oil on the surface and spread it. Take the paste from Kadai and spread it evenly on the plate 4 Cut the spread into diamond shaped cubes and keep them aside. Now add 5 Table spoon of oil in the kadai and allow it to heat (4 minutes). Deep fry the diamond shaped cubes in the heated oil 5 Keep the fried cubes aside. 6 Add Cumin seeds and bay leaves to the left over oil in Kadai and fry it for 30 seconds  7 Add the cut tomatoes and allow it to cook for 2 minutes

8 Add the Ginger Chili paste (2 Table spoon), Turmeric Powder (1/2 Tea spoon), Cumin Powder (2 Tea spoon), Salt (1 Tea spoon) and Sugar (1/4 Tea spoon). Stir it well for 2 minutes

9 Add 2 cups of water and let it come to boil. Then add the fried cubes

10 Allow it to cook for 5-6 minutes. Add Salt to taste,Garam Masala powder and Ghee . Cover the Kadai with a lid for 1 minute and then turn off the flame

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