#dvaravati
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asiasaint · 1 year ago
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Ancient human female skeletons dated more than 2,000 years old from the "Dvaravati Empire, Si Thep city" (located in Thailand) were unearthed along with her personal possessions and a companion dog. "Dvaravati Empire" was the Mother of all civilisation (with influences from India) in mainland southeast Asia that thrived in Central Thailand from the 6th to the 10th centuries (pre-Angkor wat). "Si Thep" was officially added to UNESCO's world heritage list on September 19, 2023, more than one hundred years since it was discovered.
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panicinthestudio · 8 months ago
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Lecture: DvāravatÄŦ Art and the Culture of Early Thailand – Between Tradition and Innovation, March 25, 2024
Daniel F. and Ada L. Rice Research Fellow Nicolas Revire discusses the material cultures of Thailand’s ancient DvāravatÄŦ kingdom. Archeologists and historians are still uncovering DvāravatÄŦ—an Indianized culture, kingdom, and art style that emerged in Southeast Asia. Though grounded in neighboring Indic artistic traditions, this 7th–8th century material culture also encompasses local innovations. In this talk, Revire maps what we know about DvāravatÄŦ art and the history of early Thailand. The Art Institute of Chicago
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southeastasianarchaeology · 9 months ago
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[Paper] Geo-Information Technology Application for Investigating the Old Lopburi River and the Ancient City of Dvaravati Period (6th-8th Century AD) Based on the Record of Queen Cāmadevi's Watercourse Travels in the Chao Phraya River Basin
LiDAR and geo-tech reveal Queen Cāmadevi's route and ancient Dvaravati cities, offering insights for heritage conservation and sustainable planning.
via Scientific Culture, 09 January 2024: A groundbreaking study utilizing geo-information technology, including LiDAR, has successfully traced the old Lopburi River and unearthed ancient Dvaravati cities along Queen Cāmadevi’s historical watercourse travels. The research identified 12 significant canals previously part of the river and pinpointed ancient urban centers, providing crucial insightsâ€Ķ
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vishnavishivaa · 1 year ago
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Snippet- SatraajitiVilaasa
Slash. Slash. Turn and slash as that happens. Slash. Slash. Move back like lightning before striking with a single step forward. Slash. Slash.
Satyabhama made up the new routine as She continued Her sword practice, something She ensured to do everyday, owing to Her love for making new routines, which She later taught Her elder brother, who then spoke to Dvarakesha and Balarama Dau about implementing them in the Narayani Sena.
Something told Her the Sena was named so due to the Shakti of Narayana being ever present there.
A smile danced on Her face as She continued Her practice, as the movement of Her routine increased in complication, every movement She made known to Her by automatic memory, something She had worked on since She was very young, even before Krishna had arrived at Mathura, in His Bliss, beauty, Light and Love, which was but a scratch on the surface of Krishna.
She paused Her movements, and inhaled before letting out a heavy breath, conserving Herself during practice. She was planning to make movements like what would occur during war, something that was imminent, considering the number of Kings who had a problem with Krishna, despite His ever cheerful, friendly way.
Why, just the other day, Mitravinda had sent Her a letter about tensions starting to mount in Vidarbha, especially in regards to the Princess of the Kingdom, Vaidarbhi Rukmini, considered one of the most beautiful women ever. Mitra had even told Her that Rukmini and Satyabhama resembled each other in looks, which was something Satyabhama Herself could understand immediately, owing to the nature the two of Them shared.
The tension in Vidarbha was preceded by the endless attacks of Jarasandha on the Yadavas, having caused the shift of the Kingdom from Mathura to Dvaraka, the land of Bliss and Moksha.
Dvaravati. Mokshasthali.
A step on the sand of Dvaraka will bring forth Moksha to one and to all, smiled Satyabhama, as She positioned Herself to continue Her routines.
She had other duties to tend to once She finished helping Her Yadava Sena.
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prapasara · 4 months ago
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āļĒāļđāđ€āļ™āļŠāđ‚āļāļ›āļĢāļ°āļāļēāļĻ "āļ āļđāļžāļĢāļ°āļšāļēāļ—" āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļ
āļĒāļđāđ€āļ™āļŠāđ‚āļāļ›āļĢāļ°āļāļēāļĻ "āļ āļđāļžāļĢāļ°āļšāļēāļ—" āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļ
āļĒāļđāđ€āļ™āļŠāđ‚āļāļ›āļĢāļ°āļāļēāļĻāļ‚āļķāđ‰āļ™āļ—āļ°āđ€āļšāļĩāļĒāļ™ "āļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ—" āļˆ.āļ­āļļāļ”āļĢāļ˜āļēāļ™āļĩ āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāļ—āļēāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āļ‹āļķāđˆāļ‡āļ–āļ·āļ­āđ€āļ›āđ‡āļ™āđāļŦāđˆāļ‡āļ—āļĩāđˆ 5 āļ‚āļ­āļ‡āđ„āļ—āļĒ āļ•āđˆāļ­āļˆāļēāļāđ€āļĄāļ·āļ­āļ‡āđ‚āļšāļĢāļēāļ“āļĻāļĢāļĩāđ€āļ—āļž āļˆ.āđ€āļžāļŠāļĢāļšāļđāļĢāļ“āđŒ āļ—āļĩāđˆāļ›āļĢāļ°āļāļēāļĻāđ„āļ›āđ€āļĄāļ·āđˆāļ­āļ›āļĩāļ—āļĩāđˆāđāļĨāđ‰āļ§ āļ‚āļ“āļ°āļ—āļĩāđˆāļāļĢāļĄāļĻāļīāļĨāļ›āđŒāđ€āļ›āļīāļ”āđƒāļŦāđ‰āđ€āļ‚āđ‰āļēāļŠāļĄāļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āļŸāļĢāļĩ 28 āļ.āļ„.-12 āļŠ.āļ„.āļ™āļĩāđ‰
āļ§āļąāļ™āļ™āļĩāđ‰ (27 āļ.āļ„.2567) āļ­āļ‡āļ„āđŒāļāļēāļĢāđ€āļžāļ·āđˆāļ­āļāļēāļĢāļĻāļķāļāļĐāļēāļ§āļīāļ—āļĒāļēāļĻāļēāļŠāļ•āļĢāđŒ āđāļĨāļ°āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđāļŦāđˆāļ‡āļŠāļŦāļ›āļĢāļ°āļŠāļēāļŠāļēāļ•āļī āļŦāļĢāļ·āļ­āļĒāļđāđ€āļ™āļŠāđ‚āļ āđ„āļ”āđ‰āļ›āļĢāļ°āļāļēāļĻāđƒāļŦāđ‰āļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āļˆāļąāļ‡āļŦāļ§āļąāļ”āļ­āļļāļ”āļĢāļ˜āļēāļ™āļĩ āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāļ—āļēāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āđƒāļ™āļŠāļ·āđˆāļ­ “āļ āļđāļžāļĢāļ°āļšāļēāļ— āļ›āļĢāļ°āļˆāļąāļāļĐāđŒāļžāļĒāļēāļ™āđāļŦāđˆāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļŠāļĩāļĄāļē āļŠāļĄāļąāļĒāļ—āļ§āļēāļĢāļ§āļ”āļĩ” (Phu Phrabat, a testimony to the SÄŦma stone tradition of the Dvaravati period)
āđƒāļ™āļāļēāļĢāļ›āļĢāļ°āļŠāļļāļĄāļ„āļ“āļ°āļāļĢāļĢāļĄāļāļēāļĢāļĄāļĢāļ”āļāđ‚āļĨāļāļŠāļĄāļąāļĒāļŠāļēāļĄāļąāļ āļ„āļĢāļąāđ‰āļ‡āļ—āļĩāđˆ 46 āļ“ āļāļĢāļļāļ‡āļ™āļīāļ§āđ€āļ”āļĨāļĩ āļŠāļēāļ˜āļēāļĢāļ“āļĢāļąāļāļ­āļīāļ™āđ€āļ”āļĩāļĒ āđ‚āļ”āļĒāđ€āļ›āđ‡āļ™āđāļŦāļĨāđˆāļ‡āļĄāļĢāļ”āļāđ‚āļĨāļāļĨāļģāļ”āļąāļšāļ—āļĩāđˆ 8 āđāļĨāļ°āđāļŦāļĨāđˆāļ‡āļĄāļĢāļ”āļāđ‚āļĨāļāļ—āļēāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđāļŦāđˆāļ‡āļ—āļĩāđˆ 5 āļ‚āļ­āļ‡āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒ āļ­āļĩāļāļ—āļąāđ‰āļ‡āļĒāļąāļ‡āđ€āļ›āđ‡āļ™āđāļŦāļĨāđˆāļ‡āļĄāļĢāļ”āļāđ‚āļĨāļāđāļŦāđˆāļ‡āļ—āļĩāđˆ 2 āļ‚āļ­āļ‡ āļˆ.āļ­āļļāļ”āļĢāļ˜āļēāļ™āļĩ āļ•āđˆāļ­āļˆāļēāļāđāļŦāļĨāđˆāļ‡āđ‚āļšāļĢāļēāļ“āļ„āļ”āļĩāļšāđ‰āļēāļ™āđ€āļŠāļĩāļĒāļ‡ āļ—āļĩāđˆāđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļ‚āļķāđ‰āļ™āļ—āļ°āđ€āļšāļĩāļĒāļ™āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāļˆāļēāļāļĒāļđāđ€āļ™āļŠāđ‚āļ āđ€āļĄāļ·āđˆāļ­ āļž.āļĻ.2535
āļ™.āļŠ.āļŠāļļāļ”āļēāļ§āļĢāļĢāļ“ āļŦāļ§āļąāļ‡āļĻāļļāļ āļāļīāļˆāđ‚āļāļĻāļĨ āļĢāļĄāļ§.āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āļāļĨāđˆāļēāļ§āļ§āđˆāļē āļāļēāļĢāļ—āļĩāđˆāļ­āļļïŋ―ïŋ―āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āļˆ.āļ­āļļāļ”āļĢāļ˜āļēāļ™āļĩ āđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļ›āļĢāļ°āļāļēāļĻāļˆāļēāļāļ­āļ‡āļ„āđŒāļāļēāļĢāļĒāļđāđ€āļ™āļŠāđ‚āļ āđƒāļŦāđ‰āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāļ—āļēāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđāļŦāđˆāļ‡āđƒāļŦāļĄāđˆ āļ–āļ·āļ­āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāļ—āļēāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđāļŦāđˆāļ‡āļ—āļĩāđˆ 5 āļ‚āļ­āļ‡āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒ āļ•āđˆāļ­āļˆāļēāļāļ™āļ„āļĢāļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļžāļĢāļ°āļ™āļ„āļĢāļĻāļĢāļĩāļ­āļĒāļļāļ˜āļĒāļē āđ€āļĄāļ·āļ­āļ‡āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļŠāļļāđ‚āļ‚āļ—āļąāļĒāđāļĨāļ°āđ€āļĄāļ·āļ­āļ‡āļšāļĢāļīāļ§āļēāļĢ āđāļŦāļĨāđˆāļ‡āđ‚āļšāļĢāļēāļ“āļ„āļ”āļĩāļšāđ‰āļēāļ™āđ€āļŠāļĩāļĒāļ‡ āļˆ.āļ­āļļāļ”āļĢāļ˜āļēāļ™āļĩ āđāļĨāļ°āđ€āļĄāļ·āļ­āļ‡āđ‚āļšāļĢāļēāļ“āļĻāļĢāļĩāđ€āļ—āļž āļˆ.āđ€āļžāļŠāļĢāļšāļđāļĢāļ“āđŒ āļ—āļĩāđˆāđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļ›āļĢāļ°āļāļēāļĻāđƒāļ™āļ›āļĩāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļē
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āđ‚āļ”āļĒāļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļ›āļĢāļ°āļāļēāļĻāđƒāļŦāđ‰āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļ āļ āļēāļĒāđƒāļ•āđ‰āļ„āļļāļ“āļ„āđˆāļēāđ‚āļ”āļ”āđ€āļ”āđˆāļ™āļ­āļąāļ™āđ€āļ›āđ‡āļ™āļŠāļēāļāļĨ āđ„āļ”āđ‰āđāļāđˆ āļāļēāļĢāļĢāļąāļāļĐāļēāļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āļ‚āļ­āļ‡āđāļ—āđ‰āđāļĨāļ°āļ”āļąāđ‰āļ‡āđ€āļ”āļīāļĄāļ‚āļ­āļ‡āđāļŦāļĨāđˆāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āļŠāļĩāļĄāļēāļŦāļīāļ™āļŠāļĄāļąāļĒāļ—āļ§āļēāļĢāļ§āļ”āļĩ āđāļĨāļ°āđ€āļ›āđ‡āļ™āļ›āļĢāļ°āļˆāļąāļāļĐāđŒāļžāļĒāļēāļ™āļ—āļĩāđˆāļĒāļ­āļ”āđ€āļĒāļĩāđˆāļĒāļĄāļ‚āļ­āļ‡āļāļēāļĢāļŠāļ·āļšāļ—āļ­āļ”āļ‚āļ­āļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ”āļąāļ‡āļāļĨāđˆāļēāļ§āļ—āļĩāđˆāļ•āđˆāļ­āđ€āļ™āļ·āđˆāļ­āļ‡āļ­āļĒāđˆāļēāļ‡āļĒāļēāļ§āļ™āļēāļ™āļāļ§āđˆāļēāļŠāļĩāđˆāļĻāļ•āļ§āļĢāļĢāļĐ āđ‚āļ”āļĒāđ€āļŠāļ·āđˆāļ­āļĄāđ‚āļĒāļ‡āđ€āļ‚āđ‰āļēāļāļąāļšāļ›āļĢāļ°āđ€āļžāļ“āļĩāļ‚āļ­āļ‡āļ§āļąāļ”āļāđˆāļēāļĒāļ­āļĢāļąāļāļ§āļēāļŠāļĩāđƒāļ™āđ€āļ§āļĨāļēāļ•āđˆāļ­āļĄāļē
āļˆāļķāļ‡āļ‚āļ­āđ€āļŠāļīāļāļŠāļ§āļ™āđƒāļŦāđ‰āļŠāļēāļ§āđ„āļ—āļĒāļ—āļąāđˆāļ§āļ›āļĢāļ°āđ€āļ—āļĻāļĢāđˆāļ§āļĄāđāļŠāļ”āļ‡āļ„āļ§āļēāļĄāļĒāļīāļ™āļ”āļĩ āđāļĨāļ°āđ€āļ‰āļĨāļīāļĄāļ‰āļĨāļ­āļ‡āđƒāļ™āđ‚āļ­āļāļēāļŠāļ—āļĩāđˆāļ āļđāļžāļĢāļ°āļšāļēāļ—āđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļ›āļĢāļ°āļāļēāļĻāđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāđāļŦāđˆāļ‡āđƒāļŦāļĄāđˆāļ‚āļ­āļ‡āđ„āļ—āļĒ āđ‚āļ”āļĒāļāļĢāļ°āļ—āļĢāļ§āļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āļˆāļ°āļžāļĒāļēāļĒāļēāļĄāļœāļĨāļąāļāļ”āļąāļ™āđƒāļŦāđ‰āđ€āļāļīāļ”āđāļŦāļĨāđˆāļ‡āļĄāļĢāļ”āļāđ‚āļĨāļāđāļŦāđˆāļ‡āđƒāļŦāļĄāđˆ āļ­āļĒāđˆāļēāļ‡āļ•āđˆāļ­āđ€āļ™āļ·āđˆāļ­āļ‡
āļ™.āļŠ.āļŠāļļāļ”āļēāļ§āļĢāļĢāļ“ āļāļĨāđˆāļēāļ§āļ­āļĩāļāļ§āđˆāļē āļāļĢāļ°āļ—āļĢāļ§āļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āđ‚āļ”āļĒāļāļĢāļĄāļĻāļīāļĨāļ›āļēāļāļĢ āđ„āļ”āđ‰āļ›āļĢāļ°āļāļēāļĻāļĒāļāđ€āļ§āđ‰āļ™āļ„āđˆāļēāļ˜āļĢāļĢāļĄāđ€āļ™āļĩāļĒāļĄāđ€āļ‚āđ‰āļēāļŠāļĄāļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āļˆ.āļ­āļļāļ”āļĢāļ˜āļēāļ™āļĩ āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ§āļąāļ™āļ—āļĩāđˆ 28 āļ.āļ„.-12 āļŠ.āļ„.2567 āđ€āļžāļ·āđˆāļ­āđƒāļŦāđ‰āļ›āļĢāļ°āļŠāļēāļŠāļ™āļ„āļ™āđ„āļ—āļĒāļ—āļļāļāļ„āļ™ āļ•āļĨāļ­āļ”āļˆāļ™āļ™āļąāļāļ—āđˆāļ­āļ‡āđ€āļ—āļĩāđˆāļĒāļ§āļ•āđˆāļēāļ‡āļŠāļēāļ•āļīāđ„āļ”āđ‰āļĢāđˆāļ§āļĄāđ€āļ‰āļĨāļīāļĄāļ‰āļĨāļ­āļ‡āļāļēāļĢāļ›āļĢāļ°āļāļēāļĻāļ‚āļķāđ‰āļ™āļ—āļ°āđ€āļšāļĩāļĒāļ™ āļ āļđāļžāļĢāļ°āļšāļēāļ—āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāđƒāļ™āļ„āļĢāļąāđ‰āļ‡āļ™āļĩāđ‰
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āļ āļđāļžāļĢāļ°āļšāļēāļ— āđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļ›āļĢāļ°āļāļēāļĻāđ€āļ›āđ‡āļ™āđāļŦāļĨāđˆāļ‡āļĄāļĢāļ”āļāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđïŋ―ïŋ―āļšāļ•āđˆāļ­āđ€āļ™āļ·āđˆāļ­āļ‡ āļˆāļģāļ™āļ§āļ™ 2 āđāļŦāļĨāđˆāļ‡ āļ›āļĢāļ°āļāļ­āļšāļ”āđ‰āļ§āļĒ
āļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āđāļĨāļ°āđāļŦāļĨāđˆāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļŠāļĩāļĄāļē āļ§āļąāļ”āļžāļĢāļ°āļžāļļāļ—āļ˜āļšāļēāļ—āļšāļąāļ§āļšāļēāļ™ āļ•āļąāđ‰āļ‡āļ­āļĒāļđāđˆāļ—āļēāļ‡āļ”āđ‰āļēāļ™āļ—āļīāļĻāļ•āļ°āļ§āļąāļ™āļ•āļāļŦāđˆāļēāļ‡āļˆāļēāļāļ­āļģāđ€āļ āļ­āļšāđ‰āļēāļ™āļœāļ·āļ­ āļˆ.āļ­āļļāļ”āļĢāļ˜āļēāļ™āļĩ āļ›āļĢāļ°āļĄāļēāļ“ 12 āļāļīāđ‚āļĨāđ€āļĄāļ•āļĢ āđ€āļ›āđ‡āļ™āļ•āļąāļ§āđāļ—āļ™āļ‚āļ­āļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļŠāļĩāļĄāļēāđƒāļ™āļŠāļĄāļąāļĒāļ—āļ§āļēāļĢāļ§āļ”āļĩ (āļžāļļāļ—āļ˜āļĻāļ•āļ§āļĢāļĢāļĐāļ—āļĩāđˆ 12-16) āļ­āļąāļ™āđ‚āļ”āļ”āđ€āļ”āđˆāļ™āļ—āļĩāđˆāļŠāļļāļ”āļ‚āļ­āļ‡āđ‚āļĨāļ āļ•āļēāļĄāđ€āļāļ“āļ‘āđŒāļ„āļļāļ“āļ„āđˆāļēāđ‚āļ”āļ”āđ€āļ”āđˆāļ™āļ­āļąāļ™āđ€āļ›āđ‡āļ™āļŠāļēāļāļĨ
āļ‚āđ‰āļ­āļ—āļĩāđˆ 3 āļ„āļ·āļ­āļŠāļēāļĄāļēāļĢāļ–āļ­āļ™āļļāļĢāļąāļāļĐāđŒāļ āļĨāļļāđˆāļĄāđƒāļšāđ€āļŠāļĄāļēāļŦāļīāļ™āļŠāļĄāļąāļĒāļ—āļ§āļēāļĢāļ§āļ”āļĩāļ—āļĩāđˆāļĄāļĩāļˆāļģāļ™āļ§āļ™āļĄāļēāļ āđāļĨāļ°āđ€āļ›āđ‡āļ™āđāļŦāļĨāđˆāļ‡āđƒāļŦāļāđˆāļ—āļĩāđˆāļŠāļļāļ”āđƒāļ™āđ‚āļĨāļ āđ‚āļ”āļĒāđƒāļšāđ€āļŠāļĄāļēāļ”āļąāļ‡āļāļĨāđˆāļēāļ§ āļĄāļĩāļ„āļ§āļēāļĄāļŠāļĄāļšāļđāļĢāļ“āđŒāđāļĨāļ°āļĒāļąāļ‡āļ„āļ‡āļ•āļąāđ‰āļ‡āļ­āļĒāļđāđˆāđƒāļ™āļŠāļ–āļēāļ™āļ—āļĩāđˆāļ•āļąāđ‰āļ‡āđ€āļ”āļīāļĄ āđāļŠāļ”āļ‡āļ–āļķāļ‡āļ§āļīāļ§āļąāļ’āļ™āļēāļāļēāļĢāļ—āļĩāđˆāļŠāļąāļ”āđ€āļˆāļ™āļ‚āļ­āļ‡āļĢāļđāļ›āđāļšāļš āđāļĨāļ°āļĻāļīāļĨāļ›āļāļĢāļĢāļĄāļ—āļĩāđˆāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ‚āļ­āļ‡āđƒāļšāđ€āļŠāļĄāļē āļ‹āļķāđˆāļ‡āļ—āļģāļŦāļ™āđ‰āļēāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āđ€āļ„āļĢāļ·āđˆāļ­āļ‡āļŦāļĄāļēāļĒāļāļģāļŦāļ™āļ”āļ‚āļ­āļšāđ€āļ‚āļ•āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļĻāļąāļāļ”āļīāđŒāļŠāļīāļ—āļ˜āļīāđŒ
āđāļĨāļ°āđ€āļāļ“āļ‘āđŒāļ‚āđ‰āļ­āļ—āļĩāđˆ 5 āļ āļđāļĄāļīāļ—āļąāļĻāļ™āđŒāļ‚āļ­āļ‡āļ āļđāļžāļĢāļ°āļšāļēāļ—āđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļ›āļĢāļąāļšāđ€āļ›āļĨāļĩāđˆāļĒāļ™āđƒāļŦāđ‰āđ€āļŦāļĄāļēāļ°āļŠāļĄāļāļąāļšāļāļēāļĢāđƒāļŠāđ‰āļžāļ·āđ‰āļ™āļ—āļĩāđˆāđ€āļžāļ·āđˆāļ­āļ›āļĢāļ°āļāļ­āļšāļžāļīāļ˜āļĩāļāļĢāļĢāļĄāļ—āļēāļ‡āļžāļļāļ—āļ˜āļĻāļēāļŠāļ™āļē āđāļĨāļ°āļĒāļąāļ‡āļ„āļ‡āļ„āļ§āļēāļĄāļŠāļģāļ„āļąāļāļ‚āļ­āļ‡āļāļĨāļļāđˆāļĄāđƒāļšāđ€āļŠāļĄāļēāļŦāļīāļ™ āđ‚āļ”āļĒāļ„āļ§āļēāļĄāđ€āļŠāļ·āđˆāļ­āļĄāđ‚āļĒāļ‡āđ€āļāļĩāđˆāļĒāļ§āļ‚āđ‰āļ­āļ‡āļāļąāļšāļ›āļĢāļ°āđ€āļžāļ“āļĩāļŠāļ‡āļ†āđŒāđƒāļ™āļāđˆāļēāļĒāļ­āļĢāļąāļāļāļ§āļēāļŠāļĩ (āļžāļĢāļ°āļ›āđˆāļē)
āļ āļđāļžāļĢāļ°āļšāļēāļ—āļˆāļķāļ‡āđ€āļ›āđ‡āļ™āļ›āļĢāļ°āļˆāļąāļāļĐāđŒāļžāļĒāļēāļ™āļ—āļĩāđˆāđ‚āļ”āļ”āđ€āļ”āđˆāļ™āļ‚āļ­āļ‡āļāļēāļĢāđƒāļŠāđ‰āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđŒāļ‚āļ­āļ‡āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļī āđ€āļ›āđ‡āļ™āļ•āļąāļ§āđāļ—āļ™āļ‚āļ­āļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļŠāļĩāļĄāļē āļŠāļĄāļąāļĒāļ—āļ§āļēāļĢāļ§āļ”āļĩ āļ‹āļķāđˆāļ‡āđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļŠāļ·āļšāļ—āļ­āļ” āļĢāļąāļāļĐāļēāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ”āļąāļ‡āļāļĨāđˆāļēāļ§āļ—āļĩāđˆāļ•āđˆāļ­āđ€āļ™āļ·āđˆāļ­āļ‡āļĒāļēāļ§āļ™āļēāļ™ āđ€āļŠāļ·āđˆāļ­āļĄāđ‚āļĒāļ‡āļ›āļĢāļ°āđ€āļžāļ“āļĩāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ‚āļ­āļ‡āļ­āļĢāļąāļāļ§āļēāļŠāļĩāļĄāļēāļ–āļķāļ‡āļ›āļąāļˆāļˆāļļāļšāļąāļ™
āļ”āđ‰āļēāļ™ āļ™āļēāļĒāļ™āļĄāļąāļŠāļ§āļīāļ™ āļ™āļēāļ„āļĻāļīāļĢāļī āļ™āļąāļāđ‚āļšāļĢāļēāļ“āļ„āļ”āļĩāļŠāļģāļ™āļēāļāļāļēāļĢ āļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āđ€āļ›āļīāļ”āđ€āļœāļĒāļ§āđˆāļē āļāļēāļĢāđ€āļŠāļ™āļ­āļ‚āļķāđ‰āļ™āļ—āļ°āđ€āļšāļĩāļĒāļ™āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāļĄāļĩāļ­āļĒāļđāđˆ 2 āļ›āļĢāļ°āđ€āļ”āđ‡āļ™ āļ„āļ·āļ­ 1.āļ­āļļāļ—āļĒāļēāļ™āļŊ āļ āļđāļžāļĢāļ°āļšāļēāļ— āđ„āļ”āđ‰āļ›āļĢāļēāļāļāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđ€āļŠāļĄāļē āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļ„āļ•āļīāļ„āļ§āļēāļĄāđ€āļŠāļ·āđˆāļ­āļ—āļĩāđˆāļœāļŠāļĄāļœāļŠāļēāļ™ āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļāļēāļĢāļ™āļąāļšāļ–āļ·āļ­āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļĻāļąāļāļ”āļīāđŒāļŠāļīāļ—āļ˜āļīāđŒāđāļĨāļ°āļāļēāļĢāļāļģāļŦāļ™āļ”āļ‚āļ­āļšāđ€āļ‚āļ•āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļĻāļąāļāļ”āļīāđŒāļŠāļīāļ—āļ˜āļīāđŒāļ”āđ‰āļ§āļĒāļŦāļĨāļąāļāļŦāļīāļ™āļŦāļĢāļ·āļ­āđƒāļšāđ€āļŠāļĄāļē
āļ‹āļķāđˆāļ‡āļ›āļĢāļ°āđ€āļ”āđ‡āļ™āļ™āļĩāđ‰āļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ—āđ€āļ›āđ‡āļ™āļ•āđ‰āļ™āđāļšāļšāļ‚āļ­āļ‡āļāļēāļĢāļāļģāļŦāļ™āļ”āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļ­āļļāđ‚āļšāļŠāļ–āļ—āļĩāđˆāļĄāļĩāđƒāļšāđ€āļŠāļĄāļēāļĨāđ‰āļ­āļĄāļĢāļ­āļšāļ­āļĒāđˆāļēāļ‡āļ—āļĩāđˆāđ€āļŦāđ‡āļ™āđƒāļ™āļ›āļąāļˆāļˆāļļāļšāļąāļ™
āļ›āļĢāļ°āđ€āļ”āđ‡āļ™āļ—āļĩāđˆ 2 āļĄāļĩāļŦāļĨāļąāļāļāļēāļ™āļ­āļąāļ™āđ€āļ”āđˆāļ™āļŠāļąāļ”āļ§āđˆāļē āļĄāļĩāļĄāļ™āļļāļĐāļĒāđŒāđ€āļ‚āđ‰āļēāļĄāļēāļ•āļąāđ‰āļ‡āļ–āļīāđˆāļ™āļāļēāļ™āļ•āļąāđ‰āļ‡āđāļ•āđˆāļŠāļĄāļąāļĒāļāđˆāļ­āļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāđ€āļĢāļ·āđˆāļ­āļĒāļĄāļēāļˆāļ™āļ–āļķāļ‡āļŠāļĄāļąāļĒāļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒ āđ‚āļ”āļĒāļĄāļ™āļļāļĐāļĒāđŒāđ€āļŦāļĨāđˆāļēāļ™āļĩāđ‰āđ„āļ”āđ‰āđ€āļ‚āđ‰āļēāļĄāļēāļ”āļąāļ”āđāļ›āļĨāļ‡āļŦāļīāļ™āđƒāļŦāđ‰āđ€āļ›āđ‡āļ™āļŠāļ–āļēāļ™āļ—āļĩāđˆāļ›āļĢāļ°āļāļ­āļšāļžāļīāļ˜āļĩāļāļĢāļĢāļĄāļ—āļēāļ‡āļžāļļāļ—āļ˜āļĻāļēāļŠāļ™āļē āļ”āļąāļ‡āļ›āļĢāļēāļāļāļžāļĢāļ°āļžāļļāļ—āļ˜āļĢāļđāļ›āļ āļēāļĒāđƒāļ™āļ–āđ‰āļģāļŦāļīāļ™
āļŠāļģāļŦāļĢāļąāļšāļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āđ€āļ„āļĒāļ–āļđāļāđ€āļŠāļ™āļ­āđ€āļžāļ·āđˆāļ­āļ‚āļķāđ‰āļ™āļ—āļ°āđ€āļšāļĩāļĒāļ™āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāđ€āļĄāļ·āđˆāļ­āļ›āļĩ 2547 āļ•āđˆāļ­āļĄāļēāļ–āļđāļāļ–āļ­āļ™āļĢāļēāļĒāļŠāļ·āđˆāļ­āļāļĢāļ°āļ—āļąāđˆāļ‡āļ›āļĩ 2559 āđ„āļ”āđ‰āđ€āļŠāļ™āļ­āđ€āļžāļ·āđˆāļ­āđƒāļŦāđ‰āļĄāļĩāļāļēāļĢāļžāļīāļˆāļēāļĢāļ“āļēāļāļēāļĢāļ‚āļķāđ‰āļ™āļ—āļ°āđ€āļšāļĩāļĒāļ™āļ­āļĩāļāļ„āļĢāļąāđ‰āļ‡
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āđ€āļŪāļĨāļąāđˆāļ™! "āļ āļđāļžāļĢāļ°āļšāļēāļ—" āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāđāļŦāđˆāļ‡āļ—āļĩāđˆ 2 āļ‚āļ­āļ‡āļ­āļļāļ”āļĢāļ˜āļēāļ™āļĩ
āļšāļĢāļĢāļĒāļēāļāļēāļĻāđƒāļ™āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āļ—āļĩāđˆ āļ­.āļšāđ‰āļēāļ™āļœāļ·āļ­ āļˆ.āļ­āļļāļ”āļĢāļ˜āļēāļ™āļĩ āļ§āļąāļ™āļ™āļĩāđ‰ āļ„āļķāļāļ„āļąāļāđ€āļ›āđ‡āļ™āļžāļīāđ€āļĻāļĐ āļĄāļĩāļŦāļąāļ§āļŦāļ™āđ‰āļēāļŠāđˆāļ§āļ™āļĢāļēāļŠāļāļēāļĢ āļ›āļĢāļ°āļŠāļēāļŠāļ™ āđāļĨāļ°āļ™āļąāļāļ—āđˆāļ­āļ‡āđ€āļ—āļĩāđˆāļĒāļ§ āļĄāļēāļĢāļ­āļĨāļļāđ‰āļ™ āļāļēāļĢāļ›āļĢāļ°āļāļēāļĻāđƒāļŦāđ‰āļ āļđāļžāļĢāļ°āļšāļēāļ—āļ‚āļķāđ‰āļ™āļ—āļ°āđ€āļšāļĩāļĒāļ™āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļ
āđ‚āļ”āļĒāļŦāļ­āļ™āļēāļ‡āļ­āļļāļŠāļē āļ‹āļķāđˆāļ‡āļĄāļĩāļĨāļąāļāļĐāļ“āļ°āđ€āļ›āđ‡āļ™āđ‚āļ‚āļ”āļŦāļīāļ™āļ„āļĨāđ‰āļēāļĒāļĢāļđāļ›āļ”āļ­āļāđ€āļŦāđ‡āļ”āļŦāļĢāļ·āļ­āļŦāļ­āļ„āļ­āļĒāļ‚āļ™āļēāļ”āđ€āļĨāđ‡āļ āļ•āļąāđ‰āļ‡āļ­āļĒāļđāđˆāļšāļ™āļĨāļēāļ™āļŦāļīāļ™āļāļ§āđ‰āļēāļ‡ āļ āļēāļĒāđƒāļ™āļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āļ­.āļšāđ‰āļēāļ™āļœāļ·āļ­ āļˆ.āļ­āļļāļ”āļĢāļ˜āļēāļ™āļĩ āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āđ„āļŪāđ„āļĨāļ—āđŒāļ—āļĩāđˆāļŠāļģāļ„āļąāļāļŠāļģāļŦāļĢāļąāļšāđāļŦāļĨāđˆāļ‡āđ‚āļšāļĢāļēāļ“āļ„āļ”āļĩ āđ€āļžāļ·āđˆāļ­āļ›āļĢāļ°āļāļ­āļšāļāļēāļĢāļ‚āļķāđ‰āļ™āļ—āļ°āđ€āļšāļĩāļĒāļ™āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāļ•āđˆāļ­āļĒāļđāđ€āļ™āļŠāđ‚āļ
āļ āļēāļĒāļ™āļ­āļāļŦāļ­āļ™āļēāļ‡āļ­āļļāļŠāļē āļĒāļąāļ‡āļĄāļĩāļ āļēāļžāđ€āļ‚āļĩāļĒāļ™āļŠāļĩāļ—āļąāđ‰āļ‡āļŠāđˆāļ§āļ™āļāļēāļ™āđāļĨāļ°āļŠāđˆāļ§āļ™āļšāļ™ āđ€āļŠāļ·āđˆāļ­āļ§āđˆāļēāđ€āļ›āđ‡āļ™āļāļēāļĢāļšāļąāļ™āļ—āļķāļāđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļ„āļ§āļēāļĄāđ€āļŠāļ·āđˆāļ­āļ‚āļ­āļ‡āļ„āļ™āļĒāļļāļ„āļāđˆāļ­āļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒ āļšāļĢāļīāđ€āļ§āļ“āļšāļĢāļīāđ€āļ§āļ“āđ‚āļ”āļĒāļĢāļ­āļšāļĢāļ­āļ‡āđ„āļ›āļ”āđ‰āļ§āļĒāđƒāļšāđ€āļŠāļĄāļēāđāļĨāļ°āļ–āđ‰āļģāļŦāļīāļ™āļ—āļĩāđˆāļĄāļĩāļžāļĢāļ°āļžāļļāļ—āļ˜āļĢāļđāļ›āļŠāļĄāļąāļĒāļ—āļ§āļēāļĢāļ§āļ”āļĩ āļ‹āļķāđˆāļ‡āļšāđˆāļ‡āļšāļ­āļāļ–āļķāļ‡āļ„āļ§āļēāļĄāļĢāļļāđˆāļ‡āđ€āļĢāļ·āļ­āļ‡āļ‚āļ­āļ‡āļžāļĢāļ°āļžāļļāļ—āļ˜āļĻāļēāļŠāļ™āļē āđ‚āļ”āļĒāļŦāļ­āļ™āļēāļ‡āļ­āļļāļŠāļēāđ€āļŠāļ·āđˆāļ­āļ§āđˆāļēāđƒāļŠāđ‰āđƒāļ™āļāļēāļĢāļ—āļģāļžāļīāļ˜āļĩāļāļĢāļĢāļĄāļ—āļēāļ‡āļĻāļēāļŠāļ™āļē āļˆāļķāļ‡āļ–āļ·āļ­āļ§āđˆāļēāđ€āļ›āđ‡āļ™āļŠāļ–āļēāļ™āļ—āļĩāđˆāļĻāļąāļāļ”āļīāđŒāļŠāļīāļ—āļ˜āļīāđŒāđāļĨāļ°āļŠāļēāļ§āļšāđ‰āļēāļ™āđƒāļ™āļĨāļ°āđāļ§āļāļ™āļĩāđ‰āđƒāļŦāđ‰āļ„āļ§āļēāļĄāđ€āļ„āļēāļĢāļžāļĻāļĢāļąāļ—āļ˜āļē
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āđ„āļ—āļĒāļžāļĩāļšāļĩāđ€āļ­āļŠāđ„āļ”āđ‰āļžāļđāļ”āļ„āļļāļĒāļāļąāļšāļ™āļąāļāļ—āđˆāļ­āļ‡āđ€āļ—āļĩāđˆāļĒāļ§ āļ‹āļķāđˆāļ‡āđ€āļ”āļīāļ™āļ—āļēāļ‡āļĄāļēāļˆāļēāļ āļˆ.āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ āļšāļ­āļāļ§āđˆāļē āđ€āļ›āđ‡āļ™āļ„āļĢāļąāđ‰āļ‡āđāļĢāļāļ—āļĩāđˆāļĄāļēāļ—āđˆāļ­āļ‡āđ€āļ—āļĩāđˆāļĒāļ§āļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āđāļĨāļ°āđ€āļžāļīāđˆāļ‡āļˆāļ°āļ—āļĢāļēāļšāļ‚āđˆāļēāļ§āļ§āđˆāļēāļ§āļąāļ™āļ™āļĩāđ‰āļ„āļ“āļ°āļāļĢāļĢāļĄāļāļēāļĢāļˆāļ°āļĄāļĩāļāļēāļĢāļžāļīāļˆāļēāļĢāļ“āļēāļāļēāļĢāļ‚āļķāđ‰āļ™āļ—āļ°āđ€āļšāļĩāļĒāļ™āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāļĨāļģāļ”āļąāļšāļ—āļĩāđˆ 6
āļ‚āļ“āļ°āļ—āļĩāđˆāļ™āļēāļĒāļ™āļĄāļąāļŠāļ§āļīāļ™ āļ™āļēāļ„āļĻāļīāļĢāļī āļ™āļąāļāđ‚āļšāļĢāļēāļ“āļ„āļ”āļĩāļŠāļģāļ™āļēāļāļāļēāļĢ āļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ— āđ€āļ›āļīāļ”āđ€āļœāļĒāļ§āđˆāļē āļāļēāļĢāđ€āļŠāļ™āļ­āļ‚āļķāđ‰āļ™āļ—āļ°āđ€āļšāļĩāļĒāļ™āđ€āļ›āđ‡āļ™āļĄāļĢāļ”āļāđ‚āļĨāļāļĄāļĩāļ­āļĒāļđāđˆ 2 āļ›āļĢāļ°āđ€āļ”āđ‡āļ™ āļ„āļ·āļ­ 1 āļ­āļļāļ—āļĒāļēāļ™āļŊ āļ āļđāļžāļĢāļ°āļšāļēāļ— āđ„āļ”āđ‰āļ›āļĢāļēāļāļāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđ€āļŠāļĄāļē āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļ„āļ•āļīāļ„āļ§āļēāļĄāđ€āļŠāļ·āđˆāļ­āļ—āļĩāđˆāļœāļŠāļĄāļœāļŠāļēāļ™āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļāļēāļĢāļ™āļąāļšāļ–āļ·āļ­āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļĻāļąāļāļ”āļīāđŒāļŠāļīāļ—āļ˜āļīāđŒāđāļĨāļ°āļāļēāļĢāļāļģāļŦāļ™āļ”āļ‚āļ­āļšāđ€āļ‚āļ•āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļĻāļąāļāļ”āļīāđŒāļŠāļīāļ—āļ˜āļīāđŒāļ”āđ‰āļ§āļĒāļŦāļĨāļąāļāļŦāļīāļ™āļŦāļĢāļ·āļ­āđƒāļšāđ€āļŠāļĄāļē āļ‹āļķāđˆāļ‡āļ›āļĢāļ°āđ€āļ”āđ‡āļ™āļ™āļĩāđ‰āļ­āļļāļ—āļĒāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ āļđāļžāļĢāļ°āļšāļēāļ—āđ€āļ›āđ‡āļ™āļ•āđ‰āļ™āđāļšāļšāļ‚āļ­āļ‡āļāļēāļĢāļāļģāļŦāļ™āļ”āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļ­āļļāđ‚āļšāļŠāļ–āļ—āļĩāđˆāļĄāļĩāđƒāļšāđ€āļŠāļĄāļēāļĨāđ‰āļ­āļĄāļĢāļ­āļšāļ­āļĒāđˆāļēāļ‡āļ—āļĩāđˆāđ€āļŦāđ‡āļ™āđƒāļ™āļ›āļąāļˆāļˆāļļāļšāļąāļ™
āđāļĨāļ°āđƒāļ™āļ›āļĢāļ°āđ€āļ”āđ‡āļ™āļ—āļĩāđˆ 2 āļĄāļĩāļŦāļĨāļąāļāļāļēāļ™āļ­āļąāļ™āđ€āļ”āđˆāļ™āļŠāļąāļ”āļ§āđˆāļēāļĄāļĩāļĄāļ™āļļāļĐāļĒāđŒāđ€āļ‚āđ‰āļēāļĄāļēāļ•āļąāđ‰āļ‡āļ–āļīāđˆāļ™āļāļēāļ™āļ•āļąāđ‰āļ‡āđāļ•āđˆāļŠāļĄāļąāļĒāļāđˆāļ­āļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāđ€āļĢāļ·āđˆāļ­āļĒāļĄāļēāļˆāļ™āļ–āļķāļ‡āļŠāļĄāļąāļĒāļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒ āđ‚āļ”āļĒāļĄāļ™āļļāļĐāļĒāđŒāđ€āļŦāļĨāđˆāļēāļ™āļĩāđ‰āđ„āļ”āđ‰āđ€āļ‚āđ‰āļēāļĄāļēāļ”āļąāļ”āđāļ›āļĨāļ‡āļŦāļīāļ™āđƒāļŦāđ‰āđ€āļ›āđ‡āļ™āļŠāļ–āļēāļ™āļ—āļĩāđˆāļ›āļĢāļ°āļāļ­āļšāļžāļīāļ˜āļĩāļāļĢāļĢāļĄāļ—āļēāļ‡āļžāļļāļ—āļ˜āļĻāļēāļŠāļ™āļē āļ”āļąāļ‡āļ›āļĢāļēāļāļāļžāļĢāļ°āļžāļļāļ—āļ˜āļĢāļđāļ›āļ āļēāļĒāđƒāļ™āļ–āđ‰āļģāļŦāļīāļ™
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Phu Phrabat Historical Park
CR  ::    https://www.thaipbs.or.th/news/content/342432
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krsnaradhika · 2 years ago
Text
Hehe- A very raw piece of writing here. Also if anyone's wondering, I have an OC in here. Don't mind her tho lmao. Feel free to point out the mistakes!
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Shri Shri Rukmini Satyabhama sameta Krishna samarpayami
Rukmini and Satyabhama spare some time with each other in Dvaraka, post a work day.
When SuryaNarayana's chariot rode below the horizon in the city of gates, the shades of saffron and dark mingling in one against the canvas of the welkin glimmered against the fair visage of the Narayani, the chief among the Ashtapatni of Keshava, who blessed the sun lord once before the lunar god arrived for his shift.
Rukmini's smile exuded the semblance of a fully bloomed water lily, bright pink and one dripping honey, much like her lotus eyes that crinkled in merry. Rolling back the dried scrolls, she interlocked her slender fingers against each other and gave a stretch, yawning with tears clinging to the corner of her eyes and a half-fatigued look eclipsing her usual Chanchala-ness.
Something swished against the shadows of Dvaravati castle's cloisters forged with finesse, quick to gain her attention. It played around on the whims of Vayu before a hand smothered it, deliberately camouflaging in the silence and semi-murk of the eventide. Krishnatmika frowned momentarily, eyebrows puckering before they rose again in glee. Grinning from ear to ear, she languidly shifted again in her seat, craning her neck to get a better look at whatever shenanigans BhuLakshmi was now upto.
"Ayi, I am not Bhanu to accompany his father in their monkey business. I am his mother, Rukku Jiji!" The unladly-like squeak that then addressed her, had Vaidarbhi doubling over as a pouting Satyabhama stepped out of the shadows; her hands on her hips with a look of betrayal and disbelief on her countenance.
"Very well, it's you after Kanha I see." She snorted, adding fuel to the mirth of her elder co-wife whose shoulders trembled by the laughter she tried subduing but to no avail.
"Aww, darling little Bhamae, please have a seat. How may I assist you, my queen?" Rukmini pursed her lips, pushing back her amusement as Satyabhama rolled her eyes once more, shaking her head fondly; headstrong on maintaining the pseudo act of being offended but failed eventually. The latter moved around in unrushed steps, stationing more oil lamps in the corners of the council hall that contained no one but them for then, murmuring a hymn to the goddess of time.
"Samba was asking for his Jyeshtha Maa. Jamba Jiji told him she's got a more darling child," Satyabhama giggled while spinning on her heels, as a horrified Rukmini felt bad for snickering again. "He's been ceaselessly wailing like a typical child since, and needless to say, Yamuna's enjoying it. She even teased him for his other favourite Maa's too busy with Satyaa's little one." She mimicked the lisp of KrishnaPutra in the end, an exasperating amusement in her demeanour as Rukmini for the perhaps the first time in her life, was at a loss of words.
"Leave you, it's Kalindi who has unofficially vowed to not let me live in peace for once."
"No no, that designation is mine. I'll fight Yama to have his twin in place you see."
A short snug silence filled their space, an ecstasy in their hearts as was their nature. Satyabhama returned to Rukmini with a dramatic look of conflict in her eyes and a bowl of heated oil in her hand.
Bhudevi seated herself on a couch placed at a corner, before enthroning Rukmini's head on her lap, letting the latter's tresses loose to sprawl around like tendrils of forest vegetation, jasmine flowers caged in them at irregular intervals. The vermillion smeared forehead of the princess of Shri-kshetra gave the image of the sun itself, eyes like stars curtained with a thin stretch of coral tinctured flesh. She was as precious to Madhava as the moon was to the poets, her bracing aura eternally enrapturing the patron of sustenance.
Prathama Dvarakeshvari studied the half-glare thrown her way before blinking, hauling her soul sister from the reverie of admiration she retained for her, "What are you looking at, Bhamae?"
"On a scale of 1 to 10, how much do I love you for not pulling your ears for being late, big sister?" Varahi shook her head from side to side, experiencing irk and affection at once.
Krishnatmika flushed sheepishly before cheekily smiling as a pair of fingers slid in her scalp, the empyrean aroma of camphor infused almond oil wafting in the air around and having her almost melt like butter, "10 on 10, Vasundharae. You'll punish me, your beloved Shri? Will you not think of my darling ears?"
Satyabhama continued with her work, her doting eyes softening further as she felt Rukmini gradually flop, exhaling a sigh of relief and burying her face in the former's lap, "I shall have you locked away from the council for a week, do not forget that Mata Kokila's ferral cat is here to endorse and assist my shenanigans too."
'This scion of the flames is beholden to your majesty for thy exquisite choice of words recounting my magnificence, Shri Shri Dvaraka Maharani. It's a shame I am not as competent as you in terms of analogies and vocabulary. Grant this servant with leniency, good lady.’ A mordant smile flashed from the other end of the mind bond as Satyabhama bowed in her sitting position, putting a hand on her chest in comic gratitude.
'You're welcome and pardoned, peasant.'
Rukmini smiled again, thoroughly relishing the repartee as the other Bharyas too joined in from different parts of the castle itself, each with more audacious, either too advanced or lame humoured responses to the other's teasing.
What would she do without these brats?
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amazing-thailand · 1 year ago
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🗚 Always top-listed among history buffs anywhere, Sukhothai Historical Park is the seat of the ancient Dvaravati Dynasty. Its still-present remnants are considered so significant that the area has become a UNESCO World Heritage Site.
#AmazingThailand
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bleakyblues · 1 year ago
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Hi! saw that you were not feeling well so I didn't want to bother you much. But now that you're back, can I ask you about the mountain fortress in Songbird? I looked at the monastery that you referenced but as a person who's from a place that doesn't have mountains much less mountain fortresses, it's hard to wrap my mind around the idea of it. But I love the idea that a city can just exist like you described so I wanted to ask if you have more reference pictures or places I can look up? The pictures I found on Pinterest aren't much helpful lol
Hmm ðŸĪ” this is a tough one. I have travelled in the mountains a lot so the concept came easily to me without consulting any specific reference picture but there are certain photos that I kept around to consult for descriptions. I'm including those in hopes that it gives you a clearer picture.
First, this cover art I found on pinterest, of this book called The King of Ashes. But this is more of a coastal city in the western world than a mountain fortress in Asia.
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Second, these pics I clicked of the Key monastery of Himachal Pradesh, India. It is said to be around a 1000 years old so not too far from the Dvaravati period, though set in widely different cultures. This is how I imagined the buildings were stacked but obviously with way more trees because vegetation type is completely different.
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Third, I have this quick sketch I made to help me conceptualize the city. There isn't a lot of description about the city in the 1st chapter but we will see more of it as we move further into the story.
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How the two rivers meet—
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As you can see from the two different colours of water, this is the confluence of two different rivers. This is Uttarakhand, India. (Interesting tidbit - You are looking at the creation of the river Ganga here.) Both pics are also by me.
The following two pictures are how I imagined tbe river to look like. They are also from Uttarakhand and were clicked by me.
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Lastly, this is how I imagine the scenary that Porsche travels through —
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This is Arunachal Pradesh, India and like the others, I clicked this one as well.
Apart from all this, Punakha Monastery was a large influence but most of that came from memory instead of any particular picture.
Hope this helped you!
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fefefufu · 13 days ago
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"Sejarah Thailand: Dari Kerajaan Kuno hingga Era Modern yang Dinamis"
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Thailand, yang dikenal sebagai "Negara Seribu Pagoda," memiliki sejarah yang kaya dan beragam. Terletak di jantung Asia Tenggara, Thailand telah mengalami berbagai periode dan perubahan, mulai dari kerajaan kuno hingga modernitas yang dinamis.
Kerajaan Kuno dan Awal Mula
Sejarah Thailand dimulai dengan kerajaan-kerajaan kuno seperti Funan dan Dvaravati yang muncul sekitar abad ke-1 hingga ke-11 M. Kerajaan Khmer, yang berpusat di Kamboja, juga memengaruhi wilayah ini, terutama dalam hal budaya dan agama. Namun, kerajaan yang paling dikenal adalah Sukhothai, yang berdiri pada abad ke-13. Raja Ramkhamhaeng dianggap sebagai pendiri, yang juga memperkenalkan tulisan Thai.
Kerajaan Ayutthaya
Setelah Sukhothai, Kerajaan Ayutthaya didirikan pada tahun 1350 dan menjadi salah satu pusat perdagangan dan budaya yang penting di Asia Tenggara. Ayutthaya dikenal karena arsitektur megah dan sistem pemerintahannya yang maju. Namun, pada tahun 1767, kerajaan ini hancur akibat serangan tentara Burma, menandai akhir dari periode tersebut.
Kerajaan Thonburi dan Awal Dinasti Chakri
Setelah kejatuhan Ayutthaya, Raja Taksin mendirikan Kerajaan Thonburi, yang berlangsung singkat. Pada tahun 1782, Raja Rama I mendirikan Dinasti Chakri dan memindahkan ibu kota ke Bangkok, yang tetap menjadi ibu kota Thailand hingga sekarang. Dinasti Chakri memainkan peran penting dalam modernisasi Thailand, termasuk reformasi administrasi dan militer.
Perubahan dan Modernisasi
Pada akhir abad ke-19, Raja Chulalongkorn (Rama V) memperkenalkan berbagai reformasi yang mendukung modernisasi, seperti pendidikan dan sistem transportasi. Thailand juga berhasil mempertahankan kemerdekaannya di tengah kolonialisasi Eropa, dengan menghindari penjajahan langsung melalui diplomasi yang cermat.
Era Abad ke-20 dan Perang Dunia II
Thailand terlibat dalam Perang Dunia I sebagai sekutu, namun di bawah tekanan Jepang, Thailand mengadopsi kebijakan pro-Jepang selama Perang Dunia II. Setelah perang, Thailand kembali ke jalur demokrasi, meskipun sering mengalami perubahan pemerintahan melalui kudeta militer.
Politik Modern dan Krisis
Sejak akhir abad ke-20, Thailand mengalami berbagai krisis politik dan sosial, termasuk protes besar-besaran yang sering kali berujung pada kudeta. Ketegangan antara kelompok pendukung dan penentang mantan Perdana Menteri Thaksin Shinawatra menjadi salah satu isu utama politik Thailand. Pada tahun 2014, militer melakukan kudeta dan mengambil alih pemerintahan.
Kesimpulan
Sejarah Thailand adalah perjalanan panjang yang mencerminkan kekayaan budaya, ketahanan, dan dinamika politik. Dengan warisan yang kaya dan identitas yang kuat, Thailand terus beradaptasi dengan tantangan modern sambil mempertahankan tradisi dan budayanya. Memahami sejarahnya sangat penting untuk menghargai posisi Thailand di kancah internasional saat ini.
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biensdupatrimoinemondial · 6 months ago
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2023 : La ville ancienne de Si Thep et ses monuments de Dvaravati associÃĐs. ThaÃŊlande
Il s’agit d’un bien en sÃĐrie composÃĐ de trois ÃĐlÃĐments constitutifs : un site caractÃĐristique de villes jumelles, qui comprend une ville intÃĐrieure et une ville extÃĐrieure entourÃĐes de douves ; le monument ancien massif de Khao Klang Nok ; et le monument ancien de la grotte de Khao Thamorrat. Ensemble, ces sites reprÃĐsentent l’architecture, les traditions artistiques et la diversitÃĐ religieuse de l’empire de Dvaravati qui s’ÃĐpanouit du VIe au Xe siÃĻcle, tÃĐmoignant des influences de l’Inde. L’adaptation locale de ces traditions fut à l’origine d’une nouvelle tradition artistique dÃĐnommÃĐe l’ÃĐcole d’art de Si Thep, qui influença par la suite d’autres civilisations d’Asie du Sud-Est.
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hadeschan · 7 months ago
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Pra Phanat-sa-bodi, a baked clay amulet dated to the dawn of Dvaravati Culture, 1200 years ago
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In BE 2560 (CE 2017), a Batch of Pra Phanat-sa-bodi was found hidden in a Mondop, a specific square based building or shrine with a pyramidal roof (seemingly) carried by columns within a temple building of Wat Saranat Thammaram, Rayong Province. The story has it that a group of ancient amulet collectors collected Pra Phanat-sa-bodi amulets from the villagers who accidently found them in the fields that they cultivated for crops in the area of Chonburi, Phetchaburi, and Chai Nat Province. In BE 2460 (CE 1917), the antique collector took Pra Phanat-sa-bodi to Luang Phu Suk of Wat Pak Khlong Makham Thao, Chai Nat to bless on. And later in BE 2462 (CE 1919), Luang Phu Suk gave a Batch of Pra Phanat-sa-bodi to his looksit (disciples / followers /adherents/ worshippers / devotees) from Phetchaburi Province, and that looksit gave this Batch of Pra Phanat-sa-bodi to Pra Ratchamangglachan, the ex-abbot of Wat Saranat Thammaram, Rayong Province while and the Holy Mother (Khun Mae) Boonreuan Tohngboonterm of Wat Awut was staying at Wat Saranat Thammaram.
â€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķâ€Ķ
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asiasaint · 1 year ago
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Introducing the "Dvaravati Empire", the Mother of all civilisation (with influences from India) in mainland southeast Asia that thrived in Central Thailand from the 6th to the 10th centuries (pre-Angkor Wat). At its peak, the town was a thriving cultural and trading metropolis that celebrated Hindu and Buddhist beliefs. "Si Thep" was officially added to UNESCO's world heritage list on September 19, 2023, more than one hundred years since it was discovered.
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privatedriverinindia · 2 years ago
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Top Seven holy cities of India - Sapta Puri
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Top Seven holy cities of India
Seven of holy cities of Sapta Puri are Ayodhya, Mathura, Maya (Haridwar), Kasi (Varanasi), Kanchi (Kanchipuram), Avantika (Ujjain) and Dvaravati (Dwarka)
India, known as the Land of Gods and Deities, has an inexhaustible number of Pilgrimage Sites. India, the world's most ancient civilization, is not only rich in heritage opulence but also has a glorious mythological past. Every year, tens of thousands of people flock to holy shrines in search of solace or blessings. Tourists from all over the world are drawn to the long journey to many popular pilgrimage destinations. Religion and beliefs are deeply ingrained, and there are numerous Religion Tours in India to choose from. Some of the most popular pilgrimage destinations to visit in 2023 are listed below.
Thousands of people travel to India from all over the world in search of spiritual enlightenment. In addition, the majority of these pilgrimage sites are hidden away in areas of breathtaking natural beauty. We select the top 7 pilgrimages to make in India, a country known for its temples and pilgrimages.
Suggested Tour: Char Dham Tour Packages, Kedarnath Badrinath Yatra
Ayodhya
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Ayodhya is the birthplace of Lord Ram. He is said to be Lord Vishnu's seventh incarnation. It is the holiest city in India and has long been an important part of Uttar Pradesh's economic, political, and historical history. Ayodhya is about 6 kilometres from Faizabadon on the Sarayu River's bank. This 9000-year-old city served as the capital of Raja Dashrath's prosperous kingdom. This auspicious city contains over 700 temples, making it one of India's most sacred cities. Some of the best places to visit include Ram Janam Bhumi, Kanak Bhawan, Sita ki Rasoi, Hanumangarhi, Gular Bari, Daashtrath Bhawan, Nageshwarnath Temple, Treta ka Thakur, and Dashrath Bhawan.
Varanasi
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Varanasi, also known as Shiv ki Nagari, is said to be India's oldest city. There are nearly 20,000 temples in the city, which can be found on every street corner. Lord Shiva is said to have built the holy city of Kashi with his hands, which is why it is known as India's spiritual capital. It is widely held that if you die in this city, you will achieve Moksh (salvation). Varanasi is all about the sacred Ghats, which will provide you with the most scenic and tranquil views of the holy River Ganga. Manikarnika Ghat, Dashashwamedha Ghat, Pancha-Ganga Ghat, Asi Sangam Ghat, Varana Sangam Ghat, and Kashi Vishwanath are the main attractions in Varanasi.
Suggested Tour: Golden Triangle Tour with Varanasi
Mathura
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Mathura is the birthplace of Lord Krishna, located in Uttar Pradesh near the cities of Vrindavan and Goverdhan. Lord Krishna is also thought to be Lord Vishnu's incarnation, who came to save the world from the evil and powerful King Kansa. Mathura, known as the "heart of Indian culture," is filled with multicoloured temples. The best time to visit this holy city is during Krishna Janamashtami, when the entire city is in full swing and everyone is excited to celebrate Krishna's birthday. Apart from being significant for Hindus, Mathura is also known for magnificent Buddhist art that dates back to the golden age of Indian culture.
Haridwar
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Haridwar is the literal translation of Haridwar (gateway of Lord Vishnu). It is where Hindus come before embarking on the Char Dham Yatra (Hindu Religion's Four Abodes) for the ritualistic bath in the holy Ganga water. Bhagirath prayed to Lord Shiva and was successful in bringing Ganga to Earth for the benefit of humanity, according to Hindu religious books. Har ki Pauri is said to be the first place Ganga landed. Mansa Devi Temple, Bharat Mata Temple, Maya Devi Temple, and Chandi Devi Temple are among the prominent temples in Haridwar. Every 12 years, the world-famous Kumbh Mela is held in this holy city of India. Suggested Tour: Haridwar Rishikesh Same Day Tour
Kanchipuram
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Kanchipuram is one of India's seven sacred cities due to its divine temples. Kanchi, located on the banks of the River Vegavathi, is also known as the City of Thousand Temples and the City of Gold. Advaita philosophy was spread in this city by Adi Shankara, a great Hindu philosopher. Kanchipuram is only 75 kilometres from Chennai, the state capital of Tamil Nadu. This is why it is one of the most visited holy cities in India. Kanchipuram has approximately 108 Shaiva temples and 18 Vaishnava temples. Kanchipuram's famous temples include Ekambareswarar Temple, Varadharaja Perumal Temple, Kailasnathar Temple, and Kamakshi Temple.
Ujjain
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Ujjain is one of India's Sapta Puri - seven sacred cities - and is located on the banks of the Kshipra River. This holy city is thought to have emerged during the reign of Samudra Manthan. Mahakaleshwar Jyotirlinga is one of the 12 Jyotirlingas located here. Ujjain has a long history with Lord Krishna, as it is said that Krishna and his elder brother Balram came to Ujjain to be educated by Muni Sandipani. In Ujjain, there is a Gopal Temple with silver statues of Lord Krishna, Balram, and Muni Sandipani. 
Dwarka
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Your Sapta Puri Tour will be incomplete unless you visit Dwarka, which is said to be the place where Lord Krishna spent his life after King Kansa was assassinated. It is yet another sacred place in India to visit for mental peace. Dwarka tells the story of Krishna's life when he moved the capital of the Yaduvansh Kingdom and how it eventually submerged in the Arabian Sea after Krishna's death. Poetess Mirabai, who taught the world power of Krishna Bhakti, was also from this divine city.
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southeastasianarchaeology · 10 months ago
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Sacred Summit: Khao Thamorrat's Ancient Worship Unveiled
Discover Khao Thamorrat: A sacred mountain near Sri Thep, home to ancient Buddhist sculptures and a testament to enduring faith.
via Thai PBS, 30 January 2024: Khao Thamorrat, a mountain near Si Thep in Phetchabun province, Thailand, holds a significant place in history as a sacred site and natural landmark. The mountain, accessible by a steep trail, features a cave with ancient Buddhist sculptures and active stalagmites and stalactites. Despite the challenges of the climb, locals and visitors continue to make theâ€Ķ
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arjuna-vallabha · 2 years ago
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Model dressed in Dvaravati period clothes, Thailand
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japilagan · 4 years ago
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Present-day flags of Monland
(Originally posted on DeviantArt: 14th June, 2016 and 11th December, 2019)
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