#dvaravati
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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.
#ancient history#prehistoric#ancient civilization#archaeology#southeast asia#dvaravati empire#dvaravati#si thep#world heritage
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Lecture: DvÄravatÄŦ Art and the Culture of Early Thailand â Between Tradition and Innovation, March 25, 2024
Daniel F. and Ada L. Rice Research Fellow Nicolas Revire discusses the material cultures of Thailandâs ancient DvÄravatÄŦ kingdom. Archeologists and historians are still uncovering DvÄravatÄŦâan Indianized culture, kingdom, and art style that emerged in Southeast Asia. Though grounded in neighboring Indic artistic traditions, this 7thâ8th century material culture also encompasses local innovations. In this talk, Revire maps what we know about DvÄravatÄŦ art and the history of early Thailand. The Art Institute of Chicago
#art institute of chicago#Thailand#Dvaravati kingdom#7th century#8th century#art#art history#Buddhism#Hinduism#archaeology#history#cultural amalgam#Mon people#Nicolas Revire
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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 CÄmadevi's Watercourse Travels in the Chao Phraya River Basin
LiDAR and geo-tech reveal Queen CÄmadevi'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 CÄmadeviâs historical watercourse travels. The research identified 12 significant canals previously part of the river and pinpointed ancient urban centers, providing crucial insightsâĶ
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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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@vibishalakshman @thelekhikawrites @thegleamingmoon @nspwriteups @whippersnappersbookworm @dr-scribbler @chiyaanvikram @nirmohi-premika @rang-lo @ambidextrousarcher For anyone who knows others who love Sanatana Dharma, please tag them, and let me know if you want/do not want to be tagged in this, I will not take offense.Â
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āļĒāļđāđāļāļŠāđāļāļāļĢāļ°āļāļēāļĻ "āļ āļđāļāļĢāļ°āļāļēāļ" āđāļāđāļāļĄāļĢāļāļāđāļĨāļ
āļĒāļđāđāļāļŠāđāļāļāļĢāļ°āļāļēāļĻ "āļ āļđāļāļĢāļ°āļāļēāļ" āđāļāđāļāļĄāļĢāļāļāđāļĨāļ
āļĒāļđāđāļāļŠāđāļāļāļĢāļ°āļāļēāļĻāļāļķāđāļāļāļ°āđāļāļĩāļĒāļ "āļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ" āļ.āļāļļāļāļĢāļāļēāļāļĩ āđāļāđāļāļĄāļĢāļāļāđāļĨāļāļāļēāļāļ§āļąāļāļāļāļĢāļĢāļĄ āļāļķāđāļāļāļ·āļāđāļāđāļāđāļŦāđāļāļāļĩāđ 5 āļāļāļāđāļāļĒ āļāđāļāļāļēāļāđāļĄāļ·āļāļāđāļāļĢāļēāļāļĻāļĢāļĩāđāļāļ āļ.āđāļāļāļĢāļāļđāļĢāļāđ āļāļĩāđāļāļĢāļ°āļāļēāļĻāđāļāđāļĄāļ·āđāļāļāļĩāļāļĩāđāđāļĨāđāļ§ āļāļāļ°āļāļĩāđāļāļĢāļĄāļĻāļīāļĨāļāđāđāļāļīāļāđāļŦāđāđāļāđāļēāļāļĄāļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āļāļĢāļĩ 28 āļ.āļ.-12 āļŠ.āļ.āļāļĩāđ
āļ§āļąāļāļāļĩāđ (27 āļ.āļ.2567)Â āļāļāļāđāļāļēāļĢāđāļāļ·āđāļāļāļēāļĢāļĻāļķāļāļĐāļēāļ§āļīāļāļĒāļēāļĻāļēāļŠāļāļĢāđ āđāļĨāļ°āļ§āļąāļāļāļāļĢāļĢāļĄāđāļŦāđāļāļŠāļŦāļāļĢāļ°āļāļēāļāļēāļāļī āļŦāļĢāļ·āļāļĒāļđāđāļāļŠāđāļ āđāļāđāļāļĢāļ°āļāļēāļĻāđāļŦāđāļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āļāļąāļāļŦāļ§āļąāļāļāļļāļāļĢāļāļēāļāļĩ āđāļāđāļāļĄāļĢāļāļāđāļĨāļāļāļēāļāļ§āļąāļāļāļāļĢāļĢāļĄ āđāļāļāļ·āđāļ âāļ āļđāļāļĢāļ°āļāļēāļ āļāļĢāļ°āļāļąāļāļĐāđāļāļĒāļēāļāđāļŦāđāļāļ§āļąāļāļāļāļĢāļĢāļĄāļŠāļĩāļĄāļē āļŠāļĄāļąāļĒāļāļ§āļēāļĢāļ§āļāļĩâ (Phu Phrabat, a testimony to the SÄŦma stone tradition of the Dvaravati period)
āđāļāļāļēāļĢāļāļĢāļ°āļāļļāļĄāļāļāļ°āļāļĢāļĢāļĄāļāļēāļĢāļĄāļĢāļāļāđāļĨāļāļŠāļĄāļąāļĒāļŠāļēāļĄāļąāļ āļāļĢāļąāđāļāļāļĩāđ 46 āļ āļāļĢāļļāļāļāļīāļ§āđāļāļĨāļĩ āļŠāļēāļāļēāļĢāļāļĢāļąāļāļāļīāļāđāļāļĩāļĒ āđāļāļĒāđāļāđāļāđāļŦāļĨāđāļāļĄāļĢāļāļāđāļĨāļāļĨāļģāļāļąāļāļāļĩāđ 8 āđāļĨāļ°āđāļŦāļĨāđāļāļĄāļĢāļāļāđāļĨāļāļāļēāļāļ§āļąāļāļāļāļĢāļĢāļĄāđāļŦāđāļāļāļĩāđ 5 āļāļāļāļāļĢāļ°āđāļāļĻāđāļāļĒ āļāļĩāļāļāļąāđāļāļĒāļąāļāđāļāđāļāđāļŦāļĨāđāļāļĄāļĢāļāļāđāļĨāļāđāļŦāđāļāļāļĩāđ 2 āļāļāļ āļ.āļāļļāļāļĢāļāļēāļāļĩ āļāđāļāļāļēāļāđāļŦāļĨāđāļāđāļāļĢāļēāļāļāļāļĩāļāđāļēāļāđāļāļĩāļĒāļ āļāļĩāđāđāļāđāļĢāļąāļāļāļēāļĢāļāļķāđāļāļāļ°āđāļāļĩāļĒāļāđāļāđāļāļĄāļĢāļāļāđāļĨāļāļāļēāļāļĒāļđāđāļāļŠāđāļ āđāļĄāļ·āđāļ āļ.āļĻ.2535
āļ.āļŠ.āļŠāļļāļāļēāļ§āļĢāļĢāļ āļŦāļ§āļąāļāļĻāļļāļ āļāļīāļāđāļāļĻāļĨ āļĢāļĄāļ§.āļ§āļąāļāļāļāļĢāļĢāļĄ āļāļĨāđāļēāļ§āļ§āđāļē āļāļēāļĢāļāļĩāđāļāļļïŋ―ïŋ―āļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āļ.āļāļļāļāļĢāļāļēāļāļĩ āđāļāđāļĢāļąāļāļāļēāļĢāļāļĢāļ°āļāļēāļĻāļāļēāļāļāļāļāđāļāļēāļĢāļĒāļđāđāļāļŠāđāļ āđāļŦāđāđāļāđāļāļĄāļĢāļāļāđāļĨāļāļāļēāļāļ§āļąāļāļāļāļĢāļĢāļĄāđāļŦāđāļāđāļŦāļĄāđ āļāļ·āļāđāļāđāļāļĄāļĢāļāļāđāļĨāļāļāļēāļāļ§āļąāļāļāļāļĢāļĢāļĄāđāļŦāđāļāļāļĩāđ 5 āļāļāļāļāļĢāļ°āđāļāļĻāđāļāļĒ āļāđāļāļāļēāļāļāļāļĢāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļāļĢāļ°āļāļāļĢāļĻāļĢāļĩāļāļĒāļļāļāļĒāļē āđāļĄāļ·āļāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļŠāļļāđāļāļāļąāļĒāđāļĨāļ°āđāļĄāļ·āļāļāļāļĢāļīāļ§āļēāļĢ āđāļŦāļĨāđāļāđāļāļĢāļēāļāļāļāļĩāļāđāļēāļāđāļāļĩāļĒāļ āļ.āļāļļāļāļĢāļāļēāļāļĩ āđāļĨāļ°āđāļĄāļ·āļāļāđāļāļĢāļēāļāļĻāļĢāļĩāđāļāļ āļ.āđāļāļāļĢāļāļđāļĢāļāđ āļāļĩāđāđāļāđāļĢāļąāļāļāļēāļĢāļāļĢāļ°āļāļēāļĻāđāļāļāļĩāļāļĩāđāļāđāļēāļāļĄāļē
āđāļāļĒāļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āđāļāđāļĢāļąāļāļāļēāļĢāļāļĢāļ°āļāļēāļĻāđāļŦāđāđāļāđāļāļĄāļĢāļāļāđāļĨāļ āļ āļēāļĒāđāļāđāļāļļāļāļāđāļēāđāļāļāđāļāđāļāļāļąāļāđāļāđāļāļŠāļēāļāļĨ āđāļāđāđāļāđ āļāļēāļĢāļĢāļąāļāļĐāļēāļāļ§āļēāļĄāđāļāđāļāļāļāļāđāļāđāđāļĨāļ°āļāļąāđāļāđāļāļīāļĄāļāļāļāđāļŦāļĨāđāļāļ§āļąāļāļāļāļĢāļĢāļĄ āļŠāļĩāļĄāļēāļŦāļīāļāļŠāļĄāļąāļĒāļāļ§āļēāļĢāļ§āļāļĩ āđāļĨāļ°āđāļāđāļāļāļĢāļ°āļāļąāļāļĐāđāļāļĒāļēāļāļāļĩāđāļĒāļāļāđāļĒāļĩāđāļĒāļĄāļāļāļāļāļēāļĢāļŠāļ·āļāļāļāļāļāļāļāļ§āļąāļāļāļāļĢāļĢāļĄāļāļąāļāļāļĨāđāļēāļ§āļāļĩāđāļāđāļāđāļāļ·āđāļāļāļāļĒāđāļēāļāļĒāļēāļ§āļāļēāļāļāļ§āđāļēāļŠāļĩāđāļĻāļāļ§āļĢāļĢāļĐ āđāļāļĒāđāļāļ·āđāļāļĄāđāļĒāļāđāļāđāļēāļāļąāļāļāļĢāļ°āđāļāļāļĩāļāļāļāļ§āļąāļāļāđāļēāļĒāļāļĢāļąāļāļ§āļēāļŠāļĩāđāļāđāļ§āļĨāļēāļāđāļāļĄāļē
āļāļķāļāļāļāđāļāļīāļāļāļ§āļāđāļŦāđāļāļēāļ§āđāļāļĒāļāļąāđāļ§āļāļĢāļ°āđāļāļĻāļĢāđāļ§āļĄāđāļŠāļāļāļāļ§āļēāļĄāļĒāļīāļāļāļĩ āđāļĨāļ°āđāļāļĨāļīāļĄāļāļĨāļāļāđāļāđāļāļāļēāļŠāļāļĩāđāļ āļđāļāļĢāļ°āļāļēāļāđāļāđāļĢāļąāļāļāļēāļĢāļāļĢāļ°āļāļēāļĻāđāļāđāļāļĄāļĢāļāļāđāļĨāļāđāļŦāđāļāđāļŦāļĄāđāļāļāļāđāļāļĒ āđāļāļĒāļāļĢāļ°āļāļĢāļ§āļāļ§āļąāļāļāļāļĢāļĢāļĄ āļāļ°āļāļĒāļēāļĒāļēāļĄāļāļĨāļąāļāļāļąāļāđāļŦāđāđāļāļīāļāđāļŦāļĨāđāļāļĄāļĢāļāļāđāļĨāļāđāļŦāđāļāđāļŦāļĄāđ āļāļĒāđāļēāļāļāđāļāđāļāļ·āđāļāļ
āļ.āļŠ.āļŠāļļāļāļēāļ§āļĢāļĢāļ āļāļĨāđāļēāļ§āļāļĩāļāļ§āđāļē āļāļĢāļ°āļāļĢāļ§āļāļ§āļąāļāļāļāļĢāļĢāļĄ āđāļāļĒāļāļĢāļĄāļĻāļīāļĨāļāļēāļāļĢ āđāļāđāļāļĢāļ°āļāļēāļĻāļĒāļāđāļ§āđāļāļāđāļēāļāļĢāļĢāļĄāđāļāļĩāļĒāļĄāđāļāđāļēāļāļĄāļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āļ.āļāļļāļāļĢāļāļēāļāļĩ āļĢāļ°āļŦāļ§āđāļēāļāļ§āļąāļāļāļĩāđ 28 āļ.āļ.-12 āļŠ.āļ.2567 āđāļāļ·āđāļāđāļŦāđāļāļĢāļ°āļāļēāļāļāļāļāđāļāļĒāļāļļāļāļāļ āļāļĨāļāļāļāļāļāļąāļāļāđāļāļāđāļāļĩāđāļĒāļ§āļāđāļēāļāļāļēāļāļīāđāļāđāļĢāđāļ§āļĄāđāļāļĨāļīāļĄāļāļĨāļāļāļāļēāļĢāļāļĢāļ°āļāļēāļĻāļāļķāđāļāļāļ°āđāļāļĩāļĒāļ āļ āļđāļāļĢāļ°āļāļēāļāđāļāđāļāļĄāļĢāļāļāđāļĨāļāđāļāļāļĢāļąāđāļāļāļĩāđ
āļ āļđāļāļĢāļ°āļāļēāļ āđāļāđāļĢāļąāļāļāļēāļĢāļāļĢāļ°āļāļēāļĻāđāļāđāļāđāļŦāļĨāđāļāļĄāļĢāļāļāļ§āļąāļāļāļāļĢāļĢāļĄāđïŋ―ïŋ―āļāļāđāļāđāļāļ·āđāļāļ āļāļģāļāļ§āļ 2 āđāļŦāļĨāđāļ āļāļĢāļ°āļāļāļāļāđāļ§āļĒ
āļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āđāļĨāļ°āđāļŦāļĨāđāļāļ§āļąāļāļāļāļĢāļĢāļĄāļŠāļĩāļĄāļē āļ§āļąāļāļāļĢāļ°āļāļļāļāļāļāļēāļāļāļąāļ§āļāļēāļ āļāļąāđāļāļāļĒāļđāđāļāļēāļāļāđāļēāļāļāļīāļĻāļāļ°āļ§āļąāļāļāļāļŦāđāļēāļāļāļēāļāļāļģāđāļ āļāļāđāļēāļāļāļ·āļ āļ.āļāļļāļāļĢāļāļēāļāļĩ āļāļĢāļ°āļĄāļēāļ 12 āļāļīāđāļĨāđāļĄāļāļĢ āđāļāđāļāļāļąāļ§āđāļāļāļāļāļāļ§āļąāļāļāļāļĢāļĢāļĄāļŠāļĩāļĄāļēāđāļāļŠāļĄāļąāļĒāļāļ§āļēāļĢāļ§āļāļĩ (āļāļļāļāļāļĻāļāļ§āļĢāļĢāļĐāļāļĩāđ 12-16) āļāļąāļāđāļāļāđāļāđāļāļāļĩāđāļŠāļļāļāļāļāļāđāļĨāļ āļāļēāļĄāđāļāļāļāđāļāļļāļāļāđāļēāđāļāļāđāļāđāļāļāļąāļāđāļāđāļāļŠāļēāļāļĨ
āļāđāļāļāļĩāđ 3 āļāļ·āļāļŠāļēāļĄāļēāļĢāļāļāļāļļāļĢāļąāļāļĐāđāļ āļĨāļļāđāļĄāđāļāđāļŠāļĄāļēāļŦāļīāļāļŠāļĄāļąāļĒāļāļ§āļēāļĢāļ§āļāļĩāļāļĩāđāļĄāļĩāļāļģāļāļ§āļāļĄāļēāļ āđāļĨāļ°āđāļāđāļāđāļŦāļĨāđāļāđāļŦāļāđāļāļĩāđāļŠāļļāļāđāļāđāļĨāļ āđāļāļĒāđāļāđāļŠāļĄāļēāļāļąāļāļāļĨāđāļēāļ§ āļĄāļĩāļāļ§āļēāļĄāļŠāļĄāļāļđāļĢāļāđāđāļĨāļ°āļĒāļąāļāļāļāļāļąāđāļāļāļĒāļđāđāđāļāļŠāļāļēāļāļāļĩāđāļāļąāđāļāđāļāļīāļĄ āđāļŠāļāļāļāļķāļāļ§āļīāļ§āļąāļāļāļēāļāļēāļĢāļāļĩāđāļāļąāļāđāļāļāļāļāļāļĢāļđāļāđāļāļ āđāļĨāļ°āļĻāļīāļĨāļāļāļĢāļĢāļĄāļāļĩāđāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļāļāļāđāļāđāļŠāļĄāļē āļāļķāđāļāļāļģāļŦāļāđāļēāļāļĩāđāđāļāđāļāđāļāļĢāļ·āđāļāļāļŦāļĄāļēāļĒāļāļģāļŦāļāļāļāļāļāđāļāļāļāļ·āđāļāļāļĩāđāļĻāļąāļāļāļīāđāļŠāļīāļāļāļīāđ
āđāļĨāļ°āđāļāļāļāđāļāđāļāļāļĩāđ 5 āļ āļđāļĄāļīāļāļąāļĻāļāđāļāļāļāļ āļđāļāļĢāļ°āļāļēāļāđāļāđāļĢāļąāļāļāļēāļĢāļāļĢāļąāļāđāļāļĨāļĩāđāļĒāļāđāļŦāđāđāļŦāļĄāļēāļ°āļŠāļĄāļāļąāļāļāļēāļĢāđāļāđāļāļ·āđāļāļāļĩāđāđāļāļ·āđāļāļāļĢāļ°āļāļāļāļāļīāļāļĩāļāļĢāļĢāļĄāļāļēāļāļāļļāļāļāļĻāļēāļŠāļāļē āđāļĨāļ°āļĒāļąāļāļāļāļāļ§āļēāļĄāļŠāļģāļāļąāļāļāļāļāļāļĨāļļāđāļĄāđāļāđāļŠāļĄāļēāļŦāļīāļ āđāļāļĒāļāļ§āļēāļĄāđāļāļ·āđāļāļĄāđāļĒāļāđāļāļĩāđāļĒāļ§āļāđāļāļāļāļąāļāļāļĢāļ°āđāļāļāļĩāļŠāļāļāđāđāļāļāđāļēāļĒāļāļĢāļąāļāļāļ§āļēāļŠāļĩ (āļāļĢāļ°āļāđāļē)
āļ āļđāļāļĢāļ°āļāļēāļāļāļķāļāđāļāđāļāļāļĢāļ°āļāļąāļāļĐāđāļāļĒāļēāļāļāļĩāđāđāļāļāđāļāđāļāļāļāļāļāļēāļĢāđāļāđāļāļĢāļ°āđāļĒāļāļāđāļāļāļāļāļĢāļĢāļĄāļāļēāļāļī āđāļāđāļāļāļąāļ§āđāļāļāļāļāļāļ§āļąāļāļāļāļĢāļĢāļĄāļŠāļĩāļĄāļē āļŠāļĄāļąāļĒāļāļ§āļēāļĢāļ§āļāļĩ āļāļķāđāļāđāļāđāļĢāļąāļāļāļēāļĢāļŠāļ·āļāļāļāļ āļĢāļąāļāļĐāļēāļ§āļąāļāļāļāļĢāļĢāļĄāļāļąāļāļāļĨāđāļēāļ§āļāļĩāđāļāđāļāđāļāļ·āđāļāļāļĒāļēāļ§āļāļēāļ āđāļāļ·āđāļāļĄāđāļĒāļāļāļĢāļ°āđāļāļāļĩāļ§āļąāļāļāļāļĢāļĢāļĄāļāļāļāļāļĢāļąāļāļ§āļēāļŠāļĩāļĄāļēāļāļķāļāļāļąāļāļāļļāļāļąāļ
āļāđāļēāļ āļāļēāļĒāļāļĄāļąāļŠāļ§āļīāļ āļāļēāļāļĻāļīāļĢāļī āļāļąāļāđāļāļĢāļēāļāļāļāļĩāļāļģāļāļēāļāļāļēāļĢ āļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āđāļāļīāļāđāļāļĒāļ§āđāļē āļāļēāļĢāđāļŠāļāļāļāļķāđāļāļāļ°āđāļāļĩāļĒāļāđāļāđāļāļĄāļĢāļāļāđāļĨāļāļĄāļĩāļāļĒāļđāđ 2 āļāļĢāļ°āđāļāđāļ āļāļ·āļ 1.āļāļļāļāļĒāļēāļāļŊ āļ āļđāļāļĢāļ°āļāļēāļ āđāļāđāļāļĢāļēāļāļāļ§āļąāļāļāļāļĢāļĢāļĄāđāļŠāļĄāļē āļāļķāđāļāđāļāđāļāļāļāļīāļāļ§āļēāļĄāđāļāļ·āđāļāļāļĩāđāļāļŠāļĄāļāļŠāļēāļ āļĢāļ°āļŦāļ§āđāļēāļāļāļēāļĢāļāļąāļāļāļ·āļāļāļ·āđāļāļāļĩāđāļĻāļąāļāļāļīāđāļŠāļīāļāļāļīāđāđāļĨāļ°āļāļēāļĢāļāļģāļŦāļāļāļāļāļāđāļāļāļāļ·āđāļāļāļĩāđāļĻāļąāļāļāļīāđāļŠāļīāļāļāļīāđāļāđāļ§āļĒāļŦāļĨāļąāļāļŦāļīāļāļŦāļĢāļ·āļāđāļāđāļŠāļĄāļē
āļāļķāđāļāļāļĢāļ°āđāļāđāļāļāļĩāđāļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļāđāļāđāļāļāđāļāđāļāļāļāļāļāļāļēāļĢāļāļģāļŦāļāļāļāļ·āđāļāļāļĩāđāļāļļāđāļāļŠāļāļāļĩāđāļĄāļĩāđāļāđāļŠāļĄāļēāļĨāđāļāļĄāļĢāļāļāļāļĒāđāļēāļāļāļĩāđāđāļŦāđāļāđāļāļāļąāļāļāļļāļāļąāļ
āļāļĢāļ°āđāļāđāļāļāļĩāđ 2 āļĄāļĩāļŦāļĨāļąāļāļāļēāļāļāļąāļāđāļāđāļāļāļąāļāļ§āđāļē āļĄāļĩāļĄāļāļļāļĐāļĒāđāđāļāđāļēāļĄāļēāļāļąāđāļāļāļīāđāļāļāļēāļāļāļąāđāļāđāļāđāļŠāļĄāļąāļĒāļāđāļāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāđāļĢāļ·āđāļāļĒāļĄāļēāļāļāļāļķāļāļŠāļĄāļąāļĒāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđ āđāļāļĒāļĄāļāļļāļĐāļĒāđāđāļŦāļĨāđāļēāļāļĩāđāđāļāđāđāļāđāļēāļĄāļēāļāļąāļāđāļāļĨāļāļŦāļīāļāđāļŦāđāđāļāđāļāļŠāļāļēāļāļāļĩāđāļāļĢāļ°āļāļāļāļāļīāļāļĩāļāļĢāļĢāļĄāļāļēāļāļāļļāļāļāļĻāļēāļŠāļāļē āļāļąāļāļāļĢāļēāļāļāļāļĢāļ°āļāļļāļāļāļĢāļđāļāļ āļēāļĒāđāļāļāđāļģāļŦāļīāļ
āļŠāļģāļŦāļĢāļąāļāļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āđāļāļĒāļāļđāļāđāļŠāļāļāđāļāļ·āđāļāļāļķāđāļāļāļ°āđāļāļĩāļĒāļāđāļāđāļāļĄāļĢāļāļāđāļĨāļāđāļĄāļ·āđāļāļāļĩ 2547 āļāđāļāļĄāļēāļāļđāļāļāļāļāļĢāļēāļĒāļāļ·āđāļāļāļĢāļ°āļāļąāđāļāļāļĩ 2559 āđāļāđāđāļŠāļāļāđāļāļ·āđāļāđāļŦāđāļĄāļĩāļāļēāļĢāļāļīāļāļēāļĢāļāļēāļāļēāļĢāļāļķāđāļāļāļ°āđāļāļĩāļĒāļāļāļĩāļāļāļĢāļąāđāļ
āđāļŪāļĨāļąāđāļ! "āļ āļđāļāļĢāļ°āļāļēāļ" āđāļāđāļāļĄāļĢāļāļāđāļĨāļāđāļŦāđāļāļāļĩāđ 2 āļāļāļāļāļļāļāļĢāļāļēāļāļĩ
āļāļĢāļĢāļĒāļēāļāļēāļĻāđāļāļāļ·āđāļāļāļĩāđāļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āļāļĩāđ āļ.āļāđāļēāļāļāļ·āļ āļ.āļāļļāļāļĢāļāļēāļāļĩ āļ§āļąāļāļāļĩāđ āļāļķāļāļāļąāļāđāļāđāļāļāļīāđāļĻāļĐ āļĄāļĩāļŦāļąāļ§āļŦāļāđāļēāļŠāđāļ§āļāļĢāļēāļāļāļēāļĢ āļāļĢāļ°āļāļēāļāļ āđāļĨāļ°āļāļąāļāļāđāļāļāđāļāļĩāđāļĒāļ§ āļĄāļēāļĢāļāļĨāļļāđāļ āļāļēāļĢāļāļĢāļ°āļāļēāļĻāđāļŦāđāļ āļđāļāļĢāļ°āļāļēāļāļāļķāđāļāļāļ°āđāļāļĩāļĒāļāđāļāđāļāļĄāļĢāļāļāđāļĨāļ
āđāļāļĒāļŦāļāļāļēāļāļāļļāļŠāļē āļāļķāđāļāļĄāļĩāļĨāļąāļāļĐāļāļ°āđāļāđāļāđāļāļāļŦāļīāļāļāļĨāđāļēāļĒāļĢāļđāļāļāļāļāđāļŦāđāļāļŦāļĢāļ·āļāļŦāļāļāļāļĒāļāļāļēāļāđāļĨāđāļ āļāļąāđāļāļāļĒāļđāđāļāļāļĨāļēāļāļŦāļīāļāļāļ§āđāļēāļ āļ āļēāļĒāđāļāļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āļ.āļāđāļēāļāļāļ·āļ āļ.āļāļļāļāļĢāļāļēāļāļĩ āļāļķāđāļāđāļāđāļāđāļŪāđāļĨāļāđāļāļĩāđāļŠāļģāļāļąāļāļŠāļģāļŦāļĢāļąāļāđāļŦāļĨāđāļāđāļāļĢāļēāļāļāļāļĩ āđāļāļ·āđāļāļāļĢāļ°āļāļāļāļāļēāļĢāļāļķāđāļāļāļ°āđāļāļĩāļĒāļāđāļāđāļāļĄāļĢāļāļāđāļĨāļāļāđāļāļĒāļđāđāļāļŠāđāļ
āļ āļēāļĒāļāļāļāļŦāļāļāļēāļāļāļļāļŠāļē āļĒāļąāļāļĄāļĩāļ āļēāļāđāļāļĩāļĒāļāļŠāļĩāļāļąāđāļāļŠāđāļ§āļāļāļēāļāđāļĨāļ°āļŠāđāļ§āļāļāļ āđāļāļ·āđāļāļ§āđāļēāđāļāđāļāļāļēāļĢāļāļąāļāļāļķāļāđāļĢāļ·āđāļāļāļĢāļēāļ§āđāļāļĩāđāļĒāļ§āļāļąāļāļāļ§āļēāļĄāđāļāļ·āđāļāļāļāļāļāļāļĒāļļāļāļāđāļāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđ āļāļĢāļīāđāļ§āļāļāļĢāļīāđāļ§āļāđāļāļĒāļĢāļāļāļĢāļāļāđāļāļāđāļ§āļĒāđāļāđāļŠāļĄāļēāđāļĨāļ°āļāđāļģāļŦāļīāļāļāļĩāđāļĄāļĩāļāļĢāļ°āļāļļāļāļāļĢāļđāļāļŠāļĄāļąāļĒāļāļ§āļēāļĢāļ§āļāļĩ āļāļķāđāļāļāđāļāļāļāļāļāļķāļāļāļ§āļēāļĄāļĢāļļāđāļāđāļĢāļ·āļāļāļāļāļāļāļĢāļ°āļāļļāļāļāļĻāļēāļŠāļāļē āđāļāļĒāļŦāļāļāļēāļāļāļļāļŠāļēāđāļāļ·āđāļāļ§āđāļēāđāļāđāđāļāļāļēāļĢāļāļģāļāļīāļāļĩāļāļĢāļĢāļĄāļāļēāļāļĻāļēāļŠāļāļē āļāļķāļāļāļ·āļāļ§āđāļēāđāļāđāļāļŠāļāļēāļāļāļĩāđāļĻāļąāļāļāļīāđāļŠāļīāļāļāļīāđāđāļĨāļ°āļāļēāļ§āļāđāļēāļāđāļāļĨāļ°āđāļ§āļāļāļĩāđāđāļŦāđāļāļ§āļēāļĄāđāļāļēāļĢāļāļĻāļĢāļąāļāļāļē
āđāļāļĒāļāļĩāļāļĩāđāļāļŠāđāļāđāļāļđāļāļāļļāļĒāļāļąāļāļāļąāļāļāđāļāļāđāļāļĩāđāļĒāļ§ āļāļķāđāļāđāļāļīāļāļāļēāļāļĄāļēāļāļēāļ āļ.āđāļāļĩāļĒāļāđāļŦāļĄāđ āļāļāļāļ§āđāļē āđāļāđāļāļāļĢāļąāđāļāđāļĢāļāļāļĩāđāļĄāļēāļāđāļāļāđāļāļĩāđāļĒāļ§āļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āđāļĨāļ°āđāļāļīāđāļāļāļ°āļāļĢāļēāļāļāđāļēāļ§āļ§āđāļēāļ§āļąāļāļāļĩāđāļāļāļ°āļāļĢāļĢāļĄāļāļēāļĢāļāļ°āļĄāļĩāļāļēāļĢāļāļīāļāļēāļĢāļāļēāļāļēāļĢāļāļķāđāļāļāļ°āđāļāļĩāļĒāļāđāļāđāļāļĄāļĢāļāļāđāļĨāļāļĨāļģāļāļąāļāļāļĩāđ 6
āļāļāļ°āļāļĩāđāļāļēāļĒāļāļĄāļąāļŠāļ§āļīāļ āļāļēāļāļĻāļīāļĢāļī āļāļąāļāđāļāļĢāļēāļāļāļāļĩāļāļģāļāļēāļāļāļēāļĢ āļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļ āđāļāļīāļāđāļāļĒāļ§āđāļē āļāļēāļĢāđāļŠāļāļāļāļķāđāļāļāļ°āđāļāļĩāļĒāļāđāļāđāļāļĄāļĢāļāļāđāļĨāļāļĄāļĩāļāļĒāļđāđ 2 āļāļĢāļ°āđāļāđāļ āļāļ·āļ 1 āļāļļāļāļĒāļēāļāļŊ āļ āļđāļāļĢāļ°āļāļēāļ āđāļāđāļāļĢāļēāļāļāļ§āļąāļāļāļāļĢāļĢāļĄāđāļŠāļĄāļē āļāļķāđāļāđāļāđāļāļāļāļīāļāļ§āļēāļĄāđāļāļ·āđāļāļāļĩāđāļāļŠāļĄāļāļŠāļēāļāļĢāļ°āļŦāļ§āđāļēāļāļāļēāļĢāļāļąāļāļāļ·āļāļāļ·āđāļāļāļĩāđāļĻāļąāļāļāļīāđāļŠāļīāļāļāļīāđāđāļĨāļ°āļāļēāļĢāļāļģāļŦāļāļāļāļāļāđāļāļāļāļ·āđāļāļāļĩāđāļĻāļąāļāļāļīāđāļŠāļīāļāļāļīāđāļāđāļ§āļĒāļŦāļĨāļąāļāļŦāļīāļāļŦāļĢāļ·āļāđāļāđāļŠāļĄāļē āļāļķāđāļāļāļĢāļ°āđāļāđāļāļāļĩāđāļāļļāļāļĒāļēāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāļ āļđāļāļĢāļ°āļāļēāļāđāļāđāļāļāđāļāđāļāļāļāļāļāļāļēāļĢāļāļģāļŦāļāļāļāļ·āđāļāļāļĩāđāļāļļāđāļāļŠāļāļāļĩāđāļĄāļĩāđāļāđāļŠāļĄāļēāļĨāđāļāļĄāļĢāļāļāļāļĒāđāļēāļāļāļĩāđāđāļŦāđāļāđāļāļāļąāļāļāļļāļāļąāļ
āđāļĨāļ°āđāļāļāļĢāļ°āđāļāđāļāļāļĩāđ 2 āļĄāļĩāļŦāļĨāļąāļāļāļēāļāļāļąāļāđāļāđāļāļāļąāļāļ§āđāļēāļĄāļĩāļĄāļāļļāļĐāļĒāđāđāļāđāļēāļĄāļēāļāļąāđāļāļāļīāđāļāļāļēāļāļāļąāđāļāđāļāđāļŠāļĄāļąāļĒāļāđāļāļāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđāđāļĢāļ·āđāļāļĒāļĄāļēāļāļāļāļķāļāļŠāļĄāļąāļĒāļāļĢāļ°āļ§āļąāļāļīāļĻāļēāļŠāļāļĢāđ āđāļāļĒāļĄāļāļļāļĐāļĒāđāđāļŦāļĨāđāļēāļāļĩāđāđāļāđāđāļāđāļēāļĄāļēāļāļąāļāđāļāļĨāļāļŦāļīāļāđāļŦāđāđāļāđāļāļŠāļāļēāļāļāļĩāđāļāļĢāļ°āļāļāļāļāļīāļāļĩāļāļĢāļĢāļĄāļāļēāļāļāļļāļāļāļĻāļēāļŠāļāļē āļāļąāļāļāļĢāļēāļāļāļāļĢāļ°āļāļļāļāļāļĢāļđāļāļ āļēāļĒāđāļāļāđāļģāļŦāļīāļ
Phu Phrabat Historical Park
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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!
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.â 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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ðš 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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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 ðĪ 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.
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.
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.
How the two rivers meetâ
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.
Lastly, this is how I imagine the scenary that Porsche travels through â
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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"Sejarah Thailand: Dari Kerajaan Kuno hingga Era Modern yang Dinamis"
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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2023 : La ville ancienne de Si Thep et ses monuments de Dvaravati associÃĐs. ThaÃŊlande
Il sâagit dâun 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 lâarchitecture, les traditions artistiques et la diversitÃĐ religieuse de lâempire de Dvaravati qui sâÃĐpanouit du VIe au Xe siÃĻcle, tÃĐmoignant des influences de lâInde. Lâadaptation locale de ces traditions fut à lâorigine dâune nouvelle tradition artistique dÃĐnommÃĐe lâÃĐcole dâart de Si Thep, qui influença par la suite dâautres civilisations dâAsie du Sud-Est.
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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.
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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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Top Seven holy cities of India -Â Sapta Puri
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
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
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
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
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
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
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.Â
Dwarka
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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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 theâĶ
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Model dressed in Dvaravati period clothes, Thailand
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Present-day flags of Monland
(Originally posted on DeviantArt: 14th June, 2016 and 11th December, 2019)
#mon#mons#monland#thai#thailand#flag#flags#dvaravati#bangkok#ayutthaya#austroasiatic#indochina#vexillology#alternate history
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