#gopal kali

[dreaminginthedeepsouth]

Today is the final day of Navaratri before Vijayadashami-the day of victory. This beautiful Sarasvati is a detail from a painting by Ratna Gopal Sinkhwal. If you are ever in Portland, Oregon, you can see the original painting at Jaya Kula's teaching space!

At Navaratri, we celebrate coming into wisdom. During the first three days, the warrior Durga or her even fiercer daughter Kali cut away limitations to our perception so that we can see the real nature of things. During the second three days, Lakshmi awakens our generosity and lets us encounter primordial abundance and nourishment. And during the final three days, we come into clarity and wisdom embodied by Sarasvati.

Sarasvati is both the supreme clarity of perception and the self-expression of the Artist. Once we are immersed in recognition of how things actually are, we spontaneously embody the overflowing creativity or expressiveness of this alive-aware Reality. We become the makers rather than the made

[Shambhavi Sarasvati]

* * * *

The divine is shining through all that you perceive. This is not just a nice story or a fable, it is true.

Thomas Merton

[alive on all channels]

[madhubniart]

The Evolution of Madhubani Art Over Time

Madhubani art (also Mithila art) is a style of painting practiced in the Mithila region of India and Nepal. It is named after the Madhubani district of Bihar, India, which is where it originated. Artists create these paintings using a variety of mediums, including their own fingers, or twigs, brushes, nib-pens, and matchstick. The paint is created using natural dyes and pigments. The paintings are characterized by their eye-catching geometrical patterns. There is ritual content for particular occasions, such as birth or marriage, and festivals, such as Holi, Surya Shasti, Kali Puja, Upanayana, and Durga Puja.

Madhubani painting (or Mithila painting) was traditionally created by the women of various communities in the Mithila region of the Indian subcontinent. It originated from Madhubani district of the Mithila region of Bihar. Madhubani is also a major export center of these paintings.

This painting as a form of wall art was practiced widely throughout the region; the more recent development of painting on paper and canvas mainly originated among the villages around Madhubani, and it is these latter developments that led to the term “Madhubani art” being used alongside “Mithila Painting.”

Mithila paintings mostly depict people and their association with nature and scenes and deities from the ancient epics. Natural objects like the sun, the moon, and religious plants like tulsi are also widely painted, along with scenes from the royal court and social events like weddings. In this paintings generally, no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs.[citation needed] Traditionally, painting was one of the skills that was passed down from generation to generation in the families of the Mithila Region, mainly by women .

It is still practiced and kept alive in institutions spread across the Mithila region. Asha Jha of Madhubanipaints in Darbhanga,

Vaidehi in Madhubani, Benipatti in Madhubani district and Gram Vikas Parishad in Ranti are some of the major centres of Madhubani painting which have kept this ancient art form alive.

Contributions:

The Madhubani painting tradition played a key role in the conservation efforts in India in 2012, where there was frequent deforestation in the state of Bihar. Shashthi Nath Jha, who runs the Gram Vikas Parishad, an NGO, started the initiative as an attempt to protect local trees that were being cut down in the name of expanding roads and development. The main reason behind this was that the trees were traditionally adorned with forms of gods and other religious and spiritual images such as those of Radha-Krishna, Rama-Sita, scenes from Ramayana and Mahabharata and other mythologies.

Darbhanga MP Gopal Jee Thakur started the tradition of honouring people with Mithila Painting in Indian Politics.

Awards:

Madhubani painting received official recognition in 1969 when Sita Devi received the State award by Government of Bihar. Mamta Devi from the village Jitwarpur has also got National Award. Jagdamba Devi from Bhajparaul, Madhubani was given Padma Shri in 1975 and the National Award to Sita Devi of Jitwarpur village near Madhubani.

Jagdamba Devi’s foster son Satya Narayan Lal Karn and his wife Moti Karn are also well-regarded Mithila artists, and they won the National Award jointly in 2003. Sita Devi received the Padma Shri in 1981. Sita Devi was also awarded by Bihar Ratna in 1984 and Shilp Guru in 2006.

In 1984 Ganga Devi was awarded by Padma Shri. Mahasundari Devi received the Padma Shri in 2011. Baua Devi, Yamuna Devi, Shanti Devi, Chano Devi, Bindeshwari Devi, Chandrakala Devi, Shashi kala Devi, Leela Devi, Godavari Dutta, Asha Jha and Bharti Dayal were also given the National award.

Chandrabhushan (Rasidpur), Ambika Devi (Rasidpur), Manisha Jha were also given the National award.[citation needed] In 2020, Madhubani artist Dulari Devi won the Padma Shri for contributions to art.

Styles:

Mithila art has five distinctive styles:

Bharni

Katchni

Tantrik

Godna

Kohbar

In the 1960s Bharni, and Tantrik styles were mainly done by Brahman women in India and Nepal. Their themes were mainly religious and they depicted Gods and Goddesses paintings. People of other castes included aspects of their daily life and symbols, the story of Raja Shailesh (guard of the village) and much more, in their paintings. Nowadays Madhubani art has become a globalised art form, so there is no difference in the work on the basis of the caste system. They work in all five styles. Mithila art has received worldwide attention.

The paintings were traditionally done on freshly plastered mud walls and floors of huts, but now they are also done on cloth, handmade paper and canvas.

Madhubani paintings are made from the paste of powdered rice. Madhubani painting has remained confined to a compact geographical area and the skills have been passed on through centuries, the content and the style have largely remained the same. Thus, Madhubani painting has received GI (Geographical Indication) status. Madhubani paintings use two-dimensional imagery, and the colors used are derived from plants. Ochre, Lampblack and Red are used for reddish-brown and black, respectively.

For more info visit our Website — https://madhubniart.com/

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[darbarcraft]

Light up your Space with Brass pooja accessories at Darbar Craft

Darbar Craft offers an elegant mix of spirituality with artistry in the range of superior quality brass pooja accessories.The Vastu-sensitive brass pooja items of Darbar Craft bring harmony, peace, and positive energy into your home. Handcrafted by skilled artisans, these items go well as a combination of traditional values and modern aesthetic appeal-hence they are ideal for gracing your home decor and daily rituals.

In the collection of Darbar Craft is this most beloved piece: the brass Ganesh idol. The Ganesh idol that represents wisdom, which removes all obstacles-is an essential piece for new ventures and good blessings for success. It goes well with the Brass Lakshmi Idol, goddess of wealth and prosperity, and unlocks the flow of financial abundance and fortune in your home during Diwali. We also have  Laxmi- Ganesh idols together, these brass idols are good additions to your pooja during Diwali that can bring a harmonious and prosperous family scenario.

Brass God Idols Collection

Apart from the Brass Ganesh Idol, there are many more Brass god idols available at Darbar Craft that you could opt for to fulfill your spiritual requirements. Each idol is crafted with great care to reflect various deities, thus making the perfect choice for an embellishment in your pooja room or even as a decorative piece across your house. Some of the famous Brass God Idols are as follows:

- Brass Shiva Idol: A reminder of transcendence, used for personal development and rebirth.

-  Brass Chakra Avatar Vishnu Idol: it symbolizes protection and preserving, hence very good to radiate peace and harmony in the home. That is why they put it in their homes. They install this at their home to reduce stress and make it more peaceful.

  -  Brass Laddu Gopal and Radha Krishna Idol: This idol symbolizes love and compassion and hence attracts joy and devotion to your space.

  -  Brass Lakshmi Idol : The goddess of wealth and prosperity, this can attract financial success and plenty of good things in your life.

- Brass RamDarbar : Best symbol for bringing strength and protection to ignite the bold-constructive energies in your home.

And many more brass idols like Maa Durga, Balaji, Hanuman, Maa Kali, Maa Saraswati, Ayappa Swamy, SaiBaba, Kartikey and Garud Dev, are not only spiritual but also ornamental to adorn your home beautifully. Each piece is crafted with great care to perfect a well-rounded balance of beauty, spirituality, and durability.

Ornate Brass Pooja Essentials

Darbar Craft also presents the complete range of pooja essentials that enhance your worship rituals. These accessories are functional and decorative, made of premium brass and are designed to usher a serene and spiritual atmosphere at the place of worship. Some of the pooja items available are:

Brass Diya: Basic requirement for lighting during pooja, considered to bring light and positivity into your home.

Incense sticks holder: Incense sticks and fragrance can beautify this pooja space. Brass aarti plates are a must for ceremonial occasions.

Brass bells: These bells call the gods to it, creating an atmosphere before proceeding further in prayer.

Brass Pooja Thali: These thalis make your Pooja accessories more pure and also helps having them at one place.

These pooja accessories, when used along with a brass Ganesh idol or any other brass god idols, help create an ambiance of spiritual energy and serenity in your home.

Decorative Wall Hangings and Sculptures

In addition to brass idols, Darbar Craft has an extremely beautiful collection of decorative wall hangings, crystal trees and animal sculptures manufactured with premium brass. These are crafted to fill all the empty spaces in your home and give it character. The shubh labh wall hanging contains intricate designs that reflect the taste and style of the person and follow all the Vastu principles. This makes it perfect to enhance flow. From traditional motifs to modern designs, Darbar Craft adds elegance and spirituality to your decorations.

Why Darbar Craft?

Darbar Craft is also so keen on quality and detail with its superior Craftsmanship. Brass Ganesh idol, brass god idol, and each piece of home decor is created under the eyes of a master craftsman; hence you are assured that the final product is not only beautiful but also durable, in the process. Several items are even designed to attract positive energy, peace, and prosperity into your home according to the principles of Vastu.

[bollywood635]

Exploring Shaitaan Movies

Shaitaan movies, often referred to as horror or supernatural films in Bollywood, delve into the realm of the unknown, exploring themes of fear, mystery, and the supernatural. These films captivate audiences with their chilling narratives, spine-tingling suspense, and hair-raising thrills. Let's take a closer look at some of the notable shaitaan movies featuring the talented actor Ajay Devgn.

One of the most iconic shaitaan movies in Ajay Devgn's filmography is "Bhoot" (2003), directed by Ram Gopal Varma. In this psychological horror film, Devgn delivers a compelling performance as Vishal, a man who moves into a haunted apartment with his family, only to encounter terrifying supernatural occurrences. Devgn's portrayal of Vishal adds depth and intensity to the film's narrative, heightening the sense of suspense and dread.

Another noteworthy shaitaan movie featuring Ajay Devgn is "Kaal" (2005), directed by Soham Shah. In this supernatural thriller, Devgn plays Kali Pratap Singh, a forest ranger who must confront a malevolent spirit terrorizing a group of tourists in a jungle safari. Devgn's portrayal of the fearless ranger adds an element of courage and resilience to the film, as he battles against the forces of darkness to protect the innocent.

Ajay Devgn's foray into shaitaan movies showcases his versatility as an actor, as he seamlessly transitions between intense drama and spine-chilling horror. His ability to evoke fear and suspense on screen makes him a formidable presence in the genre, captivating audiences with his riveting performances.

To further explore the world of shaitaan movies featuring Ajay Devgn, you can visit Bollywood Hungama for a comprehensive list of his films in the horror and supernatural genre. Bollywood Hungama is a trusted website known for its extensive coverage of Bollywood films and celebrities, providing valuable insights into the world of Indian cinema.

In conclusion, Ajay Devgn's shaitaan movies offer a thrilling cinematic experience, immersing audiences in a world of darkness, mystery, and suspense. Whether he's battling supernatural forces or confronting terrifying entities, Devgn's performances leave a lasting impression, making him a prominent figure in the realm of Indian horror cinema.

[gopalabimanyu]

Failed Concoctions: Stories of Potions That Fell Short of Expectations.

Ditulis oleh 𝗥𝗜𝗦𝗢𝗟 menggunakan sudut pandang orang ketiga serba tahu.

PROMPT : Gopal dan Ansera mengendap-ngendap masuk ke ruang kelas ramuan di malam hari untuk mencoba membuat Boil-Cure Potion.

📆 : Sept, 19th, 23— 🕑 : Dimulai 08.30 P.M — Selesai.

Kelas Professor Éloïse Beauregard selalu berada diurutan nomor satu kelas favorit murid-murid Camp De Boreux. Dan, anak laki-laki itu pun setuju. Bahkan, sebelum kelas pertama mengenai ramuan dimulai, Gopal sudah mencari tahu lebih dahulu berbagai hal terkait materi kelas tersebut.

Sebagai muggle dengan rasa penasaran tinggi, kelas ini menjadi salah satu bagian dari pengalaman barunya. Kalau bukan karena menjadi murid disini, bagaimana dia bisa tahu bahwa sloth brain, bones, ataupun rat tails bisa digunakan untuk membuat suatu ramuan.

Well, there are many things related to magic that will leave us amazed while being here.

Dari sekian banyak ramuan dasar yang diajarkan, Boil-Cure Potion menjadi salah salah satu ramuan yang menarik perhatiannya. Ramuan menyembuhkan bisul? Yang benar saja! Gopal tertawa heran setelah mendengarnya. Apa bisul sudah menjadi masalah umum dikalangan para penyihir sehingga membuat murid kelas satu wajib untuk belajar membuat ramuan itu?

Nyatanya, rasa penasaran itu membawa dirinya berdiri di depan Le Campus De Boreux. Atau, lebih tepatnya, dia sedang bersembunyi di dekat pintu masuk. Sweater polos bewarna merah tua yang dikenakannya seolah-olah beralih fungsi menjadi jubah tembus pandang (cloaks of invisibility) agar siapapun tidak bisa melihatnya.

Gopal melihat ke arah jam tangan di lengan kanannya, waktu sudah menunjukkan pukul setengah sembilan malam. Dia menyadari bahwa waktu tersisa tidak banyak, hanya satu setengah jam lagi sebelum batas waktu maksimal bagi para murid untuk berada di luar asrama pada malam hari.

Sekilas, dia mengingat obrolan singkat pada saat jam makan siang bersama Ansera. Perempuan itu benar-benar membuatnya berani mengambil resiko (Dalam arti lain, anak laki-laki ini sangat percaya dengan temannya itu). Siapapun mungkin akan menolak untuk menerima ajakan pergi mengendap-ngendap ke ruang kelas ramuan di malam hari hanya untuk (sekedar) memenuhi rasa penasaran akan suatu ramuan.

Namun, dirinya tanpa basa-basi langsung menerima tawaran tersebut.

Indeed, He is a crazy boy.

"Pssst!" Terdengar suara samar dari arah belakang, semakin lama suara panggilan itu terdengar lebih jelas.

"Cil! Bocil!"

Reflek, Gopal menoleh ke asal suara. Dia melihat Ansera berjalan mengendap-ngendap mendekat, perempuan itu sudah kembali setelah mengambil akar jahe dari Greenhouse yang tidak jauh dari titik pertemuan mereka.

"Gimana, Ce? Dapet?"

Ansera menanggapi dengan anggukan, "Aman!"

Mendadak Gopal merasa gemetar setelah mendengar jawaban Ansera. Dia menelan ludah. Semua bahan sudah siap, dan sekarang waktunya untuk membuat ramuan, bukan?

"CIL!" Seru Ansera, dia menoleh dengan mata membelalak. "Suara lo kecilin dikit! Nanti kita ketahuan."

"CE!" Panggil Gopal dengan nada tinggi. "GUA TAKUT."

"SORRY–" Balas Gopal. Dia baru sadar bahwa teriakan kecilnya mungkin bisa membawa mereka berdua ke lubang kematian.

"Gua mendadak lemes."

Ansera merangkul anak laki-laki itu dengan percaya diri, "Inget kata lo tadi siang, Cil. Kapan lagi kita bisa cobain bikin ramuan disini?"

"Argh," Gopal menghela nafas. Tapi, benar juga— Ini bisa jadi kesempatan terakhir. Lagipula, mereka sudah berkali-kali usaha meminta izin kepada Professor Éloïse untuk mencoba sendiri setelah kelas usia namun selalu tidak diperbolehkan. Jadi, kapan lagi?

"Ce, gaboleh tinggalin gua apapun yang terjadi."

Ansera terkekeh, dia menjitak pelan kepala anak laki-laki itu. "Please, kita tuh mau bikin ramuan bukan lagi ngelawan troll. Santai keleus!"

"Gua TAKUT aja tiba-tiba ditinggalin! " Balas Gopal, nyengir.

"BERLEBIHAN," Ansera tersenyum geli. "Sekarang, gak?"

"MANIFESTING KEMBALI DENGAN SELAMAT!" Jawab Gopal dengan anggukan mantap. Dia menarik tangan Ansera kencang dan mereka berdua pun berjalan memasuki bangungan itu.

GELAP, DINGIN, SUNYI.

Tiga kata tersebut cocok untuk mendeskripsikan salah satu lorong tua di area timur kampus. Lorong ini hanya memiliki tiga ruangan utama, dan satu gudang. Hal paling diingat setiap melewati lorong ini adalah lukisan bergerak seorang pelaut bernama David Cho. tepat di sebelah ruang kelas ramuan yang berada di ujung lorong.

Gopal dan Ansera bisa dibilang beruntung karena tidak ada satu pun hantu menetap dalam lorong ini karena Professor Éloïse tidak berteman baik dengan mereka. Hantu-hantu berkeliaran dikenal juga sebagai satpam tidak kasat mata. Mereka bisa aja menegur ataupun memberitahu staff dan Professor lain jika ada murid berkeliaran di asrama pada malam hari. (Negosiasi sangat diperlukan mengingat mereka masih bisa diajak kerjasama selama mendapatkan imbalan setimpal).

Ruang kelas ramuan terkunci, salah satu cara untuk membuka ruangan itu dengan bantuan mantra. Tentu saja, mantra ini cukup mudah untuk digunakan seorang muggle mengingat tidak membutuhkan pelafalan khusus.

Dengan hati-hati, Gopal mengayunkan tongkat sihir yang terbuat dari kayu ek pelan-pelan sambil mengucapkan mantra ajaib.

"ALOHAMORA!"

Cahaya kebiruan yang mempesona segera muncul di ujung tongkatnya dan menjalar menuju pintu itu yang terlihat gemetar sejenak. Kemudian, perlahan terbuka dengan sendirinya.

Gopal dan Ansera masuk perlahan ke dalam ruangan itu. Karena ini bukan pertama kalinya, mereka berdua sudah cukup ingat dengan denah kelas tersebut.

Mereka melihat rak-rak kayu tua yang dipenuhi dengan botol-botol kaca berisi ramuan-ramuan yang berkilau dalam kegelapan Beberapa botol terlihat sangat langka dan beharga dan mengeluarkan aroma ajaib.

Di tengah ruangan, ada meja panjang dengan beberapa kuali yang terletak di atasnya. Di sekitarnya terdapat berbagai alat sihir, seperti sendok-sendok ajaib dan alat pengaduk.

Di sudut lain ruangan, ada sebuah lemari besar dengan pintu kaca yang mengunci. Lemari itu berisi berbagai macam bahan-bahan untuk membuat ramuan. Ada berbagai jenis daun, akar, batu-batuan, dan bahkan bagian-bagian hewan yang digunakan dalam berbagai ramuan.

Mereka meletakkan tas-tas berisi berbagai macam bahan ajaib di atas meja. Gopal membuka tasnya dan mempersiapkan beberapa bahan yang akan digunakan. Sementara, Ansera mengeluarkan sebuah buku catatan yang berisi resep eksperimen ramuan yang mereka rencanakan.

"Semua bahan udah aman belum?" Tanya Ansera. Matanya fokus pada resep yang terpampang di halaman itu. Cahaya lilin di atas meja memberikan sentuhan dramatis.

"Jelantan kering, serpihan taring ular, siput bertanduk yang sudah direbus, duri landak, dan lendir Flobberworm?"

Gopal yang berdiri di sebelahnya memeriksa satu persatu bahan yang dibutuhkan, meyakinkan dirinya bahwa semuanya sudah lengkap.

"Dan.. Akar Jahe. Tapi, kok dicatetan gue enggak ada?" Ansera memeriksa kembali catatannya.

"Ce, jangan becanda dong. Ntar, kalau gagal gimana?" Belum juga dimulai, anak laki-laki itu mulai dramatis.

"TAPI, GUE INGET BANGET ADA AKAR JAHE, CIL!" Ansera ngotot. "Fix gue pasti lupa catet."

Here we go again, bertemu dengan Ansera dan keras kepalanya. Kalau sudah begini Gopal memilih untuk mengikuti keinginan perempuan itu. Toh, dia pun tidak ingat juga bahan yang diributkan memang dibutuhkan atau tidak.

"Argh, BINGUNG?" Balas Gopal sambil menggaruk kepala yang tidak gatal. "Yaudah, keep dulu aja. Nanti kita pikirin lagi."

"OKE!" Seru Ansera. "Yuk, mulai!"

Ekspresi mereka seketika berubah, terlihat sangat antusias untuk memulai rencana ini tetapi juga berhati-hati karena mereka hanya memiliki satu kesempatan. Mereka berdua merasakan deg-degan di perut mereka, seolah-olah berada di ambang sesuatu yang besar.

Gopal mengambil nafas dalam-dalam, merasakan ssmangatnya semakin memuncak. Mereka berdua mengambil posisi masing-masing di sekitar meja, dan dengan hati-hati memulai proses pencampuran bahan-bahan.

Kuali dipanaskan sampai berubah menjadi warna merah. Kemudian, untuk kedua kalinya dipanaskan kembali hingga ramuan berubah menjadi warna hijau.

"Ce, masukin apa dulu?"

Gopal mengambil bahan sesuai arahan, dia berusaha untuk menakar bahan dengan cermat agar tidak ada kesalahan dalam proses pembuatan ramuan ini.

"Seekor Flobberworm Lendir," Jawab Ansera sambil melirik ke arah buku catatan. "Pelan-pelan, Cil."

Setelah itu, perlahan ramuan berubah menjadi warna merah muda. Kuali dipanaskan lagi hingga berbau jeruk. Ansera mengambil jelatang kering dan mencampurkan bahan itu ke dalam kuali.

"CE, KOK JADI HIJAU?" Gopal kaget dengan perubahan warna ramuan yang mendadak.

Ansera yang berusaha fokus tersentak kaget, dia langsung mengecek ke dalam catatannya dan meyakinkan dirinya bahwa perubahan warna itu aman.

"CIL, JANGAN BIKIN PANIK!" Dia mengemomel. "Udah bener jadi warna hijau!"

"OH GITU? ABIS CEPET BANGET BERUBAHNYA." Anak laki-laki ini mulai bersikap dramatis (lagi).

"Fokus! Fokus!"

Ansera mulai mengaduk perlahan dan ramuan itu semakin lama berubau menjadi warna biru.

"Coba cek catatan. Butuh berapa taring ular?"

"Tiga—" Jawab Gopal." EH, SEBENTAR DUA? EH, EMPAT?"

Ansera melotot, "CEK CATETAN, CIL. JANGAN ASAL NEBAK."

"Catetan lo enggak jelas, Ce!" Gopal mengeluh. Mata dia meraba-raba tulisan pada catetan Ansera yang menurutnya kurang jelas.

"Buruan! Butuh berapa? Empat?"

"CIL, EMPAT? JAWAB!" Ansera mulai panik. Karena apabila bahan-bahan ini tidak ditambahkan dalam waktu yang tepat, mereka bisa langsung gagal.

Gopal memeriksa catetan lagi dan mengangguk.

Bener kok, empat!

"IYA..BENER! EMPAT."

"FOKUS!'

Ansera menambahkan empat taring ular yang sudah dihancurkan, dilanjutkan dengan kuali dipanaskan kembali sambil diaduk perlahan. Kemudian, Gopal mendekat dan mengambil alih untuk mengaduk ramuan itu yang berubah menjadi warna merah muda.

Gopal mengingat pesan dari Professor di kelas. Yang perlu diperhatikan dalam pembuatan ramuan ini adalah takaran bahan dan besar api yang nantinya mempengaruhi warna ramuan (Jumlah adukan pun bisa menjadi faktor namun tidak terlalu penting). Jika ada sedikit kesalahan, kualitas ramuan bisa berubah. Yang semula digunakan untuk menyembuhkan bisul, bisa saja menjadi berbahaya.

"Sekarang tambahkan sebelas siput bertanduk!"

Ansera mengambil dan menambahkan bahan itu. Tanpa perlu aba-aba, Gopal langsung mengaduk perlahan hingga ramuan kembali bewarna merah.

"Ce, jadi mau tambahin akar jahe?" Gopal menoleh pada Ansera, ragu.

Ansera terdiam sejenak, dia berusaha mengingat kembali kelas siang itu. Namun, dia gagal.

"Jujur, gue bingung! Apa enggak usah?" Balas Ansera.

"Menurut gue gak usah, karena lo gak catet itu."

"TERUS KENAPA GUE MIKIR ADA AKAR JAHE?" Ansera mengendus kelas. "Kalau gitu gue gak usah balik ke greenhouse tadi."

Gopal ikut berpikir, dia sendiri bingung karena tidak mengingat satu pun mengenai akar jahe.

"Yaudah, masukin aja?" Saran Gopal. Dia masih ragu. Namun, kalau tidak dicoba tidak akan tahu.

"Kalau salah gimana, Cil?"

"Gapapa. Kita kabur aja." Jawab Gopal asal. Tapi, memang benar bukan? Ngapain lagi kalau bukan kabur?

Ansera akhirnya setuju, dia menyamgil akar jahe dan menambahkannya pelan-pelan. Mereka agak menjauhkan diri untuk antisipasi apabila terjadi sesuatu yang tidak terduga.

Sudah lewat tiga menit, dan tidak terjadi apapun.

Dalam ketegangan yang memenuhi ruangan, Gopal dan Ansera saling menoleh, mata mereka penuh pertanyaan. Dengan hati-hati, Ansera mendekat ke kuali dan memeriksa warna ramuan yang terbentuk dengan cermat.

Ternyata, tidak berubah.

"Cil, aman deh!" Kata Ansera.

"KITA SELAMAT, CE!" Teriak Gopal. Dia menghela nafas lega karena situasi "mengerikan" itu sudah lewat.

Hal terakhir untuk membuat ramuan semakin sempurna adalah menambahkan bulu landak. Mereka telah mencapai tahap kritis dalam proses pembuatannya dan sekarang harus memutuskan kapan memasuk bulu landak ke dalam kuali. Sementara mereka merenung, bau harum campuran bahan-bahan ramuan itu mengisi ruangan.

"Gue bingung," Ansera menaikkan salah satu alisnya. '"Bulu landak harus dimasukin setelah atau sebelum kuali diangkat, ya?"

"Dicatetan lo apa?"

"NAH ITU... Gue disini nulis keduanya? GUE LUPA. Lo gak catet, Cil?"

Gopal menggelengkan kepala, "Apa yang lo harepin dari gue? Isi catetan gue adanya nama-nama anak yang ngutangin risol."

"TERUS GIMANA? SEMENIT LAGI HARUS DIANGKAT." Balas Ansera panik.

"EH, GIMANA?" Bukan menjawab, anak laki-laki itu justru ikutan panik.

"GIMANA?"

"PAS KUALI DI ATAS API?" Jawab Gopal tanpa berpikir panjang. Dia benar-benar asal menjawab.

"KENAPA HARUS GITU?"

"GUE ASAL JAWAB AJA," Balas Gopal. "COBA DEH KITA MIKIR REALISTIS...BIAR..ITU...RAMUAN JADI MERESAP?"

"YA IYA SIH.. FEELING GUE JUGA GITU? YAUDAH..? GAS?"

"PASRAH."

Dengan hati-hati, mereka memasukkan beberapa bulu landak ke dalam kuali yang masih terpanaskan. Mereka menyaksikan dengan penuh ketegangan saat bulu-bulu itu berada dalam kuali yang panas, berharap itu adalah keputusan yang benar.

Namun, tiba-tiba, kuali tersebut terlihat mulai meleleh. Ansera dan Gopal panik saat mereka melihat ramuan yang tadinya rapi menjadi acak-acakan. Suara ledakan kecil terdengar, membuat mereka melompat mundur.

"CECE!" Teriak Gopal histeris.

Aduh.

"CIL CIL CIL..INI GIMANA?"

Namun, kenyataan yang lebih mengejutkan datang ketika mereka melihat ramuan yang kini tidak beraturan dan berbahaya. Gopal, yang masih dalam kepanikan, tanpa sengaja menyentuh ramuan tersebut dengan jarinya, kemudian tanpa sadar menepelkannya ke pipinya.

"CECE, DUH! PANAS, CE!"

Ansera, terkejut oleh tindakan Gopal, tidak menyadari bahwa kursi di belakangnya telah terkena percikan ramuan yang tak terkendali. Tanpa diduga, Ansera duduk dengan keras, mengenai ramuan tersebut, dan dengan segera teriak panik.

"AAAAAAAH!" Teriak Ansera, dia langsung merasakan sensasi perih luar biasa.

"SAKIT, CIL!"

Saat mereka saling pandang, terlihat bisul merah yang besar muncul di area yang terkena ramuan tersebut. Kedua wajah mereka penuh kepanikan dan rasa sakit. Ramuan yang seharusnya menjadi karya masterpiece sihir, malah mengubah mereka menjadi korban eksperimen yang buruk.

"CE, ADA BISUL DI PIPI GUE?" Gopal meraba-raba bisul itu dengan tangan kanan, mencoba merasakan sebesar apa bisul itu muncul.

"GEDE BANGET! NANGIS KITA HARUS GIMANA?" Lanjut Gopal setelah menyadari bisul yang muncul itu sebesar kacang tanah.

"CIL, LIHAT GUE?" Ansera lebih histeris dan menunjukkan bisul yang sepertinya tumbuh di area yang terkena ramuan itu.

"GIMANA CARA GUE MAU DUDUK?"

Gopal meraba-raba kepala untuk mencari solusi, tetapi dengan waktu yang semakin berkurang dan jam malam yang akan segera berakhir, mereka merasa semakin terdesak.

"CIL! COBA PAKE MANTRA?" Saran Ansera.

"JIR! GUE GAK TAU MANTRA APA, CE?" Jawab Gopal. Isi kepala dia benar-benar kosong.

"TERUS KITA GIMANA?"

Gopal berpikir untuk mencoba membuat ulang ramuan tersebut agar menjadi benar, tetapi mereka sadar bahwa waktu yang tersisa tidak cukup untuk melakukannya. Situasi semakin rumit, dan mereka merasa semakin terpojok.

"Ce, gak ada waktu lagi," Gopal melirik ke arah jam tangan. "Ce, serius. Kita harus pergi."

"SEKARANG? TERUS KITA GI—" Sebelum Ansera menyelesaikan perkataanya, Gopal terlebih dahulu menyela.

"Sekarang atau kita ketahuan?!"

Ansera segera bergabung dengan Gopal untuk membersihkan segala kekacauan yang telah terjadi. Mereka tahu bahwa jika ketahuan, hukuman yang menanti akan semakin berat.

"Cil! Pake mantra!" Ansera memberikan saran untuk menggunakan mantra sihir, lalu dia dengan cepat mengeluarkan tongkat kayunya.

"Tergeo! APA LAGI?"

Gopal yang tengah panik, berusaha keras untuk mengingat mantra apa lagi yang mungkin bisa membantu dalam situasi ini.

Dengan tangan gemetar, dia mengayunkan tongkatnya dan berkata, "Mobiliarbus!"

Semua benda yang sebelumnya tercecer di sekitar mereka melayang di udara dan kembali ke tempat masing-masing, seolah-olah tidak ada yang pernah terjadi. Mereka merasa lega saat melihat kelas ramuan kembali dalam keadaan rapi.

Tetapi mereka tidak punya banyak waktu untuk bersantai. Dalam ketegangan yang terus menyelimuti mereka, Gopal dan Ansera buru-buru meninggalkan ruangan.

"Colloportus!" Gopal menggunakan mantra sihir itu untuk mengunci pintu hati-hati, berharap agar rahasia mereka tetap terjaga.

Gopal dan Ansera berjalan tergesa-gesa melalui koridor yang gelap. Mereka berdua tidak bisa berbicara, tangan mereka gemetar karena panik dan setiap langkah terasa seperti beban berat. Mereka terfokus pada misi mereka untuk mencapai asrama sebelum batas waktu berakhir.

Namun, satu pertanyaan yang besar terus menghantui pikiran mereka: Bagaimana mereka akan menjelaskan kepada semua orang tentang bisul ini?

THE END.

Catatan :

2,328 words 16,323 characters.

Sudah dapat persetujuan Ce Ansera.

Maaf kalau banyak salah dalam penulisan! 𝗥𝗜𝗦𝗢𝗟 masih belajar. 🤙

[newsyaari]

In Hastinapur, Bjp Leader And Former Mla Fired At The Licensed Pistol - दिवाली पर हस्तिनापुर के भाजपा नेता ने पिस्टल से की हवाई फायरिंग, बेटे से बनवाया वीडियो, मुकदमा दर्ज

In Hastinapur, Bjp Leader And Former Mla Fired At The Licensed Pistol – दिवाली पर हस्तिनापुर के भाजपा नेता ने पिस्टल से की हवाई फायरिंग, बेटे से बनवाया वीडियो, मुकदमा दर्ज

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मेरठ के हस्तिनापुर में पूर्व विधायक और भाजपा नेता ने दीपावली के मौके पर लाइसेंसी पिस्टल से ताबड़तोड़ हवाई फायरिंग कर डाली। यही नहीं भाजपा नेता ने अपने बेटे से फायरिंग का वीडियो भी बनवाया, जो सोशल मीडिया पर वायरल हो गया। 

कानूनी तौर पर लाइसेंसी…

[workingclasshistory]

On this day, 12 December 1948, the Batang Kali massacre took place in Malaysia (then Malaya) when British troops massacred 24 unarmed rubber plantation workers as part of their campaign against a communist insurgency in the British imperial colony. Malaya was at the time the world's biggest exporter of rubber and tin, which Britain needed to tax to pay debts to the US. None of the murderers, members of the Scots Guards, were charged with any offences. Pictured: Romen Bose Tham, a survivor of the massacre * Learn more about the British empire and resistance to it in this book: https://shop.workingclasshistory.com/products/insurgent-empire-anticolonial-resistance-and-british-dissent-priyamvada-gopal https://www.facebook.com/workingclasshistory/photos/a.296224173896073/1874386869413121/?type=3

[santmat]

Selections from the Saints and Mystics - Exploring A Treasure-Trove of Spiritual Writings and Teachings - Sant Mat Sampler

"Sant Mat" can be defined as: "The Teachings ('Mat') of the Saints ('Sants') or Sages" or "Path of the Masters". In India it’s common knowledge that the term "Sant Mat" was coined or adapted by Param Sant Tulsi Sahib of Hathras during the 19th-century. "Sant Mat" was adopted and popularized by Tulsi Sahib as a new name for this spiritual path or genre of mysticism, but the Sant tradition, with its many guru-lineages or branches, is a spiritual movement that dates back many centuries to ancient India.

Spiritual Awakening Radio Podcast: Selections from the Saints and Mystics - Exploring A Treasure-Trove of Spiritual Writings and Teachings - Sant Mat Sampler - Listen, Download, Subscribe @ the Podcast Website: 

https://SpiritualAwakeningRadio.libsyn.com/website

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https://podcasts.apple.com/us/podcast/spiritual-awakening-radio/id1477577384

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https://open.spotify.com/show/5kqOaSDrj630h5ou65JSjE

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https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5saWJzeW4uY29tLzIwNzIzNi9yc3M

& @ Wherever You Subscribe and Follow Podcasts (Apple, Spotify, Google, Amazon, Audible, PodBean, Overcast, i Heart Radio, Podcast Addict, Gaana, CastBox, etc...): 

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"There is no end to the number of Sants who appeared in the Yugas [Epochs] of Sat, Treta, Dvapar, and Kali [Yuga]. I sing of the celebrated one I have heard of, and bow my head to all the others." (Jan Gopal, disciple of Sant Dadu Dayal)

"I have given out the same true secrets which Sants like Kabir Saheb, Dadu Saheb, Rai Das Ji, Darya Saheb, Guru Nanak, Soor Das Ji, Nabha Ji and Mira Bai have spoken of. They, too, have composed similar hymns describing the bliss of the Highest Spiritual Region, whose glory I also have sung, blessed by the grace and the dust of the holy feet of Sants." (Sant Tulsi Sahib, Book of Ghat Ramayan)

"The names of some of the perfect and true Sants, Sadhs and Faqirs who manifested themselves during the past seven hundred years are Kabir Saheb, Tulsi Saheb, Jagjiwan Saheb, Garib Das, Paltu Saheb, Guru Nanak, Dadu Saheb, Tulsi Das, Nabhaji, Swami Hari Das, Sur Das and Rai Das. And some of the Muslim names are Shams Tabrez, Maulvi Rumi, Hafiz, Sarmad and Mujaddid Alif Sani. A perusal of their writings would give an idea of their spiritual attainments." (Sar Bachan Radhasoami Prose, A Summary of the Teachings of Soami Ji Maharaj)

"Sacrifice to the magnificent Saints like Kabir, Nanak, Goswami Tulsidas and Tulsi Sahib, Dadu, Sundar Das, Sur Das, Swapach, Ravi Das, Jagjiwan, Paltu, etc..., They are all great benefactors, delivering human beings from the fears of the world, Satguru Devi and other Saints are also highly adorable, Maharshi Mehi sings their magnificence and lies prostrate at their sacred feet with faith and love." (Maharshi Mehi Paramhans, Book of Padavali)

Today on this Sant Mat Satsang Podcast Selected Quotes from Many Different Sant Mat Masters and Spiritual Classics Introducing The Way of the Saints, The Path of the Masters - A Production of Spiritual Awakening Radio.

In Divine Love, Light and Sound,

James Bean

Sant Mat Satsang Podcasts

Spiritual Awakening Radio

https://www.SpiritualAwakeningRadio.com

#SpiritualAwakeningRadio #SantMatSatsangPodcasts #SantMat #Sant_Mat #Satsang #Spirituality #Meditation #India #Podcasts #Spotify #ApplePodcasts #GooglePodcasts #PodBean #IHeartRadio #Gaana #AmazonMusicPodcast #Audible #SpiritualQuotes #GodIsLove

#santmatsatsangpodcasts #spiritualawakeningradio #satsang #santmat #sant_mat #spiritualpodcasts #podcasts #spiritualawakening #suratshabdyoga #tulsisahib #soamijimaharaj #huzurmaharajraisaligram #maharshimehi #swamisantsevijimaharaj #swamivyasanand #kirpalsingh #sawansingh #ajaibsingh #santji #thelightofajaib #simran #eknath #rumi #sants #santmatradhasoami

[crazywanderlust]

Radha Raman Temple, Vrindavan Overview

Located about 2 kilometers from the Vrindavan Railway Station is one of the maximum respected early modern Hindu temples in Vrindavan, the Radha Raman Temple. It is devoted to Lord Krishna, who is taken into consideration to be Radha Raman, which means one that offers pride to Radha. 

The temple is thought to have the original Shaligram deity of Krishna along Radharani, that's the self-manifested deity from Shaligram Shila and has a mystical smile on his face. The Radha Raman temple complicated also has the samadhi of Gopal Bhatta, located proper subsequent to the appearance region of Radha Raman.

Radha Raman Temple is stated to be one of the most sizable some of the 7 temples of Thakur of Vrindavan. It holds significance specifically the various fans of Gaudiya Vaishnavism. The temple became beautifully crafted whilst it turned into set up in 1542 however became renovated later in 1826 with the aid of Shah Behari Lallji. Check out: Hotel in Vrindavan

Another thrilling fact about this temple is that even though it is devoted to and named after Radha, there is no deity of Radha Rani inside the temple. There is best a crown saved next to Krishna to indicate her presence.

Legend of Radha Raman Temple

The temple dates 500 years again whilst it was set up with the aid of Gopala Bhatta Swami. He came to Vrindavan at 30 years of age. Having felt detached from the Lord after Chaitanya Mahaprabhu's disappearance, he dreamt of the Lord teaching him to visit Nepal as a way to reap his darshana. 

Gopala Bhatta Swami headed to Nepal and bathed in the infamous Kali Gandaki River where he dipped his water pot within the river, most effective to discover numerous Shaligrams enter his pot. He tried to drop them back in the river, but they kept re-coming into the pot. He discovered a complete of 12 Shaligram Shilas and took them with him.

On the Poornima day, he placed them in a wicker basket after worshipping them and went to take a few rest. The next morning, on uncovering them, he noticed best eleven Shilas and a deity of Lord Krishna gambling the flute. Basically, it turned into one of the Shilas that had self-manifested itself right into a deity which got here to be called Radha Raman. This the story of the appearance of Radha Raman and the original Shila is placed in this temple.

[bollywoodirect]

Remembering I. S. Johar on his 35th death anniversary. Inder Sen Johar (16 February 1920 – 10 March 1984) better known as I.S. Johar, was an actor, writer, producer, and director. Johar acted in numerous Hindi films from the 1950s through to the early 1980s and played cameos in international films such as Harry Black (1958), North West Frontier (1959), Lawrence of Arabia (1962) and Death on the Nile (1978), besides acting in Maya (1967), a US TV series. He also appeared in Punjabi films, including Chaddian Di Doli (1966), Nanak Naam Jahaaz Hai (1969) with Prithviraj Kapoor, and Yamla Jatt with Helen. Wrote, acted in, and Directed the best partition based Hindi movie Nastik (1954). I. S. Johar also wrote and directed films, some of which included Johar Mehmood in Goa and Johar Mehmood in Hong Kong in which he co-starred with comedian Mehmood. These were inspired by comedy films of the Bob Hope-Bing Crosby style Road to... series. That being said, Johar was a unique and idiosyncratic individual, a lifelong liberal (if not a libertine: he had five marriages, an extraordinary number by Indian standards, both then and now) who poked fun at all forms of institutionalised self-satisfied smugness – an attitude which did not endear him to the essentially hierarchical and conservative Indian establishment, and might have contributed to being relegated to making B-grade movies all his life, due to a lack of finding financing for his highly individual and quirky screenplays. In many of his films, both those he directed and those he acted in, Sonia Sahni was the leading lady, most notably in Johar Mahmood in Goa, 1964. He also starred in films with his own surname in the title such as Mera Naam Johar, Johar in Kashmir and Johar in Bombay, which is a testament both to his immense egotism, as well as his popularity with the common masses – for whom a movie with the Johar name was a guarantee of easy laughs, as well as subtle ironic or frankly sarcastic jibes at Indian customs, mores, superstitions and institutions. His film Nasbandi (Vasectomy) was a spoof on Prime Minister Indira Gandhi's failed policy of population control by coerced vasectomies during the period of Emergency and was "banned" when it was first released. Yash Chopra started his film career as an assistant director with I. S. Johar. In 1963 he starred as "Gopal" in two Italian films directed by Mario Camerini: "Kali Yug, la dea della vendetta" (Kali Yug, Goddess of vengeance) and "Il Mistero del tempio indiano" (The secret of the Hindu temple).

[iemiftikhar]

THE MIGHTY RIVER SHARDA/MAHA-KALI

Photo Credit to Sh. Gopal Singh Karki Range Officer River Kali originates and flows through the valleys of Kumaon HimalayasThe Sharda River Valley is located in Tanakpur, Champawat District is a railways terminal on Bareilly-Tanakpur line. This town was established by Britishers after the devastating riverbank landslip of 1880 when Baramdeo settlement was washed away by furious river Sharda.…

[gopalabimanyu]

ABOUT HIM.

PROFIL.

Nama : GOPAL ABIMANYU.

Nama Panggilan : GOPAL, Dipanggil "GANTENG" juga NYAHUT.

Tempat Tanggal Lahir [TTL] : Tangerang Selatan, 22 Mei 2004.

Zodiac : GEMINI! Please, JANGAN dimusuhin.

MBTI : R-SOL [Dem, gak pernah ngecek! SOWRY].

BLOOD TYPE : A+

Hobi : Ibadah lagu NEWJEANS minimal sehari 10x, KHUSUSNYA DITTO! Ngadon risol, apalagi coba? Debat kurang jelas ala-ala capres dan cawapres.

Status : Sibuk sebagai aktivitis kepanitiaan alias budak event, masih butuh pacar?

Kerjaan : DANUSAN RISOL.

SERBA-SERBI GOPAL.

Danusan risol sudah menjadi MAKANAN SEHARI-HARI, mulai dari ngadon [Gak mau beli dari orang dengan alasan pengen mencari pengalaman dan meningkatkan skill], sampai berjualan.

Menang debat kusir bersama Mamang Batagor membahas DULUAN TELUR atau AYAM.

Pernah dapet nilai statistik : 2! SERIUSAN. Bukan 20, tapi bener-bener 2. Keren? Banget.

Ingin menerapkan kehidupan work-life balance. Jadi, SENIN sampai JUMAT itu JADWAL DANUSAN RISOL. Sabtu dan Minggu LIBUR.

Walaupun sibuk danusan dan kepanitiaan, tetap mempertahankan nilai IP. Terakhir kali dapet ; 3.80!

Beberapa kali hasil test ini-itu selalu muncul Ekstrovert. Padahal ngerasa Introvert karena lebih seneng menghabiskan waktu sendiri [Mungkin faktor badan GAMPANG JOMPO].

Total mantan kalau enggak salah ada 3, terakhir kali deket sama KATING berakhiran Kakak-Adek zone. Sekarang, udah males cinta-cintaan.

CERITA GOPAL.

Hallo! Ekhem, testung! Udah siap? Yups, kenalin cowok ganteng satu ini! Siapa lagi kalau bukan gua sendiri, GOPAL ABIMANYU. Bisa dipanggil GOPAL, PAL, ataupun GGB [Gopal Ganteng Banget]. Atau, disahut, "OIT GANTENG!" pasti nengok, sih.

Funfacts, Papa dan Mama random banget ngasih nama Gopal. Karena apa? Setelah nonton acara tawa Opera Van Java [OVJ], tiba-tiba Papa kepikiran nama tersebut. Padahal, gak ada korelasi sama sekali. Tapi, Papa sih ngeles berharap gua bisa sekeren anggota acara tersebut [ASBUN BANGET DAH]. Karena nama GOPAL itu sendiri singkatan dari; Gagah, Optimis, Perkasa, Asik, dan Lucu.

Oke-oke, lanjut lagi! Gua lahir dengan alhamdulillah selamat [Lihat aja sekarang masih bernafas] di salah satu rumah sakit swasta daerah Tangerang Selatan [Serpong mepet sedikit BSD] tanggal 22 Mei 2004. IYA, GUA TAU BETUL PASTI PADA MIKIR, WIH, GEMINI? EMANG. Ada apa sih sama Gemini? Kok bisa dimusuhin?

Lanjut! Kenalan sama keluarga gua! Eits, pasti pada ngira gua sendiri? Enggak! Gua anak bungsu dari dua bersaudara alias PUNYA ABANG. Well, gua sama abang itu termasuk akrab kok. Keluarga gua juga sangat amat dekat dengan bidang pendidikan. Papa, beliau seorang kepala sekolah berwibawa di salah satu SMA Negeri di Tangerang Selatan. Nah, Mama beda lagi! Beliau itu guru sosiologi keren di salah satu SMP Negeri di Tangerang Selatan. GUA SANGAT AMAT BERSYUKUR bisa terlahir dalam keluarga ini karena bisa mendapatkan BANYAK banget privilage untuk berkembang. CIELAH.

Sebagai mahasiswa penuh ambisi dan tekad kuat, gua aktif dalam berbagai kegiatan kampus. Kalau dipikir-pikir dalam seminggu itu, gua ngerasa butuh lebih dari 7 hari! Karena gua sibuk banget untuk mengikutin kegiatan kepanitiaan alias budak event! Alhasil, karena tuntutan ini gua pun harus danusan risol sampai target acara terpenuhi.

Kedengeran capek? Banget! Tapi, selama ini gua fun aja sih. Mungkin, ngerasa itu sudah tanggung jawab dan konsekuensi dari jalan gua ambil. ARGH, BAHASANYA KEREN BETUL. Dan, karena alesan itu pun gua jadi memberanikan diri membuat risol sendiri! Walaupun masih belum seenak tempat lain, tapi risol gua termasuk most-wanted food di kampus. Karena ini, gua ada misi sendiri untuk memperkenalkan risol ke seluruh dunia. Gak sabar!

Jangan lupa, satu risol 2000, beli tiga bisa 5000 [selipin promosi sedikit].

Oke, cukup sampai disini. Kalau mau kepo lagi, PDKT? AHAY. Gak, deh. Nanti, lanjut lagi kalau enggak lupa.

[banglasobkichu]

Nache Debdulai is a bengali Folk song written by Bhoba pagla ...the song all about bengali gos kali this song is basically is a vajan of god kali...this video the song is singing by Gopal khepa..

[bdurgapuja]

Daily Darshan Maa Tara (01.02.2021) তারাপীঠের মা তারা। জয় মা তারা।।। 🙏🙏🙏 #tarapith #temple #kali #krishna #radha #maa #god #love #devotional #devotion #spirituality #spiritual #photography #maakali #maatara #shiva #photo #gopal #durga #photography #goddess #blassed #mother #instagood #insta #indiantemple #mother #indiantravelblogger #maadurga #dailydarshan #dailydevotional #igtarapith @bdurgapuja @maarajlaxmi Photo Credit: Mrityunjoy Chakraborty (Bittu) [9933683932] Sebayet of Maa Tara Temple Can contact for Puja (at Maa Tara Temple, Tarapith) https://www.instagram.com/p/CKvF0Xuhrbm/?igshid=1l8ba9j3x5wtb

[santmat]

Sants (Saints, Satgurus) of Antiquity Long Before the Time of Kabir

It’s unknown who the first Sant was in ancient times. There are references in Krishna/Vaishnava texts to Sants. A few of the Rishi Sages who authored certain Upanishads pertaining to the Formless God, Inner Light and Sound Meditation or Nada/Shabda Yoga (some dating back many centuries B.C.E.) also seem to be at the same level as Sants. In somewhat more recent times, in some circles associated with the Tulsi Sahibis, Gorakhnath, a 11th-century Nath Yogi, is considered to be a Sant. Baba Gorakhnath did teach Surat Shabd Yoga. The Kabir Panth tradition of northern Sants includes much Nath Yogi terminology and apparently was somewhat influenced by the Nath tradition. The 15th century poet-mystic and spiritual master Kabir can be credited with helping to expand greatly the influence of the Sants in India, but Kabir was not the first Sant, and it is unknown who his guru was. (Some traditions describe Baba Ramananda as the guru of Kabir, but not everyone agrees with this view.) The first Masters formally called Sants that are usually mentioned in Sant literature are the 12th-century poet Jayadeva, author of the Gita Govinda, and, Visoba Khechar, who was Sant Namdev’s spiritual Master (Sant Satguru).

Seeing references in Krishna/Vaishnava Hindu scriptures, Sant Tulsi Sahib of Hathras was of the opinion that the Sant movement dates back to the time of Krishna thousands of years ago, that Krishna knew of Sants during his day.

An Example of Sants Mentioned in a Hindu Scripture Called the Bhagavad Purana

“Such individuals who have achieved the unity of atman (soul) and Param-atman (Supreme Soul, God) are known as Sants. According to the Bhagavad Purana there is no one greater than a Sant in the eyes of the Divine. Lord Krishna says to his disciple Uddhava Ji: ‘All devotees like you are very dear to me. They are dearer to me than Lord Brahma, Lord Shankara, my brother Bal Ram, Goddess Lakshmi and even my own soul. Therefore, I walk behind these Sants hoping that the dust arising from their holy feet would touch my body and purify me.’” (Hindu scripture quoted by Swami Vyasanand of the Tulsi Sahib/Maharshi Mehi Sant Mat lineage in his book, “The Inward Journey of the Soul”, new Amazon Kindle e-book)

“There is no end to the number of Sants who appeared in the Yugas [Epochs] of Sat, Treta, Dvapar, and Kali [Yuga]. I sing of the celebrated one I have heard of, and bow my head to all the others.” (Jan Gopal, disciple of Sant Dadu Dayal of Rajasthan in, The Life Story of Dadu Dayal — The Book of Janma, translated into English by the scholar Winand M. Callewaert, in, “The Hindi Biography of Dadu Dayal”, Motilal Banarsidass.)

The Origins of Sant Mat: Access this e-booklet at:

@ Medium: https://medium.com/sant-mat-meditation-and-spirituality/the-origins-of-sant-mat-the-five-names-and-the-identity-of-tulsi-sahib-s-guru-by-james-bean-eaa516deccf9#.z3lajdf42

@ The Internet Archive: https://archive.org/details/TheOriginsOfSantMatSachKhandPDF

@ Academia EDU: https://www.academia.edu/38884339/The_Origins_of_Sant_Mat_The_Five_Names_and_the_Identity_of_Tulsi_Sahibs_Guru_by_James_Bean

[bollywoodirect]

Remembering I. S. Johar on his 34th death anniversary.

Inder Sen Johar (16 February 1920 – 10 March 1984) better known as I.S. Johar, was an actor, writer, producer, and director.

Johar acted in numerous Hindi films from the 1950s through to the early 1980s and played cameos in international films such as Harry Black (1958), North West Frontier (1959), Lawrence of Arabia (1962) and Death on the Nile (1978), besides acting in Maya (1967), a US TV series. He also appeared in Punjabi films, including Chaddian Di Doli (1966), Nanak Naam Jahaaz Hai (1969) with Prithviraj Kapoor, and Yamla Jatt with Helen.

I. S. Johar also wrote and directed films, some of which included Johar Mehmood in Goa and Johar Mehmood in Hong Kong in which he co-starred with comedian Mehmood. These were inspired by comedy films of the Bob Hope-Bing Crosby style Road to... series. That being said, Johar was a unique and idiosyncratic individual, a lifelong liberal (if not a libertine: he had five marriages, an extraordinary number by Indian standards, both then and now) who poked fun at all forms of institutionalised self-satisfied smugness – an attitude which did not endear him to the essentially hierarchical and conservative Indian establishment, and might have contributed to being relegated to making B-grade movies all his life, due to a lack of finding financing for his highly individual and quirky screenplays. In many of his films, both those he directed and those he acted in, Sonia Sahni was the leading lady, most notably in Johar Mahmood in Goa, 1964.

He also starred in films with his own surname in the title such as Mera Naam Johar, Johar in Kashmir and Johar in Bombay, which is a testament both to his immense egotism, as well as his popularity with the common masses – for whom a movie with the Johar name was a guarantee of easy laughs, as well as subtle ironic or frankly sarcastic jibes at Indian customs, mores, superstitions and institutions. His film Nasbandi (Vasectomy) was a spoof on Prime Minister Indira Gandhi's failed policy of population control by coerced vasectomies during the period of Emergency and was "banned" when it was first released. Yash Chopra started his film career as an assistant director with I. S. Johar.

In 1963 he starred as "Gopal" in two Italian films directed by Mario Camerini: "Kali Yug, la dea della vendetta" (Kali Yug, Goddess of vengeance) and "Il Mistero del tempio indiano" (The secret of the Hindu temple).

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