#UP Yuddhas

[the--secret-diary]

FiFA 2022 or Pro Kabaddi? Which sport gives more jump-on-the-seat moments?

Indians are crazy for cricket and the players. We will watch the match even if India is not playing or might not be an international match. In fact, we will the highlights too. At weddings, office meetings, or lectures, there is always a guy who pops out his mobile and watches matches. But do you know apart from cricket which sport has crazy moments that Indians love to watch? Some will say the…

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#Brazil Football team #Brazil Vs Croatia #Croatia Football #Fifa world cup 2022 #Fifa world cup 2022 live #Fifa worldcup highlights #Gujarat Giant vs Jaipur Pink Panthers #Gujarat Giants #Jaipur Pink Panthers #Puneri Paltans #Puneri Paltans vs UP Yuddhas #UP Yuddhas #Vivo Pro Kabaddi

[novacollistar]

i hope more people talk about professor chakravarti from babel: an arcane history because he was a witty, intelligent middle aged man who had to deal with all the pain living in england had caused him, and still had to watch his students throw themselves in the face of death. he ended up dying anyway, but imagine his final moments, wondering if robin, victoire and the others had accomplished their goals in what he had once believed was a dharma-yuddha - a righteous war.

also i have the headcannon that he definitely was trained in some form of indian martial arts because my guy knew some moves that even stunned robin.

#babel an arcane history #babel rf kuang #professor chakravarti

[dumdaradumdaradum]

Masterlist

इन्धे राजा समर्यो नमोभिर्यस्य प्रतीकमाहुतं घृतेन।

नरो हव्येभिरीळते सबाध आग्निरगग्र उषसामशोचि।। ७.००८.०१

The king whose face is decked with oil is kindled with homage offered by his faithful servant. The men, the priests adore him with oblations. Agni hath shone forth when the dawn is breaking.

I'm gonna start a series about the dasarajna yuddha, popularly known as battle of ten kings. Most historians call it a prototype of Mahabharat while some want to make it in into a third epic. This is also the world's first recorded war. In this series i will try to dig up verses from rigveda and try to compile them with translations and my two cents.

If you can provide better translations pls do not hesitate to reach out or correct me

Since I do not have a seperate taglist i will tag everyone and anyone who does not want to be notified about this series can tell me and i won't tag them in further parts. Conversely, if you want to be tagged pls tell me.

Tags : : @thewinchestergirl1208 @budugu @yehsahihai @vaijayantheee @chaanv @rambheemisgoated @iam-siriuslysher-lokid @asarcasticcaffeinatedslytherin @mizutaama @jeonmahi1864 @bromance-minus-the-b @ronaldofandom @sabi5 @saanjh-sakhi @maraudersbitchesassemble @whyismynamecommon @nyotamalfoy @rambheemlove @lite-teesko @jjwolfesworld @shreyalokesh @amnmich

#rig veda #dasarajna yuddha #battle of ten kings #indian history #prototype #ancient india #stories from vedas #desiblr #desi tumblr #mahabharat

[astrologervinayakbhatt]

VERY GOOD MORNING TO ALL

ADITYA HRIDAYAM (STOTRA FOR OBTAINING BLESSINGS OF SURYA DEVTA) 🍀🍒

The Aditya Hridayam, is a hymn in glorification of the Sun or Surya and was recited by the great sage Agastya to Lord Rama on the battlefield before fighting with Ravana.

This historic hymn starts at the beginning of the Battle with Ravana, when Lord Rama is fatigued and getting ready to fight. The mystical hymn is dircted to the Sun God, the illustrious lord of all victories.

The Aditya-Hridyam Hymn is part of the Yuddha Kanda of Valmiki Ramayana (the chapter of war) and contains 31 slokas.

Nama Suryaya Santaya Sarvaroga Nivarine |

Ayu rarogya maisvairyam dehi devah jagatpate ||

Oh Lord Surya, ruler of the universe, you are the remover of all diseases, the repository of peace

I bow to you. May you bless your devotees with longevity, health and wealth

BENIFITS OF RECITING ADITYA HRIDAYAM 🍀

1. By reciting Aditya Hridaya Stotra Sri Rama killed Ravana and achieved Victory.

2. "Tejaskamo Vibhavasum" people desirous of Tejas-Aura around them, have to recite Aditya Hridaya Stotra. This is stated in Bhagavata.

3. By the grace of Surya Kunti Devi was blessed with Karna . Monkey Rurajasa with Sugreeva as his son

4. Satrajit obtained Syamantaka-mani by worshipping Surya.

5. Dharma Raja obtained Akshaya patra by worshipping Lord Surya and he used to entertain his guests with this wish yielding bowl.

6. "Dinesam Sukhardham" It is stated in Skanda purana that one has to pray to Surya Bhagavan for happiness and welfare.

7. The Samba purana declared that Samba the son of Jambavati could get himself cured of his leprosy by worshipping Lord Surya.

8. Mayurabhatta could make his body akin to a Diamond and became free from disease.

Sunday is the day of Surya.

One must avoid Liquor and Meat on Sundays.

Veda has stated that it is essential to get up early before sun rise.

One must get up in the early morning and offer oblations to Sun God. It is desirable to take bath in any lake or pond or river.

Stand opposite to Sun God and offer the Arghya.

Then the Cosmic rays covering the flowing water in Arghya pradana will emanate the power received from the rays of Sun and they project on our body.

SAPTA SAPTIH – SURYA BHAGVAN

1. He possesses Seven horses (Seven rays)

They are Jaya, Ajaya, Vijaya, Jitaprana, Jitakrama, Mano Japa, Jita Krodha (Bhavisya purana)

Jaya : The first ray bestows firm conviction, mental and physical strength generosity domination of others and benevolence.

Ajaya : gives Compassion, tranquility and intelligence, inward understanding.

Vijaya : Voracious reading, high thinking and spiritual base.

Jita prana : Deep thinking, extremely kind, merciful.

Jita krama : grants high quality discipline, very knowledgeble & scientific evaluators.

Manojapa :

Dedication & devotion, sincere and pursues the path of truth.

Jita krodha : In depth evaluation, artistic taste in fine arts and adoration of beauty, love for display.

2. The Seven Chandas : (poetic metres)

1. The Gayatri

2. Jagati

3. Usnik

4. Tristupp

5. Anustupp

6. Pankti became the six horses.

7. the Bhruhati chanda has became seat in middle of the Chariot.

Surya Bhagavan sits on this Chariot of Chandas & travel on the space.

3. Lord Surya has Seven rays :

These are

1. Susumna

2. Suradana

3. Udanvasu

4. Visvakarma

5. Udavasu

6. Visvavyaca

7. Harikesa

“Susumna”: This is equivalent to the brightness of thousand rays.

This ray with this name make Chandra (Moon) most beautiful one.

The Nectar given

by fullmoon to all bestows on them happiness and pleasure.

“Surandana” : The moon has originated from this ray.

Even the rays of are only rays of Surya (Sun) alone.

“Udannvasu” : From this the Kuja graha (planet) is originated.

This ray of Surya will protect living being from defects of blood & gives them health, brilliance & wealth.

“Visva karma” : This constructs the Budhagraha (planet).

This ray will remove mental agitations of people & grants all auspiciousness and peace.

“Udavasu” : This ray constructs Brihaspati planet.

This planet grants pleasures & liberation to all living beings.

By worshipping this planet all hurdles, obstructions, opposition will be removed & success is achieved.

“Visva vyaca” : From this ray Sukra & Sani have originated.

Among them Sukra is responsible for Virya (sperm) Sukra is incharge of humans procreation & also his ray brings death.

Hence by worshipping this

ray one will get complete longevity.

“Harikesa” : Due to this ray, all Stars (Nakshatras) are born.

These come to be known as Nakshatra because they are protecting human bodies from loss of strength, Virya & Teja.

Surya has seven service personnel

They are

1. Nakshatras

2. Months

3. Fortnights

4. Seasons

5. Years

6. Days

7. Nights.

He has Seven Indriyas (organs) they are

1. Two eyes 2. Two Nostrils 3. Two ears 4. One face.

Surya Bhagavan is the person that activates the functions of these organs.

6. He has a Horse by name Sapta.

Having a Chariot with this name he

is called as Sapta Sapti.

This name is denoted at end of Kalki Avatara riding this horse.

The seven colours of Suryadeva : 1. Red 2. Orange 3. Yellow 4. Green 5. Blue 6. Indigo 7. Violet, are the seven horses of Surya 🍀🍒

Full Credits : Aavesh Tapde ji

Stay safe stay better

[indiejones]

40′s BOLLYWOOD !

40′s BOLLYWOOD ! : 

THE PLATINUM ERA OF HINDI CINEMA (1913-47), CONTRARY TO EXPECTATION, SAW A FLOOD OF FILMS (>100 EVEN!) ANNUALLY, FOR ALL IT'S 35 YRS, YET LOST TO THE RAVAGES & PART NEGLIGENCE OF TIME. THIS RAREST OF EFFORTS & COLLECTIONS, RESEARCHING INTO THIS LONGEST OF BYGONE (LARGELY PRE-INDEPENDENCE) ERAS, HAS SOMEHOW AUTHENTICALLY BEEN ABLE TO DIG UP & PERSONALLY VIEW ALL OF THESE BELOW FILMS ONLINE, & HENCE BASED ON EXPERIENCE NOT HEARSAY...& MAY I SAY HERE, A MOST DELICATE YET SOLID & IMPRESSIVE SPREAD, INDEED! ALSO OF COURSE, DIGITAL RESTORATION, BEING AS TOUGH, EXPENSIVE & TIME-CONSUMING AS IT IS, THESE ARE EXPECTEDLY ONLY THE VERY FINEST, MOST POPULAR, HIGHEST RATED & MOST PATRONIZED FILMS OF THAT TIME..SO FILM AFFICIONADOS LIKELY NOT BE MISSING OUT TOO MUCH, IN THEIR HISTORICAL ANALYSIS...IF JUST GO THRU THESE BELOW INTRICATELY JUDGED & SORTED FILMS, RATED IN CONTEXT OF THEIR RELATIVE PRESENCE IN THE INDIES ALL-TIME (SOON TO-BE-RELEASED 108 YR) LIST, & AS SUCH WITH A HOLISTIC PERSPECTIVE. THE FIRST 4 FILMS HERE, INFACT MAKE IT TO THE INDIES ALL-TIME TOP 50, NO LESS! FURTHER, TOP 7 IN ALL-TIME TOP 100, TOP 13 IN ALL-TIME TOP 200, TOP 22 IN ALL-TIME TOP 300, TOP 38 IN ALL-TIME 400, & TOP 45 IN ALL-TIME TOP 600 ! DIP INTO INDIA'S PRECIOUS ILLUSTRIOUS MELLIFLUOUS & ARTISTIC, ANCIENT FILM HERITAGE.

1 Aurat 1940 2 Devdas 1936 3 Neecha Nagar 1946 4 Dharti Ke Lal 1950 5 Street Singer 1938 6 Naukadubi 1947 7 Ram Rajya 1943 8 Bidyapati 1937 9 Valmiki 1946 10 Ramshastri 1944 11 Pukar 1939 12 Mirza Sahiban 1947 13 Toofani Tarzan 1937 14 Shiraz 1928 15 Anmol Ghadi 1946 16 Tansen 1943 17 Padosi 1941 18 Meri Bahen 1944 19 President 1937 20 Sati Savitri 1927 21 Dharti Mata 1938 22 Bhakta Surdas 1942 23 Sant Tukaram 1936 24 Shahjehan 1946 25 Bharat Milap 1942 26 Bhartrahari 1944 27 Life's for Living: Aadmi 1939 28 Ratan 1944 29 Khandaan 1942 30 Amrit Manthan 1934 31 Bhanvara 1944 32 Lal Haveli 1944 33 Prithvi Vallabh 1943 34 Taqdeer 1943 35 Kangan 1939 36 Elan 1947 37 Laila Majnu 1945 38 Sanjog 1943 39 Raja Harishchandra 1913 40 Kaliya Mardan 1919 41 Muraliwala 1927 42 Gaon Ki Gori 1945 43 Achhut Kanya 1936 44 Rajput Ramani 1936 45 Doctor 1940 46 Khazanchi 1941 47 Prem Nagar 1940 48 Duniya Na Mane 1938 49 Jamaibabu 1931 50 Ek Din Ka Sultan 1945 51 Dushman 1938 52 Jugnu 1947 53 Dhoop Chhaon 1935 54 Kismet 1944 55 Basant 1942 56 Ek Hi Raasta 1939 57 Aage Badho 1947 58 Naya Sansar 1941 59 Bandhan 1940 60 Janmabhoomi 1936 61 Karodpati 1936 62 Chand 1944 63 Station Master 1942 64 Miss Frontier Mail 1936 65 Jungle Princess 1942 66 Hunterwali 1935 67 Zeenat 1945 68 The Court Dancer: Raj Narkati 1941 69 Diler Jagar 1931 70 Sant Sakhu 1941 71 Narsi Bhagat 1940 72 Daku Ki Ladki 1933 73 Kapal Kundala 1939 74 Hamrahi 1944 75 Sikandar 1941 76 Shri Krishn Arjun Yuddha 1945 77 Humayun 1945 78 1857 1946 79 Pannadai 1945 80 Maharana Pratap 1946 81 Panna 1944 82 Parbat Pe Apna Dera 1944 83 Parinde 1945 84 Parwana 1947 85 Jhoola 1941 86 Aabroo 1943 87 Wapas 1943 88 Azad 1940 89 Roti 1942 90 Dr. Kotnis Ki Amar Kahani 1946 91 Saugandh 1942 92 Wahan 1937 93 Najma 1943 94 Phool 1945 95 Shehnai 1947 96 Prem Sanyas 1925 97 Ramayani 1945 98 Chandidas 1934 99 Nirmala 1938 100 Jeevan Prabhat 1937 101 Izzat 1937 102 Amar Jyoti 1936 103 Jwar Bhata 1944 104 Pratima 1945 105 Dard 1947 106 Bhakta Dhruva 1947 107 Neel Kamal 1947 108 Mohan 1947 109 Naukar 1943 110 Mehandi 1947 111 Jail Yatra 1947 112 Karma 1935 1935 113 Meera 1949 114 Lagan 1941 115 Ek Hi Raasta 1939 116 Kashinath 1943 117 Chandrasena 1935 118 Jeevan Naya 1936 119 Bahen 1941 120 Diamond Queen 1940 121 Muqabla 1941 122 Do Bhai 1947 123 Karwane Hayat 1935 124 Lal-e-Yaman 1933 125 Jailor 1938 126 Brahmachari 1938 127 Shri Krishna Janma 1918 128 Tukaram 1921 129 Chitrapat Kase Tayar Kartat 1917 130 Lanka Dahan 1917 131 Sukanya Savitri 1922 132 Bhakta Pralhad 1926 133 Khod Modli 1925 134 Pitru Prem 1929 135 Kaya Palat 1929 136 Marthandavarman 1931 137 Ayodhyecha Raja 1932 138 Maya Machhindra 1932 139 Vantolio 1933 140 Natir Puja 1932

[the-fourth-knower]

Peafowl lady thoughts

So yeah I have a peafowl lady. here's her stuff

Lady Yuddha

Peafowl

She/her

THirties? Forties?

I'm not sure of her personal fighting ability, but my ideas for her are that she runs fighting competitions on an island that has Indian esque architecture.

which may also be near whatever Sonic's india equivalent is

ostensibly, it's all legal, thanks to law shenaigans she may or may not also be the ruler/governor/whatever of an island. or group of islands, that her arena is on

she somehow has access to warp rings to quickly bring people to and out of her island along with (rumored) treasure vaults that may or ma not exist

oh ye She's very generous in payouts for fighters, even if they lose

which makes people more willing to participate

this of course fuels the rumors that she just has vaults of treasure

which she may But also, most of that comes from wealthy patrons who come to watch people beat each other up for their viewing pleasure

i think like Yuddha herself isn't a horrible person. But she will engage with them if she stands to gain from it

one more thing for now because my brain is having too many thoughts on this peafowl And that is that her own fighting style would probably be like Shen from Kung Fu Panda 2

Hates sycophants, red tape, and the like

Appreciates those with a direct approach

Gets tunnel visioned when she really wants something

Stops at almost nothing to get her latest object of desire

#Sonic #Sonic OC #Sonic the Hedgehog #Knower's OCs #Lady Yudha #this is a bucnh of thoughts form discord slapped here #lol

[chaitanyavijnanam]

శ్రీ శివ మహా పురాణము - 880 / Sri Siva Maha Purana - 880

🌹 . శ్రీ శివ మహా పురాణము - 880 / Sri Siva Maha Purana - 880 🌹 ✍️. స్వామి తత్త్వ విదానంద సరస్వతి 📚. ప్రసాద్ భరద్వాజ 🌴. రుద్రసంహితా-యుద్ద ఖండః - అధ్యాయము - 38 🌴 🌻. భద్రకాళీ శంఖచూడుల యుద్ధము - 4 🌻

ప్రతాపశాలియగు ఆ శంఖచూడుడు మరుక్షణములో తెలివిని పొంది లేచి నిలబడెను. ఆమె యందు తల్లి యను భావన కలవాడగుటచే ఆమెతో బాహుయుద్ధమును ఆతడు చేయలేదు (29). ఆ దేవి మహాకోపముతో ఆ దానవుని పట్టుకొని పలుమార్లు గిరగిర త్రిప్పి పైకి వేగముతో విసిరివేసెను (30).

ప్రతాపవంతుడగు శంఖచూడుడు వేగముగా పైకి ఎగిరి మరల క్రిందకు దిగి నిలబడి భద్రకాళికకు ప్రణమిల్లెను (31). ఆతడు ఆనందముతో నిండిన మనస్సు గలవాడై శ్రేష్ఠమగు రత్నములతో గొప్ప కౌశలముతో నిర్మించబడిన మిక్కిలి అందమగు విమానము నధిరోహించెను. ఆ మహాయుద్ధములో ఆతడు కంగారు పడలేదు (32). ఆ కాళి ఆకలితో దానవుల రక్తమును త్రాగెను. ఇంతలో అచట ఆకాశవాణి ఇట్లు పలికెను (33). ఇంకనూ గర్వించి యున్న లక్ష మంది దానవవీరులు గర్జిస్తూ యుద్ధరంగములో మిగిలి యున్నారు. ఓ ఈశ్వరీ! నీవు వారిని భక్షించుము (34). యుద్ధములో శంఖచూడుని సంహరించవలెనని కోరకుము. ఓదేవీ! ఆ దానవవీరుడు నీ చేతిలో మరణించడు. ఇది నిశ్చయము (35). ఆకాశమునుండి వెలుబడిన ఆ పలుకులను విని ఆ భద్రకాళీదేవి అపుడు అనేకమంది దానవుల రక్తమును త్రాగి మాంసమును తిని శంకరుని సన్నిధికి వచ్చి యుద్ధములో జరిగిన ఘటనలను ముందు వెనుకల క్రమమును తప్పకుండ చెప్పెను (36, 37).

శ్రీ శివ మహా పురాణములో రుద్ర సంహిత యందలి యుద్ధ ఖండలో కాళీయుద్ధ వర్ణనమనే ముప్పది ఎనిమిదవ అధ్యాయము ముగిసినది (38).

సశేషం....

🌹 🌹 🌹 🌹 🌹

🌹 SRI SIVA MAHA PURANA - 880 🌹 ✍️ J.L. SHASTRI, 📚. Prasad Bhadwaj 🌴 Rudra-saṃhitā (5): Yuddha-khaṇḍa - CHAPTER 38 🌴 🌻 Kālī fights - 4 🌻

29. Immediately the Dānava regained consciousness and got up valorously. He did not fight her with his arms by the thought that she was a woman like his mother.

30. The goddess seized the Dānava, whirled him again and again and tossed him up with great anger and velocity.

31. The valorous Śaṅkhacūḍa fell down after being tossed up very high. He got up and bowed down to Bhadrakālī.

32. Highly delighted thereafter, he got into a beautiful aerial chariot of exquisite workmanship set with gems and did not lose the balance of his mind in the battlefield.

33. Hungrily Kālī drank the blood of the Dānavas. In the meantime an unembodied celestial voice said:

34. O goddess, a hundred thousand haughty leading Dānavas have been left out in the battle still roaring. Devour them quickly.

35. Do not think of slaying the king of Dānavas. O goddess, Śaṅkhacūḍa cannot be killed by you. It is certain.

36-37. On hearing these words from the firmament, Bhadrakālī drank the blood and devoured the flesh of many Dānavas and went near Śiva. She then narrated to him the events of the war in the proper order.

Continues....

🌹🌹🌹🌹🌹

#prasad bharadwaj #siva mahapuran #శ్రీ శివ మహా పురాణము

[lesewut]

'A textbook about Law of Nations shall not forget, that it would be unfaithful to its task, if it would serve under politics.'

Franz von Liszt, criminologist (cf. Theory of criminal justice), jurist and reformer for international law and his book "International Law- Systematically Presented", was originally published in 1888. This edition is the eleventh edition from 1918 and was published "the second time against the backdrop of a war" as Liszt had written. Still not lost his enthusiam, he defines the Internation Law as the mechanism to prevent wars, the outbreak of war as the proof, that the contention between the states should have been mediated in a way, that the armed conflict could have been prevented. The (re-)building of International Law is the (re-)building of Right to Peace.

It is not just the Right of War, which takes part in the theories of International Law, but it is the primary drive behind the rising and fall of states.

The Law of Nations, how it was called from former times, is not an invention of modern times, it is not just the utopian dream of a single enthusiastic pacifist.

Just war traditions can be traced back to Ancient Egypt, the ethics with the three main ideas: Cosmological role of the Pharao as divine office and executor of the justification of war, which would be considered as 'God's Will' or the Universal Principle of Maat. In the Confucian culture, we can also find massive body work of warforce, especially in the Zhou Dynasty (~ 1122 BC). Here a similarity to the defined necessety or justification of war: Only as last resort (ultima ratio) and by a rightful souvereign (the requirements for sovereignty are still today the prerequisite for legal actions, also war is technically just a conflict between two sovereign states, in our sanity and reason we would include all violent confrontation..). Even in India, we should not lead ourselves to believe in all ascetical will-denial and yoga exercises, can theories of Just War be found (cf. dharma-yuddha ~ rightous war). In this very first written discussion, criterias like proportianlity, just means, just causes, fair treatment of captives and wounded, are stated (cf. Hague Convention of 1899). Not to forget the Ancient Roman legal system and the concept of jus gentium and later in Christian world, the Augustinian teaching of civitas dei, lead also to restrictions of warfare. Essential are also the theories formed in the period of enlightment, Bentham (by forming ideas for foreign policy, the term international was coined by Bentham by critizing the idea of "Law of Nations", as one central aspect of his Plan for an Universal and Perpetual Peace is the sacrifice of national self-interest [giving up colonies and armies, that are not necessary protecting] in order to establish global peace) and his codification of international law, Kant with several state theories and ways to guarantee perpetual peace, in the main consideration is the formulation of ius cosmopoliticum and that the Handelsgeist (spirit of trading) can achieve peace worldwide.

It is an usual represal that still today sanctions and embargos are used to put other states under (economic) pressure, which can be fatal in a highly globalized world and often tends to effect the civilian population rather than the ruling elite... Economy and trading is indeed an essential part in international legal relation, as the first international laws and regulation emerged through private law and the merchants demand for freedom of trade throughout history. So freedom of movement goes hand in hand with freedom of trading, just think of postal service (Universal Postial Union 1874) and the difficulties if the operating range would be limited or the process of translating and publishing foreign literature, all those aspects fall into the regulations of international law.

The theories of Just War firstly expanded beyond the borders of one nation around the 16th century, particularly during the discovery age (cf. theories of Suárez & Vitoria) and the Thirty Years' War (Hugo Grotius, who also devided positive and natural law, father of the Theory of Extraterritoriality; Successors of positive law: Zouch, Pufendorf, C. Wolff and his student Vattel [...] Later the School of Postive Law succeeded over the School of Natural Law: In particular by Bynkershock, later followed by J. J. Moser and G. F. v. Martens), affirming other principles like the territorial claim, the areas and rules of traffic (from maritime law to regulation of coastlines) and which legal consequences come into force, when a state is breaching treaty obligations.

The International Law had to built and strenghen itself as the diplomacy took over armed conflicts. First and foremost, the League of Nations is instructed to develop and expand the court of arbitration, also to limit armament and therefore the endangerment of piece. Part of the international diplomacy are also embassies and consuls, guaranteing constitutional jurisdiction.

It is deplorable, that the period of colonialism merged into imperialism and that the politcal efforts excluded the inhabitants of conquered areas. Law has also the paradoxy that it can be unjustly: By defining the terms (when can an area be considered as a sovereign state? Which subjects are authorized for legal capacity?) even unfairly acts can be legally protected.

International Law is a huge topic and it would be interesting to present treatise and the consequences after ratification, as every act is the answer of long and often armed conflicts, resulting into negotiations. It will stay a continuous process to establish an effective International Court of Justice, a balancing act between the sovereignty of a state and the endangerment of human rights, which sadly can't be ensured for the most parts of the world.

#theories of law #international law #just an impression #literature #book cover #19th century literature #law of nations #the dream of the pacifist #eternal peace #universal justice #book #Franz von Liszt #theories of states

[anandashreeastrology]

Have you noticed 2 planets hovering close together in the western sky? Venus, the goddess of love and Jupiter the light-giver are together in the mystic star of Revati-- the tail of the cosmic fish (Pisces). Jupiter is the guru of the devas in Vedic Astrology and it’s said that in Pisces he increases generosity and kindness. Venus, the guru of the asuras, is heightening a sense of universal love and compassion. The alignment of these 2 gurus is a spiritual event that can inspire exceptional artwork, poetry and music, and could also spark romantic connections. Side note: Venus and Jupiter are so close that they form a “graha yuddha” (planetary war) that can exaggerate matters of the heart for the next day. Be particularly mindful not to overeat or drink. Intuitive hunches and empathic connections are more likely until Venus transits to Aries on March 11. The full moon of Holi is around the corner. Sign up for my newsletter to find out more. Link in bio @anandashree_vedic_astrology image: Venus & Jupiter in Revati #universallove #transcendentalwisdom #venusinpisces #vedicastrology #jyotish #intuitiveguidance #higherlove #universallove♥️ #jupiterinpisces #nakshatra #grahayuddha #auspicioussign #alignments (at Varkala) https://www.instagram.com/p/CpTKPQNSWe-/?igshid=NGJjMDIxMWI=

#universallove #transcendentalwisdom #venusinpisces #vedicastrology #jyotish #intuitiveguidance #higherlove #universallove♥️ #jupiterinpisces #nakshatra #grahayuddha #auspicioussign #alignments

[dvarapala]

☪ / harley

5x symbols // @goldshadows (harley)

the first time she reaches for his hand is after they successfully pulled off the mathematical heist. it’s a 55% which is a barely passing grade. they could have gone for something higher, like 60% or 65% but then people would ask questions. once the lenses are out of her eyes, udyati blinks. she thanks harley profusely. their hands brush when she gives the lenses back to him.  

the second time she reaches for his hand is when he’s hanging out at her place. this started - as all things do between them - with something homework related. one hour in and udyati got distracted. two hours in and she’s declared an impromptu dance party while baby said blares through her house. for a moment, it seems as though she’s intending to pull him up. she doesn’t. she pulls away, instead.

the third time, she reaches for him when he slips away from her. lost in his head, lost in his inventions. the door slams. the voices of his mom and his sister float up towards his bedroom and he comes back to himself. to her.

the fourth time, she pretends to be his girlfriend to get his ex off his back and tries not to be too hurt when he pulls his hand away from her. megan is a terrible person, udyati thinks, and she’s met her fair share of terrible people. it is only later, when his father makes an entrance, that udyati considers forgoing the notion of dharma-yuddha, righteous warfare, that she has been taught and working andrew ‘andy’ keener to the ground so he can properly apologize to his son.

the final time is when a huge door shimmers into existence and twin wraiths step out. she takes his hand and gives it a gentle squeeze. he squeezes back. “i have to go,” udyati tells harley after she lets go of his hand and he nods: “i know.”

#goldshadows #marvel. #drabbles.

[herawell]

A single guttering candle is all Rama can abide while on his sickbed. His whole body is afflicted with aches and pains, but those in his eyes are the worst. The lamp flickers and casts the whole room into shadows. He blinks furiously.

The sight of you is repugnant to me… 

It had been painful to look at Sita, after she stepped out of the palanquin into the crowd of vanaras, to be reminded of how he had failed her. He knew the rumors that would swirl about her, society’s bone-deep beliefs about women’s purity, and he had spoken the words. They were cruel, and calculated to get her to prove her chastity and her reputation beyond all doubt. But as soon as he had spoken them, he saw her face turn white with shock, the rigid line of her jaw, pain blooming in her eyes.

She had the same countenance years later, when he asked her once more, right before she decided to perform bhumipravesh rather than another agnipariksha.

… as a lamp is to one whose eye is diseased.

Rama is a king. He has ruled, even when he wanted to rend the earth apart with a single arrow, when he wanted it to swallow him up as well. He has sat on his throne and ruled, has been a father to two dispirited boys already half-grown. Luv and Kush are model princes who touch their father’s feet without fail, praise him to anyone who will listen, and never look him in the eye. Kosala has flourished, and people are calling his rule Ram Rajyam, speculating that this will be an era of unprecedented prosperity. No hunger, no grief, no sickness.

There is a wide gulf between reality and what people say, and illness still exists under Rama’s reign. He himself has fallen prey to it. The physicians say it is a passing thing; he is not as young as he once was, and doesn’t always take care of himself. He will recover, they promise, but for now, he is confined to his chambers. 

The flame flares suddenly, and it leaves spots in his vision. For a moment, he thinks he glimpses a figure at the foot of his bed, clad in simple saffron. 

“Janaki?” he whispers.

The lamp flutters again. He winces.

He is alone. 

(Link to image sources in reblogs.)

#ramayan #ramayana #hindu mythology #hinduism #rama #myfics #man i am proud of this one #tumblr this BETTER show up in the tags #anyway yeah this is directly from the yuddha kand when rama disowns sita in front of everyone after rescuing her #from lanka #it's one of the many cruel things he says to her #so i went and used it as the basis for a spitefic and a spite-edit #ally talks #fire cw #eye contact cw #eye cw

[axmxz]

Professor!Krollaney headcanons

tenured John Mulaney, adjunct Nick Kroll

john is constantly mistaken for an undergrad, and has been for the last 15 years.

nick teaches courses that cross-list with history and environmental sciences

john teaches history of religion

john roars at his students if he catches them distracted and physically removes them from the class if they are on their phones. calls roll before class and marks down absentees. calls on people who never raise their hands, and if they don’t know the answer, leaves them standing until half the back rows is standing and the front rows are turned around in their seats watching them with pity

nick holds his classes outdoors on the quads when the weather is good. even if it’s a lecture class, everyone sits in a circle. if someone dozes off, he creeps up to them and puts a flower behind their ear.

everyone knows nick is in love with john, but john is Writing A Serious Book on Morality and has no time for dalliances

students brave enough to come to John’s office hours are astonished to discover he’s super helpful and sweet

as a consequence, the good students all have crushes on him, and the bad students drop out or eke out a C and hate him forever for being a hardass

john wins book prizes; nick wins teaching awards

nick is rumored to be ex-military, but no one knows what branch or even which military.

john is rumored to have danced ballet professionally, which is why he sometimes unconsciously stands with his feet in fifth position and smokes like a chimney

John’s comments on student papers: “Persuasive enough on merits but needs structural improvement. Focus and formulate. Don’t just spray ink at the reader like a panicked cuttlefish. B-”

Nick’s comments on student papers: “HUGE IMPROVEMENT!!! B-”

one day, john brings petunia to class, and his lecture turns into “And thus we see that the concept of dharma-yuddha, or ‘just war’ in the Mahabharata, cannot be mapped out fully onto the Western jus in bello… aw, who’s my good girl? who’s the best puppy?.. You guys can’t see over the rail but there’s a small dog here. I swear I’m not crazy.”

#krollaney #nick kroll #john mulaney #mulaney #professor au #basically think snarry without the age difference? a bit?

[prabhupadanugas]

Advent of Shrimad Bhagavad-gita http://prabhupada.io/books/bg https://prabhupadabooks.com/bg?d=1 धृतराष्ट्र उवाच । धर्मक्षेत्रे कुरुक्षेत्रे समवेता युयुत्सवः । मामकाः पाण्डवाश्चैव किमकुर्वत सञ्जय ॥१॥ dhṛtarāṣṭra uvāca dharma-kṣetre kuru-kṣetre samavetā yuyutsavaḥ māmakāḥ pāṇḍavāś caiva kim akurvata sañjaya Dhṛtarāṣṭra said: O Sañjaya, after assembling in the place of pilgrimage at Kurukṣetra, what did my sons and the sons of Pāṇḍu do, being desirous to fight? http://prabhupada.io/books/bg/1/1 https://prabhupadabooks.com/bg/1?d=1 https://m.facebook.com/songofsupremeperson Remembering the Scene: The Pandavas army took the western side of the battlefield of Kurukshetra. They were facing the east. Their army was stationed near a lake. A white royal umbrella was seen in the Kauravas army. The soldiers started warning up at the thought of the battle ahead. Blowing of conches raised a great tumult and beating of drums and many other instruments were sounded to announce the readiness for the war. Excitement was building up. The warriors of both the sides met and settled the rules of the war. Only equals will fight in personal duels. Those who surrender, there lives will be spared, No charioteer, animal, or servants who were not soldiers were to be attacked. These and some other rules that were usual in a Dharma-Yuddha or a righteous war were finalised and both the sides agreed to abide by them. On the eve of the war, sage Vyasa visited the palace of Dhritarastra, who was his son, now the terrible days are in store. All your sons and the kings will be killed soon. This is settled by fate. It is ordained so, do not be sorry. I shall grant you your eyesight so that you may witness the war. Dhritarastra was shaken by the stark words of the sage. He said, ‘My lord, I have been blind all my life. I do not want to see my sons dying in the battlefield. If someone can give me an account of the war as it unfolds, I shall be happy. Vyasa said, Sanjaya would get the power to see everything that happens in the war. He will be able to see during the day as well as in the night. He shall be even able to know the thoughts of the persons engaged in the war. https://www.instagram.com/p/CXdbqZorhNy/?utm_medium=tumblr

[rohitsinghseoexpert-blog]

India’s 73rd independence day 2019

This year India can celebrate its 73rd on fifteenth August. Independence day is AN annual observance day that is widely known on each fifteenth August. India celebrates 15th August and remembers the sacrifices that our subversive created throughout the struggle against nation Empire. fifteenth August is said as National and Gazetted vacation to commemorate the Independence of our country from the nation Empire. After the separation of the Republic of India into 2 Nations, India got its Independence. Bharat celebrates 15th August as the day of its sovereignty from the Britishers however, currently, that was the past and becomes the history and currently what remains is that the glory of India’s struggle Why this specific date fifteenth August is chosen for India’s Independence? Well, here area unit some events that provide a connection to the current day. On the fifth Gregorian calendar month 1947, the British Parliament passed the Indian Independence Act provided for 2 dominions states i.e Republic of India and the Islamic Republic of Pakistan. United Kingdom king continued because the head of the state till it becomes a Republic State In 1929, Jawaharlal Nehru terrorist organization demanded: “Poorna Swaraj” that's Complete Independence from colonial rule. twenty-sixth January was chosen for the Independence Day and even celebrated it from 1930 till India’s got their full Independence Britishers declared the top of British rule on 15th August 1947. the British Parliament passed the associate Indian Independence Act that was supported the Mountbatten set up that clearly mentioned that the date of Independence can 15th August 1947. Independence Day is well known within the capital of India Asian country Delhi at Red Fort with filled with enthusiasm by Hosting Flag that is finished by the Prime Minister of India. Independence Day is additionally celebrated by students and lecturers in colleges, colleges, and different instructional establishments to pay tribute to our country. Important Facts regarding India ·        Seventh Largest Country by space. ·        The second most inhabited country once china and most thickly settled democracy within the world. ·        Shares land border with six countries i.e. Pakistan, China, Nepal, Bhutan, Bangladesh, Myanmar Indian continent was the house to at least one of the oldest civilization that is Indus natural depression Civilization. ·        Along with 1.5 billion individuals, India is additionally a home for various life. India has 120 National Parks,18 Bio-Reserves and 500 life sanctuaries. ·        India has no national language, Hindi is that the official language of the state. ·        India has 22 constitutions recognized languages are spoken all across the country. ·        India has the third-largest Muslim population and it's highest among Non-Muslim majority nation. ·        Indian screenland produces the world’s most-watched cinema. It includes cinema in regional languages additionally like Bengali, Bhojpuri, Hindi, Kannada, Malayalam, Punjabi, Gujarati, Marathi, Odia, Tamil, and Telugu. ·        Earliest types of Asian martial arts, like kalarippayattu, musti yuddha, silambam, and marma adi, originated in India. ·        Chess is originated in Bharat as chaturaṅga. ·        Cricket is the most well-liked sport in Bharat. Indian Premier League is that the most-watched cricket league within the world and ranks sixth among all sports leagues. “कौन जाने ये तमन्ना इश्क की मंजिल में है। जो तमन्ना दिल से निकली फिर जो देखा दिल में है।।

”“सरफरोशी की तमन्ना अब हमारे दिल में है।                                          

   देखना है जोर कितना बाजु-कातिल में है?”

#73rd independence day #15th augest 2019

[vinaybajrangi123-blog]

#6555

[axomlive]

Hemen Das | Actor, Writer, Critic, Stage and Film Director

New Post has been published on http://www.axomlive.com/blog/hemen-das-actor-writer-critic-stage-and-film-director.html

Hemen Das | Actor, Writer, Critic, Stage and Film Director

Mr. Hemen Das is a well known Actor, Writer, Critic, Stage and Film Director. He received the National Cine Award Rajat Kamal for his feature film Jooj (The fight) in 1990. In 2016, his feature film ‘Mriganabhi’ (Musk) got the Best Actress Award (Prastuti Parasar) in 6th Dada Saheb Falke International Film Festivals and the Best Music Director (Tarali Sarma) in Prag Cine Award. Also he got the Silpi Pension and Literary Award from the Government of Assam.

He was a Jury Member for the National Film Award as well as for the Indian Panorama for the Feature and Non-feature category, also the Critics Jury for the 13th International Children’s Film Festival, India.

He was an Ex-Board Member of Central Board of Film Certifications, an Executive Council and General Body Member of Children’s Film Society, India. He is contributing literary, cultural and thought provoking articles in English and Vernacular dailies, periodicals and journals of the State of Assam. His published book Natya Silpa, Pom Khedi, Cinema Cinema, Abhinay, Akonihat- Cinema Nriman Koro Aha, Chalachitrar Prasangat and compailation of books Xilpachinta based on Drama, Acting and Film art art considered to be more significant.

Noted Artiste-Litterateur Hemen Das (Date of Birth : November 1, 1946)

  Mr. Hemen Das is a well known Actor, Writer, Critic, Social-Worker, Theatre person and National Award Winning Film Director.

His debut Feature Film Junj (the fight) received the Rajat Kamal National Cine Award in 1990 for which he wrote the story, screenplay & dialogue, besides directing it. The film was praised for portraying the earthy realism in the field of social differences with conviction. He made Gorakheeya (Cowherd) in 1993, as children’s film based on cowherd’s life who gather knowledge and education from the nature. It was followed by a Tele Film Ahatgurir Natun Baat in 1995 based on the idea of a revolution to set free the new generation from the clutches of blind faith and social exploitation. He also directed the Documentary Marriage Ritual of the Tribes of Arunachal Pradesh and a Video film Dr. Saran’s e-HRD Model for based on Stress Management.

After 22 years back his debut feature film ‘Mriganabhi’ (Musk) focursses on the angst of a deprived woman. In 2016 the film Mriganabhi got the Best Actress Award (Prastuti Parasar) in 6th Dada Saheb Falke International Film Festival, the Best Music Director (Tarali Sarma) in Prag Cine Award in 2016 and Best Supporting Actor (Rajib Goswami) in Ro’dali Cine Award, 2017.

He is contributing literary, cultural and thought provoking articles in dailies, periodicals and journals in the State of Assam. In addition, with the knowledge of Drama Art he wrote two books i.e. Natya Silpa & Pom Khedi; with the knowledge of Acting he wrote the book Abhinay and with the knowledge of Film Art he wrote three books i.e. Cinema Cinema, Akonihot- Cinema Nirman Koro Aha, Chalachitror Prasangat and Compailation of books Xilpachinta which is rare and more significant towards his credit. These books have got wide popularity among the readers- particularly Art-lovers and up-coming Artists. Two of his stage play Ekhan Shanti Yuddhor Babe (for a peaceful war) and Kalpataru are also to be more significant. He was an only delegate from Assam for 3rd National Theatre Festival, Kolkata in 1986.

In 1997, the Bharatiya Dalit Sahitya Academy, India conferred him with Dr. Ambedkar Fellowship Award for his contribution to Arts, Literature and Society, and he is being given Silpi Pension (2010) and Literary Award (2012) from Government of Assam. Also he got the Life Time Achievement Award from the Sanskritik Mahashabha, Assam, 2012.

He was a Jury Member for the National Film Awards as well as for the Indian Panorama in 2002 and for the Non-feature category in 2008. He was also on the Critics Jury for 13th International Children Film Festival, India in 2003 and was a Jury at the State Film Award Festival of Assam 2005.

He was an Ex-Board Member of Central Board of Film Certifications, Government of India and Ex-Executive Council & General Body Member of the Children’s Film Society of India. He was on the Panel of Experts for viva-voce test at Satyajit Ray Film & Television Institute, Kolkata, and for selection of Books for the State Library Service, Assam. Also he was a Member of the Script Committee, NFDC, Govt. of India & Member of the Selection Committee for the artist pension, Govt. of Assam

He got retired from Assam Secretariat Service in 2004. He had been also the Regional Coordinator (NE), RITES Ltd., Government of India in 2007-2008 & 2010. He is a Chief Patron of B. Das Memorial Trust.

  PERSONAL PROFILE :

Father’s Name:  Late Bagasing Das Mother’s Name:  Late Dharmeswari Das Place of Birth:  Ahatguri, Morigaon (Assam) Education: Completed college Education under Gauhati University Nationality:  Indian Religion:  Hinduism Marital Status:  Married Language Proficiency :  Assamese, English, Hindi, Bengali Service Status:  Retired from Secretariat Service,  Government of Assam

  CAREER MILESTONES

  Rajat kamal the National Cine Award, 1990 for the Film JUNJ (the fight) portraying the earthy realism in the field of Social differences with conviction.

Silpi Pension from Government of Assam, 2010.

Literary Award from Government of Assam, 2012.

Dr. Ambedkar Fellowship Award, 1997 from Bharatiya Dalit Sahitya Academy for contributions to the art, literature & society.

Best Actress Award in ‘Mriganabhi’ (Prastuti Parasar) in 6th Dada Saheb Falke International Film Festivals, 2016, focuses on the angst of a deprived woman.

Best Music Director Award in ‘Mriganabhi’ (Tarali Sarma) in Prag Cine Award, 2016.

Best Supporting Actor (Rajib Goswami) in Ro’dali Cine Award- 2017.

Life time Achievement Award from Sanskritik Mahashabha, Asom 2012.

Best Actor & Best Director Award at Morigaon Circle Full-length Drama Competition, 1978.

3rd Best Script Award at Bhikhari Thakur Drama Festival, Ara (Bihar), 2003 for the drama Ekhon Shanti Yuddhar Babe.

  DRAMA ART AND HEMEN DAS

  ACTING IN DRAMA

Ankiya Nat :

Rukmini Haran | Parijat Haran | Ram Banabash | Bhisma Parba Bakasur Badh | Dakhya Jagya | Bali Badh, etc.

(in female character only)

Jatra Nat

Dukhiyar Jiyari | Manik Mala | Rakhya Kumar | Konouj Kouwari | Sakunir Pratishodh | Sirajuddaula | Raja Harischandra etc.

(in female character only)

  Adhunik (Modern) Nat :

Ba-maroli | Bimuson | Urukha Poja | Ahatgurir Natun Baat | Swakhyar | Jorowruwa Poraja | Baro-Ghanta | Janmantor | Achami Iswar Hajir | Emuthi Chaul | Bor Manuhor Dola | Swapna Juddha | Mrityunjoy | Bhutai Deka | Pathorughator Ran | Magribor Aajan | Akhon Shanti Yuddhar Babe | Piyoli Phukan etc.

  At Directorate of Cultural Affairs :-

Sakari Inspector l Bhogjora l Janma (as guest artist)

  At All India Drama Competition :-

Swakhyar (Ahmedabad, 1972) | Aami Swapnatur (Delhi, 1975) | Aachami Iswar Hajir (Bhopal 1976), |Bor Manuhor Dola (Delhi 1977), | Sakari Inspector (Delhi 1977, Kolkata 1978) | Magribor Aajan (Delhi, 1979) | Ahatgurir Natun Baat (Jaipur, 1984).

  Radio Nat :

Ahatgurir Natun Baat | Angulimala | Rupahi Ma’am | Prakash | Dhanantori | Godapani-Joymati | Panipath | Bidarva Kanya | Khemi | Xunpahir Chokulu (Serial) | Ankur | Juiye Pura Xun | Rai | Propanchatantra | Rupohi Mahilar Abhinoy | Sandesh | Proloy | Fehujali | Gadadhar Konwar | Biswashe Miloy Hari | Bhutor Mukhot Ram Nam | Ulai Ah | Byadhor Chor | Nirmal Bhakat | Dakhol | Rukmini Haran etc.

Tele Nat :

Bhoot aaru Bahroni

  DIRECTION IN DRAMA :

Ankita Nat :

Dakhya Yagya (On modern stage with female artists in female character, 1976)

Jatra Nat :

Manik Mala l Rakhya Kumar l Sakunir Pratisodh l Raja Harischandra

Adhunik (Modern) Nat :

Ba-maroli | Urukha poja | Swakhyor | Baro-Ghanta | Ahatgurir Natun Baat | Swapna Yuddha | Bimochan | Chiraj | Achami Iswar Hajir | Mogribor Aajan | Emuthi Chaul | Bormanuhor Dola etc.

  DRAMA WRITING :

Ekhon Shanti Yuddhar Babe (For a War of Peace based on the fallout of a War)

Kalpataru (A fabulous free based on the ideology and teaching of renowned Vaishnava Guru Shri Sankardeva)

DELEGATE :

3rd National Theatre Festival, Kolkata-1986 (only delegate from Assam)

  FILM ART AND HEMEN DAS

ACTING IN FILM :

Feature Film

Ashray (Directed by Dulal Roy) | Kanaklata (Directed by Kuntala Deka) | Junj (Directed by Self) | Pani (Directed by Prafulla Saikia) | Itihas (Directed by Dr. Bhabendra Nath Saikia) | Jatinga Ityadi (Directed by Sanjib Sabhapandit) | Dikchow Banat Palaax (Directed by Sanjit Sabhapandit) | Mriganabhi (Directed by Self)

  Tele Drama :

Bhoot aaru Bahroni (Directed by Dulal Roy)

Tele Film :

Ahatgurir Natun Baat (Directed by Self)

Mega Tele-serial (Hindi)

Mrityunjoy (Directed by Charu Kamal Hazarika)

  DIRECTION IN FILM :

Feature Film :

Junj (The Fight) : Attempting to portray with conviction the earthy realism in the field of social differences, 1990 | Gorokhiya (Cowherd) : About cowherd’s life who gather knowledge and education from the Nature, 1993 | Mriganabhi (Musk) : Focusses on the angst of a deprived woman.

Tele-Film :

Ahatgurir Natun Baat : Based on the idea of a revolution to set fee the new generation from the clutches of blind faith and social exploitation, 1995.

Documentary :

Marriage ritual of the tribes of Arunachal Pradesh.

Video Film :

Dr. Saran’s e- HRD Model for Leadership creativity and stress management.

JURY :

National Jury :

Feature Film Section of 49th National Film Award, 2002.

Indian Panorama Jury :

Feature Film Section of Indian Panorama, 2002

Short Film Section of Indian Panorama, 2008

International Jury :

Critics Jury of 13th International Children’s Film Festival, 2003

State Jury :

Feature Film Section of Assam State Film Awards, 2005

Regional Jury (Eastern) :

Feature Film for the 60th National Film Awards, 2012.

  Chairman :

North East Indian Ethnic Documentary Film Festivals Awards, 2010

Panel of Experty :

Ex-Panel of Expert for the Viva-Voice test at Satyajit Ray Film and Television Institute, Kolkata, 2001-2006

Life Member :

Guwahati Cine Club.

  HEMEN DAS AS AUTHOR

Natya Silpa – Theory Book of Drama Art.

Pomkhedi – Acting, Literature and Culture etc.

Abhinay – Stage, Film, Mime and Magic Acting etc.

Cinema Cinema : Film Study

Akanihat, Cinema Nirman Karu Aha : Study on Children’s curiosity to know how a cinema is made.

Chalachitrar Pasangat : Important articles on Film Art.

Xilpachinta : Compilation of books. (Published by Asom Prakashan Parisad – 2013)

ARTICLE WRITER HEMEN DAS :

Writings on Drama Art :

Need for study on drama | Ankiya Bhaona and mother language Bhaona | National Theature and a Modern Sankardev | Dramatic art and society | Drama and Cinema | From Stage to Cinema | Moscow Art Theatre | Democratic Fighter, dramatist Arthur Miler | Clifford Odates who established as a dramatist himself overnight in American theatre | Chekhov’s dramatic achievement | Oldvick theatre | Pirandello’s art consciousness | Bernard Shaw and intellectualism in drama | Epoch making dramatist Henrik Ibsen | Brecht and his theatre | Pisquetor and Brecht | Berliner Ensemble and Brecht’s Philosophy | Famous dramatists Albi and Hunchberry | America’s first class dramatist Tenessy Williams | Expressionist dramatist Elmar Rice and Lawson | Striendberg a dramatist of Spiritual conflict | Lorka– greatest Spanish Poetic Dramatist of 20th Century | Dramatist Arthur Pinero | Thought of God in modern drama | Life- a source of drama | Path breaker of English theatre – Gallsworthy | World famous playwright William Shakespeare

Writings on Film Art :

Our films, their films | Mirroring Realities | Film for the young | Life of pi – the urge for keeping alive | Ekhan Nedekha Nadir Sipare – a film with cinematic language and elements. | Shakespeare in Cinema | Example of a Responsible Director – film Kadam Tale Krishna Nache | National Identify and Indian Cinema | The Jugglery of Bollywood Films | Sex and violence in Films | The Smita Enigma | Drama and Film | Novels vs Film | In search of Film Criticism | Film and Individual – Anthropology, Aesthetics in Film | Society and Film | The Basis of Film Criticism | Problems of Regional Film in Assam and their solution | Indian Regional Films and their Development | On completion of platinum Jubilee of Assamese Cinema | The role of Film Journalism | Development of India Talkie Film and its quality | Film Art and the Role of Government | Need of Cinema in Society | Bhumika – a symbol of severe blow | Hiroshima Mon Omur – a film on separation and union | Oka Uri Kotha – symbol of an exploited society | Education on Film

  Other Writings :

On the issue of oil refinery (Sodhanagar Prasanga) | The birth place of Bezboroa (Bezboroar Janmasthan) | Cultural icon Jyoti Prasad (Sanskritir Pujari Jyotiprasad) | Government and art and culture (Sarkar Aru Kala Sanskriti) | On the issue of Kalakshetra (Ekhon Achani- Sankardev Kalakshetra) | It is high time to separate Cachar (Cachar Prithak Karar Eyei Upajukta Samay) | On the track of acting (1st to 9th volume) (Abhinayar Pom Khedi) |  In search of Devadashi system (Devadashi Prathar Pom Khedi) | Cultural life of Guwahati City- latest situation and characteristics, (Guwahati Mahanagarir Sanskritik Jivan- Sehatiya Charitra and Baisistyas) |  Live in the midst of people (Janashaktir Majat Jiyai Thakok) | Context : Language of literature (Prasanga : Sahityar Bhasa) | Context : Birth place of Lakshminath Bezbaroa (Prasanga : Lakshminath Bezbaroar Janmasthan) | All art is created from the urge of own heart (Sakalo silpai prathame nijar babe aru hridayar tagidatei sristi hoi), Bihu dance, song and festival- what is it really (Bihu nritya, geet aru utsav- Achalate ki?) | Our beautiful village (Suwani Amar Gaonkhoni) | Memorable incident of my life (Mor Jivanar Smaraniya Ghatana) | Sankardev Art University needed (Sankardev Kala Viswavidyalayar Prayujan) |  Remembering a source of inspiration- Amulya Kakoti (Anupreronar Utsa Amulya Kakotik Sunwari) | What I wanted to be (Moi Ki Habo Bicharichilo) |  Dinning Hall, Decline of Sankari Philosophy in the Satra institutions, Fake drama in construction of capital at Guwahati (Guwahatit Rajdhani Nirmanar Bheko Bhaona) |  What Assam has got from Dr. Bhupen Hazarika (Dr. Bhupen Hazarikar Pora Asome Ki Pale) | Who will gain from Bhupen Hazarika’s Rajya Sabha membership (Bhupen Hazarikai Rajya Sabha Pale Labhoban Hobo kon) | On Dr. Bhupen Hazarika (Bhupen Hazarika Prasanga) | Where was Hazarika when Assam needed (Asome Bichorar Samayat Kot Achil Bhupen Hazarika) | Advani’s Bharat Uday Yatra (Advanir Bharat Uday Yatra) | How to coexist with floods (Banpanir Lagat Kenekoi Sahawasthan Koribo Pari) | Those who still support Prafulla Mahanta (Jisakale Etiyao Prafulla Mahantak Samarthan Kare) | Will the computer scheme succeed (Computer Achani Safal Hobone?) | Revolution can never be a drama (Biplab Ketiyao Natak Nohai) | Cancer in Assam politics (Asamar Rajnitit Cancer) | A few thoughts on an anti-national politician (Jatidrohi Rajnitik Ejanor Bisaye Jatkinchit) | Studious person Sarat Chandra Sinha (Adhyayansil Byakti Sarat Chandra Sinha) | In search of a healthy employment policy (Sustha Niyog Nitir Pom Khedi) | Problem of unemployment (Karmasansthanar Samashya) | Recognition of the birth place of Sahityarathi Bezbaroa and memorial (Sahityarathi Bezbaroar Janmasthanar Swikriti and Smritisoudh) | Role of artists in society (Samajat Silpir Bhumika) | Death of Padum Barua was not normal (Padum Baruar Mrityu Swabhavik Nohoi) | Kalpataru (Drama) l Capital should be moved to another site to save Guwahati (Guwahatik Raksha Koriboloi Hole Rajdhani Sthanantarit Koribo Lage) | Mizoram begins war against drugs which is more dangerous than terrorism (Santrasbadotkoio Bhayanak Madak Drabyar Biruddhe Juddhat Abatirna Hol Mizoram) | Unification of regionalism does not suit  Prafulla Mahanta’s speech (Anchalikatabador Ekatrikaran Prafulla Mahantar Mukhot Sobha Napai) | Instead of deporting foreigners agitation shoule have been launched for a tribal State (Bideshi Khedar Thait Janajati Rajyar Andolanhe Hobo Lagichil) | Another death of Jyotiprasad Agarwalla (Jyoti Prasad Agarwallar Anya Ek Mrityu) | In pursuance of separatism (Bichinnatabador Jer Tani) | AGP has lost another chance (Agapai Anya Eta Sujog Heruwale) | Floods have come again (Banpani Akou Ahiboi) | Criticism of art and literature (Silpa Sahityar Samalochana) | Mobile Theatre suffers from fear of the future (Bhabishyatar Sankatat Bhugiche Bhramyaman Theatre) | Another Death of Jyotiprasad agarwalla imminent (Jyoti Prasad Agarwallar Anya Ek Mrityu Asanna) | Present situation of Guwahati : Capital Responsible (Guwahatir Bartaman Awastha : Dayee Rajdhanikhon) | Legal Aid to Terrorists (Santrasbadiloi Aini Sahajya) | Large River Dam and Bullet train (Brihat Nadibandh Aru Bullet Train) | Culture and Sankardev (Sanskriti Aru Sankardev) | Another historic blunder of AGP (Agapar Anya Ek Aitihasik Bhool) | Kalpana Lajmi has no right to disrespect the people of Assam (Asombashik Apaman Korar Adhikar Kalpana Lajmir Nai) | Magh Bihu and buffalo fight (Magh Bihu aru Mohjooj) | For whose interest agitation for regionalism (Anchalikatabad Andolane Kar Swartha Puran Kariche) | On the issue of conscience vote (Prasanga : Bibek Vote) | Did Akhil’s shoutings bear fruit? (Akhilar Chiyar-Bakhor Kamat Ahilne?) | Truth of art (Silpasatya), Reality (Bastav) | Sense of life in the midst of confusion (Bibhrantir Majat Jibanbodh) | Taste (Ruchibodh) | Artificial tension (Kritrim Uttejana) | Problem of life (Jivanar Samashya) | Impact of art (Silpar Prabhab) | Man may be ashamed of his own creation (Nijar Sristir Karaneo Manuh Lajjit Hobo Loga Hoi) | Culture and Sankardev (Sanskriti Aru Sankardev) | Noble artiste (Mohan Silpi) | Bhupenda and a few remembrance (Bhupenda Aru Tukura Smriti) l Nobody can rescue Guwahati from artificial floods (Kritrim Banor Pora Guwahatik Koneo Uddhar Karibo Noare) | In company of Mamoni Baideu (Mamoni Baideur Sanniddhayare) | On Bhupen Hazarika’s Memorial Column (Bhupen Hazarikar Samadhi Soudhar Prasangat) | My 18 years in ‘Agradoor’ (Agradootat Mor Othara Bachar) | Sankardev Award (Sankardev Bota) | On G.S. Road episode (G.S. Road Kandar Jer Tani) | Mirroring Realities, On separate Bodoland (Prithak Bodolandor Jer Tani) | Social Science- Main Base of Criticism (Samalochanar Mool Bhitti Samaj Vigyan) | Remembering Dr. Bhupen Hazarika on birth day (Janmadinat Dr. Bhupen Hazarikak Suwanricho) | On tribal status (Janajatikaranar Jer Tani) | Heritage in creation of art and literature (Silpa Sahitya Sristit Aitijya) | Controversy on Srimanta Sankardev Award (Srimanta Sankardev Bota Bitarka) | Floods in Guwahati (Guwahatir Ban) | Let the flag of regionalism fly in Assam as in Jharkhand (Asomar Anchalikatabador dhwaja Jharkhandar dore Uruwak) | AGP is not a regional party, but a Local political party only (Agapa Anchalik Dal Nohoi, e eta sthania rajnaitik dalhe) | Music of ‘Jooj’- Khagen Mahanta, Ramen Choudhury (Joojar sangeet- Khagen Mahanta, Ramen Choudhury) | On artiste pension (Silpi pension sandarbhat) | On Guwahati’s transport system (Guwahatir paribahan byabasthar Jer Tani) | Buffalo fight- One of the traditional customs of Assam (Asamor oitijyapurna kristisamuhar anyatam Moh Jooj) | Guwahati city and transport system (Guwahati Mahanagari aru paribahan byabastha). It was my mistake to make Mriganabhi (Musk) now.

Mr Das has been writing here and there since 1970 but the writings of his initial stages could not be preserved due to ignorance of the importance of preservation. However, the articles mentioned above have been published from time to time in different journals and periodicals of Assam. Itis also mention that, his writing is still going on.

IN OTHERS

Life Member :

Guwahati Senior Citizen Association

Member :

Preliminary & State Selection Committee for Award of Artist Pension, 2013 and 2014, Govt. of Assam.

Participant :

Bhart Ekatma Jatra

(From Kasturba Gandhi’s Samadhi, Pune to Mahatma Gandhi Samadhi, Delhi, 1984)

Panel of Expert :

Ex-Panel Expert for Selection of Books for the State Library Service, Assam.

Inaugurator :

Cultural Night of biennial Session of Asom Lekhika Sanstha, 6th January, 2007, Tingkhang.

 Cultural Rally of 5th Special Annual Dakhinpat Session of Asom Sahitya Sabha, 11th March, 2008.

Regional Coordinator (NE) RITES Ltd.

Total Transport System Study, by Planning Commission, Govt. of India, 2007-2008.

Feasibility Study for a Regional Transport Aircraft Facilitation of Traffic Surveys, 2010 by National Aerospace Laboratories (NAL)

Practitioner (Non Professional) :

Homeopathic System of Medicine, Regd. No. 1805.

Chief Patron :

Bagasing Das Memorial Trust, Ahatguri, Morigaon, Assam.

  IN ORGANIZATIONAL CONTRIBUTIONS

At Ahatguri (Birth place)

Anchalik Sarboday Puthibharal | Anchalik Yuvak Sangha | Agradoor Natya Samaj | Lakhiminath Bezbaruah Girl’s M.E. & High School | Anchalik Rangali Bihu Utsav Samittee | Sankardev Krishti Kanan | Anchalik Moh Jooj Samittee | Anchalik Shakha Sahitya Sabha | Anchalik Auditorium | Establish of Sahityarathi Lakhminath Bezbaruah statue, etc.

At Shillong (Service place)

Ramdhenu Silpi Samaj | Rupalim Sangha | Uronia Sangha | Bongiya Sahitya Parishad | Assam Sachivalaya Sports & Cultural Organization, etc.

At Guwahati (Service place)

Natshala | Pragati Silpi Sangha | Rajdhani Alochana Chakra | Rajdhani Cine Society | Rajdhani Namghar | Lekhok Manch, Asom | Takhya Shilla, Asom, etc.

  Some facts about Hemen Das

Govardhan Panchal— reputed cultural researcher of India and founder faculty of Rastriya Natya Vidyalaya and a commentator of Natya Sashtra of India- Dhiren Das came to Assam in the year 1986 and visited the Satras of Assam for doing research at the invitation of the Govt. of Assam. The Cultural Affairs Department of Assam entrusted Hemen Das to guide them. They smoothly completed their research work. After returning to Ahmedabad Govardhan Panchatji sent a letter to then Chief Minister of Assam Prafulla Kumar Mahanta as a gesture of gratitude on 28-11-1986. In this letter he mentioned highly of Hemen Das in these words- “… give us an escort and guide in Mr. Hemen Das who made our trip to Majuli and planned the tour so well, but he himself got deeply interested in “Ankiya Nat” and said that in future he would like to make a thorough study whenever he had the opportunity and facility to do so.” Another famous drama historian M.L. Varadapande visited the Satras of Assam in 1987 under the sponsorship of the Cultural Affairs Department of Assam. This time also Hemen Das was assigned the responsibility of helping him. After completing his study based visit without any hitch he wrote a letter to then Chief Minister Prafulla Kumar Mahanta in which he mentioned about Hemen Das in this manner— Resourceful Shri Hemen Das acted as our eyes and ears and explained to us the nuance of Assamese culture. With the help I could film a Television Programme and made recording which I will use for my Radio Talk.

It is regrettable that Chief Minister Mahanta did not recognize Hemen Das and being busy with making Assam a golden one forgot even to acknowledge the letters of these two honourable personalities.

An employee of Assam Secretariat Hemen Das made a film titled ‘JUNJ’ (The fight) based on buffalo fight reflecting the state’s cultural heritage. In 1990, this film received national film award ‘Rajat Kamal’. Thus he brought laurels not only to the government and its employees, but to Assam as well. At that time Assam was under President’s rule. Reverred Loknath Mishra was the Governor and K.N. Prasad was the Adviser to the Governor of Assam. The employees of the Secretariat including the then Chief Secretary Haren Das arranged the felicitation meeting, which was held at the auditorium of Janata Bhawan and presided by Nirmal Prava Bordoloi, the then preisent of Assam Sahitya Sabha, where Hemen Das was felicitated by Hon’ble Governor L.N. Mishra and Chief Advisor K.N. Prasad was present in the Meeting. Election to Assam Assembly was held at the end of President’s rule and Hiteswar Saikia was elected as the Chief Minister. After returning to his home state Bihar K.N. Prasad sent a letter to the Chief Minister describing his experience where he referred to Hemen Das like this ‘… Shri Hemen Das who was awarded “Rajat Kamal” for 1990 in an artist of Assam. He has brought credit to the State and therefore, deserves fullest encouragement. We were thinking of providing him a suitable post in the Department of Information and Public Relation. Give an opportunity, I have no doubt that he would do full justice to any assignment which is required to project the image of Assam through the medium of films. I would, therefore, be grateful you kindly consider him for a suitable job.” Hiteswar Saikia completely ignored the decision taken by the Government during the President’s Rule and appointed Nipon Goswami to the post of Film Officer lying vacant in the Information & Public Relations Department. In this case the role of an Assamese IAS Officer was quite regrettable. However Hemen Das retired from the same post of a clerk and leaving the Secretariat complex at Dispur walked back to the residence silently. It is very unfortunate that not to speak of the Secretariat, even the staff of his own Department had not organized a formal farewell for a person who had brought glory to the state by bagging the Rajat Kamal National Award. Had it happened in an another state such a person would have been posted in a suitable job for the benefit of the state. It is hard to conceive why there is lack of goodwill on the part of the authorities concerned in such cases.

A prominent stage director of the country, Sangeet Natak Akademi Awardee and the president of Asom Natya Sanmilan Dulal Roy commented on Hemen Das in 1986 like this ‘… Apart from his economic base profession Shri Hemen Das is associated with various cultural activities including his active association with the Directorate of Cultural Affairs, Assam. He is an established actor and also has proficiency in stage Direction. He has the rare quality of leadership in organising various cultural programmes. He possesses a genuine artistic instinct which has menifested in his socio-cultural activities. Shri Das has also assisted me with full devotion in my self directed film ‘ASHRAY’. In a recently telecast T.V. play, under my direction Shri Das has offered satisifactory peformance.

The winner of Sahitya Akademi Award, Sangeet Natak Akademi Award, Asom Sahitya Sabha Award (Drama), Swami Sankaracharya National Award (Literature), former President of Asom Natya Sanmilan, Padmashree Arun Sarma said about Hemen Das in this way ‘… Shri Hemen Das is a theatre actor of great repute. He has also directed a number of difficult plays drawing acclaims from audience and press reviews in each of his productions. A number of his theatre productions have been outside the State with great success. Shri Das has to his credit a number of books namely Naty Silpa, Pom Khedi and Abhinaya, all related to the art of theatre. He is a regular contributor to important language magazine and news-paper supplements, on subjects dealing with theatre and dramaturgy. Shri Das is very closely associated with various socio-cultural organizations working for the development of the society.’

The founder and Chief Editor of ‘Agradoot’, President of North Eastern Newspaper Association, former President of Asom Sahitya Sabha, Sreemanta Sankardev Award winner Kanak Sen Deka has this to say about Hemen Das “… Shri Hemen Das has written ‘Natya Silpa’ and ‘Pom Khedi’ with his experience in dramatic art since his childhood, ‘Cinema Cinema’, ‘Akanihat— Cenema Nirman Karu Aha’ and ‘Chalachitra Pasangat’ with experience of film knowledge in acting as he has been associated with stage since his childhood. Indeed, instances are very rare of a person to write on all the three art forms. These books are a very valuable contribution to the filed of art and literature in Assam. Moreover, Shri Das has been writing on different subjects, including the burning issues of Assam in various journals and newspapers. These articles have been appreicated well by the readers. It needs not mention that Shri Das is a renowned Actor, writer, critic, social-worker, stage Artist and National Cine Award winning Film Director. Shri Das has been ascoaited with various socio-cultural organisation of the State of Assam.

In 1991 Kolkata Book Fair was held from January 30 to February 10. The main theme of the Book Fair was Assam. Besides Assam Pavilion four Assamese films were screened at famous Nandan Cinema Hall in association with the Govt. of Assam. These films included ‘Sandhyarag’ by Dr. Bhabendra Nath Saikia, ‘Tathapio Nadi’ by Hemanta Das, ‘Uttar Kaal’ by Abdul Majid and ‘Junj’ by Hemen Das. ‘Junj’ was screened at 3 p.m. on February 2. The audience included Goutam Ghosh, Dr. Bhupen Hazarika, Dr. Mamoni Raysom Goswami, father of noted actor Victor Banerjee, retired major S.N. Benarjee among others. ‘Junj’ impressed the audience very much and after the end of the show everyone praised Hemen Das profusely. Even later S.N. Banerjee wrote a letter to Hemen Das on February 4, 1991 where he said- “… The film JUNJ (The fight) is superb and it is one of its own kind. The true life of the Rural Area of Assam has been marvelously depicted where I spent more than three decades of my life. A very realistic one.

We would look forward to see more of this type of film so that, people not only in India but abroad would know the beautiful life of our Rural Villages.

If possible, I would suggest that an English version of the film may be made so that, people in Spain and others would realize that Bull & Buffalow fight could be done without the help of any Red cloth.”

The former Chief Minister of Assam and leader of the people Sarat Chandra Sinha was so impressed with the book ‘Pom Khedi’ written by Hemen Das that he sent a letter to him where he stated-

“The book ‘Pom Khedi’ written by you was sent to me as a gesture of love. I read the book thoroughly. The book written after studying different aspects of the Vedas, culture, literature, scriptures, Natya Sastra etc. is very informative and full of facts. I have come to know various hitherto unknown facts.

The chapter on Devadashi was brilliantly portrayed. Glimpses of nationalist thoughts are reflected in the discussions on art and literature. The theoretical discussion on acting and Natya Sastra is very interesting. There are many things to learn. I respect your creative thoughts. There is no end to quest. Let your quest become successful.

Reading the book ‘Silpa Chinta’ written by Hemen Das and published by Assam Publication Board in the year 2013 one of the leading intellectuals of the country Dr. Hiren Gohain wrote an article in ‘Axomiya Khabar’ on 28th July, 2014. He said- “…Most of the audience who witnessed the film ‘Junj’ made by Hemen Das must admit that unlike other Assamese films this film is entirely free from artificial and melodramatically moments, yet emotions and feelings are boldly reflected in an artistic manner in the film. With his experience in drama and cinema and depth study the director of the film wrote an informative and thoughtful hand book for the benefit of the students of drama and cinema and the artistes as well. Though the Assamese rendering of some of the technical words is not so ripe overall the book is interesting and of good taste. In a nutshell he provides some facts on famous works of art as well as artistes. I congratulate Hemen Das.

An eminent drama historian of the country, Sangeet Natak Akademi Lifetime Achievement Award winner, receipient of Tagore Akademi Sanman Honour and Sreemanta Sankardev Award winner in 2016 M.L. Varadapande sent a letter to the Chief Minister of Assam, Mr. Sarbananda Sonowal where he mentioned about Hemen Das. He wrote- “…1987, when I was invited by Department of Cultural Affairs, Government of Assam and toured extensively in various Satras, Namghars and some other folk cultural hubs of Assam. The Cultural Affairs Department highly deputed to us resourceful Shri Hemen Das who acted as our eyes and ears and explained to us the nuance of Assamese culture. With his direction I could record in video a full length Ankiya Naat, Ojapali and Deodhani Nitya. These were telecast for the first time by Doordarshan in National Network with legendary classical dance artist Sonal Mansingh as its anchor.

Shri Hemen Das is doyen of traditional and modern Assamese art, literature and culture. He is a performing artist par excellence and master of dramatic art and craft. He has written several articles and books on the art and craft of theatrical performances. His books such as Natya Xilpa, Pam Khedi, Abhinay- speaks of his crudition, profound scholarship and stage experience.

He has acted in more than seventy traditional Assamese drama forms such as Ankiya Naat, Jatra Naat and Modern Naat. He has directed number of dramatic performance, traditional as well as modern in State and National Level. He stand awarded for his acting and directional ventures.

His knowledge of these form is virtually encyclopedic and number of prominent scholars from all over India as Gobardhan Panchal (Ahmedabad), Dhiren Das (Orissa) seeked his guidance while conducting their research. Shri Das deserves all accolades, honours and praise from State and National Government. He is genius.”]

From these facts collected from different sources it can be surmised that Hemen Das is a publicity shy, non-glamorous, silent worker. The contributions of Hemen Das to the creative field, be it drama, cinema, literature and society are invaluable and of high standard. Even as a person he has a well accepted and bright image. I think the elite society will agree with me in this respect.

  Edited by-

Hemanta Kumar Bharali (Noted journalist-litterateur)