New Delhi: Home ministry and security agencies have ruled out any threat to the life of Congress chief Rahul Gandhi in the wake of reports that a green laser light was pointed at his head, which could have come from a sniper https://www.zhongtianelec.com/product/led-light-stripe/ rifle, during a roadshow in Amethi on Wednesday.The green laser light, which triggered security concerns regarding the Congress president, was later found to be from a mobile phone and not a sniper rifle.Following media reports on the issue, director of the Special Protection Group (SPG) was asked to carry out a detail probe into the incident. SPG is tasked with providing security cover to Mr Gandhi and some other members of his family. SPG, a highly trained security unit, is also responsible for providing close proximity security to Prime Minister Narendra Modi.
An indepth review of the incident conducted by SPG security experts revealed that the green laser light pointing tow-ards Mr Gandhi in some media clippings was found to be from a mobile phone which was being used by an AICC photographer who was videographing the impromptu press interaction of the Congress leader.This interaction took place near the collectorate in Amethi and there was a huge crowd at the venue.Senior home ministry officials claimed that as soon as they got information about the incident, they immediately alerted the SPG and directed them to ascertain what exactly happened.Senior Congress leaders like Randeep Surjewala and Abhishek Manu Singhvi denied that the party had written any letter to the home ministry regarding a possible breach of Mr Gandhi’s security. Even the home ministry spokesperson clarified that the ministry has not received any communication from the Congress in this regard.Earlier there were reports that the Congress had accused the Uttar Pradesh administration of an "alarming lapse", and written to the Union home ministry asking it to "probe and neutralise the threat", if any.Reports had earlier on Thursday claimed that in a letter to the home ministry, the Congress had enclosed a security video of Mr Gandhis media interaction, which showed a spot of green light on the temple of the 48-year-old party chief.Keep yourself updated on Lok Sabha Elections 2019 with our round-the-clock coverage -- breaking news, updates, analyses etc all. Happy reading.
An indepth review of the incident conducted by SPG security experts revealed that the green laser light pointing tow-ards Mr Gandhi in some media clippings was found to be from a mobile phone which was being used by an AICC photographer who was videographing the impromptu press interaction of the Congress leader.This interaction took place near the collectorate in Amethi and there was a huge crowd at the venue.Senior home ministry officials claimed that as soon as they got information about the incident, they immediately alerted the SPG and directed them to ascertain what exactly happened.Senior Congress leaders like Randeep Surjewala and Abhishek Manu Singhvi denied that the party had written any letter to the home ministry regarding a possible breach of Mr Gandhi’s security. Even the home ministry spokesperson clarified that the ministry has not received any communication from the Congress in this regard.Earlier there were reports that the Congress had accused the Uttar Pradesh administration of an "alarming lapse", and written to the Union home ministry asking it to "probe and neutralise the threat", if any.Reports had earlier on Thursday claimed that in a letter to the home ministry, the Congress had enclosed a security video of Mr Gandhis media interaction, which showed a spot of green light on the temple of the 48-year-old party chief.Keep yourself updated on Lok Sabha Elections 2019 with our round-the-clock coverage -- breaking news, updates, analyses etc all. Happy reading.
We can also compare receptivity to the way a computer downloads information. Receptivity is a state in which we download God into ourselves. Unfortunately, instead of downloading God, we are downloading the world into ourselves. How can we download God instead of the world to reap more spiritual benefits?Think about how a computer works. A computer starts out as basic hardware. On its own it can do nothing. To operate, software programmes have to be downloaded to it. These software programmes carry out different tasks and functions. Although all computers are basically the same, they operate differently based on the software downloaded into it.Human beings are like computer hardware. We are all born with the same basic operating equipment. We have a physical body, bodily systems, and the brain with its system of taking information from the body and senses. What makes us different is the kind of input that is downloading into our self over the course of our lives. We all download different types of input from the world. Most people only download information into themselves that comes from their body, their senses and the outer world.Receptivity is downloading software from God instead of the programmes of this world. The soul is not interested in downloading the world with its enjoyments and entertainments. It wants to download the divine and its bliss, love and ecstasy.If we identify with our true self, the soul, the computer operator of our body and brain, we too will find that downloading this https://www.zhongtianelec.com/product/lamps/colorful-bluetooth-audio-lamp.html world does not fulfil us.
The soul is only nourished by the love and light of the divine.To be truly fulfilled, we need to download God. How can we do that? Meditation is the process of downloading God. When we meditate, our soul comes in contact with the vibrating principle of God, the current of light and sound. The point of connection is at the third or single eye, between and behind the two eyebrows. When we put our attention there, we begin the download process in which we connect with the light and sound of God. When that is complete, we are then connected to the entire network of God. We merge into the light and sound and can travel on the current through all the realms of creation, transcending realms of matter to enter realms of spirit. The ultimate end of the journey is merging back into God, an infinite ocean of consciousness and love.When we download God into our system, we are actually merging our real nature back into our source. We then tap into eternal wisdom, immortality, bliss, happiness, peace and divine love. We transcend this world of pain and suffering to enter a realm with no death, no pain and no suffering. We experience an ecstasy and love unknown to us in this physical world.
The soul is only nourished by the love and light of the divine.To be truly fulfilled, we need to download God. How can we do that? Meditation is the process of downloading God. When we meditate, our soul comes in contact with the vibrating principle of God, the current of light and sound. The point of connection is at the third or single eye, between and behind the two eyebrows. When we put our attention there, we begin the download process in which we connect with the light and sound of God. When that is complete, we are then connected to the entire network of God. We merge into the light and sound and can travel on the current through all the realms of creation, transcending realms of matter to enter realms of spirit. The ultimate end of the journey is merging back into God, an infinite ocean of consciousness and love.When we download God into our system, we are actually merging our real nature back into our source. We then tap into eternal wisdom, immortality, bliss, happiness, peace and divine love. We transcend this world of pain and suffering to enter a realm with no death, no pain and no suffering. We experience an ecstasy and love unknown to us in this physical world.
The rest have been painted
2019年8月13日The Bhopa, is a singer-performer who carries painted Phads, horizontal scrolls of hand painted images of local deities and uses them as mobile temples of folk deities.As daylight fades and quiet descends, the golden sands of Rajasthan glisten in the silvery moonlight, the plaintive sounds of the ravanhatha act as a veritable magnet and the trickle of the audience starts to wind their way from the mud homes to where the Bhopa beckons with his ghungroos and the peculiar clicking sounds he makes to announce his arrival.
The ghungat clad Bhopi stands with a small mashal in hand ready to hold the light up to the large painted phad, as they start singing to regale the audiences with the tales of the mythical King Pabuji...The Bhopa, belonging to the nomadic Rabari tribe, is a singer-performer who traditionally carries the painted Phads – horizontal scrolls of hand painted images of local deities and uses them as mobile temples of folk deities. Drawing from a rich repository of folklore, he, along with his wife the Bhopi, brings the Phad alive enacting the scene depicted in it while playing the ravanhatha, a stringed instrument, the bow of it has a few ghungroos tied to it and make a rhythmic sound as they match the tala of the ghungroos on the Bhopa’s ankles. In keeping with the part of the phad’s story that he is https://www.zhongtianelec.com/product/lamps/colorful-bluetooth-audio-lamp.html singing, the bhopi’s mashal holds the light up to highlight it, literally.Delhi based arts organisation Art Tree, supported by the Yes Bank’s culture initiative, and brought to the capital an art show of these rarely seen Phad paintings. Titled Phad:Mythical Heritage of Bhilwara, the show included nearly 50 Phad paintings, two of which were rare originals created nearly six decades ago by Bhilwara’s illustrious Phad artist Shrilal Joshi, who was also honoured with the Padmashri award.
The rest have been painted by the scions of the Joshi family Kalyan and Gopal Joshi over last two years.According to Pragati Agarwal, founder, Art Tree and curator of the show, "Phad is a traditional art form, more than seven hundred years old from the Shahpura region of Rajasthan, known not only for its vibrant colours, but also the fact that it is accompanied by an oral tradition of rendering the gatha(folklore). The Bhopa and Bhopi – priest and his wife from the Rabari tribe, perform this rendition. The singing is about the gods, about the heroics of either the local deity Pabuji or Devnarayanji revered by the Gujjar community of camel herders. The Phads, painted like horizontal scrolls using natural colours, also portray folklores, scenes from the Ramayana, and other mythological narratives along with the main narrative."Says Mr Kalyan Joshi: "Creating a Phad is an act of devotion even as it is an art form. We commence our work with a prayer. Hand woven cloth is soaked overnight so that the threads get thicker. It is then starched and further burnished for a smooth and shiny surface. Then the Phad painter draws the entire narrative spanning the life of the deity and his divine deeds on this canvas. The figures are rounded, dressed in traditional attire and headgear in bright colours. The colours used to be painstakingly extracted from natural sources stones, flowers, herbs."The Bhopa, belonging to the nomadic Rabari tribe, performs at an event.There was a time when the secret of Phad painting was confined to the Joshi family. However, when Mr Shrilal Joshi felt that the art form was on the decline, he felt the need to establish ‘Joshi Kala Kunj’, now ‘Chitrashala’ in 1960 to develop new artists other than the Joshi family. He took upon himself the task of revitalizing this art, both at national and international level. His sons, Kalyan Joshi and Gopal Joshi have carried forward this legacy and have taken on the mantle of making this art more relevant in today’s times by introducing new themes and techniques but not compromising on the traditional style of the Phad.Traditionally, the Bhopas commission the Joshi’s to make a phad for them with which they travel and perform. They are mostly called upon to perform in a community if the animals become ill or die. Devotees believe that the phad is a living temple and hence hold it in spiritual reverence.The Phad is unique in the manner it is formatted and made. There is a set pattern as to how the characters are placed and the colour schemes of Phad too are fixed. Every available inch of the canvas is crowded with figures. Another highlight is the flat construction of the pictorial space. While the figures are harmoniously distributed all over the area, the scale of figure depends on the social status of the character they represent and the roles they play in the story. Another interesting feature is that the figures in the paintings do not face the audience; rather, they face each other so every figure is in repose. There are set colours for specifics of the phad. Orange hues are used on limbs or torso of figures, yellow for ornaments and general clothing and designs, green for trees and vegetation, brown for architectural structures, red for royal clothing and flags and blue for water and curtains.
An outline of the painting is drawn by the artist with light yellow coloured paint and then fills in the colours appropriately. The colours are then mixed with gum and water, and painted one colour after the other, in the order of orange, yellow, and so forth. Black is the last colour used for the outlines. However, traditionally, no gold colour was ever used. Indigo or neela thotha is often added to the starch to prevent rats and other insects from eating or damaging it. Getting a phad painted is an expensive proposition for a bhopa hence it is looked after very well and usually lasts a lifetime of two generations. When it is ready, on an auspicious day, the painting is signed by the artist at the centre of the painting, close to the image of the main deity. Signature of the Bhopa, who commissions the painting, is also included, but it is optional. As a last act, the artist is said to give ‘life’ or "awaken the deity" (pran prathishta) of the painting by opening the pupil in the eyes of the main deity at the centre of the painting. It is now that the Phad belongs to the bhopa and not to the artist. Many old phads either get singed accidentally when holding a mashal in low light visibility by the ghungat clad bhopi or bear burn marks or smoke marks – this is also an indication of their usage and age and if they were actual phads in use. Thanks to the expense and time factor, most phads are used till as long as possible and abandoned only when they are beyond use. Hence very few old phads survive. I have seen a few and the colours mellowed over time and the touch of loving hands had its own tales to tell... Dr Alka Raghuvanshi is an art writer, curator and artist and can be contacted onalkaraghuvanshi@yahoo.com
The ghungat clad Bhopi stands with a small mashal in hand ready to hold the light up to the large painted phad, as they start singing to regale the audiences with the tales of the mythical King Pabuji...The Bhopa, belonging to the nomadic Rabari tribe, is a singer-performer who traditionally carries the painted Phads – horizontal scrolls of hand painted images of local deities and uses them as mobile temples of folk deities. Drawing from a rich repository of folklore, he, along with his wife the Bhopi, brings the Phad alive enacting the scene depicted in it while playing the ravanhatha, a stringed instrument, the bow of it has a few ghungroos tied to it and make a rhythmic sound as they match the tala of the ghungroos on the Bhopa’s ankles. In keeping with the part of the phad’s story that he is https://www.zhongtianelec.com/product/lamps/colorful-bluetooth-audio-lamp.html singing, the bhopi’s mashal holds the light up to highlight it, literally.Delhi based arts organisation Art Tree, supported by the Yes Bank’s culture initiative, and brought to the capital an art show of these rarely seen Phad paintings. Titled Phad:Mythical Heritage of Bhilwara, the show included nearly 50 Phad paintings, two of which were rare originals created nearly six decades ago by Bhilwara’s illustrious Phad artist Shrilal Joshi, who was also honoured with the Padmashri award.
The rest have been painted by the scions of the Joshi family Kalyan and Gopal Joshi over last two years.According to Pragati Agarwal, founder, Art Tree and curator of the show, "Phad is a traditional art form, more than seven hundred years old from the Shahpura region of Rajasthan, known not only for its vibrant colours, but also the fact that it is accompanied by an oral tradition of rendering the gatha(folklore). The Bhopa and Bhopi – priest and his wife from the Rabari tribe, perform this rendition. The singing is about the gods, about the heroics of either the local deity Pabuji or Devnarayanji revered by the Gujjar community of camel herders. The Phads, painted like horizontal scrolls using natural colours, also portray folklores, scenes from the Ramayana, and other mythological narratives along with the main narrative."Says Mr Kalyan Joshi: "Creating a Phad is an act of devotion even as it is an art form. We commence our work with a prayer. Hand woven cloth is soaked overnight so that the threads get thicker. It is then starched and further burnished for a smooth and shiny surface. Then the Phad painter draws the entire narrative spanning the life of the deity and his divine deeds on this canvas. The figures are rounded, dressed in traditional attire and headgear in bright colours. The colours used to be painstakingly extracted from natural sources stones, flowers, herbs."The Bhopa, belonging to the nomadic Rabari tribe, performs at an event.There was a time when the secret of Phad painting was confined to the Joshi family. However, when Mr Shrilal Joshi felt that the art form was on the decline, he felt the need to establish ‘Joshi Kala Kunj’, now ‘Chitrashala’ in 1960 to develop new artists other than the Joshi family. He took upon himself the task of revitalizing this art, both at national and international level. His sons, Kalyan Joshi and Gopal Joshi have carried forward this legacy and have taken on the mantle of making this art more relevant in today’s times by introducing new themes and techniques but not compromising on the traditional style of the Phad.Traditionally, the Bhopas commission the Joshi’s to make a phad for them with which they travel and perform. They are mostly called upon to perform in a community if the animals become ill or die. Devotees believe that the phad is a living temple and hence hold it in spiritual reverence.The Phad is unique in the manner it is formatted and made. There is a set pattern as to how the characters are placed and the colour schemes of Phad too are fixed. Every available inch of the canvas is crowded with figures. Another highlight is the flat construction of the pictorial space. While the figures are harmoniously distributed all over the area, the scale of figure depends on the social status of the character they represent and the roles they play in the story. Another interesting feature is that the figures in the paintings do not face the audience; rather, they face each other so every figure is in repose. There are set colours for specifics of the phad. Orange hues are used on limbs or torso of figures, yellow for ornaments and general clothing and designs, green for trees and vegetation, brown for architectural structures, red for royal clothing and flags and blue for water and curtains.
An outline of the painting is drawn by the artist with light yellow coloured paint and then fills in the colours appropriately. The colours are then mixed with gum and water, and painted one colour after the other, in the order of orange, yellow, and so forth. Black is the last colour used for the outlines. However, traditionally, no gold colour was ever used. Indigo or neela thotha is often added to the starch to prevent rats and other insects from eating or damaging it. Getting a phad painted is an expensive proposition for a bhopa hence it is looked after very well and usually lasts a lifetime of two generations. When it is ready, on an auspicious day, the painting is signed by the artist at the centre of the painting, close to the image of the main deity. Signature of the Bhopa, who commissions the painting, is also included, but it is optional. As a last act, the artist is said to give ‘life’ or "awaken the deity" (pran prathishta) of the painting by opening the pupil in the eyes of the main deity at the centre of the painting. It is now that the Phad belongs to the bhopa and not to the artist. Many old phads either get singed accidentally when holding a mashal in low light visibility by the ghungat clad bhopi or bear burn marks or smoke marks – this is also an indication of their usage and age and if they were actual phads in use. Thanks to the expense and time factor, most phads are used till as long as possible and abandoned only when they are beyond use. Hence very few old phads survive. I have seen a few and the colours mellowed over time and the touch of loving hands had its own tales to tell... Dr Alka Raghuvanshi is an art writer, curator and artist and can be contacted onalkaraghuvanshi@yahoo.com
