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INDIA DIGEST Volume 35-April 2017



The Polar Satellite Launch Vehicle (PSLV) blasted off from India's Satish Dhawan Space Centre at 10:58 p.m. EST (0358 GMT on Feb. 15) with three satellites from India and 101smaller nano satellites (also called nanosats) from five other countries. THE OFFICIAL DIGEST OF EMBASSY OF INDIA, PHNOM PENH THE OFFICIAL DIGEST OF EMBASSY OF INDIA, PHNOM PENH

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April 2017

Exemsa 2017

04 From the Ambassador’s desk cMNab;GarmμN_rbs;ÉkGKÁrdæTUt\NÐa 06 Frames by the Lake h‘u¿B½T§eTAedaybwg 14 Rhythms of Manipur cgVak;ePøgén Manipur

18 Silken Strokes KMnUr Silken Strokes

22 Festival of India celebrations BiFIbuNüénRbeTs\NÐa 36 News in pictures B½t’mankñúgrUbPaB 37 Mahabharata erOgmhaPart³

Embassy of India

Address: No.52, Street 214, Samdech Pan Ave, Phnom Penh, Cambodia Editor in chief: Mr. N.Sitlhou, First Secretary Co - Editor : Mr. Rqjiv Kumar Second Secretary Editorial assistance in Khmer: Ms. Kunthea Website:

Tel: (+855-23) 210912 / 210913 Fax: (+855-23) 213640 / 210914 Email: Editorial assistance in Khmer: Magic Group

Page 2 picture - India scripted a new chapter in the history of space exploration with the

launch of a record 104 satellites ISRO’s Polar Satellite Launch Vehicle (PSLV) in a single mission.

Cover Picture

The Embassy of India in Phnom Penh and the Ministry of Culture, Government of India hosted Festival of India in Phnom Penh, Siem Reap and Battambang during January-February 2017 to showcase, classical and folk dance forms of India, its varied cuisine and the cultural connections between India and Cambodia.

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From the Ambassador’s desk Dear Friends, Let me wish all the readers of India Digest a very happy and prosperous New Year as this is our first edition in 2017. This year marks the 25th anniversary of India-ASEAN Dialogue Partnership. In this process, Cambodia played a very important role, which is in keeping with the close and friendly relationship that India and Cambodia have always enjoyed.

Naveen Srivastava Ambassador of India to the Kingdom of Cambodia

To mark this special occasion, the Embassy with the support of Ministries of Culture and Fine Arts and Tourism of Cambodia had organised a grand “Festival of India” in January-February 2017. We were happy to see the enthusiastic response by our Cambodian friends for the various dances and events that were organised. The Festival opened with the performance of Ramayana, known popularly in Cambodia as Reamke. It was the first time that Ramayana was performed in front of Bayon Temple in Angkor Wat. This was a special occasion, as the story of Ramayana and Angkor Wat have a close connection. In addition we had performances of Indian Classical and Folk dances, Food Festival and also a Buddhist Festival to cherish the close cultural relations between our two countries. This edition of the India Digest has several photographs that will give you a glimpse of the Festival, if you missed it. Soon the Embassy will also organize the 3rd International Day of Yoga in June 2017. As in the last two years we hope to see a large number of Cambodian people participating in these celebrations and practicing Yoga. Before I end, let me also wish all our friends a very Happy Sankranta and Khmer New Year. I hope you will enjoy this edition of India Digest. As always please send us your views/comments at or through Facebook (India in Cambodia)

(Naveen Srivastava) Ambassador of India to the Kingdom of Cambodia

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Naveen Srivastava

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Frames by the lake

Pichola Lake The sparkling waters of India’s tranquil, pristine lakes of India aren’t just places where tourists converge, they also become the heart of towns and cities that grow around them! We cast an eye over the most stunning lakes of India. Lakes, whether naturally formed or man-made, are beautiful, calm and great spot to spend a day while on vacation. Found on every continent, they are present in all kinds of environment, be it mountains, plains, deserts or seashores. India, with its vast and varied landscape, has many fascinating lakes that are bound to capture your heart, mind and body with their stunning view. The lakes of India, apart from being a primary source of water supply, are also religiously significant or a favourite among tourists. While the lakes of Rajasthan add majestic touch to the glorious forts and palaces, several wildlife sanctuaries and national parks owe their splendor to these lakes. Come along and enjoy the view! Pichola Lake Udaipur, Rajasthan Lake type: Artificial freshwater lake Surface area: 6.96 sq km Depth: 8.5 metres Situated in the ‘city of lakes’, Pichola has four islands on it Arsi Vilas, Jag Mandir, Jag Niwas, and the Mohan Mandir. Created in 1362 AD, this lake is a beautiful spot to sit and enjoy the sunrise and the sunset, and a boating ride. On the eastern banks of the lake is City Palace, the largest palace complex in the city. Best time to visit October to March 6 IDApril 2017_ata.indd 6

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Wular Lake Bandipora, Jammu and Kashmir Lake type: Freshwater lake surface area: 260 sq km Depth: 14 metres Surrounded by mountains and dense forests, the Wular Lake is a scenic getaway for tourists, trekkers, and water sports enthusiasts. A rich avian collection in and around the lake attracts a number of bird watchers. Wular lake is also an important fish habitat. Best time to visit June to August

Pushkar Lake Pushkar Lake Pushkar, Rajasthan Lake type: Artificial lake Surface area: 22 sq km Depth: 10 metres Enclosed by hills and desert, Pushkar lake is one of the holy places for Hindus. It is surrounded by 52 bathing ghats that are thronged by devotees on the day of Kartik Purnima and during the annual Pushkar Fair. Also, there are more than 400 Hindu temples around the lake. Best time to visit October to February Hussain Sagar Lake Hyderabad, Telangana Lake type: Artificial lake Surface area: 4.4 sq km Depth: 9.8 metres A heart shaped lake, it was built by Hazrat Hussain Shahi Wali in 1563, during the reign of Ibrahim Quli Qutub Shah. A large monolithic statue of Gautam Buddha, erected in 1992, stands on Gibraltar Rock in the middle of the lake. A motor boat ride in the lake can be a thrilling experience. Best time to visit October to March

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Dal Lake Dal Lake Srinagar, Jammu and Kashmir Lake type: Freshwater lake Surface Area: 22 sq km Depth: 6 metres Flanked by Pir Panjal mountains, the picturesque lake is famous for its houseboats, shikaras and the floating vegetable market. The Dal lake also has three islands, out of which two are marked with beautiful Chinar trees. The Mughal Gardens around the Dal Lake are one of the major attractions in Kashmir. Best time to visit June to August

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Vembanad Lake Kerala Lake type: Brackish/Freshwater lake Surface area: 2033 sq km Depth: 12 metres Keralaâ&#x20AC;&#x2122;s largest lake is an enchanting backwater tourism destination that offers tourists houseboat cruises and fishing. Being the largest source of the surface water, Vembanad lake is a part of an extensive wetland system. The Kumarakom bird sanctuary located on the east coast of the green algae-rich lake is a must-visit for bird lovers. Best time to visit November to March Loktak Lake Moirang, Manipur Lake type: Freshwater lake Surface area: 287 sq km Depth: 4.6 metres Famous for its floating islands, Loktak lake is home to more than 200 kinds of aquatic plants, 100 species of birds, and 400 species of animals. The largest of all islands is Keibul Lamjao National Park, the only floating national park in the world. Best time to visit November to March

Loktak Lake Tsomgo Lake East Sikkim, Sikkim Lake type: Glacial lake Surface area: 0.24 sq km Depth: 15 metres Also known as Changu lake, the surface of this lake reflects different colours with different seasons. Though it stays frozen for most parts of the year, tourists can enjoy a yak ride on the lake. The lake is surrounded by steep mountains, and alpine forests cover the catchment of the lake. Best time to visit January to May 9 IDApril 2017_ata.indd 9

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bwg Pichola

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Udaipur, Rajasthan RbePTbwg: bwgsib,nimµitTwksab tMbn;épÞ: 6.96 KILÚEm:Rtkaer: CeRmA: 8.5 Em:Rt sßitenAkñúg “TIRkúgeBareBjedaybwg” Pichola manekaHbYnenAelIvarYmman Arsi Vilas, Jag Mandir, Jag Niwas nig Mohan Mandir. bwgenHeK)anbegáIteLIgenAkñúgqñaM 1362 munRKwHsraC bwgenHKWCakEnøgRss;s¥atsRmab;GgÁúyemIl

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Bandipora, Jammu nig Kashmir

RbePTbwg³ bwgTwksab épÞtMbn;³ 260 KILÚEm:Rtkaer: CeRmA³ 14 Em:Rt h‘u¿B½T§eTAedayPñM nigéRBRTúbRTúlbwg Wular KWCakEnøgeKcxøÜEdl maneTsPaBRss;s¥atsRmab;ePJóveTscrCakEnøgedIreLIgPñM nig CakEnøgsRmab;GñkcUlcitþkILaTwkedaykarsm,ÚrstVsøabnAkñúg nigenAEk,rbwgenaH)anTak;TajGñkTsSnastVsøabCaeRcIn. bwg Wular k¾mansar³sMxan;sRmab;CRmkstVRtIpgEdr. eBlevlal¥bMputkñúgkarTsSna Exmifunadl;ExsIha

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Pushkar, Rajasthan

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Hyderabad, Telangana

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bwg Wular bwg Dal Rkúg Srinagar, Jammu nig Kashmir RbePTbwg³ bwgTwksab épÞtMbn;³ 22 KILÚEm:Rtkaer: CeRmA³ 6 Em:Rt GmedayPñM Pir Panjal bwgd¾s¥atEdlKYreGayftmanPaBl,Il,ajBIpÞHGENþtTwkrbs;va (shikaras) nigpSarbEnøGENþtTwk. bwg Dal manekaHcMnYnbI EdlmanBIrRtÚv)ansmÁal;edayedImeQI Chinar d¾Rss;s¥at. sYn Mughal enACuMvijbwg Dal KWCa kEnøg Tak;TajmYykñúgrdæ Kashmir. eBlevlal¥bMputkñúgkarTsSna Exmifunadl;ExsIha bwg Vembanad rdæ Kerala RbePTbwg³ Pøav/Twksab épÞtMbn;³ 2033 KILÚEm:Rtkaer: CeRmA³ 12 Em:Rt bwgkñúg Kerala EdlFMbMputKWCaTisedAeTscrNTwks¶b;d¾Tak;TajEdlpþl;eGayePJóveTscrnUvpÞHTUknigkarensaT. edayvaCa RbPBTwkFMCageKbg¥s;elIépÞTwk bwg Vembanad KWCaEpñkmYyénRbB½n§tMbn;dIesImy:agFMTUlay. CRmkbkSI Kumarakom manTItaMgenAelIeqñrsmuRTxagekIténbwgEdlsm,Úrsarayébtg KWCakEnøgEdlRtÚvEtmkTsSnasRmab;GñkRslaj;stVsøab. eBlevlal¥bMputkñúgkarTsSna Exvicäikadl;ExmIna bwg Loktak Moirang, Manipur

RbePTbwg³ bwgTwksab épÞtMbn;³ 287 KILÚEm:Rtkaer: 12 IDApril 2017_ata.indd 12

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Rhythms of Manipur

In the serene and rustic land of Manipur, dance is seen not as an art form but a way of life text / Abhishek Chakraborty. Colourful dresses, soulful music, the sound of beating drums and rhythmic dance - welcome to Manipur, the land of jewels. Here dance and music are forms of expression, one that is not just personal, but closely interspersed with the social fabric of the community. A treasure trove of undiscovered art forms, be it music, dance or art works, the people of Manipur have not given up their cultural traditions and norms. While most of them have adapted themselves to the changing face of the world, they still celebrate their heritage and ensure that the future generations carry forward their cultural customs. One of these gems is the Kabui dance by the Kabui Naga tribe. Viewers delight Despite obscurity on a larger scope, Kabui Naga dance is a popular dance form of the hill tribes. A community dance, it is performed by both men and women of the tribe. For a viewer, it is an experience in itself. A Kabui Naga dance performance includes male dancers holding big knives in their hands as they move around in circles while the female dancers accompany them. Adorned with heavy tribal jewellery, female dancers wear colourful traditional costumes and are a sight to behold. To have a taste of their distinct cultural legacy, all one needs to do is attend the Gang-Ngai festival, which happens every year in the month of December or January, and see them celebrate it with fervour and gusto. The dance performance is accompanied with a big drum that emanates a rhythmic beat. The drum beats enrich the earthiness and liveliness of the dance and boost the interest of the audience. It is performed during winter in an open yard, where the members of 14 IDApril 2017_ata.indd 14

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the village sit and celebrate. Once the performance concludes, it’s time for a feast of food and drink, which includes beer and ham with rice. Forms and types The Kabui Naga dance has various forms including Ngai Laam, Poumei Laam and Ballu Laam. While Ngai Laam is performed during festivals, Poumei Laam is performed when community utility is created. Ballu Laam, regarded as the Dance of the Gods, has a classical aspect to its movements and pos tures. Ballu Laam can be further divided into Hoi Laam, Zeihsung Laam, Zouhmon Patmei Laam, Goipi Thengmei Laam, Banjai Laam, Baan Laam and more.

morning. The Kabuis consider it a blessing to be a part of these dances. With the rise of tourism in the northeast, this dance form is slowly but steadily gaining recognition for itself. The government and social media are also playing a huge role in the promotion of indigenous dance forms. So, just sit back and enjoy the show.

What’s unique about these dance forms is their way of presentation. For example, Zeihsung Laam is performed by male dancers while Zouhmon Patmei Laam involves only female dancers. Goipi Thengmei Laam, a male-only performance, requires each dancer to approach the cattle head, Goipi, which is mounted on a pole that is swung high above the dancers, and whoever snatches it first is declared the winner. Banjai Laam involves the participation of both male and female dancers. What’s significant about this form is that the dance performance continues overnight till the next

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cgVak;ePøgén Manipur

enAkñúgdIs¶b;s¶at;nigTICnbTén ManipurkarraMRtÚv)aneKemIlsÁal;faminRtwmEtCa TRmg;sil,³b:ueNÑa³eT b:uEnþvaCarebobrs;enAmYy GtßbT / Abhishek Chakraborty r:bU EdleBareBjedayBN’t®nþdI T¾ ak;GarmµN_nigsMeLgsÁr nigraMcgVak;enHsUmsVaKmn_mkkan ; Manipur CakEnøgEdleBareBjeday eRKÓgGlgáar. enATIenHkarraM nigt®nþIKWCaTRmg;mYysRmab;bgðajCaerOgmYyEdlminpÞal;xøÜnenaHeT b:uEnþlaybBa©ÚlKñay:agCitsñit CamYyl,aysgÁmrbs;shKmn_. rtnsm,tþiénTRmg;sil,³EdleKRsavRCavminTan;eXIjmYyminfaCat®nþI karraM b¤kargarsil,³RbCaCn Manipur minEdle)aHbg;ecalnUvvb,Fm’RbéBNI nigTMenomTMlab;rbs;Bk Y eKenaHeT. RsbeBlCamYyKñamnusSmYyPaKFM)ansRmb xøÜntamkarpøas;bþÚrrbs;BiPBelak BYkeKenAEtR)arBVebtikP½NÐrbs;BYkeKehIyFanafamnusSCMnan;eRkayenARbkan;vb,Fm_RbéBNIenH eTAmuxeTot. rbs;mantémømYyenAkñúgenaHKWkarraM Kabui eday]bkulsm<½n§ Kabui Naga. PaBrIkrayTsSnikCneTaHbICaman PaBminc,as;las;cMeBaHvisalPaBFMmYykarraM Kabui Naga KWCakarraMd¾manRbCaRbiyrbs;klsm<½n§PñM. karraMCashKmn_TaMg RbúsTaMgRsIénklsm<½n§enaH. sRmab;TsSnikCnvaCaerOgmantémø. karsEmþgraM Kabui Naga rYmmanGñkraMRbúsGmCamYy BYkeK. tubEtgedayeRKÓgGl½gaá rklsm<n½ F§ n¶ ²; GñkraMRsIBak;semøókbMBak;RbéBNIcRmúHBN’CaeTsPad¾KrY KyKn;. edIm,ITTYl)annUvrs;Cati énekrdMENlvb,Fm’xus²Kñarbs;BYkeKTaMgGs;GñkRtÚvcUlrYmBiFIbuNü Gang-NgaiEdlR)arBVeLIgerogral;qñaMenAExFñÚ b¤ Exmkra ehIyGñknwgeXIjeKR)arBVvaCamYynwgPaBxñHExñg nigesckþIsaTrEdr.

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karsEmþgraMenHRtÚv)anGmedaykarvaysÁrFMEdlecjCaBI EdlraMedayRbússuT§KWtRmÚveGayGñkraMmñak;eTACitk,aleK GcgVak;ePøg. ePøgsÁrvabegáItPaBrs;revIkeBlraM nigbegáInkarcab; o-ipi EdleK)andak;elIbegÁaleyalx<s;BIelIGñkraMehIyGñkraM GarmµN_rbs;GñkTsSna. eKsMEdgenArdUvrgarenATIvalEdlman NaEdlGacqk;ykva)annwgkøayCaGñkQñH. BanjaiLaam smaCikénPUmiGgÁúynigR)arBV. enAeBlEdlkarsEmþg)anbBa©b; rYmmanGñkraMTaMgRsInigRbús. GVIEdlsMxan;cMeBaHTRmg;enHKWkar sac;ehm nig)ay. TRmg;nigRbePTkarraM Kabui Naga man raMbnþmYyyb;rhUtdl;RBwkEs¥k. Blrdæ Kabui cat;TukvaCaka TRmg;CaeRcInrYmTaMg Ngai Laam, Poumei Laam nig TTYlBrmYyRbsinebI)anraMkgúñ TRmg;NamYy. edaymankarekIn Ballu Laam. xN³eBlEdl Ngai Laam RtÚv)anraMkñúg vis½yeTscrN_ TRmg;énkarraM)aneKsÁal;kan;EteRcIn. rdæaPi GMLúgeBlbuNümþg² PoumeiLaamRtÚv)an )al nigbB½n§pSBVpSaysgÁm)anedIrtYy:agsMxan; eKraMeBl]bkrN_shKmn_RtÚv)aneKbegáIt. raM Kabui Naga kñgú karpSayBITRmg;raMCnCatiedImenH. ehtudecñH Ballu Laam RtÚv)aneKcat;TukfaCakar raMrbs; sUmGgÁúysRmakeGayRsÜlxøÜn ehIyrIkraynwg KW C aTRmg; é nkarraM d ¾ e Bj RBHEdlmanTidæPaBburaNcMeBaHclnanig\riya niymsRmab;klsm<½n§PñM eTsPaBTaMgenH. bTénkarraMenaH. BalluLaamGacbMEbk)an bEnßmeTot)aneTACa Hoi Laam, Zeishu ng Laam, Zouhmon Patmei Laam, Goipi Then mei Laam, Banjai Laam, Baan Laam nigepSg²eTot. GVIEdlBiesscMeBaH

TRmg;énkaraMTaMgenHKWrebobénkareFVIbTbgðajrbs;va. TahrN_ Zeihsung Laam RtÚv)anraMedayGñkraMRbús cMENk É Zouhmon Patmei Laam manGñkraMRsIEtb:ueNÑaH. Goipi Thengmei Laam

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Silken Strokes

Thangka paintings stand out among traditional Indian art due to the subjects on which they are based as well as the techniques used text I Gaurav Nagpal A painting is created when paint, pigment, colour or any other medium is applied to a solid surface. In India, paintings have occupied a key position in the tradition and history of art, from pre-historic rock paintings to modern day abstracts, and from large canvases to miniatures. Most styles of paintings have the artist as an inventor - he/she applies his or her own consciousness and interpretation of thoughts, objects, locations or other subjects to create a work of art. An artist, though, can also be a medium, a channel conveying a story or serving as a teaching tool- this, in essence, is the purpose of the Thangka style of painting. A Thangka is a Tibetan Buddhist painting on - among others- cotton or silk applique. The word “Thangka” is believed to mean “thing that one unrolls” or “recorded message” in the Tibetan language. Said to have originated in the seventh-eighth century AD, a Thangka painting was most often commissioned by individuals and then gifted to monasteries or to other individuals; the compensation to the artist was traditionally regarded as a gift, rather than a fee. The first Thangka is said to have been painted in India. It is believed that a king in Rajgir (present-day Bihar) was sent an expensive gift by a neighbouring king. Unsure about what to send in return, he consulted the Buddha, who recommended a Thangka depicting the “Wheel of Life” that shows the complete cycle of Nirvana and existence. It was decided to paint an image of the Buddha in the upper-right corner; however, the artist was unable to bring himself to gaze directly at the Buddha. To solve the situation, the Buddha sat next to a body of water, and the artist completed the painting by looking at his reflection. 18 IDApril 2017_ata.indd 18

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The resulting image is known as the Thangka â&#x20AC;&#x153;taken from waterâ&#x20AC;?. Thangkas can be categorised on the basis of technique of painting as well as material used. The most common classification is into two broad categories: painted Thangkas, and applique or embroidery Thangkas on cotton or silk. The size can vary from several metres long and wide, to half the size of a typical full-length portrait. Because of the delicate nature of the painting, a Thangka must be stored in a dry place where the silk is safe from the effects of moisture. When not on display, a Thangka is mounted on a textile backing (with a silk cover, is rolled up and kept away). Thangka paintings are valued not just for their aesthetic beauty but also for several other purposes. A Thangka often serves as an important teaching tool, where images of deities are used to depict the life of the Buddha, significant historical events involving influential lamas, or myths about deities. During a ceremony or a ritual, a devotional image serves as a centrepiece, a medium to make requests or offer prayers. Possibly, the most important purpose of Thangka paintings is their role as meditational tools. Through a Thangka, a practitioner of meditation develops a clear visualisation of a deity and strengthens his/her concentration. The visions appearing to spiritual masters during moments of awakening are depicted as deities in Thangka paintings, and their proportions are considered sacred - particularly because they serve as a road map of sorts to guide a practitioner to the masterâ&#x20AC;&#x2122;s insight. Accuracy of the depiction is the key, and the artist must ensure this if a Thangka is to be considered genuine.

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KMnUr Silken Strokes

rUbKMnUr Thangka elceFøarCageKkñúgcMeNamsil,³buraN\NÐaedaysarmanmUldæanEp¥kelIn½yRbFanbT nigbec©keTsEdleK )aneRbI. rUbKMnUrRtÚv)aneKbegáItedayeBlKUmansarFatuBN’ nig]bkrN_epSg²eTotRtÚv)aneKykmkeRbIelIépÞrwg. kñúgRbeTs \NÐa karKUrKMnUrmantMENgy:agsMxan;mYy enAkñúg RbéBNI nigRbvtþisa®sþénsil,³cab;BIrUbKMnUrfµbuerRbvtþi mkdl;rUbKMnUrGrUbITan; sm½y nigBIKnM rU pÞagM RkNat;mkpÞagM xñattUc.RbePTKMnrU PaKeRcInmansil,³krCaGñkbegátI Kat;bn¤ ageRbImnsikarpÞal;xnÜø nigkarbkRsayKMnti rbs;mYyTItaMgmYy nigRbFanbTepSg²edIm,IbegáIt)anCakargarsil,³. eTaHCay:agNak¾edayGñksil,³KWCa]bkrN_ b¤CapøÚvsRmab; bBa¢ÚnsarerOgmYy b¤ GtßbT I Gaurav Nagpal beRmICa]bkrN_sRmab;beRgónEdlCaFmµtaenHCaeKalbMNgénrcnabfKMnUr Thangka. KMnUr Thangka KWCaKMnUrRBHsgÇTIebelIRkNat;srésGMe)aH b¤sURtbiTBIelI. Bakü Thangka RtÚv)aneKeCOfa mann½yfa “rbs;EdlmnusSmñak;GacebIkgðaj)an” b¤ “CasarEdl)anftTuk” sRmab;PasaTIeb. ehIyRtÚv)aneKniyayfavaman RbPBtaMgBIstvtSTI7TI8 K.s. Cajwkjab;rUbKMnUr Thangka RtÚv)aneKeRbICaGMeNayedaybuKÁlerog²xøÜnedIm,IykeGayvtþ Garam b¤eGaybuKÁlepSgeTot. cMeBaHsMNgeGayeTAkan;sil,³krPaKeRCInCakadUminEmnCaR)ak;kéRmenaHeT. rUbKMnUr Thangka dMbUgbg¥s;RtÚv)aneKfaKUrenARbeTs\NÐa. vaRtÚv)aneKeCOfamhakSRtenA Rajgire (sBVéf¶ehAfaBihar) RtÚv)aneKpþl;eGay nUvkadUmantémøBmI hakSRtenACitxag.edaymindwgfamanGVeI pJrI Rtlb;vji RTg;)anBiPakSaCamYyRBHBuTE§ dl)anENrnaMfarUbThangka bgðajBI “vdþénCIvit” EdlbgðajvdþeBjeljénniBaVn nigmanCIvit. ehIyeK)anseRmccitþKUrrUbRBHBuT§enARCúgxagelIsþaMeTaH Cay:agNak¾eday GñkKMnUrenAEtminGacemIlmkRBHBuT§pÞal;)an. edIm,IedaHRsaysßanPaBenH)anRBHBuT§)anGgÁúyenAEk,rTwkehIy CagKMnUr)anKUrcb;edayemIlrbs;Kat;tYGkSreTvkfaTIebmYyRtÚv)anbgðajenAkñúgkarKUr Thangka.

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TMBr½ Tl;mxu ³rUbKMnrU Thangka “vdþénCIvti ”nigrUb Thangka kñgú cMNaMgKMnrU BN’mas. CalT§plénrUbenHRtÚv)aneKsÁal;faCarUb Thangka “ykecjBIkgúñ Twk”. rUb ThangkaRtÚv)aneKEckCaRbePT edayEp¥kelIbec©keTsKUr nigsmÖar³EdleKeRbI. karEbk EckEdlmanCajwkjab;enaHKWCaBIrRbePTFM²³rUbKMnUr Thangka nigbiTBIelI b¤)a:k; Thanka enAelIsrésGMe)aHb¤sURt. cMeBaH TMhMvaGacxus²Kña BIRbEvgBIrbIEm:Rt eTATMhMBak;kNþalrUbKMnUrbBaÄrFmµta. edaysarEtFmµCatid¾RbNitrbs;KMnUrenH Thangka RtÚvEtTukenAkEnøgs¶ÜtEdlsURtGacmansuvtßiPaBBIsMeNIm. enAeBlEdleKminykvamktaMg Thangka RtÚv)aneKykRkNat; RTab; (CamYyKRmbsURt nigrmUl vaykeTATuk). KMnUr Thangka RtÚv)aneKeGaytémøminRtwmEtsRms;esaP½NÐPaBb:ueNÑaHeT vak¾ maneKalbMNgepSg²eTotpgEdr. rUb Thangka CaerOy²beRmICa]bkrN_beRgónd¾ sMxan; EdlrUbénGaTieTBRtÚv)aneKykmk bgðaj CIvitrbs;RBHBuT§ RBwtþikarN_ Rbvtþisa®sþsMxan;²EdlrYmmanLam:ad¾man\T§iBl nigerOgeRBgGaTieTB. kñúgkMLúg eBlbuNünigBiFI sasnarUbPaBFmµndi aæ nRtÚv)aneKykmkeRbICarUbsñlÚ EdlCa]bkrN_sRmab;esIñ b¤bgY sYg. eKalbMNgsMxan;bpM tu énKMnrU ThangkaGac CatYnaTIsRmab;smaFi. tamry³ Thangka GñksmaFiGacKiteXIjrUbPaBc,as;las;énGaTieTBnigBRgwgkarsmaFi. rUbPaBEdl elcmkkan;RKÚxagviBaØaNkñúgkMLúgeBldwgxøÜnRtÚv)anbgðajCaGaTieTBenAkñúgKMnUr Thangka nigEpñk²vaRtÚv)aneKcat;Tukfaman lkçN³BisidæedaysarEtvabeRmICaEpnTIRKb;RbePTsRmab;naMGñksmaFieTAmuxRKÚ. PaBRtwmRtÚvenAkñúgkarbgðajKWCaKnøwHsMxan;ehIy sil,³krRtÚvFanafa Thangka RtÚv)aneKcat;TukCarbs;Bit. eKalbMNg sMxan;bMput én Thangka KWtYnaTIbs; vaCa]bkrN_ taMgsmaFi

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Festival of India

The Embassy with the support of the Ministry of Culture, Government of India jointly organised Festival of India in three cities of Cambodia namely Phnom Penh, Siem Reap and Battambang during January-February 2017. This Festival was also organized to mark the 25th Anniversary of India-ASEAN Dialogue partnership as well as the 65th anniversary of establishment of diplomatic relations between India and Cambodia. The Royal Government of Cambodia extended its support through Ministry of Culture and Fine Arts and Ministry of Tourism. The Festival of India included: (i) Ramayana Classical Dance performance; (ii) Kathak Classical dance; (iii) Manganiar and Kalbelia Folk Dance from the State of Rajasthan; (iv) Buddhist Festival; and (v) Food Festival. Opening of Festival with Ramayana Epic Dance The Opening Ceremony of Festival of India with Epic Ramayana was held on 10th January 2017 in Phnom Penh with a performance of Ramayana by Kalakshetra Foundation. The performance was staged at the premium theatre of Cambodia â&#x20AC;&#x201C; Chaktomouk Theater. H.E. Ms. Phoeurng Sackona, Minister of Culture and Fine Arts, H.E. Ms. Khieu Kanharith, Minister of Information, His Royal Highness Prince Norodom Sirivudh, Supreme Privy Councilor of H.M. the King and Ambassador Naveen Srivastava jointly inaugurated the Festival by lighting the traditional lamp. The scintillating performance was welcomed by Cambodian audience, diplomats and other international and national guests who filled the Chaktomouk Hall to its capacity. In all more then 600 people enjoyed the spectacular dance drama. During three days of magnificent shows (10, 11, 12 January) in Phnom Penh, The Kalakshetra dance troupe received overwhelming response and every show attracted between 500600 viewers. Ramayana had been chosen as the opening act as it is also popular in Cambodia and Known as Reamke. The Culture Minister of Cambodia H.E. Ms.Phoeurng Sackona also joined the audience again for the show on 12 January to see another episode of Ramayana. 22 IDApril 2017_ata.indd 22

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In his opening remarks Ambassador welcomed the guests and said that the Festival of India events were aimed at strengthening the cultural relations between the two countries and in particular when India was commemorating 25th Anniversary of its relations with ASEAN. He added that the two countries shared age-old cultural and civilisational linkages and the story of Ramayana, a Reamke in Cambodia, reflected the deep cultural bonds between our two countries.

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Epic Ramayana The ancient epic drama was performed on 14-15 January 2017 for the first time at historic Bayon temple in Angkor Archaeological Park area in Siem Reap. The outdoor location in Angkor Archaeological Park was selected not only for impressive background and ambience but also in view of the fact the Ramayana related stories are etched on the friezes in Angkor Wat. The Embassy highly appreciated the support extended by Apsara Authority for

organising the event at this historical site.The event was presided over by H.E. Dr. Thong Khon, Minister of Tourism and Ambassador. The spectacular show with the lustrous stones of Bayon temple in the background was a huge success with more than 1000 spectators including officials, local Cambodian populate, students, national and international tourists attending the performance on both days. The outdoor location and stunning lighting arrange-

ment at Bayon Temple attracted all passers by. In a first again, the Embassy expanded the coverage of Festival by organising the performance in the city of Battambang, which is the 2nd largest city in Cambodia. The performance was also organised on 16th January at the University of Battambang which was attended by senior provincial officials, President, faculty members and the students of the university, local populace and Indian community. In addition a workshop for the visiting troupe was organized by the Mission on 12 January in Phnom Penh with student of performing arts and faculty members at Royal University of fine Arts(RUFA). 24

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Rajasthani Manganiar Music Rajasthani Manganiar Music, Kalbelia and Bhavai Dance (24-26 January 2017): After successful conduct of Ramayana, Rajasthani Manganiar Music, Kalbelia and Bhavai Dance thrilled the audiences in Phnom Penh by their colorful performance at Chaktomouk Theater on 24th January. H.E. Mr. Khieu Kanharith, Minister of Information and his delegation enjoyed the Rajasthani Manganiar music and beat, breathtaking

Kalbelia and Bhavai dance along with large number of youth, Indian community, national and international guests. Like Ramayana this performance too was a sellout event with a packed hall. Subsequently the group performed at the Reception hosted by the Embassy to celebrate the 68th Republic Day on 25th January. Embassy again organized a performance of the Rajasthani folk

dance in Battambang on 26th January at the University of Battambang.

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Kathak Classical Dance Kathak Classical Dance by NADAM Group (26-27 January 2017): One of the important cultural segments of Festival of India was the colorful Kathak Classical dance performances by NADAM Group.The renowned Kathak group from Bangalore spellbound the audience at the Institute of Technology of Cambodia (ITC) by their amazing performance on the

68th Republic Day of India. H.E. Dr. Om Romny, Director General of ITC and Ambassador presided over the cultural event which was attended by more than 800 students, faculty members, ITC staff and Indian community who all enjoyed the graceful twirls, magnificent foot-work and enticing expressions of artists. The cultural component of Festival of India ended with colorful and sensational Kathak

Classical dance by NADAM group at Chaktomouk theatre on 27 January. H.E. Ms. Phoeurng Sackona, Minister of Culture & Fine Arts and His Royal Highness Prince Norodom Sirivudh who were the Chief Guests enjoyed the Kathak dance along with Senior Officials, Diplomatic corps, large number of students, Indian community, national and international guests.

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Indian Food Festival Indian Food Festival (14-25 January 2017): An Indian Food Festival was also organized in Siem Reap from 14-16 January at Hotel Le Meridien and in Phnom Penh from 18-25 January at Hotel InterContinental. During the food festival, two experienced Indian chefs presented the different cuisines from India and food lovers in both the cities relished the delicious Indian food. The Food festi-

val was inaugurated in Siem Reap on 14 January immediately after the Ramayana performance by the Tourism Minister of Cambodia. Selected guests were invited to the Food Festival on 14 January and 18 January in Siem Reap and Phnom Penh respectively.

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Buddhist Festival Buddhist Festival (6-10 February 2017): Buddhist Festival was organised at the historic Wat Ounalum in Phnom Penh from 06-10 February 2017. The opening ceremony was on 6th February. Shri Ram Nath Kovind, Hon’ble Governor of Bihar (President of Nav Nalanda Mahavihara Society, Nalanda) led a delegation to Cambodia and jointly inaugurated the Buddhist Festival with H.E. Mr. Him Chhem, Minister of Cults and Religion, H.E. Ms. Phoeurng Sackona,

Minister of Culture and Fine Arts. The inaugural was graced by the presence of His Holiness Samdech Tep Vong, The Great Supreme Patriarch of Cambodia and His Holiness Samdech Bour Kry, Sangharaja of Dhammayut Nikaya order of Cambodia with their delegations of Buddhist monks. It was a unique occasion with the presence of the leaders of the two main Buddhist Nikayas of the Cambodia. The opening ceremony was also attended by government officials, members of the diplomatic corps, Indian

community, general public and tourists. Buddhist Festival consisted of an Exhibition “Dharma Darshan” curated by the Nav Nalanda Mahavihara which received wide response and hundreds of Cambodian and foreign visitors crowded the exhibition hall to see the artifacts and digitised prints exploring and illustrating the life and teachings of the Buddha and Buddhist heritage sites in India. The exhibition remained open to the public from 7.00 AM to 7.00 PM.

Overall the Festival of India was a tremendous success, attracting a large number of Cambodian audiences.The month long festival provided the opportunity to showcase our rich cultural heritage to Cambodian people with whom we share a strong cultural bond.

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sßanTUtshakaCamYyRksYgvb,Fm’énraCrdæaPi)alRbeTs\NÐa)anrYmKñaerobcMBiFIbuNüénRbeTs\NÐaenAkñúgTIRkúgbIén RbeTskm<úCaEdlmandUcCaRkúgPñMeBj esomrab nig)at;dMbgkñúgkMLúgeBlExmkraExkumÖ³qñaM2017. BiFIbuNüenHk¾erobcMkñúg eKalbMNgrMlwkBIxYbGnusSavrIy_TI25énPaBCaédKUsnÞnaGas‘an\NÐaqñaM2017 k¾dUcCaxYbGnusSavrIy_TI65 énkarbegáItTMnak;TMng karTUtrvagRbeTs\NÐanigkm<úCa. raCrdæaPi)alkm<úCaBRgIkkarKaMRTtamry³RksYgvb,Fm_nigviciRtsil,³ nigRksYgeTscrN_. BiFIbuNüenHrYmman³ (i) karsEmþgr)aMburaNerOgramekrþ×, (ii) r)aMburaN\NÐa Kathak, (iii) r)aMRbCaRbiy Manganiar nig Kalbelia mkBIrdæ Rajasthan, (iv) BiFIbuNüRBHBuT§sasna nig (v) mehaRsBGahar karcab;ebIkBiFIenHnigkarsEmþgr)aMburaNerOgramekrþ× (R)arB§enAéf¶TI10 dl; 16 Exmkra qñaM2017)³ karcab;ebIkBiFIbuNüénRb eTs\NÐa)aneFVIeLIgenAéf¶TI10 Exmkra qñaM2017 kñúgRkúgPñMeBjCamYynwgkarsEmþgerOgramekrþ×edaymUlniFi Kalakshetra. karsEmþg enHRtÚv)anerobcMeLIgenAÉmehaRsBkMBlU énRbeTsKWsalmehaRsBctumxu . elakCMTavePOgsakuNa rdæm®nþRI ksYgvb,Fm’ngi vicRi t sil,³Ék]tþm exov kBaØariT§ rdæm®nþIRksYgBt’manRBHGgÁm©as; neratþmesrIvuDÆ ]tþmRkúmRbwkSapÞal;RBHmhakSRt nigÉkGKÁrdæTUt sem<aFBiFIenHedayGuCcegáógRbéBNI. karsEmþgEdleBareBjedaypáaePøIgRtÚv)anRtÚv)ansVaKmn_edayTsSnikCnkm<úCaGñkkarTUt nigePJóvCatinigGnþrCatiepSgeTot Edl)anbMeBjsalctumuxeBjcMNuHEtmþg. CarYmGñkcUlrYmCag ^00 nak;)anrIkraynwgTsSnIy PaBr)aMelçand¾Gs©arü. kñúgkMLúgeBlbIéf¶énkar sEmþgd¾GFikGFm (éf¶TI!0 !! !@ Exmkra) kñúgRkugPñMeBj. Rkumr)aM Kalakshetra )anTTYl)ankareqøIytby:agelIslb; ehIykarbgðajnimYy²)anTak;TajGñkTsSnaBI %00 eTA ^00 nak;. erOg r:am:ay:aN³RtUv )aneKeRCIserIsCakarsEmþgebIkkmµviFIedayehtufa vaCaerOgl,Il,ajenARbeTskm<úCaEdleKsÁal;faCaerOgramekrþi_. rdæmRnþIvb,Fm_énRbeTs km<úCa elakCMTav ePOg sakuNa k¾)ancUlrYmCamYyGñksþab;mþgeTotenAéf¶TI!@ Exmkra edIm,ImkTsSnaerOgramekrþi_. enAkñúgsnÞrkfa ebIkkmµviFI ÉkGKÁrdæTUT)ansVaKmn_ePJovkitþiys ehIy)anniyayfaRBwtþikarN_BiFIbuNüRbeTs\NÐamaneKalbMNgBRgwgTMnak;TMng vb,Fm_rvagRbeTsTaMgBIr ehIyCaBiesscMeBlEdlRbeTs\NÐakMBugrMlwkxYb@%qñaMénTMnak;TMngxøÜnCamYyGas‘an. Kat;)anbEnßm eTotfa RbeTsTaMgBIrEckrMElkvb,Fm_EdlmanGayukalyUrmkehIynigTMnak;TMngGarüFm_ nigerOgr:am:ay:aN³EdleKehAfaerOg ramekrþi_kñúgRbeTskm<úCa Edl)anqøúHbgðajBIcMNgvb,Fm_d¾sIuCeRmArvagRbeTseyIgTaMgBIr. 29 IDApril 2017_ata.indd 29

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erOgramekrþ× bnaÞb;mkeToterOgvIrkfaburaNRtÚv)ansEmþg enA éf¶TI14 dl;éf¶TI15 Exmkra qñaM2017 CaelIkTImYyenAÉR)asaT)ay½nCaRbvtþisa®sþ enAkñúgenAtMbn;]TüanburaNGgÁrenAextþ esomrab. RBwtþikarN_enHRtÚvsßiteRkam GFibtIelakbNÐit efag xun rdæm®nþIRksYg eTscrN_ nigeRkamÉkGKÁrdæTUt. kargðaj TsSnIyPaBd¾Gs©arüCamYynwgfµd¾l,Il,aj én R)asaT)ay½nCaépÞxageRkay KWCaeCaK C½yy:agFMmYy CamYy nwgGñkTsSnaCag 1000nak; rYmmanm®nþIRbCaCnkm<úCakñúgtMbn; sisS ePJóveTscrCati nigGnþrCati)ancUl

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r)aM Rajasthani Manganiar Rajasthani Manganiarr)aM Kalbelia nigr)aM Bhavai (éf¶TI24 dl; éf¶TI26 Ex mkra qñaM2017)³ bnÞab;BIsEmþgerOgramekrþ_ t®nþI Rajasthani Manganiarr)aM Kalbelia nigr)aM Bhavai )aneFVIeGayTsSnik

CnkñúgRkúgPñMeBjrMePIby:agxøaMgedaykarsEmþg d¾cRmúHBN’rbs;BYkeKenAsalmehaRsB ctumuxenAéf¶TI 24 Exmkra. elak exov kajariT§ rdæmRnþIRksYgB½tman nigKN³RbtiPU rbs;elak)anrIkraytRnþIrdæ Rajasthani Manganiar nigcgVak;raMr)aM Kalbelia nigr)aM Bhavai d¾Gs©arüCamYynwgcMnYnyuv Cnd¾eRcIn shKmn_CnCati\NÐa nigePJóvCati GnþrCati. dUcCakarsEmþgerOgeromekrþ_Edr karsEmþgenHk¾CaRBwtþikarN_EdlEckGs; sMbuRtpgEdredaysaleBareBjedayGñk cUlrYm. eRkaymkeTotRkúmenH)ansEmþgenA ÉBiFITTYlEdlerobcMedaysßanTUtedIm,IGb GrTivasaFarNrdæTI 68 enAéf¶TI25 Exmkra. ebskkmµenHmþgeTotRtÚv)anerobcMkarsEmþg r)aMRbCaRbiy Rajasthani enAkñúgextþ)at;dMbg enAéf¶TI 26 ExmkraenAsalkviTüal½y)at;dMbg.

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r)aMburaN Kathak r)aMburaN Kathak raMedayRkúm NADAM (éf¶TI26dl;éf¶TI27 Exmkra qñaM2017)³ CaEpñkvb,Fm’mYyd¾sMxan;énBiFIbuNüén RbeTs\NÐa KWkarsEmþgr)aMburaN Kathak d¾cRmúHBN’EdlsEmþgedayRkúm NADAM. Rkúmr)aM Kathak l,IeQµaH mkBITIRkúg Bangalore cab;citþTsSnikCnenAÉviTüa sßanbec©kviTüakm<úCa (ITC) y:agxøaMg)an tamry³karsEmþgy:agGs©arürbs;BYkeK enAéf¶TivasaFarNrdæTI68 énRbeTsNÐa. elakbNÐit G‘um rmüNI GKÁnayk ITC

nigÉkGKÁrdæTUteFVICaGFibtIenAkñúgRBwtþi karN_vb,Fm_EdlmankarcUlrYmBInisSitCag 800nak;smaCikmhaviTüal½ybuKÁlik ITC nigshKmn_CnCati\NÐaEdlrIkraynwgkar bgVild¾sb,ayrIkraykarsEmþgedayeCIg d¾Gs©arü nigkarbgðajrbs;sil, ³ krd¾Tak; citþ. smasPaKvb,Fm_énBiFIbuNüénRbeTs \NÐa)anbBa©b;edaycRmúHBN’CamYynwgr)aM buraN Kathakd¾KYr[cab;GarmµN_raMeday Rkúm NADAM enAsalctumuxenAéf¶TI 27 Exmkra. elakRsIePOg sakuNa

rdæmRnþIRksYgvb,Fm_nigviciRtsil,³ nigRBH GgÁm©as; neratþmesrIvuDÆ EdlmanRbmux ePJóv)anrIkrayraMCamYymRnþICan;x<s; GgÁTUt sisSCaeRcInshKmn_CnCati\NÐa ePJóvCati nwgGnþrCati.

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mehaRsBGahar\NÐa mehaRsBGahar\NÐa (éf¶TI14 dl; éf¶ TI25 Exmkra qñaM2017)³ mehaRsBGahar \NÐaRtÚv)anerobcMenAkñúgextþesomrabpg Edrcab;BIéf¶TI14 dl; 16 Exmkra enAÉ sNæaKar Le Meridien nigenARkúgPñMeBj cab;BIéf¶TI18 dl; éf¶TI25 ExmkraenA sNæaKar Inter Continental. kñúgGMLúg eBlBiFIbuNüGaharcugePA\NÐaEdlman bTBiesaFn_)anbgðajmðÚbxus²KñaBIRbeTs \NÐaehIyGñkRsLaj;mðÚbGaharTaMgBIr RkúgenHrIkraynwgmðÚbGahar\NÐad¾q¶aj;.

BiFIbuNüGaharenHRtÚv)aneKsem<aFenAkñúg extþesomrab enAéf¶TI14 Exmkra Pøam² eRkaykarsEmþgerOgramekrþN_edayrdæ m®nþIRksYgeTscrN_énRbeTskm<úCa. ePJóv RtÚv)aneRCIserIsmkkan;mehaRsGaharenH enAéf¶TI14 Exmkra nigéf¶TI18 Exmkra kñúgextþ esomrab nigRkúgPñMeBjerog²xøÜn.

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BiFIbuNüRBHBuT§sasna (éf¶TI6 dl; éf¶TI10 ExkumÖ³ qñaM2017)³ CacugeRkay, BiFIbuNüRBHBuT§sasnaRtÚv)anerobcMenAkñúgRbvtþi saRsþvtþ]NÑaelamkñúgraCFanIPñMeBjcab;BIéf¶TI6 dl;éf¶TI10 ExkumÖ³ qñaM2017 edayrkSaTidæPaBkarBitmYyEdlfaRBHBuT§sasna tMNag[TMnak;TMngd¾xøaMgrvagRbeTsTaMgBIr. BiFIebIksem<aFenHRtÚv)anR)arB§eLIgenAl¶acénéf¶TI6 ExkumÖ³. Ék]tþm Shri Ram Nath Kovind, Hon’ble GPi)alkitþiysénrdæ Bihar (RbFanénsgÁ Nav Nalanda Mahavihara, Nalanda) )andwk naMKN³RbtiPUmkkan;RbeTskm<úCa nig)ansem<aFBiFIbuNüRBHBuT§sasnarYmKñaCamYyÉk]tþm huwm Eqm rdæm®nþIRksYgFmµkar nigsasna elakRsI ePOg sakuNa rdæmRnþI RksYgvb,Fm_nigviciRt sil,³.

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BiFIebIksem<aFenHRtÚv)anRbTanBredayvtþmanrbs; semþc eTB vgS mhakMBUlGyüekarbs;RbeTskm<úCa nigsemþcsgÇ bYr RKI semþc RBHmhasgÇraCKN³Fmµyutþknikay énRbeTskm<úCaCamYynwgRbtiPUsgÇrbs;BYkKat;. vaKWCa»kasEtmYyKt;edaymanvtþman rbs;emdwknaMénnikaycMbgTaMgBIrenAkñúgRbeTskm<úCa. BiFIebIsem<aFenHk¾RtÚv)ancUlrYmedaym®nþIrdæaPi)alpgEdr smaCikénGgÁTUt shKmn_CnCati\NÐa saFarNCnTUeTA nigePJóveTscr. BiFIbuNüBuT§sasna rYmbBa©ÚlkartaMgBiB½rN_mYy “Dharma Darshan” erobcMdwknaMeday Nav Nalanda Mahavihara EdlTTYl)ankareqøIytbTUlMTUlayBIRbCaCnkm<úCanig GñkTsSnabreTsrab;rynak;mkpþúMKñaenAsaledIm,ImkemIlvtßúburaN nigkare)aHBum<DICIfledIm,IEsVgyl; nigbgðajnUvCIvitnigkar beRgónrbs;RBHBuT§ nigebtikPNÐRBHBuT§sasnaenAkñúgRbeTs\NÐa. kartaMgBiB½rN_enHebIkcMhrCasaFarN³BI7RBwkdl;7l¶ac. CarYm BiFIbuNüénRbeTs\NÐaTTYl)aneCaKC½yy:agxøaMgedayRBwtþikarNnimYy² Tak;TajTsSnikCnkm<úCay:ageRcIn. vaKWCa»kas EtmYyKt;edaymanvtþmanrbs;emdwknaMénnikaycMbgTaMgBIrenAkñúgRbeTskm<úCa.

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Wat Ounalum Phnom Penh 06 February 2017: Inaugural Ceremony (Right to Left); Ambassador Naveen Srivastava, Shri Ram Nath Kovind, Honâ&#x20AC;&#x2122;ble Governor of Bihar, H.E.Mr. Him Chhem, Minister of Culture and Religion, H.E.Ms. Phoeurng Sackona, Minister of Culture and Fine Arts and Mr Hem Kham, Member of Parliament

Opening Ceremony 10 January 2017 at Chaktomouk Theatre Phnom Penh: Lighting of Traditional Lemp - (Left to Right) H.E.Ms. Phoeurng Sackona, Minister of Culture and fine Arts, His Royal Highness Prince Norodom Sirivodh, Supreme Privy counselor to His Majesty the King, H.E.Mr. Khieu Kanharith, Minister of Information, Ambassador Naveen Srivastava.

A section of the audience enjoying the Ramayana at Chaktomouk theatre.

Indian Classical dance at the Cambodian Technical University, Phnom Penh.

Hotel InterContinental Phnom Penh 25 January 2017: H.E. Prak Sokhonn, senior Minister and Minister of Foeign Affairs(Right) appreciating Rajasthani Kalbelia dance performance during National Day Event.

H.E. Buth Kimsean, Deputy Governer of Battambong presenting a moments to Smt. Priyadarsini Govind Director of Kalakshetra Foundation

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SAINT NARADA BRINGS A MESSAGE. One day king Yudhishthira was holding his court and his brothers were sitting on their respective seats. Just then, Saint Narada happened to reach there. Seeing him, the Pandavas rushed to receive him. They touched the saint’s feet and entertained him in every way. The saint, In return, conferred a heap of blessings on the Pandavas and enquired various facts about the new-established kingdom and its various departments. Then the saint said, “0 King Yudhishthira, I met your revered father Pandu in heaven. He has sent a message to you. This message is indeed his last unfulfilled wish. He wants you to perform the Imperial Yajna (Rajsooya Yajna). But you have to be quite alert while performing it as your enemies will try their best to create hurdles in your way.” Saying so, the saint took leave of the Pandavas and went away. KRISHNA REACHES INDRAPRASTHA. Hearing what Saint Narada had said, King Yudhishthira was overwhelmed with a craving to perform the Imperial Yajna. He consulted all his courtiers who supported his desire. So, articles necessary for the yajna began to be collected. It was decided that the king should hold his first assembly in the new hall after performing the yajna only. The news of the yajna to be performed spread far and wide. When Shri Krishna heard about it, he came to Indraprastha. Seeing Saint Dhaumya, Saint Vyasa, King Drupada and King Virata already there, he felt very happy. King Yudhishthira said to Krishna, “Keshava ! I have been overtaken by a desire to perform the Imperial Yajna. Everyone is supporting this desire of mine. But your opinion has always proved valuable in every respect. So, I want to know your reaction.” Krishna thought over the matter with a cool mind and said, “0 Great King ! you must perform the Imperial Yajna. But one thing must be done before it is performed.”

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“What is that, Keshava ” asked the king. Krishna replied, “You must be knowing that Jarasandha, king of Magadha, has conquered and imprisoned a large number of rulers. He has meditated hard and Lord Shiva has conferred certain boons on him. He is still making conquests with a view to taking the number of imprisoned kings to one hundred and one. Then he will sacrifice them to Lord Rudra (Destructive Form of Lord Shiva). Besides, he is dead against me because I killed his son-in-law, King Kansa of Mathura, who was my maternal Uncle also. It is heard that prince Shishupala of Chedi (Bundelkhand) and two famous warriors, Hansa and Dimbhaka, are his three generals. Not only this, King Bhagadatta, the mighty ruler of Parag Jyotish, has knelt down before him and Jarasandha has declared himself an emperor (Samrata). As I am related to you, he will surely create trouble for you during the performance of your yajna because it will be a challenge to his name and power.” “What should be done then, Keshava​” asked Yudhishthira. “Nothing but Jarasandha’s elimination,” replied Krishna. “How can we do that ” asked Yudhishthira pensively . “Leave it to me, 0 King. Only send Bhima and Arjuna with me. I’ll have Jarasandha killed by Bhima. And his elimination will establish your might. As a result, no other king will take courage to raise his head against you,” explained Krishna.


Yudhishthira felt highly worried for his brothers, though he believed that Krishna was their true well-wisher and he must not entertain any fear for his brothers if Krishna was with them. So, he said to him, “What shall I do without you and my two brothers Whereas you are our best guide, my brothers are my two eyes. I have serious misgivings from Jarasandha.” Krishna consoled Yudhishthira, saying, “Don’t worry at all, brother. What is to be, must be. Nobody can do anything against destiny. Believe me, Jarasandha’s end is quite imminent as his sins have crossed all limits. Listen to my plan carefully. We shall go to Jarasandha as Brahmanas to gain access to him without any difficulty. Coming face to face with him, Bhima will challenge him for a duel and he’ll surely accept it. It will give your brother a chance to tear the two parts of his body asunder and kill him.”


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SECRET OF JARASANDHA’S BIRTH Yudhishthira asked Krishna, “Kesheva ! tell me the secret of the two parts of Jarasandha’s body.” Krishna said, “Jarasandha’s father King Brihadratha ruled over Magadha. He was a brave warrior and religious-minded ruler. He had married twin princesses of Kashi. Both the queens were extremely charming and the king was highly delighted to have them as his wives.” “But unfortunately, King Brihadratha could not get any child from any of his queens. He grew old and thought of turning an ascetic. Just then, Saint Chandrakaushika happened to come to Magadha. He sat under a mango tree in order to take rest for some time. Someone informed the king of it. So, the king, along with his queens, went to the saint and touched his feet. Then he told the saint that he wanted a heir to his throne.” The saint closed his eyes and thought for a while. Just then a mango fell from the tree. The saint picked it up and gave it to the king for his queens. Reaching the palace, the king gave the mango to the queens. Only one of them should have eaten it. But they divided it into two parts and either of them ate one of the parts. In due course of time, either of the queens bore a half-baby. Seeing this, the queens got afraid. So, they asked one of their maids to throw the half-babies out of the town at a lonely place. This was done but just then a demoness, named Jara, happened to see them. She picked up both the half-babies for her food. To carry them easily and safely, she placed them together and wrapped them in a cloth. Lo ! the parts got joined into a full baby who gave out a fearful cry. The demoness got afraid and the news spread throughout the town. So, she went to the king’s court to tell what had happened. The queens were also there in the court. They told the king what had happened and the king was very pleased to have his son back. The boy was named Jarasandha after the name of the demoness who had joined the two half-babies. Just then, Saint Chandrakaushika reached the court. He told the king that his son (Jarasandha) would be handsome, religious and a man of exceptional prowess. He would checkmate a large number of kings. But his enmity with one king would bring about his ruin and he would die after being torn apart from the middle into two parts-just as he had been born. 39 IDApril 2017_ata.indd 39

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Saint NARAD )annaMsarmYymk éf¶mYymhakSRt Yudhishthira k MBugr:ayr:ab;ehIyb¥ÚnRbúsrbs;Kat;kMBugGgÁúyenAekAGIragxøÜn. eBlenaH Saint Narada )anQaneTAdl;TeI naH. edayeXIjRTg;BkY Pandavask¾Rbjuab;eTATTYlRTg;. BYkKat;)anBal;eCIgrbs;RBHehIyk¾kdM rRTg;ksM anþ RKb;Ebby:ag. CakarRtLb;mkvij Saint)anpþl;CaBry:ageRcIneGayBYk Pandavas ehIy)ansYrBIerOgr:avnanaénGaNacRk Edl)aneTIbbegáItfµI nigmnÞIrnanarbs;xøÜn. bnÞab;mkBYk Saint )anniyayfa “GU mhakSRt Yudhishthira ´)anCYbelak«Buk Pandu CaTIeKarBrbs;RTg;enAkñúgsßanbrmsux. Kat;)anepJIsarmYymkRTg;. tamBitsarenHKWCabMNgR)afñacugeRkayEdlminTan; )anbMeBjrbs;Kat;. Kat;cg; eGayRTg;eFVICa GFiraC Yajna (Rajsooya Yajna). b:uEnþRTg;RtÚvEtmankarRbúgRby½tñx<s;eRBaH sRtÚvrbs;RTg;ngw BüayamGs;BsI mtßPaBedIm,IbegátI ]bsKÁtampøvÚ rbs;RTg;. niyaydUecñH Saint )ancakecjBIBkY Pandavas ehIycakecjeTAq¶ay. Krishna QaneTAdl; Indraprastha eday)anlWGIEV dl SaintNarada)anniyayRBHhakSRt Yudhishthira )anrMCYlcitþCamYynwgGnaKtGFiraC Yajna. elak)anBieRKaHeyabl;CamYyGñkbeRmIraCdMNak;TaMgGs;Edl KaMRTbMNgrbs;Kat;. dUecñHGtßbTcaM)ac;sRmab; Yajna RtÚv)aneKcab;epþImRbmUl. eK)anseRmccitþfamhakSRtKYrEtbegáItkar CYbRbCuMelIkdMbUgrbs;RTg;enAkñúgsalfµIbnÞab;BIkan;dMENg Yajna Etb:ueNÑaH. dMNwgénkarkan;dMENg Yajna enHnwgRtÚv)andwg lWTUlMTMlay. enAeBlEdl Shri Krishna )anlWBIerOgenHKat;)anmkRkúg Indraprastha. edayemIleXIj Saint Dhaumya Saint Vyasa RBHmhakSRt Drupada nigRBHmhakSRt Drupada enATIenaHRsab; Kat;manGarmµN_ rIkrayy:agxøaMg. RBHmhakSRt Yudhishthira )anniyayeTAkan; Krishna fa "Keshava! ´RtÚv)ancMNg;eFVICaGFiraC Yajna RKb;dMNþb;eBjxøÜneTAehIy. ehIyRKb;Kñak¾)anKaMRT bMNgrbs;´mYyenH. b:uEnþmtirbs;GñkEtgEtmantémø RKb;kal³eTs³


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dUecñH´cg;dwgBIRbtikmµrbs;Gñk. ”Krishna)anKitBIbBaðaenHCamYynwgcitþRtCak;ehIy)anniyayfa “GU RBHmhakSRtd¾Gs©arü! RTg;RtÚvEteFVICaGFiraC Yajna b:uEnþman erOgmYyEdlRtÚvEteFVImuneBlRKgraC. RBHmhas®kþ)ansYrfa “KWGVIeTA Keshava?” Krishna )antbfa³ «RTg;)andwgrYcehIyfa Jarasandha EdlCakSRtén Magadha eday)ankan;kab; nigcab;em dwknaMmYycMnYnFMdak;Bn§naKar. Kat;)ansmaFixøaMgehIyRBHesv³)anpþl;BrC½ymkKat;. Kat;enAEtc,aMgdeNþImykbl½gÁehIybnþcab; emdwknaMeGaydl;101nak;. bnÞab;mkKat;nwgbUCaeTAkan;RBH Rudra (TRmg;énkarbMpøicbMpøajrbs;RBHesv³). eRkABIenHKat;Rb qaMg nwg´xøagM Nas;BeI RBaH´)ansmøab;knU Rbsarrbs;Kat;CaRBHmhakSRt KansaénRkúg MathuraEdlCaelakBUrbs;´pgEdr. maneKfaRBHraCbuRt Shishupala én Chedi (Bundelkhand) nigGñkcm,aMgl,IBIrrUb Hansa nig Dimbhaka KWCa]tþmesnIyT_ aMgbIrbs;Kat;. minRtwmEtb:eu NÑHRBHGm©as; Bhagadatta EdlCaGñkRKb;RKgxøagM BUEkrbs; Parag Jyotish )anlutCgÁg;cuHenAmuxKat;ehIy)anRbkasfaxøÜnÉgCaGFiraC (samrata). ´)anniyayBak;B½nÞnwgRTg;edayehtufaKat;R)akdCa begáItbBaðadl;RTg;kMLúgeBlRTg;eFVICaGFiraC Yajna BIeRBaHvaCabBaðaRbQmsRmab;eQµaH nigGMNacrbs;Kat;. " Yudhish thira sYrfa “etIKYreFVIGVIeTAGiBa©wg Keshava? ”Krishna )aneqøIyfa “KµanGVIeRkABIbMpøaj Jarasandha ecalenaHeT”. Yudhishthira )ansYrfa«etIeyIgGaceFVIva)anedayrebobNa?" Krishna )anbnþBnül;fa«TukeGay´cat;karNaRTg;eday RKan;Etcat;eGay Bhima nig ArjunamkCamYy´. ´nwgeGay Bhima smøab; Jarasandha nigbM)at;vaecalehIybegáIt kmøagM dl;RTg;. CalT§plKµanesþcNamYyh‘anegIbk,alRbqaMgnwgRTg;eLIy. YudhishthiramanGarmµNR_ BÜy)armÖBbI gb¥nÚ Rbús rbs;Kat;ya: gxøagM ebIeTaHbICaKat;)aneCOfa Krishna KWCasb,úrsCnBitrbs;BkY eKehIyKat;mni KYrmanPaBP½yxøacGVeI naHeTRbsinebI Krishna enACamYyBYkKat;. ehtudUecñHKat;)an niyayeTAkan;Kat;fa“etI´KYreFVIGVIebIKµanGñk nigb¥ÚnRbús´TaMgBIr? eBlEdlGñkCa mKÁeTsk_d¾l¥b¥ÚnRbús´BIrnak;CaEPñkTaMgBIrrbs;´. ´manPaBegOgq¶l;xøaMgBI Jarasanha. ”Krishna )anlYgelamYudhishthira fa: «kuM)armÖeGayesaHbgRbús. GVIEdlRtÚvEt)annwgekIteLIg. KµannNamñak;GaceFVIGVIRbqaMgnwgeCaKvasna)aneT. eCO´ cuHCivitcugeRkayrbs; Jarasandha KWCak;c,as;CakarBiteRBaHGMeBI)abrbs;Kat;)anekInhYsEdnkMNt;ehIy. sUmsþab;KeRmag rbs;´edayRbúgRby½tñ. eyIgnwgcUleTA Jarasandha kñúgnamCaRBahµN_rbs;Kat;edayKµanPaBlM)akGVIenaHeT. eBl QrTl;nwgmuxKat ; Bhima nwgehAKat;RbkYtRbECg ehIyKat;R)akdCaTTYlva. vanwgpþl;»kasedIm,IEjkxøÜnrbs;Kat;Edlman BIrEpñkeGayXøatBIKñaehIysmøab;Kat;.» 41 IDApril 2017_ata.indd 41

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Gaf’kM)aMgénkMeNItrbs; JARASANDHA Yudhishthira )ansYr Krishna fa "Kesheva! sUmR)ab;´BIkarsm¶at;énEpñkTaMgBIrénragkayrbs; Jarasandha mk». Krishna )anniyayfa "«Bukrbs; Jarasandha mhakSRt Brihadratha RKb;RKgelI Magadha. Kat;KWCaGñkcm,aMg d¾køahannigCaemdwknaMEbbsasna. Kat;)anerobkarCamYyRBHnagePøaHénRkúg Kashi. mhakSRtITaMgBIrmanPaBrYsray ehIy mhakSRtBitCarIkrayy:agxøaMgEdl)anBYkKat;CaRbBn§”. «b:uEnþCaGkuslRBHmhakSRt Brihadratha minTTYlmanbuRt)anCa mYymhakSRtINamYy)aneLIy. Kat;k¾cas;eLIgehIy)anKitfanwgkøayxøÜnCatabs. eRkaymk Saint Chandrakaushika k¾)anmkdl;Magadha. Kat;)anGgÁyú eRkamedImsVaymYyedImedIm,IsRmakry³eBlxø.I manmnusSmñak;R)ab;mhakSRtBIerOgenH. ehtudUecñHRBHmhakSRtCamYymhakSRtI)anedIreTAkan; Saint ehIyBal;eCIgrbs; Saint. bnÞab;mkRTg;)anR)ab; Saint faKat; cg;)anGñksñgbl½gÁrbs;Kat; ». Saint )anbiTEPñkrbs;Kat;ehIy)anKitmYysn§úH. eRkaymksVayk¾)anFøak;BIedImmk. Saint enaH)anerIsvamkehIyhuceGaymhakSRtnigmhakSRtI. eBlQanmkdl;RBHraCvaMgvijRBHmhakSRt)aneGaysVayenaH eTAmhakSRtI. ehIymanEtmhakSRtImñak;eTEdlKYrEtjúaMsVayenH. b:uEnþBYkeK)anEbgEckCaBIrEpñkehIyBYkeKbriePaKmYycMNit mñak;. eRkaymkry³eBlb:unµanExmhakSRtI)anBreBaHkUnBak;kNþalmñak;. edayeXIjEbbenHmhakSRtI)anP½yxøacdUecñHKat;k¾)an ehAeGaybrivaykekµg²Bak;kNþalenaHeTAe)aHecalenAkEnøgs¶at;. GarkSeQµaHfa Jara k¾)aneXIjekµg²enaH. nag)anerIsyk ekµg²Bak;kNþalenaHeFVICaGaharrbs;nag. edIm,IgayRsÜlykeTAnag)andak;ekµg²enaHCamYyKñaeGaycgvanwgRkNat;. RBHCa m©as;EpñkTaMgBIrrbs;ekµgenaH)anrYmbBa©ÚlKñabegáIt)anCaekµgeBjeljEdlyMTaMgP½yxøac. GarkSenaHk¾)anP½yxøacfaBt’manenHlW dl;RkúgehtudeU cñHnagk¾)aneTATIlanrbs;esþcedIm,IR)ab;BGI EIV dl)anekIteLIg. RBHmhakSRtIkm¾ anvtþmanenATIenaHpgEdr. BYkeK)an R)ab;mhakSRtBIerOgenHehIymhakSRtrIkrayy:agxøagM Edl)ankUnRbúsrbs;Kat;mkvij. ekµgenaHRtÚv)aneKdak;eQµaHfa JarasandI an. Kat;)an habnÞab;BeI QµaHrbs;GarkSEdl)anpÁeMú kµgTaMgBIrenaH. eRkaymkeTot Saint Chandrakaushika )aneTAdl;Tl R)ab;mhakSRtfakUnRbúsRTg; (Jarasandha) nwgmanrUbragsgðarsasnaniym nigCabursmñak;EdlmansmtßPaBBiess. RTg; nwgRbECgCamYyesþcCaeRcIn. b:Eu nþsRtÚvKat;EdlCaesþcmYyGgÁ nwgnaMmknUvmhnþraydl;Kat;ehIyKat;ngw søab;bnÞab;BRI tÚv)aneKEhk EjkCaEpñkecjBIEpñkkNþaldUckalEdlKat;eTIbnwgekItPøam²pgEdr.

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India Digest Vol 35  

India Digest Vol 35

India Digest Vol 35  

India Digest Vol 35