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Hindi Dubbed Sing 2016
Hindi Dubbed Sing 2016
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Fatehpur Sikri (Hindi: फ़तेहपुर सीकरी, Urdu: فتحپور سیکری) is a city and a municipal board in Agra district in the state of Uttar Pradesh, India. The city was founded in 1569 by the Mughal emperor Akbar, and served as the capital of the Mughal Empire from 1571 to 1585. After his military victories over Chittor and Ranthambore, Akbar decided to shift his capital from Agra to a new location 37 km WSW on the Sikri ridge, to honor the Sufi saint Salim Chishti. Here he commenced the construction of a planned walled city which took the next fifteen years in planning and construction of a series of royal palaces, harem, courts, a mosque, private quarters and other utility buildings. He named the city, Fatehabad, with Fateh, a word of Arabic origin in Persian, meaning "victorious." it was later called Fatehpur Sikri. It is at Fatehpur Sikri that the legends of Akbar and his famed courtiers, the nine jewels or Navaratnas, were born. Fatehpur Sikri is one of the best preserved collections of Indian Mughal architecture in India.
According to contemporary historians, Akbar took a great interest in the building of Fatehpur Sikri and probably also dictated its architectural style. Seeking to revive the splendours of Persian court ceremonial made famous by his ancestor Timur, Akbar planned the complex on Persian principles. But the influences of his adopted land came through in the typically Indian embellishments. The easy availability of sandstone in the neighbouring areas of Fatehpur Sikri, also meant that all the buildings here were made of the red stone. The imperial Palace complex consists of a number of independent pavilions arranged in formal geometry on a piece of level ground, a pattern derived from Arab and central Asian tent encampments. In its entirety, the monuments at Fatehpur Sikri thus reflect the genius of Akbar in assimilating diverse regional architectural influences within a holistic style that was uniquely his own.
The Imperial complex was abandoned in 1585, shortly after its completion, due to paucity of water and its proximity with the Rajputana areas in the North-West, which were increasingly in turmoil. Thus the capital was shifted to Lahore so that Akbar could have a base in the less stable part of the empire, before moving back to Agra in 1598, where he had begun his reign as he shifted his focus to Deccan. In fact, he never returned to the city except for a brief period in 1601. In later Mughal history it was occupied for a short while by Mughal emperor, Muhammad Shah (r. 1719 -1748), and his regent, Sayyid Hussain Ali Khan Barha, one of the Syed Brothers, was murdered here in 1720. Today much of the imperial complex which spread over nearly two mile long and one mile wide area is largely intact and resembles a ghost town. It is still surrounded by a five mile long wall built during its original construction, on three sides. However apart from the imperial buildings complex few other buildings stand in the area, which is mostly barren, except of ruins of the bazaars of the old city near the Naubat Khana, the 'drum-house' entrance at Agra Road. The modern town lies at the western end of the complex, which was a municipality from 1865 to 1904, and later made a "notified area", and in 1901 had a population of 7,147. For a long time it was still known for its masons and stone carvers, though in Akbar time it was known and 'fabrics of hair' and 'silk-spinning'. The village of Sikri still exists nearby.
ARCHITECTURE OF FATEHPUR SIKRI
Fatehpur Sikri sits on rocky ridge, 3 kilometres in length and 1 km wide, and palace city is surrounded by a 6 km wall on three side with the fourth being a lake at the time. Its architect was Tuhir Das and Dhruv Chawla and was constructed using Indian principles. The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen were used for the construction of the buildings. Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements. The building material used in all the buildings at Fatehpur Sikri, palace-city complex, is the locally quarried red sandstone, known as 'Sikri sandstone'. It is accessed through gates along the five-mile long fort wall, namely, Delhi Gate, the Lal Gate, the Agra Gate, Birbal's Gate, Chandanpal Gate, The Gwalior Gate, the Tehra Gate, the Chor Gate and the Ajmere Gate.
Some of the important buildings in this city, both religious and secular are:
IMPORTANT BUILDINGS
Buland Darwaza: Set into the south wall of congregational mosque, the Jama Masjid at Fatehpur Sikri, this stupendous piece of architecture is 55 metre high, from the outside, gradually making a transition to a human scale in the inside. The gate was added some five years later after the completion of the mosque ca. 1576-1577 as an 'victory arch', to commemorate the Akbar's successful Gujarat campaign. It carries two inscriptions in the archway, one of which reads: "Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it. He who hopes for an hour may hope for eternity. The world endures but an hour. Spend it in prayer, for the rest is unseen".
The central portico comprises three arched entrances, with the largest one, in the centre, is known locally as the Horseshoe Gate, after the custom of nailing horseshoes to its large wooden doors for luck. Outside the giant steps of the Buland Darwaza to left is deep well.
Jama Masjid: It is a Jama Mosque meaning the congregational mosque, and was perhaps one of the first buildings to come up in the complex, as its epigraph gives AH 979 (AD 1571-72) as the date of its completion, with a massive entrance to the courtyard, the Buland-Darwaza added some five years later. It was built in the manner of Indian mosques, with iwans around a central courtyard. A distinguishing feature is the row of chhatri over the sanctuary. There are three mihrabs in each of the seven bays, while the large central mihrab is covered by a dome, it is decorated with white marble inlay, in geometric patterns.
Tomb of Salim Chishti: A white marble encased tomb of the Sufi saint, Salim Chisti (1478–1572), within the Jama Masjid's sahn, courtyard. The single-storey structure is built around a central square chamber, within which is the grave of the saint, under an ornate wooden canopy encrusted with mother-of-pearl mosaic. Surrounding it is a covered passageway for circumambulation, with carved Jalis, stone pierced screens all around with intricate geometric design, and an entrance to the south. The tomb is influenced by earlier mausolea of the early 15th century Gujarat Sultanate period. Other striking features of the tomb are white marble serpentine brackets, which support sloping eaves around the parapet.
On the left of the tomb, to the east, stands a red sandstone tomb of Islam Khan I, son of Shaikh Badruddin Chisti and grandson of Shaikh Salim Chishti, who became a general in the Mughal army in the reign of Jahangir. The tomb is topped by a dome and thirty-six small domed chattris, and contains a number of graves, some unnamed, all male descendants of Shaikh Salim Chisti.
Diwan-i-Aam : Diwan-i-Am or Hall of Public Audience, is a building typology found in many cities where the ruler meets the general public. In this case, it is a pavilion-like multi-bayed rectangular structure fronting a large open space. South west of the Diwan-i-Am and next to the Turkic Sultana's House stand Turkic Baths.
Diwan-i-Khas: the Diwan-i-Khas, or Hall of Private Audience, is a plain square building with four chhatris on the roof. However it is famous for its central pillar, which has a square base and an octagonal shaft, both carved with bands of geometric and floral designs, further its thirty-six serpentine brackets support a circular platform for Akbar, which is connected to each corner of the building on the first floor, by four stone walkways. It is here that Akbar had representatives of different religions discuss their faiths and gave private audience.
Ibadat Khana: (House of Worship) was a meeting house built in 1575 CE by the Mughal Emperor Akbar, where the foundations of a new Syncretistic faith, Din-e-Ilahi were laid by Akbar.
Anup Talao: A ornamental pool with a central platform and four bridges leading up to it. Some of the important buildings of the royal enclave are surround by it including, Khwabgah (House of Dreams) Akbar's residence, Panch Mahal, a five-storey palace, Diwan-i-Khas (Hall of Private Audience), Ankh Michauli and the Astrologer's Seat, in the south-west corner of the Pachisi Court.
Hujra-i-Anup Talao: Said to be the residence of Akbar's Muslim wife, although this is disputed due to its small size.
Mariam-uz-Zamani's Palace: The building of Akbar's Rajput wives, including Mariam-uz-Zamani, shows Gujarati influence and is built around a courtyard, with special care being taken to ensure privacy.
Naubat Khana: Also known as Naqqar Khana meaning a drum house, where musician used drums to announce the arrival of the Emperor. It is situated ahead of the Hathi Pol Gate or the Elephant Gate, the south entrance to the complex, suggesting that it was the imperial entrance.
Pachisi Court: A square marked out as a large board game, the precursor to modern day Ludo game where people served as the playing pieces.
Panch Mahal: A five-storied palatial structure, with the tiers gradually diminishing in size, till the final one, which is a single large-domed chhatri. Originally pierced stone screens faced the façade, and probably sub-divided the interior as well, suggesting it was built for the ladies of the court. The floors are supported by intricately carved columns on each level, totalling to 176 columns in all.
Birbal's House: The house of Akbar's favorite minister, who was a Hindu. Notable features of the building are the horizontal sloping sunshades or chajjas and the brackets which support them.
Recent excavation done by ASI in 2000 led to unearthing of an ancient jain city very near to the fort complex.
Other buildings included Taksal (mint), 'Daftar Khana (Records Office), Karkhanas (royal workshop), Khazana (treasury), Turkic styled Baths, Darogha's Quarters, stables, Caravan sarai, Hakim's quarters etc.
DEMOGRAPHICS
Fatehpur Sikri has a population of 28,757. Males constitute 53% of the population and females 47%. Fatehpur Sikri has an average literacy rate of 46%, lower than the national average of 74%: male literacy is 57%, and female literacy is 34%. In Fatehpur Sikri, 59% of the population is under 6 years of age.
ADMINISTRATIVE ESTABLISHMENT
Fatehpur Sikri is one of the fifteen Block headquarters in the Agra district it has 52 Gram panchayats (Village Panchayat) under it.
The Fatehpur Sikri, is a constituency of the Lok Sabha, Lower house of the Indian Parliament, and further comprises five Vidhan Sabha (legislative assembly) segments:
Agra Rural
Fatehpur Sikri
Kheragarh
Fatehabad
Bah
In all there are 12 villages of Sisodia Rajputs near Fatehpur Sikri fort in Agra district. These are Daultabad, Nayavas, Satha, korai, Behrawati, Byara, Undera, Kachora, Singarpur, Vidyapur, Onera, Arrua.
TRANSPORT
Fatehpur Sikri is about 39 km. from Agra. The nearest Airport is the Agra Airport (also known as Kheria Airport), 40 km from Fatehpur Sikri. The nearest railway station is the Fatehpur Sikri Railway Station, about one km. from the city centre . It is suitably connected to Agra and neighbouring centres by road, where regular bus services of UPSRTC ply, apart from Tourist buses and taxies.
WIKIPEDIA
Hanuman Chalisa Lyrics: Here in this post we are going to share with you the Lyrics of Shree Hanuman Chalisa. So if you are searching for Hanuman Chalisa then you are in the right place.
We are going to share with you there Hanuman Chalisa Lyrics in English, Hindi, Punjabi, and Gujarati language.
Hanuman Chalisa Lyrics - Hindi | Punjabi | Gujarati | English
Hanuman Chalisa Lyrics in English
|| Doha ||
Shri Guru Charan Sarooja-raj Nija manu Mukura Sudhaari
Baranau Rahubhara Bimala Yasha Jo Dayaka Phala Chari
Budhee-Heen Thanu Jannikay Sumirow Pavana Kumara
Bala-Budhee Vidya Dehoo Mohee Harahu Kalesha Vikaara
|| Chopai ||
Jai Hanuman gyan gun sagar
Jai Kapis tihun lok ujagar
Ram doot atulit bal dhama
Anjaani-putra Pavan sut nama
Mahabir Bikram Bajrangi
Kumati nivar sumati Ke sangi
Kanchan varan viraj subesa
Kanan Kundal Kunchit Kesha
Hath Vajra Aur Dhuvaje Viraje
Kaandhe moonj janehu sajai
Sankar suvan kesri Nandan
Tej prataap maha jag vandan
Vidyavaan guni ati chatur
Ram kaj karibe ko aatur
Prabu charitra sunibe-ko rasiya
Ram Lakhan Sita man Basiya
Sukshma roop dhari Siyahi dikhava
Vikat roop dhari lank jarava
Bhima roop dhari asur sanghare
Ramachandra ke kaj sanvare
Laye Sanjivan Lakhan Jiyaye
Shri Raghuvir Harashi ur laye
Raghupati Kinhi bahut badai
Tum mam priye Bharat-hi-sam bhai
Sahas badan tumharo yash gaave
Asa-kahi Shripati kanth lagaave
Sankadhik Brahmaadi Muneesa
Narad-Sarad sahit Aheesa
Yam Kuber Digpaal Jahan te
Kavi kovid kahi sake kahan te
Tum upkar Sugreevahin keenha
Ram milaye rajpad deenha
Tumharo mantra Vibheeshan maana
Lankeshwar Bhaye Sub jag jana
Yug sahastra jojan par Bhanu
Leelyo tahi madhur phal janu
Prabhu mudrika meli mukh mahee
Jaladhi langhi gaye achraj nahee
Durgaam kaj jagath ke jete
Sugam anugraha tumhre tete
Ram dwaare tum rakhvare
Hoat na agya binu paisare
Sub sukh lahae tumhari sar na
Tum rakshak kahu ko dar naa
Aapan tej samharo aapai
Teenhon lok hank te kanpai
Bhoot pisaach Nikat nahin aavai
Mahavir jab naam sunavae
Nase rog harae sab peera
Japat nirantar Hanumant beera
Sankat se Hanuman chudavae
Man Karam Vachan dyan jo lavai
Sab par Ram tapasvee raja
Tin ke kaj sakal Tum saja
Aur manorath jo koi lavai
Sohi amit jeevan phal pavai
Charon Yug partap tumhara
Hai persidh jagat ujiyara
Sadhu Sant ke tum Rakhware
Asur nikandan Ram dulhare
Ashta-sidhi nav nidhi ke dhata
As-var deen Janki mata
Ram rasayan tumhare pasa
Sada raho Raghupati ke dasa
Tumhare bhajan Ram ko pavai
Janam-janam ke dukh bisraavai
Anth-kaal Raghuvir pur jayee
Jahan janam Hari-Bakht Kahayee
Aur Devta Chit na dharehi
Hanumanth se hi sarve sukh karehi
Sankat kate-mite sab peera
Jo sumirai Hanumat Balbeera
Jai Jai Jai Hanuman Gosahin
Kripa Karahu Gurudev ki nyahin
Jo sat bar path kare kohi
Chutehi bandhi maha sukh hohi
Jo yah padhe Hanuman Chalisa
Hoye siddhi sakhi Gaureesa
Tulsidas sada hari chera
Keejai Nath Hridaye mein dera
|| Doha ||
Pavan Tanay Sankat Harana
Mangala Murati Roop
Ram Lakhana Sita Sahita
Hriday Basahu Soor Bhoop
Yamunashtak Lyrics
हनुमान चालीसा Lyrics in हिंदी
|| दोहा ||
श्री गुरु चरण सरोजा-राज निज मनु मुकुरा सुधारी
बरनौ रहुभरा बिमला यशा जो दयाका फला चारी
बुधे-हीं थानु जननिके सुमिरो पावना कुमारा
बाला-बुधे विद्या देहु मोहि हरहु कलेशा विकारा
|| चोपाई ||
जय हनुमान ज्ञान गुन सागर
जय कपीस तिहुँ लोक उजागर
राम दूत अतुलित बल धामा
अंजनी-पुत्र पावन सुत नामा
महाबीर बिक्रम बजरंगी
कुमति निवार सुमति के संगी
कंचन वरन विराज सुबेसा
कानन कुंडल कुंचित केशा
हाथ वज्र और धुवजे विराजे
कांधे चाँदज जानहु सजाई
संकर सुवन केसरी नंदन
तेज प्रताप मा जग वंदन
विद्यावान गुनी अति चातुर
राम काज करिबे कटुर और
प्रभु चारित्र सुनिबे-को रसिया
राम लखन सीता मन बसिया
सुखमय रूप धरि सियहि दीखा
विकट रूप धरि लंक जारवा
भीम रूप धारी सँघारे
रामचंद्र के बारे में और जानें
लाई संजीवन लखन जियै
श्री रघुवीर हरषि उर लाये
रघुपति कीन्हि बहत बदई
तम मम प्रिये भरत-ही-सम भई
आपके पास समय खराब है
अस-कहि श्रीपति कंठ लगावे
सनकादिक ब्रह्मादि मुनेसा
नारद-सारद कहत अहेसा
यम कुबेर दिगपाल जहाँ ते
कोविद का कोई कारण नहीं है
आपने सुग्रीवहिन को सुझाव दिया है
राम मिलय रजपद दीन्हा
तुम्हारो मंत्र विभीषण मन
लंकेश्वर भये सब जग जाना
युग सहस्त्र जोजन परा भानु
लील्यो ताहि मधुर फल जानू
प्रभु मुद्रिका मिलि मुख माहीं
कोई संदेश उपलब्ध नहीं है
दुर्गाम से मिलें
सुगम अनुग्रहा तेते तेरते
राम द्वारे तुम राखवारे
होत न अग्य बिनु पिसारे
आप इस विषय के सदस्य नहीं हैं
आपके पास रक्ख काहू नहीं है
आपन तेज समुहारो आपई
तेनहं लोक हांक ते कनपई
भूत पिसाच निकत नहिं आवै
महावीर जब नाम सुनावे
नसे रग हरै सब पीरा
जपत निरंतर हनुमंत बीरा
सनत स हनुमान चुडावे
मन करम वचन दन जो लावै
सब राम तपस्वी राजा
तिन साजा तिन साजा साजा
और जो आदमी मिल गया
तो कृपया संकोच न करें
चारण युग भाग तपहरा
हईं लगत जगत उजियारा
साधु संत के तुम रखवारे
असुर निकंदन राम दुलारे
अष्ट सिद्धि नव निधि धाता
जैसे-वर दीन जानकी माता
राम रसन तुम्हार पासा
सदा रघुपति के दासा
राम का शुक्रिया
जनम-जनम के दुख बिसरावै
अंथोनी-काल रघुवीर पुर जाय
जहँ जनम हरि-बखत खाय
और देवता चित न धरई
यह हनुमंथ में भी उपलब्ध है
संकट कटे-मिटे सब पीरा
जो सुमिरै हनुमत बलबीरा
जय जय जय हनुमान गोसाहिन
कृपा करहु गुरुदेव कोई टिप्पणी नहीं
अगर आपको रास्ता पसंद नहीं है
कृपया मुझे पसंद करें
जो या पढे हनुमान चालीसा
होये सिद्धि सखि गौरेसा
तुलसीदास सदा है चेरा
कीजै नाथ हृदय में मेरा डेरा
|| दोहा ||
पावन तनय संकट हरना
मंगला मूर्ति रूप
राम लखन सीता सहिता
हृदयँ बसहु सो भूप
ਹਨੁਮਾਨ ਚਾਲੀਸਾ in ਪੰਜਾਬੀ
|| ਦੋਹਾ ||
ਸ਼੍ਰੀ ਗੁਰੂ ਚਰਨ ਸਰੂਜਾ-ਰਾਜ ਨਿਜਾ ਮਨੁ ਮੁਕੁਰਾ ਸੁਧਾਰੀ
ਬਾਰਨੌ ਰਾਹੁਭਰਾ ਬਿਮਲਾ ਯਸ਼ਾ ਜੋ ਦਯਕਾ ਫਲਾ ਚਾਰੀ॥
ਬੁਧਿ He ਹੀਨ ਥਾਨੁ ਜੰਨੀਕੈ ਸੁਮਿਰੋ ਪਾਵਣਾ ਕੁਮਾਰਾ
ਬਾਲਾ-ਬੁਧੇ ਵਿਦਿਆ ਦੇਹੁ ਮੋਹਿ ਹਰਹੁ ਕਾਲੇਸ਼ ਵਿਕਾਰਾ
|| ਚੋਪਾਈ ||
ਜੈ ਹਨੁਮਾਨ ਗਿਆਨ ਗਨ ਸਾਗਰ
ਜੈ ਕਪਿਸ ਤਿਹਂ ਲੋਕ ਉਜਾਗਰ
ਰਾਮ ਦੂਤ ਅਤੁਲਿਤ ਬਾਲ ਧਾਮਾ
ਅੰਜਨੀ put ਪੁਤ੍ਰ ਪਾਵਨ ਸੁਤ ਨਾਮ.
ਮਹਾਬੀਰ ਬਿਕਰਮ ਬਜਰੰਗੀ
ਕੁਮਤਿ ਨਿਵਾਰ ਸੁਮਤਿ ਸੰਗਿ
ਕੰਚਨ ਵਰਣ ਵਿਰਾਜ ਸੁਬੇਸਾ
ਕਾਨਨ ਕੁੰਡਲ ਕੁੰਚਿਤ ਕੇਸ਼ਾ
ਹਥ ਵਾਜਰਾ ਅਤੇ ਧੁਵਾਜੇ ਵਿਰਾਜੇ
ਕੰਧੇ ਚੁੰਜ ਜਨੇਹੁ ਸਜੈ॥
ਸੰਕਰ ਸੁਵਨ ਕੇਸਰੀ ਨੰਦਨ
ਤੇਜ ਪ੍ਰਤਾਪ ਮੈ ਜਗ ਵੰਦਨ
ਵਿਦਿਆਵਾਨ ਗੁਣੀ ਅਤਿ ਚਤੁਰ
ਰਾਮ ਕਾਜ ਕਰੀਬੇ ਕਤੂਰ ਅਰੂਰ
ਪ੍ਰਭੁ ਚਰਿਤ੍ਰ ਸੁਨਿਬੇ-ਕੋ ਰਸਿਆ
ਰਾਮ ਲਖਨ ਸੀਤਾ ਮਨ ਬਸਿਆ
ਸੂਕ੍ਸ਼੍ਮਾ ਰੂਪ ਧਾਰਿ ਸਿਯਾਹੀ ਦਿਖਾਵਾ
ਵਿਕਟ ਰੂਪ ਧਾਰੀ ਲੰਕ ਜਰਾਵਾ
ਭੀਮ ਰੂਪ ਧਾਰਿ ਜੈਸੇ ਸੰਗਾਰੇ
ਰਾਮਚੰਦਰ ਬਾਰੇ ਹੋਰ ਜਾਣੋ
ਲੈ ਸੰਜੀਵਨ ਲਖਨ ਜੀਯੇ
ਸ਼੍ਰੀ ਰਘੁਵੀਰ ਹਰਸ਼ੀ ਤੇਰੀ
ਰਘੁਪਤਿ ਕਿਨਹਿ ਬਹੁ ਬਡਾਈ॥
ਤੁਮ ਮਮ ਪ੍ਰੀਯ ਭਰਤ-ਹਯ-ਸਮ ਭਾਈ
ਤੁਹਾਡਾ ਬੁਰਾ ਸਮਾਂ ਹੈ
ਆਸਾ-ਕਹੀ ਸ਼੍ਰੀਪਤੀ ਕੰਠ ਲਗੈ
ਸਨਕਾਧਿਕ ਬ੍ਰਹਮਾਦੀ ਮੁਨੀਸਾ
ਨਾਰਦ-ਸਰਦ ਸਾਹਿਤ ਅਹੀਸਾ
ਯਮ ਕੁਬਰ ਦਿਗਪਾਲ ਜਹਾਂ ਤੇ
ਕੋਵਿਡ ਦਾ ਕੋਈ ਕਾਰਨ ਨਹੀਂ ਹੈ
ਤੁਸੀਂ ਸੁਗ੍ਰੀਵਾਹਨ ਨੂੰ ਸੁਝਾਅ ਦਿੱਤਾ ਹੈ
ਰਾਮ ਮਿਲੈ ਰਾਜਪਦ ਦੀਨ੍ਹਾ
ਤੁਮ੍ਹਰੋ ਮੰਤ੍ਰ ਵਿਭੀਸ਼ਨ ਮਾਨ
ਲੰਕੇਸ਼ਵਰ ਭਏ ਸਬ ਜੱਗ ਜਾਨ
ਯੁਗ ਸਹਿਸਟ੍ਰ ਜੋਜਨ ਪਾਰ ਭਾਨੁ॥
ਲੀਲੀਓ ਤਾ ਮਧੁਰ ਫਾਲ ਜਾਨੁ॥
ਪ੍ਰਭੁ ਮਦ੍ਰਿਕਾ ਮੇਲਿ ਮੁਖ ਮਾਹੀ॥
ਕੋਈ ਸੁਨੇਹੇ ਉਪਲਬਧ ਨਹੀਂ ਹਨ
ਦੁਰਗਾਮ ਨੂੰ ਮਿਲੋ
ਸੁਗਮ ਅਨੁਗ੍ਰਹਿ ਤੇਤੇ॥
ਰਾਮ ਦੁਵੇਰੇ ਤੈਨੂੰ ਰੱਖੜੇ
ਹੋਤ ਨ ਅਗਿਆ ਬਿਨੁ ਪੈਸਾਰੇ
ਤੁਸੀਂ ਇਸ ਵਿਸ਼ੇ ਦੇ ਗਾਹਕ ਨਹੀਂ ਹੋ
ਤੁਹਾਡੇ ਕੋਲ ਰਕਸ਼ਕ ਕਾਹੂ ਨਹੀਂ ਹੈ
ਆਪਨ ਤੇਜ ਸਮਹਾਰੋ ਆਪੈ॥
ਤਿਨ੍ਹੋਂ ਲੋਕ ਹੈਂਕ ਕਨਪਾਈ
ਭੂਤ ਪਿਸ਼ਾਚ ਨਿਕਟ ਨਹੀ ਅਵੈ॥
ਮਹਾਵੀਰ ਜਬ ਨਾਮ ਸੁਨਵਾਏ
ਨਸੇ ਰੋਗ ਹਰੈ ਸਭ ਪੀਰਾ
ਜਪਤ ਨਿਰੰਤਾਰ ਹਨੁਮੰਤ ਬੀਰਾ
ਸੰਕਟ ਸੇ ਹਨੁਮਾਨ ਚੁਦਾਵੇ
ਮਨ ਕਰਮ ਵਚਨ ਦੀਨ ਜੋ ਲਾਵੈ
ਸਬ ਰਾਮ ਤਪਸਵੀ ਰਾਜਾ
ਤਿਨ ਸਾਜਾ ਤਿਨ ਸਾਜਾ
ਅਤੇ ਉਹ ਆਦਮੀ ਜਿਸਨੇ ਇਹ ਪ੍ਰਾਪਤ ਕੀਤਾ
ਇਸ ਲਈ ਸੰਕੋਚ ਨਾ ਕਰੋ ਜੀ
ਚਰਨ ਯੁਗ ਪ੍ਰਤਾਪ ਤੁਮ੍ਹਾਰਾ
ਹੈ ਪ੍ਰਸਿਧ ਜਗਤ ਉਜੀਰਾ
ਸਾਧੂ ਸੰਤ ਦਾ ਤੁਮ ਰਖਵਾਰੇ
ਅਸੁਰ ਨਿਕੰਦਨ ਰਾਮ ਦੁਲਹਾਰੇ
ਅਸ਼ਟ ਸਿਧੀ ਨਵ ਨਿਧਿ ਧਤਾ
ਜੈਸੇ ਵਰ ਦੀਨ ਜਾਨਕੀ ਮਤਾ॥
ਰਾਮ ਰਸਯਂ ਤੁਮ੍ਹਾਰੇ ਪਾਸਾ
ਸਦਾ ਰਹੋ ਰਘੂਪਤੀ ਦਾ ਦਾਸਾ
ਰਾਮ ਲਈ ਧੰਨਵਾਦ
ਜਨਮ Jan ਜਨਮ ਦੀ ਦੁਖ ਬਿਸਰਾਵੈ
ਐਂਥਨੀ al ਕਾਲ ਰਘੁਵੀਰ ਪੁਰ ਜਾਇ
ਜਹ ਜਨਮ ਜਨਮ ਹਰਿ-ਬਖਤ ਕਹੈ
ਅਤੇ ਦੇਵਤਾ ਚਿਤ ਨ ਧਰੇਹੀ
ਇਹ ਹਨੁਮੰਤ ਵਿਚ ਵੀ ਉਪਲਬਧ ਹੈ
ਸੰਕਟ ਕਾਟੇ-ਮਾਈਟ ਸਭ ਪੀਰਾ
ਜੋ ਸੁਮਿਰੈ ਹਨੁਮਤ ਬਲਬੇਰਾ
ਜੈ ਜੈ ਜੈ ਹਨੁਮਾਨ ਗੋਸਾਹੀਨ
ਕ੍ਰਿਪਾ ਕਰਹੁ ਗੁਰੂਦੇਵ ਕੋਈ ਟਿੱਪਣੀ ਨਹੀਂ
ਜੇ ਤੁਸੀਂ ਰਸਤਾ ਪਸੰਦ ਨਹੀਂ ਕਰਦੇ
ਕਿਰਪਾ ਕਰਕੇ ਮੈਨੂੰ ਪਸੰਦ ਕਰਨਾ ਨਿਸ਼ਚਤ ਕਰੋ
ਜੋ ਯਹ ਪੜੇ ਹਨੁਮਾਨ ਚਾਲੀਸਾ
ਹੋਇ ਸਿਧਿ ਸਾਖੀ ਗੌਰੀਸਾ
ਤੁਲਸੀਦਾਸ ਸਦਾ ਹੈ ਚੈਰਾ
ਕੀਜੈ ਨਾਥ ਹਿਰਦੇ ਮੈਂ ਡੇਰਾ
|| ਦੋਹਾ ||
ਪਵਨ ਤਨੈ ਸੰਕਟ ਹਰਣਾ
ਮੰਗਲਾ ਮੂਰਤੀ ਰੂਪ
ਰਾਮ ਲਖਣਾ ਸੀਤਾ ਸਾਹਿਤਾ
ਹਿਰਦ ਬਾਸਹੁ ਸੂਰ ਭੂਪ॥
હનુમાન ચાલીસા in ગુજરાતી
|| દોહા ||
શ્રી ગુરુ ચરણ સરોજ રજ નિજમન મુકુર સુધારિ |
વરણૌ રઘુવર વિમલયશ જો દાયક ફલચારિ ‖
બુદ્ધિહીન તનુજાનિકૈ સુમિરૌ પવન કુમાર |
બલ બુદ્ધિ વિદ્યા દેહુ મોહિ હરહુ કલેશ વિકાર ‖
|| ચૌપાઈ ||
જય હનુમાન જ્ઞાન ગુણ સાગર |
જય કપીશ તિહુ લોક ઉજાગર ‖ 1 ‖
રામદૂત અતુલિત બલધામા |
અંજનિ પુત્ર પવનસુત નામા ‖ 2 ‖
મહાવીર વિક્રમ બજરંગી |
કુમતિ નિવાર સુમતિ કે સંગી ‖3 ‖
કંચન વરણ વિરાજ સુવેશા |
કાનન કુંડલ કુંચિત કેશા ‖ 4 ‖
હાથવજ્ર ઔ ધ્વજા વિરાજૈ |
કાંથે મૂંજ જનેવૂ સાજૈ ‖ 5‖
શંકર સુવન કેસરી નંદન |
તેજ પ્રતાપ મહાજગ વંદન ‖ 6 ‖
વિદ્યાવાન ગુણી અતિ ચાતુર |
રામ કાજ કરિવે કો આતુર ‖ 7 ‖
પ્રભુ ચરિત્ર સુનિવે કો રસિયા |
રામલખન સીતા મન બસિયા ‖ 8‖
સૂક્ષ્મ રૂપધરિ સિયહિ દિખાવા |
વિકટ રૂપધરિ લંક જલાવા ‖ 9 ‖
ભીમ રૂપધરિ અસુર સંહારે |
રામચંદ્ર કે કાજ સંવારે ‖ 10 ‖
લાય સંજીવન લખન જિયાયે |
શ્રી રઘુવીર હરષિ ઉરલાયે ‖ 11 ‖
રઘુપતિ કીન્હી બહુત બડાયી |
તુમ મમ પ્રિય ભરત સમ ભાયી ‖ 12 ‖
સહસ્ર વદન તુમ્હરો યશગાવૈ |
અસ કહિ શ્રીપતિ કંઠ લગાવૈ ‖ 13 ‖
સનકાદિક બ્રહ્માદિ મુનીશા |
નારદ શારદ સહિત અહીશા ‖ 14 ‖
યમ કુબેર દિગપાલ જહાં તે |
કવિ કોવિદ કહિ સકે કહાં તે ‖ 15 ‖
તુમ ઉપકાર સુગ્રીવહિ કીન્હા |
રામ મિલાય રાજપદ દીન્હા ‖ 16 ‖
તુમ્હરો મંત્ર વિભીષણ માના |
લંકેશ્વર ભયે સબ જગ જાના ‖ 17 ‖
યુગ સહસ્ર યોજન પર ભાનૂ |
લીલ્યો તાહિ મધુર ફલ જાનૂ ‖ 18 ‖
પ્રભુ મુદ્રિકા મેલિ મુખ માહી |
જલધિ લાંઘિ ગયે અચરજ નાહી ‖ 19 ‖
દુર્ગમ કાજ જગત કે જેતે |
સુગમ અનુગ્રહ તુમ્હરે તેતે ‖ 20 ‖
રામ દુઆરે તુમ રખવારે |
હોત ન આજ્ઞા બિનુ પૈસારે ‖ 21 ‖
સબ સુખ લહૈ તુમ્હારી શરણા |
તુમ રક્ષક કાહૂ કો ડર ના ‖ 22 ‖
આપન તેજ સમ્હારો આપૈ |
તીનોં લોક હાંક તે કાંપૈ ‖ 23 ‖
ભૂત પિશાચ નિકટ નહિ આવૈ |
મહવીર જબ નામ સુનાવૈ ‖ 24 ‖
નાસૈ રોગ હરૈ સબ પીરા |
જપત નિરંતર હનુમત વીરા ‖ 25 ‖
સંકટ સે હનુમાન છુડાવૈ |
મન ક્રમ વચન ધ્યાન જો લાવૈ ‖ 26 ‖
સબ પર રામ તપસ્વી રાજા |
તિનકે કાજ સકલ તુમ સાજા ‖ 27 ‖
ઔર મનોરધ જો કોયિ લાવૈ |
તાસુ અમિત જીવન ફલ પાવૈ ‖ 28 ‖
ચારો યુગ પ્રતાપ તુમ્હારા |
હૈ પ્રસિદ્ધ જગત ઉજિયારા ‖ 29 ‖
સાધુ સંત કે તુમ રખવારે |
અસુર નિકંદન રામ દુલારે ‖ 30 ‖
અષ્ઠસિદ્ધિ નવ નિધિ કે દાતા |
અસ વર દીન્હ જાનકી માતા ‖ 31 ‖
રામ રસાયન તુમ્હારે પાસા |
સદા રહો રઘુપતિ કે દાસા ‖ 32 ‖
તુમ્હરે ભજન રામકો પાવૈ |
જન્મ જન્મ કે દુખ બિસરાવૈ ‖ 33 ‖
અંત કાલ રઘુપતિ પુરજાયી |
જહાં જન્મ હરિભક્ત કહાયી ‖ 34 ‖
ઔર દેવતા ચિત્ત ન ધરયી |
હનુમત સેયિ સર્વ સુખ કરયી ‖ 35 ‖
સંકટ ક(હ)ટૈ મિટૈ સબ પીરા |
જો સુમિરૈ હનુમત બલ વીરા ‖ 36 ‖
જૈ જૈ જૈ હનુમાન ગોસાયી |
કૃપા કરહુ ગુરુદેવ કી નાયી ‖ 37 ‖
જો શત વાર પાઠ કર કોયી |
છૂટહિ બંદિ મહા સુખ હોયી ‖ 38 ‖
જો યહ પડૈ હનુમાન ચાલીસા |
હોય સિદ્ધિ સાખી ગૌરીશા ‖ 39 ‖
તુલસીદાસ સદા હરિ ચેરા |
કીજૈ નાથ હૃદય મહ ડેરા ‖ 40 ‖
|| દોહા ||
પવન તનય સંકટ હરણ - મંગળ મૂરતિ રૂપ્ |
રામ લખન સીતા સહિત - હૃદય બસહુ સુરભૂપ્ ‖
સિયાવર રામચંદ્રકી જય | પવનસુત હનુમાનકી જય | બોલો ભાયી સબ સંતનકી જય |
I hope you all like our Article about Hanuman Chalisa Lyrics in English, Hindi, Punjabi, and Gujarati. If you find any mistake "Hanuman Chalisa in Words" then, please contact us with correct lyrics.
via Blogger ift.tt/3lsRto3
Found this sign on a building in Singapore. Tamil is the more widely used Indian language in Singapore but one can find some signs in Hindi, Punjabi and Bengali too. Roll over the picture for translation.
try-kos-ANTH-us -- from the Greek trichos (hairy) and anthos (flowers) ... Dave's Botanary
brak-tee-AY-tuh -- having bracts (modified leaves directly beneath the flower) ... Dave's Botanary
commonly known as: bitter snake gourd, redball snake gourd • Apatani: bullung koa • Assamese: ইন্দ্ৰায়ণ indrayan, কোৱাভাতুৰী kowabhaturi, মহাকাল mahakal • Bengali: মাকাল makal, লাল ইন্দ্রায়ন lal indrayan • Galo: sojar-momar • Garhwali: इलारु ilaru • Gujarati: મહાકાલ mahakal, રાતા ઈન્દ્રાંમણા rata indramana • Hindi: लाल इंद्रायन lal indrayan, पातालकोहड़ा patalkohra • Kannada: ಅವಗೂದೆ avagoode, ಕಾಗೆಮಾರೆ ಬಳ್ಳಿ kaagemaare balli, ಕಾಗೆಮೋರೆ kaagemore, ಕಾಕಿಮಂಡಲಿ kaakimandali • Khasi: u-soh-lyn-shang • Kokborok: makal • Kol: कौबुटकी kaubutki • Konkani: कौंडळ koundal, मुकाल mukal • Kumaoni: इलारु ilaru, इंदराइन indarain • Malayalam: കാക്കത്തൊണ്ടി kaakkathondi • Marathi: कवंडळ kavandal, मुकाल mukal • Maring: umkha • Mizo: choâka ûm • Nepali: इन्द्रेणी indrenee • Nyishi: rikay, yappen • Odia: କିମ୍ପାକ kimpaka, ମହାକାଳ mahakala, ମହେନ୍ଦ୍ର ବାରୁଣୀ mahendra baruni, ମକିର୍ଲା makirla, ସୌମ୍ଯା saumya, ଶଲରା salara • Pahari: बिम्बेल bimbel • Rajasthani: बडी आंखफोड badi ankhphod • Sanskrit: आत्मरक्षा atmaraksha, किम्पाक kimpaka, महाकाल mahakala, वेग vega • Tagin: yappen • Tamil: குறட்டை kurattai • Telugu: అబూద తీగ aabuda teega, అవ్వదూత avvadootha, అవగూద avvagooda, అవ్వపండు avvapandu, కాకి దొండ kaaki donda, పాపర paapara • Tulu: ಕಾಕ್ಕೆಮನೊಳಿ kakkemanoli, ಕಾಕ್ಕತೊಂಡಿ kakkathondi
botanical names: Trichosanthes bracteata (Lam.) Voigt ... homotypic synonyms: Anguina bracteata (Lam.) Kuntze • Modecca bracteata Lam. ... heterotypic synonyms: Trichosanthes palmata Roxb. ... and more at POWO, retrieved 18 November 2024
~~~~~ DISTRIBUTION in INDIA ~~~~~
Andaman & Nicobar islands, Andhra Pradesh, Arunachal Pradesh, Bihar, Goa, Gujarat, Himachal Pradesh, Jharkhand, Karnataka, Kerala, Madhya Pradesh, Maharashtra, Manipur, Meghalaya, Odisha, Sikkim, Tamil Nadu, Tripura, Uttar Pradesh, Uttarakhand, West Bengal
Names compiled / updated at Names of Plants in India.
Amer Fort (Hindi: आमेर क़िला, also spelled and pronounced as Amber Fort) is located in Amer, a town 11 kilometres (6.8 mi) from Jaipur, Rajasthan state, India. It is one of the principal tourist attractions in the Jaipur area, located high on a hill. Amer Fort was made by Meenas king Raja Alan Singh Chanda later occupied by Kachhawa Rajput . Amer Fort is known for its artistic style, blending both Hindu Rajput elements. The fort with its large ramparts, series of gates and cobbled paths, overlooks the Maota Lake, at its forefront.
The aesthetic ambiance of this formidable fort is seen within its walls on a four level (each with a courtyard) layout plan in well turned out opulent palace complex built with red sandstone and marble consisting of the Diwan-e-Aam or the "Hall of Public Audience", the Diwan-e-Khas or the "Hall of Private Audience", the Sheesh Mahal (mirror palace) or Jai Mandir, and the Sukh Niwas where a cool climate is artificially created by winds that blow over the water cascade within the palace. Hence, the Amer Fort is also popularly known as the Amer Palace. The palace was lived in by the Rajput Maharajas and their families. At the entrance to the palace near the fort’s Ganesh Gate, there is also a temple dedicated to Sila Devi, a goddess of the Chaitanya cult which was gifted to Raja Mansingh when he had defeated the Raja of Jessore in Bengal (Jessore is now in Bangladesh) in 1604.
Annual tourist visitation to the Amer Palace in Amer town was reported by the Superintendent of Department of Archaeology and Museums to the Amer Palace as 5000 visitors a day, and 1.4 million visitors were reported during 2007.
Sterculiaceae (cacao family) » Sterculia urens
stur-KEW-lee-uh -- named after the Latin god Sterculius
UR-ens -- meaning, stinging
commonly known as: bassora tragacanth, Indian tragacanth, karaya tree • Assamese: odla • Gujarati: કોગડોલ kogdol • Hindi: गुलु gulu, कराया karaya, कतीरा katira, कुलु kulu • Kannada: kempudale, pinari • Konkani: पांडरूख pandrukh • Malayalam: anainar, paravakka, theethondi • Marathi: कांडोळ kandol, कावळी kawali • Oriya: gudalo • Rajasthani: katila • Tamil: குதிரைப்பிடுக்கன் kutiraippitukkan, செந்தணக்கு centanakku, வெல்லை பூத்தாளி vellai-puthali • Telugu: తపసి ట్టు tapasi chettu
Native of: India
References: Flowers of India • Top Tropicals
त्रिशूल भगवान शिवजी का प्रमुख अस्त्र हैे। यदि त्रिशूल का प्रतीक चित्र देखें तो उसमें तीन नुकीले सिरे दिखते हैं ।यूं तो यह अस्त्र संहार का प्रतीक है पर वास्तव में यह बहुत ही गूढ़ बात बताता है।
संसार में तीन तरह की प्रवृत्तियां होती हैं- सत, रज और तम।
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रज मतलब सांसारिक
और तम मतलब त...
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Tags:- gk, hindi, hindi gk quiz, quiz Hindi GK Quiz 24
Question #1: वेद व्यास की माता कौन थीं?
गंगा अम्बालिका सत्यवती शकुन्तला
Question #2: 18 कैरेट सोना में सोने और अन्य धातु का निम्न में से कौन सा अनुपात होता है?
18 भाग सोना और 6 भाग अन्य धा...
From World Gk In Hindi.in
Fatehpur Sikri (Hindi: फ़तेहपुर सीकरी, Urdu: فتحپور سیکری) is a city and a municipal board in Agra district in the state of Uttar Pradesh, India. The city was founded in 1569 by the Mughal emperor Akbar, and served as the capital of the Mughal Empire from 1571 to 1585. After his military victories over Chittor and Ranthambore, Akbar decided to shift his capital from Agra to a new location 37 km WSW on the Sikri ridge, to honor the Sufi saint Salim Chishti. Here he commenced the construction of a planned walled city which took the next fifteen years in planning and construction of a series of royal palaces, harem, courts, a mosque, private quarters and other utility buildings. He named the city, Fatehabad, with Fateh, a word of Arabic origin in Persian, meaning "victorious." it was later called Fatehpur Sikri. It is at Fatehpur Sikri that the legends of Akbar and his famed courtiers, the nine jewels or Navaratnas, were born. Fatehpur Sikri is one of the best preserved collections of Indian Mughal architecture in India.
According to contemporary historians, Akbar took a great interest in the building of Fatehpur Sikri and probably also dictated its architectural style. Seeking to revive the splendours of Persian court ceremonial made famous by his ancestor Timur, Akbar planned the complex on Persian principles. But the influences of his adopted land came through in the typically Indian embellishments. The easy availability of sandstone in the neighbouring areas of Fatehpur Sikri, also meant that all the buildings here were made of the red stone. The imperial Palace complex consists of a number of independent pavilions arranged in formal geometry on a piece of level ground, a pattern derived from Arab and central Asian tent encampments. In its entirety, the monuments at Fatehpur Sikri thus reflect the genius of Akbar in assimilating diverse regional architectural influences within a holistic style that was uniquely his own.
The Imperial complex was abandoned in 1585, shortly after its completion, due to paucity of water and its proximity with the Rajputana areas in the North-West, which were increasingly in turmoil. Thus the capital was shifted to Lahore so that Akbar could have a base in the less stable part of the empire, before moving back to Agra in 1598, where he had begun his reign as he shifted his focus to Deccan. In fact, he never returned to the city except for a brief period in 1601. In later Mughal history it was occupied for a short while by Mughal emperor, Muhammad Shah (r. 1719 -1748), and his regent, Sayyid Hussain Ali Khan Barha, one of the Syed Brothers, was murdered here in 1720. Today much of the imperial complex which spread over nearly two mile long and one mile wide area is largely intact and resembles a ghost town. It is still surrounded by a five mile long wall built during its original construction, on three sides. However apart from the imperial buildings complex few other buildings stand in the area, which is mostly barren, except of ruins of the bazaars of the old city near the Naubat Khana, the 'drum-house' entrance at Agra Road. The modern town lies at the western end of the complex, which was a municipality from 1865 to 1904, and later made a "notified area", and in 1901 had a population of 7,147. For a long time it was still known for its masons and stone carvers, though in Akbar time it was known and 'fabrics of hair' and 'silk-spinning'. The village of Sikri still exists nearby.
ARCHITECTURE OF FATEHPUR SIKRI
Fatehpur Sikri sits on rocky ridge, 3 kilometres in length and 1 km wide, and palace city is surrounded by a 6 km wall on three side with the fourth being a lake at the time. Its architect was Tuhir Das and Dhruv Chawla and was constructed using Indian principles. The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen were used for the construction of the buildings. Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements. The building material used in all the buildings at Fatehpur Sikri, palace-city complex, is the locally quarried red sandstone, known as 'Sikri sandstone'. It is accessed through gates along the five-mile long fort wall, namely, Delhi Gate, the Lal Gate, the Agra Gate, Birbal's Gate, Chandanpal Gate, The Gwalior Gate, the Tehra Gate, the Chor Gate and the Ajmere Gate.
Some of the important buildings in this city, both religious and secular are:
Buland Darwaza: Set into the south wall of congregational mosque, the Jama Masjid at Fatehpur Sikri, this stupendous piece of architecture is 55 metre high, from the outside, gradually making a transition to a human scale in the inside. The gate was added some five years later after the completion of the mosque ca. 1576-1577 as an 'victory arch', to commemorate the Akbar's successful Gujarat campaign. It carries two inscriptions in the archway, one of which reads: "Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it. He who hopes for an hour may hope for eternity. The world endures but an hour. Spend it in prayer, for the rest is unseen".
The central portico comprises three arched entrances, with the largest one, in the centre, is known locally as the Horseshoe Gate, after the custom of nailing horseshoes to its large wooden doors for luck. Outside the giant steps of the Buland Darwaza to left is deep well.
Jama Masjid: It is a Jama Mosque meaning the congregational mosque, and was perhaps one of the first buildings to come up in the complex, as its epigraph gives AH 979 (AD 1571-72) as the date of its completion, with a massive entrance to the courtyard, the Buland-Darwaza added some five years later. It was built in the manner of Indian mosques, with iwans around a central courtyard. A distinguishing feature is the row of chhatri over the sanctuary. There are three mihrabs in each of the seven bays, while the large central mihrab is covered by a dome, it is decorated with white marble inlay, in geometric patterns.
Tomb of Salim Chishti: A white marble encased tomb of the Sufi saint, Salim Chisti (1478–1572), within the Jama Masjid's sahn, courtyard. The single-storey structure is built around a central square chamber, within which is the grave of the saint, under an ornate wooden canopy encrusted with mother-of-pearl mosaic. Surrounding it is a covered passageway for circumambulation, with carved Jalis, stone pierced screens all around with intricate geometric design, and an entrance to the south. The tomb is influenced by earlier mausolea of the early 15th century Gujarat Sultanate period. Other striking features of the tomb are white marble serpentine brackets, which support sloping eaves around the parapet.
On the left of the tomb, to the east, stands a red sandstone tomb of Islam Khan I, son of Shaikh Badruddin Chisti and grandson of Shaikh Salim Chishti, who became a general in the Mughal army in the reign of Jahangir. The tomb is topped by a dome and thirty-six small domed chattris, and contains a number of graves, some unnamed, all male descendants of Shaikh Salim Chisti.
Diwan-i-Aam : Diwan-i-Am or Hall of Public Audience, is a building typology found in many cities where the ruler meets the general public. In this case, it is a pavilion-like multi-bayed rectangular structure fronting a large open space. South west of the Diwan-i-Am and next to the Turkic Sultana's House stand Turkic Baths.
Diwan-i-Khas: the Diwan-i-Khas, or Hall of Private Audience, is a plain square building with four chhatris on the roof. However it is famous for its central pillar, which has a square base and an octagonal shaft, both carved with bands of geometric and floral designs, further its thirty-six serpentine brackets support a circular platform for Akbar, which is connected to each corner of the building on the first floor, by four stone walkways. It is here that Akbar had representatives of different religions discuss their faiths and gave private audience.
Ibadat Khana: (House of Worship) was a meeting house built in 1575 CE by the Mughal Emperor Akbar, where the foundations of a new Syncretistic faith, Din-e-Ilahi were laid by Akbar.
Anup Talao: A ornamental pool with a central platform and four bridges leading up to it. Some of the important buildings of the royal enclave are surround by it including, Khwabgah (House of Dreams) Akbar's residence, Panch Mahal, a five-storey palace, Diwan-i-Khas (Hall of Private Audience), Ankh Michauli and the Astrologer's Seat, in the south-west corner of the Pachisi Court.
Hujra-i-Anup Talao: Said to be the residence of Akbar's Muslim wife, although this is disputed due to its small size.
Mariam-uz-Zamani's Palace: The building of Akbar's Rajput wives, including Mariam-uz-Zamani, shows Gujarati influence and is built around a courtyard, with special care being taken to ensure privacy.
Naubat Khana: Also known as Naqqar Khana meaning a drum house, where musician used drums to announce the arrival of the Emperor. It is situated ahead of the Hathi Pol Gate or the Elephant Gate, the south entrance to the complex, suggesting that it was the imperial entrance.
Pachisi Court: A square marked out as a large board game, the precursor to modern day Ludo game where people served as the playing pieces.
Panch Mahal: A five-storied palatial structure, with the tiers gradually diminishing in size, till the final one, which is a single large-domed chhatri. Originally pierced stone screens faced the façade, and probably sub-divided the interior as well, suggesting it was built for the ladies of the court. The floors are supported by intricately carved columns on each level, totalling to 176 columns in all.
Birbal's House: The house of Akbar's favorite minister, who was a Hindu. Notable features of the building are the horizontal sloping sunshades or chajjas and the brackets which support them.
Recent excavation done by ASI in 2000 led to unearthing of an ancient jain city very near to the fort complex.
Other buildings included Taksal (mint), 'Daftar Khana (Records Office), Karkhanas (royal workshop), Khazana (treasury), Turkic styled Baths, Darogha's Quarters, stables, Caravan sarai, Hakim's quarters etc.
DEMOGRAPHICS
Fatehpur Sikri has a population of 28,757. Males constitute 53% of the population and females 47%. Fatehpur Sikri has an average literacy rate of 46%, lower than the national average of 74%: male literacy is 57%, and female literacy is 34%. In Fatehpur Sikri, 59% of the population is under 6 years of age.
ADMINISTRATIVE ESTABLISHMENT
Fatehpur Sikri is one of the fifteen Block headquarters in the Agra district it has 52 Gram panchayats (Village Panchayat) under it.
The Fatehpur Sikri, is a constituency of the Lok Sabha, Lower house of the Indian Parliament, and further comprises five Vidhan Sabha (legislative assembly) segments:
Agra Rural
Fatehpur Sikri
Kheragarh
Fatehabad
Bah
In all there are 12 villages of Sisodia Rajputs near Fatehpur Sikri fort in Agra district. These are Daultabad, Nayavas, Satha, korai, Behrawati, Byara, Undera, Kachora, Singarpur, Vidyapur, Onera, Arrua.
TRANSPORT
Fatehpur Sikri is about 39 km. from Agra. The nearest Airport is the Agra Airport (also known as Kheria Airport), 40 km from Fatehpur Sikri. The nearest railway station is the Fatehpur Sikri Railway Station, about one km. from the city centre . It is suitably connected to Agra and neighbouring centres by road, where regular bus services of UPSRTC ply, apart from Tourist buses and taxies.
WIKIPEDIA
PAGSISISI
Lumuhod,magantanda,magdasal ng Rosario at isunod itong Pagsisisi:
Ama amin, kami’y nagkasala laban sa Iyo. Hindi nauukol na tawagin Ka naming Ama, sapagka’t kami’y di karapatdapat na mga anak. Kami’y nagkasala sa Iyo, nagsisisi nang buong puso sapagka’t iniibig Ka namin nang lalo sa lahat ng bagay. Nagtitika kaming matibay na kailan man ay di ka na naming lalapastanganin, lalayuan na naming ang tanang ipagkakasala namin sa Iyo. Gayon din ipagkukumpisal namin ang lahat ng mga kasalanan namin, at ninanasa naming ganapin balang parusa ng aming Confesor. Bukod dito,Panginoon namin, dahil sa pagsinta namin sa Iyo ay pinatatawad namin nang buong puso ang lahat ng lumalapastangan sa amin; at ini-aalay namin sa iyo ang aming buhay,gawa at kahirapan bilang kabayaran sa aming mga sala, at tuloy isinasamo namin sa Iyo ang kapatawaran ng lahat ng kalapastanganang nagawa namin at ibang mga tao sa Iyo.
Siya nawa.
PANALANGIN SA IKA-SIYAM NA ARAW
Oh! Tunay na pinipintuho at pintakasi naming San Clemente! Dumating na, Oh! marilag na Santo, ang panahong pagganap nang Panginoong Diyos sa Kanyang pangako; dumating na nga ang pagganti sa iyong ginawang mga kabanalan, at tiniis na mga kahirapan. Oh! mapalad na Santo, tunay ngang tinikman mo ang lalong masasaklap na kahirapan, nguni’t ito’y sandali lamang at agad pinalitan naman nang tunay na kapayapaan, nang tunay na kaligayahang walang hanggan.
Sumapit nawa sa iyong sinapupunan yaring aming mga hibik, yayamang dito sa lupa ay hindi mo natiis ang maraming tao’y mamatay sa uhaw, at idinalangin mo sa Diyos na sila’y saklolohan; masdan mo po naman yaring aming dinaramdam na kauhawan sa pagtatamo nang kaluwalhatian.
Oh! maawain at mapagpalang Santo! patnubayan mo kami hanggang marating namin ang maluwalhating bayan at makasama mong magpuri sa DIYOS AMA, DIYOS ANAK, at DIYOS ESPIRITU SANTO, at saka ang aming ninanasa sa pag-sisiyam na ito, kung na-aayon sa kapurihan ng Diyos. Siya nawa.
IPAHAYAG ANG BIYAYANG NAIS KAMTAN SA DIYOS SA PAMAMAGITAN NI SAN CLEMENTE.MAGDASAL NG ISANG AMA NAMIN,ABA GINOONG MARIA AT ISANG GLORIA PATUNGKOL SA SANTO PAPA.
PAGDIDILI-DILI SA IKA-SIYAM NA ARAW
Iyong gunam-gunamin, kaluluwang kristiano, yaong maligayang tahanang kinakamtan nang mga banal at namamatay sa biyaya ng Panginoong Diyos.
Hindi maipahayag nang sino mang marunong ang dakilang kaligayahang yaon. San Pablo na sumapit hanggang sa ikatlong langit ay ang naipahayag lamang ay ito: “Hindi nakita nang mata, at hindi nadinig nang tainga at hindi sumagi sa puso nang tao ang mga bagay na inihanda ng Diyos sa mga umiibig sa Kanya.” Ano kayang kaligayahan yaon, na hindi maipagsaysay? Ito nga, Kaluluwang kristiano, ang kakamtan mo sa unang sandali pagpasok mo doon sa kagalak-galak na tahanan na sa ganang iyo’y bagong-bago? Dapat mong malaman na ang tuwang ito ay dina magmamaliw magpakailan man.
Oh! buhay na lubhang mapalad! Purihin mo ang Diyos na sa kanyang kagandahang-loob, ay namamahagi nang magagandang kayamanan sa mga tunay na naglilingkod sa Kanya. Magpasalamat ka at hinahandaan ka nang masaganang ganti.
Dili-dilihin mo ang dakilang karangalan na tatamuhin mo kung makakasama ka niyong mga mapapalad na nagsisiluwalhati doon. Bakit mo ina-alintana itong kaganyak-ganyak na kapangakuan ng Lumikha sa iyo? Pumasok ka sa iyong sariling kalooban at kilalanin mo ang iyong malaking kakulangan. Pagsumakitan mong makamtan sa paraan ng mga gawang kabanalan at pagpilitang tularan ang marilag na buhay ni San Clemente, Papa at Martir, at ma-aasahan mong tamuhin ang kaluwalhatian nang langit gaya niya.
PANALANGIN SA MAHAL NA BIRHEN
Oh kalinislinisang Ina ng Diyos at aming Ina, kahima’t kami’y hindi karapatdapat tumawag sa iyo, at yamang ninanasa mo ang aming kaluwalhatian, ay ipagkaloob mo po na ang dila nami’y kahit marumi ay matutong tumawag sa iyong pangalan sa lahat ng sandali ng aming buhay.
Oh Mariang kalinislinisan at lubhang masintahing Ina, marapatin mo po na mula sa araw na ito at mga haharaping araw ay ang pangalan mo ang maging hininga ng aming buhay. Oh Ina namin,huwag mo pong palaunin pa ang pagsaklolo mo sa amin, kung kayo’y aming tawagin sa gitna ng mga tuksong bumabagabag sa amin at sa lahat ng aming mga kailangan. Kami’y hindi magpapahinga kailan man sa pagtawag sa iyo at aming uulit-uliting sambitin: Oh Maria, aming Ina, Oh Maria, aming Ina, Kami’y iyong saklolohan.
Ikaw, Oh mapagpala naming Ina, ang tangi naming inaasahan sa lahat ng sandali ng aming buhay at sa iyong mga kamay ay inilalagak namin ang aming kaluluwa sa oras ng aming kamatayan.
Siya nawa.
MAGDASAL NG TATLONG AMA NAMIN, TATLONG ABA GINOONG MARIA, AT ISANG “REQUIEM” SA MGA KALULUWA SA PURGATORIO.
ISUNOD ANG LITANIA NG MAHAL NA BIRHEN AT PAGKATAPOS AY ANG DALIT KAY SAN CLEMENTE.
PAPURI KAY SAN CLEMENTE
Mapaghimala kang Santo,
Papa't Martir ni Kristo
Coro:
San Clemente, ay pakamtan mo
sa amin ang iyong saklolo
Ikaw ang siyang hinirang
nang Hari sa kalangitan
mapagkupkop nitong bayan
na Angono ang pangalan
uliran ka ngang totoo,
nang aasalin sa mundo.
Coro:
San Clemente.......
Ang hirap at madlang dalita
sa tulong mo'y natimawa
balang sa iyo'y paawa
tanto mong pinagpapala
ang sinta't awa sa tao
nakikintal sa puso mo
Coro:
San Clemente.......
Sa bagsik nang iyong aral
nahikayat mo ang tanan
mapasok sa bakuran
nang Pastor na lubhang mahal,
ñguni't ang gawa mong ito
ikinapoot ni Trajano.
Coro:
San Clemente.......
Itinapon ka sa parang
nitong lilo't tampalasan,
doo'y iyong nasunduan
dalawang libong binyagan,
naghihirap silang totoo
sa uhaw di mamagkano.
Coro:
San Clemente.......
Agad ka ngang nanalangin
sa Dios Amang maawain,
dininig namang tambing
ang pagtawag mo't pagdaing,
at pinabukal sa bato
yaong tubig na hingi mo.
Coro:
San Clemente.......
Napawi ang kauhawan
nang sa kay Kristong kawal
tantong pinangilalasan
itong gawang kababalaghan
ang mga pala-nito
napabinyag dahil dito.
Coro:
San Clemente.......
Nang ito'y matalastas
ni Trajanong lilo't sikab,
naisipan nitong uslak
ipatapon ka sa dagat.
Dito ka na nanagano
sa poong kay Jesucristo.
Coro:
San Clemente.......
Sa dagat na kalautan
itinulak ka pagkuan
tuloy na pinatawad
laking katampalasanan!
Ang mga kampon ni Kristo
nalulumbay, nanglulumo.
Coro:
San Clemente.......
Ang daing nila sa langit
ikaw iligtas na tikis
oh! himalang di malirip
agad mahawi ng tubig.
Siyang pagsipot dito
niyong mahal na bangkay mo.
Coro:
San Clemente.......
At ang kinasisidlan
anaki'y munting simbahan
at ang kinabuburulan
ay isang ay isang batong libingan.
Dinala ka nang madlang tao
at sa Roma itinungo.
Coro:
San Clemente.......
Natuklasan din ang madla
maganda mong halimbawa
na inilagak sa lupa,
nang makamtan iyang tuwa.
Pangako ni Jesucristo
sa may pagsintang tao.
Coro:
San Clemente.......
Mapaghimala kang Santo
Papa at Martir ni Kristo.
Coro:
San Clemente.......
AWIT KAY SAN CLEMENTE
San Clemente papa't martir
Ni Kristong Panginoon
Aming isinasamo bayan namiý pagpalain.
San Clemente, San Clemente
Awit namiý iyong dinggin
San Clemente, San Clemente
Bayan namiý ampunin.
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Moraceae (mulberry family) » Streblus asper
STRAY-blus -- from the Greek streblos (crooked or twisted)
AS-per -- meaning, rough
commonly known as: demon tree, paper bark, paper tree, sand paper mulberry, Siamese rough bush, spinous mulberry, stunted jack, toothbrush tree • Assamese: শাঁবৰা shombaraa • Bengali: sheora • Garo: kharanchi-bol • Hindi: सेवड़ा sewra, सीहोरा sihora • Kannada: mitala • Khasi: dieng sohkhyrdang • Konkani: बेकर bekar • Malayalam: പരുവമരം paruvamaram • Marathi: खरोटी kharoti • Nepalese: खाक्सी khaksi • Oriya: hirtonimranu • Sanskrit: शाखोटकः shakotakah • Tamil: குட்டிப்பலா kutti-p-pala, பிராய் piray • Telugu: చుక్కలి chukkali, సాకోటము sakotamu • Urdu: سيہورا sihora
Native to: south China, Indian subcontinent, Indo-China, Malesia
References: eFlora • ENVIS - FRLHT • Digital Dictionaries of South Asia
This little Ladakhi Buddhist girl was practicing her Hindi script, though it was winter holidays from school, outside a shop near Karu.
They have 3 months of winter school holidays in Ladakh because it's so cold.
Mehrangarh Fort (Hindi: मेहरानगढ़ का किला) (Sindhi: مهراڻ ڳڙهه), located in Jodhpur, Rajasthan, is one of the largest forts in India. Built around 1460 by Rao Jodha, the fort is situated 125 m above the city and is enclosed by imposing thick walls. Inside its boundaries there are several palaces known for their intricate carvings and expansive courtyards. A winding road leads to and from the city below. The imprints of cannonball hits by attacking armies of Jaipur can still be seen on the second gate. To the left of the fort is the chhatri of Kirat Singh Soda, a soldier who fell on the spot defending the Mehrangarh fort.
There are seven gates, which include Jayapol (meaning 'victory'), built by Maharaja Man Singh to commemorate his victories over Jaipur and Bikaner armies. Fattehpol (also meaning 'victory') gate was built by Maharaja Ajit Singh to mark the defeat of the Mughals. The palm imprints upon these still attract much attention it is very proudes for rao rajputs.
Rao is brahmbhatt jagirdar clan of rao jodha. Rao is rajputs and in gujarat they calls "barot" and rao saheb.
The museum in the Mehrangarh fort is one of the most well-stocked museums in Rajasthan. In one section of the fort museum there is a selection of old royal palanquins, including the elaborate domed gilt Mahadol palanquin which was won in a battle from the Governor of Gujarat in 1730. The museum exhibits the heritage of the Rathores in arms, costumes, paintings and decorated period rooms.
HISTORY OF MEHRANGARH
Rao Jodha, the chief of the Rathore clan, is credited with the origin of Jodhpur in India. He founded Jodhpur in 1459 (Jodhpur was previously known as Marwar). He was one of Ranmal's 24 sons became the fifteenth Rathore ruler. One year after his accession to the throne, Jodha decided to move his capital to the safer location of Jodhpur, as the one thousand years old Mandore fort was no longer considered to provide sufficient security.
With the trusted aid of Rao Nara (son of Rao Samra), the Mewar forces were subdued at Mandore. With that, Rao Jodha gave Rao Nara the title of Diwan. With the help of Rao Nara, the foundation of the fort was laid on 1/ May 1459 by Jodha on a rocky hill 9 kilometres to the south of Mandore. This hill was known as Bhaurcheeria, the mountain of birds. According to legend to build the fort he had to displace the hill's sole human occupant, a hermit called Cheeria Nathji, the lord of birds. Upset at being forced to move Cheeria Nathji cursed Rao Jodha with "Jodha! May your citadel ever suffer a scarcity of water!". Rao Jodha managed to appease the hermit by building a house and a temple in the fort very near the cave the hermit had used for meditation, though only to the extent that even today the area is plagued by a drought every 3 to 4 years. Jodha then took an extreme measure to ensure that the new site proved propitious; he buried a man called "Raja Ram Meghwal" alive in the foundations. "Raja Ram Meghwal" was promised that in return his family would be looked after by the Rathores. To this day his descendants still live in Raj Bagh, "Raja Ram Meghwal's" Garden, an estate bequeathed them by Jodha.
Mehrangarh (etymology: 'Mihir' (Sanskrit) -sun or Sun-deity; 'garh' (Sanskrit)-fort; i.e.'Sun-fort'); according to Rajasthani language pronunciation conventions,'Mihirgarh' has changed to 'Mehrangarh'; the Sun-deity has been the chief deity of the Rathore dynasty. Though the fortress was originally started in 1459 by Rao Jodha, founder of Jodhpur, most of the fort which stands today dates from the period of Jaswant Singh of Marwar (1638–78). The fort is located at the centre of the city spreading over 5 kilometres on top of a high hill. Its walls, which are up to 36 metres high and 21 metres wide, protect some of the most beautiful and historic palaces in Rajasthan.
Entry to the fort is gained though a series of seven gates. The most famous of the gates are:
- Jai Pol ("Gate of Victory"), built by Maharaja Man Singh in 1806 to celebrate his victory in a war with Jaipur and Bikaner.
- Fateh Pol, built to celebrate a victory over the Mughals in 1707;
- Dedh Kamgra Pol, which still bears the scars of bombardment by cannonballs;
- Loha Pol, which is the final gate into the main part of the fort complex. Immediately to the left are the handprints (sati marks) of the ranis who in 1843 immolated themselves on the funeral pyre of their husband, Maharaja Man Singh.
Within the fort are several brilliantly crafted and decorated palaces. These include, Moti Mahal (Pearl Palace), Phool Mahal (Flower Palace), Sheesha Mahal (Mirror Palace), Sileh Khana and Daulat Khana. The museum houses a collection of palanquins, howdahs, royal cradles, miniatures, musical instruments, costumes and furniture. The ramparts of the fort house preserved old cannon (including the famous Kilkila), and provided a breath-taking view of the city.
GALLERIES IN MEHRANGARH MUSEUM
ELEPHANT´S HOWDAHS
The howdahs were a kind of two-compartment wooden seat (mostly covered with gold and silver embossed sheets), which were fastened onto the elephant's back. The front compartment, with more leg space and a raised protective metal sheet, was meant for kings or royalty, and the rear smaller one for a reliable bodyguard disguised as a fly-whisk attendant.
PALANQUINS
Palanquins were a popular means of travel and circumambulation for the ladies of the nobility up to the second quarter of the 20th century. They were also used by male nobility and royals on special occasions.
DAULAT KHANA - TREASURES OF MEHRANGARH MUSEUM
This gallery displays one of the most important and best preserved collections of fine and applied arts of the Mughal period of Indian history, during which the Rathore rulers of Jodhpur maintained close links with the Mughal emperors. It also has the remains of Emperor Akbar.
ARMOURY
This gallery displays a rare collection of armour from every period in Jodhpur. On display are sword hilts in jade, silver, rhino horn, ivory, shields studded with rubies, emeralds and pearls and guns with gold and silver work on the barrels. The gallery also has on display the personal swords of many emperors, among them outstanding historical piece like the Khaanda of Rao Jodha, weighing over 3 kg, the sword of Akbar the Great and the sword of Timur.
PAINTINGS
This Gallery displays colours of Marwar-Jodhpur, the finest example of Marwar paintings.
THE TURBAN GALLERY
The Turban Gallery in the Mehrangarh Museum seeks to preserve, document and display the many different types of turbans once prevalent in Rajasthan; every community, region and festival having had its own head-gear.
TOURIST ATTRACTIONS IN MEHRANGARH
NATIONAL GEOLOGICAL MONUMENT
The Jodhpur Group - Malani Igneous Suite Contact on which the Mehrangarh Fort has been built has been declared a National Geological Monument by the Geological Survey of India to encourage Geotourism in the country. This unique geological feature is part of the Malani Igenus Suite seen in the Thar desert region, spread over an area of 43,500 km2. This unique geological feature represents the last phase of igneous activity of Precambrian age in the Indian Subcontinent.
THE CHAMUNDA MATAJI TEMPLE
The Chamunda Mataji was Rao Jodha's favorite goddess, he brought her idol from the old capital of Mandore in 1460 and installed her in Mehrangarh (Maa Chamunda was the kul devi of Parihar rulers of Mandore). She remains the Maharaja's and the Royal Family's Isht Devi or adopted goddess and is worshipped by most of Jodhpur's citizens as well. Crowds throng Mehrangarh during the Dussehra celebrations.
2008 STAMPEDE
A human stampede occurred on 30 September 2008, at the Chamunda Devi temple inside of the Mehrangarh Fort, in which 249 people were killed and more than 400 injured.
CULTURE
The fort has musicians performing folk music at the entrance and houses museum, restaurants, exhibitions, and craft bazaars. The fort was one of the filming locations for the 2012 movie The Dark Knight Rises. Principal photography commenced on 6 May 2011.
In 2015, the fort was used to record a collaborative album by musicians including Israeli composer Shye Ben Tzur, English composer and Radiohead guitarist Jonny Greenwood, and Radiohead producer Nigel Godrich. The recording was the subject of a documentary, Junun, by the American directory Paul Thomas Anderson.
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