#ajit kumar

[directsellingnow]

केरल में डायरेक्ट सेलिंग मुद्दों पर मंत्री GR Anil की बैठक: Monitoring Committee का गठन हो सकता है जल्द

Direct Selling Industry: आज केरल राज्य सरकार के Consumer Affairs मंत्री श्री GR Anil ने डायरेक्ट सेलिंग Associations और State Trade Unions के साथ एक महत्वपूर्ण बैठक की। इस बैठक में कई मुद्दों पर चर्चा की गई, जिसमें डायरेक्ट सेलिंग के क्षेत्र में सुधार और Consumers की सुरक्षा शामिल थी। इस दौरान बैठक में श्री अजीत कुमार, आई.ए.एस., सचिव – उपभोक्ता मामले और श्री मुकुंद ठाकुर, आई.ए.एस. – आयुक्त, सिविल…

[samadhdigital]

Ajit Kumar : Web Developer | Laravel Developer | Php Developer | Next Js

Ajit Kumar : Web Developer | Laravel Developer | Php Developer | Next Js

[comradejoanmir]

Ducati switching sides from martin to marc ❌ parties switching sides from NDA to INDIA in the elections ✅

[bihar-ujala]

Bihar News : बिहार में भ्रष्ट लोकसेवकों पर निगरानी का शिकंजा, दो जगहों पर कार्रवाई

Bihar News : निगरानी अन्वेषण ब्यूरो ने बिहार में भ्रष्ट लोकसेवकों के खिलाफ कार्रवाई कर रही है। निगरानी विभाग के द्वारा बुधवार को दो अलग-अलग जगह पर कार्रवाई की गई। जिसमें अररिया के एक प्रखंड विकास पदाधिकारी और अकाउंटेंट को डेढ़ लाख रुपए की रिश्वत के साथ गिरफ्तार किया है। इसके साथ ही पटना में शास्त्री नगर थाना में पदस्थापित एक एएसआई को भी 50000 की रिश्वत के साथ गिरफ्तार किया गया है। आपको बता दे कि…

[townpostin]

Peace Committee Meeting Held in Ghatshila Ahead of Rath Yatra and Muharram

Officials Urge Residents to Celebrate Peacefully and Follow Guidelines A Peace Committee meeting was held in Ghatshila police station premises on Friday to ensure a peaceful celebration of the upcoming Rath Yatra and Muharram. JAMSHEDPUR – A meeting of the Peace Committee was held on Friday at Ghatshila police station in preparation for the upcoming Rath Yatra and Muharram. The meeting was led by…

[awesome-gautam-sandesh-blog]

भाजपा प्रत्याशी की चुनाव से पहले ही जीत सुनिश्चित करना चाहते हैं केंद्रीय मंत्री बीएल वर्मा

बदायूं लोकसभा क्षेत्र से भारतीय जनता पार्टी के प्रत्याशी दुर्विजय सिंह शाक्य रिकॉर्ड मतों से विजयी हों, इसको लेकर केंद्रीय मंत्री बीएल वर्मा समाजवादी पार्टी के प्रत्याशी शिवपाल सिंह यादव को घेरने की निरंतर व्यूह रचना कर रहे हैं। रणनीति के चलते बीएल वर्मा के सुझाव पर गुन्नौर विधान सभा क्षेत्र के लोकप्रिय नेता, पूर्व विधायक एवं पूर्व मंत्री अजीत कुमार सिंह यादव “राजू भैया” को बदायूं लोकसभा क्षेत्र…

[akultalkies]

Sanjay Mishra, Vivaan Shah, Amir Ali Shaik, Sonal Jha, Pooja Pandey, Akansha Shrivastava, Badal Rajpoot, Navin Prakash, Afsar Khan, Gagan Gupta, Ritesh Rajput, Gagan Gupta, Sidharth Singh, Ajit Kumar Srivastava,

[rarulmca]

பாடகராக அறிமுகமாகும் அஜித் Thala Ajit Kumar as a Singer 1st Time in Next...

[bollywoodirect]

37 Years of Mr. India (25/05/1987). Mr. India is a superhero film directed by Shekhar Kapur and produced by Boney Kapoor and Surinder Kapoor under the Narsimha Enterprises banner. The film's story and screenplay were written by the duo Salim-Javed, marking their last collaboration before their split. Starring Ashok Kumar, Anil Kapoor, Sridevi, Amrish Puri, Annu Kapoor, Satish Kaushik, Bob Christo, Ahmed Khan, Aftab Shivdasani, Yunus Parvez, Sharat Saxena, Ajit Vachani, Gurbachan Singh and Ramesh Deo. The film tells the story of Arun Verma (Kapoor), a humble violinist and philanthropist who receives a device that grants him invisibility. While renting out his house to pay his debts, he meets journalist Seema Sahni (Sridevi) and falls in love with her. Meanwhile, the villain Mogambo (Puri) plans to conquer India. The film was shot by Baba Azmi in Srinagar, Mumbai, and other locations in India, starting in July 1985 and concluding after 350 days. The music was composed by Laxmikant-Pyarelal, with lyrics by Javed Akhtar. The film was edited by Waman Bhonsle and Gurudutt Shirali, with special effects by Peter Pereira. Mr. India was a breakthrough for its director and cast and became a milestone in Hindi cinema for its unique superhero genre. It inspired several Indian films in later years. The film was remade in Tamil as En Rathathin Rathame (1989) and in Kannada as Jai Karnataka (1989).

[therobertfrasergang]

Robert Fraser reviews Tantra Exhibition, 1971 (transcription)

Robert Fraser’s review of The Hayward Gallery’s Tantra exhibition, September 30-Nov. 7, 1971. Published in Studio International, vol. 182 no. 939, Dec. 1971

Originally posted here by @ljblueteak

Transcription below the cut

The exhibition of Tantra on show at the Hayward Gallery from 30 September to 14 November has been an event which could be a catalyst to the formation of new conceptions as to the purpose and direction of the art of the future. In this instance I mean art taken as a global entity, not as something divided up into Western art or Eastern art. The first thing that might strike the view was that the show taken as a whole revealed a vision of a very ancient and systematic culture whose symbols and myths are alive right up to the present day; a Hindu or Buddhist could walk through the show and constantly be made aware of things which are a part of his own consciousness and personality. It is this aspect of tantra as a living sign-language and a living mythology which gives it special significance to us now. The basis of all tantric iconography is function; although tantra is based in the expansion of consciousness (Sanskrit root TAN expand TRA) its purpose is to provide and explain methods by which the expansion is to be achieved. There have been many different schools of thought on this subject and the reason for the seemingly baffling complexity of tantra is that it touches upon so many different levels and approaches to sadhana; philosophy, science and ritual are all involved in what was originally one system of thought based in vedanta. In recent centuries cults have grown up which have advocated specialized approaches, of which tantra asana is one; it is this one approach that has in the present day been identified most closely with tantra, and its over-emphasis has given tantra a notoriety which is based upon misconception of its full range. Nevertheless in this show all this enormous variety of imagery and symbol has been brought together under the umbrella of tantra art, as being visualizations of various methods towards the pursuit of sadhana and man's relation to the universe.

In style and content these exhibits differ widely. Many of them are what are known as Indian classical art, others are 'folk' or primitive forms; on the other hand the diagrams and manuscripts of which there are many in the exhibition could be called 'yoga' art. However, nearly all bear a certain stamp or aura which we immediately recognize as tantric; and the reason we are able to do this is due entirely to the vision of one man, Ajit Mookerjee, from whose private collection about two-thirds of the exhibits have been borrowed. Ajit Mookerjee is already well known in India for his pioneer work in the classification and identification of Indian folk and primitive art and it is during the pursuit of these studies that he came to formulate the concept of tantra art, which had hitherto existed as unrelated art-forms in various parts of India. His name is now well known in Western countries as the author of two art books, "Tantra Art' (Ravi Kumar 1967) and 'Tantra Asana' (Ravi Kumar1971), and it is the wide circulation and enormous interest which the first of these books created which made the world aware of an art form which, although it had existed for centuries, had so far eluded classification. What caused this enormous interest, both in the books and the Hayward exhibition, is the fact that tantra art fulfills a function for Western man which his own contemporary art has lost sight of. Here is an art form which partakes of the potential of human energy and its relation to the universe. It is this inward direction of tantra art that people instinctively recognize and identify with, although after experiencing an initial attraction they can easily be put off by what seems to be an impenetrable jungle of symbols and myths demanding a knowledge so specialized as to be beyond reach. But many of these symbols have an abstract significance which is immediately recognizable. An example of this is catalogue no. 511, which illustrates in a series of gouaches of incredibly subtle coloration the processes of projective evolution of the universe; the balance between abstraction and description is so perfectly held on the aesthetic plane that the subject matter of expansion is self-evident.

Despite the organizers' inspired concept of presenting the exhibition as a journey without beginning or end and the sensitive groupings of the various classifications of objects and paintings, one is nevertheless conscious of a certain visual indigestion after concentrated viewing. This is perhaps due to the inclusion of the sections of Buddhist tantra and several series of Tibetan thanjkas, some of which are of indifferent quality. Tibetan Buddhist imagery has a very different visual aura which conjures up a totally different world of the imagination from its Hindu counterparts: it cries out for a setting of its own and should in all fairness be the subject of a separate exhibition.

A word must be said about the catalogue, which has been written by Philip Rawson and admirably designed by Hugh Shaw. Every item in the exhibition has been illustrated and informatively captioned; it is therefore a compendium of tantric imagery in itself, and immediately becomes a vital work of reference. Surely, though, the insistence of the catalogue's introduction upon the cultist aspect of tantra is a mistake? Tantra asana is one of the visually richest and most beautiful sources of tantric imagery but the philosophy of the male/female principle goes far beyond the sexual frame of reference. In advaita vedanta it has a much more abstract significance and the practical application of sexual asana as a means of union with the absolute has no serious philosophical basis. If the idea of tantra art can be freed from its cultist associations, it can emerge as the key to an art of the future that is not pursued for its own sake, but forms part of a philosophical system or thought.

All this is conjecture, but it is exciting to hear that a Tantra Museum is to be built on a site on the outskirts of New Delhi over the next few years which will collect and exhibit both Indian tantric forms and forms from other cultures ancient and contemporary, with Ajit Mookerjee's collection as a basis. It is by this approach to tantra art that a link may be established between all forms of art with an inward direction that speak of man's relation to the universe.

****

Interesting that Fraser was based in India at this time but familiar enough with a London show to be able to write a detailed review.

Vyner says: "Characteristically, though, his reappearances in London during the four or five years he was away shed little light on his actions and whereabouts other than conveying his increased enthusiasm for all things Indian."

[arapuroy23-blog]

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[balkikhalnews]

Anil Vij in Full Action Mode, 6 Discoms Employees Suspended for Negligence

Strict action taken after a young man named Rajesh Kumar died from electric current/shock in a field in Karnal Mohit (SDO), Sunil (JE), Deepak, Ajit, Satyawan, and Vikas (linemen) suspended with immediate effect  Punjab Newsline, Chandigarh– Haryana’s Energy, Transport and Labour Minister Anil Vij has taken strict cognizance of the death of a young man named Rajesh Kumar by electric current/shock…