The beginning of the revolt

Modern humans evolved in Africa   and reached the Near East   these   spread east to South Asia   and on to Australia   reached Europe   eventually replacing the inhabitants.

It is tricky for us to   blend   in the world. . . .   The intimate confidant of a strange   God,   called the principle of    God ……….betrayed and evolved beyond

The   glow   has faded and mankind   in the darkness, seeking reason and have gone with the   comfort in   a blind trust

“It will be   the first result of this   gradual annihilation, impending   to the final   space   to separate the   globe in      the   accomplished   to be suddenly established   at once, and   their chairs   alienate them. If   this process would be   annihilated, the surface   shrivels in size until it became a sort of miracle   where it always was, but as large as ever it was!”

The   mind   fall from the chastity of   love,   engaged in the adventures       as a lion

End of last age, beginning of   present with     finely strung,     pure and humble elevation. Everything     depicted   the woman who made the Reign. The   confiscated   lives of Jews to worship him as God   assassinated     as   a   ruler.

The Quran revelations of God to Muhammad, was compiled   in   works of the Greeks and Egyptians originally. Christian   scholars living in Muslim countries were emerging in   Reality

The civilization of Greece   the source and basis of   existence, had long been   a representative,   absorbed   of conscious imitations

King   surrenders himself to the Scottish   alliance. An    belief superior   the divine right

comet appeared   to issue a declaration against “the Devil, the Turk and the   great precision.  The     significant step in establishing a sea route,   Africa,   to India

No   island,   is   washed away by the sea,   thy friend’s of thine   were     involved in     thee   garden   of     meat     with   fruit bearing trees

The beginning of the   revolt began with burning the account   which      close down the   system”

One Story of a Dragon

English: Greek marble relief c. 300 BC depicti...

English: Greek marble relief c. 300 BC depicting a pious family offering a ram to two deities dining at a table in a temple. The male deity is presumed to be a deified hero, as the head of the horse in the background was a symbol of heroization. From the Ny Carlsberg Glyptotek collection, item number IN 1594. (Photo credit: Wikipedia)

Greeks mythology termed Adam as  dragon at times the Goddess as Dragon  representing them  as  terrifying dark creatures, which was their own  remnants of an earlier war, eventually their  need was fulfilled and that needed to be slaughtered by a    hero. Dragon Adam  was  guardians of the celestial, the  underground sources of power called Gods saw the immortal,  guarding the  springs,  and in their scheme  the heavenly ganga swept into the watery underworld and burst to the surface.

A dragon  acknowledges “woman as the creator.” Like the dragons of many mythologies, woman’s true body form is that of life, the world and the universe. It is this superior form that allows her to be without equal. Dragon   also represents a flowing, fluid grace that conceals a reserve of power just beneath the cool surface.

 Dragon   a Man   signifies raw power. Like dragons,   guardians of that which is sacred, such  objects of great wealth. But this must be tempered with wisdom, lest the greed of dragons overpower the man’s soul and turn him into a ravenous creature with an insatiable appetite. Men   themselves as being revered for their wisdom but feared for their tremendous power.

The interest in  Dragons since its always been an archetypal choice  more popular with the history and the mythology leading to the secrets of ADAM and the Feminine Creator . They  represented certain  characteristics and strengths and beliefs.


Some of the first recorded stories involving dragons date back to the Sumerian civilization, located between the Tigris and Euphrates Rivers in an area once called Mesopotamia, which later became Persia, and is now better know as Iraq and Iran.

The mysterious land of India,   in the present   evoke images of the Macedonian army wandering over extensive exotic lands, almost reaching China and meeting the Zhou Dynasty.

The reality is very different  a great extension of land on this campaign,   known as the Punjab, which, by the way, is not even part of the present land known as India, is part of present Pakistan. In a way I guess you can say Alexander   reached India, at least not what we know  , anyway.

As   said before India was a   completely different from the ones we   know , these lands   was like entering another world. In modern era   reality is  left out  and mortal dangers of the Hindu Kush, were left and the present  known world   a land full of secrets for us to unlock.

Mesopotamian Dragons

The earliest written dragon myth was carved onto clay tablets and depicts the story of a dragon   who battled the hero-god . Even in these stories, dragons guarded treasures, held back floods, and imparted great knowledge.

In Babylonian myth, a dragon was believed to have aided in the creation of the world and the gods, and although some of the dragons served as the guardians of god’s treasure and nature, most were depicted as evil creatures, who all too often angered the gods. It is believed that Asag and Ninurta, from the Mesopotamian myth, are introduced by the Babylonians as Tiamet and Marduk, though this may not be totally accurate as the preserved records are in poor condition and incomplete.

A story that did survive is the epic tale of Gilgamesh, who set out to slay Humbab, the dragon guardian of the forest, who was thought to be a threat to the nearby town.

Babylonian history also tells in the “Book of Bel ( EVIL)  and the Dragon ( Here it is the ILAH) ,” that the ruler Nebuchadnezzar, kept a dragon in the temple of the god Bel, where the dragon was worshipped. When the Hebrew prophet, Daniel, began denouncing idols, Nebuchadnezzar told him of the dragon and argued that the dragon was real and Daniel must worship it. Daniel asked why the people worshipped such a creature, and when faced by the dragon, slew it.

 Sumerian myth depicts the chief dragon  a cunning and devious   who stole the Tupsimati, the tablets of law, from the god Enlil, who wore the tablets on him. Another popular dragon is Gandareva, an immense creature who was the guardian of another dragons and preyed upon humans for food.

Dragons also play a significant role in Chinese Festivals and the dragon dance has a long history that dates back past the Song Dynasty, circa 960-1279 AD. Chinese even consider themselves falsely as “the descendants of the dragon” and their culture is rich with the presence of dragons, which is considered to be a symbol of imperial power.

 Ryujin, a Japanese Dragon King, who lived in a palace under the sea, loved his wife and daughter so much that he spoiled them both, often sending out sea creatures such as octopus and jellyfish on errands to retrieve odd things. In one version, Ryujin’s daughter, Otohime, wanted to dine on monkey liver and a handsome and strong-boned jellyfish was dispatched to retrieve the liver but was outwitted by the monkey. In rage, the dragon king beat the jellyfish to a pulp, a shape that they hold to this very day.

Vitra is the dragon that comes from the Indian subcontinent. Vitra absorbed the cosmic waters from the universe and coiled around a great mountain. Vitra is sometimes described as the personification of winter. A more fascinating Indian Dragon myth involves the only dragon ever to be converted to a human religion. The Dragon, Apalala, lived in the Swat River and was converted by Buddha himself. Apalala then set out to teach it to other dragons, who drove him away but allowed him to continue teaching the humans.

In Europe Dragons  hold the honorary title of the “kings of evil.” And although these chaotic creatures have plagued mankind since the earliest remembrances with their malicious intent and insatiable battle-lust, still humans feel a strange sense of awe and respect for them.

Another dragon can be found in the epic Anglo-Saxon poem, Beowulf, which chronicled the three battles of the hero of the same name. In the first battle, Beowulf slew Grendel. In the second, Beowulf battled Grendel’s larger, more fearsome mother. In the third and final battle, Beowulf fought a fierce and fiery dragon, that he managed to vanquish, but suffered wounds so lethal that he himself perished.

Greeks mythology views dragons as terrifying dark creatures, remnants of an earlier age, that needed to be slaughtered by a hero Giglamesh Alias Alexander .

The village of Brand in Germany hosts a dragon who appeared and  the area became known as the “dragons grave.”
Norse Dragons who lived at the foot of Yggdrasil, the tree of life. Nidhogger was, in reality, Fafnir whose greed for the gold he horded slowly turned him into the great dragon.

The Russians story of a  three-headed dragon with seven tails knew of the prophecy involving the hero, Dobrynja, who would slay him, but was still defeated despite having this information.

 The  name “Dracula” is linked with dragons” In 1410, the holy Roman Emperor, King Sigismund of Hungary, established a clandestine fraternal order of knights which he named the Order of the Dragon to advocate Christianity and protect the Empire against the Ottoman Turks. At Sigismund’s behest, an emblem was created depicting a dragon clutching a cross with its wings extended.

In 1431, Vlad Tepes II demonstrated great bravery in battling the Turks and as a result was inducted into the Order. His name became “Vlad Dracul” which translated to “Vlad the Dragon.” His son, Vlad Tepes III, inherited his father’s name as well as his lust for battle and was called “Vlad Dracula.” The Romanian word “ulea” translates as “son of the,” which means his name was meant to be “the son of the dragon,” however, “drac” has a second meaning, “devil,” which is one his enemies believed was more accurate.

From the Island   comes the myth of a dragon   who lived at the summit of a mountain  and possessed a fabled pearl of immense size. The Emperor   heard about the pearl and sent an army to get it for him but the dragon killed all but a few. These survivors return and told the emperor about the disaster and said he could not be overcome by strength of arms. So the emperor sent his two clever sons   to get the pearl.

The mother of all   little is known about her since natives are very reluctant to talk about this .  she   exist and is being protected by the  region   with the mysterious disappearances of   going between  the world .

She is the  one goddess ,  Out of loneliness,  created a rainbow   companion  who created mountains across the flat surface of the Earth and nourished the land so that plants and life could grow. But soon, the planet became so congested with plants and animals and mountains that  the earth began to collapse.

In gratitude for being created, he   remold the planet, so the great dragon traveled across the earth, its massive dragon tail writhed with so much force and fury that it created the rivers and valleys, until its body formed an immense circular ring with its tail in its mouth, and enfolding the world.

Blurring of Cultures at Louvre’s Islamic Art Wing

PARIS — Hundreds of works of art from infinitely diverse cultures lumped together under the banner of Islam went on view Wednesday in the newly opened Islamic art wing at the Musée du Louvre.

In row upon row of glass cases mainly arranged on two enormous levels, bronze vessels, ceramics, glass, the occasional bit of ivory and more, succeed each other, often juxtaposing the art of very different lands.

In the early periods, the art of the Arab Near East, mainly of Iraq, Syria and Egypt, is thrown together with that of the Iranian world (the present states of Iran and Afghanistan, including the cities of Bokhara and Samarkand, historically at the heart of early Persian culture in Islamic times). The logical solution, a display reflecting the main cultural areas with a chronological progression within each one, was rejected. The result is often a visual blur and intellectual confusion. Sheer masterpieces, like the casket inlaid with silver and gold from 14th-century Iran, perhaps the finest in the world, do not sufficiently stand out.

On the plus side, scores of works of art out of sight for decades are now visible. This includes early ceramics excavated long ago in Iran, at Shush, known as Susa to the Romans.

Some of the most important Arab bronze vessels in the world, inlaid with silver and copper in the early decades of the 13th century, or silver and gold in the hundred years or so that followed, can be seen once again.

A famous basin commissioned for the Ayyubid Sultan al-’Adil Abu Bakr (1238-40), which was designed by Ahmad ibn ’Umar “known as al-Dhaki,” as the signature stipulates, should not be missed. His name followed on another object by the qualifier al-Mawsili is a reminder that Mawsil — Mosul in modern usage — is the stopping place where artists fleeing the Mongol invasion of Iran in 1219-21 introduced the aesthetics and technique of their homeland.

The equally famous basin signed by Da’ud ibn Salâma al-Mawsili in the year 650 of the Muslim calendar (1252-53), transferred from the Musée des Arts Décoratifs is also there. The mastery of the figural patterns reveals designers trained in pictorial ateliers although, sadly, not a single Arab manuscript of the same high order survives.

The hugely important jar with scrolling motifs commissioned for Sultan Salah ad-Din Yusuf (1237-60) is closely related to a basin signed by Ahmad ibn ’Umar. Here too, the source is to be sought in the illumination practiced by pictorial ateliers.

Other Arab bronzes with inscriptions in Arabic and Latin conjure memories of places where East and West met.

A ewer from Arab Spain in the shape of a peacock carries an Arabic signature identifying it as “the work of the Christian King’s slave.” Underneath, an inscription in Roman capitals proclaims “Opus Salomonis Erat” naming the artist, probably called Sulayman, the Arabic form of the biblical name.

Most intriguingly, a large basin is inscribed in Arabic and French to the name of Hugues de Lusignan, King of Cyprus (1324-59). Its style points to a Syrian master. Why a ruler from the Franco-Armenian dynasty of Lusignan chose an Arab artist is a mystery. “Uk min Lazinian,” as the Arabic inscription calls Hugues, aggressively claims — in Arabic only — to stand “at the vanguard of the troops of the Kings of the Franks (the West Europeans).” Two escutcheons were engraved with the arms of Jerusalem after the basin was completed, pointing to hopes of conquest — by then Jerusalem had long been wrested from the European crusaders by Salah ad-Din, who entered the city in 1187.

Other shattering conflicts are echoed in the Iranian collections, the richest in the Louvre display.

A glazed ceramic tile once formed part of a frieze that ran in the throne room of a palace at Takht-e Soleyman. Two fragments dug up by German archaeologists, who did not mention what remained of the inscription, allowed me to show in 1984 that the tile bought by the Musée des Arts Décoratifs in 1899, like many other intact tiles scattered across the world, came from the palace. All carry Persian verses from the Shah-Nameh, the Book of Kings, written in the 10th century. The choice of the verses revealed a daring act of cultural resistance by an occupied nation.

The Iranian literati running the administrative apparatus of their ancient land devastated by the Mongol invasion persuaded the ruler Abaqa Khan (1266-81) to have his summer palace erected at Takht-e Soleyman. Against architectural logic, it partly followed the ground plan of the ruins of what had been the most important palatial and religious complex of pre-Islamic Iran. Building on or along shattered foundations is tricky, but this symbolized the revival of Ancient Iran. The initiative was taken by Abaqa’s state secretary, Atâ Malek Joveyni, driven by an acute sense of history — he later wrote a major history of Iran — and inspired by Nasir ad-Dîn Tusî, a Sufi with Ismaili leanings.

Abaqa’s successor, Teküder, was converted to Islam by Sufi masters, took the name Ahmad, and mounted the throne in 1281. Atâ Malek commissioned the frieze of revetment tiles in which some Shah-Nameh verses adapted by him to the second-person singular boldly seem to address the resident. Enraged, the Mongol establishment slayed Sultan Ahmad.

Elsewhere, entire panel revetments from Ottoman Turkey speak of other upheavals. The 16th-century glazed tiles were ripped off in the late 19th century from mosques and palatial structures erected in Istanbul, a city that had been the capital of Byzantine Greece until the Turks conquered it in 1453. Unfortunately, some imposing panels are slapped in a row on the same partition as in some unfinished construction site.

The same principle inspired the display of magnificent 14th-century doors removed from Cairo mosques.

Scores of other beautiful works of art are likewise lined up by category, some illustrating themes. Headings like “Figuration and Narrative in the Eastern Lands of Islam” or “Writing in the Mamluk and Mongol Domains” are too broad to be really helpful.

Wall texts can be misleading. One reads, in the museum’s own English version, “At the first sight the works in the Department of Islamic Art tell us very little about the function or the religious or secular context of their use.”

Walking from an Iranian 13th-century ceramic revetment tile of a mihrab indicating the direction of Mecca, to 14th- and 15th-century Egyptian mosque lamps, the public may wonder whether those who wrote these lines seriously considered the objects.

A number of labels are even factually wrong. In a glass case with ewers from the Indian subcontinent, a small brass bowl labeled “Eastern Iran or India, circa A.D. 1600” is typical of Western Iran in the late 16th century.

Elsewhere, two ceramic ewers seen side by side are called “verseuses tripodes.” One, however, which is Chinese, has no legs but a circular base. The truly tripod piece, which is Iranian, is argued to “owe its profile to the Chinese model.” In fact, the flaring cylindrical body of the Iranian vessel, with a tubular spout rising at an approximately 45-degree angle, reproduces a model known from metalwork in early Islamic Iran.

An admirable page torn away from an early 15th-century manuscript from the Herat school induced the label writer to speculate about the nature of the manuscript — the complete romance of Homay and Homayun by the 14th-century poet Khaju Kermani, or an anthology? The former, almost certainly. Headings cut out from other pages are variously pasted around the painting. They refer to chapters of the romance, which the label fails to mention.

A famous bowl from northwestern Iran engraved in the 11th or 12th century with the figure of a hare raised on its legs amid scrolls is signed in Persian, using the standard Arabic loan-word ‘amal, or “opus,” ‘amal-e Bu Taleb, “the work of Bu Taleb.” The name is corrected to “[A]bu Taleb” by the label writer, presumably unaware that Bu Taleb is not incorrect Arabic but follows Persian usage at that time.

The labeling and the display alike betray insufficient familiarity with the culture and history of profoundly different civilizations. The problem is not unusual in Western institutions dealing with “Islamic art,” a 19th-century construct. If art specialists shoved together all things Buddhist from Nepal to Japan, Cambodia and Indonesia, they would be laughed out of court. By 

Copyright License Number: 3032281485881
Publication: The New York Times

Sabri Brothers performing at the ISFI 2012 Ajmer

The second day at the ISFI Festival Shri Rajesh Meena SP IPS Ajmer was the chief guest at the Jawahar Rang Manch. Performances by Bhai Kultar Singh singing the verses of Baba Farid was immensely loved by the audience. The Gurudwara once more gave a letter of Appreciation to the organisers for the Interfaith Event. The Sabri Brothers, ( Aftab Sabri and Hashim Sabri ) with their lyrics & mood took the audience into a sufiana trance. Sabri brothers have performed all over the world for various function and events. they have also performed for Movies,Video Albums and Adfilms…

ISFI 2012 Rang – e – Raqs will unveil the most celebrated work of German Artist Michael Templin

One of the highest honors for an artist is to be considered and regarded as a master. They desire to produce artwork that is remembered forever.

The First series of ISFI 2012 Rang – e – Raqs will unveil the most celebrated work of German Artist Michael Templin. His connection to the Gallery on a spiritual level made him venture into the eastern mysticism creating masterpieces.

‘Journey of a Mystic’ is indeed a Masterpiece that allows the audience to interact with the Art in a way that it achieves its desired purpose.

‘Conference of the Birds ‘is inspired by the Persian book of poems by Farid ud-Din Attar . In the poem, the birds of the world gather to decide who is to be their king, as they have none. Besides being one of the most celebrated book of Persian poetry.

Templin says he began to incorporate new technology and experiment with live Events and interactions. The artwork is created to have its true meaning and intentions.

Explore the rest of the work at the Al Ikhlas Gallery from 4-11th October 2012 at the Rang e Raqs the 2nd Edition of the ISFI Festival.

ISFI 2012 – Divine Abode joins hands with Marwah Studios for Sufi Films & Documentary

ISFI joins hands with Marwah Studios for its forthcoming International Sufi Festival 2012.

The festival will screen a wide range of Sufi films and documentaries at its newly come up audio visual room at Al Ikhlas Gallery during International Sufi Festival 2012.

Mr Sandeep Marwah, President Marwah Studios says “We are very happy to be a part of the ISFI Festival, this is our second year of association with the prestigious International Sufi Festival, together we will bring in Sufi Films and Documentaries too as a part of the festival”.The best documentary film will be awarded with “ISFI 2012 best documentary film award

Ms Gulshaa Begum Chairperson Divine Abode & Director of festival says “The festival has come a long way in its very second year we are indeed delighted with the tie up for films with Marwah Studios”

All the entries for Sufi Films and Documentaries being showcased at forthcoming ISFI 2012 will be addressed to Marwah Studios’  said Spokesperson from Divine Abode.

Article by Dr Sudeep Rai

The Musical Tradition of Sema – ISFI 2012

Sufism ,spreads the message of love,peace and harmony in our lives in its enriching poetry…
Divine Abode headed by Begum Gulsha has tried to spread the word of Sufism through Music, Art and Culture presenting them in a unique platform The International Sufi Festival India.

The  Second edition of ISFI 2012 to be held in October this year focuses on the Qawwali’s, the Sufi devotional Music of Persian & Indian Sub Continent. This year ISFI will present the Sabri’s of Mumbai to Nizami’s of Delhi to the Warsi’s of Hyderabad. ISFI 2012 is a perfect amalgamation of different faiths with similar goals representing communal harmony and love for each other.

Dr.Sudeep Rai (Sitar Maestro) quotes “ISFI 2012 in its very second year has come a long way. It serves for the cultural, religious and spiritual cause for mankind. Sufism in india has enriched our culture by stressing the essence of religion as a unifying and uplifting force in society,peaceful coexistence and communal harmony is sublime feature of sufi poetry.Their transcendental approach to life is the very essence of their poetry.

Bulleh Shah verse says:

“Yes you have read thousands of books.
But you have never tried to read yourself.

You rush, into your mandirs, into your mosques
But you have never tried to enter your own heart.

Futile are all your battles with Satan
For you have never tried to fight your own desires”.

Begum Gulshaa , Chairperson Divine Abode,Organizer of ISFI 2012 says

“The existence of International sufi festival in India is an attempt to revive teachings of these great mystics, a wide variety of cultural and spiritual offerings by various eminent artists will be presented together to create a sublime atmosphere through sufi music for the seekers of truth”.

The festival this year will feature Sufi Art, Sufi Documentary Film and Sufi Music. However the Theme will be on the Traditional Sema Qawwali”  says a spokesperson from Divine Abode.

It’s about rains and ragas

The first wave of monsoon concerts showers in ajmer it has so far seen sobre international sufi festival organized by the divine abode.The two day long monsoon festival held at Gallery Al Ikhlaas at historic Foysagar in Ajmer was awesome with cloud-busting notes of Miyan ki Malhaar and the somber Megh .This weekend saw a pure classical performance by sitar maestro Dr.Sudeep Rai along with Ustad Amjad Khan on tabla, showcased a perfect jugalbandi between the duo,captivating the audience for nearly two hours .

Indian classical music and dance are highly sensitive to the state of nature,raga reflects the essence of the season “just close your eyes and sense the swaras and you see how does it work”says sitarist Dr.Sudeep Rai who himself hails from seniya gharana of Indian classical music the discendends of Miyan Tansen.The monsoon season have been beautifully depicted in traditional compositions using both literature as well as swaras of raga.

The two day long festival showcased paintings by Michael Templine from Germany, Dr.Sudeep Rai from New Delhi, Begum Gulsha  from Bangalore and Archana Tela From Ajmer. A large painting on monsoon colours was created as a back drop for perfect stage setup by Begum Gulshaa ,chairperson divine abode and the organizer of the festival.

The malhaar theme itself draws audience to classical concerts .They may or may not get the finer nuances of the combinations of swaras and scale but it is impossible not to be moved by the grandeur of india classical music.


Conference Room & a Sufi Library – Al Ikhlas Gallery

Divine Abode’s Al Ikhlas Gallery will soon have an audio & Video Visual Conference Room and a Sufi Library as part of the Gallery. We plan to have this by October 2012 for the forthcoming festival. We would like to demonstrate various Sufi films and documentary in the hall during the ISFI festival this year.
A Sufi Library too is in the pipeline however that may take some time as we need some contribution of Sufi Books and DVDs ‘ says Ms Begum

For more information :

Ajmer to Host the Second Edition of International Sufi Festival

Spirituality finds a very different manifestation in the annual festival of the Sufi  culture in Ajmer, Rajasthan.

The second edition of the International Sufi Festival India continues to be  a commemorative fiesta to the honor of the Sufi saint Hazrath Khwaja Moinuddin Chishty. The stunning concepts and symbolic messages merging with the soothing music and dance makes it a must visit..

Ms Gulshaa Begum, Chairperson Divine Abode  is known for her contributions in the field of Sufi Art & Culture and commitment to serve for the social cause through festivals and Art Exhibitions in Ajmer.
Isfi is today Regarded as one of the spectacular event with a strong visual appeal. The Festival is a true crowd puller as thousands of people gather here to be a part of the 7 day event.

The essence of sufism includes the unification of the human soul with the Ultimate through the medium of sufi music. As a result, this mega festival abounds in music and dance performances by the dervishes (ascetic Muslim monk). The harmonious dance and melodious music joins hand to create a sublime atmosphere in the entire air.

Get ready to be a part of a spiritual journey that is superbly rich in artistic value and touch. This unique concept of attaining the divine with music and dance is something that needs to be explored and felt.

Sufi Art Exhibition
Date: 4th to 11th Oct 2012
Time: 11am – 6 pm
Venue: Al Ikhlas Gallery
Place: Ajmer, India

Sufi Music 
Date: 5th to 11th Oct 2012
Time: 6 – 9  pm
Place: Ajmer, India

All entry to the events will be free. Kindly carry your ID Card along with you.

For more details log on to our website

First Edition Monsoon 2012 in Ajmer

Monsoon 2012 unfolded in series of several layers on the 6th and 7th july at the Al Ikhlas Gallery, Ajmer. The festival organised by Ms Gulshaa Begum chairperson of Divine Abode. The  two day event unfolds the several layers of creativity in different sessions . The  first session Monsoon colours a series of group exhibition in various media by established artists from India and abroad followed by the classical music performance in the second session. paintings by renowned artist michael templin, dr sudeep rai, gulshaa begum, archana tela and jitendra patniwal were showcased.

The event was inaugrated by Dr Brijesh Mathur, chief – jawaharlal nehru hospital.The second series began with the sitar concert by Sitar Maestro Dr Sudeep Rai and Amjad Khan on Tabla.  Jha Saheb founder of  Kala Ankur Academy inaugurated the evening by lighting the lamp. Jha Saheb Congratulated Ms Begum for bringing a change in the Art and Culture presentation to the City. He was highly appreciative of the efforts of Ms Begum and her involvement in art and culture. The audience utterly spellbound with the soulful sitar recital at the  Malhaar Festival “Monsoon Ragas” held at Al Ikhlaas Gallery in Ajmer. Dr.Sudeep Rai noted disciple of the Sitar maestro Pt. Debu Chaudhuri, rendered a soul stirring Raga Megh on his sitar.The accompaniment of the tabla by ustad Amjad Khan of Delhi Gharana added rich colour to his deeply captivating performance.

Chief Patron Divine Abodes Mr Shahid Siddiqui, National General Secretary Samajwadi Party and Ex Mp Rajya Sabha said  Rain and the magical season of Monsoon have always been the throbbing heart of Indian life and culture. Whether we are talking about music – classical, folk or devotional – dance, painting or sculpture.
I must appreciate the initiative Divine Abode has taken in promoting art and culture in Ajmer” said Sandeep Marwah President Marwah Studios who himself is an art lover.

Ms Begum further thanked the artist, the audience,  Media Partner Marwah  studios and On line partner  for their support and co operation in the event