Jan 31, 2018 - Art Of Living Bhajans By Gayatri Chakravorty Art Of Living Bhajans. Gayatri Asokan is a playback singer who works mainly. A Bhajan singer. Academia.edu is a platform for academics to share research papers.
Bhajans of Art Of Living are in the core of our Life. They bring purity in our life by Simple but yet powerful Melodies. Art Of Living Foundation was founded by Sri Sri Ravi Shankar Ji. It has its Headquarters in Bangalore with a mission to reduce stress on modern day Living Style.
Art of Living Bhajans helps us release our stress and bless us with a pure heart. It aims to provide a stress-free mind to all. the Art of Living Bhajans uses stress-elimination techniques to make us tension free. It also helps us in improving our breathing through Meditation and Yoga.
![Art Art](/uploads/1/2/5/8/125835127/472337922.jpg)
It has helped thousands all around the world to reduce their stress, depressions and other Violent Acts.
In this Section we are listing few Art Of Living Bhajans from Youtube.
Album-Anahata
Singer-Gayatri
album-sumeru sandhya
Art of Living Bhajan by rishi nityapragya
Art of Living Bhajan
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Brahma Vishnu Sadashiva, Hara Hara Hara Hara Mahadeva,
Brahma Vishnu Sadashiva, Hara Hara Hara Hara Mahadeva,
Brahma Vishnu Sadashiva, Hara Hara Hara Hara Mahadeva,
Brahma Vishnu Sadashiva, Hara Hara Hara Hara Mahadeva,
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Brahma Vishnu Sadashiva, Hara Hara Hara Hara Mahadeva,
Brahma Vishnu Sadashiva, Hara Hara Hara Hara Mahadeva,
Brahma Vishnu Sadashiva, Hara Hara Hara Hara Mahadeva,
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Jay Guru Omkara, Jay Jay Sadguru Omkara, Om
Shiva Shiva Shiva Sadashiva, Hara Hara Hara Hara Mahadeva
Shiva Shiva Shiva Sadashiva, Hara Hara Hara Hara Mahadeva
Shiva Shiva Shiva Sadashiva, Hara Hara Hara Hara Mahadeva
Shiva Shiva Shiva Sadashiva, Hara Hara Hara Hara Mahadeva
Tere Naam Ke Siwa, Muje Kuch Yaad Nahi
O Guruji, Guruji
Sagar Mein Bhi Tu Hi Tu Hi
Leheron Mein Bhi Tu Hi Tu Hi
Dharti Mein Bhi Tu HI Tu Hi
Ambar Mein Bhi Tu Hi Tu Hi
Tere Naam ke Siva . . .
Om Gurave Namah – (2)
Allah Mein Bhi Tu Hi Tu Hi
Jesus Mein Bhi Tu Hi Tu HI
Buddha Mein Bhi Tu Hi Tu Hi
Krishna Mein Bhi Tu Hi Tu Hi
Tere Naam Ke Siva . . .
Shiva Shiva Shiva Sadashiva, Hara Hara Hara Hara Mahadeva
Shiva Shiva Shiva Sadashiva, Hara Hara Hara Hara Mahadeva
Shiva Shiva Shiva Sadashiva, Hara Hara Hara Hara Mahadeva
Tere Naam Ke Siwa, Muje Kuch Yaad Nahi
O Guruji, Guruji
Sagar Mein Bhi Tu Hi Tu Hi
Leheron Mein Bhi Tu Hi Tu Hi
Dharti Mein Bhi Tu HI Tu Hi
Ambar Mein Bhi Tu Hi Tu Hi
Tere Naam ke Siva . . .
Om Gurave Namah – (2)
Allah Mein Bhi Tu Hi Tu Hi
Jesus Mein Bhi Tu Hi Tu HI
Buddha Mein Bhi Tu Hi Tu Hi
Krishna Mein Bhi Tu Hi Tu Hi
Tere Naam Ke Siva . . .
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Abstract
J. B. Harley notes that 'maps as an impersonal type of knowledge tend to 'desocialize' the territory they represent; they foster the notion of a socially empty space'. Focusing on twentieth-century India, this paper considers an alternate tradition of mapping territory in which the nation is cartographically presented to its subject-citizens not as 'empty social space', but as 'Mother India', the Indian nation imagined as woman, mother, goddess. Through an analysis of such 'bodyscapes' of Mother India, I ask what is at stake in cartographically deploying the female body to map national territory. And I consider how such bodyscapes, even as they systematize a particular visual image of 'India', also consolidate the notion of the nation as motherland. / Pour J. B. Harley, 'les cartes comme mode de connaissance impersonnel tendent à 'désocialiser' le territoire qu'elles représentent; elles entretiennent l'idée d'un espace socialement vide'. En prenant l'Inde moderne comme objet d'étude, cet article examine une tradition alternative de cartographie du territoire dans laquelle la nation est représentée non comme un 'espace social vide', mais comme la 'Mère Inde', la nation indienne imaginée comme une femme, une mère, une déesse. A travers l'analyse de tels 'paysages anthropomorphes' de la Mère Inde, on peut se demander ce qui est en jeu dans la superposition du corps féminin à la carte du territoire national. Et d'examiner comment de tels paysages anthropomorphes, tout en généralisant une vision particulière de l'Inde, renforcent l'idée de la nation comme 'matrie'/mère patrie. / J. B. Harley stellt fest, dass 'Karten als eine entpersönlichte Form von Wissen das dargestellte Gebiet potentiell 'entsozialisieren'. Sie fördern die Vorstellung von einem gesellschaftlich leeren Raum'. Dieser Beitrag stellt anhand von Karten Indiens aus dem 20. Jahrhundert eine alternative Tradition der Territorialdarstellung vor, bei der die Nation ihren Bürgern kartographisch nicht als 'gesellschaftlich leerer Raum' präsentiert wird, sondern als 'Mutter Indien' und damit imaginär als Frau, Mutter und Gottheit. Durch eine Analyse derartiger 'körperbetonter' Darstellungen der 'Mutter Indien', wird untersucht, was die repräsentative Verwendung des weiblichen Körpers bei der Kartierung eines Nationalstaates impliziert. Darüber hinaus wird abgewogen, wie solche Figurenkarten, in gleicher Weise wie sie ein spezifisches Bild von Indien prägen, auch die Idee der Nation als 'Mutterland' verstärken können.