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ہک دھی رانی دی فریاد

ہک دھی رانی دی فریاد
بولے جدوں بنیرے کاں

میں سمجھ جاندی ہاں
گل ہے ضرور اولی

تاہیوں کردا اے کاں کاں
کائی دس پیغام خوشی دا

مینوں درداں ماریا تھاں
میں کٹھی وچ ہجر دے

میری نکلی جاندی جاں
میرے سینے پھٹ انوکھا

کر سکدی نہیں عیاں
میری سن فریاد اے امبڑی

جے توں ہیں میری ماں
نہیں سُجھدے ریشم گوٹے

نہ محل چوبارے تھاں
نہ چوڑے ہار حمیلاں

نہ کنٹھا منگدی ہاں
نہ گانی نتھ نہ ِٹکّا

نہ منگاں حویلی تھاں
نہ ریشم لہنگے منگاں

نہ سونا چاندی چاہاں
نہ ہور قصیدے چوڑے

نہ قریشیے بانہاں
نہ مربعے، بھوئیں نہ بھانڈے

نہ کوئی لمبی……… لاں
نہ ریجھ مایا دی مینوں

نہ مجھ نہ وچھا گاں
ہک راز دلے وچ میرے

دس میں ہن کی کراں
تیرے لکھ احسان کروڑاں

بھل سکاں میں کداں
تیرا حکم میرے سر اکھیں

توں سکی میری ماں
اک خیر منگاں میں تیتھوں

نالے منگدی وی سنگاں
کر سکدی توں ہیں اماں

میری زندگی میرے ناں
جے میری گل توں منیں

میں اُڈّاں باہجھ پراں
جے نال رنجیٹھے ٹوریں

دل ٹھردا میرا تاں

The Making of Benazir Income Support Program

The Benazir Income Support Program (BISP), introduced in 2008-09, is a unique cash support scheme for economically stressed families. Its uniqueness arises from several facets. The cash transfers are provided only to women aged over 18 years and have been ever married. It is unconditional and aimed at supplementing income as opposed to alleviating poverty. It was politically neutral, given that the facility to identify potential beneficiaries was extended to all parliamentarians, irrespective of party affiliation. A set of filters, applied electronically, ensured objectivity in beneficiary selection. Disbursement mechanism was automated to ensure minimal leakage. This paper outlines the process of the preparatory work that went into designing BISP – the conceptual debates, the beneficiary identification and disbursement procedures, etc. – involving a combination of high quality research with political decision making. It also addresses the debates surrounding BISP, cites independent empirical studies that show that the parliamentarian-based beneficiary selection mechanism was efficient and equitable and did indeed cover the deserving, and also responds to the variety of criticisms. ______

Buddhist Stucco and Terracotta Heads in the Collection of Peshawar Museum, a Stylistic, Chronological and Petrographic Study

Today the subject of Buddhist art of Gandhara has been mostly restricted to the study of its style, influences and subject maters and less attention has been given to trace the provenance, historical information and material compositions of the sculptures. In the present study an attempt is made to find out solutions for such fundamental issues related to the provenance, chronology and composition particularly of stucco and terracotta sculptures. The figural representation executed in such perishable materials are laying in bulk in the store rooms of various museums of Pakistan especially in the Peshawar Museum and are waiting for such a study to solve these issues. Although most of these sculptures might have come from the proper excavations of known archaeological sites since the first decade of the 20th century but due to lack of enough attention and care as well as the nature of the material the museum inventory numbers put on them are sometimes defaced and it is now very difficult to trace their original record and to assign them into a particular site. In order to find out a possible solution for the above cited issues, the present study is focused on the stucco and terracotta heads as till yet these art pieces are not either documented, illustrated or analysed in a scientific way. For the first time we have studied its material composition through the CRL (Central Resource Laboratory) laboratory of Physics Department, University of Peshawar. Two types of procedures i.e EDX and XRD were followed to obtain elemental and mineral form information which leads us to our desired objectives. The results achieved from these analysis are incorporated in the dissertation (see chapter eight) while other related information to the collection are presented in serial wise in the following chapters. Chapter one contains a brief introduction to the background of study its aim and objectives and research methodology. Chapter two treats with the geography and brief history of Gandhara. Chapter three, is about those ancient religions which are flourished here and, their presence still can be observed in the art and architecture of this region. Four chapter is dedicated to the story of Buddhist art from the very beginning until it reached to its climax in Gandhara, the use of stucco and terracotta material in Gandhara art and the initiation of archaeological work during and after Britishers. Chapter five is based on the study of those sites of Gandhara which are properly excavated and from where stucco and terracotta sculptural material were found for the purpose to know the exact chronology of this type of sculptures. Chapter six, is about the study of stylistic analysis and regional workshops of stucco and terracotta sculptures housed in the Peshawar Museum, while in chapter seven different parts of heads and their shapes and styles are discussed in detail. Chapter eight is based on the petrographic analysis, its objectives, methodology, and obtained results.Chapter nine represents an attempt to reconstruct the actual bodies on which these heads were mounted. Conclusion is the last portion of the dissertation, the achieved results and recommendations are incorporated here. These are supported by three charts, bibliographic lists, index and plates.
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