Introduction:

Nestled in the mountainous landscapes of Northern Thailand, Chiang Mai is a city that breathes culture at every corner. From its ancient temples to vibrant festivals, the cultural richness of Chiang Mai is a tapestry woven with threads of tradition, spirituality, and modern influences. In this exploration, we embark on a journey through the diverse facets of Chiang Mai's culture, where the past and present converge in a harmonious dance.

 

1. Temples and Spiritual Legacy:

Chiang Mai boasts a remarkable array of temples that stand as timeless witnesses to its spiritual heritage. Wat Phra Singh, Wat Chedi Luang, and Wat Phra That Doi Suthep are among the city's iconic temples, each telling a story of devotion and architectural brilliance. The intricate details of the temple structures, coupled with the serene atmosphere, create a spiritual ambiance that resonates with locals and visitors alike.

2. Lanna Culture and Traditions:

Chiang Mai is the heartland of Lanna culture, an ancient kingdom that once thrived in Northern Thailand. Lanna traditions are deeply ingrained in the local way of life, from the distinctive dance performances to the captivating music and art. The Lanna Folk Life Museum provides a captivating glimpse into the region's cultural roots, showcasing traditional clothing, utensils, and artifacts that tell the story of Chiang Mai's rich history.

3. Festivals that Illuminate the City:

Chiang Mai comes alive with an array of festivals that celebrate its cultural diversity. The Yi Peng Lantern Festival, where thousands of lanterns illuminate the night sky, is a breathtaking spectacle that symbolizes new beginnings and the release of negativity. Songkran, the Thai New Year, transforms the streets into a playful water battle, fostering a sense of unity and joy among locals and visitors.

4. Hill Tribes and Ethnic Diversity:

Surrounding Chiang Mai are various hill tribes, each with its distinct cultural identity. The Hmong, Karen, and Akha tribes contribute to the region's diverse cultural mosaic. Visitors have the opportunity to engage with these communities, learning about their unique traditions, craftsmanship, and ways of life, providing a glimpse into the rich ethnic tapestry that colors Chiang Mai.

5. Culinary Delights and Street Food Scene:

Chiang Mai's culinary scene is a testament to the fusion of tradition and modernity. From street food stalls serving traditional Khao Soi to trendy cafes offering a contemporary twist on Thai cuisine, the city's food culture is an exploration of flavors. Cooking classes and food markets invite visitors to immerse themselves in the culinary arts, learning the secrets of authentic Thai dishes.

6. Arts and Crafts:

Chiang Mai is a hub for artisans and craftsmen, with its vibrant arts and crafts scene attracting creatives from around the world. The city's famed Night Bazaar is a treasure trove of handmade goods, from intricately designed textiles to hand-carved woodwork. The Art in Paradise museum showcases contemporary art, blending traditional themes with modern expressions.

7. Modern Cultural Influences:

While Chiang Mai cherishes its cultural heritage, the city is not immune to modern influences. A burgeoning digital nomad community, modern art galleries, and innovative cultural spaces are emerging, creating a dynamic blend of tradition and contemporary expression. Co-working spaces and cultural events reflect the city's adaptability and openness to evolving global trends.

Conclusion:

Chiang Mai's cultural landscape is a captivating journey that unfolds through its temples, festivals, ethnic diversity, culinary scene, arts, and modern influences. It is a city where the past gracefully intertwines with the present, creating an atmosphere that invites exploration, appreciation, and a profound connection to the rich tapestry of Chiang Mai culture. As visitors and locals alike delve into this cultural symphony, they find themselves immersed in an experience that transcends time, leaving an indelible mark on the soul.

More about CHIANG MAI

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āļāļēāļĢāļ›āļĢāļ°āļ”āļąāļšāļ”āđ‰āļ§āļĒāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ—āļĩāđˆāđ€āļĢāļīāđˆāļĄāđāļĢāļāđāļĨāļ°āļāđ‰āļēāļ§āļŦāļ™āđ‰āļē: āļāļēāļĢāđ€āļ”āļīāļ™āļ—āļēāļ‡āļœāđˆāļēāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāđāļĨāļ°āļ„āļ§āļēāļĄāļ—āļąāļ™āļŠāļĄāļąāļĒāļ‚āļ­āļ‡āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

āļšāļ—āļ™āļģ:

āļ•āļąāđ‰āļ‡āļ­āļĒāļđāđˆāđƒāļ™āļ—āļīāļ§āđ€āļ‚āļēāļ‚āļ­āļ‡āļ āļđāđ€āļŦāļĨāđ‡āļāļ—āļēāļ‡āđ€āļŦāļ™āļ·āļ­āļ‚āļ­āļ‡āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒāđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆāđ€āļ›āđ‡āļ™āđ€āļĄāļ·āļ­āļ‡āļ—āļĩāđˆāđāļ•āđˆāļ‡āļāļēāļĒāļ”āđ‰āļ§āļĒāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ—āļĩāđˆāļ—āļļāđˆāļĄāđ€āļ—āļˆāļ™āļ—āļļāđˆāļĄāđ€āļ—āļ—āļļāļāļĄāļļāļĄ āļ•āļąāđ‰āļ‡āđāļ•āđˆāļ§āļąāļ”āđ‚āļšāļĢāļēāļ“āļˆāļ™āļ–āļķāļ‡āļ‡āļēāļ™āđ€āļ‰āļĨāļīāļĄāļžāļĢāļ°āđ€āļāļĩāļĒāļĢāļ•āļīāļ—āļĩāđˆāļĄāļĩāļŠāļĩāļ§āļīāļ•āļŠāļĩāļ§āļēāļ—āļĩāđˆāļĢāļ§āļšāļĢāļ§āļĄāđ„āļ§āđ‰ āđƒāļ™āļāļēāļĢāļŠāļģāļĢāļ§āļˆāļ™āļĩāđ‰āđ€āļĢāļēāļˆāļ°āļ•āļ·āđˆāļ™āļ•āļēāļ•āļ·āđˆāļ™āđƒāļˆāđ„āļ›āļāļąāļšāļ”āđ‰āļēāļ™āļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ‚āļ­āļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆāļ—āļĩāđˆāļ—āļĩāđˆāļŠāļēāļĄāļēāļĢāļ–āļœāđˆāļēāļ™āļĄāļēāļĢāļĢāļ‡āđāļĨāļ°āļ›āļąāļˆāļˆāļļāļšāļąāļ™āļ‹āļķāđˆāļ‡āļĢāļ§āļĄāļ­āļĒāļđāđˆāđƒāļ™āļāļēāļĢāđ€āļ•āđ‰āļ™āļĢāļģāļ‚āļ­āļ‡āļ­āļ”āļĩāļ•āđāļĨāļ°āļ›āļąāļˆāļˆāļļāļšāļąāļ™

  1. āļ§āļąāļ”āđāļĨāļ°āļĄāļĢāļ”āļāļˆāļīāļ•āļ§āļīāļāļāļēāļ“:

āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆāļĄāļĩāļ§āļąāļ”āļ—āļĩāđˆāļ™āđˆāļēāļ—āļķāđˆāļ‡āļĄāļēāļāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļžāļĒāļēāļ™āļ—āļĩāđˆāļĒāļąāļ‡āļ„āļ‡āļ­āļĒāļđāđˆāđƒāļ™āļĄāļĢāļ”āļāļˆāļīāļ•āļ§āļīāļāļāļēāļ“āļ‚āļ­āļ‡āđ€āļĄāļ·āļ­āļ‡āļ™āļĩāđ‰ āļ§āļąāļ”āļžāļĢāļ°āļŠāļīāļ‡āļŦāđŒ āļ§āļąāļ”āđ€āļˆāļ”āļĩāļĒāđŒāļŦāļĨāļ§āļ‡ āđāļĨāļ°āļ§āļąāļ”āļžāļĢāļ°āļ˜āļēāļ•āļļāļ”āļ­āļĒāļŠāļļāđ€āļ—āļžāđ€āļ›āđ‡āļ™āļ•āđ‰āļ™āļĄāļĩāđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āļ‚āļ­āļ‡āļ„āļ§āļēāļĄāđ€āļŠāļĄāļ­āļ āļēāļ„āđāļĨāļ°āļ„āļ§āļēāļĄāļĒāļīāđˆāļ‡āđƒāļŦāļāđˆāļ—āļēāļ‡āļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄ āļĢāļēāļĒāļĨāļ°āđ€āļ­āļĩāļĒāļ”āļ—āļēāļ‡āļĻāļīāļĨāļ›āļ°āļ—āļĩāđˆāļ‹āļąāļšāļ‹āđ‰āļ­āļ™āļ‚āļ­āļ‡āđ‚āļ„āļĢāļ‡āļŠāļĢāđ‰āļēāļ‡āļ§āļąāļ”āļĢāđˆāļ§āļĄāļāļąāļšāļšāļĢāļĢāļĒāļēāļāļēāļĻāļ—āļĩāđˆāđ€āļ‡āļĩāļĒāļšāļŠāļ‡āļšāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒ

  1. āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļĨāđ‰āļēāļ™āļ™āļēāđāļĨāļ°āļ›āļĢāļ°āđ€āļžāļ“āļĩ:

āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆāđ€āļ›āđ‡āļ™āļĻāļđāļ™āļĒāđŒāļāļĨāļēāļ‡āļ‚āļ­āļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļĨāđ‰āļēāļ™āļ™āļē āļ›āļĢāļ°āđ€āļžāļ“āļĩāļĨāđ‰āļēāļ™āļ™āļēāļ–āļđāļāļĨāļ‡āļ•āļąāļ§āļ­āļĒāđˆāļēāļ‡āļĨāļķāļ āļ•āļąāđ‰āļ‡āđāļ•āđˆāļāļēāļĢāđāļŠāļ”āļ‡āļ™āļēāļ„āļĢāđ‰āļēāļĒāļ—āļĩāđˆāļ™āđˆāļēāļ•āļāđƒāļˆāļˆāļ™āļ–āļķāļ‡āļ”āļ™āļ•āļĢāļĩāđāļĨāļ°āļĻāļīāļĨāļ›āļ°āļ—āļĩāđˆāļ™āđˆāļēāļŦāļĨāļ‡āđƒāļŦāļĨ āļžāļīāļžāļīāļ˜āļ āļąāļ“āļ‘āđŒāļŠāļĩāļ§āļīāļ•āļ‚āļ­āļ‡āļ„āļ™āļĨāđ‰āļēāļ™āļ™āļēāđ€āļŠāļ·āđ‰āļ­āļœāđ‰āļēāļ”āļąāđ‰āļ‡āđ€āļ”āļīāļĄāļ—āļļāļāļ§āļąāļ™āļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļŠāđˆāļ§āļ™āļŠāļģāļ„āļąāļāļ‚āļ­āļ‡āļ§āļīāļ–āļĩāļŠāļĩāļ§āļīāļ•āļ—āđ‰āļ­āļ‡āļ–āļīāđˆāļ™āđāļĨāļ°āļŠāļĄāļšāļđāļĢāļ“āđŒāļĢāļēāļāļ‚āļ­āļ‡āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

  1. āđ€āļ—āļĻāļāļēāļĨāļ—āļĩāđˆāđ„āļŸāđāļˆāđˆāļĄāđƒāļŠ:

āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆāļ„āļ·āļ™āļ•āļ·āđˆāļ™āļ‚āļķāđ‰āļ™āļ”āđ‰āļ§āļĒāļŠāļļāļĄāļ™āļļāļĄāļ‚āļ­āļ‡āđ€āļ—āļĻāļāļēāļĨāļ—āļĩāđˆāđ€āļ‰āļĨāļīāļĄāļ‰āļĨāļ­āļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ—āļĩāđˆāļŦāļĨāļēāļāļŦāļĨāļēāļĒ āļ‡āļēāļ™āđ€āļ—āļĻāļāļēāļĨāļ—āļĩāđˆāļĄāļĩāđ„āļŸāđ„āļŦāļĄāđ‰ (Yi Peng Lantern Festival) āļ—āļĩāđˆāļ—āļģāđƒāļŦāđ‰āļŸāđ‰āļēāļĢāļēāļ§āļāļąāļšāļ—āļēāļĄāļīāđƒāļ™āļ—āļĩāđˆāļ—āļĩāđˆāļĢāđ‰āļ­āļ™āđāļĢāļ‡ āđ€āļ›āđ‡āļ™āļ—āļąāļĻāļ™āļĩāļĒāļ āļēāļžāļ—āļĩāđˆāļ‡āļ”āļ‡āļēāļĄāļ—āļĩāđˆāļ•āļąāđ‰āļ‡āļ•āļēāļĄāļŦāļĨāļąāļ‡āđāļĨāļ°āļāļēāļĢāļ›āļĨāđˆāļ­āļĒāđ„āļŸāđ„āļ›āļ‚āđ‰āļēāļ‡āļšāļ™āđāļŠāļ™āļ­āļąāļ™āļĨāļĄāļĢāļēāļ‡āļĄāļēāļžāļĢāđ‰āļ­āļĄāļāļąāļšāļāļēāļĢāļ‚āļ­āđƒāļŦāđ‰āļ•āļ™āđ€āļ­āļ‡āđ„āļ”āđ‰āļĢāļąāļšāļ„āļ§āļēāļĄāļŠāļļāļ‚ āļŠāļ‡āļš āđāļĨāļ°āļāļēāļĢāļ›āļĨāđˆāļ­āļĒāļĨāļĄāļĨāļ‡āđƒāļ™āļĢāļđāļ›āđāļšāļšāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļĻāļĩāļĢāļĐāļ°

  1. āļāļĨāļļāđˆāļĄāļŠāļēāļ§āđ€āļ‚āļēāđāļĨāļ°āļ„āļ§āļēāļĄāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ‚āļ­āļ‡āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ:

āļĢāļ­āļšāđ† āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆāļĄāļĩāļāļĨāļļāđˆāļĄāļŠāļēāļ§āđ€āļ‚āļēāļ•āđˆāļēāļ‡āđ† āļ—āļļāļāļāļĨāļļāđˆāļĄāļĄāļĩāđ€āļ­āļāļĨāļąāļāļĐāļ“āđŒāļ‚āļ­āļ‡āļ•āļ™āđ€āļ­āļ‡āļ—āļąāđ‰āļ‡āđƒāļ™āļ”āđ‰āļēāļ™āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āļĢāļēāļĒāļĨāļ°āđ€āļ­āļĩāļĒāļ”āļ‚āļ­āļ‡āļĨāļđāļāđāļāđ‰āļ§ āļ„āļēāļĢāļēāđāļ‹āđˆāļš āđāļĨāļ°āļ­āļēāļ„āļēāļĢāļŠāļļāļĄāļŠāļ™āļ—āļĩāđˆāļŠāļ§āļĒāļ‡āļēāļĄāļ—āļąāđ‰āļ‡āļ™āļĩāđ‰āļŠāđˆāļ§āļĒāđƒāļŦāđ‰āļ™āļąāļāļ—āđˆāļ­āļ‡āđ€āļ—āļĩāđˆāļĒāļ§āđ„āļ”āđ‰āđāļ•āļ°āļ•āđ‰āļ­āļ™āļŠāļąāļĄāļœāļąāļŠāļāļąāļšāļ āļđāļĄāļīāļ›āļĢāļ°āđ€āļ—āļĻāļ—āļēāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ—āļĩāđˆāļŠāļ§āļĒāļ‡āļēāļĄāļ‚āļ­āļ‡āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

  1. āļĨāļēāļ™āļ—āļ”āđāļ—āļ™āđāļĨāļ°āļāļēāļĢāļˆāļģāļŦāļ™āđˆāļēāļĒāļ­āļēāļŦāļēāļĢāļ–āļ™āļąāļ”:

āļ—āļĩāđˆāđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆāļĻāļĩāļĨāļ˜āļĢāļĢāļĄāđƒāļ™āļ”āđ‰āļēāļ™āļ­āļēāļŦāļēāļĢāđ€āļ›āđ‡āļ™āļžāļĒāļēāļ™āļ–āļķāļ‡āļāļēāļĢāļœāļŠāļĄāļœāļŠāļēāļ™āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ—āļēāļ‡āļ”āļąāđ‰āļ‡āđ€āļ”āļīāļĄāđāļĨāļ°āļ„āļ§āļēāļĄāļ—āļąāļ™āļŠāļĄāļąāļĒ āļ•āļąāđ‰āļ‡āđāļ•āđˆāļĢāļ–āđ€āļ‚āđ‡āļ™āļ­āļēāļŦāļēāļĢāļ—āļĩāđˆāđƒāļŦāđ‰āļšāļĢāļīāļāļēāļĢāļ‚āļ­āļ‡āļ‚āļ­āļ‡āļ–āļ™āļ™āļ›āļĢāļ°āļˆāļģ āļˆāļ™āļ–āļķāļ‡āļĢāđ‰āļēāļ™āļāļēāđāļŸāļ—āļĩāđˆāļ—āļąāļ™āļŠāļĄāļąāļĒāļ—āļĩāđˆāđƒāļŦāđ‰āļšāļĢāļīāļāļēāļĢāļ­āļēāļŦāļēāļĢāđ„āļ—āļĒāļ—āļĩāđˆāđāļ•āđˆāļ‡āļ•āļąāļ§āđƒāļŦāļĄāđˆāļ™āļ­āļāļˆāļēāļāļ™āļĩāđ‰āļĒāļąāļ‡āļĄāļĩāļ„āļĨāļēāļŠāļŠāļīāļāđƒāļ™āļāļēāļĢāļ—āļģāļ­āļēāļŦāļēāļĢāļ•āļēāļĄāđāļšāļšāđ€āļ”āļīāļĄ āļ„āļĨāļēāļŠāđ€āļ•āļ­āļĢāđŒ āļŠāļģāļŦāļĢāļąāļšāļāļēāļĢāļ—āļģāļ­āļēāļŦāļēāļĢāļ—āļĩāđˆāļ„āļļāļ“āļĄāļĩāđ‚āļ­āļāļēāļŠāđ„āļ”āđ‰āļŠāļąāļĄāļœāļąāļŠāļ­āļĒāđˆāļēāļ‡āđ„āļĢāđ‰āđ€āļ—āļĩāļĒāļĄāļ—āļēāļ™

  1. āļĻāļīāļĨāļ›āļ°āđāļĨāļ°āļ‡āļēāļ™āļāļĩāļĄāļ·āļ­:

āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆāđ€āļ›āđ‡āļ™āļĻāļđāļ™āļĒāđŒāļāļĨāļēāļ‡āļ‚āļ­āļ‡āļĻāļīāļĨāļ›āļīāļ™āđāļĨāļ°āļŠāđˆāļēāļ‡āļāļĩāļĄāļ·āļ­ āļĻāļīāļĨāļ›āļ°āđāļĨāļ°āļ‡āļēāļ™āļāļĩāļĄāļ·āļ­āļ—āļĩāđˆāļĄāļĩāļŠāļ·āđˆāļ­āđ€āļŠāļĩāļĒāļ‡āļ‚āļ­āļ‡āđ€āļĄāļ·āļ­āļ‡āļ™āļĩāđ‰āļ”āļķāļ‡āļ”āļđāļ”āļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļˆāļēāļāļ—āļąāđˆāļ§āļ—āļļāļāļĄāļļāļĄāđ‚āļĨāļ āļ—āļĩāđˆāļ•āļĨāļēāļ”āļ–āļ™āļ™āļāļĨāļēāļ‡āļ„āļ·āļ™āļ‚āļ­āļ‡āđ€āļĄāļ·āļ­āļ‡āđ€āļ›āđ‡āļ™āļ„āļĨāļąāļ‡āļ‚āļ­āļ‡āļŠāļīāļ™āļ„āđ‰āļēāļ—āļĩāđˆāļ—āļģāļ”āđ‰āļ§āļĒāļĄāļ·āļ­ āļ•āļąāđ‰āļ‡āđāļ•āđˆāđ€āļŠāļ·āđ‰āļ­āļœāđ‰āļēāļ—āļĩāđˆāļ­āļ­āļāđāļšāļšāļ­āļĒāđˆāļēāļ‡āļĨāļ°āđ€āļ­āļĩāļĒāļ”āļˆāļ™āļ–āļķāļ‡āļ‡āļēāļ™āđ„āļĄāđ‰āļ—āļĩāđˆāļŠāļ§āļĒāļ‡āļēāļĄ āļžāļīāļžāļīāļ˜āļ āļąāļ“āļ‘āđŒāļĻāļīāļĨāļ›āļ°āđƒāļ™āļŠāļ§āļĢāļĢāļ„āđŒāđ€āļŠāļĄāļ·āļ­āļ™āđāļŠāļ‡āļŠāļąāļ™āļ•āđŒāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļĻāļīāļĨāļ›āļ°āļ—āļąāļ™āļŠāļĄāļąāļĒāļ—āļĩāđˆāļœāļŠāļĄāļœāļŠāļēāļ™āļāļąāļšāļŦāļąāļ§āļ‚āđ‰āļ­āļ”āđ‰āļēāļ™āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ

  1. āļ„āļ§āļēāļĄāļĄāļĩāļ­āļīāļ—āļ˜āļīāļžāļĨāļ‚āļ­āļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđ‚āļĄāđ€āļ”āļīāļĢāđŒāļ™:

āđƒāļ™āļ‚āļ“āļ°āļ—āļĩāđˆāđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆāļ›āļāļ•āļīāļĢāļąāļāļĐāļēāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ‚āļ­āļ‡āļ•āļ™āļĄāļĩāļāļēāļĢāđ„āļ”āđ‰āļĢāļąāļšāļ­āļīāļ—āļ˜āļīāļžāļĨāļˆāļēāļāļŠāļīāđˆāļ‡āļ—āļĩāđˆāļ—āļąāļ™āļŠāļĄāļąāļĒāļ”āđ‰āļ§āļĒ āđ€āļ›āđ‡āļ™āļ—āļĩāđˆāļĢāļ°āļšāļļāļ–āļķāļ‡āļāļĨāļļāđˆāļĄāļŠāļļāļĄāļŠāļ™āļ™āļąāļāļ—āļģāļ‡āļēāļ™āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ›āļĢāļ°āđ€āļ—āļĻāđ€āļ›āđ‡āļ™āļˆāļģāļ™āļ§āļ™āļĄāļēāļāļ‹āļķāđˆāļ‡āļ›āļĢāļēāļāļāļ•āļąāļ§āđƒāļ™āļ—āđ‰āļ­āļ‡āļ–āļīāđˆāļ™ āļŦāļ­āļŠāļĄāļļāļ”āđāļŦāđˆāļ‡āļ™āļĩāđ‰ āđāļĨāļ°āļŠāļ–āļēāļ™āļ—āļĩāđˆāļˆāļąāļ”āļāļīāļˆāļāļĢāļĢāļĄāļ—āļēāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ—āļĩāđˆāļ—āļąāļ™āļŠāļĄāļąāļĒ āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļ—āļģāļ‡āļēāļ™āļĢāđˆāļ§āļĄāđāļĨāļ°āđ€āļŦāļ•āļļāļāļēāļĢāļ“āđŒāļ—āļēāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđƒāļŦāļĄāđˆ āđ† āļĢāļ§āļĄāļ–āļķāļ‡āļāļēāļĢāļĄāļĩāļĢāļ°āļšāļšāļ­āļ‡āļ„āđŒāļāļĢāļ—āļģāļ‡āļēāļ™āļĢāđˆāļ§āļĄāļāļąāļ™āđ€āļžāļ·āđˆāļ­āļŠāļ™āļąāļšāļŠāļ™āļļāļ™āļ—āļģāđƒāļŦāđ‰āđ€āļāļīāļ”āļāļēāļĢāļœāļŠāļĄāļœāļŠāļēāļ™āļ‚āļ­āļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđāļĨāļ°āļāļēāļĢāđāļŠāļ”āļ‡āļ­āļ­āļāļ—āļĩāđˆāļ—āļąāļ™āļŠāļĄāļąāļĒ

āļŠāļĢāļļāļ›:

āļ āļđāļĄāļīāļ›āļĢāļ°āđ€āļ—āļĻāļ—āļēāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ‚āļ­āļ‡āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆāđ€āļ›āđ‡āļ™āļāļēāļĢāđ€āļ”āļīāļ™āļ—āļēāļ‡āļ—āļĩāđˆāļ™āđˆāļēāļŦāļĨāļ‡āđƒāļŦāļĨāļ—āļĩāđˆāļĢāļđāđ‰āļˆāļąāļāļœāđˆāļēāļ™āļ§āļąāļ” āđ€āļ—āļĻāļāļēāļĨ āļ„āļ§āļēāļĄāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ‚āļ­āļ‡āļŠāļļāļĄāļŠāļ™āļŠāļēāļ§āđ€āļ‚āļē āļ­āļēāļŦāļēāļĢāļ—āđ‰āļ­āļ‡āļ–āļīāđˆāļ™ āļĻāļīāļĨāļ›āļ° āđāļĨāļ°āļ­āļīāļ—āļ˜āļīāļžāļĨāļ—āļąāļ™āļŠāļĄāļąāļĒ āļĄāļąāļ™āđ€āļ›āđ‡āļ™āđ€āļĄāļ·āļ­āļ‡āļ—āļĩāđˆāļ—āļąāđ‰āļ‡āļ­āļ”āļ—āļ™āđāļĨāļ°āļ›āļąāļˆāļˆāļļāļšāļąāļ™āļĢāļ§āļĄāļ­āļĒāļđāđˆāđƒāļ™āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļ—āļĩāđˆāļĄāļĩāļ„āļ§āļēāļĄāļŦāļĄāļēāļĒāļŠāļģāļŦāļĢāļąāļšāļ™āļąāļāļ—āđˆāļ­āļ‡āđ€āļ—āļĩāđˆāļĒāļ§āđāļĨāļ°āļŠāļēāļ§āļ—āđ‰āļ­āļ‡āļ–āļīāđˆāļ™ āļ‹āļķāđˆāļ‡āļœāļĨāļąāļāļ”āļąāļ™āļ™āļĩāđ‰āđāļĨāļ°āļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļāļ‚āļ­āļ‡āļāļēāļĢāļœāļˆāļāļ āļąāļĒāļˆāļ°āļ—āļīāđ‰āļ‡āļĢāđˆāļ­āļ‡āļĢāļ­āļĒāļĨāļķāļāļĨāļ‡āđƒāļ™āļ§āļīāļāļāļēāļ“

āđ€āļžāļīāđˆāļĄāđ€āļ•āļīāļĄāđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ