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āĻĒāĻžāĻ āϏāĻ‚āĻļā§āϞāĻŋāĻˇā§āϟ āĻ›āĻŦāĻŋ/āχāĻŽā§‡āϜ

āϰāĻŋāϏ⧇āϟ

ā§Ļā§Ģ āϜ⧁āϞāĻžāχ, ⧍ā§Ļ⧍ā§Ģ ā§Ļā§Ģ:ā§Ēā§Ļ āĻ…āĻĒāϰāĻžāĻšā§āĻŖ

Zahir Raihan: A Visionary Filmmaker and Martyr of Bangladesh



  • 🌟 Zahir Raihan: A Visionary Filmmaker and Martyr of Bangladesh

    (āϜāĻšāĻŋāϰ āϰāĻžā§ŸāĻšāĻžāύ: āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āĻāĻ•āϜāύ āĻĻā§‚āϰāĻĻāĻ°ā§āĻļā§€ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āύāĻŋāĻ°ā§āĻŽāĻžāϤāĻž āĻ“ āĻļāĻšā§€āĻĻ āĻŽā§āĻ•ā§āϤāĻŋāϝ⧋āĻĻā§āϧāĻž)



    🟩 Introduction | āĻ­ā§‚āĻŽāĻŋāĻ•āĻž

    Zahir Raihan was one of the most influential and visionary filmmakers, writers, and intellectuals in the history of Bangladesh. His name is etched in the heart of the nation not only for his artistic brilliance but also for his deep patriotism and ultimate sacrifice during the Liberation War.
    āϜāĻšāĻŋāϰ āϰāĻžā§ŸāĻšāĻžāύ āĻ›āĻŋāϞ⧇āύ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āχāϤāĻŋāĻšāĻžāϏ⧇ āĻ…āĻ¨ā§āϝāϤāĻŽ āĻĒā§āϰāĻ­āĻžāĻŦāĻļāĻžāϞ⧀ āĻāĻŦāĻ‚ āĻĻā§‚āϰāĻĻāĻ°ā§āĻļā§€ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āύāĻŋāĻ°ā§āĻŽāĻžāϤāĻž, āϞ⧇āĻ–āĻ• āĻ“ āĻŦ⧁āĻĻā§āϧāĻŋāĻœā§€āĻŦā§€āĨ¤ āϕ⧇āĻŦāϞ āĻļāĻŋāĻ˛ā§āĻĒ-āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ⧇āϰ āϜāĻ¨ā§āϝāχ āύ⧟, āĻŽā§āĻ•ā§āϤāĻŋāϝ⧁āĻĻā§āϧ⧇ āϤāĻžāρāϰ āĻ—āĻ­ā§€āϰ āĻĻ⧇āĻļāĻĒā§āϰ⧇āĻŽ āĻ“ āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāϗ⧇āϰ āĻ•āĻžāϰāϪ⧇āĻ“ āϤāĻŋāύāĻŋ āϜāĻžāϤāĻŋāϰ āĻšā§ƒāĻĻā§Ÿā§‡ āĻ…āĻŽāϰ āĻšā§Ÿā§‡ āφāϛ⧇āύāĨ¤



    🔹 Early Life and Education | āĻĒā§āϰāĻžāϰāĻŽā§āĻ­āĻŋāĻ• āĻœā§€āĻŦāύ āĻ“ āĻļāĻŋāĻ•ā§āώāĻž

    Zahir Raihan was born on August 19, 1935, in Feni district, then under British India. He completed his matriculation from Amirabad High School and later pursued his higher education at the University of Dhaka, where he studied Bengali literature. From an early age, he showed a keen interest in writing, journalism, and cinema.
    āϜāĻšāĻŋāϰ āϰāĻžā§ŸāĻšāĻžāύ⧇āϰ āϜāĻ¨ā§āĻŽ ā§§ā§¯ā§Šā§Ģ āϏāĻžāϞ⧇āϰ ⧧⧝ āφāĻ—āĻ¸ā§āϟ, āĻ¤ā§ŽāĻ•āĻžāϞ⧀āύ āĻŦā§āϰāĻŋāϟāĻŋāĻļ āĻ­āĻžāϰāϤ⧇āϰ āĻĢ⧇āύ⧀ āĻœā§‡āϞāĻžā§ŸāĨ¤ āϤāĻŋāύāĻŋ āφāĻŽāĻŋāϰāĻžāĻŦāĻžāĻĻ āĻšāĻžāχ āĻ¸ā§āϕ⧁āϞ āĻĨ⧇āϕ⧇ āĻŽā§āϝāĻžāĻŸā§āϰāĻŋāĻ• āĻĒāĻžāϏ āĻ•āϰ⧇āύ āĻāĻŦāĻ‚ āĻĒāϰ⧇ āĻĸāĻžāĻ•āĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāĻ˛ā§Ÿā§‡ āĻŦāĻžāĻ‚āϞāĻž āϏāĻžāĻšāĻŋāĻ¤ā§āϝ āĻ…āĻ§ā§āϝ⧟āύ āĻ•āϰ⧇āύāĨ¤ āϛ⧋āϟāĻŦ⧇āϞāĻž āĻĨ⧇āϕ⧇āχ āϤāĻŋāύāĻŋ āϞ⧇āĻ–āĻžāϞ⧇āĻ–āĻŋ, āϏāĻžāĻ‚āĻŦāĻžāĻĻāĻŋāĻ•āϤāĻž āĻ“ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇ āĻ—āĻ­ā§€āϰ āφāĻ—ā§āϰāĻš āĻĻ⧇āĻ–āĻžāύāĨ¤



    🔹 Career in Film and Literature | āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āĻ“ āϏāĻžāĻšāĻŋāĻ¤ā§āϝāϜāĻ—āϤ⧇ āĻĒāĻĨāϚāϞāĻž

    Zahir Raihan began his career as a journalist and short story writer. His literary works reflect deep socio-political consciousness. He entered the world of film in the 1950s and soon became a pioneer of Bengali cinema in East Pakistan. His directorial debut was the film Kokhono Asheni (1961), which was acclaimed for its powerful storytelling and social message.
    āϜāĻšāĻŋāϰ āϰāĻžā§ŸāĻšāĻžāύ āĻĒā§āϰāĻĨāĻŽā§‡ āϏāĻžāĻ‚āĻŦāĻžāĻĻāĻŋāĻ•āϤāĻž āĻ“ āϛ⧋āϟāĻ—āĻ˛ā§āĻĒ āϞ⧇āĻ–āĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϤāĻžāρāϰ āĻĒ⧇āĻļāĻžāĻœā§€āĻŦāύ āĻļ⧁āϰ⧁ āĻ•āϰ⧇āύāĨ¤ āϤāĻžāρāϰ āϏāĻžāĻšāĻŋāĻ¤ā§āϝāĻ•āĻ°ā§āĻŽā§‡ āϏāĻŽāĻžāϜ āĻ“ āϰāĻžāϜāύ⧀āϤāĻŋāϰ āĻĒā§āϰāϤāĻŋ āĻ—āĻ­ā§€āϰ āϏāĻšā§‡āϤāύāϤāĻž āĻĒā§āϰāϤāĻŋāĻĢāϞāĻŋāϤ āĻšā§ŸāĨ¤ ⧧⧝ā§Ģā§Ļ-āĻāϰ āĻĻāĻļāϕ⧇ āϤāĻŋāύāĻŋ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āϜāĻ—āϤ⧇ āĻĒā§āϰāĻŦ⧇āĻļ āĻ•āϰ⧇āύ āĻāĻŦāĻ‚ āĻļāĻŋāĻ—āĻ—āĻŋāϰāχ āĻĒā§‚āĻ°ā§āĻŦ āĻĒāĻžāĻ•āĻŋāĻ¸ā§āϤāĻžāύ⧇ āĻŦāĻžāĻ‚āϞāĻž āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āĻ…āĻ—ā§āϰāĻĻā§‚āϤ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒāϰāĻŋāϚāĻŋāϤāĻŋ āϞāĻžāĻ­ āĻ•āϰ⧇āύāĨ¤ āϤāĻžāρāϰ āĻĒāϰāĻŋāϚāĻžāϞāύāĻžā§Ÿ āĻĒā§āϰāĻĨāĻŽ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āĻ°Â āĻ•āĻ–āύ⧋ āφāϏ⧇āύāĻŋ (⧧⧝ā§Ŧā§§), āϝāĻž āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āĻ—āĻ˛ā§āĻĒ āĻ“ āϏāĻžāĻŽāĻžāϜāĻŋāĻ• āĻŦāĻžāĻ°ā§āϤāĻžāϰ āϜāĻ¨ā§āϝ āĻĒā§āϰāĻļāĻ‚āϏāĻŋāϤ āĻšā§ŸāĨ¤

    **He went on to direct many iconic films such as:

      1. Kancher Deyal (1963)

      1. Behula (1966)

      2. Jibon Theke Neya (1970)**
        **āϤāĻŋāύāĻŋ āĻĒāϰāĻŦāĻ°ā§āϤ⧀āϤ⧇ āφāϰāĻ“ āĻ…āύ⧇āĻ• āĻ•āĻŋāĻ‚āĻŦāĻĻāĻ¨ā§āϤāĻŋ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āĻĒāϰāĻŋāϚāĻžāϞāύāĻž āĻ•āϰ⧇āύ, āϝ⧇āĻŽāύ:

      3. āĻ•āĻžāρāĻšā§‡āϰ āĻĻ⧇āϝāĻŧāĻžāĻ˛Â (⧧⧝ā§Ŧā§Š)

      4. āĻŦ⧇āĻšā§āϞāĻžÂ (⧧⧝ā§Ŧā§Ŧ)

      5. āĻœā§€āĻŦāύ āĻĨ⧇āϕ⧇ āύ⧇āϝāĻŧāĻžÂ (⧧⧝⧭ā§Ļ)**

     

    "Jibon Theke Neya" is considered a milestone in Bengali cinema, using metaphor and symbolism to portray the political oppression of Pakistan over East Bengal.
    “āĻœā§€āĻŦāύ āĻĨ⧇āϕ⧇ āύ⧇āϝāĻŧāĻžâ€ āĻŦāĻžāĻ‚āϞāĻž āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āχāϤāĻŋāĻšāĻžāϏ⧇ āĻāĻ• āĻŽāĻžāχāϞāĻĢāϞāĻ• āĻšāĻŋāϏ⧇āĻŦ⧇ āĻŦāĻŋāĻŦ⧇āϚāĻŋāϤ, āϝ⧇āĻ–āĻžāύ⧇ āϰ⧂āĻĒāĻ• āĻ“ āĻĒā§āϰāϤ⧀āϕ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻĒāĻžāĻ•āĻŋāĻ¸ā§āϤāĻžāύāĻŋ āĻļāĻžāϏāĻ•āĻĻ⧇āϰ āϰāĻžāϜāύ⧈āϤāĻŋāĻ• āĻĻāĻŽāύāύ⧀āϤāĻŋāϕ⧇ āωāĻĒāĻ¸ā§āĻĨāĻžāĻĒāύ āĻ•āϰāĻž āĻšā§ŸāĨ¤



    🔹 Role in the Liberation War | āĻŽā§āĻ•ā§āϤāĻŋāϝ⧁āĻĻā§āϧ⧇ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž

    Zahir Raihan was a staunch supporter of the Bengali nationalist movement. During the 1971 Liberation War, he actively worked to expose the brutalities of the Pakistani army to the world. His documentary Stop Genocide shocked international audiences and played a significant role in generating global awareness.
    āϜāĻšāĻŋāϰ āϰāĻžā§ŸāĻšāĻžāύ āĻ›āĻŋāϞ⧇āύ āĻŦāĻžāĻ™āĻžāϞāĻŋ āϜāĻžāϤ⧀āϝāĻŧāϤāĻžāĻŦāĻžāĻĻā§€ āφāĻ¨ā§āĻĻā§‹āϞāύ⧇āϰ āĻāĻ•āύāĻŋāĻˇā§āĻ  āϏāĻŽāĻ°ā§āĻĨāĻ•āĨ¤ ⧧⧝⧭⧧ āϏāĻžāϞ⧇āϰ āĻŽā§āĻ•ā§āϤāĻŋāϝ⧁āĻĻā§āϧ⧇āϰ āϏāĻŽā§Ÿ āϤāĻŋāύāĻŋ āĻĒāĻžāĻ•āĻŋāĻ¸ā§āϤāĻžāύāĻŋ āϏ⧇āύāĻžāĻŦāĻžāĻšāĻŋāύ⧀āϰ āĻŦāĻ°ā§āĻŦāϰāϤāĻž āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āĻŽāĻšāϞ⧇āϰ āϏāĻžāĻŽāύ⧇ āϤ⧁āϞ⧇ āϧāϰāĻžāϰ āϜāĻ¨ā§āϝ āϏāĻ•ā§āϰāĻŋāϝāĻŧāĻ­āĻžāĻŦ⧇ āĻ•āĻžāϜ āĻ•āϰ⧇āύāĨ¤ āϤāĻžāρāϰ āύāĻŋāĻ°ā§āĻŽāĻŋāϤ āϤāĻĨā§āϝāϚāĻŋāĻ¤ā§āĻ°Â āĻ¸ā§āϟāĻĒ āĻœā§‡āύ⧋āϏāĻžāχāĻĄÂ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āĻŽāĻšāϞ⧇ āύāĻžā§œāĻž āĻĻā§‡ā§Ÿ āĻāĻŦāĻ‚ āĻŦāĻŋāĻļā§āĻŦāĻœā§ā§œā§‡ āϜāύāĻŽāϤ āϤ⧈āϰāĻŋāϤ⧇ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž āϰāĻžāϖ⧇āĨ¤



    🔹 Tragic Disappearance and Martyrdom | āύāĻŋāĻ–ā§‹āρāϜ āĻ“ āĻļāĻšā§€āĻĻ āĻšāĻ“ā§ŸāĻž

    On January 30, 1972, Zahir Raihan went missing while searching for his elder brother, Shahidullah Kaiser, a martyred intellectual abducted by Al-Badr forces. It is believed that Zahir was also killed by the same forces. His body was never found.
    ⧧⧝⧭⧍ āϏāĻžāϞ⧇āϰ ā§Šā§Ļ āϜāĻžāύ⧁āϝāĻŧāĻžāϰāĻŋ, āύāĻŋāĻ–ā§‹āρāϜ āĻļāĻšā§€āĻĻ āĻŦ⧁āĻĻā§āϧāĻŋāĻœā§€āĻŦā§€ āĻ­āĻžāχ āĻļāĻšā§€āĻĻ⧁āĻ˛ā§āϞāĻžāĻš āĻ•āĻžāϝāĻŧāϏāĻžāϰāϕ⧇ āϖ⧁āρāϜāϤ⧇ āĻ—āĻŋā§Ÿā§‡ āϜāĻšāĻŋāϰ āϰāĻžā§ŸāĻšāĻžāύ āύāĻŋāĻœā§‡āĻ“ āύāĻŋāĻ–ā§‹āρāϜ āĻšāύāĨ¤ āϧāĻžāϰāĻŖāĻž āĻ•āϰāĻž āĻšā§Ÿ, āϤāĻžāϕ⧇āĻ“ āφāϞāĻŦāĻĻāϰ āĻŦāĻžāĻšāĻŋāύ⧀ āĻšāĻ¤ā§āϝāĻž āĻ•āϰ⧇āĨ¤ āϤāĻžāρāϰ āĻŽāϰāĻĻ⧇āĻš āĻ•āĻ–āύ⧋āχ āĻĒāĻžāĻ“ā§ŸāĻž āϝāĻžā§ŸāύāĻŋāĨ¤



    🔹 Legacy | āωāĻ¤ā§āϤāϰāĻžāϧāĻŋāĻ•āĻžāϰ

    Zahir Raihan's legacy is eternal in Bangladesh. His films are studied in film schools, his writings are admired in literature, and his name is revered as a martyr who gave his life for the country’s freedom and truth. The Bangladesh government honored him with several awards, including the Independence Award posthumously.
    āϜāĻšāĻŋāϰ āϰāĻžā§ŸāĻšāĻžāύ⧇āϰ āωāĻ¤ā§āϤāϰāĻžāϧāĻŋāĻ•āĻžāϰ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇ āϚāĻŋāϰāĻ¸ā§āĻĨāĻžā§Ÿā§€āĨ¤ āϤāĻžāρāϰ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋ āĻĢāĻŋāĻ˛ā§āĻŽ āĻ¸ā§āϕ⧁āϞ⧇ āĻĒāĻžāĻ ā§āϝ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒ⧜āĻžāύ⧋ āĻšā§Ÿ, āϤāĻžāρāϰ āϏāĻžāĻšāĻŋāĻ¤ā§āϝ āϰāϚāύāĻžāϗ⧁āϞ⧋ āϏāĻžāĻšāĻŋāĻ¤ā§āϝ⧇ āĻļā§āϰāĻĻā§āϧāĻžāϰ āϏāĻ™ā§āϗ⧇ āφāϞ⧋āϚāĻŋāϤ āĻšā§Ÿ āĻāĻŦāĻ‚ āϤāĻžāρāϕ⧇ āĻāĻ•āϜāύ āĻļāĻšā§€āĻĻ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻ¸ā§āĻŽāϰāĻŖ āĻ•āϰāĻž āĻšā§Ÿ, āϝāĻŋāύāĻŋ āĻĻ⧇āĻļ⧇āϰ āĻ¸ā§āĻŦāĻžāϧ⧀āύāϤāĻž āĻ“ āϏāĻ¤ā§āϝ⧇āϰ āϜāĻ¨ā§āϝ āĻĒā§āϰāĻžāĻŖ āĻĻāĻŋā§Ÿā§‡āϛ⧇āύāĨ¤ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ āϏāϰāĻ•āĻžāϰ āϤāĻžāρāϕ⧇ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ⧇ āĻ­ā§‚āώāĻŋāϤ āĻ•āϰ⧇āϛ⧇, āϝāĻžāϰ āĻŽāĻ§ā§āĻ¯ā§‡Â āĻŽāϰāĻŖā§‹āĻ¤ā§āϤāϰ āĻ¸ā§āĻŦāĻžāϧ⧀āύāϤāĻž āĻĒāĻĻāĻ•Â āĻ…āĻ¨ā§āϝāϤāĻŽāĨ¤



    ✅ Famous Works | āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āĻ•āĻžāϜāϏāĻŽā§‚āĻš

    Films: Jibon Theke Neya, Kancher Deyal, Behula, Kokhono Asheni, Stop Genocide
    āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ: āĻœā§€āĻŦāύ āĻĨ⧇āϕ⧇ āύ⧇āϝāĻŧāĻž, āĻ•āĻžāρāĻšā§‡āϰ āĻĻ⧇āϝāĻŧāĻžāϞ, āĻŦ⧇āĻšā§āϞāĻž, āĻ•āĻ–āύ⧋ āφāϏ⧇āύāĻŋ, āĻ¸ā§āϟāĻĒ āĻœā§‡āύ⧋āϏāĻžāχāĻĄ

    Books: Arek Falgun, Hajar Bochhor Dhore, Shesh Bikeler Meye
    āĻ—ā§āϰāĻ¨ā§āĻĨ: āφāϰ⧇āĻ• āĻĢāĻžāĻ˛ā§āϗ⧁āύ, āĻšāĻžāϜāĻžāϰ āĻŦāĻ›āϰ āϧāϰ⧇, āĻļ⧇āώ āĻŦāĻŋāϕ⧇āϞ⧇āϰ āĻŽā§‡ā§Ÿā§‡



    âœī¸Â Conclusion | āωāĻĒāϏāĻ‚āĻšāĻžāϰ

    Zahir Raihan was not just a filmmaker; he was a visionary artist, a fearless patriot, and a martyr whose life and works continue to inspire generations of Bangladeshis. His disappearance remains a painful mystery, but his ideals, dreams, and creations live on.
    āϜāĻšāĻŋāϰ āϰāĻžā§ŸāĻšāĻžāύ āϕ⧇āĻŦāϞ āĻāĻ•āϜāύ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āύāĻŋāĻ°ā§āĻŽāĻžāϤāĻž āĻ›āĻŋāϞ⧇āύ āύāĻž; āϤāĻŋāύāĻŋ āĻ›āĻŋāϞ⧇āύ āĻāĻ•āϜāύ āĻĻā§‚āϰāĻĻāĻ°ā§āĻļā§€ āĻļāĻŋāĻ˛ā§āĻĒā§€, āύāĻŋāĻ°ā§āĻ­ā§€āĻ• āĻĻ⧇āĻļāĻĒā§āϰ⧇āĻŽāĻŋāĻ• āĻ“ āĻļāĻšā§€āĻĻ, āϝāĻžāρāϰ āĻœā§€āĻŦāύ āĻ“ āĻ•āĻ°ā§āĻŽ āφāϜāĻ“ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āĻĒā§āϰāϜāĻ¨ā§āĻŽāϕ⧇ āĻ…āύ⧁āĻĒā§āϰāĻžāĻŖāĻŋāϤ āĻ•āϰ⧇āĨ¤ āϤāĻžāρāϰ āύāĻŋāĻ–ā§‹āρāϜ āĻšā§Ÿā§‡ āϝāĻžāĻ“ā§ŸāĻž āφāϜāĻ“ āĻŦ⧇āĻĻāύāĻžāϰ āĻāĻ• āĻ…āĻ§ā§āϝāĻžā§Ÿ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻžāρāϰ āφāĻĻāĻ°ā§āĻļ, āĻ¸ā§āĻŦāĻĒā§āύ āĻ“ āϏ⧃āĻˇā§āϟāĻŋ āφāϜāĻ“ āĻŦ⧇āρāĻšā§‡ āφāϛ⧇āĨ¤

āĻŽāĻ¨ā§āϤāĻŦā§āϝ āĻ•āϰ⧁āύ

āϏāĻŽā§āĻĒāĻ°ā§āĻ•āĻŋāϤ āĻĒā§‹āĻ¸ā§āϟ