āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄ: āļ—āļēāļ‡āđ€āļĨāļ·āļ­āļāđƒāļŦāļĄāđˆāļ—āļĩāđˆāđ€āļ™āđ‰āļ™āļāļēāļĢāļ—āļģāļšāļļāļāđāļĨāļ°āđƒāļŠāđ‰āļ‡āļēāļ™āđ„āļ”āđ‰āļˆāļĢāļīāļ‡

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āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄ: āļ—āļēāļ‡āđ€āļĨāļ·āļ­āļāđƒāļŦāļĄāđˆāļ—āļĩāđˆāđ€āļ™āđ‰āļ™āļāļēāļĢāļ—āļģāļšāļļāļāđāļĨāļ°āđƒāļŠāđ‰āļ‡āļēāļ™āđ„āļ”āđ‰āļˆāļĢāļīāļ‡

2025-12-02 16:37:17

#āļžāļ§āļ‡āļŦāļĢāļĩāļ”
#āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ”āļĩāđ„āļ‹āļ™āđŒāđƒāļŦāļĄāđˆ
#āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ”āļ­āļāđ„āļĄāđ‰āļŠāļ”
#āļžāļ§āļ‡āļŦāļĢāļĩāļ”āđ€āļ„āļĢāļ·āđˆāļ­āļ‡āļŸāļ­āļāļ­āļēāļāļēāļĻ
#āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ‚āļ­āļ‡āđƒāļŠāđ‰
#āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļžāļąāļ”āļĨāļĄ
#āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ•āļđāđ‰
#āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļžāļąāļ”āļĨāļĄāļ”āļ­āļāđ„āļĄāđ‰āļŠāļ”
#āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ•āļđāđ‰āđƒāļŠāđ‰āļ‡āļēāļ™āļ•āđˆāļ­āđ„āļ”āđ‰
#āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ‚āļ­āļ‡āđƒāļŠāđ‰āļžāļĢāļ°

āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄ: āļ—āļēāļ‡āđ€āļĨāļ·āļ­āļāđƒāļŦāļĄāđˆāļ—āļĩāđˆāđ€āļ™āđ‰āļ™āļāļēāļĢāļ—āļģāļšāļļāļāđāļĨāļ°āđƒāļŠāđ‰āļ‡āļēāļ™āđ„āļ”āđ‰āļˆāļĢāļīāļ‡

āđ€āļ—āļĢāļ™āļ”āđŒāļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ—āļēāļ‡āđ€āļĨāļ·āļ­āļāļ—āļĩāđˆāļĄāļēāđāļĢāļ‡āļ—āļĩāđˆāļŠāļļāļ” â€” āļāļēāļĢāđƒāļŦāđ‰āļ—āļĩāđˆāļŠāļ§āļĒāļ‡āļēāļĄ āļŠāļļāļ āļēāļž āđāļĨāļ°āļŠāļĢāđ‰āļēāļ‡āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđŒāļ­āļĒāđˆāļēāļ‡āļĒāļąāđˆāļ‡āļĒāļ·āļ™




āļ—āļģāđ„āļĄāļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāļˆāļķāļ‡āđ€āļ›āđ‡āļ™āļĄāļēāļāļāļ§āđˆāļēāļāļēāļĢāđāļŠāļ”āļ‡āļ„āļ§āļēāļĄāļ­āļēāļĨāļąāļĒ

āđƒāļ™āļŠāđˆāļ§āļ‡āđ„āļĄāđˆāļāļĩāđˆāļ›āļĩāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļē āđāļ™āļ§āļ„āļīāļ”āļ‚āļ­āļ‡āļāļēāļĢāļĄāļ­āļšāļžāļ§āļ‡āļŦāļĢāļĩāļ”āđƒāļ™āļ‡āļēāļ™āļĻāļžāđ„āļ”āđ‰āđ€āļ›āļĨāļĩāđˆāļĒāļ™āđ„āļ›āļ­āļĒāđˆāļēāļ‡āđ€āļ”āđˆāļ™āļŠāļąāļ” āļˆāļēāļāđ€āļ”āļīāļĄāļ—āļĩāđˆāļ™āļīāļĒāļĄāđƒāļŠāđ‰āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ”āļ­āļāđ„āļĄāđ‰āļŠāļ”āļŠāđ„āļ•āļĨāđŒāļ”āļąāđ‰āļ‡āđ€āļ”āļīāļĄ āļāļĨāļēāļĒāđ€āļ›āđ‡āļ™āļāļēāļĢāđ€āļĨāļ·āļ­āļāļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ—āļēāļ‡āđ€āļĨāļ·āļ­āļāļ—āļĩāđˆ āđ€āļāļīāļ”āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđŒ āđƒāļŠāđ‰āļ‡āļēāļ™āđ„āļ”āđ‰āļˆāļĢāļīāļ‡ āđāļĨāļ°āļŠāđˆāļ§āļĒāļĨāļ”āļ āļēāļĢāļ°āđƒāļŦāđ‰āļ—āļąāđ‰āļ‡āļ§āļąāļ”āđāļĨāļ°āđ€āļˆāđ‰āļēāļ āļēāļž āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāļˆāļķāļ‡āļāļĨāļēāļĒāđ€āļ›āđ‡āļ™āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļ•āļąāļ§āđ€āļĨāļ·āļ­āļāļ—āļĩāđˆāļœāļđāđ‰āļ„āļ™āđƒāļŦāđ‰āļ„āļ§āļēāļĄāļŠāļ™āđƒāļˆāļ­āļĒāđˆāļēāļ‡āļĄāļēāļ āđ€āļžāļĢāļēāļ°āđ„āļĄāđˆāđƒāļŠāđˆāđāļ„āđˆ “āļŠāļ§āļĒāļ‡āļēāļĄâ€ āđāļ•āđˆāļĒāļąāļ‡ â€œāļĄāļĩāļ„āļļāļ“āļ„āđˆāļēāļ•āđˆāļ­āļœāļđāđ‰āļĢāļąāļšāļ›āļĨāļēāļĒāļ—āļēāļ‡â€ āļĄāļēāļāļāļ§āđˆāļēāļĢāļđāļ›āđāļšāļšāđ€āļ”āļīāļĄ āđ†

āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāļˆāļķāļ‡āļ–āļđāļāļĄāļ­āļ‡āļ§āđˆāļēāđ€āļ›āđ‡āļ™ â€œāļāļēāļĢāļ—āļģāļšāļļāļāļ—āļĩāđˆāļĄāļĩāļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđŒāļˆāļĢāļīāļ‡â€ āļ—āļĩāđˆāļŠāđˆāļ§āļĒāļĨāļ”āļ‚āļĒāļ°āļˆāļēāļāļ‡āļēāļ™āļĻāļž āļŠāđˆāļ§āļĒāļœāļđāđ‰āļĒāļēāļāđ„āļĢāđ‰ āđāļĨāļ°āļĒāļąāļ‡āļŠāļ·āđˆāļ­āļ–āļķāļ‡āļ„āļ§āļēāļĄāļ­āļēāļĨāļąāļĒāļ­āļĒāđˆāļēāļ‡āļŠāļļāļ āļēāļžāļ­āđˆāļ­āļ™āđ‚āļĒāļ™ āđ„āļĄāđˆāļ‰āļđāļ”āļ‰āļēāļ” āđ„āļĄāđˆāļ™āđ‰āļ­āļĒāļŦāļ™āđ‰āļēāđƒāļ™āļ„āļ§āļēāļĄāļ‡āļ”āļ‡āļēāļĄāđ€āļĄāļ·āđˆāļ­āļ•āļąāđ‰āļ‡āļ‚āđ‰āļēāļ‡āļŦāļ™āđ‰āļēāļĻāļž




āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđŒāđāļĨāļ°āļ„āļ§āļēāļĄāļŦāļĄāļēāļĒāļ—āļĩāđˆāļĨāļķāļāļ‹āļķāđ‰āļ‡āļ‚āļ­āļ‡āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄ

1) āđ€āļ›āđ‡āļ™āļāļēāļĢāļ—āļģāļšāļļāļāļ—āļĩāđˆāļ™āļģāđ„āļ›āđƒāļŠāđ‰āļˆāļĢāļīāļ‡ (Real Utility Giving)

āļŦāļąāļ§āđƒāļˆāļ‚āļ­āļ‡āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāļ„āļ·āļ­ â€œāļāļēāļĢāļŠāđˆāļ‡āļ•āđˆāļ­â€ āđ„āļĄāđˆāđƒāļŠāđˆāđāļ„āđˆāļ•āļąāđ‰āļ‡āđ‚āļŠāļ§āđŒāļŠāļ§āļĒāļ‡āļēāļĄāđƒāļ™āļ‡āļēāļ™āļĻāļžāđ€āļ—āđˆāļēāļ™āļąāđ‰āļ™ āđ€āļĄāļ·āđˆāļ­āđ€āļŠāļĢāđ‡āļˆāļžāļīāļ˜āļĩāđāļĨāđ‰āļ§ āļœāđ‰āļēāļŦāđˆāļĄāļĒāļąāļ‡āļŠāļēāļĄāļēāļĢāļ–āļ–āļđāļāļ™āļģāđ„āļ›āļĄāļ­āļšāļ•āđˆāļ­āđƒāļŦāđ‰āļœāļđāđ‰āļ—āļĩāđˆāļ•āđ‰āļ­āļ‡āļāļēāļĢāđ„āļ”āđ‰āļ—āļąāļ™āļ—āļĩ āđ€āļŠāđˆāļ™

  • āļœāļđāđ‰āļĒāļēāļāđ„āļĢāđ‰

  • āļšāđ‰āļēāļ™āđ€āļ”āđ‡āļāļāļģāļžāļĢāđ‰āļē

  • āļšāđ‰āļēāļ™āļžāļąāļāļ„āļ™āļŠāļĢāļē

  • āļĄāļđāļĨāļ™āļīāļ˜āļīāļŦāļĢāļ·āļ­āļŦāļ™āđˆāļ§āļĒāļ‡āļēāļ™āļŠāđˆāļ§āļĒāđ€āļŦāļĨāļ·āļ­āļœāļđāđ‰āļ”āđ‰āļ­āļĒāđ‚āļ­āļāļēāļŠ

āļāļēāļĢāļ—āļģāļšāļļāļāļĢāļđāļ›āđāļšāļšāļ™āļĩāđ‰āđƒāļŦāđ‰āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđŒāļˆāļĢāļīāļ‡ 100% āđ„āļĄāđˆāļŠāļđāļāđ€āļ›āļĨāđˆāļē āđāļĨāļ°āļĒāļąāļ‡āļŠāđˆāļ§āļĒāđƒāļŦāđ‰āļāļēāļĢāļ—āļģāļšāļļāļāļ‚āļ­āļ‡āļœāļđāđ‰āļĨāđˆāļ§āļ‡āļĨāļąāļšāđāļĨāļ°āđ€āļˆāđ‰āļēāļ āļēāļžāļĄāļĩāļ„āļļāļ“āļ„āđˆāļēāļ•āđˆāļ­āļŠāļąāļ‡āļ„āļĄāđƒāļ™āļĢāļ°āļĒāļ°āļĒāļēāļ§




2) āļĨāļ”āļ›āļĢāļīāļĄāļēāļ“āļ‚āļĒāļ°āļˆāļēāļāļ‡āļēāļ™āļĻāļž

āļ›āļąāļˆāļˆāļļāļšāļąāļ™āļŦāļĨāļēāļĒāļ§āļąāļ”āļ›āļĢāļ°āļŠāļšāļ›āļąāļāļŦāļē “āļ‚āļĒāļ°āļžāļ§āļ‡āļŦāļĢāļĩāļ”” āļ—āļĩāđˆāļ•āđ‰āļ­āļ‡āļāļģāļˆāļąāļ”āļŦāļĨāļąāļ‡āļ‡āļēāļ™āļĻāļž āđ‚āļ”āļĒāđ€āļ‰āļžāļēāļ°āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ”āļ­āļāđ„āļĄāđ‰āļŠāļ”āļ—āļĩāđˆāđ€āļŦāļĩāđˆāļĒāļ§āđ€āļ‰āļēāđāļĨāļ°āļ•āđ‰āļ­āļ‡āļ—āļīāđ‰āļ‡āļ—āļąāļ™āļ—āļĩ āļœāđ‰āļēāļŦāđˆāļĄāļˆāļķāļ‡āđ€āļ›āđ‡āļ™āļ—āļēāļ‡āđ€āļĨāļ·āļ­āļāļ—āļĩāđˆāļ•āļ­āļšāđ‚āļˆāļ—āļĒāđŒāļ­āļĒāđˆāļēāļ‡āļĒāļīāđˆāļ‡ āđ€āļžāļĢāļēāļ°

  • āđƒāļŠāđ‰āļ‡āļēāļ™āļ•āđˆāļ­āđ„āļ”āđ‰ 100%

  • āđ„āļĄāđˆāļŠāļĢāđ‰āļēāļ‡āļ‚āļĒāļ°

  • āļ›āļĢāļ°āļŦāļĒāļąāļ”āļžāļ·āđ‰āļ™āļ—āļĩāđˆāđƒāļ™āļāļēāļĢāļˆāļąāļ”āđ€āļāđ‡āļšāđāļĨāļ°āļˆāļąāļ”āļāļģāļˆāļąāļ”

āļŠāļīāđˆāļ‡āļ™āļĩāđ‰āļŠāđˆāļ§āļĒāļĨāļ”āļ āļēāļĢāļ°āđƒāļŦāđ‰āļāļąāļšāļ§āļąāļ”āđāļĨāļ°āđ€āļˆāđ‰āļēāļ āļēāļžāļ­āļĒāđˆāļēāļ‡āļĄāļēāļ āļžāļĢāđ‰āļ­āļĄāļĒāļąāļ‡āļŠāļ­āļ”āļ„āļĨāđ‰āļ­āļ‡āļāļąāļšāļāļĢāļ°āđāļŠāļĢāļąāļāļĐāđŒāđ‚āļĨāļāđƒāļ™āļĒāļļāļ„āļ›āļąāļˆāļˆāļļāļšāļąāļ™




3) āļ„āļ‡āļ„āļ§āļēāļĄāļŠāļļāļ āļēāļžāđāļĨāļ°āđƒāļŦāđ‰āđ€āļāļĩāļĒāļĢāļ•āļīāļœāļđāđ‰āđ€āļŠāļĩāļĒāļŠāļĩāļ§āļīāļ•

āđāļĄāđ‰āļˆāļ°āđ„āļĄāđˆāđƒāļŠāđˆāļ”āļ­āļāđ„āļĄāđ‰āļŠāļ” āđāļ•āđˆāļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāļ–āļđāļāļ­āļ­āļāđāļšāļšāđƒāļŦāđ‰āļĄāļĩāļ„āļ§āļēāļĄāļŠāļļāļ āļēāļžāļ­āļĒāđˆāļēāļ‡āļĒāļīāđˆāļ‡ āļ”āđ‰āļ§āļĒāđ€āļ—āļ„āļ™āļīāļ„āļāļēāļĢāļˆāļąāļ”āļ—āļĩāđˆāļžāļīāļ–āļĩāļžāļīāļ–āļąāļ™ āļŠāļĩāļŠāļąāļ™āļ—āļĩāđˆāļ­āđˆāļ­āļ™āđ‚āļĒāļ™ āđāļĨāļ°āđ‚āļ—āļ™āđ€āļĢāļĩāļĒāļšāļŦāļĢāļđ āļ—āļģāđƒāļŦāđ‰āļ•āļąāđ‰āļ‡āđƒāļ™āļ‡āļēāļ™āđ„āļ”āđ‰āļ­āļĒāđˆāļēāļ‡āļŠāļĄāđ€āļāļĩāļĒāļĢāļ•āļī āđ„āļĄāđˆāļ”āļđāđāļ›āļĨāļāļŦāļĢāļ·āļ­āļ‚āļēāļ”āļ„āļ§āļēāļĄāđ€āļ„āļēāļĢāļžāđƒāļ™āļžāļīāļ˜āļĩāļāļĢāļĢāļĄ
 āļĢāđ‰āļēāļ™āļĄāļ·āļ­āļ­āļēāļŠāļĩāļžāļ­āļĒāđˆāļēāļ‡ JARNIQ āđƒāļŠāđˆāđƒāļˆāļĢāļđāļ›āđāļšāļšāļāļēāļĢāļžāļąāļš āļāļēāļĢāļˆāļąāļ”āđƒāļŦāđ‰āļ—āļĢāļ‡āļŠāļ§āļĒ āđāļĨāļ°āļāļēāļĢāļ•āļāđāļ•āđˆāļ‡āļ—āļĩāđˆāđ„āļĄāđˆāļĄāļēāļāđ€āļāļīāļ™āđ„āļ› āļˆāļķāļ‡āļĒāļąāļ‡āļ„āļ‡āļ„āļ§āļēāļĄāđ€āļŦāļĄāļēāļ°āļŠāļĄāđƒāļ™āļ—āļļāļāļ‡āļēāļ™āļĻāļž āđ„āļĄāđˆāļ§āđˆāļēāļˆāļ°āđ€āļ›āđ‡āļ™āļ‡āļēāļ™āđ€āļĨāđ‡āļ āļ‡āļēāļ™āđƒāļŦāļāđˆ āļŦāļĢāļ·āļ­āļžāļīāļ˜āļĩāļ—āļĩāđˆāļĄāļĩāļ„āļ§āļēāļĄāļŠāļģāļ„āļąāļāļĢāļ°āļ”āļąāļšāļ„āļĢāļ­āļšāļ„āļĢāļąāļ§āļœāļđāđ‰āļšāļĢāļīāļŦāļēāļĢ




4) āļŠāļ°āļ—āđ‰āļ­āļ™āļšāļļāļ„āļĨāļīāļāļœāļđāđ‰āđƒāļŦāđ‰ āđāļĨāļ°āđ€āļˆāļ•āļ™āļēāļ—āļĩāđˆāļĨāļķāļāļ‹āļķāđ‰āļ‡āļāļ§āđˆāļē

āļāļēāļĢāđ€āļĨāļ·āļ­āļāļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄ āđāļŠāļ”āļ‡āđƒāļŦāđ‰āđ€āļŦāđ‡āļ™āļ§āđˆāļēāļœāļđāđ‰āđƒāļŦāđ‰āđ€āļ›āđ‡āļ™āļ„āļ™āļ—āļĩāđˆāđƒāļŦāđ‰āļ„āļ§āļēāļĄāļŠāļģāļ„āļąāļāļāļąāļš â€œāļ„āļļāļ“āļ„āđˆāļēāļ—āļĩāđˆāđāļ—āđ‰āļˆāļĢāļīāļ‡â€ āļĄāļēāļāļāļ§āđˆāļēāļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļ āļēāļžāļŦāļĢāļ·āļ­āđ€āļ­āļēāļ•āļēāļĄāļ˜āļĢāļĢāļĄāđ€āļ™āļĩāļĒāļĄ āđ€āļ›āđ‡āļ™āļāļēāļĢāđƒāļŦāđ‰āļ—āļĩāđˆāđ€āļāļīāļ”āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđŒāļāļąāļšāļŦāļĨāļēāļĒāļŠāļĩāļ§āļīāļ• āđāļĨāļ°āđ€āļ›āđ‡āļ™āļāļēāļĢāđāļŠāļ”āļ‡āļ„āļ§āļēāļĄāļ­āļēāļĨāļąāļĒāļ—āļĩāđˆāļŠāļļāļ āļēāļžāđāļĨāļ°āļĄāļĩāļĢāļŠāļ™āļīāļĒāļĄ āļ™āļąāļšāđ€āļ›āđ‡āļ™āļ—āļēāļ‡āđ€āļĨāļ·āļ­āļāļ—āļĩāđˆāļ„āļ™āļĢāļļāđˆāļ™āđƒāļŦāļĄāđˆ āđāļĨāļ°āļāļĨāļļāđˆāļĄāļ­āļ‡āļ„āđŒāļāļĢāļŠāļąāđ‰āļ™āļ™āļģāđƒāļŦāđ‰āļ„āļ§āļēāļĄāļ™āļīāļĒāļĄāļĄāļēāļāļ‚āļķāđ‰āļ™āđ€āļĢāļ·āđˆāļ­āļĒ āđ†




5) āļŠāļ­āļ”āļ„āļĨāđ‰āļ­āļ‡āļāļąāļšāđ€āļ—āļĢāļ™āļ”āđŒāļ‡āļēāļ™āļĻāļžāļĒāļļāļ„āđƒāļŦāļĄāđˆ

āđ€āļ—āļĢāļ™āļ”āđŒāļ‡āļēāļ™āļĻāļžāļĒāļļāļ„āđƒāļŦāļĄāđˆāđ€āļ™āđ‰āļ™

  • āļ„āļ§āļēāļĄāļŠāļļāļ āļēāļž

  • āļ„āļ§āļēāļĄāđ€āļĢāļĩāļĒāļšāļ‡āđˆāļēāļĒ

  • āļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āļĄāļīāļ•āļĢāļ•āđˆāļ­āļŠāļīāđˆāļ‡āđāļ§āļ”āļĨāđ‰āļ­āļĄ

  • āļāļēāļĢāļ—āļģāļšāļļāļāļ­āļĒāđˆāļēāļ‡āļĄāļĩāļ„āļļāļ“āļ„āđˆāļē

āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāļˆāļķāļ‡āļ•āļ­āļšāđ‚āļˆāļ—āļĒāđŒāļ—āļļāļāļ‚āđ‰āļ­āļ­āļĒāđˆāļēāļ‡āļŠāļĄāļšāļđāļĢāļ“āđŒ āļ—āļģāđƒāļŦāđ‰āđ€āļ›āđ‡āļ™āđ€āļ—āļĢāļ™āļ”āđŒāļ—āļĩāđˆāļĄāļēāđāļĢāļ‡āļ—āļĩāđˆāļŠāļļāļ”āđƒāļ™āļ›āļĩāļ™āļĩāđ‰ āđāļĨāļ°āļĒāļąāļ‡āđ„āļ”āđ‰āļĢāļąāļšāļ„āļ§āļēāļĄāļ™āļīāļĒāļĄāļˆāļēāļāļ­āļ‡āļ„āđŒāļāļĢ āļšāļĢāļīāļĐāļąāļ— āđāļĨāļ°āļŦāļ™āđˆāļ§āļĒāļ‡āļēāļ™āļĢāļēāļŠāļāļēāļĢāļˆāļģāļ™āļ§āļ™āļĄāļēāļ




3 āļˆāļļāļ”āđ€āļ”āđˆāļ™āļ‚āļ­āļ‡āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāđ€āļĄāļ·āđˆāļ­āđ€āļ—āļĩāļĒāļšāļāļąāļšāļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ”āļ­āļāđ„āļĄāđ‰āļŠāļ”

āđāļĄāđ‰āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ”āļ­āļāđ„āļĄāđ‰āļŠāļ”āļˆāļ°āļĒāļąāļ‡āļ„āļ‡āļ„āļ§āļēāļĄāļŠāļ§āļĒāļ‡āļēāļĄāđāļĨāļ°āļ„āļļāđ‰āļ™āļ•āļē āđāļ•āđˆāđ€āļĄāļ·āđˆāļ­āđ€āļ›āļĢāļĩāļĒāļšāđ€āļ—āļĩāļĒāļšāđƒāļ™āđ€āļŠāļīāļ‡ â€œāļ„āļļāļ“āļ„āđˆāļēāđāļĨāļ°āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđŒâ€ āđāļĨāđ‰āļ§ āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāļāļĨāļąāļšāđ‚āļ”āļ”āđ€āļ”āđˆāļ™āļāļ§āđˆāļēāļ­āļĒāđˆāļēāļ‡āļŠāļąāļ”āđ€āļˆāļ™




1) āļ„āļļāđ‰āļĄāļ„āđˆāļēāļāļ§āđˆāļēāđāļĨāļ°āđƒāļŠāđ‰āļ‡āļēāļ™āđ„āļ”āđ‰āļĒāļēāļ§āļ™āļēāļ™

āļœāđ‰āļēāļŦāđˆāļĄāļ„āļļāļ“āļ āļēāļžāļ”āļĩāļŠāļēāļĄāļēāļĢāļ–āđƒāļŠāđ‰āļ‡āļēāļ™āđ„āļ”āđ‰āļŦāļĨāļēāļĒāļ›āļĩ āđāļ•āļāļ•āđˆāļēāļ‡āļˆāļēāļāļ”āļ­āļāđ„āļĄāđ‰āļŠāļ”āļ—āļĩāđˆāļĄāļĩāļ­āļēāļĒāļļāđ€āļžāļĩāļĒāļ‡ 2–3 āļ§āļąāļ™āđ€āļ—āđˆāļēāļ™āļąāđ‰āļ™

  • āļ„āļļāđ‰āļĄāļ„āđˆāļēāļāļ§āđˆāļēāđƒāļ™āļĢāļ°āļĒāļ°āļĒāļēāļ§

  • āļœāļđāđ‰āļĢāļąāļšāļšāļĢāļīāļˆāļēāļ„āļ›āļĨāļēāļĒāļ—āļēāļ‡āļ™āļģāđ„āļ›āđƒāļŠāđ‰āđ„āļ”āđ‰āļˆāļĢāļīāļ‡

  • āļŠāļĢāđ‰āļēāļ‡āļ„āļ§āļēāļĄāļŠāļļāļ‚āđƒāļŦāđ‰āļœāļđāđ‰āļ”āđ‰āļ­āļĒāđ‚āļ­āļāļēāļŠāļ­āļĒāđˆāļēāļ‡āļ•āđˆāļ­āđ€āļ™āļ·āđˆāļ­āļ‡

āļŦāļĨāļēāļĒāļ­āļ‡āļ„āđŒāļāļĢāđ€āļĢāļīāđˆāļĄāđ€āļ›āļĨāļĩāđˆāļĒāļ™āļĄāļēāđƒāļŠāđ‰āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāđ€āļžāļĢāļēāļ°āļĄāļ­āļ‡āđ€āļŦāđ‡āļ™āļ§āđˆāļēāļ„āļļāđ‰āļĄāļ„āđˆāļēāļāļ§āđˆāļēāļ­āļĒāđˆāļēāļ‡āļŠāļąāļ”āđ€āļˆāļ™




2) āļŠāļ§āļĒāļ‡āļēāļĄāđƒāļ™āđāļšāļšāļžāļĢāļĩāđ€āļĄāļĩāļĒāļĄ āđāļĨāļ°āļˆāļąāļ”āđāļ•āđˆāļ‡āđƒāļŦāđ‰āļŦāļĢāļđāđ„āļ”āđ‰āļ•āļēāļĄāļ•āđ‰āļ­āļ‡āļāļēāļĢ

āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāļŠāļēāļĄāļēāļĢāļ–āļˆāļąāļ”āđ„āļ”āđ‰āļŦāļĨāļēāļĒāļŠāđ„āļ•āļĨāđŒ āļ—āļąāđ‰āļ‡āđ€āļĢāļĩāļĒāļšāļŦāļĢāļđ āļĄāļīāļ™āļīāļĄāļ­āļĨ āđāļĨāļ°āļŠāļļāļ āļēāļž āļ”āđ‰āļ§āļĒāļāļēāļĢāđ€āļĨāļ·āļ­āļ

  • āđ‚āļ—āļ™āļŠāļĩāļœāđ‰āļēāļŦāđˆāļĄ āđ€āļŠāđˆāļ™ āđ€āļ—āļē āļ‚āļēāļ§ āļ„āļĢāļĩāļĄ āļ™āđ‰āļģāđ€āļ‡āļīāļ™āđ€āļ‚āđ‰āļĄ

  • āļĢāļīāļšāļšāļīāđ‰āļ™āđ‚āļ—āļ™āļŠāļļāļ āļēāļž

  • āļāļĢāļ°āļ”āļēāļĐāļĢāļ­āļ‡āļĨāļēāļĒāđ€āļšāļē āđ†

  • āļ›āđ‰āļēāļĒāļŠāļ·āđˆāļ­āđāļšāļšāđ€āļĢāļĩāļĒāļšāļĢāđ‰āļ­āļĒāđāļĨāļ°āļĄāļ·āļ­āļ­āļēāļŠāļĩāļž

āđ€āļĄāļ·āđˆāļ­āļˆāļąāļ”āļ­āļĒāđˆāļēāļ‡āļžāļīāļ–āļĩāļžāļīāļ–āļąāļ™āđāļĨāđ‰āļ§ āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāļĄāļĩāļ„āļ§āļēāļĄāļ‡āļēāļĄāđƒāļ™āđāļšāļš â€œāļžāļĢāļĩāđ€āļĄāļĩāļĒāļĄâ€ āđ„āļĄāđˆāđāļžāđ‰āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļ”āļ­āļāđ„āļĄāđ‰āļŠāļ”āđāļĄāđ‰āđāļ•āđˆāļ™āđ‰āļ­āļĒ




3) āđ€āļ›āđ‡āļ™āļžāļ§āļ‡āļŦāļĢāļĩāļ”āđ€āļžāļ·āđˆāļ­āļāļēāļĢāļ—āļģāļšāļļāļāļ­āļĒāđˆāļēāļ‡āđāļ—āđ‰āļˆāļĢāļīāļ‡

āļŦāļĨāļąāļ‡āļˆāļšāļ‡āļēāļ™ āļœāđ‰āļēāļŦāđˆāļĄāļŠāļēāļĄāļēāļĢāļ–āļ–āļđāļāļŠāđˆāļ‡āļ•āđˆāļ­āđƒāļŦāđ‰āļœāļđāđ‰āļ•āđ‰āļ­āļ‡āļāļēāļĢāļ„āļ§āļēāļĄāļŠāđˆāļ§āļĒāđ€āļŦāļĨāļ·āļ­āđ„āļ”āđ‰āļ—āļąāļ™āļ—āļĩ āđ€āļ›āđ‡āļ™āļāļēāļĢāļ—āļģāļšāļļāļāļ—āļĩāđˆāļĄāļĩāļ„āļ§āļēāļĄāļŦāļĄāļēāļĒāđāļĨāļ°āļŠāļĢāđ‰āļēāļ‡āļ„āļ§āļēāļĄāļŠāļļāļ‚āđƒāļŦāđ‰āļāļąāļšāļŦāļĨāļēāļĒāļŠāļĩāļ§āļīāļ•

  • āđ€āļŦāļĄāļēāļ°āļāļąāļšāļœāļđāđ‰āļĨāđˆāļ§āļ‡āļĨāļąāļšāļ—āļĩāđˆāļŠāļ­āļšāļ—āļģāļšāļļāļ

  • āđ€āļŦāļĄāļēāļ°āļāļąāļšāļ„āļĢāļ­āļšāļ„āļĢāļąāļ§āļ—āļĩāđˆāļ•āđ‰āļ­āļ‡āļāļēāļĢāļ­āļļāļ—āļīāļĻāļšāļļāļāđ€āļžāļīāđˆāļĄāđ€āļ•āļīāļĄ

  • āđ€āļ›āđ‡āļ™āļŠāļąāļāļĨāļąāļāļĐāļ“āđŒāļ‚āļ­āļ‡ â€œāļāļēāļĢāļŠāđˆāļ‡āļ•āđˆāļ­āļ„āļ§āļēāļĄāļ­āļšāļ­āļļāđˆāļ™â€

āļ„āļ§āļēāļĄāļŦāļĄāļēāļĒāļ™āļĩāđ‰āļ—āļģāđƒāļŦāđ‰āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāđ„āļ”āđ‰āļĢāļąāļšāļ„āļ§āļēāļĄāļ™āļīāļĒāļĄāļ­āļĒāđˆāļēāļ‡āļĄāļēāļāđƒāļ™āļ—āļļāļāļāļĨāļļāđˆāļĄāļ­āļēāļĒāļļ




āļāļēāļĢāđ€āļĨāļ·āļ­āļāļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāđƒāļŦāđ‰āļ”āļđāļžāļĢāļĩāđ€āļĄāļĩāļĒāļĄāđāļĨāļ°āđ€āļŦāļĄāļēāļ°āļŠāļĄ

āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāđ„āļĄāđˆāđƒāļŠāđˆāđāļ„āđˆ “āļœāđ‰āļēāļŦāđˆāļĄāļĄāđ‰āļ§āļ™āđ€āļ›āđ‡āļ™āļ§āļ‡â€ āđāļ•āđˆāļ•āđ‰āļ­āļ‡āļĄāļĩāļāļēāļĢāļˆāļąāļ”āļ—āļĩāđˆāļŠāļ§āļĒ āđ€āļ™āļĩāđ‰āļĒāļš āđāļĨāļ°āļĄāļĩāļ„āļ§āļēāļĄāļŦāļĄāļēāļĒ āļœāļđāđ‰āđƒāļŦāđ‰āļŦāļĨāļēāļĒāļ„āļ™āļ•āđ‰āļ­āļ‡āļāļēāļĢāđ€āļĨāļ·āļ­āļāđāļšāļšāļ—āļĩāđˆāļ”āļđāļ”āļĩāļ—āļąāđ‰āļ‡āļ•āļ­āļ™āļ•āļąāđ‰āļ‡āđƒāļ™āļ‡āļēāļ™ āđāļĨāļ°āļ•āļ­āļ™āļŠāđˆāļ‡āļ•āđˆāļ­āđƒāļŦāđ‰āļœāļđāđ‰āļĢāļąāļšāļˆāļĢāļīāļ‡

āļ•āđˆāļ­āđ„āļ›āļ™āļĩāđ‰āļ„āļ·āļ­ 4 āļ›āļąāļˆāļˆāļąāļĒāļŠāļģāļ„āļąāļāļ—āļĩāđˆāļ„āļ§āļĢāļ„āļģāļ™āļķāļ‡āļ–āļķāļ‡āđ€āļĄāļ·āđˆāļ­āđ€āļĨāļ·āļ­āļāļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄ




1) āļ„āļļāļ“āļ āļēāļžāļ‚āļ­āļ‡āļœāđ‰āļēāļŦāđˆāļĄāđ€āļ›āđ‡āļ™āļŦāļąāļ§āđƒāļˆāļŠāļģāļ„āļąāļ

āļŦāļēāļāļ•āđ‰āļ­āļ‡āļāļēāļĢāđƒāļŦāđ‰āļ āļēāļžāļĢāļ§āļĄāļ­āļ­āļāļĄāļēāļ”āļđāļ”āļĩāđāļĨāļ°āļĄāļĩāļ„āļļāļ“āļ„āđˆāļēāļ•āđˆāļ­āļœāļđāđ‰āļĢāļąāļš āļ„āļ§āļĢāđ€āļĨāļ·āļ­āļāļœāđ‰āļēāļŦāđˆāļĄāļ„āļļāļ“āļ āļēāļžāļ”āļĩ āđ€āļŠāđˆāļ™

  • āđ„āļĄāđ‚āļ„āļĢāļŸāļĨāļĩāļ‹

  • āļ„āļ­āļ•āļ•āļ­āļ™āđ€āļāļĢāļ”āļ”āļĩ

  • āļœāđ‰āļēāļŦāļ™āļēāđ€āļāļĢāļ”āļžāļĢāļĩāđ€āļĄāļĩāļĒāļĄ

āļœāđ‰āļēāļŦāđˆāļĄāđ€āļ™āļ·āđ‰āļ­āļ”āļĩāļŠāđˆāļ§āļĒāđƒāļŦāđ‰

  • āļ­āļĒāļđāđˆāļ—āļĢāļ‡āļŠāļ§āļĒāđ€āļĄāļ·āđˆāļ­āļ•āļąāđ‰āļ‡āđƒāļ™āļ‡āļēāļ™

  • āđƒāļŦāđ‰āļ„āļ§āļēāļĄāļ­āļšāļ­āļļāđˆāļ™āļˆāļĢāļīāļ‡āđ€āļĄāļ·āđˆāļ­āļšāļĢāļīāļˆāļēāļ„

  • āļŠāļĢāđ‰āļēāļ‡āļ„āļļāļ“āļ„āđˆāļēāļ­āļĒāđˆāļēāļ‡āļĒāļąāđˆāļ‡āļĒāļ·āļ™

āļ„āļ§āļĢāļŦāļĨāļĩāļāđ€āļĨāļĩāđˆāļĒāļ‡āļœāđ‰āļēāļšāļēāļ‡āđ€āļāļīāļ™āđ„āļ›āļŦāļĢāļ·āļ­āļœāđ‰āļēāļ—āļĩāđˆāļ„āļļāļ“āļ āļēāļžāļ•āđˆāļģ āđ€āļžāļĢāļēāļ°āļ—āļģāđƒāļŦāđ‰āļ āļēāļžāļĨāļąāļāļĐāļ“āđŒāļ‚āļ­āļ‡āļāļēāļĢāđƒāļŦāđ‰āļ”āļđāļ”āđ‰āļ­āļĒāļĨāļ‡




2) āđ€āļĨāļ·āļ­āļāļŠāļĩāļŠāļļāļ āļēāļž āđ€āļžāļ·āđˆāļ­āļ āļēāļžāļĢāļ§āļĄāļ—āļĩāđˆāļ‡āļ”āļ‡āļēāļĄāđƒāļ™āļ‡āļēāļ™

āđ‚āļ—āļ™āļŠāļĩāļĄāļĩāļœāļĨāļ•āđˆāļ­āļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļāļ‚āļ­āļ‡āļœāļđāđ‰āļĄāļēāļĢāđˆāļ§āļĄāļ‡āļēāļ™āļ­āļĒāđˆāļēāļ‡āļĄāļēāļ

āļŠāļĩāļ—āļĩāđˆāđ€āļŦāļĄāļēāļ°āļāļąāļšāļ‡āļēāļ™āļĻāļž āđ€āļŠāđˆāļ™

  • āđ€āļ—āļē

  • āļ„āļĢāļĩāļĄ

  • āļ™āđ‰āļģāđ€āļ‡āļīāļ™āđ€āļ‚āđ‰āļĄ

  • āļ”āļģ

  • āļ‚āļēāļ§

  • Earth Tone

āđ‚āļ—āļ™āļŠāļĩāļŠāļļāļ āļēāļžāļŠāđˆāļ§āļĒāļŠāļ·āđˆāļ­āļ–āļķāļ‡āļ„āļ§āļēāļĄāļ­āļēāļĨāļąāļĒāļ­āļĒāđˆāļēāļ‡āļ­āđˆāļ­āļ™āđ‚āļĒāļ™ āđāļĨāļ°āļĒāļąāļ‡āļ”āļđāļžāļĢāļĩāđ€āļĄāļĩāļĒāļĄāļĄāļēāļāđ€āļĄāļ·āđˆāļ­āļˆāļąāļ”āđ€āļ›āđ‡āļ™āļžāļ§āļ‡āļŦāļĢāļĩāļ”




3) āļĢāļđāļ›āđāļšāļšāļāļēāļĢāļˆāļąāļ”āļ•āļāđāļ•āđˆāļ‡āļ•āđ‰āļ­āļ‡āļžāļīāļ–āļĩāļžāļīāļ–āļąāļ™

āļĢāđ‰āļēāļ™āļ—āļĩāđˆāļĄāļĩāļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļˆāļ°āļŠāļēāļĄāļēāļĢāļ–āļžāļąāļšāļœāđ‰āļēāļŦāđˆāļĄāđƒāļŦāđ‰āđ„āļ”āđ‰āļŠāļąāļ”āļŠāđˆāļ§āļ™ āļ•āļąāđ‰āļ‡āļ§āļ‡āļŠāļ§āļĒ āđāļĨāļ°āļ”āļđāđ€āļĢāļĩāļĒāļšāļĢāđ‰āļ­āļĒ

āļ­āļ‡āļ„āđŒāļ›āļĢāļ°āļāļ­āļšāļ—āļĩāđˆāļ„āļ§āļĢāļĄāļĩ āđ„āļ”āđ‰āđāļāđˆ

  • āļāļĢāļ°āļ”āļēāļĐāļĢāļ­āļ‡āļĨāļēāļĒāļŠāļļāļ āļēāļž

  • āļĢāļīāļšāļšāļīāđ‰āļ™āđ€āļĢāļĩāļĒāļšāļŦāļĢāļđ

  • āļ›āđ‰āļēāļĒāļŠāļ·āđˆāļ­āļŸāļ­āļ™āļ•āđŒāļŠāļļāļ āļēāļž āļ­āđˆāļēāļ™āļ‡āđˆāļēāļĒ

  • āļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāđƒāļŦāđ‰āđ€āļĢāļĩāļĒāļš āđ„āļĄāđˆāļĒāļąāļš

āļāļēāļĢāļˆāļąāļ”āļ—āļĩāđˆāļ”āļĩāļ—āļģāđƒāļŦāđ‰āļ āļēāļžāļ‡āļēāļ™āļĻāļžāļ”āļđāļŠāļ‡āđˆāļēāļ‡āļēāļĄāđāļĨāļ°āļŠāļĄāđ€āļāļĩāļĒāļĢāļ•āļīāļœāļđāđ‰āļĨāđˆāļ§āļ‡āļĨāļąāļš




4) āđ€āļĨāļ·āļ­āļāđƒāļŠāđ‰āļšāļĢāļīāļāļēāļĢāļˆāļēāļāļĢāđ‰āļēāļ™āļ—āļĩāđˆāļĄāļĩāļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļˆāļĢāļīāļ‡

āļ™āļĩāđˆāļ„āļ·āļ­āļ›āļąāļˆāļˆāļąāļĒāļ—āļĩāđˆāļ—āļģāđƒāļŦāđ‰āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāļ­āļ­āļāļĄāļēāļŠāļ§āļĒāļŦāļĢāļ·āļ­āđ„āļĄāđˆ āļĢāđ‰āļēāļ™āļ—āļĩāđˆāđ„āļĄāđˆāļĄāļĩāļ„āļ§āļēāļĄāļŠāļģāļ™āļēāļāļ­āļēāļˆāļˆāļąāļ”āļ­āļ­āļāļĄāļēāļ”āļđāđ„āļĄāđˆāđ€āļ›āđ‡āļ™āļĢāļ°āđ€āļšāļĩāļĒāļš āļŦāļĢāļ·āļ­āļ—āļĢāļ‡āđ„āļĄāđˆāļŠāļ§āļĒ

āļĢāđ‰āļēāļ™āļ—āļĩāđˆāļ„āļļāļ“āļ§āļēāļ‡āđƒāļˆāđ„āļ”āđ‰ āđ€āļŠāđˆāļ™ JARNIQ

  • āđ€āļ™āđ‰āļ™āđƒāļŠāđ‰āļœāđ‰āļēāļŦāđˆāļĄāļ„āļļāļ“āļ āļēāļžāļ”āļĩ

  • āļĄāļĩāļ—āļĩāļĄāļˆāļąāļ”āļĄāļ·āļ­āļ­āļēāļŠāļĩāļž

  • āļ„āļļāļĄāđ‚āļ—āļ™āļŠāļĩāđāļĨāļ°āļĢāļđāļ›āđāļšāļšāļ­āļĒāđˆāļēāļ‡āļ›āļĢāļ°āļ“āļĩāļ•

  • āļˆāļąāļ”āļŠāđˆāļ‡āļ•āļĢāļ‡āđ€āļ§āļĨāļēāļ–āļķāļ‡āļ§āļąāļ”

  • āļšāļĢāļīāļāļēāļĢāļŠāļļāļ āļēāļžāđāļĨāļ°āļ”āļđāđāļĨāļ•āļąāđ‰āļ‡āđāļ•āđˆāļ•āđ‰āļ™āļˆāļ™āļˆāļš

āļ„āļ§āļēāļĄāļ›āļĢāļ°āļ“āļĩāļ•āļ„āļ·āļ­āļŠāļīāđˆāļ‡āļ—āļĩāđˆāļ—āļģāđƒāļŦāđ‰āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄāļ”āļđāļžāļĢāļĩāđ€āļĄāļĩāļĒāļĄāļŠāļĄāļ„āļļāļ“āļ„āđˆāļē




āļžāļ§āļ‡āļŦāļĢāļĩāļ”āļœāđ‰āļēāļŦāđˆāļĄ: āđ€āļ—āļĢāļ™āļ”āđŒāđƒāļŦāļĄāđˆāļ‚āļ­āļ‡āļ‡āļēāļ™āļĻāļžāļĒāļļāļ„āļ›āļąāļˆāļˆāļļāļšāļąāļ™

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Why a Blanket Wreath Is More Than Just a Gesture of Sympathy

In recent years, the idea of giving wreaths at funerals has started to change. Instead of only sending traditional fresh flower wreaths, more people are now choosing alternative wreaths that are useful, practical, and reduce the burden on both the temple and the family.

A blanket wreath has become one of the most popular choices because it is not only beautiful, but also truly valuable to those who receive it afterward — much more than a wreath that ends up being thrown away.

A blanket wreath is therefore seen as “a meaningful act of giving” that helps reduce funeral waste, supports those in need, and still expresses deep condolences in a calm, respectful, and non-flashy way. It looks elegant and appropriate when placed in front of the casket, just like a traditional wreath.


The Deeper Meaning and Benefits of a Blanket Wreath

1) A Form of Giving That Can Be Used in Real Life (Real Utility Giving)

At the heart of a blanket wreath is the idea of “passing it on.”
It is not only something to display beautifully at the funeral. After the ceremony, the blanket can be immediately donated to people who truly need it, such as:

  • People in need or low-income communities

  • Orphanages

  • Nursing homes or homes for the elderly

  • Foundations and charitable organizations

This kind of donation offers 100% real benefit — nothing goes to waste. It also means that the merit made on behalf of the deceased and the family continues to create value in society long after the funeral is over.


2) Reduces Waste from Funeral Ceremonies

Many temples today face the problem of having to deal with large amounts of wreath waste, especially from fresh flower wreaths that wilt within a few days and must be thrown away.

Blanket wreaths are a perfect solution because they:

  • Can be fully reused

  • Do not create unnecessary waste

  • Save space and effort in handling and disposal

This helps reduce the burden on both the temple and the host family, and supports the growing trend of eco-friendly and sustainable funerals.


3) Maintains Respect and Dignity for the Deceased

Even though it is not made from fresh flowers, a blanket wreath is still designed to be highly respectful and appropriate.

Through careful folding, arrangement, and color coordination, the wreath appears:

  • Subtle and graceful

  • Soft in tone

  • Elegant and solemn

A professional shop like JARNIQ pays attention to every detail — from the way the blanket is folded to how the wreath holds its shape, to the style of ribbon and name plaque. The overall result suits any funeral, whether an intimate family ceremony or a more formal event for executives or public figures.


4) Reflects the Giver’s Values and Thoughtfulness

Choosing a blanket wreath shows that the giver cares about true value, not just appearance or social convention. It reflects a mindset that prioritizes:

  • Practical benefit over formality

  • Thoughtful giving that helps many lives

  • A refined, modern sense of sympathy

This is why blanket wreaths are increasingly popular among younger generations, as well as corporations and organizations that want their condolences to carry deeper meaning.


5) Aligned with Modern Funeral Trends

Modern funerals tend to emphasize:

  • Respect and simplicity

  • A calm and gentle atmosphere

  • Environmental consciousness

  • Meaningful, impactful charity

Blanket wreaths meet all of these expectations perfectly, making them one of the most popular choices among:

  • Companies

  • Government offices

  • Organizations and institutions

  • Families who value both aesthetics and meaningful giving


3 Key Advantages of Blanket Wreaths Compared to Fresh Flower Wreaths

While fresh flower wreaths are still considered beautiful and familiar, when we compare them in terms of long-term value and usefulness, blanket wreaths clearly stand out.


1) More Cost-Effective and Longer-Lasting

A good-quality blanket can be used for many years, whereas fresh flowers typically last only 2–3 days.

With a blanket wreath, you get:

  • Better long-term value

  • Real, ongoing use for the final recipient

  • Continuous comfort and warmth for people in need

Many organizations are now switching to blanket wreaths because they see how much more worthwhile and impactful they are.


2) Premium Aesthetic, Designed to Look Elegant

Blanket wreaths can be arranged in a variety of styles — minimal, refined, modern, or classic. The design can be tailored to match the tone of the ceremony.

Key design elements include:

  • Blanket colors such as grey, white, cream, navy, or other soft tones

  • Subtle, tasteful ribbons

  • Light-patterned backing paper

  • A clean, professional name plaque

When arranged with care, a blanket wreath is just as beautiful and premium as a fresh flower wreath, while also being more meaningful.


3) A Wreath for True Charity

Once the funeral is over, the blankets can be donated directly to communities and individuals who truly need them. This turns the wreath into a powerful act of charity.

A blanket wreath is especially suitable when:

  • The deceased was known as a generous, charitable person

  • The family wishes to dedicate extra merit to their loved one

  • The giver wants to send “warmth” in both the emotional and literal sense

Because of this deeper meaning, blanket wreaths have become very popular among people of all ages and backgrounds.


How to Choose a Blanket Wreath That Looks Premium and Appropriate

A blanket wreath is not just a blanket rolled into a circle.
To look truly beautiful, neat, and meaningful, it requires thoughtful design and careful arrangement.

Many people want a wreath that:

  • Looks refined when displayed at the funeral

  • Is still practical and dignified when given to the final recipient

Here are 4 key factors to consider when choosing a blanket wreath:


1) Blanket Quality Is the Core

To create a premium appearance and real value for the end user, you should choose high-quality blankets, such as:

  • Microfleece

  • Good-grade cotton

  • Thick, premium-grade fabric

High-quality blankets:

  • Hold their shape well when arranged as a wreath

  • Provide real warmth and comfort when used

  • Offer long-term value to the recipients

Thin or low-quality fabric can make the wreath look less refined, and may not be as useful in the long run.


2) Choose Soft, Respectful Colors

Color has a strong impact on the emotional tone of a funeral.

Colors suitable for blanket wreaths in funeral settings include:

  • Grey

  • Cream

  • Navy

  • Black

  • White

  • Earth tones

These shades convey:

  • Respect and condolence

  • Calmness and elegance

  • A premium, tasteful look when arranged into a wreath


3) Pay Attention to Arrangement and Decorations

Shops with experience can fold and shape the blanket into a well-balanced, visually pleasing wreath.

Important design details include:

  • A soft-patterned backing board in neutral tones

  • Simple, tasteful ribbon decoration

  • A clear, respectful font on the name plaque

  • Neatly ironed blankets with no wrinkles

Good arrangement elevates the entire look of the ceremony, making it feel dignified and honorable for the deceased.


4) Choose an Experienced, Professional Provider

This is often the deciding factor in whether the wreath looks refined or not.
Shops without experience may produce wreaths that look unbalanced, messy, or too casual.

A trusted provider like JARNIQ offers:

  • Carefully selected, good-quality blankets

  • A professional arranging team

  • Consistent, well-controlled color and style

  • Reliable, on-time delivery directly to the temple

  • Polite, attentive service from start to finish

This level of care ensures that the blanket wreath appears truly premium — both in person and in photos.


Blanket Wreaths: The New Standard for Modern Funerals

Blanket wreaths have quickly become one of the most preferred choices for modern funerals because they deliver complete value in multiple dimensions:

  • Aesthetic beauty

  • Respectful appearance

  • Long-term usefulness

  • Meaningful charity

  • Real benefits to society

  • Alignment with sustainability and environmental awareness

Givers can express deep sympathy while also supporting people in need in a very real and tangible way.

That is why a blanket wreath is far more than just a symbolic tribute — it is one of the most meaningful forms of giving during one of life’s most delicate moments.


Contact JARNIQ Today

JARNIQ specializes in creating premium wreaths — both fresh flower wreaths and practical wreaths such as blanket wreaths, which are now among the most in-demand options.

What JARNIQ offers:

  • Carefully selected, high-quality materials

  • Elegant, meticulous arrangements

  • Consistent, respectful color tones

  • Reliable delivery to temples across Bangkok and surrounding areas

If you are looking for a wreath that is beautiful, respectful, meaningful, and truly charitable,

you are welcome to contact the JARNIQ team for advice and to choose the most suitable design for your needs and your loved one’s memory.



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