10 verses · ~2 min
खोजे खोजी को मिला क्या हिन्दू क्या जैन। पत्ता पत्ता क्यों हमें पता बताता है न।1।
रँगे रंग में जब रहे सकें रंग क्यों भूल। देख उसी की ही फबन फूल रहे हैं फूल।2।
क्या उसकी है सोहती नहीं नयन में सोत। क्या जग में है जग रही नहीं जागती जोत।3।
पूजन जोग जिसे कहें पूजित-जन बनदास। उसे नहीं जो पूजते तो क्यों पूजेआस।4।
आव भगत उसका करें पूजें पाँव सचाव। सब से ऊँचा जो रहा रख कर ऊँचे भाव।5।
बिना बीज क्यों बेलि हो बिना तिलों क्यों तेल। किसी खिलाड़ी के बिना है न जगत का खेल।6।
क्या निर्गुण है? है भला किसको निर्गुण ज्ञान। गुण वाले जो कर सकें करें सगुण गुण ज्ञान।7।
चित भीतर ही है नहीं जो चित रहे सचेत। कला दिखाता क्या नहीं बाहर कलानिकेत।8।
विपुल बीज अंकुरित हो अंकुर सकल समेत। हैं हरि पता बता रहे हरे भरे सब खेत।9।
जोत नहीं तम में मिली लाखों बार टटोल। भेद भला कैसे खुले सके न आँखें खोल।10।
इति
The Poet
अयोध्या सिंह उपाध्याय ‘हरिऔध’
Ayodhya Singh Upadhyay 'Hariaudh'
1865 · 1947
Ayodhya Singh Upadhyay, widely known by his pen name Hariaudh, fundamentally altered the course of modern Hindi poetry. Born in 1865 in Nizamabad, Uttar Pradesh, he initially wrote in Braj Bhasha before making a decisive shift to Khari Boli. This transition proved historic. In 1914, he published Priyapravas, universally recognized as the very first epic poem written in modern Hindi. Hariaudh did not just write a monumental text. He proved that the everyday language of the people possessed the aesthetic gravity necessary for grand mythological narratives. His poetry seamlessly blended profound devotion with contemporary social reform, reimagining the divine figures of Radha and Krishna as dedicated servants of humanity. He served for decades as a professor at Banaras Hindu University, mentoring an entire generation of modern writers. Passing away in 1947, Hariaudh left a legacy that permanently established the structural foundations of contemporary Hindi literature.
Paired Painting
Untitled Idyllic Snapshot of Bustling Temple Life
This evocative masterpiece captures the soul of traditional Indian spirituality, frozen in the golden glow of a sanctum. Rao Bahadur M. V. Dhurandhar, a titan of the Bombay School of Art, possessed an extraordinary ability to weave the sacred with the everyday. In this composition, he invites us into the hushed, luminous intimacy of a temple interior, where women are gathered in an act of collective devotion. Their graceful postures, the vibrant folds of their saris, and the offerings of fruits and flowers reveal a moment of profound communion with the divine. The golden idol at the center acts as a spiritual anchor, radiating light that illuminates the faces of the devotees, suggesting that the true temple lies in the shared sincerity of the human heart.
Open the viewer →