शृंगार· Shringara
01मतवाली ममता
Matwali Mamata
Ayodhya Singh Upadhyay 'Hariaudh'
1 verse · ~10 lines · 1 min
10 verses · ~2 min
उसके ऐसा है नहीं अपनापन में आन। पिता आपही अवनि में हैं अपना उपमान।1।
मिले न खोजे भी कहीं खोजा सकल जहान। माता सी ममतामयी पाता पिता समान।2।
जो न पालता पिता क्यों पलना सकता पाल। माता के लालन बिना लाल न बनते लाल।3।
कौन बरसता खेह पर निशि दिन मेंह-सनेह। बिना पिता पालन किये पलती किस की देह।4।
छाती से कढ़ता न क्यों तब बन पय की धार। जब माता उर में उमग नहीं समाता प्यार।5।
सुत पाता है पूत पद पाप पुंज को भूँज। माता पद-पंकज परस पिता कमल पग पूज।6।
वे जन लोचन के लिए सके न बन शशि दूज। पूजन जोग न जो बने माता के पग पूज।7।
जो होते भू में नहीं पिता प्यार के भौन। ललक बिठाता पूत को नयन पलक पर कौन।8।
जो होवे ममतामयी प्रीति पिता की मौन। प्यारा क्या सुत को कहे तो दृग तारा कौन।9।
ललक ललक होता न जो पिता लालसा लीन। बनता सुत बरजोर तो कोर कलेजे की न।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
Madonna and Child
In this transcendent work, Jamini Roy bridges the spiritual divide between East and West by reimagining the Christian motif of the Madonna and Child through the rhythmic, folk aesthetics of Bengal. Influenced by the Kalighat painting tradition, Roy moved away from the academic training of his youth to embrace the bold, sweeping lines and flat, earthen colors of village artisans. He transforms the holy figures into archetypal images of maternal devotion, capturing a universal love that feels both ancient and deeply intimate. The sacred intimacy between mother and child is expressed through stylized features, almond shaped eyes, and a profound stillness that invites the viewer to reflect upon the sanctity of human connection.
Open the viewer →
If this held you
Four more, in the same key.
Chosen for their rasa and their register, not their popularity. Each one carries some part of what Mata-Pita carries.
