_haldikunku.webp&w=24&q=30&output=webp&we=&maxage=1y&fit=cover)
_haldikunku.webp&w=1200&q=72&output=webp&we=&maxage=1y&fit=cover)
5 verses · ~1 min
जाति ममता मोल जो समझें नहीं। तो मिलों से हम करें मैला न मन। देश-हित का रंग न जो गाढ़ा चढ़ा। तो न डालें गाढ़ में गाढ़ा पहन।1।
धूल झोंकें न जाति आँखों में। फाड़ देवें न लाज की चद्दर। दर बदर फिर न देश को कोसें। मूँद हित दर न दें पहन खद्दर।2।
तो गिना जाय क्यों न खुदरों में। क्यों उगा दे न बीज बरबादी। काम की खाद जो न बन पाई। देश-हित-खेत के लिए खादी।3।
हित सचाई बिना नहीं होगा। लोग ताना अनेक तन देखें। कात लें सूत, लें चला करघे। सैकड़ों गज गजी पहन देखें।4।
पैन्ह मोटा न पेट मोटा हो। सब बुरी चाट बाँट में न पड़े। छल कपट का न पैन्ह लें जामा। हथ-कते सूत के पहन कपड़े।5।
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
Scene from a Hindu Marriage
In this evocative work, Mahadev Vishwanath Dhurandhar offers a window into the sacred and social intricacies of a traditional Hindu wedding. A master of the Bombay School, Dhurandhar possessed a rare gift for imbuing academic realism with a profoundly Indian soul. This scene captures the quiet, bustling energy of the women's quarters during the ceremony. We see the bride seated gracefully in a vibrant yellow sari, her brow adorned with the traditional mundavalya. Around her, a sea of women in rich Nauvari saris engage in the timeless rituals of kinship; some whispering in shared confidence, others tending to children or adjusting their attire. The painting serves as a reverent record of the Prajapatya form of marriage, emphasizing the communal joy and the preservation of Vedic traditions within a changing domestic landscape. Every fold of fabric and every gentle gaze speaks to a deep respect for the dignity of Indian womanhood and the sanctity of the household.
Open the viewer →