5 verses · ~1 min
वन में एक झरना बहता है एक नर-कोकिल गाता है वृक्षों में एक मर्मर कोंपलों को सिहराता है,
एक अदृश्य क्रम नीचे ही नीचे झरे पत्तों को पचाता है। अंकुर उगाता है। मैं सोते के साथ बहता हूँ, पक्षी के साथ गाता हूँ,
वृक्षों के कोंपलों के साथ थरथराता हूँ, और उसी अदृश्य क्रम में, भीतर ही भीतर झरे पत्तों के साथ गलता और जीर्ण होता रहता हूँ नये प्राण पाता हूँ।
पर सब से अधिक मैं वन के सन्नाटे के साथ मौन हूँ- क्योंकि वही मुझे बतलाता है कि मैं कौन हूँ, जोड़ता है मुझ को विराट् से
जो मौन, अपरिवर्त है, अपौरुषेय है जो सब को समोता है। मौन का ही सूत्र किसी अर्थ को मिटाये बिना सारे शब्द क्रमागत सुमिरनी में पिरोता है।
इति
The Poet
अज्ञेय
Sachchidananda Hirananda Vatsyayan 'Agyeya'
1911 · 1987
Sachchidananda Hirananda Vatsyayan, universally known by his pen name Agyeya, completely rewired the circuitry of modern Hindi literature. Born in 1911 in a British archaeological camp in Uttar Pradesh, his life was as fiercely untraditional as his prose. Before he became the architect of the Prayogavaad (Experimentalism) movement, he was an active revolutionary who spent four years in British colonial prisons for attempting to help Bhagat Singh escape. In those prison cells, he began drafting Shekhar: Ek Jivani, a psychological novel that shocked the literary establishment with its unapologetic exploration of the individual ego. He rejected the prevailing romanticism of the era and instead assembled the Tar Saptak series, bringing together a new generation of poets who wrote in free verse about alienation, intellect, and the fractured modern psyche. He won the Sahitya Akademi Award in 1964 and the Jnanpith Award in 1978. Agyeya was a novelist, a combatant officer in World War II, a journalist, and a profound existential thinker. He gave Hindi literature the vocabulary to interrogate the inner self without the comfort of traditional morality.
Paired Painting
Rain Drops on Lotus Leaves
In this evocative diptych, A. Ramachandran invites us into the sanctuary of the lotus ponds he so frequently visited in the outskirts of Udaipur. This work marks a significant evolution in his career, where he turned away from the stark, often painful socio-political themes of his youth to embrace the life-affirming rhythms of nature. To Ramachandran, the lotus was a symbol of the profound interconnectedness of life: the way a single drop of rain dances upon a leaf becomes a cosmic event. He draws heavily from the classical aesthetics of Kerala murals and the intricate beauty of the miniature tradition, yet he reimagines them on a monumental scale. The painting is a visual hymn to the beauty of the mundane, transforming a simple pond into a stage for a divine, natural play.
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