Shanta

नन्दा देवी-8

Nanda Devi-8

Sachchidananda Hirananda Vatsyayan 'Agyeya'

1 min read 2 versesयोगyogaआनन्द

2 verses · ~1 min

यह भी तो एक सुख है (अपने ढंग का क्रियाशील) कि चुप निहारा करूँ तुम्हें धीरे-धीरे खुलते! तुम्हारी भुजा को बादलों के उबटन से तुम्हारे बदन को हिम-नवनीत से तुम्हारे विशद वक्ष को धूप की धाराओं से धुलते! यह भी तो एक योग है कि मैं चुपचाप सब कुछ भोगता हूँ पाता हूँ सुखों को, निसर्ग के अगोचर प्रसादों को, गहरे आनन्दों को अपनाता हूँ; पर सब कुछ को बाँहों में समेटने के प्रयास में स्वयं दे दिया जाता हूँ!

सितम्बर, 1972

इति

Sachchidananda Hirananda Vatsyayan 'Agyeya'

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

And We Are Laboring

Nicholas Roerich was a seeker of truth, whose soul found its home within the silent, majestic heights of the Himalayas. In this evocative piece from the Sancta series, he captures the intersection of human devotion and the eternal stillness of nature. The monasteries, perched precariously against the snow covered slopes, serve as a testament to the endurance of the human spirit. For Roerich, the act of painting these mountains was a sacred task, a bridge between the physical reality of the Tibetan landscape and the ethereal realms of the divine. The golden glow upon the walls of the dwellings symbolizes the inner light that sustains those who dedicate their lives to contemplation, existing in harmony with the frozen, crystalline world around them.

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If this held you