4 verses · ~1 min
कहता है पका हुआ फल देह नहीं है मेरी सीमा मुझसे है आगामी कल ।
चुभो रहे हैं जैसे पिन वृन्त पर टिके मेरे दिन जाने कब कौन सी हवा ले जाए मेरे पल छिन स्वागत में आया मेरे समय लिए त्यौरी पर बल ।
हठयोगी तरु का मैं व्रत पूर्णकाम है यह तन श्लथ साथ-साथ चलते हैं अब ऋतुओं के जितने तीरथ रस अब तो पंचामृत है भाव हो गए तुलसी दल ।
अन्तहीन ख़ुशबू का छोर मंजरियों पर उगती भोर धुँधली आँखों देखा है रंग चढ़ी रेशे की डोर फिर होगी धरती सुफला साँचे में धूप रही ढल ।
इति
The Poet
अमरनाथ श्रीवास्तव
Amarnath Srivastava
1945 · 2000s
Amarnath Srivastava was a defining voice of the Navgeet movement who masterfully bridged traditional lyricism with the complex realities of modern Indian life. Born in 1937 in the Ghazipur district of Uttar Pradesh, he spent much of his working life in Allahabad, balancing a corporate career with a deep commitment to literature. Rather than writing from an isolated ivory tower, he drew poetic inspiration from everyday struggles, urban alienation, and changing human relationships. His prominent collections, such as the acclaimed Geru Ki Lipiyan and Dopahar Mein Gulmohar, showcase his remarkable ability to infuse profound emotional depth into highly accessible language. He also made significant contributions to the Hindi ghazal with works like Aadmi Ko Dekhkar. Honored twice with the prestigious Nirala Samman and later the Sahitya Bhushan, Srivastava passed away in 2009. His verses remain a poignant commentary on the middle class experience, capturing both the ache of nostalgia and the stark truths of a rapidly shifting society.
Paired Painting
Woman Holding a Fruit
Raja Ravi Varma stands as a bridge between the traditional sensibilities of Indian aesthetics and the technical precision of European oil painting. In this tender portrait, the artist captures a quiet moment of contemplative grace. The subject, adorned in elegant jewelry and a traditional saree, holds a single fruit with a gaze that feels both intimate and distant. Varma possessed a profound ability to imbue his female subjects with a sense of quiet dignity, reflecting the social landscape of his time while simultaneously elevating the domestic sphere into a work of high art. To look upon this painting is to witness the gentle intersection of light, shadow, and the timeless elegance of Indian womanhood.
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