5 verses · ~1 min
फाँस जो छूती रगों को देखने में कुछ नहीं है
रह न पाया एक साँचे से मिला आकार मेरा स्वर्ण प्रतिमा जहाँ मेरी है फँसा अंगार मेरा आंख कह देती कहानी बाँचने में कुछ नहीं है।
हैं हमें झूला झुलाते सधे पलड़े के तराज़ू माप से कम तोलते हैं वाम ठहरे सधे बाज़ू दाँव पर सब कुछ लगा है देखने में कुछ नहीं है।
हर तरफ़ आँखें गड़ी हैं ढूँढ़ती मुस्कान मेरी लाल कालीनें बिछाते खो गयी पहचान मेरी हर तरफ पहरे लगे हैं आँकने में कुछ नहीं है।
बोलने वाले चमकते हो गई मणिदीप भाषा मैं अलंकृत क्या हुआ मुझसे अलंकृत है निराशा लोग जो उपहार लाए भाँपने में कुछ नहीं है।
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
Young Woman
In this evocative portrait, Raja Ravi Varma captures the grace and quiet dignity of an Indian woman. With his characteristic synthesis of European academic technique and Indian sensibilities, he presents a subject whose presence is both grounded and ethereal. Her attire, draped with classical precision, speaks to a timeless tradition, while the soft light playing across her features invites us to contemplate her inner world. Varma was a pioneer in romanticizing the female figure in Indian art, turning his gaze toward the beauty of the everyday individual. He imbued his subjects with a sense of reverence that challenged the boundaries of his time, effectively weaving the identity of the modern Indian woman into the visual fabric of history.
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