15 verses · ~2 min
गोल मटोल और छोटा-मोटा, हर दम वह तो जमीं पर लोटा। खुसरो कहे नहीं है झूठा, जो न बूझे अकिल का खोटा।।
उत्तर - लोटा।
श्याम बरन और दाँत अनेक, लचकत जैसे नारी। दोनों हाथ से खुसरो खींचे और कहे तू आ री।।
उत्तर - आरी।
हाड़ की देही उज् रंग, लिपटा रहे नारी के संग। चोरी की ना खून किया वाका सर क्यों काट लिया।
उत्तर - नाखून।
बाला था जब सबको भाया, बड़ा हुआ कुछ काम न आया। खुसरो कह दिया उसका नाव, अर्थ करो नहीं छोड़ो गाँव।।
उत्तर - दिया।
नारी से तू नर भई और श्याम बरन भई सोय। गली-गली कूकत फिरे कोइलो-कोइलो लोय।।
उत्तर - कोयल।
एक नार तरवर से उतरी, सर पर वाके पांव ऐसी नार कुनार को, मैं ना देखन जाँव।।
उत्तर - मैंना।
सावन भादों बहुत चलत है माघ पूस में थोरी। अमीर खुसरो यूँ कहें तू बुझ पहेली मोरी।।
उत्तर - मोरी (नाली)
यह वो पहेलियाँ हैं जिनका उत्तर प्रत्यक्ष या अप्रत्यक्ष रुप में पहेली में दिया होता है यानि जो पहेलियाँ पहले से ही बूझी गई हों।
इति
The Poet
अमीर खुसरो
Amir Khusrow
1253 · 1325
Amir Khusrow lived and breathed a syncretic culture centuries before the modern world even possessed the vocabulary for it. Born in 1253 in Patiyali, Uttar Pradesh, he served as a scholar, a musician, and a poet under the Delhi Sultanate. Despite his royal appointments, his true allegiance remained with his spiritual master, Nizamuddin Auliya. He is widely recognized as the father of Qawwali and is traditionally credited with the invention of the sitar and tabla. His most profound contribution, however, lay in language. He took the formal Persian of the royal courts and merged it with the everyday Hindavi spoken on the streets. His riddles, verses, and ghazals are entirely alive today, still sung at shrines and in courtyards across the Indian subcontinent. Khusrow did not merely write poetry. He shaped the cultural identity of North India, proving that authentic devotion bypasses all borders of language and religion.
Paired Painting
Procession of Maharao Ram Singh II of Kota
This magnificent painting captures a stately procession featuring Maharao Ram Singh II of Kota, a ruler celebrated for his deep patronage of the arts and his devotion. Set against a lush, verdant landscape punctuated by graceful trees, serene waters, and palatial architecture, the ruler sits majestically atop a caparisoned elephant glowing with ornate gold textiles. Attendants, musicians, and noble figures surround the grand procession, creating a rhythmic movement that breathes life into the scene. Every brushstroke honors the vibrant courtly culture of nineteenth century Rajasthan, immortalizing a moment of royal grace and divine majesty.
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