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सभागार की ये पुरानी दरी गालिब के किसी शेर के साथ बुनी गई होगी - कम से कम दो शताब्दी पहले। ’दर‘ का ’दर्द‘ से होगा जरूर कोई तो रिश्ता ’दायम पडा हुआ तेरे दर पर नहीं हूँ मैं - कह नहीं सकती बेचारी दरी। जूते-चप्पल झेलकर भी हरदम सजदे में बिछी धूल फाँकती सदियों की मसक गई है ये जरा-सी जब कभी खिंच जाती है सभा लम्बी राकस की टीक की तरह धीरे से भरती है शिष्ट दरी नन्हीं-मुन्नी एक अचकचाती-सी उबासी पुराने अदब का इतना लिहाज है उसे, खाँसती भी है तो धीरे से! किरकिराती जीभ से रखती है होंठ ये लगातार तर किसी पुराने चश्मे के काँच-सी-धुँधली, किसी गंदुमी शाम-सी धूसर सभागार की ये पुरानी दरी बुनी गई होगी गालिब के किसी शेर की तरह कम-से-कम दो शताब्दी पहले। नई-नई माँओं को जब पढने होते हैं सेमिनार में पर्चे पीली सी साटन की फालिया पर छोड जाती हैं वे बच्चे सभागार की इस दरी दादी के भरोसे।
इति
The Poet
अनामिका
Anamika
1961 · 2020
Dr. Anamika made historic strides in contemporary literature by becoming the very first female poet to win the Sahitya Akademi Award for Hindi poetry in the entire sixty five year history of the prize. Born in 1961 in Muzaffarpur, Bihar, she has spent decades carving out a fiercely intelligent and deeply empathetic space for women in Indian letters. Through acclaimed collections like Tokri Mein Digant, for which she won her monumental award in 2020, she examines the complex architecture of patriarchy, domestic labor, and female identity. She does not write with loud slogans. Instead, she explores the female experience through the quiet, profound realities of everyday survival, using conversational language to unearth deep philosophical truths. Beyond her poetry, she is a respected academic, novelist, and translator who bridges the gap between Hindi and English literary traditions. Anamika stands as a living icon of feminist literature, giving a permanent voice to the silenced generations of women who came before her.
Paired Painting
An Interesting Lesson
This captivating oleograph transports us into an intimate chamber of musical instruction and refined artistic appreciation. Painted by the master draftsman M. V. Dhurandhar and brought to households across India through the Ravi Varma Press, the artwork captures a delicate exchange between a musician and his listeners. The central figure gently plucks a tanpura, her voice poised in song, while a seated gentleman accompanies on tabla, leaning forward with an expression of intense absorption. Across from them, a graceful woman listens with undivided attention, her posture radiating profound respect for the melodic arts. Dhurandhar masterfully bridges traditional Indian subjects with Western academic realism, creating a deeply human portrait of cultural transmission and aesthetic devotion.
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