शृंगार· Shringara
01तुम न आए
Tum Na Aaye
Avaneesh Singh Chauhan
7 verses · ~10 lines · 1 min
Shringara
बिना बताए कहाँ गए
Bina Bataye Kahan Gaye
Avaneesh Singh Chauhan 1 min read 7 versesविरहseparationप्रियतम
7 verses · ~1 min
टूट गए पर तुम बिन मेरे पिंजरे में दिन-रात
रजनीगन्धा दहे रात भर जागे-हँसे चमेली देह हुई निष्पंद कि जैसे सूनी खड़ी हवेली
कौन भरे मन का खालीपन? कौन करेगा बात?
कोमल-कोमल दूब उगी है तन-मन ओस नहाए दूर कहीं कोई है वीणा दीपक राग सुनाए
खद्योतों ने भरी उड़ानें जरे कमलनी पात
बिना नीर के नदिया जैसी, चँदा बिना चकोरी? बिना प्राण के लगता जैसे माटी की हूँ छोरी
प्राण प्रतिष्ठा हो सपनों की टेर रही सौग़ात
इति
The Poet
अवनीश सिंह चौहान
Avaneesh Singh Chauhan
1972 · 2010
Avaneesh Singh Chauhan represents a fresh and necessary voice in contemporary Hindi literature, particularly in his efforts to revitalize traditional lyrical forms for a modern audience. Born in 1979 in the Etawah district of Uttar Pradesh, he has dedicated his literary career to the Navgeet movement and the adaptation of Haiku into the Hindi language. He does not write from the isolation of an ivory tower. Instead, his poetry addresses the environmental decay, social fragmentation, and rural displacement that define twenty-first-century India. Chauhan serves as the executive editor of the literary journal Naye Purane, where he actively fosters dialogue between established literary figures and emerging writers. Through his poetry and critical essays, he proves that ancient poetic rhythms can perfectly articulate the anxieties of the modern world. He is a careful observer of everyday life, using short verse and melodic compositions to document the quiet realities that often escape mainstream attention.
Paired Painting
Dipak Raga: Folio from a Ragamala Series (Garland of Musical Modes)
This exquisite folio embodies the sublime intersection of visual art and classical Indian music, capturing the inner essence of Dipak Raga. In the traditional system of Indian musical modes, or ragas, Dipak is associated with fire, passion, and the blazing radiance of the sun, traditionally performed during the evening hours to evoke warmth and devotional fervor. The painter translates these auditory and spiritual sensations into a nocturnal palace setting where a noble lord and his beloved are surrounded by numerous lamps and flames, symbolizing the blazing light of the raga. Attendants gracefully tend to the scene, holding vessels of light and fans, while the velvety dark night sky above is punctuated by delicate blossoms and stars. The lyrical inscription across the top preserves the poetic invocation of the musical mode, inviting the viewer into a deeply meditative state of aesthetic and spiritual rapture.
Open the viewer →
If this held you
Four more, in the same key.
Chosen for their rasa and their register, not their popularity. Each one carries some part of what Bina Bataye Kahan Gaye carries.
