शान्त· Shanta
01आज फिर शुरू हुआ
Aaj Phir Shuru Hua
Raghuvir Sahay
5 verses · ~6 lines · 1 min
10 verses · ~2 min
1.
मेरा विश्वास पराजय को ज़हर होता है मेरा उल्लास उदासी को क़हर होता है मुझे घिरते हुए अँधियारे की परवाह क्या मेरी हर बात का अंजाम सहर होता है
2.
आज बदली है ज़माने ने नई ही करवट नई धरा ने विचारों का छुआ है युग तट तुम जिसे मौत की आवाज़ समझ बैठे हो नए इनसान के क़दमों की है बढ़ती आहट
3.
इन चमकदार कतारों पे नज़र रखती हूँ सुर्ख़ बेदाग अँगारों पे नज़र रखती हूँ दे के मिट्टी के खिलौने मुझे बहकाओ न तुम मैं जवानी हूँ सितारों पे नज़र रखती हूँ
4.
दूर तक एक भी आता है मुसाफ़िर न नज़र ये भी मालूम नहीं रात है ये या के सहर मेरे अस्तित्व के बस दो ही चिह्न बाक़ी हैं एक बुझता-सा दिया, एक उजड़ती-सी नज़र
5.
जिसके जीने से जी रहे थे हम दर्द का दम निकल गया शायद एक मुद्दत में नींद आई है मौत का दिल पिघल गया शायद
इति
The Poet
बालस्वरूप राही
Balswaroop Rahi
1936 · 1970s
Balswaroop Rahi holds a highly distinguished position in Hindi literature as a writer who moves with absolute grace between profound existential ghazals and joyous children's poetry. Born in 1936 in Delhi, he became a prominent voice in the Navgeet movement, crafting lyrics that resonated with the emotional complexities of modern life. In collections like Jo Nitaant Meri Hain and Rahi Ko Samjhaye Kaun, he approaches themes of longing, memory, and personal grief with a deeply touching vulnerability. Yet, parallel to his serious verse, he has been a towering figure in the realm of Bal Sahitya, shaping the imaginations of countless Indian children with immensely popular rhymes and songs. His lifelong dedication to literature earned him prestigious honors, including the Sahitya Akademi Bal Sahitya Puraskar. Whether he is dissecting the pain of a broken dream or writing about the innocent wonder of the sun, Rahi brings the same masterful precision to his words, proving that true poetry can speak to every stage of the human journey.
Paired Painting
Folio from an Ashtasahasrika Prajnaparamita Manuscript Depicting Maitreya
This sacred palm leaf folio serves as a profound window into the esoteric visual and spiritual world of late Buddhist art in eastern India. Created during the height of the Pala Empire, such manuscripts of the Ashtasahasrika Prajnaparamita, or Perfection of Wisdom in Eight Thousand Lines, were revered as living embodiments of divine wisdom. Monks and master artisans labored with immense devotion, illuminating fragile palm leaves with intricate iconographies of Buddhas and Bodhisattvas. Flanked by elegant columns, the central panel radiates a quiet, sublime grace, inviting the viewer to contemplate the boundless compassion of the enlightened beings who guide humanity across the ocean of suffering.
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 Paanch Muktak carries.
