शृंगार· Shringara
01अँजुरी भर धूप
Anjuri Bhar Dhoop
Dharamvir Bharati
3 verses · ~12 lines · 1 min
Shringara
होठों पे मुहब्बत के फ़साने नहीं आते
Hothon Pe Muhabbat Ke Fasane Nahi Aate
Bashir Badr 1 min read 7 versesमोहब्बतloveसमंदर
7 verses · ~1 min
होठों पे मुहब्बत के फ़साने नहीं आते साहिल पे समंदर के ख़ज़ाने नहीं आते।
पलके भी चमक उठती हैं सोते में हमारी आंखों को अभी ख़्वाब छुपाने नहीं आते।
दिल उजडी हुई इक सराय की तरह है अब लोग यहां रात बिताने नहीं आते।
उड़ने दो परिंदों को अभी शोख़ हवा में फिर लौट के बचपन के ज़माने नहीं आते।
इस शहर के बादल तेरी जुल्फ़ों की तरह है ये आग लगाते है बुझाने नहीं आते।
क्या सोचकर आए हो मुहब्बत की गली में जब नाज़ हसीनों के उठाने नहीं आते।
अहबाब भी ग़ैरों की अदा सीख गये है आते है मगर दिल को दुखाने नहीं आते।
इति
The Poet
बशीर बद्र
Bashir Badr
1935 · 1999
Bashir Badr achieved something exceedingly rare in the modern literary landscape by bringing the Urdu ghazal out of the exclusive courts of intellectuals and directly into the hearts of the common people. Born Syed Muhammad Bashir in 1935 in Ayodhya, he cultivated a poetic voice that used the simplest, most everyday Hindustani vocabulary to express the deepest nuances of love, heartbreak, and social tragedy. His couplets are universally recognized and frequently quoted by individuals who may never have read a formal poetry book. His life was marked by profound personal tragedy, most notably when his home and decades of literary archives were burned to ashes during the communal riots of 1992 in Meerut. Yet, instead of responding with hatred, he channeled his grief into verses that pleaded for communal harmony and human empathy. Honored with the Sahitya Akademi Award and the Padma Shri in 1999, he later relocated to Bhopal. Bashir Badr stands as a living legend whose ghazals are permanently etched into the cultural memory of the subcontinent.
Paired Painting
Damayanti and the Swan
This transcendent masterpiece brings to life a timeless episode from the Mahabharata, where Princess Damayanti listens in breathless wonder as a golden swan sings the praises of Nala. Raja Ravi Varma captures the tender flutter of first love and quiet longing, setting the scene within a palatial garden bathed in soft, ethereal light. Damayanti stands draped in a resplendent crimson saree, her posture a delicate blend of shyness and profound curiosity as she gazes upon the celestial messenger. Through this work, the artist bridged classical Indian mythology with European academic realism, creating a visual vocabulary that shaped the soul of modern Indian art and immortalized the poetic grace of ancient lore.
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 Hothon Pe Muhabbat Ke Fasane Nahi Aate carries.
