7 verses · ~1 min
प्यार पंछी सोच पिंजरा दोनों अपने साथ हैं, एक सच्चा, एक झूठा, दोनों अपने साथ हैं,
आसमाँ के साथ हमको ये जमीं भी चाहिए, भोर बिटिया, साँझ माता दोनों अपने साथ हैं।
आग की दस्तार बाँधी, फूल की बारिश हुई, धूप पर्वत, शाम झरना, दोनों अपने साथ हैं।
ये बदन की दुनियादारी और मेरा दरवेश दिल, झूठ माटी, साँच सोना, दोनों अपने साथ हैं।
वो जवानी चार दिन की चाँदनी थी अब कहाँ, आज बचपन और बुढ़ापा दोनों अपने साथ हैं।
मेरा और सूरज का रिश्ता बाप बेटे का सफ़र, चंदा मामा, गंगा मैया, दोनों अपने साथ हैं।
जो मिला वो खो गया, जो खो गया वो मिल गया, आने वाला, जाने वाला, दोनों अपने साथ हैं।
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
Krishna and Arjuna in Dwarka
This magnificent painting transports the viewer into the legendary golden city of Dwarka, a mythical realm of supreme opulence and spiritual resonance built by the divine will of Lord Krishna. In the foreground, Krishna stands with his characteristic azure complexion alongside his devoted friend and hero Arjuna, gazing out over an architectural marvel of white marble palaces, tranquil waters, and golden shrines. Above them, the divine sage Narada glides through the heavens playing his veena, filling the celestial expanse with eternal melodies. Tomassetti immersed himself in the Vedic literatures to capture not just the physical grandeur of Dwarka, but its sacred atmosphere, where divine presence and earthly existence intertwine in perfect harmony.
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