7 verses · ~1 min
फिर हिमालय की अटारी पर उतर आए हैं परेबा मेघ हंस जैसे श्वेत भींगे पंखवाले ।
दूर पर्वत पार से मुझको है बुलाता-सा पहाड़ी राग गर्म रखने के लिए बाक़ी है बची बस काँगड़ी की आग ।
ओढ़कर बैठे सभी ऊँचे शिखर बहुत मँहगी धूप के ऊनी दुशाले।
मौत का आतंक फैलाती हवा दे गई दस्तक किवाड़ों पर वे जिन्हें था प्यार झरनों से अब नहीं दिखते पहाड़ों पर ।
रात कैसी सर्द बीती है कह रहे क़िस्से सभी सूने शिवाले ।
कभी दावानल, कभी हिमपात पड़ गया नीला वनों का रंग दब गए उन लड़कियों के गीत चिप्पियों वाली छतों के संग ।
लोकरंगों में खिले सब फूल बन गए खूँखार पशुओं के निवाले।
इति
The Poet
बुद्धिनाथ मिश्र
Buddhinath Mishra
1948 · 1980
Buddhinath Mishra represents the beating, romantic heart of the modern Navgeet movement, keeping the pure lyricism of Hindi poetry alive in an increasingly cynical world. Born in 1949 in the Samastipur district of Bihar, he emerged as a beloved lyricist whose words seamlessly blend the lush beauty of nature with the complex emotional landscape of contemporary life. He is a poet of the seasons, the village courtyard, and the quiet ache of nostalgia. Yet, his work is never disconnected from reality. His verses actively engage with the struggles of the marginalized, capturing the agrarian distress and the shifting cultural values of the Indian heartland. Unlike poets who publish endlessly, Mishra has cultivated a highly distilled body of work, prioritizing profound emotional resonance over sheer volume. His melodic recitations carry a hypnotic quality that captivates vast audiences. He remains a living legend of Hindi song, proving that true poetry does not need to abandon melody to speak the profound truths of the modern age.
Paired Painting
And We Are Laboring
Nicholas Roerich was a seeker of truth, whose soul found its home within the silent, majestic heights of the Himalayas. In this evocative piece from the Sancta series, he captures the intersection of human devotion and the eternal stillness of nature. The monasteries, perched precariously against the snow covered slopes, serve as a testament to the endurance of the human spirit. For Roerich, the act of painting these mountains was a sacred task, a bridge between the physical reality of the Tibetan landscape and the ethereal realms of the divine. The golden glow upon the walls of the dwellings symbolizes the inner light that sustains those who dedicate their lives to contemplation, existing in harmony with the frozen, crystalline world around them.
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