3 verses · ~1 min
बरसों के बाद उसी सूने- आँगन में जाकर चुपचाप खड़े होना रिसती-सी यादों से पिरा-पिरा उठना मन का कोना-कोना
कोने से फिर उन्हीं सिसकियों का उठना फिर आकर बाँहों में खो जाना अकस्मात् मण्डप के गीतों की लहरी फिर गहरा सन्नाटा हो जाना दो गाढ़ी मेंहदीवाले हाथों का जुड़ना, कँपना, बेबस हो गिर जाना
रिसती-सी यादों से पिरा-पिरा उठना मन को कोना-कोना बरसों के बाद उसी सूने-से आँगन में जाकर चुपचाप खड़े होना!
इति
The Poet
धर्मवीर भारती
Dharamvir Bharati
1926 · 1997
Dharamvir Bharati was the defining architect of post independence Hindi literature. Born in 1926 in Allahabad, he seamlessly mastered the roles of a poet, novelist, playwright, and highly influential editor. As the chief editor of the legendary magazine Dharmyug, he shaped the reading habits of an entire generation and set the gold standard for Hindi journalism. His literary output is nothing short of monumental. In Andha Yug, his masterful verse play written in the aftermath of the partition, he used the final days of the Mahabharata war to explore the devastating moral collapse of the modern world. Meanwhile, his poetry collection Kanupriya reimagined the love of Radha and Krishna with breathtaking psychological intimacy. Whether writing sweeping tragedies or the iconic romantic novel Gunahon Ka Devta, Bharati brought an unprecedented intellectual elegance to Hindi. Awarded the Padma Shri and the Sahitya Akademi Award, he died in 1997. He left behind a cultural legacy that permanently elevated the intellectual dignity of the Hindi language.
Paired Painting
A Pathare Prabhu Wedding Ceremony
In this magnificent watercolour, Mahadev Vishwanath Dhurandhar provides a rare and deeply personal glimpse into the traditions of his own Pathare Prabhu community. Created in 1944, the very year of the artist's passing, the painting serves as a final, loving tribute to the cultural fabric of old Bombay. Dhurandhar was a master of the Academic Realism taught at the Sir J.J. School of Art, yet here he transcends mere technical precision to capture the lived emotion of a wedding. Every figure is rendered with individual dignity, from the elders in their traditional red turbans to the women draped in lustrous silk sarees, each detail reflecting the unique social standing and heritage of the community. It is an invitation to witness a sacred transition, recorded by a man who understood these rituals not just as a painter, but as a devoted member of the family gathered there.
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