5 verses · ~1 min
हम यहाँ हैं और उलझी कहीं पीछे डोर फूल कोई लौट जाना चाहता है फिर, कली की ओर!
इस तरह भी कहीं होता है? इस तरह तो नहीं होता है सिर्फ़ होता है वही, जो सामने है , पीठ पीछे कौन होता है?
पीठ पीछे सामने के बीच हम केवल बहुत कमज़ोर! फूल कोई लौट जाना चाहता है फिर, कली की ओर!
मुश्किलों की याद आती है यात्रा तो भूल जाती है भूलने की बात भी तो भूलती है भूल ही सब कुछ भुलाती है
जो भुलाए भूल जाए ज़िन्दगी को वही सीनाज़ोर! फूल कोई लौट जाना चाहता है फिर, कली की ओर!
इति
The Poet
दिनेश सिंह
Dinesh Singh
1948 · 1970s
Kanwar Dinesh Singh is a vital contemporary voice who moves with remarkable grace between English and Hindi literary traditions. Born in 1973 in New Delhi and deeply shaped by the mountainous landscapes of Shimla, he has carved out a unique space as both a poet and a pioneering haikuist in Hindi literature. While many modern writers lean heavily on complex intellectualism, Singh finds profound beauty in brevity. Through collections like Kuhra Dhanush and Aangan Mein Gauraiya, he adapts the strict, minimalist structure of the Japanese haiku to the linguistic rhythms of Hindi, capturing fleeting moments of nature and delicate human emotions. He also serves as a professor and literary critic, consistently working to foster dialogue between different literary cultures. Honored with the Himachal Pradesh Sahitya Akademi Award, Singh demonstrates that poetry does not need to be loud to be deeply impactful. He is a writer of quiet observation, proving that immense philosophical weight can often be carried in just a few carefully chosen syllables.
Paired Painting
Smriti
Hemendranath Majumdar was a master of the romantic gaze, capturing the quietude of the feminine soul with unparalleled grace. In this work, titled Smriti, he invites the viewer into a moment of profound introspection. The subject is draped in the signature wet sari style that defined Majumdar's contribution to Indian naturalism, evoking a sense of vulnerability and timeless elegance. Her downward glance suggests the weight of nostalgia, turning the viewer into a silent witness to a private memory. Through his brush, he elevates the domestic sphere into a site of spiritual reflection, blending European academic rigor with the soft, ethereal beauty characteristic of the Bengal aesthetic.
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