№ MMXXVI

RACHNA · A LIVING ARCHIVE

Rachna by M.

Loading the archive

MM · XXVI

Canvas
Untitled (Disappointed)

Shringara

तूने ये हरसिंगार हिलाकर बुरा किया

Tune Ye Harsingar Hilakar Bura Kiya

Dushyant Kumar
1 min read 7 versesग़ज़लghazalहरसिंगार

7 verses · ~1 min

तूने ये हरसिंगार हिलाकर बुरा किया पांवों की सब जमीन को फूलों से ढंक लिया

किससे कहें कि छत की मुंडेरों से गिर पड़े हमने ही ख़ुद पतंग उड़ाई थी शौकिया

अब सब से पूछता हूं बताओ तो कौन था वो बदनसीब शख़्स जो मेरी जगह जिया

मुँह को हथेलियों में छिपाने की बात है हमने किसी अंगार को होंठों से से छू लिया

घर से चले तो राह में आकर ठिठक गये पूरी हूई रदीफ़ अधूरा है काफ़िया

मैं भी तो अपनी बात लिखूं अपने हाथ से मेरे सफ़े पे छोड़ दो थोड़ा सा हाशिया

इस दिल की बात कर तो सभी दर्द मत उंडेल अब लोग टोकते है ग़ज़ल है कि मरसिया

इति

Dushyant Kumar

The Poet

दुष्यंत कुमार

Dushyant Kumar

1933 · 1975

Dushyant Kumar did something that required a radical courage most artists never summon. He took a form synonymous with moonlit nights and the ache of unfulfilled romance and dragged it into the burning lanes where injustice stank and the ordinary man had no language for his helplessness. Born in 1931 in Uttar Pradesh, he dismantled the ornamental tradition of the Urdu ghazal and rebuilt it in Hindi as a weapon of the dispossessed. His singular collection Saaye Mein Dhoop became one of the most quietly devastating documents in the entire tradition of modern Hindi literature. The Emergency of 1975 gave his verses a context that proved them prophetic. Unlike mere political poetry, his words outlasted their moment to become permanent fixtures in the vocabulary of Indian dissent. He wrote not with a scholar's distance but with the shaking hands of someone who had looked injustice in the face and refused to flinch. He died at forty four, leaving behind a body of work so concentrated and incandescent that its light has not dimmed in half a century. To read Dushyant Kumar is to understand that poetry's highest function is not consolation but confrontation.

Untitled (Disappointed)

Paired Painting

Untitled (Disappointed)

In this poignant composition, Jogesh Chandra Seal captures the quiet, heavy ache of human longing. We see a young woman retreating into the shadows of a great tree, her posture reflecting a soul turned inward by sorrow or unfulfilled expectation. She stands beside a peacock, a traditional symbol of love and longing in Indian aesthetics, yet the bird appears as a silent witness to her solitude rather than a partner in joy. The painting invites us to empathize with the universal experience of disappointment, expressed here through the delicate folds of her sari and the downcast gaze that speaks volumes of a heart burdened by its own secrets. It is a masterful study of the quiet moments when life does not unfold as we once dared to dream.

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 Tune Ye Harsingar Hilakar Bura Kiya carries.