
KarunaIntermediate
किस को पार उतारा तुम ने किस को पार उतारोगे
Kis Ko Par Utara Tum Ne Kis Ko Par Utaroge
Ibn-e-Insha6 verses · ~1 min
किस को पार उतारा तुम ने किस को पार उतारोगे मल्लाहो तुम परदेसी को बीच भँवर में मारोगे
मुँह देखे की मीठी बातें सुनते इतनी उम्र हुई आँख से ओझल होते होते जी से हें बिसारोगे
आज तो हम को पागल कह लो पत्थर फेंको तंज़ करो इश्क़ की बाज़ी खेल नहीं है खेलोगे तो हारोगे
अहल-ए-वफ़ा से तर्क-ए-ताल्लुक़ कर लो पर इक बात कहें कल तुम इन को याद करोगे कल तुम इन्हें पुकारोगे
उन से हम से प्यार का रिश्ता ऐ दिल छोड़ो भूल चुको वक़्त ने सब कुछ मेट दिया है अब क्या नक़्श उभारोगे ष्
‘इंशा’ को किसी सोच में डूबे दर पर बैठे देर हुई कब तक उस के बख़्त के बदल अपने बाल सँवारोगे
इति
The Poet
इब्ने इंशा
Ibn-e-Insha
1927 · 1978
Sher Muhammad Khan, immortalized under the pen name Ibn-e-Insha, was a literary wanderer who observed the world with a brilliant mix of deep melancholy and razor sharp wit. Born in 1927 in the Jalandhar district of Punjab, he migrated to Pakistan and became one of the most beloved Urdu poets and travelogue writers of his generation. His most famous ghazal Insha Ji Utho Ab Kooch Karo carries an overwhelming sense of world weariness and final departure, sung beautifully by generations of classical vocalists. Yet, alongside this intense sorrow, he authored travelogues filled with hilarious, biting satire that dissected human follies across the globe. He served in the United Nations, traveling extensively before his premature death in London in 1978. He remains the poet of the restless soul, wrapping profound existential grief inside breathtaking lyrical beauty.

Paired Painting
Shantanu and Ganga
This poignant scene depicts a heartrending moment from the Mahabharata, where the celestial river goddess Ganga returns to her divine origin. Bound by a vow to return her children to the waters to liberate them from a curse, she is captured in the act of casting their final child into the river. King Shantanu, her earthly husband, stands in the distance with his arm outstretched in a desperate, futile gesture of pleading. The artist captures the divine serenity of Ganga, whose face remains untroubled by human morality, contrasting sharply with the tragic anguish of the mortal King who realizes he has lost the heavenly being he once cherished.
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