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And We Are Laboring

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आँख भर देखा कहाँ

Aankh Bhar Dekha Kahan

Jagdish Gupta
1 min read 4 versesTearsNatureHimalaya

4 verses · ~1 min

आँख भर देखा कहाँ, आँख भर आई।

अटकी ही रही दीठ वह हिमगिरी-भाल-पीठ मेरे ही आँसू के झीने पट ओट छिपी, देखता रहा बेबस, दी नहीं दिखाई। आँख भर देखा नहीं, आँख भर आई।

पंक्ति-बद्ध देवदारु रोमिल, शलथ, दीर्घ चारु चंदन पर श्यामल कस्तूरी की गन्ध-सी जलदों की छाया हिम शृंगों पर छाई। आँख भर देखा कहाँ, आँख भर आई।

शिखरों के पार शिखर बिंध कर दृग गए बिखर घाटी के प्म्छी-सी गहरे मन में उतरी बदरी-केदारमयी मरकत गहराई। आँख भर देखा कहाँ, आँख भर आई।

इति

Jagdish Gupta

The Poet

जगदीश गुप्त

Jagdish Gupta

1924 · 2001

Jagdish Gupta was a defining architect of the Nayi Kavita or New Poetry movement, a pivotal era that completely reshaped the landscape of Hindi literature. Born in 1924, he refused to let modern Hindi verse stagnate in the predictable rhythms of older romantic traditions. Alongside literary giants like Ramswaroop Chaturvedi, he founded the highly influential journal Nayi Kavita in 1954, providing a vital platform for a new generation of experimental voices. Gupta wrote with a profoundly visual intellect, drawing deeply from classical mythology and ancient Indian aesthetics to explain the anxieties and fragmentation of the modern world. His poetry masterfully balances deep intellectual rigor with delicate emotional nuance. Recognized with the Bharat Bharati Award in 1998, he passed away in 2001, leaving behind a monumental legacy. He taught Hindi poetry how to look at the complexities of the contemporary age without ever losing its sense of classical beauty.

And We Are Laboring

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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