
काल की महिमा
Kaal Ki Mahima
Kabir
22 verses · ~54 lines · 3 min
№ MMXXVI
RACHNA · A LIVING ARCHIVE
Loading the archive
MM · XXVI

Shanta
Sadho Ye Murdon Ka Gaon
Kabir17 verses · ~1 min
साधो ये मुरदों का गांव
पीर मरे पैगम्बर मरिहैं
मरि हैं जिन्दा जोगी
राजा मरिहैं परजा मरिहै
मरिहैं बैद और रोगी
चंदा मरिहै सूरज मरिहै
मरिहैं धरणि आकासा
चौदां भुवन के चौधरी मरिहैं
इन्हूं की का आसा
नौहूं मरिहैं दसहूं मरिहैं
मरि हैं सहज अठ्ठासी
तैंतीस कोट देवता मरि हैं
बड़ी काल की बाजी
नाम अनाम अनंत रहत है
दूजा तत्व न होइ
कहत कबीर सुनो भाई साधो
भटक मरो ना कोई
इति
The Poet
Kabir
1398 · 1518
To speak of Kabir within the ordinary parameters of literary biography is almost impossible. Born in the fifteenth century to a Muslim weaver's family in the sacred Hindu city of Banaras, he became a voice that refused to be domesticated by any temple, mosque, or scholarly apparatus. Kabir claimed no scripture, no caste, and no sacred language as his exclusive property. He stood at the loom of reality and wove his dohas (devastating two-line couplets) from the raw thread of direct spiritual encounter. His critique was not merely religious but civilizational. He asked with the serene ferocity of an awakened mind why human beings had chosen the architecture of division over the open sky of the divine. Centuries have passed, empires have crumbled, and languages have shifted. Yet, Kabir's couplets are still recited in village squares and debated in universities today. He requires no temple because he built one inside language itself. He is the conscience of the Indian soul.

Paired Painting
Vishnu reclining on Shesha
Open the viewer →
If this held you
Chosen for their rasa and their register, not their popularity. Each one carries some part of what Sadho Ye Murdon Ka Gaon carries.