10 verses · ~2 min
सहज सहज सब कोई कहै, सहज न चीन्हैं कोय | जिन सहजै विषया तजै, सहज कहावै सोय ||
सहज - सहज सब कहते हैं, परन्तु उसे समझते नहीं जिन्होंने सहजरूप से विषय - वासनाओं का परित्याग कर दिया है, उनकी निर्विश्ये - स्थिति ही सहज कहलाती है|
जो कछु आवै सहज में सोई मीठा जान | कड़वा लगै नीमसा, जामें ऐचातान ||
ऐ बोधवान! जो कुछ सहज में आ जाये उसे मीठा (उत्तम) समझो| जो छीना - झपटी से मिलता है, वे तो विवेकियों को नीम सा कड़वा लगता है|
सहज सहज सब कोई कहै, सहज न चीन्हैं कोय | पाँचों राखै पारतों, सहज कहावै साय ||
सहज सहक सब कहते हैं परन्तु सहज क्या है इसको नहीं जानते| विषयों में फैली हुई पाँचो ज्ञान इंद्रियों को जो अपने स्वाधीन रखता है, यह इन्द्रियजित अवस्था ही सहज अवस्था है|
सबही भूमि बनारसी, सब निर गंगा होय | ज्ञानी आतम राम है, जो निर्मल घट होय ||
उनके लिए काशी की भूमि या अन्ये भूमि व गंगा नदी या अन्ये नदियां सब बराबर हैं जो ह्रदय को पवित्र बनाकर ज्ञानी स्वरुप राम में स्थित हो गया|
अति का भला न बोलना, अति की भली न चुप | अति का भला न बरसना, अति की भली न धूप ||
बहुत बरसना भी ठीक नहीं होता है, और बहुत धूप होना भी लाभकर नहीं| इसी प्रकार बहुत बोलना अच्छा नहीं, बिलकुल चुप रहना भी अच्छा नहीं|
इति
The Poet
कबीर
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
Sujata Offering Milk Rice to Siddhartha
This poignant scene captures a foundational moment in spiritual history, depicting the transition of Siddhartha Gautama from a period of extreme asceticism to the discovery of the Middle Way. Having fasted until his body was frail, Siddhartha realized that enlightenment could not be reached through the total neglect of the physical form. At this critical juncture, a village woman named Sujata appeared, moved by a divine impulse to offer him a golden bowl of milk rice. In this painting, her gaze is filled with a gentle, maternal reverence, while Siddhartha sits in a state of quiet grace, his head encircled by a soft, luminous halo. This act of compassion provided him the strength required to reach the final threshold of his awakening under the Bodhi tree. The artist masterfully blends the sacred and the mundane, suggesting that the path to the divine is often paved by the simplest acts of human kindness.
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