№ MMXXVI

RACHNA · A LIVING ARCHIVE

Rachna by M.

Loading the archive

MM · XXVI

Canvas
Rama, Sita, and Lakshmana in the Jungle

Karuna

अयोध्या, 1992

Ayodhya, 1992

Kunwar Narayan
1 min read 6 versesरामअयोध्याराजनीति

6 verses · ~1 min

हे राम, जीवन एक कटु यथार्थ है और तुम एक महाकाव्य!

तुम्हारे बस की नहीं उस अविवेक पर विजय जिसके दस बीस नहीं अब लाखों सर - लाखों हाथ हैं, और विभीषण भी अब न जाने किसके साथ है.

इससे बड़ा क्या हो सकता है हमारा दुर्भाग्य एक विवादित स्थल में सिमट कर रह गया तुम्हारा साम्राज्य

अयोध्या इस समय तुम्हारी अयोध्या नहीं योद्धाओं की लंका है, 'मानस' तुम्हारा 'चरित' नहीं चुनाव का डंका है!

हे राम, कहां यह समय कहां तुम्हारा त्रेता युग, कहां तुम मर्यादा पुरुषोत्तम कहां यह नेता-युग!

सविनय निवेदन है प्रभु कि लौट जाओ किसी पुरान - किसी धर्मग्रन्थ में सकुशल सपत्नीक.... अबके जंगल वो जंगल नहीं जिनमें घूमा करते थे वाल्मीक!

इति

Kunwar Narayan

The Poet

कुंवर नारायण

Kunwar Narayan

1927 · 2017

Kunwar Narayan possessed a poetic vision that operated across centuries, seamlessly connecting ancient Indian mythology with the deep anxieties of modern existence. Born in 1927 in Faizabad, he was a pivotal voice in the Nayi Kavita movement. He was a thinker of immense patience, sometimes taking decades to complete a single work. His masterpiece Atmajayee reimagined the Kathopanishad, using the mythological character of Nachiketa to explore the existential terrors of death and the search for ultimate truth. He wrote in a highly meditative, unhurried tone, rejecting loud ideological slogans in favor of quiet philosophical inquiry. Honored with the Sahitya Akademi Award and the Jnanpith Award, he passed away in 2017. He was a writer of profound intellectual integrity, proving that literature achieves its highest purpose when it attempts to answer the fundamental questions of the human soul.

Rama, Sita, and Lakshmana in the Jungle

Paired Painting

Rama, Sita, and Lakshmana in the Jungle

This delicate masterpiece captures the poignant exile of Prince Rama, his devoted wife Sita, and his loyal brother Lakshmana as they traverse the Dandaka forest. The artist portrays the trio in traditional forest attire, crafted from leaves and bark, which signifies their humble renunciation of royal comforts. The landscape is depicted with tender lyricism, where the winding river and flowering trees create a serene backdrop for their divine journey. This painting serves as a spiritual meditation on duty, sacrifice, and the enduring bond of family amidst the unpredictability of the wilderness.

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 Ayodhya, 1992 carries.