1 verses · ~1 min
फ़ोन की घंटी बजी मैंने कहा- मैं नहीं हूँ और करवट बदल कर सो गया दरवाज़े की घंटी बजी मैंने कहा- मैं नहीं हूँ और करवट बदल कर सो गया अलार्म की घंटी बजी मैंने कहा- मैं नहीं हूँ और करवट बदल कर सो गया एक दिन मौत की घंटी बजी... हड़बड़ा कर उठ बैठा- मैं हूँ... मैं हूँ... मैं हूँ.. मौत ने कहा- करवट बदल कर सो जाओ।
इति
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.
Paired Painting
Savitri and Satyavan with Yama
This profound painting captures one of the most sublime moments of devotion and triumph over mortality in Hindu mythology, drawn from the epic Mahabharata. The faithful Savitri kneels in deep reverence before Yama, the divine lord of justice and death, who sits majestically atop his mount. In the foreground, Satyavan lies peacefully asleep, oblivious to the cosmic negotiations unfolding for his soul. Through meticulous academic realism and deep emotional resonance, Dhurandhar portrays Savitri's unwavering loyalty, intelligence, and spiritual strength, which ultimately persuades Yama to restore her beloved husband to life.
Open the viewer →