शृंगार· Shringara
01साँझ के बादल
Sanjh Ke Badal
Dharamvir Bharati
4 verses · ~8 lines · 1 min
6 verses · ~1 min
झुकी पीठ को मिला किसी हथेली का स्पर्श तन गई रीढ़
महसूस हुई कन्धों को पीछे से, किसी नाक की सहज उष्ण निराकुल साँसें तन गई रीढ़
कौंधी कहीं चितवन रंग गए कहीं किसी के होठ निगाहों के ज़रिये जादू घुसा अन्दर तन गई रीढ़
गूँजी कहीं खिलखिलाहट टूक-टूक होकर छितराया सन्नाटा भर गए कर्णकुहर तन गई रीढ़
आगे से आया अलकों के तैलाक्त परिमल का झोंका रग-रग में दौड़ गई बिजली तन गई रीढ़
रचनाकाल: 1957 में रचित
इति
The Poet
नागार्जुन
Nagarjun
1911 · 1998
Vaidyanath Mishra, universally known as Nagarjun, was a literary force of nature who absolutely refused to bow before power. Born in 1911 in the Darbhanga district of Bihar, he earned the title of Janakavi or the poet of the people through decades of unyielding progressive writing. He wrote in both Hindi and Maithili, winning the Sahitya Akademi Award for his Maithili collection Patrahin Nagna Gachh. Nagarjun was a restless traveler and a committed activist who actively participated in peasant movements and went to prison several times. His poetry is stripped of all artificial elegance. It speaks directly with the raw, biting anger of the hungry, the marginalized, and the exploited. Whether he was exposing political corruption or writing tenderly about the first rains on parched village earth, his words carried the undeniable scent of the soil. He died in 1998, but he remains the ultimate benchmark for resistance poetry in India. He proved that true poetry does not reside in the palaces of kings, but in the sweat and struggle of the common folk.
Paired Painting
Sita Swayamvar
In this momentous scene from the Ramayana, Prince Rama stands at the center of the court of King Janaka. The tension is palpable as he lifts the heavy celestial bow of Shiva, a feat required to win the hand of Princess Sita. Raja Ravi Varma captures the intersection of divine grace and human valor: he portrays the young prince with effortless poise while onlookers watch in a mixture of awe and anticipation. This work served as a bridge between traditional Indian iconography and Western academic realism, effectively bringing the ancient epics into the living spaces of countless families across the subcontinent.
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 Tan Gayi Reedh carries.
