हास्य· Hasya
01विज्ञापन की चकाचौंध
Vigyapan Ki Chakachaundh
Avaneesh Singh Chauhan
7 verses · ~12 lines · 1 min
2 verses · ~2 min
रमा लो मांग में सिन्दूरी छलना... फिर बेटी विज्ञापन लेने निकलना... तुम्हारी चाची को यह गुर कहाँ था मालूम!
हाथ न हुए पीले विधि विहित पत्नी किसी की हो न सकीं चौरंगी के पीछे वो जो होटल है और उस होटल का वो जो मुच्छड़ रौबीला बैरा है ले गया सपने में बार-बार यादवपुर कैरियर पे लाद के कि आख़िर शादी तो होगी ही नहीं? मैं झूठ कहता हूँ? ओ, हे युग नन्दिनी विज्ञापन सुन्दरी, गलाती है तुम्हारी मुस्कान की मृदु मद्धिम आँच धन-कुलिश हिय-हम कुबेर के छौनों को क्या ख़ूब! क्या ख़ूब कर लाई सिक्योर विज्ञापन के आर्डर! क्या कहा? डेढ़ हज़ार? अजी, वाह, सत्रह सौ! सत्रह सौ के विज्ञापन? आओ, बेटी, आ जाओ, पास बैठो तफसील में बताओ... कहाँ-कहाँ जाना पड़ा? कै-कै बार? क्लाइव रोड? डलहौजी? चौरंगी? ब्रेबोर्न रोड? बर्बाद हुए तीन रोज़: पाँच शामें? कोई बात नहीं... कोई बात नहीं... आओ, आओ, तफ़सील में बतलाओ!
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
Young Woman
In this evocative portrait, Raja Ravi Varma captures the grace and quiet dignity of an Indian woman. With his characteristic synthesis of European academic technique and Indian sensibilities, he presents a subject whose presence is both grounded and ethereal. Her attire, draped with classical precision, speaks to a timeless tradition, while the soft light playing across her features invites us to contemplate her inner world. Varma was a pioneer in romanticizing the female figure in Indian art, turning his gaze toward the beauty of the everyday individual. He imbued his subjects with a sense of reverence that challenged the boundaries of his time, effectively weaving the identity of the modern Indian woman into the visual fabric of history.
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 Vigyapan Sundari carries.
