ShringaraIntermediate
खुशबू सी आ रही है इधर ज़ाफ़रान की
Khushbu Si Aa Rahi Hai Idhar Zafaran Ki
Gopaldas 'Neeraj'7 verses · ~1 min
खुशबू सी आ रही है इधर ज़ाफ़रान की, खिडकी खुली है गालिबन उनके मकान की.
हारे हुए परिन्दे ज़रा उड़ के देख तो, आ जायेगी जमीन पे छत आसमान की.
बुझ जाये सरे आम ही जैसे कोई चिराग, कुछ यूँ है शुरुआत मेरी दास्तान की.
ज्यों लूट ले कहार ही दुल्हन की पालकी, हालत यही है आजकल हिन्दुस्तान की.
औरों के घर की धूप उसे क्यूँ पसंद हो बेची हो जिसने रौशनी अपने मकान की.
जुल्फों के पेंचो-ख़म में उसे मत तलाशिये, ये शायरी जुबां है किसी बेजुबान की.
'नीरज' से बढ़कर और धनी है कौन, उसके हृदय में पीर है सारे जहान की.
इति
The Poet
गोपालदास "नीरज
Gopaldas 'Neeraj'
1925 · 2018
If Hindi poetry possessed a single voice that could dissolve the boundary between the written word and the sung breath, that voice belonged to Gopaldas Neeraj. He moved with rare and uncanny fluency between the high courts of literary poetry and the golden studios of Hindi cinema. Writing film lyrics in the 1960s and 1970s, he achieved something almost impossible by ensuring his songs carried genuine philosophical weight while remaining luminous with melody. His songs for films like Mera Naam Joker and Nai Umar Ki Nai Fasal did not condescend to their popular medium, but rather elevated it entirely. Neeraj understood with the instinct of a true artist that the deepest questions of human existence, the nature of time, the certainty of loss, and the strange beauty of impermanence are not the exclusive property of the academy. They belong to the weeping widow, the dreaming young man, and the farmer watching rain fall on dry earth. Born in Puravali in 1925, he lived until 2018. Through nine full decades, he carried the gift of making the philosophical feel personal and the personal feel universal. He was that rarest of things, a poet whom both the scholar and the ordinary listener claimed as their own.
Paired Painting
The Wedding of Rama
In this magnificent composition, M. V. Dhurandhar captures the jubilant spirit of the divine wedding of Lord Rama and Sita. The scene breathes with the life of a grand royal procession, where the celestial couple is seen mounted upon a gilded chariot, surrounded by the adoring citizens of Ayodhya. Dhurandhar uses his mastery of academic realism to bridge the gap between the mythic past and the viewer, bathing the entire event in a warm, golden light that suggests both morning sunshine and divine grace. The painting serves as a bridge between high art and the cultural pulse of early twentieth century India, immortalizing a sacred moment that remains central to the collective consciousness and devotion of countless millions.
Open the viewer →