Shanta

दर्शन दो घनश्याम नाथ मोरी अँखियाँ प्यासी रे

Darshan Do Ghanshyam Nath Mori Ankhiyan Pyasi Re

1 min read 5 versesभक्तिdevotionघनश्याम

5 verses · ~1 min

दर्शन दो घनश्याम नाथ मोरी अँखियाँ प्यासी रे ।।

मंदिर-मंदिर मूरत तेरी, फिर भी न दीखे सूरत तेरी । युग बीते, ना आई मिलन की पूरनमासी रे ।। दर्शन दो घनश्याम, नाथ! मोरि अँखियाँ प्यासी रे ।।

द्वार दया का जब तू खोले, पंचम सुर में गूंगा बोले । अंधा देखे, लंगड़ा चल कर पँहुचे काशी रे ।। दर्शन दो घनश्याम, नाथ! मोरी अँखियाँ प्यासी रे ।।

पानी पी कर प्यास बुझाऊँ, नैनन को कैसे समझाऊँ । आँख मिचौली छोड़ो अब तो, घट-घट वासी रे ।। दर्शन दो घनश्याम, नाथ! मोरी अँखियाँ प्यासी रे ।।

फ़िल्म 'नरसी भगत'

इति

The Poet

गोपाल सिंह नेपाली

Gopal Singh Nepali

1911 · 1963

Gopal Singh Nepali lived a life divided between the quiet beauty of nature and the demanding glare of the Hindi film industry. Born in 1911 in Bettiah, Bihar, he emerged as a prominent voice in the post Chhayavaad era of Hindi poetry. Collections like Umang and Panchhi captured a profound love for the natural world, freedom, and the Himalayan landscapes. However, financial struggles eventually pushed him toward Mumbai, where he achieved tremendous success as a lyricist. He wrote roughly three hundred songs for over fifty films, crafting immortal melodies that blended high poetic dignity with popular appeal. During the national crisis of 1962, he wrote stirring patriotic verses that roused the conscience of the nation. Yet, despite his massive contributions to literature and cinema, the literary establishment often treated him with undeserved neglect. He passed away suddenly at the Bhagalpur railway station in 1963, completely unrecognized in his final moments. His life stands as a poignant reminder of the heavy price often paid by independent artists.

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Paired Painting

Vishnu Puja

In this serene composition by the master academic painter Mahadev Vishwanath Dhurandhar, a devoted woman is captured in the quiet intimacy of worship before a sacred shrine of Lord Vishnu. Bathed in the soft, flickering glow of oil lamps and the gentle curl of ascending incense, her posture is one of complete surrender and profound yearning. Her hands are joined in anjali mudra, while her tanpura rests beside her, suggesting that her devotion is expressed not only through ritual offerings, but also through the soulful singing of bhajans. Dhurandhar masterfully bridges classical Indian iconography with Western academic realism, rendering the divine form of Vishnu with glowing ornaments and a four armed celestial grace, while grounding the human devotee in tangible, emotional reality.

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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 Darshan Do Ghanshyam Nath Mori Ankhiyan Pyasi Re carries.