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The Death of Shishupala

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मोहन हो-हो, हो-हो होरी

Mohan Ho-Ho, Ho-Ho Hori

Raskhan
1 min read 2 versesHoliYashoda

2 verses · ~1 min

(राग सारंग)

मोहन हो-हो, हो-हो होरी । काल्ह हमारे आँगन गारी दै आयौ, सो को री ॥ अब क्यों दुर बैठे जसुदा ढिंग, निकसो कुंजबिहारी । उमँगि-उमँगि आई गोकुल की , वे सब भई धन बारी ॥ तबहिं लला ललकारि निकारे, रूप सुधा की प्यासी । लपट गईं घनस्याम लाल सों, चमकि-चमकि चपला सी ॥ काजर दै भजि भार भरु वाके, हँसि-हँसि ब्रज की नारी । कहै ’रसखान’ एक गारी पर, सौ आदर बलिहारी ॥

इति

Raskhan

The Poet

रसखान

Raskhan

1548 · 1628

Syed Ibrahim, who adopted the pen name Raskhan, represents one of the most beautiful spiritual transformations in the history of Indian literature. Born in the sixteenth century to a wealthy Muslim family, he experienced a profound awakening upon encountering the devotion of the Vaishnava tradition. He abandoned his worldly privileges, relocated to the sacred town of Vrindavan, and spent the rest of his life entirely consumed by a fierce, ecstatic love for Lord Krishna. Composing in Braj Bhasha, he authored verses that capture the divine playfulness of Krishna with unparalleled tenderness. His poetry transcends all religious boundaries, proving that ultimate devotion recognizes no rigid theology. Today, his couplets are recited with deep reverence in Hindu temples across the country. Raskhan stands as an eternal symbol of pure, unconditioned love, demonstrating that the divine can be accessed by anyone possessing a truly surrendered heart.

The Death of Shishupala

Paired Painting

The Death of Shishupala

This profound work captures the climactic moment where the divine grace of Lord Krishna finally reaches its limit. After enduring one hundred insults from his cousin Shishupala, as promised to his aunt, Krishna releases the Sudarshana Chakra. The painting serves as a somber meditation on the inevitability of divine justice (it depicts the chaotic tension of the Rajasuya Yajna assembly where arrogance is met with cosmic retribution). Ravi Varma masterfully balances the architectural grandeur of the Indraprastha pavilion with the explosive, kinetic energy of the spinning discus, freezing the moment of transition from worldly discourse to eternal dharma.

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