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दिल कहे रुक जा रे रुक जा, यहीं पे कहीं
Dil Kahe Ruk Ja Re Ruk Ja, Yahin Pe Kahin
Sahir Ludhianvi4 verses · ~1 min
दिल कहे रुक जा रे रुक जा, यहीं पे कहीं जो बात जो बात इस जगह, है कहीं पे नहीं
पर्बत ऊपर खिड़की खूले, झाँके सुन्दर भोर, चले पवन सुहानी नदियों के ये राग रसीले, झरनों का ये शोर बहे झर झर पानी मद भरा, मद भरा समाँ, बन धुला-धुला हर कली सुख पली यहाँ, रस घुला-घुला तो दिल कहे रुक जा हे रुक जा...
ऊँच-ऊँचे पेड़ घनेरे, छनती जिनसे धूप खड़ी बाँह पसारे नीली नीली झील में झलके नील गगन का रूप बहे रंग के धारे डाली-डाली चिड़ियों कि सदा, सुर मिला-मिला चम्पाई चम्पाई फ़िजा, दिन खिला-खिला तो दिल कहे रुक जा रे रुक...
परियों के ये जमघट, जिनके फूलों जैसे गाल सब शोख हथेली इनमें है वो अल्हड़ जिसकी हिरणी जैसी चाल बडी छैल-छबीली मनचली-मनचली अदा, सब जवाँ जवाँ हर घड़ी चढ़ रहा नशा, सुध रही कहाँ तो दिल कहे रुक जा रे रुक जा...
इति
The Poet
साहिर लुधियानवी
Sahir Ludhianvi
1921 · 1980
Sahir Ludhianvi possessed a voice that refused to separate the agony of romance from the brutal inequalities of the world. Born Abdul Hayee in 1921 in Punjab, he adopted the pen name Sahir, meaning magician, and proved it entirely accurate through a lifelong mastery of Urdu poetry. As a prominent figure in the Progressive Writers Movement, he rejected the traditional obsession with the idealized beloved. Instead, he forced his readers to look at the poverty, the exploitation, and the hypocrisies of society that destroy love before it can even bloom. When he entered the Hindi film industry, he fundamentally changed the stature of the lyricist. Directors and composers adapted their music to his words, rather than the other way around. Through films like Pyaasa and Kabhi Kabhie, he brought profound literary dignity and fierce anti establishment critique to mainstream cinema. He passed away in 1980, but his poetry remains a burning torch. Sahir remains the ultimate poet of the disenchanted, a man who wrote beautiful verses to express an absolute refusal to accept an ugly world.
Paired Painting
Shiva and Parvati as Kirata and Kirati
This profound chromolithograph captures Lord Shiva and Goddess Parvati disguised as Kirata and Kirati, tribal hunters of the Himalayan forests. The scene echoes the timeless epic narrative of the Kiratarjuniya, where the supreme deities test the might, humility, and devotion of the Pandava prince Arjuna. Raja Ravi Varma masterfully blends European academic realism with deeply sacred Indian iconography. Shiva stands tall and commanding, adorned with the crescent moon in his matted locks, the trident, and a tiger skin, embodying fierce ascetic power. Beside him, Parvati radiates gentle grace, adorned with peacock feathers and holding a bow, perfectly assuming the likeness of a mountain huntress. Through this work, the divine couple transcends distant temples, walking intimately among the rugged earthly terrain they lovingly sustain.
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