2 verses · ~1 min
आकाश का साफ़ा बाँधकर सूरज की चिलम खींचता बैठा है पहाड़, घुटनों पर पड़ी है नही चादर-सी, पास ही दहक रही है पलाश के जंगल की अँगीठी अंधकार दूर पूर्व में सिमटा बैठा है भेड़ों के गल्ले-सा।
अचानक- बोला मोर। जैसे किसी ने आवाज़ दी- 'सुनते हो'। चिलम औंधी धुआँ उठा- सूरज डूबा अंधेरा छा गया।
इति
The Poet
सर्वेश्वरदयाल सक्सेना
Sarveshwar Dayal Saxena
1927 · 1983
Sarveshwar Dayal Saxena completely rejected the notion that serious poetry required an elitist vocabulary. Born in 1927 in the Basti district of Uttar Pradesh, he became one of the most accessible and beloved voices of the Nayi Kavita movement. As the prominent editor of the children's magazine Parag and a key figure at the literary journal Dinamaan, Saxena possessed an incredibly rare ability to speak directly to the rural heartland while maintaining razor sharp political intelligence. His poetry collections, such as the Sahitya Akademi Award winning Khunti Par Tange Log, confront the disillusionment of post independence India, governmental apathy, and the quiet struggles of the peasantry. He wrote about rivers, forests, and village folk not with romantic nostalgia, but with a fierce and protective realism. Saxena passed away in 1983, but his words remain permanently etched into the consciousness of the Indian middle class. He proved that true literary greatness lies not in speaking above the people, but in walking directly beside them.
Paired Painting
Rama, Sita and Lakshmana in the Forest
This exquisite leaf captures a poignant moment of serenity amidst the profound exile of Lord Rama, his devoted wife Sita, and his loyal brother Lakshmana. Within the quietude of the forest, the divine figures are depicted living a life of ascetic simplicity, far removed from the grandeur of the Ayodhya throne. Rama and Sita sit with grace upon a raised platform, while Lakshmana tends to a small fire, a humble act that speaks volumes of his unwavering service. The lush greenery, the gentle wildlife, and the golden hues of the setting sun reflect the harmony between the divine and the natural world, a hallmark of the Kangra style that seeks to elevate the viewer to a state of meditative contemplation.
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