3 verses · ~1 min
खूब-खूब हुआ काव्य-पाठ खूब-खूब सराहा गया एक दूसरे को जमकर खूब-खूब जगा और जगाया गया आत्मबोध श्रोता चुपचाप रहे की शायद कहीं हों उनके भी शब्द उनका भी कोई बिम्ब हो कहीं कहीं कोई जानी- पहचानी लय उनकी हो अपनी या फिर कोई बात घर-घाट, बाजार-हाट, लूट-पाट भी
कुछ भी नहीं था कहीं केवल काव्य-पाठ काव्य-पाठ केवल था कवियों की भाषा में कवियों की बातचीत की तरह यहाँ तक की समय भी अनुपस्थित था वहाँ उनके बीच
शलभ श्रीराम सिंह की यह रचना उनकी निजी डायरी से कविता कोश को चित्रकार और हिन्दी के कवि कुँअर रवीन्द्र के सहयोग से प्राप्त हुई। शलभ जी मृत्यु से पहले अपनी डायरियाँ और रचनाएँ उन्हें सौंप गए थे।
इति
The Poet
शलभ श्रीराम सिंह
Shalabh Shriram Singh
1939 · 1960s
Shalabh Shriram Singh was a bohemian visionary who deliberately rejected the comfortable illusions of mainstream literature to forge an entirely new path. Born in 1938 in the Faizabad district of Uttar Pradesh, he became the driving force behind the Yuyutsawad movement in Hindi poetry during the late 1960s. He refused to be categorized by traditional literary epochs, writing with a rebellious spirit that sought a total transformation of society. His iconic poem Nafas Nafas Kadam Kadam became a revolutionary anthem, echoing through protests and progressive circles long after it was written. Singh possessed a remarkable ability to bridge the lyrical traditions of the Urdu ghazal with the grounded realities of modern Hindi verse. He wrote not for applause, but to confront the deep social inequalities and religious hypocrisies that plagued the nation. Passing away in 2000, he left behind a legacy that continues to inspire young writers. He remains a fearless poet of the marginalized, proving that true literature must possess the courage to make the comfortable feel intensely uncomfortable.
Paired Painting
Game of Pachisi
In this evocative watercolor, William Carpenter invites us into a quiet moment of camaraderie and shared focus, as four men gather on the floor to play the ancient Indian cross and circle board game of Pachisi. The artist observed Indian life with profound empathy and acute technical skill, rendering not merely figures in local attire, but the rich texture of human connection found in traditional pastimes. Pachisi, often considered the national game of India and the ancestor of modern Ludo, brings people together across social barriers, creating a space of friendly rivalry and deep contemplation. The gentle washes of earthy tones and the careful play of light across turbans and bare shoulders breathe life into a scene that has echoed across generations of Indian homes.
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