शान्त· Shanta
01मैं हरि, पतित पावन सुने
Main Hari, Patit Pawan Sune
Tulsidas
1 verse · ~5 lines · 1 min
1 verses · ~1 min
ताहि ते आयो सरन सबेरे। ग्यान बिराग भगति साधन कछु सपनेहुँ नाथ न मेरे॥१॥ लोभ मोह मद काम क्रोध रिपु फिरत रैन दिन घेरे। तिनहि मिले मन भयो कुपथ रत फिरै तिहारेहि फेरे॥२॥ दोष-निलय यह बिषय सोक-प्रद कहत संत स्त्रुति टेरे। जानत हूँ अनुराग तहाँ अति सो हरि तुम्हरेहि प्रेरे॥३॥ बिष-पियूष सम करहु अगिनि हिम तारि सकहु बिनु बेरे। तुम सब ईस कृपालु परम हित पुनि न पाइहौं हेरे॥४॥ यह जिय जानि रहौं सब तजि रघुबीर भरोसे तेरे। तुलसीदास यह बिपति बाँगुरो तुमहिं सों बनै निबेरे॥५॥
इति
The Poet
तुलसीदास
Tulsidas
1532 · 1623
There are works of literature, and there are works that become the living tissue of a civilization works so deeply absorbed into the bloodstream of a people that they cease to be read and begin, instead, to be breathed. Tulsidas's Ramcharitmanas is that second and almost impossibly rare thing. Composed in Awadhi in the sixteenth century, at a time when Sanskrit had erected a wall of exclusion around sacred knowledge, the Ramcharitmanas was an act of radical democratization a decision by a scholar of profound erudition to lay down his privilege and carry the light directly to those who had been told they were unworthy of it. Tulsidas took the Valmiki Ramayana and did not merely translate it. He recomposed it in the devotional key of Bhakti, saturating every couplet with such concentrated love that the text functions as much as a spiritual practice as a literary one. Generations of Hindu households have woken before dawn to the sound of these verses, heard them at birth and at death, found in them the moral grammar by which they ordered their lives. Tulsidas was not merely a poet. He was, in the most precise sense, an architect one who built a cathedral large enough for an entire subcontinent to live inside. The structure still stands. It has sheltered half a billion souls and shows no sign of age.
Paired Painting
Rama and Lakshmana Slay the Demon Elephant Kuvalayapida
In this evocative scene, we witness a pivotal moment from the Bhagavata Purana, where the divine brothers engage in a struggle against the demon elephant Kuvalayapida. The painting captures the raw energy of the encounter, as the great beast lies vanquished on the rocky terrain. The figures of the warriors, poised with regal grace and divine composure, stand in contrast to the fallen creature. Every brushstroke invites the viewer to reflect upon the triumph of dharma over the forces of chaotic darkness. The warm, earthy palette of the Mewar school anchors this spiritual battle within a landscape that feels both mythical and profoundly tangible, serving as a visual meditation on the protection of the innocent by the divine.
Open the viewer →
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 Tahi Te Ayo Saran Sabere carries.
