1 verses · ~1 min
पालनैं गोपाल झुलावैं । सुर मुनि देव कोटि तैंतीसौ कौतुक अंबर छावैं ॥१॥ जाकौ अन्त न ब्रह्मा जाने, सिव सनकादि न पावैं । सो अब देखो नन्द जसोदा, हरषि हरषि हलरावैं ॥२॥ हुलसत हँसत करत किलकारी मन अभिलाष बढावैं । सूर श्याम भक्तन हित कारन नाना भेष बनावै ॥३॥
इति
The Poet
सूरदास
Surdas
c. 1478 · c. 1583
Surdas represents the absolute zenith of the Bhakti movement in North India. Born in the late fifteenth century and believed to have been blind from birth, he did not need physical sight to observe the intricate beauty of the divine. He became the foremost poet of the Ashtachhap, a group of eight mystic poets dedicated to Lord Krishna. Composing entirely in Brajbhasha, Surdas authored the monumental Sur Sagar, a collection of thousands of devotional songs that remain deeply ingrained in the cultural memory of India. He wrote with an unparalleled understanding of child psychology, capturing the innocent mischief of the infant Krishna with a tenderness that no other poet has ever matched. His verses are not merely literature. They are the musical foundation of Vaishnava devotion. Five centuries later, his words continue to echo in temples and classical music concerts, offering eternal comfort to the human soul.
Paired Painting
Anasuya and the Trimurti as Infants
This profound lithograph captures a moment of supreme cosmic irony and grace from the Puranas. The sage wife Anasuya, renowned for her absolute devotion and purity, is shown presenting the three supreme deities: Brahma, Vishnu, and Shiva, who have been transformed into infants while resting in a swinging cradle. The three goddesses, Saraswati, Lakshmi, and Parvati, stand before her, witnessing the divine play of their husbands. It is a moment that humbles the divine through the power of mortal virtue, illustrating the deep cultural reverence for motherhood and the leveling power of unconditional love.
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