Friday, March 28, 2014

N S BENDRE'S PAINTING " MOTHER AND CHILD ":: AND TWO DOHAAS ADDED BY ME


                                                                               



MOTHER AND CHILD
OIL ON CANVAS BY N S BENDRE (1910-1992 )


 Getting angry over some misbehavior , the mother beats the child . The child weeps .Looks here and there. Finally runs to Mother's lap only. Love erupts . Tears trickle down mother’s eyes . She pulls the child to a tight embrace..
I had composed / written two Dohaas ( Two line poems ) for this painting.. I add ..
Maa Peetey To Bachaa Roye
Roney ko bhi Go'dh mein Jaaye
Mamtaa Ummadey Aansoo Ban Kar
Maa Bachey Ko Galey Lagaaye..
     
And 

(2) 
Bachaa Maa ki Godh Mein- Barsey Doodh Dulaar
Aankhon Mein Sapne Bharey –Rotaa Hanstaa Pyaar …


N S BENDRE was a renowned artist of the country who worked for more than 16 years at Maharaja Sayajirao University, Vadodara ( 1950-1966 ) as HOD painting. It is pertinent to add that this artist had a special liking for the people of J&K state . He had worked as a journalist and a painter in the state for about 3 years (1936 to 1939 ). He would go out of his way to help budding Artist from the state who came to Baroda .  Some Noted painters from kashmir  like G R Santosh,  Prof. Rattan Parimoo and Triloke kaul   were trained by   N S Bendre in Baroda . I am informed that Shri Bendre had also done a series of scenic landscapes of kashmir...
                                                                                  
                                                    ( Ganderbal kashmir By N S Bendre )


( Autar Mota 28.03.2014 )

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WHAT DOES KABIR BHAJAN "JHEENI JHEENI BHEENI CHADARIYA "CONVEY ?


                                                                                    

JHEENI   JHEENI  BHEENI CHADARIYA 

( SUBTLE AND FINE  WAS  THE CLOTH THAT THE MASTER PUT OVER ME   )


Kabir’s Jhheeni  Jhheeni Chadariya is another Bhajan that  moves me as and when I listen to it. The moving words and the blissful  message is a treat  .  According to Kabir , our   Body  ( Shareera ) is like a  shawl or a Blanket. By Body he does not mean  the Physical body alone . It implies  the BEING  or  the EXISTENCE   or the LIFE  as such that was granted to us . A transparent  object like the finely woven  shawl ,Blanket or sheet of cloth  that has no dualism. No superficial covering that hides from the sight the true nature of the object.  So beautiful and so pure  handed over to us . A cloth for  which weaving was done  on a spinning wheel( Charkha ) made of  eight  lotus flowers . Yes subtle  and subtle or Jheeni and Jheeni . So pure and done to perfection by the master in its warp and weft . Beautiful Tapestry interlaced  with great Craftsmanship. Five essential   elements ( Panch Tatva ) were also brought in to shape and create it  .  And the master finished it in  10 months ( Almost equivalent  to the   period during which life takes shape from Mother’s womb ) . The sages  and saints too wore it and  so did the  common man    .  Some soiled and defiled it.  Soiled and  defiled it by misuse or abuse of three boons that were meant to preserve it.  How poorly we understood these three boons of    THOUGHT , WORD  AND DEED . An apparel or shawl or Blanket , So delicate and subtle  that  needed to be  preserved and kept as it was granted got  stained  in the process. What shall we  return to the master  at the end ?  And  Kabir ,who wore it skillfully with great effort  now returns  this Chadder or shawl  back to his master in a state in which he had received it.  What a  grand viewpoint !
.
.Many singers have sung this GREAT  Bhajan  in different Ragas   . The one that is my favourite is  the soulful  rendering   by  Late Kumar Gandharva  .  After listening to Pandit Kumar Gandharva’s rendering of this Bhajan , one feels as if   Kabir is  himself singing  at Varanasi Ghat . So touching and perfect. 
  I am rendering this great Bhajan to simple English relying on the Lyrics used by Pandit Kumar Gandharva ..


Jheeni Jheeni Bheeni Chadariyaa.
kah ke Tana, kah ke Bharni,
 Kaun Taar se Bheeni Chadariyaa
Ingla Pingla Taana Bharni,
Sushumna Taar se Bheeni Chadariyaa.
Ashta kamal Dal Charkha Doley,
Paanch Tatvaa, Gun Tini chadariya
Saiin ko siyat maas duss laagey,
Thonk-Thonk ke Bheeni Chadariya.
So Chaadar Sur, Nar Muni odhi,
odhi ke Mailee keeni Chadariya
Daas Kabir Jatan Kari odhi,
Jyon ki Tyon Dhar Deeni Chadariya.

( Kabir )

Delicate and Delicate   is the weave of this cloth !
What is the  warp  ?
What is the  weft ?
What thread did the master  put to use in its making  ?
What a complex interlacing and tapestry in the weave ?
 And Subtle are the threads in its weave  .
The Charkha ( Spinning Wheel ) spun *eight Lotuses 
*five elements and *Three traits together in this cloth.
 My master took  ten months to finish  its weaving
And he   kept compressing the cloth for this  taut weave.
Sages , Men and Saints  draped  this fabric around them.
 Alas! Some soiled and defiled it.
 Kabir wore it with care and concern
And Lo ! He returns it back 
untarnished  as he received it   from his  master.

( Autar Mota  28.03.2014 )
PS
*.  .Lotus flower  has a spiritual , philosophical and religious significance across various cultures. ASHTA KAMAL  also appears in SRI- YANTRA  . One of the eight auspicious symbols of Indian classical art, the PURNAKALASA  symbolizes abundance and creativity, and depicts overflowing foliage consisting of lotus buds, lotus flowers and lotus leaves .In vedic Texts ,  eight  also refers to Eight Adityas or Solar gods  Like  Mitra , Varuna  Aryaman, Amiya , Bhaga ,Dattar , Indra and Vivsvant.
 
 This flower  grows in muddy water, but in spite of growing in mud and  filth, it never has even a drop of mud on it. The lotus flower  represents purity and non-attachment, and is a symbol of Bhakti or love.

 For Hindus , It is also  linked with Brahma , Vishnu and lakshmi.
 The Vedas say
 “Oh, Human! This life of yours is balanced on the lotus leaf and your lifespan is just alike a drop of water running down that leaf, which may fall any minute.”

The MAHAYANA sect of Buddhism maintains that all souls emerge from a lotus. The eight-petal lotus seen in Buddhist ,Mandalas represents   cosmic harmony.
The flower is known to have great significance in ancient Egyptian culture  and  Egyptian legend. The lotus flower  is often featured in Egyptian religious art and architecture In Japanese culture, the lotus flower is considered a sacred symbol representing  enlightenment and purity. It has symbolic relevance in Christianity , Taoism and  Native American religious beliefs .

As per  Hindu  Mythology,  Human body  (Called Pinda ) is  composed of Panch-Tatva  or Five elements . These are: Prithivi ( Earth), Jal ( Water), Agni ( Fire), Vayu (Air) and Aakaash  (Space). These five elements are linked to our five senses which are the senses of smell, taste, hearing, touch and sight.

The Three  traits that Kabir  comments in this Bhajan are ; Thought , Word and Deed that  affect and define the conduct of  an Individual in this world..


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Thursday, March 27, 2014

WHO IS PAASH IN PUNJABI POETRY ?


                                                                           



Some days back , I was invited to witness a play performed by IPTA J&K Chapter  commemorating  Death Anniversary of India’s  three  Revolutionary freedom Fighters  namely Bhagat Singh, Rajguru and Sukhdev. Some  Characters in the play read  poems  of  Punjabi Poet  *PASH   . The poems had deep relevance to the event and the subject of the play .I post one poem titled Adhi Raat ( Midnight ) for readers who do not know PASH . The poem has been rendered to simple English  by me….


 (MIDNIGHT )

At Midnight ,
Not even seven warm quilts could stop my shiver .
As if river Satluj had flown over my bed,
Drenched  lay all the seven quilts,
My Fever 106 or may be 107 Degrees  ,
Every breath just sweat and sweat only.
And then the  thought
“ Those who are engaged in changing the world around them ,
Never die of fever ,
Those who are carried away on the shoulders of  the Death ,
Begin their life’s journey afresh after  their Death .”

And for me  barred  lies the  warmth of the sun
But listen  ,
“I shall not accept even the shade of that sun.
I shall break every empty Pitcher
My blood and sweat have mingled with this earth
I shall grow once again even after being buried under this earth”

( Pash )

 Pash is the pen name of Punjabi revolutionary poet Avtar Singh Sandhu ( 1950-1988 ). A Patriot , Nationalist , Champion of the underprivileged , Pash’s   poetry  is laced with  Marxist thought . He talks of  Struggle and fight for social justice and oppression. He is    starkly Anti establishment  .His literary critics have opined that  beating Marxist drums alone  is not the ultimate aim  Great Poetry .  Whatever be said about him, he remains quite sensitive to issues facing humanity at large especially the poor and the marginalized .That apart , he remains a loud voice in Modern  Punjabi poetry that comes close to the poetry of Baulgaria’s Nikola Vaptsarov ( 1909-1942 ).

 Assisted by his wife , he also started a Model school for poor and Underprivileged children of his village  with  Grant received from Punjabi Sahitya Academy. He also edited     Anti  47 a magazine that opposed  Punjab's Terrorism . He knew  that armed   Terrorists were after his blood  and   he would be killed any moment . He gave this indication in so many poems and write ups . He was killed by Armed Militants on 23.03.1988 in his village Talwandi Salem,Jalandhar .

In his Poem Mein Vidaa Hondaa Hain ( I take leave of you  )

“ You drop all this from your mind ,
My love ,
Except this
That I had intense longing to live ,
That neck deep I wanted to delve in life ;
You live my share of life ,
My Love ,
Live my share of life as well….

  A selection of his poems in Punjabi, INKAR, was published in Lahore in 1997 . Sahitya academy also published a Book On Pash in 1999 titled”PASH  PUNJABI POET  ” He has also been widely translated . His letters and pages from his Diaries have also been published .Love  for his land of birth    is visible in most of his letters and diary notes .

                                                                    

I quote a  Paragraph from his Diary Published Posthumously ..

“ So beautiful was the night today ! All through  I had intimate talk with it , The dew covered wheat lying asleep on earth’s vast bridal bed , with heaps of sugarcane stalks aglow in the moonlight , with carts standing still like orphans , with thatched huts showing warmth distinct from cold ……… And with forefathers calmly buried in their graves ..
(  Pash 01.01.1974 )

Poetry of Pash also bears influence of Chilean Poet Pablo Neruda and Turkish Poet Nazim Hikmet Ran. It appears that Pash had profound knowledge of world literature . Possibly a serious study of world literature shaped his committment and clarity apart from the gigantic courage of conviction that he demonstrated in life ...I quote him ..

"Eagles have flown aloft taking in their beaks
Our desire for a moment of life's peace,
Friends, let us indeed,
In pursuit of flying eagles proceed.""
- Pash


( Autar Mota 27.03.2014 )



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WHERE TO LOACATE SOMETHING THAT IS ALREADY WITHIN ?


                                                                     
                                                                       


SUNSET TIME DAL LAKE  SRINAGAR  KASHMIR
( Photo Auta Mota )

WHERE TO LOACATE SOMETHING THAT IS ALREADY WITHIN  ?


MO KO KAHAAN DOONDE RE BANDHE ? ME TO TERAY PAAS MEIN …..( Where do you  look for me o Ignorant  ?There  within you , I reside  .)…… KABIR


I have heard this NIRGUNA Kabir Bhajan Many times .   This Bhajan is  close to my  mind and being .   Through this Bhajan , one is led to believe that  KABIR is profoundly  conscious of  the all pervading presence of the supreme power. He only     questions the  search methodology adopted by us to find something that is already   within  .

This Nirguna  Bhajan  was a faourite of Gurudev Tagore also .

   Where  to locate something that is already within  ?

 For Kabir  the Bhakti Marga  ( Path of meditation ) is a  journey from   Saguna ( with form )  to  Nirguna ( formless ).  And   Not search  but  Faith alone  simplifies this Journey.  This  faith finally conquers  over doubt  to trace something that was  already within.

Kabir has been at the forefront in disagreeing with Dogmatic Religious beliefs and practices . He opposes Rituals . He opposes men donning  particular set of  clothes and changing looks . He does not recommend  the practice of growing long Hair or   exhibiting religion symbolically through  fasting , Austerity , Pilgrimages or   living in aloofness for a seeker of the  truth . For Him Faith alone  may help the seeker .

 The “SEARCH WITHIN  “ concept of kabir is in conformity with the message of  kashmiri  Poetess and Shaiva Darshana  Philosopher Lal Ded  . I quote  ..


(1)
Praae’th teerthan gatshaan sanyaasi,
Gwaaraan Swadarshan myul;
Tseyta parith mo nishpath aas,
Denshakh duure dramun Nyuul.

( Lal Ded )

“The pilgrim sannyasi  goes from shrine to shrine,
Seeking to meet Him who abides within himself.
Knowing the truth, O soul, be not misled;
It is distance that makes the turf look green”


It may be pertinent to mention that lal Ded was born and lived much before kabir . Like Kabir , she also makes symbolic use of Swan ( Raazhans ), Grinding Mill ( Gratta ), washer man ( Dhoobb) , Weaver ( Wovur ) , Lotus Flower ( Pamposh ) to put forth her spiritual thought . Her frequent use of Prakaash Dhaam or Prakash Sthaan is synonymous with kabir’s Anahad Naad or “ Baaje Anhad dol “ or the musical chimes that are created when one arrives at the real self transcending all worldly experiences .

Here is the Nirguna Bhajan with my simple English rendering ..

 (Moko Kahaan Doonde Re Bandhe  )

Moko Kahaan Doonde re Bande Mein To Tere Paas Mein…….
Na Teerath Mein, 
Na Moorat Mein ,
Na Ekant Niwas Mein
Na Mandir Mein, 
Na Masjid Mein ,
Na Kaabe Kailas Mein,
Moko Kahaan Doonde re Bande  Mein To Tere Paas Mein…………….
Na Mein Jap Mein,
 Na Mein Tap Mein,
 Na Mein Barat Upaas Mein,
Na Mein Kiriya Karm Mein Rehtaa,
 Nahin Yog Sanyaas Mein,
Moko Kahaan Doonde re Bande Mein To Tere Paas Mein…………….
Nahin Pran Mein,
 Nahin Pind Mein,
 Na Brahmaand Akaas Mein,
Na Mein Prakuti Prawar Gufa Mein,
 Nahin Swasan Ki Swans Mein,
Khoji Hoye Turant Mil Jaoon Ek Pal Ki Talaas Mein
Kahey  Kabir Suno Bhai Sadho –
Mein To Huun Vishwas Mein………………..
( Kabir )

Where do you  look for me o Ignorant  ?
There  within you , I reside  .

Not in Pilgrimages ,
Not in Idols ,
Not in your worldly  detachment,
Not in the  Temple ,
Not in the Mosque ,
Neither inside  Kaaba nor at Mount Kailasa ,  

Where do you  look for me o Ignorant  ?
There within you  , I reside .


Not in  Japa ( Recitations  ),
Not in  Tapa ( Religious  austerities ),
Not in your Upaasa ( Religious fasts ),
Never do I reside in the  rituals 
And not in Yoga  or  renunciation of the world .

Where do you  look for me o ignorant  
There within you  , I reside .



 Not in the  (1) vital Life Force 
Not in (2)  Physical world   or   Cosmos  ,
Not in (3)Nature’s womb  ,
Not in the  Breath of  so many  Breaths .
Should there be an accomplished seeker ,
I can be  readily  located .

 So says Kabira 
 " Listen , You seeker !
My abode is just your Faith ”

( Autar Mota  )

PS
(1)
Prana is the manifestation of energy or the vital life force . From Prana comes the word Pranayam .

(2) And (3) 

Brahmaand ( Cosmos or universe ) Pind ( Physical world ) . Our body is also known as "PIND" and the meaning of "PIND" is `circle’. In respect of  Prakuti Pravar Gufaa  , I am informed by a scholar  that   Pravaras were a group of Rishis of highest order . Some Rishis of this group are Kashyapa , Agastya , Bhrigu , Atri , Angirasa ,Vashishta etc. These Great Rishis are said to have been born from Nature’s womb or What Kabira Calls  Pravar Gufaa   . The Gotra system emerged from a linkage of Pravaras with subsequent Rishis . Say for example Rishis Gautam and Bharadvaja were the descendants of Rishi Angirasa. .




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Tuesday, March 25, 2014

A DOHAA ( TWO LINE POEM ) ... CHILDREN ARE LIKE FRUITS IN THE MARKET .


                                                                         
           

CHILDREN ARE LIKE FRUITS IN THE MARKET. WHILE THE FRUITS MOVE TO MANDI / MARKET , THE TREE REMAINS LONELY WHERE IT WAS .


 To this thought ,I Add a Dohaa ( two Liner )  written by me. 

Ab ke Bachey Parr Likh kar -Ghar Jaate  Hain  Chhorr,
Phal Mandi Mein Chalaa Gayaa -Ab Kyaa Naata Jorr



( Autar Mota 25.03.2014)  

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A DOHAA ( TWO LINE POEM )... A DAUGHTER IS LIKE A KOEL ON THE BRANCH.


                                                             
                


KOEL ON THE TREE  OR ATTACHMENT TO PARENTAL HOME..

A Daughter is a Singing Koel in the house . Once married , she is a bird on the branch singing ..
“ Father! Come to the Terrace . I am Here . Mother ! Open the window .I am here ”

To this thought, I add a Dohaa ( Two Line Poem ) written by me ..

"" Beti Koel si Ghar Mein Udd kar Bole Bol
Baba Chhat Par Aao Na Amma Khidki Khol "


" O Daughters ! Like a Koel you remain in parental home ,
And when you fly away , You sing :
"Father ! Come to the Terrace . I am Here .
Mother ! Open the window .I am here ”

( Autar Mota )
PS
Koel is the Asian Cuckoo. Koel has Come from Sanskrit word Kokila ....

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A DOHAA ( TWO LINE POEM ). A MIND THAT DOES NOT SUBMIT TO KNOWLEDGE AND REASONING , SUBMITS TO SIMPLE WORDS OF LOVE .


                                                                                  


SNOW NEAR BETAAB VALLEY, KASHMIR....

Yes Knowledge and Reasoning are great Powers but Love remains the supreme . Something that does not submit to Knowledge and reasoning , submits to simple words of love. Love is like a ray of sun that melts age old freeze of the Glaciers . To this thought ,  I add a Dohaa ( Two liner ) written by me   ..

Manwaa To Pather Bhayaa- Suunney na Koyee Gyaan,
Dekhey suraj Prem Ka -Pighley Barf Samaan

( Autar Mota 25.03.2014 )


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Friday, March 21, 2014

MAHARANI YASHO RAJYA LAKSHMI FROM THE ROYAL FAMILY OF JAMMU AND KASHMIR


                                                                               


(Yuvraj Dr. Karan Singh and *Maharani Yasho Rajya lakshmi  receiving Russian Guests Nikita Sergeyevich Khrushchev and Nikolai Alexandrovich Bulganin  at  srinagar in .November 1955..)

 MAHARANI YASHO RAJYA LAKSHMI  ( 1937-2009 ) was born in Nepal as a Rana Princess to the family of the last Rana Mohan Shamser Jung Bahadur . She married Dr Karan Singh in 1950 when she was barely 13 years old. The two virtually grew up together and, at times, even studied together.
For a period of more than 17 years after her marriage ,Maharani Yasho Rajya Lakshmi happily undertook the responsibilities of being the wife of the Head of State ( Sadar e Riyasat ) . Some People in Jammu and Srinagar still remember the dedication and Zeal with which she did relief work ( at Both places ) During the 1962 and 1965 wars .
She was a kind and compassionate woman who did a lot of Social work.Her major contribution was the creation of “Delhi Society for the Welfare of Mentally Retarded Children .” As a result of her initiative and  dedicated fund raising efforts which essentially included a substantial personal contribution, a grand institution was been set up . This institution now caters to over 300 mentally retarded children with  a sheltered workshop, a vocational training centre, a diagnostic clinic and latest  other rehabilitation facilities. At the moment it is  a  premier institutions of its kind in the country.

Though born and brought up in Nepal , she was quick to pick up Dogri  a language spoken in Jammu and some parts of Himachal  Pradesh . She could also understand kashmiri Language .

Yes Dr Karan singh ( Born 1931 ) misses her when he adds .. .

“ Lord Shiva, one of whose appellations is Mahakaleshwar, the Great God of Death, has decreed that my beloved wife Yasho should move on in the sixtieth year of our marriage. We wedded as teenagers and virtually grew up together. It has been a unique blessing for me to have partaken of her love, generosity and compassion.. As the Upanishad says “May her journey into light be auspicious ”


( Autar Mota 21.03.2014 )
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THREE DOHAAS ( TWO LINE POEMS ) AND a SUN AND SHADE VIEW NEAR PALACE ROAD SRINAGAR


                                                                      


SUN AND SHADE VIEW NEAR PALACE ROAD SRINAGAR
(Photo Autar Mota )

 I add three dohaas composed by me to this view
(1)

Very tough  time for genuine  traders of Gold , silver , jewels and Rubies . Look how  some clever  people sweet words sell  Dirt and filth in the Bazaars .

Sona Chaandi Heera Moti Mushkil ka Beopaar,
Jeeb Chatur ab mitti bechein Dekho beech Bazaar

(2)
In this life ,While maintaining relations , all of us keep  playing the *CHAUSAR game . In this game love turns sweet at one moment and sour at the other .But to keep the game going , at times  , the winner too needs to lose voluntarily . I add a Dohaa ( Two Line poem ) written just now.

Kheencha-Taani Rishton ki Khataa Meethaa Pyaar
Iss Chausar Mein Kabhi Kabhi Jeeti Baazi Haar.. 

(3)
Another Dohaa (Two liner ) for our younger generation who spend all that they earn through hard work. Sometimes money also acts like an umbrella in rains.

Sadho paisa Chhatri sa Baarish mein le khol ,
Bin Chhatri ke iss jag mein Alakh Niranjan Bol


( Autar Mota 21.3.2014)

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A DOHAA ( TWO LINE POEM ) FIRE ! FIRE IN THE KITCHEN , FIRE IN THE SUN AND FIRE AT THE CREMATORIUM..


                                                                      


CHINAR LEAVES BURNING IN A FIRE
 (Photo Autar Mota )

FIRE !
FIRE IN THE KITCHEN KEEPS LIFE GOING . FIRE IN THE SUN MEANS LIFE ON THE EARTH . AND FINALLY FIRE ALSO REGULATES THE ACTIVITY AT THE CREMATORIUM . 
I add a Dohaa written today on this thought ...

Chulhaa jaley to jeevan hai suraj se sansaar,
Agni se hi Marghat ka chaltaa kaar o baar....

( Autar Mota 21.03.2014 )

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Thursday, March 20, 2014

A DOHAA ( TWO LINE POEM ) ...WE ARE ALL SNAKE CHARMERS PLAYING MUSIC TO KEEP THE DRAGON OF EXISTENCE AWAY.



                                                                                  


WE ARE ALL SNAKE CHARMERS WHO KEEP PLAYING MUSIC BEFORE THE DRAGON OF EXISTENCE . ..

I add another Dohaa ( Two line poem ) written by me today to this photograph...

Jeevan Beena Saanp ki Kyaa Raja Kyaa Rank,
Surr Se Naag Sulaaaiye Surr tootey to Dank

( Autar Mota 19.03.2014 )


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Wednesday, March 19, 2014

RURAL WOMEN IN THE PAINTINGS OF S. ILAYARAJA PAINTER FROM TAMIL NADU


                                                                       






Looking at women painted by S. Ilayaraja ( Born 1979 ) , I am reminded of  the Great Artist Late Raja Ravi Verma  .  He appears to be a master I dealing with Light and shade. Apart from that I find him superb in expressing human emotions and moods through his art .His women are thoughtful, pensive  and well dressed . They come with   an   Ambiance  that is rural  and oriental in nature .So realistic and close to life as it exists in this part of the world.

                                                                            
What a superb expression has been put on the face of the child. I could not help smiling simply by looking at the child in this painting.

 About this wonderful artist ,I also gather that He specializes in Oil painting, water colours  knife painting , acrylic painting and photography.His one man show in 2009 called “Dravidian Women”was quite succesful event that brought him name and fame in the world of ART. 

( Autar Mota 19.03.2014 )

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CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
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"SAADA CHIDIYAAN DA CHAMBAA VE BABUL ASAAN UDD JAANA " " WE DAUGHTERS ARE LIKE SPARROWS , AWAY WE FLY FROM YOU DEAR FATHER "


                                                                                 
                 

SAADA   CHIDIYAAN  DA  CHAMBAA  VE  ……………….

Not By Waris Shah ,  Baba Bulle Shah or    Sheikh Fareed ; Then who wrote these immortal and touching lines that used to be sung in almost all Punjabi weddings at Bidaai ( Parting  ) or departure of the bride . Possibly a folk song that is being sung since last  500 years or more  in Punjab. This is a  Bidaai song that can still bring tears to any and every person  who listen to these emotion packed words .  This song is actually a communication between a Father and the Daughter ( Bride ) who is about to leave for her new home.The song continues to be the choicest Bidaai song of Punjabis living both in India and Pakistan. A part of the  shared  culture and Tradition or  a sub continental culture .

I present this popular Punjabi  Bidaai song  song     along with English rendering . I am  using a   version of the song that was sung in undivided Punjab and is still sung  by old people.  However ,at present  many lines have been added and changed  like “ Tere Mehlaan de vich vich  ve Babul Khedaan Kaun Khede  or Teray Mehlaan de ranglay booay te wichoon Meri doli langni etc…..

“ Sadaa chidiyaan da chamba ve
Babul assan udd Jaana
Saadi LammiUdaari Ve
Babul kedey Des Jaana
Tere Mehlaan de vich vich ve Babul dola Nahin Langdhaa
“Ik it Putaa devaan, dhiye Ghar jaa Apne.”
“ Tere Baghan de vich vich ve, babul charkha kaun kattey?  ”
“ Meriaan kattan Potrian, Dhiye Ghar jaa apne.”
“ Mera Chhuta kaseeda ve,  Babul Duss kaun kaddey?”
“Meriaan kaddan Potriaan, Dhiye ghar jaa apne.”
“Sadaa chidiyaan da chamba ve
Babul assan udd Jaana
Saadi LammiUdaari Ve
Babul kedey Des Jaana ”


Let me break the lines  as conversation and render them to simple English


(1 ) Bride ( Daughter to her father  )

“ Sadaa chidiyaan da chamba ve
Babul assan udd Jaana
Saadi LammiUdaari Ve
Babul kedey Des Jaana  ”

“  We girls are like a group of sparrows
 Dear father Away  we  fly,
 Too Long  is our flight
And we know not to  which country this journey shall take us  ”

 (2)  Bride (Daughter  again to her father  )

“Tere Mehlaan de vich vich ve Babul Dola Nahin Langdhaa ”

  “Dear Father , My  palanquin / Dholi
 is unable to come out of the Door of your palace like house  ”

(3) Father ( Father  to her Daughter )

 “Ik it Putaa devaan, dhiye Ghar jaa Apne.”

“ I shall get some bricks removed  ,
 My Dearest Daughter , Go to your New Home  ”

(4 ) Bride ( Daughter  again to her father )
“ Tere Baghan de vich vich ve, babul charkha kaun kattey?  ”
“ In your House   dear father , Tell me who shall do the spinning  now ?

 (5) Father ( Father  to her Daughter )
 “ Meriaan kattan Potrian, Dhiye Ghar jaa apne.”

“My Grand Daughters shall spin now ,
My dearest Daughter , Go to your New Home  ”

(6) Bride ( Daughter  again to her father )

 “ Mera Chhuta kaseeda ve,  Babul Duss kaun kaddey?”

“ The half done embroidery that I left  Dear  Father ,
 Tell me who shall complete it now ?

(7) Father ( Father  to her Daughter )

 “Meriaan kaddan Potriaan, Dhiye ghar jaa apne.”

“My Grand daughters shall complete it now
My dearest Daughter , Go to your New Home  ”

It is said that when Poet Sahir was asked to make some addition or alterations to this Biddai song  ( To be used in  Yash  Chopra ‘s movie Kabhi Kabhi  ) , he had initially refused and advised  his producer and other members of the team to use the above  version of the Folk song .  He was then suggested to add such  lines as  would make it appear a Suhaag Song. And  sahir added…..

Surkh Joaday ki ye jagmagaahat
Shokh bindiya ki ye jhilmilaahat
Chudiyon ka ye rangeen taraana
Dhadkanon ka ye sapna suhaana
Jaaga jaaga sa Kajre Ka Jaadoo
Bheeni Bheeni si Gajre ki Khushboo
Narm Honthon ka ye kanpkanpaana
Garm Chehray ka ye tamtamaana
Jism ka mehhka Mehka paseena 
Husn ka dehka dehka Nageena
Jhanjharon ka ye thum thum ke bajna
Yeh sanwarnaa  nikharanaa ye sajna
Kis ki khaatir hai kiss ke liye hai  …..

At some point of time in her life , Every women seeks reply to this question ?

“ Father ! Why did you marry me off to such a distant place? ”

Amir Khusro has touched this question beautifully in his Bidaai song that is equally popular in the Indian subcontient  . I quote some lines ..

Kaahe ko Byaahi Bides

Hum To Babul Tore Baagon ki koyal
Kuhakat Ghar Ghar Jaaon

Hum to Babul Tore Khaiton ki chidiyaa
Chugaa chugat Uddi Jaaon

Hum To Babul Tore Bailey Ki Kaliyaan
Jo Maange Chali Jaaon

Hum To Babul Tore Khoontey ki Gaiyaa
Jit Haanko Hunk Jaaon

Kaahe ko Byaahi Bides
Suun Babul More
Kaahe ko Byaahi Bides

Popular Hindi poet and film Lyricist Gopal Singh Nepali( 1911-1963 ) also wrote poem on this thought titled  “Babul Tum Bagiya ke Taruwar” Conveying    Loss of  childhood , home and friends to a girl who gets married .

“ Father you are like a tall tree in the Garden and I  just a bird sitting on one of its branches . Never does  the bird  sitting on the branch nor the girl who leaves her parental home return. ”
 I quote select lines from Late Gopal Singh Nepali’as poem  the poem…….

Aankhon se Aansoo Niklale to Peechhe Takkey Nahin Mudd ke
Ghar Ki Kanya Bun Ka Panchhi Phirein na Daali se udd ke
         Zanjeeron mein Baandha Tunn ko
          Tyaag Raag se Saadha Munn Ko
Panchhi ke udd jaane par hi  Kholi Nain Kiwadiyaan Re
Udd jaayein to Laut Na Aayein Jyon Moti ki Ladiyaan re

Babul Tum Bagiya ke Taruvar ..
Hum Taruvar ki Chidiyaan Re……………………..


( Autar Mota 19.03.2014 )


Creative Commons License

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.