Friday, November 25, 2016

VERINAAG SPRING AND KASHMIRI POET RASOOL MIR

                   

VERINAAG SPRING  KASHMIR... ( SOURCE OF RIVER VITASTA / JHELUM)

(Photo Autar Mota )

VERINAAG SPRING   AND  KASHMIIRI  POET  RASOOL MIR

 Kashmiri Poet  Rasool Mir  is extremely  skillful   when he touches Love and romance in his poetry  . He adds Kashmiri hue to it. By Hue I mean the  colour  of native springs ,  Gushing  streams , Flower filed  Gardens  , Meadows , Birds  and  friendly  animals  seen around hills and meadows of Kashmir  .  His Lovers do not live in isolation . They are   a part of   overwhelming nature  around them. I quote Rasool Mir  …

“Vaerinaag  i Nearaai Ba  Aa-ga’yey
Achhawal ke Posh Shaeri Laa-ga’yey
Vuchh Manzliss Munz Rachhuth Duchha Moori’yey
Valaai Kastoori’yey
Poe’r Maai Traav Neeri-yey    ..”

( Rasool Mir )

My simple english rendering would  be as under ......

At Verinaag Spring     ,
I will  go  to usher you in ,
Your  Forehead ,
 I  will  decorate with flowers from Achhabal Garden ,
In the cradle of My Bosom,
I will  hold you,
 My tender  Vine,  My Love !
Come over !
Come this way  You Kastoori ( Musk Deer ) ,
Put not your carefree feet in these meadows ..

( Avtar Mota )

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Wednesday, November 23, 2016

WELL KNOWN PAINTER JAGDISH SWAMINATHAN ( 1928-1994) AND OCTAVIO PAZ ( 1914-1998) ..


                                                                                           

                              

JAGDISH SWAMINATHAN ( 1928-1994) AND OCTAVIO PAZ  ( 1914-1998) ..

I feel privileged to have seen J. Swaminathan and heard him speak once . He looked like a Sadhu or Baba .No one could imagine him to be a painter .Long Unkempt hair, Chain smoker , Carefree lifestyle yet a fine conversationalist. He had enormous knowledge of world literature and Art. Later I came to know that he was among India's foremost modern artists. I was told that he was also associated with communists for some time but soon felt disillusioned and moved away.

He  went to The Academy of Fine Arts in Warsaw, Poland to study Modern Art .

Apart from painting ,Swaminathan wrote Poetry and established himself as a serious art Critic and a  writer.

Influenced by Rich Tradition of Tribal Art ,Swaminathan incorporated many  symbols such as the snake, the lingam, lotus, Trident (Trishula,), sun, Wild , Birds , Animals , Alphabets  ( Ka ), and the swastika, in his paintings. Quite often , he applied the pigment on to the canvas directly with his Fingers to achieve the desired effect. He also used Beeswax, sand, linseed oil and Natural Dyes  as the Mediums to Express his Creativity.

I vividly remember a news item that appeared in some leading National News papers in 2006.This news created sensation in the world of Art. At that time, Swaminathan's work 'Bird and Mountain Series' went for a whopping Rs.25 million at an Art Auction by Triveda.

J. Swaminathan as he was known world over, was a close friend of Mexican Poet and Nobel Laureate Octavio Paz ( 1914-1998 ) . Paz was an anthropologist , Art Critic and Philosopher apart from being an Influential Poet.

Most of us do not know that Paz was posted as Mexican Ambassador to India sometime in 1962 ( 1962-1968 ). Here in India ,he developed a deep and serious Interest in Indian Art , Literature , Buddhism and ancient Scriptures . All this influenced his Poetry later. Read it and you shall come to know what I say.
And Among various friends that Paz cultivated in India , J Swaminathan remained closest . Paz even wrote a poem dedicated to Swaminathan. Under the influence and encouragement of Octavio-Paz , Swaminathan started a journal on art called Contra 66.
Another person who became closest friend of Paz was Sham lal from Times of India.
 In an Interview , Swaminathan once said  : …


“ It would be a misguided belief to expect that an artist could change the whole society within his lifetime. In that case he should give up his work and devote himself solely to bringing about social transformation. Other than the marketplace where else does the artist have a dialogue with society? The easel and the painting will remain an artist's personal property and not the people's and that's the truth.”


“I had very strong romantic inclinations within me. I kept Jigar [Moradabadi] Saheb in high esteem. I even set out to write his biography....”

Sometime later a story on his Art and work at Bharat Bhawan Bhopal where he brought the Tribal art of Central India into contemporary focus .
From 1981 to 1990 , He was Director Roopankar ( Art Museum ) At Bharat Bhawan Bhopal .


( Autar Mota )
                                                                                       

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THE STORY OF THE TREE , THE FRUIT AND THE POETRY OF JIGAR MORADABAADI


                                                                                     

THE STORY OF THE TREE AND THE FRUIT ....

A  flowering sprout is life and verve of  a Tree. Connected to the core and the root,  It is  a part of the Tree’s   inner being and  the    living matter  .  It  grows purely on account of its  strong link and connect with the Tree  .  How can it be separate   ? No, Never.  And then this sprout grows to become a flower  sucking vital nutrients from the TREE . It also enjoys bounties of nature ;   Refreshing  raindrops , energizing  Fresh air and rejuvenating  sunshine. Life  enters playfully in the flower.  It adds  Fragrance and Graceful  colours to it. Gradually ,The flower opens up and grows to become  a Fruit .  And Once a fruit, it starts  drawing  more nutrients and food from the tree . Stronger  turns  the  connect  with the  Tree’s core and living matter. At times ,  the  onlooker  fails to create a distinction between the fruit and the tree. For every outsider ,  The tree is the Fruit and the fruit is the tree.

But as the fruit starts ripening , it starts to draw lesser and lesser Nutrients from the core . A strange disconnect begins . The same tree , the same fruit , the same Nutrients but the fruit begins to feel that its stay on the tree is  TRANSITORY. It  gets convinced about its journey .  Now   it knows  that it has  to move away  from the branches and the tree. It  knows  about the arrival of the FALL  or the AUTUMN  season when the tree itself shall become a  Naked Faqeer  disowning the branches , leaves and everything around .

A tale of desire, acquire, live together and  then separate.

Meeting and Parting..The underlying truth of every  relationship.  Desire, Acquire, live and move away is Sprouting, flowering, fruits and ripening. Now apply it to Love .Apply it to spiritual attachment or  to worldly  love. Same mill.same grill.

Does Jigar Moradabaadi convey these feelings ?Can his poetry posted below be interpreted in this way as well? Does the  consciousness of impending separation   in love make the poet to  speak out his heart ? Has he possibly felt the transitory nature of his beloved's  company ? I add my favourite lines …

Vahii hai  shahid o-saaqi magar dil bujhtaa jaataa hai
Vahii   hai shamma-e-dil Roshani kam hoti jaati hai…

Vahii  Maikhaana-o-Sehbaa  vahii sheesha Vahii  saagar
magar Aawaaz-e-nausha - nosh Madh’am hoti  jaati hai

Vahii hai  zindagi lekin 'Jigar ' ye haal hai  Apnaa
ke Jaisay  zindagi se zindagi kam hoti jaati hai…

My  Simple English rendering of the above  lines  of Jigar would be ......

My beloved remains same,.
same is my cupbearer too ,
Why then O Heart you appear  sinking ?
The   candle of light within    ,
 continues to burn ,
Yet it looks as if ,
dimmer and dimmer goes its glow
with every passing moment.

The Tavern remains same ,
And same are my companions  inside ,
 Same are the wine glasses and the cups ,
Why   then is  the  noise of
wine   consumption  within
Turning Quiet day after day ? ..

“O Jigar “  Same is    your Existence ,
Unchanged  yet on a   different stage ,
As if , Life moves away from  Life ,
more and more   gradually

( Autar Mota )


PS

On this post,  that first appeared on my Facebook Page , Dr Shashi Sheshkhar Toshkhani wrote in his comments  as under;

"After reading your post these lines of a poem by Garcia Lorca came to my mind: "Woodcutter, cut my shadow / Deliver me from the torture of beholding myself fruitless."

                                                                 



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Sunday, November 20, 2016

THE EPHEMERAL GLIMPSE AND POET JIGAR MORADABAADI...



                                                                                





THE EPHEMERAL GLIMPSE AND POET JIGAR MORADABAADI...


THE EPHEMERAL GLIMPSE ...

Those who have momentarily glimpsed the Eerie world of grace are struck. Struck with Amazement and Unbelief. So much is the height of this disbelief or incredulity that by the time the onlooker gains understanding ,composure and original stability , the ephemeral exposure is all over.

Only a rare breed, who are well prepared for this appointment , get time to see the inner mind. The mind that is at rest inside this Abode of Grace or Spendour ( Hareem e Naaz) . All Others busy themselves by looking at Patterns , Carvings , Curtains , Doors and windows of that Abode of Grace. Alas ! All these things form only a part of the peripheral Grace of that Abode of Splendour (Hareem e Naaz..)

The few high-minded , who have momentarily glimpsed this altogether different world ( Jahaan e Digar) , have also observed that the Grace and beauty of the mind that is known to reside within, changes at every passing moment of that time . Newer and Newer as also brighter and brighter appear the dimensions . These dimensions are beyond  the Grasp and also beyond the means of a general onlooker to take hold of .

The onlooker is simply struck with what he is looking at . He keeps looking at it in all directions . At that moment , What else is there to look at ?



And urdu poet Jigar Moradabaadi says all this in his couplets….i quote him...
Unki Hareem-e-Naaz kahaan Aur hum kahaan,
Naqsh-o-Nigaar-e-Pardaa-e-Dar Dekhtay Rahay…
Har lehza Shaan-e-Husn Badalti Rahi Jigar
Har Aan hum Jahaan-e-Digar Dekhtay Rahay…
Kyaa Dekhtay Hum Unn Ko ?
Magar Dekhtay Rahay…..


( Autar Mota )


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TWO FRIENDS AND TWO PAINTERS AT BARODA



                                                                               





TWO FRIENDS AND ALSO TWO EMINENT PAINTERS ... G R SANTOSH ( 1929-1997.. FROM KASHMIR ... ) AND SHANTI DAVE ( BORN 1931.. FROM GUJRAT )
AT BARODA 1963......

Noted Artist Vijay saraf Meenaghe from Jammu Adds:

“ Rare picture  of great artists. I had participated in National Artist Camps with Sh GR Santosh at Jammu, Srinagar (Chashma Shahi 1988) Ladakh (1994).At Ladakh I got an opportunity to discuss many sensitive aspects on art and his personal struggle which remained an important inspiration source for me till now. Master in colours and forms,  Humble and saintly figure,  I remember when I had one man show of paintings at Shridharni Art Gallery , he came one  hour earlier  to inspire me and appreciated my paintings. At that time I was surprised  when he told me after one and half hour that he was having 101 degrees   temperature. A rare creative genius and a dedicated painter of our J&k State”


( Autar Mota )



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A STAGE, AT WHICH, MAN TURNS INDIFFERENT TO PAIN AND PLEASURE



                                                                           


WHEN PAIN AND PLEASURE ARE ALIKE ...

( Photo Autar Mota )


Poet Jigar Moradabaadi also feels so …


Ab to yeh bhi Nahin Rahaa Ahsaas
Dard hotaa hai ya Nahin Hotaa ..
Dil Ko Kyaa Kyaa Sukoon Hotaa Hai
Jab Koyi Aasraa Nahin Hotaa..
Woh Hamaare Kareeb Hotay Hain
Jab Hamaara Pataa Nahin Hotaa…


( Autar Mota )

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NEITHER DAWN NOR DUSK .. A TIME WHEN , TO ME, EVERYONE AROUND IS MY OWN, WHILE , FOR YOU, EVERYONE IS A STRANGER ..



                                                                                      



“TERA KOYEE APNAA NA PARAAYA KOYEE MERAA “..........
( Photo Autar Mota )

To This photo i add lines from a poem of Faiz Ahmed Faiz ..

" Is waqt to yuun lagtaa hai, ke ab kuchh bhi nahin hai.
Mehtaab na suraj na andhera na sawera.
Aankhon ke dareechon mein kisi husn ke chilman.
Aur dil ki panaahon mein kissi dard ke dera.
Shaakhon mein khayalon ke ghane peid ki shayad.
Ab Aa ke karegaa na koyi khwaab Basera.
Mumqin hai koyi Veham Thaa Mumqin Hai sunaa Ho
Galiyon Mein Kissi Chaap Ka Ik Aakhri Pheraa ....
Ek Bair Na Ek Mehar Na Ek Rabt na Rishta
.........................................Tera Koyi Apnaa Na Paraaya Koyi Mera ...........
( Autar Mota )


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Friday, November 18, 2016

ONIONS , POTATOES ( GANDA -OLLU ) AND KASHMIRIS



                                                                         
                       

ONIONS , POTATOES ( GANDA -OLLU ) AND KASHMIRIS


It is believed that while onions originated from ancient Egypt .Onion has been in cultivation for at least about 7,000 years.

Potatoes are said to have been grown for domestic consumption in some Latin American country . From Latin America , Spanish settlers brought Potato to Europe sometime in 16th century . . From Europe , Portuguese introduced potatoes to Indians sometime in 17th century. They called it 'Batata', . And it is still known with the same name in Mumbai ( Maharashtra ) . Later British traders introduced potato cultivation to Bengal where it came to be known as Alu. By the end of the 18th century, it was Cultivated in entire North India . In Kashmir , Potato cultivation was introduced during the Dogra rule .

To kashmiris , Both Potato and Onion appeared Alien , Not like their own native Green Leafy Haak . I don’t know why Kashmiris were unkindly fascinated by this combination of two words Ganda and Olluv . Possibly Onions and Potatoes arrived in Kashmir very late. Usage of Onion in cooking was unknown to the people of Kashmir till 14th century .

Neelmat Purana is silent about Potatoes and Onions . In Rajtarangini, Kalhana also does not confirm usage of Onion in kashmiri kitchen or Cuisine . There is a mention in 8th Taranga verse 143 ( Palandu ) but read in context , it is like a herb or medicinal item and presented to Guru along with incense and some other herb. May be some outsiders were carrying onion as a medicine or special herb for kashmirian kings or Royal families but population as such was unaware of its usage in Cuisine or kitchen till 14th century.

For many centuries, kashmiris treated both Potatoes and onions ( Bulb Variety ) as something thrust on them. Although Onions gradually found acceptance in Muslim households , Potatoes had to face some unkind treatment from a common kashmiri . The common Refrain from use of Potatoes was expressed By kashmiris as Under :

“ Treath yimun Olluvun .Beyyi Ossuaai Na Kenh Aetti “
“ Curse these Potatoes . Couldn’t you find anything else in the Market ?

Kashmiri Pandits who relish DUM-ALLU ( Prepared from Boiled and Deep fried potatoes ) as a special Dish in every feast were somehow inimical to its general use .

“Kyaa Chhukh Olluv Khyvaan .Sienn Paava anizihey “
“ Why are You eating these Potatoes . You should have bought a Paav ( 250 gms ) of Mutton. “

The Disdainful attitude towards Potatoes came to surface when Sheikh Mohd Abdullah was Nicknamed as Olluv Bub ( Potato Father ) by Kashmiris . Sheikh sahib had advised kashmiris to eat Potatoes when Rice crops Failed and a drought like situation prevailed in Kashmir during his Incumbency . This fact has also been recorded by V S Naipaul in his Travelogue “ An Area of Darkness ."

While People in Plains make bulk purchases of Potatoes and Onions and store them, a kashmiri generally buys need based quantity . kashmiri Muslims prefer to use the Shallot Variety of Onions known locally as Praan . They use Praan extensively in their Cuisine especially in Wazwaan.
Gradually and post Migration , Pandits have also Brought The Bulb Variety of onion to their kitchen .Though they do not use it for preparation of their core or Traditional Vegetarian and Non Vegetarian Dishes Like Yakhni , Rogan Josh , Mutsz ( Keema or Mutton Balls ), Haak , Dum Allu , Pullav ( Biryaani ), Rajmash ( Kidney Beans ) , Tchaaman Kali ( Yellow Cheese ), Vozeij Tchaaman ( Red Cheese ) Etc, It is liberally used in Salads , Pickles and Indian style vegetables cooked by them.

When I was young , I would be surprised to see that carpenters at work would usually bring a dish of Onions and Potatoes with them . For sometime, this dish got associated with carpenters . Many times , when some kashmiri saw this dish in a fellow kashmiri’s Tiffin , He would instantly comment ,

“ Kyaa sa Tche kyaa az Chhaana Seinis Pyaath Votmut “
“ What Happened , Why have you come down to a Carpenter’s Dish Today ? “

And the disdain for Potatoes and Bulb onions would also get reflected on streets . If a crowd of idlers could not find a suitable Nickname for a simpleton on the road , they would just call him,

“ GANDA OLLU “
“ Onion and Potato “

Sometimes you would get surprised as to why a particular person is being hooted on his back by a strange Nickname “ GANDA TSOOR “ or “ Onion Thief “. The person had remotest link with either onions or thieving .

And quite often I have heard Kashmiris saying,

"Aei't Ho, Ba Chhu'ss Vaenni Heissuv. Mey Chuvv na vaeinni Ganda Russ."
" You Beware, I am still in my senses. I have not drunk onion juice as yet."

Here onion juice or Ganda Russ meant Liquor or some intoxicating drink.


I found that Boiled / Fried Potato mixed with Chop fried onion is a popular recipe in many European countries . Germans just love this recipe of mashed Potatoes ( After boiling or deep frying ) mixed with chop fried Onions laced with herbs or spices .

It has now been established that Both onions and shallots contain Allicin, which helps lower blood sugar levels in diabetics. Shallots have a milder taste and odour than onions, so shallots are more commonly eaten raw.

Presently Bulb Onions are extensively grown and used in Kashmir. And Production of Bulb Onions far exceeds the production of shallots ( Praan ). To meet Demand , Onions are also imported into Kashmir . While Demand for Potatoes and onions has surged , I am not sure about the past disdain that kashmiris used to give to these two items .

( Autar Mota )
         
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FIVE COMMON CHARACTERISTICS OF BAD LEADERS


                                                                                       


Autar Mota feels  that all bad leaders demonstrate at least five common Characteristics..  


(1) SUFFER FROM TUNNEL VISION..
Poor Vision , Tunnel Vision , vacillating vision or nonexistent vision in a leader creates suffering for the people whom they lead. A good Leader aligns his followers with a clear and achievable vision. Bad leaders generally enter dim tunnels dragging their followers also to darkness. Leaders who can not see it , probably won’t find it.


(2)….UNABLE TO LEAD  THEMSELVES  ..
  Great  leaders  demonstrate Transparent Integrity and Inspiring Character . At personal level,  seldom do these leaders live   in their own comfort zones . Bad leaders are prone to rationalize disreputable conduct that makes them fall prey to their own undoing. A leader who fails to lead himself eventually fails to lead his people to happiness and Prosperity .


(3)……UNABLE TO PRACTICE  LOVE , HUMILITY AND EMPATHY..
Every good leader has a separate compartment in his Heart that is full of Love that he practices . Examine failed or Bad leaders ; You find that a lack of Love , misplaced Love or misguided love visible and practiced .Empathy , Kindness and humility are signs of strength of a leader not weakness.


(4)…..FEEL NOT ACCOUNTABLE TO PEOPLE WHOM  THEY  LEADS..
A  Good leader  never   engages himself  in blame game. He owns  responsibility  for his actions .  Arrogance makes a bad  leader  believe that he is not accountable to his people . Good leaders take the blame and give the credit – not the other way around.


(5)…….DO NOT TAKE THE CHALLENGE OF A SOLUTION..
Bad leaders are always a part of the problem. They feel that they get elevated and projected by problems only. Never do such leaders take the challenge of a solution. They believe that a solution may lower their personal stature and relevance .


( Autar Mota )




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Tuesday, November 15, 2016

" RENZ THE DRY FRUITS" , CARTER ROAD BANDRA ( WEST ) MUMBAI


                                                                                  





RENZ  THE  DRY  FRUITS   .....Carter Road ,Bandra (West) Mumbai...

If you happen to visit Bandra west , Try this shop on Carter Road sea walkway. May be there are more such shops in Mumbai  who sell similar or even better stuff. I don’t know . I have not visited all. I do not intend to compare . since  I visited this shop  , I can speak about this shop  only.  It is a corner shop. Possibly the first one. Dry fruit here means actually dried fruits.

You get dried  Papayas, Oranges, Pears, Mangoes, Pineapples, Apples, Apricots, Bananas, kiwis and so many other fruits. All machine dried ,crisp and looking fresh.
                                                                                 

      
You also get Quality  Gurbandhi Almonds from kandhar Afghanistan, Cashew Nuts, Pistachios, Dates, kishmish and above all Mogra saffron from Pampore Kashmir at Rs350 per gram. The saffron is genuine Mogra and purchased from a reputed saffron trading house of Pampore Kashmir. I bought this very saffron for Rs380 per gm in Jammu .

" Sir we sell quality  saffron. Our buyers dig all information from internet about the commodity they are going to buy. I mean they have a fair idea of rates ,quality and utility. Our dry fruits are exported. we also import Chocolates and some other items. I can say with confidence about  our excellent  quality and  competitive rates "

Said the Manager at the Shop.


Convinced, I also bought  dry orange pieces , Dry kiwi pieces and dry pineapple pieces .

So Next time in Mumbai , Try  " RENZ  THE DRY FRUITS "...


(Autar Mota)

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CAREFUL... THE MOON IS LOKING AT US ...


                                                                                           
                                                                                       



NIGHT  PHOTO SANTORINI , GREECE......... 
( Photo sandeep Mota )

CAREFUL... THE MOON IS LOKING AT US ...


I AM REMINDED OF A SONG FROM FILM “DOOJ KA CHAAND”.. I ADD SOME LINES FROM MEMORY ....


Phool Shaakhon Se Jhuke Jaate Hain Honthon Ki Taraf
Jhonke Bal Khaa Ke Mudde Jaate Hain Zulfon Ki Taraf
Chhorr Kar In ki Dagar Aao Kahin Chhup Jaayein
Kahin Laage Na Nazar Aao Kahin Chhup Jaaayein
........................................Chaand Taktaa hai idhar


"Flowers from Branches are bowing to be closer to lips,
The gentle wind wafts back to get trapped in the hair curls ,
Let us leave their passageway ,
Let us hide somewhere else..
Lest some evil eye notice us ,
Let us hide somewhere .....
………………….. At this spot , The moon too looks at us from up above .."

( AUTAR MOTA )

PS

DOOJ KA CHAAND was shot a 1964 movie from FILMISTAAN. This particular movie was scripted by Rajinder Singh Bedi . It had Ashok Kumar , Raaj Kumar, Saroja Devi , Bharat Bhushan , Ulhas ,Ratna Pathak and Tuntun as as Actors . Nitin Bose had directed the Movie that had some wonderful songs like “ Meray Saathi Khaali Jaam “ “Chaand Taktaa hai Idhar “ , “Phool Gendava Na Maaro “ and “ Pade Barkhaa Phuhaar “ written By Sahir Ludhianavi. DOOJ KA CHAAND was perhaps the last movie that was shot inside FILMISTAN STUDIO Mumbai .

In 1943, Filmistan was Founded by Shashadhar Mukherjee , Rai Bahadur Chunilal ( Father of Music Director Madan Mohan ) , Actor Ashok Kumar and director Gyan Mukherjee. It was also the name of a Production Company that owned the studio as well . They had moved out from Bombay Talkies after director Himansu Rai's death. Films Like Anarkali, Munimji , Paying Guest ,Shaheed (1948), Shabnam (1949) and Sargam(1950) Anarkali (1953) Nagin (1954). Other notable films were Jagriti (1954) , Munimji (1955), Tumsa Nahin Dekha (1957) and Paying Guest (1957)and Chal Chal Re Naujawaan ( 1944 ).

Manto too worked as story writer in FILMISTAN before he moved to Pakistan. Manto scripted the Box office Hit Chal Chal Re Nau Jawaan for FILMISTAAN.

. The studio is being used for shooting TV serials now .


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" HAVE YOU HEARD THE FEEBLE SOUNDS EMERGING FROM THE SKY UP ABOVE ? " KABIR





SUNTAA HAI GURU GYAANI
GAGAN MEIN AWAAAZ HO RAHI HAI
JHEENI.. JHEENI ..“
……. ( KABIR )


THE WORDS THAT HEAL …THE WORDS THAT SOOTHE…THE WORDS THAT TRANSPORT THE MIND TO A DIFFERENT WORLD …


This Nirguna Bhajan sung by Pandit Kumar Gandharva remains matchless . The underlying thought behind this great Bhajan can be explained as under ..........

Have you heard the feeble echoes emerging from the sky up above ? If yes, Then you have caught the All Knowing Teacher ‘s communication. He intends to speak to you . Look up , Don’t worry about the world below that trapped you..


For kabir , Sky represents blankness or silence . From this area only emerge sounds of the supreme Master . The external chatter needs to die down for listening to the absolute Whisper .During Rains , First comes the sound from the movement of rain filled clouds followed actual downpour . If you catch it and know it , Then alone you shall enjoy the rainfall.


From the celestial world, every soul arrived through a combination of Anhaat Naad ( unstuck or Celestial Sound) and Bindu ( Seed represented by Bindu though it means point ) . The Body Frames or the Earthen vessels ( As kabir calls them ) were filed with water (Living matter )thereafter. What a grand doing of supreme master? Shaivism, one of the prominent branches of philosophy effectively propounds the concepts of Bindu and Nada – the basic phonemic representations. Naad Bindu is an ancient Upnishad ( Very Small ) as well.

Kabir feels that In this world , So good is our arrival from the celestial world, yet it is Poison only that we lay our hands on to quench our thirst . The Nectar remains untouched aside .Kabir feels that knowledge is like a celestial cow that is milked for the benefit of everyone.And the absence of knowledge makes things worse . Repetitive goes our action and we simply pitch and twist in our own trap , Never reaching the Nectar . Knowledgeable alone taste the cream while the whole world remains content with the Residual Buttermilk ( Chhaachh ) .

Through this Nirguna Bhajan , kabir also conveys that The earth ( worldly existence ) needs to be seen as a sphere alone . That shall shall help a man to live in harmony and peace .
According to Vedas the concept of spherical nature of Earth has been Philosophically expounded as under :-

“The Sun does never set nor rise. When people think the Sun is setting (it is not so). For after having arrived at the end of the day it makes itself produce two opposite effects, making night to what is below and day to what is on the other side. See it as a sphere . And kabir adds that if we see a lake , we must understand it as nothing except water. This is the way to look at fundamental unifying rule over visible variety and Duality . This leads to dawning of knowledge and clarity . 

Kumar Gandharva chose to sing Nirgun over Sagun Bhajans. In Nirgun convention the Deity is formless Divine entity . And Kumar Gandharva added this formless divinity to his voice as well when he sang KABIR . Something Unique and something that he could alone do and do to perfection..

None can sing it better than Pandit Kumar Gandharva ...

( Autar Mota )

PS


(1)
Anhaat Naaad is a Hindi word, of Sanskrit origin, it means “primordial sound” . The sound which exists and is not created or produced from objects . Great Saints and Sufis believe it to be the sound of the universe or a sound of human realization . An ultimate sound that transcends space and time. A sound that has neither beginning nor end.
(2)
Bindu is a Hindi word, of Sanskrit origin, it means “Point ”. It represents origin of creation. It also means Seed of creation. In Tantra, Bindu or "falling of the drop" is the origin . Bindu is the point around which Universe is created . Renowned painter late S H Raza finally settled at painting the BINDU..



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URDU POET JIGAR MORADABAADI ON “LOVE “ ,”HEART” AND “SMILE”


                                                                                

                                                      ( POET  JIGAR  MORADABAADI )


JIGAR MORADABAADI ON “LOVE “  ,”HEART” AND  “SMILE”  ………..

LOVE

Love is a strange activity wherein You can neither complain nor convey thankfulness. keep your lips sealed . Oh yes ! You are allowed a space to give vent to your feelings . Listen and speak to your own self . Nothing more and nothing less.


In this business of love , So many get fascinated by the peripheral manifestations. Peripheral manifestations may draw in even a serious onlooker momentarily; But In the long run , a realization dawns that it has all been a game of self deception . Having said so , it is also a fact that a man of vision and foresight has the capacity to see through the inner splendor of an entity by a sheer fleeting look .  When not satisfied with this fleeting glance, he tends to move away irrespective of temptations and attractive pull .

See how beautifully poet Jigar Moradabaadi touches this issue..... ………..


Na Shukre Gham Zere Lub kareingay
na shikwa e Barmalaa kareingay,
Jo Hum Pe Guzregi Dil Hi Dil mein
kahaa kareingay sunaa karreingay…..
Ye Zaahri Jalwaa Haaye rangi
Fareb Kab Tak Diyaa Kareingay ,
Nazar Ko Jo kar Sake na taskeen
Voh dil Ki Taskeen Kyaa kareingay …………………………


HEART


My friend, The heart too is unreliable.At times it acts as a perfect guide ;A well-wisher who plays a friend , philosopher and companion. And quite often ,it turns up like a plunderer ; A thief, a burglar that loots and ruins .
My friend, be careful in love .Love is not a child's play. Not a game that can be played with ease and comfort by all. Don't you know the result in case you strike glass with iron?
If you don't believe me then listen what poet Jigar says ..
Kaamil Rehbar Qaatil Rahzan
Dil sa dost na Dil sa dushman..
Ishq hai pyaare kheil nahin hai
Ishq hai kaare sheesha O Aahan...

 SMILE...


The power of smile has been  explained by Jigar Moradaabadi in just once couplet..

“Ham ne seene se lagaaya dil na apna ban saka,
Muskura kar tumne dekha dil tumhaara ho gaya
*****
( Autar Mota )






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Based on a work at http:\\autarmota.blogspot.com\.

Friday, November 11, 2016

URDU POET AKHTAR UL IMAAN FEELS MAN ALSO FACES INDIFFERENCE FROM TIME … "



                                                                                 

                                                         ( AKHTAR  UL  IMAAN )


MAN ALSO FACES INDIFFERENCE FROM TIME “
TO THIS THOUGHT , I AM ADDING A SMALL POEM OF URDU POET  AKHTAR UL IMAAN......

“Shaam hoti hai sahar hoti hai ye Waqt-e-ravaan 
Jo kabhii Meray sar pe sang-garaan ban ke giraa 
Raah mein Aayaa kabhi meri Himaalaa ban kar 
jo kabhii ukdaa banaa aisaa ki hal hi na huaa 
Ashq ban kar meri Aankhon se kabhi Tapakaa hai 
Jo kabhi Khoon-e-jigar ban ke mizshgaan par aayaa 
Aaj bevaastaa yuun Guzaraa chalaa jaataa hai 
jaise Me kashmakash-e-zeest mein shaamil hi Nahin”

( Akhtar Ul Imaan )


My English rendering of the lines would be …..



"Evenings arrive ,
Dawns too keep visiting me ,
This Fleeting time ,
That fell on my head like a Boulder,
 
And Sometimes appeared in my path
 
like the Himaalaya ,
At times,
 
materialized into a Problem with no resolution,
Sometimes dropped from my eyes like Tears ,
At times moved up to my eyelashes
like my Heart’s Blood.
Ah ! This time ,
Moves past me today,
 
Indifferent and unconcerned ;
As if ,
I am out from the
 
Struggles of existence ...........

( Autar Mota )



CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
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