SANSAR CHAND BARU : THE FIRST MODERN PAINTER FROM JAMMU

                                             

( Self portrait  on display inside  Dogra Art Gallery Jammu ..photo Avtar Mota )

                           

          (A Painting by Sansar Chand Baru)                                 

     ( With  wife and daughter Anuradha Rishi )

PANDIT  SANSAR  CHAND  BARU ( 1902-1995 )

" Na takht-o-taaj mein na lashkar-o-sipah mein hai
Jo baat mard-e-qalandar ki bargah mein hai"
(Iqbal)

(A monarch’s crown and mighty army can never give such glee,
As can be felt in presence of a Qalandar bold and free.)
Pandit Sansar Chand Baru ( 1902-1995 ) , the first modern   painter  from   Jammu  ,fondly known as Master ji , shall always be remembered for his unique style that remained a  grand fusion of ‘Pahari’ and ‘Modern Art ’ 

 It is believed that Baru community of Brahmins migrated from Assam and settled in Jammu and  hills of Himachal Pradesh. They were Kul-Purohits of various hilly Rajput rulers.  Pandt Dhanpat Baru , father of Sansar Chand Baru was Raj-Purohit  to  Maharaja Partap Singh and the family lived at  Fattu Chougan , Pucca Danga  in Jammu city . When Pandit Dhanpat  saw that his son was least interested in academics , he requested Jagat Ram   , a noted artist during those days ,  to impart some basic lessons in painting to young Sansar Chand . Jagat Ram  was  nicknamed  ‘Chhuniyaa’ . He was a well known painter of J&K state  during the rule of Maharaja Partap Singh . He enjoyed royal patronage and was sanctioned a monthly stipend of twenty five rupees  . Chhuniya hailed from Baddu , Kishenpur . Chhuniya used oil and water colours in his work . He was also an expert in Delhi style of ivory carving and  a disciple of well known painter Hari Chand of Jammu.

Sansar Chand was sharp in learning drawing . As time passed , this young boy matured to become  a  fine water colour artist .After he completed his training at Sir Amar Singh  Technical Institute opened by Maharaja Partap Singh , he  joined as  drawing master in Government Technical Institute, Kachhi Chhawni , Jammu . He  also served as Court Painter during the rule of Maharaja Hari  Singh .

Sir Amar Singh Technical Institute played  key role in exposing artists of J&K  to modern artistic trends and styles. The institute was affiliated to  The City And Guilds Institute, London. A diploma in fine arts was awarded by this Institute to the students. Fredrick  H. Andrews was the first principal of the  institute. Andrews had remained  vice-principal of the  Mayo  School of  Art,
Lahore,  Punjab. He was followed by J .C..Mukerjee, another able and brilliant artist of  Bengal School. It was through him that artists of J&K became familiar with the Bengal School.  

                                     

     As first  curator of Dogra Art Gallery Jammu ( now known as Dogra Art Museum )  , Master Ji did some exemplary work by retrieving a large number of original Basholi miniature paintings from some influential individuals and preserving this invaluable heritage for posterity .Credit goes to him for collecting numberless   artifacts ,  Dogra costumes , coins , manuscripts , handicrafts , ornaments  , terracotta heads , sculptures  ,metal objects ,  intricately carved marble  Jharokhas ,  arms and  stone inscriptions in Takri   . The  Persian handwritten Shahnaama  was brought to Dogra Art Gallery through singular efforts of Master Ji.

 In 1944 , along with Bhagwat Prasad Sathe , Deenu Bhai Pant , D C Prashant , Narayan Mishra and  Ram Nath Shastri , Master Ji established Dogri Sanstha  . Master Ji was unanimously elected  to  head the Sanstha  as its first president .

In  1948, this    Sanstha performed  ‘Bawa Jitto Da Balidhaan’  , the first Dogri play  at Tikri . Due to his initiative ,  Dogri Sanstha organised a grand exhibition of the  paintings done by  artists  from Duggar land. It was held inside Technical Institute ,Kachhi Chhawni, Jammu . In 1952  , Dogri Sanstha organised  another exhibition of  the paintings done by artists from Jammu   . This exhibition was held  at New Delhi.

Master Ji took personal interest for compilation  of ‘ Jaago Duggar ’ ,  the  first collection of Dogri poems published by Dogri Sanstha   . ‘Jaago Duggar’ was followed by ‘Namee Chetna’ .  ‘Namee Chetna’   was  initially published from Delhi but finally Dogri Sanstha started its full time publication from Jammu. Master Ji   would be seen going from door to door or selling copies of ‘Namee Chetna’ in Pucca Danga or Raghu Nath Bazar, Jammu .

He was a disciplined person and never compromised with his principles . A thorough gentleman and honest to the core , he remained a lover of nature which is evident in his water colour landscapes . When his trusted friend, noted artist and sculptor Vidya Rattan Khajuria was posted at Institute of Music and  Fine Arts in Srinagar, Master Ji paid some visits to Kashmir and did some memorable Kashmir landscapes .

As artist, he was comfortable in many formats and styles like Pahari miniature , Bengal School , portraits , landscapes and abstract . 

 His house at Pucca Danga Jammu was a meeting hub for artists , poets , writers and intellectuals . Even well known hindi writer Ageya called on him during his visit to Jammu . Prof  Neelamber Dev Sharma , Prof Ram Nath Shastri ,  Poet Kishen Smailpuri ,  Shri Parmanand Almast ,  Shri Narsingh Dev Jamwal ,  Shri Deenu  Bhai Pant ,  Shri Bhagwat Sathe  and  Shri D C Prashant were also amongst regular visitors to is house  . Master ji had close association with Comrade Dhanwantri as well.

Bakshi Ghulam Mohd and Dr Karan Singh were great admirers of his work. Even Dr Rajendra Prasad appreciated his work when he visited Jammu in 1954 for inauguration of Dogra Art Gallery .

His published essays on Pahari art and folk literature attracted the attention of some eminent international art critics . Together with Prof Lakshmi Narayan , Master Ji wrote a scholarly book ‘An Introduction  to Folk Literature and Pahari Art’ . This work has become a reference book for art critics and writers on Pahari miniature art and the folklore associated with it.

                                                                          

               ( A Painting by Sansar Chand Baru )

                                        

     (Girl in forest by Sansar chand Baru water colour ..Photo Avtar Mota )

                                                                                         

                ( Buddha by Sansar Chand Baru )
                                                                               

                       ( Sarswati by Sansar Chand Baru )
                                                                                 

      ( A   painting by Sansar Chand Baru )
                                                                                 

            ( A   painting by Sansar Chand Baru )
                                                                               

          ( A   painting by Sansar Chand Baru )

                                      

(Landscape of river Tawi by Sansar chand Baru)

(Kashmir Landscape by Sansar chand Baru ...Photo Avtar Mota )

His daughter, Anuradha Rishi is also an accomplished artist .  She informs this :-

“ To me , he was a friend , Guru and father .A simple man who loved his Dhoti , Kurta , Churee- daar Pyjama and Sherwani. He ate simple food . He would make me to sit while he painted . That was how I learnt my best lessons in art from him. Many people say that the feminine face in my father's work resembles mine . ”

 In 2012 , lovers of his art  organized  an on the  spot  children’s Ppainting competition  at Kala Kendra Jammu. The event was attended by his daughter , Sri Narsingh Dev Jamwal and some prominent artists from  Jammu.  In 2014,  Anuradha Rishi  in her capacity as Chairperson of ‘Sansar Chand Baru Memorial Trust’ organized two  major events  in Jammu to commemorate her father.  Both were well attended .  Sansar Chand Baru Memorial Trust as been regularly  organising many  events to commemorate the artist .

I conclude this write up  with some lines from a poem of Faiz Ahmed Faiz  :-

"Jo ruke to koh-e-garaan the hum, jo chale to jaan se guzar gaye

Rah-e-yaar humne kadam kadam tujhe yaadgaar banaa diya”

(For when we stayed, we rose like massifs,

and when we strayed, we left life far behind;

on the pathway to you beloved, every step
we ever took became a memorial to your life.)

 

( Avtar Mota )

                                           
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WAS NAWAB WAJID ALI SHAH (THE LAST RULER OF AWADH ) A GENIUS ?

                                                                     

WAJID ALI SHAH( 1827-1887 )……..A NAWAB WHO DANCED LIKE KRISHNA , SANG THUMRIS , WROTE POETRY AND MARSIYAAS , BUILT BUILDINGS, DISPENSED JUSTICE ( irrespective of caste or Religion ) AND PATRONIZED NAUTCH GIRLS BUT NEVER TOUCHED LIQUOR AND DID PRAY FIVE TIMES EVERY DAY.

Uptil now , I carried with me , a grossly mistaken opinion about Nawab Wajid Ali Shah ( 1827-1887) , the last Ruler of Awadh . Nothing more than a profligate ,indolent and wealthy Nawab who was also a lover of poetry, Music , Rang Mahal and Nautch Girls. I was made to believe that he was a fickle minded person who generally wavered while taking strong administrative decisions and consequently unfit to govern .

Every thing has changed after I read a wonderful Book titled “ WAJID ALI SHAH : THE TRAGIC KING ” By Ranbir Sinh . My renewed interest made me to read   more reliable work  on this unfortunate king. I now firmly believe in something otherwise .

Whatever be his fault or whatever be his presentation by various historians , Wajid Ali Shah comes out as a remarkable character in this Book. A person who never compromised with his fundamental beliefs nor sold his country . For me, at least , In the scale of honour , he stands heavier to Lord Dalhousie ( who ordered the annexation Awadh ) who wanted him sign a treaty ( Colonial conspiracy ) to give up Awadh in exchange of an annual stipend. To execute the conspiracy of forcible annexation of Awadh , Lord Dalhousie ensured that a patently biased report was prepared by General Sleeman , the then British Resident of Lucknow. Far from realities , this report highlighted maladministration and lawlessness supposed to be prevailing in Awadh so as to justify its annexation to British East India .

"He is entirely taken up in the pursuit of his personal gratifications. He has no desire or thought to take any interest whatever in public affairs and is altogether regardless of the duties and responsibilities of his high office. He lives exclusively in the society of fiddlers, eunuchs and women: he has done so since his childhood, and is likely to do so till his last." So wrote General Sleeman in his report .

Upon refusal to sign the treaty , Wajid Ali shah was forcibly removed and Awadh annexed to British East India Company . His property and palaces were confiscated . After being compelled to move from Lucknow to Bengal in 1856, the deposed nawab was settled by the British in Garden Reach, an area south-west of Calcutta that had luxurious villas along the Hooghly river.

One of Wajid Ali Shah's wives, Begum Hazrat Mahal, remained in Lucknow during the Sepoy Mutiny 1857. Supported by Raja Jailal singh and Nana Sahib , she put herself at the head of those fighting for freedom from British Raj. The Begum did not surrender and died in Nepal in 1879 after being allowed Asylum by Rana Jang Bahadur.

The persecution and injured pride of the Nawab gave birth to some fine poems that he composed while he stayed in calcutta . Poems of Patriotism and loneliness. I quote a sample …

Shikwa kis se karoon yaan Dost ne maara Mujh ko,

Juz khudaa ke nahin ab Koyee sahaara Mujh Ko,

Nazar Aataa Nahin Bin Jaaey Guzaara Mujh Ko

Dar o Deewar Pe Hasrat Ki nazar kartein Hain

Rukhsat Aey Ahl e wattan Hum to safar Karein Hain…

Saare Ab Shahar Se Hotaa hai Yeh “AKHTAR “ Rukhssat,

Aagay Bas ab Nahin Kehnay ki Hai Mujh Ko Furssat ,

Ho Na barbaad Meray Mulk Ki Yaaron Khalqat,

Dar o Deewar Pe Hasrat Ki nazar kartein Hain

Rukhsat Aey Ahl e wattan Hum to safar Karein Hain…

( when he Left Awadh )

Kabhi sar pe rakhtaa thhaa mein kaj Kulaah.

Awadh ka kabhi mein bhi thhaa Baadshaah.

Koyee Ranj Zindaan Mein Aisaa Nahin

Jo iss Be sar o paa ko Pahunchaa nahin

Huve Qaid Iss tarah hum Be-Gunaah

Aseeron Mein Huun Naam Hai Baadshaah ..

( In Prison During the sepoy mutiny of 1857 )

As a patron of arts , Wajid Ali Shah sanctioned a life long pension of Rs500 Per annum to Mirza Ghalib. He spent a large amount from his annual stipend patronizing musicians, dancers and poets in Calcutta .

His interest in Architecture made him to build the Famous Quaiser Bagh complex at a cost of 80 Lakhs . To him goes the credit of revival of Kathak form of Dance in Awadh. And he himself was a skilled kathak dancer. I also came across a story about his dancing that goes as under ..

“During the Holi celebration in 1867 at the Durbar Hall of Metiabruz, near Kolkata, where the nawab built a replica of his palace in Lucknow, Wajid Ali Shah sang and danced in a peshwaj In a gathering of eminent musicians and connoisseurs. He wore a long full-sleeved gown that flared from the neck to the ankles,where it measured as much as 80m in circumference.

In this gathering , the nawab began his recital with a khayal, and later moved on to the bandish ki thumri “neer bharan kaise jaaoon sakhi ri” that is sung even today in Raga Tilak Kamod.”

Thumri singing and composition received greatest support from him. He himself sang and composed Thumris. He is the composer cum first singer of the most popular Thumri of the subcontinent “ Babul Mora Naihar Chhooto Jaaye ”. “ Jab chhorr chale Lucknow nagari/Kaho hal adam par kya guzre?” is another popular Thumri composed and sung by him .

While shooting “Shataranj Ke Khilari ” Film Director Satyajit Ray once asked the Calcutta based descendants of the Nawab the reasons as to why the legendry Nawab is shown dressed in an angrakha while leaving his left bosom exposed in many Potraits /Photographs . It was gathered by Ray that the late Nawab had himself given a reasoned reply to this query in his lifetime in following words

“I deliberately keep it exposed because I believe as a poet I should keep my heart open to emotions and sensibilities.”

Wajid Ali Shah was a playwright as well. His Plays Including “Radha Kanahayya ka Qissa “ was staged for many weeks to packed audience in Qaiser Bagh Complex Lucknow. With Bells tinkling in his feet ,He himself danced as Krishna in many stage plays based on Raas-leela. Kathak was also introduced and popularized through these dance Dramas .

As ruler , he introduced reforms and dispensed justice . He was truly secular , liberal and fair to all subjects irrespective of their faiths . He himself led Holi and Deewali Celebrations .Under his personal supervision , Poor and Destitutes from all communities were given food and clothes during Idd and Muhharam . Inspite of being known as a man of pleasure , Wajid Ali Shah never touched wine nor missed his five daily prayers.

In his later life, he was carried all over on a sedan chair. He is said to have been afflicted with an anal fistula that forced him to spend many agonizing hours in the toilet.

He was a remarkable poet of romance who added AKHTAR or AKHTAR PIYA as Takhallus to his name and wrote poetry . His creative work is spread in over 40 books of poetry , prose and Thumris. Out of this, Two books "Diwan-i-Akhtar", "Husn-i-Akhtar" contain his Ghazals. I quote lines from his popular romantic Gazal ….

Ilahi koyee hawa ka jhonka, dikha de chehra-udaa ke Aanchal

Jo jhaankta hai kabhi sitamgar,to khidkiyon mein-laga ke Aanchal

Suni jo kadmon ki meri Aahat, to jaake chupke se so gaye woh

Jo mainay talwon pe gudgudaya, ulat diya-muskura ke Aanchaal

Zaroor dhayegaa koyee fitna, Zaroor mahshar bapaa karega

Ye tera at-kheliyon se chalnaa, jhukaa ke gardan-gira ke Aanchal

Zaroor hai majra yeh koyee, jo rehtay hain duur-duur hum se

Jo paas Aakay bhi baith-tay haain ,to har taraf se-dabaa ke Aanchal…

(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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VIEWS OF EIFFEL TOWER PARIS LACED WITH POETRY OF ALI SARDAR JAFRI

                                      
                                                                        

EIFFEL TOWER PARIS  VIEWS,PARID

I am tempted to add lines from Urdu Poet Ali Sardar jafri's poem to these photos :

The sacred Text of the Universe 

Ali Sardar Jafri writes this in his poem , " Saheef e Kaaynaat" or "The Sacred text of the Universe " 

"Ye do varaq hain

Zameen aur aasman jin par

Saheef e kaaynaat tehreer ho raha hai

Fasana hasti ka neisti ka

Fasana neki ka aur badi ka

Fasana zulmat ka roshni ka

Saheef e kaaynaat tehreer ho raha hai

Jo kal kali thi vo aaj gul hai

Jo aaj gul hai vo kal samar hai

Har ek shai waqt ki hawaon ki zadd pe

Ek shamm e rehguzar hai

Jo bujh rahi hai

Jo jal rahi hai

Vujood par naaz kar rahi hai

Maut ki aag mein tap tap ke nikharti hai hayat

Zindagi maut ke aaghosh mein khud jaagti hai" 

Translation

These are but two pages

The earth and the heavens upon which

The scripture of the cosmos is being inscribed

A chronicle of existence and of nonexistence

A chronicle of virtue and of vice

A chronicle of darkness and of light

The scripture of the cosmos is being inscribed

That which yesterday was a bud today is a blossom

That which today is a blossom tomorrow shall be fruit

Each thing stands in the path of the winds of time like a wayside lamp

Some lamps dimming some lamps glowing yet each proud of its own being.

Life is tempered and refined in the fire of death

And life itself awakens in the very lap of death

Commentary on "Saheef e Kaaynaat" in the light of Isha Upanishad

Sardar Jafri says," Ye do varaq hain zameen aur aasman jin par saheef e kaaynaat tehreer ho raha hai" . Isha Upanishad opens with the same vision in one mantra.

"Ishavasyam idam sarvam yat kincha jagatyam jagat

Tena tyaktena bhunjitha ma gridhah kasya svid dhanam"

(All this, whatsoever moves in this moving world, is indwelt by Isha. By renouncing it, enjoy it. Covet not, for whose is wealth.)

The two varaq are jagatyam jagat, that which moves. The saheef that is written upon them is not owned by any lamp, it is vasyam, pervaded and indwelt. Jafri list of fasana hasti ka neisti ka fasana neki ka badi ka is the dvandva, the pairs that the Upanishad says are within the one pervasion. The writing is not separate from the indweller.

Jo kal kali thi vo aaj gul hai jo aaj gul hai vo kal samar hai. This is the Upanishadic doctrine of becoming within being. The Isha declares

"Tad ejati tan naijati tad dure tad u antike

Tad antar asya sarvasya tad u sarvasya asya bahyatah"

(It moves, it moves not, it is far, it is near, it is within all, it is outside all.)

Kali gul samar move, the sutra upon which they appear moves not. The atma appears as movement while remaining unmoved.

'Har ek shai waqt ki hawaon ki zadd pe ek shamm e rehguzar hai'. Isha Upanishad speaks of those who identify only with the lamp and forget the light that lights the lamp.

"Andham tamah pravishanti ye asambhutim upasate

Tato bhuya iva te tamo ya u sambhutyam ratah"

(Into blinding darkness enter those who worship non becoming, into greater darkness those who delight in mere becoming.(

To worship only the lamp glowing or lament only the lamp dimming is Asambhuti and Sambhuti. Sardar Jafri says 'vujood par naaz kar rahi hai'. That naaz is Avidya, taking the wayside flame to be the Self. Isha says the wise see both together

"Sambhutim cha vinasham cha yas tad vedobhayam saha

Vinashena mrityum tirtva sambhutyamritam ashnute"

(He who knows both becoming and dissolution together, by dissolution crosses death, by becoming attains immortality.(

This is exactly Jafri closing line 'Maut ki aag mein tap tap ke nikharti hai hayat'. Death does not destroy life, it refines it. "Vinashena mrityum tirtva".

Isha concludes with the prayer to the sun, the same sun under which Sardar Jafri's earth and sky pages are lit.

"Hiranmayena patrena satyasya apihitam mukham

Tat tvam pushan apavrinu satya dharmaya drishtaye"

(The face of truth is covered by a golden disc, O Pushan uncover it, that I who follow truth may see.)

The golden disc is the very pride of existence, 'vujood par naaz'. When it is removed, the same two pages remain, but now known as Ishavasyam, not as mere chronicle of good and evil, but as one Self illumining both darkness and light.

( Avtar Mota)

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\.

TWO VIEWS OF PARIS CITY FROM EIFFEL TOWER WITH POETRY OF ALI SARDAR JAFRI

                                                                                        

TWO  VIEWS OF PARIS CITY FROM EIFFEL TOWER WITH SEINE RIVER FLOWING SILENTLY ..
(Photo Sandeep Mota  November  2014 )

I am adding some lines from a poem of  Urdu poet Ali Sardar jafri to these  photographs )

“ Tumhaaray Shahar e Jamaal Mein
Meray Dil ka Kaasa
Bhatak Rahaa hai …
Tum Apnay Hothon Ka shahad ,
Aankhon ke Phool ,
Haathhon ke chaand dhe do,
Yeh Muflissi ki Siyaah Raaatein
Vujood par Tanz kar Rahee hain.."

My english rendering of the lines is as under

"In the Grandeur of your city,
The Goblet within this Heart of mine ,
Strikes aimlessly here and there…
Grant me the sweet honey that your lips stock up,
Look at me with the flower like eyes that you possess,
And Pass on the Moons that your hands store to me as well;
Look ! These dark nights of dearth
Keep lampooning my existence …"


( Autar Mota )

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\.

THE JOY OF BICYCLE RIDING IN NETHERLANDS

                                                                               

                           ( Bicycles Parked over on canal Bridge in Amsterdam , Netherlands ) 

)

                                             ( Bicycle Riders near Vondel Park Amsterdam )

                                                   ( A Bicycle Path in Amsterdam , Netherlands )

                                                                            

BICYCLE AND NETHERLANDS

Bicycle is a major mode of transport in the Netherlands. It is surprising to see almost 40percent of the road traffic in Amsterdam comprising of bicycle users. This could be even higher in rural areas. These bicycles move on separate paths with protected Intersections. The bicycle routes are shorter and direct. Almost every city and town in the Netherlands is interconnected through a national network of well laid down bicycle paths . These paths are created and maintained by Dutch Governmentas a national policy task to promote bicycle usage amongst people . 

I am informed that the Dutch government prioritized this mode of transport long back , possibly sometime around last quarter of 19th century. This mode got more acceptance in public after widespread protests broke out in Netherlands over the spurt in motor accidents during 1970 to 1975 . During these years ,motor accidents killed more than 500 children annually . The government immediately swung into action and came out with a comprehensive bicycle friendly policy for the people . This policy meant quantitative fund allocations for development of separate paths , roads , intersections , parking facilities , accidental insurance support and establishing network of traffic signals .

With bicycle , roads in Netherlands have become almost pollution and noise free. The accidental deaths have come down drastically . 

As a part of its National policy to promote Bicycle usage ,children in Netherlands , after a certain age , need to learn cycling . They are supposed to use this mode of transport for going to their school later which could be as far as 8 to 10 kms . Elderly people are trained to use the electric bicycle . Trains and ferries can not refuse to carry your bicycle should you need to do so to cover longer distances. This is a matter of state policy which has due legal sanction. 

Bicycle lanes are painted red or black and no mopeds are allowed to be driven along these paths. One can see some cyclists moving at a speed of about 20 kms per hour on these paths .

Every shop in Amsterdam has bicycle parking facility close to its location . If you do not park your bicycle properly , you may be fined by law enforcing agencies . Every railway station , school , library ,college , university , hospital , supermarket must have a proper bicycle stand.

You find children, students , doctors , university teachers ,ladies , businessmen , government employees and tourist using bicycle to cover distances . The government also gives annual awards to the city / Town with best Bicycling paths and facilities .

Did we forget this cheap and pollution free mode of transport In our country ? Can we learn a lesson from the Netherlands experience ? 

I conclude this post with a couplet of urdu Poet Naseer Turabi ….

Kabhi ye haal ki donon me yukk- dili thhi bahut
Kabhi ye marhalaa jaisay ki aashnayee na thhi…….

( Avtar Mota)

                                                                       

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
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URDU POET NASEER TURABI'S LINES ADDED TO SOME PHOTOGRAPHS

                                                             
                                                                          

SILENCE , NIGHT TIME AND THE MOONLIGHT OF SANTORINI (GREECE. )
( Photo Sandeep Mota In Greece .. September 2014)

To this photo i add lines from a Gazal of Naseer Turabi( Born 1945 )

Na apnaa ranj , na Auron ka dukh , na teraa malaal
Shab- e -firaq kabhi hum ne yuun ganwaayi na thhi..
Woh humsafar thha , magar uss se humnawayee na thhi
Ke dhoop chhaanv ka Aalam raha , judaai na thhi.....
                                                                             

                                                                           

LOCKS on a bridge over river SEINE in Paris . A symbol  of Faith, love  and trust  . Desire something and put a lock on the bridge side -support rod. When the desire translates into reality , unlock and celebrate . Something like the “Daesh” tied in shrines of kashmir.

( Photo sandeep Mota 2014)

To this photo i add lines from a Gazal of Naseer Turabi( Born 1945 )

Aey Muqaddar koyee hisaab to rakh,
Kaun Jeeta hai kaun Haara hai…
Aankh bharnay lagi hai yado’n say,
Shor-e-darya hai chupp Kinaara hai

                                                                

A TONGA MOVES AHEAD SILENTLY INSIDE BARAMULLA TOWN.
( Photo Autar Mota )

I am adding some lines from a Gazal of Naseer Turabi ( Born 1945 ) to this photo…

Logon mein meray log woh sachaaiyon ke log,
Bichharray to duur duur sadaakat nahin Rahee..
Raaton mein eik raat woh ghar lautnein ki raat,
Woh Zehmatein woh shauq woh ujhllat nahin Rahee….
Rangon mein eik rang teri saadagi ka rang ,
Aissi hawaa chali ki woh rangat nahin Rahee……..

                                                           
                                                                 

A VIEW OF PARIS CITY AND RIVER SEINE  FROM EIFFEL  TOWER.

( Photo Clicked by Sandeep Mota in Paris ..November 2014. )

Bichharrtay waqt unn aankhon mein thi humaari gazal

Gazal Bhi Woh Jo Kissi ko Abhi sunaayi na thhi....

 (While parting , those eyes glittered with my poetic melody only ;

A melody that had not been revealed to any one uptil now.....)

 

( Autar Mota 17.11.2014)

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