Saturday, June 26, 2021

NATURE IS THE GREATEST ARTIST

These photographs show how great artist nature happens to be. In every aspect, nature is the greatest painter on this planet.

                                          



                                             











                                            


( Avtar Mota)

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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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Wednesday, June 23, 2021

TWO FILM LYRICISTS: MAJROOH SULTANPURI AND ANAND. BAKSHI

                                          



MAJROOH SULTANPURI  AND ANAND BAKSHI..

( TWO POETS ... TWO SONGS )

MAJROOH  SULTANPURI 

Majrooh has written about 2000 odd songs for about 300 films. Unlike Sahir,  you confront two persons in this name ; Majrooh,  the serious Urdu poet and Majrooh,  the film song writer.   I know both  as I have read Majrooh the Urdu poet and heard some beautiful songs composed by Majrooh the film lyricist . From K.L. Saigal to Shah Rukh Khan, his songs  understood   the language of every generation. Through his songs , he  could convey  sensuality ,  dreams , passion. love and rejection. Majrooh didn’t allow age to touch his heart or  his art. 

Majrooh’s  song , "Chhupa lo yoon dil mein pyaar mera"  (Mamta, 1966) has always been my favourite .With Roshan’s soothing   and unforgettable music,  using Raag Yaman  , the song is still  there , always fresh , although it is about 55 years old now. This unusual love song  sung by Hemant Kumar  and  Lata Mangeshker and picturised on Ashok Kumar and Suchitra Sen,  aptly conveys the feelings of suchitra Sen and Ashok Kumar in the movie. If you are unable to show it to the world, hide your love  in your heart like the sacred flame burning inside  a temple  This flame  may  illuminate every dark recess of the heart . The song uses other religious motifs like the flower laid at the feet of the deity ,sacred ash that a devotee smears upon his forehead etc.  There is something special about the way the song attracts your attention . 

" Rahein na rahein hum,Mehka karenge" is another Roshan,Lata and Majrooh creation that remains my favourite.

ANAND BAKSHI 

Ananad Bakshi  must have written about 3500 film songs  . He worked with every singer , every composer and  almost every production house .Some people had issues with his songs but at a point of time , every alternate person in India used to sing songs that he penned. Anand Bakshi remains a good film lyricist .I have not read his non film poetry .
One song that remains my favourite is “ Kuchh to log Kahenge “ that Bakshi wrote for Amar Prem (1971 ) .Sung by Kishore Kumar and picturised on Rajesh Khanna and Sharmila Tagore, this song retains its popularity even when it is about 50 years old. That is the magic of R. D. Burman  , Kishore Kumar and Anand Bakshi . While the father ,  S. D. Burman was a minimalist, Pancham built his individual Identity by creating  a  music based on folk, jazz and Indian classical. R. D. was greatly influenced by Raag Khamaj. The song under discussion is also based on Khamaaj. In the song ‘ Kuchh To Log Kahenge ‘, the notes of Khamaj merge into Raag Kalavati.  R.D.  knew exactly which song to give to which singer. If he made  Asha Bhosle  sing'  Piya tu ab to aaja ' , he gave  'Raina beeti jaaye ' to Lata Ji. Both selections proved absolutely correct.

“People will say something or the other, it’s their business to talk,
Ignore it, lest the night ends in these useless things’

This is what Rajesh Khanna intends to convey to Sharmila Tagore through the song and succeeds in conveying that one should not be afraid of worldly ways and slander  when even Lord Rama’s wife ( Sita ) had to face it. Cogently , he also conveys that those who preach , seldom practice it.
"Hum bewafa hargiz na thay" is another R.D. ,Kishore and Anand Bakshi creation that  remains my  favourite..This song is also based on Raag Khamaj, R.D.'s favourite Raaga.


So Long so much ..

( Avtar Mota )


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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\.

Sunday, June 20, 2021

NAMASTE.........THE BEAUTIFUL SENTIMENTS BEHIND A SMALL WORD....

                                          



NAMASTE.........THE BEAUTIFUL  SENTIMENTS BEHIND  A  SMALL  WORD....

The Merriam Webster dictionary defines Namaste as under:-

" The Sanskrit phrase namaste is formed from namaḥ, meaning “bow, obeisance, adoration,” and the enclitic pronoun te, meaning “to you.” The noun namaḥ, in turn, is a derivative of the verb namati, which means “(she or he) bends, bows."

About Namaste, Dr S.S.Tosahkhani, the well known Scholar says this:-

" The etymology of the word is simply ‘namas’ (नमस्), meaning bowing, salutation, obeisance + ‘te’ (ते) meaning ‘to you’. ‘Namas’ changes to ‘Namah’ (नम:) and ‘namo’ (नमो) in composition.  The word ‘namaste’ is not found in any Sanskrit dictionary because Namaskar is the standard form of salutation."

So , namaste literally means ‘I bow to you.’ However  ,there is a broader and divine meaning and interpretation of  the word Namaste.This interpretation comes from the Hindu belief that God resides in everyone. 

Accordingly to  B. K. S. Iyengar,

" Namaste is a sincere gesture from somewhere deep within  the soul. It is  acknowledgment of the soul in one by the soul in another."

The Upnishads say that the light within one  individual acknowledges the light present in another as both reflect the light of the same  supreme soul. Thus while Namaste  is a form of greeting, it is essentially  an acknowledgement of  the all pervading presence of  the supreme reality. A person saying Namaste also conveys to the other person that they are the parts of the same reality. Some scholars have also given below listed interpretations of Namaste:-

(1) I  bow to the place in you that is love, light, and joy.

(2)When you and I bow to our true nature, we are one.

(3) My soul recognizes your soul

(4) We are the same, we are one.

(5)  I honour the place in you that is the same as it is in me.

                                          


Sadhguru Jaggi  Vasudev says this :-

 " When you see a person, whether it is in your workplace, on the street, at home or anywhere else, the nature of human intellect is such that the moment it sees, it will make a judgment – “This is okay in that person, this is not okay in that person. He is good, he is not good, he is beautiful, he is ugly” – all kinds of things. You do not even have to consciously think all this. These assessments and judgments happen in a moment, and your judgments may be completely wrong because they all are coming from your past experiences of life. They will not allow you to experience something or someone the way they are right now, which is very important. If you want to work effectively in any field, if someone comes in front of you, it is most important to be able to grasp them the way they are right now. How they were yesterday does not matter. How they are this moment is important. 

The moment you place your hands together, and say namaskar ,  your dualities, your likes and dislikes, your cravings and aversions, are all leveled out because you recognize the source of creation within them. This is the intention behind doing Namaskar."


Both namaskar and  namaste have the same root word in Sanskrit: namas, which means “bowing or homage.” Namaskar is made up of the root words namas and kara, meaning “doing".


In the US, I observed that the religious and secular culture come together with the increasing use of  word Namaste.

Namaste...

(Avtar Mota)


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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\.

Saturday, June 19, 2021

SIX OLD PHOTOGRAPHS OF KHEER BHAWANI SHRINE, TULAMULA, KASHMIR.

                                                

(A painting showing  Jyeshta Ashtami festivity at Kheer Bhawani Shrine ,Tulamula, Kashmir by William carpenter done in 1955or 1956)


( A painting showing  devotees  at Kheer Bhawani Shrine ,Tulamula, Kashmir by William carpenter done in 1955or 1956)
  ( An old photograph of the sacred spring at Tulamula )



       ( The above  photo  of sacred  spring was clicked in 1880 AD)

Kheer Bhavani is an ancient temple of Kashmir that falls in Ganderbal district and is located at a distance of  about 27 km from Srinagar city . It is dedicated to Ragnya Devi (form of Goddess Durga).  Goddess Ragnya is depicted in the form of a natural hexagonal spring that is adored by the devotees. The temple of Ragnya Devi is popularly known as Kheer Bhavani Temple, due to the fact that devotees offer 'Kheer' (Sweet dish made of milk) to the sacred spring. 

An annual festival is held at the temple on Jyeshta (May / June ) Ashtami day. On this day, devotees observe  a fast and gather at the temple to pay their homage to the goddess. It is believed that on this day, the spring water changes its colour with the blessings of the Goddess. The festival is concluded with 'Maha Yagna' to please Ragnya Devi.




( Avtar Mota)

.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\.

Thursday, June 17, 2021

SOME COMMON BHAJANS AND LEELAS. SUNG / RECITED BY KASHMIRI PANDITS...



              
                                      


                                         

SOME COMMON BHAJANS AND LEELAS SUNG OR RECITED BY KASHMIRI PANDITS

 

Apart from devotional Stutis and hymns ( composed by Adi Sankara, Abhinavgupta and other saints and philosophers) in Sanskrit like kalpa vriksh bhakt rakhshe namos-tateh gajananam, vyapat charachar bhaav vishesham, karpoor-govaram karunavtaaram, shivoham shivoham shivoham shivoham, nagendra-haaraaye trilochanaaye, atibhishan katu- bhaashan yamakinkar Patli, jai narayan jai purushotam jai vaaman kansaare, achutam keshvam ramnarayanam, bhaja govindam bhaja govindam, gaureem aambam ambhuru-haksheem ahamidiye, ya devi sarv-bhuteshu, panchastavi, mahimnapaar,indrakshi naamsa deevi, shaantakaaram bhujagashayanam ( Vishnu Stuti ) almost every Hindi Bhajan or prayer or Stuti was recited in Kashmiri Pandit households and families. I specifically remember the immense popularity of om jai jagdish hare, sri hanuman chaalisa, jai ganesh jai ganesh jai ganesh deva, jai shiv omkaara, sri ram chandra kripalu bhajman , aarti kunjbihari ki, jab sonp diya iss jeevan ka sab bhaar tumhaare haathon mein and itnaa to karna swami jab praan tan se nikalein amongst Kashmiri Pandits. I also remember how we would recite Kashmiri Leelas, prayers, and Devi Stutis in our families during Puja, Homa, marriage rituals and also inside shrines and temples. Remembering all this has proved of enormous utility for our cultural and civilizational continuity, especially during the exile of the Kashmiri Pandit community. 

 

In Kashmir, I vividly remember how every Saturday night, Bhajan Mandlis performed night-long Bhajan / Keertan in some shrines and temples. During my childhood, I was taken to these devotional singing sessions at Hari Parbat and Pokhribal by my father or Ritch Maal, a pious lady in our Mohalla. The night-long tea sessions with Kashmiri bakery were also a temptation in these Bhajan Mandlis. Every Bhajan or Leela was started with a Lal-Vaak ( verse of Lal Ded ). Children were invariably made to join and recite in every Bhajan / Keertan session held in their families. That is how elders passed on the traditions, rituals and culture to us. That is how most of us remember the devotional poetry of Lal Ded, Krishen Joo Razdan, Parmanand, Prakash Ram, Master Zinda Kaul and others. I remember below listed thirty Kashmiri Bhajans, prayers and Leelas that were popular in every Kashmiri Pandit household:-

 

(1)

 ‘Aamitch manas ritch vaasana 

 Ishwar safal kari-na- sana’…..(Master Zinda Kaul)

A good desire has sprung up from my heart,

 Would the Lord be kind to me and fulfil it.)

(2) 

 ‘Az vaati boozum mol myon

 Kosam vatan vatha-raavasai’….(Master Zinda Kaul )

( I heard my master, my Guru or my father is to arrive today,

 Here I decorate his path with flowers ) 

(3)

 ‘Aasaai sharan kartam daya

 Om shri ganesh aye namaah’….( Krishen Joo Razdan )

( Here I take refuge under your feet,

 O Sri Ganesha, glory be to your name,

 Be kind to me.) 

(4)

 ‘Aadhaar zagatuk kunuyi chhu mantar 

 Shivaaye namah om namaah shivaaye’….( Krishen Joo Razdan )

( There is only one mantra 

 fundamental to this universe,

 Recite shiva's name,

 And shiva be recited .)

(5)

 ‘Kasht kaastam bhagwan harey

 Santusht roztam gari garey’

( Free me from the worries and troubles,

 My Lord, remain kind to me at every moment. )

(6)

 ‘Gataa kaastam tse baastam tchavaapari

 Hey sadashiv shankar trishuldhaari’

( Dispel this darkness that lies all around me,

 O Sadashiva!

 O Shankara,

 O trident carrying Lord .)

 (7)

 ‘Tarvun chhu karnov 

 Haq dith chhu vanaan

 Kaanh maa-sa tariv apour’….(Master Zinda Kaul )

( The ferry boat is about to leave

 The boatman cries loud,

 " Is there anyone who would like to go across the river? ")

(8)

 ‘Dil pholli darshan chaaney

 Soora-matya sorfa Gosaaney’

( At your sight,

 this heart would get 

 filled with immense joy,

 O ash smeared Sadhu(Shiva) !

 O sadhu with snakes around your neck.)

(9)

‘Pari-pooran chhu noor bor-muutiye

 Sooraa-motiye aangan tsaav’

( He is full of radiance and shines bright,

 See the ash-smeared carefree lord

 has come inside my courtyard)

(10)

 ‘Prabhaat aav poshinoolo van 

 Sundar-vaani prasan kar mun’…..(Vasudev Ji)

( It is daybreak,

 Sing oriole,

 Sing your beautiful songs 

 and fill our hearts with happiness)

(11)

 ‘Hosh dim lagayo pamposh paadhan

 Ha saadhan hiendhi saadho lo’……..……( Krishen Joo Razdan )

( Grant me awakening,

 My life at your lotus feet Lord,

 O Lord,

 O King among the ascetics .)

(12)

 ‘Hataa zeevo tass-sinz thav kal 

 Tse praavakh sarvada mangal’

( O human being,

 Keep longing for that master,

 that Lord,

 This longing alone shall bring you unending 

 happiness .)

(13)

 ‘Yeli hyot zanam gopaalan

 Sheen pyaav kohan ta baalan’

( When Gopaala was born,

 The hills and mountains 

 were covered with white snow)

(14)

 ‘Sumiran panien ditchenam premuk nishaana vesiye

 Ratchhrun togum na rovum ossum na baana vesiye’……( Master Zinda Kaul )

( Some cheerful memories he granted me,

 memories like symbols of love.

 Alas! I couldn't hold them safely,

 Alas! I lost that wealth,

 Unlucky, I wasn't capacitated to hold them.)

 (15)

‘Kar iyee me kun gindhun dimas tchahdan-haar

 Aadi-shakti Shaiv jiyas namskaar’……………( Krishen Joo Razdan )

( When shall he visit this way?

 I shall give him a necklace made from sandalwood,

 To that primordial energy source,

 To that Shiva,

 I bow and pay my homage)

(16)

 ‘Sondharo sonn sandhal garaai

 Ho ho karaai Shaam- sondharaai;

(My beautiful lord,

 I shall buy ornaments of gold and sandalwood for you,

 O baby Krishna,

 I shall lull you to sleep)

(17)

 ‘Gokul hriday myon taeyi choan gooer vàan

 Tseit vimarsh deeptimaan bhagwaano’…….(Parmanand)

( My heart has become Gokul,

 within it, 

 O trader of purity,

 O trader of milk,

 you have set up your shop.

 You are the mind,

 You are the deliberations,

 And you are the lustre,

 My lord! 

 My Sri Krishna.)

(18)

 ‘Sakhiyav roothum hayi roothum hayi

 Gatchhith byoothum hayi gaamaniyi’

( Friends, he appears to have taken

some offence or looks angry with me,

 See how he has moved away

 and made his abode away from

 the noise and commotion)

(19)

 ‘Maej sharikaai kar daya

 Var daya hi bhawaani’

  ( O mother Sharika, be kind to us,

 O mother Sharika, deal us with your

 Kindness and compassion )

 (20)

 ‘Me Deevi thaavtam gosh

 Ba laagai sheri pamposh’

( O goddess, listen to my prayers also,

 Here I decorate your head with lotus flowers)

 (21)

 ‘Ba zaari gosh thaavtam hi bhawaani

 Tse rostuyi rachhavun chhuyi kaanh na myonuyi’

( O Bhavani mother, listen to my woes as well,

 Apart from you, I haven't any other protection in this world.)

(22) 

 ‘Aasaai sharan tse paadhan vinay kini namithi

 Vyakultaai manz maata rachhtam tseyi’………( Panchastavi in Kashmiri translation )

( Having surrendered myself at your feet

 I bow my head to you,

 Now in every desperation that I experience,

 O mother protect me .) 

 (23)

 ‘Praatah Kaala aav

 Meti antaai gaash maej

 Chham tchaen aash Maej

 Meti pooran kar’

( The dawn has arrived all over

 lead me as well to the light O mother,

 Only you are my sole hope

 fulfil it, mother,

 fulfil it.)

 (24)

 ‘Paadh Kamalan tal ba aasaai

 Karini tchaani Stuti.’….(Vishendas ji )

( To your lotus feet I have come

 O mother,

 to worship you and sing your praise.)

(25)

 ‘Om Shrimat hi bhawaani

 Chham me aasha chaani’

( O Bhavani,

 I begin your name with Om,

 You alone are my hope now.)

(26)

‘Ba maeji kenh to zaanai na pooz chaani 

 Kshema karizem agar mantar mashyem kaanh’

( Mother, I don't know how to perform your worship,

 forgive me should I forget any specific mantra.)

(27)

 ‘Tse raagenya kaastam gham

 Ba laagai bhaav kosam’

 ( O mother Raagenya ,

 make me free from my sorrows,

 To you, 

 I offer all the flowers of intense devotion.)

(28)

 ‘Ganyomut chhum manas Chon bhaav

 Zagat maata me darshun haav’

( My mind is now intensely desiring 

 your worship,

 O universal mother,

 Just grant me your ‘Darshana’)

 (29 )

“Aav bahaar bol bulbulo

Soan valo bharyo shaadi”…….(Prakash Ram)

 

( The spring has arrived,

O bulbul sing your song now.

Come this way,

 I shall fill your heart with happiness.)

 

(30)

 ‘ Sahib o sath chham me chaani

Vath me asalitch haavtam’……..( Ghulam Ahmed Mehjoor )

 ( Lord, I have put all faith in you, 

 show me the righteous path alone .)

 

There were many other Leelas that were recited specifically at Ashrams of saints and sages in Kashmir. In this category, I would include the Ashram of Bhagwan Gopi Nath, Swami Lakshman Joo's Ashram at Ishber, Kashmir and many other Ashrams in the Kashmir valley. Leelas were also recited before Sona Bub ( a Muslim saint ) by his Kashmiri Pandit followers. Swami Lakshman Joo, the Shaiva scholar of Kashmir was also fond of listening to Leelas composed by Parmanand and Krishen Joo Razdan.

                               

 

 


( Avtar Mota)

.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\.