Friday, November 25, 2022



MOTI  LAL SAQI ( ( 1936-1999)

'Dagh" or Pain is a great poem of Kashmiri poet  Moti Lal Saqi. I love the subject , style and sentiments of  this poem . The poem is a spontaneous  overflow of powerful emotions of an exile.  I post some select lines which have also been rendered to English by me   .                   
  “  Bub , Budya-Bub,Jadha-Budya-Bub,  
Saari yeti thanna peymit
 Yethi metchi shrepmiet
Khaah Khal timavai thaevmit sheerith
Kolla kajji timvaai  neela-vath cheerith
Nonn Kodd timavai ‘ Sharada Peeth '
Yath metchi munz Bengaashi amaanat
Yeti chhu Ali Joo yeim lalla-novus

Az chha bhaiy meyi kalla thodh tulnas
Az chhus baeyi  az-vaai abhyaagath
Kaenn assi thov na parihaasporas
Martand pal nakha kam kam tulei
Harwanas kam athha palzeimit
Vyath baethi kaem kor taarakh zool
Chhakrith  Kaayi me paan teil dagh chham
Nari chham rajasthaan me taapas 
Zang chham aassus manz rata hooneun
Vaeni chham sath dakhi chhum Dasgeer"
( Moti Lal S’aqi )

( Pain )
My father . 
My grandfather ,
My great-grandfather,
All of them , 
were born in this land 
and sleep in the dust of this land only.
These fields ,
This  stock ,
Tell the tale of their protective care . 
These  rivulets and streams ,
Were born after they tore apart the rocks and the boulders .
This "Sharda Peeth " of ours, 
They made known the world over .

In the soil over here   , 
sleeps Bengashi , 
my mother .
Ali Joo ,
Who poured his affection upon me ,
 also sleeps in the soil of this land .
 Then tell me one thing ,
Tell me why I fear to tread on this soil?
Tell me why am I afraid to raise my head?
Tell me why do I feel  helpless ?
Tell me why  have  I been rendered unlucky ?

Didn’t we ;
Lay the foundation of Parihaaspora ,
Carry huge boulders on our shoulders
for the  Martanda ( Sun Temple ) ,
Build  Harwan's ancient Buddhist  monastery with our hands ,
And  illuminate River  Vitasta's  banks on her birthday .

Alas !
 Now , our  body lies scattered ,
Our arms face the heat of Rajasthan.
Our legs  are  held by bloodthirsty  dogs in their jaws ,
 Yet ,
 till this day , 
This abiding faith remains with us that 
" Revered Dastgeer will stand by us  ." 

(Avtar Mota)

Based on a work at http:\\\.

Sunday, November 20, 2022



For this photo ,i wrote these four lines...

"Jhurmuton mein andhera phaila hai  
Har taraf baraf ka bichhona hai...
Hum pahaadon pe cheed ke jungle
baadalon se lipat ke rona hai ......."

( 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:\\\.

Wednesday, November 16, 2022


Discussion held in Studio of Jammu Doordarshan Kendra.
Participants..Avtar Mota. And Ravinder Kaul.

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:\\\.

Sunday, November 13, 2022






BHADERWAH  ( The Unexplored Heaven)

by Dharam Kant Dogra ( Mobile 9419249940)

Published by Aastha Prakashan, Jalandhar ( Mob.09814527152)

Price Rs100/=

(Sold by the author directly )



Bhaderwah falls in the Jammu division of 

J&K UT. A beautiful valley with hills of Kishtwar in its north, Chamba ( HP ) in its east, Basholi area of Jammu near River Ravi in its south and Chenani area of Udhampur district in its west, one can safely call this place, ‘A Queen of Hills’. Perched at a height of about 5300 feet from sea level and surrounded by snow-clad hills with Deodar forests on all sides, this area has its unique history and culture. The Ratangarh Fort is one of the most historical and cultural constructions seen in Bhaderwah town. Located on a small hillock, this fort gives a scenic backdrop of pine trees and a complete panoramic view of Bhaderwah Valley. Built in the year 1733 by Raja Methni Pal, this fort changed hands several times. 1n 1821 it was captured by Chamba rulers.


In Bhaderwah, one finds Kashmiri Pandits, Kashmiri Muslims, Thakkars, Wazirs, Kotwals, Dogra Rajputs, Punjabis, Mahajans and Bhaderwahi-speaking locals living in peace and harmony. The place remained a melting pot of many cultures and civilizations. It was an independent principality amongst the 22 Hill States of Jammu before it was annexed by the Chamba Kingdom in 1821. It was subsequently transferred to Dogras in 1846 under the Treaty of Amritsar. 


The book under review has 176 pages for its text with additional 8 pages for 16 coloured photographs that depict the culture and scenic beauty of the place. The author has dedicated this work to the memory of his parents. Set in three chapters, Bhaderwah: The Ultimate Tourist Destination, Bhaderwah: The Cultural Hub and Bhaderwah: A Heaven Ravaged, the book gives the reader truthful information about the history, climate, landmarks, tourist spots, religious places, festivals, serpent worship culture, annual Yatras, music, dance, literature, folk songs and anything and everything that one wants to know about this town, its inhabitants and their rich culture. 


The author has exclusively assigned 5 pages to describe the ancient Vasuki Nag temple of the town that has been a place of pilgrimage not only for the people of Doda, Kishtwar and Bhaderwah but also for the Hindus of the J&K UT. A similar detailed description exists about the ancient Gupt- Ganga temple dedicated to Shiva- Mahadeva. The Chandi Mata temple overlooking the town has also been described in detail by the author. Designed on the pattern of the Mata Chandi temple of Machail ( Paddar), the author informs that this grand temple was built due to the foresight and tireless efforts of Thakur Kulbir Singh Jamwal. The temple has a commanding location. One can have a panoramic view of Bhaderwah town from the temple. 


The festivals and Yatras of Bhaderwah bear the influence of the festivals and culture of Chamba and adjoining hills of Himachal Pradesh. From the book, a reader gets detailed and adequate information about the well-known Kailas Kund Yatra. Hindus believe the Kailas Kund is the abode of Nagraj Vasuki. The Vasuki Puran also upholds this belief. The author has devoted about 9 pages to this important annual Yatra to Lake Kailas situated at an altitude of 14000 feet and about 21 km from Bhaderwah town. While the author has taken great pains to describe other three popular Yatras known as Ashtapati or Shadu Yatra, Manimahesh Yatra and Machail (Paddar) Yatra, his gripping narrative about Mela Patt keeps the reader glued to the book. Mela Patt is the most famous and well-attended fair of Bhaderwah held every year in August/ September on Tritya of Shukla Paksha of Bhadrapada month as per the Bikrami calendar. The fair is held in honour of Vasuki Nag, the presiding deity of Bhaderwah. It is believed that Emperor Akbar had sent valuable gifts for Vasuki Nag temple through Raja Nag Pal of Bhaderwah. The Rajas of Bhaderwah especially from the Pal dynasty were ardent devotees of Sri Vasuki Nag. 


The book gives its reader detailed information about many trekking routes in the Bhaderwah area, a place also known as ‘Trekker's Paradise'. Apart from this, the book gives valuable information about various ancient temples of the area dedicated to various gods and goddesses like Bhadrakali, Sharika, Durga, Mahakali, Hidamba, Chandika, Shiva and Ganesha. A reader also gets enough details about prominent mosques and Ziarats of Bhaderwah especially Jama Masjid, Ziarat Syed Sikander Ali Shah, Ziarat Hazrat Syed Badshah Sahib, Ziarat Hazrat Saain Sadeeq Shah, Ziarat Moochh Maror, and Ziarat Hazrat Khaki Shah. The author informs that the old Gurudwara in the town was destroyed during the 1947 disturbances. However, a new Gurudwara has come up in village Kotli. This village has an Arya Samaj temple as well. Bhaderwah town had a small chapel affiliated with the Church of North India. The Buddhist sculptures found in the town stand stolen now.


In chapter 2, the author has also listed many religious festivals and fairs of Bhaderwah. Prominent amongst these can be listed as Makkar Sankranti or Maaghi, Dhundu Kundu, Gauri Tritiya, Sharari ( Nag culture), Nela Re Nouratan, Dharamdees, Tihaar, Chaitra Chyodeh, Baisakhi, Akshay Tritiya, Nag Panchami, Jagroo ( torchlight festival), Dhajje Ru Kodd and Jattar.

The author also introduces Bhaderwahi cuisine to the readers. Due to the presence of a sizeable Kashmiri population in the area, Bhaderwahi cuisine has now become diversified. It includes Roganjosh, Yakhni, and Dum-Alu, apart from the traditional Madra, Kadu, Ambal, Khatta meat, Barha, Chitloyee, Tahari( yellow rice), Mehri, Babroo etc. The author gives details about the development of Bhaderwahi literature and language and the influence of Kashmiri, Pahadi, Dogri, and various dialects of adjoining Himachal Pradesh on the Bhaderwahi language. We are informed about Vasuki Puran believed to have been written in Bhaderwah in Sanskrit. We are also informed about folk songs, dances, musicians, writers poets, and educationists of Bhaderwah.


In chapter 3, the author highlights the neglect and discrimination that was meted out to Bhaderwah by successive rulers post-1947. According to the author, the area was administratively truncated and amputated, discriminated in the matters of development of infrastructure and tourist spots by successive governments with the only exception being the rule of Bakshi Ghulam Mohammad. He attributes the economic backwardness of the area primarily to neglect and discrimination. However, he concludes on a positive note and remains optimistic about Bhaderwah regaining its lost glory. The book ends with the slogan 'Jai Bhaderwah' or 'Victory to Bhaderwah'. 


The author retired from a senior managerial position that he held in a public sector bank. He is a researcher, writer, and photographer as well. This book is certainly a great effort to trace the history, culture and scenic beauty of the place popularly known as ‘Chhota Kashmir’. A substantial part of the cost per book is being met by the author from his resources. Priced at rupees one hundred, the author is selling this highly informative book almost free to the readers. And I am sure this labour of love will never be lost. I recommend this book to all. I conclude this brief review with lines from Maya Angelou’s poem, ‘Still I Rise’:-


" You may write me down in history

With your bitter, twisted lies,

You may trod me in the very dirt

But still, like dust, I'll rise.

I rise up from a past that’s rooted in pain

I rise leaving behind nights of terror and fear

I rise into a daybreak that’s wondrously clear

I rise, I rise , I rise"


( Avtar Mota )


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




( Painting source..Internet)  


Amir Khusro also wrote Keh Mukariyan . Many readers may be surprised by these words . Yes, 'Keh mukariyaan ' is a style of conveying riddles or Pahelis in poetry . The strength of this Keh Mukariyan is finally to deny all at the end of the poem and reveal the answer to the riddle . The speaker or the poet provides hints till the end of the poem and finally provides such an answer that surprises the listener or the reader . This is Keh Mukariyaan style .We have a some what similar style in English poetry as well. Poets like Lewis Carrol, Emily Dickinson , Charles Simic and A A Milne have also written poetic riddles . I quote some Keh Mukariyaan of Khusro . 

Ati surang hai rang rangeele
Hai gunvant bahut chatkeele
Ram bhajan bin kabhi na sota 
Aey sakhi saajan ,na sakhi tota...
( parrot) 

Aankh chalaave bonh chalaave 
Naach koodh ke kheil dikhaave 
Mun mein aave le jaaon andher 
Aey sakhi saajan na sakhi bandher 
( monkey )

Lipat lipat ke vaake soyee 
Chhaati paanv lagaa kar royee 
Daant se daant bajey to taada 
Aey sakhi saajan na sakhi jaada 
( winter )

Aap jale aur mohe jalaave 
Pee pee kar more munh mein aave 
Eik mein ab maroongi mukkaa 
Aey sakhi saajan na sakhi hukka 
( hookah)

Dhur Dhur karoon to dodaa aaye 
Kshan aangan kshan baahar jaaye 
Deehal chhorr kahin na suttaa
Aey sakhi saajan na sakhi kuttaa
( dog )

 Jab maangoon tab jal bhar laave 
Mere munn ki vipat bujhaave 
Munn ka bhaari tan ka chhotaa
Aey sakhi saajan na sakhi lotaa
( water jug )
Raat samay woh ghar meray aave
Bhor bhaye woh uthi ghar jaave 
Yeh acharaj hai sab se nyaara
Aey sakhi saajan, na sakhi taara.
( star in the sky ) 

( 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:\\\.

Friday, November 11, 2022



DUSHYANT KUMAR ( 1931-1975)

" इस शहर मे वो कोई बारात हो या वारदात,
अब किसी भी बात पर खुलती नहीं हैं खिड़कियाँ .."
( Dushyant Kumar ) 

( Iss shahar mein vo koyi baraat ho ya vaardaat,
Ab kisi bhi baat par khulti nahin hain khidkiyaan..)

(In this city now ,
Be it a marriage procession 
Or some accident ,
No window is opened for any issue.) 

Dushyant Kumar Tyagi was a Hindi poet who is known for using Gazal format in many of his poems .Dushyant Kumar was born in Navada Village of Bijnor District in Uttar Pradesh. He did M.A. in Hindi from Allahbad University. He worked in All India Radio (Aakaashwaani) and a Hindi magazine of that time called 'Naye Patte'. Despite criticism from scholars, he established the pillar of ghazals in Hindi and wrote in the language of the common man.

Here is a sample of his Hindi Gazal..

रह-रह आँखों में चुभती है पथ की निर्जन दोपहरी
आगे और बढे तो शायद दृश्य सुहाने आएँगे|
मेले में भटके होते तो कोई घर पहुँचा जाता
हम घर में भटके हैं कैसे ठौर-ठिकाने आएँगे|

( Rah rah aankhon mein chubti hai path ki nirjan do- pahri,
Aage aur bade to shaayad drishya suhaane aayenge...
Maile mein bhatke hote to koyi ghar pahuncha deta,
Hum ghar mein bhatke hain kaise thaur thikaane aayenge.....)

" एक खंडहर के हृदय सी,एक जंगली फूल सी,
आदमी की पीर गूंगी ही सही, गाती तो है..
एक चादर साँझ ने सारे नगर पर डाल दी,,
ये अंधेरे की सड़क उस भोर तक जाती तो है. "

(Eik khand-har ke hriday si eik jungli phool si,
Aadmi ki peed goongi hi sahi gaati to hai...
Eik chaadar saanjh ne saare nagar par daal dhi,
Ye andhere ki sadak oss bhor tak jaati to hai..)

"मैं जिसे ओढ़ता-बिछाता हूँ
वो ग़ज़ल आपको सुनाता हूँ
हर तरफ़ ऐतराज़ होता है
मैं अगर रौशनी में आता हूँ"

( Me jise audda bichhaata huun 
Woh gazal aap ko sunaata huun
Har taraf aiteraaz hota hai
Me agar roshini mein aata huun) 

Dushyant Kumar remained very close to Ramdhari Singh Dinkar, a stalwart Hindi poet. Dushyant Kumar was a close relative of Kamleshwar . The Indian Department of Posts issued a commemorative stamp with Dushyant Kumar's image on it, in September 2009.

In Hindi film "Halla Bol" , Dushyant Kumar's poetic lines " मेरे सीने में नहीं तो तेरे सीने मे सही, हो कहीं भी आग, लेकिन आग जलनी चाहिए " "mere seene mein nahin to tere siine mein sahi, ho kaheen bhi aag lekin aag jalni chaahiye" were used to convey the central idea . Star Plus used the lines "Sirf hungaama khada karna mera maqsad nahin, saari koshish hai, ki yeh soorat badalni chahiye" in promos for its show Satyameva Jayate.

A letter written by Dushyant Kumar in praise of Bollywood megastar Amitabh Bachchan has been kept on display at a museum.

Dushyant,who died in Bhopal in his early 40s in 1975,had penned a letter to Bachchan showering praises on the actor after watching his performance in the hit movie "Deewar".

I conclude with two lines of Dushyant Kumar .

" हो गई है पीर पर्वत-सी पिघलनी चाहिए,
इस हिमालय से कोई गंगा निकलनी चाहिए।"

(Ho gayi hai peed parvat si pighalni chaahiye
Iss himalay se koyi Ganga nikalni chaahiye) 

( 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:\\\.

Sunday, November 6, 2022




To this photograph ,i am adding 3 quotes from Abhinavagupta of Kashmir.....

" Nothing perceived is independent of perception and perception differs not from the perceiver, therefore the universe is nothing but the perceiver."

"Relative distinction between two realities is not impossible. This is the doctrine of Supreme Unity in which in which relative distinction is neither shunned nor accepted. While there is an external difference between phenomena, there is none inwardly."

"Other achievements are in vain if one has missed the supreme reality, the Self. But once one has attained this reality there is nothing left that one could desire."

Abhinavagupta ((950 – 1020 AD) was India's greatest Shaivite scholar, philosopher ,musician, poet, dramatist, theologian, and logician who exercised strong influences on Indian culture. Abhinavagupta was born in Kashmir . He was a genius of his time who wrote over 35 scholarly books , the largest and most famous of which is Tantrāloka, a treatise on all the philosophical and practical aspects of Trika and Kaula known today as Kashmir Shaivism. Another great contribution from him was in the field of philosophy of aesthetics with his commentary of Nāṭyaśāstra of Bharata Muni .

( 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:\\\.

Friday, November 4, 2022




AZ   ROZ   SAANE………. ( Tonight, Stay   with us  )

(Photo... Avtar Mota )

Sometime in 2012, I met Ghulam Mohammad Giri in Banihal town.  He is the landlord of our bank’s premises in Banihal. Kashmiri is his mother tongue. It was an official meeting. Banihal falls in the Jammu division of the J&K . That day I had some official work at IRCON’s Banihal office also. With Ghulam Mohammad Giri, I had a long and fruitful discussion with regard to some pending issues  relating to the layout, early completion and structural changes in the proposed premises. I was impressed by the simplicity and sincerity of Ghulam Mohammad Giri.

When I sought permission to leave, he requested in a typical Kashmiri style,  “ tal sa beh az saani ”or ' please stay with us tonight '  .  I looked at his face.  The words had sprung with truth and sincerity. Many years after the dislocation from the valley, these words of  Kashmiri hospitality touched me .Having travelled to Banihal early in the morning in my vehicle , I had to return to Jammu the same  day . I couldn't accede to his request as I had some urgency . 

 Quite often, many elderly ladies in our families   would also say so to  the  visitors to their house. I have heard  them humming poet Mahjoor's memorable song  , “ Az roz Saane-.....dilbar myyane  ” even after the visitor had departed .


Az   roz saane… dilbar myaane
Boz nundbane.. dilbar myaane

Bulbul sundh azaab
Loluk izteraab
Gul kya zaane
dilbar myaane

Khaana paraaviem
Khaaes bharnaaviem
Haawas tchaane

Dilbar myaane 
Az roz saane ...

( Mahjoor )


Stay tonight with us ,
My friend! My darling  !
Listen O prettiest  ! My darling !

The suffering of the Bulbul,
And the agony of the Love,
Ignorant is the flower about all this.

The table is laid,
And the cups are  filled,
In your longing , my love.

My friend ! My darling !...
Stay tonight with us

( 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:\\\.