मंगलवार, 17 फ़रवरी 2009

The mystique of Music

D.C. Sharma*
(The learned author recently passed away at 74)

Shakespeare's appreciation of music as the food of love and his invocation to give excesses of it falls short of stirring the reader. Music merits a better deal than merely being fodder to love. Read portrayal of 'Savitri' as conceived by Aurbindo, says he :

O strong forerunner, I have heard thy cry.
One shall descend and break the iron law,
Change Nature's doom by the lone Spirit's power
A limitless Mind that can contain the world.
A sweet and violent heart of ardent calms
Moved by the passion of the Gods shall come
All mights and greatness shall join in her,
Beauty shall walk celestial on the earth,
Delight shall sleep in the cloud-net of her hair
and in her body as on his homing tree
Immortal Love shall beat his glorious wings
Music of griefless things shall weave her charm
The harps of the Perfect shall attune her voice,
The streams of Heaven shall murmur in her laugh,
Her lips shall be the honeycombs of God,
Her limbs his golden jars of ecstasy.

Music is a serious matter. It is the fulcrum balancing life and death. It is the germ of creation. It is the 'Naad-Brahma' of the Vedas. It is the blossoming event of human psyche. It is the sub-terrainian passage to 'Samaadhi'. Else how would the world have been ensured of it in divine madness?
The Greek concept of the music of spheres is not a fancy. It is an endorsement of the store set it by Indians.
Be it admitted that it is in India that due tribute has been awarded to Music. There are legends galore to substantiate it. More than legends, the legendary characters whom this supreme genre of Art blessed glorify the edifice like great frescoes. Our land is fertile in this respect. Swami Haridas, Pandit Tansen, Ustads- Allauddin Khan, Faiyyaz Khan, Bade Ghulam Ali, Pt. Omkar Nath Thakur, Amir Khan and Ali Akbar, beside many others were luminary stars who illuminated the firmament.
It is the note heard a like by the kings and the commoners, wafted over the high seas (Keats verifies) for one note, tuned to the proper 'Shruti', man cringes and fawns at the feet of Minerva.
Such was the note that transported Yahudi Menuhin when he heard Ustad Amir Khan to seventh heaven. That is what transpired when the author heard Darbari sung by
Amir Khan at Jodhpur in January 1960 (Described in an article 'Reliving An Aesthetic Experience'published in Kala-Prayojana- the multi-arts literary journal being edited by Hemant Shesh for the West Zone Cultural Center, Udaipur, India ).
Pandit Omkar Nath Thakur sang 'Mishra-Kafi' at the zoo of Lahore in early 40s and the lion in the cage swung his head so long as the maestro sang.
Not only Homo Sapiens but the whole kingdom of animals starves for music.
Satyanarayan, the violinist of A.I.R, Jaipur saw dozen serpents listening to the Sarod playing of 'Vageshri' by Ustad Alauddin Khan of Meyhar at 2 AM being disturbed by the sudden arrival of the maestro pupil, they slithered away.
Satish Sharma, Delhi guitarist in classical music was at Ramgarh, Nainital hills, when he was accompanied with subdued voice by a small black bird, perched upon a tree at dawn when the maestro was playing a morning raga. The shifting of octaves followed with precision by the dove.
A couple of centuries back, at Jaipur, a few horses were starved for three days to measure the impact of classical music. The nosebags were hung round the heads but the horses spared to move lips so long as the singer performed.
Pt. Tejpal Singh and Dr. Prerna Arora, biographers of Ustad Amir Khan mention how the lights dimmed when Ustad opened his note. Another time, Ustad Vilayat Khan was anguished on hearing Ustad Amir Khan. His observation was that such transcendental notes are only angelic and don't augur well for the longevity of maestro.

The author heard raga 'Jhinjhoti' sung by a Sindhi gentleman Brahmanand Goswami, a teacher residing at 'Heeda Kee Mori' in Jaipur's walled city: 'Bansuri Kaun Guman Bhari'. The notes made way to my bone marrow and I took a full week in regaining my usual frame of mind. This haunting quality is the ambrosia that music awards.
Albert Einstein with his visionary character could not have ignored music. His mastery over Piano/ violin indicates how logical Physics and musical Meta-Physics have one root.
Music liquefies our psyche and awards it the desired shape. One is prone to the address to the musician; " How be it that you imperceptibly extend thy empire? How be it that you can dissolve my psyche by one cadence. You glide over hills and dales, wafted over feathers, and I am not my true self any more!"
George Bernard Shaw says that it is on paper that man achieved perfection. However, one has to substitute ' musical-note' in place of paper. Melody, like a gas-filled balloon, rises up to transcend the horizon. In a nut-shell, we find the true, the good, and the beautiful. This is witnessed only in music i.e. classical music!

A Vast Tradition

Classical music prides over a truly elaborate tradition which, at times, seems to be ritualistic. Every note or 'swara" has three dozens of 'Shrutis'. There are notes that are forbidden in a raga. Then above all, there happen to be prescribed parts of the day, especially in North Indian classical music, when particular 'Raagas' are to be sung or performed. A prince from Madhya Pradesh forced a singer to sing 'Kalingadaa' a Raag of predawn hours one evening and the singer went mad.
'Aalaap', 'Vilambit' (a slow tempo) and 'Drut' (fast tempo) is an established order that human sensibility accepts. 'Taraanaa' is not a hoary tradition but it has proved its worth and serves as a crowning glory. The fast tempo repetition stirs the soul right up to the roots of the listener.
Aalaap dwells upon the substratum of all sounds- 'Aa'-The singer fondles the notes as Yashoda fondled child Krishna. However, the destiny of 'Aalaap' lies in 'Vilambit' and 'Drut'. 'Taraanaa' is said to originate with Tansen, the illustrious vocalist of Akbar the great. Taraanaa is certainly the acme of melody. The one who conceived it deserves accolade. It is the super-most device to thrill to audience.

Paintings of Raagas.

Synthesis is a highly respected term in English poetics and aesthetics. The subject of a sense is perceived through another sense. You may hear through eyes or see through ears. Raaga-Raagini painting tradition is a genre of its own kind. Not much is known as to the origin of the genre. Why is a melody to be visually perceived ? There are 'Raaga"s visual presentations from all parts of India. More so in the Himalayan mountainous tract. It can be a couple's dalliance or a plain landscape. Gods are also the subject of this mode of painting.
The genre calls for a serious examination at the hands of competent thinkers*.
If repetition is permissible, we may avert to the seriousness of classical music. We have to remind ourselves of this rare achievement. Evidently, there is a dilly-dallying with classical music, especially at the hands of A.I.R. They have started marketing the old records. The frequency of concerts is low. Hindustani music is becoming a back-bencher. We are negligent towards our musical heritage. Performance before distinguished audience is much less frequent. Let us avert to this treasure of ours without delay.


*Hemant Shesh's Note: A great deal of research has gone into this subject and it is still being perused vigorously. For further studies on this subject, suggested reading- "Raag Mala Painting" by Clause Ebb ling. A Garland of Melodies or Ragamala may seem a symbolic but too abstract a concept to be pictorially depicted, but one has to only witness the magic of Ragamala paintings to change one's mind.
The rich tradition of Indian Classical music is structured on the foundation of ragas. A raga is a melodic mode, which literally means ‘to color'. It is believed that these melodies are capable of producing a pleasant sensation, mood or an emotion in the listener. Some Hindustani (North Indian) ragas are prescribed a time of day or a season.
The 'Sangeeta Ratnakara', an important treatise of the 12th century A.D. for the first time mentions the presiding deity of each raga associating them with certain Gods and Goddesses. The 'Sadhakas' (practitioners) decided to capture and comprehend the divine qualities of the ragas and these paintings are the results of that very endeavor. There are six principal ragas - Bhairava, Deepak, Sri, Malkaunsa, Megha and Hindola and these are meant to be sung during the six seasons of the year; summer, monsoon, autumn, early winter, winter and spring. There are 'Raag-putras', 'Up-ragas', and various Raginis that have been classified by Hanumat, Matang and others and symbolically painted in different schools of Indian Art. Apart from seasons the ragas are also related to different parts of the day; dawn, morning, afternoon, evening, night and midnight. During the monsoon, for example, many of the Malhar group of ragas-associated with the monsoon-are performed. However these prescriptions are not strictly followed. There has also been a growing tendency over the last century for North Indian musicians to adopt South Indian Ragas. These do not come with any particular time attached to them. In Karnataka Classical Music there are no such compartments .The result of these various influences is that there is increasing flexibility as to when ragas may be performed These melodies were personified in vivid verbal imagery by Indian musicologists of the late mediaeval period, which provided the source of the Ragamala illustrations.Under the patronage of the aristocracy, artists explored in great depth the relationship that governs sound and sentiment and the Ragamala art form soon became a dynamic, vibrant movement, making music and dance the subject of art through colour and mood. The earliest Ragamala paintings are from the Deccan and were probably painted for Ibrahim Adil Shah 11 of Bijapur, who was an authority on painting and a fine artist and illuminator himself.
It is quite interesting to note that in the entire Kishangarh school of miniature paintings, not a single set of Raagmaala has been painted.

Would someone like to explain the reasons thereof?


जगह जैसी जगह
हेमंत शेष के एक दो और ब्लॉग हैं अगर चाहें तो उन्हें भी खोल लें क्या पता आप को अपने काम की एकाध चीज मिल ही जाए!

क्लिक करें

जगह जैसी जगह.ब्लागस्पाट.कॉम

कला-प्रयोजन .ब्लागस्पाट.कॉम

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सोमवार, 16 फ़रवरी 2009


जगह जैसी जगह हेमंत शेष के भारतीय ज्ञानपीठ से प्रकाशित कविता संग्रह पर सुमन राजे ने एक लम्बी टिप्पणी लिखी थी। आश्चर्यजनक ढंग से वह टिप्पणी प्रशंसा से भरी थी। ताज्जुब इसलिए हुआ : सुमन राजे तारीफ़ में कम ही लिखती थीं , वह कविता और कविता आलोचना दोनों में गति रखतीं थीं। गत दिनों उनका एक संक्षिप्त बीमारी के बाद निधन हो गया।

हम शोक संतप्त हैं : अपने दो और लेखकों के चले जाने पर भी ।

इधर सुदीप बनर्जी और लवलीन भी नहीं रहे। लवलीन का ध्यान आते ही उनका गुस्सा भी याद आ रहा है जो उनकी कवितायें कला प्रयोजन में न छाप पाने के बाद पत्र में उन्होंने मेरे ख़िलाफ़ निकाला था। वह पत्र पता नही कहाँ गया, और कहाँ चलीं गयीं लवलीन भी, पर उनका जाना एक कर्मठ और भावुक औरत का जाना भी है। हमने उनकी एक कहानी देखन विच की हरज है प्रकाशित की थी । हमारी संवेदना ...........

गुरुवार, 12 फ़रवरी 2009

वाराणसी में एक दोपहर

यह तस्वीर आपसे भी कुछ कहती है। क्या? हमें ज़रूर बताइयेगा.

यह फ़िल्म आवा इन्टरनेशनल के लिए अशोक आत्रेय ने बनाई है जिसकी वीडियो क्लिप आप इसी ब्लॉग पर देख पाएँगे

मंगलवार, 10 फ़रवरी 2009

हम चाहते हैं लेखकों के पते जिन्हें हम संपर्क करें और अगर लेखक रचना सहयोग करने के इच्छुक हों तो अपनी मेल सूची दुरुस्त करते हुए कुछों को कला प्रयोजन पत्रिका भी भेजें इसलिए कृपया अपना वर्तमान ठीक ठीक पता हमें बतलायें
अगर आपका पता ठीक ठीक ढंग से हमारे इस ब्लॉग पर दर्ज हो तो भी कृपया पुष्टि करें

काला ही सब रंगों की मां है

विद्यासागर उपाध्याय की कला पर केन्द्रित

विद्यासागर उपाध्याय ( जन्म: 1948 ग्राम परतापुर ज़िला बांसवाड़ा ) की गिनती देश के प्रमुख प्रतिभाशाली आधुनिक चित्रकारों में महज़ इसलिए नहीं की जाती कि उन की रचनाओं के अनेकानेक प्रदर्शन हो चुके हैं, इन की कृतियां ‘भारत त्रिनाले’ सहित देश विदेश की कई प्रतिष्ठित कला दीर्घाओं में जगह बना चुकी हैं और हर साल बनाती आ रही हैं, अपितु पिछले कुछ बरसों में वह अपने काम को और आगे ले जाते उसे परिवर्तित और परिवर्धित करते एक सजग समझदार कलाकर्मी के तौर पर प्रेक्षकों और समीक्षकों का ध्यान बराबर खींचते आ रहे हैं। अब छूट चुकी सरकारी नौकरी के बावजूद वह सचमुच एक ‘नियमित’ चित्रकार बने रहे हैं : जयपुर के राजस्थान स्कूल ऑफ आर्ट्स में केवल ग्राफिक कला का अध्यापक बन कर गुमनामी में न खो गए चित्रकार। स्वभाव से वह बहुत मेहनती हैं और उन की कृतियां भी उन के इसी गुण की ताईद सी करती हैं जिन में चित्रकार की माध्यमगत लगन साफ देखी जा सकती है।वे अनायास ‘बन’ गई नहीं ‘बनाई’ गई कृतियां हैं। पिछले कई बरसों से वह ज्यादातर एक्रेलिक में ही काम करते आ रहे हैं क्यों कि “यह तैलरंगों की बजाय ‘जल्दी सूखने वाला’ माध्यम तो है ही इस में विषयवस्तु के हित में ‘ओपेक’ या पारदर्शी प्रभाव पैदा करना भी अपेक्षाकृत आसान है।” उपाध्याय कहते हैं । प्रिन्ट बनाना और लगातार रेखांकन भी जैसे स्वभाव से इन के कलाकार के साथ जुडे़ हैं। चौथाई सदी से भी ज्यादा अरसे से अगर वह प्रकृति के अनगिनत रूपों में से कुछ को बराबर केन्द्रीय जगह दिए चले जा रहे हैं तो यह तथ्य इसी का तो सूचक है न कि प्रकृति के विविध रूपाकारों को ले कर इन के मन मानस का अनुराग गहरा है। “ इस जन्म में तो प्रकृति के शिकंजे से छूटना नामुमकिन है।” वह कुछ कुछ अतिशयोक्तिपूर्वक कहते भी हैं। इन के नये पुराने चित्रों में हम ज्यामिति और तंत्र के परिचित प्रतीक़ जहाज़ जैसी आकृतियां पहाडों के जिस्म़ उड़ते अमूर्त पक्षी आकाऱ तैरते हुए शिलाखंड़ मछलियां रेत़ फूल़ पानी के बिम्ब़ उन के प्रतिबिम्ब़ बादल़ चट्टानें और मानवाकृतियां और पानी की लहरों सब की मिली जुली सी याद कर सकते हैं। पर याद रहे : सिर्फ याद ही । इन में से एक भी चीज विद्यासागर उपाध्याय की कला में सीधे सपाट ढंग से नमूदार नहीं होती। इन के सिर्फ उतने संकेत ही हमें दिखते हैं जो चित्र संरचना के लिए अनिवार्य हैं : एक चित्र प्रेरणा या प्रस्थान बिन्दु की तरह। ज्यामिति और तंत्र के इन के प्रारंभिक चित्र दौर में हमने सन सत्तर के दशक में विद्यासागर उपाध्याय की पहले पहल पहचाऩ केवल पैंसिल ही में काम करने वाले एक सिद्धहस्त अधुनातन कलाकर्मी के रूप में की थी। कुछ कर दिखाने को आतुर एक विनम्र देशज सा चित्रकाऱ जिस की कला में तब शायद मेवाड़ के अंचल के भू दृश्य ही प्रमुख थे : पहाड़ .चट्टानें .अंधकाऱ. जंगल ..बेलें और पानी। वे एक किस्म की बहुत मुखर आदिम स्वाधीनता और स्वायत्तता के बल पर ग्रेफाइट में बनाए गए अनगिनत सैरै थे : स्याह सफेद ।अमूर्त और आनन्ददायी ।ज्यामिति के प्रचुर उपयोग के बावजूद उन का उन्मुक्त और खुला संसार आदिवासी अंचल बांसवाड़ा की अछूती ताज़गी और अरावली के ‘अक्षत कौमार्य’ की याद जगाता था। तब कहीं उन पर तंत्रकला का प्रभाव भी गहरा था। बाद में अपना गांव घर छोड़ कर जयपुर में बस गए विद्यासागर उपाध्याय की कला ने बार बार बहुत से रोचक मोड़ लिए हैं। “राजसमंद जिले के एक बेहद अनजाने छोटे से गांव में जहां मैं एक सरकारी स्कूल में ड्राइंग टीचर था़ न तो कैनवास ही मिलते थे़ न रंग। अभाव का जीवन था। महंगे साजोसामान के लिए पर्याप्त पैसे भी नहीं थे इसलिए कागज़ पर महज पैंसिल से काम करना मेरी मजबूरी थी।” विद्यासागर उपाध्याय पुराने कठिन दिन याद करते कहते हैं। “पर इसी 3 बी के ग्रेफाइट ने मुझे मेरी सच्ची पहचान दी। आज भी अगर कोई मुझ से मेरे सब से प्रिय माध्यम के बारे में पूछे तो निस्संकोच मैं पैंसिल का ही नाम लूंगा। फिर एक्रेलिक का और फिर तीसरे नम्बर पर लिथोग्राफ़ी का।” काले सफेद को ले कर विद्यासागर का अपना एक चिन्तन है। उन्होंने बरसों तक इसी पर हाथ आज़माया है। वह हिन्दुस्तान के ऐसे इने गिने चित्रकारों में अग्रगण्य हैं जिन्हें स्याह सफेद पर उतनी महारथ हासिल हो।भले ‘ब्लैक एंड व्हाइट’ में काम करना विद्यासागर जैसों की मजबूरी शायद कभी रही हो रचनात्मक तौर पर विद्यासागर का मानना है कि “रंग एक चुनौती हैं। दुनिया के सारे रंग सौन्दर्याभिव्यक्ति में सहायक हैं पर काला रंग तो जैसे सब रंगों की मां है। आम तौर पर काला परम्परागत रूप से भारत में जिन मनोभावों से सम्बद्ध किया जाता रहा है़ उस से भिन्न अपने चित्रों में मैंने काले रंग को वस्तु सौन्दर्य की पराकाष्ठा दर्शाने वाले रंग के तौर पर ही काम में लिया है। काला शान्त और जितना गम्भीर रंग है़ उस की चित्र में उपस्थिति उतनी ही महत्वपूर्ण भी। आपने भी तो नोट किया होगा सफेद या कि दूसरे दूसरे किन्हीं और रंगों से इस की संगति या सन्तुलन खुद अपने अस्तित्व की अर्थवत्ता प्रदर्शित करता है।” विद्यासागर का विचार है। पर यह देखना रोचक है कि बरसों स्याह सफेद में काम करने के बाद जब वह रंगों को काम लेने लगे तो एकाएक प्राय: सारे ही इन के यहां कुछ इस तरह दिखने लगे जैसे कोई थमा हुआ बांध सा टूटा हो। यहां तक कि सामान्यत: जिन रंगों का इस्तेमाल प्राय:कई चित्रकार लगभग नहीं करते या संकोचपूर्वक कभी कभार ही करते हैं : रजत़ गुलाबी़ हरे़ नींबुआ रंगों के कई कई मनमोहक शेड्स और इनकी रंगतें। मुझे याद है़ उन के बहुत से या कुछ प्रशंसकों को तब यह बदलाव बहुत प्रीतिकर नहीं लगा था। पर संयोग से बहुत जल्दी विद्यासागर उपाध्याय के नए कामों ने उन्हें अपनी राय संशोधित करने पर बाध्य कर दिया और काले सफेद ही की तरह उन की चित्र संचेतना में लगभग प्रयासहीन ढंग से रंग भी कुछ ऐसे घुल मिल गये जैसे वे चित्रकार की प्राथमिकता से परे कभी थे ही नहीं। “...........टाइप होना मुझे पसन्द नहीं है और अगर कोई है तो ‘एब्सट्रेक्ट एक्सप्रैशन ’ ही मेरा टाइप है :।मैं जो चीज़ गहराई से अनुभव करता हूं उसे पूरी तरह यथासंभव आखिरी हद तक अपनी रचनाओं में उतारना और अनुभव करना चाहता हूं।” उनका कहना है। आकस्मिक नहीं है कि इन की अनेक चित्र श्रंखलाओं में पुरानी कला श्रंखलाओं की स्मृतियां भी आप देख पा सकते हैं। यह निस्संदेह एक गुण है।खुद अपनी परम्परा में नया करते भी उस का अनुरक्षण :स्मृति में होना ही मनुष्यत्व में होना है। विद्यासागर के चित्रों में आए परिवर्तनों को या उनकी चित्रभाषा के बदलावों को इस आलोक में देखना उनकी रचनात्मक ‘अरूढ़त़ा’ का संभवत: सही मूल्यांकन हो। अगर उनकी चित्रभाषा स्वाभाविक तौर पर परिवर्तनगामी है़ तो उन के कैनवासों का आकार प्रकार और चित्र प्रस्तुति तौर तरीका भी यदा कदा प्रयोगशील। आयताकार वगार्कार छोटे और बडे़ कैनवासों को वह काम लेते हैं : पर कभी कभी गोल कभी त्रिकोणात्मक कैनवासों तक को भी। स्वाभाविक तौर पर वह चित्र प्रस्तुति में ज्यादा प्रयोगशील तब भी होते हैं जब अपने घर में यानि जयपुर में कोई प्रदर्शनी करते हैं। वर्ष 2005 में जयपुर के जवाहर कला केन्द्र की चित्रदीर्घा में प्रदर्शित उनके सारे कैनवास वृत्ताकार थे। “छोटे कैनवास आकार की अपनी सीमाएं हैं । अगर मुझे प्रकृति के विशाल और उद्दाम रूपों को बोल्ड ढंग से चित्रित करने करना है तो बडे़ आकार के कैनवास ही चाहिएं।” इन के दृश्यचित्र पूरी तरह अमूर्त होते हुए भी बेहद आकर्षक हैं : एक खास तरह की आधुनिकता के सौन्दर्य से मंडित। हालांकि कई दफा़ वे महज़ खूबसूरत ‘कंपोजीशन’ भर दिखते हैं।या कभी कभार व्यावसायिकता के दुनियादार तकाजों से घिरे चित्र। इन के यहां कैनवास की सफेद सतह को अवकाश के बतौर छोड़ने और बरतने का विवेक तो स्पष्ट ही है।कुछ एक बार वह लयात्मक या जैविकीय से दिखलाई पड़ने वाले रूपाकारों को एक खास तरह के ‘जमाव’ के द्वारा अभिव्यक्त करने की इच्छा में डूबे जान पड़ते हैं। नदी किनारे के गोलाकार पत्थरों आकाश के धब्बों और पठारों के सुदूर बिम्बों को बार बार पकड़ना चाहती इनकी कलाकृतियां हमें असल कथ्य से इतर भी पृष्ठभूमि के आलोक और धुंधलकों का लगातार परिचय देतीं हैं।जो चीजें मूलत: फलक पर आई हैं उन की भूमिका के बतौर विद्यासागर उन की पृष्ठभूमि के अंकन में भी ख्चिशील हैं और शायद असल में यही इन के अमूतढ दृश्यांकनों की चैत्रिक ‘सुन्दरता’ का रहस्य है। कभी अपनी रचना की अंदरूनी मांग पर और कभी प्रेक्षक की प्रफुल्लता के लिए विद्यासागर अपने चित्रों और रेखांकनों में ‘टैक्सचर’ उकेरने का काम करते हैं। तैलचित्रों में वह कैनवास के अपने‘ टैक्सचर’ का भी यथा जरूरत उपयोग कर लेते हैं पर अच्छी बात है कि चित्रों का आन्तरिक अनुशासन ये ‘ टैक्सचर’ कभी भी भंग नहीं करते।वे जहां भी आते हैं बहुत जरूरी अंशों की शकलों में शिष्टतापूर्वक । वे ‘ टैक्सचर’ इतने वाचाल नहीं कि मूल कथ्य से ध्यान हटा कर वे हमें अपने ‘होने’ में ही भटका दें। “अगर चित्र एक सम्पूर्ण ‘डिजा़इन’ भी है तो सतह के वैविध्य के हित में पेन्टिंग का हर हिस्सा महत्वपूर्ण है।उस के सौन्दर्य का विस्तार करने की दृष्टि से टैक्सचर का अपना महत्व है। सरफेस और मैटीरियल दोनेां की अपनी सीमाएं है़ं परन्तु टैक्सचर दोनों ही सीमाओं का अतिक्रमण कर सकते हैं। “एक्सप्लोरेशन’ खुद कलाकार पर निर्भर है।“ विद्यासागर का मानना है। यह देखना आश्वस्तिदायक है कि कला की राजनीति में भी गहरी सजगता रखने या चित्रकार के रूप में उन तक आई सफलता ने खुद विद्यासागर को एक दोस्त या मनुष्य के तौर पर या उन की कला को अब तक भी नष्ट नहीं किया है और वह अपनी प्रतिभा और कौशल का नियमित उपयोग करते हुए इधर कुछ ज्यादा चचिर्त अपने चित्रकार बेटे चिन्तन उपाध्याय की तरह हमारे समय के नए कला परिदृश्य को सम्पन्नतर करने में गम्भीरता से जुटे हुए हैं।
हेमन्त शेष

सोमवार, 9 फ़रवरी 2009

हे लेखक ध्यान दीजिये और अपने पते ठीक करवाइए

कुछ हिन्दी लेखक :

ये सूची अनंतिम है और इसमें आप का नाम भी जुड़ सकता है अगर आप चाहें

Ajai Singh, 3 / 28, Patrakarpuram, Gomati Nagar, Lucknow-226 010( U P )
Ajanta Dev, 68 / 179, Pratap Nagar, Sanganer-303906 (Rajasthan)
Ajeya Kumar, Editor, ‘Udbhawna’, A-21, Jhilmil Industrial Area, G T Road, Shahdara, Delhi-95.
Ajit Kumar, 166, Vaishalee, Peetampura, Delhi-110 034
Alka Saravgi , 2 / 10, Sharad Bose Road, Gulmohar Garden Apartments, G-2, Kolkata-700 020
Alokdanva, Bhikna Pahadi, Patna (Bihar)
Alok Tondon Ashraf Tola, Hardoi (UP)
Amar Goswamy, F-12, Center-12, Noida-201301( U P ).
Amarkant, C-862, Guru Teg Bahadur Nagar, Kareli Scheme, Allahabad (UP)
Ambika Prasad Singh, R B I Officers’ Residence, 4 / 277, Tilak Nagar, Kanpur-208 002
Amreek Singh Deep, 120 / 432, Lajpat Nagar, Kanpur ( U P )
Amrit Lal Vegad, 1836, Right Town, Jabalpur-2 (MP)
Amrita Bharti, 9, Appajappa Agrahara, Chamrajpet, Bangalore-560018 (Karnataka)
Anamika, D-II-83, Kidwai Nagar (West), New Delhi-110 023
Anil Gangal, Central School No.2, Jhotwada, Jaipur (Rajasthan)
Anil Sinha, 3 / 30, Patrakaarpuram, Gomati Nagar, Lucknow (UP)
Anil Srivastava, Editor “ Kathya-Roop”, D-224, Tula Ram Bagh, Allahabad ( U P )
Aniruddha Umat, Majee Saa Ka Bagh, Opposite Government Press. Bikaner (Rajasthan).
Anita Verma, 204, Rameshwaram, South Office Pada, Ranchi-834 002 (Bihar)
Anoop Ashesh, Atul Medical Store, Hospital Road, Satna-485001( MP )
Anoop Sethi, B-1/31, Maker Kundan, Juhu Road, Santa Cruz (West) Mumbai-49
Anubhuti Chaturvedi, 3, Yashwant Place, Chanakyapuri, New Delhi-110021
Anwar Suhail, IV-3, Anand Vihar, Biluri, Shahdol-484 440 (MP)
Arun Kamal, 4, Maitree Shanti Bhawan, B. M. Das Road, Patna-15.
Arun Maheshwari, “Vani Prakashan”, 21-A, Dariyaganj, New Delhi-110 002
Arun Prakash, Pocket E / 153-B, Dilshad Garden, Delhi-95
Arun Shitansh, Sankat Mochan Nagar, Aara (Bihar)
Arun Tiwari, Editor,” Prerna”, C-160, Shahpura, Bhopal (M P)
Aruna Sitesh, Principal Residence, Indraprastha College, Shamnath Marg, Delhi-54
Arvind Tripathi, H-19 / S, Shakoorpur, Delhi-110 092
Asad Zaidee, C-1726, Palam-Vihar, Gudgaon ( Haryana )
Asgar Vajahat 79, Kala-Vihar, Mayur Vihar, Phase-1. Delhi-110 091
Ashok Aatreya, D-39, Dev Nagar, Tonk Road, Jaipur-302 017 (Rajasthan).
Ashok Kumar, India Today (Hindi) F-14 / 15, Cannaught Place, New Delhi-110 001
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मेरे बारे में

मेरी फ़ोटो

Born: 28th December 1952 at Jaipur Education: MA in Sociology from University of Rajasthan, Jaipur, India Career: Served as Collector, Pratapgarh Married to Punam M.A., One Daughter  NEHA, One Son NIMISH     Writings and Publications:   Hundreds of Poems, criticism, short stories, articles, editorials, Reviews, Comments and columns relating to art and literature  contributed to periodicals, journals, magazines and newspapers all over the country. Regular publication since 1970. Have Published more than 16 BOOKS. Works included in  more than 14 other books. Poetry translated  and published into many Indian and foreign Languages. Has received some awards and honors including the Silver Medal from  the President of India. Prescribed Poet in Higher Secondary in optional  Hindi paper of Rajasthan Board of Secondary Education. Organized seven One-man-shows of Drawings and paintings . Member and office-bearer of many international and national philanthropic cultural & literary bodies. Has also done direction of a few documentary films, Voice -over and script writing for TV, Radio and cultural centres. Has organized and  participated in many international and  national seminars and artists-camps / writers’ workshops. Biography included in many international publications and world-level Who’s Whos. Some Prizes, Honors and Felicitations. Major Books Published:   1.       Jaari Itihaas Ke Viruddha, 1974 ( Long-Poem) 2.       Beswaad Hawayen ,1981 (Poet’s  own Monograph)  3.       Kripal Singh Shekhawat,1981 ( An artist’s monograph) 4.       Ghar-Baahar, 1982 (Poetry-Collection) 5.       Neend men Mohenjodaro,1988 (Poetry-collection) 6.       Vrikshon Ke Swapna,1988 (Poetry Collection) 7.       Ashuddha Saarang,1991 (Short Poems) 8.       Kasht Ke Liye Kshamaa, 1995 (Poetry-Collection) 9.       Kripayaa anyathaa Na Len, 1999 ( Long Poem) 10.    Aap Ko yah Jaan Kar Prasanntaa Hogi, 2001 (Poetry-Collection) 11.    Jagah Jaisee Jagah,2007 (Poetry-collection) 12. "Bahut Kuchh Jaisa Kuchh Naheen, 2008     13.  "Prapanch Saar Subodhnee" (Poetry-collection) 2009 Published Edited Books: ( March  2001-2007) 14.    Saundarya Shastra Ke prashna (on Aesthetics) 15.    Kalaa-Vimarsh ( Discourses on arts and literature) 16.    Bhaartiytaa Kee Dhaarnaa ( On concept of Indianness) 15.    Bhaartiya Kalaa-Roop ( On Indian Art-forms) 16.    Bhaartiya Rangmanch (On Indian Theatre) 17.    Kalaon Kee Moolya-Drishti ( On values of Art) 18.    Jaltee hui Nadi 2006 (Poetry-collection)   Honorary Founder- Editor:   “Kala-prayojana” Quarterly multi Arts and literary magazine for the west Zone Cultural Centre, Ministry of Human Resource Development, Govt. of India, Udaipur, since 1995.