The Crystal Award 2021


The Crystal Award 2021 for excellence in art hosted at Raj Bhavan was conferred by the Governor of Meghalaya Shri Satyapal Malik to Mr Wanhi-i Challam of Chilliang Raij, Jowai at Raj Bhavan today the 12 of August, 2021. The fourth edition of award instituted by Riti Academy was awarded to Wanhi-i Challam for his excellence in animation film. Speaking as chief guest during the occasion, Shri Satya Pal Malik, Governor of Meghalaya emphasised on the need for art education in the state for graduate, post graduate courses and advanced studies in visual arts. he lauded the efforts of Riti Academy and urged upon the State government to provide necessary support in this regard. Other guests who spoke on the occasion included Commissioner & Secretary, Arts And Culture Department, Federick R Kharkongor, and Chief Art Director, Riti Academy of Visual Arts, Mr Raphael Warjri. The Commissioner & Secretary, Arts And Culture Department, Federick R Kharkongor, also lauded the Chief Art Director of Riti Academy, Raphael Warjri for his continued efforts in not only promoting art but also identifying and nurturing upcoming artists in the field. He reminded those present that art is immortal and lives beyond generations and praised the novel cause of Riti Academy that had instituted the Crystal Awards to celebrate the works of various upcoming artists across the State. The chief art director of Riti Academy, Raphael Warjri in his address expressed his gratitude to the Governor of Meghalaya for having hosted the award ceremony at the raj bhavan, Shillong. Raphael Warjri further expressed his desire for an art college to be set up in the state as potential expertise and other prospects are available except for certain resources that would require the support from the State Government and other private initiatives and stakeholders

Phan Nonglait (the First Khasi Lady Freedom Fighter)

Ka Phan Nonglait is among the few local ethnic conceptual painting based on historical narrative about the first among female freedom fighters from the region. Ka Phan Nonglait was an astute female warrior who fought alongside Tirot Sing Syiem.
Shanborlang Kharbudon ‘Sdenzil’ is a self-taught and accomplished artist of Shillong with creative nuances for design. He had designed several album cover and corporate merchandise for a wide range of purpose with clientele extending even to western countries. Some of his artworks depicted ethnic concept with contemporary applied skill, while others are trendy and universal yet original to his innovative style.

Pashupatinath Temple (A painting by Shri Bikram Bir Thapa)

Cradled among the lofty peaks of the Himalayas, the ancient Pashupatinath Temple stands with all its grandeur and glory in Kathmandu, Nepal. Although a silent witness to trumpets of dynasties and nuances of common people, you may hear its bricks whisper some untold stories if you care to. Shri Bikrambir Thapa pulled out one such thread from the time warp of the colonial era.
Amidst the distracting details of the temple, we see a white woman walking near the temple gates. However, the gates of the grand temple remain barred to her.

The painter believes that if the priests could come over the orthodoxy and threw open the doors instead, she, and the likes of her, would not have been alienated. And instead of influencing us with their culture, the West could have bathed in the spirituality of the East.

Angels Unawares (III) Swami Vivekananda

One drunk with wine of wealth and power
And health to enjoy them both, whirled on
His maddening course, till the earth, he thought,
Was made for him, his pleasure-garden, and man,
The crawling worm, was made to find him sport,
Till the thousand lights of joy, with pleasure fed,
That flickered day and night before his eyes,
With constant change of colours, began to blur
His sight, and cloy his senses; till selfish One born with healthy frame — but not of will
That can resist emotions deep and strong,
Nor impulse throw, surcharged with potent strength —
And just the sort that pass as good and kind,
Beheld that he was safe, whilst others long
And vain did struggle ‘gainst the surging waves.
Till, morbid grown, his mind could see, like flies
That seek the putrid part, but what was bad.
Then Fortune smiled on him, and his foot slipped.
That ope’d his eyes for e’er, and made him find
That stones and trees ne’er break the law,
But stones and trees remain ; that man alone
Is blest with power to fight and conquer Fate,
Transcending bounds and laws.
From him his passive nature fell, and life appeared
As broad and new, and broader, newer grew,
Till light ahead began to break, and glimpse of That
Where Peace Eternal dwells—yet one can only reach
By wading through the sea of struggles—courage-giving, came.
Then looking back on all that made him kin
To stocks and stones, and on to what the world
Had shunned him for, his fall, he blessed the fall,
And with a joyful heart, declared it —
“Blessed Sin!”

U Riew Bneng Ha Ka Jingkyndit (III)
-La pynkylla khasi da I Bah P S Lyngdoh

La kha ïa u briew ha ka dur ba lymphuin – hynrei ym ha ka mon
Ba lah ban ialeh pyrshah ïa ki jingsngew ba tasam,
Lymne pynkhih jingmut da ka dor barem lem bad ka jingkhlain bor
Bad tang kum kaba dei ban iaid kat kumba dei ban long.
Ha khmih u lah lait, katba kiwei ki kwah
Bad ka jingialeh ba lehnohei pyrshah ïa jingatphyllunng ki lat lat.
Haduh ba lah kiew ka jingpang, ba lah ban iohi ha ka jingpyrkhat jong u, kum ki skain.
Kiba wad ïa ka bynta ba pyut, pat de te kaei kaba sniew.
Te ka Kupar ka la rkhie ïa u, bad ka kjat jong u ka la btuit,
Ba la pynpeit ïa ki khmat jong u junom, bad la pynlong ïa u ban lap
Ba ki maw bad ki dieng kim ju pynkhein ain
Hynrei ki maw bad ki dieng ki neh tang u briew marwei
Ba la kyrkhu lem bad ka bor ban ialeh bad synshar la ka kupar
Ki kyndon bad ki ain ba ha khlieh tam.
Na u ki jingpynlong ka mariang ki wan jia long, bad ka jingim ka la mih-paw
Kaba khraw bad khie lung, bad ka la san kham khraw kham khie lung shuh shuh
Tad haduh jingshai ka khmat ka la sdang saphriang, bad ka jingiohi byrngut-byrnget ïa Uta
Hangno ba Jingsuk ka Shongneh junom – ba u briew u lah tang ban shu poi
Daba iaid kan-kan lyngba ka duriaw ka jingialeh – la wan ka jingpynshlur.
Te daba phai dien ïa baroh la pynkam jingiadei ïa u
Ban pynshitom bein, bad kumta ter ter ïa kaei ba ka pyrthei
Ba lah isih tasam ïa u, ha ka jinghap shop jong u, u la kyrkhu ïa ka jingwan jia long
Bad da ka mynsiem kaba kmen, la pynbna ïa ka
“Ko pap ba la pynkyntang.”

Bizarre & Beautiful

“Beauty lies in the eyes of the beholder” – Plato.

Perhaps nothing has been more enigmatic in history than beauty. It has created and destroyed empires. Its charm allured scientists to explore new vistas. Art has crowned it as the goal to strive for and philosophy cringes if it loses this. Yet, we hardly know why a particular array of lines, shapes, colours or abstract ideas is more appealing to us than others. Why an ugly face suddenly becomes divine to us? For of most human history, these questions have been answered with logic and speculation, but in the last few decades, science steadily advanced to provide us with a better understanding; even a new branch called neuroaesthetics has emerged. It has paved the way to appreciate the underpinnings of beauty.
Most people never stop to think about why they find something beautiful. Because it is something, they just know. Maybe we find beauty in the same places, but do we process beauty in the same way even if we disagree? These things are pretty intuitive. But scientists have been working to see if there’s a universal way that humans minds analyse beauty. Beauty may be in the eye of the beholder, but researchers have discovered that our brains all behave similarly when beholding. They found a pattern in certain parts of the brain that become more active when perceiving something beautiful. Having said this, we must admit that perceiving beauty is an intricate affair. Scientists may claim to have deciphered the mystery, but it hardly can explain the whole of it. While studying the response and the stimulus, we completely miss out on our mind, which tinges on an everyday experience. Sometimes a grotesque figure excites us; again, sometimes, we find an otherwise beautiful face insipid. This is quite bizarre. We know, there is more to the subject than breaking emotions into neurochemical signals or simply studying encephalograms.
What is the attraction? Why does an ugly face look charming, an old shabby street alluring, or the smell of grandpa’s books – torn and shattered, other-worldly? We who appreciate the beauty in some apparently outlandish things take, as it were, the idea of beauty, which is in our minds, and project it on those; and what we see and worship is not those objects but our ideals. These objects are only suggestions, and on that, we throw our ideals and cover it, and it becomes deified.
As Swami Vivekananda, points out, “All that we see, we project out of our own minds. A grain of sand gets washed into the shell of an oyster and irritates it. The irritation produces a secretion in the oyster, which covers the grain of sand and the beautiful pearl is the result…. The wicked see this world as a perfect hell, and the good as a perfect heaven. Lovers see this world as full of love, and haters as full of hatred; fighters see nothing but strife, and the peaceful nothing but peace.”
Appreciation of beauty is a journey. We grow with our experiences and finally reach the source from where all beauty springs.

Ka Jingkren U Swami Vivekananda ha Chicago:

Ka Jingkren Shaphang Ka Niam Hindu
19 Tarik, Nailur 1893
Don lai tylli mynta ki niam ha ka pyrthei kiba la hiar pateng naduh mynkulong kumah, ka niam Hindu, ka niam Zorastrian bad ka niam ki Jew. Baroh ki la shah ïa ki jinglynsher ka por bad da ka jingiaineh jong ki, ki la pynpaw ïa ka tynrai baskhem jong ki. Katba ka niam ki Jew kam lah ban ieng ïa ka niam Kristan bad ka la shah pynmih noh na ka jaka tynrai jong ka da ka khun jong ka, khyndiat ki Parsis ki dang sah ban sakhi ha ka pyrthei ïa ka niam bakhraw jong ki, ki tnat kiba bun ruh ki la mih ha India bad ki la pynkhynniuh ïa ka niam jong ka Vedas naduh tynrai; hynrei kum ki jingat phyllung ka rud duriaw hadien u Jumaibah, ki ran noh tang shiphang bad ka wan biang ka Jingshlei bah kaba tyllep lut ïa baroh bad kham khlain da ki phew hajar shah. Hadien kane ka jingtyliep ba ka la jem jai; ki mat rit baroh ki-la shah klun lut bad ki la kylla long langi kawei ka met bah, kata ka long ka jingngeit batynrai.
Na ki jinghikai bakhraw ki Vedas na kiba ka jingstad saian mynta ki mih haduh ki rukom mane blei thaw bad ki jingiathuhkhana puriskam, ki jing bymngeit ïa ki ba sha lyndet jong ka niam Buddhist, bad ki jingbymngeit ki Jain, baroh ki don ka jingiadei bad ka niam Hindu.
Ka jingkylli ka mih, hangno ka tynrai kaba kine ki tnat baroh ki ïa kynduh? Hangno ka thymmei ha kaba kine ki jingiapher baroh ki ïa mih lang kawei? Kane ka long ka jingkylli kaba ngan pyrshang ban jubab.
Ki Hindu ki la ioh ïa ka niam jong ki lyngba ki jingpynpaw na ki Vedas. Ki ngeit ba Vedas, ki long khlem jingsdang ne khlem jingkut. Phi lah ban snewlyngoh kumno ba ki kot ki long khlem jingsdang ne jingkut. Hynrei ki Vedas kim long satia tang ki kot. Ki mut ïa kita kiba ki ain ba kynja mynsiem ba la lum lang da ki riewstad lyngba ki por. Kumba ka ain ka jingring ka Pyrthei (gravity) ka don naduh shuwa ka jingshem ïa ka bad kan iai don wat la u briew un klet ïa ka. Kumta ruh kan long ki ain ba synshar ïa ki mynsyiem. Ki jingiadei ba kynja mynsiem na ki jingsneng, ki jing ong, hikai, ne- ki jingiadei mynsiem para mynsiem ne ki jingiadei ba marwei ka mynsiem bad ruh ka thymmei mynsiem. Kine baroh la don naduh shuwa ban shem ïa ki bad kin iai sah wat la ngi klet ïa ki.
Ki nongshem ïa kine ki aiñ la khot ïa ki, ki Rishis bad ngi burom, ïa ki kum ki briew ba janai. Nga sngew sarong ban iathuh-ia phi ba bun na kiba khraw tam na ki, ki dei ki- kynthei. Lah ban ong ba kine ki aiñ:kumba ki aiñ ki long khlem jingkut, ki la dei ban don ka jingsdang, Ki Vedas ki hikai ba ka jingpynlong ka long khlem jingsdang ne jingkut. Ka saian ka la pynshisha ba ka bor na jrong ka kat juh khlem-tam ne duna por ka, por ha-kaba ym shym don ei-ei; hangno kane ka bor, baroh ka don? Katto katne ki ong ka la don ha ka dur ka bym lah ban-iohi ha u Blei. Ha kata ka rukom ba u Blei u long teng teng uba paw bad teng teng u bym paw, ka ba lah ban pynkylla dur ïa u. Kiekei kiba iai kylla bad bun rukom long kiba jot Kumta-U-ruh u lah ban iam, kata ka bym lah, ban long. Namarkata ym shym don kata ka i ym shym la pynlong.
Ngan pyrshang ban pyndonkam da ka jingia nujor, ka jingpynlong bad u Nongthaw ki long ar tylli ki laiñ ba ïa iaid marsyndah. U Blei u long u Nongpynlong uba da ka bor jong ki jait-pa ki jait la pynlong na ki jing kynrum ki iaid beit shipor bad hadien ki duh noh. Kane ka long kaba u Bramon man ka sngi u iai kynud Sngewtynnad bad u rwai u Blei u la pynlong kum “kita kiba mynshuwa.” Kane ka iadei bha bad jingstad saian ba mynta.
Lada nga ieng hangne bad khapbrip la ki khmat bad pyrshang ban pyrkhat ïa ka jingim jong nga, “Nga”, i nga Kaei ka jingmut nga? Ka jingmut jong ka met. Nga haba kumta ngam long ei-ei? Tang ki jingpyndait paiñ ïa ki tiar ba Ki Vedas ki ong “Em” Nga long ka mynsiem ba im ha ka met. Ngam dei ka met. Ka met kan iap, hynrei ngan nym iap. Nga don hangne hapoh ka met, ka, kan iap, hynrei ngan iai im. Nga don ruh ka mynno ïa ka mynsiem ym shym la pynlong, kaba mut ka jingia pyndait lang kaba hadien pat yn sa pynpra. Lada ïa ka mynsiem ïa thaw, ka dei ban iap. Katto katne la kha donbok ïa ki. Ki koit ki khiah ryngkat ka met bad ka jabieng baproh bad baroh ki jingdonkam ka pynbiang. Kiwei pat la kha jynjar ïa ki khlem kti ne kjat, ki wei pat kiba bieit bad ba im ka jingim jynjar. Balei te ïa ki baroh la pynlong lang da U Blei ba hok bad ba isynei, balei U la pynlong ïa uwei u basuk bad ia-uwei pat uba jynjar. Balei ba u leh shiliang kumta kan nym lah ban long ba kito kiba im jynjar mynta kin im suk, pat hadien. Balei u briew un im jynjar hangne hapoh ka jingsynshar u Blei Uba hok bad ba isynei.
Ha ka wei pat ka liang ka jingpyrkhat shaphang U Blei, Nongbuh Nongthaw kam lah satia ban batai ïa kane ka jingiapher; hynrei ka pyni ïa ka nusib jot jong u. Dei ban don ki daw shuwa ka jingkha kiba pynlong ïa u briew uba jynjar ne uba suk bad kito i ki jingong, ki jingleh jong u ha ka mynnor.
Baroh ki bor pyrkhat bad ka met ki long hiar pateng. Don ar tylli ki lain jingim kiba iaid ryngkat ryhgkat, kawei ka jong ka mynsiem bad kawei ka jong ka doh. Lada ka doh bad ki jingkylla jong ka kibatai lut ïa kaba ngi don, ym donkam ban artatien ïa jingdon ka mynsiem. Hynrei ym lah ban pynshisha ba ki jingpyrkhat ki mih na ka doh: bad ta ka daw jingstad pyrkhat ka long tang ma ka marwei, kumjuh ruh kalong kaba shisha ba ka jingstad ba kynja mynsiem kan long tang ma ka marwei bad kumjuh ruh ka jinglong ba tang marwei ka doh; hynrei ym kawei na kine ka long kaba shisha.
Ngim lah ban len ba ka met ka don katne ki jinglong na ka jinghiar pateng, hynrei kine ki jinglong ki long tang ki dur kiba nabar kiba dei tang ka jingmut jingpyrkhat ba khyllah kiba trei lyngbba ki rukom ba khyllah. Don ruh kiwei ki jinglong kiba pher jong ka mynsiem pynlong da ki kam baladep mynshuwa. ka mynsiem bad ka jingthmu da ki ain na jingiasnoh lang kin kha long ha ka met kaba long ka atiar babha tam na ka bynta kata ka jingthmu. Kane ka long kaba iadei bad ka saian, namar ka batai ïa kiei-kiei baroh da ka jingmlien, bad ki jingmlien ki mih na ki jingiaileh bunsien. Kumta ki jingiaileh bunsien ki long kiba donkam ban batai ïa ki jingmlien jong ka mynsiem ba dang kha. Namar ba ym lah ban ioh ïa ki ha kane ka jingim ba mynta, kumta ki dei ban long kiba la don naduh ki por ba mynshuwa.
Ka don sa kawei pat ka jingai jingmut ynda la ñiew ba kine ki long kiba dei, kumno ka lah ban long ba ngam kynmaw ei-ei ïa ka jingim ba mynshwa. La da kaba jem eh ban batai ïa kane. Mynta nga kren phareng. Kam dei satia ka ktien tynrai jong nga; ha ka jingshisha ym shym don satia iwei ruh i ktien ha ka jingpyrkhat jong nga; hynrei nga tang shu pyrkhat kumta kumta hi ki wan rung baroh baroh. Kata ka pyni ba ka jingpyrkhat ka long tang na sla jong ki bor pyrkhat baroh bad hapoh jong ka la tei thup lut ïa ki jingtbit jong ngi baroh. Pyrshang bad iai ialeh tyngeh kumta phin lah ruh ban pyrkhat ïa ka jingim ba mynshuwa jong phi.
Kane ka long ka sakhi ba tikna. Ka jingpynshisha ka long ka sakhi ba janai tam ïa kane ka jingantad bad kane ka long ka jingtynjuh kaba khraw ïa ka pyrthei ba la buh da ki Rishis. Ngi la shem ïa ka jingbuhrieh ba jylliew kiba lah ban pynkhih ïa ki duriaw bah jong ki jingkynmaw, pyrshang bad phah kynmaw ka jingim ba mynshuwa jong phi.
Kumta u Hindu u ngeit ba u long u mynsiem ïa u ba ka waitlam hi ka lah ban dung ne ka ding kam lah ban thang ne ka um kam lah ban bam ne ka lyer kam lah ban pyntyrkhong. U Hindu u ngeit ba ka jingim ka long ka jylli kaba ki pud jong ka ki long ki bymjukut bad ba ka jaka pdeng ka long ka met bad ba ka jingiap ka mut ka jingpynkynriah ïa ka jaka pdeng na wei shawei pat. Ïa ka mynsiem ym shym la teh da ki saikhum ka doh. Na ka thymmei hi ka long kaba laitluid, khlem saiteh, kaba khuid kaba sngur bad bajanai. Hangno-re-hangno ka shah teh ha ka jinglong doh bad ka sah ha kata ka jingshah teh.
Balei te ba kaei-kaei kaba laitluid, kaba janai bad ba sngur ba ka shah khum ha ka jinglong doh? Kumno ka mynsiem ba janai ka shah pynthame ban ngeit ba ka long ka bym janai, La iathuh ba ki Hindu ki kiar ïa kane ka jingkylli. Katto katne ki riewpyrkhat ki kwah ban buh iwei bad ar ki briew bym janai bad ban pyndonkam ki kyrteng bakhraw-bakhraw ban pyndap ïa ka jaka ba thylli. Hynrei kaba jer kyrteng kam batai ei-ei satia. Ka jingkylli ka sah hi kumjuh. Kumno u ba janai un long u bym janai. Kumno bakhuid ba tang ma u hi un kylla wat tang iwei ruh phngit na ka jinglong jong u? Hynrei u Hindu u long bakhuid basuba. Um kwah ban rieh ialade hapoh ki jingpynshongnia ba bakla, u long uba shlur ban jubab shai kdar ïa kane bad ka jubab ka long “Nga hi ngam tip. Ngam tip kumno u briew bajanai, ka mynsiem ka prykhat ialade ka bym janai, ka pyniadei bad pyniasoh ialade bad kaba long tang ka doh”. Hynrei ka jingshisha kan long hi ka jingshisha. Ka long kaba shisha ba iwei pa iwei i pyrkhat ialade kum ka met ba kynja doh. U Hindu hi um shym pyrshang ban batai balei ba u ñiew ialade kum ka met ba kynja doh. Ka jubab ba kane ka long ka mon U Blei kam long kaba shai. Kane kam shym pher hi na kaba u ong, “Nga hi ngam tip” Ka mynsiem briew ka long kaba junom bad bym ju iap, kaba janai bad ka bymjukut, bad ka jingiap ka long tang ka jingkylla jaka sah ka mynsiem na kawei sha kawei pat. Ïa ka mynta la pynkhreh lypa da ka kam ka mynnor, ïa ka lashai da ka mynta. Ki mynsiem kan iaid shaphrang ne kylla dien trai na kawei ka jingkha sha kawei pat. Hangne ka mih sa kawei pat ka jingkylli: la u briew u long tang kum i lieng rit hapdeng ka eriong-erngit uba shah kynting sha jrong ha ki jingatphyllung bad ban shah lynsher pat ha kajuh ka por, uba shah padoi shane shatai ha ka mon ki kam babha ne basniew uba khlem bor khlem sor; uba shah pynjot pynpra ha ki dew jong ka jingpynlong, i khñiang barit ba shah kyrshoiñ ha ka shalyntem ka jingpynlong ka bym ju sngap ïa ki jingiam bad jingjaw ummat jong kiba ha ieng ha sem? Ka mynsiem ka sngewdiaw na ka bynta kane hynrei kane ka long ka aiñ ka Mariang. Haba kumta ym don jjngkyrmen? Ym don jinglait im dei ka jingiam lynter khtang kaba mih dohnud jong ka jingduh jingkyrmen. Ka poi shaduh ka khet jong ka jingisynei bad ki ktien pyntngen bad jingkyrmen ki hiar bad ai mynsiem ïa ki riewkhuid ki Vedas bad u ieng ha khmat ka pyrthei bad kaba jem u pynbna ïa ka khubor babha. To sngew phi khun kiba la ioh ïa ka jingkmen ka bymjukut bad ma phi kiba shong ha ki syrtap ba hajrong eh. Nga la shem ïa Uba sha lyndet ka jingdum ba ka jingngeit bieit baroh: da kaba Phi ithuh ïa U phin lait im na ka jingiap. Ki khun kiba la ioh ïa ka jingkmen ka bymjukut katno ka long ka kyrteng kaba thiang bad ba dap da ka jingkyrmen I Shah ba ngan khot iaphi ko lok ka kyrteng ka sngewthiang. Ki nongioh pateng kajingkyrkhu ka bymjukut iaphi ki Hindu kim khot ki nongpop, phi dei ki khun U Blei ki nongioh bynta ïa ka jingkyrkhu ka bymjuiap. U jingthaw bakhuid bad phi ka jinglong Blei ha ka pyrthei kum ki nongpop! Ka long pop ban khot ïa u briew kumta; ka long ka jingpynbudnam ïa ka jaidbynriew.
Mih phi ko Sing; kynther noh ïa ka jingngeit bieit bad phi dei ki langbrot; phi dei ka mynsiem bymjuiap, ka mynsiem ba laitluid, kaba la kyrkhu bad kaba junom; phim dei ka doh, phim dei ka met. Ka doh ka long ka shakri jong phi; ym dei pat maphi u shakri jong ka doh.
Dei namar kata ba ki Vedas ki pynbna ba ym dei ki jingiakhleh ba shyrkhei jong ki aiñ bym lah map, dei ka phatok ba khlem kut jong ki daw ka jingpynlong; hynrei khlieh jong kine ki aiñ baroh, hapoh bad lyngba iwei pa iwei i phngit jong ka met bad ka bor don tang u wei uba don ka hukum jong u, ka lyer ka beh, ka ding ka meh u slap u hap: bad ka jingiap ka thap ha man la ki jaka jaka.

Ki Kyntien Ka Kmie Bakhuid: Sayings of Holy Mother Sarada Devi

Büd hato ka syrngiew jong u kam long ka dur? Kum haba phi leit duwai, u pynpaw ïa lade lyngba ka dur.
Naduh ki por hyndai hynthai baroh, ki briew ki ju ioh jinglaitluid da kaba mane blei. Kim khein kumta? U Sri Ramakrishna um ju sngewbha ïa ka jingiapher para briew. Ki Brahmon lane ki Lyngdoh ki don kylleng sawdong. Hynrei phi dei ban kynmaw ba ïa ki riewkhuid la kha khnang ba kin long ka lynti ïa ki para briew bad uwei pa uwei na ki un kren ha ki sur kiba pher. Don bun ki rukom ba ngi lah ban sngewthuh ïa ka jingshisha bad kine baroh ki long kiba dei suda. Ngi lah ban ai nuksa kum u dieng u ba don bun bha ki sim kiba lieh, kiba iong bad kiba saw kiba dem ha u bad kiba pynmih la ki sur ba pher ba pher. Hynrei wat la ngi iohsngew ïa ki sur ba pher pynban ngim ju ong ba kata ka sur ka long ka jong kata ka sim bad ban ieh noh ïa kawei pat hynrei bunsien ngi shait ong tang kawei bad kata ka long ba ngi ong ba ka dei ka jingpah ki sim.
Ka jingniew haba ngi khot ïa ka kyrteng u Blei ka long tang ban pynleit ïa ka jingmut jong ngi sha u. Ka jingmut barobor ka ju iaid kylleng kylleng. Kumta lyngba katei ka lad, ngi lah ban leit ha jan u Blei. Ha kaba iai ialap ïa ka kyrteng jong u Blei wat la ym shym la iohi ïa ka dur jong u, kane ka pynlong ïa u ba ïa ka sur jong u lah ban ioh sngew.
Ki nongbud ba shitrhem ki don bha ha kito ki por. Ki leit tang ban wad shaphang ka jingsngewthuh ïa u Blei. Ki la im ka jingim jakhlia ha ki por mynshuwa. La u bnai la tap da u lyoh suda. Hynrei une u lyoh un khuid hi suki suki; bad dei kumta ba ngi sa lah ban iohi ïa u bnai. Hato uta u lyoh u ju jah kyndit kyndit. Kumta ka long kumjuh ruh shaphang kiei kiei ba kynja mynsiem. Haba uno uno u la sngewthuh shaphang u Blei, u sa tip shaphang ïa Iade bad u ba kumno u long.
Ko khun jong nga, Phi tip ba u kynrad jong nga u ñiew kor ïa ki kynthei baroh kum ki kmie ba shisha. Mynta u la iehnoh ïa nga hangne ha ka pyrthei ban pynphriang bad pynsngewthuh ïa ka jingmut ka jinglong kmie ha ka pyrthei.
Nga long ka kmie ïa kiba sniew, kumjuh ruh kum ïa ki babha.
Lada u khun jong nga, u la ngam jyllop ha ka ktieh ne ka jakhlia, tharai ym dei ma nga hi ka ban Shim ïa u bad ban ñiiad ban pynkhuid da la ki ksang kti jong nga hi?
Khun jongnga lada Phi kwah ban suk wat ju peit khmat pat ïa ka pop kiwei. Hynrei peit ïa la ka jong. To tip ba Phi dei ban don ka jingiadei lok ha baroh ka pyrthei. Ym don uwei ruh u nongwei. Ka pyrthei ka dei ka jong nga jongphi.
Shibun kiba kyrpad Blei tang haba shem jynjar. Hynrei uta u ba la aiti mon sngewbha ha u kynrad naduh dang khynnah un ioh ki jingkyrkhu.
Lada ngi phet sha u Blei, ka nusib ne ka hok kam lah leh ei ei. Ka ei ïa kum kita ki briew.

Blei, ka nusib ne ka hok kam lah leh ei ei. Ka ei ïa kum kita ki briew.

(पुस्तक समीक्षा)

पुस्तक- मिथक और लोककथा गारो पहाड़ियों से

लेखन- श्रीमती सी. टी. संगमा

अनुवाद- डॉ अनीता पंडा

प्रकाशक- सन्मति पब्लीशर्स ऐंड डिट्रीब्यूटर्स, हापुड़ (उ.प्र.)

मेघालय में अवस्थित गारो पहाड़ियाँ और उनसे उपजे मिथक आज भी जुबान पर थिरकते हुए अनायास ही अपनी ओर खींचते हैं। इसको शिद्दत से अनुभूत किया अवकाश प्राप्त राज्य प्रशासनिक अधिकारी, मेघालय सरकार और ख्यातिलब्ध लेखिका श्रीमती सी.टी. संगमा ने। तत्पश्चात शिलॉंग (शिवलिंग) में तीन दशकों से शिक्षण/प्रशिक्षण, शोध और लेखन में अग्रणी रहीं डॉ अनीता पंडा ने श्री मती संगमा द्वारा लिखित “Myriad Colours Of North East – 1,2,3” को आधार बनाकर चिंतन के ताने-बाने से वितान बुना। डॉ अनीता पंडा जी ने राजभाषा हिंदी में न केवल अनुवाद किया बल्कि स्वाध्ययन, अवलोकन एवं जनश्रुतियों द्वारा प्रत्युत्पन्न निष्कर्ष से कथा-विन्यास विकसित किया।

इस पुस्तक में पौराणिक एवं मिथक, शौर्य कथाएँ, लोक कथाएँ, प्रेम कथाएँ तथा रहस्यमयी कथाओं सहित 5 अध्याय निहित हैं। लेखिका ने सदैव अनुवाद की मूल संचेतना को सुरक्षित एवं संरक्षित रखा है। प्रो. दिनेश कुमार चौबे ने अनुवाद के बारे में बहुत स्पष्ट मत रखते हुए कहा है कि अनुवाद का मतलब परकाया में प्रवेश है। दूसरे शब्दों में ‘एकात्म’ हो जाना अनुवाद का आवश्यक गुण एवं आवश्यकता है। अनुवादक लेखिका ने इसके प्रति सजगता का परिचय दिया है। यद्यपि भाषा के रूप में हिंदी व्यवहृत है तथापि स्थानीय जीवन, संस्कृति, गाथा एवं मिथक के साथ तादात्म्य में कमी नहीं आने दी गई, जो अनुभवी लेखिका की कुशल लेखनी की पुष्टि हेतु पर्याप्त है।

मिथक क्या है? जानना महत्वपूर्ण है और आवश्यक भी विशेषतः इस पुस्तक के संदर्भ में। मिथक परम्परागत या अनुश्रुत कथा है जो किसी अतिमानवीय तथाकथित प्राणी या घटना से सम्बंध रखती है। विशेषतः इसका सम्बंध देवताओं, विश्व की उत्पत्ति तथा विश्वासों से है। यह एक ऐसा विश्वास है जो बिना तर्क के स्वीकार किया जाता है। प्रसाद जी की कामायनी के मूल्यांकन से हिंदी साहित्य में मिथक पर विचार का प्रारम्भ माना जाता है। दूसरे शब्दों में लेखन को एक मिथकीय प्रक्रिया के रूप में स्वीकार किया गया है। जैसा कि डॉ नगेन्द्र ने कहा था कि ‘……नये कवि वर्तमान के अतीतत्व और अतीत के वर्तमानता में विश्वास करते हैं’, डॉ अनीता पंडा ने अनुवाद करते समय मिथक की इस विशेषता को पूर्णतः सिद्ध करते हुए संरक्षित किया है।

बंदर, मकड़ा, सियार, जुगनू, हाथी, लंगूर, सूअर, कुत्ता, मुर्गी और मेंढक आदि जीव-जंतुओं और कुछ लड़के/लड़कियों के चरित्रों के माध्यम से सुदक्ष लेखिका/अनुवादिका ने लोककथा को नवजीवन और नूतन कलेवर प्रदान किया है। बंदर की नकलची प्रकृति और फलस्वरूप असफलता की ओर भी बारम्बार इंगित किया गया है। लोककथा किसी मानव-समूह की उस साझी अभियक्ति को कहते हैं जो लोककथाओं, कहावतों, चुटकुलों आदि अनेक रूपों में अभिव्यक्त होता है। इस पुस्तक में पैनी नजर और बेबाकीपन से इसका अनुपालन किया गया है। डॉ अनीता जी ने गारो पहाड़ियों की मूल संज्ञा को हिंदी शब्दार्थ के साथ सजाया है जिससे पाठक बिना भटकाव के सटीक एवं वांछित छवि बना सके। बाल्पक्रम की खूबसूरती, चमत्कार, किंवदंती, मिथकाधारित लोककथा पर लेखनीचलाते हुए अनुवादिका ने देखी और सुनी बातों में फर्क के प्रति पूर्ण सजगता का परिचय दिया है।

यह पुस्तक लेखिका श्रीमती संगमा और अनुवादिका श्रीमती पंडा के सान्द्रित शोध का सकारात्मक परिणाम है। पाठकों के चक्षु – पटल पर गारों पहाड़ियाँ जीवंत हो उठती हैं। संस्कृति, सोच और दिनचर्या सजीव हो जाती हैं। पुस्तक का आकर्षक आवरण और सुरुचिकर विषयवस्तु पाठक-हृदय को संतृप्त करते हैं और अतिरिक्त गहन शोध हेतु प्रेरित भी।

पुस्तक- मिथक और लोककथा गारो पहाड़ियों से

लेखन- श्रीमती सी. टी. संगमा

अनुवाद- डॉ अनीता पंडा

प्रकाशक- सन्मति पब्लीशर्स ऐंड डिट्रीब्यूटर्स, हापुड़ (उ.प्र.)

प्रकाशन वर्ष- 2020


मूल्य- रुपये 135/-

Shad Nongkrem In Smit

Skhemlang Hynñiewta is a Postgraduate Diploma holder from Centre for Cultural and
Creative Studies, North Eastern Hill University, Shillong. He is an apprentice of Riti Academy
and the collection of his artworks are in few prestigious institutions including the Raj Bhavan,Shillong. He is also an avid sculptor and
illustrator with extensive experience in both creative and commercial design artworks. The painting on the right is in the possession of Raj Bhavan, Shillong


डॉ अन्नपूर्णा बाजपेयी, ‘अंजू’, कानपुर
साहित्यकार, ब्लॉगर, समाज सेविका, योगा ट्रेनर।

“रे! कलुआ, जरा इधर तो आ! “खटिया पर बैठे हुक्का गुड़गुड़ करते हुए कलुआ के बापू ने जोर से पुकारा।
कलुआ खेल में मग्न था सुना नहीं।
“जरा जोर से बुलाइयो, खेल रहा है छोरा न सुनैगो!”अपने सिर के पल्लू को सँवारती हुई माई उधर ही आ बैठी।
“इतनी देर से पुकार रहा हूँ सुनता ही न है पाजी कहीं का!” झुंझलाते हुए बापू बोला।
“बालक ने दिनभर खेलते रहना अच्छा न है गोलू के बापू! इसको जरा कस के रखियो!”और घी गुड़ रोटी पर चुपड़ कर दूसरे पुत्र गोलू को खिलाने लगी।
उसने प्रेम से पुकारा, “कल्लू जरा सुन तो!”
“हाँ माई!” कल्लू लपकता हुआ आ पहुंचा। और ललचाई नजरों से घी गुड़ लगी रोटी खाते हुए छोटे भाई का मुँह ताकने लगा।
“सुन मैं तुझे पाठशाला भेजना चाहवे हूँ तू जावेगा न, जैसे गोलू जावे है!” माई बोली।
“हाँ माई!”कहते हुए वह खुशी से उछल पड़ा फिर कुछ सोचता हुआ बोला, “माई तू मन्ने सच्ची में पढ़ने भेजेगी।” “हाँ रे! छोरा!” तू काहे पूछे है माई बोली।
“बगल वाली चाची कह रही थी कि इसको कौन पढावेगा ये तो सौतेला है! इसकी माई अपने बालक ने पढावेगी और अफसर बनावेगी!” भोलेपन से बोला कल्लू।
“इसीलिए तो तुझे जरूर पढ़ाना चाहूँ हूँ, तू तो मेरा कान्हा है सौतेला नहीं, जैसे कान्हा जी की दो-दो माई थी वैसे ही तेरी भी दो दो माई।” मुस्कुराते हुए माई ने उसके गाल पर एक प्यार भरी चपत लगाई।
“तो माई तूने घी गुड़ की रोटी मन्ने क्यों न दी!“ भोलेपन में बोल गया कल्लू और उसके माँ बाप एक दूसरे का मुँह ताकने लगे।