In every society, there are many who make
their name prominent with their enormous talent for the arts and earn enormous
respect for their contribution. Abinash Shrestha is such a personality with
enormous caliber in the literary world of Nepal. His power of literature has
made him known everywhere he has ventured into and brought a famous name in the
field of Nepali Literature. Actually, Shrestha began his literary journey in
early childhood. His works slowly reflected the blending of innovation and cultural
consciousness. Born on May 14, 1955, in Guwahati, Assam, India, to an immigrant
family to Yam Narayan Shrestha and Lakshmi Shrestha, his biography can be
traced as one of perseverance and creativity for which he pledged his life to
Nepali literature.
Early Life and Education
Abinash Shrestha grew up in Guwahati,
enveloped by the rich cultural ambiance of the place. Writing and literature
were the defining features of his childhood and teens. He did his early
schooling in Guwahati and pursued his Bachelor of Arts from a local university.
He fell in love with Nepali literature; thus, he went to Tribhuvan University
in Nepal, where he acquired a Master's degree in Nepali Literature.
Right from his childhood, Shrestha showed a
rare ability for storytelling and poetry. His first ever published poem,
"Baadi" in 1969, marked his formal entry into literature, opening the
door to a prolific career. His love for his cultural roots is expressed in all
of his creative works, with an equal strong commitment to writing as a means of
giving vent to the complexities of society.
Literary Career
Shrestha's literary career thus blossomed
in manifold ways: his talents spanning poetry, prose, drama, and screenplay
writing. This adaptability made him a multi-dimensional writer. For more than
two decades, he contributed to Nepali literature in manifold capacities-as a
playwright, novelist, poet, screenplay writer, and theater actor. His works,
quite often, revolved around social consciousness-upon the problems and
aspirations of Nepali society.
In the early days of his career, Shrestha
joined hands with other fellow writers in Guwahati to initiate the Collage
Movement, which aimed at encouraging budding young writers to adopt
experimental and artistic expressions in their writings. The Collage Movement
got its name from the art of Picasso, where fragmented pieces of different
genres are joined together into a whole, cohesive, and aesthetic narration.
This movement had far-reaching effects on the new voices and fresh perspectives
brought to Assamese Nepali literature.
Shrestha was among the prime movers of the
Guwahati-based Nepali Sahitya Parishad, a non-profit organization that aimed to
spread Nepali literature across Assam and beyond. Formed in 1974, Shrestha, the
founding secretary, played a very important role in organizing events, giving
warm welcomes to the coming literary figure to town, and building camaraderie
among the writers. He stood to his commitment to the council with much
dedication, serving first as a literary secretary and then as chairperson
during its early years.
Contribution to Nepali Literary Scene
Having shown much leadership in Nepali
literature even as a student, Shrestha was able to amply convey his role in
this field of endeavor. He took the lead in initiating the formation of the
Nepali Sahitya Parishad, along with a few more like-minded people, with the aim
of providing a platform for aspiring Nepali writers in Assam. In other words,
the organization became a hub for literary activities-workshops, discussions,
events-that forged an interactive relation among a vibrant community of
writers. His concept of the Parishad was preserving and promoting the richness
of Nepali literature in the multicultural context of Assam.
His contribution as an editor to various
literary publications in the Parishad, which included Haribhakta Katuwal
Memorial Books, Parishad Letters, and other prestigious literary magazines, was
very important. The Parishad became well-recognized not only in Assam but also
in India and Nepal under his administration. His efforts drew formal
recognition from Sahitya Akademi, New Delhi, for Nepali literature, thus
opening its door for further progress of the literature.
He was also a leader beyond literature. He
was an active participant in various student movements related to the
recognition of the Nepali language in Assam. During his involvement with the
Assamese Nepali Student Movement from 1979 to 1983, he showed the community and
his belief in language and culture as the foundation of identity.
Migration to Kathmandu and Continued Success
Although Shrestha contributed significantly
to Nepali literature while in Assam, circumstances led him to migrate to
Kathmandu, Nepal. He came to the capital for better opportunities in academia
and literary work. While entering Kathmandu, a new phase of life had just begun
in order to further establish his position as a literary icon.
Upon arrival in Kathmandu, Shrestha sought
various opportunities for literary and cultural pursuits. He actively continued
writing ever since and produced collections of poetry, novels, and plays
popular among the Nepali readers. His styles varied from Assamesi influences
combined with traditional Nepali themes.
His published works include:
"Parewa Seta Kala" (White and
Black Pigeons), 1941
"Samvedana O Samvedana"
(Sensations and Sensations), 2038-poetry collection
"Anubhuti Yatrama" (On a Journey
of Experiences), 2047, poetry collection
"Hernus Yas Saharalai" (Look at
This City), 2052, jointly published Nepali-German poetry
"Karodau Surya Haruka Andhakar"
(The Darkness of Millions of Suns), 2060, poetry collection
"Goodbye Ronita", 2042, short
novel
"Tanya, Indra Kamal, and
Darkness", 2063, short story collection
"Aadhunik Bhartiya Nepali Katha"
(Modern Indian Nepali Stories), 2064, edited collection
Except for these works, Shrestha wrote
several critical essays, research papers, and reviews on the contemporary
Nepali poetry and fictions. He is also credited for editing several key publications
that contributed to the advancement of Nepali literature both within and
outside of Nepal.
Contribution to Theater and Cinema
The genius of Abinash Shrestha was not
limited to writing alone but spilled over into theater and cinema as well,
where he contributed as a scriptwriter, screenplay writer, and dialogue writer
for various films and theatricals. The contributions he was able to make in
these genres reflected the flexibility he possessed as a writer and his ability
to reach larger audiences.
Some of the notable films for which
Shrestha wrote the scripts include:
"Bhauju"
"Lakshmi Pooja"
"Jwala"
"Poreli"
"Rako"
"Parai Ghar"
"Kashto Samjhauta"
"Pooja"
"Saathi"
"Nau Dada Pari"
"Timi Nai Baschau Mero Mannma"
He also worked on small screen productions
and TV series, such as "Chakrabhyuha", "Namaste Kathmandu",
"Kanchhi", and "Maily". His works in theatre and film
manifested his great understanding of narrative structure and his ability to
enthrall audiences with storytelling.
Legacy and Recognition
Shrestha was committed throughout his life
to the development and protection of Nepali literature. His service to
literature, combined with leadership in the cultural movements, has created a
deep impact on the literary scenario of both Nepal and the Assamese Nepali
community.
Even today, Shrestha is remembered as the
one who gave shape to modern Nepali literature. The name of Shrestha goes
synonymous with innovation, commitment, and excellence in the art of literature.
His work in theatre, film, and literature made sure that his legacy continued
to inspire and influence future generations of writers and artists.
Now he is regarded as an iconic figure
among Nepalese literature, and through his writings and mentorships, numerous
writers, poets, and students have been influenced. His commitment to literature
and the crossing over of different cultural influences he had through his
writing placed him in a position where he was considered a most paramount
literary personality in Nepalese history.
Conclusion
Abinash Shrestha's life stands as a
testimony to creativity and cultural consciousness. His contribution to Nepali
literature, both in India and Nepal, is remarkable. Right from founding the
literary movements to penning timeless works, his influence cuts across
generations of writers. A story that fundamentally stands as a request to the
arts for the preservation of language, culture, and heritage. Shrestha's legacy
continues to thrive to this date, with his works standing as pillars of Nepali
literature in the modern era.
सपनासानो मान्छेका निम्ति बाँच्नु जत्तिकै जगजगी छ सपना देख्नु । ऐँठन बेहोर्नु जत्तिकै अप्ठ्यारो छ प्रेम गर्नु । सून जत्तिकै महंगा्े छ अक्कासलाई आँखामा उतार्नु मनलाई नेटो पारी लैजानु । ए मेरा सपनाहरु ! ऐलेलाई मलाई क्षमा गर म तिमीहरुलाई पाल्न सक्दिनँ नींदका डीलहरुमा । बरु गएर बस कुनै खाइलाग्दाका आँखामा जसले तिमीहरुलाई स्याहार्न सक्छ । |
हातमा कालोफूल लिएर उभिएकी नायिकालाई।। एक ।। उन्मादको अर्को नाम नै तिमी थियौ नायिका । उपकूल–उपकूल, बगर–बगर नदीमय सम्भावना तिम्रा उन्मत्त आँखामा लोलाउँथे— रात, थाकेर बिसाएझैँ बोगनबेलियाको झ्याङमा । तिमी हुनु नै समुद्र हुनु थियो/तिमीभरि उर्लन्थे मेरो पौरुषका अदम्य लहरहरू/ज्वारभाटाहरू । नीलो आवेगको पानीमा उत्रने गर्थे/तृप्तिका फेनिल अनित्य कुसुमहरू । तिमी हुनु नै उपत्यका हुनु थियो/भन्ज्याङमा लाग्ने न्यानो पहारिलो घाम हुनु थियो/वा आकाश हुनु थियो अनन्त र गतिमय अन्तरिक्षको रहस्य ओगटिराख्ने। तिम्रो कौमार्यले गाएका स्वप्निल गीतहरूलाई/तिम्रै मासुको मनमुग्ध सङ्गीतमा सजाएर— मेरा कान र आँखाले सँगसँगै सुन्ने गर्थे/तिम्रो अधीर यौवनको साँघुरो अँध्यारो ओढारमा बसेर । तिमीलाई छुनु/दिव्य हुनु थियो। तिम्रा अगम्य, अनुद्घाटित अवयव र इन्द्रियहरूको/पहिलो आविष्कारक म नै थिएँ। मेरो शरीरको थाँक्रोमा सपक्क बेरिँदै गएर नै/तिम्रो देहलहरामा फुल्न थालेका थिए असङ्ख्य फूल— कामनाका, गोप्य तृष्णाका, ललित वेदनाका… जति पटक तिम्रो देहको नदीलाई स्पर्श गर्थें/मभित्रको आनन्दको एकलास आकाशमा उडिजान्थे सारसका बथानहरू तिमीसितको प्रत्येक पल्टको सहवासपछि मेरो मनमा टड्कारिने गथ्र्यो तीर्थयात्राको पवित्र अनुभूति । तिम्रा आँखाको आदिम नीलो दहमा/आफ्नै प्रतिविम्ब जति पल्ट देख्छु झुक्किएर म आफैलाई अर्कै चोला फेरिएको नौलो मान्छे अनुभव गर्थें बारम्बार । एकताक तिमी आउँथ्यौ केशहरू बतासमा छिरल्दै, उडाउँदै/काँध–काँधमा मेघहरू बोकेर/कुनै किंवदन्तीकी नायिकाझैँ असङ्ख्य आकाश चहार्दै, तिम्रा प्रत्येक पदचापका ऋचाहरू— सूक्ष्म व्याख्याका निम्ति छाडिने गर्थे मेरो मस्तिष्कमा/तिमी गएपछि । तिम्रो मादकताको ग्रन्थका अध्यायहरू/अध्यायपिच्छेका पानाहरू समयसँगै पल्टिँदै गए/त्यसपछि धमिलिँदै गयो तिम्रो लावण्य/भुइँकुहिरोभित्रको आकृतिझैँ— मेरो स्मृतिमा । ।। दुई।। कैयौँ वर्षपछि/आज फेरि तिमीलाई हठात् देखेथेँ त्यही नदीको बगरमा/तिमी उभिएकी थियौ उसरी नै विह्रवल मुद्रामा/तिम्रो हातमा थियो एउटा कालो फूल । कालोफूल : समयले तिम्रो हातमा थमाएर गएको/एउटा गम्भीर दायित्व, प्रतिवादको, बहिष्कारको, विरोधको र विद्रोहको। हो, त्यो फूलको रङ्ग ठीक रातको झैँ कालो थियो, अन्धकारको झैँ कालो थियो/सके तिमीभित्रको गहन अतृप्ति र अभावको झैँ कालो थियो। संसारमा व्याप्त कुनै पनि कोलाहल, अभाव वा असन्तोषको पक्षमा/विरोधका प्लेकार्ड र ब्यानरहरू तिम्रो हातले कहिल्यै उचालेको थाहा छैन । तर, कुन्नि किन हो आज/तिमीले हातमा लिएको कालो फूल देखेर मलाई लाग्दै छ— तिम्रा हातहरू सक्षम हुँदै जानेछन् अनि एक दिन प्रत्येक शोषणलाई चुनौती दिँदै तिनै हातले उचाल्न सक्नेछन् आफैमा ठूला–ठूला सङ्घर्षहरू/आन्दोलन र विप्लवहरू । प्रत्येक शोषणको प्रतिवादमा/कालो फूल हातमा लिन सक्नुपर्छ ए नायिका । तिम्रै आस्था र प्रेरणाको शक्तिले सञ्चालित हुन— सक्नेछन् तब मात्र— ठूला–ठूला क्रान्तिका मिसिलहरू, विरोधप्रदर्शनका शोभायात्राहरू । तिम्रै सहनशील गर्भबाट जन्मनेछ एक दिन दलित, शोषित, त्रस्त र आतङ्कित मान्छेहरूको नेता । हातमा कालो फूल लिएर/निस्फिक्री उभिएकी ए नायिका ।/तिमी असफल प्रेमिका थियौ तर तिमी सफल आमा बन्न सक्नुपर्छ। |
मोहकुन्नि कुन मानसरोवरबाट थालियो मेरो चेतनाको ब्रहृमपुत्र । र कुन्नि कति टाढा छ समाप्तिको बङ्गोपसागर ? दरिद्रयसित डराएको माझी । र माझीसित डराएका माछाहरु, सपनासित झस्किएको निद्रा । र निद्रासित कहालिएका आँखाहरु । ज्वारभाटाका दुवै हात जोरेर । नमस्कार, चन्द्रमालाई, आकाशलाई-उद्वेलित समुद्रको । आकाशको दहभरि घोप्टाएर नीलो निःसीम मौनता ऊ कता लुक्यो कता । अभेद्य अन्तरिक्षको मायावीयतातिर पो उसले । कतै ठोक्यो कि सुइँकुच्चा ? झरीमा लुछुप्प रुझेको भदौको इन्द्रकमल रात, त्यसै रातसित जोडिएका अनेक स्मृतिखण्ड । किंवदन्ती, देह-सुवास । मनको निर्जन वनमा । ओल्लो छेउदेखि पल्लो छेउसम्म कुन्नि को गयो हिँडेर अज्ञात |
मनतिमीलाई दिन मसित एउटा मन छ । गौथली झैँ अक्कास–अक्कास उडिहिँड्ने मन । कर्कलाको पातमाथिको पानीको थोपा झैँ अस्थिर मन । मसित एउटा मन छ तिमीलाई दिन । खप्पिस भैसकेको छु म त सपनासित जिस्कन । एउटा बसिबियाँलो न हो सपना आँखा थुने आइदिन्छ उघारे गइदिन्छ । ठीक तिमी जस्तै । सपना, सपना न हो । तिमी जस्तै निष्ठूर हुन्छन् सपना पनि । तिमीलाई दिन अरु केही छैन । एउटा मन छ । रुझेको छाता जस्तो लाञ्छनाको चुटाइले थाकेको मन । निभेको आगो जस्तो स्मृतिहरुको खरानीले थिच्चिएको मन । केही छैन । बस्, मसित एउटा मन छ तिमीलाई दिन । |
बूढानीलकण्ठतिमी यहाँ आएर निदाइरहेका छौ ! उता सहरमा के-के भइसक्यो थाहा छ तिमीलाई ? खेतबारीहरूलाई त्यता घरैघरले ढाकिसके धाराहरु त्यहाँ मरूहिटीमा फेरिइसके विष्णुमती र बागमतीको ठाउँमा अचेल फोहोर लेदोले लबालब दुर्गन्धित दुइटा नालाहरू घस्रन्छन् अजिङ्गर झैँ । भगवान् ! रिपभ्यान विङ्कल झैँ कुनै दिन जब तिमी ब्युझनेछौ यो सहरको ठाउँमा देख्नेछौ पसारिएको एउटा मुर्दा सहर खण्डहरै-खण्डहरको निर्जीव विस्तार । भगवान ! तिमी यहाँ आएर निदाइरहेका छौ ! |
परेवाः सेता–कालाउमेर बिसाऊँ–बिसाऊँ झैँ लाग्छ यी नीला शिरीषका फूलहरुमा । कसले पो बुझेको छ र समयको लहड । अर्को छिनमै कुन कोल्टे बसिदिने हो । आँखाहरुलाई टेकाउँदा–टेकाउँदै जिन्दगी थेग्ने कुनै सबल धारणाको ढुङ्गामा चिप्लिएर गए लेउमा खुट्टा झैँ । मनलाई छोप्दा–छोप्दै, बाँद्धा–बाद्ध्रै इच्छाहरुले फुत्किदियो खुकुलो सुर्के गाँठो झैँ । चिनाउँदा–चिनाउँदै रहरलाई मन र मनलाई रहर । धपाउँदा–धपाउँदै आँखा अघिबाट उमेरका सेता–काला परेवा । म सक्किएँ । तर न मनले रहर चिन्यो । न रहरले बुझिदियो मन । अझ पनि लाग्दै छ— उमेर बिसाऊँ एक्कै छिनलाई भए पनि यी नीला शिरीषका फूलहरुमा । बैँसले नेटो काटेर के भयो मन त साबिकै छ ! |
जाडोको रातनिद्रा पकेटमा हात घुसारेर पर उभिएको छ चुपचाप । फुटपाथमा कठयाङ्ग्रिँदै कामिरहेको नाङ्गो देहमा ब्युँझिरहेको छ एक्लो उदास जाडोको रात । |
गलैंचा बुन्नेहरूको गीतआङ्निमा जब तान छुन्छे सबैभन्दा पहिले ऊ परिवारको भात बुन्छे, दाल बुन्छे आङ ढाक्ने थोरै कपास बुन्छे । अनि आकाश बुन्छे, बतास बुन्छे जून बुन्छे, घाम बुन्छे अलिकति देशको नाम बुन्छे । पानी,खोला, पहाड, कुइरो चराचुरुङ्गीको आवाज, माटोको गन्ध जङ्गलको मीठो सुसेली बुन्छे , आङ्निमा जब तान छुन्छे । |
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