Rajendra Bhandari was born on September 28,
1956, at Gahiri, Bom village of Kalimpong. He grew up in a family steeped in
spirituality and literature. His father, late Bhagirath Bhandari, was the man
of high literary esteem, a poet, spiritualist, and religious thinker. His
mother, Late Savitri Bhandari played a nurturing role in his upbringing.
Rajendra Bhandari, while growing up in a
rural environment, deeply felt the poor village life. His childhood was full of
poverty and hard physical labor like cutting grass for cattle, chopping
firewood, planting rice and corn, and growing vegetables. These early
influences instilled an attachment for the soil, seasons, and elements of
nature so deep that it later on influenced his literature. Despite these blows,
education did not cease being a priority, and Rajendra was encouraged to study
diligently.
Rajendra Bhandari attended Ganesh Primary
School and then attended Ganesh Lower Secondary School, Kalimpong, up to the
eighth grade. He then joined Kumudini Vidyashram for higher secondary and
completed his studies under the existing pre-secondary system at that time.
He went on to pursue his higher education
at Kalimpong College, where he graduated with his undergraduate degree.
Afterwards, he pursued a postgraduate degree from North Bengal University,
which he received in 1981. His academic pursuit did not stop then, as in 2002,
he accomplished a PhD, joining the small group of scholars in his region to be
able to boast the same. Throughout his academic journey, Rajendra Bhandari grew
a deep love for literature that later became the backbone of his literary
career.
3. Early Career
Rajendra Bhandari joined service in 1975
and served almost a year at the Food Supply Department in Gangtok. Later, he
joined the State Bank of Sikkim as a junior officer in November 1976 and served
there till 1983. The career graph got a new turn when he joined as a teacher at
Soreng Higher Secondary School in August 1984 and served for two years.
In September 1986, Bhandari began his
lifelong teaching career at Sikkim Government College, now named as Nar Bahadur
Bhandari College and situated in Tadong, Gangtok. He served three decades in
that college with all dedications as professor, mentor, and literary guide. He
retired as a professor in 2016.
4. Literary Interests
Besides his professional tasks, Rajendra
Bhandari's love for literature was growing day by day. He had been a great
lover of reading contemporary Nepali, Hindi, and English literature. He was
equally interested in Bengali and European literature. His sober attitude towards
world literature and keen feeling in different literary movements made him
impressive among his peers.
He maintained frequent contact with Indian,
Nepalese, and foreign literary circles. His friendships with European poets and
writers, as well as with those who wrote in various Indian languages like
Hindi, Marathi, and Bengali, helped him gain more experience in the world of
literature. Bhandari was involved in discussion, exchange, and translation
activities on emails and social media, debating various topics in the field of
literature.
This love for Nepali literature was
complemented by his deep appreciation for music-Postal Narayan Gopal, whose
songs Bhandari often hummed and reflected upon. In fact, his admiration for
Narayan Gopal seems reflected in certain poems he wrote to show how connected
he felt with the singer's music and lyrics.
5. The Ideal Teacher
Rajendra Bhandari became no longer handiest
a very gifted poet and author but additionally an exemplary trainer. He become
incomparable in his dedication to his students, treating them like his very own
children. The students, in return, would regard him as a cherished
"Guru." For many years, Bhandari has led numerous students on the
path toward promising careers in various professions. His other contributions
to society included several of his students who later on became ministers,
high-ranking officers, professors, and even the Chief Minister of Sikkim.
He used to develop a love for literature
and a habit of critical thinking among his students. The teaching philosophy of
Bhandari always revolved around arousing the intellectual curiosity of his
students, encouraging them toward deep explorations of knowledge. From
education to the success of the students, his commitments made him respected
and admired not only by his peers but also by the broader academic community.
6. International Travels
Rajendra Bhandari is among the few Indian
Nepali poets who have had the opportunity to represent Nepali literature at an
international level. He was invited to the 17th International Poetry Festival,
Berlin, Germany, in the year 2016, in which he read his poems with poets of
more than 90 countries jointly. This prestigious event marked an important
milestone in his literary career.
In 2017, Bhandari participated in yet
another international poetry gathering that took place in Rome, Italy,
organized in solidarity with Syrian refugees. His echoing poetry among the
audiences from more than 60 countries established his name as a solid global
literary figure. These international experiences enriched his literary
perspective and brought him to an open platform for sharing his work with the
world.
7. Awards and Honors
Rajendra Bhandari's literary works have
been accredited with numerous awards and accolades. Some of his major accolades
include:
Diyalo Award, Darjeeling (1981)
Shobha Kanti Thegim (Lepcha) Memorial Award
(1999)
Shivkumar Rai Memorial Award (2000)
Gumansingh Chamling Memorial Award,
Bijanbari (2007)
Bhai Chanda Pradhan Memorial Award,
Kalimpong (2008)
Bhanu Award by Nepali Sahitya Parishad,
Gangtok (2009)
World Nepali Creator Honor (2014)
Sikkim State Sahitya Shree Award, Gangtok
(2014)
Gorkha Pratibha Award, Siliguri (2014)
Parasmani Pradhan Award by Nepali Sahitya
Adhyayan Samiti, Kalimpong, 2014
Indian Nepali Shikhar Samman, Gangtok, 2017
Agamsingh Giri Award by the Gorkhaland
Territorial Administration, 2019
These prizes represent the wide recognition
of Bhandari's literary contributions not just in Sikkim and Kalimpong but
within the larger Indian Nepali literary circle.
8. Literary Personality
Rajendra Bhandari is a multi-dimensional
literature identity of Nepal. He is not only a gifted poet but also an
accomplished critic of literature, an editor and translator, and a lover of
poetry. With a wide knowledge of literature, an ability to handle critical
ideas, he stands tall in the literary world.
8.1. Rajendra Bhandari as a Poet
Rajendra Bhandari, from his childhood, was
initiated into the world of poetry by the literary atmosphere at home. His
father, Bhagirath Bhandari, was himself a poet, and early exposure to religious
and literary discussions at home oriented his poetic inclinations.
Bhandari's first poem was published in the
literary magazine Purba Paschim Madhupak in 1975. His first collection of
poetry, Hiũnde Yī Chisā Rātakā Pardāharumā (1979), marked the beginning of a
long and prolific career as a poet. Later, some other poetic collections came
out as follows:
Yī Shabdharu̐ Yī Harpharu̐, 1986
Kṣara Akṣar, 1998
Shabdharuko Punarvās, 2010
Pwākhharu ra Ᾱkās (Selected Poems, 2011)
Itihāskā Bāḍulī, 2019
It is marked essentially by a deep
engagement with Nature, human emotions, and above all, existential themes. He
often draws upon his rural upbringing and the experiences of village life,
infusing his poems with a sense of authenticity and groundedness.
8.2. Rajendra Bhandari as a Critic
Apart from being a poet, Rajendra Bhandari
is a reputed critic. He did his PhD on the Tradition of Nepali Storytelling in
Sikkim, and his critical acumen into this area has been duly accredited. His
published works in the field of literary criticism include Leela Lekhan
(co-authored) and Sikkimka Nepali Katha Ko Adhyan (2022).
Apart from this, he has edited the critical
anthology Pratimān, showing his editorial acumen. His wide-ranging interests
related to literature have been reflected in his critical essays on Khalil
Gibran's persona, Japanese Haiku, Nepali literary traditions, and contemporary
poetry.
His critical writings have appeared in
various journals and anthologies, thereby contributing much to the development
of Nepali literary criticism.
Conclusion
Rajendra Bhandari, in his way, is an
important contributor to Nepali literature. He, already as an important poet,
critic, editor, and teacher, has left his mark in the Indian Nepali diaspora.
His contribution to this genre-a melding of rural experiences with modern
literary trends-continues to inspire readers and writers alike. Truly a
literary luminary, his dedication to the literary arts and mentorship to future
generations are second to none.
त्यो अविज्ञापित एकान्तयति धेरै सामानहरू विज्ञापित छन्। चाहिएको सामान नै कता लुक्छ कता। फिँज पखालिसक्दा पनि शरीरमै टाँसिरहन्छ साबुनको विज्ञापन। कस्तो गह्रौं विज्ञापन अनुहारका क्लिष्ट आत्मीयताहरू जतासुकै पछ्याइरहने। ढुङ्गामाथि निक्खुर हाँसिरहेको त्यो अविज्ञापित सुनाखरी विरोधको अहो कति राम्रो स्वर! दिनभरी अनुहारमा खिलेर हिंडेको सिन्थेटिक मुस्कानको विज्ञापन खोलेर हुत्याइदिन्छ साँझमा र फर्किन्छु त्यही अविज्ञापित निर्जन चप्लेटीमा आफैभित्रको। एकाकार हुन्छु सधैँ त्यस अप्रतिहत नीरवतासित। त्यो अक्षत आदिम सङ्गीत मैले नुहाउनेगरेको पानी त्यो अविज्ञापित एकान्त। |
विभक्तीम छु तिमी छौ बीचमा 'लाई' भइदिएको भए मलाई तिमी हुनेथियौँ अथवा तिमीलाई म । विभक्तिबिनाका शब्द भयौँ तिमी र म । कहिले हुनु वाक्य हामी कहिले हुनु काव्य ? |
कवि र घरकविको घर हुँदैन घर भए पनि भित्ता हुँदैन ऊ त डुली हिँड्छ गाउँको पहिरोदेखि शरणार्थी शिविरहरूसम्म बगैँचादेखि डढेलोसम्म रिङटोनदेखि साइरनसम्म । कविलाई घरमा नखोज्नू घरमा कवि हुँदैन घरमा भएको बेला कवि कवि हुँदैन । त्यहाँ त हुन्छन् उसले कमाएकी स्वास्नी रचेका छोराछोरी र आधा लेखेर छोडेको कविता। बाँकी आधा कविता खोज्न कवि भौँतारिँदै निस्कन्छ कवि झट्टै फर्कनै पर्छ र हामीलाई पूरा गर्नै पर्छ भनेर आधा कविता आमरण अनसनमा बसेको हुन्छ। कवि हाँस्दा भीड हाँस्दैन भीड हाँस्दा कवि हाँस्दैन भीडलाई ऊ चिन्छ भीडले उसलाई चिन्दैन। एकथोक भन्न मञ्चमा चढ्छ अर्कैथोक भनेर ओर्लन्छ अनुभूति खान्छ, बिम्ब डकार्छ मानवताको गणित बिग्रिएको बेला कविलाई शब्दको पखाला चल्छ। पाठ्यपुस्तकमा उसको कविता पढ्ने विद्यार्थीहरू उसलाई आँखा तर्छन् ‘साँझ परेपछि के खोज्न निस्केकोरु’ पत्नी कराउँछे ऊ चुप ऊदेखि पत्नी कवितौँ टाढा छ। |
मेरो अरथि उठाउने कविताकुसङ्गतमा परेका बदमास छोरा भए मेरा अप्रकाशित कविताहरू । छाडी गए मलाई अलन्तारमा । कुनै–कुनै ता टाढैबाट फिस्स हाँसेर हिँड्नेसम्म भए । चिठीसम्म नपठाउने कृतघ्न परदेशी भए । तर मेरो अरथि उठाउन आउनेछ । त्यही सधैँको मभित्रको मेरो अलिखित कविता । वर्षौंदेखि मलाई नै रुँगेर बसेको त्यो मेरो साक्खै कविता । केही गर्न सकिनँ बिचरो त्यसलाई नलेखेर अन्याय पनि गरेँ होला । तर लेखेको भए त्यो पनि दाजुहरूजस्तै त हुन्थ्यो होला । पख्–पख् भन्दै थुनिराखेँ दिनभरि अनेकौँ मञ्चहरूमा कहिले नायक बन्छु, कहिले खलनायक/विदूषक बन्छु। हरेक नाटकपछि सबै संवाद बिर्सेर, वेशभूषा खोलेर बेलुकी त्यसैसँग निदाउँछु। तर केही गर्न सकिनँ त्यसलाई एउटा सफा सेतो कागजसम्म दिलाउन सकिनँ। तर त्यसैले पिलाउनेछ पानी मलाई मृत्युशय्यामा उठाउनेछ मेरो अरथि । त्यो मभित्र मगमगाइरहेको मैले रगतले सिँचेको त्यो इन्द्रकमल म कस्तूरीले नाभिमा बोकिहिँडेको बिना त्यो विपद्को सखा त्यो मेरो अलिखित कविता । उठाउनेछ एक दिन त्यसैले मेरो अरथि । |
बल्झिरहने यो रिक्तताकुइरो, बादल, धूवाँ बिजुली, जून, तारा यी केही पनि होइनन्, आकाशका । एकलासको एउटा हावाघर हो आकाश । पीडाका भ्वाइलिन, उच्छ्वासका सारङ्गी र उन्मादका धिन्ताङहरू यी केही पनि होइनन् मनका । मन भन्नु एउटा रित्तो गिलास । आज अलिकति रक्सी । भोलि सर्बत र पानी । मन भन्नु एउटा रित्तो आकाश । तर पनि एउटा रिक्तता किन सधैँ भरिन चाहिरहन्छ ? एउटा मौनता किन एक्लै छटपटाइरहन्छ ? एक मुठी हाड अनि मासु केही धडकन र अलिकति आँसु किन गीत बनेर फुटिरहन्छ ? बाटोले लगिसक्यो पैताला । इच्छाले जिन्दगी किनिसक्यो। समयले चुसिसक्यो गालाको लाली । सबैथोक र सबैथोक नै मास्सिइसक्यो । तैपनि एउटा रित्तो सडकमा एउटा रित्तो मान्छे के–के खोजिरहन्छ । अब किन्नु केही छैन । तैपनि कोटको खल्तीमा एउटा पुरानो मोहर किन अल्झिरहन्छ ? आकाशको आफ्नो रङ्ग छैन । तैपनि आकाशको नीलो किन बल्झिरहन्छ ? |
अरण्यगाथाठीक मेरो मस्तिष्कबाट सुरु भएर तिमीमा टुङ्गिन्छ यो जङ्गल । त्यहाँ कति छन् बाघ र भालु सन्देहका हामीलाई नै थाहा छैन । त्यहाँ कति स्यालहरू छन् छलका हामीलाई नै थाहा छैन । गर्जिने गर्छन् वरिपरि अविश्वासका सिंहहरू तिनका गुफा कहाँ छन् ? हामीलाई नै थाहा छैन । आनन्दका मजुर अनि प्रेमका चखेवा कति छन् ? कति छन् डाँफे–मुनाल हार्दिकताका ? हामीलाई नै थाहा छैन । आफैभित्र गुजुल्टिएर अलमलिएका जङ्गल भयौँ तिमी र म । बिर्सनुपर्ने कुराजत्तिकै नजिक अनि फेरि त्यत्तिकै टाढा भयौँ तिमी र म । तिम्रो र मेरो सम्बन्धको वनमा कहीँ–कतै फलेका होलान् मीठा–मीठा बयर, अमारो, अम्बक र नसपाती । कहीँ–कतै नुहेका पनि होलान् लटरम्म भएर अनार, अङ्गुर र ऐँसेलु पारस्पर्यका । तर हामीलाई थाहा छैन । हामीलाई यत्ति थाहा छ कि एउटा सिंह सधैँ गर्जिरहन्छ तिम्रो र मेरो बीचमा त्यो किन गर्जिरहन्छ ? हामीलाई नै थाहा छैन । |
दार्जिलिंगरोते-रोते थक रात के तीसरे पहर क्षण भर को सो जाती है पर्वतों की रानी! जगते ही साश्चर्य छटपटाती है कहाँ गया मेरे गले का हार? नथ मेरी कहाँ खो गयी ? कहाँ गए मेरे राजकुमार ? हटाकर घनी काली ओढ़नी खाकी, सूर्य दीखता है पहाड़ियों के पार ! मौन बैठे हैं हवा से अठखेलियाँ करने धुपी के पेंड फिर रंगीत का पीला जल घबडाकर नीचे की ओर बहता है ! नव -दंपत्ति के लिए रंगीन उपहार एक मीठा आह्लाद पर्यटक के लिए और ड्राईवर भैया के लिए बेटी की कॉलेज फीस तथा बेटे के लिए दवा-खर्च बनी खडी है स्वागत में 'टाईगर हिल' ! स्वागत में खडी है 'टाईगर हिल' लिए हाथ में लाल कलश, लजाते प्रकाश से काना-फूसी करने लगते हैं आपस में जले घर और टूटे पुल, बैसाखी ले चलाती एक लंगडी शान्ति विश्राम करती है पहुँच कर चौरस्ते ! नीचे चाय-बगान से आते हैं पराजित कुहासों के लम्हे गगन को फिर सुनाने लगते हैं मिट्टी की खबर ! अटक जाता है अट्टालिकाओं की छत में आकर एक विवश मौन गर्म और सर्द फांके अटकी गले में एक त्रासदी अपने-आप बंद हो जाती है ! एक विशाल कोरस क्रमश: चुप हो जाता है - जब यह बोलने लगता है एक दार्जिलिंग , चुप रह जाता है दूसरा दार्जिलिंग ! एक ही विस्तारे में सोये एक भाई से पूछता है दूसरा : बाज़ार में : 'आप कौन हैं ?' ऊपर सुपर मार्केट, चौक बाज़ार, महाकाल , कहीं से भी फिसलकर गिर जाने का भय छाया रहता है ! बाज़ार घूमते, घर लौटते, जहां-तहां जब-तब विदीर्ण मन में उठाता धुंआ चुभने लगता है दिन-दिन भर आँखों में ! अपना चेहरा बाज़ार के बड़े से आईने में और भी कुरूप लगता है ! आदमियों से भेंट होना वीराने देश में पहुँचना होता है, चमकते आकाश के नीले मध्यान्ह तक क्षणिक दार्जिलिंग सुस्ताता है और शरीर के घावों को धूप में सुखाता है ! अपराह्न उजाले में साझा पुस्तक दूकान के आगे शंका-उप्शंकाओं का बाज़ार लगता है ! शाम को ठंढी हवा के शुरू होते ही सुबह सैर करने निकली सडकों का चौरस्ते में शाम को अम्बार लग जाता है ! चौरस्ते के एक कोने पर आग तपे , फटे ओवरकोट अतीत दोहराते हैं- 'शुरू-शुरू में बहुत किया साहित्यकार का सृजन , सुबह-सुबह घोड़े पर पेशोक-टिस्टा-कालिंपोंग पहुँचते... फिर सिक्किम...घी का व्यापार करते..... शाम को चौरस्ते से हिमालय पर पहुँचते.... पैदल चलकर तकभर , गोक, जोरथांग...माघ मेला पहुँचते सिक्किम के लिंबू-लिंबूनी साथियों के साथ धान-नाच करते लेवांगे मैदान में उत्साह के घोड़े दौडाते ... होड़ और जोर करते नृत्य और गीत फिर थियेटर ...फिर... हर दिन उमंग का और मनोरंजन का -' बातों में मग्न ओवरकोट, सारे के सारे ! 'नेप्टी-चेप्टी दार्जिलिंग कस्तो छ ? दार्जिलिंग शहर बिजुली लहर बैकुंठे जस्तो छ !' रेल में बैठ ओझल हुआ बैकुंठ, जैसे बताशा , लौटकर फिर नहीं आयीं घिर्लिंग में बहती ओ खुशियाँ लौटकर फिर नहीं आयीं छोटी सी रेल में बैठकर चले गए घंवीर मुखिया, दिलू सिंह और प्रतिमान लामा .... लौटकर फिर नहीं आये गिरि और रसिक भी नहीं आये ! 'रंग-भांग भन्थे छोटा शहर पंसेरे पाथी सतुवा को लुहाटा र धूलो भयो छाती ! गाते-गाते खो गए डाकमान राई, लौटकर फिर नहीं आये ! आदमियों को उकसाते क्याम्बेल, और मैकफर्लें बनों-जंगलों को गले लगाते हूकर फेरी लगाते चलते ज्ञान्दिल घर-घर ! संवेदना फैलाते रूपनारायण और सूधापा लौटकर फिर नहीं आये ! ओह! कैसी मुसलाधार वर्षा ! छतरी सब ओढ़े हैं फिर भी भीग गए ! मनुष्यों की भीड़ में अकेली गा रही पर्वत की रानी 'सिमसिम पानीमा घरैमा सोता छ मायित सानिमा अनुवाद हो रहा है मौन कर्कश बज्रान्थ-बन में घर-शहर-वातावरण ! कोयल की कुहुक सुनने में यहाँ कैसा मज़ा आता है ! लयबद्ध ताल आरंभ करने में यहाँ कैसा मज़ा आता है ! झूककर तनावग्रस्त आकाश कुछ कहता है धरती इसे सुन झुंझला उठती है दीवारों में भीग रहे हैं अनाथ पोस्टर रास्ते के उपर टाँगे फेस्टून अपहत्या कर मरते हैं ! यहाँ के नर्म सूर्योदय और मखमली सूर्यास्त के साथ टूरिस्ट के कैमरे रोज 'फर्ल्ट'करते हैं ! चाय बागान के हरित त्रासदियों से पत्रकारों के क़लम रोज 'फर्ल्ट' करते हैं ! रोज बहती है गर्म हवा दक्षिण से यहाँ आकाश में फिर बादलों का घर ध्वस्त हो जाता है ! फिर बनते हैं/ फिर ध्वस्त होते हैं बनते हैं और ध्वस्त होते हैं / ध्वस्त होते हैं फिर बनते हैं दार्जिलिंग स्वप्न में दिखता है आजकल दार्जिलिंग को ! सताए रहती है दार्जिलिंग की याद अक्सर दार्जिलिंग को !! |
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