Chandra Ranahanchha is a distinguished contemporary Nepali poet, lyricist, and short story writer, recognized for his profound exploration of Kirat culture, mythology, and modern societal introspection. Born with the name Chandra Kumar Rai, he adopted his current literary name, Chandra Ranahanchha, to honor and perpetuate his ancestral lineage. Beyond his literary pursuits, he is also a professional artist, working as a painter, a fact that speaks to his multifaceted creative spirit.
🌄 Early Life and the Call of the Horizon
Chandra Ranahanchha was born on Bhadra 7, 2037 BS (circa August 23, 1980 AD) in Nirmali Danda, Ward No. 8, Khotang District, in the Eastern hills of Nepal. He is the son of Raj Bahadur Rai and Krishna Laxmi Rai. His birthplace, specifically the area of Lamakhu within Nirmali Danda, a relatively remote village, played a crucial role in shaping his early imagination and literary inclination.
His formative years were spent studying at Manakamana Janakalyan Secondary School in his village. As he recounts, the simple act of looking out from his home or school presented him with an ever-present, distant blue and empty horizon. This horizon became a powerful
This early fascination with the "horizon" is emblematic of the poet's later work—a continuous striving towards a greater truth, a reflection on what lies beyond the visible, and a profound connection between his origins and his envisioned destiny.
📜 The Ranahanchha Identity: A Lineage Claim
A significant aspect of the poet's identity is his literary surname. His official name remains Chandra Kumar Rai, but his creative works bear the name Chandra Ranahanchha. This transition was deliberate and initiated with the publication of his first collection, Manma Aandhi Chale Pachi.
"Ranahanchha is the name of my pachha (clan/lineage). The main purpose of changing the name was not to promote myself, but to bring recognition to my lineage."
By adopting his clan's name, Ranahanchha rooted his personal artistic success within a collective, ancestral identity, ensuring that his creative achievements also serve as a beacon for his lineage. This act reflects a deep cultural consciousness and an intent to use the platform of literature and art to preserve and honor Kirat heritage. The name, which he proudly notes is known to many readers and listeners in the arts and literature world, was a "gift of love" from his wife, Ambika Rai, a beautiful blend of personal affection and ancestral honor.
📚 Literary Works and Themes
Chandra Ranahanchha is a versatile writer who has made significant contributions across multiple genres of Nepali literature. His works are characterized by a strong thematic focus on Kirat culture and mythology, a deep commitment to exploring contemporary social issues, and an arresting poetic voice that blends the modern with the mythical.
Major Published Collections:
Manma Aandhi Chale Pachi (मनमा आँधी चलेपछि) – (2067 BS / 2010 AD): A collection of songs and poems that marked his debut and the official adoption of his literary name. The title, translating to After the Storm Rages in the Mind, suggests a debut characterized by emotional and intellectual turbulence, setting the stage for his intense and reflective style.
Bhauju Ladeko Bhir (भाउजू लडेको भीर) – (2069 BS / 2012 AD): A collection of short stories, showcasing his skill as a formidable prose writer. The title, meaning The Cliff Where Sister-in-Law Fell, hints at narratives steeped in rural life, tragedy, and the harsh realities faced by people in the hills.
Thibiya Charako Geet (थिबिया चराको गीत) – (2071 BS / 2014 AD): His noted collection of poems. The Song of the Thibiya Bird is an important work that further cemented his reputation as a modern Nepali poet.
In addition to these major literary collections, Ranahanchha also released two song albums early in his career:
Chaubandi Kindiunla (चौबन्दी किन्दिऊँला) – (2055 BS / 1998 AD)
Chino Rumal (चिनो रुमाल) – (2056 BS / 1999 AD)
🏆 Accolades and Recognition
Chandra Ranahanchha's impact on contemporary Nepali literature has been widely recognized and celebrated, culminating in several prestigious awards. His crowning achievement came in 2074 BS.
Key Awards and Honors:
National Poetry Festival (राष्ट्रिय कविता महोत्सव) – First Prize (2074 BS / 2017 AD): This is perhaps his most significant national honor, awarded by the Nepal Academy (Nepal Pragya Pratisthan). Winning the first prize at the country's pre-eminent poetry event cemented his status as a leading voice among contemporary poets.
Yuwa Barsha Moti Puraskar (युवा वर्ष मोती पुरस्कार) – (2075 BS / 2018 AD): Named after the legendary Nepali poet Motiram Bhatta, this award recognizes the outstanding literary contributions of young writers, marking him as a talent of national significance.
Chhatra Bishnu Rai Kriti Samman (छत्र बिस्णु राई कृति सम्मान) – (2071 BS / 2014 AD): An honor from the Kirat Rai Yayokkha, recognizing the cultural value of his published works.
Temke Tuwachung Sahitya Puraskar (टेम्के तुवाचुङ साहित्य पुरस्कार) – (2072 BS / 2015 AD): A literary prize originating from his home district of Khotang, celebrating his regional importance.
Balajit-Basanlakshmi Rai Smriti Sahitya Puraskar (बालजित-बसनलक्ष्मी राई स्मृति साहित्य पुरस्कार) – (2074 BS / 2017 AD).
Jitasingh Shrashta Samman (जितासिंह श्रस्टा सम्मान) – (2074 BS / 2017 AD).
Ranahanchha's influence has also reached the Nepali diaspora, particularly in Hong Kong, where he was honored in 2018 by multiple organizations:
Hong Kong Sanjha Sahitya Shrinkhala (हङकङ साझा साहित्य शृङ्खला द्वारा सम्मान)
Ex-Gurkha Restaurant and Bar Hong Kong (एक्स गोर्खा रेस्टुरेन्ट एन्ड बार हङकङद्वारा साहित्य सम्मान)
Khotang Samaj Hong Kong (खोटाङ समाज हङकङद्वारा सम्मान)
Kirat Rai Chamling Khambatima Hong Kong (किराँत राई चाम्लिङ खाम्बातिम हङकङद्वारा सम्मान)
🎨 The Artistic Dimension
Chandra Ranahanchha is not solely defined by his pen; he is equally a professional artist by trade, engaged in the business of painting. This twin existence—as a poet of words and a painter of canvases—lends a distinct visual quality to his literary work. The meticulous attention to detail, the use of color and imagery, and the powerful visual metaphors often found in his poetry can be traced back to his artistic eye. The artistic sensibility allows him to see the world not just as a narrative but as a vibrant, complex tapestry of light, shadow, and form. This dedication to both disciplines makes him a truly versatile and comprehensive creator in the Nepali arts scene.
💭 The Core of His Craft
Ranahanchha's poetry and stories are driven by a conscious, scholarly engagement with his roots. He is celebrated for:
Deep Study of Kirat Culture and Myth: He consistently delves into the myths, traditions, and spiritual landscape of the Kirat people, specifically the Rai community. His work acts as a literary bridge, bringing these ancient narratives into contemporary consciousness and preserving them through the modern Nepali language.
Contemporary Relevance: Despite his focus on ancestral culture, his works are intensely relevant to the socio-political climate of modern Nepal. He is noted for being a "youthful, celebrated contemporary poet," tackling issues of identity, societal change, political turbulence, and the struggles of modern life.
Multigenre Mastery: His ability to move seamlessly between poetry, song, and short fiction demonstrates a rare literary dexterity, allowing him to communicate his themes through various expressive forms.
Chandra Ranahanchha stands as a significant figure in contemporary Nepali literature. From the rustic horizons of Nirmali Danda to the prestigious stage of the National Poetry Festival, his journey is a testament to the power of a committed artist to honor his past while charting a course for the future. His pen and paintbrush continue to enrich the cultural landscape, offering a compelling blend of personal introspection and collective cultural advocacy.
कैदी याचना त्यहीँनेर कैद छु म जहाँबाट देखाइदिएको हुँ पहिलोचोटी देउतालाई देउताथान टा…ढाको देउराली बताइदिएको हुँ आफैले खनेको मन्दिर पुग्ने बाटो जहाँ पुग्न प्रतिबन्ध छ मलाई आँखाको मूल फुटेर आँखैमा तलाउ जम्छ म आँशुले आफ्नै पीर धुन असमर्थ एक भग्न सालिक मेरो देहको फूलमा आँधी बस्छ भेल–पहिरो जो ऐठनबाट भाग्दै–भाग्दै मेरो छायाँमाथि खस्छ त्यहीँनेर कैद छु म शिरमाथि परेड खेल्दै–खेल्दै घामले घट–घट पिइरहेको मेरो रगत गुहार माग्छ मलाई मायाको सप्कोले बेर्दै–बेर्दै जूनले ल्याप–ल्याप चाटिरहेको मेरो विपना गुनासो गर्छ मलाई म कुन त्यस्तो जात हुँ ? जसको नाता ईश्वरसित छैन एकान्त अँधेरीको कुटिल पृष्ठमा मेटाइएको मैले मेरो नाम सच्याउन पाइनँ मलाई मनपर्ने रातो फूल मैले मेरै तातो यादलाई समर्पण गर्न सकिनँ व्यथाका सहश्र झ्याल खोलेर छाती पिट्दै रुन पाइनँ आयुको बाँध भत्काउँदै बगिरहेको मृत्यु–समुद्र तर्नु थियो मलाई खै मेरो रगतको डुङ्गा ? अस्पट्ट अग्लिएका पीडा–पहाडहरु नाघ्नु थियो मलाई खै मेरो गीतको टेकुवा ? आँधी लखेट्दै हिँड्ने मानिस थिएँ बतास पछ्याउनै नसक्ने भएछु जहाँ भयो आगोको नृसंस हत्या त्यहीँनेर कैद छु म जब पर्छ रात नौलाख सहिदहरु चिथोर्न थाल्छन् आकाश बेपत्ता प्रेतात्माहरु सोला हान्न आइपुग्छ मुटु र सोला हान्दा–हान्दै आफै बनिदिन्छ खरानी म कसरी जोगाऊँ त्यो खरानी फूल बाहिर चलिरहन्छ हुरी हो त्यहीँनेर कैद छु म सरकार ! खोलिदेऊ तुरुन्त मेरो हतकडी मेरो यो चहराइरहेको हृदयको घाउमा लाउन देऊ मलाई माडेर वनमाराको झोल…! |
आह्वान जहाँ पोखेथ्यौ विदाइको अविरल आँशु त्यहींबाट हेरिरहेछु तिमीले नाघेको शून्य क्षितिज परदेशी! आकाशको कुन मौन बलेसी मुनि कोरिरहेछौ तिमी सपनाको मार्ग जीवनको सीमाहीन गन्तव्य पहिल्याउँदै हिंडेको तिमी शायद हेर्दैछौ यसबेला चिसो आँखी भौं पर्दा उघारेर हातका पर्वत जस्ता ठेलाहरू। गाउँमा– तिम्रो यादमा खिपेर गीत गाइरहेछ बतासले बाँसका पातहरूसित पोखाउँदै बिसन्चो शीत डाँडाहरू छोडिरहेछन् बादल तिमी गएपछि फर्किएन कुनै मृदुमुस्कान। बरु– गइरहेछन् संभावनाहरू रुँदै गाउँबाट बग्ने खोलाले सोहोरिरहेको छ गाउँकै सातो र, जूनको पनेलो फेर समातेर रोइरहेका छन् हरेक रात अज्ञात आत्माहरू। तर– आँगनभरि सन्तानका बीच आधा पेट बाँचेका तिम्रा दौंतरीहरू खोजिरहेछन् भीरपाखामै भरोसाका बीउहरू रोपिरहेछन् खनेर बगरमा खुशी फुलाउन पीरहरू। त्यसैले– फर्क परदेशी गाउँमै फर्काउँदै गाउँको सातो पनि बाँचौंला साझा दुःखहरू पिउँदै एउटै मूलको पानी! |
सुरक्षित छैनौँ हामीबिन्दुका पनि बिन्दुहरू हौँ हामी हामी हाम्रै खसेका छायाहरू भन्दा निक्कै मधुरो छौँ चुडिँदै-जोडिँदै बगिरहेका धुँवाका धर्साहरू भन्दा पनि एकदम कफलो छौँ बन्दै-भत्किँदै जाने बटुवा-बादलका आकृतिभन्दा बिल्कुल निम्छरो छौँ यो बिजुलीको खम्बामा पछारिरहेको बतासको हिक्काभन्दा पनि क्लान्त छौँ भुइँमा ओछ्यान लाइरहेको प्रकाशको काँपिरहेका औँलाहरू भन्दा पनि निरीह छौँ |
फेरि, बाँचिरहन्छौँ सपनाले मानिसको भोग खान्छ र, अमर बन्छ बिलाएर जान्छौँ हामी फेरि, बाँचिरहन्छौँ ‘ उज्यालो डोर्याउँदै हिँडेको पाइताला जब हराउँछ कुनै अँध्यारोमा ‘ अँध्यारो त्यो सपना हो जो कहिले चराजस्तो भुर्रर उडेर डालीमा बस्छ डालीबाट खसेर शितको देह माटो हुन्छ कहिले सुकेको पात भएर त्यो सर्लक्क भुइँमा खस्छ भुइँको धूलो बसाइँ सर्छ सपना यस्तो दोखिया ताल हो जहाँ मानिस फेरि नउत्रिन डुब्छ जीवनको एकमात्र शाश्वत सङ्गीत हो– मुटुको धड्कन जो सुखमा भन्दा सुमधुर दुःखमा बज्छ तन्द्रामा भन्दा सुरमा निन्द्रामा बज्छ आँखा चिम्लिएपछिको मौन दृश्यालयमा सर्वप्रथम आफैँलाई देखिन्छ जहाँ आँसुको पर्दा हट्छ र, आफ्नै व्यथाहरूको भग्न सङ्ग्राहलय भेटिन्छ जब चेत खुल्छ आइपुग्छु हुत्तिएर सामुन्ने आफूभन्दा बढी दुख्ने सम्झना बाहिर चोट लाग्दा बग्ने रगत र, भित्र चोट लाग्दा झर्ने आँसुको केन्द्र एउटै हुन्छ त्यो फूल जसलाई भर्खरै आँधीले चुडाइलग्यो– भ्रम हो त्यो तीनतारा जो यसबेला ठिक मेरो शिरमाथि चम्किरहेछ– भ्रम हो हर्ष, छटपटी, जलिरहेको चिता या चिताबाट उठिरहेको माया– सब झुट हुन् कसैले– कुनै मन्दिर, मस्जिद, गुम्बा या देउरालीमा अथवा मान्छेको हृदयमा देउता छ भन्ला– जो मिथ्या हो केवल सत्य हो ऐठन, भोक र सपना जसले मानिसको खुन चुस्छ र शक्तिशाली बन्छ निभेर मेटिन्छौँ हामी फेरि, बाँचिरहन्छौं । |
छाबुक्लामा नानीहरूनानीहरू - खेलाईरहेछन् आमाहरुको आँसु भीरको छाबुक्लामा...... बौरिरहेछ - कोक्रोको मृत काम्रो बल्झिरहेछ - चिसो भोक चिसो तिर्खा चिसै माया..... माटो भएका छन् माटोमै बिसाएका हाम्रा अनुहारहरू । ओडारहरू ओडारकै किचकन्नी प्यासमा पिइरहेछन् मानिसको आखिरी घिट्घिटो.... खोपाएर ठाँटीमा नाम निस्किए महाप्रस्थानमा जति पैतालाहरू नसकेर थुन्न पितृहरूको आदि-गौँडा झोक्राइरहेछ अम्रिसोको फूल... जानेहरू - फर्किन्छन झझल्को- सङ्घार टेकेर जब भत्काउँछन् आँखाका सजीव आलीहरू चुहाएर विस्मृत प्रेम-तप्कना तिलस्मी झैँ हराउँछन् र डुब्छ एकसाथ घामको स्वेत पगरी । भीमकाय शून्यता कराइरहन्छ हुच्चिल जसरी कुल्चिएर जिन्दगी- पन्जिका.... मेरीको पात खचिया अक्षता वा, पितृ पुजेको चल्लाको काँचो खुन बिब्दाइरहेछ रिसियामा नछुङ जोखानाले तानेर घाइते सातो फर्काईरहेछ जिउँदो कानबाट।।। जारी छ वार्ता मृतात्मासित ।।। जो, भंग हुनसक्छ कुनै पनि क्षण त्यो बेला- बोलाउँदै रुङ्री काट्दै यारी फलाक्दै मुन्दुम जान सकिन्छ भीरको छाबुक्लामा र पत्थरभित्र रोइरहेका नानीहरूलाई चढाएर सोलैम्माको चोखो वासिम फर्काउन सकिन्छ- उनीहरूको चिसो मुठीबाट आमाहरूको तातो आँसु । |