Shantiniketan Ek Paridarshan

Here's a comprehensive summary of the provided text from "Shantiniketan Ek Paridarshan" by Ajay Rai, focusing on its Jain context and the author's personal experience:

The author, Ajay Rai, recounts his lifelong fascination with Shantiniketan, the ashram founded by the poet Rabindranath Tagore. This fascination stemmed from his childhood desire to learn art and music, passions that were suppressed by his family's disapproval and poverty. He vividly describes the harshness of his home environment, where his elder uncle would beat him for his artistic inclinations, while his mother offered him hope that he would one day study music at "Gurudev's ashram."

Despite the lack of immediate opportunity due to his circumstances, the yearning to experience Shantiniketan and connect with its "red soil" persisted. Years later, he finally gets the chance to visit. The journey to Bolpur station is filled with emotion – a mix of excitement and a touch of regret for the unfulfilled childhood dreams and the passage of time.

Upon arrival, the author is immediately struck by the artistic expressions at the station, including a sculpture made from a tree stump and a museum dedicated to Gurudev. He notes the presence of artwork on the walls and the preserved first-class railway carriage where Gurudev had his final journey, all evoking deep reverence for the poet.

The town of Bolpur, described as a small, town-like settlement, exudes a rural simplicity and charm, reminiscent of the "earthy scent of the village." The author finds this atmosphere a stark contrast to the "hustle and bustle" of his life in Delhi.

His visit coincides with the Poush Mela, a significant festival conceived by Gurudev's father and expanded by Gurudev himself. The fair is dedicated to promoting rural folk culture, music, and dance. The author is deeply impressed by the lively performances of Baul singers, Palli Geet, and Kavi Gaan, marveling at the festival's wholesome objectives and open environment that fosters "vitality, enthusiasm, and the communication of the best feelings." This contrasts sharply with the global atmosphere of unrest, terrorism, and violence he observes. The Poush Mela experience revitalizes him, allowing him to forget the surrounding negativity.

He then explores the "Rabindra Bhavan," where Gurudev's manuscripts, letters, and artwork are preserved by his son, Rathindranath Tagore. He also sees a large "Natya-ghar" (theater) and the renowned sculptures by Ramkinkar Baij. The art and architecture of places like Kala Bhavan and Sangeet Bhavan, along with works by artists like Nandlal Bose and K.G. Subramanyam, captivate him.

The author details his visit to "Uttarayan," a complex of five significant buildings (Udyan, Konark, Shyamali, Punashcha, and Udichi) set amidst beautiful gardens. He highlights the studio of Gurudev's son and daughter-in-law and the presence of valuable trees. He also mentions a simple building constructed to accommodate Mahatma Gandhi during his visit, emphasizing the architectural simplicity and the spiritual resonance of places like "Shal-veethi" where one can almost feel Gurudev's presence. He also notes the presence of a temple without any deity, but filled with profound peace.

The author draws a connection to the writings of Acharya Hazari Prasad Dwivedi, another influential figure associated with Shantiniketan and the first president of Hindi Bhavan, whose essays vividly described the local flora. He expresses his joy in realizing that Acharya Dwivedi, who enriched Hindi language and culture, was once the head of Hindi Bhavan.

His journey concludes with a visit to "Shri Niketan," founded by Gurudev for cottage industries. The author is impressed by the continued craftsmanship in pottery, textiles, and toys. He reflects on the monumental vision of one person and its realization, but also questions whether the institutions founded by Gurudev, especially after becoming a central university, still uphold those original ideals amidst bureaucracy and self-interest. Despite these concerns, he acknowledges the presence of "welfare-oriented waves" that remain.

The author leaves Shantiniketan with a heart full of emotion, humming the Baul song "Ekhono Elo Na Kaliya" as he gazes at the green fields, carrying the profound experience of this cultural and spiritual sanctuary. The text implicitly highlights the Jain value of striving for knowledge and artistic expression, even in the face of adversity, and the search for spiritual and cultural sustenance.