आ गई मेरे जहाँ में
झूमती गाती बहार
हर किसी शै ने किया है
आज तो सोलह श्रृंगार

Stanza 1:
आसमां पर काले बादल
झूमते गाते चले
आज ख़ुशियों के दिये
चारों तरफ़ मेरे जले
गाती आई दूर से
ठंडी हवा मीठा मल्हार

Stanza 2:
कोई आया है यहां
रंगीन मौसम को लिए
झूमता है ये ज़माना
प्यार की मदिरा पिए
अहा! यह कैसा अनोखा
छा गया सब पर निखार

Stanza 3:
मैं तुम्हें सच-सच बता दूँ
बात क्या है, ऐ रफ़ीक़
आ गया प्यारा मसीह
दुनियां में जो सबका शफ़ीक़
इसलिए मैं गा रहा हूँ
गा रही है ये बहार.

Transliteration (English Script)

Aa gayi mere jahan mein
Jhoomti gaati bahaar
Har kisi shai ne kiya hai
Aaj toh solah shringar

Stanza 1:
Aasman par kaale baadal
Jhoomte gaate chale
Aaj khushiyon ke diye
Chaaron taraf mere jale
Gaati aayi door se
Thandi hawa meetha malhaar

Stanza 2:
Koi aaya hai yahan
Rangeen mausam ko liye
Jhoomta hai yeh zamana
Pyaar ki madira piye
Aha! Yeh kaisa anokha
Chha gaya sab par nikhaar

Stanza 3:
Main tumhe sach-sach bata doon
Baat kya hai, ai rafeeq
Aa gaya pyaara Maseeh
Duniyan mein jo sabka shafiq
Isliye main gaa raha hoon
Gaa rahi hai yeh bahaar.

Biblical Correlation

The lyrics mirror the prophetic joy found in the Old Testament and the fulfillment in the New Testament:

• Isaiah 35:1: “The desert and the parched land will be glad; the wilderness will rejoice and blossom.”²
• Luke 2:10: “But the angel said to them, ‘Do not be afraid. I bring you good news that will cause great joy for all the people.'”

Gemini said

Meaning and Context

This Urdu/Hindi Christian hymn celebrates the Incarnation of Jesus Christ. It uses classical poetic metaphors, such as the arrival of spring (Bahaar) and “sixteen adornments” (Solah Shringar), to describe the spiritual transformation of the world upon Christ’s birth. The song portrays Jesus not just as a religious figure, but as the “Beloved Intercessor” (Shafiq) who brings joy to all creation.

History and Authorship

While this song is a staple in North Indian and Pakistani Church traditions (often sung during Christmas or Easter), it is most famously associated with Raffi Peer (often attributed in hymnals) or traditional Urdu Ghazal-style compositions from the mid-20th century. It reflects the “Indo-Persian” style of worship music, where Christ is addressed using titles like Masiha (Messiah) and Shafiq (Kind/Intercessor).