Bade Mian Subhanallah: Sid Harth
chhotemianinshallah
kishoriray
July 21, 2007
A Thumri. Ustad Bade Ghulam Ali Khan can be described as an artiste
who has had the maximum impact on the 20th Century Hindustani
Classical Music scenario. Born in 1902 into a great musical
lineage...
A Thumri.
Ustad Bade Ghulam Ali Khan can be described as an artiste who has had
the maximum impact on the 20th Century Hindustani Classical Music
scenario. Born in 1902 into a great musical lineage from Kasur in the
Western Punjab, this great savant amalgamated the best of four
traditions; his own Patiala - Kasur style, sculpturesque Behram Khani
elements of Dhrupad, the intricate gyrations of Jaipur and finally the
robust behlavas (embellishments) of Gwaiior. But what actually
characterised Bade Ghulam Ali Khan was an effervescent melodic quality
which was concertised in a masterly flow of ideas which were delivered
with a unique sense of alacrity, aided by one of the most pliable and
dextrous voices ever heard in living memory in this land.
Bade Ghulam Ali Khan had a relatively short career span. He blazed the
trails of Calcutta in 1938 and in the 1944 All India Music Conference
in Bombay, was virtually anointed Lord of all he surveyed in the field
of Indian Music. But 24 years later, he was dead, prematurely at 66,
having given the World less of himself than it would have wished to
have. The maestro's approach to khyal was essentially traditional - as
seen in the medium pace of his vilambit Khayal presentation and his
style of straightforward sthaibharana avoiding permutations. The
character of his Gayaki was derived from an inclination towards
looking beyond the traditional method of intoning a Swara to discover
unchartered facets of beauteous melody, often achieved by very subtle
inflexions of notes. This approach was bom of a mind which always
strove to find that beauty in Indian Music which went beyond the Raga
itself. For Bade Ghulam Ali Khan, 'Taleem' was but a means to a
greater end where sheer melody and freedom of movement became unified
His music was the joyous expression of an unfettered musical psyche.
In 'Thumri', Bade Gliulam Ali Khan looked beyond the tradition of bol-
banav where verbal and musical expressions are unified. He saw in
Thumri an avenue for playing with notes with even greater abandon than
was possible in the raga-restrained Khayal. From this perspective was
born the now well-established Punjab-ang of Thumri.
Category: Music
Tags: Ustad Bade Ghulam Ali Khan Bihag indian classical
music kasur patiala gharana india vocal maestro
Ustad Bade Ghulam Ali Khan - Raag Bihag, drut, teental
10:13
Added: 2 years ago
From: kishoriray
Views: 48,798
All Comments (47 total)
peddammayi (4 weeks ago) Only Pandit Bhimsen Joshi reaches close to
this genius Given the poor quality of audio recordings and? the
constraints of those times this music is excellence unparalleled
because of the product of this Tansen!
only someone that loves the experimentation and strive to excel with
reverence forn those tarditions that made the civilization great can
deliver so
farhanakhtermalik (1 month ago) this videos is? great
blueunknown (2 months ago) You have given me a great treasure.. i have
slept many? nights listening to these songs when i was still a boy...
A big salute
Gulchean (2 months ago) now this is fitting? me
TheSuperunique (2 months ago) A great artist-a? legend unparalled
kaliraat1 (2 months ago) i cant find ustadjees song sawan ke pade
jhooley? tum bhool gaye humko hum tum ko naheen bnooley.can someone
help .iam desperate
ainwee (1 month ago) I paste the link of the song here but they won't
post it. If you tell me your e-mail? address I can send you the links
of baghon main paray jhoolay
SMADHAV701 (4 months ago) Talking of boundaries, the great man is
himself a great example of someone who could not be confined by any
boundary - neither geographically nor in? hid music! The exquisite
softness and suppleness of his voice is in sharp contrast with his
physique as well as his overpowering mustache. Not the unilinear,
slowly unfolding melody of Kirana or Jaipur; nor the gusto and power
of Agra. Rather what we have is an irreverent finesse and delicateness
that pervades the performance from start to finish.
coolSachin1000 (5 months ago) Marked as spam Wah Kya baat hai? !!
ShahSafdaKhan (7 months ago) Kishor ji khush raho? ..... aabaad raho
yogesh922 (8 months ago) God Bless you Kishori Ray for bringing
Evergreen and Everlasting music of Khan Saheb to real lovers of
Classical music with little access to costly CDs. God bless you.
Please continue your prayers by giving such music to all on U Tube.
Thanks to U tube for helpingthe people to upload? such great work.
Yogesh
holikarang (1 month ago) it's not about the cost, some vintage audios
are not easily available? on the market...
jaipilot747 (9 months ago) Can someone tell me the starting line? of
this song. Am trying to get the lyrics of this piece but do not know
what to search for .
ajitmonika (9 months ago) waaah kishori ji .....raag bihaag ....one
of the best raagas.......i heard this bandish from ajoy chakravarty
ji....he is a true disciple of patiala gharana .superb music superb
recording n sound quality thanks again kishori ? ji may god bless you
Zillzeba (9 months ago) ohmigod! this dude truly puts everyone to
shame. look at that tash! fookin hell,? that must have taken ages to
style. 'Take my voice if you must, but spare the tash'!!!!
luvdasitar (11 months ago) Will the usual idiots from India and
Pakistan keep? their feud to cricket and other such useless videos. Do
not bring your idiocy to classical music. Music and musicians know no
religion.
kishoriray (11 months ago) yes, u are right, please always? mark such
comments as spam since i am not always able to be online. thanks.
gulabh (9 months ago) I strongly? agree. Art has no boundaries. Idiots
stay away from killing art.
supamaka (5 months ago) Well said, the best place for them is? only
those cricket videos and idiotic Bollywood crap, this kind of music
has no boundaries of nation and religion.
pumas123in (11 months ago) will someone give me the lyrics of this
thumri...and I can enjoy? this twice as much i do now...
tvwala (11 months ago) Marked as spam Very funny...eh? Dont? forget
that in this country of "killers" we are preserving your temples like
our own mosques...
2beeNot2bee (1 year ago) Ustad Bade Ghulam Khan was not only the
greatest classical singer in the history of? India, but he a saintly
human being. Went to Pakistan and the muslims there wanted to rename
the Hindu ragas. No wonder Ustad-ji returned home. He will always live
in my heart. My father had the honor of listening to him live in
Mumbai.
kianwar (11 months ago) Ustad Bade Ghulam Ali Khan belonged to Kasur.
Incidently Kasur is also the birth place of Noor Jehan. Kasur is about
30 miles from Lahore.
Ustad ji and his family settled in Lahore. In the early years Ustad ji
used to play Sarangi
with a famous mujra singer Neti(Inayat)bai Dhero wali. He alongwith
his brother? Ustad Barkat Ali Khan, like all other great singers,
used to live in Heera Mandi, the red light area. In the evenings he
used sing siting on his charpai wearing just a dhoti in open air.
jpandyaraja (1 year ago) thanks kishori , ? this is amrit.....jr
WajidJawad (1 year ago) What agreat performance. Wish if we could see
him? singing too. Thanx You tube
bewwak (1 year ago) lagu nie boleh wat lagu? tema JOM HEBOH
nie!!!!!!!!!
abch934 (1 year ago) amazing! can anybody pls tell? me whr i can
dwnload his mp3s
kishoriray (1 year ago) Lots? of mp3 u can get from sarangi info.
Here on youtube are also some life videos of him called 'sankha
chatterjee honors Ustad Bade Ghulam Ali Khan...' I have uploaded many
recordings into my multiply.
tvwala (11 months ago) I? convert these songs into mp3 before keeping
in my collection. Very easy. Get a software of ToTal ViDeo Converter
for your PC.
neerajkorde (2 years ago) munawarji's tans are super smooth.?
smoothest I have seen.
manavk (2 years ago) Superb ? - kishoriray ji your efforts are much
appreciated :)
aloneinamerica (2 years ago) thanks for sharing this treasures
combination of Ustad ji's? vocal and historic pictures.
shabaash (2 years ago) Such genius...listening to this brings on? a
feeling of ecstacy.
tanveerkhan83 (2 years ago) nice? video
2beeNot2bee (2 years ago) amazing!?
boiragirules (2 years ago) Aha....Bade Gulam Ali Khan Sahib used to
like Sandhya Mukherjee a lot. Aha..whoever posted this .whoever you
are.......please? live forever.
kishoriray (2 years ago) Thanks a lot, I am a bit sad because somehow
I am not anymore able? to upload anything to youtube since last 14
days, whatever I try... i posted one more clip of Ustadji on Google
video. It is Raag Bageshree, a live recording in Drut teental. I hope
the problem here would be solved soon, that I can post more and more
clips.
Sharadbuva (2 years ago) All these maestros regardless of their
religions? should be addressed with due respect. Without a mandatory
prefix like Ustad/ Pandit their names should not be quoted. Even a
relatively new singer or artist before presenting himself/herself
undergoes tremendous hard work, if anything at least we should respect
their efforts.
2beeNot2bee (2 years ago) wow!?
amitrdm (2 years ago) Many Thanks for uploading the golden
material.Great? job kishoriji!
gemini8322 (2 years ago) I was finding these Raagas by Bade ghulam
ali khan sahab and Ustad Aamir? khan when i was in india .... but cud
not find them....i am so glad that i cud find them here ..thanks to
youtube and thanks for uploading Kishoriray....
neerajkorde (2 years ago) you can post longer videos? on google video
and if you can post the lyrics that will be great. Great work !
kishoriray (2 years ago) thanks for ur comment, ya i did post longer
clips on google under kishoriray, takes many hours to upload... but my
clips are of course not real videos but slides. I am very happy when I
see that u? and others like it.
abidkamal2007 (2 years ago) very good? vedio and also music
us29142 (2 years ago) amazing. Thank? you.
amitananda (2 years ago) Excellent? recording.commendable
amitananda (2 years ago) Thanks for your videos.Shall be grateful if
you can post rare pieces of Great masters like
Kesarbai,kishori,Mangubai,Ajoy ? chakra,veena Sahashrabudhe,Prabha
Atre,Ashwini,Paluskar,Rajurkar of greater duration,10+ mnts.
kishoriray (2 years ago) I would like to, but to upload more than? 10
minutes is not allowed here, secondly, the upload time for me is
several hours, plus the buffering time takes very long for ppl. with
slower connections...
vineymehra (2 years ago) aap jo bhi kar sakte hai please do it,it
thrills millions and? new generations must know our heritage
despo6 (2 years ago) wow ...thanks a lotttt?
nrityadasi (2 years ago) What a treat! I could not stop listening.?
WHo would have thought just a few years ago that we will be able to
enjoy such memorable compositions of late maestroes.Thanks Thanks
thanks
kathaw6 (2 years ago) just brilliant thanks? for posting.
http://www.youtube.com/watch?v=sW26Nxd23oE
...and I am Sid Harth
chhotemianinshallah
kishoriray
July 06, 2007
Ustad Bade Ghulam Ali Khan & Ustad Munawar Ali Khan
Ustad Bade Ghulam Ali Khan was mostly accompanied by his son,
Ustad Munawar Ali Khan, the last track is by him, Raag Desh.
The other tracks: 1...
Ustad Bade Ghulam Ali Khan was mostly accompanied by his son, Ustad
Munawar
Ali Khan, the last track is by him, Raag Desh.
The other tracks:
1. Mahadeva Maheshwara, in Raag Bhupali
Dev Maheshwar Mahadev
...Trishul dharan tribhuvan chakra Ganesh
Inke Jag Bandan, Mahadev
Paanch dev panchanan poojat
Abir Kapur Anwahi nirvan
Bel Patra son chandan kamalapati kar, Mahadev...
2. a thumri: "Paniya Bharne Kaise Jaun,Bech me Thari Krishna Kanhaiya.
" radha went to river to fetch water but she couldnt go as krishan ji
was
standing in between..and she got stuck there..
it's a thumri in Raag Khamaj although it has elements of Bihag.
3. Ustad Munawar Ali Khan - Raag Desh
Kari Ghata ghir aayi re sajani (Black clouds are surrounding us
DEAR),
Chauk padi, piya bin dar lage (I am surprised, I feel scared without
my sweetheart),
Bijali chamake, chamak darawe (Lightening strikes and scares me),
Un bin mohe nind na aawe (I cannot sleep without my sweetheart)
Ustad Bade Ghulam Ali, one of the greatest singers of all times,
was capable of weaving a magic spell with his swaras and taans.
He had once said: "My throat is like a paint brush
and I paint on the waves of wind with my voice. The swaras -- the
notes of the raga -- are my colours. It is like a painting
created in the air, which is my canvas."
He inherited the formidable musical parampara (tradition)
of Punjab that encompassed the Hindu, Muslim and Sikh religions.
Saint Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)
is sung even today, was buried in Kasur, Ghulam Ali's
birth place. The shepherds, wandering in the hills,
sang in praise of Hazrath Ali andHussain -- grandsons
of Prophet Muhammad -- in melodies akin to classical Indian
ragas. The shabads and qawwalis of the Sikhs
were often based on ancient Dhrupads
and Khayals, again Indian classical ragas.
In the biography of Bade Ghulam Ali Khan, authors Malti Gulani
and Quratulain Haider have paid a rich tribute to the maestro.
Ghulam Ali's uncle and guru, Ustad Kale Khan,
was himself trained in the Patiala school of music
(Patiala gharana); he taught the young Ustad
simple compositions. In 1911, Ghulam Ali accompanied
Kale Khan to Delhi, at the age of 9, and watched him
perform at the 'Dilli Darbar'. Thus began the grooming
and development of the musicalpersonality of the young
disciple, alongside rigorous taleem (training) under
his uncle's baton. Later after a brief acquaintance with
Lucknow and its highly refined soirees, Ghulam Ali returned to
Lahorewith his father and resumed his nightly riyaaz (practice)
on the banks of the river Ravi. Singing all night not only developed
his stamina, but also gave him the rare sensitivity to gauge the
external
response. In 1932, he lost his wife Allah Jiwai. His grief, poured
into
melody, gave birth to the immortal thumri: Yaad piya ki aye,
reflecting the very trauma of his heart.
On arrival in Mumbai in 1940, Ghulam Ali thrived under the
benign patronage of the noted singer Ganga Bai. A Sufi at heart,
he was once greatly moved by the poem
Hari Om Tat Sat, and rendered it musically in the haunting raga
Pahari. Years later, he explained, "God, Truth and Haq is one. I've
Allah in my mind when I sing these words...Different people
in the world have different names for the Supreme Being
who is 'One'. In 1947, he visited Afghanistan at the invitation
of King Zahir Shah and re-established the splendid
rapport in music between the Afghans and Indians,
where the Afghan string instruments like
Rabab and Santoor were part of the Hindustani
ensemble. Many Indian musical instruments still retain their
Persian roots, such as Tabla, derived from Persian tabl;
Sitar meaning seven strings and Dilruba
being a longer version of Sarangi.
The Partition in 1947 dealt a severe blow to the composite culture
of the Indian subcontinent. But Ghulam Ali at a concert organized
by Radio Lahore sang his own composition in raga Mian ki Todi:
Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In
1951, he was invited by Morarji desai to have Indian citizenship
and sing at concerts all over thecountry. According to the
cognoscenti,
earlier the Ustad's singing was like the sound of the waterfall
striking against the mountainside and rushing with great force
to mingle with the ocean; now it resembled the vast ocean itself
whose might and depth was unfathomable! In 1963, Ghulam Ali
shifted to Kolkata where he was frequently invited to sing
before highly appreciative audiences. He would say: Maharashtrians
are great connoisseurs of classical music, with their approach
being technical and academic. The exuberance, which the people
of Kolkata show, is characteristic of their emotional and artistic
nature!
Category: Music
Tags: Ustad Bade Ghulam Ali Khan Munawar India classical
music kasur patiala gharana mahadeva maheswara bhupali raaga
Ustad Bade Ghulam Ali Khan, Mahadeva Maheshwara in Bhupali
8:44
Added: 2 years ago
From: kishoriray
Views: 33,187
All Comments (36 total)
TheVitalstatistix (1 week ago) This brilliant Bhopali was originally
broadcast live over All India Radio and it was released from their
archives along with a fabulous rendition of Jaunpuri by HMV. The
thumri was recorded in the late 1960s just befor the great Ustad's
death and? released with AIR by T series.
Devanbhatt1 (2 weeks ago) Music is not? bounded..is like LOVE don't
matter who you are is just intoxication.
srtambe (3 months ago) For all those having views on? who should sing
bhajans, please listen to '' Hari Om Tatsat'' by Bade Gulam Ali khan
saheb. It is the ultimate bhajan
jpandyaraja (3 months ago) hear this and its like? the radiant LORD
MAHADEVA himself is standing in front of you , smiling
GoldenMusic92 (4 months ago) Show Hide Marked as spam Reply kya?
bhaaat
shayarsood (6 months ago) i love classical music. ustad ji ka jawab?
nahin.
saeed2r (7 months ago) real? sangeet
waln492 (11 months ago) why does it matter his race, religion, or
anything else? all? musicians respected Ustadji. from the South or
North of India , or from around the world and universe, he was
Superior.
tvwala (11 months ago) For years I was looking some collection? of
Ustad The Great...Thanks Kishoree jee... Iqbal Hasan from Pakistan
pakhrat1 (11 months ago) Kishoriray you are the bast thanks? for the
this high class music .
goongaparbat (1 year ago) This? song shows the secular nature of Ustad
Bade Ghulam Ali Khan
sightsandsoundsofpak (1 year ago) well i would say this shows the
secular nature of Islam since he was a Muslim. u can look at other way
and say many don't like music but there are always two sides of a
choin and people only look at the negative side? not the positive.
shammaan111 (1 year ago) kishoriray, Thanks for posting such a
wonderful video. Please let me know how can I have full version of?
mahadeve
kishoriray (1 year ago) sure, i have visit my in profile mentioned
website and get? many such tracks.
shammaan111 (1 year ago) Kishoriray, Thank you so much for your
response I appreciate your efforts to post such a rare collection of
Ustad bade Ghulam ALi? khan on you tube. I want to have full length
recording of mahadeva maheshwara. How can I have full length CD of
mahadeva maheshwara. Please let me know the link or guide me what to
do to get this full length CD of mahadeva maheshwara. I will wait for
your response.
Thank you
Shammaan
USA
globalempire (1 year ago) WoW
AskTamkin
London
jpandyaraja (1 year ago) God bless you? for posting this longer
version......jr
ujjayini26 (1 year ago) Thx? for posting it..its divine bliss
irfansufi (1 year ago) God? bless Kishori jee,Would love to hear his
bhajan,Hari Om tat sat,If u have it.
kishoriray (2 years ago) Ustad Bade Ghulam Ali Khan was born in Kasur
1902. We are here to appreciate and enjoy his unsurpassed voice and
personality of Khansaheb and his matchless contribution to Indian
Classical Music. Please do not engage? in any political or
nationalistic comments on this site. I would surely remove such
comment.Music is a realm without any borders, it is there to connect
ppl and worlds. I would surely remove such comment. Kishoriray
summelum (2 years ago) ... wonderful ... just wonderful ...?
sjaspal99 (2 years ago) God bless? u Kishori, I've learned to love
classical music just by listening to Badeji,how wonderful.
drrajesh97 (2 years ago) Even Mahadev must be? glad to hear this song
smartalec007 (2 years ago) Show Hide Marked as spam Reply Hey thanks,
Here's the lyrics for? the third you were asking for (Raag Desh)
Kari Ghata ghir aayi re sajani (Black clouds are surrounding us DEAR),
Chauk padi, piya bin dar lage (I am surprised, I feel scared without
my sweetheart), Bijali chamake, chamak darawe (Lightening strikes and
scares me), Un bin mohe nind na aawe (I cannot sleep without my
sweetheart)
kishoriray (2 years ago) I found only now the wonderful lyrics you
have kindly given and added it to my video description. I am very
grateful to you! If by chance, you could tell? the lyrics of any other
songs here on my channel, you are welcome! Regards, Kishori Ray
rashmiavin (2 years ago) It was my fortune to hear Ustad Saheh.? Have
you got his Hari Om Tatsat bhajan,
Best regards,
Dr.Badarinath
amitrdm (2 years ago) Kishori ...God bless you! You are spreading this
bliss? of Bade gulam ali sahab. I have no words how to thank you. Many
Thanks
shahraj12345 (2 years ago) he? was a THUNDERBOLT
shabaash (2 years ago) Music of great genius. Very fine sound
reproduction. Thanks so much.?
syeddanishmasood (2 years ago) respectable kishoriray! its? indeed a
pleasure to listen this nice musical ikon sing,
appatel (2 years ago) Indeed He was the Tansen of 20th Century
Hindustani Classic Music.
He? was BADE MIA !!!!!
shivak123 (2 years ago) Show Hide Marked as spam Reply wow. takes me
to a completely different plane .. music is divine.. music? is god.
RohitThakurBikaner (2 years ago) This is pure bliss!! Since I found
it here 3 days ago I have listened it more than 30 times and I just
can't stop. Blessed are? those, who witnessed the live performances
from Ustadji.
Thnks a ton , to Kishori for her great service.
kishoriray (2 years ago) I send u the link for the that song, did u?
get it? I have uploaded it on esnips.
GuidoSchiraldi (2 years ago) wah wah great! Thankyou, I used to
accompany Maheswara Mahadeva on sitar for a friend of mine (singer)
but never heard? it sung by Ubgak
very nice!
Guido
rajshail (2 years ago) Sure..this is your crystal clear nature in
allowing me to download videos which I'll certainly do. And forget
about Hindi...to me (and there shall be million others) music knows no
barriers of languages when we sense our blood is getting delight just
by hearing someone's voice, or strings of a specific instrument,? we
know that delight is above language, above religion, above race and
status. Thanks and will surely keep this thread to get the maximum
joy. Call me Raj if you don't mind.
rajshail (2 years ago) Madam...You know what you did by offering this
amazing treasure? Ustaad Bade Ghulam Ali...The GEM in galaxy of
Hindustani Classical Tradition. Unbelievable experience to watch the
Master with that rendering and interviews. The seniors in my house
were literally weeping like a baby when they witnessed one and only
Ustaad..."Thanks" is the word for tendering appreciation; but I
sincerely know? its not enough to describe my elation...Still thanks
Madam.
kishoriray (2 years ago) Dear rajshail, i am very happy to know this.
I am a newcomer, not even indian, but im obsessessed about ustadji. if
i would know hindi i could add undertitles...at least hindi knowing
people can understand the words, but i think the whole world should
get this treasure one day.? Of course just to hear Ustadji sing and
talk, even without knowing hindi, is thrilling enough at least that's
what i think. I added one more new clip yesterday.
sabrang (2 years ago) kishoriray, You are doing a great service? to
all rasikas. God bless you and kindly post more on this great man with
a God like voice. Thanks again!
kishoriray (2 years ago) Dear Sabrang, thanks for u kind words, i am
now posting a new one mian ki todi and bihag enveloping an
interview... sorry i dont know hindi, otherwise i would? give english
undertitles... thank u!
sitariya (2 years ago) Show Hide Marked as spam Reply Awesome. Thanks
for sharing?
kishoriray (2 years ago) Thanks for ur appreciation. I love that song
and i find if amazing how Ustadji presents it. His son had? really
inherited so much from his great father.
http://www.youtube.com/watch?v=tKrJNx6e_pY&NR=1
chhotemianinshallah
kishoriray
February 04, 2008
The Legend, Ustad Bade Ghulam Ali Khansaheb singing two very famous
thumris: 1. Aaye Na Baalam 2. Yaad Piya Ki Aaye [Note:although is is
already in my channel, I had to upload it again.] Ustad Ba...
The Legend, Ustad Bade Ghulam Ali Khansaheb singing two very famous
thumris:
1. Aaye Na Baalam
2. Yaad Piya Ki Aaye
[Note:although is is already in my channel, I had to upload it again.]
Ustad Bade Ghulam Ali Khan, inherited the musical parampara (tradition)
of Punjab that encompassed the Hindu, Muslim and Sikh religions.Saint
Hazrat Bulleh Shah, whose Sufiana Kalam (Sufi song)is sung even today,
was buried in Kasur, Ghulam Ali's birth place. The shepherds,
wandering in the hills,sang in praise of Hazrath Ali andHussain --
grandsons of Prophet Muhammad -- in melodies akin to classical Indian
ragas. The shabads and qawwalis of the Sikhs were often based on
ancient Dhrupads and Khayals, again Indian classical ragas. In the
biography of Bade Ghulam Ali Khan, authors Malti Gulani and Quratulain
Haider have paid a rich tribute to the maestro.Ghulam Ali's uncle and
guru, Ustad Kale Khan,was himself trained in the Patiala school of
music (Patiala gharana); he taught the young Ustad simple
compositions. In 1911, Ghulam Ali accompanied Kale Khan to Delhi, at
the age of 9, and watched him perform at the 'Dilli Darbar'. Thus
began the grooming and development of the musicalpersonality of the
young disciple, alongside rigorous taleem (training) under his uncle's
baton. Later after a brief acquaintance with ucknow and its highly
refined soirees, Ghulam Ali returned to Lahorewith his father and
resumed his nightly riyaaz (practice)on the banks of the river Ravi.
Singing all night not only developed his stamina, but also gave him
the rare sensitivity to gauge the external response. In 1932, he lost
his wife Allah Jiwai. His grief, poured into melody, gave birth to the
immortal thumri: Yaad piya ki aye,reflecting the very trauma of his
heart. On arrival in Mumbai in 1940, Ghulam Ali thrived under the
benign patronage of the noted singer Ganga Bai. A Sufi at heart, he
was once greatly moved by the poem Hari Om Tat Sat, and rendered it
musically in the haunting raga Pahari. Years later, he explained,
"God, Truth and Haq is one. I've Allah in my mind when I sing these
words...Different people in the world have different names for the
Supreme Being who is 'One'. In 1947, he visited Afghanistan at the
invitation of King Zahir Shah and re-established the splendid rapport
in music between the Afghans and Indians,where the Afghan string
instruments like Rabab and Santoor were part of the Hindustani
ensemble. Many Indian musical instruments still retain their Persian
roots, such as Tabla, derived from Persian tabla;Sitar meaning seven
strings and Dilruba being a longer version of Sarangi.The Partition in
1947 dealt a severe blow to the composite culture of the Indian
subcontinent. But Ghulam Ali at a concert organized by Radio Lahore
sang his own composition in raga Mian ki Todi:
Ab Mori Raam / Raam ri Daiyyan (Ram is my only solace). In 1951, he
was invited by Morarji desai to have Indian citizenship
and sing at concerts all over thecountry. According to the
cognoscenti,earlier the Ustad's singing was like the sound of the
waterfall striking against the mountainside and rushing with great
force to mingle with the ocean; now it resembled the vast ocean itself
whose might and depth was unfathomable! In 1963, Ghulam Ali shifted to
Kolkata where he was frequently invited to sing before highly
appreciative audiences. He would say: Maharashtrians are great
connoisseurs of classical music, with their approach being technical
and academic. The exuberance, which the people of Kolkata show, is
characteristic of their emotional and artistic nature!It is in Kolkata
that he took young Malti Gilani (singer and later his biographer) as
his gunda-bund shagird (committed disciple).
She has noted how the open house atmosphere prevailed at the Ghulam
Ali residence - reminiscent of the Sufi Khanas and hospices of the
Middle Ages. In such places -- as even in the Dargahs today -- a
cauldron of rice was always being cooked for the yraveller and food
distributed to the rich and the poor alike! In this respect, theSufis
of Islam, the Bhaktas of the the Vaishnava cult and the Catholic
mystics of the Medieval Europe - they all shared a similar spirit of
tolerance and bonhomie. After having accomplished a lot,
Ghulam Ali breathed his last in 1968 in Hyderabad -- far away from the
green wheat fields of Kasur on the eastern seaboard of India. That he
always took his listeners on an inward journey of musical
understanding and fulfillment remained true to his last day. This
biography provides an insight not only into the music of Ustad Bade
Ghulam Ali Khan but into the history of Indian classical music at
large. ***
http://www.youtube.com/watch?v=jCrzVn...
http://www.youtube.com/watch?v=-ZJlzg...
http://www.youtube.com/watch?v=IMQtmY...
Category: Music
Tags: indian classical music aaye-na-baalam ustadbade ghulam
ali khan
Ustad Bade Ghulam Ali Khan, Aye Na Baalam & Yaad Piya Ki Aye
6:52
Added: 1 year ago
From: kishoriray
Views: 76,696
All Comments (103 total)
Loading...guharup (2 weeks ago) i? back indian2music. wish you guys
understood the true gravity of the comments you just made.
desilva2007 (1 month ago) superb?
raychasa (1 month ago) Please please please never take down this?
video. I listen to it at least twice everyday ...
yahubeable (1 month ago) allla? wa akbar
Asiftabrez (1 month ago) Fantastic?
pritpalc (1 month ago) kehyal is the ferrari of? sangeet.
sahirdonsocomeon (1 month ago) more like? Bugatti?
avinashatkar (1 month ago) Heavenly voice. Bade Ghulam ali khan was
called modern time Tansen. Nobody can reach to his level. Thanks God
for creating such great human soul.?
nareramn (1 month ago) why i can? not download video
pathak3135 (3 weeks ago) u can download it .. i think? with real
player..
AllyAdnan (1 month ago) Subhanallah.?
BNBahadurMr (1 month ago) Show Hide Marked as spam Reply Kya baat?
hai, Sahab..Kya baat hai..BNB
khalidmehmoodjan (1 month ago) heard name of bade Saab and found its?
lovely fame in golden voice. wonderful. pukhtoon from peshawar.
jayshri1023 (2 months ago) OMG!!! Awesome...Sooo touchi.. no words 4
this..Heartly? salaam and namaskaar Ustad Bade Ghulam Ali Sahabji..
maito pagal ho jaungi bas..jayshri1023
ateeq637 (2 months ago) no word?
DEUTSCHLANDDUDE (2 months ago) thanks Kishoriji for these evergreen
masterpieces! Feels as is God had made Thumri specially for the ?
Ustad's voice, as a gift to him!
arvindpradhan (2 months ago) God (or Allah if you prefer)? threw away
the sancha after he made Bade Ghulam Ali Khan saheb. Nobody like him
ever! Sanskrit subhasheet "ne bhuto ne bhavishyati" was written for
Khan saheb.
Muneeb58 (2 months ago) In my very? short experience of listening of
classical I do not see any other like Bare Ghulam Ali khan sahib.But
it does not degrade the status of Ustad Amir Ali khan Sahib,Roshan Ara
begum like great legends and some others like them. Khan Sahib no
doubt was the authority.
peacock009 (3 months ago) These two masterpieces of thumris are only
to be heard to soothe your ears. It should never be tried by any
other? singer however good he may be. They are two rare exceptions.
Long live Ustad Bade Ghulam Ali Sahab.
kocha1 (3 months ago) Tears roll down ...what a song ..what a?
voice!
GoldenMusic92 (3 months ago) amazing!!!?
rajahpuri (3 months ago) wah wah wah? wah wah wah .....1000 billion
times just waah
kocha1 (3 months ago) No words to express...! A devine? ..truly!
masif322 (3 months ago) this is something? out of this world ------ I
have no words to describe its beauty and charm
TheVitalstatistix (4 months ago) Excellence beyond? words!
toshifaiz (4 months ago) Simply? Divine.........!!!!!!!!!
Sanghamitra2 (4 months ago) Excellent?
rajahpuri (4 months ago) this much perfection in a human voice seems
just impossible? ..God bless khan sahab
cirrhosed (4 months ago) Ka Karon Sajni Aaye Na Balam, Bhairavi
Yad Piya ke Aaye, Mand
I wish we could? have him again..!!
ribandarcho (4 months ago) Yaad Piya Ki Aaye is? based on Kaushik
Dhwani
kaneajit22 (3 months ago) agreed... how I wish? so..
Gautel99 (4 months ago) Simply Divine!!!
thanks? for uploading it
AkhtarNaqvi (4 months ago) Simply the best. Thanks a? lot for
uploading.
Arupkant (5 months ago) Best thumri ever? sung.
mintoocoolmenot (5 months ago) peerless......trascndent
voice.......divine? touch....magical lyrics........remarkable, mile
stone of indian music........hail bade ghulam ali sahab.......
astromystery (5 months ago) Divine singing. Thank you for sharing?
this.
mriftikharhussain (5 months ago) lord send this legend? again in this
world
nawabshaukat (6 months ago) god of? muzic
kocha1 (6 months ago) trully legend...?
computerwala (6 months ago) Ustad? Bade Mian dedicated this song to
his wife after she passed away: What shall I do friend? my lover did
not return X2. How will my nights pass without her? My lover did not
return. I cry for you did not return yesterday, I tremble for you did
not return yesterday. When I remember her words, she did not return,
what shall I do friend?
penta15786 (6 months ago) Kishori Ji - Madam Noor Jahan? was also a
Ganda Band shagird of the Late Bade Ghulam Ali Khan.
jsdivine (6 months ago) Millions Thanks Kishori jee. This is a divine
experience,? a small experience of heaven on this earth, all made
possible by your kind heart and generosity to share.
asimsah1 (6 months ago) lord? this is pefect
kuckudk (7 months ago) I am not conversant with classical music, I
can't differentiate Thumari from Khayaal. or Drupad from Tarana but I
love the classical singing of Ustaad Bade Ghulam Ali Khan.? There is
melody in his voice, the way he modulates his voice, is superb.
Kishori please categorise your uploads, according to time of the day,
they should be listened to, particularly in the morning..
raqib56 (7 months ago) ka karon sajni " aaey " na balam !!
( not aave).
yaad pia ki aaye, yeh dukh? saha na jaey
hai raam,
Bali umaria, sooni re sajaria,
joban bito jaey, hai raam,
Berri koyalia kook sunaey
mujh birhan ka jiara jalaey
aphi agan lagaey.
karygeniusinside (8 months ago) brilliant!! heart? touching!!
kbsanjay (8 months ago) thanks kishoriray for this divine song and
also for the information you have provided with? this.
munfaridh (8 months ago) .Lovely. It shows what levels the human
voice can rise to given the passion? and devotion to do so thnx 4
uploading
malikooo7 (9 months ago) wawo... khansahib ap ko salam.Allah ap? ki
qabr ko munavr kr dy
deepika0911 (9 months ago) Thanks for uploading?
sidzen1975 (9 months ago) Truly great singers/musicians can make? you
feel what they sing about. Ustad Bade Ghulam Ali Khan exemplifies
this! A gigantic, powerful voice that can be so gentle. Bliss.
Munibsamir (9 months ago) We can only read about Taan Seen in?
history but are very lucky that we can listen Great Ustad Bare Ghulam
ali Khan Sahib.Bundle of thanks for posting.
tamjeed91 (10 months ago) great? !!!! legend
drnavinsingh (10 months ago) sahirdon...... its "nis din" meaning
every day,? rest of the lyrics are spot on thanx
dams0001 (4 months ago) "nis? din" = night and day, right?
kashimonk (4 months ago) yeah, you are the meaning right.. 'nis din'
means? every day..
kiranabar (10 months ago) Reply Ah? ha!
meerji (10 months ago) Kya Baat Hai Bohat? Khoob Surat
peacock009 (11 months ago) These two masterpieces of ghazals sung by
the inimitable Bade Ghulam Ali? Khan sahab will live for thousands of
years, without a shadow of doubt. They can't be sung any better by any
other singer, present and future. My humble tribute to this great man.
Peacock009
taptijnu (10 months ago) These are thumris? according to BGAK's
interpretation .. not ghazals
peacock009 (10 months ago) Yes,? a slip on my part. They are indeed
thumris. . Before listening to this I was listening to a few ghazals
by Ghulam Ali. Hence this inadvertent lapse. Thanks.
SumerVsingh (11 months ago) Thanks for your contribution,? its a
treat to find these amazing pieces of the forgotten art. Blessed are
those who can understand it.
rajupowers (11 months ago) thanks for posting? this
sexibacha (11 months ago) great great great
thanks for sharing?
RockyCool7389 (11 months ago)I LOVED IT? !!! EXCELLENT, IT SENT
SHIVERS IN MY SPINE, Wow !!!!!!!!
sahirdonsocomeon (10 months ago) Same here !!!? Divine music!
sagharsarkar (1 year ago) FarhadTv ... ka karoon sajni aey na balam
tarpat beeti mori un bin ratyaan aye na balam rowat rowat kal nahi aye
tarap tarap mohe kal nahi? aaye nis din mohe birha sataey wad aawat
jab unki batyaan aye na balam ka karoon sajni
FarhadTv (1 year ago) The lyrics of this please? Can? u w
rite it for me? ANY1 PLEASE!!!
sahirdonsocomeon (10 months ago) Ka Karoun Sajni Aave Na Baalam,
Tarpat beeti mori un bin raatiean,aave na baalam.
Ka karouun sajni aave na balam.
Rovaat? roovat Kaal nahi aave,
Tarap tarap mohe ram kaal nahi aave,
is din(or some thing like that), birha satave,yaad avat jaab un ki
batiyan, aaave na balam.
Ka karoun sajni...
Hope it helps..Legendary BGAK!!!
FarhadTv (10 months ago) Thanks alot..? its appreciated
sahirdonsocomeon (9 months ago) No? PROB!
skdayal (9 months ago) "nis din mohe birha satave"
Yaad piya ki aye
According to his son Ustad Munnawar Khan he wrote? and sang this after
his wife's death.
sahirdonsocomeon (9 months ago) Thanks? man I didn't get that one LOL!
Its all about SUR with BGAK who cares about the lyrics(because most of
us never understand them)LOL...Thanks!
skdayal (9 months ago) The song was yaad piya ki aye. He wrte under
hispen name? "Sabrang".
sahirdonsocomeon (9 months ago) thanks.?
Psyche1954 (1 year ago) The great man's mastery is all too evident and
i now have this on my? iPod nano
dixitakash (1 year ago) popularized again by? ustad ajoy
chakarborthy
tapantabla (1 year ago) The tabla player on the 6:19 to 6:32 minutes
at the Tansen Samaroh in Kolkata is Ustad Ahmedjan Thirakwa(1880-1976)
and? not Prem Vallabh.
GaanerSA (1 year ago) No one will ever replace Ustad Bade Ghulam Ali
Khan's intricate and melodious voice. He can not? be compared with any
other ustad.
jimmynoor68 (1 year ago) wahhhhhhhhhhhhhhhhhhhhhh?
mohdrafihabib (1 year ago) Kya Baat Hai? One of the Gurus Of? Rafi
Sahab... Salaam hai Aapko...
kiranabar (1 year ago) Greatest musician of his time and one of the
greatest musician in the history of world music. Thanks? for posting.
AnInfant (1 year ago) Simply the best? Indian classical vocalist
ever!
AnInfant (1 year ago) Why would you need drugs (even alcohol), when
you have? bade ghulam ali's recordings to listen to?
rahmanforever (9 months ago) I couldn't agree more...his voice sure?
sends me into a trance.
PROSHAANT (1 year ago) Really I am lucky as? I have got access to
these clippings of Utadji, thegreat maestro. It seems that my
surroundings are singing with Utadji. Thanks...............Thanks.
goodboyla (1 year ago) we are..thats an indication of a musical
vocalist maestro...you are engulfed ..Bade Ghulam Ali's singing does
that to you...?
goodboyla (1 year ago) Listen and get stoned by it....what? magic
man !!
manukb123 (1 year ago) my thousand pranams to Ustadji -- maestro of
Indian Classical? Music.
KDKAPOOR (1 year ago) His music is to be heard not with our ears but
with our souls.?
sajjadpak (1 year ago) Superrrrrrrrrrrrrrrrrrrrrrrrrr
rrrrrrrrb!!!!!?
fetish420 (1 year ago) wah ustad ji koi? jawab nahi app ka
kumbher123 (1 year ago) aye na balm wah ji USTAD BRE? GHULAM ALI
KHAN ,ustad ko sun ker aisa he lagta hy k music yehan se shuru ho ker
yhan per hi khtam hojata hy ,
zingthing15 (1 year ago) Great!?
dundalkmd (1 year ago) This is the? zenith of music. No adjectives
are good enough.
Would like to get MP3 or CD>
alobela (1 year ago) Thanks thanks? thanks thanks ... Thanks for
posting 'aye na balam'.
Who could possibly imagine looking at his figure and that huge
mustache that he could sing a love song like aye na balam? !!
bathitman (1 year ago) alobela nice n natural? comments lol
hassnain87 (1 year ago) he was teacher of mhamad? rafi
hassnain87 (1 year ago) yaar he was king king kinng of kingsss?
sudhirbanerjee (1 year ago) Thanks a zillion for the? great
thumri.Everlasting favourate of all lovers of thumries& kayals.
MAILPINAK (1 year ago) Thanks? for taking pains to prepare this video
and providing information... The thumris are of course..Divine!
jayeshvpatil (1 year ago) One of the gods? of classical
singing...........thanks a lot...for the evergreen thumri's of the gr8
ustad
2beeNot2bee (1 year ago) oohh! amazing thumri...heard this many many
times? before..but it is as fresh as before.
http://www.youtube.com/watch?v=huhf7xBCIU4&NR=1
chhotemianinshallah
kishoriray
July 07, 2008
Part 1
http://www.youtube.com/watch?v=jCrzVn...
Part 2
http://www.youtube.com/watch?v=sTwNzy...
Part 3
http://www.youtube.com/watch?v=-ZJlzg...
Part 4
http://www.youtube.com/watch?v=rGc5Uo...
Part 5
http://www.youtube.com/watch?v=IMQtmY...
A clip found on Patrick Moutal's site:
http://www.youtube.com/watch?v=OL3VmT...
Category: Music
Tags: Ustad Bade Ghulam Ali Khan Naina more Thumri
Ustad Bade Ghulam Ali Khan - Naina more - Thumri
3:20
Added: 1 year ago
From: kishoriray
Views: 6,507
All Comments (13 total)
KALYANISUNIL (3 months ago) class act
thanx?
TheVitalstatistix (3 months ago) No words. Just feelings...a
lifetime? full of memories sparked by this divine voice. Thank you my
dear for uploading this invaluable bit of our national treasure. Bless
you!
irfansufi (4 months ago) Dear? Guharup,let us die the same day
guharup (4 months ago) Comment removed by author
shiva4ever (4 months ago) Superb! BGAK ji tugs at the heartstrings
again and again.? Mesmerising.
penta15786 (4 months ago) What great voice? and the words give the
complete picture of missing the beloved.
raqib56 (7 months ago) this is jangla bhainravi,
Kia? kehnay he, aisa koi nehin gasakta he,
Kash koi justify karay, what stemna,
naina moray taras gaey hein
aja balam pardesi.
arslanshah88 (8 months ago) wah wahhhhhhhh!!!!
he could mould his? voice to any mood
shardhaa (9 months ago) No match I dont think any body will sing like
this? LEGEND again.NOT ON THIS EARTH
puggu2008 (9 months ago) Thankyou ,Thankyou? , Thankyou
SHEELANDY (1 year ago) WHAT? A MELODIOUS THUMRI. GREAT GREAT.
Khayalpatiala (1 year ago) Just too good,getting? goosepimples.
goodboyla (1 year ago) Wah Re Wah...the great master at? work !!
http://www.youtube.com/watch?v=zJBgcGlJ9vQ&feature=related
chhotemianinshallah
kishoriray
July 07, 2008
Part 1
http://www.youtube.com/watch?v=jCrzVn...
Part 2
http://www.youtube.com/watch?v=sTwNzy...
Part 3
http://www.youtube.com/watch?v=-ZJlzg...
Part 4
http://www.youtube.com/watch?v=rGc5Uo...
Part 5
http://www.youtube.com/watch?v=IMQtmY...
A clip found on Patrick Moutal's site:
http://www.youtube.com/watch?v=OL3VmT...
Category: Music
Tags: Ustad Bade Ghulam Ali Khan Raag Darbari
Ustad Bade Ghulam Ali Khan - Raag Darbari
3:24
Added: 1 year ago
From: kishoriray
Views: 6,179
All Comments (7 total)
dreamblue4762 (1 month ago) vaah vaah kya? bhat hai subahn allah
creativeriz (2 months ago) A man who? is history ... True legend of
Classical singing.
adistar10 (6 months ago) AWESOME!!!!! .....tareef ko alfaaz mein
dhalna ustadji ki shaan mein gustakhi hogi...n can sum1 plz post d
lyrics? of dis divine composition.....cheers!
samydude (5 months ago) Waqaihi Bohat Aala ... Kaan itney PURE hi
nahin ka itni Buland awaz sun sakey.
A? true voice from heaven !
hajikulkul5 (10 months ago) These were The Legengs? who Kept music
alive in the most Orignal style
pappusenior (1 year ago) Ustad Jee, Aap Humari Jaan? Hain! Allah
Bakshay! Aaj Classical ka jitna shauq humain hai, Ustad Jee Ki Waja Se
Hai. Unmatchable Voice.
alihasnain (1 year ago) Bravo!?
http://www.youtube.com/watch?v=K2tSWuunG88&NR=1
chhotemianinshallah
kishoriray
July 07, 2008
Part 1
http://www.youtube.com/watch?v=jCrzVn...
Part 2
http://www.youtube.com/watch?v=sTwNzy...
Part 3
http://www.youtube.com/watch?v=-ZJlzg...
Part 4
http://www.youtube.com/watch?v=rGc5Uo...
Part 5
http://www.youtube.com/watch?v=IMQtmY...
A clip found on Patrick Moutal's site:
http://www.youtube.com/watch?v=OL3VmT...
Category: Music
Tags: Ustad Bade Ghulam Ali Khan
Ustad Bade Ghulam Ali Khan - Raag Hameer
8:25
Added: 1 year ago
From: kishoriray
Views: 6,678
All Comments (16 total)
Loading...786GuardianAngel (3 weeks ago) This was breathtakingly
beautiful. He makes every taan count for something new, creative, and
elegant.
If you have the rest of the performance can you please post it.
smukerji33 (1 month ago) Thank you Kishoriray...these are gems from
our musical heritage. If even a few listen to them through the
Youtube in todays time, it is a great service done to this age old
tradition. I congratulate you on your effort.
ashubhalaa (1 month ago) Can anyone please tell me in detail about
the Ragas Malhar and Deepak? My dad told me they have opposite
effects, but he also told me noone can sing these ragas in this age. I
would like to know why!
neerajamb (2 months ago) Kishoriray: I can't help but notice that
you have the most fantastic collection of audio and video gems! Thank
you so much for posting :)
computerwala (2 months ago) It seems that this artistic talent has
nearly dissappeared. Neither is it featured in notable gatherings nor
are there artists of this calibre available or visible. Perhaps the
next generation will see these songs as oddities. As the world moves
faster so do the musical beats, ever shouting, ever incoherent and
disturbing.
GoldenMusic92 (3 months ago) kya bhaat hai..
raqib56 (7 months ago) Raag Hameer ( panjabi/pahari bol)
o mian mandrah yaar
aawi'n mian mandarah yaar
there is another bandish by father & son
in Hameer,
Lat uljhi suljha ja re balam
pia moray hathon mein
mehndi lagi he
Kia kehnay he, subhanallah glorious !!
Great maestro of his gayaki (patiala)
sunithroy (6 months ago) that is a famous bandish in raag bihag
KhalidAsgharRadioPak (7 months ago) Accept my another salute once
again. This is another NOVEL up load by Kishoriray, the Legend
Classical artist Ustad Bade Ghulam Ali Khan. I am Former Station
Director, Radio Pakistan, Lahore. I have down loaded, using YouTube
Down Loader and saved in RealPlayer. Thanks a lot.
singerclas (1 year ago) Very heart warming and real. The music is as
expected of very high order. However, the RP combination in this raga
is new to me since it is commonly used in Kamod.
shadebard (10 months ago) This Re-Pa combination is not heard much
but it is orthodox and used mostly by musicians trained in dhrupad.
Once heard Ravi Shankar and his student Deepak Chowdhury use this
approach in a concert at Ashoka Hotel New Delhi in 1978/
amitrdm (1 year ago) thanks for uploading this clip.God Bless!
manavk (1 year ago) All Ustadji's recordings are awesome .. I
especially love this kind of tempo though = pure tingles and
goosebumps . Amazing stuff!
korektphool (1 year ago) i have him singing this same bandish in
concert, its wonderful stuff, but he sings it there as a drut (faster)
khyal
neerajamb (2 months ago) please post that!!
Antarblue (1 year ago) More REAL stuff! *****
http://www.youtube.com/watch?v=D3DhElXGZKQ&feature=related
chhotemianinshallah
kishoriray
July 07, 2008
Part 1
http://www.youtube.com/watch?v=jCrzVn...
Part 2
http://www.youtube.com/watch?v=sTwNzy...
Part 3
http://www.youtube.com/watch?v=-ZJlzg...
Part 4
http://www.youtube.com/watch?v=rGc5Uo...
Part 5
http://www.youtube.com/watch?v=IMQtmY...
A clip found on Patrick Moutal's site:
http://www.youtube.com/watch?v=OL3VmT...
Category: Music
Tags: Ustad Bade Ghulam Ali Khan Miyan ki malhar
http://www.youtube.com/watch?v=rb7Cc0RRG9U&feature=related
chhotemianinshallah
HitlerShah
December 28, 2008
Ustad Bade Ghulam Ali Khan sings the famous thumri "Anokha Ladla" in
Raag Darbari. Well actually its Darbari Kanada - a variation of Raag
Darbari.
Category: Music
Tags: Ustad Bade Ghulam Ali Khan Raag Darbari Anokha Ladla
Thumri Indian Classical
Ustad Bade Ghulam Ali Khan - Anokha Ladla (Raag Darbari)
3:19
Added: 1 year ago
From: HitlerShah
Views: 7,984
All Comments (13 total)
Loading...hitnag (15 hours ago) Excellent...thanks.
vineymehra (1 week ago) 3 minute ticket to god
ZemaKandahara2009 (1 month ago) wah kiya bat hai
SeaBreezeCenter (2 months ago) What a control ! No doubt he was the
best of all time classical singers.
BhuvaneshB (3 months ago) Darbari and Darbari Kanada are one and the
same.
leobabur (4 months ago) This is not indian classical, its from Khayal
e Ameer Khusroo, and we call it ahange khusruvi. There is alot of
difference in all these.
Munibsamir (6 months ago) Indian classical music has infinite depth
and needs more than a life time to reach on some ground.
Ustad Bare ghulam ali and ustad Amir khan sahib are the recorded
TanSen.There is no one who is better than them.Ustad Barkat ali khan
and Begum akhtar are best in thumri and ghazals.
manishgogna79 (6 months ago) wow Indian music has got authentic
feelings n melody and completely unbeatable
GoldenMusic92 (8 months ago) wahhhh
mysore18 (6 months ago) Show Hide +2 Marked as spam Reply wah ustad
wah
Munibsamir (10 months ago) Excellent,Wah wah
Thanks for posting
sahirdonsocomeon (10 months ago) Unbeatable!!!BGAK ROCKS!!!
luststone (11 months ago) Its "Raag Darbari",Some one can add a video
of "Raag Chinghar".
HitlerShah (11 months ago) i dont get what your saying...
http://www.youtube.com/watch?v=HuFLj2hWR7g&feature=related
bademiyansubhanallah
From Wikipedia, the free encyclopedia
The Patiala gharana is one of the most prominent gharanas of vocal
Hindustani classical music. It was initially sponsored by the Maharaja
of Patiala of Punjab, which was famous for ghazal, thumri, and khayal.
History
The Patiala Gharana was founded by Ustad Fateh Ali Khan and Ustad Ali
Baksh Khan.
This school of music has had a number of famous musicians, many of
whom came to be patronised by the royal family of Patiala after the
disintegration of the Mughal Empire at Delhi in the 18th century.
The Patiala gharana tends to favor pentatonic ragas for their
ornamentation and execution of intricate taans. Ektaal and Teentaal
are the most common taals chosen by members of this gharana. Besides
khyal, thumri singing is emphasized.
This gharana has been criticized by purists, who say it overuses
ornaments and graces without considering the basic nature and mood of
the raga, as exemplified by Bade Ghulam Ali Khan's quick ascent
through the octave in his rendering of Darbari.[1]
Blood-Relative Members in Patiala Gharana
1. Ustad Ali Baksh Generale - Son of Mia Kalu ji
2. Ustad Akhtar Hussain Khan - Son of Ali Baksh Generale
3. Ustad Amanat Ali Khan
4. Ustad Fateh Ali Khan
5. Ustad Hamid Ali Khan
6. Ustad Amjad Amanat Ali Khan
7. Ustad Asad Amanat Ali Khan
8. Shafqat Amanat Ali
9. Rustam Fateh Ali
10. Sultan Fateh Ali
11. Ustad Gohar Ali Khan
12. Johar Ali Khan
13. Ajmal Ali Khan
14. Nazakat Ali Khan
15. Nadeem Ali Khan
16. Asif Ali Khan
17. Ali Khan
18. Wali Khan
19. Ustad Fateh Ali Khan (Cornnel)
20. Ashique Ali Khan
21. Ustad Baakar Hussain Khan (from Maler Kotla, Punjab)
22. Abdul Rehman Khan
23. Sharafat Hussain
Leading exponents in alphabetical order
Abbas Ali Khan
Ajoy Chakraborty
Akhtar Hussain
Ali Baksh
Asad Amanat Ali Khan
Bade Ghulam Ali Khan
Begum Akhtar
Dayal Thakur
Dilshad Khan, husband of Parveen Sultana
Ghulam Ali
Hamid Ali Khan
Jagdish Prasad
Johar Ali Khan
Lakshmi Shankar
Mazhar Ali Khan and Jawaad Ali Khan Grandsons of Bade Ghulam Ali Khan
Meera Banerjee
Munawar Ali Khan
Munni Begum
Naina Devi
Nirmala Devi
Parveen Sultana
Prasun Banerjee
Rajinder Singh
Raza Ali Khan
Sabar Koti
Sanjukta Ghosh
Ustad Mohammad Hussain Sarahang From Afghanistan
Sher Ali Sher
Ustad Amanat Ali Khan and Ustad Fateh Ali Khan
Ustad Gohar Ali Khan
Ustad Mohammed Hussain Sarahang
Vasantrao Deshpande
External links
Patiala Gharana Classical Music Academy
About Patiala Gharana
References
^ Bagchee, Sandeep (1998). Nād: Understanding Rāga Music. BPI (India)
PVT Ltd. p. 182. ISBN 81-86982-07-8.
http://en.wikipedia.org/wiki/Patiala_gharana
bademiyansubhanallah
From Wikipedia, the free encyclopedia
This article needs additional citations for verification.
Please help improve this article by adding reliable references.
Unsourced material may be challenged and removed. (June 2009)
Bade Ghulam Ali Khan
Background information
Also known as Sabrang
Born c. 1902
Origin Kasur, Punjab
Died April 1968
Hyderabad, India
Genres Indian classical music
Occupations singer
Years active 1920–1967
Labels HMV, Times Music
Ustad Bade Ghulam Ali Khan (Devanagari: बड़े ग़ुलाम अली ख़ान,
Shahmukhi: بڑے غلام علی خان, Urdu: بڑے غلام علی خان) (c. 1902 – 25
April 1968) was an Indian classical singer. Khan is considered to be
an important representative of the Hindustani music tradition in the
early and mid 20th century. He belonged to the Patiala Gharana of
Hindustani classical music.[1]
Khan was awarded the Sangeet Natak Akademi Award and the Padma Bhushan
in 1962.[2][3]
Early life and background
Bade Ghulam Ali was born in Kasur, Punjab, Pakistan.[4] His father was
a famous singer, Ali Baksh Khan, in a West Punjabi family of musical
heritage.
At the age of seven, he learned sarangi and vocal from his paternal
uncle Kale Khan, who was a singer, and after his death he trained
under his father.[5] He also took vocal lessons from Baba Shinde Khan.
Singing career
Khan started his career by playing sarangi. He became popular after
his debut concert in Kolkata. By 1944, in the age of personalities
like Abdul Karim Khan, Alladiya Khan and Faiyaz Khan, he was
considered by many to be the uncrowned king of Hindustani music.[6]
Khan amalgamated the best of four traditions: his own Patiala-Kasur
style, the Behram Khani elements of Dhrupad, the gyrations of Jaipur,
and the behlavas (embellishments) of Gwalior. His voice had a wide
range, spanning three octaves, effortless production, sweetness,
flexibility and ease of movement in all tempi.[7]
After the partition of India in 1947, Khan returned to his home in
Pakistan, but returned to India later to permanently reside there. He
did not approve of the partition, stating: "If in every home one child
was taught Hindustani classical music this country would never have
been partitioned." In 1957, he acquired Indian citizenship and lived
at various times in Lahore, Bombay, Calcutta, and Hyderabad.
He was reluctant to sing for films, but sang two songs based on ragas
Sohni and Rageshree for the 1960 film Mughal-e-Azam, in which his
voice was represented as Tansen's by the music director Naushad. To
dissuade Naushad, he demanded a high price, reportedly Rs. 25,000/-
per song, when the rate for popular playback singers such as Lata
Mangeshkar and Mohammed Rafi was below Rs. 500/- per song.
Khan was married to Ali Jiwai, who died in 1932. Khan's son, Munawar
Ali Khan (1930-1989), was a classical singer. His grandson, Raza Ali
Khan, is also a Hindustani classical singer.
Khan died in Hyderabad at Basheerbagh Palace in 1968, after a
prolonged illness which left him partially paralyzed in his last
years. He continued to sing and perform in public with the support of
his son Munawar until his death.
The legacy
Today, the Bade Ghulam Ali Khan Yaadgar Sabha, founded by his disciple
Malti Gilani, keeps his music and memory alive. It aims to promote
Hindustani classical music and organises many concerts to this end.
Its primary aim, however, is to provide medical aid to ailing
musicians. The Sabha organises a Sabrang Utsav every year in the
memory of the maestro. Under his pen name, Sabrang, Khan left numerous
compositions.
Discography
Mehfil - Ustad Bade Ghulam Ali Khan - Times Music
Golden Milestones - Ustad Bade Ghulam Ali Khan
Classical Vocal - Ustad Bade Ghulam Ali Khan
Footnotes
^ http://www.hindu.com/mp/2007/11/12/stories/2007111251220800.htm
^ "Sangeet Natak Akademi Awards - Hindustani Music - Vocal". Sangeet
Natak Akademi.
http://www.sangeetnatak.org/sna/awardeeslist-music.htm. Retrieved
2009-09-18.
^ "Padma Awards". Ministry of Communications and Information
Technology).
http://india.gov.in/myindia/advsearch_awards.php?start=0&award_year=&state=&field=3&p_name=Ghulam&award=All.
Retrieved 2009-05-16.
^ http://www.dailytimes.com.pk/default.asp?page=story_2-1-2003_pg3_2
^ World Music, The Rough Guide Volume Two; London, 2000; pg. 92
^ Bade Ghulam Ali Khan - Tribute to a Maestro
References
Manuel, Peter L (1990). Ṭhumrī in historical and stylistic
perspectives. Motilal Banarsidass Publisher. ISBN 9788120806733.
http://books.google.com/books?id=PlNShmx3x68C.
External links
http://www.hinduonnet.com/fline/fl1915/19151250.htm
http://en.wikipedia.org/wiki/Bade_Ghulam_Ali_Khan
bademiyansubhanallah
From Wikipedia, the free encyclopedia
Hindustani classical music (Hindi: हिन्दुस्तानी शास्त्रीय संगीत, Urdu:
ہندوستانی شاستریہ سنگیت) is the Hindustani or erstwhile North Indian
style of Indian classical music. Originating in the Vedic period, it
is a tradition that has been evolving from the 12th century AD, in
what is now northern India, Bangladesh, and Pakistan, and also Nepal
and Afghanistan, and is today one of the two parts of Indian classical
music, with the other one being Carnatic music, which represents the
music of South India.
Indian classical music
Indian classical music has a rich tradition.Indian Classical Music is
one of the oldest unbroken musical traditions in the world. It is
believed that it is originate from the Vedas (ancient scripts of the
Hindus) and then developed through a complex interaction between
different peoples of different races and cultures. Indian classical
music has great potential. It can heal hearts and minds.
There are two main elements of indian classical music are raag and
taal.
The tradition was born out of a cultural synthesis from several
musical streams: the vedic chant tradition dating back to
approximately one thousand BCE[1], the equally ancient Persian
tradition of Musiqi-e assil, and also existent folk traditions
prevalent in the region. The terms North Indian Classical Music or
Shāstriya Sangeet are also occasionally used.
It is traditional for performers who have reached a distinguished
level of achievement to be awarded titles of respect; Hindus are
usually referred to as Pandit and Muslims as Ustad. An interesting
aspect of Hindustani music going back to sufi times is the tradition
of religious neutrality: Muslim ustads singing Hindu bhajans, or vice
versa.
Around the 12th century, Hindustani classical music diverged from what
eventually came to be identified as Carnatic classical music. The
central notions in both these systems is that of a melodic mode or
raga, sung to a rhythmic cycle or tala. The tradition dates back to
the ancient Samaveda, (lit. sāma=ritual chant), which deals with the
norms for chanting of srutis or hymns such as the Rig Veda. These
principles were refined in the Natyashastra by Bharata (2nd-3d c. CE)
and the Dattilam (probably 3d-4th c. AD)[2].
In medieval times, many of the melodic systems were fused with ideas
from Persian music, particularly through the influence of sufi
composers like Amir Khusro, and later in the Moghul courts. Noted
composers such as Tansen flourished, along with religious groups like
the Vaishnavites. After the 16th century, the singing styles
diversified into different gharanas patronized in different princely
courts. Around 1900, Vishnu Narayan Bhatkhande consolidated the
musical structures of Hindustani classical music into a number of
thaats. In the 20th century, Hindustani classical music has become
popular across the world through the influence of artistes like Ravi
Shankar, Ali Akbar Khan and many others.
Indian classical music has seven basic notes, Sa Re Ga Ma Pa Dha Ni,
with five interspersed half-notes, resulting in a 12-note scale.
Unlike the 12-note scale in Western music, the base frequency of the
scale is not fixed, and intertonal gaps (temper) may also vary;
however, with the gradual replacement of the sarangi by the harmonium,
an equal tempered scale is increasingly used. The performance is set
to a melodic pattern called a raga (also spelled as raag)
characterized in part by specific ascent (Aroha) and descent (Avaroha)
sequences, which may not be identical. Other characteristics include
King (Vadi) and Queen (Samavadi) notes and characteristic phrases
(Pakad). In addition each raga has its natural register (Ambit) and
glissando (Meend) rules, as well as features specific to different
styles and compositions within the raga structure. Performances are
usually marked by considerable improvisation within these norms.
History
Music was first formalized in India in connection with preserving the
sruti texts, primarily the four vedas, which are seen as apaurasheya
(lit. un-created by man). Not only was the text important, but also
the manner in which they had been enunciated by the immortals. Prosody
and chanting were thus of great importance, and were enshrined in the
two vedangas (bodies of knowledge) called Shiksha (pronunciation,
chants) and Chhandas (prosody); these remained a key part of the
brahminic educational system till modern times. The formal aspects of
the chant are delineated in the Samaveda, with certain aspects, e.g.
the relation of chanting to meditation, elaborated in the Chandogya
Upanishad (ca. 8th c. BC). Priests involved in these ritual chants
were called Samans and a number of ancient musical instruments such as
the conch (shankh), lute (veena), flute (bansuri), trumpets and horns
were associated with this and later practices of ritual singing.
Maharajah Swathi Thirunal of Travancore Kingdom, South India, was a
prolific composer of Hindustani and Carnatic songs
Sanskritic Tradition
The Samaveda outlined the ritual chants for singing the verses of the
Rigveda, particularly for offerings of Soma. It proposed a tonal
structure consisting of seven notes, which were named, in descending
order, as Krusht, Pratham, Dwitiya, Tritiya, Chaturth, Mandra and
Atiswār. These refer to the notes of a flute, which was the only fixed
frequency instrument. This is why the second note is called pratham
(lit. first, i.e. note when only first hole is closed).
Music is dealt with extensively in the Valmiki Ramayana; Narada is an
accomplished musician, as is Ravana; Saraswati with her veena is the
goddess of music. Gandharvas are presented as spirits who are musical
masters, and the gandharva style looks to music primarily for
pleasure, accompanied by the soma rasa. In the Vishnudharmottara
Purana, the Naga king Ashvatara asks to know the svaras from
Saraswati.
The most important text on music in the ancient canon is Bharata's
Natya Shastra, composed around the 3rd c. CE. The Natya Shastra deals
with the different modes of music, dance, and drama, and also the
emotional responses (rasa) they are expected to evoke. The scale is
described in terms of 22 micro-tones, which can be combined in
clusters of 4, 3, or two to form an octave.
While the term raga is articulated in the Natya Shastra (where its
meaning is more literal, colour, as in the mood), it finds a clearer
expression in what is called jati in the Dattilam, a text composed
shortly after or around the same time as Natya Shastra. The Dattilam
is focused on gandharva music, and discusses scales (swara), defining
a tonal framework called grama in terms of 22 micro-tonal intervals
(sruti[3]) comprising one octave. It also discusses various
arrangements of the notes (murchhana), the permutations and
combinations of note-sequences (tanas), and alankara or elaboration.
Dattilam categorizes melodic structure into 18 groups called jati,
which are the fundamental melodic structures similar to the raga. The
names of the jatis reflect regional origins, e.g. andhri, oudichya.
Music also finds mention in a number of texts from the Gupta period;
Kalidasa mentions several kinds of veena (Parivadini, Vipanchi), as
well as percussion instruments (Mridang), the flute (Vamshi) and conch
(Shankha). Music also finds mention in Buddhist and Jaina texts from
the earliest periods of the Christian era.
Narada's Sangita Makarandha treatise circa 1100 CE is the earliest
text where rules similar to the current Hindustani classical music can
be found. Narada actually names and classifies the system in its
earlier form before the advent of changes as a result of Persian
influences. Jayadeva's Gita Govinda from the 12th century was perhaps
the earliest musical composition presently known sung in the classical
tradition called Ashtapadi music.
In the 13th century, Sharngadeva composed the Sangita Ratnakara, which
has names such as the turushka todi (Turkish todi), revealing an
influx of ideas from the Islamic influx. This text is the last to be
mentioned by both the Carnatic and the Hindustani traditions, and is
often thought to date the divergence between the two.
Medieval Period: Persian influence
The advent of Islamic rule under the Delhi Sultanate and later the
Mughal Empire over northern India caused considerable cultural
interchange. Increasingly, musicians received patronage in the courts
of the new rulers, who in their turn, started taking increasing
interest in local music forms. While the initial generations may have
been rooted in cultural traditions outside India, they gradually
adopted many aspects from their kingdoms which retained the
traditional Hindu culture. This helped spur the fusion of Hindu and
Muslim ideas to bring forth new forms of musical synthesis like
qawwali and khayal.
The most influential musician from the Delhi Sultanate period was Amir
Khusrau (1253-1325), sometimes called the father of modern Hindustani
classical music[4]. A prolific composer in Persian, Turkish, Arabic,
as well as Braj Bhasha, he is credited with systematizing many aspects
of Hindustani music, and also introducing several ragas such as Yaman
Kalyan, Zeelaf and Sarpada. He created the qawwali genre, which fuses
Persian melody and beat on a dhrupad like structure. A number of
instruments (such as the sitar and tabla) were also introduced in his
time.
Amir Khusrau is sometimes credited with the origins of the khayal
form, but the record of his compositions do not appear to support
this. The compositions by the court musician Niyamat Khan (Sadarang)
in the court of Muhammad Shah 'Rangiley' bear a closer affinity to the
modern khyal, and suggests that while khyal already existed in some
form, 'Sadarang' may have been the father of modern day khyal.
Much of the musical forms innovated by these pioneers merged with the
Hindu tradition, composed in the popular language of the people (as
opposed to Sanskrit) in the work of composers like Kabir or Nanak.
This can be seen as part of a larger Bhakti tradition, (strongly
related to the Vaishnavite movement) which remained influential across
several centuries; notable figures include Jayadeva (11th century),
Vidyapati (1375 AD), Chandidas (14th-15th century), and Meerabai
(1555-1603 AD).
As the Mughal Empire came into closer contact with Hindus, especially
under Jalal ud-Din Akbar, music and dance also flourished.
Particularly, the legendary musician Tansen is recognized as having
introduced a number of innovations, ragas as well as particular
compositions. Legend has it that upon his rendition of a night-time
raga in the morning, the entire city fell under a hush and clouds
gathered in the sky, or that he could light fires by singing raga
Deepak, which is supposed to be composed of notes in high octaves.
At the royal house of Gwalior, Raja Mansingh Tomar (1486-1516 AD) also
participated in the shift from Sanskrit to the local idiom (Hindi) as
the language for classical songs. He himself penned several volumes of
compositions on religious and secular themes, and was also responsible
for the major compilation, the Mankutuhal (book of curiosity), which
outlined the major forms of music prevalent at the time. In
particular, the musical form known as dhrupad saw considerable
development in his court and remained a strong point of the Gwalior
gharana for many centuries.
After the dissolution of the Mughal empire, the patronage of music
continued in smaller princely kingdoms like Lucknow, Patiala, and
Banaras, giving rise to the diversity of styles that is today known as
gharanas. Many musician families obtained large grants of land which
made them self sufficient, at least for a few generations (e.g. the
Sham Chaurasia gharana). Meanwhile the Bhakti and Sufi traditions
continued to develop, and interact with the different gharanas and
groups.
Modern era
In the 20th century, the power of the maharajahs and nawabs declined,
and so did their patronage. With the expulsion of Wajid Ali Shah to
Calcutta after 1857, the Lucknavi musical tradition came to influence
the music of renaissance Bengal, giving rise to the tradition of
Ragpradhan gan around the turn of the century.
In the early 20th century Vishnu Digambar Paluskar emerged as an
extremely talented musician and organizer (despite having been blinded
at age 12). His books on music, as well as the Gandharva Mahavidyalaya
music school that he opened in Lahore in 1901 helped foster a movement
away from the closed gharana system.
Paluskar's contemporary (and occasional rival) 'Chaturpandit' Vishnu
Narayan Bhatkhande recognized the many rifts that had appeared in the
structure of Indian classical music. He undertook extensive research
visits to a large number of gharanas, Hindustani as well as Carnatic,
collecting and comparing compositions. Between 1909 and 1932, he
brought out the monumental Hindustani Sangeetha Padhathi (4 vols)[5],
which suggested a transcription for Indian music and described the
many traditions in this notation. Finally, it consolidated the many
musical forms of Hindustani Classical music into a number of thaats,
subsequent to the Melakarta system that reorganized Carnatic tradition
in the 17th century. The ragas as we know them today were consolidated
in this landmark work, although there are some inconsistencies and
ambiguities in Bhatkande's system.
In modern times, the government-run All India Radio, Bangladesh Betar
and Radio Pakistan helped to bring the artists in front of the public,
countering the loss of the patronage system. The first star was Gauhar
Jan, whose career was born out of Fred Gaisberg's first recordings of
Indian music in 1902. With the advance of films and other public
media, musicians started to make their living through public
performances. With exposure to Western music, some of these melodies
also started merging with classical forms, especially in the stream of
popular music. A number of Gurukuls, such as that of Alauddin Khan at
Maihar, flourished. In more modern times, corporate support has also
been forthcoming (e.g. the ITC Sangeet Research Academy).
Principles of Hindustani music
The rhythmic organization is based on rhythmic patterns called Taal.
The melodic foundations are "melodic modes", or "Parent Scales", known
as Thaats, under which most ragas can be classified based on the notes
they use.
Thaats may consist of up to seven scale degrees, or swara. Hindustani
musicians name these pitches using a system called Sargam, the
equivalent of Western movable do solfege:
Sa (Shadaj) = Do
Re (Rishab) = Re
Ga (Gandhar) = Mi
Ma (Madhyam) = Fa
Pa (Pancham) = So
Dha (Dhaiwat) = La
Ni (Nishad) = Ti
Sa (Shadaj) = Do
Both systems repeat at the octave. The difference between sargam and
solfege is that re, ga, ma, dha, and ni can refer to either
"Natural" (Shuddha) or altered "Flat" (Komal) or "Sharp" (Tivra)
versions of their respective scale degrees. As with movable do
solfege, the notes are heard relative to an arbitrary tonic that
varies from performance to performance, rather than to fixed
frequencies, as on a xylophone.
The fine intonational differences between different instances of the
same swara are sometimes called śruti. The three primary registers of
Indian classical music are Mandra, Madhya and Tara. Since the octave
location is not fixed, it is also possible to use provenances in mid-
register (such as Mandra-Madhya or Madhya-Tara) for certain ragas. A
typical rendition of Hindustani raga involves two stages:
Alap: a rhythmically free improvisation on the rules for the raga in
order to give life to the raga and shape out its characteristics. The
alap is followed by the jod and jhala in instrumental music.
Bandish or Gat: a fixed, melodic composition set in a specific raga,
performed with rhythmic accompaniment by a tabla or pakhavaj. There
are different ways of systematizing the parts of a composition. For
example:
Sthaayi: The initial, Rondo phrase or line of a fixed, melodic
composition.
Antara: The first body phrase or line of a fixed, melodic
composition.
Sanchaari: The third body phrase or line of a fixed, melodic
composition, seen more typically in Dhrupad Bandishes
Aabhog: The fourth and concluding body phrase or line of a fixed,
melodic composition, seen more typically in Dhrupad Bandishes.
There are three variations of Bandish, regarding tempo:
Vilambit Bandish: A slow and steady melodic composition, usually in
Largo to Adagio speeds.
Madhyalaya Bandish: A medium tempo melodic competition, usually set in
Andante to Allegretto speeds.
Drut Bandish: A fast tempo melodic composition, usually set to
Allegretto speed, and onwards.
Vocal music
Hindustani classical music is primarily vocal-centric, insofar as the
musical forms were designed primarily for vocal performance, and many
instruments were designed and evaluated as to how well they emulate
the human voice.
Types of compositions
The major vocal forms-cum-styles associated with Hindustani classical
music are Dhrupad, Khayal, and Tarana. Other forms include Dhamar,
Trivat, Chaiti, Kajari, Tappa, Tap-Khayal, Ashtapadis, Thumri, Dadra,
Ghazal and Bhajan. Of these, some forms fall within the crossover to
folk or semi-classical or light classical music, as they often do not
adhere to the rigorous rules and regulations of classical music.
Dhrupad
Main article: Dhrupad
Dhrupad is an old style of singing, traditionally performed by male
singers. It is performed with a tanpura and a Pakhawaj as instrumental
accompaniments. The lyrics, which sometimes were in Sanskrit centuries
ago, are presently often sung in Brajbhasha, a medieval form of Hindi
that was spoken in the Mathura area. The Rudra Veena, an ancient
string instrument, is used in instrumental music in the style of
Dhrupad.
Dhrupad music is primarily devotional in theme and content. It
contains recitals in praise of particular deities. Dhrupad
compositions begin with a relatively long and acyclic Alap, where the
syllables of the following mantra is recited:
"Om Anant tam Taran Tarini Twam Hari Om Narayan, Anant Hari Om
Narayan".
The alap gradually unfolds into more rhythmic Jod and Jhala sections.
This is followed by a rendition of Bandish, with the pakhawaj as an
accompaniment. The great Indian musician Tansen sang in the Dhrupad
style. A lighter form of Dhrupad, called Dhamar, is sung primarily
during the festival of Holi.
Dhrupad was the main form of northern Indian classical music until two
centuries ago, but has since then given way to the somewhat less
austere, khyal, a more free-form style of singing. Since losing its
main patrons among the royalty in Indian princely states, Dhrupad ran
the risk of becoming extinct in the first half of the twentieth
century. Fortunately, the efforts by a few proponents from the Dagar
family have led to its revival and eventual popularization in India
and in the West.
Some of the best known vocalists who sing in the Dhrupad style are the
members of the Dagar, Bishnupur lineage, including the late Senior
Dagar brothers, i.e. Us. Nasir Moinuddin Dagar and Us. Nasir Aminuddin
Dagar, the late Junior Dagar brothers, i.e. Us. Nasir Zahiruddin and
Us. Nasir Faiyazuddin Dagar, Us. Wasifuddin Dagar, Us. Fariduddin
Dagar, Us. Sayeeduddin Dagar. Other leading exponents include the
Gundecha Brothers (i.e. Ramakant and Umakant Gundecha), Dr. Ritwik
Sanyal and Pt. Uday Bhawalkar, who have received training from some of
the Dagars. Leading vocalists outside the Dagar lineage include the
Mallik family. Bishnupur Gharana based in West Bengal is a key school
that has been propagating this style of singing since the Mughal
times.
Khayal
Main article: Khayal
Khayal is a form of vocal music in Hindustani music, adopted from
medieval Persian music and based on Dhrupad music. Khayal, literally
meaning "thought" or "imagination" in Hindi/Urdu originally from
Arabic, Khyal, is special as it is based on improvising and expressing
emotion. A Khayal is a 2 to 8 lined lyric set to tune. The lyric is of
an emotional account possibly from poetic observation. Khayals are
also more popularly depicting emotional significance between two
lovers, a situation evoking intense feeling, or situations of
ethological significance in Hinduism and Islam.
Th importance of the Khayal's content is for the singer to depict,
through music in the set raga, the emotional significance of the
Khayal. The singer improvises and finds inspiration within the raga to
depict the Khayal.
The origination of Khayal is controversial, yet it is accepted that
this style was based on Dhrupad gayaki and influenced by Persian
music. Many argue that Amir Khusrau created the style in the late 16th
century. This form was popularized by Mughal Emperor Mohammad Shah,
through his court musicians. Some well-known composers of this period
were Sadarang, Adarang, and Manrang.
“ Kaisku Marwa Jaayal Hamaraa
More darawa nayan ghar kan warahe,
Mohammad Shah ke Sadarangile, Prem Piya la Chapate Apne, Huntara Tana
Mana Waarune - Mohammad Shah
”
This Khayal bandish in raga Bibhas was popularized by D.V. Paluskar.
It is interesting how this bandish mentions three names — Mohammad
Shah, Sadarang, and Prem Piya.
Later performers include D. V. Paluskar, Satyakinkar Bandyopadhyay,
Gyan Gosain, Amir Khan, Faiyaz Khan, Vinayak Rao Patwardhan, Pt.
Shankar Rao Vyas, Narayanrao Vyas, Nazakat Ali and Salamat Ali Khan,
Eknath Sarolkar, Kashinath Pant Marathe, Bade Ghulam Ali Khan, Smt.
Kesarbai Kerkar, Mogubai Kurdikar, Krishnarao Shankar Pandit, Balabhau
Umdekar Kundalguru, Gajananrao Joshi, S.N.Ratanjankar, Ram Marathe,
Ratnakar Pai, Kumar Gandharva, Jitendra Abhisheki, A. Kanan, Basavaraj
Rajaguru and Mallikarjun Mansur.
Some of the present day vocalists are Manas Chakraborty, Rashid Khan,
Pandit Jasraj, Bhimsen Joshi, Gangubai Hangal, Yeshwantbua Joshi,
Balasahab Poochwale, Girija Devi, Kishori Amonkar, Satyasheel
Deshpande, Iqbal Ahmad Khan, Ishwarchandra Karkare, Rajshekhar Mansur,
Ulhas Kashalkar, Shubhada Paradkar, Arun Bhaduri, Malini Rajurkar,
Purnima Sen, Ajoy Chakrabarty, Prabakar Karekar, Alka Deo Marulkar,
Sanjeev Abhyankar, Shruti Sadolikar, Ashwini Bhide, Padma Talwalkar,
Arati Ankalikar-Tikekar, Chandrashekar Swami, Venkatesh Kumar,
Mashkoor Ali Khan, Subhra Guha, Sulekha Bhat, Parameshwar Hegde,
Indrani Choudhury, Ganapathi Bhatt, Madhav Gudi, Bhawani Angiras, Smt.
Shashwati Mandal Paul, Dr.Tapasi Ghosh, Nagaraj Rao Havaldar, Somanath
Mardoor, Panchakshariswamy Mattigatti, Shivanand Patil, Raghunandan
Panshikar, Manjiri Asanare-Kelkar, Srivani Jade and Sanjeev Chimmalgi.
Tappa
Main article: Tappa
Tappa is a form of Indian semi-classical vocal music whose specialty
is its rolling pace based on fast, subtle, knotty construction. It
originated from the folk songs of the camel riders of Punjab and
developed as a form of classical music by Mian Ghulam Nabi Shori or
Shori Mian, a court singer of Asaf-Ud-Dowlah, Nawab of Awadh. Among
the prominent living performers of this style are Pt. Laxmanrao Kr.
Pandit of Gwalior, Shamma Khurana, Pt. Manvalkar of Gwalior, Girija
Devi of Benaras, Dr. Ishwarchandra R. Karkare of Gwalior, Pt. Jayant
Khot of Gwalior.
Tarana
Main article: Tarana
Another vocal form, Tarana are medium-to-fast paced songs that are
used to convey a mood of elation and are usually performed towards the
end of a concert. They consist of a few lines of poetry with rhythmic
syllables or bols set to a tune. The singer uses these few lines as a
basis for fast improvisation. In some sense the tarana can be compared
to the Tillana of Carnatic music, although the latter is primarily
associated with dance.
Thumri
Main article: Thumri
Thumri is a semiclassical vocal form said to have begun in Uttar
Pradesh with the court of Nawab Wajid Ali Shah, 1847-1856. There are
three types of thumri: Poorab ang, Lucknavi and Punjabi thumri. The
lyrics are typically in a proto-Hindi language called Brij Bhasha and
are usually romantic.
Some prominent recent performers of this genre are Abdul Karim Khan,
brothers Barkat Ali Khan and Bade Ghulam Ali Khan, Begum Akhtar,
Girija Devi, Nazakat-Salamat Ali Khan, Prabha Atre, Siddheshwari Devi,
and Shobha Gurtu.
Ghazal
Main article: Ghazal
Ghazal is an originally Persian form of poetry. In the Indian sub-
continent, Ghazal became the most common form of poetry in the Urdu
language and was popularized by classical poets like Mir Taqi Mir,
Ghalib, Zauq and Sauda amongst the North Indian literary elite. Vocal
music set to this mode of poetry is popular with multiple variations
across Iran, Afghanistan, Central Asia, Turkey, India, Bangladesh and
Pakistan. Ghazal exists in multiple variations, including folk and pop
forms.
Instrumental music
Although Hindustani music clearly is focused on the vocal performance,
instrumental forms have existed since ancient times. In fact, in
recent decades, especially outside South Asia, instrumental Hindustani
music is more popular than vocal music, partly due to a somewhat
different style and partly because of a language barrier for the
lyrics in vocal music.
A number of musical instruments are associated with Hindustani
classical music. The veena, a string instrument, was traditionally
regarded as the most important, but few play it today and it has
largely been superseded by its cousins the sitar and the sarod, both
of which owe their origin to Persian influences. Other plucked/struck
string instruments include the surbahar, sursringar, santoor, and
various versions of the slide guitar. Among bowed instruments, the
sarangi, esraj (or dilruba) and violin are popular. The bansuri
(bamboo flute), shehnai and harmonium are important wind instruments.
In the percussion ensemble, the tabla and the pakhavaj are the most
popular. Various other instruments have also been used in varying
degrees.
Some representative performers (these lists are by no means
comprehensive nor are intended to be):
Veena: Dabir Khann, Birendra Kishore Roy Chowdhury, Zia Mohiuddin
Dagar, Bahauddin Dagar, Asad Ali Khan, Suvir Misra
Vichitra Veena: Dr. Lalmani Misra, Pt. Gopal Krishna, Dr. Gopal
Shankar Misra, Radhika Budhkar
Sitar: Imdad Khan, Enayet Khan, Wahid Khan, Mushtaq Ali Khan, Ravi
Shankar, Vilayat Khan, Nikhil Banerjee, Shujaat Khan, Nishat Khan,
Manilal Nag, Rais Khan, Abdul Halim Jaffer Khan, Imrat Khan, Shahid
Parvez, Kalyani Roy, Budhaditya Mukherjee
Sarod: Allauddin Khan, Brij Narayan, Hafiz Ali Khan, Radhika Mohan
Moitra, Timir Baran, Ali Akbar Khan, Buddhadev Das Gupta, Vasant Rai,
Sharan Rani, Dhyanesh Khan, Aashish Khan, Amjad Ali Khan
Surbahar: Imdad Khan, Wahid Khan, Enayet Khan, Annapurna Devi, Imrat
Khan
Shehnai: Bismillah Khan, Ali Ahmed Khan
Bansuri: Pannalal Ghosh, Nityanand Haldipur, Hariprasad Chaurasia,
Ronu Majumdar, Raghunath Seth, Bari Siddiqui, Pravin Godkhindi, Milind
Date
Santoor: Shivkumar Sharma, Bhajan Sopori, Omprakash Chaurasiya
Sarangi: Ram Narayan, Bundu Khan, Sultan Khan, Abdul Latif Khan
Esraj: Satya Kinkar Bandyopadhyay, Ashesh Bandopadhyay, Ranadhir Roy
Violin: Parur Sundaram Iyer, V. G. Jog, Gajananrao Joshi, N. Rajam,
Sangeeta Shankar, Allaudin Khan, Lakshmi Shankar, Kala Ramnath,
D.H.Joglekar
Harmonium: Gyan Prakash Ghosh, Appa Jalgaonkar, Zamir Ahmed Khan,
Bhure Khan
Tabla: Ahmed Jan Thirakwa, Gyan Prokash Ghosh, Shyamal Bose, Shankar
Ghosh, Anindo Chaterjee, Chatur Lal, Shamta Prasad, Kanthe Maharaj,
Alla Rakha, Anokhelal Misra, Keramatullah Khan, Kishan Maharaj, Zakir
Hussain, Debashis Choudhury, Samar Saha.
Jaltarang: Ragini Trivedi, Milind Tulankar
Samvadini: Pt. Manohar Chimote, Rajendra Vaishampayan, Pt. Jitendra
Gore
Guitar, slide (modified), or mohan veena: Brij Bhushan Kabra, Vishwa
Mohan Bhatt, Dr. Kamala Shankar, Debashish Bhattacharya, Nalin
Mazumdar of Allahabad, Neelranjan Mukherjee of Benaras presently in
Delhi.
Prominent performers
There have been many great exponents of Hindustani music. Some of them
(in no particular order) are:
Vocalists: Girija Devi, Kesarbai Kerkar, Bade Ghulam Ali Khan, Faiyaz
Khan, Amir Khan, Abdul Karim Khan, Akhtar Sadmani, Vasantrao
Deshpande, Gokulotsavji Maharaj, D. V. Paluskar, Salamat Ali Khan,
Mallikarjun Mansur, Omkarnath Thakur, Gangubai Hangal, Bhimsen Joshi,
Kishori Amonkar, Kumar Gandharva, Gundecha Brothers, Jasraj, Nityanand
Haldipur, Shruti Sadolikar-Katkar, Rajan and Sajan Mishra, Ulhas
Kashalkar, Malini Rajurkar, Prabha Atre, Dhondutai Kulkarni, Sharafat
Hussain Khan
Instrumentalists: Allauddin Khan, Radhika Mohan Maitra, Vasant Rai,
Vilayat Khan, Bismillah Khan, Ravi Shankar, Nikhil Banerjee, Ali Akbar
Khan, Pannalal Ghosh, Hariprasad Chaurasia, Zakir Hussain, Shivkumar
Sharma, Annapurna Devi, Vijay Raghav Rao
See also
Indian classical music
Carnatic music
Maqam
Music of Pakistan
Raga
Thaat
Swara
Tala
Ustad
References
^ Excerpts from Bharatiya Sangeet Vadya - Swar in Sam Veda
^ A Study of Dattilam: A Treatise on the Sacred Music of Ancient
India, 1978, p 283, Mukunda Lāṭha, Dattila
^ The term sruti literally means "that which is heard". One of its
senses refers to the "received" texts of the vedas, here it means
notes of a scale
^ MusicalNirvana - Amir Khusro Dehlavi
^ Hindustani Sangeetha Padhathi (4 volumes, Marathi) (1909-1932).
Vishnu Narayan Bhatkhande. Sangeet Karyalaya (1990 reprint). ISBN
8185057354. Originally in Marathi, this book has been widely
translated.
External links
Indian classical singer
ITC Sangeet Research Academy
Ragavani, An Online Journal on Indian Classical Music and Dance
SurSadhana.com, A step by step and easy Hindustani classical music
learning for everyone, site is in Hindi
Imagination Concept in Indian Classical Music
Patiala Gharana Classical Music Academy of Pakistan
Comprehensive reference on raagas
Patrick Moutal Indian Music Page
Indian Music Research Material by Scholars
Indian Music for Musicians: Forum
Rajan Parrikar's Indian Music Articles
Online Tanpura Recordings (Very good tanpura recordings that are long
in length. I have checked the tuning of the tanpura recordings with
the program Finale Notepad. I found that the C# sa-pa is out of tune,
but everything else is fine. I recommend using the Sa-Pa versions for
better practice. Sa-Ma tunings are good for Ragas without a Pa or
where the Ma is an important note. There is also a link on this page
to more tanpura recordings. On the linked page, all the tanpura
recordings starting with the name Shruti are out of tune according to
Finale Notepad. All the ones that say 1 min or 8 min are in tune. All
the recordings on this website are Sa-Pa.)
Chandra and David Courtney's Indian Music Info Site
Omenad, A website for Online Indian Music Education
Musical Nirvana, A Site with biographies of musicians. Also info about
instruments, Ragas and much more.
Music India Online, a site to listen to Indian music and read
articles
SwarGanga, Indian classical music site. Has a raga and tala database
with other interesting features
A Dhrupad Site, giving information about Dhrupad and the Gundecha
Brothers
Sarangi.info, a site with Indian Vocal and Sarangi music audio files.
The site also has articles, videos, and a gallery.
Films Division, a site with Indian music documentaries. Search under
the category "Music of India" and will get a listing of many videos to
watch
A software implementation of 22 Srutis with 12 Indian Classical
Instruments
Indian classical music
Ragapedia, an online music notation editor for Sargam notation which
also will create high quality western notation and midi from Sargam
Raga-Rupanjali. Ratna Publications: Varanasi. 2007. A collection of
Compositions of Sangeetendu Dr. Lalmani Misra by Dr. Pushpa Basu.
din, a software musical instrument for performing Indian classical
music live
tanarang.com, with information about various raags and some audio
files
[1]
http://en.wikipedia.org/wiki/Hindustani_classical_music
bademiyansubhanallah
While film stars continued to fascinate the people with their singing
and acting, a new class of gifted classical singers and
instrumentalists was being born.
Film music has a tremendous attraction for the masses and it has great
commercial value. But, like the films, its appeal is short-lived. A
popular film and its songs may hold the public interest for some time,
but as other films come along the old film and its songs are gradually
forgotten.
It is not so with classical music, which has a lasting hold on the
interest of listeners. Even though records of classical music do not
sell as fast as film records, their value to music lovers does not
decline. In 1944 the Vikramaditya Sangit Parishad was held in the
Bombay University Convocation Hall. An artist from Punjab presented
Raga Marwa and a thumri, as they had never been presented before, and
will never be presented again. This was how Ustad Bade Gulam Ali Khan
introduced himself to lovers of classical music in Bombay. Raga Marwa,
which he selected as his opening item, has a combination of notes -
komal rishab and shudha dhaivat- which sounds very pensive and
persuasive. The Ustad's melodious voice and his most arresting style
gripped the listeners from the start. He unfolded before the amazed
audience a most attractive and elaborate picture of Raga Marwa.
The almost effortless phirat of his voice, which ranged through three
octaves -Mandra, Madhya and Taar-elevated the artist and the listeners
to immeasurable heights of musical experience. This was Bade Gulam
Ali's maiden appearance in this city. He came, he sang, and he
conquered the entire musical world of Bombay.
The audience that day was star-studded. Eminent artists like 'Aftab-e-
mausiki' Ustad Faiyaz Hussain Khan, Ustad Allaudin Khan (father of Ali
Akbar Khan and guru of Pandit Ravi Shankar), the famous sarod player
from Gwalior-Ustad Hafiz Ali Khan (father of the young sarod player
Amjad Ali Khan), Marhoom Ustad Alla Diya Khan and many others were
seen nodding in appreciation of Bade Gulam Ali's performance.
Ustad Alla Diya Khan with his snow-white mustache and fair complexion,
was a very impressive person. He had settled in Bombay a few years
before, but having stayed many years in Kolhapur, he always dressed in
the Maharashtrian style. He looked very dignified, clad in a pure
white dhoti in Brahminic style, an open collared coat, shining pump
shoes and a turban tied in the impressive Kolhapuri fashion. Amidst
the galaxy of artists he looked like an emperor holding his darbar. M.
R. Jayakar honoured him that night with the title: 'The Mount Everest
of classical music'.
This was a significant night, not only because I heard Bade Gulam Ali,
but also because it was the last appearance of Ustad Alla Diya Khan in
such an august assembly. That night the Ustad was flanked by his
disciple Surashri Kesarbai Kerkar on the right and his son on the left
as tanpura accompanists. This was indeed an unforgettable experience.
Bade Gulam Ali Khan was the biggest attraction of the evening. In
this, his very first visit, I managed to bring him to our studio to
record a few of his choicest khayals and thumris. He sang lilting
thumris like Yad piya ki aaye, Katena birahaki raat, Tirachhi Nazariya
ke baan and Premke fandeme aakar sajani, and these records, cut almost
forty years ago, are still popular with listeners, not only in India,
but all over the world. Bade Gulam Ali Khan had an impressive physique
and the lofty gait of a monarch. It was hard to believe that this
broad-faced, bewhiskered giant was capable of producing such sweet,
soul-stirring notes. A year after our first meeting, on the occasion
of my elder daughter's birthday, I invited Bade Gulam Ali to my place
for dinner. It was a pleasant surprise to see the great Ustad at the
dinner table, consuming, with great relish, a whole chicken. nearly
two dozen chappatis and more than a kilo of mithai (sweetmeats). and
still more amazing was his 4 hour musical recital immediately
afterwards. I thanked him profusely and jocularly remarked that people
would always remember him as rangila gavaiyya and rasila khawaiyya (a
versatile singer and an appreciative gourmet). Bade Gulam Ali was also
an excellent cook. On many occasions for several years thereafter, he
pressed on me delicious dishes such as mutton paya and karela mutton
which he had prepared himself.
Bade Gulam Ali hailed from Lahore in Punjab. It was his heartfelt
desire that I, who was by now one of his dear friends and great
admirers, should visit him in Lahore. A chance to respond to this
invitation came very soon. Mr. Z. A. Bokhari the then station director
of All India Radio, Bombay, offered me a chain booking to broadcast
from the Lucknow, Delhi and Lahore radio stations. I spent most of my
stay in Lahore with the great Ustad. Walking with him through the
Hiramandi park of Lahore city I felt as if I was walking by the side
of a majestic elephant who was parading through the streets, accepting
the reverent salutations of numerous admirers. He lavishly showered
hospitality on me. This was the end of the year 1945.
During his short visit to Bombay in 1948 I fixed up a recording
session with him. In the afternoon, when I had everything arranged for
recording in our studio, he telephoned to say that he was not feeling
well enough to record. I insisted that he should come over and that we
would not do any recording but we would have a nice long chat and
dinner. Very reluctantly he accepted my pressing invitation. Before he
came I had to plan a strategy whereby I would be able to persuade him
to strain his vocal chords. I gave a hundred rupee note to my peon
Sakharam and instructed him to procure a bottle of Scotch, which was
the Ustad's favourite drink. Sakharam was to bring the bottle and the
glasses into the studio only when I gave him the signal to do so.
I had arranged things in the studio in such a manner that I could
start recording at a moment's notice. I instructed that the
accompanying musicians be kept waiting in an ante-room. I escorted the
great Ustad into the studio, assuring him that we would not do any
recording but would have just an interesting and enjoyable evening. On
the spacious wooden platform were two tanpuras already tuned to suit
his pitch. The Ustad, a man of generous proportions, always preferred
to sit cross-legged on the platform instead of on a chair. I seated
myself near him with one tanpura close at hand. While we conversed I
casually started playing on the strings of the tanpura. 'Khan Saheb,'
I said, ' I want to know why followers of the Gwalior gharana prefer
to use tivra dhaivat, in Raga Lalat, instead of komal dhaivat which
sounds so much sweeter.' With the sound of the tanpura playing in the
background Khan Saheb could not resist demonstrating why komal dhaivat
is preferable to tivra dhaivat. 1 noticed with satisfaction that my
strategy was succeeding. Unseen by him, I gave the signal to Sakharam
who walked in with the bottle and the glasses. Noticing this, the
Ustad looked happier, though he protested mildly. I said to him,
'Since we are not going to do any recording we might as well have a
gay time.' I came up with another question while the maestro was
enjoying the drink. 'Why is it that some singers use both tivra and
komal nishads in Raga Adana? Is it correct to do so?' I refilled Khan
Saheb's glass, and he who had been sitting in a relaxed position so
far sat upright in his usual singing posture, fully inspired and in
the mood to sing. He picked up the other tanpura which was close to
him and began to demonstrate how Raga Adana should be rendered.
I allowed him to sing for a while and then said, 'Khan Saheb, your
voice is in absolutely top form!' He guessed the implication of my
remark, and smiling a little mischievously he said, 'So, you do want
to do a recording'. Taking this as a form of consent, I immediately
summoned the accompanists and in a few minutes all was ready for the
recording. Khan Saheb was indeed in great form that night. The next
two hours literally flew by. He sang one enchanting song after
another, and we were able to record such immortal pieces as Aaye na
baalam, kya karun sajani, Naina more taras rahe hatn and Prem ki maar
katar, to name a few. Like a person possessed Khan Saheb poured his
heart and soul into the magic notes. He did not even know how many
songs he recorded; this after having been determined not to record at
all. During a short respite I handed him a fresh glass. After taking a
sip from it he said, 'Joshi Saheb, you must have cast a spell on me. I
was determined not to sing. How many have you recorded?' I smiled and
replied, 'We need only 2 more.' 'What do you mean?' he asked. 'I mean
2 more songs would make a round dozen; we have got only 10.' We had a
hearty laugh and thus the memorable recording session came to a close.
Outside it had rained very hard and inside the studio we had had
torrents of music. Bade Gulam Ali's study of music was extensive.
While discussing any aspect of music, he would make intelligent
observations that would surprise and impress the most learned and
knowledgeable persons. A seminar was once arranged under the auspices
of the Sur Singar Samsad. In Hindustani classical music, ragas are
ascribed particular hours of the day or night for their exposition.
The point under discussion at the seminar was whether there was any
scientific reason for this convention or whether it was just a result
of custom and tradition. Bade Gulam Ali gave his opinion with
practical demonstrations.
According to him ragas are divided into two types. A raga of the first
type may be played between 12 noon and 12 midnight. Ragas of the
second type may be played at any time from midnight to 12 noon. The
ragas in the first section are known as 'Purva ragas' and those of the
second section as 'Uttar ragas . A saptak is also divided into two
parts or 'tetrachords'. The first contains Sa, Re, Ga, Ma, and the
second the other four notes, Pa, Dha, Ni, Sa. In the purva ragas the
vadi swara (the prime or 'life' note of the raga) is taken from the
first tetrachord and therefore these ragas are known as purvangavadi
ragas. In the same way, the vadi swara in the uttar ragas is usually
taken from the second tetrachord, i.e., Pa, Dha, Ni, Sa, and these
ragas are called uttarangavadi ragas. When the vadi swara is either
'Sa' or 'Pa', there is no time restriction for the performance of that
raga.
He also propounded another theory explaining why a particular raga
should be sung at a particular time and why, if it is rendered
accordingly, it is more effective and appreciated by the listeners.
The 24 hours of the day are divided as follows:
4 in the morning to 7 in the morning.
7 in the morning to 10 in the morning.
10 in the morning to 4 in the afternoon.
4 in the afternoon to 7 in the evening.
7 in the evening to 10 at night.
10 at night to 4 in the morning.
It will be observed that in the ragas of the first and fourth
divisions the 2nd note rishabh and 6th note dhaivat are komal swaras.
These ragas are also known as Sandhiprakash ragas. Bhairava of the
morning variety and Purvi of the evening, having these notes, are
Sandhiprakash ragas. Khan Saheb explained how just a slight change of
half a note in the structure of the octave changes the raga from a
morning to an evening one. In Raga Bhairava the 4th note, madhyam, is
shudha, while in Purvi the 4th note is half a note higher, that is
tivra madhyama. He also demonstrated and explained the difference
between the morning raga Todi and the afternoon raga Multani. Although
both have identically the same notes in the octave, they differ from
one another owing to different vadi samvadi notes and different
chalan.
In the same way ragas in the 2nd and 5th parts have the 2nd note
rishabh and the 6th note dhaivat as shudha notes. The ragas of the 3rd
and 6th parts have the 3rd note gandhara and the 7th note nishad
komal.
Khan Saheb however added that this theory was based on his
observations of general practices. He was of the firm opinion that the
theory of division of ragas according to time has some scientific
basis and that physicists should be able to arrive at some final
explanation after experiments.
Ragas are also seasonal melodies. For example, Raga Malhar is
associated with the rainy season and Raga Vasant with spring. One
evening during the monsoon I had the good fortune to find Bade Gulam
Ali in a very exuberant mood. From the balcony of his flat on Malabar
Hill one could see the turbulent sea with its rising mountains of
waves. This exhibition of nature's strength always inspired Khan Saheb
and that day he gave vocal expression to his feelings, in a number of
variations of Raga Malhar. He reeled out gamak taans when there was a
clap of thunder. He would be inspired by a flash of lightning to
indulge in a brilliant 'Phirat', and when it poured cats and dogs, the
result would be a torrent of powerful taans ranging over two to three
octaves. It sounded as if a jugalbandi programme was in progress
between Nature and this great man. Bade Gulam Ali was very generous in
sharing his knowledge and rare compositions with deserving persons.
And what is more. he did not feel it below his dignity to accept
compositions not known to him. There was a frequent exchange of .such
knowledge and compositions between my guru Gunidas and Khan Saheb. I
have often enjoyed such musical ***Insert: Gunidas referred here is
Pandit Jagannathbua Purohit...Rajan**** discussions and exchanges at
Khan Saheb's residence in the company of my Guruji and Professor B. R.
Deodhar.
Bade Gulam Ali had a lively wit and sense of humour. His elder son
Karamat Ali, who lived in Pakistan, was on a visit to his father when
Bade Gulam Ali introduced him to me as 'my Bade Shahzede - Karamat
Ali'. When I inquired about the nature of his profession, Bade Gu]am
Ali gave a loud burst of laughter and, pointing to four or five little
children playing nearby, he said, 'Look, that is his Karamat.' Karamat
Ali joined in our burst of laughter.
His younger son, Munawar Ali, was his constant companion and was being
groomed to succeed him. He always accompanied Khan Saheb on the
tanpura and being so close to his father, he imbibed the vast treasure
of his father's musical knowledge. Naturally with such training and
all the makings of a first grade artist, everyone expected him to
follow in Bade Gulam Ali's footsteps. Unfortunately, however, Bade
Gulam Ali had always kept Munawar under his wing. Consequently,
Munawar did not learn the art of performing independently and in spite
of the vast knowledge he received from his father, this gifted but
unlucky singer is still struggling to make a name for himself.
Bade Gulam Ali's brother Ustad Barakat Ali Khan also had great talent.
The sweetness and phirat of his voice sometimes surpassed that of Bade
Gulam Ali. Bade Gulam Ali, however, allowed his brother to accompany
him on the harmonium but never to sing with him in public. Therefore
Barakat Ali remained unknown to most music lovers in India. It is
difficult to say for what reason Bade Gulam Ali always kept his son
Munawar and brother Barakat Ali in the background, not giving them a
chance to display their talents independently. I had the gond fortune
to hear Bade Gulam Ali and Barakat Ali sing together in the same
Mehfil when I was a guest of Nawab Zahir Yar Jung at the Basheerbag
palace in Hyderabad.
The Jainophone Record Company of Lahore, which was a sister concern of
H.M.V., was the first to market Barakat Ali's records. Of these Bagome
pade zule, Ek sitam aur lakh adaen and Ufari jawani haye jamane have
made his name immortal.
In 1962 Barakat Ali camc on a visit to Bombay. At my request he made
three records, one of ghazals and the other two very lilting dadras.
At this recording session. Barakat Ali was in the mood and willing to
record many more songs but my boss (the same 'Kudhon ke Badshah'
mentioned before) came in the way. He was of the opinion that we could
record more when Barakat Ali next came to the city. I helplessly
obeyed and, after making three records, Barakat Ali returned to
Pakistan never to come back. Only a few months later he passed away in
Karachi. I felt extremely upset with my boss for coming in the way of
my recording more of this gifted musician's work. Years later I was
able to lay my hands on some of Barakat Ali's tape recordings from
which I got enough material for two LPs. Although we embarked on the
production of LP records in 1960, I could not get Bade Gulam Ali for
LP recording till 1963, There is a story behind this.
In 1959 we received from our head office a copy of the first Indian
classical LP record, featuring Ustad Ali Akbar Khan on the Sarod. The
record had an introduction by the world renowned violinist Yehudi
Menuhin. Obviously, it was meant for Western audiences. I was asked to
evaluate the sales potential of LP records in India. Until then all
our records had been made on 78 R.P.M. and were 3 minutes and 20
seconds long. Most classical musicians found it very difficult to do
justice to a raga and give their best within such a short time. The LP
record would be 5 times the length of a 78 R.P.M. record and I felt
that this would be very welcome, not only to the performers but also
to listeners and lovers of classical music. However, an LP disc would
cost more than Rs. 30 in those days, and considering the pockets of
Indian listeners, I had to be very cautious, bearing in mind the sales
aspect of the venture.
I was, however, very anxious to have the facility of putting classical
music on a long playing record and hence advised our head office to
send to us 300 copies of Ustad Ali Akbar Khan's record. These, when
put in the market, sold out very quickly. Hence it was obvious that,
in spite of their high price, the market was ready to absorb LP
records. I took this as the green signal to bring stalwarts in the
classical field before the microphone for such microgroove recordings.
To persuade an artist to record was always a problem. Apart from the
conservative outlook of our musicians, their performing form, health
and condition of voice had to be considered. To add to this, artists
usually put a very high price on their performance, Bade Gulam Ali,
like others, had always complained about the inadequate length of
records. Therefore, when I approached him, telling him that he would
be able to get about 17 to 18 minutes per side, he was very happy and
immediately consented. 'Very good' he said, 'I will do the recording
but I have a request. On the previous occasions, you paid me on a
royalty basis, but this time I want cash.' I tried to reason with him
as to how a royalty agreement would be more advantageous to him in the
long run. But he was very adamant so I asked how much he would expect
in cash. 'I want only a lakh of rupees,' he said.
This was an impossible demand, and I told him so. I decided,
therefore, to drop Bade Gulam Ali for the time being. During the next
few months I recorded artists like Nazakat Ali, Salamat Ali, Bhimsen
Joshi, Ustad Amir Khan, Bismillah Khan and several others on LPs.
These records found quite a big market and became popular. Whenever we
brought out a new LP I made it a point to show a copy of it to Bade
Gulam Ali. The LP records always had very attractive ccvers and these
tempted Bade Gulam Ali to agree to my proposal. The demand for a lakh
of rupees was the main hurdle. My bosses also tried to reason with
him, but this only made Bade Gulam Ali more obstinate. 'If you are not
ready to pay my fees I will go and record abroad,' was his final
answer to them. I had however not given up hope. I kept up friendly
relations with him and persisted in my persuasive tactics. In the
course of 6 months Khan Saheb climbed down from a lakh to 45 thousand,
and after another 4 months he agreed on 25 thousand, from which he
would not budge. >From the commercial point of view, film records with
their huge sales potential are most profitable to the company. Records
of classical music, even by a top artist, would never have such a
large sale in a short period. The company, being always eager to get
quick returns and a large turnover, was naturally reluctant to enter
into a cash contract. Therefore Bade Gulam Ali's demand for 25
thousand was also unacceptable.
One more year passed, and around 1962 his health started
deteriorating. This affected his voice and performance. Early in 1963
he gave a concert at Shivaji Mandir, the theatre in the Dadar area of
Bombay. Of course, I attended it. With Munawar Ali accompanying him on
the tanpura, Bade Gulam Ali started with Raga Bhoop. After some alap
he started the Bandish. But instead of giving it his usual slow and
thorough treatment, he very soon switched over to Sargams. It was
obvious that he found it difficult to keep his voice steady and stable
on the raga notes. In my opinion the concert was an absolute failure.
More than 60% of the singing was done by the son. Whenever I attended
his concerts it was my practice to meet him after the concert. But on
this occasion I was so painfully disturbed in my mind that I went home
without meeting him. The thought of this rich treasure slowly but
steadily dwindling. caused me much mental anguish. The next day,
however, I could not resist the temptation of meeting him. He had
noticed my absence after the concert the previous night, and wanted to
know the reason for it. I told him the truth. Previous to this
appearance in Shivaji Mandir I had noticed distinct signs of decline
in his health and performance. I said to him, 'What you presented a
month ago at Akola you could not present yesterday and what you
achieved yesterday you may not be able to give tomorrow. This is
really a very serious state of affairs. An artist of your calibre is
born, maybe, once in a century. For God's sake listen to me and make
an LP record.'
For a few moments he looked worried and pensive, then he said, 'Very
well, I will make only one record. I will sing one morning and one
evening raga. The morning raga must be recorded in the morning and the
evening raga at the appropriate time.'
I was delighted beyond words, and asked when we could do the
recording. 'Fix it for tomorrow evening,' he said. A very important
film recording was scheduled for the next day, but as I was getting
Bade Gulam Ali after years of patient waiting, I arranged to cancel
the film recording the following evening I drove him to the studio in
my car. On the way he said, 'Joshi saheb, I am doing this for your
sake, but I want you to give me at least some cash.'
I was moved almost to tears at these words and I felt that had I the
authority and power, I would have thrown open the cash boxes of the
company and asked him to help himself. I said to him, 'I am indeed
grateful to you and overwhelmed at his sign of your affection for me.
I will give you some cash but please do not ask me how much it will
be. Whatever I give you after the recording would be out of love and
respect for you and you will have to accept it in the same spirit.'
This touched his artistic soul and soon the commercial side of the
recording was forgotten. That night he rendered raga Darbari Kanada
with Munawar giving him only instrumental support on the tanpura.
Before we started I told him that he would get about 19 minutes for
the performance. 'All right, but it would have been nice if you had
given me half an hour,' he said. However, since Munawar was not
allowed to sing with him, Khan Saheb soon found the strain too much.
After just 1O minutes of singing he showed signs of being tired and
wanted to find out how much longer he would have to sing. Instead of
the alloted 19 minutes he finished in around 17 minutes. Sweating
profusely he remarked, 'Are Bhai, 15 minutes of singing for you here
is equivalent to 3 hours singing in a mehfil'.
We played back the raga recorded by him. This gave him the rest he
badly needed and it also gladdened him to listen to his delightful
performance. He then said, 'Now I would like to sing Malkauns.' I did
not remind him of his earlier stipulation. It was to my advantage to
keep him in good humour. In the following hour Malkauns was
satisfactorily recorded. At last I had got an LP record out of him.
Then I reminded him, 'Khan Saheb, you promised to sing one morning
raga.'
'Aare Teri, I clean forgot about that,' he exclaimed. 'Never mind, we
shall do it tomorrow morning.' The following morning he sang first
Raga Gunakali and then something that sounded to me like Khambavati or
Rageshri He told me that it was neither, but was known as Kaushi
Dhani.
Thus, instead of one, I succeeded in bagging 2 LP records. Finding him
in a very amiable mood and quite happy about his perfornance, I felt
it would be a good idea to get something more out of him. So I said,
'Janab, the bhajan Hari om tatsat has always been a hot favourite with
your listeners and a must in your mehfil. So you must record it.' 'How
can I make it last for 19 minutes?' he asked. I thought that it would
be a good idea to put it on a semi long playing (extended play) 45
R.P.M. disc. So I said ,to him, 'You sing it only for about 7
minutes'. Thus I got him to record the beautiful bhajan. Then I
reminded him of the other side of the disc. He smiled and said, 'You
are very smart; last time, I remember. you got 10 songs out of me when
I did not want to record even a single one.' I said, 'But Khan Saheb,
every record has to have 2 sides; you must give me one more piece.' I
suggested the thumri Kanakar mar jagaye-Bamna ka chora and he readily
accepted my suggestion since this was also his pet song. In this
manner he eventually gave us 2 LPs and one extended play record. I
prevailed upon him to sign a royalty contract. but, as promised, I
paid him Rs. 5000/- in cash, as advance against royalty. Once again
the fact was proved, that a genuine artist values affection more than
money.
This recording had been delayed for more than two and a half years
because of his unreasonable demand for a lakh of rupees. His failing
voice is evident in these records. If he had only agreed to my
requests earlier, we would have had a number of recordings of this
great artist which would have been appreciated by millions of his
fans. Just a few months after this his health deteriorated further. My
friend Nawab Zahir Yar Jung, a true patron and lover of music, took
Khan Saheb to Hyderabad and looked after him till he breathed his last
in the Basheerbag palace. It was here that I had heard his memorable
mehfil with Barakat Ali on the harmonium, and it was here that the
mehfil of his life came to an end. He left behind a priceless and
glorious heritage of music. For me, besides this, there remain very
fond and enduring memories of his warm-heartedness and intelligence.
"Hari Om Tatsat..."
Posted on RMIC by Rajan Parrikar as part of Great Masters Series
G.N.Joshi's Artilcle on Ustaad Bade Ghulam Ali Khan
The man who lived, moved and had his being in music has merged into
Nadabrahma! Whether it was a khayal with a courtly theme, a thumri
with wistfully romantic word content or a bhajan with highly
devotional words, Ustad Bade Ghulam Ali Khan could always put his
heart and soul into the song. Among his many contributions to
Hindustani Music, the outstanding one is that he opened the eyes of
contemporary musicians and music lovers to the prime importance of
voice culture and voice modulation, and the supreme value of emotion
in music.
We have quite a large number of musicians who can sing perfectly
correctly and perhaps impress the listener's intellect; but few could
touch the listener's heart as Bade Ghulam Ali Khan could. And no other
classical vocalist has earned such countrywide adulation from
musicians, music lovers and critics. The remarkable pliability of his
voice, the unpredictable swara combinations, the incredible speed of
his taans and the ease with which he could sway his audiences by his
emotional renderings -- these are qualities which have been envied by
many a rival.
By his varied and richly expressive style, he has silenced the
detractors of classical music who argue that it cannot appeal because
it is "dry and flat". For the rare perfection and popularity that he
brought to the Punjab ang he has been rightly called "The King of
Light Classical Music".
As I sit and recall the numerous Bade Ghulam Ali recitals that I
attended, I find that there was not a single rasa he could not bring
to life through his music. What passion cannot music raise and quell!
When he would sing "Kali ghata ghir ayee sajani", the audience could
almost hear the rumbling of thunder, see the flashes of lightning and
share the agony of the separated one. He would put his heart and soul
into the rendering of a highly devotional khayal like "Mahadev
Maheshwar" or his favourite bhajan "Hari Om Tatsat". In his thumri,
"Naina more taras rahe", Bade Ghulam Ali would portray the entire
longing of the eyes to behold the beloved, while he could bring out
all the playfuly romantic, half-exquisite complaint of the Gopi whom
Krishna was teasing.
Among classical musicians, Bade Ghulam Ali was truly the king of
emotions and thumris. He often used to say: "Many people have the idea
that classical music has no powers of expression. This is because
generally our musicians are more interested in technical virtuosity.
But emotion is the very soul of our music. In fact our music has the
power to express the subtlest nuances of feeling." Bade Ghulam Ali has
proved this point by his own style, which is an excellent blend of
impressive tehchnical mastery and appealing emotional expression.
"From the heart of the singer to the hearts of listeners!" is true in
the case of his music.
Born in Lahore in 1901 as the son of Khan Saheb Ali Bux, Ghulam Ali's
musical gifts were evident at an incredibly early age. Reminiscing
over his childhood, he said: "I do not know at what age I began to
master the twelve notes. This much I can say: that, at the age of
three or four when I started talking, I had some ideas of the twelve
notes! I learnt sargams as a child learns his mother tongue."
Recognising the musical potentialities of the child, Ali Bux put him,
at the age of seven, under the tutelage of Khan Saheb Kale Khan of
Patiala for the next ten years. After the Khan Saheb's death, Ghulam
Ali continued his training under his own father.
What fired him with a feeling of challenge was a small incident. When
Kale Khan died, a certain musician made a caustic remark that music
was dead with Kale Khan. This put young Ghulam Ali on his mettle. In
his own words: "For the next five years, music became my sole passion.
I practised hard, day and night, even at the cost of sleep. All my
joys and sorrows were centred on music."
Ghulam Ali was gifted with all the attributes of a great musician:
musical lineage, intelligence, sound training and high artistic
sensibility. "To me the purity of the note is the supreme thing," he
used to say. Ghulam Ali also had the privilege of receiving talim from
Ashiq Ali (who belonged to the gharana of Tanras Khan), and from the
late Baba Sindhi Khan. Some people detected shades of Ustad Wahid
Khan's charming style in his khayal alap.
It is true that Bade Ghulam Ali belonged to a long and illustrious
musical lineage. But it was his genius that chiselled off all the
harsh crudities and angularites of the once dry Patiala Gharana and
lent it such a rare polish and glow that today it has achieved
countrywide popularity. Bade Ghulam Ali Khan has left behind not only
hundreds of singers trying to emulate him but also thousands and
thousands of music lovers who cherish his music. No other North Indian
vocalist ever attracted such large audiences in the South as did Bade
Ghulam Ali Khan.
Bade Ghulam Ali never tried to win the approbation of those classical
purists who judge the excellence of a performance by the length of
delineation of each raga. His aim was to appeal to the hearts of the
millions who heard him. He would say: "What is the use of stretching
each raga for hours ? There are bound to be repetitions."
A true artist, Bade Ghulam Ali was not interested in political and
religious differences. He knew of only two categories of humanity:
music lovers and the uninterested ones. "I know only one thing: Music!
I am little interested in other things. I am just a humble devotee of
God and Music."
At his abode, wherever he used to stay -- Bombay, Delhi, Calcutta or
Hyderabad -- he was surrounded by his admirers all the time and the
swarmandal was always with him. Every few minutes, he would break into
song -- to illustrate a point he was making. A firm believer in the
debt that classical music owes to folk airs, he could, with amazing
dexterity, demonstrate the simple folk lilts like a real villager, and
then suddenly sing out its fully polished classical counterpart in a
scintillating manner. No wonder his admirers were always crowding
around him throughout his waking hours.
During his last stay in Bombay (prior to his departure to Hyderabad
and his last fatal attack), a young admirer from the South had a few
hours' halt in Bombay, before taking a plane to Calcutta. It was 11
p.m. when he reached Bade Ghulam Ali Khan's place. Yet, with joy, the
Ustad showed his hospitality, not by serving tea and sweets but by
something more precious. "Bring my swarmandal!" he said to his son
Munnawar. "Let me sing awhile for my guest." As the young admirer
said: "Can you beat this great artiste's humility and his utter
absorption in music ?"
Bade Ghulam Ali Khan was not only everyone's favourite but a
musicians' musician. Leading artistes of the country have paid homage
to this great musician. Begum Akhtar says in her tribute: "I have
never seen such a rare combination of greatness and simplicity. When I
first heard him, I felt that I was hearing real music for the first
time. He was my honoured guest for several months in Calcutta. He used
to sing all day long: in fact, music was his sole interest in life. In
sorrow he would draw solace from music; in joy also he would burst
into song. What a rare musician!"
Under his pen name, "Sabrang", he has left numerous lilting
compositions -- khayals and thumris. "Sabrang" had only one passion in
life : Music. Today the great singer has merged into Nadabrahma --
eternal bliss through music. His favourite bhajan ever was and will
be: "Hari Om Tatsat".
Susheela Misra
©1999 e.com Best Viewed in 640x480
http://www.chembur.com/anecdotes/badegulam.htm
bademiyansubhanallah
kendoka7007
September 24, 2007
More about Bade Gulam Ali Khan, India's all time greatest voice, in
1963 in Kolkata, India. Also singing, Munawar Ali Khan, Bade Gulam
Ali's son. [courtesy of Pdt. Sankha Chatterjee]
Category: Music
Tags: Bade Ghulam Ali Khan Sankha Chatterjee
http://www.youtube.com/watch?v=jCrzVnHSYoQ
Pdt. Sankha Chatterjee honors Bade Ghulam Ali Khan, Part II
http://www.youtube.com/watch?v=sTwNzyJRrQI&feature=related
Pdt. Sankha Chatterjee honors Bade Ghulam Ali Khan, Part III
http://www.youtube.com/watch?v=-ZJlzgs5bUo&feature=related
Pdt. Sankha Chatterjee honors Bade Ghulam Ali Khan, Part IV
http://www.youtube.com/watch?v=rGc5UoSne5s&feature=related
bademiyansubhanallah
kishoriray
August 13, 2007
from Mughul-e-azam [1960] see the original video in color:
http://www.youtube.com/watc... Lyrics: Prema jogan bana key sundar
piya or chali Sajan son jo naina mile To man ki pyasa bujhi Pi
sang...
from Mughul-e-azam [1960]
see the original video in color:
http://www.youtube.com/watch?v=m_xiXu...
Lyrics:
Prema jogan bana key
sundar piya or chali
Sajan son jo naina mile
To man ki pyasa bujhi
Pi sang sagari jo rana gujari
Raag: Sohani
original movie clip with song:
http://www.youtube.com/watch?v=wie2DT...
see the original clip here:
http://www.youtube.com/watch?v=wie2DT...
He bair bhai
A translation to this song was given in the comment by waliauyt.
Thanks for the same! Here it is:
I'll attempt to convey the spirit and soul of the song, not mere
literal translation.
Firstly, the feelings expressed are of a woman. 'Prem Jogan' is a
woman in love who has given up or forgotten the rest of the world, a
rare species getting extinct fast! The song is wailings of the prem
jogan dying to meet her beloved. All she wants is to meet her beloved
to quench the thirst of her mind. And she is going towards her
beloved, wishing to spend whole night with him. But she is afraid...
Ustad Bade Ghulam Ali Khan can be described as an artiste who has had
the maximum impact on the 20th Century Hindustani Classical Music
scenario. Born in 1902 into a great musical lineage from Kasur in the
Western Punjab, this great savant amalgamated the best of four
traditions; his own Patiala - Kasur style, sculpturesque Behram Khani
elements of Dhrupad, the intricate gyrations of Jaipur and finally the
robust behlavas (embellishments) of Gwaiior. But what actually
characterised Bade Ghulam Ali Khan was an effervescent melodic quality
which was concertised in a masterly flow of ideas which were delivered
with a unique sense of alacrity, aided by one of the most pliable and
dextrous voices ever heard in living memory in this land.
Category: Music
Tags: ustad bade ghulam ali khan prem indian classical india
kasur patiala
http://www.youtube.com/watch?v=Zm-2sW-bRFM&feature=related
Sid Harth
Sufism: an Introduction
'Ibaaraatuhum shattaa wa-husnuka waahid
Wa-kullun ilaa dhaaka al-jamaali yushiir
Their expressions are manifold and Your loveliness is one
And everyone points to that beauty
Quoted by Shaykh 'Abd al-Halim Mahmud, former Shaykh al-Azhar
Jumla ma'shuq ast-o 'aashiq pardah'i
Zenda ma'shuq ast-o 'aashiq mordah'i
All is the Beloved and the lover is a veil
The Beloved is alive and the lover is dead
Rumi, Mathnawi
Man qaala laa ilaaha ill Allah, dakhala al-janna
Whoever says, 'There is no god, but God,' enters Paradise.
Hadith of the Prophet Muhammad
Ever since Sufis first began to speak about Sufism, they have defined
it in many different ways. Read a number of these at the link
Classical Sufi Definitions of Sufism, (fixed 16 Nov. 1998) and see as
well the online version (minus the footnotes of the original) of the
poem, translated from Persian, titled What is Tasawwuf (Sufism)? and
commented on by Dr. Godlas. For some time now, scholars in the West
have discussed Sufism's definition and origin. Sufis--which is what
practioners of Sufism are called--see themselves to be on a spiritual
journey toward God. In order to guide spiritual travellers and to
express the states of consciousness experienced on this journey, Sufis
produced an enormously rich body of literature, often using a
specialized technical vocabulary, some of the terms of which can be
found in this Glossary of Sufi Terms. (linked fixed from archive, 20
February 2008) This journey is referred to as the path (tariqah).
While all Muslims believe that they are on the pathway to God and will
become close to God in Paradise--after death and the "Final
Judgment"-- Sufis believe as well that it is possible to become close
to God and to experience this closeness--while one is alive.
Furthermore, the attainment of the knowledge that comes with such
intimacy with God, Sufis assert, is the very purpose of the creation.
Here they mention the hadith qudsi in which God states, "I was a
hidden treasure and I loved that I be known, so I created the creation
in order to be known." Hence for the Sufis there is already a
momentum, a continuous attraction on their hearts exerted by God,
pulling them, in love, towards God. They experience the joyful ecstasy
of being gently drawn to their Eternal Beloved, yet this primordially
blissful return seems to have been interrupted. The Persian poet Hafiz
remarked,
O Wine giver, pour me a cup and pass it around
for love seemed easy at first, but later the difficulties arose.
Sufism, Sufis, and Sufi Orders: Sufism's Many Paths
Professor Alan Godlas, University of Georgia
What is Sufism? :
Early Definitions
When asked about Sufism, Muhammad ibn 'Ali al-Qassab--the master of
Junayd--said, "Sufism consists of noble behavior (akhlaq karima) that
is made manifest at a noble time on the part of a noble person in the
presence of a noble people."
When he was asked about Sufism, Junayd said, "Sufism is that you
should be with God--without any attachment."
With regard to Sufism, Ruwaym ibn Ahmad said, "Sufism consists of
abandoning oneself to God in accordance with what God wills."
On one occasion when he was asked about Sufism, Samnun said, "Sufism
is that you should not possess anything nor should anything possess
you."
Concerning Sufism, Abu Muhammad al-Jariri said, "Sufism consists of
entering every exalted quality (khulq) and leaving behind every
despicable quality."
When he was asked about Sufism, 'Amr ibn 'Uthman al-Makki said,
"Sufism is that at each moment the servant should be in accord with
what is most appropriate (awla) at that moment."
Regarding Sufism, 'Ali ibn 'Abd al-Rahim al-Qannad said, "Sufism
consists of extending a 'spiritual station' (nashr maqam) and being in
constant union (ittisal bi-dawam)."
All of these definitions of Sufism given by Sufis who lived in the 9th
and 10th centuries (CE) are provided by al-Sarraj (d. 378 AH/ 988 CE)
in the earliest comprehensive book on Sufism, the Kitab al-Luma' (The
Book of Flashes) (ed. by R. Nicholson, pp. 34-35). These definitions
of Sufism, however, are mere signposts pointing one
Professor Alan Godlas, University of Georgia
Early Shaykhs of Sufism :
Muhammad ibn 'Ali Abu Ja'far al-Qassab al-Sufi (d. 275 AH/ 888-89 CE)
Abu 'Abd al-Rahman al-Sulami stated, "Muhammad ibn 'Ali al-Qassab of
Baghdad was the master (ustadh) of Junayd. Junayd [himself] used to
say, 'People connect me with Sari (that is to say, Sari al-Saqati),
while my master was Muhammad al-Qassab.' Abu Ja'far al-Qassab died in
the year 275 AH/ 888-89 CE."
Muhammad ibn Sa'id reported that he heard Junayd saying, "Our master,
Abu Ja'far al-Qassab was asked 'Why are your companions cut off from
people?' He answered, 'Because of three of their traits: first, God
is not pleased with whatever they possess, and if God were to be
pleased with their possessions, God would allow their possessions to
rule them; second, it does not please God to place their virtues in
their appearance, and were this not the case, God would confuse them
by means of their appearance; and third they are folk who travel only
toward God, so God has obstructed them from reaching anything but God,
keeping them for God alone."
---from al-Khatib al-Baghdadi, Tarikh Baghdad, vol. 3, p. 62
(The full chains of transmission of these reports are included in
the original but have been omitted in the above translation.)
Professor Alan Godlas, University of Georgia
Early Shaykhs of Sufism : Junayd ibn Muhammad Abu al-Qasim al-
Khazzaz (the silk merchant) al-Baghdadi (d. 297 AH/ 909-910 CE)
Abu 'Abd al-Rahman al-Sulami stated, "His father used to sell
glasses. Hence he was called the flask seller (al-Qawariri). His
family origin was from Nahawand, and he was born and raised in 'Iraq--
that is what I heard Abu al-Qasim al-Nasrabadhi saying. He was a
scholar of jurisprudence (faqih), having studied it according to the
method of Abu Thawr [Ibrahim ibn Khalid ibn al-Yaman al-Kalbi]. He
would issue legal judgments in his circle of students. [As a student]
he [had] been in the company (sahiba) of Sari al-Saqati, Harith al-
Muhasibi, and Muhammad ibn 'Ali al-Qassab al-Baghdadi, and others. He
was among the leaders of the folk and among their masters, being well
spoken of by all."
Sulami included Junayd as being among the transmitters of the
following hadith: The Prophet said, "Beware of the perspicacity of
the believer, since he sees by the light of God, may He be exalted.
Then he recited [the aya]: Indeed in that are signs for those who have
insight (Qur'an 15:75)."
Sulami stated that Junayd said, "Nearness through ecstasy (wajd) is
'in-gathering' (jam'); and absence through humanness is separation
(tafriqah)."
Sulami stated that Junayd used to say, "We did not learn (lit. take)
Sufism by discourse, rather by hunger, abandoning the world, and
severing [one's attachments to] familiar and pleasant things; since
Sufism consists of purity of [one's] relationship with God. Its
foundation is in turning away from the world, as Harith [al-Muhasibi]
said, 'My self (nafs) has turned away from the world; so I have spent
my nights in wakefulness and my days in thirst.' "
Sulami stated that Junayd said, "Whoever knows God is only made happy
by Him."
---from al-Sulami, Tabaqatal-Sufiyah, selected from pp. 155-163
(The full chains of transmission of these reports are included in
the original but have been omitted in the above translatio n.)
Early Shaykhs of Sufism : Ruwaym
Ruwaym ibn Ahmad ibn Yazid, Abu Muhammad, al-Baghdadi (d. 303 AH/
915-16 CE). It was also reported that his name was Ruwaym ibn
Muhammad ibn Ahmad and that his kunyawas Abu Bakr. He was a scholar
of jurisprudence (faqih) in the school (madh'hab) of Dawud al-
Isfahani (d. 270), the imam of the Zahiri madh'hab. In addition he
was a trained reciter of the Qur'an, having studied with Idris ibn
'Abd al-Karim al-Haddad (d. 292), who was a master of the reading of
Khalaf ibn Hisham.
Abu 'Abd al-Rahman al-Sulami noted the following hadith that was
recorded as having been transmitted by Ruwaym, "Anas ibn Malik
reported that a man in the presence of the Prophet (SAWS) cursed a
flea. Then the Prophet stated, 'Do not curse it, because it has
awakened one of the prophets for prayer.' "
Sulami reported that Ruwaym said, "It is safer for you to sit with all
[other] classes of people than it is for you to sit with Sufis. All
people sit in accordance with "customary forms" (rusum), while Sufis
sit in accordance with the truths (haqa'iq). All the people require
their selves [to be in accord] with the outer dimensions of the law
(zawahir al-shar'), while the Sufis require their selves [to be in
accord] with the truth of "spiritual caution" (wara') and with
constant "sincerity" [toward God] (sidq). So whoever sits with them
and opposes them concerning anything the truth of which they have
actualized, God will remove the light of faith from his heart.
[Note that the word "truth" here means the "deepest level of reality"
--translator.]
---from al-Sulami, Tabaqatal-Sufiyah, selected from pp. 180-82
(The full chains of transmission of these reports are included in
the original but have been omitted in the above translation.)
Early Shaykhs of Sufism : Samnun
Sulami stated the following concerning Samnun: His name is reported in
a variety of ways: Samnun ibn 'Umar al-Muhibb, Samnun ibn Hamzah, or
Samnun ibn 'Abd Allah Abu al-Hasan al-Khawwas, or Abu al-Qasim (d.
after 297 AH/ 909-910 CE). He called himself "Samnun the liar"
because of his concealment (without complaining) of his difficulty in
urinating. He associated with Sari al-Saqati, Muhammad ibn 'Ali al-
Qassab, and Abu Ahmad al-Qalanisi. He used to speak about love with
the finest words and was among the great men of the shaykhs of 'Iraq.
He died sometime after Junayd, who died in 297/ 909-10.
Sulami noted that Abu al-Hasan ibn Zur'an said, "I was with Samnun.
He groaned deeply. Then he said, 'Were a man to cry out due to the
intensity of his ecstasy (wajd) through his love, he would fill [the
world] from the East to the West with his cry.' "
Sulami reported that Abu Bakr al-'Ajjan said that he heard Samnun
saying, "Tomorrow, when [God], the Glorious One (al-Jalil), spreads
out the expanse of grandeur (majd), the sins of the first and last
[people] will enter the margin of its margins. And when [the Glorious
one] makes manifest a fount of generosity, He will add the evildoers
to the virtuous."
---From al-Sulami, Tabaqatal-Sufiyah, selected from pp. 195-96.
(The full chains of transmission of these reports are included in
the original but have been omitted in the above translation.)
Early Shaykhs of Sufism : Abu Muhammad al-Jariri
Sulami stated the following concerning al-Jariri: It is said that his
name was Ahmad ibn Muhammad ibn al-Husayn and that his father's
patronymic was Abu al-Husayn. Another report was that his name was
Hasan ibn Muhammad. Although it was said that his name was 'Abd Allah
ibn Yahya, that is incorrect. He was among the great men of those who
associated with Junayd. In addition, he associated with Sahl ibn 'Abd
Allah al-Tustari. He was among the scholars of the shaykhs of the
Folk (al-qawm) [ie. the Sufis]. He was seated after Junayd in his
gathering (majlis), due to the completion of his [spiritual] state and
the correctness of his knowledge. He died in the year 311 AH.
Sulami noted that Jariri said, "I dreamt that someone said to me, 'For
God everything has its right. And the supreme right, for God, is the
right of wisdom (hikmah). God will demand its right from whomever
expresses wisdom to one for whom it is not suitable. And whomever He
demands its right from, he is opposed (khusima)."
Sulami also stated that Jariri said, "Whoever imagines that one's
actions will enable one to reach [both] one's highest and most mundane
hopes has indeed strayed from his path, because the Prophet (sala
Allah 'alayhi wa-sallam) said, 'He will not save you by your
actions.' So how can that which will not save one from what is feared
(makhuf) enable one to reach what is hoped for?! Rather one who truly
relies upon God's grace (fadl) is one for whom attainment becomes a
fact (yurha lahu al-wusul).
---From al-Sulami, Tabaqatal-Sufiyah, selected from pp. 259-63.
(The full chains of transmission of these reports are included in
the original but have been omitted in the above translation.)
Early Shaykhs of Sufism : 'Amr ibn 'Uthman al-Makki
Sulami stated the following concerning al-Makki: His name was 'Amr ibn
'Uthman ibn Kurab ibn Ghusas and that his kunyawas Abu 'Abd Allah.
Sulami noted that Makki associated with Junayd (fi al-suhbah) and in
this way was connected with him. He met Abu 'Abd Allah al-Nibaji and
[also] associated with Abu Sa'id al-Kharraz and other older shaykhs
(al-mashayikh al-qudama'). He was a scholar of jurisprudence
(al-'usul) and his discourse was fine (hasan).
Sulami noted that Muhammd ibn Ahmad al-Qanadili stated that 'Amr ibn
'Uthman al-Makki said, "Know that whatever your heart imagines [about
God] -- be it fineness (husn), splendor (baha'), intimacy (uns),
brilliance (diya'), beauty (jamal), ugliness (qubh), light (nur), a
phantom (shabah), a person (shakhs), or an imagined thought (khiyal),
I swear to God (may He be exalted) -- God is far from all of that.
Rather, He is most supreme, most glorious, and most great ('azam wa
ajall wa akbar). Have you not heard His words, 'There is nothing like
Him' (Qur'an, al-Shura: 11) and 'Neither does He give birth, nor is He
born, nor does He have an equal' (Qur'an 112:3).
With the same chain of transmission, Sulami stated that Makki said,
"No words can adequately express the nature (kayfiyah) of ecstasy
(wajd), since it is a mystery of God (sirr Allah) experienced by
believers who attain certainty ('inda al-mu'minin al-muqinin).
---From al-Sulami, Tabaqatal-Sufiyah, selected from pp. 200-202.
(The full chains of transmission of these reports are included in
the original but have been omitted in the above translation.)
Early Shaykhs of Sufism : 'Ali ibn 'Abd al-Rahim al-Qannad (the sugar
seller)
Sam'ani in his book al-Ansabnoted his name as being Abu al-Hasan 'Ali
ibn 'Abd al-Rahim al-Wasiti al-Qannad al-Sufi. Sam'ani describes him
as being one of the Sufis and as being among those who traveled
without anything (safara 'ala al-tajrid). He met the shaykhs, and he
himself was known to have discoursed (lahu kalam). He transmitted
some of the words of al-Husayn ibn Mansur al-Hallaj's (d. 922 CE).
Three men who transmitted from him were 'Abd Allah ibn Ahmad al-
Farisi, Ahmad ibn Abi Hatim al-Qazwini, and Abu al-'Abbas ibn Turkan
(Sam'ani, al-Ansab,vol. 4, p. 545).
'Abd al-Karim al-Rafi'i al-Qazwini noted that Shaykh Abu Muhammad
Ja'far ibn Muhammad al-Abhari mentioned in the book Adab al-fuqara
(Manners of the Poor) that he heard some shaykhs saying that Qannad
dropped in on the Sufis (al-fuqara) in Qazwin. He said, "Greetings to
you. Satan has no way to get to you, O my friends." Then he left.
So they said [to one another], "He might be mocking us. So if he
returns, we will strike him (darabnahu). [Later he returned.] He
said, "Greetings to you. Satan has no way to get to you." So they
grabbed him and said, "You are mocking us." He replied, "No, [I am
not.] I said that on account of the words of God, 'Satan promises you
poverty' (Qur'an 2:268). But you are in the midst of poverty, not
fearing it. So Satan has no power over you."
---From al-Rafi'i al-Qazwini, al-Tadwin fi akhbar Qazwin,vol. 3, p.
367.
Early Shaykhs of Sufism :
Abu Nasr al-Sarraj (the saddle maker) (d. 378 / 988)
His name was Abu Nasr 'Abdallah ibn 'Ali ibn Muhammad ibn Yahya al-
Sarraj. He was the author of the Kitab al-Luma (The Book of
Flashes). Dhahabi stated "He heard [narrations] from Ja'far al-Khuldi
(d. 348/959-60), Abu Bakr Muhammad ibn Dawud al-Dinawari al-Duqqi
["Raqqi" in the published edition of the Tarikh al-islam seems to be
an error] (d. 360/971), and Ahmad ibn Muhammad al-Sa'ih [or al-Salimi
as Nicholson suggests]. Among those who transmitted narrations on his
authority were Abu Sa'id Muhammad ibn 'Ali al-Naqqash, 'Abd al-Rahman
ibn Muhammad al-Sarraj, and others."
Nicholson asserted that one of Sarraj's students, Abu 'l-Fadl ibn al-
Hasan al-Sarakhsi, was the shaykh of the well-known Sufi shaykh, Abu
Sa'id Abu l-Khayr.
Dhahabi noted, in a problematic passage that may have originally come
from Sulami's lost Ta'rikh al-Sufiyah,that Sulami stated, "Abu Nasr
[al-Sarraj] was from a family of ascetics [awlad al-zuhhad]. He was
the manzur (Lane's Lexicon: a person or chief person whose bounty is
hoped for) in his region in futuwwa(lit. magnanimity; also the name of
early Sufi-like organizations) and was the expositor of the folk
(lisan al-qawm),while seeking the support of the knowledge of Islamic
law (ma'a al-istizhar bi-al-'ilm al-shari'a). And he is the last
remnant (baqiyat)of their shaykhs today." (Nicholson read this last
sentence as "He is the legal scholar (faqih)of their shaykhs
today" (Dhahabi, Tarikh al-Islam,351-380 AH, p. 625-26; Nicholson,
Kitab al-Luma'p. III, V)
'Attar states that he died and was buried in Tus (which is about 15
miles from Mashhad), although another source states that he died in
Nishapur.
'Attar noted that Sarraj said, "Love is a fire that has been lit
within the breasts and hearts of the lovers. It burns and turns to
ashes everything but God" (Attar, Tadhkirat al-awliya',p. 639-40).
Sufism: Name and Origin
by Paul Yachnes
Sufism has been described in many different ways by scholars writing
in English, throughout this century, but they all agree on its
essential character as being the inner, esoteric, mystical, or purely
spiritual dimension of the religion of Islam. R. A. Nicholson in his
little introduction to Sufism, The Mystics of Islam (1914), remarks:
"Sufism, the religious philosophy of Islam, is described in the oldest
extant definition as `the apprehension of divine realities'," and
although referring to it as "Islamic mysticism," he still maintains
the popular idea that Sufism was largely the product of diverse
philosophical and spiritual influences, including Christian,
Neoplatonic, and others. He further states that it is "a subject so
vast and many-sided that several large volumes would be required to do
it anything like justice".
More than 35 years later his student, A.J. Arberry, in his brief
introduction to the subject, Sufism (1950), similarly states that
Sufism is "the name given to the mysticism of Islam" and "the mystical
movement of an uncompromising Monotheism". It was this author that
first maintained that although Sufism was the recipient of many
influences from Neoplatonic and other sources, that it was in essence
derived from the Qur'an and Prophetic (Muhammadan) tradition, and
attempted to view "the movement from within as an aspect of Islam, as
though these other factors which certainly determined its growth did
not exist". This approach became generally accepted and was echoed by
later scholars.
Martin Lings, writing in an article on Sufism in the 14th edition of
the Encyclopaedia Brittanica (1968), defined Sufism as "the name by
which Islamic mysticism came to be known in the 8th or 9th century
A.D." and stated: "It is only in secondary respects that there can be
said to have been any development In Sufism, or for that matter in
Islam as a whole, since the time of the Prophet". Taking this idea one
step further, he writes: "The influences on Sufism from outside have
been enormously exaggerated. Probably the chief influence was
Neoplatonism, but even this was confined mostly to terminology and to
methods of doctrinal exposition".
In something of a departure from previous definitions, Victor Danner,
in his introduction to his translation of Ibn `Ata'illah's Book of
Wisdom (1978), writes: "When dealing with Sufism, it is best to leave
to one side such terms as `mystic' and `mysticism,' if only because in
the modern Western world such words nowadays often lead to confusion".
He prefers to identify it operatively and institutionally, as he does
in his book The Islamic Tradition (1988): "Sufism is the spiritual
Path (tariqah) of Islam and has been identified with it for well over
a thousand years...It has been called `Islamic mysticism' by Western
scholars because of its resemblance to Christian and other forms of
mysticism elsewhere. Unlike Christian mysticism, however, Sufism is a
continuous historical and even institutionalized phenomenon in the
Muslim world that has had millions of adherents down to the present
day. Indeed, if we look over the Muslim world, there is hardly a
region that does not have Sufi orders still functioning there". Such
is his estimation of the importance, within Islam, of Sufism that he
says: "Sufism has influenced the spiritual life of the religion to an
extraordinary degree; there is no important domain in the civilization
of Islam that has remained unaffected by it".
This discussion of the name and origin of Sufism was taken verbatim
from Sufism: An Annotated Resource Guide, by Paul Yachnes. (Fixed,
December 9, 2000.)
Glossary of Muslim Terms
accomplishment of His purpose:
Ibn `Arabi believes that God's purpose is to have knowledge of
Himself. He possesses this knowledge by knowing Himself through the
medium of His creatures. By the very fact of being one of God's
creatures, you help Him to fulfill His purpose.
`alam al-shahadat:
The phenomenal world.
Animal soul:
In Arabo-Persian usage, nafs ("soul", "self") is used both for the
immortal soul of a human, which survives death, and also for the
carnal, or lower, soul.
associator:
Someone who offers his adoration to anything besides the one God.
Hence polytheists and idolators are associators. However on a more
subtle level, anyone who adores God with an impure love is an
associator too. For instance someone who adores God, not for His Self
alone, but in expectation of some other reward, is also an
associator.
baqa:
persistence (often used in connection with fana to refer to a sort of
re-birth that follows ego death; i.e. to persits or endure following
death of the ego).
beings who name them:
The beings who name the divine Names are the vassals or devotees of
those Names. In other words, it is the human being who epiphanizes a
Name in the phenomenal world that has it within his power to name that
Name, where the Name can be thought of as his divine alter ego or
higher self. According to Ibn `Arabi, some (many?) people reject their
Name.
Covenant of Alast:
While human beings were subsisting within God prior to creation, God
asked them "Am I not (alast) your Lord?" And they all answered "Yea!
We testify!". At the Resurrection it will be determined whether each
individual remained faithful to his original testimoy. In other words,
did his actions reflect his pre-creation acceptance of servanthood and
God's Lordship? Or did his actions demonstrate that he lived the life
of a denier, one who's life was a denial of the Covenant of Alast?
dhikr:
The word refers both to memory and to speech. Its literal
interpretation is "mention". According to Burckhardt (p. 63), "it is
by an inner mention that a memory is evoked". Hence when the Qur'an is
translated into English, passages that refer to "remembering Allah"
could just as well be translated as "invoking Allah". The injuctions
to "invoke Allah" are seen by Sufi masters as supporting the practice
of repeating Allah's names.
Dilaram:
Literally, "that which gives the heart repose"; a common term for the
beloved
(Signs of the Unseen, footnote 110, p. 66)
divine compassion:
In Ibn 'Arabi's works, the Divine Compassion appeases the anguish of
being unknown. See the Sigh of Compassion for more information.
divine Name:
Each Name can be thought of as a bi-unity: an uncreated Lord and a
created vassal or servant. These two roles are forever distinct. The
uncreated Lord may be thought of as the Angel or the eternal hexeity
or the eternal individuality of a given individual's being. The
created individual or servant is seen as an epiphanized form of the
uncreated Lord. As God is indivisible, all of the divine Names are
said to be in sympathetic union with one another, yet each Name
embodies a unique attribute of the Godhead. Unlike other divine Names,
Al-Lah is the Name which is invested with the sum of all the divine
Attributes.
face:
Same as sirr
fana:
This has a number of different meanings, but within the passages
quoted here it most often means "ego death".
God created in the faiths:
The basic premise here is that God reveals himself differently within
different religious traditions. Typically an individual will affirm
the God who is revealed within his religion, but will reject God as He
appears in other religions. According to Ibn `Arabi, this denial of
the God found in external religions reflects a less advanced level of
spiritual development. Ibn `Arabi maintains that after fana an
individual becomes capable of recognizing God's self-revelation in all
religions. Furthermore the devotee who practices manajat comes to
realize that the God who reveals Himself in response to the devotee's
own faith has purposely assumed limits in order to establish a
relationship with the devotee as his personal_Lord.
hadith:
A saying of the Prophet transmitted outside the Qur'an through a chain
of known intermediaries. There are two kinds of hadith: hadith qudsi
(sacred sentence), a direct revelation, in which God speaks in the
first person by the mouth of the Prophet, and hadith nabawi (prophetic
sentence), an indirect revelation in which the Prophet speaks as
himself.
(Introduction to Sufism, p. 117)
Hallaj:
Hallaj was an Islamic mystic who is well known to this day for his
assertion, "I am God." He was condemned to death in 922 A.D. His
teachings were considered to be so dangerous that it was against the
law to copy or distribute his writings for several hundred years after
his death.
Hidden Treasure:
This is an allusion to the hadith qudsi in which God declares, "I was
a Hidden Treasure, so I wanted to be known." The universe performs a
service as God's mirror in as much as it allows God to behold His
Attributes. Mankind fulfills a special role in this universe in that
the self-realized saints reflect God's ability to recognize the Hidden
Treasure (i.e. God) within themselves.
himma:
The power of the heart.
hypostasis:
a person; The term appears with more frequency in Christian
theological works to refer to the three persons of the Christian
Trinity.
Iblis:
The figure of Iblis in Islam is similar to that of Satan in
Christianity. Although Iblis was an angelic being, his vision couldn't
penetrate the outward form of a thing in order to apprehend its inward
meaning. When Adam (the first human) was created, God commanded Iblis
and all the other angels to prostrate themselves before Adam. Iblis
refused to bow down to this new creation of God. Iblis reasoned to
himself that he was superior to Adam since he was made of fire while
Adam was only made of clay. In this one act of defiance Iblis
introduced the sins of pride, envy, and disobedience into the world.
When confronted by God, Iblis refused to take any responsibility for
his sins; instead he accused God of leading him astray.
imagination (whether referred to as active, or creative, or
theophanic):
This term is used widely by Henry Corbin, the translator of Creative
Imagination in the Sufism of Ibn `Arabi. When Corbin uses the word
imagination, he is not referring to fantasy or make-believe. Instead
he is referring to the organ which perceives spiritual visions. The
object of such vision is regarded as real, yet immaterial.
intellect:
This intellect is seen as the seat for the power of discernment; it
gives people the ability to see things as they are, to distinguish
such attributes as truth and falsehood, beauty and ugliness. However
in most humans the intellect is unable to function properly because it
is veiled by the ego. The original error in judgment comes from
identifying the human spirit with it's cloak of water and clay (i.e.
the body). Following this mistaken identification, the intellect is
unable to penetrate the outward form of those objects within its
perceptual field. If it could go beyond forms to inward meaning, the
intellect would discover God in all things. Or as Rumi puts it, "How
many words the world contains! But all have one meaning. When you
smash the jugs, the water is one" (p. 8 of The Sufi Path of Love.)
While veiled, the intellect is known as the partial intellect and it
exists in an adversarial relationship with the ego. As an individual's
ego "thins out", the intellect becomes better at fulfilling its
purpose. In most people, the ego dominates the intellect. However in
those individuals who are making spiritual progress, the intellect
begins to dominate the ego. When the veil of the ego is altogether
eliminated, the human spirit is altogether sanctified. In Rumi's
words:
The partial intellect is a denier of Love, even if it pretends to know
the mysteries.
It is clever and knowedgeable, but not naughted -- as long as the
angel is not naughted, it is a demon.
(p. 223 of The Sufi Path of Love)
Ka`aba:
The Ka`aba is a building located within the court of the Great Mosque
at Mecca. Muslims all over the world face in the direction of the
Ka`aba while praying. Pilgrims at Mecca are supposed to circumambulate
the Ka`aba. The Ka`aba contains a sacred black stone.
lahut:
Divine.
manajat:
Ibn `Arabi conceives of prayer as being an intimate dialog between an
individual and his personal Lord. God's prayer is seen as
existentiating his creatures, whereas the devotee's prayer is seen as
existentiating his personal Lord. Ibn `Arabi's method of prayer is
presented in detail elsewhere.
mazhar:
A symbol. A symbol is an apparently finite thing that points toward
something that's unbounded and indescribable. The knowledge conveyed
by the symbol cannot be apprehended in any other way, nor can the
symbol ever be explained once and for all. It's true meaning becomes
known via theophanic vision.
musalli:
an orant; one who prays. According to Ibn `Arabi, only the individual
who is capable of perceiving the Lord's reponse to his prayer is truly
a musalli. If an indivdual does not apprend the divine response, it's
because he isn't really present with his Lord during prayer. See
manajat for more information.
nasut:
human, as opposed to divine.
nostalgia of the divine Names:
"Nostalgia" is perhaps a poor choice of words, as it suggests a
longing for things past. What this phrase really means is that the
latent potentialities within the divine essence (these potentialities
are ususally referred to as the divine Names) yearn to know
themselves, and this knowledge is acquired via their manifestation
within the created universe.
personal Lord (al-Rabb)
Ibn `Arabi states that Allah cannot be known or experienced directly.
However Allah is desirous to be known and experienced by His devotees.
So He imposes limits upon Himself in order to reveal His attributes.
Each qualified manifestation of God is regarded as one of God's many
divine Names. When known by one such Name, God is said to assume the
form of a personal Lord for a particular devotee. Through devotion to
his personal Lord, the devotee can eventually come to know God through
other divine Names as well and thereby gain a fuller understanding of
the Godhead; however through it all he still maintains a unique
devotional bond to his own Lord. Ibn `Arabi regards Allah as being
invested with the sum of His attributes or Names, whereas the personal
Lord (al-Rabb) manifests a particular attribute.
Pharoah:
Moses was charged with freeing God's people from the dominion of the
Egyptian leader, the Pharoah. Meanwhile the Pharoah did everything he
could to preserve his dominion over them. According to the Koran,
Moses' adversary the Pharoah asserted, "I am your Lord the Most
High." (Koran LXXIX 24).
From a metaphorical point of view, Moses represents the intellect, the
Pharoah represents the ego, and God's people represents the spirit
residing in each person.
Possessor of the Heart:
Those who are pure in heart achieve God-consciousness; they are truly
and actually aware of God at the center of their being (their heart).
These sanctified individuals are said to be Possessors of the Heart.
(p. 36 of The Sufi Path of Love)
As an individual makes spiritual progress, he experiences alternating
waves of expansion and contraction. When an individual experiences
expansion, this is a sort of union, and it is not uncommon for an
aspirant undergoing this relative union to think that he's reached the
end of his journey. This mistaken interpretation of his experience may
lead him to conclude that he is a Possessor of the Heart when in fact
he may still have a long way to go.
secret or sirr:
An individual's center of consciousness; the source of an individual's
being. At this mysterious point, the individual comes into contact
with that which is Holy.
Sigh of Compassion(Nafas al-Rahman or Nafas Rahmani):
Before the creation of the universe, the divine Names yearned to be
known. In His compassion and sympathy for these Names, God is said to
have existentiated them with a sigh. In other words, it was this sigh
of compassion that caused the Names to be epiphanized or manifested in
the created universe. Furthermore this sigh continues to preserve the
universe by recreating it at each moment.
shaikh, or shaykh:
A shaikh is a saintly, self-realized individual who serves as a
spiritual guide for others. The shaikh's words provide some guidance,
but even more benefit comes from simply associating with an individual
who has attained such purity of intellect, for it reflects something
of God's perfection. Through proximity to the shaikh, the disciple's
own intellect is strengthened and gains the upper hand in its
spiritual combat with the ego.
Of course not everyone who claims to be a shaikh really is one, and a
great deal of spiritual harm is inflicted on the disciples of so-
called shaikhs who actually are ego-maniacs. In order to distinguish
the charlatans from the saints, the potential disciple must already
have purified his intellect to some extent. If the disciple's ego
still dominates his intellect, he will be tend to be drawn to these
charlatans, and their influence will help his ego to become even
stronger. In contrast an individual who has already acquired some
humility and made progress in virtue will be able to recognize the
genuine saint.
A female spiritual guide is a shaikha.
state or al-hal:
Spiritual realization which is fleeting or temporary. Refers to a
glimpse of spiritual truths which are more profound than those that
characterize a given individual's normal level of realization.
station or maqam:
Spiritual realization which is permanent. The sufi mystic who attains
a particular station is said to be established in the truths revealed
by that particular level of realization.
surat al-Haqq:
When a spiritual aspirant is sufficiently spiritually developed, his
personal Lord appears to him by taking on a form that may be material
or immaterial.
tajalli
epiphany.
tanazzulat:
An instance of descent from the the One essence into a manifestation
within the sensible world. Ironically this descent both reveals and
hides the One essence. By transmuting the Unlimited into something
limited, It assumes attributes by which It can be known. However since
the One essence is unlimited, the very fact that It has assumed limits
makes It appear to be other than what It is. This paradox is
transcended via theophanic vision.
ta'wil:
A vision of reality in which everything seen takes on symbolic
meanings. Same as theophanic vision.
To not sleep:
This has one of two meanings:
To keep vigil; to spend the hours of the night in prayer.
To have reached such a state of purity that even when the body sleeps,
the heart continues to contemplate the Beloved. Such a heart is said
to be completely and perpetually awake.
Universal Intellect (`aql-i kulli):
The intellect that's entirely pure and free of ego, the "Intellect of
the intellect." It can discern the meaning hidden within every form,
and thus it sees things as they truly are. Although there is only one
Universal Intellect, this intellect reveals itself to the saints in
varying degrees, according to their capacity.
zahir:
Exoteric meaning. Manifest, self-evident meaning.
General terms often found in scholarly works on Sufism
circumambulate:
to walk around something in a ritualistic manner.
epiphany:
God revealing Himself in His creation. Describes what happens when
spirituality materializes. This is often referred to in Sufi
literature as descent. To say that God epiphanizes Himself is the same
as saying that He reveals Himself in some aspect of His creation.
Compare with theophanic vision.
existential:
pertaining to existence
based on experience
pertaining to existentialism
existentiate:
to bring into existence.
genus:
(LOGIC) a class of objects divided into subordinate species having
certain common attributes
a class, group, or kind with common attributes
gnosis:
Mystical knowledge
gnostic:
Someone who has mystical knowledge
hermeneutics:
A method of scriptural or symbolic interpretation. See theophanic
imagination for more information.
ipseity:
The quality of God as a wholly independent being who is complete in
Himself. The term gives emphasis to the paradox that God, without any
need to do so, creates and draws creatures to Him through love and
knowledge. (Definition courtesy G. Thursby)
ontological:
relating to the branch of philosophy that deals with being
presentiment:
a sense that something is about to occur; a premonition
principial:
A defining or essential feature. What is principial may be hidden to
ordinary perception but will be revealed to the mystic. (Definition
courtesy G. Thursby)
suzerainty:
Lordliness.
According to Ibn `Arabi, it is the vassal's devotion to his Lord which
permits the Lord to display or manifest his attribute of lordliness.
For this reason Ibn `Arabi's often states that the vassal holds "the
secret of his Lord's suzerainty". However Ibn `Arabi also contends
that the vassal's love for his Lord is nothing but an expression of
the divine love as it manifests itself through the person of the
vassal. So it is often said that there is a "secret to the secret of
the Lord's suzerainty."
theophanic vision:
Theophanic vision is mediated by himma, the power of the heart. An
individual with theophanic vision doesn't just process sensory data.
Instead he sees through things, gaining an intimation of what the
thing symbolizes on a spiritual level. It's as if the each object of
theophanic vision were a window into paradise. Viewed in this way,
material things are spiritualized. This is often referred to in Sufi
literature as ascent or return. Compare with epiphany and theophany
theophany:
A manifestation of some aspect of God in the material realm as
mystically experienced by an individual.
Beyond both this World and the Hereafter
Not only do many Sufis turn their attention away from thoughts of
reaching Paradise in the Hereafter, but they consider such thinking
(as well as thinking of achieving fulfillment through this material
world) to be an obstacle on the Path to God. In this vein, the
Naqshbandi Sufi Wa'iz Kashifi comments on the Qur'anic verses
2:219-20 (219) And God makes clear to you his messages, so that you
might reflect (220) on this world and the Hereafter...
[Abu 'Abd al-Rahman] al-Sulami (may God's mercy be upon him) stated,
"Reflecting on this world and the Herafter" is that one should know
that they are highway robbers (who block the road)."
The Messenger of God [Muhammad] (may God send blessings and peace upon
him) said, "This world is forbidden to the folk of the Hereafter; the
Hereafter is forbidden to the folk of this world; and both worlds are
forbidden to the folk of God."
couplet:
This world and the Hereafter are veils to the lover.
How can desire for them ever be right for the lover?!
From Wa'iz-i Kashifi's Persian commentary on the Qur'an, Mavahib-i
'aliya (vol. 1, p. 80).
Forty Hadith Qudsi
Hadith Collection
Hadith Qudsi 1:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said:
When Allah decreed the Creation He pledged Himself by writing in His
book which is laid down with Him: My mercy prevails over my wrath.
It was related by Muslim (also by al-Bukhari, an-Nasa'i and Ibn
Majah).
Hadith Qudsi 2:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said: Allah Almighty has
said:
The son of Adam denied Me and he had no right to do so. And he reviled
Me and he had no right to do so. As for his denying Me, it is his
saying: He will not remake me as He made me at first (1) - and the
initial creation [of him] is no easier for Me than remaking him. As
for his reviling Me, it is his saying: Allah has taken to Himself a
son, while I am the One, the Everlasting Refuge. I begot not nor was I
begotten, and there is none comparable to Me.
(1) i.e., bring me back to life after death.
It was related by al-Bukhari (also by an-Nasa'i).
Hadith Qudsi 3:
On the authority of Zayd ibn Khalid al-Juhaniyy (may Allah be pleased
with him), who said:
The Messenger of Allah (may the blessings and peace of Allah be upon
him) led the morning prayer for us at al-Hudaybiyah following rainfall
during the night. When the Prophet (may the blessings and peace of
Allah be upon him) finished, he faced the people and said to them: Do
you know what your Lord has said? They said: Allah and his Messenger
know best. He said: This morning one of my servants became a believer
in Me and one a disbeliever. As for him who said: We have been given
rain by virtue of Allah and His mercy, that one is a believer in Me, a
disbeliever in the stars (2); and as for him who said: We have been
given rain by such-and-such a star, that one is a disbeliever in Me, a
believer in the stars.
(2) The pre-Islamic Arabs believed that rain was brought about by the
movement of stars. This Hadith draws attention to the fact that
whatever be the direct cause of such natural phenomena as rain, it is
Allah the Almighty who is the Disposer of all things.
It is related by al-Bukhari (also by Malik and an-Nasa'i).
Hadith Qudsi 4:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said: Allah said:
Sons of Adam inveigh against [the vicissitudes of] Time, and I am
Time, in My hand is the night and the day (1).
(1) As the Almighty is the Ordainer of all things, to inveigh aginst
misfortunes that are part of Time is tantamount to inveighing against
Him.
It was related by al-Bukhari (also by Muslim).
Hadith Qudsi 5:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said: Allah (glorified and
exalted be He) said:
I am so self-sufficient that I am in no need of having an associate.
Thus he who does an action for someone else's sake as well as Mine
will have that action renounced by Me to him whom he associated with
Me.
It was related by Muslim (also by Ibn Majah).
Hadith Qudsi 6:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said: I heard the Messenger of Allah (PBUH) say:
The first of people against whom judgment will be pronounced on the
Day of Resurrection will be a man who died a martyr. He will be
brought and Allah will make known to him His favours and he will
recognize them. [ The Almighty] will say: And what did you do about
them? He will say: I fought for you until I died a martyr. He will
say: You have lied - you did but fight that it might be said [of you]:
He is courageous. And so it was said. Then he will be ordered to be
dragged along on his face until he is cast into Hell-fire. [Another]
will be a man who has studied [religious] knowledge and has taught it
and who used to recite the Quran. He will be brought and Allah will
make known to his His favours and he will recognize them. [The
Almighty] will say: And what did you do about them? He will say: I
studied [religious] knowledge and I taught it and I recited the Quran
for Your sake. He will say: You have lied - you did but study
[religious] knowledge that it might be said [of you]: He is learned.
And you recited the Quran that it might be said [of you]: He is a
reciter. And so it was said. Then he will be ordered to be dragged
along on his face until he is cast into Hell-fire. [Another] will be a
man whom Allah had made rich and to whom He had given all kinds of
wealth. He will be brought and Allah will make known to his His
favours and he will recognize them. [The Almighty] will say: And what
did you do about them? He will say: I left no path [untrodden] in
which You like money to be spent without spending in it for Your sake.
He will say: You have lied - you did but do so that it might be said
[of you]: He is open-handed. And so it was said. Then he will be
ordered to be dragged along on his face until he is cast into Hell-
fire.
It was related by Muslim (also by at-Tirmidhi and an-Nasa'i).
Hadith Qudsi 7:
On the authority of Uqbah ibn Amir (may Allah be pleased with him),
who said: I heard the messenger of Allah (PBUH) say:
Your Lord delights at a shepherd who, on the peak of a mountain crag,
gives the call to prayer and prays. Then Allah (glorified and exalted
be He) say: Look at this servant of Mine, he gives the call to prayer
and performs the prayers; he is in awe of Me. I have forgiven My
servant [his sins] and have admitted him to Paradise.
It was related by an-Nasa'i with a good chain of authorities.
Hadith Qudsi 8:On the authority of Abu Hurayrah (may Allah be pleased
with him) from the Prophet (PBUH), who said:
A prayer performed by someone who has not recited the Essence of the
Quran (1) during it is deficient (and he repeated the word three
times), incomplete. Someone said to Abu Hurayrah: [Even though] we are
behind the imam? (2) He said: Recite it to yourself, for I have heard
the Prophet (may the blessings and peace of Allah be up on him) say:
Allah (mighty and sublime be He), had said: I have divided prayer
between Myself and My servant into two halves, and My servant shall
have what he has asked for. When the servant says: Al-hamdu lillahi
rabbi l-alamin (3), Allah (mighty and sublime be He) says: My servant
has praised Me. And when he says: Ar-rahmani r-rahim (4), Allah
(mighty and sublime be He) says: My servant has extolled Me, and when
he says: Maliki yawmi d-din (5), Allah says: My servant has glorified
Me - and on one occasion He said: My servant has submitted to My
power. And when he says: Iyyaka na budu wa iyyaka nasta in (6), He
says: This is between Me and My servant, and My servant shall have
what he has asked for. And when he says: Ihdina s-sirata l- mustaqim,
siratal ladhina an amta alayhim ghayril-maghdubi alayhim wa la d-
dallin (7), He says: This is for My servant, and My servant shall have
what he has asked for.
(1) Surat al-Fatihah, the first surah (chapter) of the Qur'an.
(2) i.e. standing behind the imam (leader) listening to him reciting
al-Fatihah.
(3) "Praise be to Allah, Lord of the Worlds."
(4) "The Merciful, the Compassionate".
(5) "Master of the Day of Judgement".
(6) "It is You we worship and it is You we ask for help".
(7) "Guide us to the straight path, the path of those upon whom You
have bestowed favors, not of those against whom You are angry, nor of
those who are astray".
It was related by Muslim (also by Malik, at-Tirmidhi, Abu-Dawud, an-
Nasa'i and Ibn Majah).
Hadith Qudsi 9:
On the authority of Abu Harayrah (may Allah be pleased with him) from
the Prophet (PBUH), who said: Allah (mighty and sublime be He) says:
The first of his actions for which a servant of Allah will be held
accountable on the Day of Resurrection will be his prayers. If they
are in order, then he will have prospered and succeeded: and if they
are wanting, then he will have failed and lost. If there is something
defective in his obligatory prayers, the Lord (glorified and exalted
be He) will say: See if My servant has any supererogatory prayers with
which may be completed that which was defective in his obligatory
prayers. Then the rest of his actions will be judged in like fashion.
It was related by at-Tirmidhi (also by Abu Dawud, an-Nasa'i, Ibn Majah
and Ahmad).
Hadith Qudsi 10:
On the authority of Abu Harayrah (may Allah be pleased with him) from
the Prophet (PBUH), who said: Allah (mighty and sublime be He) says:
Fasting is Mine and it is I who give reward for it. [A man] gives up
his sexual passion, his food and his drink for my sake. Fasting is
like a shield, and he who fasts has two joys: a joy when he breaks his
fast and a joy when he meets his Lord. The change in the breath of the
mouth of him who fasts is better in Allah's estimation than the smell
of musk.
It was related by al-Bukhari (also by Muslim, Malik, at-Tirmidhi, an-
Nasa'i and Ibn Majah).
Hadith Qudsi 11:
On the authority of Abu Harayrah (may Allah be pleased with him) from
the Prophet (PBUH), who said: Allah (mighty and sublime be He) said:
Spend (on charity), O son of Adam, and I shall spend on you.
It was related by al-Bukhari (also by Muslim).
Hadith Qudsi 12:
On the authority of Abu Mas'ud al-Ansari (may Allah be pleased with
him), who said that the Messenger of Allah (may the blessings and
peace of Allah be upon him) said:
A man from among those who were before you was called to account.
Nothing in the way of good was found for him except that he used to
have dealings with people and, being well-to-do, he would order his
servants to let off the man in straitened circumstances [from repaying
his debt]. He (the Prophet p.b.u.h) said that Allah said: We are
worthier than you of that (of being so generous). Let him off.
It was related by Muslim (also by al-Bukhari and an-Nasa'i).
Hadith Qudsi 13:
On the authority of Adiyy ibn Hatim (may Allah be pleased with him),
who said:
I was with the Messenger of Allah (may the blessings and peace of
Allah be upon him) and there came to him two men: one of them was
complaining of penury (being very poor), while the other was
complaining of brigandry (robbery). The Messenger of Allah (may the
blessings and peace of Allah be upon him) said: As for brigandry, it
will be but a short time before a caravan will [be able to] go out of
Mecca without a guard. As for penury, the Hour (Day of Judgement) will
not arrive before one of you takes his charity around without finding
anyone to accept it from him. Then (1) one of you will surely stand
before Allah, there being no screen between Him and him, nor an
interpreter to translate for him. Then He will say to him: Did I not
bring you wealth? And he will say: Yes. Then He will say: Did I not
send to you a messenger? And he will say: Yes. And he will look to his
right and will see nothing but Hell-fire, then he will look to his
left and will see nothing but Hell-fire, so let each of you protect
himself against Hell-fire, be it with even half a date - and if he
finds it not, then with a kind word.
(1) i.e. at the time of the Hour. It was related by al-Bukhari.
Hadith Qudsi 14:
On the authority of Abu Harayrah (may Allah be pleased with him) from
the Prophet (PBUH), who said:
Allah (glorified and exalted be He) has supernumerary angels who rove
about seeking out gatherings in which Allah's name is being invoked:
they sit with them and fold their wings round each other, filling that
which is between them and between the lowest heaven. When [the people
in the gathering] depart, [the angels] ascend and rise up to heaven.
He (the Prophet p.b.u.h.) said: Then Allah (mighty and sublime be He)
asks them - [though] He is most knowing about them: From where have
you come? And they say: We have come from some servants of Yours on
Earth: they were glorifying You (Subhana llah), exalting you (Allahu
akbar), witnessing that there is no god but You (La ilaha illa llah),
praising You (Al-Hamdu lillah), and asking [favours] of You. He says:
And what do they ask of Me? They say: They ask of You Your Paradise.
He says: And have they seen My Paradise? They say: No, O Lord. He
says: And how would it be were they to have seen My Paradise! They
say: And they ask protection of You. He says: From what do they ask
protection of Me? They say: From Your Hell-fire, O Lord. He says: And
have they seen My Hell-fire? They say: NO. He says: And how would it
be were they to have seen My Hell-fire: They say: And they ask for
Your forgiveness. He (the Prophet p.b.u.h) said: Then He says: I have
forgiven them and I have bestowed upon them what they have asked
for,and I have granted them sanctuary from that from which they asked
protection. He (the Prophet p.b.u.h) said: They say: O Lord, among
then is So-and-so, a much sinning servant, who was merely passing by
and sat down with them. He (the Prophet p.b.u.h) said: And He says:
And to him [too] I have given forgiveness: he who sits with such
people shall not suffer.
It was related by Muslim (also by al-Bukhari, at-Tirmidhi, and an-
Nasa'i).
Hadith Qudsi 15:
On the authority of Abu Harayrah (may Allah be pleased with him), who
said that the Prophet (PBUH) said: Allah the Almighty said:
I am as My servant thinks I am (1). I am with him when he makes
mention of Me. If he makes mention of Me to himself, I make mention of
him to Myself; and if he makes mention of Me in an assembly, I make
mention of him in an assemble better than it. And if he draws near to
Me an arm's length, I draw near to him a fathom's length. And if he
comes to Me walking, I go to him at speed.
(1) Another possible rendering of the Arabic is: "I am as My servant
expects Me to be". The meaning is that forgiveness and acceptance of
repentance by the Almighty is subject to His servant truly believing
that He is forgiving and merciful. However, not to accompany such
belief with right action would be to mock the Almighty.
It was related by al-Buhkari (also by Muslim, at-Tirmidhi and Ibn-
Majah).
Hadith Qudsi 16:
On the authority of son of Abbas (may Allah be pleased with them
both), from the Messenger of Allah (PBUH), among the sayings he
related from his Lord (glorified and exalted be He) is that He said:
Allah has written down the good deeds and the bad ones. Then He
explained it [by saying that] he who has intended a good deed and has
not done it, Allah writes it down with Himself as a full good deed,
but if he has intended it and has done it, Allah writes it down with
Himself as from ten good deeds to seven hundred times, or many times
over. But if he has intended a bad deed and has not done it, Allah
writes it down with Himself as a full good deed, but if he has
intended it and has done it, Allah writes it down as one bad deed.
It was related by al-Bukhari and Muslim.
Hadith Qudsi 17:
On the authority of Abu Dharr al-Ghifari (may Allah be pleased with
him) from the Prophet (PBUH) is that among the sayings he relates from
his Lord (may He be glorified) is that He said:
O My servants, I have forbidden oppression for Myself and have made it
forbidden amongst you, so do not oppress one another. O My servants,
all of you are astray except for those I have guided, so seek guidance
of Me and I shall guide you, O My servants, all of you are hungry
except for those I have fed, so seek food of Me and I shall feed you.
O My servants, all of you are naked except for those I have clothed,
so seek clothing of Me and I shall clothe you. O My servants, you sin
by night and by day, and I forgive all sins, so seek forgiveness of Me
and I shall forgive you. O My servants, you will not attain harming Me
so as to harm Me, and will not attain benefitting Me so as to benefit
Me. O My servants, were the first of you and the last of you, the
human of you and the jinn of you to be as pious as the most pious
heart of any one man of you, that would not increase My kingdom in
anything. O My servants, were the first of you and the last of you,
the human of you and the jinn of you to be as wicked as the most
wicked heart of any one man of you, that would not decrease My kingdom
in anything. O My servants, were the first of you and the last of you,
the human of you and the jinn of you to rise up in one place and make
a request of Me, and were I to give everyone what he requested, that
would not decrease what I have, any more that a needle decreases the
sea if put into it. O My servants, it is but your deeds that I reckon
up for you and then recompense you for, so let him finds good praise
Allah and let him who finds other that blame no one but himself.
It was related by Muslim (also by at-Tirmidhi and Ibn Majah).
Hadith Qudsi 18:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said: Allah (mighty and
sublime be He) will say on the Day of Resurrection:
O son of Adam, I fell ill and you visited Me not. He will say: O Lord,
and how should I visit You when You are the Lord of the worlds? He
will say: Did you not know that My servant So-and-so had fallen ill
and you visited him not? Did you not know that had you visited him you
would have found Me with him? O son of Adam, I asked you for food and
you fed Me not. He will say: O Lord, and how should I feed You when
You are the Lord of the worlds? He will say: Did you not know that My
servant So-and-so asked you for food and you fed him not? Did you not
know that had you fed him you would surely have found that (the reward
for doing so) with Me? O son of Adam, I asked you to give Me to drink
and you gave Me not to drink. He will say: O Lord, how should I give
You to drink whin You are the Lord of the worlds? He will say: My
servant So-and-so asked you to give him to drink and you gave him not
to drink. Had you given him to drink you would have surely found that
with Me.
It was related by Muslim.
Hadith Qudsi 19:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said: Allah (mighty and
sublime be He) said:
Pride is my cloak and greatness My robe, and he who competes with Me
in respect of either of them I shall cast into Hell-fire.
It was related by Abu Dawud (also by Ibn Majah and Ahmad) with sound
chains of authority. This Hadith also appears in Muslim in another
version.
Hadith Qudsi 20:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said:
The gates of Paradise will be opened on Mondays and on Thursdays, and
every servant [of Allah] who associates nothing with Allah will be
forgiven, except for the man who has a grudge against his brother.
[About them] it will be said: Delay these two until they are
reconciled; delay these two until they are reconciled.
It was related by Muslim (also by Malik and Abu Dawud).
Hadith Qudsi 21:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said that Allah the Almighty
said:
There are three (1) whose adversary I shall be on the Day of
Resurrection: a man who has given his word by Me and has broken it; a
man who has sold a free man (2) and has consumed the price; and a man
who has hired a workman, has exacted his due in full from him and has
not given him his wage.
(1) i.e. types of men.
(2) i.e. a man who has made a slave of another and has sold him.
It was related by al-Bukhari (also by Ibn Majah and Ahmad ibn
Hanbal).
Hadith Qudsi 22:
On the authority of Abu Sa'id (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said:
Let not any one of you belittle himself. They said: O Messenger of
Allah, how can any one of us belittle himself? He said: He finds a
matter concerning Allah about which he should say something, and he
does not say [it], so Allah (mighty and sublime be He) says to him on
the Day of Resurrection: What prevented you from saying something
about such-and-such and such-and-such? He say: [It was] out of fear of
people. Then He says: Rather it is I whom you should more properly
fear.
It was related by Ibn Majah with a sound chain of authorities.
Hadith Qudsi 23:On the authority of Abu Hurayrah (may Allah be pleased
with him), who said that the Messenger of Allah (PBUH) said: Allah
will say on the Day of Resurrection:
Where are those who love one another through My glory? Today I shall
give them shade in My shade, it being a day when there is no shade but
My shade.
It was related by al-Bukhari (also by Malik).
Hadith Qudsi 24:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said:
If Allah has loved a servant [of His] He calls Gabriel (on whom be
peace) and says: I love So-and-so, therefore love him. He (the Prophet
pbuh) said: So Gabriel loves him. Then he (Gabriel) calls out in
heaven, saying: Allah loves So-and-so, therefore love him. And the
inhabitants of heaven love him. He (the Prophet pbuh) said: Then
acceptance is established for him on earth. And if Allah has abhorred
a servant [of His], He calls Gabriel and says: I abhor So-and-so,
therefore abhor him. So Gabriel abhors him. Then Gabriel calls out to
the inhabitants of heaven: Allah abhors So-and-so, therefore abhor
him. He (the Prophet pbuh) said: So they abhor him, and abhorrence is
established for him on earth.
It was related by Muslim (also by al-Bukhari, Malik, and at-
Tirmidhi).
Hadith Qudsi 25:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said: Allah (mighty and
sublime be He) said:
Whosoever shows enmity to someone devoted to Me, I shall be at war
with him. My servant draws not near to Me with anything more loved by
Me than the religious duties I have enjoined upon him, and My servant
continues to draw near to Me with supererogatory works so that I shall
love him. When I love him I am his hearing with which he hears, his
seeing with which he sees, his hand with which he strikes and his foot
with which he walks. Were he to ask [something] of Me, I would surely
give it to him, and were he to ask Me for refuge, I would surely grant
him it. I do not hesitate about anything as much as I hesitate about
[seizing] the soul of My faithful servant: he hates death and I hate
hurting him.
It was related by al-Bukhari.
Hadith Qudsi 26:
On the authority of Abu Umamah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said: Allah (mighty and
sublime be He) said:
Truly of those devoted to Me the one I most favour is a believer who
is of meager means and much given to prayer, who has been particular
in the worship of his Lord and has obeyed Him inwardly (1), who was
obscure among people and not pointed out, and whose sustenance was
just sufficient to provide for him yet he bore this patiently. Then
the Prophet (pbuh) rapped his hand and said: Death will have come
early to him, his mourners will have been few, his estate scant.
(1) i.e. he has not been ostentatious in his obedience.
It was related by at-Tirmidhi (also by Ahmad ibn Hanbal and Ibn
Majah). Its chain of authorities is sound.
Hadith Qudsi 27:
On the authority of Masruq, who said:
We asked Abdullah (i.e. Ibn Masud) about this verse: And do not regard
those who have been killed in the cause of Allah as dead, rather are
they alive with their Lord, being provided for (Quran Chapter 3 Verse
169). He said: We asked about that and the Prophet (pbuh) said: Their
souls are in the insides of green birds having lanterns suspended from
the Throne, roaming freely in Paradise where they please, then taking
shelter in those lanterns. So their Lord cast a glance at them (1) and
said: Do you wish for anything? They said: What shall we wish for when
we roam freely in Paradise where we please? And thus did He do to them
three times. When they say that they would not be spared from being
asked [again], they said: O Lord, we would like for You to put back
our souls into our bodies so that we might fight for Your sake once
again. And when He saw that they were not in need of anything they
were let be.
(1) i.e. at those who had been killed in the cause of Allah.
It was related by Muslim (also by at-Tirmidhi, an-Nasa'i and Ibn
Majah).
Hadith Qudsi 28:
On the authority of Jundub ibn Abdullah (may Allah be pleased with
him), who said that the Messenger of Allah (PBUH) said:
There was amongst those before you a man who had a wound. He was in
[such] anguish that he took a knife and made with it a cut in his
hand, and the blood did not cease to flow until he died. Allah the
Almighty said: My servant has himself forestalled Me; I have forbidden
him Paradise.
It was related by al-Bukhari.
Hadith Qudsi 29:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said: Allah (mighty and
sublime be He) says:
My faithful servant's reward from Me, if I have taken to Me his best
friend from amongst the inhabitants of the world and he has then borne
it patiently for My sake, shall be nothing less than Paradise.
It was related by al-Bukhari.
Hadith Qudsi 30:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said: Allah (mighty and
sublime be He) said:
If My servant likes to meet Me, I like to meet him; and if he dislikes
to meet Me, I dislike to meet him. Prophetic explanation of this
Sacred Hadith: He who likes to meet Allah, Allah likes to meet him;
and he who dislikes to meet Allah, Allah dislikes to meet him. Aishah
(may Allah be pleased with her) said: O Prophet of Allah, is it
because of the dislike of death, for all of us dislike death? The
Prophet (pbuh) said: It is not so, but rather it is that when the
believer is given news of Allah's mercy, His approval and His
Paradise, he likes to meet Allah and Allah likes to meet him; but when
the unbeliever is given news of Allah's punishment and His
displeasure, he dislikes to meet Allah and Allah dislikes to meet
him.
It was related by al-Bukhari and Malik. The Prophetic version is
related by Muslim.
Hadith Qudsi 31:
On the authority of Jundub (may Allah be pleased with him), who said
that the Messenger of Allah (PBUH) related:
A man said: By Allah, Allah will not forgive So-and-so. At this Allah
the Almighty said: Who is he who swears by Me that I will not forgive
So-and-so? Verily I have forgiven So-and-so and have nullified your
[own good] deeds (1) (or as he said [it]).
(1) A similar Hadith, which is given by Abu Dawud, indicates that the
person referred to was a goldly man whose previous good deeds were
brought to nought through presuming to declare that Allah would not
forgive someone's bad deeds.
It was related by Muslim.
Hadith Qudsi 32:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said:
A man sinned greatly against himself, and when death came to him he
charged his sons, saying: When I have died, burn me, then crush me and
scatter [my ashes] into the sea, for, by Allah, if my Lord takes
possession of me, He will punish me in a manner in which He has
punished no one [else]. So they did that to him. Then He said to the
earth: Produce what you have taken-and there he was! And He said to
him: What induced you to do what you did? He said: Being afraid of
You, O my Lord (or he said: Being frightened of You) and because of
that He forgave him.
It was related by Muslim (also by al-Bukhari, an-Nasa'i and Ibn
Majah).
Hadith Qudsi 33:
On the authority of Abu Hurayrah (may Allah be pleased with him) that
the Prophet (PBUH), from among the things he reports from his Lord
(mighty and sublime be He), is that he said:
A servant [of Allah's] committed a sin and said: O Allah, forgive me
my sin. And He (glorified and exalted be He) said: My servant has
committed a sin and has known that he has a Lord who forgives sins and
punishes for them. Then he sinned again and said: O Lord, forgive me
my sin. And He (glorified and exalted be He) said: My servant has
committed a sin and has known that he has a Lord who forgives sins and
punishes for them. Then he sinned again and said: O Lord, forgive me
my sin. And He (glorified and exalted be He) said: My servant has
committed a sin and has known that he has a Lord who forgives sins and
punishes for sins. Do what you wish, for I have forgiven you.
It was related by Muslim (also by al-Bukhari).
Hadith Qudsi 34:
On the authority of Anas (may Allah be pleased with him), who said: I
heard the Messenger of Allah (PBUH) say: Allah the Almighty said:
O son of Adam, so long as you call upon Me and ask of Me, I shall
forgive you for what you have done, and I shall not mind. O son of
Adam, were your sins to reach the clouds of the sky and were you then
to ask forgiveness of Me, I would forgive you. O son of Adam, were you
to come to Me with sins nearly as great as the earth and were you then
to face Me, ascribing no partner to Me, I would bring you forgiveness
nearly as great at it.
It was related by at-Tirmidhi (also by Ahmad ibn Hanbal). Its chain of
authorities is sound.
Hadith Qudsi 35:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said:
Our Lord (glorified and exalted be He) descends each night to the
earth's sky when there remains the final third of the night, and He
says: Who is saying a prayer to Me that I may answer it? Who is asking
something of Me that I may give it him? Who is asking forgiveness of
Me that I may forgive him?
It was related by al-Bukhari (also by Muslim, Malik, at-Tirmidhi and
Abu Dawud).
In a version by Muslim the Hadith ends with the words:
And thus He continues till [the light of] dawn shines.
Hadith Qudsi 36:
On the authority of Anas (may Allah be pleased with him) from the
Prophet (PBUH), who said:
The believers will gather together on the Day of Resurrection and will
say: Should we not ask [someone] to intercede for us with our Lord? So
they will come to Adam and will say: You are the Father of mankind;
Allah created you with His hand He made His angels bow down to you and
He taught you the names of everything, so intercede for us with you
Lord so that He may give us relief from this place where we are. And
he will say: I am not in a position [to do that] - and he will mention
his wrongdoing and will feel ashamed and will say: Go to Noah, for he
is the first messenger that Allah sent to the inhabitants of the
earth. So they will come to him and he will say: I am not in a
position [to do that] - and he will mention his having requested
something of his Lord about which he had no [proper] knowledge (Quran
Chapter 11 Verses 45-46), and he will feel ashamed and will say: Go to
the Friend of the Merciful (Abraham). So they will come to him and he
will say: I am not in a position [to do that]. Go to Moses, a servant
to whom Allah talked and to whom He gave the Torah. So they will come
to him and he will say: I am not in a position [to do that] - and he
will mention the talking of a life other than for a life (Quran
Chapter 28 Verses 15-16), and he will feel ashamed in the sight of his
Lord and will say: Go to Jesus, Allah's servant and messenger, Allah's
word and spirit. So they will come to him and he will say: I am not in
a position [to do that]. Go to Muhammad (may the blessings and peace
of Allah be upon him), a servant to whom Allah has forgiven all his
wrongdoing, past and future. So they will come to me and I shall set
forth to ask permission to come to my Lord, and permission will be
given, and when I shall see my Lord I shall prostrate myself. He will
leave me thus for such time as it pleases Him, and then it will be
said [to me]: Raise your head. Ask and it will be granted. Speak and
it will be heard. Intercede and your intercession will be accepted. So
I shall raise my head and praise Him with a form of praise that He
will teach me. Then I shall intercede and HE will set me a limit [as
to the number of people], so I shall admit them into Paradise. Then I
shall return to Him, and when I shall see my Lord [I shall bow down]
as before. Then I shall intercede and He will set me a limit [as to
the number of people]. So I shall admit them into Paradise. Then I
shall return for a third time, then a fourth, and I shall say: There
remains in Hell-fire only those whom the Quran has confined and who
must be there for eternity. There shall come out of Hell-fire he who
has said: There is no god but Allah and who has in his heart goodness
weighing a barley-corn; then there shall come out of Hell-fire he who
has said: There is no god but Allah and who has in his heart goodness
weighing a grain of wheat; then there shall come out of Hell-fire he
who has said: There is no god but Allah and who has in his heart
goodness weighing an atom.
It was related by al-Bukhari (also by Muslim, at-Tirmidhi, and Ibn
Majah).
Hadith Qudsi 37:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said: Allah said:
I have prepared for My righteous servants what no eye has seen and no
ear has heard, not has it occurred to human heart. Thus recite if you
wish (1): And no soul knows what joy for them (the inhabitants of
Paradise) has been kept hidden (Quran Chapter 32 Verse 17).
(1) The words "Thus recite if you wish" are those of Abu Harayrah.
It was related by al-Bukhari, Muslim, at-Tirmidhi and Ibn Majah.
Hadith Qudsi 38:
On the authority of Abu Hurayrah (may Allah be pleased with him), who
said that the Messenger of Allah (PBUH) said:
When Allah created Paradise and Hell-fire, He sent Gabriel to
Paradise, saying: Look at it and at what I have prepared therein for
its inhabitants. The Prophet (pbuh) said: So he came to it and looked
at it and at what Allah had prepared therein for its inhabitants. The
Prophet (pbuh) said: So he returned to Him and said: By your glory, no
one hears of it without entering it. So He ordered that it be
encompassed by forms of hardship, and He said: Return to it and look
at what I have prepared therein for its inhabitants. The Prophet
(pbuh) said: So he returned to it and found that it was encompassed by
forms of hardship (1). Then he returned to Him and said: By Your
glory, I fear that no one will enter it. He said: Go to Hell-fire and
look at it and what I have prepared therein for its inhabitants, and
he fount that it was in layers, one above the other. Then he returned
to Him and said: By Your glory, no one who hears of it will enter it.
So He ordered that it be encompassed by lusts. Then He said: Return to
it. And he returned to it and said: By Your glory, I am frightened
that no one will escape from entering it.
(1) The Arabic word used here is "makarih", the literal meaning of
which is "things that are disliked". In this context it refers to
forms of religious discipline that man usually finds onerous.
It was related by Tirmidhi, who said that it was a good and sound
Hadith (also by Abu Dawud and an-Nasa'i).
Hadith Qudsi 39:
On the authority of Abu Sa'id al-Khudri (may Allah be pleased with
him), who said that the Messenger of Allah (PBUH) said:
Paradise and Hell-fire disputed together, and Hell-fire said: In me
are the mighty and the haughty. Paradise said: In me are the weak and
the poor. So Allah judged between them, [saying]: You are Paradise, My
mercy; through you I show mercy to those I wish. And you are Hell-
fire, My punishment; through you I punish those I wish, and it is
incumbent upon Me that each of you shall have its fill.
It was related by Muslim (also by al-Bukhari and at-Tirmidhi).
Hadith Qudsi 40:
On the authority of Abu Sa'id al-Khudri (may Allah be pleased with
him), who said that the Messenger of Allah (PBUH) said:
Allah will say to the inhabitant of Paradise: O inhabitants of
Paradise! They will say: O our Lord, we present ourselves and are at
Your pleasure, and goodness rests in Your hands. Then He will say: Are
you contented? And they will say: And how should we not be contented,
O Lord, when You have given to us that which You have given to no one
else of Your creation? Then He will say: Would you not like Me to give
you something better than that? And they will say: O Lord and what
thing is better than that? And He will say: I shall cause My favour to
descend upon you and thereafter shall never be displeased with you.
It was related by al-Bukhari (also by Muslim and at-Tirmidhi).
http://www.uga.edu/islam/sufismintro.html
Sid Harth
By A. A. Godlas
What is Tasawwuf?
What is Tasawwuf? Good character and awareness of God.
That’s all Tasawwuf is. And nothing more.
What is Tasawwuf? Love and affection.
It is the cure for hatred and vengeance. And nothing more.
What is Tasawwuf? The heart attaining tranquility–
which is the root of religion. And nothing more.
What is Tasawwuf? Concentrating your mind,
which is the religion of Ahmad (pbuh). And nothing more.
What is Tasawwuf? Contemplation that travels to the Divine throne.
It is a far-seeing gaze. And nothing more.
Tasawwuf is keeping one’s distance from imagination and supposition.
Tasawwuf is found in certainty. And nothing more.
Surrendering one’s soul to the care of the inviolability of religion;
this is Tasawwuf. And nothing more.
Tasawwuf is the path of faith and affirmation of unity;
this is the incorruptible religion. And nothing more.
Tasawwuf is the smooth and illuminated path.
It is the way to the most exalted paradise. And nothing more.
I have heard that the ecstasy of the wearers of wool
comes from finding the taste of religion. And nothing more.
Tasawwuf is nothing but shari’at.
It is just this clear road. And nothing more.
An Anonymous Persian Poem –
Translated by A. A. Godlas
A Commentary on “What Is Tasawwuf?”
By directly addressing the nature of Tasawwuf, this anonymous Persian
poem, “What is Tasawwuf?” contains a number of essential concepts that
are helpful in gaining an understanding of Tasawwuf. Direct statements
about the nature of Tasawwuf (also known as Sufism) are an important
aspect of Sufi literature. The renowned scholar Abu Nu‘aym al-Asbahani
(Isfahani) (d. 430/1038) included one-hundred and thirty-four such
assertions (often in rhymed prose) in his encyclopaedic biographical
collection, the Hilyat al-awliya’. The great English scholar of
Sufism, Nicholson, collected and translated seventy-eight of these
sayings. Most recently, Tamar Frank has devoted an article to studying
Abu Nu‘aym’s sayings of this kind. The poem that is the object of this
study, in answering the question “What is Tasawwuf?” makes a number of
pithy assertions about the central concepts of Tasawwuf by means of
its technical vocabulary. Consequently, in this article we have sought
to explain those concepts that may not be obvious even to the educated
reader. In explaining these terms, we have relied mainly upon
authoritative Islamic sources such as the Qur’an, hadith, and highly
regarded Sufi authors.
Good character (akhlaq)
The word akhlaq, translated here as “good character,” is at best an
inexact translation denoting virtuous behaviour that is an outgrowth
of spiritual refinement. Hujwiri (d. ca. 465/1072), informed us that
Abu al-Hasan al-Nuri (d. 295/907-8) stated, “Tasawwuf is not composed
of practices (rusum) and sciences (‘ulum), but it is akhlaq.” Hujwiri
explained that what Nuri meant was that akhlaq should not be thought
of as simply good comportment or good character in an ordinary sense.
Akhlaq as used by Sufis consists of virtuous behaviour that derives
from the fact that the inner being of the Sufi has become cleansed and
his or her heart has become purified. How such a Sufi behaves, then,
is not so much the product of effort as it is the cresting of a wave,
the origins of which is God. Hujwiri, in explaining Nuri’s remark went
on to say,
If it [Tasawwuf] consisted of practices, it could be acquired by
effort (mujahadat), and if it consisted of sciences, it could be
gained by instruction (ta’allum); but it is akhlaq and it is not
acquired until you demand from yourself the requirements (hukm) of
akhlaq, conform your actions to them, and do justice to them. The
distinction between practices (rusum) and akhlaq is this, that
practices are contrived (bi-takalluf) actions proceeding from
particular motives (asbab), such that their “outer form” (zahir) is at
variance with their “inner truth” (batin); they are actions devoid of
essence (ma’na). Akhlaq, on the other hand, are non-contrived
praiseworthy actions not proceeding from particular motives. Their
outer form is in harmony with their inner truth; they are actions
devoid of pretension.
Awareness of God (ihsan)
The phrase “awareness of God,” is my translation of the word ihsan,
which literally means “doing what is beautiful.” I have rendered it as
“awareness of God” in view of the sound hadith in which the angel
Gabriel asked the Prophet (pbuh), “What is ihsan?” He replied, “Ihsan
is that you should worship God as if you see Him; and if you do not
see Him, [you should know that] He sees you.” The concept of ihsan,
with particular attention to its Qur’anic roots, occupies an entire
chapter in what is arguably the best book in English on basic Islamic
concepts, Murata and Chittick’s Vision of Islam.
The first Sufi to compose a compendium on Tasawwuf, Sarraj (d.
378/988-89), linked ihsan to “vigilant awareness” (muraqaba). He
stated, “Vigilant awareness is for a servant who indeed knows and is
certain that Allah is aware of and knows what is in his heart (qalb)
and consciousness (damir). So he stays vigilantly aware of despicable
thoughts that [would otherwise] preoccupy the heart and keep it from
remembering his Master. Qushayri (d. 465/1072), like Sarraj, saw ihsan
to be related to “vigilant awareness” (muraqaba). Specifically, he
referred to the aspect of ihsan mentioned in the part of the hadith,
“If you do not see him [know] that indeed he sees you” as alluding to
“vigilant awareness” because “vigilant awareness” “is the servant’s
knowledge of the Lord’s constant awareness of him.”
Love (‘ishq)
The lexicographer Jawhari (d. 453/1061), a contemporary of Qushayri
defined ‘ishq, literally, as “being excessive in love (al-hubb). While
the Qur‘an speaks of love using a variety of words, it does not use
the word ‘ishq or any words derived from it. Nevertheless, we do find
a derivative of ‘ishq being used in the hadith. Ghazali (d. 505/1111)
noted a hadith in which the Prophet (pbuh) spoke of “intense
love” (‘ishq): The Messenger of God (pbuh) stated, “Whoever feels
intense love, is virtuous, keeps his love hidden, and then dies, he
will indeed die as a martyr.”
In a strikingly ecstatic passage in his Alchemy of Happiness (Kimiya-
yi sa‘adat), al-Ghazali considers ‘ishq as that which arises in the
fourth and final stage of practicing the remembrance of God (dhikr).
This fourth stage occurs when
the object of the remembrance dominates the heart (and that object is
God-Haqq – not the remembrance)…. This is the result of one-pointed
love (mahabbat-i mufrad), which is called “intense love” (‘ishq). The
heart of the lover who is burning with love (‘ashiq-i garmraw) is
always with the Beloved (ma’shuq). It might even occur that on account
of the intense degree of preoccupation of the heart with the Beloved,
the name of the Beloved may be forgotten. When one becomes so drowned
and forgets one’s self and everything – except God (Haqq) –one reaches
the beginning of the path of Tasawwuf. Sufis call this condition
“passing away” (fana’) and “not existing” (nisti); meaning that as a
result of the remembrance of God, everything has become non-existent;
and such a person also has become non-existent, namely the one who has
forgotten his or her self.
Mawlana Rumi (d. 672/1273), in his collection of ecstatic poetry, the
Divan-i Shams-i Tabrizi, exclaims in praise,
This love is so fine, this love that we have is so fine, O God!
So exquisite, so good, and so beautiful, O God!
Zihi ‘ishq zihi ‘ishq, kah ma rast khudaya,
Chi naghz ast u chi khub ast chi zibast khudaya.
While Divine Love might appear to some to be completely distinct from
human love, for many Sufis such as Ahmad al-Ghazali (d. 520/1126),
Ruzbihan (d. 606/1209), Ibn ‘Arabi (d. 638/1240), Rumi, and ‘Iraqi (d.
688/1289), there was a continuum from human love to Divine love that
the aspiring lover of God could follow. By learning how to love
through love of a person, the sincere Sufi could – in principle –
transform his or her love of a person into love of Allah. The
contemporary scholars Chittick and Wilson, in the introduction to
their translation of ‘Iraqi’s Lama’at, discussed this relationship of
human love and Divine love. Speaking of ‘Iraqi’s understanding of
love, they stated, “There is no irreducible dichotomy between divine
and human love…There is a gradation from the love of forms, which is
“apparent love” (‘ishq-i majazi) to the love of God, which alone is
‘real love’ (‘ishq-i haqiqi). The lower form of love can be, and for
the Sufi is, the ladder to Divine Love.”
Affection (mahabba)
The word mahabba is derived from the word hubb, both of which commonly
mean love and affection. In the Qur’an, both words occur, although
hubb is more common. The verbal form of these words, however, is used
numerous times in the Qur’an. Two ayas involving love that Sufis
frequently quote are “God will bring a people whom He loves and who
love Him” [Q 5:54], and “Say, if you love God, follow me [namely, the
Prophet (pbuh)]; God will love you” [Q 3:31]. A hadith qudsi in which
mahabba is mentioned was included in the highly regarded Muwatta of
Imam Malik (d. 179/795) on the authority of Abu Idris al-Khawlani (d.
80/699-700). He transmitted the following narrative, which contains
this hadith qudsi as transmitted by Mu’adh ibn Jabal (d. 18/639):
“Indeed, I heard the Messenger of God (pbuh) saying, ‘God said, “My
love (mahabbati) necessarily belongs to those who love one another
(mutahabbina) for My sake, sit together for My sake, visit one another
for My sake, and give generously to one another for My sake.”’ ”
From the Qur’anic examples that we have cited, in addition to this
hadith, it should be clear that mahabba (affection and love) is an
important Islamic principle. In Sufi literature, along with an
emphasis on the terms ‘ishq (passionate love), we also often see the
terms hubb and mahabba (affectionate love).
The Heart Attaining Tranquility (itminan-i qalb)
On six occasions the Qur’an links together the roots of the words
itminan and qalb. In particular, one aya that is frequently cited by
Sufis is in surat al-Ra’d, “Know that hearts find peace through the
remembrance of God” [Q 13:28]. The emphasis in Tasawwuf on the
practice of the remembrance of God is directly linked with the
Qur’anic assertion that hearts become tranquil and find peace by means
of remembering and meditating on God. A certain shaykh quoted in the
Qur’anic commentaries of Sulami and Ruzbihan said, “Hearts find peace
in it [the remembrance of God], because they did not find other than
God to be a place for intimacy (uns) and comfort (raha).” Another
shaykh quoted by both Sulami and Baqli stated, “The hearts of the folk
of gnosis only find peace through God and only are tranquil through
Him, because their hearts are the place where He looks (mahal
nazarihi). Thus, Sufis, as lovers of God, only find peace in their
hearts through God and the remembrance of God.
Concentrating Your Mind (jam’-i khatir)
The Sufi technical term jam’ that I have translated by the word
“concentration” is more literally translated as “the state of being
gathered” or “collected,” sometimes even being rendered as “union.” It
is often used in contrast to the term tafriqa (separation). Concerning
them Qushayri wrote, “Affirming created existence (khalq) comes about
through ‘separation;’ and affirming God (Haqq) derives from
‘concentration’ or ‘gatheredness’. The servant must have both
‘concentration’ and ‘separation.’ Whoever has no ‘separation’ has no
servanthood; and whoever has no ‘concentration,’ has no gnosis
(ma’rifa).’” Thus “concentrating one’s mind,” as we find in the poem,
is more than simply the kind of concentration that one uses in one’s
day to day activities in the world. “Concentrating one’s mind” for the
folk of Tasawwuf implies the transcendental knowledge of God that is
called gnosis (ma’rifa).
The Religion of Ahmad (din-i Ahmad) (pbuh)
The religion of Ahmad (pbuh) is none other than Islam, since Ahmad
(pbuh) is one of the names of the Prophet (pbuh), as confirmed in both
the Qur’an and hadith. In surat al-Saff we read, “…Jesus, the son of
Mary, said: O children of Israel, Indeed I am the messenger of God
sent to you to confirm the truth of what is present of the Torah and
to convey to you glad tidings of a Divine messenger who will come
after me, whose name is Ahmad” [Q 61:6]. Both Bukhari and Muslim, in
their authoritative collections of hadith, reported that the Prophet
(pbuh) stated, “I am Muhammad and I am Ahmad; and I am the effacer
(mahi) who effaces disbelief. And I am the gatherer (hashir), who will
gather people behind me [on the day of resurrection]; and I am the
final one (‘aqib) [after whom there will be no other prophets].
Contemplation (fikr)
Contemplation (fikr or tafakkur) is an important aspect of the
methodology of Islam in general and Tasawwuf in particular. In both
the Qur‘an and the sunna, people are instructed by God to contemplate.
In surat al-Nahl, God states, “And we have revealed to you this
[revelation as a] reminder (al-dhikr), so you will make clear for
humankind what has been revealed to them and so that they will
contemplate [Q 16:44]. Similarly, in surat Al ‘Imran, we read,
“Indeed, in the creation of the heavens and the earth, and in the
succession of night and day, there are indeed signs for all who
possess [awakened] hearts, those who remember Allah when they stand,
sit, and lie down and contemplate the creation of the heavens and the
earth” [Q 3:190-91]. One hadith that clearly expresses the
significance of contemplation in the sunna was cited by Ghazali, “An
hour’s worth of contemplation is better than a year’s worth of
worship.” Contemplation is so important in the Qur’an, sunna, and
Tasawwuf that Ghazali devoted an entire “book” (kitab) in his Revival
of the Religious Sciences to it.
Certainty (yaqin)
The classical Sufi doctrine of certainty involved three degrees: the
knowledge of certainty (‘ilm al-yaqin), the eye of certainty (‘ayn al-
yaqin), and the reality of certainty (haqq al-yaqin). Hujwiri (d. ca.
465/1072) discussed them in the following manner:
“By ‘ilm al-yaqin the Sufis mean knowledge of (religious) practice
(mu’amalat) in this world according to the Divine commandments; by
‘ayn al-yaqin they mean knowledge of the state of dying (naz’) and the
time of departure from this world; and by haqq al-yaqin they mean the
unveiling (kashf) of the vision (of God) that will be revealed in
Paradise, and of its nature. Therefore, ‘ilm al-yaqin is the rank of
religious scholars (‘ulama’) on account of their correct observance of
the divine commands, and ‘ayn al-yaqin is the station of gnostics
(maqam-i ‘arifan) on account of their readiness for death, and haqq al-
yaqin is the annihilation-point of lovers (fana’gah-i dustan), on
account of their rejection of all ‘existent beings and
things’ (mawjudat)”
In these three degrees of certainty, one clearly sees a hierarchy of
states of consciousness, one which corresponds to a three-fold
hierarchy of human identity: the scholars, the gnostics, and at the
highest degree, the lovers.
According to a later Sufi, Najm al-Din Razi (d. 654/1256), “certainty”
arises when one strives to become aware of the spiritual world, while
living in accordance with shari’a. If one simply tries to use one’s
rational mind, one will fall into mere philosophy and unbelief. The
key to certainty is the practice of shari’a, which leads to the
awareness that everything is a manifestation of an attribute of God.
In the following passage, Razi discusses the nature of certainty:
But [in contrast to the mere philosopher and the heretic] …the
possessor of true felicity nourish[es] the seed of the spirit in
accordance with the law of Shari’at until all his senses attain
perfection. He will then perceive, through his outer and inner senses,
all the three hundred and sixty thousand realms that constitute the
material and spiritual worlds (mulk va malakut)…He sees every atom in
each of these worlds to be a manifestation of one of the divine
attributes containing within it one of God’s signs; he removes the
veil from the face of the manifestations, and the beauty of God’s
signs is displayed to him. [As the poet Abu al-‘Atahiya stated,]
In every thing is a sign (aya) of His
pointing to the fact that He is One (ahad).
This is the threshold of the world of certainty (iqan)…Then the pure
essence of God may be known in its unity, and the attributes (sifat)
of divinity may be contemplated with the eye of certainty (‘ayn al-
yaqin).”
Razi makes it very clear: in order to follow the path that leads to
certainty and the awareness of the very “essence of God,” one must
discipline and perfect one’s senses by means of shari’a, and one must
be aware that there is nothing in existence that does not derive from
an attribute of God.
The Most Exalted Paradise (khuld-i barin)
Khuld is one of the many terms in Islamic languages for paradise,
which can be spoken of as consisting of various degrees. The highest
degree of paradise is sometimes referred to as khuld-i barin. Some
writers of Sufi literature – such as the author of the poem about
which we are remarking – have seen Tasawwuf as a path to the highest
degree of paradise, a path that is more certain than that offered by
Islam in general, since Tasawwuf is more demanding and rigorous, going
beyond the minimum degree of conformity to God’s will required in
Islam. Other Sufi writers have used terms for paradise as metaphors
alluding to aspects of Tasawwuf or to experiences encountered on the
Sufi path. In this way, Sufis bring paradise into this life or,
conversely, they raise up to paradise an aspect of this life. An
example of such a metaphorical usage is expressed by the Persian poet
Hafiz, who has written perhaps the best known couplet using the term
“the most exalted paradise” (khuld-i barin):
Rawda-yi khuld-i barin khalvat-i darvishanast
Maya-yi muhtashimi khalvat-i darvishanast
The garden of the most exalted paradise is the retreat of solitude of
the dervish.
The substance of magnificence is the retreat of solitude of the
dervish.
Ecstasy and “finding” (wajd)
Literally, the word wajd means “finding,” but for the Sufis it also
means a moment of ecstasy in which one experiences an unveiling – and
hence a “finding” - of some aspect of God’s reality. Ruzbihan (d.
606/1209) defined wajd as, “The heart’s perceiving the sweetness of
contact with the light of “eternality before time” (azaliyat), the
purity of witnessing, and the delight of the [Divine] address. Wajd is
often portrayed as the intermediary stage of a three-stage process
consisting of tawajud, wajd, and wujud. Qushayri defines tawajud as
“willfully seeking to have wajd; one in this state does not actually
possess true wajd.” Concerning wajd itself, Qushayri wrote, “Wajd is
that which encounters your heart, entering [it and coming] over you,
without will or effort on your part.” Abu al-Husayn al-Nuri stated,
“For twenty years I have gone between wajd (ecstatic finding) and faqd
(loss). Namely, when I find my Lord, I lose my heart; and when I find
my heart, I lose my Lord.” Qushayri defined the third stage, wujud, as
being that which occurs “after one progresses beyond wajd;” [it is
truly realized only] “after the cessation of human qualities (khumud
al-bashariya), because human qualities cannot remain present during
the manifestation of the sovereignty of the Truth (sultan al-haqiqa).”
A succinct summary of each of these three stages was expressed by
Qushayri’s shaykh and father-in-law, Abu ‘Ali al-Daqqaq: “Tawajud
necessitates the rebuking of the servant; wajd necessitates the
drowning of the servant; and wujud necessitates the annihilation of
the servant.” Hence, as one advances from tawajud to wajd and wujud,
one experiences a progressive dissolution of one’s egocentricity and a
surrendering of one’s identification with one’s self.
Wearers of Wool (suf pushan)
In Persian the literal meaning of the word sufi would be translated as
“suf push” (wearer of wool). Hence the phrase in the poem “wearer of
wool” is synonymous with Sufi. It is generally agreed that the first
Sufis were pious, ascetic Muslims who were called Sufis because they
wore clothes of coarse wool (suf) rather than more refined garments.
Some scholars have pointed to a Christian influence upon this
practice. Nevertheless, these early Sufi ascetics were following the
example of the Prophet (pbuh), who (as reported by Ibn Sa’d [d.
230/845] through reliable transmitters) was known to wear woollen
garments. Moreover, the great hadith scholar Bayhaqi (d. 458/1066), in
his Shu’ab al-iman, includes numerous reports about the virtues of
wearing suf. In one report the Prophet (pbuh) states “You should wear
clothes of wool (suf). [In so doing,] you will find the sweetness of
faith in your hearts.” In spite of the criticism leveled against this
and other reports that the Prophet (pbuh) wore wool, the isnad of Ibn
Sa’d’s report mentioned above was not criticised and appears to be
flawless. Hence in wearing wool the Sufis were not departing from the
record of the sunna of the Prophet (pbuh).
Taste (dhawq)
Generally, one’s spiritual proclivity or capacity is referred to by
the term “taste” (dhawq). More specifically, Qushayri (d. 465/1072)
hierarchically defined dhawq (tasting) along with shurb (drinking),
and a less commonly used term riyy (being quenched). He stated,
These terms denote the fruits of ‘theophany’ (tajalli), the results of
unveilings (kushufat), and the appearances of inrushes (waridat) that
they [meaning the Sufis] experience. The first of these is ‘tasting,’
then, ‘drinking,’ and then ‘being quenched.’ One who is characterized
by dhawq (tasting) tries to be intoxicated (mutasakir). One who is
characterized by shurb (drinking) is intoxicated (sakran). And one who
is characterized by riyy (being quenched) is sober (sah).
The sense of the term “taste” in the poem “What is Tasawwuf?” seems to
have both the general meaning and the more specifically Sufi sense as
noted by Qushayri. The general meaning is conveyed in the expressions
the “taste for religion,” where the sense is that the Sufis’
“appreciation” for religion is the basis for their ecstasy. The more
specific meaning of which Qushayri speaks is alluded to in the poet’s
linking together these two hierarchical states of consciousness
(“taste” and ecstasy”). The poet states that “ecstasy” is derived from
“taste,” implying that Sufi ecstasy only comes about after a firm
foundation in the appreciation of and commitment to following the
religion (namely Islam). Hence the poet says, “I have heard that the
ecstasy of the wearers of wool (suf) comes from finding the taste for
religion".
Tasawwuf is nothing but shari‘at
A problem that arises in the final couplet of “What is Tasawwuf?” is
that in equating Tasawwuf and shari’a, the poet brings up and then
resolves an apparent tension between Tasawwuf and shari’a. Such a
tension, however, exists only to the degree that one defines these two
terms as being mutually exclusive. While various extremists persist in
excluding one from the other, we do have many inclusive statements -
such as that of the poet of “What is Tasawwuf?” – in which Tasawwuf
and shari’a are interwoven, similarly defined, or equated. Qushayri
(d. 465/1074), for example, defined “shari’a” as “assiduous observance
of servanthood.” Defining Tasawwuf in a comparable fashion, Abu al-
Hasan al-Shudhili (d. 656/1258) stated: “Tasawwuf is training the self
(nafs) through servanthood and subjecting it to the commands (ahkam)
of Lordship.”
Supporting the close relationship between Tasawwuf and shari‘a, the
Sufi Abu Yazid al-Bistami (d. 260/874) asserted that observing the
shari‘a was a touchstone for judging a person’s spiritual degree:
“Were you to see a man who performs miracles such that he ascends into
the air, do not be deceived by him. Instead, observe how well he is
following the Divine commands, abstaining from what is prohibited,
keeping within the limits set by God, and observing the shari‘a.”
Similarly, Abu al-Husayn al-Warraq (d. before 320/932), asserted the
futility of trying to reach God without conforming one’s actions to
shari‘a and the sunna: “A servant will only reach Allah through Allah
and by being in harmony with his loved one [the Prophet (pbuh)]
through his laws (shari’a). And whoever believes that he can follow a
path without emulating (al-iqtida) [the Prophet (pbuh)] will become
lost, on account of imagining that he is being guided.” Undoubtedly,
for all but a minority of Sufis throughout history, carefully
observing the shari’a has been a crucial and on-going component of
their spiritual practice.
One way of understanding the interrelationship of Tasawwuf and shari’a
was expressed by the Kubrawi Sufi, Najm al-Din Razi (d. 654/1256).
Using the term tariqa (path) to denote Tasawwuf – as Sufis commonly do
– he clarified its relationship to shari’a: “The shari’at has an outer
(zahiri) and an inner (batini) aspect. Its outer aspect consists of
bodily deeds… The inner aspect of the shari’at consists of deeds of
the heart (qalbi), of the inner mystery (sirri), and of the spirit
(ruhi) and is called the tariqat.” Hence, for Razi, the tariqa (or
Tasawwuf) is not separate from shari‘a, it is, rather, its inner
dimension. In summary, it should be clear, then, that in spite of
extremist views that see Tasawwuf and shari’a as mutually exclusive,
the author of “What is Tasawwuf?” – like most Sufis – bridges the
false dichotomy between Tasawwuf and shari‘a.
Conclusion
The poem “What is Tasawwuf?” provides answers to a question that has
perplexed people since the term first began to be used, over 1200
years ago. Its answers to this question involve technical terms
referring to many of the key concepts of Tasawwuf (or Sufism, as it is
commonly called today). In this commentary we have not discussed the
more obvious phrases and answers expressed by the poet, phrases such
as “faith” (iman) and “the affirmation of unity” (tawhid). The terms
that we have addressed are the following: good character (akhlaq),
awareness of God (ihsan), love (‘ishq), affection (mahabba), the heart
attaining tranquillity (itminan-i qalb), concentrating one’s mind
(jam’i khatir), the religion of Ahmad (din-i Ahmad) (pbuh),
contemplation (fikr), certainty (yaqin), the most exalted paradise
(khuld-i barin), ecstasy (wajd), wearers of wool (suf pushan), taste
(dhawq), and the close relationship between Tasawwuf and shari’a. From
this study, it should be evident that there are numerous dimensions of
Tasawwuf, including actions in the world, consciousness of God,
spiritual states and practices, and shari’a. And nothing more – nor
less.
(From Sufi Illuminations, Vol 1, August 1996)
A. A. Godlas, Ph.D. is Associate Professor, University of Georgia
Bismillaah ir Rahmaan ir Rahiim
In the name of Allah, The Merciful, The Compassionate
IMPOSTER OR MISTAKEN IDENTITY?
By Sheikha Fatima Fleur Nassery Bonnin
Psychology tells us that we are not who we think we are and that most
of the personal and relationship problems that we experience stem from
two issues:
a) Our mistaken identity; thinking we are someone with certain
characteristics but those who are in relationship with us perceive us
differently.
and/or
b) We hide our self and our true emotions from others and to some
degree from ourselves, and present an altered persona to the outside
world.
Spirituality tells us that in spite of the above identifications and
misidentifications, there is yet a greater picture at stake. In
Reality, we are not this personality and this body, we are what is
within us, the soul or the higher self, not the ego-personality or
lower self “nafs”. The spiritual masters tell us that if we knew the
truth and had a glimpse of the divine reality, we would not bother
with all the hide and seek of the ego-personality and the unhappy
consequences it brings.
This picture of a whole society pretending to be something that they
are not, consciously or unconsciously while convincing themselves and
others that they are real, is quite disconcerting and unbelievable. It
is unbelievable because it is disconcerting. However, when the
majority behaves in a certain way or holds a certain belief, then it
becomes normal, and when it is normal then it seems real. Of course
people in the societies with the help of sociologists and
psychologists have created some parameters and measuring systems so
that if a behaviour or emotion goes beyond a certain degree, then it
is considered abnormal. For example, according to many psychologists
we live in a narcissistic society as a whole; this means the majority
of people are narcissistic, which is a psychological disorder. However
rather than trying to find out what is the cause of this and what are
the ramifications of such psychological trait, we assume that a
certain degree of narcissism is normal, and beyond that measure is
considered abnormal with varying degrees of severity. I used the
example of narcissism because it plays an important role in the
distortion of both the human identity and the spiritual identity.
So who are we, if we are not who we present ourselves to be? Who is
housed in our body and why do we have such little knowledge and
connection with who we really are?
Sufi Masters tell us that everything in creation, including human
beings and their lives in this world, is constantly in the process of
moving toward its final goal, both in the inner spiritual life and in
the outer worldly life. From the moment anything comes into existence,
its face and direction is orientated towards an end goal, and it moves
towards that goal using the form and faculties that it has been
endowed with and are embedded within it. For instance, from the moment
that a grain of wheat in the ground opens itself up and a tiny green
shoot emerges, it is being directed towards a fully grown wheat plant
full of clusters of wheat. Or the seed of an apple, from the moment it
sprouts, is moving towards becoming a fully grown tree full of apples
unless an obstacle gets in the way. Human beings are no different in
this order of creation.
In other words, human beings have an inner journey heading towards
sincerity and submission in the inner, while in the outer they are
engaged in a different journey of life pursuits and may be totally
unconscious of the inner journey. But if the veil is taken off one’s
eyes, (which is usually after death due to being cut off from the body
and the senses or sometimes during this life, in an authentic
spiritual journey), he can witness the truth and the reality and
realise the unreality that he has been living.
The path begins with the belief in God and the hereafter. The call of
all religions is to God, so that we know this creation has a Creator
and that there is a plan and a purpose to it. However, the spiritual
dimension of religions calls on people to increase their faith and
knowledge in God and to move on to discover the relationship with the
Creator and the purpose of this journey of life and live accordingly.
As one walks on this path one keeps shedding the layers of false
beliefs about the self. With each step of realisation about the false
self, one makes a connection with the true self.
Human beings are in two journeys simultaneously, one conscious or semi-
conscious, and the other unconscious.
According to Sufi Psychology, the conflict between who one really is
and who he thinks he is and consequently how he lives his life
according to that belief, is the core factor in many psychological
problems, such as narcissistic personality and depression. As we
continue being more and more unaware of our inner dimension and become
more and more disconnected with the spiritual self, the problems we
face increase and the subsequent recourse of superficial remedies such
as alcoholism and other ‘isms’ also increases. We are witnesses to
this situation all around us in our current society.
As for the inner journey, if we keep taking ourselves as this ego self
without realising that our mind is a tool for keeping us off the right
path of discovery, and we don’t recognise how much we are the servant
of this ego-self (which is an impostor who is sitting in the place of
the real self) - then we are one with that impostor.
There is a Sufi story that the master of the house went away on a trip
which took much longer than he originally intended. As time went by,
the servant who had the whole house to himself got into the habit of
enjoying being his own master and after a while believed that he truly
was the master of the house. On his return, the real master faced not
a servant any more, but a master who treated him as a servant.
Such is the relationship of the ego-self with the real self. From
another perspective, when a person totally identifies with his lower
ego-self (nafs) the majority of his thoughts, desires and actions are
consequently governed by the ego-self, without a genuine opposing
force of the spiritual voice.
As one moves higher up the ladder of transformation of the nafs, the
inner spiritual voice grows stronger and helps one to distinguish
between right and wrong, true and false and it gets guided in taking
steps in the right direction with more ease.
We are told that in the higher dimensions, only reality exists and
falseness, or other than the truth, does not exist. According to
various verses of the Qur’an, falsehood (Shaytan) cannot enter those
higher realms.
When a man (a human being) joins the circle of “mokhlesin”, sincere
servants of God, Shaytan leaves him alone, since in that realm,
neither “vahm” (taking the false for the real) nor mistaken identity,
exist.
We learn from the Qur’an that Shaytan, who used to be one of the
angels, when he did not obey the command of God, due to being arrogant
(which is a consequence of false self), was expelled from being a
sincere servant (an angel). When God questioned his actions he
responded to God saying:
“I am better than him (Adam); You created me from fire and him
from clay” - Qur’an 7:12.
So Allah says to him:
“down with you from this place (state), for this is not the place
for you to show arrogance” - Qur'an 7:13
The story of Adam and Shaytan is one of the most important stories of
the Qur’an, and other Scriptures too, and we need to ponder what it is
that the One who created us is alluding to.
Without going to the esoteric meanings of these verses, even if we
remain at the exoteric level, which should be understandable and
accessible to the mind, the story and the verses in the Qur’an on this
subject reveal to us that we are told not just a story about the
beginning of creation, but rather we are facing something very
important about the ongoing human dilemma. If we realise that Shaytan
symbolises the lower ego-self, then the story reveals itself as being
both a part of the journey of life and the obstacles that we run into
and therefore it becomes alive and very personal.
It is also important to know more about a key word in this story, the
“mokhlesin” because translating it as "the sincere ones" is close but
not close enough to give it the light of realisation it requires.
“Mokhlesin” comes from the word “ikhlas” that, while it means sincere,
also refers to purity and being removed from other parts or mixtures.
A “mokhles” is someone who has filtered himself from falsehood and
impurity. It can also be used for inanimate objects. For instance we
call gold “khales” (pure) only when all the other mixtures which had
infiltrated it have been removed and nothing else is left except what
it really is, which is gold. Similarly in relation to human beings,
“mokhles” means the one who has become “khales” (pure, removed from
other infiltrated parts).
With this understanding we look at the messages within these verses of
the Qur’an and what they are telling us about human beings and our
real identity. So the “mokhles” or sincere ones are those who have
realised the truth of themselves and are not blinded by falsehood.
They are freed from the trap of the mistaken identity and have moved
toward their real identity, which is being the sincere servants of
God, “mokhlesin”.
In the following verses of the same chapter (and also in some other
chapters of the Qur’an), Shaytan points out how he is going to
misguide human beings and how he will infiltrate their thinking and
make "bad things look goodly to them" without them realising it.
Shaytan goes on to say:
“I shall beguile them all into grievous error” - Qur'an 38:82,
“except those who are Your sincere servants (mokhlesin)” - Qur'an
38:83.
And Allah lets him do whatever misguiding he wants to do to the people
who choose to follow him, but not His sincere servants.
Is God telling us only stories or is He showing us the way to remove
the distorted identity and to become who we are created to be and
reach the goal that was intended for us? Allah says:
“And so We propound these parables unto man: but none can grasp
their innermost meaning save those who are aware.” - Qur'an 29:43
How does one become a sincere servant and have God's protection and
the good life He has promised in the hereafter and have peace and
serenity in this life?
To become a sincere servant we need to begin with realising our
insincerity or rather our false self and then move on step by step to
shed the many layers of false identity that we have put on. That is a
part of our journey in this life.
If a seed stays attached to its form of being a seed and does not open
and give itself up to the soil, it will not use what has been put
inside it and does not grow to be a tree, bearing its fruit. However
man is given an intellect and free choice in his outer journey, so
that he could either bring himself to unity with the inner or go
astray in a different direction. He has been given the tools and the
maps for both.
May Allah help us to become one of the “mokhlesin”, the sincere ones
under His protection so that our eyes see the truth and our ears hear
the truth, so that the journey becomes easier for us.
“O you servants of Mine! Be, then, conscious of Me - seeing that
for those who shun the powers of evil lest they (be tempted to)
worship them and turn unto God instead, there is the glad tiding (of
happiness in the life to come). Give, then, this glad tiding to (those
of) My servants who listen (closely) to all that is said, and follow
the best of it: (for) it is they whom God has graced with His
guidance, and it is they who are (truly) endowed with insight!”
Qur'an 39:16-18
Muhammad Asad translation
Bismillaah ir Rahmaan ir Rahiim
In the name of Allah, The Merciful, The Compassionate
MOULANA RUMI - THE MIRROR OF DIVINE LOVE
This article is an excerpt from a talk given by
Sheikha Fatima Fleur Nassery Bonnin
at our Symposium held in Sydney to commemorate
the 800th anniversary of the birth of Moulana Rumi.
Moulana Jalaluddin Mowlawi, known to the West as Rumi, is known to be
the messenger of love, the Divine love that pulsates in the vein of
creation and created beings, the love that is the cause of creation
according to the revelation from Allah. In the Hadith Qudsi known as
the "Hidden Treasure", when Prophet David (pbuh) asks Allah about the
purpose of the creation, Allah reveals this purpose saying, “I was a
hidden treasure and I loved to be known, I created the creation in
order to be known”. So according to this Hadith Qudsi the purpose of
creation is to know God and love is the medium.
We hear a similar message to this in the first commandment of
Christianity which, according to various Gospels, Jesus (pbuh) said is
the highest law:
“You shall love your Lord your God with your whole heart, with your
whole soul, and with your entire mind.”
It is this love that Sufi Masters experience, talk about and write
about, of which Moulana reached the pinnacle, and became the loci and
the reflection of it.
Abdul Rahman Jami the Persian Sufi poet of the 15th century has said
about Moulana:
How do I describe that Excellency
He is not a prophet yet he has the book
And another saying:
The book of Masnavi of Moulana
Is like the Qur’an in Persian language
Many such comparisons have been made between the Qur’an and the book
of Masnavi (Mathnawi), such as the deeper understanding of the many
layered stories and their format. It is also believed that in the same
way that the opening 7 verses of the Qur’an, the Sura Fateha,
encapsulates all the chapters of the Qur’an, the opening 18 verses of
the Masnavi also encompasses the roughly twenty five thousand verses
that follow. These comparisons indicate the height of the station of
Moulana’s words.
In order to serve the purpose of this article, I am using almost word
by word translations of Moulana’s words, which have become hard to
find, since the time of the late Nicholson, may he rest in peace.
Unfortunately these days, the translations of Moulana Rumi’s poetry
have a little of Moulana and a lot of the translators and the writers,
and I think that people would be best served by the accuracy of
Moulana Rumi’s own words and meanings. I may add that Moulana knew
this would happen and has forewarned us in the 6th verse of the
opening of the Masnavi.
He opens the Masnavi by saying:
Listen to this reed how it tells the tales
Bemoaning its separation it wails
In this opening verse Moulana starts by likening himself to the reed
that is going to tell us the stories of the pain of separation while
playing the divine melody of love, the melody of “Alastu bi
Rabbikum”.
Alastu bi Rabbikum comes from a verse in the Qur'an (7:172) where the
commentary indicates that on the Primordial Day, before the advent of
our earthly lives, when the soul of every human being was summoned
into the Divine Presence, and God made Himself known to collective
humanity and asked the question: “Alastu bi Rabbikum?”, which means
"Am I not your Lord?" And they answered “Bala Shahidna”, “Yes, verily
we testify to that”.
It seems that all of Moulana's poetry and its melody is about the
remembrance and realisation of this original melody of Alastu bi
Rabbikum.
As Moulana says:
Since He said in my soul’s ear the secret of the Alast
The longing for Him does not leave my heart
But this realisation, which is the purpose of our life, is not an easy
task and not easily accessible, therefore we make it to fit our own
understanding and perception. As he says in the 6th verse of the
opening of the Masnavi:
Every one became my companion through his own perception
None tried to know my inner secrets and notion
And immediately follows it with:
My secret is not distant from my outcry
But eyes and ears do not possess the light
What is this light that the ordinary eyes and ears do not possess in
order to find out the secrets? For the answer we go to Moulana
himself, since he says he has revealed everything in this book,
sometimes through explanation, sometimes through allusions, sometimes
only hinting. Why so? He explains that by saying:
The secrets are hidden in between the lines
If I say it any more clearly, it would disrupt the order of
the world
In other words, if every one knew the truth, hardly anyone would go
after the affairs of the world. This is why the enlightened people are
always only a few, compared to the masses. The Qur’an also refers to
this by repeatedly saying 'only a few would know', or ‘only a few
would perceive’ or ‘only a few would think’ etc.
So going back to
My secret is not distant from my outcry
But eyes and ears do not possess the light
Wanting to know what is veiling us from the light of hearing and
seeing, we go to Moulana again. He says:
The blinkers covering people’s eyes are nothing but the secondaries
Who ever did not go beyond the secondary is not one of the
companions
So the eyes which Moulana is talking about are the eyes that could see
the Reality and not be veiled by people, the material world, and above
all by the self, which is the biggest obstacle. We need to acquire the
eyes that could see the primary beyond the secondaries. He says:
I want the eyes that would know the King
So that it could recognise Him in every different clothing
How does one acquire these eyes? He guides us to journey on the Sufi
path.
Sufis possess a Surmeh, go and seek that
So that your eyes of narrow stream become an ocean
What is this veil that is with us all the time and gives us a
different account of the reality? An account that we believe is true.
What is self, and how does it prevent us from realising the Truth and
the Reality?
Sufi Psychology can help us to tap into this. We know from psychology
that people who fall within the standard of abnormality, psychotic or
neurotic, their concept of reality is quite distorted and unreal
compared to normal people. But psychology stops there, whereas Sufi
psychology goes further and expands it, so that we realise that
similarly, the concept of reality of so called normal people is
considered quite limited and distorted by the people who have gone
through the journey of spiritual awakening.
When Moulana tells us to go and take the journey of the Sufi path, so
that our power of seeing widens, he is pointing to this widening of
sight and insight, since an enlightened person could see and perceive
things that are not available to most people. Enlightened people, are
capable of seeing the unseen, in various degrees, according to the
level of their enlightenment.
Therefore we need to understand there are different kinds of seeing,
and realise how limited our ego-senses are and not take that for the
absolute reality. We need to be mindful that what we think and see is
not all that there is, and there is another kind of seeing which
requires journeying on the Sufi path and going beyond the senses of
the self.
I would like to look at this subject of the eyes, the sight and
insight from another angle, since in the ocean of the Masnavi which
ever way we search we discover different pearls. It is only when we
put the pearls together that we can see the whole of the necklace.
Let’s now choose one of Moulana's most famous and loved poems,
“ghazals” from the Divani Shamsi Tabriz. The opening verse is:
I was dead, I became alive, I was tears, I became laughter
The sovereignty of love appeared, and I became ever lasting
sovereign
It is as if with such a start, from being dead and becoming alive,
being tears and becoming laughter, reaching the sovereignty of love
and transforming to everlasting sovereign - all in one verse - he is
telling us; Now do you want to take this journey with me? And since
the real source who is inviting us is He, the Hu, Hazrate Haqq Himself
who speaks through the tongue of Moulana; we say “Yes”. And when we
ask how? We hear the same answer that Ibn Arabi heard in one of his
intimate conversations, when he asked Allah “How could one get close
to You?” And Allah responded, “Through an attribute that I do not
possess”, meaning ubudiyyat, which means servant-hood.
This is why Moulana spends the next ten verses of the poem, from
verses 3 to 12, describing and painting pictures of various aspects of
the stages of his servant-hood that he went through. He points to the
steps of the Sufi path in general and his path with Shams in
particular, interwoven together, displaying the willingness in
carrying out orders, putting one’s head on the altar, the ubudiyyat
and the servant-hood that is necessary in order to open the way for
the majesty and sovereignty of love to enter.
As we read these verses, it is important to keep in mind what a high
status Moulana had in the community when he met Shams and took on this
journey. He was a revered Islamic scholar, theologian and jurist, to
name just a few, and people would travel from all over to hear his
teachings. We need to keep in mind how much he stood to lose.
I will quote only a few verses of this section to give you a taste.
He said, you are not mad enough, you are not suited for this house
I went and became mad, I became bound in shackles
He said you are not slain, not drenched with joy
Before his life-giving face, I became slain and cast myself
down
He said you are a sheikh and headman, you are a leader and guide
I am not a sheikh, I am not a leader, I have become slave to
your command
These are only a few of the many verses where, in each of them, he
describes a different aspect of his ubudiyyat and servant-hood.
It is only through paying close attention that we can realise what he
is teaching us by his example. Just enjoying the beauty of the poetry
is not enough, as that is not the true purpose of his work and his
being here. Having gone through these stages of crushing his nafs, he
then comes to the next stage and he explains that in verse 13, as he
says:
My heart felt the glow of the soul, my heart opened up and split
My heart weaved a new satin, I became enemy of this old
ragged one
This is a very important verse. After submitting the ego-self
willingly, comes this crucial point that the light of the soul splits
open his heart and weaves a new fabric made of atlas, which is soft
silky satin. It is at this point that he realises or sees what a
shabby fabric the old one was, and becomes the enemy of the old ragged
one.
When this new fabric was put on him, he realised how bad the other one
was that he was holding on to. Here he is pointing to the stages of
transcendence, since only after arriving at each level of the ladder
of transcendence, one gets to see the reality of the level before,
through the light that is given accordingly. Again that light that
Moulana is after and everything is dependent on that light.
The stages of the spiritual journey are to prepare us to become what
Moulana calls “noor pazir”, meaning receptive to the light. The light
is not absent, that we would need to find it in order to reach the
Reality. The Reality, the Light, has always been there, but our eyes
can not see because we are veiled from it. This is why Moulana, as
some one who has gone through these stages, says in a prayer to God:
From now on we only ask You for the eyes and nothing else
So that sticks and straws may not conceal the sea from us
And later in the 20th verse of this poem he reaches a further stage
and says:
I am from you O illustrious moon, look at me and yourself
Because of your laughter, I became a flower field of
laughter
The verse reflects the station of the soul that has become the mirror
of God, and the more clear the mirror is, the more true the reflection
of the one who is looking in the mirror. We know that the highest
level of transformation of the self (nafs) is to become cleared of our
distortions of the Commanding self, and the Blaming self and to reach
the stage of self at Peace and become that mirror which reflects
Allah. Moulana comes out of the heart of Islam. The path of Sufism is
based on the transformation of the self. So Moulana says in this
verse;
Looking at me is looking at Yourself. I am that mirror. You looked at
me (pleased) with laughter, and I became the whole flower field of
laughter.
This verse correlates with the Qur’anic verse when Allah is pleased
with His servant and says:
"O you human being that has attained to inner peace! Return to your
Sustainer, well pleased and pleasing Him. Enter with My true servants.
Enter My paradise." 89:27-30
Now we put these esoteric descriptions of poetry together. When the
heart splits open and puts on this new fabric of satin, and looks in
the mirror, who is the one who is looking in the mirror? This is when
the one who is looking in the mirror, laughing with satisfaction at
what he sees, says (to use the language of the Qur’an) "Return to My
paradise", not the paradise but My paradise, and it is that laughter
of satisfaction that resonates in his entire being.
I think one of the reasons that Moulana’s words and poetry are so
alive after 800 years and will continue to be so - if the authenticity
of them is protected and not compromised - is because they transmit
the message of Divine love and servant-hood, the inner and the outer,
the apparent and the hidden aspect of the rope which takes man to God.
As Moulana foretold 800 years ago:
Why is it that the resting place of my body has become the place of
worship by people of the world?
Because day and night, every where in this place is filled
with His presence.
This message of love and servant-hood or abd-hood is like a two
pronged sword that cuts through the obstacle of nafs or ego/self, and
opens the way for Love, and has the force and will of Allah behind it.
And He has given Moulana the words for it, as he says:
I am the word of Haqq and subsistent through Him
I am the food of the soul of the soul, and the ruby of
purity
I am the light of the sun, fallen upon you
Yet I am not separated from the sun
Looking at Moulana’s life from beginning to end and particularly his
relationship with Shams, it would be difficult not to see how he was
chosen, prepared and delivered for this purpose. Other Sufi Masters
and Poets have also walked this path, but it seems that Allah has made
such a display of Moulana’s personal journey for us, so that we can
relate to it, in order to be able to see and hear from Moulana
himself, what happens when one walks on the path of Shari’ah and
Tariqah and reaches Haqiqah and dissolves the old shabby fabric of
self.
The mesmerising quality of his words, that moves people and that talks
to their inner hearts, is only due to the scent of the Beloved.
I am His cup and His wine jug, I am the dispenser of the scent of His
perfume
Come to me so that you could receive the scent of His
perfumed quality
What ever you have heard from us, you have heard it from God
Since all that we are saying is His sayings.
Bismillaah ir Rahmaan ir Rahiim
In the name of Allah, The Merciful, The Compassionate
THE TRANSFORMATIVE POWER OF THE FEAR OF GOD
By Sheikha Fatima Fleur Nassery Bonnin
One of the common reactions that people have against religious
teachings is in relation to the subject of the fear of God. Fear of
what could happen to them in the hereafter and how they will be
punished. Consequently, some people react by denial and some want to
jump on the band wagon of love, not knowing that love does not enter a
heart which has not been in awe of God.
So let us spend a little time looking at the role of fear, its uses,
misuses and who is afraid.
It would be helpful to start with the supposition and acceptance that
God is God and you and I are not. That intrinsically means that it is
God Almighty who is always right, even if we disagree. If we start
from here, then we can examine and trace how disagreement comes about.
On the surface when one is faced with this, the immediate response
usually is: “Of course! How could I disagree with God. God (Allah) who
is the Truth and the Real ‘Al- Haqq’ cannot be wrong and I be right.”
But in the reality of our day to day life and in practice we act as if
we are right and we know better. This shows the manipulation of the
mind and the ego (nafs) and how blinding that could be. So let us
continue looking at the reaction to the fear of God and if in the end
you can’t make sense of it or still disagree, then it is important to
remember and accept that this is due to the limitation of our
intellect as human beings, since we are not God, The Unlimited and The
All-Knowing ‘Al Alim’. I realise the ego finds it hard to swallow such
a pill, especially when it is faced with submitting to not knowing and
to not being right. However that is exactly when we need to know that
we are being manipulated by the nafs (ego) with its logic and reason,
which can take various forms including disagreement and the claim to
being right - in other words claiming to be God.
Having established the above, let us now look at the issue of fear.
The question we need to ponder on is why is it that all the major
religions have the fear of God as part of their teachings? The fear I
am referring to is according to the Scriptures and the Holy Qur’an and
what the Prophets and Awliyah have said, which the Masters and the
Saints have interpreted, not the additions or perverted
interpretations that various religious people have created in order to
control people.
In the Qur’an, Allah (swt) repeatedly instructs and warns “fear only
Allah”, or “those who fear Allah are the fortunate ones”. I would like
to look at this issue, initially from a psychological perspective. We
human beings, having developed personality and ego in our make up, are
in the grip of seeing and sensing things in life and grasping meanings
according to this apparatus of personality – not according to reality.
We get closer to the reality as the thick veil of ego gets thinner.
The results of the experiences of the childhood environment and
interactions, and the interpretation of these experiences colours our
perception, affecting the way we feel about ourselves and our
surroundings. By the time we reach adulthood we tend to have a lot of
fear inside us whether we are conscious of it or not. We tend to be
constantly measuring ourselves against people and situations, we say
and do things in a certain way to please others, especially if we
perceive our well being depends on them. We often look at ourselves
through the eyes of others and try to be who they want us to be. The
list of dysfunctions resulting from this kind of belief system and
behaviour is very long and psychology has been trying to raise our
awareness to them, since every one of these conditions brings about
disconnection with who we really are, which results in unhappiness and
potentially depression. Generally, people choose even their profession
or partner according to these kinds of hidden fears and there is
little wonder why dissatisfaction ensues. The unconscious avoidance of
this fear shapes and forms one's reality and belief system, but if the
belief is investigated and systematically confronted, the true face of
fear will show up. For instance, a lot of times when people go to the
opposite and develop aggressive behaviour and become bullies, still
underneath all that is the fear.
From a mystical perspective, the lack of awareness of one’s deeper
self and the tendency to create an identity that is not rooted in the
deeper self creates fear as the predominant underlying emotion.
Because of the lack of knowledge of Self and lack of God-
Consciousness, within and without, people identify exclusively with
their physical and psychological form, unconscious of their essence,
and since every form is inherently unstable and dependent, they live
in fear.
In being instructed to fear only God, a few things take place. First,
by fearing God rather than others we let go of our being in bondage to
other people and situations which in itself is such a freedom - taking
the weight off our back.
“Have we not opened up thy heart
And lifted from thee the burden
That had weighed so heavily on thy back?” - Qur’an 94:1-3
Who is the one reacting to the fear of God? The answer is the ego. If
you do a series of self observations, you will realise that the ego is
sulking at the idea of fearing God since its centrality in your
existence becomes threatened. As it has been pointed out, man is
fearful any way and man is taking orders any way. The question is
should he take orders from God who has created him and wants him to
know his real Self, or from his ego and his mind which represents the
false reality. In the case of the latter, there is neither freedom
from the weight of the problems of life and self, nor any possibility
of transformation to the real self.
So what would be the outcome of choosing to fear God instead of the
host of others with various demands and expectations on us which
usually serves them not us? And what does fear of God require us to do
and be? It requires us to do the right thing by ourselves and by
others to please God. Doing the right thing is explained in the
Shariah (religious law), which in the West is often misunderstood and
misrepresented, but in reality it is the first step on the path of
fighting against our ego (nafs) in order to become who we really are
and what we were created for according to our quiddity ‘fitrat’.
Whereas pleasing others and fear of the world and life situations
makes us walk in the opposite direction, and if not totally the
opposite, at least in a wrong direction, since it is serving the
personality and the ego of both self and others.
Secondly, since our attention is directed to God, by remembrance of
God, we become God-Conscious, which is the goal of the journey of this
life and the goal of the spiritual work.
“Behold! it is in the remembrance of Allah alone that the hearts
really find peace.” - Qur’an 13:28
Thirdly, since we are now walking on the path to God, pleasing God, He
then fills our heart with joy ‘sakina’, and rewards us with happiness
in this life and in the hereafter.
“But as for those who strive hard in Our cause – We shall most
certainly guide them onto paths that lead unto Us.” - Qur’an 29:69
From a philosophical and psychological perspective, it is also
understood that life is only meaningful when it is lived according to
the purpose of life. Who would know the purpose of the life of man
better than the Creator of man? All this is just a drop of the reality
that if we understand and act according to what God has instructed us
to do, even though we start as humans who are lost and misguided, we
can reach ‘sa’adat’, happiness, peace and joy.
“Verily man is lost (is pursuing a losing bargain)
Different, however, is the case of those who believe and do deeds of
righteousness and exhort one another to the truth and exhort one
another to patience and perseverance.” - Qur’an 103:2-3
In a spiritual path in general, and in the Sufi path in particular,
the journey is about transformation of the lower ego (nafs) from being
misguided and being in the grip of various desires which are against
man’s purpose of creation. Progressing through the stages of
purification of the nafs propels the seeker to reach the point of
transformation and become the nafs that is pleased with his Creator
and the Creator (Allah) is pleased with him.
“O you soul at peace!
Come back to your Lord well-pleased with Him and He well-pleased with
you.
Enter the fold of My chosen servants,
And enter My Paradise.” - Qur’an 89:27-30
One needs to find out about the purpose of this journey of life and
decide which path would take him there. If man realises that the
purpose of creation is for man to know his Creator and to worship and
love Him then he needs to do as instructed, since the purpose of
instruction and man’s reason to live are one and the same. This is
unlike the serving of the ego and people, whose purpose is the
opposite, creating unhappiness and anxiety in this world and misery
and hell in the hereafter. In other words, man cannot serve God and
his ego at the same time. As Jesus (pbuh) said:
"A man cannot mount two horses or bend two bows.
And a servant cannot serve two masters, otherwise that servant will
honour the one and offend the other.” - Gospel of Thomas, Verse 47
Since we are unconscious and unaware of the manipulations and demands
of the ego, the Creator with full knowledge of that, has made it
possible for us to bypass that by following His orders and
instructions. This is not unlike what we do in school, listening
attentively to the teacher and doing what we are asked to do for the
purpose of learning and graduating.
All of this points to the transformative power of the fear of God and
why Allah (swt) says “Fear Only Allah” with emphasis on the word
‘only’. Because if one fears God and everyone else, then he is in a
different equation. If one listens to the orders of Allah (swt) and
everyone else, especially the orders of his ego, one will be in a
difficult situation, at best very confused, unhappy and miserable, at
worst feeling lost, depressed and even becoming psychotic.
This is not unlike the relationship of a child with a good parent. The
child listens only to the advice and instructions from the parent who
has his well being at heart and is preparing him for happiness and
good conduct. If the child listens to others who at times might
contradict the parent, he gets very confused and it shows in his
behaviour. From the child’s side, his relationship with the good and
nurturing parent is a combination of the love and awe. The awe makes
him do the right things because he fears making the parent displeased,
while, at the same time, trusting in the love and care of the parent
makes him believe that only the parent can take care of him.
Disharmony comes about only when this system is challenged from either
side; if the parent is not a good parent by putting his/her selfish
needs before the well being of the child, or if the child becomes
egotistical and demanding and thinks he can do whatever he wants
independently.
“Verily man becomes grossly overweening
Whenever he believes himself to be independent (of God).” - Qur’an
96:6-7
But God is not a person and has no need of anything or anyone. He is
the source of all and He is ‘Ghani’ (self-sufficient) in Himself.
“O' men! it is you who stand in need of God, whereas He alone is self-
sufficient, the One to whom all praise is due.” - Qur’an 35:15
Once the man’s belief system is untangled from the confusion of the
egoic thought and logic, the path becomes clearer and less confusing.
There is a straight and simple way to go about life, which is to
remember God, and in every thing that you want to do and are in doubt,
ask yourself a simple question, “is that pleasing God?” If there are
two possibilities, then ask which one pleases God. Of course the
purification of the ego is an absolute necessity since one is not even
capable of distinguishing what is pleasing or not pleasing God if the
voice of the ego is loud in his head, using rationale, justification,
logic, being right, being a modern person and looking down on
religion.
We need to realise that the order of things between man and God has
not and will not change from the beginning to the end of time,
regardless of modernity. What would change is the periphery and man-
made rules.
In conclusion, I would like to emphasise that it is fundamentally
important and a sign of wisdom - not cleverness which relates to the
mind - to reflect and contemplate on Allah’s ‘Ahkam’ (orders and
instructions) and take them to heart, with the belief that they are
much deeper than just mere do’s and don’ts of the Shariah. Under the
exterior of the Shariah, there is an interior path which transforms
the ego driven man to become God-Conscious. Sufism is a path that
paves the way to take man, step by step on the journey of love and awe
to the Beloved, Allah.
Bismillaah ir Rahmaan ir Rahiim
In the name of Allah, The Merciful, The Compassionate
TEST OF THE HARDSHIP
By Sheikha Fatima Fleur Nassery Bonnin
With so much unrest in the world and fighting between the nations, it
is important that we recognise the misuse of religion (whether
deliberate or unconscious) as a means of propagating conflict and
violence. One wonders if those who are involved or causing such
devastating actions or policies, have ever properly understood their
respective scriptures and their teachings. As a Muslim, I need to be
more critical of my own people since we have the book of Allah (swt)
from which “nothing has been left out”, nor has it been contaminated
by the hand of man. But alas, like most religious scripture, the
Qur’an is being read by many Muslims at an exoteric level, and as a
result it is often misunderstood and misused.
From the time of the Prophet (pbuh) until now, the reliable sources
and commentators of the Qur’an have said that most of the ayaat in the
Qur’an, whilst they have an exoteric meaning which would mainly relate
to the events and the needs of that time, also have an esoteric
meaning that relates to all generations. The Prophet (pbuh) is quoted
as having said the Qur’an is wrapped in seven layers of meaning. This
is inherent in the nature of scripture, and therefore all other
scriptures from Allah (swt) would also have layers of both exoteric
and esoteric meaning. However for the purpose of this article,
regardless of what other religious groups have done or continue to do
with their scriptures, as Muslims our focus needs to be to keep our
own house in order and make an effort to understand the meaning and
the teaching of the Qur’an so that we might act accordingly.
There are many references in the Qur’an about how very few people will
use their intellect to properly understand. For example: “in this,
there are lessons for those who can understand”, "there is indeed a
lesson for all who have eyes to see", “if only they could understand”,
"we detail Our signs for people who understand" or “in all this there
is indeed a reminder to those who are endowed with insight”. (Qur’an
12:111, 3:13, 26:113, 6:98, 39:21)
With so many references in the Qur’an it would be absolutely to our
detriment not to reflect on this and try to get the messages that our
Creator who has created us and our psyche, our perception and our
blindness, has given us using parables and examples in order to show
us the Truth and the way to the Truth.
"A blessed divine writ which we have sent down so that men may ponder
over its messages, and that those who are endowed with insight may
take them to heart” - Qur’an 38:29
Let us start from the base of - “Allah created the heavens and the
earth in accordance with the Truth. Behold, in this there is a message
for those who believe” - Qur’an 29:44
Without delving too deeply into this verse and at an accessible level,
this is to say that in every aspect of the creation and within every
step and stage (since things often are in stages), there is no
haphazardness or accidental cause and effect, but rather, a deliberate
process and conclusion in accordance with His Will and His Plan which
is the Reality and the Truth (Haqq).
“Unto every one of you have We appointed a law and way of life. And if
Allah had so willed, He could surely have made you one single
community; (but He willed it otherwise) in order to test you by means
of that which He has vouchsafed unto you. So surpass one another in
doing good deeds! Unto God you all must return; and then He will make
you truly understand all the differences in which you were engaged in
dispute.” - Qur’an 5:48
We are told that we are meant to have different laws and ways of life
which result in different religions and that is according to the Plan
and Will of Allah (swt) and in accordance with the Truth.
“Unto every community We appointed (different) ways of worship, which
they ought to observe. Hence do not let them dispute with you on the
matter, but do call them unto your Lord: for, behold, you are on a
straight guidance.”
“And if they argue with you, say (only) ‘Allah knows best what you are
doing’” - Qur’an 22:67-68
“Do not argue with the followers of earlier revelation other than in a
most kindly manner – except those of them who did wrong and are
oppressors – and say ‘we believe in that which has been sent down to
us and that which has been sent down to you; for our God and your God
is one and the same, and it is unto Him that we surrender ourselves.’”
- Qur’an 29:46
Is this how the differences in the religions are being handled these
days? Allah (swt) says do not argue with them unless you enter into a
discussion in a kindly manner. Since God’s teaching is essentially the
same in all religions, it is unfortunate to see that many people from
other religions who hold powerful positions in the west have abused
their power through politics and the use of the media to propagate
ignorant ideas full of hatred against other faiths. But the hypocrisy
that some politicians have exhibited by hijacking ‘the religions’,
whilst posing as religious people, or “doing the right thing”, does
not give anyone an excuse to disobey God. Christian scripture also
reflects these sentiments of tolerance. Jesus (pbuh) passed on these
instructions from God, as the most important rules - the first and
second commandments: “Love the Lord your God with all your heart and
with all your soul and with all your mind and with all your strength”
and “Love your neighbour as your self”. Mark 12:30-31
We need to reflect on the reason that God, the Creator, with full
knowledge of what is to come, during the time of each prophet has
instructed us to accept and be kind and courteous to people of other
religions. These instructions obviously equally apply for differences
within the same religion. Within Islam, Sunnis and Shia’s who have a
history of undermining each other, must take into consideration what
Allah (swt) has instructed in terms of the right action in how to
treat each other regarding their differences. Of course the same holds
for examples of animosity within Christianity and Judaism, but as I
mentioned earlier, we Muslims as the people of the last religion, with
our access to the Qur’an, have no excuse. The mentality that only one
religion is right, only one sect is right, is a losing position in the
eyes of God, the Creator of all.
The Tradition has it that when “owe yalbesakum shai’an” in Sura 6,
ayah 65 descended upon the Prophet (pbuh), he got up and made ablution
and stood for prayer. Then he made supplication and asked Allah (swt)
not to send any suffering from above and not from beneath and asked
Allah (swt) not to allow the Muslim community to become divided into
different branches and not to fight amongst themselves. At this point
Gabriel (a.s.) appeared to him and gave him the good news that his
first two requests had been accepted, but not the last two requests.
Then the Prophet (pbuh) said, O Gabriel, if it is ordained that my
ummah (Muslim community) fight each other, then there will be nothing
left of the ummah. So he started praying for it again and at this
point ayah 2 of Surah 29 Al- Ankabut (The Spider) descended, followed
by ayah 3:
“Do people think that on their (mere) saying ‘we have attained to
faith’, they will be left to themselves and not tested with hardship?”
“Whereas We indeed tested those who lived before them. Allah will
surely bring to light those who are true in their faith as He will
bring to light also the liars by putting them into the test of
hardship.” - Qur’an 29:2-3
The commentary about the above ayaat (there are similar verses in the
Qur’an) says that there is no way out of this hardship testing
“fetneh”, since the community (ummah) of the prophets need to be
tested after the departure of the prophets, so that the truthful ones
will be distinguished from the liars. After all, there will not be any
“vahye” (revelation) coming down in order to help distinguish the ones
that lie from the truthful ones. Therefore what would be left is the
struggle and the fighting until the day of judgement.
Let us reflect on what it is that Allah (swt) is teaching us through
all the above. He has sent different prophets and knows there are
going to be different religions with different sects in this world. He
has clearly said that if He wanted to create only one community He
would have done so. In fact even without the ayaat, the fact that
these different religions and beliefs exist is evidence that it is
according to His Will, unless some would rather think that it slipped
out of Allah’s control and now they have to make it right. Astaghfer
Allah!
Allah (swt) is teaching us how to be tolerant of other people’s
beliefs and ways of life that are different than ours. This is the
teaching of God to all the religions. In Christianity it goes even
further than acceptance and not arguing, by the instruction of
“turning the other cheek”. Then why is it that we do not seem to be
doing that?
We need to look for the answer in the self protective mechanism of the
ego which needs to be right in order to feel good. This is where the
seemingly righteous act or a religious duty could often be a cover up
for self righteousness of the ego (nafs), to the point of disobeying
God no matter how we rationalise it. Isn’t that what Satan did? Satan
also had a reason for disobeying Allah (swt) and not prostrating to
Adam, most probably a valid reason in his way of thinking. Allah (swt)
has told us the story of Satan and Adam in order that we take heed and
use the teaching in our life. The underpinning belief of man in his
arrogance is that his belief is right. Even if his belief is in
conflict with the instructions of God and the prophets, he still goes
ahead and rationalises his actions. There are many examples of this
which are beyond the scope of this discourse.
We are living in difficult times of public backlash against Muslims in
the western countries with the media driving the fanning of the fire
of hatred and intolerance. Today it is sometimes difficult to tell the
difference between a Christian clergyman who appears on television
condemning Muslims and other religions and stating that the only
people that go to heaven are Christians, and the Muslim extremist.
Allah (swt) has clearly told us that the hardship, turmoil and
struggle are a part of this life in order that the real believer who
tells the truth about his being a servant is distinguished from the
one who only says so. Let me repeat the verse:
“Do people think that on their (mere) saying ‘we have attained to
faith’, they will be left to themselves and not tested with hardship?”
“Whereas We indeed tested those who lived before them. Allah will
surely bring to light those who are true in their faith as He will
bring to light also the liars by putting them into the test of
hardship.” - Qur’an 29:2-3
In case some people think that Allah (swt) did not know the situation
that we are facing these days – Astaghfer Allah – I would like to
mention another verse:
“Say: it is He alone who has the power to send down upon you suffering
from above you and from beneath your feet, or to confound you with
mutual discord and let you taste the affliction of one another.
See how We explain the signs by various forms, so that they may
understand.” - Qur’an 6:65
This ayah clearly illustrates the situation in the western countries
between Muslim and non Muslims since September 11. Yet Allah (swt)
wants us not to resort to fighting and violence. He wants that we
human beings rise above the selfishness, self righteousness, and self
protective behaviour to a level of real submission. It is not enough
to just say that Islam means submission.
"Do people think that on their (mere) saying ‘we have attained to
faith’, they will be left to themselves and not tested with hardship?”
Such a level of submission is the sign of having attained true faith.
This submission and having attained true faith is the outcome of the
realisation and total trust that Allah (swt) has created the world in
Truth (Haqq). He does not need our agreement but wants our submission
to this Reality. It is in that submission that we realise the unity of
existence and the Tawhid. This cannot happen while we fight one
another.
“So surpass one another in doing good deeds!!”
And it is precisely because of the fact that there are always going to
be people who hurt other people that Jesus (pbuh) instructed us to
turn the other cheek.
If our Creator tells us that He has created other religions and
different ways of life and worshipping on purpose, and wants us to
live accordingly with respect and acceptance and even surpassing one
another in so doing, and we (the People of the Book) keep doing the
opposite of that, overtly or covertly, what does that say about our
submission to our Lord and our true faith?
Sufis have always known that unless people struggle with their ego-
personality (nafs), they are always prey for misunderstanding of their
religion and not able to rise above the temptation and seduction of
the ego-personality. These are the veils that are ordained for man in
order to break out of them before the end of his life. The level of
the submission that Allah (swt) is requiring from us will not happen
unless we go from the outer level of understanding the religion and
scripture to the inner, while constantly fighting the ego, which the
Prophet (pbuh) stated as – “The Greatest Struggle”. Maybe then by the
Rahmat of Allah (swt) the transformation of the nafs takes place. It
is a long journey but it is the purpose of the journey of life.
May Allah (swt) help us and include us on the path of obedience and
submission to Him.
Bismillaah ir Rahmaan ir Rahiim
In the name of Allah, The Merciful, The Compassionate
THE THEATRE OF LIFE
By Sheikha Fatima Fleur Nassery Bonnin
One of the signs of awakening in this life from the deep sleep of
unconsciousness is to be able to see (perceive) the inner meanings of
things, not just the outer. Life is full of various levels of inner
meanings and messages, clues and hints according to the level of the
person’s spiritual unfoldment. There are many ayat in the Qur’an and
ahadith to confirm this phenomenon. This is where the term “blind” has
been used in the Qur’an, alluding to people who in spite of having
eyes, yet cannot see. Indeed they see the forms and the exoteric
aspects of things but do not see the esoteric meaning within.
Allah (swt) points to this repeatedly in various verses in the Holy
Book, usually after a story, parable or symbolism:
“in this there are lessons for those who can understand” or "there is
indeed a lesson for all who have eyes to see" or “if only they could
understand” or “if only you could see” or "we detail Our signs for
people who understand".
But somehow, although we are looking right at them, the majority of
these signs are missed. They go right over our heads and we see only
the outermost aspect of them, for good reason since our heads are not
the apparatus for the perception of these things. We are told that all
the signs/ayat of Allah are in two books; the book of the Holy Qur’an,
and the book of the cosmos - life and creation. Both require certain
purity of heart and inner sight in order to be given the permission to
perceive the inner meanings and signs. We are clearly told with
regards to the Qur’an that only the cleansed or pure ones (motaharoun)
will be able to touch this (Qur’an 56:79). The “cleansed" or "pure
ones” have generally been taken for their outer meaning of having been
physically cleansed and having had ablution. While that holds, yet
there is more to it. It alludes to the state of inner purity, the
purity of heart. If all that was meant was outer cleanliness and
ablution, why then would we witness from time to time, that people who
have not prepared themselves that way, still gain access and are able
to touch the Qur’an? When we consider that Allah’s word is the Truth
and there cannot be an exception to it, then when we see these
exceptions it should highlight the discrepancy between our
understanding and the real meaning of the Words.
If we understand that “to touch” means being touched by the faculty of
intellect and perceiving the inner messages; and we understand the
“pure ones” as those who possess an inner purity and sincerity in
their heart, then there will not be any exception. The fact that the
Qur’an can be touched by the ritually unclean is further proof of the
esoteric meaning of the verse.
The purpose of these signs is the realisation of the purpose of our
life in this human body, which is God-consciousness, in spite of the
forgetfulness that has been placed in human beings, and in spite of
distractions we experience, some of which provide very strong
attractions that constantly pull us in the opposite direction. This
purpose has been revealed in a famous Hadith Qudsi, where Allah (swt)
explains the purpose of the creation by saying:
“I was a hidden treasure and I loved that I be known, so I created the
creation so that I can be known”.
It is no wonder that His creation and the life of human beings are
encoded with clues towards knowing Him. But that potentiality does not
reach fruition for everybody. One needs to have a sincere longing and
desire for his Creator and put on the walking shoes and set forth on
the journey in order to be accepted as a traveller on the path to God,
“salek”. In modern times we see a lot of people putting on their
walking shoes but all they do is keep jogging. This walk is a
different walk and in reality shoes are not necessary and are
allegorical. As Allah (swt) said to Moses:
“Take off your sandals”, since he did not need them there.
In Sufism, we are told that there is nothing in this world whose
source is not in the unseen. Therefore wherever we look lies a
reminder, for those who can see.
“Wherever you look is the face of Allah” - Qur’an 2:115
In looking at birth, at childhood and dependency, at growing up, at
relationship with parents, at becoming self sufficient and
independent, at using our will and putting it in action, at love
relationships and at work and making a living; as I am reflecting on
the list, I am reminded of at least one ayah in the Qur’an that
applies to each stage and/or category, teaching us the right versus
wrong behaviour, guiding us to the straight path and therefore to
Him.
“How many a sign is there in the heavens and on earth which they pass
by, and on which they turn their backs!” - Qur’an 12:105
One then must question why it is that with so many reminders, so many
people remain asleep and only see things for their outer form, and in
one dimension. My response is that the inner eyes do not open until
one has done some degree of internal Jihad against one’s ego-
personality (nafs). The potentiality is there in everyone – man is
made in the image of God – to reach a degree of perfection in his
attributes, but he has been sent to the lowest of the low. This lowest
of the low has been interpreted as being sent down to earth, again
while that holds it has more inner meanings; for the lowest level of
man is taking himself as a self sufficient and independent reality,
while living as a slave to his ego. This man sets out to respond to
every whim of his wants and desires, and reacts poorly to any lack of
satisfaction. This is the condition of a normal man in the state of
“al-nafs al-ammara”, with imperfect (naghis) attributes, and therefore
constantly seeking for perfection (takamol) from being imperfect. In
his seeking for perfection (the Source), he has no choice and it is
ontological, but he keeps looking in the wrong places and all he gets
is a temporary satisfaction which does not last, until with Allah’s
Mercy, a wake up call comes. Then the question is whether he wakes up
or not, and if he wakes up, whether he stays awake or goes back to
sleep.
Every night we go to sleep and dream about various things that seem so
real to the point that we even exhibit physical reaction and
experience strong emotions to it just like in waking hours. But
generally that does not force us to stop and think that if the dreams
are not real, then to what extent do these experiences show us what
else that we may think is real may in fact not be real and be an
illusion just like the dreams. One needs to ponder that there is an
“I” in the dream while the other “I” is sleeping in bed. A veil covers
our eyes as soon as we wake up. The thicker veil is the role we play
in the theatre of life. No doubt the understanding of the dream person
would be helpful to the understanding of the role we play in the
theatre of life.
“He is the Creator of heaven and earth and whatever is in between
them”.
It is important to note that Allah who has created everything, has
also created the art of theatre through us. The stage for our
performance starts before we are born but becomes more apparent from
birth and throughout our life. We play a role along with other people
as in any production on the stage. There are stories, plots, emotions,
good people and bad people interacting. The more it elicits emotion
out of us, the more we are absorbed in the story. If you imagine an
actor on the stage, he takes the identity of his role as real in order
to do the job and we in the audience join him and share his version of
reality during the time in the theatre. However the actor on the stage
has the chance of remembering his real self during the intermissions
or breaks. But we human beings are engaged in a one act show and
during this act which is our entire life, our breaks are very subtle
reminders and hints of Reality.
If we were not so preoccupied with ourselves and our emotions and
thoughts, there might be a space for some realisations through the
subtle hints of this theatrical reality. The events of our lives are
like the props for the stage where the story and the plot is acted out
with others. As Moulana Rumi says every brick that makes up the world
is made of illusion.
Our Creator says in the Qur’an:
“The life of this world is nothing but a play, whereas, behold, the
life in the hereafter is indeed the only (true) life: if they but knew
this!” - Qur’an 29:64
These creations are supposed to be a reminder alluding to higher
purpose, but we human beings, in our state of “zolum and jahul”, keep
using them for different purposes; entertainment, self satisfaction
and forgetfulness of the Real. This is how we contaminate the goodness
of life. We celebrate the actors performances, give them awards
without ever thinking if there is any message for us - as nothing in
this life is meant to be just for play without a higher purpose.
Imam Ali (a.s.) says in Nahjul Balagha:
“They have not taken lessons from things which are full of lessons,
but they have taken them from far off places.” - Sermon 221
Moulana Rumi says:
"You see the world according to the measure of your eye" and then
goes on saying
“the Arifs (gnostics) possess a ‘surmeh’ (black powder make-up used on
the eyelid),
go and seek it. So that your eye of stream may become an ocean." -
Masnavi, Book 5:1905-7
He is alluding that Arifs having done the required inner purification,
are given the reward of seeing the inner reality of things, (which is
an act of Beauty).
In the story of Moses and his staff, Allah tells Moses to throw his
staff down and it turns into a serpent moving rapidly, and then tells
him:
“Take hold of it, and fear not; We shall restore it to its former
state.” - Qur’an 20:21
In this story, first Allah sets the stage by asking "what is this in
your right hand O Moses?" and Moses responds:
"It is my staff; I lean on it; and with it I beat down leaves for my
sheep; and other uses have I for it." - Qur’an 20:17-18
There have been different interpretations of this verse such as Allah
wanting to hear Moses speak or that Allah is testing him.
These verses are pointing to the esoteric and mystical reality. It
means that as long as man only sees the outer form of things he will
only see the staff. But things in life inherently carry other and
deeper dimensions and uses. The miracle is the transformation to
perceive the inner dimension of things.
The fear referred to is the fear of letting go of the familiar form
and touching (perceiving) beyond the form. We then are being assured
in this story not to be afraid since after the transformation we are
still able to see the form.
We need to pay attention to every word in the Qur’an and not get
carried away with the story, because the story covers the esoteric
teaching since the stories are meant to be the apparent (zahir) and
the teachings hidden (batin). We know by reading the above that
something more mystical is happening since Allah is aware of
everything and knows what the staff is and what usage it has. He is
the creator of the staff. It is for the benefit of us that He takes us
through all the apparent and exoteric usage of the staff that has been
enumerated, and then to the esoteric. If we realise this, then we are
likely to reflect and wonder how many other things are there that we
keep missing and taking the apparent meaning as the only reality.
May Allah help us to recognise the theatre of life and may He grant us
to stay awake to our real self.
Bismillaah ir Rahmaan ir Rahiim
In the name of Allah, The Merciful, The Compassionate
PEACE AND THE INNER JIHAD
By Sheikha Fatima Fleur Nassery Bonnin
The Meaning of Peace
As we experience and witness the turmoil, unrest, war and devastation
in the world, the absence of peace and the need for peaceful living
becomes abundantly clear. But in order to have peace in the world, we
need to have peace in our communities, and in order to have peace in
our communities, we need to have peaceful people in those communities.
Societies reflect the state of the people within that society. Peace
cannot exist in a society unless the individuals within that society
change and experience peace within themselves.
Our current political environment is derived from the idea of peace as
a product of war; that is, there appears to be a justification for war
as a means of achieving peace. This mentality not only necessitates
the questioning of its logic, but also the questioning of its
effectiveness. The world news, as being broadcasted through our
television sets and newspapers, testifies to the fact that this widely
accepted doctrine does not work, and in fact, will never work. On a
fundamental level, it is a mistake to conceive of peace as the absence
of war. This type of peace is merely the result of negotiations and
peace treaties between factions and/or nations, in an effort to ward
off war and unrest. This shallow perception of peace serves only as a
mental exercise, derived from assemblies of man enforcing and
implementing positions of power. The end result is marked by win-lose
situations and delivers only temporary solutions to looming
dissatisfactions and potential uprisings. The point has been lost.
Peace is a Spiritual State
For a person to be at peace, he needs to go beyond his pre-occupations
with the ego-driven self and move towards the virtues. He needs to
transform his ego-personality which is the hub of all his conflicts
and negative attributes and shed his associated jealousy, selfishness,
greed, anger, lust etc by transcending to a higher level, where the
demanding ego is no longer the dominating force. This is the meaning
of the internal jihad, and this process is by no means an easy one,
but indeed a necessary one.
It is reported that during the early formation of Islam, when the army
of Islam returned from a huge battle with the enemy, the Prophet of
Islam, peace and blessing be upon him, said:
“You have returned from a smaller jihad (battle), and now it is
incumbent upon you to perform your greater jihad.”
When the astonished people asked what could be a greater jihad than
the one they had returned from, the Prophet, peace and blessings be
upon him, said:
“The battle with ones nafs (ego-personality).”
This Hadith (saying of the Prophet, peace and blessings be upon him)
emphasises two fundamentally important issues. The first, points to
the difficult task of our internal jihad and in doing so, prepares us
for it. The second, establishes the necessity of the battle we must
wage against our nafs (our ego-personality). The Prophet (pbuh) is
letting us know that victory in the outer jihad is not enough for
mankind to live in peace and harmony. It only provides the necessary
space to do our most important work which is the jihad against our
nafs.
The words of the prophets, (particularly those words that have been
recorded and whose authenticity is undisputed), afford us and future
generations the keys to unlocking the doors to our inner and outer
truth and reality. We need to contemplate them, understand them, be
guided by them and most importantly put them into practice.
The Human Predicament
Human beings are in a difficult predicament in this journey of life.
The soul comes into this life given a cloak of personality, shrouding
his God-consciousness. Therefore he sees himself only as his ego-
personality and is blindly ruled by it. He has only a short period of
life on earth to fight and overcome this domination so that he may
know his Creator in spite of all the ego-attachments and distractions.
It is a challenging task, but this task is what we have been created
for. However we are not left entirely on our own and are not without
help. God sends us prophets, scriptures, saints and guides, not to
mention events that shape our lives and provide us with lessons to be
learned.
Denial of Our Spiritual Aspect
When God is taken out of the equation of ‘man and God’, man is then
left on his own, and therefore becomes conscious of his self instead
of being conscious of God. This marks the breeding ground for ego
development. Life then becomes the pursuit and fulfillment of ego
desires, and truth and reality become subservient to ego domination.
This is in opposition to spiritual unfoldment. The spiritual aspect is
where one can be in peace and harmony. The ego aspect is where one is
in conflict and disharmony. Therefore an ego-dominated society is
obviously filled with conflicts and disharmony. In order to function
in such a state, it would be necessary to be forgetful and in denial
of our spiritual aspect. This is what we see today in our secular
society.
In order to live in a state of denial about one’s spirituality and
consciousness of God, the secular life must create material
distractions and engagements. This means that any secular society
requires upheaval and unrest in order for its dysfunction to function.
There are constant issues to be resolved, needs to be met, greeds to
be fulfilled and the illusive state of inner peace remains out of
reach. Most modern societies not only support and promote this
mentality, which has become a way of life, but these societies also
teach people to become skilled and creative participants. People’s
talents, intellects and abilities are used in order to sustain this
theatrical version of reality. The better one is at it, the more
successful and respected one becomes in the eyes of such a society.
At a certain point, one cannot even distinguish truth and reality in
and amongst the lies and justifications being presented as truth. This
is what we are facing in the world today. From the perspective of
modernity, it is engaging, challenging and exciting. From the
perspective of the Truth and God-consciousness, peace and harmony, it
is disastrous. And it keeps getting worse, because the trend of making
the unreal appear real, forever gathers momentum.
“While those who are determined in denying the truth harboured a
stubborn disdain of ignorance in their hearts – Allah bestowed from on
high His inner peace upon His apostle and the believers and bound them
to the spirit of God-consciousness, for they were most worthy of this
(divine gift) and deserved it well.” - Qur’an 48:26
Man and the Truth
Man’s relationship to the truth, especially in our modern society, is
worthy of reflection. Al Haqq, one of the Names (attributes) of Allah
(swt) means the Truth, the Reality. While Al Haqq, the Truth with
capital “T” means the ultimate truth, the only truth and the only
reality, man’s version of the truth is different and so is his
perceived reality within that truth. Truth has become personalised or
individualised, which allows it to continually change according to the
perspective and benefit of the individual. Therefore it can easily be
twisted, politicised and nationalised. The universality of the truth
is thus lost and substituted by the individual’s personal or communal
truth. This creates a situation in which no two people or two
communities can experience the same version of truth because neither
is the reflection of the Truth. For instance these days the
Palestinian’s truth is different from the Israeli’s truth and
America’s truth is different from that of the Middle East.
In addition, being conscious of the Truth (which is the result of
being God-conscious), mandates certain ways of life and certain moral
conducts such as following God’s laws (Shariah), which protect all
humanity equally since God is the God of all humanity. Allah (swt)
says in the Qur’an:
“And say: ‘Truth has arrived, and falsehood perished: For falsehood is
bound to perish.’
We sent down in the Qur’an that which is a healing and mercy to those
who believe: To the unjust it causes nothing but loss after loss.” -
Qur’an 17:81-82
The Purpose of Life – to Know and Love God
In Sufism, the purpose of life is described in a Hadith Qudsi (when
God speaks to the prophets) regarding the question of creation. Allah
(swt) says:
“I was a hidden treasure and I loved that I be known, so I created the
creation so that I can be known.”
The purpose of our life, the goal of coming into this world is to know
God (Irfan), in spite of all the smoke screens, veils and distractions
- the most powerful of which lies in the veil of one’s self.
It is always very difficult to fight one’s ego-self. In fact according
to Sufi teaching if it is not difficult, one is not doing the real
work. What makes the struggle against the ego possible is the desire
to know and love God, since He has placed this desire in the heart of
mankind, whether man knows it or not. When this desire is moved from
the state of potentiality to expression in life, one is considered in
Sufism, a traveller (salek), on the journey to God-consciousness.
The soul comes to this world for the purpose of moving through the
various tests and obstacles set in his way, and insha’llah, (with the
will of God), he will fend off temptations and not stray too far from
the path, remaining focused on the true purpose of his journey, and
his eventual return to a state of unity with God. Allah (swt) points
this out repeatedly throughout the Qur’an, for example:
“To Him is our return.” - Qur’an 2:156
"Unto Him you will return." - Qur’an 2:245
To fulfil the purpose of life we need to turn to the spiritual
teachings of our religions and harness the inner meanings of the
teachings of our prophets. While the outer dimension of religion is
concerned with salvation from the fire of hell, or with securing a
place in paradise, the inner dimension of religion is concerned with
knowing God and loving God, because being God-conscious (taqwa) and
being present with God (hozour), is the highest level of perfection of
the soul. It is in utilising the inner dimensions of our religions,
that we face the possibility of transforming our ego domination and
achieving peace and tranquillity, both internally and therefore
externally. It is for this reason that the Prophet Mohammad, peace and
blessings be upon him, conveyed a message relevant for any time and
any place. The inner jihad is the most fundamental challenge for man,
and it is a challenge that must be endured by man.
And to those who are on the path of fulfilling the ego desire instead
of the inner jihad, Allah (swt) says in the Qur’an:
“And who could be more astray than he who follows his own desires
without any guidance from Allah? Verily, Allah does not grace with His
guidance people who are given to their wrong-doing.” - Qur’an 28:50
And to those who endure the inner jihad and squirm free of the grip of
their nafs, Allah (swt) says:
“O’ you the nafs that has attained inner peace – return unto thy
Sustainer, well-pleased and pleasing Him.”- Qur’an 89:27-28
The Return to God-consciousness
The human being is designed for the return to the state of God-
consciousness. To reach such a station and proximity to God, one needs
to be steadfast and not be side tracked by distractions in his
pursuit.
Jesus, peace and blessings be upon him, says in the Gospel of Thomas
in verse 8:
“Humankind is like a wise fisherman who cast his net into the sea and
drew it up from the sea full of little fish. Among them the wise
fisherman discovered a fine large fish. He threw all the little fish
back into the sea and with no difficulty chose the large fish. Whoever
has ears to hear should hear.”
Jesus, peace and blessings be upon him, also says in John 3:3:
“Unless a man is born a second time, he cannot behold the kingdom of
God.”
Mullah Sadra, the revered Persian Sufi master of the 17th century,
explains the above saying as:
The first birth is from the womb of a woman, the second birth is from
the womb of the ego-senses.
To be born again requires the transformation of the ego-personality
and according to the Islamic and Sufi teaching, breaking free from the
commanding self (al-nafs al-ammara), which is the general state of
human beings, passing through the state of the accusing self (al-nafs
al-lawwama) and then reaching the state of the self at peace (al nafs
al-mutmainna).
This is the true state of being and it is only possible by discarding
layers of one’s ego identity and one’s preoccupation with the ego
senses. When one starts confronting any aspect of one’s personality-
fixation and begins to dig beneath the surface, one will eventually
find God-consciousness.
Allah (swt) says in the Qur’an:
“We shall show them Our signs, in the universe and within themselves
so they know that this is The Reality (Al Haqq).” - Qur’an 41:53
The Way to Peace
The absence of God-consciousness prevents one from following God’s
laws, and therefore prevents His protection of the earth and its
inhabitants. God has made it clear to us through the teachings of His
prophets, that there will be no inner peace as long as one forgets God
and follows one’s own ego.
“Be not like those who forgot Allah and He made them to forget their
own souls! Such are those who are wrong doers (having wasted their
spiritual potential).
Not equal are the companions of the fire and the companions of the
garden. It is the companions of the garden who will achieve peace and
felicity.” - Qur’an 59:19-20
We can now reformulate our equation to propose that an absence of God-
consciousness results in war, and that peace, rather than being the
absence of war, is the state of God-consciousness.
http://www.australiansuficentre.org/article_peacejihad.htm
chhotemianinshallah
Aa Mil Yaar Saar Le Meri? ?? ???? ??? ?? ????Aa Sajan Gal Lag
Asade???? ?? ?? ?????? ???? ????? ???? ??Aakhan We Dil Jani
Piarya????? ?? ?? ???? ??????? ????? ???? ???? ???? ??Aao Faqiro Mele
Chaliye?? ????? ???? ????? ???? ?? ??? ???? ??aao Sayio Ral Dioni
Wadhai?? ??? ?? ????? ??????Ab Hum Aise Gum Hoye?? ?? ???? ?? ????Ais
Nionh Di Ulti Chaal??? ?????? ?? ????? ???Aisa Jagia Gian
Paleta???? ???? ???? ?????Aisi Aai Mann Main Ka???? ??? ?? ??? ???
Allah Ratta Dil Mera???? ??? ?? ????Amaa Babe Di
Bhulyai???? ???? ?? ???????Bansi Kahan Achraj
Bajaii???? ???? ???? ?????Bas Kar Ji Hun Bas Kar Ji?? ???? ?? ?? ?? ??
Bhaina ! Main Katdi Katdi Hatti??? ???? ???? ??? ! ?????Bharosa Keh
Ashnaii Da?????? ??? ?????? ??Bhawin Jaan Na Jaan
We??????? ??? ?? ??? ??? ????? ???????Bullah Keh Janaa Main
Kon???? ??? ????? ??? ???Bullah Keh Janaa Zaat Ishaq Di
Kon???? ??? ????? ??? ??? ?? ???Bullah Noo Samjhawan
Aayian???? ??? ??????? ?????? ?????? ?? ?????????Chalo Wekhiye Os
Mastanre Noon??? ?????? ?? ??????? ???Chup Kar Ke Karin Guzare
Noon??? ?? ?? ???? ????? ???Dhalak Gai Charkhe Di
Hatti???? ??? ???? ?? ????Dil Loche Mahi Yaar Noo?? ???? ???? ??? ???
Eh Achraj Sadho Kon Kahawe???? ???? ????? ??? ?????Eh Dukh Ja Kahoon
Kis Aage???? ???? ?? ???? ?? ???Fasam Wajah Allah Dasna Ain Aj o
Yaar??? ??? ????? ?????? ?? ?? ???Gal Role Lokan Pai
Ay?? ???? ????? ???? ??Gar Jo Chahe So Karda He?? ?? ???? ?? ???? ??
Ghar Main Ganga Aai Santu??? ??? ???? ??? ????Ghariali Dio Nakal
Ni??????? ??? ???? ??Ghungat Chak o Sajna????? ?? ?? ????Hijaab Karin
Darweshi Kolon???? ???? ?????? ?????Hindu Na, Nahin
Muslman???? ??? ???? ??????Hori Khailoon Gi Keh Kar
Bismillah???? ?????? ?? ??? ?? ??? ????Hun Kis Then Aap
Chupaida?? ?? ???? ?? ????????Hun Menoon Kon Pachane?? ????? ??? ??????
Ik Alif Parho Chutkara He?? ??? ???? ??????? ??Ik Nukta Yaar Parhaya
He?? ???? ??? ?????? ??Ik Nukte Wich Gal Mukdi He?? ???? ?? ?? ????? ??
Ilmoon Bas Karin o Yaar????? ?? ???? ?? ???Ishaq Assan Naal Kehi
Keti??? ???? ??? ???? ????Ishaq Di Nawino Nawin
Bahar??? ?? ????? ???? ????Ishaq Haqiqi Ne Mathi
Kurre??? ????? ?? ???? ???Jichar Na Ishaq Majazi
Lage??? ?? ??? ????? ????Jind Karki De Monh Aaii??? ???? ?? ????? ???
Jis Tan Lagia Ishaq Kamal?? ?? ???? ??? ????Jo Rang Rangia Gohra
Rangia?? ??? ????? ????? ?????Kadi Aa Mil Birhon Sataii
Noon??? ? ?? ????? ????? ???Kadi Aa Mil Yaar Piaria??? ? ??? ??? ??????
Kadi Apni Aakh Bulaoo Ge??? ???? ??? ???? ??Kadi Morr Muharan
Dholia??? ??? ?????? ??????Kapuri Rewri Kiun Kar Lare Pitase
Naal????? ????? ?????? ??? ????? ???Kar Kattan Wal Dheaan
Kurre?? ??? ?? ????? ???Katt Kurre Na Watt Kurre?? ??? ?? ?? ???Keh
Bedardan De Sang Yaari???? ?? ????? ?? ??? ????Keh Jana Main Koi We
Aria???? ????? ??? ????? ?? ????Keh Karda Beparwai
Je???? ???? ?? ?????? ??Keh Karda Ni Keh Karda???? ???? ?? ???? ???? ??
Kehe Lare Dena Ain Sanoon???? ???? ???? ?? ?????Kehnoon Lamakani Dasde
Ho?????? ??????? ???? ??Khaid Le Wich Wehre Ghumi
Ghum???? ?? ?? ????? ???? ???Khaki Khak Soon Rul
Jana???? ??? ??? ?? ????Kiun Ishaq Assan Te Aaya
He???? ??? ???? ?? ??? ??Kiun Larnaan Hain Kiun Larnaan
Hain???? ????? ??? ???? ????? ???Kiun Ohle Beh Beh
Jhakida???? ???? ??? ??? ???????Kun Fayakun Agge Dian
Lagian?? ?????? ????? ???? ??Lan Tarani Das Ke Jani?? ????? ?? ?? ????
Maae Na Murda Ishaq Diwana???? ?? ???? ??? ??????Maati Qadam Karendi
Yaar???? ??? ?????? ???Mahi We Tain Melian???? ?? ??? ?????Main Beqaid
Main Beqaid??? ?? ??? ??? ?? ???Main Gal Othe Di Karda
Haan??? ?? ????? ?? ???? ???Main Kamli Aan Suche Sahab De
Darbaron??? ???? ??? ??? ???? ?? ???????Main Kasanbra Chug Chug
Hari??? ?????? ?? ?? ????Main Kion Kar Jawan Kaabe
Noon??? ?????? ????? ???? ???Main Pa Parhia Toon Nasnaan
Haan??? ?? ?????? ??? ????? ???Main Paya He, Main Paya
He??? ???? ??? ??? ???? ??Main Puchan Shoh Dian Waatan
Ni??? ????? ??? ???? ????? ??Main Udikaan Kar
Rahi??? ?????? ?? ??? ??? ??? ?????Main Wesaan Jogi De
Naal??? ????? ???? ?? ???Main Wich Main Na Reh Gai
Kai??? ?? ??? ?? ?? ??? ????Mann Atkio Shaam Sunder
Soon?? ????? ??? ???? ???Menoon Chad Gae Aap Ladd
Gae????? ??? ??? ?? ?? ???Menoon Ishaq Hulare
Denda????? ??? ????? ?????Menoon Keh
Hoya????? ???? ???? ?? ?????? ??? ????? ???Menoon Sukh Da
Sanehra????? ??? ?? ??????Mera Ranjha Hun Koi
Hor???? ?????? ?? ???? ???Mere Ghar Aaya Pia Hamra???? ??? ??? ??? ????
Mere Kiun Chir Laya Mahi???? ???? ?? ???? ????Mere Mahi Kiun Chir Laya
He???? ???? ???? ?? ???? ??Mere No Shoh Da Katt
Mol???? ?? ??? ?? ?? ???Meri Bakal De Wich Chor Ni???? ??? ?? ?? ?????
Mil Lai Sahelrio Meri Raj Gahelrio?? ??? ???????? ???? ??? ???????
Mitar Piare Karan Ni Main??? ????? ???? ?? ???Monh Aai Baat Na Rehndi
Ay????? ??? ??? ?? ????? ??Mullan Menoon Marda Ee???? ????? ??? ?? ??
Murli Baaj Uthi An Ghatan???? ??? ???? ?? ??????Na Jewan Maharaaj Main
Tere Bin?? ????? ?????? ??? ???? ?? ?? ?????Natt Parhna Ain
Astaghfaar?? ????? ??? ???????Ni kotanchal Mera Naan
Ni?? ?????? ???? ??? ?? ?????? ???? ???Ni Main Hun Sunia
Ishaq?? ??? ?? ????? ??? ??? ???? ????Ni Main Kamli Haan?? ??? ???? ???
Ni Menoon Lagra Ishaq Awal Da?? ????? ???? ??? ??? ??Ni Saiyo Mai Gai
Gawachi?? ??? ??? ??? ?????Pani Bhar Bhar Gayian
Sabhe???? ?????? ????? ????? ??? ???? ???Partalio Hun Aashiq
Kehre??????? ?? ???? ?????Patian Likhan Main Shaam
Noo????? ????? ??? ??? ???? ??? ????? ??? ?? ???Peer Parai Jar
Rahi??? ????? ?? ???Pehle Nionh Lagaya Si
Tain???? ?????? ????? ?? ???? ??? ????? ?????Pia Pia Karte Hamin Pia
Hoye??? ??? ???? ???? ??? ????? ?? ??? ?? ??? ????Piare Bin Maslihat
Uth Jana????? ?? ????? ??? ????Piaria Sanbhal ke Nionh
Laga?????? ????? ?? ?????? ?? ????? ???????? ??Piaria Sanoon Mithra Na
Lagda Shor??????? ????? ????? ?? ???? ???Rain Gai Latke Sab
Tare??? ??? ???? ??? ????Ranjha Jogera Ban Aaya?????? ?????? ?? ???
Ranjha Ranjha Kar Di Ni Main?????? ?????? ?? ?? ?? ???Reh Reh We
Ishaqa Maria Ee?? ?? ?? ???? ????? ??Roze Haj Namaz Ni
Maae???? ?? ???? ?? ????Sabh Iko Rang Kapahin Da??? ??? ??? ?????? ??
Sade Wal Mukhra Morr???? ?? ?????? ???Sajnaan De Wichore
Kolon????? ?? ?????? ?????Sanoon Aa Mil Yaar
Piaria????? ? ?? ??? ??????Sayin Chup Tmashe Noo
Aaya????? ??? ????? ??? ???Se Wanjare Aaye Ni Maae?? ?????? ??? ?? ????
Suno Tum Ishaq Ki Bazi??? ?? ??? ?? ????Tain Kit Par Paoon Pasara
He??? ?? ?? ????? ????? ??Tak Bojh Kon Chup Aaya
He?? ???? ??? ??? ??? ??Tangh Mahi Di Jalli Aan????? ???? ?? ??? ??
Tera Naam Dhaida Sayin???? ??? ???????? ?????Tere Ishaq Nachaya Kar Ke
Thia Thia???? ??? ????? ?? ?? ???? ????Tone Ka Mann Kar Ke Ni
Main???? ???? ?? ?? ?? ???Toon Kidhron Aaya Kidhar
Jana??? ?????? ???? ???? ????Tu Nahin Hain Main Nahin We
Sajna?? ????? ???? ??? ?????? ?? ????Tum Suno Hamari
Beena?? ??? ????? ?????Tussi Aao Milo Meri Piari??? ?? ??? ???? ?????
Tussi Karo Asadi Kari??? ??? ????? ????Ulte Hor Zamane
Aaye??? ??? ??? ???? ???Ulti Ganga Bahayo Re
Sadhu???? ???? ??????? ?????? ?? ?? ???? ????Uth Gaye Gawandhon
Yaar?? ?? ??? ???????? ???Uth Jaag Gharare Maar
Nahin???? ??? ?????? ??? ????Vekho Ni Ki Kar Gaya
Mahi????? ?? ???? ????? ????Vekho Ni Pyara
Menoon????? ?? ????? ????? ???? ??? ??? ???Vekho Ni Shoh Anayat
Sayin????? ?? ??? ????? ?????Wah Sohnia Teri Chaal
Ajaaib??? ??????? ???? ??? ?????? ????? ??? ?????? ??Wahwa Cheej Pai
Darbar????? ???? ??? ?????Wahwa Ramz Sajan Di Hor????? ??? ??? ?? ???
Wal Parde Wich Paya Yaar?? ???? ?? ???? ???Watt Na KarsaN
Maan?? ?? ????? ??? ??????? ??? ??
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Kalam e Shah Hussain(Complete Text) Share on Facebook Aakh Ni Maae
Aakh Ni??? ?? ???? ??? ??Aakhir Da Dum Bujh We
Aria??? ?? ?? ???? ?? ????Aakhir PichtasiN Kuriye??? ????????? ?????
Aao Kurre Gal Jhomar Paao Ni??? ??? ?? ????? ??????Aap Noon Pichaan
Bande?? ??? ????? ????Aashiq Howain TaaN Ishaq
KamawaiN???? ????? ??? ??? ??????Agge Nain Doonghi??? ??? ??????Ain
Guzri GaliN KardiaN?????? ???? ????? ??????AinwiN Gai
Wahaae?????? ??? ?????AinwiN Guzri Raat Khaidan Na
Thia?????? ???? ???? ????? ?? ????Aithe Rehna NahiN Koi Baat Chalan Di
Karo????? ???? ?????? ???? ??? ??? ?? ????AmlaN De Uper Hoog
Nabera????? ?? ???? ??? ?????? ??? ???? ??? ?????Anni Hussain
Jalaha??? ???? ?????AssaN Kitt Ko Shekh Sadaona???? ?? ?? ??? ??????
AssiN Bohar Na Dunya Aaona???? ???? ?? ???? ????Baal Pan Khaid
Ni??? ?? ???? ??? ???? ?? ?? ?? ??????Babul GandhiN
PaiyaN???? ?????? ??????? ?? ????? ????BajhoN Sajjan MenooN Hor NahiN
Sujhda??????? ???? ????? ??? ???? ??????Bande Aap Noon
Pichan????? ?? ??? ?????BuriaN BuriaN BuriaN
We??????? ??????? ?????? ?? ???? ?????? ?? ????Chande Hazar
Aalam???? ???? ????? ??? ????? ??? ????Chare Palo Cholri Nain Rondi De
Bhanne???? ??? ????? ??? ????? ?? ????Charkha Mera Rangra Rang
Laal???? ???? ????? ??? ???Chor karan natt choriaN??? ??? ?? ??????
DehoN latha ee hart na geer ni????? ???? ??? ??? ?? ??? ??Dekh na
mende ogan dahoN???? ?? ????? ???? ????? ???? ??? ????? ??Dil DardaN
Keti Poori Ni?? ????? ???? ???? ??? ?? ????? ???? ????Din chaar chogaN
main khail?? ???? ????? ??? ????? ???? ??????? ??? ??? ????? ??? ????
Dunya Jiwan Chaar Dehare???? ???? ??? ??????? ??? ??? ??? ????Dunya
talib matlab di wo???? ???? ???? ?? ??! ?? ?? ?? ?????Dunya TooN Mar
Jana???? ??? ?? ????? ?? ?? ?????Eh Nass Das Rahi Dil
Mere???? ?? ?? ??? ?? ????Eho Bandi He Gal Sajjan Naal Mela
Mariye???? ???? ??? ?? ??? ??? ???? ?????Gahak Wenda Ee Kujh Watt
Le???? ????? ?? ??? ?? ??Gahri Ik De Majmaan
Musafir???? ?? ?? ????? ?????? ????? ??? ???? ?????Gamania Dum
Ghanimat Jaan??????? ?? ????? ???Ghar Sohan Sayyan
Aterian??? ???? ???? ???????Gholi WanjaN Sayin
TethoN????? ?????? ????? ??????? ??? ????? ?? ???? ????Ghum Charakhra
Teri Kattan Wali
Jiwe??? ??????? ???? ??? ???? ????? ????? ??? ???? ????Goilra Din
Chaar Kurre?????? ?? ??? ????? ???? ????? ????? ??Hassan Khaidan Bhaae
Asade Ditta Ji Rub Aap AsanoN??? ????? ????? ?????? ??? ?? ?? ?? ??????
Hun Tan DaisaN Tera Tana Mendi Jindriye
Ni?? ?? ????? ???? ????? ????? ??????? ??Ik Arz NamaniaN Di Sun
Jandni?? ??? ??????? ?? ??? ?????Ik Din TenooN Supna
Thesan?? ?? ????? ????? ?????Ik Doe Tin Chaar
Panj??? ????? ??? ???? ???? ???? ??? ???? ???? ???Ishaq FaqeeraN Da
Qaim Daim??? ?????? ?? ???? ???? ???? ?? ????? ????Ittan Main Kiun Aai
SaaN??? ??? ???? ??? ???Jaag Na Ladhi
Aa??? ?? ????? ?? ?? ??? ????????? ???JaaN JiwaiN TaaN Darda Raho
Wo??? ????? ??? ???? ?????Jag Main Jiwan
Thora?? ??? ???? ?????? ??? ??? ?????JahaN Wekho TahaN Kapat
He???? ????? ???? ??? ??? ???? ?? ???? ???Jando Mendriye NaliaN Da
Waqt Wahana???? ????????? ????? ?? ??? ?????Jeeti Jeeti Dunya Allah
Ji???? ???? ???? ??? ?? ???? ????? ?????Jhame Jham Khail Le Manjh
Wehre???? ??? ???? ?? ???? ?????JinhaaN Khari Na Keti Meri
Dolri?????? ???? ?? ???? ???? ?????? ??? ?? ??? ??? ?????? ???Jis
Nagri Thakar Jis Nahin?? ???? ????? ?? ????? ???? ?????????? ??Jit Wal
Menda Mittar Piara?? ?? ????? ??? ?????? ????? ??? ????? ???? ????? ??
Joban GiataN Gholia Rabba???? ?????? ?????? ???? ???? ??? ?? ????Kaae
Baat Chalan Di Karoe???? ??? ??? ?? ??????? ????? ???? ?????Kadi samjh
nadanaN ghar kithe ee??? ???? ??????? ??? ???? ??? ???? ??????Kadi
Samjh NadanaN Mar Jana Ee??? ???? ?????? ?? ???? ??Kamli Aan Darbar
Di???? ?? ????? ??Katt Gun Lagain Gi Shoh Noon
Piari?? ?? ???? ?? ??? ??? ?????Keh Aakar Aakar Chalna??? ??? ??? ????
Kehre DaisoN AayoN Ni Kuriye????? ????? ????? ?? ????Kia Kito Aithe
Aae Ke??? ???? ????? ??? ??? ??? ???? ????? ???? ??Kia Kursi Baab
Namani Da??? ???? ??? ????? ??Kiun Gumaan
Jandoni???? ???? ??????? ??? ???? ???? ?? ????Koi Dum JiondiaN
Rushnai???? ?? ???????? ??????? ?????? ?? ??? ?? ????Koi Dum Maan Le
Rang Ralian???? ?? ??? ?? ??? ?????Kuriye Jandiye Ni Tera Joban
Koora???? ?????? ??? ???? ???? ????Latakdi Latakdi Ni Maae Har Bolo
Raam????? ????? ?? ????? ?????????? ????? ?????? ???Maae Mor Je Sakni
Ain Mor???? ??? ?? ???? ??? ???Maae Ni Main Bhai Dewani Wekh Jagat
Main Shor???? ?? ??? ???? ??????? ???? ??? ??? ???Maae Ni Main KehnoN
AakhaN Dard Wechore Da Haal???? ?? ??? ?????? ?????? ??? ?????? ?? ???
Mahi Mahi Kookdi Main Aape Ranjhan
Hoyi???? ???? ??????? ??? ??? ?????? ????Main Bhi Jhok Ranjhan Di
JanaN??? ??? ???? ?????? ?? ?????Mandi haaN ke changi
haaN???? ??? ?? ???? ??? ???? ???? ???? ???? ???Mann Atkia Beparwa
Naal?? ????? ?? ????? ???Mann War Ne TooN Par
Jaonda?? ??? ?? ??? ????????Matin Dendi HaaN Baal Ayane
Noon???? ????? ???? ??? ????? ???MehboobaN FaqeeraN Da Sayin
NaguaN???????? ?????? ?? ????? ??????Menda dil ranjhan rawal
mange????? ?? ?????? ???? ????Mende Dil Tende Naal
Lagi????? ?? ????? ??? ???Mende Sajna Wo Mola Naal
Bani?????? ???? ??! ???? ??? ???Mendi Jaan Jo Range So
Range????? ??? ?? ???? ?? ????MenooN Anbar Jo Aakhdi Katt
Ni????? ???? ?? ????? ?? ??Mere Sahiba Main Teri Ho Mukki
Aan???? ?????? ??? ???? ?? ???? ??Mian Gal Sunni Na Jandi
Sachi???? ?? ??? ?? ????? ???MitraN Di Majmani Karan Dil Da Lohu Chani
Da????? ?? ?????? ???? ?? ?? ???? ????? ??Mushkal Ghat Faqeeri Da
Wo???? ???? ????? ?? ??NamaniaN Di Rabba Rabba
Hoyi??????? ?? ???? ???? ????Ni Asis Aao KhadahaN
Luddi?? ???? ?? ??????? ???Ni Geer Garandriye Garida
Garda?? ??? ???????? ????? ???? ????Ni Maae MenooN kherian Di Gal Na
Aakh?? ???? ????? ??????? ?? ?? ?? ???Ni Maae SanoN Khaidan
De?? ???? ????? ????? ??? ???? ?? ????? ??? ? ??Ni Sayyo Assin NainaN
De Aakhe Lagge?? ??? ???? ????? ?? ???? ???Ni Sayyo Main Katdi Katdi
Hatti?? ???! ??? ???? ???? ???Ni Sayyo MenooN Dhol Mile TaaN
Jape?? ??? ????? ???? ??? ??? ????Pandhia Wo Gandh Sanjri Chad Ke Na
SooN??????? ??! ???? ????? ??? ?? ?? ???Pawain Ga Deedar Sahab Da
Faqeera????? ?? ????? ???? ?? ?????? ??? ??? ????? ????Paya Ni Main
Paya Ni???? ??? ??? ???? ??? ??? ???? ??? ????Piare Laal Kia Bharosa
Dum Da????? ???? ??? ??????? ?? ??RaatiN sowaiN dinhiN phirdi tooN
wataiN????? ?????? ?????? ????? ??? ????Rabba Mere Gode Haith
Parotra??? ???? ???? ???? ??????? ??? ???? ??? ????? ?????Rabba Mere
Haal Da Mehram TooN??? ???? ??? ?? ???? ???Rabba Mere Ogan Chit Na
DhariN??? ???? ???? ?? ?? ?????Rahiye Wo Naal Sajan De Rahiye
Wo???? ??? ??? ??? ?? ???? ??Ronda Mool Na Sonda
Ee????? ??? ?? ????? ??SaadhaN Wi Main Goli
HorsaN?????? ?? ??? ???? ??????? ?????? ???? ??? ??????Sabh Wal Chad
Ke TooN Ike Wal Hoye??? ?? ???? ?? ??? ??? ?? ????Sadqe Main WanjaN
OhnaN RahaN TooN???? ??? ????? ?????? ????? ???? ?? ????? ??? ??? ??
Sajan Bin RaataN HoyyaN WadiaN??? ?? ????? ?????? ?????Sajan De Hath
Banh Asadi??? ?? ??? ????? ?????? ?????? ????? ??? ?? ????Sajan Ruthra
Janda Main Bhali Aan We Loka???? ????? ?????? ??? ???? ?? ?? ????Sajan
Tumre Rosre Mohe Aader Kare Na Koi???? ???? ????? ???? ??? ??? ?? ????
Sajna AssiN MorioN Langh Piase???? ???? ?????? ???? ?????Sajna Bolan
Di Jaae Nahin????! ???? ?? ???? ?????Salu Sehaj Handaa Le
Ni???? ??? ???? ?? ??? ???? ??? ???? ?? ??samjh Nadanriye Tera Wenda
Waqt Wahanda???? ????????? ???? ????? ??? ??????Sara Jag Jaan Da SayiN
Tere Milan Di Aas Wo???? ?? ??? ??? ????? ???? ??? ?? ?? ??Sayin
Beparwa Mendi Laaj Tu Par Aai????? ?? ?????? ????? ??? ?? ?? ???Sayin
JinhaaN De Wal????? ????????? ??? ?????? ??? ?? ????? ?? ????Sayin
Main Wari Aan Wo????? ??? ???? ?? ??? ???? ?? ?? ???? ???? ?? ??Sayin
Sayin KarendiaN MaaN Pio
HorendiaN????? ????? ????????? ??? ??? ????????? ???? ?????? ?????
Sayyo Mera Mahi TaaN Aan Mila
Wo???? ???? ???? ??? ?? ??? ??? ???? ?????? ????Sun TooN Ni Kaal
Marenda Ee?? ??? ??? ??? ?????? ??? ?? ??? ?? ???? ????? ??Tak Bojh
Samjh Dil Kon He?? ???? ???? ?? ??? ??? ?? ?? ????? ??? ??Tan Mann
Apna Purze Kita?? ?? ???? ???? ????? ????? ??? ?? ??? ? ????TariN
Rabba We Main Ogan Hari????? ??? ?? ??? ???? ????TehnaaN Noon Gham
Keha?????? ??? ?? ????? ????? ?????? ?? ??Tere Shoh Rawan Di
Wera???? ??? ???? ?? ????? ???? ??? ??? ???Thori Reh Gai
Raatri????? ?? ??? ?????? ??? ???? ?????TooN Aaho Katt
Walali??? ? ?? ?? ????? ?? ????? ??? ?? ????Tujhe Gor Bulawe Ghar Aao
Re???? ??? ?????? ??? ??? ??TusiN Mat Karo
Gumaan???? ?? ??? ????? ???? ??? ??? ??Tussin Bai Na
Bhullo???? ??? ?? ?????? ???? ?? ??? ????? ??Tussin Rul Mil Dio
MumarkhaN???? ?? ?? ??? ????????? ???? ????? ??? ?????? ??Wari Wo Wekh
Namanian Da Haal???? ?? ???? ??????? ?? ???? ???? ?? ?? ??????Watt Na
Aaona Bholri Maao?? ?? ????? ?????? ????Watt Na Dunya
Aaona?? ?? ???? ???Wela Samran Dani Uthi Raam
Dhiaae???? ???? ????? ???? ??? ??????Were Were Jani HaaN Main Gholi
Aan Ni???? ???? ???? ???? ??? ????? ?? ??Ya Dilbar Ya Sirr Kar
Piara?? ????? ?????? ?? ?????
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Kalam e Sultan Bahu(Complete Text) Share on Facebook5Aap Na Talib Hein
KahiN De?? ?? ???? ??? ???? ?? ????? ???? ?? ?? ???Aashiq Di Dil Mom
Brabar???? ?? ?? ??? ????? ??????? ?? ????? ???Aashiq Hawain Ishaq
Kamawain???? ????? ??? ?????? ?? ??? ???? ?????? ???Aashiq Ishaq Mahi
De Kolon???? ??? ???? ?? ????? ???? ????? ????? ???Aashiq Naik Salahin
Lagde???? ??? ?????? ???? ???? ????? ?? ?????? ???Aashiq Perhan Namaz
Param Di???? ???? ???? ??? ?? ??? ?? ??? ?? ???? ???Aashiq Raz Mahi De
Kolon???? ??? ???? ?? ????? ??? ?? ????? ????? ???Aashiq Shohde Dil
Kharaya???? ???? ?? ?????? ?? ?? ???? ????? ???Aashiq soi Haqiqi
Jehra???? ???? ????? ????? ??? ????? ?? ??? ???Aashiqan Hiko Wazo Jo
Kita?????? ??? ??? ?? ???? ??? ????? ????? ???Adhi Laynat Dunya
Tayin???? ???? ????? ????? ???? ????? ????? ???Aeho Nafs Asada
Beli???? ??? ?????? ???? ?? ??? ????? ????? ???Akhen Surkh MunheeN Te
Zardi????? ???? ????? ?? ???? ?? ?????? ?? ????? ???Alif Ahad Jad
Ditti Vikhali???? ???? ?? ???? ??????? ?? ??? ???? ???? ???Alif Alast
Sunya Dil Meri???? ???? ????? ?? ???? ??????????? ???????? ???Alif
Allah Chambe Di Booti???? ???? ???? ?? ????? ?? ?? ????? ???? ???Alif
Allah Chambe Di Booti 2???????? ???? ?? ???? ?? ?? ???? ????? ???Alif
Allah JaaN Sahi Ketose??? ???? ??? ??? ???? ?? ????? ??? ?????? ???
Allah PadhyoN Hafaz
HoyoN???? ???????? ???? ????? ?? ??? ?????? ???? ???Andar Bhi Hu Bahar
Bhi Hu???? ??? ??? ???? ??? ??? ????? ?????? ???????? ???Andar Hu Te
Bahar Hu???? ???' ?? ???? ??? ??? ??? ?? ??? ?????? ???Andar Kalma Qul
Qul Karda???? ???? ??? ??? ???? ???? ??????? ???? ???Andar Vich Namaz
Asadi???? ?? ???? ????? ????? ??? ??????? ???Aqal Fiqar Di Ja Na
Kai??? ??? ?? ??? ?? ???? ???? ?? ?????? ???Azal Abad NooN Sahi Keto
Se??? ??? ??? ??? ???? ?? ???? ????? ????? ???Baajh Hazoori Nahi
Manzoori???? ????? ???? ?????? ???? ???? ??????? ???Bagdad Sharife
Vanj KarahaN????? ????? ??? ?????? ???? ????? ?????? ???Baghdad Shehr
Di Kia Nishani? ????? ?? ??? ????? ?????? ?????? ?????? ???Bahu Baag
BaharaN Khadya????? ??? ?????? ?????? ???? ??? ??? ?? ???Banh Chalaya
Taraf ZameeN De???? ????? ??? ???? ?? ????? ??? ????? ???Be AdbaN Na
Saar Adab Di?? ????? ?? ??? ??? ?? ??? ????? ?? ?????? ???Be Bazurgi
Vehan Lodhiye??????? ???? ???????? ???? ?? ????? ???Be Behti Main Ogan
Hari? ???? ??? ???? ???? ??? ??? ?? ??? ?? ???Be Bismillah Isam Allah
Da? ??? ???? ???? ???? ?? ???? ??? ???? ?????? ???Be Te Padh Ke Fazal
Hoye? ? ??? ?? ???? ???? ??? ?? ????? ????? ???Bikki Peed Kul Alam
Kooke???? ??? ??? ???? ????? ?????? ??? ????? ???Chad Channa Te Kar
Rushnai??? ??? ?? ?? ?????? ??? ?????? ???? ???Channa Kar
Rushnai??? ?? ?????? ???? ??? ?????? ???? ???Daal DaleelaN Chod
WajoodoN? -?????? ???? ?????? ?? ????? ????? ???Daal Dilay Vich Dil Jo
AkheN?- ??? ?? ?? ?? ????? ?? ????? ?????? ???Daal Dunya Run Ghar
Munafiq?-???? ?? ??? ????? ?? ??? ???? ?????? ???Dard Andar Da Andar
Sade??? ???? ?? ???? ???? ???? ???? ??? ????? ???Dard MandaN Da Khoon
Jo Peenda??? ????? ?? ??? ?? ????? ????? ??? ????? ???Dard MandaN De
DhoaiN Dhakdhe??? ????? ?? ?????? ?????? ???? ???? ?? ???? ???Dard
MandaN DiaN AaheeN
KoloN??? ????? ???? ???? ????? ???? ???? ?? ????? ???Deen Te Dunya
SakyaN BhainaN??? ?? ???? ????? ?????? ??? ???? ???????? ???Dil Bazaar
Te Munh Darwaza?? ????? ?? ??? ?????? ???? ??? ?????? ???Dil Darya
Khawja DiaN LehraN?? ???? ????? ???? ????? ???? ???? ?????? ???Dil
Darya SamandroN Doonga?? ???? ??????? ?????? ???? ??? ????? ???Dil
Darya SamandroN Doonge?? ???? ??????? ?????? ??? ???? ???? ???? ???Dil
KalyoN Munh Kala Changa?? ?????? ??? ???? ???? ?? ???? ?? ??? ???? ???
Dil Te Daftar Wahdat Wala?? ?? ???? ???? ???? ???? ???? ?????? ???Dudh
Dahi Te Har Koi Radke??? ??? ?? ?? ???? ???? ???? ???? ??????? ???
Dunya Dhoondan Wale Kutte???? ?????? ???? ????? ?? ?? ???? ?????? ???
Eh Dunya Run Haiz Paleeti???? ????? ?? ??? ????? ?? ?? ??? ?? ????? ???
Eh Dunya Run Haiz Paleeti
2???? ????? ??? ??? ????? ???? ??? ??? ????? ???Eh Tan Mera Chashma
Hove???? ??? ???? ????? ?? ?? ????? ???? ?? ?????? ???Eh Tan Rub Sache
Da Hujra???? ??? ?? ??? ?? ???? ?? ????? ?????? ???Eh Tan Rub Sache Da
Hujra 2???? ??? ?? ??? ?? ???? ?????? ??? ?????? ???Emaan Salamat Har
Koi Mange????? ????? ?? ???? ????????? ????? ???? ???Fajri Wele Waqt
Sawele???? ???? ??? ????? ?? ??? ?????? ???Fiqar Kanon Kar Zikar
Hamesha??? ???? ????? ????? ???? ???? ??????? ???Ghajje Saae Sahab
Wale???? ???? ???? ???? ??? ???? ?????? ?? ???Gia Emaan Ishaqe De
Paron??? ????? ???? ?? ????? ?? ?? ???? ???? ???Godrian Wich Jaal
Jinhaan Di??????? ?? ??? ????? ?? ????? ???? ?????? ???Gos Quttab Hun
Ure Urere??? ??? ?? ???? ?????? ???? ??? ????? ???Hafaz Padh Padh
Karan Takkabar???? ???? ??? ??? ???? ???? ??? ?????? ???Har Dum Sharam
Di Tand Tarode?? ?? ??? ?? ??? ?????? ??? ???? ?????? ????? ???Hassan
De Ke Rowan Leoi??? ?? ?? ???? ????? ??? ?? ????? ???Hik Dum Sajjan
Lakh Dum Veri??? ?? ???? ??? ??? ???? ??? ?? ???? ???? ???Hik Jagan
Hik Jaag Na Janan??? ???? ??? ??? ?? ???? ??????? ??? ????? ???Hor
Dawa Na Dil Di Kari??? ??? ?? ??? ?? ???? ???? ??? ?? ???? ???Hu Da
Jama Pehan KarahaN??? ?? ???? ??? ?????? ??? ????? ???? ???Ilmoon Koi
Fiqar Kamawe?? ????? ???? ??? ????? ???? ??? ?????? ???Ishaq Asanoon
Lasian Jata??? ?????? ????? ???? ???? ?? ????? ???Ishaq Asanoon Lasian
Jata-2??? ?????? ????? ???? ?? ?? ??? ????? ???Ishaq Asanoon Lasian
Jata-3??? ?????? ????? ???? ????? ??? ????? ???Ishaq Chalaya Tarf
Asmanaan??? ????? ??? ??????? ????? ??? ?????? ???Ishaq Di Bazi Har Ja
Khedi??? ?? ???? ?? ?? ????? ??? ??? ??????? ???Ishaq Di Bha Haddan Da
Balan??? ?? ???? ???? ?? ???? ???? ???? ?????? ???Ishaq Dian Gallan
Olrian?? ??? ???? ???? ??????? ??? ???? ??? ????? ???Ishaq Haqiqi
Janhaan Paya??? ????? ????? ???? ?????? ?? ??? ????? ???Ishaq Jinhaan
De Haddin Rachia??? ??????? ???? ???? ????? ?? ????? ???Ishaq Mahi De
Layian Agin??? ???? ?? ?????? ???? ????? ??? ?????? ???Ishaq Moazzan
Ditian Bangaan??? ???? ????? ?????? ???? ???? ??? ?? ???Ishaq Muhabbat
De Daria Wich??? ???? ?? ???? ?? ??? ?????? ????? ???Ishaq Samandar
Charh Gia Falkin??? ????? ??? ??? ????? ?? ?? ???? ?????? ???Jaal
JalendiaN Jangal BhondiaN??? ???????? ???? ???????? ??? ?? ?? ??? ??
Jaan Zaat Na Thewe Bahu? -??? ??? ?? ????? ???? ??? ?? ??? ????? ??Jab
Lag Khudi Karain Khud
NafsooN?? ?? ???? ???? ??? ????? ?? ?? ?? ?? ????? ??Jadd Da Murshad
Kasa Ditta?? ?? ???? ???? ???? ?? ?? ?? ?????? ??JaiN Daina Da Main
Dar Tende??? ???? ?? ??? ?? ????? ?? ???? ??? ??? ???? ???JaiN Dil
Ishq Khareed Na Keta??? ?? ??? ???? ?? ???? ?? ?? ??? ????? ??JaiN Dil
Ishq Khareed Na Keta 2??? ?? ??? ???? ?? ???? ?? ?? ??? ?? ????? ???
JaiN Dil Ishq Khareed Na Keta
3??? ?? ??? ???? ?? ???? ?? ?? ??? ?????? ???Jangal De Vich Shair
Marela???? ?? ?? ??? ????? ??? ??? ?? ??? ?? ??Je Deen Ilam Vich
Honda? - ?? ??? ??? ?? ????? ?? ???? ???? ????? ??Je Rub NahatyaN
DhotyaN Milda?? ?? ??????? ??????? ???? ???? ????? ?????? ??Je TooN
ChahaiN Wahdat Rub Di?? ??? ????? ???? ?? ?? ?? ???? ???? ????? ???
Jeonde Ki Janan Saar MoyaN
Di?????? ??? ???? ??? ????? ?? ?? ???? ?? ???? ???Jeonde Mar Rehna
Hove???????? ?? ???? ???? ??? ?????? ????? ???JinhaaN Ishq Haqeeqi
Paya????? ??? ????? ???? ?????? ?? ??? ????? ??JinhaaN Shoh Alif TheeN
Paya????? ??? ??? ???? ???? ???? ???? ?? ????? ??Jis Dil Isam Allah Da
Chamke?? ?? ??? ???? ?? ???? ??? ??? ???? ??? ??Jis Ilif Mutala
Keeta?? ?? ??? ?????? ???? ? ?? ??? ?? ????? ??Jithe Ratti Ishq
Wakave???? ??? ??? ????? ???? ????? ????? ??Jo Dil Mange thewe
KithoN?? ?? ???? ????? ????? ????? ???? ????? ??Jo Dum Ghafal So Dum
Kafar?? ?? ???? ?? ?? ???? ???? ???? ?????? ???Jo Paak Bin Paak Mahi
De?? ???? ?? ??? ???? ?? ???? ??? ????? ??Kalme Di Kul Tad
Piose???? ?? ?? ?? ????? ?? ???? ??? ????? ???Kalme Di Kul Tadan
Piose???? ?? ?? ???? ????? ???? ???? ???? ???Kalme Di Kul Tadan Piose
Kalme Jadd???? ?? ?? ???? ????? ???? ?? ?? ????? ???Kalme Lakh Karoran
Tare???? ??? ?????? ??????? ???? ??? ????? ???Kalme Naal Main Nahati
Dhoti???? ??? ??? ????? ????? ???? ??? ????? ???Kamil Murshad Howe
Jehra???? ???? ???? ????? ????? ?????? ???? ???Kar Mehnat Kujh Hasal
Howi?? ???? ??? ???? ???? ???? ??? ?????? ???Khaam Ki Janan Saar Fiqar
Di??? ???? ???? ??? ??? ?? ???? ????? ?? ?? ???Kia Hoya Bott Odhar
Hoya??? ???? ?? ????? ???? ?? ?? ?? ??? ?? ????? ???Kook Dila Mata Rab
Sunne??? ??? ???? ?? ??? ?? ???????? ???? ???? ???Kul Qabil Kawishar
Kehnde?? ???? ????? ????? ???? ?? ??? ?? ???Kun Fayakoon Jadon
Farmaos?? ????? ???? ?????? ???? ??? ???? ???? ???Kund Zulmaat Andhair
Ghubaran??? ????? ?????? ?????? ??? ??? ??? ??? ?? ???La Yahtaaj
Jinhaan noo Hoya?? ????? ????? ??? ???? ??? ????? ??? ???? ???Laam Lah
Ho Ghairi Dhande?? ?? ?? ???? ????? ?? ?? ??? ?? ????? ???Likhan
Sakhion Likh Na Jata???? ?????? ??? ?? ???? ???? ???? ????? ???Loha
Howin Pia Katawin???? ????? ??? ?????? ??? ????? ?????? ???Lok Qabar
Da Karsan Chara??? ??? ?? ???? ???? ??? ????? ???? ???Maal Jaan Sab
Kharch Karahan??? ??? ?? ??? ?????? ????? ???? ????? ???Main Kojhi
Mera Dilber Sohna??? ????? ???? ???? ????? ?????? ?? ??? ?????? ???
Main shehbaz Karan parwazan??? ????? ???? ??????? ?? ????? ??? ?? ???
Mazhbaan De Darwaze Uche?????? ?? ?????? ??? ??? ????? ???? ???Moto
Wali Mot Na Milli??????? ???? ??? ?? ??? ??? ?? ??? ????? ???Murshad
Bajhon Fiqar Kamawan???? ?????? ??? ????? ?? ??? ?? ???? ???Murshad
Makka Talib Haji???? ??? ???? ???? ???? ??? ????? ???Murshad Menoon
Haj Makke da???? ????? ?? ??? ?? ???? ?? ?????? ???Murshad Mera
Shehbaz Ellahi???? ???? ????? ???? ???? ??? ?????? ???Murshad Oh
Seheriye Jehra???? ??? ??????? ????? ???? ???? ?????? ???Murshad Wang
Sunare Howe???? ???? ?????? ???? ??? ?????? ???? ???Murshad Wasse Se
Kohan Te???? ???? ??? ????? ?? ????? ???? ???? ???Na Koi Talib Na Koi
Murshad?? ???? ???? ?? ???? ???? ?? ????? ?????? ???Na Main Alam Na
Main Fazal?? ??? ???? ?? ??? ???? ?? ???? ?? ???? ???Na Main Jogi Na
Main Jangam?? ??? ???? ?? ??? ???? ?? ??? ???? ????? ???Na Main Sair
Na Pa Chataki?? ??? ??? ?? ??? ?????? ?? ???? ?????? ???Na Main Sunni
Na Main Shia?? ??? ??? ?? ??? ???? ????? ??? ?? ???? ???Na Oh Hindu Na
Momin?? ??? ???? ?? ???? ?? ???? ??? ????? ???Na Rab Arsh Mualla
Utte?? ?? ??? ?????? ??? ?? ?? ???? ???? ???Naal kusangi Sang Na
Kariye??? ????? ??? ?? ????? ??? ?? ???? ?? ????? ???Nafal Namazaan
Kam Zanana??? ?????? ?? ????? ???? ???? ???? ???Nahin Faqeeri Jalian
Maran???? ????? ????? ???? ?????? ??? ????? ???Nede Wassan Dur
Waseewan???? ????? ???? ?????? ????? ????? ?? ?? ???Nit Asade Khule
Khandi?? ????? ???? ?????? ???? ???? ???? ???Ojhar Jhal Te Maru
Bela????? ??? ?? ????? ???? ????? ???? ??? ???Othe Hor Na Kaye Qabool
MiaN????? ??? ?? ???? ???? ????Paak Paleet Na Honde
Tode??? ???? ?? ????? ???? ????? ?? ????? ???Padh Padh Alam Karan
Takkabar??? ??? ???? ??? ???? ????? ??? ?????? ???Padh Padh Ilam Hazar
KitabaN???? ???? ???? ???? ?????? ????? ???? ????? ???Padh Padh Ilam
Malook Rajhawan???? ???? ???? ????? ??????? ??? ???? ??? ?????? ???
Padh Padh Ilam Mashaikh
Sadawan???? ???? ???? ????? ????? ??? ????? ????? ???Padh Padh Ilam
Wadhi Magroori?????? ???? ???? ?????? ??? ??? ??? ?????? ???Panje
Mehal PanjaN Vich Chanan???? ??? ????? ?? ???? ???????? ??? ?????? ???
Pata Daman Hoya Purana???? ???? ???? ?????? ???? ????? ????? ???Peer
Mile Je Peed Na
Jave???? ???? ?? ???? ?? ???? ?? ??? ???? ??? ?????? ???Qalb Taan
Hilea Kia Hoya??? ??? ???? ??? ???? ??? ???? ??? ????? ???Raah Fiqar
Da Pare Parere??? ??? ?? ??? ????? ???? ???? ?? ????? ???Raah Fiqar Da
Tad Ladhiose??? ??? ?? ?? ??????? ??? ??????? ???? ???Raat Andheri
Kaali De Vich??? ??????? ???? ?? ?? ??? ???? ?????? ???RaateeN Nain
Hanju Rat Rowan????? ??? ???? ?? ???? ?????? ???? ?? ?? ???RaateeN
Ratti Neend Na Aawe????? ??? ???? ?? ??? ?????? ??? ?????? ???Re
Rehmat Os Ghar Vich Wasse?-???? ?? ??? ?? ??? ???? ???? ???? ???Roze
Nafal NamazaN Taqwa???? ??? ?????? ???? ???? ?? ?????? ???Sabaq Safai
Soi Padhde??? ????? ???? ????? ?? ?? ???? ???? ???Sabat Ishq TinhaN
Ladha???? ??? ????? ???? ????? ???? ??? ?? ???? ??Sabat Sidaq Te Qadam
Agede???? ??? ?? ??? ????? ??? ?? ?? ?????? ??Sae Roze Sae Nafal
NamazaN??? ???? ??? ??? ?????? ??? ???? ?? ???? ???Seene Wich Muqaam
He Kain Da???? ?? ???? ?? ??? ?? ???? ?? ?????? ???Shareatt De Darwaze
Uche????? ?? ?????? ??? ??? ??? ?? ???? ???Shor Shehar Te Rehmat
Wasse??? ??? ?? ???? ??? ???? ???? ???? ???Sifat Sanayin Mol Na
Perhde??? ?????? ??? ?? ????? ?? ?? ????? ???? ???So Hazar TinhaaN
TooN Sadqe?? ???? ????? ??? ???? ??? ?? ???? ???? ???Soorat Nafs Amara
Di???? ??? ????? ?? ???? ??? ??? ???? ???Soz KanoN Tan Sadya
Sara??? ???? ?? ???? ???? ????? ???? ???? ???Sun Faryad PeeraN Diya
Peera?? ????? ????? ??? ???? ??? ?????? ??? ??? ???Sun Faryad PeeraN
Diya Peera?? ????? ????? ??? ???? ??? ???? ?? ??? ?? ???TadoN Faqeer
Shatabi Banda???? ???? ????? ???? ??? ??? ??? ???? ???Talib Bann Ke
Talib Howain???? ?? ?? ???? ????? ???? ??? ??? ?????? ???Talib Gos Al
azam Wale???? ??? ?????? ???? ??? ?? ???? ????? ???Tan Main Yaar Da
Shehr Banaya??? ??? ??? ?? ??? ????? ??? ?? ??? ???? ???Tarak Dunya
Tad Theose???? ???? ??? ??????? ??? ??????? ???? ???Tasbi Da TooN
Kasbi HoyoN????? ????? ????? ????? ????? ??? ??????? ???Tasbi Phiri Te
Dil Na Phirya????? ????? ?? ??? ?? ????? ???? ????? ??? ?? ????Toode
Tang Parane Hovan???? ??? ????? ???? ???? ?? ????? ???? ???TooN TaaN
Jaag Na Jaag Faqeera??? ??? ??? ?? ??? ????? ??? ??? ??? ????? ??Tulha
Banh Tawwakal Wala????? ???? ????? ???? ?? ??????? ????? ???Veh Veh
NadiyaN Taru HoiyaN????? ????? ????? ????? ??????? ???? ????? ????? ???
Wahdat Da Darya Ilahi???? ?? ???? ???? ???? ????? ???? ???Wahdat De
Darya Uchhle???? ?? ???? ??????? ?? ??? ???? ????? ???Wahdat De Darya
Uchhle???? ?? ???? ??????? ??? ?? ??? ?? ????? ???Wanjan Sar Par Faraz
He MenoN???? ?? ?? ??? ?? ????? ??? ???? ?? ???? ???Yaar Yagana Milsi
TenoN??? ????? ????? ????? ??? ?? ???? ????? ???Zaati Naal Na Zaati
Ralya???? ??? ?? ???? ???? ?? ?? ??? ????? ???Zabani Kalma Har Koi
Padhda????? ???? ?? ???? ????? ?? ?? ????? ???? ???Zad Zarori Nafs
Kutte Noon?? ????? ??? ??? ?? ? ???? ??? ????? ???Zahad Zuhad Kamande
Thakke???? ??? ?????? ???? ???? ??? ?????? ???Zahir Dekhan Jani
Tayin???? ?????? ???? ????? ???? ???? ???? ???Zikar Fikar Sub Urre
Urrere??? ??? ?? ???? ?????? ??? ??? ?? ???? ???Zikar KanoN Kar Fikar
Hamesha??? ???? ?? ??? ????? ??? ???? ??????? ???
Developed and Maintained by Sohail Abid
http://folkpunjab.com/kalam/sultan-bahu/
Kalam e Hafiz Barkhurdar(Complete Text) Share on Facebook3Hamd???Ahwal
langi mehri????? ????? ????Langi Mehri Di Zaari????? ???? ?? ????Peer
No Shoh Di Aamad??? ?? ??? ?? ???Mehri Langi Di Peer De
Hazri???? ????? ?? ??? ?? ?????Peer No Shoh Di Dua??? ????? ?? ???
Pedaish Mirza?????? ????Mirze Da MaaN Noon Sawal???? ?? ??? ??? ????
MaaN Da Jawab??? ?? ????Mirze Di Dua???? ?? ???Tareef Hussan
SahbaaN????? ??? ??????Mirze De Husan Di Tareef???? ?? ??? ?? ?????
Mirze Di Jawani???? ?? ?????SahbaaN Da Akh Matka?????? ?? ??? ????
SahbaaN Di Be Kali?????? ?? ?? ???SahbaaN Di Zari?????? ?? ????Sahbaan
Da Sanghar?????? ?? ?????Do Walahij?? ??????Rawangi Mirza?????? ????
SahbaaN Da Sun ke AaonaaN?????? ?? ?? ?? ?????Maqola Shair????? ????
SahbaaN Da Waraag?????? ?? ????Maqola Shair????? ????SahbaaN Da
Warlaap?????? ?? ?????Kalam SahbaaN???? ??????Kalam Mirza???? ????
Kalam SahbaaN???? ??????Kalam Mirza???? ????Kalam SahbaaN???? ??????
Kalam Mirza???? ????Kalam SahbaaN???? ??????Kalam Mirza???? ????Maqola
Shair????? ????Waraag Sahbaan???? ??????Mirze Di Wapsi Te SahbaaN Da
Haal???? ?? ????? ?? ?????? ?? ???Mirze Di Rawangi Te SahbaaN Di
Bemari???? ?? ?????? ?? ?????? ?? ??????Maqola Shair????? ????SahbaaN
Di Zari?????? ?? ????SahbaaN Da Elaaj?????? ?? ????SahbaaN Da Faal
KadhanaN?????? ?? ??? ???????Maqola Shair????? ????Tahir De Bhat Da
aaona???? ?? ??? ?? ?????SahbaaN Di Zari?????? ?? ????SahbaaN Da Khat
Mirze Wal?????? ?? ?? ???? ??KarmoN Noon SahbaaN Di
Pakki????? ??? ?????? ?? ???Jawab KarmooN???? ?????Jawab
Sahbaan???? ??????Jawab Phato Qazi???? ???? ????Jawab
SahbaaN???? ??????Maqola Shair????? ????SahbaaN De Hare?????? ?? ????
Maqola Shair????? ????Mirze Noon khat Milna???? ??? ?? ?????SahbaaN
DiyaaN DuaeeN?????? ???? ??????Mirze Da Khat Parhna???? ?? ?? ??????
Mirze Di Tiyari???? ?? ?????Maan Di Matt??? ?? ??Maqola Shair????? ????
Maan Di Faryad??? ?? ?????Jawab Mirza???? ????MaaN Di Sadd??? ?? ??
Bhain Di Zari???? ?? ????Jawab Mirza???? ????Jawab Chatti???? ????
Wanjhali Di Matt?????? ?? ??Bhai Da RoknaN????? ?? ??????Sawal Jawab
Qazi Te Sirr ja???? ???? ???? ?? ????Jawab Mirza???? ????Jawab
Chatti???? ????Maqola Shair????? ????Bol Mirza??? ????Maqola
Shair????? ????Kalam Mirza???? ????Jawab Rahi???? ????Tahir Di
Burat???? ?? ????Kalam Neeli???? ????Jawab Mirza???? ????Maqola
Shair????? ????Mirze Da Neeli Noon BanhnaN???? ?? ???? ??? ??????Kalam
Beebo???? ????Jawab SahbaaN???? ??????Kalam Mirza???? ????Kalam
Beebo???? ????Maqola Shair????? ????Kalam Mirza???? ????Kalam
SahbaaN???? ??????Jawab Mirza???? ????SahbaaN Di Tiyari?????? ?? ?????
Mirze Di Rawangi???? ?? ??????Maqola Shair????? ????Kalam
Mirza???? ????Kalam SahbaaN???? ??????Maqola Shair????? ????Shor
Ghogha??? ????Maqola Shair????? ????MahniaN Di Charhat??????? ?? ????
Joi Da Atara???? ?? ?????Ik Rahi Noon SahbaaN Da
Paigham?? ???? ??? ?????? ?? ?????Rahi Noon SahbaaN Da
Jawab???? ??? ?????? ?? ????Kalam Suba jahkra???? ???? ?????Zikar Kul
Te Narad??? ?? ?? ????Kalam Kul???? ??Kalam Sahbaan???? ??????Jawab
Jandora???? ??????Maqola Shair????? ????SahbaaN Da Paigham Ghumiar
Noon?????? ?? ????? ?????? ???Kalam Suba Jehkra???? ???? ?????Maqola
Shair????? ????Kalam Mirza???? ????SahbaaN Di Nasihat?????? ?? ?????
Maqola Shair????? ????Rawangi Ghumiyar?????? ??????Shameer Di Mulaqat
Ghumiyar Naal???? ?? ?????? ?????? ???Jawab Ghumiyar???? ??????
MahniaaN Da Ghusa Karna??????? ?? ??? ????Kalam SahbaaN???? ??????
Jawab Mirza???? ????Maqola Shair????? ????Kalam Mirza???? ????Kalam
SahbaaN???? ??????Mirze Di Lalkar???? ?? ?????Kalam SahbaaN???? ??????
Kalam Mirza???? ????Kalam SahbaaN???? ??????Kalam Mirza???? ????
MahniaaN Da Hamla??????? ?? ????Maqola Shair????? ????SahbaaN Di
Zari?????? ?? ????Maqola Shair????? ????Maqola Shair????? ????SahbaaN
Di Zari?????? ?? ????Kalam Mirza???? ????Jawab SahbaaN???? ??????Kalam
SahbaaN???? ??????Sultan Da BulanaN SahbaaN
Noon????? ?? ?????? ?????? ???Jawab SahbaaN???? ??????Kalam
SahbaaN???? ??????Sahbaan Di Zari?????? ?? ????Kalam Sahbaan???? ??????
Maqola Shair????? ????SahbaaN Di Mot?????? ?? ???SahbaaN Da
Matam?????? ?? ????Sawal SahbaaN Rohani???? ?????? ??????Jawab
Kaan???? ???Jawab SahbaaN Rohani???? ?????? ??????KaaN Da
JanaN??? ?? ?????Kalam Peelo???? ????KaaN Di Udaar??? ?? ????Kaan Da
Bache AparnaN??? ?? ??? ??????Kalam Hafiz???? ????Jawab KaaN???? ???
Kalam NaseebaN???? ??????Jawab Neeli???? ????Bhain Di Zari???? ?? ????
Wanjhal Pio Di Zari????? ??? ?? ????MaaN Di Zari??? ?? ????Kalam
Sarja???? ????Kalam NaseebaN???? ??????Kalam Ra RehmoN Barader
Wanjhal???? ??? ????? ????? ?????Kalam Orat Jhanab???? ???? ?????Ra
RehmoN Di Charhat??? ????? ?? ????Kalam Sarja Te Neeli???? ?????? ????
Jawab Neeli???? ????Kalam Sarja???? ????Jawab Neeli???? ????Kalam
Sarja???? ????Kalam NaseebaN???? ??????Kalam Ra RehmoN???? ??? ?????
Jawab Sarja???? ????Kalam Neeli???? ????Kalam Sarje Di Phatte
Naal???? ???? ?? ???? ???Kalam Phatta???? ????Rawangi Phatta?????? ????
Kalam Dukhtar Shameer???? ???? ????Sarje Da Phera???? ?? ?????Kalam
Neeli???? ????Ra RehmoN Di Wangar??? ????? ?? ?????Maqola
Shair????? ????KharlaN Te MahniaN Da
Muqabila?????? ?? ??????? ?? ??????khewe Di Tabahi????? ?? ?????
Developed and Maintained by Sohail Abid
http://folkpunjab.com/kalam/hafiz-barkhurdar/
Budha Hoya Sheikh Farid Share on Facebook11Singer: Jagjit Singh /
Kalam: Baba Farid
[ download ]
Comments
Gurinder Singh Batth says:
May 2, 2007 at 7:20 pmi don’t know yet
harvinder says:
July 10, 2007 at 1:54 pmthanks what a wonderful site……
iqbal says:
July 17, 2007 at 8:28 amI give it five *’s
navneet singh sekhon(killahans) says:
November 9, 2007 at 10:57 ambaba farid ji guru granth roop.kot kot
nomo nomo
Jaswant Singh Shergill says:
November 14, 2007 at 5:31 pmbahut hi waadiya site aaa.., saara punjabi
culture ithe ikatha kita hooyia,, jo kade pata vi nahin cheeza oh vi
mil jaandiyan aa
altaf ahmed dogar says:
December 20, 2007 at 1:29 pmvey good site i m thannkful to you may u
live long allah aap ko ajjar de ga
Dipak says:
February 27, 2008 at 8:33 ambest song tuch to direct hart.
Rashid Baig Moughal says:
March 5, 2008 at 4:20 amYou have done a wonderfull job,This is what we
need to keep our culture alive and hopefully the new generations away
from our culture will visit the site. I hope they will benefit many
many times over from the roots of our rich history and culture.may God
bless you and our Punjab.
Thank YOU.
Rashid Baig Moughal
anuradha gill says:
March 5, 2008 at 8:06 pmTHANK YOU SITE FULL OF PUNJABI SOUL
rakib says:
March 12, 2008 at 10:22 amthis is not sung by jagjit completely….
who’s the other singer
Sohail Abid says:
March 12, 2008 at 1:24 pm@ rakib: the other singer is Chitra Singh
Ravinder Singh says:
April 3, 2008 at 3:10 amCONGRATULATIONS TO ALL OF YOU WHO HAVE STARTED
THIS SITE. YOU GUYS REALLY HAVE DONE A GREAT JOB. ALL THE GREAT POETRY
OF GREAT POETS IS HARD TO FIND ON ONE SITE AND SPECIALLY SUNG BY ALL
THE GREAT SINGERS. THANKS TO ALL OF YOU.
RAVINDER SINGH
TORONTO,CANADA.
Sabeen says:
April 9, 2008 at 4:03 amI’m in love with this man’s poetry. I got a
chance to read just “husn-e-haqiqi”. It’s awe-inspiring.
I just want to make a desperate request, could u guys please make it
available here.. please, PLEASE !
i NEED the lyrics.
Thanks =)
kapil says:
April 12, 2008 at 12:57 amTHANK YOU SITE FULL OF PUNJABI SOUL
imran says:
May 16, 2008 at 2:53 amits really awsome to hear folk music. i m in
germany and almost forgot my own punjabi culture. ur site brought me
me back to my roots.
thank u
ashok chadha says:
June 5, 2008 at 2:59 ami love the site for its in-depth knowledge.
akc
washington
Amjad Faridi says:
June 8, 2008 at 9:55 pmLoveliest site. would like to know about such
more sites
G P Singh says:
June 9, 2008 at 3:05 amAbsolute ecstacy !! Wonderful collection.
Its a treat in itself. My soul is content by this great collection of
the Rich Punjabi Music.
Ravi says:
June 18, 2008 at 6:09 pmI feel so poor and little being on this site…
there is so much to learn and be rich…I am sure taht this precious
wealth in your website makes me richer
Swaraj Singh says:
June 19, 2008 at 10:48 pmthanks !
dilbergillani says:
June 20, 2008 at 3:35 pmwe want to read the book of poetry of these
spirtual person like bulleh shah sultan bahoo etc.& sing the poetry in
voice of nusrat fateh ali khan zahid parveen & abida parveen
Paul Singh says:
July 5, 2008 at 11:11 amGreat Job on this site. Please keep it up.
Those who would like to see meanings of this hymn as well as the
lyrics, visit:
http://www.youtube.com/watch?v=MzIJPI919kU
darshan rajput says:
July 14, 2008 at 12:19 amthese songs take away ones soul.
ameen says:
July 17, 2008 at 7:51 pmlisten song
yaseen ch says:
August 15, 2008 at 6:43 pmfantastic kalam and singers.
gurdeep singh saini says:
October 23, 2008 at 5:34 pmreally i love to hear all of this qalam of
baba farid it goes direct to heart7 try some more of farid kalam u get
pl suggest.thanx.
Muhammad Ali says:
November 12, 2009 at 6:24 pmA very interesting song and especially
sung by one of the greatest singers. Thank You for sharing the audio.
(MUHAMMAD ALI ) LAYYAH
Muhammad Ali says:
November 12, 2009 at 6:27 pmREALY LOVELY SONG
sony singh azad says:
December 14, 2009 at 3:21 amv.very good site thank u
GAGAN SAHDEV says:
December 18, 2009 at 3:15 pmgood to have these tracks on site.
Vineet Singh says:
January 9, 2010 at 8:43 pmRealy a great site,missing Gurdasman.
Thanks a lot Sohail Abid.
Devinder says:
January 10, 2010 at 8:15 amHas almost all the good stuff, so
wonderful. I ike it.
Thank you!
Reply Shafi Muhammad says:
January 12, 2010 at 9:50 pmI like soofi music
aswinder Singh says:
January 27, 2010 at 7:26 pmIt is oase of sweet water in Todays music
Desert. Wonderfull job. A treasure of punjabi folk for every real
punjab.( Doesnt matter which side ) Geeeeeeeeeeeeooooo.
Developed and Maintained by Sohail Abid
http://folkpunjab.com/jagjit-singh/budha-hoya-sheikh-farid/
Aa Mil Aj Kal Sohna Saeen Share on Facebook Singer: Pathanay Khan /
Kalam: Khawaja Ghulam Farid
[ download ]
Lyrics (Roman)
hik rirrkan mahr na thakan khar banhdian makhan saey
lassian pilawan tassian kooo
lassian pilawan tassian kooo
inna wakti kheer jammaey
joor makhan wich dooley paey
aa jhool vapari aaey
ooh kia war soojanrran yar Farid jinhan sootian deeih charhaey
aa mil aj kal soonhran saeen
na taan na mukti khoon seekhaein
oohdin mool soondian wahein sunrr dil nal tey mein gaal aakhaein
aa mil aj……………………..
parbhat bharan rooh ghanairey
jith langhey utt thi em wahirey
baishak dard wandan dey dairey
jith thal laa utt soonhrian jahein
ooh din mool na soondian wahein sunrr dill nall taan mein gall akhaein
aa mil………………..
hik pal aish na payoon ghall wich
guzri umar sarri safal wich
poondey seey seeey toor irral wich
YA RAAB yar dey dais wassaein
ooh din mool na …………….
aa mil aj…………………
jaan waikhan jhur munrr khand maan kooo
kar kar roowan yad sajaanrr kooo
akhian bilkan monh waikhan kooo
gal lawan kooo pathkan banhein
aa mil aj ………………………
wadd nihara kang udaya
wadd nihara kang udarra
pndit jotshi dey kann khawan
soo poonjharan paila panwan
aawey mendha yar kadahi
ooh din mool na ………….
na taan na mukti khoon seekhaein
aa mil aj …………….
mein badnam kai dein dharam da
toon hein sahib laaj sharam da
zoor Farid noo tey dharey dam da
Special thanks to Imran Ahmad Tahir, Islamabad for sending the lyrics
http://folkpunjab.com/pathanay-khan/aa-mil-aj-kal-sohna-saeen/
chhotemianinshallah
Although it has had its share of detractors throughout the history of
Islam, numerous Muslim scholars have spoken favorably about Sufism.
See the article Scholars on Tasawwuf, written by the as-Sunnah
Foundation, for both a chronological list of Muslim scholars who have
made supportive comments, as well some of their remarks.
Fatwa on Sufism (link fixed 20 Feb. 2008). This fatwa (Islamic legal
judgment) concerning Sufism was delivered by Shaykh 'Abd al-Halim
Mahmud, a former Shaykh al-Azhar, the chief religious authority in
Egypt. Here, Arabic readers can also look at the text of Shaykh 'Abd
al-Halim's work (Link fixed 20 August, 2005).
Tasawwuf, variously referred to as Sufism, Islamic mysticism, Islamic
spirituality, and Islamic psychology or psychotherapy has suffered at
the hands of a sustained critique in the Islamic world during the
twentieth century (CE). The article Islamic Sprituality: the Forgotten
Revolution (Link fixed 20 August, 2005), by 'Abd al-Hakim Murad,
presents the outlines of this critique and responds.
A common criticism of Sufism is that it is bid'ah (innovation) and
thus is not authentically Islamic. A response to question Is Sufism
Bid'ah? has been written by the American Muslim scholar, Nuh Ha Mim
Keller.
One of the criticisms often leveled at Sufis by their fellow Muslims
is that they withdraw from social and political activity. This is far
from being true in Muslim central Asia, where in Chechnya, for
example, Sufis have traditionally been very active in fighting against
Russian invaders. This is seen in the following link on Sufis of
Chechnya (link fixed 20 August, 2005), which is comprised of numerous
quotations from the book Mystics and Commmissars: Sufism in the Soviet
Union, by the scholars Alexandre Bennigsen and S. Enders Wimbush.
(Back on-line 4/12/98; and links fixed 23 July 2002.)
See also the excellent article The Religious Roots of Conflict: Russia
and Chechnya, written by David Damrel, Assistant Professor at Arizona
State University, in which the history of the Naqhsbandi, Qaderi, and
Uwaysi resistance to the Russian invaders is discussed. (Link fixed 1
October 2000.)
The strongest resistance to the Russian colonization of the Caucasus,
including Chechnya, was led by the Sufi, Shaykh Shamyl by Kerim Fenari
(link fixed from archive 20 Feb. 2008).
The Debate between Ibn Taymiya and Ibn 'Ata Allah illustrates some of
the medieval criticisms of Sufis and their responses.
An on-line critique of Sufism, written by a Salafi Muslim, A. A.
Tabari, is The Other Side of Sufism. (Link fixed, 1 October 2000.)
A rebuttal to this critique has been written by a Sufi scholar, Dr.
Hesham Bazaraa. It is called The Other Side of Salafism.
Another recent critique of Sufism titled Sufism: The Deviated Path was
written by a Muslim, Yusuf Hijazi, and originally published in an
extremist Wahhabi Islamic magazine, Nida'ul Islam (link fixed from
archive 20 Feb. 2008). A refutation titled Response to a Misleading
Article on Islam and Sufism has been written by a Muslim professor of
physics, Fariddudien Rice. (Link fixed, June 7, 2002.)
A Fatwa Refuting the Argument that Celebrating the Birthday of the
Prophet Should be Prohibited by Dr. 'Isa al-Mani al-Humayri of the
Department of Religious Endowments (awqaf), Office of Religious
Endowments and Islamic Affairs, Dubai.
Celebrating the Prophet's Birthday (Mawlid) by the As-Sunnah
Foundation, contains a links to a variety of informative pages
supportive of the celebration of the Prophet's birthday. (Originally I
had a link to a site "Mulid in Egypt", that was a beautiful pictorial.
But that site is gone has been removed from the internet archive as
well.) Very useful site Questions on Mawlid (Celebrating the Prophet's
Birthday). Called mawlid, moulid, and milad; though it is often
criticized by non-Sufi Muslims, it is nevertheless an important part
of the devotional lives of many Sufis and non-Sufi Muslims. This link
is to an online book written by the Naqshbandi, Shaykh Hisham
Kabbani.
Islamic Research Center presents both sides of a variety of issues
involving Sufism, issues concerning which Muslims disagree.
Sufi Music (link fixed 20 Feb. 2008) has had its supporters and
detractors throughout Islamic history.
http://www.uga.edu/islam/sufismislam.html
Islamic Art
A useful approach to Islam is through Islamic art. The recently
published curriculum guide Doorways to Islamic Art, contains a series
of slides, an accompanying narrative, and guides to "hands-on" art
projects, as well as other materials, all of which are designed to
immerse students in the beauty of Islamic art. Find its bibliography
here. Doorways to Islamic Art can be purchased from AWAIR. Send them
email expressing your interest or go to the new website of AWAIR.
AWAIR has recently shifted its commercial operations to New Mexico, so
if you have experienced difficulties in your efforts to order Doorways
to Islamic Art or other AWAIR products, everything is up and running
now.
Baraka Ceramics (link fixed 18 August 2005) is the website of a
contemporary American Muslim ceramicist, Khadija Chadley. Ms.
Chadley's work could be described as traditionally Islamic yet with a
contemporary flavor.
Reference Tools in Islamic Art and Architecture an annotated
bibliography compiled at Harvard by Andras Riedlmayer of the Fine Arts
Library at Harvard.
Online Exhibition of Islamic Art at the Los Angeles County Museum of
Art. In addition to images, it contains a summary of the dynastic
history of Islam and a useful Introduction to Islamic art written by
Linda Komaroff Ph.D., the curator of Islamic Art at the LACMA.
Decoration This article, by the scholar Priscilla P. Soucek, discusses
"decoration" in Persian Islamic art.
Aniconism and Figural Representation in Islamic Art, written by the
art historian Terry Allen, explores the relative absence of figures of
living beings in Islamic Art. (Link fixed, March 31, 2001.)
Islamic Art By Elisabeth Siddiqui, this essay discusses the
relationship of Islamic art to the principles of Islam, a relationship
that exists largely for Muslim and spiritually interested viewers of
Islamic art. This "Islamic aesthetic" has been developed by writers
such as S. H. Nasr, Keith Critchlow, Titus Burckhardt, and Martin
Lings. Western-trained art historians such as Oleg Grabar generally do
not share this perspective.
Zakariya Calligraphy is the website of the world famous American
Muslim calligrapher, Mohamed Zakariya. Containing his articles on the
art, history, and the practice of Islamic calligraphy, this website
has a number of examples of Zakariya's calligraphies done in the
traditional style.
The Art of Arabic Calligraphy is a four-part article written by the
calligrapher Mamoun Sakkal.
Islamic Calligraphy includes sections on Islamic calligraphic art,
Muslim calligraphers, materials, impressive examples of calligraphy,
and the various scripts used in Islamic calligraphy. The introduction
(and possibly the entire site) was done by Khalid Mubireek. The
section titled "Calligraphic Collection" was adapted from , Islamic
Calligraphy: Sacred and Secular Writings. Musee d'art historie and
Treasures of Islam, Geneva, 1988. (Link fixed, January 3, 2001 and
October 6, 2001.)
Maghribi Basmalah Calligraphed in the Maghribi style, this is an
extraordinary example of the Basmalah (Bismillahi r-rahmani r-rahim)
scanned from the book The Splendor of Islamic Calligraphy by
Abdelkebir Khatibi (New York: Rizzoli, 1977). (It is a relatively
large image so it may take a minute or so to load.)
The Baybars Qur'an (link fixed 18 August 2005) The most highly
regarded form of calligraphy was Qur'anic calligraphy. An excellent
example is the illuminated Qur'an of Sultan Baybars, done in the
Mamluk period in Cairo between 1304-1306 CE and held in the collection
of the British Library. (To view this link you will need Shockwave.)
Online Islamic Art Gallery by Kathleen Seidel, consisting of numerous
images of Islamic calligraphy, illumination, and painting (including
images of Abraham, Muhammad, Ali, and various Sufis and dervishes), as
well as Islamic metalwork, ceramics, and textiles, to mention a few.
Ms. Seidel has included this gallery, together with a Sufi Cookbook
that she has authored, in her online book Serving the Guest: a Sufi
Cookbook and Art Gallery.
International Muslimah Artists' Network (IMAN) exhibition Here one can
visit an on-line exhibit of the art of a number of contemporary Muslim
women artists. (Link fixed, October 6, 2001.)
From Desert to Oasis: Arts of the People of Central Asia, an
exhibition of textiles from Central Asia, at the Georgia Museum of Art
of the University of Georgia, from Feb. 14 through April 26, 1998.
Islamic Art Exhibition of the Detroit Institute of Arts is an
excellent on-line exhibit with high-quality images. (Fixed 8
September, 1999 and October 6, 2001).
Exhibit of Islamic Amulets contains good quality images and detailed
descriptions.
Lotus Art has online a number of images of Islamic calligraphies
engraved in wood. The wood engravings are made and sold by Lotus Art,
a company in Pennsylvania (US).
Muslim World Music
Music has traditionally been one of the more controversial issues in
the Muslim world. While all Muslim scholars have always accepted and
even encouraged chanting the call to prayer and the Qur'an, the
permissability of other forms of music, especially instrumental music,
has been problematic. In Arabic, the word musiqa, which is translated
as "music," even has a more narrow sense than does the English word
"music." Musiqa in Arabic refers mainly to popular and instrumental
music and excludes genres such as Qur'anic chanting and the Muslim
call to prayer (adh'an). A good example of an Islamic critique of
music written by a Salafi/Wahhabi scholar Abu Bilal Mustafa Al-Kanadi
is Islamic Ruling on Music and Singing (link fixed 13 June 2006). A
brief article discussing Shaykh Ibrahim Ramadan al-Mardini's
refutation of such Islamic critiques of music is titled Islamic
scholar rejects religious censorship of music (by Ole Reitiv,
Freemuse, 14 October 2005). In spite of critiques such as al-Kanadi's,
many forms of music have traditionally been present in the Muslim
world and are still found throughout it today. The following links
illustrate this diversity:
RealPlayer is necessary in order to hear most of the following audio
files. Some also take two or three minutes to load.
Qur'anic Chanting is the most central form of music in the Muslim
world.
Adhan (call to prayer, pronouned "a-dhaan") heard at prayer times, it
is the second major genre of Islamic music.
Madh Chanting (poems of praise of the Prophet Muhammad, pronounced
"mad-h"), madh is most commonly done during the celebration of the
birth of the Prophet (mawlid al-nabi).
Vocal Dhikr (lit. remembrance) is the chanted repetition of a name or
names of God or--as in this link-- a short phrase such as La ilaha ill
Allah (There is no god but God), which is a part of the Khatm-e
Khwajegan litany linked below.
Another example of a vocal dhikr--which in this case is accompanied by
a chant-- is this Uzbek Women's Dhikr recorded in Kokand, Uzbekistan
and linked from the site "The BBC Musical Nomad," the full site of
which is linked below.
Litanies (awrad, pl.; wird, s.;), such as the Khatm-e Khwajegan are
forms of vocal "remembrance" (adhkar, pl.; dhikr, s.) chanted by many
Sufi orders. They are generally more complex than a simple dhikr,
often combining various Qur'anic verses, supplicatory prayers, and
dhikr of names of God or certain religious phrases. The Khatm-e
Khwajegan is an important litany for the Naqshbandi order.
Sufi Sama' or Inshad generally consists of poems sung in a Sufi
gathering by one or more reciters. Sometimes these involve refrains
that are sung by all of the Sufis in attendance. Often the poems sung
are from the diwan (collected poems) of the founder or current shaykh
of that particular Sufi order. During the singing, the Sufis in the
gathering are occupied in meditation, customarily contemplating God
through dhikr (also written zekr and zikir, meaning "remembrance"). A
few samples of Sufi sama', recorded during actual Sufi gatherings in
Algeria, are at the web page Sama' of the Alawi Sufis.
Sufi Rhythms for the Daf By Peyman Nasehpour, this website's most
significant aspect is short but sufficient examples of nine different
daf rhythms. These can be listened to online or downloaded.
The Mulid of Egypt (link fixed 18 August 2005) is a well-done site
including audio and video that introduces the ceremonies celebrating
the birthdays of saints, called mulid or mawlid. Although celebrated
throughout the Muslim world, these ceremonies, which may involve both
music and "dance," are a very important feature of life in Egypt.
(This is now a dead site.)
Qawwali Music, (link fixed December 23, 2000 and October 6, 2001)
recently popularized in the West by the Sabri Brothers and Nusrat Fath
Ali Khan, is probably the genre of Islamic music most familiar to non-
Muslims. Another large online archive of Qawwali music (link fixed 18
August 2005) is found at chandrakantha.com. A fine example of Qawwali
music is the Sabri Brothers' rendition of a well-known "poem in
praise" (madh) of the Prophet, Balagha'l--ula bi-kamalihi
(link fixed 18 August 2005), a poem which is beloved throughout the
Muslim world.
Shahram Nazeri, one of Iran's premier vocalists, here superbly sings a
classical Sufi poem (Binama rukh keh bagh o golestanam arzust [Show me
your face since I desire the orchard and garden]) by Rumi accompanied
by a variety of traditional Persian instruments. Here is another track
from his CD She'r-o-Erfan (Poetry and Mysticism) (Man chera del be-to
dadam [Why did I give my heart to you?]).
Iranian Santur played by an Iranian Kurd, Alan Kushan, is a slightly
modified traditional Iranian santur, one of the many traditional
Persian musical instruments.
Turkish Musical Library is an extensive archive. Among the various
genres included in the archive is that of traditional Anatolian music,
which is still popular throughout Turkey. To listen to more
traditional pieces, after clicking on this link, then choose "Folk."
Then scroll down to "CENTRAL ANATOLIA REGION FOLK" and click on Haydar
Haydar, performed by Ali Akbar Cicek. This piece, Haydar Haydar, is
introduced by lengthy runs on a long-necked stringed instrument called
a saz. (Note that it may take a few minutes to load. Link fixed,
October 10, 2001)
Uzbek Music is one of the many forms of Islamic regional music. This
link, which will allow you to "mix" your own Uzbek music from a few
different sources, was taken from the BBC's Musical Nomad, listed
below. (This particular link takes a couple of minutes to load, but it
is well worth the wait.)
The BBC Musical Nomad is a forty day odyssey through the Central Asian
countries of Kazakstan, Uzbekistan, and Krgyzstan. This site combines
a conversational easy-going travel narrative, informative cultural
content, images rarely seen in the West, and numerous extraordinary
pieces of music. It is probably the most impressive site that I have
seen on the web! And if you like the Musical Nomad, you will love The
Hundred Thousand Fools of God: Musical Travels in Central Asia (And
Queens, New York) by Theodore Levin, professor of Ethnomusicology at
Dartmouth College. This marvelous book, with accompanying CD, will
bring Central Asia to life for you.
Gamelan (link fixed 18 August 2005) is a form of orchestral music in
Java (Indonesia). The Gamelan orchestra is comprised of a number of
instruments which are described and can be seen at the previous link.
While the first example is of the"Loud Style," the second is an
example of a "soft" vocal piece (link fixed 18 August 2005).
Kiai Kanjeng Islamic Gamelan music from Indonsia.
Debu: American-Indonesian Sufi Fusion Music under the guidance of
Shaykh al-Fattah al-Rifa'i (originally from the United States), whose
community is now based in Jakarta.
Sesungguhnya and Peristiwa Subuh (link fixed, Dec. 16, 2004 and Nov.
1, 2006) performed by the group Kumpulan Raihan are two very sweet
examples of contemporary Malay Nasyid (Islamic spiritual songs).
Transliterations and translations are now included. In addition to the
preceding songs, listen to Raihan's pleasantly upbeat Syukur (Thanks)
(link fixed Nov. 1, 2006) You can listen to it repeating continuously
(which I like to do) by clicking twice on the far left dial on the
following icon. (Link fixed Nov. 1, 2006) Many songs from Raihan are
on the Radio Blog Club web site that contains a large collection of
nasyid from Malay Nasyid groups. Another beautiful piece from Raihan
with sweet harmonies and Malay music is Odei Anak (Offline Nov. 1,
2006). To find it scroll down and look for Raihan. The songs are
listed at this Radio Malaysia Melaka site by the group that performs
them, in alphabetical order of the groups. A fan has put on-line a
number of pictures of Raihan, which has recorded some songs with Yusuf
Islam (the former Cat Stevens), one of which is God is the Light (link
fixed 18 August 2005).
Online Scholarly Articles on Music of the Muslim World published in
the Middle East Studies Association (MESA)
Bulletin:
(Links fixed, July 6, 1999.)
The Qur'an Recited by Prof. Mahmoud Ayoub of Temple University.
Recent Recordings of Traditional Music from the Arabian Gulf and Saudi
Arabia by Kay Hardy Campbell.
Introduction to Traditional Iranian Dastgah Music by Prof. Margaret
Caton.
Listening to Umm Kulthum by Prof. Virginia Danielson of Harvard
University.
Sufi Music and Ritual in Turkey by Prof. Irene Markoff of York
University.
New Recordings of Turkish Classical Music by Prof. Walter Feldman of
the University of Pennsylvania.
Solo Improvisation (Taqasim) in Arab Music (link fixed 18 August 2005)
by Scott Marcus of the University of California, Santa Barbara.
Musics of Algeria: Selected Recordings by Prof. Dwight Reynolds of the
University of California, Santa Barbara.
Muslim Musicians of Modern Western Music
Muslim Rock Musicians
This site of mine is still under construction; but it does contain
information about and links for Cat Stevens (Yusuf Islam), Richard
Thompson, Danny Thompson, and Everlast.
Islamic Architecture
Tour of Islamic Architectural Sites (link fixed 18 August 2005)
This collection of high quality images is a comprehensive survey of
many of the most important monuments of Islamic architecture
worldwide. It is far and away the best collection of images of Islamic
architecture on the web.
Series of Eight Ka'ba photos (link fixed 18 August 2005) Some of these
pictures can be seen in an enlarged format by clicking on them.
Although it takes a while to load, see this Extensive collection of
Ka'ba photos. (Link fixed October 6, 2001.)
The Ka'ba, which in Arabic literally means "cube," is a cube-shaped
building enveloped in black cloth at the center of the sacred mosque
(al-haram al-sharif) in Mecca and is the focal point of the Hajj
(pilgrimage to Mecca).
The Black Stone, (al-hajar al-aswad) is set in a silver setting into a
corner of the Ka'ba.
Linked Images of The Prophet's Mosque in Madina
Shi'i Pilgrimage Sites Here you can go on a virtual pilgrimage to
sites throughout the Muslim world that are holy for Shi'is.
Islamic Architecture, containing useful introductory articles and
pictures of and a site constructed by the Islamic Arts and
Archictecture Organization. (Link fixed, October 6, 2001.)
Islamic Architecture of Isfahan This is an award winning virtual tour
of Isfahan, which was the capital of Iran during the Safavid dynasty.
Islamic Architecture from the Middle East These images are largely
from the Ibn Tulun and Sultan Hasan mosques in Cairo and the Dome of
the Rock in Jerusalem (al-Quds). Other images are from the Great
Mosque in Damascus and the Alhambra in Granada, Spain. (Offline
October 6, 2001.)
Pictures of the Architectural Monuments of Istanbul (link fixed 18
August 2005) compiled by Emin Saglamer at his site Time Out Istanbul
(link fixed 18 August 2005). See his descriptions of these and many
other architectural sites in Istanbul at his Index to Historical Sites
of Istanbul (link fixed 18 August 2005).
Images of Turkey from Ozgur Balsoy's site (link fixed October 6, 2001)
All About Turkey.
Interior Pool for Ablutions in the Ulu Jami (Great Mosque) (link fixed
18 August, 2005) in Bursa. View of the back of the Ulu Jami as seen
from the street.
The Topkapi Palace Museum, a virtual tour through the main palace of
the Ottomans in Istanbul. The website was constructed by the History
department of Bilkent University in Ankara.
Bursa's Great Mosque (Ulu Jami) From here you can also go on a brief
virtual tour of Bursa, which prior to the conquest of Constantinople
had become the capital of Ottoman Turkey. (Offline, October 6, 2001.)
The Noble Sanctuary (al-Haram al-Sharif) in Jerusalem (al-Quds). This
is a virtual tour of all of the buidings of the al-Haram al-Sharif--
which in the Western world is often refered to as the "Temple
Mount" (the site of the Temple of Solomon and the Second Temple). It
includes buildings such as the Al-Aqsa Mosque and the Dome of the
Rock, as well as discussion of the Night Journey and Mi'raj
(Ascension) of the Prophet Muhammad, which is the reason why the whole
area is the third most holy site in Islam-- a fact that must be
clearly understood by the West if there is ever going to be a lasting
peace there.
Early Jerusalem is part of an Israeli site called "The Jerusalem
Mosaic," which chronicles the history of Jerusalem.
The Alhambra: The Archaeological and Historical Setting (link fixed 18
August, 2005) is the first chapter in the book titled The Alhambra
(1992), by Oleg Grabar, Professor Emeritus of Islamic Art at Harvard
and the leading authority on the history of Islamic Art. As noted
above, his approach, which downplays the "Islamic" character of
Islamic art, differs sharply from the "traditionalist" approach of a
number of scholars (most of whom are Muslim) who have developed the
idea of a traditional Islamic aesthetic, scholars such as Titus
Burckhardt, Seyyed Hossein Nasr, and Martin Lings. (Note that although
the article appears to have links to various pictures and plans, in
the online version of this chapter, these in fact are not links. In
the actual book, however, the pictures and plans do exist.)
Moorish Art in Spain is a brief introductory website compiled by
Liziel Zapata as a Senior English project at Cal Poly State
University.
Islamic Spain (Offline October 6, 2001.)
The Peter Sanders Gallery: Scenes from the world of Islam phtographed
by internationally acclaimed photographer Peter Sanders. Currently on-
line are images from Egypt, Morocco, Saudi Arabia, Mauritania, Sudan,
and Jerusalem.
Luke Powell - Photographs Beautiful and haunting landscapes and people
from Afghanistan, Iran, Palestine, and Egypt, as well as from Ceylon,
Ladakh, and the US. For thirty years, Powell's luminous and
internationally renown photographs have opened viewers eyes and hearts
to unseen vistas. Photographs of Palestine (link fixed 18 August,
2005) includes two online exhibitions, one consisting of eight
pictures and the other one hundred.
Images of the Middle East Maintained by Columbia University, this is a
comprehensive index of links to images from a number of countries of
the Middle East
http://www.uga.edu/islam/IslArt.html#music
chhotemianinshallah
Cat Stevens (aka Yusuf Islam) Do you ever wonder what happened to Cat
Stevens (Yusuf Islam) and what he has been singing since his
conversion (reversion) to Islam? If you have Real Player, listen to
God is the Light (Link fixed, 24 April 2002.) And while you're at it,
it certainly wouldn't hurt to bring the spirit of 1971 into the
present and listen to him urging us to get on the Peace Train (fixed
22 April 2002) and/or you can hear Yusuf's A Capella Peace Train,
which he performed before the New York City benefit concert on October
20, 2001.
Richard Thompson Regarded by one recent reviewer as "the most
adventurous and downright frightening guitarist since Jimi Hendrix,"
Richard was a central element in the 60's folk-rock group "Fairport
Convention." Muslim Rock Musician Richard Thompson (link fixed 20
August, 2005) See stills from the video documentary on Richard, "Man
on the Edge." (Link fixed, March 23, 2005.) A short article In Defence
of Islam (by Mark Worden) briefly gives Richard's perspective of
Sufism and Islam. The following excerpt from an interview with Keith
Phipps of the Onion A.V. club gives another glimpse of Richard's view
of Sufism:
O(nion): One topic I noticed that rarely surfaces in interviews is
your conversion to Sufism. Is that because people are uncomfortable
talking about Islam, or do you prefer to keep private about it?
RT: It's a subject that people approach with a lot of preconceptions.
In the space of an interview, I don't have time to get through the
preconceptions to get onto the subject, so if it's avoidable or if I
can gloss over it, almost, in a few sentences, I'm happy to do that.
O: From what I know of it [i.e. Sufism], it seems like it could have a
special appeal to musicians because of the way it emphasizes aspects
of worship that are like performance.
RT: There's a very strong spiritual aspect to music, and a lot of
musicians I know are very spiritual people, really. Even the ones who
might be alcoholics, or might have a terrible drug problem or
something, they're still basically very spiritual people. And they
know that element is in music, perhaps because music is such an
elusive thing. It's such a door sometimes to something mystical, if
you like. I think audiences are very aware of that, as well.
Danny Thompson Regarded as one of the world's best acoustic bass
players. Of the many groups he has been in, one of them was the 60's
band "Pentangle." See the following link for an article, written by
John Hillarby, on Danny Thompson's Career On occasion Danny plays with
Richard.
Ian Whiteman Another versatile Muslim musician (one who has at times
played with Richard Thompson) is Ian Whiteman (Abdullateef). A recent
production (of Islamic music, however) in which he was involved is the
CD (with music by contemporary Moroccan musicians) and book of the
Burda (The Cloak), the classical Islamic poem of devotion to the
Prophet Muhammad.
Hip Hop
Islam has a major influence on Hip Hop music. Listen here to a
fascinating interview with Minister Louis Farrakhan about Hip Hop
music.
Everlast Originally a Hip Hop artist, Everlast has moved into Rock
music as well. An Interview with Everlast, (Grammy winning -- for "Put
Your Lights On" on Santana's Supernatural CD -- Euro-American Rapp
artist) concerning his embrace of Islam. More detail about Everlast's
view of Islam is in this March, 2001, interview with Everlast,
translated from German. Additional information on Everlast and Islam
can be found in "Being Muslim One Day at a Time," an interview with
Everlast by Adisa Banjoko. Everlast was also interviewed by Jim
DeRogatis in Penthouse (March, 2001) in Whitey Sings the Blues
(abridged here).
chhotemianinshallah
from the Arabian Gulf and Saudi Arabia
Reprinted from the Middle East Studies Association Bulletin, July 1996
(with changes in orthography to HTML standards).
Copyright 1996 by the Middle East Studies Association of North
America
THE MUSIC of Saudi Arabia and the Gulf flourishes predominantly within
its own regional boundaries, a function of both the fragmented music
distribution channels in the Middle East and the deep imprint that
local traditional cultures have left on it. While the music’s
popularity is strictly regional, it is full of vitality, supporting an
array of male and female song stars whose audiences eagerly await
performances and recordings.
The distinct sound of Gulf music echoes the internal and external
historic influences on the region, interwoven with the highly
syncopated rhythms and the stark unaccompanied songs of the Bedouin.
Pilgrims brought foreign music influences to Mecca and Medina and left
their mark on the musical ensembles of the Arabian cities in rhythms
and maqâmât. The trading and pearling towns on the coasts and in the
Peninsula’s interior also saw foreigners come and go, who left their
music and songs behind. As a result, a rich and varied yet distinctly
Arabian/Khalîjî sound developed, echoing the voices and instrumental
music of East Africa and the Indian subcontinent.
Music of the Gulf differs from what one typically hears in the Levant
and Egypt. Its melodic lines tend to be more repetitive, reflecting
the heavy influence of folk genres and the lack of significant musical
interaction with the West until this century. Instead of the pan-Arab
rhythms such as wahda wa-nusf, one finds a separate family of rhythms
including the distinctive Khalîjî 4/4’s, 'adanî (DUM DUM ess tek) and
dawsarî (tek a DUM ess, tek a DUM ess). While rhythmic shifts within
songs are uncommon in the traditional genres, they occur more
frequently in modern songs. Complex maqâm modulations are rare.
Melodic lines typically involve small intervals, resulting in tunes
with a step-like quality. Vocal and melodic ornamentation is subtle,
if present at all, and is characterized by the modest use of tremolo
and grace notes. In combination, these melodic qualities and the
striking syncopation of traditional rhythms give Gulf music its
distinctive sound.
The Gulf’s folk music genres also reflect the traditional economies
and subcultures which arose in the peninsula until oil wealth
transformed its society. Folk music traditions flourished among the
Bedouin, the pearl divers of the coasts, city dwellers and among
women. Each subculture nurtured several music forms, many of which
have not yet been fully studied and cataloged. While each musical
subculture is distinct, none developed in a vacuum since they all
garnered influences from each other and from neighboring musical
cultures. Yet throughout the Gulf, strong musical commonalities exist.
The voice predominates over richly syncopated rhythm, and in
traditional performance venues the distinction between performer and
audience is blurred as everyone in attendance participates by singing,
clapping and sometimes dancing.
Bedouin Music
Throughout the Arabian Peninsula, the voice was the driving force and
centerpiece of Bedouin music. Bedouin sang poetry (al-shi'ir al-
nabatî) and told stories in song to the accompaniment of the rabâba.
They sang with traditional percussion instruments (primarily the târ
or frame drum) to celebrate weddings and other rites of passage. Other
musical genres include the camel drivers’ songs (hidâ' or taghrud) and
the folk dance/songs of solidarity and war preparation such as the
'arda and ayyâla.
Pearling Music
The crews of pearl diving ships sang and played music as they sailed
the waters of the Gulf during the six-month-long pearling season, al-
ghaws al-kabîr, which ran from April to September. Pearling ship
captains hired a lead singer, a nihâm, whose musical leadership kept
the pearlers motivated throughout the arduous process of pearling. Led
by the nihâm, the crew and divers sang specific songs to mark the
stages of their work, such as leaving their home port, setting sail,
approaching the pearl beds and dropping anchor at the beds.
Traditional Urban Music
Reflecting the cultural interchange and economic activity of the
cities and trading towns, urban music developed into the sawt, a more
complex formalized song cycle tradition played by small ensembles
consisting of the 'ûd, the mirwâs (a small double-headed drum), and
later augmented by the violin in the 20th century. Performed in the
majlis or dîwân (salon) of the well- to-do, this music involved all
those present in song, tasfîq (rhythmic clapping) and sometimes dance.
Women’s Music
Women of the Gulf and Saudi Arabia still sing among themselves and
their families to celebrate rites of passage much as they have for
centuries. Women’s ensembles play for traditional women’s parties in
Saudi Arabia and the Gulf, such as the haflat al-zaffâf, the wedding
celebration. Headed by a mutriba, a lead singer/instrumentalist who is
often an 'ûd player, these groups perform both traditional women’s
songs as well as the latest popular music hits. In Saudi Arabia these
ensembles are made up of women musicians only, while in neighboring
Gulf countries many ensembles are mixed.
Recordings
The earliest sound recording of Gulf music is said to be a 1904 wax
cylinder of an Omani singer recorded in Vienna by Phonogrammarchiv.
The earliest extant field recordings made in the region are probably
the collection of approximately 150 wax cylinders recorded in Jeddah
circa 1909 now kept at the Oriental Institute in Leiden. Though not
commercially available now, they contain rich musical information for
future researchers. The first commercial record companies entered the
Gulf in the late 1920s and early 1930s, recording the traditional
urban ensembles led by singers such as Muhammad Zuwaid of Bahrain. The
sawt continued to dominate Gulf record ed music until the 1950s and
1960s when male singers from Saudi Arabia and the Gulf pioneered the
use of larger ensembles modeled after those popular in Egypt and
Lebanon. Saudi singers Talâl Maddâh and Muhammad 'Abduh were among the
first to venture into this format. They brought Gulf music to the rest
of the Arab world in the 1970s and 1980s with such pan-Arab hits as
Maqâdîr (Maddâh), Ab'âd (’Abduh) and Yâ Sârîya ('Abduh). Today, they
are still active and are considered the leaders of the “older”
generation of singers/composers, though neither of them has reached
the age of 60. In a return to a more traditional style, Muhammad
’Abduh recently recorded a CD series, entitled Sha'abîyât (Folk Songs)
Sawt al-Jazîrah (MACD 528), in which he sings traditional and modern
songs with a small ensemble, using 'ûd, violin, rhythm and a men’s
chorus. ’Abduh composed the melodies with words by popular poets,
including Prince Khalid al-Faisal.
Oil wealth and exposure to pan-Arab and world popular music brought
inevitable change to the music scene in the Gulf. Recording studios
equipped with the latest electronic capabilities produce songs and
instrumental pieces for a new generation of popular singers. Among
these are ’Abd al-Karîm ’Abd al-Qâdir, Kuwaiti songstress Rabâb, Saudi
Arabia’s ’Abd al-Majîd ’Abd Allah, Sâlih Khayrî and Abû Hilâl. Their
music continues to use the aesthetic of the Khalîjî style, while they
experiment liberally with electronic and world music innovations.
Fortunately, the governments of the Gulf have actively fostered
preservation of folk music traditions. The Gulf Folklore Center in
Qatar is prime among the region’s folklore institutions, with research
facilities, periodicals and a museum dedicated to folklore. Saudi
Arabia’s colossal annual Festival at Janadiriyya outside Riyâdh also
spotlights folk music. Television and radio stations in all the Gulf
countries feature folk music and folk dance shows, in which local
bands play and talk about their music.
In recent years several substantive high quality recordings of
traditional music have become commercially available. The following
sampling of these CDs will give the listener a strong introduction to
the rich and multifaceted traditional music of the Gulf and Saudi
Arabia.
1. A Musical Anthology of the Arabian Peninsula, recorded by Simon
Jargy and Poul Røvsing Olsen. This impressive four-volume collection
is the result of field recordings made in the Arabian Peninsula and
Gulf primarily in the early 1970s. Each volume focuses on the music of
the major traditional folk cultures of the region. Produced in 1994 by
Archives Internationales de Musique Populaire of the Musée
d'Éthnographie in Geneva, the anthology's volumes include extensive
liner notes in English and French by Jargy. Rare photographs
illustrate the musicians in context. The anthology is available
through Gary Thal Music, Inc. Box 164 Lenox Hill Station, New York, NY
10021-0164.
Volume 1 - Sung Poetry of the Beduins, VDE Gallo-780. Sixteen
recordings of Bedouin musicians singing poetry are included in this
CD. The raw sound of Bedouin singing, taped in the field from Palmyra
to Tarif, UAE, is unadulterated here. Excellent liner notes with
detailed descriptions of the recording settings, singer/poets and
musicological information make this genre more accessible to the
listener.
Volume 2 - Music of the Pearl Divers, VDE Gallo-781. This CD was
recorded from 1970-1975 among the surviving members of the pearl-
diving community in Bahrain. It features three nahmâ', pearl diving
song cycles, which include the characteristic low pitched drones,
syncopated rhythms and tasfîq, as well as improvisational solos by
Bahrain’s best pearl-diving lead singers.
Volume 3 - Sowt, Music from the City, VDE Gallo-782. Sowt features
eleven recordings of the traditional ensembles playing the traditional
urban song cycle of the region. It includes an unusual 1930 recording
of a Yemeni Shaikh singing to his own accompaniment on an antique pear
shaped 'ûd of Sana’a.
Volume 4 - Women’s Songs, VDE Gallo-783. This recording, which won the
French International Grand Prize of the Academie Chares Cros, presents
19 women’s and children’s songs recorded between 1969 and 1990. The
traditional women’s ensembles recorded include multilayered percussion
accompaniment on the târ, mirwâs and tabl. Several girls’ songs are
also included. The liner notes are particularly useful in their
musicological description of each song and its social context.
2. Anthologie de la Musique Arabe, La Musique de Bahrein, AAA 104.
Digitized recordings from Odeon and Baidaphon labels of sawt from the
early decades of the 20th century are featured on this CD. Three
masters of Bahraini sawt are presented: Muhammad Ibn Fâris, Muhammad
Zuwayd and Dâhî Ibn Walîd. Each sings with a small ensemble of 'ûd,
violin and mirwâs, giving the listener a rare chance to hear some of
the earliest commercial recordings of Gulf music. (Available at Rashid
Sales Company)
3. Oman, Traditional Arts of the Sultanate of Oman, D8211, 1993. High
quality field recordings made in 1990 and 1991 explore several
traditional musical subcultures in Oman, including the Bedouin,
sailors, women's and urban traditions. An excellent sample of the
ayyâla and a hypnotic example of the camel driving song style taghrud
are noteworthy. The musical variety and excellent quality of the
recordings distinguish this CD. (Available at Rashid Sales, HMV)
4. Al-Tawhîd, W 260001, Maison des Cultures du Monde, 1994. Composed
by Siraj Omar, Lyrics by Prince Khalid al-Faisal. This modern musical
epic features vocals by Saudi luminaries Talâl Maddâh, Muhammad
’Abduh, ’Abd-al Majîd ’Abd Allah, ’Abd Allah Rashâd and Râshid al-
Mâjid. Al-Tawhîd was performed live with folk dancers at the Kingdom’s
folk festival at Janadiriyya. It experiments with electronic
instruments, varied orchestrations and lyric forms, while adhering to
typical Gulf melodic characteristics and a strong foundation of
traditional rhythms. The lyrics extol the leadership and character of
the modern Kingdom’s founder ’Abd al-Azîz Ibn Sa’ud. This recording is
unique in its demonstration that key components of the Gulf sound can
remain evident even in the largest modern orchestrations with non-
traditional instrumentation. (Available through HMV)
http://w3fp.arizona.edu/mesassoc/Bulletin/campbell.htm
chhotemianinshallah
Dastgâh Music
Margaret Caton, Los Angeles CA
Reprinted from the Middle East Studies Association Bulletin, July 1994
(with changes in orthography to HTML standards).
Copyright 1994 by the Middle East Studies Association of North
America
TRADITIONAL IRANIAN dastgâh music, as fostered in the courts and the
homes of the aristocracy, draws from many sources, including regional
music styles, religious genres of melody and chant and popular songs
that have been reworked by master musicians and their students. In
different regional capitals, musicians acquired their repertoire from
their master teacher through a process of listening and repetition and
also drew from local sources of music, incorporating these into their
own unique version of this repertoire of traditional melodies and
melodic fragments.
These melodies existed as the basis of creative performance, or
improvisation, similar to the use of melodies in jazz improvisation in
the West. Within the last century these melodies became organized and
systematized into what is known as the dastgâh system, twelve groups
of melodies arranged in a traditional order. These dastgâh are each
arranged into a progression of modes, which are specific tunings and
organizations of tones with connotations of mood and ethos. The entire
body of a master s repertoire arranged in such a way is known as the
radîf.
During a performance, specific melodies (gûshes) may be selected from
the dastgâh, generally in the order they appear in the radîf, and are
used as the basis of an improvised performance. The overall contour of
the melody is arch-shaped, based on a progression of pitch levels from
low to high to low, both within pieces and for the dastgâh as a whole.
The ascending portion of the dastgâh gradually increases emotional
tension, which is released approximately two-thirds of the way through
a performance at the climax (auj) and then resolved as the dastgâh
returns to the original pitch level and mode of the initial melody.
Iranian music reflects central concepts in Iranian culture,
particularly Islamic mysticism, and also reflects cultural themes
found in other art forms, such as architecture and rug design. The
performance of the dastgâh has the potential of producing a hâl, or
inspiration, that can transport both the listener and performer
outside the realm of ordinary consciousness. The progression of modes
within the dastgâh is, by its arch-shaped pitch contour, designed to
gradually take the listener away from his daily concerns into the
realm of the mystic, where he releases his current problems and
contemplates spiritual verities.
Traditional music has been associated with Sufi philosophy,
particularly through poetic themes. Classical poetry is an integral
part of a performance of traditional dastgâh music, particularly the
ghazals of Hâfez and Sa`adî, as well as the Masnavî of Rûmî. The form
of the ghazal is an important structural element in the vocal
performance (âvâz) of the dastgâh. Lines of poetry (bayt) are selected
at the time of the performance and matched to one of the gûshes. Each
bayt (or two) of poetry, then, is sung to a separate melody, as
follows: vocalized introduction, misrâ` (half-bayt), vocal
ornamentation (tahrîr), then second misrâ`, tahrîr and vocalized
conclusion.
Traditional instrumental music is also based on the dastgâh system,
and particularly on vocal forms. The meter and rhythm of a ghazal
forms the basis for the rhythm of the traditional repertoire of
melodies, and is an elastic, interpretive rhythm, though not to be
confused with free rhythm. In addition, instrumentally- or musically-
based rhythm occurs more frequently in instrumental performances of
the dastgâh.
Instruments associated with the performance of classical music include
the târ (double-bellied, long-necked lute), santûr (hammered
dulcimer), nay (end-blown cane flute), kamânchih (spiked fiddle),
tumbak (goblet-shaped drum), sitâr (long-necked lute, usually played
solo) and, to a lesser extent, dâyirih (frame drum) and `ûd (lute).
Ensembles usually included a vocalist, one or two melody instruments
and perhaps a drum. Beginning in the late Qâjâr period, ensemble
performances and pre-composed forms became more frequent, attributed
to the influence of music from Western cultures. A dastgâh performance
became organized into a suite of sections, in the order of
pîshdarâmad, âvâz, tasnîf and ring. The pîshdarâmad is a pre-composed
overture for instrumental ensemble, the âvâz is the traditional body
of the radîf, the tasnîf is a pre-composed song form for vocalist and
instrumental ensemble and the ring is an instrumental piece in dance
rhythm. Also interspersed in sections within the âvâz is the
chahârmezrâb, a virtuosic instrumental solo.
Although the basis of classical Iranian music has remained the dastgâh
system, different trends during the last century have influenced the
following characteristics: the extent to which the performance is
improvised, the size of the ensemble, the order of pieces and the
incorporation of musical characteristics from different cultures,
particularly European, Arabic and internal regional styles.
The following three sets of recordings can introduce the listener to
tradi- tional Iranian dastgâh music:
1. Classical Music of Iran: Dastgah Systems. Compiled, edited and
annotated by Ella Zonis Mahler with the technical assistance of Mr.
Ruhollah Khaleqi (4 pp., illus., photos), 1966, Folkways FW 8831/32.
This two-record set contains samples from all twelve dastgâhs. They
include recordings of sitâr, târ, kamânchih, santûr, tumbak, violin,
nay and male and female vocal style.
The original two-volume record is a standard work in archives of
international music. A cassette recording may be obtained from Dudley
Connell, Smithsonian Folkways Records, 416 Hungerford Dr., Rockville,
MD 20850, USA, Tel. (301) 443-2314.
Recently these two records have been released as a CD (1991,
Smithsonian Folkways CD SF 40039) which includes ten of the dastgâhs,
all but Navâ and Râst Panjgâh: Smithsonian/Folkways Recordings, Office
of Folklife Programs, 955 l`Enfant Plaza, Suite 2600, Smithsonian
Institution, Washington, D.C. 20560, USA, Tel. (202) 287-3262, FAX
(202) 287-3699. The distributor for Smithsonian Folkways is Koch
International Corp., 117 Cantiague Rock Road, Westbury, NY 11590, USA,
Tel. (516) 938-8080, FAX (516) 938-8055.
2. Iran: Musique Persane. Notes by Hormoz Farhat (6 pp., French and
English, mus. ex., photos), 1971, Ocora OCR 57, or CD: 1987, C 559008.
This includes recordings of Faramarz Payvar (santûr), Jalil Shahnaz
(târ), Asqar Bahari (kamânchih), Hasan Nahid (nay), Hoseyn Tehrani
(tumbak), Abdolvahhab Shahidi (`ûd and male vocalist). This recording,
also available in music libraries, includes two performances of the
dastgâh as a vocal- instrumental suite, in Mâhur and Segâh.
3. Iran: Les Maitres de la Musique Traditionnelle: Talâ i [sitâr and
târ], Musavi [nay], Kiâni [santûr], vol. 1, 1991, Ocora HMA 190391.
This CD includes recordings of Isfahân, Chahârgâh, Homâyûn, Bayât-i
Kurd and Ring-i Shahr âshûb. These three performers represent a recent
generation of musicians who actively learned from the older
traditional masters, partly in an effort to revive an earlier pre-
Western tradition of performance. This CD contains selections from the
following records, which are also available in archives of
international music:
Anthologie de la musique traditionnelle:
Iran, Volume 1. Setâr et. Târ par Dariush Talâ 'i. Recorded by Jean
During with the help of Mohammad Sadr-e Zade. Notes by Jean During (3
pp., French and English, photos), 1979, Ocora 558 540. This record
includes performances of Mâhûr, Chahârgâh, and Isfahân.
Iran, Volume 2. Santur par Majid Kiâni. Notes by Jean During, 1980,
Ocora 558 550. This volume includes performances of Bayât-i Kurd, Ring-
i Shahr âshûb and Homâyûn.
Iran, Volumes 3 & 4. Ney par Mohammad Musavi. Chant et ney par Mahmud
Karimi et Mohammad Musavi. Recorded in Tehran in 1980 by Jean During.
Notes by Jean During (10 pp., French and English, illus., photo,
texts), 1981, Ocora 558 562/63. Performance of Dashti, Mukhâlif-i
Sigâh, Homâyûn and Navâ.
Ocora recordings may be obtained from Ocora: Radio France 116, avenue
du Président-Kennedy, 75786 Paris Cedex 16, tel: 42 30 10 35, FAX 42
30 41 64. Ocora recordings are distributed by Harmonia Mundi USA, 3364
So. Robertson Blvd., Los Angeles, CA 90034, Tel. (310) 559-0802, FAX
(310) 837- 4150.
The interested listener may find these and other recordings of
different styles of dastgâh music, as well as popular and folk music,
from libraries and distributors, such as: Abbas Chamanara, Music Box:
CD, Tape & Video, 1451 Westwood Blvd., Los Angeles, CA 90024, Tel.
(310) 473-3466, FAX (310) 473- 0368.
chhotemianinshallah
Virginia Danielson, Harvard University
Reprinted from the Middle East Studies Association Bulletin , December
1996 (with changes in orthography to HTML standards). Copyright 1996
by the Middle East Studies Association of North America
A WELL-KNOWN journalist in Cairo, Rajâ' al-Naqqâsh, wrote that, as a
child, he thought "listening to Umm Kulthûm" meant "listening to
singing." When the adults around him listened to singing, they
listened to Umm Kulthûm, thus "singing," in his youthful experience,
equated to "Umm Kulthûm." While this attitude would be rare in Egypt
now as listeners have moved other music into the domains of their
daily life, Umm Kulthûm remains a formidable presence as she has been
for nearly a century.
Umm Kulthûm (1904?-1975) was perhaps the most famous singer of the
century in the Arab world. She recorded some 300 songs. Her monthly,
Thursday-night concerts were legendary as she extended a single song
to last an hour or more, and the concert as a whole extended from 9:30
p.m. until 2, 3 or even 4 in the morning. She was known as an
accomplished artist, often characterized as "authentic" (asîl), who
honed her talents to the performance of elegant Arabic poetry, clever
colloquial verse and moving devotional songs. She was called the
"voice of Egypt." When she died, her funeral was reported as being
bigger than that of President Jamâl `Abd al-Nâsir. Now, more than 20
years after her death, people still listen to her songs, whether at 5
p.m. when the all-music radio station in Cairo opens its daily
broadcast with one of her concert tapes; in the New Opera House, where
the state ensembles perform abbreviated versions of her songs; on
cassette tapes, where younger artists record arrangements of her
songs.
She was a musician who worked in a politically charged environment for
most of her adult life. As a commercial artist, her career manifests
the engagement of popular culture with politics and economy. Her place
in Egyptian society has been constructed by her listeners as much as
by herself as they move her recordings into new domains and conceive
and re-conceive the meanings of her songs. Memories of her intertwine
with beliefs about widely shared social values in Egypt as well as
with aesthetics of historic Arab singing.
In the 1990s, her recordings reach a growing international audience,
re-released on compact discs. To grasp the impact of this woman's
performances and the character of her artistry, what does one choose?
Affinity for her music among Egyptian listeners is often personal.
Whereas some songs, such as "al-Atlâl" and "Inta `Umrî," became very
popular generally, the choices of individuals often link songs to
events or times in their own lives. People remember single lines as
having great meaning for them at one time or another.
In broad terms, her repertory falls into groups of songs: her early
recordings made during the 1920s and 1930s, which are only available
in the 12-minute versions possible on 78 rpm discs; the colloquial
songs, or zajal, often by Bayram al-Tûnisî and Zakariyya Ahmad, most
from the 1940s; the elegant qasâ'id and love songs composed by Riyâd
al-Sunbâtî on texts by Ahmad Shawqî, Hâfiz Ibrâhîm, Ahmad Râmî and
others; and the "modern" songs with big orchestras epitomized by
Muhammad `Abd al-Wahhâb and also composed by Muhammad al-Mawjî, Balîgh
Hamdî and other younger composers. The following works, a small
selection from her enormous repertory, exemplify each group.
Bayram al-Tûnisî, one of the outstanding colloquial poets of the
century in Egypt, worked often and successfully with composer
Zakariyya Ahmad to create songs linked to the grass roots of Egypt.
Works and melodies moved with the everyday speech and common
entertainments of the country and were at once strikingly familiar and
artistically gripping. "Anâ fî Intizârak" ("I'm waiting for you")
penetrates the frustration of waiting for what does not happen, of
listening to promises never fulfilled. Umm Kulthûm rivets the emotions
of listeners with her repetitions of the lines "I want to know that
you're not angry, that your heart does not belong to someone
else" (`Ayiz a'raf lâ tikûn ghadbân... ) and later with her crying
versions of "You promised me years and days and you came to me with
excuses and talk" (Tuwa'idnî bi-sinîn...). "Huwa Sahîh al-hawa
Ghalâb" ("Is It True that Love Conquers All"), another joint
production of the three artists, draws similar emotions together,
projects and shares them with the audience. Linguistically and
musically, these songs produce decidedly Egyptian culture. The concert
recording of the incredibly sad "`Aynî yâ `Aynî," once again a lament
of love lost, this time composed in a style reminiscent of historic
camel-drivers' songs, will simply reduce one to helpless tears.
At about the same time during and immediately after World War II, Umm
Kulthûm sang a group of very different songs, complicated qasâ'id on
ponderous themes, for which she became very famous. She was at the
height of her vocal skill. Today's listeners remember the sheer power,
affect and intensity of her renditions of such lines as "You cannot
get what you want in this world by wishing; you must take it by
force" (Wa-mâ nîla 'l-matâlibu... from "Salû Qalbî"), which rang out
in concerts as exasperation with the political forces of the day
increased in Egypt. Most of the texts had been written years earlier
by Ahmad Shawqî. Two of the most famous, "Salû Qalbî" and "Nahj al-
Burda," were religious in nature, the first intended for the Prophet's
Birthday in 1912 and the second a commentary on the 13th-century poem
entitled "al-Burda" by al-Busîrî. Both were set to music by Riyâd al-
Sunbâtî, a young man at the time who composed film music and taught at
the Institute for Arabic Music. The best performances I have heard of
these songs (other than those from tapes aired by Egyptian Radio and
available only from them or in private collections) are cassette tapes
released by Sono Cairo in the 1980s. The recording of "Nahj al-Burda"
features a lengthy, extremely dramatic musical rendition at the
climactic line, "Oh Muhammad, here is the throne, take it" (Wa-yâ
Muhammadu hâdhâ 'l-`arsh...), during which one can hear the
impassioned response of the audience.
Partly resulting from his work on these qasâ'id, Riyâd al-Sunbâtî
became the most accomplished musical neoclassicist of the century,
regarded as a "genius" at working with complex poetry. He wrote many
other qasâ'id and colloquial love songs during the rest of Umm
Kulthûm's life. His "al-Atlâl" ("Traces") has become a signature tune
for her. Mere snatches of the tune evoke her memory among listeners.
The text was written by Ibrâhîm Nâjî and published in the late 1940s.
Umm Kulthûm reworked it substantially (to the consternation of
literary critics at the time), and al-Sunbâtî set it to music in 1966.
Lines of love such as "Give me my freedom, set free my hands that I
might give you everything, I will hold back nothing," were moved by
listeners to signify the repressions of the late `Abd al-Nâsir years
and the anguish of the defeat of 1967. Thereafter, Umm Kulthûm sang
"al-Atlâl" throughout the Arab world and in Paris in her series of
concerts to replenish the Egyptian treasury. The neoclassic qasâ'id,
almost all composed by al-Sunbâtî, formed the bedrock of her
reputation for command of the Arabic language and its literature. They
helped enable her wide acceptance throughout the Arabic-speaking
world.
`Abd al-Wahhâb's enormously popular love songs for Umm Kulthûm are
almost too well-known to mention. Characterized by long instrumental
sections, shifting styles and rhythmic patterns and adaptations of
varying Arab and western styles in the same song, they depart from the
styles of her other composers. "Inta `Umrî" is probably the most
beloved. My own favorite is "Wa-Dârit al-Ayyâm" ("The Days Passed"), a
sad song (that nevertheless features an important waltz-like section
in the middle), released just before the death of `Abd al-Nâsir, that
has become emblematic of the fondness for him that still exists in
some quarters. The lines "If I run from my heart, where would I go?
Our sweet nights are everywhere. We filled the world with love, we two
and we filled the world with hope" (Ahrab min qalbî...) may at once
contain the bittersweet memories of love lost, of the late president
and the famous singer and of the lived experience of a time gone by.
The younger composers with whom she worked in her later years all
professed the influence of `Abd al-Wahhâb yet composed in distinctive
voices. In particular, Balîgh Hamdî wrote pleasurable, sweet and
accessible melodies. Muhammad al-Mawji's songs perhaps lay closer to
Zakariyya Ahmad's, rooted more deeply in the aurality of local
traditions.
Since her death, Umm Kulthûm's first and early recordings have been re-
released on compact discs. One can hear the many and different voices
of the young singer. "Tala` al-Fajr" manifests a harsh nasality in the
still-in-training voice. Umm Kulthûm began this recording with a
layâlî (an improvisation sung on the syllables "yâ layl, yâ `ayn"),
which she rarely did in later years. "Mâ lî Futint" manifests the
truly remarkable virtuosity and range of the young voice, and "Afdîhi
in Hafaz al-hawa" exemplifies the neoclassic qasîda that marked her
repertory even in its early years. (The religious songs for which she
was well-known for singing at saints' day celebrations as a child were
not included in her early recordings.)
Listening with feeling to these performances can be difficult for
students (as indeed the patience of young Egyptians has been taxed in
the effort). The long performances are built gradually, line by line,
phrase by phrase and sometimes word by word. Attention to nuance is
necessary. As Jihad Racy, Salwa El Shawan and many others have pointed
out, "listening" to Arab music is historically a holistic experience
and an active engagement, following the details of melody and text and
responding to what is heard, perceived and felt. For newcomers to the
music, this process may best start with one or two lines at a time.
Listeners often say that Umm Kulthûm never sang a line the same way
twice. Performances differ; not every one is as effective as another.
Umm Kulthûm herself was aware of this and tried to control which were
released and which not, indeed which parts of performances were used
in recordings and which not. Even recordings labeled "live" were often
heavily edited and were sometimes composites of several performances.
Re-presenting a performance from our present vantage point is
difficult. Still, Umm Kulthûm did not succeed entirely in her efforts
at control of quality; it is possible to purchase a relatively boring
performance, and listeners should not assume that all releases are
interchangeable. To complicate matters, the compact discs released by
Sono Cairo, the Egyptian state record company, are not always the same
performances available on cassettes from the same company in Cairo.
Videos of performances present similar problems. Those available in
North America originate from many sources, most unidentified, and one
has to simply watch each one to know whether the quality of the
reproduction is acceptable and whether the performance is particularly
affective.
With these caveats in mind, listening to this music is wonderful and
rewarding. Arabic song is one of the world's great classical
traditions. Umm Kulthûm's recordings bring us closer to knowing this
art.
List of Recordings
Anâ fî Intizârak (compact disc, Sono Cairo, Sono 142-E)
Al-Atlâl (compact disc, Sono Cairo, Sono 101)
Wa-Dârit al-Ayyâm (compact disc, Sono Cairo, Sono 103)
Huwa Sahîh al-Hawa Ghalâb (cassette tape, Sono Cairo 006)
Inta `Umrî (compact disc, Sono Cairo, Sono 102)
Nahj al-Burda (cassette tape, Sono Cairo 85058)
Oum Kaltsoum [anthology of her early recordings] (8 compact discs,
issued separately), Les Artistes Arabes Associés/Club du Disque Arabe
AAA 005, AAA 024-030)
Salû Qalbî (cassette tape, Sono Cairo 81001)
http://w3fp.arizona.edu/mesassoc/Bulletin/danielsv.htm
chhotemianinshallah
Irene Markoff, York University
Reprinted from the Middle East Studies Association Bulletin, December
1995 (with changes in orthography to HTML standards. NB: Turkish
characters may not display on all Web Browsers.).
Copyright 1995 by the Middle East Studies Association of North
America
IT IS DIFFICULT to appreciate and understand Sufism fully without an
informed exposure to the expressive cultural forms that help define
and enhance it. It is this dimension of Islamic mysticism that
transports the seeker on the path of spiritual attainment into higher
states of consciousness that promise spiritual intoxication (wajd) and
a unique and intimate union, even annihilation (fanâ'), in the supreme
being. This emotional expression of faith is intensified and
externalized in elaborate forms of meditation and esoteric techniques
that are part of ritual ceremonies.
Through ritual, many Sufi orders and Sufi-related sects throughout the
world of Islam have been able to articulate doctrines and beliefs
through artistic traditions such as sung poetry, instrumental music
and dance-like movements (samâ' or spiritual concerts) and have
utilized meditation patterns that combine corporeal techniques and
controlled breathing (dhikr; Turkish, zikr) to induce or conduct
trance and ecstatic states.
In Turkey, the Sunni brotherhoods (tarikat) such as the Halveti
(Khalwatiyya), Rifai (Rifâ'iyya) and Kadiri (Qâdiriyya) engage in the
collective musical dhikr that was the principal Ottoman dervish
ceremony. In the true spirit of dhikr (recollection of God), divine
names and expression of tawhîd (Turkish, tevhid) (oneness of God with
all existence) are repeated to rhythmic patterns often including
rhythmic breathing, body postures with a variety of motions and hymns
(ilâhî), songs of mystical love (gazel) and mersiye (sung poems
commemorating the martyrdom of the imam Husayn at Karbala'). This form
of worship meditation in line or circular formation is incomplete
without recitation of passages from the Koran.
Segments of the Kadiri dhikr ritual were recorded in two Istanbul
dervish lodges (1980 and 1988) by Kudsi Erguner, a Paris-based
musician and Sufi, and issued on CD by the Geneva Ethnographic
Museums's Archives of Popular Music. The ceremony begins with litanies
(awrâd) that include verses from the Koran and praises to the Prophet
Muhammad. This is followed by a poem of praise sung by singers called
zakir (Arabic, dhakir) supported by rhythmic accompaniment supplied by
disciples to the syllables of the profession of the faith (tahlîl
formula). After a gazel (ghazal) is sung, the dhikr proper begins
(Zikr-i Hay), which is chanted by the dervishes and forms an
accompaniment for the zakir, who performs a poem of praise to the
Prophet and then two ilahi-s (hymns sung to precomposed melodies that
were the principal artistic forms produced by Sunni tarikat-s in
Turkey). A taksim (solo instrumental improvisation in free rhythm)
concludes the this section. Next follows a mersiye and a gazel, and
finally an ilâhî punctuated by repetition of the syllable Hû (Him).
The ceremony ends with the first and then the last three sura-s of the
Koran.
The well-known Whirling Dervishes or Mevlevi order of Dervishes in
Turkey incorporate elaborate choreographies (sema) accompanied by sung
poetry from the Mathnawi of the founder of the order, Jalal al-Din
Rumi (Mevlana), that is set to compositions in the tradition of
Ottoman secular art music (based on the makam/mode system) into their
devotional ceremonies. The musicians who performed this music were
trained professionals and sometimes composers affiliated with the
order who did not seek to enter into a state of trance.
Although there are elements of audition (such as that of prayers and
invocations), the central core of the ceremony is the âyîn that
focuses on the integration of music, poetry and dance and culminates
in dhikr triggered by set forms of movement that increase in speed and
intensity. The introductory segment of the ritual includes a poem in
praise of the prophet known as naat and composed by Itri (1640-1712)
that is sung unaccompanied, a taksim generally performed on the
important end-blown flute (ney), and a perev (prelude or composed
piece for instrumental ensemble in fixed meter that uses a specific
melodic mode (makam) and a metric mode (usûl) comprising a “great”
cycle of 28 primary beats that are repeated twice. It is at this point
that the dervishes walk in procession around the ceremonial space and
engage in ritual bowing.
The âyîn proper begins with the sema (whirling dance) performed to
music (played on classical Turkish instruments and sung by a chamber
chorus) in four sections known as (selâm- s). During the third selâm
there is an increase in tempo (where a waltz rhythm is used) and a
slowing down during the fourth where an air of restraint is once again
maintained by the dervishes as they end the dance. The
instrumentalists then perform a concluding prelude (son perev) and a
concluding composition (yürük semai) followed by an instrumental
taksim and recitations from the Koran.
Instruments heard in a recent recording of a complete Mevlevi ceremony
(âyîn in the makam/mode of Ferahnâk Airan) by the Mevlevi Ensemble of
Turkey (1995) are ney (end- blown flute), kanun (trapezoidal, plucked
zither), kemençe (bowed, pear-shaped lute held vertically on the
knees), tanbur (long-necked, plucked lute with frets), ûd (short-
necked, fretless, plucked lute) and kudüm (a pair of small
kettledrums).
The esoteric ceremonies of the rural and more recently urban-based
heterodox Alevis (and related village Bektais and Tahtacis) reveal
shamanistic survivals of a Central Asian Turkic past, Shi’i tendencies
where the imam ’Ali is almost deified and a filiation with the Bektai
order of dervishes. Formerly known as Kizilba, the Alevis were viewed
with suspicion and mistrust because of their so-called clandestine
activities and inclinations to revolt against the authority of Ottoman
Sunni authority. They were stalwart in their support of Shah Ismail of
Safavid Persia whose poetry (written under the pen-name Hata’i) they
revered in the past and continue to revere today.
Alevi religious musical services are referred to collectively as cem
or âyîn. Their purpose is not only to focus on spiritual exercises
that include elements of zikr (without controlled breathing but with
some elements of body posturing) and ritual dance (sema) accompanied
by sung mystical poetry in the vernacular and the sacred ritual
instrument known as balama or saz (plucked folk lute with frets). They
also serve to reinforce social solidarity and correctness of behaviour
through inculcating the beliefs and doctrines of the sect and saintly
figures as well.
Music is performed by individuals recruited from Alevi communities and
descended from holy lineages of religious leaders known as dede. These
specialists are viewed with respect and known as zâkir, aik, sazende
or güvende, depending on regional usage. Many are also known to be
poet/minstrels (aik, ozan) who perpetuate the tradition of dervish-
lodge (tekke) poets such as the much loved and admired Yunus Emre
(13th century), Nesîmî (14th century), Pir Sultan Abdal, Hata'î and
Genç Abdal (16th century) and Kul Himmet and Kul Hüseyn (17th
century). The poetry was composed in the Turkish vernacular and
follows the principles of folk prosody known as hece vezne in which
the focus is the number of syllables.
The specialized sacred musical repertoire of Alevi musicians includes
deyi (songs of mystical love), nefes (hymns concerning the mystical
experience), düvaz or düvâzdeh imâm (hymns in honor of the 12 Alid
imams), mersiye (laments concerning the martyrdom of the imam Huseyn
at Kerbela), miraclama (songs about the ascent of the prophet Muhamad
to heaven) and sema (ritual dance that is accompanied by folk lutes
and sung poetry). The dances are performed with dignity by couples,
and choreographies employ circle and line formations as well as
arrangements where couples face one another, thus synchronizing their
movements more closely. As the tempo of the music increases, the
figures become more complex and intense. There are many regional
variants of sema, but the most widespread and important are the Dance
of the Forty (Krklar Semah) and the Dance of the Cranes (Turnalar
Semah) where the movements of the dance illustrate links to a
shamanistic legacy and the transformation of shamans into birds who
take flight.
The gathering of the forty saints refers to the moment, after the
Prophet’s ascension to heaven, when he beheld the manifestation of
Divine Reality in Ali. The Alevis believe that this gathering can be
viewed as the prototype for their central rite (âyîn-i-cem, görgü
cemi), the Rite of Integration. This is a complex ritual occasion in
which a variety of tasks are allotted to incumbents bound together by
extrafamilial brotherhood (musahiplik) who undertake a dramatization
of unity and integration under the direction of the spiritual leader
(dede). The dede interacts formally with his 12 assistants and the
body of worshippers as he applies Alevi religious idioms that
reinforce links to Sunni Islam, the Bektai order of Dervishes and Shii
Islam as well. The âyîn-i-cem can be heard on the JVC CD Turkey. An
Esoteric Sufi Ceremony. Unfortunately for non-specialists, the notes
are very vague and give no indication of location, performers, musical
genres or poetic forms. The recording was made in Istanbul in 1993,
and the ceremony includes in an order typical of a cem: a deyi that
reiterates the line of descent of the sect in a historical framework,
two düvaz (one based on the poetry of Hatayi, and the other on the
poetry of Kul Himmet), prayer formulas, the illâllâh genre that
incorporates the tahlîl formula into the poem to create an atmosphere
of zikr while sect members create rhythmic intensity by hitting their
knees in time to the music and sway their bodies slightly, the Dance
of the Forty (Krklar Semah), the Dance of the Cranes (Turnalar Semah)
and prayer formulas.
Similar recordings of the Alevi cem (Alevilikte Cem) have appeared in
Turkey and are useful in supplying information regarding the names of
genres and the order in which they appear, although the recording
mentioned below does not include all of the items mentioned on the
cassette cover.
Recordings
1. Turquie. Ceremonie des derviches Kadiri. Recorded by Kudsi Erguner
in 1980 and 1988 in Istanbul. Notes by Ahmed Kudsi Erguner, Abdelhamid
Bouzouzou. Archives Internationales de Musique Populaire, Musée
d'etnographie, Geneva. AIMP XII. CD-587. Recording can be purchased
from: Musée d'etnographie, 65-67 boulevard Carl Vogt, CH-1205 Geneve;
tel. (4122) 28 12 18.
2. Returning. The Music of the Whirling Dervishes. Recorded in 1995
and performed by the Mevlevi Ensemble, directed by Dogan Ergin with
Kani Karaca as featured solo artist (in place of a chorus). Interworld
CD-916. The âyîn featured on this recording was composed by Dogan
Ergin in the makam/mode of Ferahnâk Airan. Recordings can be purchased
from: Interworld Music Associates, RD3 Box 395A, Brattleboro, VT 05301
or tel. (800) 698-6705.
3. Turkish Music. Music of the Mevlevi. Unesco Collection--A Musical
Anthology of the Orient. Recordings and Commentary by Bernard Mauguin.
Barenreiter Musicaphon. BM 30 L 2019. This long-play record was not
made recently but is valuable because of the detailed notes and
accompanying photographs.
4. Turkey. An Esoteric Sufi Ceremony. CD recorded in Istanbul in 1993
under the supervision of Dr. Tsutomu Oohashi. JVC World Sounds.
VICG-5345. Manufactured and distributed by Victor Entertainment, Inc.,
Tokyo, Japan. The recording is useful as documentation of an event,
but the accompanying notes show little or no understanding of the
subject matter.
5. Alevilikte Cem 2. A commercial cassette (12271) recorded and
produced in Istanbul, Turkey, that presents an entire Alevi cem and
identifies the individual genres heard and the zakir (singer and
balama player), Adnan Klç. Pnar Müzik Üretim ve Yapmclk Tic. Ltd.
(Fax: 513- 5087).
http://w3fp.arizona.edu/mesassoc/Bulletin/markoff.htm
chhotemianinshallah
Reprinted from the Middle East Studies Association Bulletin, December
1994 (with changes in orthography to HTML standards).
Copyright 1994 by the Middle East Studies Association of North America
WHILE THE REPERTOIRE of the Mevlevî dervishes has been documented by
several Turkish and foreign LP, cassette and CD recordings, the
corresponding secular performance cycle, the courtly fasil, has had
virtually no commercial recordings in its integrity. Only individual
items have appeared, usually performed by large mixed choruses,
reflecting the Turkish aesthetic of the 1950s- 80s rather than a
"traditional" performance. Many Turkish recordings do present a genre
known today as "fasil," but these represent the music of Istanbul
nightclubs from ca. 1880-1950, not of the Ottoman court. The courtly
fasil was a cyclical concert format which had the following structure
at the beginning of the nineteenth century:
1. instrumental pessrev 2. instrumental taksîm (improvisation) 3.
vocal taksîm 4. first beste or kâr 5. second beste 6. aggir semâ'î 7.
one or more ssarki 8. yürük semâ'î 9. saz semâ'î
The pessrev is the instrumental genre introducing the fasil. It
emerged out of the instrumental pîshrow of medieval Iranian music,
which had become defunct by the later eighteenth century. It is
therefore a distant relative of the Uzbek/Tajik forms soqil and
pessraw which share a similar Iranian origin. Since the mid-
eighteenth century the Turkish pessrev has developed along highly
distinctive lines, employing mainly the long usûl (rhythmic cycle)
patterns, which may have thirty-two, fifty-six, eighty-eight or even
longer compound periods stretching to well over a hundred beats per
measure. The pessrev is composed in four sections, called hâne,
usually with modulating makams in each one. A ritornello, called
teslîm, helps to unify the composition.
The kâr was the dominant vocal form of Iranian, Transoxanian and
Turkish music during the sixteenth century. It had employed several
short to medium usûls. The texts were (and are) always in Persian, but
this poetic text coexists with a non-textual groups of syllables known
as the terennüm, which are set precisely to the composed melody. The
kâr became rare in Turkish music after the middle of the eighteenth
century.
The beste was considered the most significant element In the fasil;
from the early seventeenth century until the last third of the
nineteenth century Turkish composers were judged mainly on their
success in creating bestes. Bestes use most of the long usûl patterns
employed by the pessrev, but their compostional structure is otherwise
quite different. The beste is created out of two essential parts, a
basic melody, called zemîn, and a modulating section, called miyân.
The first, second and fourth stich of the text (which might be a gazel
or a murabba') is set to the zemîn, while the third stich is set to
the miyân. In addition many, but not all bestes employ a terennüm
section, which sometimes functions as a long ritornello. Texts of the
beste are always in Turkish. The compositional structure of the aggir
semâ'î and the yürük semâ'î resemble that of the beste, with the
important distinction that they may only employ the short usüls aksak
semâ'ï (10/8) or semâ'î (6/8) or the "heavy" (aggir) versions of
these, 10/4 and 6/4 for the former. During the late eighteenth (or
early nineteenth century) the aggir and yürük semâ'î forms were
borrowed by Syrian art music.
During the seventeenth century a popular urban form known as ssarki
had become adopted by the Ottoman elite, who began to write elegant
versions of the simple strophic türkü poetic form. For over two
centuries it was the center of a less formal style of performance,
along with vocal and instrumental improvisations (taksîm). During the
nineteenth century it became fashionable to create small cycles
(takim) out of ssarkis with contrasting rhythms, always beginning with
the slow aggir aksak semâ'î (10/4) or aggir aksak (9/4), or sometimes
sengîn semâ'î (6/4). Such a takim of ssarkis might be performed
between the aggir and yürük semâ'î during the fasil, or else as an
expanded cycle interrupted by vocal and instrumental taksîm
improvisations. As the courtly music declined in the later nineteenth
century the ssarki was adopted by the modern nightclub (gazino) where
it became the central genre of the nightclub fasil. While the
nightclub fasil usually closed with urban dance genres, such as longa
and sirto, the courtly fasil always ended with a saz semâ'î, which had
a structure similar to that of the pessrev, set to the short aksak
semâ'î usûl (10/8). The saz semâ'î seems to have entered Syrian and
Egyptian music in the later nineteenth century, where it became a
major genre of the waslah cycle. These Levantine saz semâ'îs were
either local compositions or, more often, stylistically altered
versions of both the courtly and the nightclub Turkish saz semâ'îs.
The current series is an attempt to document the Ottoman courtly fasil
performance practice and repertoire, employing two of the most highly
regarded classical (klâsik) vocalists. Of course one should not
exaggerate the degree to which these performances can claim to be
“traditional” (geleneksel). What is currently regarded as klâsik has
many elements of the traditional, but the absence of a recognized
standard for the courtly vocalist since official Ottoman patronage
began to decline in the last third of the 19th century, plus the sharp
separation of secular and religious vocal styles beginning with the
Turkish Republic (1923), have allowed several socially and
individually based styles to predominate.
This series gives pride of place to the performance style of Ms. Meral
Uggurlu (b. 1939), regarded as the leading female vocalist in Turkey.
Ms. Uggurlu is a truly great representative of the female Ottoman
vocal style as it has devel- oped in this century. Her voice is warm
and caressing but avoids sentimentality. She is able to reach into the
upper range, especially in the modulating section (miyân) of the beste
form, with a full voice which is never shrill or intonationally vague.
The rhythmic subtlety of her phrasing and ornamentation within
strictly metrical compositions are breathtaking.
Viewed as a total performance it must be observed that this series is
part of a radio “tradition” in which the vocalist totally dominates
the instruments. The accompanists’ tracks are dubbed over the vocal
track; this lessens the excitement of the relationship between singer
and accompanists which characterizes a tradi- tional Turkish
performance. Fortunately on the fifth cassette Ms. Uggurlu was
accompanied by an ensemble led by the udist Cinuçen Tanrikorur, and
the vocal and instrumental performances were recorded simultaneously.
The results are far more musical than any of the other recordings. The
performance of Dr. Allâeddin Yavassça (b. 1926) on cassette no. 3
allows the listener to appreciate the singing of one of the foremost
classical male vocalists of the second half of the twentieth century,
who is also a noted authority on the repertoire. While his
interpretations are on a very high level, there is no doubt that his
voice was more supple on the radio recordings which he made ten to
twenty years ago.
The recordings all are drawn from the courtly fasil and ssarki
repertoire of the nineteenth and sometimes the eighteenth centuries.
The cassettes are accompanied by small booklets which contain
biographies of the two performers, paragraph length biographies of all
composers, and texts of the vocal items, all in Turkish only. The
repertoire is the following:
Cassette no: (1)a. Ferahnâk Fasli (Ismail Dede Efendi d. 1046,
Dellâlzâde d. 1869, Zekâ'î Dede d. 1897) b. Ferahnâk Takim (2)a. Mahur
Fasli (Ebûbekîr Agga d. 1759, Eyyubî Mehmed d. 1850) b. Evçara Fasli
(Küçük Mehmed Agga d. 1800, Ismail Dede) (3)a. Beste-Isfahan Fasli
(Ebûbekir Agga) b. Büzürk Fasli (Sadik Agga d. 1815, Sultan Selim III
d. 1808) (4)a. Suzidil Fasli (Tanbûrî Ali d. 1902) b. Segâh Fasli
(Zaharya d. 1740?, Dellâlzade, Itrî d. 1712) (5)a. Dügâh Fasli
(sseyhülislâm Es'at d. 1753, Tabi Mustafa d. 1750?, Haci Faik Bey d.
1891) b. Muhayyer Takim
All of these fasils and takims of ssarki represent the core of the
currently performed classical Ottoman repertoire, most of which were
documented and published either by Rauf Yekta Bey in the 1920s or by
his successors in the Istanbul Municipal Conservatory in the 1950s.
Only the fasils performed by Dr. Yavassça on cassette no. 3 show
significant variation from the published versions. It is not clear
whether these represent an alternative transmission or his own
variations created when he performed these same pieces on his radio
fasil program on Istanbul Radio in the early 1980s. For the connoiseur
perhaps the greatest treat is the Dügâh Fasli on cassette no. 5 which
combines superb vocal and instrumental performances with an erudite
repertoire created in this series of related compound makams (terkib)
which became fashionable in the eighteenth century and were little
developed since then. A careful listener will observe that the nature
of the model combination is significantly different in almost each of
the recorded items in the Dügâh fasil.
The instrumental component of the fasil performance is not accorded
sufficient recognition. Taksîms are generally few and rudimentary,
except for the fine kanun taksîms of Erol Deran on tapes no. 1 and 2,
and the ud taksîm of Cinuçen Tanrikorur on no. 5. The pessrevs are
usually abbreviated, and their performances are generally uninspired.
This reflects the radio and concert performance practice of the last
thirty years whereby the total musicality of the performance is
sacrificed for the professional prestige of either the vocalist or the
choral conductor. Even with the above criticisms this series should be
recognized as a major accomplishment which allows a wider public to
enjoy and study the finest classical Ottoman repertoire performed by
the finest contemporary voices. One might suggest that English, French
or German translations of the biographies would increase the value of
this enterprise.
Türk Mûsikisi Klâsik Eserler Serisi. No. 1, 2, 4, 5: Meral Uggurlu
(vocalist) No. 3: Dr. Alâeddin Yavassça (vocalist). Five sixty minute
cassettes. Artistic direction: Yusuf Omürlö. Produced by and available
from: Kubbealti Akademisi Kültür ve San'at Vakfi, Peykhane Sokak no.
3, Çemberlitass/Istanbul, Türkiye (Turkey). Also available from AEG
Sema Vakf, Inc., P.O. Box 1775, 217 Milford Street, Salisbury, MD
21802
http://w3fp.arizona.edu/mesassoc/Bulletin/feldman.htm
chhotemianinshallah
Arab Music
Scott L. Marcus, University of California, Santa Barbara
Reprinted from the Middle East Studies Association Bulletin, July 1993
(with changes in orthography to HTML standards).
Copyright 1993 by the Middle East Studies Association of North
America
THE MOST WIDESPREAD Arab music tradition is the urban-based music of
the eastern Mediterranean region ranging from Cairo to Beirut,
Damascus and Aleppo. This music consists predominantly of precomposed
songs that is, pieces in which a composer has determined the form and
content of the music to be performed. With such a repertoire, the
musician's role is that of interpreter, charged with artistically
rendering someone else's creation. The Arab instrumentalist is,
however, accorded the opportunity to improvise his own creations in a
genre called taqâsîm (singular and plural in this usage). Individual
taqâsîm are not simply free-formed products of the instrumentalist's
fancy; instead, the instrumentalist improvises according to a complex
set of preestablished rules and conventions. Because taqâsîm gives the
instrumentalist the opportunity to present his own creation rather
than rely on another's composition, it is a highly valued musical
genre.
Individual taqâsîm commonly last from three to five minutes but may
end within a single minute or extend to eight or ten minutes, and
rarely may be even longer. The length of a specific taqâsîm is often
determined by the amount of time alotted to the performer, and also by
the performer's mood at the time of performance.
A taqâsîm is multi-sectional, with sections separated from each other
by moments of silence. The musical coherence of each section is
achieved by the instrumentalist focusing on one melodic idea, usually
a specific melodic mode (maqâm; plural, maqâmât) and, commonly, on
only one aspect of a maqâm's melodic features. (Each maqâm has a
unique scale and special melodic features.) The entire taqâsîm is thus
a gradual unfolding of a specific mode's unique characteristics.
Generally, such unfoldings follow an ascending progression, with the
musician beginning at the bottom of a modal scale and slowly working
his way up to the higher notes (often those in a higher octave).
Showing more than one maqâm in a single taqâsîm is also common.
Listeners take special delight in the moves from maqâm to maqâm
(modulations) and in the eventual and obligatory return to the maqâm
with which the taqâsîm began.
The various sections of a taqâsîm generally end with cliched cadential
phrases called qaflat (sing., qafla), another source of particular
enjoyment for the listener. Forceful qaflat are commonly met with
cries of approval from audience members. It is commonly said that a
good qafla can make up for a bad taqâsîm, but that a bad qafla can
spoil an otherwise strong taqâsîm.
The taqâsîm genre thus gives the instrumentalist the opportunity to
show his abilities and sensitivities as a composer. Listeners judge
the shape and structure of a taqâsîm, the performer's ability to bring
the improvisation to dramatic climaxes at appropriate points, his use
of modulations and silences and his mastery of the various maqâmât.
In addition, taqâsîm allows the musician to demonstrate the extent of
his technical mastery of his instrument. Musicians take care to show
moments of technical virtuosity (e.g., dazzling picking or bowing
displays by string players) as well as moments of softer, more tender
musical expression.
Young musicians learn taqâsîm performance by imitating performances of
friends and any senior musicians with whom they come in contact.
Commercial recordings have also come to play a major role as students
often memorize the commercially recorded taqâsîm of the greatest
masters. While this helps to develop technical proficiency and a
knowledge of both the taqâsîm genre and the various maqâmât, the
aspiring musician must, in time, develop his own style, his own
improvisations, for taqâsîm are, above all, an expression of
individual creativity. The greatest performers have developed their
own unique styles and approaches, so that their improvisations are
clearly marked as their own.
Taqâsîm are an important part of most gatherings of musicians. At
informal parties or whenever one musician visits another, the casual
and spontaneous playing of one song after another will be broken
occasionally by one musician or another launching into his own
taqâsîm. This provides variety of sound and mood and allows for
moments of highly valued personal expression.
In more formal concerts, the position and frequency of taqâsîm
performances have changed over time. At the beginning of the 20th
century, urban-based performances were structured in terms of suites
(waslat, sing. wasla) of instrumental and vocal pieces. Taqâsîm were
featured in the opening moments of wasla performances. A late example
of such a performance is found on the cassette Layâlî wa Ughniyyat
Layh Yâ Banafsaj featuring the Egyptian singer Sâlih 'Abd al-Hayy
(1896-1962). In this studio recording, we find excellent examples of
taqâsîm performed on the `ûd (the Arab lute), the violin and the qânûn
(a trapezoid-shaped zither). The recording begins with the `ûd
taqâsîm. Next, a small ensemble plays a piece called "samâ`î Râst"
composed by the Turkish/Armenian musician, Tatyus. The performance of
the samâ`î is then interrupted by the violin taqâsîm, after which the
samâ`î is completed. This is in turn followed by a short taqâsîm on
the qânûn which serves as an introduction to a vocal improvisation
called layâlî. The qânûn player intersperses additional taqâsîm
phrases within the layâlî when the singer, Sâlih 'Abd al-Hayy, rests
after completing individual sections of his improvisation. Finally,
the singer presents the song "Layh Yâ Banafsaj" with instrumental and
choral accompaniment. While full-blown waslat would have been
substantially longer, commonly including a number of chorally
performed songs called muwashsha hat, this Sâlih 'Abd al-Hayy
recording provides a high-quality example of the common repertory
context for late 19th/early 20th-century taqâsîm performances.
Following common practice, the names of the individual musicians on
this recording are not given, the only names given being those of the
singer and the song's composer and poet.
From about the 1930s, the wasla lost favor in Arab music performance
and was soon replaced by a new genre called ughniyya (literally,
"song"). Of approximately the same length in performance as the
earlier wasla, the ughniyya featured a multi-sectional song sung by a
solo singer, with an instrumental introduction for the song as a whole
and for each of the song's internal sections. The ughniyya has reigned
as the dominant genre of urban-based Arab music up through the 1970s
and 1980s. Taqâsîm were seldom included in such compositions and thus
came to be relegated to more informal gatherings of musicians, to
small parties and to dance routines where dancers liked the change of
mood that taqâsîm offered from the often rhythmically driving songs.
It was in this setting the virtual loss of taqâsîm from mainstream
performances that Farîd al-Atrash (1905-1974) found a way to create
his own personal niche, his own claim to fame, in terms of taqâsîm
performance. A movie star, singer and composer of phenomenal fame, as
well as a virtuosic `ûd player, Farîd would commonly sing only his own
compositions. When composing his songs, he would compose the
instrumental introduction (muqaddima) in such a way that he would give
himself a lengthy `ûd taqâsîm within the muqaddima. After the taqâsîm,
his ensemble would finish the muqaddima and he would then sing the
vocal sections of his compositions. This format proved so successful
that Farîd al-Atrash soon came to be the single-most famous `ûd player
in the Arab world, and more specifically, the most famous performer of
`ûd taqâsîm. In time he came to be referred to as malik al-`ûd, i.e.,
"the king of the `ûd." Among his most famous taqâsîm is one he
performed in a live concert, during the muqaddima of his song "al-
Rabî". The entire song with the taqâsîm can be heard on cassette or
CD.
One of the most interesting aspects of taqâsîm performance is the
dynamic relationship that often exists between the performer and
members of the audience. When someone in the audience likes a specific
moment in a performance, he might call out any of a number of cliched
words or phrases with which to show his appreciation ("Allah," "yâ
habîbî," "yâ 'aynî" or simply the performer's name: "yâ Farîd," i.e.,
Farîd al-Atrash). The performer is thus encouraged and, ideally, moved
to greater heights of creativity. Recordings of Farîd al-Atrash's
public performances are excellent examples of enthusiastic audience
response. The above cited recording is no exception: wild cheers erupt
with the initial phrase of his taqâsîm and reoccur frequently
throughout the improvisation.
While the "Rabî" recording is an excellent example of a taqâsîm set
within the muqaddima of a lengthy song, those interested in hearing a
number of taqâsîm by Farîd al-Atrash are referred to a separate
release of five taqâsîm extracted from various muqaddimat. Audience
response is heard in each of these live taqâsîm. The quality of the
individual recordings is uneven, with none having the clarity of sound
that studio recordings can offer. However, this does not detract from
the importance of this release as documentation of Farîd's taqâsîm.
(The tape begins with a studio recording of one of his `ûd
compositions.)
Back-to-back listening to a number of Farîd's taqâsîm clearly reveals
the recurring features that characterize his style and technique. He
is especially known for the displays of right-hand picking virtuosity
with which he ended all of his taqâsîm performances. A consummate
crowd pleaser, he still reigns as king of the `ûd for most in the
eastern Arab world some twenty years after his death. In the present
day, young `ûd players are often greeted by cries from members of the
audience, calling out "yâ Farîd" -- that is, they compliment the young
performer by comparing him to the great one, Farîd al-Atrash.
While Farîd al-Atrash is without question the favorite `ûd player of
the common folk, musicians commonly recognize Riyâd al-Sinbâtî (d.
1981) as the consummate musicians' musician. A prolific composer and
respected singer, Riyâd al-Sinbâtî made a cassette of six studio-
recorded taqâsîm for the Egyptian government's Sono Cairo label. Here
the `ûd is ideally miked and thus has a deep, rich sound. Al-Sinbâtî's
taqâsîm have a slower-paced, more relaxed style than those of Farîd al-
Atrash. Among al-Sinbâtî's characteristic stylistic features is his
frequent use of lower octave drop notes (i.e., when playing a phrase
in a higher octave, he periodically echoes individual notes by playing
the same note in a lower octave).
Other important taqâsîm recordings include those by the Egyptian
violinist Ahmad al-Hifnawi, the Iraqi `ûd player Munîr Bashîr and two
Arab-Americans, Simon Shaheen and Ali Jihad Racy.
RECORDINGS
'Abd al-Hayy, Sâlih. Layâlî wa Ughniyyat Layh Yâ Banafsaj. Sono Cairo
cassette 76062.
al-Atrash, Farîd. al-Rabî . Cassette: MCCO 128; CD: CXG 602.
_____. An Evening with the King of the 'Oud': Takassim Oud. Voice of
Lebanon cassette: VLMC 103; CD: VL 501.
Bashîr, Munîr (Bachir, Mounir). Taqâsîm `ûd. Cassette: MC 505.
_____. Oud Concert. CD: AAA 003.
al-Hifnâwî, Ahmad. Taqâsîm wa Mûsîqâ Ughniyyat: Huwwa Sahîh al-Hawâ
Ghalâb. Sono Cairo cassette 76094.
al-Sinbâtî, Riyâd. Taqâsîm `ûd. Sono Cairo cassette 78016.
Shaheen, Simon & Ali Jihad Racy. Taqâsîm. CD: Lyrichord 7374.
[All recordings are available at Rashid Sales Co., 191 Atlantic Ave.,
Brooklyn, NY 11201, (800) 843-9401]
http://w3fp.arizona.edu/mesassoc/Bulletin/marcus.htm
chhotemianinshallah
Dwight Reynolds, University of California-Santa Barbara
Reprinted from the Middle East Studies Association Bulletin, July 1995
(with changes in orthography to HTML standards). Copyright 1995 by the
Middle East Studies Association of North America
ALGERIA HOLDS a singular place for Arab culture as a region in which
the musical traditions of Islamic Spain, the Ottoman Empire, the
eastern Arab countries (the Mashriq), Saharan and West Africa,
Berbers, Bedouin and Europe have all interacted to various degrees.
Morocco to the west was never as directly exposed to Ottoman and
eastern Arab musical traditions; Tunisia and Libya to the east have
had far less contact with sub-Saharan and West African musics and far
more direct contact with the musics of their eastern neighbors. To
simplify this complex musical landscape to some degree, the many
distinct musical traditions of Algeria can be roughly divided into
five groups: 1) Andalusian traditions, 2) Urban popular traditions, 3)
Arabic-language folk traditions, 4) Berber and Saharan traditions, 5)
the modern rai, or “pop-rai,” phenomenon. Recordings listed below have
been selected for their representativeness and availability in the
United States and Canada.
Andalusian Musical Traditions
The musical and literary flourescence that took place in the courtly
circles of Islamic Spain (al-Andalus) from the 9th to 15th centuries
eventually found refuge in exile along the North African littoral in
the aftermath of the Christian Reconquest and the great expulsions
(1492 for Jews, 1608-10 for the last Muslim populations). The
Andalusian poetic forms of muwashshah and zajal swept through the
entire Arab-speaking world during the late Middle Ages and rapidly
became two of the most common of Arabic literary genres. It remains
unclear, however, the degree to which the musical dimension of the
muwashshah/zajal tradition accompanied these poetic forms as they
spread eastward.
Fostered by patrons and practitioners in both Spanish Muslim and
Sephardic Jewish communities, the Andalusian musical tradition did
establish itself in the urban centers of North Africa: Tetouan, Fez,
Tlemcen, Algiers, Constantine, Tunis, Kairouan, Tripoli, Benghazi and
elsewhere. In Libya, Tunisia, and Constantine (Algeria), this
tradition is usually referred to as malouf (“customary”), in the
central regions as san`a (“embellished” or “crafted”), in Tlemcen as
gharnaatii (“Granadan”) and in Morocco simply as aala
(“instrumental”). Although each center developed a style of its own
and the different regions have organized the Andalusian repertory into
different structures, the large number of shared characteristics make
it possible to speak of a distinct pan-North African Andalusian
musical tradition or al-muusiiqaa al-andalusiiyya.
Algeria provides a fascinating case of both geographical
regionalization and historical stratification in this musical
tradition. The two oldest centers of Andalusian classical music are
Constantine and Tlemcen; Algiers emerged as a third important site
under the influence of the Tlemcenian school, but unlike Tlemcen it
developed within a context that included strong Ottoman influences.
The oldest elements of the Andalusian repertory are organized into
large suites (nuuba, pl.nuubaat) consisting of different movements of
vocal and instrumental music performed to a series of different tempi
and percussive rhythms. These “grand nuubas” are understood by most
practitioners to have been composed and organized in Islamic Spain.
(The popular version is that Ziryaab himself, the famous 9th-century
musician, organized the grand nuubas; the lyrics to these nuubas,
however, consist almost entirely of zajals and muwashshahs which are
forms that post-date Ziryaab’s lifetime by nearly two centuries.) In
fact, it is not known when the formation of the “grand nuubas” took
place.
This older repertory was later expanded over the centuries by poets,
musicians and composers in North Africa. There emerged in Algeria a
series of traditions referred to as music “in the Andalusian style”
which retained many of the older tradition’s basic musical features
and poetic motifs as well as being similarly organized into “suites”.
These suites are variously referred to in Algeria as inqilaab, silsila
and nuuriyat al-tubuu`, each possessing a slightly different structure
and drawing from a different body of melody and song. One commonly
cited indication in Algeria that an orchestra has finished with its
performance of the “grand nuuba” repertory and is preparing to perform
these lesser genres, is that the leader will set down the North
African rabaab (relative of the medieval European rebec and quite
different from its Egyptian and Arabian counterparts of the same name)
and pick up a violin or viola in its stead. When listening to
Andalusian music, it is well worth trying to pick out the distinctive
deep “growling” of the rabaab, symbol of the old repertoire, which
provides a basso continuo foundation for the music.
These later developments in the Andalusian tradition were then further
supplemented by local traditions that were composed in increasingly
colloquial language though utilizing meters and musical elements of
the older tradition. The Hawzii tradition of Tlemcen, for example, is
understood to be an Andalusian-style tradition sung in the regional
dialect of northwest Algeria. The lyrics for Hawzii are drawn from the
famous vernacular poets of the 16th-19th centuries such as Ben Triki,
Ben M'Sayib and Ben Sahla. The region of Tlemcen is in fact quite rare
in possessing a continuous written colloquial poetic tradition dating
back several centuries. The Hawzii tradition is often referred to as
lying halfway between the medieval Andalusian repertory and modern
popular music.
Several series of recordings have been produced from the Andalusian
traditions of Algeria. On the French Ocora label, three CDs have now
been released of the “Anthologie de la musique arabo-andalouse”: Vol.
3 is by the Nassim al-Andalous Ensemble of Oran. The musicians
themselves are mostly of Tlemcenian origin and the style and repertory
are entirely those of Tlemcen. The group traces its artistic lineage
through its founding maestro Dr. Yahya Ghoul to Ridwan Bensari, son of
the authoritative 20th-century master of Tlemcenian Andalusian music,
Sheikh Larbi Bensari. The performances utilize the traditional
(19th-20th century) instrumentation of rabaab, `uud, taar, darbuuka,
kwitra (an indigenous four-course lute), violin and viola, and do not
include the more recent but now seemingly ubiquitous fretted mandolins
and mandool which were introduced as teaching instruments (meant to
ease the teaching of `uud and violin which do not have frets) but
which soon found themselves accepted additions to the traditional
Andalusian ensemble. The CDs come with substantial notes in French,
Arabic, and English.
One of the great female artists of West Algerian Andalusian music in
this century is the Jewish singer and lute-player, Reinette al-
Wahraniyya ("l'Oranaise"), who has performed with many of the leading
figures of Andalusian music since the 1920s. In her 1988 CD, a Michel
Levy production, she sings Algerian Andalusian-style songs from the
16th to 19th centuries from the Inqilaab, Hawzii and `Aruubii
traditions. Even in her eighties, her voice, which acquired so much
fame in the early decades of this century, is still rich and vibrant
on this recording, which is only marred by the unfortunate addition of
piano accompaniment on some selections.
The Andalusian tradition of the capital city Algiers can be found on a
series of LPs entitled “Min turaathnaa al-thaqaafii” produced by the
Entreprise nationale de radiodifusion (Unité de disques Eucalyptus).
These feature a number of truly great singers such as `Abdelkrim Dali,
Dahmane ben Achour and Fadhila Dziria, but are difficult to obtain.
Another Algerois singer, Muhammad al-Khaznaji, has been releasing an
entire series of LPs of the grand nuubas; though somewhat difficult to
find, they are well worth the trouble and come with complete songs
texts in Arabic. (See also Vol. 2 of the Ocora “Anthologie”.)
The Constantinian style is, by contrast, more difficult to find in
recent recordings, though it is represented in the series of LPs
released from the First, Second and Third Andalusian Music Festivals
(Algiers 1967-72) as well as Vol. 1 of the Ocora “Anthologie”. Finding
recordings of Hawzii other than the recent CD by Reinnette al-
Wahraniyya mentioned above is not easy; the best bet is to look for
recordings by the most prominent commercial artist of the genre, Nuri
Koufi. Though not always recognized as the best artist of the genre,
he is certainly the most prominent and his recordings are becoming
more and more widely available.
Urban Popular Traditions
Sha`bii in most Arab countries refers to folk or folkloric music, but
in Algeria the term refers to the urban popular music which emerged in
Algiers in this century. El Hajj Muhammad El Anka (d. 1978) was one of
its most well-known creative forces, and the Algerian “Min turaathnaa
al-thaqaafii” series has one LP which includes a number of his most
famous songs. The Algerois sha`bii tradition is easy to listen to,
filled with catchy tunes and highlights a clear, unembellished solo
singing style. The heart of the genre, however, lies in its lyrics; if
you are familiar with North African dialects, the singing style makes
it easy to catch many of the words, but the lyrics contain a lot of
slang and are filled with local references.
Urban music influenced by Egyptian, Lebanese and Syrian traditions is
termed sharqii. One interesting example of how these traditions
mingled with Turkish influences in pre-independence Algeria can be
found on an LP from the late 1950s entitled Arabian Nights (complete
with cheesy portrayal of a scantily clad singing-girl on the cover) by
two of the stars of the day, Anissa Toraia and Anissa Zouina, with
Paul Turqin singing in Turkish. The recording includes Ottoman-style
instrumental music and improvisations (taqaasiim), Turkish songs and
Algerian popular tunes. The LP notes proudly proclaim that this is the
final recording from Anissa Zouina, who recently gave up her singing
and dancing career to marry an Egyptian Prince (one cannot help but
wonder how that turned out).
Arabic-language Folk Traditions
A number of the most interesting genres of Algerian folk music are
simply not available on commercial recordings. I know of no excerpts,
for example, of the hauntingly beautiful Tlemcenian women’s genre of
hofii, first mentioned by Ibn Khalduun in his Muqqadima in the 14th
century, and still sung today most often to the accompaniment of the
kwitra, a local four-course lute. The Constantinian zindalii seems
equally unavailable.
One recording which does cover a lot of ground in the folk/popular
area is the 1970s “Musique populaire d’Afrique du Nord”. Despite its
title, all but one cut is from Algeria, that one being of the famous
Tunisian singer, Saliha (and if you are not yet familiar with this
“Umm Kulthum of Tunisia,” find a recording of her soon, she is a
national figure there and had a truly remarkable voice.) This disc
offers samples of the Bedouin Ay Ay and religious chant from Oran,
Constantine and Kabylia. The slip notes are brief but informative.
Berber and Saharan Musics
The Berber and Saharan musics of Algeria have attracted a lot more
attention over the years from both the French colonial powers and
ethnomusicologists. When listening to “ethnographic” recordings I
prefer those which give the most information about the culture, the
performers, the instruments and the content of the songs. “The Music
of Gourara” LP by Pierre Augier in the UNESCO collection does a lot
along this line. The descriptions of the instruments, historical notes
and squibs about each of the songs provide a solid introduction. It is
frustrating, however, that the actual lyrics are not provided. The LP
contains music from the Zanaatii Berbers, the Meherza (the first
Hilaalii Arabs to arrive in this region), the Tuareg, Sudanese groups
singing in the Kouriya language, as well as music from a Sufi hadra of
the Moulay Tayeb brotherhood.
Folkways recordings are usually obtainable in the United States even
if they are not recent; so for the music of Kabylia, try Rita
Belateche s LP (Ethnic Folkways FE 4341) and for the Tuareg (Folkways
FE 4470). Music from the M'zab region can be found on the French "Le
M'zab" (Arion ARN 33 384).
Finally, the Berber singer Houria Aïchi is currently a hit in France
with her performances of Berber music from the Aures region of
northeast Algeria. She has several CDs readily available. “Songs of
the Aures” is my favorite, performed entirely on reed flute, drums and
Houria Aïchi’s stunning vocals.
Rai
The one Algerian music which presents no difficulties whatsoever in
availability is, of course, rai. Many American music stores now have a
full shelf devoted to rai completely separate from their International
offerings. Some musicians prefer to call the newer, European-
influenced phenomenon “pop-rai” to distinguish it from the older
indigenous tradition from which it derives.
Rai music is nothing if not controversial, and this air of controversy
hangs over its history as well. In brief, the tradition has developed
from a local folk music common to the Oran-Tlemcen region sung by male
singers (sheikhs) which was then adopted and expanded by urban female-
singers in Oran (sheikhas) in the early decades of this century and
which was in turn adopted by a series of younger musician-singers who
adopted elements of flamenco, jazz, eastern Arab pop music, and Euro-
Pop during the 1950s and 1960s. What is now internationally called rai
music is a phenomenon of the late 1970s and the cassette revolution.
Star figures such as Cheb Khaled, Cheba Fadéla and her husband Cheb
Sahraoui, and in later years Cheb Mami, Cheba Zahouania and dozens of
others, catapaulted to fame in part based on their popularity in
Algeria, but also in great part due to the explosive growth of their
following in Europe.
Rai lyrics have been racy and bold since the early part of the
century; laced with social and political criticism, tinged with
wantoness and in-your-face individualism, the very term rai ("my
opinion," "my way," "Tell it like it is!" and many other possible
translations) has come to symbolize a lifestyle of freedom, cynicism
and anti-authoritarianism. But opinions about what rai is and is not,
means or does not mean, are a dime a dozen, and that, in part, is what
makes it exciting. At best it represents an innovative new sound
blending a half dozen or more traditions, at worst it sounds like
rehashed sound effects left-over from Europop hits of a decade ago.
Rimitti, one of the earliest and most influential singers among the
Oran sheikhas is still around and performing. For the old sound, try
listening to her on "Rai Roots" and for the latest, find her
collaborative fusion CD with Houari Talbi from 1994, "Sidi Mansour."
Though in her 70s now, the gravely, husky voice of the portside cafés
of the 1930s seems as strong as ever. Among the international
superstars of rai, everyone has favorites, but I recommend Cheba
Fadéla (the earlier recordings have more North Africa elements,
especially in the percussion and fewer synthesizer effects), Cheba
Zahouania and, of course, the King of rai, Cheb Khaled.
Andalusian Recordings
Algérie: Anthologie de la musique arabo-andalouse Vols. 1-3. Paris:
Ocora C 560002-4, 1990-93.
Min turaathnaa al-thaqaafii . (`Abdelkrim Dali) Algiers: Entreprise
nationale de radiodifusion (Unité de disques Eucalyptus) 1988. LP
1039.
Min turaathnaa al-thaqaafii . (Dahmane Ben Achour) Algiers: Entreprise
nationale de radiodifusion (Unité de disques Eucalyptus) 1988. LP
1038.
Reinette L'Oranaise: Tresors de la Musique Arabo-Andalouse. Paris:
Michel Levy Productions, 1988. MLPCD 1302.
Sidi Boumedienne and Hanina: Nuri Koufi. [Hawzii music from Tlemcen]
Nouriphone: Tlemcen, Algeria [n.d.].
Urban Popular Traditions
Arabian Nights. Counterpoint/Esoteric Records, New York CPT-547
[recorded in Algiers] 1957 featuring the Toraia
Orchestra and singers Anissa Toraia and Anissa Zouina.
Le Néo Chaâbî. Kamel Messaoudi. France CDS 8751. CMM 1993.
Ya Wilfi Maryam (El-Hajj Muhammad El Anka) "El Anka et la tradition
Chaâbî." Voix d'Algiers LP 1043:E1
Arabic-language Folk Traditions
Musique populaire d'Afrique du Nord. Paris: Vogue CLVLX 423 197?
Berber and Saharan Traditions
Algeria (Sahara) Music of Gourara. Musical Atlas/UNESCO collection.
EMI/Odeon 3C 064 18079. 1975. Pierre Augier.
Algerian Berber Music (Kabylia). By Rita Belateche. Folkways FE #4341.
1966.
Houria Aïchi: Songs of the Aures. Paris: Auvidis/Ethnic B 6749, 1990.
Rai
You Are Mine. Chaba Fadéla and Chab Sahraoui. Mango (UK) 1988 ZCM 9827
[CD and cassette]
Nights without Sleeping. Chaba Zahouania. Mango (UK) 1988 ZCM 9831.
Rimitti: Sidi Mansour. Paris: Absolute, 1994. Absolcd 2. Houari Talbi.
Hada Raykoum [“That’s what you want”]. Chab Khaled. Triple Earth (UK)
mid-1980s.
N'ssi N'ssi. Cheb Khaled. Mango (UK) 1993.
Rai Roots. Cheikha Remitti. CMM/Buda Musique, France.
http://w3fp.arizona.edu/mesassoc/Bulletin/reynolds.htm
chhotemianinshallah
Sufi Orders in Afghanistan is a short but informative article on
Afghan Sufi orders after the fall of the Taliban.
Orders in Bangladesh and India
Sufism in India: Its origin, history and politics an article
R.Upadhyay, published by the South Asia Analysis Group. (Link fixed,
24 August 2008.)
Sufi Orders of Tamil Nadu by Khaja Khan from his "Sufi Orders in the
Deccan", originally published in The Philosophy of Islam (1903), and
reprinted in Studies in Tasawwuf (1923) (Link fixed, 24 August 2008.)
Sufism in Bangladesh a short but useful article from the Banglapedia.
(Link fixed, 24 August 2008.)
Khwaja Enayetpuri a great Bangladeshi Sufi shaykh.
Dargahs of India a website listing of Sufi shrines in India, which
often are connected to Sufi centers.
Dargahs of Hyderabad lists 65 shrines. Included are a few pictures,
districts in which they are located, a few links, and even the phone
numbers of a few shrine custodians and shaykhs, including that of a
Sufi shaykh (Shaykh Rasheed al-Hasan Kaleemi Jeeli) to whom two recent
books in English on Sufism have been dedicated (Scott Kugle, Rebel
Between Spirit and Law: Ahmad Zarruq, Sainthood, and Authority in
Islam and Kugle's Sufis and Saints Bodies: Mysticism, Corporeality,
and Sacred Power in Islam).
Orders in Pakistan
Imagining Sufism: Reconstituting the Chishti Sabiri Silsila in
Contemporary Pakistan (link fixed 21 December 2005) by Robert
Rozehnal, Assistant Professor of Islam and South Asian Religions at
Lehigh University.
Sufi Movement in Pakistan a non-scholarly article that is nevertheless
a useful starting point for those interested in Sufism in Pakistan.
(Author not indicated.)
Shah Darazi Order and Khaniqah of Sachal Sarmast (link fixed 21
December 2005). The Shah Darazi order is a branch of the Kubrawiya
order. This Khaniqah is located in the district of Khairpur, in Sindh,
Pakistan.
chhotemianinshallah
Hasan al-Basri, (d. 110 AH/ 728 CE) from Basra in today's 'Iraq, is
one of the earliest links in most Sufi lineages. He is generally noted
in Sufi chains of transmission and is listed as having received the
transmission from 'Ali, who in turn received it from the Prophet
Muhammad. Linked here is an abridged translation of his well-known
letter extolling asceticism written to the Umayyad Caliph 'Umar ibn
'Abd al-'Aziz (r. 717-720) (See Arberry, Sufism, pp. 33-35, whose
source was the Arabic of Abu Nu'aym al-Isfahani, Hilyat al-awliya',
vol. 2, pp. 134-140). (The Eliade archive that was the source of this
is now --October 16, 2001-- back on line again after a few years of
being.) For a useful article see Dr. G. Haddad's al-Hasan al-Basri.
Rabi'a al-Adawiya, certainly the most famous woman Sufi saint, lived
during the 2nd c. AH/ 8th c. CE and died in Basra (in Iraq). See this
Biography of Rabi'a. It is said [that Rabi'a (al-Adawiya ?)] used to
kneel a thousand times daily saying, 'I ask for no recompense, but
[only] to satisfy the Almighty God.' See some brief Excerpts from
Rabi'a's Poetry and Anecdotes told about her. (See above for Rabi'a
bint Isma'il) (corrected 3/22/98). See Deb Platt's Rabi'a site for
more extensive and topically organized quotes of Rabi'a as well as a
short biography.
Bayazid-i Bistami, (d. 874 CE) whose shrine can be visited through
this gateway, was a Sufi shaykh who died before the advent of the Sufi
orders. He is generally known as an exponent of "intoxicated" Sufism.
Sahl ibn 'Abdallah al-Tustari (d. 896) wrote some treatises as well as
a commentary on the Qur'an, which has been published in the original
Arabic and was the subject of a scholarly study in English by Gerhard
Bowering, a professor at Yale University. The commentary has not yet
been reliably edited, nor has it been translated into English, even
though it is short.
Mansur al-Hallaj (858-922) is one of Sufism's most controversial
figures. Executed in Baghdad for political reasons, Hallaj became
famous for his problematic saying, "I am the Real" (Ana 'l-Haqq),
which can also be translated as "I am the Truth" and "I am God." The
only work of his translated into English is the Tawasin (Ta wa-sin).
It was translated by 'A'isha al-Tarjumana and is now on-line, although
there are errors in the scanned document. A collection of his Arabic
poetry survives. One of his poems, translated into English, can be
found at the following link: Hallaj on God (link fixed 20 August,
2005).
Abu al-Hasan Kharaqani (b. 351- 352/962-964 and d. 425/1033)--whose
tomb is in the town of Kharaqan, which is in the general region of
Bastam and which today is in the vicinity of Shahrud, within the
administrative district of Semnan in Iran--received a spiritual
transmission from Abu Yazid Bastami and like Abu Sa'id Abu al-Khayr
(link fixed 20 August, 2005) (967-1049 CE) received spiritual guidance
from Shaykh Abu al-'Abbas Ahmad ibn Muhammad 'Abd al-Karim Qassab-e
Amuli. When he was asked about being a dervish (darvishi)--which is
roughly the equivalent of faqr (spiritual poverty), namely the Sufi
path--he said, "It is an ocean that derives from three springs: the
first, abstenance; the second, generosity; and the third, being
independent of people." When he was asked about the "gnostic" ('arif).
He replied, "A gnostic is like a bird that has flown from its nest
seeking food but has not found any. It then tries to make its way back
to the nest, loses its way, and becomes bewildered--wishing but unable
to go home." (From Nur al-'ulum, ed. by 'Abd al-Rafi' Haqiqat, pp. 37,
39.)
Abu Sa'id ibn Abi'l-Khayr (d. 440/1049), was an early Sufi shaykh who
at different stages of his life was an ascetic, an antinomian
ecstatic, and a spiritual guide. He received a Sufi transmission from
Abu al-Fadl al-Hasan (or ibn al-Hasan) al-Sarakhsi, whom Abu Sa'id
called his "pir" (a Persian word refering to a spiritual guide and
often equivalent to "shaykh"). After the death of Abu al-Fadl, Abu
Sa'id looked to Abu 'Abbas al-Qassab (the butcher), whom Abu Sa'id
called "shaykh," for spiritual guidance. The hagiography Asrar al-
tawhid is one of the two major sources for what we know of his life
and teachings. It has been translated as The Secrets of God's Mystical
Oneness (link to Mazda Press) by John O'Kane. A collection of
quatrains (ruba'iyat) is attributed to Abu Sa'id. See a selection of
some of these among the on-line excerpts from the book Abu Sa'id Abu'l-
Khayr and His Rubaiyat by the Sufi shaykh Dr. Zahurul Hasan Sharib.
Khwajah 'Abdallah al-Ansari, an important Hanbali Sufi author and
saint, died in the 481 AH / 1089 AD. His tomb in Herat, Afghanistan,
(link fixed, Nov. 30, 2000) continues to be an important pilgrimage
site. He wrote a number of treatises in both Arabic and Persian. In a
short treatise in Persian titled "Discourses" (Maqulat) (ed. by
Dastgirdi, pp. 147-48;
translated here by Dr. Godlas), he states the following:
Do you know when the "one who affirms the reality of God" (muhaqqiq-e
Haqq) will become [at] one (yakta)? When three things become apparent
in him:
when what is God's becomes separated from what is man's;
when worldly existence (lit. water and earth) goes to Adam and Eve;
and
when the light of the unmanifest realm becomes one with God.
Come out of your self like a snake out of its skin! [Your identity of]
"one who affirms reality" is a pretense. The truth of self is that all
is He. Let go of your self, since relationship to God is good. How can
the critics' criticism matter to one, when clear water is in the
stream?!
Know that people are a headache, the cure for which is being alone.
Neither do we associate with people, nor do people have [a sense of]
separateness from us. The self is the idol and [people's] approval is
the sign of duality (lit. zunnar). I have all at once uttered the
whole of the depths of the truth, whether you accept or deny it.
As long as there is duality, [one's] relationship is with Adam and
Eve. But when duality departs, the one [reality] is God. When the path
of Lordship (rububiyat) appears, the dust of humanness departs.
He is not veiled; but He is not apparent to every eye. To this extent,
conceal with dignity, since time clarifies. In the scroll of the Sufi,
speech does not arise from the heart, but from the soul. [In fact,] it
is also not from the soul; speech is the pretense. If you can stand
drinking, drink. Otherwise, get to work and shut up!
This is the world of the mysterion (sirr); and this people have
mysteria (asrar). What business does a watchman have with the secrets
of kings?!
For some time I would seek Him yet would find my self. Now I seek my
self and find Him.
Love arrived and became like my blood within veins and skin.
Until it emptied me and filled me with the Beloved.
The Beloved has completely taken possession of the parts of my body.
A name is given by me to me, and the rest is all Him.
Abu Hamid al-Ghazali (d. 1111 CE) was arguably one of the most
significant Sufis of what has been called the period of consolidation.
The article linked with his name is a well-documented survey of his
life and thought written in October 2001 by Mustafa Abu Sway of al-
Quds University. His lengthy masterpiece, the The Revival of the
Religious Sciences (Ihya 'ulum al-din) clearly expressed the Sufi
dimension of Islam. Linked here is his spiritual autobiography The
Deliverance from Error (al-Munqidh min al-dallal), in which he
beautifully portrays his transformation from an intellectual who
merely conjectures about religious truths into a Sufi who experiences
ultimate reality and truth.
'Ayn al-Qudat Hamadani (d. 1131 CE.) was a prominent disciple of the
great Sufi shaykh and writer on "love," Ahmad al-Ghazali, who was the
younger brother of the well-known mainstream Muslim scholar, Abu Hamid
Muhammad al-Ghazali (d. 1111 CE.). For political reasons, 'Ayn al-
Qudat was unfortunately sent to prison, where he wrote the book Shakwa
al-gharib (Complaint of the Stranger), an excerpt of which can be
found at the previous link. Ultimately, he was executed.
Ruzbihan Baqli (d. 606/1209) was an ecstatic Sunni Sufi shaykh and
author from Shiraz (Iran). He was the subject of a recent study,
Ruzbihan Baqli, by Professor Carl Ernst. Although Ruzbihan wrote a
number of books, only his diary of visions The Unveiling of Secrets
(Kashf al-asrar) (in Ernst's translation) is available in English. His
most voluminous work is his encyclopedic Qur'an commentary, 'Ara'is al-
bayan, which includes not only his own view of the Sufi implications
of the Qur'an but also substantial Qur'an commentary from the earliest
Sufi shaykhs (taken from Sulami) and from Qushayri. See his commentary
on "Guide us on the straight path" (Qur'an 1:6). See as well my
article Surrender: Its Significance for Today and in the Qur'anic
Commentary of Ruzbihan al-Baqli . After having identified 65
manuscripts of 'Ara'is al-bayan and having edited and translated a
fragment of it for my Ph.D. dissertation, I am currently in the
process of editing and translating its entirety. Although Henry Corbin
translated part of a work of Ruzbihan's on Spritual Love (Le Jasmin
des fideles d'amour), the first full length French translations of
Ruzbihan's works have been published only recently by Paul Ballanfat
as Le devoilement des secrets (Kashf al-asrar) and L'ennuagement du
coeur (which also includes another work, Les Eclosions de la lumiere
de l'affirmation de l'unicite.
Ibn 'Arabi by Prof. William C. Chittick This article, published in the
Encyclopaedia Iranica, is by the chief authority in the US on Ibn
'Arabi, whose writings were the dominant influence on Sufi literature
after the 13th c. CE. A less detailed discussion is found in the
article A Biographical Sketch of Ibn 'Arabi Although Ibn 'Arabi is
often attacked (an example of which is The Declaration that Ibn 'Arabi
is a Disbeliever [Takfir Ibn 'Arabi] (link fixed 20 August, 2005)),
many consider him to be the greatest Sufi. Hence his title is the
"Greatest Shaykh" (al-Shaykh al-akbar). Here you can see the excellent
pictures of Ibn 'Arabi's mosque and its mihrab.(Fixed 12 Nov. 1998)
Ibn 'Arabi's ideas became the most significant influence on Sufi
literature. A selection of them, as expressed by the great scholar of
Sufism Henry Corbin, can be found in Creative Imagination in the
Sufism of Ibn 'Arabi. The Fusus al-Hikam (Bezels of Wisdom) is Ibn
'Arabi's most popular work, one that has been the subject of numerous
commentaries. Ibn 'Arabi's greatest work is the al-Futuhat al-Makkiya
(Meccan Revelations). Prof. James Morris discusses a part of it in his
four-part article titled Listening for God: Prayer and Heart in the
Futuhat. A number of chapters of the Futuhat have been translated by
the scholar Ayesha Bewley. One of these in particular addresses the
following issues: The beginning of the spiritual creation and the
macrocosm and microcosm.. A brief guide to following the path towards
God written by Ibn 'Arabi (translated by the scholar A. Jeffrey) is
What the Seeker Needs (link fixed 20 August, 2005).
The Poetry of Yunus Emre (in Turkish and English translation)(link
fixed 20 August, 2005). Yunus Emre is no doubt the most beloved Sufi
poet in the Turkish language. Even if you do not know Turkish, you may
catch a glimmer of the beauty of Yunus if you listen to the some of
his poems being sung at the Yunus Emre (with audio) page (link fixed
20 August, 2005). Another interesting site for Yunus is Yunus Emre and
Humanism Surfers should realize, however, that the emphasis on
"humanism" often found in contemporary literature on Turkish Sufism
may lead to a misreading of Yunus.
http://www.uga.edu/islam/sufismearly.html#Hasan
chhotemianinshallah
16. 02. 2004
SUFISM IN INDIA: Its origin, history and politics.
by R.Upadhyay
Mystic interpretation of Islamic life within the bonds of religious
orthodoxy is known as Sufism, which was initially launched by God
fearing people of Perso-Arab world. They renounced the world and
devoted themselves to His service. As the seekers of Tawhid (Unity in
God) they helped in spread of Islam through mystic movement with
intellectualisation of Sunnah (The orthodox customs of Islamic world)
as one of its basic principles. (Encyclopaedia of Islam). The Sufis
either in their lifetime or their tombs after death became a symbol of
supernatural power with metaphysical features ascribed to them under
the guidelines of Quran and Sunnah. The disciples of Sufis adopted the
path of peace or even armed jehad for Shariatisation of the whole
world as a mission of holy duty. "Seekers of Tawhid should strive to
dedicate themselves to the Prophet Mohammad, so much so that their
entire selves, including their hearts and their spirits, were free of
thoughts other than of God" (History of Sufism in India by Saiyied
Athar Abbas Rizvi, Volume 2, 1992, Page 178).
"Mysticism is a practical spiritual discipline based on the insight of
illuminated seekers after truth". It is in fact a mission of higher
religious order of any faith, which disdains strife and conflict in
any form. Joy of self-realisation being the essence of religion is
experienced after a long spiritual practice. The mystics discard
outward form of religion once they attain such joy. The concept of
Sufism was therefore, to focus the mystic power on the spiritual
dimension of Islam with a view to shield the believers from the
outwardly and unrealistic dogma of the faith.
Sufism- was it spiritual or politics?
Contrary to the spiritual mission of Sufism, the cult was primarily
introduced in India for spread of Islam with a view to help the Muslim
rulers for political domination. By and large the spiritual successors
of mystic Islamic saints enjoyed the royal favour of Muslim rulers and
gave moral support to the atrocious Muslim invaders and looked other
way to ignore the growing social conflict. They also guided the State
in political affairs with their experience of regular interaction with
common people.
The way Sufis' tombs emerged as a place of pilgrimage suggests that
the missionary objective of the Islamic mystics was formulated mainly
for conversion and to establish the Perso-Arabian cultural domination
in South Asia. Even though the Sufi saints got convinced with non-
Islamic worldview on metaphysics in course of their interaction with
non-Muslim saints, they did not allow their followers to accommodate
it in the straight jacket of Islamic theology. Sufi saints commonly
viewed as symbol of secularism however, never opposed Jejiya (Tax
imposed on non-believers) levied on Hindus in Islamic India.
Sufis had accompanied the Muslim marauders in their conquest and
brought Islam in contact with Hindu priests and saints. They were
receptive to some of the local Hindu traditions may be for a tactical
reason to entice the locals towards Islam but ensured that local norms
are not accommodated against the watertight Islamic belief, dogma and
practice of Quran, Hadith and Sharia which were the fountainheads of
Sufism. Their deeply rooted belief and practice of Islamic norms
within Perso-Arabic traditions remained the bedrock of the mystic
movement. Therefore, in stead of advising the Muslim marauders against
their inhuman deeds, the Sufis overlooked the plight of Hindu priests
and saints, who were forced to flee and hide themselves.
Passion to the essential spirituality of life was hardly found in any
Muslim ruler or Prince except Dara Shikoh (1615-1659). He was perhaps
the only sincere Muslim prince, whose "effort was to find a common
ground between Hindu and Muslim religious thought" (Islamic Mysticism
in India by Nagendra Kumar Singh, Page 179). For this he was accused
of heresy.
Under the patronage of the State under Muslim rulers, the Sufi mystics
while offering spiritual guidance and support to the Hindu subjects
allured them for adoption of Muslim identity, superiority of Arbo-
Persian-Turkish tradition and accordingly transplanted them in the
cultural tradition of India. "The establishment of Sufi orders in
India coincided with the rising political power of Muslims (Muslim-
Almanac edited by Azim A.Nanji, 1996, Page 61).
Despite the fact that except Prophet Mohammad, the sainthood in Islam
has been a debatable issue, Sufism of various orders in the name of
their founder saints has become a universal aspect of Islam. Sufis are
known as Islamic spiritualists and the Muslims commonly view them as
intermediaries between God and individuals.
Sufism is the sultanate period:
During the period of Sultanate in India these mystics were supposed to
guarantee the prosperity to Islamic kingdom. They were patronized by
the state for spreading Islam among the non-believers with their
acclaimed spiritual influences in the mass. The gift and land provided
to the Islamic mystics were used for hospice and their tombs became a
place of pilgrimage after their death.
"On paper, the Sultanate seemed to be a perfectly Islamized state
(but) religious leaders often of Arab origin and the religion (Islam)
were subordinated to the political exigencies of the Turko-Afghans,
who were in power" (A History of Modern India edited by Claude
Markovitz, Anthen Press, 2002, Page 30). "No document attests to the
peaceful preaching of the Sufis that most defenders of Islam put
forward today" (Ibid. Page 33). "The attraction exercised by the
politico-economic benefits that Islam offered seemed to have been the
primary motivation for conversion, which particularly affected the
middle strata of society" (Ibid.page 33).
Even though the majority of Sufi orders have a Sunni orientation,
early Shia Imams were also revered commonly in Sufi circles. However
Nakshbandi order of Sufism, which reached the Prophet via Abu Bakra
was notably known for anti-Shia views. Suhrawardiyya and Naqshbandiyya
orders of Sufism had more support of Muslim political powers in
India." The numerous Sufi religious establishments in India were the
major means of spreading Islam and adapting it to indigenous cultural
tradition" (Islamic Mysticism in India by Nagendra Kumar Singh, former
Chairman, Islamic Research Foundation, Delhi).
Various Sufi Orders:
Of the various Sufi orders, Muslims of India prominently follow
Chistiyya, Naqshbandiyya, Qadiriyya and Suharabardiyya. Of them the
impact of Chisti order is visible even in small villages of Indian
subcontinent. Kwaja Moin-ud-Din Chisti, a disciple of Khwaja Abu
Abdal Chisti, the propounder of this order introduced it in India.
Born in Afghanistan in 1142 AD, he came to India with the army of
Shihab-ud-Din Ghuri in 1192 AD and selected Ajmer as his permanent
abode since 1195. His shrine became a place of pilgrimage largely with
the support of Muslim rulers. Akbar used to have annual pilgrimage
there (Indian Islam by Murray T.Titus, 1979, Page 117).
Four Islamic mystics from Afghanistan namely Moinuddin(d. 1233 in
Ajmer), Qutbuddin(d. 1236 in Delhi), Nizamuddin (d.1335 in Delhi) and
Fariduddin (d.1265 in Pattan now in Pakistan) accompanied the Islamic
invaders in India (A History of Modern India edited by Claude
Markovitz, Anthen Press, 2002, Page 30). All of them were from the
Chistiyya order of Islamic mysticism. Radiating from Delhi under
Nizamuddin and following the trail of Mohammad ibn Tughlaq towards the
south, the Chistiyya spread its roots all across India ( A History of
Modern India edited by Claude Markovitz, Anthen Press, 2002).
Internationally famous Sufi Shine at Ajmer Sharif in Rajasthan and
Nizamuddin Auliya in Delhi belong to this order.
A section of Sufis under Chistiyya order was not against adjustment
with Hindu saints of Bhakti cult and used even Hindi language for
Islamic devotional songs. However, the orthodox Ulama with royal
support forced the Sufis to raise the slogan of "back to Shariat" Even
though Ulama had certain differences with Sufis over theological and
mystic issues, Shariat remained a cementing force between them. Later
both the Islamist groups joined together to woo the rulers with a view
to furthering their self-seeking interest.
Suharawardy order of Sufism was founded by Shihabud-Din Suharawardy of
Baghdad and introduced in India by his disciple Baha-ud-Din Zakariya
of Multan. Suharawardiyya order of Sufism became popular in Bengal
(Contemporary Relevance of Sufism, 1993, published by Indian Council
for Cultural relations). Qadiri order founded by Abdul Qadir whose
tomb is at Baghdad. Its influence is extensively among the Muslims of
south India.
Baha-ud-Din Naqshband (1318-1389) of Turkistan founded Naqshbandi
order of Sufism. Insistence on rigid adherence to Shariat and
nurturing love for prophet was the essence of this order that
established its hold in India under the patronage of Mogul rulers, as
its founder was their ancestral 'Pir' (Spiritual guide). "The conquest
of India by Babur in 1526 gave considerable impetus to the
Naqshbandiyya order" (History of Sufism in India by Saiyied Athar
Abbas Rizvi, Volume 2, 1992, Page 180). Its disciples remained loyal
to the throne because of the common Turk origin. With the royal
patronage of most of the Mogul rulers Naqshbandi order served the
cause for revival of Islam in its pristine form.
Khwaja Mohhammad Baqi Billah Berang whose tomb is in Delhi
(E.I.Rose ) introduced Naqshbandi order in India. Though, the Sufis of
this order were lying low during the period of Akbar, Khalifa Shaikh
Ahmad Sirhindi, (1564-1624), a favourite disciple of Baqi Billah
achieved increasing importance and popularised this order when the
Great Mogul became bed ridden. Baqi Billah, nicknamed him as 'Mujaddid
(Reformer or reviver of Islam for the second millenium).
Sufi Thinkers:
The Sharia-guided mystic influence of Sufis produced the Muslim
thinkers like Shaikh Ahmad Sirhindi, Shah Wali Ullah, Sayied Ahmad
Barelavi, Karamat Ali, Sir Sayed Ahmad Khan, Allama Iqbal and Maulana
Maududi. They used the mystic philosophy befitting to the political
exigencies of the time for revival of political supremacy of Islam. Of
them the Sufis like Sirhindi and Wali Ullah, who politicised the
mystic ideology for political domination of Islam. They were projected
as Islamic reformists for purifying Islam from any extraneous
influences. They conveyed the political aspect of Islam to Muslim
masses so aggressively that it created a permanent imprint on their
psyche. It is therefore said that the Sufi Islamists saved the Islam
but failed to save the downfall of Mogul Empire.
The mission of Shaikh Sirhindi popularly know as Mujaddid was to
purify Islam from the influence of Akbar with a view to counter his
policy of "the Hindu wielding the sword of Islam" and "Peace with
all". Unhappy with the regime of Emperor Akbar for withdrawal of Jejia
tax imposed on the Hindus, Sirhindi made hectic effort to purge Islam
of all extraneous influences. He viewed Hindu mystics like Guru Nanak
and Sant Kabir contemptible, as they did not follow Sharia.
With contempt against old schools of mysticism for tolerance,
Sirhindi condemned the reign of Akbar for his 'broadmindedness' and
policy of 'peace with all'. Propagating against the contemporary socio-
cultural situation Sirhindi, felt that the attitude of Akbar "sullied
the purity of Islam and the political social and cultural life of
Muslims" (History of Sufism in India by Saiyied Athar Abbas Rizvi,
Volume 2, 1992, Page Page 212). During the closing years of Akbar
reign, when his son Salim had revolted against him, Sirhindi spread
the virus of communalism with some success "in the beginning of
Jehangir's reign". He strongly criticised freedom of worship granted
to the Hindus. Hate-Hindu syndrome was so deep in him that "death of
Akbar (1605) filled Shaikh Ahmad with hopes that the pristine purity
of Islam would be implanted in India" (Sufism in India by Saiyied
Athar Abbas Rizvi, Volume 2, 1992, Page 204). "Misguided and greedy
Ulama, he (Sirhindi) believed, were responsible for the alleged
downfall of Islam in Akbar's regime" (Ibid. Page 365.)
With his strong contempt against Shia and the Hindus, Sirhind wrote
several letters to the nobles in the court of Jehangir for guiding the
emperor on the path of Shariat, and for removal of Qafirs (Shias and
Hindus) from the administration. He was dead against any honourable
status of Hindus in Islamic government. Sirhind wanted the religious
freedom enjoyed by the Hindus during Akbar regime to be curbed.
Enraged with his too much interference in administration, Jehangir
imprisoned him in Gwalier (A History of Sufism in India by Saiyid
Athar Abbas Rizvi, Vol. II, 1972, Page 178) but released him after one
year. Sirhind not only "injected communal virus into the body politic
of the country but also generated hatred, mutual distrust and discord
among the various sections of Muslims"(Ibid. page XII). Despite this
anti-Hindu tirade of Sirhindi, Maulana Abul Kalam Azad in 1919
eulogiged the role of Mujaddid (Sirhind),"who did not see eye to eye
with the policy of state" (Ibid. Page215).
Shah Wali Ullah, a prominent Muslim thinker of eighteenth century who
shaped the destiny of Indian Muslims was also a Sufi of Naqshbandi
order. His contempt against the Hindus was identical to Shaikh Ahmad
Sirhindi. The rise of two Hindu rebellious groups namely Marathas and
Jats against the Muslim rulers in 1750s stirred the mystic spirit of
Wali Ullah and he invited Ahmad Shah Abdali, the Afghan ruler to
invade India to save the Muslims from the subjugation of Hindus. While
formulating the contours of his mystical ideology, he transformed the
Islamic mysticism to a theo-political concept for supremacy of Islam
and for political power to the Sunnis.
Wali Ullah started a tradition of reformed Sufism in which Islamic
mysticism was far superior to other form of mystic philosophy. His
reform in Sufi cult made the spirituality of Islam subservient to
Political Islam. His doctrine for internal unity of Muslims through
complete adherence to pure Islam was only to fight against the
infidels and for reestablishment of assertive Islamic political power.
His ideology had no scope to accommodate any order of non-Islamic
mysticism, which he regarded unhealthy. He tried to comb out all the
foreign influences, such as neo-platonism and Vedantism from Islamic
mysticism. Carving out a new path for Sufism he became an active
Islamist with a sole objective for resurgent Sunni political power in
Delhi. (A History of Sufism in India, Vol. II, Rizvi, Page 259).
Bridging the gulf between the Islamic clerics and Sufis, Wali Ullah
infused new vigour in practice of Naqshbandi Sufi order. He
synthesised the disciplines of the three major Sufi orders namely
Qadari, Chisti and Naqshbandi with a view to unite the Muslim society
against the Hindus. Like Shaikh Ahmad Sirhind he was also against the
presence of Hindu employees in the administration of Muslim rulers as
he viewed it detrimental to the purity of Islam. His attempt was to
purify Islam from the mystic influence of Hinduism. Under the
influence of Serhindi whose belief that Islam is a complete way of
life stirred the Muslims to retrieve the medieval glory of the faith
in this sub continent. The exclusivist Ideology of Wali Ullah, which
sowed the seed of Muslim separatism in South Asia had nothing to do
with the secular intellectual approach towards spiritualism.
Against the total rejection of Sufism by his contemporary radical
Islamist Wahhab of Saudi Arabia, Waliullah used his mystic ideology
for political domination of the Muslims in the region. However, the
spirit and aim of both were for adherence to pure Islam. He was the
main guiding source for Muslims after the decline of Islamic rule in
Indian subcontinent. Contrary to the commonly viewed Sufi tradition he
was not receptive to the spiritual tradition of local Hindus in any
form. His main spiritual concerns if any was for revival of Islamic
India.
The Muslim ruler under the influence of the doctrine of Shah Wali
Ullah patronised Islamic learning and "took away the administrative
and economic power that had passed into the hands of Hindus" (Islamic
Mysticism in India by Nagendra Kumar Singh, Page 185). "For Shah Wali
Ullah, the decline of Mogul political power and the spiritual
decadence of Indian Islam were closely related "(The Sufi Orders in
Islam by J. Spencer Trimingham, Oxford, 1971, Page 196).
Sayyid Ahmad Barelavi, a disciple of Abd al Aziz, (the son of Shah
Wali Ullah) continued the tradition of Waliullah by synthesising the
three major Sufi orders" (The Sufi orders in Islam by Spencer
Trimingham, Oxford, 1971, Page 129). He launched armed jehad against
the non-Muslims but was killed in the battle of Balkot against Sikh
leader Ranjit Singh. Karamat Ali, a disciple of Sayed Ahmad Barelavi
further developed the ideology for purifying Islam from the influences
of Hindu custom and tradition. "His work largely paved the way for the
establishment of the organisation which has more recently been
developed under the name of Ahl-I-Hadith" (Indian Islam by Murray T
Titus, 1979, Page 186). It was a neo-Sufi concept of Islam interpreted
by Shah Wali-Ullah.
The leaders of Deoband movement were also under the influence of both
Wali Ullah and Wahhab and accordingly they resisted against the
British and were critical of Aligarh movement because of its leader
Sir Sayed Ahmad being loyal to it. Protracted struggle with the
concept of greater jehad was the basic creed of Deoband movement,
which is a synthesis of Wahhab and Wali Ullah. Deobandis extreme
austere approach towards Wahhab and harsh condemnation of the much
popular practice of Sufism in India are being viewed as a totally anti-
Sufi movement. Ahmad Riza Khan Barilavi(1856-1921), the founder of
Barelavi movement was the defender of traditional Sufi movement but
Mohammad Ilyas, a pietistic missionary group though, appropriated the
ethical emphasis of Sufism rejected its ritual, metaphysics and
sainthood (M.A.Haq - The Faith Movement of Maulana Ilyas, London, 1972
- Quoted from Encyclopaedia of Islam Vol. X, page 336).
Sufi during British Rule:
Sufi movement became dormant with the decline of Muslim power in
India. With the failure of armed resistance against the British and
Sikh- Hindu combined, the followers of hard line Sufism were forced to
adjust with the ground reality of non-Muslim occupation of Indian
subcontinent but did not reconcile with it. The failure of Sepoy
mutiny and consolidation of British power in Indian subcontinent was a
further jolt on the radical Islamists but all the Islamic revivalist
movements like Deoband, Aligarh and Pakistan drew their inspirations
from the anti Hindu syndrome of Sufi saints like Sirhind and Shah Wal
Ullah. Khilafat movement and subsequent Pakistan movement were the
outcome of the jehadi interpretation of Walli Ullah brand of neo-Sufi
jehad against the political domination of non-believers. The
resistance of Muslims against the British and subsequently against the
Indian National Congress was due to deep and hard line influence of
Shah Wali Ullah over them.
Before the failure of 1857 Sepoy mutiny Sir Sayed Ahmad Khan was a
follower of the neo-Sufi cult of Shah Waliullah.. Elizabeth Syrriyeh
(Sufis and Anti-Sufis, 1999) maintained that Syed Ahmad Khan gradually
distanced himself fro Shah Wali ullah. But firmly rooted in the Indian
Islamic mysticism he was deeply pained with the plight of Muslims
after the collapse of Sepoy mutiny of 1857. He therefore, took up the
challenge of modern education and transformed the revolutionary mystic
ideology of Shah Wali Ullah for revitalisation of Islamic glory
through western education. Had he distanced himself from Wali Ullah,
he would not have initiated the two-nation theory on the line of this
Sufi Islamist to promote the movement of Muslim separatism through his
Aligarh movement.
Sir Sayed’s philosophy was a synthesis of progressive and orthodox
Islam. On one hand he favoured modern education on European pattern
and on the other he supported Islamic orthodoxy for superior religious
identity of Muslims. He reinterpreted the cultural heritage of Islam
within the mystic ideological frame of Wali Ulla, His Aligarh movement
was a tactical but a hidden alliance of the Muslims with British
under latter's sovereignty to revive the supremacy of Muslims. He
advocated for free discussion on Islam but due to his communal
obsession he did not strive hard to prove his point for the socio-
religious integration of Indian society. His excluvist belief of
Muslims' superiority was based on the mystic ideology of Wali Ullah.
It was against the unity of Indian society.
According to Allama Iqbal, "he (Wali Ullah) was the first Muslim to
feel the urge for rethinking the whole system of Islam without in any
way breaking away from its past" (The Sufi Orders in Islam by J.
Spencer Trimingham, Oxford, 1971, Page 198). In fact Wali Ullah and
Abd al Wahhab recommended religiously approved jehad against
unbelievers (non-Muslims) but rejected the commonly viewed difference
between lesser jehad and greater jehad. "This physical armed struggle
had commonly been termed 'lesser jihad' (al-jihad-al -asghar), the
greater jihad (al-jihad-al akbar) being the struggle for the interior
spiritualisation of individual battle waged against the base self
rather than exterior armies" (Sufis and anti-Sufis by Elizabeth
Surriyeh, 1999, Page 29).
Iqbal was a known follower of Islamic mysticism of Qadiriyya order.
He, synthesied the mystic ideology of Wali Ullah and the modern view
on Islam of Sir Sayed Ahmad Khan and made his Islamic mystic approach
completely subservient to political domination of the Muslims.
Applying modern philosophy in his intellectual exploration of Sufism
he gradually turned to an anti-Sufi philosopher. He said, "The present
day Muslims prefer to roam about aimlessly in the dusty valleys of
Hellenic -Persiam mysticism, which teaches us to shut our eyes to the
hard reality around, and to fix our gaze on what it describes as
'Illuminations' a blue, red and yellow reality springing up from the
cells of an overworked brain" (Sufis and anti-Sufis by Elizabeth
Syrrieh, 1999). "Sufi shaikhs constituting a spiritual aristocracy,
Iqbal appealed to Muslim youth to cast off the Sufi noose from their
neck" (Ibid. Page133). For Iqbal Sufism was a formulation of Islamic
Persianism. It was contrary to the purity of Arabic faith in its
original version. His rejection of Sufism was influenced by Wahhabi
movement of Saudi Arabia, which was more concerned with Islamic power
following the decline of Muslim power in eighteenth century.
CONCLUSION
The concept of Tawhid (Unity in God), which is the real formulation of
Sufism suggests that Islamic mysticism has no difference with the
formulations of other non-Islamic faiths about the oneness of God. On
this basis Sufism became popular in India during the period of Muslim
rule. But when the Sufis supported the Muslims in their political
conflict with the Hindus and played important role in conversion of
indigenous people to Islam, it gave birth to politicisation of
religion, which generated communal tension between the two major
religious communities. The movement for purifying Islam from
extraneous influences, which was launched by the Sufis like Saikh
Ahmad Sirhindi and Shah Wali Ullah was against the spiritual doctrine
of 'Tawhid' (Unity in God). Creating a far-reaching impact on the
psyche of Indian Muslims it continues to keep the Muslim mass away
from the modern global changes.
Sufism in India has commonly been viewed as a secular attempt for
eternal quest of the soul for its direct experience of the ultimate
Super power. For centuries the Hindus accepted Sufi shrines as symbol
of communal harmony. A large number of them have been offering prayers
in Sufi shrines without any reservation but this liberal gesture has
not been reciprocated Muslims.
Had Sufism as commonly been viewed as an attempt to adapt Islam in
Hindu tradition, the philosophy of two-nation theory would not have
emerged. The Hindu revivalist movement like Arya Samaj was a reaction
to politicisation of the doctrine of Sufism, which widened the gap of
mistrust between the two major religious communities of South Asia.
Contrary to the common perception that Sufism tried to unify the Hindu-
Muslim spirituality for a communal harmony, the political Islamists of
Sufi background used the doctrine of Tawhid to accelerate the process
of Muslim separatism in Indian subcontinent. Their movements were the
by-products of Sufi tradition of Islam. They were basically the
mystics for the political domination of Islam activists.
The basic creed of mystic movements is unity of God irrespective of
religious connotation. Unity of God denotes social unity and universal
brotherhood. But these political mystics not only divided the society
on the basis of religion but their doctrine created a permanent Hindu-
Muslim conflict in the region. The spirit of mysticism is to resolve
any dilemma confronting the society. But Sufi movement failed to
resolve confronting Hindu-Muslim dilemma in Indian society. In
practice they launched a movement for systematic dehumanisation of
Islam and negated the concept of Islamic spiritualism of Tawhid (Unity
of God).
(Email:ramas...@rediffmail.com)
http://www.southasiaanalysis.org/%5Cpapers10%5Cpaper924.html
chhotemianinshallah
Rahat Fateh Ali Khan was born in Faislabad, Pakistan and is the nephew
of late Ustad Nusrat Fateh Ali Khan. He loves to sing sufi songs and
ghazals. However, qawwali has been his family business for more than
600 years. His did his first musical show at the age of just eleven.
Rahat Fateh Ali Khan considers himself as a successor of Nusrat Sahab.
Rahat terms Qawaali as a message that was created by Sufis for humans.
He wants to spread the message of sufism through this form of music.
He is very sure about his future as a mean for fulfilling the desire
of Nusrat Fateh Ali Khan to give the message of Sufism to this world.
Some of his hit bollywood songs in films are:
1. Lagan lagi tumse mann ki lagan - Paap
2. Tujhe dekh dekh sona tujhe dekh kar hai jagna maine ye zindgani
sang tere bitaani tujhme basi hai meri jaan hai jiya dhadak jai -
Kalyug
3. O re piya o re piya - Aaja Nachle
4. chann se toote koi sapna jag soona soona laage koi rahe na jab apna
jag soona soona laage - Om Shanti Om
5. Main jahaan rahoon main kahin bhi hoon teri yaad saath hai -
Namastey London
6. Dhaage tod laaon chandani se noor ke, ghoonghat bhi bana lo roshni
ke noor se - Jhoom Barabar Jhoom
7. Koi chala Jaa raha hai - Woodstock Villa
8. Haal-e-dil - Haal-e-dil
9. Naina - Omkara
http://bollywood-songs.org/rahat-fateh-ali-khans-top-bollywood-musical-hits/
bademiyansubhanallah
Bibliography of the Naqshbandiyya by Vika Gardner, a Ph.D. student at
the University of Michigan, to be very useful.
Haji Bayram Veli (d. 833 AH/ 1429-30 CE), a great Anatolian shaykh and
disciple of the Khalwati shaykh, Hamid al-Din or Hamid Aksaray (d. 805
AH/ 1402 CE), was the founder of the Bayramiye order. Three of his
disciples each founded or were at the root of separate orders: Ak
Shams al-Din founded the Shemsiye order, Hizir Dede was the ancestor
of the Celvetiye (Jalwatiya), and Bursali Omer Dede was the founder of
the Melamiye (Malamiya) order. The Tomb and Mosque of Haji Bayram
(link fixed Jan. 2005) in Ankara can be viewed here. More information,
especially about the interior of the mosque of Haci Bayram (as it is
spelled in Turkish) is found at the website of the Turkish Ministry of
Culture. The Ottoman Melami Sufi order became interconnected with the
Bayramiye order.
Khwaja Moinuddin Chishti (from Chisht or Chesht-e sharif, due East of
Herat on the Hari Rud in Afghanistan, although his tomb is in Ajmer,
India) is the most well-known of the early saints of the Chistiya
order, which is prominent in India and Pakistan and has spread (in
various forms) to the West. The first of the Chishti saints was Abu
Ishaq Shami Chishti (d. 329/940-41), whose shaykh was a well-known
Sufi shaykh, Mimshad (or Mumshadh, after al-Dhahabi in Tarikh al-
islam) al-Dinawari (d. 299/911-12) (from Dinawar, which was a city in
Iranian Kurdistan northeast of Kermanshah, that was later completely
destroyed by Timur). See An Introduction to Sufism, is an article
written by a recently deceased shaykh of the Chistiya who had resided
for many years in Toronto. Read about Khwaja Moinuddin's shrine
(dargah) at two sites:The Dargah (link fixed 22 Sept. 2005) and Ajmer
Sharif; and virtually visit the Dargah of Khwaja Mu'in al-Din in
Ajmer, India. Visit also the Shrine of Nizam al-Din Awliya (d.
725/3125), (fixed Sept. 22, 2005) a Sufi shaykh of the Chisti order
who is buried in New Delhi, India. One of disciples of Nizam al-Din
Awliya was the great Sufi poet Amir Khusraw Dihlawi (d. 725/1325), who
was buried at the feet of his master.
Chishti Sufi Order in the Indian Subcontinent and Beyondby Raziuddin
Aquil (Center for Studies in Social Sciences, Calcutta), published in
Studies in History, vol. 21, #1, n.s. 2005. (PDF format)
Chishti orders with websites include the following:
Chishti-Habibi Soofie Islamic Order website was constructed by a South
African branch of the Chishti order deriving from Sayed Khwaja Habib
Ali Shah from Hyderabad (India) (d. 1326/1906).
Chisti Order of Sufis, (link fixed Sept. 22, 2005) which is affiliated
with Shaykh Hakim Abu Abdullah Moinuddin, the author of the Book of
Sufi Healing. This is an excellent, comprehensive site covering topics
such as the history and literature of the Chisti Order and including
pages on actual Sufi practice and Sufi healing.
Gudri Shahi Branch of the Chishti Order (link fixed Sept. 22, 2005)
established by Dr. M. Qadeer Shah Baig in Toronto, Canada. The current
khalifa in Toronto is Syed Mumtaz Ali.
Gudri Shahi/Zahuri Branch of the Chishti Order previously headed by
Hz. Zahurul Hasan Sharib (d. 1996) and currently headed by Inaaam
Hasan of Ajmer, India. This branch now has a presence in England, the
Americas, and other regions of the world. Jamiluddin Morris Zahuri (a
devotee of Hz. Zahurul Hasan and the webmaster of the Zahuri website),
notes that the Gudri Shahi order actually has two lineages, one
deriving in this material world from the Qadiriya and the other being
an "Uwaysi" transmission (occuring in the non-material world of the
spirit) from Khwaja Moinuddin Chishti to Hazrat Saeen Gudri Shah Baba
(Saeenji Sahib), who is the founder of the Gudri Shahi order. In
addition, some members use the appellation "Zahuri" to refer to their
affiliation with Hz. Zahurul Hasan Sharib. For more information see
Jamiluddin Morris' letter to Dr. Godlas (links fixed 22 Sept. 2005).
The teachings of another Chishti branch that also has a Qadiri lineage
can be found at the site Islam and the Sufi Tradition of Chishti
Qadhiri. The current shaykh is FaizeeShah. (Link fixed, Dec. 11,
2009)
The Chishti Website is a nicely designed general website, in both
English and Russian, dealing with the Chishti order, although there
does not appear to be any information on the connection of the site to
any particular Chishti lineage or shaykh. The focus of the site is
teachings rather than history, although there is some information on
early Chishti shaykhs. Of particular interest to me is one of is main
articles, Sufi Symbols, a treatise on the symbolism of the letters of
the alphabet.
http://www.uga.edu/islam/sufismorders.html#Chishti
Naqshbandiyya Bibliography
By Vika Gardner
For reference only – please do not reproduce. July 13, 1999
Bibliography on Makhdum-i A'zam maintained separately.
Index
| General Histories | Historiography and Catalogues |
Literature, Theology and Religious Practices:
| Primary Sources | Secondary Sources, Before Twentieth Century |
Secondary Sources, Twentieth Century |
By Region
| Eurasia | Turkey and Ottoman Empire | India and Southeast Asia |
Balkans | Middle East | Other |
Sources are limited to those in languages which I know. (Sorry!)
Information in brackets are notes or comments.
Origins, Biographies, and General Histories
Abdulloh, Hoji Ismatulloh. "Bahouddin Naqshband." In Ghoiiblar
Xailidan Ëngan Chiroqlar, pp. 168-175. Edited by Zufarjon Jörarv.
Tashkent: Özbekistan, 1994. [IU: BP 189.4 .G495 1994.]
Abul Muhsin Muhammad Boqir ibn Muhammad Ali. Bahouddin Balogardon.
Tashkent: 1993. [From Naqsh/Nav, p. 6. Placement tenetive. Another
possible title: Maqomoti hazrati Xoja Naqshband. Possible translator:
Mahmud Hasanii.]
Ahmad, Sayyid Aminuddin. Sufiyah-yi Naqshband. Lahore: Maqbul akid’mi,
1973. [ILL Chicago research libs. In Urdu. 430 pp. Handwritten.
Biographies of Naqshbandi saints.]
Algar, Hamid. "The Naqshbandi Order: A Preliminary Survey of its
History and Significance." Studia Islamica 44 (1976): 123-152.
_____. "A Brief History of the NaqshbandÏ Order." Cheminements, pp.
3-44. [Cited as "Algar3"]
_____. "Political Aspects of Naqshbandi History." Cheminements, pp.
123-152.
Babinger, Franz. "Zur Frügeschichte des Naqschbendi-Ordens." Der Islam
13 (1923): 105-107.
Bahai, Nasrullah. [Risale-i Behaiyye] Buyuk Islam velisi Muhammed
Behaeddin Shah Nakshibendi: hayati, sahsiyeti, menkibeleri. Istanbul:
M. Sevket Eygi Matbaasi, 1966. [RLIN: UC Berkeley. 147 pp.]
Berezikov, Evgenii. (Nasafii) Hazrat Bahouddin Naqshband. Toshkent:
Özbekiston Respublikasi Fanlar Akademiyasi "FAN," 1993. [48 pp. Brief
history of the order from a believer’s perspective. Short quotes from
other works. (Navoii, Sobiq). Some explanatory footnotes. UM: BP
80 .B16 B47 1993; IU: BP 80 .B227 B47 1993]
Bukhoro Davlat Universiteti. Jahon mulkining nigohboni. Bukhoro: 1993.
[From Naqsh/Nav, p. 7]
Coslovi, Fr. "Il ruola secolare della tariqa naqshbandi: note
preliminari." Annali Ca’Foscari 14 iii (ser. or. 6, 1975): 123-129.
Damrel, David William. "The Spread of Naqshbandî Political Thought in
the Islamic World." Cheminements, pp. 269-288.
Dara Shekukh. Safinat al-auliia. ms. St. Petersburg, LO IVAN, S521.
[IES-N.]
Dimashqiyah, ‘Abd al-Rahman. al-Naqshabandiyah: ‘ard wa-tahlil. Riyad:
Dar Tibah, 1984.
_____. al-Naqshabandiyah: ‘ard wa-tahlil. 2nd ed. al-Qahirah: Maktabat
Ibn Taymiyah, 1988.
Dovud, Muhammad. "Xoja Bahuddin Naqshbandii Mavalludining 675
iillighiga." Saodat 4-5 (April-May 1993): 2-4. [In Uzbek.]
al-Dzhili, ‘Abd al-Karim. Tarik al-irshad li-takmil al-mu’minin va-l-
aba ‘il. Egypt. 1328 g.kh. [IES-N.]
Ertugrul, Mustafa. Bahddin Nakshibent. Istanbul, 1955.
Fletcher, Joseph F. Studies on Chinese and Islamic Inner Asia. Edited
by Beatrice Forbes Manz. Aldershot, Great Britian: Variorum, 1995.
Fusfeld, W. "Naqshbandiyya Sufism and Reformist Islam." J. Asian and
African Studies 18 (1983): 241-262. Also in Ibn Khaldun and Islamic
Ideology, pp. 89-110. Edited by Bruce B. Lawrence. Leiden: E.J. Brill,
1984. [IU: DS1 .J86]
Gaborieau, Marc; Popovic, Alexandre and Zarcone, Thierry, eds.
Naqshbandis: Cheminements et situation actuelle d’un ordre mystique
musulman. Actes de la Table Ronde de Sèvres, 2-4 May 1985. Istanbul:
Éditions ISIS, 1990. [UM/IU: BP189.7.N35 N36 1985. Cited in this
bibliography as "Cheminements".]
Graham, Terry. "Shah Ni’matullah Wali: Founder of the Ni’matullahi
Sufi Order." In The Legacy of Mediaeval Persian Sufism, pp. 173-190.
Edited by Leonard Lewisohn. London: Khaniqahi Nimatullahi
Publications, 1992. [Article mentions Naqshbandiyya a lot.]
Habib, Madelain. "Some Notes on the Naqshbandi Order." Muslim World 59
(1969): 40-49.
Hourani, A. "Shaikh Khalid and the Naqshbandi Order." Islamic
Philosophy and the Classical Tradition, pp. 89-103. Edited by S. M.
Stern, Albert Hourani and Vivian Brown. Columbia: University of South
Carolina Press, 1972. [Grad. B740.I82]
Islomii, Hamidjon. Ipor hid ila tughilgan orif Xoja Bahouddin
Naqshband. Toshkent: 1993. [From Naqsh/Nav, p. 6; placement tenetive.]
Jami, ‘Abd al-Rahman. The Nafahat al-Ons min Hadarat al-Qods, or the
Lives of the Soofies by Mawlana Noor al-Din. Calcutta, 1859.
_____. Nafahât al-uns. Ed. Mahdî Tawhîdîpûr. Tehran: Kitabfurushi-i
Mahmudi, 1337/1958. [DeWeese, "Uvaysi". Same as above, in persian.]
Kabbani, Shaykh Muhammad Hisham. The Naqshbandi Sufi way: history and
guidebook of the saints of the Golden Chain. Foreword by Seyyed
Hossein Nasr. Chicago: Kazi Publications, 1995. [RLIN: 469 pp,
illustr., biographies. Maps, biblio, indices.]
Khan, Sardar Ali Ahmad, ed. The Naqshbandis. Sharaqpur, Pakistan:
Darul-Muballeghin Hazrat Mian Sahib, 1982. [UPenn. 182 pp. Biblio]
Khani, ‘Abd al-Majid ibn Muhammad. al-Hada’iq al-wardiyah fi haqa’iq
ajilla’ al-Naqshabandiyah. Damascus: ‘Abd al-Wakil al-Durubi, 1306
[1890].
Köprülü, Mehmed Fuat. Influence du Chamanisme Turco-Mongol sur les
Ordres Mystiques Musulmans. Istanbul: Imp. Zellitch Frères, 1929.
Lakhuri, Gulam Sarbar. Khazinat al-asfiia. 2nd ed. 2 vols. Kanpur,
1902. [IES-G. No UM]
Makhfiulkhairi, Khalid Amin. Silsilah-yi Khairiyah, ma’tazkirah-yi
masha’ikh-i Naqshbandiyah. Lahore: Khvajah Abulkhair Akaidaimi, 1981.
[Chicago research center. In Urdu. 400+ pp, handwritten. Biographies
of Naqshbandi’s.]
Malamud, Margaret. "Sufi Organizations and Structures of Authority in
Medieval Nishapur." J. Middle East Stud. (1994) 26, pp. 427-442.
Meier, Fritz. Zwei Abhandlungen über die Naqshbandiyya. Beiruter Texte
und Studien, Band 58. Stuttgart and Istanbul: In Kommission bei Franz
Steiner Verlag, 1994. [UM. Review of the history of the order.
Includes bibliography. DS 42.4 .B42 v.58]
Ochilov, È. "Naqshbandiimi Naqshband?" Özbekiston adabiëti va can"ati,
30 April 1993. [from Naqsh/Nav, p. 7]
Qayumov, Aziz. Bu ohang ila bilghasen Naqshband. Toshkent: 1993. [from
Naqsh/Nav, p. 6; placement uncertain.]
Roseman, J. "Sufi Orders in Different Social Contexts: Comparative
Observations -- notes from current research." Bulletin of the Israeli
Academic Center in Cairo 5 (1984): 10-11.
Said, A. Fuad. Hakikat tarikat Naqsyabandiah. Jakarta: Pustaka
Alhusna, 1994. [RLIN: 212 pp., biblio. Yale.]
Semenov, A. A. "Bukharskii sheikh Bakhaud-din. 1318-1389. (k ego
biografii)." Vostochnyi sbornik v chest’ A. N. Veselovkogo, pp.
202-211. Moscow: 1914. [IES-N. No UM]
Shushud, Hasan Lutfi. Masters of Wisdom of Central Asia. Trans. Muhtar
Holland. Ellingstring: Coombe Springs, 1983. [wants to be a trans. of
the Rashahat.]
Snesarev, G. P. Khorezmskie legendy kak istochnik po istorii
religioznykh kul’tov Srednei Azii. Moskow: Nauka, 1983. [UM: GR
300.S67; IU: BP188.8 .S652 K487 1983]
Viri, S. "Daughter of Fire by Irina Tweedie: Documentation and
Esperiences of a Modern Naqshbandi Sufi." Women as Teachers and
Disciples in Traditional and New Religions. Ed. E. Puttick and P. B.
Clark. Lewiston, Queeston & Lampeter: Edwin Mellen Press, 1993.
Trimingam, Sufi Orders in Islam.
_____. Sufiiskie ordeny v islame. Trans. O. F. Akimushkin.
Moscow: ???, 1989.
Usmon, Orif. Bahouddin Naqshband va uning ta"limoti haqida. Toshkent:
1993. [from Naqsh/Nav, p. 6; placement tenetive.]
Zarcone, T. "La Naqshbandiyya." Les Voies d’Allah: Les ordres
mystiques dan l’islam des origines à aujourd’hui. Ed. A Popovic and G.
Veinstein. Paris: Fayard, 1996. 479-483.
Historiography, Catalogues
Algar, Hamid. "Bibliographical Notes on the Naqshbandi tariqat."
Essays on Islamic Philosophy and Science, pp. 254-259. Edited by G. F.
Hourani. Albany: State University of New York Press, 1975. [IES-N. UM:
B741.H85]
_____. "The Present State of Naqshband Studies." Cheminements, pp.
45-56.
Bobokhonov, Shamsuddin. Özbekistan F. A. Abu Paihon Berunii nomidagi
Sharqshunoslik Instituti, Özbekistan Respublikasi Islom Hamkorlik
Fondi. Naqshbandiiya tariqatiga oid qölëzmalar fihristi. Toshkent:
"Movaraunnahr" Nashriëti, 1993. [IU: Z6616 .B237 B63 1993. From the
archives in Tashkent, catalogue of books dealing with Naqshband/
Naqshbandiyya. 127 pp. Entries in Uzbek instead of in Russian. Titles
in Arabic alphabet like the original. No index, but an "explanation"
in the back for some "sufi words and phrases" including their arabic-
alphabet equivalents.]
DeWeese, Devin. An ‘Uvaysi Sufi in Timurid Mawaranahr: Notes on
Hagiography and the Taxonomy of Sanctity in the Religious History of
Central Asia. Papers on Inner Asia, no. 22. Research Institute for
Inner Asian Studies. Bloomington, IN: Indiana University, 1993.
Farhadi, A.G. Rawan. "On Some Early Naqshbandî Major Works."
Cheminements, pp. 63-68. [Not a good article.]
Mîrzâ Shâh-Mahmûd Çurâs. [17th c.] title??. [from Bregel/Storey, v.2,
p. 1206, #1069. Descent from Makhdum-i A’zam noted, as well as author
being Black Mtn Khoja. Lived in Kashghar. Work is a history?]
Muhammad Hakîm-khân b. Ma’sûm-hân. [b. 1802/3]. Muntahab at-tavârîkh.
[from Bregel/Storey, v.2, p. 1189, #1054. Descent noted from Makhdum-i
A’zam. Served as shaykh al-islam under Muh. ‘Umar-Khan (1810-22); this
history written in Orenburg c. 1843. History from eastern Naqsh.
source?]
Rose, H. A. "Some Problems in Naqshbandi History." Indiana Antiquary
52 (1923): 204-211. [From DeWeese biblio, not checked yet. Placement
tenetive.]
Ruspoli, Stèphane. "Notice sur les manuscrits naqshbandi de ‘Fonds
Molé’." Cheminements, pp. 57-62.
Tillabaev, R. A. "K voprosu ob ordene Naqshbandiia." In Iz Istorii
Sufizma: Istochniki i Sotsial'naya Praktika, pp. 16-26. Edited by M.
M. Khairullaev. Tashkent: Izdatel’stvo "FAN" Akademii Nauk Respubliki
Uzbekistan, 1991. [IU: BP 188.5 .I9 1991. Source footnotes including
those to original sources.]
Literature, Theology and Religious Practices
Primary Sources
Abu al-Hasan Muhammad Baqir ibn Muhammad ‘Ali. Makâmât-i Shah-i
Nakshband. Bukhara, 1327 [1909].
_____. Maqamat-i Khvajah-i Baha al-Din Naqshband. lithograph edition,
Kalabad, 1328.
_____. Maqamat-i Khvajah-i Baha al-Din Naqshband. Toshkent: "Ëzuvchi"
Nashriëti, 1993.
Khoja Ahrâr. Faqarat al-’ârifin. ms. Tashkent, Sharqshunosliq
instituti, #2355.
_____. Faqarat al-’ârifin. ms. Dushanbe, IV Taj., #4031/III, ff.
267b-320b.
_____. Majmû’ât-i Murâsalât. ms. Tashkent, Sharqshunosliq instituti,
#3735/II.
_____. Manokibi tazrati Eshon. ms. Dushanbe, IV Taj., #4125.
_____. Risâla-yi dhikr. ms. Tashkent, Sharqshunosliq instituti, #5460.
_____. Risâla-yi walîdiya. ms. Tashkent, Sharqshunosliq instituti,
#526.
_____. Rukoati Khoja Ahrar. ms. Dushanbe, IV Taj., #146.
Shaykh Muhammad Murâd Bukhârî. Risâla-yi Unsîya. ms. Shehid Ali Pasha
(Süleymaniye) 1386. [from Alger1. Persian?]
Dagistani, Shaikh ‘Abd Allah. The Naqshbandi Way: a guidebook for
spiritual progress. The Spiritual Exercises of the Naqshbandi Sufi
Path. Mersim: Sheikh Nazim, 1982.
Halit Ziyaeddin. Menakib-i sems us-sumus der hakk-i hazret-i mevlana
Halit ul-Arus. Dersaadet [Istanbul]: Mahmut Bey Matbaasi, 1302 [1884
or 1885].
Hidayat ‘Ali Naqshbandi Mujaddidi Jaipuri, Muhammad. Mi'yarussuluk va
dafi' al-auham va shakuk kitab-i haza bazaban-i Urdu basilsilah-i
hazarat-i Naqshbandiyah Mujaddidiyah. Karaci: Eijukeshnal Press, 1900?
Nur ad-Din ar-Rahman ibn Ahmed Jami (1414-1492). [See individual
biblio for list of published and manuscript works, as well as works
about him and his work in a Sufi context.]
Amir Kulal. Durdona: Mir Kulol va Shohi Naqshband maqomotlaridan.
Edited by Ne’mat Aminov. Trans. by Sadriddin Salim Bukhorii and Isroil
Subhonii. Toshkent: "Sharq" Nashriët-matbaa kontsernining bosh
tahririyati, 1993. [75 pp. In Uzbek. Silsila in back, short bio's
going to M. Parsa. IU: BP 189.7 .N35 A45 1993.]
_____. Durdona: Mir Kulol va maqomot-i Shohi Naqshband. Tashkent,
1911.
_____. Maqomot-i Saiiid Amir Kulol. ms. Tashkent, Sharqshunosliq
instituti, #7222/II.
Manâqib-i Ahrâr. ms. Tashkent, Sharqshunosliq instituti, #9730.
Makhdum-i A'zam. [Ahmad ibn Mavlânâ Jalâluddin Xojagii Kasani.]
Bibliography of his works maintained separately.
Naqshbandi, Khalid. Tercume-yi Risale-yi Halidiye. Trans. Ahmad ibn
‘Ali. Ozege, ms. Eski harflerle, #20656.
_____. Naqshi az Mawlana Khalid Naqshbandi va payravan-i tariqat-i.
Trans. and edited by Mahin’dukht Mu’tamidi. Tehran: Pazhang, 1368
[1989].
Naqshbandi, Muhammad Nazim Adil al-Haqqani. Mystical Secrets of the
Last Days. Los Altos, CA: Haqqani Islamic Trust for New Muslim, 1994.
_____. The Divine Kingdom. Los Altos, CA: Haqqani Islamic Trust for
New Muslim, 1994.
Parsa, Muhammad [Muhammad ibn Muhammad ibn Mahmud al-Hafizii al-
Bukhârii]. Risâlah-i Qudsiyyah. Edited and annotated by Malik Muhammad
Iqbal. Rawalpindi, Pakistan: Iran Pakistan Institute of Persian
Studies, 1975. [Same as Qudisya below, with different editor. Has more
extensive indices. ILL U-Wisconsin. Includes large sheet of silsila.
Calligraphy, in Persian. Hold. Copy also held in RIFIAS.]
_____. Qodsîyyah. Edited and annotated by Ahmad Tâhirî `Irâqî. Tehran,
1354 [1975]. [from Algar2. hold. Annotated, indices. Printed, in
Persian.]
_____. Qodsiyyah. ms. Tashkent, Sharqshunosliq instituti, #2517/VII
[dtd. 1470], #2520/III [dtd. 1556], #503/II [dtd. 1657], #8183 [dtd.
1737], #890/I [dtd 1825].
_____. Anis am-malibin va `yddat as-salikin. ms. St. Petersburg GU,
No. 386. [IES-N.]
_____. Fasl al-Khitâb. Trans. into Turkish as Tevhide Girish by Ali
Hüsrevoglu, 1989. [No UM, from Algar 2. Asked Feyza about it 9/29/95.]
_____. Fasl al-Khitâb. ms. Tashkent, Sharqshunosliq instituti, #1449/I
[dtd. 1466], #1450 [dtd. 1618], #2238 [dtd. 1618], #584 [dtd. 17th
c.].
_____. Maqâmât-i Khoja Bahâuddin Naqshband. ms. Tashkent,
Sharqshunosliq instituti, #2520/I [dtd 1568.].
_____. Risola-i kashfiya. ms. Tashkent, Sharqshunosliq instituti,
#8183/IV, ff 68a-85a [Dated 1737.]
_____. Risola-i kudsiyya. ms. Tashkent, Sharqshunosliq instituti,
#8183/IV, ff 86b-115a. [This is also in Iraqi’s edition of the
Qodsiyyah.]
_____. Tahqiqât. ms. Tashkent, Sharqshunosliq instituti, #1411 [dtd
1635].
_____. Tufat as-Sâlikîn. Delhi, 1390 [1970]. [From Algar3.]
Qozi, Muhammad [Muhammad ibn Burkhâniddin]. Silsilat-ul-orifin va
tazkirat is-sidikin. ms. Dushanbe, A. Firdawsi Library, #1442.
al-Rashid, Muhammad Ma+mun. Naqsha-i Naqshband. Dacca, 1403 [1982-3].
Sirhindi, Ahmad. Ithbât al-nubuwwa. Haydarabad-Sind, 1383 AH.
_____. Maktubat Imam rabbani mujaddid alif sani: bhazrat Shaikh Ahmad
Naqshbandi Sirhindi. 2 vols. Trans. and edited by Qazi ‘Alimuddin.
Haidarabad, Pakistan: al-Lajnatah al-'Ilmiyah, 1971.
_____. Maktubat-i Imam Rabbani, Hazrat Mujaddid-i Alif-i Sani al-
Shaykh Ahmad Sarhandi. 6 vols. Trans. and edited by Ghulam Mustafa
Naqshbandi Mujaddadi. Lahore: Nur Kumpani, 1383 [1963].
_____. Ma’ârif laduniyya. ms. Rampur, 938.
al-SafÏ. [Va’iz, Fakhr ad-din ‘Ali b. Husain Kashifi.] Rashahat-i ’ayn
al-hayat. Edited by ‘Alî Asghar Mu’înîân. Lakkhnau: Navalkishop, 1897.
_____. Rashakhat 'ain-khaiat. Laknou: 1905. [Lithograph, cite in
Russian, article by é.é. Karimov.]
_____. Rashahat-i ‘ayn al-hayat. 2 vols. Tehran: Intisharat-i Bunyad-i
Nikukari-i Nuriyani, 2536 [1977]. [Hold. RLIN: v.2 : facsim. SERIES:
Silsilah-’i Intisharat-i Bunyad-i Nikukari-i Nuriyani; shumarah-’i
musalsal 15. In Persian. Includes index. Bibliography: p. 767-771.
UPenn. This text also cited as: Safî, Fakhr ad-Din ‘Alî. Rashahât ‘Ayn
al-Heyât. Ed. ‘Alî Asghar Mu’înîân. 1977, from Algar2, UM. Also
published in Tashkent, 1911, see Algar, 1976.]
_____. Rashhaotu-aiinul haët. Trans. Mahmud Hasanov. Fan va turmush zz
(1991): xx-yy. [Partial translation. source of cite: SS Buxorii,
"Dilda" 10-son.].
Tajlil, Jalil. Naqshband-i sukhan, ya, Majmu’ah-i maqalat-i adabi.
Tehran: Nashr-i Ishraqiyah, 1368 [1989/90].
Ya’qûb Charkhî. Aqvoli Baho-ud-din. ms. Tashkent, Sharqshunosliq
instituti, #3424.
_____. Risâla fî ‘t-tarîqa an-Naqshbandîya. ms. Murat Bukhari
(Süleymaniye) 206. [from Algar1.]
_____. Risola-i unsiiya. ms. Tashkent, Sharqshunosliq instituti, #5825
[Dated 1806; there are 10 other copies of this text.]
_____. Risâlat-ul-mussamo bil-unsiya. ms. Tashkent, Sharqshunosliq
instituti, #5765.
_____. Silsila-i Naqshbandiya. ms. Tashkent, Sharqshunosliq instituti,
#3410/III, #9328/I, #12540/III. Others, from Karimov article, also
Tashkent, 11, 260/IX, 6832, 10740, 12540/IV, 11235/II.
_____. Tafsir-i Ya'qub-i Charkhii. ms. Tashkent, Sharqshunosliq
instituti, #8745 [dtd. 1525], #5103 [dtd. 1554] #10792 [dtd. 1556],
#5174 [dtd. 1575], #3832 [dtd. 1591], there are also 15 other copies
of this text, down to the 19th century.
Literature, Theology and Religious Practices
Secondary Sources, Before Twentieth Century
al-Bukhori, Salâh ibn Mubârâk. Min makomoti arjmand va makoloti
sudmandi khazrati khoja-i Bahâ-ud-din-i Naqshband. ms. Tashkent,
Sharqshunosliq instituti, #P502/VI.
Dzhaferagich, Osman Shükrü. Risâla fî ‘t-Tarîqa an-Naqshbandîya. ms.
Gazihusrevbegova (Sarajevo) 4447. [From Algar1. Given location, are
there other copies of this ms, or is it now gone?]
Jamî, ‘Abd al-Rahman. Sar-rishta-i tarîq-i khwâjagan. Edited by ‘Abd
al-Hayy Habîbî. Kabul, 1343 [1964].
Karamollazade, Abdulhamit. Adap uz-zakirin necat us-salikin. Istanbul,
1295 [1878].
Mustaqimzade, Suleyman Sadeddin. Tuhfet al-hattatin (Tuhfat al-
khattatin). Ed. Ibnulemin Mahmud. Istanbul: Devlet Matbassi, 1928.
[This is the Naqshbandi work Schimmel mentions about calligraphers.
Hold.]
Naqd an-Nusûs fî Sharh Naqsh al-Fusûs. Edited by W. Chittick. Tehran,
1398/1977. [From Algar2. UM.]
an-Namangani, Ahmed ibn Sa’d ud-Din al-Uzgeni. Nazkiro-i Bogra Khan-i.
ms. Tashkent Sharqshunosliq instituti, #2107. [Dated 1818.] [Probably
"Tazkirâ-i Bôgra Khan-i."]
Nishapuri, Jalal al-din Abd al-Awwal. Majâlis-i ‘Ubaydallâh Ahrâr. ms.
India Office, DP890.
Qazvînî, Muhammad b. Husayn. Silsilanâma-yi Khwâjagân-i Naqshband. ms.
Lâleli 1381. [from Alger1.]
_____. Silsilanâma-yi Khwâjagan-i Naqshband. ms. Paris, Bib. Nat.,
#1418, ff 18a-21b.
_____. Silsilahâ-i tasavvuf. ms. Kabul, Nat. Arch., #(56/45)/17, ff
168a-182a.
Samarqandi, Burhan al-din. Silsilat al-’ârifÏn. ms. Tashkent,
Sharqshunosliq instituti, #4452/I.
Shihabuddin ibn banat Amir Hamza. Maqâmât Amir Kulâl. ms. Tashkent,
Sharqshunosliq instituti, #2309. [Dated 1862.]
Vyatkin, V. L. "Sheikh Abu Yusuf Khamadanii." Turkestanskie Vedomosti.
1893, p. 679-?. [From Karimov article.]
_____. "O Khodzha Akhrare." Turkestanskie Vedomosti. 1898, No. 3, p.
xx-yy. [From Karimov article, includes p. 10.]
_____. "Iz biografii Khodzha Akhrara." Turkestanskie Vedomosti. 1904,
No. 1804, pp. xx-yy. [From Karimov article, includes p. 693.]
Return to Index
Secondary Sources, Twentieth Century
Algar, Hamid. "Silent and vocal dhikr in the Naqshbandi order." Akten
des VII Kongresses für Arabistik und Islamwissenschaft, pp. 39-46.
Göttengen, 15-22 August 1974. Göttengen: Vandenhoeck & Ruprecht, 1976.
[cited as "Algar1". UM: AS 182.G54 ser.3 no.98]
_____. "Reflections of Ibn ‘Arabi in Early Naqshbandî Tradition."
Journal of the Ibn `Arabi Society X (1991): 45-66. [cited as
"Algar2".]
Beveridge, H. "The Rashahat-i ‘Ain al-Hayat (Tricklings from the
Fountain of Life)." J. Royal Asiatic Society (1916): 59-75. [From
DeWeese biblio. Not checked yet.]
Chodkiewicz, Michel. "Quelques aspects des techniques spirituelles
dans la tarÏqa Naqshbandiyya." Cheminements, pp. 69-82.
_____. "Rites of Initiation in Sufi Orders." Trans. by Terry Graham.
Sufi 26 (1995): 5-11. [Mostly popular, but talks about Naqsh. a lot.]
DeWeese, Devin. "The Mashâ’ikh-i Turk and the Khojagân: Rethinking the
links between the Yasavî and the Naqshbandî Sufi Traditions." J.
Islamic Studies 7/2 (July 1996): 180-207. [IU: DS35.3 .J68]
Fletcher, J. "The Naqshbandiyya and the Dhikr-i arra." J. Turkish
Studies 1(1977): 113-119. [UM: DR 401-J86 Also published in his book.
In China.]
Gross, Jo-Ann. "Multiple Roles and Perceptions of a Sufi Shaikh:
Symbolic Statements of Political and Religious Authority."
Cheminements, pp. 109-122.
ter Haar, Johan. "The Importance of the Spiritual Guide in the
Naqshbandi Order." In The Legacy of Mediaeval Persian Sufism, pp.
311-322. Edited by Leonard Lewisohn. London: Khaniqahi Nimatullahi
Publications, 1992.
Meier, Fritz. Meister und Schüler im Orden der Naqshbandiyya:
Vorgetragen am 10. Heidelberg: Universitötsverlag C. Winter, 1995.
[IU: BP189.7.N35 M445 1995. 25 pp.]
Molé, Marijan. "Autour du Daré Mansour: l’apprentissage mystique de
Baha’ al-Din Naqshband." Revue des Etudes Islamiques 27(1) (1959):
35-66.
_____, ed. "Quelques traités naqshbandis (naqshbandiyyat)." Farhang
Irân Zamîn 7 (1959): 273-323. [translates 5 treatises; 1961 edition
has another one.]
Olim, Sultonmurod. Naqshband va Navoii. Toshkent: "Ëqutuvchi," 1996.
[214 pp., footnotes.]
Pulati, A È. and A. Khatipov. "O traktatakh Makhdumi A’zama
(Predvaritel’noe soobshchenie." Voprosy istorii matemaiki astronomii
229 (1972): 19-24. [Hold. From Buhr? Description of a compilation of M-
A, perhaps those in SVR III & IV, which is the only source they cite
for "all 29" tracts. Most of the descriptions are extremely short.
Order does not match 1443, but matches 501’s marginal roman numerals
(e.g., skips X and XIV) in the first part, but adds some other tracts
to the end. Perhaps another codex in Samarqand?]
Riyaz, Muhammad. Ahvâl va âsâr va ash’âr-i Mir Sayyid ‘Alî-i Hamadânî.
Islamabad, 1364/1985. [UM. From Algar2]
Ruspoli, Stèphane. "Réflexions sur la voie spirituelle des
Naqshbandî." Cheminements, pp. 95-108.
Shukur, Èshqobil. "Xoja Bahovuddin Naqshbandii." Saodat (July-August
1992): 1. photos inside front cover (color). [One page article on
making a pilgrimage to the shrine.]
Sulton, Izzat, ed. Bahavuddin Naqshband adabiyati. (Naqshbandiya
tariqatining zamonavii ahimiyati haqida tadqiqot.) Toshkent:
Özbekiston Respublikasi FA "FAN" Nashriëti, 1994. [87 pp. Explanatory
and source footnotes. In Uzbek. IU: BP 90 .B227 S84 1994. Source
footnotes on pp. 8, 30, 75, 84. Amazingly knowledgeable for such a
small book; seems to know well Navoii, Safi and the problems that one
encounters comparing them. Lots of bows to Yasavi.]
Tasköprûzade. Ash-Shaqâ’iq an-Nu’mânîya. Beirut, 1395/1975. [From
Algar2, ftn 12. This quotes a disciple of Naqshband.]
Historically or geographically periodicized works, by region
Eurasia (includes China)
Akram, Botirkhon. "Hazrati Bahouddin va Navoii". In Ghoiiblar Xailidan
Ëngan Chiroqlar, pp. 199-211. Edited by Zufarjon Jörarv. Tashkent:
Özbekistan, 1994. [IU: BP 189.4 .G495 1994.]
Algar, Hamid. "Shaykh Zaynullah Rasulev: The Last Great Naqshbandi
Shaykh of the Volga-Urals Region." In Muslims in Central Asia:
Expressions of Identity and Change, pp. 112-133. Edited by Jo-Ann
Gross. Durham, NC: Duke University Press, 1992.
Aubin, Françoise. "En Islam chinois: quels Naqshbandis?" Cheminements,
pp. 491-574.
Babadzhanov, [Babajanov] Bakhtiyor M. "On the History of the
Naqshbandiya Mujaddidya in Central Mawara’annahr in the Late 18th and
Early 19th Centuries." In Muslim Culture in Russia and Central Asia
from the 18th to the Early 20th Centuries, pp. 385-413. Edited by
Michael Kemper, Anke von Kügelgen and Dmitruy Yermankov. Berlin: Klaus
Schwarz Verlag, 1996.
_____. "Zahîr al-Dîn Muhammad Mîrzâ Bâbur et les Shaykh Naqshbandî de
Transoxiane." Trans. Th. Zarcone. In Inde-Asie Centrale: Routes de
commerce et des indées. Cahiers d’Asie Centrale, No. 1-2. Tashkent /
Aix en-Provence, 1996. 219-26.
Bennigsen, Alexandre and Lemercier-Quelquejay, Chantal. "‘L’Islam
Parallèle’ en Union SoviÊtique: Les Organisations Soufies dans la
République Tchètchéno-Ingouche." Cahiers du Monde Russe et Soviétique
21 (1980): 49-63.
_____. "Lieux Saints et Sufisme au Caucase." Turcica 15 (1983):
179-99.
_____. "Brèves remarques sur la Naqshbandiyya en Union Soviètique."
Cheminements, pp. 441-446.
Boldyrev, A. N. "Eshchë raz k voprosy o khodzha-Akhrare." In
Dukhovenstvo i politicheskaya zhizn na blizhnem i srednem vostoke v
periode feodalizma, pp. 47-63. Moscow: Izdatdel’stvo Nauk, Glavnaya
redaktsiya vostochnoi literatury, 1985.
Bukhorii, Sadriddin Salim, ed. Bahouddin Naqshband ëki etti pir.
Toshkent: "Ëzuvchi" Nashriëti, 1993. [16 pp. In Uzbek. Brief
information about the tariqa and some of its major pirs. No
references. UM: BP 80 .B16 B85 1993; no IU]
_____, ed. Dilda Ër (Hazrat Bahouddin Naqshband). Toshkent: Ghafur
Ghulom nomidagi Adabiët va San"at Nashriëti, 1993. [77 pp. ToC. In
Uzbek. Explanatory footnotes. Selections from various Hikoyatlar.
Silsila, short bio's in the back going to 16th c. Internal citations
to sources of directly quoted material. Some Persian poetry (in
cyrillic) translated into Uzbek. IU: BP 80 .B227 B857 1993. No UM.
works mentioned by name internally:
Jomii: "Nafohatul-uns min hazarot al-quds", "Bahoriston"
Shaix Voiz Koshifii: "Futuvvatnomai sultoniya"
Aziz Nasafii: "Maqsadul asqo"; "Lisonut tair", Tash., Gh. Adab. Nash.,
1991.
V. A. Zhukoviskii, "Chelovek i nozhanie u persedskikh mistikov", St-
Pete, 1895.
M. Zokirov, "Tasavvuf ta"limoti haqida", Sh. Yu., 7-son., 1990.
Navoii, "Nasoimul muhabbat"
Ali Safii: "Rashohatu ainul haÌt"; uzbet ed. "Fan va Turmush, 1991
R. A. Moudin: "HaÌtdan keiingi haÌt haqida mushohadalar"
two hadith collections in Uzbek, both Tashkent, 1991,
Muh. al-Ghazzoli in trans, Buxoro, 1992
A. Muxammedxodjaev, "Gnoseolgiya sufizma", Dushanbe, "Donish", 1990.
Ubaidulloh Ahror: "Risolai volidya", Tash., ìzuvchi", 1991.
SÃfi OlloÌr, "Sabotul", Tash., "ChÃlpon", 1991.
Mahmud As"ad JÃshan, (from Isanbul)]
Castagné, Joseph. "Le culte des lieux saint de l’Islam au Turkestan."
L’Ethnographie NS 46, 1951. [from Meier biblio]
Chekhovich, O. D., ed. Bukharskie Dokumenty XIV v. Tashkent:
Izdatel’stvo "Nauk" Uzbekskoi SSR, 1965. [RIFIAS, DK871.C5. 211 pp,
printed Persian and Russian. Index, biblio, plates of Persian texts.
Most of the contents concern a vakf of Saifiddin Bakharzi (14th c.);
one entry is by Dehbedi (1879), when he was writing a vakf-nama, and
said he was a descendant of Bakharzi. (p. 211)]
_____. Samarkandskie dokumenty XV-XVI vv. (O vladennyakh Khadzhi
Akhrara v Srednei Azii i Afganistane). Moscow: NNN, 1974.
_____. "O sotsial’noi roli i politicheskoi deyatel’nosti Khodzhi
Akhrara." Bartol’dovskie chteniya, 1982. God Shestoi, Tezisy dokladov
i soobshchenii. Moscow: NNN, 1982, pp. xx-yy. [cite from Karimov
article, includes page 71.]
Demedov, S. M. Sufizm v Turkmenii (evolyutsiya i perezhitki).
Ashkabad, 1978.
DeWeese, Devin. "The Eclipse of the Kubraviyah in Central Asia."
Iranian Studies XXI(1-2) (1988): 45-83.
_____. "Sayyid ‘Ali Hamadani and Kubrawi Hagiographical Traditions."
In The Legacy of Mediaeval Persian Sufism, pp. 121-158. Edited by
Leonard Lewisohn. London: Khaniqahi Nimatullahi Publications, 1992.
Fletcher, Joseph. "Central Asian Sufism and Ma Ming-hsin’s New
Teaching." Proceedings of the Fourth East Asian Altaistic Conference,
pp. 75-96. Edited by Ch’en Chieh-hsien. Taipei: National Taiwan
University, 1975. [In book. 18th century.]
_____. "Confrontations between Muslim missionaries and nomad
unbelievers in the late sixteenth century: Notes on four passages from
the ‘Diya’ al-qulub’". Tractata Altaic, pp. 167-174. Edited by W.
Heissig. Weisbaden: Otto Harrassowitz, 1976. [Not much on Naqsh.]
_____. "The Taylor-Pickens Letters on the Jahri Branch of the
Naqshbandiyya in China." Central & Inner Asian Studies 3 (1989):
1-35.
_____. "The Naqshbandiyya in northwest China." Edited by Jonathan N.
Lipman. In Studies on Chinese and Islamic Inner Asia. Edited by
Beatrice Forbes Manz. Aldershot, Great Britian: Variorum, 1995, pp.
1-46.
Gafurdzhanova, T. "Obshchestvenno-politicheskaya, kul’turnaya i
literaturnaya zhizn’ Srednei Azii v XIII-XIV vv." In Istoriiya
Uzbekskoi Literatury, pp. 103-137. Edited by A. Kh. Khayitmetov and Z.
S. Kedina. Tashkent, 1987. [From Algar2. UM holds.]
Ghozii, Ilëskhon. "Naqshbandiya tariqatining buyuk siimosi -- Maxdumi
A’zam." In Ghoiiblar Khailidan Ëngan Chiroqlar, pp. 264-278. Edited by
Zufarjon Jörarv. Tashkent: Özbekistan, 1994. [IU: BP 189.4 .G495
1994.]
Gordlevskii, V.A. "Bakhauddin Nakshband Bukharskii." Izbrannye
sochineniya. v.3, pp. 369-386. Moscow, 1962. [IES-N. UM holds: DS
155.G66 1960 v1-4. Originally published 1934.]
Gross, Jo-Ann. Khojar Ahrar: A Study of the Perceptions of Religious
Power and Prestige in the Late Timurid Period. Unpublished Ph.D.
dissertation, New York University, 1982.
_____. "The Economic Status of a Timurid Sufi Shaykh: A Problem of
Conflict or Perception." Journal of Iranian Studies 21 (1988): 84-104.
_____. "Authority and Miraculous Behavior: Reflections on Karamat
Stories of Khwaja ‘Ubaydullah Ahrar." In The Legacy of Mediaeval
Persian Sufism, pp. 159-172. Edited by Leonard Lewisohn. London:
Khaniqahi Nimatullahi Publications, 1992.
Haidar, Muhammad. Ta’rikh-i Rashidi. Trans. E. D. Ross. London, 1895.
[Trimingham (p. 237) cites p. 113, 97 as discussing the mediating
influence of Shaikh "al-Ahrar". See also H. Beveridge, "The Rashahat-i
‘Ain al-Hayat", JRAS, 1916, pp. 59-75 for a discussion.]
Haiit, Tölqin. "Ulughbekning öldirilishida Khöja Ahrarning qöli
bormi?" In Ghoiiblar Xailidan Ëngan Chiroqlar, pp. 242-252. Edited by
Zufarjon Jörarv. Tashkent: Özbekistan, 1994. [IU: BP 189.4 .G495
1994.]
Halbach, Uwe. "‘Holy War" against Czarism: The Links between Sufism
and Jihad in the Nineteenth Century Anticolonial Resistance Movement
against Russia." In Muslim Communities Reemerge: Historical
Perspectives on Nationality, Politics, and Opposition in the Former
Soviet Union and Yugoslavia, pp. 251-276. Edited by (German edition)
Andreas Kappeler, Gerhard Simon and Georg Brunner; (English edition)
Edward Allworth. Trans. by Caroline Sawyer. Durham, NC: Duke
University Press, 1994.
Hamada, Masami. "De l’autorité religieuse au pouvoir politique: la
révolte de Kûca et Khwâja Râshidîn." Cheminements, pp. 455-490.
Israeli, Raphael. "The Naqshbandiyya and Factionalism in Chinese
Islam." Cheminements, pp. 575-588.
Jersild, Austin Lee. "Who was Shamil?: Russian colonial rule and Sufi
Islam in the North Caucasus, 1859-1917." Central Asian Survey 14(2)
(1995): 205-223. [CAS has several other articles on Shamil that I did
not copy but which I might want to look at later.]
Jalilov, Saifiddin. "Khöja Ahror Valii." Fan va Turmush 7 (1990):
26-30.
Karimov, é. é. "K kharakteristike sufiiskogo bratstva naqshbandiia v
Srednei Azii XIV-XV vekov." Obshchestvennye nauki v Uzbekistane.
(Tashkent) No. 8 (1989), pp. xx-yy. [from another Karimov article,
includes p. 47.]
_____. "‘Rashakhot ‘Ayn al-khaiat’ kak istochnik po izucheniiu istorii
Maverannakhra XV veka." Obshchestvennye nauki v Uzbekistane 1 (1990):
46-50. [from DeWeese biblio, 1995.]
_____. "Nekotorye aspekty politicheskoi i religiozno-filosofskoi
praktiki tarikata Nakshbandiia v Maverannaxpe XV v." In Iz Istorii
Sufizma: Istochniki i Sotsial'naya Praktika, pp. 74-87. Edited by M.
M. Khairullaev. Tashkent: Izdatel’stvo "FAN" Akademii Nauk Respubliki
Uzbekistan, 1991. [IU: BP188.5 .I9 1991. Source footnotes, (entered).
Uses Trimingham (in Russian) heavily.]
Manz, Beatrice Forbes. "Central Asian Uprisings in the Nineteenth
Century: Ferghana under the Russians." Russian Review ??(>1988): xx-
yy.
McChesney, R. D. Waqf in Central Asia: Four Hundred Years in the
History of a Muslim Shrine, 1480-1889. Princeton: Princeton University
Press, 1991.
_____. "Some Observations on Gardens and its [sic.] Meanings in the
Property Transactions of the Juibari Family in Bukhara, 1544-77." In
Gardens in the Time of the Great Muslim Empires, Theory and Design.
Suppl. to the Muqarnas, An Annual on the Visual Culture of the Islamic
World, Vol. 7. Ed. Attilio Petruccioli. Leiden: E.J. Brill, 1997. pp.
xx-yy.
Mukhammedkhodzhaev, A. [Muhammedkhojaev] Ideologiya Naqshbandizma.
Dushanbe: Donish, 1991.
Nekrasova, Yelizaveta. "The Burial Structure at the Chor-Bakr
Necropolis near Bukhara from the Late Eighteenth to the Early
Twentieth Centuries." Muslim Culture in Russia and Central Asia from
the 18th t the Early 20th Centuries. Ed. Michael Kemper, Anke von
Kügelgen, and Dmitriy Yermakov. Berlin: Klaus Schwarz Verlag, 1996.
369-384a. [Includes illustrations. Talks about Juibari sheikhs.]
Œuvres philosophiques et mystiques de Shihabaddin Yahya Sohrawardi
(Opera metaphysica et mystica II). Bibiothèque Iranienne 2, Teheran-
Paris, 1964. [from Meier biblio]
Olim, Sultonmurod. "Uch buyuk tariqat." In Ghoiiblar Xailidan Ëngan
Chiroqlar, pp. 90-124. Edited by Zufarjon Jörarv. Tashkent:
Özbekistan, 1994. [IU: BP 189.4 .G495 1994. Yasaviyya, Naqshbandiyya,
Kubrviyya.]
Oriental Miniatures of Abu Raihon Beruni Institute of Orientology of
the UzSSR, Academy of Sciences. Tashkent: Gufur Gulyam Literature and
Art Publishing House, 1980. [Miniatures from several different genres
from the sixteenth to nineteenth centuries published in full color
with descriptions in Uzbek, Russian and English. Some are
unfortunately excised from the context of the material text, however,
this is a rare, beautifully published edition of some of the
Sharqshunoslik collection. Citation in Uzbek: Sharq Miniatyurasi.
Uzbekistan SSR Fanlar akademiyasi Abu Raihon Berunii nomidagi
Sharqshunoslik instituti. Toshkent: Gafur Gulom nomidagi Adabiët va
san"at nashriëti, 1980. See plates 65-67 for a source on Naqshbandis
of the 18th century in Kashghar. IU: ND 3241.A28 1980]
Paul, Jürgen. Die politische und soziale Bedeutung der Naqshbandiyya
in Mittelasien im 15 Jahrhundert. Studien Zur Sprache, Geschechte und
Kultur des Islamischen Orients, Band 13. New York: Walter de Gruyter,
1991. [Extensive biblio, index.]
_____. "Forming a Faction: The Himâyat System of Khoja Ahrar." Int. J.
Middle East Studies 23 (1991): 533-548.
_____. "Les confrèries soufies, mystique et économie." Samarcande
1400-1500: la cité-oasis de Tamerlan: coeur d’un empire et d’une
renaissance. Ed. V. Fourniau. Paris: Autrement, 1995. 150-160.
_____. Samarkandskie dokumenty XV-XVI vv. (o vladeniiakh Khodzhi
Akhrara v Srednei Azii I Afghanistane. Moscow: Nauka, 1974.
_____. "Influences indiennes sur la naqshbandiyyad’Asie centrale?" In
Inde-Asie Centrale: Routes de commerce et des indées. Cahiers d’Asie
Centrale, No. 1-2. Tashkent / Aix en-Provence, 1996. 203-17.
Rizvi, Saiyid Athar Abbas. Muslim revivalist movement in Northern
India. Agra, 1965. [IES-N, UM: BP63 .I4 R63]
Roy, Olivier. "La Naqshbandiyya en Afghanistan." Cheminements, pp.
447-454.
Rywkin, Michael. "The Communist Party and the Sufi Tariqat in the
Checheno-Ingush Republic." Central Asian Survey 10(1/2) (1991):
133-145.
Semenov, A. A. "Rasskaz shugnanskikh ismailitov o bukharskom sheikh
Bekhâ-ud-Dîne." Zapiski Vostochnogo otdeleniia Russkogo
arkheologicheskogo Obshchestva 22 (1913-14): 321-326. [From DeWeese
biblio, 1995, not checked yet. Placement tenetive.]
_____. "Dva avtografa Khozhi Akhrar." Epigrafika Vostoka 5 (1951):
51-57. [From DeWeese biblio, 1995, not checked yet. Placement
tenetive.]
Shaw, Robert Barkley. History of the Khojas of Eastern Turkistan
summarized from the Tazkira-i-khwajagan of Muhammad Sadiq Kashgari.
Edited with intro. by Ney Elias. Calcutta: Asiatic Society, 1897.
Sukhareva, O. A. "Potomki Khozha Akhrar." In Dukhovenstvo i
politicheskaia zhizn’ na Blishnem i Srednem Vostoka v periode
feodalizma, pp. 115-205. vyp. 7. Moscow, 1963.
Viatkin, V. "Iz biografii Khodzhi [sic] Akhrara." Turkestanskie
Vedomosti 147 (1904).
Zarcone, Thierry. "Le mausolée de Baha al-Din Nakshband à Bukhara
(Uzbekistan)." J. Turkish Studies 19 (1995): 231-244.
_____. "Une route de sainteté islamique entre l’Asie centrale et
l’Inde: la voie Ush-Kashghar-Srinagar." In Inde-Asie Centrale: Routes
de commerce et des indées. Cahiers d’Asie Centrale, No. 1-2.
Tashkent / Aix en-Provence, 1996. 227-54. [Rifias. Hold]
Zohidov, P. Khoja Bahouddin Naqshband Me"morii Hazira. [no pub info,
1993]. [IU: BP 80 .B227 Z648 1993. 16 pp. Unreferenced guide to
Naqsh's tomb, including measurements. Artist's drawing. In Uzbek.
Gives dates and measurements for some other buildings, probably
connected to the site as well. See Naqsh/Nav, p. 6; published in
Tashkent.]
Turkey and the Ottoman Empire
(see also Balkans, Middle East)
Abu-Manneh, Butrus. "The Naqshbandiyyah-Mujaddidiyya in the Ottoman
Lands in the Early 19th Century." Welt des Islams 22 (1982): 1-36.
[UM: DS6.w46]
_____. "Khalwa and râbita in the Khâlidi Suborder." Cheminements, pp.
289-302.
Algar, Hamid. "Devotional Practices of the Khalidi Naqshbandis of
Ottoman Turkey." In The Dervish Lodge, Architecture, Art and Sufism in
Ottoman Turkey, pp. 209-227. Edited by Raymond Lifchez. Berkeley:
University of California Press, 1992.
Blau, Joyce. "Le rôle des cheikhs Nashbandî dans le mouvement national
kurde." Cheminements, pp. 371-378.
van Bruinessen, Martin. "The Naqshbandî Order in the 17th Century
Kurdistan." Cheminements, pp. 337-360.
Gal_p, Semra. "Un gourou naqshbenddi: Sheyh Nazim Kibrisî."
Cheminements, pp. 437-440.
Gökalp, Altan. "Les fruits de l’arbre plutôt que ses racines: le
Suleymanisme." Cheminements, pp. 421-436.
Hakim, Halkawt. La confrèrie des Naqshbandis au Kurdistan au XIXe
siècle. Ph.D. dissertation, Paris, 1983.
_____. "Mawlânâ Khâlid et les pouvoirs." Cheminements, pp. 361-370.
Ildirar, Mehmed. Seyyid Abdulhakim Huseyni ve Naksibendi tarikati.
Istanbul: Rehber Yayincilik, 1986.
Kara, Mustafa. "Nolla Ilâhî: un précurseur de la Naqshbandiye en
Anatolie." Cheminements, pp. 303-330.
Kreiser, Klaus. "Kâshgarî Tekyesi - ein Istanbuler Naqshibendiye-
Konvent und sein Stifter." Cheminements, pp. 331-336.
Kufrali, Kasim. "Molla Ilâhî ve kendisinden sonraki Nakshbendîya
muhiti." Türk Dili ve Edebiyati Dergisi 3 (1949): 129-151. [from
DeWeese biblio, 1995. Not checked. Placement here tenetive.]
Le Gall, Dina. The Ottoman Naqshbandiyya in the Pre-Mujaddidi Phase: A
Study in Islamic Religious Culture and its Transmission. Unpublished
Ph.D. dissertation, Princeton University, 1992. [ILL Princeton,
original, Dept. of Near Eastern Studies, hold. About 250 pp.
Beautifully done. 16-18th centuries.]
_____. "Missionaries, pilgrims and refugees: the early transmission of
the Naqshbandiyya to the Ottoman lands." In Modes de transmission de
la culture religieuse en Islam, pp. 225-240. Edited by Hassan
Elboudrari. ??: Institut Français d’Archéologie Orientale du Caire,
1993. [from Meier biblio]
Olson, Robert W. "The International Consequences of Sheik Sait
Rebellion." Cheminements, pp. 379-406.
Togan, Zeki Velidi. "Gazan-Han Jalil ve Hoca Bahaeddin Nakshbend." [in
Persian] In Necati Lugal Armagani, pp. 775-784. Ankara: TTK Basimevi,
1968. [from DeWeese biblio, 1995. Not checked. Placement here
tenetive.]
Zarcone, Thierry. "Remarques sur le rôle socio-politique et la
filiation historique des sheyh nakshbendî dans la Turquie
contemporaine." Cheminements, pp. 407-420.
_____. "Les Nakshbendî et la république turque: de la persécution au
repositionnement théologique, politique et social (1925-1991)."
Turcica XXIV (1992): 133-151.
India and Southeast Asia
Adams, Charles J. "The Naqshbandîs of India and the Pakistan
Movement." Cheminements, pp. 221-230.
Alhaq, Shuja. "Ahmad Sirhindi: A Cleric in Sufi Clothing." Sufi 26
(1995): 22-26. [Popular]
Beisembiev, T.K. "Ferghana’s Contacts with India in the 18th and 19th
Centuries (according to the Khokand Chronicles)." J. Asian History 28
(2) (1994): 124-135.
Beuhler, Arther F. "Naqshbandi Spiritual Authority, the Panjab,
1857-1947." Annual Meeting of the American Academy of Religion, San
Francisco, November 23, 1992. [Hold a draft copy, permission needed to
cite.]
Buehler, Arthur Frank. Charisma and Exemplar: Naqshbandi Spiritual
Authority in the Panjab, 1857-1947. Unpublished PhD dissertation,
Harvard University, 1993. [I hold a 55p. draft copy.]
_____. "The Naqshbandiyah-Mujaddidiyah and its rise to prominence in
India." Bulletin of the Henry Maryton Institute of Islamic Studies 13
(iii-iv) (1994): 44-61.
_____. "The Naqshbandiyya in Timurid India: The Central Asian Legacy."
J. Islamic Studies 7 (ii) (1996): 208-28.
van Bruinessen, Martin. "The Origins and Development of the Naqshbandi
Order in Indonesia." Der Islam 67 (1990): 150-179.
Coslovi, Fr. "Osservazion sul ruolo di ‘Sah Waliullah Dihalawi’ e ‘Sah
‘Abd al-Aziz’ nella ‘Naqshbandiyya’ indiana." Annali Instituto
Orientale di Napoli 29(1979): 72-84. [UM 820.6 N22]
Damrel, David William. Forgotten Grace: Khwaja Khawand Mahmud
Naqshbandi in Central Asia and Mughul India. Unpublished Ph.D.
dissertation, Duke University, 1991. [ILL Duke. Done under the dept.
of Religion. 290 pp., 21 pp. biblio. Sources depend almost entirely on
English, but seems to be a good synthesis nonetheless.]
Digby, Simon. "The Naqshbandîs in the Deccan in the late Seventeenth
Century and early Eighteenth Century A.D.: Bâbâ Palangposh, Bâbâ
Musâfir and their Adherents." Cheminements, pp. 167-208.
Foltz, R. "The Central Asian Naqshbandi connections of the Mughal
Emperors." J. Islamic Studies 7 (ii) (1996): 229-239.
Friedmann, Yohanan. Shaikh Ahmad Sirhindi, an outline of his thought
and a study of his image in the eyes of posterity. Montreal: McGill
University, Institute of Islamic Studies, 1971.
_____. "The NaqshbandÏs and Awrangzêb: a Reconsideration."
Cheminements, pp. 209-220.
Fusfeld, W. The Shaping of Sufi Leadership in Delhi: The Naqshbandiyya-
Mujaddidiyya 1750-1920. PhD Dissertation, U. Pennsylvania, 1981.
Gaborieau, Marc. "Les Protestations d’un soufi indien contemporain
contre trois interprètations récentes de Shaikh Ahmad Sirhindî."
Cheminements, pp. 237-268.
ter Haar, Johan G. J. "The Naqshbandî Tradition in the Eyes of Ahmad
Sirhindî." Cheminements, pp. 83-94.
_____. Follower and Heir of the Prophet: Shaykh Ahmad Sirhindi
(1564-1624) as a Mystic. Leiden: Het Oosters Instituut, 1992. [Grad BP
80 .A5124 H33 1992]
_____. "The collected letters of Shaykh Ahmad Sirhindi." Manuscripts
of the Middle East 3 (1988): 41-44. [Goes into detail about the
transmission of letters and editions of Sirhindi.]
Hasan, Afrogh. Silsilah-yi ‘aliyah Naqshbandiyyah, ruhaniyyat ka
gulzar-i kahkashan: Hazrat Khvajah Baqibillah. Lahore: Maktabah-yi
Urdu Da'ijist, [1992]. [RLIN: in Urdu, 288 pp. UC Berkeley, UPenn.]
Khan, Ghulam Mustafa. "The Naqshbandi Saints of Sind." J. Research
Society of Pakistan (1976): 19-47.
Kraus, Werner. "Some Notes on the Introduction of the Naqshbandiyya-
Khalidiyya into Indonesia." Cheminements, pp. 691-706.
Lombard, Denys. "Tarekat et entreprise à Sumatra: l’exemple de Shyekh
Abdul Wahab Rokan (c. 1830-1926)." Cheminements, pp. 707-716.
Madni, Sayyid Husain Ahmad. Salasil-i tayyibah: jis men shajarat-i
Cishtiyah, Sabiriyah, Nizamiyah o Naqshbandiyah o Qadiriyah o
Suhravardiyah. Harnuli (Miyanvali): Maktabah-yi Khuddam-i Ahlulsunnat
valjum’at, 1975.
Malik, Fateh Mohammad. "Naqshbandiyya and Ideology of Muslim
Nationalism." Cheminements, pp. 231-236.
Moinul Haq, S. "Rise of the Naqshbandi and Qadiri silsilahs in the
Subcontinent, with special reference to their efforts to restore the
supremacy of the Shariah." J. Pakistan Historical Society 25(1977):
1-33. [Grad. DS 376.P137]
Nizami, K.A. "Naqshbandi influence on Mughal rulers and politics."
Islamic Culture 39(1965): 41-52. [Grad]
Qasuri, Muhammad Sadiq. Tazkirah-yi Naqshbandiyyah Khairiyyah. Lahore:
Ziya’ulqur’an Pablikeshanz, 1988.
Raf’at, Sayyid Mubarizuddin. Pan Cakki-yi Aurangabad: ya’ni, Hazrat
Baba Shah Muhammad Sa’id Palangposh Naqshbandi aur Hazrat Muhammad
‘Ashur Baba Shah Musafir ke tafsili halat, nahr-i Pan Cakki aur Pan
Cakki ki ‘imarat ki tarikh jo mustanad makhizon se likhi ga'i hai.
Haidarabad: Matba' ‘Ibrahimiyah, 1956.
Rizvi, S.A.A. "Sixteenth Century Naqshbandiyya Leadership in India."
Cheminements, pp. 153-166.
Tavakkali, Nur Bakhsh. Tazkirah-yi masha'ikh-i Naqshbandiyah: silsilah-
yi Naqshbandiyah ke buzurgon ka mustanad tazkirah. Lahore: Nuri Buk
Dipo, 1976.
Umar, Muhammad. Islam in Northern India During the Eighteenth Century.
New Delhi: Munshiram Manoharlal Publisher, 1993. [Grad BP 63.I4 U631
1993. One chapter on Sufism, lots on the Naqshbandis with some
discussion on interactions with Bukhara. Heavily footnoted.]
Balkans
Algar, Hamid. "Some Notes on the Naqshbandi Tariqat in Bosnia." Die
Welt des Islams. 13(3-4) (1971): 168-203. [hold.]
Chehajich, Dzhemal. "Socio-Political Aspects of the Naqshbandi Dervish
Order in Bosnia and Herzegovenia and Yugoslavia Generally."
Cheminements, pp. 663-668.
Norris, H. T. Islam in the Balkans: Religion and Society between
Europe and the Arab World. Columbia, SC: University of South Carolina
Press, 1993. [Section on the Naqshbandiyya with reference to its
connections with 18th century modernizing and reform movements.
British author.]
Popovic, Alexandre. "The Contemporary situation of the Muslim mystic
orders in Yugoslavia." In Islamic dilemmas: reformers, nationalists,
industrialization: The southern shore of the Mediterranean, pp.
240-254. Edited by Ernest Gellner. Berlin: Mouton Publishers, 1985.
[IES-N. UM.]
_____. "Quelques remarques sur les Naqshbandis dans le sud-est europen
(période post-ottomane)." Cheminements, pp. 657-662.
Shamich, Jasna. "Les Naqshbandî de Bosnie (plus particulièrement ceux
de Visoko) et leurs relations avec d’autres ordres soufis."
Cheminements, pp. 681-690.
Simac, R. "In a Naqshbandi Circle." Hibbert Journal 65(1966-67):
104-106. [Buhr BR1.H62]
Middle East
(see also Ottoman Turkey)
Abu-Manneh, Butrus. "Shaikh Ahmad Ziya al-Din al-Gümüshhanevi and the
Kahlidi Suborder: abstract of part of a more extensive research study
on the Naqshbandiyya suborder." Bulletin of the Israeli Academic
Center in Cairo 6(1985): 2-3.
De Jong, Fred. "The Naqshbandiyya in Egypt and Syria. Aspects of its
History, and Observations concerning its Present-day Condition."
Cheminements, pp. 589-602.
de Jong, Frederick and Jan Just Witkam. "The library of al-Shaykh
Khalid al-Shahrazuri al-Naqshbandi (d. 1242/1827). A facsimile of the
inventory of his library. (ms. Damascus, Maktabat al-Asad, No. 259)."
Manuscripts of the Middle East 2 (1987): 68-87. [The books listed in
the inventory are now dispersed, but the collection was presented as a
waqf and subjected to court proceedings. The facsimile (pp. 74-87)
permits an examination the holdings.]
Grandin, Nicole. "À propos des asânîd de la Naqshbandiyya dans les
fondements de la Khatmiyya de Soudan oriental: stratégies de pouvoir
et relation maître/disciple." Cheminements, pp. 621-656.
Habibis, Dalphne. "Mahdism in a Branch of a Contemporary Naqshbandî
Order in Lebanon." Cheminements, pp. 603-620.
Madelung, Wilferd. "Yûsuf al-Hamadânî and the Naqshbandiyya." Quaderni
di Studi Arabi 5-6 (1987-88): 499-509.
Other
Petrushevsky, I. P. Islam in Iran. Trans. of Islam v Irane v VII-XV
vv. (kurs lektsii). Originally published Leningrad, 1966. [EIS-N. UM:
english: BP63 .I68 P413 1985. Russian is in Buhr.]
Storey, Ch. A. Persian Literature: A bio-bibliographical survey.
London: 1927-1973. [IES-G. UM: Z7085.S88]
Various articles in EI2, The Shorter Encyclopedia of Islam (Gibb &
Kramers), and The Encyclopedia of Religion (Eliade).
EI2?"Naqshband," v. VII, p. 933-934, by H. Algar.
"Naqshbandiyya," v. VII, p. 934-939, by H. Algar and K.A. Nizami.
Islam : entsiklopedicheskii slovar'. Moskva: "Nauka," Glavnaya
redaksiya vostochnoi literatury, 1991. [UM: BP 40 .I8341 1991; IU:
BP40 .I83 1991]
IES-G: Article for Gudguvani
IES-N: Article for Naqshband
http://www-personal.umich.edu/~vika/biblio/naqshbandi_bib.html
Ajmer Showing page 3 of 0
True Synthesis of Hindu and Islamic Cultures
What to see?
Historic (The Museum)
Emperor Akbar's royal palace, made of red sand stone, which has been
laid out on a square pattern, now stands in the middle of the city. It
houses the Museum, which has a rich collection of Mughal and Rajput
armour and some fine sculpture of the region.
Taragarh (Star Fort) The 'Star Fort' was built by Ajaipal Chauhan in
1100 AD. On reaching the top of the hill, one can have a commanding
view of the city.
Mayo College It is four kms. from Ajmer, was founded in 1873 to
provide young Indian princess with a liberal education, one of two
genuinely Indo-Saracenic buildings designed by De Fabeck in Ajmer, the
other being the Mayo Hospital founded in 1870. The College was known
as 'Eton' of Rajputana and was run along the lines of an English
Public School. It is now open to all.
Pilgrimage (The Dargah) Popularly known as Dargah Sharif, this is the
shrine of the Sufi mystic Khwaja Moinuddin Chishti, better known as
Gharib-Nawaz, who has his final resting place here. In 1256 AD at the
age of 114, the saint entered his cell to pray in seclusion for six
days, at the end of which he passed away. The 'Urs' fair is held to
commemorate these six days. Pilgrims of all faiths come from the world
over to attend the Urs, since the shrine is considered a place of wish-
fulfilment for those who pray with devout and pure hearts.
The Dargah is entered through a high gateway with silver doors. The
great gate, Buland Darwaza leads to a second courtyard. The grave of
the saint is surrounded by a silver railing and partially by a marble
screen.
Emperor Shah Jahan's daughter had a prayer-house built in the Dargah
for women devotees.
In the courtyard are two massive iron cauldrons in which kheer, a milk
pudding, is cooked and distributed to pilgrims on special occasions.
The smaller pot can contain upto 2240 kg. and the larger one 4480 kg.
of rice.
Other tombs to be seen in the courtyard are the tomb of the Bhishti;
tomb of Bili Hafiz Jamal, the saint's daughter; and the tomb of Chimni
Begum, one of Shah Jahan's daughters.
Adhai-Din-Ka Jhonpara Mosque
Among the narrow lanes beyond the Dargah is this structure, a
remarkable example of Indo-Islamic architecture. This mosque was
orginally an ancient sanskrit college within a temple enclosure. In
1193 AD Mohammad Ghori destroyed the college and built the mosque
which has the remains of many surrounding temples. Three pillars, no
two alike, have been placed one on top of the other thus giving an
impression of height, in a pillared hall, 61 metres long. Its 124
columns support 10 shallow domes. An arcade of seven arches made of
pierced stone rises 17 metres high. The facade of the archway is
finely engraved with Kufi and Jughra inscriptions from the Holy Koran.
http://www.uga.edu/islam/images/chistidargahbig.jpg
Mehboob-e-Ilahi Hazrat Khawaja Nizam Uddin Aulia
Hazrat Nizam Uddin Aulia was one such saint as illuminated the nooks
and corners of India with the divine light of the deen and all people,
the elders as well as the commoners, were equally benefited form it.
Parentage
Muhammad is the name but called by various titles. Mahboob-e-Ilahi,
Sultan-Ul-Aulia, Sultan-Ul-Mashaikh and Sultan-Ul-Salatin etc. His
grand father, Syed Ali, a resident of Bukhara, and father, Syed Ahmad,
were well known Syeds and traced their lineage to Hazrat Ali with 15
of his ancestors falling in the chain. His maternal grandfather,
Khawaja Arab Husain was Syed and resided in Bukhara. Both families
migrated to India. Syed Ahmad was married to, Bibi Zulekha. Badaun, in
those days, was a great center of learning so his father settled down
there on migration from Bukhara.
ROZA SHARIF HAZRAT NIZAM UUDIN AULIA (NEW DELHI)
Birth
Born on 27 Safar 636 Hijri in the city of Badaun.
Early Education
After learning the Qu'Oran he read books on various subjects, Qadoori
from Maulana Ala-Uddin Usooli, Maqamaat-e-Hariri from Maulana
Shamsuddin Malik, and obtained distinction in outer subjects like
Jurisprudence, Tradition Commentary, Speech, Logic, Mechanics,
Arithmetic, Vocabulary, Literature, and Recitation. He also obtained
the degree of 'Mashariq-ul-Anwar' from Maulana Kamal-uddin at Delhi.
Divine Education and Stay in Delhi.
He completed his exterior education at Badaun and reached Delhi with
his mother for further education and finally settled here. He took
lessons from the renowned Scholars Maulana Shamsuddin and Maulana
Kamal-Uddin Zahid and came to be recognized as a distinguished
scholar.
Search of the Teacher
He later set out in search of a teacher and guide who could lead to
spiritual and intrinsic learning. During his stay at Badaun, he was
apparently introduced to Baba Farid through Abu-Bakar Qawwal and came
to have faith in him and longed to see him. Baba Farid's younger
brother, Sheikh Najib-uddin Mutawakkil, was his neighbor in Delhi. His
intimacy with Sheikh Mutawakkil added fuel to the fire.
Change in Life
He spent nights in prayer in a mosque. One morning the muazzin recited
the Qu'Oranic verse from the minaret meaning:
Hasn't time come for the Faithful that their hearts bow down in praise
to God.
The verse left a strange effect on him, his heart began to shake, and
tears rolled down the cheeks; worldly love left him, and his heart was
flooded with divine light. No longing remained, and under the
condition he set out for Ajodhan.
Baba Farid
Baba was extremely pleased to see him and recited the Persian couplet,
Ai A'tish-e-furqat dil ha kabab karda
Sailab-e-Ishtiaqat janha kharab karda
Meaning: The fire of separation has roasted the hearts and the flood
of fondness has wasted the soul
Removing his kulah-e-char Turki (a kind of Turkish cap) from his head
he placed it on his head. Mahboob-e-Ilahi recounts the meeting. "When
I presented myself to him, he found symptoms of fear in me then said,
"Welcome! God willing, you will find bounties of the world as well as
of the Deen."
Servitude and inheritance
Baba Farid said to him, "I wanted to accord this rank to some other
person but it was revealed to me that you are to come from Delhi. The
rank was fated for you and so I continued delaying it."
Baba Farid also gave him other things: his robe, sandals, and prayer
mat, staff etc.
Hazrat Nizam Uddin pledged obedience to Baba Farid on 15, Rajab 655
Hijri and stayed in his service till 3, Rabi-Ul-Awwal 656 Hijri and
engaged in prayer and meditation under his guidance and soon attained
high degrees and proficiency in conduct and divinity. Baba Farid sent
him to Delhi laden with divine and spiritual conduct.
Hazarat Nizam-Uddin Aulia in Delhi
Before his departure to Delhi, Baba Farid gave him special robe he
inherited from peers of the chistia Order, and a document confirming
his appointment as his spiritual heir and instructed him to repay the
loan the earliest. To keep the enemies happy by all means, to strive
hard in prayers, and said, "Under the orders of God, I grant Maulana
Nizam Uddin the territory of India. And leave the country under his
charge, and appointed him my regent" He asked him to show the document
to Maulana Jamal Uddin at Hansi and Qazi Muntakhib in Delhi. When
Maulana Nizam Uddin met Maulana Jamal Uddin at Hansi, he was pleased
to see him and expressed happiness on the appointment.
In Delhi
Delhi was a populous city and he found it difficult to find a suitable
place. He selected Ghayaspur for his stay in Delhi.
Prayer and Meditation
He busied himself in prayer and meditation in Delhi, renounced
material things, and kept fast regularly. He did intense penance for
30 years. He led a life of renunciation and resignation, had no
interest in things of the world. He said his prayers regularly. After
the Chast and Ishraq prayers he sat in the congregation of sophists
and mendicants and discussed problems of mysticism. After midday
prayer he talked to the students and seekers of knowledge, and spent
his nights in prayers.
Self-sufficiency and fasting
He passed his early days of his stay in Delhi in extreme poverty.
Often observed fast three days continuously. When had nothing to eat
his mother would say, "We are Allah's guests today." "I drew much
taste from my mother's statement." Penury and povery were so acute,
when he shook the suspended bag at the Afar time out dropped dry
pieces of bread with which he broke his fast.
Victories
Sheikh Burhan Uddin Gharib and Sheikh Kamal Uddin Yaqub, who later
became his heirs, lived with him. One day Kamal Uddin boiled some
flour in an earthen pot then came a mendicant and demanded food.
Mahboob-e-Ilahi placed the pot before him, the mendicant ate some from
it and then dashed it to the ground, and said, "Sheikh Nizam Uddin
Aulia Baba Farid blessed you with divine bounties and I have broken
the pot of your apparent self-sufficiency." After which he saw no
shortage.
Generosity
Baba Farid said, "May you consume seventy mounds of flour daily in
your kitchen!"
His kitchen always remained hot. Thousands of beggars and the poor ate
from it. Whatever received in the monastery was promptly given away to
the needy. Nothing was saved. Many people drew sustenance. Numerous
students and Hafiz were given help. The kings were surprised at this.
Death and Distribution of sacred relies.
When he antiapated Death, he gave a special robe, a turban, and a
prayer mat to Maulana Burhan Uddin Gharib and ordered him to go to the
Deccan. The same things to Maulana Yaqub and repaired him to Gujrat.
He also gave the same articles to Maulana Shams Uddin but denied
anything to Maulana Nasir Uddin Chiragh-e-Dehlavi. People were
surprised at the outcome. On Wednesday Mehboob-Ilahi called Hazrat
Nasir Uddin and entrusted to him staff, prayers mat, rosary, sandals,
robe, and other sacred relics of Baba Farid and said, "you shall have
to bear the tribulations of the people and stay in Delhi. "All of your
heirs are well known but Amir Khusro loved him profoundly.
He laid his life on 18 Rabi-ul-Sa'ani. His tomb stands in Nizam Uddin
Basti and attracts thousands of Hindu, Sikh, and Muslim pilgrim's
daily.
Books
His articles, regular publications in nature, are
Fawaed-Ul-Fawaed
Afzal-Ul-Fawaed
Rahat-Ul-Mohibbin
Besides he noted the interesting incidents of the meetings of his
teacher, Baba Farid, in a book entitled 'Rahat-Ul-Qulub.'
Revelations and Miracles
Sultan Ghayas Uddin Tughlaq was envious of him. He bore great ill will
for him. Once when he was returning from Bengal to Delhi, he sent word
to Mahbooh-e-Ilahi to leave Delhi. This grieved him and said, "Delhi
is still Far." and it so happened that Ghayasuddin did not reach
Delhi. Tughlaqabad palace collapsed on him and killed him.
His Wondrous Deeds
His attention and care revolutionized the society. Morals and conduct
of the people improved. They became truthful and true to their word.
He welcomed every body; treated the sinners kindly, and robbed them.
To all, elite's or the sundry, rich or the poor, King or the beggar.
Learned man or a layman, he taught to be penitent and pure. His
mission not only reached the Four Corners of India but China also.
Khawaja Salar Han ban was his spiritual heir in the country.
Quotes
True wisdom is to renounce the world.
Knowledge is achieved. Intellect is natural.
Salik achieves greatness from four things: Less eating, Less talking,
Less sleep, and less socializing.
Benediction drops at three times: in the state of hearing music,
eating for purpose of obedience, speaking about the mendicants.
In making a deal one should not talk as to make veins stand on his
neck viz. symptoms of prejudice and anger.
Patience is: "When a man experiences a thing not to his liking, he
does not complain"
But willingness is the thing that suffering does not make him feel bad
as if it has not befallen on him.
Love of saint's rules over their intellect.
The joys neither make a mendicant happy nor sufferings grieve him.
About complete faith he said: "One must trust in God and should not
expect of anyone besides Him."
http://www.myasa.net/sufindia/mehboob-e-ilahi%20hazrat%20khawaja%20nizam%20uddin%20aulia.html
Excerpts from Khusrau's Persian Poetry
Khusrau produced a large volume of poetry that in his lifetime, but
very little of it has so far been translated into English or any other
language. Following are the English renderings of some of his Persian
works, collected from various sources. Many of these are also sung by
Qawwals. You can read some of them in Persian script here.
Kafir-e-ishqam musalmani mara darkaar neest
Har rag-e mun taar gashta hajat-e zunnaar neest;
Az sar-e baaleen-e mun bar khez ay naadaan tabeeb
Dard mand-e ishq ra daroo bajuz deedaar neest;
Nakhuda dar kashti-e maagar nabashad go mubaash
Makhuda daareem mara nakhuda darkaar neest;
Khalq mi goyad ki Khusrau but parasti mi kunad
Aarey aarey mi kunam ba khalq mara kaar neest.
I am a pagan and a worshipper of love: the creed (of Muslims) I do not
need;
Every vein of mine has become taunt like a wire,
the (Brahman’s) girdle I do not need.
Leave from my bedside, you ignorant physician!
The only cure for the patient of love is the sight of his beloved –
other than this no medicine does he need.
If there be no pilot in our boat, let there be none:
We have god in our midst: the sea we do not need.
The people of the world say that Khusrau worships idols.
So he does, so he does; the people he does not need,
the world he does not need.
(Trans. Dr.Hadi Hasan)
Nami danam chi manzil bood shab jaay ki man boodam;
Baharsu raqs-e bismil bood shab jaay ki man boodam.
Pari paikar nigaar-e sarw qadde laala rukhsare;
Sarapa aafat-e dil bood shab jaay ki man boodam.
Khuda khud meer-e majlis bood andar laamakan Khusrau;
Muhammad shamm-e mehfil bood shab jaay ki man boodam.
(Read this poem in Persian script)
I wonder what was the place where I was last night,
All around me were half-slaughtered victims of love,
tossing about in agony.
There was a nymph-like beloved with cypress-like form
and tulip-like face,
Ruthlessly playing havoc with the hearts of the lovers.
God himself was the master of ceremonies in that heavenly court,
oh Khusro, where (the face of) the Prophet too was shedding light
like a candle.
(trans. S.A.H.Abidi)
Khabaram raseed imshab ki nigaar khuahi aamad;
Sar-e man fidaa-e raah-e ki sawaar khuahi aamad.
Ham-e aahwan-e sehra sar-e khud nihada bar kaf;
Ba-umeed aanki rozi bashikaar khuahi aamad.
Kashishi ki ishq daarad naguzaradat badinsaa;
Ba-janazah gar nayai ba-mazaar khuahi aamad.
Balabam raseed jaanam fabiya ki zindah maanam;
Pas azan ki man na-maanam bacha kar khuahi aaamad.
(This poem in Persian script)
Tonight there came a news that you, oh beloved, would come –
Be my head sacrificed to the road along which you will come riding!
All the gazelles of the desert have put their heads on their hands
In the hope that one day you will come to hunt them….
The attraction of love won’t leave you unmoved;
Should you not come to my funeral,
you’ll definitely come to my grave.
My soul has come on my lips (e.g. I am on the point of expiring);
Come so that I may remain alive -
After I am no longer – for what purpose will you come?
(trans. A. Schimmel)
Bakhubi hamcho mah tabindah baashi;
Bamulk-e dilbari paayindah baashi.
Man-e darvish ra kushti baghamzah;
Karam kardi Ilahi zindah baashi.
Jafaa kam kun ki farda roz-e mehshar;
Baru-e aashiqan sharmindah baashi.
Ze qaid-e dojahan azad baasham;
Agar tu hum-nashin-e bandah baashi.
Barindi-o bashokhi hamcho Khusrau;
Hazaran khanuman barkandah baashi.
May your charming face ever shine like the full moon;
May you hold eternal sway over the domains of beauty.
By your amorous glance you have killed a poor man like me;
How magnanimous of you? May God give you a long life.
Pray do not be cruel lest you should feel ashamed of yourself
Before your lovers on the day of judgment.
I shall be set free from the bonds of the two worlds
If you become my companion for a while.
By your wanton playfulness you must have destroyed
Thousands of hearts of lovers like that of Khusrau.
(trans. S.A.H.Abidi)
Ay chehra-e zeba-e tu rashk-e butan-e azari;
Har chand wasfat mikunam dar husn-az-aan zebatari.
Aafaq ra gar deedah am mehr-e butan warzeedah am;
Bisyar khuban deedah am lekin tu cheez-e degari.
Man tu shudam, tu man shudi, man tan shudam, tu jan shudi;
Taakas nagoyad baad azeen man deegaram tu deegari.
Khusrau ghareeb ast-o gada uftadah dar shehr-e shuma;
Baashad ki az behr-e khuda, su-e ghareeban bangari.
O you whose beautiful face is the envy of the idols of Azar
(Abraham's father and famous idol maker);
You remain superior to my praise.
All over the world have I traveled;
many a maiden’s love have I tasted;
Many a beauty-star have I seen; but you are something unique.
I have become you, and you me; I have become the body,
you the soul; So that none hereafter may say
that “I am someone and you someone else.”
Khusro a beggar, a stranger has come wandering to your town;
For the sake of god, have pity on this beggar
and do not turn him away from your door.
(trans. Dr. Hadi Hasan)
Zehal-e miskin makun taghaful, duraye naina banaye batiyan;
ki taab-e hijran nadaram ay jaan, na leho kaahe lagaye chhatiyan.
Shaban-e hijran daraz chun zulf wa roz-e waslat cho umr kotah;
Sakhi piya ko jo main na dekhun to kaise kaatun andheri ratiyan.
Yakayak az dil do chashm-e jadoo basad farebam baburd taskin;
Kise pari hai jo jaa sunaave piyare pi ko hamaari batiyan.
Cho sham’a sozan cho zarra hairan hamesha giryan be ishq aan meh;
Na neend naina na ang chaina na aap aaven na bhejen patiyan.
Bahaqq-e roz-e wisal-e dilbar ki daad mara ghareeb Khusrau;
Sapet man ke waraaye raakhun jo jaaye paaon piya ke khatiyan.
(Read this poem in Persian script)
Do not overlook my misery by blandishing your eyes,
and weaving tales; My patience has over-brimmed,
O sweetheart, why do you not take me to your bosom.
Long like curls in the night of separation,
short like life on the day of our union;
My dear, how will I pass the dark dungeon night
without your face before.
Suddenly, using a thousand tricks, the enchanting eyes robbed me
of my tranquil mind;
Who would care to go and report this matter to my darling?
Tossed and bewildered, like a flickering candle,
I roam about in the fire of love;
Sleepless eyes, restless body,
neither comes she, nor any message.
In honour of the day I meet my beloved
who has lured me so long, O Khusro;
I shall keep my heart suppressed,
if ever I get a chance to get to her trick.
(trans. M. Rehman)
Jan zatan burdi wa darjani hunooz;
Dard-ha daadi wa darmani hunooz.
Aashkara seen-e am bashugaafti;
Hamchunan dar seen-e pinhani hunooz.
Ma za girya chun namak bagudakhtim;
Tu bakhunda shukr afshani hunooz.
You carried the soul from (my) body – and yet,
You are still in the soul;
You have given pains – and are still the remedy;
Openly you split my breast –
Yet, you are still hidden in my heart.
You have destroyed the kingdom of my heart
With the sword of coquetry,
And are still a ruler in that place….
(trans. A. Schimmel)
Abr mi barad-o man shovm-e az yar-e judaa
Choon kunam dil becheneen roz zedildar judaa.
Abr baraan wa man-o yar satadah ba-widaa’
Man judaa girya kunaan, abr judaa, yaar judaa
The cloud weeps, and I become separated from my friend -
How can I separate my heart from my heart’s friend on such a day.
The cloud weeping – and I and the friend standing, bidding farewell -
I weeping separately, the clouds separately, the friend separately…..
(trans. A. Schimmel)
http://www.angelfire.com/sd/urdumedia/love.html
bademiyansubhanallah
Mere talk of peace will avail you naught.
Mere talk of God and religion will not take you far.
Bring out all of the latent powers of your being
And reveal the full magnificence of your immortal self.
Be surcharged with peace and joy,
And scatter them wherever you are and wherever you go.
Be a blazing fire of truth,
Be a beauteous blossom of love and a soothing balm of peace.
With your spiritual light dispel the darkness of ignorance;
Dissolve the clouds of discord and war.
Spread the message of goodwill,
peace and harmony among the people.
Never seek any help,
cSelect Bibliography of Books, Publications & Sources
Consulted in Preparation of This Website
Note: We have also prepared a comprehensive list of books written by
the various Shaikhs of the Chishti Order. View here.
Name of Publication Author Language
A Thought for Today F.A. Fazalbhoy English
Aab-e-Kausar Sheikh Md. Akram Urdu
Aayeen-e-Akbari Abdul Fazal Persian/Urdu
Aftaab-e-Ajmer Malik Bashir Urdu
Aftab-e-Hijwar Payam Shahjahapuri Urdu
Afzal-ul-Fawwad Amir Khusro Persian
Ahsan-us gait Mohammed Akbar Urdu.
Ain-ul-Wilayat Munshi Wilayat Ali Urdu
Ajmer-Historical Dewan Bahadur English
Akbarnatal Harbilas Sarda and Abul Fazal, P.M. Persian
Akhbar-ul-Akhyar Shiekh Abdul Huq Mohaddis Persian/Urdu
Akmal ut-Twarikh M Mohd. Yakub Urdu
Anis ul-Arwah Hazrat Khwaja Persian
Anwaar ul-Aarifeen Hafiz Mohammed Persian
Armoghan-e-Sabir Malik Din Mohammed Persian
A'Saar-e-Delhi Pir Zamin Nizami Urdu
Asraar-ul-Aulia Kh. Badruddin Ishaq Urdu
Asraar-ul-Waasileen Ahmed Akhtar Shah Urdu
Asrar-ul-Aulia Khwaja Badruddin Ishaq Persian
Baba Farid-ka-Roznamcha Mulla Wahdi Urdu
Basis of Islamic Culture Dr. Syed Abdul Latif English
Bazm-e-Soofia Syed Sabahuddin Abdul Rahman M.A. Urdu
Behr-ul Maani Author of Lamaatul Urdu
Bhagwan Mahavir H. H Jain Diwakar Muni English
Book of Sufi Healing Shaikh Abu Abdullah Moinuddin English
Charms of Islam Khwaja Nazir Ahmed English
Dalil-ul-Arifin Hazrat Khwaja Qutubuddin Persian/Urdu
Darbar-e-Akbari M. Mohammed Urdu
Devotion to the Almighty Dr. H Rahman English
Fawaid-ul Fawad Amir Hasan Ala Sanjari Persian
Fawwad-us Salikin Hazrat Baba Fariduddin Ganj Shakar Persian/Urdu
Fawwad-ul-Fawwad Amir Hassan Sanjari Persian/Urdu
Firoz Shah's History Firoz Shah English
Forty Years of Sufism 1910-1950 Pir-o-Murshid Mohammed Ali Khan
English
Future of Islam Amir Ali English
Ganj-e-Asraar Hazrat Khwaja Muinuddin Chishti Persian
Gazetteer of Ajmer Mr. J. D. Latouche English
God Realization A.G. Usman English
Guldasta Chishti Md. Misbahuddin Urdu
Gulzaar-e-Faridi Pir Mohammed Hussain Chishti Urdu
Gulzar-e-Abrar Molana Ghausi Shattari Persian/Urdu
Gunj-ul-Asrar Hazrat Khwaja Muinuddin Chishti Persian
Haftaad Aulia Shah Murad Marehravi Urdu
Haqiqat Gulzar Sabri Shah Mohammed Hasan Sabri of Ramput Urdu
Hayat e-Sabri Kalyari Masoom Ali Sabir Urdu
Hazrat Baba Fariduddin Maulana Wahid Ahmed Masood Badayuni Urdu
Holy Prophet through Different Lights Al-Haj Mohammed Ali- Salmin
English
Iqtibas-ul Anwaar Maulana Mohammed Akram Persian/Urdu
Iqtibas-ul-Anwaar Sh. Akram Chishti Persian
Islam & Non-Muslims M.I. Meer English
Islam at the Cross Roads Mohammed Asad English
Jaama-ul-Uloom Hazrat Jalaluddin Persian
Jawahir-e-Faridi Muhammed Ali Asghar Chishti Urdu
Jawama ul-Kalum Mohammed Akbar Husain Persian/Urdu
Karbat-ul-Wahdat Hazrat Abdul Qader Mohiuddin Jilani Arabic/Persian
Kashful-Mahjoob Shaikh Ali Hujwari Persian
Khair ul-Majaalis Hamid Shair Qalandar Persian
Khazinat-ul-Asfia Mufti Gulam Sarwar of Lahore Persian
Khwaja-e-Azam Syed Ahmed Ali Fahmi Urdu
Khwaja-e-Hind-ul-wali Sheikh Iftikhar Ahmed Urdu
Kitab Gharib Nawaz Bashir Ahmed Urdu
Kitab-ut-Tahqeeq M. Aminuddin Khan Persian/Urdu
Kulliyat-ul-Hyat Hazrat Usmaa Ghani Arabic
Life of Bhagwan Sathya Sai Baba N. Kasturi English
Life of Dayanand Sarswati Shri Chauthmalji Maharaj and English
Madayan-ul-Moin Not Known Persian
Malfoozaat Khwajgaan-e-Chisht Ghulam Ahmed Khan Persian
Maqnatis-ul-Wahdat Hazrat Baba Fariduddin Persian/Urdu
Masalik-us-Salikin Mohammed Abdus Sattar Urdu
Miftah-ul-Aashiqeen Muhib Allah Persian
Miraat-u!-Ansaab Molvi Ziauddin Urdu
Mirat-ul-Asraar Abdul Rahman Abdul Rasool Persian
Mirat-ul-Konain Molvi Ghulam Nabi Urdu
Muin-ul-Arifin Nawab Khadim Husain Urdu
Muin-ul-Arwah Princess Jahan Ara Begum Persian
Muin-ul-Aulia Dewan Syed Imamuddin Ali Khan Persian
Mujaahid-ul Wahdat Hazraat Umar Faruq Arabic
Munaqib ul-Asfia Makhdoom Shah Shuaib Persian
Munaqib-ul-Habib Md. Najmuddin Chishti Persian/Urdu
Munis-ul-Arwah Princess Jehan Ara Begum Persian
Muntakhib-ut-Twarikh Mulla Abdul Qadar, Badayuni Persian/Urdu
Nadwat-ul-Mussani Nizami Urdu
Nahjul Balagh Syed Mohammed Askari Jaffery English
Nisar-e-Khwaja Aliama Moinuddin Ajmeri Urdu
Nizami Bansari Khwaja Hasan Nizami Urdu
Punjabi Suri Shoura Ms. Lajwanti Rama Krishna Urdu
Punjab-men-Urdu Hafiz Mohammed Sherani Urdu
Qavi-ul Qudrat Hazrat Ali Murtaza Arabic
Rahat-ul Quloob Hazrat Nizamuddin Aulia Persian
Reader's Digest Reader's Digest Association, London English
Religious Digest K Ramchandra English
Report of Dargah Enquiry, 1949 Ghulam Husain English
Rood-e-Kausar Dr. Sheikh Mohammed Akram, M.A. Urdu
Sabiri Silsila Maulana Wahid Ahmed Masood Urdu
Safinat-ul-Aulia Prince Dara Shikoh Persian
Sawaneh Hyat Hazrat Ali Hijwari Tablighi Kutubkhana Urdu
Shaikh-ush Shayookh-e-Alam Talib Hashami Lahori Urdu
Sheurn-ul Aim Maulana Shibli Nuamani Urdu
Shihaab-ul-Ma'Arifat Hazrat Abu Bakr Siddique Arabic
Siar-ul Aulia Syed Md. Kirmani & Syed Mubarik-ul-Alavi Persian/Urdu
Siar-ul-Aqtaab Sheikh Alladiya Chishti Persian
Siar-ul-Arifin Sheikh Jamali Jalaluddin Persian
Siar-ul-Aulia Syed Mubarik Amir Khurd Persian
Silsilat ul-Aulia Mohammed Saleh Kunjahi Persian
Sirat Baba Farid Ganj Shakar Maulana Abul Bayan Faruqi Urdu
Sirat Hazrat Kh. Muinuddin Ajmeri Hazrat Badayuni Urdu
Sirr-ul-Abudiyat Hazrat Baba Fariduddin Arabic/Persian
Sufi Masters Pir Vilayat Khan English
Sufis Speak Mr. Shafayat English
Sufis, Mystics and Yogis B. Behari, Dr.K.M. Munshi & R.R Diwakar
English
Surur-us-Sadoor Hazrat Suri Hamiduddin Nagauri Persian
Tabqaat-e-Akbari Abul Fazal and Mulla Nizamuddin Ahmed Persian/Urdu
Tabqaat-e-Nasari Minhajuddin Siraj Persian
Tahqiqaat Aulaad Hafiz Mohammed Urdu
Tajalliyat-e-Quran Maulana Abdul Wahid Chishti Urdu
Tarikh Mashaikh-e- Chisht Khaleeq Ahmed Urdu
Tarikh Mashaikh-e-Chisht Prof. Khaleeq Ahmed Nizami Urdu
Tarikh-e-Hindustan Molvi Zaka Ullah Urdu
Tarikh-e-Farishta Mohammed Qasim Astradbadi Persian/Urdu
Tarikh-e-Feroze Shahi Maulana Ziauddin Barani Persian
Tarikh-e-Hindustan Munshi Zakaullah Urdu
Tarikh-e-Nizami Pir Zamin Nizami Urdu
Tasawwuf-e-Islam Maulana A. Maajid Daryabadi Urdu
Tazkara-e-Saabir Intizam Allah Shahaabi Akbarabadi Urdu
Tazkira Maulana Abul Kalam Azad Urdu
Tazkrat-ul-Kalaam Syed Shah Mohammed Akbar Danapuri Persian/Urdu
Ten Saints of India T.M.P. Mahadevan English
Gazetteer of Dist. Montgomery Government of India English
Gazetteer of Dist. Multan Government of India English
The Glorious Islam Al-Haj Mohammed Ali Salmin English
The Holy Prophet Mohammed Al-Haj Mohammed Ali Salmin English
The Holy Saint of Ajmer Al-Haj Mohammed Ali Salmin English
The Inner Voice C.W. Sanders English
The Japji (Message of Guru Nanak) Sant Kirpal Singh English
The Muslim Digest Mohammed Makki English
The Present Crisis of Faith Dr. S. Radhakrishnan English
The Reality of Religion J.M. Shapoorjee English
The Rise & Fall of Mohd. Tughlaq Agha Mahdi Husian, Ph.D. English
The Saint of Jilan Saiyad Abdus Salik English
The Spirit of Islam Syed Amir Ali English
The Sufi Message International Hqtrs. for Sufi Movement English
Tin-Dilli Shah Murad Marehravi Urdu
Tuzkey-Labargiri Emperor Jehangir Persian
Waqa-e-Hazrat Baba Fariduddin Pir Mohammed Husain Chishti Urdu
Waqa-e-Shah Babu Lal Persian/Urdu
Zabdat-ul-Haqayaq Qutubudddin Bakhtiyar Kaki Persian
harity or favours from anybody except God.
Never go to the courts of Kings,
But never refuse to bless and help the needy and the poor,
the widow and the orphan when they come to your door.
This is your mission, to serve the people...
http://web.archive.org/web/19981206083546/www.chishti.com/corder/bibliography.htm
Inspirer of my mind
Consoler of my heart
Healer of my spirit
Thy spirit lifteth me
from earth to heaven.
Thy words flow as the sacred river
Thy thought riseth as a divine spring
Thy tender feelings awaken sympathy in my heart
Beloved Teacher,
Thy very being is forgiveness.
The clouds of doubt and fear
are scattered by thy piercing glance
All ignorance vanishes in thy illuminating presence
A new hope is born in my heart
By breathing thy peaceful atmosphere.
O inspiring guide,
Through life's puzzling ways
In thee I feel abundance of blessings.
TO EACH AMONG YOU WE HAVE PRESCRIBED A LAW AND AN OPEN WAY. (S. 5 V.
48)
To call oneself a Muslim nominally and present oneself as a Muslim
formally does not make one a true Muslim. Just to know the teachings
of Islam does not help. A person who does not know how to behave like
a Muslim, although he or she knows the Shariah, is like a "donkey
carrying a load of books." (Sura Jumu'ah.)Islam should make one Godly
and not earth rooted. A true Muslim seeks the pleasure of Allah and
not the ego.
The adoption of the Shariah has degenerated with the degeneration of
Muslims. Sufi orders have also degenerated with the adoption of
rituals as an end and not a means to an end.In most cases Sufism is
viewed as ritualism through and through.The spirit of the rituals are
not explained hence the misconception of attaching mystic significance
to rituals, which were originally formulated to mobilise the heart in
the quest for Allah, has replaced the "sulook" or journey toward
Allah. The true methodology (Tariqah) is not undertaken and the faraid
(compulsory requirements) is being neglected.
The love for Allah and Rasul (sallallahu alaihi wasallam) should lead
to love for all creation. A Sufi lives for Allah, and in a spiritual
sense with Allah and in Allah. To undertake the journey and propel
oneself to Allah, human beings possess two wings:The wing of Law and
the wing of Love. The Shariah is the (law) and the Tariqah is (love).
To make the Shariah a cult is not what is demanded by Islam. Islam is
a revolt against the concept of cult. Islam is based on Tawhid or
Unity hence the law and love should be blended with Hikmah (wisdom).
If only one aspect is pursued it leads to imbalance and religiously
unbalanced personalities. The law leads to academic pursuit or (Fikr)
contemplation on the creation leading to knowledge of the creator with
the External eye and love leads to Dhikr (remembrance of Allah) ,
which leads to recognition or Ma'rifah of Allah. So Dhikr and Fikr
take one to ones goal and the goal is Allah. The love of Allah leads
one to love those who loved Allah ,who showed how to love Allah - to
the Aulia.
The demonstration of love , for him who loves Allah and the Holy
Prophet (sallallahu alaihi wasallam) and who loved the mission of
the
India has been known for millennia as a land of spiritual people, and
in her distinguished history, one name stands out among all other as
the undisputed greatest saint of India, that of Hazrat Khwaja
Muinuddin Chishti of Ajmer.
Orphaned in his teens, he gave up his rich inheritance one day by a
divine miracle to seek the path of Sufi dervishes. The story of his
illustrious life, of his education among the spiritual luminaries of
his time in Iraq and Persia, of his divinely decreed mission of
bringing Islam to India and the miraculous struggles in propagating it
there, with his highly enlightened 'sayings' are historical legends in
India.
There are extremely few personalities of spiritual India who inspire
and command spontaneous devotion and admiration for his exemplary
life, his divine worship, and his noble teachings for the upliftment
and service to all mankind.
To this day, nearly 750 years after his demise, his holy shrine is
visited throughout the year by millions of faithful devotees of all
religions and nations to pay homage to this great saint of the East.
This Chishti Order website presents the very full account of his
life and teachings, produced exclusively for the English-speaking
world.
The work, several years in development, has been assisted by a very
great number of people from all over the globe. We pray Allah to
Reward them all wioth His Choicest Blessings, as many of such things
as there are. Ameen.
While the Chishti Order is known to only a few selected groups in
the West, we offer these highly inspiring life stories, and the
illuminating work of the Chishtis, for the emancipation of the
oppressed of humanity, regardless of caste, creed, color, religion or
nation, and share with all humanity Khwaja Saheb's ever-shining
example of true humanity and Universal Brotherhood.
In the Name of Allah, Most Merciful, Most Compassionate.
The Chishtiyyah Order of Sufis historically is considered based in
the Indian subcontinent. It did originate, however, in the town of
Chisht in what is modern Afghanistan.
Chisht, written as Khisht in the Persian work Hudud al-'Alam
(compiled in 372 AH/982 CE), is now a small village known as Khwaja
Chisht on the river Hari Rud, some 100 kilometers east of Herat.
It was in this region that the Ghurid Sultans of the Shansab
dynasty established their rule in the 12th century. Until the 10th
century, the area was constantly invaded by the governors of Khurasan.
This resulted in the spread of Islam to the region, which had formerly
been Buddhist, and prior to that occupied by Jews and Manicheans.
Over time, the area of Chisht became renowned as a great center for
Sufis, as did the areas of Herat and Jam nearby. By the end of the 9th
century, these areas were all among the leading magnets for Sufis.
Among the migrants to Chisht was Shaikh Abu Ishaq Shami from Syria.
The Shaikh traced his spiritual origin from 'Ali (ra) and the Prophet
Muhammad (sas), and then through Hasan Basri, as follows:
Hasan Basri
Abdul Wahid bin Zaid
Fuzail bin Ayaz
Ibrahim Adham Balkhi
Khwaja Sadiduddin Huzayfa al-Mar'ashi
Abu Hubayra Basri
Khwaja Mamshad 'Alwi Dinawari
Abu Ishaq Shami
Abu Ishaq Shami returned from Chisht to Syria and died there in
329/940 at Akka, and left Khwaja Abu Ahmad Abdal Chishti as his
successor. The various successions ultimately rested upon Khwaja
Muinuddin Chishti, who was deputed by Divine decree to take up his
holy mission in Ajmer, Rajasthan, India.
This section of the website details the life and teachings of this
great saint. His spiritual genealogy and that of his successors are
provided at various appropriate places.
http://web.archive.org/web/19981205201713/www.chishti.com/corder/sufism.htm
Tassawuf In The Light Of Qur’an And Hadith
All Sufis obey the Holy Qur’an implicitly and also follow the
Prophet's traditions (Hadith) rigidly. According to Sufis, tassawuf
means unbounded love of God and selfless service of His creation under
Shariat. There is a clear indication in the Holy Qur’an that "God
loveth those who love Him". When a Sufi reaches the pinnacle of his
career, he is above all worldly things. He then enters the domain of
the spiritual world, the existence of which is as certain as this
material world.
Ma'Arifat
Thus when the lover and the Beloved are in divine harmony and
unity, there is nothing else but a serene happiness--a rare type of
happiness which no pen or human intellect can describe adequately.
It is this reciprocal link of divine love between God and man which
is called Ma'Arifat in Sufi parlance. Maulana Abul Kalam Azad, in his
Tarjumaan-ul-Qur’an, clarifies this point. He says: "Again and again
the Qur’an has revealed the fact that the relation of God with man is
nothing but a relation of their mutual love. In appreciation of man's
own wonderful creation, God gracious expects nothing but his love and
devotion only."
A true devotee of God thus becomes His true lover. And, at this
stage, the devotee is very near to God. Having attained the position
of God's beloved friend, he soars high in the spiritual world or
exists in a state of a kind of so-called ‘other-worldliness.’ And this
is the ultimate goal of a Sufi--the true meaning of all his devotion
and mujahedas (strivings).
The Qur’an gives a central place to its religious principles in order
to guide the conduct of man in his life, and that is why all Sufis
follow it scrupulously to develop their love of God and win His
pleasure and blessings. God says: "O Mohammed, We have given you the
Book as well as the secrets of our Hikmat (Divine knowledge) and We
shall tell you those things which you never knew."
As promised, the Prophet did receive this divine wisdom or the
secret knowledge and, in turn, imparted and passed it on to some of
his very near associates, especially to Hazrat All, who were indeed
the source of light or the guiding stars of Tassawuf for the
succeeding generations of a particular class of Muslim ascetics who
played such a glorious role in the service of mankind at various
critical junctures of Islamic history.
Characteristics of a Sufi
Discussing the characteristics of Tassawuf and Surfs, Hazrat Ali
Hujwari supports what Hazrat Junaid Baghdadi says about these
qualities. Hazrat Junaid attributes the following eight exemplary
qualities of a Sufi. A true Sufi possesses:
The courage and magnanimity of Prophet Ibrahim.
The obedience of Prophet Ismail.
The patience and forbearance of Prophet Ayub.
The signs of Prophet Zakaria.
The poverty of Prophet Yahya.
The traveling nature of Prophet Isa (Jesus).
The simplicity of dress of Prophet Muss (Moses).
The Fuqr (contentment and renunciation) of Prophet Mohammed.
Sufism is Something Divine
Sufism is not the name of any Uloom (knowledge) or rasoom (customs,
traditions). It is the name of a special religious conduct based upon
Divine Knowledge and guidance. If it were Uloom then it should have
been acquired by common knowledge; and if it were rasoom then it
should have been acquired by mere mujahedas (practice and strivings).
But it is neither acquired by 'ilm nor by mujahedas alone. It is
something Divine bestowed by the grace of God upon a selected few who
renounce this material world and devote themselves exclusively to the
worship of God and service of his creatures.
Sheikh Ali Hujwari further lays down four important characteristics of
a Sufi: (1) implicit faith in and obedience to God by giving up all
other worldly hopes and hypocrisy; (2) honoring of the elders and
welcoming of the younger ones with equanimity, love and respect; (3)
desiring neither rewards nor any other kind of appreciation from any
quarter whatever except God; and (4) over-powering all sensuous
desires of the evil of Nafs.
Dress of Sufis
"Wearing of the coffin-cloth in life time."
The Kashf-ul--Mahjoob deals elaborately in three chapters with the
details of the dress of Sufis. It says: "A Sufi uses only one solitary
covering generally called gudri (a quilt made of patched cloth)
following the tradition of the prophets and saints which is the symbol
of their fuqr (contentment) and riyazat (strivings). But there are
certain extremely rigid conditions too which must be fulfilled before
a Sufi aspires to wear this coveted gudri.
First of all, he must completely renounce the world and have
unshakable faith in God, His last prophet Mohammed, the Book and the
Hadith; secondly, he can wear this gudri only when his Pir-o-Murshid
adorns him with it after testing his ability to wear it with honor.
Thirdly, it is incumbent upon him to serve an apprenticeship of at
least two years before qualifying for this gudri.
The most important condition of this service is that he must give his
love and sympathy indiscriminately to all the creatures of God alike,
irrespective of all religious distinctions. For the Sufi, service
means whatever he does, he does it for the sake of God without
expecting rewards. Fourthly, he must possess a most courageous heart
to pass through the hard tests of the curriculum of Sufism, and no
worldly worries whatever must disturb his equilibrium.
When all these conditions are carried out rigidly, then only the
Sheikh or Pir can adorn the mureed (disciple) with this coveted and
hard-earned gudri of fuqr. As a matter of fact, this adornment means
nothing but wearing of one's coffin-cloth when one is still living.
The aspirant now becomes a perfect faqir or Sufi, a true devotee of
God and real servant of mankind.
Unparalleled Forbearance
One of the greatest characteristic weaknesses of man is the control
of his temper. Insult or ridicule of the friends of God is their
relishing food. A true Sufi takes no notice of any insult done to him.
How great Sufis have mastered this difficult evil is illustrated by
the following few brilliant instances.
Once Sheikh Abu Taher, a great Sufi of his time, was passing
through a bazaar when some one hurled a jeering insult at him by
addressing him as "O Pir Zindiqi" (meaning, "O you faithless Pir").
One of the mureeds of the great Sheikh walking with him was awfully
enraged at this insult of his revered Pir and wanted to retaliate with
the offender on the spot.
But the Sheikh calmly restrained him. On reaching home, the Sheikh,
to pacify the mureed's anger, showed him a bundle of letters in which
the writers, who were the country's leading dignitaries, had addressed
him with high regards, courtesies and alqaabs (adorations). The Sheikh
then warned his disciple: "Everybody has his own opinion or views
about me according to the limits of his own knowledge and status. All
opinions or views are mere expressions of one's own wisdom, ability or
status. If some one calls me a zindiqi (faithless), why should we
quarrel over mere reflections of his own ignorance? Certainly this
reflection does not represent my actual Personality and all that goes
with it. The alqaabs, good or bad, are mere prefixes or suffixes
attributed to one's personality according to the people's own
estimation and ability. We should take no impression of such
irresponsible behavior. Even if it insults us, then God alone has the
right and power to punish the offenders and not we? Who are we to take
God's law into our own hands and wreck vengeance?" The mureed learned
a great lesson in Sufism from his Pir, and kept quiet.
Another Lesson
Another brilliant example of saintly forbearance is illustrated by
the story of Hazrat Abu Yazid, another great Sufi of his time, who
returned to his home town in the month of Ramadhan after a long
journey in Hedjaz. Contrary to all his protests, the citizens arranged
a royal public reception in his honor.
During the function, Hazrat Abu Yazid felt very uneasy and lost his
constant spiritual contact with God temporarily, i.e. his constant
devotion to God was disturbed. In order to distract his attention from
this forced show in which he was not at all interested or happy, and
to regain his lost devotional contact with God, he suddenly took out a
tikya (a small cake) from the pocket of his sleeve and began to eat
it. The audience was simply aghast at this irrelevant act by such an
exalted Sufi dervish in a public meeting. Their regard for him was
rudely shaken, and they began to condemn him bitterly for his freakish
behavior. But the saint took no notice of all this. He had, in fact,
invented this act purposely in order to regain the lost touch with his
beloved God at the expense of even public ridicule and insult.
Another Wonderful Example
Hazrat Sheikh All Hujwari gives us another wonderful story of how
ridicule and insult have been gracefully swallowed by the beloved
friends of God. He says: "Ridicule or hatred of Sufi saints is
actually a refreshing garden for them." He then cites the following
example of Hazrat Ibrahim Adham, one of the greatest Sufi luminaries
of his time. He says:
"Once a person inquired of Hazrat Ibrahim Adham whether he had ever
been successful in meeting his heart's best wish during his long
career as a Sufi? The great saint replied, "Yes, only twice in my
life." "Once," he said, "when I was traveling incognito in a boat,
wearing torn and dirty clothes with disheveled hair. Seeing me in this
shabby condition, my fellow travelers not only pulled my hair but also
ridiculed me and indeed made a laughing stock of me on the journey.
It was at this time that my heart's dearest wish was fulfilled and the
cup of my happiness swelled for the first time, in the love of my
beloved God. But this happiness was short-lived, because, the next
day, a fellow came up and actually discharged his urine upon my
clothes which I was obliged to change under the law of Shariat. With
my changed dress, the people became cautious and stopped the fun they
were having with me, and I lost my happiness."
Hazrat Ibrahim Adham went on: "The second occasion of the
fulfillment of my heart's dearest wish occurred on a rainy day during
a severe winter, when I was on a journey and was drenched. I was in
search of a refuge for shelter, and when I reached a village, my jubba
(cloak) was actually dripping with rain. I sought shelter in a mosque,
but they would not let me in and, in fact, drove me away very rudely.
Due to severe cold, I then entered into the furnace of a hammam
(public bathroom) to comfort myself and sat there, preserving my
clothes carefully from the fire. With the soot and smoke of the
furnace, all my face and clothes were blackened and when I got out, I
was unrecognizable. My dear friend, this was the second time when nay
heart's dearest wish was fulfilled and I felt extremely happy at this
test of my beloved God. Such examples of forbearance of the great
Sufis can be multiplied.
Ancestors of Sufism
The Sufis maintain that they must act strictly upon the same Divine
Commandments, both in letter and spirit, which were received by the
Prophet about his own devotion to God: "Cut off yourself from
everything and concentrate your attention towards Me." A Hadith Qudsi
of the Holy Prophet relates that Allah describes such extraordinary
devotion in this manner: "When a devotee seeks Me devoutly, I also
reciprocate his love and become his ear by which he hears, his eye by
which he sees, his hand by which be works and his feet by which he
walks."
There was a group of prophet's beloved followers, popularly called
Ashaab-e-Suffa, who had renounced the world and had dedicated their
lives to prayer and recitation of the Holy Qur’an day and night. They
lived in an annex to the Prophet's mosque and did not marry; those who
married among them had to leave the group. For their livelihood, they
depended entirely upon the benevolence of God on the Qur’anic promise
of "providing for every creature on earth."
Sometimes the Ansars would bring in a bunch of dates and hang it in
the roof of the mosque. When the ripened fruit fell to the ground,
these ascetics would pick it up and eat. They lived in strict
austerity and looked after all their necessities of life by
themselves. They drew water and picked up firewood from the jungle to
sell and make their living. The well-known Hazrat Abu Huraira, who is
an authority on Prophet's Hadith (traditions) was one of them.
Many great Ulema and historians have paid them high tributes for their
heroic life of austerity, sacrifice and devotion. The love of the
Prophet himself for their exemplary religious life was naturally
immense and unbounded. It is, therefore, safely presumed that some of
this group of early ascetics were the ancestors of some of the leading
Sufis of the world apart from the lineages of the Holy Prophet and his
four distinguished Caliphs.
http://web.archive.org/web/19981202140145/www.chishti.com/corder/sufismquran.htm
Chishti Literature
The literature of the Chishti silsila may be considered under five
heads: (a) Malfoozaat (conversations) of the saints; (b) Maktoobat
(letters) of the saints; (c) works on mystic ideology and practices;
(d) biographical accounts of saints and (e) poetical works. Only major
and representative works are indicated here.
Malfoozaat
This literature of Chishti’s throws valuable light on their thought
and activities. The art of its writing was introduced in India by Amir
Hasan Sanjari who compiled the conversations of Hazrat Nizamuddin
Aulia in his Fawa'id-ul-Fu'ad.
Other important collections of Malfoozaat are the following: Khair-
ul-Majaalis conversations of Hazrat Naseeruddin Chiragh, compiled by
Hameed Qalandar; Surur-ul-Sudoor, conversations of Hazrat Hameeduddin
Sufi, compiled by his grandson (MSS Habibganj); Ahhsan-ul-Aqwaal,
conversations of Hazrat Burhanuddin Gharib, compiled by Maulana Hammad
Kashani (MS personal collection); Jawami-ul-Kalam, conversations of
Hazrat Mohammed Gesu Draz, compiled by Syed Mohammed Akbar Husaini
(Usmanganj); Anwaar-ul-Uvun, conversations of Hazrat Ahmed Abdul Huq
(compiled by Hazrat Abdul Quddus Gangohi); Lataaif-e-Qudussi,
conversations of Hazrat Abdul Quddus Gangohi, by Rukn-ud-Din; Fakhr-e-
Talibin, conversations of Shah Fakhruddin compiled by Rukn-ud-Din
Fakhri; Nafa-ul-Salikin, conversations of Hazrat Shah Suleman of
Taunsa compiled by Mamuddin; Makshoofaat-e-Manazal-e-Ehsan
(Manifestations of the Stages of Blessings (6 vols.), Sufi Barkat
Ali). All of them are most authentic and dependable.
Maktubat
Saha'if-ul-Suluk, letters of Ahmed Faqir, Jhajhar; Bahr-ul-Ma'ani,
letters of Syed Jafar Makki; Maktoobaat-e-Asharafi, letters of Syed
Ashraf Jahangir Simnani (MS Aligarh); Maktoobat of Syed Nur Qutb-e-
Aalam (MS Aligarh); Maktoobaat-e-Quddusi, letters of Hazrat Abdul
Quddus Gangohi; Maktoobaat-e-Kaleemi, letters of Hazrat Shah Kalim
Allah Jahanabadi. There are also the Seven Illuminating Letters which
were addressed by Hazrat Khwaja Muinuddin Hasan Chishti of Ajmer to
his beloved Khalifa, Hazrat Khwaja Qutubuddin Bakhtiyar Kaki, which
are fully reproduced on this website.
Works on Chishti Sufi Ideology & Practices
The two earliest Chishti works on mystic ideology are in the form
of aphorisms: the Mulharnaat of Hazrat Jamaluddin Hansvi and Mukh-ul-
Ma'ani of Amir Hasan Sanjari. The Usool-ul-Sama of Hazrat Fakhruddin
Zaradi, contains an exposition of Chishti attitude towards music
parties or Quwwali. Among other Chishti works, the following may be
noted:
Ruknuddin Imad's Shama'il-e-Ankiyya; Abdul Quddus's Ghara'ib-ul-
Fu'ad; Nizamuddin Balkhi's Riyaz-ul-Quds; Shah Kalim Allah's Muraqqa-e-
Kalimi; Nizamuddin Aurangabadi's Nizam-ul- Quloob; Fakhruddin
Dehlavi's Nizam-ul-Aqa'id; Hazrat Muin-ul-Haqq’s Al-Kitab al-Rawhi al-
Shifa As-Sufiyyah.
Biographical Works
The biographical accounts of earliest Chishti saints are found in
Mir Khurd's Siyar-ul-Aulia compiled in 8th/14th century. Late in the
19th century, Khwaja Gul Mohammed Ahmedpuri wrote a Takmila to the
Siyar-ul-Aulia. Other important biographical works include Jamali's
Siyarul-Arifin; Nizamuddin Yamani's Lata'if-e-Asharafi; Tajuddin's
Risala Hall Khanwada-e-Chisht (MS personal collection); Ali Asghar
Chishti's Jawahir-e-Faridi; Abdul Rehman's Mir'at-ul-Asraar (MSS);
Allah Diya's Siyar-ul-Aqtaab; Muinuddin's Ma'Aarij-ul-Wilayat (MSS
personal collection); Allauddin Barnawi's Chishtiyya-e-Bahishtiya
(MSS); Akram Baraswi's Iqtibas-uI-Anwaar; Mir Shihabuddin Nizam's
Manaqibe-Fakhria; Rahim Baksh's Shajrat-ul Anwaar (MSS personal
collection): Mohammed Husain's Anwaar-ul-Aarifin; Najmuddin's Manaqib-
ul-Mahbubeen; Ghulam Mohammed Khan's Manaqib-e-Sulaimani; Ahmed Akhtar
Mirza's Manaqib-e-Faaridi; Hadi Ali Khan's Manaqib-e-Hafiziyya, and
Nisar Ali's Khwariq-e-Haadwiyya.
Poetical Works
The diwans (poetical collections) attributed generally to Hazrat
Khwaja Muninuddin Hasan Chishti of Ajmer and Hazrat Khwaja Qutubuddin
of Delhi are apocryphal. The Surur-ul-Sudoor says that Hazrat
Hamiduddin had left poetical compositions in Arabic, Persian and
Hindi. Of them only a few couplets are now available.
The earliest poetical work of an Indian Chishti Sufi is the Diwan-e-
Jamaluddin Hansvi. Amir Khusro, the great Indian poet, though
associated intimately with the Chishti order, did not produce any work
exclusively on mysticism but some of his poems contain verses which
throw light on Islamic mystic tendencies of the period. Mas'ud Baksh's
Diwan, Yusuf Gada's Tuhfat-ul-Nasa'ih and Hazrat Shah Niyaz Ahmed's
Diwan-e-Baa Niyaz are steeped in Chishti ideology.
Bibliography
Besides the works cited above, the following are also notable:
Abdul Huq Mohaddis's Akhbar ul-Akhyar; Ghulam Sarwar's Khazinat ul-
Asfiya; Mushtaq Ahmed's Anwaar-ul-Ashqeen; Ashiq Elahi's Tizkirat-ul-
Khalil; Syed Abdul Hayee's Nuzhat-ul-Khawatir; Ashraf Ali Thanawi's Al-
Sunnatal-iilliyafil-Chishtiya al-Uliyya; Prof. Mohammed Habib's Sheikh
Nasiruddin Chiragh as a Great Historical Personality in Islamic
Culture; Chishti Mystic Records of the Sultanate Period, in "Medieval
India Quarterly", vol. L No. 2; Prof .K.A. Nizami's Tarikh-e-Mashaikh-
e-Chisht; and The Life and Times of Sheikh Fariduddin Ganj-e-Shakar.
Note: With the advent of British Raj in India, the Western
education and rule gave a shattering blow to the age-old cultural and
religious values and traditions of both the Muslims and Hindus of
India. Many of the time-honoured religious values began to deteriorate
gradually under the spell of Westernized education and political
domination. They were the first casualties of this Western influence,
although the Dargahs or shrines of the great Chishti Sufi saints
maintained their spiritual and religious atmosphere in spite of this
Western intrusion.
http://web.archive.org/web/19981206062745/www.chishti.com/corder/literature.htm
Chishti Sufi Ideology
The early Chishti Sufis of India had adopted the Awarif-ul-Ma'arif
of Hazrat Sheikh Shihabuddin Suhrawardi as their chief guide book. On
it was based the organization of their khanaqahs and the elder saints
taught it to their disciples. The Kashf-ul-Mahjoob of Hazrat Ali
Hujwari of Lahore was also a very popular work. Hazrat Nizamuddin
Aulia used to say: "For one who has no spiritual guide, the Kashf-ul-
Mahjoob is enough". Besides these two works, the Malfoozaat
(conversations) of Hazrat Nizamuddin Aulia, Naseeruddin Chiragh,
Burhanuddin Gharib and Syed Mohammed Gesu Daraz give a fairly accurate
idea of the Chishti mystics' ideology.
Even today the Eleven Etiquettes (Adabs) of the Chishti Sufis
reflect the influence of the Kashf-ul-Mahjoob Kashf-ul-Mahjoob.
The cornerstone of Chishti ideology is the concept of Unity of God.
It supplies the motive force to their mystic mission and determines
their social outlook. The early Chishti saints however did not write
anything about these concepts, but Masud Baksh's Mir'at-ul-Arifeen and
his poetical diwan, Nur-ul-Ain, gave currency to these ideas and his
works became popular study in the Chishti khanaqahs.
The Chishtis look down upon possession of property and pursuit of
materialism as a negation of faith in God. They reject worldly goods
and material attractions (tarke-danya) and live on futuh (voluntary
offerings) which are never demanded as charity.
The Chishti Sufis believe in a peaceful attitude towards life, and
consider retaliation and revenge as laws of the animal world. They
live and work for a healthy social order, free from all dissensions
and discriminations. Contact with the state is greatly discouraged.
"There are two abuses among the mystics," says an early Chishti
mystic, "jirrat and muqallid. Muqallid is one who has no master;
jirrat is one who visits kings and their courts and asks people for
money".
The great objective of a mystic's life, according to Chishtis, is
to live for the God alone. One should neither hope for Heaven nor fear
Hell. Man's love towards God may be of three kinds: (a) Mohabbat-e-
Islami i.e. love which a new convert to Islam develops with God on
account of his conversion to the new faith; (b) Mohabbat-e-nuwahhibi,
i.e. love which a man develops as a result of his effort in the way of
following the Holy Prophet Muhammad; (c) Mohabbat-e-khass, i.e. love
which is the result of cosmic emotion. A mystic should develop the
last one.
The Chishti mystics do not demand formal conversion to Islam as a
pre-requisite to initiation in mystic discipline. Formal conversion,
they believe, should not precede, but follow a change in emotional
life. The Chishti attitude contrasts sharply with, for example, the
Suhrawardi principles in this respect.
The guiding principles of the Chishti Order are encapsulated in the
famous "Final Sermon" of Khwaja Muinuddin Chishti, delivered just one
month before his demise.
The interested person is directed to a bibliographical list of the
many books and teachings authored by the Chishti saints over the
years.
http://web.archive.org/web/19981206124217/www.chishti.com/corder/ideology.htm
bademiyansubhanallah
The Zahuri Sufi Web Site: Ajmeri Pages (1)
Bulland Davarsa
The main entrance to the shrine of Khawaja
Muinuddin Hasan Chishti lies at one end of a long
road. Always busy as here, during the Urs (death
anniversary) of the famous saint the street is
thronged with visitors and pilgrims, to such an extent
that it is difficult for an individual to walk through the
masses of people.
http://zahuri.org/Ajmer1gate.html
The Chilla (cave of Spiritual Retreat)
of Khawaja Muinuddin Hasan Chishti
About half a mile from the main shrine of Hazrat Khawaja Muinuddin
Hasan Chishti is a
large hill that overlooks the city from one side, and the artificial
lake of Ana Sagar
constructed by Mughal Emperors on the other.
On this hill is situated the Chilla or place of spiritual retreat of
Khawaja Muinuddin Hasan
Chishti. It is a small cave whose entrance requires one to duck one's
head to enter. It is a
venerated spot visited by the pilgrims with great respect.
In the picture above Jamiluddin Morris Zahuri (author of the web site)
is seen offering fatiha (a kind of
prayer).
http://zahuri.org/Ajmer2chilla.html
The Tomb of Hazrat Saeenji
Saheb founder of the Gudri
Shahi Order of Sufis
Adjacent to the Chilla of Hazrat Khawaja Muinuddin Hasan Chishti (see
page two) is the splendid
marble tomb of Hazrat Saeenji Gudri Shah Baba, founder of the Gudri
Shah Order of Sufis. This
marble shrine commands a spectacular view over the Anna Sagar lake.
http://zahuri.org/Ajmer3Saeenji.html
The Tomb of Hazrat Qazi Gudri Shah Baba
http://zahuri.org/Ajmer4Qazi.html
The Tomb of Hazrat Khadim Nawob Gudri Shah Baba The tomb is located
further up the hill from the Chilla of
Khawaja Saheb. It also contains the Relics of Khawaja Usman Harooni.
In front of the shrine, is the grave of one of the wives of Nawob
Saheb.
http://zahuri.org/Ajmer5Nawob.html
The Tomb of
Hazrat Khadim Nawob Gudri Shah Baba
Inside the
shrine of
Hazrat Nawob
Saheb are
relics of Hazrat
Khawaja
Usman
Harooni, the
spiritual guide
of Khawaja
Saheb.
They were
brought from
Iraq by Nawob
Saheb.
http://zahuri.org/Ajmer6Usman.html
The Tomb of Hazrat Dr Zahurul Hassan Sharib
http://zahuri.org/Ajmer7Sharib.html
The Deg
(Cooking Pot
http://zahuri.org/Ajmer8Deg.html
bademiyansubhanallah
Legacy of Guru Ravidas
Post a Comment January 30, 2010 – 10:30 am
on Gurpurb (Birthday), 30th January, 2010
Chaudan saai tetees ki magh sudi pandras
Dukhion ke kalyan hit pargte Guru Ravidas.
As per this couplet Guru Ravidas was born on 15th of Magh Saudi, full-
moon day of 1433 at Seer Govardhan-pur (Kanshi-Banaras).
Guru Ravidas
His father’s name was Santokh Das and mother’s name was Kalsa Devi.
Mata Loona was the wife of Guru Ravidas, humble and extended her full
support to her husband in his mission. At the time of Guru Ravidas,
‘varna vivstha’/caste system, unsociability, untouchability was
prevalent, and Dalits/untouchables were suffering the most. Over the
course of time it had become strinent and cruel and the socio-
religious system of India also crippled. In such an environment, Guru
Ravidas emerged as a formidable adversary of socio-religious
infirmities and stood for truthfulness. He openly denounced all
Brahmanic-scriptures including their Vedas, Puranas, Smritis, and
Upanishads etc.
Guru Ravidas said:
Charon ved kiya khandoti, jan Ravidas kare dandoti.
(I Ravidas proclaim all vedas are worthless,)
This was the direct attack on the hegemony of Brahmins who didn’t even
allow other upper caste Hindus to read their scriptures. Guru Ravidas
defined worship afresh (free from any ritual); he was a socio-
religious reformer, a humanist, protagonist of equality, a poet and
champion of anti-violence. Guru Ravidas invented ‘Gurumukhi’ script/
language against Sanskrit, which was taboo for non-Brahmins. Entire
Sikh bani (teachings) are written in Gurumukhi and Guru Ravidas
emerged as a prominent leader of Bhakti movement.
Dr B R Ambedkar’s 1st commandment exhorts us to “Educate”, Guru
Ravidas had said:
Avidya ahit keen; taatay vivek deep bhava maleen.
(Ignorance, no education has done much damage to Dalits; it has
eclipsed their rationale)
Guru’s Guru:
“If you want to destroy a society, destroy its history and the society
will get destroyed automatically.” - Dr. B.R. Ambedkar
Hindu fundamentalists have always taken a keen interest in destroying
Dalit-Bahujans’ history so as to make cripple them mentally.
Historians as usual played with the truth and misled the people for
centuries. As Buddha is projected as the 10th avatar of Vishnu,
Brahminical forces tried their best to project Guru Ravidas as one
among their 33 crores fake gods. Many scholars tried to show Swami
Ramanand as Guru Ravidas’s Guru. We need to think logically, how
could it have been possible for Swami Ramanand to accept Guru Ravidas
as one of his student? Shudra rishi Shambuk was murdered by king Rama
just for doing ‘meditation’/worshiping god. Dronacharya forced
Eklavaya to chop off his right thumb as ‘Guru Dakshina’. It was a
period when caste discrimination was in its heights, when Dalits were
murdered, their ears were cut down if they tried to hear hymns in
praise of god, or they tried to worship, when their touch or even
their shadow could pollute the so called upper caste people. How could
it have been possible for Swami Ramanand (who was a follower of king
Rama’s ideas) to accept Guru Ravidas?
Some others tried to show Guru Ravidas as a Brahmin or Brahmin in his
previous life, because they were not able to digest the humiliation of
being thrashed by Guru Ravidas’s open challenge to caste system. They
could have tolerated this shame if any Brahmin would have been talking
against the caste system or challenging their supremacy as they had
tolerated Char-wak. Many pseudo scholars have given false claims that
Guru Ravidas was a Brahmin in previous life and he ate meat so
couldn’t reach the god (attain truth) and he was born in the lower
caste in next life.
In Rigveda its clearly mentioned that cows, horses, goats were killed
and eaten not only by non-brahmins but Brahmins too.
“…the food according to Valmiki consisted of all kinds of delicious
viands. They included flesh and fruits and liquor. Rama was not a
teetotaller. He drank liquor copiously and Valmiki records that Rama
saw to it that Sita joined with him in his drinking bouts…” (Uttara
Kanda Sarga – 42 Sloka - (Reference: ”Riddles in Hinduism” by Dr B R
Ambedkar)
We need to question how many of these Hindu gods were born in lower
caste after eating meat, or after not reaching god (attaining truth).
In no religious book of Hindus there is any such incident where after
eating meat a person would be, been born in lower caste. Why then Guru
Ravidas? (Let me make clear that Guru Ravidas never ate meat. To the
contrary, he opposed the killing of goats, cows on Bakrid, and other
Hindu religious ceremonies).
Everytime Manuwadi failed miserably as Guru Ravidas claimed himself as
“Chamar” (Kutbandhla – a sub-caste in Uttar Pradesh) in many of his
saloks and in his bani.
Kahi Ravidas khalaas chamaaa,
(Says Ravidas, the emancipated shoe maker)
In another hymn Guru Ravidas writes:
Meri jaat(i) Kutbandhla dhor dhowanta nith(i) baanaarsi aas paasaa,
(My caste is Kutbandhla; I deal with leather and live near Banaras)
In one another hymn Guru Ravidas says:
Meri Sangat poch soch din (u) raati
Mera karamu kutilta janam kubanti,
(It keeps him in anxiety that his associates are low; my actions are
considered evil and birth is lowly)
All this is just another game-plan/conspiracy of Brahmins to keep
Dalit-Bahujans away from Guru Ravidas’s philosophy. Guru Ravidas’s
teachings can lead Dalit-Bahujans break the caste barrier and
emancipate them because Guru Ravidas was among the first people who
talked about equality, ‘raaj’ (own rule) and Begumpura – City without
sorrow. (It seems like Dr B R Ambedkar wrote the constitution of India
keeping Begumpura in his mind.)
Guru Ravidas also said:
Aisa chahu raaj main, jahan mile saban ko ann
Chhot baade sam basse, Ravidas rahe prasan.
As far as the question of who’s disciple was Guru Ravidas is
concerned, Guru Ravidas never worshiped any of the 33 crore fake gods,
but he meditated/worshiped on the one and only one almighty God.
Guru Ravidas said:
Tohi, mohi, mohi tohi, antar kaisa: kanak katik jal tarang jaisa.
(There is no difference between you (god) and me as there is no
difference between the gold and its ornaments, between water and its
waves.)
Bhagat or Guru Ravidas:
Last year on the gurpurb of Guru Ravidas, Rozana Spokesman newspaper
published an article that (Bhagat – as stated by newspaper) Guru
Ravidas was not familiar with Sikh Gurus’ teachings & teaching/sakhis
(birth tales) of Guru Ravidas were misquoted by the author in a
ridiculing manner. The article erroneously stated that no historical
facts are present about the life of Guru Ravidas. Its madness/
ridiculous to give such statements as Bani (shaloks, teachings) of
Guru Ravidas are in Guru Granth Sahib (the holy book of Sikhs) itself
and 10th Guru of the Sikhs, Guru Gobind Singh had asked to follow Guru
Granth Saheb as ‘Guru’ after him. If so, the bani of all the
‘Gurus’ (including Guru Ravidas) which is included in the Guru Granth
Saheb should be treated equal. Why then give someone names like
‘Bhagats’ and others ‘Gurus’? This time mischief is played by some
Sikhs scholars under the effect of Brahminical forces, by those who
have forgotten that Sikhism is a separate religion which came into the
social arena fighting for equality, to counter the evils of casteism
in Hinduism.
Who is ‘Bhagat’ and who is ‘Guru’? As long as a person is worshipping/
meditating/trying to achieve the state of perfect-ness, is in search
of the truth of life, as long as the person hasn’t attained ‘gyan’, up-
to that time you can say a person as ‘Bhagat’. But when that person
have achieved truth, attained ‘gyan’ and starts giving sermons, starts
preaching, he becomes ‘Guru’ and he don’t remain as Bhagat then.
Numerous kings and queens became Guru Ravidas’s disciples and they
accepted him as a Guru, not only Guru but Raj-Guru also. Prominent
among them were Raja Pipa, Raja Nagar Mal, Rewa Naresh, Rani Jhalan
Bai, and Meera Bai (it’s wrongly projected by people that she was a
fan of king Krishna, but in reality she was a follower of Guru
Ravidas).
Meera ne gobind milya ji
Gur milya Radas.
(Meera Padawali - 4)
Kings had built many temples dedicated to Guru Ravidas and they were
later either demolished or converted to Hindu worship places.
As recorded by Dr. Lekh Raj Parwana in page 116-117, in his book “Shri
Guru Ravidas- Life and Writing”, Guru Ravidas visited northern India
twice. Firstly, he was accompanied by Kabir Ji, Tarlochan Ji, Sain Ji
and Dhanna Ji and met Guru Nanak Dev at ‘Chuharkana’, now known as
‘Nankana Sahib’ where Guru Nanak Dev served them food with Rs.20/-
which had been given to him by his revered father Mehta Kalu for some
profitable business. At his second visit to Punjab, Guru Ravidas met
Guru Nanak Dev at Sant Ghat of Kali Bein in ‘Sultanpur Lodhi’. Third
time he met Guru Nanak at ‘Guru Ka Bagh’, Banaras and exchanged their
views on several topics pertaining to religion, social system and
liberty of human beings. Guru Ravidas gave gift of his bani of 40
hymns and one couplet to Guru Nanak Dev as desired by him.
Many a times, Mardana (he used to live with Guru Nanak Dev) used to
sing hymns of Guru Ravidas in-front of Guru Nanak Dev, as asked by
Guru Nanak Dev. It was Guru Ravidas who gave the right direction to
the life and teachings of Guru Nanak Dev. So, today’s Sikh scholars
don’t have any right to raise any question over who was the real Guru
or whom they want to call Guru or Bhagat.
Until 1920, Dalits/Untouchable’s ‘Prasad’/’religious offering’ wasn’t
accepted at the Darbar Saheb/Golden Temple and no ‘ardas’ was done on
the name of Dalits/untouchables. (Reference: “The Heritage of
Amritsar” by S S Johar). This all shows how much these Sikh scholars
were/are following Sikhism’s teachings. The religion was considered by
Dr Ambedkar for conversion, but the Sikh leaders were full of hatred/
hostility towards Dalits.
Jathedars (Sikh leaders/scholars) are becoming puppets in the hands of
Manuwadi people will lead to the end of Sikhism and if such things
continue, the day won’t be far away when idols of Hindu deities will
be seen in the “Darbar Saheb” (Golden Temple). Rashtriya Swayamsevak
Sangh (RSS) created its offshoots like PRERNA, Rashtriya Sikh Sangat,
and Guru Granth Sahib Vichar Sanstha, as it was difficult for them to
meet Sikh leaders & misguide them, carrying the banner of RSS. And now
everyone can see Sikh scholars visiting their activities and
supporting them full heartedly.
Jathedars & many others are forgetting that
1. Sikh Gurus believed in one and only one god, whereas Hindus worship
quite a number of gods, goddesses, and deities.
2. The Hindu Trinity - Brahma, Vishnu, and Shiva - is altogether
rejected by Sikh Gurus.
3. The worship of any carved statues, images or idols is completely
forbidden in Sikhism although it is allowed in Hinduism.
4. Cow is not considered as a sacred animal by Sikhs; hence it is not
worshiped at all.
5. The supremacy of the Vedas, Gita and other Hindu scriptures is not
recognized or accepted in Sikhism. Sikhs have their own holy book -
the Guru Granth Sahib - compiled by the fifth Guru himself and
completed by the tenth Guru.
6. Sikh Gurus, Guru Ravidas had rejected the caste system and all men/
women are reckoned equal irrespective of their caste, colour or creed.
Does Hinduism do all this?
7. Sikh traditions, customs, and ceremonies of death and marriage are
completely different from that of the Hindus.
Many Sikh scholars claim that in Guru Granth Saheb it is written
“Bhagata di bani”. But then you need to take note of the fact that,
from Guru Nanak Dev to Guru Gobind Singh, there is nothing written as
‘Guru’ word for them, but ‘Mahala – I, ‘Mahala –II’ etc is written,
not “bani of Guru Nanak Dev” or “bani of Guru Gobind Singh”. (‘Mahala’
means ‘Aam Admi’/‘common person’.) Will those Sikh scholars accept
Guru Nanak Dev as common person? At many instances in the ‘Janam
Sakhis’/’Birth tales’ of Guru Nanak Dev, Guru Nanak Dev is recorded as
‘Baba’, ‘Tapa’, and ‘Pir’ etc. Guru Nanak Dev himself claimed at many
places as Mahala/‘common person’, ‘Shayar’, ‘Nieech’. Are Sikh
scholars ready to accept Guru Nanak Dev as ‘Shayar’, ‘Nieech’ and
‘Baba’?
People those don’t want to accept Guru Ravidas as ‘Guru’ and don’t
want to write ‘Guru’ in-front of Guru Ravidas’s name are only those
who don’t want to take any lessons from the teachings of Guru Ravidas.
Those people are full of hatred, are not supporters of equality and
practice discrimination.
Murder of Guru Ravidas:
Torture of Dalit-Bahujans is not new. Manuwadi people have always
tried to suppress, torture, tried to kill, murder, and loot Dalit-
Bahujans. Who so ever had/have tried to raise his voice against the
cruelty and evils of Hinduism were either murdered or burnt alive.
Guru Namdev was tortured and was forced to leave Maharashtra, Guru
(Sant) Tukaram, Sant Chokha Mal were murdered, Sant Naat Naar was
burnt alive, same way Guru Ravidas was murdered at Chittorgarh by
people who were opposing Guru Ravidas forever.
Guru Ravidas lived for about 151 years (Reference: “Guru Ravidas Ki
Hatya Ke Parmanik Dastawez” by Satnam Singh). In his entire life, Guru
Ravidas kept fighting for equality, against social, political,
economical bullying and composed many hymns and Shaloks, which were
burnt down, destroyed by the so called upper caste people of that
time. 40 hymns and one couplet composed by Guru Ravidas are inscribed
in Guru Granth Saheb. Guru Ravidas was the among first who used “Ek-
Onkar” – god is one. His teachings are relevant even today as it were
in 15th century and may everyone take inspiration from Guru Ravidas’s
teachings, and come out of darkness.
Be ‘deaf’ when people tell you that you can’t fulfil your dreams!
http://truthdive.com/2010/01/30/legacy-of-guru-ravidas/
bademiyansubhanallah
Anthropological Assessment
ISA11
by Agehananda Bharati
Hardcover (Edition: 1981)
Munshiram Manoharlal Publishers Pvt. Ltd.
Size: 8.8" X 5.8"
Pages: 118
Our Price: $10.50
From the Jacket:
This book is the closest to a modern, critical, interdisciplinary
answer to the oft-asked question "what is Hinduism?" The author does
not claim to answer this question, which he does not think can be
answered unequivocally. Yet in this terse, succinct presentation
something close to such answer has been attempted. The author analyzes
both Hindu thought and Hindu behaviour as he approaches Hinduism both
textually and contextually, as an indologist and a cultural
anthropolotist. He presents the average rural and urban Hindu views of
the tradition rather than that of an intellectual or sacerdotal elite,
and he introduces work-a-day people's way of acting as Hindu rather
than the rituals or the meditations of highly tutored specialists, of
the woman and the man in the field or in the office rather than of the
purohita or shastri in the Vishvanath or Meenakshi temples. Bharati
also clarifies a number of confusions which have become part of
modernized Hindus' notions about ritual, caste, 'superstition' and
other themes which the Hindu Renaissance of the last ten decades has
generated.
In order to illuminate the links between popular and learned Hinduism
which includes a powerful esoteric segment, the author explains the
perennially mystifying problem of bhakti Vs. Jnana, pivotally
exemplified by Adisamkaracarya to whose order the author also belongs.
When the late Pt. Nehru insisted that India's was a composite rather
than a Hindu culture, he put his finger on an important fact: than
once cannot sensibly and sensitively talk about Hindu action without
heeding the interface between Hinduism and Islam which has indeed
become part of modern Hinduism, as it is indeed for South Asian Islam.
About the Author:
Agehananda Bharati, a native of Vienna, Austria, now U.S. citizen, is
a monk in the Dasanami Sannyasi Order of Sankaracarya and professor of
anthropology at Syracuse University, U.S.A. He was Reader in
Philosophy at Banaras Hindu University from 1951-54, Visiting
Professor of Indian Religions at the Mahamukuta Royal Buddhism Academy
in Bangkok and at the Universities of Tokyo and Kyoto in 1955 and
1956, Research Associate at the Far Eastern Institute of the
University of Washington in Seattle from 1957 to 1961, and has been on
the faculty of Syracuse University in the State of New York since
1961, where he served as departmental head from 1970 - 1977. He is a
Fellow of the Royal Anthropological Society of Great Britain, a fellow
of the American Anthropological Association, member of the Assosiation
for Asian Studies and the American Oriental Society. Among his close
to five-hundred publication in various languages and on four
continents, some of the most important are his autobiography. The
Ochre Robe (latest edition Ross-Erikson, Santa Barbara, Cal., USA,
1980), The Tantric Tradition (London, 1969, New York, 1970 and 1975),
Asians in East Africa: Fayhind and Uhuru (Nelson Hall Publ., Chicago,
1972), The Light at the Centre: context and Pretext of Modern
Mysticism (Ross Erikson, Santa Barbara, 1976 and Vikas, Delhi, 1977),
and the entry on Monasticism in the new Encyclopaedia Britannica (Vol.
XII, 1974).
CONTENTS
Preface vii
Chapter 1
Hindu Views of Life 1
Chapter 2
Moksa and Devibhakti: the (seeming) Samkara Paradox 23
Chapter 3
Hindu Ways of Life 41
Chapter 4
Sohi Allah Wahi Ram? - the Anthropology of the Hindu Muslim Interface
71
Bibliography 97
Index 102
http://www.exoticindiaart.com/book/details/ISA11/