Iqbal Manna, a committed social worker from Brahmagiri, Udupi, has been selected for the prestigious Swami Vivekananda State Award, recognising his tireless efforts to promote Kannada and Tulu languages in Gulf countries. The award is presented by the People’s Council for Human Rights.
Manna has gained recognition for his social and philanthropic activities in Qatar, where he is a founding member of the Qatar Tulu Koota and KMCA Qatar. After returning to India, he continued his involvement with various social organisations.
He has held leadership positions in numerous prominent associations, including the Udupi Giants Group, Haji Abdullah Charitable Trust, Saheban Welfare Trust, Udupi District Muslim Union, Muslim Welfare Association, and the Brahmagiri Hashimi Mosque. His active role in the Udupi District Minorities Forum further highlights his dedication to community welfare.
The award ceremony will be held on September 28 at 5:30 pm at the Lions Bhavan in Brahmagiri, Udupi
source: http://www.daijiworld.com / DaijiWorld.com / Home> Karnataka / by Media Release / September 26th, 2024
Prof Zia ur Rehman Siddiqui (R) receives the National Urdu Award from Mr Dharmendra Singh Lodhi at Bhopal
Prof Zia ur Rehman Siddiqui, Centre of Advanced Study, Department of Urdu, Aligarh Muslim University has been conferred with the National Urdu Award by the Madhya Pradesh Urdu Academy, for his contributions to Urdu literature and research.
The award was conferred upon him by Mr Dharmendra Singh Lodhi, Minister of Culture and Dr Nusrat Mehdi, Director of Madhya Pradesh Urdu Academy in a function held at Bhopal.
Prof Siddiqui has authored several books, including “Tehreek-e-Azadi aur Urdu Nasr”, “Urdu Adab Ki Tareekh”, “Urdu-Hindi Dictionary”, “Armughan-e-Tehqeeq”, “Asaleeb-e-Fikr”, “Bengali Kahaniyan”, “Doon ka Sabza” (Urdu translation of Ruskin Bond’s writings), “Hsuan Tsang ka Safar-e-Hindustan”, “Asan Urdu Grammar,” etc.
He has also contributed over 200 research papers to various journals of repute in India and abroad.
Prof Q.H. Faridi, Chairman, Department of Urdu, Prof S. Siraj Ajmali and other faculty members congratulated him for getting this prestigious award.
source: http://www.radiancenews.com / Radiance News / Home> Pride of the Nation> Awards / by Radiance News Bureau / September 11th, 2024
Featuring the work of Asif Shaikh and his artisan studio
Mary Giles Gallery • April 18 – June 7, 2023
Textile Center is honored to host this special exhibit of work by Asif Shaikh, from Ahmedabad, India. As one of India’s most accomplished and acclaimed embroidery and textile artists and experts, Asif’s incredible embroideries, research, and writing create a bridge between East and West, old and new, tradition and innovation. His intricate and labor intensive artisan stitching “mends” a historic gap in Indian craft through his revival of Mughal (court) embroidery.
This collection of work from his studio highlights his leadership and influence in the revival of India’s textile heritage, focused on hand embroidery. Throughout his life, Asif’s work has developed with a highly refined and deeply held sense of aesthetics, steeped in detailed design and technical tradition. His dedication to the making of the ornate embroideries featured in the exhibition serves is testament to the social and cultural value of embroidery.
Born in Ahmedabad, a city renowned for its rich culture and textile heritage, Asif took up embroidery when he was about ten years old. At an age when embroidery was rarely pursued by young boys, Asif chose needle, thread and fabric over other interests. He explored a spectrum of traditional Indian embroidery techniques from different regions of India by learning the stitch himself, to build a sound technical foundation and fundamental understanding of stitch. Currently, his studio employs artisans who produce a range of embroidered yardage, which is transformed into garments and textiles. Showcasing a sophisticated juxtaposition of contemporary style and traditional textile techniques in stitch, motif, composition, and color palette, these textiles recreate the grandeur and fineness of India’s fabled royal textiles and attire, while reviving and preserving the tradition of Indian embroideries and supporting local artisans.
Reflecting on his sought-after works, Asif says, “Embroidery is what I live for. I will always immerse myself into this mesmerizing world because it gives me utmost satisfaction and happiness. No matter how fanciful, I love to give shape to an idea and bring it to life using timeless techniques with an innovative twist.”
Thanks to Mary Anne Wise for introducing us to Asif’s work and to Shelley Wells for delivering, curating, and installing this exhibition.
_____________________Art Speaks: Resurgence with Asif Shaikh_______________
In this virtual conversation in June 2023, Asif Shaikh joined Textile Center from Ahmedabad, where he presented his work and practice, including his most recent projects.
In this virtual conversation in June 2023, Asif Shaikh joined Textile Center from Ahmedabad, where he presented his work and practice, including his most recent projects.
____________________In the Gallery_________________
source: http://www.youtube.com / Art Speaks: Resurgence with Asif Shaikh
One of the most precious links between India’s ancient history and the present moment is the living heritage of her textile art – those rich and glorious traditions that effortlessly interlink the Maker, myths, human hands and time honored skills as weft meets warp and needle meets cloth. Manifest throughout this vast and varied country is a rich diversity of woven, embroidered, printed, resist dyed and embellished handcrafted textiles intended for use as attire for deities and mortals, as decorations for places of worship and homes and as items of trade. Today’s textiles still carry the history of early cargoes that set sail from India to the ancient Roman Empire, the Indonesian archipelago and courtly Europe.
Amongst those historic shipments were India’s highly sought after embroideries. Initially created to strengthen and join fabrics, embroidery has been finely crafted over time for its decorative effects, as an expression of the skill, creativity and belief of the needle worker and as a reflection of regional styles and variations. The rich repertoire of Indian embroidery includes a beautiful range of stitches and techniques worked on fabric with supplementary threads, as well as further embellishment with elements such as mirrors, metals, coins and shells. Drawing on the wealth of traditional techniques, 21st century needle workers are able to create a range of exquisite traditional and contemporary embroideries for garments and home décor.
________________________AARI on KARCHOB______________________________
The karchob is imperative in order to create fine quality embroidery. Basically two types of embroidery can be done on the karchob; Aari (chain stitch) with silk and metal thread (kasab / kalabattu) with a number of variations in the stitch and Zardozi with metal threadand other elements once again using a variety of stitches. Aari work is executed with the aari needle, a fine awl similar to the European tambour hook, while zardozi is executed with a regular needle.
The aari needle has a notch incised just above its point and this forms the hook. The thread is held under the fabric, the aari needle is pressed through the fabric to take up the thread and pull it through to th e upper surface thus forming a small loop. The tip of the aari needle is then inserted through the loop and into the fabric once again and the process is repeated to form a continuous line of chain stitch.
Chain stitch remains the most popular stitch worked with the aari needle and several stitches can be developed from this. Basic chain stitch can be worked with single, double, three and four ply threads which make stitches of varying fineness.
Stitches that can be worked with the aari needle are:
Bal taka – twisted chain stitch creating a knotted effect
Batt – close lines of chain stitch to fill shapes
Jali – a netting effect created by pulling threads with the aari (different effects are created by varying the stitches)
Lote – closely worked, long chain stitch similar to satin stitch
A variety of threads including cotton, silk, wool and metal are used to create embroidery with the aari needle. According to the thickness/fineness of the thread an aari needle of suitable thickness/ size of notch is selected for the work.
Pitta work is aari embroidery using metal threads. When the motifs are completed the metal thread is gently tapped with a small wooden hammer. A wooden dabber is held below the surface of the fabric to support the embroidery, to smooth the work and give it a soft sheen.
The aari needle is also used to secure beads and various elements such as sequins onto the fabric using fine stitches.
Ajrakh is a multi-layered resist block printing technique. This exquisite example is created with the use of natural dyes on a base of gajji silk.
In this piece, the all-over design is of a repeating star-like pattern and is embellished with aari embroidery. With the use of sequins and gold thread, the aari embroidery highlights a lattice pattern (jaali) seen at the top and bottom borders. The gold stitch work and sequins are also incorporated into the central field, emphasizing the star motif.
The ajrakh on the silk fabric is the work of Abdul Jabbar Mohammad Khatri of Dhamadka.
Bandhani is a resist tye-dye technique created by tying tiny knots on fabric. The detailing on the sleeves and base of the skirt show aari pitta embroidery using metal threads.
When the embroidered motifs are completed, the metal thread is gently tapped with a wooden hammer. A wooden block is held below the surface of the fabric to help support the embroidery. The tapping smooths the stitches and gives the work a soft sheen.
The observe of sash is embellished with parallel aari chain stitching and a smaller aari pitta motif on the reverse.
The bandhani on the silk fabric is the work of Abduljabbar and Abdullah Khatri and the artisans of SIDR Craft studios, Bhuj, Gujarat, India.
Chikankari is a subtle, sophisticated style of embroidery worked with white cotton threads on fine white cotton fabric using a round frame. This ethereal needlework, often referred to as ‘shadow-work’, was perfect for embellishing summer attire for royalty families.
The technique and skill of chikankari remains Lucknow’s forte, and is passed down through the female line. Chikankari was traditionally worked on very fine muslin, making the embroidery appear to be a part of the fabric. Motifs are stamped on the fabric with small wooden blocks dipped in colour that is washed off after the embroidery is completed.
The motifs are generally floral and paisley in design. Each pattern is designed in such a way that it seamlessly forms part of the garment in terms of size, shape and placement. Since the colour palette was traditionally limited to white on white, it was through the incorporation of different stitches that varied effects were created.
Chikankari comprises six main stitches – taipchi, bakhia, khatao, murri, phanda, jali, and their variations. Some on the reverse, while others pull the threads to create a ‘jali’ (net). A garment or textile frequently incorporates more than one of these stitches. To create a rich formal look, kamdani and fardi are added to chikankari.
The delicacy and fineness of chikankari is dependent on the care and patience of the artisan. One garment can take months to complete.
This work is stitched on fabric woven by the artisans of Bhairvis Chikan, a cooperative textile center founded by Mamta Varma, in Lucknow, India.
Danka embroidery is practiced in Udaipur by the Bohra community of Rajasthan and is named after the square pieces of gold plated silver foil used in its creation.
Danka squares are made from thin sheets of polished silver which are gold plated, cut into shape and then further hammered to obtain the curved surface typical of this embroidery.
The squares are arranged into motifs and multiple strands of metallic thread are couched on the edge of the danka using the tool called fatila. The tip of the motif is usually finished with a loop couched onto the fabric.
Danka embroidery can be further embellished with metal aari, sequins, dabka, nakshi, and beads.
The motifs used are inspired by nature and include paisley, flowers, peacocks and the sun and moon.
This embroidery, using floral and geometric motifs, is executed on thick fabrics including velvet. In past centuries, Dokh embroidery was mainly used in furnishings, carpets and flags.
Different metal threads including badla are used to create dokh. Essential to this embroidery, a foundation padding up to one inch in thickness is created by the use of soft thick cotton thread. The raised surface at the center of the floral motif gradually tapers down to its pointed edges.
These padded surfaces are then covered with thick metallic thread using a ‘fatila’. This one-inch square wooden bar measuring 6 inches in length is the exact size and weight required to prevent the threads from becoming entangled.
The edges of the shapes are finished with couching using an ‘S’ twist. The overall appeal of dokh embroidery is its elegant embossed surfaces.
Girah is a type of surface stitch commonly associated with Chikankari embroidery from the Lucknow community. Also known as pipal girah, the stitch is similar to what we in the West would know as the French knot.
To obtain the variation in the design, two types of girah are employed; traditional girah and chhalle girah. Traditional girah gives a tighter, more controlled stitch, as seen in the center of the flower, and chhalle girah gives a looser, more relaxed stitch, as seen in the petals.
Gota is a flat woven ribbon that uses thin strips of gold/silver wire in the weft and silk/cotton in the warp. It is mainly woven in Surat and in Ajmer (Rajasthan).
Gotta ribbon is used as a decorative element on textiles and is practiced mainly in Jaipur in Rajasthan. The motifs are mainly inspired by nature and include plant forms and stylized paisley.
To create the motifs, different shapes of cut pieces called ‘gota patti’ are sewn together. The cut ‘gota patti’ is first attached to the base fabric and then couched with multiple strands of metallic threads using the fatila. Further embellishment is created by the addition of various metal elements such as beads and sequins.
This type of embroidery is generally used to cover larger surfaces of textiles and thus giving a heavy look while remaining light weight.
Kamdani is one of India’s most beautiful and versatile embroideries worked with badla or flat metal strips to create a dressy and sophisticated look. While zardozi tends to be heavy with its metal threads and elements, kamdani is lighter as it is worked with only one element – badla.
In kamdani, the badla is used like a thread to create stitches.
To begin embroidery, the embroiderer threads a thick needle with a short length of thread making a small loop towards its end. One end of the badla is then attached to the loop. The needle is slipped in and out of the cloth in a continuous movement and the badla is pulled along with it. Only a small amount of the badla is then visible on the upper surface of the fabric. The end piece of badla is then turned under in order to secure it, while the needle is once again pierced into the fabric and stitch is continued.
Kamdani requires a high degree of skill, as after a few stitches the badla tends to get twisted.
Treating the badla as if it were a thread, embroiderers are able to work a variety of stitches. Traditionally, floral motifs were most popular in kamdani with few geometric motifs. Different types of jalis can be created using badla, including wave patterns, parallel lines, stars and diagonals.
Badla is also used for making ‘fardis’ (small dots). Fardi is created by knotting a short length of badla. The process is repeated to fill the space. For fardi a flat thick needle with two eyes is used to take the badla through the fabric.
Fardis are an effective way of embellishing a textile. Dots can be placed in patterns and combined with other textile techniques such as bandhani, chikankari, and printed or woven textiles to enhance their beauty. In this way badla can be used to create rich, formal and elegant work on clothing.
After the work is completed, the embroidery is placed against a hard surface and the reverse side is very gently rubbed with a cowrie shell to smooth the work and flatten the badla against the fabric.
_______________________KARCHOB – THE SCROLL FRAME__________________
The karchob, a traditional, horizontal, floor-mounted hardwood frame, is the tool that assists needle workers to create fine embroideries. In fact, this frame is so closely linked to the work itself that embroideries thus created – although very different in the use of materials, techniques and effects – are traditionally referred to as ‘karchobi’ meaning `worked on the karchob’.
The word karchobi instantly distinguishes an embroidered work as it conveys that it was created on this frame rather than by hand holding or using a small frame. While embroidery can be executed in various ways either with or without a frame, it is by working on a karchob that the art of embroidery is extended well beyond that which is otherwise possible. Furthermore, as it allows up to 20 embroiderers to work at the same time on one piece, the karchob permits working on a large scale as well as producing the volume required for commerce.
The karchob has four wooden bars; two short horizontal bars called Shamsheer and two long vertical bars called Adda that rest on wooden legs. These bars are fixed to each other on all four sides using nails. The fabric to be embroidered is stretched across the framework and affixed to the horizontal and vertical bars with the help of additional cotton fabric, cord and thread. This is the most important stage where the fabric needs to be attached with precision keeping the grain line of the fabric parallel to the bars of karchob.
The karchob helps in keeping the right tension of the fabric to be embroidered. As the fabric is stretched across the frame it becomes convenient to stitch, that is, to move the needle in and out of the cloth. The frame also provides much needed support for the hands/arms of the embroiderer who generally works long hours. Furthermore, both hands are free to work the embroidery. At the end of the day the embroidery in progress is wrapped around an arm of the karchob.
A karchob can vary in size – up to 3 metres in length and 1.5 metres in width. A small karchob is used when working on small textiles and this can be placed on any structure that supports each corner leaving the centre free for stitching. A large karchob is used when working on large textiles and the work is often divided between embroiderers who sit on the floor to work. Sections of large textiles such as saris, that are typically 5.5 metres in length, are worked on and then wrapped around an arm of the karchob to facilitate embroidery on the unworked section.
_____________________KUTCHI AARI EMBROIDERY, example 1____________________
One of the most fascinating historical and cultural inheritances of Kutch, a desert area located in the western most part of Gujarat, is its wealth of textiles. Kutch women traditionally create densely worked embroideries to beautify fabrics, create social wealth and express their skills and identities.
Kutchi embroidery features several stitches one of which is an adaptation of the cobbler’s stitch. This stitch, worked with an awl, was executed by ‘mochis’ (cobblers) to embellish leather goods such as shoes, bags, camel saddles and other articles. It is interesting to note that this technique was adapted over time for use on fabric and is now known as aari embroidery.
An entire spectrum of Kutchi embroidery is worked with the creative and skillful use of the needle without the use of frames. Exquisite and fine motifs inspired by nature, mythology and tradition are thus created.
Inspired by mochi embroidery motifs, Asif’s studio gives new dimension to this karchobi aari technique. Through the clever use of hue and shading, new looks and palettes are created. The most eminent aspect of this embroidery technique is the quality and depth created in the motifs which are further adorned with badla, beads and sequins thus creating contemporary and rich textiles.
Asif’s studio created a collection of Kutchi embroideries especially for the V&A Museum in London. This collection referenced motifs featured in antique aari embroideries exported to Europe in past centuries. The shapes, colors and proportions of the original motifs were refined by Asif to create the modern masterpieces.
_____________________KUTCHI AARI EMBROIDERY, example 2________________
One of the most fascinating historical and cultural inheritances of Kutch, a desert area located in the western most part of Gujarat, is its wealth of textiles. Kutch women traditionally create densely worked embroideries to beautify fabrics, create social wealth and express their skills and identities.
Kutchi embroidery features several stitches one of which is an adaptation of the cobbler’s stitch. This stitch, worked with an awl, was executed by ‘mochis’ (cobblers) to embellish leather goods such as shoes, bags, camel saddles and other articles. It is interesting to note that this technique was adapted over time for use on fabric and is now known as aari embroidery.
An entire spectrum of Kutchi embroidery is worked with the creative and skillful use of the needle without the use of frames. Exquisite and fine motifs inspired by nature, mythology and tradition are thus created.
Inspired by mochi embroidery motifs, Asif’s studio gives new dimension to this karchobi aari technique. Through the clever use of hue and shading, new looks and palettes are created. The most eminent aspect of this embroidery technique is the quality and depth created in the motifs which are further adorned with badla, beads and sequins thus creating contemporary and rich textiles.
Asif’s studio created a collection of Kutchi embroideries especially for the V&A Museum in London. This collection referenced motifs featured in antique aari embroideries exported to Europe in past centuries. The shapes, colors and proportions of the original motifs were refined by Asif to create the modern masterpieces.
Marodi, simply worked with twisted plied yarns, is one of the most eye-catching embroideries of North India.
The name ‘marod’ – meaning twist – explains the embroidery. The yarns are twisted manually to make a cord which is in turn used to create repeated loops that form a continuous line. The twisted cord is wrapped around a square 6-inch long wooden bar pointed at one end. Also known as fatila, this tool allows the cord to be uniformly tensioned and create loops of equal size. Furthermore, its pointed end shows the right direction for the loops to follow.
In marodi, couching threads are visible. The twisted cords are couched together with a contrasting thread to form ornate patterns. The cotton threads were traditionally dyed in saffron when used for gold and white cotton threads used for silver couching.
The motifs have a curved contour, usually forming a loop at the tip. Unlike zardozi, where the patterns are completely embossed, marodi features slightly open work. Badla, dabka, salma, and sitara are used for embellishment.
Marodi can also be executed with twisted silk cord.
Originating in China, Parsi embroidery was noted for the use of different kinds of minute knots, satin, chain and couched stitch worked with silk, metal and untwisted silken floss yarn with the addition of beads and sequins.
Asif’s studio has simplified the technique of ‘khakha’ knots by employing ‘palti taka’ (reverse chain stitch) with the aari needle on karchob.
This new technique was created for the textile chapter of the UNESCO Parzor Project.
____________________________TREE of LIFE____________________________
This exquisite piece of needlework can be viewed from both sides. Similar to the Chinese form of Su embroidery, this double sided embroidery depicts the Tree of Life, found in the stone fretwork of the historic Sidi Saiyyed Mosque (built in 1573) Ahmedabad, India.
In the piece, the ground cloth is handwoven fabric made of silk and linen. The aari stitch, seen throughout the exhibit, is seen here crafted in fine silk, half the thickness of traditional embroidery thread.
Vasli embroidery is named after the paper that is used in its creation.
Vasli, a special paper used in miniature painting, has high archival properties making it favorable for use in embroidery. Several layers of paper are glued together using a glue made of a cooking flour that is not only free of synthetic chemicals but is also insect resistant.
Cut paper shapes of the specially designed motifs are stitched onto the fabric. Metal thread embroidery is then closely worked on the paper pieces. Metallic thread is couched on the edge of the paper shapes in an ‘S’ twist leaving a well defined edge. Multiple strands of metallic threads are used for this embroidery. The tip of the motif is usually finished by a loop that is couched to the fabric.
After the couching is completed the metal thread is gently tapped with a wooden hammer which compresses the stitch and gives a soft sheen. Further embellishment is created by the addition of various metal elements.
Zardozi is derived from the Persian words ‘zar’ meaning gold and silver thread and ‘dozi’ meaning ‘karigari’ (craftsmanship). In zardozi, metal elements are threaded through a needle and the motifs are embroidered wholly or partially in different stitches such as satin, darning and stem stitches as well as couching.
As well as metal thread, metal wires of different shapes, size and thickness are cut into required lengths. Metallic elements such as kangani, dabka, badla, salma, and sitara are attached using fine stitches for embellishment.
The karchob is useful in creating zardozi embroidery. Metal elements to be stitched onto the work are placed on the stretched piece and thus easily taken up by the needle as the artisan embroiders the fabric.
Zardozi embroidery recreates the splendor of the textiles and garments created in imperial workshops during past centuries.
source: http://www.textilecentermn.org / Textile Center / 2023
“Karkhandari” as per Professor Gopi Chand Narang (1931-2022), a noted Urdu scholar, literary theorist, and linguist, “is a social dialect spoken mainly by the artisans, traders, craftsmen and labourers of old Delhi.”
Representational image of a book. Photo: Pavan Trikutam/Unsplash
Dehli, not Delhi. Yes, you read that right. For this is how it is spelt in Urdu, the language whose birth and development is often attributed to purani Dehli or Shahjahanabad. But, it is not the only language to be spoken in the walled city. In fact, people from old Delhi can often be found to be speaking in a language which is closer to the Karkhandari dialect. It is not very uncommon to hear sentences like vai, itte din ka the? instead of “bhai, itne dinon tak kahan the?” (Bro, where were you for so long?), while passing through the kuchas (lanes/small streets) of the walled city.
“Karkhandari” as per Professor Gopi Chand Narang (1931-2022), a noted Urdu scholar, literary theorist, and linguist, “is a social dialect spoken mainly by the artisans, traders, craftsmen and labourers of old Delhi.” In his monograph (1961) titled “Karkhandari Dialect of Delhi Urdu,” he lists out the names of the locales of old Delhi where the dialect is spoken. “The Karkhandari areas outside the walls of the old city,” adds Narang, “include Mohalla Kishan Ganj, Shish Mahal, Qasṣāb Pura, Beri Wälä Bagh and a few lanes in Bära Hindu Rao.”
Abu Sufiyan, a resident of old Delhi and founder of Purani Dilli Walo Ki Baatein, says that it is not a dialect of the yesteryear. “Karkhandari is still spoken by the working class of the old city and their family members,” adds Sufiyan. Earlier this year, a book titled Nirali Urdu by M.A. Mughni Dehlavi was republished in India, nearly after a century of its publication, and it is believed to be the first and the only book in the Karkhandari dialect of Delhi Urdu.
New book cover of Nirali Urdu. Photo: Arranged by the author
In fact, there is a difference of opinion on the year of publication of Nirali Urdu. According to Shan-ul-Haq Haqqee (1917-2005), a researcher, linguist and lexicographer, the book was first published in 1927, while Dost Mohammad Nabi Khan, a compiler and editor of the latest version of the book, on the other hand, argues that it was first published in 1932.
To substantiate his claim, Khan notes that in one of the stories in the book, the narrator talks about watching the second talkie film of India, ‘Shirin Farhad,’ which was only released in May 1931. He also notes that as per Google Books as well, it was published in 1932 by Daftar Nirali Urdu. Notably, the copy of the book available on the Rekhta website does mention Daftar Nirali Urdu as its publisher, but the year of publication is missing. However, where both Haqqee and Khan seem to agree is that after its initial publication, it became nayaab (rare/scarce) and was hardly available in the market.
Khan, who was born and brought up in Dehli and who loves collecting books on the city, narrates an engrossing story about his ‘discovery’ of Nirali Urdu in its muqaddama (introduction) to the book. Khan came to know about this book when, several years ago, he was surfing through the booklists of various Pakistani publications online.
“Both Nirali Urdu and its author M.A. Mughni were new and unfamiliar to me. Topics included in the book and its writing style were literally Nirale (unique) and offbeat. It was nothing short of a discovery for me,” he writes. With the help of a friend in Lahore, he procured the book and occasionally started posting excerpts from it on Facebook. The book was eventually re-published in January 2024. However, it is not just a re-publication of what was originally published in 1932 and reprinted in 2017 (in Pakistan), for there are useful additions to the current version. Khan has added a short Glossary (Farhang), a few explanatory notes (Wazahati Note) and some proverbs and idioms of Kharkhandari to it.
Old book cover of Nirali Urdu. Photo: Arranged by the author
Apparently, unlike most of the books around Delhi, the book does not contain stories about monuments or history. Rather they are about the people, society and scenes of everyday life of ordinary people of Delhi in the 1920s. In other words, in Nirali Urdu, the people of Delhi don’t go for Lal Qile Ki Sair or Qutub Minar Ki Sair, they go for Baiskop Kee Sail (Biscope Ki Sair/ outing to a bioscope show) and Jaloos Kee Sail (Juloos Ki Sair/excursion to a procession). However, in some stories, there are references of excursions to monuments as well. For example, sample this excerpt :
“Aaj subo mein zari aawere utha tha. is liye apne aap kuchh aisi khud bar khud ghabri hui ki mein hadbada ke bistare pe se khada hoke baith gaya aur is fikhar mein pad gaya ki kain sail ko chalna chaieeye. Magar akele jana to theek nai tha. Isliye apni jigri yaar ke makkaan pe ponch kar vise aawaz di. “Abey muntiyaaz, o muntiyaaz”. muntiyaaz wabsurrti shakl bana kar bahar aakar kaine laga, abey kyun cheekhe peete ja riya hai. Meine kaha pyaare khafa kyun hota hai ya shikal hi aisi hai. Dekhta nai kis zor se ghata chha rahi hai. chal mandarsa (Safdar Jang) todi chalein. Bada lufat aa riya hoga…”
The above text can be translated as :
This morning, I woke up a little early. That’s why I woke up with a start and started thinking about going for an excursion somewhere. But it didn’t feel okay to go alone. So I landed at my best friend’s place and called out to him. “Aye Muntiyaz, O Muntiyaz.” Muntiyaz appeared with an agitated face and said, “Oye, why are you shouting?”
“Why are you getting angry dear, or is your face like this only?, I replied, adding Don’t you see how lovely the weather is? Let’s go to Safdar Jang’s tomb. It must be a great fun there…”
While the text does not read totally distinct from standard Urdu, but certain words are spelled and pronounced differently. For example, in Karkhandari dialect, Subah is Subo, Sawere is Aawere, Makaan is Makkaan, Fikr is Fikhar, Shakal is Shikal, Madarsa is Mandarsa and Lutf is Lufat.
There are a total of 31 short stories in the book. It also has stories titled Dilli Ke Panjabi Musalman (Delhi’s Punjabi Muslim), Eeed Ka Pologram (Eid Ka Program/the program for Eid), Kishmishi Din Kee Sail (Krismas Din Ki Sair/outing on Christmas day) and Mushahare Kee Sail (Mushaire Ki Sair/ outing for a mushaira).
In short, Nirali Urdu is full of unique and offbeat stories from Delhi. If you can read Urdu script and are interested in Delhi, it becomes an essential read.
~~~~
Although there is no shayari in the book, even in the story about a Mushaira, one finds the same in the Balraj Sahni and Farooq Sheikh starrer Garm Hava that was released after four decades in 1974. The tongawala who drives Salim Mirza (the protagonist of the film played by Sahni) to his Karkhana (factory) can be seen reciting a couplet in Karkhandari Urdu. While commenting on the tragedy of partition and its impact on Indian Muslims, the tongawala, in the opening sequence of the film, recites the following verses:
Wafaon ke badle jafa kar riyae
Mein kya kar riyaun tu kya kar riyae
This is a couplet from a Ghazal in Karkhandari Urdu written by Majeed Lahori (1913-1957), a noted poet-satirist, humorist and journalist. The full ghazal reads as follows :
Wafaon ke badle jafa kar riyae
Mein kya kar riyaun tu kya kar riyae
Mein jo kar riyaun bhala kar riyaun
Tu jo kar riyae bura kar riyae
Abey todta kyun hai tun vis ke dil ko
Jo dil apna tujh par fida kar riyae
Sanbhal kar qadam vis ke kooche mein rakhiyo
Suna hai wo fitne bapa kar riyae
Udu se bhi waade mujhe bhi dilase
Mein hiryaan hoon tun ye kya kar riyae
Kiya hai ata darde dil jis ne mujhko
Wahi darde dil ki dawa kar riyae
Majeed aaj bhi shaad wa aabad hoon mein
Karam mujh pe mera khuda kar riyae
source: http://www.thewire.in / The Wire / Home> Books / by Mahtab Alam / July 29th, 2024
Rakhshanda Jalil’s latest work examines Urdu poetry’s role in promoting secularism and resisting communal division in contemporary India.
Rakshanda Jalil at India International Centre in New Delhi on September 06, 2004. | Photo Credit: Photo: R. V. Moorthy
Phir roshan kar zehar ka pyaala, chamka nayi saleebain,
Jhuthon ki duniya mein sach ko taabaani de Maula!
(Light up the poison cup again, make new crosses shine,
In this world of lies, illuminate truth, O Lord!)
-A ghazal by Urdu poet Nida Fazli
Noted literary historian Rakhshanda Jalil’s latest book, Love in the Time of Hate: In the Mirror of Urdu, recently released in New Delhi, delves into the rich history of Urdu poetry. It demonstrates how the language and its poets are mounting a robust resistance against the spread of right-wing-sponsored hatred and the rising climate of polarisation in India. Divided into sections such as essays, politics, people, and passions and places, the book features insightful Urdu poetry. Anchored in the theme of love for one’s country, the work illustrates how India’s social fabric is fraying and how Urdu verses, with their secular themes, challenge the push for Hindu supremacy.
“Unlike publicists and propagandists, a shayar (poet) rarely falls victim to bigotry, prejudice, and narrow-mindedness,” Rakhshanda told the audience at a book discussion event held by Karvaan India, a multimedia platform promoting pluralism and inclusion, in Delhi on July 7. “Urdu poets have always been known for their liberalism and eclecticism. They have championed the mingling of cultures and communal harmony.”
According to Rakhshanda, in recent years, Urdu has been stigmatised as a language of Muslims. Political representatives have been barred from taking oaths in Urdu, and artists have often been prohibited from creating Urdu graffiti. Also, many everyday Urdu terms are being removed from school textbooks and official communications.
“Urdu is antithetical to what Hindutva preaches. Unlike Hindutva’s obsession with homogeneity, Urdu embodies the essence of a pluralistic India, mirroring a multitude of worldviews,” she told Frontline. Citing the example of Syed Fazl-ul-Hasan (1875-1951), better known as Hasrat Mohani, she noted that the communist freedom fighter performed Hajj 11 times in his life while maintaining devotion to Lord Krishna. Mohani, who wrote the famous ghazal “Chupke-chupke” (later sung by Ghulam Ali), coined the slogan “Inquilab Zindabad” which changed the course of India’s independence movement.
Rakhshanda discussed Nadir Shah’s invasion of India (1739), the Battle of Plassey (1757), and events surrounding 1857 as defining moments in Urdu poetry. “During the Independence movement, as the political climate shifted, Urdu poetry chronicled anti-colonialism, anti-fascism, anti-imperialism, nationalism, feminism, and land reforms,” she said, noting that the recent anti-CAA movement revived public resistance poetry.
While reading from her book, she shared poems about Tipu Sultan (1782-99), the anti-colonial ruler who died fighting the British. She also mentioned dedicating an essay to Urdu poetry about Jawaharlal Nehru, who is currently a pet target of right-wing misinformation campaigns.
In her new book Love in the Time of Hate: In the Mirror of Urdu, Rakshanda Jalil invokes the power of love, inclusivity, and harmony that is the trademark of poetry and literature. | Photo Credit: By Special Arrangement
Rakhshanda discussed the Progressive Writers Movement’s impact on post-independence Indian cinema. “India and Pakistan became independent simultaneously, but their paths diverged. In post-independence India, cinema, literature, and intellectuals effectively interpreted the zeitgeist,” she said, discussing the Nehruvian vision of India. “Nehru’s death marked the end of an age of innocence”.
As Hindutva “hate politics” increases attacks on symbols of Muslim rule in parts of India, some Hindu extremists claim the Taj Mahal was originally “Tejo Mahal, a Shiva temple”.” Rakhshanda mentioned including poets’ descriptions of the Taj Mahal in her book.
Highlighting contradictions between India’s founding vision and Hindutva ideology, she said, “We’ve reached a point where a family can be attacked for storing meat in their fridge. Your name now defines your identity, regardless of economic or educational status.”
Sharing her personal experience as a Muslim, Rakhshanda described difficulty finding decent rental accommodation: “It’s been months. It feels like a Sisyphean task.”
She characterised her book as an expression of depression and fear, adding, “We didn’t learn from the COVID pandemic. Even then, we raised the “Corona-Jihad” issue and called for boycotts of Muslim food vendors.”
Among various poems by notable Urdu poets on Gautam Buddha, Ali Sardar Jafri’s iconic work on communal riots, “Awadh Ki Khaak-e-Hasin” (The Beautiful Land of Awadh), is featured. Two key verses read:
Ram-o-Gautam ki zameen hurmat-e-insaan ki ameen
Baanjh ho jaaegi kya khoon ki barsaat ke baad
Ai watan khak-e-watan woh bhi tujhe de denge
Bach raha hai jo lahu abke fasaddat ke baad
(This land of Ram and Gautam, guardian of human dignity,
Will it turn barren after the rain of blood?
O homeland, we’ll give you what remains,
The blood left after this carnage of riots.)
source: http://www.frontline.thehindu.com / Frontline / Home> Books> Poetry / by Ashutosh Sharma / July 12th, 2024
A day-long exhibition of coins (from ancient to modern) was organised by Maharaja’s College, in association with the Department of Ancient History & Archaeology and Musicology and the Department of History and Graduate Library, University of Mysore (UoM), at the Library Reference Hall, Maharaja’s College campus here recently.
The exhibition was by Dr. Abdul Rasheed, popularly known as the ‘Coin Man of Mysore.’ The main objective of the exhibition was to create awareness on the antiquity of Indian Coinage among students and members of the public. The exhibition was inaugurated by H.I. Abdul Rashid, Programme Executive (Co-ordination), All India Radio, Mysuru.
The exhibition featured coins of the next age that were circulated in India by the Indo-Greek kings of North Western India. The coins are mainly made of Silver, Copper, Nickel and Lead. The collection of coins belonged to dynasties like Kalingas, Hoysalas, Cholas, Vijayanagar Moghuls and coins from East India Company, all of which were made of Gold, Silver, Copper, Nickel, Aluminium, Lead and other alloys.
The fascinating collection further included coins from the kingdoms of Kashmir, Jaunpur, Malwa, Diwanpur, Gujarat, Bahmanis, Bengal, Shahi and other princely States which existed during the British rule and prior to it, and also from Goa, Hyderabad, Travancore, Mysore, Arcot, Wadiyars, Pudukottai rulers, Peshwas, Marathas.
A total of 1,200 coins of 93 foreign countries from all continents and belonging to the times of Napoleon, Hitler, Queen Victoria, Tipu Sultan and other rulers were on display.
Also on display were more than 2,000 currency coins of India and other unique coins of many great personalities, events, food, agriculture practices etc., of the past. These coins have been collected with great efforts and persevered carefully over the years. They have also been systematically classified, categorised and fixed on proper display boards. It was an informative exhibition on Numismatics, the study or collection of currency, including coins, tokens, paper money and related objects.
The expo chronicled the decline of coinage, with notings in their number, their appearance and their value. Almost all the coins had inscriptions of their times, mainly in Perso-Arabic-script.
The exhibition, apart from display of collection of coins through the ages from punch marked coins to gold coins from the Moghuls to the imperial coins and coins of post-independent India, also featured coins from third century BC, Ghazni era coins from North India and from Kanishka era coins in South India.
Over a thousand students and members of the public visited the expo.
When asked what drove him to pursue such a time-consuming hobby, Dr. Abdul Rasheed said that it all began with a curiosity to know about coins of different countries, supplemented by fascination and passion.
The journey began in the year 1955 when he was studying in high school, where he used to exchange coins which he had in excess from the collections of his forefathers, he said and added that his grandfather was an Inspector during British rule,who had the hobby of collecting coins.
Continuing, Dr. Rasheed said he used to collect ancient coins whenever he visited historical places during his trips abroad and he has coins from as old as 3rd Century BC.
source: http://www.starofmysore.com / Star of Mysore / Home> News / March 10th, 2019
India has one of the greatest traditions of paintings on walls. Called murals or frescos, we see a high level of technical excellence, grace and sublime beauty among Indian murals right from the time of Ajanta.
In 1335 AD, the remarkable city of Vijayanagar or the ‘city of victory’ was established in south-central Karnataka. In no time, the city and the empire became a fertile ground for creativity, thanks to the patronage of its powerful King Krishnadeva Rai. A remarkable style of painting evolved with ideas merging from Deccan, Cholas of Tamil Nadu and Jain tradition. When the Vijayanagar Empire collapsed after the battle of Talikota in mid-16th century many of state artists moved to Serirangapatna, a pristine and sacred land surrounded by Cauvery River on all sides. Here they thrived under the royal patronage of the Mysuru Wodeyers. In 1761 AD, the island became the seat of power of Haider Ali Saheb. He and his son Tipu Sulatan established Mysuru as a vibrant Sultanate and continued to patronage the artisan of Vijayanagar ancestry.
Daria Daulat Bagh is a palace situated in the island near the village Ganjam at Seringapatna. The village is set amidst beautiful gardens. It was built by Tipu Sultan in 1784 as his summer palace.
Built entirely out of teakwood, the architecture of the palace shows remarkable fusion of Deccani, Persian and Rajput styles. The most stunning feature of the palace is that all the space available on the walls, pillars, jharokas and arches have colourful fresco work in the style of Vijayanagar-Mysuru paintings.
On the western wall right to the entrance is depicted the battle scene of second Anglo-Mysore war or the battle of Pollilur. The battle had been fought between Haider-Tipu and the British forces, in which Haider and Tipu combated splendidly and won.
The paintings executed by the artists at the instance of Tipu Sultan where primary aim was to glorify their victory over the British. Colonel Bailley, the defeated British officer was taken to Serirangapatna after his defeat. The battle mural is seen in four different panels portraying Tipu and Haider marching in procession towards Pollilur near Kanchipuram. Tipu is depicted in all finery, himself leading the army towards Pollilur riding a beautiful white horse. Baillie sits in a palanquin as he is wounded and biting his pointing figure – a gesture employed by many to signify defeat in dismay.
The climax of the battle scene depict Baillie’s defeat giving special prominence to the explosion of tumbril and to the consternation of the British square colonel.
On the eastern part of the building there are a number of small frames containing figural motifs, architecture in brilliant composition. The most special is the one where the queen is seen seated on a carpet smoking a hookah. Some of the layouts strongly resemble Rajasthani miniature. The other panels illustrate incidents in the lives of princes, rulers and grandees of Tipu’s contemporary and also includes several rajas defeated by him. There are also neighbouring nawabs and kings including the Hindu Rani of Chittore, Rajas of Tanjore, Benaras, and Balajirao Peshwa II.
Come, lets discover the murals of Daria Daulat Bagh and appreciate the legacy of Tipu Sulatan, a brave son of the soil and perhaps one of the earliest freedom fighters.
YOUTUBE
source: http://www.blogvirasatehind.wordpress.com / September 26th, 2016
In a unique session, extraordinary individuals from different domains came together for a rare confluence at the Mysuru Literature Festival last evening. They introduced the audience to new perspectives and showcased their talent beautifully.
Abdul Rasheed, Programme Executive, Akashvani, Mysuru, delivered an engaging speech and introduced the audience to the world of new ideas. He explained his journey through various phases of life and how he embraced several individuals from different social strata as his mentors. He expressed his excitement about presenting his distinctive insights, which will provide a more representative portrayal of himself.
Jabbar Samo, a talented Yakshagana artiste from Uttara Kannada district, shared his experiences and motivations. He shed light on the significance of his performances in different aspects of life, both at the societal and personal levels. He also acknowledged the numerous individuals he considers his gurus and how they have influenced him.
He expressed how art flourishes without a specific reason and shared the dedication of Yakshagana artistes, who work without any external motivation. Despite facing difficulties as a member of the Muslim community, Jabbar Samo fearlessly pursued his passion. “Due to the prevailing circumstances, pursuing formal education was not possible, but I found solace in Kannada poems sung at the school, which fuelled my interest in the language,” he recalled.
Mohammed Kaleemulla, a retired teacher from Nagamangala taluk, dedicated his life to the preservation of historical temples, monoliths and hero stones in Mandya district. He explained the architectural aspects of these stones, their current conditions and the ongoing efforts to safeguard them with the support of Shri Kshetra Dharmasthala. “Many hero stones are being used for mundane purposes like drying clothes. I took it upon myself to inform the villagers and engage in the preservation work,” he said.
Syed Isaq narrated how he had built the library with zinc sheet roof at the corner of a playground in Rajivnagar and has been running it for the benefit of the public for 12 years. He also told the audience how the library was burnt down and his efforts to rebuild it.
“I have never been to school but my love for books gave wings to my dream of setting up a library. I built the library with 85 percent of books in Kannada and newspapers of various languages. My Kannada library is located in an area where there is a majority of the Urdu-speaking population and Kannada language must be propagated in areas like these,” he added.
source: http://www.starofmysore.com / Star of Mysore / Home> News / July 03rd, 2024
PCI President Gautam Lahiri addressing the gathering
In a significant move, the Press Council of India (PCI) has announced the institution of the Molvi Baqar Award to recognize and honour three outstanding journalists from the Urdu, Hindi, and English media every year.
PCI President Gautam Lahiri revealed this during an event commemorating the life and contributions of Molvi Muhammad Baqar, a pioneering figure in Indian journalism and the first journalist to be martyred during the 1857 Indian Rebellion.
“The criteria for this award will be to encourage journalists to follow in the footsteps of Molvi Baqar, who made the ultimate sacrifice while covering the events related to the 1857 ‘Mutiny’ through his newspaper, Delhi Urdu Akhbar,” said Lahiri in his presidential address. He added that PCI would soon finalize the modalities and constitute a jury to select the awardees.
The event, which focused on “The Life and Times of Moulvi Muhammad Baqir ,” highlighted his role as a patriotic journalist who played a key part in preparing the ground for India’s freedom. Historian and author Dr. Swapna Liddle, the Chief Guest at the event, praised Baqar’s commitment to the nation’s cause, despite the controversies surrounding his role.
“Some confusion exists due to the views of his son, Mohammad Hussain Azad, a renowned Urdu literary figure, who appeared to have taken a contrary position to his father. However, this must be understood in the context of the reign of terror during that time,” said Dr. Liddle, clarifying that Azad’s actions were likely influenced by the pressures of British rule.
Shoib Raza Fatmi, Editor of Hamara Samaj, reinforced this perspective by noting that Azad’s name frequently appeared in Delhi Urdu Akhbar as Editor, Printer, and Publisher, indicating his involvement in his father’s journalistic mission despite the difficult circumstances.
The program also featured a panel discussion moderated by Mahtab Alam, where young Urdu journalists discussed the relevance of Molvi Baqar’s journalism in today’s media landscape. Munazah Shah of News 18 pointed out the striking similarities between the challenges faced by Baqar in his time and those confronting the Urdu media today, particularly financial pressures and the need to foster communal harmony.
“The challenges faced by Molvi Baqar and today’s Urdu media are not very different. We should look to him as a role model for overcoming these obstacles,” said Sohail Akhtar Qasmi of Al Jazeera Arabic.
Tasleem Raja, a journalist with Siyasi Taqdeer and Qaumi Awaaz, echoed this sentiment, emphasizing how much contemporary media could learn from Baqar’s work in covering sensitive and complex issues.
A.U. Asif, a senior PCI member who was instrumental in connecting the Urdu media with PCI initiatives, lauded Molvi Baqar’s pioneering work in investigative journalism. “Molvi Baqar was one of the first to practice on-the-spot reporting and investigative journalism between 1837 and 1857 through his newspaper Delhi Urdu Akhbar, a practice that is now common in today’s media,” said Asif. He congratulated the PCI for unveiling Molvi Baqar’s portrait in its central conference hall, a tribute to his lasting legacy.
The event, organized to mark the martyrdom of Molvi Baqar on September 16, was held a day earlier this year due to the coinciding celebration of the Prophet’s birth anniversary. A large number of journalists attended, and the program concluded with a question-and-answer session.
The institution of the Molvi Baqar Award is seen as a step toward encouraging journalists to adhere to principles of courage and integrity in their work, much like the pioneering figure it honors.
source: http://www.muslimmirror.com / Muslim Mirror / Home> Indian Muslim> Media> Positive Story / by Muslim Mirror Desk / September 16th, 2024
The road unfolded before us like a ribbon, guiding our car through the lush greenery and coconut groves of Kerala. It was the sacred month of Ramadan, and we had embarked on a journey to the enchanting city of Kannur in search of a pious man. The road ahead promised a culturally rich, soul-stirring experience that would leave an indelible mark on our hearts.
We entered the city after a two-hour long drive; the streets bustled with pedestrians, the sound of traffic filled the air, buyers and sellers haggled in the marketplace. Amidst this vibrant chaos, an air of sanctity was palpable; it carried the essence of a bygone era, where the mingling of diverse traditions shaped the city’s identity. Our guide informed us of Kannur’s deep-rooted connections with the Islamic world, which dated back centuries.
Nestled along the coast of the Arabian Sea, Kannur holds a special place in the tapestry of Islamic culture. The arrival of Arab merchants, who had ventured to the Malabar Coast for trade, had a lasting impact on the locals. Legend has it that Islam took root in Kannur even before the arrival of Malik ibn Dinar, who is famously known as the first companion of the Prophet Muhammad ﷺ to arrive in India (though this cannot be verified historically). The tales passed down through generations speak of King Cheraman Perumal, ruler of the Chera kingdom, who was drawn to Islam after witnessing the miracle of the split moon. He embraced Islam, took the name Tajuddin, and ventured to Mecca, where he shed his worldly concerns. His story, engraved in verse on a wooden tablet at the Arakkal Palace, is a testament to the city’s historical connection with Islam.
Over the centuries, Kannur flourished as a centre for Islamic scholarship and culture, particularly Sufism. It became a hub of spiritual seekers, earning the moniker ‘Baghdad of India’. One notable figure in Kannur’s Sufi tradition is Ghawth al-A’zam (the Greatest Helper), Shaykh Abdul Qadir Al-Thani, whose presence lingers in the serene village of Puratheel, just a short distance from Kannur city, and whose grave we were destined to visit that day.
After parking our car near Varam Kadavu Bridge, we were drawn to a nearby river, its cool, sparkling waters beckoning us under the scorching summer sun. Seeking respite from the heat, I cupped my hands and splashed the cool water on my face, feeling rejuvenated in both body and soul. My colleague, who had visited Puratheel before, remarked that this river served as a natural border for the village, fortifying the sacred site with its life-giving waters. It was this very river that earned Puratheel the epithet dweep, or ‘island’. The flowing waters represented a boundary that was not only physical, but also spiritual, separating this land from the rest of the outside world.
Puratheel. Image credit: Salz Graphy
Standing on the river’s edge, engrossed in its serene beauty, I felt a profound sense of peace wash over me. At that moment, I understood why Puratheel was revered as a place of spiritual import. It provided a sanctuary, a space where seekers could disconnect from the outside world and embark on a meaningful journey of self-discovery. Even as we reluctantly left the riverbank, the serenity of that moment remained with us, and we cherished this reminder of the intense connection between nature, spirituality, and the pursuit of inner peace.
As we wandered through the village, faint sounds of devotional music played from afar. Our guide, prayer beads in hand, began to narrate the story of Shaykh Abdul Qadir Al-Thani.
There once lived an extraordinary man in Afghanistan by the name of Shaykh Uthman Hamdani. A Persian ruler and descendent of the esteemed first Caliph, Abu Bakr Al-Siddiq, this Sultan of Hamadan left all his riches behind to go on a quest for truth. He wandered tirelessly across distant lands, his footsteps guided only by his faith and a thirst for spiritual knowledge.
Shaykh Uthman eventually arrived in Valapattanam, a tranquil village in the northern province of Kerala. One night, during his stay in the village, he experienced a vision. This vision promised him that, should he marry on that very night, he would sire a miraculous child. A year later, in the nearby kingdom of Chirakkal, royal astrologers uncovered a celestial secret. They revealed to their king that a child had been born in the Valapattanam province — a child destined to become the greatest of all miraculous beings. They further prophesied that if the King provided protection and support to this child, his kingdom would prosper.
Intrigued by this prophecy, the King of Chirakkal set out to meet the newborn child, who had been named Abdul Qadir. Recognising the infant’s extraordinary potential, the King assumed responsibility for his upbringing, ensuring that he grew into a virtuous and revered figure. As such, the child was brought to the King’s palace at the tender age of five or six, where he continued his spiritual journey surrounded by the kingdom’s grandeur. His princely childhood abruptly ended at the age of sixteen, when his fortuitous encounter with four strangers changed the course of his life forever.
The strangers had arrived at his family home in a famished state while Abdul Qadir was away at the palace. With his mother’s permission, they slaughtered cattle she had originally set aside for her son, and chopped down a jackfruit tree in front of the house. They cooked their meal, ate, and saved some of the food to be given to Abdul Qadir when he returned. As the strangers departed, the family were astonished to find that both the cattle and jackfruit tree had been miraculously restored to their original state. When Abdul Qadir eventually came home, his mother informed him of their unusual visitors. Realising that these were no ordinary beings, he set off to find them, eventually encountering four people from Bhatkal, Karnataka. Amongst them was the distinguished Sufi shaykh, Mahmoud Al Khabooshani, who bestowed Abdul Qadir with an ijaza in the Suhrawardi tariqa. This was a licence that would formally permit him to instruct his own disciples in the teachings and practices of the Suhrawardi Sufi order.
Mosque built by the Shaykh himself
Inspired, Shaykh Abdul Qadir abandoned all material pursuits and devoted himself to worship. When the King grew concerned at the Shaykh’s sudden withdrawal from the palace and other worldly affairs, the Shaykh expressed his desire to continue this path, furthermore requesting that the King grant him a portion of the land to be reserved for regular worship and seclusion. The King assented, and named this land ‘Puratheel’. There, the Shaykh built a mosque and established a settlement, fostering a culture of spiritual seclusion and growth. He eventually became known as Abdul Qadir Al-Thani (‘the Second’), as people reverentially associated him with Ghawth al-A’zam Abdul-Qadir Al-Jilani, esteemed scholar and saint of Baghdad.
Despite my efforts, I found little information about Abdul Qadir Al-Thani in my research. Even in Malayalam, the native language of Kerala, references were scarce. Only in Arabic did I find a single work, entitled The Holy Maulid, by Shaykh Valappil Abdul Azeez Musliyar. Shaykh Abdul Qadir’s obscurity in the digital realm was, to say the least, disappointing. However, as I stepped into the sacred sanctuary of Puratheel, I was astounded to see its pathways abound with visitors, their footfall echoing with purpose and a yearning for the blessings of a shaykh unknown to Allama Google. This was a realm beyond the age of digital information, where human souls longed for a connection unencumbered by the pretensions of media and search engine rankings. I felt an enigmatic current that drew people to a shaykh who, while evading fame and renown in written histories, had claimed his place in living hearts and memories.
Tombs of Shaykh Abd al-Qadir al-Thani’s descendants
With the setting sun, a melodious call to prayer echoed through the misty valleys, summoning the faithful to gather in the sanctum of the mosque. Inside, the golden glow of flickering lanterns danced across the walls, and the congregation united in prayer between them. The rhythmic recitation of sacred Qur’anic verses rose and fell, followed by murmured supplications emanating from each devotee’s lips.
After the Maghrib (sunset) prayer, a serene calm enveloped the community. We had just shared an Iftar meal to end the day’s fast, replenishing both body and soul with food and prayer. However, the night was far from over. At 12.30am, as moonlight filtered through the mosque’s stained glass windows, bathing the prayer hall in its soft glow, the call to prayer would recommence. As the rest of the world slept on, these worshippers would perform the Taraweeh prayer until 2am, a night prayer reserved for the blessed month of Ramadan, followed by more supererogatory prayers and whispered invocations hoping to forge a bond between this earthly realm and the Divine.
Though Muslims the world over perform these rites every Ramadan, Puratheel has its own unique customs. The Qunut, a special supplication, is recited with every prayer except Maghrib. On Mondays, Thursdays, and Fridays after Maghrib, devotees gather for a dhikr halaqa, or gathering of remembrance, chanting the Divine’s sacred names in melodious union. After the Jumu’ah (Friday) prayers, which are led by a descendent of Abdul Qadir Al-Thani, a ritual of repentance takes place; the Shaykh recites words of istighfar, invocations that seek Divine mercy and forgiveness. Believers repeat the Shaykh’s istighfar, and disclose their struggles and shortcomings to a spiritual mentor as a means of guidance, purification, and self-reflection.
As Ramadan nears its end, the anticipation of seeking Allah’s blessing in the final ten nights of the Sacred Month swells, culminating in the sought after ‘Night of Power’, or Lailat ul Qadr. This is the twenty-seventh night of Ramadan, where in Puratheel, the adhan (call to prayer) resounds seven times to herald the Night of Power’s arrival. The mosque transforms into a radiant beacon, drawing the servants of Allah from near and far.
Puratheel Juma Masjid
When the final sun sets on Ramadan, and Eid ushers in the Sacred Month’s end, the Isha (evening)prayer is delayed until 2am to encourage the faithful to immerse themselves in worship until dawn. Although these customs may seem arduous to some, they are embraced with an unwavering devotion in Puratheel, keeping the legacy of the Shaykh alive. In our age of information and instant gratification, Puratheel reminds us that there are still enigmas to unravel, hidden domains waiting to be explored, and extraordinary souls whose influence transcend the virtual realm. True enchantment lies not in its digital presence but in the transformative encounters that await those who embark on this journey with an open heart and a yearning for the Divine.
Before our trip came to its end, our guide led us inside the mausoleum that housed Shaykh Abdul Qadir Al-Thani’s tomb, where he rested adorned in royal green clothing. Mausoleums of his children, grandchildren, other family members, and companions abound, both in Puratheel and all throughout India.
As we left Puratheel, a sense of tranquillity washed over me, dispelling, for the moment at least, all of life’s uncertainties. I felt that an inner peace had permeated my being, reminding me that we are never truly alone. For a moment, the world stood still and breathless, before exhaling a gentle breeze that brushed against me. I felt tears spring to my eyes, and wondered if nature possessed its own soul.
I left marvelling at the interconnectedness of the human spirit and the natural world. With the wind divulging its secrets and the land preserving ancestral tales, our souls are inextricably tied to that of nature’s. Through timeless bonds, we find solace, guidance, and an earnest understanding of our place in the cosmos. I journeyed forward, guided by whispers of the unseen, embracing the beauty and mystery bestowed upon us by nature.
Edited by Asma
source: http://www.sacredfootsteps.com / SacredFootsteps.com / Home>Asia> India / by Swalih Kuzhinholam / edited by Asma
____________________________________
Swalih Kuzhinholam
Swalih is a writer, Islamic tutor, and cultural explorer based in Kerala, India. He is a graduate of Darul Huda Islamic University in Chemmad, and a former Associate Editor at Thelitcham monthly magazine. His interests lie in culture, society, Sufism, aesthetics, literature and the arts.
