Ustaad Tibetbaqal

By RAM Chandrakausika राम च 51

Remembering Ustaad Tibetbaqal

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Ustaad Muhammad Abdullah Tibetbaqal (July 14, 1914 – January 03, 1982 S/o Kh.Abdul Gani Bota Wani) was a non Caste Sufiyana Vocalist and Instrumentalist (Santoor etc) famously known as the “King of Santoor”. He was regarded as one of the most successful Vocalist of North India and Central Asia. In 1972, he was the First Person from J&K to whom Sangeet Natak Academy Award was given by the President of India.

He was honored with Robe of Honour By Jammu and Kashmir Academy of Art, Culture and Languages, Pride of Performance, Kala Kendra and Golden Jubilee Award – All India Radio by the Ministry of Information and Broadcasting, Government of India. He remained a leading Sufi singer and instrumentalist (Santoor) of Kashmir at global level. In 1944, Taj Company of Lahore recorded some Solo instrumental Santoor recitals/wadans of Ustaad Tibetbaqal besides other recitations and archived them for preservation.
Ustaad Muhammad Abdullah Tibetbaqal was a master of unique, exceptional and a very tuneful voice. He improvised Sufiyana music to a great extent by introducing to it new techniques vocally as well as instrumentally. Though the Sufiyana music was traditionally sung in Persian language but the legendary Ustaad for the first time added Kashmiri Sufi poetry to it and this new experience got global appreciation especially from lovers of Kashmiri language.
Dr. Rajendra Prasad, Jawahar Lal Nehru, Indra Ghandhi, Shiekh Muhammad Abdullah, Mirwaiz Molvi Muhammad Farooq, Dr.Ali Jan, Dr.S.N.Dhar, Dr.G.Q.Alaqband, Dr.Hafizullah, Hakim Abdul Aziz of  Jamia masjid, Hakim Ali Muhammad of Gojwara  and other versatile personalities were the great grand fans of legendary Ustaad. It is important to mention here for information on the basis of revered and sound historical references duly authenticated at Govt. level, that Ustaad Muhammad Abdullah was the first who introduced Santoor at global level by performing Classical and Semi-Classical Vocal and Instrumental versions of Sufi Music. And got international invitations through Indian Council for Cultural Relations (ICCR) across the globe. His recordings are archived at government level in various countries like Germany, France, U.S.A, England, Iran, Iraq and Central Asian Countries.
Ustaad Sheikh Abdul Aziz, Amir ud din Zaz, Asad Gania, Muhammad Yusuf Mahaldar, Ustaad Muhammad Abdullah Sitari, Pt.Prithvi Nath Koul, Pt. Bhajan Sopori and Pt. Shiv Kumar Sharma are the disciples of Ustaad Muhammad Abdullah Tibetbaqal besides other top musicians. At University and College level when Music was introduced as one of the Subject in J&K State, Ustaad Muhammad Abdullah Tibetbaqal was nominated by the Govt. of Jammu and Kashmir to frame the Syllabi and necessary qualification required for Faculty of Music.
Besides being a Sufi musician, Ustaad Tibetbaqal was a Sufi poet, writer, spiritual, religious reformer and scholar. Thousands of people at Zoo Masjid, Zero bridge, Srinagar used to come from long distances for performing Salat ul Juma (Friday prayer) behind him and felt unique shower of mercy, bounties and spiritual satisfaction from Almighty Allah upon themselves.
Ustaad  Muhammad Abdullah is the author of Spiritual Book titled Islam and Sama (Sufi Audition) in which he has beautifully explained and proved on the basis of Holy Quran, traditions of Holy Prophet (SAW), Islamic Jurisprudence that how Sama is permissible and forbidden in Islam.
‘One word at times may destroy the world; And one word at may (turn) the dead foxes into lions’ – H.Alama Moulana Rumi RA
In the year 1978, the University of Kashmir, Srinagar and Bonyad-e-Farhang-e-Iran, Tehran, felicitated Ustaad Muhammad Abdullah Tibetbaqal with the honor of being visiting faculty for second summer Institute for Persian teachers. Though it was a challenging experience for the legendary Ustaad to demonstrate practically i.e. on santoor (Commonly known as Phonology/Phonetics) the different aspects and etiquettes’ of Persian Language before the great teachers / intellectuals of that period but highly won appreciation from the seekers of knowledge.
Muhammad Ashraf Tibetbaqal is the only son of Ustaad Muhammad Abdullah Tibetbaqal who’s elder son Aadil Tibetbaqal (Astt.Prof. Faculty of Music & Fine Arts University of Kashmir Sgr) is now carrying the highly rich and inherited treasure of his grandfather to the upcoming lovers of Sufiyana Culture of Kashmir at Global level under the aim and mission of Tibetbaqal Memorial Trust, founded in 1983’ in the memory of Legendary Maestro  Muhammad Abdullah Tibetbaqal.
The morning breeze scatters the rose; but not the log, which can only be spilt by an axe. The world subsists on music, exhilaration and ardour.But what can a blind man see in a mirror? (Alama Sheikh Sa’di)

(Coourtesy of Aadil Tibetbaqal-2013)

On January 6th 2013 Radio Kashmir Srinagar organized a Sufiyana (classical) musical afternoon Sunday to pay tribute to renowned Kashmiri Sufi singer Ustaad Muhammad Abdullah Tibetbaqaal on his 31st death anniversary.

The program was attended by a galaxy of Kashmiri poets, writers and singers besides a large gathering of fans of Baqaal.
Speakers on the occasion paid rich tributes and highlighted different aspects of Baqaal’s life and his contribution towards Sufiyana Music.
On the occasion Sufiyana music was also presented by different singers which mesmerized the audience and left them spell bound.
Among the 12 forms of classical (Sufiyana) music, when Ustaad Muhammad Abdullah Sitari sung Muqaami-i-Asawari on his Sitaar, the mesmerized audience murmured the words in resonance with the singer.
Muqam-i-Nawah by Sheikh Muhammad Yaqoob brought tears in the eyes of audience.
Chakker by Mohammad Abdullah Shakhsaaz, Naat by Muneer Ahmad Mir and Qawali by Mohammad Khalil Qawal enthralled the audience present on the occasion.
Speaking on the occasion Deputy Director General Radio Kashmir, Bashir Arif proposed to create a “Sufiyana Academy” to work for betterment of Sufiyana culture in the valley.
“Soul of our music is Sufiyana music, if it is gone, the soul of Kashmir will be injured,” he said. “We need to preserve and take it to next generation to make them understand it in real sense.”
Arif said Radio Kashmir is going to digitize the Sufi music of renowned singers to make it readily available in the market. “We are proud to have a vast archive and we will bring it to market in CD format very soon,” Arif said.
While welcoming the guests, writer Ghulam Nabi Khayal also called upon State Cultural Academy to form Sufiyana Academy. “Arrangements should be made to teach Persian language because most of the mystic poetry is in this language,” he said.
Terming Baqaal as a kind hearted and a lively person, noted poet and social activist Zareef Ahmad Zareef said, “Ustaad is so loved by people that he is remembered not in Valley but his music enthralls Sufi music lovers across the globe,” he said.
Zareef said there are people still in Europe who love to listen to Kashmiri Sufiana. ”He would continue to live in the hearts of people for times to come.”
The function was presided over by noted poet and Gyanpeeth awardee Prof Rehman Rahi. While paying tributes to Baqaal Rahi said, “Sufiyana music is a glorious gift of Kashmiri culture.”
Acknowledging the role of Deputy Director General RK (Bashir Arif) in preserving and popularizing Sufi music in Valley, TibetbaqaalMemorial Trust presented a Shawl to him by Mohammad Ashraf Tibetbaqaalwhile by Prof Rahi performed the Dastaar Bandhi.
Prominent among those present on the occasion are Dr Ghulam Qadir Alaqaband, Mushtaq Ahmad Latoo, Zafar Iqbal Manhas, Mohammad Sultan Pandit, Sharief-ud-din and Abdul Rehman Bhat.
Tibetbaqal (July 14, 1914–January 03, 1982) was a non-caste Sufiyana Vocalist and Instrumentalist (Santoor etc) famously known as the “King of Santoor”. He was regarded as one of the most successful Vocalist of North India and Central Asia. In 1972, he was the First Person from J&K to whom Sangeet Natak Academy Award was given by the President of India.
He was honored with Robe of Honour by State Cultural Academy, Pride of Performance, Kala Kendra and Golden Jubilee Award – All India Radio by the Ministry of Information and Broadcasting, Government of India. He remained a leading Sufi singer and instrumentalist (Santoor) of Kashmir at global level. In 1944, Taj Company of Lahore recorded some Solo instrumental Santoor recitals/wadans of Ustaad Tibetbaqal besides other recitations and archived them for preservation.
Tibetbaqal was a master of unique, exceptional and a very tuneful voice. He improvised Sufiyana music to a great extent by introducing to it new techniques vocally as well as instrumentally. Though the Sufiyana music was traditionally sung in Persian language but the legendary Ustaad for the first time added Kashmiri Sufi poetry to it and this new experience got global appreciation especially from lovers of Kashmiri language.
(Courtesy Sheikh Saleem 2013)

Muhammed Abdullah Tibetbaqal

S/O Khawaja Abdul Ghani
Resident of Ali Kadal,  Srinagar,  Kashmir
Born:   1914    Died:  1982

Tibetbaqal was in full employment with State run Radio Kashmir. He was the master of a unique voice full of melody and received appreciation from all the lovers of music having a special relationship with Sufiana Kalaam. He did not belong to the family of musicians but a family of businessmen dealing in world famous Pashmina shawls and fruit like Apricot in particular.

Because of the business connections, his family was influenced by getting in contact with people from Russia, Ladakh, Tibet, and Yarqand. This Mongolian race from the regions of Ladakh, Tibet and Yarqand was referred to as “Bota”. Since the poetry used in Sufiana Kalaam is mainly Persian he had acquired fairly good knowledge of Arabic and Persian which helped him to first understand what he was to sing. Since his childhood, having a good voice, he was allowed to sing prayers in Maktab (School) on regular basis which in turn proved to be helpful for his future achievements. At a later stage because of his good voice and his personal liking and attachment with Sufiana Kalaam he received initial training in this from Ustad Ghani Joo and Ustad Ramzan Joo.

His family vehemently opposed his interest in singing but he remained steadfast and adamant to continue receive the training and stayed associated with the art. In 1948 Radio Kashmir had just been introduced to Kashmirs and Tibetbaqal got this employment as a breakthrough and was soon famous. His attempt to blend the Sufiana Kalaam with local Kashmir dialect was a very good venture and was highly acclaimed.

He continued to sing Naat and Manqabat (spiritual singing) from Radio Kashmir while receiving appreciation from lovers of this art especially his best capabilities to play this wonderful local musical instrument called Santoor. He, at times, played other instruments like Sitar, Harmonium and Tabla. He also worked with the State department Cultural Academy and contributed to promote this art. Though he received invitations to visit different countries but for some reason he declined all these offers and preferred to stay in Kashmir.

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The 1 st  Music  Album of   Ustad  Muhammad  Abdullah   Tibetbaqal

October 2009
The new album titled ‘Anwari Muhammadi’ (SAW) featuring the Islamic devotional music of Kashmir in the voice of the Late Sufiana maestro Ustad Muhammad Abdullah Tibetbaqal was released by Minister for New and Renewable Energy Dr. Farooq Abdullah at new Delhi today.Minster of State for PWD Mr. Javed Ahmed Dar, Pandit Bhajan Sopori and  Abhay Rustum Sopori were also present on the occasion.
It is for the first time in the history of music  that the recording of the great legendery which is more than 50 to 60 years old has been put to music by the star composer and Santoor Maestro Abhay Rustum Sopori and conceptualized by Pandit Bhajan Sopori, the great Santoor legend & music composer. The album features a variety of devotional pieces like Naat, Manqabat, Salaam including the popular composition of Hazrat Maulana Jami (RA) “Ya Rassolay Hashmi” released under the banner of SaMaPa.
Speaking on the occasion Dr. Farooq Abdullah highly praised the musical quantum of the album which has been prepared to suit both the youth and the general public of the State. He congratulated both Pandit Bhajan Sopori and Abhay Rustum Sopori for their pioneering work in this production. He expressed  need to have such albums more and more for the benefit of the music connoisseurs and art lovers.
Pandit Bhajan Sopori highlighted Abhay sopori’s scintillating and well designed music which has further elevated the richness of Ustad Tibetbaqal’s voice. Abhay, the music composer of the album, said that it was unfortunate that till now there was not even a single release in the market of Ustad Tibetbaqal and he felt the need to work in this direction to bring out the work of such legendary at International level. The album is available in the market at all major stores.
PR/DI/2009/2454/
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Mohammad Abdulla Tibetbakal was the most influential master of Kashmiri Sufiyana Music. Sufiyana Kalam is the classical music of Kashmir, which uses its own ragas(known as maqam), and is accompanied by a hundred-stringed instrument called the santoor,along with the Kashmiri saz, wasool, tabala and sitar.Sufiana Kalam has been popular in Kashmir since arriving from Iran in the 15th century and has been the music of choice for Kashmiri Sufi mystics.
Representing the rich musical heritage and cultural legacy of the state of jammu and kashmir, the enchanting Kashmiri Sufiyana Music adds to the glory and grandeur of the region
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The beautiful Sufi music came to be known as the Kashmiri Sufiyana Music. An integral part of the rich cultural ancestry and religious legacy of the state of Jammu and Kashmir, Kashmiri Sufiyana music portrays the unlimited love of a devotee for the Supreme Being. Kashmiri Sufiyana Music boasts of an inherent divine element. Sung in praise of the Supreme Being, the enchanting melody of Kashmiri Sufiyana Music fills the devotees with an intense sense of devotion and dedication.
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Jay Somnath

Shree Somnath Trust welcomes you to the holy place of the Aadi Jyotirling Shree Somnath Mahadev and the sacred soil from where Bhagvan Shri Krishna took his last journey to his neejdham. 

Somnath temple stands at the shore of the Arabian ocean on the western corner of Indian subcontinent in Gujarat State. This pilgrimage is one of the oldest and finds its reference in the ancient texts like Skandpuran, Shreemad Bhagavat, Shivpuran etc. The hymn from Rig-Veda quoted below mention the Bhagvan Someshwar along with the great pilgrimage like Gangaji, Yamunaji and Eastward Saraswati. This signifies the ancient value of this Tirthdham.

Somnath is in Prabhas Patan very near to Veraval.  

The Moon God is said to have been relieved from the curse of his father-in-law Daksha Prajapati by the blessings of Bhagvan Somnath.  In  the Shiva  Purana  and Nandi  Upapurana, Shiva  said, `I  am  always present everywhere  but  specially  in  12  forms  and places as  the  Jyotirlingas`. Somnath is one of  these 12 holy places. This is the first among the twelve holy Shiva Jyotirlings. 

The  shore  temple of Somnath is  believed  to  have  been  built  in  4  phases-in  gold  by  Lord Soma,  in  silver  by  Ravi,  in wood  by  lord  Krishna  and  in  stone  by  King Bhimadeva. 

It has withstood the six-repeated desecration by the Muslim invaders. The very existence of this temple is symbol of reconstructive spirit and cultural unity of our society.

The seventh existing temple is built in the Kailas Mahameru Prasad style. The Iron man of India Sardar Shri Vallabhbhai Patel is the pioneer of the existing temple.

The temple is consisting of Garbhgruh, Sabhamandap and Nrityamandap with a 150 feet high Shikhar. The Kalash at the top of the Shikhar weighs 10 tons and the Dhwajdand is 27 feet tall and 1 foot in circumference. 

  

The Abadhit Samudra Marg, Tirsthambh (Arrow) indicates the unobstructed sea route to the South Pole.

 

 The nearest land towards South Pole is about 9936 km. away. This is a wonderful indicator of the ancient Indian wisdom of geography and strategic location of the Jyotirling. The temple renovated by Maharani Ahalyabai is adjacent to the main temple complex.

Hari Har Tirthdham is here in Somnath. This is the holy place of Bhagvan Shri Krishna's Neejdham Prasthan Leela. The place where Bhagvan Shri Krishna was hit by an arrow of a poacher is known as Bhalka Tirtha. 

After being hit by the arrow, Bhagvan Shri Krishna arrived at the holy confluence of Hiran, Kapila and Saraswati and their Sangam with the ocean. He performed his divine Neejdham Prasthan Leela at the sacred and peaceful banks of river Hiran.

  

The Geetamandir is built here where the divine message of Shrimad Bhagavat Geeta is carved on eighteen marble pillars. Shri Lakshminarayan Mandir is close by. The Balramjiki Gufa is the place from where Bhagvan Shrikrishna's elder brother Balaramji took journey to his nijdham-patal.

Here is the Parshuram Tapobhumi, where Bhagvan Parshuramji carried out penance and he was relieved from the sin of Kshatriya killings. The Pandavas have said to have visited this place and taken holy bath in the Jalprabhas and built five Shiv temples.

 The Somnath Trust has endeavored to develop the whole Shri Krishna Neejdham Prasthan Tirtha in an wholesome manner. 

The pilgrims please contribute generously to this noble cause.

 

POSTED BY ; VIPUL KOUL
EDITED BY  ;ASHOK  KOUL

 

Vat Savitri Pooja

Vat Savitri Pooja or Vat Savitri vrat is an auspicious day in Hinduism when married women observe fast and pray for their husband’s health and longevity. The fasting is named after Savitri, who brought back her husband from the clutches of Yama (death). One of the important rituals of the day is tying threads on Vat (banyan) tree. The fasting is observed for three days and begins two days prior to purnima or amavasya in the Hindu month of Jyeshtha (June – July).  

Significance of Banyan Tree

Among the rituals banyan tree shares its own importance. Women worship Vata/Banyan tree and pray for the long, healthy and wealthy life of their husband. Women feed water expressing their devotion, sprinkle kumkum as the sign of great fortune and wrap long cotton thread round tree’s trunk as a sign of long life of their husband.

Banyan tree is selected as a symbol of three lords, Brahma, Vishnu and Shiva. Root is Brahma, stem is Vishnu and leaves and branches are Shiva. On the puja day, the Banyan tree also symbolically represents Savitri and the incident mentioned in the Mahabharata. 

Legend

The vrata has been named after Savitri. Savitri was the beautiful daughter of king Aswapati of Madra Desa. She selected Satyawaan as her life’s partner, a prince in exile who was living in the forest with his blind father Dyumatsen. She left the palace an lived with her husband and the in-laws in the forest. As a devoted wife and daughter in-law she took all pains to take care of them. One day while cutting wood in the jungle Satyavan head reeled and he fell down from the tree and then expired on the lap of his beloved wife, Savitri. Then appeared Yamraj, the death God to take away the soul of Satyavan from his body. Savitri, deeply hurt pleaded to Yamraj not to be separated from her husband. If at all he would take away the soul of her husband she would also follow. Yamraj, moved by the devotion of Savitri returned the life of her husband. Satyavan came to life again and both of them lived happily thereafter.

Customs&Rituals

All Hindu women observe this festival worshiping and propitiating Savitri as a Devi. On this day, early morning the women take purificatory bath and wear new clothes, new bangles and apply vermilion on the fore-head and the hair-parting line. Then Savitri is worshiped. Wet pulses and rice, mango, jackel fruit, lemon, banana and several other fruits are offered as Bhoga (offering). After observing fasting for the whole day they simply take the Bhoga. In the afternoon when all formalities of worship are over they bow low to their respective husbands and elderly people.

Regional Celebrations

This festival is celebrated throughout India, especially in states like Bihar, Uttar Pradesh, Delhi and Orissa. In south India this fast is known as Karadaiyan Nonbu and is observed by married women of Tamil Nadu and Karanataka. 

  Vat Purnima
Vat Purnima or Wat Purnima (वट पूर्णिमा vaṭapūrṇimā "Banyan tree full moon") is a celebration observed in the Western Indian states of Gujarat, Maharashtra, and Karnataka, India. Purnima means "full moon" and is celebrated on the full moon day (the 15th) of the month of Jyeshtha on the Hindu calendar, which falls in June on the Gregorian calendar. Women pray for the prosperity and longevity of their husbands by tying threads around a banyan tree or waṭ, which is called "pipal puja", on this day. It honours Savitri, the legendary wife who rescued her husband's soul from the ruler of the departed, Yama.The festival of Vat Purnima (or Vad Savitri) is celebrated in the month of Jesht (May–June). Women observe a fast and tie threads around a banyan tree and pray for the well being of their husband.

On this occasion of Vad Savitri, women keep a fast for their husbands. They wear ornate bridal type dresses and jewellery. Their fast is observed the whole night till the next morning. After ending their fast, fruits, clothes and such other articles are given in charity in a bamboo basket to the saints. Women worship a banyan (vat) tree, and listen to the story of Savitri in groups. After this, women can offer prayer and worship. During this puja, women pray for good health of their husbands. Women give water to the tree, holy sprinkle red powder (kumkum) on it, and wrap cotton threads around tree's trunks. Then they go seven times around the tree (called the parikrama or pradakshina).The celebration derived from the story of Savitri and Satyavan. It had been foretold that Satyavan would not live for long. One day, while resting on the lap of Savitri, Satyavan suddenly died. The messenger of Yama, the God of death came to take Satyavan. But Savitri refused to give her beloved husband. Messenger after messenger tried to take Satyavan away, but in vain. Finally, Yama himself appeared in front of Savitri and insisted to give her husband.

Since, she was still adamant, he offered her a boon. She asked for the well being of her in-laws. He granted it to her. She then followed him as he took Satyavan's body away. He offered her another boon. She now asked for the well being of her parents. This boon, too, was granted. But she was relentless, and continued to follow him. As they approached Yama's abode, he offered her a final boon. She asked for a son. He granted it. But there was a conflict with this boon. She asked him how it would be possible for her to beget sons without her husband. Yama was stumped and realized the great devotion Savitri had for her husband. Lord Yama was impressed with her determination, and had to return the soul of her husband to his body. Henceforth, the world recognized her as the great "Sati Savitri". On the day of Vat Savitri,women hold a fast and pray for their husband's safety in the same way Savitri did.And it was most of in its same matter.NOW THOSEDAYS WE HAVE FORGOTTEN OUR GREAT TRADITIONS AND CUSTOMS.............

POSTED BY :  VIPUL KOUL 

EDITED BY  :  ASHOK KOUL

Swami Anand Ji Maharaj of Villagam

- J. L. Nehru

Swami Anand Ji Maharaj

Swami Anand Ji Maharaj has proved to be a magnificent guru among the gurus as defined in Kularnava Tantra.

 "Many are the Gurus who are proficient to the utmost in Vedas and Shastras; but rare is the Guru who has attained to the Supreme Truth; many are the Gurus on earth who give what is other than self; but rare is the Guru who brings to light the Atman; and rare is the Guru who removes the disciple's afflictions. Again rare is the Guru who is devoid of all volition to find. He is the Guru by whose very contact there flows the Supreme."

 Paying obeisance to God Ganesh and to my esteemed Guru Swami Anand Ji Maharaj. I have mustered courage in a difficult situation to portrait a small fraction of His life and work after seeking permission of Pt. Shamboo Nath Dhar, Gund Gushi Distt Kupwara Swami Ji's blessed disciple presently putting up at Jammu after migration. The permission was necessarily to be sought as Swami Ji had never allowed any publicity. He was not a believer of ostentatious popularity. His disciples offer prayers in a small "Ashram" in Janunu and perform daily Puja. He would advise his disciples to elude anger, arrogance and wicked persons. Although the living generations happen to know Him in perfect Guru "Swaroop" but to keep him living in the hearts of the generations to come which He is always; indepth desire was felt to portrait some aspects of this great saint Swami Ji was called with affection Bab Sahib. The life of Bab Sahib as wide and deep as the infinite ocean in which we can dive deep so as to take precious gems of Bhakti. The stories are wonderful and give peace and happiness to those who are afflicted with distress and heavy miseries of this material world. His teachings and His divine facial impression shall remain carved ever in our hearts. Although physically weak but always with a smiling and divine radiant face Bab Sahib was always calm, serene and throughout unostentatious. He was always free from anger, and very soft-spoken. Almost all people who came into touch with Bab Sahib got deeply influenced by his spiritual attainments.

Early Life

 Bab Sahib's birth anniversary falls on - Asun Krishan Paksha Dwadashi and death anniversary on Saptami of Ashad Shukla Paksh. Bab Sahib's father Pt. Raghav Ram Bhat, literate in Persian and Urdu originated from Vaskura Sumbal, Kashmir and had migrated later to Villagam, Distt Handwara, Kashmir in search of his livelihood where he started his career as a teacher. He got married to Pt. Savram's daughter who was graced by Deity Nandkishore of Sumbal Asthapan. Deity Nandkishore came in dream to Pt. Raghav Ram which turned true. The Deity directed that He would come to Villagam to avoid their frequent coming to Sumbal Holy place. Pt. Raghav Ram Bhat had six sons and two daughters. Bab Sahib was his fourth child and remained a bachelor. Bah Sahib's mother would draw her hair open and get into ecstacy number of times obviously the Deity entering her belly. She would thus speak differently. Deity Nandkishore appeared on the willow tree branch in Villagam situated on the river lank. It was "Chetra" Purnima idols of Deity Nandkishore and Shivlingam were installed. A Yagna was performed on this day. Bab Sahib constructed a temple there and after a few days a spring oozed to everybody's surprise. This spring has green waters. Bab Sahib started performing annual yagna thereafter.

 Shifting to Srinagar (Kashmir)

 The exact year is not known when Bab Sahib came to Srinagar with the aim of seeking employent and got engaged in Pt. Dina Nath Dullu's house at Karan Nagar, Srinagar. Pt. Dina Nath Dullu was working in the forest department. Years passed by. Bab Sahib had dedicated himself to spiritual activity not known to anyone in the house though being so close to everyone. He had been travelling on wooden Khadaon (Kashmiri wooden sleeper) in the mid-night to "Vichar Naag" nearly 10 kms. away for twelve long years and would be seen in his room in the early morning hours before dawn. Once Pt. Dullu Sahib felt thirsty in the midnight and requested his wife to bring water from kitchen. As the right time had approached now Mrs. Dullu while drawing near to the kitchen where Swami Ji's room fell on the other side got horrified to find that violent fire had engulfed Bab Sahib's room. Immediately crying tor help she went to her husband's room and her husband got up quickly and rushed towards Swanni Ji's room. He found to his surprise an immense dazzling divine light in Swami Ji's room. Next morning in the early hours Pt. Dullu Sahib fell on the feet of Bab Sahib and made obeisance. Bab Sahib to avert the exposure of the truth accused Mr. Dullu that he had perhaps fallen prey to some evil spirit which had made him to speak irrelevant. He asked Mr. Dullu that he should approach some learned Brahmin who would treat him by reciting some Mantra. How could Pt. Dullu believe it who had to his amazement seen divine radiant light. Bab Sahib's divinity got spread in the family circles and around.

 Bab Sahib performed Yagna at Vichar Naag and invited Dullu's family as well. Dullu's family came to know that day that Bab Sahib had been going to Vichar Naag for twelve long years which was kept secret.

 Pt. Shamboo Nath's Contact

 Pt. Shamboo Nath Ji Gushi, Kupwara, Bab Sahib's close disciple came into his contact in the year 1957. Pt. Shamboo Nath working as Senior Laboratory Assistant in the A.S. College, Srinagar attached to Prof. Kilam was residing with him in the "Stone House" at Karan Nagar. He had lost his wife sometime back and he would normally weep bitterly also start playing with iron "chimta" to the extent that once Prof. Kilam's daughter had terned him as a partly insane man. In fact Pt. Shamboo Nath Ji was in search of Guru to lead him to the path of spirituality. Once walking through Char Chinarnear the National High School building in Karan Nagar, we saw to his surprise an idol of Lord Vishnu seated on the window of the Bab Sahib's room. When Pt. Shamboo Nath went towards Dullu's house and entered Bab Sahib's roong he did not find any such idol there. Pt. Shamboo Nath fell on the feet of Bab Sahib and wept bitterly. He asked him whether he would like to remarry to which he replied in negative. Bab Sahib advised him to have some daily rituals and recite some Mantras.

 Shifting to Khir Bhawani

 Bab Sahib nearly spent 4.0 years in Dullu's family including 10 to 12 years after the spiritual exposure. He then shifted to Khir Bhawani an exotic holy place nearly 25 kms. from Srinagar in the year 1967. There he started putting up in the first floor of Shri Gwash Ram's small house, rather a shopping complex type facing the Goddess "Raginya" and the spring temple. On every Ashtami and Purnima Bab Sahib would perform Puja on a grand scale with various offerings in the Holy Spring like Milk, Flowers and Kheer etc. Many of his disciples have observed that at the time of offerings an image of "Devi Chakra" would get formed and start swinging obviously Devi's blessings. A good number of pilgrims and other people who would throng the Khir Bhawani Shrine would have meals at the Bab Sahib's abode. This "NAVEED" would give bliss the Bakhtas.

 Miracles and Telepathic Powers

 Death of Elder Brother Shri Parmanand Ji

 Once a message got spread that Bab Sahib's oldest brother Shri Parmanand had expired hut miraculously had revived to life as a surpnse. When Pt. Parmanand Ji regained consciousness he started speaking in a different language not understood by common people and would never stop. Bab Sahib although being younger to his brother, reprimanded him to put a halt to these mutterings. However, Pt. Parmanand narrated that when his astral body was taken to Lord Yama's abode, he found Bab Sahib as well sitting in one of the judgement seats with bowing head apart from "Chitra Gupta". Pt. Parmanand Ji made a sort of complaint about his younger brother that He behaved in a manner as if He had no relation whatsoever with him. Bab Sahib reacted and uttered that only good "Karmas" are viewed and not the relations there.

 Rescuing Aeroplane Piloted by Rajiv Gandhi

 Prof. Kilam Sahib's wife was travelling in an aeroplane from Srinagar to Jammu piloted by Late Rajiv Gandhi. All of a sudden some technical snag obstructed the aeroplane and the situation had come to obvious crashing. Bab Sahib appeared in the aeroplane and sat adjacent to Mrs. Kilam's seat, the technical snag miraculously got rectified and the aeroplane had safe landing at Jammu. The crew later came to know as late Rajiv Gandhi had observed that the aeroplane got saved from crashing because of this lady virtually due to the blessings of Swami Ji. Swami Ji was nowhere seen at Jammu in the aeroplane. Here in Srinagar He had asked repeatedly to the C.I.D. Commissioner one of the disciples to enquire whether Mrs. Kilam had safe landing at Jammu. Some days later Prof. Sahib got a letter from his wife narrating the whole incident and the miraculous saving of the aeroplane.

 It was in December, 1970, when one of the close devotees who was putting up as a tenant in my house at Habba Kadal in Srinagar narrated some facets of Bab Sahib's miracles, divine elevation rued spiritual vibrations. I was totally moved as if some inner telepathy started working on me instantly. I became virtually restless to see this spiritual face. Bab Sahib was this time putting up in Tulla Mulla. It was a wintry day but happened to be not too cold. As I entered the hut of the shopkeeper Shri Gwash Ram Ji, I was told that Bab Sahib was on the 1st floor. I entered the room and found him seated in a corner facing Goddess Ragniya's Spring. I paid obeisance and he kept his benevolent hand on my head and blessed me. I got immediately emotional. He of His own said whether I came from Habba Kadal. He untied the knot of one hancikerchief and blessed me     again by applying a little "Vibhuti" on my forehead and gave me "Naveed" for my family and my parents. The objective in my mind for which I had gone to Bab Sahib got fulfilled to my surprise.

 Endless Naveed

 One devotee narrated that on one occasion, after offering the last "Ahuti" in Yagna, "Khir" naveed prepared in one brass pot (Deegcha) began to be distributed among hundreds of devotees who had come to attend the Yagna. No one could assess how the small quantity just prepared in one "Deegcha" didn't finish even after having been distributed among hundreds of devotees. Bab Sahib enquired whether all had taken this "Khir Naveed" and the lady distributing it said only one person was yet to take it. Naveed was as such kept in a small Taku (small earthen plate) and the Deegcha got emptied.

 I have myself witnessed Bab Sahib after coming out of Samadhi while in Khir Bhawani, having expressed the vivid presence of the Goddess Ragniya. Bab Sahib while blessing all his devotees would always utter let Almighty bloom fortune.

 In October, 1973, my father took seriously ill and I went immediately to seek my Guru's blessings to know the state my father was going to face and whether he would come out of the trauma. On reaching Khir Bhawani, I was asked by Bab Sahib to perform Puja first in the temple. During Puja, the Dhoop and Diya partly extinguished and I did not take it as a bad omen. When I reached Bab Sahib's room again and with Namaskar prostrated myself under his feet, He, in the first impression, asked what did the Goddess convey and immediately diverted my attention so that my morale does not breaks. My father expired after some days thereafter, which was a clear indication ot Bab Sahib's Divine attainment.

 In mid-1996 Bah Sahib came to me in dream twice when I was in extreme trauma due to the ailment of my wife. He untied the knot of his handkerchief and gave me Naveed. He had a divine smile on his face. The doctors had given maximum survival period of three months to my wife but that she survived for seventeen months was a miracle. Prior to her expiry in August'97, He came again and this time He showed the sign of her end which also came true. It is, therefore, evident that Bab Sahib is keeping an eye over the troubles of his devotees.

 Last Darshan

 It was year 1983 Swami Ji tell indisposed and had developed kidney trouble. The disciples called Dr. Radha Krishna Kachroo to Kilam's house at Shivpora but He was later shifted to Dr. Peshin's Hospital at Karan Nagar in Srinagar. Dr. Peshin had observed the failure of kidney and had tried his best. Normally Bab Sahib's condition never appeared grim even to suspect something serious. He had a smile on His face and appeared in usual trim condition. At around 3.50 p.m. on 17th July, 1983, He left mortal body. He was shifted to Shivalaya Temple premises in Karan Nagar, Srinagar where thousands of devotees had thronged after hearing the news of His attaining Moksha on A.I.R. Kashmir station. The last rites were performed with full Shraddha. When the pyre was lit, single Jyoti rose high to the sky like a shooting star. There was a little drizzling as well thus having been accepted by Heavenly Spiritual Power. In Shivalaya where thousands of devotees were reciting Bhajans, "Brahma Vidhya" was recited by one person whereas five sounds vibrated concurrently to everybody's surprise.

 Immersion of Ashes

 Before leaving mortal body Bab Sahib had desired a week earlier that He would like to sit under cool breeze of Chinar Tree in specific referring to the place Gushi Kupwara or Khir Bhawani. When preparations were made to take the Ashes to Sangam at Shadipur Sangam for immersion, the vehicle in which these were being carried somehow mystically led the driver to divert towards Khir Bhawani road instead of Shadipur Sangam direct. Here Pt. Shamboo Nath Ji got reminded of Bab Sahib's desire to have a cool breeze under a Chinar Tree. The disciples decided to immerse some ashes in the Khir Bhawau1i Sangam River. The team after immersing some ashes here fell far Shadipur Sangam and immersed the ashes there. Surprisingly again after immersion Devi Chakra got formed on the Sangam waters.

Source: Koshur Samachar

 POSTED BY; VIPUL KOUL

EDITED BY  : ASHOK KOUL

Shamas Faqir

Religious Mysticism:
Some Observations on the Poetry of Shamas Faqir

by Prof. A. N. Dhar
Koshur Samachar [With the advent of Islam in India, Persian studies gained popularity among the literary sections of the society, that included the Hindus and the Muslims alike. This led to an interchange of concepts from Vedanta and Sufism between the two communities. The Bhakti movement in India provided an additional stimulus to this process of interchange. The mystical poems of Shamas Faqir, the Sufi poet of note from the valley of Kashmir, exemplify this cultural synthesis in a remarkable way. Mystical poetry in Kashmiri (spoken by the natives of the valley) has a richness and variety of its own, traceable to the mingling of several cultural streams. This intermingling is specially noticeable in the poems of Shamas Faqir, a spiritually enlightening study of which is presented below by the author].
In this paper, I propose to discuss the religious mysticism with particular reference to Shamas Faqir, noted Sufi poet of Kashmir. We notice a pervasive mystical element in his lyrics (composed in Kashmiri) that is Sufi in content and inspiration, compatible with Islam and, at the same time, comparable in significant way, with other varieties of religious mysticism. In the introductory part, I shall first touch upon religious mysticism in general at some length and then give a brief account of Sufi mysticism in its bearing upon the poetry of Shamas Faqir.
Mysticism, of all shades, is not to be seen as something remote from religion. Essentially, it is a correlate of religion. The term 'religion' is generally taken to mean the observance of belief, which is commonly identified with mere ritual. The mystic, however, does not rest content with the bare externals of religion. He seeks to attain an intimate, loving relationship with the Divine - involving a personal 'encounter' aiming at 'union'. He is at once drawn to the ultimate Truth by a passionate curiosity and an ardent love. His pursuit, therefore, inevitably involves the religious feeling at its most intense. In this respect, the great mystics of all times and climes are closely akin to the very founders of various faiths.'
From the biographies of the renowned mystics of the world, supported by what has come down to us in the form of their sayings and writings, we gather that while some of them remained mostly absorbed in contemplation the majority also practised love and piety as the benefactors of mankind in general. Unlike religious zealots, tied to this or that creed, they quietly pursued their own ways (as lone adventurers) though they continued to stay within their traditions. Only a small minority of them chose to dissociate themselves from orthodox creeds, asserted their freedom and even professed heretical views. Some of these unfettered mystics, like the Persian mystic Mansur-al-Hallaj, had to pay a heavy price for their non-conformist views. The example of William Blake, poet and visionary, also comes to mind here as a unique mystic whose bold and unconventional pronouncements were not palatable to the orthodox Christians.
Across cultures, mysticism shares universal characteristics despite the variety it comprehends. That explains why the religious mystic is tolerant and accommodating as far as his attitude to other faiths is concerned. As the mystic advances in the spiritual path, whatever his affiliations, he realizes that all religions are one in essence and lead to the same goal. We, in India, are proud of being the inheritors of a rich culture, presenting a fine synthesis of diverse strands. The Hindu ethos itself has been largely responsible for this synthesis, conducive as it has been to free inquiry into the nature of Reality or Truth, and consequently to the flowering of the mystical sensibility.
The country has built up a rich mystical tradition going back to the Vedic times, which later absorbed the influence of the Sufi mystics (who in turn were themselves influenced by the cross-cultural interaction on the Indian soil). Having had a steady growth over centuries, our mystical literature involves a wide range of approaches to Reality. This is consistent with our cultural diversity. Of these approaches, Karma, Bhakti and Jnana are specially characteristic of Hindu mysticism. Interestingly, they correspond to the types of spiritual life respectively termed practical, devotional and philosophical mysticism by Christian scholars.
Another feature that is specially common to Christian and Hindu mysticism is the theme of love between God and the soul conceived as a spousal relation. Interestingly, this theme has been elaborately dealt with in our literature devoted to Krishna and the gopis. In fact, across cultures, human love has been a dominant motif in poetry of all hues including the mystical. Most mystics have looked upon earthly love itself as the root of spirituality, having in it the potential of transfiguring into divine love. This theme has been dealt with in a variety of ways in mystical literature throughout the world.
One more related feature common to most varieties of mysticism is the mystic's account of his advancement in the spiritual path - of the various states he experiences and the stages he goes through until he attains his goal. In Christian mysticism, the spiritual 'journey' is depicted as consisting of three distinct phases - called the Purgative, Illuminative and Unitive stages of the Mystic Way. The corresponding concept in Hindu mysticism is that of 'Ascent of the Self', particularly stressed in Kundalini-yoga. While mystical union is conceived in the Hindu scriptures, including the Upanishads, as the complete merger of the individual soul with God, for the Christian mystics it implies the soul's experience of the constant presence of God. We find parallel - if not identical - accounts of the Mystical Way and all that it involves in Sufi Mysticism, too.
Islam, as a world, religion, has laid utmost emphasis on the oneness of God. Thus thoroughly monotheistic, it has also stressed God's transcendence and man's creature-hood. This is something that does not seem compatible with mysticism - a dimension of religion that stands for an intimate relationship with the Divine. In actual fact, however, Islamic worship does not ignore the immanental aspect of God, including man's innate divinity. Those who uphold the Sufi path as the "mystical dimension of Islam" assert that in the Koran itself there are several passages which affirm God's immanence and quite suggest the possibility of a close communion between the Maker and man. It is on this account that they justify the doctrine of Irfan or Marifat (spiritual gnosis) as also the practice of Mahabba (the Way of Love).
As the spiritual offspring of Islam, Sufism had its fine flowering on the Persian soil. The Sufi orders that grew up in Persia and other Islamic countries evolved approaches that were mutually coherent and also consistent with the essential spirit of Islam. Eschewing 'high and dry intellectualism', the Sufis, like the Christian saints, practised poverty and penance, preaching their doctrine through love and gentle persuasion. Although Islam does not encourage monasticism or renunciation of household life, many Sufis spent their lives as wandering faqirs. The Sufi way had its impact not only on the Muslims themselves but it impressed the devout in other communities as well, leading to a healthy interaction and mutual accommodation, a thing borne out by what happened significantly in India. The receptiveness of the indigenous culture, specially characteristic of the Hindu ethos, and the liberal attitude of the Sufis have both contributed, in no small measure to the composite culture that continues to be our rich legacy.
Islamic mysticism in its literary form, largely Sufi in content and inspiration, found its adequate development in classical Persian poetry. The Persian poets showed remarkable ability in using the language of human love to convey mystical concepts related to the Divine. The terminology of erotic love, particularly used in relevant context, enabled them to give a hint of the 'rapture' (wajd) the mystic experiences within the deeps of his soul. The Persian lyric, called the ghazal, evolved as an appropriate form in their hands for unfolding experiences profound and esoteric in nature, rooted in their mystical craving for union with God. Maulana Rumi, the supreme exponent of the Sufi Way, and other poets like Attar, Saidi, Hafiz and Jami, wrote excellent poetry using highly suggestive images charged with significance, which gave superb expression to the theme of divine love. The profane and the sacred are seen to intermingle in Sufi poetry as they, for example, do in the metaphysical lyrics of John Donne. Written seemingly in a voluptuous vein, they evoke and suggest what touches our inmost Being.
With the advent of Islam in India, Persian studies gained popularity among the literary sections of the society, that included the Hindus and the Muslims alike. This led to an interchange of concepts from Vedanta and Sufism between the two communities. The Bhakti movement in India provided an additional stimulus to this process of interchange. The mystical poems of Shamas Faqir, the Sufi poet of note from the valley of Kashmir, exemplify this cultural synthesis in a remarkable way.
Mystical poetry in Kashmiri (spoken by the natives of the valley) has a richness and variety of its own, traceable to the mingling of several cultural streams. Its growth began in the fourteenth century with the famous woman poet and saint, Lal Ded. It was in her time that Sufism first came to Kashmir through Muslim saints and mystics. Consistent with her Saivite background, Lal Ded, in her vakhs, neither characterizes the world as illusory nor recommends external renunciation. She looks upon the objective universe as the Swarupa Itself (the Real Form) that parallels the Sufi view of the physical world as Wahadatulwajud.
The great Muslim saint, Sheikh Noor-ud-Din Rishi of Chrari Sherif (Kashmir), revered by all communities in the valley and popularly called Nund Rishi, is believed to have been blessed and directly influenced by Lal Ded. This is confirmed by the reverential tribute he paid her in one of his shruks (slokas). Mystical in thought and aphoristic in form, his shruks have impressed and influenced both the communities, Hindus and Muslims, in Kashmir as the vakhs of Lal Ded. Accordingly, in the mystical poetry that was produced mostly in the 18th, 19th and 20th centuries (after a long gap, following the two saints), we notice an interfusion of parallel literary motifs and images drawn from diverse cultural sources. This intermingling is specially noticeable in the poems of Shamas Faqir (AD 1843- 1901). It is also to be seen in varying degrees in the poems of a number of other Kashmiri poets.
No authentic biography of Shamas Faqir, with full details about his life including what his literary antecedents were, has been compiled so far. What has, therefore, to be depended upon most in this context is the text of ninety-six of his poems included in the anthology of Sufi poems in Kashmiri brought out by the J&K Academy of Art, Culture and Languages, Srinagar. The perceptive reader can gather many facts and draw useful inferences from them about the life and literary background of the poet.
As we gather from the scanty biographical information available, through his upbringing at home and later under the influence of several seasoned teachers, Shamas Faqir was drawn towards divine contemplation during his early formative years. He got connected with the Qadri Sufi order and thereafter, around the age of twenty-five, he went to Amritsar in pursuit of spiritual knowledge. Here he came into contact with an accomplished Master, under whom he got fully conversant with the Sufi doctrine and practice. On his return to Kashmir, he got married and had four children. Yet he remained well set on the spiritual path and lived throughout in the true spirit of a Sufi saint.
An intensive reading of Shamas Faqir's poems reveals a lot to us about his religious background and the literary sources that must have inspired him. This in turn enables us to appreciate better his communicative skill as a mystical poet, precisely the tools he used to articulate his perceptions and experiences. As we get familiar with the linguistic tools and the kind of imagery he employs, we conveniently judge for ourselves the main sources of his inspiration.
Thus the poem 'Nat', the first in the group of his poems available, indicates immediately that he is a devout Muslim, well acquainted with the teachings of Islam based on the Koran and also with the life of Prophet Mohammed. The poem 'Merajnama' that follows recounts the story of the Prophet's spiritual journey to the abode of God. In a number of other poems there is unmistakable evidence of the poet's awareness of the Mystic Way - of the steps and stages leading to Union that the Sufi Masters are believed to have gone through.
To the discerning reader, Shamas Faqir's description of the Sufi path must appear suggestively similar to the spiritual 'adventure' given in other varieties of religious mysticism (including Hindu and Christian mysticism). In several poems, he makes use of the via-negativa and via-affirmativa approaches in his accounts of the Divine. Each of these approaches to Reality involves a characteristic language use, which the poet accomplishes so well; sometimes we find the two approaches deftly interwoven in the same poem. In quite a few poems, we come across direct allusions to the Persian mystic, Mansur-ul-Hallaj, and the doctrine of An-ul-Haq (I am Truth) that he boldly preached.
The Sufi concepts offana (annihilation), baqa (continuity), the terms zikir (remembrance of God) and fikir (contemplation), the symbolism of the 'diver' in search of 'pearls', the images of zulf (seductive curl) and khal (the mole on the cheek of the Beloved) are seen to recur in many a poem. The imagery of jam (wine cup) and mai-khana (wine house) associated closely with makhumur (the 'intoxicated' mystic) is also recurrent in Shamas Faqir, linking him with his distant predecessors, the Persian Sufi poets, in the background. It is they, in fact, who were the first to make innovative and creative use of language in starting the vogue of this imagery. At places, Shamas Faqir speaks of his experience of the inward music of the soul, of the 'vibrant string within', that reminds us of anahata (unstrung sound) mentioned in Surat-Sabda Yoga.
A striking feature of Shamas Faqir's poems is the diction: using largely the Kashmiri idiom current in his time, he also employs words from Persian, Arabic and Sanskrit. He can bend language to his needs, blending harmoniously words from diverse sources together - an achievement creative in a high degree. In some poems particularly, we notice that he makes a consistent use of terms (and related concepts) derived from the Hindu Sastras (including both Vedanta and Saiva texts) with remarkable ease and facility.
As examples we may mention terms like zagrat (wakefulness), sopan (dream), sushapt (deep sleep), turya (superconsciousness), terms relating to the four elements including pavan (air) and akasa (ether), words like soham (He am I), sunya (void), rav (the sun), shiv (Siva), anand (bliss), om, raza honz (King of swans). He handles the vocabulary and the related concepts so well that the poems acquire a distinctive Hindu tone. Of such poems the one that specially comes to my mind is titled 'Pad' (the first of the sequence). The interfusion of two cultures is indeed very conspicuous in the Sufi poet.
Several lyrics of Shamas Faqir centre round the theme of the mystic's quest for the primal cause of this universe. As an illustration, the lyric titled 'Agur Kami Manz Drav' repeatedly poses the question, 'what is the fountainhead of the stream?', which serves as its refrain. Here is my translation of some significant lines of the poem (attempted to convey the essential meaning):

Day and night does Pavan flow
Through the four Bhavans non-stop;
Whence did it come
And whither did it go?
It was even (all of one hue),
Whence did the stream come forth? .......
He who owns the sea
Is the Lord of water,
The river issued from the drop;
To get to the meaning,
Sacrifice yourself first;
.....
O Shamas, to attain gnosis,
Throw open your heart's door;
Sun-like, roam the sky through
(To fathom the Secret);
What is the fountain-head?

We can see that the poem poses vital and thought- provoking questions regarding the First Cause. It instructs the seeker to pursue the spiritual journey inwardly to realize the Self. This would naturally call for annihilation of the little self. The answer to the imponderable question regarding the source of the Cosmos is provided through the intertwined images of the 'drop' and the 'river'. They parallel the images of the bindu and the sindu given in Hindu mystical literature, conveying what Swami Ram Tirtha does equally aptly through the phrase 'Infinite in the Finite'. In the concluding lines, that lay stress on cleansing the heart as a means to inward transformation, the tone of the poem changes as the poet addresses his own self. Without sounding the didactic, the changed tone stimulates self- introspection in the reader/listener. The Persian Sufi poets have often used the word rinda in their lyrics. It refers to the true lover, a liberated soul (not tied to this or that school). With its rich associations, it has been absorbed into Kashmiri mystical poetry and has by now got into common usage among the Kashmiris. It occurs frequently in Shamas Faqir's verse too. One poem titled 'Rinda Sara Ho Sapdi Kunu Ye' is specifically addressed to the rinda. This is how the poet instructs the aspiring gnostic:

O rinda, in order to realize the One,
Learn to die while still alive.

Emphasis is laid in the poem on self-conquest as being the stepping stone to advancement in spirituality. Whether we call the aspirant a yogi or an arif, his sadhana has to consist in 'cleansing of the doors of perception', which involves a disciplining of the mind and the senses. He has to be discriminative and mentally alert throughout. Shamas Faqir is explicit about this quality required of the true aspirant:

Seemingly blind, look keenly for
What you seek, O rinda!
Sifting the pure grain
From the impure,
Winnowing the grains a hundred times
Will reveal the Precious One to you.

The poet draws our attention to the strenuousness and pains involved in the spiritual effort, in these lines:

Break the stones at the dead of night,
To take away the Gem guarded
by the cobra;
Feed the burning lamp
with your blood,
Eat up your own flesh;
Thus will you, O rinda, realize the One.

Special stress is laid in the closing lines on belief and divine grace:

Believe before you verify,
That's Shamas Faqir's gospel;
When you get the 'Word'
As a God-sent gift,
O rinda, you'll realize the One.

In one particular poem titled 'Walo Mashoka Deedar Hav', the poet employs 'dark imagery' throughout, from the beginning to the end, and mentions 'black light' specifically in these lines:

The Elixir of life is hidden in the dark,
The light divine is dark, too;
Light itself is grounded in darkness,
Pray, meet me Beloved!

This poem reminds us of the images of 'darkness' that are so recurrent in St. John of the Cross, especially in his poem titled 'Dark Night of the Soul',  there is a close parallel between the Christian concept of 'divine dark' and what Shamas Faqir conveys through his images. Similarly, the names of Hindu divinities such as Krishna, Shyama, Kalaratri, Megashyama, suggest 'the night of the great release into the oneness of Self', which is dark only to the senses, not to the spirit. The 'human form divine', in its feminine aspect, is celebrated conspicuously in the poetry of Persian Sufis. Parallel motifs and images are seen to occur in both Hindu and Christian mysticism. The form functions as a wisdom figure, which is, in fact, a recurrent image in literature. It is also identifiable as the 'theophanic figure through whom the manifestation of God takes place'.
Shamas Faqir too follows this Sufistic tradition as a poet. In several poems, he introduces a lady as embodying 'Beauty' and 'Truth', but the images of woman that he employs do not suggest the flesh. In one such poem title 'Rov', the feminine form, described as 'ashqa sondar', recalls the Greek goddess Aphrodite. Her physical graces are rendered in fine detail - red lips, charming teeth, incomparable mouth (dahan), seductive locks (resembling coiled snakes) and the like. All these images are loaded with mystical significance in the Sufi tradition.
Another such poem of deep import, addressed throughout to a woman hailed as the 'esteemed lady', is titled 'Manareniye Pan Badlav'. It makes an elaborate use of the symbolism that we especially meet with in Christian mystical writings - depicting the soul as the spouse of God. In the poem under discussion, the 'honoured lady' is cautioned not to be remiss in 'throwing the precious stone away'. She is advised to undergo 'alchemical' transformation to deserve the rare gift and the elevation that she seeks as her goal - which is nothing short of Union with the Beloved.
In conclusion, I should like to reiterate that as a Muslim poet writing in Kashmiri, Shamas Faqir is outstanding in his grasp and assimilation of many mystical concepts and images that occur in the sacred Hindu texts. He owes this assimilation not only to his contact with the co-existing Hindu culture of his time but also to his own receptiveness and openness of mind. After Sheikh Nur-ud-Din Rishi of Chrari Sheriff, it is he (before others followed them) who paid glowing tributes to Lal Ded in a poem wholly devoted to her, titled 'Zan Mila Nav Bhagvanas Sooty'. The poem shows how high he held her in his esteem, how familiar he was with her story and how thoroughly acquainted he must have been with her vakhs. His poems deserve to be read with care, as a source of delight and spiritual instruction.
[Courtesy - Prabuddha Bharata]

POSTED BY  : VIPUL KOUL
EDITED BY   :ASHOK KOUL
 

Lava or Luv(Sanskrit: लव meaning "particle", Telugu: లవుడు, Tamil: இலவன், Malay: Tilawi, Indonesian: Lawa, Khmer: Jupalaks, Lao: Phra Lao, Thai: Phra Lop) and his twin brother Kusha, were the children of Lord Rama and his wife Sita, whose story is recounted in the Hindu epic Ramayana. Lava was the elder of the two and is said to have wheatish golden complexion like their mother, while Kusha had blueish complexion like their father. Lava is purported to have founded Lavapuri,that is, the modern day city of Lahore,which is named after hi The Southeast Asian country Laos and the Thai city Lopburi were both named after him. The Leva Patidar are present-day Indo-Aryan ethnic groups who claim to be descendants of Lava. Lava belongs to the Ikshvaku clan or Suryavansh Dynasty of Kshatriyas in Vedic civilization in ancient India...........According to Ramayana Sita was banished from the kingdom of Ayodhya by Rama due to the gossip of kingdom folk. She took refuge in the ashram of sage Valmiki located on the banks of the Tamsa river.^[8] Lava and Kusha were born at the ashram and were educated and trained in military skills under the tutelage of kowshikar.When Rama performed the Ashvamedha Yagya, the sacrifice horse strayed into their forest, which was captured by Lava and Kusha. Unaware that the horse belonged to Rama and he was their father, they engaged in conflict and defeated Rama's army led by his brothers. Eventually, Rama himself came to battle his own sons. After Hanuman and Valmiki's intervention, Rama knows the truth and invites them to return to Ayodhya.
Lava and Kusha became rulers after their father Rama and founded the cities of Lahore (called Lavapuri in ancient times) and Kasur respectively. The king of Kosala Raghava Rama installed his son Lava at Sravasti and Kusha at Kushavati.
^[9] There is a temple associated with Lava (or Loh) inside Shahi Qila, Lahore