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Suf, Tasawwuf aur Mausiqi: Episode-1 (Fariduddin Ayaz)

We travelled by an auto rickshaw in the streets of Old Delhi, people from air conditioned SUVs rolled down their window to wish him with the humblest of salaams, he responded to them with his folded hands. Some strangers from the pavement recognized him at Connaught place and requested him to pray for them. He… continue reading


By the end of the twelfth century Persia, though paying nominal allegiance to the ‘ Abbasid Caliphate, had not only asserted her independence m the spheres of religion and politics, but had produced a large and varied literature in which the genius of the race expresses itself unmistakably Of this literature the best part in… continue reading

आदाब-ए-समाअ’ पर एक नज़र-मोहम्मद अ’ली मैकश अकबराबादी

मैंने इस रिसाले में गाने के ज़ाहिरी पहलू पर नज़र की है या’नी शरई’ हैसियत से बह्स की है। सूफ़िया का एक फ़िर्क़ा ख़ुसूसन चिश्तिया गाने को सुलूक में मुफ़ीद ख़्याल करता है और चूँकि ये तक़र्रुब इलाल्लाह का सबब होता है इसलिए ताआ’त-ओ-इ’बादात में शामिल हो जाता है। जिन बुज़ुर्गों ने इससे फ़ाइदा उठाया है… continue reading

Sufi practices as the cause of spiritual, mental and physical healing at Chishti shrines in India and Pakistan

Dargahs is a Persian word and it literally means “court”, a mausoleum of a Sufi (Chaudhry, 2013). The English word shrine accurately conveys the meaning of Dargah. Dargahs are primary parts of the rural and urban setting of Pakistan. Sufism being a religious, political, mystical, communal and cultural entity has influenced the structure of the… continue reading

हज़रत मैकश अकबराबादी

मेरी निगाह ने हस्ती को दी है ज़ौ मैकश मैं देख लूं तो ये मोती है वर्ना शबनम है -(अ’ल्लामा मैकश अकबराबादी) हज़रत क़िब्ला सय्यद मोहम्मद अ’ली शाह मैकश अकबराबादी दास्तान-ए-अदब आगरा के वो आख़िरी ज़ी-इ’ल्म-ओ-नज़र अदीब शाइ’र थे जिनके विसाल के साथ ही ऐवान-ए-अदब आगरा एक शम्अ’ जो बाक़ी रह गई थी वो भी… continue reading

SARMAD: His Life And Quatrains –B.A. Hashmi

Persian poetry before the introduction of the mystic element was generally non-individualistic and objective. The Qasida was indeed developed on a rather elaborate scale, but it was poetry faked for mercenary ends. The Tashbib or the lyric prelude, even when it was adroitly tagged on to the rest of the Qasida seldom formed part of… continue reading