Leh’s oldest public mosque, the Tsas Soma Mosque, was built in the 17th century. Located in the heart of Leh, it served as a worship and learning center for Muslim traders traveling along the ancient Silk Route.
The Tsas Soma Mosque, located in the heart of Leh, Ladakh, is an important historical landmark. This mosque has roots dating back to the 17th century and has witnessed the vibrant history of trade and culture in the region. Here, we explore the mosque’s history, significance, and restoration.
Oldest Public Mosque of Leh
Leh’s oldest public mosque, the Tsas Soma Mosque, was built in the 17th century. Located in the heart of Leh, it served as a worship and learning center for Muslim traders traveling along the ancient Silk Route. Although it fell into disrepair by the 1950s, it was restored in 2007, preserving its historical features and cultural significance.
History of Leh’s Oldest Public Mosque
In the 1600s, Leh was a bustling trade center along the ancient Silk Route. The town attracted traders from different regions, including Central Asia, Kashmir, and Punjab. Many of these traders were Muslims, and they needed a place to pray. In response to their request, King Sengge Namgyal provided land for a mosque. This led to the establishment of the Tsas Soma Mosque, offering a place for worship and religious gatherings.
The Mosque Role as a Worship Center
The Tsas Soma Mosque was more than just a place for prayers. It also served as a Madrasah, where religious education took place. During its active years, the mosque was used by the local community for worship, including women who came to pray. The mosque continued to be functional until the 1950s, after which it fell into a state of disrepair.
The Tsas Soma Mosque Served as a Popular Stop for Traders
Leh was an important stop for traders traveling from Lhasa, Punjab, Kashmir, and other regions, including Iran and Europe. The Tsas Soma area became a key camping site for these travelers, with multiple camping grounds set up around the town. Caravans and their animals rested at various spots, including near the present-day police station and taxi stand. The mosque played a role in the community by allowing these traders to gather for prayers and even conduct barter trades.
Restoring a Piece of History
By the 1950s, the mosque was in poor condition and was largely abandoned as the main mosque in Leh was already established. However, the Tibet Heritage Fund (THF) and the Anjuman Moin ul-Islam Society worked together in 2007 to restore the Tsas Soma Mosque. The original features, such as the main door and wooden beams, were preserved to maintain its historical character.
Design and Architecture of the Tsas Soma Mosque
The Tsas Soma Mosque is a simple single-story building. It consists of one large room with six wooden pillars that have traditional Ladakhi-style carvings. The mosque originally had a wooden dome, which has since been moved to the Shah Hamdan Mosque at Shey. Notably, the mosque does not have a minaret, a feature typically found in many other mosques.
The Mosque’s Place in Ladakh’s Heritage
The mosque stands as a reminder of Ladakh’s diverse cultural and religious past. It reflects a time when Leh was a significant center for trade and cross-cultural interaction. The Tsas Soma Mosque is now part of the Central Asian Museum compound, attracting visitors who are interested in the history and culture of Ladakh.
source: http://www.currentaffairs.adda247.com / Adda247.com / Home> General Studies / by Akansha Arora (headline edited) / October 24th, 2024
Anjuman Taraqqi E Urdu, an NGO promoting the Urdu language in Dakshina Kannada and Udupi districts, organised a debate competition on 20th October at the Badria College campus as part of the Badria Centenary celebrations (1924–2024). The competition featured the Badria Centenary Urdu Debate Trophy.
The event, divided into morning and evening sessions, saw a debate competition in the morning followed by a trophy award ceremony.
Chief Guest P.C. Hashir, Managing Director of Peecy Group of Companies and Correspondent of Badria Institution, alongside Keynote Speaker Abid Ulla Athahar Shimogavi, a retired principal and president of the State Organization, Secretary of Urdu Taraqqi Hind and H. M. Afroz Assadi, Managing Director of Northern Insurance LLC, Dubai, who sponsored the event, were present at the event Mumtaz Hussain, an NRI entrepreneur from Qatar, chaired the proceedings.
Both sessions commenced with a recitation from the Holy Quran. In his address, P.C. Hashir highlighted the role of debates and educational activities in fostering intellectual growth among students, suggesting that such competitions could help shape future lawmakers.
Keynote Speaker Abid Ulla Athahar stressed the importance of primary education in one’s mother tongue, citing the example of countries like Japan, Germany, and France, which educate children in their native languages. He noted that studying in the mother tongue allows for better comprehension compared to learning in foreign languages like English.
Mumtaz Hussain, an alumnus of Badria Institution, shared the brief history of the institution, founded in 1924 by Marhoom C. Mehmud as AL MADRASATHUL BADRIA, initially offering religious education to local children in Bunder and Kudroli. The relationship between Badria and the Urdu language is profound; it was the first school to offer Urdu studies in the undivided Dakshina Kannada and Udupi districts since 1947. After C. Mehmud’s passing, various presidents led the organization, with Marhoom Thumbe Ahmed Hajee serving the longest from 1975 to 2020. Hussain recounted that, in the past, students were required to speak Urdu within the institution or face punishment for using other languages.
The junior-level debate competition saw participation from seven higher primary schools in Dakshina Kannada.
Mohammed Ghouse from Higher Primary School Kandatpalli won first place, with Rifa and Fathima Suzana from Government Urdu Higher Primary School, Kawalkatte (Bantwal Taluk), securing second and third places, respectively.
At the senior level, five high schools from Dakshina Kannada and Udupi districts participated. Abdul Baari and Abdur Rahman from Thouheed English Medium High School, Gangolli, Udupi district, took first and second places, while Khadeejatul Farzana from Sayyed Madani Urdu High School, Ullal Taluk, D.K., came third.
The junior-level Badria Centenary Championship Trophy was awarded to Government Urdu Higher Primary School, Kawalkatte (Bantwal Taluk), and the senior trophy went to Thouheed English Medium High School, Gangolli, Udupi district. Twenty other participants received consolation certificates.
Five 10th standard students, Mohammed Meraj Khan, Fouzia Banu, Moulana Mohammed Uzaim, Sabiya Naaz, and Aysha Ruha were also felicitated for excelling in Urdu in the Karnataka State Board Examinations (2023–24).
The event began with a welcome address by Mohammed Hanif Master, Secretary of Anjuman. A.S. Madani, President of the organisation, outlined its objectives and future plans for promoting the Urdu language. Engineer Khaleel, Assistant Secretary, provided logistical support, and Rahmathulla, an active member of the Anjuman, gave the vote of thanks. The event was hosted by Badria alumnus and international emcee, Sahill Zahir.
source: http://www.english.varthabharati.in / Vartha Bharati / Home> Karavali / by Vartha Bharati / October 21st, 2024
Ustad Irfan, 69, is the seventh generation of the family of gifted sarodiyas and sitarists — referred to as the Lucknow-Shahjahanpur gharana.
Ustad Irfan Muhammad Khan of Lucknow-Shahjahanpur gharana. (Sourced)
Lucknow :
Hailed as the ‘khalifa’ of the Lucknow-Shahjahanpur gharana, celebrated sarod player Ustad Irfan Muhammad Khan feels his disciples are his only hope to take the rich music legacy of his family forward.
Ustad Irfan, 69, is the seventh generation of the family of gifted sarodiyas and sitarists — referred to as the Lucknow-Shahjahanpur gharana.
This gharana has its roots in the Bangash tribe of Afghanistan, three of whom migrated to India some 200 years ago. Irfan’s great great grandfather Niyamatullah Khan played sarod in the court of Nawab Wajid Ali Shah. However, after the exile of the nawab to Calcutta (now Kolkata) following the 1857 uprising, Niyamatullah Khan also migrated.
More than half a century later, Irfan Khan’s grandfather Sakhawat Hussain Khan was invited to Lucknow by Vishnu Narayan Bhatkhande to teach at Marris College (now Bhatkhande Sanskriti Vishwavidyalaya). Later, in 1954, Irfan Khan was born in Lucknow. After completing his school education in Calcutta, he returned to his residence at the Latouche Road in Lucknow. While he had already been excelling in his sarod training in Calcutta, Khan’s skills were further honed under the guidance of his uncle Ustad Ilayas Khan, the legendary sitar player, in Lucknow.
For several years, Irfan has been keeping the rich tradition of his gharana alive. But in the face of reducing number of mehfil concerts, the gharana is struggling to preserve its rich musical tradition. Besides, the next generation of Irfan Khan’s family didn’t stick to being full-time artistes due to the shrinking size of the audience for sitar/sarod players.
Dwelling on the reasons behind the ‘disinterest’ among youths in classical instruments like sarod or sitar, Ustad Irfan Khan said, “A lot of youngsters look for overnight fame. Also, there is no parental support to pursue this training seriously as they don’t want their kids to stare at an uncertain future. Furthermore, concerts for classical music are limited to only a few cities. Lastly, organisers tend to invite only the big names — this creates a monopoly which further reduces opportunities for budding talents.”
In fact, most of Khan’s disciples are not Indians and he currently doesn’t have a single student from Uttar Pradesh, the birthplace of the Lucknow-Shahjahanpur gharana.
Speaking on this irony, one of his London-based students Pete Yelding said, “Hindustani music is constantly evolving. It has an inherently international and interfaith tradition with roots in Sanskrit, Persian, Arabic, and Greek musical philosophies. Within its history are stories of constant innovation, reinvention, and moving with the times. Approaching it in this way makes it much less alienating because there is something in it for everyone.”
He added, “I visit Ustad Ji once a year and learn via Skype the rest of the year… Carrying the flame of his illustrious musical lineage really is an honour.”
When asked about the steps that could revive the interest in the rich art form, Ustad Khan said, “Our schools should start training interested students in music. Training in formative years will help them appreciate classical music better. This, in turn, will increase demand for concerts by sarod/sitar players. I come across several bright young talents… Some of my foreign disciples are also doing very well, which keeps me hopeful.”
‘Don’t write off the gharana just yet’
Bringing an optimistic point of view to the table, Chandrima Majumdar, an eminent sarod player who also has a PhD thesis on the Shahjahanpur gharana (a different music school tradition), feels that it takes only one generation to revive a gharana and hence, the Lucknow-Shahjahanpur gharana should not be written off just yet.
“Yes, the artistes of this gharana are not in the limelight due to fewer concerts but there will always be some serious learners and practitioners. They will keep the tradition alive. I believe that one serious disciple of a gharana is enough to keep the torch burning. Thanks to digital media, people are able to listen, compare and enjoy the rendition of the same raag by different gharanedar artists,” said Majumdar, who has studied at the Bhatkhande Music College.
In a similar vein, Dr Ruchi Khare, assistant professor, Bhatkhande Sanskriti Vishwavidyalaya, said, “Bhatkhande has always supported sarodiyas and sitarists of the Lucknow-Shahjahanpur gharana and will continue to do so. For Ustad Ilayas, retirement rules were also relaxed. Several disciples of the gharana, including a Sri Lankan national, were taught here. Many of them are imparting this knowledge to their disciples now. In this way, the rich legacy of the gharana will continue to thrive.”
source: http://www.hindustantimes.com / Hindustan Times / Home / by Prateek Shukla / May 21st, 2023
In central Delhi’s Jor Bagh, lies a holy place that provides a spiritual sanctuary to those unable to visit holy shrines in distant lands
MODEL FOR DEVOTEES: A replica of shrine of Ali in Najaf, Iraq, at the Shah-e-Mardan dargah in Jor Bagh
Moinuddin meticulously sweeps the dusty floors surrounding a grave, his lips moving in silent prayer. With a handkerchief covering his head out of reverence for the “greats”, as he affectionately calls them, he speaks of his steadfast faith in the dargah.
“I have been coming to Dargah Shah-e-Mardan for the last seven to eight years,” he says, a glint of devotion shining in his eyes.
This 700-year-old dargah, nestled in Delhi’s Jor Bagh, holds the distinction of being one of India’s oldest. It attracts people from all walks of life, irrespective of religion, caste, or creed, each hoping for their wishes to be granted within its hallowed grounds.
According to historian Rana Safvi, the dargah’s origins are steeped in legend. It is believed that in the 15th or 16th century, a Shia Muslim man named Arif Shah sought refuge at the spot where the dargah now stands, invoking the name of Imam Ali. Legend has it that Imam Ali himself appeared before Arif Shah, saving him from harm and prompting the construction of the dargah.
ENTRE POINT: The Shah-e-Mardan dargah attracts processions from all over the city during Muharram
Named after Imam Ali, also known as Shah-e-Mardan, meaning ‘King Of Heroes’, the dargah holds immense significance for the Shia Muslim community.
Syed Bahadur Abbas Naqvi, General Secretary of Anjuman-e-Haideri, which oversees the dargah complex, emphasises its importance not only to Delhi’s Shia community but also to those living in neighbouring states like Uttar Pradesh and Haryana.
“Tazias from all over the city are buried on our Karbala ground,” asserts Abbas, referring to the commemorative processions marking the Battle of Karbala, a pivotal event in Shia Islam.
Karbala, a city in modern day Iraq is famous as the field of battle between forces of Umayyad Caliph Yazid and Husayn Ibn Ali, son of Imam Ali in 680 AD.
The papier mache replicas, known as Tazias, are carried by mourners during the month of Muharram to honour Imam Husayn Ibn Ali’s sacrifice.
Reflecting on the dargah’s rich history, Abbas notes the impact of the 1947 Partition. The area was initially known as Karbala Colony. Today, it is known as BK Dutt Colony and is surrounded by structures commissioned by Qudsia Begum, grandmother of the last Mughal emperor Bahadur Shah Zaffar.
Renowned filmmaker and heritage activist, Sohail Hashmi praises Qudsia Begum’s contributions, highlighting structures like Qudsia Begum Mosque and Bibi ki Chakki within the dargah complex.
“She was a powerful regent and administrator in her own right,” he says.
While both shrines draw devotees daily, only women are permitted entry into Bibi ki Chakki.
Devotees flock to Bibi ki Chakki to pray before a millstone believed to have been used by Fatima, daughter of Prophet Muhammad.
Hashmi reveals historical accounts of Timur’s visit to the dargah in 1399 AD, during which a Tazia was buried, marking one of the earliest such burials in the world.
RESTING: The grave of Saiyid Fazl Ali, a former judge of Supreme Court who served as Governor of two states as well as head of States Reorganisation Commission
The regal begum now rests peacefully alongside an odd 111 graves at her mazar (mausoleum) in Karbala Ground.
“It is a great honour to be able to witness and pray to the very footprint of our Shah-e-Mardan,” says a devotee who did not wish to be named.
“Qudsia Begum was very spiritual in her own right and she was the one who brought this important stone to the land,” claims Abbas.
The dargah has also hosted eminent figures like India’s first prime minister, Jawaharlal Nehru, and Rajiv Gandhi, attesting to its enduring significance.
With lakhs of devotees visiting during Muharram and Chhehlum, the dargah’s complex, adorned with centuries-old graves, serves as a site of spiritual solace for many.
For devotees like Mahfooz Ali from Moradabad, Uttar Pradesh, the dargah offers a sacred refuge.
“We don’t have many dargahs to turn to, hence I make it a point to visit here every once in a while,” he shares.
Abbas emphasises the dargah’s role in providing a spiritual sanctuary for those unable to visit holy shrines in distant lands.
“With important religious symbols enshrined here, people get an opportunity to observe their religious practices,” he explains.
As devotees continue to stream into the dargah, seeking solace and blessings, Moinuddin reflects on its inclusive nature.
“Dargahs are an essential feature of the Sufi doctrine,” remarks Hashmi, underscoring their enduring appeal.
“The great Imam will keep inspiring future generations,” adds Abbas, his voice filled with pride.
source: http://www.thepatriot.in / Patriot / Home> Heritage / by Monish Upadhyay / April 11th, 2024
While debate on Jama Masjid’s decision to disallow women from visiting the premises for non-praying activities rages on, it is time to look at some of Capital’s mosques built by women.
All photos: Mohd Shehwaaz Khan
Women may have been restricted from entering Jama Masjid for non-prayer activities due to a recent decision by the committee of the Mughal-era mosque that was seemingly miffed by those making social media videos, but there is no denying the contribution of women in many mosques across the country.
Even in the Capital, some of the old iconic mosques have been built – rather commissioned to be built — by women. Patriot takes you through some of these iconic monuments.
Mubarak Begum Masjid (Randi Ki Masjid)
Lying among tall buildings, shops of machine parts as well as clusters of electric wires running from one pole to another, the double-storeyed Mubarak Begum Masjid – also known as Randi ki Masjid (courtesan’s mosque) – serves as a reminder to a more peaceful and simpler time. The honking of vehicles and the shouting of vendors and labourers on the street that faces the mosque and runs from Hauz Qazi to Lal Kuan comprise the hustle-bustle of old Delhi. The mosque, however, reminds one of a different era.
The upper floor consists of a prayer chamber and the ground floor has toilets. The central one of the three red-and-white striped domes, which collapsed in 2020, is covered by black canvas.
Even in the Capital, some of the old iconic mosques have been built – rather commissioned to be built — by women. Patriot takes you through some of these iconic monuments.
Mubarak Begum Masjid (Randi Ki Masjid)
Lying among tall buildings, shops of machine parts as well as clusters of electric wires running from one pole to another, the double-storeyed Mubarak Begum Masjid – also known as Randi ki Masjid (courtesan’s mosque) – serves as a reminder to a more peaceful and simpler time. The honking of vehicles and the shouting of vendors and labourers on the street that faces the mosque and runs from Hauz Qazi to Lal Kuan comprise the hustle-bustle of old Delhi. The mosque, however, reminds one of a different era.
The upper floor consists of a prayer chamber and the ground floor has toilets. The central one of the three red-and-white striped domes, which collapsed in 2020, is covered by black canvas.
COURTESAN’S LEGACY: Masjid Mubarak Begum is famously known as Randi Ki Masjid
“A lot of people come here for the first time and say that they feel as if they have been here for years,” says the Imam of the mosque after the prayer, smiling in admiration. The imam has been looking after the mosque for the last 17 years.
The mosque was constructed in 1823 by Bibi Mahru Tun Mubarak-ul-Nisa Begum (Mubarak Begum), a nautch girl from Pune, who came from a Brahmin family and converted to Islam after she married General David Ochterlony, who was the British Resident in Delhi during the time of Emperor Akbar Shah II.
Ochterlony was a ‘white mughal’ who was known for his lavish lifestyle, his love for hookahs and mistresses. Mubarak Begum was one of the 13 wives of the British official. After the death of Ochterlony in 1825, Mubarak Begum married a Mughal nobleman who fought in the 1857 mutiny against the British.
According to Scottish scholar William Dalrymple, the Begum’s house was famous for Mughal culture where the Mughal prince Mirza Farhatullah Baig organised the last Urdu mushaira before the Mughal empire was overthrown by the British.
Due to the early profession of the Begum, the mosque is famously known as Randi Ki Masjid. The randis or courtesans, during the Mughal period, were highest in the order of women entertainers, who were skilled not only in dance, but also singing, conversation and poetry. It is said that young nawabs were sent to learn the art of conversation with randis. They were called city’s divas who were visited by the rich and powerful – who often shared with them the secret of the city and society.
Asked about how the mosque is perceived by the visitors and people in the area, the caretaker says: “The courtesans at that time were not as we understand them today. They were respectable and influential women. Many tourists come here and ask if the mosque was built by a prostitute. All of this is best left in history books. All I know is that whoever built, must have built it with good intention and halal (legitimate) money.”
People in the area were embarrassed by the infamous name of the mosque. When one asked them where Randi Ki Masjid was located, they chuckled and laughed, before hastily pointing at the Mubarak Begum Masjid.
During the Mughal era, so many Mughal princesses built mosques. In Bengal, mosques had side corridors with lattice walls for women.
– Ziya Us Salam, journalist and author of Women in Masjid
Sunehri Masjid
A couple of kilometres away from Mubarak Begum Masjid, stands a mosque built in 1747 by khwajasara (eunuch) Jawed Khan and emperor Ahmad Shah Bahadur’s mother Qudsiya Begum. It is located in a corner, just opposite the busy Nishad Raj Marg and Red Fort parking. This mosque is often confused with the Sunehri Masjid of Chandni Chowk, which was built a few decades earlier – in early 1720s – by a Mughal noble, Raushan-ud-Daulah, during the reign of Mughal emperor Mohammad Shah Rangila.
However, the one at the Red Fort is often called the Parking Waali Sunehri Masjid.
Qudsiya Begum, whose real name was Udham Bai, was introduced to the Mughal court as a nautch girl. In the court, she met Muhammad Shah Rangila who became fond of her and eventually married her. With time, she became influential in the court: even appointing the mansabdars (high rank holder such as civil or military officers) who would enforce the rule of the Emperor.
After the death of her husband, she served as a regent to her son Ahmad Shah Bahadur from 1748 to 1754. Known for her generosity and influence, Qudsia provided the Begums and the late emperor’s children with pensions using both her personal money and government finances.
GOLDEN TIMES: Sunehri Masjid was built by Qudsiya Begum for Jawed Khan khwajasara (eunuch)
It is believed that Qudsia had an affair with Jawed Khan khwajasara, who was also the Darogha (police chief) under Mohammad Shah Rangila and a eunuch-superintendent of the zenana (women) quarters. This proximity between the two led to the construction of the Sunehri Masjid. It was built by the efforts of Jawed Khan and commissioned by Qudsiya Begum, as written on its epitaph:
‘sayi-e-nawab-bahadur sahib-e-lutf-o-karam
saakht tameer-e-haseen jawed aali dastgaah’
(By efforts of Nawab Bahadur, the bestower of rewards and grants,
Jawed of high reach and commands, was constructed this beautiful structure)
As expected, those who came for prayers were unaware of the history of the mosque despite an inscription outside the mosque. The grave of Qudsiya Begum lies in the backyard of the mosque.
Khairul Manazil Masjid
Situated just opposite to Purana Quila (Old Fort), the Khairul Manazil Masjid is often confused by the visitors to be a part of the Quila. Many tourists enter the mosque thinking they are visiting the monument and are surprised when the caretaker of the mosque asks them to remove their shoes as they move into the prayer chamber.
The confusion stands valid as the mosque is in complete ruins, just like the monument opposite to it. The hauz (ablution tank) is not functional and there is no electricity in the premises. The prayer chamber serves as a permanent abode for pigeons and the inscription on the walls is hard to make sense of.
There were many mosques built by women in regular spaces in the past. The bigger ones, such as Fatehpuri Masjid and Khairul Manazil mosque, stand as a testament to this.
– Rana Safvi, author and historian
The three walls with small rooms – which were once part of the madrasah – also lie in dilapidated state. It is currently protected and maintained by the Archaeological Survey of India.
“We just offer prayers three times a day here, that is Asr (afternoon), Zuhr (midday) and Maghrib (sunset) – along with the Friday prayers. It is because the mosque is a heritage sight,” says the caretaker of the masjid.
Khairul Manazil, which literally translates to ‘best of houses’, has a numerical value that corresponds to the year of the construction of the building, 969 hijri as per Islamic calendar or 1561–1562 AD.
IN RUINS: Prayers at Khairul Manazil mosque are offered three times a day
It was commissioned by Maham Anga, the wet-nurse of the Mughal emperor Akbar, and is believed to be the first mosque in Delhi commissioned by a woman. Anga served as the de facto regent and the young emperor’s political advisor. The inscription on the central arch of the mosque reads that Shihabuddin Ahmad Khan assisted in its erection.
The ASI attempted to ban Islamic prayers in the mosque in 1992 but without success.
Zeenat-ul-Masajid
Zeenat-ul-Masajid was built by Zeenat-un-Nisa, the second daughter of the Mughal emperor Aurangzeb, in 1700 AD. The mosque is famously known as Ghata Masjid, which may perhaps be derived from its proximity to a bank (ghat) of the river Yamuna back then or the tall minarets that touch the clouds (ghata).
While a mosque can be a place of prayer for men, it isn’t quite so for women. It is a place of dignity, safety, protection, and aid. A woman’s mosque, that which focuses on preserving all these things, is the solution to most of our problems.
– Huda Ahsan, architect and independent researcher
The locals in the area dearly call the mosque Ghata Masjid and are unaware of its real name.
The part of Daryaganj, where the mosque is located, is also known by the name of Ghata because of the presence of the mosque.
The caretaker of the masjid says that the mosque is rarely visited by tourists and only attended by the men who come to pray. The Jama Masjid at opposite Urdu Bazaar, constructed by Zeenat-un-Nisa’s famed and adored grandfather, Shah Jahan, is thought to have served as an inspiration for the mosque.
OLD TREASURE: Zeenat-ul-Masajid, famously known as Ghata Masjid, is inspired by Jama Masjid in old Delhi
Like in many mosques in the Capital, the hauz (or ablution tank) is not functional but the mosque remains in good condition despite some signs of decay. The mosque is constructed on a plinth. It has three marble domes and seven arched entrances opening to the prayer chamber. Two towering minarets flank the mosque’s front and support an octagonal pavilion made of white marble. In the quaint campus of the mosque, there is no one present except the caretakers.
During the first war of independence, when the Mughal emperor in Delhi joined the uprising against the British in 1857, the mosque experienced some dark times. After the Mughals and the British sepoys lost the war, the mosque was first used by the British as a barrack and later converted into a bakery.
The grave of Zeenat-un-Nisa was also destroyed. However, on the southern corner of the mosque, a tomb for the princesses has been rebuilt as a memorial. The mosque is surrounded by plants of a variety of flowers, especially roses.
Fatehpuri Masjid
Of all the mosques Patriot visited, only Fatehpuri Masjid had visitors flocking in numbers. The hauz of the mosque is full with tap water – which in the past was fed with water directly from Yamuna – and tourists often sit by its side. The mosque is the second largest in Delhi after Jama Masjid and it was built in 1650 by Fatehpuri Begum, one of emperor Shah Jahan’s wives who was from Fatehpur Sikri.
“The number of visitors to this mosque are just a tad lesser in number than Jama Masjid,” said one of the caretakers of the mosque.
Surprisingly, one found as many women in the mosque as men.
VISITING HISTORY: Women visitors at the Fatehpuri mosque
The mosque has a fluted dome made of red sandstone with a kalash (inverted lotus) on top.
The mosque has a conventional design with seven-arched entrances in the prayer hall and is surrounded by minarets. One of the minarets is under construction.
The Shahi Imam of the mosque attends visitors who come to tell him their dukh-takleef (complaints) and seek his blessings as well as medicines.
The room of the Imam is occupied mainly by women who had come to pay him a courtesy call and seek his blessings and prayers. Interestingly, the women sitting with the Imam were unaware that the mosque was built by a woman.
GRAND WELCOME: One of the three main gates of Fatehpuri Masjid that opens to Lal Quan
The mosque has three main gates, one of which opens to Chandni Chowk and the other two to Lal Kuan and Old Delhi Railway Station.
source: http://www.thepatriot.in / Patriot / Home / by Mohd Shehwaaz Khan / Delhi NCR / December 08th, 2022
On the occasion of Sir Syed Day 2024, organized by Aligarh Muslim University (AMU), the Ghalib Institute was conferred the National Sir Syed Excellence Award.
The Vice Chancellor of AMU, Professor Naeema Khatoon, presented the award, along with a memento and certificate, to the Director of the Ghalib Institute, Dr. Idrees Ahmed, in recognition of the institute’s outstanding contributions.
Expressing his gratitude, Dr. Ahmed remarked, “It is a moment of pride for me and the entire Urdu-speaking world that a respected institution, which has produced exemplary individuals serving the nation in various fields, is honoring Ghalib Institute.
“Every year, the Ghalib Institute itself acknowledges six distinguished individuals for their contributions to literature and cultural services. This is the first time we are receiving such a tribute from a prestigious institution. On behalf of myself and the institute, I sincerely thank Vice Chancellor Professor Naeema Khatoon, Director of Sir Syed Academy Professor Shafey Kidwai, the jury members, and the entire university staff. This recognition will further motivate the Ghalib Institute to continue its work.”
The ceremony celebrated the enduring legacy of Sir Syed Ahmad Khan and his contributions to education, with AMU recognizing institutions that carry forward his vision of cultural and intellectual excellence.
source: http://www.radiancenews.com / Radiance News / Home> Awards> Latest News / by Radiance News Bureau / October 18th, 2024
Master-craftsman Ghulam Rasool Khan had once made a shawl using 360 individual pieces of ‘jamawar’. He has produced several other priceless jamawar designs for which he has received several state and national level awards including the prestigious Padmashree (2021).
Though Khan has not lost passion for this work, he regrets that the new generation does not take much interest in the craft and says the machine-made cheap varieties posed a great threat to the sector.
“Now, we have machine-made shawls that sell for Rs. 5000 and are no match for the original jamawar. This is the biggest threat to this craft as there is no match for a hand-made piece. This art requires a lot of hard work and patience but nowadays artisans do not have the patience,” Khan told reporters during a Craft Safari to Amda Kadal area of the old city on Saturday.
The safaris had been started in the wake of Srinagar making it to the coveted list of the United Nations Educational, Scientific & Cultural Organisation (UNESCO) in Crafts and Folk Arts Category for the year 2021.
Khan said they also used to receive orders worth Rs. 100 cr for ‘Arabi Rumal’ annually but due to entry of fakes, they had stopped receiving the same.
“There was a time when there was a great demand for Arabi rumal. The ones we make have different and intricate artwork that is not usually available in the market. There was a time when we used to receive orders to the tune of Rs. 100 cr annually from the elite Arabs. Unfortunately, the same has stopped now,” he said.
An official of the Handicrafts Department said the master craftsman had received several awards in recognition of his hard work.
“Though many artisans have received Padmashree, Ghulam Rasool Khan is the only one who has received it for his jamawar works. He has also received several other awards at the state and national level. His enthusiasm, patience, and knowledge of the colours and designs enabled him to bring out the extraordinary work. He also made a shawl using 360 individual pieces of jamwar to make the pattern,” the official said.
source: http://www.thekashmirmonitor.net / The Kashmir Monitor / Home> Kashmir> Latest News / by M Aamir Khan / October 22nd, 2022
Artisans, who have inherited the legacy of handmade chain stitch work, express concern over the various challenges that threaten the continuity of this unique craft.
Srinagar:
The intricate artistry of handmade chain stitch work is witnessing a decline, posing challenges for artisans who have mastered this meticulous craft through generations.
The demand for such traditional craftsmanship is diminishing, overshadowed by the allure of mass-produced alternatives.
Artisans, who have inherited the legacy of handmade chain stitch work, express concern over the various challenges that threaten the continuity of this unique craft.
Abdul Rasheed Bhat, a 60-year-old chain stitch master from Tengpora Nawa Kadal, lamented the decline of this art form despite his family running a Kashmir Crewel Chain stitch factory in the area for the past century.
“I have been associated with this craft for the last 40 years. Earlier, there were good returns but a person who works dawn to dusk on a handmade chain stitch doesn’t even earn Rs 100 per day and sustaining a livelihood on such earnings is impossible in today’s era,” he said.
With each passing day, this craft is sinking towards decline, Bhat said, adding that the shift towards mass production and the prevalence of mechanised alternatives led to the dwindling demand for handmade chain stitch work.
With such little earnings, how can young people take up this craft, he questioned.
Artisans said the intricate detailing and personalised touch of handmade chain stitch work have been overshadowed by the allure of machine-produced alternatives, which offer quicker and more cost-effective solutions.
Despite claims of a tourism boon in recent years, artisans said there was a minimal positive impact on their craft. “It is brokers who manage this craft and are responsible for low demand of handmade chain stitch work as they sell machine-made products at the cost of handmade items,” they said.
The artisans who have honed their skills over the years said they find themselves grappling with economic pressures as the demand for their craft is dwindling with each passing day. “People associated with this craft are leaving, opting for some other work,” they said, adding that with the technological advancements, youth prefer digital careers over mastering time-honoured artisanal techniques.
While the government claims to be making efforts to revive and preserve this cultural heritage, artisans said there has been no positive impact on the ground. They urged authorities to address the matter and take effective steps to safeguard this centuries-old art form from fading away in the face of modern trends. (KNO)
Abdul Ahad’s nuanced book explores Kashmir’s artisans’ legacy, offering profound insights on resilience amid enduring turmoil.
Kashmiri women at work on crewel embroidery. | Photo Credit: Jaspreet Kaur
In the annals of Kashmir’s tumultuous history, the Zaldagar agitation of 1865 is a watershed moment. On April 29, 1865, the community of Shawlbafs (traditional weavers of the famed Kashmiri shawl) hit the streets of Zaldagar in Srinagar in a peaceful protest against the high taxes levied upon them by the Dogra rulers. In the mayhem and stampede that ensued when the Dogra Army attacked the unarmed protesters, as many as 28 Shawlbafs drowned and scores were injured.
The Zaldagar rebellion, as it came to be known, was not just a revolt against immediate grievances. It was the first indigenous political movement of modern South Asia, a precursor to the broader struggles against colonial and feudal oppression. Though the Shawlbafs are often relegated to the shadows of history, their defiance at Zaldagar lit a flame that would ignite countless hearts, shaping the resistance ethos of Kashmir for generations to come.
Who are these unsung heroes? How does the painstaking labour of these artisans elevate the Kashmiri shawl to a symbol of global prestige? In what ways does a labour uprising from the 19th century continue to resonate within the veins of Kashmir’s political discourse today?
The former bureaucrat-turned-historian Dr Abdul Ahad deftly navigates these questions in his most recent book Shawls and Shawlbafs of Kashmir: Legends of Unsung Heroes,which sheds light on the enduring legacy of these artisans and the historical events that continue to shape the cultural and political fabric of Kashmir. Well-researched and richly embellished, this book is a painstaking exploration of the origin of the Kashmiri shawl as an indigenous product and the commitment and craftsmanship of its makers, the Shawlbafs.
Embedded within Kashmir’s cultural tapestry, this cottage industry, now on the precipice of oblivion, finds a voice in these pages, as the text meticulously chronicles its decline and the indelible mark it has left upon the region’s historical and socio-cultural landscape. The book serves not merely as a chronicle but as a poignant requiem for an artisanal legacy that teeters on the brink of extinction.
The shawl as an emblem of Kashmiri identity
Dr Ahad’s groundbreaking work fundamentally challenges the narrative that positions the Kashmiri shawl as an exotic import, alien to the indigenous cultural and artistic milieu of Kashmir. In Chapter One titled “Birth of an Occupation”, while departing from the perspectives presented in earlier works like Frank Ames’ The Kashmir Shawl and Its Indo French Influence and Parviz Nemati’s Shawls of the East: From Kerman to Kashmir, both of which suggested a foreign origin for this craft, Dr Ahad argues that the shawl is not merely a fabric but a profound articulation of Kashmiri artistic identity, deeply interwoven with the region’s socio-cultural fabric from its inception.
Shawls and Shawlbafs of Kashmir: Legends of Unsung Heroes / By Dr Abdul Ahad / South Asia Distributors and Publishers, 2024 / Pages: 100 / Price:Rs.6,250
Archaeological evidence shows that the art of shawl-weaving in Kashmir began in Burzahom, Srinagar, over 5,000 years ago. Tiles found in Harwan, Srinagar, and Hutmur, Anantnag, suggest that people in Kashmir at that time were highly skilled in weaving fine, transparent cloth. These discoveries highlight the long and rich tradition of weaving in the region. The shawl, Dr Ahad asserts, is emblematic of the Kashmiri ethos, reflecting the intricate interplay of history, tradition, and artistry that defines the region, thereby reasserting its rightful place as an indigenous craft that is not a derivative of Central Asian influences.
In the chapters “Shawl Karkhanas: Avenues of Employment” and “Shawl Trade: A Lucrative Business”, Dr Ahad provides a comprehensive analysis of the wool industry in Kashmir, presenting it as a cornerstone of both economic and social development. He elucidates how shawl karkhanas (woollen weaving workshops) functioned as traditional special economic zones, providing extensive employment opportunities and facilitating the socio-economic upliftment of rural and urban Kashmir. Dr Ahad’s documentation highlights how the integration of these industries into broader economic frameworks not only spurred local development but also positioned the shawl trade as a significant contributor to the region’s prosperity.
Haji Ghulam Rasool Khan, a master craftsman from Srinagar who was awarded the Padma Shri for reviving the art of Jamawar patchwork. | Photo Credit: Jaspreet Kaur
The unsung Shawlbafs
In the forthcoming chapters, Dr Ahad unveils the tribulations of Kashmir’s artisans—its weavers, embroiderers, designers, spinners, and craftsmen. Through a comprehensive analysis, he shows us how their labour not only influences the socio-economic fabric of Kashmir but also feeds into the region’s political discourse of dissent. In this way, he highlights the historiographical neglect of the shawlbafs, whose lived experiences and socio-economic struggles have been conspicuously absent from historical narratives. He writes: “The productive and creative activities of Shawlbafs—who have carried them out against heavy odds to eke out their existence, improvise their skills, increase the quality of shawl products, and, thereby, build the edifice of Kashmiri society and the soul of its cultural stockpile—have regrettably been denied (and are being denied even today) the space they deserve in the history of Kashmir.”
Dr Ahad posits that the significant surge in population, coupled with the expansion of the commodity economy, catalysed a profound disjunction between industry and agriculture, as well as a bifurcation of artisans from the agrarian populace. This transformation, driven by the burgeoning bazaar economy, engendered a reliance of artisans on intermediaries and merchants, thereby undermining the autonomy of production.
Abdul Rashid Bhat, the famed “chain-stitch master” from Tengpora, Srinagar. | Photo Credit: Jaspreet Kaur
The shawl industry languished under the weight of relentless taxation imposed by successive regimes. Except the benevolent reign of Zain-ul-Abideen, the Mughal, Sikh, and Afghan dynasties exacted crippling levies upon the shawlbafs, driving these artisans, the very lifeblood of the craft, to the brink of destitution. Their impoverishment and subsequent migration to alternate livelihoods marked the slow erosion of a once-flourishing tradition. A Persian couplet in the book poignantly captures the tragedy of Kashmir and its workforce during the Afghan rule:
“Purseedum az khadabiye gulshan zi baghban Afghan kasheed, guft ki Afghan khadabiye kardd (When the poet asked the gardener who laid waste to his garden/ Drawing a deep sigh, he replied: ‘Afghan’)”
This book, ostensibly a treatise on Kashmiri craftsmanship, is also a poignant memoir chronicling the region’s turbulent politics. It dissects how labour strife and uprisings laid bare the yearning for Kashmiri sovereignty, a yearning tragically marred by the relentless machinations of political expediency, which plunged the Valley into perennial turmoil. The narrative captures the essence of the Zaldagar Rebellion of 1865 which ignited a wave of cooperative movements that reverberated far beyond Kashmir’s borders, their ideological ripples echoing across distant geographies.
It also meticulously charts the region’s descent from a bastion of cultural and historical significance into a landscape marred by chaos, anarchy, and oppressive foreign occupations. Through a nuanced exploration of centuries of political resistance and agitation, the book captures Kashmir’s relentless struggle to reclaim its lost identity and agency, offering a profound commentary on the resilience of a people amid enduring turmoil.
This book sheds light on the often-overlooked artisans whose skilled hands have brought international fame to the humble shawl, from gracing the shoulders of VVIPs at events like the FIFA World Cup to driving an industry worth Rs.5,000 crores annually. It is a poignant call to recognise the quiet resilience of these unsung heroes, whose craftsmanship speaks louder than their voices, yet remains largely unheard. Shawls and Shawlbafs of Kashmir is a remarkable ode to Kashmiri culture, seamlessly weaving history, artistry, and tradition into a compelling narrative.
Bilal Ahmad Wagay teaches Politics at Government College, Beerwah.
source: http://www.frontline.thehindu.com / Frontline / Home> Books> Book Review / by Bilal Ahmad Wagay / September 20th, 2024
Haidry, who has written songs for films like Mukkabaaz and Dobaara, talks about his Delhi connection, poem Hindustani Musalmaan and industry experience.
MOVING PLACES: Hussain Haidry moved to Delhi to understand the city before writing for films
Film lyricist Hussain Haidry has said that aspiring lyricists should opt for independent music to establish themselves in Bollywood.
“If you check Spotify’s top 100 list, all are not Bollywood songs there and if you want to make it big, I think you should go for independent music. There is a lot of space for independent artists in India nowadays,” Haidry told Patriot.
“Once you gain recognition through independent music, you can then approach different music and film directors,” said Haidry who has written the songs like Tu Chale Toh, Tanha Begum, Bahut Hua Samman, Haathapai, Bandar Baant, Waqt Ke Jungle, Dariya Hai, Pari among others.
Haidry mentioned that he has an old connection with Delhi.
“When I decided to leave my job and pursue writing, a random thought came to my mind that I would have to understand Delhi first if I want to write for films. Then I shifted to Delhi with my friend for some time to understand the city,” he said.
“When my poem Hindustani Musalmaan went viral, I was invited to different events to recite it in the city. I made new friends in Delhi also,” he said before adding, “Almost every restaurant in the national capital offers the best quality of food. I love to have Chana Kulcha, Chhole Bhature whenever I visit the city.”
Regarding his much talked about poem Hindustani Musalmaan, Haidry, who is also a dialogue writer, said he wrote it while travelling to Bhutan in 2015.
“I had written it in my diary but I lost it. Since I remember its initial lines, I started rewriting it in 2016. It came out in a new form and incorporated a few of my past experiences,” Haidry said.
“The thought behind the poem was that Muslims also have a religious, political, and linguistic identity,” said Haidry, a huge fan of late film lyricist Sahir Ludhianvi.
The 38-year-old lyricist said that initially he had no interest in becoming a writer.
“I was working in a corporate house. However, I used to ponder what I would do with my life apart from my job. I used to read and write a lot of poetry and became friends with lyricist Varun Grover and screenwriter Gazal Dhaliwal. We used to recite our poetry in Mumbai in open mic sessions and Varun asked me to shift to Mumbai and write songs in films. When I shifted to Mumbai, I also learned about dialogue writing and Varun introduced me to film director Anurag Kashyap,” said Haidry who has written songs for films like Gurgaon, Qarib Qarib Single, Mukkabaaz, Sherni, Dobaara among others.
Reflecting his collaboration with filmmaker Anurag Kashyap on his two films — Mukkabaaz and Dobaara, he said, “There was no restriction while writing songs for Mukabaaz as Anurag Sir told me to write a song. He does not give you too many briefs, instead will tell you to write a song and give a situation. If you write a fabulous song, he will use it in the film.”
He called Qarib Qarib Single film director Tanuja Chandra her first mentor.
“When I worked on her film, she trained me very well to write the lyrics. She told me that one has to write simple and beautifully,” said Haidry who reads poets like Nida Fazli, Munawwar Rana and Rahat Indori.
Haidry believes that a lyricist has to face various challenges while penning a song.
In poems, a poet is free to write whatever he wants. He has complete authority to edit whatever he wants. But in songs, you are given a situation and the language has to be according to the character-Hussain Haidry
“Sometimes you are given a confusing situation and you wonder what to write and sometimes the tune of the song is challenging. As a lyricist, one has to maintain the metre of writing and say things beautifully in a limited composition. Revision and changes are also a challenge,” said Haidry who has written the screenplay of web series Laakhon Mein Ek Season 2.
The poet differentiates between writing a poem and lyrics.
“In poems, a poet is free to write whatever he wants. He has complete authority to edit whatever he wants. But in songs, you are given a situation and the language has to be according to the character. A music and film director takes a call on what to keep and what to edit. Lyricist is just a part of a product,” said Haidry who hails from Indore.
When asked to comment on the new lyricists in the industry, he said, “If they are trained, their work will be visible.”
source: http://www.thepatriot.in / Patriot / Home> Music / by Idrees Bakhtiyar / July 22nd, 2024
