A day-long exhibition of coins (from ancient to modern) was organised by Maharaja’s College, in association with the Department of Ancient History & Archaeology and Musicology and the Department of History and Graduate Library, University of Mysore (UoM), at the Library Reference Hall, Maharaja’s College campus here recently.
The exhibition was by Dr. Abdul Rasheed, popularly known as the ‘Coin Man of Mysore.’ The main objective of the exhibition was to create awareness on the antiquity of Indian Coinage among students and members of the public. The exhibition was inaugurated by H.I. Abdul Rashid, Programme Executive (Co-ordination), All India Radio, Mysuru.
The exhibition featured coins of the next age that were circulated in India by the Indo-Greek kings of North Western India. The coins are mainly made of Silver, Copper, Nickel and Lead. The collection of coins belonged to dynasties like Kalingas, Hoysalas, Cholas, Vijayanagar Moghuls and coins from East India Company, all of which were made of Gold, Silver, Copper, Nickel, Aluminium, Lead and other alloys.
The fascinating collection further included coins from the kingdoms of Kashmir, Jaunpur, Malwa, Diwanpur, Gujarat, Bahmanis, Bengal, Shahi and other princely States which existed during the British rule and prior to it, and also from Goa, Hyderabad, Travancore, Mysore, Arcot, Wadiyars, Pudukottai rulers, Peshwas, Marathas.
A total of 1,200 coins of 93 foreign countries from all continents and belonging to the times of Napoleon, Hitler, Queen Victoria, Tipu Sultan and other rulers were on display.
Also on display were more than 2,000 currency coins of India and other unique coins of many great personalities, events, food, agriculture practices etc., of the past. These coins have been collected with great efforts and persevered carefully over the years. They have also been systematically classified, categorised and fixed on proper display boards. It was an informative exhibition on Numismatics, the study or collection of currency, including coins, tokens, paper money and related objects.
The expo chronicled the decline of coinage, with notings in their number, their appearance and their value. Almost all the coins had inscriptions of their times, mainly in Perso-Arabic-script.
The exhibition, apart from display of collection of coins through the ages from punch marked coins to gold coins from the Moghuls to the imperial coins and coins of post-independent India, also featured coins from third century BC, Ghazni era coins from North India and from Kanishka era coins in South India.
Over a thousand students and members of the public visited the expo.
When asked what drove him to pursue such a time-consuming hobby, Dr. Abdul Rasheed said that it all began with a curiosity to know about coins of different countries, supplemented by fascination and passion.
The journey began in the year 1955 when he was studying in high school, where he used to exchange coins which he had in excess from the collections of his forefathers, he said and added that his grandfather was an Inspector during British rule,who had the hobby of collecting coins.
Continuing, Dr. Rasheed said he used to collect ancient coins whenever he visited historical places during his trips abroad and he has coins from as old as 3rd Century BC.
source: http://www.starofmysore.com / Star of Mysore / Home> News / March 10th, 2019
India has one of the greatest traditions of paintings on walls. Called murals or frescos, we see a high level of technical excellence, grace and sublime beauty among Indian murals right from the time of Ajanta.
In 1335 AD, the remarkable city of Vijayanagar or the ‘city of victory’ was established in south-central Karnataka. In no time, the city and the empire became a fertile ground for creativity, thanks to the patronage of its powerful King Krishnadeva Rai. A remarkable style of painting evolved with ideas merging from Deccan, Cholas of Tamil Nadu and Jain tradition. When the Vijayanagar Empire collapsed after the battle of Talikota in mid-16th century many of state artists moved to Serirangapatna, a pristine and sacred land surrounded by Cauvery River on all sides. Here they thrived under the royal patronage of the Mysuru Wodeyers. In 1761 AD, the island became the seat of power of Haider Ali Saheb. He and his son Tipu Sulatan established Mysuru as a vibrant Sultanate and continued to patronage the artisan of Vijayanagar ancestry.
Daria Daulat Bagh is a palace situated in the island near the village Ganjam at Seringapatna. The village is set amidst beautiful gardens. It was built by Tipu Sultan in 1784 as his summer palace.
Built entirely out of teakwood, the architecture of the palace shows remarkable fusion of Deccani, Persian and Rajput styles. The most stunning feature of the palace is that all the space available on the walls, pillars, jharokas and arches have colourful fresco work in the style of Vijayanagar-Mysuru paintings.
On the western wall right to the entrance is depicted the battle scene of second Anglo-Mysore war or the battle of Pollilur. The battle had been fought between Haider-Tipu and the British forces, in which Haider and Tipu combated splendidly and won.
The paintings executed by the artists at the instance of Tipu Sultan where primary aim was to glorify their victory over the British. Colonel Bailley, the defeated British officer was taken to Serirangapatna after his defeat. The battle mural is seen in four different panels portraying Tipu and Haider marching in procession towards Pollilur near Kanchipuram. Tipu is depicted in all finery, himself leading the army towards Pollilur riding a beautiful white horse. Baillie sits in a palanquin as he is wounded and biting his pointing figure – a gesture employed by many to signify defeat in dismay.
The climax of the battle scene depict Baillie’s defeat giving special prominence to the explosion of tumbril and to the consternation of the British square colonel.
On the eastern part of the building there are a number of small frames containing figural motifs, architecture in brilliant composition. The most special is the one where the queen is seen seated on a carpet smoking a hookah. Some of the layouts strongly resemble Rajasthani miniature. The other panels illustrate incidents in the lives of princes, rulers and grandees of Tipu’s contemporary and also includes several rajas defeated by him. There are also neighbouring nawabs and kings including the Hindu Rani of Chittore, Rajas of Tanjore, Benaras, and Balajirao Peshwa II.
Come, lets discover the murals of Daria Daulat Bagh and appreciate the legacy of Tipu Sulatan, a brave son of the soil and perhaps one of the earliest freedom fighters.
YOUTUBE
source: http://www.blogvirasatehind.wordpress.com / September 26th, 2016
In a unique session, extraordinary individuals from different domains came together for a rare confluence at the Mysuru Literature Festival last evening. They introduced the audience to new perspectives and showcased their talent beautifully.
Abdul Rasheed, Programme Executive, Akashvani, Mysuru, delivered an engaging speech and introduced the audience to the world of new ideas. He explained his journey through various phases of life and how he embraced several individuals from different social strata as his mentors. He expressed his excitement about presenting his distinctive insights, which will provide a more representative portrayal of himself.
Jabbar Samo, a talented Yakshagana artiste from Uttara Kannada district, shared his experiences and motivations. He shed light on the significance of his performances in different aspects of life, both at the societal and personal levels. He also acknowledged the numerous individuals he considers his gurus and how they have influenced him.
He expressed how art flourishes without a specific reason and shared the dedication of Yakshagana artistes, who work without any external motivation. Despite facing difficulties as a member of the Muslim community, Jabbar Samo fearlessly pursued his passion. “Due to the prevailing circumstances, pursuing formal education was not possible, but I found solace in Kannada poems sung at the school, which fuelled my interest in the language,” he recalled.
Mohammed Kaleemulla, a retired teacher from Nagamangala taluk, dedicated his life to the preservation of historical temples, monoliths and hero stones in Mandya district. He explained the architectural aspects of these stones, their current conditions and the ongoing efforts to safeguard them with the support of Shri Kshetra Dharmasthala. “Many hero stones are being used for mundane purposes like drying clothes. I took it upon myself to inform the villagers and engage in the preservation work,” he said.
Syed Isaq narrated how he had built the library with zinc sheet roof at the corner of a playground in Rajivnagar and has been running it for the benefit of the public for 12 years. He also told the audience how the library was burnt down and his efforts to rebuild it.
“I have never been to school but my love for books gave wings to my dream of setting up a library. I built the library with 85 percent of books in Kannada and newspapers of various languages. My Kannada library is located in an area where there is a majority of the Urdu-speaking population and Kannada language must be propagated in areas like these,” he added.
source: http://www.starofmysore.com / Star of Mysore / Home> News / July 03rd, 2024
PCI President Gautam Lahiri addressing the gathering
In a significant move, the Press Council of India (PCI) has announced the institution of the Molvi Baqar Award to recognize and honour three outstanding journalists from the Urdu, Hindi, and English media every year.
PCI President Gautam Lahiri revealed this during an event commemorating the life and contributions of Molvi Muhammad Baqar, a pioneering figure in Indian journalism and the first journalist to be martyred during the 1857 Indian Rebellion.
“The criteria for this award will be to encourage journalists to follow in the footsteps of Molvi Baqar, who made the ultimate sacrifice while covering the events related to the 1857 ‘Mutiny’ through his newspaper, Delhi Urdu Akhbar,” said Lahiri in his presidential address. He added that PCI would soon finalize the modalities and constitute a jury to select the awardees.
The event, which focused on “The Life and Times of Moulvi Muhammad Baqir ,” highlighted his role as a patriotic journalist who played a key part in preparing the ground for India’s freedom. Historian and author Dr. Swapna Liddle, the Chief Guest at the event, praised Baqar’s commitment to the nation’s cause, despite the controversies surrounding his role.
“Some confusion exists due to the views of his son, Mohammad Hussain Azad, a renowned Urdu literary figure, who appeared to have taken a contrary position to his father. However, this must be understood in the context of the reign of terror during that time,” said Dr. Liddle, clarifying that Azad’s actions were likely influenced by the pressures of British rule.
Shoib Raza Fatmi, Editor of Hamara Samaj, reinforced this perspective by noting that Azad’s name frequently appeared in Delhi Urdu Akhbar as Editor, Printer, and Publisher, indicating his involvement in his father’s journalistic mission despite the difficult circumstances.
The program also featured a panel discussion moderated by Mahtab Alam, where young Urdu journalists discussed the relevance of Molvi Baqar’s journalism in today’s media landscape. Munazah Shah of News 18 pointed out the striking similarities between the challenges faced by Baqar in his time and those confronting the Urdu media today, particularly financial pressures and the need to foster communal harmony.
“The challenges faced by Molvi Baqar and today’s Urdu media are not very different. We should look to him as a role model for overcoming these obstacles,” said Sohail Akhtar Qasmi of Al Jazeera Arabic.
Tasleem Raja, a journalist with Siyasi Taqdeer and Qaumi Awaaz, echoed this sentiment, emphasizing how much contemporary media could learn from Baqar’s work in covering sensitive and complex issues.
A.U. Asif, a senior PCI member who was instrumental in connecting the Urdu media with PCI initiatives, lauded Molvi Baqar’s pioneering work in investigative journalism. “Molvi Baqar was one of the first to practice on-the-spot reporting and investigative journalism between 1837 and 1857 through his newspaper Delhi Urdu Akhbar, a practice that is now common in today’s media,” said Asif. He congratulated the PCI for unveiling Molvi Baqar’s portrait in its central conference hall, a tribute to his lasting legacy.
The event, organized to mark the martyrdom of Molvi Baqar on September 16, was held a day earlier this year due to the coinciding celebration of the Prophet’s birth anniversary. A large number of journalists attended, and the program concluded with a question-and-answer session.
The institution of the Molvi Baqar Award is seen as a step toward encouraging journalists to adhere to principles of courage and integrity in their work, much like the pioneering figure it honors.
source: http://www.muslimmirror.com / Muslim Mirror / Home> Indian Muslim> Media> Positive Story / by Muslim Mirror Desk / September 16th, 2024
The road unfolded before us like a ribbon, guiding our car through the lush greenery and coconut groves of Kerala. It was the sacred month of Ramadan, and we had embarked on a journey to the enchanting city of Kannur in search of a pious man. The road ahead promised a culturally rich, soul-stirring experience that would leave an indelible mark on our hearts.
We entered the city after a two-hour long drive; the streets bustled with pedestrians, the sound of traffic filled the air, buyers and sellers haggled in the marketplace. Amidst this vibrant chaos, an air of sanctity was palpable; it carried the essence of a bygone era, where the mingling of diverse traditions shaped the city’s identity. Our guide informed us of Kannur’s deep-rooted connections with the Islamic world, which dated back centuries.
Nestled along the coast of the Arabian Sea, Kannur holds a special place in the tapestry of Islamic culture. The arrival of Arab merchants, who had ventured to the Malabar Coast for trade, had a lasting impact on the locals. Legend has it that Islam took root in Kannur even before the arrival of Malik ibn Dinar, who is famously known as the first companion of the Prophet Muhammad ﷺ to arrive in India (though this cannot be verified historically). The tales passed down through generations speak of King Cheraman Perumal, ruler of the Chera kingdom, who was drawn to Islam after witnessing the miracle of the split moon. He embraced Islam, took the name Tajuddin, and ventured to Mecca, where he shed his worldly concerns. His story, engraved in verse on a wooden tablet at the Arakkal Palace, is a testament to the city’s historical connection with Islam.
Over the centuries, Kannur flourished as a centre for Islamic scholarship and culture, particularly Sufism. It became a hub of spiritual seekers, earning the moniker ‘Baghdad of India’. One notable figure in Kannur’s Sufi tradition is Ghawth al-A’zam (the Greatest Helper), Shaykh Abdul Qadir Al-Thani, whose presence lingers in the serene village of Puratheel, just a short distance from Kannur city, and whose grave we were destined to visit that day.
After parking our car near Varam Kadavu Bridge, we were drawn to a nearby river, its cool, sparkling waters beckoning us under the scorching summer sun. Seeking respite from the heat, I cupped my hands and splashed the cool water on my face, feeling rejuvenated in both body and soul. My colleague, who had visited Puratheel before, remarked that this river served as a natural border for the village, fortifying the sacred site with its life-giving waters. It was this very river that earned Puratheel the epithet dweep, or ‘island’. The flowing waters represented a boundary that was not only physical, but also spiritual, separating this land from the rest of the outside world.
Puratheel. Image credit: Salz Graphy
Standing on the river’s edge, engrossed in its serene beauty, I felt a profound sense of peace wash over me. At that moment, I understood why Puratheel was revered as a place of spiritual import. It provided a sanctuary, a space where seekers could disconnect from the outside world and embark on a meaningful journey of self-discovery. Even as we reluctantly left the riverbank, the serenity of that moment remained with us, and we cherished this reminder of the intense connection between nature, spirituality, and the pursuit of inner peace.
As we wandered through the village, faint sounds of devotional music played from afar. Our guide, prayer beads in hand, began to narrate the story of Shaykh Abdul Qadir Al-Thani.
There once lived an extraordinary man in Afghanistan by the name of Shaykh Uthman Hamdani. A Persian ruler and descendent of the esteemed first Caliph, Abu Bakr Al-Siddiq, this Sultan of Hamadan left all his riches behind to go on a quest for truth. He wandered tirelessly across distant lands, his footsteps guided only by his faith and a thirst for spiritual knowledge.
Shaykh Uthman eventually arrived in Valapattanam, a tranquil village in the northern province of Kerala. One night, during his stay in the village, he experienced a vision. This vision promised him that, should he marry on that very night, he would sire a miraculous child. A year later, in the nearby kingdom of Chirakkal, royal astrologers uncovered a celestial secret. They revealed to their king that a child had been born in the Valapattanam province — a child destined to become the greatest of all miraculous beings. They further prophesied that if the King provided protection and support to this child, his kingdom would prosper.
Intrigued by this prophecy, the King of Chirakkal set out to meet the newborn child, who had been named Abdul Qadir. Recognising the infant’s extraordinary potential, the King assumed responsibility for his upbringing, ensuring that he grew into a virtuous and revered figure. As such, the child was brought to the King’s palace at the tender age of five or six, where he continued his spiritual journey surrounded by the kingdom’s grandeur. His princely childhood abruptly ended at the age of sixteen, when his fortuitous encounter with four strangers changed the course of his life forever.
The strangers had arrived at his family home in a famished state while Abdul Qadir was away at the palace. With his mother’s permission, they slaughtered cattle she had originally set aside for her son, and chopped down a jackfruit tree in front of the house. They cooked their meal, ate, and saved some of the food to be given to Abdul Qadir when he returned. As the strangers departed, the family were astonished to find that both the cattle and jackfruit tree had been miraculously restored to their original state. When Abdul Qadir eventually came home, his mother informed him of their unusual visitors. Realising that these were no ordinary beings, he set off to find them, eventually encountering four people from Bhatkal, Karnataka. Amongst them was the distinguished Sufi shaykh, Mahmoud Al Khabooshani, who bestowed Abdul Qadir with an ijaza in the Suhrawardi tariqa. This was a licence that would formally permit him to instruct his own disciples in the teachings and practices of the Suhrawardi Sufi order.
Mosque built by the Shaykh himself
Inspired, Shaykh Abdul Qadir abandoned all material pursuits and devoted himself to worship. When the King grew concerned at the Shaykh’s sudden withdrawal from the palace and other worldly affairs, the Shaykh expressed his desire to continue this path, furthermore requesting that the King grant him a portion of the land to be reserved for regular worship and seclusion. The King assented, and named this land ‘Puratheel’. There, the Shaykh built a mosque and established a settlement, fostering a culture of spiritual seclusion and growth. He eventually became known as Abdul Qadir Al-Thani (‘the Second’), as people reverentially associated him with Ghawth al-A’zam Abdul-Qadir Al-Jilani, esteemed scholar and saint of Baghdad.
Despite my efforts, I found little information about Abdul Qadir Al-Thani in my research. Even in Malayalam, the native language of Kerala, references were scarce. Only in Arabic did I find a single work, entitled The Holy Maulid, by Shaykh Valappil Abdul Azeez Musliyar. Shaykh Abdul Qadir’s obscurity in the digital realm was, to say the least, disappointing. However, as I stepped into the sacred sanctuary of Puratheel, I was astounded to see its pathways abound with visitors, their footfall echoing with purpose and a yearning for the blessings of a shaykh unknown to Allama Google. This was a realm beyond the age of digital information, where human souls longed for a connection unencumbered by the pretensions of media and search engine rankings. I felt an enigmatic current that drew people to a shaykh who, while evading fame and renown in written histories, had claimed his place in living hearts and memories.
Tombs of Shaykh Abd al-Qadir al-Thani’s descendants
With the setting sun, a melodious call to prayer echoed through the misty valleys, summoning the faithful to gather in the sanctum of the mosque. Inside, the golden glow of flickering lanterns danced across the walls, and the congregation united in prayer between them. The rhythmic recitation of sacred Qur’anic verses rose and fell, followed by murmured supplications emanating from each devotee’s lips.
After the Maghrib (sunset) prayer, a serene calm enveloped the community. We had just shared an Iftar meal to end the day’s fast, replenishing both body and soul with food and prayer. However, the night was far from over. At 12.30am, as moonlight filtered through the mosque’s stained glass windows, bathing the prayer hall in its soft glow, the call to prayer would recommence. As the rest of the world slept on, these worshippers would perform the Taraweeh prayer until 2am, a night prayer reserved for the blessed month of Ramadan, followed by more supererogatory prayers and whispered invocations hoping to forge a bond between this earthly realm and the Divine.
Though Muslims the world over perform these rites every Ramadan, Puratheel has its own unique customs. The Qunut, a special supplication, is recited with every prayer except Maghrib. On Mondays, Thursdays, and Fridays after Maghrib, devotees gather for a dhikr halaqa, or gathering of remembrance, chanting the Divine’s sacred names in melodious union. After the Jumu’ah (Friday) prayers, which are led by a descendent of Abdul Qadir Al-Thani, a ritual of repentance takes place; the Shaykh recites words of istighfar, invocations that seek Divine mercy and forgiveness. Believers repeat the Shaykh’s istighfar, and disclose their struggles and shortcomings to a spiritual mentor as a means of guidance, purification, and self-reflection.
As Ramadan nears its end, the anticipation of seeking Allah’s blessing in the final ten nights of the Sacred Month swells, culminating in the sought after ‘Night of Power’, or Lailat ul Qadr. This is the twenty-seventh night of Ramadan, where in Puratheel, the adhan (call to prayer) resounds seven times to herald the Night of Power’s arrival. The mosque transforms into a radiant beacon, drawing the servants of Allah from near and far.
Puratheel Juma Masjid
When the final sun sets on Ramadan, and Eid ushers in the Sacred Month’s end, the Isha (evening)prayer is delayed until 2am to encourage the faithful to immerse themselves in worship until dawn. Although these customs may seem arduous to some, they are embraced with an unwavering devotion in Puratheel, keeping the legacy of the Shaykh alive. In our age of information and instant gratification, Puratheel reminds us that there are still enigmas to unravel, hidden domains waiting to be explored, and extraordinary souls whose influence transcend the virtual realm. True enchantment lies not in its digital presence but in the transformative encounters that await those who embark on this journey with an open heart and a yearning for the Divine.
Before our trip came to its end, our guide led us inside the mausoleum that housed Shaykh Abdul Qadir Al-Thani’s tomb, where he rested adorned in royal green clothing. Mausoleums of his children, grandchildren, other family members, and companions abound, both in Puratheel and all throughout India.
As we left Puratheel, a sense of tranquillity washed over me, dispelling, for the moment at least, all of life’s uncertainties. I felt that an inner peace had permeated my being, reminding me that we are never truly alone. For a moment, the world stood still and breathless, before exhaling a gentle breeze that brushed against me. I felt tears spring to my eyes, and wondered if nature possessed its own soul.
I left marvelling at the interconnectedness of the human spirit and the natural world. With the wind divulging its secrets and the land preserving ancestral tales, our souls are inextricably tied to that of nature’s. Through timeless bonds, we find solace, guidance, and an earnest understanding of our place in the cosmos. I journeyed forward, guided by whispers of the unseen, embracing the beauty and mystery bestowed upon us by nature.
Edited by Asma
source: http://www.sacredfootsteps.com / SacredFootsteps.com / Home>Asia> India / by Swalih Kuzhinholam / edited by Asma
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Swalih Kuzhinholam
Swalih is a writer, Islamic tutor, and cultural explorer based in Kerala, India. He is a graduate of Darul Huda Islamic University in Chemmad, and a former Associate Editor at Thelitcham monthly magazine. His interests lie in culture, society, Sufism, aesthetics, literature and the arts.
The Salamat Ras departed Surat in India on the 20th September 1676, carrying hundreds of pilgrims from Gujarat. On board was Safi ibn Vali; unlike the other pilgrims, his journey was sponsored by Zib al-Nisa, daughter of the Mughal emperor Aurangzeb (1658-1707). Along with completing his Hajj, Safi ibn Vali was given the task of creating a Hajj guidebook for future pilgrims. Presumably aimed at Indian pilgrims like himself, the ‘Anis al-Hujjaj’ (The Pilgrim’s Companion) contains advice regarding all aspects of the pilgrimage, including the journey to Jidda by sea.
His book is but one of many surviving pilgrimage guidebooks, from various parts of the Islamic world, forming a long-established tradition. They are typically accompanied by diagrammatic views of the holy sites, and Anis al-Hujjaj is no different in this respect. What sets it apart, however, is its use of colourful illustrations depicting various scenes of the pilgrimage, as well as the remarkable accuracy of its maps.
Safi ibn Vali’s Anis al-Hujjaj (‘Pilgrims’ Companion’), possibly Gujarat, India, circa 1677–80. Ink, gold and opaque watercolour on paper; modern leather binding. 3 separate folios show here side by side. Nasser D. Khalili Collection of Islamic Art. Copyright Nour Foundation. Courtesy of the Khalili Family Trust.
The illustration below is a map of Jidda. Jidda was a major port for pilgrims arriving for Hajj, and is thought to have been founded by Caliph Uthman in 647 AD. Safi ibn Vali, arriving at the port himself, maps major parts of the city. Archaeologist Dr Geoffrey King examined the map and found that the vast majority of places and landmarks depicted lie in the same position today.
Nasser D. Khalili Collection of Islamic Art. Copyright Nour Foundation. Courtesy of the Khalili Family Trust.
The upper section of the map depicts Hawa cemetery, thought to be the burial place of Eve, the mother of humanity. While the pink markers represent other graves, the black square indicates the head side of the resting place of Eve (peace be upon her), the white square her naval, and the gravelly area her feet. In Safi ibn Vali’s time, her grave, which is more than 100 feet in length, would have been marked by some sort of edifice. It is possible that the structure that can be seen in the image below, an illustration from 1894, or one similar to it, was what he saw two centuries earlier. The structure is no longer standing; it was destroyed in 1975 and covered with concrete by Saudi religious authorities.
Illustration of the Tomb of Eve in 1894, Jidda.
The middle section of Safi ibn Vali’s map shows the old city of Jidda. When examining the area, Dr King found that everything was accurately placed; a parade of shops and houses in the old city, as well as the surrounding roads, are all found in the same position today. There is however, one surprising discrepancy; an obvious landmark was mapped by Ibn Vali on the wrong side of the road. The green-domed Shafi’i mosque is shown in the Anis al-Hujjaj on the east side of the main street, whilst today it can be found on the west side; “This confuses me- was this main street in Jidda on a different alignment when the Anis al-Hujjaj was composed, or is it a simple error?” Given the remarkable accuracy of the map in every other way, King says this discrepancy is especially puzzling. The Shafi’i mosque is the oldest mosque site in Jidda; its floor is well below street-level, a fact that, according to Dr King, indicates that it predates the Shafi’i period. The oldest standing part of the mosque today is its Ayyubid minaret, dating back to the 13th century.
Nasser D. Khalili Collection of Islamic Art. Copyright Nour Foundation. Courtesy of the Khalili Family Trust.
Since there is no question over the identity of the mosque depicted by Safi ibn Vali, further research needs to be conducted to reach a clear conclusion over the discrepancy. In the foreground of the Jidda map, the governor of the city is shown welcoming pilgrims. There are numerous such illustrations in Safi ibn Vali’s book, depicting various scenes of the Hajj. On the folio below, pilgrims are shown on the day of Eid al-Adha. In the top right hand corner, pilgrims in ihram throw stones at the three pillars representing shaytan, while others have their heads shaved after completing the rites of the Hajj. In the foreground, animals are being slaughtered for the Eid sacrifice.
Safi ibn Vali also made mention of various holy places to visit that are not part of the Hajj itself. The illustration below is a typical diagrammatic view found in the tradition of Hajj guidebooks. According to the captions, the building in the upper section marks the birthplace of the Prophet Muhammad (peace and blessings be upon him). In Ibn Vali’s time, the blessed area was marked by a small mosque with a courtyard and dome. Today a simple library building built in the 1950’s stands over the area. Depicted beneath the upper section are the birthplaces of Lady Fatima and Abu Bakr al-Siddiq (may God be pleased with them both) as well as the Madrassa of Sultan Sulayman and a Sufi lodge of the Bektashi order. The clothes worn by the visitors indicate their various nationalities.
Nasser D. Khalili Collection of Islamic Art. Copyright Nour Foundation. Courtesy of the Khalili Family Trust.
While Safi ibn Vali’s Anis al-Hujjaj is not unique in its function, the accuracy of its map of Jidda, and possibly others, such as Surat in India and Mocha in Yemen, which are also represented, is remarkable, setting it apart from other guidebooks of the same genre. Its colourful illustrations give the viewer a sense of the energy of the pilgrimage, as well as the diversity of the pilgrims represented. Given that many of the sites Ibn Vali illustrates no longer exist in the same form, his work takes on added historical importance, preserving a past all but lost to modernity.
Bibliography
L. York Leach, Paintings from India, The Nasser D. Khalili Collection of Islamic Art, volume VIII, London 1998, cat.34, pp.124–9.
J.M. Rogers, The Arts of Islam. Masterpieces from the Khalili Collection, London 2010, cat.332–41, pp.284–7.
source: http://www.sacredfootsteps.com / SacredFootsteps.com / Home>Asia> Arabia> History / by Zara Choudhary
Mysuru-based Director Islahuddin believes in movie-making beyond the ordinary
The Kannada film industry, popularly known as Sandalwood, has recently witnessed a surge in films across diverse genres, breaking away from the conventional commercial ‘masala’ formula. Films like Achar & Co, Daredevil Mustafa, Hostel Hudugaru Bekagiddare, Tagaru Palya and Orchestra Mysuru have been warmly embraced by audiences, proving that the industry is in safe hands with the new generation of filmmakers stepping up to the challenge.
Joining this fresh wave of talent is N.S. Islahuddin from Mysuru, the director of the Kannada film Anna. Despite hardships, Islahuddin successfully directed a few films, including Nodi Swamy Ivanu Irode Heege, starring Rishi.
Known for inspiring many aspiring actors and technicians, Islahuddin is now back with his latest venture Anna, which tells the story of eight-year-old Mahadeva. Set in the 1980s, the film portrays the struggles of a poor family that cannot afford even rice (Anna in Kannada).
Islahuddin also pioneered Kannada’s first-ever crowd-funded film, Jaagadoreyuthade (Spaces for Rent), an adaptation of Maxim Gorky’s play The Lower Depths.
Star of Mysore caught up with the talented moviemaker Islahuddin during his recent visit to Mysuru for a brief chat. Excerpts…
Star of Mysore (SOM): How do you feel about ‘Anna,’ a non-commercial movie, being accepted by all sections of the audience?
Islahuddin: I am elated. Being embraced by all sections of society feels like a blessing. Our movie doesn’t take sides — except for the side of the hungry. ‘Anna’ is merely a metaphor. While rice, as a staple food for billions, holds deep significance, our story is set in the 1980s when rice was a luxury beyond the reach of the common man. Today, ‘Anna’ could symbolise any unfulfilled desire of the underprivileged.
SOM: What inspired you to choose a subject like ‘Anna?’
Islahuddin: The story found me. It is based on a Kannada Sahitya Akademi award-winning short story by Hanur Chennappa, who had previously served as Assistant Director, Department of Kannada and Culture in Mysuru. The team was already in place, and I joined towards the end. I am deeply grateful to the entire ‘Anna’ team for making this an unforgettable experience.
SOM: For a film like ‘Anna,’ it’s often difficult to secure producers and theatres for release. How did you manage both?
Islahuddin: ‘Anna’ symbolises desire. It highlights the gap between ragi and rice and the divide between the haves and have-nots. Basavaraju, our film’s producer, who faced hardships in his youth, was approached by our music director and executive producer Nagesh Kandegala and he instantly agreed to produce the film. The film has turned out exceptionally well and the overwhelming response during screenings gave us the confidence that we have a winner. Even though Basavaraju is a first-time producer, we chose to take this leap of faith on our own.
SOM: With four gold medals in journalism and mass communication, a master’s from the University of Sunderland and having cleared the National Eligibility Test (NET) from the University Grants Commission (UGC), you could have easily settled as a Professor in a reputed university. Why did you choose theatre and films?
Islahuddin: I’ve always liked theatre and cinema and so did my friends. I’ve always valued my friendships and most of my friends are here in my city Mysuru. We are a close-knit group here in Mysuru, bonded by our shared passion for the arts. Our journey began in theatre, but we quickly set our sights on filmmaking.
I took the next step by pursuing my master’s in filmmaking in the UK, then returned to Mysuru to reconnect with my friends. Our primary goal has always been to build a thriving ecosystem for filmmakers right here in our city.
SOM: What are your upcoming projects?
Islahuddin: I’ve been in talks with a few actors, who also happen to be good friends, about directing some scripts I’ve written. Additionally, there are exciting offers from producers interested in bringing my stories to life with me as the director. There’s also an international project in the works, but I’ll reveal more when the time is right. Only time will tell. — VNS
Excelled academically
A graduate in Business Management from D. Banumaiah College, Islahuddin went on to pursue a Post Graduate degree in Mass Communication and Journalism at Manasagangothri, where he excelled academically, bagging four gold medals, including the prestigious Star of Mysore Silver Jubilee Endowment Gold Medal in 2006.
His passion for filmmaking led him to secure a scholarship at the University of Sunderland, where he earned a Master’s in Media Production in 2008. Upon returning to Mysuru, Islahuddin embarked on a challenging 15-year journey to fulfil his dream of directing films.
source: http://www.starofmysore.com / Star of Mysore / Home> Feature Articles / September 12th, 2024
Ab Razzaque, a numismatist based in Malegaon, died due to brain hemorrhage Saturday September 7, 2024
Malegaon:
Ab Razzaque, a numismatist based in Malegaon, died due to brain hemorrhage Saturday September 7, 2024, family sources said.
Ab Razzaque was a ‘hobby numismatist’ fond of collecting old currency notes, coins and postal stamps.
However, Ab Razzque had another distinction of collecting photographs, wedding cards and other such things of local residents, especially renowned personalities and historical figures, of Malegaon.
Another distinguishing feature of Ab Razzaque, was the background and historical accounts of the photographs of the people he had collected.
Abdul Razzaque was the only son of Dr Ramzan, founder of Maulana Azad School Malegaon.
He is survived by mother, and daughter Sana. Sana is a teacher at Rehnuma School in Malegaon.
Following is an article written by Editor ummid.com Aleem Faizee that was published in The Times of India Nashik on March 29, 2008.
A Frail Persona with a Strong Desire
Collecting the historical accounts for the future generation has always been a daunting task. Read on as Aleem Faizee interacts with a man who has not only collected rare photographs but has also memorized the history associated with them.
“Look. This is Ayesha Hakim, the former MLA of Malegaon sitting with then Chief Minister of the State Yashwantrao Chavan. This is Siddique Haji, the first child of the town who went for Hajj in his childhood. And look this is Sumayya, the first Muslim lady Bus-Conductor from Malegaon”, narrates Ab. Razzaque simultaneously picking up the photographs one by one from his huge collection.
Abdur Razzaq has collected hundreds of photographs of the Malegaonians who have contributed in any sort to the town in making what it is today.
Apart from having photographs depicting few of the historical events associated with the town, he also has under his possession some snaps of the people the world just doesn’t know they belong to the town.
More influencing than the unique collection is the way the young chap describes the historical accounts behind every photograph he collected after years of hard work and the quickness with which he recognizes them.
Ask him about any photograph and he immediately starts as if he is reading from a book. Displaying a photograph in which a musician is playing on a fluid, Razzak says:
“This is Zawwar Husain of Malegaon who played on the flute for Mohe Panghat Pe …, the famous song from Mughal-e-Azam.”
He picks up another photograph and goes on.
“This is yet another rare photograph showing Shahnawaz Bhutto, the grandfather of slain Former Premier of Pakistan Benazir Bhutto, sitting in the lawns of Malegaon Municipal Council with then Councilors.”
And then he rummages around into his collection for a while before ending with two photographs. Displaying the first, he says:
“This is the original snapshot showing the gravity of the flood that had stormed Malegaon in 1969.”
This is not the end. His commentary goes on.
“This was taken at 03:30 in the afternoon from the stairs of Sardar Talkies, which has recently been converted into a shopping complex.”
As soon as he ends with this annotation, he picks up the other snaps and continues:
“This is a pre-1863 photograph of Malegaon Municipal Council against the backdrop of the historic fort which was then carrying its activities in a small shack.”
Physically very frail and a stammer who stumbles while speaking, Razzaque is financially also like his physical self. But the desire for this unique habit keeps him going.
“My father was sitting with his friends. With some newspapers in front of them, they were discussing the importance of collecting the historical accounts for the future generation”, Razzaque who is planning to publish a book recalls.
“This prompted me to collecting these photographs and the stories behind them”, he said.
source: http://www.ummid.com / Ummid.com / Home> Life & Style> by Ummid.com Staff Reporter / September 07th, 2024
Uprising’ says it all started when music director and freedom fighter Sudhir Phadke decided to seek Mangeshkar’s assistance to raise funds for an armed revolt.
In this Thursday, October 26, 2017, singer Lata Mangeshkar attends a function at Dadar in Mumbai. PTI Photo
New Delhi :
Legendary singers Lata Mangeshkar and Mohammad Rafi played an instrumental role in the liberation of Dadra and Nagar Haveli, says a new book as it narrates in detail the little-known 1954 concert by the two icons to raise funds for the movement.
Dadra and Nagar Haveli, now a Union Territory, were occupied by the Portuguese in 1783 and 1785, respectively. They continued to be ruled by the Portuguese till an armed revolution liberated them, and the Tricolour was unfurled at Silvassa on August 2, 1954.
The two enclaves were formally recognised as an integral part of India in 1961 along with Goa and Daman and Diu but unlike Goa’s liberation, there was no direct intervention by the Indian armed forces here.
Recounting what led to the singers’ participation in the liberation of the territory, ‘Uprising’, written by Neelesh Kulkarni, says it all started when music director and freedom fighter Sudhir Phadke decided to seek Mangeshkar’s assistance to raise funds for an armed revolt.
According to the book, Mangeshkar, who first seemed reluctant, agreed after Phadke and his friends mentioned that the liberation of Dadra and Nagar Haveli was only a ‘prelude to the freedom of Goa’.
Mangeshkar had an emotional connection with Goa and the Portuguese were harassing devotees coming to the temple of her family’s presiding deity, Lord Mangesh, at Mangeshi village in north Goa.
“Her eyes suddenly welled up… The family derived their surname from the village’s name. The Portuguese had been regularly harassing devotees who came to the temple, and the frustration of not being able to do anything about that brought her over to their side in an instant. ‘You will allow me to serve my Lord Mangesh,’ she said tearfully. ‘I wish I could come and fight by your side, but since I cannot, I will help you raise resources. You tell me the date and I will be there, ’” reads the book, quoting Mangeshkar.
The jubilation at securing her presence doubled when Mangeshkar suggested they should invite Mohammed Rafi to sing with her.
And Rafi, who met Phadke and team at the then newly-inaugurated Mehboob Studios in Bandra, said ‘yes’ readily.
The meeting, which was supposed to last for 10 minutes, went on for an hour as Rafi asked question after question about how the group was planning to execute their plans, says the book.
“He was so impressed that he held up a hand when Nana Kajrekar, a freedom fighter, told him he would arrange his railway tickets to and from Pune. ‘This country is also mine,’ Rafi said, ‘and if all of you are preparing to put your lives on the line for it, the least I can do is buy my tickets.’”
Unfortunately, the concert didn’t go as planned for Mangeshkar met with a road accident in April, 1954, the day she was supposed to perform. The singer tried to reach despite the accident, but it was cancelled by then.
“Lata and Rafi finally arrived at the venue at 11.30 pm and saw it was dark and deserted… She stayed with the Phadkes that night, and before leaving promised that she would cancel whatever she was doing to perform on whichever date they scheduled the concert next,” reads the book.
The concert was finally held on May 2 at the same venue. The programme was a hit, and though the venue was not as jam-packed as the first time, the revenue, according to the author, was still substantial.
“From the proceeds of the concert, the freedom fighters planned the whole project and were able to buy five rifles and three pistols from the black market in Hyderabad. And using these weapons, 29 of them attacked more than 300 fully armed Portuguese and threw them out of the Dadra and Nagar Haveli,” said Kulkarni during the recent launch of the book at India International Centre (IIC).
‘Uprising: The Liberation of Dadra and Nagar Haveli’, published by Westland Books, uses interviews with descendants of the participants, and a handful of participants themselves, newspapers, archival records, letters and diary entries, to put together the pieces of this little-known history.
source: http://www.tribuneindia.com / The Tribune / Home> India / by PTI / September 02nd, 2024
Acclaimed actor Adil Hussain, known for his significant contributions to Indian and international cinema, has been awarded the prestigious Anandaram Dhekial Phukan Award for 2024. The award recognises Hussain’s achievements in the film industry and his continued efforts to bring Assamese culture and stories to a global audience, reported India Today.
Expressing his gratitude, Hussain took to social media, writing, “Thank you so much for choosing me for the Anandaram Dhekial Phukan Award. I am honoured and humbled.” The actor, who hails from Goalpara in Assam, has long been celebrated for his versatile performances in independent films and his work in international cinema.
The Anandaram Dhekial Phukan Award is named after one of Assam’s literary pioneers, who played a vital role in promoting the Assamese language during the Orunodoi era. The award commemorates Phukan’s contributions to Assamese literature and culture, and it is given to individuals who have made outstanding contributions in their respective fields.
Hussain’s recognition with this award highlights his deep connection to his Assamese roots and his dedication to representing his culture on a global stage.
source: http://www.radiancenews.com / Radiance News / Home> Pride of the Nation> Awards> Latest News / by Radiance News Bureau / September 01st, 2024
