Category Archives: Travel & Tourism

How a 71-year-old Muslim villager’s “hoarding” of everyday objects won a coveted spot at the V&A Museum in London

Kelepara Village (near Hoogly), WEST BENGAL :

Ohida Khandekar’s Dream Your Museum, an installation and film about her uncle’s collection won the V&A’s Jameel Prize for contemporary art and design inspired by Islamic traditions.

Selim Khandakar with his grand-niece and the trunks housing his collection. | Photo Credit: Anand Kumar Ekboty

Selim Khandakar, 71, has always dreamt of making a museum in his village for the 12,000-plus objects he has collected over 50 years. A small portion of that collection has now reached one of the best museums in the world — the Victoria & Albert Museum (V&A) in London — thanks to his artist niece, Ohida Khandakar. 

Ohida, 31, has turned her uncle’s lifelong obsession into an installation and film — Dream Your Museum — which won the V&A’s prestigious Jameel Prize for contemporary art and design inspired by Islamic traditions. The work is not just a tribute to what seems to be her uncle’s calling; it also challenges colonial museum structures and asks whether ordinary, personal objects deserve a place in museums. Can museums be flexible and inclusive spaces, showcasing the narratives of minority communities and customs? Are private collections the exclusive privilege of the rich?

The installation and film, ‘Dream Your Museum’, at the Victoria & Albert Museum (V&A) in London.

Selim worked as a doctor’s compounder in Kolkata and started collecting random objects from the year 1970. A stamp exhibition piqued his interest first, prompting him to start collecting them. He also came across an exhibition of vintage objects from Mallik Bari, one of Kolkata’s heritage homes. “It was a record of what objects were used in the ancient times and how lives were led,” Selim tells me over a Zoom call from his home in Kelepara, a village near Hooghly, West Bengal. “It inspired me to start collecting whatever felt like a record of the common person’s life and times. From bus tickets to stamps to refills of pens, I wouldn’t throw anything away.” 

An assortment of rare and mundane items makes up Selim’s collection. Old clocks, inscribed ceramics, vintage records and music players, letters dating back to Partition, perfume bottles, crystal rocks, hand fans, stamps, handbills, ink pots, cameras, train tickets, receipts, even matriculation answer sheets from the 70s!

Selim Khandakar surrounded by the objects he has collected over the years. | Photo Credit: Anand Kumar Ekboty

Gramophones to baby clothes

Much of Selim’s collection is housed in tin trunks and scattered across his home in Kelepara. It sometimes becomes a ‘travelling museum’ for people in the village to explore and interact with the objects as Selim takes them around. There is curiosity, awe, some ridicule, some laughter, and from those who understand history and record keeping, even encouragement.

Ohida’s film captures Selim walking through village fields with his trunk, stopping by the river to rinse some crystal stones, and holding them up to the sun. “Where did you find these, nanu?” asks Maria, his grand-niece, who appears in the film. “In the graveyard,” Selim replies.

Selim Khandakar walking through village fields with his trunk. | Photo Credit: Anand Kumar Ekboty

Ohida, who studied art at the Government College of Art & Craft, Kolkata, and Jamia Millia Islamia, New Delhi, says it is sometimes hard to understand what keeps her uncle going. Is it hoarding, as his exasperated family has often believed? She and Selim don’t think so. Instead, he thinks his collection, much like Dream Your Museum, is about storytelling. “Collecting is my way of showing people from my village a glimpse of things from around the world,” Selim notes. “Like rare coins dating back to the Mughal period or vintage perfume bottles from around the world. Often people here do not get a chance to go to cities to see such things. That’s what has always kept me going.”

Selim Khandakar’s house that was destroyed after a cyclone.. | Photo Credit: Anand Kumar Ekboty

Once displayed in his modest mud house, now destroyed after a cyclone, Selim’s possessions came close to being discarded by his family until Ohida decided to document it digitally. She reacquainted herself with both her uncle and his collection when stuck at home during the pandemic. To her artist’s eye, it is a compelling one, given its range — from gramophones to baby clothes from the 80s. “It even has a bunch of fingernails [Selim’s own] in a box. It reminds me of Marcel Duchamp’s Dadaist Fountain exhibit [1917], where he displayed an upside-down urinal. Such objects challenge conventional notions of what belongs in a museum. These items, including a broken plate passed down through generations, show the power of storytelling through objects.”

Selim laughs when asked about the fingernails. “I had once visited an exhibition where I saw art made with fingernails and thought I would do the same with mine. It made me curious, so I kept them.”

What makes a museum?

Curiosity has been the driving force behind Selim’s obsession and this is what Ohida celebrates in her work. Maria accompanies Selim throughout the film, asking him curious questions about the objects in his collection, an attempt to peek into his mind. Ohida started filming Dream Your Museum as an entry for the 2022 Berlin Biennale, where it was received well, eventually landing her the V&A award.

Filmmaker Ohida Khandakar

Growing up in Kelepara, Ohida hadn’t stepped inside a museum until she came to study art in Kolkata. “I had achieved my dream of studying art and moving beyond a village where many women still had no voice and were married off early. It made me wonder — was there a limit to our dreams? Was there a limit to the dreams of my uncle, a rural, aged Muslim man?”

With the funds from the award, Ohida is now hoping to create a museum for her uncle’s collection and a cultural space in the village. “We need accessible museums that work as alternative spaces for the narratives of rural minority communities; as safe spaces for women without opportunities; to engage those who might not typically visit traditional museums due to a lack of knowledge, distance or financial constraints.”

In Dream Your Museum, her camera gently films Selim among his collections in his crumbling ancestral home. He expresses frustration at having no permanent place even after 50 years to showcase his prized collection. “I’ll now make a museum on the moon,” he declares.

The writer is a freelance journalist and the co-author of ‘Rethink Ageing’ (2022).

source: http://www.thehindu.com / The Hindu / Home> Entertainment> Art / by Reshmi Chakraborty / April 20th, 2025

Sarkhej Roza: A cultural and architectural gem, an oasis of calm

Ahmedabad, GUJARAT :

Built in the 15th century, Sarkhej Roza on the outskirts of Ahmedabad holds many different worlds within its vast expanse.

The site comprises a mosque, tombs as well as mausoleums, palaces, pavilions, and noble houses (Express/Bhupendra Rana)

As the sun begins setting behind the domes, the rays filter through the stone filigree splashing a gold hue in the vast compound. The devout makes their way to the vast mosque for the evening prayers; in another corner, a seeker sits in the enclosure housing a tomb, lost in a world of her own. Under the baradari, a weary traveller takes a nap; at the dried-up reservoir beyond the mosque, children play a game of cricket.

Built in the 15th century, Sarkhej Roza on the outskirts of Ahmedabad holds many different worlds within its vast expanse. The monument complex stands as a testament to Gujarat’s rich cultural and architectural heritage.

The site comprises a mosque, tombs of sheikhs, sultans, and the royal family, as well as mausoleums, palaces, pavilions, and noble houses. At its heart lies the famous Ahmed-Sar Tank, a man-made lake excavated in the 15th century by Sultan Mehmud Begada, the great-grandson of Sultan Ahmed Shah, who founded Ahmedabad in 1411.

A protected monument, Sarkhej Roza falls under the Archaeological Survey of India (ASI) and the Sarkhej Roza Committee. Built in a village of indigo dyers and weavers, the monument, said to have been built by Ahmed Shah’s successor and son, Muhammad Shah II, became the repose of the mid-15th century Saint Shaikh Ahmad Ganj Baksh Khattu, one of the four Ahmads who laid the foundation of Ahmedabad in 1411 AD. Following his death in 1446 AD, Sultan Muhammad Shah II commissioned an exquisite tomb and mosque in his memory, which were later completed by his son and successor, Sultan Qutbuddin Ahmad Shah II, between 1451 and 1458 AD. Over time, Sarkhej Roza became a favoured retreat for Gujarat’s sultans and eventually evolved into a Sufi town with the addition of palaces, gardens, pavilions, royal tombs, grand gateways, and a vast artificial lake spanning 17 acres.

Historians and architectural experts consider Sarkhej Roza a unique and unparalleled collection of historical buildings. Its Indo-Saracenic architecture seamlessly blends elements of Hindu, Jain, and Islamic design, creating a masterpiece.

Among the mausoleums of Agra and Gujarat, Sarkhej Roza is believed to be the largest architectural complex of its kind. The site holds deep spiritual significance for both Hindus and Muslims, attracting visitors from all walks of life.

The intricate jali work on the outer and inner walls showcases beautiful geometric patterns, while the exquisite craftsmanship in brass, silver, and enamel enhances its aesthetic appeal. Sultan Mahmud Begada, known for his bravery and vision, decorated the structure in such a way that many believe it contributed to Ahmedabad’s recognition as a Unesco World Heritage City, although it is some 10 km from the walled city that got the tag in 2017.

Beyond its architectural splendour, Sarkhej Roza is home to priceless historical artefacts, including coins from the Sultanate period of Gujarat. The monument also houses incomplete yet beautifully handwritten copies of the Quran, a manuscript of Hidaya, and a printed Quran with Persian and Urdu translations. Additionally, an old handwritten copy of the Quran, completed in 1649 in the elegant Naskh script, remains one of the site’s treasured possessions.

Over the years, Sarkhej Roza has hosted several prominent events and dignitaries. On World Heritage Day (November 18, 2010), the complex welcomed Prime Minister Narendra Modi, who was then Gujarat chief minister.

Last month, during a Sufi event in New Delhi, PM Modi recalled how he had restored Sarkhej Roza when he was the Gujarat CM. “When I was the CM, a lot of work was done on its (Sarkhej Roza) restoration and very few people would know that there was a time when Krishna Utsav was celebrated with great pomp and show in Sarkhej Roza…,” Modi said.

Other notable visitors include the Iran embassy’s Khawaja Piri (August 8, 2006), Bollywood legend Amitabh Bachchan (January 26, 2014), and poet-lyricist Javed Akhtar (December 2, 2010).

A few scenes of Shah Rukh Khan-starrer Raees (2016) were also shot here.

Subamiya Akberali Kadri, a retired national union leader in the banking industry, has been visiting the dargah at Sarkhej Roza since 1974. He said, “Over the years, I have actively participated in various events. One memorable occasion was when a Sufi disciple from the Rumi Sufi Academy in San Francisco performed a Sufi dance. That day, I delivered a speech on Sufism.”

During the holy month of Ramzan, Sarkhej Roza transforms into a vibrant hub of community gathering with people assembling here for evening prayers and iftar, sharing meals as a gesture of unity and harmony.

Bhavna Ramrakhiani, founder of Sarkhej Roza Crafts and Saanjhi Virasat, a community promoting diversity and heritage, said, “People are not permitted to live inside the monument except during the last 10 days of Ramzan when devotees stay inside the mosque for prayers.”

On other days, Sarkhej Roza remains a favoured destination for school trips, vacations, picnics, and family outings – and an occasional seeker looking for solace.

source: http://www.indianexpress.com / The Indian Express / Home> News> India / by Sande Gona (an intern with The Indian Express, Ahmedabad / with inputs from ENS, New Delhi / Ahmedabad, April 19th, 2025.

Village in Tiruvarur gets a ‘Taj Mahal’ tomb as tribute to late mother

Tiruvarur Village / Chennai, TAMIL NADU :

Chennai-based businessman pays homage to his deceased mother with Mughal-style funerary complex in Tiruvarur village.

A view of the marble mausoleum resembling Agra’s Taj Mahal built at Ammaiyappan in Tiruvarur. | Photo Credit: Special Arrangement

A near-replica of Agra’s Taj Mahal has been making news this week, as reports about the marble mausoleum built in Ammaiyappan village, Tiruvarur, by a son for his mother who passed away in 2020, have been going viral online.

“My four sisters and I were very young when we lost our father, a hardware merchant in Chennai. Our mother Jailani Biwi, who was just 36 then, brought us up single-handedly, and stayed by our side through thick and thin. After her demise at the age of 68 years in December 2020, we felt her presence should be an enduring one. So with my family’s consent, I decided to build this mausoleum for her on a one-acre plot in Ammaiyappan,” Amruddin Sheikh Dawood, told The Hindu .

Constructed over two years, the complex houses a mosque and madrassa (school for religious instruction), besides the grave of the deceased on 8,000 sq ft, and was built at a budget of nearly ₹5 crore.

Intricately carved trellis panels and water tanks are part of the edifice, bringing an exotic look to the structure in this rural setting.

Mr. Dawood, who is a rice merchant based out of Chennai, said that the resemblance to Taj Mahal was almost incidental. “We simply wanted a building that used elements of Mughal architecture, but the designer we consulted in Tiruchi suggested that our idea was very similar to that used in the famed monument, so we just went ahead,” he said.

“Since Taj Mahal was the inspiration, we felt that white Indian marble rather than granite, would be ideal. We sourced 80 tonnes of marble from Rajasthani quarries,” Mr. Dawood said.

North Indian artisans worked alongside local labourers to complete the building, which was formally inaugurated last week to visitors of all faiths.

Countering critics about the scope and budget of his dream project, Mr. Dawood said that the building was a symbol of the family’s love for their matriarch. “A mother’s affection is priceless, and in our family, she was the one who held us together all her life. This mausoleum is a humble gesture to show our respect for her, and also to inspire others to cherish their parents,” he said.

source: http://www.thehindu.com / The Hindu / Home> News> India> Tamil Nadu / by Nahla Nainar / June 13th, 2023

India’s Top Muslim Business Tycoons: Shaping the Nation’s Global Prestige

INDIA :

From technology to hospitality, Muslim businessmen are raising India’s stature on the global stage

New Delhi :

In the ever-evolving world of business, several prominent figures are not just shaping the Indian economy but also placing the country on the global map. Among them, six Muslim businessmen stand out, with their remarkable ventures spanning across various sectors, such as technology, healthcare, retail, and hospitality. These influential entrepreneurs are enhancing India’s image worldwide, further solidifying its position in the global business arena.

Azim Premji – The Tech Magnate Azim Premji, often regarded as the richest Muslim businessman in India, has played a pivotal role in the growth of India’s technology sector. As the chairman of Wipro, one of the country’s largest IT companies, Premji’s leadership has helped the company expand its reach across various international markets. His contributions extend beyond the business world as well. “India’s rise in the global tech landscape is closely tied to Wipro’s innovation and excellence,” said Premji. Through Wipro, Premji has established himself as a philanthropist, with substantial donations to charitable causes.

Meraj Manal – The Herbal Business Visionary Meraj Manal, the driving force behind the success of ‘Himalaya,’ India’s prominent herbal company, is known for his dedication to promoting natural wellness. His business expertise has helped Himalaya expand into a globally recognised brand, selling products in over 90 countries. Manal attributes his success to innovation and a commitment to quality. “We’re not just selling products; we’re selling a way of life,” he shared. His continued success has played an essential role in reinforcing the global appeal of Indian herbal and natural products.

Rafiq Malik – Footwear Industry Leader Rafiq Malik, founder and owner of ‘Metro,’ one of India’s leading footwear brands, has seen significant international growth. His entrepreneurial vision has positioned Metro as a key player in the retail space, both in India and abroad. Under his leadership, Metro has expanded its footprint, contributing to the growing demand for Indian brands in global markets. “Metro is about more than just shoes; it’s about delivering quality and style to every customer,” said Malik.

Yusuf Ali – Hospitality and Retail Mogul Yusuf Ali, owner of ‘Lulu,’ one of the largest retail chains and shopping malls in many world countries and in India, has firmly placed his mark in the retail and hospitality sectors. With Lulu Mall’s presence in multiple countries, his business is recognised globally. From large-scale shopping centres to luxury hotels, Yusuf Ali’s diverse portfolio is a testament to his entrepreneurial prowess. “Our mission is to provide an unparalleled shopping experience for our customers, no matter where they are,” Yusuf Ali explained.

Other Notable Names
While Premji, Manal, Malik, and Yusuf Ali are among the most prominent, several other Muslim businessmen are also contributing significantly to India’s economic growth. Their ventures span multiple industries, from healthcare to infrastructure, highlighting the diversity and dynamism of Muslim entrepreneurs in India.

These businessmen not only continue to lead successful ventures but also serve as role models for the younger generation, proving that entrepreneurship knows no bounds. Through their business acumen, these individuals are ensuring that India continues to grow as an economic powerhouse on the global stage.

source: http://www.clarionindia.net / Clarion India / Home> Editors Pick> India / by Team Clarion / December 07th, 2025

Who First Put Aloo In Biryani?

Kolkata, WEST BENGAL :

That culinary addition is attributed to Chef Manzilat Fatima’s great-great grandfather Wajid Ali Shah, the Nawab of Awadh.

Chef Manzilat Fatima, April 22, 2024. (image courtesy: Umang Sharma)

Manzilat’s great-grandfather did

On most evenings, Manzilat Fatima’s rooftop restaurant in South Kolkata, aptly named Manzilat’s, is packed with food connoisseurs waiting to taste the incredible dishes she prepares for them. But there is another reason foodies climb four flights of stairs to her quaint little eatery.

An engraving of Nawab Wajid Ali Shah. Pic Courtesy/ Wikimedia Commmons

What Manzilat does, is nothing short of remarkable.  Not only does she tantalize the tastebuds of food lovers with exceptional dishes such as Chicken Lazeez Shami Kebab, Lakhnavi Murgh Biryani, or the famed Lakhnawi Mutton Yakhni Pulav – but she also evocatively creates a bridge between the present and the royal past of Wajid Ali Shah, the last Nawab of Awadh.

Manzilat Fatima is the great-great granddaughter of the Nawab who made his home in Kolkata after the British East India Company annexed his kingdom.  He gave the culinary world the famed aloo in Biryani.

A descendant of Awadh

“I am a direct descendent of Wajid Ali Shah and Begum Hazrat Mahal ,” Manzilat reveals.

After the annexation, her great, great grandmother Begum Hazrat Mahal who took charge of Awadh, put her son Birjis Qadr on the throne in 1857. Birjis Qudr was the son of Jaan e Alam Wajid Ali Shah and Begum Hazrat Mahal.

Manzilat is the daughter of Dr. Kaukub Qudr Meerza, the grandson of Birjis Qudr, she explains.

Like her pantry, stocked with delectable food, Manzilat is a storehouse of stories and fascinating history.

A conspiracy at play

According to Manzilat, despite having no inheritance, Birjs was still the legal heir of Wajid Ali Shah and Begum Hazrat Mahal.

“Birjs Qadr had a son Mehr Qadr who was my grandfather,” adds Manzilat. “He did not have any siblings growing up. He did have a family, but they were assassinated in cold blood on August 14, 1893.”

Manzilat says that the British invited Mehr Quadr from Kathmandu to Calcutta under a false pretext. “The other descendants of the Awadh royal family wanted to snuff out the last crown king, even though there was nothing to inherit by then.”

There was a deeper conspiracy at play.

A dish of Awadhi biryani (image courtesy: Manzilat Fatima restaurant)

A poisoned dinner

“In order to snuff out this branch they cooked up a conspiracy along with the British and invited him and his family over for dinner where they laced the food with poison. In that tragedy, he, along with a son and daughter as well as his guards and dogs were murdered.”

Only Mehr Quadr’s wife, Mehtab Ara Begum, survived. She was pregnant with Manzilat’s grandfather and did not attend the dinner. “Had she gone for the dinner, the entire course of history would perhaps have been different,” says Manzilat.

Her grandmother, Mehtab Ara Begum, survived along with an unborn child – Manzilat’s father- and a daughter who was four years old at that time. The little girl grew up and married, but died childless. But the lineage of Wajid Ali Shah continued through Mehr Qadr and Manzilat’s father Kaukub Qudr Meerza.

“My lineage shaped me into a very loyal Indian,” she says. “We grew up hearing stories of valor of Begum Hazrat Mahal and Birjs Qadr and how, after 1857, (she) chose to live free in Kathmandu, Nepal. Our history helped us be grounded and honest. We learned the art of sacrifice.”

From lawyer to chef

Growing up, Manzilat heard stories about the tragedy and the conspiracy that destroyed her family – from their time in Lucknow until Birjs Qadr’s assassination, and how her grandfather was protected and grew up very sheltered because of the constant threat to his life.

Being a chef was not always the game plan. Manzilat studied at Aligarh Public School and graduated with an English (Hons) degree from Women’s College, Aligarh Muslim University. She enrolled at Calcutta University for her Master’s in English and a few years after her marriage, even completed a five-year LL.B course in 2002.

Chef Manzilat Fatima (image courtesy: (Umang Sharma)

Manzilat opened the doors to her kitchen to food lovers from all over the world. As the smoke rises from her tender Mutton Awadhi Galwtii Kebab, or tear-drop-shaped condensation rolls down her chilled Khus ka sherbet, or even as patrons savor the pillowy soft aloo in their biryani, Manzilat knows that she has not only served some delectable dishes but offered her guests a panoramic view into the world of her ancestors and what they stood for – the mighty Wajid Ali Shah, the indomitable Begum Hazrat Mahal. 

In the fragrant aroma of her kitchen, Manzilat Fatima is the custodian of the legacy of the last Nawab of Awadh. Her guests experience more than just culinary delights; they immerse themselves in a narrative of courage, tradition, and the enduring spirit of Awadh.

source: http://www.indiacurrents.org / India Currents / Home> Food> India> Lifestyle / by Umang Sharma / April 26th, 2024

India’s new UNESCO site museum reveals Mughal emperor’s life, legacy

NEW DELHI :

  • Humayun World Heritage Site Museum in New Delhi opened for visitors on Tuesday
  • Latest addition to 16th-century tomb complex ‘brings alive 700 years of heritage’

Visitors look at artifacts at the Humayun World Heritage Site Museum — the newest addition in Humayun’s Tomb complex — in New Delhi on July 29, 2024. (AN Photo)

https://arab.news/4zpjh

New Delhi :

The second Mughal emperor Humayun was widely known as an avid reader fond of journeys, architecture, and storytelling. Almost half a millennium after his death, a new museum in the heart of New Delhi highlights his role in shaping India’s cultural heritage.


Opened for visitors on Tuesday, the Humayun World Heritage Site Museum is the newest addition in Humayun’s Tomb complex — a landmark 300-acre area in New Delhi’s Nizamuddin that features dozens of historical monuments and includes Sunder Nursery, a 16th-century heritage park.


The advent of the Mughal dynasty, which ruled the Indian subcontinent between the 16th and 19th centuries, marked the global revival of Islamic architecture, with works that until today are examples of the highest quality and refinement.


Originally from Central Asia, the Mughals carried cultural elements borrowed from Arabs, Persians and Ottomans. As they settled in India, they fused these with the various local styles found in their new domains.


Humayun was the son and successor of Babur, founder of the dynasty, and ruled the empire from 1530 to 1540 and again from 1555 until his death the following year.


The new museum, established by the Agha Khan Trust for Culture and the Archaeological Survey of India, traces Humayun and his descendants’ lives, as well as the 700-year-old history of the whole Nizamuddin locality and its influence on Indian culture.


“There are hundreds of stories to be told, which the stones don’t speak,” Ratish Nanda, conservation architect and projects director at the AKTC, told Arab News. “The idea is to bring alive 700 years of heritage.”


The museum is located in Humayun’s Tomb, a UNESCO World Heritage Site, and the first of the grand mausoleums that became synonymous with Mughal architectural innovations and, three generations later, culminated in the construction of India’s most iconic monument, the Taj Mahal.
About 7 million tourists from across India and abroad visit the complex every year.


“The idea is that people who now visit the World Heritage Site come with a deep understanding of the site,” Nanda said.


“We’ve been able to … combine architectural elements with incredible manuscripts, miniature paintings, calligraphy, textiles, coins, metalware, architectural elements — one is two one scale — with lots of films and digital technology, and models and so on.”


Spanning five galleries, the underground museum has over 500 artefacts sourced from the collections of the National Museum in New Delhi, ASI and AKTC.


“It captures the 700 years of history that is associated with the region of Nizamuddin and the World Heritage site of Humayun’s Tomb …This museum really captures the history,” said Ujwala Menon, AKTC conservation architect.


“The principal gallery talks about Humayun. There’s very little known about this emperor, and one of the things with this museum is to really address that … Then we have a second section of this gallery which talks about the personalities that are associated with Nizamuddin.”


Among the famed figures featured in the second gallery are Nizamuddin Auliya and Amir Khusro.
Auliya was an 13th-century Indian Sunni Muslim scholar, Sufi saint of the Chishti Order, and is one of the most famous Sufis from the Indian subcontinent. His shrine and tomb are located near Humayun’s complex.


Khusro was a 13th-century poet and scholar who remains an iconic figure in the culture of the subcontinent.


Both Auliya and Khusro lived during the period of the Delhi Sultanate, which Humayun’s father conquered, leading to its succession by the Mughal empire. The museum shows how the empire did not come to its bloom in a cultural vacuum, but drew from and incorporated the culture of its predecessors.


“There was this idea of pluralism that existed during the Mughal period,” Menon said.
“And this (museum) really captures all of that.”

source: http://www.arabnews.com / Arab News / Home> World / by Sanjay Kumar / July 31st, 2024

Badsha Peer, King of Africa: Seeking India’s Deccan in South African Tales of Indenture

SOUTHERN INDIA / SOUTH AFRICA :

By Nikhil Mandalaparthy. Nikhil is a journalist, community activist, and consultant focused on religious pluralism and social justice in South Asia and North America. He is the curator of Voices of Bhakti, a digital archive that showcases translations of South Asian poetry and art on religion, caste, and gender. He recently served as Deputy Executive Director of Hindus for Human Rights and is currently conducting research as a 2024-25 Luce Scholar.

Editor’s Note: This story was supported by the Pulitzer Center for Crisis Reporting.

___________________________________

kitne pyare hai yeh badshah jis pe hum marte hain
yeh haqeeqat hai tasawwur mein unka deedar karte hain
unka roza hai beshaq maqaam-e-madad
hum ghareeb ki taqdeer ko acche mein badal dete hain

How loving is this Badsha whom we “die” for
The truth is: in our imagination, it’s him we see
Without a doubt, his tomb is the destination for help;
He changes our unfortunate destinies to good.

– Iqbal Sarrang (2002) 
(Translated by Goolam Vahed, with edits

_______________________________

Mazaar of Badsha Peer, Durban, South Africa / Source: Author

In the historic Brook Street cemetery in Durban, South Africa, a gleaming white and gold structure towers over dozens of tombstones. This is the mazaar (tomb) of Sufi saint Badsha Peer. Thousands of miles from his birthplace in southern India, he is said to have found his final resting place here in 1894.

Inside the shrine, an inscription declares that this is “The MAQAAM (Resting Place) Of The King Of Africa – HAZRATH SHAYKH AHMED BADSHA PEER (RA)”.

Visiting Badsha Peer’s shrine challenged much of what I was told about South African Indian identity and history. In my conversations with South African Indians, I was told that most Muslims in the community were Gujarati or Konkani, and that most South Indians were Hindu or Christian. But here I was, at the shrine of a Muslim saint who was also South Indian. I was intrigued—and confused.

Digging deeper, I found that the story of this “King of Africa,” Badsha Peer, is a tale of multiple migrations, across the Deccan, South India, and beyond. His story involves Konkani Muslims and Hyderabadi Sufi teachers traveling to colonial Bombay, and Tamil and Telugu indentured workers making the long and treacherous journey from Madras to South Africa.

Tracing the story of Badsha Peer—and Soofie Saheb, the man who popularized his memory—shines light on how Indian religious, linguistic, and regional identities were transformed in the Deccan and South Africa, during the colonial period and through indenture and migration.

Locating Badsha Peer in History

Pinning down the historical Badsha Peer is difficult. Goolam Vahed, a scholar of South African Indian and Muslim history, describes the saint as having a “sketchy biographical profile and unclear genealogy”.

Ashwin Desai and Goolam Vahed write of a Sheikh Ahmed who arrived from Chittoor (modern-day Andhra Pradesh) or Arni in North Arcot district (modern-day Tamil Nadu) on the first ship from India, the SS Truro, which arrived on November 16, 1860. On the other hand, Nile Green, a historian of Indian Ocean Muslim networks, points to a Sheik Ahmed from Machilipatnam (modern-day Andhra Pradesh) who arrived a month later, in December 1860, on the Lord George Bentinc

Either way, according to oral tradition and popular anecdotes, Badsha Peer is remembered as arriving with the first indentured laborers from India. A man of great spiritual power, he is popular for the miracles he performed on the colonial sugarcane plantations, such as accomplishing his tasks in the fields while simultaneously meditating all day.

According to Nile Green, South African oral traditions declare that he was “released early from his indenture due to ‘insanity’”, which was later given a Sufi interpretation as “spiritual rapture (jazb).” Following his release, he is said to have lived the rest of his life as a faqir (mendicant) around the Grey Street mosque until his death in 1894.

Muslims like Badsha Peer made up about 10 percent of the approximately 152,000 Indians who were brought to South Africa as indentured workers; over 80 percent were Hindu. Around 44 percent of indentured Muslims departed from Madras, and among these workers, over 60 percent came from four areas: Arcot (31 percent), Malabar (14 percent), Madras (11 percent), and Mysore (7 percent).

Indentured Muslims, like Hindus, largely came from marginalized castes. In his shrine, Badsha Peer’s caste is simply listed as “Muslim” and “Mohamedan”, which is how around half of indentured Muslims named their caste according to immigration records.

However, Desai and Vahed mention Badsha Peer’s caste as julaha (weaver). He may have been from the Dudekula community , a Telugu-speaking Muslim caste associated with weaving and cotton cleaning. 

Soofie Saheb and His “Overpowering Influence”

Shrine of Badsha Peer, Durban, South Africa / Source: Author

The reason that Badsha Peer is remembered today is due to the efforts of a non-indentured Indian migrant. This pivotal figure is Shah Ghulam Muhammad (d. 1911), popularly remembered in South Africa as “Soofie Saheb.”

Soofie Saheb was born into a Konkani Muslim family in the town of Ibrahimpatan in Ratnagiri district. The family held a high social status on account of its claim to descend from Abu Bakr, the first caliph of Islam. After studying in Kalyan, he departed for Bombay. Nile Green situates his move within “a much larger migration of Konkani Muslims to the city that had taken place over the previous decades”. 

In the early 1890s, Soofie Saheb became a disciple of Habib ‘Ali Shah (d. 1906), a Sufi teacher of the Chishti order. Habib ‘Ali Shah himself was a migrant from Hyderabad who developed a following primarily among Konkani Muslims in Bombay, particularly workers around the Mazgaon dockyard. In 1895, Soofie Saheb was instructed by his teacher to go to South Africa to spread the message of the Chishti order to the indentured Indian population. 

Soon after arriving in Durban in 1895, Soofie Saheb “encountered a situation of close proximity and mixing between Muslims and the large majority of Hindu laborers,” as anthropologist Thomas Blom Hansen writes . Faced with the fact that “Muslims participated widely in Hindu rituals and festivals”, Soofie Saheb began to promote a more “proper” Islamic identity for indentured Muslims. Similar efforts would soon take place among the Hindu community as well, led by Arya Samaj missionaries like Bhai Parmanand and Swami Shankaranand.

One of the first actions of Soofie Saheb in South Africa was to build a shrine over Badsha Peer’s grave, which he is said to have identified through a dream or vision. Shortly afterwards, in April 1896, he purchased a plot of land on the banks of the Umgeni river, upon which he built a complex that included a mosque, khanqah, madrasa, and Muslim cemetery.

Interestingly, the legal documentation for this purchase was prepared by a young Gujarati lawyer who had arrived in South Africa just a few years prior: Mohandas K. Gandhi. Vahed writes that “Between 1898 and his death in 1911 Soofie Saheb built 11 mosques, madrasas and cemeteries all over Natal.”

Reimagining South Asian Languages and Religions in South Africa

A book published by Soofie Saheb’s madrasa in 1970 includes this quote by a Hindu observer: “there were many Tamil-speaking Muslims who, but for the recitals of the Koran, were by tradition and culture typically South Indian. Soofie Saheb’s mystic personality had an overpowering influence on the Muslim community widely scattered.” (emphasis mine)

This framing positions South Indian and Muslim identities as mutually exclusive, with the suggestion that shifting towards a more explicitly Muslim identity necessitated shifting away from South Indian culture. The framing also implicitly links South Indian and Hindu identities together.

What was the nature of Soofie Saheb’s “overpowering influence” among indentured Muslims in South Africa? As Nile Green has noted, Soofie Saheb promoted the Urdu language as core to Muslim identity, even though few indentured Muslims spoke the language.

Green argues that Soofie Saheb was simply following “specific currents of linguistic change in his own Konkani community in India, in which the use of Urdu spread significantly during the early twentieth century, partly as a result of migration” from the Konkan coast to Bombay. Similar developments had taken place elsewhere in the Deccan, such as the rise of Urdu in Hyderabad State in the 1880s as the prestige language of education and social status. 

Soofie Saheb’s efforts made Badsha Peer the most revered Sufi saint in South Africa. At the same time, he promoted a cosmopolitan, Urdu-centric Muslim identity that likely would have been unfamiliar to Badsha Peer himself, as a Telugu- or Tamil-speaking indentured Muslim.

These shifts were perhaps aided by the fact that in decades following Soofie Saheb’s death in 1911, many South Indian associations in South Africa adopted explicitly Hindu orientations.

For example, a year after the Andhra Maha Sabha of South Africa was formed in 1931, the organization became an affiliate of the South African Hindu Maha Sabha. The Andhra Maha Sabha’s logo is a Telugu-script Om, and the organization’s headquarters in the Indian township of Chatsworth includes an elaborate Venkateswara temple, which was built in 1983.

Thus, on one side, Telugu cultural associations in South Africa defined Telugu and Hindu identities as synonymous, while Muslim leaders like Soofie Saheb consolidated an Urdu-oriented Muslim identity.

South Asian Legacies: Shared Devotion at Badsha Peer’s Shrine

Interior of the Shrine for Badsha Peer / Source: Author

Although Badsha Peer is remembered as coming from Andhra Pradesh or Tamil Nadu, Soofie Saheb’s emphasis on an Urdu-centric Muslim identity means there is little to no visible South Indian influence in the rituals and practices associated with his shrine today.

And yet, despite Soofie Saheb’s activities to consolidate a distinct Muslim identity among indentured Indians, Badsha Peer’s shrine became a site for prayer, pilgrimage, and worship for Indians across regional and religious identities. In a way, his shrine provided a conduit for older South Asian practices of multi-religious devotion, such as reverence for Sufi mazaars and dargahs. 

From the earliest years of the shrine, non-Muslim devotees played a role—Goolam Vahed notes that in 1917, “A corrugated iron structure was erected by a Hindu, Bhaga, around the dome” of the shrine. In 2002, one of the qawwali groups performing at the saint’s urs (death anniversary) was led by a Hindu singer. 

Community archivist Selvan Naidoo, director of the 1860 Heritage Centre, recalls that “In my early childhood days, such was the power of this place that my staunch Tamil mother would often take us there to pray at this great place of indentured reverence.”

This reverence for Badsha Peer continues to this day. Mark Naicker, an interfaith activist in Durban from a Catholic family, shared with me that “sometimes you hear Hindus also go to Badsha Peer … when people have a baby, they would go to that shrine” to seek blessings.

It has been over 160 years since Badsha Peer and the first indentured Indians set foot on South African shores. He is a unique figure in South African Indian history. Unlike most indentured Indians, he was Muslim. Unlike most Indian Muslims in South Africa, he was from southern India. And unlike nearly any other indentured Indian Muslim in South Africa, he is revered as a saint whose power is manifest even to this day. 

Badsha Peer’s story, intertwined with that of Soofie Saheb, provides us with a glimpse into how Indian identities were transformed and reconfigured in South Africa. “Muslim” and “South Indian” identities took increasingly divergent paths. And yet, despite these shifts, his memory lives on, drawing devotees from across religious and regional backgrounds who seek the blessings of this “King of Africa.”

source: http://www.maidaanam.com / Maidaanam / Home / by Nikhil Mandalaparthy / June 17th, 2024

Heritage building being restored

Hyderabad, TELANGANA :

HIGHLIGHTS

Yousuf Tekri is a bungalow built by Syed Yousufuddin Mohammed who was a Subedar during  Nizam rule. This building was a farm house built during 1850’s which later served as a residence for his progeny.

Tolichowki:

This building is now in the list of heritage structures in  Hyderabad and is being restored by the hereditary family Syed Mohammed Aliuddin grandson of Yousufuddin, and his great grandsons Syed Mohammed Najmuddin and Syed Mohammed Mawaheduddin are financing and restoring the building independently.

This building is beautifully constructed uphill, which gives a scenic view of the city which was all farm and isolated landscape, which is now a concrete jungle. Syed Aliuddin said “Yousufuddin was born in the  city of Hyderabad and was appointed as an officer in the revenue services working for Asaf Jah VI, Mahbub Ali Khan. Yousufuddin was later entitled as a Subedar for Gulbarga District”.

The bungalow was built by Yousufuddin as a farmhouse as it was away from city back in those days, surrounding the area of about 290 acres. During land acquisition most of it was acquired by Indian Army and colonies were build, Yousuf Tekri colony is where our family lives. Now we are renovating the structure with plaster and cement, because preparation of lime takes much effort and time.

Syed Mohammed Najmuddin said “We are restoring the building independently there as is no financial aid from the government. In spite of being in the list of the heritage structure, government is taking no initiative”.

source: http://www.thehansindia.com / The Hans India / Home> News> Cities> Hyderabad / by Mayank Tiwari / Abhyudaya Ya Karamchetu / March 05th, 2015

Daria Daulat Bagh – an Incredible Painted Palace

Mysuru, KARNATAKA :

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

Shaykh Abdul Qadir al-Thani and the Hidden Domains of Puratheel

Kannur, KERALA :

Puratheel. Image credit: Prageeth T N

The road unfolded before us like a ribbon, guiding our car through the lush greenery and coconut groves of Kerala. It was the sacred month of Ramadan, and we had embarked on a journey to the enchanting city of Kannur in search of a pious man. The road ahead promised a culturally rich, soul-stirring experience that would leave an indelible mark on our hearts.

We entered the city after a two-hour long drive; the streets bustled with pedestrians, the sound of traffic filled the air, buyers and sellers haggled in the marketplace. Amidst this vibrant chaos, an air of sanctity was palpable; it carried the essence of a bygone era, where the mingling of diverse traditions shaped the city’s identity. Our guide informed us of Kannur’s deep-rooted connections with the Islamic world, which dated back centuries.

Nestled along the coast of the Arabian Sea, Kannur holds a special place in the tapestry of Islamic culture. The arrival of Arab merchants, who had ventured to the Malabar Coast for trade, had a lasting impact on the locals. Legend has it that Islam took root in Kannur even before the arrival of Malik ibn Dinar, who is famously known as the first companion of the Prophet Muhammad ﷺ to arrive in India (though this cannot be verified historically). The tales passed down through generations speak of King Cheraman Perumal, ruler of the Chera kingdom, who was drawn to Islam after witnessing the miracle of the split moon. He embraced Islam, took the name Tajuddin, and ventured to Mecca, where he shed his worldly concerns. His story, engraved in verse on a wooden tablet at the Arakkal Palace, is a testament to the city’s historical connection with Islam.

Over the centuries, Kannur flourished as a centre for Islamic scholarship and culture, particularly Sufism. It became a hub of spiritual seekers, earning the moniker ‘Baghdad of India’. One notable figure in Kannur’s Sufi tradition is Ghawth al-A’zam (the Greatest Helper), Shaykh Abdul Qadir Al-Thani, whose presence lingers in the serene village of Puratheel, just a short distance from Kannur city, and whose grave we were destined to visit that day.

After parking our car near Varam Kadavu Bridge, we were drawn to a nearby river, its cool, sparkling waters beckoning us under the scorching summer sun. Seeking respite from the heat, I cupped my hands and splashed the cool water on my face, feeling rejuvenated in both body and soul. My colleague, who had visited Puratheel before, remarked that this river served as a natural border for the village, fortifying the sacred site with its life-giving waters. It was this very river that earned Puratheel the epithet dweep, or ‘island’. The flowing waters represented a boundary that was not only physical, but also spiritual, separating this land from the rest of the outside world.

Puratheel. Image credit: Salz Graphy

Standing on the river’s edge, engrossed in its serene beauty, I felt a profound sense of peace wash over me. At that moment, I understood why Puratheel was revered as a place of spiritual import. It provided a sanctuary, a space where seekers could disconnect from the outside world and embark on a meaningful journey of self-discovery. Even as we reluctantly left the riverbank, the serenity of that moment remained with us, and we cherished this reminder of the intense connection between nature, spirituality, and the pursuit of inner peace.

As we wandered through the village, faint sounds of devotional music played from afar. Our guide, prayer beads in hand, began to narrate the story of Shaykh Abdul Qadir Al-Thani.

There once lived an extraordinary man in Afghanistan by the name of Shaykh Uthman Hamdani. A Persian ruler and descendent of the esteemed first Caliph, Abu Bakr Al-Siddiq, this Sultan of Hamadan left all his riches behind to go on a quest for truth. He wandered tirelessly across distant lands, his footsteps guided only by his faith and a thirst for spiritual knowledge.

Shaykh Uthman eventually arrived in Valapattanam, a tranquil village in the northern province of Kerala. One night, during his stay in the village, he experienced a vision. This vision promised him that, should he marry on that very night, he would sire a miraculous child. A year later, in the nearby kingdom of Chirakkal, royal astrologers uncovered a celestial secret. They revealed to their king that a child had been born in the Valapattanam province — a child destined to become the greatest of all miraculous beings. They further prophesied that if the King provided protection and support to this child, his kingdom would prosper.

Intrigued by this prophecy, the King of Chirakkal set out to meet the newborn child, who had been named Abdul Qadir. Recognising the infant’s extraordinary potential, the King assumed responsibility for his upbringing, ensuring that he grew into a virtuous and revered figure. As such, the child was brought to the King’s palace at the tender age of five or six, where he continued his spiritual journey surrounded by the kingdom’s grandeur. His princely childhood abruptly ended at the age of sixteen, when his fortuitous encounter with four strangers changed the course of his life forever. 

The strangers had arrived at his family home in a famished state while Abdul Qadir was away at the palace. With his mother’s permission, they slaughtered cattle she had originally set aside for her son, and chopped down a jackfruit tree in front of the house. They cooked their meal, ate, and saved some of the food to be given to Abdul Qadir when he returned. As the strangers departed, the family were astonished to find that both the cattle and jackfruit tree had been miraculously restored to their original state. When Abdul Qadir eventually came home, his mother informed him of their unusual visitors. Realising that these were no ordinary beings, he set off to find them, eventually encountering four people from Bhatkal, Karnataka. Amongst them was the distinguished Sufi shaykh, Mahmoud Al Khabooshani, who bestowed Abdul Qadir with an ijaza in the Suhrawardi tariqa. This was a licence that would formally permit him to instruct his own disciples in the teachings and practices of the Suhrawardi Sufi order. 

Mosque built by the Shaykh himself

Inspired, Shaykh Abdul Qadir abandoned all material pursuits and devoted himself to worship. When the King grew concerned at the Shaykh’s sudden withdrawal from the palace and other worldly affairs, the Shaykh expressed his desire to continue this path, furthermore requesting that the King grant him a portion of the land to be reserved for regular worship and seclusion. The King assented, and named this land ‘Puratheel’. There, the Shaykh built a mosque and established a settlement, fostering a culture of spiritual seclusion and growth. He eventually became known as Abdul Qadir Al-Thani (‘the Second’), as people reverentially associated him with Ghawth al-A’zam Abdul-Qadir Al-Jilani, esteemed scholar and saint of Baghdad. 

Despite my efforts, I found little information about Abdul Qadir Al-Thani in my research. Even in Malayalam, the native language of Kerala, references were scarce. Only in Arabic did I find a single work, entitled The Holy Maulid, by Shaykh Valappil Abdul Azeez Musliyar. Shaykh Abdul Qadir’s obscurity in the digital realm was, to say the least, disappointing. However, as I stepped into the sacred sanctuary of Puratheel, I was astounded to see its pathways abound with visitors, their footfall echoing with purpose and a yearning for the blessings of a shaykh unknown to Allama Google. This was a realm beyond the age of digital information, where human souls longed for a connection unencumbered by the pretensions of media and search engine rankings. I felt an enigmatic current that drew people to a shaykh who, while evading fame and renown in written histories, had claimed his place in living hearts and memories.

Tombs of Shaykh Abd al-Qadir al-Thani’s descendants

With the setting sun, a melodious call to prayer echoed through the misty valleys, summoning the faithful to gather in the sanctum of the mosque. Inside, the golden glow of flickering lanterns danced across the walls, and the congregation united in prayer between them. The rhythmic recitation of sacred Qur’anic verses rose and fell, followed by murmured supplications emanating from each devotee’s lips.

After the Maghrib (sunset) prayer, a serene calm enveloped the community. We had just shared an Iftar meal to end the day’s fast, replenishing both body and soul with food and prayer. However, the night was far from over. At 12.30am, as moonlight filtered through the mosque’s stained glass windows, bathing the prayer hall in its soft glow, the call to prayer would recommence. As the rest of the world slept on, these worshippers would perform the Taraweeh prayer until 2am, a night prayer reserved for the blessed month of Ramadan, followed by more supererogatory prayers and whispered invocations hoping to forge a bond between this earthly realm and the Divine.

Though Muslims the world over perform these rites every Ramadan, Puratheel has its own unique customs. The Qunut, a special supplication, is recited with every prayer except Maghrib. On Mondays, Thursdays, and Fridays after Maghrib, devotees gather for a dhikr halaqa, or gathering of remembrance, chanting the Divine’s sacred names in melodious union. After the Jumu’ah (Friday) prayers, which are led by a descendent of Abdul Qadir Al-Thani, a ritual of repentance takes place; the Shaykh recites words of istighfar, invocations that seek Divine mercy and forgiveness. Believers repeat the Shaykh’s istighfar, and disclose their struggles and shortcomings to a spiritual mentor as a means of guidance, purification, and self-reflection.

As Ramadan nears its end, the anticipation of seeking Allah’s blessing in the final ten nights of the Sacred Month swells, culminating in the sought after ‘Night of Power’, or Lailat ul Qadr. This is the twenty-seventh night of Ramadan, where in Puratheel, the adhan (call to prayer) resounds seven times to herald the Night of Power’s arrival. The mosque transforms into a radiant beacon, drawing the servants of Allah from near and far.

Puratheel Juma Masjid

When the final sun sets on Ramadan, and Eid ushers in the Sacred Month’s end, the Isha (evening) prayer is delayed until 2am to encourage the faithful to immerse themselves in worship until dawn. Although these customs may seem arduous to some, they are embraced with an unwavering devotion in Puratheel, keeping the legacy of the Shaykh alive. In our age of information and instant gratification, Puratheel reminds us that there are still enigmas to unravel, hidden domains waiting to be explored, and extraordinary souls whose influence transcend the virtual realm. True enchantment lies not in its digital presence but in the transformative encounters that await those who embark on this journey with an open heart and a yearning for the Divine.

Before our trip came to its end, our guide led us inside the mausoleum that housed Shaykh Abdul Qadir Al-Thani’s tomb, where he rested adorned in royal green clothing. Mausoleums of his children, grandchildren, other family members, and companions abound, both in Puratheel and all throughout India.

As we left Puratheel, a sense of tranquillity washed over me, dispelling, for the moment at least, all of life’s uncertainties. I felt that an inner peace had permeated my being, reminding me that we are never truly alone. For a moment, the world stood still and breathless, before exhaling a gentle breeze that brushed against me. I felt tears spring to my eyes, and wondered if nature possessed its own soul.

I left marvelling at the interconnectedness of the human spirit and the natural world. With the wind divulging its secrets and the land preserving ancestral tales, our souls are inextricably tied to that of nature’s. Through timeless bonds, we find solace, guidance, and an earnest understanding of our place in the cosmos. I journeyed forward, guided by whispers of the unseen, embracing the beauty and mystery bestowed upon us by nature.

Edited by Asma

source: http://www.sacredfootsteps.com / SacredFootsteps.com / Home>Asia> India / by Swalih Kuzhinholam / edited by Asma

____________________________________

Swalih Kuzhinholam

Swalih is a writer, Islamic tutor, and cultural explorer based in Kerala, India. He is a graduate of Darul Huda Islamic University in Chemmad, and a former Associate Editor at Thelitcham monthly magazine. His interests lie in culture, society, Sufism, aesthetics, literature and the arts.