Maula Ali's Shrine in Jogipura

Dr. Mazhar Naqvi

Najaf-E-Hind in Jogirampura village of district Bijnore is undoubtedly one of the most popular shrines dedicated to Maula Ali. It is also now called as ‘Dargah-E-Aliya’ because of its reputation of healing those who throng at Husain Tekri in Madhya Pradesh to get rid of their ailments and are redirected through divine instructions to visit Jogipura for cure. Though the Dargah has existed from the time of Emperor Aurangzeb, it was a simple structure till late 60s.Its popularity grew when people started arriving here after being directed from Husain Tekri and they got rid of their diseases miraculously. As a thanks giving, some of them constructed rooms for the stay of devotees, renovated the simple hall covered with tin shed, started a kitchen for free distribution of foods and also initiated the move for constructions of shrines dedicated to Bibi Fatima and Hazrat Abbas. The introduction of ‘Salana- Majalises’ Maqsoosi’( Annual religious gatherings) during summers gave fillip to already growing popularity of the shrine. Braving the heat of May, people in lakhs started converging at the shrine to attend ‘Maqsoosi’ to listen to the galaxy of the best known Zakirs (orators) of the world on narratives of Karbala tragedy. The village becomes a mini- township as hundreds of tents are pitched to accommodate devotees during Maqsoosi in the fields surrounding the shrine. The author had visited the shrine with his parents way back in 1970.The shrine had few devotees and its main enclosure was simple and serene. There were a few rooms for the stay of Zaireens. However, the size, structure and expansion of Dargah had witnessed sea change by 1990s.The managing committee not only acquired land adjacent to shrine but also built new quarters and also undertook a massive construction drive to replace the main structure with a replica of Hazrat Ali’s original shrine at Najaf-E-Ashraf In Iraq. Though the new structure is not as large as the original one and also less decorated but it surely gives a soothing effect to the devotee as he passes through the imposing gateway leading to the main shrine. Maula Ali is revered by both Muslims and non- Muslims of the village. Hindus willingly offer their fields for pitching of tents and they also serve them as guests of their ‘devta’. This harmony dates back to the time of Dada Raju whose grave is also near Dargah and is also visited by devotees, for it was his call for help that was answered by Maula ‘Mushkil Kusha’- a popular title given to Hazrat Ali for his eagerness to help the needy. Dada Raju was one of the important military commanders of Mughal emperor Shah Jahan. In the war of succession, he sided with Dara Shikoh and Shah Jahan and opposed Aurangzeb for his treatment to his father and his religious intolerance. As dada Raju did not suppress his feelings, Aurangzeb came to know about him. He dispatched his trusted soldiers to track down Dada Raju who took shelter in the forest near his native place Jogirampura. Since he belonged to a Syed family of repute, the villagers extended full support to him and emperor’s troops could not get a wind of their target. Knowing very well the cunningness of Aurangzeb, Dada Raju was aware that Emperor would continue to hunt him and have him executed as he did with other sympathizers of Shah Jahan and Dara. The execution of Sufi Sarmad and beheading of Dara was still fresh in his mind. He spent his days and nights in the thick forest, reciting continuously Naad-e-Ali and Ya Ali Adrikni. His cries for help from Maula Ali got desperate when someone tipped him that the royal troops were camping close to his village and making queries about his whereabouts. And then the miracle occurred when one day a Hindu farmer went to cut grass in the forest. He was an old man with poor eyesight. Suddenly, he confronted a striking handsome man riding a horse who asked about Dada Raju. The rider told the farmer to tell Dada Raju that whom he had been calling had arrived. The old man told the rider that he won’t be able to locate dada Raju as he was almost blind. At his reply, the rider who was none other than Maula Ali himself looked at his eyes and the farmer in few moments started seeing every thing clearly as a youth. Before the startled farmer could utter or recover from his bewilderment, Maula Ali ordered him to go by running and call Dada Raju. The feeble farmer searched for dada Raju like a sprinter and delivered the message to him after finding him. Dada Raju immediately understood who was asking for him. He set off immediately for the place identified by farmer. Seeing him run, villagers thought the troops of Aurangzeb had raided the area to arrest Dada Raju. They too followed him. Upon reaching the place, Dada Raju saw the foot of horse where Hazrat Ali but Maula himself had disappeared.. Dada Raju with the help of villagers of Jogirampura covered the place. While villagers returned home, Dada Raju sat on that place where Hazrat Ali had arrived. He remained in a state of shock and continued to remain at the holy spot for seven days without food and water. He was disappointed at having lost the opportunity of Maula’s Ziarat( Glimpse).He again started reciting Yaa Ali Adrikni and Maula Ali blessed him with his divine appearance after seven days. Even before Dada Raju could speak a single word, Maula assured him not to worry about Aurangzeb and said “no one will touch you, you are safe from them.” With tears in his eyes, Raju requested in a shaking voice ‘Aaqa’ (Master) I want some of your blessings for the people who have taken care of me in most trying times” In reply to his emotional appeal, it is reported that three miracles happened on the spot milk sprouted from the ground, a well emerged with water of good smell and finally the mud where Hazrat Ali stood also gave fine smell and exhibited medicinal properties upon application later by the devotees. Dada Raju spent his remaining life as caretaker of the spot while the villagers erected a simple shrine. The place became popular only after the death of Aurangzeb. During the period of later Mughals, devotees started visiting it in large number as they felt secure due to emergence of Syed brothers in the role of king makers and the patronage offered by queens like Qudsia Begum. Since then, Dargah Aliya Najaf-E-Hind at Jogirampura has been a place of hope for all those who visit the shrine in search of Shifa ( Cure) by invoking in the pious name of Maula Ali.(Reference Available on Request)

Forgotten Protector of Azadari-Dewan Nasir Ali

Sarkari Imambara,Kujhwa-Birth Place of Dewan Nasir Ali


By Dr.Mazhar Naqvi

Kalpana Plaza, the first shopping mall of Kanpur city, stands where once existed the majestic Imambara of Deewan Syed Nasir Ali. Though recorded as a Wakf property, how the ruins of Imambara turned into a commercial complex on crowded Birhana Road is mystery to the followers of Imami faith even today. Two small alams (standards) installed permanently inside the shrine of an unknown ‘Syed Baba’ adjacent to the plaza only remain as an indicator of the disappeared Imambara. 

Mir Saeedul Hasan Naqvi , an eminent Journalist and introducer of ‘Seena Zani’ and ‘Zanjeer Jani’( Matam with Breast-Beating  and Iron chains tied with small knives)  in the famous Muharram procession of Makanpur, had tried to stop transfer of Imambara Deewan Nasir Ali’s property in 1990 but his efforts were frustrated by  the corrupt Mutwalli and officials Wakf Board. Mir Naqvi who remained President of Kanpur Press Club for fifteen years consecutively personally told the author during conversations that large mourning assemblies used to be organized during Muharram and prominent Zakirs were invited to address Majlises at the Imambara.

When the author happened to meet him a day before his sudden demise on January 15,2013, he once talked about the Imambara and expressed disappointment over the apathy of Azadar-E-Husain towards the whole issue.” The indifference shown to the conversion of imambara into a commercial complex is great injustice to Deewan Nasir Ali who was one of the greatest Azadars India has ever produced. I have seen with my own eyes the grandeur and ornamentation of Imambara. I even performed Matam there several times. How the local admirers of Mazloom Imam Husain could allow the devastation of Imambara erected in his sacred memory” exclaimed Mir Naqvi.

The description given by a veteran journalist belonging to Imami faith prompted the author to research on Deewan Nasir Ali’s contribution to promotion of azadari in Kanpur. The resultant outcome firmly established the claim made by Mir Naqvi  that Deewan truly ranked among the legendary protector of azadari and why historians have neglected his role as a patron of muharram rituals is a sort of mystery ? He deserved their attention because he not only raised a majestic Imambara in Kanpur but also contributed generously to preservation of azadari in Lucknow and his native place in Bihar also. His Imambara at Kanpur was part of his palatial mansion known as Deewan Nasir Ali Ka Chatta. In 1899, the cost of his Chatta was estimated as Rs. 13 Lakhs.   He also owned the famous palatial haveli in Kanpur called 'Chatta Diwan Nasir Ali Saheb', costing Rs 13 Lakh at that time (1899 AD). He also constructed a mosque and imambara at Golaganj, Qazi Bagh in Lucknow. He donated huge part of his estate in UP and Bihar as for charitable purposes.

Deewan Nasir Ali was the Great Grandson of Mir Ghulam Mohammad, Muris-E-Ala Kujhwa. He was a revenue collector (Amil) for the area of Faizabad during the regime of Nawab Shuja Ud Daula and continued to occupy his post even during the period of Nawab Asaf Ud Daula. He was also known as Deewan. He served with distinction the kingdom and made a fortune for himself. The earliest Qadam Rasul in Naubasta area of Lucknow was built on the land of his zamindari by a Syed Altoqash Khan. Out of his reverence to the holy Prophet and his progeny, Deewan Nasir Ali had built an Imambara adjacent to Qadam Rasul. He also erected an Imambara at Katra Abu Turab in Lucknow with two halls and a mosque attached to it.

 He built the first 'pakki- haveli' at the place of his village Kujhwa and then established a mosque and Imambara there. The mosque and Imambara erected by him are called as Sarkari. Both the buildings even exist today in good condition and known for their beauty with simplicity. Deewan sahib also built a Karbala at Kujhwa near the village graveyard for burial of tazias during Muharram.

An interesting story is attributed to the founding of village Kujhwa. It is said that once the daughter of Mughal Emperor Aurangzeb fell seriously ill and the court hakims lost all hopes of her recovery. Then, someone suggested the ruler that his daughter could be cured if   Syed ladies of impeccable birth and virtue prayed for her. As a result, Bibi Wadi and her 14 sisters offered to pray for the princess who got rid of her illness miraculously. As a thanks giving, the emperor gave them the land. The royal decree (Farman) in Persian about the grant of 200 Bighas of land to Bibi Wadi is  preserved at  Bihar State Archives Department. It was on this land the Great Grandfather of Deewan Nasir Ali Syed Ghulam Mohammad founded the village Kujhwa as per the documentary records available and research carried out by historians.

By the time of Deewan Nasir Ali’s birth, the village had become a center of religious teachings and splendid Muharram ceremonies. He received his education at Kujhwa and then moved to the court of Asaf Ud Daula to be appointed as Deewan. He was a contemporary of Mughal Emperor Shah Alam Sani. He was great lover of books and rare manuscripts and kept his collection at Kujhwa for the benefit of scholars who used to throng there in large number in pursuit of their research work. Deewan had properties running into several lacs and among them was and annual waqf of Rupees Eighteen Thousand. This money was lavishly spent on performance of azadari min Kujhwa, Lucknow and Kanpur. Apart from Azadari, the most dearest to him was his library. In his will to his descendants, he specifically asks them to take due care of his books. His library had manuscripts obtained from the various parts of the country and imperial libraries. Some books from his rare collection were displayed in the public exhibition of historical books held in Patna. His library figures in a comprehensive catalogue of the books published by government of India in 1930.Among the noteworthy manuscripts of his library included works like Deewan-E-Humayun, Dilkusha, Masir-Ul-Iqbal and Mirat-ul-Asrar. It is recorded that the library was existing at Kujhwa in 1930 but its condition was dilapidated. There is no trace of his library now in Kujhwa and some of the precious books have been donated to Khuda Bakhsh Oriental Public Library, Patna by his relatives.( Reference available on request).

Relevance of Muharram Rituals to Modern World

Tazia Procession


Dr. Mazhar Naqvi

The martyrdom of Hazrat Imam Hussain at Karbala is one of the most outstanding examples of sufferings in world religious traditions. Karbala martyrs represent those who try to understand life, society and history against the backdrop of sufferings and not in the sheen of materialism. To consider Karbala as an ordinary suffering is nothing but denial of the redemptive side of sufferings that had befallen on Imam Hussain and his small band of companions and from whose blood sprouted a dynamic and productive system of Muharram rituals that bring together past and present every year and offers admirers of Imam Hussain a timeless quest for justice and creation of a global society on the principles of brotherhood and equity.

Historians generally accept that systematic Muharram mourning began in Buyids era. In 945, the Buyids occupied Baghdad and named Al- Muti as new Caliph after forming a secular government. They used their temporal power to protect the Imami faith and to promote religious and intellectual activities. Buyids also encouraged mourning in processions at public places and patronized twelvers’ theological writers. Their efforts resulted in the firm intellectual foundation of Imami ideology. To further the cause of Imam Hussain, Hazrat Zainab and Imam Sajjad, Buyids also established the first independent Muslim college in Baghdad with leanings towards Imami doctrines and Jurisprudence. Their attitude benefited greatly who wanted to understand the philosophy of Imam Hussain and propagate his message throughout the world.

The public appearance of Muharram mourning encouraged the tradition to weep for Imam Hussain and his followers. There are many narratives encouraging the lamentation and weeping for Karbala. The followers drew inspiration from the declaration of Imam Hussain ‘I am the martyr of tears. There is no servant whose eyes shed one drop of tears for us, but that God will grant him for it the reward of the countless ages in paradise.” A narrative from the Sixth Imam Jafar al-Sadiq, supplemented the declaration of Imam Hussain when he stated “The sigh of the sorrowful for the wrong done to us is an act of praise of God, his sorrow for us is an act of worship, and his keeping of our secret is a struggle in the way of God.’

Tazia, one of the most important icons of azadari, also played a crucial role in ensuring timelessness of Karbala tragedy and keeping the memory of martyrs alive forever. Tazia is thus not a simple or well-defined cultural phenomenon;  rather, it facilitated the growth of various social, religious, cultural, artistic and philosophical factors over the centuries. It assumed its current form sometime during the latter part of the Safavid period. Initially, Tazia was originally a simple passion play in Iran about the tragic events  at Karbala but later on it emerged as replica of Imam’s shrine in Muharram rituals in Indian sub-continent after the invasion of Taimur. Taziadari serves many functions such as redemption, suffering, personal religious revivalism, public appearance of a faith, etc. At philosophical level, Imam Husain’s quest is seen as a symbol of personal transformation, so joining and being a part of tazia community enables the followers achieve the goal of bringing them in line of Islamic injunctions. Imam’s martyrdom makes sense on two levels: first, in terms of Jesus Christ’s sacrifice to redeem humanity and similarly Imam allowed himself to be killed to purify the Muslim community and second, as an active factor vindicating the Imami cause, contributing to its ultimate triumph.

Young Mourners Watching a Muharram Procession
There is no doubt that rituals associated with the battle of Karbala have served as a vehicle for expressing and strengthening a variety of political and social relationships, associations, and identities. Marasims of Azadari have also provided an opportunity for spiritual and political redemption for followers of Imami faith.

The great   Iranian scholar and thinker Dr. Ali Shariati has rightly described Imam Husain’s movement revolving around three core concepts,1- Revolution( Inquilab) 2- War in the Path of God (Jihad)3- Martyrdom( Shahadat). Another leading scholar explained the essence of martyrdom in the following words: ‘The Shahid (martyr) can be compared to a candle whose job it is to burn out and get extinguished in order to shed light for the benefit of others. The Shuhada (martyrs) are the candles of society.’

Safavid dynasty, established in 1501, used Karbala as a starting point to conquer Persia and then to turn it into an Imami country. Its founder Shah Ismail and his descendants used Karbala and all related subjects for their policy. The success of Iranian revolution is a contemporary example of the political use of the Karbala. One of the most popular slogans during the revolution was ‘Every day is Ashura- Every land is Karbala- Every month is Muharram.’

Despite the continuous remembrance of Karbala, especially during Ayam- E- Aza, followers of Yazid have not given up their satanic and sinister designs to keep the world stricken with oppression, corruption, falsehood and bloodshed. What is happening in Iraq, Syria, Pakistan, Afghanistan and several other Muslim countries only exemplify the existence of Yazidi elements in the higher echelon of so called educated society. Does not the situation call all of us to ponder that if the American influence can be wiped out from Iran mainly because of the powerful effect of azadari rituals, why can’t we use the sublime sacrifice Karbala martyrs against Yazidi activists who are once again trying to invent a new Islam and striving to create a so called Islamic State based on UN-Islamic principles and killing of innocent people.

The alleged death of Baghdadi is being perceived as a setback to IS militants. But if past is any indication, there is every reason to conclude that his death, if it is true, will have a temporary effect. The basis of the assumption is simple. Followers of Yazid have been emerging at regular intervals since the martyrdom of Imam Hussain. Such forces could only be eliminated by globalizing the message of Imam through observation of Muharram rituals against the backdrop of the problems being faced by the modern world.( The author is a heritage management expert with deep interest in Islamic Studies)  

Religious 'Music'- Sozkhwani

 

 Sozkhwani being recited at a Majlis-e-Aza

 Dr.Mazhar Naqvi

Sozkhwani, considered as a prelude to mourning assembly (Majlis-E-Aza), is a refined form of Marsiyakhwani (elegiac recital).It developed during the Nawabi era in Lucknow as a sad and somber but permissible style of music associated with Marasim-E-Azadari( Muharram rituals) .  The term was unheard till 19^th century .Before the advent of Sozkhwani as a distinct art based on Ragas, Marsiyakhwani dominated mourning assemblies arranged to recall the martyrdom of Hazrat Imam Hussain and his companions. When Neshapuri Nawabs firmly established their rule in Awadh and patronized Azadari being the descendants of seventh Imam Musa Kazim, Marsiyakhwani witnessed several developments and earned the status of an established art. These marsiyas were rendered in Dhrupad form and Syed Mir Ali was one of its great exponents. In Lucknow, Khwaja Hasan Maududi was the first musician who experimented with the traditional rendering of marsiyas and set some of them in different rags.

A great musician Haideri Khan, popularly known as Sirri Haideri in view of his qalandar like lifestyle, pursued the innovation introduced by Maududi. He set Nauhas in sad rags and the composition came to be known as Soz. The new setting included both marsiyas and salams with rag and ragini in the background. The art was further perfected by disciples of Syed Mir Ali namely Maulvi Qayum, Ghulam Abbas, Miyan Ahmad Ali Ata and Mirza Fida Ali. They removed all the joyful elements from ragas and composed numerous Soz on the various tragic events that took place in Karbala before the martyrdom of Imam Hussain. History of Awadh also reveals the names of two other sozkhwans Miyan Mamman and Mir Kallu Barchhiyat who developed their own style and contributed significantly to the popularity of Soz.

The work started by the duo was completed by Nasir Khan, a musician hailing from the family of great Miyan Tansen of Darbar-E-Akbari (Akbar’s Court).He along with his two noted disciples Mir Ali Hasan and Mir Bande Hasan developed soz to a musical form. Their Sozkhwani was based on all the traits of rags and it became so popular that it liberated itself from professional musician and prompted elite of the society to learn the art. Not only Imamis, even non-Muslims also learnt Sozkhwani out of their devotion to Imams and attachment to Majalis. Two members of the ruling family, Nawab Sultan Ali Khan and Nawab Hussain Ali Khan excelled in Sozkhwani to the extent that they occupy place next to Syed Mir Ali and Sirri Haideri.

Women too picked up Sozkhwani and did not lag behind their male counterparts. Inspired by the popularity of courtesans like Nanhi Begum, Haideri Begum and Muhammadi Begum, ladies from respectable families also learnt Sozkhwani and performed with excellence in the mourning assemblies of women. Last King of Awadh dynasty, Wajid Ali Shah, who himself was a noted musician, had also trained a group of women in the art of Sozkhwani but they were called as marsiyawaliyan.

Sozkhwani is rendered with an effort to conceal the ragdari even though it is melodious recitation. This is done keeping in view the sadness and mourning associated with Muharram rituals. It is always presented in a low tempo ( vilambit lai-Deferred tune)) followed by a high pitch. Sozkhwani is performed by at least three persons. The chief performer is called Sar (Head).The remaining two are referred as Bazus ( Supporters).When two additional performers are added they are called as AS and BAS. While AS maintains the sur (rhythm) in the absence of any musical instrument, BAS offers tonal variety in rendering soz. From the time of Nawabs till date, the style of reciting soz has by and large remained the same. This only indicates the perfection attained by the outstanding sozkhwans of 19^th century. The chief performer starts slowly with humming, sets the tune and his Bazus pick up the sur. The humming is followed by full-throated expansion of khiraj(Paying tribute) on the scale achieved. Professionals call the entire process as establishment of Tribute( khiraj qaim karna).The actual Sozkhwani begins after paying  khiraj. The standard practice is to start with a quartet or Rubai composed in rag considered appropriate for the occasion, followed by a lengthy soz wh8ich ends usually with a marsiya.

In his book. Guzishta Lucknow, Abdul Halim, Sharar who had stayed with Wajid Ali Shah in Matiaburj, Kolkata and considered to be an authority on Awadh history and culture, has given a detailed description of Sozkhwani. He has also mentioned the mass popularity attained by Sozkhwani and names of some sozkhwans who are now forgotten. Lucknow however still remains the center of Sozkhwani and every year a new breed of sozkhwans emerge. One can find children rendering Sozkhwani in large mourning assemblies not only in Lucknow but also in the villages famous for azadari. The art continues to leave mourners in tears and its rendering creates the atmosphere needed by Zakirs to deal with fazail and masaib during Majlis-E-Aza. Asghar Mustafabadi, Imtiaz Abbas, Farman Kazmi, Safdar Mukhtar  Ustad Sibte Jafar, Aun Rizvi, Bazmi Naqvi, Javed Muzaffrarnagri, Nurul Kanpuri and many others are keeping the tradition alive in Indo-Pak subcontinent at present. (References available on request) 

             

Wandering Followers of Panjatan

Masoom Ali Shah-Most SeniorMalang of India 

Dr.Mazhar Naqvi

Malangs (wandering fakirs) represent ‘Be-Shara’ (not in tune with Islamic Laws) group of Sufis with deep love for Ahle-Bait (Progeny of Prophet Hazrat Muhammad). Ulemas, SajjadaNasheen of their patron Sufi Shah Madar of Makanpur in Kanpur district of India and orthodox Muslims look at them with contempt. But they not only reject allegations leveled against them but consider having supremacy over Ba-Shara (in tune) who simply does what is obligatory in religion. They raise the question of ‘Marifat’ whenever any religious scholars raise objections over their un-Islamic practices. In an oral discussion with the author at Makanpur, the senior most Malang of India Masoom Ali Shah retorted “Who are they to question us. They lead a comfortable life to issue fatwas against us whereas we as Malangs have given up our all to Ahle-Bait. Malang means something along the lines of the highest level of affection. Can you tell me a better way to attain Marifat than loving ‘Panjatan’ (Pious five)”. The ‘Ulemas’ has been refuting their claim for ages without success, for they still remain a baffling phenomenon of human endeavor and toughness. Braving extremes of weather, they discard the materialistic world and spend their lives in celibacy and seclusion. Besides Panjatan, they also claim to be true admirers of ‘Beemar-E-Karbala’ and son of Imam Husain, Hazrat Zain-Ul-Abdeen. Apparently their claim is somewhat puzzling as a natural question crops us as to how can Be-Shara Malangs be followers of fourth Imam Zain al-Abidin (the adornment of the worshippers)and Imam al-Sajjad (The Prostrating Imam).But answer to this question may always remain elusive. One has to simply recall the words of Bibi Fatima who said to so many holy scholars and ‘Zakirs’ (orators) in dreams “Mere lal ka Gham jo Jis tarah chahe use manane do “(Let everyone mourn the killing of my innocent and beloved son’s the way he or she wants). Malangs claim that they wear black clothes, put an iron ‘Kada’ and ‘Bedis’(Chain) around their wrists and feet as Imam was taken from Karbala to Damascus as prisoner by the forces of Caliph Yazid. “After tragedy of Karbala, Imam had turned away from the world so we also lead a life of seclusion. The Sufis regarded him as one of their spiritual guides. Malangs dedicate their lives to Imam Sajjad as a tribute to his hardships and sufferings” asserts a prominent Azadar of Makanpur retired principal of a government girls school Tajdar Jahan. But she admits that Imam Sajjad led a life different from that of Sufis as his asceticism was psychological, rational, and internal and in tune with Islamic laws rather than the preached and practices by wandering Malangs. Gulzar-i-Abrar gives a vivid description about Shah Madar and his Malangs. Besides the Mahi-o-Maratib, an important among the insignia that the Malangs keep, they also attach equal significance to Panjatan. Mahi derives its origin from the figure of a head of a fish made of silver or gold fixed on the top of a decorated long pole. Maratib is a similar standard decorated with white cloth. Maratib meant power and strength. This mounted on elephant was carried at the head of their processions during Mughal period in Bihar, Bengal and Orissa. They carry Panjatan (five personages), iron-tongs (chari) sometimes pointed, and a wooden club (sonta), a bag of lamb skin (himacha), a wallet (kashkol), a knife (chhuri), and big kettledrum. Panjatan is carried by them in memory of Prophet Muhammad, Hazrat Ali, Bibi Fatima, Imam Hasan and Imam Husain. It looks like a human palm made of either silver or brass with five fingers symbolically representing the pious five. The tradition of keeping Panjatan as one of their insignia is still in existence. During the Muharram festival the Malangs would wear on the head a knot of hair or of cloth passed through an iron ring (Chakar) round which they twisted red thread, gold or silver lace edging (Kinari) and narrow lace (gota) The edge of a handkerchief (guluband) was passed under one arm and the two upper ends fastened over the opposite shoulder, while on the neck wear strings of beads or rosaries (tasbih). A sash (komarband) encircles the waist; a cloth covers the loins, which on the right ankle is an ornament (dal) or an anklet with bells. These men wander about, visit Ashurkhanas, and as they walk rattle their anklets and call out” Ek Nara Panjatan”, Ya Ali Ya Ali and even Dam Madar- Dam Madar. In an authentic account of their participation in Muharram rituals at Hilsa, the last resting place of Janeman Jannati, in Bihar, they used to arrive at an Imambara adjacent to shrine to observe certain specific ceremonies. After reciting Fatiha and select verses from Holy Quran, the caretaker of Jannati’s Dargah used to offer them pipes, tobacco, sharbat, cloves, cardamoms and a meal of rice boiled with pulse. Malangs are also considered to be founder of walking on fire (Aag ka Matam) in Indian sub-continent. Walking on fire by Malangs figures repeatedly in the works of both Indian and foreign historians. However, they no longer continue it nor give any explanation of its discontinuance. The extra-ordinary love of Malangs for Ahle-Bait is attributed to shah Madar’s training by Imam Mehndi (A.Z) at the instruction of Hazrat Ali in Najaf (Iraq). Shah Madar’s own family tree links him to Imam Jafar Sadiq-the Great Grandson of Imam Husain. The Malang cult owes its origin to Hazrat Jamal- Uddin , Popularly known as Janeman Jannati who was a Khalifa of Shah Madar. He use to do the Zikr of Ahle- Bait with utmost devotion and excelled in the art of Habs-E-Dum ( Breath Control).it is believed that like his ‘Guru’ he used to take one breath after 6- months. His constant zikr and Habs-E-Dam often resulted in oozing out of blood from his head and nostrils. Once his Peer Shah Madar found him in this state and he rubbed some mud on his head. Janeman Jannati did not cut his hair from that day as the hand of his blessed peer had touched his head. When his hair grew long, he used to fold them around as a turban. Malangs follow the tradition even today and only open their long hairs during the ‘Urs’ of Shah Madar. Amidst the ear-deafening frenzied mob of devotees, they perform ‘Shaghal’E-Dhamal’ after unfurling their turban of long hairs and jump in the air, chanting Ya Ali, Ya Ali in their black attire. They swirl in frenzy and remain totally detached from the charged surroundings. They reach shrine of Shah Madar following a small ‘Kishti’ (Boat) carried out by a Paigee (Messenger of Imam Husain’s daughter Janab-E-Sughra) Baba Ali Bahadur. Covered with richly embroidered cloth, ‘kishti’ is believed to contain a large’ Katora’(cup) used by Hazrat Ali. Primarily a "Malang" is a devotee of the saint at whose shrine he serves. Sometimes a parent, whose prayer to the saint is fulfilled, leaves his child at the shrine as a token of gratitude. The child grows up to become a "Malang". By renouncing the material world, he becomes a spiritualist himself with his own sphere of disciples. Living a carefree life with a total commitment to his master, the "Malang" depends on the donations and the food the pilgrims offer at shrine. Some of the "Malangs" spend their entire life time within the domains of one shrine while others keep on moving from one ‘Gaddi’ to another. The faith in their spiritual teachings makes them endure unbelievable rigors like walking on burning coals or standing in an ice cold river for days. They follow their own passions, eating and drink whatever they fancy. As they are rare sight and appear during Muharram and Urs ceremonies, people flock at their temporarily erected sheds to get rid of their troubles and fulfillment of their wish. Mahzar Ali, a Sajjada Nasheen of Shah Madar’s shrine at Makanpur, even wonders over the popularity of Malangs among the people. Though he does not find their lifestyle in conformity to Islamic code but expresses concern over their diminishing number. In a telephonic conversation with author last week, he said “there used to be over 100 Malangs during Urs but now the number has decreased to less than 20”. People don’t consider them on the verge of extinction today as the word "Malang" is used as a generic term for wandering beggar-ascetics and also often used interchangeably with qalandars. (References are available on request).

Imambara Dhania Mahri

An Old Photograph of an Imambara of Lucknow that has also disappeared like Azakhana of Dhania Mahri.

Dr.Mazhar Naqvi

Dhania Mahri is a household name in the old localities of Lucknow. People have heard her name because of a bridge built by her. Popularly known as ‘Dhania Mahri Ka Pul’, the bridge has kept her name alive but failed to ensure the reverence she deserves as a faithful and fearless Azadar of Imam Husain. She came from a humble background as is evident from her name itself. While Dhania is usually not used by elite class for christening of their children, Mahri means a female domestic help or maid. But she must have been indeed a woman of exceptional qualities and intelligence or else how could she become a favorite of King Naseer Uddin Haider.

So powerful was her influence on the King as Darogha( Superintendent ) of  his seraglio that she outsmarted Faqir Muhammad Khan Goya ,the Great Grandfather of famous Marsiya writer and Shair-E-Inquilab Josh Malihabadi when he refused to offer his land for the construction of a Langarkhana ( Free Kitchen) being built by her adjacent to her Imambara In Maulviganj area. Upon coming to know about Goya’s refusal, she persuaded King Naseer Uddin Haider to send Raja Darshan Singh with an order, instructing Faqir Muhammad to immediately handover his land to Dhania Mahri.

After gaining possession of the land, Dhania built an impressive Imambara with a mosque and Langarkhana. Goya took the whole incident as his personal insult. It was beyond his imagination that he could be outwitted by a woman who had once been just a maid. Moreover, he had also not imagined that King would ask him to handover his land in view of intimacy with him. It is said that Naseer Uddin Haider was fond of mangoes. As Goya belonged to Malihabad, a small town near Lucknow and famous for its mangoes all over the world even today, Naseer Uddin Haider used to get regularly high quality and delicious mangoes from him during season. In return, Goya used to receive precious pearls from the King. He also earned the position of an influential courtier.

Being an intelligent person and a reputed poet himself, Goya complied with the King’s order quietly but launched a campaign against Dhania for her ouster from seraglio. His efforts yielded positive result also, for Dhania was not only removed from her post but also banished to Kanpur after sometime. Goya also took the possession of the land acquired by Dhania for Langarkhana. She however did not lose her heart and settled down gracefully in Patkapur locality. Her love for Azadari continued with the same fervor. She built an Imambara near Jama Masjid area of Kanpur and also constructed a palatial building for her residence.

A dilapidated building on the road leading to Neelwali Gali from Patkapur offers traces of the imambara built by her. Though the building is no longer used as imambara and is occupied by members of a Qazi family but the embellishment of its outer walls with stucco work indicates its ornamentation during its heydays. The Imambara erected by her in Lucknow is also not functional nor have efforts been initiated by anyone to restore to its original character. Only the mosque built by her in Maulviganj is still in use.

If Faqir Muhammad was from the clan of Afridi Pathans who are known for neither forgetting nor forgiving their enemies, Dhania also behaved in similar fashion. Even from Kanpur, she fought back to regain confidence of Naseer Uddin Haider and got back her position in the royal seraglio with the assistance of Prime Minister Roshan- Ud- Daula. Later on, she took her vengeance also by getting Faqir Muhammad banished from Lucknow. 

Once back in Lucknow with full glory, she concentrated on Azadari again and erected an Imambara in Alam Nagar along with a mosque. She also built a mosque in Shivpuri area for the devotees of Ahle-bait. Unfortunately, all the buildings built by her could not sustain the vagary of weather nor find any patron after Dhania Mahri lost her influence over the King. It appears whatever she earned in her lifetime went to the construction of three Imambaras and mosques. Hence, she could not create any endowment for the maintenance of Imambaras like Bahu Begum, Badshah Ghazi Uddin Haider or Muhammad Ali Shah who succeeded Naseer Uddin Haider to the throne of Awadh Kingdom.

History is silent over her last days. It is quite obvious as well because she was neither an Empress nor favorite queen of any King. She was simply a superintendent of female attendants of King’s seraglio .Her only noteworthy accomplishment was the Khilat of fourteen Parcha with a sword  and a shield when the King conferred upon her the title of Afzalun-Nisa. Historians apathy towards her however does not deprive her from the status of a true Azadar who challenged a powerful landlord and courtier when he proved to be a barrier to her desire to construct a grand Imambara with Langarkhana for distribution of free food to the down trodden.

The setbacks and fluctuation in fortune also failed to deter her spirits as she continued to perform Muharram ceremonies initiated by her with the same devotion and lavish expenditure even in the days of hardship. Her Imambaras may not be functional today but they surely remind followers of Ahle-bait the great love and affection she has for the martyrs of Karbala and her desire to overcome all barriers and challenges in her endeavor to erect Imambara in memory of Mazloom-e-Karbala. Her victory over Faqir Muhammad Goya should be seen as a blessing from Masoomeen. The birth of Josh Malihabadi in Goya’s family also indicates how Masoomeen place their blessed ones even in the house of their opponents. How devotionally Josh was attached to Ahle-Bait can be gauged from his wonderful Marsiyas, Nauhas and Salams. Further, his famous couplet “Insaan ko Bedar to Ho Lene Do-Har Qaum Pukaregi Hamare Hain Husain” (Let their be awakening among human being-Each community will Call Husain as its own) has also made him immortal. Legends around Malihabad say that Josh was born in Goya’s family because he had dedicated himself to seclusion and memory of Imam Husain after his banishment.  

( Reference available on Request).     

   

Imambara Built by British Resident

Dr.Mazhar Naqvi

Lucknow is perhaps the only city in the world to have an Imambara built by a British resident. Though the unique Imambara is no longer traceable yet there is no dearth of literature revealing the interesting story behind its construction. The British Resident Colonel John Baillie had built the Imambara to fulfill the will of Khwajasara Tehsin Ali Khan. Sir John Baillie had assumed the receivership of Khwajasara’s property after his death on August 27, 1818. Colonel Baillie did so because Tehsin had left a will in which he had desired the resident to take over the receivership of his property to build an Imambara over his grave.  

History unfolds an interesting story behind Teshin’s strange will, his more faith in the resident and less trust in  Indian masters i.e. ruling Nawab and his family members, including queens. Tehsin was initially in the service of Nawab Shuja-Ud-Daula at Faizabad.H also enjoyed the confidence of Nawab’s principal wife Bahu Begum who was too powerful to prevail upon her husband also.

During the regime of Asafuddaula ,he became superintendent of the Tosha khana.He also maintained the personal affairs, valuables of Nawab and his royal household. He had deep affection for Asafuddaula. On the death of Nawab, Tehsin renounced the world and became a keeper of Nawab’s grave. He discarded his costly attires and began wearing garments like a wandering mendicant.

Wazir Ali, the successor of Asafuddaula, persuaded Tehsin to return to the palace. He bestowed upon him the khilat (robe of honour) and elevated him to the post of Nazir (estate superintendent) for the royal palaces. However, his relationship with Wazir Ali strained after sometime. One day when Nawab in his anger decided to punish him, Tehsin took refuge in the Residency. The Resident ensured his shelter and security. In lieu of the favor, resident  utilized his services to prove Wazir Ali as not the real son of Asafuddaula. Since Asafuddaula had declared Wazir Ali as his heir apparent in his lifetime and also spent lavishly on his marriage the masses did not buy the British theory that Wazir Ali was an illegitimate son.

 The British then used the pretext of bad governance to dethrone Wazir Ali in January 1798. In place of Wazir Ali, the British declared Saadat Ali Khan as the next ruler and reinstated Tehsin in his earlier position. Tehsin had been also ,managing the affairs of Bahu Begum who kept touch with him whenever in Lucknow. The sisters of the ruling Nawab and other female relatives at Faizabad resented the control of Bahu Begum and Tehsin in their matters. They petitioned the Nawab to dismiss Tehsin in August 1812. He agreed but the resident intervened on behalf of Tehsin and pressurized Nawab to recall his order. The Begums staged a dharna at Asafi Imambara for four months. The move proved futile and they returned to Faizabad in frustration.

The fluctuating fortunes prompted Tehsin to prepare a will. He appointed the British Resident as receiver of his property. The Resident Colonel Baillie honored the will and took control of the property. He built Imambara –cum- mausoleum over the grave of Khwajasara adjacent to the mosque built by Tehsin in his lifetime. The construction of the mosque by Tehsin also has an interesting story behind it. The mosque is believed to have been raised from rubble obtained during the construction of Bara Imambara built by Asafuddaula as a project for famine relief in 1784.

It is a well-known fact that the Nawab ordered round the clock construction of majestic Imambara to offer employment to respectable persons who could not work in the day time due to fear of being identified. Thus the reputed persons worked at night but since they were not skilled their work was inferior and had to be demolished every day by the professional masons during every day. This resulted in accumulation of rubble in huge quantity. When Tehsin saw the rubble, he requested the Nawab to allow him to use it for the construction of a mosque in Chowk. area of Lucknow. Nawab granted him permission gladly and Tehsin Ki Masjid came to existence. It is still very much in use and keeping the memory of its builder alive.( References available on request)

Fatman-A Gift of Hindu Raja to Imamis

 
 Zuljina Procession Proceeding  to Rauza Fatman -Varanasi

 
By Dr.Mazhar Naqvi

Rauza-E-Fatman is one of the holiest 1338 Muslim shrines existing in Hindu’s most sacred Varanasi city, formerly known as Banaras.. The shrine not only conveys the message of communal harmony and peaceful coexistence but also serves as the main center of Muharram ceremonies observed with traditional reverence by the followers of Prophet Hazrat Muhammad and his ‘Ahle- Bait’( Progeny) in the city of Lord Shiva. It is considered to be a symbol of Hindu- Muslim unity as the shrines stand on the land granted by Raja of Banaras to a great Islamic scholar and ardent devotee of ‘Ahle-Bait’, Sheikh Muhammad ‘Ali "Hazin" Gilani (1692-1766).

The sheikh had arrived in India from Isphahan (Iran) in 1734 after becoming embroiled in an insurrection against Nadir Shah’s governor of Lar province. Initially, he tried to settle down in Multan, Lahore and Delhi but his haughtiness as an upper class Iranian with great scholarly and literary talents earned him more enemies than friends. He even refused to occupy a coveted post offered by the Mughal emperor. Finding the atmosphere in Delhi not congenial for his mission to propagate the true teachings of Islam, he headed for Bengal in 1748 but found solace in a pre-dominantly Hindu city in 1750.The scholar who had declined royal favor of a powerful king accepted the land grant and cash from a petty ruler to build two mosques and a tomb for himself. He did so after observing the keenness of elite Hindus, especially Brahmins, to learn Persian and encourage multi-religious characteristics.  

He devoted the most of his time in writing and teaching Persian poetry, without, however, giving up his religious role. He composed  many fine qasidas in praise of  Hazrat 'Ali, Imam Ali Musa Raza, Imam Ahmad bin Musa al-Kazim, and Imam Mahdi Akhiriuzzaman in his Diwan. Hazin's construction of his house, grave, mosques and garden at Fatman; his composition of Risala-i-Imamat; al-Ighasat fi'l Imamat; Risala fil Imamat ; and Qasida-i-Lamiyya lend further support to spread of love for Ahle-Bait in the neighboring parts of Varanasi.

The spot where Sheikh wished to be buried was a thorny, uneven and unleveled land. He improved it into a cultivable state and allotted a part of it for his grave and declaring the rest of the land granted to him as a waqf(Trust). Towards the end of his life, Hazin passed his days with bare necessities and solitude. He did not visit the house of any one—rich or poor. He did not receive anything from anybody; rather he gave frequently to the poor as his means permitted. He led an irreproachable life and desired only union with God..He used to visit the proposed site of his burial on Thursdays and sit there to distribute alms to the needy.

The construction of shrine began when Sheikh happened to be sleeping under a myrtle tree at the spot where his grave exists now. He had a dreadful dream. Hazin saw in his dream drops of blood dripping from the leaves of the tree with all his clothes drenched in blood. The frightened Sheikh, with a horrible scream on his lips, tried to interpret the dream. While pondering, it suddenly flashed to him that Bibi Fatima, daughter of Prophet Muhammad, was expecting him to erect a shrine in her honor. Hazin devoted rest of his life to the construction of a rauza for Bibi Fatima from whose pious name the shrine derives its own identity as Fatman. The shrine today not only contains rauza of Bibi Fatima but also the imprint of the right hand of her husband and spiritual successor of the Prophet, Hazrat Ali. The imprint is made of a slate-colored stone and is placed in a lowly room. The sheikh on the basis of his dream was of the view that ‘Astana’(Dargah) of Hazrat Saiyid-un-Nisa Fatimat-az-Zahra and the imprint  attributed to his Shah-E-Mardan ,Hazrat Ali existed at the site of Fatman time immemorial and he was only chosen to expose them to people at large.

Devotees of ‘Ahle-Bait has also contributed generously on the development and renovation of  Fatman by erecting shrines dedicated to Imam Husain, Maula Abbas and other martyrs of Karbala. The place is also dotted by Imambara and mosque amidst the tomb of Hazin is near Rauza of Bibi Fatima. His simple grave is built of red stone on a raised platform. There is nothing elaborate or pompous about it. It is not even covered, indicating that he was simply a slave of Masoomeen. Fatman is also used as graveyard and happens to be the last resting place of eminent scholars and personalities, including Bharat Ratna and Shehnai Maestro Ustad Bismillah Khan. There is very little open space left at the shrine for burial as every lover of ‘Ahle-Bait prefers to be buried here. The only shortcoming on the part of devotees has been the neglect of shrine’s founder as no serious effort has been made to publish the works of Hazin or hold annual religious congregations for his ‘Isaal-e-Sawab’.  Such initiatives will be a befitting tribute to a great scholar and poet who  was born in a happy little family of scholars with a decent family income. Then, he fell prey to innumerable and interminable grieves. He lost his father in 1127 A.H. and mother 2 years later, followed by the death of two brothers in the prime of their youth in 1134 A.H. His native land was devastated by Afghans, Turks, and Russians, and the royal Safavi family of his patrons exterminated by Nadir Shah. Hazin also lost many friends throughout Iran. His library and all his possessions also extinguished in the series of hardships that befell on him. Yet nothing could deter him from dedicating his to promotion and preservation of azadari in a place far from his native land.( References available on request)