First Time in History of AJMER
Sufi Festival 2009 - (24th Feb - 4th March 2009)
For Any Further Information Please
Syed Salman Chishty,
Gaddi Nashin – Dargah Ajmer Sharif, Khadim e Khawaja Gharib Nawaz (RA),
Managing Trustee, Chishty Foundation (Reg No : 2008000197)
Chishty Manzil, Jhalra Street, Dargah Sharif,
Ajmer 305001, Rajasthan, India
Tel: +91 145 5131786 / 5149473
Cel: +91 9829174973
Email : email@example.com
JAIPUR: The Confederation of Indian Industry has welcomed recent initiatives by the Union Civil Aviation Ministry and the Rajasthan Government to improve air connectivity in the State.
The newly-inaugurated international terminal building at Jaipur airport would provide a tremendous boost to tourism in the State while the proposed new airport at Kishengarh in Ajmer district would help both business and tourism, it said.
CII Rajasthan chairman Apurv Kumar said the new terminal building at Jaipur airport would lead to more international flights coming to the State Capital.
The terminal would also decongest Jaipur airport and help the neighbouring airports in decongestion, he said.
In fact, in the first meeting the CII had with Chief Minister Ashok Gehlot recently after his taking over, the delegates had suggested a short-term agenda for the new government. They had requested the State Government to start the new terminal building in Jaipur, a demand which had been pending for long.
Mr. Kumar said the signing of the MoU to set up an airport at Kishangarh and to convert 16 air strips to airports elsewhere in Rajasthan is a highly appreciable step. “Ajmer is well known for the Dargah Sharif and the holy town of Pushkar while Kishengarh as such is a big marble and granite market. This means that the airport will lead to increased tourism as well as increase in business,” he said.
Similarly Kishangarh airport will be near the major hub of textile industry, Bhilwara, as well as to the well known marble trading and mining centre Makrana in Nagaur district, he pointed out.
On 20th of Safar the Chehlum of Hazarat Imam Husain (AS) is observed
and the Muharam rituals usually come to an end. During this period one of the important ritual is the recitation of Marsiya .My great grandfather Syed Zahurmia Maharaj was a great marsiya recitor and had his own group. He also wrote some Salams and Manqabats in praise of the holy Prophet and his ahle-e-bait
But the greatest marsiya writer and recitor was Mir Anis .A brief biography from Azad's book Ab-e-Hayat is give below:
MĪR BABR ʿALĪ ANĪS
He was raised and educatedc in Lucknow, and obtained knowledge of the requirements of his art. In his ancestral art [of poetry] he was his father's pupil, and just as in age he was older than his two brothers, so in accomplishment too he was superior. In the beginning he too was fond of ghazal composition. On one occasion he went to some mushairah, and recited a ghazal, and was much praised. His kind father, hearing of this, was extremely happy at heart. But he asked his promising son, 'Where did you go last night?' He told him the circumstances. He heard the ghazal and said, 'My boy! Now bid farewell to this ghazal, and apply the strength of your temperament to the pursuit that is wealth in both this world and that one.' From that very day, the obedient son turned his back on it. He composed a salām in the pattern of that ghazal. Giving up worldly affairs, he entered the circle of faith, #520# and devoted his whole life to it. The blessings that flowed from his good intentions gave him the faith, and the world too, in this activity. In those days, he and his contemporaries had considered it their religious duty to obey their ustads. He composed salāms, elegies, nauḥahs, quatrains. And the length of an elegy was from thirty-five or forty to fifty stanzas.
The special temperament of Time is such that when plants grow old, it uproots them and flings them away and plants new seedlings. It seated Mīr Ẓamīr and Mīr Ḳhalīq on the bedstead of old age, and promoted Mīr Anīs to the pulpit in his father's place. On the other side, Mirzā Dabīr advanced to confront him. He was not a poet by family background, but was the devoted pupil of Mīr Ẓamīr. When both young men began to gallop into the fields of majlises, then the clouds of progress in that art rose up thundering and growling, and a torrent of new inventions and devices began to rain down.
The main thing was that from the king to the nobles and the poor, they were of the Shia persuasion. The true-believing appreciators of the young men's accomplishment were greater in numbers, and much greater in importance, than those their elders had found. Their poetry earned such esteem that only in heaven might they have been more honored. Nor was the esteem confined merely to oral praise and honor and veneration. Rather, valuable rewards of money and goods were presented to them in the form of gifts and offerings. Thanks to these incentives, the flight of their thought and the reach of their minds expanded even beyond what could have been hoped. Both accomplished ones showed that they were both real and proven poets, and ones who could, with the power of their arrangement of words, use every sort of theme, every type of idea, every situation, to weave such an enchantment that they could if they wished make people weep, make them laugh, make them sit petrified with astonishment.
These claims were absolutely proper, because they were always under observation. There was no need for proof. The Sikandar nāmah, which people praise until their lips go dry, contains just a few scenes of battle. The battle of Zangbār, the battle of Dārā, the battle of Rūs, the battle of Fūr, the battle of Faġhfūr; #521# similarly there are just a few introductory passages and festive gatherings. The Shāh nāmah's sixty thousand verses are the fruit of Firdausī's whole life. Mīr Anīs has caused a river of invention of themes to flow. One given theme he has used in hundreds--no, thousands--of moods. The chihrah of every elegy is new, the āmad [=arrival of a champion on the battlefield] is new, the battle scenes and scenes of social gathering are individual. And in every area the themes are highly original. The sword is new, the spear is new, the horse is new, the style is new, the combat is new.
And it's not only these things--if you look at the scene of the morning, then praise be to God! The departure of night, the tearing asunder of the darkness, the appearance of light, the rising of the sun, the lush beauty of the meadow. If it is evening, then it is the sadness of the evening of travelers in a strange country. Sometimes Mīr Anīs has shown the desolation of night, sometimes the dim glimmer of the stars, varied with moonlight and darkness in many ways. In short, whatever situation he has taken up, he has reproduced the scene in verse. His proliferation of themes has also been unlimited. While the elegy formerly had no more than forty or fifty stanzas, it now goes beyond one hundred fifty and turns out to be even longer than two hundred stanzas. The late Mīr Sahib must certainly have composed at least ten thousand elegies, and salāms beyond count. He composed as easily and casually as he spoke.
With both ustads, two groups of partisans formed. One was called the Anisians, the other the Dabirians. Although their pointless prides and objections created inappropriate disputes and quarrels, the good outweighed the harm. Because excessive praise caused the imaginations of both ustads to leap, in the passion of invention and the practice of flight, even beyond the heavens. When both factions presented their arguments, some were heavier in weight, some larger in size. Thus a decision in favor of either side was impossible.
The Anisians looked for equals of their poetry-creator by demanding his limpidity of speech, beauty of description, and pleasure of idiom.
The Dabirians presented in opposition grandeur of words, high flight, and newness of themes.
The Anisians said, 'These things that you consider the substance of your pride have been found unacceptable in the court of eloquence, #522# and have already been expelled, for they are only "digging up a mountain and producing a blade of grass"'.
The Dabirians said, 'You call it difficulty. This is the essence of knowledge, it is called rhetoric. If your poet has the strength of knowledge in his arms, then let him tear up mountains and pull out these gems. What is there in Anīs's poetry? It is merely hot air and the wagging of the tongue.'
The Anisians flared up at this answer, and said, 'What idea of your poetry-creator is there, that is not present in our meaning-creator's work? You don't realize! What you call hot air and tongue-wagging is the excellence of limpidity of speech and power of description. They call it 'unobtainable simplicity' [sahl-e mumtanaʿ]. It is an inborn quality. It does not come from reading books or blackening pieces of paper with ink.'
The Dabirians, hearing this speech, would start to recite from some elegy verses of the introduction, or the arrival [of the champion] on the battlefield, or the martial vaunting, in which there was often incorporation of [Quranic] verses or hadith.
The Anisians would say about this, 'Who is such an infidel as to deny it? But only recite this much. Don't recite the next part. If you move on to the next purpose, there won't even be connection in the sequence. Hazrat! Mere pomp and circumstance of words is good for nothing. Presentation of meaning is the real thing. If you discuss this point, you won't even be able to complete the discussion. This is the task of accomplished ones with power over speech, who have learned the principles of the art from their elders, from one breast to another. Only they know how to do this task.'
The Dabirians, in answer to this, displayed their poet's creative powers, the fertility of his temperament, the multitude of his themes, the abundance of his words. And they went on saying, appropriately or not, 'Look what an idiom! Look, simple colloquial language!' Together with this, they also said, 'Who has the nerve to sit down one night and compose one hundred stanzas before getting up? If someone wore out his pen for a whole year and prepared ten or fifteen elegies, then what has he done? And that too, with the combined advice of two other brothers, and after much sweat and discussion.'
The Anisians said, 'It's true. When people compose one hundred stanzas in a night, they are disconnected and #523# full of faults. And when such people come to express a meaning, they are even worse.' Along with this, they used to recite some lines as well, against which they laid the charge of being contrary to idiom, or having defective similes or improperly made metaphors.
The crossfire of objections reached such a level that the Dabirians said, 'When has such popularity ever fallen to anyone's lot, as God has bestowed on his poetry? In whichever majlis his poetry was recited, there was tumult. What sadness-inducing and sorrow-producing themes there were! Look at his words--they are immersed in the 'Water of Life' of faith.'
The Anisians said, 'How can he recite! Just think about his voice! And he doesn't even know how to recite elegies.' In short, no words could quiet the quarrelsome partisans. Indeed, necessity did it, for both sides tired their throats until they lost their voices. And Justice came between them and said, 'Both are good, both are good'. Sometimes she said, 'That one is a sun, this one a moon'. Sometimes, 'This is a sun, that a moon'.
In Lucknow, idle people were accomplished at inciting quarrels between others, and they loved to see the show. Dabīr was no relation, after all. They made brother fight with brother [in the case of Mīr Anīs]. For a long time, the hostility remained. When they came to Mīr Anīs, they said, 'Your Excellency, as long as there are elegies that have received correction, let him keep on reciting. The day he recites an elegy without your looking it over, the whitewash will come off.' Others said to his brother [Mīr Munīs], 'Your Excellency, seniority in age is one thing, the pleasure of language is another! This blessing is your portion alone.'
In short, these pure souls, thanks to whom our poetry has acquired power and our language has acquired scope--may the True Maker of Words give them their reward! What value does our gratitude have? But this point is worth emphasizing: that through their enthusiasm for competition, the area of the realm [iqlīm] of poetry that was under their pen [qalam] was largely overrun by exaggerations, and by narratives of battlefields and social gatherings. The field of elegy-ness became very narrow. And it's a pity that its real point [of inducing weeping] was the one that they had lost.
As long as Lucknow remained flourishing, when going to some other city was mentioned, both gentlemen said, #524# 'Only the people of this city can understand this poetry. What will anyone else know of its worth? And how will he understand the subtlety of our language?' But after the sack of Lucknow [in 1857], Mirzā Dabīr Sahib was the first to be invited to Murshidabad, in 1858. He went. He also kept going to Allahabad and Banaras. First in 1859 and then in 1860, the late Mīr Anīs too kept going to Azimabad, at the invitation and insistence of Navab Qāsim ʿAlī Ḳhān. Then in 1871, since Maulvī Sayyid Sharīf Ḥusain Ḳhān Sahib, virtuous son of the late Arast̤ū Jāh, was in Hyderabad [Deccan], at his instigation Navab Tahavvur Jang Bahādur invited Mīr Anīs.
Even now, his adherence to [consistency of] style didn't let him leave. But neither could he evade the word of the Maulvī Sahib; therefore, being helpless, he went. The people of Hyderabad showed for his accomplishment the esteem that they ought to have shown. People came in such numbers to the majlises that even the splendid mansion could not provide enough space. He posted watchmen at the doors, and told them to allow no one in except substantial and poetry-knowing people, and to permit a nobleman to bring no more than two companions. Despite this, people came in such numbers that they considered it great good fortune if they were able to find standing room, and they were happy to be able at least to hear.
When Mīr Anīs Sahib came away from there, then according to his promise he had to stop off at Allahabad. A majlis of great sophistication and elegance was arranged. My old and dear friend Maulvī Ẓakāʾullāh Sahib, who is a teacher in Muir College--who is more of a perceiver of fine points and a knower of poetry than he? He himself used to tell me about this majlis: 'Thousands of men, great and small, had gathered. How can I describe the accomplishment and the poetry? People were in a state of trance. Mīr Anīs was sitting in the pulpit, reciting, and it seemed that hed was working magic.' Over and over the Maulvī Sahib recited the ṭīp of the concluding verse, and enjoyed it:
/My life has passed in traveling this field
I am in the fifth generation of the praisers of Shabbīr/.
#525# His, or rather his whole family's, language, with regard to Urdū-e Muʿallā, was an authority in all of Lucknow. And he too was aware of this. But by temperament Mīr Anīs was extremely humble. His politeness kept his conversation so discreet and decorous that the tone of his words remained even below the level of moderation. And every word he spoke was weighed and measured. In some gathering, reciting his poetry, at certain idioms he said only, 'This is the language of my house. The gentlemen of Lucknow do not speak like this.' This also shows that up till this time Mīr Anīs did not want to call himself a resident of Lucknow.
Maulvī Sharīf Ḥusain Ḳhān Sahib used to say that in Hyderabad one day some persons of high rank were sitting. One gentleman began to praise Mīr Anīs's poetry. Mīr Anīs said, 'My friend, who is a poet? I am a composer of sorrows. I don't even know whether I do it as it ought to be done or not.' I myself met him, in 1857. I've heard it from other people as well. He spoke little, and his phrases were like pearls, worthy of stringing. Arast̤ū Jāh Maulvī Rajab ʿAlī Ḳhān Bahādur was in Lucknow at the invitation of the Chief Commissioner Bahādur. One day some of the aristocrats of the city were present. Mīr Anīs Sahib too was there. From somewhere, mangoes arrived. Since they were excellent, the worthy Maulvī Sahib had them placed in vessels full of water. And he invited all the gentlemen to take note. One Ḥakīm Sahib in the gathering was complaining of fever. But he participated in the tasting. One elder said, 'Ḥakīm Sahib! You were just complaining about your ailments.' The Ḥakīm stared at the floor. Mīr Anīs said [the Arabic proverb], 'The action of a wise man is not devoid of wisdom'.
Just as you see his poetry to be peerless, his recitation too was incomparable. His voice, his height and stature, the expression of his face--in short, everything was right and suitable for this work. His and his brothers' custom was that they placed a large mirror before #526# them and sat in private and practiced reciting the elegy. Style, gestures, pauses, phrases--they looked at everything, and themselves gave correction with regard to its suitability or unsuitability. Ẓauq:
/Having made a mirror, the mirror-maker first looks into it
The craftsman sees his own faults and craftsmanship/.
2 Feb 2009 (G)Corresponding to 6 Safar 1430 (H)
The second chatti of the 1430 (H) year would be celebrated at the Dargah of Khawaja Moinuddin Chishty also known as Gharib Nawaz.Usually around 50,000 to 100,000 zaireen (visitors) attend the monthly gathering.the celebration start with the recitation of the holy quran and faitha khani ,the chishtiya shijra is read and then dua is said for the the attendees and those absent.Later on tabaruk is distributed.
796th Urs of Khawaja Moinuddin Chishty 4th July -10 th July 2008
The Urs at Ajmer, a city in the Indian state of Rajasthan, commemorates the anniversary of the Wali Allah Hazrat Khwaja Moinuddin Chishty (the founder of Chishtiya sufi order in India) with six days of night-long dhikr/zikr qawwali singing. The anniversary is celebrated in the seventh month of islamic lunar calendar. Thousands of pilgrims visit from all over India and abroad.
Urs of Khwaja Gharib Nawaz is celebrated every year in the first week of Islamic month of Rajab, on seeing the moon of Rajab, the seventh month of the Islamic calendar, drums are beaten to herald the commencement of the annual ceremony.
The word Urs has been derived from “UROOS” which means “ultimate meeting of an individual with God” it is said that Huzoor Gharib Nawaz spent last six days of his life in Seclusion in a Huzra (room meant for prayers) and the 6th day of Rajab, his noble soul left the corporeal body. Every year Urs Mubarak is celebrated on his death anniversary in the Islamic month of Rajab.
Although Urs held for the first six days of Rajab. Yet the 6th day is regarded to be the most special and auspicious. It is called “Chati Sharif”. It is celebrated on the 6th Rajab between 10:00 A.M. to 1:30 P.M. Inside the Mazar Sharif. Shijra is read by duty bound Khadims of Khwaja Gharib Nawaz then Fariyad (Prayers) start for people present at the Dargah and for the country and its people for the peace, prosperity, wellfareness and for the promotion of brotherhood.
Just before the Qu'l (conclusion of 6th Rajab Chhati Sharif) Bhadawa is sung at the main entrance of the Shrine by Qwwals which literally means a poem or verses in praise of Allah, The Prophet and Aulia Ikraam.
Badahwa is the only recitation which is accompanied by talis (clapping) only, and no other instrument is played. It was composed by Hazrat Syed Behlol Chishty, one of the ancestor of the present day Khadim community who again refers to Khwaja Moinuddin Chishty as Khwaja Hasan Dan. After its recitation, the ceremony of the Qul comes to an end and Fatiha is recited. The ceremony is marked closed by firing a cannon at 1:30 P.M. in afternoon.(source Wikipedia)
Eid al Milad Al Nabi 12Rabiul Awal1430(9 March 2009
Al Madina Al Munawara The Place to Be..
Mawlid (Eid Milad an Nabi) (Turkish: Mevlid) (Qur'anic Arabic: مَوْلِدُ آلنَبِيِّ mawlidu n-nabiyyi, “Birth of the Prophet” Standard Arabic: مولد النبي mawlid an-nabī, sometimes simply called in colloquial Arabic مولد , mawlid, múlid, mulud, milad among other vernacular pronunciations) is a term used to refer to the observance of the birthday of the Islamic prophet Muhammad which occurs in Rabi' al-awwal, the third month in the Islamic calendar.
A number of Islamic scholars, such as Muhammad Alawi al-Maliki, a well known Maliki scholar from Saudi Arabia who taught in the Sacred Mosque, Gibril Haddad, and Zaid Shakir, all subscribing to the Sufi movement, and Yusuf al-Qaradawi, the primary scholar of the Muslim Brotherhood movement, have given their approval for the observance of Mawlid. They cite hadith where Muhammad recommended fasting on Mondays, as that was the day he was born and also the day prophecy descended on him. They suggest that fasting on Mondays is also a way of commemorating Muhammad's birthday. However, there is division among them on the lawfulness of the methods of the celebrations. Most accept that it is praiseworthy as long as it is not against sharia (i.e. inappropriate mingling of the sexes, consuming forbidden food or drink such as alcohol, playing music etc).(source wikipeida)
A Poem from yasayyidi.wordpress.com/category/madina/
Your generosity is boundless, O Allah’s Messenger!
For you always grant every wish of your seeker.
From your drop flow waves of magnanimity
From your particle emerges stars of rare luminosity.
O Master of Heavenly River! You are so kind
The needs of the thirsty are clear in your mind.
People learn the art of generosity at your door
The most virtuous walk humbly on your door.
How can Earthly beings understand your grandeur
When Heavenly beings are dazzled by your splendour?
Heaven, Earth and World you feed
Who then is the host? You are indeed.
Since you are Allah’s most Beloved, yours is everything
In love mine and thine does not apply to anything.
Those at your feet hold a distinguished place
They find your feet brighter than anyone’s face.
Not a well, but an ocean I want for a start
But from your hand a mere splash contents my heart.
A POEM form Diwan-e-Moin
Magar sabaa ze sar-e-kuye dost miaayad
Ke az zamin o zamaan buye dost miaayad
Only if the morning breeze comes from the street of the Friend,
Then all the universe will spread the fragrance of the Friend.
Che rashk haast ke az yaad mibaram har shab
Ke ruye u ze che bar ruye dost miaayad
What is this jealousy, that when I start contemplating every night,
Each ordinary face gets replaced by the face of the Friend?
Ze kuye dost chu ‘aashiq kashid o daarad paaye
Kamand-e-shawq ham az muye dost miaayad
Although the lover strays away from the street of the Friend,
The snare of longing still comes from the tresses of the Friend.
Wafaa cheguna konad ‘aql o hosh baa man-e-mast
Chonin ke jaam-e-hayaahuye dost miaayad
What loyalty can intellect and sanity provide to my intoxicated self,
Which I get from a cup of wine so that I cry out for the Friend?
(new shair from the above gazal dt.9 Feb 09)
Har aanche aayadat az ghaib nek o bad ma-negar
Hamin bas ast ke az suye dost miaayad
Accept whatever, good or bad, is sent to you from the unseen,
For you it is enough that it comes from the Friend.