Complete Punjabi Poetry and Kafian of Shah Hussain with meanings of difficult words. Presented by: APNA An organization to promote Punjabi language. Punjabi Poetry of Shah Hussain in Punjabi-Hindi-Urdu. Look,at,most,relevant,Download,kalam,baba,bulhy,shah,punjabi,book, pdf, websites,.,Download,Free,Pdf,.,Baba,Sheikh,Farid,Shah,Hussain,Baba,Bullhe, Shah.
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Name: Kalam Shah Husain. Name: کلام شاہ حسین. Author: Mushtaq Misali یو سف مثالی. Language: Urdu. Publisher: Mushtaq Book Corner. Publish Date. “Kafi is a well known genre of Punjabi poetry, which Shah Hussain has composed in . Dr. Jit Singh Sital, the editor of the Kalam-e-Nanak, has described the. Download Shah Hussain R.A Punjabi Kalam apk for Android. Punjabi Poetry of Hazrat Madhu Laal Shah Hussain R.A is included in this app.
In his passionate love for Madho he bravely defied the norms of his own society, expressing a stern indictment of the orthodox theologians, for whom religion had been reduced to a set of soulless rituals, rigid rules and strict restrictions, drained of love, joy, compassion and emotion. To please Madho he celebrated with great enthusiasm, Basant, the Punjabi spring festival, as well as the Hindu festival of Holi. During Holi, for example, Madho and Hussain would follow the Hindu custom of throwing coloured powder on each other.
True spiritual realization, he believed, could only be attained through infinite love, for, as he wrote: This youth will not come back again So laugh and play while you can with your lover. Love, believed Hussain, can so intimately unite two souls or a human being with God that they lose their individualities and separateness and merge completely into each other.
In much the same way, Madho and Hussain became so inseparable that they became known by one single name-Madho Lal Hussain. The shrine, containing the graves of the two inseparable lovers-united in death as they had been in life-continues to attract large numbers of faithful pilgrims to this very day.
NOTES: 1. Hussain is best known for his poetry. He was the first to write kafis set to classical Hindustani ragas and raginis. Ramakrishna, however, adds that according to the Tazkira Aulia-i-Hind, he belonged to a family of converted Kayasths, the caste of professional scribes.
A title often adopted by new converts to Islam. This is despite the fact that orthodox Islamic theologians frowned upon the wearing of red garments by Muslim men. Ramakrishna writes that such intimate love between Sufi males was not at all unusual.
In fact, it can be said to have been perfectly normal for many Persian Sufis and for Indian mystics influenced by them. She notes that the orthodox opponents of the Sufis, however, charged that they kept handsome youths only "to satisfy [their] animal nature" p. They accused him of religious innovation, and even tried to physically harm him. In the assembly of his disciples and devotees, Shah Fazle Rahman used to freely render the Quranic verses into colloquial Purabi-Hindi dialect, and some of his disciples used to record it.
It was not a systematic attempt at translating the complete text of the Quran in a native dialect, and probably nor was it intended for wider dissemination at a later stage. Only some select surahs chapters or their select sections were translated. Later, it was published with the title Mannmohan ki batain.
The equation between the doctrines and beliefs of Islam with those of Hinduism speaks volume of his ingenious creativity in the realm of religious philosophy. For instance, he translates the term Allah as Ishwar and Parameshwar, and likewise translates the Quranic terms Rasul and Nabi as Avatar. In doing so, Shah Fazle Rahman first tried to decontextualize the Vernacularization of Islam and Sufism in South Asia: A Study of the Production of …… sacred text from Arab-Islamic context, and secondly, tried to recontextualize it in local Indian environment, i.
Hindu context. In other words, his translation- interpretation tended to indigenize and vernacularize the sacred text by minimizing its foreignness. Apart from translating the Quran in local languages and dialects in recent times,8 the sufis also tried to vernacularize other areas of worship as well. So the sufis tried to pull down the language barricade in order to make Islamic and sufi traditions look more meaningful, enabling the local people to relate these traditions to their culturally-grounded belief-systems.
Apart from language, the sufis also translated the message of Sufism into a more locally familiar cultural worldview of common people. That was why the sufis had emerged as an alternative locus of religious authority in Islam, in addition to the ulama. The sufis who had immigrated to India from other regions of the Islamicate world made themselves conversant with the local languages and dialects. The sufi poetry in particular acquired the form of popular songs or work songs sung by women in the villages while performing domestic chores.
Interestingly, an important characteristic of vernacular sufi Journal of the Research Society of Pakistan, Vol. In particular, it is found in Punjabi, Sindhi, early Urdu poetry composed in Deccan, as well as Rekhti ghazals love songs from Lucknow. Moreover, the sufi poets employed the trope or literary motif of virahini a women separated from her husband or beloved and longing to be united with him , which symbolized the yearning human soul longing to be united with the Divine.
The motif of virahini was borrowed from Hindi-Sanskrit literary traditions.
The sufis took advantage of the popularity of this motif, and employed it in varied forms within the complex sufi context. The rhyming of all words, whether of Hindi or Arab or Persian origin, is based on their similarity of sound, as they are pronounced by the inhabitants of this country. As Eaton has shown, the sufi folk literature including poetry provided a vital link between Hindus and Muslims, since the abstract sufi doctrines were translated in easily comprehensible and appealing form through this literature, which became popular among the illiterate Hindus and Muslims alike.
In addition, the sufi folk literature played a vital role in the expansion of Islam in the Islamicate South Asia. Poetry was the daily bread for millions of people who formed their Weltbild according to the picture presented to them by the poets. Realizing that they could not reach the common people through Persian or Arabic, the sufis employed the local languages and dialects, including the Hindi and Hindavi, for dissemination of the message of Islam and Sufism.
So the literary compositions by the sufis played an important role in linguistic indignization. Baba Farid was familiar with Hindavi, and conversed and composed poetry in it. His Hindavi poetry is rich in imagery borrowed from the Indian landscape. The contribution of the sufis, particularly the Chishti sufis like Amir Khusrau, in the development of devotional sufi music called qawwali is another aspect of vernacularization of Sufism in South Asia, but the scope of the study does not permit to elaborate upon it, as the topic demands a detailed study.
Shaykh Abd al-Quddus Gangohi d. In Hindi, his pen name was Rajan, and Mushtaqi in Persian. His works in Hindi are titled Paiman and Jot Naranjan. He was prolific writer, who not only authored 17 books in Persian, but also wrote 14 books and treatises in Urdu language.
He played an important role in popularizing Urdu in Rajputana. His son, Shah Burhan al-Din Janam d. These songs were sung by women while performing their domestic chores, but these songs also disseminated the sufi doctrines in a simple manner among the illiterate masses.
These literary contributions of the sufis not only disseminated sufi doctrines but also played a crucial role in cultural rapprochement among various sections of the Indian society. He composed poetry in Punjabi in order to disseminate the teachings of Sufism through popular songs. Some of these verses are said to be incorporated in Guru Granth, the sacred scripture of the Sikhs. The Qadiri sufi- poet Shah Husayn of Lahore b.
Being a spokesman of common people, he rarely used Arabic or Persian words in his lyrics. As pointed out above, the literary motif of virahini was borrowed from Hindi-Sanskrit literary traditions by the sufis, who took advantage of its popularity, and used this motif for discussing the subtleties of human-divine love relationship. Another Qadiri sufi-poet Sultan Bahu b. Pir Meher Ali Shah.
Rabia al-Basri. Qausain Ali. Home Poets. Sufi Poetry.