Name	Brij Bhasa
Nativename	ब्रज भाषा
States	India
Region	Uttar Pradesh
Speakers	11,085,230
Familycolor	Indo-European
Fam2	Indo-Iranian
Fam3	Indo-Aryan
Fam4	Central
Fam5	Western Hindi
Script	Devanagari script
Iso2	bra|iso3bra}}

Braj Bhasha (Devanagari: ब्रज भाषा), also called Brij Bhasha (बॄज भाषा), Braj Bhakha (ब्रज भाखा), or Dehaati Zabaan (देहाती ज़बान, 'country tongue'), is a Central Indian language closely related to Hindi. In fact it is usually considered to be a dialect of Hindi, and along with Awadhi was one of the two predominant literary languages of North-Central India before the switch to Khariboli in the 19th century.

Braj Bhasha is spoken by people in the nebulously defined region of Vraja Bhoomi, which was a political state in the era of the Mahabharata wars. According to ancient Hindu texts such as the Bhagavata Purana, the kingdom of King Kamsa is described as spreading through the Braj (also known as Vrija or Vraja), where the incarnation of Krishna was born and spent his childhood days. This region lies in the Agra-Mathura area, and stretches as far as the environs of Delhi. In modern India, this area lies mostly in northwestern Uttar Pradesh, the eastern extremities of Rajasthan and the southern extremities of Haryana. Today Braj Bhoomi can be seen as a cultural-geographical entity rather than a proper state. It is the vernacular of the region and boasts a rich culture and literature by famous poets like Surdas, Bhai Gurdas and Amir Khusro. Brij Bhasha is very close to Avadhi, spoken in neighbouring Avadh region.

Much of the Hindi literature was developed in Brij in the medieval period. However, today Khariboli dialect has taken its place as the predominant standard dialect of Hindi.

In modern India, Braj Bhasha exists as an unofficial dialect spoken colloquially by natives of the region of Braj Bhoomi, with great cultural and religious significance. Much of Hindi poetry, especially that of 'Bhakti' or devotional poetry is in this language. Some devotional poems for Krishna are also composed in Braj Bhasha. The pioneering Hindi poet Aamir Khusro, also spoke and composed poetry in this language. Famous Braj Bhasha folk songs or poems include 'Chhaap tilak sab chheeni' by Aamir Khusro, and the popular devotional song ,"Main naahin maakhan khaayo" by Surdas. Braj Bhasha is also the main language of Hindustani classical music compositions.

Geographical distribution

Braj Bhasha is mainly a rural tongue currently, predominant in the nebulous Braj region centred around Mathura and Agra in Uttar Pradesh. It is the predominant language in the central stretch of the Ganges-Yamuna Doab in the following districts:

Mathura

Agra

Firozabad

Hathras ( Mahamaya Nagar )

Aligarh

Etah

Mainpuri

Etawah

Aligarh

Bulandshahr

Gautam Buddha Nagar ( Noida )

Farrukhabad

Etha

Badaun

It stretches across the Ganges into the non-Doabi districts of Badaun and Bareilly and goes up to the foothills of Nainital at Udham Singh Nagar in Uttarakhand.

Besides Uttar Pradesh, it is spoken in the bordering areas of Rajasthan, mainly in the following districts:

Bharatpur

Dhaulpur

as well as parts of Karauli, from where onwards it merges into Rajasthani languages.

It is also spoken in the areas of Haryana south of Delhi, mainly in Faridabad district and eastern areas of Gurgaon and Mewat districts.

Literature

Studying Braj Bhasha literature, it can be noticed that most of the literature is of a mystical nature, related to the spiritual union of man with God. This is not at all surprising since virtually all of the poets were God-realised saints and their words are thus considered to be directly emanated from a divine source. Much of traditional Northern Indian literature shares this trait. All traditional Punjabi literature is similarly written by saints and is of a metaphysical and philosophical nature.

Another peculiar feature of Northern Indian literature is that the literature is mostly written from a female point of view, even by male poets. This is because the saints were in a state of transcendental, spiritual love, where they were metaphorically women reuniting with their beloved. (In its inversion of the conventional genders of worshipper and worshippee, Maulana Da’ud's Chandayan departs from this tradition.)

Important works in Brij bhasha are:

Yugala Shataka by Swami Sri Sribhatta Devacarya; known as the first 'Vani' book in Vraja Bhasha composed in the 14th Century AD as a part of Nimbarka Sampradaya tradition of Radha Krishna worship.

Vinaya Patrika by Tulsidas.

Sur Sagar by Surdas.

Buddha Charit by Acharya Ram Chandra Shukla.

Sufi poetry by Amir Khusro.

See also

Hindi Literature

References

External links

Braj Bhasha at the Ethnologue

°http://www.ciil.org/Main/languages/indian.htm

Further reading

''Rupert Snell, The Hindi Classical Tradition: A Braj Bhasa Reader''

Category:Languages of India Category:Hindi languages Category:Languages of Uttar Pradesh Category:Dialects of Hindi Category:Languages of Rajasthan

ar:لغة برجية de:Braj-Bhakha hi:ब्रजभाषा la:Braj Bhasa ja:ブラジュ・バーシャー語 nn:Bradjbhakha pnb:برج بھاشا pms:Lenga braj bhasha pl:Język bradź ru:Брадж (язык) ta:பிராஜ் பாஷா th:ภาษาพรัช

Name	Amir Khusrow
Background	non_vocal_instrumentalist
Birth name	Ab'ul Hasan Yamīn ud-Dīn Khusrow
Born	1253 Patiali, Etah, Uttar Pradesh, India
Died	1325
Genre	Ghazal, Khayal, Qawwali, Rubai, Tarana
Occupation	Musician, Poet
Major works	''Divan-e-Amir Khusrow''
Website	}}

Ab'ul Hasan Yamīn ud-Dīn Khusrow (1253-1325 CE) (; Hindi: ), better known as Amīr Khusrow (also Khusrau, Khusro) Dehlawī (امیر خسرو دہلوی; ), was an Indian musician, scholar and poet. He was an iconic figure in the cultural history of the Indian subcontinent. A Sufi mystic and a spiritual disciple of Nizamuddin Auliya of Delhi, Amīr Khusrow was not only a notable poet but also a prolific and seminal musician. He wrote poetry primarily in Persian, but also in Hindavi.

He is regarded as the ''"father of qawwali"'' (the devotional music of the Sufis in the Indian subcontinent). He is also credited with enriching Hindustani classical music by introducing Persian and Arabic elements in it, and was the originator of the khayal and tarana styles of music. The invention of the tabla is also traditionally attributed to Amīr Khusrow.

A musician and a scholar, Amir Khusrow was as prolific in tender lyrics as in highly involved prose and could easily emulate all styles of Persian poetry which had developed in medieval Persia, from Khāqānī's forceful ''qasidas'' to Nizami's ''khamsa''. He used only 11 metrical schemes with 35 distinct divisions. The verse forms he has written in include Ghazal, Masnavi, Qata, Rubai, Do-Beti and Tarkibhand. His contribution to the development of the ''ghazal'', hitherto little used in India, is particularly significant.

Early life and background

Amir Khusrow was born in Patiali near Etah in northern India. His father, Amīr Sayf ud-Dīn Mahmūd, was a Turkic officer and a member of the Lachin tribe of Transoxania, themselves belonging to the Kara-Khitais.

Career

Major life events in chronological order

Khusrow was born in Badaun near Etah in what is today the state of Uttar Pradesh in northern India. His father Amir Saifuddin came from Balkh in modern day Afghanistan and his mother hailed from Delhi. #1260 After the death of his father, Khusrow went to Delhi with his mother. #1271 Khusrow compiled his first divan of poetry, "Tuhfatus-Sighr". #1272 Khusrow got his first job as court poet with King Balban's nephew Malik Chhajju. #1276 Khusrow started working as a poet with Bughra Khan (Balban's son). #1279 While writing his second divan, Wastul-Hayat, Khusrau visited Bengal. #1281 Employed by Sultan Mohammad (Balban's second son) and went to Multan with him. #1285 Khusrow participated as a soldier in the war against the invading Mongols. He was taken prisoner, but escaped. #1287 Khusrow went to Awadh with Ameer Ali Hatim (another patron). #1288 His first mathnavi, "Qiranus-Sa'dain" was completed. #1290 When Jalal ud din Firuz Khilji came to power, Khusro's second mathnavi, "Miftahul Futooh" was ready. #1294 His third divan "Ghurratul-Kamal" was complete. #1295 Alauddin Khilji (sometimes spelled "Khalji") came to power and invaded Devagiri and Gujarat. #1298 Khusrow completed his "Khamsa-e-Nizami". #1301 Khilji attacked Ranthambhor, Chittor, Malwa and other places, and Khusro remained with the king in order to write chronicles. #1310 Khusrow became close to Nizamuddin Auliya, and completed Khazain-ul-Futuh. #1315 Alauddin Khilji died. Khusrow completed the mathnavi "Duval Rani-Khizr Khan" (a romantic poem). #1316 Qutb ud din Mubarak Shah became the king, and the fourth historical mathnavi "Noh-Sepehr" was completed. #1321 Mubarak Khilji (sometimes spelled "Mubarak Khalji") was murdered and Ghiyath al-Din Tughluq came to power. Khusro started to write the Tughluqnama. #1325 Sultan Muhammad bin Tughluq came to power. Nizamuddin Auliya died, and six months later so did Khusrow . Khusrow 's tomb is next to that of his master in the Nizamuddin Dargah of Delhi.

Khusrow the Royal poet

Khusrow was a prolific classical poet associated with the royal courts of more than seven rulers of the Delhi Sultanate. He is popular in much of North India and Pakistan, because of many playful riddles, songs and legends attributed to him. Through his enormous literary output and the legendary folk personality, Khusrow represents one of the first (recorded) Indian personages with a true multi-cultural or pluralistic identity.

He wrote in both Persian and Hindustani. He also spoke Arabic and Sanskrit. His poetry is still sung today at Sufi shrines throughout Pakistan and India.

Amir Khusrow was the author of a ''Khamsa'' which emulated that of the earlier poet of Persian epics Nizami Ganjavi. His work was considered to be one of the great classics of Persian poetry during the Timurid period in Transoxiana.

Amir Khusrow and the origins of the Sitar and the Tabla

Amir Khusrow is credited with fashioning the ''tabla'' as a split version of the traditional Indian drum, the ''pakhawaj''.

Popular lore also credits him with inventing the ''sitar'', the Indian grand lute, but it is possible that the Amir Khusrow associated with the sitar lived in the 18th century (he is said to be a descendant of the son-in-law of Tansen, the celebrated classical singer in the court of the Mughal Emperor Akbar). See Origin Of Sitar and About Sitars.

Some samples of Khusrow 's poetry

Persian poems

''Kafir-e-ishqam musalmani mara darkaar neest'' ''Har rag-e mun taar gashta hajat-e zunnaar neest;'' ''Az sar-e baaleen-e mun bar khez ay naadaan tabeeb'' ''Dard mand-e ishq ra daroo bajuz deedaar neest;'' ''Nakhuda dar kashti-e maa gar nabashad goo mubaash'' ''Ma khuda daareem mara nakhuda dar kaar neest;'' ''Khalq migoyad, ki Khusrau butparasti mikunad'' ''Aare-aare mikunam, ba khalq mara kaar neest.''

I am a pagan (worshiper) of love: the creed (of Muslims) I do not need; Every vein of mine has become taut like a wire; the (Hindu) girdle I do not need. Leave from my bedside, you ignorant physician! The only cure for the patient of love is the sight of his beloved – other than this no medicine does he need. If there be no pilot on our ship, let there be none: We have God in our midst: the pilot we do not need. The people of the world say that Khusrau worships idols. So I do, so I do; the people I do not need, the world I do not need.

Hindavi couplets

ख़ुसरो दरिया प्रेम का, उलटी वा की धार, जो उभरा सो डूब गया, जो डूबा सो पार.

''Khusro dariya prem ka, ulṭī vā kī dhār,'' ''Jo ubhrā so ḍūb gayā, jo ḍūbā so pār.''

Khusro! the river of love has a reverse flow He who floats up will drown (will be lost), and he who drowns will get across.

सेज वो सूनी देख के रोवुँ मैं दिन रैन, पिया पिया मैं करत हूँ पहरों, पल भर सुख ना चैन. ''Sej vo sūnī dekh ke rovun main din rain,'' ''Piyā piyā main karat hūn pahron, pal bhar sukh nā chain.''

Seeing the empty bed I cry night and day Calling for my beloved all day, not a moment's happiness or rest.

छाप तिलक सब छीनी रे मोसे नैना मिलाइके बात agam कह दीनी रे मोसे नैना मिलाइके प्रेम भटी का मदवा पिलाइके मतवारी कर लीन्ही रे मोसे नैना मिलाइके गोरी गोरी बईयाँ, हरी हरी चूड़ियाँ बईयाँ पकड़ हर लीन्ही रे मोसे नैना मिलाइके बल बल जाऊं मैं तोरे रंग रजवा अपनी सी रंग दीन्ही रे मोसे नैना मिलाइके खुसरो निजाम के बल बल जाए मोहे सुहागन कीन्ही रे मोसे नैना मिलाइके छाप तिलक सब छीनी रे मोसे नैना मिलाइके बात अजब कह दीनी रे मोसे नैना मिलाइके

''Chhāp tilak sab chīnī re mose nainā milāike'' ''Bāt agam keh dīnī re mose nainā milāike'' ''Prem bhaṭī kā madvā pilāike'' ''Matvālī kar līnhī re mose nainā milāike'' ''Gorī gorī baīyān, harī harī chuṛiyān'' ''baīyān pakaṛ har līnhī re mose nainā milāike'' ''Bal bal jāūn main tore rang rajvā'' ''Apnī sī kar līnhī re mose nainā milāike'' ''Khusro Nijām ke bal bal jaiye'' ''Mohe suhāgan kīnhī re mose nainā milāike'' ''Bāt adham keh dīnī re mose nainā milāike''

You've taken away my looks, my identity, by just a glance. By making me drink the wine from the distillery of love You've intoxicated me by just a glance; My fair, delicate wrists with green bangles in them, Have been held tightly by you with just a glance. I give my life to you, Oh my cloth-dyer, You've dyed me in yourself, by just a glance. I give my whole life to you Oh, Nijam, You've made me your bride, by just a glance.

Hindavi riddles

''Nar naari kehlaati hai,'' ''aur bin warsha jal jati hai;'' ''Purkh say aaway purkh mein jaai,'' ''na di kisi nay boojh bataai.''

Is known by both masculine and feminine names, And lightens up (or burns up) without rain; Originates from a man and goes into a man, But no one has been able to guess what it is.

Answer: Nadi (Stream)

''Pawan chalat weh dehe badhavay'' ''Jal peevat weh jeev ganvavay'' ''Hai weh piyari sundar naar,'' ''Naar nahin par hai weh naar.''

With the blow of wind she flares up, And dies as soon as she drinks water; Even though she is a pretty woman, She’s not a woman, though she’s feminine.

Answer: Aag (Fire)

Unique Multi-lingual Poem

Note:

Green = Persian

Blue = Brij Bhasha

Zeehaal-e miskeen makun taghaful, duraye naina banaye batiyan; ki taab-e hijran nadaram ay jaan, na leho kaahe lagaye chhatiyan.

Shaban-e hijran daraz chun zulf wa roz-e waslat cho umr kotah; Sakhi piya ko jo main na dekhun to kaise kaatun andheri ratiyan.

Yakayak az dil do chashm-e jadoo basad farebam baburd taskin; Kise pari hai jo jaa sunaave piyare pi ko hamaari batiyan.

Cho shama sozan cho zarra hairan hamesha giryan be ishq aan meh; Na neend naina na ang chaina Na aap aaven na bhejen patiyan.

Bahaqq-e roz-e wisal-e dilbar ki daad mara ghareeb Khusrau; Sapet man ke waraaye raakhun jo jaaye paaon piya ke khatiyan.

Meaning

The phrase "Zeehaal-e-miskeen" comes from a poem of Amir Khusrow. The unique thing about this poem is that it is a macaronic, written in Persian and Brij Bhasha. In the first verse, the first line is in Persian, the second in Brij Bhasha, the third in Persian again, and the fourth in Brij Bhasha. In the remaining verses, the first two lines are in Persian, the last two in Brij Bhasha. The poem showcases Amir Khusrau's mastery over both languages. The English translation is:

Do not overlook my misery Blandishing your eyes, and weaving tales; My patience has over-brimmed, O sweetheart, Why do you not take me to your bosom.

The nights of separation are long like tresses, The day of our union is short like life; When I do not get to see my beloved friend, How am I to pass the dark nights?

Suddenly, as if the heart, by two enchanting eyes Is beset by a thousand deceptions and robbed of tranquility; But who cares enough to go and report To my darling my state of affairs?

The lamp is aflame; every atom excited I roam, always, afire with love; Neither sleep to my eyes, nor peace for my body, neither comes himself, nor sends any messages

In honour of the day of union with the beloved who has lured me so long, O Khusrau; I shall keep my heart suppressed, if ever I get a chance to get to his place.

Works

''Tuhfa-tus-Sighr'' (Offering of a Minor) his first divan, contains poems composed between the age of 16 and 19

''Wastul-Hayat'' (The Middle of Life) his second divan, contains poems composed at the peak of his poetic career

''Ghurratul-Kamaal'' (The Prime of Perfection) poems composed between the age of 34 and 43

''Baqia-Naqia'' (The Rest/The Miscellany) compiled at the age of 64

''Qissa Chahar Darvesh'' The Tale of the Four Dervishes

''Nihayatul-Kamaal'' (The Height of Wonders) compiled probably a few weeks before his death.

''Qiran-us-Sa’dain'' (Meeting of the Two Auspicious Stars) Mathnavi about the historic meeting of Bughra Khan and his son Kyqbad after long enmity (1289)

''Miftah-ul-Futooh'' (Key to the Victories) in praise of the victories of Jalaluddin Firuz Khilji (1291)

''Ishqia/Mathnavi Duval Rani-Khizr Khan'' (Romance of Duval Rani and Khizr Khan) a tragic love poem about Gujarat’s princess Duval and Alauddin’s son Khizr (1316)

''Noh Sepehr'' Mathnavi. (Mathnavi of the Nine Skies) Khusrau’s perceptions of India and its culture (1318)

''Tarikh-i-Alai'' ('Times of Alai'- Alauddin Khilji)

''Tughluq Nama'' (Book of the Tughluqs) in prose (1320)

''Khamsa-e-Nizami'' (Khamsa-e-Khusrau) five classical romances: Hasht-Bahisht, Matlaul-Anwar, Sheerin-Khusrau, Majnun-Laila and Aaina-Sikandari

''Ejaaz-e-Khusrovi'' (The Miracles of Khusrau) an assortment of prose compiled by himself

''Khazain-ul-Futooh'' (The Treasures of Victories) one of his more controversial books, in prose (1311–12)

''Afzal-ul-Fawaid'' utterances of Nizamuddin Auliya

''Ḳhāliq Bārī '' a versified glossary of Persian, Arabic, and Hindawi words and phrases attributed to Amir Khusrau, but most probably written in 1622 in Gwalior by Ẓiyā ud-Dīn Ḳhusrau

''Jawahar-e- Khusrovi'' often dubbed as the Hindawi divan of Khusrau

See also

Indian literature

Urdu literature

List of Persian poets and authors

List of Urdu poets

Urdu poetry

References

E.G. Browne. ''Literary History of Persia''. (Four volumes, 2,256 pages, and twenty-five years in the writing). 1998. ISBN 0-7007-0406-X

Jan Rypka, ''History of Iranian Literature''. Reidel Publishing Company. ASIN B-000-6BXVT-K

Shīrānī, Ḥāfiż Mahmūd. “Dībācha-ye duvum [Second Preface].” In ''Ḥifż ’al-Lisān (a.k.a. Ḳhāliq Bārī)'', edited by Ḥāfiż Mahmūd Shīrānī. Delhi: Anjumman-e Taraqqi-e Urdū, 1944.

Further reading

Important Works of Amir Khusrau (Complete)

The Khaza'inul Futuh (Treasures of Victory) of Hazarat Amir Khusrau of Delhi English Translation by Muhammad Habib (AMU). 1931.

Poems of Amir Khusrau ''The History of India, as Told by Its Own Historians: The Muhammadan Period'', by Sir H. M. Elliot. Vol III. 1866-177. ''page 523-566''.

Táríkh-i 'Aláí; or, Khazáínu-l Futúh, of Amír Khusrú ''The History of India, as Told by Its Own Historians: The Muhammadan Period'', by Sir H. M. Elliot. Vol III. 1866-177. ''Page:67-92.

Bibliography

External links

Amir Khusro Website

Sufism

Category:Urdu poets Category:Indian poets Category:Indian Muslims Category:Persian-language poets Category:Indian Sufis Category:Sufi poets Category:Delhi Sultanate Category:Muslim writers Category:Performers of Sufi music Category:Hindi poets Category:Medieval writers Category:1253 births Category:1325 deaths Category:Chishti Order Category:People from Etah Category:Macaronic language

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Veena Sahasrabuddhe (b. September 14, 1948) is a leading Indian vocalist and composer of Hindustani classical music. Her singing style has its roots in Gwalior gharana, but it also borrows from Jaipur and Kirana gharanas. Veena is known as a singer of khyal and bhajan.

Musical career

Veena was born in a musical family. Her father Shankar Shripad Bodas was a disciple of vocalist Pandit Vishnu Digambar Paluskar. She began her early musical education under her father, and then under her brother Kashinath Shankar Bodas. She also learned Kathak dancing in her childhood.

Veena's musical mentors include Padmashri Balwantrai Bhatt, Pandit Vasant Thakar, and Pandit Gajananrao Joshi.

She has a Bachelor's degree in Vocal Performance, Sanskrit Literature, and English Literature from Kanpur University (1968), a Master's degree (''Sangeet Alankar'') in Vocal Performance from ''A.B.G.M.V. Mandal'' (1969), and also Master's degree in Sanskrit from Kanpur University (1979). A.B.G.M.V. Mandal conferred on her a doctorate in vocal music (''Sangeet Praveen'') in 1988. She was the Head of the Department of Music at SNDT Pune campus.

Veena has given musical performances in India, Australia, Europe, the Middle East, and North America.

Awards

- A prize in Vocal Classical category in a national competition for artists under age 25, conducted by All India Radio (1972)

- ''Uttar Pradesh Sangeet Natak Akademi Award'' (1993)

Press

“Captivating- took her audience to dizzy heights of evocation by her impassioned Khayal renditions” -The Times of India, 1986

“Despite inclement weather, drew a phenomenal turnout...did much more than fulfill the expectations of her eager fans” - The Times of India, 1989

“Unforgettable recital...superlative performance...[held] her listeners spellbound” -The Times of India, 1990

“Imbued with tremendous melodic appeal” - Indian Express, 1992

“A concert to remember...clear pronunciation...improvisation in keeping with word meanings...ability to develop an instant rapport with the audience” - The Times of India, 1995

Sources

1. Biographical Information: http://www.it.iitb.ac.in/~hvs/Veena/index.html

2. Hinduonnet.com, by Mala Kumar http://www.hinduonnet.com/thehindu/fr/2006/02/10/stories/2006021003230200.htm

3. Press http://www.unl.edu/raag/veena/Veena.html

External links

Hindu.com

Interview

Appreciation talks

Discography

Recordings

Category:1948 births Category:Living people Category:Hindustani singers

bgcolour	#6495ED
name	Pathanay Khan
birth name	Ghulam Mohammad
birth date	1926
birth place	Basti Tambu Wali, Kot Addu, Punjab
death date	March 9, 2000
death place	Kot Addu, Punjab, Pakistan
nationality	Pakistani
field	Folk music
awards	Pride of Performance
website	}}

Pathanay Khan (''real name: Ghulam Muhammad''; 1926 - 2000) was a great Seraiki folk singer from Pakistan. He sang mostly Kafis or Ghazals (in Urdu: غزل), which were largely based on the Sufi poetry of Khwaja Ghulam Farid and Shah Hussain. He was born in 1926 in the village Basti Tambu Wali, situated in the heart of the Thal Desert, several miles from Kot Addu (Punjab).

Story behind the Name

When he was only a few years old, his father brought his third wife home, so his mother decided to leave his father. She took her son along and went to Kot Addu to stay with her father. When the boy fell seriously ill, his mother took him to a syed's house. The syed's wife looked after him, and advised his mother to change his name because it seemed too heavy for him. Her daughter commented that he looked like ''Pathana'' (in that region, a name symbolising love and valour), and so from that day onwards he was known as Pathanay Khan. His mother credited the new name for saving the child's life.

Life

Pathanay Khan was very attached to his mother. She took good care of him and tried to educate him. However, he, like his father Khameesa Khan, spent his time wandering, contemplating and singing. His nature lured him away from school after the seventh standard. He began singing, mostly the Kafis of Khwaja Ghulam Farid, the saint of Bahawalpur. His first teacher was Baba Mir Khan, who taught him everything he knew. Singing alone did not earn him enough, so the young Pathanay Khan started collecting firewood for his mother, who used to make bread for the villagers. This enabled the family to earn a very modest living. It is said that remembering those days brought tears to his eyes and he believed that it was his love for God, music, and Khwaja Farid that gave him strength to bear the burden. Pathanay Khan adopted singing as a profession in earnest after his mother's death. His singing had the capacity to bewitch his listeners, and he could sing for hours on end.

Pathanay Khan was totally devoted to Khwaja Farid. He gave his own deeper meaning to Khwaja Sahib's poetry through his typical style and spirit of singing. For example, Khwaja Farid's kafi "Piloo pakian ni vay" has been sung by Suraiya Multanikar, Hussain Bakhsh Dhadhi and many others. Suraiya Multanikar's composition presents it as a light folk song, while Hussain Bakhsh Dhadhi presents it as a classical piece decorated by his unique taans in the style of the Ashiq Ali Khan. However, Pathanay Khan's version of this kafi brings a deeper cosmic meaning to it.

In 1976, Zulfikar Ali Bhutto, then prime minister of Pakistan, invited him to Islamabad for a private performance. When Pathanay Khan sang "Jindrri Lutti tain yaar sajan, Kadi mor maharan tay wal a watan", Bhutto broke into tears. After the programme, the prime minister asked Pathanay Khan three times if he had any desire. Each time the singer’s reply was, "Bhutto Sahib, aap ko gharib awaam ki parat ho" (Bhutto Sahib, take care of the poor). At this, Bhutto hugged Pathanay Khan and said "I will surely take care of the poor".

Achievements

He was given the President's Pride of Performance Award.

Death

Pathanay Khan died after a protracted illness at his native town of Kot Addu on Thursday March 9, 2000. His funeral was attended by a large number of people including poets, intellectuals, lawyers, educationalists and district officials. He was laid to rest at his native graveyard in Kot Addu.

See also

Mai Bhaghi

Mansoor Malangi

Attaullah Khan Essa Khailwi

Category:1926 births Category:2000 deaths Category:Pakistani classical singers Category:Pakistani folk singers Category:People from Muzaffargarh District Category:Seraiki people

pnb:پٹھانے خان ur:پٹھانے خان

name	Khawaja Ghulam Farid
titles	Spiritual Poet
birth date	1845 C.E.
birth place	Chachran Sharif, Punjab
death date	1901 C.E.
death place	Chachran Sharif, Punjab
venerated in	Islam
influences	Prophets of Islam, Baba Farid
influenced	Countless Pakistani Sufi poets
major work	''Deewan-e-Farid''
tradition	Kafi }}

Hazrat Khawaja Ghulam Farid (Urdu, Saraiki and Punjabi: خواجہ غلام فرید) or Khawaja Farid (1845-1901) is considered one of the most read and respected sufi poets in Pakistan and South Asia. He belonged to Chishti-Nizami sufi order. He was born and died at Chachran Sharif and was buried at Kot Mithan in district Rajanpur. He traveled to different cities and preached for Islam and peace.

He was the son of Khwaja Khuda Bakhsh. His mother died when he was five years old and he was orphaned at age twelve when his father died. He was educated by his elder brother, Fakhr Jahan Uhdi.

He was a scholar of that time and wrote several books. He knew Arabic, Persian, Urdu, Punjabi, Sindhi, Braj Bhasha, and Saraiki. He was a poet of Saraiki, Punjabi and Urdu. He also wrote some poems in Sindhi, Persian, and Braj Bhasha. He was an anti-imperialist poet. He opposed British rule in Bahawalpur. He said to ruler of Bahawalpur in his poem, "You rule yourself on your state and finish police station of British from your state." اپڑیں ملک کوں آپ وسا توں۔پٹ انگریزی تھانے

Works by Khawaja Ghulam Farid

Dewan-e-Farid in 1882 (Saraiki Poetry)

Dewan-e-Farid in 1884 (Urdu Poetry)

Manaqabe Mehboobia (Persian prose)

Themes of Poetry and Teachings

His poetry is full of love with Allah, Muhammad, humanity and nature. He has used the symbolism of desert life at most places in his poetry.

Faridiat

Faridiat (Urdu, Saraiki and Punjabi: فریدیات) is a new topic about Khawaja Farid's life, poetry and his mysticism. There are several books and hundreds articles on this topic. There are also experts of Khawaja Farid as under

''Maulana Noor Ahmed Faridi'': He translated Dewan-Farid

Mehr Abdul Haq: His books are ''Lughat-Faridi'' and ''Piam-Farid'' and other Christopher Shackle: His book is ''Teachings of Khaja Farid'' and other

''Wahid Bakhish Sial'': He translated ''Maqbees-ul-Majalis''

''Mujahid Jatoi'': His book is '''Aa pahntum jeendian makay''

''Saeed Ahmed Sheikh'': His book is ''Ustad Dileen de''

''Aziz-ur-Rahman Khan'': He was the first who translated 'Dewan-i-Farid''

''Akram Qureshi'': His book is ''Auzan Dewan-i-Farid''

''Aslam Metala'': He wrote several books'one of its is ''Zauq-i-Farid''

Some books on Faridiat

There are hundred books on this topic. Name of few books are under

''Shackle'' Christopher :''Teachings of Khawaja Farid'' Published : Bazm-i- Saqafat Multan

''Shackle'' Christopher: ''Fifty poems of Khawaja Farid'' (Translation)Publisher: Bazm-i-Saqafat Multn

‘’Sheikh’’ Muhammad Saeed Ahmed: ‘’Ustad Deleenday’’edition 2000: Publisher: Jhoke Kitab Ghar bazaar Kutub firoshan androon bohar gate Multan

‘’Metla’’ Muhammad Aslam ‘’Zauq-I-Farid’’ edition 2001: Saraiki Adbi Majlis Bahawalpur

‘’Anwaar Ahmed’’ ‘’Khawaja Farid ke teen Rang’’ edition 1985:Bazm-I-Saqafat. Multan

‘’Qureshi’’ Muhammad Akram: ‘’Auozan Dewan Farid’’: edition 2005::Bazm-I-Saqfat Multan

‘‘Jatoi’’ Mujahid ‘’Atwar-I-Farid’’ edition 2003: Jhoke publisher Multan

‘’Jatoi’’ Mujahid ‘’Hiat-ul-Mahboob’’ edition 2005: Khawaja Farid foundation ‘’Mithankot’’

‘’Akhtar’’ Shabir Hassan: ‘’Farid Shanasi’’ edition 2001: Bazm-I-Saqafat Multan

‘’Feroz’’ Abu Saeed Muhammad Anwar ‘’Ghauhar Shab-I-Chiraz’’ edition third 1999 Saraiki Adbi Majlis Bahawalpur

‘’Chadhri’’ Hanif: ‘’Mutalea Farid Ka aik nia Rukh’’ edition2002: Saraiki Research center .B, Z.University Multan

‘’Chandio’’Javed:’’Khawaja Farid’’ edition 1999:Saraiki Adbi Majlis Bahawalpur

‘’Junejo’’Abdul Jabbar’Dr: ‘’Mera ishq bhi too’’: edition 2002 Bazm-I-Saqafat Multan

‘’Iqbal’’ Khalid: ‘’Bhag Suhag Farid’’ edition 2006: Sujak Adbi Sangat Shadan lund Dera Ghazi Khan

‘’Taunsvi’’ Tahir ‘Dr: ‘’Mutalea-Farid ke das saal’’ edition 2001: Book man Nila Gunbad Lahore

‘’Metla’’Aslam:’’Mahram Raz Deleeday’’ edition 2005: Bazm-I-Saqafat: Multan

‘’Metla’’ Aslam ‘’Zikr-I-Farid’’ edition 1994: Metla Publications: Tehsil Jahanian Khaniwal

’’Durani””Jamila:’’Khawaja Ghulam Farid _Shakhs and Shaer’’ edition 1996:Becon Books Gulgasht Multan

’’Chandio’’ Javed ‘’Armughan Khawaja Farid’’ edition 2001: Bazm-I-Saqafat Multan

’’Alam’’ Khursheed: ‘’Pakistan mein Mutalea Farid ki Rewayat’’ edition 1999: Saraiki Adbi Board Multan

Legacy

Many religious and educational institutions are named after him. Many streets, towns and shops are also named after him.

Government Khawaja Farid College, Rahimyar Khan, Pakistan

Government of Pakistan issued a memorial stamp on Khwaja Ghulam Farid' centenary in 2001

Khwaja Ghulam Farid Award is awarded by the Government of Pakistan in literature [see Ismail Ahmedani

Notes

See also

Fariduddin Ganjshakar

List of mausolea and shrines in Pakistan

List of Pakistani poets

List of mausolea worldwide

Saraiki literature

Qari Muhammad Muslehuddin Siddiqui

Pathanay Khan

Christopher Shackle

Nawab Massu Khan

Hazrat Mian Rehmat Sain

External links

Khawaja Farid, A Mystic and Spiritual Poet

The complete works of Khwaja Farid in Saraiki

The complete works of Khwaja Ghulam Farid in Punjabi/Gurmukhi

Sufiana Kalam of Khwaja Ghulam Farid (sung by various folk singers)

Poetry of Khwaja Farid sung by traditional musicians

Farid, Khwaja Farid, Khwaja Farid, Khwaja Category:Sufi mystics Category:Sufi poets Category:Pakistani Sufis Category:Saraiki poets Category:Seraiki people

pnb:خواجہ فرید ur:خواجہ غلام فرید