Name	Qutbuddin Bakhtiar Kaki
Religion	Islam, specifically the Chishti Order of Sufism
Alias	Malik-ul-Mashaa'ikh
Location	Delhi
Title	Khalifa
Period	Early 13th century
Predecessor	Moinuddin Chishti
Successor	Various, the most prominent being Fariduddin Ganjshakar
Birth date	1173
Birth place	Aush in Transoxiana (A region in central Asia corresponding approximately with modern-day Uzbekistan, Tajikistan and southwest Kazakhstan)
Death date	1235
Death place	Delhi

Khwaja Syed Muhammad Qutbuddin Bakhtiar Kaki () (born 1173-died 1235) was a renowned Muslim Sufi mystic, saint and scholar of the Chishti Order from Delhi, India. He was the disciple and the spiritual successor of Moinuddin Chishti as head of the Chishti order. Before him the Chishti order in India was confined to Ajmer and Nagaur. He played a major role in establishing the order securely in Delhi.. His dargah in Mehrauli, the oldest dargah in Delhi, is the venue of his annual Urs. The Urs was held in high regard by many rulers of Delhi like Qutbuddin Aibak, Iltutmish who built a near by stepwell, Gandhak ki Baoli for him, Sher Shah Suri who built a grand gateway, Bahadur Shah I who built the Moti Masjid mosque nearby and Farrukhsiyar who added a marble screen and a mosque .

His most famous disciple and spiritual successor was Fariduddin Ganjshakar, who in turn became the spiritual master of Delhi's noted Sufi saint, Nizamuddin Auliya, who himself was the spiritual master of Amir Khusro and Nasiruddin Chirag-e-Delhi.

The influence of Qutubuddin Bakhtiyar Kaki on Sufism in India was immense. As he continued and developed the traditional ideas of universal brotherhood and charity within the Chisti order, a new dimension of Islam started opening up in India which had hitherto not been present. He forms an important part of the Sufi movement which attracted many people to Islam in India in the thirteenth and fourteenth centuries.

Early life

Qutbuddin Bakhtiyar Kaki was born in 569 A.H. (1173 C.E.) in a small town called Aush (alternatively Awash or Ush) in the Fergana Valley (present Osh in southern Kyrgyz Republic, part of historic Transoxania). According to his biography mentioned in, Ain-i-Akbari, written in 16th century by Mughal Emperor Akbar’s vizier, Abu'l-Fazl ibn Mubarak, he was the son of Kamalu'ddin Musa, whom he lost at the young age of a year and a half.

Khwaja Qutbuddin's original name was Bakhtiyar and later on he was given the title Qutbuddin. He was a descendent of the Prophet Muhammad, descending through Hussain ibn Ali. His mother, who herself was an educated lady, arranged for his education by Shaikh Abu Hifs.

When Moinuddin Chishti passed through Aush during his travels, Khwaja Bakhtiyar took the oath of allegiance at his hands and received the khilafat and Khirqah from him. Thus, he was the first spiritual successor of Moinuddin Chishti.

Move to Delhi

In obedience to the desire of his spiritual master, Moinuddin Chishti, Khwaja Bakhtiyar went and started living in the city of Delhi, during the reign of Iltutmish. Attracted by his spiritual prowess and charitable attitude, a large number of people started visiting him daily. He started initiating disciples on the spiritual path as well.

The name Kaki was attributed to him by virtue of a keramat (miracle) that emanated from him in Delhi. According to it, he asked his wife not to take credit from the local baker despite their extreme poverty. Instead he told her to pick up Kak (a kind of bread) from a corner of their house whenever needed. After this his wife found that Kak miraculously appeared in that corner whenever she required. The baker, in the meantime, had become worried whether the Khwaja had stopped taking credit due to being perchance angry with him. Accordingly, when the baker's wife asked the reason from the Khwaja's wife, she told her about the miracle of Kak. Although the Kak stopped appearing due to the revealing of the secret, from that day the people started referring to him as Kaki.

He continued and extended the musical tradition of the Chisti order by participating in sema. It is conjectured that this was with the view that, being in consonance with the role of music in some modes of Hindu worship, it could serve as a basis of contact with the local people and would facilitate mutual adjustments between the two communities.. On the 14th of Rabi-ul-Awwal 633 A.H. (27 November 1235 CE)

Influence

visiting the Dargah during the Annual Urs, 1948.]] As a renowed saint, Khwaja Bakhtiyar Kaki exercised great sway over the people. He continued the policy of non-involvement with the government of the day. This was the traditional way of saints of the Chisti order in South Asia, as they felt that their linkage with rulers and the government would turn their mind towards worldly matters.

During the lifetime of the Khwaja he was held in great esteem by the Delhi Sultan, Iltutmish. It is contended that the Qutb Minar, the worlds tallest brick minaret, partially built by Iltumish, was named so after him. He was also the favorite saint of the Lodhi dynasty which ruled over Delhi from 1451 to 1526. His importance continues to this day and can be gauged by the following historical fact. When Mahatma Gandhi launched his last fast-unto-death in Delhi in 1948, asking that all communal violence be ended once and for all, he was pressed by leaders of all denominations to end the fast. One of the five conditions that Gandhi put forward to end the fast was that Hindus and Sikhs as an act of atonement should repair the shrine of Khwaja Bakhtiyar Kaki which had been damaged during the communal riots.

Phoolwalon-ki-sair festival

The darbaar shrine of Qutbuddin Bakhtiar Kaki has also been the venue of the annual Phoolwalon-ki-sair (a festival of flower-sellers) in autumn, which has now become an important inter-faith festival of Delhi.

The festival has its origins in 1812, when Queen Mumtaz Mahal, wife of the Mughal Emperor, Akbar Shah II (r. 1806-1837) made a vow to offer a chadar and flower pankha at the Dargah and a pankha at the Yogmaya Mandir, also at Mehrauli, if her son Mirza Jehangir, who after inviting the wrath of Sir Archibald Seton, the then British Resident of the Red Fort, was exiled to Allahabad, returned safely. And as the legend goes, he did, and so began the tradition henceforth . The festival was stopped by the British in 1942, but later revived by the Indian Prime Minister Jawaharlal Nehru in 1961 to bridge the Hindu-Muslim gulf, and inculcate secularist ideals.

Royal grave enclosure

Incidentally, Akbar Shah II is now buried nearby in a marble enclosure, along with other Mughals, Bahadur Shah I and Shah Alam II..

Titles given to Qutbuddin Bakhityar Kaki

Qutub-ul-Aqtaab

Malik-ul-Mashaa'ikh

Rais-us-Saalikin

Siraj-ul-Auliya

Works

Further reading

Images of enclosure containing Mughal royal tombs IGNCA

Gallery

See also

Ata Hussain Fani Chishti

Maudood Chishti

Wali Kirani

Qari Muhammad Muslehuddin Siddiqui

References

External links

All Sufis Of Delhi, India and the whole World

Biography of Bakhtiar Kaki

When Fakirs held sway at The Hindu.

Dargah Qutbuddin Bakhtiar Kaki, Mehrauli at wikimapia

Category:1173 births Category:1235 deaths Category:Indian Sufis Category:Chishti Order Category:Dargahs in India Category:People from Delhi Category:Mehrauli

Name	Amir Khusrow
Background	non_vocal_instrumentalist
Birth name	Ab'ul Hasan Yamīn al-Dīn Khusrow
Born	1253 Patiali, Etah, Uttar Pradesh, India
Died	1325 (aged 72)
Genre	Ghazal, Khayal, Qawwali, Rubai, Tarana
Occupation	Musician, Poet

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 Indian Sufis). 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.. Amir Khusrow used only 11 metrical schemes with 35 distinct divisions. He has written Ghazal, Masnavi, Qata, Rubai, Do-Beti and Tarkibhand.

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 Nezāmī's khamsa. His contribution to the development of the ghazal, hitherto little used in India, is particularly significant..

Visits the Sage Plato, from Khamsa-e-Nizami by Amir Khusro]]

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 Nezami 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.

Hindavi poems

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

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

See also

Indian literature

Urdu literature

List of Persian poets and authors

List of Urdu poets

Urdu poetry

Category:Urdu poets Category:Indian poets Category:Indian Muslims Category:Persian 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