A Relationship Par Excellence : Amir Khusrau and Nizamuddin Aulia | INNLIVE NETWORK
Hazrat Khusro then remained in the company of the sad news of the death of Hazrat Nizamuddin Auliya, his. Ab'ul Hasan Yamin al-Din Khusrau, better known as Amir Khusrau Dehlavi, is one of the greatest poets of India. He was born in in Patiyali, Uttar Pradesh to. Khusro's compositions are rooted in the theme of separation from the Beloved the Chisti Silsilah, a bond that transcended all other relationships. the Urs of Amir Khusro at the Dargah of his mentor, Hazrat Nizamuddin.
Alauddin Khalji gave him tanka gold coins annually, and Hazrat Khusro, as a token of acknowledgement, recorded all the conquests of the king in beautiful masnavi called "Khazain-ul-Futuh" Another masnavi "Taj-ul-Futuh" commemorates the victories of Jalaluddin Firuzshah in AH AD.
When Bughra Khan's war against his son Kaiqubad resulted in peace, He asked Hazrat Amir Khusro to write a full-length masnavi to commemorate the happy reunion of father and son.
The prince was a man of culture and learning. When the prince was sent to Multan as the governor of that province, he took Hazrat Khusro and Hazrat Amir Hasan Sanjari, a fellow disciple and poet, along with him.
Multan in those days was threatened by the Mongol hordes. Timur Khan, a Mongol general attacked Multan but he was defeated by the Delhi army.
Nizamuddin Aulia and Amir Khusro
After some time they mounted another attack. In the second battle, the prince was wounded by an arrow and later died. His army was defeated and a number of nobles including Hazrat Khusro and Hazrat Hasan Dehlavi were captured. They were taken to Balkh and it was only after two years that they were released.
Amir Khusro - SufiWiki
Demise of his Mother and Brother Hazrat Khusro then remained in the company of Khan Jahan with whom he went to Awadh, staying there for two years. However, he had to rush to Delhi as his mother had been taken seriously ill. She later passed away in AH AD and the same year also saw the demise of his brother, Husamuddin. Hazrat Khusro was deeply grieved at the double tragedy, as is evident from the elegy he wrote in his masnavi Laila Majnun: Hazrat Khusro composed the Tughlaq Namah to commemorate his era.
He accompanied Tughlaq to Bengal where he stayed for some time but when he heard the sad news of the death of Hazrat Nizamuddin Auliya, his spiritual guide, he came back to Delhi. Family Hazrat Khusro had a son by the name of Malik Muhammad. His son, like his father had an aptitude for poetry and was gifted with the faculty of critical appreciation.
He had also a daughter called Afifa.
She was seven years old when Hazrat Khusro was composing the Hasht Bihisht in which he dedicated a few couplets to her in this masnavi. The news of his murshid's death came as exteme shock to him and he returned to Delhi as soon as possible, distributing all that he had amongst the poor during the journey. Upon reaching the tomb, clad in black clothes, he embraced the grave and shed abundant tears in distress. Afterwards he said to those present: I lament my own fate, because I will not survive him much longer.
He lived in this manner for about six months and could bear no further separation. He breathed his last on 18 Shawwal in AH and was buried a small distance away from the resting place of Hazrat Nizamuddin Auliya. Legacy Writing in his publication, Shir al-Ajam, Allama Shibli Nomani, the famous theologian and historian of Islam in India, eulogises Hazrat Amir Khusro's genius and illuminating contributions to the oriental literature in his following paragraphs: To tell the truth, even Iran and Greece, in the past few millenia, have produced only two or four individuals of such intellect, combining so many qualities in one being, as Amir Khusro possessed.
Apart from his many other rare qualities, if we take his poetical genius exclusively, we are astonished at the multiplicity of the varied subjects upon which he had attained masterly command. Firdausi, Anwari, Saadi, Haafiz, Urfi and Nazeeri, although they were undoubtedly intellectual giants of their own "subjects" and fields of poetry, their achievements were confined only to one particular subject.
Firdausi could not go beyond masnavi, Saadi could not touch qaseedaAnwari had no command over masnavi or ghazal, while Haafiz, Urfi and Naseeri could not get beyond ghazal. Incidently Nizamuddin Aulia wore his cap in a slightly crooked way, to which Khusrau pointed and said: Men qibla raast kardam, ber terf-e kajkulaahay. I have straightened my qibla in the direction of this crooked cap Khusrau once read out a ghazal which so pleased his pir Nizamuddin Aulia that the latter asked him if he had any wish to be fulfilled.
Khusrau said he wished his verse be filled with sweetness. Khusrau brought the tray which had some suger in it.
Nizamuddin Aulia asked him to eat some and also pour some on his head. Khusrau obeyed him, and claimed that he has attained the sweetness in his poetry ever since.
A poor man came to Nizamuddin Aulia asking for alms at a time when there was nothing left in the khaneqah to be given. The saint expressed his helplessness, but pointed to a torn and tattered pair of sandals that belonged to him, saying if those could be of any help to the poor man, he could take them.
The faqir, having no choice, decided to take them any way, and left. When he was on his way to some other city, he met Amir Khusrau who was returning from his royal journey with camels and horses loaded with wealth. I smell my master, I smell my master. This man dejectedly told him the story about how he could only get these sandals from Nizamuddin Aulia. His pir saw the sandals and asked Khusrau how he found them.
During the sama mehfils music sessions at the khaneqah of Hazrat Nizamuddin, dancing was not allowed.
But during one such performance, Khusrau got so ecstatic that he started to dance. Sultan Jalaluddin Khilji once expressed to Khusrau his desire to meet Nizamuddin Aulia but asked him not to disclose his plan to the saint. His Pir who did not wish to meet the king left the Khaneqah for a far away place on the day of the proposed meeting.
When the Sultan came to know about this, he asked Khusrau why he betrayed him. Khusrau replied that in betraying the king he risked only his life in this world, but in betraying his spiritual king he would be risking his Iman faithand his afterlife.
The Sultan was left speechless.
A goddess, a sultan and a refugee’s son - The Hindu
One day Hazrat Nizamuddin Awlia was listening to Qawwali and in ecstasy, waving his handkerchief, said: The explanation of Hazrat Nizamuddin Awlia was like this: He used to wash her clothes with utmost care, and even mended and improved them by various means. Without seeing her, he used to moan and weep in the memory of her beauty. His parents became very worried. To speak about it is a problem and not to speak about it is a problem. We are washers and she is a princess.
How can the dust of the earth be compared with the sky? One day his mother came to him with a grief-stricken face. He asked what was the matter with her. The boy three times asked: On the fourth day, the washerwoman brought the clothes back to the princess.
A goddess, a sultan and a refugee’s son
They do not look as clean as they used to be. Their neatness used to look as if love has been involved. On being forced by the princess, she explained everything. The princess then wished to visit his grave. He advocated this spiritual seeking amid all other worldly dispensations which destiny places each man in.
He felt that this would provide the right perspective and balance to all ambitions and pursuits. He himself got transformed from poet laureate to seeker, a Qalandar free soul a Sufi.
This seeking characterises all of Khusro's creative endeavours, including the Tarana style of singing which he created and improvised in fast tempo.
This genre has been seen as a mystic's dialogue with God, meant to arouse the trance-ecstatic state haal. Ustad Amir Khan in a seminal work on the origins of the Tarana, was to establish the meaning of the words used by Amir Khusro in the Tarana as Persian words connoting deeper mystical meaning, derived from Sufi philosophy, in which the seeker calls out to and becomes one with Higher Being.