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ishqesukhan · 16 days

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Kalaam Hazrat Sultan Bahu(Kalam E Baahu) Eman salamat har koi mange | Ba...

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mdiqbalhossain · 2 years

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Hazrat Sultan Bahoo Library Books

Hazrat Sultan Bahoo Library Books

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dtnstudio · 2 years

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Ishq Mohabbat Dareya De Wich | Sultan Bahu Kalam | DTN Studio

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fseeproduction · 3 years

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Kalam Hazrat Sultan Bahu 2021| Kaalam E Bahu | Best Punjabi Poetry | Sam...

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kilomox133-blog · 5 years

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Hazrat Sultan bahu books

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oliverjames422-blog · 5 years

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Sultan Bahu books

Sultan Bahu books section is giveing many books to read online books like Rasala Rohi,Kashf ul Asrar,Noor ul Huda,Mahabbat ul Asrar,Taig Brahna,Didar Buksh, Majalsatul Nabi,Orung Shahi,Ganjul Asrar,NoorulHuda Khurd,Qalide Tohid,Muhakumal Faqar & many other books of sultan bahu plus eBooks section & download free books,more over Sultan bahoo books app also available in playstore

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hazratsultanbahoo · 5 years

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Bridal Symbolism in Sultan Bahu’s Poetry

One of the Punjabi siharfi or bayt of Sultan Bahu may be translated in English as such:

Everybody recites the kalima (or the basic formula of Muslim faith) verbally, but only the ‘āshiq (the lovers) recite it from their hearts, and they are very few. It is my mentor who has taught me how to recite it from the heart, which has made me sadā suhāgan (or the eternal bride).

It is this very concept of sadā suhāgan or the eternal bride which is the central theme of the present paper, with a particular emphasis on the symbolic or metaphorical usage of concepts related to bride hood in the poetic compositions of the Sufis, with particular reference to Sultan Bahu, in a historical perspective.

Sufism is called the way of love, [i] because Love for the Absolute, the Supreme Being, or God, is one of the core principles of Sufism, and it has also been a consistent theme in Sufi writings, particularly poetical works. Although the English term ‘love’ does not convey the Sufi concept of ‘ishq, which refers to intensified love coupled with passionate longing, the term ‘love’ has been used in this paper for convenience. Coming back to the notion of Divine love, the Sufis believe that the Divine love is reciprocal, and that is why they emphasize the Divine attribute of being ‘the Loving One’—al-Wudūd, which is one of the ninety-nine names of God.

Historically speaking, the notion of unconditional love for God was articulated for the first time by an eighth-century Sufi woman named Rābi‘ah al-‘Adawiyah of Basrah (d. 801) in her poetic compositions. She urged the people to worship God out of love, instead of owing to the fear of hell or greed for paradise. She taught that a Sufi must love God for Himself alone. [ii] The theme of Divine love was further elaborated by the great Sufi masters of subsequent times. The thirteenth-century Andalusian/Spanish Sufi master, Muhiyy al-Din Muhammad b. ‘Ali Ibn al-‘Arabi (d. 1240) and Jalāl al-Dīn Rūmī (d. 672/1273) elaborated on the theme of Divine love, which is based on the notion of the separation of the human soul from its Divine source of origin.

The Sufis believe that the higher and subtle truths of Sufism, or the ‘mysteries of Divine love’, revealed to the accomplished Sufi masters are essentially incommunicable, particularly the state of fanā fi Dhāt or fanā fi Allah, i.e. the spiritual union or the unitive experience. However, these truths and mysteries of love can only be articulated through rich symbols, often employing metaphors, allegories and similes. Their symbolic representation through twined expressions does not make them objectionable in the eyes of the religious establishment, and may not mislead the lay persons.

The Sufi poets have represented the Real Love or Ishq-i Haqīqī through the language and terminology of Ishq-i Majāzī or human love. In other words, the Divine Love is often articulated in human terms by borrowing expressions from the phenomenon of romantic love between a man and a woman. Therefore, the Sufi poets have used gendered imagery in their works, and have presented themselves as ardent lovers, and portrayed God as the Divine Beloved. Sometimes, the metaphor of husband or bridegroom is also evoked for God, whereas wife or bride is used as a symbol of the human self.

Such bridal symbolism is common in many other mystical traditions of the world. It can be identified in the Old and the New Testaments, [iii] in Catholicism, in Jewish mystical literature as well as in Hindu and Bhakti mystical traditions. One striking example is that of the renowned sixteenth-century Rajput saint and poetess of Rajasthan, Mirabai (d. 1547) vividly portrays herself as the bride of Lord Krishna. [iv]

In Sufi tradition, the bridal symbolism metaphorically suggests the notion of spiritual marriage. The ninth-century Persian Sufi, Bayazid of Bistam (d. 874) referred to the Sufis as the brides of God for the first time. [v] Bridal symbolism is also evident in works of Ibn al-Arabi and Rumi. It is worthy of note that such symbolic expressions are characterized by gender reversal, since the male Sufi poets identified themselves with the feminine. Switching of masculine and feminine positions is a common characteristic of Sufi poetry.

It is interesting to note that the term ‘urs literally means wedding in Arabic, and it is traditionally used to refer to the death anniversary celebrations of Sufis. These death anniversaries are not merely observed, they are celebrated by the disciples and devotees like wedding occasions, and that is why there is much festivity and rejoicing. In symbolic sense, it denotes the idea of spiritual wedding, i.e. union of the soul of the departed Sufi with God—the Primordial Beloved. The Sufi is considered the bride of God, who has left for his eternal abode, i.e. the house of Divine Groom.

Bridal symbolism is a consistent theme in South Asian Sufi poetry in Indo-Persian, Hindavi, Urdu, as well as vernacular languages like Sindhi, Punjabi and Gujarati. Traditionally speaking, in South Asian cultural context, the relationship of a wife to a husband is like the relationship of a Sufi to God, which is characterized by extreme submission and intense devotion. [vi] Moreover, according to South Asian cultural traditions and norms, a husband is supposed to be kind and considerate to his wife, whereas a wife is expected to be loyal, faithful and devoted to her husband. The bridal symbolism in Sufi poetry was indigenized by the Sufi poets of South Asia by employing the concepts of suhāg and suhāgan in Sufi poetry. In Hindi language, the term suhāgan refers to a happily married lady (who has achieved the love of her husband), whereas suhāg means a state of marital bliss or wifehood.

The fourteenth-century Chishti Sufi poet, Amir Khusrau (d. 1325) evoked the bride and groom metaphor in his Persian, and particularly Hindavi, poetry. He used the bridal symbol for explaining his spiritual relationship and emotional bonding with his murshid Shaykh Nizam al-Din Auliya of Delhi (d. 1325). Khusrau conceived of himself as a suhāgan, and also referred to the concept of suhāg. Here one may recall a statement of Baba Farid (the murshid of Shaykh Nizam al-Din Auliya) in Fawaid al-Fuad wherein he likened/compared a Sufi Shaykh to a mashshata,[vii] i.e. the hairdresser of the brides, who adorns and prepares them before their final meeting with the bridegroom. In a symbolic sense, to Baba Farid, it is the murshid who cleanses, embellishes and beautifies the human soul, and prepares it for its possible union with the Divine.

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xeecreation · 3 years

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Kalam Hazrat Sultan Bahu | Kalam Na Main Pak Namazi | Kalam E Bahoo With...

#Kalam Hazrat Sultan Bahu | Kalam Na Main Pak Namazi | Kalam E Bahoo With Urdu Lyrics | Sufism | XC Kalam-E-Bahoo Lyrics Urdu/Punjabi : نہ

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ishqesukhan · 17 days

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Kalam Hazrat Sultan Bahu | Jay Deen Elam Vich Hunda (Kalam-E-Baahu) Ba...

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thesufidotcom · 4 years

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Hazrat Sultan Bahu R.A Eh dil hiJar firaaqon sarhiaa eh dam mare na jeeve hoo Sacha raah Mohammad waalaa Jain wich Rabb labheeve hooo..... Translation: Hanging between life and death my heart burns in the fire of separation from him The path indicated by the PROPHET (PBUH) is true, O Bahu: following it one can find God..... ***SULTAN BAHU SUFIANA KALAM: DOWNLOAD SUFI MUSIC 1000+ MP3 SONGS WORLDS LARGEST COLLECTION OF QAWWALI, ARFANA & SUFIANA KALAM, HAMD & NAAT CLICK HERE: https://ift.tt/2XX60z2 https://ift.tt/2G3gDtB

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jhonrick72-blog · 4 years

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Hazrat Sultan bahu Books Publications ,Sultan Bahu Books

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dtnstudio · 3 years

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Zubani Kalma Har Koi Parda | Kalam e Bahoo | Hazrat Sultan Bahu

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sultanbahubooks · 4 years

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Anwaar e Sultani English Kalam Bahoo lyrics

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hazratsultanbahoo · 5 years

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The Greatness And Significance Of Ain-Ul-Faqr

Among 140 writings of Hadrat Sakhi Sultan Bahu, Ain ul Faqr is one of the most precious and well known books, which keep the status of … (haq numa) … for the God Seekers. An eternal treasure with the heart secrets, the knowledge of God and sitting with Prophet (Pease Be Upon Him).

Ain Ul-Faqr is the most precious and the most popular of his books, which is known as the compass of truth in the Sufi circles. While highlighting the significance of this fine work, Syed Ahmad Saeed Hamdani writes,

The paramount importance of Ain UL Faqr can be summarized from the fact that special arrangements were made for the male children in the lineage of Hazrat Sultan Bahoo (R.A) to learn this book on academic pattern, which implied that the study of this book inculcates some capability to understand the Saintliness and Faqr of Hazrat Sultan Bahoo (R.A).

The study of this book renders a feeling of spiritual tranquility and calm and strange realities are.

Ain –ul-Faqr is a beautiful blend of prose and poetry. By and large the book is in prosaic form but there is no such page, left unembellished by Sultan ul Arifeen with his poetic taste. Every here and there, his verses are scattered in the form of Mathnavi. Some of these are stanzas, some are couplets and an anthem also which is termed as “the anthem of love” by him. Besides his own poetic verses, the verses of other Sufi poets are also scattered everywhere. Alongside poetry, every page of the book contains the verses from the holy Quran, The Sacred Narration (Hadith Qudsi), traditions of the Holy Prophet Syedna Muhammad (Hadith e Nabwi) SAW and the sayings of the Sufi poets. The style of the book is very attractive, and subtle. The book contains knowledge about mysticism and Gnostic enlightenment, intimate observations, Sufi implications, the preferences of affectionate, the points of wisdom, scholarly explanations, elucidating logics. The principles of worship, and the pearls of righteousness have been assimilated in such a philosophical and established manner that a seeker of divine truth belonging to any era gets maximum benefit from it, regardless of the age he belongs to. Besides providing a comprehensive guideline about the path of Spirituality, this book also extends detailed knowledge about the Qadri Sufi mystic order.

The religious and political conditions prevalent at the time of the composition of Ain-ul-Faqr

Before his birth, the seed of Atheism which Jalal ud Din Akbar had sown in the soil of India in the name of the unanimity of all the religions and his intentions were dazed to ground by a great Sufi Hazrat Sheikh Mujadad Alf Thani (the second), with his spiritual and scholarly powers. The same monotheism appeared again with the grandson of Akbar Dar- Ashikoh in the times of Sultan-ul-Arifeen, Hazrat Sultan Bahoo (R.A). Dara Shikoh belonged to the same sect of Hazrat Sultan Al-Arifeen and intimate to him. Despite that Hazrat Sultan –ul-Arifeen , rejected Akbar and Dara Shikoh’s amalgamation of Right and Wrong( Haq /Batil). He stood with Aurangzeb Alamgir against Dara Shikoh to defend the religion and defeat agnosticism. Aurangzeb, according to prejudiced was very stringent in the matters of religion, but according to the proponents of truth, he was an embodiment of perseverance. He believed in the promulgation of Islamic Sharia in the kingdom. Hazrat Sultan Ul-Arifeen composed a regular digest “Aureng Shahi) for Aurengzeb Alamgeer and in many of his writings he mentioned Auranzeb Alamgir as Ameer –ul- Momineen ( the head of the Islamic state)so that Aurengzeb wins popularity on public level. According to historical references Aurengzeb made three meetings with Hazrat Sultan Bahoo (R.A) and got spiritual vantage. Aurengzeb Alamgir believed in the implication of Islamic Sharia. On the contrary, Dar Shikoh wanted to make use of “Unanimity of Religions” and introduce such a Sufi movement that presented the similarities between the Holy Quran and Veedahs and ultimately merge Islam into Hinduism so that Mughal rule could be made more acceptable for the majority of the population over there.

A Brief Study of Hadrat Sultan Bahoo (R.A)’s Masterpiece Book Ain ul Faqr

These were the political and religious circumstances of Hindustan when Hazrat Sultan Bahoo (R.A) wrote this book. With the help of his spiritual powers and guidance and advice, he not only crushed the conflicting Atheism but also dilated upon the true meaning of Sufism, in the light of the Holy Quran and the Sunnah of the Holy Prophet (SAW).

Hazoor Sultan Bahoo’s(R.A) own sayings about Ain-ul-Faqr Shareef

He (R.A) wrote Ain-ul- Faqr at the age of 46 about which he himself mentioned in the following words in the last chapter of Ain –Ul-Faqr.

“This point of the Oneness of Allah (Ain-ul-Faqr) has been written in the reign of Shah Aurengzeb Alamgir in 1085.”

His birth year is 1039, thus in 1085 his age would be 46 years.

Why this book was named as Ain-ul-Faqr Shareef, this question has been replied in the foreword of this book in the following words,

“Know this that this book has been named as Ain-ul-Faqr (the eye if the saintliness) because this books provides guidance to those who are the genuine seekers of Divine Truth and those desirous of annihilating themselves in Divinity, on any stage either it’s the beginning or the end of their journey and keeps them on the straight path and blesses them with the observation of the secrets of Divinity and the observation of the celestial Divine lights and eventually leads them to the knowledge of truth, witnessing the truth, and believing the truth.

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