AMIR KHUSRO URDU PDF

Urdu Poet Ameer Khusro Shayari امیر خسرو کی شاعری, Read Urdu Poetry of Ameer Khusro, read large collection of Ameer Khusro Ghazals, Nazams and Poems. (Persian: / Urdu ابوالحسن یمین‌الدین خسرو ; Hindi: अबुल हसन यमीनुद्दीन ख़ुसरौ, better known as Amir Khusrow (or Khusrau) Dehlawi. A Sufi mystic and a disciple of Nizamuddin Auliya, Amir Khusro’s portrayal of TAGS: amir khusroa, amir khusro poems, poetry, urdu poetry.

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Bahut Kathin hai dagar panghat ki, Kaisay main bhar laaun madhva say matki? Paniya bharan ko main jo gayi thi, Daud jhapat mori matki patki. Bahut kathin hai dagar panghat ki.

Urdu Books of Ameer Khusrau | Rekhta

Khusro Nizam kay bal bal jayyiye Laaj rakho moray ghoonghat pat ki. 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, Amir Khusrow was not only a notable poet but also a prolific and seminal musician. He wrote poetry primarily in Persian, but also xmir Hindavi.

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 Amir Khusrow. Amir Khusrow used only 11 metrical schemes with 35 distinct divisions. His contribution to the development of the ghazal, hitherto little used in India, is particularly significant.

His mother hailed from Delhi. His interests were kaleidoscopic and his genius versatile. But he enjoyed fame in the field of Persian poetry, in which his position is next to Saadi and can favorably be compared with Hafiz in lyrics.

The road to the well is much too difficult, How to get my pot filled? When I went to fill the water, In kusro furore, I broke my pot. Khusro has given his whole life to you, O Nizam. Would you please take care of my veil of self respectThe road to the well is much too difficult. Though I happen to be faraway from my home town, yet I always sing of its beauty. My place was Quwat-ul-Islam a title of Delhi a qibla of the kings of seven climes i.

That place is Delhi, which is a twin sister of the holy paradise and true copy of Arsh throne of God or a highest heaven on the page of the earth. Poetry was inherent in Ameer Aamir. In his early childhood, Khusro had amie a putting together in verse form worse of discordant meaning. Up to the age of sixteen, whichever book of verse he happened to lay his hand on, he tried to follow its author in the art of composition. His adolescence ushered him under the guidance of both Mufti Muizzudin Gharifi and Hazrat Nizamuddin Aulia, his mentor.

Both of them guided him to the path of following the style of Saddi and Kamal Isfahani. Even at that young age, he used to lambaste his contemporaries, including Hasan Dehlavi in qitah quatrains. He is considered as the pioneer figure of khksro Indo-Muslim music. In fact, it was he who started the process of synthesizing Turko-Persian music with Indian music.

He has credited three books on music just as three diwans of poetry. He also composed verses in Persian and Hindwi. On the one hand Sultan Aalauddin, for the sake of righteousness and expediency of empire, stamped out all kinds of intoxicants, the prohibited things, the wherewithals of disobedience, debauchery and wickedness with the use of chastisement and and on the other side Ameer Khusro opened wide the gate of discipleship and accepted all kinds of men as his murids, be they high or low, wealthy or impecunious, noble or faqir, learned or ignorant, high born or low born, urbane or rustic, soldier or warrior.

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They all abstained from improper acts and if anyone would commit a sin, he khusor come and confess his guilt before Khusro and would indeed renew his discipleship. Men and women, young and old, merchants and ordinary men, slaves and servants and even young children began offering prayers regularly including the late morning prayers. Even the royal ameers, the armed acquirers, secretaries, clerks, sepoys and royal slaves, were particular about offering these supererogatory prayers.

10 Soulful Poems By Amir Khusro, The Poet Who Saw Love In A Spiritual Light

Out of the teachings of Khusro, the shop people gave up lying and cheating and underweighing. People visited the bookshops in search of the books on suluk deportment and self-control. Owing to the increased demand among the Sufis for lota water vessel used specially for ritual cleansing and tasht basin for washing handsthe prices of these articles had slightly gone up showing that most people bent towards spiritual Sufi lifestyle. Ameer Khusro served as an ambassador of Hindu-Muslim unity in his time.

His Hindu or Hindwi poetry for which he has been so popular among the school-going children as well as elderly generation. I am a Hindustani Turk. I compose verses in Hindwi with the fluency of running water. If you want to listen from me some subtle verses, ask me then to recite some of my Hindwi poems.

His poem, Kaliq Bari is a lexicon composed of synonymous words, from four languages, Arabic, Persian, Turkish and Hindwi. Ameer Amur was a devout Muslim. He was a friend and disciple of Uurdu Nizamuddin Aulia. He was a profound expounder of ethics and strict observant of Sharia. Sharia acquires meaning when it maintains a close relation with reality partaking the essence of reality-love of God.

If Sharia is lacking in that or in other words if it is without ain the alphabet meaning the essence of God-love it becomes shar evil. Like Shah Waliullah of the subsequent year, his attitude towards the Sufis of hypocrisy was very critical. They wear short sleeves pose as fakirs but keep their hands stretched in begging.

They pretend abstinence but they are always in pursuit of money. They have commercialized faqiri begging. How can one love God at the same time? He has composed as many as 99 works and four lac lyrics, which cover almost uddu aspect of life. He was a living legend.

Khusro not only upheld the values of equality and dignity of labour but also the principles of social justice. His love and respect for Hazrat Nizamuddin Aulia reached the apogee that when he heard about his death at Lakhnawati, he immediately arrived and went to his grave, where he blackened his face and rolled over in dust in utter grief, tearing his garments.

His death is not a death in the literal sense of the world for, he would amirr remain one of the very few unforgettable legends of literature. Zehaal-e-miskeen makun taghaful, Duraye naina banaye batiyan. Ke taab-e-hijran nadaram ay jaan, Na leho kahe lagaye chatiyan. Shaban-e-hijran daraz chun zulf, Kkhusro roz-e-waslat cho umer kotah. Sakhi piya ko jo main na dekhun, To kaise katun andheri ratiyan. Bahaq-e-roz-e-visaal-e-dilbar, Ke daad mara gharib Khusro.

Sapet man ke varaye rakhun, Jo jaye paun piya ke khatiyan. Introduction The name of the poet Amir Khusrau is associated with several innovations in Indian classical music dating to the medieval period. The writer of an anthology of Persian poetry describes his musical talent as follows: A superb musician in his own right and credited with the invention of several musical instruments and with having laid the theoretical basis for much of Indo-Muslim music, Khusraw imparted to his ghazals a lilt and melody that have assured their inclusion in musical programs in India to the present day.

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Contemporary or even some later historians however do not remember him as a musician, but only as a urru. While lhusro subject has been much discussed, it is the aim of this paper to show briefly that a revision of the existing history at least in the English language is long overdue. Air very important book H. Unfortunately it is still unavailable in English.

Musical innovations ascribed to Khusrau Khusrau is said to be the inventor of the sitar3 and the tabla. He is also said to have composed numerous new ragas. According to an old Persian work6 on Indian music which is supposed to a be a translation of an older work7 written in the time of Rajah Mansingh of Gwaliyarhe invented the following new melodies: Such inappropriate conflations abound in the secondary literature on Khusrau.

The last-named work consisted of five volumes dealing with the arts and culture of India, one of which was dedicated to music. Nor does any of his contemporary, or even later writers mention the name. But this story can be dismissed very easily, even with a very simplistic explanation: The story current among musicians that Khusrau cut the mridang into two halves and it thus became the tabla has no basis, for a mridang cut into two will not acquire the shape of a tabla.

अमीर खुसरो Amir Khusro ابوالحسن یمین‌الدین خسرو‎ | A World,s Heritage Of Native Music

The left drum bayan is used to generate deeper sounds, and support the melody which is chiefly carried by the right drum. The two drums are different in size and shape, and have different membranes. The legend may also have a simple explanation based on folk etymology, though it yrdu not explain the association of the name of Khusrau with the instrument.

Classical Sanskrit sources and also Indo-Persian sources on music mention an instrument called the avaj which consisted of two drums. A single drum was called ardhavaj half an avaj. The tabla is also regarded by some as krdu of Middle Eastern origin, based on its name, derived from the Arabic word t. The Indian tabla may be a drum indigenous to India, ihusro may have been renamed in Islamic times. This view can be bolstered by the observation that the tabla has indigenous regional names such as the dukar.

This would again support the contention that the Perso-Arabic word t. Occasionally a tarana may include a Persian couplet, but this couplet does not function as a poetic verse might in a song genre such as the xmir. In dance tillanas, the rhythmic passages are composed so as to correspond with footwork, and drum syllables provide the only text. We begin with S.

Persian couplets sung in the tarana form of music basing on a single tal measure of time. But this is incorrect. That is, we are dealing with couplets in Persian being sung as khuusro to being recited. In fact, the correct translations of the second and third items should read: The question still remains whether Khusrau really invented what is now called the tarana.

An influential modern commentator on Indian music, Thakur Jai Deva Singh, answers in the affirmative. Rudu was entirely an invention of Khusrau.