Literary Reading: Imam as Divine Guide, Proof of God and Source of Salvation in Ismaili Ginanic Literature
The term Ginan is derived from the Hindi root-word Januna meaning ‘contemplative or meditative knowledge’. It is the Ismaili view that Ginans are religious poetry pertaining to the spiritual and higher values of life. Ginanic literature emerged when Ismaili Missionaries, designated as Pirs, came to India to preach in accordance with the orders of their Imams who were centered in Iran. It was a period (thirteenth century) when Islam was being propagated through Sufism, and many Sufi groups (silsila) were established then. At the same time, Hinduism was passing through the strong current of the Bhakti movement, which emphasized on the devotional element in religious attitude.
Thus the task of the Ismaili Pirs was to introduce Ismaili teachings in a manner not alien to the people. Hence, Ginans were composed on a pattern corresponding to the prevalent religious poetry. In terms of introducing the Concept of Imamat, the Ismaili Pirs incorporated terms like Purush, Avatar, Nar Naklank, Hazar Jomo, and Guru* in their teachings. Furthermore, the emphasis was also on the personal devotional element, and the Imamat was described in the Ginans in terms of its underlying influence on each individual.
According to the Ginans, the Imam is the source of guidance for mankind. He shows the right path, saves his followers from ignorance and acts as a Divine Light in the darkness. Thus it is said:
Murshid diwa hai Joog-ma,
jo aan dikhave ser-re;
E baatt bahot rariyamani,
jiya(n) chorasi nahi(n) fer-re [1]
Translation:
In this world the Master is the Light
who enlightens the Spiritual Path;
the Way is most wonderful
on which there is no failure.
And,
Nish andhari Gur chand-roora huwa;
Jot ahe Gur deevo, ho jire bhai [2]
Translation:
In the dark night of ignorance, the Master spreads the Light of Guidance like a moon;
Indeed, O brother! The Master is the Bright Lamp.
The verses quoted show that the Imam gives Divine Guidance. He is like a Light in the darkness and shows the travelers their way.
The absolute necessity for Divine Guidance through the Institution of Imamat is conveyed in the following verses:
Purush shan matra pag dharani na dharante,
Sansaar, chandra, suraj na dhrashtante,
Kuchh na dhrashtante,
Bhom kar, megh, dharti na aakaash bhave [3]
Translation:
If the Imam did not have his feet on this earth for even a moment,
then the world, moon, sun would vanish
and nothing would exist,
neither the heaven nor the earth.
The above verse correlates to a well known Hadith of the Holy Prophet Muhammad in which he is reported to have said that if the world were to remain without an Imam for one moment, the whole world with everything in it would perish instantaneously.
At the same time, the Pirs explain that the Imam is also the Vicegerent of God and Proof of God.
Noor Khalifa is joog mahe(n) aviya,
Ta(n)ki amar Jot likhani-ji [4]
Translation:
O brother! The Vicegerent of God has come in this world
and his Light has been made eternal.
And,
Qudrat apni zahir kidhi,
Pragatiya deen ka Imam [5]
Translation:
God revealed His nature
and with it manifested the Imam of the Faith.
Since the Imam is manifest in the world, it becomes necessary that he, as Proof of God, is sought out as mentioned in the following verse:
Pir Hassan Shah Ginan sunaya,
Jene dhoondiya tene Shah paya [6]
Translation:
Pir Hassan Shah says in the Ginan:
‘He who seeks will find the Imam.’
Being a Proof (hujjat) of God, everything (all knowledge) has been vouchsafed in the Imam as declared in the Qur’anic verse:
And we have vested the knowledge of everything in the Manifest Imam (Sura 36, Ayat 12).
The Pir speaks about this in the following verse:
Aashaji, Patal tani je soodhaj jane,
Sohi Dhani ya(n) aaya-ji;
Prathavi-na jene bandhaj bondhiya,
Sohi Nar avine betha [7]
Translation:
That Master, who even knows what is hidden in the depth of the earth
has come to you;
He who has the control of the world,
has come amidst you.
After the recognition of the Imam, obedience to him but follows naturally. This is emphasised in the Ginan thus:
Eji karo jo Gur farmave
Ta thi darshan Piya ka paave [8]
Translation:
Do whatever the Master commands,
so that you could be blessed with the vision of your Beloved.
And,
Eji Partak Patra-ne parkhi-ne,
Preme poojo ne pai,
Chaoud bhavan-no e dhani
Parghat chhe joog ma(n)he [9]
Translation:
Recognise and obey him (who is the Bearer of Divine Light)
Love and submit yourself to him,
who is the Sovereign of seven heavens and seven worlds,
he who is manifest on this earth.
Obedience to the Imam leads one to salvation. One who obeys devotedly succeeds in reaching the Divine, and one who turns away from the Imam goes astray as narrated in the following verse:
Hazar Jomo chhe jiwo no datar,
Tene tamey sahi kari manjo nar ne naar;
E Nur dekhi bhulshe je.
Ghor andhari ma(n) pursey te [10]
Translation:
The Imam is the Giver of salvation to the souls
so have true faith in him, 0 men and women!
He who turns away from His Light knowingly,
will find himself in total darkness.
The key points that emerge from this brief discussion are as follows:
(a) Imam is the Source for Divine Guidance and the presence of an Imam on this earth is necessary for its existence.
(b) The Imam is to be sought for and obedience and submission to him is necessary for understanding true Divine Knowledge and Divine Mysteries.
(c) The guidance provided by the Imam in his capacity as the Vicegerent of God and Proof of God represents the True Guidance of Allah.
(d) Salvation lies in the hands of the Imam.
______________
Footnotes:
* Some of these terms will be explored in a future Literary Reading.
The references for the squared brackets are as follows:
1. Satveni Moti, Syed Muhammad Shah, published by Ismailia Association for India, 1949.
2. Pir Sadardin-na Ginano-no Sangrah, published by the Ismailia Association for India, 1952.
3. Girbah Vali, Pir Sadardin.
4. See 2
5. Pir Hasan Kabirdin-na Ginano-no Sangrah, published by Ismailia Association for India.
6. Ibid.
7. Anant Akhado, Pir Hasan Kabiruddin
8. Buj Niranjan, Pir Sadardin.
9. Syed Imam Shah-na Ginano-no Sangrah, published by Ismailia Association for India.
10. See 2
______________
Article adapted by Simerg from “Imamat – A Ginanic Perspective” by Hakimali V. Surani, Ilm, Volume 7, Number 3 (December 1981 – February 1982), published by His Highness Prince Aga Khan Shia Imami Ismailia Association for the United Kingdom (under the new Ismaili Constitution ordained in 1986 by the current 49th Imam of the Ismailis, His Highness the Aga Khan, this Ismaili institution has since been known as the Shia Imami Ismaili Tariqah and Religious Education Board for the United Kingdom - or as the case may apply for each individual country)
_____________
Further reading on Ginans (and related) in this website:
Literary Reading: In Metaphoric Ginan “Eji Dhan Dhan Aajano” Pir Sadr al-Din Asks Mu’mins to Act Righteously and Gain Spiritual Recognition of Imam-e-Zaman
Literary Reading: Pir Sadr al-Din and the Da’wah in India – A Brief Note
Literary Reading: The Ginanic Literature of the Ismailis
Literary Reading: Text and Explanation of “Eji Shah Islamshah Amne Maliya”
Literary Reading: Ethics in the Kalam-i Mawla of Hazrat Ali, Part One
Literary Reading: The Munajat – Ya Ali Khuba Mijalas
Literary Reading: The Inward Odyssey in Two Key Ismaili Ginans, “Brahma Prakash” and “Sakhi Mahapada”
Literary Reading: Suddh-Buddh and Other Key Terms in Ginan “Bindrare Vann Manhe Sukh Charere Gavantri”
Parable Lesson: The Alchemy of Transformation, from Copper to Gold
//simerg.com/literary-readings/literary-reading-imam-as-divine-guide-proof-of-god-and-source-of-salvation-in-ismaili-ginanic-literature/
*****
Literary Reading: Imamat in Ismaili Ginanic Literature
Imam is the Threshold through which God and the creatures communicate; Imam is a Cosmic Necessity and the earth cannot be devoid of an Imam - without an Imam the earth and the universe would crumble; The Imam is the Proof, the Manifestation and the Organ of God and he is the Means by which human beings can attain the knowledge of God.
1. Introduction
There should always be a common point where inter-communication could exist between man and God. About the past the Holy Qur’an says:
“Lo, Allah preferred Adam and Noah and the family of Abraham and the family of Imran above all creatures. They were descendants one of another.” (Holy Qur’an, 3:33-34)
Allah’s preference in the above verse refers to the Prophethood and Imamat that continued in the families mentioned in the above verses. Regarding the time of Prophet Muhammad (may peace be upon him) and the time after him, the Qur’an says:
“O Mankind! Verily a proof has come to you from your Lord and We have sent unto you a Manifest Light. As for those who believe in Allah, and hold fast unto Him, then He will cause to enter them into His Mercy and Grace, and will guide them unto Him by a straight road.” (Holy Qur’an, 4:175-176)
What is meant in the words ‘to hold fast unto Him?’ The answer to this is found in another piece of advice in the Qur’an which says:
“And hold fast all of you together to the Rope of Allah and do not be separated.” (Holy Qur’an, 3:103)
According to Shia belief, the Rope of Allah refers to the Imam. The Institution of Imamat therefore provides such an intermediary link and one can best understand it and the underlying concept in these terms.
The Holy Qur’an reveals the basic nature of Imamat in terms of Hidayat (Divine Guidance). Furthermore, since the Book of God is the sole criteria upon which we may evaluate the other interpretations of Imamat, we shall will first examine the Qur’anic conception of Imamat (i.e. Divine Guidance) before we discuss the notion of Imamat in Ismaili Ginanic literature.
2. Imamat in the Holy Qur’an
The Qur’anic conception of Imamat can be summarised as follows:
Man, in this world, is an imperfect being, who is seeking the Perfect Being – God. The limited knowledge that human beings have is shown by the following verse:
“They will ask thee concerning the Spirit. Say: The Spirit is by command of my Lord, and of knowledge ye have been vouchsafed but little.” (Holy Qur’an, 7:85)
Due to this limit, man is not in a position to communicate directly with God and, hence, the need for Divine Guidance. Allah, in His Infinite Mercy, creates the channel of Divine Guidance through which man can reach Him. While the verse “Allah effaceth what He will, and establish (what He will), and with Him is the source of ordinance,” (Holy Qur’an, 13:39) empahasizes Divine Guidance as belonging solely to God’s, Allah delegates this authority to His Vicegerents on earth for the salvation of mankind.
Guidance in the form of Vicegerency has been established since the beginning of humanity and there has been no time when the world has been without it. This is clearly expressed in the following verse:
“And there never was a people, without a warner having lived among them.” (Holy Qur’an, 35:24)
Moreover, the Divine Guidance is compared with a Holy Tree (kashajaratin tayyibatin) which is ever-green and ever-fruitful. The Guidance does not fall short of its function because otherwise everything would perish as indicated in the well known hadith of the Holy Prophet Muhammad:
“If the world were to remain without an Imam for one moment, the whole world with everything in it would perish instantaneously.”
The Holy Qur’an has also laid down a pre-condition for man to seek the Divine Channel (wasilah) as a means for his salvation:
“O ye who believe! Be mindful of your duty to Allah, and seek the means of approach (wasilah) unto Him, and strive with might and main in His way in order that ye may succeed.” (Holy Qur’an, 5:35)
Moreover, it is also made obligatory for one to obey the Imam of the time, who is the means of approach (wasilah), for obedience to God is linked with obedience to the Imam of the time (Ulil-Amr).
“O ye who believe! Obey Allah and obey the Apostle and obey those who hold authority from amongst you.” (Holy Qur’an, 4:59)
This obedience results in the better understanding of Divine Knowledge and Mysteries because everything has been vouchsafed in the Imam (Divine Guide):
“And We have vested the Knowledge of everything in the Manifest Imam.” (Holy Qur’an, 36:12)
3. A Very Brief Note on the Ginanic Literature
Please visit www.iis.ac.uk to see images of other manuscripts at the Institute of Ismaili Studies, London, England.
As we have seen in previous readings (see links at end of article), Ismaili Pirs made use of the local religious terms as conceptual tools to present the teachings of Ismaili Faith. Ismailism was presented in a manner which suited the understanding of the people and that which did not disturb the Islamic Principles at all. In this connection Khawaja Hassan Nizami writes in the Urdu edition of Fatami Da’wate Islam :
“…for preaching of Islam the Ismaili dais kept before them exactly that Hikmat (wisdom),” which is suggested in the Qur’an:
“And call unto the way of thy Lord with wisdom (hikmat) and reason with them in a better way.” (Holy Qur’an, 16:125)
The Concept of Imamat was explained in terms like Purush, Avatar, Nar Naklank, Hazar Jomo, Guru, etc. In addition the Pirs focused on the personal devotional element, which was the current then because of the Bakhti movement whose underlying emphasis was for a truer religious attitude.
4. Imam as Source of Guidance and Divine Light
According to the Ginans the Imam is the source of Guidance for mankind. He shows them the right path, saves the people from ignorance and acts as a Divine Light in the darkness. In Ginan Satveni Moti by Syed Imam Muhammad Shah, it is said:
Murshid diwa hai joog-ma, jo aan dikhave ser-re;
e baatt bahot rariyamani, jiya(n) chorasi nahi(n) fer-re.
Translation:
In this world the Master is the Light who enlightens the Spiritual Path;
the Way is most wonderful on which there is no failure.
Pir Sadr al-Din emphasized the same idea in the following verse:
Nish andhari Gur chand-roora huwa;
Jot ahe Gur deevo, ho jire bhai.
Translation:
In the dark night of ignorance, the Master spreads the Light of Guidance like a moon;
Indeed, O brother! The Master is the Bright Lamp.
The parable of the Holy Tree (kachajaratin tayyibatin) set forth in the Qur’an is expressed in Syed Ahmed Shah’s Si Harfi as follows:
Ohang Nirinjan ek vraksh kita,
Inko dali do-al dita;
Ek Noor Muhammad Mustafa,
Duja Noor Ali Murtaza;
Mai Fatima unke bhere,
Hasan Husayn is Noor mahe khele.
Translation:
God created a Tree
and gave it two branches:
one was the Light (Noor) of Muhammad the Chosen
and the other was Ali the Favourite;
Bibi Fatima was with the two
and Hasan and Husayn mingled in this Light.
The conception of the Qur’anic Holy Tree has been beautifully expressed in the above verses and linked with the Divine Light of the Imam.
These few verses have shown that the Imam gives Divine Guidance. He is like a Light in the darkness and shows the travellers their way. In this world, it is the Imam who determines for man a way of action for salvation, because man is liable to error and may go astray, confused by the complexities of life and varying conditions.
5. Necessity for Imamat, Imam as Mazhar-e-Allah, and Imam as Knower of Everything
The absolute necessity for the presence of the Imam on this earth is related by Pir Sadr al-Din in the Ginan Girbah Vali:
Purush shan matra pag dharani na dharante,
Sansaar, chandra, suraj na dhrashtante,
Kuchh na dhrashtante,
Bhom kar, megh, dharti na aakaash bhave.
Translation:
If the Imam did not have his feet on this earth for even a moment,
then the world, moon, sun would vanish
and nothing would exist,
neither the heaven nor the earth.
In this connection we had earlier quoted a Hadith of the Prophet Muhammad. Thus Imamat is a Divine Necessity for the world to exist, and is the source of Divine Guidance.
At the same time, the Imam is referred as the Mazhar-e-Dhat-e-Allah and this is explained by Ismaili Pirs as follows:
Pir Sadr al-Din says:
Noor Khalifa is joog mahe(n) aviya,
Ta(n)ki amar Jot likhani-ji.
Translation:
O brother! The Vicegerent of God has come in this world
and his Light has been made eternal.
And his son, Pir Hasan Kabirdin, notes:
Qudrat apni rahir kidhi,
Pragatiya deen ka Imam.
Translation:
God revealed His nature
and with it manifested the Imam of the Faith.
Both these verses refer to the Imam as the Proof (hujjat) of God.
Since Imam is manifest in the world it is necessary that he should be sought out, and here Pir Hassan Shah declares:
Pir Hassan Shah Ginan sunaya,
Jene dhoondiya tene Shah paya.
Translation:
Pir Hassan Shah says in the Ginan:
‘He who seeks will find the Imam.’
Being a Proof (hujjat) of God, everything (all knowledge) has been vouchsafed in the Imam of the Time. The Quranic declaration “And We have vested the Knowledge of everything in the Manifest Imam” (Holy Qur’an, 36:12) is reiterated in Pir Hasan Kabirdin’s monumental composition, Anant Akhado, where he says:
Aashaji, Patal tani je, soodhaj jane,
Sohi Dhani ya(n) aaya-ji;
Prathavi-na jene bandhaj handhiya,
Sohi Nar avine betha.
Translation:
He who knows what is hidden in the depth of the earth,
That (same) Master has come to you;
He who has the control of the world
has come amidst you.
6. The Importance of Obedience to the Imam
After the recognition of the Imam, obedience to him but follows naturally. This cardinal principle of Islam laid down in the Qur’anic verse (4:59) quoted earlier, is emphasised by Pir Sadr al-Din in the Buj Niranjan:
Eli karo jo Gur farmave,
Ta thi darshan Piya ka paave.
Translation:
Do whatever the Master commands,
so that you could be blessed with the vision of your Beloved.
And by Syed Imam Shah in the following verse:
Eji Partak Patra-ne parkhi-ne,
Preme poojo ne pai,
Chaoud bhavan-no e dhani
Parghat chhe joog ma(n)he.
Translation:
Recognise and obey him who is the Bearer of Divine Light.
Love and submit yourself to him
who is manifest on this earth
and who is the Sovereign of seven heavens and seven worlds.
It is because of the obedience to the Imam that one may achieve salvation. One who obeys devotedly succeeds in reaching the Divine, and the one who turns away from the Imam goes astray. Pir Sadr al-Din explains this in the following verse:
Hazar Jomo chhe jiwo no datar
Tene tamey sahi kari man jo nar ne naar;
E Nur dekhi bhulshe je;
Ghor andhari ma(n) pursey te
Translation:
The Imam is the Giver of salvation to the souls
so have true faith in him, 0 men and women!
He who turns away from His Light knowingly,
will find himself in total darkness.
Thus, Imam is the source of guidance for mankind and people should seek to recognise him and obey him to achieve salvation.
7. Conclusion
We have seen in the introduction that the Qur’an is the source which provides the doctrinal nature of Imamat (Divine Guidance). The above discussion shows that the basic element of Guidance as found in the Qur’an is present also in the Ginans.
Where the Qur’anic symbolism uses the allegory of the Holy Tree (kashajaratin tayyibatin) for Divine Guidance, the same simili is used in the Ginans to indicate the spiritual aspect of Imamat (Divine Guidance). Similarly, where the Qur’an refers to the essential function of Imamat as Guidance, the Ginans also refer to this by comparing it with the Eternal Lamp of Light, which enlightens humanity. According to the Qur’an, since Guidance is an eternal necessity, Imamat is made the Divine Ground in the world upon which it rests and the same idea appears in the Ginans.
Further analysis show that the Qur’an asks us to seek the means (wasilah) and similarly the Ginans also direct us to search for the Imam.
People should obey the Imam (Ulil Amr), says the Qur’an, for the Vision of Reality. The Ginans make it a necessary condition that one should obey the Imam of the time and submit to him completely. The concept that obedience results in the better understanding of Divine Knowledge and Mysteries found in the Ginans is expressed differently in the Qur’an, but with the same insight within the words:
“And We have vested the Knowledge of everything in the Manifest Imam.” (Holy Qur’an, 36:12)
With Imam being the Mazhar of Allah, it implies that whatever Imam says is the True Guidance of God. Therefore salvation lies in the hands of Imam. Hence Imam and his descendants (ahle-bait - people of the House of Imam to whom allegiance is due, i.e. the succeeding Imams) have been allegorically described as the Ark of Nuh (Noah) as in the following Hadith:
The People of my family
are like Noah’s Ark;
Whoever boards the Ark is saved,
Whoever stays away is carried off by the waves.*
It was this Ark which saved those who took shelter in it and destroyed those who did not board it. Pirs have asserted the same idea by saying that Imam is the True Guide, and whoever turns his face away from him is ignorant and misguided.
From the similarities which we have found in the Qur’an and the Ginans with regard to the Concept of Imamat, we may conclude that the primary ‘form’ of the Concept of Imamat in the Ginans has been taken from the Qur’an and there is no difference between them. However, in the Ginans, some of the elements of this concept have been explained in the context of pre-established culture whose influence prevailed during the time when our Pirs carried out their da’wa (invitation to Faith) in the sub-continent.
_______________
Reading adapted from Imamat – A Ginanic Perspective by Hakimali V. Surani, published in Ilm, Volume 7, Number 3, December 1981 – February 1982, (Ismailia Association for the United Kingdom, now known as the Shia Imami Ismaili Tariqah and Religious Education Board).
______________
Ginan Reference Texts and Other Notes:
1. Satveni Moti, Syed Muhammad Shah, published by Ismailia Association for India, 1949.
2. Pir Sadardin-na Ginano-no Sangrah, published by Ismailia Association for India, 1952.
3. Pir Hasan Kabirdin-na Ginano-no Sangrah, published by Ismailia Association for India.
4. Syed Imam Shah-na Ginano-no Sangrah, published by Ismailia Association for India.
* This well known hadith is quoted on page 125 of “The Divine Guide in Early Shi’ism”, translated by David Streight (Publisher: State University of New York Press, 1994).
If this is your first visit to the web site, we invite you to visit the Home page and find out more about this web site. Please also see the What’s New page for all articles posted on this website.
______________
Other Ginan readings on this web site:
Literary Reading: In Ismaili Ginanic Literature Prophet Muhammad is Symbol of Moon-Light, a Mercy to All Nations, and Intercessor
Literary Reading: Pir Sadr al-Din and the Da’wah in India – A Brief Note
Literary Reading: The Ginanic Literature of the Ismailis
Literary Reading: Imam as Divine Guide, Proof of God and Source of Salvation in Ismaili Ginanic Literature
/simerg.com/literary-readings/literary-reading-imamat-in-ismaili-ginanic-literature/
Miscellaneous Articles on Ginans
Ameer Janmohamed’s Thank You Letter to Pir Sabzali and the Ismaili Pirs of the Ginanic Tradition
“Itmadi Sabzali has served me in such a manner that after his death, I honour him with the title of a Pir” – Sir Sultan Mahomed Shah Aga Khan, 48th Ismaili Imam
//simerg.com/thanking-ismaili-historical-figures/ameer-janmohameds-thank-you-letter-to-pir-sabzali-and-the-ismaili-pirs-of-the-ginanic-tradition/
“Itmadi Sabzali has served me in such a manner that after his death, I honour him with the title of a Pir” – Sir Sultan Mahomed Shah Aga Khan, 48th Ismaili Imam
//simerg.com/thanking-ismaili-historical-figures/ameer-janmohameds-thank-you-letter-to-pir-sabzali-and-the-ismaili-pirs-of-the-ginanic-tradition/
Ginans: A Tradition of Religious Poetry Amongst the Ismailis
http://www.iis.ac.uk/view_article.asp?C ... 05313&l=en
http://www.iis.ac.uk/view_article.asp?C ... 05313&l=en
The Ismaili Ginan Tradition from the Indian Subcontinent, Middle East Studies Association Bulletin, Vol. 38, No. 2 (December 2004), pp. 175-185
http://www.academia.edu/19600311/The_Is ... p._175-185
http://www.academia.edu/19600311/The_Is ... p._175-185
Music in Ginans is vital for invoking specific emotions
Ginans are poetic compositions which have been a central part of the religious life of the Nizari Ismaili community of the Indian subcontinent that today resides in many countries around the world. The term ginan is derived from the Sanskrit jnan, translated as ‘knowledge’ or ‘wisdom.’
Ginans served as secondary texts in the local languages to convey the teachings of the Qur’an and the esoteric Ismaili interpretation to non-Arabic speaking peoples. They were composed by Pirs and Saiyads, or preachers, who came to the Indian subcontinent as early as the eleventh century. Saiyads were distinguished from Pirs, a title which was interpreted as indicating formal appointment by the Imam. Most of the seventeen Saiyads who authored Ginans were descended from Pir Hasan Kabirdin’s son Imamshah or his other children.
Mal Khajina by Sayyid Ghulam ‘Ali Shah (Image: The Institute of Ismaili Studies)
Ginans were composed from the thirteenth to the nineteenth centuries, by about thirty da’is, at a time when the written literary tradition was flourishing in the Indian subcontinent, with well-known figures such as Narasimha Maeta (15th century), Mirabai (1498-1557), and Narhari (17th century), Kabir (1440-1518), and Guru Nanak (1469-1539). Composition of devotional and mystical poetry among Muslims, especially the Sufis, was also developing at this time.
The language of the Ginans is mixed; its vocabulary is derived from Arabic and Persian, as well as Sanskrit and languages descended from it (mainly Gujarati). Ginans are distinguished not by their content, but by the melody (raga) and the names of the accepted author that appears in the last verse of every Ginan, similar to the rasa, a prevalent medium in Gujarat from the twelfth century on. The rasa, which was recited to a raga, was a frequently used medium for religious instruction and to express specific emotional feelings; each composition always ended with the name of the composer and with prayers for forgiveness.
Ginans are meant to be sung, therefore, music is an important characteristic of Ginans and vital for invoking specific emotional states; many manuscripts indicate their connection to rituals such as before daily prayer or at funerals.
Very popular in the Gujarati folk life is the garbi, a folk dance, with the word applied to the song as well as the singing party itself. The individuals move around in a circle and sing to the accompaniment of a rhythmical clap of hands and feet. Pir Shams composed twenty-eight Garbis.
Sources:
Azim Nanji, The Nizari Isma’ili Tradition in the Indo-Pakistan Subcontinent, Caravan Books, New York, 1978
Aziz Esmail, A Scent of Sandalwood: Indo-Ismaili Religious Lyrics. London: Curzon in association with The Institute of Ismaili Studies, 2002
Ginans, A Tradition of Religious Poetry, The Institute of Ismaili Studies (accessed December 2015)
Compiled by Nimira Dewji
/ismailimail.wordpress.com/2016/01/21/music-in-ginans-is-vital-for-invoking-specific-emotions/
Ginans are poetic compositions which have been a central part of the religious life of the Nizari Ismaili community of the Indian subcontinent that today resides in many countries around the world. The term ginan is derived from the Sanskrit jnan, translated as ‘knowledge’ or ‘wisdom.’
Ginans served as secondary texts in the local languages to convey the teachings of the Qur’an and the esoteric Ismaili interpretation to non-Arabic speaking peoples. They were composed by Pirs and Saiyads, or preachers, who came to the Indian subcontinent as early as the eleventh century. Saiyads were distinguished from Pirs, a title which was interpreted as indicating formal appointment by the Imam. Most of the seventeen Saiyads who authored Ginans were descended from Pir Hasan Kabirdin’s son Imamshah or his other children.
Mal Khajina by Sayyid Ghulam ‘Ali Shah (Image: The Institute of Ismaili Studies)
Ginans were composed from the thirteenth to the nineteenth centuries, by about thirty da’is, at a time when the written literary tradition was flourishing in the Indian subcontinent, with well-known figures such as Narasimha Maeta (15th century), Mirabai (1498-1557), and Narhari (17th century), Kabir (1440-1518), and Guru Nanak (1469-1539). Composition of devotional and mystical poetry among Muslims, especially the Sufis, was also developing at this time.
The language of the Ginans is mixed; its vocabulary is derived from Arabic and Persian, as well as Sanskrit and languages descended from it (mainly Gujarati). Ginans are distinguished not by their content, but by the melody (raga) and the names of the accepted author that appears in the last verse of every Ginan, similar to the rasa, a prevalent medium in Gujarat from the twelfth century on. The rasa, which was recited to a raga, was a frequently used medium for religious instruction and to express specific emotional feelings; each composition always ended with the name of the composer and with prayers for forgiveness.
Ginans are meant to be sung, therefore, music is an important characteristic of Ginans and vital for invoking specific emotional states; many manuscripts indicate their connection to rituals such as before daily prayer or at funerals.
Very popular in the Gujarati folk life is the garbi, a folk dance, with the word applied to the song as well as the singing party itself. The individuals move around in a circle and sing to the accompaniment of a rhythmical clap of hands and feet. Pir Shams composed twenty-eight Garbis.
Sources:
Azim Nanji, The Nizari Isma’ili Tradition in the Indo-Pakistan Subcontinent, Caravan Books, New York, 1978
Aziz Esmail, A Scent of Sandalwood: Indo-Ismaili Religious Lyrics. London: Curzon in association with The Institute of Ismaili Studies, 2002
Ginans, A Tradition of Religious Poetry, The Institute of Ismaili Studies (accessed December 2015)
Compiled by Nimira Dewji
/ismailimail.wordpress.com/2016/01/21/music-in-ginans-is-vital-for-invoking-specific-emotions/
Harvard University’s Course on Ginans, with Professor Ali Asani
Muslim Devotional Literatures in South Asia: Qawwalis, Sufiana Kalam (Sufi Poetry) and the Ginans
RELIGION 1814 – Ali Asani
This course explores traditions of Islamic spirituality in South Asia through the lens of three genres: the qawwali, concerts of mystical poetry; sufiana kalam, Sufi romantic epics and folk poems; and the ginans, hymns of esoteric wisdom recited by the Satpanthi Ismailis. Since these genres represent examples of language, symbols and styles of worship shared across Islamic and non-Islamic denominational boundaries, we will also examine their relationships with other Indic traditions of devotion, particularly those associated with the so-called sant and Hindu bhakti movements. Special emphasis will be given to the impact of contemporary political ideologies, globalization and the revolution in media technology on the form and function of these genres and their relationship with contemporary communities of faith in South Asia and beyond. Eligible for cross-registration with permission of instructor/subject to availability. For Undergraduates. Offered jointly with the Divinity School as 3375.
Some of the Readings on the Ismaili Ginans from this new Harvard Course are listed at Ismailignosis.com
//ismailimail.wordpress.com/2016/01/28/harvard-universitys-course-on-ginans-with-professor-ali-asani/
Muslim Devotional Literatures in South Asia: Qawwalis, Sufiana Kalam (Sufi Poetry) and the Ginans
RELIGION 1814 – Ali Asani
This course explores traditions of Islamic spirituality in South Asia through the lens of three genres: the qawwali, concerts of mystical poetry; sufiana kalam, Sufi romantic epics and folk poems; and the ginans, hymns of esoteric wisdom recited by the Satpanthi Ismailis. Since these genres represent examples of language, symbols and styles of worship shared across Islamic and non-Islamic denominational boundaries, we will also examine their relationships with other Indic traditions of devotion, particularly those associated with the so-called sant and Hindu bhakti movements. Special emphasis will be given to the impact of contemporary political ideologies, globalization and the revolution in media technology on the form and function of these genres and their relationship with contemporary communities of faith in South Asia and beyond. Eligible for cross-registration with permission of instructor/subject to availability. For Undergraduates. Offered jointly with the Divinity School as 3375.
Some of the Readings on the Ismaili Ginans from this new Harvard Course are listed at Ismailignosis.com
//ismailimail.wordpress.com/2016/01/28/harvard-universitys-course-on-ginans-with-professor-ali-asani/
Professor Ali Asani to present on “Ginans as Performative Texts” at University of Texas at Austin
Dr. Ali Asani, Professor of Indo-Muslim and Islamic Religion and Cultures and Director of the Prince Alwaleed bin Talal Islamic Studies Program at Harvard University will present on “The Ginans as Performative Texts” as part of the Spring South Asia Seminar Series. The seminar series theme is – Text and Performance in India
Thursday, April 7 at 3:30 PM – 5 PM
UT Austin, Meyerson Conference Room (WCH 4.118)
/ismailimail.wordpress.com/2016/03/26/professor-ali-asani-to-present-on-ginans-as-performative-texts-at-university-of-texas-at-austin/
Dr. Ali Asani, Professor of Indo-Muslim and Islamic Religion and Cultures and Director of the Prince Alwaleed bin Talal Islamic Studies Program at Harvard University will present on “The Ginans as Performative Texts” as part of the Spring South Asia Seminar Series. The seminar series theme is – Text and Performance in India
Thursday, April 7 at 3:30 PM – 5 PM
UT Austin, Meyerson Conference Room (WCH 4.118)
/ismailimail.wordpress.com/2016/03/26/professor-ali-asani-to-present-on-ginans-as-performative-texts-at-university-of-texas-at-austin/
Supreme Knowledge: A Sublime Gift of Ismaili Ginans
A COMMENTARY ON PIR SADARDIN’S KARSANAJI BHANARE ARJUN SAMBHARO [1]
By Shiraz Pradhan
simerg.com/literary-readings/supreme-knowledge-a-sublime-gift-of-ismaili-ginans/
Extract:
The Ginan “Karsanaji” begins on a joyous note saying it will bring new knowledge.
VERSE 1
Eji Karsanaji bhanere, Arjun sambharo
Aasha bhala gun nav nav thai re
Karsanaji recites, O Arjun listen to the discourse,
It will bring new knowledge
Jiya lagi Satgurji maliya nahi,
Tiya lagi taro Jiv fera khayere
Until you meet the true Guide,
You will be trapped in the cycle of repeated births
Atman tantve ne pankhe nahi
Tiya lagi tari dehi fana j thai
Until you understand the essence of your soul,
You will go through repeated birth
VERSE 2
Eji panch re tatve Arjun tame bujo bhan ne bhev re
Jiv pind shiv te jujwa nahi
Pind ma bole sohi devre
O Arjun, understand the five elements that make your body (these are perishable)
The eternal soul that resides in the body is not separate from the Supreme Soul.
VERSE 3
Eji Ginan aavyu re kem jani e,
Ane teno sarbhushan parman re
What are the signs of progress in the Path?
Its sign is that it will bestow a balance in your inner being.
(It is author’s belief that the Ginan word sarbhusan in the above verse is equivalent to the concept of Stithparjana, which is used in Shreemad Bhagvat Gita [2])
VERSE 4
Tin sar padam ne pankhi ye,
Tene jano aasal aandhan re
The flashes of Illumination will indicate to you that you are perfect in wisdom.
This is the genuine sign
VERSE 4
Eji van re gaye na chutie bhale tajiye vastra ne aan re
Ghruhasti marag nu bandhan nahi
Jo hoi nisijal man re
There is no need to go the forest or suffer penances
Nor is there a need to walk away from life,
A clean heart is the only requirement of this Path.
Eji telre kadai mahe kad kade
Mahe pankho punam kero chand re
Oil boiling in a hot pan reflects the moon
VERSE 5
Ema dekh ta dise pan daze nahi
Eme Hari algo Govind re
Yet it (the moon) is not scald or trapped by it,
Similar is the state of the soul in the body.
VERSE 6
Eji jal thi kamal jem algo nahi,
tem Hari rupe oocho re
Van re preme jal ma rahe,
nir sinche kem lopay re
A lily is not separate from the water it grows in just as
the individual soul is not separate from the Supreme Soul
Without love-attraction between the individual and Supreme Soul
this delusion of separation will remain.
(This verse is preparing for the next verse which the crux of the entire Ginan and culmination of the philosophy of divine Union which in Sufi terms is referred to as Baqa or eternal life in the Supreme Soul.)
VERSE 7
Eji ek re divo tari dehi ma
Ane bijo divo sat Paramatma
Te divo jiya sudhi male nai
Tiya lagi taro Jiv fera khai re
One flame burns in your body (reference here is to the soul that resides in the body)
The other flame is that eternal Supreme Soul
Until the two flames meet and merge, your Jiva (soul) will go through repeated births (this is the Sufi stage of Buqa, which is the stage at which Jiva (which is false egotistic aspect of the soul which thinks that it is trapped in the body) dies and the individual soul which is eternal merges in the Supreme Soul.
VERSE 8
Eji Pir Sadardin bolya,
Saheb che koi Visvapalak naam re
Ek mane srevo Sohi sham ne
To paamo Aamrapuri tham re
Pir Sadardin says, the True Guide is the Sustainer of the Universe
Channel your devotion to this Guide
And you shall attain to the eternal station.
A COMMENTARY ON PIR SADARDIN’S KARSANAJI BHANARE ARJUN SAMBHARO [1]
By Shiraz Pradhan
simerg.com/literary-readings/supreme-knowledge-a-sublime-gift-of-ismaili-ginans/
Extract:
The Ginan “Karsanaji” begins on a joyous note saying it will bring new knowledge.
VERSE 1
Eji Karsanaji bhanere, Arjun sambharo
Aasha bhala gun nav nav thai re
Karsanaji recites, O Arjun listen to the discourse,
It will bring new knowledge
Jiya lagi Satgurji maliya nahi,
Tiya lagi taro Jiv fera khayere
Until you meet the true Guide,
You will be trapped in the cycle of repeated births
Atman tantve ne pankhe nahi
Tiya lagi tari dehi fana j thai
Until you understand the essence of your soul,
You will go through repeated birth
VERSE 2
Eji panch re tatve Arjun tame bujo bhan ne bhev re
Jiv pind shiv te jujwa nahi
Pind ma bole sohi devre
O Arjun, understand the five elements that make your body (these are perishable)
The eternal soul that resides in the body is not separate from the Supreme Soul.
VERSE 3
Eji Ginan aavyu re kem jani e,
Ane teno sarbhushan parman re
What are the signs of progress in the Path?
Its sign is that it will bestow a balance in your inner being.
(It is author’s belief that the Ginan word sarbhusan in the above verse is equivalent to the concept of Stithparjana, which is used in Shreemad Bhagvat Gita [2])
VERSE 4
Tin sar padam ne pankhi ye,
Tene jano aasal aandhan re
The flashes of Illumination will indicate to you that you are perfect in wisdom.
This is the genuine sign
VERSE 4
Eji van re gaye na chutie bhale tajiye vastra ne aan re
Ghruhasti marag nu bandhan nahi
Jo hoi nisijal man re
There is no need to go the forest or suffer penances
Nor is there a need to walk away from life,
A clean heart is the only requirement of this Path.
Eji telre kadai mahe kad kade
Mahe pankho punam kero chand re
Oil boiling in a hot pan reflects the moon
VERSE 5
Ema dekh ta dise pan daze nahi
Eme Hari algo Govind re
Yet it (the moon) is not scald or trapped by it,
Similar is the state of the soul in the body.
VERSE 6
Eji jal thi kamal jem algo nahi,
tem Hari rupe oocho re
Van re preme jal ma rahe,
nir sinche kem lopay re
A lily is not separate from the water it grows in just as
the individual soul is not separate from the Supreme Soul
Without love-attraction between the individual and Supreme Soul
this delusion of separation will remain.
(This verse is preparing for the next verse which the crux of the entire Ginan and culmination of the philosophy of divine Union which in Sufi terms is referred to as Baqa or eternal life in the Supreme Soul.)
VERSE 7
Eji ek re divo tari dehi ma
Ane bijo divo sat Paramatma
Te divo jiya sudhi male nai
Tiya lagi taro Jiv fera khai re
One flame burns in your body (reference here is to the soul that resides in the body)
The other flame is that eternal Supreme Soul
Until the two flames meet and merge, your Jiva (soul) will go through repeated births (this is the Sufi stage of Buqa, which is the stage at which Jiva (which is false egotistic aspect of the soul which thinks that it is trapped in the body) dies and the individual soul which is eternal merges in the Supreme Soul.
VERSE 8
Eji Pir Sadardin bolya,
Saheb che koi Visvapalak naam re
Ek mane srevo Sohi sham ne
To paamo Aamrapuri tham re
Pir Sadardin says, the True Guide is the Sustainer of the Universe
Channel your devotion to this Guide
And you shall attain to the eternal station.
Ya Ali Madad.
Many of our Ginan do have Baatin essence and elements in it.
I will try to explain from one of it.
It is a Ginan that is recited almost every other day.
EJEE IMAAN AMARO SALAMAT RAKH JOO.
next verse is
BIJU ETLU MANGEYE KE VARAM VAAR HOVE TAMARO DIDAR.
We daily ask & pray for Zahir ,Baatin and Noorani Didars.
The first at zahiri level we ask for faith and wish to have regular didars.
Second at Baatin ,it mean to regular Baatin Didar as physical Didar is not possible every now and then.
When Pir prays they do eternal life and just one phase.
He already has strong IMAAN but seeks the same in next many phases.One can be born as Non Ismaili with strong faith in God.but the second requests binds ALI to make him an Ismaili as to be rebleesed with Imams Didar.
Varam vaar mean in each phases of next life.
This start noorani cycles of life understood at MAAD.
In same beautiful Imam begum asked PAKDI LEJO MARO HAATH.She skilfully seek to given a body after her death which Imam will hand hold her.As as all are aware after death the body mixes with the Earth.
There is Farman of IMAM SMS that if we UNDERSTOOD the Ginans then he would not need make many farmans.
The last level is the absolute essence of Sufi Tariqa.and second is our important Tariqa to seek Baatin Didar thru submission and Ibaadat.
Pit & Sufis seek more than what is written at layman's level.
Many of our Ginan do have Baatin essence and elements in it.
I will try to explain from one of it.
It is a Ginan that is recited almost every other day.
EJEE IMAAN AMARO SALAMAT RAKH JOO.
next verse is
BIJU ETLU MANGEYE KE VARAM VAAR HOVE TAMARO DIDAR.
We daily ask & pray for Zahir ,Baatin and Noorani Didars.
The first at zahiri level we ask for faith and wish to have regular didars.
Second at Baatin ,it mean to regular Baatin Didar as physical Didar is not possible every now and then.
When Pir prays they do eternal life and just one phase.
He already has strong IMAAN but seeks the same in next many phases.One can be born as Non Ismaili with strong faith in God.but the second requests binds ALI to make him an Ismaili as to be rebleesed with Imams Didar.
Varam vaar mean in each phases of next life.
This start noorani cycles of life understood at MAAD.
In same beautiful Imam begum asked PAKDI LEJO MARO HAATH.She skilfully seek to given a body after her death which Imam will hand hold her.As as all are aware after death the body mixes with the Earth.
There is Farman of IMAM SMS that if we UNDERSTOOD the Ginans then he would not need make many farmans.
The last level is the absolute essence of Sufi Tariqa.and second is our important Tariqa to seek Baatin Didar thru submission and Ibaadat.
Pit & Sufis seek more than what is written at layman's level.
The Ath Chronicles of Sofia and Henna: Ali Asani, Oct. 23
Last Monday, Oct. 23, we attended Professor Ali Asani’s Athenaeum talk “Hymns of Wisdom: The Ismaili Ginans of South Asia.” After reading the description, we were intrigued for two reasons: the obscurity of the topic and its relevance beyond its specific origin. Who are the Ismailis, and how is it that this little-known minority’s hymns have influenced a multitude of cultures?
While our Western education has provided us with general knowledge of Christianity and familiarity with popular Christian hymns, our curriculum spanned very little into the Islamic equivalent. Professor Asani, aware of this, began his talk with an overview on Ismailism, a branch of Shi’a Islam. He identified their roots, structure, and beliefs before entering into his main discussion on their influential hymns, the Ismaili ginans.
The essence of this tradition lies in the origin of its name, which is derived from the word gyan, meaning “knowledge.” The point of reciting ginans is to transmit emotive knowledge through melodic poetry, which, in turn, guides the audience to transcend the material world and connect with the divine. Asani went on to describe how ginans were originally only listened to in Ismaili prayer halls, Jamatkhanas. Later, recordings led to the integration of ginans into casual household listening.
From there, this obscure tradition gained global popularity and was adopted by many religions, both Eastern and Western. Asani demonstrated this phenomenon by interspersing his talk with various brief audio recordings of the same ginan, appropriated by five vastly different cultures.
Often, throughout the talk, Asani asserted the pluralistic nature of ginans. He also clarified that Ismailis, as a community, encourage the appropriation of its tradition by other cultures because it promotes the idea of a divine unity, which is key to the Ismaili belief. Asani believes that ginans act as a bridge between different cultures and unite people through art. He said that the global appeal of ginans is not just in its enticing musical and poetic nature, but mainly its ability to evoke emotion.
As we departed the Ath, we compared our thoughts on Professor Ali Asani presentation. Scattered with religious hymns and brief song snippets, we agreed Professor Asani maintained a truly unique and intriguing talk. He captured the audience upon the first hymn: the Ath audience turned silent and reflective, and all attention was devoted to lyrics displayed on the screen. We also noted how the music evoked a certain contemplative mood, and the ultimate appeal was not to the “sense,” as professor Asani so eloquently put it, but rather to the “emotion dimension.”
Finally, we thought of Professor Asani’s overarching message: The importance of cultural diversification. Too often CMCers are surrounded by an echo chamber of ideas and like-minded thinkers — Asani pushed us to confront alternative perspectives and varying viewpoints, particularly in the religious sphere. He gave us a sense of how difficult it is to restrict pluralistic religions. That is, to limit religious identities to certain ‘cookie-cutter boxes’ that simply cannot account for the nuances and intricacies of the religion at hand. Professor Asani truly reminded us of the value of cultural diversification and the ability of religious traditions to have a broader impact on different peoples in multiple contexts.
http://cmcforum.com/life/10302017-the-a ... ani-oct-23
Last Monday, Oct. 23, we attended Professor Ali Asani’s Athenaeum talk “Hymns of Wisdom: The Ismaili Ginans of South Asia.” After reading the description, we were intrigued for two reasons: the obscurity of the topic and its relevance beyond its specific origin. Who are the Ismailis, and how is it that this little-known minority’s hymns have influenced a multitude of cultures?
While our Western education has provided us with general knowledge of Christianity and familiarity with popular Christian hymns, our curriculum spanned very little into the Islamic equivalent. Professor Asani, aware of this, began his talk with an overview on Ismailism, a branch of Shi’a Islam. He identified their roots, structure, and beliefs before entering into his main discussion on their influential hymns, the Ismaili ginans.
The essence of this tradition lies in the origin of its name, which is derived from the word gyan, meaning “knowledge.” The point of reciting ginans is to transmit emotive knowledge through melodic poetry, which, in turn, guides the audience to transcend the material world and connect with the divine. Asani went on to describe how ginans were originally only listened to in Ismaili prayer halls, Jamatkhanas. Later, recordings led to the integration of ginans into casual household listening.
From there, this obscure tradition gained global popularity and was adopted by many religions, both Eastern and Western. Asani demonstrated this phenomenon by interspersing his talk with various brief audio recordings of the same ginan, appropriated by five vastly different cultures.
Often, throughout the talk, Asani asserted the pluralistic nature of ginans. He also clarified that Ismailis, as a community, encourage the appropriation of its tradition by other cultures because it promotes the idea of a divine unity, which is key to the Ismaili belief. Asani believes that ginans act as a bridge between different cultures and unite people through art. He said that the global appeal of ginans is not just in its enticing musical and poetic nature, but mainly its ability to evoke emotion.
As we departed the Ath, we compared our thoughts on Professor Ali Asani presentation. Scattered with religious hymns and brief song snippets, we agreed Professor Asani maintained a truly unique and intriguing talk. He captured the audience upon the first hymn: the Ath audience turned silent and reflective, and all attention was devoted to lyrics displayed on the screen. We also noted how the music evoked a certain contemplative mood, and the ultimate appeal was not to the “sense,” as professor Asani so eloquently put it, but rather to the “emotion dimension.”
Finally, we thought of Professor Asani’s overarching message: The importance of cultural diversification. Too often CMCers are surrounded by an echo chamber of ideas and like-minded thinkers — Asani pushed us to confront alternative perspectives and varying viewpoints, particularly in the religious sphere. He gave us a sense of how difficult it is to restrict pluralistic religions. That is, to limit religious identities to certain ‘cookie-cutter boxes’ that simply cannot account for the nuances and intricacies of the religion at hand. Professor Asani truly reminded us of the value of cultural diversification and the ability of religious traditions to have a broader impact on different peoples in multiple contexts.
http://cmcforum.com/life/10302017-the-a ... ani-oct-23
Ali Jan Damani’s Paper presentation on Ginans at a conference: Sindh Studies: Indus Valley Cultural Heritage
BY ISMAILIMAIL POSTED ON OCTOBER 12, 2018
Ali Jan Damani‘s submission for the “2nd International Conference on Sindh Studies: Indus Valley Cultural Heritage: New perspectives and Challenges”. His abstract is entitled “Gināns (The extent of Islamic legacy in Sindh)” which has been accepted.
Abstract and more at:
ismailimail.blog/2018/10/12/ali-jan-damanis-paper-presentation-on-ginans-at-a-conference-sindh-studies-indus-valley-cultural-heritage/
BY ISMAILIMAIL POSTED ON OCTOBER 12, 2018
Ali Jan Damani‘s submission for the “2nd International Conference on Sindh Studies: Indus Valley Cultural Heritage: New perspectives and Challenges”. His abstract is entitled “Gināns (The extent of Islamic legacy in Sindh)” which has been accepted.
Abstract and more at:
ismailimail.blog/2018/10/12/ali-jan-damanis-paper-presentation-on-ginans-at-a-conference-sindh-studies-indus-valley-cultural-heritage/
Institute of Sindhology:
Key people who played important role in establishment of Sindhology.
Prof. Latufullah Badvi, Prof. Ahsan Ahmed Badvi, Nabi Bux Khan Baloch, Muhammad Hanif Siddiqui, Pir Hassam-ud-Din Rashidi, Ghulam Ali Allana, Muhammad Qasim Maka.
Institute of Sindhology is one of the major resources on the history of Sindh. It was the first research institution of its kind, and brought Sindhology to the forefront of international research. Sindhology is referred to as knowledge about Sindh. The history and culture of Sindh has been shaped by the Indus river. The lifeline of Sindh, brings minerals and soil from the Himalayas to the region and flows into the Arabian Sea at the Indus River Delta located in Sindh. These factors define the scope of Sindhology: the study of antiquities, the relics, the history, and the culture both of ancient and modern Sindh, with particular reference to Sindhi society and literature. The institute provides a repository of this knowledge in the form of a research-oriented center of learning.
The history of the institute goes back to the establishment of the Sindhi Academy in 1962 by the University of Sindh. The objective was to develop a facility to archive books, manuscripts, and research papers from past and present. Another objective was to promote and publish research about Sindh in the Sindhi language in addition to other languages such as Arabic, English, Persian and Urdu. The research was to be promoted in all Pakistani universities. This was also the first time when Sindhology and its scholars were given well-deserved international attention.
In 1964, the nomenclature and the status of the Sindhi Academy were changed to the Institute of Sindhology to work on the similar patterns of Indology and Egyptology. The institute was to encourage further historical research on the Indus Valley Civilization as well as contemporary living in Sindh.
The institute was provided with a small room at the old campus of Sindh University in Hyderabad. On 10 December 1972 the foundation stone of the new building was laid just off the Super Highway in Jamshoro, adjacent to Indus river, located 12 kilometers from Hyderabad and 150 km from Karachi was inaugurated in 1978.
In 1970 Hazar Imam laid foundation of Library of Sindh University. Hazar Imam's speech was highly appreciated by elite scholars of Pakistan in which Imam endorsed philosophy of Al Hillaj in comparison to western philosophers.
Professor Dr. Ghullam Ali Allana (an Ismaili Scholar and then vice chancellor of Sindh University) played important role to induce Ginans in Masters curricullum of Sindhi literature.
It should be noted that our one Imam was born in Sindh.
Key people who played important role in establishment of Sindhology.
Prof. Latufullah Badvi, Prof. Ahsan Ahmed Badvi, Nabi Bux Khan Baloch, Muhammad Hanif Siddiqui, Pir Hassam-ud-Din Rashidi, Ghulam Ali Allana, Muhammad Qasim Maka.
Institute of Sindhology is one of the major resources on the history of Sindh. It was the first research institution of its kind, and brought Sindhology to the forefront of international research. Sindhology is referred to as knowledge about Sindh. The history and culture of Sindh has been shaped by the Indus river. The lifeline of Sindh, brings minerals and soil from the Himalayas to the region and flows into the Arabian Sea at the Indus River Delta located in Sindh. These factors define the scope of Sindhology: the study of antiquities, the relics, the history, and the culture both of ancient and modern Sindh, with particular reference to Sindhi society and literature. The institute provides a repository of this knowledge in the form of a research-oriented center of learning.
The history of the institute goes back to the establishment of the Sindhi Academy in 1962 by the University of Sindh. The objective was to develop a facility to archive books, manuscripts, and research papers from past and present. Another objective was to promote and publish research about Sindh in the Sindhi language in addition to other languages such as Arabic, English, Persian and Urdu. The research was to be promoted in all Pakistani universities. This was also the first time when Sindhology and its scholars were given well-deserved international attention.
In 1964, the nomenclature and the status of the Sindhi Academy were changed to the Institute of Sindhology to work on the similar patterns of Indology and Egyptology. The institute was to encourage further historical research on the Indus Valley Civilization as well as contemporary living in Sindh.
The institute was provided with a small room at the old campus of Sindh University in Hyderabad. On 10 December 1972 the foundation stone of the new building was laid just off the Super Highway in Jamshoro, adjacent to Indus river, located 12 kilometers from Hyderabad and 150 km from Karachi was inaugurated in 1978.
In 1970 Hazar Imam laid foundation of Library of Sindh University. Hazar Imam's speech was highly appreciated by elite scholars of Pakistan in which Imam endorsed philosophy of Al Hillaj in comparison to western philosophers.
Professor Dr. Ghullam Ali Allana (an Ismaili Scholar and then vice chancellor of Sindh University) played important role to induce Ginans in Masters curricullum of Sindhi literature.
It should be noted that our one Imam was born in Sindh.
The Ismaili Ginan Tradition from the Indian Subcontinent, Middle East Studies Association Bulletin, Vol. 38, No. 2 (December 2004), pp. 175-185
https://www.academia.edu/19600311/The_I ... view-paper
https://www.academia.edu/19600311/The_I ... view-paper
Pir composed a Ginan expressing joy upon receiving letter from Imam
Da’i s were sent to the Indian subcontinent by Imams residing in Persia to teach the Ismaili interpretation of Islam beginning in the late 11th or early 12th century. The Da’is, who were known by the Persian term Pir, composed Ginans to explain the message of Revelation to non-Arabic speaking people. From the Sanskrit jnana meaning ‘contemplative knowledge,’ Ginans are a vast corpus of poetic compositions in local languages using indigenous folklore and musical traditions.
During this time in the subcontinent, the written literary tradition was flourishing with well-known figures such as Narasimha Maeta (15th century), Mirabai (1498-1557), and Narhari (17th century), Kabir (1440-1518), and Guru Nanak (1469-1539). Composition of devotional and mystical poetry among Muslims, especially the Sufis, was also developing at this time.
Compositions were also influenced by the various communities’ needs to assimilate the practices of the dominant local community in order to avoid persecution. Asani states that “the authors who formulated these literatures indigenized the Islamic tradition to the local Indian cultural environment.” Hence ginans were composed in Sindhi, Gujarati, Kuchhi, Multani, Hindi, and Panjabi. The specific form of Nizari Ismaili interpretation came to be known by the translation of sirat al-mustaqim, rendered as Satpanth (sat panth, or ‘true path’).” Approximately 30 Pirs composed 800 Ginans over a period of 6 centuries.
The number of verses in Ginans varies from 4 to 10 in the shorter ones to over 500 in the longer ones. The themes of Ginans are also varied. Some Ginans have titles that reflect the main theme or message such as the Bujh Niranjan (Knowledge of the Attributeless Deity), a long mystical poem on the spiritual quest of the soul; Soh Kiriya (One-Hundred Obligatory Acts) provides instruction for proper conduct.
Several Ginans are stories or parables that are meant to be interpreted mystically such as Kesri sinh swarup bhulayo (The Lion Forgot his Lion-form), which describes a lion who has forgotten its true identity on account of its upbringing among a flock of sheep.
Many Ginans are supplications (venti) for spiritual enlightenment and vision (darshan, didar) such as Hun re piasi tere darshan ki (I Thirst for a Vision of You), which draws on the symbol of a fish writhing in agony outside its home in water.
The Ginan Unch thi ayo (Coming From an Exalted Place) is a lament of the soul’s fate in the material world and a plea for the intercession of Prophet Muhammad.
When Pir Imamshah received a letter from Imam of the time Abu Dhar Ali (16th century) residing in Kahak, in Persia, he was overjoyed, composing a Ginan to reflect his emotion:
Shah na khat aavya, vira jampudipma – Listen
1.Eji Shah na khat aayaa viraa jampudip maahe;
kaa(n)y laaviyaa laaviyaa Chandan vir. The Shah’s writ has arrived in Jambudip;
the brave Chandan has brought it over.
2.Eji Shah na khat vaanchoyaa Pir Indra Imamdin,aaj maare hayade harakh na maany. The Shah’s write is read by Pir Indra Imamdin,today my heart can barely hold my joy.
3.Eji paankhadiyaa jo hove to Shah ne jai milu,
suh karuh maro pindado na haath. O brother! If I had wings I would fly to meet my Lord, but what can I do? My body is not in my control
In ancient Indian geography jambu-dvipa stood for the Indian subcontinent; “Sahetar-dvipa (properly sveta-dvipa) was identified with many places, one of them being Persia.”1
The term jambu-dvipa refers to “the land of the jambu tress,” jambu being the name of the species of Jambul (Syzgium cumini of the myrtle family Myrtaceae) or Indian blackberries; dvipa meaning ‘island’ or ‘continent.’ The jambu trees were native to the Indian subcontinent as well as other areas of South Asia and Australia, although subsequently grown in other tropical climates around the world. The trees were considered sacred to Lord Krishna and therefore planted close to Hindu temples.
Sources:
Azim Nanji, The Nizari Isma’ili Tradition in the Indo-Pakistan Subcontinent, Caravan Books, New York, 1978
Ali S. Asani, Ecstasy and Enlightenment, The Ismaili Devotional Literature of South Asia, I.B. Tauris & Co. Ltd., London, 2002
Shafique N. Virani, The Ismailis in the Middle Ages, Oxford University Press, 2007
Ginans: A Tradition of Religious Poetry, The Institute of Ismaili Studies
Ginan Central, University of Saskatchewan, Translation by M. Kamaluddin
nimirasblog.wordpress.com/2019/03/11/pir-composed-a-ginan-expressing-joy-upon-receiving-letter-from-imam/
Da’i s were sent to the Indian subcontinent by Imams residing in Persia to teach the Ismaili interpretation of Islam beginning in the late 11th or early 12th century. The Da’is, who were known by the Persian term Pir, composed Ginans to explain the message of Revelation to non-Arabic speaking people. From the Sanskrit jnana meaning ‘contemplative knowledge,’ Ginans are a vast corpus of poetic compositions in local languages using indigenous folklore and musical traditions.
During this time in the subcontinent, the written literary tradition was flourishing with well-known figures such as Narasimha Maeta (15th century), Mirabai (1498-1557), and Narhari (17th century), Kabir (1440-1518), and Guru Nanak (1469-1539). Composition of devotional and mystical poetry among Muslims, especially the Sufis, was also developing at this time.
Compositions were also influenced by the various communities’ needs to assimilate the practices of the dominant local community in order to avoid persecution. Asani states that “the authors who formulated these literatures indigenized the Islamic tradition to the local Indian cultural environment.” Hence ginans were composed in Sindhi, Gujarati, Kuchhi, Multani, Hindi, and Panjabi. The specific form of Nizari Ismaili interpretation came to be known by the translation of sirat al-mustaqim, rendered as Satpanth (sat panth, or ‘true path’).” Approximately 30 Pirs composed 800 Ginans over a period of 6 centuries.
The number of verses in Ginans varies from 4 to 10 in the shorter ones to over 500 in the longer ones. The themes of Ginans are also varied. Some Ginans have titles that reflect the main theme or message such as the Bujh Niranjan (Knowledge of the Attributeless Deity), a long mystical poem on the spiritual quest of the soul; Soh Kiriya (One-Hundred Obligatory Acts) provides instruction for proper conduct.
Several Ginans are stories or parables that are meant to be interpreted mystically such as Kesri sinh swarup bhulayo (The Lion Forgot his Lion-form), which describes a lion who has forgotten its true identity on account of its upbringing among a flock of sheep.
Many Ginans are supplications (venti) for spiritual enlightenment and vision (darshan, didar) such as Hun re piasi tere darshan ki (I Thirst for a Vision of You), which draws on the symbol of a fish writhing in agony outside its home in water.
The Ginan Unch thi ayo (Coming From an Exalted Place) is a lament of the soul’s fate in the material world and a plea for the intercession of Prophet Muhammad.
When Pir Imamshah received a letter from Imam of the time Abu Dhar Ali (16th century) residing in Kahak, in Persia, he was overjoyed, composing a Ginan to reflect his emotion:
Shah na khat aavya, vira jampudipma – Listen
1.Eji Shah na khat aayaa viraa jampudip maahe;
kaa(n)y laaviyaa laaviyaa Chandan vir. The Shah’s writ has arrived in Jambudip;
the brave Chandan has brought it over.
2.Eji Shah na khat vaanchoyaa Pir Indra Imamdin,aaj maare hayade harakh na maany. The Shah’s write is read by Pir Indra Imamdin,today my heart can barely hold my joy.
3.Eji paankhadiyaa jo hove to Shah ne jai milu,
suh karuh maro pindado na haath. O brother! If I had wings I would fly to meet my Lord, but what can I do? My body is not in my control
In ancient Indian geography jambu-dvipa stood for the Indian subcontinent; “Sahetar-dvipa (properly sveta-dvipa) was identified with many places, one of them being Persia.”1
The term jambu-dvipa refers to “the land of the jambu tress,” jambu being the name of the species of Jambul (Syzgium cumini of the myrtle family Myrtaceae) or Indian blackberries; dvipa meaning ‘island’ or ‘continent.’ The jambu trees were native to the Indian subcontinent as well as other areas of South Asia and Australia, although subsequently grown in other tropical climates around the world. The trees were considered sacred to Lord Krishna and therefore planted close to Hindu temples.
Sources:
Azim Nanji, The Nizari Isma’ili Tradition in the Indo-Pakistan Subcontinent, Caravan Books, New York, 1978
Ali S. Asani, Ecstasy and Enlightenment, The Ismaili Devotional Literature of South Asia, I.B. Tauris & Co. Ltd., London, 2002
Shafique N. Virani, The Ismailis in the Middle Ages, Oxford University Press, 2007
Ginans: A Tradition of Religious Poetry, The Institute of Ismaili Studies
Ginan Central, University of Saskatchewan, Translation by M. Kamaluddin
nimirasblog.wordpress.com/2019/03/11/pir-composed-a-ginan-expressing-joy-upon-receiving-letter-from-imam/
Imam Sultan Muhammad Shah: Ginans explain the gist of the Qur’an in the language of Hindustan
Posted by Nimira Dewji
Ginan bolore nit nure bharea;
evo haide tamare harakh na maeji. Listen
Recite continually the Ginans which are filled with light;
boundless will be the joy in your heart
(Tr. Ali S. Asani)
Ginans are a vast collection consisting of several hundred compositions which have been a central part of the religious life of the Nizari Ismaili community of the Indian subcontinent that today resides in many countries around the world. Derived from the Sanskrit jnana, meaning contemplative knowledge, Ginans refer to the poetic compositions authored by Ismaili Pirs, who came to the Indian subcontinent as early as the 11th century to teach the Ismaili interpretation of Islam.
The Pirs, sent by Imams residing in Persia, “were no ordinary missionaries …they were spiritually enlightened individuals whose religious and spiritually authority the Isma’ili imams had formally endorsed by bestowing on them the title of pir” (Asani, Ecstasy and Enlightenment p 84). One could not become a Pir through inheritance unless he had been so designated by the Imam of the Time. Hence, the Pirs became tangible symbols of the Imam’s authority in South Asia. (Asani, Medieval Ismaili History and Thought p 267-8).
The ‘unauthorised’ Pirs including, Imam Shah (d. 1513) and his son Nar Muhammad Shah (d. 1534), came to be known as Sayyids, an Arabic term referring to a person who enjoys an exalted position; it is also used as a title for Sufi masters (IIS). Sayyids continued to spread religious teachings in the Ismaili communities in the 18th and 19th centuries. (Asani, Ecstasy and Enlightenment p 98 n 67).
The Pirs used the subcontinent’s many languages, folk songs, myths, and traditional music to compose Ginans to explain the principles of Ismailism. At the time, the field of devotional poetry was flourishing in the subcontinent, with figures such as Narasimha Maeta (15th century), Mirabai (1498-1557), Narhari (17th century), Kabir (1440-1518), and Guru Nanak (1469-1539). Additionally, a tradition of mystical poetry was developing among the Sufis in the subcontinent.
Common to all these traditions was the use of vernaculars of the respective local regions enabling the composers to use indigenous music styles to sing their poetry to facilitate the journey to spiritual ecstasy. Compositions were also influenced by the various communities’ needs to assimilate the practices of the dominant local community in order to avoid persecution.
In the Ismaili context, the motivation to adapt to the local cultures “can be traced to a fundamental impulse within the community wherever it has manifested itself geographically and historically. The Ismailis, in their attempt to understand the central aspect of their faith – the concept of Imam – have called on the available tools of various philosophical and religious systems, making them highly adaptable to different political and cultural environments (Asani, Ecstasy and Enlightenment p
.
Asani notes that during the Fatimid period “Ismaili thinkers embarked on a remarkable formulation of Islamic, Gnostic, Neoplatonic, Manichaean and Zoroastrian elements to elaborate the concept of the Imam. That the tradition would react similarly to the religious environment of the Indian subcontinent by reformulating the concept of avatara, for example, so that it corresponded with the Ismaili concept of Imam, is, therefore, hardly surprising” (Ecstasy and Enlightenment p. The integration and assimilation to different environments is part of the Ismaili legacy.
The specific form of Nizari Ismaili interpretation in the Indian subcontinent came to be known by the translation of sirat al-mustaqim, rendered as Satpanth (sat panth, or ‘true path’). “The Satpanth tradition employed terms and ideas from a variety of Indic religious and philosophical terms such as Bhakti, Sant, Sufi, Vaishnavite and yogic traditions to articulate its core concepts” (Asani, A Modern History of the Ismailis p 96). About thirty Pirs composed Ginans over a period of six centuries in six languages: Punjabi, Multani (Saraiki), Sindhi, Kachhi, Hindustani/Hindi, and Gujarati.
Through the poetic medium of Ginans, the Pirs provided guidance on a variety of doctrinal, ethical, and mystical themes for the community while also serving to explain the inner (batin) meaning of the Qur’an to the external (zahir) aspects.
Ginans are perceived as a commentary on the Qur’an. In his pronouncement, Imam Sultan Muhammad Shah guided the community in this issue: ‘In the ginans which Pir Sadardin has composed for you, he has explained the gist of the Qur’an in the language of Hindustan.’ (Asani, Ecstasy and Enlightenment p 30).
The number of verses in Ginans varies from 4 to 10 in the shorter ones to over 500 in the longer ones. Generally the shorter versions do not possess titles, therefore, the first verses or refrains serve as titles for identification purpose. Some of the longer Ginans have titles that may reflect the main theme or message such as the Bujh Niranjan (Knowledge of the Attributeless Deity), a long mystical poem on the spiritual quest of the soul; Moman Chetamani (A Warning for the Believer), which gives instruction on moral and religious matters, as well as parables of a number of Prophets from the Qur’an.
Several Ginans are stories or parables that are meant to be interpreted mystically such as Kesri sinh swarup bhulayo (The Lion Forgot his Lion-form), which describes a lion who has forgotten its true identity on account of its upbringing among a flock of sheep. (Listen)
Unch thi ayo (Coming From an Exalted Place) is a lament of the soul’s fate in the material world and a plea for the intercession of Prophet Muhammad. Listen
Soh Kiriya (One-Hundred Obligatory Acts) and Bavan Bodh (Fifty-Two Advices) provide instruction for proper conduct. Listen
Brahm Prakash (Divine Illumination) includes descriptions of mystical stages and advise on how to attain them. Listen
Hun re piasi tere darshan ki (I Thirst for a Vision of You) draws on the symbol of a fish writhing in agony outside its home in water. Listen.
Many Ginans are supplications (venti) for spiritual enlightenment and vision (darshan, didar); some address cosmological matters. Saloko Nano, by Pir Sadr al-Din begins with the phrase Satagur kahere, ‘the True Guide says’, the verses of this Ginan lament the soul’s separation from the Beloved and emphasise the importance of the nightly vigil and the remembrance of God in achieving communion with the Divine (IIS).
Sadr al-Din Pir Ginan Saloko
Saloko Nano by Pir Sadr al-Din. Source: The Institute of Ismaili Studies
In the Ginan Vaek Moto, Pir Shams emphasises the virtues of knowledge, ‘ilm, and urges the faithful to plunge into the depths of esoteric wisdom conveyed by the Imams (IIS).
Ginan Pir Shams India
Vaek Moto by Pir Shams. Source: The Institute of Ismaili studies
The singing in unison of the entire congregation can have a powerful emotional impact. Asani states “When Wladimir Ivanow, the Russian orientalist [and founder of modern Ismaili Studies], was conducting his researches on the Ismailis of India in the early part of the 20th century, he noted ‘the strange fascination, the majestic pathos and beauty’ of the ginans as they were recited, and observed further that their ‘mystical appeal equals, if not exceeds that exercised by the Coran on the Arabic-speaking peoples” (Asani, Ecstasy and Enlightenment p 27).
Sources:
Ali S. Asani’s Ecstasy and Enlightenment, The Ismaili Devotional Literature of South Asia, I.B. Tauris & Co. Ltd., London, 2002
Ali S. Asani, “The Ismai’ili ginans: Reflections on authority and authorship” in Medieval Isma’ili History and Thought Ed. Farhad Daftary, Cambridge University Press, 2001New York, 2011
Ali S. Asani, “From Satpanth to Ismaili Muslims,” A Modern History of the Ismailis Edited by Farhad Daftary, I.B. Tauris & Co. Ltd,
Video: Ali S. Asani, Interview, Development of Ginans, The Institute of Ismaili Studies
Azim Nanji, The Nizari Isma’ili Tradition in the Indo-Pakistan Subcontinent, Caravan Books, New York, 1978
nimirasblog.wordpress.com/2019/11/21/imam-sultan-muhammad-shah-ginans-explain-the-gist-of-the-quran-in-the-language-of-hindustan/?utm_source=Direct
Posted by Nimira Dewji
Ginan bolore nit nure bharea;
evo haide tamare harakh na maeji. Listen
Recite continually the Ginans which are filled with light;
boundless will be the joy in your heart
(Tr. Ali S. Asani)
Ginans are a vast collection consisting of several hundred compositions which have been a central part of the religious life of the Nizari Ismaili community of the Indian subcontinent that today resides in many countries around the world. Derived from the Sanskrit jnana, meaning contemplative knowledge, Ginans refer to the poetic compositions authored by Ismaili Pirs, who came to the Indian subcontinent as early as the 11th century to teach the Ismaili interpretation of Islam.
The Pirs, sent by Imams residing in Persia, “were no ordinary missionaries …they were spiritually enlightened individuals whose religious and spiritually authority the Isma’ili imams had formally endorsed by bestowing on them the title of pir” (Asani, Ecstasy and Enlightenment p 84). One could not become a Pir through inheritance unless he had been so designated by the Imam of the Time. Hence, the Pirs became tangible symbols of the Imam’s authority in South Asia. (Asani, Medieval Ismaili History and Thought p 267-8).
The ‘unauthorised’ Pirs including, Imam Shah (d. 1513) and his son Nar Muhammad Shah (d. 1534), came to be known as Sayyids, an Arabic term referring to a person who enjoys an exalted position; it is also used as a title for Sufi masters (IIS). Sayyids continued to spread religious teachings in the Ismaili communities in the 18th and 19th centuries. (Asani, Ecstasy and Enlightenment p 98 n 67).
The Pirs used the subcontinent’s many languages, folk songs, myths, and traditional music to compose Ginans to explain the principles of Ismailism. At the time, the field of devotional poetry was flourishing in the subcontinent, with figures such as Narasimha Maeta (15th century), Mirabai (1498-1557), Narhari (17th century), Kabir (1440-1518), and Guru Nanak (1469-1539). Additionally, a tradition of mystical poetry was developing among the Sufis in the subcontinent.
Common to all these traditions was the use of vernaculars of the respective local regions enabling the composers to use indigenous music styles to sing their poetry to facilitate the journey to spiritual ecstasy. Compositions were also influenced by the various communities’ needs to assimilate the practices of the dominant local community in order to avoid persecution.
In the Ismaili context, the motivation to adapt to the local cultures “can be traced to a fundamental impulse within the community wherever it has manifested itself geographically and historically. The Ismailis, in their attempt to understand the central aspect of their faith – the concept of Imam – have called on the available tools of various philosophical and religious systems, making them highly adaptable to different political and cultural environments (Asani, Ecstasy and Enlightenment p
.Asani notes that during the Fatimid period “Ismaili thinkers embarked on a remarkable formulation of Islamic, Gnostic, Neoplatonic, Manichaean and Zoroastrian elements to elaborate the concept of the Imam. That the tradition would react similarly to the religious environment of the Indian subcontinent by reformulating the concept of avatara, for example, so that it corresponded with the Ismaili concept of Imam, is, therefore, hardly surprising” (Ecstasy and Enlightenment p
. The integration and assimilation to different environments is part of the Ismaili legacy.The specific form of Nizari Ismaili interpretation in the Indian subcontinent came to be known by the translation of sirat al-mustaqim, rendered as Satpanth (sat panth, or ‘true path’). “The Satpanth tradition employed terms and ideas from a variety of Indic religious and philosophical terms such as Bhakti, Sant, Sufi, Vaishnavite and yogic traditions to articulate its core concepts” (Asani, A Modern History of the Ismailis p 96). About thirty Pirs composed Ginans over a period of six centuries in six languages: Punjabi, Multani (Saraiki), Sindhi, Kachhi, Hindustani/Hindi, and Gujarati.
Through the poetic medium of Ginans, the Pirs provided guidance on a variety of doctrinal, ethical, and mystical themes for the community while also serving to explain the inner (batin) meaning of the Qur’an to the external (zahir) aspects.
Ginans are perceived as a commentary on the Qur’an. In his pronouncement, Imam Sultan Muhammad Shah guided the community in this issue: ‘In the ginans which Pir Sadardin has composed for you, he has explained the gist of the Qur’an in the language of Hindustan.’ (Asani, Ecstasy and Enlightenment p 30).
The number of verses in Ginans varies from 4 to 10 in the shorter ones to over 500 in the longer ones. Generally the shorter versions do not possess titles, therefore, the first verses or refrains serve as titles for identification purpose. Some of the longer Ginans have titles that may reflect the main theme or message such as the Bujh Niranjan (Knowledge of the Attributeless Deity), a long mystical poem on the spiritual quest of the soul; Moman Chetamani (A Warning for the Believer), which gives instruction on moral and religious matters, as well as parables of a number of Prophets from the Qur’an.
Several Ginans are stories or parables that are meant to be interpreted mystically such as Kesri sinh swarup bhulayo (The Lion Forgot his Lion-form), which describes a lion who has forgotten its true identity on account of its upbringing among a flock of sheep. (Listen)
Unch thi ayo (Coming From an Exalted Place) is a lament of the soul’s fate in the material world and a plea for the intercession of Prophet Muhammad. Listen
Soh Kiriya (One-Hundred Obligatory Acts) and Bavan Bodh (Fifty-Two Advices) provide instruction for proper conduct. Listen
Brahm Prakash (Divine Illumination) includes descriptions of mystical stages and advise on how to attain them. Listen
Hun re piasi tere darshan ki (I Thirst for a Vision of You) draws on the symbol of a fish writhing in agony outside its home in water. Listen.
Many Ginans are supplications (venti) for spiritual enlightenment and vision (darshan, didar); some address cosmological matters. Saloko Nano, by Pir Sadr al-Din begins with the phrase Satagur kahere, ‘the True Guide says’, the verses of this Ginan lament the soul’s separation from the Beloved and emphasise the importance of the nightly vigil and the remembrance of God in achieving communion with the Divine (IIS).
Sadr al-Din Pir Ginan Saloko
Saloko Nano by Pir Sadr al-Din. Source: The Institute of Ismaili Studies
In the Ginan Vaek Moto, Pir Shams emphasises the virtues of knowledge, ‘ilm, and urges the faithful to plunge into the depths of esoteric wisdom conveyed by the Imams (IIS).
Ginan Pir Shams India
Vaek Moto by Pir Shams. Source: The Institute of Ismaili studies
The singing in unison of the entire congregation can have a powerful emotional impact. Asani states “When Wladimir Ivanow, the Russian orientalist [and founder of modern Ismaili Studies], was conducting his researches on the Ismailis of India in the early part of the 20th century, he noted ‘the strange fascination, the majestic pathos and beauty’ of the ginans as they were recited, and observed further that their ‘mystical appeal equals, if not exceeds that exercised by the Coran on the Arabic-speaking peoples” (Asani, Ecstasy and Enlightenment p 27).
Sources:
Ali S. Asani’s Ecstasy and Enlightenment, The Ismaili Devotional Literature of South Asia, I.B. Tauris & Co. Ltd., London, 2002
Ali S. Asani, “The Ismai’ili ginans: Reflections on authority and authorship” in Medieval Isma’ili History and Thought Ed. Farhad Daftary, Cambridge University Press, 2001New York, 2011
Ali S. Asani, “From Satpanth to Ismaili Muslims,” A Modern History of the Ismailis Edited by Farhad Daftary, I.B. Tauris & Co. Ltd,
Video: Ali S. Asani, Interview, Development of Ginans, The Institute of Ismaili Studies
Azim Nanji, The Nizari Isma’ili Tradition in the Indo-Pakistan Subcontinent, Caravan Books, New York, 1978
nimirasblog.wordpress.com/2019/11/21/imam-sultan-muhammad-shah-ginans-explain-the-gist-of-the-quran-in-the-language-of-hindustan/?utm_source=Direct
A quotation from Nimira's blog;
The number of verses in Ginans varies from 4 to 10 in the shorter ones to over 500 in the longer ones. Generally the shorter versions do not possess titles, therefore, the first verses or refrains serve as titles for identification purpose. Some of the longer Ginans have titles that may reflect the main theme or message such as the Bujh Niranjan (Knowledge of the Attributeless Deity), a long mystical poem on the spiritual quest of the soul;
I wander it was Ali Asani who criticized the Ginan Bhuj Nirijin, and on his advise ITREB stopped printing this particular Ginan. But in the above paragraph he is praising the Ginan as he wrote," .... a long mystical poem on the spiritual quest of soul". Looks he changed his mind later on.
The number of verses in Ginans varies from 4 to 10 in the shorter ones to over 500 in the longer ones. Generally the shorter versions do not possess titles, therefore, the first verses or refrains serve as titles for identification purpose. Some of the longer Ginans have titles that may reflect the main theme or message such as the Bujh Niranjan (Knowledge of the Attributeless Deity), a long mystical poem on the spiritual quest of the soul;
I wander it was Ali Asani who criticized the Ginan Bhuj Nirijin, and on his advise ITREB stopped printing this particular Ginan. But in the above paragraph he is praising the Ginan as he wrote," .... a long mystical poem on the spiritual quest of soul". Looks he changed his mind later on.
He did not criticize the contents of Buj Niranjan, rather he expressed doubts whether the work could be attributed to Pir Sadardeen as traditional sources maintain.charlie wrote:A quotation from Nimira's blog;
The number of verses in Ginans varies from 4 to 10 in the shorter ones to over 500 in the longer ones. Generally the shorter versions do not possess titles, therefore, the first verses or refrains serve as titles for identification purpose. Some of the longer Ginans have titles that may reflect the main theme or message such as the Bujh Niranjan (Knowledge of the Attributeless Deity), a long mystical poem on the spiritual quest of the soul;
I wander it was Ali Asani who criticized the Ginan Bhuj Nirijin, and on his advise ITREB stopped printing this particular Ginan. But in the above paragraph he is praising the Ginan as he wrote," .... a long mystical poem on the spiritual quest of soul". Looks he changed his mind later on.
I have expressed my doubts about the authorship as well and have given an explanation at:
Bhuj Nirinjan
http://www.ismaili.net/html/modules.php ... highlight=
In the Ginan “Dhan dhan aajno” Pir references Imam’s residence at Alamut
Posted by Nimira Dewji
In 1090, Hasan-i Sabbah acquired Alamut, a remote mountain-fortress in the Rudbur region of Daylam in northern Persia (modern-day Iran), marking the founding of the Nizari Ismaili state. Over the course of the next 150 years, the Ismailis acquired more than 200 fortresses in Iran and Syria, located in the inaccessible mountainous regions for refuge of Ismailis who were fleeing persecution. Their settlements were also a sanctuary for other refugees, irrespective of their creed, fleeing persecution and invasions.
Alamut Ismailis Lockhart
Photo of Alamut by Laurence Lockhart who trekked the area in 1928. Source: The Ismailis An Illustrated History
Imams residing at Alamut sent Pirs to the Indian subcontinent beginning around the eleventh century to teach the Ismaili interpretation of Islam to non-Arabic speaking people. The Pirs composed devotional hymns, known as Ginans, in local languages using indigenous myths and folklore to teach the doctrines of Ismailism. The specific form of Nizari Ismaili interpretation came to be known by the translation of sirat al-mustaqim, rendered as Satpanth (sat panth, or ‘true path’).
Pir Sadr al-Din (d. between 1369 and 1416), to whom the largest number of Ginans is attributed, worked during the time of Imam Islam Shah. The high status accorded to Pir Sadr al-Din is reflected in the variety of titles bestowed upon him as the founder of the community such as bar gur – the ‘Guide of the Twelve’ referring to the twelve crore (120,000,000) souls he is said to have saved by showing them the sat panth (Nanji, The Nizari Isma’ili Tradition p 76-78).
In verse 2 of his composition Dhan dhan aajno daadlore ame Alivar payaji, Pir Sadr al-Din mentions the fort of Alamut in the region of Daylam, and his pilgrimage to the Imam’s residence:
2019-10-31_16-57-58
Listen
Pir Sadr al-Din Uchch
Pir Sadr al-Din’s mausoleum in Uchchh, India. Source: Ismaili Gnosis
[email protected]
Sources:
Ali S. Asani, Ecstasy and Enlightenment, The Ismaili Devotional Literature of South Asia, I.B. Tauris & Co. Ltd., London, 2002
Azim Nanji, The Nizari Isma’ili Tradition in the Indo-Pakistan Subcontinent, Caravan Books, New York, 1978
Shafique N. Virani, The Ismailis in the Medieval Ages, Oxford University Press, 2010
Ginans: A Tradition of Religious Poetry, The Institute of Ismaili Studies
Share this:
nimirasblog.wordpress.com/2019/11/26/in-the-ginan-dhan-dhan-aajno-pir-references-imams-residence-at-alamut/?utm_source=Direct
Posted by Nimira Dewji
In 1090, Hasan-i Sabbah acquired Alamut, a remote mountain-fortress in the Rudbur region of Daylam in northern Persia (modern-day Iran), marking the founding of the Nizari Ismaili state. Over the course of the next 150 years, the Ismailis acquired more than 200 fortresses in Iran and Syria, located in the inaccessible mountainous regions for refuge of Ismailis who were fleeing persecution. Their settlements were also a sanctuary for other refugees, irrespective of their creed, fleeing persecution and invasions.
Alamut Ismailis Lockhart
Photo of Alamut by Laurence Lockhart who trekked the area in 1928. Source: The Ismailis An Illustrated History
Imams residing at Alamut sent Pirs to the Indian subcontinent beginning around the eleventh century to teach the Ismaili interpretation of Islam to non-Arabic speaking people. The Pirs composed devotional hymns, known as Ginans, in local languages using indigenous myths and folklore to teach the doctrines of Ismailism. The specific form of Nizari Ismaili interpretation came to be known by the translation of sirat al-mustaqim, rendered as Satpanth (sat panth, or ‘true path’).
Pir Sadr al-Din (d. between 1369 and 1416), to whom the largest number of Ginans is attributed, worked during the time of Imam Islam Shah. The high status accorded to Pir Sadr al-Din is reflected in the variety of titles bestowed upon him as the founder of the community such as bar gur – the ‘Guide of the Twelve’ referring to the twelve crore (120,000,000) souls he is said to have saved by showing them the sat panth (Nanji, The Nizari Isma’ili Tradition p 76-78).
In verse 2 of his composition Dhan dhan aajno daadlore ame Alivar payaji, Pir Sadr al-Din mentions the fort of Alamut in the region of Daylam, and his pilgrimage to the Imam’s residence:
2019-10-31_16-57-58
Listen
Pir Sadr al-Din Uchch
Pir Sadr al-Din’s mausoleum in Uchchh, India. Source: Ismaili Gnosis
[email protected]
Sources:
Ali S. Asani, Ecstasy and Enlightenment, The Ismaili Devotional Literature of South Asia, I.B. Tauris & Co. Ltd., London, 2002
Azim Nanji, The Nizari Isma’ili Tradition in the Indo-Pakistan Subcontinent, Caravan Books, New York, 1978
Shafique N. Virani, The Ismailis in the Medieval Ages, Oxford University Press, 2010
Ginans: A Tradition of Religious Poetry, The Institute of Ismaili Studies
Share this:
nimirasblog.wordpress.com/2019/11/26/in-the-ginan-dhan-dhan-aajno-pir-references-imams-residence-at-alamut/?utm_source=Direct
I was listening to waiz of Alwaiz Abu Ali on topic Bhuj Nirinjin, waiz cassette #627 in which he refuted the claim of Dr. Ali Asani and confirmed the Grunth is indeed the work of Pir Sadardin.kmaherali wrote:He did not criticize the contents of Buj Niranjan, rather he expressed doubts whether the work could be attributed to Pir Sadardeen as traditional sources maintain.charlie wrote:A quotation from Nimira's blog;
The number of verses in Ginans varies from 4 to 10 in the shorter ones to over 500 in the longer ones. Generally the shorter versions do not possess titles, therefore, the first verses or refrains serve as titles for identification purpose. Some of the longer Ginans have titles that may reflect the main theme or message such as the Bujh Niranjan (Knowledge of the Attributeless Deity), a long mystical poem on the spiritual quest of the soul;
I wander it was Ali Asani who criticized the Ginan Bhuj Nirijin, and on his advise ITREB stopped printing this particular Ginan. But in the above paragraph he is praising the Ginan as he wrote," .... a long mystical poem on the spiritual quest of soul". Looks he changed his mind later on.
I have expressed my doubts about the authorship as well and have given an explanation at:
Bhuj Nirinjan
http://www.ismaili.net/html/modules.php ... highlight=
When there is no objection on the content of Bhuj Nirinjin then why ITREB did not reprinted the Grunth since 80's, even KamalZar did not translated it.
Do you believe in the content of Bhuj Nirinjin?
With reference to Dhan Dhan Aaj Nu Dharlo.... mentioned by Nimira;
eji aalmot gaddh paattann, delam deshajee
teeyaa avtareeyaa shaah maankhaa veshjee
Nimira wrote;
In verse 2 of his composition Dhan dhan aajno daadlore ame Alivar payaji, Pir Sadr al-Din mentions the fort of Alamut in the region of Daylam, and his pilgrimage to the Imam’s residence:
Historical correction:
Imam Islam Shah appointed Pir Sadardin to propagate Ismailism in subcontinent. Imam Islam Shah was born in Azarbhaijan and not in Daylam, and at that time Fort Alamut was not under control of Ismailis!!
Please correct me if I am wrong.
eji aalmot gaddh paattann, delam deshajee
teeyaa avtareeyaa shaah maankhaa veshjee
Nimira wrote;
In verse 2 of his composition Dhan dhan aajno daadlore ame Alivar payaji, Pir Sadr al-Din mentions the fort of Alamut in the region of Daylam, and his pilgrimage to the Imam’s residence:
Historical correction:
Imam Islam Shah appointed Pir Sadardin to propagate Ismailism in subcontinent. Imam Islam Shah was born in Azarbhaijan and not in Daylam, and at that time Fort Alamut was not under control of Ismailis!!
Please correct me if I am wrong.
Of course I do believe in the uplifting aspect of Buj Niranjan, otherwise I would not have bothered to translate it and make it available at:charlie wrote: Do you believe in the content of Bhuj Nirinjin?
http://ismaili.net/heritage/node/23011
kmaherali wrote:Of course I do believe in the uplifting aspect of Buj Niranjan, otherwise I would not have bothered to translate it and make it available at:charlie wrote: Do you believe in the content of Bhuj Nirinjin?
http://ismaili.net/heritage/node/23011
Appreciate you translated Bhuj Nirijin. You did not answered my queries. Let me quote a reference from the thread Bhuj Nirinjin where on My 11, 2019 you have written;
"I have not said that Bujh Niranjan is disqualified. All I have said is that it does not reflect the correct principles of Satpanth Ismailism as preached by the Ismaili Pirs including Pir Sadardeen".
Now, here arises couple of questions that Bhuj Nirinjin does not shed light or explain correct principles of Ismailism, therefore it is not the work of Pir Sadardin!!
What is your opinion about;
Dhubki ley ley ghothha khawey
Pir Paigamber toei na paawey
ddubakee le le gothaa khaavecharlie wrote: What is your opinion about;
Dhubki ley ley ghothha khawey
Pir Paigamber toei na paawey
peer paygambar to e nahee paave...................................4
It is like diving deep (into the ocean of knowledge) and tumbling over and over for even the Peers and Prophets where not able to know him completely.
According to my understanding, this does not accord with our traditions. According to our interpretation, the Imam is All-knowing and All-wise as in:
ejee swaamee maaro chatur sujaann hay - aape sreshtth divaan
jeesa ke bharose sthir rahyaa - rahyaa jameen aasmaan........3
My Lord (Imaam) is All Intelligent and All Knowing,
He is the one who is to judge and take account of your deeds.
By His support and guidance, a devotee attains control over
the earth and the heavens.
Hence although this verse is true for general Sufis, it is not accurate for Ismailis, hence I have expressed doubts about the authorship of this granth as being of Pir Sadardeen. If indeed he authored it, it would have been for general Sufis and not for his murids.
kmaherali quote:
Hence although this verse is true for general Sufis, it is not accurate for Ismailis, hence I have expressed doubts about the authorship of this granth as being of Pir Sadardeen. If indeed he authored it, it would have been for general Sufis and not for his murids.[/quote]
You have right to your opinion, I gave reference of Al Waiz Abu Ali in which he refuted claim by Ali Asani and others about authorship of Bhuj Nirinjin. He said, indeed the Grunth was written by Pir Sadardin.
Historically we do not have any reference that Pir Sadardin had non Ismaili murids.
Hence although this verse is true for general Sufis, it is not accurate for Ismailis, hence I have expressed doubts about the authorship of this granth as being of Pir Sadardeen. If indeed he authored it, it would have been for general Sufis and not for his murids.[/quote]
You have right to your opinion, I gave reference of Al Waiz Abu Ali in which he refuted claim by Ali Asani and others about authorship of Bhuj Nirinjin. He said, indeed the Grunth was written by Pir Sadardin.
Historically we do not have any reference that Pir Sadardin had non Ismaili murids.
Pir Sadardeen was well respected in the wider Muslim community. He performed Hajj (although he has never mentioned that we should) and one of his titles was Haji. He could have written poetry for the benefit of Sufis generally although they may not have been his murids. This is very much like we reading poetry of Rumi although we don't belong to his tariqah.charlie wrote: You have right to your opinion, I gave reference of Al Waiz Abu Ali in which he refuted claim by Ali Asani and others about authorship of Bhuj Nirinjin. He said, indeed the Grunth was written by Pir Sadardin.
Historically we do not have any reference that Pir Sadardin had non Ismaili murids.
In recent times our Imams have written articles for the non-murids such as speeches and the Memoirs besides their Farmans to their murids. Pir Sadardeen could have done something similar by composing Buj Niranjan.
So Pir Sadardin just composed one piece of poetry for non Ismaili Muslims! In my opinion we can divide Pir Sadardin's Ginans in two eras. In first era he heavily used Hindu Terminology to introduce Nar, Shah; and in second he introduced Islamic terminologies. In my opinion Bhuj Nirinjin poetry was written in second era. As you wrote he performed Hajj (actually 3 times), also he was Hafiz e Quran, his livelihood came from Kitabat of Quran, he performed 5 times salat, he fast entire his life, awoke nights to do zikr. These were the teachings which he introduced to converts before his death.kmaherali wrote:Pir Sadardeen was well respected in the wider Muslim community. He performed Hajj (although he has never mentioned that we should) and one of his titles was Haji. He could have written poetry for the benefit of Sufis generally although they may not have been his murids. This is very much like we reading poetry of Rumi although we don't belong to his tariqah.charlie wrote: You have right to your opinion, I gave reference of Al Waiz Abu Ali in which he refuted claim by Ali Asani and others about authorship of Bhuj Nirinjin. He said, indeed the Grunth was written by Pir Sadardin.
Historically we do not have any reference that Pir Sadardin had non Ismaili murids.
In recent times our Imams have written articles for the non-murids such as speeches and the Memoirs besides their Farmans to their murids. Pir Sadardeen could have done something similar by composing Buj Niranjan.
He could have composed many, but only one that has been preserved and come down to us because of its value to our tradition as well.charlie wrote: So Pir Sadardin just composed one piece of poetry for non Ismaili Muslims! .
Poetry for non-Murids are not considered Farmans and hence are not treated or preserved like Ginans.