Phulra Fort, Fort Abbas Cholistan

22nd February, 2021

( All pictures are owned, kindly respect copyrights) 

 for text consulted  book 'Ancient Cholistan' by Dr. Muhammad Rafique Mughal

#Fortsincholistan

In the ancient chronicles of history, Phulra stands as a revered symbol of time's passage, its origins buried in the distant past long before the rise of the Vikas, the ancestors of Bhikaner, left their mark on the sands of time. By the year 1166 H., this age-old fortress had endured the trials of time, its once-majestic structure worn down, a mere shadow of its former glory. It was during this period of decline that Karam Khan Arbani, the descendant of Qaim Khan, the visionary behind Qaimpur, took up the noble cause of restoring Phulra to its former grandeur. With unwavering dedication, he meticulously repaired its crumbling walls, using sturdy bricks and mud, resurrecting the fort and breathing life back into its ancient stones.

Within Phulra's sturdy walls, near its western side, lay a remarkable marvel—a well made of solid materials, reaching an impressive depth of 118 feet and measuring 4 feet in circumference. This well, a rare find in the arid expanses of Cholistan, provided water as sweet as nectar, a precious lifeline in the midst of the barren land. The fort's corners were adorned with tall towers, each concealing an inner chamber, a testament to the clever planning of its builders. The north-western tower, constructed from enduring burnt bricks, stood as a silent witness, holding the secrets of centuries past.

In the south-eastern part of the fortress stood a three-story house, its upper floor transformed into a charming bungalow. Inscriptions on its weathered facade commemorated its master, Muhammad Akram Khan Daudpotra, who, in the holy month of Ramazan in the year 1166 H., declared his mastery over the palace, forever etching his name into Phulra's history. Just beyond the fortress's boundaries, three carefully crafted wells stood, their stucco walls protecting the precious treasure of sweet water—a true oasis amidst the harsh desert sands.

Beyond the tranquil echoes of Phulra, in the vast expanse stretching eastward from Bahawalpur to Bikaner, lay other settlements—Marot and Maujgarh. Despite the challenging terrain, these communities thrived, engaging in bustling trade with neighboring states. Phulra, perched on the very edge of Bikaner, boasted a lively marketplace, a bustling center of activity amid the otherwise quiet desert. The fortress, once a shining example of architectural brilliance, now stood as a reminder of its former glory, its once-proud walls weathered by the passage of time. A trench, now filled with the sands of ages, once encircled its perimeter—a poignant reminder of its past grandeur. The ramparts, rising high above the desert floor, showcased an artistic touch, their battlements adorned with tasteful decorations, a tribute to the craftsmanship of its long-forgotten builders.

Above these ancient stones, the Kiladar’s house soared, its silhouette creating a striking scene against the desert sky. From the northern perspective, the fortress presented a picturesque harmony—a seamless blend of ancient history and natural beauty. Here, the walls met the waters of a vast expanse, surrounding a small island adorned with lush trees—an oasis of calm amidst the harsh desert surroundings. Amidst the silent guardians of Phulra stood three powerful guns, their presence a reminder of the fortress's enduring vigilance—a sentinel guarding the sands of time.

In the esteemed records of Colonel Todd, Phulra and Marot emerged as crucial elements in the intricate tapestry of the region's history. Phulra, with its ancient lineage, earned its place among the 'Nakoti Marooka' during the earliest days of Pramara domination—a testament to its enduring importance through the ages. Colonel Todd, in his insightful reflections, speculated about ornate inscriptions belonging to the Jains, precious relics of a bygone era, waiting patiently to be discovered amidst the sands of Phulra. Within the hallowed confines of this fortress, Lakha Phoolni once resided—a name engraved in the annals of the desert's oldest traditions. In the shadow of Phulra's ancient walls, he lived—a contemporary of legends like Sid Rae of Auhulwara and Udyadit of Dhar—his legacy intertwined with the very stones of this venerable fortress, a living testament to the enduring spirit of gone era.

Meghwal: Guardians of Ancient Cholistan

In the heartland of northwest India and the sweeping landscapes of Pakistan, resides a resilient community known as the Meghwal, or Meghwar, with cultural roots delving deep into history. Traditionally, they were the stewards of the land, cultivating fields along the banks of the Hakra River, herding cattle, and mastering the art of weaving. The Meghwals also recognized as Megh and Meghraj, primarily practiced agriculture until the drying of the Hakra River forced them into the vast deserts of Cholistan, leaving behind a legacy of ancient traditions and crafts.

One of the hallmarks of the Meghwals is their exceptional contribution to the art of embroidery and the textile industry. Their skilled hands have woven stories into the fabric, preserving their heritage through intricate stitches and vibrant colors. Despite the winds of change, the Meghwals have held steadfast to their roots, their essence as the sons of the soil intact, even amidst the process of desertification that transformed their ancestral lands into grazing fields.

Cholistan, once a cradle of the great Indus civilization, has witnessed the Meghwals persevering, their customs and rituals untouched by time. While cultural exchanges have left a mark, their adherence to age-old traditions remains unyielding. It is their steadfastness in preserving their rituals that sets them apart, a testament to their rich cultural heritage.

Historically, the Meghwals were recognized as Chamars and fell within the Shudra category in the structured system of Hindu caste. They once resided in regions like Bikaner, Jaisalmer, Marwar, West Punjab, and along the sacred banks of the Yamuna River. Over time, they migrated to the present-day Cholistan, which was once part of the Ex-state of Bahawalpur (1727), possibly belonging to Bikaner or Jaisalmer. Census records from 1901 confirm their presence in Cholistan, where they are divided into two distinct groups: Sindhi Meghwals and Marwari Meghwals.

Despite sharing sub-castes such as Gundhair, Lelarh, Jaipal, Parhad, and Punwaar, the Meghwals prefer not to intermingle, even within their own communities. An intriguing cultural distinction emerges between the Sindhi and Marwari Meghwals, evidenced by their social practices and customs. While Sindhi Meghwals residing in Drewar Fort maintain their unique identity, they do not intermarry with Sindhi Meghwals from Yazman, showcasing the subtle yet significant differences within their community.

These resilient Meghwals have become an integral part of various regions, including present-day Bahawalpur in Pakistan, Thar in Sindh, and Rajasthan in India. In Cholistan, they primarily engage in shepherding and cobbling, their handmade shoes adored by the local Saraiki populace. It's important to note that the Meghwals are not refugees but the ancient custodians of Cholistan. Many of them are registered voters, and some have been allocated land by the Pakistani government for agricultural pursuits.

For those who ventured into urban areas, diverse professions such as masonry, carpentry, contracting, and mechanics have become their means of livelihood. Yet, amidst changing landscapes and evolving professions, the Meghwals have held on to the thread of their identity, speaking the Marwari language and passing down their rich heritage to future generations.

In the heart of Cholistan, the Meghwals stand tall as guardians of an ancient legacy, weaving the tapestry of their culture with resilience, skill, and unwavering pride. Their story is not just one of survival but a celebration of heritage, reminding the world of the enduring spirit of a community deeply rooted in the sands of time.

KHAAK NASHEEN

 

In the depths of time, where shadows play,

A soul emerged, in the twilight's gray,

Khaak Nasheen, in the dust, it lies,

A spirit bound, 'neath endless skies.

In every grain, a tale untold,

A saga vast, of courage bold,

Khaak Nasheen, in the earth, it dreams,

Of ancient lands and flowing streams.

Through eons past and ages gone,

It's seen the rise of many a dawn,

Khaak Nasheen, whispers of the earth,

In every whisper, wisdom's birth.

Beneath the sun, 'neath moon's soft glow,

In whispered winds that softly blow,

Khaak Nasheen, a melody profound,

In every echo, secrets found.

A metaphor for life's embrace,

In every heart, in every space,

Khaak Nasheen, the essence true,

In every me, in every you.

So let us learn from dust and stone,

From ancient tales, from times unknown,

Khaak Nasheen, in its silence, speaks,

Of strength in frailty, the spirit it seeks.

In every soul, the dust resides,

A truth that in our hearts abides,

Khaak Nasheen, a reminder kind,

In every moment, wisdom we find.

The tomb of Muhammad Maruf Khan Kehrani, the founder of Maujgarh Fort.

 Monday, ‎22 ‎February ‎2021, ‏‎11:21:50 am

Muhammad Maruf Khan Kehrani founded Mojgarh in the year 1743. His square tomb, adorned with glazed tiles and topped by a single dome, stands approximately 400 yards south of the fort. The construction of this tomb was completed by Maruf Khan's son, Jan Muhammad Khan, and his successor, Umar Khan, in 1757. 

Among the various iron plaques adorning its main door, one bears the names of Jan Muhammad Khan and Muhammad Maruf Khan, along with the gate's construction date in Persian (A.D. 1797) and the name of the builder, Sri Ram, an ironsmith. Mojgarh was a destination visited by notable individuals such as Elphinstone and Masson.

On our way back to Lahore, pressed for time, we captured pictures of the tomb from our car.

"Exploring the Kargah Buddha Site in Gilgit Baltistan: A Journey Back to 2003"

In 2003, during our university summer break, my friends and I planned a trip to Gilgit Baltistan. We found out there were discounted air tickets for students, but it was still expensive for us. So, we took an 18-hour Natco bus ride from Rawalpindi on Karakoram highway and finally reached Gilgit city.

To our surprise, the days were warm, but the nights were chilly. Gilgit city didn't have much to offer, except for relaxing by the river. A local suggested we visit a Buddhist site 9 kilometers away. We hitched a ride on a tractor trolley and a short hike led us to the Kargah Buddha site.

Kargah Buddha, locally known as Yashani, is a 15-feet tall statue carved on a mountain about 150 feet above the ground. It's a unique archaeological site, a 7th-century Buddha figure deeply carved into solid rock. This site is located outside Gilgit city and was once a center of Buddhism from the 3rd to the 11th century.

According to the renowned Japanese scholar Dr. Haruko Tsuchiya, this figure is of chambs style, distinct from Gandhara Art. It's a Buddhaisatta vs Maitreya figure, similar to the one found in Mulbelandakh. This site provided us with a fascinating glimpse into ancient Buddhist history amidst the stunning landscapes of Gilgit Baltistan.

Gilgit City

Kargah Nala

Kargah Nala

Hiking towards Kargah Nala

The Forgotten 17th Century Tomb of Mian Bai

Date of Visit (29-03-2023)

(All pictures and writeup text used in this blog, is author's property, kindly respect copyrights)

Right at the entrance of Poonch House Colony, a neglected and weathered Mughal-era tomb from the seventeenth century stands forlorn. Its architectural style is somewhat reminiscent of the Zeb-un-Nisa tomb a few kilometers south at Nawakot.

Once, the tomb's original outer plaster remained untouched, but regrettably, the current caretaker covered it with a layer of cement and sand. Even the plaque indicating that the tomb belonged to Mian Bai was replaced with a new name, Mai Bukhari. Interestingly, this tomb has transformed into a shrine, where an annual Mela festival is celebrated.

Not far from this tomb, merely a few hundred meters away, the historic Chauburji gate stands. This splendid architectural marvel was once encircled by a grand garden, now lost to the passage of time. The story behind its creation is as captivating, intertwined with the enigmatic figure of Mian Bai.

In the year 1646, the Chauburji gate proudly showcases an inscription attributing its construction to "Sahib-e-Zebinda Begam-e-Dauran." The arch above it carries verses in Persian that describe the garden as a reflection of paradise, founded with the bounty of Zebinda Begam, gifted to Mian Bai.

"This garden, In the pattern of the garden of paradise, has been founded,

(The second line has been effaced)

"The garden has been bestowed on Mian Bai.

"By the bounty of Zebinda Begam, the lady of the age."

According to the nineteenth-century historian Syad Muhammad Latif, Mian Bai held a special place in Zebinda Begam's heart. As the garden's completion approached, Zebinda Begam presented it to Mian Bai. The Shah Jahan-nama, a historical text, narrates how this gift came to be. The garden was planned by Zebinda Begam, and Mian Bai was entrusted with its construction and supervision.

A remarkable incident occurred when the garden was near completion. The Princess, Zebinda Begam's daughter, heard people discussing her visit to "Mian Bai's Garden." Recognizing the garden's connection to Mian Bai, the Princess decided to gift it to her. Upon reaching the garden, Mian Bai warmly welcomed the Princess, praying for her long life. This gesture was seen as a positive omen, leading Zebinda Begam to immediately transfer ownership of the garden to Mian Bai.

Syad Muhammad Latif's assumption that the inscribed "Zebinda Begam" refers to Zeb-un-Nisa might not withstand scrutiny. Zeb-un-Nisa, born in 1637, would have been a mere child when the garden's construction took place, making it improbable for her to command the resources needed for such an endeavor. A more plausible candidate emerges in the form of Jahan Ara Begam, Shah Jahan's daughter and Zeb-un-Nisa's aunt.

photo taken by Dr. Zishan

My good historian friend Dr. Zishan helped me out in writing this article, he also told there were two other graves in outer perimeter of some person from Gurdaspur. 

SALEH KAMBOH MOSQUE

 Date of Visit 02nd July 2023

(All pictures and writeup text used in this blog, is author's property, kindly respect copyrights)

The historical Saleh Kamboh Mosque, also known as the 'Chinianwali Maseet' locally, is renowned for its unparalleled marvel of marble adorned with exquisite precious stone inlay work, famously referred to as 'Kashi kari'. In its prime, the mosque garnered fame for its architectural grandeur, intricate embellishments, and mesmerizing floral patterns crafted from marble.

The mosque takes its name from Muhammad Saleh Kamboh, the son of Mir Abdullah Kamboh, a learned scholar and writer. His eldest son, Sheikh Inayat Ullah Kamboh, stood as a historian and erudite scholar. Meanwhile, his younger sibling, Muhammad Saleh Kamboh, contributed his historical acumen to the Mughal court under the patronage of Emperor Shah Jehan and also served as a mentor to Aurangzeb. Muhammad Saleh Kamboh held the esteemed position of 'Shahi Dewan' for the Governor of Lahore and made his abode within the Mochi Gate vicinity, though the precise location remains somewhat elusive.

Kanhaiya Lal in his book 'Tareekh Lahore' beautifully documented this mosque.

"Behold, at the stunning and lively design of this mosque that grabs your attention. Even though it's not very big, this mosque is truly amazing with its detailed tile patterns and beautiful colors. The tall towers, like the happy laughter of excited people, go up gracefully, and the special dome on top covers the building like a fancy umbrella. The careful work that went into making the mosque is easy to see in the pretty designs on the walls, especially the fancy decorations made of shiny gold brass. These decorations have important verses from the Quran, sayings from Hadith, and fancy words in Persian, all in a shiny blue color.

It feels like the art was just made today because the artists were so careful with each design and word. When you step inside, you'll see the impressive layout of the mosque. There's a big open space in the middle with pretty walkways around it and colorful paintings on the walls that tell stories about being devoted and creative.

The person who had the great idea for this mosque was a wise and important person, known for being a great poet in the Shahjahan time. He also wrote the famous book "Baharunsh." His family was really proud of him because he was important in the Shahi court and he was very smart. At the front entrance of the mosque, there's a special message made of shiny brass that tells about the mosque's history. It's written in gold ink and has the names of the people who helped make the mosque look beautiful.

A family of very skilled artists, painters, and writers worked together to create this amazing mosque. They were really good at what they did, and you can see their clever work on the building. Even the steps going up to the special part where someone talks are made in a special way. The bottom step is green and shows how time passes, while the top step has pictures showing different parts of life. The mosque is really grand and beautiful, and even the small details, like the pretty artwork by Javed, show how talented the artists were."

Muhammad Saleh assumed command over a contingent of 500 horsemen, portraying his dual facets as a warrior and a scholar. Interestingly, historical records depict him as a commander of a Mughal fleet, leading the charge against rebellious forces in the Bay of Bengal. It was during this maritime duty that he penned his magnum opus 'Amal-e-Saleh' in the year 1659 AD. To provide a historical context, the renowned Wazir Khan Mosque had already reached completion in 1641 AD, and thus, the mosque bearing Saleh Kamboh's name emerged after his passing in 1675 AD, with certain accounts suggesting its construction as late as 1680. As of the current year, 2023, this mosque boasts a rich history spanning over 341 years.

Beyond his scholarly and military accomplishments, Muhammad Saleh Kamboh exhibited proficiency in poetry, adopting the pen name Kashfi for his Persian compositions and Subhan for his Hindi verses. Some sources even allude to his prowess as a classical singer. Regrettably, the achievements of these illustrious Kamboh brothers from Lahore, who, akin to their eminent ancestors, excelled in both military and scholarly pursuits, remain relatively obscure in contemporary times.

Muhammad Saleh Kamboh attained lasting the court chronicler, entrusted with recording the annals of Shah Jahan's reign. His literary masterpiece, the "Amal-i Salih" & "Shahjahanama," scripted in Persian, stands as a pivotal primary source chronicling the epoch of Shah Jahan. It serves as a testament to the author's literary finesse, skillfully weaving Persian poetry and prose. Also a preeminent primary source, in unraveling the events of Shah Jahan's era.

Muhammad Saleh, known by the Persian epithet Kashfi and the Arabic moniker Subhan, is also attributed with considerable skill as an Urdu vocalist. He secured a commanding position among the 'mansabdars,' with his designation reflecting leadership over five hundred soldiers. The exact date of Muhammad Saleh's passing remains shrouded in uncertainty, with S. M. Latif, relying on unspecified sources, noting his demise in A.H. 1085 (1675 AD), a stance upheld by certain scholars.