Khwaja Ghulam Farid (1845-1901) is celebrated as one of the finest as well as one of the last of the great Sufi poets of Pakistan. He is particularly revered in his home territory of Bahawalpur for the matchless lyrics which he composed in his native Siraiki.
This is a chronological history of the Sufi tradition, divided in to three sections, early, middle and modern periods. The book comprises 35 independent chapters with easily identifiable themes and/or geographical threads, all written by recognised experts in the field. The volume outlines the origins and early developments of Sufism by assessing the formative thinkers and practitioners and investigating specific pietistic themes. The middle period contains an examination of the emergence of the Sufi Orders and illustrates the diversity of the tradition. This middle period also analyses the fate of Sufism during the time of the Gunpowder Empires. Finally, the end period includes representative surveys of Sufism in several countries, both in the West and in traditional "Islamic" regions. This comprehensive and up-to-date collection of studies provides a guide to the Sufi tradition. The Handbook is a valuable resource for students and researchers with an interest in religion, Islamic Studies and Middle Eastern Studies.
Jāmī in Regional Contexts: The Reception of ʿAbd Al-Raḥmān Jāmī’s Works in the Islamicate World is the first attempt to present in a comprehensive manner how ʿAbd al-Raḥmān Jāmī (d. 898/1492), a most influential figure in the Persian-speaking world, reshaped the canons of Islamic mysticism, literature and poetry and how, in turn, this new canon prompted the formation of regional traditions. As a result, a renewed geography of intellectual practices emerges as well as questions surrounding authorship and authority in the making of vernacular cultures. Specialists of Persian, Arabic, Chinese, Georgian, Malay, Pashto, Sanskrit, Urdu, Turkish, and Bengali thus provide a unique connected account of the conception and reception of Jāmī’s works throughout the Eurasian continent and maritime Southeast Asia.
In this book the Promised Messiah, on whom be peace, discusses the philosophy of divine revelation, the three categories of people who claim to receive revelation, and the distinction of the truthful from the false. He then establishes his truthfulness by documenting over 200 Signs, including the fulfillment of prophecies made by the Holy Prophet Muhammad, may peace and blessings of Allah be upon him, other men of God, earlier scriptures, and his own revelations spanning over twenty-five years. The author cites numerous examples of his enemies who publicly predicted his downfall and demise, only to become the very victims of their own prophecies. God, however, protected him against every assault, while continuously reassuring him of His promise to bless his Community—a promise which continues to bear the seal and testimony of history. The author also appeals to the followers of different faiths to read this book cover to cover to appreciate and accept this evidence as proof that God is One and the Holy Prophet Muhammad is the Messenger of God, and that he is the Promised Messiah raised to unite humanity under the banner of Islam.
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.