Wikipedia

Kashmiri Marsiya

The Kashmiri Marsiya (Kạ̄shir Marsī کٲشِر مَرثی) is a commemorative, devotional, literary genre closely resembling an elegiac poem, that was used primarily to mourn the martyrdom of Husayn ibn Ali at the Battle of Karbala.[1] Marsiya is a loan word in the Kashmiri language that was borrowed from the Persian word marsiya (مَرْثِیَه), which itself derived from the Arabic workd rithā’ (رثاء).[2][3][4][5] Unlike the Arabic and Persian marsiya, the Kashmiri marsiya transcends the limitation of an elegiac poem. In its classical form, marsiya assumes the shape of an elaborate prose that seeks to imitate the rhythmic prose associated with the Quran.[3][4] The writer of a marsiya is referred to as an author (musanif) rather than a poet ("shair").[3][6][7]

Compilation of Kashmiri Marsiya, biyaz copied in 1730, Srinagar

History

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Initial reception

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The oldest trace of a marsiya in Kashmiri language dates to the 15th century CE and comprises a short, loose elegy composed on the death of a Sufi, Nund Rishi (d. 842AH/ 1438CE),[8] by his women disciple, Sham Bibi (d. 1446).[9][10] The first elegies written in Kashmiri to commemorate Husyan's martyrdom also date from the same period in works composed between the 15th and 16th centuries. These include marsiya written by two poets from the Musavi family, Qasim bin Yusuf Din Shah, and his nephew Hakim Din Shah[11] in and around 811- 850 AH (1409-1446CE), during the Shahmiri Sultanate (1339-1561CE).[4][6][5][12] Another work that survives is of Ahmad, a poet who hailed from Ahmadpora, a Shia centre of learning in medieval Kashmir.[5][13]

Modern researchers have characterised this period commencing with the rule of Sultan Sikandar (r. 1389-1413 CE) and ending with the demise of the short-lived Shia Chak Sultanate (1561-1586 CE), as the first stage in the development of Kashmiri marsiya.[14] Significantly contemporary medieval texts originating from within Kashmiri Shia circles make no mention of Muharram assemblies to commemorate the martyrdom of Husayn ibn Ali, or of traditions linked with the writing of marsiya in Kashmiri.[15] This includes both hagiographical works (tazkira's) as well as political histories (tarikh's) of the region authored by Shia writers.[16][17]

Aside from a few anonymous works, the names of the following poets who composed marsiya in this period survive:[18]

Kashmiri Marsiya Writers ( 15th-16th century)
A H Q
Ahmad Hakim bin Musa ibn Yusuf Din Shah Qasim ibn Yusuf Din Shah

Development

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The development of the Kashmiri marsiya coincides with Mughal (1586-1753 CE) and Afghan rule (1753-1819 CE) in Kashmir.[19] This period saw the consolidation of Persian, both as the court language, as well as the preferred language of the urban elite, completely eclipsing native Kashmiri.[20] Many Persian poets who arrived at the Mughal court from Persianate lands, made Kashmir their home, settling down in the capital city, Srinagar.[21] Some, including two poet laureates[22] ( malik-u shoura)[23] at the imperial court are buried in the cemetery of poets (Kashmiri: Mazar-i Shoura or Mazar-e-Shura) located on the foothills of Takht-i Suleiman, Srinagar.[24] With the official promotion of Persian, the vernacular Kashmiri went through a period of steady decline.[20] This is also witnessed in the marsiya written during this time. Ahmadpora in North Kashmir served as a major nucleus for marsiya writing during this period, with many sayyids from the Rizvi family following this tradition.[25] Some of the prominent poets who composed marsiya during this time include:[14][3][6]

Kashmiri Marsiya Writers ( 17th-mid 18th century)
A M Q
Aqa Sayyid Mahmud Tabrizi Mir Sayyid Muhammad Abbas Qazi Ahmad Ali
B Mir Sayyid Muhammad Jafar Qazi Ahmad Din
Baba Muhammad Jawad Mirza Jawad Ali Khan Kaani S
C Mirza Jaza-al Lah Sayyid Fakhir[26]
Hassan Khan ibn Muhammad Taqi Muhammad Yahya ibn Ahmad Khan Sayyid Jafar Najafi
K Muhammad Azam Sayyid Mir Arab Shah
Khawja Muhammad Fazil Mulla Abul Hakim Sateh[27][21][23] Sayyid Mir Muhammad Abbas
Khawja Hassi Bhat Nadan Mulla Ahmad Nishapuri Sayyid Mir Sharf-al Din Rizvi
Khawja Muhammad Tabrizi Mulla Ibrahim Munjim[28] Sayyid Amir-al Din Zakhir
M Mulla Muhammad Mahdi Sayyid Saleh Rizvi
Mir Ahmad Ali Tusi Mulla Rehman U
Mir Arab Shah Rizvi Musa Khan ibn Muhammad Taqi al-Haeri Ustad Muhammad Jafer
Mir Saif ibn Mulla Khalil Munjim

Emergence of Muqam Bandh Marsiya

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The beginning of the nineteenth century CE marked the revival of the Kashmiri language, though Persian continued as a court language till 1889 CE.[20] During the late eighteenth century through the nineteenth century CE, a new form of writing marsiya in Kashmiri emerged, signifying a major evolutionary phase in this literary genre. Literary critics refer to this period as the age of classical marsiya writing or muqam bandh marsiya (مقام بند مرثیہ).[3][6][14] The marsiya that emerged during this period is structured around four fixed stations known as muqam, which define the thematic content.[5] Each muqam, in turn, completes a stanza—chyir ( چھیر)with a parallel internal structure.[7][4]

Two writers from North Kashmir are credited with this innovation: Qazi Ahmad Ali (d. 1800 approx.) and Khwaja Hasan Mir (d. 1826 CE).[5][25] Qazi Ahmad Ali, originally a Sunni from Varmul (Baramulla), converted to Shi’ism and formalized the muqams within the marsiya.[29] He was a senior contemporary of Khwaja Husayn Mir,[30] a cultivator residing in the village of Habak. Husayn Mir, popularly known as Hussi Boii (حُسی بوئ), significantly popularized the new form of marsiya among the urban elite of Srinagar.[8] He also made innovations to the internal structure of the marsiya. Additionally, he introduced the poets of the Mulla family in Srinagar,[31] who were accustomed to composing in Persian, to this new form of Kashmiri marsiya. Over the next two generations, the Mulla family produced successive marsiya writers.[3][6][4][5][14][25]

The earliest composers of Kashmiri marsiya in the Mulla family include Mulla Hakim Muhammad Azim (1803-1852CE), Mulla Munshi Muhammad Yusuf(1798-1885 CE) and Mulla Munshi Shah Muhammad (d. 1850 approx.).[19][31][30] Hakim Azim and Munshi Yusuf played pivotal roles in enhancing the poetic beauty of marsiya, transcending the constraints of its elegiac form.[31] During the nineteenth century, alongside Srinagar, another notable centre for marsiya writing emerged in the village of Gund Khwaja Qasim, under the stewardship of Khwaja Muhammad Baqir Gundi (d.~1834CE).[32] The tradition was greatly advanced by his son, Khawja Abdullah, and a student Mirza Aboul Qasim (d. ~ 1853CE).[5] The works of Mirza Aboul Qasim would achieve great public acclaim, and he remains the most prolific and popular marsiya writer to date.[33]

Some of the main marsiya writers from this period are:[3][6][7][25][34][35]

Kashmiri Marsiya Writers ( 19th-mid 20th century)
H M M
Hakim Ghulam Rasul Mulla Hakim Muhammad Azim[36][37]

(1803–1852)

Munshi Ahmad Ali Ghazi

(1853–1923)

K Mulla Hakim Muhammad Jawad

(1891–1946)

Munshi Muhammad Safdar

(~ d. 1850's)

Khwaja Abdullah Gundi Mulla Munshi Haider

(1872–1941)

S
Khwaja Husayn Mir

(~d. 1820-30's)

Mulla Munshi Hasan Ali

(1866–1933)

Sayyid Muhammad Rizvi
Khwaja Muhammad Baqir Gundi Mulla Munshi Ihsan-al Lah

(1838–1925)

Sayyid Mustafa Rizvi
Khwaja Muhammad Daim Mulla Munshi Muhammad Abbas

(1869–1944)

M Mulla Munshi Muhammad Ali

(1829–1902)

Mirza Aboul Qasim[38]

(~ d. 1853)

Mulla Munshi Muhammad Qasim[39]

(~d. 1840-50's)

Moulvi Abdullah Ansari Mulla Munshi Muhammad Sadiq

(1897–1972)

Mulla Hakim Abdullah

(d. 1887)

Mulla Munshi Muhammad Yusuf

(1798–1885)

Mulla Hakim Habib-al Lah[40]  

(1852–1904)

Mulla Munshi Mustafa Ali

(1814–1889)

Mulla Hakim Hasan Ali

(1870–1915)

Mulla Munshi Shah Muhammad

(~d. 1850's)

In the post-Independence period, the tradition of writing marsiya was greatly reduced, with most poets engaging in composing in the easier, shorter genre of nauha.[10][6] Some writers who have produced marsiya that are recited publicly include, Sayyid Aboul Hassan Zigum, Sayyid Anis Kazmi and Sayyid Muhammad Chatergami.[6]

The main writers from this time are:[6]

Kashmiri Marsiya Writers (mid 20th century- onwards)
A S Z
Aga Sayyid Abbas Musavi Sayyid Akbar Hashmi Zulfiqar Qasmi
Aga Sayyid Aboul Hasan Zigum Sayyid Anis Kazmi
G Sayyid Asad-ul Lah Safvi
Ghulam Husayn Khaksar Sayyid Muhammad Chatergami
M Sayyid Sami-ul Lah Jalali
Moulvi Muhammad Yusuf

Structure

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According to Hakim Ghulam Safdar Hamdani, Kashmiri marsiya evolved from a native tradition used to mourn the death of a family member, known as vān (وان).[14] Expressed in the vernacular, vān in its original form does not assume a poetic structure, nor does it seem to have been consigned to text.[3][41] This is a view generally held by most writers who have looked into the evolution of marsiya.[3][6][5][14][25] The arrival of Muslim preachers in Kashmir during the fourteenth and fifteenth centuries resulted in the gradual introduction of practices and traditions prevalent in the Islamic world into Kashmiri society, including that of marsiya.[7] A surviving marsiya from this period starts with a verse in Persian followed by its translation in Kashmiri in the same meter.[4][18]

In its classical form, the marsiya is divided into four thematic sections: hamd (حمد), na’at (نعت), madah or maqabat (منقبت), and dard (درد).[42][7] Sometimes, a marsiya may also include a small section of supplications (dua), but this is very rare.[5] The elegiac content is limited to the last section, dard. While hamd and na’at are based on a single chyir (stanza), madah sometimes includes multiple chyir. The dard section of the marsiya comprises twelve to fourteen chyir, though this can sometimes extend up to nineteen. Each chyir is further divided into verses of varying length, based on the nature of sound: ascending or descending in which they are recited.[7] This recital quality of the verse also defines its metrical pattern, wazn (Kashmiri: وزن ). Based on the wazn, verses in each chyir are classified as barkhast, dounbala, gat, kreikh, puot-gat and nishast.[42][6][25] Each component retains a different qafiya (rhyming pattern) and radif (refrain word) which gets repeated in subsequent chyir.

Unlike marsiya in Arabic, Persian or Urdu,  the classical Kashmiri marsiya is nearer to the tradition of masnavi, with each marsiya composed under a specific title (Kashmiri: unwan). The title of a marsiya, dictates the writer's choice and selection of words, phrases, metaphors, and other literary devices.[3] Similarly, much like in Persian masnavi, the initial section of a Kashmiri marsiya includes introductory and body paragraphs (chyir) in praise of Allah (hamd), in praise of Prophet Muhammad (na’at), his family the Ahl-i Bayt (madah) before proceeding to the elegiac section (dard).[4][6][7] In his marsiya with the title 'Dar' (The Door), Hakim Azim starts by invoking Allah in these verse:[31]

Yā Allāh Humēsha soun dāb jurm-o khatā

Choun bāb jūd-o 'atā

(transl.) O Lord! Our ways are of incessant crimes and transgressions

Yet we arrive at your threshold, of generosity and benevolence

Title (unwan)

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A marsiya is composed keeping in consideration the title (unwan), which is adopted for it. The unwan serves as the framed plot for the marsiya which is then elaborated in the various thematic sections of the work. Some major titles under which marsiya have been composed include:[3][6][7][25]

Category Title Category Title Category Title Category Title Category Title
Religious

subjects

Allah-o Akbar Crafts &

Profession

Ahangiri Innate

objects

Aayena Body parts Bazoo Emotions

& Acts

Dosti
Asul-i Din Hikmat Aftab Chashm Duzhdi
Faro-I Din Insha Anguhtri Dast Hasad
Hajj Kakazgiri Biyaz Dil Haya
Hamd-o Sipas Kar Chirag Dimag Jahalat
Imammat Kimiya Gouhar Gosh Khamooshi
Jihad Naqashi Hina Jism Khayal
Kaaba Padshahi Jahaz Mou Riya
Karbala Qazi Kishti Nakhun Sabr
Miraj Rangrezi Kuh Pusht Sharafat
Nimaz Sahafi Lal Qafas Tifli
Paigambiri Sarafi Libas Rou Ulfat
Quran Saudagiri Mashk Zuban Historical Personalities Dara
Ramzan Waaz Namak Nature Aab Issa
Sajda Zamindari Sang Bahar Jamshed
Shan-i Allah Satoon Gul-i Lala Musa
Wahdat Tasbeh Hamesh-i Bahar Sikandiri
Nargis Yusuf

Textual record

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So far around five hundred marsiya written during the nineteenth century have been collected and published.[29] These have been mapped from manuscripts, known as biyaz,[43] which have been copied in not only Kashmir but also in major cities of colonial India, including Amritsar, Lucknow, Faizabad, Calcutta and in far-off Kabul (Afghanistan).[4] According to Shafi Shauq, Kashmiri marsiya literature is the oldest genre within Kashmiri literature that has been consigned to a preserved written form:

[...] Within Kashmiri language, marsiya's are the first with a written literature.[44]

The oldest compilation of marsiya literature in Kashmir in a manuscript form (biyaz) dates back to 1725, when Kashmir was under Mughal rule. Other biyaz compiled during the 18th century include those written in 1769 and 1794.[45] Of the marsiya written, more than a hundred are still recited in public mourning ceremonies across Kashmir.[5]

Marsiya as a performance

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Performance of marsiya at Marak Imambada, Zadibal, Srinagar.

Marsiya in Kashmir manifests as public performances, primarily recited during mourning assemblies [Kashmiri: majlis ] held within an imambada. After composing a marsiya, the musanif hands it over to the zakir, whose responsibility is to recite it in the public. Historically, the musanif refrains from reciting his work, this is the role of the zakir.[7] The role of a zakir is hereditary,[46] with the right to recite any assigned marsiya being passed down from father to son.[3][6][7][25]

Within the imambada, both men and women collectively recite the marsiya. Typically, the imambada is a two-story space, with women occupying the upper floor, physically and visually separated from the men by latticework screens or curtains.[47] This follows the Muslim practice of women's seclusion (purdah), which is rigorously followed in a majlis.[29] The primary reciter, known as a zakir, receives assistance from a group of 7 or 12 men sitting in a circle called the daireh. These men are referred to as paskhwans.[25]

The congregation forms multiple concentric circles, radiating outward from the daireh, with the zakir moving from one end of the congregation to another. The same practice is followed in marsiya performed at homes. A jug of water and soil of Karbala (Kashmiri: khak, or khak-i shifa) is kept in the middle of the daireh on a cloth spread.[25][48][49][10] One of the earliest descriptions of the performance of a Kashmiri marsiya is recorded in the travelogue written about Kashmir in 1928.[50] The travelogue describes the performance in the main imambada of Srinagar, Marak,[51] in these words:

In Srinagar there is a moḥala Zadibal where many Muslims live, and there are many Shiʿi in this moḥala. The majlis happens here. Sayyid Shāh Jalālī is a big jāgirdār and zamindār and the father-in-law [i] of his son is trader of pearls [. . .]. All of us went to Jalālī Ṣahibs place [. . .]. After lunch we went to the imāmbāda which is near his house. The majlis starts at six in the morning and continues till six in the evening. The majlis is read in the Kashmiri language and the imāmbāda is very large. There are buildings on all four sides, in the middle there is a lower ceiling supported on thirty-five columns, under which the majlis takes place [. . .]. The buildings on the four sides are two storied, the upper floor is in wood and has delicate wooden jālīs (screens). It is here (behind the jālīs) that women sit and listen to the majlis. The lower and the central floor is used by men. From morning till evening whoever desires, may come and be a part of the majlis. When men enter the majlis they remove their coats and turbans. All the men in the congregations were bareheaded. The marṣiya khwanī adopted here is distinct from that in the entire world [. . .]. In the end, Moulvi Imdād ʿAli Ṣahib of Lahore did marṣiya khwanī (recitation of elegies commemorating Ḥusayn b. Ali’s martyrdom). He stood up and said that today, I will recite a marṣiya in Urdu, because Sayyid Hemayun Mīrzā Ṣahib who has arrived in Kashmir from Hyderabad is present with us in majlis.[52]

References

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  1. ^ Mikhnaf, Abu (2012). Maqtal Al-Husayn [The event of the Taff: The earliest historical account of the tragedy of Karbala] (in Arabic). Translated by Gharawi, Muhadi Hadi Yosuf. Tehran: ABWA Publishing and Printing Center. ISBN 978-964-529-266-7.
  2. ^ migrator (2020-08-29). "Marsiya: Beyond the "literal lament"". Greater Kashmir. Retrieved 2024-08-25.
  3. ^ a b c d e f g h i j k l Kazmi, Anees (1975). Kashir Marthiya Hunz Tarikh (in Kashmiri). Budgam: Gulshan-i-Adab.
  4. ^ a b c d e f g h Hamdani, Hakim Sameer. "Tears to Heaven : Remembrance of Karbala in Kashmiri Marsiya(elegy)". {{cite journal}}: Cite journal requires |journal= (help)
  5. ^ a b c d e f g h i j Sajjid, Maqbool (2013). Kaeshri Marsiyuk Safar: An anthology of Kashmiri Marsiya (in Kashmiri). Srinagar: J&K Academy of Art, Culture and Languages. pp. 124–129.
  6. ^ a b c d e f g h i j k l m n Budgami, Shahid (2014). Kashir Marsy Hund Tawareekh (in Kashmiri) (3rd ed.). Delhi: Taj Printing Service.
  7. ^ a b c d e f g h i j Hamdani, Hakim Ghulam Safdar (2014). Tārīkh −i Shiyan-i Kashmir (in Urdu) (3rd ed.). Srinagar: Imam Hussein Research & Publishing Centre.
  8. ^ Bazaz, Abir (2023-08-05). Nund Rishi. Cambridge University Press. doi:10.1017/9781009118811. ISBN 978-1-009-11881-1.
  9. ^ Butalia, Urvashi (2014). Speaking Peace, Women's Voices from Kashmir. Delhi: Zubaan Books. ISBN 9789383074709.
  10. ^ a b c "Kashmiri Marsiya-Evolution and Transition: The Sustainment of Grief". Kashmir Observer. 2019-05-18. Retrieved 2024-08-24.
  11. ^ The postscript written at the end of a marsiyye attributed to Hakim Din Shah mentions: "This lament was written by Hakim Ibn Musa Ibn Yusuf Din Shah during the reign of Badshah". See, Hamdani, Hakim Ghulam Safdar (2009). Aush ti Aab (in Kashmiri) (2nd ed.). Delhi. Skyline Publications.
  12. ^ "Kashmiri Elegy". thehamdanis.org.
  13. ^ Hamdani, Hakim Sameer; Qureshi, Mehran (2024-01-11), "The Art of the Book in Early Modern Kashmir", The Routledge Companion to Global Renaissance Art, New York: Routledge, pp. 300–315, doi:10.4324/9781003294986-25, ISBN 978-1-003-29498-6, retrieved 2024-08-24
  14. ^ a b c d e f Hamdani, Hakim Ghulam Safdar (2009). Aush ti Aab (in Kashmiri) (2nd ed.). Delhi: Skyline Publications.
  15. ^ These include the tazkira originating within the Nurbakshiyya Sufi order, see, Ali, Mulla Muhammad Ali (2006). Jan, Ghulam Rasul,(transl.). Tuḥfatūl Aḥbāb (in Persian). Srinagar: Jan Publications.
  16. ^ Anonymous (2021). Baharistan-i-Shahi [Baharistan-i-Shahi (A Chronicle of Mediaeval Kashmir)] (in Persian). Translated by Pandita, Kashi Nath (2nd ed.). Delhi: Akshaya Prakashan.
  17. ^ Chadurah, Malik Haidar (1991). Tarikh-i Kashmir [History of Kashmir by Haider Malik Chadurah] (in Persian). Translated by Bano, Razia. Delhi: Bhavna Prakashan.
  18. ^ a b Sajjid, Maqbool (2013). Kaeshri Marsiyuk Safar: An anthology of Kashmiri Marsiya (in Kashmiri). Srinagar: J&K Academy of Art, Culture and Languages.
  19. ^ a b Hamdani, Hakim Ghulam Sardar (2009). Aush ti Aab (in Kashmiri) (2nd ed.). Delhi: Skyline Publications.
  20. ^ a b c Hajini, Mohyi-ud Din (1967). Muqalat. Srinagar: Nur Muhammad Roshan Press. p. 35.
  21. ^ a b Aslah, Hajji Muhammad Aslam Khan (1983). Tazkira-i- Shoura-i Kashmir (in Persian). Lahore: Iqbal Academy.
  22. ^ These include Hajji Jan Muhammad Qudsi, Abu Talib Kalim Kashani, see, Sharma, Sunil (2017). Mughal Arcadia: Persian Literature in an Indian Court. Cambridge: Harvard University Press. ISBN 978-0-674-98124-9.
  23. ^ a b Kashmiri, Mirza Muhammad Ali (2009). Barzegar, Dr. Karim Najafi (ed.). Tazkira-i Zafran Zar (in Persian). Tehran: Society for the Appreciation of Cultural Works and Dignitaries.
  24. ^ Sharma, Sunil (2017-11-27). Mughal Arcadia. Harvard University Press. doi:10.2307/j.ctvgd336. ISBN 978-0-674-98124-9.
  25. ^ a b c d e f g h i j Hashemi, Manzoor (1996). Ḥusayniyāt (in Kashmiri). Srinagar: Self published.
  26. ^ According to Shafi Shauq, Fakhir (d. 1780) also introduced the genre of ghazal into Kashmiri language, see, Shauq, Shafi and Munwar, Najji (2008). Kashir Zaban ti Adabuk Twarikh (in Kashmiri). Srinagar: Ali Muhammad & Sons. pp.125-127. ISBN 978-81-921925-7-4
  27. ^ Sateh also served as the companion of the Mughal emperor, Farukh Siyyar (r. 1713-1719), before returning to Kashmir after the emperor's execution.
  28. ^ Mulla Ibrahim served as the tutor of Nawwab Ibrahim Khan (d. 1709), who served as Mughal Governor of Kashmir in 1662-63, 1679-86, 1701-05 and 1709, see, Kashmiri, Mirza Muhammad Ali (2009). Barzegar, Dr. Karim Najafi (ed.). Tazkira-i Zafran Zar (in Persian). Tehran: Society for the Appreciation of Cultural Works and Dignitaries.
  29. ^ a b c Hamdani, Hakim Sameer (2023). Shi'ism in Kashmir: A History of Sunni-Shia Rivalry and Reconciliation. London: I.B. Tauris. ISBN 9780755643950.
  30. ^ a b Kalim, Qasim (2001). Kuliyat-i Khawja Ḥasan Mir (in Kashmiri). Srinagar: Imam Hussein Research & Publishing Centre.
  31. ^ a b c d Sajjid, Maqbool (2000). Kuliyat-i Hakim Azim wa Munshi Muhammad Yusuf (in Kashmiri). Srinagar: Imam Hussein Research & Publishing Centre.
  32. ^ Sajjid, Maqbool (2001). Kuliyat-i Khawja Muhammad Baqir (in Kashmiri). Srinagar: Imam Hussein Research & Publishing Centre.
  33. ^ Kazmi, Anees (2002). Mirza Abu'l Qasim: Maqam ti Kalam, vol. i (in Kashmiri). Srinagar: Imam Hussein Research & Publishing Centre.
  34. ^ Hamdani, Hakim Ghulam Safdar (1961). "Yad-i Ruftagan". Al-Irshad (Shawwal issue). Srinagar.
  35. ^ "The Unsung Elegist of Kashmir: Mirza Abul Qasim". Kashmir Observer. 2024-08-24. Retrieved 2024-08-24.
  36. ^ Azim was also intimately connected with the Sikh and Dogra court, and used his official position to further the interests of Kashmir Shia. He was the only Muslim jagirdar who enjoyed the confidence of the first Dogra ruler, Maharaja Gulab Singh, serving as his Chief Physician, see, Zuthsi, Chitralekha (2003). Languages of Belonging: Islam, Regional Identity, and the Making of Kashmir. Delhi: Permanent Black. p.73. ISBN 81-7824-060-2
  37. ^ Hussain, Masood (2023-03-16). "'We Must Look at Our Past with All Its Dissensions, Pain-learn and Understand the Perils of Sectarianism'". Kashmir Life. Retrieved 2024-08-25.
  38. ^ "The Unsung Elegist of Kashmir: Mirza Abul Qasim". Kashmir Observer. 2024-08-24. Retrieved 2024-08-25.
  39. ^ Qasim was also an acclaimed calligrapher, for details see, Hamdani, Hakim Sameer; Qureshi, Mehran (11 January 2024), "The Art of the Book in Early Modern Kashmir", The Routledge Companion to Global Renaissance Art, New York: Routledge, pp. 300–315, doi:10.4324/9781003294986-25, ISBN 978-1-003-29498-6, retrieved 24 August 2024
  40. ^ Habib also left a diwan of Persian poetry. Outside the genre of marsiyya he is also known for his satirical poetry which brings to the fore various aspects of Kashmiri society in the 19th century, these include, Greias Nama and Sehlab Nama. See, Kazmi, Anees, and Manzar, MY (1981). Kuliyat-i Hakim Habib-al Law (in Kashmiri). Srinagar: J&K Academy of Art, Culture & Languages.
  41. ^ Ansari, Shaukat (2015). Kashiren Marssiyen Hund Intikhab (in Kashmiri). Delhi: Sahitiya Academy. ISBN 978-81-260-4855-7.
  42. ^ a b Kalim, Qasim (2019). "Kashir Kilasaqi Marsiye: Ahang ti Arouz'". Sheeraza. 56 (3–4). Srinagar: J&K Academy of Art, Culture and Languages: 85–104.
  43. ^ nazir, tawfeeq (2015-08-06). "KASHMIRI MARSIYA (ELEGY) MANUSCRIPTS: THE VALUABLE SOURCES FOR THE DISSEMINATION, RECONSTRUCTION AND SAFEGUARDING THE HISTORY AND CULTURE-III". Library Philosophy and Practice (E-journal).
  44. ^ Shauq, Shafi and Munwar, Najji (2018). Kashir Zuban ti Adabuk Twarikh (in Kashmiri). Srinagar: Ali Muhammad & Sons. p. 91. ISBN 978-81-921925-7-4
  45. ^ Hamdani, Hakim Sameer (2023). Shi'ism in Kashmir: A History of Sunni-Shia Rivalry and Reconciliation. London: I.B. Tauris. pp. 59–62. ISBN 9780755643950.
  46. ^ Prominent zakir families in Kashmir who continue to practice the art include: the Fakir family (Budibog), Khwaja family (Gund Khwaja Qasim), Malik family (Tangmarg), Rather family (Hanjjiyar), Sufi family (Magam), and various branches of the Sayyid family. See, Sajjid, Maqbool (2013). Kashir Marthiauk Safar: An anthology of Kashmiri Marsiya (in Kashmiri).Srinagar: J&K Academy of Art, Culture and Languages. p. 155.
  47. ^ Hamdani, Hakim Sameer (2021-02-17). The Syncretic Traditions of Islamic Religious Architecture of Kashmir (Early 14th–18th Century). Routledge India. doi:10.4324/9781003096528. ISBN 978-1-003-09652-8.
  48. ^ "Arba'een - A Walk of Faith". Brighter Kashmir. Retrieved 2024-08-24.
  49. ^ Bharat, E. T. V. (2020-08-29). "Kashmiri Noha writer gears up despite pandemic". ETV Bharat News. Retrieved 2024-08-24.
  50. ^ The travelogue was written by a Muslim woman from Hyderabad who also worked for India's freedom and greater women's emancipation, see, Mirza, Sughra Humayun (1930). Rahbar-i Kashmir (in Urdu).Hyderabad: Azam Press.
  51. ^ The first imambada built in Kashmir at Zadibal, Srinagar is known in the vernacular as Marak. For details, see, Hamdani, Hakim Sameer (2015). "The Maarak and the Traditions of Imamabadas in Kashmir" Marg (September–December). Mumbai.
  52. ^ Hamdani, Hakim Sameer (2023). Shi'ism in Kashmir: A History of Sunni-Shia Rivalry and Reconciliation. London: I.B. Tauris. pp. 11–12. ISBN 9780755643950.
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