Though her life was shrouded in a veil of secrecy, Lutfunnisa Imtiaz had remarkable ability to capture nature in all its manifestations and express any sentiment in a telling way

The first woman poetess of Deccan remains unsung and uncrowned. Not many are familiar with her name either. In fact, many think it is Mah Laqa Bai Chanda, the famous poet courtesan, who is the first woman poet. The debate persists. But, the fact remains that it is Lutfunnisa Imtiaz who is the first Sahibaan-e-Diwan (woman poetess).

Well-known scholar, Naseeruddin Hashmi, has done extensive research to show that Lutfunnisa clinches this honour by a whisker. Her book of poems was published in 1796 while Mah Laqa’s works were published a year later in 1797. The Deccan region, where Urdu took deep roots, has the distinction of being home to the first male and female poet of Urdu — Muhammed Quli Qutb Shah and Lutfunnisa Imtiaz respectively.

Sadly, not much is known about Lutfunnisa. Like many famous personalities, her life is shrouded in a veil of secrecy. The little that is known is also drawn from her poems. The takkhalus Imtiaz confounded many in believing the poet to be a male. But, the word kaneez (maid) figuring in one of the masnavis gives away her gender. Lutfunnisa was a contemporary of poets like Tamanna, Tajjali, Shouq, Ihsan and Shadan who ruled the roost those days.

Interestingly, her husband, Asad Ali Tamanna, was also a poet. Many believe that Lutfunnisa took initial guidance from him. Born in 1761, she lost her mother when she was just a year old. Unfortunately, she was also deprived of paternal affection. An affluent family, which had no children, adopted her. Thus, Lutfunnisa was brought up with love and care, and given the best of education.

As per the customs those days, Lutfunnisa was married off at an early age. But, her marital life lasted for just 36 years. A devotee of Shah Ataullah, she went on Haj pilgrimage and turned a devout Muslim. No wonder, her later day poems carry a spiritual touch. Sample these verses:

Tu ishq-e-haqeeqi se madhosh hai

Sharab-e-mohabbat se be-hosh hai

Ata wo kiye marifat ka kalam

Ataullah sach mere murshid ka naam

Unlike Mah Laqa Bai Chanda who wrote only ghazals, Lutfunnisa tried her hand in all genres of Urdu poetry — ghazal, qasida, rubaiyat, khita, masnavi, and maqmas. Another distinguishing feature is that while Mah Laqa penned just 165 ghazals comprising five verses in each ghazal — totalling 625 verses in all, Lutfunnisa’s verses run into thousands. Her shayeri captures different aspects of life. But, her poetic abilities come to the fore in ghazals.

Aankhon main tere husn ki ab jalwa giri hai

Deedar ke wade ki bhi kya wada giri hai

Hai yehi insaaf saqi ab tumhare daur main

Hum sisakte hi pade hain aur sub pi kar uthen

The Salar Jung Library has a manuscript of Lutfunnisa’s works which gives an inkling into her poetic thought and contributions. Her diwan includes 184 ghazals, 15 rubaiyat, 5 khitat besides a few maqmas, naat and hamd.  She also wrote a long masnavi titled Gulshan-e-Shura containing 8,000 verses. It mirrors the life and times of her period and highlights the social issues. The masnavi also gives ample proof of Lutfunnisa’s perceptive mind and mastery of craft. The poem revolves around the fictitious story of King Feroz Bakht and how he withdraws into himself one night and the efforts of his four ministers to revive him. Each of them tells interesting narratives interspersed with magic, fairies, devils and what not. Lutfunnisa follows the ancient pattern of telling such narratives, but she makes it appealing with her unique style and eye for graphic details.

Lutfunnisa turned poetic at an early age. In one of her masnavis, she says how she had got a ‘shayerana mizaj’ right from childhood.

Ladkpan se ye shouq dil ne kiya

Ye kuch sher-o-ashaar ka mashgala

Liyakhat to kya sher khene ki thi

Havas yun hi chup khene sunne ki thi

Lutfunnisa composed verses both in short and long meter. She possessed the ability to capture nature in all its manifestations. She expresses sentiments of love, pathos, pleasure and pain in a telling way.

Ansoo ki jagah lahu barse hai ye aankhon se

Darta hoon ke in se hi toofan nikalte hain

Seene se jab aahon ke mehman nikalte hain

Ankhon se meri ansoo har aan nikalte hain

Like Quli Qutb Shah, one can see the social milieu and local flavour portrayed in Lutfunnisa’s poems. She wrote verses on the Basant festival and a nazm on the Holi. Steeped in colours of Holi, the poem captures the spirit of the carnival and the ecstasy of revellers in a fascinating way.

Dikhlai kis maze se ab ke bahar holi

Khele hain sub jama hokar gulzar holi

Sone ki thalion main rakh kar abeer-o-abraq

Upar se qum-qumaon ke hai mar mar holi

Lutfunnisa may not rank among the top Urdu poets, but, she deserves appreciation for breaking the taboo. She wrote poetry at a time when wielding of the pen by women was considered a sin. Perhaps, that’s the reason why she adopted the male pen name.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated May 26,2019

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According to the members of the Public Gardens Walkers Association, this way atleast the Public Gardens will get the much needed face lift.

A sad picture of Public Gardens

While many like the idea of bringing the celebrations closer to the heart of the city and nerve centre of State administration, conservationists see red in it. They feel the move will spell doom for the city’s oldest recreational spot. Public Gardens has lost much of its lung space over the years with greenery giving way to concrete jungle. Now holding official celebrations, they feel, will open up floodgates for similar programmes in future.


“Government is setting a bad precedent”, says Sajjad Shahid of Centre of Deccan Studies. However, Anuradha Reddy, president, INTACH Hyderabad Chapter, is more guarded in her views. She doesn’t rubbish the idea but wants the celebrations to be sensitive to the green heritage. “The festivities should not result in digging up of the beautiful lawns or littering with waste as was the case in the Golconda Fort when the Republic Day programme was held,” she remarks.

Many walkers at the Public Gardens also echo similar views. They want the authorities to ensure that the flora and fauna is not disturbed during the celebrations. “It’s a wonderful idea to hold the Telangana Formation day fete in the Public Gardens as it has the right ambience with the stately Jubilee Hall in the background. When the then chief minister, N.T. Rama Rao, hosted a dinner to delegates of the International Film Festival on the Public Gardens lawns in 1986 people appreciated the move,” points out Ved Kumar, chairman, Forum for a Better Hyderabad. Nizam’s grandson, Nawab Najaf Ali Khan, also welcomes the idea.

Members of the Public Gardens Walkers Association (PGWA) have a selfish motive in welcoming KCR’s decision. They feel, this way atleast the Public Gardens will get the much needed face lift. “We have been telling the government about the sorry state of affairs but nobody listens. Today morning we were surprised to find workers taking up operation clean up,” says Ghulam Yezdani, president, PGWA.

As the mercury rises, the number of footfalls in the Public Gardens have gone up. But visitors don’t find the lung space they are looking for. Chinese Garden and Rose Garden remain just a distant memory. While one has given way to the open air theatre, the other is hemmed in by the road widening. “Time was when migratory birds used to come here from Siberia. But with one of the two artificial lakes disappearing they have stopped coming. The existing lake is also highly polluted,” says Yezdani, who is also a senior advocate.

At one point the PGWA had to petition the Lok Ayukta to stop the government from undertaking further construction in the Public Gardens. Telugu University, Lalita Kala Thoranam, Indira Priyadarshini auditorium, Bal Bhavan and the Protocol building have eaten into the lung space making a mockery of the objective for which the Public Gardens was created.

Constructed in 1846, the Bagh-e-Aam was originally spread over a huge area. Not many know that it  was home to the zoo before it was shifted to the Nehru Zoological Park. The first ‘Numaish’ was also organised here to mark the birth anniversary of the seventh Nizam, Mir Osman Ali Khan. The elegant Jubilee Hall derives its name from the silver jubilee celebrations held in 1937 to commemorate the Nizam’s coronation. The beautiful pavilion inside reminds one of the place where the Nizam used to receive ‘nazr’ (cash tributes) on his birthday.


While celebrations are nothing new in the Public Gardens, the government’s overzealousness has led to the recreational area shrinking over the years. If you are looking for clean air or tranquillity banish the idea. Today Public Gardens cries out for attention. Once the celebrations are over, hopefully its upkeep is not neglected. 

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated May 20,2019

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With her charming demeanour and multifaceted personality, Chanda Bibi aka Mah Laqa Bai Chanda impressed the classes and the masses alike

Beauty and brains, fame and fortune – she had it all. Poet, singer, dancer, musician, philanthropist – all rolled into one. Mah Laqa Bai Chanda was a hidden volcano of talent. But, she is remembered more for being an accomplished poet. Opinion, however, differs whether she was the first or the second female with an anthology of poems. Recent research shows that she was the second sahibaan-e-divan (woman poetess) of Hyderabad Deccan to have her works published – the first one being Lutfunnisa Imtiaz.

Many believe this 18th century poet was a courtesan during the Nizam era. Here again, some scholars like Naseeruddin Hashmi and Rahat Azmi beg to differ. They feel she is being wrongly labelled a tawaif when she was actually a pious lady and a consummate artiste whose mother fell on bad times and perforce took to dancing and singing for survival. From both paternal and maternal sides, Mah Laqa had a very respectable and noble lineage. Her father, Bahadur Khan, served as a mansabdar (military official) in the Mughal Emperor Muhammad Shah’s court and was given the title ‘Basalat Khan’ while her mother, Meda Bibi (who later adopted the name Raj Kunwar), was a beautiful courtesan of Rajasthan.

There is a lot of confusion about the name of this poet. Her real name was Chanda Bibi while Mah Laqa was the title conferred on her and Chanda was her taqqalus (pen name). And the suffix, Bai, denotes the turbulent times her mother, Raj Kunwar, and the latter’s sisters, Noor Bibi and Pulan Bibi went through. In 1160 when they migrated to Aurangabad from Rajasthan and decided to live here, they were faced with a livelihood issue. Left with no option, they reluctantly took to music and dancing. However, Raj Kunwar and her elder daughter, Mehtab Kanwar, were kept away from this profession by her sisters.

There are, however, no two opinions about Mah Laqa being very influential with the Nizams and was counted among the omarah (highest nobility). When societal mores looked down on women in public life, she took the centre stage and left an indelible mark as a poet and dancer.

Born Chanda Bibi, she was conferred the title of Mah Laqa by Nizam Ali Khan, Asaf Jah II. Meaning beautiful as moon, the title indicates the ravishing looks of Chanda Bibi. Her winsome beauty and coltish charm lit up the fabulous courts of the second and third Nizams. The then Prime Minister, Nawab Rukn-ud-Daula, took personal interest in her upbringing. Best of teachers were appointed to educate her and this is clearly reflected in her later day shayeri. She also received training in martial arts and excelled in horse riding, sword fighting and archery. With her stunning looks, melodious voice and ready repartee, she made a name for herself both in the masses and the classes. Not just the Nizams, a host of powerful nobles were smitten by Mah Laqa’s charm and pined for her love. Today, she is an unforgettable part of Hyderabad history, thanks to her distinct accomplishments.

Well-versed in Persian, Arabic, Urdu and Braj Bhasha, Mah Laqa had a well-stocked library and spent a lot of time reading books. Her multifaceted personality impressed Nizam Ali Khan so much that he associated her with his court. She even accompanied him during wars dressed in male attire. Pleased with her inherent talent, Nizam granted her huge jagirs in different parts of Hyderabad – Chandanagar, Hyderguda and Adikmet. Though she had no dearth of admirers, Mah Laqa remained a spinster throughout her life. In one of her couplets, she says: 

Hum se kare hai yar bayan apni chah ka

Hazir hain hum bhi gar ho irada nibah ka

Mah Laqa was very conscious of her high status and kept distance from lesser mortals. This much is clear from her verse:

Chanda ke dekhne ki jo khwahish kare koiee

Rakhta ho wasf apne main wo az-o-jah ka

At the same time, she was ever ready to render succour to the poor and needy. She befriended poets and hosted them at her home. The fact that her jagir at Adikmet now has given way to the Osmania University and her house in Nampally is home to the Girls Junior College shows her love for education. Her gracious and friendly nature comes through this couplet: 

Bajuz haq ke nahin hai ghair se hargiz tawaqa kutch

Magar dunya ke logon main mujhe hai payar se matlab

Mah Laqa was a contemporary of poets like Mir Taqi Mir, Mirza Rafi Sauda and Khwaja Mir Dard in the North and Sher Mohammed Khan Imaan, Mohammed Siddiq Khais and Chandulal Shadan in Deccan. Deeply influenced by Sufi poet Siraj Aurangabadi, she penned ghazals and nazms on different topics. Her poetic compositions were posthumously published under the title Diwan-e-Chanda. They provide insight into the linguistic transformation taking place in southern India.

Though her anthology comprises just 629 couplets, she manages to express and interpret a whole range of human experiences. The intensity of thought and profound truths of life conveyed in the verses make them stand out. A staunch feminist, she adopts terminology and proverbs specific to women to give vent to her feelings. Sample this verse:

Ala bala na bata milne main har baat ke beech

Wade ka kab hai tahmmul dil-e-betab ke beech

Mah Laqa has penned a good number of romantic verses. Here again, her style and approach are unique. See how beautifully and sensuously she captures the parting moments between lovers:

Ruksate bosa diya paan chaba kar zalim

Apni kismat main magar tha ye hijab yakhut

Kab tak rahun hijab main mehroom wasl se

Ji main hai kijye payar se bose-o-kinar khoob

A devotee of Hazrath Ali, she wrote nearly 120 verses in his praise. As in life so in death she chose the hillock at the Moula Ali shrine to be the final abode of her mother and herself.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated May 12,2019

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Contrary to the belief that entry is barred for women, most mosques in the city have kept their doors open for women.

The historic Macca Masjid sees women offering prayers round the year while several mosques in the twin cities have separate areas earmarked for women to pray

While controversy rages over the entry of Muslim women into mosques, Hyderabad sees women flocking mosques during Ramzan. Women turn out in large numbers especially for the Taraweeh, the night prayers offered after the Ishan namaz. As the month of fasting progresses, the number of women worshippers keeps increasing.

Contrary to the belief that entry is barred for women, most mosques in the city have kept their doors open for women. The historic Macca Masjid sees women offering prayers round the year while several mosques in the twin cities have separate areas earmarked for women to pray.



Very few use them on a regular basis. It’s only during Ramzan that mosques register a rise in the number of women coming to pray.

“There is no bar on women praying in mosques,” said Moulana Ahsan Alhamoomi, who leads prayers at the Shahi Masjid at Public Garden. This masjid attracts about 100 women during the Friday prayers and the number jumps five-fold during the Taraweeh prayers during Ramzan.

Other notable mosques where women congregate in large numbers are Azizia Masjid in Humayunnagar, Mahmood Habib Masjid and Islamic Centre, Banjara Hills, the Jubilee Hills Mosque and Islamic Centre, Masjide Safia Inayat, Red Hills and the Masjide Aliya at Gunfoundry. Most of these mosques see a good number of women worshippers during the Friday prayers. These mosques have separate wash rooms, ablution areas, entry and exit points.

This apart, burqa-clad women come in droves to mosques belonging to the Ahle Hadees group which favour ‘ijtihad’ (independent reasoning) based on the scriptures. There are at least 150 mosques in the city belonging to this group and all of them have separate arrangements for women worshippers.

The turnout of women is especially good at Masjid Mohammadia, Langer Houz, Masjide Taqwa, Tolichowki, and Masjide Tauheed, Shaikpet. “About 300  to 500 women gather for Taraweeh prayers and Jumma namaz,” said Jamiat Ahle Hadees, Hyderabad, president Shafiq Alam Khan. Of late, a new trend has caught up with many Muslim families. They prefer to go together for namaz as they do for shopping and entertainment. Post iftaar and dinner, many families drive down to the mosques of their choice where men and women offer namaz in their designated areas. “It is such a pleasure to pray with a huge congregation”, said Sameena, a young student echoing the views of other women.

Women seminaries like Jamiatul Mominat  send out a good number of their students to lead Taraweeh prayers.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated May 11,2019

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Many feel that the zakat model should focus more on socio-economic issues.

 Volunteers of Helping Hand Foundation with young children.

The month of fasting is time for piety and charity. It’s time to reflect and show compassion to the less fortunate. While there is no dearth of poor, nearly 3,000 households in the city slums are found to be in dire straits — both financially and health wise. Instead of just donating one can make a difference this Ramzan — with little care and planning.

A timely survey carried out by the Helping Hand Foundation (HHF), a non government public health organisation, has come up with startling details of misery and despair in 22 urban slums dotting the Old City. It’s not just poverty but a combination of factors like unhygienic conditions, poor sanitation, clustered living, lack of access to clean food and water and poor nutritional intake that is taking a toll of people living in N.S. Kunta, Teegal Kunta, Achi Reddy Nagar, Farooq Nagar, Tadban, Bibi Ka Chasma, Vatapally, Takery, Basharathnagar, Guntal Shah, Salheen Colony and Habeeb Colony.

 The survey details pull at the heart-strings of the community to remember the deserving while doling out zakat. “By their donations the affluent Muslims can help in framing appropriate interventions for preventive health care,” says Mujtaba Hasan Askari of HHF.

The primary health centre functioning at Masjid-e-Ishaq in Achi Reddy Nagar became the focal point for the survey conducted by trained counsellors. The findings were tabulated and validated by community medicine physicians that work for the HHF. The sample survey covered 3,000 households wherein 1,100 men, 1,400 women and 600 children were screened till April end. According to Askari, 18 per cent of the men (in age group of 30 and above) suffer from hypertension, 11 per cent with diabetes, nine per cent with cardio vascular disease, seven per cent with kidney ailments, 20 per cent with respiratory problems, 16 per cent with joint pains and 18 per cent with skin diseases.

Among women 11 per cent were found suffering from hypertension, eight per cent from diabetes, three per cent with heart disease, six per cent from thyroid problems, six per cent with respiratory disease, 34 per cent with joint pains and 12 per cent with skin ailments. Another notable finding is that almost 11 per cent of young women have reproductive health issues due to frequent pregnancies and as a result they are found to be highly anaemic and malnourished.

Screening of children showed 23 per cent to be wasted (low weight for age) and 20 per cent stunted (low height for age). This apart 15 per cent children were detected with skin infections while 24 per cent  showed poor oral and dental health like tooth pain, tartar and tooth decay. The survey further reveals that 30 per cent of children below five years have not been regular in taking vaccination. Many feel the zakat (poor due) model has to stretch beyond funding of madrasa students and distribution of clothes among poor to focus on critical socio-economic issues facing the community. Those intending to reach out to the poor can log on to www.helpinghandf.org.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated May 8,2019

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At a time when traditionalists were losing out to progressive writers, Jaleel Manikpuri held his own with a unique style of penning ghazals and stole hearts in many mushairas

If ghazal is the pride of Urdu poetry, he is the pride of ghazal. No false notes or shallow sentiments – his ghazals simply pull at the heart-strings. Jaleel Manikpuri is, perhaps, the last of the traditional classical poets who knew how to absorb and interpret the whole range of human experiences in the short space of a ghazal. The unique thing about him is that he is able to capture the pleasures and pangs of earthly love in each poem and verse like no other Urdu poet.

His poetic craft can be best described in his own words. Jaleel says:

Pucha inhaon ne jante ho tum Jaleel ko
Bole ke haan wo shayere nazuk khyal hai

When Jaleel emerged on the poetic horizon of Lucknow, traditionalists were fighting a losing battle to progressive writers. In these turbulent times, Jaleel held his own and wrote poetry in the time-honoured style. If Manikpur, a small hamlet in Uttar Pradesh, has shot to fame, it is all because of Jaleel Hasan who was born here in 1865. After obtaining initial education in Persian and Arabic, he went on to become a ‘hafiz’ by memorising the entire Quran at an early age.

Jaleel had a natural affinity to poetry and he knew by rote hundreds of couplets. If somebody recited a poem incorrectly, he felt upset.  Later, he developed an aptitude for writing poetry and took the famous poet, Ameer Minai, as his mentor. This proved very beneficial and, soon, Jaleel emerged as a poet in his own right and his verses took a different tone and tenor. From Manikpur, he moved to Lucknow where his poetry received a lot of appreciation. Later, he went to Rampur at the instance of Minai and assisted the latter in preparation of the multi volume Urdu lexicon, Ameer-ul-Lughat.

The nawab of Rampur, Syed Hamid Ali Khan Bahadur, was a poet himself and patronised men of letters. He hosted meritorious persons in different disciplines, particularly poets. As a result, poets of Delhi and Lucknow assembled here leading to exchange of ideas. Jaleel gained a lot through this interface.

The inherent talent of Jaleel drew him close to Minai. The latter treated him not like a pupil but as his own son and taught him all the finer points of shayeri. For 17 years, Jaleel stayed with Minai and, during this period, he learnt not just about poetry but also the diversities and core values of life. In his twilight years, Minai entrusted the job of correcting writings of other poets to Jaleel as he had developed immense confidence in his talent. Not just this, Jaleel also answered letters on behalf of his ustad to the widening circle of poets who sought his advice.

The sixth Nizam, Mir Mehboob Ali Khan, who was a poet himself, was an admirer of Minai. When he visited Benaras, Minai met him along with Jaleel. The Nizam invited Minai to Hyderabad, but, the latter politely declined. However, after returning to Rampur, Minai changed his idea. The reason was he thought taking up a job with the Nizam would help him in publication of his dictionary and also get employment for his sons. Therefore, he decided to head towards Deccan. Along with his two sons, Jaleel also accompanied Minai to Hyderabad in 1900. But, as ill-luck would have it, Minai fell ill shortly and, after a month, passed away. Though there were many claimants, Jaleel was chosen as the successor of Minai. This was primarily because his style of writing poetry resembled a lot of his ustad‘s. Jaleel himself says:

Sher-goi pe teri sab ko guman hai ke Jaleel
Bazm main ruhe Amir-us-shora aayee hai

The sudden death of Minai left Jaleel in a lurch. He wanted to return home but stayed put when Maharaja Kishen Prashad helped him. Dagh Dehlvi, who was the court poet, died in 1905, and Nizam appointed Jaleel in his place. By this time, the latter had made a name for himself by taking part in Hyderabad mushairas. When the sixth Nizam died, his son and successor, Mir Osman Ali Khan, also retained Jaleel as his ustad. He also conferred on him the titles of Fasahat Jung and Imamul Fun. On January 6, 1946, Jaleel passed away at the age of 81 and was laid to rest with full State honours at Khitta Saleheen in Hyderabad.

In the very first mushaira held in Hyderabad after Minai’s death, Jaleel left his mark.

Ab kaun phir ke jaye teri jalwah gah se
Aye shokh chashm phoonk de barq-e-nigah se
Paya buland kyun na hamara ho aye Jaleel
Paya hai faiz Ameer-e-suqan dastgah se

Opening lines of this ghazal created a furore. Cries of wah-wah and mukarar irshad (encore) rent the air. With repetition, it took nearly an hour for Jaleel to complete his ghazal. In the second mushaira, which was attended by the Nizam himself, Jaleel once again stole the concert. Noted poet Dagh Dehlvi was also present at the mushaira. But, it was Jaleel’s ghazal which received a lot of applause and even today its matla (opening verse) has become the poet’s identity.

Nigah barq nahin, chehra aftab nahin
Wo aadmi hai magar dekhne ki taab nahin
Other lines of this famous ghazal go like this:
Piye baghair chadhi rahti hai hasinon ko
Wahan shabab hai kya kam agar sharab nahin
Jaleel khatm na ho daure jame Minai
Ke is sharab se badhkar koi sharab nahin

Being a traditionalist, Jaleel did not address the higher ideals of life and death. On the contrary, he showed those caught in this dilemma a way out through love, passion and wine. This prolific writer has left three anthologies of ghazals: Taj-e-Suqan, Jaan-e-Suqan and Ruh-e-Suqan. Besides, he also wrote Meraj-e-Suqan, which contains his collection of naths. This apart, Jaleel also penned the biography of his mentor, Ameer Minai.

Such is the treasure trove of poems he left that one unwittingly recalls them when it comes to love:

Dekha jo husne yaar tabiyat machal gaee
Aankhon ka tha khusoor, churi dil pe chal gaee
Pine se kar chuka tha main tauba magar Jaleel
Badal ka rang dekh ke niyyat badal gaee

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Telangana Today

Dated May 5,2019

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The historic structure raised to ward off recurring plague is itself plagued by various ailments now.

The restoration work at Charminar has been going on from some time. However, the project to restore the monument’s grandeur seems to be loosing its pace.

Has age caught up with Hyderabad’s ageless monument? The city’s pride is falling sick often these days. If not air cracks, it is peeling of plaster or crashing of lime stucco work that bedevils Charminar at regular intervals. The historic structure raised to ward off recurring plague is itself plagued by various ailments now.

If heritage experts are to be believed Charminar has suffered damage more at the hands of the very agency tasked with its upkeep than the vagaries of nature. No wonder scaffolding has become a permanent feature at Charminar.

In recent past, crass negligence in erection of scaffolding resulted in chipping  away of tiny ornamental motifs. During August 2001 two niches on the south western minar of the monument suffered badly and the intricate jali work got smashed when the scaffolding was forced through them. The monumental neglect continues.

The project to restore the grandeur of Charminar is getting as hoary as the monument itself. More than two decades after the Charminar Pedestrianisation Project (CPP) was launched with much fanfare, the landmark  still awaits redemption. Though it has got respite in recent times from the relentless movement of heavy vehicles, an unhindered view of Charminar remains a pipedream.

The part of the monument from where the lime stucco fell off.

Interesting tales

The legendary edifice built in 1590-1591 has many stories associated with it. The 5th Qutb Shahi king, Mohammed Quli Qutb Shah, is believed to have gifted this lime-mortar structure to his sweetheart, Bhagmati. According to the author of Tuzk-i-Qutbshahi, Charminar was a prototype of Tazia or Taboot representing the tomb of Hazrath Imam Hussain, grandson of the Prophet of Islam. The plague was averted by fixing a huge Tazia in the centre of the city and later on the same spot Charminar was built, it is said.

There are also interesting urban myths about the monument. The four Minars of the edifice are believed to represent the four Caliphs of Islam. Grapevine has it that an underground tunnel connects Charminar to the Golconda Fort, probably an escape route for the Kings in times of emergency. A few years ago the Archaeological Survey of India took up excavation in a bid to unearth the tunnel but the trail ended a short distance away.

Some believe there is a mathematical wizardry behind the building of Charminar. The Char (four) has special significance in almost every aspect of this monument, says city historian M.A. Qaiyum. The number four in Charminar goes beyond its four slender minarets. His painstaking research shows that the monument has at least 40 notable facets the measurement of which is divisible by the number four. “And this not by coincidence but by design,” says Mr. Qaiyum.

The first structure to be built after the city was founded, Charminar was designed to occupy the centre of the city which is laid out in gridiron pattern. Subsequently other impressive edifices came up in its vicinity such as the Makkah Masjid, the Nizamia Tibbi hospital and the Chowmohalla palace.

There is unanimity among historians about Charminar being an acknowledged masterpiece of Islamic structure unique in its architectural form and typology. What strikes one about this four turreted  edifice is its pure symmetry. The lofty arches measure 11 m wide and 11.5 m high on all four sides. The graceful minarets rise 56 m from ground level and 34 m from the mosque on the second floor. They have arched balconies at three levels while bulbous dome with petal shaped flutings adorn the topmost balcony.

An arcaded balcony marks the first floor where a Madrasa functioned once. The mosque above it has space for as many as 45 musallas (prayer mats).

The 149 steps on the spiral staircase, which takes one to the top floors, shows signs of wear and tear. How much did this beautiful monument cost? Hold your breath — just Rs 9 lakh or 2 lakh huns (gold coins) those days.

J.S.Ifthekhar,

Hyderabad based journalist.

Article published in Deccan Chronicle

Dated May 5,2019

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