In India there has been a rich and deep tradition of Bhakti movements, which advanced a personal and direct connection between the individual and God and emphasized a devotional approach. These movements surfaced across the country at different points of time starting in Southern India in the 7^th century. They upheld anti-caste ideals and foregrounded the language of ordinary people above the classical Sanskrit. Basava, who established the Lingayat order as an egalitarian community in the 12^th century for example, preferred Kannada as the language of communication. These movements generally also included an element of reform against: rituals that had become entrenched; the caste system that sought to divide people in a hierarchical order by their birth; various superstitions; and rigid social mores & practices that obstructed a direct communion with God.

These movements also led to great works of art and poetry and pushed the society towards a more tolerant and syncretic culture. In some phases of these Bhakti movements, the contribution of Muslim scholars and poets has been remarkable. A number of well-known Muslim poets and saints were also Krishna Bhakts. Reading their poetry and feeling the intensity of their emotions/love towards Krishna, widely worshiped by the Hindus, leaves one wondering at the times and the society they lived in, which nurtured such expressions of abandon.

Khanzada Mirza Khan Abdul Rahim Khan-e-Khana, better known as simply Rahim, son of the famous Mughal General Bairam Khan, lived in the 16^th-17^th century during the reign of Akbar and Jahangir. He was one of the Navratnas with a scholarly bent of mind and a legendary command over Sanskrit. In one of his famous descriptions of Krishna, Rahim writes:

“Chhabi aawan Mohanlalki

Kachhini kaachhe kalit murali kar peet pichhauri saalki

Bank tilak kesarkau keenein, duti manon bidhu baalki

Bisrat naahi sakhi, mo mantein, Chitwan nayan bisaalki

Niki hansni adhar sudharniki, chhabi chhini suman gulaalki

Jalson daari diyon purein par, dolni mukta-maalki

Aap mol bin molni dolni, bolni madangopalki

Yah suroop nirkhai soie jaanai, ya ‘Rahim’ ke haalki”

Translation: ‘Mohanlal’s beauty is worth admiring; he wears a yellow dress and carries a flute in his hands; the tilak on his forehead is shining like the moon; he looks around with his big eyes, it is difficult to forget his face; his beautiful smile is more beautiful than a Rose, it appears as if a string of pearls has been spread over a Lotus leaf. It seems that Madan Gopal’s voice has entirely bought us over. Beholding this wondrous sight, Rahim says that someone who has seen it, can only describe it.’ The last line clearly underlines Rahim’s deep affection and communion with Krishna.

Like Rahim, Raskhan (Sayyed Ibrahim) also lived in the 16^th-17^th century. In one of his creations, Raskhan expresses his deep love for Krishna:

“Manush haun toh wahi Raskhani bason Braj Gokul gaonke Gwaran

Jo pasu haun toh kaha basu mero, charon nit Nandki dhenu manjharan

Pahan haun toh wahi girikau, jo dharyo kar chhtra purandar-dharan

Jo khag haun tau basero karon mili, Kalini-kool-kadambki daran”

Translation ‘Poet Raskhan’s heartfelt desire is that if he is born a human, he live in Gokul village of Braj among the herders; if he is born an animal, he live with Nandji’s cows; if he is born a rock, he be part of that mountain (Govardhan) which Krishna had lifted on his finger and if he is born a bird, then he live among the birds on the Kadamba tree (Krishna’s favourite) on the banks of Kalindi (Yamuna) river. He gives his all for the Kareel groves (of Vrindavan).’ Raskhan was of Pushtun origin and became an ardent devotee of Krishna. He died in Vrindavan in 1628.

The list of Muslim poets who were devotees of Krishna and Ram is long and includes locally popular figures like – Yaari Sahab also known as Yaar Muhammad, who lived in the 18^th century and whose disciples included both Hindus and Muslims; Dariya Sahab (Marwarwale) who lived in the 18^th-19^th century, Taj and Nazir. A line from Yaari Sahab’s pada/creation, ‘Din din priti adhik mohi Hariki, kaam-krodh-janjal bhasam bhayo, birah-agin lagi dhadhaki’ is reflective of the deep bond these poets shared with Hindu deities as also underlines the syncretic Indo-Islamic traditions that have distinguished India.

Such traditions are our intangible heritage and need to be cherished as they remind us of our inclusive roots. Interestingly, in some ways, the large number of devotees that flock to Shirdi and the Shirdi Sai temples across the country, mostly Hindus, are a living example of this continuing syncretism among the masses. To be contd…

(Based on translations of creations published in Bhajan Sangrah, Geeta Press, Gorakhpur by my father)