From Goddess Saraswati to Prophet Muhammad: The Kitab-i-Nauras Celebrates Hinduism and Islam Together

By Syed Amjad Hussain, New Age Islam 9 December 2024 The Kitab-i-Nauras by Sultan Ibrahim Adil Shah II Blends Hindu And Islamic Devotion Through Poetry And Music, Celebrating Deities Like Saraswati And Ganesha Alongside Islamic Figures Like Prophet Hazrat Muhammad Sallallahu Ta’Aala Alayhi Wasallam And Hazrat Khwaja Bande Nawaz, Fostering Cultural Harmony. Main Points: 1. Kitab-i-Nauras blends Hindu and Islamic themes, with songs praising deities like Saraswati and Ganesha alongside Prophet Muhammad Sallallahu Ta'aala Alayhi Wassalam and Hazrat Khwaja Bande Nawaz. 2. The work introduces the Indian theory of nine rasas, uniting Indian and Persian aesthetics. 3. Written in Dakhni Urdu, it reflects Sultan Ibrahim’s cultural inclusivity. 4. The manuscript features classical ragas, showcasing the Sultan’s mastery in music. 5. Khalilullah’s exquisite calligraphy highlights the manuscript’s artistic significance. ---- Kitab-i-Nauras ----- Introduction The Kitab-i-Nauras, or the Book of Nine Rasas, is one of the most remarkable cultural and musical contributions of the Bijapur Sultanate, penned by its illustrious ruler Sultan Ibrahim Adil Shah II. This manuscript is far more than a collection of songs; it is a reflection of the Sultan’s passion for music, poetry, and spirituality. Written in Dakhni Urdu, the Kitab-i-Nauras is an illustration of the syncretic ethos that defined the Deccan, particularly by the late sixteenth and early seventeenth centuries. It embodies a diversified cultural and religious heritage. Although attributed to Sultan Ibrahim, the introduction to the work was written by his court poet, Muhammad Zuhuri, in Persian. This preface underscores the manuscript’s ambition: to marry the emotional depth of Indian aesthetics with the elegance of Persian literary traditions. Sultan Ibrahim Adil Shah II: The Artistic Monarch of Bijapur Ibrahim Adil Shah II (1570–12 September 1627) was a far-sighted ruler who presided over the Bijapur Sultanate at its cultural peak. He was the ninth ruler of the Adil Shahi dynasty, an effective administrator and a polymath steeped in the arts. His reign saw the Sultanate’s borders extend as far south as Mysore, while his court became a centre for artistic excellence, nurturing poets, musicians, calligraphers, and architects. Although Ibrahim adhered to Sunni Islam, his worldview was heavily influenced by the syncretic traditions of the Deccan. He was deeply inspired by the spiritual philosophies of Sufism and showed immense respect for Hinduism and Christianity. This religious tolerance and cultural inclusivity are reflected in his magnum opus, the Kitab-i-Nauras, which embodies his aspiration to harmonise diverse traditions and present a unified cultural vision for his kingdom. The Kitab-i-Nauras: An Integration of Art, Music, and Devotion The Kitab-i-Nauras is a collection of fifty-nine songs and seventeen couplets, each carefully written to correspond to a specific raga of Hindustani classical music. Some of the ragas included are Bhupali, Ramkiri, Bhairava, Hajiz, Maiu, Asavari, Desi, Purba, Barari, Todi, Malar, Gauri, Kalyan, Dhanasri, Kanara (or Karnata), Kedara, and Nauroz. These ragas imbue each piece with a distinct musical identity. The selection of ragas was not arbitrary; it was a deliberate choice to elevate the emotional intensity of the verses, showcasing Sultan Ibrahim’s proficiency as a dhrupad singer and Tambur player. The manuscript is a tribute to music, spirituality, and nature. It pays homage to Saraswati, the Hindu goddess of wisdom and the arts, as well as to Prophet Muhammad Sallallahu Ta'Aala Alayhi Wasallam and Hazrat Khwaja Hussaini Band e Nawaz Gesu Daraz Chishti, a highly revered Sufi saint of the Deccan. The intermingling of Hindu deities with Islamic figures within the same manuscript reflects Ibrahim’s efforts to create a cultural bridge between the two communities. Themes in the Kitab-i-Nauras The Kitab-i-Nauras contains songs that can broadly be categorised into three themes: religious devotion, personal reflections, and artistic exploration. Devotional Songs A significant number of the songs are hymns of praise dedicated to Hindu deities such as Saraswati and Ganesha, as well as to Islamic figures like Prophet Muhammad Sallallahu Ta’Aala Alayhi Wasallam. The opening verses are devoted to Saraswati, honouring her as the originator of all arts and sciences. Other songs extol Ganesha as the remover of obstacles and the patron of creativity. Simultaneously, Ibrahim pays homage to Islamic mysticism by composing pieces in honour of Prophet Hazrat Muhammad Sallallahu Ta'Aala Alayhi Wasallam and Hazrat Khwaja Bande Nawaz. This spiritual inclusivity reflects the Sultan’s personal beliefs and his ideal of a harmonious society where diverse traditions coexist. Personal Tributes Many of the songs offer an intimate glimpse into Ibrahim’s personal life. He sings of his beloved elephant, Atish Khan, and his cherished Tambur, affectionately named Moti Khan. These verses reveal the Sultan’s deep emotional connections to his companions, both human and otherwise. He also pays tribute to his mother, Bari Sahib, and his wife, Chand Sultan, portraying them with great fondness and reverence. These personal tributes add a tender, human touch to the otherwise lofty themes of the manuscript. Artistic Exploration Through the Kitab-i-Nauras, Ibrahim introduces readers to the Indian theory of nine Rasas (emotional states). These are: • Shringara (love and romance) • Veera (heroism) • Veebhatsa (disgust) • Raudra (anger) • Bhayanak (fear) • Hasya (humour) • Karuna (compassion) • Adbhuta (wonder) • Shanta (peace) By blending these Rasas with Persian aesthetics, the Sultan sought to create a universal emotional vocabulary that transcended cultural borders. The Manuscripts: A Testament to Calligraphic Excellence The Kitab-i-Nauras exists in several manuscript forms, but the most exquisite is the version created by the royal calligrapher Khalilullah. This master of the Nasta’liq script imbued the manuscript with unmatched beauty. Each page features nine lines of text, encircled by intricate motifs of plants, animals, and clouds, all executed in gold and vivid inks. The artistic brilliance of this manuscript earned Khalilullah the title Badshah-i-Qalam (King of the Pen) and the rare honour of sitting on the royal throne as a mark of the Sultan’s admiration. The manuscript, now preserved in the National Museum, remains a testament to the artistic achievements of Ibrahim’s court. Rediscovery and Preservation of a Cultural Legacy In recent years, six missing folios from Khalilullah’s manuscript were rediscovered in the National Museum, while another folio surfaced in a private collection. These discoveries have reignited scholarly interest in the Kitab-i-Nauras, shedding light on its historical and artistic significance. The manuscript is an essential resource for understanding the cultural history of the Deccan. Its invocation of classical ragas, poetic richness, and visual artistry continues to inspire scholars and artists, highlighting its unique synthesis of Indian and Persian traditions and its role in promoting cultural harmony during a time of religious and political fragmentation. The Legacy of Sultan Ibrahim Adil Shah II The Kitab-i-Nauras epitomises Sultan Ibrahim Adil Shah II’s vision of a unified cultural ethos. Through its verses and melodies, the manuscript transcends religious and linguistic boundaries, celebrating the shared human experiences of love, devotion, and creativity. Today, the Kitab-i-Nauras stands as a testament to the Deccan’s rich cultural legacy and the timeless power of art to inspire understanding and unity among diverse communities. Its influence continues to inspire scholars, musicians, and artists, offering a glimpse into the golden age of Bijapur, where creativity flourished under the enlightened rule of Sultan Ibrahim Adil Shah II. Blending music, poetry, and spirituality, the Kitab-i-Nauras remains a monumental work. Its syncretic spirit reflects the ethos of the Bijapur Sultanate, standing as an enduring testimony to a ruler’s love for the arts and his effort to shape a harmonious cultural heritage that continues to resonate today. ---- Syed Amjad Hussain is an author and Independent research scholar on Sufism and Islam. He is currently working on his book 'Bihar Aur Sufivad', based on the history of Sufism in Bihar. URL: https://www.newageislam.com/interfaith-dialogue/goddess-saraswati-prophet-muhammad-kitab-nauras-hinduism/d/133971 New Age Islam, Islam Online, Islamic Website, African Muslim News, Arab World News, South Asia News, Indian Muslim News, World Muslim News, Women in Islam, Islamic Feminism, Arab Women, Women In Arab, Islamophobia in America, Muslim Women in West, Islam Women and Feminism