kamber, shahdadkot & miro khan stories of past & present as told by zulfiqar ali kalhoro...
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Kamber, Shahdadkot & Miro Khan: Stories of Past & Present as told by Zulfiqar Ali Kalhoro 2012TRANSCRIPT
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HISTORY
Kamber, Shahdadkot & Miro Khan
Stories of Past & Present as told by Zulfiqar Ali Kalhoro…
The writer is a Research Anthropologist at Pakistan Institute of Development Economics (PIDE), Islamabad.
He may be contacted at:[email protected]
Compiled By
Sartaj SheikhSartaj SheikhSartaj SheikhSartaj Sheikh &&&&
Sheikh Javed Ali SindhiSheikh Javed Ali SindhiSheikh Javed Ali SindhiSheikh Javed Ali Sindhi
Saroh Social Development Organization ShahdadkotSaroh Social Development Organization ShahdadkotSaroh Social Development Organization ShahdadkotSaroh Social Development Organization Shahdadkot
Saroh Office, Near Scientific Public School, Railway Station Road, Shahdadkot,
District Kamber-Shahdadkot, Sindh, Pakistan- 77300 Ph: +92-74-4012896, Cell: +92-3337505896
E-mail:[email protected]
2012
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Zulfiqar Ali KalhoroZulfiqar Ali KalhoroZulfiqar Ali KalhoroZulfiqar Ali Kalhoro
Sartaj Sheikh Sartaj Sheikh Sartaj Sheikh Sartaj Sheikh Sheikh Javed Ali Sindhi Sheikh Javed Ali Sindhi Sheikh Javed Ali Sindhi Sheikh Javed Ali Sindhi
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A Cultural Oasis…
By Zulfiqar Ali Kalhoro
Daily Dawn Karachi, Sunday June 29, 2003.
Larkana, like the other districts of Sindh, is host to a number of historical tombs dotting each of its talukas.
Among these the Chandia tombs belonging to Mirzani Chandia and Husnani Chandia, both descendants of
Siraman Khan a cultural hero of the tribe, lie some 60 kilometres west of Larkana near Gebi Dero. Gebi Dero
was the famous headquarters of the Chandia jagir bestowed upon them by the ruler of the Samma dynasty in the
thirteenth century.
The Mirzani Chandia tombs, five kilometres northwest of Gebi Dero are unique monuments of the past. Locally,
the necropolis of Mirzani Chandia is known as the “Rankun” dating back to the seventeenth century when the
first tomb of Sardar Malik Gebi Khan (after whom the Gebi Dero is named) was built by his elder son, Wahid
Bakhsh Khan. The last tomb, erected probably in 1994, belongs to Nawab Sir Gebi Khan. The tomb was ordered
by his grandson Sardar Ahmed Sultan Khan who died prior to its completion. His great grandson Nawab Zada
Ali Nawaz Khan completed the remaining work. The graveyard is spread over an area of five hundred acres and
contains twenty-three tombs of the chiefs of Mirzani Chandia tribe. All the tombs are invariably of same type,
differing only in size. Almost, each structure is erected on a raised platform and is square in plan except for a few
exceptions which are on rectangular plan and contain female graves. Inside, each structure constitutes of a square
room covered by a conical ceiling.
Apart from the Mirzani tombs is the huge cemetery of the Husnani tribe, locally known as the “Dau- ja- Cuba”.
The necropolis is situated some eight kilometres southeast of Gebi Dero. All the tombs belong to Husnanis and
are eight in number. This necropolis is attributed to Daud who was chief of the Husnani tribe. He was killed in
1614 during a battle against the troops of “Llaji” tribe at Mahu near Gebi Dero. Later, the tombs were erected for
Daud and his relatives as well as for the soldiers by their descendants. They were completed in a short span of
six years from 1819 to 1825. After a gory battle which involved much bloodletting, the Husnani tribe decided to
move to Shahdadkot and the Mirokhan talukas of Larkana where the two clusters of tombs of both the talukas
still stand as reminders of their past glory. According to local accounts the battle fought between the tribes of
Haji and Husan claimed sixteen hundred lives.
The Husnani tombs are plastered with lime and are built
entirely of burnt bricks with walls raised in three stratas. The
Husnani tombs have similar characteristics and features to the
tombs of the Mirzanis.
The paintings on the tombs of the Husnanis and Mirzanis are
significant for their perfect technique and subjects in an
endless variety of geometric, floral and vegetal designs and
human and animal figures spread over the interior surfaces.
The surface has been divided into various panels of different
shapes and dimensions according to the space available and all
the soffits, niches; squinches, arches and interiors of the tombs
are covered by these paintings. The basic elements of
decoration are varied. Some of the patterns are essentially naturalistic like the trees, which seem to have been
inspired by close observation of the local surroundings and some of the fruit trees are especially well done.
In comparison to the Mirzani tombs, the Husnani tombs bear figural representations, while the former contain
only floral designs. The surface decoration on the tombs of the Husnanis is exquisitely done as it is excelled on
the Mirzani tombs. On one of the panels on the Husnani tombs is a depiction of cock fighting a still popular
game in the area. Below it, is a combat scene between a man and a “Gorpat” [a wild beast] which is commonly
found in the adjoining mountains of Khirthar. Even more interesting is a separate panel, done in a different, more
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formal style. It depicts a group of figures, who appear to be engaged. Two people are sitting on a cot, behind
whom is a man playing the “Surando”, a very popular musical instrument in Sindh. Of all the figural works,
however, the most interesting are probably those depicting dancing girls with a man in the middle holding their
hands. Women are shown in pairs with embroidered shawls on their heads. The costumes thus show a mixture of
Sindhi and Balochi elements. Above it, is a pair of peacocks holding snakes in their mouths, a depiction that is
commonly found on several tombs scattered throughout Sindh.
The great perfection and elaboration, we see at both the Dau-ja-Quba and RanEun indeed suggests that the work
can only have been done with the aid of fully trained craftsmen, drawn from the richest and most accomplished
workshops. The mural paintings of Husnani tombs un-mistakably belongs to the Rajput School of paintings. The
influence of the paintings of the Rajput school can be seen on the tombs of Mian Nasir Mohammad in Johi,
Dadu. Since the tombs of Mian Nasir Mohammad are older than the tombs in Gebi Dero, the inspiration may
have come from Johi where artisans of the Rajput school had already worked. We intend to say that the local
artisans prevalent in the area may have got formal training from the artisans of the Rajput school in paintings and
they later developed their own school of art termed as the Sindhi school of paintings. Subsequently, this
intermingling diffused to the adjoining and far-flung areas.
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Neglected Heritage
By Zulfiqar Ali Kalhoro
Daily Dawan Karachi, Sunday February 22, 2004
Chandia tribe played a very significant role in the history of
Sindh. They were famous for their gallantry, courage and
swordsmanship, and popularly known as the warrior tribe.
They always protected western Sindh from invaders and held
very important positions in various dynasties. They also had
their own standing army, which, in the time of crisis, fought
side-by-side with the army of the ruling class against the
invaders. They also established their independent territory called Chandko, which ran parallel with Khirthar up to
Sehwan extending even into Khanote in Dadu district, in the west. And in the east it included four talukas of
Larkana, where they were predominantly concentrated and still hold major portions of the each taluka.
Some six kilometres south of Miro Khan is the small village of Rais Bambho Khan, which boasts of five
historical tombs built in the early eighteenth century. Buried there are Ghazi Khan Husnani, Misree Khan
Husnani, Mir Muhammad Husnani, Lashkari Khan Husnani, Lahno Khan Husnani and Tharo Khan Husnani of
whom, sprang Manani, Misrani Lashkrani and Tharani sub-clans respectively.The tomb of Ghazi Khan is in a
shambles. Much of its plaster has peeled off. It faces the eastern direction and is crowned with a hemispherical
dome. Rasheed Ahmed Husnani, a dedicated primary school teacher and diligent social worker in the village,
says that the tomb has been badly damaged due to the vagaries of weather and a lack of proper maintenance by
their descendants. Furthermore, it is a victim of encroachment wrought by the local people that they have started
to till the land near the structure.
To the south of the tomb of Ghazi Khan is a tomb of Misree Khan who was an ancestor of Misrani. His tomb is
in a very bad condition and is the abode of shepherds who have played havoc with structure by taking away
some of the bricks. Close by the tomb of the Misree Khan is the tomb of Mir Mohammad alias Mahno. Mir
Mohammad Khan was an ancestor of the Manani clan who are living in the both Rais Bambho Khan Village in
Miro Khan and Aitbar Khan Chandio village in Shadadkot. The tomb of Mir Mohammad is in a good state of
preservation than that of Ghazi Khan and Misree Khan. The tomb contains four graves including that of Mir
Mohammad. The other three graves are not identified since none of it bears an epigraph. The tomb is entirely
decorated with paintings and separate panels are created to paint folk scene of every day lives.
On one of the panels, some women are depicted fetching water with jars over their heads. On another panel,
some women are appeared to be engaged in household chores, among these, two women were sitting on a cot
and having discussions and nearby two other women seemed busy in cooking and brooming respectively. Still
another panel has two men hunting deer and playing a flute before buffaloes respectively. Adjacent to the tomb
of the Mir Mohammad Khan lies the tomb of Lashkari Khan which contains of two graves. These two are almost
levelled to ground. Next to him is tomb of the Tharo Khan the ancestor of the Tharani a sub-section of Husnani
tribe. The tomb also contains the grave of Lahno Khan, a chief of the Husnani tribe.
Apart from the tombs at Rais Bambho Khan Village, there lies other graveyard of Husnanis three kilometres east
of Shahdadkot near the village of Darya Khan Mastoi. There exists two tombs belonging each to Rais Aitbar
Khan and Mohammad Khan supposed to have been built in the early nineteenth century. The tomb of the Aitbar
Khan has four graves. It is a massive building on a squarish plane and is adorned with paintings. Next to him is
the tomb of Mohammad Khan. It is a small but imposing building containing three graves, all of which are
cracked. It bears some fine paintings from inside.At a walking distance from Husnani tombs, there lies a well-
preserved and huge mausoleum of Darya Khan Mastoi who was a chief of the Mastoi tribe. The descendants of
Darya Khan still live in the nearby village of the same name, and carry out repairs to this massive structure from
time to time, while the tombs of Husnanis are victims of neglect.
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Crumbling heritage
By Zulfiqar Ali Kalhoro
Daily Dawn Karachi, Sunday January 11, 2004
While travelling in the western plains of Shahdadkot taluka in
Larkana, one comes across many tombs that belong to the
Jamali tribe. The Jamalis are one of the sub-clans of Rind tribe
and claimed their descent from Mir Jamal Khan. Like other
Baloch tribes, they also played a very important role in the
socio- political history of Sindh during the rule of Kalhoras
and Talpurs.
There are at least five tombs of Jamali tribe that exist in the Shahdadkot taluka. Some 18 kilometres northwest of
Shahdadkot is a small village, named after its founder, Imam Bakhsh Jamali well nigh close to the border of
Balochistan. Imam Bakhsh Jamali, once a very prosperous and flourishing town, is now reduced to a few
households of Jamalis. One of the residents and descendants of Mir Sobdar Jamali, Ihsanullah Jamali, a professor
in Government Degree College Shahdadkot told that Imam Baksh Jamali was a very important town when Mir
Sobdar was the chief of the tribe. At that time, the country was under the rule of the British.
There was instability, unrest, turmoil and chaos in the country during the British rule and local chiefs ruled the
roost. Tribal rivalry was everywhere. Kalpur tribe, an offshoot of Bugti tribe was at loggerheads with the Magsi
tribe for a long time. Kalpur Bugtis were notorious for cattle lifting and one night as they were taking the wag (a
herd of camels) away of the Magsis, some people from the Jamali tribe intercepted them and after taking the wag
back from the Kalpur Bugtis, they returned the herd of camels back to the Magsi tribe. All this got the Kalpurs
offended and they developed enmity with Jamalis. Being ferocious, one night, all of a sudden, they attacked the
town of Imam Bakhsh Jamali and set it on fire. Dozens of people, including the chief of the tribe, Mir Sobdar
Jamali, were killed.
Shaho Khan, who was son of Mir Sobadar Jamali, later built the tombs. Originally, there existed four tombs of
which now, two have survived. The tomb that is plastered with lime belongs to Mir Sobdar. Other than Mir
Sobdar’s grave, it contains two other graves as well, though not much is known about them. The nearby tomb,
that is at a height, and built of burnt bricks, has not as yet been identified.
Twelve kilometres northwest of Shahdadkot on same road that leads to Imam Bakhash Jamali, is a tomb of
Shakal Jamali, which is visible from a distance. It is built on square plane and plastered with lime, though much
of its plaster is peeling off. It is in a very pathetic condition and is entirely surrounded by water that has played
havoc with the structure. Local traditions hold that Shakal Jamali was the head of his village. The other version is
that he was shepherd and he had built the tomb himself during his lifetime. There is still another version that
holds that he was a very pious person and worshipped in the forests and haunted places. His descendants later
erected the tomb. From inside it is adorned with paintings.
Twenty-kilometres north of Shahdadkot, lies a tomb of Saeed Khan Jamali in village named after him and locally
known as Qubo Saeed Khan. The tomb is very simply built and is decorated with paintings from within. It is
believed to have been built by Saeed Khan Jamali himself during his lifetime. He was famous for his generosity
in the far-flung areas. According to local accounts, he provided food to every needy passer-by, irrespective of
caste and creed and even arranged for their accommodation. Saeed Khan Jamali is still greatly venerated by a
large number of people. About 12-kilometres west of Shahdadkot, on road leading to Ghari Khairo near the
village of Noor Nabi Junejo, is situated a tomb belonging to Rehan Khan Jamali. It was built in the nineteenth
century. It is a huge building resting on square plane. It is a deserted tomb and is abode of the birds. From a
distance it looks like a Kalhora tomb, due to its ambulatory gallery. However, there aren’t any stairs in it that is a
particular characteristic of Kalhora funeraries.
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One of the distinctive features of the tombs of the Jamalis is the painting. Except the tomb of Saeed Khan Jamali,
all other tombs bear animal impressions and human figures. Especially, equestrian and dancing scenes are the
common features of the Jamali tombs. The tomb of Sobdar Jamali is replete with the depictions of dancing
scenes and popular folk tales, principally of Sassui Punhoon, Momal Rano, Sohni Mahiwal and Umar Marvi.
The scenes are immaculately painted and perfectly imparted real look to the depictions. Similar scenes can also
be found on the tomb of Rehan Khan Jamali. The tomb of Shakal also bears dancing scenes, but these are in the
early stage of decay. The shepherds, who take shelter in the tomb during the harsh summer days, have defaced
much of the paintings.
On one of the panels of the tomb of Mir Sobdar, two men appear to be engaged in playing flutes in front of the
snake. On the same panel are the other depictions of a woman having a chat with a man who appears to sit under
the shade of the tree. On still another panel, there are some depictions of sailing boats and some people appear to
be waiting on the bank of river.
A closer look at the paintings reveals that the majority of the paintings comprise the dancing scenes. The
depictions of dancing scenes confirm the fact that the practice of dancing in Sindh goes back to time
immemorial. The discovery of dancing girl from the Moen-Jo-Daro is a testimony to the fact.
Dancing in Sindh has been witnessed since the Vedic age. It is presumed that dancing is the overall effect of
music on mind, manifesting itself in the visible motion of the body. Dancing like music was associated with
religious rites in Sindh in the pre-Muslim period. The emotional effect of the movement, the rhythm and music
heightened the religious excitement and enriched the pattern of the ritual. One could reasonably feel that dancing
in Sindh eventually became a part of folk music for the purpose of intensive expression of sentiments of joy
experienced in every day life. In course of time from ritual dance to its developed into a real public dance.
Showing of dancing scenes on several tombs in Larkana bear evidence to the fact that the inhabitants of this area
were unparalleled in producing music and performing dance.
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Remembering TheBattle of Banagh
By Zulfiqar Ali Kalhoro
Daily Dawn Karachi, Sunday May 23, 2004
From the annals of history, a historian remembers a conflict that engulfed Sindh because of a camel
Mohammad Sharif Jamali, a resident of Nasir Khan Jamali village in Osta Mohammad tehsil of Jaffarabad
district is an institution. Not only is he familiar with the history of his tribe, he unmistakably recalls the conflicts
and battles of his tribe with the Magsi tribe. One that he particularly remembers is the Battle of Bangah that
started after the Magsis indulged in camel rustling.
And this is the story that Sharif told us:
“Camel lifting was widespread in Sindh and Balochistan in the eighteenth and nineteenth century. The main
objective of this was to weaken the opposing tribe, politically and economically. In the past the numbers of
livestock designated the status and the position of individual or tribe in the society and culture of both the Baloch
and Sindhis.
“In the retaliation, Jamalis also took the wag of Magsis. The hostility continued between both the tribes for quite
a long time. They frequently clashed with each other over the issue of camel-lifting.
“At that time Ghulam Mohammad Khan Jamali was the Sardar of the Jamalis while Ahmed Khan Magsi was the
Sardar of his tribe.
“After the intervention of some sardars of Baloch tribes, both agreed to end the hostility, provided that
compensations were made to each tribe, according to the casualties and return of the stolen wag. Sardars of both
tribes sat together to iron out their differences and estimated the casualties and the number of stolen wags. Each
of the tribes suffered equal number of casualties thus resolving one issue. But as regards to the wag, Magsis had
stolen more. Sardar Ghulam Khan Jamali claimed the return of his wag, which the other party agreed to give
back.
“When the people of Jamali tribe took their wag back to Sardar Ghulam Khan Jamali, he found the one camel
named ‘Malhan’ missing. He sent his tribesmen in search of ‘Malhan’. He also sent a message to Sardar Ahmed
Khan Magsi that he would not accept the returned camels unless ‘Malhan’ was returned back. Sardar Ahmed
Khan Magsi tried his best to find the missing camel. He found her, but also discovered that ‘Malhan’ was given
to Siraj Katar Magsi. It was tradition among the tribes that they used to distribute the stolen animals amongst the
tribesmen.
“When asked to return ‘Malhan’, Siraj invented a story, saying that as ‘we were taking away the wag back to our
village’ it died on way.
“Actually Malhan had not died. It was alive and he had hidden it somewhere. Still, he agreed to compensate for
the loss. But the Sardar of Jamalis did not accept the offer. At the same time, Siraj Katar Magsi was jealous of
Sardar Ahmed Khan Magsi’s popularity, that he brave among other Sardars. So, he wanted to make the situation
worse intentionally.
“He endeavoured that both tribes should fight with each other. Sardar Ghulam Khan Jamali began threatening the
Sardar of Magsis that he would take avenge the loss of his tribesmen and that of his animals.
“After the lapse of four or five months, Sardar Ahmed Khan had to go to Labso to settle a dispute that had
erupted between two sections of Magsi tribe. Some people informed Sardar Ghulam Mohammad that Sardar
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Ahmed had landed at Lebo Pat (plains) and was engaged in collecting his tribesmen for military expeditions
against Jamalis.
“The Jamalis knew that Chandia tribe was also supporting the Magsis’ Sardar. Sensing danger, the Jamalis were
ordered to get prepared for war against the Magsis. The Burdi tribe also sided with Jamalis. They marched
against the Magsis at Otaq of Sardar Ghulam Mohammad. The tribes clashed and a battle ensued.
“The Jamalis suffered a defeat and were forced to retreat. At least 200 Jamalis and Burdis died. The Chandia
tribe played an important role by siding with the Magsis. After the defeat, Sardar Ghulam Ahmed Khan went
directly to Shoran, to ask for help from Sardar Mir Sher Mohammad Khan Rind. But Mir Sher Mohammad Khan
had gone to meet Mir Noor Mohammad Khan Talpur.
“Sardar Ghulam Mohammad Khan then set out for Hyderabad where Mir Sher Mohammad Khan was staying at
the palace of Mir Noor Mohammad Khan Talpur. Sardar Ghulam Mohammad told the whole story about war and
casualties that his tribe had suffered. On hearing this, Mir Sher Mohammad vowed to take revenge from the
Magsis and sent a message to the Sardar of the Magsi tribe to prepare for war.
“Tribesmen from Jhangara Bajara in Sindh were conscripted. When the war party reached Dhari Bhanar near
present town of Kandhkot, Jacobabad, the numbers of tribesmen exceeded more that 12000. When this news
reached Sardar Ahmed Khan Magsi, he rushed with his son, Mehon Khan and nephew Gohram Khan, to Sardar
Wali Mohammad Khan Chandio for help.
“Sardar Wali Mohammad pledged to help him. He said that we would go to Sardar Sher Mohammad Khan Rind
for peace parleys; if he would accept it then we would not fight. If he would reject it then we would fight by your
side. Sardar Wali Mohammad Khan Chandio sent one of his commanders, Ghazi Khan Chandio with Sardar
Ahmed Khan to Mir Sher Mohammad for peace talks.
“Ghazi Khan came to know that Sardar Mir Sher Mohammad Khan was staying in Garhi Rehman village with
Sardar Raheem Khan Umrani. Ghazi Khan sent his message to the Sardar saying that he wanted to meet him and
offer truce with the Magsis. Sardar Sher Mohammad showed willingness and asked Ghazi Khan to come to
Shoran for a meeting.
“Ghazi Khan left for Shoran and met Sardar Sher Mohammad where his uncle Mir Bahram Khan ensured him
that he would not wage war against Magsis, at least for the next six months. But after some time, Sardar Sher
Mohammad again issued threats. Sardar Ahmed Khan Magsi again rushed to tell the Sardar of Chandia tribe
about the threats. Sardar Wali Mohammad promised to help him. And when things began to go from bad to
worse, respective tribesmen were collected for war.
“Troops of both Sardars met at Panjuk, in present Jhal Magsi district and fought like hell. The battle continued
for several hours in which many from both the sides were killed. During the battle, Mir Sher Mohammad Khan
Rind was killed. When news of his death spread, his tribesmen lost hope of winning and began to retreat.
“Accordingly, the Magsis with support of Chandia won the war. Chandia tribe was under the command of Tillo
Khan Chandio, while at least 65 tribes including Jamalis, Luhars, Burdis, Jakhrani, Lashari, Rinds, Jagirani,
Leghari, Nuhani and others were under the command of Sardar Sher Mohammad Khan. However, the Umrani’s
did not support Sardar Sher Mohammad Rind and did not take part in the battle. Sardars of those tribes who had
sent their tribesmen in the support of Mir Sher Mohammad Khan made the Umranis responsible for their defeat
saying that had Umranis supported; they would not have lost the battle.”
The graves of those who died at the Battle of Bangah are scattered in Sindh and Balochistan. The graves of Rinds
and Burdis are located in Shoran. Magsis are buried near Jhal Magsi, and the graves of Chandia are located in
and around Gebi Dero, Larkana. While the graves of Jamalis exist in different areas of Sindh and Balochistan.
The necropolis belonging to Jamalis lie in Choki Jamali. The tombs are in a very deplorable condition. In the
centre of the cemetery exists the tomb of Dildar Jamali who was not a victim of the battle, rather a landlord of his
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village. As the inscription reads, the tomb was ordered by two of his descendants Rais Fazal Khan Jamali and
Mondar Khan Jamali in 1935. Two masons, Imam Bakhsh and Jurio Khan Mashoris built the tomb. The tomb
contains two graves of Dildar and his sister. From inside, it is beautifully adored with paintings.
The Battle of Banagh left a very deep impression on minds and hearts of poets and painters who expressed their
feelings through paintings and poetry respectively. A number of Baloch as well as Sindhi poets have narrated the
battle scenes. Prominent among these are Pir Bakhsh Tunio and Sono Faqir Janwari Chandio. Painters have also
executed depictions of war scenes in the tombs located in various place in Sindh and Balochistan.
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Victim of neglect…
By Zulfiqar Ali Kalhoro
Daily Dawn Karachi, Sunday January 23, 2005
About 10 kilometres south of Dadu lies the historical Jami Mosque Khudabad. It is known to have been built by
Mian Yar Mohammad Kalhoro lI, the real founder of Kalhora Dynasty in Sindh (1701-1719). The Mughal
Emperor Aurangzeb made him the governor of Derajat in 1701 and conferred upon him the title of Khudayar
Khan resulting in the foundation of his capital at Khudabad. Simultaneously, he laid the foundation of Jami
Mosque. Mian Yar Mohammad is reputed to have been a benevolent and munificent Kalhora ruler who ruled
astutely over upper-Sindh. He was very fond of architecture
and built a number of tombs which include those of Mian Nasir
Mohammad Kalhoro, Mian Deen Mohammad Kalhoro, Mian
Mir Mohammad Kalhoro, Gul Mohammad Khuhawar I,
Bisharat Khan Khuhawar, Sarang Khan Khuhawar, Bagho
Chandio, Mir Sobdar Khan Talpur, Nindo Khoso, Fojo Faqir
etc., all of which are located in the necropolis of Mian Nasir
Mohammad Kalhoro.
Apart from the tombs at Garhi, he ordered several tombs at
his capital Khudabad, notably those of Datto Khan
Khuhawar, one of his ministers, Shahdad Khan Langah,
Mangho Faqir Jatoi etc. According to Mian Amir Bakhsh
Kalhoro, a Gadi Nashin of Mian Nasir Mohammad, Mian Yar Mohammad built over one hundred mausoleums
scattered all over the Dadu and Larkana districts. He also built his tomb during his lifetime which still dominates
the landscape of Khudabad and is conspicuous from a distance.
The mosque occupied a very important position in Kalhora architecture. The first mosque, built by Adam Shah
Kalhoro at Haitri Ghulam Shah, does not exist now. His successors Mian Daud Kalhoro, Mian Ilyas Kalhoro,
Mian Shahal Mohammad Kalhoro built mosques in their respective dairas, a religious settlement where Kalhoras
and their disciples preached Mahdwi thought and ideology. Unfortunately, not a single mosque survives today.
After the martyrdom of Mian Shahal Mohammad Kalhoro, Mian Jan Mohammad Kalhoro, Mian Yar
Mohammad Kalhoro I and Mian Taban Kalhoro, in battle against Mughal loyalists in the present district of
Larkana, Mian Nasir Mohammad shifted his daira from Larkana to the present tehsil of Khairpur Nathan Shah
where he established the town of Garhi, named after one
of his female disciples. Here, Mian Nasir Mohammad
built the Jami Mosque in 1659. Seven years later, Mian
Laskar Khan Kalhoro the grandson of Mian Shahal
Mohammad Kalhoro founded the town of Khanpur in
1666 and at the same time built a three domed mosque,
noted for stucco work. There were two persons by the
name of Laskar Khan in the royal family of Kalhoras;
one grandson of Mian Nasir and other grandson of Mian
Shahal Mohammad. Khanpur is now a bustling town and
located 15-kilometres from Khairpur Nathan Shah on
National Highway. Khat Lashkar Khan is another
village, not far from Khanpur, named after Mian Lashkar
Khan, grandson of Mian Shahal Mohammad Kalhoro.
Among these mosques, the Jami Mosque of Khudabad is
more prominent and is a great specimen of Kalhora
architecture. Prior to Khudabad Mosque, all other Kalhora mosques were simply built and lacked many
embellishments. Chiroly, a cement like substance, was used in early Kalhora mosques; while the Jami Mosque of
Khudabad is opulently decorated with glazed tiles representing geometric and floral designs.
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The mosque is rectangular in plan and built on a raised platform. It is accessed through a set of semi-circular
steps on the eastern side. The stairs lead to an imposing arched entrance opening to a large courtyard. It has the
usual three-arched entrances leading to ante-chamber with intricately decorated domes covering the prayer hall
below. The mosque reflects a blend of central Asian as well as a local style of architecture.
After the Shah Jahani Mosque of Thatta, which was built by Mughal Emperor Shah Jahan, the Jami Mosque of
Khudabad is the most beautiful and imposing structure throughout Sindh. The exterior of the building is lavishly
covered with some of the most exquisite glazed tile work in the province. Its interior is adorned with frescos
which, as of right now, has been completely damaged. The external walls are divided into panels with blind
arches giving the structure a marked three-tiered appearance. The panels are vivid and glowing. Both sides of
arched entrance to the ante-chamber is bedecked with glazed tiles representing lily plants in blossom or leaves;
flowers and buds sprouting from the central stem and falling over right and left in natural curves.
In the good old days the mosque used to draw a large number of namazis. Now, it stands in a dilapidated state,
fast crumbling into pieces. Obviously, the concerned authorities are not bothered by the poor condition of this
historical heritage. Because of the seepage of the water, the northern dome has caved in and to save it from
further damage, corrugated sheets have been crudely placed over the dome. The remaining domes have
developed cracks as well. Rain has also played havoc with other parts of the mosque. Rain water dribbles
through the cracks in the domes, further rendering damage to the whole structure. Sometimes, rainwater
penetrating through the domes accumulates in the chamber of the mosque. Ironically, these domes are supported
by wooden planks.
Several parts of the mosque are under threat from surface erosion, and wear and tear from visitors. The floor of
the mosque is also in appalling condition. If timely action is not taken to arrest its further decay there is a danger
that this heritage will be lost for ever.
13
A Glorious Past…
By Zulfiqar Ali Kalhoro
Daily Dawn Karachi, Sunday 24 July 2005.
The beginning of the 16th century witnessed the rise of the Kalhoras in northern Sindh. Mian Adam Shah
Kalhoro, a celebrated religious scholar, was greatly influenced by the teachings of Syed Muhammad Jaunpuri
alias Mehdi Jaunpuri, and spent all his life in preaching and spreading the Mehdvi thought and ideology. He was
a disciple of Mian Abu Baker Jatoi, who accompanied Syed Mohammad Jaunpuri to several places in India.
Once, when Syed Mohammad Jaunpuri arrived in the town of Mandu, a large number of people gathered around
him. Sultan Ghiyasuddin Khalji (1469-1500), who was imprisoned in the same town, also wanted to meet him,
but could not do so because he’d been taken into custory by his son, Nasiruddin. However, he informed Syed
Mohammad Jaunpuri about his inability to pay him respects and requested him to send his one or two disciples
so that they could benefit from him. Syed Mohammad Jaunpuri deputed two of his disciples, Mian Salmullah
and Mian Abu Bakar, on whom Ghyiasuddin showered sliver and gold coins and inquired about Syed
Mohammad in detail.
The place where the Mehdvis settled was called the Daira. Mian Adam Shah Kalhoro established his first Daira,
a religious settlement, in a small village named Haitri, which is now known as Haitri Ghulam Shah, in Dokri
taluka of Larkana. He started his career from this small village with the support of the Abra tribe who remained a
powerful force behind him. A man, Khabar Abro, was the first person to enrol as his follower. This small village
became the centre for learning for the Mehdvis. A lot of other people flocked to the village to seek his blessings.
Many people believe and argue that Syed Muhammad Jaunpuri was the propagator of a new religion. However,
he did not claim to have founded or propagated any new religion. He only professed that as a Mehdi he was
commissioned by the Almighty to restore Islam to
its pristine purity. He did not confine himself to the
interpretations of any of the four orthodox schools of the
Sunnis, but claimed to have followed the religion of
Muhammad and beliefs and practices as enjoined by
the Holy Quran. God, His Prophet and His book were his
sole guides.
According to him, not all the members of the Daira
were equally righteous. He said that there were three
types of people in his Daira: believers, hypocrites
and the Kafirs. The latter two, he credulously asserted,
were not destined to die in the Daira — they would
generally leave it before his death. After each week, the
Mehdvis of the Daira would assemble and
individually make an open confession of the sins they had
committed during the week. Anyone guilty of some serious offence would offer himself before the leader of the
Daira voluntarily to receive punishment in accordance with the laws of the Shariat.
With the passage of time, the Daira of Mian Adam Shah Kalhoro received a number of disciples who
popularized the teachings of Syed Mohammad Jaunpuri. Due to his teachings, the Mehdvi thought and ideology,
and the name of Mian Adam, spread to far-flung areas. Even Abdul Reheem Khan Khanna, the soldier of Akbar
the great who had captured Bukhar, on hearing his name paid him a visit. When he met him, he was hugely
influenced by him, and granted him the Chandka Parguna, which now comprises the Larkana district.
As time passed by, the circle of his disciples kept on increasing which annoyed the local jagirdars, zamindars and
Mughal officials who complained against him to the Mughal governor in Multan. His growing popularity as a
religious and spiritual leader, not to mention his emergence as a political figure, eventually led the Mughals to
14
attack him. Ultimately, he was taken captive to Multan where he was killed. Afterwards, his body was brought to
Sukkur where he was buried in a hillock, which was then named after him as Adam Shah Ji Takkri.
After the death of Mian Adam Shah Kalhoro, his successors continued his mission remaining in their Dairas and
gained popularity, which consistently irritated the Mughal governor of Bukhar. They became strong and captured
some areas where they established their Daira and began to rule. As a result, troops of both the Kalhoras and the
Mughals met in a battlefield near Gerello. In that battle, Feroz Verar, (founder of Nausharo Feroz) a disciple of
Mian Nasir Mohammad Kalhoro and a general of Mian Deen Mohammad’s army, spearheaded the Kalhora
army, while Mughal Governor of Bukhar Shaikh Amir Jahan led his forces. The battle was fought in 1699 in
which a number of soldiers from both sides lost their lives. The Kalhoras achieved victory in that battle. Among
these two men who lost their lives, Mir Mondar Khan Chandio and Hajji Khan Marri, were known for their
bravery and fighting skills.
Mondar Khan Chandio, the valiant fighter of the Kalhora army, was a disciple of Mian Shahal Mohammad
Kalhoro and belonged to the Husnani section of the Chandia tribe. Sono Faqir Janwari Chandio, a folk
storyteller, has narrated in his ballads the chivalry, valour and intrepidness of Mondar Khan and his other
tribesmen. The heroic stories of Mondar Khan Chandio are still preserved in the folklore of the countryside.
Some locals believe that it was he who killed Mughal Governor Sheikh Amir Jahan. Descendants of Mondar
Khan Chandio, known as Mondarni Chandia, still have that sword with which he killed Sheikh Amir Jahan in the
battle of Gerello. His body was taken to his native place in Jagir for burial. It’s the necropolis that came to be
known after his name.
The necropolis of Mondar Khan is spread over 10 acres and contains several graves of those who died along with
him in the battle of Gerello, prominent among those were Paliyo Janwari Chandio, Nando Khan Janwari
Chandio, and Dinar Khan Janwari Chandio. Haji Khan Marri, like Mondar Khan, died fighting bravely against
Mughal troops. He was the father-in-law of Mir Suelman alias Kaku Khan who was the ancestor of the Talpurs
of Sindh and settled down in the Kachho area of Dadu. There he heard the name of a pious man named Mian
Nasir Mohammad Kalhoro and went to meet him and later on became his disciple. His descendants, who are
known as the Hajizai, subsequently moved out of Kachho to the present districts of Hyderabad and Khairpur.
Gerello, a small town in the Dokri taluka of Larkana district, served as the Daira for the Kalhoras over a century.
According to local people, Gerello was the name of Nain (seasonal hill torrent that irrigates the land) in the jagir
of the Chandia tribe in the Qamber Ali Khan taluka of Larkana. People from the banks of Gerello Nain came and
founded a village here in the 16th century that assumed the name which indicated their place of origin. It was
once a very important trading centre. The Hindus controlled the business of the town. The buildings of that
period include a three-domed mosque, which is lavishly decorated with glazed titles, and the tomb of one of the
members of the Kalhora family. The mosque here is believed to have been built by Noor Mohammad Kalhoro.
15
Heritage: A glorious past
By Zulfiqar Ali Kalhoro
Daily Dawan Karachi, Sunday January 8, 2006
Sreman Khan Chandio had two sons, Haji and Husan from
whom sprang the clans of Mirzanis (named after Sreman’s
father, Mirza Khan) and Husnanis respectively. He was
considered a cultural hero in the tribal history of Sind. He
laid the foundation to Chandia jagir in 1501, which was bestowed upon him by Jam Nizamuddin Sarno (1461-
1508), the ruler of Sama dynasty, in return of the help extended by Sreman Khan and his tribe against the
Arghuns who were frequently invading western Sindh.
The Chandia tribe repelled every advance of the enemy and defended every inch of their land. Scattered all over
the jagir are graves of those who died while defending their territory. Many archeological and historical sites can
also be found there. One such historical site locally known as Dau Ja Quba is located some eight kilometres
southeast of Gebi Dero. The necropolis has been under the threat of encroachment by local farmers.
On way to the necropolis, I met Mohammad Ayub Marphani Chandio and requested him to accompany me to the
necropolis, to which he agreed. Mr Marphani has much knowledgeable about his tribe and he unerringly recalls
the battles of his tribe against other tribes, particularly the Bughtis, Magsis and Sabhayas, etc. In addition to
battles against the other tribes, Chandios also fought with one another. He forlornly narrated the battle which was
fought between the two sections of the Chandio tribe at Mahu (not far from Gebi Dero), locally known as Battle
of Mahu.
Mohammad Ayub took me to the place where the battle was fought. A land once marked with sand dunes has
now been brought under cultivation. Near the battleground is the necropolis which is spread over two hundred
acres and contains eight derelict and dilapidated tombs, belonging to Daud Khan, Sewa Khan, Rais Chakar
Khan, Ghazi Khan, Rais Wali Rakhio, Rais Jan Mohammad Khan, Rais Mohammad Baqar,and Rais Ahmed
Khan, respectively. This necropolis, however, is attributed to Daud who was the chief of the Husnani tribe. He
was killed in 1614 during a battle against the troops of Mirzani tribe at Mahu near Gebi Dero. Later, his
descendants erected tombs for Daud, his relatives and also the soldiers. These tombs were completed in a short
span of six years between 1819 and 1825 (except the tomb of Ghazi Khan, which was built in 1840).
After the gory battle which involved much bloodshed, the Husnani tribe decided to move to the present
Shahdadkot and Miro Khan Talukas of Larkana where two clusters of their tombs still stand in both places,
reminding us of their material glory of the past. According to the local accounts, the battles between the Haji and
Husan tribes claimed 1,600 lives.
All the tombs in the graveyard are invariably of the same type, differing only in sizes. The tombs are plastered
with lime and built entirely of burnt bricks with walls raised in three strata. One of the distinctive features of
these tombs is the paintings. The paintings on the Husnani tombs are significant for their perfect technique and
subject, and cover every niche and arch of the tombs’ interior. The endless variety of geometric and floral
designs, and human and animal figures spread over the interior surface. The surface has various panels of
different shapes and dimensions according to the space available. The basic elements of decoration are varied.
Some of the patterns appear very natural like trees, which seem to have been inspired by close observation of the
local surroundings and some fruit trees are particularly well done. Three tombs are bedecked with folk tales, of
which the tomb of Ghazi Khan, also known as ‘Jangi Qubo’, is replete with folk tales and battle scenes. The
western wall has three beautifully animated panels.
On one of the panels there is a depiction of Laila and Majnu sitting on a cot apparently talking to each other
under a tree with a horse standing close by. Though the tale of Laila Majnu is not indigenous, yet it has inspired
the local artists considerably. The second panel depicts two people sitting on a cot whilst a man plays Surando (a
16
very popular musical instrument in Sindh) behind them.
A third panel shows two people mounted on horses, and they seem to be raising flags of victory. This scene
represents the legend of Mir Chakar Khan Rind and Mir Gohram Khan Lashari. The battle they fought lasted for
30 years and left deep imprints on the artists. Above this, there is a battle scene in which two tribes, Sabaya and
Husnanis, are shown fighting with each other. This battle took place in 1839.
After the battle of Bungah in 1829 that the Rinds lost to the Chandia backed Magsis, Mir Noor Mohammad Khan
Talpur, the then ruler of Sindh, decided to take revenge from either Magsis or Chandias that the defeat that his
supporters suffered in the battle of Bungah. Mir Sher Mohammad Khan Rind who led his tribe in the battle of
Bungah also died in the battle. He was Mir Noor Mohammed Talpur’s father-in-law. In order to avenge the death
of his father-in-law, Mir Noor Mohammad called on a meeting of his cohorts to chalk out a strategy for attacking
the enemies. It was decided in unison to first attack Sardar Wali Mohammad Chandio.
Four well-known personalities of Chanduka, namely Aboro Shaikh, Shah Wali Khan Chandio, Sardar Miral
Sabayo and Ali Sher Kalpar Bughti were also present in the meeting. Aboro Shaikh alone opposed the idea of
attacking Wali Mohammad while the rest suggested that it was not easy to attack Wali Mohammad as he was
always escorted by his best fighting men. It would, however, be advisable to first kill his commander Ghazi
Khan who fought in the battle of Bungah and had also killed Miral Sabayo’s son. Miral Sabayo gave his word to
Mir Noor Mohammad Talpur that his tribesmen would kill Ghazi Khan. One evening, as Ghazi Khan was
returning back home along with his friends Sher Mohammad Khan, Khan Mohammad Khan and Moula Dad
Khan, the Sabayas ambushed Ghazi Khan’s party, killing him and his friends. Only Moula Dad, also known as
Moula Bakhksh, managed to escape. This took place on the bank of Saroh Lake, situated near Gebi Dero. When
this news reached Wali Mohammad Khan, he dubbed Moula Dad as timid and swore to his tribe that this act
would be avenged.
Within just a week, the Chandias, under the command of Tillo Khan, attacked the village of Sabayas and killed
hordes of people and safely returned to their environs. Later on when the tomb of Ghazi Khan Husnani was
erected, the painter elegantly painted the whole story on the west wall of the tomb. Moula Dad or Moula Bakhsh
is depicted as retreating from the battleground.
17
Tombs of Tribal Chiefs…
By Zulfiqar Ali Kalhoro
Daily Dawn Karachi, Sunday December 04, 2008
Larkana, like the other districts of Sindh, is host to a number of historical tombs dotting each of its talukas.
Among these the Chandia tombs belonging to Mirzani Chandia and Husnani Chandia, both descendants of
Sreman Khan a cultural hero of the tribe, lie some 60 kilometres west of Larkana near Gebi Dero. Sreman Khan
laid the foundation to Chandia jagir in 1501, which was bestowed upon him by Jam Nizamuddin Sammo (1461-
1508), the ruler of Samma dynasty, in return of the help extended by him and his tribe against the Arghuns who
were frequently invading western Sindh.
The Mirzani Chandia tombs, five kilometres northwest of Gebi Dero are unique monuments of the past. Locally,
the necropolis of Mirzani Chandia is known as the "Rankun" dating back to the seventeenth century when the
first tomb of Sardar Malik Gebi Khan (after whom the Gebi Dero is named) was built by his elder son, Wahid
Bakhsh Khan. The last tomb, erected probably in 1994, belongs to Nawab Sir Gebi Khan. The tomb was ordered
by his grandson Sardar Ahmed Sultan Khan who died prior to its completion. His great grandson Nawab Zada
Ali Nawaz Khan completed the remaining work. The graveyard is spread over an area of 50 acres and contains
twenty-three tombs of the chiefs of Mirzani Chandia tribe. All the tombs are invariably of same type, differing
only in size. Almost, each structure is erected on a raised platform and is square in plan except for a few
exceptions which are on rectangular plan and contain female graves. Inside, each structure constitutes of a square
room covered by a conical ceiling.
Apart from the Mirzani tombs is the huge cemetery of the Husnani tribe, locally known as the "Dau- Ja-
Quba"(tombs of Dau or Daud) . The necropolis is situated some eight kilometres southeast of Gebi Dero. All the
tombs belong to Husnanis and are eight in number belonging to Daud Khan, Sewa Khan, Rais Chakar Khan,
Ghazi Khan, Rais Wali Rakhio, Rais Jan Mohammad Khan, Rais Mohammad Baqar, and Rais Ahmed Khan,
respectively. This necropolis is attributed to Daud who was chief of the Husnani tribe. He was killed in 1614
during a battle between two lineages of Chandia tribe at Mahu near Gebi Dero. Later, the tombs were erected for
Daud and his relatives as well as for the soldiers by their descendants. They were completed in a short span of
six years from 1819 to 1825. After a gory battle which involved much bloodletting, the Husnani tribe decided to
move to Shahdadkot and the Mirokhan where the two clusters of tombs of tribe still stand as reminders of their
past glory. According to local accounts the battle fought between the two lineages of tribes Mirzani and Husnani
claimed sixteen hundred lives. Three tombs in the necropolis of Husnanis are bedecked with folk tales, of which
the tomb of Ghazi Khan, also known as ‘Jangi Qubo’, is replete with folk tales and battle scenes. The western
wall has three beautifully animated panels.
On one of the panels there is a depiction of Laila and Majnu sitting on a cot apparently talking to each other
under a tree with a horse standing close by. Though the tale of Laila Majnu is not indigenous, yet it has inspired
the local artists considerably. The second panel depicts two people sitting on a cot whilst a man plays Surando (a
very popular musical instrument in Sindh) behind them A third panel shows two people mounted on horses, and
they seem to be raising flags of victory. This scene represents the legend of Mir Chakar Khan Rind and Mir
Gohram Khan Lashari. The battle they fought lasted for 30 years and left deep imprints on the artists. Above this,
there is a battle scene in which two tribes, Sabaya and Husnanis are shown fighting with each other. This battle
took place in 1839. After the battle of Bungah in 1829 that the Rinds lost to the Magsis backed by Chandias, Mir
Noor Mohammad Khan Talpur, the then ruler of Sindh, decided to take revenge from either Magsis or Chandias
that the defeat that his supporters suffered in the battle of Bungah. Mir Sher Mohammad Khan Rind who led his
tribe in the battle of Bungah also died in the battle. He was Mir Noor Mohammed Talpur’s father-in-law. In
order to avenge the death of his father-in-law, Mir Noor Mohammad called on a meeting of his cohorts to chalk
out a strategy for attacking the enemies. It was decided in unison to first attack Sardar Wali Muhammad Chandio
who spearheaded his tribesmen against the Rinds. Four well-known personalities of Chanduka, namely Aboro
Shaikh, Shah Wali Khan Chandio, Sardar Miral Sabayo and Ali Sher Kalpar Bughti were also present in the
meeting. Aboro Shaikh alone opposed the idea of attacking Wali Mohammad while the rest suggested that it was
18
not easy to attack Wali Mohammad as he was always escorted by his best fighting men. It would, however, be
advisable to first kill his commander Ghazi Khan who fought in the battle of Bungah and had also killed Miral
Sabayo’s son. Miral Sabayo gave his word to Mir Noor Mohammad Talpur that his tribesmen would kill Ghazi
Khan. One evening, as Ghazi Khan was returning back home along with his friends Sher Mohammad Khan,
Khan Mohammad Khan and Moula Dad Khan, the Sabayas ambushed Ghazi Khan’s party, killing him and his
friends. Only Moula Dad, also known as Moula Bakhsh, managed to escape. This took place on the bank of
Saroh lake, situated near Gebi Dero. When this news reached Wali Mohammad Khan, he dubbed Moula Dad as
timid and swore to his tribe that this act would be avenged.
Within just a week, the Chandias, under the command of Tillu Khan, attacked the village of Sabayas and killed
hordes of people and safely returned to their environs. Later on when the tomb of Ghazi Khan Husnani was
erected, the painter elegantly painted the whole story on the west wall of the tomb. Moula Dad or Moula Bakhsh
is depicted as retreating from the battleground.Husnani tombs are plastered with lime and are built entirely of
burnt bricks with walls raised in three stratas. The Husnani tombs, have similar characteristics and featurs to the
tombs of
Mirzanis.
The paintings on the tombs of the Husnanis and Mirzanis are significant for their perfect technique and subjects
in an endless variety of geometric, floral and vegetal designs and human and animal figures spread over the
interior surfaces. The surface has been divided into various panels of different shapes and dimensions according
to the space available and all the soffits, niches; squinches, arches and interiors of the tombs are covered by these
paintings. The basic elements of decoration are varied. Some of the patterns are essentially naturalistic like the
trees, which seem to have been inspired by close observation of the local surroundings and some of the fruit trees
are especially well done. In comparison to the Mirzani tombs, the Husnani tombs bear figural representations,
while the former contain only floral designs. The surface decoration on the tombs of the Husnanis is exquisitely
done as it is excelled on the Mirzani tombs. On one of the panels on the Husnani tombs is a depiction of cock
fighting a still popular game in the area. Below it, is a combat scene between a man and a "Gorpat" [a wild beast]
which is commonly found in the adjoining mountains of Khirthar. Even more interesting is a separate panel,
done in a different, more formal style. It depicts a group of figures, who appear to be engaged. Two people are
sitting on a cot, behind whom is a man playing the "Surando", a very popular musical instrument in Sindh.
Of all the figural works, however, the most interesting are probably those depicting dancing girls with a man in
the middle holding their hands. Women are shown in pairs with embroidered shawls on their heads. The
costumes thus show a mixture of Sindhi and Balochi elements. Above it, is a pair of peacocks holding snakes in
their mouths, a depiction that is commonly found on several tombs scattered throughout Sindh. The great
perfection and elaboration, one sees at both the Dau-ja-Quba and Rankun indeed suggests that the work can only
have been done with the aid of fully trained craftsmen, drawn from the richest and most accomplished
workshops
The mural paintings of Husnani tombs un-mistakably belongs to the Rajput School of paintings. The influence of
the paintings of the Rajput school can be seen on the tombs of Mian Nasir Mohammad Kalhoro in Khairpur
Nathan Shah, Dadu. Since the tombs of Mian Nasir Mohammad Kalhoro are older than the tombs in Gebi Dero,
the inspiration may have come from this cemetery where artisans of the Rajput school had already worked. one
intends to say that the local artisans prevalent in the area may have got formal training from the artisans of the
Rajput school in paintings and they later developed their own school of art termed as the Sindhi school of
paintings. Subsequently, this intermingling diffused to the adjoining and far-flung areas.
19
Jewels of Jhal Magsi
By Zulfiqar Ali Kalhoro
Weekly Pulse Islamabad, Friday April 25, 2008.
The landscape of Jhal Magsi is dotted with historical tombs of Magsi tribe and popular shrines of many saints
namely Chhutal Shah, Chhezal Shah, Rakhial Shah, Nanagar Shah, Duri Faqir, Mahi Faqir etc. However, the
graveyards of Magsi tribe who ruled over Jhal are located at four places. These include a cemetery at New Jhal
Magsi, a necropolis at Old Jhal also known as Khanpur - graveyard of Moti Gohram and cemetery of Ahmed
Khan Boro (Obstinate).
A few kilometer from New Jhal Magsi town is located a necropolis which contains three historical and imposing
tombs of Ahmed Khan Magsi, Mehoon Khan Magsi and Qaisar Khan Magsi and recently constructed tombs of
Nawab Saifullah Khan Magsi and Mehboob Ali Khan Magsi. Apart from these mausoleums, there are a number
of tombs of Magsis and Chandias who died in the battle of Bungah that was fought between Magsis and Rinds
over the issue of rustling. The principle tomb in the cemetery belongs to the Ahmed Khan Magsi who is believed
to have been a cultural hero of Magsi tribe in general and battle of Bungah in particular. He was chieftain of
Magsi tribe, when a battle between Magsis and Rinds took place. According to the local bards who still sing
songs praising Ahmed Khan Magsi’s for the valour and intrepidness he displayed at the battleground. Nawab
Amir Khan Magsi, the descendent of Nawab Ahmed Khan Magsi has kept in his custody some of the swords and
shot guns that were used in the battle of Bungah. He also showed some of these archaic and valuable swords and
shotguns to this author. As mentioned earlier, the battle of Bungah was fought between Rinds and Magsis over
rustling in 1829 A.D. There inhabits many bards and local historians in Sindh and Balochistan who entertain
them and their audience with the narrative of Bungah meaning - a big Battle in Balochi language.
The tomb of Nawab Ahmed Khan is noted for its grandeur. The tomb is believed to have been built by Nawab
Ahmed Khan Magsi during his lifetime. It is built in square plan superimposed with onion shaped dome resting
on an octagonal drum. The façade of the tomb carries vertical panels, which were probably created for
embellishments. The most distinctive feature of the structure is the corner kiosks that add beauty to the tomb
symbolising the status of the owner. It is interesting to note that only royals’ tombs belonging to the ruling
family could carry such fascination. Formerly, there existed the wall enclosure around the tomb, which could not
withstand the vagaries of weather. At present, one can only notice the remains of the walled enclosure.
Previously, the structure was adorned with paintings. Today, all the paintings have gone or might have been
whitewashed damaging the original beauty of the structure.
To north of the mausoleum of Nawab Ahmed Khan Magi is tomb of Nawab Qaiser Khan, which has crumbled
into pieces. Nawab Qaiser Khan Magsi was also the chief of Magsi tribe. The tomb of Nawab Qaiser Khan
Magsi lies in a crumbling state. The dome of the structure has caved in damaging the grave’s inside. The plaster
of the structure has peeled off from inside and outside thus exposing the tomb to sunlight and rain. The exposure
to sunlight and rain has caused great damage to the structure playing havoc with the very architectural element of
the tomb. Next to him the octagonal tomb of Meehon Khan Magsi is located who was the nephew of Nawab
Ahmed Khan Magsi. He also took part in the battle of Bungah. Like his uncle, he also displayed his gallantry and
heroism in the battle. The tomb of Meehon Khan Magsi is also in dilapidated and derelict condition. The dome of
the structure is partially collapsed. From inside, it is decorated with floral designs. However, the paintings have
lost its original beauty due to direct exposure to sunlight and rainwater.
Apart from this necropolis, there exist other cemetery of Magsi chiefs at Old Jhall also known as Khanpur. The
old fort of Khanpur is in ruins. Likewise, the mosque that stands inside the deserted and ruined fort is also in a
shambles. At a walking distance from the fort are located five dilapidated mausoleums of Magsi chiefs.
Assumingly these structures might belong to earlier chiefs and rulers of Magsi tribe namely Bhoot Khan IV,
Ahmed Khan II, Gohram Khan II, Jaffar Khan I, and others. Not a single tomb has survived its original beauty.
All the structures are crumbling brick by brick. Seeing the destruction of these monuments at such an alarming
20
speed, one presumes that we might lose the physical existence of the structures in the span of decade.
Not far from the Old Jhall is situated the superb and grand tomb of Moti Gohram. The tomb of Moti Gohram is
built on a podium and is octagonal in plan with tapering towers reminiscent of Raisani tombs at Mithri in Sibi
from where the inspiration has taken while building the structure. The tomb contains two graves of Gohram
Khan Magsi and his wife Moti. Canopies that crown the four corner of the tomb indicate the aesthetic taste of the
builder. It was adorned with paintings that have now turned black due to persistent lighting a fire by local people
inside the tomb. In order to catch the pigeons, people light a fire and blow it out to create smoke thus causing the
pigeons that collapse on the ground.
Entering the tomb of Moti Gohram one finds ground littered with fuelwood that people have kept there for
lighting the fire. Avaricious people have also unearthed both the graves believing that the treasure is hidden
underneath. It is pity to see this monument falling into the hands of vandals who have done great damage to this
fabulous piece of architecture. The descendents of this dignitary should take note of this damage and destruction
of the structure.
Architecturally speaking, this tomb has no parallel in whole of Balochistan. Even the tombs of Raisani at Mithri
from where the influence has come do not match with this imposing tomb. The Nausherwani tombs in Kharan
also stand low as compared to the tomb of Moti Gohram. In addition to these structures, the tomb of Ahmed
Khan Boro, which is situated near Gandava town, also lies in state of neglect. These monuments should be
renovated to their original glory. If the decay and destruction of these monuments is not arrested in time, we
might lose their physical existence for good.
21
Gaji Shah: distinguished Kalhora Period Saint, Soldier
By Zulfiqar Ali Kalhoro
Weekly Pulse Islamabad, Sunday June 17, 2011
Gaji Shah was a disciple of Mian Nasir
Muhammad Kalhoro who was the founder of
Kalhora dynasty in Sindh (1681). The
Kalhoras ruled over Sindh from 1681 to
1783. Gaji Shah was also a general of Mian
Nasir Muhammad. He belonged to the Khosa
tribe. A lot of people believe that he was a
Syed because of the second half of his name,
Shah.
During the famous Mianwal movement of the
Kalhoras, every important person was given
the honorific title of Shah. Before the birth of
the movement, the title was invariably
associated with the Syeds who then held
religious power. It was Mian Nasir Muhammad who began bestowing the title on to his distinguished disciples.
For example, Panjo Dahote came to be known as, with the blessings of Mian Nasir Mohammad Kalhoro, Shah
Panjo; Abdullah Abro alias Godrio became Abdullah Shah or Shah Godrio; Hyder Faqir Leghari became Hyder
Shah; Yousaf Faqir Chhajro became Yousaf Shah; Nangar Faqir Magsi became Nangar Shah; Wasao Faqir
Chandio became Shah Wasao; Bahar Faqir Kaloi became Baleel Shah; Rodan Faqir Chandio became Rodan
Shah; Bahoo Faqir Leghari became Shah Bahoo; and Ibrahim Faqir Marri became Ibrahim Shah. Among all of
these, Gaji Shah Khoso was very close to Mian Nasir Muhammad.
The shrine of Gaji Shah is located some 35kms southwest of Johi in Dadu District. Gaji Shah took part in many
battles fought against the Mughal troops and was victorious almost in every one of them. Apart from that, he also
fought against Gursha Bulfat Khoso who was then the landlord of the area. Gursha Bulfat had killed one of his
disciples Dilshad Faqir Khoso. In retaliation, Piyaro Khoso supported by Gaji Khoso, killed Gursha Bulfat. The
death of Gursha created friction between the two clans of the Khosa tribe. Gaji Shah ordered his soldiers to kill
their enemies wherever they saw them. Legend has it that the soldiers of Gaji Shah killed many people of the
Khosa tribe. This prompted many Khosa families to change their castes to escape from further persecution. Some
families of the Khosa tribe living near the present village of Haji Khan distributed gur to publicly announce that
now they’re not Khoso but are Gur Leghari. Afterwards, those families came to be called Gur Lagharis. But the
timely involvement of Mian Nasir Muhammad Kalhoro prevented them from further bloodletting. Mian Nasir
Muhammad ordered the supporters and descendants of Gursha Bulfat Khoso to leave Kachho (part of Johi
tehsil).
Gaji Shah’s heroic stories are known to all those who know about the region. According to local accounts, Mian
Nasir Muhammad sent Gaji Shah and Shah Panjo Sultan Dahote (a lineage of Rathore Rajputs) to get his female
disciple liberated from the clutches of Bakhtiar Khan, then ruler of Sibi. He was loyal and supportive of Mughal
king Akbar and was an adversary of Mian Nasir Muhammad Kalhoro and his movement. In order to weaken his
movement, the Mughals and their supporters used to attack and kidnap Mianwal Faqirs. One day Bakhtiar Khan
kidnapped Mai Shamul, a female disciple of Mian Nasir Muhammad. Bakhtiar Khan imprisoned her where she
used to remember her mentor and sing songs in his praise. When the news of the kidnapping reached Mian Nasir
Muhammad, he ordered Gaji Shah and Shah Panjo Dahote to get Mai Shamul liberated. Following the order,
they surrounded the fort of Sibi and liberated Mai Shamul. Later on, those songs which Mai Shamul sang in
prison became known to the Mianwal Faqirs as MianJiSami or Samri which is still sung at the shrines of both
Kalhora rulers and their disciples
22
Gaji Shah died in the battle against the Brohi tribe at Lohi in Balochistan in 1691. Later on his body was brought
for burial to Lak (pass) Tando Rahim Khan where he had been posted by Mian Nasir Muhammad. Today the
shrine of Gaji Shah is greatly revered by both Baloch and Sindhi tribes. According to local accounts, the canopy
over the grave of Gaji Shah is believed to have been built by Mian Yar Mohammad Kalhoro (1700-19) who had
commissioned several other buildings, mainly three-domed mosque and tombs located near the canopy of Gaji
Shah.
The shrine of Gaji Shah Khoso is visited by his tribesmen. During the time of Mela, his shrine is seen bustling
with his disciples and devotees and resonates with slogans of Allah Tohar (in God we trust or absolute
dependence on God), which is the slogan and identity of the Mianwal movement.
23
The love tombs of Sindh
Zulfiqar Ali Kalhoro
The Friday Times Lahore, June 2, 2011.
A scattering of 18th century mausoleums still bear tableaus of Sindhi folk tales. Zulfiqar Ali Kalhoro reports
In the Shahdadkot tehsil of Qamber-Shahdadkot in Sindh there are many historic tombs. The most important are
those of the Jamalis, who played an important role in the history of Sindh during the rule of the Kalhoras and
Talpurs.
The art of painting flourished from the time of the Samma dynasty (1335 – 1550 AD) in Sindh, particularly stone
engraving and paintings at Makli, the largest necropolis in the world. During the Kalhora period (1680-1784 AD)
both miniature paintings and wall paintings became common. (One finds here a number of portraits of the
Kalhora rulers and princes.) Likewise, wall paintings were a distinctive feature of Kalhora art, and mainly
depicted folk tales, as well as scenes from rustic life, the world of tribal chiefs and their battles. The Kalhoras are
believed to have built many tombs for themselves and their soldiers. The rulers’ tombs have on them floral and
geometrical designs, whereas the soldiers’ tombs bear figural representations.
Some celebrated painters of the Kalhora period are Piyaral Mashori, Gul Mohammad Vighio, Qadir Bakhsh
Kalhoro, Piyaral Mashori, Imam Bakhsh Mashori, Tooh Mashori and Koral Mashori. They came from Mian
Nasir Mohammad Village in Khairpur Nathan Shah and are
buried in the necropolis of the same village. The Jamali tombs
are famous for these artists’ paintings, which depict the folk
romances of Sasui-Punhun, Moomal-Rano, Suhni-Mehar,
Leila-Majun and Nuri-Jam Tamachi. These tombs are in
Larkana and Qamber-Shahdadkot.
Imam Bakhsh Jamali village is located some 18 km northwest
of Shahdadkot. It is named after founder Imam Bakhsh Jamali.
It contains some historic tombs that remind visitors of its past
glory. Originally there were four tombs, only two of which
have survived. The tomb of Imam Bakhsh, after whom the
village is named, no longer exits, but the tombs of Sobdar
Jamali and Bhai Khan Jamali still dominate the landscape.
Sobdar Khan is believed to have been the chief of his tribe
during the Kalhora period. Local accounts report that he also
served the Kalhoras during the rule of Ghulam Shah Kalhoro
(1757-1772 AD). Shaho Khan, who was the son or descendent of Mir Sobdar Jamali, is believed to have built the
tombs. The tomb that is plastered with lime belongs to Mir Sobdar. There are also two other graves here, though
not much is known about them. The tomb of Mir Sobdar is like a museum and is decorated with paintings by
Chakar Khan, a renowned mason and artist who lived in Murid Dero in Johi, Dadu. He also painted folk tales
inside the tomb.
12 km northwest of Shahdadkot, on the same road to Imam Bakhsh Jamali, is the tomb of Shakal Jamali. You
can see it from far away. It is squared and plastered with lime. Local traditions maintain that Shakal Jamali was
the head of his village. But another version says that he was a shepherd and built the tomb in his own lifetime.
Yet another version holds that he was a very pious man and worshipped in forests and haunted places. His
descendants later erected the tomb. From inside it is adorned with paintings. 20 km north of Shahdadkot lies the
tomb of Saeed Khan Jamali in a village named after him and locally known as Qubo Saeed Khan. He is believed
to have been the disciple of Mian Nasir Muhammad Kalhoro (1657-92 AD). The tomb is very simply built and is
24
decorated with floral paintings. It is believed to have been built by Saeed Khan Jamali himself during his
lifetime. He was famous for his generosity in far-flung areas. About 12 km west of Shahdadkot, on the road
leading to Ghari Khairo near the village of Noor Nabi Junejo, is situated the tomb of Rehan Khan Jamali. He was
a landlord. This tomb too was built by its occupant during his lifetime. It is a huge building that rests on a square
plan. Now it is deserted and attracts only the attention of birds. From a distance it looks like a Kalhora tomb due
to its ambulatory gallery. But there aren’t any stairs in it, and that is a defining characteristic of Kalhora
mausolea. Almost all the Jamali tombs depict animal and human figures. Folktale enactments and dancing scenes
are their most common features. Some tombs have already decayed; the shepherds who take shelter inside during
the harsh summer days have defaced many of the paintings.
The romance of Moomal-Rano is depicted in the tombs of Sobdar Khan, Shakal Khan and Rehan Khan Jamali.
In the tomb of Sobdar is a painting of Rano with his two friends, all of them on horseback and going to Kak
Mahal, the palace of Moomal, who is sitting inside it with her sisters.
The story of Rai Dyach is also painted in the Jamali tombs. The main characters here are King Rai Dyach
himself, Sorath, her maid, and Bijal, a famous bard of Junagarh. (Bijal had promised one Ani Rai to bring him
the head of King Dyach.) In the painting Bijal is shown playing his fiddle on the palace stairway, and Rai Dyach
is shown presenting his severed head to him. Below are the two
women figures of Sorath and her maid, both of whom appear to
be mourning the death of the king.
Another panel shows the folk romance of Nuri and Jam
Tamachi. Both are shown sitting in a boat. (Nuri belonged to
the Mohana fishing tribe and Jam Tamachi was a ruler from the
Samma dynasty of Sindh. He fell in love with Nuri during his
frequent visits to Kenjhar Lake.)
It is also interesting to see paintings of Laila-Majnu in the
Jamali tombs. The romance of Laila-Majnu is not Sindhi. It
comes to us from Arabia. However, it captured the imagination
of the Sindhi artists who painted the love story in many tombs
of upper Sindh. Majnu is seated under tree, while Laila is
shown approaching him. A person with an axe is painted to the
left of Majnu. This person is perhaps going to cut the tree under
which Majnu sits. The tree in turn appears to have bent with the
passage of time. This shows that Majnu spent a long time under
it waiting for his beloved Laila. (The presence of the man with the axe confirms it, i.e. the tree is so old that it is
simply asking to be cut!)
Then there is the story of Suhni and Mehar. It is depicted on the tomb of Sobdar Khan Jamali. Mehar is seated on
a cot and talking to Suhni. On either side of the cot are Mehar’s buffaloes. In another image, Sunhi is shown
crossing the river to meet her beloved Mehar. One finds Mehar across the river, playing his flute and grazing his
buffaloes. Sometimes one also finds in depictions of this story a saintly figure that seems to have engaged in
prayers for Suhni’s safe crossing of the river.
Then there is the Sasui-Punhoon story. This too we find
in the tombs of Sobdar, Shakal, and Rehan Khan Jamali.
The panels show the in-laws of Sasui taking Punhoon on
a camel’s back to Keck Makran, his hometown. Sasui is
shown following the footprints of the camel to meet her
beloved. (In the story a friend tries to dissuade Sasui from
treading the difficult path that passes through the looming
mountains.) The depiction of Umar-Marvi is exclusive to
Rehan Khan Jamali’s tomb. It shows Marvi with her
friend at the well. Umar is forcibly taking Marvi on a
25
camel to his palace in Umarkot. Marvi’s friends are shown beseeching Umar to leave her. All these paintings
seem to have been commissioned by those who are buried inside. That they wanted to be associated in death with
popular folk tales of the time is itself quite remarkable, and sheds light on the cultural life of 18th century Sindh.
But this rich and imporant visual heritage is falling to pieces. In order to save it, the concerned authorities and
descendants of the entombed Jamali dignitaries will have to make a joint effort. Otherwise Sindh will lose yet
another record of its past.
26
A Glorious Past
By Zulfiqar Ali Kalhoro
Weekly Pulse Islamabad, September 23, 2011
The heroics of Mian Nasir Mohammad Kalhoro’s
disciples and soldiers dominate the daily chit-chat of people living in the area of Kacho area of Dadu and
Larkana districts. The folksingers of Kacho sing songs of praise and eulogize the soldiers of Mianwal movement
(also called Kalhora movement) who excelled in the battles fought against the Mughals. There are many
towering figures that have left behind many stories of heroism and gallantry. Among such towering figures, the
name of Haji Khan Marri is quite prominent.
Haji Khan Marri, the son of Nabi Dad Khan, was an illustrious general of Mian Nasir Mohammad Kalhoro. He
came from the Kahan (now, tehsil of Kohlu) area of Balochistan to get himself enrolled as a disciple of Mian
Nasir Mohammad Kalhoro. He belonged to the Mahakani lineage of the Marri tribe. He also brought with
himself a number of other lineages of his tribe namely the Hisbanis, the Kingranis, the Badanis, the Gahani
Potras and the Lahranis. According to local accounts, he was also father-in-law of Mir Suleman Khan Talpur,
alias Kaho Khan, who was the ancestor of the Talpurs of Sindh.
Haji Khan Marri enjoyed a very exalted and dignified position in the court of Mian Nasir Mohammad Kalhoro.
He acted as Mian Nasir’s senior adviser and took part in many battles. Despite his old age, he escorted Mian
Nasir to a number of places in Sindh, Punjab and Balochistan. After the death of Mian Nasir in 1692, his elder
son, Mian Din Mohammad Kalhoro led the Mianwal movement. Like his father, Mian Din Mohammad Kalhoro
gave Haji Khan due respect and retained his position of senior adviser and made his elder son Ibrahim Khan a
general in his army which mainly consisted of his tribesmen. Later on, Mian Din Mohammad Kalhoro bestowed
upon Ibrahim Khan the prestigious title of the Shah.
Haji Khani Marri was
quite close to Maqsoodo
Jhinjhan, a gallant
general of Mian Din
Mohammad, Feroz Verar,
the founder of Naushero
Feroz, Farid Faqir
Bhagat, the founder of
Faridabad, and Mir
Monder Khan Chandio.
He died fighting against
the Mughals in the battle
of Gerello in 1699. His
friend Mir Mondar Khan
Chandio and son Ibrahim
Shah also got killed in the
battle of Gerello. Mir
Mondar Khan Chandio
was taken for burial to his native place in Jagir, a place that later on came to be known after his name. Ibrahim
Shah was buried where he was posted in present-day village of Jamo Khan Sial, 12kms southwest of Larkana.
Haji Khan Marri was taken to Phasi Laki in the Jagir area where he was posted. His tomb is on a hillock some
40kms southwest of Shahdadkot. The tomb of Haji Khan Marri is believed to have been built by Mian Noor
27
Mohammad Kalhoro. It is built in a square plain superimposed with a hemispherical dome. The tomb contains
four graves including that of Haji Khan. From the inside it is adorned with floral designs.
Haji Khan Marri left behind eight sons — Ibrahim Shah, Masti Khan, Hyder Khan, Jaffar Khan, Daulat Khan,
Shakal Khan, Shadi Khan, and Shahdad Khan. His three sons, Daulat Khan, Shakal Khan and Sadi Khan played
very important roles during the tenure of Mian Noor Mohammad Kalhoro. Later on, Daulat Khan became his
general and got the Jagir around the present taluka of Jam Nawaz Ali. Daulat Khan Marri is buried in a
graveyard situated some 13kms southeast of Jam Nawaz Ali. The graveyard has a number of tombs belonging to
the Marris and the Talpurs. The largest tomb is that of Daulat Khan Marri. An inscription on the northern wall of
the tomb reads his name as Mian Daulat Khan, son of Haji Khan Marri. It is decorated with floral and figural
designs. Its eastern and southern walls are adorned with scenes from the folktales of Sassi-Punhun, Sohni-Mehar
and Laila-Majnun. Behind the structure lies the tomb or Shakal Khan Marri. It is smaller compared to the tomb
of Daulat Khan.
Descendants of Haji Khan Marri are known as Hajizai Marris. This lineage of the Marris played a very important
role in the socio-economic history of Sindh during the Kalhora and the Talpur tenures. A number of Hajizai
Marris also served the Talpurs as their generals, prominent among them are Muhabbat Khan, Gul Hasan Khan,
Jahan Khan, Ghanwar Khan, Kamal Khan, Khair Mohammad Khan, Sajawal Khan, Qaim Khan, Jalal Khan,
Masti Khan and Adam Khan.
28
The writing on the wall
By Zulfiqar Ali Kalhoro
The Friday Times Lahore, August 2011
Rock carvings and inscriptions have been reported in different parts of Pakistan, but the large number of rock art
sites located in the different nains (hill torrents) of Kirthar Range remains largely undocumented.
I believe these bulls of Sado Mazo predate the Ravi-Hakra phase and belong to the Neolithic period
(6500-4500 BC)
The Kirthar Range is about 150 miles long and is a watershed all along except for the point where the Gaj Nain
cuts its way through from the west by impassable gorge. The range therefore looks like a wall from the plains.
There are only ten places through which laden camels can cross the range, and half of them are huddled together.
The lofty summits of Kirthar Range run from north to south with its highest point in Sindh at Bandu-Ji-Qabar at
7112, feet followed by Daryaro at nearly 6000 feet and Kute Ji Qabar (or The Dog's Tomb) at 6877. The two
famous summits around the Gaj are the Kachrak and Gorakh. From the Gorakh one has a panoramic view of
both Nali and Gaj valleys. The course of the Nali valley meanders through the hills and is amazing to behold
from the top of the Gorakh, which rises to 5,700 feet.
During my research on wall paintings in Johi in 2004, I
was informed by one of my friends about the rock carvings
in Nain Nali. The following year I visited the rock art site
of Sado Mazo. It took me a few years to discover a large
number of rock art sites in both Nains Nali and Gaj. Both
are home to a large number of rock art sites. Since then, I
have been documenting the rock art sites situated in
different nains, dhoras (large tributaries) and dhoris (small
tributaries) of Kirthar. Each dhori joins a dhora, which
subsequently brings the drainage into the nain. Every
dhora and dhori has rock carvings.
Engravings of horse and ancient script
29
There are only ten places through which laden camels can cross the whole of the Kirthar Range, and
half of them are huddled together
The remote and narrower dhoris and dhoras contain a large number of petrogylphs. Some of the nains which lie
north of Nain Nali and depict petroglyphs are Taki, Gaj, Makhi, Sallari, Khurbi, Dilan, Radh, Saghro, Buri,
Khenji, Chhahar, Seeta, Mazarni, and Keharji. In each of the nains there are many dhoris and dhoras depicting
petroglyphs. And to south of Nain Nali are the Kukrani, Haleli, Anghai, Khandani, Naing, Bandhani, Osho and
Baz Khando torrential rivers that also contain petroglyphs. Apart from the nains there are also petroglyphs on
some ancient routes connecting Sindh with Baluchistan. One such route is that of Phusilak and Heeghan spring;
it served as a trade and pilgrimage route. Around these passes and springs there are many rock carvings. The
people of Sindh used to go to Jamuro in Kotrio tehsil of Khuzdar in Baluchistan and beyond to Iran.
The images of the humped bulls provide a link to an ancient religion in which this animal was
worshiped as it played an important role in the economy (like it did in the Indus Valley)
Nain Nali or Nari (both names are in vogue) is a perennial river which originates from the foot of Kirthar near
the Phusilak pass. The Phusilak had been the main route between Sindh and Baluchistan from ancient times.
People still use this route to bring pish (dried leaves of the dwarf palm) from Baluchistan to Wahi Pandi town in
Johi tehsil. Nali joins Gaj's diverted course near Qasim Rodrani village. It is approximately 35-40 km long. It is
home to many archaeological sites of which the Karo Kot, Kotho, fort of Raja Dahir, remains of two stupas and
rock art sites are quite prominent. There are 28 rock art sites which I have visited; of them Chiti, Kalri, Peepal
Gaptar, Chuchar and Sado Mazo rock art sites are quite prominent.
Petroglyphs of Bull and Stupa at Chit rock art site
30
The Phusilak pass had been the main route between Sindh and Baluchistan from ancient times.
People still use it to bring pish (dried leaves of the dwarf palm) from Baluchistan to Wahi Pandi town
in Johi tehsil
There are two ways to get to the rock art of Sado Mazo in Nain Nali. Either one can go from Odrilaki via
Pahilaki (pass) to reach the site or from Bodho village. The former route is enchanting and one encounters many
caves on the way to the rock art site. The first cave is located some three kilomtres from Wahi Pandi. This cave
is just above the Gaji Kumb. (A kumb is a natural pond in the bed of the perennial river.) One finds some graffiti
here. After Gaji Kumb, there are two routes, one that goes to Bodho village and the other to Pahilak. Just short of
Pahilak there are two caves. When one climbs up to Pahilak, one gets a panoramic view of the Nain Nali. As one
descends one notices a large Pahi Kumb with a cave overlooking it. Locally, these caves are called Jhudo. This
camel path goes up to Chakar Gat where there are ruins of a fortification wall from the medieval period and a
few Muslim graves. From this place, the rock art site of Sado Mazo is hardly 300 metres. As one descends from
Chakar Gat to Sado, one notices a cliff running from north to south. On this cliff one finds rock carvings and
inscriptions. The cliff or rock wall is 6 feet from the ground and the highest image of the bull is about 15 feet
from the ground. The length of this rock wall, locally called 'ban', is 20 feet. The lower part of the ban or
mountain wall collapsed in the 2001 earthquake while the upper part is in good condition. This sandstone rock
wall contains extraordinary petroglyphs and inscriptions.
The most impressive images are of the bulls. There are at least 11
magnificent petroglyphs of humped bulls or zebus. On the northern panel
are images of two bulls, one large and one small. The large bull has
straight horns, joined legs and a hump and is standing in a looking-down
position. Before it is the figure of another small bull with hump and short
straight horns. However, this bull has separated legs. It is possible this
was engraved later. There are hundreds of bull images on the Indus seals
and terracotta figurines which have separate legs. According to Kenoyer
some bull figurines from the Ravi-Hakra phase (3700-3200 B.C) have
joined legs. Bull figurines with legs joined are found in Chaunho Jo Daro
and Harappa. Kenoyer believes that bull figurines of the early Indus or
Kot Dijian period have joined legs. I believe these bulls of Sado Mazo
predate the Ravi-Hakra phase and belong to the Neolithic period (6500-
4500 BC). At some rock art sites in Nali and Gaj valleys joined-leg bulls do not have the belts which I think are
much older than the ones with belts. They may belong to the Mesolithic period. I have documented more than
400 magnificent bull carvings in Nain Nali of which only 11 are with legs separated. This indicates the earliest
bull carvings were those with joined legs, and bulls with separated legs were possibly done in a later period.
Three Kharoshti letters engraved
before the bull image
Author with local persons at the Chiti
rock art site
31
There are also three fire altars and a fire temple that distinctly evoke the rituals and symbols of the
Zoroastrian religion
One keeps in mind three features while differentiating between bulls with joined legs and bulls with separated
legs. There are two groups of bulls. The first group has joined legs and straight horns. The second has curved
short and long horns and they are shown with belts. Third, there are bull figures with separated legs, and these
are usually heavy or normal bodied. I think that bulls with straight horns and joined legs without belts predate the
ones with curved short and long horns and separated legs and belts.
The most masterly piece of the Sado Mazo Rock art site is that of the horse. The body of the horse is decorated
with two lotus flowers, one on its hind leg and the other on the shoulder. It appears to be in movement. Due to a
collapsed piece of the panel, the legs of the horse were also damaged. The bell also suspends from its neck.
The rock art site of Sado Mazo depicts four rock carvings of the
Zoroastrian religion. There are three fire altars and a fire temple that
distinctly evoke the rituals and symbols of the Zoroastrian religion. Two
altars are without flames and a third is with flames or a fire vessel
represented by wavy lines. On the southern side and just close to the
Buddhist stupa is depicted a fire altar. The shape of the fire altar is like a
lamp-stand which is mounted by fire vessel or flames. The base of the
lamp-stand and the top on which the fire vessel rests is flat with concave
sides. The two altars without flames are depicted on the northern side of
the mountain wall close to the bull image. The first altar is depicted with
the hind legs of the bull and the other is below the bull figure. Both altars
are similar in the shape and resemble the with one with the flames.
The southern rock wall of Sado Mazo shows an image of a fire temple
resembling the chahartoq of the Sassanid period (224-641 AD). Four
vertical lines and two horizontal lines superimposed with A central dome
and two kiosks are drawn to make the image of the fire temple.
There are five images of the stupas. Three stupas are of the same shape
and the fourth is column-like. The fifth image is incomplete.
The most impressive images are of the bulls. There are at least 11 magnificent petroglyphs of
humped bulls or zebus
The first image of the stupa is situated to the extreme south of the mountain wall. Close to this stupa is a broken
Brahmi inscription. The dome of the stupa rests on three stories or terraces and is superimposed by finial and
streamers. The second stupa was partially damaged due to the disintegration of the mountain wall, and is similar
in architecture to the stupa with the damaged inscription. This stupa [fig.15] is close to the altar with fire vessel.
The dome of the stupa rests on three terraces. The dome is partially damaged due to harsh weather conditions
and the streamer is not clear because the upper part of the cliff has disintegrated.
Engraving of Stupa at Chiti rock art
site
32
Two more stupas are depicted south of the panel, close to the Brahmi
akhshara and the bull image with separated legs. They are engraved
together [fig.16]. The first stupa has three stories crowned with a dome
and prominent topping. The second column-like-stupa has more a lingam
shape. This structure has two stories superimposed with a lingam-shaped
tower. The dome rests on two stories with prominent topping. The first
storey is decorated with corner posts. The second storey is elongated and
is in the shape of a tower. This stupa is different from the other stupas
depicted in many rock art sites of Nain Nali. The fifth stupa is left
uncompleted; only four terraces or stories of the stupa are visible.
The masterpiece of the rock art of Sado is that of the dancing girl. She is
shown in movement, with her left hand raised and the right placed on the waist. The eyes, nose and mouth are
clearly depicted. The female headgear of the dancing girl is also prominent. She is shown wearing a shirt and
trousers. Due to the collapsed part of the panel, her legs are partially visible. The figure of the dancing girl is
flanked by swastikas. I have never seen such a dancing girl in the various rock art sites of Nain Nali, Gaj and at
other places. But I have seen some images of the dancers in groups, or in group dances, near other perennial
rivers of Kirthar. The discoveries of the now-famous dancing girl from Moen Jo Daro and this one from Nain
Nali confirms that dancing has been part of the socio-religious life of the ancient people of Sindh from time
immemorial.
A total of six Gupta Brahmi inscriptions have been recorded here
of which only three are readable while the rest are either damaged
or illegible. I sent three inscriptions for deciphering to Nasim Khan
of Peshawar and Abdul Samad of the Hazara University
respectively. Abdul Samad believes that these inscriptions belong
to the Gupta Brahmi and placed them in 4th century A.D. The
inscriptions bear the names of the travelers or the pilgrims. The
readings of the inscriptions are given below.
1. "Sri gustatisyaparindapaputrasya", meaning 'Of Sri Gustati, son
of Parindapa' [fig.20]
2. "Humataras[y]a", meaning 'Of DakkaHumatara' [fig.21]
3. "(Ta)rarajrajyadara[ysu]sya", or 'Of Tararajrajyadarazu' [fig.22]
Abdul Samad states that all the names are non-Indian but I believe that all the names are local. The first name,
Parindapa, father of Gustati, is a purely Sindhi name which is still current in some parts of Tharparkar.
I reproduce here the text readings by Nasim Khan of Peshawar University. Nasim Khan states these are
"probably three, or maybe more, different inscriptions written by three different persons or might be by the same
person using different tools for engraving. They generally represent proper names with titles and patronyms. On
the basis of paleography, they can be placed between 3rd-5th centuries".
1. "++++syapari[ndra]paputrasya", meaning 'Of..., the son of Parindrapa'
2. "?r? Matarasyadakkas[ya] tararastisyadaradara+sardhya", meaning 'Of ?r? Matara, the strong or intelligent, the
protector, the ... of Dara'. Probably followed by four faint letters.
3 "[dhasamasa]" or 'Of Dhasma'. The last letter is overlapped by a large-sized akshara 'Ta'. Below there are traces
of a few letters.
From the readings of Nasim Khan, it is clear that all three names - Matara, Dara, Dhasma - are local. Dhasma is
today Damsha. This name was common in medieval Sindh. Even Matara is a purely Sindhi name meaning 'stout
Image of dancing girl
image of fire Altar
33
man'. The name Matara or Mataro refers to a term which was widespread during rule of the Sammas (1350-1520
AD) and the Kalhoras (1681-1783 AD). The famous characters of Shah Abdul Latif Bhittai's poetry, Mokhi and
Matara, were part of the folklore of the Samma period. Shah Abdul Latif (1689-1752 AD), the great Sufi poet of
Sindh, composed poetry about the story of Mokhi (a bar woman) and Matara (stout men) in his sur (chapter) by
the name of Kalyan. All the persons were of Sindhi origin. According to local accounts there were eight Mataras
(stout men who used to visit the a bar run by the woman called Mokhi). The Mataras belonged to Chana,
Chauhan, Samma and Sumra castes who were the notables of Sari in the Kohistan area of Sindh. Their tombs are
still to be found at the foothill of Narathar in Gadap tehsil of Karachi.
The second prominent man who was called Matara was one Mir Lutfullah, a minister during the reign of Mian
Noor Muhammad Kalhoro (1719-1753 AD). The panel complex depicts a total of five Gupta Brahmi aksharas
(letters) running from north to south. These aksharas may indicate some meanings because they are depicted in
sequence; the first is depicted to the extreme north from where the first rock carvings start and the last where the
carvings end between two images of the stupas and the bull.
The discovery of petroglyphs and inscriptions in Sindh mark a watershed for the history of the land. There are
many rock art sites in the Kirthar Mountains and its subsidiary ranges, including caves and rock shelters. But the
rock art site of Sado Mazo is different from other rock art sites in different nains of Kirthar and its subsidiary
ranges in that the Sado Mazo petroglyphs belong to far more ancient religions of Sindh.
The images of the humped bulls provide a link to an ancient religion in which this animal was perhaps widely
worshiped as it played an important role in the economy (like it did in the Indus Valley). The images of the bull
on Indus seals and pottery are also numerous. But their style is different from these ones found at Sado Mazo.
The Indus bulls have separated legs whereas the Sado Mazo bulls have joined legs. I believe that the joined-leg
bulls predate the bulls with separated legs.
The Zoroastrian fire altars and temples and Buddhist stupas are testimony to the fact that these religions were
once dominant both in the plains and mountainous areas of Sindh. One can still find the remains of stupas,
monasteries and Zoroastrian temples which are square in plan and have four openings from four directions in the
Kirthar Mountains. These fire temples may belong to the Sassanian period (283-356 A.D.), while the Buddhist
symbols may have been engraved in the time of the Buddhist Rais of Sindh (499-641 A.D).
34
's
First Independent Weekly Paper - May 27 - June 02, 2011 - Vol. XXIII, No. 15
Ancient art of the Kirthar
By Zulfiqar Ali Kalhoro
The Friday Times Lahore, September 15, 2011
Many nains (hill streams) originate from the Kirthar Range in Sindh except for Gaj which comes from
Baluchistan across the very narrow gorge of Thak. The Gaj Valley is situated 38 km from Johi tehsil, Dadu
district, Sindh. The Shakloi is a tributary of Nain Gaj. The gaj is an ancient route followed by travelers, traders
and pilgrims. Through the Lorah pass (lak) people carried out their trades. This route is still used by Sindhis,
Balochis and Brohis.
The waters of Khuzadar drain into Nain Gaj as well as those of
other tributaries. Northern and southern valleys or dhoras
(tributaries) of Gaj were also routes connecting the northern-
southern valleys. These dhoras (major tributaries and dhoris
(subsidiaries) of Gaj are still inhabited.
Shakloi Dhoro, a southern tributary of Gaj, was the ancient route
used not only by pilgrims, traders and travelers but also by
sheperds. The sheperds still move along this route to spend their
summers on the Gorakh, which is the highest peak around the Gaj.
Shakloi dhoro and Phazgar dhori served as the route until the
construction of Gorakh Road in 2004.
The lower part of the dhoro is called Shakloi whereas the upper one from which the dhoro originates is called
Gurban. I have discussed in this article the rock art sites located in Shakloi, Loi Dan, Faizoo Garoti and Gurban,
all tributaries of Nain Gaj.
View of Thak Kumb
35
The rock art site of Shakloi is locally called Chiti which means
'engravings'. The site is located 2 km south of Nain Gaj. East of this site is
situated Jeandi Shah site of the Indus period. South of it is a Gurban
dhoro, well-known for the engravings of a unicorn and religious
structures, and Loi Dan dhori, notable for the prehistoric petroglyphs of a
bison and the historic engravings of riders and religious structures. On its
west are Phazgar and Met dhoris where I have also discovered the
petroglyphs.
The engravings from Chiti are of the prehistoric Bronze Age and historic
periods. They are found on sandstone rock formations. These rock
formations are locally called ban. Petroglyphs are found on the ban or
cliff and rock outcrop. The northern side of the cliff has petroglyphs of the Bronze Age. The southernmost
engravings belong to the Buddhist, medieval and post-medieval periods. Similarly on the rock outcrop are the
engravings of the Bronze Age, Buddhist and medieval periods.
Of all the animal imagery, most amazing are the petroglyphs of the
bull. There are ten bulls engraved on the southern panel of the cliff
and the rock outcrop which is situated southeast of the cliff. The
southern panel contains three bulls with stupa overlaying them.
Two bulls are shown in face to face style. This style is not peculiar
to Gaj valley. A similar style of bulls is also found at the rock art
site of Kalri in Nari/Nali Valley. The ibexes are also represented in
a similar style on the northern panel of the cliff between two stupa
depictions.
The legs, humps and horns of the bulls are clearly recognizable.
The pecking technique was used to execute these engravings. Bull
figures on the rock outcrop are interesting. Three out of four are made by pecking and pointing technique. The
fourth, which is executed by pecking technique, is shown with elongated body as one finds the similar elongated
bulls on the Nindowari pottery. I have also documented the petroglyphs of elongated bulls in the Kashani Valley,
which is a tributary of Nain Taki (hill stream) in Johi tehsil. The Kashani valley lies 6 km south of Gaj valley.
Another bull figure is shown in a lively style. Its legs, horns and hump shown clearly. Still another bull has
become very dim due to weathering conditions. It appears to be of prehistoric period.
There are ancient and modern hunting and combat scenes on the cliff.
There are two depictions of archers who are shown pointing their arrows
at the ibexes. Close to this image is a male figure holding a spear in his
hand with extended arms. This figure appears to be possibly of the Bronze
Age. On the extreme north of the cliff are ibex carvings. Close to them is
another figure of an archer who is also shown aiming his arrow at the
ibex.
Some petroglyphs of the modern period show male figures hunting ibexes
with guns and rifles. In some petroglyphs only guns are shown aimed at
ibexes. There are many such images found on both northern and southern
panels.
There are also many images of warriors on both panels of the cliff. On the northern panel are two male figures
wielding swords. One figure is shown holding two swords in both hands. There is also an interesting male figure
which is made by pointing technique. This figure is holding a sword in one hand and a shield in the other. This
male figure is engraved below the ibex image that is also executed by pointing technique. There is an interesting
Ritual dance depiction
Animal images at Chiti
Petroglyph of three deities of Kushan
period at Loi Dan
36
male figure close to the two ibexes which stands face to face. This male figure is shown with elongated right arm
holding a spear or whip.
The images of camel and horse-riders are also found on both the
cliff and rock outcrop. The riders are shown standing on horseback
or camel back, holding bridle in one hand and sword or whip in the
other. Some images on the northern panel of the cliff are ancient as
compared to the ones found on the southern panel. Petroglyphs of
camel and horse riders appear to have been engraved during
medieval or post-medieval periods.
The engravings of ritual dance are found on the southern panel.
There are three rows of dancers who are shown dancing before
verandah-like structures which possibly represent their villages,
settlements or dwellings. On the top, there is an artificial verandah-
like structure, on the left of this verandah-like structure are two
male figures. One male figure is shown with an animal attached to
his right leg. Another animal is shown grazing.
In the middle row of the
dancers is the prominent
figure of a male on the left
with circular body and visible genitals. He appears to be either the chief
of the clan or a deity. Five dancers are shown before the chief. The fifth
figure on the right holds the tail of a feline and close to this is perhaps a
figure or a container with verandah-like structure on the right.
There are three dancers in the bottom. In the center is a figure with raised
hand and a mantel nearby just before the last or third dancer. The third or
last dancer stands before the verandah-like structure. One finds similar
structures on the south of this ritual dance panel. This verandah-like
structure has a rectangular room attached to the left. Between two panels
of ritual dance and verandah-like structure is engraved an interesting sign which is possibly a container or some
sacred sign associated with the religious community who once inhabited the valley. It appears that this sacred
symbol is associated with people who are shown performing ritual dance. Two verandahs without dancers are
also engraved north of the carvings of dancers and south of the two stupa images.
Apart from the ritual dance, there are two rows of dancers engraved
on the rock outcrop. In the first row are the four dancers with
female dancer in the centre. This carving is not ancient; rather it
appears to be of medieval period. The second rows represent three
dancers with a female in the middle. This is an ancient engraving
which is executed by abrading technique.
There are twelve stupa images found on the cliff and rock outcrop.
On the cliff are a total of ten stupa images. The first stupa on
southern panel is three-storied with a dome topped by a harmika
topping and a single decorated streamer on the left side. The
streamer shows six circular and rhombus-shaped designs. There is
a small stupa close to this with two storeys topped by a dome and
finial. The four lower storeys are of equal size whereas the three upper storeys are in diminishing size. There is
another stupa close by which is irregular due to lack of the space available because there is a sudden crack on the
cliff. It is a simple seven-storey structure topped by a finial.
Stupa engraving
Arrow pointing to Bison, a prehistoric
petroglyph at Loi dan
Narrow course of Gurban dhoro in Gaj
nain
37
Just close to the irregular stupa image are two stupas engraved together. They are different from the ones
discussed above. They are simple two-storey structures topped by finials.
The stupa rests on the rectangular platform with six storeys in diminishing
size topped by anda, harmika, finial and decorative streamer. The
streamer has 14 ornaments. This stupa is executed with sharp metal
chisel. Similar types of stupas are found in many rock art sites of Gaj and
Makhi valleys. Put differently, stupas of these types are only peculiar to
the valleys of Gaj and Makhi and are not found elsewhere in the valleys
of Khirthar.
The next carving of a stupa is overlapped by the ibex images. It rests on a
rectangular platform with four storeys in diminishing size. It has anda
(dome) which is topped by harmika, finial and simple flag.
The next stupa is a multistoried structure in diminishing size superimposed with harmika finial and topping. The
diminishing stories are not symmetrical. The last stupa on the cliff rests on a double platform with three storeys
superimposed with anda, harmika, finial and decorative streamer.
There are two stupa images found on the rock outcrop. The main stupa covers the center of the rock. It rest on
the square base. The other stupa is very simple with one storey, a finial and a simple banner.
Loi Dan is small dhori (a tributary of Shakloi dhoro). It lies west of the Chiti rock art site. Loi Dan rock art site is
noted for prehistoric petroglyphs of bison and historic engravings of feline, camels, riders, structures and cut-
marks.
There are three images of the bison which are executed on a cliff
facing north. They are shown in wild style. The images are
executed by pecking technique with sharp stone implements. The
horns, tail and small hump of the two bisons are recognizable. The
third bison is not clearly shown due to the cracks on the cliff. Only
its hind legs and hump are visible. The discovery of these
petroglyphs is testimony to the fact that this extinct animal was
important in the fauna of Kirthar.
Nowhere in Khirthar are found the petroglyphs of the bison. This is
the only rock art site where three heavy-bodied images of the bison
are executed. Apart from images of the bison, some engravings of
feline, camel and horse riders are also found on the cliff. Image of the feline seem to be executed by sheperds
since the artist has attempted to make the image half-heartedly and left it incomplete.
The next carvings are of the ibexes and horse riders. Riders are shown holding bridal of the horse in one hand
and the sword in the other. Apart from the engravings on the cliff, there are many found on the boulders and rock
surface. There are four boulders lying on both banks of the dhori containing the images of the ibex, camels and
geometric signs. There are three boulders on the right bank of the Loi Dan dhori which has cut marks.
On another boulder are cut marks and a vertical oval-shaped opening where one can sit inside easily. This
opening was also functional for those who used to perform austerities. A marking inside the opening confirms
that it could also have been used by prehistoric and historic men. Such oval-shaped openings are still used by the
hunters who are holed up here while waiting for the animals and birds. They are mainly found along the banks of
the dhoris or the dhoras and kumbs (natural ponds) where the animals come to quench their thirst. There are
engravings on the rock surface besides the cut marks: images of the ibex, camels, structures and geometric
designs. [box10]There is an interesting engraving of a structure. It is square with an entrance on the east. Four
decorated finial with three tree-branch-shaped designs adorn the roof. Three individual figures are shown inside
Satellite picture showing the Nain
Gaj and Rock art sites in Shakloi
Dhoro
Nature sculpture in Shakloi dhoro
38
the structure. Two figures are standing close to the northern and southern walls respectively. The figure close to
the northern wall is holding a whip. The third figure is shown standing under a niche. This is perhaps a shrine or
temple dedicated to three deities. The legend of the three deities is also depicted on Huviskha, a Kushan ruler,
period coins. The gold coins found from Gandhara depict the three deities Skanda, Kumara and Vishaka. Skanda
is shown standing under canopy or niche flanked by Kumara and Vishaka. The engravings at the Loi Dan
possibly represent the legend of these three deities of the Kushan period. It appears to have been executed during
the Kushan period in Sindh. The Kushan ruled over upper Sindh from 78 to175 A.D.
The next engraving is of a tower-like structure with one rectangle and square at the bottom and top respectively.
A vertical line cuts across the central structure. Interestingly, there is a gap between both rectangle and square as
seen in the bottom and top of the building. Why it was not placed on the building is a difficult question to
answer. The lower rectangle may represent the underground cell or room; the top square may represent the
superstructure.
Another tower-like structure is found on the rock which may be the stupa. It is a four-storey building topped by
finial and streamer. Three geometric designs are engraved close to the stupa image which may be chessboards.
The camels, with drivers and without drivers, are engraved in both vertical and horizontal style on the rock
surface. All of these images are of historic period. Another rock art site is located 2 km south of Loi Dan at
Faizoo Garoti. It is also known as Bezgar dhori, which is a tributary of Shakloi Dhoro. Images are found on the
rock surface, the boulders and cliff.
There is an engraving of a complex structure on the rock surface. It has an entrance and two small structures
inside. One of the structures has a rectangular base on which three objects rest and the other structure has a
square base with elongated tower which touches the inner side wall of the main structure. Close to this complex
structure are numerous cup-marks locally called jogun. Cup-marks are found from many rock art sites of
Baluchistan, Swat, Islamabad (discovered by this scribe) and Sindh (also discovered by this scribe). There are
three boulders at Faizoo Garoti which depict ibex, camel, horse and male figures. On the first boulder are the
images of ibex, hunters and an unidentified animal. Another boulder that lies on the right bank of Faizoo Garoti
dhori shows ibex images, camel riders and figures holding guns and rifles. These images are possibly of the
British period as the guns shown in the engravings were used during the British period.
The petroglyphs of Sakey Dand site are located in upper Shakloi or Gurban Dhoro. The engravings are found on
both the cliff and boulders. On the eastern cliff are the ancient petroglyphs of animals, prominent among which
is the figure of a unicorn with elongated body and short tail. The style of the unicorn is similar to those found on
the Indus seals (this is confirmed in my personal communication with Mark Kenoyer). On the western cliff are
the numerous images of the ibex, camel and riders and the structures. However, the most interesting are two
rectangular structures. One structure is larger than the nearby building. It is decorated with four finials. The
second structure is small. It is also rectangular and has four finials. It seems that the building has a flat roof with
four finials on the four corners.
There are also some interesting signs/objects engraved west of these structures. There are four signs. From left
the first arrow points to a wheel-shaped sign and connecting line which may represent a cart. The second arrow
also points to a similar but larger sign. This also looks like a cart. The third arrow points to two circles with
connecting line and the fourth arrow shows a more complex sign which is perhaps a structure with two attached
triangles and rectangle possibly representing storeys or rooms. These signs have connecting line which
terminates in a circle at the base of the structure. A similar circle is also found with a small connecting horizontal
line attached with a rectangle on the right.
One also finds the camel and cart engravings without a driver below the retangular building. The cart has only
one wheel. There are interesting male figures on the canvas. One of the male figures is shown taking the goat.
Another male (stick figure) is shown holding an object in his hand which is found near engravings of the gun of
the modern period. Shoe prints are also found on the western cliff of the Sakey Dand. On the boulder are
engraved the nine goats in group. Independent Weekly Paper - May 27 - June 02, 2011 - Vol.
XXIII, No. 15
39
Heritage: Save This Mosque
By Zulfiqar Ali Kalhoro
The Friday Times Lahore 12 April 2012.
Mehboob Jo Bungalow is a picturesque village located in Miro Khan taluka of Larkana district, Sindh. The
village is named after Mehboob Khan Shahani who was revenue collector during the rule of Mian Noor
Mohammad Kalhoro (1719-1753). He had constructed a bungalow for his residence here, after which the village
came to be called Mehboob Jo Bungalow. Today, neither the descendents of Mehboob Shahani nor his
magnificent bungalow remain in the village.
The family left the village in the early nineteenth century. During the
Kalhora rule, many tribes inhabited in village but the Sangis were in a
majority. Sangis are a sub-caste of the Abra tribe. They were the landlords
here. One Mohammad Fazal Khan Sangi was famous for his generosity
and bigheartedness.
According to local accounts, after every Friday prayers, he used to
distribute money among the needy and feed the hungry. He dug several
wells for the poor to fetch water from. After his death, his son Ghulam
Mohammad Khan Sangi became the new zamindar of the village. Like his
father, he was also reputed to be a generous, compassionate and
Closer view of the mosque
40
kindhearted person.
Ghulam Mohammad Khan
Sangi was a religious person
and laid the foundation of
Jamia mosque in 1835. For
the construction of this
mosque he gathered the
celebrated masons of Sindh.
The mosque attracted a
large number of visitors
from far-flung areas who
came to praise its builder for his lavish expenditure. The mosque is
contemporary to the Hamid Huzori mosque in Miro Khan town which was built by Hamid Huzori Tunio. But the
mosque of Hamid Huzori does not have embellishments like those in the Jami Mosque of Mehboob Jo Bunglow.
In fact the Jamia Mosque of Mehboob Jo Bungalow has no rival in Larkana district, not even among the other
beautiful three-domed mosques.
The colour scheme of this
mosque is singularly
attractive. It has three domes
of which two are rendered in
a ribbed style. The interior
of the mosque is adorned
with paintings while the
exterior is decorated with
glazed tiles for which
vertical panels have been
created to show floral
designs. The mosque is a
prototype for the one built at
Halani by Mehrab Khan Jatoi, who served as a minister during the
rule of Mian Abdul Nabi Kalhoro (1776 - 1783).
The main entrance of the mosque is crowned with a dome which is
tastefully adorned with floral designs. Three entrances that lead to
the main prayer hall of the mosque are painted. Stylized vases
decorate the northern and southern walls of the mosque.
Nearby is the huge tomb of
Ghlum Mohammad. It is
believed to have been built
by Ghulam Mohammad
himself during his lifetime.
One cannot find such an
impressive tomb anywhere
else in Larkana. The
distinctive feature of the
tomb is the glazed tiles that
decorate its facade.
Apart from the grave of
Ghulam Mohammad, the tomb also contains nine other graves. The father
of Ghulam Mohammad, Mohammad Fazal Khan Sangi, is also buried
inside the tomb. The tomb is built in a square plane with each side of it
crowned with kiosks. The structure is in a very bad condition: its dome is cracked and the drum on which it rests
Painting in the mosque
Restoration of the panel
The tomb of Ghulam Muahmmad
Sangi
The interior of the mosque is adorned with
floral motifs
Floral designs in the mosque
41
is fast falling to pieces.
The mosque too is in a state of disrepair. Abdul Qadir Kalhoro, a Pesh Imam of the mosque, told me that Benazir
Bhutto had visited this village in 1995 and granted Rs 1, 50,000 for the mosque's renovation. "As soon as we
received the grant, we began work on the mosque," he said.
Two masons, Mohammad Yaqoob Memon of Moro and Ghulam Nabi mason of Nasirabad, worked on the
mosque. Mohammad Yaqoob was a celebrated painter; in addition to painting exterior panels, he restored one of
the domes to its original form. Mohammad Yaqoob Memon also restored the original beauty of the panels. The
glazed tiles of the lower part of the panel had fallen to the ground but he painted the lower part in order to
synchronize it with the upper part of the panel. The late Ghulam Nabi renovated two other domes and the
southern wall of mosque, which was appallingly damaged. He also restored the paintings on the domed ceiling.
The locals hold that Ghulam Mohammad had fixed a small golden jar into the wall of the mosque, thinking that
after his death renovation of the mosque should not be hampered by lack of money. Ironically, after his death
somebody took the golden jar away.
42
Victim of Neglect
By Zulfiqar Ali Kalhoro
Weekly Pulse Islamabad, Friday June 01, 2012
Almost every village in Sindh has sites that have
historical importance. Like other districts of Sindh, the
landscape of the Shahdadkot district is dotted with a
number of historical places. Prominent among these
are the shrine of Haji Ismail Shah, the shrine of Mian
Shahal Mohammad Kalhoro, Dau-Ja-Quba at Gebi
Dero, the tomb of Mirzani Chandia near the village of
Gebi Dero, the tomb of Husanani Chandia in the
village of Rais Bambho Khan, the tomb of Mastois in
the village of Darya Khan Mastoi, the tomb of Aitbar Khan Mastoi, the tomb of Aitbar Khan Chandio in the
village of Darya Khan Mastoi, the tomb of Mian Mir Mohammad Kalhoro in the village of Abad Kalhoro, the
tombs of Gaji Khuhawar, the tomb of Chakar Khuhawar in the village of Mian Shahal Mohammad, the shrine of
Ghafur Shah near Shahdadkot, the shrine of Mian Majan Gopang in Qamber, the tomb of Imam Bakshah Jamali,
the tomb of Shakal Jamali and the graveyard of the Khosa tribe near the village of Sanjar Bhatti.
The graveyard of the Khosas is locally known as Cchutal Faqir Jo Muqam. It is located some 15 kilometres
northwest of Shahdadkot and contains graves and tombs of Mianwal saints and soldiers. Cchutal Faqir Khoso,
after whom this graveyard is named, was the descendent of Suleman Faqir Khoso. Suleiman Faqir Khosa was the
disciple of Mian Adam Shah Kalhoro. The descendants of Suleiman Faqir are known as the Suleimani Khosas.
The great grandson of Suleiman Faqir Khosa, Jamo Faqir Khosa, was the disciple of Mian Nasir Mohammad
Kalhoro. He was very close to Mian Nasir Mohammad because of his righteousness. Mian Nasir Mohammad
held him in very high esteem too. Despite his old age, Jamo Faqir actively participated in the construction work
of the Jamia Mosque of Garhie. He died in his mentor's lifetime and was buried in the necropolis of Mian Nasir
Mohammad.
Jamo Faqir left behind four sons, namely Cchutal Faqir,
Sohrab Faqir Bahadar Faqir, and Hazar Faqir. All of
them got early education in the Madressah of Garhie
where Mian Nasir Mohammad used to teach his
disciples. Cchutal Faqir became prominent in his time
and preached the ideology of his mentor wherever he
went. He accompanied Mian Nasir Mohammad when
the latter went to meet Ganj Bakhshah Naushah in
Gujarat, Punjab.
He took Mian Nasir Mohammad to Esso and Beero
Markhand, Rato Faqir Wahocho, Ali Sahib Khan Palari
alias Pir Ali Asahibo, Mian Majan Gopang, and Yousaf
Faqir Chajro, who also became his disciples. Sohrab
Faqir, Bahadar Faqir, and Hazar Faqir displayed their skills in wielding the sword, and were always found daring
in battlefields. They served both Main Din Mohammad Kalhoro and Mian Yar Mohammad as their generals and
took part in many battles fought against the Brohis, the Panhwars, the Mughals and the Daudpotras. The tomb of
Sohrab Faqir contains two graves of Hazar Faqir and Bahadur Faqir. The tomb has been recently built and lacks
ornamentation. According to Abdul Rehman Khosa, who is the descendant of Cchutal Faqir Khosa, an old tomb
of Sohrab was built by Mian Noor Mohammad Kalhoro. It was a huge structure with a hemispherical dome, and
was originally embellished with beautiful murals. Some of the panels contained battle scenes and scenes of
cultural activities. Unfortunately, the tomb caved in some 30 years ago damaging the graves from the inside. To
43
its northern side there is the tomb of Muhram Bhatti who was a soldier in the army of Mian Noor Mohammad
Kalhoro. He died fighting against the Brohis at Sunni in Balochistan. Near the tomb of Sohrab Faqir there is this
dilapidated tomb of Mai Hawa who was the mother of Sohrab Faqir and wife of Jamo Faqir Khosa. She was
renowned for the recitation of Azi in the family of Suleimani Khosas. The institution of Azi (the invocation) was
very widely practised by both Mianwal female and male devotees, which sought divine help for solving different
problems. Apart from the graves and tombs of Mianwal soldiers and saints, there also exist graves of those who
rendered services to Mian Nasir Mohammad Kalhoro and his movement.
44
Crumbling Heritage
By Zulfiqar Ali Kalhoro
May 11, 2012
The necropolis of Jeevan Shah, spread over four
acres, is located some ten kilometres west of
Naudero town in the village of Jeevan Shah.
Formerly, here existed the town of Shah Garh,
considered an important town of Kalhora period
(1700-1784) and lay on an old Qandhari road.
Most of the personages buried in this cemetery
died either in the Battle of Gerello (1699) or in
various encounters with the Brohi and Daudpotra
tribes. Some also died in the Madad Khan
Pathan's foray into Sindh. The town of Shah
Garh is believed to have been destroyed by the
army of Madad Khan in 1780.
These days, there exists a small village of Jeevan
Shah inhabited by Chandia tribe. The ruins of old
town of Shah Garh can be seen in and around the village. Most of the ruined area is being cultivated, playing
havoc with the historical heritage. Near the village lies the necropolis noted for the beautiful mausoleums and
Chaukhandi tombs of the soldiers of the Kalhoras. Unfortunately, most of these are in crumbling conditions.
The largest tomb belongs to Meeran Shah Jhinjhan, a renowned general of Mian Din Muhammad Kalhoro. Apart
from the battle of Gerello, Meeran Shah took part in many battles. He also played a significant role in forcing the
Qambar Khan Brohi of Kalat for peace parleys. After the battle of Gerello, Qamber Khan came for the help of
Mughals and attacked the war party of Kalhoras. He initially achieved some success. Nevertheless, when the
Mianwal faqirs began gathering under the command of Meeran Shah, Qamber Khan instantly agreed for peace
talks and returned to Qalat. Meeran Shah is believed to have killed his whole family before going to a battle
where he was ultimately killed.
The tomb of Meeran Shah is in a derelict and dilapidated condition. The dome of tomb has recently collapsed.
There have been two persons in Mianwal movement by the name of Meeran Shah. One belongs to Jhinjhan tribe
while the other to Solangi tribe. The tomb of Meeran Shah Solangi, the resolute and devoted disciple and general
of Mian Nasir Muhammad Kalhoro, is located near the Manchhar Lake in Dadu. According to some local
accounts Meeran Shah fought bravely in the battle of Gerello and survived where many of his soldiers died. His
two body guards Muhabat Khan Chandio and Masu Jalbani also died in the same battle. Their graves are inside
the tomb of Meeran Shah. On entering into the tomb of Meeran Shah, one finds the grave of Masu Jalbani on the
right and Muhabat Khan Chandio's on the left side. The grave of Meeran Shah is taller than other graves
indicating his status and power. Muhabat Khan Chandio and Masu Jalbani were brave and courageous soldiers of
Meeran Shah who always escorted him. Meeran Shah Jhinjhan is considered to be the patron saint of Shahani
tribe. Every tribesman brings his newly born baby to the tomb of Meeran Shah for their first head shave. At the
time of the head shaving ceremony of the male baby, the necropolis is crowded with people of Shahani tribe.
To the eastern side of Meeran Shah's mausoleum is sited tomb of Jeevan Shah Jhinjhan who, like Meeran Shah,
served as general in the army of Mian Din Muhammad Kalhoro and Mian Yar Muhammad Kalhoro. Jeevan Shah
was a cousin of Meeran Shah. He displayed his heroism and gallantry in many battles thrust upon the Kalhoras
by the Mughals, the Brohis and the Daudpotras. An old tomb of Jeevan Shah collapsed some fifteen years ago.
According to Mithal Chandio and Gul Bahar Chandio, villagers have recently built the tomb of Jeevan Shah. Not
a single tomb in the graveyard carries inscriptions. The local people know the stories and heroics of the
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dignitaries through the interaction with the descendents of the personages who frequently visit the tombs and
graves of their ancestors. To the north of Jeevan Shah's tomb is situated the dilapidated tomb of QadoDamraho.
He served Mian Din Muhammad, Yar Muhammad Kalhoro and Mian Yar Muhammad Kalhoro. Presently, he is
considered as a patron saint of Damraho tribe. Like Meeran shah, his tomb bustles with his tribesmen who bring
their male babies for head shaving. Only the remaining walls of the tomb that have withstood the vagaries of
weather are destroying the original beauty of structure. Not a single tomb in the necropolis has survived in its
original shape.
Apart from these tombs, some structures lie to eastern and southern sides of Jeevan Shah Village. To the eastern
side of the village, in the middle of agricultural land, is located the tomb of Mian RadhoRahujo who served as
general of Mian Yar Muhammad Kalhoro. Many of his tribesmen were under his command. The necropolis
where his tomb is located is known as Rahujan -Jo-Muqam (The necropolis of Rahuja tribe). A large part of the
area of the necropolis is being used for cultivation with only a little space left for graves now surrounded by
bushes. To the south of Jeevan Shah Village lies village of WasandJeho where tomb of Pir Kalhoro is located.
Pir Kalhoro is believed to have been a Nazim of Shah Garh during Mian Noor Muhammad Kalhoro's time. Some
of the contemporary Mianwal faqirs believe that the real name of Pir Kalhoro is Paliyo Khan who lived during
the rule of Mian Noor Muhammad Kalhoro. Locally he is known as Pir Kalhoro. The tomb of Pir Kalhoro has
almost leveled to ground.
Tombs veneration is now common and widespread among many communities who visit the tombs in the hopes
of getting their wishes fulfilled. Local community and people from far-flung areas also come to pay homage to
the soldiers of the Kalhora period. Most of the graves are covered with clothes. The heroism of these soldiers and
generals also dominates the daily discourse of the local community who narrate the stories of the each of the
soldiers admiringly and fondly.
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Neglected Historical Heritage of Sindh
By Zulfiqar Ali Kalhoro
Weekly Pulse Islamabad, Friday 25 May 2012.
There are a number of historical places in Warah tehsil of Qamber Shahadadkot in Sindh that include Khuhawar
tombs and Gul Mohammad mosque at Gajji Khuhawar, a Mungo mosque in Sheikh Farm village, a tomb of
Mundar Lakho in the village of the same name, unknown tomb in Abad kalhora village, an old mosque in
Khandu village, a tomb of Hyder Shah, a mosque in Khuda Bakhsh Sial village, a mosque in Maluk Shah village
and a tomb of Aalo Khan Husnani Chandio etc. Unfortunately, all these have been left at the mercy of nature and
man, and are fast breaking apart.
Some three kilometres northeast of the town of Gaji Khuhawar, are three, centuries old tombs of Khuhawars and
Khokhars. During the rule of the Kalhoras, many Jat tribes came to settle in Sindh, including Khuhawar Khokhar
and Sials etc. The Kalhoras encouraged the migration of these people and furnished them with lands and
important positions in their government. Some were even included in the army. One Mohammed Hasan
Khuhawar who was Commander-in-Chief of the army of the Kalhora, was known for his bravery,
swordsmanship and ability to lead
army in the combat. Other famous
personalities of the Kalhora dynasty
was Shahdad Khan Khuhawar who
laid the foundation of ‘the
Shadadpur’; later it was renamed
Shahdadkot that is now a taluka in
Larkana district.
There are five tombs that belong to
Mian Gaji Khuhawar, Mian
Mubarak Khuhawar, Mian
Budho Khuhawar, Mian
Sandho Khokhar and Mian Mungo
Khokhar which were built the Kalhora
period (1681- 1783). One of the
descendants of Mian Gaji, Khuhawar,
Haji Qalander Bakhsh Khuhawar told
that Mian Gajji was a disciple of Mian Nasir Muhammad Kalhoro (1657-1692). He served as minister of Mian
Nasir Muhammad. Mian Gaji was a very religious person; he established many madrasahs where religious
education was imparted to people. During his tenure as minister he also built some tombs notably of his relatives
and friends. He was also responsible for recruiting the people in the time of crisis in the country. Mian Gaji was
very committed to the welfare of the people; he dug a number of wells for the poor. During his time life and
property was safe and secure and there was larceny and mugging was absent. People led a peaceful life. He was
held him in great esteem due to his righteous and generous attitude. He could variously be called pious, religious
scholar, kindhearted, benevolent and administrator.
The tomb of Gaji Khuhawar facing the southern direction is bigger than adjoining tombs. He built the tomb
during his lifetime. It is on square plain and is painted exteriorly as well as interiorly. But recently it has been
whitewashed thus playing havoc with its original beauty. Some portions of it have also been repaired which have
been falling down. To southwest of the tomb of Mian Gaji lies the tomb of Mian Mubarak Khuhawar who was
eldest son of the Mian Gaji. The tomb is in ruins and is exposed to the constant threat of salinity and water
logging that has contributed to the erosion of the structure very rapidly. To the southeast of the tomb of Mian
Gaji is the tomb of Mian Budho Khuhawar who was the nephew of the Mian Gaji. The structure is falling to
pieces due to lack of proper maintenance. From inside, it still looks unsullied and is painted immaculately.
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Majority of the paintings depict floral designs of various sizes. Artists have imagined fruitfully and imparted the
real look to the designs created on the surface of the tomb.
Besides the tombs of Khuhawar tribe, there exist two tombs of Khokhar tribe. Pillared like tomb, which is not far
from the tomb of Mian Gaji, belongs to Mian Sandho Khokhar who was Gaji’s personal secretary when he was
the minister. The tomb of the Mian Sandho is in a very ramshackle condition. Nearby lies the tomb of the Mungo
Khokhar that is in a fairly good condition. Both Mian Sandho and Mungo Khokhar were brothers and worked
with Mian Gajji as his subordinates.
Three kilometres from the necropolis is the famous town founded by Mian Gaji and is named after him. This
small town is still famous for the fabulously built three-domed mosque which was built by Mian Gaji and later
renovated by his grandson Mian Gul Mohammad Khuhawar. He also served as a minister during the Talpur
dynasty most probably during the rule of Mir Karam Ali Khan Talpur. The mosque like the other monuments of
Khuhawar stands in a very derelict condition. Lately, some notables of the town have carried out repair to the
mosque by defacing its original beauty. Apart from Gul Mohammad Mosque, there is another three-domed
mosque, which lies some three kilometres west of the town in a small village known as Sheikh Farm. The
mosque was built by Mangho Khokhar that is entirely painted from inside. Although, it is a victim of neglect, it
has still survived its original beauty. It is a huge building, which is conspicuous from distance.
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Magic in the Masonry
By Zulfiqar Ali Kalhoro
Weekly Pulse Islamabad, April 13, 2012.
Larkana has been home to many great
artists and artisans over the years. Masons
from the district have constructed some
splendid palaces, magnificent tombs and
marvelous mosques, most of which still
dominate the landscape of the Larkana and
Qambar-Shahdadkot districts today. Some
of the more prominent masons from the
area were Chhuto Mashori, Budho
Mashori, Daleel Tanwri, Muhram Samityo
and Dildar Chandio who built the tombs
and mosques during the Kalhora period
(1700-1783 AD)
Focusing on the contemporary period, one
name stands out amidst this sea of talent.
Din Muhammad Lashari has acquired
unrivalled fame in the field of architecture
in Sindh and Baluchistan, constructing tombs and other buildings. Indeed, this multi-talented artisan has, over the
years, variously been known as an architect, painter and a mason. Born in the small village of Pandhi Lashari, in
Shahdadkot, Larkana, Lashari displayed his skill from a young age. Each of his buildings has been unique, not
only from the work of his contemporaries, but also from his previous creations.
I met Lashari nine years ago when he was constructing the tomb of Hakim Shah Patwaro in Miro Khan Taluka.
Sadly, though he put two years of his life into constructing the mausoleum, he was unable to see it completed. He
died of cardiac arrest in 2002. I visited each of Din Muhammad Lashari's buildings in Sindh and Baluchistan.
Lashari was prolific, and there are 20 tombs and eight mosques to his name, not to mention the many houses he
also helped to design and construct.
The tomb of Fayzal Faqir, a Qadiri Sufi of the 20th century, is located about 40 kilometres south of Osta
Mohammad in Baluchistan, and is one of his more notable works. The tomb is a massive, square building
enclosed by a mud wall marked by the use of stucco. The tomb interior is also adorned with stucco and paintings
made by Din Muhammad Lashari. The peacock motif is particularly prominent and is repeated on the structure's
southern and western walls. The religious buildings also decorate the interior surface of the tomb. The images of
holy Ka’bah and the Rauza of holy prophet are found in the tomb of Fazal faqir Qadri.
The recent spell of monsoon rain inundated the Nain Moula stream and Bolan River, causing them to overrun
their banks. The floods have wreaked havoc on the local populations, and have harmed many monuments located
in the Jhal Magsi and Jaffarabad districts. In Jaffarabad district, water completely overtook Fayzal Faqir's tomb
and the adjoining rest houses. The floodwater entered the shrine, damaging the paintings that decorated surface
of the structure.
Another of Lashari's well-known monuments is a three domed mosque in Jhal Magsi district. The mosque was
heavily damaged in the 1960 floods, and Lashari was sanctioned by Sardar Saifullah Khan Magsi to renovate it.
The new mosque is rectangular in shape and is flanked by two towering minarets. It has been named after the
Sardar who paid for its renovation. And, indeed, no expense was spared, as the façade of the building is lavishly
decorated with glazed tiles and the interior is bedecked with paintings. One finds a variety of floral designs in
this mosque. Lashari must have been inspired by the local natural beauty when decorating the structure. Lashari
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also renovated the tomb of Sardar Ahmed Khan Magsi, the hero of the Battle of Bungah, a battle fought between
the Magsis and Rinds over the issue of cattle rustling in 1829 AD. Din Mohammad built an enclosing wall and
also painted the tomb. He then carried out renovations to the canopies that crown the four corners of the
structure. The recent floods in Sindh and Baluchistan have greatly damaged the necropolis of the Magsis, a
kilometre north of Jhal Magsi and the site of this tomb.
Sardar Ahmed Khan Magsi's tomb has been badly damaged. The domes that crowned the structure are believed
to have been swept away by floodwater. The graveyard remains partially submerged in floodwater, and the
tombs of Qaiser Khan Magsi and Mehon Khan Magsi, also tombs Lashari renovated, were also flooded.
Besides buildings in Baluchistan, he also constructed several buildings in his hometown, Shahdadkot. Here, he
erected the Tajar (wagon vaulted tomb), in which many Sardars of the Khuhawar tribe are buried. In addition to
this, he also built the tomb of Ghafoor Shah. While small, this tomb is noted for its conical dome. Each of
Lashari's structures is different from the other, and they have withstood the vagaries of the weather and the
passage of time to stand as testaments to his great
workmanship Of all of his structures, however, surely the
most imposing must be the mausoleum of Hakim Shah
Patwaro in Miro Khan district, Larkana. Din
Muhammad began work on this tomb in 2002, and was
not able to complete it.. What work remained (mainly
paintings and glazed tile work) was completed by
another mason.
The mausoleum of Hakim Shah is built in a square and is
flanked by two three- storey minarets which rise to a
height of 40 feet. The tomb has two portals, one each
on the south and east walls, a deep recessed alcove on
the northern wall and an arched niche on the western
side. Its roof is crowned by eight small domes, with
another, larger, dome resting on an octagonal drum to
complete the set. An arched rib runs around the drum
to separate it from the dome which rests upon it.
Finally, the dome is capped by a beautifully made
inverted lotus.
Din Mohammad Lashari used a very particular and
distinctive technique to render his domes. This
technique has since diffused to other parts of upper Sindh. Broken shards of Chinese pottery were pieced
together and attached to the domes, leaving them glistening in the sun. From a distance, it appears that the domes
are covered with pieces of glass. Indeed, the interior of the tomb is decorated with a variety of glasswork.
Save for the tomb of Janullah Shah Rizvi, in Rohri town, the mausoleum of Hakim Shah has no parallel in Sindhi
contemporary architecture. It was this tomb that made Din Mohammad Lashari a mason of great repute in Sindh.
Today, though he is sadly no longer with us, he lives on in the magnificent mosques and tombs he created.
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