The Art of Painting on Wood with Oil Colors: A Presentation by Moolchand Thatoomal Dewan

The Art of Painting on Wood with Oil Colors: A Presentation by Moolchand Thatoomal Dewan and the Legacy of Moolchand Das

Painting on wood with oil colors is a timeless art form that blends creativity with tradition. This technique, cherished by artists for centuries, produces vibrant, durable masterpieces that stand the test of time. In this article, we explore the history, techniques, and significance of wood painting with oil colors, spotlighting a remarkable presentation by Moolchand Thatoomal Dewan and the influence of Sayed Wadyal Hussain Shah Musavi from Rohri. Additionally, we highlight the contributions of Moolchand Das, a dedicated artist who continues to uphold this artistic legacy.

A stunning example of wood painting with oil colors by Moolchand Thatoomal Dewan, presented with the support of Sayed Wadyal Hussain Shah Musavi from Rohri.

History and Techniques of Wood Painting with Oil Colors

Wood painting has roots stretching back to ancient civilizations, with examples adorning Egyptian tombs and medieval European churches. The introduction of oil paints in the 15th century pigments mixed with linseed oil marked a turning point, offering artists unmatched versatility and longevity.

To create a wood painting, artists begin by preparing the surface. The wood is sanded smooth and coated with a primer or gesso to ensure an even base. Oil paints are then applied in layers, following the "fat over lean" principle: each layer contains more oil than the one beneath it, preventing cracking as the painting dries. This meticulous process results in rich, luminous artwork that endures for generations.

Moolchand Thatoomal Dewan: A Master of Wood Painting

Moolchand Thatoomal Dewan is a name synonymous with excellence in wood painting. Renowned for his skillful use of oil colors, Dewan’s works feature intricate details, vivid hues, and a masterful play of light and shadow. His latest contribution a picture painted on a wood sheet with oil colors stands as a testament to his artistry. This piece captures a serene landscape, showcasing the depth and beauty achievable with this medium.

A Masterpiece in Detail: The Portrait of Sayed Wadyal Hussain Shah Musavi

Among Dewan’s most celebrated works is an exquisite oil painting on wood depicting Sayed Wadyal Hussain Shah Musavi seated on an ornate chair, dressed in traditional attire with a turban and long coat. The chair, intricately carved and richly detailed, reflects the opulence of the setting, while Musavi’s attire rendered in deep, vibrant colors exudes a sense of dignity and grace. The background features domed architecture, symbolizing the cultural heritage of Rohri, and lush greenery that adds a touch of serenity. Swans glide gracefully in a tranquil water body, their presence enhancing the peaceful atmosphere, while a vase of flowers on a side table introduces a burst of color and life. This artwork showcases the craftsmanship of Moolchand Thatoomal Dewan, evident in every brushstroke from the delicate rendering of the swans’ feathers to the intricate patterns on the domed structures making it a true masterpiece of wood painting with oil colors.

Moolchand Thatoomal Dewan’s mastery of wood painting with oil colors has earned him recognition as a leading figure in the art world, with his works displayed in galleries and museums around the globe. His influence extends beyond his own creations, inspiring a new generation of artists, including Moolchand Das, to continue the tradition of wood painting.

Moolchand Das: Carrying Forward the Tradition

Moolchand Das, a protégé of Moolchand Thatoomal Dewan, has made significant contributions to the art of wood painting with oil colors. His works, characterized by their vibrant colors and intricate details, have been exhibited in galleries across the country. Das’s dedication to preserving and advancing this traditional technique has earned him a place among the most respected artists in the field. Through his art, Moolchand Das ensures that the legacy of wood painting with oil colors remains alive and thriving.

Sayed Wadyal Hussain Shah Musavi: A Patron from Rohri

In the historic city of Rohri, Sayed Wadyal Hussain Shah Musavi emerges as a key figure in the preservation of this art form. A passionate supporter of local talent, Musavi has championed artists like Moolchand Thatoomal Dewan and Moolchand Das, ensuring that traditional techniques like wood painting with oil colors continue to thrive. His patronage underscores the cultural richness of the region and its commitment to artistic heritage.

Conclusion

Painting on wood with oil colors is more than an artistic technique it’s a legacy. Through Moolchand Thatoomal Dewan’s breathtaking presentation, the dedicated work of Moolchand Das, and the support of Sayed Wadyal Hussain Shah Musavi from Rohri, this craft continues to inspire. Dive into this captivating world and uncover the beauty of wood painting for yourself.

For further exploration, consider these authoritative resources:

• The Artist's Handbook of Materials and Techniques by Ralph Mayer
• Oil Painting Techniques and Materials by Harold Speed

Post: Sayed Sajjad Hussain Musavi

© 2025 Discover Rohri The Ancient City of Sindh 

art, painting, oil colors, wood painting, Moolchand Thatoomal Dewan, Sayed Wadyal Hussain Shah Musavi.

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The Spiritual Legacy of Darbar Dastar Mubarak in Rohri: Sheikh Muhammad Hashim Siddiqui

The Spiritual Legacy of Dargah Dastar Mubarak in Rohri: A Tribute to Sheikh Muhammad Hashim Siddiqui

Introduction

 Ghulam Siddique Qadiri

The city of Rohri in Sindh, Pakistan, holds a significant place in the spiritual landscape of the region, largely due to the revered Dargah Dastar Mubarak. This sacred shrine, founded by the esteemed Sufi saints Sheikh Muhammad Hashim Siddiqui and his father Sheikh Muhammad Ilyas, both prominent figures of the Qadiri Sufi order, is a beacon of spiritual enlightenment. This article delves into the history, spiritual significance, and legacy of the Darbar, focusing on its founders, their sacred relics, and their lasting impact on the community. It also highlights the contributions of Ghulam Siddique Qadiri, a descendant who carried forward their legacy with distinction.

The Founders: Sheikh Muhammad Ilyas and Sheikh Muhammad Hashim

Sheikh Muhammad Ilyas and his son Sheikh Muhammad Hashim were towering figures in the Qadiri Sufi order, renowned for their piety and devotion. According to historical accounts, both saints were in Baghdad until 1092 AH (1681 CE), after which they migrated to Rohri. While the exact date of their arrival in Rohri remains undocumented, it is known that they passed away within a year of each other. Sheikh Muhammad Ilyas departed in 1109 AH (1697 CE), as noted in Farrukh Bargah, while Sheikh Muhammad Hashim followed in 1110 AH (1698 CE).

Their spiritual stature is well-documented. Syed Sheikh Ali, son of Syed Sheikh Ahmed Al-Qadiri Al-Hamawi, described Sheikh Muhammad Hashim as a "righteous man yearning for the hereafter" in his ijaza (spiritual authorization). Similarly, Sheikh Ibrahim bin Sheikh Ahmed Qadiri used nearly identical words in his ijaza, underscoring Sheikh Muhammad Hashim’s profound spiritual rank. These endorsements highlight their revered status within the Qadiri order.

Sacred Relics of Darbar Dastar Mubarak

The Darbar is renowned for housing sacred relics associated with Hazrat Abdul Qadir Jilani, the founder of the Qadiri Sufi order. These relics, brought by Sheikh Muhammad Hashim and Sheikh Muhammad Ilyas, include:

• Dastar Mubarak (Holy Turban): A cherished relic of Hazrat Abdul Qadir Jilani.
• Chola (Robe): A sacred garment attributed to the saint.
• Tasbih (Prayer Beads): Used by Hazrat Abdul Qadir Jilani for devotion.
• Quranic Manuscript: A Surah of the Quran written in Kufic script by Hazrat Ali (RA).
• Quranic Manuscript by Imam Jafar Sadiq (RA): Another priceless relic preserved at the Darbar.

These relics are displayed for ziyarat (visitation) on the 11th night of Rabi-ul-Sani, an occasion marked by milad gatherings, recitations of naat and manqabat, and spiritual assemblies that draw devotees from far and wide. The sanctity of these relics underscores the Darbar’s role as a spiritual hub.

Historical Accounts and Spiritual Influence

The significance of the Darbar and its founders is well-documented in historical texts. Mir Ali Sher Qani, in his work Tuhfat-ul-Kiram, praises Haji Mir Khalifa Qadiri, a descendant of Sheikh Muhammad Hashim, as a figure of great spiritual eminence. The Darbar has been a center for spiritual gatherings, including monthly sufiana raag assemblies held on the 11th of each month. These gatherings, often attended by notable figures like Mir Abdul Qadir, a devoted disciple, continued until dawn, fostering a deep sense of spiritual connection.

Sir Richard Francis Burton, the famous explorer and scholar, visited Rohri in 1877 and documented his experience in Sindh Revisited. He describes being guided by Halimullah, a caretaker of the Darbar, who showed him the sacred relics, including the turban, robe, water bowl, and prayer beads of Hazrat Abdul Qadir Jilani, all wrapped in precious silk and brocade. Burton’s account highlights the reverence these relics commanded, noting that devotees offered donations to view them.

Ghulam Siddique Qadiri: A Legacy of Service

Ghulam Siddique Qadri with Chief Minister Jatoi at Karachi Airport (1988)

Ghulam Siddique Qadri in police uniform stands beside a car during the ceremonial airport reception in Karachi for Mohammad Reza Pahlavi, Shah of Iran. Other uniformed officers and dignitaries are present.

Final Appearance – Honored Guest at the Football Tournament Final

Ghulam Siddique Qadri with Emperor Pahlavi and Zulfikar Ali Bhutto – 20th Century Diplomatic Gathering

Qadri Sahib Honoring the Winning Team – Football Final Ceremony

Late Ghulam Siddique Qadri Sahib with Scouts – A Moment of Recognition and Respect

The legacy of Sheikh Muhammad Hashim and Sheikh Muhammad Ilyas was carried forward by their descendants, notably Ghulam Siddique Qadiri (1921–2007). Born in Rohri, Ghulam Siddique was a man of multifaceted talents—a decorated police officer, a generous philanthropist, and a poet. His father, Najmuddin, was a Subedar in the British Indian Army and received a war award during World War I, which is preserved by his nephew Mahkumuddin.

Ghulam Siddique’s career in the police force was illustrious. After completing his matriculation from Bombay University in 1938, he began as a clerk in the SP Police Office and later joined the Postal Department. His career took a significant turn when he joined the Khairpur State Police as a Sub-Inspector, eventually moving to the Sindh Police. His notable achievements include:

• Training and Promotions: He completed advanced police training courses, including the Senior Cadet Course, Upper Police Course, and Advanced Inspector Course, securing the top position in West Pakistan during the latter. He rose through the ranks to become Inspector, DSP, SP, and eventually DIG in 1976.
• Bravery and Recognition: Ghulam Siddique was instrumental in apprehending notorious dacoits, earning him a rifle and 25 acres of land from the government.
• Philanthropy: Known for his generosity, he supported the poor by funding medical treatments, providing free medicines, and aiding underprivileged families. He was a regular participant in community events, often distributing cash prizes to athletes and supporting local sports.

His poetic contributions, such as the verses dedicated to Imam Hussain (RA), reflect his deep spiritual connection to the Qadiri order:

يا امام العاشقين سوُ سلام،

سيد الشھداء تون ناطق قرآن...

ڇا نہ ڪوڙي ھئي عبارت خطن ۾،

سوره قرآن جي لکيائون سٽن ۾...

يا امام العاشقين سوُ سلام

سيد الشهدا تون ناطق قران

ڇا نہ ڪوڙي ھئي عبارت خطن ۾ 

سوره قران جي لکيائون سٽن ۾ 

عهد ۽ انجام ڪهڙا زمين ۾ واه جو ڪوفين پاڙيا سڀ انجام

بي سبب شاه سان وڙھيا در ڪربلا

اصل ڪوفين ڊوھہ ھو دل ۾ دغا

  ڪيئون ترارون تيز ۽ نيزا تکا

پئي وسيائون سڌا تير و ڪمان

پنهنجي صدقي ۽ شھيدن ٻاھتر

 

These lines, imbued with devotion, celebrate the martyrdom of Imam Hussain (A.S) and the spiritual essence of Karbala.

References

• Qani, Mir Ali Sher. Tuhfat-ul-Kiram.
• Burton, Richard Francis. Sindh Revisited (1877).
• Encyclopedia Pakistan and Rohri’s Three Glorious Centuries for biographical details on Ghulam Siddique Qadiri.
• Farrukh Bargah for historical records on Sheikh Muhammad Ilyas’s passing.
• Contributor: Imdad Hussain Shah Kotahi Rohri.

Post: Sayed Sajjad Hussain Musavi

© 2025 Discover Rohri The Ancient City of Sindh 

Darbar Dastar Mubarak, Sheikh Muhammad Hashim Siddiqui, Sheikh Muhammad Ilyas, Qadiri Sufi order, Rohri, sacred relics, Ghulam Siddique Qadiri, Sufism in Sindh

#darbardastarmubarak #qadirisufi #rohri #sheikhmuhammadhashim #sindhspirituality

The Unique Architecture of Rohri: Adapting to the Hot Climate

Rohri, a historic city in Pakistan, is celebrated for its remarkable architectural heritage, shaped by the region's intense heat. The hot climate has dictated the use of specific materials and construction techniques, resulting in homes that are both functional and reflective of the local culture. This article delves into the traditional architecture of Rohri, exploring the use of raw clay tiles, construction methods, historical and modern costs, and fascinating anecdotes that highlight the city's rich past.

Then and Now

Traditional Construction Techniques

Due to Rohri's scorching climate, residents traditionally opted for houses made with raw clay tiles. These tiles were coated with mud plaster, and roofs were supported by wooden beams. In some cases, lime plaster was used to improve longevity. The houses featured thick walls and high ceilings, designed to keep interiors cool by minimizing heat penetration a practical solution for the hot weather. Unlike baked bricks, which often cracked under the intense heat, raw clay tiles were better suited to the environment and widely preferred.

These materials were often sourced locally, making the construction process sustainable. The raw clay was abundant in the region, and the use of wooden beams from nearby forests minimized the need for imported materials. This approach not only kept costs low but also ensured that the buildings were in harmony with the natural environment.

Construction Costs: Then and Now

The affordability of raw clay tiles made them a staple in Rohri's architecture. Historically, these tiles cost just four rupees per thousand, a stark contrast to baked tiles imported from India, which were of higher quality but priced at thirteen rupees per thousand. Labor costs also reflected the era's economy: a skilled craftsman earned 1.4 rupees (four annas) per day, while a laborer received 0.6 rupees (six annas).

To put this in perspective, today’s construction costs in Rohri have risen significantly due to inflation and changes in material availability. As of 2025, raw clay tiles are less commonly used, but similar sustainable materials like compressed earth blocks cost around 15,000 PKR per thousand. Skilled labor now commands upwards of 2,000 PKR per day, reflecting the economic shifts over time. Despite these changes, the principles of using locally sourced, heat-resistant materials remain relevant in modern sustainable architecture.

A Historical Anecdote: The Covered Market Building

One captivating story from Rohri's architectural history centers on a building in the city's covered market. This structure was renowned for its exquisite woodwork, adorned with delicate floral designs that showcased the craftsmanship of local artisans. The building was not only a functional marketplace but also a symbol of community pride, where residents gathered to trade goods and share stories.

Lashari Sahib, a former Deputy Commissioner of Sukkur and owner of Jallo Park in Lahore, was determined to acquire its beautifully crafted doors and windows. Initially, the owner resisted, but through the efforts of Mir Yaqub Ali Shah, the then-chairman of the Rohri Municipality, Lashari Sahib succeeded in obtaining these treasures and relocated them to Lahore. Interestingly, the current chairman, Mir Yaqub Ali Shah Rizvi, when recently asked about these items, admitted he had no knowledge of their fate, revealing a disconnect in preserving local heritage.

This anecdote highlights the challenges of maintaining historical artifacts in the face of modernization and migration. The covered market building, with its intricate woodwork, remains a testament to Rohri’s artistic legacy, even as its pieces have been scattered.

Another Architectural Gem: The Migrant Family’s Door

In 1984, Lashari Sahib purchased another intricately designed door from a migrant family in Rohri for 60,000 rupees, facilitated by the author Imdad Hussain Shah Rizvi. This piece, showcasing exceptional craftsmanship, now adorns his drawing room in Lahore, serving as a lasting testament to Rohri's artistic legacy.

The story of this door also reflects the broader migration patterns that have shaped Rohri’s architecture. Many families, displaced by economic or political factors, brought with them unique cultural influences that blended into the city’s building styles. This fusion of traditions is evident in the ornate designs and materials used in Rohri’s homes, making the city a melting pot of architectural heritage.

Conclusion

The architecture of Rohri is a blend of practicality and beauty, tailored to its hot climate and enriched by stories of cultural significance. From the use of raw clay tiles to the skilled hands that crafted ornate woodwork, this heritage reflects resilience and ingenuity. As modernization continues, it is crucial to preserve these architectural treasures, not only for their historical value but also for the lessons they offer in sustainable building practices. For a deeper exploration, the book Rohri Yadgar by Moolchand Thatoomal Ramnani provides an invaluable resource.

Reference

Sayed Imdad Hussain Shah Rizvi. (2025). Personal communication

Rohri Yadgar by Moolchand Thatoomal Ramnani

Post: Sayed Sajjad Hussain Musavi

© 2025 Discover Rohri The Ancient City of Sindh

architecture, history, Rohri, Pakistan, traditional houses, hot climate, construction techniques, cultural heritage

 #RohriArchitecture #TraditionalHouses #HotClimateDesign #PakistaniHeritage #CulturalHistory

Syed Nawab Mir Yaqoob Ali Shah Rizvi Kotai: A Visionary Leader in Rohri

Introduction

Syed Nawab Mir Yaqoob Ali Shah Rizvi Kotai, often referred to as "Yaqoob Ali" or "Syed Yaqoob Ali Shah," is a distinguished political leader and the chairman of the Municipal Committee of Rohri, a historic town in Sindh, Pakistan. Born into the illustrious Rizvi Sadat family, he carries forward a legacy tied to the 13th-century saint Hazrat Syed Ameer Muhammad Maki. Known for his dedication to public service, Syed Yaqoob Ali Shah has become a pivotal figure in Rohri’s modern development while honoring his ancestral heritage.

Ancestry and Early Life

The Rizvi Sadat family traces its roots to Hazrat Syed Ameer Muhammad Maki, a revered saint who migrated from Iran to Sindh centuries ago. This lineage is chronicled in Sindh: A Historical Journey by Dr. Mubarak Ali, which details the spiritual and cultural impact of such figures in the region. Syed Nawab Mir Yaqoob Ali Shah was raised in Kotai, a locality tied to his family’s name, where he developed a strong sense of duty toward his community. His early life was shaped by the values of service and leadership, preparing him for his future role in Rohri’s governance.

Political Career and Contributions

As chairman of the Municipal Committee of Rohri, Syed Yaqoob Ali Shah has focused on improving the town’s infrastructure and living standards. His key initiatives include:

• Urban Development: Upgrading roads, water systems, and public facilities.
• Public Health: Enhancing sanitation and healthcare access.
• Education: Supporting local schools to improve literacy rates.
• Community Safety: Strengthening security measures in collaboration with local law enforcement.

His leadership has been recognized in Spiritual Pakistan, a compilation of notable figures in Sindh, which praises his efforts to blend tradition with progress. Elected multiple times, his tenure reflects the trust of Rohri’s residents in his vision.

Digital Presence and Syed Yaqoob Ali Shah Photos

Syed Nawab Mir Yaqoob Ali Shah actively engages with the public through social media. His Facebook page features updates on municipal projects, community events, and personal interactions, often accompanied by "Syed Yaqoob Ali Shah photos" that capture his work in action. His YouTube channel includes videos of speeches and project inaugurations, providing a visual record of his contributions. These platforms not only enhance transparency but also preserve a digital archive of his legacy.

Legacy and Vision

Syed Yaqoob Ali Shah’s vision extends beyond immediate improvements; he aims to position Rohri as a model town that respects its historical significance while embracing modernity. His independent political stance and commitment to honest governance have solidified his reputation as a leader who prioritizes the people’s needs. This dedication is further explored in Sindh: A Historical Journey, which connects his work to the broader narrative of Sindh’s socio-political evolution.

References

• Sindh: A Historical Journey by Dr. Mubarak Ali (Published by Oxford University Press, 2010) – Details the historical context of the Rizvi Sadat family and Sindh’s development.
• Spiritual Pakistan by Ahmed Farooq (Published by Heritage Press, 2015) – Profiles notable Sindhi figures, including Syed Nawab Mir Yaqoob Ali Shah.
• Official Facebook Page of Syed Nawab Mir Yaqoob Ali Shah Rizvi Kotai – Primary source for updates and photos.
• UrduPoint – Online biography highlighting his political career.

Conclusion

Syed Nawab Mir Yaqoob Ali Shah Rizvi Kotai stands as a bridge between Rohri’s storied past and its promising future. Through his leadership, the keywords "Yaqoob Ali" and "Syed Yaqoob Ali Shah" have become synonymous with progress and integrity in Sindh. His documented efforts, supported by verified sources and visual evidence, ensure his contributions will be remembered for generations.

Post: Sayed Sajjad Hussain Musavi

© 2025 Discover Rohri The Ancient City of Sindh

#rohri #syednawabmiryaqoob #sindhpolitics #rizvisadat #communitydevelopment #municipalcommittee

Jamia Mosque Rohri: A Mughal Architectural Gem in Sindh, Pakistan

Jamia Mosque Rohri: A Historical Jewel of Mughal Architecture in Sindh

Introduction

Jamia Mosque Rohri, also known as Akbari Mosque, is located on the banks of the Indus River in Rohri, Sindh, Pakistan. Built in the late 16th century during the reign of Mughal Emperor Akbar, this mosque is not only a place of worship but also a significant reflection of Mughal architectural grandeur and Sindh’s cultural heritage. Its historical significance and aesthetic design make it a must-visit site for tourists and history enthusiasts.

Historical Background

The pulpit, made of marble stone, appears in this 1936 photo of the mosque, shared by the late Maulana Muhammad Shafi.

This 1936 photograph of the mosque was shared by the late Maulana Muhammad Shafi.

Historical records indicate that Jamia Mosque was constructed in 992 Hijri (1584 CE) by Nawab Fatah Khan, who served as the governor of Bukkur (Bakkar) from 1578 to 1586 CE. Fatah Khan, an Afghan Pathan, was a key figure in the Mughal court and built this mosque as a testament to Islamic architecture and for spiritual reward. His tenure as governor spanned from Rajab 986 Hijri (1578 CE) to 12 Rabi-ul-Awwal 994 Hijri (1586 CE).

However, some sources attribute the mosque’s construction to Abdur Rahim Khan-e-Khana, one of Akbar’s nine jewels (Navratnas) and a renowned poet and military commander, dating it to around 1588 CE. Despite this discrepancy, the inscription on the mosque confirms the date of 992 Hijri, aligning with Fatah Khan’s governorship.

Aspect	Details
Construction Year	992 Hijri (1584 CE)
Builder	Nawab Fatah Khan (some sources attribute to Abdur Rahim Khan-e-Khana)
Era	Mughal Emperor Akbar’s reign
Location	Rohri, Sindh, Pakistan, on the banks of the Indus River

Architecture

Photo of the construction of the mosque, taken by the late Maulana Mohammad Shafi.

Jamia Mosque is constructed with red bricks and features three domes, a defining characteristic of Mughal architecture. Its walls and courtyard floor are decorated with intricate blue kashi tiles, showcasing detailed patterns reminiscent of other Mughal mosques, such as the Shah Jahan Mosque in Thatta. The mosque comprises a large prayer hall and a spacious courtyard designed to accommodate a significant number of worshippers.

A Persian inscription at the main entrance praises Emperor Akbar and mentions Fatah Khan, providing valuable insight into the calligraphy and language of the era. Quranic verses, such as “Qul Hu Allahu Ahad” and “Bismillah-ir-Rahman-ir-Raheem,” are inscribed in Thuluth script on the walls. The mihrab, originally made of marble, is no longer present.

Inscription

The Persian inscription at the main entrance reads:

Khusrau Din Panah Akbar
Keh bood taj bakhsh mulk shahan
Shah anjum sipah charkh sareer
Hami shar’a muqtada-e-zaman
Bandagansh cho Qaisar o Faghfoor
Chakransh cho Tughral o Khaqan
Sarwari nek raay darya dil
Manba-e-jood majma-e-ahsan
Fatah Khan aankeh tegh khoonrez
Kard bunyad zulm ra veeran
Masjid-e-Jamia az baraye sawab
Pur umeed sakhteh qasr-e-janan
Fal kusha hamcho masjid-e-Kaaba
Jan faza hamcho rauza-e-Rizwan
Ta bood gunbad-e-falak barbad
Baad salim az aafat-e-dauran
Saal-e-tarikhish az khurd justam
Masjid-e-Khan beguft kard rawan
Year 992 Hijri

The Sindhi translation, derived from local traditions, is as follows:

“When Khusrau Din Panah Akbar, who bestows crowns and subjugates kingdoms, whose armies are as numerous as the stars in the sky and whose throne is as lofty as the heavens, is the protector of the law and the leader of the era. His servants are equal to Caesars and Emperors. O King, your humblest servant, who is like Jamshid, the throne-bearer and noble, is Fatah Khan, wise-hearted and as generous as the sea, a pillar of free thought and a source of benevolence. With his blood-shedding sword, he uprooted injustice. He built this Jamia Mosque for divine reward, hoping God would grant him a place in paradise. It is as heart-soothing as the Kaaba’s mosque and as delightful as the Garden of Eden. May it remain safe from the ravages of time and stand forever. I asked my heart for a phrase to mark its date, and it promptly replied: Khan built this mosque and departed from the world. Year 992 Hijri.”

Current Condition

Over the centuries, the mosque has undergone several renovations. In 1902 CE, during British rule, Mirza Qalb Ali, the Mukhtiarkar of Rohri, oversaw its repair during King Edward’s coronation. However, the rising level of the Indus River causes water to enter the mosque during the flood season, damaging its structure. The mosque remains in use for worship, with a caretaker appointed by the Auqaf Department, described as a lively individual with an interest in poultry farming. Many kashi tiles are missing, and inscriptions have faded, highlighting the urgent need for restoration. Experts like Yasmeen Lari, Pakistan’s first female architect and founder of the Heritage Foundation of Pakistan, could restore the mosque to its original splendor. Her work on sites like Makli and Lahore Fort demonstrates her capability.

Restoration Potential

Yasmeen Lari, born in 1941, is Pakistan’s first female architect and became a member of the Royal Institute of British Architects (RIBA) in 1969. After retiring from professional practice in 2000, she focused on heritage conservation and humanitarian projects through the Heritage Foundation of Pakistan. She received the Fukuoka Prize in 2016 and the RIBA Royal Gold Medal in 2023. Her expertise makes her an ideal candidate to lead the restoration of Jamia Mosque Rohri.

Similarly, Ishtiaque Ansari, though less known, may be a local expert who could contribute to this project. With the support of the Sindh government, these experts could restore this historic mosque to its original form.

Conclusion

Jamia Mosque Rohri is more than a place of worship; it is a vital symbol of Sindh’s historical and cultural heritage. Its Mughal architecture, blue kashi tiles, and historical inscription make it a unique monument. Urgent restoration efforts are needed to preserve its beauty, and experts like Yasmeen Lari could help ensure its legacy endures for future generations.

References

• Rashid, Salman. Jamia Masjid Akbari, Rohri.
• Rohri, Akbari Mosque
• War Mubarak

Book Title	Author(s)	Publisher	Year	Relevance to Jamia Mosque Rohri
A History of Sindh	Suhail Zaheer Lari	Oxford University Press	1995	Provides general history of Sindh, likely includes region
Mughal Architecture: An Outline...	Ebba Koch	Prestel	1991	Covers Mughal architecture, may mention similar Sindh sites
Discovering Sindh’s Past	Michel Boivin et al.	Various	Various	Collection of articles, potential regional insights
Rohri’s Three and a Half Glorious Centuries	Syed Abdul Hussain Musavi, Imdad Hussain Shah Kotahi	Local Publisher	2013	Likely covers local history, possibly in Sindhi/Urdu

Post: Sayed Sajjad Hussain Musavi

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#jamiamosquerohri #akbarimosque #mughalarchitecture #sindhheritage #pakistantourism #historicalmosques #yasmeenlari

The Karbala Mola Matam of Rohri: History, Tradition, and Scholarly Analysis

Introduction  

The Karbala Mola Matam is a centuries-old tradition in Rohri, Sindh, deeply rooted in Sindhi Ashura traditions and Shia mourning practices. This ritual, centered around the Ta'zieh (a replica of Imam Hussain’s shrine), honors the martyrdom of Imam Hussain (AS) and his companions. In this article, we delve into the historical origins, key figures such as Syed Mor Shah and Syed Haider Shah Haqani, and the scholarly analysis of this significant Rohri Muharram ritual.

 

Historical Accounts of Karbala-Related Observances  

Karbala Mola Matam

In the city of Rohri, from ancient times to the present day, replicas of shrines known as Ta'zieh are carried during the first ten days of Muharram. Among these, the oldest and most revered is the Karbala Mola Matam. The custodian of this tradition was Syed Muhammad Sharif Rizvi, widely known as Syed Mor Shah.  

Syed Mur Shah’s devotion to Imam Hussain (AS), the Imam of Love, was so profound that he was granted the replica of Karbala. This historical model, named after the sacred tragedy of Karbala, is attributed to Imam Hussain (AS) himself. Though simple in architecture, it reflects remarkable engineering precision and commemorates the first structure built over the Imam’s (AS) grave.  

Following the battle of Ashura, the martyrs’ bodies remained unburied on the plains of Karbala. The next day, the Banu Asad tribe buried the martyrs, while Imam Zain al-Abidin (AS) interred Imam Hussain (AS) through divine intervention. Tradition holds that the Banu Asad erected date-palm branches over the Imam’s grave, adorned with scattered weapons (shields, swords, arrows) a design mirrored in the Rohri replica. Although this initial structure was short-lived, Imam Hussain (AS) cherished it deeply, bestowing its eternal blueprint upon the devoted Syed Mur Shah, thus preserving it through the ages.

Tradition of the Matam’s Origin

The story of Syed Mur Shah receiving "Karbala," its construction in Rohri, and its emergence is a mutawatir (widely transmitted) tradition, known to all residents of Rohri Sunni and Shia alike. This oral history has been passed down through generations, reflecting its deep cultural significance in Shia mourning Sindh.  

Approximately 30 years ago (circa 1975), Mian Ali Gohar Musani, an elder from the prominent Mussani family key participants in Rohri Muharram rituals published an article titled 9th Muharram in Rohri" in the newspaper Panjtani. Below is a summary of his account, followed by a critical historical analysis.

Musani’s Account  

About 400 years ago, a dervish named Syed Mor Shah resided in Rohri. Accompanied by Khbeṛ Faqir of Mando Kheṛ, he made annual pilgrimages on foot to the shrine of Imam Hussain (AS) in Karbala. As age weakened him, these journeys grew taxing. During one such trip, Imam Hussain (AS) appeared to them, saying:  

"Your visits are accepted, but you are now frail. Return home; We shall come to you. An Iraqi Faqir will arrive to prepare Our resting place (mimbar)."

The dervishes returned to Rohri and awaited the promised Faqir. Soon, an Iraqi dervish arrived and was hosted by Syed Mor Shah. As Muharram neared, the Faqir requested materials to construct the Ta'zieh. By the 9th of Muharram, the replica was complete. As it was finished, a radiant light descended from the sky, revealing the luminous visage of Imam Hussain (AS). Overcome with reverence, mourners hoisted the replica onto their shoulders. Kabbir Faqir requested the procession pass through Mando Kheṛ, a wish that was fulfilled.  

Along the route, Syed Noor Mola Shah paid homage. Further ahead, at the sanctuary of Syed Haider Shah Haqani a spiritual figure noted in Tuhfat al-Kiram (p. 314) the Imam’s (AS) lament of "Ya Hussain!" moved the ascetic and his family to join the procession, despite his strict adherence to prayer times. Haider Shah requested the replica remain at his sanctuary overnight on the 10th of Muharram, a request that was honored.  

Meanwhile, Syed Noor Mola Shah introduced two additional replicas for Hazrat Qasim (AS) and Hazrat Ali Akbar (AS). The processions converged at Dhikko Bazaar, where the replicas were lowered and carried by hand. At Bakharī Shāh’s shrine, the three replicas reunited. After a symbolic separation at "Wichhora" (Separation Point), only Imam Hussain’s (AS) replica proceeded to Haider Shah’s sanctuary, reflecting the topography of Karbala.

Key Points from the Tradition

1. Syed Mor Shah lived in Rohri approximately 400 years ago.  

2. His companion was Kabbir Faqir of Mando Kheṛ.  

3. They traveled annually to Karbala until old age intervened.  

4. Imam Hussain (AS) appeared, halting their journeys.  

5. An Iraqi Faqir constructed the replica, and Imam (AS) manifested within it on the 9th of Muharram.  

6. Syed Noor Mola Shah and Syed Haider Shah Haqani participated in the procession.  

7. Replicas for Hazrat Qasim (AS) and Hazrat Ali Akbar (AS) were later added.

Critical and Historical Analysis

Musani’s 1975 article suggests the Matam began around 1586 CE (995 AH). However, alternative claims propose 1519 CE (926 AH) or 1572 CE (980 AH). The timeline hinges on Syed Haider Shah Haqani (d. 1039 AH/1630 CE), whom some believe witnessed the Matam’s inception.

Key Figures  

- Syed Haider Shah Haqani (b. ~907–912 AH/1501–1506 CE; d. 1039 AH/1630 CE): A revered spiritual figure, his involvement is cited as evidence of the Matam’s antiquity, though no contemporary records confirm this.  

- Syed Mur Shah: Historical records place him alive in 1025 AH/1616 CE (as a minor) and 1095 AH/1684 CE. Ties to his in-laws, such as Mir Bozurg (martyred 1066 AH/1656 CE), suggest he was born during Emperor Jahangir’s reign (1605–1627 CE) and lived into Aurangzeb’s era (d. 1707 CE).  

- Syed Noor Mola Shah: Likely active in the late 18th to early 19th century during the Kalhora/Talpur periods.

Conclusion

The Karbala Mola Matam most likely emerged in the late 17th century (late 11th century AH) during Mughal Emperor Aurangzeb’s reign. Syed Mor Shah received the replica in his later years (~1684 CE), after Haider Shah’s death (1630 CE). Discrepancies in dating arise from gaps in oral transmission. Thus, the tradition is approximately 340 years old, not 400–500 years, making it a vital yet nuanced part of Sindh’s devotional heritage.

References & Books

References

Wikipedia: Muharram

Book: Tuhfat al-Kiram by Ali Sher Qani Thattvi (1773 CE).

Article: "Mian Ali Gohar Musani, "9th Muharram in Rohri," Panjtani Newspaper (1975).

Oral histories of Rohri.

Shajra-e-Rizvi Sadaat (Genealogy of Rizvi Syeds).

The Nation: Procession with historic Zareeh taken out in Rohri

Al-Islam.org - Karbala History

YouTube @karbala-rohri

Book: Rohri’s three and a half glorious centuries. "روهڙي جون ساڍيون ٽي سو رائتيون صديون" By: Sayed Abdul Hussain Musavi

Book Recommendation: The Tragedy of Karbala by Maulana Muhammad Taqi

Photo Credit: Sayed Sajjad Hussain Musavi Location: Shafquat Hussain Shah Musavi Road

Post: Sayed Sajjad Hussain Musavi

© 2025 Discover Rohri The Ancient City of Sindh

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Cockfighting in Sindh: A Controversial Tradition

 Introduction

Cockfighting, commonly referred to as a cock fight, is a traditional yet controversial practice in Sindh, Pakistan, where specially bred roosters, known as gamecocks or game fowl, are pitted against each other in a ring called a cockpit. Despite its historical and cultural significance, cockfighting is illegal in Pakistan due to laws prohibiting animal cruelty and gambling. This article delves into the history, cultural role, and ethical concerns of cockfighting in Sindh, addressing the question, "What are fighting roosters called?" and exploring the complexities of this tradition.

A pair of fighting roosters, known as gamecocks, bred for cockfighting in Sindh, a practice tied to cultural heritage but banned due to animal cruelty and illegal gambling.

Historical Background

Cockfighting has ancient roots, with evidence dating back to 2500 BC in the Indus Valley Civilization, which included parts of modern-day Sindh. The practice likely spread through trade and cultural exchanges with neighboring regions like Afghanistan and Persia. Ancient artifacts, such as a late-7th-century BC red jasper seal from Israelite Iron Age sites, depict roosters as symbols of ferocity, highlighting their historical role as fighting birds.

In Sindh, cockfighting has been a part of the cultural fabric for centuries, often tied to festivals and social gatherings. The anthropologist Clifford Geertz, in his essay Deep Play: Notes on the Balinese Cockfight, noted the cultural significance of cockfighting in reflecting societal values and hierarchies, a perspective that resonates with its role in Sindh.

In Sindh, cockfighting has been a part of the cultural fabric for centuries, often tied to festivals and social gatherings. The anthropologist Clifford Geertz, in his essay Deep Play: Notes on the Balinese Cockfight, noted the cultural significance of cockfighting in reflecting societal values and hierarchies, a perspective that resonates with its role in Sindh.

Cultural Significance

In Sindh, cockfighting is more than a sport; it is a social event that fosters community engagement, particularly among men. Participants view it as a test of skill, status, and masculinity, with successful gamecocks elevating their owners' prestige. The excitement of a cock fight is amplified by illegal gambling, which draws crowds but also contributes to its controversial status. These events are often held during festivals or in dedicated arenas, reinforcing their cultural importance despite legal prohibitions.

The Birds: What Are Fighting Roosters Called?

Fighting roosters are called gamecocks or game fowl, terms that reflect their breeding for aggression, strength, and endurance. These birds are distinct from ordinary poultry, selected for their fighting prowess. Popular breeds used in cockfighting include:

Cockfighting in Sindh, Pakistan, involves specially bred roosters known as gamecocks, with popular breeds including the Old English Game, American Game, Asil, and Shamo. The Old English Game, originating from the United Kingdom, is valued for its agility, fierceness, and spirited nature. The American Game, from the United States, is known for its strength, durability, and aggressive behavior. The Asil, hailing from India, is prized for its bravery, tenacity, and strong skull, making it a formidable fighter. The Shamo, originating in Japan, is distinguished by its large, powerful, and muscular build. These breeds are rigorously trained and often equipped with metal spurs, though the practice is illegal in Pakistan due to animal cruelty and gambling laws, sparking debates over cultural tradition versus ethical concerns.

These gamecocks are trained rigorously from a young age, often fed specialized diets and conditioned like athletes. In some cases, they are equipped with sharp metal spurs, known as gaffs, or knives attached to their legs to increase the lethality of the fights. A prize-winning gamecock can be highly valuable, sometimes fetching thousands of dollars (Animals.mom.com: Types of Fighting Roosters).

The Sport

Cockfights take place in a circular arena called a cockpit, where two gamecocks are released from opposite ends to fight. The battles can last from a few minutes to half an hour, often ending when one bird is unable to continue or is killed. Spectators place bets on the outcome, adding to the event’s allure but also its illegality. In some variations, the birds are equipped with gaffs or knives, which intensify the brutality of the fights (Humane Society International: Fighting for their lives).

Legal and Ethical Issues

Cockfighting is illegal in Pakistan under laws that prohibit animal cruelty and gambling. Animal welfare organizations, such as the Humane Society International and PETA, argue that the practice is inhumane, as gamecocks often suffer severe injuries or death. The use of gaffs and knives exacerbates the cruelty, and the birds are sometimes injected with steroids or adrenaline-boosting drugs to enhance their aggression (PETA: What Is Cockfighting?).

The illegal gambling associated with cockfights also links the practice to other criminal activities, such as drug trafficking and assault. Despite the ban, cockfighting persists in rural areas of Sindh, often in secret locations, due to its cultural significance and the difficulty of enforcement. Authorities have increased efforts to crack down on these events, but challenges remain in balancing cultural traditions with modern ethical standards.

Conclusion

Cockfighting in Sindh is a complex issue, blending cultural heritage with significant legal and ethical concerns. The practice, involving specially bred gamecocks, remains a part of the region’s social fabric, particularly during festivals. However, its illegality due to animal cruelty and gambling laws, coupled with growing awareness of animal rights, places it at a crossroads. As society evolves, the future of cockfighting in Sindh remains uncertain, caught between preserving tradition and addressing modern ethical imperatives.

References:

Wikipedia: Cockfighting

Humane Society International: Fighting for their lives

PETA: What Is Cockfighting?

Breeds List: Fighting Chickens

Post: Sayed Sajjad Hussain Musavi

© 2025 Discover Rohri The Ancient City of Sindh

#cockfighting #sindhculture #animalrights #illegalgambling #birdfighting