Prof Rashid Nazki The Legacy

The late 19th century marked the beginning of a profound crisis for modern man. As diverse philosophies, ideas, narratives, and thoughts gained traction across various spheres of life, knowledge, and sciences, a battle between tradition and modernity emerged. This struggle captivated the attention of scholars, philosophers, and thinkers worldwide.

During this battle, many traditionalists sought to comprehend states of consciousness or challenge extraterrestrial experiences. These experiences transformed not only physical realities but also internal modes of perspectivism, impacting particular identities and cultures. The wave of Western, European, and leftist literary, philosophical, and political movements revolutionized the intellectual landscape globally.

However, when this intellectual transformative upsurge reached Kashmir, it received a mixed response. Many towering writers, poets, and intellectuals enthusiastically embraced the wave, while others advocated for the traditional way of artistic expression. This divide highlighted the need for a unified intellectual response against the resultant alien thought.

Rashid Nazki (September 18, 1931- January 7, 2016) was born in Bandipora, and his academic journey began as a primary school teacher in a government school. He later served at the Jammu and Kashmir Academy of Art, Culture and Languages, before joining Kashmir University, the state’s highest seat of learning, where he spent most of his intellectual life. His doctoral thesis, Mystic Trends in Kashmiri and Urdu Poetry, is a comprehensive study of mysticism in Kashmiri and Urdu poetry.

Nazki’s encounter with scholars propagating Western and progressive thought began in 1977 when he joined the University of Kashmir. This period marked the beginning of what he termed “literary decolonisation,” driven by his concern over the growing influence of alien literary thought processes. He felt that a few individuals were exerting “literary paramountcy,” which threatened to overwhelm traditional literary expressions.

In response, Nazki sought like-minded individuals, or “comrades of the cause,” from his university days onwards. Before this, he had interacted with leading scholars and writers, which led to the founding of Faesh in 1958, a literary organisation aimed at uniting people of similar minds. However, Nazki soon felt that this endeavour was insufficient, as the influence of literary paramountcy continued to grow under the sponsorship of external forces.

To counter this trend, Rashid Nazki founded Adbi Markaz Kamraz Jammu and Kashmir, one of the largest literary organisations, in 1971. He subsequently enlisted the support of Prof Mahiudin Hajini and others to work towards preserving traditional literary expressions alongside emerging modern trends.

As the founder and founding president of Adbi Markaz Kamraz, Rashid Nazki worked tirelessly to promote ideas and ideals through his scholarly pursuits. He collaborated with a range of individuals, including Mahiudin Hajini, Ameen Shakeeb, Nishat Ansari, Mashal Sultanpuri, Prof Maznoor Fazili, and Dr Ajar, to foster a sense of camaraderie and shared purpose.

To further his goals, Nazki established a literary journal, Mashaieri-Kamraz, which focused on documenting the lives and artistic contributions of poets, writers, and scholars from the Kamraz region. Under his leadership, AMK flourished, setting a precedent that provided a safe platform for the development of literature and culture. However, over time, some individuals began to utilise this platform for personal gain, focusing on self-development rather than the advancement of literary society. This shift sparked negative sentiments in Nazki, who grew disillusioned with the literati at the helm of AMK.

Nazki’s literary thought was rooted in the concept of Al-Tawhid-i-Wahid and Ma’aebaadtubiyaat, as described by Rene Guenon, which formed the foundation of tradition. As a Traditionalist par excellence, Nazki navigated the realm of modernity while remaining deeply connected to the garden of Tradition. He drew inspiration from this garden, seeking to distil the essence of Traditional literary thought in Kashmir. Nazki’s commitment to preserving Kashur Literary Tradition was unwavering, echoing the sentiments of Faiz, who once declared, hum parvarishyi loh o qalam kartay rahengay (We will continue to nurture the pen and the paper).

While modern literary scholars and intellectuals may hold diverse views on this matter, it is undeniable that Kashmir possesses a unique literary and philosophical thought rooted in the Sufi tradition. Nazki consistently urged his contemporaries to adhere to this specific tradition.

The advent of Western or European literary and philosophical movements can be viewed as a natural part of literary evolution. However, it is essential to acknowledge that every nation possesses unique literary and philosophical thought. This distinct thought, rooted in a specific literary identity, is often resistant to intra-evolutionary forms that compromise the absolute tradition. While inter-evolutionary processes have proven aesthetically beneficial in refreshing Traditionalist thought, they must be cautiously approached.

Rashid Nazki navigated this complex landscape by preserving tradition while incorporating modern literary elements, genres, and forms to rejuvenate aesthetic traditional artistic expression. He did so without compromising the foundation of tradition. Nazki’s approach was akin to traversing a less travelled path, as he expressed in his poem:

Jaan Tanha Ta Jan-i-Jaan Tanah
Arsh Aala Ta Asmaan Tana
Sonch Tanah Ta Tarzi Fikir Juda
Kus Na Isnaan Gumaan Gumaan Tanah

Nazki’s first poetic collection, Waharaat (1995), garnered widespread acclaim in literary circles for its embodiment of Tradition. The collection features traditional diction, adhering to metaphysical and mystic modes of expression. Professor Shafi Shouq, discussing Nazki’s traditional thought, observed that Nazki remained committed to traditional poetic art throughout his career. Shouq said Nazki’s traditional expression brought this art form to life.

One of the standout pieces in Waharaat is the poem Isra, comprising 88 verses. This traditional masterpiece invites comparison with Dante’s Divine Comedy and Allama Iqbal’s Javed Nama. In Isra, Nazki employs metaphysical, phenomenological, and mystic elements to vocalise his spiritual experiences, demonstrating his mastery of traditional poetic art.

When engaging with Rashid Nazki’s work, one is struck by his distinctive style and individuality. He skilfully bridges the gap between tradition and modernity, achieving a seamless fusion without diluting the essence of either. As a reader navigates Nazki’s verses, they are met with the unmistakable feeling of both traditional and modern poetry.

Nazki’s artistic expression is a unique blend of the old and the new, setting him apart from his contemporaries. His literary diction is characterised by an encompassing of elements from both classical tradition and modernity, evident in his poetic and prose writings, such as Waharat, Seeriyat, and Zikir-I-Habib. This distinctive approach differentiates him from early Sufi poets and modern romantic poets, not only in terms of artistic expression but also in his use of genres, symbols, metaphors, and imagery.

Nazki’s work can be described as that of a mystic poet, a modern mystic poet who utilises modern artistic expressions to reshape the classical Sufi poetic genre of Kashmiri poetry. This is exemplified in his famous Vachun:

mann sarr pannay tan yeli novum
adda path trovum doh kio raath

Here, one can discern the shades of both classical and modern poetic art. This Vachun is part of Waharat, a poetic collection considered a traditional piece of Nazk’ian style, drawing inspiration from notable figures such as Shams Faqeer, Nadim, Allama Iqbal, and Lalded.

Sacred scriptures have long been recognised as a driving force behind remarkable achievements in spirituality, religion, and cultural creativity, as noted in JH Ellen’s edited work, The Destructive Power of Religion. Nazki’s literary contributions also include his translations of Qaseedah Burdah, which are deeply grounded in the tradition of sacred scriptures.

Nazki believes that “the in-depth reading and aesthetic expression of sacred texts always inspire ethereal paeans of music”. When this music is explored aesthetically or artistically, it yields transcendent crescendos of unique composition, possessing the power to transport listeners to a realm of imagination and spiritual ecstasy that lies beyond their capacity.

Through his artistic and aesthetic elaboration of mystical and Rishi thought, Nazki employs sacred texts to resonate with the heart and mind of his audience. This technique is exemplified in the two volumes of Zikr-I-Habib, a Seerah of Prophet Muhammad (peace be upon him). Nazki’s distinctive writing style seamlessly transports readers back 1,446 years to the Arabian Peninsula, immersing them in the transcendent atmosphere of the Prophetic period.

What sets Nazki apart is his unique art, which masterfully induces mystical ecstasy in his readers while maintaining room for debate through his poetic techniques. Despite being influenced by 20th-century literary and philosophical movements, Nazki successfully preserved his art and aesthetics, rooted in the traditional thought of Kashmir.

Throughout his poetry, Nazki elaborates on profound concepts such as Being, Consciousness, God, Man, Life, Time, and Space. He employs symbols like Karbala, Sehra, Gulshan, Asman, Zameen, fire, transcendent resonance, Cross (Saleeb), Aftab, Gulab, and Khaab, infusing them with aesthetic significance. These symbols serve as bridges between the tangible and the intangible, the earthly and the divine, inviting readers to contemplate the deeper mysteries of existence. Nazki’s work, thus, is not merely a literary achievement but a spiritual journey, one that continues to inspire and challenge its audience.

Rashid Nazki sought to embrace the perennial and pluralistic approach to religions, advocating for a return to the timeless wisdom of Rishism, or mysticism, when religious violence has become increasingly prevalent in the era of globalisation. Nazki unwaveringly asserted that Rishism forms the bedrock of religious thought in Kashmir.

In exploring the term Rishi, he explained that Rishis, or sages, are not merely spiritual figures but also representatives of thought, culture, and civilisation in Kashmir. This perspective is detailed in his work, Study of Rishyiat. According to Nazki, Rishism found its way into Kashmir during the early historical period, coinciding with Alexander the Great’s invasion, albeit in a different form. Over time, it evolved and eventually adopted the name Rishism with the advent of Islam.

Nazki often referenced a passage from Allama Iqbal’s Falsaf-i-Ajam, in which Iqbal argued that adhering to Rishism in its true form and essence could help avert the crises facing humanity. This belief underscored Nazki’s conviction that the principles of Rishism hold the key to resolving contemporary spiritual and social challenges.

The recognition of Rashid Nazki as a mystic and modern Sufi poet of Kashmir is beyond dispute. Those who have engaged with his writings or attended his lectures have consistently described him as erudite, original, insightful, fearlessly critical, and intellectually invincible. Yet, what has struck many scholars working in Kashmiri poetic and religious thought is his profound grasp of classical mystical concepts and his ability to evaluate them critically. His work bridges the gap between ancient wisdom and modern interpretation, offering a unique lens through which to view Kashmir’s spiritual heritage.

To ensure that future generations understand the traditional thought of Kashmir, Nazki’s ideas and contributions demand deeper exploration and rigorous research. It is hoped that intellectuals, scholars, and institutions will take up the mantle to initiate comprehensive studies into his thought. Rashid Nazki passed away on January 7, 2016, after a prolonged illness, leaving behind a rich legacy that continues to inspire and challenge those who encounter his work. His life and writings remain a testament to the enduring power of mysticism and the urgent need to preserve and reinterpret traditional thought in a rapidly changing world.

The late 19th century marked the beginning of a profound crisis for modern man. As diverse philosophies, ideas, narratives, and thoughts gained traction across various spheres of life, knowledge, and sciences, a battle between tradition and modernity emerged. This struggle captivated the attention of scholars, philosophers, and thinkers worldwide.

During this battle, many traditionalists sought to comprehend states of consciousness or challenge extraterrestrial experiences. These experiences transformed not only physical realities but also internal modes of perspectivism, impacting particular identities and cultures. The wave of Western, European, and leftist literary, philosophical, and political movements revolutionized the intellectual landscape globally.

However, when this intellectual transformative upsurge reached Kashmir, it received a mixed response. Many towering writers, poets, and intellectuals enthusiastically embraced the wave, while others advocated for the traditional way of artistic expression. This divide highlighted the need for a unified intellectual response against the resultant alien thought.

Rashid Nazki (September 18, 1931- January 7, 2016) was born in Bandipora, and his academic journey began as a primary school teacher in a government school. He later served at the Jammu and Kashmir Academy of Art, Culture and Languages, before joining Kashmir University, the state’s highest seat of learning, where he spent most of his intellectual life. His doctoral thesis, Mystic Trends in Kashmiri and Urdu Poetry, is a comprehensive study of mysticism in Kashmiri and Urdu poetry.

Nazki’s encounter with scholars propagating Western and progressive thought began in 1977 when he joined the University of Kashmir. This period marked the beginning of what he termed “literary decolonisation,” driven by his concern over the growing influence of alien literary thought processes. He felt that a few individuals were exerting “literary paramountcy,” which threatened to overwhelm traditional literary expressions.

In response, Nazki sought like-minded individuals, or “comrades of the cause,” from his university days onwards. Before this, he had interacted with leading scholars and writers, which led to the founding of Faesh in 1958, a literary organisation aimed at uniting people of similar minds. However, Nazki soon felt that this endeavour was insufficient, as the influence of literary paramountcy continued to grow under the sponsorship of external forces.

To counter this trend, Rashid Nazki founded Adbi Markaz Kamraz Jammu and Kashmir, one of the largest literary organisations, in 1971. He subsequently enlisted the support of Prof Mahiudin Hajini and others to work towards preserving traditional literary expressions alongside emerging modern trends.

As the founder and founding president of Adbi Markaz Kamraz, Rashid Nazki worked tirelessly to promote ideas and ideals through his scholarly pursuits. He collaborated with a range of individuals, including Mahiudin Hajini, Ameen Shakeeb, Nishat Ansari, Mashal Sultanpuri, Prof Maznoor Fazili, and Dr Ajar, to foster a sense of camaraderie and shared purpose.

To further his goals, Nazki established a literary journal, Mashaieri-Kamraz, which focused on documenting the lives and artistic contributions of poets, writers, and scholars from the Kamraz region. Under his leadership, AMK flourished, setting a precedent that provided a safe platform for the development of literature and culture. However, over time, some individuals began to utilise this platform for personal gain, focusing on self-development rather than the advancement of literary society. This shift sparked negative sentiments in Nazki, who grew disillusioned with the literati at the helm of AMK.

Nazki’s literary thought was rooted in the concept of Al-Tawhid-i-Wahid and Ma’aebaadtubiyaat, as described by Rene Guenon, which formed the foundation of tradition. As a Traditionalist par excellence, Nazki navigated the realm of modernity while remaining deeply connected to the garden of Tradition. He drew inspiration from this garden, seeking to distil the essence of Traditional literary thought in Kashmir. Nazki’s commitment to preserving Kashur Literary Tradition was unwavering, echoing the sentiments of Faiz, who once declared, hum parvarishyi loh o qalam kartay rahengay (We will continue to nurture the pen and the paper).

While modern literary scholars and intellectuals may hold diverse views on this matter, it is undeniable that Kashmir possesses a unique literary and philosophical thought rooted in the Sufi tradition. Nazki consistently urged his contemporaries to adhere to this specific tradition.

The advent of Western or European literary and philosophical movements can be viewed as a natural part of literary evolution. However, it is essential to acknowledge that every nation possesses unique literary and philosophical thought. This distinct thought, rooted in a specific literary identity, is often resistant to intra-evolutionary forms that compromise the absolute tradition. While inter-evolutionary processes have proven aesthetically beneficial in refreshing Traditionalist thought, they must be cautiously approached.

Rashid Nazki navigated this complex landscape by preserving tradition while incorporating modern literary elements, genres, and forms to rejuvenate aesthetic traditional artistic expression. He did so without compromising the foundation of tradition. Nazki’s approach was akin to traversing a less travelled path, as he expressed in his poem:

Jaan Tanha Ta Jan-i-Jaan Tanah
Arsh Aala Ta Asmaan Tana
Sonch Tanah Ta Tarzi Fikir Juda
Kus Na Isnaan Gumaan Gumaan Tanah

Nazki’s first poetic collection, Waharaat (1995), garnered widespread acclaim in literary circles for its embodiment of Tradition. The collection features traditional diction, adhering to metaphysical and mystic modes of expression. Professor Shafi Shouq, discussing Nazki’s traditional thought, observed that Nazki remained committed to traditional poetic art throughout his career. Shouq said Nazki’s traditional expression brought this art form to life.

One of the standout pieces in Waharaat is the poem Isra, comprising 88 verses. This traditional masterpiece invites comparison with Dante’s Divine Comedy and Allama Iqbal’s Javed Nama. In Isra, Nazki employs metaphysical, phenomenological, and mystic elements to vocalise his spiritual experiences, demonstrating his mastery of traditional poetic art.

When engaging with Rashid Nazki’s work, one is struck by his distinctive style and individuality. He skilfully bridges the gap between tradition and modernity, achieving a seamless fusion without diluting the essence of either. As a reader navigates Nazki’s verses, they are met with the unmistakable feeling of both traditional and modern poetry.

Nazki’s artistic expression is a unique blend of the old and the new, setting him apart from his contemporaries. His literary diction is characterised by an encompassing of elements from both classical tradition and modernity, evident in his poetic and prose writings, such as Waharat, Seeriyat, and Zikir-I-Habib. This distinctive approach differentiates him from early Sufi poets and modern romantic poets, not only in terms of artistic expression but also in his use of genres, symbols, metaphors, and imagery.

Nazki’s work can be described as that of a mystic poet, a modern mystic poet who utilises modern artistic expressions to reshape the classical Sufi poetic genre of Kashmiri poetry. This is exemplified in his famous Vachun:

mann sarr pannay tan yeli novum
adda path trovum doh kio raath

Here, one can discern the shades of both classical and modern poetic art. This Vachun is part of Waharat, a poetic collection considered a traditional piece of Nazk’ian style, drawing inspiration from notable figures such as Shams Faqeer, Nadim, Allama Iqbal, and Lalded.

Sacred scriptures have long been recognised as a driving force behind remarkable achievements in spirituality, religion, and cultural creativity, as noted in JH Ellen’s edited work, The Destructive Power of Religion. Nazki’s literary contributions also include his translations of Qaseedah Burdah, which are deeply grounded in the tradition of sacred scriptures.

Nazki believes that “the in-depth reading and aesthetic expression of sacred texts always inspire ethereal paeans of music”. When this music is explored aesthetically or artistically, it yields transcendent crescendos of unique composition, possessing the power to transport listeners to a realm of imagination and spiritual ecstasy that lies beyond their capacity.

Through his artistic and aesthetic elaboration of mystical and Rishi thought, Nazki employs sacred texts to resonate with the heart and mind of his audience. This technique is exemplified in the two volumes of Zikr-I-Habib, a Seerah of Prophet Muhammad (peace be upon him). Nazki’s distinctive writing style seamlessly transports readers back 1,446 years to the Arabian Peninsula, immersing them in the transcendent atmosphere of the Prophetic period.

What sets Nazki apart is his unique art, which masterfully induces mystical ecstasy in his readers while maintaining room for debate through his poetic techniques. Despite being influenced by 20th-century literary and philosophical movements, Nazki successfully preserved his art and aesthetics, rooted in the traditional thought of Kashmir.

Throughout his poetry, Nazki elaborates on profound concepts such as Being, Consciousness, God, Man, Life, Time, and Space. He employs symbols like Karbala, Sehra, Gulshan, Asman, Zameen, fire, transcendent resonance, Cross (Saleeb), Aftab, Gulab, and Khaab, infusing them with aesthetic significance. These symbols serve as bridges between the tangible and the intangible, the earthly and the divine, inviting readers to contemplate the deeper mysteries of existence. Nazki’s work, thus, is not merely a literary achievement but a spiritual journey, one that continues to inspire and challenge its audience.

Rashid Nazki sought to embrace the perennial and pluralistic approach to religions, advocating for a return to the timeless wisdom of Rishism, or mysticism, when religious violence has become increasingly prevalent in the era of globalisation. Nazki unwaveringly asserted that Rishism forms the bedrock of religious thought in Kashmir.

In exploring the term Rishi, he explained that Rishis, or sages, are not merely spiritual figures but also representatives of thought, culture, and civilisation in Kashmir. This perspective is detailed in his work, Study of Rishyiat. According to Nazki, Rishism found its way into Kashmir during the early historical period, coinciding with Alexander the Great’s invasion, albeit in a different form. Over time, it evolved and eventually adopted the name Rishism with the advent of Islam.

Nazki often referenced a passage from Allama Iqbal’s Falsaf-i-Ajam, in which Iqbal argued that adhering to Rishism in its true form and essence could help avert the crises facing humanity. This belief underscored Nazki’s conviction that the principles of Rishism hold the key to resolving contemporary spiritual and social challenges.

The recognition of Rashid Nazki as a mystic and modern Sufi poet of Kashmir is beyond dispute. Those who have engaged with his writings or attended his lectures have consistently described him as erudite, original, insightful, fearlessly critical, and intellectually invincible. Yet, what has struck many scholars working in Kashmiri poetic and religious thought is his profound grasp of classical mystical concepts and his ability to evaluate them critically. His work bridges the gap between ancient wisdom and modern interpretation, offering a unique lens through which to view Kashmir’s spiritual heritage.

To ensure that future generations understand the traditional thought of Kashmir, Nazki’s ideas and contributions demand deeper exploration and rigorous research. It is hoped that intellectuals, scholars, and institutions will take up the mantle to initiate comprehensive studies into his thought. Rashid Nazki passed away on January 7, 2016, after a prolonged illness, leaving behind a rich legacy that continues to inspire and challenge those who encounter his work. His life and writings remain a testament to the enduring power of mysticism and the urgent need to preserve and reinterpret traditional thought in a rapidly changing world.

By Mir Tariq Rasool

(Former Secretary Adbi Markaz Kamraz, the author serves as a patron of the Kashmir Literary and Philosophic Foundation. The views expressed are personal.).

Originally Published In Kashmir Life