Shah Abdul Latif Bhittai (Sindhi: شاھ عبداللطيف ڀٽائي, Urdu: شاہ عبداللطیف بھٹائی; 1689/1690 – 21 December 1752), normally known by the honorifics Lakhino Latif, Latif Ghot, Bhittai, and Bhit Jo Shah, was a Sindhi Sufi spiritualist, and artist, generally viewed as the best artist of the Sindhi language.
Brought into the world to a Sayyid family (relatives of the Islamic prophet Muhammad through his little girl Fatima) of Hala Haweli close to advanced Hala, Latif experienced childhood in the close by town of Kotri Mughal. At the time of around 20, he ventured out from home and went all through Sindh and adjoining lands, and met numerous a spiritualist and Jogis, whose impact is apparent in his verse. Getting back following three years, he was hitched into a blue-blood family, yet was bereft without further ado thereafter and didn't remarry. His devotion and otherworldliness pulled in huge after just as antagonism of a couple. Spending last long stretches of his life at Bhit Shah, he passed on in 1752. A tomb was worked over his grave in resulting years and turned into a famous journey site.
His sonnets were accumulated by his pupils in his Shah Jo Risalo. It was first distributed in 1866. A few Urdu and English interpretations of the work have been distributed since. Latif's verse is well known among individuals of Sindh and he is worshiped all through the area.
Tuhfat al-Kiram and Maqalat al-shu'ara, composed by Mir Ali Sher Qani Tahttwi, a contemporary of Shah Abdul Latif, about fifteen years after the passing of the artist, give some essential subtleties of his life. Other than these, in any case, minimal set up accounts exist from the early period and a large portion of the material was communicated orally through ages. The oral customs were gathered and archived in the late nineteenth century by Mirza Qalich Ask and Mir Abd al-Husayn Sangi. Along with Thattwi's works, these structure the reason for the diagram of the artist's life.[1][2]
Latif was brought into the world in 1689 or 1690 in Hala Haweli close to current Hala,[3][4] to Shah Habib, an incredible grandson of the Sufi writer Shah Abdul Karim Bulri.[1] His progenitors followed their genealogy back to the fourth caliph Ali and Fatima, the girl of the Islamic prophet Muhammad. They had emigrated to Sindh from Herat during the late fourteenth century.[5] Latif spent early long stretches of his youth in Hala Haweli, yet the family then, at that point moved to the close by town of Kotri Mughal.[3] Neighborhood custom holds that he was unskilled, but his utilization of Arabic and Persian in his verse and the impact of the Persian writer Rumi apparent on his idea show that he was well educated.[6][7] At the period of around 20, he went gaga for Saida Begum, a little girl of an Arghun blue-blood of Kotri Mughal, Mirza Mughal Ask, which handled Latif's family in a tough situation and caused them return to Hala Haweli. Her adoration, in any case, profoundly affected youthful Latif and he ventured out from home meandering deserts and leaving on movement through Sindh and contiguous lands.[8][9] As per Motilal Jotwani, it was maybe during these movements that his beautiful nature went to the fore.[10] He specifies the spots he visited in his sonnets. First he went to Ganjo Slope close to what is presently Hyderabad, from there on heading out to Kalachi (current Karachi) through Thatta and Banbhore. On the excursion he met Jogis and went with them to Hinglaj in piles of southern Balochistan. On his return east, he visited Lahut in Lasbela, and afterward headed out across to Dwarka, Porbandar, Junagadh, and a few different spots in Kutch area. Returning west, he visited Karoonjhar Mountains in Nagarparkar. Heading out in different directions from the Jogis in Thar, he went to Jaisalmer prior to getting back to Thatta and afterward home. His movements appear to have affected his poetry.[11]
The individuals who get to know Ganja Slope,
Become Yogis, neglecting all books and scriptures.[12]
Latif got back after three years.[9] In 1713 Mirza Mughal Ask was killed while in quest for burglars who had plundered his home. After this episode, Latif was hitched to Saida Begum, the lady whom he had been infatuated with. The marriage didn't bring about any posterity and Saida Begum kicked the bucket a couple of years into the marriage. Latif didn't remarry and stayed childless his whole life.[13][9] He presently appears to have settled down and given to petition and love. His devotion pulled in a huge after, which allegedly acquired him aggression of aristocrats and Noor Mohammad Kalhoro, the leader of Sindh, who is said to have fruitlessly had a go at killing him by poisoning.[14]
Approximately ten years before his demise, Latif left his home, migrating to a sandhill a couple of miles from Hala Haweli, which later became known as Bhit Shah (Hill of Shah), henceforth his title Bhittai (the tenant of Bhit).[15] Latif kicked the bucket at Bhit on 21 December 1752 (14 Safar 1166 AH) at the time of 63[1] and was covered there.[16] A burial chamber was worked over his grave by the then leader of Sindh Mian Ghulam Shah Kalhoro in 1754,[6] or 1765
During Latif's lifetime, Sindh changed from Delhi-based Mughal rule to the nearby Kalhora line. During the later piece of Latif's life, Nadir Shah Afshar terminated Delhi and made Sindh his feeder. Latif additionally saw Ahmad Shah Durrani's assault on Delhi and his coercion of Sindh to Afghan standard. In spite of this, his verse is without any notice of these disturbances or the political scene of his time overall. H. T. Sorley has ascribed this to his advantage in "interminable verities" and apathy to "transient marvels" and "insignificant wars".[16]
Latif's verse was not recorded during his lifetime, however was sung and remembered by his pupils during the melodic meetings (Cloth) that he used to hold.[25] The sonnets were arranged after his demise into an assortment called Shah Jo Risalo (the Book of Shah).[26] The Risalo was first distributed in 1866 by the German philologist Ernest Trumpp. It contains thirty parts, called Sur, each zeroing in on a specific melodic mode.[27] Every Sur is additionally separated into segments, dastan (story) or fasl (section), which contain comparably themed abyat. Each segment closes with at least one wa'is.[1] A few Surs center around classic stories of the Indian sub-mainland like Sassui Punhun, Sohni Mehar, Umar Marui, and Lilan Chanesar, while others, similar to Sur Asa and Sur Yaman Kalyan, depict the magical temperaments and optimal customary darling. Sur Sarang is dedicated to the recognition of the Islamic prophet Muhammad, while Sur Kedaro regrets the demise of Muhammad's grandson, and Latif's progenitor, Husayn ibn Ali at the Skirmish of Karbala in 680.[27]
Since the primary version of the Risalo, a few different releases have been distributed by different researchers including Mirza Qalich Ask, Hotchand Molchand Gurbakhshani, Ghulam Muhammad Shahvani, Kalyan Advani, and Nabi Bakhsh Baloch. Urdu interpretations have been distributed by Shaikh Ayaz, and Ayaz Husayn Qadiri and Sayyid Vaqar Ahmad Rizvi. The principal fractional English interpretation of the Risalo was distributed by H. T. Sorley in 1940, trailed by Elsa Kazi, and Ghulam Ali Allana. Complete interpretations have been distributed by Muhammad Yakoob Agha, Amena Khamisani, and others. Early compositions of the Risalo just as distributed versions show extensive contrasts in the substance. The most broadly acknowledged form has exactly 3,000 abyat and 200 wa'is.[1]
Latif is viewed as the best Sufi writer of the Sindhi language,[1][9] and the public artist of Sindh.[28] As per the orientalist Annemarie Schimmel, he is "The most remarkable expert of well known Sufi verse in Pakistan."[29] As per Seyyed Hossein Nasr, Latif's Risalo has been contrasted and Rumi's Mathnawi, and Latif was "immediate transmissions of Rūmī's otherworldliness in the Indian world."[21] Each Thursday evening, Latif's verse is sung by conventional artists and dervishes at the holy place in a run of the mill blissful style. The presentation is regularly alluded to as Shah jo Cloth (Shah's music).[1][17]
Mainstream society
Latif's verse is well known among the Sindhi public, including the two Muslims and Hindus. Latif's own associations with Jogis and Sanyasis might have added to this. The cultural stories described in the Surs of the Risalo are as often as possible related and sung to children.[28] Numerous tales of haigographical nature are well known among local people. One such story holds that when he was being shown the letters in order, he would not learn anything past the letter Alif for it connotes the name of God (Allah) and there isn't anything of significant worth past it.[16] One more story of this sort attests that his adherents introduced him a composed duplicate of the Risalo, which he discarded in the close by Kirar lake in the wake of having understood it. At the point when the devotees dissented, he permitted them to revamp the whole Risalo by describing it from his memory.[30] His burial chamber is a famous journey site in Sindh.[28]Urs
The Urs, a yearly celebration of his demise, happens on 14 Safar, the second month of the Hijra schedule. The function, which goes on for three days, highlights supplications, music, presentations, scholarly meetings, and horse races. Individuals visit the place of worship from everywhere the province.[31][32] A 16-foot-high sculpture of Latif was raised before the Bhit Shah lay house on the event of his 274th Urs in 2017.[33]
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