Fatehpur Sikri Awakens: A New Spiritual Dawn under Arshad Faridi Chishti

Asif Zaman Rizvi

The historic soil of Fatehpur Sikri, renowned for its exquisite architecture, illustrious history, and spiritual significance, is once again witnessing a glorious spiritual renaissance. This land — a long-standing confluence of mysticism, Sufism, and social harmony — now stands at the threshold of a new chapter. The Dargah of Hazrat Sheikh Salim Chishti (RA), a beacon of spirituality, love, and brotherhood for centuries across India, now strides towards a fresh awakening under the stewardship of its 17th successor, Peerzada Arshad Azim Faridi Chishti. His ascension as the Sajjadanashin not only preserves a 500-year-old tradition but infuses it with a modern outlook, social consciousness, and the sharp sensibility of a seasoned journalist.

The Dargah of Hazrat Sheikh Salim Chishti (RA) at Fatehpur Sikri holds an unparalleled place in history. It was here that the mighty Mughal Emperor Akbar, seeking the boon of a son, humbly submitted himself before the saint and received his blessings. When Akbar was finally blessed with a child, he founded the grand city of Fatehpur Sikri upon this sacred soil and, under the saint’s guidance, commissioned the building of the Dargah. In 1576, during the appointment of the Dargah’s first Sajjadanashin, Hazrat Sheikh Badruddin Chishti (RA), Akbar himself was present to solemnize and honor the sanctity of this revered shrine. Moreover, Akbar elevated the sons and descendants of Hazrat Sheikh Salim Chishti (RA) to prominent positions within his court, publicly demonstrating his reverence and veneration for the saint.

Today, the Dargah is not merely a sacred space for India but a living symbol of love, peace, and humanity for the entire world — where devotees, irrespective of caste, creed, color, or gender, arrive with faith in their hearts and prayers on their lips. The lofty stature of this shrine breathes life into India’s spiritual heritage and the inclusive spirit of Sufism

The hallowed ground of Fatehpur Sikri, whose every stone bears testimony to golden chapters of history, remains vibrant with that same spiritual energy. Even now, the winds carry the devotion that once filled the air in Emperor Akbar’s time — a devotion to the great saint who, through his asceticism and prayers, sowed the seeds of love and liberation for all humanity. The Dargah continues to uphold the eternal flame of love and faith for mankind.

This sacred site has never been merely a religious center; it stands as a living testament to India’s Ganga-Jamuni tehzeeb — the composite culture of harmonious coexistence. People from every faith, caste, and creed bow here with equal devotion. For centuries, this epicenter of Sufism has radiated the spirit of love, brotherhood, and social harmony — a spirit that is needed now more than ever. The mantle of preserving and nurturing this priceless heritage now rests in the capable hands of a man known for his simplicity, erudition, compassion, and deep social commitment — Peerzada Arshad Azim Faridi Chishti.

Born into a family where Sufi tradition was not just a faith but a way of life, Arshad Faridi Chishti imbibed spirituality and selfless service from a young age. His father, Peerzada Rais Miyan Faridi Chishti, himself served the Dargah devotedly from childhood. In such an atmosphere, Arshad Sahib developed a profound spiritual grounding alongside distinguished modern education. His more than three-decade-long career in journalism — with reputed newspapers like Dainik Jagran, Amar Ujala, and Rashtriya Sahara — gave him a penetrating understanding of social concerns. His writings became the voice of the marginalized, the oppressed, and the overlooked, embodying journalism as a powerful vehicle for positive social transformation.

Now, as Sajjadanashin, his multi-faceted persona breathes new life into the Dargah’s traditions. His vision transcends mere spiritual leadership; he aspires to transform the Dargah into a vibrant social center where ideals of love, service, and national unity are celebrated and strengthened. His unpretentious warmth and innate humility naturally endear him to every visitor. His smile carries the soul of Sufi culture — a journey from one heart to another, unmarred by discrimination or hierarchy.

The sacred Rasm-e-Sajjadagi and Jansheeni ceremony witnessed the convergence of distinguished Sufi saints, religious leaders, and dignitaries from across the country. Among those gracing the event were Sayyid Nasiruddin Chishti, the successor of Ajmer Sharif; Sahibzada Sayyid Hamza Miyan Chishti; Peer Farid Nizami of Nizamuddin Auliya Dargah; Nayyar Miyan of Rudhauli Dargah; Ali Shah Miyan of Kaliyar Sharif; and many others from Hyderabad and beyond. Political figures such as BJP MP Rajkumar Chahar, Samajwadi Party MP Muheebullah Nadvi, and former MP Ashok Tanwar also enhanced the occasion with their presence.

Arshad Faridi Chishti is the illustrious son of Peerzada Rais Miyan Chishti — himself a highly revered Sajjadanashin whose influence reached deeply into social, religious, and political spheres. When Rais Miyan Chishti was entrusted with the sacred responsibility at the tender age of seven in 1943, he upheld the Chishti tradition with unmatched dignity and depth. Now, after a span of 80 years, this mantle has been ceremoniously and unanimously bestowed upon Arshad Faridi Chishti.

This succession is not a mere familial formality; it is the continuation of a profound spiritual journey — a path rooted in service, devotion, and humanitarian guidance. With Arshad Faridi at its helm, this tradition witnesses a synthesis of spirituality with scientific reasoning, of age-old custom with progressive interpretation, and of religious leadership with social revolution.

Not only a spiritual leader, Arshad Faridi Chishti is a seasoned journalist who served prestigious newspapers for 32 years. As editor of Roznama Mera Watan (Urdu) and Metro Media (Hindi), his journalism sought not just to report news but to illuminate the truths hidden in society’s shadows. He championed the causes of minorities, exposed layers of corruption, narrated tales of social injustice, and advocated for the rights of the marginalized — living journalism as a mission rather than a profession.

Now, when this vision merges with the spirit of Sufism, it generates a new force. The love, devotion, and equality at the heart of Sufi thought blend with Arshad Faridi’s social commitment, giving rise to a broader and richer expression. His elevation as Sajjadanashin is not just a religious event but a transfer of a profound ideology — one that embraces modernity not as an adversary but as a complement to tradition. In an age marred by religious intolerance and division, the voice from Fatehpur Sikri resounds with a message of dialogue, inclusivity, and concord.

Gifted with Aquarian traits — creativity, independence, humanitarian sensitivity, and progressivism — Arshad Faridi Chishti appeals not only to the devout but to intellectuals, politicians, and administrators alike.

His greatest achievement lies in tirelessly working for communal harmony and peace in and around Fatehpur Sikri. His active involvement with the Waqf Board, local administration, and Dargah management underscores his identity as both a religious leader and a social reformer. Under his spiritual tenure, the Dargah will not remain a mere sanctuary of faith but will blossom into a vibrant hub for dialogue, where diverse religions, ideologies, and cultures will converge.

Honored nationally and internationally, Arshad Faridi Chishti’s accolades include the Best Journalist Award by the Delhi Assembly (2003), the Matrashri Award (2005), and recognitions from the Ezaz Rizvi Memorial Society (2018) and the All India Minority Forum (2022). He represented India at the United Nations World Peace Conference in Bangkok (2003) and the World Hindi Conference in Johannesburg, South Africa — experiences that will further globalize the prominence of the holy Dargah.

As a member of India’s National Council for Promotion of Urdu Language (NCPUL), Arshad Faridi Chishti’s influence extends into linguistic and cultural dialogues, providing fertile ground to promote Sufi literature, Urdu poetry, and spiritual education. Through his efforts, the Dargah shall evolve into not just a place of worship but a pulsating center of cultural and educational renaissance.

Now, as he assumes his role as Sajjadanashin of this revered center of Sufism, it signals not just the continuation of a tradition but the dawn of a new era — an era where tradition harmonizes with modernity, where spirituality intertwines with social awakening, and where leadership radiates the spirit of humble service. Under his visionary guidance, the Dargah of Fatehpur Sikri shall not only remain a nucleus of faith but will rise as an institution embodying education, dialogue, social justice, and communal harmony.

This narrative beautifully captures how traditions become even more meaningful when infused with fresh thought and new vigor — and Arshad Faridi Chishti stands as a glowing symbol of this renaissance.

He deeply understands the profound relevance of Sufi culture in a diverse country like India. He believes that the essence of Sufism lies in love, tolerance, and unity — invaluable treasures in today’s tense world. His vision for the Dargah encompasses not just spiritual elevation but initiatives in education, healthcare, and social welfare: scholarships for students, empowerment programs for women, and free medical camps for the needy.

His vision is truly inclusive, establishing him not only as a leader for Muslims but as a guide for all humanity. In his view, the Dargah is a lighthouse piercing through the darkness of hatred with the light of compassion and love. He asserts that true Sufi tradition does not create boundaries but bridges hearts.

That is why Sufi saints, religious scholars, and social activists from across the nation celebrate his leadership. With this new chapter at Hazrat Salim Chishti’s Dargah, Fatehpur Sikri is once again imprinted upon the map of India’s national consciousness. From here, the resounding echoes of love, service, and unity will inspire generations to come.

The ceremony concluded with heartfelt prayers by Peerzada Rais Miyan Faridi Chishti for the welfare of all humanity, followed by a grand traditional feast (langar) where dal-bati-churma and thandai delighted every guest, reaffirming that the Dargah is not only a center of spirituality but a living celebration of love and fraternity.

Summing up this entire occasion is a soul-stirring quote from Arshad Faridi Chishti:

“A Sufi is not one who towers above the minarets;
A true Sufi is one who sows seeds of love and compassion in every heart’s soil.”

And thus begins a new chapter…

Asif Zaman Rizvi

Kaifi Azmi: The king of romance and conscience

A part of the rare class of Urdu poets with social consciousness, Kaifi Azmi was a staunch Nehruvian, like Sahir Ludhianvi, Shakeel Badayuni, and others of his ilk.

Venkat Parsa

Kaifi Azmi was the King of Romance. Kaifi Azmi, Sahir Ludhianvi and Shakeel Badayuni formed a triumvirate of romantic poets-lyricists who dominated the Golden Era of Hindi Cinema. A part of the rare class of Urdu poets with social consciousness, Kaifi Azmi was a staunch Nehruvian, like Sahir Ludhianvi, Shakeel Badayuni, and others of his ilk. He became part of the Taraqqi-Pasand Tehreek, or Progressive Writers Movement, and was a Communist Party cardholder.

From Mushairas to Movies

Soon after Independence, many Urdu poets turned towards the world of Hindi Cinema. Urdu poets brought gravitas to the lyrics of Hindi film songs. So did Kaifi Azmi, leaving an indelible mark. May 10 marks his 23rd death anniversary.

Born Akhtar Hussain Rizvi on January 14, 1919, in Mizwaan village of Azamgarh district in Uttar Pradesh, he showed early signs of flair for Urdu poetry. At the age of 11, he composed a ghazal:

Itna to zindagi mein kisi ki khalal pade
Hasne se ho sukun, na rone se kal pade.

He recited it at a Mushaira in Bahraich and went on to choose the taqqalus, Kaifi Azmi, after Azamgarh. Recognising the spark in him, his father arranged for an Ustad, for Islah, to polish and firm up his poetic talent.

The Hyderabad connection

Kaifi Azmi had a Hyderabad connection, as well. His trademark persona was wearing a starched kurta-pyjama, smoking unfiltered Charminar cigarettes. Sarojini Naidu was familiar with his work. In fact, she advised Kaifi not to present his couplets in tarannum, but to recite them.

At a Mushaira in Hyderabad in 1947, he recited his acclaimed Nazm, Aurat. It cast a spell on his fan, Shaukat Khanam, who went on to break her matrimonial engagement in order to marry Kaifi Azmi. The Nazm was a hit, and it won him his life-partner.

Aurat challenged patriarchy in those times:

Tere qadmon mein hai firdaus-e-tamaddun ki bahaar
Teri nazron pe hai tehzeeb-o-taraqqi ka madaar
Teri aaġhosh hai gehvara-e-nafs-o-kirdaar
Tabakai gird tere wahm-o-taayyun ki hisaar
Kaund kar majlis-e-ḳhalwat se nikalna hai tujhe
Uth meri jaan, mere saath hi chalnaa hai tujhe.

And, literally, Shaukat stood up and walked away from Hyderabad along with Kaifi, who then moved to Mumbai.

Literary legacy

AuratDaeraSarmaayaAwara SajdeKaifiyaat and Doosra Banwas are among his acclaimed works.

Daera has a lyrical charm:

Jism se rooh talak ret hi ret
Na kahin dhoop, na saaya, na saraab
Kitne armaan hain kis sehra mein
Kaun rakhta hai mazaaron ka hisaab
Nabz bujhti bhi, bhadakti bhi hai
Dil ka maamul hai ghabrana bhi

Doosra Banwas gives the best expression to the composite Indian culture. In fact, December 6, 1992, was a black day, when it was targeted and torn down by razing the Babri Masjid.

Kaifi Azmi gave poetic vent to his feelings with Doosra Banwas, or Second Exile for Lord Ram, when confronted with barbarism in the name of devotion. It is a powerful indictment of those unleashing terror and gruesome violence, all in the name of Lord Ram.

Raqs-e-deewangi aagan mein jo dekha hoga
6 December ko Shri Ram ne socha hoga
Itne deewaane kahaan se mere ghar mein aaye
Jag-magaate the jahaan Ram ke qadmon ke nishaan
Pyaar ki kahkashaan leti thi angdaai jahaan
Mod Nafrat ke usi rahghusar mein aayee
Dharm kya unka thaa, kya Zaat thi, yeh jaantaa kaun
Ghar na jalta to unhen raat mein pehchaanta kaun
Ghar jalaane ko mere log jo ghar mein aaye.

Kaifi Azmi wraps it up powerfully:

Paun Sarju mein abhi Ram ne dhoye bhi na the
Ki nazar aaye wahaan khoon ke gehre dhabbe
Paun dhoye bina Sarju ke kinare se uthe
Ram ye kehte hue apne dware se uthe
Rajdhani ki faza aai nahin raas mujhe
6 December ko mila doosra banbas mujhe

Voice of a Nehruvian conscience

Essentially an Urdu poet, Kaifi Azmi moved to Hindi cinema where he gave poetic articulation to the Nehruvian political commitment, social and cultural ethos, and philosophical values. Choosing the popular medium of Hindi Cinema and turning into a lyricist immortalised him.

Pandit Jawaharlal Nehru was shattered by the Sino-Indian War in 1962, which he described as the Great Betrayal. Kaifi Azmi responded with a stirring song for Chetan Anand’s Haqeeqat in 1964:

Kar chale hum fida jaan-o-tan saathiyon, ab tumhaare hawale watan saathiyon.

Other moving songs from the same film include:

  • Ho ke majboor mujhe, usne bhulaya hoga, zeher chupke se dawa jaan ke khaya hoga
  • Main yeh soch kar uske dar se utha tha ke woh rok legi, mana legi mujh ko

Perhaps his best tribute to Nehru was his song in Naunihal (1967):
Meri awaz suno, pyaar ka raaz suno.

King of Romance in cinema

Kaifi Azmi will be best remembered as the King of Romance with his songs in:

  • Shama and Shola Aur Shabnam (1961)
  • Do Dil and Faraar (1965)
  • Anupama and Akhri Khat (1966)
  • Naunihal (1967)

He wrote the script and dialogues in verse for Heer Ranjha (1970), a unique cinematic effort.

Songs like:

  • Jeet hi lenge baazi hum-tum, khel adhura choote na
  • Jaane kya dhoondti rehti hain yeh aankhen mujh mein from Shola Aur Shabnam created a magical impact.

Among his all-time hits are songs for Shama (1961), all sung by Suraiya:

Mast aankhon mein sharaarat, kabhi aisi to na thi, yunhi sharmaane ki aadat.

Another gem:
Dhadakte dil ki tamannahon mera pyaar ho tum, mujhe qaraar nahi jab se beqaraar ho tum.

A heart that felt deeply

Har roz haseeno ka deedar nahi hota
Yeh Tur ka jalwa hai, har baar nahi hota
(Tur is an allusion to Mount Sinai, where Moses received the Ten Commandments.)

Aap se pyaar huva jata hai / khel dushwaar huva jata hai
Dil jo har qaid se ghabrata tha / khud giraftaar huva jata hai
Tum ne kyon pyaar se dekha mujho / dard bedaar huva jata hai
Is tamannah mein ke tum doge saza / dil gunahgaar huva jata hai

Few poets can be as simple and direct as Kaifi Azmi.

Songs of pain and poignancy

Oh beqaraar dil, ho chuka hai mujh ko aansuon se pyaar from Kohra (1964) has rare poignancy.

Tera husn rahe mera ishq rahe, to yeh subah-o-yeh shaam rahe na rahe
Man mora naache, tan mora nache in Do Dil (1965) are among his finest.

Equally moving is:
Pyaar ki dastaan tum suno to kahe in Faraar (1965).

The pinnacle: Anupama (1966)

Anupama remains a high point in Kaifi Azmi’s career.

Kuch dil ne kaha, kuch bhi nahi is among the greatest songs ever written. It brings to life the character of Sharmila Tagore’s protagonist:

Dil ki tasallee ke liye, jhooti chamak, jhoota nikhar
Jeevan to suna hi raha, sabh samjhe ayee hai bahaar
Kaliyon se koyee poochhta, hasti hain woh ya roti hain
Aise bhi baaten hoti hain.

Other unforgettable songs include:

  • Ya dil ki suno duniya waalon
  • Bheegi-bheegi faza
  • Kyon mujhe itni khushi de di, ke ghabrata hai dil.

Aur kuch der tehar, aur kuch der na jaa in Akhri Khat (1966) is quintessentially romantic.

Kaifi’s dream lives on

Kaifi Azmi gave poetic expression to deep feelings of pain and pathos. He had a dream, which he unveiled in his poetry and philosophy. This is what immortalises the work of Kaifi Azmi.