HISTORY

Kamber, Shahdadkot & Miro Khan

Stories of Past & Present as told by Zulfiqar Ali Kalhoro
The writer is a Research Anthropologist at Pakistan Institute of Development Economics (PIDE), Islamabad. He may be contacted at:zulfi04@hotmail.com

Compiled By

Sartaj Sheikh & Sheikh Javed Ali Sindhi

Saroh Social Development Organization Shahdadkot

Saroh Office, Near Scientific Public School, Railway Station Road, Shahdadkot, District Kamber-Shahdadkot, Sindh, Pakistan- 77300 Ph: +92-74-4012896, Cell: +92-3337505896 E-mail:org.saroh@gmail.com 2012 1

Zulfiqar Ali Kalhoro

Sartaj Sheikh

Sheikh Javed Ali Sindhi

A Cultural Oasis
By Zulfiqar Ali Kalhoro Daily Dawn Karachi, Sunday June 29, 2003.
Larkana, like the other districts of Sindh, is host to a number of historical tombs dotting each of its talukas. Among these the Chandia tombs belonging to Mirzani Chandia and Husnani Chandia, both descendants of Siraman Khan a cultural hero of the tribe, lie some 60 kilometres west of Larkana near Gebi Dero. Gebi Dero was the famous headquarters of the Chandia jagir bestowed upon them by the ruler of the Samma dynasty in the thirteenth century. The Mirzani Chandia tombs, five kilometres northwest of Gebi Dero are unique monuments of the past. Locally, the necropolis of Mirzani Chandia is known as the Rankun dating back to the seventeenth century when the first tomb of Sardar Malik Gebi Khan (after whom the Gebi Dero is named) was built by his elder son, Wahid Bakhsh Khan. The last tomb, erected probably in 1994, belongs to Nawab Sir Gebi Khan. The tomb was ordered by his grandson Sardar Ahmed Sultan Khan who died prior to its completion. His great grandson Nawab Zada Ali Nawaz Khan completed the remaining work. The graveyard is spread over an area of five hundred acres and contains twenty-three tombs of the chiefs of Mirzani Chandia tribe. All the tombs are invariably of same type, differing only in size. Almost, each structure is erected on a raised platform and is square in plan except for a few exceptions which are on rectangular plan and contain female graves. Inside, each structure constitutes of a square room covered by a conical ceiling. Apart from the Mirzani tombs is the huge cemetery of the Husnani tribe, locally known as the Dau- ja- Cuba. The necropolis is situated some eight kilometres southeast of Gebi Dero. All the tombs belong to Husnanis and are eight in number. This necropolis is attributed to Daud who was chief of the Husnani tribe. He was killed in 1614 during a battle against the troops of Llaji tribe at Mahu near Gebi Dero. Later, the tombs were erected for Daud and his relatives as well as for the soldiers by their descendants. They were completed in a short span of six years from 1819 to 1825. After a gory battle which involved much bloodletting, the Husnani tribe decided to move to Shahdadkot and the Mirokhan talukas of Larkana where the two clusters of tombs of both the talukas still stand as reminders of their past glory. According to local accounts the battle fought between the tribes of Haji and Husan claimed sixteen hundred lives. The Husnani tombs are plastered with lime and are built entirely of burnt bricks with walls raised in three stratas. The Husnani tombs have similar characteristics and features to the tombs of the Mirzanis. The paintings on the tombs of the Husnanis and Mirzanis are significant for their perfect technique and subjects in an endless variety of geometric, floral and vegetal designs and human and animal figures spread over the interior surfaces. The surface has been divided into various panels of different shapes and dimensions according to the space available and all the soffits, niches; squinches, arches and interiors of the tombs are covered by these paintings. The basic elements of decoration are varied. Some of the patterns are essentially naturalistic like the trees, which seem to have been inspired by close observation of the local surroundings and some of the fruit trees are especially well done. In comparison to the Mirzani tombs, the Husnani tombs bear figural representations, while the former contain only floral designs. The surface decoration on the tombs of the Husnanis is exquisitely done as it is excelled on the Mirzani tombs. On one of the panels on the Husnani tombs is a depiction of cock fighting a still popular game in the area. Below it, is a combat scene between a man and a Gorpat [a wild beast] which is commonly found in the adjoining mountains of Khirthar. Even more interesting is a separate panel, done in a different, more

formal style. It depicts a group of figures, who appear to be engaged. Two people are sitting on a cot, behind whom is a man playing the Surando, a very popular musical instrument in Sindh. Of all the figural works, however, the most interesting are probably those depicting dancing girls with a man in the middle holding their hands. Women are shown in pairs with embroidered shawls on their heads. The costumes thus show a mixture of Sindhi and Balochi elements. Above it, is a pair of peacocks holding snakes in their mouths, a depiction that is commonly found on several tombs scattered throughout Sindh. The great perfection and elaboration, we see at both the Dau-ja-Quba and RanEun indeed suggests that the work can only have been done with the aid of fully trained craftsmen, drawn from the richest and most accomplished workshops. The mural paintings of Husnani tombs un-mistakably belongs to the Rajput School of paintings. The influence of the paintings of the Rajput school can be seen on the tombs of Mian Nasir Mohammad in Johi, Dadu. Since the tombs of Mian Nasir Mohammad are older than the tombs in Gebi Dero, the inspiration may have come from Johi where artisans of the Rajput school had already worked. We intend to say that the local artisans prevalent in the area may have got formal training from the artisans of the Rajput school in paintings and they later developed their own school of art termed as the Sindhi school of paintings. Subsequently, this intermingling diffused to the adjoining and far-flung areas.

Neglected Heritage
By Zulfiqar Ali Kalhoro Daily Dawan Karachi, Sunday February 22, 2004
Chandia tribe played a very significant role in the history of Sindh. They were famous for their gallantry, courage and swordsmanship, and popularly known as the warrior tribe. They always protected western Sindh from invaders and held very important positions in various dynasties. They also had their own standing army, which, in the time of crisis, fought side-by-side with the army of the ruling class against the invaders. They also established their independent territory called Chandko, which ran parallel with Khirthar up to Sehwan extending even into Khanote in Dadu district, in the west. And in the east it included four talukas of Larkana, where they were predominantly concentrated and still hold major portions of the each taluka. Some six kilometres south of Miro Khan is the small village of Rais Bambho Khan, which boasts of five historical tombs built in the early eighteenth century. Buried there are Ghazi Khan Husnani, Misree Khan Husnani, Mir Muhammad Husnani, Lashkari Khan Husnani, Lahno Khan Husnani and Tharo Khan Husnani of whom, sprang Manani, Misrani Lashkrani and Tharani sub-clans respectively.The tomb of Ghazi Khan is in a shambles. Much of its plaster has peeled off. It faces the eastern direction and is crowned with a hemispherical dome. Rasheed Ahmed Husnani, a dedicated primary school teacher and diligent social worker in the village, says that the tomb has been badly damaged due to the vagaries of weather and a lack of proper maintenance by their descendants. Furthermore, it is a victim of encroachment wrought by the local people that they have started to till the land near the structure. To the south of the tomb of Ghazi Khan is a tomb of Misree Khan who was an ancestor of Misrani. His tomb is in a very bad condition and is the abode of shepherds who have played havoc with structure by taking away some of the bricks. Close by the tomb of the Misree Khan is the tomb of Mir Mohammad alias Mahno. Mir Mohammad Khan was an ancestor of the Manani clan who are living in the both Rais Bambho Khan Village in Miro Khan and Aitbar Khan Chandio village in Shadadkot. The tomb of Mir Mohammad is in a good state of preservation than that of Ghazi Khan and Misree Khan. The tomb contains four graves including that of Mir Mohammad. The other three graves are not identified since none of it bears an epigraph. The tomb is entirely decorated with paintings and separate panels are created to paint folk scene of every day lives. On one of the panels, some women are depicted fetching water with jars over their heads. On another panel, some women are appeared to be engaged in household chores, among these, two women were sitting on a cot and having discussions and nearby two other women seemed busy in cooking and brooming respectively. Still another panel has two men hunting deer and playing a flute before buffaloes respectively. Adjacent to the tomb of the Mir Mohammad Khan lies the tomb of Lashkari Khan which contains of two graves. These two are almost levelled to ground. Next to him is tomb of the Tharo Khan the ancestor of the Tharani a sub-section of Husnani tribe. The tomb also contains the grave of Lahno Khan, a chief of the Husnani tribe. Apart from the tombs at Rais Bambho Khan Village, there lies other graveyard of Husnanis three kilometres east of Shahdadkot near the village of Darya Khan Mastoi. There exists two tombs belonging each to Rais Aitbar Khan and Mohammad Khan supposed to have been built in the early nineteenth century. The tomb of the Aitbar Khan has four graves. It is a massive building on a squarish plane and is adorned with paintings. Next to him is the tomb of Mohammad Khan. It is a small but imposing building containing three graves, all of which are cracked. It bears some fine paintings from inside.At a walking distance from Husnani tombs, there lies a wellpreserved and huge mausoleum of Darya Khan Mastoi who was a chief of the Mastoi tribe. The descendants of Darya Khan still live in the nearby village of the same name, and carry out repairs to this massive structure from time to time, while the tombs of Husnanis are victims of neglect.

Crumbling heritage
By Zulfiqar Ali Kalhoro Daily Dawn Karachi, Sunday January 11, 2004
While travelling in the western plains of Shahdadkot taluka in Larkana, one comes across many tombs that belong to the Jamali tribe. The Jamalis are one of the sub-clans of Rind tribe and claimed their descent from Mir Jamal Khan. Like other Baloch tribes, they also played a very important role in the socio- political history of Sindh during the rule of Kalhoras and Talpurs. There are at least five tombs of Jamali tribe that exist in the Shahdadkot taluka. Some 18 kilometres northwest of Shahdadkot is a small village, named after its founder, Imam Bakhsh Jamali well nigh close to the border of Balochistan. Imam Bakhsh Jamali, once a very prosperous and flourishing town, is now reduced to a few households of Jamalis. One of the residents and descendants of Mir Sobdar Jamali, Ihsanullah Jamali, a professor in Government Degree College Shahdadkot told that Imam Baksh Jamali was a very important town when Mir Sobdar was the chief of the tribe. At that time, the country was under the rule of the British. There was instability, unrest, turmoil and chaos in the country during the British rule and local chiefs ruled the roost. Tribal rivalry was everywhere. Kalpur tribe, an offshoot of Bugti tribe was at loggerheads with the Magsi tribe for a long time. Kalpur Bugtis were notorious for cattle lifting and one night as they were taking the wag (a herd of camels) away of the Magsis, some people from the Jamali tribe intercepted them and after taking the wag back from the Kalpur Bugtis, they returned the herd of camels back to the Magsi tribe. All this got the Kalpurs offended and they developed enmity with Jamalis. Being ferocious, one night, all of a sudden, they attacked the town of Imam Bakhsh Jamali and set it on fire. Dozens of people, including the chief of the tribe, Mir Sobdar Jamali, were killed. Shaho Khan, who was son of Mir Sobadar Jamali, later built the tombs. Originally, there existed four tombs of which now, two have survived. The tomb that is plastered with lime belongs to Mir Sobdar. Other than Mir Sobdars grave, it contains two other graves as well, though not much is known about them. The nearby tomb, that is at a height, and built of burnt bricks, has not as yet been identified. Twelve kilometres northwest of Shahdadkot on same road that leads to Imam Bakhash Jamali, is a tomb of Shakal Jamali, which is visible from a distance. It is built on square plane and plastered with lime, though much of its plaster is peeling off. It is in a very pathetic condition and is entirely surrounded by water that has played havoc with the structure. Local traditions hold that Shakal Jamali was the head of his village. The other version is that he was shepherd and he had built the tomb himself during his lifetime. There is still another version that holds that he was a very pious person and worshipped in the forests and haunted places. His descendants later erected the tomb. From inside it is adorned with paintings. Twenty-kilometres north of Shahdadkot, lies a tomb of Saeed Khan Jamali in village named after him and locally known as Qubo Saeed Khan. The tomb is very simply built and is decorated with paintings from within. It is believed to have been built by Saeed Khan Jamali himself during his lifetime. He was famous for his generosity in the far-flung areas. According to local accounts, he provided food to every needy passer-by, irrespective of caste and creed and even arranged for their accommodation. Saeed Khan Jamali is still greatly venerated by a large number of people. About 12-kilometres west of Shahdadkot, on road leading to Ghari Khairo near the village of Noor Nabi Junejo, is situated a tomb belonging to Rehan Khan Jamali. It was built in the nineteenth century. It is a huge building resting on square plane. It is a deserted tomb and is abode of the birds. From a distance it looks like a Kalhora tomb, due to its ambulatory gallery. However, there arent any stairs in it that is a particular characteristic of Kalhora funeraries.

One of the distinctive features of the tombs of the Jamalis is the painting. Except the tomb of Saeed Khan Jamali, all other tombs bear animal impressions and human figures. Especially, equestrian and dancing scenes are the common features of the Jamali tombs. The tomb of Sobdar Jamali is replete with the depictions of dancing scenes and popular folk tales, principally of Sassui Punhoon, Momal Rano, Sohni Mahiwal and Umar Marvi. The scenes are immaculately painted and perfectly imparted real look to the depictions. Similar scenes can also be found on the tomb of Rehan Khan Jamali. The tomb of Shakal also bears dancing scenes, but these are in the early stage of decay. The shepherds, who take shelter in the tomb during the harsh summer days, have defaced much of the paintings. On one of the panels of the tomb of Mir Sobdar, two men appear to be engaged in playing flutes in front of the snake. On the same panel are the other depictions of a woman having a chat with a man who appears to sit under the shade of the tree. On still another panel, there are some depictions of sailing boats and some people appear to be waiting on the bank of river. A closer look at the paintings reveals that the majority of the paintings comprise the dancing scenes. The depictions of dancing scenes confirm the fact that the practice of dancing in Sindh goes back to time immemorial. The discovery of dancing girl from the Moen-Jo-Daro is a testimony to the fact. Dancing in Sindh has been witnessed since the Vedic age. It is presumed that dancing is the overall effect of music on mind, manifesting itself in the visible motion of the body. Dancing like music was associated with religious rites in Sindh in the pre-Muslim period. The emotional effect of the movement, the rhythm and music heightened the religious excitement and enriched the pattern of the ritual. One could reasonably feel that dancing in Sindh eventually became a part of folk music for the purpose of intensive expression of sentiments of joy experienced in every day life. In course of time from ritual dance to its developed into a real public dance. Showing of dancing scenes on several tombs in Larkana bear evidence to the fact that the inhabitants of this area were unparalleled in producing music and performing dance.

Remembering TheBattle of Banagh

By Zulfiqar Ali Kalhoro Daily Dawn Karachi, Sunday May 23, 2004 From the annals of history, a historian remembers a conflict that engulfed Sindh because of a camel
Mohammad Sharif Jamali, a resident of Nasir Khan Jamali village in Osta Mohammad tehsil of Jaffarabad district is an institution. Not only is he familiar with the history of his tribe, he unmistakably recalls the conflicts and battles of his tribe with the Magsi tribe. One that he particularly remembers is the Battle of Bangah that started after the Magsis indulged in camel rustling. And this is the story that Sharif told us: Camel lifting was widespread in Sindh and Balochistan in the eighteenth and nineteenth century. The main objective of this was to weaken the opposing tribe, politically and economically. In the past the numbers of livestock designated the status and the position of individual or tribe in the society and culture of both the Baloch and Sindhis. In the retaliation, Jamalis also took the wag of Magsis. The hostility continued between both the tribes for quite a long time. They frequently clashed with each other over the issue of camel-lifting. At that time Ghulam Mohammad Khan Jamali was the Sardar of the Jamalis while Ahmed Khan Magsi was the Sardar of his tribe. After the intervention of some sardars of Baloch tribes, both agreed to end the hostility, provided that compensations were made to each tribe, according to the casualties and return of the stolen wag. Sardars of both tribes sat together to iron out their differences and estimated the casualties and the number of stolen wags. Each of the tribes suffered equal number of casualties thus resolving one issue. But as regards to the wag, Magsis had stolen more. Sardar Ghulam Khan Jamali claimed the return of his wag, which the other party agreed to give back. When the people of Jamali tribe took their wag back to Sardar Ghulam Khan Jamali, he found the one camel named Malhan missing. He sent his tribesmen in search of Malhan. He also sent a message to Sardar Ahmed Khan Magsi that he would not accept the returned camels unless Malhan was returned back. Sardar Ahmed Khan Magsi tried his best to find the missing camel. He found her, but also discovered that Malhan was given to Siraj Katar Magsi. It was tradition among the tribes that they used to distribute the stolen animals amongst the tribesmen. When asked to return Malhan, Siraj invented a story, saying that as we were taking away the wag back to our village it died on way. Actually Malhan had not died. It was alive and he had hidden it somewhere. Still, he agreed to compensate for the loss. But the Sardar of Jamalis did not accept the offer. At the same time, Siraj Katar Magsi was jealous of Sardar Ahmed Khan Magsis popularity, that he brave among other Sardars. So, he wanted to make the situation worse intentionally. He endeavoured that both tribes should fight with each other. Sardar Ghulam Khan Jamali began threatening the Sardar of Magsis that he would take avenge the loss of his tribesmen and that of his animals. After the lapse of four or five months, Sardar Ahmed Khan had to go to Labso to settle a dispute that had erupted between two sections of Magsi tribe. Some people informed Sardar Ghulam Mohammad that Sardar

Ahmed had landed at Lebo Pat (plains) and was engaged in collecting his tribesmen for military expeditions against Jamalis. The Jamalis knew that Chandia tribe was also supporting the Magsis Sardar. Sensing danger, the Jamalis were ordered to get prepared for war against the Magsis. The Burdi tribe also sided with Jamalis. They marched against the Magsis at Otaq of Sardar Ghulam Mohammad. The tribes clashed and a battle ensued. The Jamalis suffered a defeat and were forced to retreat. At least 200 Jamalis and Burdis died. The Chandia tribe played an important role by siding with the Magsis. After the defeat, Sardar Ghulam Ahmed Khan went directly to Shoran, to ask for help from Sardar Mir Sher Mohammad Khan Rind. But Mir Sher Mohammad Khan had gone to meet Mir Noor Mohammad Khan Talpur. Sardar Ghulam Mohammad Khan then set out for Hyderabad where Mir Sher Mohammad Khan was staying at the palace of Mir Noor Mohammad Khan Talpur. Sardar Ghulam Mohammad told the whole story about war and casualties that his tribe had suffered. On hearing this, Mir Sher Mohammad vowed to take revenge from the Magsis and sent a message to the Sardar of the Magsi tribe to prepare for war. Tribesmen from Jhangara Bajara in Sindh were conscripted. When the war party reached Dhari Bhanar near present town of Kandhkot, Jacobabad, the numbers of tribesmen exceeded more that 12000. When this news reached Sardar Ahmed Khan Magsi, he rushed with his son, Mehon Khan and nephew Gohram Khan, to Sardar Wali Mohammad Khan Chandio for help. Sardar Wali Mohammad pledged to help him. He said that we would go to Sardar Sher Mohammad Khan Rind for peace parleys; if he would accept it then we would not fight. If he would reject it then we would fight by your side. Sardar Wali Mohammad Khan Chandio sent one of his commanders, Ghazi Khan Chandio with Sardar Ahmed Khan to Mir Sher Mohammad for peace talks. Ghazi Khan came to know that Sardar Mir Sher Mohammad Khan was staying in Garhi Rehman village with Sardar Raheem Khan Umrani. Ghazi Khan sent his message to the Sardar saying that he wanted to meet him and offer truce with the Magsis. Sardar Sher Mohammad showed willingness and asked Ghazi Khan to come to Shoran for a meeting. Ghazi Khan left for Shoran and met Sardar Sher Mohammad where his uncle Mir Bahram Khan ensured him that he would not wage war against Magsis, at least for the next six months. But after some time, Sardar Sher Mohammad again issued threats. Sardar Ahmed Khan Magsi again rushed to tell the Sardar of Chandia tribe about the threats. Sardar Wali Mohammad promised to help him. And when things began to go from bad to worse, respective tribesmen were collected for war. Troops of both Sardars met at Panjuk, in present Jhal Magsi district and fought like hell. The battle continued for several hours in which many from both the sides were killed. During the battle, Mir Sher Mohammad Khan Rind was killed. When news of his death spread, his tribesmen lost hope of winning and began to retreat. Accordingly, the Magsis with support of Chandia won the war. Chandia tribe was under the command of Tillo Khan Chandio, while at least 65 tribes including Jamalis, Luhars, Burdis, Jakhrani, Lashari, Rinds, Jagirani, Leghari, Nuhani and others were under the command of Sardar Sher Mohammad Khan. However, the Umranis did not support Sardar Sher Mohammad Rind and did not take part in the battle. Sardars of those tribes who had sent their tribesmen in the support of Mir Sher Mohammad Khan made the Umranis responsible for their defeat saying that had Umranis supported; they would not have lost the battle. The graves of those who died at the Battle of Bangah are scattered in Sindh and Balochistan. The graves of Rinds and Burdis are located in Shoran. Magsis are buried near Jhal Magsi, and the graves of Chandia are located in and around Gebi Dero, Larkana. While the graves of Jamalis exist in different areas of Sindh and Balochistan. The necropolis belonging to Jamalis lie in Choki Jamali. The tombs are in a very deplorable condition. In the centre of the cemetery exists the tomb of Dildar Jamali who was not a victim of the battle, rather a landlord of his

village. As the inscription reads, the tomb was ordered by two of his descendants Rais Fazal Khan Jamali and Mondar Khan Jamali in 1935. Two masons, Imam Bakhsh and Jurio Khan Mashoris built the tomb. The tomb contains two graves of Dildar and his sister. From inside, it is beautifully adored with paintings. The Battle of Banagh left a very deep impression on minds and hearts of poets and painters who expressed their feelings through paintings and poetry respectively. A number of Baloch as well as Sindhi poets have narrated the battle scenes. Prominent among these are Pir Bakhsh Tunio and Sono Faqir Janwari Chandio. Painters have also executed depictions of war scenes in the tombs located in various place in Sindh and Balochistan.

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Victim of neglect
By Zulfiqar Ali Kalhoro Daily Dawn Karachi, Sunday January 23, 2005
About 10 kilometres south of Dadu lies the historical Jami Mosque Khudabad. It is known to have been built by Mian Yar Mohammad Kalhoro lI, the real founder of Kalhora Dynasty in Sindh (1701-1719). The Mughal Emperor Aurangzeb made him the governor of Derajat in 1701 and conferred upon him the title of Khudayar Khan resulting in the foundation of his capital at Khudabad. Simultaneously, he laid the foundation of Jami Mosque. Mian Yar Mohammad is reputed to have been a benevolent and munificent Kalhora ruler who ruled astutely over upper-Sindh. He was very fond of architecture and built a number of tombs which include those of Mian Nasir Mohammad Kalhoro, Mian Deen Mohammad Kalhoro, Mian Mir Mohammad Kalhoro, Gul Mohammad Khuhawar I, Bisharat Khan Khuhawar, Sarang Khan Khuhawar, Bagho Chandio, Mir Sobdar Khan Talpur, Nindo Khoso, Fojo Faqir etc., all of which are located in the necropolis of Mian Nasir Mohammad Kalhoro. Apart from the tombs at Garhi, he ordered several tombs at his capital Khudabad, notably those of Datto Khan Khuhawar, one of his ministers, Shahdad Khan Langah, Mangho Faqir Jatoi etc. According to Mian Amir Bakhsh Kalhoro, a Gadi Nashin of Mian Nasir Mohammad, Mian Yar Mohammad built over one hundred mausoleums scattered all over the Dadu and Larkana districts. He also built his tomb during his lifetime which still dominates the landscape of Khudabad and is conspicuous from a distance. The mosque occupied a very important position in Kalhora architecture. The first mosque, built by Adam Shah Kalhoro at Haitri Ghulam Shah, does not exist now. His successors Mian Daud Kalhoro, Mian Ilyas Kalhoro, Mian Shahal Mohammad Kalhoro built mosques in their respective dairas, a religious settlement where Kalhoras and their disciples preached Mahdwi thought and ideology. Unfortunately, not a single mosque survives today. After the martyrdom of Mian Shahal Mohammad Kalhoro, Mian Jan Mohammad Kalhoro, Mian Yar Mohammad Kalhoro I and Mian Taban Kalhoro, in battle against Mughal loyalists in the present district of Larkana, Mian Nasir Mohammad shifted his daira from Larkana to the present tehsil of Khairpur Nathan Shah where he established the town of Garhi, named after one of his female disciples. Here, Mian Nasir Mohammad built the Jami Mosque in 1659. Seven years later, Mian Laskar Khan Kalhoro the grandson of Mian Shahal Mohammad Kalhoro founded the town of Khanpur in 1666 and at the same time built a three domed mosque, noted for stucco work. There were two persons by the name of Laskar Khan in the royal family of Kalhoras; one grandson of Mian Nasir and other grandson of Mian Shahal Mohammad. Khanpur is now a bustling town and located 15-kilometres from Khairpur Nathan Shah on National Highway. Khat Lashkar Khan is another village, not far from Khanpur, named after Mian Lashkar Khan, grandson of Mian Shahal Mohammad Kalhoro. Among these mosques, the Jami Mosque of Khudabad is more prominent and is a great specimen of Kalhora architecture. Prior to Khudabad Mosque, all other Kalhora mosques were simply built and lacked many embellishments. Chiroly, a cement like substance, was used in early Kalhora mosques; while the Jami Mosque of Khudabad is opulently decorated with glazed tiles representing geometric and floral designs.

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The mosque is rectangular in plan and built on a raised platform. It is accessed through a set of semi-circular steps on the eastern side. The stairs lead to an imposing arched entrance opening to a large courtyard. It has the usual three-arched entrances leading to ante-chamber with intricately decorated domes covering the prayer hall below. The mosque reflects a blend of central Asian as well as a local style of architecture. After the Shah Jahani Mosque of Thatta, which was built by Mughal Emperor Shah Jahan, the Jami Mosque of Khudabad is the most beautiful and imposing structure throughout Sindh. The exterior of the building is lavishly covered with some of the most exquisite glazed tile work in the province. Its interior is adorned with frescos which, as of right now, has been completely damaged. The external walls are divided into panels with blind arches giving the structure a marked three-tiered appearance. The panels are vivid and glowing. Both sides of arched entrance to the ante-chamber is bedecked with glazed tiles representing lily plants in blossom or leaves; flowers and buds sprouting from the central stem and falling over right and left in natural curves. In the good old days the mosque used to draw a large number of namazis. Now, it stands in a dilapidated state, fast crumbling into pieces. Obviously, the concerned authorities are not bothered by the poor condition of this historical heritage. Because of the seepage of the water, the northern dome has caved in and to save it from further damage, corrugated sheets have been crudely placed over the dome. The remaining domes have developed cracks as well. Rain has also played havoc with other parts of the mosque. Rain water dribbles through the cracks in the domes, further rendering damage to the whole structure. Sometimes, rainwater penetrating through the domes accumulates in the chamber of the mosque. Ironically, these domes are supported by wooden planks. Several parts of the mosque are under threat from surface erosion, and wear and tear from visitors. The floor of the mosque is also in appalling condition. If timely action is not taken to arrest its further decay there is a danger that this heritage will be lost for ever.

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A Glorious Past
By Zulfiqar Ali Kalhoro Daily Dawn Karachi, Sunday 24 July 2005.
The beginning of the 16th century witnessed the rise of the Kalhoras in northern Sindh. Mian Adam Shah Kalhoro, a celebrated religious scholar, was greatly influenced by the teachings of Syed Muhammad Jaunpuri alias Mehdi Jaunpuri, and spent all his life in preaching and spreading the Mehdvi thought and ideology. He was a disciple of Mian Abu Baker Jatoi, who accompanied Syed Mohammad Jaunpuri to several places in India. Once, when Syed Mohammad Jaunpuri arrived in the town of Mandu, a large number of people gathered around him. Sultan Ghiyasuddin Khalji (1469-1500), who was imprisoned in the same town, also wanted to meet him, but could not do so because hed been taken into custory by his son, Nasiruddin. However, he informed Syed Mohammad Jaunpuri about his inability to pay him respects and requested him to send his one or two disciples so that they could benefit from him. Syed Mohammad Jaunpuri deputed two of his disciples, Mian Salmullah and Mian Abu Bakar, on whom Ghyiasuddin showered sliver and gold coins and inquired about Syed Mohammad in detail. The place where the Mehdvis settled was called the Daira. Mian Adam Shah Kalhoro established his first Daira, a religious settlement, in a small village named Haitri, which is now known as Haitri Ghulam Shah, in Dokri taluka of Larkana. He started his career from this small village with the support of the Abra tribe who remained a powerful force behind him. A man, Khabar Abro, was the first person to enrol as his follower. This small village became the centre for learning for the Mehdvis. A lot of other people flocked to the village to seek his blessings. Many people believe and argue that Syed Muhammad Jaunpuri was the propagator of a new religion. However, he did not claim to have founded or propagated any new religion. He only professed that as a Mehdi he was commissioned by the Almighty to restore Islam to its pristine purity. He did not confine himself to the interpretations of any of the four orthodox schools of the Sunnis, but claimed to have followed the religion of Muhammad and beliefs and practices as enjoined by the Holy Quran. God, His Prophet and His book were his sole guides. According to him, not all the members of the Daira were equally righteous. He said that there were three types of people in his Daira: believers, hypocrites and the Kafirs. The latter two, he credulously asserted, were not destined to die in the Daira they would generally leave it before his death. After each week, the Mehdvis of the Daira would assemble and individually make an open confession of the sins they had committed during the week. Anyone guilty of some serious offence would offer himself before the leader of the Daira voluntarily to receive punishment in accordance with the laws of the Shariat. With the passage of time, the Daira of Mian Adam Shah Kalhoro received a number of disciples who popularized the teachings of Syed Mohammad Jaunpuri. Due to his teachings, the Mehdvi thought and ideology, and the name of Mian Adam, spread to far-flung areas. Even Abdul Reheem Khan Khanna, the soldier of Akbar the great who had captured Bukhar, on hearing his name paid him a visit. When he met him, he was hugely influenced by him, and granted him the Chandka Parguna, which now comprises the Larkana district. As time passed by, the circle of his disciples kept on increasing which annoyed the local jagirdars, zamindars and Mughal officials who complained against him to the Mughal governor in Multan. His growing popularity as a religious and spiritual leader, not to mention his emergence as a political figure, eventually led the Mughals to

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attack him. Ultimately, he was taken captive to Multan where he was killed. Afterwards, his body was brought to Sukkur where he was buried in a hillock, which was then named after him as Adam Shah Ji Takkri. After the death of Mian Adam Shah Kalhoro, his successors continued his mission remaining in their Dairas and gained popularity, which consistently irritated the Mughal governor of Bukhar. They became strong and captured some areas where they established their Daira and began to rule. As a result, troops of both the Kalhoras and the Mughals met in a battlefield near Gerello. In that battle, Feroz Verar, (founder of Nausharo Feroz) a disciple of Mian Nasir Mohammad Kalhoro and a general of Mian Deen Mohammads army, spearheaded the Kalhora army, while Mughal Governor of Bukhar Shaikh Amir Jahan led his forces. The battle was fought in 1699 in which a number of soldiers from both sides lost their lives. The Kalhoras achieved victory in that battle. Among these two men who lost their lives, Mir Mondar Khan Chandio and Hajji Khan Marri, were known for their bravery and fighting skills. Mondar Khan Chandio, the valiant fighter of the Kalhora army, was a disciple of Mian Shahal Mohammad Kalhoro and belonged to the Husnani section of the Chandia tribe. Sono Faqir Janwari Chandio, a folk storyteller, has narrated in his ballads the chivalry, valour and intrepidness of Mondar Khan and his other tribesmen. The heroic stories of Mondar Khan Chandio are still preserved in the folklore of the countryside. Some locals believe that it was he who killed Mughal Governor Sheikh Amir Jahan. Descendants of Mondar Khan Chandio, known as Mondarni Chandia, still have that sword with which he killed Sheikh Amir Jahan in the battle of Gerello. His body was taken to his native place in Jagir for burial. Its the necropolis that came to be known after his name. The necropolis of Mondar Khan is spread over 10 acres and contains several graves of those who died along with him in the battle of Gerello, prominent among those were Paliyo Janwari Chandio, Nando Khan Janwari Chandio, and Dinar Khan Janwari Chandio. Haji Khan Marri, like Mondar Khan, died fighting bravely against Mughal troops. He was the father-in-law of Mir Suelman alias Kaku Khan who was the ancestor of the Talpurs of Sindh and settled down in the Kachho area of Dadu. There he heard the name of a pious man named Mian Nasir Mohammad Kalhoro and went to meet him and later on became his disciple. His descendants, who are known as the Hajizai, subsequently moved out of Kachho to the present districts of Hyderabad and Khairpur. Gerello, a small town in the Dokri taluka of Larkana district, served as the Daira for the Kalhoras over a century. According to local people, Gerello was the name of Nain (seasonal hill torrent that irrigates the land) in the jagir of the Chandia tribe in the Qamber Ali Khan taluka of Larkana. People from the banks of Gerello Nain came and founded a village here in the 16th century that assumed the name which indicated their place of origin. It was once a very important trading centre. The Hindus controlled the business of the town. The buildings of that period include a three-domed mosque, which is lavishly decorated with glazed titles, and the tomb of one of the members of the Kalhora family. The mosque here is believed to have been built by Noor Mohammad Kalhoro.

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Heritage: A glorious past

By Zulfiqar Ali Kalhoro Daily Dawan Karachi, Sunday January 8, 2006 Sreman Khan Chandio had two sons, Haji and Husan from whom sprang the clans of Mirzanis (named after Sremans father, Mirza Khan) and Husnanis respectively. He was considered a cultural hero in the tribal history of Sind. He laid the foundation to Chandia jagir in 1501, which was bestowed upon him by Jam Nizamuddin Sarno (14611508), the ruler of Sama dynasty, in return of the help extended by Sreman Khan and his tribe against the Arghuns who were frequently invading western Sindh. The Chandia tribe repelled every advance of the enemy and defended every inch of their land. Scattered all over the jagir are graves of those who died while defending their territory. Many archeological and historical sites can also be found there. One such historical site locally known as Dau Ja Quba is located some eight kilometres southeast of Gebi Dero. The necropolis has been under the threat of encroachment by local farmers. On way to the necropolis, I met Mohammad Ayub Marphani Chandio and requested him to accompany me to the necropolis, to which he agreed. Mr Marphani has much knowledgeable about his tribe and he unerringly recalls the battles of his tribe against other tribes, particularly the Bughtis, Magsis and Sabhayas, etc. In addition to battles against the other tribes, Chandios also fought with one another. He forlornly narrated the battle which was fought between the two sections of the Chandio tribe at Mahu (not far from Gebi Dero), locally known as Battle of Mahu. Mohammad Ayub took me to the place where the battle was fought. A land once marked with sand dunes has now been brought under cultivation. Near the battleground is the necropolis which is spread over two hundred acres and contains eight derelict and dilapidated tombs, belonging to Daud Khan, Sewa Khan, Rais Chakar Khan, Ghazi Khan, Rais Wali Rakhio, Rais Jan Mohammad Khan, Rais Mohammad Baqar,and Rais Ahmed Khan, respectively. This necropolis, however, is attributed to Daud who was the chief of the Husnani tribe. He was killed in 1614 during a battle against the troops of Mirzani tribe at Mahu near Gebi Dero. Later, his descendants erected tombs for Daud, his relatives and also the soldiers. These tombs were completed in a short span of six years between 1819 and 1825 (except the tomb of Ghazi Khan, which was built in 1840). After the gory battle which involved much bloodshed, the Husnani tribe decided to move to the present Shahdadkot and Miro Khan Talukas of Larkana where two clusters of their tombs still stand in both places, reminding us of their material glory of the past. According to the local accounts, the battles between the Haji and Husan tribes claimed 1,600 lives. All the tombs in the graveyard are invariably of the same type, differing only in sizes. The tombs are plastered with lime and built entirely of burnt bricks with walls raised in three strata. One of the distinctive features of these tombs is the paintings. The paintings on the Husnani tombs are significant for their perfect technique and subject, and cover every niche and arch of the tombs interior. The endless variety of geometric and floral designs, and human and animal figures spread over the interior surface. The surface has various panels of different shapes and dimensions according to the space available. The basic elements of decoration are varied. Some of the patterns appear very natural like trees, which seem to have been inspired by close observation of the local surroundings and some fruit trees are particularly well done. Three tombs are bedecked with folk tales, of which the tomb of Ghazi Khan, also known as Jangi Qubo, is replete with folk tales and battle scenes. The western wall has three beautifully animated panels. On one of the panels there is a depiction of Laila and Majnu sitting on a cot apparently talking to each other under a tree with a horse standing close by. Though the tale of Laila Majnu is not indigenous, yet it has inspired the local artists considerably. The second panel depicts two people sitting on a cot whilst a man plays Surando (a

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very popular musical instrument in Sindh) behind them. A third panel shows two people mounted on horses, and they seem to be raising flags of victory. This scene represents the legend of Mir Chakar Khan Rind and Mir Gohram Khan Lashari. The battle they fought lasted for 30 years and left deep imprints on the artists. Above this, there is a battle scene in which two tribes, Sabaya and Husnanis, are shown fighting with each other. This battle took place in 1839. After the battle of Bungah in 1829 that the Rinds lost to the Chandia backed Magsis, Mir Noor Mohammad Khan Talpur, the then ruler of Sindh, decided to take revenge from either Magsis or Chandias that the defeat that his supporters suffered in the battle of Bungah. Mir Sher Mohammad Khan Rind who led his tribe in the battle of Bungah also died in the battle. He was Mir Noor Mohammed Talpurs father-in-law. In order to avenge the death of his father-in-law, Mir Noor Mohammad called on a meeting of his cohorts to chalk out a strategy for attacking the enemies. It was decided in unison to first attack Sardar Wali Mohammad Chandio. Four well-known personalities of Chanduka, namely Aboro Shaikh, Shah Wali Khan Chandio, Sardar Miral Sabayo and Ali Sher Kalpar Bughti were also present in the meeting. Aboro Shaikh alone opposed the idea of attacking Wali Mohammad while the rest suggested that it was not easy to attack Wali Mohammad as he was always escorted by his best fighting men. It would, however, be advisable to first kill his commander Ghazi Khan who fought in the battle of Bungah and had also killed Miral Sabayos son. Miral Sabayo gave his word to Mir Noor Mohammad Talpur that his tribesmen would kill Ghazi Khan. One evening, as Ghazi Khan was returning back home along with his friends Sher Mohammad Khan, Khan Mohammad Khan and Moula Dad Khan, the Sabayas ambushed Ghazi Khans party, killing him and his friends. Only Moula Dad, also known as Moula Bakhksh, managed to escape. This took place on the bank of Saroh Lake, situated near Gebi Dero. When this news reached Wali Mohammad Khan, he dubbed Moula Dad as timid and swore to his tribe that this act would be avenged. Within just a week, the Chandias, under the command of Tillo Khan, attacked the village of Sabayas and killed hordes of people and safely returned to their environs. Later on when the tomb of Ghazi Khan Husnani was erected, the painter elegantly painted the whole story on the west wall of the tomb. Moula Dad or Moula Bakhsh is depicted as retreating from the battleground.

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Tombs of Tribal Chiefs

By Zulfiqar Ali Kalhoro Daily Dawn Karachi, Sunday December 04, 2008
Larkana, like the other districts of Sindh, is host to a number of historical tombs dotting each of its talukas. Among these the Chandia tombs belonging to Mirzani Chandia and Husnani Chandia, both descendants of Sreman Khan a cultural hero of the tribe, lie some 60 kilometres west of Larkana near Gebi Dero. Sreman Khan laid the foundation to Chandia jagir in 1501, which was bestowed upon him by Jam Nizamuddin Sammo (14611508), the ruler of Samma dynasty, in return of the help extended by him and his tribe against the Arghuns who were frequently invading western Sindh. The Mirzani Chandia tombs, five kilometres northwest of Gebi Dero are unique monuments of the past. Locally, the necropolis of Mirzani Chandia is known as the "Rankun" dating back to the seventeenth century when the first tomb of Sardar Malik Gebi Khan (after whom the Gebi Dero is named) was built by his elder son, Wahid Bakhsh Khan. The last tomb, erected probably in 1994, belongs to Nawab Sir Gebi Khan. The tomb was ordered by his grandson Sardar Ahmed Sultan Khan who died prior to its completion. His great grandson Nawab Zada Ali Nawaz Khan completed the remaining work. The graveyard is spread over an area of 50 acres and contains twenty-three tombs of the chiefs of Mirzani Chandia tribe. All the tombs are invariably of same type, differing only in size. Almost, each structure is erected on a raised platform and is square in plan except for a few exceptions which are on rectangular plan and contain female graves. Inside, each structure constitutes of a square room covered by a conical ceiling. Apart from the Mirzani tombs is the huge cemetery of the Husnani tribe, locally known as the "Dau- JaQuba"(tombs of Dau or Daud) . The necropolis is situated some eight kilometres southeast of Gebi Dero. All the tombs belong to Husnanis and are eight in number belonging to Daud Khan, Sewa Khan, Rais Chakar Khan, Ghazi Khan, Rais Wali Rakhio, Rais Jan Mohammad Khan, Rais Mohammad Baqar, and Rais Ahmed Khan, respectively. This necropolis is attributed to Daud who was chief of the Husnani tribe. He was killed in 1614 during a battle between two lineages of Chandia tribe at Mahu near Gebi Dero. Later, the tombs were erected for Daud and his relatives as well as for the soldiers by their descendants. They were completed in a short span of six years from 1819 to 1825. After a gory battle which involved much bloodletting, the Husnani tribe decided to move to Shahdadkot and the Mirokhan where the two clusters of tombs of tribe still stand as reminders of their past glory. According to local accounts the battle fought between the two lineages of tribes Mirzani and Husnani claimed sixteen hundred lives. Three tombs in the necropolis of Husnanis are bedecked with folk tales, of which the tomb of Ghazi Khan, also known as Jangi Qubo, is replete with folk tales and battle scenes. The western wall has three beautifully animated panels. On one of the panels there is a depiction of Laila and Majnu sitting on a cot apparently talking to each other under a tree with a horse standing close by. Though the tale of Laila Majnu is not indigenous, yet it has inspired the local artists considerably. The second panel depicts two people sitting on a cot whilst a man plays Surando (a very popular musical instrument in Sindh) behind them A third panel shows two people mounted on horses, and they seem to be raising flags of victory. This scene represents the legend of Mir Chakar Khan Rind and Mir Gohram Khan Lashari. The battle they fought lasted for 30 years and left deep imprints on the artists. Above this, there is a battle scene in which two tribes, Sabaya and Husnanis are shown fighting with each other. This battle took place in 1839. After the battle of Bungah in 1829 that the Rinds lost to the Magsis backed by Chandias, Mir Noor Mohammad Khan Talpur, the then ruler of Sindh, decided to take revenge from either Magsis or Chandias that the defeat that his supporters suffered in the battle of Bungah. Mir Sher Mohammad Khan Rind who led his tribe in the battle of Bungah also died in the battle. He was Mir Noor Mohammed Talpurs father-in-law. In order to avenge the death of his father-in-law, Mir Noor Mohammad called on a meeting of his cohorts to chalk out a strategy for attacking the enemies. It was decided in unison to first attack Sardar Wali Muhammad Chandio who spearheaded his tribesmen against the Rinds. Four well-known personalities of Chanduka, namely Aboro Shaikh, Shah Wali Khan Chandio, Sardar Miral Sabayo and Ali Sher Kalpar Bughti were also present in the meeting. Aboro Shaikh alone opposed the idea of attacking Wali Mohammad while the rest suggested that it was

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not easy to attack Wali Mohammad as he was always escorted by his best fighting men. It would, however, be advisable to first kill his commander Ghazi Khan who fought in the battle of Bungah and had also killed Miral Sabayos son. Miral Sabayo gave his word to Mir Noor Mohammad Talpur that his tribesmen would kill Ghazi Khan. One evening, as Ghazi Khan was returning back home along with his friends Sher Mohammad Khan, Khan Mohammad Khan and Moula Dad Khan, the Sabayas ambushed Ghazi Khans party, killing him and his friends. Only Moula Dad, also known as Moula Bakhsh, managed to escape. This took place on the bank of Saroh lake, situated near Gebi Dero. When this news reached Wali Mohammad Khan, he dubbed Moula Dad as timid and swore to his tribe that this act would be avenged. Within just a week, the Chandias, under the command of Tillu Khan, attacked the village of Sabayas and killed hordes of people and safely returned to their environs. Later on when the tomb of Ghazi Khan Husnani was erected, the painter elegantly painted the whole story on the west wall of the tomb. Moula Dad or Moula Bakhsh is depicted as retreating from the battleground.Husnani tombs are plastered with lime and are built entirely of burnt bricks with walls raised in three stratas. The Husnani tombs, have similar characteristics and featurs to the tombs of Mirzanis. The paintings on the tombs of the Husnanis and Mirzanis are significant for their perfect technique and subjects in an endless variety of geometric, floral and vegetal designs and human and animal figures spread over the interior surfaces. The surface has been divided into various panels of different shapes and dimensions according to the space available and all the soffits, niches; squinches, arches and interiors of the tombs are covered by these paintings. The basic elements of decoration are varied. Some of the patterns are essentially naturalistic like the trees, which seem to have been inspired by close observation of the local surroundings and some of the fruit trees are especially well done. In comparison to the Mirzani tombs, the Husnani tombs bear figural representations, while the former contain only floral designs. The surface decoration on the tombs of the Husnanis is exquisitely done as it is excelled on the Mirzani tombs. On one of the panels on the Husnani tombs is a depiction of cock fighting a still popular game in the area. Below it, is a combat scene between a man and a "Gorpat" [a wild beast] which is commonly found in the adjoining mountains of Khirthar. Even more interesting is a separate panel, done in a different, more formal style. It depicts a group of figures, who appear to be engaged. Two people are sitting on a cot, behind whom is a man playing the "Surando", a very popular musical instrument in Sindh. Of all the figural works, however, the most interesting are probably those depicting dancing girls with a man in the middle holding their hands. Women are shown in pairs with embroidered shawls on their heads. The costumes thus show a mixture of Sindhi and Balochi elements. Above it, is a pair of peacocks holding snakes in their mouths, a depiction that is commonly found on several tombs scattered throughout Sindh. The great perfection and elaboration, one sees at both the Dau-ja-Quba and Rankun indeed suggests that the work can only have been done with the aid of fully trained craftsmen, drawn from the richest and most accomplished workshops The mural paintings of Husnani tombs un-mistakably belongs to the Rajput School of paintings. The influence of the paintings of the Rajput school can be seen on the tombs of Mian Nasir Mohammad Kalhoro in Khairpur Nathan Shah, Dadu. Since the tombs of Mian Nasir Mohammad Kalhoro are older than the tombs in Gebi Dero, the inspiration may have come from this cemetery where artisans of the Rajput school had already worked. one intends to say that the local artisans prevalent in the area may have got formal training from the artisans of the Rajput school in paintings and they later developed their own school of art termed as the Sindhi school of paintings. Subsequently, this intermingling diffused to the adjoining and far-flung areas.

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Jewels of Jhal Magsi

By Zulfiqar Ali Kalhoro Weekly Pulse Islamabad, Friday April 25, 2008.
The landscape of Jhal Magsi is dotted with historical tombs of Magsi tribe and popular shrines of many saints namely Chhutal Shah, Chhezal Shah, Rakhial Shah, Nanagar Shah, Duri Faqir, Mahi Faqir etc. However, the graveyards of Magsi tribe who ruled over Jhal are located at four places. These include a cemetery at New Jhal Magsi, a necropolis at Old Jhal also known as Khanpur - graveyard of Moti Gohram and cemetery of Ahmed Khan Boro (Obstinate). A few kilometer from New Jhal Magsi town is located a necropolis which contains three historical and imposing tombs of Ahmed Khan Magsi, Mehoon Khan Magsi and Qaisar Khan Magsi and recently constructed tombs of Nawab Saifullah Khan Magsi and Mehboob Ali Khan Magsi. Apart from these mausoleums, there are a number of tombs of Magsis and Chandias who died in the battle of Bungah that was fought between Magsis and Rinds over the issue of rustling. The principle tomb in the cemetery belongs to the Ahmed Khan Magsi who is believed to have been a cultural hero of Magsi tribe in general and battle of Bungah in particular. He was chieftain of Magsi tribe, when a battle between Magsis and Rinds took place. According to the local bards who still sing songs praising Ahmed Khan Magsis for the valour and intrepidness he displayed at the battleground. Nawab Amir Khan Magsi, the descendent of Nawab Ahmed Khan Magsi has kept in his custody some of the swords and shot guns that were used in the battle of Bungah. He also showed some of these archaic and valuable swords and shotguns to this author. As mentioned earlier, the battle of Bungah was fought between Rinds and Magsis over rustling in 1829 A.D. There inhabits many bards and local historians in Sindh and Balochistan who entertain them and their audience with the narrative of Bungah meaning - a big Battle in Balochi language. The tomb of Nawab Ahmed Khan is noted for its grandeur. The tomb is believed to have been built by Nawab Ahmed Khan Magsi during his lifetime. It is built in square plan superimposed with onion shaped dome resting on an octagonal drum. The faade of the tomb carries vertical panels, which were probably created for embellishments. The most distinctive feature of the structure is the corner kiosks that add beauty to the tomb symbolising the status of the owner. It is interesting to note that only royals tombs belonging to the ruling family could carry such fascination. Formerly, there existed the wall enclosure around the tomb, which could not withstand the vagaries of weather. At present, one can only notice the remains of the walled enclosure. Previously, the structure was adorned with paintings. Today, all the paintings have gone or might have been whitewashed damaging the original beauty of the structure. To north of the mausoleum of Nawab Ahmed Khan Magi is tomb of Nawab Qaiser Khan, which has crumbled into pieces. Nawab Qaiser Khan Magsi was also the chief of Magsi tribe. The tomb of Nawab Qaiser Khan Magsi lies in a crumbling state. The dome of the structure has caved in damaging the graves inside. The plaster of the structure has peeled off from inside and outside thus exposing the tomb to sunlight and rain. The exposure to sunlight and rain has caused great damage to the structure playing havoc with the very architectural element of the tomb. Next to him the octagonal tomb of Meehon Khan Magsi is located who was the nephew of Nawab Ahmed Khan Magsi. He also took part in the battle of Bungah. Like his uncle, he also displayed his gallantry and heroism in the battle. The tomb of Meehon Khan Magsi is also in dilapidated and derelict condition. The dome of the structure is partially collapsed. From inside, it is decorated with floral designs. However, the paintings have lost its original beauty due to direct exposure to sunlight and rainwater. Apart from this necropolis, there exist other cemetery of Magsi chiefs at Old Jhall also known as Khanpur. The old fort of Khanpur is in ruins. Likewise, the mosque that stands inside the deserted and ruined fort is also in a shambles. At a walking distance from the fort are located five dilapidated mausoleums of Magsi chiefs. Assumingly these structures might belong to earlier chiefs and rulers of Magsi tribe namely Bhoot Khan IV, Ahmed Khan II, Gohram Khan II, Jaffar Khan I, and others. Not a single tomb has survived its original beauty. All the structures are crumbling brick by brick. Seeing the destruction of these monuments at such an alarming

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speed, one presumes that we might lose the physical existence of the structures in the span of decade. Not far from the Old Jhall is situated the superb and grand tomb of Moti Gohram. The tomb of Moti Gohram is built on a podium and is octagonal in plan with tapering towers reminiscent of Raisani tombs at Mithri in Sibi from where the inspiration has taken while building the structure. The tomb contains two graves of Gohram Khan Magsi and his wife Moti. Canopies that crown the four corner of the tomb indicate the aesthetic taste of the builder. It was adorned with paintings that have now turned black due to persistent lighting a fire by local people inside the tomb. In order to catch the pigeons, people light a fire and blow it out to create smoke thus causing the pigeons that collapse on the ground. Entering the tomb of Moti Gohram one finds ground littered with fuelwood that people have kept there for lighting the fire. Avaricious people have also unearthed both the graves believing that the treasure is hidden underneath. It is pity to see this monument falling into the hands of vandals who have done great damage to this fabulous piece of architecture. The descendents of this dignitary should take note of this damage and destruction of the structure. Architecturally speaking, this tomb has no parallel in whole of Balochistan. Even the tombs of Raisani at Mithri from where the influence has come do not match with this imposing tomb. The Nausherwani tombs in Kharan also stand low as compared to the tomb of Moti Gohram. In addition to these structures, the tomb of Ahmed Khan Boro, which is situated near Gandava town, also lies in state of neglect. These monuments should be renovated to their original glory. If the decay and destruction of these monuments is not arrested in time, we might lose their physical existence for good.

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Gaji Shah: distinguished Kalhora Period Saint, Soldier

By Zulfiqar Ali Kalhoro Weekly Pulse Islamabad, Sunday June 17, 2011
Gaji Shah was a disciple of Mian Nasir Muhammad Kalhoro who was the founder of Kalhora dynasty in Sindh (1681). The Kalhoras ruled over Sindh from 1681 to 1783. Gaji Shah was also a general of Mian Nasir Muhammad. He belonged to the Khosa tribe. A lot of people believe that he was a Syed because of the second half of his name, Shah. During the famous Mianwal movement of the Kalhoras, every important person was given the honorific title of Shah. Before the birth of the movement, the title was invariably associated with the Syeds who then held religious power. It was Mian Nasir Muhammad who began bestowing the title on to his distinguished disciples. For example, Panjo Dahote came to be known as, with the blessings of Mian Nasir Mohammad Kalhoro, Shah Panjo; Abdullah Abro alias Godrio became Abdullah Shah or Shah Godrio; Hyder Faqir Leghari became Hyder Shah; Yousaf Faqir Chhajro became Yousaf Shah; Nangar Faqir Magsi became Nangar Shah; Wasao Faqir Chandio became Shah Wasao; Bahar Faqir Kaloi became Baleel Shah; Rodan Faqir Chandio became Rodan Shah; Bahoo Faqir Leghari became Shah Bahoo; and Ibrahim Faqir Marri became Ibrahim Shah. Among all of these, Gaji Shah Khoso was very close to Mian Nasir Muhammad. The shrine of Gaji Shah is located some 35kms southwest of Johi in Dadu District. Gaji Shah took part in many battles fought against the Mughal troops and was victorious almost in every one of them. Apart from that, he also fought against Gursha Bulfat Khoso who was then the landlord of the area. Gursha Bulfat had killed one of his disciples Dilshad Faqir Khoso. In retaliation, Piyaro Khoso supported by Gaji Khoso, killed Gursha Bulfat. The death of Gursha created friction between the two clans of the Khosa tribe. Gaji Shah ordered his soldiers to kill their enemies wherever they saw them. Legend has it that the soldiers of Gaji Shah killed many people of the Khosa tribe. This prompted many Khosa families to change their castes to escape from further persecution. Some families of the Khosa tribe living near the present village of Haji Khan distributed gur to publicly announce that now theyre not Khoso but are Gur Leghari. Afterwards, those families came to be called Gur Lagharis. But the timely involvement of Mian Nasir Muhammad Kalhoro prevented them from further bloodletting. Mian Nasir Muhammad ordered the supporters and descendants of Gursha Bulfat Khoso to leave Kachho (part of Johi tehsil). Gaji Shahs heroic stories are known to all those who know about the region. According to local accounts, Mian Nasir Muhammad sent Gaji Shah and Shah Panjo Sultan Dahote (a lineage of Rathore Rajputs) to get his female disciple liberated from the clutches of Bakhtiar Khan, then ruler of Sibi. He was loyal and supportive of Mughal king Akbar and was an adversary of Mian Nasir Muhammad Kalhoro and his movement. In order to weaken his movement, the Mughals and their supporters used to attack and kidnap Mianwal Faqirs. One day Bakhtiar Khan kidnapped Mai Shamul, a female disciple of Mian Nasir Muhammad. Bakhtiar Khan imprisoned her where she used to remember her mentor and sing songs in his praise. When the news of the kidnapping reached Mian Nasir Muhammad, he ordered Gaji Shah and Shah Panjo Dahote to get Mai Shamul liberated. Following the order, they surrounded the fort of Sibi and liberated Mai Shamul. Later on, those songs which Mai Shamul sang in prison became known to the Mianwal Faqirs as MianJiSami or Samri which is still sung at the shrines of both Kalhora rulers and their disciples

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Gaji Shah died in the battle against the Brohi tribe at Lohi in Balochistan in 1691. Later on his body was brought for burial to Lak (pass) Tando Rahim Khan where he had been posted by Mian Nasir Muhammad. Today the shrine of Gaji Shah is greatly revered by both Baloch and Sindhi tribes. According to local accounts, the canopy over the grave of Gaji Shah is believed to have been built by Mian Yar Mohammad Kalhoro (1700-19) who had commissioned several other buildings, mainly three-domed mosque and tombs located near the canopy of Gaji Shah. The shrine of Gaji Shah Khoso is visited by his tribesmen. During the time of Mela, his shrine is seen bustling with his disciples and devotees and resonates with slogans of Allah Tohar (in God we trust or absolute dependence on God), which is the slogan and identity of the Mianwal movement.

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The love tombs of Sindh

Zulfiqar Ali Kalhoro The Friday Times Lahore, June 2, 2011.
A scattering of 18th century mausoleums still bear tableaus of Sindhi folk tales. Zulfiqar Ali Kalhoro reports

In the Shahdadkot tehsil of Qamber-Shahdadkot in Sindh there are many historic tombs. The most important are those of the Jamalis, who played an important role in the history of Sindh during the rule of the Kalhoras and Talpurs. The art of painting flourished from the time of the Samma dynasty (1335 1550 AD) in Sindh, particularly stone engraving and paintings at Makli, the largest necropolis in the world. During the Kalhora period (1680-1784 AD) both miniature paintings and wall paintings became common. (One finds here a number of portraits of the Kalhora rulers and princes.) Likewise, wall paintings were a distinctive feature of Kalhora art, and mainly depicted folk tales, as well as scenes from rustic life, the world of tribal chiefs and their battles. The Kalhoras are believed to have built many tombs for themselves and their soldiers. The rulers tombs have on them floral and geometrical designs, whereas the soldiers tombs bear figural representations. Some celebrated painters of the Kalhora period are Piyaral Mashori, Gul Mohammad Vighio, Qadir Bakhsh Kalhoro, Piyaral Mashori, Imam Bakhsh Mashori, Tooh Mashori and Koral Mashori. They came from Mian Nasir Mohammad Village in Khairpur Nathan Shah and are buried in the necropolis of the same village. The Jamali tombs are famous for these artists paintings, which depict the folk romances of Sasui-Punhun, Moomal-Rano, Suhni-Mehar, Leila-Majun and Nuri-Jam Tamachi. These tombs are in Larkana and Qamber-Shahdadkot. Imam Bakhsh Jamali village is located some 18 km northwest of Shahdadkot. It is named after founder Imam Bakhsh Jamali. It contains some historic tombs that remind visitors of its past glory. Originally there were four tombs, only two of which have survived. The tomb of Imam Bakhsh, after whom the village is named, no longer exits, but the tombs of Sobdar Jamali and Bhai Khan Jamali still dominate the landscape. Sobdar Khan is believed to have been the chief of his tribe during the Kalhora period. Local accounts report that he also served the Kalhoras during the rule of Ghulam Shah Kalhoro (1757-1772 AD). Shaho Khan, who was the son or descendent of Mir Sobdar Jamali, is believed to have built the tombs. The tomb that is plastered with lime belongs to Mir Sobdar. There are also two other graves here, though not much is known about them. The tomb of Mir Sobdar is like a museum and is decorated with paintings by Chakar Khan, a renowned mason and artist who lived in Murid Dero in Johi, Dadu. He also painted folk tales inside the tomb. 12 km northwest of Shahdadkot, on the same road to Imam Bakhsh Jamali, is the tomb of Shakal Jamali. You can see it from far away. It is squared and plastered with lime. Local traditions maintain that Shakal Jamali was the head of his village. But another version says that he was a shepherd and built the tomb in his own lifetime. Yet another version holds that he was a very pious man and worshipped in forests and haunted places. His descendants later erected the tomb. From inside it is adorned with paintings. 20 km north of Shahdadkot lies the tomb of Saeed Khan Jamali in a village named after him and locally known as Qubo Saeed Khan. He is believed to have been the disciple of Mian Nasir Muhammad Kalhoro (1657-92 AD). The tomb is very simply built and is

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decorated with floral paintings. It is believed to have been built by Saeed Khan Jamali himself during his lifetime. He was famous for his generosity in far-flung areas. About 12 km west of Shahdadkot, on the road leading to Ghari Khairo near the village of Noor Nabi Junejo, is situated the tomb of Rehan Khan Jamali. He was a landlord. This tomb too was built by its occupant during his lifetime. It is a huge building that rests on a square plan. Now it is deserted and attracts only the attention of birds. From a distance it looks like a Kalhora tomb due to its ambulatory gallery. But there arent any stairs in it, and that is a defining characteristic of Kalhora mausolea. Almost all the Jamali tombs depict animal and human figures. Folktale enactments and dancing scenes are their most common features. Some tombs have already decayed; the shepherds who take shelter inside during the harsh summer days have defaced many of the paintings. The romance of Moomal-Rano is depicted in the tombs of Sobdar Khan, Shakal Khan and Rehan Khan Jamali. In the tomb of Sobdar is a painting of Rano with his two friends, all of them on horseback and going to Kak Mahal, the palace of Moomal, who is sitting inside it with her sisters. The story of Rai Dyach is also painted in the Jamali tombs. The main characters here are King Rai Dyach himself, Sorath, her maid, and Bijal, a famous bard of Junagarh. (Bijal had promised one Ani Rai to bring him the head of King Dyach.) In the painting Bijal is shown playing his fiddle on the palace stairway, and Rai Dyach is shown presenting his severed head to him. Below are the two women figures of Sorath and her maid, both of whom appear to be mourning the death of the king. Another panel shows the folk romance of Nuri and Jam Tamachi. Both are shown sitting in a boat. (Nuri belonged to the Mohana fishing tribe and Jam Tamachi was a ruler from the Samma dynasty of Sindh. He fell in love with Nuri during his frequent visits to Kenjhar Lake.) It is also interesting to see paintings of Laila-Majnu in the Jamali tombs. The romance of Laila-Majnu is not Sindhi. It comes to us from Arabia. However, it captured the imagination of the Sindhi artists who painted the love story in many tombs of upper Sindh. Majnu is seated under tree, while Laila is shown approaching him. A person with an axe is painted to the left of Majnu. This person is perhaps going to cut the tree under which Majnu sits. The tree in turn appears to have bent with the passage of time. This shows that Majnu spent a long time under it waiting for his beloved Laila. (The presence of the man with the axe confirms it, i.e. the tree is so old that it is simply asking to be cut!) Then there is the story of Suhni and Mehar. It is depicted on the tomb of Sobdar Khan Jamali. Mehar is seated on a cot and talking to Suhni. On either side of the cot are Mehars buffaloes. In another image, Sunhi is shown crossing the river to meet her beloved Mehar. One finds Mehar across the river, playing his flute and grazing his buffaloes. Sometimes one also finds in depictions of this story a saintly figure that seems to have engaged in prayers for Suhnis safe crossing of the river. Then there is the Sasui-Punhoon story. This too we find in the tombs of Sobdar, Shakal, and Rehan Khan Jamali. The panels show the in-laws of Sasui taking Punhoon on a camels back to Keck Makran, his hometown. Sasui is shown following the footprints of the camel to meet her beloved. (In the story a friend tries to dissuade Sasui from treading the difficult path that passes through the looming mountains.) The depiction of Umar-Marvi is exclusive to Rehan Khan Jamalis tomb. It shows Marvi with her friend at the well. Umar is forcibly taking Marvi on a

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camel to his palace in Umarkot. Marvis friends are shown beseeching Umar to leave her. All these paintings seem to have been commissioned by those who are buried inside. That they wanted to be associated in death with popular folk tales of the time is itself quite remarkable, and sheds light on the cultural life of 18th century Sindh. But this rich and imporant visual heritage is falling to pieces. In order to save it, the concerned authorities and descendants of the entombed Jamali dignitaries will have to make a joint effort. Otherwise Sindh will lose yet another record of its past.

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A Glorious Past
By Zulfiqar Ali Kalhoro Weekly Pulse Islamabad, September 23, 2011
The heroics of Mian Nasir Mohammad Kalhoros disciples and soldiers dominate the daily chit-chat of people living in the area of Kacho area of Dadu and Larkana districts. The folksingers of Kacho sing songs of praise and eulogize the soldiers of Mianwal movement (also called Kalhora movement) who excelled in the battles fought against the Mughals. There are many towering figures that have left behind many stories of heroism and gallantry. Among such towering figures, the name of Haji Khan Marri is quite prominent. Haji Khan Marri, the son of Nabi Dad Khan, was an illustrious general of Mian Nasir Mohammad Kalhoro. He came from the Kahan (now, tehsil of Kohlu) area of Balochistan to get himself enrolled as a disciple of Mian Nasir Mohammad Kalhoro. He belonged to the Mahakani lineage of the Marri tribe. He also brought with himself a number of other lineages of his tribe namely the Hisbanis, the Kingranis, the Badanis, the Gahani Potras and the Lahranis. According to local accounts, he was also father-in-law of Mir Suleman Khan Talpur, alias Kaho Khan, who was the ancestor of the Talpurs of Sindh. Haji Khan Marri enjoyed a very exalted and dignified position in the court of Mian Nasir Mohammad Kalhoro. He acted as Mian Nasirs senior adviser and took part in many battles. Despite his old age, he escorted Mian Nasir to a number of places in Sindh, Punjab and Balochistan. After the death of Mian Nasir in 1692, his elder son, Mian Din Mohammad Kalhoro led the Mianwal movement. Like his father, Mian Din Mohammad Kalhoro gave Haji Khan due respect and retained his position of senior adviser and made his elder son Ibrahim Khan a general in his army which mainly consisted of his tribesmen. Later on, Mian Din Mohammad Kalhoro bestowed upon Ibrahim Khan the prestigious title of the Shah. Haji Khani Marri was quite close to Maqsoodo Jhinjhan, a gallant general of Mian Din Mohammad, Feroz Verar, the founder of Naushero Feroz, Farid Faqir Bhagat, the founder of Faridabad, and Mir Monder Khan Chandio. He died fighting against the Mughals in the battle of Gerello in 1699. His friend Mir Mondar Khan Chandio and son Ibrahim Shah also got killed in the battle of Gerello. Mir Mondar Khan Chandio was taken for burial to his native place in Jagir, a place that later on came to be known after his name. Ibrahim Shah was buried where he was posted in present-day village of Jamo Khan Sial, 12kms southwest of Larkana. Haji Khan Marri was taken to Phasi Laki in the Jagir area where he was posted. His tomb is on a hillock some 40kms southwest of Shahdadkot. The tomb of Haji Khan Marri is believed to have been built by Mian Noor

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Mohammad Kalhoro. It is built in a square plain superimposed with a hemispherical dome. The tomb contains four graves including that of Haji Khan. From the inside it is adorned with floral designs. Haji Khan Marri left behind eight sons Ibrahim Shah, Masti Khan, Hyder Khan, Jaffar Khan, Daulat Khan, Shakal Khan, Shadi Khan, and Shahdad Khan. His three sons, Daulat Khan, Shakal Khan and Sadi Khan played very important roles during the tenure of Mian Noor Mohammad Kalhoro. Later on, Daulat Khan became his general and got the Jagir around the present taluka of Jam Nawaz Ali. Daulat Khan Marri is buried in a graveyard situated some 13kms southeast of Jam Nawaz Ali. The graveyard has a number of tombs belonging to the Marris and the Talpurs. The largest tomb is that of Daulat Khan Marri. An inscription on the northern wall of the tomb reads his name as Mian Daulat Khan, son of Haji Khan Marri. It is decorated with floral and figural designs. Its eastern and southern walls are adorned with scenes from the folktales of Sassi-Punhun, Sohni-Mehar and Laila-Majnun. Behind the structure lies the tomb or Shakal Khan Marri. It is smaller compared to the tomb of Daulat Khan. Descendants of Haji Khan Marri are known as Hajizai Marris. This lineage of the Marris played a very important role in the socio-economic history of Sindh during the Kalhora and the Talpur tenures. A number of Hajizai Marris also served the Talpurs as their generals, prominent among them are Muhabbat Khan, Gul Hasan Khan, Jahan Khan, Ghanwar Khan, Kamal Khan, Khair Mohammad Khan, Sajawal Khan, Qaim Khan, Jalal Khan, Masti Khan and Adam Khan.

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The writing on the wall

By Zulfiqar Ali Kalhoro The Friday Times Lahore, August 2011
Rock carvings and inscriptions have been reported in different parts of Pakistan, but the large number of rock art sites located in the different nains (hill torrents) of Kirthar Range remains largely undocumented.

I believe these bulls of Sado Mazo predate the Ravi-Hakra phase and belong to the Neolithic period (6500-4500 BC) The Kirthar Range is about 150 miles long and is a watershed all along except for the point where the Gaj Nain cuts its way through from the west by impassable gorge. The range therefore looks like a wall from the plains. There are only ten places through which laden camels can cross the range, and half of them are huddled together. The lofty summits of Kirthar Range run from north to south with its highest point in Sindh at Bandu-Ji-Qabar at 7112, feet followed by Daryaro at nearly 6000 feet and Kute Ji Qabar (or The Dog's Tomb) at 6877. The two famous summits around the Gaj are the Kachrak and Gorakh. From the Gorakh one has a panoramic view of both Nali and Gaj valleys. The course of the Nali valley meanders through the hills and is amazing to behold from the top of the Gorakh, which rises to 5,700 feet. During my research on wall paintings in Johi in 2004, I was informed by one of my friends about the rock carvings in Nain Nali. The following year I visited the rock art site of Sado Mazo. It took me a few years to discover a large number of rock art sites in both Nains Nali and Gaj. Both are home to a large number of rock art sites. Since then, I have been documenting the rock art sites situated in different nains, dhoras (large tributaries) and dhoris (small tributaries) of Kirthar. Each dhori joins a dhora, which subsequently brings the drainage into the nain. Every dhora and dhori has rock carvings. Engravings of horse and ancient script

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There are only ten places through which laden camels can cross the whole of the Kirthar Range, and half of them are huddled together The remote and narrower dhoris and dhoras contain a large number of petrogylphs. Some of the nains which lie north of Nain Nali and depict petroglyphs are Taki, Gaj, Makhi, Sallari, Khurbi, Dilan, Radh, Saghro, Buri, Khenji, Chhahar, Seeta, Mazarni, and Keharji. In each of the nains there are many dhoris and dhoras depicting petroglyphs. And to south of Nain Nali are the Kukrani, Haleli, Anghai, Khandani, Naing, Bandhani, Osho and Baz Khando torrential rivers that also contain petroglyphs. Apart from the nains there are also petroglyphs on some ancient routes connecting Sindh with Baluchistan. One such route is that of Phusilak and Heeghan spring; it served as a trade and pilgrimage route. Around these passes and springs there are many rock carvings. The people of Sindh used to go to Jamuro in Kotrio tehsil of Khuzdar in Baluchistan and beyond to Iran.

Petroglyphs of Bull and Stupa at Chit rock art site

The images of the humped bulls provide a link to an ancient religion in which this animal was worshiped as it played an important role in the economy (like it did in the Indus Valley) Nain Nali or Nari (both names are in vogue) is a perennial river which originates from the foot of Kirthar near the Phusilak pass. The Phusilak had been the main route between Sindh and Baluchistan from ancient times. People still use this route to bring pish (dried leaves of the dwarf palm) from Baluchistan to Wahi Pandi town in Johi tehsil. Nali joins Gaj's diverted course near Qasim Rodrani village. It is approximately 35-40 km long. It is home to many archaeological sites of which the Karo Kot, Kotho, fort of Raja Dahir, remains of two stupas and rock art sites are quite prominent. There are 28 rock art sites which I have visited; of them Chiti, Kalri, Peepal Gaptar, Chuchar and Sado Mazo rock art sites are quite prominent.

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Three Kharoshti letters engraved before the bull image

The Phusilak pass had been the main route between Sindh and Baluchistan from ancient times. People still use it to bring pish (dried leaves of the dwarf palm) from Baluchistan to Wahi Pandi town in Johi tehsil There are two ways to get to the rock art of Sado Mazo in Nain Nali. Either one can go from Odrilaki via Pahilaki (pass) to reach the site or from Bodho village. The former route is enchanting and one encounters many caves on the way to the rock art site. The first cave is located some three kilomtres from Wahi Pandi. This cave is just above the Gaji Kumb. (A kumb is a natural pond in the bed of the perennial river.) One finds some graffiti here. After Gaji Kumb, there are two routes, one that goes to Bodho village and the other to Pahilak. Just short of Pahilak there are two caves. When one climbs up to Pahilak, one gets a panoramic view of the Nain Nali. As one descends one notices a large Pahi Kumb with a cave overlooking it. Locally, these caves are called Jhudo. This camel path goes up to Chakar Gat where there are ruins of a fortification wall from the medieval period and a few Muslim graves. From this place, the rock art site of Sado Mazo is hardly 300 metres. As one descends from Chakar Gat to Sado, one notices a cliff running from north to south. On this cliff one finds rock carvings and inscriptions. The cliff or rock wall is 6 feet from the ground and the highest image of the bull is about 15 feet from the ground. The length of this rock wall, locally called 'ban', is 20 feet. The lower part of the ban or mountain wall collapsed in the 2001 earthquake while the upper part is in good condition. This sandstone rock wall contains extraordinary petroglyphs and inscriptions. The most impressive images are of the bulls. There are at least 11 magnificent petroglyphs of humped bulls or zebus. On the northern panel are images of two bulls, one large and one small. The large bull has straight horns, joined legs and a hump and is standing in a looking-down position. Before it is the figure of another small bull with hump and short straight horns. However, this bull has separated legs. It is possible this was engraved later. There are hundreds of bull images on the Indus seals and terracotta figurines which have separate legs. According to Kenoyer some bull figurines from the Ravi-Hakra phase (3700-3200 B.C) have joined legs. Bull figurines with legs joined are found in Chaunho Jo Daro Author with local persons at the Chiti and Harappa. Kenoyer believes that bull figurines of the early Indus or rock art site Kot Dijian period have joined legs. I believe these bulls of Sado Mazo predate the Ravi-Hakra phase and belong to the Neolithic period (65004500 BC). At some rock art sites in Nali and Gaj valleys joined-leg bulls do not have the belts which I think are much older than the ones with belts. They may belong to the Mesolithic period. I have documented more than 400 magnificent bull carvings in Nain Nali of which only 11 are with legs separated. This indicates the earliest bull carvings were those with joined legs, and bulls with separated legs were possibly done in a later period.

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There are also three fire altars and a fire temple that distinctly evoke the rituals and symbols of the Zoroastrian religion One keeps in mind three features while differentiating between bulls with joined legs and bulls with separated legs. There are two groups of bulls. The first group has joined legs and straight horns. The second has curved short and long horns and they are shown with belts. Third, there are bull figures with separated legs, and these are usually heavy or normal bodied. I think that bulls with straight horns and joined legs without belts predate the ones with curved short and long horns and separated legs and belts. The most masterly piece of the Sado Mazo Rock art site is that of the horse. The body of the horse is decorated with two lotus flowers, one on its hind leg and the other on the shoulder. It appears to be in movement. Due to a collapsed piece of the panel, the legs of the horse were also damaged. The bell also suspends from its neck. The rock art site of Sado Mazo depicts four rock carvings of the Zoroastrian religion. There are three fire altars and a fire temple that distinctly evoke the rituals and symbols of the Zoroastrian religion. Two altars are without flames and a third is with flames or a fire vessel represented by wavy lines. On the southern side and just close to the Buddhist stupa is depicted a fire altar. The shape of the fire altar is like a lamp-stand which is mounted by fire vessel or flames. The base of the lamp-stand and the top on which the fire vessel rests is flat with concave sides. The two altars without flames are depicted on the northern side of the mountain wall close to the bull image. The first altar is depicted with the hind legs of the bull and the other is below the bull figure. Both altars are similar in the shape and resemble the with one with the flames. The southern rock wall of Sado Mazo shows an image of a fire temple resembling the chahartoq of the Sassanid period (224-641 AD). Four vertical lines and two horizontal lines superimposed with A central dome and two kiosks are drawn to make the image of the fire temple. Engraving of Stupa at Chiti rock art site There are five images of the stupas. Three stupas are of the same shape and the fourth is column-like. The fifth image is incomplete. The most impressive images are of the bulls. There are at least 11 magnificent petroglyphs of humped bulls or zebus The first image of the stupa is situated to the extreme south of the mountain wall. Close to this stupa is a broken Brahmi inscription. The dome of the stupa rests on three stories or terraces and is superimposed by finial and streamers. The second stupa was partially damaged due to the disintegration of the mountain wall, and is similar in architecture to the stupa with the damaged inscription. This stupa [fig.15] is close to the altar with fire vessel. The dome of the stupa rests on three terraces. The dome is partially damaged due to harsh weather conditions and the streamer is not clear because the upper part of the cliff has disintegrated.

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Two more stupas are depicted south of the panel, close to the Brahmi akhshara and the bull image with separated legs. They are engraved together [fig.16]. The first stupa has three stories crowned with a dome and prominent topping. The second column-like-stupa has more a lingam shape. This structure has two stories superimposed with a lingam-shaped tower. The dome rests on two stories with prominent topping. The first storey is decorated with corner posts. The second storey is elongated and is in the shape of a tower. This stupa is different from the other stupas depicted in many rock art sites of Nain Nali. The fifth stupa is left uncompleted; only four terraces or stories of the stupa are visible. Image of dancing girl The masterpiece of the rock art of Sado is that of the dancing girl. She is shown in movement, with her left hand raised and the right placed on the waist. The eyes, nose and mouth are clearly depicted. The female headgear of the dancing girl is also prominent. She is shown wearing a shirt and trousers. Due to the collapsed part of the panel, her legs are partially visible. The figure of the dancing girl is flanked by swastikas. I have never seen such a dancing girl in the various rock art sites of Nain Nali, Gaj and at other places. But I have seen some images of the dancers in groups, or in group dances, near other perennial rivers of Kirthar. The discoveries of the now-famous dancing girl from Moen Jo Daro and this one from Nain Nali confirms that dancing has been part of the socio-religious life of the ancient people of Sindh from time immemorial. A total of six Gupta Brahmi inscriptions have been recorded here of which only three are readable while the rest are either damaged or illegible. I sent three inscriptions for deciphering to Nasim Khan of Peshawar and Abdul Samad of the Hazara University respectively. Abdul Samad believes that these inscriptions belong to the Gupta Brahmi and placed them in 4th century A.D. The inscriptions bear the names of the travelers or the pilgrims. The readings of the inscriptions are given below. 1. "Sri gustatisyaparindapaputrasya", meaning 'Of Sri Gustati, son of Parindapa' [fig.20] 2. "Humataras[y]a", meaning 'Of DakkaHumatara' [fig.21] 3. "(Ta)rarajrajyadara[ysu]sya", or 'Of Tararajrajyadarazu' [fig.22] Abdul Samad states that all the names are non-Indian but I believe that all the names are local. The first name, Parindapa, father of Gustati, is a purely Sindhi name which is still current in some parts of Tharparkar. I reproduce here the text readings by Nasim Khan of Peshawar University. Nasim Khan states these are "probably three, or maybe more, different inscriptions written by three different persons or might be by the same person using different tools for engraving. They generally represent proper names with titles and patronyms. On the basis of paleography, they can be placed between 3rd-5th centuries". 1. "++++syapari[ndra]paputrasya", meaning 'Of..., the son of Parindrapa' 2. "?r? Matarasyadakkas[ya] tararastisyadaradara+sardhya", meaning 'Of ?r? Matara, the strong or intelligent, the protector, the ... of Dara'. Probably followed by four faint letters. 3 "[dhasamasa]" or 'Of Dhasma'. The last letter is overlapped by a large-sized akshara 'Ta'. Below there are traces of a few letters. From the readings of Nasim Khan, it is clear that all three names - Matara, Dara, Dhasma - are local. Dhasma is today Damsha. This name was common in medieval Sindh. Even Matara is a purely Sindhi name meaning 'stout image of fire Altar

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man'. The name Matara or Mataro refers to a term which was widespread during rule of the Sammas (1350-1520 AD) and the Kalhoras (1681-1783 AD). The famous characters of Shah Abdul Latif Bhittai's poetry, Mokhi and Matara, were part of the folklore of the Samma period. Shah Abdul Latif (1689-1752 AD), the great Sufi poet of Sindh, composed poetry about the story of Mokhi (a bar woman) and Matara (stout men) in his sur (chapter) by the name of Kalyan. All the persons were of Sindhi origin. According to local accounts there were eight Mataras (stout men who used to visit the a bar run by the woman called Mokhi). The Mataras belonged to Chana, Chauhan, Samma and Sumra castes who were the notables of Sari in the Kohistan area of Sindh. Their tombs are still to be found at the foothill of Narathar in Gadap tehsil of Karachi. The second prominent man who was called Matara was one Mir Lutfullah, a minister during the reign of Mian Noor Muhammad Kalhoro (1719-1753 AD). The panel complex depicts a total of five Gupta Brahmi aksharas (letters) running from north to south. These aksharas may indicate some meanings because they are depicted in sequence; the first is depicted to the extreme north from where the first rock carvings start and the last where the carvings end between two images of the stupas and the bull. The discovery of petroglyphs and inscriptions in Sindh mark a watershed for the history of the land. There are many rock art sites in the Kirthar Mountains and its subsidiary ranges, including caves and rock shelters. But the rock art site of Sado Mazo is different from other rock art sites in different nains of Kirthar and its subsidiary ranges in that the Sado Mazo petroglyphs belong to far more ancient religions of Sindh. The images of the humped bulls provide a link to an ancient religion in which this animal was perhaps widely worshiped as it played an important role in the economy (like it did in the Indus Valley). The images of the bull on Indus seals and pottery are also numerous. But their style is different from these ones found at Sado Mazo. The Indus bulls have separated legs whereas the Sado Mazo bulls have joined legs. I believe that the joined-leg bulls predate the bulls with separated legs. The Zoroastrian fire altars and temples and Buddhist stupas are testimony to the fact that these religions were once dominant both in the plains and mountainous areas of Sindh. One can still find the remains of stupas, monasteries and Zoroastrian temples which are square in plan and have four openings from four directions in the Kirthar Mountains. These fire temples may belong to the Sassanian period (283-356 A.D.), while the Buddhist symbols may have been engraved in the time of the Buddhist Rais of Sindh (499-641 A.D).

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's

First Independent Weekly Paper - May 27 - June 02, 2011 - Vol. XXIII, No. 15

Ancient art of the Kirthar

By Zulfiqar Ali Kalhoro The Friday Times Lahore, September 15, 2011
Many nains (hill streams) originate from the Kirthar Range in Sindh except for Gaj which comes from Baluchistan across the very narrow gorge of Thak. The Gaj Valley is situated 38 km from Johi tehsil, Dadu district, Sindh. The Shakloi is a tributary of Nain Gaj. The gaj is an ancient route followed by travelers, traders and pilgrims. Through the Lorah pass (lak) people carried out their trades. This route is still used by Sindhis, Balochis and Brohis. The waters of Khuzadar drain into Nain Gaj as well as those of other tributaries. Northern and southern valleys or dhoras (tributaries) of Gaj were also routes connecting the northernsouthern valleys. These dhoras (major tributaries and dhoris (subsidiaries) of Gaj are still inhabited. Shakloi Dhoro, a southern tributary of Gaj, was the ancient route used not only by pilgrims, traders and travelers but also by sheperds. The sheperds still move along this route to spend their summers on the Gorakh, which is the highest peak around the Gaj. Shakloi dhoro and Phazgar dhori served as the route until the construction of Gorakh Road in 2004.

View of Thak Kumb

The lower part of the dhoro is called Shakloi whereas the upper one from which the dhoro originates is called Gurban. I have discussed in this article the rock art sites located in Shakloi, Loi Dan, Faizoo Garoti and Gurban, all tributaries of Nain Gaj.

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The rock art site of Shakloi is locally called Chiti which means 'engravings'. The site is located 2 km south of Nain Gaj. East of this site is situated Jeandi Shah site of the Indus period. South of it is a Gurban dhoro, well-known for the engravings of a unicorn and religious structures, and Loi Dan dhori, notable for the prehistoric petroglyphs of a bison and the historic engravings of riders and religious structures. On its west are Phazgar and Met dhoris where I have also discovered the petroglyphs. The engravings from Chiti are of the prehistoric Bronze Age and historic periods. They are found on sandstone rock formations. These rock formations are locally called ban. Petroglyphs are found on the ban or cliff and rock outcrop. The northern side of the cliff has petroglyphs of the Bronze Age. The southernmost engravings belong to the Buddhist, medieval and post-medieval periods. Similarly on the rock outcrop are the engravings of the Bronze Age, Buddhist and medieval periods. Of all the animal imagery, most amazing are the petroglyphs of the bull. There are ten bulls engraved on the southern panel of the cliff and the rock outcrop which is situated southeast of the cliff. The southern panel contains three bulls with stupa overlaying them. Two bulls are shown in face to face style. This style is not peculiar to Gaj valley. A similar style of bulls is also found at the rock art site of Kalri in Nari/Nali Valley. The ibexes are also represented in a similar style on the northern panel of the cliff between two stupa depictions. Ritual dance depiction Animal images at Chiti The legs, humps and horns of the bulls are clearly recognizable. The pecking technique was used to execute these engravings. Bull figures on the rock outcrop are interesting. Three out of four are made by pecking and pointing technique. The fourth, which is executed by pecking technique, is shown with elongated body as one finds the similar elongated bulls on the Nindowari pottery. I have also documented the petroglyphs of elongated bulls in the Kashani Valley, which is a tributary of Nain Taki (hill stream) in Johi tehsil. The Kashani valley lies 6 km south of Gaj valley. Another bull figure is shown in a lively style. Its legs, horns and hump shown clearly. Still another bull has become very dim due to weathering conditions. It appears to be of prehistoric period. There are ancient and modern hunting and combat scenes on the cliff. There are two depictions of archers who are shown pointing their arrows at the ibexes. Close to this image is a male figure holding a spear in his hand with extended arms. This figure appears to be possibly of the Bronze Age. On the extreme north of the cliff are ibex carvings. Close to them is another figure of an archer who is also shown aiming his arrow at the ibex. Some petroglyphs of the modern period show male figures hunting ibexes with guns and rifles. In some petroglyphs only guns are shown aimed at Petroglyph of three deities of Kushan ibexes. There are many such images found on both northern and southern period at Loi Dan panels.

There are also many images of warriors on both panels of the cliff. On the northern panel are two male figures wielding swords. One figure is shown holding two swords in both hands. There is also an interesting male figure which is made by pointing technique. This figure is holding a sword in one hand and a shield in the other. This male figure is engraved below the ibex image that is also executed by pointing technique. There is an interesting

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male figure close to the two ibexes which stands face to face. This male figure is shown with elongated right arm holding a spear or whip. The images of camel and horse-riders are also found on both the cliff and rock outcrop. The riders are shown standing on horseback or camel back, holding bridle in one hand and sword or whip in the other. Some images on the northern panel of the cliff are ancient as compared to the ones found on the southern panel. Petroglyphs of camel and horse riders appear to have been engraved during medieval or post-medieval periods. The engravings of ritual dance are found on the southern panel. There are three rows of dancers who are shown dancing before verandah-like structures which possibly represent their villages, settlements or dwellings. On the top, there is an artificial verandahlike structure, on the left of this verandah-like structure are two male figures. One male figure is shown with an animal attached to his right leg. Another animal is shown grazing. In the middle row of the Stupa engraving dancers is the prominent figure of a male on the left with circular body and visible genitals. He appears to be either the chief of the clan or a deity. Five dancers are shown before the chief. The fifth figure on the right holds the tail of a feline and close to this is perhaps a figure or a container with verandah-like structure on the right. There are three dancers in the bottom. In the center is a figure with raised hand and a mantel nearby just before the last or third dancer. The third or Arrow pointing to Bison, a prehistoric last dancer stands before the verandah-like structure. One finds similar petroglyph at Loi dan structures on the south of this ritual dance panel. This verandah-like structure has a rectangular room attached to the left. Between two panels of ritual dance and verandah-like structure is engraved an interesting sign which is possibly a container or some sacred sign associated with the religious community who once inhabited the valley. It appears that this sacred symbol is associated with people who are shown performing ritual dance. Two verandahs without dancers are also engraved north of the carvings of dancers and south of the two stupa images. Apart from the ritual dance, there are two rows of dancers engraved on the rock outcrop. In the first row are the four dancers with female dancer in the centre. This carving is not ancient; rather it appears to be of medieval period. The second rows represent three dancers with a female in the middle. This is an ancient engraving which is executed by abrading technique. There are twelve stupa images found on the cliff and rock outcrop. On the cliff are a total of ten stupa images. The first stupa on southern panel is three-storied with a dome topped by a harmika Narrow course of Gurban dhoro in Gaj topping and a single decorated streamer on the left side. The nain streamer shows six circular and rhombus-shaped designs. There is a small stupa close to this with two storeys topped by a dome and finial. The four lower storeys are of equal size whereas the three upper storeys are in diminishing size. There is another stupa close by which is irregular due to lack of the space available because there is a sudden crack on the cliff. It is a simple seven-storey structure topped by a finial.

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Just close to the irregular stupa image are two stupas engraved together. They are different from the ones discussed above. They are simple two-storey structures topped by finials. The stupa rests on the rectangular platform with six storeys in diminishing size topped by anda, harmika, finial and decorative streamer. The streamer has 14 ornaments. This stupa is executed with sharp metal chisel. Similar types of stupas are found in many rock art sites of Gaj and Makhi valleys. Put differently, stupas of these types are only peculiar to the valleys of Gaj and Makhi and are not found elsewhere in the valleys of Khirthar. Satellite picture showing the Nain Gaj and Rock art sites in Shakloi Dhoro The next carving of a stupa is overlapped by the ibex images. It rests on a rectangular platform with four storeys in diminishing size. It has anda (dome) which is topped by harmika, finial and simple flag.

The next stupa is a multistoried structure in diminishing size superimposed with harmika finial and topping. The diminishing stories are not symmetrical. The last stupa on the cliff rests on a double platform with three storeys superimposed with anda, harmika, finial and decorative streamer. There are two stupa images found on the rock outcrop. The main stupa covers the center of the rock. It rest on the square base. The other stupa is very simple with one storey, a finial and a simple banner. Loi Dan is small dhori (a tributary of Shakloi dhoro). It lies west of the Chiti rock art site. Loi Dan rock art site is noted for prehistoric petroglyphs of bison and historic engravings of feline, camels, riders, structures and cutmarks. There are three images of the bison which are executed on a cliff facing north. They are shown in wild style. The images are executed by pecking technique with sharp stone implements. The horns, tail and small hump of the two bisons are recognizable. The third bison is not clearly shown due to the cracks on the cliff. Only its hind legs and hump are visible. The discovery of these petroglyphs is testimony to the fact that this extinct animal was important in the fauna of Kirthar. Nowhere in Khirthar are found the petroglyphs of the bison. This is Nature sculpture in Shakloi dhoro the only rock art site where three heavy-bodied images of the bison are executed. Apart from images of the bison, some engravings of feline, camel and horse riders are also found on the cliff. Image of the feline seem to be executed by sheperds since the artist has attempted to make the image half-heartedly and left it incomplete. The next carvings are of the ibexes and horse riders. Riders are shown holding bridal of the horse in one hand and the sword in the other. Apart from the engravings on the cliff, there are many found on the boulders and rock surface. There are four boulders lying on both banks of the dhori containing the images of the ibex, camels and geometric signs. There are three boulders on the right bank of the Loi Dan dhori which has cut marks. On another boulder are cut marks and a vertical oval-shaped opening where one can sit inside easily. This opening was also functional for those who used to perform austerities. A marking inside the opening confirms that it could also have been used by prehistoric and historic men. Such oval-shaped openings are still used by the hunters who are holed up here while waiting for the animals and birds. They are mainly found along the banks of the dhoris or the dhoras and kumbs (natural ponds) where the animals come to quench their thirst. There are engravings on the rock surface besides the cut marks: images of the ibex, camels, structures and geometric designs. [box10]There is an interesting engraving of a structure. It is square with an entrance on the east. Four decorated finial with three tree-branch-shaped designs adorn the roof. Three individual figures are shown inside

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the structure. Two figures are standing close to the northern and southern walls respectively. The figure close to the northern wall is holding a whip. The third figure is shown standing under a niche. This is perhaps a shrine or temple dedicated to three deities. The legend of the three deities is also depicted on Huviskha, a Kushan ruler, period coins. The gold coins found from Gandhara depict the three deities Skanda, Kumara and Vishaka. Skanda is shown standing under canopy or niche flanked by Kumara and Vishaka. The engravings at the Loi Dan possibly represent the legend of these three deities of the Kushan period. It appears to have been executed during the Kushan period in Sindh. The Kushan ruled over upper Sindh from 78 to175 A.D. The next engraving is of a tower-like structure with one rectangle and square at the bottom and top respectively. A vertical line cuts across the central structure. Interestingly, there is a gap between both rectangle and square as seen in the bottom and top of the building. Why it was not placed on the building is a difficult question to answer. The lower rectangle may represent the underground cell or room; the top square may represent the superstructure. Another tower-like structure is found on the rock which may be the stupa. It is a four-storey building topped by finial and streamer. Three geometric designs are engraved close to the stupa image which may be chessboards. The camels, with drivers and without drivers, are engraved in both vertical and horizontal style on the rock surface. All of these images are of historic period. Another rock art site is located 2 km south of Loi Dan at Faizoo Garoti. It is also known as Bezgar dhori, which is a tributary of Shakloi Dhoro. Images are found on the rock surface, the boulders and cliff. There is an engraving of a complex structure on the rock surface. It has an entrance and two small structures inside. One of the structures has a rectangular base on which three objects rest and the other structure has a square base with elongated tower which touches the inner side wall of the main structure. Close to this complex structure are numerous cup-marks locally called jogun. Cup-marks are found from many rock art sites of Baluchistan, Swat, Islamabad (discovered by this scribe) and Sindh (also discovered by this scribe). There are three boulders at Faizoo Garoti which depict ibex, camel, horse and male figures. On the first boulder are the images of ibex, hunters and an unidentified animal. Another boulder that lies on the right bank of Faizoo Garoti dhori shows ibex images, camel riders and figures holding guns and rifles. These images are possibly of the British period as the guns shown in the engravings were used during the British period. The petroglyphs of Sakey Dand site are located in upper Shakloi or Gurban Dhoro. The engravings are found on both the cliff and boulders. On the eastern cliff are the ancient petroglyphs of animals, prominent among which is the figure of a unicorn with elongated body and short tail. The style of the unicorn is similar to those found on the Indus seals (this is confirmed in my personal communication with Mark Kenoyer). On the western cliff are the numerous images of the ibex, camel and riders and the structures. However, the most interesting are two rectangular structures. One structure is larger than the nearby building. It is decorated with four finials. The second structure is small. It is also rectangular and has four finials. It seems that the building has a flat roof with four finials on the four corners. There are also some interesting signs/objects engraved west of these structures. There are four signs. From left the first arrow points to a wheel-shaped sign and connecting line which may represent a cart. The second arrow also points to a similar but larger sign. This also looks like a cart. The third arrow points to two circles with connecting line and the fourth arrow shows a more complex sign which is perhaps a structure with two attached triangles and rectangle possibly representing storeys or rooms. These signs have connecting line which terminates in a circle at the base of the structure. A similar circle is also found with a small connecting horizontal line attached with a rectangle on the right. One also finds the camel and cart engravings without a driver below the retangular building. The cart has only one wheel. There are interesting male figures on the canvas. One of the male figures is shown taking the goat. Another male (stick figure) is shown holding an object in his hand which is found near engravings of the gun of the modern period. Shoe prints are also found on the western cliff of the Sakey Dand. On the boulder are engraved the nine goats in group. Independent Weekly Paper - May 27 - June 02, 2011 - Vol. XXIII, No. 15

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Heritage: Save This Mosque

By Zulfiqar Ali Kalhoro The Friday Times Lahore 12 April 2012.

Mehboob Jo Bungalow is a picturesque village located in Miro Khan taluka of Larkana district, Sindh. The village is named after Mehboob Khan Shahani who was revenue collector during the rule of Mian Noor Mohammad Kalhoro (1719-1753). He had constructed a bungalow for his residence here, after which the village came to be called Mehboob Jo Bungalow. Today, neither the descendents of Mehboob Shahani nor his magnificent bungalow remain in the village. The family left the village in the early nineteenth century. During the Kalhora rule, many tribes inhabited in village but the Sangis were in a majority. Sangis are a sub-caste of the Abra tribe. They were the landlords here. One Mohammad Fazal Khan Sangi was famous for his generosity and bigheartedness. According to local accounts, after every Friday prayers, he used to distribute money among the needy and feed the hungry. He dug several wells for the poor to fetch water from. After his death, his son Ghulam Mohammad Khan Sangi became the new zamindar of the village. Like his father, he was also reputed to be a generous, compassionate and

Closer view of the mosque

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kindhearted person. Ghulam Mohammad Khan Sangi was a religious person and laid the foundation of Jamia mosque in 1835. For the construction of this mosque he gathered the celebrated masons of Sindh. The mosque attracted a large number of visitors Painting in the mosque from far-flung areas who came to praise its builder for his lavish expenditure. The mosque is contemporary to the Hamid Huzori mosque in Miro Khan town which was built by Hamid Huzori Tunio. But the mosque of Hamid Huzori does not have embellishments like those in the Jami Mosque of Mehboob Jo Bunglow. In fact the Jamia Mosque of Mehboob Jo Bungalow has no rival in Larkana district, not even among the other beautiful three-domed mosques. The colour scheme of this mosque is singularly attractive. It has three domes of which two are rendered in a ribbed style. The interior of the mosque is adorned with paintings while the exterior is decorated with glazed tiles for which The tomb of Ghulam Muahmmad vertical panels have been created to show floral Sangi designs. The mosque is a prototype for the one built at Halani by Mehrab Khan Jatoi, who served as a minister during the rule of Mian Abdul Nabi Kalhoro (1776 - 1783). The main entrance of the mosque is crowned with a dome which is tastefully adorned with floral designs. Three entrances that lead to the main prayer hall of the mosque are painted. Stylized vases decorate the northern and southern walls of the mosque.

Restoration of the panel

Nearby is the huge tomb of Ghlum Mohammad. It is believed to have been built by Ghulam Mohammad himself during his lifetime. One cannot find such an impressive tomb anywhere else in Larkana. The distinctive feature of the tomb is the glazed tiles that The interior of the mosque is adorned with floral motifs decorate its facade. Apart from the grave of Ghulam Mohammad, the tomb also contains nine other graves. The father Floral designs in the mosque of Ghulam Mohammad, Mohammad Fazal Khan Sangi, is also buried inside the tomb. The tomb is built in a square plane with each side of it crowned with kiosks. The structure is in a very bad condition: its dome is cracked and the drum on which it rests

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is fast falling to pieces. The mosque too is in a state of disrepair. Abdul Qadir Kalhoro, a Pesh Imam of the mosque, told me that Benazir Bhutto had visited this village in 1995 and granted Rs 1, 50,000 for the mosque's renovation. "As soon as we received the grant, we began work on the mosque," he said. Two masons, Mohammad Yaqoob Memon of Moro and Ghulam Nabi mason of Nasirabad, worked on the mosque. Mohammad Yaqoob was a celebrated painter; in addition to painting exterior panels, he restored one of the domes to its original form. Mohammad Yaqoob Memon also restored the original beauty of the panels. The glazed tiles of the lower part of the panel had fallen to the ground but he painted the lower part in order to synchronize it with the upper part of the panel. The late Ghulam Nabi renovated two other domes and the southern wall of mosque, which was appallingly damaged. He also restored the paintings on the domed ceiling. The locals hold that Ghulam Mohammad had fixed a small golden jar into the wall of the mosque, thinking that after his death renovation of the mosque should not be hampered by lack of money. Ironically, after his death somebody took the golden jar away.

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Victim of Neglect
By Zulfiqar Ali Kalhoro Weekly Pulse Islamabad, Friday June 01, 2012
Almost every village in Sindh has sites that have historical importance. Like other districts of Sindh, the landscape of the Shahdadkot district is dotted with a number of historical places. Prominent among these are the shrine of Haji Ismail Shah, the shrine of Mian Shahal Mohammad Kalhoro, Dau-Ja-Quba at Gebi Dero, the tomb of Mirzani Chandia near the village of Gebi Dero, the tomb of Husanani Chandia in the village of Rais Bambho Khan, the tomb of Mastois in the village of Darya Khan Mastoi, the tomb of Aitbar Khan Mastoi, the tomb of Aitbar Khan Chandio in the village of Darya Khan Mastoi, the tomb of Mian Mir Mohammad Kalhoro in the village of Abad Kalhoro, the tombs of Gaji Khuhawar, the tomb of Chakar Khuhawar in the village of Mian Shahal Mohammad, the shrine of Ghafur Shah near Shahdadkot, the shrine of Mian Majan Gopang in Qamber, the tomb of Imam Bakshah Jamali, the tomb of Shakal Jamali and the graveyard of the Khosa tribe near the village of Sanjar Bhatti. The graveyard of the Khosas is locally known as Cchutal Faqir Jo Muqam. It is located some 15 kilometres northwest of Shahdadkot and contains graves and tombs of Mianwal saints and soldiers. Cchutal Faqir Khoso, after whom this graveyard is named, was the descendent of Suleman Faqir Khoso. Suleiman Faqir Khosa was the disciple of Mian Adam Shah Kalhoro. The descendants of Suleiman Faqir are known as the Suleimani Khosas. The great grandson of Suleiman Faqir Khosa, Jamo Faqir Khosa, was the disciple of Mian Nasir Mohammad Kalhoro. He was very close to Mian Nasir Mohammad because of his righteousness. Mian Nasir Mohammad held him in very high esteem too. Despite his old age, Jamo Faqir actively participated in the construction work of the Jamia Mosque of Garhie. He died in his mentor's lifetime and was buried in the necropolis of Mian Nasir Mohammad. Jamo Faqir left behind four sons, namely Cchutal Faqir, Sohrab Faqir Bahadar Faqir, and Hazar Faqir. All of them got early education in the Madressah of Garhie where Mian Nasir Mohammad used to teach his disciples. Cchutal Faqir became prominent in his time and preached the ideology of his mentor wherever he went. He accompanied Mian Nasir Mohammad when the latter went to meet Ganj Bakhshah Naushah in Gujarat, Punjab. He took Mian Nasir Mohammad to Esso and Beero Markhand, Rato Faqir Wahocho, Ali Sahib Khan Palari alias Pir Ali Asahibo, Mian Majan Gopang, and Yousaf Faqir Chajro, who also became his disciples. Sohrab Faqir, Bahadar Faqir, and Hazar Faqir displayed their skills in wielding the sword, and were always found daring in battlefields. They served both Main Din Mohammad Kalhoro and Mian Yar Mohammad as their generals and took part in many battles fought against the Brohis, the Panhwars, the Mughals and the Daudpotras. The tomb of Sohrab Faqir contains two graves of Hazar Faqir and Bahadur Faqir. The tomb has been recently built and lacks ornamentation. According to Abdul Rehman Khosa, who is the descendant of Cchutal Faqir Khosa, an old tomb of Sohrab was built by Mian Noor Mohammad Kalhoro. It was a huge structure with a hemispherical dome, and was originally embellished with beautiful murals. Some of the panels contained battle scenes and scenes of cultural activities. Unfortunately, the tomb caved in some 30 years ago damaging the graves from the inside. To

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its northern side there is the tomb of Muhram Bhatti who was a soldier in the army of Mian Noor Mohammad Kalhoro. He died fighting against the Brohis at Sunni in Balochistan. Near the tomb of Sohrab Faqir there is this dilapidated tomb of Mai Hawa who was the mother of Sohrab Faqir and wife of Jamo Faqir Khosa. She was renowned for the recitation of Azi in the family of Suleimani Khosas. The institution of Azi (the invocation) was very widely practised by both Mianwal female and male devotees, which sought divine help for solving different problems. Apart from the graves and tombs of Mianwal soldiers and saints, there also exist graves of those who rendered services to Mian Nasir Mohammad Kalhoro and his movement.

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Crumbling Heritage
By Zulfiqar Ali Kalhoro May 11, 2012
The necropolis of Jeevan Shah, spread over four acres, is located some ten kilometres west of Naudero town in the village of Jeevan Shah. Formerly, here existed the town of Shah Garh, considered an important town of Kalhora period (1700-1784) and lay on an old Qandhari road. Most of the personages buried in this cemetery died either in the Battle of Gerello (1699) or in various encounters with the Brohi and Daudpotra tribes. Some also died in the Madad Khan Pathan's foray into Sindh. The town of Shah Garh is believed to have been destroyed by the army of Madad Khan in 1780. These days, there exists a small village of Jeevan Shah inhabited by Chandia tribe. The ruins of old town of Shah Garh can be seen in and around the village. Most of the ruined area is being cultivated, playing havoc with the historical heritage. Near the village lies the necropolis noted for the beautiful mausoleums and Chaukhandi tombs of the soldiers of the Kalhoras. Unfortunately, most of these are in crumbling conditions. The largest tomb belongs to Meeran Shah Jhinjhan, a renowned general of Mian Din Muhammad Kalhoro. Apart from the battle of Gerello, Meeran Shah took part in many battles. He also played a significant role in forcing the Qambar Khan Brohi of Kalat for peace parleys. After the battle of Gerello, Qamber Khan came for the help of Mughals and attacked the war party of Kalhoras. He initially achieved some success. Nevertheless, when the Mianwal faqirs began gathering under the command of Meeran Shah, Qamber Khan instantly agreed for peace talks and returned to Qalat. Meeran Shah is believed to have killed his whole family before going to a battle where he was ultimately killed. The tomb of Meeran Shah is in a derelict and dilapidated condition. The dome of tomb has recently collapsed. There have been two persons in Mianwal movement by the name of Meeran Shah. One belongs to Jhinjhan tribe while the other to Solangi tribe. The tomb of Meeran Shah Solangi, the resolute and devoted disciple and general of Mian Nasir Muhammad Kalhoro, is located near the Manchhar Lake in Dadu. According to some local accounts Meeran Shah fought bravely in the battle of Gerello and survived where many of his soldiers died. His two body guards Muhabat Khan Chandio and Masu Jalbani also died in the same battle. Their graves are inside the tomb of Meeran Shah. On entering into the tomb of Meeran Shah, one finds the grave of Masu Jalbani on the right and Muhabat Khan Chandio's on the left side. The grave of Meeran Shah is taller than other graves indicating his status and power. Muhabat Khan Chandio and Masu Jalbani were brave and courageous soldiers of Meeran Shah who always escorted him. Meeran Shah Jhinjhan is considered to be the patron saint of Shahani tribe. Every tribesman brings his newly born baby to the tomb of Meeran Shah for their first head shave. At the time of the head shaving ceremony of the male baby, the necropolis is crowded with people of Shahani tribe. To the eastern side of Meeran Shah's mausoleum is sited tomb of Jeevan Shah Jhinjhan who, like Meeran Shah, served as general in the army of Mian Din Muhammad Kalhoro and Mian Yar Muhammad Kalhoro. Jeevan Shah was a cousin of Meeran Shah. He displayed his heroism and gallantry in many battles thrust upon the Kalhoras by the Mughals, the Brohis and the Daudpotras. An old tomb of Jeevan Shah collapsed some fifteen years ago. According to Mithal Chandio and Gul Bahar Chandio, villagers have recently built the tomb of Jeevan Shah. Not a single tomb in the graveyard carries inscriptions. The local people know the stories and heroics of the

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dignitaries through the interaction with the descendents of the personages who frequently visit the tombs and graves of their ancestors. To the north of Jeevan Shah's tomb is situated the dilapidated tomb of QadoDamraho. He served Mian Din Muhammad, Yar Muhammad Kalhoro and Mian Yar Muhammad Kalhoro. Presently, he is considered as a patron saint of Damraho tribe. Like Meeran shah, his tomb bustles with his tribesmen who bring their male babies for head shaving. Only the remaining walls of the tomb that have withstood the vagaries of weather are destroying the original beauty of structure. Not a single tomb in the necropolis has survived in its original shape. Apart from these tombs, some structures lie to eastern and southern sides of Jeevan Shah Village. To the eastern side of the village, in the middle of agricultural land, is located the tomb of Mian RadhoRahujo who served as general of Mian Yar Muhammad Kalhoro. Many of his tribesmen were under his command. The necropolis where his tomb is located is known as Rahujan -Jo-Muqam (The necropolis of Rahuja tribe). A large part of the area of the necropolis is being used for cultivation with only a little space left for graves now surrounded by bushes. To the south of Jeevan Shah Village lies village of WasandJeho where tomb of Pir Kalhoro is located. Pir Kalhoro is believed to have been a Nazim of Shah Garh during Mian Noor Muhammad Kalhoro's time. Some of the contemporary Mianwal faqirs believe that the real name of Pir Kalhoro is Paliyo Khan who lived during the rule of Mian Noor Muhammad Kalhoro. Locally he is known as Pir Kalhoro. The tomb of Pir Kalhoro has almost leveled to ground. Tombs veneration is now common and widespread among many communities who visit the tombs in the hopes of getting their wishes fulfilled. Local community and people from far-flung areas also come to pay homage to the soldiers of the Kalhora period. Most of the graves are covered with clothes. The heroism of these soldiers and generals also dominates the daily discourse of the local community who narrate the stories of the each of the soldiers admiringly and fondly.

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Neglected Historical Heritage of Sindh

By Zulfiqar Ali Kalhoro Weekly Pulse Islamabad, Friday 25 May 2012.
There are a number of historical places in Warah tehsil of Qamber Shahadadkot in Sindh that include Khuhawar tombs and Gul Mohammad mosque at Gajji Khuhawar, a Mungo mosque in Sheikh Farm village, a tomb of Mundar Lakho in the village of the same name, unknown tomb in Abad kalhora village, an old mosque in Khandu village, a tomb of Hyder Shah, a mosque in Khuda Bakhsh Sial village, a mosque in Maluk Shah village and a tomb of Aalo Khan Husnani Chandio etc. Unfortunately, all these have been left at the mercy of nature and man, and are fast breaking apart. Some three kilometres northeast of the town of Gaji Khuhawar, are three, centuries old tombs of Khuhawars and Khokhars. During the rule of the Kalhoras, many Jat tribes came to settle in Sindh, including Khuhawar Khokhar and Sials etc. The Kalhoras encouraged the migration of these people and furnished them with lands and important positions in their government. Some were even included in the army. One Mohammed Hasan Khuhawar who was Commander-in-Chief of the army of the Kalhora, was known for his bravery, swordsmanship and ability to lead army in the combat. Other famous personalities of the Kalhora dynasty was Shahdad Khan Khuhawar who laid the foundation of the Shadadpur; later it was renamed Shahdadkot that is now a taluka in Larkana district. There are five tombs that belong to Mian Gaji Khuhawar, Mian Mubarak Khuhawar, Mian Budho Khuhawar, Mian Sandho Khokhar and Mian Mungo Khokhar which were built the Kalhora period (16811783). One of the descendants of Mian Gaji, Khuhawar, Haji Qalander Bakhsh Khuhawar told that Mian Gajji was a disciple of Mian Nasir Muhammad Kalhoro (1657-1692). He served as minister of Mian Nasir Muhammad. Mian Gaji was a very religious person; he established many madrasahs where religious education was imparted to people. During his tenure as minister he also built some tombs notably of his relatives and friends. He was also responsible for recruiting the people in the time of crisis in the country. Mian Gaji was very committed to the welfare of the people; he dug a number of wells for the poor. During his time life and property was safe and secure and there was larceny and mugging was absent. People led a peaceful life. He was held him in great esteem due to his righteous and generous attitude. He could variously be called pious, religious scholar, kindhearted, benevolent and administrator. The tomb of Gaji Khuhawar facing the southern direction is bigger than adjoining tombs. He built the tomb during his lifetime. It is on square plain and is painted exteriorly as well as interiorly. But recently it has been whitewashed thus playing havoc with its original beauty. Some portions of it have also been repaired which have been falling down. To southwest of the tomb of Mian Gaji lies the tomb of Mian Mubarak Khuhawar who was eldest son of the Mian Gaji. The tomb is in ruins and is exposed to the constant threat of salinity and water logging that has contributed to the erosion of the structure very rapidly. To the southeast of the tomb of Mian Gaji is the tomb of Mian Budho Khuhawar who was the nephew of the Mian Gaji. The structure is falling to pieces due to lack of proper maintenance. From inside, it still looks unsullied and is painted immaculately.

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Majority of the paintings depict floral designs of various sizes. Artists have imagined fruitfully and imparted the real look to the designs created on the surface of the tomb. Besides the tombs of Khuhawar tribe, there exist two tombs of Khokhar tribe. Pillared like tomb, which is not far from the tomb of Mian Gaji, belongs to Mian Sandho Khokhar who was Gajis personal secretary when he was the minister. The tomb of the Mian Sandho is in a very ramshackle condition. Nearby lies the tomb of the Mungo Khokhar that is in a fairly good condition. Both Mian Sandho and Mungo Khokhar were brothers and worked with Mian Gajji as his subordinates. Three kilometres from the necropolis is the famous town founded by Mian Gaji and is named after him. This small town is still famous for the fabulously built three-domed mosque which was built by Mian Gaji and later renovated by his grandson Mian Gul Mohammad Khuhawar. He also served as a minister during the Talpur dynasty most probably during the rule of Mir Karam Ali Khan Talpur. The mosque like the other monuments of Khuhawar stands in a very derelict condition. Lately, some notables of the town have carried out repair to the mosque by defacing its original beauty. Apart from Gul Mohammad Mosque, there is another three-domed mosque, which lies some three kilometres west of the town in a small village known as Sheikh Farm. The mosque was built by Mangho Khokhar that is entirely painted from inside. Although, it is a victim of neglect, it has still survived its original beauty. It is a huge building, which is conspicuous from distance.

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Magic in the Masonry

By Zulfiqar Ali Kalhoro Weekly Pulse Islamabad, April 13, 2012.
Larkana has been home to many great artists and artisans over the years. Masons from the district have constructed some splendid palaces, magnificent tombs and marvelous mosques, most of which still dominate the landscape of the Larkana and Qambar-Shahdadkot districts today. Some of the more prominent masons from the area were Chhuto Mashori, Budho Mashori, Daleel Tanwri, Muhram Samityo and Dildar Chandio who built the tombs and mosques during the Kalhora period (1700-1783 AD) Focusing on the contemporary period, one name stands out amidst this sea of talent. Din Muhammad Lashari has acquired unrivalled fame in the field of architecture in Sindh and Baluchistan, constructing tombs and other buildings. Indeed, this multi-talented artisan has, over the years, variously been known as an architect, painter and a mason. Born in the small village of Pandhi Lashari, in Shahdadkot, Larkana, Lashari displayed his skill from a young age. Each of his buildings has been unique, not only from the work of his contemporaries, but also from his previous creations. I met Lashari nine years ago when he was constructing the tomb of Hakim Shah Patwaro in Miro Khan Taluka. Sadly, though he put two years of his life into constructing the mausoleum, he was unable to see it completed. He died of cardiac arrest in 2002. I visited each of Din Muhammad Lashari's buildings in Sindh and Baluchistan. Lashari was prolific, and there are 20 tombs and eight mosques to his name, not to mention the many houses he also helped to design and construct. The tomb of Fayzal Faqir, a Qadiri Sufi of the 20th century, is located about 40 kilometres south of Osta Mohammad in Baluchistan, and is one of his more notable works. The tomb is a massive, square building enclosed by a mud wall marked by the use of stucco. The tomb interior is also adorned with stucco and paintings made by Din Muhammad Lashari. The peacock motif is particularly prominent and is repeated on the structure's southern and western walls. The religious buildings also decorate the interior surface of the tomb. The images of holy Kabah and the Rauza of holy prophet are found in the tomb of Fazal faqir Qadri. The recent spell of monsoon rain inundated the Nain Moula stream and Bolan River, causing them to overrun their banks. The floods have wreaked havoc on the local populations, and have harmed many monuments located in the Jhal Magsi and Jaffarabad districts. In Jaffarabad district, water completely overtook Fayzal Faqir's tomb and the adjoining rest houses. The floodwater entered the shrine, damaging the paintings that decorated surface of the structure. Another of Lashari's well-known monuments is a three domed mosque in Jhal Magsi district. The mosque was heavily damaged in the 1960 floods, and Lashari was sanctioned by Sardar Saifullah Khan Magsi to renovate it. The new mosque is rectangular in shape and is flanked by two towering minarets. It has been named after the Sardar who paid for its renovation. And, indeed, no expense was spared, as the faade of the building is lavishly decorated with glazed tiles and the interior is bedecked with paintings. One finds a variety of floral designs in this mosque. Lashari must have been inspired by the local natural beauty when decorating the structure. Lashari

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also renovated the tomb of Sardar Ahmed Khan Magsi, the hero of the Battle of Bungah, a battle fought between the Magsis and Rinds over the issue of cattle rustling in 1829 AD. Din Mohammad built an enclosing wall and also painted the tomb. He then carried out renovations to the canopies that crown the four corners of the structure. The recent floods in Sindh and Baluchistan have greatly damaged the necropolis of the Magsis, a kilometre north of Jhal Magsi and the site of this tomb. Sardar Ahmed Khan Magsi's tomb has been badly damaged. The domes that crowned the structure are believed to have been swept away by floodwater. The graveyard remains partially submerged in floodwater, and the tombs of Qaiser Khan Magsi and Mehon Khan Magsi, also tombs Lashari renovated, were also flooded. Besides buildings in Baluchistan, he also constructed several buildings in his hometown, Shahdadkot. Here, he erected the Tajar (wagon vaulted tomb), in which many Sardars of the Khuhawar tribe are buried. In addition to this, he also built the tomb of Ghafoor Shah. While small, this tomb is noted for its conical dome. Each of Lashari's structures is different from the other, and they have withstood the vagaries of the weather and the passage of time to stand as testaments to his great workmanship Of all of his structures, however, surely the most imposing must be the mausoleum of Hakim Shah Patwaro in Miro Khan district, Larkana. Din Muhammad began work on this tomb in 2002, and was not able to complete it.. What work remained (mainly paintings and glazed tile work) was completed by another mason. The mausoleum of Hakim flanked by two threeheight of 40 feet. The on the south and east the northern wall and an side. Its roof is crowned another, larger, dome complete the set. An to separate it from the Finally, the dome is inverted lotus. Shah is built in a square and is storey minarets which rise to a tomb has two portals, one each walls, a deep recessed alcove on arched niche on the western by eight small domes, with resting on an octagonal drum to arched rib runs around the drum dome which rests upon it. capped by a beautifully made

Din Mohammad Lashari used a very particular and distinctive technique to render his domes. This technique has since diffused to other parts of upper Sindh. Broken shards of Chinese pottery were pieced together and attached to the domes, leaving them glistening in the sun. From a distance, it appears that the domes are covered with pieces of glass. Indeed, the interior of the tomb is decorated with a variety of glasswork. Save for the tomb of Janullah Shah Rizvi, in Rohri town, the mausoleum of Hakim Shah has no parallel in Sindhi contemporary architecture. It was this tomb that made Din Mohammad Lashari a mason of great repute in Sindh. Today, though he is sadly no longer with us, he lives on in the magnificent mosques and tombs he created.

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