Uggardanti - English & Panjabi Translation

[dalsingh101]

I have read that the azaan was banned in Sikh areas. This was from travelogues of British writers. In the commission of enquiry against Maharaja Gulab Singh of Kashmir it is mentioned that when the British went in Kashmir it was the first time that the Kashmiri Muslim could call the azaan for decades. The Christian missionaries who were banned from entering the Punjab prior to 1846 also write that when the British invaded the Muslims were glad as they thought that British rule would restore their rights to azaan as it was allowed in the areas of Punjab already under British rule (Ludhiana, Ferozpur, Ambala). Also the Qadiani leader Ahmed wrote an impassioned appeal for support from the Muslims to the British govt by citing the example that many Muslims are still alive who remember how the Sikhs had banned the azaan.

You should collate all of these sources with verifiable references. If true, they present an interpretation of Sikh past that is important to preserve and discuss. I only know of Jacquemont's statement myself, which I posted here.

Hingula is a Goddess. The holy place (peetha) of the Goddess Hingula is situated on the bank of the river Simhada in the West of erstwhile Talcher Estate (Now in the District of Angul). In Assam, there is a place of pilgrimage named Jwalamukhi where a similar goddess Hingula or Hingulei or Hingulaksi is being worshipped. It is for this reason that the presiding deity of Talcher in village Gopal Prasad who bears the form of fire is named Goddess Hingula. Such holy-places (peethas) of Hingula are also situated even outside India in Karachi and Kabul. Both Hindus and Muslims worship at this holy place like that of Kaipadar in Khurda.

Okay, that is interesting as it means the author eulogised deities other than the various incarnations of Chandi. The reference to this otherwise obscure deity (to me anyway) may give some insight towards the author? I wonder if this deity is mentioned anywhere else in Sikh texts?

Recently I came across an idea that it could be possible that various poets came to the dasmesh darbar with existing works for patronage. There was a suggestion that these kavis may have been required to adapt their works to Sikh thought for acceptance. That might explain why you have a work with a strong emphasis on these female deities, which then relegates them to the worship of Akal Purakh?

Interesting idea.

Edited March 11, 2011 by dalsingh101

[amardeep]

Louis Fenech in his book on the Paonta Darbaar writes that everyone in the darbaar had to adapt their previous works to a gurmat orientation before acceptance. His darbaar was equal and very similiar to the darbaar of Delhi except that it had to be in line with gurmat meaning that Maharaj did not posses a haram of women nor did he patron painters to paint images of Maharaj as the mughal kings would (in order to make sure the sikhs would'n worship them). A royal gurmat darbaar was the result