The enclosure for the grave of Qazi Hamiduddin Nagauri is on the left of the main entrance to the shrine of Qutub Sahab on a raised platform. He belonged to the Suhrawardi order, whereas Qutub Sahib was a Chisti saint but the two had met in Baghdad many years earlier and had become Qutub Sahib’s close friend. It was in his lap that Qutub Sahib breathed his last. Later it was Qazi Hamiduddin Nagauri who passed on the relics of Qutub Sahab to his successor, Baba Farid who was not present at the time of the saint’s demise. There is a separate enclosure to the left of entrance to the shrine.
The qazi’s knowledge of Islam and Islamic jurisprudence was enormous, and he had the honour of teaching Qutub Sahib the Ulum-e Zahiri or external sciences.
His book Lawa’ih (Flashes of light) no longer exists, but was a very important text of its time and was used by Baba Farid while teaching his disciples.

At the entrance of his shrine this quatrain by him is inscribed on the wall. This is also recorded in Fawaid al-Fu’ad:

An aql kuja ki dar kamal-e tu rasad

Van ruh k:uja ki dar jalal-e tu rasad

Giram ki tu parda bar girifti zi jamal

An dida kuja ki dar jamal-e to rasad
Where do i have the aql to grasp your perfection

Where is the spirit ( rooh) in me that might mirror your majesty (Jalal)?

I accept that You unveiled Your Beauty
But I do not possess the eyes that can encompass Your Beauty

( Translation based on a Urdu translation done by Prashant Keshavmurthy on the spot which I had recorded. Mistakes if any are in my understanding )

#sufism

https://www.metmuseum.org/blogs/ruminations/2017/delhi-in-ruins

Gallery Text :

Sitaram, the painter of this enchanting scene, was hired to record the travels of Francis Rawdon, the governor-general of Bengal between 1814 and 1821. The painting illustrates the Sang-i Dalan palace complex at Motijhil, Bengal, where the Rawdons traveled in 1817. The artist, working in the picturesque style, has chosen to depict the scene not by foregrounding the site’s majestic palace but rather by emphasizing a romanticized state of decay, with fallen debris from the nearby structures. In doing so, Sitaram creates a melancholic view suggesting a nostalgia for the Mughal Empire before the arrival of the British.