Asi Dil Nu Qasida Mp3 Download ((HOT))

The classic form of qasida maintains a single elaborate metre throughout the poem, and every line rhymes on the same sound.[1] It typically runs from fifteen to eighty lines, and sometimes more than a hundred.[1] The genre originates in Arabic poetry and was adopted by Persian poets, where it developed to be sometimes longer than a hundred lines.

Qasidas were introduced to Dhaka, and later the rest of Bengal, during the Mughal era by Persians. Subahdar of Bengal, Islam Khan Chisti's naval fleet is said to have sung them after arriving in Jessore in 1604.[3][4] In 1949, Hakim Habibur Rahman spoke of the recent revival of qasidas since that period in his book, Dhaka Panchas Baras Pahle (Dhaka, fifty years ago). The qasidas were promoted by nawabs and sardars across the region, and especially popular during the Islamic month of Ramadan. An old tradition of Old Dhaka is during the time of sehri, groups of people would sing qasidas to wake up the Muslims in the neighbourhood.[5][6]

Asi Dil Nu Qasida Mp3 Download

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In Indonesia, qasidah (Indonesian spelling: kasidah) refers broadly to Islamic music in general, rather than a specific style or poetry. Traditional qasidah was historically limited to Arab immigrant and pious Muslim neighbourhoods. Modern qasidah has broadened to include influence from Western and local Indonesian music.

After the 10th century Iranians developed the qasida immensely and used it for other purposes. For example, Nasir Khusraw used it extensively for philosophical, theological, and ethical purposes, while Avicenna also used it to express philosophical ideas. It may be a spring poem (Persian , bahriye) or autumn poem (Persian , xazniye). The opening is usually description of a natural event: the seasons, a natural landscape or an imaginary sweetheart. In the takhallos poets usually address themselves by their pen-name. Then the last section is the main purpose of the poet in writing the poem.

From the 14th century CE Persian poets became more interested in ghazal and the qasida declined. The ghazal developed from the first part of qasida in which poets praised their sweethearts. Mystical poets and Sufis used the ghazal for mystical purposes.

Though Ghalib genuinely appreciated certain aspects of modernity that the British stood for (especially advances in technology), a truth about his attitude on the secular qasida becomes apparent in his letter to the visionary Sir. Syed Ahmed Khan. To quote the scholar Syed Akbar Hyder:

One of the premier genres of the Persianate literary cosmos (to which Bijapur and Golconda belonged), a qasida is, in essence, an encomium. Originating in Arabic literature, it was first cultivated in Persian by patrons under the Samanids (819-999) who were keen promoters of this new literary language. The genre soon became de rigeur in courts and flourished under the Ghaznavids (977-1186) during the eleventh century.

In general, a single metre runs through a qasida and each hemistich terminates with the same rhyme. Yet rules for this genre, as opposed to the masnavi or the highly codified ghazal, were often not followed. In the Dakhni qasida, Nusrati changes the rhyme scheme after a sequence of four to five couplets.

In many ways, this exquisitely illuminated manuscript signals the apogee of book arts and Dakhni literature in seventeenth-century Bijapur. Any reputed poet could have composed the qasida in Persian but the use of this local vernacular and the commissioning of Nusrati, a poet known for his mastery of Dakhni poetry, demonstrates the popularity of and pride in the indigenous language. 17dc91bb1f