The text comprises excerpts from an interview with Baba Ji Ishfaq Ahmed, a renowned spiritual figure in Pakistan. The interview discusses Ahmed’s life, his views on spirituality, and his interactions with others, including the interviewer and the writer Ashfaq Ahmed. A significant portion focuses on the importance of spirituality, contrasting its role with science and emphasizing the need for global dialogue on the subject. The interview also highlights Ahmed’s unconventional views and his interactions with people from various backgrounds. The overall tone suggests a respectful appreciation for Ahmed’s wisdom and unique perspective.

Study Guide: Exploring the Teachings of Baba Ji Ashfaq Ahmed

Quiz

Answer the following questions in 2-3 sentences each:

1. What was the nature of Baba Ji Ashfaq Ahmed’s relationship with Author?
2. What was the main topic of the interview Author conducted with Baba Ji?
3. How does the text characterize Rohan’s role in the context of generations?
4. According to the text, what is the main quality that makes Baba Ji unique?
5. What is Baba Ji’s view on human dignity and societal roles?
6. What is the critique of “slavery” in relation to the idea of human bravery?
7. What was the public’s opinion of the interviewer and what was his response?
8. According to Baba Ji, what is the biggest demand of people today beyond material needs?
9. What is Baba Ji’s belief about sharing spirituality and its impact on the world?
10. How does Baba Ji’s example of the goats illustrate his point about human needs?

Quiz Answer Key

1. Baba Ji Ashfaq Ahmed and Author had a close relationship characterized by strong differences of opinion during their meetings, yet these differences did not diminish their affection for one another. They engaged in respectful dialogue and listened intently to each other’s perspectives.
2. The interview focused on Baba Ji’s entire life and his views on what happens after death, revealing his profound philosophical and spiritual insights. It became a highlight and was widely published.
3. Rohan is portrayed as a bridge between the old and new generations, using his philosophical depth and literary understanding to convey the knowledge of the old generation to the new. This role emphasizes his ability to navigate complex tasks.
4. Baba Ji’s unique nature is attributed to his inherent Sahib-e-Kamal, or “perfect man,” quality, which allows him to connect with both new and old generations. He is seen as someone whose teachings transcend time.
5. Baba Ji believes that all humans, regardless of their social status or profession, have the same inherent right to self-respect. He posits that the dignity of a blacksmith is no less important than that of a leader.
6. Baba Ji rejects the concept of “slavery” as a basis for human bravery, advocating instead that courage is an innate quality of the human spirit, not dependent on societal constructs. This highlights the idea of intrinsic worth.
7. The public believed the interviewer had “complications,” which he acknowledged as a valid opinion compared to his own confusion about the matter. It showed that their response to the interviewer’s actions was more sound than the interviewer’s own reaction to it.
8. According to Baba Ji, the greatest need people have today goes beyond material goods like food and shelter; it is a need for spiritual dialogue and sharing. It’s a collective desire to understand and connect with the inner spirit.
9. Baba Ji believes that by openly discussing and sharing spirituality, its presence and influence in the world will naturally expand, similar to how scientific knowledge spreads and creates culture. This underscores the power of collective spiritual growth.
10. Baba Ji uses the example of slaughtered goats to highlight that the human need for spirituality is as fundamental as the need for basic necessities and that people should value lives. This shows that having the basics still doesn’t mean the end of human need.

Essay Questions

1. Analyze the role of Baba Ji Ashfaq Ahmed as a spiritual figure and cultural bridge in the context of the provided text. How does his character and teachings challenge traditional views and address the needs of different generations?
2. Discuss the significance of the interview conducted by Author with Baba Ji, focusing on its impact and how it portrays Baba Ji’s life and perspectives. How does this interview serve as a tool for revealing and preserving his teachings?
3. Evaluate the themes of human dignity, self-respect, and social equality as presented in the text. How does Baba Ji’s philosophy challenge the prevailing social hierarchies and advocate for the value of every individual, regardless of their social class or occupation?
4. Explore the juxtaposition between material needs and spiritual desires as outlined in the text. What does Baba Ji suggest is the core desire of humanity, and how does he articulate its importance in the face of a materialistic and science-driven world?
5. Examine the idea of intergenerational dialogue and knowledge transfer. How does Rohan’s character and role as a bridge between generations highlight the challenges and opportunities of passing on wisdom and connecting with different viewpoints?

Glossary of Key Terms

• Author : A term often used to describe a Sufi mystic or a wandering religious mendicant, known for their devotion and spiritual wisdom.
• Baba Ji: A term of respect for a wise or elderly figure, typically associated with spiritual guidance or leadership within a community.
• Sahib-e-Kamal: An Urdu term denoting someone who is “perfect” or “accomplished” in their spiritual state or abilities.
• Qaumi Djas: A reference to a publication or journal, likely of cultural or national significance, that features interviews and discussions.
• Akhbaraat Rasay: A reference to newspapers or publications of a more general circulation.
• Rafi Kalma: An interesting form of speech, typically the kind that people find hard to agree with.
• Mumtaz Danishwar: The highest level of intellect and intelligence.
• Rivayat Sai: The way of doing things, also known as tradition.
• Baba Roohani: Someone who is a spiritual mentor.
• Qari and Sam and the Nazirs: Refers to multiple groups of people.
• Naara, Mum, and Ours: An allusion to the three parts of the human “nafs” (ego or self) in Islamic mystical traditions.

Baba Ji’s Wisdom: Spirituality, Materialism, and Intergenerational Dialogue

Okay, here’s a briefing document summarizing the key themes and ideas from the provided text, which appears to be an interview or article discussing the perspectives of a figure known as “Baba Ji” or “Baba Kamali,” likely an elderly spiritual figure, and his relationship with others, including a writer named Ashfaq Ahmed.

Briefing Document: Analysis of Excerpt on Baba Ji and Related Discussions

I. Introduction

This document summarizes key themes and ideas found within an excerpt discussing the life, views, and impact of a spiritual figure referred to as “Baba Ji” or “Baba Kamali.” The text, likely part of an interview or article, explores Baba Ji’s interactions with writers and intellectuals, his philosophy on life, spirituality, and the needs of humanity, and his unconventional perspectives on various subjects. It also highlights a generational divide in understanding and appreciating Baba Ji’s wisdom.

II. Key Figures & Relationships:

• Baba Ji / Baba Kamali: The central figure, presented as a wise, spiritually inclined individual respected within his community, even by those who have differing viewpoints. Described as having a “close relationship with Author ,” and an “amazing way” that appeals across generations. He’s an “illiterate Baba” whose views are deeply respected and provoke thought.
• Ashfaq Ahmed: A writer who seems to have a strong connection to Baba Ji. Ashfaq is often in Baba Ji’s company and is an admirer, even being seen as “lost in the company of pure rural elders.” It’s implied that Ashfaq’s work draws inspiration from their interactions.
• Author : An interviewer who conducted a detailed interview with Baba Ji. Author work is considered significant and well-received.
• Rohan: A writer of the new generation who is said to be “a bridge between two generations” and is seen as having philosophical depth.
• Akhtar Hussain Sheikh Saheb: A famous writer who deeply appreciated the interview with Baba Ji, highlighting its philosophical and scientific depth and Rohan’s role as a bridge between generations.

III. Main Themes and Ideas

• Spiritual Wisdom and its Relevance: Baba Ji’s primary focus revolves around spirituality, suggesting it’s a fundamental human need as essential as food, clothing, and shelter. The text repeatedly emphasizes the importance of the “batri (spirit)” and the desire for connection and sharing of spiritual experiences. He suggests that “the breath which Allah has given us,” is something we “want to share with each other.”
• Quote: “At present, the biggest demand of the world is that just as the major scientists sitting in their respective countries talk about science and spread it all over the world…in this way there should be a dialogue of spirituality.”
• Critique of Materialism: The excerpt implies a critique of excessive focus on material well-being, highlighting the limitations of pursuing only physical comfort and economic prosperity. It poses the question of what people need beyond “bread, clothes, and house,” stressing a need for spiritual fulfillment.
• Quote: “It is not just food, clothing and shelter…it is that all the other animals have life inside them, O Allah.”
• Intergenerational Dialogue: The text emphasizes a generational gap in understanding and appreciation for spiritual wisdom, implying that older and younger generations approach the concept differently. There is a perceived “demand” from younger people to engage with spirituality. However, the text also notes that those “older than the young men” share this desire. This suggests a unity of longing across generations, despite surface differences.
• Quote: “I get surprised many times that the youth generation, despite you being Baba Roohani and all this that we say is very big, whenever I talk about you, there is a strange feeling…”
• Importance of Inclusivity & Equality: Baba Ji’s viewpoint suggests that all humans have inherent dignity and that social status should not dictate self-respect. This emphasizes the inherent value of all individuals.
• Quote: “The blacksmith, the carpenter, the cobbler, the barber also hold the same status of human honor, whose claimants are Chaudhary Sahab, Khan Sahab and Maulana Sahab.”
• The “Roti” Metaphor: The text includes an intriguing anecdote involving Baba Farid and the concept of “roti” (bread). Baba Farid emphasizes that while roti is essential, it shouldn’t become the sole focus, as it can lead to the neglect of other spiritual pillars.
• Quote: “Baba Farid used to give a very good example, he said, how many pillars of Islam are there, of them five, he said Ch b he said what is that roti, all of us were very happy that now he has not seen it, I am not admitted, what does this Baba say, he says that there is also a rukun roti, do n’t get into its trouble, ah ha, see till This will come for the first time in your every year”
• The Nature of True Happiness: The text suggests that happiness cannot solely be achieved through material wealth or economic development. Instead, a spiritual element is necessary for genuine fulfillment.
• Quote: “It is said that if dollar increases and economics gets better then it is important that a person is happy, but at the same time see that it is not important”

IV. Unconventional Perspectives & Actions

• Challenging Moral Norms: Baba Ji is portrayed as someone whose views sometimes cause discomfort or surprise, even among those who respect him. It’s implied he can challenge moral norms and inspire reflection. He has a “strict moral view” but can make others feel “ashamed of expressing morality,”
• Spiritual Dialogue and Expansion: Baba Ji emphasizes the need for dialogue and confrontation within spiritual practices, believing that discussion can lead to the expansion of God’s presence. He sees this exchange as parallel to the progress seen in science.

V. Conclusion

The excerpt portrays Baba Ji as a compelling figure whose wisdom and unconventional perspective offer a critique of a purely materialistic approach to life. He emphasizes the importance of spirituality, human dignity, and the necessity for intergenerational understanding. The text raises critical questions about the true needs of humanity and how we can pursue a more balanced and fulfilling existence. His perspective is presented as a necessary component missing from modern discourse and the pursuit of societal progress. He represents an alternative viewpoint that is seen as necessary by his followers.

Baba Ji Ashfaq Ahmed: Wisdom and Spirituality

FAQ: Understanding Baba Ji Ashfaq Ahmed and His Teachings

1. Who is Baba Ji Ashfaq Ahmed and why is he so well-known in his village? Baba Ji Ashfaq Ahmed is a renowned figure in his village, known for his wisdom and spiritual depth. Even those with an Urdu education are well-acquainted with him. He is described as a Author (a Sufi mystic) with a close yet often challenging relationship with others, notably his interactions with those who hold different opinions. Despite these differences, he treats everyone with affection and fairness. He is revered as a figure who has achieved spiritual insight through natural means, becoming a “Baba” (a spiritual guide) in his community.
2. What was the significance of the interview with Baba Ji in Qaumi Djas? The interview conducted by Author and published in the January 2003 issue of Qaumi Djas was a significant event, later carried by various Akhbaraat Rasay. It covered Baba Ji’s entire life and explored his views on life after death. The interview was highly regarded, with writer Akhtar Hussain Sheikh praising its philosophical depth and the ability of interviewer Rohan to bridge the gap between older and younger generations. This interview is particularly noted for its ability to convey complex spiritual ideas to a modern audience.
3. What is the central theme of Baba Ji’s teachings regarding human dignity and equality? Baba Ji strongly emphasizes that self-respect is the innate and natural right of every human being, regardless of their social status or profession. He believes that a blacksmith, carpenter, cobbler, and barber all deserve the same respect and honor as a Chaudhary, Khan, or Maulana. He challenges the idea that human worth is dependent on the concept of slavery. He believes that the poor and illiterate are among those who truly maintain human values.
4. What is Baba Ji’s view on the role of spirituality in modern life? Baba Ji believes that there is a fundamental need for spirituality that goes beyond the basic necessities of food, clothing, and shelter. He sees a spiritual vacuum in the modern world, where material pursuits dominate. He suggests that individuals across different generations are silently yearning for spiritual connection and growth and believe it is as vital as scientific progress. Baba Ji envisions a global dialogue on spirituality, similar to the way scientists share and advance scientific knowledge.
5. What does Baba Ji mean when he talks about the “Batri” and the gardener inside us? Baba Ji uses the metaphor of the “Batri” (or “spirit”) and a gardener within each person to describe the innate spiritual potential bestowed by God. He believes this inner spirit, or breath, needs to be cultivated and shared. He thinks people want to connect with others on a spiritual level as much as science connects with others on a material level.
6. How does Baba Ji use the example of animal slaughter to convey his message about human empathy and compassion? Baba Ji uses the example of animal slaughter, particularly during Eid, to highlight a lack of human empathy and compassion. He suggests that humans are capable of cruelty and indifference to the suffering of living creatures and that in such times humanity can be diminished. He uses this example to push the listener to understand the value of empathy.
7. What is Baba Ji’s perspective on the relationship between material wealth and human happiness? Baba Ji argues that material wealth alone cannot bring happiness. He references a story about Baba Farid’s teachings on the “rukun roti” (the pillar of bread), that while food is necessary, focusing solely on it can lead to the neglect of other more spiritual or more important aspects of life. He suggests that true happiness is found through spiritual growth rather than through the accumulation of possessions or improvements in economics.
8. How does Baba Ji feel about the state of the current generation? Baba Ji recognizes that the youth of today have unique challenges. He understands that they are looking for a deeper purpose and that while many of them are intrigued by the stories of older generations, there is still a desire to connect with one another on a spiritual level, much like scientists do when they share discoveries. Baba Ji is keen for both scientific and spiritual progress to find ways to be equally shared by the generations.

Baba Ji Ashfaq Ahmed: A Spiritual Legacy

Okay, here is a timeline and cast of characters based on the provided text:

Timeline of Events

• Past (Unspecified Time): Baba Ji Ashfaq Ahmed, a respected figure, establishes a reputation for having strong opinions and close relationships with Author despite disagreements. Author listens to Baba Ji with love. Baba Ji is also known for his unique spiritual insights and his way of becoming “Baba”.
• Past (Unspecified Time): The narrator used to listen to Tal Keen Shah with uncle Karmu, who used to call the narrator “Put Put.” They would sit under a tree in the village and listen to the stories.
• Past (Unspecified Time): Baba Ji, living in the village, emphasizes the equal dignity of all human beings regardless of their profession or social class. He teaches that self-respect is an innate right, not dependent on social status or titles. He champions the rights of the poor and working class. He gains followers and respect as a spiritual leader.
• Past (Unspecified Time): Baba Ji’s unique spiritual insights and way of life attracts Ashfaq Ahmed, who becomes a close companion.
• Sometime before January 2003: Author interviews Baba Ji at length.
• January 2003: The long interview with Baba Ji conducted by Author becomes the highlight of the “Qaumi Djas” magazine. This interview is later reproduced in other publications.
• Around January 2003: The interview is liked by writer Akhtar Hussain Sheikh Saheb, who compliments the philosophical depth of Rohan.
• Around January 2003: Janab Sardar Mohammad Chaudhary shows the narrator a piece of writing by Janab Ashfaq Ahmed.
• Around January 2003: The narrator has a discussion with Ashfaq Ahmed where he expresses his annoyance with Baba Ji.
• Around January 2003: The narrator and Ashfaq Ahmed discuss the complicated perspectives of Baba Ji, who they admit has very justified opinions compared to their own. The gardener, the dhobi, the barber and Khan, all understand what Baba Kamali (Baba Ji) is saying.
• Around January 2003: The narrator, along with Ashfaq Ahmed discusses the spiritual yearnings of the youth, and the need for discussions of spirituality similar to scientific discussions across the world.
• Around January 2003: Baba Ji shares his perspective on the spiritual need that goes beyond basic needs like food, shelter, and clothing.
• Around January 2003: Baba Ji discusses the views on the nafs, based on Indian traditions and how they could help people feel more spiritual joy.
• Around January 2003: Baba Ji gives the example of Baba Farid, who said that the need for “roti” or food can be a trap, and one needs to be careful about keeping spiritual balance, just like all the other five pillars of Islam.

Cast of Characters

• Baba Ji Ashfaq Ahmed: A highly respected and renowned spiritual figure known as a “Author ” with strong opinions and a close relationship with Author (also a character). He has unique spiritual insights and is seen as a source of wisdom, and he champions the rights of the poor and working class. He is close to Ashfaq Ahmed.
• Author : A writer and interviewer who has a close relationship with Baba Ji despite differing opinions. He conducts a long interview with Baba Ji that is published in “Qaumi Djas” and other publications, suggesting his work is widely disseminated. He seems to be in a group of people who respect Baba Ji but do not understand his opinions.
• Rohan: A younger writer seen as a bridge between the old and new generations. He is commended for his philosophical depth and literary understanding. The text says that his writing under the supervision of Azar Rihan is proof of his talent. He is seen as scientifically minded and working hard to convey knowledge to the younger generation.
• Akhtar Hussain Sheikh Saheb: A famous writer who greatly liked the interview with Baba Ji and complimented Rohan’s philosophical depth, adding validity to Rehan’s opinions.
• Ashfaq Ahmed: A companion of Baba Ji. He has great respect for Baba Ji, although he sometimes finds him a challenge. He is a writer, and seems to be in a circle of people who are involved in the literary and social critique scene that the text is discussing. He is mentioned as drawing the map of Rivayat Sai in a new book.
• Janab Sardar Mohammad Chaudhary: A person who showed the narrator a piece of writing by Ashfaq Ahmed. It is unclear what his role is otherwise, but he seems to be a member of the same literary circle of people who are aware of Baba Ji.
• Tal Keen Shah: A person whose stories the narrator used to listen to, alongside uncle Karmu. It’s unclear what his specific role was, but he seemed to be a storyteller who made an impact on the narrator.
• Karmu: The narrator’s uncle, with whom the narrator used to listen to the stories of Tal Keen Shah. Karmu would call the narrator “Put Put”.
• Baba Farid: A historical spiritual leader who is quoted by Baba Ji in an example that compares food to spirituality. Baba Farid is used as a spiritual reference point in the text, and Baba Ji gives an example from Farid’s life.

Let me know if you need any clarification or further information.

Baba Ji Ashfaq Ahmed: Life, Views, and Spirituality

Baba Ji Ashfaq Ahmed was a well-known figure with a close relationship with Author , despite their differences in opinion [1]. He was interviewed at length by Author , which was featured in the January 2003 issue of Qaumi Djas and later in other publications [1]. This interview covered his entire life, as well as his views on what happens after death [1]. The interview was well-received, with writer Akhtar Hussain Sheikh noting the philosophical and scientific depth of the interviewer, Rohan [1].

Baba Ji was also known as a “Sahib-e-Kamal” by some, and was considered a unique figure in Pakistan [2]. He was respected in Urdu literature, and believed in the importance of self-respect for all people, regardless of social status [2]. He felt that human bravery is not dependent on slavery [2]. He also believed that poor, hardworking people have not done any harm to the country, and are in search of support [2].

Baba Ji was described as an “illiterate Baba” by some, yet he was also seen as a “Baba Roohani” by others [2, 3]. Despite the perception that he was uneducated, many young people were interested in his views on spirituality [3]. He believed that spirituality should be discussed and shared, just as science is, and that this would help people to connect with the divine [3, 4]. He emphasized that humans need more than just food, clothing, and shelter, and that there is a basic desire for spirituality that is often suppressed [3-5].

• Baba Ji believed that when people talk about spirituality, it helps to expand God’s world [4].
• He felt that everyone has a “batri (spirit)” or breath given by Allah, and that this should be shared [4].
• He believed that the “nafs” (self) should be divided into three parts: Nara, Mum, and “ours” [5].
• He also used the example of “roti” (bread), one of the basic needs of life, and the teachings of Baba Farid to illustrate the need for a balance between basic needs and spiritual development [6].

Baba Ji’s Teachings on Spiritual Dialogue

Spiritual discussions and the sharing of spiritual knowledge are important themes associated with Baba Ji in the sources [1-3].

Here are some key aspects of these discussions:

• Importance of Dialogue: Baba Ji believed that just as scientists share their knowledge, people should also engage in dialogue about spirituality [2, 3]. He felt this would lead to a deeper understanding and connection to God [3].
• Expanding Spirituality: Baba Ji believed that when people talk about spirituality, it helps to expand God’s presence in the world and in their environment, similar to how science has spread and become a global culture through discussion and sharing [3].
• A Universal Need: He emphasized that there’s a basic human desire for spirituality, and that people need more than just material possessions like food, clothing, and shelter [2, 3]. He believed this desire is often suppressed and that it needs to be addressed [4].
• Sharing the Spirit: According to Baba Ji, everyone has a “batri (spirit)” or breath given by Allah [3]. He felt that this spirit should be shared with others, just as scientific information is spread [2, 3].
• Confrontation and Questions: Baba Ji advocated for a “confrontation of spirituality,” emphasizing that discussions should involve questions and answers among people, which can lead to growth [3].
• The ‘Nafs’: In the context of these spiritual discussions, Baba Ji referred to the concept of “nafs” (self), which he said should be divided into three parts: Nara, Mum, and “ours” [4]. This idea came from an understanding of the Quran, and by working with this concept, he suggests people can achieve a spiritual state leading to happiness [4, 5].
• Spirituality vs. Materialism: Baba Ji used the example of “roti” (bread) and Baba Farid’s teachings to highlight the need for balance between basic needs and spiritual development [5]. He noted that focusing only on material needs (like food) can cause one to lose sight of other important aspects of life, including spirituality [5]. He emphasized that though bread is a necessity, it shouldn’t become the only focus [5].

In summary, Baba Ji’s ideas emphasize the importance of open discussion, sharing spiritual insights, and recognizing the need for spiritual fulfillment alongside basic material needs [1-5]. These discussions, he believed, are crucial for individual and collective spiritual growth [3].

Baba Ji Ashfaq Ahmed and Urdu Literature

The sources indicate that Baba Ji Ashfaq Ahmed was a figure of respect and stature in Urdu literature [1]. While not a writer himself, his influence and the discussions surrounding him touch upon several aspects related to Urdu literature and thought.

Here’s a breakdown of how Urdu literature is referenced in the sources:

• Respect for Baba Ji: Baba Ji’s personality is described as having great respect and stature in Urdu literature [1]. This suggests that he was a figure whose views and presence were considered significant within the Urdu literary world.
• Influence on Literary Figures: The text mentions that writer Akhtar Hussain Sheikh was impressed by an interview of Baba Ji [2]. This indicates that Baba Ji’s ideas and conversations were of interest to those engaged in Urdu literature and writing. The interview was conducted by Author , and its philosophical depth was noted by Akhtar Hussain Sheikh [2].
• New Directions in Drama: Baba Ji is credited with giving a new direction to the drama of Sana Nagar [1]. This suggests that his influence extended to the performing arts within the Urdu cultural sphere.
• Self Respect: Baba Ji, through his actions, reminded people that self-respect is an innate and natural right for every human being [1]. This idea, deeply rooted in the context of Urdu literature, emphasizes the importance of social justice and equality, which are often recurring themes in Urdu literary works. This demonstrates how his influence extends beyond strictly literary work, into areas of social and cultural importance within the Urdu context.
• Literary Analysis: The interview with Baba Ji was analyzed by Akhtar Hussain Sheikh, who saw philosophical and scientific depth in the interviewer, Rohan’s work [2]. This highlights how the interview was considered a piece of intellectual and literary merit within the Urdu context.
• “Rafi Kalma”: The source mentions “Rafi Kalma,” which were writings by Author in the interview [2]. These writings are described as something that would amaze many people [2]. The source also mentions a “Rafi writing” of Ashfaq Ahmed that beautifully drew “the map of Rivayat Sai” [1]. These references to specific styles of writing suggest an awareness of literary techniques.

In summary, while Baba Ji was not a writer, he was a personality that was recognized and respected by the Urdu literary community, influencing their thinking and discourse. His ideas and discussions, especially those related to spirituality and human dignity, were seen as relevant to the Urdu literary sphere, and his views were considered important. The discussions surrounding Baba Ji, as noted by various writers and commentators, indicate the importance of spiritual and social themes in the Urdu literary tradition.

Generational Dialogue on Spirituality

The sources discuss a generational gap in the context of Baba Ji’s influence and the reception of his ideas, specifically noting differences between the older and younger generations [1].

Here are some key aspects of the generational gap as described in the sources:

• Bridge Between Generations: Rohan is described as standing “at the juncture of the new and old generation,” acting as a “bridge” between them [1]. This suggests a recognized divide between the perspectives and understanding of the two generations, and Rehan’s role in connecting them. The work of bridging the gap between the generations is described as more difficult than the work of the old generation [1].
• Youth Interest in Baba Ji: Despite Baba Ji being perceived by some as an “illiterate Baba,” many young people were very interested in his views on spirituality [2, 3]. This demonstrates that despite any perceived generational differences, the younger generation is drawn to and seeks out spiritual insight, even from unconventional sources.
• Surprise at Youth Interest: The source notes that the older generation was surprised by the younger generation’s interest in Baba Ji, who they regarded as a “Baba Roohani.” [3] This highlights the difference in expectations and perceptions between the generations, where the older generation may have expected the youth to be less interested in spirituality.
• New Demands: The younger generation is seen as having “a very valid demand” for spirituality, alongside their material needs [3]. This points to a shift in priorities and a desire for more than just basic necessities, which may not have been as prominent a concern for older generations. The demand is described as a “cassette demand” that is not easily put into words [3].
• Spiritual Dialogue: Both the older and younger generations agree that the spirit or breath given by Allah should be shared, suggesting a common desire for spiritual discussion and growth across generations [4]. However, the younger generation’s interest in spirituality seems to be more vocal and demonstrative, pushing for “a dialogue of spirituality” [3, 4].
• Shifting Priorities: The source indicates that the younger generation’s interest in spirituality is a significant development that requires attention and discussion, with the older generation somewhat surprised by the new direction of focus among the young [3]. The younger generation is seen as pushing for a “confrontation of spirituality,” indicating a more active and engaged approach to spiritual growth than the older generations [4].

In summary, the sources highlight that while there may be a gap in perspectives and expectations between older and younger generations, there is also a shared desire for spiritual understanding. The younger generation is portrayed as more vocal and active in their pursuit of spiritual dialogue and growth, which is a significant point of discussion in the context of Baba Ji and his teachings. This shows how Baba Ji’s life and influence touch on intergenerational discussions and the evolution of spiritual thinking.

Modern Spirituality: Baba Ji’s Teachings and Generational Perspectives

The sources discuss modern spirituality through the lens of Baba Ji’s teachings and the reactions of both older and younger generations to his ideas. Here’s a breakdown of key aspects of modern spirituality as presented in the sources:

• Desire for Spirituality Beyond Material Needs: The sources emphasize that modern spirituality goes beyond the basic needs of food, clothing, and shelter [1, 2]. There’s a recognition that humans have a fundamental desire for something more, a need that isn’t satisfied by material possessions alone [1, 2]. This suggests that modern spirituality seeks fulfillment beyond the physical realm.
• Suppressed Desire: This desire for spirituality is described as a “basic need” that is often “stopped,” suggesting that modern society may suppress or overlook this innate human yearning [3]. The sources imply a tension between modern life and the pursuit of spiritual understanding.
• Youthful Engagement: The younger generation is portrayed as being particularly interested in spirituality, even when it comes from unconventional sources, such as Baba Ji [1]. This demonstrates that modern spirituality is not just a concern of older generations, and that younger people are actively seeking spiritual knowledge and experiences [1].
• Dialogue and Discussion: A significant aspect of modern spirituality, according to the sources, is the need for open dialogue and discussion [1, 2]. Baba Ji believed that spirituality should be discussed and shared, just as science is [1, 2]. This suggests that modern spirituality is not a solitary pursuit but involves interaction and exchange of ideas [2]. This dialogue is characterized by a “confrontation of spirituality,” implying a more active and questioning approach to spiritual growth [2].
• Sharing of Spirit: The concept of “batri” (spirit) or breath given by Allah is central to the discussion [2]. Modern spirituality, as presented in the sources, involves sharing this spirit with others, akin to how scientific information is disseminated [2]. This highlights the interconnectedness and communal nature of modern spiritual seeking.
• Expansion of God’s Presence: Baba Ji believed that discussing spirituality expands God’s presence in the world and in the environment [2]. This aligns with the idea that modern spirituality is not just a personal journey but has a broader impact on the world.
• Spiritual Leaders and Modernity: The sources note that even while the youth engage in modern spirituality, they also see value in traditional spiritual figures like Baba Ji, whom some called “Baba Roohani” [1]. This suggests that modern spirituality isn’t about discarding tradition, but about incorporating it into a contemporary context.
• The ‘Nafs’: The sources touch on the concept of “nafs” (self), which is divided into three parts: Nara, Mum, and “ours.” [3]. This traditional understanding from the Quran is brought into the conversation about modern spirituality, indicating a merging of traditional concepts with contemporary ideas. Working on this concept is believed to lead to a spiritual state and happiness [3, 4].
• Balance with Material Needs: Baba Ji used the example of “roti” (bread) and Baba Farid’s teachings to emphasize the need for a balance between material and spiritual needs [4]. Modern spirituality is portrayed as not rejecting the material but recognizing that it is not enough for complete human fulfillment. The focus should be on both material and spiritual wellbeing [4].
• Contrast with Traditional Views: The sources suggest a generational shift in how spirituality is perceived. While the older generation was surprised by the younger generation’s interest in Baba Ji’s spiritual ideas, this demonstrates a departure from traditional views where spirituality might have been seen as solely the domain of the older generation [1].

In summary, modern spirituality, as depicted in the sources, is characterized by a desire for something beyond material fulfillment, an emphasis on dialogue and sharing of spiritual insights, a deep interest in understanding the self, and the effort to balance material and spiritual aspects of life. It also highlights the intergenerational interest and engagement with spirituality.

• Zaviya / زاویہ #1
• Zaviya 2 / زاویہ #2
• Zaviya 3 / زاویہ #3
• Aik Mohabbat Sau Afsanay / ایک محبت سو افسافے
• Mann Chalay Ka Sauda / من چلے کا سودا
• Gadaria: Ujley Phool / گڈریا: اُجلے پھول
• Safar e Maina / سفرِ مینا
• Tahli Thalley / ٹاہلی تھلے
• Mehman Bahaar / مہمان بہار
• Vidaa e Jang / وداعِ جنگ
• Changez Khan ke Sunehri Shaheen / چنگیز خاں کے سنہری شاہین
• Khattya Wattya / کھٹیا وٹیا
• Tota Kahani / توتا کہانی
• Qumkaar / قمکار
• Garma Garm / گرما گرم
• Haft Zabani Lughaat / ہفت زبانی لغات
• Doosron Se Nibah / دوسروں سے نباہ
• Aik Hi Boli / ایک ہی بولی
• Subhaney Fasaney / صبحانے فسانے
• Band Gali / بند گلی
• Mehman Saraey / مہمان سرائے
• Baba Sahiba / بابا صاحبا
• Safar Dar Safar / سفر در سفر
• Ucche Burj Lahore De / اُچے بُرج لاہور دے
• Tilisam Hosh / طلسم ہوش افزا
• Aur Dramey / اور ڈرامے
• Nange Paun / ننگے پاؤں
• Hasrat Tameer / حسرت تعمیر
• Jang Bajang / جنگ بجنگ
• Aik Muhabbat So Dramey / ایک محبت سو ڈرامے
• Hairat Kadah / حیرت کدہ
• Shaahla Kot / شاہلا کوٹ
• Khel Tamasha / کھیل تماشا
• Guldaan / گلدان
• Dheenga Mushti / دھینگا مُشتی
• Shora Shori / شورا شوری
• Dhandora / ڈھنڈورا
• Arz e Musannif / عرضِ مصنف
• Fankar / فنکار
• Mukhtalif Mashron Mein Aurat Ki Hasiyat / مختلف معاشروں میں عورت کی حیثیت

Ashfaq Ahmed: Pakistani Writer, Playwright, and Broadcaster

This article provides an overview of the life and career of Ashfaq Ahmed, a renowned Pakistani writer, playwright, and broadcaster. It covers his early life, literary contributions including novels and radio/television plays, and his eventual turn towards Sufism. The article also lists his notable works, awards such as the Pride of Performance and Sitara-i-Imtiaz, and provides external links for further information. Ahmed’s impact on Pakistani literature and broadcasting is highlighted, along with his legacy following his death in 2004. The additional text is a list of Pride of Performance award winners which lists Ashfaq Ahmed.

Ashfaq Ahmed: A Study Guide

Quiz: Short Answer Questions

1. Briefly describe Ashfaq Ahmed’s early life, including his place of birth and ethnic background.
2. What significant historical event caused Ashfaq Ahmed to migrate to Pakistan? Where did he settle?
3. Name at least two of Ashfaq Ahmed’s notable works in Urdu literature. What type of writing is he known for?
4. Explain the premise and impact of Ashfaq Ahmed’s radio program, Talqeen Shah.
5. What government role did Ashfaq Ahmed hold for 29 years? What was the purpose of this organization?
6. Describe Ashfaq Ahmed’s experience in cinema. Why did he consider the movie a failure?
7. What was the significance of Baithak and Zavia in Ashfaq Ahmed’s later years?
8. What is Sufism? How did Sufism influence Ashfaq Ahmed’s later life and work?
9. Name one of the awards given to Ashfaq Ahmed in recognition of his contributions. What area did his contributions focus on?
10. What event led to the creation of the Central Board for the Development of Urdu in Lahore? What was its purpose?

Quiz: Answer Key

1. Ashfaq Ahmed was born on August 22, 1925, in Muktsar, Punjab, British India. He came from an ethnic Pashtun family of the Mohmand tribe.
2. The partition of India in 1947 caused Ashfaq Ahmed to migrate to Pakistan. He settled in Lahore, Punjab.
3. Two notable works by Ashfaq Ahmed are Gaddarya and Talqeen Shah. He is known for novels, short stories, and plays.
4. Talqeen Shah was a radio program where Ashfaq Ahmed acted as “The Preacher,” offering advice and commentary. It was popular among people in towns and villages.
5. Ashfaq Ahmed was the director of the Markazi Urdu Board (later renamed Urdu Science Board) for 29 years. This board was dedicated to the development and promotion of Urdu.
6. In 1968, Ashfaq Ahmed wrote and directed the movie Dhoop Aur Sayay, which was a box office failure. He believed the content was ahead of its time, anticipating the Parallel cinema movement.
7. Baithak (The Guest Room) and Zavia (The Angle) were PTV programs where Ahmed interacted with fans and answered their questions. These shows allowed him to share his philosophical and spiritual insights with a younger audience.
8. Sufism is a mystical branch of Islam focused on seeking direct experience and knowledge of God. Ahmed’s devotion to Sufism grew later in life, influencing his philosophical perspective and themes in his work.
9. Ashfaq Ahmed received the Pride of Performance Award in 1979. It recognizes his contributions in the field of broadcasting and literary heritage of Pakistan.
10. It was created from his own resources. It’s purpose was to promote and develop the Urdu language.

Essay Questions

1. Analyze the impact of Ashfaq Ahmed’s work on Pakistani literature and culture, focusing on specific examples from his writings and broadcasts.
2. Discuss the evolution of Ashfaq Ahmed’s literary and philosophical themes, tracing the shift from his early short stories to his later Sufi-inspired works.
3. Evaluate the significance of Talqeen Shah and Zavia in shaping public opinion and promoting social values in Pakistan.
4. Compare and contrast Ashfaq Ahmed’s literary style with that of his wife, Bano Qudsia, highlighting their individual strengths and shared influences.
5. Explore the role of Ashfaq Ahmed in the promotion and development of the Urdu language, discussing his contributions to organizations like the Urdu Science Board.

Glossary of Key Terms

• Afsana: Urdu term for short story.
• Baithak: Urdu word for “The Guest Room,” referring to one of Ashfaq Ahmed’s television programs.
• Dastaango: A monthly literary magazine founded by Ashfaq Ahmed, meaning “Story Teller”.
• Lail-o-Nahar: An Urdu weekly that Ashfaq Ahmed was made editor of. The name means “Day and Night”.
• Markazi Urdu Board/Urdu Science Board: An organization dedicated to the development and promotion of the Urdu language, which Ashfaq Ahmed directed for 29 years.
• Pashtun: An ethnic group primarily found in Afghanistan and Pakistan; Ashfaq Ahmed belonged to this ethnicity.
• Pride of Performance: A prestigious award given by the President of Pakistan in recognition of outstanding achievements in various fields.
• Sitara-i-Imtiaz: Another prestigious award given by the President of Pakistan, recognizing excellence in various fields. “Star of Excellence.”
• Sufism: A mystical branch of Islam focused on seeking direct experience and knowledge of God.
• Talqeen Shah: Ashfaq Ahmed’s popular radio program where he acted as “The Preacher,” offering advice and commentary.
• Urdu: A language primarily spoken in Pakistan and India, in which Ashfaq Ahmed primarily wrote.
• Zavia: Urdu word for “The Angle,” referring to one of Ashfaq Ahmed’s television programs.

Ashfaq Ahmed: Life, Work, and Legacy

Ashfaq Ahmed: Briefing Document

This document provides a summary of the key aspects of Ashfaq Ahmed’s life and work, based on the provided Wikipedia excerpt.

Main Themes:

• A Prolific and Influential Pakistani Writer and Broadcaster: Ashfaq Ahmed was a highly regarded figure in Pakistani literature and media, known for his novels, short stories, plays, and radio/television programs.
• Versatility and Depth: Ahmed’s work spanned various genres and explored diverse themes, including literature, philosophy, psychology, and socialism.
• Contribution to Urdu Language and Literature: He played a significant role in the development and promotion of the Urdu language, including establishing the Central Board for the Development of Urdu (later Urdu Science Board).
• Popularity and Impact on Public Discourse: His radio program, Talqeen Shah, and later TV programs like Baithak and Zavia, earned him widespread popularity and provided a platform for engaging with the public on important social and philosophical issues.
• Spiritual Inclination: Later in his life, Ahmed developed a strong devotion to Sufism, which influenced his work and interactions with his audience.

Key Ideas and Facts:

• Early Life and Education: Born in 1925 in Muktsar, Punjab (British India), to a Pashtun family. He migrated to Pakistan after partition and obtained a Master’s degree in Urdu Literature from Government College Lahore, where he met his wife, Bano Qudsia, who was also a prominent writer.
• Literary Career:Wrote stories for children’s magazines early on.
• Founded the literary magazine Dastaango.
• Served as editor of the weekly Lail-o-Nahar.
• Authored over thirty books, including the famous short story Gaddarya (1955).
• Radio and Television Career:Gained popularity with his radio program Talqeen Shah in 1962.
• Hosted the PTV programs Baithak and Zavia later in his life.
• Administrative Roles: Served as Director of the Markazi Urdu Board (later Urdu Science Board) for 29 years. He also advised the Education Ministry during Zia-ul-Haq’s regime.
• Cinema: Wrote and directed the Urdu film Dhoop Aur Sayay (1968), which was not commercially successful.
• Sufism: His later life was marked by a growing interest in Sufism. His association with figures like Qudrat Ullah Shahab and Mumtaz Mufti contributed to this spiritual journey.
• Death and Legacy: Ashfaq Ahmed died of pancreatic cancer on September 7, 2004, in Lahore. He was remembered as a dynamic literary figure who contributed significantly to the welfare of the people and the Urdu language.
• Awards and Recognition: Received the Presidential Pride of Performance (1979) and Sitara-i-Imtiaz awards for his contributions to broadcasting and literature.

Quotes from the Source:

• “Ashfaq Ahmed (Urdu: اشفاق احمد خان ; 22 August 1925 – 7 September 2004) was a Pakistani writer, playwright and broadcaster.”
• “He is the recipient of Presidential Pride of Performance and Sitara-i-Imtiaz (Star of Excellence) awards for his everlasting services in the field of broadcasting and literary heritage of Pakistan.”
• “In 1962, Ashfaq Ahmed started his radio program, Talqeen Shah (The Preacher) which made him popular among the people in towns and villages.”
• “Later in life, Ahmed’s devotion to Sufism grew.”
• “At this event, Chairman, National Language Authority, Fateh Muhammad Malik stated that with the death of Ashfaq Ahmed, a vacuum had been created in the literary world of Pakistan.”

Ashfaq Ahmed: Life, Works, and Cultural Impact

What were Ashfaq Ahmed’s primary contributions to Pakistani culture?

Ashfaq Ahmed significantly contributed to Pakistani culture through his work as a writer, playwright, and broadcaster. He wrote novels, short stories, and plays in Urdu for Pakistan Television and Radio Pakistan. He is also remembered for his radio program Talqeen Shah, and TV shows such as Zavia and Aik Muhabbat Sau Afsaney which connected with a wide audience and for his role in promoting the Urdu language through his work with the Urdu Science Board.

When and where was Ashfaq Ahmed born?

Ashfaq Ahmed was born on August 22, 1925, in Muktsar, Punjab, British India.

What were some of Ashfaq Ahmed’s notable literary works?

Ashfaq Ahmed is known for several literary works, including his short story Gaddarya (The Shepherd), which brought him early recognition, as well as novels and collections of short stories like Aik Muhabbat So Afsaney, Gadariya, Tota Kahani, Mann Chale Ka Sauda, and the Zavia series.

What role did radio play in Ashfaq Ahmed’s career?

Radio was a significant platform for Ashfaq Ahmed’s career. He joined Radio Pakistan as a script writer and gained widespread popularity through his radio program Talqeen Shah, which ran from 1962. This program helped him connect with people in towns and villages across Pakistan.

Did Ashfaq Ahmed work in cinema?

Yes, Ashfaq Ahmed wrote and directed an Urdu movie called Dhoop Aur Sayay (Sun and Shades) in 1968. Although it was not a commercial success at the time, Ahmed believed its content was ahead of its time.

What awards did Ashfaq Ahmed receive?

Ashfaq Ahmed received the Presidential Pride of Performance and Sitara-i-Imtiaz (Star of Excellence) awards from the Government of Pakistan in recognition of his contributions to broadcasting and Urdu literature.

How did Sufism influence Ashfaq Ahmed’s later life and work?

In his later years, Ashfaq Ahmed developed a strong inclination towards Sufism. This is said to have grown from his close associations with figures such as Qudrat Ullah Shahab, Mumtaz Mufti, and Baba Mohammad Yahya Khan. His television programs, Baithak and especially Zaviya, reflected his Sufi-influenced worldview and provided a platform for him to share his insights with a younger audience.

What was Ashfaq Ahmed’s involvement with the Urdu language and its promotion?

Ashfaq Ahmed played a crucial role in promoting the Urdu language. He created the Central Board for the Development of Urdu in Lahore and served as director of the Markazi Urdu Board (later renamed Urdu Science Board) for 29 years. He also served as editor of the popular Urdu weekly Lail-o-Nahar.

Ashfaq Ahmed: Life and Literary Contributions

Ashfaq Ahmed (1925-2004) was a Pakistani writer, playwright, and broadcaster known for his works in Urdu, including novels, short stories, and plays for Pakistan Television and Radio Pakistan. He received the Presidential Pride of Performance and Sitara-i-Imtiaz (Star of Excellence) awards for his contributions to broadcasting and Pakistani literature.

Here’s a summary of his life and career:

• Early Life: Ashfaq Ahmed was born on August 22, 1925, in Muktsar, Punjab, British India, to an ethnic Pashtun family of the Mohmand tribe. He migrated to Pakistan in 1947 and earned a Master of Arts degree in Urdu literature from Government College Lahore. His wife, Bano Qudsia, was also a well-known Urdu writer and his classmate. He was fluent in Pashto, Punjabi, Urdu, English, Italian, and French.
• Career:Literature: Ahmed began writing stories as a boy, and they were published in a children’s magazine called Phool. After returning to Pakistan from Europe, he started his own monthly literary magazine, Dastaango, and worked as a scriptwriter for Radio Pakistan. He also became the editor of the Urdu weekly Lail-o-Nahar. His short story Gaddarya (The Shepherd) brought him early recognition in 1955. Ahmed created the Central Board for the Development of Urdu in Lahore.
• Radio: In 1962, he gained popularity with his radio program Talqeen Shah. From 1966 to 1979, he served as director of the Markazi Urdu Board (later Urdu Science Board). He also worked as an advisor in the Education Ministry during Zia-ul-Haq’s regime.
• Cinema: In 1968, Ahmed wrote and directed the Urdu movie Dhoop Aur Sayay.
• Later Life and Death: Later in life, Ahmed became more devoted to Sufism. He engaged with his audience through PTV programs like Baithak and Zaviya, answering questions from young people. Ashfaq Ahmed died of pancreatic cancer on September 7, 2004, in Lahore and was buried there.
• Legacy: Following his death, tributes were paid to Ashfaq Ahmed, recognizing his significant contributions to Pakistani literature.

Key Works

• Talqeen Shah (1962)
• Aik Mohabbat Sau Afsaney (1975–76)
• Zavia
• Gaddarya (The Shepherd)

Awards and Recognition

• Pride of Performance Award (1979)
• Sitara-i-Imtiaz Award

Ashfaq Ahmed: Pakistani Writer, Playwright, and Broadcaster

Ashfaq Ahmed was a significant Pakistani writer, playwright, and broadcaster. He is highly regarded for his Urdu novels, short stories, and plays for Pakistan Television and Radio Pakistan. The Pakistani government awarded him the Presidential Pride of Performance and Sitara-i-Imtiaz (Star of Excellence) for his contributions to broadcasting and the literary heritage of Pakistan.

Some additional details about Ashfaq Ahmed:

• Early life and background: Ashfaq Ahmed was born on August 22, 1925, in Muktsar, Punjab, British India. He belonged to an ethnic Pashtun family of the Mohmand tribe. In 1947, he migrated to Pakistan. Ahmed received a Master of Arts degree in Urdu literature from Government College Lahore. His wife, Bano Qudsia, a noted Urdu writer, was his classmate. He had fluency in Pashto, Punjabi, Urdu, English, Italian, and French.
• Literary career: Ashfaq Ahmed demonstrated an interest in writing from a young age, with his stories appearing in the children’s magazine Phool. After his return from Europe, Ahmed launched his own monthly literary magazine, Dastaango, and joined Radio Pakistan as a script writer. The government appointed him editor of the Urdu weekly, Lail-o-Nahar. His short story Gaddarya (The Shepherd) gained him early recognition in 1955. He established the Central Board for the Development of Urdu in Lahore.
• Radio career: In 1962, Ashfaq Ahmed’s radio program, Talqeen Shah, became very popular. In 1966, he was appointed director of the Markazi Urdu Board, later known as the Urdu Science Board, a position he held for 29 years.
• Cinema: Ashfaq Ahmed wrote and directed the Urdu movie Dhoop Aur Sayay in 1968.
• Sufism: Later in life, Ahmed’s interest in Sufism grew. He interacted with his fans through PTV programs like Baithak and Zaviya, where he addressed questions from the youth.
• Death and recognition: Ashfaq Ahmed died on September 7, 2004, in Lahore, due to pancreatic cancer. He was buried in Model Town, Lahore. Following his death, various figures in the literary world acknowledged his contributions to Pakistani literature.

Ashfaq Ahmed: Literary Contributions and Works

Ashfaq Ahmed was a prolific Pakistani writer whose literary works include novels, short stories, and plays for television and radio.

Key aspects of his literary career include:

• Early Writing: Ahmed’s stories were published in the children’s magazine Phool early in his career.
• Dastaango: After returning to Pakistan from Europe, Ahmed created his own monthly literary magazine called Dastaango (Story Teller).
• Lail-o-Nahar: He served as editor of the Urdu weekly Lail-o-Nahar (Day and Night).
• Gaddarya: His short story Gaddarya (The Shepherd) earned him early fame in 1955.
• Central Board for the Development of Urdu: Ahmed created the Central Board for the Development of Urdu in Lahore.
• Radio Program: His radio program Talqeen Shah (The Preacher) began in 1962 and gained popularity in towns and villages.
• Dhoop Aur Sayay: In 1968, he wrote and directed the Urdu movie Dhoop Aur Sayay (Sun and Shades).
• Baithak and Zaviya: In his later years, Ahmed appeared in PTV programs Baithak (The Guest Room) and Zaviya (The Angle), where he answered questions from the youth audience.

Some of Ashfaq Ahmed’s notable works include:

• Talqeen Shah (1962)
• Aik Muhabbat Sau Afsaney (1975–76)
• Zavia
• Gaddarya: Ujley Phool
• Numerous other books, radio plays, and television shows

Ashfaq Ahmed: Awards, Recognition, and Literary Tributes

Ashfaq Ahmed received awards and recognition for his contributions to Pakistani literature and broadcasting.

Awards and Recognition

• Pride of Performance Award: He received this award in 1979.
• Sitara-i-Imtiaz: Ahmed was also awarded the Sitara-i-Imtiaz (Star of Excellence) by the President of Pakistan.

Following his death in 2004, various figures in the literary world acknowledged his contributions to Pakistani literature. Fateh Muhammad Malik, Chairman of the National Language Authority, noted that Ahmed’s death created a vacuum in Pakistan’s literary world. Iftikhar Arif, Chairman of the Pakistan Academy of Letters, also paid tribute to Ahmed as a dynamic literary figure who prioritized the welfare of the people.

Ashfaq Ahmed: A Literary Life

Ashfaq Ahmed was born on August 22, 1925, in Muktsar, Punjab, British India. He belonged to an ethnic Pashtun family of the Mohmand tribe. His early education took place in Muktsar. Shortly before the partition of India in 1947, Ahmed migrated to Pakistan and settled in Lahore, Punjab. He earned a Master of Arts degree in Urdu literature from Government College Lahore. His wife, Bano Qudsia, who was also a prominent figure in Urdu literary circles, was his classmate at Government College. Ahmed had the ability to speak Pashto, Punjabi, Urdu, English, Italian, and French.

By Amjad Izhar
Contact: amjad.izhar@gmail.com
https://amjadizhar.blog

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