The very name Aligarh inspires delightful recollections and pictures of AMU (Aligarh Muslim College), its renowned lock industry (Aligarh ke taale) and furthermore its adab (refined and refined conduct). As a matter of fact, it’s maybe Aligarh where one finds the last remnants of certifiable Muslim nafasat (style and delicacy in habits). Indeed, even once acclaimed Lakhanavi adab is on the wind down. But since of AMU, the varsity established by Sir Syed Ahmad Khan in the nineteenth 100 years, Aligarh actually has the remainders of Mughal culture and that glorious tahzeeb (complexity) that floors you.
It’s a city with an articulated history. Aside from AMU, Aligarh is a city of writers. Urdu artist and lyricist Shakeel Badayuni learned at AMU and ascribed the profundity and significance of his verse to the infectiously social air and emanation of Aligarh.
Artist Akhlaq Muhammad Khan ‘Shaharyaar’ (renowned for the film Umrao Jaan’s tunes) showed Urdu at AMU. ‘Shaharyaar’ was his sobriquet. Extraordinary antiquarians Dr Muhammad Habib and his similarly celebrated child Teacher Dr Irfan Habib have been Emeritus Teachers at AMU’s Set of experiences Division.
There’re numerous legends related with Aligarh’s well known lock industry. The benefactor ran over an article in Manohar Kahaniyaan (Hindi, Mitra Prakashan, Mutthiganj, Allahabad; presently distributed by Delhi Press in an alternate outfit) that showed up in 1977. The article referenced that there was a departure of lock mechanics/creators (tala kaarigar) from Saurashtra’s Surat to Aligarh in the final part of the eighteenth hundred years. That dubious article (or maybe my memory is bombing me) didn’t express the explanation/s with regards to why lock-producers of Surat passed on the spot as a group to choose a distant spot like Aligarh. That is to say, Surat was renowned for its locks before Aligarh wore this mantle-City of locks. There could be a smidgen of truth in it since there’s as yet an expression in Hindi and Gujarati: Gujarati taale ki mazbooti (the strength and wellbeing of Gujarati locks).
AMU has been observer to social disturbances and processions, all things considered. It considered being great as most exceedingly terrible days best. Its unbelievable Abdullah Corridor conveys a downpour of recollections. The cine-participants actually recollect the incredible melody ‘Simple mahboob tujhe meri muhabbat ki qasam’ (wrote by an ex-AMU understudy: Shakeel Badayuni) that was shot on Rajendra Kumar in Simple Mahboob (1963). The film was widely shot on the grounds of AMU. One can see the well known ‘Victoria Door’ of AMU in the film. Muhammad Rafi was so fascinated of the vibe of AMU that he contemplatively said, ‘Kaash ke principal yahaan taalib-e-ilm hota’ (Wish, I were an understudy here).