Echoes of ages

Long before today’s “Cockroach Janta Party () ,” Rampur had its own “Bhooka Party.”

In 1934, Mehfuz-ul-Bari Khan, a retired railway station master who had returned from Africa, started an organization called Anjuman-e-Berozgaraan along with unemployed youths of Rampur. Within a week, around 150 young men had registered themselves, demanding jobs from the Nawabi government.

At that time, Chief Minister Abdus Samad Khan was abroad with Nawab Raza Ali Khan for the treatment of Princess Khursheed Laqa Begum, and Masud-ul-Hasan Khan was serving as temporary Chief Minister.

One day, Mehfuz-ul-Bari Khan entered the CM’s office with 20–25 unemployed youths. The CM asked:

“Kahiye, kya kaam hai?”

Mehfuz-ul-Bari Khan replied:

“Bhooke hain, roti chahiye.”

(“We are hungry, we need bread.”)

From that day, Anjuman-e-Berozgaraan became famous across Rampur as the “Bhooka Party.” Soon, almost every unemployed youth in the city began calling himself a member of it.

Protests spread across Rampur. Hundreds gathered outside the CM’s residence demanding employment. Some youths were eventually recruited into the police and army, but the movement kept growing.

Later, after the arrest of hunger strikers, thousands gathered outside Kotwali and freed the protesters from police custody. Police firing followed, in which Latif Khan of Shahbad Gate was killed and many others injured.

Markets shut down, strikes spread, curfew was imposed, and army rule remained in force for three days.

Eventually, Mehfuz-ul-Bari Khan and several others were arrested and jailed, after which the Bhooka Party movement slowly faded away.

This photograph of Rampur dates to 1946, during the wedding celebrations of Nawab Murtaza Ali Khan with Sakina Begum, daughter of Raja Sahib Peerpur, who later came to be known as Aftab Zamani Begum.

The image shows a beautifully crafted ceremonial arch erected in Bartan Bazaar near Paan Dariba, alongside the outer wall of the Rampur Fort, at the point where the road bends onward toward Jama Masjid.

Inscribed upon the arch is the verse:

“सरकार-ए-ज़ी-वक़ार के दिल की खिली कली,
दूल्हा बने हैं नाम-ए-ख़ुदा मुर्तज़ा अली”

(“The cherished blossom of the dignified ruler’s heart has bloomed; by the grace of God, Murtaza Ali has become the groom.”)

Beyond its royal association, the photograph also preserves a striking glimpse of old Rampur’s urban character, the massive fort wall stretching into the distance, the narrow bazaar road, and the temporary festive architecture raised to welcome a Nawabi wedding procession.

Kothi Bara: A Forgotten Legacy Near Rampur

Kothi Bara, once a grand mansion in Bara Khas, Tehsil Milak, Rampur, now completely vanishes. Only a few traces of its glorious past remain, kept alive by the memories of elderly locals.

The village of Bara, located about 10 kilometers east of Rampur, was founded in the 15th century by Jhandi Parhan. In 1824, Nawab Ahmad Ali Khan built Kothi Bara in the middle of a large garden. The estate covered about 150 bighas, with 60 acres of land dedicated to the mansion. The Nahil River flowed through the garden, adding to its beauty.

Nawab Ahmad Ali Khan was passionate about constructing grand buildings. He also built Kothi Khursheed Manzil, which later became Hamid Manzil, and Kothi Badr-e-Muneer in Bagh Be-Nazeer. Another Kothi Bara, now forgotten, was also built by him but has vanished from memory.

During an excavation, bricks from 1901 were found at the site, indicating that the mansion was repaired during the reign of Nawab Hamid Ali Khan. Other findings included lime mortar and pieces of enameled glass, likely used for decoration. Of the three wells originally present, only one remains today.

Kothi Bara was once a center for grand celebrations, including Eid and Saawan festivals. By the mid-20th century, however, it fell into ruin, and its materials were taken by locals.

Today, Kothi Bara’s former glory is a distant memory, with its land now under government control. Unfortunately, I couldn’t find any pictures of this site. If anyone living in Bara Khas has photos or information about this historic land, please share them.

This article is based on a survey of Kothi Bara conducted by Janab Ibn-e-Hasan Khursheed, Maulana Mazahirullah Khan Sahab, Janab Musarrat Hussain Khan, and Dr. Shairullah Khan Sahab in March 2001, as recorded in Rohilo ke Tamadduni Asaar by Janab Ibn-e-Hasan Khursheed in, Ziya-e-Wajeehi, July 2001, pp. 88-89.

Around the portrait of Nawab Kalb Ali Khan, his elaborate royal titles are written in elegant Nastaleeq script with his name highlighted in gold:

Shabīh-e Mubārak Hazrat Zill-e Subḥānī, Khalīfa-e Raḥmānī, Khādim-e Hazrat Khatmī Panāhī, Ḥājī Ḥaramain Sharīfain, Mushīr-e Qaisar-e Hind, Janāb Nawab Kalb Ali Khan Bahadur, Farzand-e Dilpazīr Daulat-e Anglesiyah, Raees-e Dilāwar-e Aʿẓam, Tabaqa-e Aʿlā Sitāra Bandī — Dām Mulkahum wa Iqbālahum wa Shaukatāhum wa Jalālahum.

“An auspicious portrait of His Exalted Majesty, the Shadow of the Divine, Successor of the Merciful, Servant of the Seal of Prophethood, Pilgrim of the Holy Sanctuaries, Counsellor to the Emperor of India, Nawab Kalb Ali Khan Bahadur — the cherished favourite of the British Government, the great brave chief of the highest rank, adorned with stars and honours; may his kingdom, fortune, splendour and majesty endure.”

This portrait of the 7th Nawab of Rampur, Nawab Kalb Ali Khan, is seen in the auction collection of Christie’s on its website. Christie’s describes it as “probably Rampur, North India, circa 1850,” painted in opaque pigments and gold on paper, reflecting the refined artistic traditions and courtly culture of nineteenth-century Rampur.

नवाब नसरुल्लाह खान सुल्तान का मक़बरा
कोठी खास बाग़ के विशाल परिसर में, नवाब कल्ब-ए-अली खान की मूर्ति के दक्षिण-पूर्व में, मुग़ल शैली के बारह अधखड़े खंभों पर मशतमिल एक खंडहर इमारत खड़ी है। यह इमारत नवाब नसरुल्लाह खान का मक़बरा मानी जाती है, जिन्होंने नवाब अहमद अली खान के दौर-ए-हुकूमत में 1794 से रियासत रामपुर के नाज़िम (रीजेंट) की हैसियत से खिदमात अंजाम दीं।
शहर के बीचोबीच स्थित एक बाज़ार, जो बाज़ार नसरुल्लाह खान के नाम से जाना जाता है, आज भी उनका नाम ज़िंदा रखे हुए है और उनकी उसी ज़मीन पर क़ायम है जो कभी उनकी मिल्कियत थी। इस इमारत में तीन क़ब्रें हैं। किसी भी शिलालेख या मोनोग्राम के न होने की वजह से यह तय करना मुमकिन नहीं कि कौन सी क़ब्र किसकी है। तاहम, मौखिक रिवायात और उनकी अहमियत के पेशِ नज़र यह माना जाता है कि बीच वाली क़ब्र नवाब नसरुल्लाह खान की है।
उन्होंने इस इलाके में अपनी रिहाइशगाह तामीर कराई थी, जिसे उनकी कोठी कहा जाता था और जो दरअसल एक बारहदरी थी। उस वक्त यह शहर से बाहर थी। यह इलाका कमरख वाला बाग़ के नाम से जाना जाता था और सैयद नगर गाँव की हदود में आता था।
उनके इंतक़ाल के बाद उन्हें यहीं दफ़नाया गया। उनकी कोठी (बारहदरी) बाद में नीलाम कर दी गई, और आसपास की अधिकांश ज़मीन — जिसमें कमरख वाला बाग़ और गाँव के कुछ हिस्से भी शामिल थे — बाद में कोठी खास बाग़ की जागीर में शामिल हो गई। आज केवल एक छोटी बारहदरी की इमारत बची है, जो उनकी असल रिहाइशगाह का बचा-खुचा हिस्सा मानी जाती है।
उनका मक़बरा और यह छोटी बारहदरी आज भी موجود हैं। बारहदरी, हालाँकि मामूली और अब घनी वनस्पति में छुपी हुई है, उनकी यादगार के तौर पर सलामत है।
लगभग 2001 तक मक़बरे के खंभे अपनी पूरी ऊँचाई पर खड़े थे, लेकिन लापरवाही और संरक्षण के अभाव में इमारत का बड़ा हिस्सा खस्ताहाल हो चुका है। तबाही की मौजूदा रफ्तार को देखते हुए, यह अगले एक दशक में पूरी तरह नेस्तनाबूद हो सकती है।
©Echoes of Ages ||

مقبرۂ نواب نصراللہ خان سلطان
کوٹھی خاص باغ کے وسیع احاطے میں، نواب کلب علی خان کے مجسمے کے جنوب مشرق میں، مغل طرز کے بارہ ادھ کھڑے ستونوں پر مشتمل ایک کھنڈر عمارت موجود ہے۔ یہ عمارت نواب نصراللہ خان کا مقبرہ سمجھی جاتی ہے، جنہوں نے نواب احمد علی خان کے دورِ حکومت میں 1794 سے ریاستِ رامپور کے ناظم (ریجنٹ) کی حیثیت سے خدمات انجام دیں۔
شہر کے عین وسط میں واقع ایک بازار، جو بازارِ نصراللہ خان کے نام سے جانا جاتا ہے، آج بھی ان کا نام زندہ رکھے ہوئے ہے اور انہی کی اس زمین پر قائم ہے جو کبھی ان کی ملکیت تھی۔ اس عمارت میں تین قبریں ہیں۔ کسی بھی کتبے یا مونوگرام کی عدم موجودگی کے باعث یہ تعین کرنا ممکن نہیں کہ کون سی قبر کس کی ہے۔ تاہم مقامی زبانی روایات اور ان کی اہمیت کے پیشِ نظر یہ مانا جاتا ہے کہ درمیانی قبر نواب نصراللہ خان کی ہے۔
انہوں نے اس علاقے میں اپنی رہائش گاہ تعمیر کروائی تھی، جسے ان کی کوٹھی کہا جاتا تھا اور جو دراصل ایک بارہ دری تھی۔ اس وقت یہ شہر سے باہر تھی۔ یہ علاقہ کمرکھ والا باغ کے نام سے جانا جاتا تھا اور سید نگر گاؤں کی حدود میں آتا تھا۔
ان کے انتقال کے بعد انہیں یہیں دفن کیا گیا۔ ان کی کوٹھی (بارہ دری) بعد میں نیلام کر دی گئی، اور آس پاس کی اکثر زمین — جس میں کمرکھ والا باغ اور گاؤں کے کچھ حصے بھی شامل تھے — بعد ازاں کوٹھی خاص باغ کی جاگیر میں شامل ہو گئی۔ آج صرف ایک چھوٹی بارہ دری کی عمارت باقی ہے، جو ان کی اصل رہائش گاہ کا بچا کھچا حصہ سمجھی جاتی ہے۔
ان کا مقبرہ اور یہ چھوٹی بارہ دری آج بھی موجود ہیں۔ بارہ دری، اگرچہ معمولی اور اب گھنی نباتات میں چھپی ہوئی ہے، ان کی یادگار کے طور پر سلامت ہے۔
تقریباً 2001 تک مقبرے کے ستون اپنی پوری اونچائی پر کھڑے تھے، لیکن غفلت اور تحفظ کے فقدان کے باعث عمارت کا بڑا حصہ کھنڈر بن چکا ہے۔ تباہی کی موجودہ رفتار کو دیکھتے ہوئے، یہ اگلی ایک دہائی میں مکمل طور پر ناپید ہو سکتی ہے۔

n the vast vicinity of Kothi Khas Bagh, to the south-east of the statue of Nawab Kalb-e-Ali Khan, stands a ruined structure consisting of twelve partially standing pillars in Mughal style. This structure is believed to be the tomb of Nawab Nasrullah Khan, who served as the regent of Rampur State from 1794 during the reign of Nawab Ahmad Ali Khan.
A market located in the center of the city, known as Bazar Nasrullah Khan, still bears his name and stands on what was once his property. The structure contains three graves. Due to the absence of any inscriptions or monograms, it is not possible to identify which grave belongs to whom. However, based on local oral traditions and his importance, it is believed that the central grave is that of Nawab Nasrullah Khan.
He had built his residence in this area, known as his kothi, which was in fact a baradari. This stood outside the city at that time. The area was then known as Kamrakh Wala Bagh and fell within the village of “(name)”.
After his death, he was buried here. His kothi (baradari) was later auctioned, and much of the surrounding land, including Kamrakh Wala Bagh and parts of the village, was eventually incorporated into the estate of Kothi Khas Bagh. Today, only a small baradari structure survives, which is believed to be the remaining part of his original residence.
However, his tomb and a small baradari structure still remain. The baradari, though modest and now largely hidden under overgrown vegetation, survives as a memory of him.
Until around 2001, the pillars of the tomb stood at their full height, but due to neglect and lack of preservation, much of the structure has deteriorated. At the current rate of decay, it may disappear completely within the next decade.

10th slide - Presemt condition of Baradari of Nasrullah khan
11th slide - Old picture of Baradari from book, Hayat-e-javedaañ by Sahibzada Ahmadullah khan.

SAHIBZADA SADAT ALI KHAN “CHHAMMAN SAHIB ” of Rampur

If you know Bhaiya Ganpat Rao, you’re already close to understanding Chhamman Sahib. He was his maternal cousin; their mothers were real sisters. Chhamman Sahib was the son of the famous singer “Lali,” while Ganpat Rao’s mother was Chand Bhaga. This wasn’t just a coincidence; it was a shared musical background. On his father’s side, he came from royal lineage. His father, Sahibzada Haidar Ali Khan, was the beloved son of Nawab Yusuf Ali Khan and Dulhan Begum (Tuti Jaan). So, Chhamman Sahib stood at the intersection of royalty and musical practice. He trained under his father and Muhammad Ali Khan Seni, achieving an astonishing level of mastery. He memorized around 1700 dhrupad compositions and horis. That wasn’t just talent; it showed his obsession with the art. Writing under the name “Sadaat,” he composed bandishes, sargams, and dhrupad-based works. He didn’t just sing what he learned; he created and expanded the tradition. He was also highly educated and knew multiple languages. In 1918, he presented a paper on “Malhar ke prakar” at the All India Music Conference in Delhi, proving he understood music through both practice and theory. His legacy continued through his writings, preserved in “Naghmaat-ul-Hind” by his son Ashfaq Ali Khan. He also authored “Naghmaat-e-Sadaat urf Falsafa-e-Mousiqi,” and his “Harmonium Guide” in Urdu is still available in Rampur Raza Library. Chhamman Sahib wasn’t just a musician from Rampur; he was part of the same living tradition that produced names like Bhaiya Ganpat Rao.