Shaikh Jamaluddin Kasi was a 16th century Pashtun saint of Chishti order. A member of the Pashtun tribe of Kasi, he enjoyed considerable respect from his own as well as other Pashtun tribes. In his early life he held a high post in the government under Sher Shah Sur. After the
downfall of the Pashtuns in India and restoration of Mughals to the throne, Jalaluddin Kasi renounced the world and moved to Unnao (UP, India) where he joined the khanqah of Shah Mahmud Chishti. Later he went to the tomb of Shaikh Badrud-Din of Badaun where he
constantly recited Quran and cared for the tomb. In short time he was surrounded by a large number of people.
Shaikh Jalaluddin Kasi developed the habit of mediating and reciting the Quran until midnight at the tomb of Shaikh Badruddin some distance from the town. These
nocturnal habits severely hampered local thieves who operated around this area. They murdered Shaikh Jalaluddin In 1604 AD.
Source: Biographical Encyclopaedia of Sufis: South Asia By N. Hanif, p-175
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1842 (c): The painting by James Atkinson showing the doors which were removed from the mausoleum of Sultan Mahmood of Ghazni by the British invaders. The latter believed it to be the "sandalwood gates of Somnath temple".
British invaders desecrated the tomb and removed the door
in 1842 to restore their injured pride and ego, to upset the sentiments of Pashtuns (British erroneously thought that Sultan Mahmud was a Pashtun) and to gratify the Hindus.
James Atkinson (the painter) writes: "This is the relic which the Sikh Chieftain Runjeet Sing so much
coveted as to wish to make its restoration a condition to his affording aid to the cause of Shah Shoojau, but that Monarch replying that his compliance with the demand would disgrace in the eyes of his nation, the request was not insisted on. It has now, however, been brought to
"On the 25th Zil Qada, Ghulam Qadir called Prince Akbar, Suleiman Shikoh, and the other Princes, nineteen in number, before him, and with harsh words called upon them to sing and dance before him. They declined ; but he would not listen to them, saying that he had long heard
praises of their singing and dancing. He then commanded his attendants to cut of the Princes' noses if they did not sing. The princes and boys, seeing there was no escaping from his commands, did as they were directed, and sang and danced. He was very pleased and asked them what
In 19th century some Tajiks often forayed into Hazarajat, captured Hazaras as slaves and sold them to Uzbeks.
James Atkinson writes in 1843: " The term Tajuk is applied to all people of Afghanistan, whose vernacular language is Persian. They reside in villages and are
essentially cultivators, never leaving a pastoral life. In general they form the most peaceable class of the population, but in the Kohistan the case is reversed. Turbulent and vindictive their blood feuds are there endless. It is rare to see a man go to hunt or even ride out
without being attended by some of his clan as a guard. To the north of Akrobat, towards Toorkistan, also, they bear no high character. In that quarter, the Tajuk Chiefs, like the notorious Mahomed Ali Beg, of Syghan, often engage in forays into the Huzzareh districts for slaves
In October 1879 Major-General Frederick Roberts found an Afghan painting in Amir Sher Ali's palace in Kabul showing a mounted Afghan sardar riding alongside a running British solider and a dog. This painting was made by an Afghan
artist and was painted around the time of the First Afghan War (1838-1842) for an unknown Afghan patron. In my opinion the painting was demonstrating and symbolizing the victory and superiority of Afghans over Firangi invaders. The Afghan sardar is noticeably drawn larger
than the Firangi and the latter is running on ground like some retainer, to convey the lordliness of the Afghan and lowliness of the Angraiz.
The painting greatly offended and disturbed Frederick Roberts. In his pettiness, he ordered two of his officers to paint a new version
The Pashtun code of revenge against the wrongdoers became a proverb in India.
John Briggs in 1829 writes: "Afghan revenge has become proverbial in India . It is said , a man is never safe from the revenge of an elephant , a nag ( the cobra snake), or an Afghan".
So this famous saying in the Rambo III movie is not an invention by some Hollywood writer. It is based on an old proverb from India.
Aslam Khan's father Usman Khan served as Grand Wazir of Shah Shuja in 1840-1842. He fled to Peshawar after the Anglo-Afghan war and joined the British.
Sketch of Usman Khan, from London Illustrated News, dated to December 18, 1858 :-
Robert Warburton was an Anglo-Afghan. "Eighteen Years in the Khyber" is his autobiography.
His father married an Afghan lady through deception and force. Read the following blog-post for details.