Basket Of Fun: art

*Raudat Tahera*

The marble for the development of the Roza was quarried from exactly where the *marble* for the Taj Mahal was obtained---Makrana in Rajhastan,India.

The Mausoleum rests on 92 piles.The number 92 is critical therein it represents the numerical calculation of the name of the Holy Prophet Mohammed (p.b.u.h) by the principles of Abjad in Arabic.

Around the burial place is 28 square feet grave.
The number 28 indicates Syedna's (RA) young age at which he became a Dai-al-Mutlaq.

The inner height of the mausoleum rises to 80 feet,
depicting the age of Syedna (RA) when he left this world for Mala-e Ala.

The inner dimensions of the Roza (mausoleum) are *51x51 feet,*
symbolizing that Syedna Tahir Saifuddin was the 51st Dai-al-Mutlaq.

What gives the Roza a singular place of honour is that the inscription of
the entire Holy Quran within the walls of the Roza.
The writings were choosen by Syedna Mohammed Burhanuddin RA
from the golden Holy Quran from which His Holiness wont to recite.
It contained 772 pages
and accordingly the entire Quran is inscribed
in gold on 772 marble slabs 3x2 feet each and pasted within the inner walls of the Roza.

All the Bismillah's before the beginning of Surahs are engraved and
adorned with rubies, emaralds, Diamonds and Pearls.

The Holy Quran inscription has been wiped out such how that each one the doorway Doors to the Roza

have a Bismillah coming.

The structural shell consists of a dome 40 feet in diametre.

The complete structure of Raudat Tahera weighs 5000 tons.

The 4 entrance doors to the Roza are specially designed to
match the entrace gate of Jamea-al-Aqmar in Cairo,
built in the time of Imam Al-Amir(1101-1130 A.D).

The entrances are adorned with four silver doors of Fatemi style
and cause the inner sanctuary of the Roza.

The 4 walls of the mausoleum have a 4 feet & 6 inch thick masonry wall
with three inch marble cladding on each side , making its final thickness 5 feet.

The number 5 is vital to the us, as we believe 'Panjetan'.
Similarly there are five arches above each of the four doors of the mausoleum.
The 17 arches of the mosque represent the 17 Rakaat of Farizat.
Other interesting facts regarding this marvellous monument:

Raudat Tahera is meant by the late architect Dr.Yahya Merchant.
The construction of the Mausoleum began on 10th of December,1968.

It was inaugurated on
April19,1975 by the president of India Fakhruddin Ali Ahmed.

Below the inscription of The holy Quran are 10,000 verses of prayers
written by Syedna Taher Saifuddin (r.a.).
The crystal chandelier weighing one ton has been imported from Czechoslovakia.
Fatemi Masjid is believed to be the first outdoors mosque in Asia.
Raudat Tahera is listed as a requirement see monument in Mumbai by the tourist board.

There are Jewels and Precious Stones studded inside the Raudat Tahera within the
following manner:

Ruby [Yaaqoot/ Manek]
52 Bismillah are embedded with Rubies - which signifies that Syedna Mohammed
Burhanuddin Aqa (TUS) is our 52nd Dai Al Mutlaq.

Coral [Marjaan]
28 Bismillah are embedded with Corals - which signifies that Al Muqaddas
Syedna Taher Saifuddin (RA) was 28 years old, when He came within the Rutba of
Dai Al Mutlaq.

Emerald [Zamarmar]
21 Bismillah are embedded with Emeralds - which signifies that Maulana Imam At Taiyab (AS) is that the 21st Imam and this is often His Daur of Satar!

Pearl
7 Bismillah are embedded with Pearls - which signifies the Saatras of Aimmat
Tahereen (AS) and Duat Mutlaqeen (RA).

Diamond [Almas]
5 Bismillah are embedded with Diamonds - which signifies the Panjetan Paak
(SA).

"Surat-e-Fateha" and "Surat-e-Ikhlaas"
These 2 Surats are entirely embedded with Red Rubies.

*12 Jamadil Awwal Hijri 1406* ma Munafeqeen Yeh Raudat Tahera Na Nazdeek Time Bomb Muko,Syedna Mohammed Burhanuddin (R.A)52ma Dai ul Mutlaq,Ni Dua Si Khuda Ye Sagla ni Hifazat Kidi

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THE PRAYING HANDS

The Praying Hands by Albrecht Durer

Back in the fifteenth century, in a tiny village near Nuremberg, lived a family with eighteen children. Eighteen! In order merely to keep food on the table for his big family, the father, a goldsmith by profession, worked almost eighteen hours a day at his shop and any other paying work he could find in the neighborhood. Despite their seemingly hopeless condition, two of the eldest children had a dream. They both wanted to pursue their talent for art, but they knew well that their father would never be financially able to send either of them to Nuremberg to study at the Academy.

After many long discussions at night in their crowded bed, the two boys finally worked out a pact. They would toss a coin. The loser would go down into the nearby mines and with his earnings, support his brother while he attended the academy. The winner of the toss will attend the academy first and complete his study. Once, the first winner of the toss completes his study, he will help the other brother to attend the academy and support him financially by selling arts or working at the mines if necessary.

They tossed a coin on a Sunday morning after church. Albrecht Durer, one of the brother won the toss and went off to Nuremberg. Albert, the other brother went to work at the mines and for the next four years, financed his brother, whose work at the academy was almost an immediate sensation. Albrecht’s etchings, his woodcuts, and his oils were far better than most of his professors. By the time he graduated, he was beginning to earn considerable fees for his commissioned works.

File:Albrecht durer heavenly body in the night sky.jpg

Heavenly Scene by Albrecht Durer

When the young artist returned to his village, the Durer family held a festive dinner on their lawn to celebrate Albrecht’s triumphant homecoming. After a long and memorable meal, punctuated with music and laughter, Albrecht rose from his honored position at the head of the table to drink a toast to his beloved brother for the years of sacrifice that had enabled Albrecht to fulfill his ambition. His closing words were, “And now, Albert, blessed brother of mine, now it is your turn. Now you can go to Nuremberg to pursue your dream and I will take care of you.”

All heads turned in eager expectation to the far end of the table where Albert sat, tears streaming down his pale face, shaking his lowered head from side to side while he sobbed.

Finally, Albert rose and wiped the tears from his cheeks. He glanced down the long table at the faces he loved, and then, holding his hands close to his right cheek, he said softly, “No, brother. I cannot go to Nuremberg. It is too late for me. Look what four years in the mines have done to my hands! The bones in every finger have been smashed at least once, and lately, I have been suffering from arthritis so badly in my right hand that I cannot even hold a glass to return your toast, much less make delicate lines on parchment or canvas with a pen or a brush. My brother, for me, it is too late.”

More than 450 years have passed. By now, Albrecht Durer’s hundreds of masterful portraits, pen and silver-point sketches, watercolors, charcoals, woodcuts, and copper engravings hang in every great museum in the world, but the odds are great that you, like most people, are familiar with only one of Albrecht Durer’s works. More than merely being familiar with it, you very well may have a reproduction hanging in your home or office.

One day, to pay homage to Albert for all that he had sacrificed, Albrecht Durer painstakingly drew his brother’s abused hands with palms together and thin fingers stretched skyward. He called his powerful drawing simply “Hands,” but the entire world almost immediately opened their hearts to his great masterpiece and renamed his tribute of love “The Praying Hands.”

Albrecht Durer

Moral:
The next time you see a copy of that touching creation, take a second look. Remember the sacrifice others may have made for your success in life. Always, respect them and care for them as what they could have done for themselves, they did that for your happiness.

THANKYOU!!

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