مراتب اختر کی غزل گوئی
ساٹھ کی دہائی میں شہرت حاصل کرنے والے شعراء میں ایک اہم نام مراتب اختر کا بھی ہے۔ مراتب اختر منفرد لہجے کے جدید شاعر تھے۔ جنھوں نے غزل میں نئے نئے تجربات کیے۔ یہ ایک حقیقت ہے کہ شاعری کی اساس اسلوب ہے اور اسلوب کی خوبصورتی الفاظ کے انتخاب کی مرہونِ منت ہے۔ لفظوں کا خوبصورت انتخاب کلام میں آہنگ اور موسیقیت پیدا کرتا ہے اور الفاظ کی لطافت، فصاحت اور موزونیت ایک دوسرے کے ساتھ تقابل کے بعد واضح ہوتی ہے۔ مراتب اختر اُردو غزل میں جدیدیت کے علم برداروں میں اہم مقام رکھتے ہیں اور اُن کا اسلوب اس کا آئینہ دار ہے۔ انھوں نے اپنے کلام میں جدیدلفظیات کو استعمال کر کے جدید غزل کو ایک نیا رنگ دیا۔ مراتب اختر کی شاعری کے حوالے سے معروف شاعر اور نقاد افتخارجالبؔ لکھتے ہیں:
مراتب اختر نے جو شاعری کی ہے۔ اس میں رکھ رکھائو، ڈِکش کی ملائمت، نفاست اور مروّجہ شعریت نہیں ہے۔ سب کچھ اُکھڑا اُکھڑا دکھائی دیتا ہے۔ یہ خرابیاں کہ امکان سے نابلد، اندھے اور بے مغز لوگوںں کو گراں گزرتی ہیں۔ درحقیقت مراتب اختر کی خالص خوبیاں ہیں۔(۱)
مراتب اختر شاعری کے میدان میں لکیر کے فقیر ثابت نہ ہوئے بلکہ انھوں نے عرصہ دراز سے استعمال ہونے والے سادہ الفاظ کو اس نئے رنگ سے اپنی شاعری میں استعمال کیا کہ وہ اُن کی پہچان بن گئے۔ مراتب اختر کے حوالے سے وحید اطہر اپنے مضمون ’’مراتب اختر اور ہم‘‘ میں یوں رقم طراز ہیں:
مراتب اختر کے ہاں گل و بلبل کی شاعری نہیں ہے۔وہ زمانے کے ساتھ ساتھ رہا۔ اس نے دیومالائی قصے کہانیوں کا سہارا نہیں لیا۔ وہ جیتے...
his article is focused on elaboration of the characteristics
and requirements of the Islamic Judicial system. The judicial
system of Islam is very comprehensive as well as simple one as
compare to other existing judicial systems. It guarantees quick
relief to the aggrieved parties. Judicial system of Islam consists of
several components like, Judge, Sources of Qadfta, Parties of
dispute; matters of Qadha and decree. In this article all these points
have been discussed one by one. The solution of many of our
problem lies in implementation of this system in its true sprite.
Today the subject of Buddhist art of Gandhara has been mostly restricted to the study of its style, influences and subject maters and less attention has been given to trace the provenance, historical information and material compositions of the sculptures. In the present study an attempt is made to find out solutions for such fundamental issues related to the provenance, chronology and composition particularly of stucco and terracotta sculptures. The figural representation executed in such perishable materials are laying in bulk in the store rooms of various museums of Pakistan especially in the Peshawar Museum and are waiting for such a study to solve these issues. Although most of these sculptures might have come from the proper excavations of known archaeological sites since the first decade of the 20th century but due to lack of enough attention and care as well as the nature of the material the museum inventory numbers put on them are sometimes defaced and it is now very difficult to trace their original record and to assign them into a particular site. In order to find out a possible solution for the above cited issues, the present study is focused on the stucco and terracotta heads as till yet these art pieces are not either documented, illustrated or analysed in a scientific way. For the first time we have studied its material composition through the CRL (Central Resource Laboratory) laboratory of Physics Department, University of Peshawar. Two types of procedures i.e EDX and XRD were followed to obtain elemental and mineral form information which leads us to our desired objectives. The results achieved from these analysis are incorporated in the dissertation (see chapter eight) while other related information to the collection are presented in serial wise in the following chapters. Chapter one contains a brief introduction to the background of study its aim and objectives and research methodology. Chapter two treats with the geography and brief history of Gandhara. Chapter three, is about those ancient religions which are flourished here and, their presence still can be observed in the art and architecture of this region. Four chapter is dedicated to the story of Buddhist art from the very beginning until it reached to its climax in Gandhara, the use of stucco and terracotta material in Gandhara art and the initiation of archaeological work during and after Britishers. Chapter five is based on the study of those sites of Gandhara which are properly excavated and from where stucco and terracotta sculptural material were found for the purpose to know the exact chronology of this type of sculptures. Chapter six, is about the study of stylistic analysis and regional workshops of stucco and terracotta sculptures housed in the Peshawar Museum, while in chapter seven different parts of heads and their shapes and styles are discussed in detail. Chapter eight is based on the petrographic analysis, its objectives, methodology, and obtained results.Chapter nine represents an attempt to reconstruct the actual bodies on which these heads were mounted. Conclusion is the last portion of the dissertation, the achieved results and recommendations are incorporated here. These are supported by three charts, bibliographic lists, index and plates.