Encyclopedia of Islam

Chishti Sufi Order

  

139  J

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samii “hearer,” basir “seer,” and alim “knower”) 

with yogic forms of breath control, meditation, 

and other ascetic practices. The Chishtis included 

Hindi, Punjabi, and Persian formulas in their 

dhikrs, unlike other Sufi orders, particularly the 

Naqshbandis, who stress Arabic recitations. The 

most public forms of Chishti worship are musi-

cal audition (samaa) and pilgrimage to shrines of 

Chishti 

saint

s. Unlike other Sufis who were suspi-

cious of music’s legality and influence on the soul, 

Chishtis embraced listening to 

mUsic

 as a core 

practice for the attainment of spiritual ecstasy, if 

not a state of enduring ecstasy itself. Some have 

combined audition with bodily movement and 

dance. As a result of Chishti acceptance of musical 

audition as a legitimate spiritual practice, other 

Sufi brotherhoods in South Asia have also allowed 

it. During the Middle Ages, these auditions were 

meant only for initiated Sufis, but in modern 

times both Sufis and non-Sufis attend them. 

They are called 

qawwali

 performances, and they 

are regularly held at the tombs of Chishti saints. 

These shrines are the focal points of pilgrimage, 

attracting pious visitors, men and 

Women

, Mus-

lims and non-Muslims, from throughout India. 

The most celebrated shrine is that of Muin al-Din 

in  a

Jmer

, considered by many to be the m

ecca

of Indian Islam. Other major Chishti shrines are 

those of Farid al-Din Ganj-i Shakar (d. 1265) in 

Pakpattan, Pakistan, and n

izam

 

al

-d

in

 a

Wliya

 (d. 

1325) in d

elhi

.

Since its foundation in 13th century India, the 

Chishti order has intentionally distanced itself 

from political authorities and dependence upon 

Tomb of Shaykh Salim Chishti, Fatehpur Sikri, India (16th century)

  (Juan E. Campo)

K  140