Echoes of the Divine: Hamds, Naats & Qawwalis in Sufism
Sufi poetry has always been more than just verse—it is a living tradition of devotion, longing, and transcendence. Across centuries, poets and singers have used it to bridge the distance between the human soul and the Divine. Among the many expressions of this tradition, three stand out for their distinct purposes and tones: Hamds, Qawwalis, and Naats. While each has a unique place in the tapestry of Islamic devotional literature, together they embody the soul of Sufi expression.
The Roots of Sufi Poetry
To understand the beauty of Hamds, Qawwalis, and Naats, one must look to their origins in early Arabic and Persian poetry. Islamic devotional verse emerged soon after the advent of Islam, with poets composing Hamd (praise of God) and Madh (praise of the Prophet). These forms evolved as acts of worship expressed through language and rhythm, where the aesthetic beauty of the words was itself seen as an offering to the Divine.
As Islam spread eastward through Persia into Central Asia and the Indian subcontinent, these poetic traditions absorbed the local linguistic and cultural influences. In Persia, Sufi poets like Rumi, Hafiz, and Attar of Nishapur infused classical forms with mysticism—turning love poetry into a metaphor for the soul’s yearning for God.
In the 13th century, the arrival of Sufi saints in the Indian subcontinent—such as Khwaja Moinuddin Chishti of Ajmer, Baba Farid of Pakpattan, and Nizamuddin Auliya of Delhi—brought this spiritual tradition to Punjab and beyond. With them came their disciples and artists, including Amir Khusrow, who transformed Persian Sufi ideas into Hindavi and Urdu idioms. The result was a flowering of devotional poetry and music that transcended religious boundaries, blending Persian lyricism with Indian rhythm and melody.
It was in this fertile cultural soil that Hamds, Qawwalis, and Naats took their distinctive forms, uniting theology, art, and emotion.
Growing Up in Punjab’s Cultural Mosaic
I grew up in Amritsar, a city steeped in history and spirituality, where the rhythms of daily life were touched by the richness of Punjab’s multicultural and multi-religious traditions. Hindus, Sikhs, Muslims, and Christians all left their imprint on the region’s cultural fabric. Amidst this diversity, poetry and music flourished as a shared heritage, often blurring the boundaries of faith.
As a child, I often heard my grandfather listening to Sufi poetry—sometimes in the form of Hamds or Naats, other times in soaring Qawwalis and Shabads. At that age, I confess I did not understand or appreciate it fully. The words seemed heavy, the music repetitive, and the gatherings distant from my youthful world. Yet, as the years passed, the philosophy and soul of that poetry began to reveal themselves to me.
Today, listening to the greats of Sufi music from the Indian subcontinent—whether it be Nusrat Fateh Ali Khan, Abida Parveen, or the countless anonymous voices that carried these traditions forward—I find myself deeply moved by the depth, simplicity, and universality of these forms.
Hamds: Praise of the Divine
The word Hamd derives from the Arabic ḥ-m-d, meaning “praise.” A Hamd is directed exclusively toward Allah, exalting His majesty, mercy, and eternal presence. Unlike other forms that may weave metaphor or story, Hamds are marked by clarity of devotion.
A Hamd seeks to glorify Allah alone, emphasizing His oneness and sovereignty. The tone of these poems is often solemn and reverent, inviting the listener to contemplate the grandeur of the Divine. In practice, Hamds are usually recited at the beginning of spiritual gatherings or poetic sessions, setting a contemplative atmosphere before moving into other forms of expression. Listening to a Hamd is akin to standing before an open sky—immense, humbling, and filled with awe.
One of the most famous Hamds in Urdu is by Allama Iqbal, where he frames devotion as both prayer and aspiration:
Original:
Lab pe aati hai dua ban ke tamanna meri,
Zindagi shamma ki surat ho Khudaya meri.
Door duniya ka mere dam se andhera ho jaaye,
Har jagah mere chamakne se ujala ho jaaye.
Translation:
“Upon my lips rises a prayer, becoming my desire,
That my life may shine like a candle, O God.
May the darkness of this world be dispelled by my breath,
And may my shining bring light everywhere.”
This Hamd captures reverence for Allah, while also expressing a wish to become a vessel of His light.
Qawwalis: Ecstasy in Song
If Hamds invite reverence, Qawwalis ignite passion. Rooted in the Sufi practice of sama (listening), Qawwalis are communal performances designed to create a state of spiritual ecstasy. Harmoniums, tablas, hand-clapping, and rising vocal crescendos carry both performer and audience into an atmosphere of rapture.
The purpose of a Qawwali is not merely to entertain, but to awaken divine love within the heart of the listener and dissolve the boundaries between self and spirit. Its tone is fiery and emotional, filled with metaphors of longing, devotion, and surrender. Qawwalis are most often performed in Sufi shrines and festivals, where they transform into participatory experiences rather than simple recitals.
The poetry often employs imagery of worldly love to point toward divine union. Perhaps no poet has shaped the qawwali form more than Amir Khusrow, the 13th-century Sufi mystic, whose verses remain foundational. His famous Chaap Tilak still resounds across shrines and stages today:
Original:
Chaap tilak sab chheeni re, mose naina milaike,
Prem bhatī ka madvā pilāike.
Translation:
“You have taken away my identity with just a glance,
You made me drink deeply from the cup of love.”
Here, the beloved’s glance is both human and divine — a symbol of grace that robs the self of ego and draws the devotee into ecstatic union.
Naats: Love for the Prophet
Distinct from both Hamds and Qawwalis are Naats, poems devoted to praising the Prophet Muhammad (peace be upon him). They celebrate his character, his mercy, and his role as the beloved messenger who illuminates the path for believers.
The purpose of a Naat is to honor the Prophet and to express devotion to his example. Unlike the grandeur of Hamds or the ecstasy of Qawwalis, Naats are tender and intimate, filled with imagery of love and longing. Their melodies are usually simple, designed to allow the words themselves to shine through, and they are recited in gatherings, during Milad celebrations, or even in quiet personal devotion.
One of the most famous Naats is Mustafa Jaan-e-Rehmat, composed by Imam Ahmed Raza Khan in the late 19th century. It has been sung across generations:
Original:
Mustafa jaan-e-rahmat pe lakhon salaam,
Sham‘e bazm-e-hidayat pe lakhon salaam.
Translation:
“Upon Mustafa, the soul of mercy, be millions of salutations,
Upon the lamp that lights the gathering of guidance, be millions of salutations.”
In these lines, the Prophet is praised not only as beloved but also as a radiant lamp of guidance — gentle, luminous, and central to the devotee’s heart.
Comparing the Three
Although they share the common thread of devotion, these three forms differ significantly in focus, tone, and style. A Hamd is directed entirely to Allah, with its tone rooted in reverence and grandeur. A Naat, by contrast, is addressed to the Prophet Muhammad (peace be upon him), and carries an intimate and affectionate spirit. A Qawwali, on the other hand, is less about solemn praise or personal love, and more about evoking rapture through rhythm, music, and communal experience.
The manner of performance also reflects these differences. A Hamd is often recited in a reflective and sometimes solitary voice, creating an atmosphere of contemplation. A Naat tends to be melodic and tender, sometimes performed with choral support but always with simplicity at its heart. A Qawwali, by contrast, is a group performance that grows in intensity as voices, instruments, and audience participation build toward a spiritual crescendo.
A Tapestry of Devotion
Reflecting on these traditions, I am reminded of my grandfather, who listened with quiet devotion while I once dismissed the words as distant and heavy. With time, I have come to see what he already knew—that these forms are not just art or performance, but living practices of remembrance.
Hamds teach us awe, Naats teach us love, and Qawwalis teach us passion. Together, they form the three great pillars of Sufi poetry, carrying seekers across centuries and cultures toward the same truth: the soul’s journey toward the Divine.
Inspiration for this post
A few weeks ago, my friend Dr. Misha Monder, professor at IIT Mumbai, sent me a recording of Nusrat Fateh Ali Khan and asked if I could translate the “qawwali” for him. As I began looking through my bookmarked sites, I realized that the piece he had shared was not, in fact, a qawwali but a naat – a subtle yet meaningful distinction. That simple exchange led to a longer conversation about the different forms of Sufi poetry, and this essay grew out of that moment of reflection.
Additionally, I reached out to my good friend Dr. Jahanzeb Ahmad to review and share his thoughts on what I’ve covered here. Jahanzeb brings a deep appreciation for the intersection of spirituality and personal growth, which adds another layer of perspective to this exploration. You can visit his Coaching Blog at introspectify.coach.
Check out other similar posts
- Hum Dekhenge, or We Shall See – A Nazm by Faiz Ahmed Faiz
- Humne to Nisaar Kar Diya Dil (Here I offer my heart)
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