Muhammad Amin Zia: A Trailblazer in Literature and Education

By Syed Shams Uddin I recently had the chance to watch an exceptionally inspiring interview of Muhammad Amin Zia, conducted on March 21, 2021, by the renowned poet and bureaucrat Rehman Shah on Ibex Media Network (IMN). The interview illuminated the remarkable contributions of Muhammad Amin Zia, who embodies the rare and distinguished qualities of a poet, author, and educationist. With his eloquent Urdu, Rehman Shah began by tracing the literary history of the region, emphasizing the persistent efforts of intellectuals who pursued knowledge despite an unfavorable educational environment. Over time, he noted, these endeavors bore fruit. He went on to commend Muhammad Amin Zia’s outstanding contributions, particularly highlighting his pioneering work in compiling a precise Shina dictionary comprising some 1500 words back in 1974 —a monumental achievement in the preservation and development of the language. About his propensity, Zia said it is always his wont to embark on a a very new initiative regardless of what - careing least for any commendation whether it may attract appreciation from the public or not. Expressing his gratitude to the host, Muhammad Amin Zia thanked Rehman Shah for providing him with the opportunity to share his insights on this esteemed online platform. He also took a moment to acknowledge and appreciate the efforts of other poets, writers, and scholars from the region, recognizing their invaluable contributions to the literary landscape. This reminds me of the celebrated author and literary giant Muhammad Hassan Hasrat's article appearing at page 197 of Gilgit-Baltistan Ka Urdu Adab. The article "Gilgit's Taj Mahal" by the acclaimed Muhammad Hasan Hasrat sounds like a rich tribute to Professor Muhammad Amin Zia — whose multifaceted personality as a poet, author, educationist, and intellectual continues to inspire many in Gilgit-Baltistan. The evocative opening line — "Gilgit boasts of being a land where great intellectuals like Qudratullah Shahab were born and right or wrong, the giver of magical coloring to the Indian film songs, Sehgal too was born here in this land and was nurtured for some time at Gilgit" — sets a powerful tone. It places Professor Amin Zia within a lineage of legendary figures linked to Gilgit, highlighting not only his stature but also the region’s overlooked cultural depth. The title "Gilgit’s Taj Mahal" itself seems metaphorical — perhaps likening Amin Zia’s life and contributions to a monument of enduring beauty and love for literature, knowledge, and culture. Hasan Hasrat, known for his vivid style and deep knowledge of GB’s cultural icons, likely painted a moving portrait of Zia Sahib as a towering intellectual and literary figure.To say that Professor Muhammad Amin Zia combined the characteristics of both Qudratullah Shahab and K.L. Sehgal is to suggest an extraordinary synthesis of intellect and artistic sensibility: Shahab’s mystical prose and bureaucratic brilliance paired with Sehgal’s emotive voice and artistic magnetism. That’s a rare confluence — and it signals Hasrat's reverence for Zia as someone whose presence and talents transcended conventional academic or literary boundaries. The comparison of Amin Zia to an onion — layered, rich, and revealing something new with each peel — is both humorous and profound. By referencing Mumtaz Mufti’s metaphor for Qudratullah Shahab, Hasrat draws a parallel between Mufti’s awe for Shahab and his own admiration for Zia. It’s a creative literary device — warm, earthy, and philosophically playful — indicating Zia's multi-dimensional persona: educator, poet, mystic, intellectual, and perhaps even a performer at heart. According to Muhammad Hasan Hasrat, encompassing the sterling qualities of Professor Muhammad Amin Zia is no less than an arduous assignment. His towering personality, when explored with care, unravels in multiple nuanced layers: The first layer reveals his amazing poetic bent, reflecting a mastery of language, rhythm, and deep emotion. The second layer unveils his اِنشا پردازی (insha pardazi) — the art of prose craftsmanship, rich in thought and ornamentation, reminiscent of the golden era of Urdu literature. The third layer discloses his singing appetite, a musical sensitivity that adds a lyrical texture to his presence. The fourth layer shines through in his خَطاطی (khatātī) — calligraphy, where letters become art and meaning is etched in visual beauty. The fifth layer illustrates his steadfast role as an educationist, a mentor devoted to intellectual awakening and the dissemination of knowledge. And to top them all is his photographic flair — one marvels at the dexterity with which he captures nature in its purest form, portraying landscapes not merely as images but as emotional and spiritual experiences. This portrayal paints Professor Amin Zia not just as a person, but as a living institution — an embodiment of intellect, art, and nature’s harmony to piut it succinctly. Yet, this remarkable profile does not end here. Professor Muhammad Amin Zia was also adept in and endowed with journalistic capabilities. He had the gift of voice and presence — a true Radio Artist, an engaging commentator, and a man of many athletic talents: footballer, hockey and polo player, and more. Such a constellation of multifarious sterling characteristics in a single individual is indeed a great boon, observes Hasan Hasrat. Reminiscing about his sojourn in Gilgit in 1989, the renowned author and writer reflects on the moment when Amin Zia’s vibrant personality abruptly caught his attention, and he found himself enamored by Zia’s unique charm. He recalls how Zia carried himself with such compelling grace and expressive depth that he seemed every bit like a “shock hero” of the Pakistani film industry — dazzling, unpredictable, and unforgettable.At one point in his summation, Hasan Hasrat extols the brilliance and irresistible charm of Amin Zia’s persona with a striking remark: 'Had Amin Zia been born in Bombay instead of Gilgit, he would have surpassed even the legendary Dilip Kumar in fame. This layered portrait not only honors Amin Zia’s exceptional versatility, but also mirrors the emotional impact he left on those who encountered him. His persona seems to defy containment within any one category — poet, artist, teacher, or athlete — instead radiating out like a cultural force. Indeed, Muhammad Amin Zia, a luminary in the fields of literature, linguistics, and education, stands as a towering figure in the cultural and academic landscape of Gilgit-Baltistan. Renowned as a poet, author, and educationist, his unparalleled contributions to the Shina language and literature have left an indelible mark. His groundbreaking research includes the authorship of a comprehensive Shina grammar and an authoritative Shina dictionary, providing a foundational structure for linguistic scholars and future researchers. His work has not only documented but also revitalized the Shina language, ensuring its preservation and propagation for generations to come. The richness of Shina literature owes much to both native and foreign scholars who have painstakingly documented its folklore, folk songs, and poetry. Among these, German scholar Professor G. Budras stands out for his commendable contributions. However, despite the substantial work done, a striking aspect of this literary development is that most of these efforts have been pursued at an individual level, without the institutional support necessary to elevate Shina studies to a broader academic platform. Muhammad Amin Zia’s pioneering work, therefore, represents a significant milestone in bringing structured research and recognition to this rich linguistic tradition. Beyond his literary accomplishments, Muhammad Amin Zia’s legacy is equally profound in the realm of education. He is widely regarded as one of the most distinguished educators of his time. His association with the Public Schools and Colleges in Jutial, Gilgit, spanned a significant portion of his career, where he played a pivotal role in shaping young minds. Later, his tenure as the principal of the Army Public School (Hayat Shaheed) in Gilgit further cemented his reputation as an educator par excellence. Under his leadership, these institutions flourished, fostering academic excellence and intellectual growth among students. His dedication to education was not merely confined to administration but was deeply ingrained in his personal mission to uplift the youth of Gilgit-Baltistan. Muhammad Amin Zia’s literary prowess extends beyond linguistic research into the realm of poetry, where he has carved a distinguished niche for himself. His poetic compositions are deeply reflective and resonate with themes of love, destiny, and existential musings. A recent Urdu poem of his, shared on social media under Adab-e-Shumal, captures the depth of his poetic soul. The following English rendering seeks to encapsulate the spirit of his evocative verses: This poem exemplifies Muhammad Amin Zia’s ability to blend philosophical reflection with lyrical beauty. His words weave a tapestry of emotions, encapsulating the transient nature of life, love, and destiny. His poetry, much like his scholarly contributions, stands as a testament to his versatility and intellectual depth. In summation, Muhammad Amin Zia is a multifaceted genius whose contributions span across literature, linguistics, education, and poetry. His work has not only enriched the academic and literary landscape of Gilgit-Baltistan but has also laid a solid foundation for future generations to build upon. His unwavering dedication to the preservation and promotion of the Shina language, coupled with his remarkable influence as an educator and poet, ensures that his legacy will continue to inspire and illuminate the cultural and intellectual heritage of the region for years to come.A recent poetical composition from him appeared the other day on social media is as follows:- Translation: The habit of toying with fate is truly strange, Pause for a moment—nature’s ways are even more bizarre. So generous it is, scattering treasures without restraint, Yet, in an instant, it can obliterate entire settlements—how peculiar is nature! The water is ours, yet we survive on dry ablution, O Indus, your wasted abundance is an irony most strange! Every man lays claim, asserting ownership, Yet this land belongs to all and none—what a paradox of dominion! All losses rest upon our shoulders, entirely our own, And yet, we continue this trade—an absurd enterprise indeed! If a belly remains empty of lawful sustenance, Then how bizarre is the worship of such devout men! They strike down their own decrees, undoing their own verdicts, Justice, fairness, and the courts—how utterly strange is their course! Truth follows the path where Ali treads, Yet how astonishing is the essence of the Prophet’s decree! Faith is the knowledge of the heart, yet if it cannot be proven, And the words remain incomprehensible—what an enigma of expression! No remedy exists for one’s own deeds, And yet, complaints are directed at others—what a peculiar grievance! Explication: This poetry is a profound critique of the contradictions embedded within human nature, society, governance, and spirituality. The poet reflects on the ironies of fate, justice, religion, and human behavior, using strong imagery and sharp expressions. 1. Nature’s Duality: The poem begins with a reflection on nature’s unpredictability—its power to grant abundance while simultaneously destroying civilizations. This sets the stage for a broader critique of human contradictions. 2. Water and Scarcity: The line about Indus water speaks to the irony of resource mismanagement, where despite having ample water, people suffer. It is a direct commentary on political inefficiencies and systemic failures. 3. Ownership and Paradox: The poet highlights how everyone claims authority over the land, yet it ultimately belongs to no one exclusively—a scathing remark on human greed and territorial disputes. 4. Loss and Trade: Despite experiencing repeated failures, people persist in their self-destructive pursuits. This line may symbolize economic policies, personal decisions, or even blind traditions that continue despite their evident futility. 5. Hollow Worship: The poet questions the sincerity of religious devotion when people neglect the very ethics that faith demands—suggesting that worship without moral integrity is meaningless. 6. Justice and Hypocrisy: He condemns judicial systems that contradict themselves, highlighting the deep-rooted corruption and lack of fairness in legal and political structures. 7. Divine Truth and Misinterpretation: The poet refers to Ali (a.s) and the Prophet’s (PBUH) teachings, emphasizing that truth must align with righteousness, yet people manipulate religious principles for their own convenience. 8. Faith vs. Understanding: The struggle of comprehending religious or philosophical texts without true conviction is portrayed, criticizing superficial knowledge without deep insight. 9. Blame and Accountability: The poem concludes with a striking remark on human nature—people refuse to take responsibility for their actions yet complain about their misfortunes, revealing the absurdity of their grievances. Conclusion: This poetry is not just an artistic composition; it is a piercing social critique, questioning human contradictions in religion, justice, and governance. The poet presents bitter truths in an eloquent yet thought-provoking manner, making it a compelling piece of literary brilliance.