۱۴۰۵ آبان ۲۱, پنجشنبه

Biography_of_Sher_Ahmad_Yawar_Kangoorch


 

#From_Birth_to_Passing


#Part_One


#Biography_of_Sher_Ahmad_Yawar_Kangoorchi


Written by Ahmad Mahmood Imperator


On the occasion of the third anniversary of the passing of the late poet, writer, political figure, and distinguished military personality of Afghanistan, His Excellency Ustad Sher Ahmad Yawar Kangurchi, I have written a few lines, with all their possible shortcomings, under the title From Birth to Passing.


May Almighty God keep his noble and enlightened soul, together with all those who have passed before him, joyful and at peace within the boundless folds of His mercy until the Day of Resurrection.


Amen.


From Birth to Passing Part One The Biography of Sher Ahmad Yawar Kangoorchi By Ahmad Mahmood Imperator


Friends, dear ones, cultural figures, and the brave and courageous people of Afghanistan,


Today marks the anniversary of the passing of a spiritual father and a devoted son of his homeland.


(On this very day, His Majesty Al-Mutawakkil Allah Muhammad Zahir Shah, the last King and Father of the Nation of Afghanistan, passed away to meet his Lord. Eight years later, on this same day, Sher Ahmad Yawar Kangoorchi, his adopted son and personal aide, also departed this world and joined the mercy of the Almighty.)


The story begins when Wakil Nizamuddin Khan, upon the invitation of the Lord and Ruler of Qataghan, Wakil Sher Khan, invites him to the province of Badakhshan to spend a few days enjoying recreation and leisure beside the great and mighty Kishm River, in the area of Jar Shah Baba, where his ancestral gardens and orchards were located.


The invitation is accepted by Wakil Sher Khan.


On the 12th of Mizan, 1316 Solar Hijri, the guests arrive and spend the night sharing stories and singing ghazals.


The following day, during breakfast, a message is delivered to Wakil Nizamuddin Khan from his home:


"The son you have been waiting for all these years has been born."


Wakil Nizamuddin Khan considers this joyful news a good omen and attributes it to the pleasure of Almighty God and the blessed arrival of Wakil Sher Khan.


When this happy message reaches Wakil Sher Khan, he turns to those present, particularly Wakil Nizamuddin Khan, and requests that, if there is no objection, he name his first son after him.


Wakil Nizamuddin Khan and the respected elders gladly and wholeheartedly accept this request.


Thus, the child is named Sher.


Since his maternal grandfather was named Ahmad, the name Sher is combined with the suffix Ahmad, and he is given the name Sher Ahmad.


After this newborn child is placed in his mother's arms, following the cutting of his umbilical cord, a small piece of flesh is also removed from his left ear with a razor blade and given to his mother to eat, so that the child would not die during infancy.


Of course, this was a belief practised in those days, when such a thing was done by the mothers of newborn boys.


How much truth there is in this belief, I myself do not know.


However, whatever Almighty God wills is what ultimately comes to pass.


Afterwards, the child is taken to the shrine of Khwaja Chinar, located in the village of Kangurchi, in the neighbourhood of Kanizakan. There, he is presented at the sacred resting place of Pir Khwaja Chinar as an offering to Almighty God and the Pir, with the hope that he will be protected from calamities and misfortunes.


His mother is not permitted to breastfeed him. Instead, Sher Ahmad is entrusted to his stepmother, Noor Jahan Begum, who is asked to take care of him.


The hands of time continue to turn, carrying day and night forward, and Sher Ahmad reaches the age of five in the lap of the mountainous foothills of the mysterious and miraculous Taksar.


Noor Jahan Begum was unable to have children. Therefore, she cared for Sher Ahmad as the apple of her eye.


As Noor Jahan Begum was a Hafiza of the Holy Quran, she began teaching him the Quran at the earliest opportunity. Sometimes with affection and sometimes with sternness, over the course of one year, she illuminated the heart and mind of this only child with the blessed light of the Divine.


At the age of six, he was enrolled in Pashtunyar School in Kishm, which was later renamed Kishm High School. At that time, however, its educational curriculum extended only to the fourth grade.


Since Sher Ahmad was still a young child, his cousin Saifuddin Khan, who was eight years older than him at the time, would carry him on his shoulders and take him to school so that he would not be deprived of the blessings of knowledge and education.


During the winter season, he would travel to Faizabad, the provincial capital of Badakhshan, because his father, Nizamuddin Khan, was the Wakil and representative of the people of Kashm in Faizabad.


He would spend the three winter months in Faizabad, studying under the greatest religious scholars and learned men of that era, among whom Qari Sahib Mya can be mentioned.


There, he studied religious and theological matters, poetry and prosody, calligraphy, and other subjects.


It is worth mentioning that this was a special educational programme, taught exclusively at the Dar al-Qaza of Badakhshan to the children of distinguished and prominent individuals.


The number of Sher Ahmad's classmates was very small.


Among them were Muhammad Tahir Bakhshi, Wadood, the son of Godamdar Akbar, and Hamidullah, the son of the maternal uncle of Muhammad Tahir Bakhshi.


This programme was repeated every year until Sher Ahmad reached the fourth grade.


In the autumn of 1327 Solar Hijri, all military and civilian officials of Qataghan and Badakhshan were informed that His Majesty King Al-Mutawakkil Allah Muhammad Zahir Shah would undertake an informational and investigative visit to the provinces of Qataghan and Badakhshan, during which he would meet and converse with the people of these lands in person.


At that time, Juma Gul Khan Sediqi was the Governor-General of Badakhshan.


The royal ceremonial delegation, which had arrived in Badakhshan beforehand, selected a place for the King's rest and reception in the district of Kashm, in the locality of Jar Shah Baba, within the Kangoorchi area, which had historically been a residence of the Mirs.


The Governor-General of Badakhshan ordered that a welcoming address be written and recited upon the King's arrival in the town of Mashhad, in the district of Kashm, by one of the outstanding and courageous students.


It was at this point that Sher Ahmad, at the age of eleven, succeeded in this test and was selected for the task.


When His Majesty the King entered the district of Kashm, he immediately proceeded towards the Jar Shah Baba area, and those accompanying him followed him all the way to the locality of Jar Shah Baba, a distance of approximately twelve kilometres or even more.


This action by His Majesty meant that the welcoming address remained unread.


Since His Majesty was scheduled to continue his journey towards Wakhan, Khandud, and Langar the following day, an opportunity arose for the welcoming address to be recited by Sher Ahmad.


The text of the address began with the following verses:


O Crowned King, young sovereign who cherishes the homeland, We welcome you, as we place the dust beneath your feet upon our eyes.


O Sultan, noble in character, wise and compassionate, We welcome you as your radiant light illuminates the land of Badakhshan.


After listening to the address, His Majesty, accompanied by his entourage, including Ahmad Shah Khan, the Minister of the Royal Court, Chief Secretary Abdul Hadi Khan Dawi, and others, turned towards the people and asked:


"Whose son is this young man?"


Juma Gul Khan Sediqi, the Governor-General of Badakhshan, replied:


"He is the son of Wakil Sahib Nizamuddin Khan, the representative of the people of Kashm."


The King then placed his hand affectionately upon Sher Ahmad's head and asked:


"My son, what grade are you in?"


This time, Sher Ahmad himself answered:


"I am the first-ranking student in the fourth grade."


The King again asked the Governor of Badakhshan:


"Do students continue their education after the fourth grade?"


Juma Gul Khan Sediqi replied:


"No, Your Majesty. After completing the fourth grade, we employ the students for two years in government offices as honorary clerks."


At this moment, Ahmad Shah Khan, the Minister of the Royal Court, who was also the father-in-law of His Majesty the King, turned towards the King and said:


"If it is possible..."


He then suggested that Sher Ahmad be taken with them to Kabul so that he could study alongside Nader (referring to Prince Nader, the King's third son), particularly because the English language was introduced in the fourth grade.


His Majesty the King paused briefly and then turned towards Wakil Nizamuddin Khan.


He asked:


"Wakil Sahib, would you agree to Sher Ahmad studying in Kabul alongside Nader?"


Wakil Nizamuddin Khan stepped forward and said:


"Our lives and souls are sacrificed for His Majesty!"


With these words, everything took a completely different turn, and the King continued his journey towards Wakhan.


However, the members of the Royal Administration, under the leadership of Chief Secretary Abdul Hadi Khan Dawi, remained behind in Jar Shah Baba.


Sher Ahmad was permitted to return to his family and relatives to say goodbye and prepare for his journey to Kabul.


A few days later, His Majesty the King returned from the district of Wakhan to Kashm and once again stayed overnight in Jar Shah Baba. The following day, he set out on his journey towards Kabul, visiting the province of Qataghan along the way.


He entrusted Sher Ahmad to Abdul Hadi Khan Dawi and said:


"We shall see each other again in Kabul."


To ensure that Sher Ahmad would not feel homesick in Kabul, and considering that he was still very young, it was suggested that one of his relatives accompany him.


His step-uncle, whose name was Muhammad Hassan, was selected for this purpose.


Eventually, Sher Ahmad was brought to Kabul and enrolled in the prestigious Esteqlal High School.


Every day, he attended school alongside Prince Nader, and together they pursued their elementary education.


In 1335 Solar Hijri, he graduated from Esteqlal High School with the highest distinction in the Mathematics Department.


At that time, students who graduated with the highest or excellent grades were not required to take any further examinations.


For this reason, Sher Ahmad was considered a suitable candidate for a scholarship to Lebanon, where he could pursue further studies and gain knowledge and experience in the fields of Law and Political Science.


Since His Majesty the King regarded Sher Ahmad as his fifth son, and according to royal regulations, every member of the Royal Family was required to complete two years of military service and obtain an academic qualification in military affairs, failure to do so would constitute a violation of the law.


For this reason, one day His Majesty summoned Sher Ahmad and discussed the matter with him.


He asked whether he would agree to pursue military studies as a son of the King or whether he preferred to travel to Lebanon to study Political Science.


Sher Ahmad declined the prospect of travelling to Lebanon for two reasons.


First, he did not wish to be separated from Prince Nader, who was both his friend and brother.


Second, being regarded as a son of the King held greater value for him.


For these reasons, he wholeheartedly accepted the King's wish and enrolled in the Military Academy (Harbi Pohantoon).


At the beginning of 1339 Solar Hijri, Sher Ahmad, who suffered from a heart condition (Heart Murmur), experienced a heart attack during military training.


He was immediately transferred to hospital, and His Majesty the King personally contacted the embassies of Germany and Britain to inquire about the medical facilities and assistance available in their respective countries.


Within a short time, the German Embassy announced that it would spare no effort and would arrange for the patient to be transferred from Kabul to Germany as urgently as possible.


Within a few days, Sher Ahmad travelled to Bonn, Germany, accompanied by a small medical team, where preliminary medical procedures began.


At that time, Sher Ahmad was the first person from Asia to undergo open-heart surgery.


The operation was performed by Professor Sinker and Professor Schudik and lasted eight hours. It was successfully completed.


Following the operation, he was required to remain there for some time so that his medical examinations could be carried out continuously.


This meant that Sher Ahmad stayed in Germany for more than a year.


During this period, in addition to receiving medical treatment, he also underwent advanced military training in the field of INTERPOL policing at a German military academy and obtained his graduation certificate with the highest distinction.


After completing his medical examinations and military training, he returned to his homeland and was received by His Majesty the King.


His Majesty was exceedingly delighted to see his spiritual son again.


A few days later, he went to the Military Academy and took his oath of allegiance.


From there, he went directly, together with his friend and brother, Prince Nader, to visit the King. Both were dressed in military uniforms, intending to perform their first formal military salute and honour before His Majesty.


However, when they arrived at the Royal Palace, the Commander of the Ceremonial Guard informed them that His Majesty had travelled to the province of Parwan to visit the Gulbahar Textile Factory.


Consequently, both of them, Prince Nader and Sher Ahmad, proceeded to the Gulbahar Textile Factory.


When they entered the corridor, His Majesty was present with his companions.


There, for the first time, both of them performed their formal military salute and honour before the King.


They then accompanied His Majesty from Gulbahar back to Kabul.


That very evening, the entire Royal Family had gathered at Koti Baghcha.


Such gatherings were generally customary on Friday nights, as after spending an entire week apart, family members would meet and spend time together, away from political matters.


Present on this evening were Ahmad Shah Khan, the Minister of the Royal Court; Sardar Abdul Wali Khan; Sardar Mohammad Daoud Khan; Sardar Mohammad Naeem Khan; Crown Prince Sardar Ahmad Shah; some of the companions of Ustad Khalilullah Khalili, including Mohammad Rahim Panjshiri; and other high-ranking members of the royal family and officials.


During this gathering, His Majesty Al-Mutawakkil Allah Muhammad Zahir Shah raised an important matter.


He said:


"I have decided to appoint Sher Ahmad as my Military Aide and as the aide and assistant to the Crown Prince, Sardar Ahmad Shah.


Do you all agree?"


All those present accepted the decision with great pleasure and congratulated Sher Ahmad.


It was from this point onwards that Sher Ahmad's name and title changed to Sher Ahmad Khan Yawar.


He remained in this position until a few months before the coup d'état led by Sardar Mohammad Daoud Khan.


During the period when he served as the King's personal aide, Sher Ahmad Khan Yawar played an important and valuable role in the establishment of the Afghan Red Crescent Committee.


He served voluntarily as the Deputy Head of the Red Crescent Society.


The important point here is that, a few months before the coup, Sher Ahmad Khan Yawar became aware that an important development was taking shape within the Royal Family.


According to Sher Ahmad Khan Yawar himself, he used to say:


"From time to time, I would visit Sardar Mohammad Daoud Khan at his residence to inquire about his health and well-being. Of course, His Majesty the King was aware of these visits."


Sometimes, I would go to Customs Street, Qala-e-Wazir, and Hud Khel, because Sardar Mohammad Daoud Khan would go there daily.


He would park his Volkswagen car beside the road and then walk for a distance of approximately one kilometre away from his vehicle.


Whenever I arrived there, I would park my car at a distance from Sardar Mohammad Daoud Khan's vehicle.


After exchanging greetings, we would walk together and talk.


He would tell me many stories from his past. However, from between his words, it was apparent that he carried a great resentment in his heart and had a major plan in his mind.


When I shared this awareness with the Crown Prince, Sardar Ahmad Shah, I noticed that he did not pay much attention to the matter.


Eventually, I was compelled to bring this important issue directly to the attention of His Majesty the King.


One day, we were at the Qariz Mir Garden.


His Majesty had gone there to zero in his hunting rifles.


He was walking around, while special officials placed distance-marking cards at designated points along the King's walking route.


After firing several shots, he turned towards me and asked:


"My son, what news is there outside?"


I replied:


"Your Majesty, there appears to be some dissatisfaction within the government system and the Royal Family."


He fell silent for a moment, deep in thought, and then said:


"I shall speak to Abdul."


By Abdul, he meant Sardar Abdul Wali.


Following the coup d'état of 26 Saratan 1352 Solar Hijri, precisely on the third day, Sher Ahmad Khan Yawar (the fifth spiritual son of His Majesty King Muhammad Zahir Shah) was summoned by Sardar Mohammad Daoud Khan.


According to Sher Ahmad Khan Yawar himself:


"It was the 29th of Saratan, 1352 Solar Hijri. A telephone call was made from the Office of the Prime Minister to the Ministry of Defence, informing them that President Sahib had summoned Sher Ahmad Khan Yawar to the Prime Minister's Office."


"When I received the message, I immediately set out for the Prime Minister's Office.


I went inside the building and noticed several young men dressed in military uniforms talking among themselves. I did not recognise any of them, so I stopped.


One of the young men called out:


'Please, come upstairs.'


When I reached the second floor, I saw Dr Hassan Sharq coming downstairs with several men from Farah Province.


When Dr Sharq saw me, he embraced me and said:


'How are you, Sher Jan?'


I replied:


'I am well.'


He then said:


'Go quickly, the Sardar is alone.'


I proceeded forward and entered the office.


I noticed that the Prime Minister's desk and chair were unoccupied and that nobody was sitting there.


When I looked to my left, I saw Sardar Mohammad Daoud Khan seated there, studying scattered papers and documents lying on the table.


I performed the formal military salute and honour before him.


He slightly rose from his seat and said:


'Are you well, my son?'


I replied:


'Yes, Your Excellency.'


He then asked:


'Have you experienced any difficulties?'


I replied:


'No, Your Excellency.'


He said:


'Stay in contact with me.'


I replied:


'Certainly, Your Excellency.'


With these few brief words, I once again performed the formal military salute and left the office."


Although, according to information available to the author, on the second night of the coup, a number of special individuals dressed in black entered the residence of Sher Ahmad Khan Yawar.


They took away all his documents and a considerable amount of his property and belongings from his residence, which was located at Sadar Chowk.


However, they did not cause any harm to Sher Ahmad Khan Yawar himself or to his family.


End of Part One


From Birth to ... Passing


Author:   

احمد محمود امپراطور Ahmad Mahmood Imperator 


1st Asad 1397 Solar Hijri


Kabul / Afghanistan

Ahmad Mahmood Imperator: From the Architecture of Words to the Art of Image and Voice An Insight into the Literary and Artistic Journey of a Multifaceted Figure in Contemporary Afghan Poetry and Art At a time when much literary activity is confined to publishing a handful of poems and maintaining a presence on social media, discovering an artist who has pursued his creative work across several distinct disciplines calls for a perspective that goes beyond conventional introductions. Ahmad Mahmood Imperator is one of those figures whose artistic journey deserves to be explored through the relationship between poetry, literary research and experimentation, graphic arts, and poetic performance. These are distinct fields, each with its own language, principles, and artistic demands. Literary Roots and the Connection with the Tradition of Persian-Dari Poetry Ahmad Mahmood Imperator, a contemporary Afghan poet and writer, originates from Badakhshan, a region that holds a distinctive place in the cultural memory of Persian-speaking communities, particularly through its longstanding associations with poetry, mysticism, wisdom, and literary traditions. His family background and cultural environment have also contributed to the development of his interest in literature. According to a biography published on the Jam-e Ghor website, his serious engagement with poetry began in 2010. His first poetic experience was a Masnavi dedicated to Badakhshan and its poets. This early choice reveals his interest in the relationship between geographical identity, cultural memory, and poetic expression. Over time, his literary pursuits expanded to include Ghazal, Masnavi, Mukhammas, Mosaddas, Mostazad, Rubai, and other traditional forms of Persian-Dari poetry. This diversity represents more than a change in poetic structure. Each form has its own rhythmic, musical, and expressive conventions, requiring an understanding of prosody, rhyme, language, and the possibilities of poetic composition. The Art of Mukhammas: A Creative Dialogue with the Legacy of Poets One of the most distinctive aspects of Ahmad Mahmood Imperator’s literary career is his particular dedication to Mukhammas, a recognized traditional form of Persian poetry. In this form, the poet adds three lines to each couplet of an original Ghazal, creating five-line stanzas. In doing so, the poet establishes a creative dialogue between his own composition and the work of another poet. An article published by the 24 Saat website in October 2026 reports that he has composed more than 120 Mukhammas works. These compositions are based both on his own Ghazals and on the works of several classical and contemporary poets. Among the poets whose works have inspired this creative practice are Bedil of Delhi, Kamal Khujandi, Aref Qazvini, Sufi Ghulam Nabi Eshqari, Afif Bakhtari, Mohammad Nazir Zafar, Habibullah Bolbol, Naeem Jowhar Parsa, Masoud Khalili, and several others. The significance of this practice lies in the fact that a Mukhammas poet does not simply add a few lines to an existing Ghazal. The poet must engage with the original poem’s semantic atmosphere, musicality, themes, and internal logic. At the same time, the poet must preserve the independence of his own expression without losing the connection between the new composition and the original work. Among the published examples of Imperator’s work, his experience of composing a Mukhammas based on one of Bedil’s unpointed Ghazals is particularly noteworthy. Unpointed writing is a literary technique in which words are composed using letters that do not carry diacritical dots. This restriction makes vocabulary selection, sentence construction, and the preservation of meaning and musical coherence considerably more challenging. Such an experiment can be examined from the perspective of literary techniques and linguistic creativity, since the poet voluntarily accepts a demanding restriction and must make language come alive within that limited framework. The Poetic Universe: Between Love, Reflection, Identity, and Human Suffering Several thematic dimensions can be identified in Ahmad Mahmood Imperator’s published works: love and devotion, mystical and philosophical reflections, cultural identity and homeland, human suffering, loyalty, human relationships, and social concerns. In some of his poems, his language moves toward the expression of romantic emotions and personal experiences. In others, he addresses broader subjects, including homeland, the erosion of hope, the hardships of life, and the human condition. His poem “Badakhshani, I Salute You, Badakhshan” reflects his emotional attachment to his cultural and geographical birthplace. By contrast, his Ghazal “How Many Heart-Rending Wounds My Body Has Endured” presents a different atmosphere, expressing suffering, inner wounds, and perseverance through an emotionally charged poetic language. This thematic diversity is important because a poet’s literary universe cannot be reduced to a single subject, whether love or mysticism. A more comprehensive understanding of his work requires examining numerous poems and comparing their language, structure, and artistic approaches. Graphic Art: Extending the Literary Vision into the World of Images Another dimension of Ahmad Mahmood Imperator’s artistic activities is graphic design and the creation of literary and artistic compositions. His involvement in this field is particularly significant because it establishes a direct relationship between literature and visual arts. An English-language introduction published on Jam-e Ghor mentions his experience in digital design and digital calligraphy, developed through his knowledge of information technology. Among the examples cited is the arrangement and presentation of Bedil’s verses using different Persian typographic styles. This activity should not be regarded merely as the visual decoration of poetry. In a successful literary graphic composition, the choice of typography, letter proportions, composition, negative space, colours, background, and text placement all contribute to the communication of meaning. When a verse is presented as a graphic artwork, the audience is no longer confronted with words alone; instead, it encounters a relationship between writing, form, and image. In this field, the designer must possess not only literary sensitivity but also an understanding of visual principles and artistic proportions. From this perspective, Imperator’s graphic activities can be considered another extension of his interest in language and aesthetics: an attempt to transfer literary content from the written page into the visual realm. Poetic Recitation and Performance: Bringing Poetry from the Page to the Voice The third dimension of his artistic activities is poetic recitation and literary performance. Within the Persian-speaking literary tradition, poetry has never been intended solely for silent reading. Its inner musicality, rhythm, sound patterns, and emotional potential also provide the foundations for oral performance. Alongside writing and publishing his literary works, Ahmad Mahmood Imperator has pursued poetic recitation and the presentation of poetry at literary gatherings and cultural events, as well as through online platforms. His YouTube channel, under the name AHMAD MAHMOOD IMPERATOR, is dedicated to sharing his recitations, graphic poetry presentations, and artistic productions. According to statistical information recorded by the analytical website Vling, at the time of consultation, the channel had approximately 23,500 subscribers and more than 1,200 videos. These figures provide an indication of the extent of his digital presence, although subscriber numbers alone cannot serve as a measure of artistic quality or the actual reception of individual works. Unlike writing poetry, performing it depends on the control of tone, pauses, vocal rhythm, pronunciation, and emotional communication. Recitation approaches the level of an independent art when the performer does not merely pronounce the words but also conveys the emotional structure and deeper meaning of the poem to the listener. Presence in Literary Media and the Archiving of Works One of the essential aspects of understanding a poet’s career is examining the channels through which their works are published and circulated. Ahmad Mahmood Imperator’s name appears on several literary and cultural platforms across the internet, including Afghanpedia, Jam-e Ghor, 24 Saat, Maria Daru, Neynameh, and PoemHunter. In the Afghanpedia archive, two titles, Imperator 1 and Divan of Poetry, are also listed among his works. These records indicate that his literary activities have not remained confined to personal pages and that some of his creations have also appeared in literary archives and cultural media. Collaboration with literary publications and the regular publication of poetry not only contribute to introducing an author but also make it possible for readers to access and revisit their works. Nevertheless, online publication should be distinguished from the formal publication of printed books. Any rigorous assessment of a poet’s literary career must recognize the difference between these two forms of publication. A Multimedia Artistic Journey with Room for Further Exploration and Development What attracts attention in Ahmad Mahmood Imperator’s artistic activities is the convergence of three distinct forms of expression within a single creative journey: the word in poetry, the image in graphic art, and the voice in poetic recitation. Although these three disciplines are independent, they can complement one another. Poetry enables him to express thoughts and emotions through language; graphic art allows him to transform that language into a visual experience; and recitation gives literary works an additional auditory and performative dimension. However, artistic diversity does not automatically imply superiority or complete mastery in every discipline. Each field requires independent evaluation. The true value of this artistic journey becomes clearer when the poems are examined in terms of language, musicality, and themes; the graphic works in terms of composition and visual craftsmanship; and the recitations in terms of performance quality and the effective communication of meaning. An objective introduction to Imperator must therefore acknowledge the breadth of his activities while maintaining the standards of literary and artistic criticism. Such an approach makes it possible to present a more authentic, human, and realistic portrait of the artist rather than constructing an idealized image detached from critical evaluation. Conclusion Ahmad Mahmood Imperator can be regarded as a poet who, while maintaining a strong connection with the classical tradition of Persian-Dari poetry, has explored different poetic forms, particularly Mukhammas, and expanded his creative activities into literary graphic design and poetic performance. His artistic journey still offers considerable potential for documentation, criticism, and further study: from systematically compiling his Divan and organizing his Mukhammas compositions to creating a visual archive of his graphic works and categorizing his recitations according to their themes and dates. Perhaps the most accurate way to understand an artist of this nature is not through prestigious titles or unsupported praise, but through direct engagement with his works. Ultimately, it is the works themselves that will determine the place and endurance of his name in literary and cultural memory. Ahmad Mahmood Imperator Poet,

Ahmad Mahmood Imperator: From the Architecture of Words to the Art of Image and Voice

An Insight into the Literary and Artistic Journey of a Multifaceted Figure in Contemporary Afghan Poetry and Art

At a time when much literary activity is confined to publishing a handful of poems and maintaining a presence on social media, discovering an artist who has pursued his creative work across several distinct disciplines calls for a perspective that goes beyond conventional introductions. Ahmad Mahmood Imperator is one of those figures whose artistic journey deserves to be explored through the relationship between poetry, literary research and experimentation, graphic arts, and poetic performance. These are distinct fields, each with its own language, principles, and artistic demands.

Literary Roots and the Connection with the Tradition of Persian-Dari Poetry

Ahmad Mahmood Imperator, a contemporary Afghan poet and writer, originates from Badakhshan, a region that holds a distinctive place in the cultural memory of Persian-speaking communities, particularly through its longstanding associations with poetry, mysticism, wisdom, and literary traditions. His family background and cultural environment have also contributed to the development of his interest in literature.

According to a biography published on the Jam-e Ghor website, his serious engagement with poetry began in 2010. His first poetic experience was a Masnavi dedicated to Badakhshan and its poets. This early choice reveals his interest in the relationship between geographical identity, cultural memory, and poetic expression.

Over time, his literary pursuits expanded to include Ghazal, Masnavi, Mukhammas, Mosaddas, Mostazad, Rubai, and other traditional forms of Persian-Dari poetry. This diversity represents more than a change in poetic structure. Each form has its own rhythmic, musical, and expressive conventions, requiring an understanding of prosody, rhyme, language, and the possibilities of poetic composition.

The Art of Mukhammas: A Creative Dialogue with the Legacy of Poets

One of the most distinctive aspects of Ahmad Mahmood Imperator’s literary career is his particular dedication to Mukhammas, a recognized traditional form of Persian poetry.

In this form, the poet adds three lines to each couplet of an original Ghazal, creating five-line stanzas. In doing so, the poet establishes a creative dialogue between his own composition and the work of another poet.

An article published by the 24 Saat website in October 2026 reports that he has composed more than 120 Mukhammas works. These compositions are based both on his own Ghazals and on the works of several classical and contemporary poets.

Among the poets whose works have inspired this creative practice are Bedil of Delhi, Kamal Khujandi, Aref Qazvini, Sufi Ghulam Nabi Eshqari, Afif Bakhtari, Mohammad Nazir Zafar, Habibullah Bolbol, Naeem Jowhar Parsa, Masoud Khalili, and several others.

The significance of this practice lies in the fact that a Mukhammas poet does not simply add a few lines to an existing Ghazal. The poet must engage with the original poem’s semantic atmosphere, musicality, themes, and internal logic. At the same time, the poet must preserve the independence of his own expression without losing the connection between the new composition and the original work.

Among the published examples of Imperator’s work, his experience of composing a Mukhammas based on one of Bedil’s unpointed Ghazals is particularly noteworthy.

Unpointed writing is a literary technique in which words are composed using letters that do not carry diacritical dots. This restriction makes vocabulary selection, sentence construction, and the preservation of meaning and musical coherence considerably more challenging.

Such an experiment can be examined from the perspective of literary techniques and linguistic creativity, since the poet voluntarily accepts a demanding restriction and must make language come alive within that limited framework.

The Poetic Universe: Between Love, Reflection, Identity, and Human Suffering

Several thematic dimensions can be identified in Ahmad Mahmood Imperator’s published works: love and devotion, mystical and philosophical reflections, cultural identity and homeland, human suffering, loyalty, human relationships, and social concerns.

In some of his poems, his language moves toward the expression of romantic emotions and personal experiences. In others, he addresses broader subjects, including homeland, the erosion of hope, the hardships of life, and the human condition.

His poem “Badakhshani, I Salute You, Badakhshan” reflects his emotional attachment to his cultural and geographical birthplace. By contrast, his Ghazal “How Many Heart-Rending Wounds My Body Has Endured” presents a different atmosphere, expressing suffering, inner wounds, and perseverance through an emotionally charged poetic language.

This thematic diversity is important because a poet’s literary universe cannot be reduced to a single subject, whether love or mysticism. A more comprehensive understanding of his work requires examining numerous poems and comparing their language, structure, and artistic approaches.

Graphic Art: Extending the Literary Vision into the World of Images

Another dimension of Ahmad Mahmood Imperator’s artistic activities is graphic design and the creation of literary and artistic compositions.

His involvement in this field is particularly significant because it establishes a direct relationship between literature and visual arts.

An English-language introduction published on Jam-e Ghor mentions his experience in digital design and digital calligraphy, developed through his knowledge of information technology. Among the examples cited is the arrangement and presentation of Bedil’s verses using different Persian typographic styles.

This activity should not be regarded merely as the visual decoration of poetry. In a successful literary graphic composition, the choice of typography, letter proportions, composition, negative space, colours, background, and text placement all contribute to the communication of meaning.

When a verse is presented as a graphic artwork, the audience is no longer confronted with words alone; instead, it encounters a relationship between writing, form, and image.

In this field, the designer must possess not only literary sensitivity but also an understanding of visual principles and artistic proportions.

From this perspective, Imperator’s graphic activities can be considered another extension of his interest in language and aesthetics: an attempt to transfer literary content from the written page into the visual realm.

Poetic Recitation and Performance: Bringing Poetry from the Page to the Voice

The third dimension of his artistic activities is poetic recitation and literary performance.

Within the Persian-speaking literary tradition, poetry has never been intended solely for silent reading. Its inner musicality, rhythm, sound patterns, and emotional potential also provide the foundations for oral performance.

Alongside writing and publishing his literary works, Ahmad Mahmood Imperator has pursued poetic recitation and the presentation of poetry at literary gatherings and cultural events, as well as through online platforms.

His YouTube channel, under the name AHMAD MAHMOOD IMPERATOR, is dedicated to sharing his recitations, graphic poetry presentations, and artistic productions.

According to statistical information recorded by the analytical website Vling, at the time of consultation, the channel had approximately 23,500 subscribers and more than 1,200 videos. These figures provide an indication of the extent of his digital presence, although subscriber numbers alone cannot serve as a measure of artistic quality or the actual reception of individual works.

Unlike writing poetry, performing it depends on the control of tone, pauses, vocal rhythm, pronunciation, and emotional communication.

Recitation approaches the level of an independent art when the performer does not merely pronounce the words but also conveys the emotional structure and deeper meaning of the poem to the listener.

Presence in Literary Media and the Archiving of Works

One of the essential aspects of understanding a poet’s career is examining the channels through which their works are published and circulated.

Ahmad Mahmood Imperator’s name appears on several literary and cultural platforms across the internet, including Afghanpedia, Jam-e Ghor, 24 Saat, Maria Daru, Neynameh, and PoemHunter.

In the Afghanpedia archive, two titles, Imperator 1 and Divan of Poetry, are also listed among his works.

These records indicate that his literary activities have not remained confined to personal pages and that some of his creations have also appeared in literary archives and cultural media.

Collaboration with literary publications and the regular publication of poetry not only contribute to introducing an author but also make it possible for readers to access and revisit their works.

Nevertheless, online publication should be distinguished from the formal publication of printed books. Any rigorous assessment of a poet’s literary career must recognize the difference between these two forms of publication.

A Multimedia Artistic Journey with Room for Further Exploration and Development

What attracts attention in Ahmad Mahmood Imperator’s artistic activities is the convergence of three distinct forms of expression within a single creative journey: the word in poetry, the image in graphic art, and the voice in poetic recitation.

Although these three disciplines are independent, they can complement one another.

Poetry enables him to express thoughts and emotions through language; graphic art allows him to transform that language into a visual experience; and recitation gives literary works an additional auditory and performative dimension.

However, artistic diversity does not automatically imply superiority or complete mastery in every discipline. Each field requires independent evaluation.

The true value of this artistic journey becomes clearer when the poems are examined in terms of language, musicality, and themes; the graphic works in terms of composition and visual craftsmanship; and the recitations in terms of performance quality and the effective communication of meaning.

An objective introduction to Imperator must therefore acknowledge the breadth of his activities while maintaining the standards of literary and artistic criticism.

Such an approach makes it possible to present a more authentic, human, and realistic portrait of the artist rather than constructing an idealized image detached from critical evaluation.

Conclusion

Ahmad Mahmood Imperator can be regarded as a poet who, while maintaining a strong connection with the classical tradition of Persian-Dari poetry, has explored different poetic forms, particularly Mukhammas, and expanded his creative activities into literary graphic design and poetic performance.

His artistic journey still offers considerable potential for documentation, criticism, and further study: from systematically compiling his Divan and organizing his Mukhammas compositions to creating a visual archive of his graphic works and categorizing his recitations according to their themes and dates.

Perhaps the most accurate way to understand an artist of this nature is not through prestigious titles or unsupported praise, but through direct engagement with his works. Ultimately, it is the works themselves that will determine the place and endurance of his name in literary and cultural memory.

Ahmad 

 

Ahmad Mahmood Imperator: From the Architecture of Words to the Art of Image and Voice


An Insight into the Literary and Artistic Journey of a Multifaceted Figure in Contemporary Afghan Poetry and Art


At a time when much literary activity is confined to publishing a handful of poems and maintaining a presence on social media, discovering an artist who has pursued his creative work across several distinct disciplines calls for a perspective that goes beyond conventional introductions. Ahmad Mahmood Imperator is one of those figures whose artistic journey deserves to be explored through the relationship between poetry, literary research and experimentation, graphic arts, and poetic performance. These are distinct fields, each with its own language, principles, and artistic demands.


Literary Roots and the Connection with the Tradition of Persian-Dari Poetry


Ahmad Mahmood Imperator, a contemporary Afghan poet and writer, originates from Badakhshan, a region that holds a distinctive place in the cultural memory of Persian-speaking communities, particularly through its longstanding associations with poetry, mysticism, wisdom, and literary traditions. His family background and cultural environment have also contributed to the development of his interest in literature.


According to a biography published on the Jam-e Ghor website, his serious engagement with poetry began in 2010. His first poetic experience was a Masnavi dedicated to Badakhshan and its poets. This early choice reveals his interest in the relationship between geographical identity, cultural memory, and poetic expression.


Over time, his literary pursuits expanded to include Ghazal, Masnavi, Mukhammas, Mosaddas, Mostazad, Rubai, and other traditional forms of Persian-Dari poetry. This diversity represents more than a change in poetic structure. Each form has its own rhythmic, musical, and expressive conventions, requiring an understanding of prosody, rhyme, language, and the possibilities of poetic composition.


The Art of Mukhammas: A Creative Dialogue with the Legacy of Poets


One of the most distinctive aspects of Ahmad Mahmood Imperator’s literary career is his particular dedication to Mukhammas, a recognized traditional form of Persian poetry.


In this form, the poet adds three lines to each couplet of an original Ghazal, creating five-line stanzas. In doing so, the poet establishes a creative dialogue between his own composition and the work of another poet.


An article published by the 24 Saat website in October 2026 reports that he has composed more than 120 Mukhammas works. These compositions are based both on his own Ghazals and on the works of several classical and contemporary poets.


Among the poets whose works have inspired this creative practice are Bedil of Delhi, Kamal Khujandi, Aref Qazvini, Sufi Ghulam Nabi Eshqari, Afif Bakhtari, Mohammad Nazir Zafar, Habibullah Bolbol, Naeem Jowhar Parsa, Masoud Khalili, and several others.


The significance of this practice lies in the fact that a Mukhammas poet does not simply add a few lines to an existing Ghazal. The poet must engage with the original poem’s semantic atmosphere, musicality, themes, and internal logic. At the same time, the poet must preserve the independence of his own expression without losing the connection between the new composition and the original work.


Among the published examples of Imperator’s work, his experience of composing a Mukhammas based on one of Bedil’s unpointed Ghazals is particularly noteworthy.


Unpointed writing is a literary technique in which words are composed using letters that do not carry diacritical dots. This restriction makes vocabulary selection, sentence construction, and the preservation of meaning and musical coherence considerably more challenging.


Such an experiment can be examined from the perspective of literary techniques and linguistic creativity, since the poet voluntarily accepts a demanding restriction and must make language come alive within that limited framework.


The Poetic Universe: Between Love, Reflection, Identity, and Human Suffering


Several thematic dimensions can be identified in Ahmad Mahmood Imperator’s published works: love and devotion, mystical and philosophical reflections, cultural identity and homeland, human suffering, loyalty, human relationships, and social concerns.


In some of his poems, his language moves toward the expression of romantic emotions and personal experiences. In others, he addresses broader subjects, including homeland, the erosion of hope, the hardships of life, and the human condition.


His poem “Badakhshani, I Salute You, Badakhshan” reflects his emotional attachment to his cultural and geographical birthplace. By contrast, his Ghazal “How Many Heart-Rending Wounds My Body Has Endured” presents a different atmosphere, expressing suffering, inner wounds, and perseverance through an emotionally charged poetic language.


This thematic diversity is important because a poet’s literary universe cannot be reduced to a single subject, whether love or mysticism. A more comprehensive understanding of his work requires examining numerous poems and comparing their language, structure, and artistic approaches.


Graphic Art: Extending the Literary Vision into the World of Images


Another dimension of Ahmad Mahmood Imperator’s artistic activities is graphic design and the creation of literary and artistic compositions.


His involvement in this field is particularly significant because it establishes a direct relationship between literature and visual arts.


An English-language introduction published on Jam-e Ghor mentions his experience in digital design and digital calligraphy, developed through his knowledge of information technology. Among the examples cited is the arrangement and presentation of Bedil’s verses using different Persian typographic styles.


This activity should not be regarded merely as the visual decoration of poetry. In a successful literary graphic composition, the choice of typography, letter proportions, composition, negative space, colours, background, and text placement all contribute to the communication of meaning.


When a verse is presented as a graphic artwork, the audience is no longer confronted with words alone; instead, it encounters a relationship between writing, form, and image.


In this field, the designer must possess not only literary sensitivity but also an understanding of visual principles and artistic proportions.


From this perspective, Imperator’s graphic activities can be considered another extension of his interest in language and aesthetics: an attempt to transfer literary content from the written page into the visual realm.


Poetic Recitation and Performance: Bringing Poetry from the Page to the Voice


The third dimension of his artistic activities is poetic recitation and literary performance.


Within the Persian-speaking literary tradition, poetry has never been intended solely for silent reading. Its inner musicality, rhythm, sound patterns, and emotional potential also provide the foundations for oral performance.


Alongside writing and publishing his literary works, Ahmad Mahmood Imperator has pursued poetic recitation and the presentation of poetry at literary gatherings and cultural events, as well as through online platforms.


His YouTube channel, under the name AHMAD MAHMOOD IMPERATOR, is dedicated to sharing his recitations, graphic poetry presentations, and artistic productions.


According to statistical information recorded by the analytical website Vling, at the time of consultation, the channel had approximately 23,500 subscribers and more than 1,200 videos. These figures provide an indication of the extent of his digital presence, although subscriber numbers alone cannot serve as a measure of artistic quality or the actual reception of individual works.


Unlike writing poetry, performing it depends on the control of tone, pauses, vocal rhythm, pronunciation, and emotional communication.


Recitation approaches the level of an independent art when the performer does not merely pronounce the words but also conveys the emotional structure and deeper meaning of the poem to the listener.


Presence in Literary Media and the Archiving of Works


One of the essential aspects of understanding a poet’s career is examining the channels through which their works are published and circulated.


Ahmad Mahmood Imperator’s name appears on several literary and cultural platforms across the internet, including Afghanpedia, Jam-e Ghor, 24 Saat, Maria Daru, Neynameh, and PoemHunter.


In the Afghanpedia archive, two titles, Imperator 1 and Divan of Poetry, are also listed among his works.


These records indicate that his literary activities have not remained confined to personal pages and that some of his creations have also appeared in literary archives and cultural media.


Collaboration with literary publications and the regular publication of poetry not only contribute to introducing an author but also make it possible for readers to access and revisit their works.


Nevertheless, online publication should be distinguished from the formal publication of printed books. Any rigorous assessment of a poet’s literary career must recognize the difference between these two forms of publication.


A Multimedia Artistic Journey with Room for Further Exploration and Development


What attracts attention in Ahmad Mahmood Imperator’s artistic activities is the convergence of three distinct forms of expression within a single creative journey: the word in poetry, the image in graphic art, and the voice in poetic recitation.


Although these three disciplines are independent, they can complement one another.


Poetry enables him to express thoughts and emotions through language; graphic art allows him to transform that language into a visual experience; and recitation gives literary works an additional auditory and performative dimension.


However, artistic diversity does not automatically imply superiority or complete mastery in every discipline. Each field requires independent evaluation.


The true value of this artistic journey becomes clearer when the poems are examined in terms of language, musicality, and themes; the graphic works in terms of composition and visual craftsmanship; and the recitations in terms of performance quality and the effective communication of meaning.


An objective introduction to Imperator must therefore acknowledge the breadth of his activities while maintaining the standards of literary and artistic criticism.


Such an approach makes it possible to present a more authentic, human, and realistic portrait of the artist rather than constructing an idealized image detached from critical evaluation.


Conclusion


Ahmad Mahmood Imperator can be regarded as a poet who, while maintaining a strong connection with the classical tradition of Persian-Dari poetry, has explored different poetic forms, particularly Mukhammas, and expanded his creative activities into literary graphic design and poetic performance.


His artistic journey still offers considerable potential for documentation, criticism, and further study: from systematically compiling his Divan and organizing his Mukhammas compositions to creating a visual archive of his graphic works and categorizing his recitations according to their themes and dates.


Perhaps the most accurate way to understand an artist of this nature is not through prestigious titles or unsupported praise, but through direct engagement with his works. Ultimately, it is the works themselves that will determine the place and endurance of his name in literary and cultural memory.


Ahmad Mahmood Imperator


Poet, Writer, Mukhammas Poet, and Graphic Artist.

۱۴۰۵ آبان ۱۵, جمعه

تا تو را از برم جدا دارم - شاعر احمد محمود امپراطور

شاعر احمد محمود امپراطور 

 

تـــــــا تو را از بـــــــــرم جدا دارم 

از غمــــــــت درد بــــــی دوا دارم

روز و شب من ز بیـــــــــم رسوایی 

دست بـــــر دامـــــن خــــــــدا دارم

دل شکستــه دو دیده پر خون شد

پای تا ســــــــر همـــــــــه حنا دارم

نیست یار و رفیق و همدم و دوست 

سخن همــــــــــــراهی چـار پا دارم 

طعنه ام میرسد ز زاهد و شیخ

کفر گویی من از ملا دارم

گفتـــــــه های دلــــــــــم نمی فهمند

لب به ناچـــــار بـــــــــر خطا دارم 

چقــــــــــدر زار و بینــــــــوا گشتم 

چقــــــــــدر حال نــــــــا صفا دارم 

شب گرسنـــــــــه و روز سرگردان

جانی بـــــــــا درد مبتـــــــــلا دارم 

شکر صد شکر من ز شعر و ادب 

آشنـــــــــــای جهــــــــان نمـا دارم

انبیــــــــــاء باشــــــــدند مرا استاد

از قـــــــــــرآن شــــرح کیمیا دارم

فارغـــــــم از ریـــا و غبیت و ظلم

چون به قلبــــــــم فقط تــــــرا دارم

تــــــــاکه محمود است زنده منــــم

ســـــــر و جانــــــم برش فدا دارم

-----------------------------------------

بامداد دوشنبه 15 عقرب 1396 آفتابی 

که برابر میشود به 06 نوامبر 2017 ترسایی

سرودم 

احمد محمود امپراطور

۱۴۰۵ آبان ۱۳, چهارشنبه

محمود را قلندر و عاشق نوشته کن

قلندر و عاشق 

اندر میان اسم و لقب های بی شمار 

محمود را قلندر و عاشق نوشته کن 

#احمد_محمود_امپراطور

۱۴۰۵ آبان ۱۰, یکشنبه

نخستین سالگرد درگذشت دوست دانشمند و عزیزالقدرم، حاج عتیق‌الله بیقرار

احمد محمود امپراطور و  مرحوم حاج عتیق‌الله بیقرار 

 

نخستین سالگرد درگذشت دوست دانشمند و عزیزالقدرم، حاج عتیق‌الله بیقرار

روایت بیش از شش دهه رفاقت، جوانمردی، وفاداری و حرمت‌شناسی

امروز در نخستین سالگرد درگذشت دوست دانشمند، عزیزالقدر و مرحوم مغفورم، حاج عتیق‌الله بیقرار، با دلی آکنده از اندوه و چشمانی نمناک، از مردی یاد می‌کنم که بیش از شصت سال، از اوان کودکی تا واپسین روز زندگی‌اش، حرمت دوستی، حق‌ شناسی، نمک‌ شناسی و وفاداری را با کمال صداقت پاس داشت.

مرحوم بیقرار صاحب از همان دوران کودکی، زمانیکه همراه پدر مرحوم‌ شان به خانه ما می‌ آمدند، پیوندی سرشار از محبت و احترام با خانواده ما برقرار کردند. 

این رشته رفاقت و ارادت، سالهای طولانی ادامه یافت و هر کجا پدرم، استاد شیر احمد یاور کنگورچی، میرفتند، ایشان نیز همراهشان بودند.

 این همراهی رفت‌ و آمد یک دوست با دوست دیگر نبود، بلکه از ارادت عمیق، وفاداری و حرمت‌ شناسی مردی بود که رفاقت را تا پایان عمر از یاد نبرد.

پس از وفات پدرم در سال ۱۳۹۵ خورشیدی، محبت و توجه ایشان نسبت به خانواده ما بیشتر از پیش شد. 

همواره از احوال ما خبر می‌ گرفتند و چنان رفتار می‌کردند که گویی فرزند کلان خانواده‌ اند و خود را در برابر ما مسئول می‌دانند. 

مادرم را «مادر جان» خطاب می‌کردند و با نهایت فروتنی می‌گفتند:

«مادر جان، من نوکرت هستم!»

این سخن تعارف نبود؛ جلوه‌ ای از شخصیت مردی بود که حرمت خانواده، حق رفاقت و ارزش محبت را با تمام وجود درک میکرد.

با آنکه از دارایی و جایداد فراوان بر خوردار بودند و موتر نیز داشتند، زندگی ساده و بی‌ تکلفی را ترجیح میدادند. بیشتر با موتور سایکل ارزان‌ قیمت خود رفت‌ و آمد می‌کردند و برای دیدن ما نیز با همان وسیله ساده و پایکش می‌آمدند. 

پاکیزگی، قناعت، شکر گزاری، تواضع و شوخ‌ طبعی از ویژگیهای برجسته ایشان بود. 

دارایی دنیا نتوانسته بود ذره‌ ای از فروتنی و سادگی‌ شان بکاهد؛ زیرا بزرگی انسان را نه در آنچه دارد، بلکه در منش، کردار و رفتارش باید جستجو کرد.

مرحوم حاج عتیق‌ الله بیقرار یکبار ازدواج کرده بودند، اما صاحب فرزندی نشدند. 

با اینهمه، محبت و خاطرات نیک ایشان در دل دوستان و خانواده‌ هایی که با آنان پیوند دیرینه داشتند، زنده مانده است؛ یادگاری که در کنار عیاری، جوانمردی و نام نیک شان، از ایشان به جا مانده است.

مردی که شعر را با زندگی آمیخته بود

 بیقرار صاحب مردی سخندان، شعر شناس و صاحب حافظه‌ ای نیرومند بودند. 

ابیات فراوانی از شاعران را از بر داشتند و در هر سخن خود، بمناسبت، بیتی از شعر می‌ آوردند. 

سخنان‌ شان اغلب با شعری زیبا همراه می‌ شد و همین ویژگی، گفتگو با ایشان را دلنشین و بیاد ماندنی می‌ ساخت.

خطی بسیار زیبا، خوش‌ تراش و منحصر به فرد داشتند و همیشه با قلم‌ های نوک‌ دبل می‌ نوشتند. 

هر سخنی که به دلشان می‌ نشست، بی‌ درنگ یادداشت میکردند و چندین بار آن را تکرار می‌ نوشتند تا در حافظه‌ شان بماند. 

این عادت، نشان‌ دهنده علاقه عمیق ایشان به سخن، شعر، اندیشه و حفظ داشته‌ های معنوی بود.

از خاطرات شیرین من با آن مرحوم، گفتگو های صمیمانه‌

 ای است که هنوز با گذشت یک سال از فراق‌ شان، لبخند بر لب و اندوه در دل می‌آورد. 

هرگاه من سخن میگفتم، با محبت و شگفتی می‌گفتند:

«محمود جان، تو چقدر می‌فهمی!»

سپس رو به مادرم می‌ کردند و با همان شوخ‌ طبعی ویژه خود می‌گفتند:

«مادر جان، طفل دامنگیر من آخر گریبان‌ گیر شد!»

بعد خاطرات دوران کودکی مرا به یاد می‌آوردند و می‌گفتند:

«یک وقت تو خودت خرد سال بودی؛ من تو را مدیر استخبارات می‌ گفتم! اندک کاری که میکردم، به کاکایم، یعنی پدرت، شیر احمد یاور کنگورچی، راپور میدادی. 

در همان سن‌ و سال از تو می‌ ترسیدم که مبادا گپ یا شوخی مرا به کاکایم بگویی تا مرا تنبیه کند! 

حالا، نام خدا، چقدر معلومات داری و من از تو می‌ آموزم!»

این سخنان از لطف، محبت و بزرگواری آن مرد عزیز سرچشمه میگرفت.

 حقیقت این است که من خود، در طول این سالیان دراز، از سخنان، تجربیات، خاطرات و منش انسانی ایشان بسیار آموخته‌ ام و از مصاحبت‌ شان کسب فیض کرده‌ام. 

اگر ایشان در من دانشی یا اندیشه‌ ای شایسته میدیدند، آن را از روی محبت و بزرگواری خود بیان میکردند؛ وگرنه من نیز در محضر ایشان بسیار آموخته‌ ام و از گفتار و کردار شان بهره برده‌ام.

ایمان، عبادت و جوانمردی

بُعد دیگر شخصیت حاج عتیق‌ الله بیقرار، پایبندی کم‌ نظیر شان به دین و عبادت بود. 

بنا بر شناخت و خاطرات ما از زندگی ایشان، از هفت‌ سالگی تا هفتاد سالگی و واپسین روز های عمر، با طهارت و نماز مأنوس بودند. 

نماز های پنجگانه را ترک نمی‌ کردند، به نماز های شبانه و تلاوت قرآن عظیم‌الشأن پابندی داشتند و ایمان را در کنار جوانمردی، درستکاری و حرمت‌ شناسی، چراغ راه زندگی خود ساخته بودند.

مرحوم بیقرار صاحب از واپسین چهره‌های نسل اصیل عیاران و کاکه‌ های کابل و چهاردهی زمین بودند؛ مردی جوانمرد، نمک‌ شناس، وفادار و متواضع که در رفتار و کردار خویش، ارزشهای دیرینه عیاری و کاکه‌ گی را زنده نگه داشته بودند. 

ایشان از آن مردانی بودند که حرمت رفاقت را تنها به زبان نمی‌آوردند، بلکه در عمل ثابت می‌ساختند.

داغی که پس از یک سال هنوز تازه است

با آنکه یک سال از وفات حاج عتیق‌ الله بیقرار می‌گذرد، هنوز هیچ روز و ساعتی نیست که یادش در دلم زنده نشود. شبها و روزها خاطراتش را مرور میکنم و هر بار گوشه‌ ای از محبت‌ ها، سخنان، شوخیها و جوانمردی‌ هایش در خاطرم جان میگیرد.

راستش را بخواهید، من خود نیز نمیدانستم که بیقرار صاحب را تا این اندازه دوست دارم و رفتنش چنین خلأ بزرگی در زندگی‌ ام بر جا خواهد گذاشت. 

گاهی انسان تا زمانی که عزیزی را از دست نداده است، به ژرفای محبتی که در دل نسبت به او دارد، پی نمی‌برد؛ اما هنگامی که جای خالی‌ اش را در زندگی احساس میکند، تازه می‌ فهمد که آن انسان چه جایگاه بزرگی در قلبش داشته است.

بیقرار صاحب بار ها با همان لحن صمیمانه و محبت‌ آمیز خود به من می‌ گفتند:

«محمود جان، امپراطور صاحب، افتخارم! هوشت باشد 

که اگر مرا چیزی شد، خودت را برسانی؛ نگذاری در مریضی و مرگ بی‌ صاحب بمانم و بعد از من هم مرا فراموش نکنی!»

و من در پاسخ می‌گفتم:

«استاد خدا نکند!»

هرگز تصور نمیکردم روزی فرا برسد که این سخنان از خاطره به حقیقتی تلخ تبدیل شوند؛ روزیکه دیگر صدای گرمش را نه شنوم و نه توانم در کنارش بنشینم و از صحبتها و شوخی‌ هایش لذت ببرم.

اما روز موعود فرا رسید.

روز جمعه، حوالی ساعت دوازده چاشت، هنگامی که از خانه ایشان با من تماس گرفتند و خبر دادند که حاج عتیق‌ الله بیقرار به لقاءالله پیوسته‌ اند، گویی چیزی در درونم فرو ریخت. 

خبر وفات‌ شان چنان بر من سنگینی کرد که وصف آن با کلمات آسان نیست.

از خانه، از سرک گذر گاه تا مهتاب قلعه چهاردهی، بسوی خانه بیقرار صاحب، چنان گریستم که در تمام عمرم آنگونه نگریسته بودم. اشکهایم بی‌ اختیار جاری بود و دلم از باور کردن این حقیقت تلخ ناتوان. 

مردی که بیش از شصت سال با خانواده ما پیوند داشت، مردی که در شادی و غم، در روزگار پدرم و پس از وفات او در کنار ما بود، دیگر در میان ما نبود.

اکنون که این سطر ها را می‌نویسم، با گذشت یک سال، هنوز اشکهایم جاری است.

 گویی دیروز بود که صدایش را می‌ شنیدم، شوخی‌ های شیرینش را به یاد می‌ آورم و سخنانش در گوشم طنین‌ انداز می‌شود. 

زمان گذشته است، اما داغ رفتنش هنوز تازه است؛ زیرا بعضی آدم‌ ها فقط دوست نیستند، بلکه بخشی از زندگی، خاطرات کودکی و هویت عاطفی انسان اند.

بیقرار صاحب عزیز! خودت رفتی، اما خاطراتت نرفت صدایت خاموش شد، اما پژواک سخنانت هنوز در گوش جانم طنین‌ انداز است.

امروز بهتر از هر زمان دیگری می‌ فهمم که چرا آنقدر بر فراموش نشدن خود تأکید میکردی. 

 از من خواسته بودی که در روز بیماری و وفاتت کنارت باشم و پس از رفتنت نیز فراموشت نکنم. 

کنون که دیگر در میان ما نیستی، می‌ خواهم با نوشتن این یاد بود بگویم که آن سخنانت را از یاد نبرده‌ ام.

بیش از شصت سال حرمت و وفاداری را پاس داشتی؛ پس چگونه ممکن است من اینهمه سال محبت، جوانمردی و رفاقت را فراموش کنم؟

من امروز از یک دوست دیرینه، بلکه از مردی یاد میکنم که در زندگی‌ ام جایگاهی ویژه داشت؛ مردی که با حضورش خاطرات بسیاری ساخت و با رفتنش داغی بر دل ها گذاشت که گذشت زمان هنوز نتوانسته است از سنگینی آن بکاهد.

حاج عتیق‌الله بیقرار عزیز! اطمینان داشته باش که تا نفس در سینه دارم، نامت را با احترام بر زبان می‌ آورم و یاد و خاطره‌ ات را زنده نگه می‌دارم. 

خودت از آن مردانی نبودی که با رفتن‌ شان از یاد ها بروند؛ زیرا برخی انسانها با کردار نیک، وفاداری و محبت خود، برای همیشه در دل دیگران خانه می‌ سازند.

از درگاه خداوند متعال برای آن مرحوم مغفرت و رحمت بی‌ پایان، آرامگاه نورانی و بهشت برین مسئلت دارم. 

خداوند مهربان، پاداش آنهمه نیکی، جوانمردی، عبادات و حرمت‌ شناسی را نصیبش گرداند و به خانواده و دوستدارانش صبر و شکیبایی عطا فرماید.

یادش گرامی، نامش جاودان و راه جوانمردی و انسانیتش چراغی برای نسل های آینده باد.

روحش شاد و یادش تا همیشه در دل ما زنده باد!

احمد محمود امپراطور 

۷ عقرب ۱۴۰۵ خورشیدی