Adil Tibetbaqal &
Shireen Naman
Every evening, without fail, my grandfather would turn on the radio.It was never for news, nor for announcements. It was for someone very special.As a child, I did not understand names or legacies. All I could feel were harmonious Santoor strings—soft, flowing, almost prayer-like—filling the room. The music had a strange power. It slowed time. It hushed conversations. It made the air feel sacred.
Curious one evening, I asked my grandfather who it was that he listened to with such devotion.
He smiled with quiet pride and said,
*“That is *Muhammad Abdullah Tibetbaqal—Abael Sahab,” he said with affection.
Only years later did I understand that those evenings were not merely moments of listening, but moments of inheritance—where Kashmir’s spiritual memory entered our home through radio waves, carried by the Santoor of a legend.
Roots Across Civilizations
Kashmir owes much of its cultural practices to Central Asia. Trade, travel, faith, language, and art together shaped the Valley’s composite culture. Among the families who embodied this civilizational exchange were the Bota Wanis—Buddhist traders later known as the Tibet Baqals—a reputed business family of Kashmir with historic Pashmina-trade relations across Yarkand, Samarkand, Bukhara, Tibet, Gilgit, Askarud, Tajikistan, and Russia.
Of Turkish origin, the family arrived in Kashmir in 1320 AD, accompanying the revered Sufi saint Hazrat Syed Sharif-ud-din Abdul Rehman Bulbul (RA) during the reign of King Sahadev. Their seven-storey house at Bodhgair, Old Srinagar, designed in Central Asian architectural style, stood as a reflection of both prosperity and heritage.
A Child Chosen by Sound
Born on July 3, 1914, Ustaad Muhammad Abdullah Tibetbaqal displayed an instinctive relationship with sound. As a child, he arranged wooden planks in rhythmic symmetry, creating music from everyday objects. Glasses, plates, and household items became instruments under his curious hands.
He received his early theological education under Hazrat Moulana Maqbool Sahib (RA) at Buch-Mohalla, Rajouri-Kadal, and later pursued formal education at the Mission School, Fateh-Kadal—today known as Tyndale Biscoe School.
Devotion Over Convention
Born into a business household, Abdullah was discouraged from pursuing music professionally. Yet his devotion to music was above everything else. Against family preference, he purchased a Santoor, the 100-string dulcimer that would later redefine Kashmiri music, while continuing to assist in the family business.
Travelling with his father across Central Asia, he became proficient in Persian, Ladakhi, and other languages. More importantly, the composite spiritual environment of Sufi Mehfils became his true classroom. Entirely self-taught, his musical knowledge was shaped by observation, prayer, and immersion.
According to his only son, Mohammad Ashraf Tibetbaqal, whatever his father achieved in the artistic field was purely the Creator’s gift, strengthened by sincere prayers of his well-wishers.
Radio Kashmir and the Rise of a Maestro
With the establishment of Radio Kashmir in 1948, it was felt that local artists should be promoted. Abdullah’s name was recommended—but he declined.
It was only after personal insistence by Sheikh Muhammad Abdullah, Bakshi Ghulam Muhammad, and senior Radio Kashmir officials that he agreed. Upon joining, he was offered Rs. 150 per month, the highest remuneration among AIR staff artists at the time.
What followed was an era of brilliance. His performances and compositions earned him global recognition and the timeless title: “King of Santoor.” During his Radio Kashmir tenure, he was also formally honoured with the title “Tibetbaqal”, acknowledging his dignity, mastery, and service.
Rewriting the Grammar of Kashmiri Music
A self-taught genius, Ustaad Tibetbaqal composed a vast repertoire of Sufiyana Kalaams and Leelas. For the first time, he infused Kashmiri Sufiyana music and Indian classical traditions with Kashmiri folk, creating a sound both rooted and revolutionary.
He rendered Maulana Jami’s Ya Rasool-e-Hashmi and Pandit Krishen Joo Razdan’s Beil Ta Maadhal with equal spiritual longing. His performances of Baael Ha Ruma Rummaai and Baal Marrayo moved audiences to tears.
At a time when the Santoor was largely an accompanying instrument, Ustaad Tibetbaqal elevated it as a lead solo voice. Archived recordings preserved by All India Radio, Sangeet Natak Academy, Doordarshan, and private collections stand as testimony to this historic transformation.
National and International Reverence
In 1944, Lahore’s Taj Company recorded his instrumental Santoor solos. In the 1950s, All India Radio broadcast his Sufiyana and Santoor recitals at the national level.
He performed before eminent personalities such as Dr. Rajendra Prasad, Jawaharlal Nehru, Indira Gandhi, and Sardar Vallabhbhai Patel, and was admired by international musicologists including Dr. Ruhullah Khaliqi of Tehran, who honoured him with the titles Hassan and Khan. Renowned figures like Dilip Kumar were among his admirers.
It is fondly recalled that when the legendary Muhammad Rafi attended his performances at Srinagar’s Polo Ground and Tagore Hall, he held Ustaad Tibetbaqal’s hands and kissed them in reverence.
Awards and Disciples
In 1972, Ustaad Muhammad Abdullah Tibetbaqal became the first person from Jammu & Kashmir to receive the Sangeet Natak Academy Award. He was also honoured with the Pride of Performance, Kala Kendra Award, Golden Jubilee Award of All India Radio, and robes of honour from cultural institutions.
His prominent disciples included:
Shivkumar Sharma
Ustaad Sheikh Abdul Aziz
Ustaad Muhammad Abdullah Sitari
Pandit Prithvi Nath Koul
A Living Legacy
Ustaad Muhammad Abdullah Tibetbaqal passed away on January 3, 1982, yet his music continues to resonate through generations.
His legacy lives on through his grandson Aadil Tibetbaqal, Head of the Santoor (Indian Classical) Department at the University of Kashmir, who continues to preserve and propagate this sacred tradition. The journey now moves toward the fourth generation, with Jr. Abdullah Tibetbaqal poised to become the youngest Santoor exponent of the family and the state.
On this 44th death anniversary, Kashmir remembers Ustaad Muhammad Abdullah Tibetbaqal as a bridge between devotion, music, and eternity.
