Atash Isfahani

Atash Isfahani (1867-1930), a later poet with the nom de plume Atash, son of Mulla Muhammad Sadiq Mirza Aqa Mirza Hasan (d. 1910), a cleric of recognition from Isfahan and a prominent artist who died at the age of 65 and was laid to rest at the Sarab Tikya, adjacent to the Takht-i Fulad Cemetery in Isfahan. In addition to his mastery of poetry, he was also skilful in different kinds of embroidery and weaving handiwork. Despite his artistic skills, he embarked upon trading, a profession which he continued till his last days. A man of honesty and integrity, his father, Hajj Mirza Aqa, found his way into the services of the Friday prayer leader of Isfahan and served him as his chamberlain. He attended the literary circles in Isfahan, like. those held by Abu al-Fuqara’ Shaykh Muhammad Baqir Gazzi, Malik al-Shu’ara’ (Poet Laureate) Muhammad Husayn ‘Anqa, and the Sheyda Literary Association. Further, his workplace was home to the assemblies of the poets and men of letters. Atash intertwined his talents with the knowledge he acquired. Frequenting most of the literary circles in Isfahan, he made the acquaintance of outstanding masters, like. Malik al-Shu’ara’ ‘Anqa, Taj al-Shu’ara’ Thani (The Crown of the Poets), ‘Umman Samani, Mirza Husayn’ali Ashufta-yi Isfahani, and Miskin Isfahani. His contemporary poets also included Mirza Muhammad Suha and Mirza Abu al-Qasim Tarab, the sons of Huma-yi Shirazi. His other masters included Mirza Abu al-Qasim Zawqi, Hajj Muhammad Kazim Ghamgin, Mirza Shukr Allah Mun’im, Mustafa Quli Khan Sina, and Mirza Haydar Kamali. He had adopted the nom de plume Binava which he later changed to Atash. A talented satirist, Atash mainly composed ghazals in the style of Sa’ib and Kalim (the Indian Style). His Divan, running to around 5,800 couplets, to which Jalal al-Din Huma’i wrote an introduction, was published by Sayyid ‘Ali Nurbakhsh Azad in 1959.

Sukhanwaran-i Nami-yi Mu’asir (1/ 23-27); Shakhsiyyat-ha-yi Nami (10-11); Hadiqat al-Shu’ara’ (1/ 20).