SAMARENDRA NATH GUPTA AND M.A. RAHMAN CHUGHTAI; BOTH ENEMIES AND PLACED AT SELECTION COMMITTEE 1934.

SAMARENDRA NATH GUPTA AND M.A. RAHMAN CHUGHTAI;
BOTH ENEMIES AND PLACED AT SELECTION COMMITTEE 1934.

The artist M.A. Rahman Chughtai cleared his 8th examination from the Railway School in 1911. In 1915, he was very much in Mayo School of Arts, having obtained a diploma in Photo-lithography, and as there was scarce people in that department, he was also teaching there, as Incharge of same. He was even sent to the office of Archaeological Survey of India for a month or so training in etching. All this is on record.

Somehow or the others some people react to each other in instant likes and dislikes. That was the case with Samarendra Nath Gupta, who came from a totally westernized family, having a leading journalist of that time as his father. The father was supporting the advancement of his son. Chughtai Sahib represented a different culture in total. It was like East meeting West at that time. If you see a group photo of Mayo School of Arts, you find both Chughtai Sahib and Gupta together and even in the photograph hostility can be seen. The illusion that Gupta knew much is separate, Gupta was in no mood to teach these “uncouth” Punjabis anything like Art. Just note the dress of Gupta in a three-piece western suit, and look at the dress of Chughtai in simple clothes, even a shalwar kameez. It is recalled that Abindaranath Tagore insulted Chughtai in Calcutta as a “Kabli-wala”, and having hands like that of an ironsmith. Kabli-wala is related to vendors from Kabul and the important story generated by uncle Rabindaranath Tagore.

The challenge of M.A. Rahman Chughtai to the Bengal School of Art was great, as Chughtai Sahib use to say that Bengal school was like a giant tree, which smouldered all others under its shade. When asked about the similarities of his Chughtai School with Bengal School, Chughtai aptly remarked that the only similarity of both schools is that they use paper and water colour. (And even the paper Whatman used was different, as well as pigment paints of Winsor and Newton). Tagore used rags to wash his works, while Chughtai used fancy Japanese brushes from Kyoto Japan. But the biggest difference was the Ideology of both the artist. A detailed discussion will be found in my book, “The challenge of M.A. Rahman Chughtai to the Bengal School of Art”.

Mian Inayatullah was a friend of Chughtai Sahib and used to borrow works from him to use in his own name for advancement. A look at the initial FAME and later, shows two different signatures. Earlier look with signature of Abdur Rahman Chughtai, later the signature of Inayatullah. Similarly was the case of the painting POISON CUP.  Gupta goaded Inayatullah to take a stand against Chughtai, and it finally led to so much bitterness, that the artist finally decided to resign from the Mayo School of Arts. And he did that. The spur was the report of Gupta to Lionel Heath against the integrity of Chughtai sahib. A discussion took place elsewhere.
Now coming back to a selection committee of Arts for selection of paintings for a London Show. Clips from newspaper Civil and Military Gazette are attached. By 1934 Chughtai Sahib was already given a title of Khan Bahadur, after his European tour. And his professionalism could not be denied. On 7th June, 1934, Gupta and Chughtai Sahib sat together to choose artists whose works were to be sent for a London show. Strange bedfellows indeed!

P.S.Ms Kalyani Sen a daughter of Samarendranath Gupta posed many problems for her father, as her reputed affairs with Muslim boys was resented by her father. The grandson of Pitras Bokhari informed me last year that she was well known to Pitras Sahib too. It was an obvious environment for change. All in the past now.

A DESERTED LAHORE GETS RECLUSE FROM SAYYID MUBARIK;DEFEATS JASARATH KHOKHAR AND SETS BASIS FOR NEW CITY, NAMED AS MUBARIKABAD LAHORE IN 1421; AS REPOPULATED.

A DESERTED LAHORE GETS RECLUSE FROM SAYYID MUBARIK;DEFEATS JASARATH KHOKHAR AND SETS BASIS FOR NEW CITY,
NAMED AS MUBARIKABAD LAHORE IN 1421; AS REPOPULATED.

Yahya bin Ahmad bin Abdullah Sirhindi writes in “Tarilkh-i-Mubarakshahi”:
“In the month of Muharram, A.H. 825 , (Dec- Jany 1420-1421 A.D.), the shade of the blessed fortune and the shadow of the Imperial umbrella fell upon the deserted city of Lahore, which was bereft of any living soul, save the inauspicious owls which had made it their abode. After a time, the Sultan turned bis attention to the restoration of the city, and under his royal favour  building was reconstructed. He stayed there encamped by the side of Ravi for nearly a month, engaged in repairing the fort and the gates. When the repair work was brought to a completion, the fief of Lahore was bestowed upon Malik-ul-Shark Mahmud Hasan, and a contingent of two thousand horses was placed under him. Having made suitable arrangements for the upkeep of the army and the fort. His Majesty returned to Dar-ul- Mulk Delhi.”

Jasarat Khokhar was enraged at the sack of his stronghold at Talwara. He collected a large army and besieged Lahore. However, two attacks on the city proved to be unsuccessful. Once again, he withdrew from the siege and took refuge in the hills surrounding Talwara. Some Muslim nobles attempted to capture him, but the wily Khokhar evaded capture and escaped. Thereafter he proceeded to sack Dipalpur and then moved towards Lahore again. However, the new governor of Lahore. Malik Sikandar Tuhfa put up a fierce resistance, making the Khokhar army to retreat.

Who was Jasarat Khokhar? Some say son of Shaikha Khokhar, others say brother. It is said:”Jasarat Khokhar was born to Khokhar King, Shaikha Khokhar to Khokhar Muslim royal family. In one of his father’s battles, he was captured by Timurid Army and was held prisoner in Samarkand. However, due to his extra ordinary battle skills, he was appointed as a general in the Timurid army. For developing better relations with Timurids, he married a Timurid / Mughal Barlas princess, Sa’adat Sultan Agha who was the daughter of emperor Shah Rukh Mirza and granddaughter of Timur. Later, he left Samarkand and returned to Punjab after Timur’s death.”
These are excerpts from various sources on the making of new Lahore. A deserted city with no one, got a new lease of life and was renamed as Mubarakabad in 1421D. Was it Amir Timur who sacked Lahore before that? Or due to fear people had already left the city. In any case there was no one here. A new Lahore was born in the process. Timur negotiated and left the city alone so it was not him who sacked it. Or perhaps when Sheikhu renegaded, warriors were sent to quell him.  Very little history known of that period. Without Ahmad Sirhindi, the author,  nothing would be known. Thanks to him in filling the void in our knowldge.

TWO TRANSLATIONS DONE IN PUNJAB OF IMMORTAL QASIDA BURDA; VERSES BY LUTUULLAH AHMAD 1079 AH, NIAZ MUHAMMED 1152 AH.

TWO TRANSLATIONS DONE IN PUNJAB OF IMMORTAL QASIDA BURDA;
VERSES BY LUTUULLAH AHMAD 1079 AH, NIAZ MUHAMMED 1152 AH.

Qasida Burda is immortalized in the Islamic world. A handicapped person wrote a Qasida on the Prophet and reputed to have been cured of his afflictions. Read all over the Islamic world, the original is in Arabic and poignant to the extreme.  In Punjab, one in Lahore in 1079 AH, by Lutufullah Ahmad Muhandis, and the other in Dogaranwalla (could be in Sheikhupura or near Gujranwala), by Niaz Muhammed son of Mian Kareem Baksh, in 1152 AH. Both were done in verse in imitation of the original. The one by Niaz Muhammed is called by him as being in Hindi language (it is Punjabi), and is in the Nastaliq script. More of the Muslim aspect of Punjabi language.

In addition, Niaz Muhammed has written a literal translation of the Qasida as a foot note on the manuscript. A great effort of an unknown man, missed in history. It is in the Mughal era itself, a stress on Punjabi as a Hindu Language. Marvelous room for research by scholars on local language.

Both are fantastic acquaintance of the Arabic language by both authors. Well done indeed!

M S VATTS SUPERINTENDENT ARCHAEOLOGICAL SURVEY OF INDIA; DID DISCOVER GRAVE OF USTAD AHMAD LAHORI IN AURANGABAD.

M S VATTS SUPERINTENDENT ARCHAEOLOGICAL SURVEY OF INDIA;
DID DISCOVER GRAVE OF USTAD AHMAD LAHORI IN AURANGABAD.

Pandit Madho Sarup Vats was an archaeologist, who later became Director General of Archeological Survey of India. He was well familiar with Lahore, for he had done his studies at University of Punjab Lahore, in the Sanskrit language. He is famous for his work on Harappa civilization as well as Mohenjo-Daro. A totally unbiased scholar who did serve in many ways. In the course of his Superintendence, he came across the grave of Ustad Ahmad Lahori, outside Aurangabad city. Perhaps Khuld Abad. He wrote about it in his article on Repairs to the Taj Mahal in Ancient India. The unfortunate part was that it was the year 1946 and in 1947 Pakistan came into being. No longer the time to please the Muslims of the area.

In a foot note in the magazine “Ancient India”, he wrote that there is an epigraph on the tombstone of Ustad Ahmad Mimar written by his son Lutufullah Ahmad Muhandis.  The epigraph talks of Ustad Ahmad as being the Architect of the Taj Mahal of Agra, Red Fort Delhi and the Jamia Masjid, Shahjahanabad. Such an important tombstone went unrecorded. M S Vats died on 7th December, 1955. Our dear Friend in Patiala R.P. Srivasthava was contacted by us to research on the papers of M.S. Vats and he contacted his wife, But no luck. Trace was not possible. It seems that the grave was kept as a secret by Indian authorities.

Eventually it will come out, but till then we have to revert to other sources. Like the Diwan of Lutufullah Muhandis, namely Diwan Muhandis for the same information. This is well known manuscript and clears follies of so many scholars on the same subject. Art and architecture are a pure source of things. One should keep bigotry away from it. It is worthy of being recorded, and perhaps with so many Indians making Vlogs on Youtube on architecture, someone may eventually find it. We in Pakistan have no capacity to explore its location. Thank you, M.S. Vats for your contribution!

THE PATHOS OF SHAH ALAM AND HIS TIMES A PUNJ SURA – WRITTEN BY HIM BEFORE BLINDNESS – SURROUNDED BY MIR JAFFERS AND MI6 007 SABOTEURS

THE PATHOS OF SHAH ALAM AND HIS TIMES
A PUNJ SURA WRITTEN BY HIM BEFORE BLINDNESS
SURROUNDED BY MIR JAFFERS AND MI6 007 SABOTEURS

If you read even a few pages of the history of Shah Alam, you shudder with the complexities and pathos of that time. The backbone of all nations are the Armies and the enemy knows that to gain inroads to the nation, the Army as to be dismantled. Warriors of the Timurids like Zaheer ud din Babar were not puppets under any hands. Each King in succession had the Army in control. Prince Dara Shikoh lost his battles for he was not battle hardened in any way and sought the recluse of so called Black Magic to try to end the war in Kandahar. Obviously it was lost. Emperor Aurangzeb rose to prominence for he was battle hardened till the very end. At the age of 92 years, he was ready for war with all enemies, When Kings were left to indulge in the charm of the palaces, relish the foods, wear the fancy dresses, entertained by ladies, or sexual gimmicks, the end result is always the same. The rise and fall of civilizations always take place.

Even a brief look at the times of Shah Alam is beyond comprehension. Lack of rain, lack of food, earthquakes, meteor rain, revolt of Army for pay and salaries. Connivance of various Ministers to get to being the Regent of affairs. The end result in 1784 is that Shah Alam is thrown on the floor and his eyeballs removed to be blinded forever. Even a Court painter was called to record the historical scene . And then came the scourge of the Syed brothers, the Ghulam Qadir tyrant of all times. Ghulam Qadir was so cruel, that not only he got Shah Alam blinded, he starved to death member of the Royalty, placed the ladies on walls of the Fort to be observed by all, and to have even Royal Princesses stripped naked and fondled by his soldiers. He asked his soldiers to make them beget illegitimate warriors instead of the wimps they were producing as Mughal Royalty.

When Shah Alam’s eyeball;s were throw out, he was asked what he could see. And he said between him and the asking Minister he could only see the Quran. Strange words for an Emperor, and yet four years before in 1194 AH 1780 AD, the Emperor had finished writing an illuminated Punj Sura (Five surats of the Quran). Shah Alam is no more and yet the Punj Sura is still there. The result of his last years, a treasure of the future.

Ghulam Qadir was to die his consequential end. An historian writes of it like this:

“So Sindia ordered that Ghulam and the former superintendent of the imperial harem were to be tortured to death. Ghulam ears were cut off and hung around his neck. With his face blackened, he was paraded round the city in a bullock-cart. Next day, his nose and lips were cut off and again he was shown to the city. The following day his eyeballs were torn out and yet again he was placed in a cart and trundled slowly though the streets. He eyes were followed b his hands, and then by his feet. Finally his head was cut off and the corpse was hung upside down from a tree.”

His reward for what he had done to Shah Alam and can be recorded too:

“Screams of the tortured filled the harem. Servants were held over fires to make them disclose the whereabouts of hidden jewels. Others had boiling oil poured into the palms of their hands.. Eunuchs were beaten to death. Shah Alam was himself brought out of his prison and subjected to less extreme torture. He was made to sit in the burning sun without food or drink. He was continually threatened, and Ghulam would — without warning— fling his arm round the ex emperors neck and blow a cloud of acrid smoke into his face.
Finally the edge of madness when Shah Alam was thrown to the floor and his eyeballs taken out.”

What had been done to the Mughal ladies had never been done before. Many were starved to death in the eyesight of the people on the Fort walls. Also stripped naked and fondled by common soldiers in front of all. Humiliations were complete and Ghulam Qadir paid the price.

Who gained? First the French General De Boigne and then the British visitor Thomas Twining. Then Lord Wellesley stepped in for the advantages. General Perron took control of northern India. With a pension Shah Alam could stay in the palace, the rest was for the British alone. In fact substantial treasure fell into the hands of the French mercenary Lestenean, who left for British territory and later for Europe with his windfall. DIVIDE AND RULE AND 007 ASSASSINS all were there in full force. It was the Mughal Army which was fist brought down with discord. The House of Timur had finally fallen and Hindustan was left bare for centuries to come.

Did we learn any lessons! Today the situation is still the same. Foreign lobbies are working to throw our army in disarray and take our assets. Hatred destroys people. There is every reason to believe that there is unnatural hatred for Muslims primarily Pakistanis for our CODE OF LIFE. Anarchy is being generated for us but by the Grace of Allah, we will come out of this malaise and be Pakistan again. So be it!

THE MEMOIRS OF ABDUR RAHEEM KHAN KHANAN MAASER I RAHEEMI; MULLA WAISHI YAZDI TALKS OF USTAD HERAWI AS ARCHITECT OF KHAN: MORE SPECIFICALLY MULLA ABDUL BAQI NAHAVANDI REVEALS NAME, OF MUHAMMED ALI MIMAR GARAG, HAMMAMI AS ARCHITECT WORKS.

THE MEMOIRS OF ABDUR RAHEEM KHAN KHANAN MAASER I RAHEEMI;
MULLA WAISHI YAZDI TALKS OF USTAD HERAWI AS ARCHITECT OF KHAN:
MORE SPECIFICALLY MULLA ABDUL BAQI NAHAVANDI  REVEALS NAME,
OF MUHAMMED ALI MIMAR GARAG, HAMMAMI AS ARCHITECT WORKS.

Islamic civilization talked of cleanliness as being half of faith itself. That is why they spread the concept all over the world. Europe was without soap for a thousand years. In fact, bathing was considered injurious to health. The cleaning practice in Hindustan was much to the desired, and it is legendary that the “Gudawi” that is a small vessel; provided all the water for morning cleanliness here. The arrival of the Muslims brought in different standards of cleanliness, and one finds the introduction of Public and Shahi hammams all over Indian region.

If we study the early hammams it is based on the concept of flowing water, rather than stagnated water. A look at the intricate hammam of Jaunpur Sultans tells us everything. Ventilation, hot and cold water, place for massage, bathing tubs and pools, toilet recluse, literally all the things that modern bath rooms are made off. All this in a separate enclosure for men and women, and interspersed with beautiful naqashi designs on the walls.

Abdur Raheem Khan Khanan was brilliant with all things which make a scholar, or a man of wisdom. He was Governor of Burhanpur and made lot of facilities for the city. One such facility was an intricate water system for the city. It was eighty feet deep and there were 111 kundis (narrow wells) all over the city. The flow was masterminded by the slope of water through gravity, and the air from towers built for the purpose. By use of special stones and filter elements, the water was more pure than mineral water. And the interesting part is that even today it is a working system and people come from all over the world come to go down in small lift to see the flow of water. A miracle of that age. Impossible for claustrophobic to go down but imagine the people who worked eighty feet deep all over the city and made it possible by joining 111 holes. And on top of line is the Janta Hammam for the public, and on the other Shahi Hammam for Shah Jahan and Mumtaz Mahal. A feat unparalleled in Hindustan. It is called KUNDI BHANDARAN, a derivative from Khooni Bhandaran, when initially the water flowing was of red colour.

Researchers could only come up with the name of USTAD HERAWI as the architect of Abdur Raheem Khan Khanan. What was missing was the actual name mentioned in the Memoirs of Abdur Raheem Khan Khanan. His name was Muhammed Ali, and his famous name was GARAG (that is Wolf), and he was famous as HAMMAMI, that a reflection of his proficiency in same. We translate the actual paragraph about him from the memoirs. An engineering feat of exceptional work. Happy reading!

In praise of hammamBecause in Hindustan initially there was governance of Kafirs and Hindus that was the reason that in their cities there were no hammams and the Muslim umma were deprivated from this blessing and the Muslims here due to lack of Hammams were in great difficulty. That is why when construction went into the hands of Iranian people then the Governor gave the order for construction of a public hammam in an open ground and in short time the architects of the government concentrated and that is why Mohammed Ali who was famous as Garag (wolf ) and who came from Khurasan (being Herat), he built a very clean and scruplous hammam and the residents and travelers took advantage of it and prayed for the government. The fair thing to say is that Hammam was comparable to heavenly. This design was very much an innovation of his own mind and he dedicated it as charity making it a waqf and was completed in date by the fifteenth and today the whole city’s needs are being fulfilled by it.

It can be presumed that Ustad Muhmmed Ali was responsible for the Janta Hammam, Shahi Hammam and for the construction of Kundi Bhandaran too. For all three are interlinked with each other.

An addition to our knowledge is the name of a geologist by the name of Tabkutul Arz (also referred as Arkbul Arzin, who guided Abdur Raheem Khan Khanan on the feasibility of this project in 1615 AD. We know that Arzin is a small village in Iran, in Taragavar, West Azerbaijan, and it seems to be proficient in Turkish knowledge of geology. Naturally a full team of architects were responsible for putting this project into motion, and Ustad Muhammed Ali must have supervised it all.

IN SHAH JAHANS TIME BEFORE MUMTAZ MAHAL THERE WAS GULARA MAHAL; BEFORE THE TAJ MAHAL, THERE WAS THE TWIN PALACE GULARA BURHANPUR.

IN SHAH JAHANS TIME BEFORE MUMTAZ MAHAL THERE WAS GULARA MAHAL;
BEFORE THE TAJ MAHAL, THERE WAS THE TWIN PALACE GULARA BURHANPUR.

The Shahjahannama does not list any Gulara Begum. And perhaps checking documents of the past nothing may be found. But in the important Mughal city of Burhanpur, there lies the twin palaces of Gulara Begum. She was a of Hindu origin and well versed in dancing and singing. And as a young Governor visiting Burhanpur in times of his father’s Jahangeer reign, Shah Jahan as Prince Khurram was introduced to this dancing queen, who captivated his heart. It is reported to be a fiery romance, which ended in the Prince marrying Gulara and gave her the name of Gulara Mahal, as royalty was subject in doing this all the time. To keep his romance alive, he built the twin palaces across the river Utawali, and declared it as a Palace of pleasure, or a palace of music. To drown the most eloquent music, was also the addition of the sounds of the water fall, and the water flowing under the palace itself. An innovation of great architectural wonder to this age.

The big halls are made to tune in voices of singers, and naturally acoustic speakers of our times. And OfCourse the beats of the various instruments played by the musicians. One can only imagine the musical evenings which were held here. Bur all that was made possible by architectural planning. Taking the river to a height with a dam so that the waterfall could be created in its depth. Gulara Mahal is in ruins but still intact as a structure. I do not think any serious study has been made of it.  When its history is not known and only comes through word of mouth, certainly no scholarly study has been done on its architecture.

This is well known that the Chief Architect of Emperor Shah Jahan was Ustad Ahmad Mimar Lahori, and this Lahore connection can be judged from the fact that Shah Jahan himself was born in Lahore. He was an issue from Jogat Gosain, a Hindu lady, named as Bilquis Makani. The connection to Lahore was well known. The connection to Burhanpur is well known too. In fact, Mumtaz Mahal herself was buried there for some time. The fall in love with a Hindu musician was a trait of the Prince. And from a study it can be safely said that the architect of Gulara Mahal could very easily be Ustad Ahmad Mimar Lahori. Well done!

SEARCH OF SOURCES OF MUHAMMED YUSUF MIMAR; TRACED AS FATHER OF USTAD AHMAD MIMAR LAHORI.

SEARCH OF SOURCES OF MUHAMMED YUSUF MIMAR;
TRACED AS FATHER OF USTAD AHMAD MIMAR LAHORI.

For reasons unknown secrecy surrounded the ancestry of Ustad Ahmad Mimar Lahori. Perhaps there were reasons to keep his name off the grid. The family was well known through architectural achievements and scholarly studies, but the ancestry was not mentioned in texts. And at times falsehood was generated by religiously bigoted historians. One such historian was author of “Munaqib  ul Mahjabeen” namely Haji Najmuddin who treated it as Sheikh Ahmad son of Sheikh Hamid Siddique descendants of Hazrat Abu Bakr Siddique citizen of Khajband. This was stated in 1289 A.H, and differed with all documented historical accounts. No proof was given for same except heresy accounts of followers. Obviously, no one was there to say different, although Dr Abdullah Chaghatai sent his protests over that statement. And Ustad Hamid Mimar is treated in history as a brother, cousin, or even perhaps a son in law. One source affirms him as the son of Ustad Abdul Kareem Jahangeeri.  Certainly, he was much younger to Ustad Ahmad Mimar as the Ustad died in 1059 A.H, but Ustad Hamid was alive even after 1070 A.H.

Turkish historians like Jalal Asad in “Turkish Sanati, 1928” have talked of two architects who came with Emperor Zaheeruddin Babar to Hindustan, namely Ustad Issa Mimar and Ustad Yusuf Mimar. It is up to us to search for these two in historical contexts. In Haryana scholars’ study two inscriptions found in Pirzada Masjid, naming Sheikh Yusuf as the builder of the mosque, built in times of Baber himself. Literally in ruins, it shows the advent of the double dome in the region. And in 962 A.H, we find the ruins of Shahpur Fort still there made for Ibrahim Adil Shahi.

The search for references is still there.  At a few places, early reference is that of Ustad Ahmad being son of Burkurdar. At some places the name of son is not given. In a Quran found in Bombay, the esteemed Dr Nazir Ahmad of Aligarh found reference to Lutufullah mentioning Burkurdar as his grandfather. The name is not there in final, but as a footnote at two places. Not seen the original, so cannot decide the matter. But the most damning document comes from Berlin State Library where Lutufullah in his translation of Tazkara Aulia names his ancestors in clear terms. That is Lutufullah son of Ahmad, son of Yusuf, son of Hussain, son of Abdul Lateef in 1099 A.H.

More than forty years of research and there is more. Till next time!

ART COUNCILS OF PAKISTAN – M.A. RAHMAN CHUGHTAI’S EFFORTS FOR PAKISTAN

ART COUNCILS OF PAKISTAN
M.A. RAHMAN CHUGHTAI’S EFFORTS FOR PAKISTAN

Forgotten pages of history

Prime Minister Liaquat Ali Khan and M.A. Rahman Chughtai were in communication with each other, even before Pakistan came into being. Later the Prime Minister recognized the role the artist could play in promoting the Ideology of Pakistan abroad. One decision made was the establishment of Art Councils all over Pakistan. And M.A. Rahman Chughtai was part of them all.

In 1949 Pakistan Arts Council Lahore, named as Alhamra, was inaugurated by Governor General Khawaja Nazimuddin, with a show of M.A. Rahman Chughtai. Prime Minister Liaquat Ali Khan also came to that show with the Shahinshah of Iran, on 5th March, 1950. It was the start of a bold cultural tradition in Pakistan.

On 31st March, 1952, an exhibition of Chughtai’s works was held at YMCA Hall in Karachi, and inaugurated by the Governor General Ghulam Muhammed. Again Karachi became the centre of the start of cultural traditions in Pakistan.

On 5th March, 1956, the Abbassin Arts Council in Peshawer was inaugurated with a show of Chughtai Artist at Peshawer. M.H. Zuberi Sahib was President of the Council and responsible for that show. Today one cannot even imagine what great response the Pathan brethren gave to that show in a literally cultural desolate city.

On 3rd July 1954, the Arts Council at Dacca was inaugurated by Major General Iskander Mirza, the Governor of East Bengal Iskander Mirza requested the audience with two main statements:

“The artist should evolve a cultural tradition embracing the message of Iqbal and the warmth and fervour of the poetry of Nazrul Islam.”

And again he instructed:

“It would be a tradition which should embody the strength and purpose of the art of Zainul Abedeen and the colour rhythm and imagintion of Chughtai. ”

Iskander Mirza became the Chairman of the Council and N.M. Khan became the Chief Secretary of the Council.
On 14th August, 1959 the Karachi Art Council was inaugurated by General Muhammed Ayub Khan with a show of paintings of M.A. Rahman Chughtai. It was a grand show, attended by diplomats of many countries from abroad. It spoke of the tone of Pakistan culture.

The establishment of Art Councils was not in vain. It spread the message of peace, good will and advancement all over the world. But that was before they were taken up by moronic people in control of the affairs. With paid finances from foreign lobbies, they played havoc with the Ideology of Pakistan. But M.A. Rahman Chughtai tried his best for his country and his Art is playing its best in the world of today for Pakistan.