WHO RAVES AGAINST PAKISTAN AND PAKISTAN ARMY?
BROKEN HOMES, INSECURITY, AND MOST OF ALL GREED.
We grew up in a house where Pakistan was the most cherished word. Through thick and thin, our family braved all storms. Although most of our family was Lahore based, there were family members stranded in Amritsar. In a jeep and five armed guards, a saviour brought some members back to Lahore. On the way they could see all kind of bodies butchered by the malignancy of people on the other side. Stories are being spun today to change the narrative of partition. All hogwash!
A study was done to understand the behavioural patterns of those who rave against our country, our Ideology as well as our valiant Pak Army. And indeed it was surprising. We found a couple talking bullshit on the media all the time had a past of a broken home and childhood insecurity to the full. Now greed was compensating for their childhood grievances and they were being amply rewqrded by foreign lobbies to spin the narrative. Utter shame on part of nincompoops!
The real fact is that Pakistan and the Pakistani Ideology has survived 70 years through the efforts of our Pak Army. However much you may belittle the many Martial laws, REAL PROGRESS IN PAKISTAN WAS ACHIEVED THROUGH THE EFFORTS DONE IN THOSE PERIOD OF TIME. The contributions of Field Marshal Ayub Khan are a record to this day. They believed in the sanctity of Pakistan and its Ideology and most of all they believed in the welfare of the people of Pakistan. Trucks still carry pictures of President Ayub Khan, for those ordinary people know the achievements of those regimes. What is forgotten is that the Army does not rise through rigged elections, they rise from every nook and corner of Pakistan, through a pure merit system and they from day one, are inculcated love for Pakistan. The kind of democratic representation as in Army is in no where else. So if your grandfather and grandmother had a bad time in life and had a broken home, there is no reason to break the home of Pakistan. Make your home stronger, for there is no other home for us. We live and we die here! And Allah watches us all the time.
FRIENDSHIPS WITH ALL BUT IDEOLOGUE LEAVING FOR NONE
RISE PAKISTAN RISE AGAINST INTERNAL ENEMIES FIRST OF ALL
Reassure yourself every day. The enemy without is not as dangerous as the enemy within. You have to have full faith that we will restore Pakistan from the viruses of internal enemies. Spoiling the exuberance of our younger generations with innuendos, the mischief will fail in the end as exposures begin of reasons behind the charade. Remember the whole world is in anarchy now, spreading hatred and committing sins to deface Islamic values of peace and love. Do not trust the Mullah in what he says, nor trust the Secular. Both are two sides of same coin, in spreading unrest in country. Your heroes are Dr Allama Iqbal and Quaid-e-Azam, no one else can take their place.
Keep your vision clear., Do not look at Pakistan with the spectacle of foreigners eyes. You can see things clearly yourself. There is envy in the world why Pakistan has not fallen yet. It will not fall. In its struggle it has you, the bastion of Islam in the world.
LIONEL HEATH AND THE HONOURABLE MEN AT MAYO SCHOOL OF ARTS
IRRITATIONS, RESIGNATION AND INDIGNATION SURROUNDING ARTIST
STORY OF M.A. RAHMAN CHUGHTAI AND JEALOUSY
Not everything in sequence is recorded but M.A. Rahman Chughtai passed his Secondary Certificate Examination from the Railway Technical School Lahore in 1911. In 1913 he was married to Wazeer un nisa Begum, a relative of his family. In this period he was also experimenting with professions. Because of the death of his father in 1913, and no other possibility of earning, the three brothers opened a Fire wood shop inside Yakki Gate Lahore. Master Miran Baksh cajoled M. A. Rahman Chughtai in completing his education and the artist enlisted at Mayo School of Arts to learn photo lithography. This was related to his profession of photography, making portraits of well known people at that time. His desire to illuminate cards and books and facilitate publishing as a designer. After taking the two year course of Photo lithography, he enlisted in the department itself as a teacher. He was soon heading the department itself, for Master Feroze uddin was perhaps promoted to other ranks. In 1915 he was certainly part of the staff of Mayo School of Arts. He was sent to Gujranwala Mission School on deputation. From there he returned, to be able to teach in Lahore. He was sent as a Drawing Master to Government Education College, Lahore. Then back to school. That is when he went on a Sick leave.
There were those who envied him on his rise and his success. When on sick leave, colleagues reported to Lionel Heath, that M.A. Rahman Chughtai was malingering and was seen watching a Drama at a theater in Bhatti Gate, the very night. Lionel Heath summoned Chughtai for an explanation. He said an honourable man had seen you at a drama yesterday while you were on sick leave. This perturbed Chughtai so much, that he immediately retorted to the Principle of Mayo School, that whereas an honourable man had reported he was at a theater that night, that meant that he himself had no honour. Lionel Heath was surprised all the more when this young man tendered his resignation in front of the strong English administrator. The surprised Lionel Heath requested that Chughtai should not leave the school as he had the potential to become the Principal one day. But of no avail to the artist, who had felt slighted by the accusation.
Strangely the principal ship of Mayo School of Arts was offered to Chughtai three times in his later life but he never accepted, and a fact that he never walked inside the Mayo School of Arts ever again. Lionel Heath had written well of the artist in the 1924 Wembley Show and later on kept in touch with his progress in the art world. A letter written by MARC s in the archives of NCA. It seems that the artist sent a copy of Murraqqa Chughtai to Lionel Heath in 1929. Interesting record of an event noticed by art history.
THE DIFFERENCES BETWEEN EAST AND WEST
CONTRASTING REPULSION AND LOVE OF PIGS
There are thing which are same in all cultures and there are things which are in sharp contrast with each other. Allah has declared a PIG as a filthy animal and has made it mandatory for all Muslims not to eat the flesh of a pig. In the Western world we see pigs being eaten all the time and their flesh is relished as a delicacy. An animal who eats its own poop. Science has proven beyond doubt that the flesh of a pig is most prone to bacterial invasion and is not a proper flesh to partake. And yet that community refuses to accept scientific proof and do not stop having pig flesh in their daily meat.
And the Muslims are not alone in this prohibition. Our Jew brethren are equally in league with us on this aspect of life. The Pig stands as HARAM to us as well as the Jews. Equally important is that we Muslims do not partake blood in our food as it is considered harmful to us. That is the concept of butchering an animal so that the blood is oozed out of the same. NO PIG, NO BLOOD. Pretty sane advice.
Unfortunately sanity does not prevail in this world!
AN INSCRIPTION OF PERIOD OF RAJA JAYAPALA OF UDABHANDAPURA (HUND)
PERHAPS THIS LAHORE WAS NEVER EVEN THEIR DOMAIN AS ONE EXISTS THERE
The suicide Raja Jayapala is supposedly attached to Lahore. We have read local writers spin their tales about Jayapala, and his escape from the gutter of Mori Gate, Lahore. We could die laughing at this nincompoops, who do not know that Lahore as it is now never existed in the time of the Ghazanavids. This is Akbar’s Lahore. And these are Gates of Akbari period. Mori Gate is a Mughal period thing. The Ghaznavid Lahore was inside the city related to the Old Fort of Lahore (not this one), and that center is actually the area which includes Machi Hatta, Shah-almi (Mughal name), Kashmeeri Bazaar, Chabuk Sawaran, Chowk Wazeer Khan, Buzurg Shah de galli, etc. All these areas include old remains of Pre-Mughal period. The relic of Ganj-Shaheedan, the Generals and warriors who died defending the city is in Mohalla Sadhuan. Also at other places.
Dr Abdur Rahman is indeed a great scholar and dedicated to the task of Lahore. Perhaps only three inscriptions of 1000 years old are known of Jayapala period. And all of them are not known to exist, or to be in existence where? Even this one was discovered by Dr Abdur Rahman in photograph only. Its whereabouts are unknown. But it tells a tale. The writer is CANGULA, grandson of Secretary PADHIDA, son of PANGULA. Cangula talks of the kingdom of Jayapala, and the period is from 964 AD to 1002 AD. The greatest valour of Lahore is around 1050 AD and we will talk about it in another blog. Compare the aesthetics of this inscription with one of the period of Sultan Mahmood, and the difference is crystal clear. Till then, enjoy!
THE ENIGMA OF A MISSING GATE OF LAHORE CITY
A SECOND RATIONAL ATTEMPT AT IDENTIFICATION
In a journal in France, there appeared a gate of Lahore, which we could not identify easily. Our first guess was its similarity to the Roshnai Gate in Lahore, but the sketch was of three storeys, and Roshnai Gate is only two storeys, although in similar design. We surmised overhaul of same in 1900 with visit of Lord Curzon to Lahore Fort. Further research makes us look into the matter again.
The Wazeer Khan Serai existed and is on photographic record in 1904. We have published photographs of it. Check our book on Wazeer Khan Mosque. In fact Lord Maclagen in his writings describe the Serai as having ANGELS on its doorway in the same spirit as the Lahore Fort as well as the Wazeer Khan hammam. We now feel that the drawing is Gateway to the Serai of Wazeer Khan. It has real similarities with the gateway of the Wazeer Khan Mosque. Check our analysis!
THE OBSESSION OF M.A. RAHMAN CHUGHTAI WITH STUDY OF VAN GOGH
THE BOOK, THE FILM, THE URDU TRANSLATION ALL IN-DEPTH ANALYSIS
We entered the Van Gogh Museum in reverence, after waiting in a long line, for entrance tickets. And this was all in rain itself. People thronged at Van Gogh when there was hardly any Van Gogh inside. Paintings of his times, of his students and other things. The SUN FLOWER waited for us to be unraveled. A mad artist who cut his ears, attempted suicide, and who could not sell his works even for the price of an empty canvas. Now he is worshiped by the West at discovery of interest in him. And comparing his career with that of M.A. Rahman Chughtai is like a contrast of nowhere. M.A. Rahman Chughtai was a success from day one to day last. But the agony of the artist M.A. Rahman Chughtai could understand. He was fascinated with the life of Van Gogh.
We would find M.A. Rahman Chughtai deeply involved in reading the letters of Van Gogh and his brother. Perhaps it was due to the fact that M.A. Rahman Chughtai was himself deeply involved with his own brother Abdur Raheem Chughtai. The brothers loved each other immensely and according to their own wishes are even today buried side by side. In some ways like a loyal slave, the brother served M.A. Rahman Chughtai twenty four hours a day. The two artists we hear of most in the studio of Chughtai were two names of Rembrandt and Van Gogh. Both were loved for different reasons.
Fascinated we would attempt Van Gogh and others ourselves. Works by children of that period is in existence. But our hearts were in American comics and cartoons. And we drew that all the time. The interesting part is that drawing and painting were like fevers in our house. Even the servants got the fever all the time and some of the servants work is really touching. The children of the house drew fantastic imagery. Unfortunately being an artist in Pakistan and surviving is one of the most difficult things possible.
THE STRANGE COINCIDENCE OF ASIAN ART AND ARTISTS ON SIMILAR TRAIL
M.A. RAHMAN CHUGHTAI AND MAI TRUNG VISIT TO FRANCE IN 1937-1938
Mai Trung an artist from Vietnam visited France in 1937 and stayed there till the end of his life. M.A. Rahman Chughtai an artist from Lahore visited Paris in same year. It is reputed that Chughtai met a lot of artists in Paris, and discussion about art took place there. Unfortunately this time Elza Huiffner was not there with him. He was all alone this time. His Dutch friend Rose Cera had also opted for Paris on her own, and even she was not there with him. He bade her good-bye in London itself. This we do know that he was short of money and conspired with his brother in law, Gulzar Chughtai to sell some of his pencil sketches on the bank of the river Sienne. This was to be a secret sale so that nobody would know that the artist was making these works. Probably he was making Western responsive things for the French market. Gulzar Chughtai told us how he was able to sell all of them on condition of the artists name. M.A. Rahman Chughtai resented that Gulzar Chughtai had divulged his name in Paris.
Dr Abdullah Chaghatai, his brother, was also in Paris the same year, for his doctrate on the Taj Mahal of Agra. Abdullah had gone and met Pablo Picasso on his own and presented him with a copy of the book Murraqqa e Chughtai, the drafting of which Pablo Picasso liked very much. Paris was a hot bed of art and artists, and there is a chance that these two artists met each other. But there is no record of the name of artists he met there. In any case both would recognize each other and see that they were meeting in the cross roads of Asian Art in a foreign land. Maybe more comes out later.
In any case M.A. Rahman Chughtai died in 1975, and Mai Trung in 1980. It looks like they were both blessed in same time frame of life.
WHEN NATIONS START BELITTLING CULTURAL EFFORTS OF OTHER NATION
THE HIDDEN STORY OF THE SHAH JAHAN PAVILION IN THE RED FORT DELHI
At one time or the other, it was decided by the Government of British India to survey the vast Architectural resources in the country. One of the major persons involved in this survey was Henry Hardy Cole, and he gave reports to the authorities about the state of preservation of architectural monuments in the region. In 1882, Cole reports about the Hall of Public Audience in the Red Fort and says:
“The great pillared DIWAN-I-AM, with its fine marble mosaic canopy and throne, is used as a canteen, and on the right of the throne is a bar for serving out liquor! To the left of the throne is an enclosure of bamboo screen-work in which Nubbi Bux keeps a soldier’s coffee-shop! Above and at the back of the throne is a small open apartment, the walls of which are faced with the celebrated black marble mosaic work; but this work, as well as the inlaid patterns on the throne, have been villainously repaired in coloured plaster, and the arrangement of the panels is not as formerly. Some of these panels were removed by Sir John Jones at the time of the Mutiny, and are at the India Office Museum in London. They might be brought to this country and placed in their original position. “
At the orders of Lord Curzon, the missing panels were brought back and restored in the apartment in 1903. However Henry Hardy Cole issued a complete drawing of same in 1882, and one can only wonder with what conjectures did he complete the same, particularly when panels were missing from site, and even wrongly placed on wall. Perhaps he put two and two together on his own. Nobody questions the obvious!
In 1841 when Antonio Zobi of Florence and a specialist of Pietra-Dura, enquired, about the same from the Resident of Delhi, Charles Metcalfe issued an inquiry into the whole Pietra-Dura work in the Mughal buildings. A 100 years old Mughal Prince, namely Dilawar Mirza Shah (Mirza Jugroo), who was an actual nephew of Emperor Muhammed Shah, informed Charles Metcalfe that this apartment was commissioned by Bhao Biswap Rao, a Maharatta Chief, who had seized the Royal Palace in 1760. A clear cut assertion and present as documentary evidence.
Ebba Koch is a great scholar and indeed a lovely person. But love of country clouds the eye to many things. The burden on many Westerners is there to prove that the Mughals did not know many things and the Europeans taught them the finer things of life. That is a plain statement. We need not refine it but it can be refined with hundreds of examples how westerners tried to lower the evaluation of our monumental works. W. Sleeman a bureaucrat is just one example. Ebba Koch is obsessed in proving that the Mughals knew nothing about Pietra Dura and the Masters of Florence taught them many things. A survey of past is helpful to us.
Some authorities claim that Stone inlay work had origins in the land of Pharaohs in Egypt. But it is a known fact that this kind of work was known as PERCHEEN-KARI in the Muslim world. Although similar inlay work with glass was known in the Arab world as Al-Fusai Fasa. The famous writer, poet and traveler, Nasir Khusrau (died in 1088 AD), refers to use of Percheen-kari in the Muslim world, in the course of his travels across such countries. The origin of Pietra Dura starts from the East, and brought from Phoenicia to Greece, and thence to Rome, which were the ancient provinces of Byzantine Empire. From Rome it came to Florence and was known as Pietra Dura. The most famous stone layer family was the Cosmati family who started same in 16th century. In Florence the Master Stone layers were in the ateliers of Saracchi, Annibale Fontana and Miseroni, all around 1580 AD. Very simple the origin of Percheen-Kari in this region comes from our Turkish sources. Ancient inlay work of stones has been found in buildings pre-dating the Mughals by a long period of time.
The Hall of Public Audience in the Red Fort was commissioned by Emperor Shah Jahan and it took ten years to build. It was completed in 1648, and the architects and planners included Ustad Ahmad Mimar and Ustad Hamid Mimar, according to official histories of the period. Later histories include the name of Lutufullah Ahmad Muhandis, son of Ustad Ahmad Mimar. All known facts. The canopy in the Hall of Public Audience is a seat for the throne of Emperor Shah Jahan. And we can believe that birds could be adorned in the background, and even human figures (no issues) if we choose to believe same. But Orpheus with a DOG near his legs is IMPOSSIBLE for us to believe. No Mughal Emperor would like the back of his throne adorned with a picture of a dog. Honestly, who believes it otherwise? Dogs are absent from the Mughal point of view. And the placement of the panels are in no Euclid mode.
So what actually happened? We know from old histories that MUMTAZABAD was a market for all kind of goods, coming from all over the world. Mosaic from all over the world as well as Central Asia used to be sold there. Indeed western merchants must have brought cabinets from Florence to sell there. They must have caught the imagination of the Maharrata Bhao Biswap Rao and he ordered a couple of Florentine cabinets dismantled and put as panels on a small apartment to reflect his own taste. Certainly dogs were liked by the Maharratas and we have seen dogs in their court drawn miniatures. Is that so hard to believe? The esteemed Ebba Koch herself says that she tried her best to find out the Orpheus reference in Mughal histories but was not able to find any clue to same. Imperial Ideology she understands yes, but she should also find out about the Mughal tastes on a natural level. The Maharrata miniatures include representation of boars (pigs). Orpheus also played to pigs. Would the discovery of a pig mosaic lead us to believe that pigs were patronised by the Mughals? Certainly not.
Florence was a great cultural country and we have written books on the influence of Islamic art on Florence itself. More on that later!
TRACING WHEREABOUTS OF UNKNOWN DARWAZA OF LAHORE
PERHAPS THE CLUE LIES IN THE ROSHANI DARWAZA OF LAHORE
The Professional writers of Lahore are all dead. From about 1850 to 1950 a wave started about writing about the city of Lahore. No doubt a number of books on Lahore were turned out in last few decades, but mostly borrowed stuff from older sources. No original research. It is always our effort to fill in the blanks. Whether there is any appreciation or not, we follow the foot steps of our ancestors. Write what you know. History will take care of itself.
We came across an image in a French publication of MODERN CONSTRUCTION dated 1898, and the publication in gravure includes a gate of Lahore. Obviously we know that most of the gates of Lahore were demolished by the British for their security reasons in the 1860s, against repeat of the War of Independence. The Sikhs destroyed 2000 Muslim buildings in Lahore, and the British cared little less for them. They were unwanted reminders of the past to them. In 1849 Sohan Lal Suri reports that the British Army entered Lahore Fort and took residence in the Hazuri Bagh Baradari. A complete wall of the Lahore Fort was demolished and new buildings and bunkers were constructed for the Army. Rooms in the wall were made as well as bunkers. The Roshnai Darwaza wall was completely dismantled. On the other side the wall was eliminated in total. An interesting read is that the name of Emperor Shah Jahan was on one of the gates of the enclosure. It is now up to us to unravel the missing gate of Lahore.
We have some imagery of some of the gates, but here the picture shows a guard on the gate itself, and foliage in the enclosure. The level of inside space is at par with the gate. Most of the Fort gates are made in a certain way to withstand attack from outside. The Roshnai Gate is not like that for it linked the inner city to the Fort. No attack perceived from there. Whereas it has similarity to our picture, yet it is quite different. The date of publication is 1898. And here we ave an event in 1899 and 1900, which was the visit of Lord Curzon to the city of Lahore. A lamp post was presented for the Badshahi Mosque Lahore by Lord Curzon. Speeches were made. But before he came the space was remodeled, walls came down or were rebuilt as well as attention was paid to the Gates. Because Roshnai Darwaza and our missing Gate have similarities, there are two possibilities here. Either the Roshnai Gate was lowered for security reasons (perhaps not possible for that time), or there was another gate on opposite side and it was dismantled. That is food for researchers to explore in the long run.
Our guess is that this was directly opposite the present Roshnai Darwaza, and because the two structures of Samadh of Ranjit Singh as well as that of Guru Arjun Dev were in way, the visit of Lord Curzon prompted the authorities to dismantle this original Shah Jahani Gate, and made an indirect entrance to this enclosure from the side. Record proves that this indirect entrance was made in 1899 and our theory rests as facts. It is this diverted entrance which is used to this day.
The two balconies in the missing Gate are very much like the main gate of Wazeer Khan Mosque, so certainly the Gate is of period of Emperor Shah Jahan. No doubt about that. It is either one storey up of the Roshnai Gate, or of some other location. Most of the Fort Gates were closed by the British with walls, and the Gate used was the one opened after centuries, that is the Hathi pur Gate leading to the inside of the Lahore Fort. It remains open to this day. The Aurangzebi Gate was opened after partition for use, that is after 1947. If our Gate was not here, then it was somewhere else, perhaps even outside the enclosure. Anyway enjoy the majesty of this Shah Jahani Darwaza in full!