THE FIRST MUSEUM OF ISLAM FORMED BY THE PROPHET (PBUH) AND CALIPHS,
OF ALL THE PLACES IN THE KHANA KAABA ITSELF, NOW WHO CAN BEAT THAT?

In 608 (or 605) AD, the Khana Kaaba was burnt to the ground by a fire. As the place was a religious center for travelers from everywhere, it had to be rebuilt by the Qurashs as soon as possible. The task was given to Baqum from Ethiopa, and the wood used was from a sunken Byzantine ship. A lot of details are surprisingly known. Not only was it rebuilt, but fresh statues of worship were made for it. In the 360 statues, there was a statue of Hubal, a moon-god of the Mecca people. There was a crescent on the statue itself. To satisfy the Christian travelers, there was also a painting of Bibi Mariam (Mary) in it. All these were made between 608 AD and 629 AD. 

In 629 AD, Prophet Muhammed (Peace and blessings of Allah be upon him) and his followers conquered Mecca, and probably one of his foremost actions was to remove all the worshiped statues from the Holy Kaaba, and it is reputed that there were 360 of them. But a very interesting development took place. There was a painting of Bibi Mariam (Mary) and a fresco of Hazrat Ibraheem (Abraham), which he liked and ordered that they were not to be removed. Later the Prophet (PBUH) learnt that there were Divination arrows placed before the fresco of Hazrat Ibraheem and so that was erased too, for Islam forbade that kind of action. This is confirmed by writings of Ibn Ishaq and al-Azraqi, A modern reference affirms this:

Rogerson, Barnaby (2003). The Prophet Muhammad: A Biography. Paulist Press. p. 190. ISBN 9781587680298. Muhammad raised his hand to protect an icon of the Virgin and Child and a painting of Abraham, but otherwise his companions cleared the interior of its clutter of votive treasures, cult implements, statuettes and hanging charms.​

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One may look at this with different eyes, but in our view, as well as that of Islamic scholars like Oleg Grabbar, this was the first step towards the first museum of Islam. Various lists of the artifacts in Khana Kaaba have survived, which lists the number of items preserved in the Khana Kaaba. It is a long list, but all confirm, that various cultural artifacts from places conquered by Islamic forces, were brought here for the people to see, the culture of far off lands. These lists are narrated in manuscripts over times. Interestingly the list even contains artifacts from Afghanistan at that time. And the people were encouraged to come and view the artifacts on a regular basis. Amazing! When this need was felt by the Prophet (PBUH) and the Caliphs and their followers, when did this urge stop?

We here at Chughtai Museum are proud of this foremost tradition of Islam and keeping the fervour alive, by the heart beats of these new times. M.A. Rahman Chughtai understood this. Spreading peace with the international language of the Arts. We need to reach out to people, to convince them splitting into groups and section can only remind us of the Aesops fable, of the dying man, who gave one stick each to his sons. Break the stick, said he. And they broke it easily. But once all the sticks were tied, no one could break the bundle. Planet Earth unite for a better tomorrow and live your own way of life in peace!

TRUTH AND FALSEHOOD ARE IN CONSTANT FIGHT WITH EACH OTHER;
BUT CAN FIFTH GENERATION BRAINWASHING ERASE LOVE OF PAKISTAN.

The concept of Pakistan struck at the heart of the many people of this region. An idea which is incorporated in the Quran itself as a Muslim Nation, was revitalized by intellectuals of this area. Obviously, Sir Syed Ahmad Khan started the parade, and Dr Allama Iqbal gave it intellectual insight. Dr Iqbal convinced Muhammed Ali Jinnah to take the reign and start the Pakistani campaign. Our beloved friends in Bengal, loved the idea and Nawab of Dacca Salim ullah pioneered the Muslim League. Everything went well, but the active resistance by Hindu and Sikh lobbies, led to the carnage in 1947. Millions of lives were sacrificed and the fertilizer of Pakistan was human sacrifice itself for a cause. Everybody understood the urge for a Muslim nation as first step towards a Muslim renaissance from the laws of Allah towards the statement of Rabi ul Alameen. A code of life for all humanity.

The animosity had already started even before partition. Master Tara Singh declared on the footsteps of the Punjab Assembly Lahore, with a sword in his hands.

“Kat ke deynge apni jaan, magar nahi deynge Pakistan.” We are prepared to give our lives, but not Pakistan. Legend has it that seventy-five years ago almost to the day Master Tara Singh, in hand, thundered these words from the footsteps of the Punjab Legislative Assembly in Lahore.
Master Tara Singh who promised Nirvana to the Sikhs, now they face annihilation under the hands of an extremist Hindu nation. Now the realization is the dream of Khalistan. Certainly, the Muslims were not the enemies of the Sikh nation.

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The Mullahs of Hindustan declared the concept of Pakistan allergic to them, and after partition, migrated to the new country to try to undo it, again at the behest of personal financial gains. Declared Pakistan nothing short of being Kufr. Low IQ priests who lacked the study of the Quran itself.

Foreign countries like USSR and USA both exhibited love and hatred for Pakistan. But both failed us at times of our need. In new world China was our friend from day one and will remain our friend till the day last. Although we are at present neglecting it at behest of others.

So many enemies, both from within and from without. Greed destroyed people who profited from Pakistan. The question now is that where are we heading? Allah does not interfere but the laws of Allah work all the time, even when left alone. Is the fifth-generation war aiming at leaders from everywhere, who had deprived childhoods ready to end Pakistan?

Dear Sir, you do not know the heart of Pakistanis. Those dumb Pakistanis who lick your boots when you come here are not Pakistanis. Go in the street. Go in the cinema houses at present and see people watching the film ‘WAAR’. People rise in their seats to cheer their heroes. People get tears in their eyes with the words of ALLAH O AKBAR. Yes, Dr Allama Iqbal dreamt of Pakistan and Quaid e Azam made Pakistan, but he made it out of these people. Do not short change this Pakistan. This is a nation which hibernates all the time, but when pushed into a corner, has the resilience of a tennis ball. Press it as hard as you can, it gets into shape again. You do not analyze two nations in recent spats, you analyze their entire history. Yes, there is a need for PEACE and peace should be there. Bu never at cost of Self-respect. Castrating us won’t do any good, we can grow our manhood again! There is enough testosterone in us.

In one short term, our country is a nation forever. Do not fall into the foolish idea that you will undermine us with mere gibberish words. Pakistan is here to stay. Pakistan Forever!

CONFUSION PREVAILS ABOUT THE IDENTITY OF LALL KUNWAR;
PROSTITUTE WIFE OF ALAMGEER II OR KING JAHANDAR SHAH.

A pictorial book published in 1884 in Delhi gives a picture of Lall Kunwar. The identity of same it says Zeenat Mahal wife of Alamgeer II. There is a picture in the Walkers Art Museum in USA too. It has a seal of Mehrunnisa Begum and a modern writing of name as Lall Kunwar Mashooqa Jahandar Shah. That means beloved of the King. Vague entry in all cases. Which is true? One does not know. But we remember that only through documentations that we can arrive at the truth.

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There is a mausoleum in a garden of Delhi and it described as Mausoleum of Lall Kunwar. It is called Lal Bangla. Description given by such sources is that of a prostitute of low status, beloved of the Mughal King. Her family is given and her frolic activities with the King. There is even an accusation of she bathing with the King, naked in public. Another claim is she drowning people in river just to have excitement of drowning deaths. But in a country where gossip becomes imagined truth, nothing can be said with any certainty. A lot of history is just made-up stories. Her identity stands disputed from two Delhi sources itself.

It is her luck where Kings and Queens are forgotten with time, a couple of pictures bring back her memory, and an isolated tomb in Delhi, literally forgotten by even those who frequent the parks of the city. Her aspirations were simple. She was no King makers nor involved in any political intrigues. Just fun and the desire to survive. And she survived indeed. The architecture of her tomb is splendid in itself as a small memento of the Mughal period.

THE CLEAREST NAME OF A MIMAR IN MUGHAL ARCHITECTURE;
USTAD KHUDA QULI MIMAR OF TOMB OF ATGAH KHAN IN DELHI.

Thousands of architectural wonders made by Mughals in our region, and the most wonderful achievement, that these architects came from all around and far off regions. Obviously Central Asian was the dominant area, but others came from other areas. We even have African architects here. But the clearest name of an architect is that of Ustad Khuda Quli, obviously from Bokhara, as the calligrapher of the same monument is Baqi Muhammed Bokhari too. Contrary to other practice, both names are on the front of the monument itself, in beautiful calligraphy.

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Atgah Khan was son of the wet nurse of Prince Akbar, and so Shamsuddin Khan Ghaznavi was foster brother of the Prince. Others got jealous of him and he was murdered by Adham Khan. Akbar got so irrirated he abused him many times even in Punjabi by calling him a four-letter word. Then had him thrown from the fort. His legs broke but he survived the first fall. Akbar had him thrown again till his death. Strange that it is on record hat Akbar even knew Punjabi abuses. As a polite gesture we refrain from same.

Atgah Khan remembered, and the ruin being faced by the monument, is saved by the Agha Khan programme, who are now restoring the monument as partnership with Archaeological Survey of India.

SEARCHING FOR MIMARS OF THE MUGHAL PERIOD;
SHUKR ULLAH MIMAR AND AURANGZEB ALAMGEER.

Literally thousands of buildings were created under the Mughal rule in the region and even with painstaking research, in my view there is no possibility of uncovering even twenty names of that period. Strange it is, the enigma lies somewhere? It is our attempt to list all the names revealed in this period, with fresh information wherever possible.

In a letter to one of his sons, Aurangzeb Alamgeer instructs the Prince to go to the mausoleum of his mother Rabia Durrani in Aurangabad (made by Attaullah Rushdi son of Ahmad Mimar), and get repaired the grave of his sister, which lies near the mosque of the mausoleum. In this respect he should get help of Shukrullah Mimar in repair and restoration of the grave. Small work but a new unknown name appears in Mughal history.

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Nothing else is known about Shukrullah. We came across a Qaseeda written in honour of the Prophet (PBUH) in a beautiful direct handwriting, inspired by the immortal Qaseeda Burda. It is dated 1093 AH, and it is in Arabic, and Shukrullah writes his takhallus as SEEAM, which means an expert of arrows. This does not show whether he made arrows or was a professional in its use. Selection of the title means he was attached to the Army of Aurangzeb Alamgeer. Most of these architects were professionals in many ways, but were experts in poetry, as well as language. Literary people in all ways. History records their many talents.

COMPOSITION OF ARTIST’S IS A STUDY IN DETAILED ANALYSIS;
GIVING A VIEW OF STUDY ON CEZANNE, REQUIRED URGENTLY;
THE STUDY OF THE UNIQUE COMPOSITION OF CHUGHTAI ART.

I am working on “How to look at Chughtai Art?”. Western scholars study composition of Western Masters for analysis. They come up with startling conclusions. If we study the Art of M.A. Rahman Chughtai, we find a total change in perspective from traditional art in the region. Our students copy Western Masters and feel happy but even they have no knowledge of the composition skills of Western Masters. This is a difficult subject and we are working on it. Often Chughtai Sahib used to say, it took me great time to paint a work, spend some time in looking at it. Newer and newer things will be revealed to you.

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An early painting of Krishna by Chughtai Sahib, namely Amrit Varsha, as indeed a composition worthy of study. We have just added tit. Please see the vision of Chughtai as he outclimbs Krishna in the tree, as he watches the cow down, playing his flute. Write your comments, please! Study same. You will see Chughtai in new light!

AN ACTUAL FAMILY OF CHABUK SAWARS STARTING FROM AFGHANISTAN;
WITH CONNECTIONS IN PAKISTAN (LAHORE) AND VARIOUS CITIES IN INDIA.

In 2017 I received communication from a truck driver in Saudia Arabia, with his family settled there. He was sending me a lot of emails in Roman Urdu, and with lot of details. He told me that they were twelve brothers, and had connections in various cities of India. But their main city was SALUMBAR, and in it was their Mohalla, which was 500 years old. The city was basically a Muslim city and was composed of various ethnic groups, mainly Mirza, Pathan, Nayak, Sheikh and others, but all of them were referred as of Turkish origin. He narrated his family as:

MOHIUDDIN KHAN, Son of
SAALEH MUHAMMED KHAN, Son of
MUHAMMED FATEH BAKSH KHAN CHABUK SAWAR, Son of
MUHAMMED NOOR BAKSH CHABUK SAWAR, Son of
RAHMAT KHAN CHABUK SAWAR, Son of
RAHEEM KHAN CHABUK SAWAR, Son of
RAJU KHAN CHABUK SAWAR.

He says there is family resemblance to a certain Prince Muhammed Raheem Khan of Uzbekistan. It means that some migration occurred there too.

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One of their elder NOOR KHAN was murdered in Bhadeswar, and his Mazar is still there. He was poisoned through his food by his slave. His eldest and only son BHURRE KHAN JI, as a child, was taken pity upon by the Raja of Mewar and given a jageer. This occurred around 1800 AD. The family spread over many cities.

Mohiuddin Khan says that the family tree starts from either father and son, or two brothers, namely RAJO JI and KHAJO JI. It is the start of the Chabuk Sawars perhaps even from Lahore, as told by an old lady of that family. 

And what about the Gul Bahar colony, some miles away from Kabul, Afghanistan? Isolated from other places, a lush green area, famous for horses and Chabuk Sawars. We will explore that later.

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A COARSE BLACK DRESS, CONTAMINIATED NAPPI FISH, MURDERED PARENTS: HELPLESS;
AMEENA MUGHAL PRINCESS, DAUGHTER OF SHAH SHUJA; PREGNANT BY HEATHEN KING.

In 1927 Babu Astosh Chaudhury of Chittagong got enamoured with a different Bengali Ballad, which he picked up from a host of local singers, mainly first a gypsy singer, then another singer Makbul, a whimsical singer Belait Ali, and another Manjhi from a boat, who used to sing it in the night. It affected Babu Astosh immensely and he saw neglected and forgotten, historical truth in it, so he sent it to a scholar of University of Calcutta, Dinesh Chandra Sen. It was a lament of a Mughal Princess in Arrakan, namely Ameena and she was the daughter of Prince Shah Shuja, son of Emperor Shah Jahan. And who was this Shah Shuja and what was he doing in Arrakan?

The story of the Mughal Prince is narrated by many people. It includes the rascal Bernier, as well as some Muslim writers. It is about the rebellion of the four sons of Shah Jahan and their fight with each other. The most able warrior was Aurangzeb Alamgeer and he was not liked by the father or by the other three brothers. The fate of Shah Shuja hung in a balance as he had been defeated two times by Aurangzeb. He decided to flee the safety of his home domain Bengal to the Burmese land and the territory of Arrakan. Bernier says he went on a Portuguese ship, while Muslim writers say he went on an elephant cavalcade through the jungle of Burma. He was received by the King of Arrakan with great pomp. The King offered him place to live and the hands of his own daughter. Prince Shah Shuja accepted the offer, but in return the heathen King wanted the hands of Ameena, daughter of Shah Shuja. Shah Shuja was in no mood to submit to this insult, and refused, As a result fight occurred between both parties and King of Arrakan had the whole Shuja family thrown in the sea. The wife of the Prince and one daughter died in the sea, while it is reputed that somehow Shah Shuja escaped the drowning incident. For it is seen that he finally came to the Mazar of Nangiana in Sargodha and spent the last years of his life there and is buried in the mazar. Proof exists nowhere but the speculation looks fine.

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King Shudarma of Arrakan kidnapped Princess Ameena from her father’s camp and threw the rest of the family in the sea. The ballad records the tragedy of the Princess, used to the best in the world, she was forced to wear coarse black dress and eat NAPPI every day, a dish made of contaminated fish and dog’s tongue. The Mughals had recorded their attitude towards the people of Arrakan, and even Emperor Jahangeer had called them animals. Ameena was pregnant, but the King had no respect for same, and had her killed too. Or she escaped to Chittagong. Open to speculation. Centuries later the ballad of the LAMENT OF DAUGHTER OF SHAH SHUJA was still being sung by Bengali singers. It is on record now and we have added it to blog, as an attachment. The rise and fall of dynasty are a divine principle, and it opens our eyes to the tragedy of life itself.

THE MOHALLA OF CHABUK SAWARAN IN LAHORE;
FROM WHERE DID THESE HORSE RIDERS COME HERE?

The Mohalla is famous for artists, architects, poets, historians, journalists, preachers and what not? And from where comes the Horse Riders? A registration deed daily 1170 AH has no mention of Chabuk Sawaran. Then sometime later, the place is famous as Mohalla of Horse riders.

The famous local historian Ahmad Baksh Yaqdil of the Chisti family of Lahore, describes his home as:

“Dewar Khana waqia Darul Sultanate Lahore, Mohalla Qazi Saderuddin Marhoom; Havelli Adina Beg Khan; Guzar Chabuk Sawaran; Kake Zayen; Mutasil Kocha Muhammed Sheryar Lahori; Mutasil Masjid Chinay Wali, mubina Hazrat Bahadur Shah Alamgeer Badshah; Feil Khana Shahnawaz Khan; Takia Sadaun; Katra Haji Aman ullah; Chotta Mufti Baqir.”

The description gives us the whole history of the area, but the Guzar Chabuk Sawaran reference is new, and it is late 18th, or early 19^th century. It is being called Guzar Chabuk Sawaran.  A show place of horse riders. Either showing off their horses, or their riding skills. Research on same goes way back in research on horses in the region itself.

A study of Elephants and horses in this region is like a study of the two-nation theory. The history of horses in this region is an uncharted territory. Some people have written about ancient horses. The Hindu epic Mahbharata mentions horses but as sacrificial animals. And relate them to Bhadeswar, historically known as Bhadvarti. History speaks of a shipwrecked Ismaeli ship in the coast of Rann of Kutch and the survival of seven thoroughbred horses. From these horses sprung the lineage of all thorough bred horses in the region. This reference is more than 1100 years old. It is strange that in a Surya temple the figure is repeated as Surya the Sun rides a chariot driven by seven horses. That is:

“The iconography of Surya in Hinduism varies with its texts. He is typically shown as a resplendent standing person holding lotus flower in both his hands, riding a chariot pulled by one or more horses typically seven. The seven horses are named after the seven meters of Sanskrit prosody: Gayatri, Brihati, Ushnih, Jagati, Trishtubha, Anushtubha and Pankti.”
Seven a magic word. Strange that the ship wrecked horses were also seven.

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But a study of major battles in the region show that Hindus preferred fighting on elephants and the Muslims loved to fight on horse backs. The fight of Muhammed bin Qasim and Raja Dahir was between elephants and horses. Research work is all possible on this aspect of history. Even the Central Asian Mongols invaded this region on back of horses. And this applies to most of the entrance of fighters to the region, including Ghaznavids, Tughlaqs, Lodhis, Mughals and Durranis. Strange that we hear of horses being used as sacrificing animals in Bhadeswar etc, and the strange part is that sculptures exist of Hindu rajas having sex with horses and these are there in famous temples. That is around 1250 AD, or about 800 years ago. Some images are included but cut to preserve sanctity of our writing. Check original on link:

The foreigners preferred horses for agility and speed of traveling. The Hindus preferred elephants for their might and relative safety for ground fighting. It is also related to class consciousness. On horseback all fighters fought on egalitarian footing, while on elephants the riders were in fact sitting on an upper stratum of things. Class consciousness in reality! No comradeship there. In any case horse history is worthy of extensive research.

In the Mughal times we hear of two horse markets in Lahore. One outside Taxalli Darwaza, and the other outside Delhi Darwaza, Lahore. Horses were brought here for sale. From where did these horses come from? There is an interesting reference about a Gul Bahar Colony, some 74 mile say from Kabul, which was a beautiful place from isolated from the world. Access to it was from a thin bridge. A gazetteer of Afghanistan describes it in detail. It was famous for horses. When Qazi Abdul Wahab who was the Qazi of Delhi under Aurangzeb Alamgeer, went after the Mimar family of Lahore, some member of the family fled to Gul Bahar. When they came back after forgiveness from Aurangzeb Alamgeer, did they bring the horse traders to Lahore from that place?

To be continued

SEVEN THOROUGH BRED HORSES – ANCESTORS OF ALL ARAB HORSES IN PAKISTAN

THE PHENOMENA OF HORSES IN INDO-PAKISTANI REGION AND HARDLY USED BY HINDUS AND JAINS IN WAR AND LIFE: IMAGERY OF ELEPHANTS AS HINDU GODS AND IN BATTLES

THE PHENOMENA OF HORSES IN INDO-PAKISTANI REGION AND HARDLY USED BY HINDUS AND JAINS IN WAR AND LIFE: IMAGERY OF ELEPHANTS AS HINDU GODS AND IN BATTLES

IT WAS OBVIOUS MUGHAL LADIES WOULD INDULGE IN PAINTING,
BUT FEW SIGNED WORKS PRESERVED OF THEIR CREATIVE EFFORTS.

There must be many works done by Mughal lady artists, but protocol demanded that names be not given openly in the public. Even then we come across references, as well as signed names of Mughal miniatures. Some are copies of divergent Western art, as a stimulation for these ladies. But the greatest artist of Mughal household looks like Sahifah Bano, artist supreme. Not only there is a study of Shah Tahmasp by her,  but also a work, in which she shows herself drawing and painting a miniature. Look at the standard of work of this artist. Wonderful!

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Painting is associated with the name of Nur Jahan herself. But nothing signed of her has been discovered. This is not a complete list of those artists, but an indication of the work behind them. We will work on it more as time goes by. Till then enjoy the well-known works by them.