IN SEARCH OF THE SARCOPHAGUS OF EMPRESS NUR JAHAN;
IT IS WRITTEN THAT IT WAS STILL INTACT IN THE YEAR 1892.

It is reputed that Nur Jahan composed the verses “Without frills and feathers” for her sarcophagus and a request was made to Emperor Shah Jahan, who accepted her request. The English translation of same was:

“Man is frail, Allah all powerfulIn submission to His will lies theHigh road to Heaven.When I die, hark.On my lowly grave there will neither beFlower nor an earthen lamp.Neither wil there be heard the love song ofThe Cuckoo, nor the yearnings of the moth,To sacrifice itself in fire.”

Nothing more is known.
The only reference of the past that is available, comes from the “Travels in India” of Captain Leopold Von Orlich in 1845. He says:

“It is related in the Khafi Khan, that from the day of her husband’s death, she never put on a coloured dress, but always wore white. She died in 1646, and the tomb which she erected for herself next to that of her husband now lies entirely in ruin. ONLY THE MARBLE SARCOPHAGUS IS PRESERVED; and the beautifully vaulted rooms are now the abode of cows and oxen.” 

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This means that the sarcophagus was there in 1846. In 1892 the writer Muhammed Lateef informs us that the chaste sarcophagus with ninety-nine names of Allah had been removed. Why and how not stated at all?  The writer Abdullah Qureshi tells us of the remnant of a brick grave in the basement of the maqbara in 1899. He also tells us that the whole was used by villagers as a latrine and it stinks to unbearable levels.

The theory is that a sarcophagus was found in the compound of Asif Khan’s maqbara and put there in the verandah in 1907. It was considered desirable to associate it with Asif Khan, although the whole size of the same does not match with that of the structure of Asif khan. It is too small to be that of Nawab Asif Khan. Read our previous blog on the same subject for analysis. Is it possible that this is the sarcophagus of Empress Nur Jahan?

SARCOPHAGUS IN NAWAB ASIF KHANS MAUSOLEUM

THE START OF A MUSLIM RENAISANCE IN THE REGIONAL ARTS;
ICONIC ORIGINAL LETTERHEAD OF M.A. RAHMAN CHUGHTAI.

The vision of M.A. Rahman Chughtai was design conscious all the time. In an era where the art world was dominated by Hindu influence, he had to make his mark as a Muslim artist. This is a design which was used as his letterhead in the early 1920s or by the time he had resigned from the Mayo School of Art. He wove his design on the basis of a lady reading the Holy Quran. The dome in front of the lady was a calligraphy designed by the artist but written actually by a famous calligrapher of Lahore, attached to the Masjid Wazeer Khan Lahore. Most people confused it as a Quranic reference instead of seeing it as a name and address only.

This vision asserted his role as the Muslim renaissance of the arts in the region. The letterhead changed many times in his life time but is still used on the letterhead of Chughtai Museum. It has an immortal twist to it and it does not go away from our vision and record. Allah bless the sacred soul of the artist!

WHEN QUEEN ELIZABETH
BOUGHT A CHUGHTAI PAINTING!

The Queen and M.A. Rahman Chughtai

Queen Elizabeth has a great fondness for collecting art. The Queen’s collection is world famous for both its depth and content. In a visit to Pakistan, the Queen saw some paintings of M.A. Rahman Chughtai at Governor’s House Lahore. She was deeply interested and desired to meet the artist. As the artist was not available (explain later), she got a choice of some paintings, selected one and bought it. The work was entitled SPRING and it was delivered to the British High Commissioner Pakistan. We attach a report of the Civil and Military Gazette Lahore.

Later M.A. Rahman Chughtai not only presented five etchings of his to the Queen, he also sent her a copy of the famous book AMAL-E-CHUGHTAI. The Queen was gracious in acknowledging all this with her thanks. When M.A. Rahman Chughtai died on 17th January, 1975, Queen Elizabeth was one of the many Heads of State who condoled his death with us. Chughtai Museum too presented a painting to her namely THE TUTOR and it was given to the British Ambassador Laurence Pumphrey, and a ROYAL AIR FORCE PLANE took it to the Queen in England.

The Art of M.A. Rahman Chughtai shortened distances between various countries and Pakistan, and brought good will for Pakistan. A tradition present Government know not how to recognize and utilize this good will in favour of a progressive and strong Pakistan.

A MUSLIM PALACE IN SICILY MADE FOR KING WILLIAM II;
POPULARLY KNOWN AS “CUBA” ACTUALLY KUBBEH CASTLE.

Palermo Sicily the island has a history of 2700 years. From 831 to 1072 it was under Muslim rule, and it can be noted that the effects of Islamic aesthetics lasted centuries even after the end of Muslim rule. It was conquered by the Normans who ruled from 1130 to 1816, but had a treaty with the Arab Muslims not to interfere in their way of life. And nothing happened. However, the Islamic aesthetics swept the Norman Kings too through art, architecture, and even the lingual script. We find residues in the Palermo Quran, the Quranic inscription at the gate of the Cathedral, and host of Islamic related things, like coins, inscriptions, even wardrobe of the Normans. The visual impact of Islam is easy to discern in the area.

Jeremy Johns the great researcher discovered many things. He also uncovered that in the wardrobe of King William II, there are three notes written on the costume itself, testifying the name of the three Arabs who stitched the same. Those were Mukhr Muhammed (or Mahmud), Ali Maliti, and Marzuq, at the guidance of the eunuch Tumas (Gaytus Thomas) of the Royal Diwan. The clothing itself has Islamic perspective.

Many palaces in Palermo have Islamic architecture with Kufi inscriptions, including Cursive writing. Built in 1180 by King William II of Sicily from Arab architects still living in Sicily from older times and well versed in Islamic architecture. Decorated with inscriptions in Kufi script even on the top of the palace. Various other inscriptions inside are preserved too. But the whole complex is in literal ruins and have been used for adverse purposes. Even the mosaic of King William II shows inclinations towards Islamic aesthetics.

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Visitors tell us that there are hardly any guides to the complex but it is worth seeing. It also has a background of Mafia of Sicily operating there. Mafia resistant groups are still operating there. But this Mafia was created to erase the close affinity between the Christian Kings and the Muslims living there. The cultural influence was tremendous.

An official note says:

Address: Corso Calatafimi, 100 90129 Palermo

The Cuba was built by William II of Sicily in his great Royal Park, as his personal recreation pavilion, together with an artificial lake: it shows strong Fatimid art influences, as it was designed and decorated by Arab artists. During the rule of Bourbon kings of Naples, it was annexed to a barracks. In the 16th century it was turned into a lepers’ colony.

Some say that the name Cuba derives from its approximately cubical form. Others that the name Cuba comes from the Arabic kubbeh, meaning dome.

Note on the pillar inscription:

Islamic inscription on a column in La Martorana (Santa Maria dell’Ammiraglio), Palermo. The inscription (in Kufic, the oldest calligraphic form of the various Arabic scripts) reads:

In the name of God, the Merciful, the Compassionate, (“Basmala” – all prayers and chapters in the Quran starts with these words)
God is sufficient for me and He is the best advocate

Thanks to:
Copyright © José Luiz Bernardes Ribeiro for Mosaic King William II.Copyright Sebastian Fischer – Own work. (2007)

NUR MUHAMMED SON OF ATTAULLAH RUSHDI SON OF AHMAD MIMAR;
AS KNOWN AS HAFIZ HAFEEZ: DISCOVERING FRESH EVIDENCE ON FAMILY.

On 26^th May, 1702 (1113 AH) Princess Zebunnisa daughter of Aurangzeb Alamgeer died in Delhi. The father openly wept at the news and issued order to three courtiers to build a mausoleum for her. The three were Sayyid Amjad Khan, Sheikh Attaullah and Hafiz Hafeez (Nur Muhammed). So, say the otherwise official “Maaseray Alamgeeri”, chronicles of the Emperor, although no one has paid attention to these names.

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Attaullah Rushdi son of Ustad Ahmad Mimar had done many works for the Emperor and his name appear in many state records (Hyderabad Deccan has published them), as well as inscription on the mausoleum of Empress Rabia Durrani, wife of Aurangzeb Alamgeer. The supposition was that he was not alive by this date. But an inscription on a manuscript tells his age in 1102 AH as 99 years, and fit for the earth of the grave. This means that as a very old man he was still alive in 1113 AH. But he was accompanied by his talented son Hafiz Hafeez, also known as Nur Muhammed Mimar. Like other family members, he was an accomplished calligrapher (a Quran is there from his hand in our archives), as well as a mathematician of high order. To be given charge to build the mausoleum of the daughter of the Emperor was no small order. Lutufullah Muhandis had built the Bagh as well as the Mausoleum of Roshan Ara Begum sister of the Emperor (as testified by the Diwan of Kherullah Muhandis).

The miracle is that records are there all the time. It is the search which is required to unearth new materials.