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.

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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.

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.

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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

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. ”

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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.