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!