CONVERSION OF BROTHERHOOD INTO ANIMOSITY OF TWO ARTISTS;
A. R. EJAZ COMPARES CHUGHTAI TO A SWEEPRESS MISTAKING LIGHT,
IN THE CLOUDS TO BE A WINKING JIBE FROM GOD AND JUBILATING.
Once upon a time friendship occurred between the Baghbanpura family of Abdur Rahman Ejaz and brother Mian Inayatullah. It included regular meetings, eat overs, fishing, hunting, kite flying and what not? Chughtai welcomed them to his home in Chabuk Sawaran for partying and they used to partake food together. They also used to paint together at Chughtai’s house. Chughtai lent them his materials as well as sketches required at moments. Everything was well in that relation. Letters prove that Abdur Rahman Ejaz styled himself as the brother of Abdur Rahman Chughtai. In that frenzy Abdur Rahman Ejaz even made an oil portrait of Chughtai sahib, which is still preserved today. It can be easily compared to a photograph taken at that time about the age of twenty years. So, what went wrong?
M.A. Rahman Chughtai sketched a work namely ‘POISON CUP’ and finished it. Inayatullah requested to borrow it. He not only borrowed it, he wrote his name on it, and got it published in an English magazine, probably ‘Studio”. He had done this before with other workls and Chughtai had not done anything about it. But this time Chughtai did not like the idea of his work being published abroad in a different name, and being the only one of Mian Inayatullah, displayed at the Wembley Exhibition. Although two of his works were selected but, in the end, only one was exhibited. The children out of ignorance proclaimed that ten works of Inayatullah were selected and only two of Chughtai Sahib. I showed them documented evidence of the catalogue itself which can even be checked today on internet. Chughtai Sahib made a complaint to Principal Lionel Heath. Samarendranath Gupta was asked by Lionel Heath to research on the subject, and he being full of venom for Chughtai, gave his verdict in favour of Inayatullah (the verdict is published by us). The funny part is that in a letter to Chughtai Sahib, Inayatullah himself admits that ‘Poison Cup’ start to finish is work of Chughtai sahib (from aghaz to anjam mohtram ka tufa). But this exposure to authorities infuriated Abdur Rahman Ejaz and he threatened Chughtai with all efforts to finish him forever, and (to spite Chughtai sahib) he actually changed his name first to A. R. Sandaavi and then to A R Ejaz, as he himself says in his letter. By exposing my brother you have incurred my animosity, he affirms.
This is not merely enough to qualify for a full article but a booklet in itself. We have tried to shorten it so that it can be understood that the brotherhood turned into animosity by exposure of Inayatullah to a fraudulent activity. We print two art works, and listed in two places. At one place it has a signature of Abdur Rahman Chughtai and the same work at another place has the signature of Mian Inayatullah. For those so-called analysts and critics who try to shame our research, the shame goes to them for not being able to see the true picture. The venom for Chughtai is skin deep for people who are jealous of his iconic stature. However truth remains and shines in the end. Less said the better.