TWO AMERICAN AMBASSADORS AT CHUGHTAI MUSEUM AT SAME TIME;
YES, INDIA AND PAKISTAN AND LITERALLY FREE ATMOSPHERE IN 1987-88

Ambassador Arnold Raphael came to Pakistan at the end of 1987. Amongst the languages he knew, both Urdu and Persian were there. He was very interested in Art and called with a small group here. Wife Robin Raphael was there too. I presented him and Robin with a copy of Amal-e-Chughtai on themes of Dr Allama Iqbal. He was very happy with his visit and kept in touch. Indeed, he was an exceptional man.

Later John Gunther Dean, the American Ambassador to India was the guest of Arnold Raphael, and Raphael decided to bring Ambassador Dean to Chughtai Museum. It was a strange coincidence. Two American Ambassadors, to India and Pakistan, sitting with me in my office and freely talking about both countries. Ambassador Dean was very surprised when I presented a copy of Amal-e-Chughtai to him too. He never forgot and back in Delhi, he sent me a letter of thanks, which is in our archives. Another exceptional diplomat.

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One could never know what would happen to them that year in 1988. Arnold Raphael died in a plane crash with President Zia-ul-Haque. Ambassador Gunther Dean revolted against the official policy of his country and was declared psychologically insane by the State Department. Later status restored. Both Ambassadors were of Jewish background and both blamed Israel for their troubles. The death of Arnold Raphael so much unsettled John Gunter Dean, that he left his job and went back. Strange indeed! The legend was that:

“Dean’s suspicions that Israeli agents may have also been involved in the mysterious plane crash in 1988 that killed President of Pakistan, General Muhammad Zia-ul-Haq, led finally to a decision in Washington to declare him mentally unfit, which forced his resignation from the foreign service after a thirty-year career. Later he was rehabilitated by the State Department, given a distinguished service medal and the insanity charge was confirmed to be phony by a former head of the department’s medical service.^“

We love Pakistan and we sowed our love in both Ambassadors. And they in a sense sided with our view and both suffered in all way. God bless them! Both are dead by now. One buried in Islamabad, the other died in 2019 at age of 93. The memory is still strong!

THE GOLDEN PERIOD OF MUSLIM RULE IN HINDUSTAN,
THE TUGHLAQ KINGS AND THEIR LEGACY OF THE QURAN:
IRRITATING RELIGIOUS PRIESTS AND BEFRIENDING HINDUS.

Anybody’s quest for knowledge gets easily frustrated when seeking facts and figures, you get historical manipulation on most subjects. Searching for Muslim history even in the area of Hindustan drives you crazy. Most of the research say on Muslim Sultans is there with access to hundreds of Hindu writers. One can only wonder the obsession of Hindu writers to Muslim Sultans. When you try to look for Muslim writers, you hardly find any, or even if it is famous research, no copy of the book is available anywhere. Not even a free download. Not even in libraries. ACCESS to famous libraries costs a lot of money. This is fact, not speculation. But then it becomes an adventure. Unraveling facts from fiction.

Not much has been done on the Tughlaqs but there are important research books. Agha Mahdi Husain has an excellent book on Muhammed Tughlaq, “The Rise and Fall of Sultan Muhammed Tuqhluq”, and years after written, is still standard reading on subject. Habibullah of Allahabad University, as well as even Ameer Khusrow himself done a good version with the Tughlaq nama of olden times. Contemporary Muslim writers carry different views. The details are too many and there is no need to go through them. Our approach is to get the attitude of those people, and why the Muslims ruled in this region for a 1000 years and survived, and an extremist Prime Minister in India, with his extreme prejudices, is all set to break his country into pieces. The best reason is the dictates of Islam to have the patience and tolerance to co-exist with different ways of life.

It all starts with Malik Tughluq, who with his brothers came from Khurasan to this region. His son Ghiyasuddin Tughluq was one of the Turkish slaves of King Ghiyasuddin Balban, and was conceived through a local Jat family. In an inscription on a mosque he built in Multan, he himself says that he fought the Tartars 29 times, and after defeating them, came to be known as Malik Ghazi for his bravery.  An old man himself, Sultan Ghiyasuddin Tuqhlaq was obviously a good warrior but had to become a good administrator too. He himself was tolerant to the Hindus, unless directly implicated in some plot. However the religious lobby were not happy with the Sultan. But he had fell foul of Nizamuddin Auliya himself. Nizamuddin Auliya was ordered to refund what he had received as gift from previous usurper. Nizamuddin Auliya was not in a position, or in a mood to do so. The next bold step was the Sultan’s order to Nizamuddin Auliya to vacate Delhi before his arrival there from Bengal. The famous quote DELHI HANUZ DUR AST (Delhi is yet distant) has become historically famous. And something unusual happened on the Sultan’s return from Bengal. A wooden canopy was constructed and in welcoming the Sultan through a parade of elephants, the canopy broke and the Sultan and one of his son died underneath the rubble. The incident is quoted as a conspiracy by all and it is attributed that the Sultan’s son Jauna Khan Ulugh Beg (later Muhammed bin Tughluq) as responsible for the parricide.  Agha Mahdi Husain researches on the subject and tells us:

“All that is known about the character of Ulugh Khan, both as prince and Sultan, militates against the charges brought against him. He was much too strong a man to succumb to the temptation of murdering his father in order to win the throne. He would not have acted against his conscience even if his life had been at stake. But here neither his life was in danger nor his crown. He was decidedly the best of all the sons of Sultan Ghiyasuddin, and had been an heir apparent. There was no rival claimant to the throne. The case of Ulugh Khan was entirely different, for he was the acknowledged heir.”

The suspicions cast on the Prince simply was the reason of the quarrel with the Ulama. The highly coloured reports were no doubt generated by the disciples of Nizamuddin Auliya, who had taken offense at the popularity of the Sultan with the people. Few people were bold enough to speak on this aspect. Husam Khan, Sujan Rai and W.H. Sleeman took the bold step of saying that the Sultan came to grief because of his quarrel with the Saint. But even common sense dictates the fight between the Sultan and the Saint was an obvious link to the per-planned murder. It is past but it shows an important aspect, the Quranic rule versus the religious aspect and connotation. Let us first quote an incident mentioned by Ibn Battutta to prove the stature of the son himself.

The historian Peter Jackson writes the grand character of Muhammed Bin Tuqhlaq:

“An anecdote related by Ibn Battuta may carry greater weight. He tells how a Hindu chief brought a charge against Muhammad b. Tughlaq himself that he had killed his (the chief’s) brother without cause, and cited him to appear before the qadi. The sultan duly went, unarmed and on foot, having an advance forbidden the qadi to show him any of the deference due to his rank, and remained standing while the qadi gave judgement against him and ordered him to make reparation to his accuser. This is an isolated instance and the purpose of the story is to highlight the sultan’s humility and sense of equity, but it harmonizes with the general picture of Muhammad as a ruler who in the first half of his reign, took care to cultivate the Hindu, and if it embodies authentic fact, it demonstrates that one Hindu of some standing, recognized the authority of the Muslim qadi.” (page 281)

Even today the Quran battles against religious orthodoxy . It is not for us to pass judgement, but to analyze the facts available to us. Everybody can base analysis on factual information.

A CONTEMPORARY SUBJECT OF PAKISTANI GIRLS,
MODERN PAINTINGS BY M.A. RAHMAN CHUGHTAI

All three paintings are not with us but we carry archives of them. Number one was with the wife of Muhammed Ali Bogra, once Prime Minister of Pakistan. The Provence of the second one is not known but probably sold in Karachi to some collector. The third one was gifted to UNITED NATIONS by Raana Liaquat Ali Khan in 1954. It is no longer in the UNO Headquarters, reputed to be stolen from there by some staff of UNO, along with the other one that is “Sultan and the Saint”. The third one “Jahangeer and Nur Jehan” is still there according to last information.

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Reported to Secretary General UNO as well as Pakistani Ambassador but no one took notice of the issue. If things can be stolen from there, imagine condition of other places. That is life! Our moronic leaders (more often) go to UNO many times, but no one even asks about the condition of the Gift of Government of Pakistan to United Nations. An unprecedented prestige at that given time, only four painters represented at UNO. Reviewed by leading American critic at that time, Jacob Baal Teshuva. The works were hung in an important place, in a cafe, just outside where the UNO meet in issues facing the world. Kofi Anan used to dance on New Year Ball in front of them. Memories are there with many, but originals where?

THE MOST REMARKABLE GRAVE IN ISLAMIC HISTORY;
A SCULPTURE OF DOG ON GRAVE OF AN ARCHITECT.

Some things are unbelievable but as they exist, so record of them is essential too. This is more particular with narrations of Islamic architecture, and related to not only Emperors and Queens, but also more so with the greatest Islamic architects of history. Our reference is to the Shrine of Gazar Gah in Herat, now Afghanistan, and the Shrine of Hazrat Abdullah Ansari, the great Sufi of Afghanistan. And the grave of Qawamuddin Mimar, of Emperor Shah Rukh and Queen Gohar Shad.

Noticed by travelers from centuries, and mentioned in their travelogues, the grave has confused many. Some thought of it as a marble sculpture of a tiger. Legend has it that it is that of a dog. And so beautifully carved that it out do sculptures of lions in Islamic history. Yates mention same in his history book. Ferrier mentions same too, later in the years. Even guide books like ‘Lonely Planet’ stress same. What is the background of same?
Abdullah Ansari the great saint of Herat was icon of many Emperors and Queens. Emperor Shah Rukh was a great follower of the Saint, and wanted an exceptional construction on his shrine. So, he requested Qavam ud din to do the same:

“The architect Qavam al-Din Shirazi had traveled from his hometown of Shiraz to the northern parts of Iran. Some of his work during this period includes the madrasa for Shah Rukh at Herat, the congregational mosque for Gawhar Shad at Mashhad, and the madrasa Ghiyathiyah at Khargird. By the time he was commissioned by Shah Rukh to build the shrine, he had developed his own architectural style that integrated Iranian, Turanian, and his own personal stylistic elements.”

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Some buildings fell down in history, but some still survive in full. Shrine was damaged by flood and it was repaired in 1499, by architect Zain ud din. However, the name of the architect Qavam ud din is on one of the gateways itself. As the architect was a great admirer of the Saint, he requested his burial to be in front of the shrine, and requested that the statue of a dog be built on the grave, so that on the judgement day, he would be recognized as a dog of the Saint. And so, it was done, although he died much later after completing same in 1425, that was in the year 1438. In any case variations in years are there at various sources. It does not deter us from our fantasy of the architects grave with a dog statue on it. 

ENGINEERING SCHOOL LAHORE 1853 UNDER ENGLISH ENGINEER;
A LAHORI CHIRAGH DIN MIMAR ENLISTED SAME ON REGULAR PAY.​

Tracing back Maclagan School of Engineering, nowadays Engineering University not an easy task. The college in Mughalpura was founded in 1921. The engineering school’s original name was Mughalpura Engineering College, which was renamed after Maclagan in 1923. But does one know that there was an Engineering School in Lahore inside Delhi Gate that existed as far back as 1853, and it was administered by an Engineer from Signals, namely Charles Marineau. This fellow had rented some rooms in Anarkalli around 1873 too. That shows a long stay here. 

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But the amazing thing is that this British engineer enlisted a local resident of Wazeer Khan Chowk for regular pay in his school, probably for work and teaching purposes, and this is in 1854. The man Chiragh din Mimar was related to Imam Bibi (perhaps father), who was from the famous Mimar family of Lahore. In fact, the certificate mentions a Kareem Baksh too. This could be Mian Kareem Baksh Mimar son of Mian Raheem Baksh Mimar, or Kareem Baksh Bindrigar, father of Azizuddin of Chowk Wazeer Khan, Lahore. Wedding nayondras in 1870s mention Chiragh Naqsha-nawees again and again, as well as Muhammed Khan Naqsha-nawees. And interesting an Englishman lives in the neighbourhood and attends the weddings too, and is known as Mirza Angrez. This is probably Charles Marineau. He has become like family to these people. 

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There is a letter related to Chiragh Din Mimar on a visit to build and restore a Bagh in the state of Jammu. On the back of the letter is a rough sketch of a Bagh. This is not dated, but certainly 19th century . That means this Mimar educated under a British engineer went far and wide in his work schedule. The request is allotment for land in Muzaffarabad for Shala Bagh, and there is mention of a British Colonel in it too. History is built on small documentation, when no one records it at that time. Interesting history of an engineering school in Lahore. Enjoy!

AN EXCEPTIONAL METAL ENGRAVER OF LAHORE NAMELY PIR BAKSH;
MAKER OF FINE SWORDS AND POSSIBLY MAKER OF ASTROLABES TOO.

The end of 18th century as well as first half of 19th century was supposed to be a difficult period of Lahore. But we saw creativity blooming from 1750 to 1800 AD, and can wonder why? In many ways the troubled Sikh period of the three scavengers in Lahore were ruining the life of the citizens. But the streets of Lahore were named after professionals in various fields. Arms and ammunition makers abounded in Lahore. Bomb makers were here in form of clay grenades. Swords, bows, and arrows. Even gunsmiths making guns. This was before the British outlawed them and they shifted their working to the tribal areas. This may startle some people of the background of the gun making activity in tribal areas, originated in the city of Lahore, a place where even cannons were made in that period. Zam-zam is just one example.

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Obviously, the best things were not made for common people but the elite of the city. A sword made on request of some Nawab Sahib is with us. The name of the Nawab has been erased for various reasons, but the mention of Nawab, ends with the name of maker as PIR BAKSH LAHORI. No date is written on same.  There is an Astrolabe made by one Ustad Pir Baksh Lahore in 1841 in the Lahore Museum. He may be the same person and may be related to the famous Astrolabe family of in Mohalla Langar Khan, near old Anarkalli. We have manuscripts written in same mohalla in Mughal period.

In any case enjoy a rare sword with gold inlay. Unfortunately, someone has melted the gold and stolen it with time. But history remains intact minus the name of the Nawab who had the sword, who could be Nawab Adina Beg Khan himself. Enjoy!

A STRANGE CHARACTER WHO RAISED HIMSELF FROM ORDINARY LIFE,
BY SHEER SHREWDNESS TO BE THE ACTING GOVERNOR OF THE PUNJAB
DIRECT NEIGHBOUR OF MIMAR FAMILY IN MOHALLA CHABUK SAWARAN.

Governor for five months only. Little is known about Adina Beg Khan. A small 12-page manuscript supplies us with most of information about him. Very few have written about him. The article by Dr Muhammed Baqir is very illuminating, but the most information is collected by Dr Hari Ram Gupta Of F.C. College, Lahore. Interestingly it is literally impossible to even find this printed source on Adina Beg Khan. A very rare book of 55 pages. Some books in Urdu are romantic fictions. Sikh story telling is contrived history at most, for gullible consumption.

Adina Beg Khan was by caste an Arain, and born in Sharkpur in Tehsil Lahore, in the house of a common person by name of Channu. However due to reasons, he was brought up by a Mughal family and identified himself as a Mughal. His skills were extraordinary in every way and he knew how to manipulate people as well a situation. And his rise is very much due to his ability for manipulating things. It is reported that he married a Syed girl, but finding out that she was a Syed, he divorced her but gave her maintenance all his life. The truth looks different. It is said that he married a street girl and had a son and a daughter by her. The daughter was married to Khawaja Mirza Khan and the son tried to take his position after his death but failed, for he lacked the abilities of his father.

From the position of a Patwari, he ended up as the Governor of the province, by doing one thing or the other, and black mailing people into serving him. But he did enjoy the highest position in the Punjab and that for one year too. There were three strong parties. The Mughals, the Sikhs and the Mahrattas, and he played all three against each other, getting the best out of situations. The present governmental trait of buying land cheap and then selling same at high prices was his forte. It seems people today are direct spiritual descendants of Adina Beg Khan.

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Stories are there about his character losing his outward calm at moments. The incident of the JAM seller grocer comes to mind. A grocer refused to sell jam to his servant. Adina Beg Khan sent another person to buy the jam and this fellow did as the grocer could not identify his link with the actual buyer. When Adina Beg Khan found out, he ordered the grocer to be burnt alive in oil. It was with great reluctance that he was cajoled to rescind his sentence. A life for a jam was at stake, as honour was involved in transaction.

We noticed in a deed to our house in Mohalla Chabuk Sawaran dated 1759 AD, as reference to land and property owned by Adina Beg Khan as a neighbor to the Mimar family of Lahore. We were truly surprised. Here was an information not recorded anywhere else of his holdings in Lahore. We decided to add the information to the history of Adina Beg Khan. We will research that document, and present the view of same.

It should be remembered that our people are in the habit of distorting history by presenting non provable versions of things. We use documents and books to present our case. Anyone willing to refute us, should present documentary evidence. Not family gossips for historical consumption.

LAST DAY OF ARTIST M.A. RAHMAN CHUGHTAI;
THE FIRST EFFORTS OF ARIF RAHMAN CHUGHTAI:
FIRST CLARION CALL TO PRESERVE LEGACY OF ART.

It was totally unsettling. A note (now literally historical hours before his death) I wrote reminds me that M.A. Rahman Chughtai was not well. He called me in the morning to see me and shook hands with me, not letting my hands go. I was disturbed. I told him there is nothing wrong with him. A cup of coffee would drown his sleepiness etc. But he was sure that he was going. In the evening when we went for a doctor in Samna bad, and it became late, and when we arrived at home, lights were on. Our home servant Arshad Sadokee was there to tell me that my father was dead. Of all things I locked the car and went to my room and where I sat all night. Thinking. What to do?

Full credit goes to my school friend Pervaiz Ashraf who stayed with me all night. And he was also delivering messages to families and friends. It was he who went to the house of Abdullah Chaghatai and did not have the heart to tell him about the death. He just said that the health of the artist had deteriorated. It led to the confusion in the minds of uncle Abdullah Chaghatai that the date of death was 18th January, 1975, which certainly was not so. Perceptions lead to mistakes. Historians have no right to jump to conclusions.

The next day the burial took place as Amanat in the Miani qabarastan. No response from official quarters. We had requested the Government to give a national place for the burial of the artist and had suggested the Hazuri Bagh enclosure outside the Badshahi mosque Lahore. The next day there were gatherings in the house. A team from the Chief Minister Punjab had come to receive the Chief Minister Punjab Hanif Ramay. Indeed, Hanif Ramay came, said dawa for the artist, and WITHOUT MEETING ME OR MY MOTHER, left the place. It was an amazing condolence visit without meeting the bereaved family at all. The conspiracy was on foot. 

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A plan of action was in my mind. We would not take things lying down, and will fight against all odds. We will detail the happenings with the Federal government, the Government in Punjab and various issues eventually. But this is our reaction. On 23rd January, 1975, I wrote the note “The last breath”, and we sent it for publication the very next day. On 24th January, 1975, we were  planning the letter form for our planned “Chughtai Academy of Arts”. We received the pamphlet on the 27th January, 1975, and we started distributing it from a room in our house. People came, each one had their own view. But the massive opinion was to submit to the highway bound dacoits and let them waste sixty years of my father’s work and preservation, nothing at all. A stupid relative with lowest IQ suggested that it was not  my job to build museums, and if I had enough money, I would better give same to my poor relatives like him. His mouth was also watering in  anticipation of trying to steal things including our property. A previous owner of a cinema on Mcleod road was suggesting that we give everything to India, as they will know how to  care  for same. I can only amaze myself as to suggestions I was receiving from such people. Nothing patriotic from them. 

We were without resources. Our guts were being questioned. The future looked bleak in all ways. My mother had nothing, my sister had nothing and I had nothing. Most of the property was in alien hands. But the will was strong. We were  not going to let waste my fathers efforts. I remember for two years as he was sick I used to give a ‘thapra’ on his back and tell him again and again not to worry. But he had already tried many, he had little hope of success from our side. Our determination he could not believe in results. 

I had communicated his death to many known foreign heads of States and dignitaries. Response was received from many of them and our archives are full of their condolences. But under threat we sent TELEGRAMS to many of them, to save us from the tyranny of the times. Somebody listened. Somebody powerful nough to kick the butts of people in power. The struggle had begun. Two books are being planned. The first “Legacy of M.A. Rahman Chughtai”. The second the “Legacy of Chughtai Museum”. We hope we can print both for the future. Art  and Culture is a minority affair these days. My father’s role was to make it more of a public affair. More people knew of Chughtai art, than any other artist in Pakistan. The word ‘Chughtai art” fell into Urdu lexigraphy as denoting something beautiful. In Urdu movies the hero used to praise his beloved by calling her as Chughtai art. An iconic legend within his life time, the legend of M.A. Rahman Chughtai is ever alive. And we are proud that we too had a hand in same against heavy odds.

HIDDEN MONUMENTS AND PRE-MUGHAL DOMES
SOME LAHORI SITES OUT OF SIGHT OF PEOPLE:
HUGH DOMES OF UNKNOWN PRE-MUGHAL TIMES.

Memories are short. People out live them. They forget them. Things known become unknown over a period of time. Their nomenclature changes. New legends are woven on unknown objects. But actual objects survive and can be studied on their own merit. There are a number of monuments in Lahore with a question mark over them.

No sane person believes in miracles. An incident has to be reconciled with our intelligence. Miracles woven around Sufis and Faqeers are not for us to understand, believe, or relate in any way. We leave that to the imagination of people to believe in whatever they want to believe in. History requires documentation not old people’s tales.

It is said that construction in Ghazanavid times was based on bricks joined with mud (not choona mortar), that is why hardly anything of that period remains. What remains is some doors of Ghazanavid Seljuk period. Some are in the Victoria and Albert Museum. (taken from Lahore itself during a rainy flood here), some in the Lahore Museum and a rare one with Chughtai Museum, taken from the vicinity of Machi Hata in Lahore. Figurines of the Sultanate period are discovered in Lahore. Even some lamps with kufi writing on them. Dr Abdullah Chaghatai saw a mosque of Ghazanavid period when there was some digging in Rang Mahal Lahore. Some manuscripts also do exist in the world.

But what about buildings? We study some of them. The first one to notice is the newly made mausoleum of PIR HANJARWAL. Residents tell a story; facts tell other things. A journalist writes:

Moving further on the Multan Road, one comes across Hanjarwal, just after the factory of Waves appliances. This notorious village is now known for its political violence. It is dominated by the Khokhars, and one often hears of murderers and dacoits from this village. The village is said to have been established around the time of Emperor Jahangir, as the shrine of the person who founded the village, Peer Hanjar, provides those dates. However, when we visited the shrine with an architect friend, he surmised that the original structure of the building has architectural features from the 14th century. The elders gathered here told us that there used to be a caravanserai here, next to which there was a baoli. It is also said that an old wooden door is also preserved here.

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The stories about MUSA AHANGAR are more numerous. It is a mausoleum with a history extending back to Lodhi period. Died in Akbar’s time. Also buried here is the beautiful Hindu woman who converted to Islam and was enamoured with the Sheikh.The tomb of Hasu Telli is recalled too. A manuscript in verse written by Surat Singh son of Dhuni Chand from 1055 AH, 1645 AD to 1057 AH, 1647 AD in praise of his saint is entitled TAZHKIRA HASU TELI. Hasu Teli was a wheat seller in Lahore in a shop in Chowk Jhaunda inside Lohari Gate, Lahore. He used to weigh the wheat in a dishonest way and after becoming a disciple of Shah Jamal Lahori left his corrupt ways. He stopped selling wheat and embarked on a career of selling oil. To this day a lamp is lighted in his shop by well-wishers. His tomb is also in Lahore and described in detail by Judge Muhammed Lateef in his history of Lahore. Surat Singh became a revenue official in Lahore and became a disciple of Hasu Teli and used to contribute to the welfare of his saint’s burial place. Stories attached to Baba Guru Nanak are also mentioned here. Credit to this discovery goes to Aligarh University’s Dr Razavi.

SIPAHSALAR ALI GOHAR is reputed to be a General of the Ghaznavids. but there is much confusion about him. In any case he is buried in the village of Mahmudabad, founded by Sultan Mahmood Ghaznavi. No one has bothered to study this ancient mausoleum.

A wave of novice workers is churning out videos and writings with access to no solid source or evidence. These are contributing to further falsification of our already falsified history. No one to check same. Commercial feasibility out doing truth.

THE START OF PORTRAITURE IN ISLAMIC PAINTING;
THE CLIMAX OF PORTRAITURE IN ISLAMIC PAINTING:
THE PORTRAYAL OF SULTANS IN PERIODS OF TIME.

Figurative works were there in the first Islamic coins. Most famous are the Caliph coins, just a few decades after inception of Islamic life. The figurative coins were in vogue, when upset started with religious fanatics trying to railroad modernism in approach at that time. This aesthetic fight generated carries on still in the shadow of Mulla’s, which has nothing to do with the Quran. More than a thousand years ago images of Suwar ul Kawakeeb penetrated Islamic manuscripts. But portraiture was still lacking in spirit.

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Fatimid painting spearheaded the growth of figurative work. In 1180 AD, during the reign of the Sultan, we have miniatures of Sultan Salahuddin Ayubi. It is a magnificent portraiture done in the life time of the Sultan. Sultan was on throne at that time. The craze for portraiture went on for centuries. We can surely reproduce many of them. But it ends in our life time with M.A. Rahman Chughtai. He is responsible for lots of portraitures, at times imaginary, but always with focus on that period, including ethnicity costumes and lay out etc. A portraiture relevant to the times of the figure undertaken by him.
So, enjoy start to evolution of portraitures. So obviously we will talk more of this historical evolution of aesthetics. The most amazing discoveries are presence of sculptures of Caliphs in the main city square like the cities of Samarra. More on that later. Enjoy!