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M.A. RAHMAN CHUGHTAI OBSESSED WITH REGIONAL PICTORIAL HISTORY; RESEARCHED ON “DABISTAN MUSSAWARI” OF LAHORE AND ITS OFF-SHOOTS.

M.A. RAHMAN CHUGHTAI OBSESSED WITH REGIONAL PICTORIAL HISTORY;
RESEARCHED ON “DABISTAN MUSSAWARI” OF LAHORE AND ITS OFF-SHOOTS.

An article on the background of pictorial history generated by both artists of Lahore as well as other artists of the Punjab. The pitfall was that as in other ways of life, the two-nation theory came here in this aspect of life. Hindus kept on generating their point of view. Muslims were not even interested in this aspect of writing. The result a myth was created and the truth driven out lost in the woods of anarchy. Talking of Punjab, it was forgotten that Lahore was a Mughal city, governed by Mughal Kings and Governors. In this particularly important period, by the son of Wazeer Qamaruddin, that Mir Muin ul Mulk, that is Mir Mannu. Mir Mannu was Governor of both Mughals as well as Ahmad Shah Abdali, and all the Hindu Rajas paid homage to him. In fact, pictures exist with reign of Mir Mannu as inscriptions. And not only those miniatures of Mir Mannu are there too. Scattered in museums all over the world, some are published, some remain unpublished. Berlin Museum has a most interesting miniature done by the famous Nainsukh himself.

M.A. Rahman Chughtai had great plans for pictorial history. An article appeared in a local literary magazine. Then after his death, Chughtai Museum published his research to that date. The book was a block buster. Very soon we ran out of print. We published a second edition too. This was distributed free of cost by Chughtai Museum. It generated upheaval in research work. Students and scholars borrowed information from it. In fact, a few PHD thesis written owed their debt to this little booklet. An English edition was made but has not been printed yet. It reveals to the world a plethora of artists of Lahore, unknown and unresearched. It even revealed that there were streets named after artists in Lahore itself. We even had reference of a mohalla and gali of Sheikh Basawan the Mughal mussawar. Our finances are meagre, but our ideas are unlimited in scope. We will continue work on same.

Gaur Suhai were the first signed miniatures of a Punjab artist. M.A. Rahman Chughtai collected signed works as an obsession. We published a book on Gaur Suhai, who signed his works in Persian language as “saqt Gaur Suhai”, with his links to Muslim courts. Two works were with N.C. Metha, a collector of Bombay. A few works by Lahore based painters, who migrated from Lahore, and were ancestors of Chughtai’s first wife, Wazeer un nisa, of Chowk Nawab Wazeer Khan. One of them was ELIA NAQASH, and his work is in a museum too. We are working on these features ourselves. Our collection was noticed by Dr Karl Khandalavalla. Scholars like Bautze as well as B.N. Goswamy went through our book.Excellent work these people are doing on their own. Surely no one is free of bias. Truth is inevitable! 

TWELVTH SERIES EXPLORATION OF CHUGHTAI ART: STORY OF OPPORTUNITIES OF AN ADVERTISING AGENCY; EXPLOITATION OF TALENT GENERATION OF RESOURCES.

TWELVTH SERIES EXPLORATION OF CHUGHTAI ART:
STORY OF OPPORTUNITIES OF AN ADVERTISING AGENCY;
EXPLOITATION OF TALENT GENERATION OF RESOURCES.

Unless you have seen Chughtai art in original, you are in no position to even make a judgment. The observation skill of most people is limited. Look at the whole, never in parts. No time to observe the details, which tell everything. When you look at the whole, you are bound to hide many things. The paper used by the fake makers is nothing short of being ridiculous. Not only do they have no access to original Whatmann, they ae not in a position to buy expensive drawing paper. Handmade paper is beyond them. Where 300 gms is required, you cannot do much with 100 gms cheap paper meant for struggling students. And instead of pigment colours, cheap chemical paints. No ability to mix paints and take out original tinge of Chughtai art. Lines cannot be drawn by them, so they print a weak image of a standard work on paper. Size unknown to them. Compositional size also not known. Chughtai used to cut his paper to suit his composition. That is why fakers shorten or extend works to meet size of paper. Afraid of cutting an 18 by 22 size student paper to size required for an original Chughtai. Imagine some reduce sizes from 26 by 36 inches to 14 by 19 inches. The best fake makers raise their hands in their lack of ability to copy a Master.

STORY OF A FAKE MASTERA very famous head of an Advertising agency, in 1950s, used to buy works from Chughtai himself, to sell in Karachi, as well as other clients. He had a lot of original work, believed to be stuck in a police custody now. But he was a gambling addict. He stopped paying people their due amount. Due to these lapses, the artist Chughtai stopped giving him his works for sale. It was then that he asked am artist in his advertising studio, if he can make Chughtais. The poor man volunteered to try his best, and he innovated things. A faint image of a Chughtai was printed on paper, and on same English photo-colours were used to finish a painting. No technique, no washes. Nothing but cheap copies. A person in Islamabad got the idea. This faker used to sell his works for Ten thousand Rs, the man in Islamabad used to sell the work to a party in London for Rs One lakh. From there it went to auction houses, who had absolutely no knowledge of original or fake enterprises. A lot of money got generated in this way. Everybody felt happy. No consequences. The funny part is that Pakistani moronic analysts and critics had no mood to even look into this matter. Perhaps the spoils were divided amongst various people. Only I remained the Socratic gad-fly.

It has been an arduous work. Going through these series of exploration. Just look at the three Karachi fakes presented in a separate way. The fakes are about 14 by 19 inches. Laugh your heart off. The originals are huge works. Look at the faded textures. Karachi fakers become zero when you see the original side by side. All this must come in a book. But at the present it is out of financial reach for us. We will try in the future to expose the hideous faces of both sellers and buyers. We are alays available. Seek our opinion on everything related to Chughtai art. We will give you the facts and figures.

WHEN A CHUGHTAI WORK IS IN OUR ARCHIVES, IN A POSITION TO COMPARE SAME WITH FAKE.

WHEN A CHUGHTAI WORK IS IN OUR ARCHIVES,
IN A POSITION TO COMPARE SAME WITH FAKE.

Our archives include many works not in our possession. We are in a position to compare the, with fakes. But many are there with originals. Just one look and literally even a blind person can see the difference between the two. One can tune one’s observation skills to the extent where even one look can tell you same. So just look at some of the examples. Everything is obvious! We have no longer access to some fake, as they have been removed from the internet, for fear of exposure.

The name of the fake artists one thing, there is a VIP list of those who get fakes made, to boast their collection, or make money out of same. We are not in a position to name such VIPS as they are plenty, and well-known people. The list includes Presidents, Prime Ministers, as well as Governors. Greed touches the heart of such people all the time. Our job is to give information, We are not the people who can execute such drastic orders. Enjoy our information!

ART EXPLORATIONS TEN OF FAKE INDUSTRY OF CHUGHTAI ART, DELHI SCHOOL: THE INTERNET IS FULL OF CHUGHTAI FAKES, AND IT IS NOT LIKELY THAT TRUTH; IS NOT KNOWN. IT IS INTEREST OF ART BUSINESS TO CLOSE EYES AS REQUIRED.

ART EXPLORATIONS TEN OF FAKE INDUSTRY OF CHUGHTAI ART, DELHI SCHOOL:
THE INTERNET IS FULL OF CHUGHTAI FAKES, AND IT IS NOT LIKELY THAT TRUTH;
IS NOT KNOWN. IT IS INTEREST OF ART BUSINESS TO CLOSE EYES AS REQUIRED.

The fake industry has many issues. Faking Chughtai is not even possible, but starting from a scratch, people do keep on trying. I receive all sort of enquiries from Delhi School, making a fake, and asking me its pro and cons. I really realize offering to much information to such sources is nothing short of a sin. So, my best advice is to bring the original to me. Without same I am not in a position to make hundred percent sure remote judgement. Stories are spun that it is too far away, binging same not possible at all. But asking ques from me to better their product.

Few things must be kept in mind. Hardly anyone has the capacity to make a new Chughtai drawing and composition. The creativity is really lacking in these people. Now what happens. They get their hands on copies of Murraqqa e Chughtai or Naqash e Chughtai. Many times, Amal e Chughtai is out of their reach. But some has that too. Next problems for them are that they have the image at times in colour but many times in black and white. Then they have no idea of its colour. They have no idea of its size. No idea of how the work is cut. Deliberately at times a torn or mutilated paper is used. They have no idea of the process with which the work is made or processed by the artist. No idea of the handmade paper used by the artist, or the pigment colours. Not familiar with Whatmann or even Winsor and Newton or Japanese Kyoto brushes. I can see all that in seconds myself. That is why I insist on seeing the back side of the work and some have got it pasted it on board to hide their nefarious work.

However, much people try, the feeling of the work cannot be duplicated by them or the luminosity of the work. Faded colours are hallmarks of fake makers. Obviously so much can be said, but the few renarks I have made should open the eyes of both fake makers as well as fake buyers. Get authentication from those who know authentication! Ready to help people from my decades of experience and knowledge.

HUMAN NATURE IS FOR ORDINARY ARTISTS TO IMITATE MASTERS; A POSITIVE STEP IS ONLY TO INNOVATE AND LEARN PICTORIAL ART; ON OTHER HAND, A NEGATIVE STEP IS TO SEEK MARKET FOR SAME. EXPLORATIONS IN ART LOOKS AT CHUGHTAI FAKE MARKET IN CHINA

HUMAN NATURE IS FOR ORDINARY ARTISTS TO IMITATE MASTERS;
A POSITIVE STEP IS ONLY TO INNOVATE AND LEARN PICTORIAL ART;
ON OTHER HAND, A NEGATIVE STEP IS TO SEEK MARKET FOR SAME.
EXPLORATIONS IN ART LOOKS AT CHUGHTAI FAKE MARKET IN CHINA

Every great Master is copied with time. You name it, copy makers exist for doing same. But many copy to learn and move into innovative techniques. Improving skills is not wrong. Others to make money. Obviously, the ordinary copy makers are no good and are caught in seconds. Exceptional talent preys on people.

Some remarks from fake Chinese market:


“A so-called Chinese “urban village,” Dafen once produced an estimated 60 percent of all the world’s oil paintings. During its heyday—when the village’s reputation as an art factory rang truer than today—it almost exclusively cranked out copies of paintings in the Western art canon. These canvases found their way into hotel rooms, show homes, and furniture outlets all around the world. Not bad for somewhere that until the late 1980s was a largely overlooked and decidedly rural backwater on the periphery of Shenzhen. “

“Meanwhile, cheaper and more efficient production methods have been developed. Many copies are now first printed onto canvases in high-definition, after which art workers apply just enough paint to make it appear as if they were painted by hand, a process which requires significantly less skill and produces a more consistent result.” 

“The idea of replicating the work of top painters is nothing new. In the time of Rubens, “if you wanted a copy of his beautiful Venus and Mars, you would just contact his studio … and order one,” Bray noted.

“What we’re doing here is just showing that the practice has now moved to China,” he said.

Millions of replicas are produced every year in China for a global and also domestic market, focused around the studios and workshops in the southern village of Dafen.”

This Chinese market is still a very secretive market as far as Chughtai art is concerned. Mention is made of four possible works. We are giving pictorial of one work. There are others. The funny part is that CHUGHTAI hated the OIL technique. Some pseudo analysts and experts have looked at Chughtai fakes and made conjecture that perhaps Chughtai also did oils in his works. Mere hullabaloo, nothing else. But the Chinese claim that they can also do same in water colour. Is it not time to trust the greatest Chughtai art expert in the world! That is of course me, Arif Rahman Chughtai, son of the artist and Director of Chughtai Museum in Lahore. Chinese have the highest marks in making fakes but there are still give away signs. Ask me!

Price list for even water colours

FINAL WORD IN PICTORIAL EXCELLENCE OF CHUGHTAI ART; THE FINISHED MASTERPIECES OF ART THAT KEEPS HIM ALIVE.

FINAL WORD IN PICTORIAL EXCELLENCE OF CHUGHTAI ART;
THE FINISHED MASTERPIECES OF ART THAT KEEPS HIM ALIVE.

A lot of people had seen Chughtai art in private sittings, as well as many exhibitions shows in Pakistan and abroad. A lot of images used to appear in magazines and newspapers. But after his death the link was cut off. We restored that link with the inauguration of Chughtai Museum on 17th January, 1976. Followed by various shows and invitations of World experts to Chughtai Museum. A separate talk on this issue is overdue.

Suffice that the water colour masterpieces are the back bone of Chughtai art. No one has access to originals, as well as sizes of the work. That is why most mistakes are made. Let us first examine a selection of the Master pieces. From then on we will discuss the practical issues involved in this analysis. Enjoy here! Anyone can enjoy with us too!

M.A. RAHMAN CHUGHTAI STUDY OF DIFFERENT HUMAN FACES; ACCORDING TO PAUL DRURY HIS MIND STORED BANK OF FACES, FROM WHERE HE COULD DRAW A FACE AT WILL FOR HIS WORK. SERIES SEVEN IN EXPLORATION OF CHUGHTAI ART, KNOWLEDGE.

M.A. RAHMAN CHUGHTAI STUDY OF DIFFERENT HUMAN FACES;
ACCORDING TO PAUL DRURY HIS MIND STORED BANK OF FACES,
FROM WHERE HE COULD DRAW A FACE AT WILL FOR HIS WORK.
SERIES SEVEN IN EXPLORATION OF CHUGHTAI ART, KNOWLEDGE.

A large part of Chughtai’s works is related to study of faces. He has dealt with so many numbers of faces, that one can say his computer type analysis left nothing out. And these are not faces he saw. These are faces he imagined with his creative insight. It is pure refreshment of aesthetic senses to look at these faces. Faces are of all kind, but he rejoiced most in female faces. Given different background of character, he enriched the faces with his own version of clothes and costumes. The characters are from all kinds of races. The region is Asia in its fullest sense. Hindu faces, Muslim faces, Punjabi faces, Sindhi faces, Pathan faces, Bengali faces , and even Buddhist faces. A student can learn a lot from his study of faces. An artist can seek inspiration from them. We exhibit them now and then. Our visitors are tuned to them. As time passes more and more people know about them. Enjoy our heritage! Enjoy our culture.!

ART REVIEWS ON CHUGHTAI ART STARTED IN 1920; “FOLIO” AND “RAVI” FIRST TO PRINT WRITINGS ON MARC. FIRST PAINTING APPEARED IN “MODERN REVIEW” 1917. URDU MAGAZINES LAHORE CARRIED OWN WRITE-UP THEN.

ART REVIEWS ON CHUGHTAI ART STARTED IN 1920;
“FOLIO” AND “RAVI” FIRST TO PRINT WRITINGS ON MARC.
FIRST PAINTING APPEARED IN “MODERN REVIEW” 1917.
URDU MAGAZINES LAHORE CARRIED OWN WRITE-UP THEN.

James Cousin wrote an article on M.A. Rahman Chughtai entitled “The Indian Behzad”, in the famous English magazine Studio from London. Of course, there are so many write ups. Chughtai became nationally famous after 1917, and internationally famous after 1924, with the famous exhibition at Wembley. Reviews on Chughtai prevail all the time. The mood of the reviews differs with source of those writing in same. In any case enjoy same. A rare article not quoted before in literature.

THE ORIGIN OF ALL CHUGHTAI WORKS IS IN THIS HOUSE, ALL ART WORKS PRESERVED FOR ADDITIONAL STUDY. A STUDY OF ODDS AND ENDS REVEAL INTRICACIES OF ART: PAPER, LINE AND COLOUR IMPORTANT BUT FEELINGS MOST.

THE ORIGIN OF ALL CHUGHTAI WORKS IS IN THIS HOUSE,
ALL ART WORKS PRESERVED FOR ADDITIONAL STUDY.
A STUDY OF ODDS AND ENDS REVEAL INTRICACIES OF ART:
PAPER, LINE AND COLOUR IMPORTANT BUT FEELINGS MOST.

Western scholarship is great. A work is studied. An erased work is studied. A work drawn on another work is studied. The morons of our world have no study of anything, except grow imbecile on their flatulence. Emperor Jahangeer once made a statement. He said that he is an expert in looking at pictures. He can tell who painted what and what not? Who painted the eyes, who painted the lips?  And so on. This is observation. When you have not even seen 10 originals in your life time, how can you make a statement about works?

A work by Leonardo da Vinci got sold for 45 million dollars. Scholars are discussing the work., for they have studied the intricacies. Imagine red flags being drawn with world experts on Leonardo da Vinci. Nobody seems to be winning. Without such a study, no one can claim authenticity of a work. M.A. Rahman Chughtai wrote about a number of Fake Mughal works made in Bombay, and he had seen the forgers themselves. But no one willing to accept that.  I have seen more works of Chughtai than anybody alive. I can judge things. I am after all the greatest living expert of Chughtai art. No one can challenge me on this account. When students used to visit Chughtai artist, instead of a mere signature, he would draw a figure for them. Many students of past must be carrying those memories. Then due to customs restrictions, some works were made in Delhi itself. This was to evade restrictions on movements. And then prints were made of those works. Legacy of Delhi’s first gallery Dhoomi Mal Dharam Dass. Many paintings carry seal of Indian customs on their back. This was to ensure coming back of works.

The Indian Ministry of Culture hosted many experts. But even they get fooled at times. I will quote examples. We are just starting this topic. A lot more is coming. It is time to waken up. It is time to see things. It is time to silent meaningless innuendoes. When you do not know, learn, or Shut up!

P.S.Proof from an ex-museum curator in USA.

—– Original Message —–From: <chughtaimuseumlahore@hotmail.com>To: artguyone <artguyone@rcn.com>Sent: 10/28/2020 4:13:04 PM Subject: Re: Proposal
Very sweet will write tomorrow. There were two partners namely  DhoomiMal and Dharam Dass and had a very old book store in Delhi and were also publishers. First gallery in Delhi I think. I have been to their shop. The gallery of first partner is still there. The second one separated after death. Name is of two owners. Got it Gary

On 28 Oct 2020 11:16 PM, artguyone <artguyone@rcn.com> wrote:
Arif,     Thanks for this great offer, but, I am a retired, ex-museum curator, living on pension—no longer active in art world. my inquiries were based on having many different artists’ pieces in storage and now getting them out; some to sell and favorites to keep awhile longer. I plan to keep 2-3 of those you’ve seen and then, others, Unidentified, probably offer on eBay. I plan NOW, to try to ID those. Once again, I’ll ask : What is the English translation for “Dhoomi Mal Dharam Das”? Due to Your work for me,  I can now tell about your Father with much more accuracy. If I get questions about purchase or related, I would, of course, be happy to refer to you and the Museum. Thanks and Best Wishes,   Gary

FIRST SABOTAGE BY PAKISTANI LOBBY OF AN EXHIBITION FOR GERMANY, THE FOMENTING DOUBTS OVER YEARS OF EFFORT OF CHUGHTAI MUSEUM.

FIRST SABOTAGE BY PAKISTANI LOBBY OF AN EXHIBITION FOR GERMANY,
THE FOMENTING DOUBTS OVER YEARS OF EFFORT OF CHUGHTAI MUSEUM.

The Germans were always interested in Chughtai. It started with meeting of Dr Heinrich Luebke, President of Germany, with the artist M.A. Rahman Chughtai, at the Badshahi mosque Lahore. President Luebke was presented two paintings by the artist,. and the President sent his Finance Minister Walter Scheel to the house of the artist, with a gold coin, in recognition of his artistic merit. On 17th January, 1975, on the death of the artist, the then President of West Germany, Walter Scheel, sent condolences on the death of the artist. A request for a State exhibition was sent to the President. Dr Klaus Terfloth, the German Ambassador, took the challenge of arranging such a show. First an exhibition was held at the German Embassy, with an address by the artist’s son on the occasion. It was a remarkable gathering attended mostly by international crowd.

A couple of Pakistanis infiltrated the show, and a ready to be bought journalist, wrote against the show in a newspaper. Dr Terfloth was badly shaken, and I tried to explain things to him. He lamented, “Why cannot you Pakistani be on the same page at least on the side of culture?” I was hosted at the German Ambassador’s house, but the damage was done. The Show in Bonn did not pick up pace. Although not given up, the Ministry was not in a position to finance the show, and we were not in a position to finance it ourselves. All suggestions failed. Some shameless Pakistanis were happy with the result. It was all in the interest of Pakistan, but these lobbies were anti-Pakistan itself. We stand alone holding steady the Ideology of Pakistan. No one helps us. We are grateful to Allah. We know the laws of Allah are in perpetual motion.