ANALYZING MODERN PAKISTANI ART
IN PURELY OBJECTIVE ANALYSIS AND DESCRIPTION

Why is what and what is why?

There was a time when Pakistanis attempted to understand Art. Obviously aesthetics were never built up here, so that even that analysis was mundane. But then a new wave of Art started in Pakistan in the 1950s and was dubbed as Modern Art. That Abstract Art of Picasso genre is itself outdated and today Pakistani artists are experimenting with new ideas and new insights. We will refrain from expressing opinions here. We like to do an objective analysis of Art works for those who cannot read anything in Art works.

We have selected a painting and it is here for everyone to see and ponder its contents. We will refrain ourselves from the name of the work or the artist for that does not matter in our analysis. Suffice that the work is burnt char of newspapers and magazines and finished with paint to give an insight into the message of the artist. The material is certainly not of long life and will dissipate sooner than the idea itself of the work. The materials cannot be preserved for a longtime in any scientific analysis. So it is time limited to these times only.

The work shows a chair made of this burnt waste paper. It has lions in its arms and paws on its feet. In the upper side it has the crown of some Sultan of the past. It is the chair or rather the throne of some Sultan and reflects the Ideology of Pakistan. In the center is an aluminum pot reserve for crap for elderly citizens. People dying or on the verge of death who cannot cross into the active toilet of the house or place. In fact the whole colour of the chair throne is like Crap itself. Now what does it all mean?

In very simple objective terms, it means that the Ideology of Pakistan or that our past is dead or dying and all of it is plain crap. One can call it a brilliant way of bashing our own selves, but obviously the artist does not relate himself to this place. Is this self criticism then! Plainly it is meant for foreign audiences who would give anything to see Pakistanis bashing their own country.

We have no objections in anyone making anything. It is a free country. But freedom does not mean freedom from analysis. Beauty lies in the eyes of the beholder. Crap lies in the eyes of none.

P.S.
I am grateful to the gentleman who provided this image to me and asked for my comments, purely on objective basis.

MASJID WAZEER KHAN
BUT THIS ONE IS IN MULTAN

1650 PROBABLE DATE SUGGESTS MUGHAL LINKS

The name Wazeer Khan occurs many times in history. But the famous Wazeer Khan is the Governor of Punjab under Emperor Shah Jahan. And this man constructed a lot of buildings in Lahore. There are at least three to four mosques associated with him in Lahore alone, including the famous Wazeer Khan Mosque Inside Delhi Gate, Lahore. However in Multan, near a Mohalla known as Kotla Tolay Khan (actually a ferry crossing of the river) there exists another mosque after the name of Wazeer Khan, reputed to be constructed in 1650. But the famous Nawab Wazeer Khan died in Agra, in 1641, after falling from his horse, due to ill health. Putting two and two together can only be a matter of conjecture.

No inscriptions on the mosque and the same constructed again and again, so that except for the grand dome in the centre, nothing of the old remains. There is even an older tomb of a saint next to the mosque and could provide clues to same. But even there the clue is missing. No names, no written things. Nothing at all. However this tomb is below the construction level of the mosque and is even older.

There is hardly any tradition in Pakistan of research or search for clues for such things. a detailed survey can be made and things dug for conclusions. But all over Pakistan, there is apathy. Some diligent people will continue work on such issues on their own.

Wazeer Khan was Governor of Punjab and could very well have made this mosque in Multan during his tenure. The present record is that:

“Nothing is known about Wazir Khan after whom this mosque has been named. The entire Mohalla is populated by Gandapur Pathans who hail from Dera Ismail Khan. Mr. Malik Kamran Gandapur is the present mutwalli of the mosque and he bears all expenses on its maintenance. According to him, his family has been holding charge of this mosque for last 125 years. But the mosque is certainly older than 125 years. Tradition ascribes it to have been constructed about the year 1650. “

The period 125 years is of interest. Simply for this is the same period when the chaos of Mutawalliship of the Masjid Wazeer Khan Lahore was gong into dispute.

As far as Tolay Khan is concerned, it may interest people to know that the only Tolay Khan (1192-1232) we hear and is famous is the son of Changez Khan and father of both Kublai Khan as well as Halaku Khan. Is there any reason to believe that this Kotla is named for some reasons after Tolay Khan father of Halaku Khan. One can research further in this field. But there is connection with amir Timur here which cannot be denied by anyone and the Chaghatai are linked to this site too. In fact tradition ascribes the Sawai masjid in Multan to the Tughlaqs period and even that is subject to conjecture. In fact the site of all this may be as old as Halaku Khan. Check!

In the thirteenth century Multan was invaded by the Mongols many times. The Mongols massacred a large portion of the population of the city. The extent to which the Punjab suffered as a result of Mongol attacks from 13th century onward can be reckoned from the following events:

1. In 1221 AD some of Changez Khan’s forces crossed the Indus in pursuit of Jalaluddin Khwarizm Shah, ravaged vast tracts of the Punjab and sacked Multan and Lahore. (At this time Naseeruddin Qabacha was the independent ruler of Multan).

2. In 1241 AD during the reign of Iltutmish’s daughter, Razia Sultana, Mongols attacked the Punjab, sacked and burnt Lahore.

3. In 1246 AD Mongols attacked the Punjab and invested Multan.

In 1222 the Mongols attacked Nasiruddin Qabacha and beseeched Multan for 40 days. Outside the walls of Multan Fort. perhaps they were encamped at Kotla Tolay Khan.This repeated attacks on Multan signify their interest in the place. Perhaps Multan remembered this portion as the
legacy of the Mongols. Research is not merely shifting facts but bold analysis.

THE RE-EMERGENCE OF RUSSIA
EFFECIENCY OF NEW SYSTEMS
ALLAH’S LAWS ARE EVER BINDING

Most of us worship the Quran as an Idol. Few venture to read it. Even fewer go to the trouble of reading its translation. And most of the translations

are outdated in time. As knowledge evolves, understanding of the Quran becomes more and more of newer revelation. The decline of Muslim Civilization
is due to our distance from the teachings of Allah. The laws of Allah are ever binding on humankind. And one thing Allah promises again and again is
that no SYSTEM other than ordained by Allah will meet the test of time. Obviously a reprieve is given for us to CORRECT our paths, but the LAW OF
MUKAFAT is ever true.

Most is the systems in the world are challenging the Laws of Allah. Systems abroad are yes targets of our insight but we here in Pakistan are also
oblivious of the system of Allah. Communism and Capitalism were two extremes an we tried to evolve a MIXED ECONOMY system. That is what
happened in USSR too. Forceful division was not based on Allah’s systems. Communism collapsed due to he tyrannical nature in it. But all that was said
was not against the will of Allah. Yes diffusion of National Wealth for benefit of humankind was a good goal but not by force. It was based on the will of
the people and the hard work of people aspiring for more.

The much hyped Democracy as faltered all over the world and most people have no illusions of it ever delivering anything, but anarchy, and division of
the state in small camps. Democracy does not make the State one. It divides the nation. The upsurge in Russia had to quelled with newer thought.
Vladimir Putin came to the rescue. Like a true Archangel he was able to put Russia back on the power map of the world. All salutes to Putin the warrior
who challenged the existing systems with a dose of their own. Here in Pakistan we need the vision of Vladimir Putin too. Who will accept the challenge?
It could be anybody, but all eyes are on our own General Raheel Sharif to deliver results. The Military had learnt many lessons and one lesson it has
learnt well is to do things in a subtle way not the direct way soldiers are famous for in the past. Like Russia, Pakistan will triumph again!

CENTRAL ASIAN BUDDHIST TRADITIONS
AND ISLAMIC CONTINUATION OF WALL PAINTING

MUSLIM WALL PAINTING MEETS THE TEST OF TIME

In all cases the Artists of Central Asia were Masters and all things in their hands exquisitely done. Frescoes that are found on the Silk Route speak volumes of their creativity. In fact many of these works remain unstudied and are being looked upon by scholars in new perspectives. The Ajanta and Bagh caves fall in the same tradition of these Masters who came from abroad and were not sprung from depths of here. Cave paintings in Afghanistan were discovered by archaeologists and are spread over a long time. One tradition in the whole area. Locally addicted to stone sculpture, the citizens were not fond of painting over Choona lime background, and considered it not of long life. And yet these caves and their paintings lasted over a 1000 years and are there for us to enjoy and study.

Scholars have reenacted the original colours and found the works so colourful that their single look is abundantly enjoyable by all. We have references of Sultan Iltutmish having such scenes painted on the wall by Chinese Masters. Mughal paintings contain such frescoes too, in various mausoleums and palaces. Lahore Fort has a gallery of such works on the outer walls, destroyed by the apathy of our own people. Even the Samadh of Ranjit Singh, a purely Islamic based architecture (Sikh archives record name of Darogha Imarat Qadir Baksh and Raheem Baksh), has figurative works of large size on the entrance.

NAWAB AHMAD BAKSH KHAN WALI I LAHORE
AN UNKNOWN GOVERNOR OF LAHORE

In search of pages of history

Dr Muhammed Baqir has listed various Governors of Lahore from more than 1000 years in Lahore. Few names are missing. We came across a miniature of Nawab Ahmad Baksh Khan Wali i Lahore. It was surprise for us as the name is unknown in history.

The addition of Baksh to name is basically of the period of 18th and 19th century. So we can presume this man to be from the Abdalli period. The dresses he wears in the painting also belongs to 18th and 19th century. So what are we missing here? We are told that in the years 1775 to 1778 Ahmad Shah Abdalli was present in Lahore and there was no Governor here. Is it possible that the Governor in those days was Ahmad Baksh Khan? Obviously we have no proof but search may reveal unexpected proof here and there. In any case enjoy the visual of an unknown Governor of Lahore.

The history of Multan records Nawab Ali Muhammed Khan, who was appointed Governor of Multan, by Ahmad Shah Abdalli. Perhaps Nawab Ahmad Baksh Khan could have been the brother or the son of Nawab Ali Muhammed Khan and could have been appointed Governor of Lahore. The history of Multan tells us:

“The family of Nawab Ali Muhammad Khan Khaugani/Khakwani hailed from Qandahar who migrated to Multan in the times of Akbar (1556-1605). He was appointed as governor of Multan by Ahmad Shah Abdali. In 1165/ 1751 he started a mint in Multan and issued the first coin (now in Lahore Museum) in the name of his master. Ali Muhammad had a checkered history as governor of Multan He was made the governor twice-the first time from 1751 to 1758 and second time from 1761 till his murder in 1764. Apart from his turbulent history, Nawab Ali Muhammad Khan contributed substantially to the development and beautification of Multan. “

Certainly references will appear as we search for clues to the unknown Governor of Lahore.

CLEANING THINGS IN THE PAST
TRADITIONS IN INDIAN REGION

Pride of being clean and cleaning things

In Islamic traditions we hear the importance of being CLEAN. In fact cleanliness is considered half of faith itself by traditions. Stress on same is viewed by the fact of WOZOO itself. We clean our body parts in a methodical way before we sit down for our prayers. The same goes for our clothes, our home and our environment. There are tradition of the Prophet (PBUH) himself cleaning things, and that goes for the Caliphs too. The famous Sufi Saint of Punjab, Baba Farid Ganjshakar, started his spiritual journey by cleaning Masjid Al Aqsa. I remember in the two Haj’s that my mother did, she brought a ‘Jaroo’ back from there which was in her trunk with which she had cleaned the Holy Kaaba by it.

That Muslims swept their cities too is understandable. We present some old and new imageries of Muslim sweepers. The Turkish miniature actually looks funny as being pictorial record of five centuries, and the cleaning jaroo, the same as used today everywhere, with modifications. A similar one is used in most cultures.

In India the traditions were different. The ancient city of Mohenjo daro tells us of the sanitations of that period. Proper drains worked in that city. Similar communal toilets in Rome spells a new tale. A round room with seating capacity of say hundred people, all facing each other, and relieving themselves. No privacy in their toilet manners, as well as communal bathing. In our traditions the privacy of the matter was there. We refer to our previous blog THE SHIT CLEANERS OF LAHORE for further emphasis on the topic. Recently laws are being passed in India related to open air defecation. Social issues which politicians are not capable of dealing, and the result health problems abound in the region. Our large cities are beset with hygiene issues. Our streets full of evapourating urine of thousands of people every day.No one really cares for such matters. No solution is found. Is it better say in London? Not at all. The communal urinary toilets in Trafalgar Square brings shame to that society too, in which people are standing in rows and urinating in a small channel, with urine flying in all directions and the unbearable stink in the air. Democracy has failed humankind totally. More on that in later blogs.

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. ”
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.

FASHION CONSCIOUS MUSLIM DANDIES
A DIFFERENT IMAGE FROM IMAGINED PLAIN FOLKS

Islamic consciousness of dress and design

An image of Islamic past is given to us of bearded men with simple and torn clothes, longing for invisibility of existence. This stereotype imagery is not true in any way. We have imagery of men in Arabia before the incept of Islam, and although it was a fashionable society in all ways, yet the imagery is of full naked or semi naked men, moving around like barbarians. Of course due to its egalitarian nature, affluence did not catch up with the Muslims immediately but fashion conscious they were in all ways, and not only men in power at the top. But also people in general.

We have many initial images of Muslim men and their dress code. The earliest perhaps are from Samarra, Iraq itself and we find men dressed in exquisite suits, full of naqashi designs. A flowery dandy in all ways. Simlarly in Ghaznavi, in Lashkar Bazaar palace, we find imagery of the Ghaznavids on the walls in same intricately designed dresses, full of beauty and impetus. Look at the images of Mughals in court and you find the full splendour of Muslims in their dressing best. This continues in all times and we find a working dress code as well as a dressing code. We find affinity in often termed as the phrase wearing their SUNDAY BEST. Perhaps for us it was our FRIDAY BEST. Today we find in Arabian societies white dress code literally like coffins but that was never the case in the past.

In our region too, fashion dandies were always there. Even old men are seen wearing their best and that is flowery in designs too. So remove the image of non aesthetic Muslim society. If we have become one now, it was never always the case. The local population could walk around semi dressed as the Rajahs, who delighted in having their upper portion without clothes and a dhoti thing around them. The Muslims wore full clothes but started using low density thin clothes, with pores in it, for summer wear. Know that? So when you see Muslim youths trying their best in different clothes of different origins, it is nothing new. Muslims were fond of dressing up in dresses of other regions. And if today’s youth, borrow from Western dress, it is all acceptable as part our culture. It is traditions like anything else.

RAZIA SIRAJUDDIN A WOMAN OF MANY DIMENSIONS
LOST IN THE HISTORY OF LAHORE

A FAITHLESS SOCIETY FORGET HEROS AND HEROINES

The name Razia Sirajuddin always intrigued me. All people related to my father, made me think of them again and again. Razia Sirajuddin wrote notes and one Introduction to the book CHUGHTAIS PAINTINGS in 1939. Pitras Bokhari had suggested to M.A. Rahman Chughtai her name for this venture, and although Razia Sirajuddin was reluctant to do so, she consented while on a holiday trip to Simla. Today these notes as well as the Introduction keeps her name floating in Art Circles.

After the death of M.A. Rahman Chughtai, we visited Professor Sirajuddin, the national genius of English literature. He welcomed us in his house and we talked about everything. He was talking about his son, the world famous violionist, Imdad (I think), as well as other memories. But he did not feel well. We had invited him to speak on the anniversary of the artist. He did have fond memories of the artist and spoke well of him. He was reluctant to speak about Razia, when the second wife was there. My uncle told me that he called the daughter of Professor Sondhi, as Razia too. Perhaps it was in memory of a figure, which achieved a cult status in her own life time.

Razia was educated at Sacred Heart School , and later went to Queen Mary College. She also studied at the Royal Academy of Arts in London, under Sir William Rothenstein. She was at Oxford University for a long time. Razia was the favourite choice of M.A. Rahman Chughtai for the post of the Chairman and Head of Department of Fine Arts at University of Punjab in 1940-41. Strangely Razia refused that job.

Razia was a woman of many dimensions. A literary giant, she would give talks on Radio Station Lahore on various subjects. She would partcipate in dramas and literary activity and she would paint. She painted little and one favouite painting was the portrait of Abdullah Yusuf Ali, that she made here. She participated in various exhibition shows.

Her real strength was that she was a legendary figure from some English drama or Greek mythology. She had special way of wearing a saree and she would decorate her entire dress, face and head with fresh flowers. She looked unbelievable when she walked in any room or any function or any meeting. She looked empheral, too good to be true. A fairy descended from a midsummer nights dream in all ways.

A Pakistani critic Azra Zaman wrote this about her:

“Razia Sirajuddin crowds her canvas with passion. Her earlier paintings showed some confusion caused by her persistent search for the relevant from out the traditional for compounding with the new. But like oil it did not mix with water and symbols of both techniques could be identified separately despite all her attempts. In her late canvasses, however, she has solved her mental problems and has confidently and successfully ‘opted’ for the present. And her paintings are live, the canvasses appeared seared with heart felt emotions. Possibly she may be described as the Emily Bronte of Pakistan painting.”

M.A. Rahman Chughtai considered only two artists worthy of his attention as a writer. One was Ustad Allah Baksh and the other was Razia Sirajuddin. It is sad that while Ustad Allah Baksh is still on the scene, the society has forgotten one of its greatest heroine and artists, Razia Sirajuddin.

KANGRIS AND EMPEROR AURANGZEB ALAMGEER
A PLAN TO ERADICATE PROSTITUTION FROM OUR REGION

The boldest attempt in history to undo “Arth Shaster” laws

There is romantic saying that prostitution is the oldest profession in human history. That is of course not the case. The primitive man was not fond of renting for his things. He knew how to take them or succumb trying, that is why it was an age of the SURVIVAL OF THE FITTEST. Then God in his infinite wisdom taught man things that ancient man never heard off, and that was Compassion for others. Islam stopped exploitation of man by man presumably forever, but human frailty as it is, would rebel again and again. That is what we called endless struggle.

There is a manuscript in the Salar Jang Museum about the reign of Muhammed Shah and it lists many things. It also lists the names of the famous prostitutes of Delhi. A remarkable list in itself. The top 18 prostitutes of Muhammed Shah’s time are listed there, with their remarkable attributes. For instance mention is made of Mashooq Abdul Hassan, Nur Bai, Chimmni, Ada Begum, Banay Feal Sawar, Khushali Ram Rajni, Chak Muk Damni, Zeenat, Bhajbi, Gulab, Ramzani, Rahman Bai, Pana Begum, Kamal Bai, Uma Bai, Kunwar, Pana, and Tunoo. The free license of sexual depravity in those times can judged from instance with the presence of SEX TRAINING SCHOOLS of Azam Khan, Mirza Munoo, and Lateef Khan. At these sex universities everything was taught and practicised. Sex taken to new heights of permissiveness. More on that in another blog. Here we talk of the tempo of Aurangzeb Alamgeer to set things right in Indo Pakistani region.

In 1688 an farman was issued by Aurangzeb Alamgeer that all prostitutes should renounce their way of depraved life marry someone of their own choice, or permit the State to find husbands for them. Orders were issued to subjects to marry such women and let them lead pious life. This was done for the majority of the Kanjris of Delhi and Lahore.
In Delhi an order was issued that women who would resist marriage to family houses, would be thrown in the river. One such woman who refused to marry called on the shrine of Qaleemullah son of Nurullah Mimar, and asked forgiveness from the saint as it was the last day of her life. Qaleemullah took reverence to the lady and asked her to collect all other such ladies and start reciting verse by HAFIZ SHERAZI loudly in front of the palace, so that the Emperor could hear them. The verse was:

“Dar Koay naik name mara guzar na da anand,
Gar to name pasandi taqheerki kaza rah.”(Persian)

Aurangzeb Alamgeer heard the verse and asked about the group of women who were singing it. He forgave this band of women for there was a lesson in it. This trial by the Emperor to set things right did undo the depravity for some time but after his death, it sprung back in force. Unless the society meets the challenge, Good and Evil will keep on clashing till the day of judgment itself.