MOHALLA OF SHEIKH BASAWAN
AREA OF LAHORI PAINTERS

Riddles of society

Lahore became the capital of Mughal India for many years. Zaheeruddin Babar passed through, but Mirza Kamran made Lahore his city. To this day we have the remaining Baradari of Kamran to remind us of its origins. As the city was the cornerstone of defense of India, Emperor Akbar made it his capital for 14 years. Although Akbar was here again and again yet from 1584 to 1598 he was stationed here in his capital. People working under the Mughals were gradually converting to Islam for reasons of their own. Mostly these people came from lower classes and had no respect in their community. History records that Painters were treated worse than Mochis (shoe-makers). By embracing Islam they found out what emancipation meant. Mian Tansen is a good example of this conversion to Islam and to this day his grave exists in the compound of the Saint of Gwalior. Another example was the court painter Ibraheem Kahar Lahori, who converted to Islam, and was part of the camp of Royal Painters. Of course history records many more.

M.A. Rahman Chughtai was a legendary painter of Lahore and he wrote about the Lahori painters. One of the main area of Lahori painters was near the CHOTTA MUFTI BAQIR, who was a Mufti of the times of Emperor Shah Jahan. We know a lot about him and his books on religion. In the same place lived many painters and the chowk was named after painters too. First there was the Mohalla of Rahmatullah Naqash. This Rahmatullah was the father of the famous painter of Ranjit Singh’s time Muhammed Baksh Suhaf, and was the grandfather of another famous man, that is Fazaluddin Suhaf. Nearby at Mohalla Kharadia, other painters existed in their domain. The famous Imam Baksh Lahori also belonged to this area. When I went to the same place in 1977, I found a blue and white plaque of British period and it simply said MOHALLA SHEIKH BASAWAN. A Mohalla of a person amidst houses of various painters of Lahore evinced me to ask about the man Sheikh Basawan himself. I was told that he belonged to the Court of Emperor Akbar, and used to work for him in Lahore. This was the period in Lahore when the greatest Masterpieces of Mughal Art were created here. In fact the birth place of Mughal painting.

The background is surprising and very clear. Humayoun sought the refuge of the Shah of Iran and was hosted there in great honour. There he met various artists and invited them to India. Although two names are mentioned again and again, there were at least six prominent ones who came. Mulla Qutbuddin Jalanju was from Baghdad, and came till Mashad, and then for domestic reasons went back . The other five were very much there. Each did their best work and presented it to the Emperor. The five were Mulla Dost Muhammed, Mir Sayyid Ali, Khawaja Abd al-Samad, Maulana Darwesh Muhammed and Maulana Yusuf. Khawaja Abd al-Samad was appointed tutor of both Humayoun and the young Akbar for drawing lessons. Humayoun gave him the task of illustrating the HAMZA NAMA in Kabul. As Kabul was not very suitable, they came to Lahore and set up the famous Mussavari khana in the Lahore Fort. Here Abd al-Samad recruited painters of all types. It should not be forgotten that like other cities in the Indo region, Lahore already had a great tradition of painting and the Sultanate painting done here is a matter of record too. Here Khawaja Abd al-Samad recruited people like Basawan, who Abu Fazl praises to a great extent.

Yes Basawan was very much in Lahore and working here. The Historian Bayazid Biyat in his book ‘Mukhtasar’ mentions the presence of Khawaja Abd al-Samad in Lahore in 999 AH that is 1590 AD, although Akbar only left Lahore in 1598 AD. That means the Musavari khana continued to function in the city. But there is a surprise here. It is called Mohalla Sheikh Basawan, nothing else. The attachment of Sheikh with the name meant that Basawan had embraced Islam during his life time. We hear of Manohar Dass his son, and problems associated in that family and there could be the reason for this conversion itself. In his pictures at time we see the image of an holy man repeated, it could be his hidden self portrait. The background of his pictures is clearly Lahori in character as the red stoned buildings of Akbar prophesy here. It is a shame that Western and Hindu scholarship remain allergic to Lahore to this day for reason of mere bigotry and prejudice of the highest order. Without prejudice the Muslim Masters gave lessons of their art to all concerned more specifically the Hindu subjects. It was the large heartedness of the Masters which compelled many students to embrace Islam as attested by the abundance of Muslim families living in the painters houses to this day.

NOT ONLY ONE USTAD BEHZAD,
WEST NOT FAMILIAR WITH BEHZAD LAHORI

In search of a lost painter

A very impressive Western connoisseurship has gone down the drains. We saw a catalogue of Sothebys, for instance and it listed a number of people standing and their names were written on it. It said various names and added the affix Shahjahanabadi with it. The commentator had written that they were all related to each other for they all had same Sir names. We could laugh only. Shahjahanabad is name of the city founded by Shah Jahan, that is the Delhi and Agra complex in one. Similar basic mistakes appear again and again. Lost the ability to look like locals and locals lost the ability to look at all. Some common sense about ourselves only we have and the world is forewarned about it.

One relates to the artist Behzad. We are so familiar with the great Ustad Behzad, that if we see the name anywhere else, we think of it as someone trying to forge a work in the name of the great Master. Not always so, indeed. The Iranians boasted of a most famous modern Behzad of their own. We also have a Behzad Lahori and there are few paintings we can calmly claim to be his own. The Jain Miniature is not by Ustad Sheikh Basawan but by Behzad Lahori, and many have mistaken this as a wrong attribution. Not so. There are miniatures of European women which are linked to the brush of Behzad Lahori. The Darab-nama in the British Museum is also one of them. We have tried to give you some visuals of same.

Who was Behzad Lahori? This takes us to the Mussavari khana in Lahore Fort and Khawaja Abdul Samad, one of the pioneers of Mughal Art in our region. Abdul Samad brought two young sons with him when he came to Lahore from Kabul. One was Khawajah Shareef and the other was Behzad Mussavar. Khawajah Shareef was a great scholar and poet having the takhallus ‘Farsi’ as his poetic name. Stray manuscripts carry his name. The same goes for Behzad Lahori, who was reared up and lived his life in Lahore, and later died here at a young age. He was first brought to our notice by one of the greatest Persian scholar of Pakistan, Hafiz Mahmud Khan Shairani. Professor Shairani pointed out that this painter was definitely of this region and was the son of Khawajah Abdul Samad. Professor Shairani who had seen the Darab nama in the British Museum itself, spelled it in clear terms. This was later certified by the famous Western Scholar Dr Laurence Binyon, who said:

“A not very distinguished group in the sixteenth century Indian Darab Namah at the British Museum, London, bears the inscription, that the work of Behzad was corrected by Khawajah Abdul Samad.”

Other paintings of Behzad are found in the Changez nama in the Bankipur library, Patna. So the presence of Ustad Behzad Lahori is felt here and there. But the wonderful portrait of a Jain monk in a Lahori setting is obviously one of his masterpieces. More work needs to be done on him.

100 COUNTRIES 17616 PAGE VIEWS
PLANET EARTH AND PAKISTAN

Cultural and Intellectual Pakistan speaks out

Thank you more than fifty percent of the best known world in listening to us! We are a country of peace, and extend our hands of friendship to you all out there. It is the job of Governments to see self interest not the welfare of the people. We see a united Planet Earth, and we work for the same. We see diversity as good and when diverse people accept each other, it is called PEACE and PEACE is the literal translation of Islam. All these bearded loose cannons you see are paid mercenaries hired to tarnish our civilization. To fight for a cause is good, but to fight for money takes you to the lowest rung of civilization, the barbarians of the past.

Rejoice in the blessings of Allah! Live in peace with each other. Advance on the horizons of knowledge. Conquer the world through knowledge and research. Do not live for yourself alone, start living for others too.

THE FLYING WOODEN FLY OF LAHORE
KARAM SINGH MUSSAWAR AND MAHARAJAH SHER SINGH

An event of 1842 in Lahore

We came across a news of a robotic wood fly made in the United States and the owner was very proud of same. In his posting he proudly narrates the same:

March, 2008
There is no more rewarding moment for roboticists than when they first see their creations begin to twitch with a glimmer of life. For me, that moment of paternal pride came a year ago this month, when my artificial fly first flexed its wings and flew.
It began when I took a stick-thin winged robot, not much larger than a fingertip, and anchored it between two taut wires, rather like a miniature space shuttle tethered to a launch pad. Next I switched on the external power supply. Within milliseconds the carbon-fiber wings, 15 millimeters long, began to whip forward and back 120 times per second, flapping and twisting just like an actual insect’s wings. The fly shot straight upward on the track laid out by the wires. As far as I know, this was the first flight of an insect-size robot.

This immediately took us back to a news about 1842, which involved a painter of Lahore, and his name was Karam Singh Mussawar. He was a craftsman and could do many things. He was an expert carver too.He was also a carpenter par excellence and loved to experiment with his wood making techniques. One such experiment involve a fly made of wood which could actually fly in the air.

Karam Singh requested a meeting with Maharajah Sher Singh, and met the Sikh leader. He showed him his fly and the Maharajah jested, it was a fine creation, and would be best if it could fly too. Karam Singh released the fly and it flew and settled on the PAGH of the Maharajah, that is his turban. The Maharajah was perplexed and full of wonder, but unfortunately, he never felt it worthy to give any reward to Karam Singh, who was totally disappointed at the response. In any case it is a record of a wonder of Lahore of the 19th century.

WHO BROUGHT ARCHITECTS AND ARTISTS TO KANGRA FIRST?

EMPEROR JAHANGEER AND EMPRESS NUR JAHAN OF COURSE

A hidden story no one likes to repeat

Kangra Fort was captured by various Muslim rulers a number of times but full control was not possible, because it was difficult terrain to reach, conquer and maintain a possession. Even Raja Todar Mal of Lahore was put as resident there by Emperor Akbar but of no avail in the long run. Finally Emperor Jahangeer had set eyes on it. A fragmentary story is told of a parrot which Prince Saleem liked and the Prince of Kangra was not willing to give same to him. In any case Jahangeer set an eye on the Fort and it was finally in Mughal hands in 1621-22 AD. When news reached of same, the Emperor was in Lahore and overjoyed with the idea. He took Empress Nur Jahan herself and went to the Kangra Fort.

The allure of Kangra was very strong. The funniest thing missed by historian is that even the name Kangra meaning fortress was given by the Mughals, as the ancient name of Kangra was Susarmapura. That is why Jahangeer went on work here immediately on arrival. Jahangeeri Darwaza was commissioned and mosque made there and Jahangeer had his inscriptions put on it. The inscriptions were removed later on and were in the Kangra Fort from where they were brought to Lahore by Prince Nau Nehal Singh. Later on the inscriptions were moved to the Lahore Museum and not all of them, but some are still there in broken form.

Emperor Jahangeer wanted to place his presence there and sent for architects to build him a palace there. Even the foundations of the palace are still there and it commenced in its buildings. He had also taken Court painters with him, as he usually did on his tours, to record whatever he liked, and as Kangra was new and exciting for him, the painters must have recorded each and every detail of the Fort at that time. Unfortunately with time what remained and what gets lost is not in the custody of anybody.

There are paintings in the Lahore Museum which show Willim Moorcroft along with Raja Sansar Chand, but Moorcroft was not new to Kangra. Forster passed Kangra in 1783 at the time of great change. It was mentioned by William Finch, visited by Thomas Coryat 1615, Thevenot 1666, G. Vigne 1835, as well as others. In fact in the story of Raja Sansar Chand, he too had two foreigners working for him in the army, mainly Irishman O’Brien and James.

The question remains. Kangra Kangra Kangra! Actual ancient name Susarmapura not mentioned by anyone as Kangra is a Mughal name. Where were these so called Kangra paintings actually discovered. In the storeroom of Kangra Fort or somewhere else? The truth is that these so called Kangra paintings were discovered all over Punjab, in Amritsar, in Lahore and in other places, but most of them were in the store room of Harmandar or the Golden Temple itself. That is the place from where Bharani the art dealer of Amritsar was being supplied with these works. To put an allure to them, he stated talking about KANGRA to his clients. Even he did not knew their origin at all.

Who formed hundred and one schools of Pahari? William Archer the Indian Civil Servant did and he himself was paragon of confusion about it. When he came to see us with his wife, we had long talk with him and he left written note for us. But his confusion took the better of his sanity and he said he could not reconcile the various facets in his mind. In the end, as told to me by Doris Wiener, he commit’ed suicide for the disturbances in his mind. God bless his soul!

We have in our possession actual wrongly labelled works done by actual Mughal Artists. I never liked to call these works Rajput, or Pahari, or else, as in our view those are all wrong nomenclatures. They are done by artists of all religions and are done of all kind of subjects. I told Malik Shamas (Pakistani expert) the best nomenclature is PUNJAB PAINTING and it stands like that. Different styles of artists cannot be termed as different Schools of Art. So do not rant Kangra with us. Research yourself. Western scholarship is already in great decline and they have lost their ability of connoisseurship of art long time back. Now they see the world through Hindu eyes only!

KANGRA AND THE MYTH OF SCHOOLS OF ART OF PAINTING
ZERO PATRONAGE OF ARTS BY THE RAJAS

M A Rahman Chughtai’s visit to Kangra for exposures of Art

People talk of KANGRA all the time, without knowing anything about Kangra. The great Kangra Fort was in the eyes of the Mughals and its annexation was proving difficult. It was in 1621-22 AD that Emperor Jahangeer captured Kangra and built a mosque there. Kangra remained under the Mughals till 1783 when due to the waning conditions of the Mughal kingdom, it was captured by others. So pseudo historians would have us believe that in the course of a few decades the educated new Rajah developed a school of Art out of the blues. Shame on such people for demeaning the Mughal kingdom and making rats Rajah of great background and there is no doubt that Raja Sansar Chand was a mean person, hated by the people of Kangra. In the 1920s when MARC visited Kangra and asked an artist Hazuri there about the patronage of the Rajahs, tears came in the eyes of Hazuri, the last living artist of that area. He said we are considered worse than MOCHIS here and the RAJAHS do not patronize us, they steal what we make without paying for it. This is the Sansar Chand whose family is supposed to have given two artists to their daughters as dowry. Hogwash!

It is one of the oldest forts of India but it was first captured by Sultan Mahmud Ghazni in 1009 AD. By Muhammed bin Tughlaq in 1337 AD and then by Firuz Shah Tughlaq in 1351 AD. When Jahanger captured it in 1621-22 AD and he writes about it in his memoirs, he appointed Nawab Saif Ali Khan as its first Mughal Governor. A proud inscription was placed on the Jahangeeri darwaza there. Brought to Lahore by Nau Nihal Singh, the inscriptions of Kangra fort were transferred to Lahore Museum and they are still there with them. So to suppose that Mughal culture would not be at Kangra Fort is literally a load of crap.

Kangra was famous for four things:
1. Manufacture of new noses (yes some sort of plastic surgery was here). Home for thieves.
2. Treatment of eye diseases.
3. Basmati rice.
4. Strong fortress.
Nowhere it is mentioned that Kangra was famous for painting too. This is an innovation of 20th century.

The story is told like this. Raja Sansar Chand sent artists to Lahore and started a new school here. Spare me this bullshit! Lahore is a 1000 years old Muslim city with heritage of Painting from day one. Sultan Mahmud Ghaznavi had brought artists from Ghazni here and later Sultans developed a school of art based on Chinese culture. That is why we have a Sultanate School of Painting here. Kangra did not give any style here, Lahore gave style to Kangra, and we well understand that. This is merely a blog. M.A. Rahman Chughtai’s DABISTAN book has been translated into English and will be published soon.

The simple truth is that the famous art dealer of Amritsar Bharani used to sell works to various people and to romanticize his sales, he fixed names to them. All the names we currently use are the names given by the Paintings wizard salesman Bharani and my father very well knew this and he had asked Bharani this question. Bharani used to say the more alluring the background, the better the thing sells, and he narrated his experience of the Englishman. An Englishman walked in his shop in Amritsar and wanted to buy a painting. Bharani asked for Rs 100. The Englishman wanted to reduce the price. Bharani said that he will tear the work but will never give for less than 100 Rs. The Englishman smiled and taunted him to tear it. Bharani tore the painting. The Englishman was shocked and asked what he wanted for the painting then in torn condition. Bharani said Rs 200. Annoyance reached its zenith, when the man said, for an untorn painting it was Rs 100, for a torn work Rs 200. Are you mad? He said mad, I may be, but I will not take less than 200 Rs. In the end the Englishman bought the torn picture for Rs 200. That was the strength of Bharani, he knew the heart of all his clients very well.

The style of various different artists are based on the style of the uprooted artists of the Mughal Court and everybody knows that. Fear of people like Nadir Shah and Ahmad Shah Durrani, made them run to the hills, in search of living, these poor painters reached out to the people. By drawing mythology as well as Rajahs, they were trying to make a living from normal people of the area. The Arch School creator William Archer became so confused in the end with his analysis of things, that as told to me by Doris Wiener, he committed suicide. He could not reconcile the divergences of his research. May God bless him!

SOLDIERS AND POLITICIANS
TRUTH AND LIES

The story of indoctrinated approach to life

All children are born innocent. The Grace of Allah creates new human life. Fresh and beautiful, the future is there to be determined by ecological factors. All parents try to teach their children the value of truth but the child learns from the life of their parents itself. Parents who lie in their life cannot teach their children the value of truth. Truth remains the domain of truthful families.

Soldiers go through their training with acute discipline and this discipline teaches them the truth. Faced with matters of life and death, truth is the need of their lives, both personal as well as professional. On every day duty or on the front, without truth the future of life is not there. And their parents as well as children raise their chest high with pride at the spirit of their children.

Politicians are a separate breed altogether. Deprivated children of love and attention, they are defiant from day one, and they get away with it all, by lying all the time. By the time they grow up, they have become born liars, expert in fooling everybody, by twisting and turning the truth, and making mockery of life. Pragmatic approach becomes the way of Nicholas Machiavelli. Our Pakistani politicians can even teach the Prince of Machiavelli some new tricks, for that man suggested some face saving tactics, here we have literally faceless people, picking up any face they like to the extent, that they cannot even recognize their own face.

So believe not politicians, believe in our soldiers! Bad times are coming. Good ones will not be far away! Only our Army will deliver the goods!

SENSE AND SENSIBILITY
LACK OF DEPICTION OF MALE GENITALS IN ART

The Subtle aspect of Fine Arts

Different cultures carry different attitudes towards Art and different attitudes in Art are reflective of their approach to sense and sensibility. Cultures like India, Africa and Japan have heavy emphasis on depiction of Male nudity in their Art forms but the Judeo-Christian-Muslim attitudes were totally different from other societies. The male genital is hardly shown in European tradition and when it is shown in some sculpture, there is no emphasis on the genital itself. It is either erased or shown in a very minor and insignificant way. Sir Kenneth Clarke discusses this extensively in his study of the nude in art history. Similarly in other traditions. One odd view we see all the time is boys urinating water in form of fountains spread all over ancient Europe. Entering museums and exiting from them, we find this urination process a fun tactic for those people. Similarly drinking water fountains have similar antecedents, which to our aesthetic is not acceptable at all.

Sexual display in Western Art is a more modern phenomena and when you enter Tate Gallery London and you see huge portraits of sexual nature, it is easy to get embarrassed or rude shock at such vulgar displays. Similar display can be seen in Shakir Ali Museum too. But vulgarity is now no longer a neutral or passive word. Vulgarity is a set of choices related to morals and ethics and the line between good and bad has not only diminished but is erased in the modern scenario of times.

In Islamic culture where artists depicted everything, again the emphasis has never been on male genitals. We hardly see their depiction except perhaps in TIB or medical treatises. Whereas female nudity has been depicted in Pakistani Art, male nudity has never been the point. Sadequain became an exception with his study of male female poses of sexual nature, and he was heavily criticized for those portrayals. Another male nude artist is Ms Lala Hayat, who has held exhibitions of her male nude subjects. One of her big fans was Asad Salahuddin. But even Lala does not draw the genitals in her nude sketches. There are aesthetic restraints in our culture and the same are followed not merely by compulsion but also as an act of tradition, and social norms. Internalized society is the conscience of the times.

THE EGERTON CONNECTION
CONSTRUCTION WORK IN LAHORE

The insight of the British administration

There is a busy road in Lahore called Egerton road. No one even remembers who Egerton actually was in Lahore. In biographical data of British officers, we read a lot about Robert Eyles Egerton and his aristocratic background. But few may know that he was responsible for a lot of construction in Lahore, including the Railway Station and the New Delhi Gate Lahore.

The job was being done under Mian Muhammed Sultan Contractor but the person who was actually doing it was namely Raheem Baksh Mimar. R.E. Egerton was at that time Commissioner Lahore. Later he became Governor of the Punjab too. In 1861 this is what he wrote on a certificate for Raheem Baksh Mimar:

“Raheem Baksh also known as Heemoo is in the employ of Md. Sultan, the contractor. He is an excellent Mistree and appreciates the work on which he is employed. I have known him for some years and has always been engaged on important works.”

This photograph was made in Murree by John Burke, who was having a studio in Lahore at that time. Advertisements for photographs used to appear in the Civil and Military Gazette Lahore (newspaper). Strange that in our National Archives we see no photograph of Governor Egerton. He seems to have gone into oblivion. There was a portrait of him in Old Gymkhana around 100 years ago but disappeared with time. Even British records have very little representation of him; although his name does appear in some WHO WHO directories. We know more about him too.

In any case it is good that he is remembered with the name of a road named fer him. Obviously our Slaves won’t change this name ever, although all the Muslim names are getting obliterated with time and obsequiousness of our people to the great Raj.

MIR JAFFERS OF ART
INDIAN INFILTRATION OF ART IN PAKISTAN

Art and artists on Indian payroll

M.A. Rahman Chughtai was an exceptional man. He loved his country long before the country even came into being. In 1938 artists, critics as well as his loving admirers were convincing him to stay back in London and not going back to Indian region. The potential of great success was promised to him. It was possible for him to have all kinds of future there but without his country, he felt his life was meaningless. He came back and created a storm in the history of art in Pakistan.

This was obviously resented by foreign lobbies. Pakistan inherited a person who was termed as the “GREATEST LIVING ARTIST OF INDIA” in 1946 by Bombay Times. The object from day one was to bring him down. Much loved by Quaid-e-Azam and Dr Allama Iqbal, the artist was heavily patronized by Prime Minister Liaquat Ali Khan, and the PM of Pakistan used to take the artist to the airport to receive incoming foreign guests as part of his team of Ministers. But at that time speaking against Chughtai was like treason and no one dared to do the same. The exhibition at Alhamra in 1949 and Governor General Khawaja Nazimuddin was all praise for him. But jumping forward to 1952, when Governor General Ghulam Muhammed inaugurated his exhibition in Karachi, the speech written by the speech writers (and we know who wrote the speech) talked of being forward looking and leaving our art legacy behind. Governor General Ghulam Muhammed looked stupid in front of the journalists as well as people when he saw the subjects of the works at display, as the speech writer had made a nincompoop of him.

Field Marshal Ayub Khan was a big fan of the artist and visited his home in 1959, and later inaugurated many shows of the artist. The show in 1968 of AMAL E CHUGHTAI was the greatest, when the President presented a GIFT OF TWO LAKH RUPEES to the artist for the publication of Iqballian dream.

In 1950s foreign lobbies put the country on the Western bandwagon, and scarecrow artists started coming into Pakistan from India mainly as well as other places. Some flourished French beards and pipes in their mouths and spoke of PICASSO RENAISSANCE. Other alcoholics reveled in cut necks and dripping blood as imagery. Rootless, without Ideology, these mongrels were like those dogs who were neither of the home nor of the ghat (washing place) of the dhobi (washerman). A famous saying of here not without reason. Suddenly the people were cut of from art and culture in one sweep, for this new wave of art, engendered with money and use of media, had no sense or common sense for anyone here. VIPS could not differenciate mud on the canvas from a Master piece. The Ideology was under attack. Sensitivity of art became alien for the masses for they had no relation to borrowed art from other worlds.

I wish I could take names and expose these philistines (bastards and bitches) who just for material gain could put their country at stake. Indeed they were the Mir Jaffers and Mir Sadiqs of Art, and they are very much here. Regularly going abroad as well as to India, they put a question mark on any patriotic activity and hail the literal shit of Pakistan as Fine Arts. Who can stop them? They think once Pakistan is finished, they will be well received in India.

TUM APNI KOM KAY NAHI HAMARI KOM KAY KEYA BANO GAI. It looks so old and like a stereotype but it is all very much true. Mr Jaffer’s children are still alive. Recently the grave of Mir Sadiq has been discovered in a waqf property of India. The graves of Mir Jaffers in Art of Pakistan will remind us of the great traitor of all times, like Judas and Brutus as well as others. It is the hero who survives intact in history and M.A. Rahman Chughtai thought in terms of Tipu Sultan that one day of a lion is better than 100 days of a Jackal. Allah bless you, Chughtai! You did well for your country and will continue to do so through Art that reflects the Ideology of Pakistan. An Ideology not merely of past but a blend of past, present and future, with innovations at every stage of life. The Quran with each scientific discovery becomes all new for us. We learn our lesson from the Divine revelations of life. Pakistan the most progressive Muslim Nation of the World.