ART OF M.A. RAHMAN CHUGHTAI BONDED RELATIONS,
BETWEEN PAKISTAN AND UNITED STATES OF AMERICA.

At one time everybody knew. At this time it may not be known to most. Pakistani Heads of State visiting the United States of America, presented Chughtai Art Works to American Presidents. It started from President Truman, when a painting was gifted by Prime Minister Liaquat Ali Khan to him. The presentation is on record at having been gifted at Blair House, as President Truman was residing there at that time. The work is no longer traceable by the TRUMAN LIBRARY as they inform us for at that time Presidents were free to accept gifts to the State and use them personally. However as there are four works in the US State Department, it could be one of them.

We do come across a photograph of President Eisenhower, Shahenshah of Iran and Professor Schuyler Wallace which shows a great lot. All three had been presented paintings of M.A. Rahman Chughtai by the Government of Pakistan, but that is a more difficult record to update at this time. We do have a record of some works owned by Professor Schuyler Wallace, some with his relatives, some given back to us. A matter of prestige. One work was inherited by Wallace’s family, who was a billionaire and owned major hotel chains in Honolulu Hawaii, USA.

Some very important gifts were for American President John Kennedy, and his wife Jacqueline Kennedy. The painting presented at the White House is not traceable at present but the one presented to Jacqueline Kennedy here in Pakistan is at the Kennedy Library in Boston, Massachusetts, USA. We have an image of same. 

A number of American diplomats visited Chughtai Museum. I myself hosted at least seven American Ambassadors, and there is a record of them. In fact one of them a great friend that is Arnold Raphael, who actually died in Pakistan. But the first official contact was when the artist was officially invited to the United States, along with a lecture at Columbia University. It did not materialize but it was officially undertaken by both sides. A matter of record indeed. The invitation was sent by US State Department through Ambassador James Langley.

So much on record, some forgotten, and some ready for future review. The bond stuck Pakistan and United State of America through various periods, but the solid rock of Art of M.A. Rahman Chughtasi stood the test of time. It is our pleasure to share these past moments for future reference. Pakistan Forever!

BIRTH OF PAKISTAN AND DAWN OF PAKISTAN ART;
A TIMELESS HORIZON OF M.A. RAHMAN CHUGHTAI.

In 1946 intellectuals connected with Art and Culture of country met at the house of Begum Shahnawaz to devise plans to enrich Pakistan with institutions to enhance the cultural legacy of the Islamic world and to give it new dimensions. This pre-planning resulted in the formation of Alhamra Art Council in Lahore.The foremost there was the artist M.A, Rahman Chughtai. Not only that all Arts Councils in Pakistan at that time like Karachi Arts Council, Peshawar Arts Council and Dacca Arts Council were inaugurated with Chughtai shows and all that is on record. President of Pakistan, General Ayub Khan inaugurated the Karachi Art Council with a huge show of Chughtai Art in 1959. Dacca Arts Council was inaugurated by Governor East Pakistan, General Azam Khan. 

It was a grand event in the cultural history of Pakistan. It was well advertised and well known to people in and outside the country. Delegations came from all over the world. Chancellors from American Universities. Ambassadors flew to Lahore from Karachi. The Governor General of Pakistan, Khawaja Nazimud din was to inaugurate the show. This was in conjunction with the inauguration of ALHAMRA ARTS COUNCIL. The idea discussed at the house of Begum Shahnawaz in 1946. An institution founded by M.A. Rahman Chughtai and he designed its first insignia, which is still valid to this day. He also gave it the name ALHAMRA. He set the whole tone for it. It was to reflect the kind of renaissance in culture which happened to Islamic Arts in Spain. Everything was forward looking.

The first foreign Head of State to visit Pakistan was the Shahinshah of Iran and he too visited the show along with the Prime Minister of Pakistan, Liaquat Ali Khan. It can be seen in the press photograph too. The place Alhamra was like a second home to us and we visited it often. M.A. Rahman Chughtai even planted many mango trees there, so that the rather barren land could become green. The object to bring Pakistan to the forefront of the Art world, and to save our aesthetics from the ruthlessness of the foreign art world.

The Government of Pakistan had already recognized the contributions of the artist M.A. Rahman Chughtai, with his role of aesthetics for Pakistan. It reflected in an Insignia for Pakistan, a letterhead design for the Government of Pakistan, first and later batch of Postal Stamps, and presentation of Chughtai originals to visiting Heads of State, as well as presentation from Pakistani Heads of State in visits abroad. This reflected in the title people gave him as Mussawar Mashriq (Artist of the East), as well as being officially called as the National Artist of Pakistan. Indeed Prime Minister Liaquat Al Khan would take him to airports with his cabinet in receiving visiting Head of State.

In those days at the height of his unquestioned power, President Ayub Khan gave the first Pride of Performance for Arts to M.A. Rahman Chughtai in 1958. In 1959 it became Hilal Imtiaz. President Ayub Khan did not stop at that. In 1959, he paid a state visit to the HOUSE OF THE ARTIST. It was unheard off and never heard again. A President visiting the house of an artist. The Press seized the opportunity and carried the news at times as headlines.

In recent times the Cultural Ministry proposed an award of NISHAN IMTIAZ for him and sent it to President Pervaiz Musharaf for approval. Interestingly it was rejected for unknown reasons, as a certain lobby resentment was evident. A letter of Mr Naeem, Taher, DG PNCA at tha times prove the nature of the same. Again a couple of times before that even the President of Pakistan, like Ghulam Ishaque Khan had proposed that idea and the Cultural Ministry under Ghulam Rasool rejected same. A very antagonistic letter of DG PNCA then is there on record. Even the President of Pakistan was set aback by the ruthlessness shown in same. Yes, the Governments are not run on any merit, but the short sightedness of people in power with no long range vision for Pakistan. 

Images of Pride of Performance 1958, and Hilal Imtiaz 1959 are enclosed in this blog. Add these to many other awards received by the artist, including a Gold medal awarded by Heinrich Luebke President of West Germany to the artist. A gold coin received from the Shahbanou of Iran was also there. Couple it to the fact that four Chughtai works hang in the US State Department building itself, three were at UNO Headquarters in New York, and one at Peace Palace Hague, the seat of International Court of Justice, Netherlands. Praise letters received from art scholars, historians and VIPS from all over the world. Surely always an addition to the pride of the Pakistani world. Pakistan our pride, and Chughtai art part of our Ideology. Pakistan Forever!

AFTER PROPOSAL FOR KNIGHTHOOD REJECTED BY INDIAN COMMITTEE,
THE VICEROY OF INDIA LORD FREEMAN-THOMAS WILLINGDON APPROVED,
TITLE KHAN BAHADUR FOR MUHAMMED ABDUR RAHMAN CHUGHTAI ARTIST. 

In undivided India the story of national recognition for M.A. Rahman Chughtai artist started much before 1934. People saw the titled file in the Civil Secretariat Lahore. A proposal for knighthood had been given, and it was rejected by the Hindu Member of nominating committee. with the remark that the title should not go to an artist who lives inside the walled city of Lahore, and is in poor circumstances. The man with great reputation of bigotry was none other than Sir Shadi Lal, the Chief Justice of Lahore High  Court. He was a member of the committee to approve these things.Three previous awards had gone to nominated Hindus for knighthood, like the Tagores, and the Administration desperately needed a Muslim artist to balance their decision.  Much debate took place, but the idea could not be rejected. The journalist Beverley Nichols mention of Chughtai as the greatest artist of India is recalled by all. British artists had already endorsed an award for the artist. A compromise was made with the highest national award substitute for knighthood. The result was that the Viceroy of India approved the award of Khan Bahadur, and it was only the FOURTH TITLE given to any artist in India. 

The ceremony at the Governor’s House Lahore was conducted by Sir Sikander Hyat Khan, then Governor of Punjab. He had also gone through the same process of Khan Bahadur and then knighthood. From then on the artist was considered an elite of Lahore and was invited to all major functions in the city. For example when the Viceroy of India came to Lahore, Lord Emerson invited M.A. Rahman Chughtai to the reception in Lahore. The artist was introduced to the Viceroy of India, Lord  Linlithgow. The VIP status of the artist was ensured for In all times.  Ahead was recognition in India at all levels. Even today the status of M.A. Rahman Chughtai is felt in Indian Art circles. The story of Pakistan is for another narration later on. 

ANALYSIS BY  DIVISION OF CHUGHTAI ART INTO SIX DECADES;
LAST PHASE SEVENTIES ALSO OF CHANGES AND INNOVATIONS.

By 1970 the artist M.A., Rahman Chughtai was going through various turmoils. The separation of East Pakistan was a personal blow to him, as he was the forerunner of the Ideology and  Culture of Pakistan. In 1965 held a Press Conference in Dacca about the inseparable nature of East and West Pakistan. Things were not normal at home. The marriage of his daughter Ms Mussarat Chughtai had created issues which he could not sustain emotionally in any way. LDA was not inclined to clear the site of his proposed museum for his art and his collection. And he was not keeping good health. The children and grandchildren of his brother Abdur Raheem Chughtai were not inclined to look at his views of the world. In fact two daughters of his brother held a bizarre religious ritual, praying tht if he cannot be physically well, then Allah should take him away. Allah forbid such malignancy! The greed for capturing his legacy never went away. Material greed short sighted the nobility of creative vision, for their philistine generation. Pangs of artist unheard. For a start, a sleeping problem had occurred. Awoke at night, sleepy by day. Then a terrible shake in his hands, which would not permit the finest line he was used to for drawing. Pills abounded. Enemies gloated for his end. The miracle was that he went on working, but changed his drawing and coloring to suit the needs of his physical health.

Our scholars are truly morons and never take the opportunity to study the life of an artist. The life of any artist is reflected in his output of creativity. All that they can do is compare printed images of his art in books like Murraqqa and come up with conclusions. The most wonderful adventure is a study of the last phase of his life and his works. They speak for themselves. To combat his trembling hand at times, he had to make his line in art thicker so that the tremor effect could be minimized. He had to dispense with many washes and come up with solutions of lesser washes with same effect, and it is remarkable that he succeeded so well. His compositions changed too. He never gave up, and when at times that feeling came up, I was here to thump him on his back and encourage him to fight the impossible emotions. Long after his death my mother continued telling me that I was always under the impression that he was in the next room and would come in anytime. He never did of course like that, but his morale rubbed on to me. When I feared most was the same thing, I also wanted my back thumped in reality as an ideal. But when he held my hand on 17th January, 1975, in the morning, he would not let go. A reminder that Dr Allama Iqbal held his hand in same way, at the turning point of death. I understood!

So start enhancing your observation skills. Stop idle rant and bark of unknown art works. Charade! Buy one book on Western Art and like a coffee table book, flaunt it in front of others, without even knowing a thing. The West turned our Storytelling and Dramatic writings into zero by their anti-climax of things. A life without heros and heroines, where the villain wins in the end. The media rants about Pakistanis who hate Pakistan, and their message is to undo our country. Confusion in right and wrong abounds. Our culture of songs and music turned into rattle of obscene sounds. And for Art sake, I had to take a test. The one I took once from the top of my roof. A mela was going on with thousands if not millions of participants. I took a work of “Amal e Chughtai” in printed form and threw it into the crowd from far above their standing. As it floated down, I saw a mother with  her kid watching it come down. The small kid ran to pick it up and offered it to the gaze of his mother. The mother, a total illiterate and uneducated perhaps a villager, held it in her hand, and folded it and put it in her blouse across her chest. Mere hand would not do, close to heart. No capacity to throw it but to treasure it back home. Put an original Picasso on the road, and a homeless addict would probably burn it for warmth in winter. That is what we call INHERENT CULTURE. It is better to learn to respect it. It overtakes us all the time with its instincts for beauty. It is not going back. It is not the future. It is timeless without time itself. Our future heritage! To engender other things is filth for us.

The last phase is a lesson of indomitable courage of an artist to leave a legacy for his nation. All positive in nature, not contrived to please outside ears and vision. Pakistan lives in its own culture, not mere paindoo doings, but the culture of the best cultural protagonists of the country. M.A. Rahman Chughtai is our lesson for all times.

ABDUL WAHEED CHUGHTAI ALIAS VIDOO ALIAS “PA DODAY”;
A NEPHEW OF M.A. RAHMAN CHUGHTAI, ARTIST IN LONDON.
HAPPY BIRTHDAY 11TH SEPT, 2025, REACHING 92 YEARS AGE.

Four Chughtai brothers lived together in Mohalla Chabuk Sawaran Lahore. Muhammed Hussain occupied a full house, half of the residence. The other three lived in the rest of the place. Many stories high, each storey belonged to one brother. In one storey lived Abdur Raheem Chughtai, with his wife Mumtaz Begum, and children. Two sons Abdul Wahid Chughtai and younger son Abdul Waheed Chughtai. The girls were Askari Begum, Famida Begum and Sarwar Begum. This is a narration about Abdul Waheed Chughtai.

Abdul Waheed Chughtai was born on 11th September, 1933, but the birth certificate shows his birth registration on 22nnd September, 1933. Obviously some days later. For his education he was sent to Rang Mahal Mission High School, founded by Dr R.C. Forman, and Head master, the famous Rallia Ram. From there the movement was easier. It ended in a B.A. degree from Government College Lahore. One of his friends and classfellow was Mian Basheer, who later became Principal of Government College, Baghanpura. He had other friends, and all middle class families, moving about on their bicycles in the city.

Mind you simple cycles, there was no room for motorcycles at that time. Hardly anybody had a car. But one of his dear friends Farooq Billa went into various businesses and made it rich. Became owner of a Cinema, and a shop dealing with Arms and Ammunition. He would move around in his blue Toyota car OK 1 in great style. Others were not so lucky.

Obsession to move out was there, and after his graduation moved to London, with his parents unhappy about his decision. In his time the grand play was ability to migrate abroad. The desire of his family, father and uncle was set aside. Many friends went abroad for training in printing. Abdur Raheem Chughtai had made a Press namely Print Printo Press, and wanted his son to help him print Art books of Chughtai Sahib. His friend Nawazish Ali had come back and picked up the reins of Nisar Art Press, while others like Ifftikhar also joined Printing Industry. German machinery of Frontax printer LetterPress and German Klimsch camera, all were there. But no Abdul Waheed Chughtai. The result the press got sold, and machinery was bought by Nisar art Press. Success certain for others.

The desire of parents for his ability to develop his talents as an artist was in limbo. He did painting many times and even held exhibitions in Alhamra, as well as in Islamabad. But the phase fizzled out. Punjab Bank or so did take out a book on his illustrations of the verses of Mirza Ghalib, in footsteps of Chughtai Sahib himself. But he discarded the lengthy technique of his uncle, and opted for an easy technique. He signed his works as Vidoo.

Handsome Abdul Waheed Chughtai could charm lot of lady friends, mostly platonic. Ladies like Mercedes Cornet, Petra C. Kuess, and Tineke van Jaarsveld.

The father yearned for his son to get married and have children. His marriage life is one big secret. No one  really knows. But in the end he actually got married and lives in London, but without any children. In fact he  loved children and was very kind to all those who came in his life from other families. His cousin claimed that he had children. But it is an unknown chapter of his life. 

His uncle Abdur Rahman Chughtai was very fond of him and once when he got electrocuted , he risked his own life to save him. The results are even visible today on his burnt hands. But reflection of love that he got from his uncle. He too served the house on normal missions of grocery etc. Fond of bringing fruits and sweetmeats for the family. Specialized in searching the best eatables.

His cousin Mussarat Chughtai had given him the name of Friction. They are still on good terms.

Fond of kite flying like the rest. His hero was Rudolph Valentino and singers like K L Saigol. He was fond of school of painting like Impressionism.

Abdul Waheed Chughtai was always very fond of his hair and kept them in full health with regular care. That is why even today at 92 the same are as perfect as possible.

I pray for him to live a life of good and virtue and may the end be as pleasant as possible!. Prayers with him.

A MINIATURE FROM JAHANGEER ALBUM IN BASTAN MUSEUM;
DIFFERENT PERCEPTIONS RUBY LAL AND CHUGHTAI MUSEUM.

Truth and falsehood are different things, and so are perceptions. Here we talk about a miniature which remains unpublished, and was transferred from Iranian Imperial library to Bastan Museum in Tehran, during the tenure of the Shahenshah of Iran, commemoration of 2500 years of monarchy. It was printed in a souvenir of commemoration in a RCD publication. It is now not only rare but rarest and gone into oblivion. The actual miniature must be there intact, but out of reach of most.

An analysis of the work is required. It is a rare work but workmanship isn’t of Akbari standards. The group of Akbar painters had already left Lahore with migration of the Emperor. It is less than a great work of any standard. All signs point to a hurried thing. It is even a torn painting. Areas missing in it. Not much attention paid to the subject as Saleem is only a Prince at that time but the plume on head dress gives his status. Sahib Jamal had given birth to Sultan Pervez in Kabul in 1589 or 999 hijri. Sahib Jamal was probably pregnant when she died in 1008 as history record loss of few children in that period. So everything fits including death in open sky in Bagh Anaran in Lahore. The scene records so many details including pomegranate tree where Great Mian Mir used to rest. More in blogs. And the interesting part is that it is a very small miniature in size, it can easily be said of size six inches by four inches. Hardly much for a Royal portrait. But the importance is no less.

A series of blogs on the Legend of Anarkali were made by us. A revelation of so many things hidden from Western eyes, and closed minds of others. Fascinating were miniatures of the Queen surrounding the mausoleum itself. A one of a kind burial with intense love of Prince Saleem for his wife Sahib Jamal, who died in Lahore. Sikh and Hindu lovers of Lahore will try their best to derail this, for they have one agenda. Everything is Sikh or Hindu. Embarrassment of anything Muslim. Total loss of confidence in one’s own culture. It makes me laugh at the obsession of these people loyal once to Angrez, now loyal to others. Lackeys of this kind are roaming Lahore all the time putting things in different perspectives. Rewriting history all the time. Our job is to reconcile scientific data with visual examination. This house has seen hundreds of paintings of all types and we know how to recognize subject and rendering. I therefore look at all these with observant eyes of my ancestors.

It was breathtaking to find this painting on the same subject done by an artist of Lahore, namely Nadeem Lahori. The miniature would be dated 1595, or just before the death of the Princess. The Princess is not inside a Mahal, but in the inside of a garden. The garden is styled as a Bagh Anaran or Garden of Pomegranates. The whole retinue of ladies are surrounding the sick Princess. Bastan Museum gives the date to be from 1580 to 1600. The museum also has another Nadeem Lahori, which is entitled Sultan with Princess. Must be worth seeing but I have no access to same.

Princess Gulbadan died in 1603. The sweet, smiling and hard working writer Ruby Lal thinks that the lady standing on the railing is Princess Gulbadan herself. It could be, as her face resembles that of the image used by the writer on her research on Gulbadan Begum styled wrongly as the Vagabond Princess. However amazing that image is merely of a Mughal Princess and does not specify title of same. Another painting in the British Library claims that in the celebration of Akbar’s circumcision, Gulbadan is certainly sitting in the group viewing the dance. But again merely attribution. Nothing solid. The claim that Gulbadan is standing outside the railing is mere speculation. One point to note is that if it is Gulbadan, she cannot be shown so young here, and without proper adornments. Yes, age differs. Princess should be much older in the miniature. Ruby Lal thinks that the classification is wrong and the miniature reflects another period that of Gulbadan. And she talks of the death of another Princess, the family  of Gulbadan. But if it was Gulbadan would be sitting next to the sick Princess. So the result? Attribution, speculation, not solid identification.

No one can prove this way or that. If there was a description by name the matter would be solved easily. But here there are perceptions. MINE IT IS SAHIB JAMAL, RUBY LAL it is not. Perhaps may be added to it! Who is right? Maybe time will tell more. I boldly stick to my perception based on study of so many details. Ruby Lal is welcome to hers! I told her she can write her perception anytime but in description she must give mine too. All sides represented the best solution. And fair to all. Desire in research pushes us in one direction. A clash of head and heart. Our love to all, our sincere gratitude to Ruby Lal to invite us to this attention.