THE ARRIVAL OF SHAHINSHAH OF IRAN IN LAHORE 1950 – THE EXHIBITION AT ALHAMRA OF PAINTINGS OF M A R C.

If I recall reading that the Shahinshah of Iran was the first foreign Head of State to visit Pakistan. Various press cuttings reveal his activities in Lahore. For example, on 5th March, 1950, he is practicing gun shooting at the Governors House Lahore, while being watched by Prime Minister Liaquat Ali Khan, and Governor General Khawaja Nazimuddin. A rare official photograph. There is a clipping related to his visit to the Lahore Fort. And then there was a visit to Alhamra Lahore, to see an exhibition of paintings of M.A. Rahman Chughtai.

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In the photograph one can see the Shah of Iran, Prime Minister Liaquat Ali Khan, Governor Abdur Rab Nishtar and others, as well as the artist M.A. Rahman Chughtai. A rare moment in history. A painting was presented to the Shah of Iran. Later a show was planned in Tehran under RCD but that never happened due to bureaucratic inner struggles. More on that later.

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The Shah of Iran carried love for Chughtai art, and it was passed on to his Queen Farah Deeba, who was willing to help Chughtai Museum through the Farah Deeba Foundation for the Arts. A royal invitation was extended to Chughtai Museum to participate in a show in Tehran, based on Chughtai’s work on Omar Khayyam. But due to political changes that never happened too. But certainly, the Iranians love of art was ever there, and love for Chughtai art more profound in same way.

DALU RAI, CHUTTA AMRANI; TWO BROTHERS DIFFERENT IN SPIRIT – STORY OF TWO WOMEN SUHAGHAN AND DUAGHAN IN AROR SINDH. – (BADI-U-JAMAL DAMSEL OF MERCHANT SAIF UL MALOOK)

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The legend is simple. Dalu Rai was King of Aror, Sind, and was fond of deflowering a virgin every night. His own brother Chutta Amrani did not like the habits of his brother. Chutta Amrani embraced Islam, married a Muslim girl Fatima and even went on Haj. The difference in Ideology is very apparent and the story is documented in historical accounts as well as known to people even today. But for historians who worship tyranny and twist such accounts, it is just another day in their lives. Historical narrative is augmented by the fact that the mazars of Chutta Amrani, Bibi Suhaghan, and Bibi Duaghan, exist to this day in Sind.

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The Mazar of Lal Shahbaz Qalandar is perhaps the most famous place in Sehwan, Sind. And anybody buried at that place, or its vicinity, is held as very special and in all ways a person with determined Paradise in Sufi lore. Inscriptions in the Mazar prove to be of 754 AH, 757 AH, and 758 AH, and related to the constructions in time of Sultan Feroze Tughlaq. But some of these inscriptions are not original. The same were restored in times of Shah Jahan, Mughal Emperor. And there is proof of that. Syed Bowa alias Nawab Deendar Khan, local Governor of Sehwan, restored them in 1040-41 AH, and this inscription is still there. Not only did Nawab Deendar Khan restored these things, he also got constructed mosques and gateways there. One thing he as a lover of ideology, was to build a mausoleum for the Hindu convert, Chutta Amrani, and that mausoleum is there in Sehwan. Although Chutta Amrani belonged to Aror, Sind, his burial here, is proof that he was much loved and revered by the people.  So much so that another inscription dated 1173 AH (1759 AD), tells us of the rebuilding and repair of the complex by Ghulam Shah Kalhora, another ruler of Sind. This inscription is in Sindi tiles, although wrongly placed in sequence. Love of Sindhi people for Chutta Amrani exists to this day. 

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Now about the two ladies Bibi Suhaghan and Bibi Duaghan, and their association with this legend. Obviously historical narrative is always not very precise but historical accounts, mention the arrival of a merchant Saif ul Malook and a maiden with him as Badi-u-Jamal. When Dalu Rai heard of the beauty of this woman, he requested that she be sent to him for his sexual exploits. The merchant delayed the event and this lady, perhaps with another companion, prayed to Allah to save their chastity. An earthquake came and Alor was destroyed in the process. Historical accounts also mention the destructive earthquake which saved these two ladies and the end of Alor as a major Sindh capital. The debauchery of the King ended his empire. The prayers of this pious woman as well as the other bride, ended in their supremacy, and mausoleum were built in their honour. And although in bad condition, they still stand today after centuries. The pseudo-Kufic calligraphy speaks of the age of these two monuments. A link to the past. The legend is even known today by the people of the area, and when legends are carried in books and memories of people, there can be no denying the fact that these narratives are true. The Blessings of Allah were upon these two damsels of the past, and Dalu Rai was accursed, and remembered for his debauchery in negative way.

THE AQUATINT BOX IN THE GODOWN SPEAKS OF AQUATINTING TECHNIQUE, OF M.A. RAHMAN CHUGHTAI – FOOLISH EXPERTS DO NOT EVEN KNOW DIFFERENCE.

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Dr William K Enhrenfeld was a good friend of mine. He had the notion of holding an exhibition of Engraving prints of M.A. Rahman Chughtai, in the Asian Art Museum of San Francisco. He hired a scholar from a University there, a lady who was to come here to Lahore, and write the catalogue on the ETCHINGS AND AQUATINTS OF M.A. RAHMAN CHUGHTAI. Everything was in place, and I endorsed his printing of the catalogue, without any royalties. And then unfortunately, he had a stroke, and the doctors gave him a short time to live. His wife Trudy Ehrenfeld nursed him till the last and his three daughters were with him. But that opportunity was gone. A tragedy in all ways, for the Ehrenfeld promise was that he would take Chughtai to heights never experienced before by us.

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We discussed the nomenclature of Etchings and Aquatints, and he consulted the top scholars in the field. And he was amused when he said it seems I have to guide people all the time. An etching is a difficult project, but an aquatint is an even more difficult things to manage on own. I need not talk about etchings here, but once the etching is made, the plate is put through a hand held resin blast in an aquatint box. I introduce our aquatint box for people to see. It is not as easy as it looks, for you have to control the density of the resin, its size as well as its whirling velocity. This resin blast makes the entire plate surface open to printing and the dark ink immediately tells you that. Check the etching plate of Black Pigeons and the Aquatinted plate. One understands things.

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Aquatint is an intaglioprintmaking technique, a variant of etching that produces areas of tone rather than lines. For this reason, it has mostly been used in conjunction with etching, to give both lines and shaded tone. The wear and tear of aquatinted plates is much more than etching plates. That is why not used much. Only the extraordinary craftsmanship of M.A. Rahman Chughtai could produce magic here as attested by some of his most famous aquatints. We attach some of them.

THE MONGOLS, KHILJIS AND THE LAL MAHARA MONUMENTS – CAN THERE BY A REASONABLE ANALYSIS BASED ON HISTORY?

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So much is there in Pakistan, but the passion of the scholars is missing now. Once upon a time Pakistan boasted of exceptional scholars and their analysis was always full of insight. But the two-nation theory daunts objective research. Historical distortion is inevitable because truth is not sought. And that is why truth does not set us free. It entangles in continued petty rivalries. We have an extensive library and excess to knowledge, and with back ground of scholars like Dr Ahmad Dani, Dr Muhammed Baqir, Maulvi Shafi, Dr Waheed Qureshi, Dr Abdullah Chaghatai and many others. And we are not afraid of giving our version for fear of ridicule from already ridiculed scholars. So, we start from an exceptional book on Sultan Allaudin Khilji by Dr Ghulam Sarwar Khan Niazi Sahib. And references to three contemporary scholars like Isami, Barani and Amir Khusro. And the close relation woven with the newly converted Muslim Mongols, and the new laws governing these relations.  The narrative is quite different from the stereotype description of Mongols and Khiljis. But the findings are so new to be unbelievable.

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It seems Sultan Jalaludin Khilji was a kind hearted King and when he received a delegation from the Alikhani’d Mongols in Tabrez, he welcomed them whole heartedly. He gave the Mongol leader Arghun Khan, the hand of his daughter, and living space in Mughalpura, Delhi. He also gave the ownership of four villages in North Western frontier to carve trade relations with them, and allowed them to remit profits back to Tabriz on their own. Such a deal cannot even be imagined today, for Mongols were not trusted in any way, and even though their conversion to Islam was there, they were considered dirty people. Changiz Khans four sons and eight daughters and an old mother (Hoelun) was full of problems. The women were even more strong than the sons and had vast armies of their own. In the course of a few generations, conversion to Islam was in their favour and they won the respect of Delhi Sultans. But when Jalaluddin Khilji was assassinated by mistake, everything turned upside down. Arghun Khan, grandson of Halaku Khan was heartbroken and long with his thousands of troops, lost faith in the New Sultan. Although defeated at times and given special favours, they were not trusted, and finally about ten thousand of these Muslim Mongols were blinded and assassinated in a massive way. Isami and Barani both commented on this injustice in their own way.

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So, whose graves are there in Lal Mahara monuments in North West Frontier. If we look at the tradition of buildings at that time, we see the Mongol look in them. These villages were given to Alikhani’d by Sultan Jalaluddin Khilji. And when assassinated, probably they were commemorated with graves in their own traditions. If we look at the monuments built before and at that period, we see the Mongol look in them. And we also note the sad end to these Muslim Mongols as witnessed by many historians at that time. Today it reminds us of a period unknown to us and open to guess work only.

THE ACTUAL DATE OF DEATH OF AMANAT KHAN SHERAZI – ALIVE ON 14TH RABI UL AWWAL 1057 WITH NOTATION.

History does not record the date of death of Amanat Khan Sherazi. It is generally taken to be 1055 or 1056 AH, but in reality, it is not known. A newly discovered manuscript has the date 14th Rabi ul Awal 1057 on the colophon, that means he was alive by that date. Also, on the Eastern gateway of the Taj Mahal, his inscription records date year of 1057.

Wayne Begley, an authority on Amanat Khan Sherazi writes:
“The exact date of Amanat Khas death is unknown, although the official history of Shah Jahan’s reign, the Badshah nama, states that he died in the Emperor’s eighteenth year, that is sometime between August 1644 (1055) and July 1645 (1056).”

Wayne Begley also asserts that:
“I believe that the calligraphy on the Taj gateway, dates to 1057/1647, was completed by another unnamed calligrapher, after Amanat Khan’s death.”
It seems that is not so, for a colophon on a manuscript clearly states 14th Rabi ul Awwal, 1057. Certainly, alive by that date.

AN UNKNOWN MARKET PLACE IN LAHORE, KATRA ABDUL GHAFUR, IN SIKH TIMES;
INSCRIPTION SAYS BUILT BY MIAN RAHEEM BAKSH MIMAR IN 1820 A D, (1236 AH).

Market places and bazaars are common in Islamic civilization, and extensively designed such places exist in Iran, Afghanistan, as well as Hindustan. Some of them so unique that they merit attention and discussion even today. The bazaar in Herat is one example of same, as well as Bazaar Jahan Ara, known as Chandini Chowk in Delhi. The bazaar of Dara Shikoh in Lahore was another example. What standard Katra Abdul Ghafoor had is unknown. Suffice that great attention has been paid in designing its inscription in clay work. The period 1820 A D is a time of rising power of Maharajah Ranjit Singh in Lahore. There was a Katra in possession of Mian Kareem Baksh, son of Mian Raheem Baksh, near Moti Bazaar in Lahore. but at that time the many rooms in it were given on rent to the Christian cleaner community of Lahore. I have seen the place myself a few decades back.

So, we do not know anything about the Katra, nor do we know anything about Abdul Ghafur. We only know about Mian Raheem Baksh. But things do turn up with time. Abdul Ghafur must be of some wealth to have a market place designed for him in Lahore that early in Sikh times.

THE CONTROVERSY OF A MUGHAL BRIDGE AT BARA – MUGHAL INSCRIPTION PESHAWAR MUSEUM 1039 AH.

In 1908 archaeologist discovered an inscription on the facade of a mosque in Qissa Khawani Bazaar, Peshawar. The Pesh Imam told the scholar that it was an inscription his grandfather discovered on the edge of the Bara river, of a bridge which had fallen with time. It was removed to the museum and it is there still now. Very simply the inscription points to a bridge over the Bara river, ordered to be built by Mulla Abdul Latif for Governor Lashkar Khan and built by the architect engineer Lutufullah Ahmad Muhandis Lahori in the year 1039 AH. It was neglected as important news, till it caught the attention of scholars.

It was taken for granted that it belonged to the Mughal bridge on the river Bara, three miles from Peshawar. And written as such by some scholars. Then in 2002 scholar Ibrahim Shah came up with the idea that it was not the existing bridge on the river Bara, but a fallen bridge near to that place, on Zindai stream. He spoke of the presence of four bridges at same vicinity, but at least two fulfilled the requirements of the description of the statement. The other two due to time element were not possible as options. The scholar made the premise on his observations. But in truth, there is no proof as to which bridge is there as provenance for the inscription. It could be either of both. Dr Abdullah Chaghatai, Dr Abdur Rahman and others, took it as the existing bridge. Ibraheem Shah volunteered his views. Nobody else has taken the issue.

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We sent messengers to check the place and take photographs. There is a defaced inscription on the existing bridge, and it is famous as the Sethi bridge on the Zindai stream, on the discarded flow of river Bara. Although broken at places, it is still intact, and perhaps restored at some period of time. Large trees accompany the bridge and there are hermits involved in living there. The fallen bridge is now a washing place for dhobis of the area. A regular working area, with cow dung  (gobar) plastered on the broken parts which are normally used for cooking in the rural areas. A village using the broken parts for average use. Which is which?

We will try to do more research eventually. A detailed photograph of the inscription on the existing bridge could point out things.But it is the architectural reconstruction at least in drafting which can point out the period of Mughal construction. There are real differences in the Akbari construction and Shahjahani models. Even bricks are different. The existing bridge is petite in its own way, with a singular design element, not elsewhere. The fallen bridge is massive in its construction and to me speak of the might of Emperor Akbar himself. Ustad Ahmad Mimar Lahori is reputed to be crossing the river on Attock on regular basis, as there is a rawadari mention in Insha Harkiran of the same. It may be possible that the fallen bridge was constructed by Ustad Ahmad Lahori, and when river changed its course, it fell down. And here was a need for a new bridge, and Mulla Abdul Latif invited the son of Ustad Ahmad Mimar to construct a new bridge on the same river. Otherwise there seems to be no need for a new bridge when one was already existing there. When the older bridge fell, a new one was constructed. An additional point is that in 1039 AH, Lutufullah was a very young man, and a call to him to go to Bara for the construction, was way out in perspective. Unless there was a link to the older bridge of this young engineer. Extensive research can or may throw a light. But would anyone bother? It is indeed a difficult place to access easily.  And till then the options are open to the reality of same.

THE ENIGMA OF THE ATTOCK MAQBARA IN ATTOCK KHURD – IS IT MAUSOLEUM OF FAVOURITE CONCUBINE BIBI MARIAM, WIFE OF EMPEROR AKBAR AND MOTHER OF PRINCE DANIYAL.

In the autobiography of Emperor Jahangeer, the Emperor writes:“After this he had a son by Beeby Mereiom who was placed under the care of Rajah Baharmul.”  That is Shahzada Danial! The Prince died around the age of thirty only, because of his over indulgence in alcohol. His mother Bibi Mariam died in 1596. Shireen Moosvi thinks of the royal concubine as Daulat Shad. Both were royal concubines. But Bibi Mariam was related to the wife of Raja Baharmul, and the reason Daniyal was given into her care.

There are a number of ways in which we can study it:

Architectural analysis: The area has been touched by many civilizations. But prominent amongst the same are the Mughals, and in that respect Emperor Akbar, who built the Attock Fort in 1593. Bibi Mariam died in 1596. The timing matches our analysis.

Historical analysis: The architecture of this strange out of the way monument is unique in many ways. It is based on a square plinth, compared to octagonal base on most Mughal monuments. It has concept of some storeys in its construction, and there is a balcony at the top. Why? Obviously that the monument was under caretakers (the many graves around the monument prove same) and this place was open to Afghan aggression. So, the Mughals had to keep the construction of same like a check post or small fort able to defend itself. It was probably made in a hurry, for possibly in a visit by Emperor Akbar, the concubine died a natural death. And no chance of transporting her body back to her usual domain. The dome is totally different from the usual domes. It is a double dome but the upper part is not like a dome. The reason was timing, available expertise, and the lack of top-of-the-line architects, like Qasim Khan.

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Identity analysis: It is famous as Maqbara Kanjri, or monument of the prostitute. In no way a prostitute could make Akbar have this built for her. And not all concubines. Only a Royal concubine is possible. And who befits most, but the mother of Prince Daniyal. The interesting part is that this is the same concubine, which bastard William Finch, narrates as the beloved of Akbar’s son Jahangeer, or in other words Anarkalli. That Anarkalli, Akbar’s reputed to have buried alive, and the actual Anarkalli  (according to Finch), Akbar had a Mughal monument built on her remains. What hypocrisy of the bigoted Britishers here? Turning street gossip into historical narrations. It is worth remembering to take western assertions with a pinch of salt.

Can there be any conclusions? To such narrations, one can never come to fool proof endings. Match empty speculations with logic is the only way. The end nobody knows. Pages of history always hide things in time. This we can understand the place was fortified with time as suggested by closed vents to the mausoleum. And the work of archaeological department to hide their dirt under wall of bricks.

THE ENIGMA OF THE GRAVE OF USTAD KAMALUDDIN BEHZAD

TABRIZ OR HERAT:- DEFINITE PROOFS OF RESEARCH IN HERAT.

There is no doubt that Kamaluddin Behzad remains the iconic greatest Master of Islamic painting. Not many but still a number of books have been written on him. But one cannot say that the ultimate book is there. Locally scholars like Dr Abdullah Chaghatai, Abdur Rahman Chughtai and Razia Feroze have written on him with acute analysis on their part, for both were artists. The only published book is by Dr Abdullah Chaghatai. Chughtais’ book is there in manuscript form, in unedited form. Razia Feroze’s thesis is there, ready for print, but never printed because of her death. Western and Iranian scholars have done their debts in research.

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Certain aspects are still open. For instance, we are told that Behzad died in Tabriz, and was buried there. Others have written that he died in Herat and was buried there. Usually, it is agreed that he died in 942 A H (1535 AD). Even in old writings this conflict is there. Then in the magazine “Kabul” Sardar Goya Ittemadi talked about his burial in Herat. Then Munshi Qazi Ahmad uddin Munir asserted same in his book. A photograph of the grave was published in Afghan journals. In 1976 Dr James Dickie (Dr Yaqub Zaki) visited Herat in search for the grave and found it on his own. But others seem to have evaded this rediscovery for reasons unknown. Dr Abdullah Chaghatai was given this information and photographs but did not use it fully for reasons of his own. It is our pleasure to give the published pictures of the grave. Behzad’s soul can rest in peace now!

THE LAHORE FORT BEFORE THE FORT BUILT BY EMPEROR AKBAR – SOME RANDOM DESCRIPTIONS, BUT WITH HARDLY ANY IMAGES

A city as important as Lahore, needed for its defense a solid fort. We hear of an inner fort, probably a mud fort, in and around Chuna Mandi. The present gates belong to the Mughal period and later, so that they cannot define Lahore well. Certainly, it was a walled city, and with its surroundings, we can only imagine today. We do hear of a fort in the Sultanate period, and if we imagine the Mazar of Qutb uddin Aibak on one hand, and the area of Chah Miran (Miran de khoi) on the other. Obviously, the Old River Ravi (Buddah Darya) is another clue to the outskirts of Lahore. Kashmeeri Bazaar is another clue, with the Mazar of the warrior saint still there. He was the one who was killed in battle with the Mongols. Then there is the Mazar Shaheedan of the Ghaznavi period, near Mohalla Chabuk Sawaran. And then we know that Masjid Wazeer Khan was built on the site of an ancient mazar (still there underground). The grave of the Nau-guzza in Lahore is another clue. And then there is the area Mahmood Booti which is taken as a dam built on the river by Mahmood Ghaznavi. The ancient Miani qabarastan is another clue to same. The Sultanate mosque in the Serai of Jahangeer’s mausoleum points to ancient times. Diggings in Lahore do confirm existence of ancient mud walls, as well as ancient tunnels and structures.

The most ancient Mughal structure in Lahore, still existing, is considered the Baradari of Prince Kamran Mirza, who also occupied Lahore, and even took out a coin in his name as the Emperor of Hindustan. In the same river Ravi are seen at times ancient Mughal structures fallen into the river in oblivion. A basic design principle can be seen. Emperor Babur had burnt the main shopping center in Lahore twice. No mention of any Fort. The miniatures done during the tenure of Akbar, shows him sitting in a tent or under an awning. No pictures of the mud fort are available. This is fort with central point of Chuna Mandi in Lahore. But coins of Ghaznavid period were found in Lahore Fort, including a very famous gold one. But then who knows what the structure was then?

Some of the images we were able to locate show the Fort in different light. Got instance the visit on 24th February 1555 of Humayun to Lahore, shows a very different Fort, with unclear entrance gate. The drowning of riders, when Akbar got through shows somewhat the same scene. We do know that Lahore was a ghost town without any inhabitants in 1420-21 AD, and the Sayyid brothers gave the go ahead to repopulate Lahore. We hear before that Sarang Khan defeated Sheikha Khokhar, around 1394 AD, and the next day conquered the Fortress of Lahore, and put his brother Kandhu, with the title of Adil Khan, as the Chief of Lahore. In 1420-21 Royal attention was paid to the deserted city of Lahore, and the restoration of the city was undertaken. Engaged in repairing the Fort and other buildings. Malik Hassan was put in charge of Lahore, and fought against Jasarath Sheikha and the fight is referred to be in the Lahore Mud Fort. So only a Mud Fort existed in Lahore at that time. Boundaries unknown but must be outside the flow of the river Ravi. The Mahmood Booti bund is one line, the Aurangzebi bund is another. In any case more and more will be discovered with time. Our view will go on enlarging with time.