A UNIQUE GALLERY OF PAINTINGS ON WALLS OF LAHORE FORT AS TILE MOSAICS
NOTHING IN HISTORICAL NOTES BUT START TO PERIOD OF EMPEROR JAHANGEER
SHAH JAHAN’S COURTIER MULLA TUGHRA ATTRIBUTES TO USTAD AHMAD MIMAR

In 2015 we put up a blog on the Tile Mosaics of Lahore Fort, and like all others puzzled by some of its features. As there is no historical account, in recent years scholars did comment on same. But nobody got up on the rampants to study them in detail. Obviously it goes to the credit of Agha Khan programme for such restorations, that details have started coming up. Of course we have the original book of the Archaeological Survey of India in 1920 and the illustrations and writings done on same by scholar J. Ph Vogel, who indeed did a tremendous job at that time. There were some illustrations done of same in 1890, and some of them are even preserved today in the Cambridge University library. Foreign visitors never touched same or dismissed them like William Barr (1839) as being grotesque. Even today Yael Rice a modern researcher alludes to their lack of public visibility. Everybody approaches art and culture with the present spectacles of time. I was invited to mount the steel trappings and see them close, but it seems hazardous to me.

The most surprising newly discovered thing is that some of these tile mosaics have inscriptions. Not many but few are there. And two names appear on same. One is Hussain and the other Abdullah. In all cases name of two painters who drew the drawings or painted them (nobody would have the guts to put up their names for public consumption except painters themselves). A worthy addition to list of Lahori painters. There are two inscriptions on a panel of Calligraphers. One says Allah Baqi and the other says Ya-fatah, Allah Akbar. The surprising thing is that Abdul Baqi Adad was a famous calligrapher of that time, and Al-fatah too could be the name of a calligrapher, of Akbar’s time. Alluding such things was very true for Mughal artists.

Another surprising thing is that there are no panels related to Hinduism. A common theme (appear at many places) at that time were images showing a Simurgh attacking a Gaja-simha (a lion with elephant head). Simurgh is a bird from Islamic context and a Gaja-simha from Hindu symbolism. The appeal of that image was the Simurgh attacking a Gaja-simha showing the superiority of Muslim culture over Hindu culture. On the Lahore Fort the Simurgh is there attacking a dragon, whereas the dragon is having a fierce Garuda like face, the Simurgh not. So although Gaja-simha is avoided being shown here, the animal has particular connotations. And another clarity is absence of any Christian cherubs on the tile mosaics. The much proclaimed fancy of Jahangeer with images of Jesus Christ and Mary not there in any way. Researchers point to the perhaps image of an Englishman, and even with the greatest fancy, cannot understand his placement there. For some he could be Thomas Roe, when Jahangeer does not even mention once Thomas Roe in any capacity. Thomas Roe in dress of an ordinary worker belies all such claims, and with hands folded in obedience. Not worthy of being considered an ambassador here, looks more like a minor attendant. We will research on same.

Although there are male and female fairies, there are no female images on the tile mosaics. Why? The Mughals were fond of depicting women in various poses, and their absence points to the nature of decision making in making these tile mosaics. For public, for private or for royalty alone. One can only wonder. The angels are there in the Wazeer Khan hamam Lahore, and were also there in Gola Serai Lahore of Wazeer Khan, demolished by E.D. Maclagen for security purposes before 1910. Possible other tile mosaics too for Nawab Wazeer Khan was involved in the over haul of Lahore Fort and could have carried the painters to his serai too.

Research would continue but the tile mosaics have been terribly neglected by western art historians and critics for reasons unknown. Our family is linked with Lahore Fort as other Mughal monuments, for we are descendants of Ustad Ahmad Mimar, Chief architect of Shah Jahan, and he is on record as being attached in work to the Lahore Fort itself. Mulla Tughra (the famous diary keeper) was with Shah Jahan in Kashmeer and in a letter addressed to Ustad Ahmad, he tells him that Shah Jahan is about to depart from Kashmeer to Lahore and should complete the works are soon as possible in Lahore Fort but then says something fantastic;

“And the highly dignified Mulla Ahmad Mimar- that discerning appreciator of new ideas of the ‘PICTURE-GALLERY’, that master of resonant language of the ‘workshop’, that designer of Wisdom’s mansions, that writer of inscriptions on the pavilion of the Royal intellect, and that architect of the Holy Temple of benedictions- has rebuilt the exhausted spirit of this writer with the tranquil mortar of his friendship.”  (published in Taj Mahal by Wayne Begley and Z.A. Desai)

This is direct evidence that our ancestor was responsible for the Picture gallery at the Lahore Fort from a writer courtier of Emperor Shah Jahan himself. Mulla Tughra was from Mashad and stayed with Shah Jahan throughout his life, and Shah Jahan was dethroned, Mulla Tughra retired to Kashmeer. His language skills were famous and he talks of things with symbolism of chess board. Skilled communicator of ideas, and surely friend of Ustad Ahmad Mimar, as others like Ustad Abdul Kareem, Makaramat Khan, and Amanat Khan Shirazi. We will add more, till then enjoy!

FORGOTTEN SERAI OF NAWAB WAZEER KHAN LAHORI;
DEMOLISHED EVENTUALLY BY THE BRITISH IN POWER.

Nawab Wazeer Khan constructed  a lot of buildings in the region. Besides the obvious, we have his buildings in Shahjahanabad, Multan, like the Wazeer Khan Mosque there, and a complete city of Wazirabad. It is interesting that this complete city was gifted by his descendant Mirza Izzad Baksh to a Hindu friend, so that it would not be inherited by his own absconder son-in-law, Mira Chajju Baig. Mirza Chajju Baig went to Lahore High Court to undo the gift, but the Court ruled in defense of the Hindu, by asserting that a GIFT ONCE GIVEN CANNOT BE TAKEN BACK. All that is on record in the court files. And we have copies of it.

One important missing construction is the Serai of Nawab Wazeer Khan in Lahore. The location of the Serai is not certain, and the Serai of Mian Sultan has taken its place, or adjacent to it in some ways. Research not done so far. But stories abound. Rudyard Kipling enfolds another role of the Serai of Mian Sultan. In his novel Kim, he points to the Serai as being meeting place of Spies. A certain Afghan spy met here in those times. And killings used to take place here. His father John Kipling has made a sketch of the Serai of Nawab Wazeer Khan. The interesting part is that the Serai was once the Marketplace of Prince Dara Shikoh and later as well  the Serai of Nawab Wazeer Khan. Famous for being demolished by Maclagen after 1904 (but existed even in 1910 partially) in Lahore. We have prints as well as photographs of same. The Wazeer Khan Serai existed and is on photographic record in 1908. We have published photographs of it. Check our book on Wazeer Khan Mosque. In fact Lord Maclagen in his writings describe the Serai as having ANGELS on its doorway in the same spirit as the Lahore Fort as well as the Wazeer Khan hammam. In the Kipling Sketch, the photographs of 1908 and the photograph of 1910 all show the Gateway in different light. Fallen and reconstruction seems the key. We now feel that the drawing printed in France in the 19th century, is maybe the Gateway to the Serai of Wazeer Khan. It has real similarities with the gateway of the Wazeer Khan Mosque. But it does not match any gateway in Lahore. The heading calls it the Gateway to the Palace. Check our analysis!

We are also told that Wazeer Khan constructed a Step well there. In both photographs the Step-well is clearly visible to us. But the most amazing thing is that a house reputed to be in the center of the Serai is tipped as the house of Nawab Wazeer Khan himself. It has changed its construction too, and the last legal descendant of Wazeer Khan was Mirza Izzad Baksh. Who knows who occupied it after that? And surely demolished with the Serai itself. The architecture looks old, but it exhibits changes of the 19th century too. The doorway and the ventilators look 1800s or much. But the plinth looks really old of Wazeer Khan time, as well as the arch above the door. But lower plinth means the level got sunken with time. Anyway it is gone, and the photographs are our only memory of the Serai of Nawab Wazeer Khan Lahori.However Wazeer Khan did leave his initial Diwan and we have a copy, probably the original in his own handwriting. Subject to further research.

AN ANALYTICAL STUDY OF THE MUGHAL MINIATURES;
OF QUEEN SAHIB JAMAL REVEALED IN RENOVATION,
OF HER  MAUSOLEUM IN THE BAGH ANARAN LAHORE.

Historians are of many kinds. There are those who go after the truth and solidify the same for the future. And there are those who falsify the truth with distorted repugnant tales in effort to degrade famous people, particularly Muslim Kings and Queens. The Western visitors to India Hindustan were no  exceptions to the rules. They delved in spreading lies about the Muslim rule in Hindustan. They had the help of Indian so called storytellers, who spun tales, particularly in the 19th century. The most bizarre sex stories were spun, and these Western misgots perhaps were obsessed with Oedipus Complex for incest was in their mind all the time. Mughal Princesses like Jahan Ara, Roshan Ara, Zebunisa, were all victims of such slandering on part of these fanatics, who had no access to the Royal Courts, and picked up gossip in the bazaar, or spun their own versions. The Story of Anarkali is one of them.

Someone thought finally renovating the Mausoleum of so called Anarkali , and even dug the place where she was supposed to be buried. No structure, not even the bones. C. Grey had revealed in an article that the bones were taken out when the Church was being made AND  BURIED UNDER THE LEFT TURRET WHERE THEY ARE SUPPOSED TO BE STILL THERE. Someone check it out. Our concern was the revealed portraits of Queen Sahib Jamal on the walls surrounding her sarcophagus. A first of a kind in Mughal history. Only six are revealed so far and there may be even more. Certainly Emperor Jahangeer devoted to his beloved wife the Turkish Princess Sahib Jamal would have chosen the best artists of his time for the same. But that record is certainly missing as even the mention of the Mausoleum. Although a cross reference is available about the death of infant son of Dara Shikoh, buried in the garden of Sultan Pervaiz, son of Sahib Jamal, mistakenly considered as the Mausoleum of Prince Pervaiz, when he is buried in his own mausoleum in Agra. Of course Sahib Jamal was daughter of Khawaja Hasan of Herat, and died in Lahore, on her way back, after an illness. A miniature exists with infant son Pervaiz, as also her dying days in a miniature from Jahangeer album. The revealed works are a bonus of history.

SJ 1

Sahib Jamal has a black spotted (perhaps stars) veil on her head, and a black/brown band on her forearm, and raises her both hands in a typical; gesture of prayer, as exemplified in Muslim rituals. Mughal women and queens are often shown with crowns and flamboyant head dresses, but the austerity in this work is indeed remarkable. And unique in all ways. Simplicity and innocence is best shown in this way.

SJ 2

In this portrayal again the simplicity of a covered head, plus a black swan in her hands. The beak reveals the swan, otherwise it could be a faded background. No mistakes, she is carrying a bird. Maybe her favourite pet.

SJ 3

A black dress and possibly a gold head covering (faded) but the band is indeed golden. And with her Royal share of necklaces, befitting a Queen of her stature. A Royal portrait in full flair, but again a covered head.

SJ 4

Face clearly visible with an aquiline nose. In her hand she holds a small bowl, and in her other hand a stem of flowers. She looks younger in this portrait, of an earlier time. Reputation is that she died at the age of 27 years.

SJ 5

Simple yellow dress and holding a flower in her right hand, and an utensil in her left hand, maybe a small cup. Black means brass cup.

SJ 6

An orange dress with a faded head covering, perhaps a sort of crown. Holding in her hand something, which cannot be seen. Obviously some sort of head dress is there but only the lines can be seen. Its background colour gone.

Restoration of the Mausoleum is a big task. But put the Bones of Shah Jamal back for proper burial, and select renowned artists to repaint the frescoes. These six rarest portrayals of Queen Sahib Jamal only bring two emotions in looking at them. Happiness in their survival, and curse to those villains who destroyed Mughal aesthetics and put a shadow on its abundant Culture. Conquest does not mean obliterating the culture of an entire nation. But what can we expect from these bigots. Those who were ready to dismantle the Taj Mahal itself for selling its marbles in Italy. Even stole its gold pinnacle and replaced it with a bronze one. They came to teach us culture, and forgot the basics of ours.

PAKISTAN FOREVER! PAKISTAN FOREVER! PAKISTAN FOREVER!
OUR FAITH IN THE PURITY OF OUR IDEAS AND ALMIGHTY ALLAH.

I am a born Pakistani. My father Abdur Rahman Chughtai was not a born Pakistani, but Pakistan was in his blood and soul. After the tragedy of the 1857 movement and the War of Independence, the dream of revitalizing the Muslim glory was always there. Friendship of Dr Allama Iqbal for twenty years reinforced his belief in the idea of Pakistan. In his memoirs of 1932 he writes of sitting in the hotel room of Dr Allama Iqbal (in London during the Round Table Conference), and seeing people come and go and talk of a Muslim homeland. Dr Iqbal introduced him to Chaudfary Rahmatullah, who coined the word Pakistan. Dr Allama Iqbal tried his best to boost Abdur Rahman Chughtai in holding an exhibition in London, and also wrote to people canvassing the same. On his deathbed, Abdur Rahman Chughtai was with Dr Iqbal till the very last. Chughtai Sahib writes as to Iqbal’s holding his hand and not letting it go, and asking him to promise that “Amal e Chughtai” as a book, will be done by him. A dream of Iqbal which came true in 1968, when President Ayub Khan inaugurated the same at Alhamra Lahore, an institution founded by Chughtai Sahib himself. It was clear from day one that the idea of Pakistan pricked people, and all the anti-Pakistan zealots were a purchasable commodity by agencies from abroad.  And this animosity goes on every day.

Pick up a newspaper, browse the internet, ask the pseudo intellectuals of Pakistan, they all rave against Pakistan. And not only Pakistan, they bombard their views on Islam itself. Tom, Dick and Harrys abound in finding fault with Islam and Pakistan. When Professor Shameem Anwar wrote the book “The Idea of Pakistan”, Stephen Cohen (from the Brookings Institute) wrote a book on the Idea of Pakistan. So all were at it, from the morons of everyday to the super knowledge of people like Stephen Cohen. I knew them both. On face to face level. But no one needed to tell me, Pakistan was indeed in my blood and soul too.

From first day the conspiracy to undo Pakistan was in full swing. Everything about Pakistan was belittled. Grand plans were made to lower our self esteem, and all the West offered was golden, our past was literally bullshit to our own people. The biggest culprits were the Mullahs themselves whose aim was to undo our faith in Islam by presenting us with fairy tales. Invented stories and miracles nothing to do with the Quran. In our times the Maulvi in the mosque was a poor person and we used to send regular meals to our mosques to feed that poor chap. Now the modern Maulvis are moving in Cruisers and with body guards carrying automatic rifles with them. From where were they being fed to destroy us. Destroy the rationale of our existence. We were friends to all, non aligned in our lives to be happy with ourselves and with others. Normal people for lack of resources joined the band wagon of belittling our ideas. I wish I could name some. Some ready for the grave are raving against our iconic Quaid e Aam. And that too in India itself. An imbecile Indian businessman has become a Pakistani expert overnight. The passion of a retired Major in India is phenomenal.  So many vlogs and blogs to undermine us. It happened with Art too. The conspiracy against Abdur Rahman Chughtai himself was tremendous. French beards, torn jeans, smoking pipes came into Pakistan to teach us that copying Picasso was the key to success. Principals of Mayo School of Art would not tolerate talk of Pakistani art. It was Quaid e Azam himself who talked about the importance of art and aesthetics into guiding a nation. Line and colour shaped the ideas of a nation.

This is subject of many books. Not all can be covered in a write up. Let us say one thing. Hands off Pakistan. We are alive, the flame of the idea of Pakistan is ever alive. Go on with your nonsense, Pakistan will survive and surmount all issues. Yes, Pakistan is forever!

THE PASSING OF PROFESSOR TARIQ MAHMUD AHMAD,
FRIENDSHIP OF 67 YEARS CUT SHORT ALL OF SUDDEN.

It was the night of first December, 2024, rather late and I was tossing in my sleep. Suddenly I felt a presence in my blanket, and knew it was not natural. Son of a mother who was a psyche in many ways, I inherited some of her traits. It was not in my body, it was like somebody had slipped in with me. The weight was there and it did frighten me. I called my wife and told her I was feeling something. She held my hand and the moment passed. But I knew something was wrong., From the last many days I was seeing many dead persons in my dreams. Surely something was happening around me.

A few days later Ali Tariq, son of Tariq Mahmud Ahmad rang me at an early time. I knew something was wrong. He told me the death of my oldest friend Tariq Mahmud Ahmad on the first of December, 2024. Strange a day earlier than his death, I had rung him and inquired about his in-laws neighbour Pervaiz Ashraf, and asked him if he was alive. Tariq said very much so, I will let you know more. He rang me on my way to office, and I postponed the call. Later he rang me twice. No contact was made. It was my last contact with my friend, a relation which had lasted 67 years.

I was a student of Sacred Heart School, Thornton road, Lahore and on completing three years of initial studies, was promoted to First Standard at St Anthony’s High School Lahore in year 1957-58. Our teacher was Madame Christopher, who had a brother John in school too. Whereas somehow Madame Christopher nurtured a grudge against me, by flogging me with a cane, for hardly any reason, she was literally in love with another small boy, who she did not let go even in recess, treated him and even took photographs with him at famous Rollo Photographers, on Mall road, Lahore. Boys felt uneasy at this very unnatural relation. Others teased this boy too. The boy was young Tariq attending the school. Innocent like a baby. 

Boys were forming groups of friendships. I got attached to Kazi Musrur Mahmud, a Bengali classfellow, son of Kazi Ainuddin Ahmad, President of Australasia Bank, Lahore. Slowly by and by, my friendship was Tariq was evolving, and by Ninth class, we were sitting together.

It led to his visit to my house obviously on a cycle, the best people could do in those days. My visit to his house could only be possible rarely in a hired rickshaw. His family grew on me. Ghulam Muhjasmmed, his father was in Irrigation Department, and he lived on Mian Mir Road, Lahore. His mother, a gentle old lady, belonged to Bhatti Gate, Lahore. Two brothers and three sisters. The youngest died as a young girl, one was in Canada and the other  running a school, Ayesha Academy, on Davis road Lahore. Elder brother Khalid Ahmad obtained fifth position in the entire Pakistan in CSS examinations. The younger Hamid, joined the Army and was a Major working in ISI also. I was in contact with most of them. When the father in his gabardine pants used to come to school, we all used to welcome him.

Tariq Mahmud Ahmad wanted to be a doctor and joined the Pre-Medical group at FCC Lahore. Then he gave up the idea and was inclined towards CSS examination too. He did his Law from Law College Lahore, and then did his Masters in English from FCC too. Then he became a teacher, and finally ended up teaching at Government College, Lahore. So many career changes but he himself intact in his thoughts.

As time passed, we became more and more close, although there were differences. But he had emotions in him, and would stick with a friend come what may. Loyalty was the key of his life. Once I was obsessed with obtaining a large Mercedes star emblem, and he raided a LMC depot to snatch one on a garbage truck. However it broke into pieces because the truck was so old, it would not come out. It all ended in a big laugh as to the fiasco of same. Gradually our younger days came to an end. We all got married with newer responsibilities.

My wife was telling me, that it was rare for me to laugh. But I would always laugh talking with my friend Tariq. Our talk would relax us.

Then Tariq Mahmud Ahmad went on a Hajj. He was already obsessed with Saint Hazrat Mian Mir, and even bought a piece of land around the vicinity of the Saint for his burial. He faced many family crises in his lifetime, but came out strong. Religion became part of his life. Reading the Quran and saying his prayers, and also distributing eatable particularly at the Urs of Hazrat Mian Mir. I volunteered to show him a portrait of the Saint of Mughal origin, and he was hesitant to even look at the saint. Once walking through the mazars of various saints, he would caution me not to speak loudly, in the presence of those saints. Near his house too.

Love struck him a few times, but the outcome was not favourable. He served his femme fatale with farvour and servitude. But we all know that femme fatale can be terribly cruel in their dealings with love obsessed suitors. 

Jati hoi mayit dekh kar tum Lillah be kanay nai ayhe, worked for him. Meaning that the beloved would not say Lillah on his funeral. 

Yes I have lost a loyal and loving friend. I felt I must put him on record. As we shared so much, I cannot divulge all things of his life. Some things remain secret till the end. 

May Allah grant you your wish of Heaven! You did a lot of good things in life.

SNEAK PREVIEW OF INTRODUCTION OF PROPOSED BOOK,
ON ETCHINGS AND AQUATINTS M.A. RAHMAN  CHUGHTAI

All dedicated works are meaningless without the input of financial considerations. In a country where the State is least concerned with Ideology or Aesthetics to define itself, and the only moving force is GREED, forgetting the valour of those who create the country. It seems today acquisitions are the driving force of our nation, where Truth has become alien to society.  We were planning a book on the valid contribution of Chughtai artist to the Graphic Arts, and realize under the present condition it is an impossible dream. Even those who are eager for it to be written are very miserly towards its actual possibilities. An introduction was written, so we present the same as part of our blog to get the message across the world. Some English faces associated with the artist in the field and some etchings. Enjoy!

Background

The career of Abdur Rahman Chughtai started with his experiment in various fields. The one which stuck with him was photography. With one of those old Wooden box cameras, with Zeis lens, he stumbled into photography. From there the progress to Photo-lithography was a natural conclusion. After taking his certificate from the Railway Technical School in 1911, he enrolled in the Mayo School of Arts in search of a printing career. The diploma from Mayo was around 1915. After that he joined the Mayo School of Arts in the Photo-lithography section. In no time he was heading the department, and teaching other students. A group photograph at Mayo School of Arts in  1918, verifies the same position. With the title of a Munshi, he was sent to the Archaeological Survey of India head office for advanced learning. A certificate of 1919 clarifies his position of same. The date is from 21st July, to 4th September, 1919, and he is certified as well up in the mark of half-tone etching. These 43 days of training set the pace of his career in etchings. Obviously this enquiry is about his career in etchings only, and we have not touched other things at this time.

Moving forward in Etchings as an Engraver

The design impulse was rampant in him, and through designs, he created the urge to do dust covers, both for friends, as well as clients. In fact it was a continuation of work on new technology on the guidelines of his original naqashi mentor, Baba Miran Baksh. The printing training was being used for line printing. Obviously not satisfied with outcomes, he moved towards the city of London for advanced training. It was in 1931-32, that he made his first etching, under the guidance of private mentor, Etcher Smart. The artist complained that his mentor was very parochial in spirit, and when working on any specialized  process of etching, would turn his pupil out of the room. Although the basis for engraving was laid in that visit, nothing special could be done. His first etching was “Under the Arch”, and it is a small scale plate work. But professionals have even praised that output of his as an exceptional first one. It is pure luck that a print of the same has survived the times. The quest for engraving was ever more.

In the Indian region no importance was paid to the Art of Etching. Abindaranath Tagore was persuaded to try the same, but could only end up with the joke of the print being “His first hatching”. This is in itself documented by Indian Art historians. A lot of various print techniques were going on in India from the 16th century, but mostly Biblical subjects by priests in India. No relation to Fine Arts. It is said that various Indians tried their luck, but it was firstly Mukul Chandra Dey, who was sent abroad for learning etching skills. He was part of the Kala Bhavan Club set by Rabindarnath Tagore at Santiniketan in 1919.

“The new era in Indian art began with the establishment of Kala Bhavan at Santiniketan in 1919 by Rabindranath Tagore. The creative atmosphere of the newly established art college received a new energy in the graphic art movement in India when in 1921 Nandalal Bose took charge of Kala Bhavan. Mukul Chandra Dey was also part of the club.”

What they produced is not known, and no headway could be made in the etching field. It was probably in the 1950s that serious undertaking started in the field of etching in India. This was when progress in the etchings field in the grand traditions of European Masters was already underway in Pakistan. And only the artist Abdur Rahman Chughtai was heading that movement in Pakistan. Yes, no doubt, the artist Chughtai was the pioneer of such work in Pakistan, and amongst the very first founders in the Indian region. Of course the Indian Art historian is blind on the subject.

AS PROMISED THE STORY OF FIFTY YEARS OF CHUGHTAI MUSEUM;
WRITTEN AND READY, BUT PRINTING MAY BE DELAYED AT PRESENT.

It was not an easy task.Going through the box files of last fifty years, and browsing the daily diary and the documents, and there is so much material that I can write volumes of those years. But what was important development is necessary to remember, perhaps even to forgo many other things. In no equal terms can it be forgotten that going through the years was an emotional  venture, along with the archives of same. The ups and downs of those years take the breath away at times. Many people may not understand, but I lived those  times. Many times bitterly alone to face the music and anger of people in power.  

It is amazing the kind of people I met,  including Presidents, Prime Ministers, Secretary Generals, agents of foreign agencies, diplomats from all around the world (including seven American Ambassadors), and the admixture of all kinds of Pakistanis. Retired as well as active Generals of Pakistan Army. Even at times US Marines from Afghanistan. From the richest people in the world, to basic faqeers of the street. Obviously never kept a count, but would exceed hundred thousand people, reflecting a lifetime of contacts.

Researchers came from all over the world, as well as all parts of Pakistan. From PHD degrees, to term papers of school children. And our own research went on all the time, including archiving of our assets. And we printed each year our research to distribute it to lovers of Lahore, absolutely free of cost. People wrote from all over the world too, and we sent them things. Chughtai Sahib carved a name for himself, and we carved a name for ourselves, oblivious of the morons surrounding us most of the time.

A complete generation is gone, and our regular faces of visitors are gone. Some dead, some transferred, and some too old to come. In fact the mailing list is becoming obsolete with age. Updating is not enough. We made it first in 1975, and in 2025 interest in the Arts has waned, not increased with time. But we have kept on our struggle for aesthetics in Pakistan.

Tomorrow is an illusion. My father used to say is kiyamat comes, what is a gardener supposed to do with a plant in his hand ready to be planted. My father said he should plant same. His job is to plant, not seek recluse that things are  not going go be anymore. For after all our faith tells us the after life we will all reach. Perhaps Chughtai Sahib will be commissioned by Allah to paint pictures for those who reach heaven. WHY NOT? The future is indeed bright for the good.

YES, LEGEND OF CONCUBINE ANARKALI CRASHES DOWN;
THE BIZARRE REVELATION FACE OF QUEEN SAHIB JAMAL,
NO WALLS, NO BONES, FROM CHURCH FINAL MAUSOLEUM.

Our historians have written about the legend of Anarkali. The incest stories started by bastard English man William Finch, trader and gossip maker sitting in the bazaar. The concubine wife of Emperor Akbar, buried in Attock in a befitting mausoleum. Her name given by Prince Jahangeer himself in his memoirs as Maryiam Bibi, and his beloved Queen discovered by historians as Sahib Jamal. Yes, C. Grey reveals that the bones of the Queen were taken out and buried under a turret of the mausoleum. Perhaps still there, for in the renovation process of the Tomb of Anarkali, nothing was discovered in the deep dug hole. No walls, no bones, nothing but the treachery of the British in belittling our stalwarts all the time with misleading statements.

Let us see what William Finch says about Islam, and attributes it to Emperor Jahangeer:

“All this is nonetheless show as such with the King about Christianity he affirming before his nobles that it was the soundest faith and that of Mahomet lies and fables”.

Is that even remotely possible for Jahangeer to say something like that. Habitual liar!

Now comes the question as to the body (bones) of Sahib Jamal. C. Grey was the first to write the story of Anarkali, in the Punjab University Historical journal, and points out:

‘When the tomb was converted to a Christian church in 1852, the body was removed and reburied in the left-hand tower facing the mausoleum where it still remains, not far from the tombstone which once covered the grave within the building”.

It was my long held wish that some fresh digging should take place to clear all the hullabaloo. It finally came true. The Anarkali tomb is finally being renovated. Excellent! The place of burial dug and nothing found there. No walls, no choked concubine. But remarkable a unique thing happened. The walls cleared of the white cement revealed beautiful frescoes. Nothing new. But there were many Mughal Angels on the walls. Not Christian cherubs. BUT THE MOST REMARKABLE THING VARIOUS FIGURATIVE PAINTINGS OF A QUEEN. Finally Sahib Jamal comes out in the open. I have asked a friend to take photographs of all the figures  and we will do a study on it. But rest assured now, that the Legend of Anarkali is just a romantic thought created by writers and films and uninformed people. DO WE KNOW OF ANY MAUSOLEUM IN THE WORLD TO HAVE FIGURATIVE PAINTINGS OF THE LADY  BURIED IN IT? Remarkable finding. Enjoy we will do more on it.

THE PATHOS OF SHAH ALAM AND HIS TIMES
A PUNJ SURA WRITTEN BY HIM BEFORE BLINDNESS
SURROUNDED BY MIR JAFFERS AND MI6 007 SABOTEURS

If you read even a few pages of the history of Shah Alam, you shudder with the complexities and pathos of that time. The backbone of all nations are the Armies and the enemy knows that to gain inroads to the nation, the Army as to be dismantled. Warriors of the Timurids like Zaheer ud din Babar were not puppets under any hands. Each King in succession had the Army in control. Prince Dara Shikoh lost his battles for he was not battle hardened in any way and sought the recluse of so called Black Magic to try to end the war in Kandahar. Obviously it was lost. Emperor Aurangzeb rose to prominence for he was battle hardened till the very end. At the age of 92 years, he was ready for war with all enemies, When Kings were left to indulge in the charm of the palaces, relish the foods, wear the fancy dresses, entertained by ladies, or sexual gimmicks, the end result is always the same. The rise and fall of civilizations always take place.

Even a brief look at the times of Shah Alam is beyond comprehension. Lack of rain, lack of food, earthquakes, meteor rain, revolt of Army for pay and salaries. Connivance of various Ministers to get to being the Regent of affairs. The end result in 1784 is that Shah Alam is thrown on the floor and his eyeballs removed to be blinded forever. Even a Court painter was called to record the historical scene . And then came the scourge of the Syed brothers, the Ghulam Qadir tyrant of all times. Ghulam Qadir was so cruel, that not only he got Shah Alam blinded, he starved to death member of the Royalty, placed the ladies on walls of the Fort to be observed by all, and to have even Royal Princesses stripped naked and fondled by his soldiers. He asked his soldiers to make them beget illegitimate warriors instead of the wimps they were producing as Mughal Royalty.

When Shah Alam’s eyeball;s were throw out, he was asked what he could see. And he said between him and the asking Minister he could only see the Quran. Strange words for an Emperor, and yet four years before in 1194 AH 1780 AD, the Emperor had finished writing an illuminated Punj Sura (Five surats of the Quran). Shah Alam is no more and yet the Punj Sura is still there. The result of his last years, a treasure of the future.

Ghulam Qadir was to die his consequential end. An historian writes of it like this:

“So Sindia ordered that Ghulam and the former superintendent of the imperial harem were to be tortured to death. Ghulam ears were cut off and hung around his neck. With his face blackened, he was paraded round the city in a bullock-cart. Next day, his nose and lips were cut off and again he was shown to the city. The following day his eyeballs were torn out and yet again he was placed in a cart and trundled slowly though the streets. He eyes were followed b his hands, and then by his feet. Finally his head was cut off and the corpse was hung upside down from a tree.”

“Screams of the tortured filled the harem. Servants were held over fires to make them disclose the whereabouts of hidden jewels. Others had boiling oil poured into the palms of their hands.. Eunuchs were beaten to death. Shah Alam was himself brought out of his prison and subjected to less extreme torture. He was made to sit in the burning sun without food or drink. He was continually threatened, and Ghulam would — without warning— fling his arm round the ex emperors neck and blow a cloud of acrid smoke into his face.
Finally the edge of madness when Shah Alam was thrown to the floor and his eyeballs taken out.”

What had been done to the Mughal ladies had never been done before. Many were starved to death in the eyesight of the people on the Fort walls. Also stripped naked and fondled by common soldiers in front of all. Humiliations were complete and Ghulam Qadir paid the price.

Who gained? First the French General De Boigne and then the British visitor Thomas Twining. Then Lord Wellesley stepped in for the advantages. General Perron took control of northern India. With a pension Shah Alam could stay in the palace, the rest was for the British alone. In fact substantial treasure fell into the hands of the French mercenary Lestenean, who left for British territory and later for Europe with his windfall. DIVIDE AND RULE AND 007 ASSASSINS all were there in full force. It was the Mughal Army which was fist brought down with discord. The House of Timur had finally fallen and Hindustan was left bare for centuries to come.

Did we learn any lessons! Today the situation is still the same. Foreign lobbies are working to throw our army in disarray and take our assets. Hatred destroys people. There is every reason to believe that there is unnatural hatred for Muslims primarily Pakistanis for our CODE OF LIFE. Anarchy is being generated for us but by the Grace of Allah, we will come out of this malaise and be Pakistan again. So be it!

REMEMBERING THE FORGOTTEN FACES AT CHUGHTAI MUSEUM;
HARVARD UNIVERSITY ANTHROPOLOGIST LOUIS DUPREE IN 1978.

Literally thousands of people visited Chughtai Museum in last fifty years, but also hundreds of foreigners visiting us too. Record in our archives but memories in our hearts too. Louis Dupree Professor was a world famous anthropologist, and his wife Nancy, also an expert on Afghan affairs.Both husband and wife have written many books, and their expertise is obviously Afghanistan.Scratching our archives reveal many things, and surprise us too. 

It was those days that Professor Marjorie Jacobs of University of Sydney was visiting us, and extended an invitation to us to visit Sydney, Australia with a show of Chughtai Art. We also later received His Excellency the Australian ambassador in Pakistan.  

Louis Dupree was a serious worker but as a person he was jovial most of the time. His wife Nancy was totally well versed in history of Afghanistan, and we have her books in our library. Louis Dupree was at that time staying in 12-C Gulberg 2, Lahore, and left his phone with us too, that is 880751. These people were cultural experts and knew the importance of Chughtai Art in Pakistan as well as the Muslim world. They also knew his popularity in the Western world. We enriched their knowledge, they enriched ours. As our usual practice, we gifted them things on Chughtai art.  And as usual people leave our museum happier than when they came in.