WONDERFUL BOOK..."TEN YEARS WITH GURU DUTT..ABRAR ALVI'S JOURNEY..."

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TEN YEARS  WITH GURU DUTT..ABRAR ALVI'S JOURNEY...

Reading this wonderful book written for every film goer who has been enchanted by the magic of Guru Dutt's films.

 Guru Dutt , a visionary and a mercurial director succeeded in making a personal statement with his cinema . He had three creative giants to support him in his ventures; I mean music director  S D Burman, Cinematographer VK Murthy and his script writer Abrar Alvi .

This book is a great attempt to tell hitherto unknown aspects of  the genius known as Guru Dutt and his team .Every chapter of this book is named after some song from some Guru Dutt film. So you have chapters like Bichhde Sabhi baari baari, Baat kuchh ban hi gayi,Aaj mujhe neend nahin Aayegi, kaahe ka jhgdaa baalam nayi nayi preet re, janam safal ho jaaye , Bade dhoke hain iss Raah mein, waqt ne kiya kya haseen sitam and many more.

Enjoying each chapter of this paperback edition of Penguin's creation  priced at Rs299/-.

SOME  EXCERPTS..

                                 (1)


                                     

ABRAR ALVI REMEMBERS JOHNY WALKER..

Excerpts from book " Ten years with Guru Dutt Abrar Alvi's Journey"

Johnny Walker....

" In an  industry known for its professional jealousness and  bickering , johny walker was one person who had no enemies .No one who wanted him to fall.  Johny's biggest rival could have been Mehmood,But Mehmood kept in touch with johny walker right upto the end and often wrote to me about his Johny Bhai. In fact , it was johny walker who introduced Mehmood to films via CID and Guru Dutt films. Johny Walker's humility and simplicity is evident  in many anecdotes that i can narrate.  Let me say one...
One day ,Johny was shooting for Guru Dutt film and heard a voice calling out "Badr ud Din, Badr ud Din" .He turned to see a burly man gesturing to him. It was the driver of the bus johny used to be conductor of. Johny was genuinely happy to see him and without any starry airs, embraced him and made him feel welcome .In fact ,it is this " Man from the soil " aspect of his character which came across in his performances and appealed to his fans."

                                   (2)
                                 

ABRAR ALVI REMEMBERS WORKING  WITH  SAHIR  LUDHIANAVI..

From book " Ten years with Guru Dutt Abrar Alvi's Journey"

"  Guru Dutt always wanted to use sahir's poem Chakle  that had been composed much before Pyaasa was conceived. I  had first met sahir in 1951'at the meeting of poets and writers association. He had a big nose which caught my attention. We went to become good friends. Sahir drove a fiat car those days and smoked a lot though he was trying to kick the habit. He would break a cigarette neatly in half ,so neatly that it looked as if it had been cut with a knife.
Sahir had rather strong views about the importance of the lyricist vis a vis the music director , views that rubbed many people the wrong way.such conditions and convictions got him on the wrong side of many music directors of his time. One day, while we ,the Pyasa team were together , he got a bit high and aired his views on music directors being lesser mortals to writers like him. S D Burman , who was present ,got very riled up about his statement . Dada pronounced there and then that he will never  work  with sahir ,not for the rest of his life.

It was a crisis indeed. Pyaasa was under way and last song was yet to be written. Guru Dutt and me worked hard at mollifying Dada , and he softened to a degree. He agreed to set music to sahir's words but disagreed to sit with him to create the number.
Sahir was a straightforward person ;he was incapable of flattery , but he managed to surround himself with flatterers . "

                                   (3)

                                 

ABRAR ALVI REMEMBERS CHILDLIKE  SIMPLICITY OF S D BURMAN......

Excerpts from book " Ten years with Guru Dutt Abrar Alvi's Journey"

GURU  DUTT  ENJOYED  PULLING  LEGS FOR FUN..

" In 1962,  Dada (S D Burman ) announced that he was planning  a tour of Europe with his wife. Everything connected with the travel was fixed to the last detail with his travel agent. "Get all the work you need done. I won't be around for two months '" , he announced. Guru Dutt decided to have some fun and sought my help.

I started by saying" Chinese war is on , people are condemning Chinese . Please don't mind , i am saying this because i am concerned , you look more Chinese than Indian and people might end up treating  you badly because they hate what the Chinese are doing to an innocent country , and Bhabhi won't be able to help you much  either."

The joke backfired. Dada began to seriously reconsider the trip. Guru Dutt asked me "Abrar what have you done to Dada  ?"  We had to set about reassuring him and telling him that we had only been pulling his leg. Dada was gullible , trusting and childlike, such endearing traits . He was a loveable person , totally devoid of all pretences."


                                     (4)

                                     

ABRAR  ALVI  REMEMBERS  HOW   HE  DIRECTED  SEASONED  ACTOR   SAPRU  IN 'SAHIB BIBI  AUR  GHULAM'..

From the book "Ten years with Guru Dutt Abrar Alvi's Journey"..

" Handling sapru was quite another matter though. He was a seasoned actor,and had fixed views on his method if delivering  dialogues. Sapru believed that expression was controlled by breath , a laudable and worthy Idea, except for the fact that he had a rather pronounced belly that would bounce around with his deep breaths.

I was worried that his dialogue style would diminish his presence on screen. I had to find a way of ensuring that character of sapru remained a larger than life one. After all, sapru played the master of the Haveli , the elder brother who ruled over zamindari ,the Haveli and was the keeper of its "Morality" , despite his own wanton ways.

I did away with a lot of sapru 's dialogues. I trimmed his scenes and ensured that his lackeys spoke on his behalf. Needless to say, sapru was distraught ,But i reassured him. I told him that by speaking little and looking imposing and regal, he would come across as a sinister personality whose very appearance on screen would inform the audience that there was trouble ahead.
When i wanted him to order murder of Chhoti Bahu, i had the lackeys ,hefty men who looked like executioners,come up to him and say
"Hathiyaaron ko zung lag gayi hai ,Sarkaar" , And had him take off his ring and hand it to them. The effect of that scene is chilling and marks his personality in no uncertain manner.
I told sapru " Sapru sahib, you will score , your character will remain memorable , i am approaching it differently ." And to my credit, it worked wonderfully well."



(Avtar Mota)

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MUHHAMAD ASHRAF : THE UNSUNG COMPOSER FROM KASHMIR

                                                                                     

 Late Muhammad Ashraf... Unsung Music Composer Radio Kashmir Srinagar.

" Darshan Dokh tchali Tribhuvan Laalai
..... Pamposh Maalai Traavai Nael.."

This Leela touched heights of popularity when Vijay Malla sang it .It was a Radio kashmir production. Not many people know that when Muhammad Ashraf composed music for this leela, he had specifically requested for using Vijay Malla's voice. The music matched the intensely devotional feelings conveyed by the leela.

Two other compositions of Late Muhammad Ashraf that he did for vijay Malla are:

1 Zindaa Rozana baapat Chhe maraan luuk.
2 Na draav Natchini hawas kaanh 

As i look back, i find some more songs composed to perfection by this unsung Maestro Muhhamad Ashraf. A great player of Harmonium . He was an ace football player and definition of a gentleman.

About him Progf. Jaya parimu Writes :

“ Unassuming , simple , true to purity and sweetness of music ,his compositions became hit and luckily Vijay Malla became almost like his muse . I often called him to play harmonium as accompanist along with other instrumentalists for musical features staged before dignitaries in college auditorium. Never flaunted his creative self , remained obedient to seniors ,same as great masters remain unsung and unknown working under "naami-garaami" composers .May God rest his soul in peace .”

 Syed Zeeshan Fazil writes :

“Muhammad Ashraf from Bagwanpora Barbarshah was an employee of JK Road Transport Corporation .He was a versatile football player and was playing for Transport foot ball team as a player with Farooq Ahmad, M yousf Dar and others in late 60's. He had a passion for Kashmiri music which brought him to Radio Kashmir and joined the company on Nasarullaha Khan, Gh.Nabi sheikh and many other male/ female artists of RK. .He composed numerous songs for the singers of the valley which earned lot of name and fame at a time when Radio used to be the voice of the valley. The most famous Ghazal of Fazil Kashmiri " Az ti ma Aaham " By Muneer Ahmad Mir was also composed by him. During mid 80's he composed many Kashmiri songs for Doordarshan "Abshaar" when I was its producer. Ashraf Sahib. was a lovely human being, Very soft and gentle. His untimely death was a great loss to Kashmiri music world. May his soul rest in peace.”


Peace be to you  soul. 


(Avtar Mota)


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SARDAR SANTOKH SINGH ...PIONEER OF COMMERCIAL ART IN J&K STATE.

                                                 

              

SARDAR SANTOKH SINGH ( BORN 1934 ) PROP. SANTOKH BROS........PIONEER OF COMMERCIAL ART IN J&K STATE


I vividly remember during my college days , I would keep looking at Signboards and Hoardings in Markets . By markets I mean Amira Kadal , Residency Road . Maisuma , Hari Singh High Street and some other places. It was surprising to find that most of these boards had a small note “ SANTOKH BROS “ at bottom corner. If it was not “SANTOKH BROS “ it was “ JIO PAINTERS ” . 

Strange is the story of this POK refugee boy who was barely 13 years old when the tragedy of partition struck his peace loving family in Bagh ( Poonch ) . He saw Killings , Bloodshed and destruction . For Days , with nothing to eat , hiding and then resurfacing his family walked and walked to reach Jammu . And then life had to start from a scratch. I post excerpts from my detailed interview with the pioneer of commercial Art in our State .


“ Santokh Singh ji , Sat-Sri-Akaal. Do you recollect our last meeting ? You were busy that day . Can I come over right now ? ” 

“ Yes Yes . I was waiting for your call. Come right now. I am at my Farm House . ”

“ Start . Say what you want . I am recording ”

“ Avtar ji , First I regret not being able to attend to you previously as I was busy. You see I am into many affairs mostly Social service now. My father was a farmer from Bagh in POK. We had beautiful hills , valleys , fruits , snowfalls and kashmir like scenery . I vividly remember that place . We embraced Sikhism at the hands of revered Sixth Guru sahib. Your friend Iqbal Singh’s family is also from same area. Agya singh Ji’s son I mean . We are Soodan and they are Raina . 

As boy , I moved to Delhi to live with my sister . They were allotted a house in Lajpat Nagar . I did my two year Diploma in commercial Art from New Delhi . I got married in 1957. Jammu was hot and unbearable . I wanted to set up business at Srinagar . So I opened a shop at red Cross Road behind KMDA Adda. Suraj Tikoo and G R Santosh were my close friends . Both were fantastic commercial painters apart from being seasoned in FINE ART. Suraj Tikoo could work on larger than life hoardings .I was frequently interacting with Mohan Raina and Bansi Parimu . Can’t Recollect all names . See I am plus 84 .

I don’t take any pride in saying that at a point of time I had so much of work that I would pass on some to JIO PAINTERS. JIO was owned by Jia Lal a fantastic Commercial Artist from jammu . I would bring junior commercial Artists from Amritsar , Lucknow and Delhi and engage them on handsome remuneration for my work. My hoardings were on display right from lakhanpur to Leh and then Akhnoor to Poonch or Batote to kishtwar . In a way I had total monopoly because I paid my Artists in advance and Artistic perfection was my Brand.


I would pass on work to Gani -Akbar and Jeelani Painters ; Two local commercial Art firms from kashmir. Many leading Advertising firms dealing in promotion/ Marketing of Textiles . Cigarettes , Liquor , Building Material etc. would approach me for installation of Product Hoardings in the State . I was known as King of kashmir in Commercial art world. I didn’t face any issues from Municipality. 

My Head office remained at Srinagar and I also opened a branch at Jammu ( 6 shops Below Gumat ) Later . This business suffered a great set back with the arrival of FLEX printing . I also stopped this activity sometime around 1988. Now I am in Building material business. I have this farm house and I manage a Dairy farm. Entire milk I sell to residents of this locality at no profit no ;loss basis . I feed these animals myself. That is my satisfaction .
I have worked very hard . This is all my sweat and blood. After providing for my immediate family, I plan to return whatever I have to this world only before I die. That is my mission . Keep coming . I like the way you listen silently . Rarely people allow others to talk these days .”



And Santokh Singh has donated 12 Kanals of Land to Cremation Ground in Gole Gujral . A building ( for the caretaker and his family ) has also been constructed by him. The Cremation Ground has solved so many problems of the residents of this area that has a sizeable population of kashmiri Pandits . 


And when I took leave of him , he came to the door to see me off. He had already raised the volume of his mobile phone that had a recording of Hymns from Sri Guru Gobind Singh Ji’s Krishna-Avtaar:


“ Hey Ravi Hey Shashi Karunanidhi,
Meri Vinatii Suun leejiye…
Aur na maangat Hoon tum se Kuchh
Chaahat Ho chit Mein soyii Deejiye..
Sastran sioon Atti hi Runn Bheetar
Jhoojh Maruun Kahii saanch pateejiye…
Sant sahaai sadaa Jag maahi
.Kripa Karri shyaam ihee var Deejiye ”
( Avtar Mota )

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MY SHORT STORY 'FLOWERS OF INNOCENCE'

                              

(FLOWERS OF  INNOCENCE)

Sometime in 1998, i was advised by my Regional Manager to  visit kashmir  for two  days for some urgent official work. After finishing  the entire  work in  one day, i decided to use my  other day for visiting  Gulmarg.  Militancy had not died down though apprent calm prevailed.  For  an outsider , normalcy had been restored. Insiders knew it as aberration. I was neither an insider nor an  outsider . So you can very well understand  what i knew about  the situation prevailing in kashmir valley at that point of time.

As i made open my plan to visit Gulmarg, My Colleagues  Abdul Rashid , Mohd Sultan and  Dildar singh  volunteerd to join me . We decided to leave early and return by 4PM .  Abdul Rashid brought  his  six year old son Irfan alongwith him.

We booked a Taxi to and fro. Irfan sat on front seat along with me. I kept talking to him all along. He was  happy, smiling and enjoying every moment. I gave him a pack of Amul  chocolates and he didn't accept at the first go  though temptation was visible on his face.. He then looked at his father  who gave him  a go ahead signal .

After we had our Lunch at Gulmarg,Irfan suddenly asked his father:

" Daddy, you have told me yesterday that you shall show me a BATTA ( kashmiri Pandit ) at Gulmarg. Now show me."

Abdul Rashid tried to avoid the issue by diverting the child's attention towards Gandola or  Chair car Ride but the boy refused to get diverted.  In the alternative ,Irfan loudly said:

" I want to see a  BATTA before going back to srinagar . "

Unable to control the child, Abdul Rashid finally  pointed towards me and said :

"Irfan, Here is the  Batta that i wanted you to see  ."

At this , Irfan walked upto me, touched my belly and looked at my backside . Then suddenly the child started weeping inconsolably.  When Abdul Rashid tried to pacify him ,the boy ran away   in fury  and  shouted:

" You are   a liar. You are  a cheat . Where are the nails like long  teeth at  his belly?  Where is his back eye? " Show me nails like long teeth of the   Batta near his belly. Show me how he bites with his belly .Show me his back eye. You are a liar. I will never believe you now. You are not my daddy. You are showing me a  human being and not a BATTA "

And the boy continued to weep inconsolably .

In 2009, i was posted in srinagar   city when one of my  relations  visited  kashmir along with his family .  They had come from  Jaipur. The family comprised of  husband,  wife and a  5 year old  little  girl  Mini . I had done their Hotel and Local Transport bookings . With them,  i also went  to Pahalgam, Gulmarg, Kheer Bhawani  and kokkernaag. Infact Mini attracted 

everyone's attention with her  innocence. Sultana the Taxi driver, who  was with us for three successive  days ,  didn't start driving his vehicle in the morning  unless he gave Mini her favourite  Five Star Chocolate  .

On the last day of  their stay , Mini asked her father:

" Papa , you had told me that you shall take me to your old house in Fateh Kadal . You had also told me that you shall show me  a Musalmaan ."

" Yes child , i wanted to visit Fateh kadal but there was  no time. But every person who met us here was a muslmaan  The shikara wallas, the shopkeepers the Gorrawalla at Gulmarg and Sultana the Taxi driver."

" No , they were not Musalmaans. You are telling a lie ."

" No my child , they were all muslmaans
"
" No you are a Liar. Why didn't they have guns under their pherans?  Why did you buy so many shawls from them ? You have been always telling that in Kashmir,  Musalmaans  keep guns under their Pherans. You have been telling mummy that you will not buy shawls from Musalmaans . How can sultan uncle be a Musalmaan?  You are not my Papa. You are a liar. " 

And then suddenly,  Mini started  weeping inconsolably .  Crying " You are a liar"  and weeping,  she  ran aimlessly in the room. When her mother slapped Mini, she   clung  to her  but continued to weep  . Nothing could divert her attention.

(Avtar Mota)

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SOMETHING ABOUT ARTIST NEERAJ RAINA FROM KASHMIR

                                                                          

                                                     ( Two Boats By Neeraj Raina )

                          (Tyndale Biscoe school Regetta in Dal Lake by Neeraj Raina )

                      (Life Is Like Walking Through A Stringy Bridge .By Neeraj Raina )

                  ( Verinaag in fiery Autumn of kashmir By Neeraj Raina )

 ( MAEJ KASHIR OR MOTHER KASHMIR BY NEERAJ RAINA )

                                              ( LOVE IN RAIN BY NEERAJ RAINA )

NEERAJ RAINA 


He is NCR based Artist Neeraj Raina Son of late Prof Jagdish Lal Raina . People from Rainawari are familiar with Prof. Jagdish Lal Raina of Vishwa Bharti college. Neeraj did his schooling from CMS Tyndale Biscoe school sheikh Bagh srinagar. He is a computer engineer who works for a Top IT company. His Art is a mixture of figurative abstracts and realism .His colours are vibrant . Kashmir is visible in his work. Neeraj is self taught.

(Avtar Mota
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REMEMBERING PROF. HAMIDI KASHMIRI

                                                                                 

PROF. HAMIDI KASHMIRI ( 1932-2018 )

Prof. Hamidi kashmiri Died Some days back. . He was 86. He was a well known Urdu poet , writer and Educationist . A recipient of Ghalib Award , Sahitya Academy award and Padamshri (2010 ), Prof Hamidi Kashmiri was a renowned personality in Urdu literature who served as former Vice-Chancellor of the University of Kashmir from 1990 to 1993. 

He has authored more than 60 Books on Urdu Poetry , Prose, Short stories and criticism apart from uploading some E Books on Internet . He started writing since 1949. He was born and brought up at Bohri Kadal in downtown srinagar city . Later he moved to his new house at shalimar locality where he breathed his last.

He was considered as one among three Giant Critics in Urdu Literature ; The other two being Shams Ur Rehman Farooqi and Dr Gopi Chand Narang. He was very good at writing Blank verse . A sample poem from this genre that I had translated to English long back.

(Aaankhen)

Ham donon
Titli ke ta.āqub mein
Duur mahakte ḳhvabeeda saayon mein Duube
Titli haath se nikli thi,
jangal jaag padaa thaa
patton ki o oat se
shola shola Ankhein jhaank rahi theen!
sab raste masdud huve thay!
(Hamidi Kashmiri )

My English rendering goes as under ...............

( Eyes )
Both of us ,
Moved far away
And Landed in drowsy
sweet smelling shadows
In search of the butterfly .
The butterfly ,
Had just slipped out from hands ,
The dark forest had woken up
And from the leaves ,
Fiery red eyes this way ,
Fiery red eyes that way
Peeped at us ,
when every exit was shut up.

I end this brief post with some lines from his Gazal . The lines express his helplessness in view of the prevailing situation around.

“shikasta-paa nahin hain ham darḳhton
karein kyaa raasta koyi nahn hai
karein kis se tavaqqo munsifi ki
koyi aisa hai jo qatil nahin hai “

He also wrote Ghazals . He was a perfect gentleman and humble to the core ..He is very frank and straight-forward in his engrossing autobiography " Rhehguzar dar Rehguzar " .

Peace be to his soul.

( Avtar Mota )

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KAAMDEVA IN KASHMIRI ART AND POETRY

                                                                         

A BROKEN SCULPTURE OF KAAMDEVA FROM KASHMIR IN METROPOLITAN MUSEUM OF ART NEW YORK..

(  Done in green stone. As per description , the image relates to 8th or 9th Century AD  Kashmir )

Kaamdeva in kashmir's Art And Literature

Kaamadeva (kaamdeev in kashmiri) is god of love ,Youth ,desire and union. Among the other names of Kaamdeva, the most commonly used in Sanskrit literature are Madana ( Madan-Vaar or Madan in kashmiri ) and Manmatha. I was told by an elderly sanskrit knowing person that over a passage of time, Manmatha was shortened to Matha or Mathyo in spoken kashmiri' language and finally to Mattyo . In kashmiri poetry, Mattyo also means loved one or the beloved . 

Kaamdeva is always depicted with greenish or reddish complexion decked with flowers, ornaments and a bow . He is often attended by a parrot believed to be his Vehicle. Vasanta ( Spring season or Soant in kashmiri) is his trusted companion. He is always shown accompanied by a band of Musicians and Dancers.

In Kashmir, kaamdeva images were sculpted in Temples of Awantipora and Anderkot ( capital of king Jayapida Grandson of Emperor Lalitaditya) . Some sculpted images ( broken) of kaamdeva from kashmir can be seen in Museums of USA and Europe . A few were lying in SPS Museum Lal Mandi Srinagar .

The description given for one Kaamdeva stone image held in Metropolitan Museum Of Art New York reads:

" Though rarely represented in Kashmiri art, Kama, the god of love, is here identified by a wondrous mythical creature (makara), who spews arrows from its jaws. The bow and arrow and a pair of lovebirds are Kamadeva’s principal identifiers. This subject is a rare survivor from early medieval Kashmir." 

Kamadeva was very popular deity in ancient and mediaeval kashmir. Festival in honour of this deity was held annually in kashmir in the month of Chaitra that coincided with the advent of spring . Neelamata Purana, Rajatarangini and Persian Chronicle Tofatul Ahbab make explicit mention of this festival Celebrations in kashmir . 


Present day Soant festival of kashmiri Pandits is a reminder of this ancient tradition.
Neelamata Purana informs us : 

" Kaamdeva painted on cloth should be worshipped with various types of garlands and diverse incenses on the 13th day of Chaitra" 

( Verse 679 of Neelamata Purana) 

Word Kaamdeva and Madana has been used by almost every kashmiri poet. Even sufi poets have used the words Kaamdeva and Madana . Many modern kashmiri' poets have also used Kaamdeva symbolically . I quote some lines from Farooq Nazki's poem.
I quote him...
"Oburr Khoat Voalunn Nabh Ta Gagraayee Laajinn,
Yuthhuyee Roodh Logunn ,
Draemin Kaanijeiv Taar Vuznaavie Bomburuvv,
Satut Aav Laraan ,
Katij Tchaai Boad Kuth ,
Vuchhun Taalwuss Jild Poatt Vaeini Awezaan ,
Heutun Oull Yerrun,
Chhu Az Kaam deevuss Atchunn Dard Ghaamuss………
Draamien Tchakalaa Peith Paetch Gurreitt Aab Joii Zun
Sabz Makhmalas Tus Magar Badh-Naseebi ,
Sabz Neiuv Bahaaruv,
Gurreitt Aab Myaaniss Diluss Aainaa Khaanuss ,
Pushurnum Bahaarun………." 

(Farooq Nazki)

My english rendering would be:

"Clouds suddenly emerge ,
Engulfing the sky .
Behold !Here comes thunder,
And the moment rain danced down ,
The humming bumble bees made the grassy lawns sing in unison .
The wood pecker too joined hurriedly ,
The swallow entered the sitting room ,
Looking at the dangling board of the room ceiling ,
it started building a nest over there ..
And *Kaam Deva is Knocking to enter this township of pain .
A Muddy water torrent swept away the Green grass patch over here ;
Unlucky was this green velvet like turf ,
that got carried away .
To this mirror that my heart is ,
this spring had nothing to offer except the muddy water."


I quote sufi poet Wahaab Khaar ...
 

"Shaam Sondarunn Burr Karnuss ta Lo Lo

Kaam Deevus log Par Muss Ta Lo Lo

 “Wahaab Khaar ” Chhuyee Deidi Tal Intezaarus

Chhuyee Praaraan Deedarus Ta Lo Lo"

( Wahaab Khaar )

" Shaam Sunder Has left me undone ,

My Kaamdeva  is now engrossed with others

Love !This wahaab Khaar  is waiting for  you at the gate ,

He waits now just to have your glimpse only ."


And 19th century romantic poet Rasul Mir has repeatedly used Madan and kaamdev in his poems. I quote:

"Tse yi-vaan roshe chhukh nataah
hoshe dallayo madno
Baa rivaan sormaa chesman
Sormaa chhaalaeyo madno."

( Rasul Mir) 

My english rendering would be: 

" And there you stay away from me my annoyed love
And here my senses give me up.
These tears trickle down my eyes
And wash all the Kohl ."
And Mehmood Ghami ,another 18th Century poet writes :
" Sonaa chham paama diwaan,
kaamdeevo jana-waaro,
Tanaa wotum riwaan,
maer mandeh madan -vaaro"

( Mehmood Ghami )
‌
My english rendering would be:

"Unpleasant are the remarks
that My sister-wives pass at me,
O- Kaamdeva ,
You , A flying bird,
I weep ever since you left me ,
My Charismatic Madana ..."


According to EB Havell noted Art Historian
" In Kashmir , Kamdeva  Sculptures were done to decorate temples and protect them from Lightening, thunder and Evil eye "

(Avtar Mota)

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