Friday, April 29, 2016



 A water colour by A R Chughtai …Lahore ..
My caption to this Master creation would be "Couldn't this be him?".., I add lines from a Popular song of Kaifi Azmi  ....

Couldn't this be him?....

Chhup Ke Seene Mein Koyee Jaisey Sadaa Detaa Hai
Shaam se pehley diyaa dil ka jalaa detaa hai
Hai ussi ki yeh sada, 
Hai ussi ki yeh adaa……………………………………….
kahin yeh woh to Nahin..

      A water colour by A R Chughtai …Lahore ..

My caption to this Master creation would be "Lonesome by own some"  …., I add lines from a Popular song of Rajindra Krishen . ....                                                                                       

Lonesome by own some ….

Lakh Jatan Karuun
Baat Na maane ji Ki
Baat Na Maane 
Dard Na jaane
Meraa Dard Na Jaane

………………………Kadar Jaane Na ……

                                                     A water colour by A R Chughtai …Lahore ..

My caption to this Master creation would be "END OF THE WAIT "  …., I add lines from a Popular film song   . ....       

  END OF THE WAIT ....... 


Maang Mein Bhar Le Rang Sakhi Ri
Aanchal Bhar Le Taare,
Jaaegi Unn Sang Sakhi tu
Jo Tohe Laage Pyaare,
………………………………… Milan Ritu Aaa Gayi
(Autar Mota )                             



 A water colour by A R Chughtai …Lahore ..

My caption to this Master creation would be "HAPPINESS ." I add lines from a popular song composed by Majrooh Sultanpuri ..



Mein to sapnon ki Bagiya Mein doloongi re
Bunn ke Ban ki koyaliya mein boloongi re
Daali Daali Chehakane ke din Aaye ho

…Dhalki Jaaye hamaari Chundariya Ho Raam
Pee se Mil Ke Behkney ke din aaye Ho……………………


THE DANCE OF DARVESHES  Abdur Rehman Chughtai ... Lahore ..

I add...... 

Soorat-e-gul mein khil-khila ke hansa, 
Shakl-e-bulbul mein chah-chahaa dekha. 

Kahin begaanavash nazar aaya,
Kahin surat se aashna dekhaa.

…………………………….Yaar Ko Hum Ne Jaa Bajaa Dekhaa……………




By Abdur Rehman Chughtai … Lahore…

I add lines from a Song of Majrooh sultanpuri ..

“Mukhdaa hai Feeka Feeka 
Nainon me sohe nahin Kaajraa..
Pee Ki Dagar mein Baithay
Mailaa huva re meraa Aacharaa…
Lutt mein Padii kaisi Birhaa Ki maati ..
Maayi Re... Me Kaa se Kahuun Peerr.. Apney Jiyaa Ki…………..”



The painting also  reflects Intense Longing . I add lines from a song of Sahir ...

“Sakhi Ri Mora tun ulajhey mun dolay....

Ab Chain Paddey Tab hi
Jab Unn se milan Ho lay…………….

Saans Bhi Luun To Aanch si aaye
Chanchal Kaaya Pighali Jaaye
Adharon mein Trishnaa Gholay………………………..

Ab Chain Paddey Tab hi
Jab Unn se milan Ho lay “


By..Abdul Rehman Chughtai...Lahore

I add Verses of Allama Iqbal to this work...

Na Takht o Taaj mein Na lashkar o Sipaah mein Hai
Jo Baat Mard e Qalandhar Ki Baargaah mein hai ..
Vohee Jahaan hai Teraa Jis Ko Tu Kare Paida
ye sang o khisht Nahin Jo Teri Nigaah mein hai...


GLOOMY RADHA .... By Abdur Rehman Chughtai..lahore ..

Come This way now krishna .......

.So wrote sahir Ludhianavi....

Ajahun na bheje re mohan taine koyee khabariyaa re
Ho gayee hai yeh brij ki bala ro ro kar banvariya re
Dhir bandha ja mukh dikhla ja nat nagar sanvariya re
………..Brij me akelee radhe khoyee khoyee phire,
kanha aan milo Aan Milo
shyam sanvare, Aan Milo

LAILA ....Lost in Thoughts ...
By Abdur Rehman Chughtai .. Lahore 

I add lines from  verses of Sahir ....

Vehshat e Dil rasn o daar se rokee na gayi
Kisi Khanjar Kisi Talwar se roki Na gayi
Ishq Majnu ki woh awaaz hai jis ke aage
Koyi laila Kisi Deewar se roki na gayi

  ( My sincere thanks to the family of A R Chughtai especially Mr Arif  Rehman Chughtai  for all these uploads and for making these masterpieces available on Net. Grateful and indebted . )   

( Autar Mota )                                                          
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Thursday, April 28, 2016



M N KAUL (1901-1984 )
(( Photo clicked in October 1949 after shri kaul ( with a garland ) arrived from Stockholm ))

He was first secretary to Lok sabha and also secretary to constituent Assembly of India . He retired as Secretary Lok sabha in 1964 and was later nominated to Rajya sabha twice ; first in 1966 and then in 1970.

Born in kashmir , shri Kaul went to Cambridge to study Law and economics and then moved to Allahabad where he practiced as advocate even when he had an offer for joining as Faculty at Economics Department of Banaras Hindu University .

In his career of more than 10 years as Advocate at Allahabad , he edited the prestigious Allahabad law Journal ( 1927-1937 ) . At Allahabad , he also came in close contact of Sir Tej Bahadur Sapru and Dr K N katju both of whom were leading advocates and freedom fighters of the country .

Considered to be an authority on Parliamentary laws and procedures , Sh Kaul edited some books on Parlimentary procedures.As secretary of constituent assembly , he played a crucial role in framing the Articles of the constitution. For this reason , he had the closest rapport with G V Mavalanker first speaker of the constituent assembly.

Sh Ram Krishen Sadhu Adds on my Facebook Page  :

“May's "Parliamentary Practice" was the Bible for regulating the conduct of work in Legislatures almost globally till 1960. But it was overtaken by Kaul-Shakdar when their Book on parliamentary practice and procedure was published. Subsequently it became the final guide on the subject. I have studied both these books in early sixtees and found the Kaul-Shakdar treatise very exhaustive and unambiguous. MN Kaul was a legal luminary, a great intellectual and a genuine Kashmiri to the core. Tried to help the  Community and promote merit in his own style.”

A widely travelled man , Sh Kaul was considered a friend Philosopher and guide by many Asian and African countries that were getting freedom from the British rule and were in the process of drafting their own constitution.His work and role in this area was duly appreciated by world leaders more specifically by M Andre De Blonay secretary General of Inter parliamentary Union .

During 1955- 1964 , he edited the Journal of Parliamentay Information Govt Of India .His Book “Practices and Procedures of Parliament “ that he co- authored with Shri Sham lal Shakhdhar in 1968 , remains a Monumental Treatise of its kind .This Book is even put to use in British Parliament as a Guidance for settling procedural issues .

About him Mr G V Mavalankar has said :

“ Mr kaul is Sir Erskine May of India and soon a time will come when future writers of parliamentary practices and Procedures in UK will feel proud to call themselves Mr.kauls of UK. "

( Autar Mota )

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Monday, April 25, 2016



By Tej Raina

Prof.Tej Raina ( Born 1942 ) taught Physics in various Govt Colleges in J&K state .He is a poet, writer and Presenter on Electronic Media. This is his second Book , first being.... TRIKA .THE KASHMIR SHAIVA ESSENCE .

I need to say something about the book that I am reading at the moment.

The book is spread in about 350 pages .The author has selected only *127 Vaakhs which he feels convey the core message of Lallaeshwari. Others may not belong to Lalla . That is what he feels . I have no reason to disagree. Even kashmiri scholar and poet  Late Moti Lal Saqi would say so . Here  ,  for  this Book  , The   litmus test done by Prof Tej Raina  for  selection of the Vaakhs is nothing less than perfect. I quote sufi poet samad Mir “ Zugg Ta Pro’nn kodun faelli Falley “ or “He separated Grain from Chaff “ for Prof. Tej Raina’s efforts in selection of Vaakhs for this book.

Prof. Tej Raina’s focus has been to convey Trika and shaiva philosophy of Lalleshwari. This is in line with Prof B N Parimoo , Dr. S S Toshakhani and Prof Jay Lal Kaul’s approach to Lalla Vaakhs.
He is of a firm view that many fabricated legends have been set afloat to create an illusory perspective of events connected with Great Saint Poetess. Addition and deletion of words or ascribing verses of other poets to Lalla Ded and then compiling them with her Core Vaakhs has also diluted or at times distorted the Trika Message of her work .

The cover page of the book is Black and suddenly from that black which , philosophically conveys Nothingness ( a concept that Laleshwari gave to kashmiri poetry and which was carried down by Muslim sufi poets as well ) ), emerge echoes which he presents in subsequent pages of his Book .... LALLA VAAK … ECHOES OF PANDRETHAN .
I am reading the book at the moment  that my friend Ramesh Hangloo from Radio Sharda lent me for some days. I have all the good intentions of returning the book and buying a copy for myself . I say with conviction that Prof Tej Raina knows his subject and surely knows much about Trika and kashmir’s glorious Shaiva Darshana .This book is a work that enthuses , touches and knocks the mind. Lalla the sufferer , Lalla the Guru and lalla the Philosopher come alive.
I was born cotton
carder made me fiber.
Spinner spun me.
Weaver wove.
Washer smeared me with soap- nuts.
Pounded me on the stone.
Tailor cut me.
I am the pure self..

Another reason for my liking the book is that all the 127 Vaakhs have been presented in kashmiri both in Devnagri and Nastalik script. There is an apt and to the point Hindi Translation by the Author . He comes up as a perfect translator . This rendition to Hindi verses by the author is the essence of his work . Add to that the crisp and brief English interpretation of each Vaakh in the light of Trika and Shaiva Darshana is marvellous. Great effort and good  research work.A true love’s labour . Never and never shall it go waste  . Kudos to you **Prof . Tej Raina .
I quote five vaakss dealt in the book……
Gagan Ti Chhukh Tcheii Bhootal Chhukh Tcheii
Tcheii Chhukh Raathh Ta Dya’n Tche Pawan
Aragh TchandunTcheii Posh Poe’nn Tcheii
Tcheii soruaai Kyaah Kathh Laagan

Hindi rendering by the author ..
Tum Gagan Tum Hi Dharaatal
Raat Din Tum, Tum Marru
Aragh Chandan Tum kusum Jal
Kis ko Kyaa Arpan karuun

Shiv Va keeshiv va Ajan Va 
Kamalaj Naathh naav Dharaan Yuuh
Me abal Kaastan Bhav varj Va 
Su Va, Su Va, Su Va, Soo…

Hindi rendering by the author ..
Voh shiv keshav Voh Nitya ajan 
Voh Kamalaj Naathh Ka Sanghya-dhar
Mujh Abla Ko Bhav varj hare 
Bus Voh, Bus Voh ,Voh eik, Voh Har

Deev Vatta Tai Divvar Vatta 
Heirri Ta Bo’nna Chhuyii Ikkwaath
Pooz kathh Karakh Ha’tta Bhatta 
Kar Manuss ta pawanuss Sanghaath

Hindi rendering by the author ..
Dev Shila , Deewar Shila Ki
Ou’pper Neeche Ekaa Eikk
Kis Ko Pooj Rahaa hai Pandit
Munn aur Pawan Ko Kar Na Eikk

Naath ! Na paan , Na para me zonum
Sadeiv boodhum ekko Deh
Tche ba, Ba Tche. Ye myul ma zonum
Tche kuss, Ba kuss, Roodhum Sandeh..

Hindi rendering by the author..
Na para jaana , Na apnaa Aap Naath
Dhyaan kewal Deh mein hi reh gayaa.
Me Abhin tum se , na pehchaana kabhi
Kaun me? Tu Kaun? Sandeh reh gayaa.

Kuss ma'rri ta kassu ma'rrey
Ma'rri kuss ta maaran kass.
Har har traavith ghar ghar ka'rrey
Adh'a suyii ma'rri ta maaran tuss.

Hindi rendering by the author..
Kaun maregaa aur kis-kaa
Maarey kaun kissey Maarey.
Har Har Chho'rr ke Ghar Ghar Phirray
Vahii marrey ouss ko marrey..

The book is dedicated to VAAGRI ,Author's grand mother , who ,according to him:

"Lulled me to sleep at night and woke me up to an exhilarating morning every day , singing tenderly ,profound Vaaks and Vatchuns , which unfolded their bosoms to me, much later ! "

Not a Review of the Book.. Just an introduction to this grand Book compiled  in the light of  Kashmir's Trika and Shaiv Darshana   .. 

So Long so much…

( Autar Mota )


" Out of about 258 Vaakhs that circulate in the name of Lalla Ded and occur in various collections, Prof.Jay Lal Kaul selected 138 Vaakhs for his Book and even their authenticity he is prepared to " Vouch for". People have clubbed some verses of Rupa Bhawani with Lalla Vaakhs.There are 35 verses that occur both in the collections of Lal Ded's verses , and in noornamaas and Reshinamaas of Sheikh Noor Ud Din or Nund Rishi, which include his Shrukhs.Three quartrains of Azizullah Khan , a kashmiri poet of early 19th century have also been ascribed to Lalleshwari by Rev. J.Hinton Knowles.Interestingly, one of these quartrains has been translated by the great Indian translator A K Ramanujan in the name of Lal Ded , and quoted as such by K. Sachchidanandan (Ex secretary ,Sahitya Academy) in one of his papers on women Poets of India."
Writes Prof Tej Raina.

Prof Tej Raina can be reached in.....

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Saturday, April 16, 2016




Abdur Rehman Chughtai ( 1897-1975)

More than 2200 water colours , thousands of Pencil sketches , so many Aquatints , Hundreds of etchings and so many oil paintings though essentially a water colour Artist .That was Abdul Rehman Chughtai , a punjabi and a a direct descendant of *Mian Salah Mimar of Lahore Durbar . He belonged to a family that produced many Artists , Architects and Engineers .An artist of Bengal school, his work shows influence of Rabindranath Tagore and Abanindranath Tagore .
Chughtai was trained by Samarendranath Gupta of Mayo School of Art Lahore and Samarendranath Gupta was himself trained by Abanindranath Tagore. Later , Chughtai joined Mayo school of Art as Head of chromo-lithography Department .
 ( A R Chughtai and His Brother Abdullah Chughtai with Samarendranath Gupta )

Chughtai went to England in 1932 and 1936, both times primarily to learn Printmaking , Etching and Aquatint . For an artists , All these processes are very complex and need Training ,Skill and Precision . Luckily he came in contact with some masters of Europe like Paul Drury ( Artist and Print Maker ), Douglas Ian Smart ( Etcher , engraver and Water colourist ) and Bill Robbins ( Aquatint Artists).

He evolved his own style by synthesising Hindu Mythology , Islamic History , Mughal Royal style, Miniature , Japanese wash and Printing Techniques and totally isolating himself from the European Artistic trialing . He believed more in reviving and synthesising traditional forms than looking towards west . He  made a successful attempt to recreate Mughal and Miniature classicism in his own style  that came to be known as CHUGHTAI ART which is a little different in Features , images ,dresses and presentation while adhering to basics of Bengal school of Art.

Artist and Art Curator Salima Hashmi ( Daughter of Faiz Ahmed Faiz ) writes :

“Chughtai is one of South Asia’s foremost painters. He was part of the movement that started in the early part of the 20th century to establish an identity indigenous to the subcontinent. He rejected the hegemony of the British Colonial aesthetic.”

S. Kashmira Singh author of a Monograph on the Artist writes :

“For his characteristic style, perfect technique and universal appeal he has been described as the artist of all Nations. Posterity will remember him as the greatest exponent of the spirit of Indian art in Modern Age. Chughtai is a shared heritage of India and Pakistan.”

Chughtai had his patrons from Hindu, Muslim and other groups of people. He painted themes from all religions. His paintings on Buddha, Holi and Radha Krishna and other themes are displayed at  the National Gallery of Modern Art, New Delhi. Dhoomimal Art Gallery also had two or three paintings of this master on Display. His work is also on display at Bharat kala Bhawan Bhopal , Golden Temple Museum Amritsar , Chandigarh Museum, Punjab State archives  Patiala , British Museum (London), Victoria and Albert Museum (London), United Nations Headquarters (New York), New York, the Kennedy Memorial in Boston, the US State Department (in Washington, D.C.), President’s House Bonn, Nizam of Hyderabad’s Palace, Queen Juliana’s Palace in the Netherlands, Emperor’s Palace Bangkok and in many Art Galleries world over .

In 1934, he was awarded with the title of “KHAN BAHADUR”and in 1960, Pakistan Government awarded him “HILAL E IMTIAZ”  and declared him as  a National Artist . In Punjab ,  ****Chughtai family enjoyed respect and official patronage since  the rule of Maharaja Ranjit Singh of Lahore .

Among the prominent poetic works he illustrated through paintings are Diwan-e-Ghalib and the Rubaiyyats of Omar Khayyam. "Muraqqa-e-Chugtai" is a rare publication in which Chughtai transformed the poetry of great Urdu poet Asad Ullah Khan Ghalib with his brilliant skilful strokes and elegant art-work .This book had a beautiful forward written by Allama Iqbal.
He designed the cover of Noon Meem Rashid’s Poetic collection Maavara published in 1940. This Book heralded the age of free verse in urdu poetry. 
He designed coins , Book Covers , stamps and Buildings . He also did Grand Calligraphy work in some Mosques .
His admirers included Gurudev Tagore , Allama Iqbal , Pablo Picasso, Nehru and Queen Elizabeth II.

In a letter addressed to Abdullah Chughtai Brother of the Artist  ,Pablo Picasso wrote:
 “Being a draftsman myself, I can highly appreciate this quality in the work of your brother, the painter M.A. Rehman Chughtai.”

His paintings represent energetic and liberal work done in soft and thoughtful colors with bold curved lines. His human figures are elegantly dressed . His work carries Flowers , Trees , Building Architecture, Animals , Birds , Flora and Fauna in background. He was a master in drawing Rajput and Mughal Princesses and courtesans , apart from illustrations based on Punjab’s folk lore .

A sample of Chughtai's work is uploaded here under ..
                                                        ( Laila  A R Chughtai ) 
                                                      ( Young Krishna  A R Chughtai )
                                                    ( Radha Krishna  A R chughtai )

                                              ( Milkmaids  A R Chughtai )

                                               ( Hiraman Tota By A R Chughtai )

                                             ( Omar Khayam Illustration By A R Kidwai )

                                         ( Mourner  By A R Chughtai )

                                           ( Murqabat e Husn By A R Chughtai )
                                      ( College Girls  By A RChughtai )
( Tapasavi Buddha By A R Chughtai )

                                         (  RAIN ..An Etching on Paper By A R Chughtai )


Chugtai is reported to have been a lover of kashmir and its Natural Beauty .He is reported to have visited the place thrice before partition of the country . I am not sure how many paintings and etchings he has done with regard to kashmir but his Two works that i came across are "  Two kashmiri women with Apples" and   "Kashmiri wood cutter". Both these works   speak about his  immense understanding of Natural  beauty and widespread  Poverty in kashmir at that point of time .


                          ( Kashmiri women with apples  by A R Chughtai )

                              ( Kashmiri Wood Cutter Etching on Paper  By A  R Chughtai )

About the above work , i need to add something more.
I have come across a reference about organizing Lahore’s KASHMIRI MAZDOOR BOARD . At the suggestion of Allama Iqbal , **Kashyap Bandhu Organised this Board.
Many leaders and old kashmiris living in Lahore, were touched by Shabby living conditions ,Exploitation , Unregulated working hours and Part payment of Wages (every time these people returned home after winters ) by some unscrupulous people( Consisting of Both Hindu and Muslim Traders and Timber Merchants in Undivided Punjab ) to kashmiri labourers . This vicious circle forced the hapless labourers to come again and again to the same exploiter. Allama was in favour of Kashyap Bandhu to lead poor kashmiri labourers in Lahore and entire Punjab . Accordingly Kashyap Bandhu became the first secretary of Kashmiri Mazdoor Board lahore .

A meeting was organised at the residence of Allama that was attended by some leaders and intellectuals from Punjab including A R Chugtai wherein it was decided to hold a rally in Ludhiana. A R Chughtai was also a regular visitor to Allama's House in Lahore.
Later , Under the leadership of Bandhu ji , a massive rally of kashmiri labourers was organized at Ludhiana in 1927 that was addressed by Moti lal Nehru.Bandhu ji put forward following issues in the rally.
(1) No one shall address kashmiri labourers as ‘ HAATO’ in Punjab.

(2) Every effort shall be made at Government and society level to improve the living conditions of kashmiri labourers working in Punjab.
(3) A labour officer shall be designated by Government of Punjab to look into the problems of kashmiri Labourers .

In this meeting , Kashyap Bandhu also announced as under
Kashmiri labourers would lodge their complaints and seek help from a local office of the Board in Ludhiana and lahore .
That was possibly Chughtai’s direct encounter with harsh realities of working conditions of Poor kashmiri Labourers in Punjab.This etching could be a result of that .

His younger Brother Abdullah Chughtai also followed his style.A large number of Artists are following his style that has come to be known as “Chughtai Art “.

Hum Ne jo Tarz e Fugaan Ki Hai kafas mein ijaad
Faiz gulshan mein Vohi Tarz e Bayaan Thehri hai

( Faiz Ahmed Faiz)

( Autar Mota )

* Mian Salah Mimar was Moghul Emperor Shah Jahan's chief Architect .He was also associated with construction of Taj Mahal at Agra )

** Kashyap Bandhu was actually Tara Chand ( 1899-1985 )Of village Gairu ,Noor Pura , Traal kashmir ..He wrote poetry in urdu and kashmiri under a pen name BULBUL. After his coming over to kashmiri from Lahore , he joined Sheikh Mohd Abdullah’s National conference and did selfless work for eradication of some social evils in kashmiri Pandit society.
**** A R Chughtai's brothers namely Abrur Rahim Cgughtai and Dr Abdullah Chugtai were Art Historians and critics of a High order . His son Arif Chughtai is the Trusteee of  Chughtai Museum Lahore.

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