VIJAY MALLA: A MAST MALANG MUSICAL GENIUS

VIJAY MALLA: A MAST MALANG MUSICAL GENIUS

                

                                                                                

( Vijay Malla )

 Vijay Malla, the favorite son of Kashmir, and a legendary Kashmiri singer, breathed his last on Wednesday, May 9, 2012. He had a massive heart attack. He was rushed to the Sarwal Hospital, Jammu but unfortunately, the road leading to the Hospital from New Plots was under extensive repairs. The family had to take a longer route and the very precious time was lost. He was declared ‘Brought Dead ‘. With him, ended the grand era of scintillating Kashmiri singing that found no parallel. None comparable to his style, melody and range. He was 57. On his death, noted singer Aarti Tiki Kaul, who sang many duets with him and presently lives in the US wrote this:-

 

 “Today was a tough day for me as it was for thousands of his fans when I heard the sad news of Vijay Malla's demise. The harsh reality did not seem real and a profound sense of grief and immense desperation at the loss of not just a human being but a very precious one took over me. As I tried to take in the reality, a quick flashback of memories went by, of a golden era when I had the privilege of working with him on numerous occasions at recordings, concerts, and rehearsals. Like everyone else in the musical field, I was mesmerized by his deep, luscious, expressive voice. The ease with which he sang the toughest of compositions, made other artists envious of him and wondered about the depth of his talent. Even though sometimes he came across as a non-serious co-artist, he shined at the actual performance and enthralled his audiences to great heights. One such event comes to my mind when, at a prestigious concert for the great poet “Rasool Mir” in Tagore Hall Kashmir, Vijay and I were supposed to sing a duet “ Yaari loguth sang dil, chaini Januk chum kasam”. Just before our item Vijay took off somewhere and could not be found anywhere. The item was delayed a few times but there was no sign of Vijay. While everyone including me was frantic and trying to find him, he walked onto the stage, with a smile on his face and signalled the musicians to start the music and gestured for me to come to the stage as if nothing had happened. As he started singing and I joined in, he left everyone spellbound with the brilliance of his singing and the crowd went mad with enjoyment and happiness!“ mast malang” artist, who was oblivious of his great talent, produced some outstanding work during the 70s and 80s and went on to show his versatility in singing Ghazal, geet, folk, bhajan etc. He created a name for himself not only in Kashmir but outside too. He was signed as an artiste of Music India Ltd (MIL) - a Polydoor Gramophone Company and has participated in Khazana 87 and 88. MIL has also launched his cassette titled Justaju (Search) which has received a good commendation.”

The santoor maestro, Pandit Bhajan Sopori said this:-

“It’s very unfortunate that we have lost an artist of a very high calibre, Vijay Mallah. He was one of my very dedicated disciples whom I saw growing with an amazing talent, hard work and the urge to do new every time. He made a name for himself not only at the regional level but on the national level as well and created a big fan following for himself. Technically, his style of rendering that has evolved these years is his identity which people will remember forever. We are all with his family at this hour of grief and irreparable loss.”

The well-known singer Kailash Mehra Sadhu had this to say:-

 

 “I have been associated with Vijay Malla from 1970's. He has left a big void in the field of music and has left us shocked and saddened. It will be impossible to get anyone who can come parallel to his golden, touching and heart-rending voice. He had obtained excellence in classical, light, Ghajals and Bhajans. He also used to sing Dogri in addition to Kashmiri and will be remembered as one of the greatest singers.I had an opportunity to sing many songs with this great singer and can never forget the golden musical era with him in Kashmir. We pray to the Almighty for peace to the departed soul and strength to the bereaved family to bear this irreparable loss.”

 Poet and broadcaster, Farooq Nazki had this to say:-

 

 “I remain a great fan of his singing. His voice will be in our heartbeats. His singing will echo in the hills and valleys of his Kashmir. He will not die. It will take another century to produce one more Vijay Malla. He was a genius, totally ignorant of his talent. I would always that he belonged to the world, not to Kashmir alone. He could sing in any language that he knew. I knew he had some financial issues. Men with big hearts have always been bothered by these issues. We must organise some concerts to raise funds for his family. I am told that his family is facing financial problems. He was our Mehdi Hassan. He was our Ghulam Ali. He suffered because he was not clever, professional and a little selfish. Perhaps, he forgot that at the end of the day, one has to return to the family and one’s own dwelling. As and when  I would listen to his songs, I would be  reminded of a couplet penned by Momin Khan Momin:-

“Oss gairta e naahid ki har taan hai deepak

Shola sa lapak jaaye hai awaaz to dekho. “

(‘Every note of that proud man-who can’t be hidden is like a lamp’

 

 Seeing him sing is as if, his voice is a flash of a flame’.) ....................”

 One of his ardent admirers was Farooq Abdullah, former Chief Minister who said this:-

 “In his death, Kashmir has lost something irreparable. I have heard him many times and I always felt enjoyed the way he sang with ease. A rare artist. I am really sad today.”

 In his tributes, Waheed Jeelani, the well-known singer from Kashmir wrote this:-

 “I have no words to explain the loss and to explain his contribution. He was an inspiration to me. He debuted at a time when the whole of South Asia was listening to three Ghazal maestros; Ghulam Ali, Mehdi Hassan and Jagjit Singh. Even then he created a niche for himself among stalwarts of Ghazal singing.”

 This author also had many interactions with Malla both in Srinagar and Jammu. Malla was known to the author from his Woodland School days when he would sing in the Mehfils organized by Mrs Singh, the principal of the school. He was certainly God’s gift to the musical world of Kashmir. He sang solos and duets. He sang in Dogri, Kashmiri, Punjabi and Urdu language. He sang Geet, Gazal, Nagma, Leela, Naat and Bhajans. He sang Rahi, Firaq and scores of other contemporary Kashmiri poets. This author remembers having seen him singing exclusively for actress Waheeda Rehman while she stayed at the then Oberoi Palace Hotel, Srinagar.

Though he had many admirers in the film and music industry, he had no network or lobby to do PR work on his behalf. He was neither shrewd nor money-minded. Inspite of his mastery and exceptional talent, he accepted whatever was paid to him as his fee. Never ever did he demand and on many occasions he sang free for friends. Add to that, he held many Mehfils at his residence and entertained the guests and his friends in these Mehfils. He suffered on account of his simplicity and credulous nature in the  world of music driven by values of utility, expediency and pecuniary cunningness. Some sincere friends (one being Tej Dhar) helped him to raise a housing loan from a Public Sector Bank and build his house at Ban-Talab, Jammu. A little carelessness in repayment on his part resulted in the loan slipping to the NPA category and the bank exercised the option of action under the SARFAESI Act. He had to sell the house, repay the loan and shift to rented accommodation. This was a great setback for his family.

 

 

EARLY LIFE

                                                                                           

   ( Vijay Malla with  composer Muhammad Ashraf  on harmonium )

Malla was born in the Gadoodbagh area in the Mallapora locality of Habba Kadal, Srinagar in a lower middle-class family. His mother was the major influence that drew him towards singing. While doing her daily chores, she would keep singing verses of Lal Ded, Habba Khatoon, Rasool Mir and Krishen Joo Razdan. And unknowingly, she set a path and direction for her son who already had a voice gifted by Almighty to him. It needed direction, honing and training. Malla remained average in his studies but kept listening to the songs of Rafi, Kishore and Manna Dey. At a very young age, he could sing, ’Laga chunri mein daag’ with all the magical Lay-kari/ Alankars that noted composer Roshan Nagrath had brought into it. A period that could be called learning by listening to masters. Later, he joined Prem Sangeet Niketan run by Pandit Jagan Nath Shivpuri. As a true pioneer, Pandit Shivpuri brought the wonder of Hindustani Classical Music to Kashmir in specific and to J&K state in general. He was a musicologist and more precisely a Vagyekara (one who composes text as well as music). He created some unforgettable compositions and Ragas. His handwritten notations are the biggest contribution to the classical music of India.

 Malla also started looking in various directions to pick up classical music wherever he could find it. That brought him to Brij Nath Shayar and finally to Vishwpran Dhar’s house.  Vishwapran Dhar (son of Pandit Ved Lal Dhar Vakil) had done his Ph.D. from I.I.T. Mumbai. He taught at the Regional Engineering College (now N.I.T.), Srinagar. He was a harmonium player who had perfect knowledge of the Hindustani classical music. Vishwapran Dhar was an ace classical singer with a profound knowledge of Ragas. He was also an approved A-grade artist of AIR. He was a master of the Gazal genre of Hindustani classical music. There were night-long music Mehfils in Pandit Vishwapran Dhar’s house at Zaindar Mohalla. Many renowned musicians like Ustad Rahat Ali Khan performed in these Mehfils. Malla learned Gazal Gayaki at Vishwapran Dhar’s house listening to the legendary Ustad Rahat Ali Khan. He also started honing his skills by listening to Mehdi Hassan and Glulam Ali for hours at a stretch.  His voice also resembled both the great masters. He earned the nickname of Mehdi Hassan of Kashmir during this period.  On the education front, he didn’t complete his graduation and left his college studies. Singing in private Mehfils, he joined Woodlands House (school) as a music teacher. He would sing in private parties organised by Mrs Singh, the principal or her sister Guddi Oberoi. However, the rigorous Riyaz kept him awake for nights. He got approved for the radio the moment Pandit Bhajan Sopori heard him. Muhammad Ashraf, a composer and a harmonium player became his ardent admirer. He sang at the Doordarshan Kendra as well. He left the Woodlands School and joined the Song and Drama Division, Srinagar.  At the Song And Drama Division, his singing was further perfected in the company of Krishen Ji  Langoo, the well-known composer.  By Now Malla had become an established singer in the Kashmir valley. He sang many popular solo songs and, duets with many t established singers of the valley that included Kailash  Mehra, Aarti Tiku Kaul and others.

 VIJAY MALLA’S POPULAR SONGS

 Malla had already created a niche for himself in the Kashmiri music. He sang many compositions of Bhajan Sopori., Nassarullah and Muhammad Ashraf. Vijay Malla's fawning voice breathed life into the works of renowned Kashmiri poets like Shamas Faquir, Rasool Mir, Ghulam Ahmad Mahjoor, Sochha Kraal, Mehmood Gaami and many more. He also sang modern poets like Rehman Rahi and Firaq making them more popular through his melodious voice. Rehmani rahi is reported to have commented,’ az baseov me zi baeti chuss shaayir ‘meaning ‘Today, I felt I too write poetry ‘ when he heard Malla singing his.’ zinda rozana baapat chhe maraan luuk’. He made Leela singing touch newer heights when he sang Krishen Joo Razdan’s  Ganesh Vandana,’ aasai sharan kar tam daya om shri ganeshaaye namah’ or P N Koul Sayil’s .’ darshan dokh tsali tribhuwan laalai’. He also sang some popular Bhajans cum mystical sufi songs like, ‘ hosh dim lagayo pamposh paadan ‘   ‘ harmokh bar tal praarai madano yi dapham ti laagayo ‘, ‘vanaai ba seer e asraar ‘, ‘ akh tse ta beyi ba ganzar ma ba’ In love /longing solos or duet singing, he had no match. One can quote the following popular songs from this genre that Malla sang:-

(1)     (1) kawo chukh tse wadus dalan tathi yaro

(2)     (2) misaal e shama tse ,ba parwaana chhus na

(3)     (3) be aaro teer mo laai

(4)    (4)  me maashooq haavi na paan

(5)     (5) aem yaer karnas baambre

(6)     (6) chaani lolitch daagdaari

(7)     (7) na draav natchni havas kaanh

(8)     (8) roshe roshe chhukh tsalaan paayi kar myon

(9)     (9) myaani yaaro vandayo jaan

(1   (10) vesiye su aadnuk yaar kot gom

(11(11) parda thod tul he poshmaali

(1  (12)  antan su madanwaar

(1((13) gatchhun gaam tse kael chhuyi

(1((14) Konnai aammai yaar

    Before his death, Malla sang a touching song written by Bashir Dada and composed by Kuldeep Saproo that almost defined his life. The song was used by Mohan Shah for his teleserial, ‘kar mokli safar’ aired multiple times by Doordarshan. The song goes like this:-

“Kar mokli safar

Vaen taaf vanan manz vaans gayam be vaai pakaan

Sanglaakh vatav nosoor gomut chhum baed aakhan

Chhum khwaab tamaah baeti chhava shuhul

Kunni tchhayi  halis maeti meli voshul

thak boen me kunni  chhana draenth gatchhan

kenh chham na patah

Yemi yor ti kotah kaal peyam raemb aara me hijiruk paar karun

Kenh chham na patah kath marg vatis pyath

zaagi bihit chham marg vunal praaraan heetas

Kath baal thangis pyath doh lossem kati shah soreum

Kenh chham na patah

Kenh chham na khabar

Kar mokli safar”

 

(When shall this journey come to an end?

In these scorching jungles,

 I spent my life walking aimlessly,

These rough and rigid paths gave wounds

 That have become incurable now,

I too desire,

I too dream,

To sit and relax under some shade

Somewhere lonely,

Somewhere in peace,

I too need relief now,

Alas! I see no shady Chinar far far away,

I know nothing,

When shall this journey come to an end?

From this day onwards,

I don’t know how long I have to be away and separated,

I don’t know on which road

I don’t know on which path

This death shall find a reason to engulf me

Like fog around a mountain peak

I don’t know upon which mountain peak the day shall come to end

I don’t know when and where my evening shall arrive

I know nothing,

I am not aware

When this journey come to an end?)

                                                

SINGING BEFORE MEHDI HASSAN

About Vijay Malla’s singing in the  presence of Mehdi Hassan, Sanjay Pandita writes this in the Rising Kashmir  newspaper ( 10^th November 2023):-

“One unforgettable night, in the presence of the legendary Ustad Mehdi Hassan Khan Sahib, Vijay Malla took centre stage. The air shimmered with anticipation as he unleashed his soulful melodies, captivating not only the audience but also the maestro himself. In a moment of serendipity, Ustad Mehdi Hassan Khan Sahib expressed his desire to mentor the gifted singer, recognizing the spark of greatness within him. However, destiny had other plans, as Malla's personal circumstances compelled him to decline the offer, leaving the maestro's heart brimming with admiration and respect.”

That full-night session was held inside the Broadway Hotel, Srinagar when Mehdi Hassan was on a private visit to Kashmir. The then manager of the  Broadway hotel has informed this author that immediately on his arrival, Mehdi Hassan telephoned him from the room saying,” Bhai, suna hai yahaan koyi Vijay Malla gaata hai. Bulaao usse”. And Malla arrived at 6 pm and sang for the full night. Malla had this to say,” That was a great day for me. I was asked by my hero and my imagined guru to sing before him. A  Guru whom I had only heard and never seen. I felt at the top of the world. He was very courteous. I was offered food and everything that I needed. He felt very happy. I touched his feet as I left”.

THE MUMBAI SOJOURN

Some friends suggested he to shift to Mumbai and try his luck in cinema. His friend Bihari Kak took him to Mumbai and introduced him to Subash Walli who had good connections in the film world. He gave some auditions but returned to Kashmir. He again went to Mumbai and stayed there for about 8 years. In Mumbai, he interacted with Anup Jalota, Anwar, Suresh Wadekar, Penaz Masani, Manhar, Sadhana Sargam, Abhijit and Pankaj Udhas. He also shared the stage with them. He started attending shows especially organised under Ravindra Jain and Kalyan Ji Anand Ji banner. Music India Limited/ Polydor signed him for the cassette, "JUSTAJU,”. He also participated in the Khazana 87 and 88 where he showcased his musical prowess. Things were going smoothly but some unavoidable family obligations made him come back to Srinagar. He joined back Song And Drama Division. He had not resigned from Song And Drama Division where regular notices used to come to his residence to report for duty.

                                                      

                           ( Vijay Malla with Pankaj Udhas )

 In an interview recorded some months before his death, Malla said this:-

“Presently artists are given awards by the State. Some are awarded Padma-Shri. I have no complaint against any person. My juniors have been awarded. My seniors have been awarded. May God grant respect and recognition to all. I have no complaint. But the establishment comes with an award when one is about to say goodbye to this world or is no more. It has no purpose at that time. It does no good to the artist then.”

The establishment failed him but the unfaltering love of the people kept him smiling and going. That was his biggest Award. Let me conclude this write-up with a couplet from Urdu poet Naresh Kumar Shaad:-

“Dile be -mudaa diya hai mujhe

Dene waale ne kya diya hai mujhe

Mujh ko duniyaa ka tajruba hi nahin,

Tajrube ne bataa diya hai mujhe”….Naresh Kumar Shaad

 

(A heart without desire has been given to me

O giver! What a strange thing you passed on to   me

Inexperienced have I proved for the  worldly affairs,

My experience has revealed this fact also to me.)

 

( Avtar Mota ) 

 

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

SHAWL IS AS OLD AS HUMAN CIVILIZATION

•                                      
  
  
  
  
• 
  
SHAWL IS AS OLD AS HUMAN CIVILIZATION

• Kashmir Pashmina shawls and embroidery are certainly a unique gift to the world but the story of shawls as apparel is as old as human civilization. It never begins from  Kashmir. This author has seen shawl-like apparel in paintings, sculptures, stories and fables from ancient Rome, Greece, India, and Egypt. Even the ancient Chinese and Zoroastrian women wore a drapery that came close to a shawl. This author has seen many ancient Egyptian paintings and stone carvings where women are shown wearing shoulder drapery like a shawl. Some paintings depict women wearing shawl-like drapery to cover their necks and chests. We have the story of Queen Nefertiti (around 1350 BC) who wore fashionable shawl-like apparel to cover her head or neck and chest which became a status symbol of women belonging to the royal families in ancient Egypt. Maybe for this reason, the Kashmir Pashmina shawl had its first overseas market in Egypt wherefrom it travelled to France and England. In ancient Rome, only married women wore a stola. In addition to that, Roman women also wore Palla, a versatile shawl that was long, wide, and rectangular. The Palla was a draped shawl that was placed over the outer tunic. It was pulled across the shoulder or over the head like a veil. It could be worn as a cloak or head covering. The more brightly coloured, decorative, and elaborately folded, the wealthier the woman was. It was a status symbol. The Statue of Ashurnasrpal II from the 9th century BC features the emperor wearing a shawl. Bolton’s collection of ancient Egyptian artefacts is arguably one of the most important in a British museum, and numbers around 12,000 objects from over 65 ancient sites in Egypt. The petticoat skirt and the cape shawl are important items in this collection.
•  
• Shawl weaving with designs and patterns has a recorded history of more than 1000 years in many parts of the country. In this context, I need to mention the shawls of Nagaland. These shawls are made from wool with a unique colour palette of black and maroon with designs in red, white and yellow. The designs consist of abstract as well as figural representations of humans and animals and even have variations from the various tribal communities of the state. The Bhujodi shawls in Gujarat have a recorded history of more than 700 years. These shawls were woven by the Rabari tribe in Kutch using rich shades of natural colours. The designs used are mostly geometric and have a unique, aesthetic arrangement. The women of the Dongria Kondh tribe of Odisha have been weaving shawls for many centuries that represent their unique culture. The Kantha shawl weaving of West Bengal is again more than 1000 years old.  Kantha is a brilliant example of the intricate embroidery traditions of India. The running embroidery style is done on silk shawls to suit the moderate winter temperature of the state. In the South, we have preserved the ancient tradition of Srikalahasti or the Machilipatnam hand-painted or block-printed shawls known as Kalamkari. The ancient Kulu shawl survives to this day. Also called ‘Loi’, Kullu shawls are one of the most popular exports of this Himalayan state, second perhaps only to its apples.  These Shawls are made with the wool of Angora rabbits or local ‘Deshkar’ and ‘Bygani’ sheep with a slit tapestry technique. From down south, Himroo shawls from the Aurangabad and Hyderabad regions still give a feel of royalty. Made from silk, these shawls have a glazed appearance.
• There is a miniature painting in the Philadelphia Museum of Art in the US that shows a scene from the Ramayana where Sita is shown throwing her shawl. This painting illustrates an episode from the fourth section of the Ramayana, the Kishkindha-kanda, which describes the politics of Kishkindha-the monkey kingdom-and tells how the monkeys helped Sri Rama in his quest to rescue Sita. Hoping to give Sri Rama a clue to her whereabouts, Sita threw down her shawl and jewellery, which the monkeys picked up and hid in a cave. So, in India, a shawl is as ancient as the Ramayana.
• ( Avtar Mota)
• 
  
• 
  
• 
  
• 
  
• CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
• Based on a work at http:\\autarmota.blogspot.com\.

GOOD BYE ARVIND GIGOO

                                     

GOOD BYE  ARVIND GIGOO 

"I am where I am not,

therefore, I am not where I am"...( Arvind Gigoo)

Arvind Gigoo is no more . How could that be true ? I didn't believe it  when my friend I B Zutshi conveyed the sad news. I saw him on Monday , just two days back. He was certainly unwell and on medicines . He couldn't move and the laughter  of  Great Gigoo was absent. He spoke feebly .Agnishekhar and I were with him for about two hours . He was staying at Fortune Riviera with his wife and son  Siddharth Gigoo. He arrived on Sunday and   flew back on Wednesday to Delhi. He couldn't visit his house in this brief visit but expressed a desire to meet friends and well-wishers . Sarla Ji, his wife telephoned me and  I informed Agnishekhar . Together, we went to see him. He shook hands and  enquired the welfare of our familes in a feeble voice as his vocal cords were also hit by the neurological ailment. He had undergone prostrate surgery . He was diabetic. Getting up and walking was impossible for him.  After every five minutes, he  kept telling his wife to order tea which we firmly refused. Did he have premonition about what was going to happen ? Why did he desire to meet his friends ? 

Arvind Gigoo was the sharpest observer of men and matters that I happened to befriend in my life. He spoke one language and  that too fearlessly .No double talk. He was neither secular  and never ever a communalist .He didn't practice  spirituality or atheism. I didn't find him practicing rituals either . The terrorism in his native land  had made him to leave his home and take refuge in Udhampur and finally Jammu . He wrote  against the terrorists and their sympathisers in his  unique style . He wrote against many short sighted and petty  mainstream leaders   .  Exile had touched his soul yet he had retained his objectivity . Truth alone remained his tool.

                                              

               ( Avtar Mota with Arvind Gigoo)

( Ayaz Rasool Nazki, Shadi Lal Kaul,Avtar Mota and Arvind Gigoo) 

In his essays ,stories and cameos, he was  Manto reborn.His language and sentance construction matched V S Naipaul. At many places, I found his writing style coming close to P G Woodhouse.  His humour was intense and apt. His observation was  sharp and left nothing under the carpet. His scrutiny  was more revealing than what is known as  MRI in the medical parlance.  He was mentor to many . He corrected the manuscripts of many books even when he had issues of eyesight . I don't think he ever refused to read and  correct any manuscript brought to him. Manuscripts of my two books were read and corrected by him. He did some hobby art.  I saw and wrote on his beautiful  driftwood sculptures  

  Arvind Gigoo was a brilliant translator who brought new charm to the  verses that he took up for translation. He did some brilliant translations of poems of Dina Nath Nadim,Arjun Dev  Majboor,  Maharaj Santoshi, Suneeta Raina Pandit  , Agnishekhar,  Kshama Kaul and some more poets.

 

Meeting him was a pleasure .Talking to him was a delight. In conversation, he enthralled and enthused his listeners . Himself, he was a great listener  .He didn't keep age barriers. Like a true  Mastana, he spoke what he felt and detested double talkers. His conceptual framework about art, literature, music and  theatre was clear. He had scripted a  short film that he  wanted to shoot using Makhan Lal Saraf as lead actor. He narrated the brilliant script to me .Saraf  suddenly  fell ill. Then he himself was unwell. The project couldn't see the light of the day.

                                              

                                             

                                             

                 ( Photo , Jammu ..23.09.2024 )

Arvind Gigoo wil be missed by those who knew the man . I will certainly miss him .  With his departing, we are fast moving towards ," Aadam Qahat" or a drought  in the field of  fearless  sparkling minds . My heartfelt condolences to his wife Sarla Ji and his family and friends. My sincere sympathies are for Siddharth Gigoo his brilliant son . Sadgati and Moksha to the soul that touched many hearts  .

    

( Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

COPPER MINES IN KASHMIR

COPPER MINES IN KASHMIR 

                                    

( Images carved on the copper alloy Prabhavali)

                   ( A bronze Nartaki sculpture from 9th century Kashmir )

( The 9th century copper alloy Prabhavali from Kashmir )

Kalhana  confirms that copper was mined in Kramarajya or present day Baramulla and Sopore area or areas to the North of Srinagar . I quote 

" Having drawn copper from the hill which was situated in Kramarajya , struck a hundred crores Dinars less one stamped with his own designation . "

(Verse  617 Taranga IV Rajatarangini)

Numismatic evidence supports that copper was mined in ancient Kashmir . And surely Kashmiris were in know of smelting and forth floatation methods to extract metal from ore. In Devsar ,Kulgam, the massive copper alloy  Prabhavali  relating to Avantivarman's period was dug out by ASI  in 1931. The Vishnu Prabhavali weighs aroun100 kg and is exquisitely carved . First of its kind in the sub- continent, the Prabhavali establishes beyond any shade of doubt that Kashmiris had not only perfected the technique of copper extraction from its ore but   had also mastered the art of alloy making. This bronze Prabhavali is on display in SP S Museum ,Srinagar along with many bronze and copper sculptures from Kashmir  relating to ancient /  mediaeval period .

( Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

THREE KASHMIRI ADMIRERS OF POET EHSAN BIN DANISH.

            

THREE KASHMIRI  ADMIRERS   OF POET EHSAN BIN DANISH

                                          

                          ( Ehsan Bin Danish)

( Shyam Lal Bhat)

                    ( Dina Nath Nadim )

                             ( D P Dhar )

  

Ehsan Bin Danish (1914.1982) was also known as Shaayar e Mazdoor ( poet of labourers  ). He holds the unique position as one of the great  poets of all times, with fine, romantic and revolutionary, but simple style of poetry.He struggled very hard to earn his living. He worked as an ordinary labourer for years in odd jobs, finally becoming a poet of excellence. His autobiography, Jahan-e-Danish, is a classic and has inspired many people.Danish has written more than 80 books and hundreds of articles about and including poetry, prose, linguistics, philology, autobiographies and the famous interpretation of "Diwan-e-Ghalib". Much of his literary work is still unpublished.

Before  1947, three persons from Kashmir were  his friends and fond of his poetry . All the three had met him in person and continued to correspond with him for some time  even after 1947. The persons are,  politician DP Dhar,Hakim Shyam Lal Bhat and  poet Dina Nath Nadim. A sample  of poetry of Danish is as under:-

                        (1)

Ab kaho karwaan kidhar ko chale ...

Raaste kho gaye chirag jale ....

Ishq ġham ko ubuur kar na sakaa

Raaste karwaan  ke saath chale ....

Hum pe guzri hain hijr ki raatein 

hum jahannum mein  thay magar na jale...

(2)

Kahaan mehfil mein mujh tak

baada-e-gulfam aata hai 

Jo mera naam aata hai 

to khaali jaam aata hai ......

Zamaane mein nahin  

dil-daada-e-mehr-o-vafa koyi

 tujhe dhoka hai aey  dil

 kaun  kis ke kaam aata hai .....

Hakim Shyam Lal Bhat was not only a reputed Hakim but a philosopher and lover of Persian, Arabic and Urdu poetry. He was equally proficient in Sanskrit. He would quote Hafiz and Rumi frequently. He would also quote Ravish Siddiqi ,another well known Urdu poet. Hakim Shyam Lal had  profound knowledge of ancient Greek philosophy and astronomy. I believe he must have met Ehsan Bin Danish in Lahore, Punjab where he graduated  in Unani Medicine after his BA degree. He had studied Persian and Arabic in his BA. He was also known as Gaazi e Guftaar for his scholarly communication .While Hakim Shyam Lal Bhat could recite  any Shloka from Bhagwat Gita and make its meaning clear, he was also known as Qaari and Hafiz e Quran for his knowledge of the Holy Quran . He was a Bhakt of goddess Sharika and Shiva apart from a  follower of Khwaja Lassa Sahib of Nowhatta  and Saint Gopinath Ji of Habba Kadal. In fact  Hakim Sahaz Bhat was also visiting Khwaja Lassa Sahib . This roaming Darvesh had granted the title of Dast e Shifa to Hakim Shyam Lal Bhat.

Hakim Shyam Lal Bhat's brother Dr Niranjan Nath Bhat(  LMP Lahore ) has done exemplary service to Kashmiris during the Cholera outbreak of 1935. He was also a lover of literature . Possibly this taste has passed on to this illustrious family from Hakim Sahaz Kak Bhat ,who, apart from being a Hakim,  was also a Sanskrit and Persian Scholar . Along with Pandit Govind Kaul, Hakim Sahaz Kak  Bhat has translated many Sanskrit manuscripts for Aurel Stein .  Even Dr Raj Nath Bhat ( MRCP) and son of Hakim Shyam Lal Bhat who was an eminent   professor of Medicine  in J&K had scholarly interests in poetry. Philosophy ,astronomy and literature . One needs to read diary of Aurel Stein to know his praise for scholarship of Hakim Sahaz Kak Bhat .

 Not many people know that  D P Dhar (India’s ambassador to Moscow , The architect of Indo Soviet Treaty, Advisor to PM, Planning Minister Government of India and  Chairman Planning commission )  was also writing Urdu poetry using  pen name  "RAUNAQ".It was a happy chance for D P Dhar to come in close contact with a Faquir poet of mysterious origin known as   Aamil Darvesh. Aamil was a tall but lean  mystic  who lived in a wooden coffin on the bank of Dal lake in an orchard that belonged to one Girdhari Lal Bhan. And this Girdhari Lal Bhan was  DP’s maternal uncle. Many leading poets from india came to meet Aamil Darvesh and thereby DP Dhar also came into contact with Hafeez jalandhari, Ehsan-bin Daanish , Ravish Siddiqui, Sagar Nizami and Anwar Sabri. Aamil was DP's poetic Guru. A couplet written by DP Dhar " Raunaq " goes as under :-

"Bazm e Khoobaan se Mujhe Soo e Biyabaan le chali

Kis Qadhar Vehshat Talab Taseer iss ki Dekhnaa"

Quite often , Aamil Darvesh stayed at D P Dhar's residence .

( Avtar Mota)

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

WAQT, SAHIR AND AFGHAN MUSICIAN BRESHNA....(1907-1974)

                                         

                  ( Kabul Bazaar by Breshna )

  ( Sketch of Sher Shah Suri by Breshna );

                      ( A sketch of Breshna) 

   ( Balraj Sahni singing ,Aey meri Zohra jabeen )

WAQT, SAHIR AND AFGHAN  MUSICIAN BRESHNA....(1907-1974)

Some great music emerged from Afghanistan during  good old days. I need to say something about Breshna .For Waqt, lyricist Sahir Ludhianavi had  suggested to B R Chopra to engage Afghan painter cum musician , Abdul Ghafoor Breshna for composing song' Aey meri zohra jabeen'. And that proved correct. The tune set by Breshna became instant hit with Sahir's magical verses. All other songs were composed by music director Ravi. Breshna was a poet ,painter,singer , playwright and fantastic musician from Afghanistan. He was trained in Germany where he married a German girl. Most of his paintings have been destroyed and lost in the four decades of turmoil and war in Afghanistan. Amongst some great paintings of Breshna that were lost in the Afghanistan turmoil , one can include the' Bamiyan Buddhas 'painted by him.  

Breshna was born on April 10, 1907, in Kabul. In 1921 he was sent by King Amanullah and other teenage students to Germany for higher education. There he studied painting and lithography at the academy of arts in Munich, Leipzig, and Berlin, among others. In Germany, Breshna became acquainted with his future wife –Marguerhee, whom he married in 1928. In 1931 Breshna returned with his wife and the first son to Kabul. Breshna started as a teacher and later director of the college of arts and crafts into Kabul (1930-1939) He introduced a new understanding and drawing techniques. From 1939-1943 Breshna served as general manager of the National Press of Afghanistan. He and his wife translated  and illustrated from German language many books for Afghan children .

In 1968 for his services to the German Language, he received the distinguished honor of "large Distinguished Service Cross with star of the Federal Republic of Germany". Presented by Federal President Heinrich Luebke. 

Breshna's surviving   paintings are on display in many museums across the world.  He made a serious attempt to reconnect to themes and genres that had previously been lost or neglected.Breshna used his Western training to restore Afghanistan's traditional visual and literary arts. It is difficult to define his oeuvre as purely ‘modern’ or ‘traditional’.

Breshna died in Kabul in 1974 .He had composed the national anthem of Afghanistan that was used in 1970s. 

( Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

Based on a work at http:\\autarmota.blogspot.com\.