Monthly Archives: June 2019

The remarkable Begums who defied patriarchal norms to rule Bhopal for more than a century

Bhopal, MADHYA PRADESH :

These women embodied feminism long before it became a part of the zeitgeist.

ShahJahanBegumOrigMPOs06jun2019

The heiress apparent to the throne of Bhopal, Abida Sultan, wore her hair short, played the saxophone, had her own band, sped around in a Daimler, and when her husband announced that he’ll assume custody of their son, threatened to kill him with the pistol she kept in her pocket. All the while, she remained pious and committed to Islam.

Abida Sultan’s autobiography, Memoirs of a Rebel Princess, was unabashed and far from removed from the stereotypical picture of an oppressed Muslim woman. In the book, she wrote frankly about her conjugal life and her inability to be the good, dutiful wife. But could one expect any less from the child of a feminist royal lineage?

This matrilineal reign, which began in 1819, lasted more than a hundred years, with the lone interruption in 1926, when Sultan Jahan Begum abdicated in favour of Nawab Hamidullah Khan. Hamidullah Khan’s daughter Abida Sultan was to succeed to the throne, but when she chose to leave for Pakistan after the Partition of India, her younger sister Sajida became the Begum of Bhopal.

Sajida Sultan. — Unknown/Wikimedia Commons
Sajida Sultan. — Unknown/Wikimedia Commons

Unlike the Queen-Regent of Travancore, whose brief radical rule ran only till her son came of age, these women ruled for unexpectedly long periods, facilitated by the absence or death of male contenders to the throne, and through sheer grit. A photograph taken in 1872 of Nawab Shah Jahan Begum, Abida Begum’s great-grandmother, shows a booted woman staring straight at the camera, much in the manner of a Vogue cover shoot. The Begums of Bhopal practised feminism much before it gained prominence. They were interesting, headstrong and opinionated, but their wars weren’t fought on the battlefield.

Archival records are filled with the Begums exhibiting their commitment to Islam: donating money to build a mosque in Basra, Iraq, funding the Muslim University at Aligarh, and opening a school for girls in Delhi in the early 1920s. At the time, it was unusual to have a ruler devote time and money to women’s education — even a progressive thinker like Syed Ahmad Khan was focused on Muslim men getting Western education — but to do so outside their state was truly remarkable. So much so that when Lord Edwin Montagu, the British Secretary of State for India, met Begum Sultan Jahan in 1917, he noted in his diary that she was “frightfully keen on education, and jabbered about nothing else”.

Sultan Jahan Begum. — Wikimedia Commons
Sultan Jahan Begum. — Wikimedia Commons

Fringes of history

Women and their assumption of political power have always been sidelined in Islamic history, though there is reason to believe that Aisha, the Prophet’s wife, had a role to play in the establishment of the first Islamic state. Razia Sultana’s brief reign as the Sultanah of Delhi in the 1200s and her killing demonstrated the near impossibility and legitimacy of a Muslim women ruler.

Nothing changed over the centuries. Though it was a young woman, Queen Victoria, who reigned over the hundreds of Indian monarchs at the start of the Paramountcy, assuring them gently of their territorial sovereignty, this mattered little in India. Indian monarchies have been patrilineal and patriarchal, guarding the male and natural right to ascend the throne.

Against this background, to have four Muslim women successively rule a state is unprecedented in world history. But what makes it all the more remarkable is that these women administered a state dominated by feudal warlords accustomed to male privilege over the throne.

The modern city of Bhopal was founded in the early 18th century by Dost Mohammad Khan, an Orakzai Pathan from Afghanistan, and it soon became the second-most important Muslim princely state after Hyderabad. Its geographical location — in Central India — was vital for the suppression of the 1858 War of Independence.

Dost Mohammad Khan. — Wikimedia Commons
Dost Mohammad Khan. — Wikimedia Commons

In North India, there were several Muslim princely states — such as Bahawalpur, Mahmudabad, Tonk, Pataudi and Rampur — which were supported by the British under the Paramountcy. Under this policy, while nearly 500 princely states were autonomous and maintained internal sovereignty, their foreign policy and right to wage wars was controlled by the British.

The reign of the Begums began in Bhopal in 1819, when the ruling Nawab, Mohammad Khan, died without an heir and the British decided to crown his young wife Qudsia till her daughter Sikandar came of age. Sikandar Begum’s husband too died in 1844, and she proved to be a competent ruler and a worthy ally to the British, playing a vital role in the First War of Independence in 1857-1858. This compelled the British to make a provision that the Begum was a sovereign in her own right. Three years later, in 1861, she was invested with the Exalted Order of the Star of India, making her, at the time, the only female knight in the British Empire besides Queen Victoria. She was succeeded by her daughter Shah Jahan Begum and then by Sultan Jahan Begum.

Sultan Jahan Begum went on to have a 25-year-long reign, marked by a commitment to progress, education and women’s health reforms. She was the last Begum of Bhopal as the heiress apparent, Abida Sultan, abdicated the throne in 1948.

Sikandar Begum. — Louis Rousselet/Wikimedia Commons
Sikandar Begum. — Louis Rousselet/Wikimedia Commons

‘Magical island’

The first and foremost among them, Qudsia Begum, set the template of the ideal ruler. Spartan, and shunning jewellery, she refused to take loans and made sure that any money spent would be solely for education and philanthropy. As the British agent Lancelot Wilkinson in Bhopal noted: “She rides and walks about in public, and betrays her determination to maintain herself in power by learning the use of the spear and other manly accomplishments. At times she became quite frantic; and as one of the soldiers observed, more terrible to approach than a tigress.”

This “magical island”, as at least one commentator called it, was as rare as it was difficult to create. Like all figures of power, the Begums too attracted people who wanted to manipulate them — and in their case, this meant both the British and the ruling clan.

Qudsia Begum and her daughter, early inheritors of an uneasy throne, responded to the tugs and pulls by quickly learning traditional masculine skills like fencing and hunting. Shah Jahan Begum embraced the Purdah, asserting notions of orthodox Islamic femininity. She withdrew from public life into strict seclusion and refused to meet the British Viceroy in 1875. Her daughter would later recount in her autobiography that “even as a young girl, she preferred to meet with other girls of her age to discuss ‘a thousand little points of household duties and of domestic management than to perform outdoor activities’.” None of this though got in the way of being a good ruler, and she proved that a veiled woman could rule as competently as anybody else.

Shah Jahan Begum. — Louis Rousselet/Wikimedia Commons
Shah Jahan Begum. — Louis Rousselet/Wikimedia Commons

Balance of power

The Begums carefully navigated the multiple demands of power by ingeniously playing around with tradition and modernity. They would sometimes opt to let go of the burkha and at times wear it to demonstrate a different modernity. In their writings, the Begums constantly acknowledged their mothers and grandmothers, paying obeisance to the strong women who shaped their lives and characters.

Their commitment to austerity and Islam set them apart from the wasted royal lives that were given to overindulgence and dissipation. They constantly drew upon the Quran and respected Islamic scholars, reinforcing the idea that Islam speaks of equity between the sexes. Their spartan lives struck Mahatma Gandhi too, when he visited the state in the late 1920s, on invitation. He was suspicious that the Begum’s cotton clothes and thin mattress had been “put on as a show”, till his travelling companion Sarojini Naidu assured him otherwise.

The Begums of Bhopal, who styled themselves as “Nawab Begums”, were radical and unconventional (the term ‘Nawab Begum’ itself was ingenious as there is no word for queen in the Islamic political imagination). Nonetheless, with consummate ease and success, they proved they were no less. Keeping in line with the Islamic tradition of maintaining a diary, like the founder of their state used to, the Begums invested much energy in maintaining records — of the state and of themselves.

Sultan Jahan Begum. — The Graphic/Wikimedia Commons
Sultan Jahan Begum. — The Graphic/Wikimedia Commons

Shah Jahan Begum, the third in the line, established a History Office, along with a system for retrieving and maintaining records of important characters in her family. Abida Sultan’s son, Shahryar Khan, a former career diplomat in Pakistan, has carried on this family tradition by writing an authoritative account of the dynasty, The Begums of Bhopal.

Like a host of other wealthy Muslim ashraf women, the Begums travelled to Europe and to West Asia as part of the obligatory hajj. And despite the seriousness of the occasion, they never failed to display flashes of their chutzpah. There are anecdotes of Sikandar Begum not disembarking from the ship to Europe without her bottles of pickle. And upon reaching London, she mistakenly wore a dressing gown to meet King George V and Queen Mary, a realisation made only owing to the headlines in the newspapers the next morning.

Many princesses have ascended to power in democratic India by contesting and winning parliamentary elections. The Begums of Bhopal, however, are remarkable for sustaining a determined succession of women monarchs, despite hostility to their gender ruling — the very first Begum, Qudsia, had declared that her infant daughter would succeed after her. Despite the religious and political odds against them, their reign was marked by benevolence and modernity, a radical openness to change, like women’s education and medicine, while maintaining a steadfast commitment to the tenets of Islam. The Begums are icons for women, Muslim or otherwise.


This piece was originally published on Scroll and has been reproduced with permission.

source: http://www.dawn.com / Dawn / Home> Prism / by Priya Mirza / June 04th, 2019

Birds of Bengal at Sweden auction

Patna, BIHAR /  Calcutta, BENGAL :

The paintings by Zayn al-Din were commissioned by Mary Impey, an English natural historian and patron of the arts in Bengal

Falsa Tree with King’s Nightingale was painted on a 53.5cm x 75cm canvas by Zayn al-Din in 1782 . / Picture courtesy: Stockholm Auction House
Falsa Tree with King’s Nightingale was painted on a 53.5cm x 75cm canvas by Zayn al-Din in 1782 . /
Picture courtesy: Stockholm Auction House

Two watercolour and pencil-on-paper artworks painted in Calcutta in the late 18th century by one of the most famous exponents of the Company School of Art will go under the hammer at the world’s oldest auction house in Sweden on June 12.

The paintings by Zayn al-Din were commissioned by Mary Impey (March 2, 1749 -February 20, 1818), an English natural historian and patron of the arts in Bengal. She was the wife of Elijah Impey, the first chief justice of the Supreme Court at Calcutta (1774-82), who had infamously sent Maharaja Nandakumar — a highly-placed officer in the nawabi administration — to the gallows on charges of perjury.

Falsa Tree with King’s Nightingale, dated 1782, and Parrot in a Parkar Tree, dated 1779, have been in the possession of a Swedish family for long.

“We are immensely proud to present these rare artworks. We are not sure how they reached Sweden. They have been in the same Swedish family for a long time and this is the first time that they reach the market,” Victoria Svederberg Bojsen, a specialist in classic and modern art at the Stockholms Auktionsverk (Stockholm Auction House), founded in 1674, told Metro over phone from Stockholm.

“The estimate price is Euro 51,000 (Rs 40 lakh) to 61,500 (Rs 48 lakh). However, we believe they will reach an even higher price. Our hope is naturally that they will now be returned to India where they originated,” she said.

Birds are the subjects of both the paintings. Falsa Tree with King’s Nightingale is a 53.5cm x 75cm canvas.

The inscriptions on both pictures read: In the Collection of Lady Impey of Calcutta. Painted by Zayn al-Din Native of Patna 1782.

“Both paintings include a description of the subject in Persian — Darakht ban falsa, Shah Bulbul in the first and Madna Tota, Darkaht Pakar in the other. The artist’s name is also written in Persian,” said Nandini Chatterjee, associate professor of history at the University of Exeter in the UK.

The painting (right), titled Parrot in a Parkar Tree, is signed and dated 1779. The inscriptions on both artworks read: “In the Collection of Lady Impey of Calcutta. Painted by Zayn al-Din Native of Patna 1782”. / Picture courtesy: Stockholm Auction House
The painting (right), titled Parrot in a Parkar Tree, is signed and dated 1779. The inscriptions on both artworks read: “In the Collection of Lady Impey of Calcutta. Painted by Zayn al-Din Native of Patna 1782”. /
Picture courtesy: Stockholm Auction House

Metro had sent the images to Chatterjee, who is part of a research on two sets of natural history drawings produced between the late 18th and early 19th centuries in Calcutta. The drawings are held at the Victoria Memorial Hall and the Royal Albert Memorial Museum & Art Gallery in Exeter.

The Impeys moved to India in 1773 after Elijah Impey was made the chief justice of Bengal. They set up a menagerie at their house in Calcutta’s Middleton Row. When they shifted to Fort William two years later, they started a collection of native birds and animals on the extensive gardens of the estate.

Mary Impey commissioned several local artists to paint the fauna and flora they had collected. Her three principal artists were Sheikh Zayn al-Din, and brothers Bhawani Das and Ram Das. All three had come from Patna.

Together, Zayn al-Din and the Das brothers painted more than 300 artworks, half of them of birds. The collection, often known as the Impey Album, is an important example of Company style painting.

“With the decline of the Mughal courts, the artists sought the patronage of Europeans. These artists had to change their traditional techniques to suit their new masters. These revisions included a more accurate representation of the subject and a change in perspectives,” said Jayanta Sengupta, the curator of the Victoria Memorial.

Little is known of Zayn al-Din, the artist whose works will be auctioned in Sweden next month. He is known for his extraordinarily detailed paintings for the Impey Album. His drawings of mountain rats, hanging bats, parrots and storks serve as interesting zoological studies and are now preserved at the Ashmolean Museum in Oxford.

“The artworks from the Impey Album rarely reach the international market and the few that have been sold previously at Christies, Sothebys and Bonhams have fetched between $80,000 (Rs 55.5 lakh) and $140 000 (Rs 97.7 lakh),” Bojsen said.

The real study of the Indian subcontinent’s natural history is said to have started with the Mughals. Baburnama — the memoirs of the first Mughal ruler — has beautiful illustrations of birds and animals. Shah Jahan also took a keen interest in the flora and fauna.

With the fall of the Mughals, the artists sought the patronage of Europeans. Calcutta became a thriving centre of the (East India) Company school of painting.

“India was an unknown land for Europeans and along with its indigenous archaeology and history, they also wanted to explore its abundant flora and fauna. Imperial documentation differs from its Mughal predecessor in scale and systematic approach,” Sengupta said.

“Mary Impey was part of a circuit of Europeans who commissioned paintings of Indian natural history. Apart from the pictorial documentation of flora and fauna, the extensive notes kept by her about their habitat and behaviour were of great use to later biologists,” he said.

The collection went to England with the Impeys in 1783 and were sold at a London auction in 1810. Several pieces are in various museums, including the Metropolitan Museum of Art in New York and the Victoria and Albert Museum in London.

“The style of inscription, and the handwriting is identical to other paintings all around the world. I do not believe Zayn al-Din’s name is in his own handwriting. It was probably written by a British collector, maybe Lady Impey herself. Many such British Orientalists (and perhaps some of their spouses) knew Persian,” Chatterjee said.

Some of Zayn al-Din’s works are at the Royal Albert Memorial Museum too. “But those have his name written in English and Bengali, perhaps by a collector who was interested more in the vernacular language, than Persian, which was the Mughal language of administration and courtly culture,” Chatterjee said.

source: http://www.telegraphindia.com / The Telegraph, online edition / Home> West Bengal / by Debraj Mitra in Calcutta / May 28th, 2019

Stimac names six newcomers in squad

Igor Stimac. File
Igor Stimac. File

Indian football head coach Igor Stimac on Sunday named six newcomers in the final list of 23 players for the King’s Cup, to be held in Buriram, Thailand from June 5.

The six are Rahul Bheke, Brandon Fernandes, Raynier Fernandes, Michael Soosairaj, Abdul Sahal and India U-17 World Cup team captain Amarjit Singh.

The final list: Goalkeeper: Gurpreet Singh Sandhu, Amrinder Singh, Kamaljit Singh.

Defenders: Pritam Kotal, Rahul Bheke, Sandesh Jhingan, Adil Khan, Subhasish Bose.

Midfielders: Udanta Singh, Jackichand Singh, Brandon Fernandes, Anirudh Thapa, Raynier Fernandes, Pronay Halder, Vinit Rai, Sahal Abdul, Amarjit Singh, Lallianzuala Chhangte, Michael Soosairaj.

Forwards: Balwant Singh, Sunil Chhetri, Farukh Choudhary, Manvir Singh.

source: http://www.thehindu.com / The Hindu / Home> Sport> Football / by PTI / New Delhi – June 02nd, 2019

Governor announces financial assistance of Rs 5 lakh to tourist guide Rouf’s family

Srinagar, JAMMU & KASHMIR :

Tourist Guide Who Saved Five Lives But Unfortunately Lost His Life In A Act Of Bravery
Tourist Guide Who Saved Five Lives But Unfortunately Lost His Life In A Act Of Bravery

Srinagar

Governor Satya Pal Malik has saluted the bravery of Tourist Guide Rouf Ahmad Dar, who lost his life while rescuing tourists from the Lidder river in Pahalgam. He described Rouf as a real-life hero who sacrificed his life for saving the lives of others.

Governor has prayed for eternal peace to the departed soul and strength to the bereaved family in its hour of grief.

Honouring the exemplary display of selfless action, Governor has announced financial assistance of Rs 5 lakh for the family of Rouf.

Dar saved five tourists, two of them foreigners, after their boat capsized in fast flowing river Lidder near Mawoora area of Pahalgam in south Kashmir’s Anantnag district on Friday evening.

Unfortunately, Dar lost his life in an act of bravery which is being hailed by people and the administration.

source: http://www.kashmirlife.net / Kashmir Life / Home> Latest News / by KL News Network / June 01st, 2019

The Hindu lensmen bag prizes

Machilipatnam , TELANGANA :

This photograph has been selected second prize in the Press Club Hyderabad Photo contest this year. Women from a nearby village walk between huge pipes used in the construction activity at Mandadam in the core capital region near Vijayawada of AP, | Photo Credit: CH_VIJAYA BHASKAR
This photograph has been selected second prize in the Press Club Hyderabad Photo contest this year. Women from a nearby village walk between huge pipes used in the construction activity at Mandadam in the core capital region near Vijayawada of AP, | Photo Credit: CH_VIJAYA BHASKAR

The Hindu photographer at Vijayawada, Ch.V.S. Vijaya Bhaskara Rao, won second prize in the third edition of photo contest for photo journalists conducted by the Press Club of Hyderabad on the occasion of the club’s foundation day celebrations.

The first prize went to Sakshi Nalgonda photographer K.B. Prasad and the third to Bhaskar Reddy of V6 Velugu daily in Siddipet.

The first three prizes carry cash award of ₹ 15,000, ₹ 10,000 and ₹ 5,000 respectively.

The consolation prize winners were K.V.S. Giri (The Hindu – Hyderabad), A. Ramachandra Rao (Andhra Bhoomi – Vijayawada), V. Peddi Raju (The Hindu – Vijayawada), G. Ramu (Eenadu – Hyderabad), Gunti Vinod (Namasthe Telangana – Wanaparthy), J. Azeez (Sakshi – Machilipatnam), N. Rajesh Reddy (Sakshi – Hyderabad), K. Bajrang Prasad (Sakshi – Nalgonda), A. Yakaiah (Sakshi – Suryapet) and S. Ravinder (Eenadu – Suryapet).

All of them will get ₹ 2,000 each.

The prize distribution will be held at Press Club Hyderabad on June 9.

source: http://www.thehindu.com / The Hindu / Home> News> States> Telangana / by Special Correspondent / Hyderabad June 01st, 2019

A brush with tradition

Achampet , TELANGANA :

OxMPOs01jun2019

Exquisite detailing goes into Mohammed Osman’s renditions of Gangireddu cow and ox

Did you ever think a cow or bull could inspire an artist to such an extent, he would make it his favourite subject? “I used to see these beautifully-decorated cows and bulls being paraded during festivals in my hometown, Achchampet in Telengana and I fell in love with their form,” says artist Mohammed Osman at his ongoing exhibition at Gallery G. The visually stunning body of work “Dance with the Bulls” captures the bovine form in all their embellished glory.

Talking of his fascination for cows and bulls, Osman says, “It is a rare subject. When you see the grace with which Gangireddu animals are decked with clothes, beads, paint and bells, it is visually enriching,” says Osman, 47, who grew up in rural Achchampet, which is on the way from Hyderabad to Srisailam. “There have been times when I’ve gazed at these beautiful beasts for hours on end, when they would be part of pageants and their caretakers collected gifts for their upkeep,” he says.

Osman, after finishing a course in Fine Arts in Hyderabad in 2002, meticulously worked on his art pieces, all the while looking for the ‘right subject’ on which to pursue a full-fledged career. He zeroed in on Gangireddu or Basava (in Kannada) and the decorated bull now forms the crux of his artistic subject. “I attempt to capture the beauty of these lavishly-decorated animals in the best possible way. From 2006, I have created nearly 500 pieces and sold most of them,” says Osman, who regularly gets orders from connoisseurs.

Settling on a subject is a challenge for any artist, as according to Osman, “this is what makes an artist exclusive.” Specialisation is the key to any career, he adds. On whether he faced any difficulties on the choice of subject, Osman says, “When I started my work in 2006, I gathered reams of information from Indian mythology. I introduced Lord Krishna beside the cows as he is often depicted alongside cows and bulls. Radha Krishna and Gangireddu cows are frequently used in my canvas, as the form captures scenes from days of yore. I believe in Indian culture, in integrating myself and not in segregations such as Hindu or Muslim. I am happy that from the time I took up this work I have been flooded with orders. Khuda Ki Meharbani (god’s grace),” says Osman.

Having spent 20 years in rural landscapes outside Hyderabad, Osman’s palette is bright and brilliant, borrowing from the colourful garments and lifestyle of village folk there. His visual language is strong and his strokes are bold, using nearly 50 colours to capture a single Gangireddu. “I have done 100 variants of the subject; each one taking up to 20 days to finish given the minutiae of details I provide,” Osman explains.

The kind of ‘feats’ a Gangireddu can perform are stunning. “An ox can dance to the tune of its master’s nadaswara, it can nod at his command or shake its head to indicate no, kneel down and prostrate or bow when asked to. You can often see a Gangireddu stand on its master’s chest and bow in complete humility, appreciating a patron who has bestowed money or food on them. The ‘Dance with the Bulls’ series showcases the feats they perform,” says Osman.

(Dance With The Bulls – Gangireddu, solo by artist Mohammed Osman, is on till June 5 at Gallery G, Lavelle Road)

source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture / by Ranjani Govind / May 30th, 2019