Renowned Hyderabad-based writer and doctor, Dr. Abid Moiz, has been conferred the prestigious Delhi Urdu Academy Award for his outstanding contributions to science literature in Urdu. He is the only recipient from South India to receive this recognition for 2023-24, which includes a cash prize of ₹2 lakh.
As per Siyasat daily, Dr. Moiz’s ground-breaking work has made scientific concepts more accessible to Urdu-speaking audiences, fostering a deeper appreciation for science within the community. Known for his unique ability to merge science with literature, he has authored 23 science books and 17 humour and satire books, carving a distinct niche in the Urdu literature.
Dr. Moiz’s journey into science writing began with Diabetes Ke Saath Saath (Living with Diabetes), aimed at promoting health awareness. His repertoire includes books like Chiknai Aur Hamari Sehat (Fats and Our Health), Cholesterol Kam Kijiye (Reduce Cholesterol), Namak Kam Karen (Reduce Salt), and Ramzan Aur Hamari Sehat (Ramzan and Our Health). These books focus on health management and dietary choices, blending scientific knowledge with simple language and engaging graphics.
Dr. Moiz’s works, such as Motapa (Obesity) and Tarkari aur Phal Khayen (Eat Vegetables and Fruits), emphasise balanced nutrition and healthy living, solidifying his legacy as a visionary in the underrepresented genre of Urdu science literature.
In addition to his literary contributions, Dr. Moiz serves on the advisory board of Science Urdu, a popular science monthly magazine edited by Dr. Aslam Parvez, former Vice-Chancellor of Maulana Azad National Urdu University. His involvement underscores his commitment to promoting scientific awareness among Urdu readers.
The Delhi Urdu Academy also honoured several other luminaries this year, including Javed Akhtar for promoting Urdu, Taha Naseem for children’s literature, Anee Aazmi for drama, Prof. Ahmed Mahfooz for research and criticism, and Rakshanda Roohi for prose.
Previously, Dr. Moiz received Lifetime Achievement Award from the Telangana State Urdu Academy in 2019 for his sustained contributions to Urdu literature and science writing.
Dr. Moiz’s achievements exemplify how science and literature can harmoniously coexist, even in languages traditionally associated with arts and culture. By simplifying complex scientific ideas, he continues to empower readers and enrich the legacy of Urdu literature.
source: http://www.radiancenews.com / Radiance News / Home>Pride of the Nation> Awards> Latest News / by Radiance News Bureau / January 09th, 2025
Muslim Mirror’s list of 100 Indian Muslim achievers features four notable personalities from Karnataka, recognized for their contributions to education, business, journalism, and community development.
Bidar’s Abdul Qadeer – Educator and Visionary Leader Abdul Qadeer, a renowned educationist and founder of the Shaheen Group of Institutions in Bidar, has dedicated his life to empowering marginalized communities through education.
Under his leadership, Shaheen Institutions have grown into a network providing quality education, emphasizing academic excellence and holistic development. His commitment to integrating modern and traditional education has enabled numerous students to excel in competitive examinations and achieve higher educational aspirations.
Mangaluru’s Dr. Abdullah Kunhi – Entrepreneur and Educationist Dr. Yenepoya Abdullah Kunhi, the founder of Yenepoya University in Mangalore, has transformed education and healthcare in Karnataka.
Known for his vision and humanitarian spirit, Dr. Kunhi established Yenepoya University as a multidisciplinary institution offering innovative programs across various fields.
He also expanded healthcare access through advanced medical facilities and initiated programs to uplift marginalized communities, including scholarships and community health initiatives.
Azim Hashim Premji – Business Tycoon and Philanthropist Azim Premji, former chairman of Wipro Limited, revolutionized India’s IT industry and emerged as one of the country’s most influential business leaders.
A recipient of the Padma Bhushan and Padma Vibhushan, Premji is also one of the world’s leading philanthropists. Through the Azim Premji Foundation, he has donated over $21 billion, primarily to improve education and healthcare in India, leaving an indelible mark on society.
Mohammed Zubair – Journalist and Fact-Checker Mohammed Zubair, co-founder of the fact-checking website Alt News, is a pivotal figure in combating misinformation in India.
Transitioning from an engineering background to journalism, Zubair has exposed numerous instances of fake news and disinformation, fostering accountability and promoting responsible journalism. Despite facing harassment and legal challenges, his dedication to truth and transparency remains unwavering.
Irfan Razack – Real Estate Mogul and Community Advocate Irfan Razack, Chairman and Managing Director of Prestige Group, is one of India’s leading real estate entrepreneurs.
Based in Bengaluru, he has played a pivotal role in shaping India’s real estate landscape, making Prestige Group one of the most prominent property developers in the country.
Razack is also the co-founder of Inventure Academy in Bengaluru and has held esteemed positions, including Honorary Secretary of the Al-Ameen Educational Society and Chairman of CREDAI.
His community contributions through the Kutchi Memon Jamat and philanthropic initiatives have earned him numerous awards, including the Real Estate Excellence Award (2008) and Entrepreneur Extraordinaire Award (2010).
According to the 2024 Forbes list of India’s 100 richest tycoons, Irfan Razack and his siblings are ranked 49th, with a net worth of $6 billion.
These five distinguished individuals from Karnataka exemplify excellence, resilience, and a commitment to societal progress, earning them well-deserved recognition on this prestigious list.
source: http://www.thehindustangazette.com / The Hindustan Gazette / Home> News> Education / by The Hindustan Gazette / January 06th, 2024
Paigah decendent Faiz Khan with mother Begum Tahira Sirajuddin Khan, wife Nida Fatima Khan, sons Dr. Mohammed Faraaz Khan and Mohammed Kamil Khan
A visit to the scion of the Paigah family and the great-great-grandson of H.E. Nawab Sir Vicar- Ul-Umara Bahadur, Amir-e-Paigah and former Prime Minister of erstwhile Hyderabad state M A Faiz Khan grew up seeing their family as ardent patrons of homegrown textiles, superior garments, and spectacular gems even as history is witness to the global influence of Indian Prince and Princesses.
He says that a visit to Hyderabad’s Salarjung Museum is an exciting part of a scholar’s life, it becomes more meaningful and engaging to realize that the museum itself is an astounding part of history for those researching elite Indian menswear. A visit to his house can easily get one an insight into the Nizam and Paigah family pictures which gives one a peek into the refined taste of the family and made the family stand out in the pages of history.
Faiz Khan says, “India boasts of a rich tapestry of cultural diversity, each thread intricately woven into the fabric of its magnificent royal heritage but the royal families have since long been the custodians of not just history and tradition but also of opulent style and regal elegance.
“Their grandeur, opulence, and penchant for fashion continue to inspire modern-day designers, setting the stage for some stupendous ensembles that blend the allure of the past with contemporary flair.”
Scion of Paigah Mohammed Abul Faiz Khan wearing a sherwani of his great great grandfather H.E. Nawab Sir Vicar-ul-Umara Bahadur, the fifth Amir of Paigah
He says that the Dress and fashion during the era of the Nizams and the Paigahs included ‘angrakhas’, ‘neema’ and ‘jama’. During the last quarter of the 19th century the ‘achkan’, a fitted cape, and ‘angrakha’ developed with a few improvements into the sherwani which extended slightly below the knee and had four pockets, two upper and two on the sides, and seven buttons in front.
He said that the royals paid homage to the grandeur of their dynasty through their attire. Sherwanis were crafted from rich and regal fabrics like brocade, silk, and velvet which boasted of works like Karchobi, a kind of raised metallic thread embroidery, or Kimkhab a kind of brocade woven with silk and gold or silver threads sometimes set in precious stones too. Gold and silver metals were used in surface ornamentation. Even the weft yarns are said to be of gold and silver wire in himru, mashru and brocade fabrics.
These sherwanis reminiscent of historical figures like the 6th Nizam H.H. Nawab Mir Mahboob Ali Khan or the Paigahs were characterized by intricate embroidery and elaborate embellishments creating an aura of regal elegance. The ‘sherwani’ became very popular among all the public in Hyderabad during the rule of Nizam VI and Nizam VII during the first half of the 20th century. It used to be worn with ‘dastar’ (headgear). The Zari work the timeless elegance and regal grandeur of the noble including the Paigahs added a touch of luxury and opulence.
The colour palettes were inspired by the grandeur of the Nizam’s Palace or the Chowmohalla Palace the first official palace of the Nizam where darbars were held and dignitaries received and from where the administrative offices of the Nizam functioned, which included deep vibrant colours like rich maroon, royal blue and emerald green which symbolized grandeur and elegance then.
Faiz Khan says that the safa an important component of the royal’s attire added a touch of grandeur and lush. Intricately draped, it complemented the colour scheme of the ensemble and featured ornate broaches, echoing the meticulous elegance of the royal era then. Traditional pearls or jewelry including head broaches, often adorned with precious and semi-precious stones evoked the splendor celebrated by royalty and nobility.
Nida Fatima Khan Granddaughter of Major General Nawab Khusru Jung Bahadur CIE married to Faiz Khan of Paigah is wearing a Chowhashya/ Khafa Dupatta and traditional Jewelry.
Footwear like Mojris or juthis showcased elaborate embroidery and designs These designs continue to embrace these elements by grooms honouring the regal legacy of the then royals and embodying the same style during their weddings even today.
The Jama‘angrakhas’, ‘neema’ the Fez caps and even the head gears known as Dastaar or the Rumi topi have been taken over by the Western attire for day-to-day dressing. Though Sherwani continues to be still popular and worn with a loose ankle-length pyjama or a churidar (legging-like) during festive occasions and Friday prayers sadly it is no longer the power dressing of the 19th century
The Paigah grooms inspired by the then-historical figures adorned themselves with elaborate Polki jewellery head ornament, bajuband, armlets all featuring precious gemstones, which accentuated their royal allure The vibrant colour palette exuded grandeur with bright ruby reds, deep blues, and rich greens transforming grooms into timeless symbols of regal elegance.
The Kimkhab choga the achkans woven in luxury was a different ball game for these men.
Although in possession of immense wealth, it was their refined taste that made some of this Indian royalty and nobility stand out in the pages of history. While the Nizam was the more familiar figure who immediately comes to mind, the Paigahs and their predecessors like Faiz were equally proficient. Faiz Khan adds that the royals were also instrumental in deliberately straying from conventional style norms and introducing it to the women of Indian society at a time when restrictive customs such as the pardah system existed. Here we talk of the cohesive picture of Princess Durru Shehvar, Princess Niloufer, H.E.Lady Vicar –Ul-Umara their iconic style, and how it garnered the attention of designers, legacy brands, and publications from all over the world.
He says that the contribution of the Nizams to textiles is especially noteworthy as he was passionate about good clothes jewellery and delicacies. Nizam Mir Mahboob Ali Khan to store his large collections of clothes built a 240 feet long wardrobe at Purani Haveli Hyderabad in the hallway on either side it had 133 built-in cupboards to accommodate his large collections of clothes shoes, headgear, hats, and accessories.
Today the legacy of the Nizam and the Paigah royals lives on the fashion choices of modern brides and grooms. Inspired by the timeless style of their ancestors, modern brides opt for gharara, sarisKhadaDupatta and sharara that pay homage to the intricate embroidery in zardozi gotta patti work.
The safa reminiscent of the ornate turbans complete their royal look. Traditional leather jootis often in coordinating colours, offer a touch of authenticity making the ensemble a bridge between the past and present.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by Raja Chotrani / January 05th, 2025
Abdussalam Puthige, Editor-in-Chief of Vartha Bharati
Bengaluru:
The Karnataka Media Academy announced its Lifetime Achievement Awards, Annual Awards, and Endowment Awards for 2023 and 2024 on Thursday.
For 2024, Abdussalam Puthige, Editor-in-Chief of Vartha Bharati, was selected for this honour for his significant contributions to journalism.
Among the Annual Award recipients for 2023 was Ibrahim Adkasthala from Vartha Bharati, recognised for his outstanding work. Muhammad Akheel, also from Vartha Bharati, received an Endowment Award for his impactful reporting. Special mentions for 2024 included his report on untouchability in Koppal.
Abdussalam Puthige started his career as sub-editor in Sanmarga weekly published from Mangalore. He is author, orator and good debater as well.
source: http://www.radiancenews.com / Radiance News / Home> Awards> Latest News / by Mohammed Atherulla Shariff, Radiance News Bureau / January 03rd, 2025
Tonk has been renowned for its calligraphy, a centuries-old art form that has earned the nawabi city an esteemed reputation on the international stage. This rich cultural heritage continues to thrive through the dedication of talented artists.
Recently, a national-level calligraphy competition was held in Aurangabad, attracting participants from across India, including Telangana, Maharashtra, Kashmir, and Rajasthan. Ustad Zafar Raza Khan and his student Shahjahan, both from Tonk’s Markaz-Talimul-Khutut institute, represented their city at the Second All-India Quranic Calligraphy Competition. The event was organised in collaboration with Maulana Azad College of Arts, Science, and Commerce (Aurangabad) and the Iran Culture House, Mumbai and New Delhi.
Participants were initially shortlisted based on online submissions of their work. Those selected were invited to the competition held on December 27. Among the contenders, Tonk’s calligraphers distinguished themselves, securing the top two honours and bringing glory to their city.
Ustad Zafar Raza Khan received high praise for his exceptional skill in the Nasta’liq script. While judges unanimously considered his work the finest, he was awarded the second prize due to international competition rules. These rules stipulate that if only one individual meeting the standard for first place remains in the competition, the top prize is withheld, and the second prize is awarded instead.
Shahjahan, another participant from Tonk, triumphed in the Naskh Arabic (Osmani Naskh) script category, winning first prize. Their achievements underscore the exceptional training provided at Markaz-Talimul-Khutut, a new institute established in Tonk on January 1, 2024.
The institute has rapidly gained prominence, thanks to its internationally acclaimed instructors, Ustad Zafar Raza Khan and Ustad Khurshid Alam. Both are celebrated as among the finest calligraphy masters globally. Their dedication has elevated the institute and inspired a new generation of artists to master this ancient art form.
The institute’s officials attribute their success to the hard work of their students and faculty, pledging continued efforts to preserve and promote the art of calligraphy. This achievement is a source of pride not only for Tonk but for Rajasthan and the entire nation.
source: http://www.radiancenews.com / Radiance News / Home> Latest News / by Raheem Khan, Radiance News Bureau / January 01st, 2025
Rubina Rashid Ali with artisans (Source: Instagram)
Phool Patti embroidery or applique work has been the forte of women of Aligarh and Rampur regions of Uttar Pradesh since the Mughal period.
Rubina Rashid Ali from Aligarh told Awaz-the Voice that after she realised that women who are preserving this art were not getting due remuneration, she took up the cause of popularising this art form.
Rubina Rashid Ali works in the administrative department of Aligarh Muslim University. She lives on the AMU campus with her three children and husband. She did her Masters in Advertising and Communication from the National Institute of Advertising, Delhi.
Rubina Rashid Ali told Awaz-The Voice that she has been interested in ‘Phool-patti’ work and embroidery since 2003. However, only after becoming stable in her studies, job, and family life, did she dedicate her time and energy to promote it in 2019. She got connected to women who are into applique style. Now they take orders online and deliver them with their team on a contract basis.
Rubina Rashid Ali told Awaz-The Voice that women are mainly engaged in making articles with embroidery, while men take orders. This drained the earnings as a big part of the profit went to the middlemen.
“This craft suffers from a lack of design intervention and diversification and has to catch up with the contemporary aesthetics,” she said.
Rubina Rashid Ali said that the book Phool-Patti Ka Kaam is the first publication on this unique embroidery form. Phool-Patti Ka Kaam is the story of embroidery told through glimpses of Saleha Khan’s work with artisan women and girls during the 1970s and 1980s.
A beautifully illustrated book, it traces its background and scope. it takes us through the array of different floral patterns, designs, and materials. It covers experiments with ornamentation and innovations, including its use on various garments and home décor. And most importantly, it provides a glimpse of the artisans of Aligarh
This book is for art connoisseurs and those who appreciate, learn, promote, explore, and experiment with this unique applique style.
Apart from being a useful resource for craft lovers, the book aims to generate interest among designers, entrepreneurs, and policy planners to further the scope, popularity, and prospects of Phool-Patti, while ensuring a fair share of economic benefits and recognition for its artisans.
Rubina Rashid Ali told Awaz-the Voice that the suitable combination of flower leaf work with other crafts like Chinkara, Gota Patti work, hand-painting, tie and dye, Mukesh work, etc. needs to be widely explored in different colour palettes.
Product diversification not only in clothing and fashion accessories but also in home decor, lifestyle-based products, corporate gifts, souvenirs, etc. ensures its wide reach and penetration in various segments.
In the era of easy availability of fabrics, many people are interested in spending extra money for handmade applique work.
Rubina Rashid said that the original cotton, cambric cotton, Kota cotton, etc. are used for embroidery. However, these days it is also being done on Chanderi silk which is a unique silk from Madhya Pradesh. To promote the flower-leaf embroidery, she does new experiments every day in which sometimes she does the flower-leaf work using crochet, and sometimes other types of embroidery so that she can make that piece even better.
Rubina Rashid Ali and her artisans make articles like ladies’ kurtas, saree, dupatta, etc. for sale. She says this work involves designing it on fine fabric, cutting and skilfully folding these before shaping each piece into small petals and leaves by embroidering on the cloth.
This special applique work finds limited mention in the collection of Indian and global embroidery forms.
Rubina Rashid Ali prepares all her designs and also takes full care of the welfare of the artisans working with her. Rubina Rashid Ali told Awaz-The Voice that she exhibited her works at Delhi Haat, Kolkata Bazaar, Bangalore, Rajasthan, Kota, etc. She found people appreciated her work.
Rubina Rashid Ali told Awaz-The Voice that over time, crafts have become an integral part of the socio-cultural aspect of the country. Unfortunately, in the last few years, many crafts have reached the verge of extinction as fast fashion brands are dominating the market with their easily available cheap clothing options.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by Onika Maheshwari, New Delhi / January 12th 2025
Muslim Mirror, in collaboration with the Minority Media Foundation, has released its highly anticipated list of the“100 Most Influential Indian Muslims of 2024.” This initiative, celebrated as a benchmark of excellence, acknowledges the remarkable contributions of Indian Muslims across various fields, showcasing their leadership and societal impact on a national scale.
A Mission to Shift Narratives
The project aims to counter the negative portrayal of Muslims often propagated by corporate-funded media serving political agendas. By curating this list, Muslim Mirror presents a positive narrative, celebrating the vibrant and diverse contributions of Indian Muslims to the nation’s development and society.
Comprehensive and Inclusive Representation
The selection process emphasizes inclusivity and diversity, representing achievers from Kashmir to Kanyakumari and Assam to Gujarat. The list spans a wide array of sectors, including politics, religion, activism, literature, entrepreneurship, academia, sports, and entertainment.
In an effort to reflect the broad spectrum of the Muslim community, individuals from all sects—Barelvis, Deobandis, Ahle Hadith, Shias, Bohras, and others—have been recognized. The selection underscores the community’s rich cultural and social diversity.
Spotlighting Leadership and Impact
The list features leaders from prominent Muslim organizations and unsung heroes who have made unparalleled contributions in their respective domains. Special attention was given to young achievers, whose recognition aims to inspire future generations of leaders.
Notably, the initiative also includes individuals facing legal challenges and imprisonment, underscoring the principle that they are accused, not convicted. This approach highlights their contributions despite the adversities they face, reaffirming the importance of justice and fairness.
A Rigorous and Ethical Selection Process
Selecting 100 individuals from a community of over 200 million posed significant challenges. Extensive consultations with grassroots representatives across India informed the process. A team of experts finalized the list, which is presented in alphabetical order due to the absence of a ranking mechanism.
While the team strived for accuracy and fairness, they acknowledged the possibility of unintentional exclusions. Readers and stakeholders are encouraged to provide suggestions for deserving individuals to be included in the 2025 list. To maintain ethical standards, members of the Muslim Mirror team and the Minority Media Foundation were not considered for the list.
The Muslim Mirror 100 serves as a testament to the exceptional contributions of Indian Muslims in shaping the nation. By shining a light on their achievements, the initiative not only celebrates their successes but also fosters a sense of pride and inspiration within the community.
As the list continues to evolve, it stands as a powerful reminder of the resilience, talent, and leadership within the Indian Muslim community, setting the stage for even greater accomplishments in the years to come.
source: http://www.muslimmirror.com / Muslim Mirror / Home> Big Story> Indian Muslim> Positive Story / by Muslim Mirror / January 03rd, 2025
Humayun’s Tomb introduced India to the Persian style of a domed mausoleum set in the centre of a landscaped char-bagh garden.
Humayun’s Tomb, Delhi | Photo: Commons
Humayun’s first wife was a Persian from Khorasan and a daughter of Humayun’s maternal uncle. She was also called Haji Begum, probably because she had gone on the Haj to Mecca. During Humayun’s reign, she appears in history at the Battle of Chausa, where the harem was captured by Sher Khan. In all the chaos of battle, a boat carrying women capsized and her young daughter, Aqiqa Begum, was drowned. Bega Begum did not have any more children. Today she is remembered for the tomb of Humayun that she built in Delhi. After the death of her husband, when she decided to build the mausoleum, she was encouraged in her endeavour by her stepson Akbar, who was very fond of her.
Among all Humayun’s wives, Bega Begum lived a life of surprising independence. She went off to the Haj and came back with Arab craftsmen who worked at the tomb. This was much before Gulbadan Begum and Hamida Banu Begum went to Mecca during the reign of Akbar, their trip getting much more coverage in contemporary writing. Bega Begum did not join the harem in Agra but remained in Delhi, supervising the building work. An episode described by Gulbadan shows that she was a spirited woman who even spoke sharply to her husband when he did not visit her.
Among all Humayun’s wives, Bega Begum lived a life of surprising independence. She went off to the Haj and came back with Arab craftsmen who worked at the tomb. This was much before Gulbadan Begum and Hamida Banu Begum went to Mecca during the reign of Akbar, their trip getting much more coverage in contemporary writing. Bega Begum did not join the harem in Agra but remained in Delhi, supervising the building work. An episode described by Gulbadan shows that she was a spirited woman who even spoke sharply to her husband when he did not visit her.
Then Humayun replied, ‘It is a necessity laid on me to make them happy. Nevertheless, I am ashamed before them because I see them so rarely… I am an opium-eater. If there should be any delay in my comings and goings, do not be angry with me.’ However, Bega Begum was not reassured and said, ‘Your Majesty has carried matters to this point! What remedy have we? You are emperor. The excuse looked worse than the fault.’ Gulbadan ends her tale saying, ‘He made it up with her also.’
The contemporary historian Badauni writes that Akbar and Bega Begum were very close and he describes her as a ‘second mother to Akbar’. Once when the boy Akbar had a toothache, Bega Begum brought some medicine but Hamida was reluctant to give it to him. This was understandable since, in a harem that was often full of politics and jealousy, the mothers feared that their children could be poisoned. Abul Fazl quotes Akbar as saying, ‘As she knew what the state of feeling was, she [Bega Begum] in her love to me swallowed some of it without there being any order to that effect, and then rubbed the medicine on my teeth.’
Bega Begum would often travel to Agra to meet Akbar and she spent her allowance doing charity. The Jesuit Antoine de Monserrate wrote, with reluctant approval, of her good works, ‘Throughout her widowhood she devoted herself to prayer and to alms-giving. Indeed, she maintained five hundred poor people by her alms. Had she only been a Christian, hers would have been the life of a heroine.’
Bega Begum was the first of the Mughal women to become a builder, and many would follow to build mausoleums, mosques, madrasas, seminaries, bazaars and gardens. Humayun’s Tomb introduced India to the Persian style of a domed mausoleum set in the centre of a landscaped char-bagh garden, which would reach its peak with the Taj Mahal. Built near the dargah (mausoleum) of the Sufi saint Sheikh Nizamuddin Auliya, the mausoleum complex became the graveyard for many members of the dynasty. Bega Begum is buried in the mausoleum near her husband, and somewhere nearby is the grave of one of the most unfortunate princes of the dynasty – Dara Shukoh.
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This excerpt from Mahal: Power and Pageantry in the Mughal Harem by Subhadra Sen Gupta has been published with permission from Hachette India. Hardback Rs 599.
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source: http://www.theprint.in / The Print / Home> Page Turner> Book Excerpts / by Subhadra Sen Gupta / November 30th, 2019
Asar-us-Sanadid was published in 1847. Yet, Syed Ahmad Khan distresses over the ‘recent’ increase in Delhi’s population.
Ruins of Feroz Shah Kotla in Delhi | Commons
Delhi is introduced, interpreted, and celebrated all the time through walks, performances, talks and articles. But not many realise that the person who began telling the stories of Delhi was a young man in his 20s named Syed Ahmad Khan. Two centuries after he was born, his work Asar-us-Sanadid can now enjoy a wider readership because of its translation into English by Rana Safvi in 2018.
Syed Ahmad Khan was not the first writer to describe Delhi, but when he compiled his notes on the ‘remains of the great’ (asar-us-sanadid) into a book, he chose to write not in Farsi but in the accessible Urdu — making him a pioneer. Another first was that it appeared as a book rather than as a manuscript because his brother had just installed a new Urdu printing press in Delhi. Khan’s qualifications to write were not that of a narrow specialist. In those happy days, when education was not one fixed menu, he had studied science, mathematics, Farsi and Urdu. In his 20s, living in his family home in Shahjahanabad (present-day Old Delhi), Khan was a junior official in the East India Company, helping his brother publish an Urdu newspaper, and translating Farsi manuscripts.
Asar-us-Sanadid was published in 1847, and had a quality of eagerness explained by Khan learning the subject as he went along. Khan went to great lengths to transcribe inscriptions (‘He is climbing up with such enthusiasm/That people think he has some work in the sky’ was an affectionate comment about his swinging round the Qutub Minar in an improvised basket-and-poles contraption to read the inscriptions on the higher storeys). The artists’ drawings for the book were based on his own sketches.
There are very few extant copies of the original edition. The better-known second edition, published in 1854, bears the blue pencil marks of the Collector A.A. Roberts, who did a hatchet-job, reducing it by a half, adhering to chronology, giving British scientists a role in the Jantar Mantar project, removing all the poets and artists, and making it an altogether dull book.
Sights, sounds and silences
To Khan, historic architecture was not just patrons, materials, form and function. It was part of a continuous culture, nourished by new infusions. Political history, the overlapping cities and forts, the increasingly sophisticated elements in architecture – these became four-dimensional by reading mosques, dargahs and mazhars as sacred spaces, calm with the presence of mystics and scholars long departed. They were to be experienced in silence, reading the inscriptions, not listening to the patter of a guide. He delineates the complementarity of a vibrant urban culture —music, poetry, dance — and animated bazaars, the tranquil atmosphere of the countryside, fields and hills dotted with ruins. “The charm of the Delhi scene,” as historian Percival Spear would describe it a century later.
In a sentence that sounds startlingly contemporary, Syed Ahmad Khan is distressed by the “recent” increase in the city’s population, making it — and also the bracing hills of Mehrauli — unpleasantly congested. But he insists that “in spite of all these factors, the climate of Delhi is still a thousand times better than that of other cities.” The magnificent Mughal fort (remember that he was writing well before 1857) is described in the second chapter; Shahjahanabad in the third; the artists, poets and musicians in the fourth (the section captioned, charmingly, ‘The nightingale-like sweetly-singing people of Shahjahanabad on the outskirts of Paradise’).
Shining light on Delhi for other historians
It was a challenging task. Delhi’s landscape was not easy to read in the complete absence of any older accounts or images. There was overlap, modification (particularly in the Qutub Minar area), vandalism (of poet Abdul Rahim Khan-I-Khana’s tomb by the ruler of Awadh). As a teenager, Syed Ahmad Khan was interested in astronomy, so his distress over the neglect of Jantar Mantar is understandable. He would have liked to spend more time studying it: “I will need a separate book to describe the workmanship, use and effectiveness of these instruments.”
Mirza Ghalib, in the ‘Foreword’, describes his friend’s book as one that would “numb the hands of other writers.” Khan’s meticulous account of buildings, even those in ruins, became the template for later books in English. “He who undertakes to write the archaeology of Delhi must constantly seek for light in the pages of Syed Ahmed Khan’s interesting work on that subject,” wrote Carr Stephen in The Archaeology and Monumental Remains of Delhi (1876).
More than 20 years lapsed between Asar-us-Sanadid’s second edition and Stephen’s book. A world separated the two publications. Khan, posted in Bijnor (in present-day Uttar Pradesh), was not caught in the trauma of 1857 (the Great Revolt). Some of the poets he had listed in Asar-us-Sanadid — like Ghalib — sought relief by writing laments to their ravaged city. His own reaction was different. With a sense of grief at seeing an efficient machine derailed, Khan would write Asbab-e-Baghawat-e-Hind (The Causes of the Indian Rebellion) to understand what had gone wrong. His bond with Delhi was severed. He went on to become a distinguished public figure in north India, remembered today for the institution he founded, the Aligarh Muslim University.
Hopefully, reading Asar-us-Sanadid now will return the young Syed Ahmad Khan to us. The past is in many ways a foreign country, and to walk with a guide through towns of the past is an invigorating exercise.
This article is the first of an eight-part series on Reading A City with Saha Sutra on www.sahapedia.org, an open online resource on the arts, cultures and heritage of India. Read the series here.
Dr Narayani Gupta writes on urban history, particularly that of Delhi. Views are personal.
source: http://www.theprint.in / The Print / Home> Opinion> Sahapedia / by Narayani Gupta / December 01st, 2019
Today’s B-towns can become culture-towns, if they don’t lose their way in malls and flyovers. The Lucknow described by Abdul Halim was one such city.
Lucknow | File photo | Wikimedia commons
The essays of Abdul Halim ‘Sharar’, published 100 years ago, gave readers a sense of the culture of Lucknow, along with its short history. They don’t write like that anymore. For many people, his writings helped the spirit of guzishta (old) Lucknow survive through Partition, and Mayawati-fication.
The poetry, the conversations, music and dance, fragrances—there was a whole culture to imbibe in Lucknow, but for most people today there is only chikan and kakori kebabs.
Lost in translation
Translated as Lucknow: The Last Phase of an Oriental Culture by Fakhir Hussain and E.S. Harcourt (in 1975 and then reprinted in 1989), from the Urdu Guzishta Lucknow, the modification of Sharar’s title in translation was itself a concession to ‘orientalism’.
Much is lost irreparably when the original present tense is translated as past tense. Lucknow’s culture, creativity, cultivated language and civility are never conveyed in textbooks, and children will never know what went on in the beautiful buildings now presented to them as ‘monuments’, hollowed-out inside.
How do they make sense of cities less than 300-years old, but which have changed irrevocably? What will the lovely line ‘Subah-e-Banaras, Sham-e-Awadh, Shab-e-Malwa (Dawn in Benaras, twilight in Awadh/Lucknow, night in Malwa/Bhopal)’ mean to them? Will they realise that Awadh translates as Lucknow and Malwa as Bhopal? At dusk, will the visitor hear the magic of the notes of music and tinkle of anklets that a Bengali visitor, a contemporary of Sharar, recorded in his diary? All now drowned out in the cacophony of car horns and police sirens.
A whole culture—of poetry and calligraphy, music, sports, cuisine, fashions in costumes, festivals and processions—is described in leisurely fashion by Abdul Halim. His remarks on whether these skills have been honed over time or have lost their vitality show a fine sense of history. There is obvious distress at the way the British caricature arts and ceremonies, which they do not try to understand. Two chapters in his book on the art of making paan and serving it might appear excessive, but think of the detail attached to the Japanese tea ceremony.
Culture towns and smaller havens
Lucknow-lore enjoyed a renaissance from the 1970s. Premchand’s Shatranj ke Khiladi (The Chess Players), transformed into Satyajit Ray’s film, recreated the gentle atmosphere of the city in 1856, its people free of any premonition of what was to come.
It took historians such as Veena Oldenburg to rescue the courtesans of Lucknow from obscurity; Rosie Llewellyn-Jones to bring alive an earlier cosmopolis of Frenchmen, the Nawab and the taluqdars (landed gentry), poets and musicians; Michael Fisher and John Pemble to untangle the connections between the Nawabs and the East India Company; and the Alkazi Collection to publish the spectacular photographs of the City of Illusion (2006).
The Revolt of 1857–58 was most protracted in Lucknow. But that did not snuff out its court culture, as it happened in Delhi. Because by then, a little twin was being nurtured in the unlikely environment of British Calcutta.
Matia Burj was the Bengal suburb to which Nawab Wajid Ali Shah and his family moved after the East India Company annexed his kingdom in 1856. From here, Shah planned to send representatives to petition Queen Victoria for the return of his kingdom. This was put paid to by the accident of the Revolt. Sharar describes the fantasy-city that the Nawab created in Matia Burj, which declined after his death in 1887 (but we know from the research of Brinsley Samaroo that Lucknow’s Kathak and music travelled to a third home, in the West Indies, carried by the Matia Burj inhabitants who migrated from Diamond Harbour as indentured labourers).
Sharar lived in Matia Burj till he was 20. Like Syed Ahmad Khan earlier, he started his career as a journalist in his teens, as the Matia Mahal correspondent of Avadh Akhbar. He then moved to Lucknow, which he recognised from Matia Mahal, rather than the other way around. It was in middle-age that he wrote the articles that were published in Dil Gudaz, a literary journal, between 1910 and 1920. The Last Mushaira of Delhi, by a fellow writer Farhatullah Baig, also appeared first in the form of a print series, in 1927.
When political structures decay, culture flowers in smaller havens. Like the German Renaissance towns, the successor-states of the Mughal Empire left in their wake India’s culture-towns—Hyderabad, Jaipur, Bhopal, Tonk, Rampur. There must have been similar sequels earlier, to empires like that of the Cholas and of Vijayanagara.
What are today called ‘B-towns’ or Tier-2 cities have the potential to become culture-towns, if they don’t lose their way building malls and flyovers. SMART cities will be sterile places if their efficiency ignores the spaces and activities that nourish the mind and create camaraderie.
This article is the second of an eight-part series on Reading A City by Saha Sutra on www.sahapedia.org, an open online resource on the arts, cultures and heritage of India. Dr Narayani Gupta writes on urban history, particularly that of Delhi.
source: http://www.theprint.in / The Print / Home> Opinion> Sahapedia / by Narayani Gupta / December 08th, 2019
