Tag Archives: Amjad Ali Shah

Celebrating Nawab Wajid Ali Shah and His Contribution to Kolkata’s Culture

Kolkata, WEST BENGAL :

Nawabi Calcutta: An overlooked era, organised by Know Your Neighbour and INTACH, highlights how Thumri, Kathak and Urdu blossomed under King of Oudh’s patronage.

Speaker Sabir Ahamed during the bicentenary celebration of Nawab Wajid Ali Shah | Picture: Know Your Neighbour

Kolkata:

We all remember the story of Wajid Ali Shah, the ruler of Oudh, being exiled to Kolkata by the East India Company for being a poor administrator. But how many of us know that the ruler had travelled to the colonial Kolkata with around 6000 attendants in 1856, in hope of travelling to London to place his case before Queen Victoria concerning the unfair annexation of his kingdom? How many of us are aware of the fact that it was only in 1857, when the first revolt for independence broke out that the recuperating Shah was kept under house arrest?

But the most intriguing aspect about the Shah’s stay in Kolkata was his ability to not lose hope, despite being robbed of his throne and his journey of recreating mini-Lucknow (Metiabruz) along the bank of river Hooghly. And little by little bringing the Lucknowi style to Bengal.

How the Shah took on to his new life, patronised art and rebuilt a mini-empire of his miles away the banks of Gomti was what Nawabi Calcutta: An overlooked era attempted to recall.

“There is more to Wajid Ali Shah and his ‘Chota Lucknow’. We shouldn’t just remember him for bringing biryani to Kolkata and giving it a spin by introducing potato to it,” said Sabir Ahamed, of Know Your Neighbour (KYN), during his inaugural speech.

The remains of structures built by Wajid Ali Shah, have often been overlooked by Kolkatans. Rare images of old Metiabruz and structures built by the last king of Oudh were screened during the programme. Ninety-nine per cent of these structures built by the Wajid Ali Shah, no longer exist, said Shaikh Sohail, who conducts heritage tours in Metiabruz. He gave a call to all to come and visit the remains and know the history of the Shah’s ‘Chota Lucknow.”

The invitation card of the event

Remembering the last king of Oudh, Sudipta Mitra, author of Pearl by the River ( a book that documents the life of Wajid Ali Shah)  chose to highlight his love for rare animals. A connoisseur of wild animals, the Shah even created a mini zoo, which home some rare animals including an open snake house much ahead of Kolkata having a zoo of its own.

“His love to collect unique or rare wild animals for his personal zoo was so famed that zoologist  Edward Blyth once wrote to his friend Charles Darwin about the King of Oudh and his love for animals. He wrote that till the Shah is alive, animal trade would flourish in India,” said Mitra.

He then went on to add, “Once Oudh was annexed, about 18 tigers from the Shah’s personal collection were brought by Blyth for Rs 20 each. These tigers were put on display for the public at the present age Teratti Bazar. And later when the Shah made Metiabruz his home, he brought three tigers from his pre-owned collection for his new personal zoo at a much higher price.”

In a bid to feel at home, the pining Shah, even established the famed Sibtainabad Imbara, where he now rests, much like his father Amjad Ali Shah, who rests at Hazratganj’s Sibtainabad Imbara.

Debunking the poor administrator theory was Dr Soumik Bhattacharjee. While addressing the audience, Dr Bhattacharjee said, “The East India Company (EIC) created a narrative to justify their annexation of Oudh. The Shah was a lover of art, and that’s not a crime. He promoted thumrikathak and a lot of artists during his reign. He also introduced a number of administrative reforms, which were good for Oudh. But the ECI brought in laws that made it difficult for the king to do his work in a judicious way. The king, failing to understand the implications of the new laws, fell prey to ECI’s trap.”

A portrait of Nawab Wajid Ali Shah at the event venue| Picture: Soumyadeep Roy

“While Prem Chand was almost reprimanding in his play Shatranj Ke Khiladi, Satyajit Ray was more understanding towards the king of Oudh. The king’s decision to not revolt against the British and approach Queen Victoria regarding the unfair annexation should be seen as his fondness for non-violence and not weakness,” he summed up.

Taking up from where Dr Bhattacharjee left, was foodpreneur and great great granddaughter of the Shah, Manzilat Fatima. “It’s sad that not many know about the history and reality of Wajid Ali Shah. My father, Dr Kaukab Quder Meerza, wrote a book on him in Urdu, which has been translated into English by sister Talat Fatima.” She added that they are also working on a project to highlight the revolutionary work of Begum Hazrat Mahal.

On being asked if the Indian historians have been a little harsh on the king of Oudh, she said, “It’s sad that the historians despite being Indians chose to highlight the narrative set by the British and East India Company. But it’s heartening to see so many remember Wajid Ali Shah with great fondness. I am humbled by the number of events that are being organised to mark his bicentenary. As his descendants, we will try doing our bit to keep his legacy alive.

While, Mohammad Reyaz, Assistant Professor, Aliah University, highlighted the central focus of the Nawab’s migration – rebuilding a new city, which was demolished after his death and the legacy that he created in the field of art. “The Nawab of Oudh was beyond bringing biryani to Kolkata,” he said.

The event organised by INTACH (Indian National Trust for Art and Cultural Heritage) and Know Your Neighbour, also hosted an art exhibition – Dastan-e-Akhtar by visual artist Soumyadeep Roy, who chose to pay tribute to the king through his paintings.

Also present at the event was Sarod maestro Irfan Md Khan, whose ancestor had travelled to Kolkata with Wajid Ali Shah. He summed up by saying, “The Shah was a patron of art. He patronised and promoted kathak, thumri and sarod to this city.”

source: http://www.enewsroom.in / eNewsRoom India / Home> Bengal> Inclusive India / by Shabina Akhtar / July 26th, 2023

Lucknow, recovered

Lucknow, UTTAR PRADESH :

Lessons in conservation at the Sibtainabad Imambara

As a young girl, when I was studying in Lucknow, I would often go to Hazratganj to buy storybooks. Browsing through the collection in the market and buying a book would be the highlight of every week. I only had my eyes on the bookshops and never on the name of the market or the dilapidated gateway, which had once been impressive but now looked the worse for wear.

Even on subsequent trips as an adult, I never bothered to think about it till the day a Lucknow-based heritage activist and lawyer, Syed Mohammad Haider Rizvi, invited me to speak at an inter-faith assembly in Sibtainabad Imambara.

As a devout follower of Imam Hussain, I had visited almost every Imambara in Lucknow for the majlis, or assemblies, to commemorate his sacrifice, but never this one. I wondered why I hadn’t even know it existed. I soon found out.

Origin of the Imambara

Amjad Ali Shah was the fourth Nawab of Awadh and ruled from 1842 to 1847. Since he had a religious bent of mind, as a child he learnt Islamic values of faith and piety. His piety as a ruler earned him the sobriquet of Hazrat. The famous Hazratganj of Lucknow is named after him and that’s the area where he chose to build an Imambara which would also house his mausoleum.

It was started in 1847 and completed after his death by his son Nawab Wajid Ali Shah. It was named Sibtainabad as the two Shia imams Hasan and Hussain (grandsons of the Prophet) are known collectively as Sibtain.

When I entered, I found myself inside a huge open area from where I could see a compound with a beautiful Imambara, a congregation hall for assemblies where Imam Hussain is mourned.

The Imambara architecture comprises a main hall (with additional halls depending on the size) where the mourners gather, a raised shahnasheen (platform) where the taziyas and alams (replicas of the shrine of Imam Hussain and his standard) are kept. A pulpit would be kept on one side for the speakers who would speak of the tragedy of Karbala.

The reason I had never been to this Imambara when I was living in Lucknow soon became clear. Once a beautiful Imambara covered with fine carpets, silk curtains, priceless art treasures and exquisite chandeliers, it was vandalised in 1857 during the First War of Independence. Nawab Amjad Ali Khan lay buried here in a vault under the central hall, forgotten by all.

It was even used as a church by the British officers till 1860, while the Christ Church was being built, and Lord Canning attended a service in the building.

In 1919, it was declared a protected monument by the Archaeological Survey of India (ASI). Despite this, it was sold by one Sultan Bahadur in 1921, who claimed to be a descendant of Nawab Amjad Ali Khan, to the Lucknow Improvement Trust (LIT). The LIT, in turn, allotted the surrounding land for residential purposes. The Imambara fell into disuse and disrepair.

The main Imambara post-1947 was used as a workshop and storehouse for furniture as well as by the government census office. A motor workshop had sprung up outside.

In 2008, Rizvi was appointed the joint mutawalli by the Shia Waqf Board and he started the long fight to free it from encroachment and illegal occupation. He took recourse to judicial avenues and slowly, with the help of Right to Information applications and public interest litigations, he succeeded. Then came the task of restoration, which was undertaken by the ASI.

The splendour inside

The approach to the Imambara is through the gateway and into an open space which gives way to an enclosed court. The Imambara stands on a high platform and its arched façade looks very impressive, with its delicate floral stucco and stained glass doors. The inner walls, which had got blackened with neglect and abuse, have been lovingly restored, and its green and white paintings and stucco work are exquisite. The roof and “its beams, which formed a vault over the grave of the late king, had collapsed in a heap of rubble,” according to a 1945 report. It once again supports beautiful glass chandeliers.

A recurring motif on the archways inside the halls is a painting of the Prophet’s celestial steed, the ‘buraq’, that carried him to heaven on the night of ascension. The master mason, Ansaruddin, traced out the designs and restored the paintings and stucco work very carefully.

Preservation of our heritage is our fundamental duty as it is an important source of history of the era in which these buildings were built. If other ‘lost monuments’ received such dedicated and methodical renovation, they could also be rehabilitated and restored to us.

source: http://www.thehindu.com / The Hindu / Home> Opinion> Columns / by Rana Safvi / November 26th, 2017