muraqq'a-i-Chughtai : The Illustrated Poetry of Ghalib -- Abdur Rahman Chughtai

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DEPARTMENT OF ARCHAEOLOGY

CENTRAL

ARCHjEOLOC I CAL LIBRARY

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MURAQQA4-CHUGHTAI PAINTINGS OF M. A

RAHMAN CHUGMTAI

With about Fifty Plat««

introduction BY

Or. James H. Cousins. D. Litt,

With full Text of Dlwan i-Ohallb ANU foreword BY

ni». ^iR MUHAMMAD IQBAL* KT^ PM. D.

JAHANGIR BOOK CLUB CHABUX SWARAN

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INTRODUCTION BV

JAMES H. COUSINS, D. LITT. Some good people, when they see certain pictures of modern artists, recall some two or three colour-prints that have seen* and sagely remark, with a trace of disparagement: “Ah, Japanese influence** As if a great grandmother of the arts of Asia should be rebuked for preserving some trace of resemblance to her children’s children Wider knowledge knows that the matter is the other way round, and that Utamaro’s ladies are Imeal descendants of the Shakli of India, thinned, coif fed and costumed by the temperament and climate of Japan.

The same good people or others have been heard to remark In front of one of Rahman Chughtai’s pictures: "Ah, Persian influence", Persian surely* for the very reason that Chughtai is a Persian of the lineage of the Tartar-Mughals and of the family of the master-builders of the Pearl Mosque of Delhi and the Taj Mahal of Agra,

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U does not* of course, follow that, because Chughtai is In blood Perslair, he should therefore paint Persian. Some of the masters of Mughal art In the sixteenth and seventeenth centuries were pucca Hindus, and some of the Indians lo-day who ape a foreign art are not pucca anything, but in the case of Chughtai it just does follow. His cultural tradition takes fresh birth in hiin. with a difference due to passing time and personality.

So far as Chughtars art is concerned, India to him might as well be India of Akbar. It is perhaps as welt for us that It is not If it were, he might have created lor us some other, and it might be soma less delectable world than the Persian world of dreams that Is evoked in these lovely pages ; for he belongs to the tribe of romantics whose caravan is never fully content unless when it is camped by the river of yesterday or lo-morrow. Another of the tribe, the English poet Keats, took refuge from his time in a Grecian world of hfs own making. But Chughtai carries his refuge about with him, and sets It

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visibly in our midst with the fine gesture of invitation to enter and enjoy which Is made in this volume.

What some wealthy institution or patron should have done, the young artist has himself accomplished outof the results of a short but brilliant career (he is only twenty-nine). He loves his Ghalib, being himself a Poet; he loves his art; he knows that others love it; and he desires that the happiness of the possessors of his original paintings should beshared by a large circle of lovers of art. And,being a romantic, he desires no profit. He gives us this gallery of the most exquisite art, this product of his highest inspiration and craftsmanship and the finest.achievement of colour repro^T duction, for what it costs.

For this the little world of lovers of pure painting will thank him. Were this introduction to this volume permitted to be more than a simple signal, it would dwell on what is within with greater enthusiasm ; on the skill that has achieved perfect assurance and extraordinary ease and on the passionate reserve and chaste intensity that are perhaps the most distinctive con-

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tributiun of the Persian and Alughal genius of the past and of Chughtai lo-day to the art of India and the world.

It is perhaps the'*Onetita!”charact€r of Chughtai's pictures that will win admirers for them outside Asia Their amaz> ing technical skill is acceptable to all who are sensitive to excellence achieved. But the remoteness from so-called realism which Chughtai has deliberately cultivated wifi be specially acceptable to those who are now feeling the pull away from an alleged truthfulness to eye-sight, towards the truth of the Imagination. This has been the mission of the Oriental art for ageSt and a study of a set of Pesian paintings (of which good reproductions can now be readily obtained) side by side with these of Chughtai, w ill show' where they are at one in their mood of gentle repose, in their pictorial lyricism, and where Chughtai, with the Impulse of the creative artist who has the sense of tradition, has made his wholly detightful and Individual contribution. He retains the distinctive, mood and posture of the Persian tradition but gives his pictures a special quality of

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hl5 own in lovely colour combination. In delicious lines that seem to be less lines of painting than of some inaudibie poetry made visible, in folds of drapery that are never mere coverings to or discoverings of the human body, but best men in the liturgy of beauty, in decorative backgrounds based on Saracenic architecture that call the imagination away from the tyranny of the actual into free citizenship of the realm of romance.

One would like to follow up these excellences from picture to picture, but space forbids. The wish must here be content with hand outstretched towards infinite riches In a little room and a profound salaam to the gifted artist.

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Adyar, Madras April 1928.

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Sir Mohammad t^btl—The Poet of the East

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W’XLCOME *Mur3qqa-t-Cbughtar^^halib's [iJustratad Edition by Mr. M. A. Rahman Chughtai~a. unique enter* ise in mi^em Endian paindng and printing Unfortunately* am not competent enough to judge the technical side of painting, and refer the reader to Dr. Cousins's admirahk Introduction in .which ' he has analysed some of the more important forctf that are shaping Chughtai's artistic ideal.

All that I can aay is that E look upon Ait as subservient to life and personality. I expressed this view as far back as 19H in my 'Asrar-i-Khodi*. and twelve years later in the last poem of the 'Zubur-i-‘Ajaro‘ wh^mn I have tried to picture thp soul-movement of the ideal artist in whom Love reveals itself as a unity of Beauty and Power

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From this point of view some of the more recent pamtings of Mr. Chughtai are indeed remarkable. The spiritual health of a people lartely depends on the kind of io^iration which their poem and artists receive. Bot inspiration b not a matter of choice. It b a gift, the character of which caimot be critically judged by the recepieot before accepting it. It comes to the tndi^^ual unsolicited, and

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only to sodaDfc it5«li For this reason the personality that receives and the life-i]uality of that which is received mc matters of the utmait importance for mankind Th^ inspiration of a single decadent, if his art can lure hi» fellows to his song or picture, may prove more ruinous to a pco^t: than whole battjJions of an Attila or a Changes. As the Prophet of Ubm said of Imra'u) Qais-tbe greatest poet of P^lsiamic Arabia

To permit the visible to shape the invisible, to seek what is acicntificalJy' called adjustinent with Nature is to recoRfiise her mastery over the spirit of man- Power comes tromresisting her stimuli, and not from exposing ourselves to their action Resistance of what is with a view to create what ought to be, i* health and Ufe All else is decay and death Both God and man live by perpetual creation

The artiet who is • blrasing to menkintl defies fife

Heissn^LSSwof (W sod Eternity in his soui.

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MKh for -^^t ■ which the ittist most discover with.n the deeps of his own being

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And m 90 far ai the cultural history of IsUtn u oONicerDed, tt i* my belief that, with the Bingle eaception of • Aidiitecttire. the art of IsUm (Music Painting and even .Poetry) » yet to be bom—the aft. that is to say. which^ aim* at the human asiiroilatiott of Divitie attributes l^es man infinite aspirdon. and finally wins foe him ^ status of God's Etepreseatative on earth.

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There arc however. IndicatioiiB to show that the young artist of the l^njab is already on the way to feel his responsibility as an artUL He is only twenty.nine yet What bis art will become when he reaches the maturer age of forty, the future alone will disclose. Meanwhile all those who are interested in his work will keenly watch his forward movement.

Lahore; 21st July 1928

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A Persian idylL

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The Brimming Cup.

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