Category Archives: Arts & Crafts / CraftsPersons (wef. January 14th, 2025)

Wasifi family brings Tonk’s calligraphy to the global stage

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Tonk, RAJASTHAN :

Qari Mutiullah Wasifi with his prize winning work

Qari Mutiullah Wasifi, a calligrapher from Tonk, a city in Rajasthan, won the second prize in the International Islamic Calligraphy Competition, organised by the Islamic Art Society in New York, USA.

This recognition comes amid the rise of digital fonts and artificial designs globally.

Qari Mutiullah Wasifi competed with more than 4000 artists from around the world. On this occasion, Qari said his success at an international forum is not sudden. Over the past four years, India’s presence in this competition has been consistent, and the Wasifi family has made it to the top every time.

In 2022, Qari Mutiullah Wasifi received the first prize. A year later, his son Haris Wasifi secured second place. In 2024, Haris won the first prize.

This year, the first prize was bagged by Egypt, the second by India, the third by Pakistan, and the fourth by Turkey. The award includes a certificate, a memento, and a cash prize. However, for the Wasifi family, the real honour is the recognition that comes with representing India.

Qari Mutiullah Wasifi at work

Qari Mutiullah Wasifi’s journey didn’t begin at an art college. His first school was his own home. His late father, Qari Salimullah Wasif Furqani, was a renowned calligrapher, reciter of the Quran, and a scholar. He had a command of Arabic, Persian, and Urdu.

His calligraphy of the Quran was his speciality. As a child, Mutiullah watched his father sit for hours, writing. The sharpness of the pen, the curves of the letters, and the measured amount of ink used were not mere play for him, but a matter of discipline.

For formal education, he enrolled at the Maulana Abul Kalam Azad Arabic-Persian Research Institute (APRI) in Tonk. He completed a four-year diploma course, recognised by the National Council for Promotion of Urdu Language (NCPUL), Delhi. This is the same institution that has made Tonk a centre for Arabic and Persian studies.

Tonk is generally known for its madrasas, books, and Islamic education. But this city has also witnessed a well-established tradition of calligraphy. During the Nawab era, calligraphers from Iran and Central Asia taught locals the art.

Institutions like Maulana Abul Kalam Azad Arabic Persian Research Institute (APRI) have preserved this legacy. This institution has trained many calligraphers who have made a name for themselves in India and abroad. Qari Mutiullah Wasifi is an important link in this chain.

Wasifi told Awaz-the Voice that for him, calligraphy is not just a means of decoration, but a part of worship. To date, he has handwritten 27 copies of the Holy Quran. Some of these Qurans are written in extremely fine script, while others are adorned with gold and silver.

Qari Mutiullah Wasifi with a competitor

He has also undertaken unique projects, such as writing the entire Quran on a single large sheet of paper. This work requires years of practice and patience. The placement of each letter is crucial, and even a single mistake can ruin the entire work.

One of Qari Mutiullah Wasifi’s lesser-known yet important contributions is related to the preservation of manuscripts — completing the half-done copies of the Holy Quran and rare books in Arabic, Persian, and Urdu. So far, he has completed approximately 500 incomplete Qurans and hundreds of old books.

He has undertaken projects for private collectors, libraries, and research institutions. This effort breathes new life into books that might otherwise have been lost to oblivion.

Wasifi’s art is not limited to paper. He has done calligraphy on cloth, leather, wood, metal, grains of rice, lentils, marble, hair, and even inside bottles. This art is not only a test of manual dexterity but also of concentration and balance.

Wasifi participated in the international calligraphy competition organised by the Islamic institution “Irtika” in Istanbul, Turkey, in 2022. This institution organises a prestigious global calligraphy competition every two years, in which renowned calligraphers from around the world participate.

In 2023, he also participated in the international calligraphy competition organised by Fujairah Company in Dubai (UAE). This competition is known for its distinguished jury and global participation.

Wasifi says that if workshops, exhibitions, and competitions are considered together, his participation in national and international events, both within and outside India, totals approximately 30.

Wasifi thinks it’s not his achievement, but a means of showcasing the Indian calligraphy tradition at the international level.

According to him, such platforms provide artists with opportunities to learn, test themselves, and connect with calligraphers from around the world. He has also received several honours at the national level.

He has also participated in international exhibitions and workshops in places like Bengaluru, Udaipur, Aligarh, Diggi Palace in Jaipur, and the Lalit Kala Akademi in Delhi.

In the Wasifi family, this art has been passed down from one generation to the next. Qari’s eldest son, Haris Wasifi, is an internationally acclaimed calligrapher. The second son, Abbas Wasifi, is a Hafiz and Qari (one who has memorised the entire Quran and recites it with proper pronunciation) and is pursuing his education at Nadwatul Ulama, Lucknow.

The daughter, Sidra Wasifi, is an Alima (a female religious scholar) and teaches calligraphy to young girls. This family is not only preserving art but also discipline and heritage.

Qari Mutiullah Wasifi has established ‘Bazm-e-Wasif‘ in memory of his father. His dream is to create a special library and museum of calligraphy in Tonk, where his and his father’s manuscripts can be safely preserved. He says that despite the lack of resources, his resolve remains unwavering. His goal is to ensure that this calligraphic heritage of Tonk reaches future generations.

source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Farhan Israeli, Tonk (Rajasthan) / January 29th, 2026

Assam’s Nuruddin Ahmed Honored with Padma Shri for Artistic Excellence

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ASSAM :

Nuruddin Ahmed, Assam’s sculptor and art director (Photo/ANI). Image Credit: ANI

Assamese sculptor Nuruddin Ahmed has been awarded the Padma Shri 2026, recognizing his outstanding contributions to art. Expressing gratitude towards the people of Assam, Ahmed hails the award as a life-changing moment. The Padma awards honor distinguished service in various fields, with 131 recipients, including posthumous recognitions, announced this year.

In a remarkable acknowledgment of his artistic contributions, Assamese sculptor and art director, Nuruddin Ahmed, has been awarded the prestigious Padma Shri for the year 2026 in the field of art. On receiving the honor, Ahmed expressed heartfelt gratitude to the people of Assam, considering the award a defining moment in his career.

Speaking with ANI, Ahmed extended his thanks, attributing his success to the unwavering support from Assam’s residents. ‘This recognition serves as a milestone, propelling me towards greater aspirations in life,’ he remarked.

The esteemed Padma Awards, announced annually on Republic Day, highlight exemplary service in diverse domains. This year, the President of India approved 131 honors, spanning categories like art, public affairs, medicine, and more. The revered Padma Vibhushan, Padma Bhushan, and Padma Shri awards were conferred on both national and posthumous figures, recognizing their invaluable contributions.

(With inputs from agencies.)

source: http://www.devidiscourse.com / Devi Discourse / Home> News> Law & Governance / by Devi Discourse News Network / January 27th, 2026

I received my wages for hard work of decades: Ghafruddin on Padma Shri

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Alwar, RAJASTHAN :

Gafaruddin Jogi Mewati

My joy is like that of a labourer who goes to work in the morning and receives his wages the same evening,” said Ghafruddin Jogi Mewati, a traditional singer, who has been selected for this year’s Padam Shri award by the government of India.  

Ghaffaruddin, 68, has showcased his art for more than half a century, from the rugged lanes of Mewat to the seven seas. As soon as the announcement of the coveted award poured in, Ghafruddin, a resident of Alwar, was overwhelmed with emotion.

Memories of him wandering barefoot through the villages of Mewat, playing the bhapang (A traditional string instrument) and begging for flour, flashed in his mind. Today, he feels that he has received the wages for all that hard work he did to keep a traditional art form alive.

He feels the Padam Shri is not just an honour for an individual, but for the centuries-old Mewati culture, the legacy of the Jogi community, and the rhythm of the bhapang, which is on the verge of extinction.

The Mewat region, which straddles the borders of Haryana and Rajasthan, possesses a unique identity as a syncretic culture.

Here, the Jogi community, who are Muslims, has, for generations, sung episodes from the Mahabharata and other folk tales.

#WATCH | Folk artist Gafruddin Mewati Jogi, awarded the Padma Shri in the field of art, said the honour marks the culmination of a lifelong struggle.


He recalled learning and preserving the art by travelling with his father, passing it on to others, and continuing the… pic.twitter.com/xiYDWTOqSQ— DD News (@DDNewslive) January 26, 2026

Ghafruddin is one of the strongest exponents of this tradition. He says, “Stay connected to your language, culture, and folk art; that is our true identity.” For him, this honour is a debt he owes to the soil of Mewat, which nurtured him during his days of struggle.

Born in Kaithwara village in the Deeg district of Rajasthan, Ghafruddin’s childhood was no less dramatic than a film script. His father, the late Budh Singh Jogi, was an accomplished artist. At the tender age of four, when children usually play with toys, his father placed a ‘bhapang’ in Ghaffaruddin’s hands.

The Bhapang, which resembles a small drum but has a single string, is considered an evolved form of Lord Shiva’s damru (a small hourglass-shaped drum). Playing it requires an extraordinary coordination of abdominal muscles, fingers, and vocal rhythm.

As a child, he learned by travelling from village to village with his father, sitting in village squares, and listening to folk tales.

They had to beg for grain and flour in villages to support the family. Those were difficult days, but the rhythm of the Bhapang never let him lose hope.

The most significant aspect of Gafruddin Jogi’s art is his rendition of the Mahabharata. Remarkably, a Muslim artist sings the epic of Lord Krishna and the Pandavas with such devotion and purity that the listener is completely captivated. Alwar and the surrounding areas are historically linked to ‘Viratnagar,’ where the Pandavas spent their period of exile.

When Gaffaruddin narrates these folk tales in the Mewati dialect, history comes alive. His art has proven that music and culture know no religious boundaries.

The year1992 marked a major turning point in his life. He travelled abroad and performed for the first time. There has been no looking back since then.

He carried the sound of Bhapang to over 60 countries, including England, Australia, Canada, France, and Dubai. When he played Mewati folk tunes at an event celebrating Queen Elizabeth’s birthday in London, even the foreign audience was captivated by the magical rhythm.

When the call on his mobile came, he initially thought someone was playing a prank on him, but when the news was confirmed, he was emotional. He dedicated the award to the Mewat region and the Jogi community.

#WATCH | Alwar, Rajasthan: On being conferred with the Padma Shri 2026 in the field of art, folk artist Gafruddin Mewati Jogi says, “I am very happy that the struggle of my life has finally yielded results, and I have received this recognition… For seven years, I went from… pic.twitter.com/66UQBRb4W5

— ANI (@ANI) January 25, 2026

Today, the eighth generation of his family is carrying on this art form. His son, Dr Shahrukh Khan Mewati Jogi, has not only learned music but also earned a PhD on the culture of Mewat. While many traditional art forms are fading away, Ghaffaruddin’s family is keeping this flame alive.

Ghafruddin Jogi Mewati wants to open a school for folk arts. He wants the government to provide him with land where he can teach the new generation the art of playing the Bhapang, Mewati folk singing, and their traditional stories.

He says that if the younger generation does not stay connected to its roots, we will lose our identity. He says receiving the Padma Shri is not the destination for him, but the beginning of a journey that he wants to continue until his last breath.

source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Younus Ali, Alwar / January 28th, 2026

MF Husain’s horse connection with Indore- Today is his death anniversary

Amazing Feats, Arts & Crafts / CraftsPersons (wef. January 14th, 2025), Arts, Culture & Entertainment, World Opinion

Indore, MADHYA PRADESH :

In 1936 he joined Indore Fine Art College where he trained under Devlalikar Sahab. Later he switched to Mumbai where he took admission in the JJ School of Art. The rest is history.

Husain made portrait of his family members and clicked a photograph. | The Zafar Ansari museum of achieves

Indore (Madhya Pradesh): 

Maqbool Fida Husain is too well known to need an introduction, and most people are also aware of his connection with Indore. However, not very commonly known is the fact that his penchant for drawing horses started when he was a young lad in Indore.

While talking to Free Press, historian Zafar Ansari said, “Husain lived in Indore at a very young age in Chhawni area near Chhawni Bohra Mosque. When Husain was a teenager his Nana (maternal grandfather), who worked as a timekeeper in the Malwa Mill, wanted to make him a draftsman, but Husain was not interested. At one point he went to a Madrasa for becoming Alim but not much came of it.

His grandfather also bought him a camera and he got trained under the renowned photographer Ramchandra Rao and Pratap Rao but Husain did not show much interest in that art form. He started his painting career in Kagzipura area where he used to make Bada ghoda and Chhota ghoda.

His love for painting horses started here and it remained throughout his life as a professional painter.”

In 1936 he joined Indore Fine Art College where he trained under Devlalikar Sahab. Later he switched to Mumbai where he took admission in the JJ School of Art. The rest is history.

source: http://www.freepressjournal.in / The Free Press Journal / Home> Indore / by Staff Reporter / June 09th, 2023

How Taj Mahal and Aligarh’s Jama Masjid – Built 250 Years Apart – Share a Calligrapher

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Agra / Aligarh, UTTAR PRADESH :

The imposing walls of both the Taj Mahal and Aligarh Muslim University’s Jama Masjid have Quranic verses crafted onto white marbles in black paint.

Jama Masjid on Aligarh Muslim University campus. Photo: Author provided.

Constructed nearly 250 years apart, the Taj Mahal in Agra and Jama Masjid at the Aligarh Muslim University (AMU) have an interesting connection.

The construction of the Taj Mahal began in 1632 and was completed in 1653, while the construction of Jama Masjid at AMU began in 1879 and was completed in 1915.

While the Taj Mahal, which is the tomb of Mughal emperor Shahjahan and his wife Mumtaz Mahal, attracts millions of visitors every year, AMU’s Jama Masjid is the main mosque of the university. AMU’s Jama Masjid is, perhaps, the last enduring symbol of the Mughals, constructed when the Mughals lost their kingdom during British rule.

A surprising connection

As one enters the Taj Mahal, beautiful calligraphy adorns all four corners. Several verses from the Holy Quran crafted in black calligraphy on white marble can be seen. This is a unique form of calligraphy, and expert artisans from Persia were involved in creating it. Similar calligraphy can be seem inscribed at the tomb of Mughal King Akbar at Sikandra, Agra, and also at the AMU Jama Masjid.

A closer look at the white marble with Quranic verses in black colour adorning the walls of Jama Masjid in Aligarh Muslim University. Photo: Special arrangement.

In fact, it is believed that the artisan responsible for the calligraphy at the Taj Mahal also brought his expertise to AMU’s Jama Masjid.

Since there is a difference of nearly 250 years between the construction of both architectural wonders, it is interesting to study how this was possible.

During Shah Jahan’s regime, several buildings were constructed, including the Taj Mahal and Delhi’s historic Jama Masjid. The calligraphist used was the same.

Professor Nadeem Ali Rezavi of the Centre of Advanced Studies, Department of History, Aligarh Muslim University, says that the master calligraphist in most of the buildings constructed during Shah Jahan’s regime is the same person.

“His name was Abdul Haq, and later due to his craftsmanship, his rank was elevated. He was given the title of Amanat Khan. In fact, he even signed the bands on this calligraphy with dates,” says Rezavi.

Still, there is a gap of over two centuries between these two buildings, Taj Mahal and AMU’s Jama Masjid.

The connection between the two monuments becomes clear with the involvement of Akbarabadi, one of Shah Jahan’s queens. Her original name was Aiza-un-Nisa. She, in 1650, commissioned the construction of a mosque situated in Daryaganj, Delhi, during the same period. In that mosque, Quranic calligraphy was done by the same artisan in black paint on white marble. This was around the same time as when the Taj Mahal was built.

After nearly two centuries, the Daryaganj mosque was demolished by the Britishers following the 1857 revolt. This was when Britishers gained control over the Red Fort, and the last Mughal emperor Bahadur Shah Zafar was sent in exile to Rangoon. They destroyed many buildings which were supposed to have harboured the rebels. At the site of the destroyed Akbarabadi Mosque, a park was developed and came to be known as Edward Park in 1911, which is now called Subhash Park.

During the same period, Sir Syed Ahmed Khan, the founder of the Mohammadan Anglo Oriental College (which later became AMU) felt the oppression against Muslims after the revolt. He nurtured the idea of setting up an educational institution to try and uplift the community.

A visionary man, Sir Syed had the taste for collecting things, particularly artefacts which had archaeological and historical importance. He was aware of the demolition of the Akbarabadi Mosque in Delhi.

As per the AMU Gazette, the scraps generated at the demolished Akbarabadi mosque were sold to a dealer and later purchased by Sahabzada Suleman Jah Bahadur. These remains were thus sold after over 200 years. These were presented to Sir Syed Ahmed Khan, who planned to use them in the Jama Masjid of the educational institution.

A closer look at the white marble with Quranic verses in black colour adorning the walls of Jama Masjid in Aligarh Muslim University. Photo: Special arrangement.

The white marbles with black calligraphy now present in the Jama Masjid of AMU depict Surah Fajr from the Holy Quran. Thus centuries apart, the two buildings carry the work of the same artisan.

“Even if you compare, it is the same thing and the only difference is in the scale. The artisans are the same who have shown their skills in the construction of the Taj Mahal,” says Prof. Rezavi.

Thus AMU’s Jama Masjid is, perhaps, the last enduring symbol of the Mughals, constructed when the Mughals lost their kingdom during the British rule. On the other hand, the domes of AMU’s Jama Masjid employed techniques of the Mughal era: they are “true domes” as they were built using lime mortar and vousseurs (wedge cornered stones/bricks).

“It is a brick structure, guava-shaped, carrying white marble with black stripes. This is the last true dome. After this, the particular technology faded out, and the buildings constructed after them have concrete domes,” said Rezavi.

Later, in 2016, AMU authorities began the conservation of the Jama Masjid. Now revived at the cost of Rs 90 lakh, the Jama Masjid has a Hauz in the courtyard, three domes, seven arches and two lofty minarets cornered by a Cricket Pavilion at its rear end. Sir Syed, the founder of the institution, was also buried in the same compound.

Faisal Fareed is a senior Lucknow-based journalist. 

This article went live on June fifth, two thousand twenty one, at zero minutes past seven in the morning.

source: http://www.thewire.in / The Wire / Home> History / by Faisal Fareed / June 05th, 2021

MKF Museum of Art to host solo show by Shoeb Dastagir

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BAHRAIN / Bengaluru / Mysuru, KARNATAKA :

From A Dreamer’s World | Photo Credit: Special Arrangement

A brilliant blue fish glides in a patch of orange pumpkins, another lies still among lilac orchids hoping his camouflage allows him to blend in. These are a few finned beauties artist Shoeb Dastagir has depicted in his solo show A Dreamer’s World.

“I find fish quite calming and I can spend hours looking at them; that is why I began capturing them in my paintings,” says Shoeb, adding he spends a lot of time at the aquarium in Mysore Zoo. “I enjoy watching videos of aquatic life on my phone, too.”

He reels off their names — bumblebee goby, oscars and arowanas, tiger fish, a Brunei beauty and a shark — and how they are all a part of this show. “I am a Piscean, so no matter how hard life gets, fish are a calming refuge for me,” says the artist. “Fish are always calm, going about their lives despite the confines of their surroundings.”

Shoeb Dastagir | Photo Credit: Special Arrangement

He talks about his love for “sunny colours such as tangerine orange, avocado green, icy blue and buttery yellows”. All these hues and more are to be found in his works that exude a touch of whimsy and play out in a fantastical land where an astronaut steps around teacups, fish nestle between blue pea and pearls, and an old-model television sits atop a bouquet of yellow roses.

Though Shoeb draws his inspiration from the natural world, a lot of his art is birthed in his vivid imagination that fuel his compositions of poetry, prose and songs as well. According to his mother Ayesha Dastagir, all these creative interests lead Shoeb to produce bigger and detailed paintings. “One can see a lot of mystical characters apart from the animals and fish, of course. I believe it is his subconscious, sensitivity and imaginary fantasy world that combine to produce something new and different.”

Most of the works in A Dreamer’s World have been executed using pastels and watercolours on paper over the the greater part of a year. Though Shoeb used to paint with oils and canvas, this change in medium came about when he moved from Bengaluru to Mysore, and working on paper seemed a more viable option as space was a constraint at the new place.

From A Dreamer’s World | Photo Credit: Special Arrangement

The artist, who signs his works as Schoeb, his official name which is often misspelt, is currently working on a series of portraits.

The upcoming / current exhibition comprises 24 pieces on display apart from a few others which are a part of the series and are available for sale at the gallery.

A Dreamer’s world by Shoeb Dastagir will be on display at MKF Museum of Art, Bengaluru from November 8-19. Entry free, Mondays closed.

source: http://www.thehindu.com / The Hindu / Home> Entertainment> Art / by Ruth Dhanraj / November 06th, 2025

The actual Taj story: how a monument’s history has been warped

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Agra, UTTAR PRADESH :

Tushar Goel’s film, ‘The Taj Story’, has reignited controversy over the Taj Mahal’s origins, claiming it is a Hindu temple rather than a mausoleum built by Mughal emperor Shah Jahan. The film’s debut highlights debates about the interplay of history and ideology in contemporary India.

Scaffoldings are pictured as restoration work goes on at the dome of the Taj Mahal in Agra on October 17. | Photo Credit: AFP

A little over 60 years ago, Purushottam Nagesh Oak slept and dreamt. He woke up and claimed that the Taj Mahal in Agra was actually a Hindu palace going back all the way to 4th century. Friends of Mr. Oak, an English teacher-turned-lawyer-turned-journalist but never a historian, told him that the Taj Mahal couldn’t have been a fourth century structure as the technology employed in building the Taj in the 17th century didn’t exist back then. The fantasist turned a pragmatist, and Oak brought his argument forward by a few centuries. The Taj was now claimed to be a Hindu temple. This was in 1989. He wrote articles and a book too, but found no support from historians. Even the Supreme Court dismissed his claims as “a bee in his bonnet” in 2000.

But post-2014, history is like a revolving door, you enter and exit at your ease and pleasure. You pick and choose, you circumvent and invent. Dress it up as a movie and claim you are looking at history anew. That is how we get a movie like Tushar Amrish Goel’s The Taj Story, starring former BJP MP Paresh Rawal; just like we had The Kashmir Files and The Bengal Files, starring Anupam Kher and Mithun Chakraborty, all ideological partners of the Bharatiya Janata Party (BJP).

With The Taj Story, Goel goes where no historian has gone. Proof, evidence and knowledge amount for nothing as the director makes a case for the Mughal monument being actually a Hindu temple, much like the BJP leader Sangeet Som who called it alternately a Shiva temple and a monument built by a man who incarcerated his father. Mr. Som obviously couldn’t make out a Shah Jahan from an Aurangzeb and hence got mixed up. Much like Oak, oops, Goel, who sees no difference between history and mythology, facts and fantasy.

Recorded history

Talking of facts, the Taj Mahal was built by the Mughal emperor Shah Jahan after his favourite wife Arjumand Bano Begum breathed her last after bearing the last of their 14 children. Its chief architect was Ustad Ahmed Lahori. The land for her last resting place was procured from Mirza Raja Jai Singh of Amber who had inherited it from Raja Man Singh, a celebrated general of Akbar, who was Shah Jahan’s grandfather. Shah Jahan compensated Jai Singh with four havelis from the royal property for the massive haveli in which rests Mumtaz Mahal. His firman to Jai Singh, the latter’s agreement and the Mughal emperor’s subsequent letter of granting him four havelis in lieu of one, are all part of history; unlike the claim of The Taj Story which talks in terms of a massacre and genocide of the locals for fulfilling the wishes of an emperor and his consort!

The work on the tomb started in 1632 with the finest craftsmen from across the country and West Asia. The chief mason was Mohammed Hanif from Baghdad who earned ₹1000 a month for his efforts. The pinnacle was built by Qayam Khan of Lahore and its Quranic inscriptions were done by Amanat Khan Shirazi. The mosaic work was done by local Hindu workers. Above all, some 20,000 workmen toiled for 22 years to build the monument to love. Its white marble came from Jaipur, lapis lazuli from Sri Lanka, crystal from China and coral from Arabia. The monument uses the double dome technique, previously seen only in the Humayun’s tomb in Delhi, and never seen in the country before the arrivals of the Turks.

Not the first time

Over the years, many have tried to appropriate credit for its beauty and majesty. In the 17th century, it was claimed by many in the West that the architect of the Taj was Venetian Geronimo Veroneo, a jeweller by profession. Then came the claim by Mughal Beg in Tarikh-e-Taj Mahal that it was designed by Muhammad Effendi, an architect supposedly sent by the Sultan of Turkey. Effendi though was as much an architect as Oak was a historian. In the mid 19th century it was claimed that the monument was the result of the genius of Frenchman Austin de Bordeaux, a jeweller. However, Austin died in 1632, the year the work on the Taj began. With his death all claims of Austin being the Taj’s architect were buried. And facts began to be raised.

As for fantasy, well there is Goel’s film, never mind its claim of presenting the “untold history of the Taj Mahal”. The film, replete with stereotypes of kohl-lined, skullcap-donning Muslims aims at building a nation’s memory on unreasoned mythology, far removed from the well argued debates of history. Much like Oak’s view that Christianity was nothing but Krishan-Niti. Not game for any ridiculous claims in an insipid film which opened with a mere 14% attendance in the first show? Watch M. Sadiq’s 1963-saga Taj Mahal. Sure, you would remember its song, ‘Jo wada kiya woh nibhana padega’, penned by Sahir Ludhianvi and sung with much love by Mohammad Rafi and Lata Mangeshkar. Sadiq’s film with Pradip Kumar and Bina Rai in the lead cast, made no effort at replacing history with mythology.

source: http://www.thehindu.com / The Hindu / Home> Entertainment> Movies> In the limelight / by Zia Us Salam / November 07th, 2025

What It Takes To Be The Keeper of A City’s Lore

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Indore, MADHYA PRADESH :

There are individuals in smaller cities who have taken upon themselves the task of archiving, preserving, narrating, and circulating historical narratives — all for the love of the place and history. Indore-based Zafar Ansari is one such person who has been painstakingly collecting historical artefacts on Indore since three decades.

Zafar Ansari in his Museum Office. Photo: C. Yamini Krishna

As I was preparing for my research visit to Indore for a study on the princely state of Indore, all I found online were a few articles from Free Press Journal on the city. It was just a glimpse of how much of the ‘national’ media coverage and public history writing is focussed on the metropolitan cities.

Absence, inaccessibility, decay of archives and historical artefacts are constant challenges faced by history scholars in India. The lack of historical consciousness, poor funding, disinterest, discrimination, and destruction of the archives based on the ideology of the ruling disposition are some of the known reasons why such problems exist. These challenges are acute as one moves beyond the metropolitan cities, into the smaller cities and towns.

History in India, has mostly been studied from the perspective of the nation and to such endeavour small places are often insignificant. Also due to the policy of housing all the state archives in capital cities and the absence of efforts to do neighbourhood or local/regional histories, smaller cities almost feel ‘history less.’

However, inspite of the institutional gap, voices from the smaller cities are not silent. Each time I have ventured into these cities in search of archives, I have always met individuals who have taken upon themselves the task of archiving, preserving, narrating, and circulating historical narratives — all for the love of the place and history.

Indore-based Zafar Ansari is one such person who has been painstakingly collecting historical artefacts on Indore since three decades. “It all started when I received the National Youth Award for my social activities in 1994. The then President Dr Shankar Dayal Sharma said, do something great, and then I decided I will build a museum for Indore,”Ansari says with a sparkle in his eye as he narrated his dream to make a museum for his beloved city Indore.

“This will be one of its kind museum, dedicated to the city, telling the story of the city,” he mentioned. His office in Barwani Plaza in Old Palasia, bustling with artefacts, feels like a portal into another time. As one spends time with these objects, they start speaking through the voice of Ansari.

A miniature maker for industries by profession, Ansari spends more than 60% of his income towards the museum. He never lets any historical object pertaining to Indore pass, without acquiring it, sometimes this means he has had to pay very high price. “It is almost like an addiction,” he says, “It has its flip sides. I have never been able to pay my daughter’s education fee before the last date.”

The history walks, myth-busting artefacts and rare photographs 

Ansari is also committed towards sharing his collection. He conducts history walks in the city and curates specific objects from his collection to tell stories of the city. Ansari has recently conducted one such walk for some of the dignitaries who had visited India during the G20 summit. He regularly runs a history column in Dainik Bhaskar where he reintroduces stories of the past to Indore’s citizens.

“I don’t just write about Kings, but also about common people, their lives,” he says, what a historian would call the social history of the place.

Through his consistent effort of writing more than 300 essays on history, Ansari has built a cannon of public history for Indore. Sitting among those objects, he narrated how Indore (state) became a commercial centre due to its close connection with opium trade, “Opium would come from Mansur to Indore and then to Bombay. Many traders and merchants from Rajputana and Gujarat settled here to do opium trade with China. After the ban on opium, the trade was converted to cotton industry.”

Ansari is hopeful that his museum will be a pedagogic intervention. “History is not something to be taught in a classroom, it has to be taught in an archive or a monument or on field using objects and artefacts,” he notes. His work with the artefacts also helps him dispel certain myths and false narratives in circulation.

Ansari’s collection has helped writers like Geraldin Lenain to write books such as The Last Maharaja of Indore by providing access to many rare photographs.

A historian or an antiquarian

After meeting Ansari, I was wondering, if there is a term to describe this love for history, something like a cinephile in case of film.

A historian is often a tag used to describe someone who engages in the work associated with history making, professionally, i.e. as a main vocation. A history buff, focusses more on consumption of history and fails to capture the commitment shown by these keepers of a city’s lore. A collector, is often differentiated from an archivist as someone who is more involved in the process of acquiring artefacts, and is not primarily oriented towards providing access. Someone like Ansari, however, who harbours a hope to build a museum, would fall somewhere in between these two.

Cambridge Dictionary offers a word antiquarian, “a person who studies or collects old and valuable or rare objects.” Antiquarianism historically has often had a negative connotation, as someone in an almost ‘mindless’ pursuit of collecting objects and committed to the minute details of it. Historian, on the other hand, is someone who narrativised the past, with the focus on writing.

Historian Rosemary Sweet notes that history writing could be done for political or polemical purposes while antiquarians prided themselves to be impartial and staying true to the material. Antiquarians are often interested even in objects of everyday life which was not of interest to historians. Interestingly, Sweet points out that the contemporary practice of history, associated with archival study, which relies on the details presented by historical artefacts is very close to antiquarianism.

After searching for these variety of terms, I am still left with no word to capture the affective engagement with history which I experienced in the office of Ansari, where history is not just a vocation or a profession, where there is a lot at stake in telling stories of the past, a significant portion of one’s earnings. This voice of history is not a dispassionate, distant evaluation of the past, but is an expression of belongingness.

Deeply personal work like this has larger social implications, it is about communities taking the ownership of their own history, and inculcating historical consciousness among themselves. Such efforts go a long way in forming the first line of defence against vilification of history and weaponisation of history for political gains, of which we are seeing increasing incidence.

C. Yamini Krishna works on film history, urban history and Deccan history. She is a part of the Khidki collective. She currently teaches at FLAME University. 

This work was done as a part of the Foundation Project is implemented by India Foundation for the Arts (IFA) under the Arts Research programme, made possible with support from BNP Paribas India.

source: http://www.m.thewire.in / The Wire / Home> Culture / by C Yamini Krishna / May 16th, 2024

She was the love song

Arts & Crafts / CraftsPersons (wef. January 14th, 2025), Arts, Culture & Entertainment, Books (incl.Biographies - w.e.f.01 jan 2018 ), Karnataka (under research project), Women/Girls(since May26-2021), , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Bilgi Town (Bijapur District), KARNATAKA :

Amirbai Karnataki is one of the earliest Kannada singer-actress who made it big in Hindi cinema. She went to Bombay when women artistes were labelled ‘fallen’, but with grit and passion Amirbai became a star and sang 380 songs in 150 Kannada and Hindi films.

Amirbai’s tale is one of inspiration

For someone who didn’t belong to the gramophone generation but the golden period of radio, Lata Mangeshkar, Asha Bhonsle, Mukesh, and Rafi ruled our hearts and constituted our imagination of a film song. The same AIR, during a light music programme, had played “Ninnane Neneyuta Ratriya Kalede”. This, was a carbon copy of Lata’s memorable “Saari Saari Raat Teri Yaad Sataye”, but the voice was starkly different. It had a heavy nasal tone, and the flawless rendition had a simplicity to it. The charming song left an indelible mark and I felt I had to recover her voice from pages that were unknown to me.

Amirbai Karnataki was an unheard voice for the Seventies: she was long gone, and had faded into the archives of black and white era of early films. She was someone who lived on in personal memories of people who had known and heard her.

Amirbai Karnataki (1912-65), who sang 380 songs in 150 films, was an early singer and actress of Hindi cinema. This singer who sang the unforgettable “Main to pavan chali hoon bole papiha” and “Bairan Nindiya Kyon Nahi Aaye”, was born in Bijapur in Karnataka. During the 1930s Amirbai was a prominent name along with stars like Suraiyya, Shamshad Begum, Noor Jahan and Zohrabai Ambalewali.

When Lata Mangeshkar came on to the scene, many of these singers moved into the background and for the later generations they remained unknown.

Born into a family of artistes, Amirbai’s parents Ameenabi and Husensaab worked for a theatre company and even ran one for many years. Growing up years for Amirbai and her five siblings was filled with music and theatre, what with many of her uncles and aunts being top musicians and actors in theatre. She lost her father early and her uncle, Hatel Saheb took care of all the children.

During those years, Bijapur was part of Mumbai Presidency and the sangeet natak tradition in these parts was flourishing. The famous Balagandharva’s company and several other theatre companies camped at Bijapur; Amirbai and her sister Goharbai, trained as they were in classical music, impressed these companies with their singing and they began to not only sing for several of them, but also act.

As Rahmat Tarikere writes in his biography of Amirbai Karnataki, Amirbai moved from Bijapur to Mumbai, from theatre to films. But the exact date and nature of these movements and transitions are hard to tell. The story of Amirbai is a sum total of several happenings in a historical period as there are few definitive documents to lead us to any accurate picture. Painstakingly put together by the biographer, Tarikere says that when Amirbai reached Mumbai (it was perhaps the year of Alam Ara’s release, 1931), women who worked in films, theatre and music were still seen as “fallen”.

Women artistes were often ridiculed as “free women” and among the several women performers, Amirbai and her sister Goharbai too, tried to free women of this stigma. In fact, families not only disowned such women, but there were instances of women being killed for choosing the arts.

In fact, Rahmat Tarikere says that the kind of fight these women put up with the social circumstances of those days is no less significant than the freedom struggle itself. If women artistes, in the later years, earned fame and reputation, it was because of the sacrifices these women made. Ironically, two very popular films “Basant” and “Kismet” in which Amirbai acted deals with the plight of actresses.

Amirbai became a very reputed singer and actress of her times. She was highly paid, and even built a theatre Amir Talkies in Bijapur. She travelled the length and breadth of North Karnataka giving programmes related to theatre and cinema.

A singer who sang some of the finest love songs, had a very unhappy love life though. Tarikere writes how her husband, a Parsi actor who played villain in those days, Himalayavala, abused her physically and emotionally. She had to suffer several assaults from him and even separation became a painful affair. Unable to recover from the trauma, she went into oblivion for several years, and later Badri Kanchawala, with his love and care brought back peace into her life.

At the age of 55, Amirbai passed away; Karnataka had been unified by then and the rest of Karnataka hardly knew of her. Even the newspapers reported her death four days later. It was only later that people have slowly learnt of Amirbai’s greatness and how Gandhiji was immensely fond of her rendition of “Vaishnava Janato”.

source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / by Deepa Ganesh / February 27th, 2015

How these 10 Muslim changemakers are changing lives in Jharkhand

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JHARKHAND :

Muslim Changemakers of Jharkhand

Ranchi :

Jharkhand is one of the youngest Indian states, located in eastern India, and is also known as the tribal homeland. Since its inception, it has seen good growth, but the teething problems posed their own challenges. During these exciting times, some individuals have made significant contributions to society.

We, at Awaz-The Voice, bring to you stories of such unsung heroes from the length and breadth of India. Here are stories of ten extraordinary Muslim personalities of Jharkhand, who made a lot of difference to the lives of people and thereby helped state’s growth: 

Dr Sajid Hussain

Dr Sajid Hussain left a prestigious research career to build a brighter future for the children of Chitarpur village in Ramgarh. His model, ‘Schoologium’, is redefining education across India.

Sajid explains, “Just as our body needs exercise to stay fit, the brain too needs regular practical workouts to stay active.” At Schoologium, children don’t just study from textbooks — they learn through touch, smell, taste, and experience. It’s learning through interaction and imagination — reminiscent of Rabindranath Tagore’s vision of Shantiniketan.

Sajid worked as a scientist at the National Aerospace Laboratories. But his exposure to premier institutions in India and abroad revealed a painful truth — rural children do not lag because of a lack of intelligence, but because they lack access to quality educational tools.

Determined to bridge this gap, Sajid resigned from his government job in 2012 and returned to his village. That’s where Schoologium was born — the name itself blending “school” and “gymnasium.”

Sattar Khalifa

Sattar Khalifa, better known as Painter Jilani, has brought hope to the people of Palamu, a division in Jharkhand that lags in development and where people face economic deprivation.

In college, Jilani always dreamed of serving people. A painter by profession, Jilani channels his earnings into helping the needy. “Art is my tool, service is my purpose,” he says.

His reputation made sure that even during the peak of Naxal and extremist dominance, Jilani travelled fearlessly between Bishrampur and Daltonganj, through a Naxal-dominated area.

For the poor, Dalits, Mahadalits, and marginalised communities of Palamu and Garhwa, Jilani is a symbol of assurance. From securing ration cards and pensions to arranging drinking water and hospital aid, he is always there.

Mohammad Minhaj

Mohammad Minhaj’s calm countenance hides the fire inside his mind that has driven him to serve society for over four decades. Mihaj has changed many lives in Ranchi’s slums. He ensures the people living in slums get education, health services, and social rights.

His journey began in 1982, when Ranchi was rapidly expanding, but its slums remained shrouded in neglect. Daily wage earners, rickshaw pullers, and working-class families struggled each day just to earn enough for two meals. For them, education was a distant dream. That was when Minhaj decided to step in and make a difference in many lives.

Muzaffar Hussain

Muzaffar Hussain’s dream is simple yet profound — no one in Jharkhand’s Santhal Pargana should sleep hungry. In this remote region, poverty isn’t just a condition — it’s a living reality. The six districts of Pakur, Godda, Sahebganj, Dumka, Jamtara, and Deoghar carry a long and painful history of deprivation, now slowly being rewritten.

A study claims that 82 percent of Santhal people live in extreme poverty, with most owning no land. In the middle of this harsh reality stands Muzaffar Hussain of Pakur, whose battle began even before the Right to Food Act was passed in 2013. Today, while the Act exists on paper, the real task is ensuring food reaches the truly needy — a task Muzaffar has made his life’s purpose. His efforts have borne fruit: around 600–700 families now have ration cards and receive regular supplies of food grains.

Ibrar Ahmad

In Ranchi, the capital of Jharkhand, its lanes, neighbourhoods, and beyond, one name that resonates hope is that of Ibrar Ahmad. Once employed in a bank and associated with the cultural organisation IPTA, Ibrar has been engaged in improving the lives of people around for over three decades. He is known as the person who steps in when a child drops out of school for want of fees, where poor patients wander helplessly for treatment, or where communal tension threatens to tear society apart.

Ibrar Ahmad has consistently reached out to children and youth. As President of Anjuman Islamia Ranchi, he arranged scholarships for poor children, launched talent shows and quiz competitions, ensuring that education went beyond textbooks to build both confidence and skills.

Dr. Shahnawaz Qureshi

The Quraish Academy of Ranchi has produced doctors, engineers, teachers, software developers, and many other bright minds. Located close to Ranchi’s iconic Albert Ekka Chowk is Gudri Qureshi Mohalla, officially declared a slum by the municipal corporation, where the founder of this academy, Dr Shahnawaz Qureshi, was born.

Whether through journalism or social service, Dr Qureshi changed not just the image of his locality but also the mindset of its people.

In 1993, while working with the National Literacy Mission, Dr. Qureshi established a night school in his own neighbourhood. After long days of labour, elderly men and women would gather after evening prayers, notebooks and pens in hand. The sight of wrinkled fingers tracing letters under the dim glow of a kerosene lamp became a symbol of hope and awakening. The classes were free, and the locals provided fuel for the lamps.

Mukhtar Alam Khan

Mukhtar Alam Khan’s efforts have transformed the image of Azad Basti in Jamshedpur, which was once a notorious place. It was once associated with crime, fear, and a negative image—much like Dhanbad’s Wasseypur. Mukhtar is among the few locals who brought about a positive change in this area. Today, Azad Basti’s name is taken with pride.

On any given day, Mukhtar and his team could be seen arranging blood and medicines for patients, feeding the hungry, or supporting children in education and competitive exams.

Tanveer Ahmad

In 2010, when areas like Islam Nagar and Baba Khatal in Ranchi were demolished under encroachment drives, hundreds of families were rendered homeless. The greatest sufferers were children, as some missed their exams, and others dropped out of school permanently.

In this situation, Tanveer Ahmad decided to extend a helping hand to the suffering children.

He thought, if circumstances had taken schools away from them, why not return education to them, as friends. This idea marked the beginning of a journey—from friendship to education.

Tanveer Ahmad says, “Our mission is to reach underprivileged children in Ranchi and Jharkhand who are drifting away from mainstream education. We believe education is the key that can transform their future.”

When one hears the name Ranchi, images of lush greenery, hills, and a rapidly developing city often come to mind. But hidden behind this image lies another reality—a large section of the city’s population lives in slums and makeshift settlements.

Anwarul Haq

Anwarul Haq, a resident of Chadri village in Kanke block, has launched a unique initiative that is changing the lives of children who would otherwise lag due to poverty. By day, he teaches football, and by night, he tutors children. In just three years, his efforts have transformed the lives of many children for whom both education and sports were once a distant luxury.

It all began when Anwarul Haq, a sports teacher at a residential girls’ school in Ranchi, decided to go beyond his job to make a difference. He was disturbed by the condition of children in his and neighbouring villages. Most children were from families surviving on daily wages, skipped school, and some fell into bad company. He had a plan up his sleeve to change their lives by imparting education and sports training to the underprivileged children.

Syed Tariq Alam

Syed Tariq Alam has been quietly transforming lives, supporting poor and underprivileged families through education, employment, and social welfare in the Kolhan region of Jamshedpur.

His efforts have been focused on Kapali, a small township just 20 kilometres from Jamshedpur — the industrial hub of eastern India. Jamshedpur draws thousands of laborers from across the country, many of whom settle in Kapali where living costs are lower. While these workers find temporary employment in the steel city, the jobs are often low-paying and unstable. 

This insecurity directly affects their children’s education, leading to high dropout rates in Kapali and nearby areas. It was this grim reality that moved Syed Tariq Alam deeply. Determined to bring change, he embarked on a mission that has now become a beacon of hope for thousands.

source: http://www.awazthevoice.in /Awaz, The Voice / Home> The Changemakers / by Aasha Khosa / October 26th, 2025