Category Archives: Books (incl.Biographies – w.e.f.01 jan 2018 )

Rebel Sultans: Tracing the origins of Malik Ambar, the hero of the Deccan who started out as an African slave

KARNATAKA / THE DECCAN :

In Rebel Sultans, Manu S Pillai traces the history of the Deccan from the end of the 13th century to the dawn of the 18th, punctuated by tales of drama, betrayal and murder.

Editor’s note: The Deccan, miles away from the empire of the Mughals, was eyed with envy by rulers such as Aurangzeb, so much so that it is said to have contributed to his downfall. Its kingdoms had much to offer; in their courts were Persians and Marathas, in their ranks were African nobles, and in their treasuries were gold and fortunes.

In Rebel Sultans, Manu S Pillai traces the history of the Deccan from the end of the 13th century to the dawn of the 18th. He tells the story of the Vijayanagar empire, the court of the Bahmani kings, and the Rebel sultans — punctuated by drama, betrayal and murder. The book features characters such as Malik Ambar, Chand Bibi and Krishnadeva Raya, and is published by Juggernaut Books.

The hero of the Deccan had skin the colour of coal. Emperors snarled at him from afar, while enemies at home rattled in fear when he marched into their neighbourhoods. Many were those who despised him, but many more still were the masses who discerned in him a champion. His story was certainly unusual, though he was neither the first of his people to serve in the Deccan, nor extraordinary in his antecedents. And yet he emerged as the strongest of them all, reigning indeed as king in all but name. ‘He has a stern Roman face,’ wrote one traveller, ‘and is tall and strong of stature’ though his ‘white glassy eyes’, it was added, ‘do not become him.’ His charities were legendary, as was the valour of the men who pledged themselves to his service. When at last he died, not on the battlefield but secure in a formidable fortress, the Mughals admitted that this enemy was ‘an able man. In warfare, in command, in sound judgment, and in administration he had no rival or equal… He kept down the turbulent spirits of [the Deccan], and maintained his exalted position to the end of his life, and closed his career in honour. History,’ the obituary concludes, ‘records no other instance of an Abyssinian slave arriving at such eminence.’ It was high praise, coming as it did from the imperial court, where two generations of emperors revealed nothing but spite for the man called Malik Ambar.

The Deccan, as we know, had long attracted foreigners to its shores, offering them wealth and a future in these eastern lands. Persians arrived, as did Arabs and Central Asians. Some graduated to princely ranks, while others soared to gratifying aristocratic heights. But among the legions of men absorbed by the Bahmanis and their heirs were also Africans who came primarily from the land we now call Ethiopia. And they too would thrive in the Deccan far above the stations where they began their lives. Some were associated with tales of treachery – Mahmud Gawan’s confidant, who struck his seal on the forgery that delivered him his death warrant, was a habshi (an African) as was his executioner. When Yusuf Adil Shah died, one of the regents who ruled in the name of his son was a black man from Ethiopia – the latter was stabbed to death for displacing Westerners and favouring the Sunni faith. When years later Chand Bibi was imprisoned, her liberator who briefly stood at the forefront in Bijapur was a habshi, as was the man Ibrahim Adil Shah II rejected after eight years of living under his guard. In Ahmadnagar, during the wars of succession in the 1590s, one ruler, whose reign lasted less than a year, found himself without support from his nobles because his mother was ‘a negress’, though when Chand Bibi was besieged by the Mughals, the man who led Bijapur’s and Golconda’s troops to her rescue was also a habshi called Suhail Khan. And many years later, on the eve of the final Mughal conquest of the Deccan, in Bijapur once again would rise a habshi exercising as a short-lived vizier the full and tragic authority of power.

The habshis had almost all of them begun their careers as slaves. And there certainly was a thriving market for men from Ethiopia in the courts and demesnes of the east. Writing as early as the 14th century, Ibn Batuta reports how habshis were ‘guarantors of safety’ for ships sailing in the Indian Ocean, with such fearsome reputations that ‘let there be but one of them on a ship and it will be avoided by… pirates’. Centuries later a Portuguese missionary noted how ‘all the country of Arabia, Persia, Egypt, and Greece are full of slaves’ who made for ‘great warriors’. In India too, this was true. The favour and affection shown by Raziya Sultan in the 1230s to Jamal al-Din Yakut, an Abyssinian warrior, provoked a rebellion and contributed to her brutal murder in Delhi at the close of that decade. At the end of the 14th century, a habshi servant of the Delhi Sultans had established a near-sovereign state in Jaunpur, in present-day Uttar Pradesh, which sustained itself till 1479. Firoz Shah Bahmani in the early 15th century had habshis in his harem, while in that same century a 1487 coup by Africans in the court of the ruler of Bengal led to the rise of a short-lived ‘Habshi Dynasty’ hundreds of miles away, on the other side of the Indian subcontinent. The exquisite Siddi Saiyyed Mosque in Ahmedabad was built by a habshi in 1572, and generations later the Mughal emperor Aurangzeb would appoint the African lord of the fortress of Janjira his naval commander, allocating to him an annual grant of 400,000 rupees to maintain the imperial fleet. In the old quarter of Delhi there is even an area by the name of Phatak Habash Khan, named, evidently, after a habshi courtier who bid farewell to the Deccan, embracing the cause of the Mughal emperor.

While these are episodes that stand out, where Africans from humble origins arrived at positions of honour and power (and sometimes infamy), the beginning of their journeys on this path were never happy. The habshis were often taken as children and sold at a price to be transported abroad. Ethiopia, at the time, was called Abyssinia in the trading world, and the very word ‘habshi’ is a derivation denoting the origins of these slaves. Malik Ambar, too, emerged from this commercial exchange of human goods. Born around 1548 into the Oromo tribe, he was captured as a boy and sold to an Arab for 20 gold ducats. In Baghdad he passed, temporarily, into the hands of another owner, who then sold him to the man who would bring him to India – and to his destiny. It was this master who educated him, though by now he had renounced his name, Chapu, and converted to Islam. ‘Whether he assumed a Muslim identity at the time as an act of genuine faith or simply as a practical matter of assimilation is not known.’ But it certainly helped him in his life ahead, to share faith with the powerful kings and noblemen of the east, in whose service lay his ascent.

Around 1571, now in his early 20s, Ambar, as he was known, arrived in the Deccan where his long-time master sold him to the peshwa (chief minister) of Ahmadnagar. The sale itself was not unusual – though his master had brought him up, the ‘bottom-line was never in dispute: Ambar was property’ and not ‘an heir or son’. However, the man who had just purchased the slave must have opened Ambar’s eyes to a world of possibilities, for the peshwa was himself black and had arrived in the Deccan under similar circumstances. He would, in due course, be assassinated, but to Ambar it must have been clear that in India it was possible to rise beyond slavery and to come into great power and wealth – he himself was merely one of a thousand habshis the peshwa possessed.

Rebel Sultans by Manu S Pillai is published by Juggernaut Books

source: http://www.firstpost.com / FirstPost / Home>Living News / by Manu S Pillai / June 21st, 2018

Sami Ahmad Khan: ‘The present has been colonized by the future’

NEW DELHI :

The author and academic says science fiction, whether set in the near future, a nearby planet or even in an alternate universe, is almost always about our today

Chatting with Sami Ahmad Khan is always fun. When he said he was re-reading Douglas Adams’ seminal Hitchhikers Guide to the Galaxy as he was including the increasingly inaccurate trilogy of five in an elective course, one’s curiosity was naturally piqued. Sami teaches at the University School of Humanities and Social Sciences, GGS Indraprastha University. “We run MA, MPhil and PhD programmes in Literary and Culture Studies,” says the 34-year-old author of Red Jihaad and Aliens in Delhi.

“The senior faculty members are quite receptive to new ideas, and constantly seek strategies for the school to stay updated with a rapidly-mutating world. Consequently, we are encouraged to undergo frequent syllabus revisions, especially for our MA (English) course.”

Science fiction electives

The latest revision Sami says was in 2019, and gave the faculty the opportunity to engage with their core areas of research in a classroom setting. “These teacher-specific courses (offered in MA second year) range from exploring multiple dimensions of art, philosophy, gender, drama and culture, temporal/event excavations (such as Partition studies) and trans-media (cinema) to area and genre studies (such as Science Fiction). Under this paradigm, I am pleased to offer two electives on SF in the upcoming semesters: the first course is on global SF and introduces learners to stalwarts such as Jules Verne, H.G. Wells, Isaac Asimov, Ray Bradbury, and Phillip K. Dick and recent films such as Christopher Nolan’s Interstellar to study the origins and theories of SF in the Global North.

The second course is on Indian SF, and utilizes, as starting points, select works by Satyajit Ray (Bangla) and Jayant Narlikar (Marathi) among others, and Shankar’s Enthiran, to explore how our own SF traditions operate across different narrative forms (short stories, novels, films, web-series etc). These courses simultaneously function as introductory primers for those interested in knowing more about SF as a genre/mode, and also address the textual/contextual depths and theoretical complexities an MA student must navigate.

Don’t panic

The author says he included The Hitchhiker’s Guide to the Galaxy in the course on global SF “the same ways dolphins don’t. What better novel to study about the end of world during the end of the world? It questions the philosophical underpinnings of our world and exhibits how SF toys with semantics/syntax of the narratives around it. Like a timeless classic, it doesn’t fail to respond to our contemporary material realities. Above all, it “has the words DON’T PANIC inscribed in large friendly letters on its cover.” We could use this helpful advice in the maddening times of COVID-42”— Could it possibly be the answer to the questions of life, the universe and everything?

Sami says the lockdown has been treating him better than expected. “I’m privileged enough to have a full belly, a roof over my head, a broadband connection, a Netflix subscription, and a gargantuan reading list. Usually, too, I’m happy being left to my own devices. I just need a book/film/web-series (i.e. a text) and the time/space to construct (and deconstruct) random ideas in my head, which this lockdown has given me. If only the circumstances weren’t so grim. This is when we begin to “question the nature of our reality” (as per Westworld), and start looking for our towel.”

Descriptive not predictive

These are troubling times and Sami hits the nail on the head when he says it is easier to read about dystopia than live it. “Through its monsters, future wars, zombie apocalypses, rogue AI, invading aliens, environmental fiascos, and alternate histories etc., SF, whether set in the near future or on a nearby planet or even in an alternate universe, is almost always about our today. Even Ursula Le Guin finds SF ‘descriptive’ and not ‘predictive’.”

The Delhi-based author says, “SF foregrounds and amplifies the feedback we receive from these dystopian narratives to our present(s), which then radically changes the way we approach our own lives and societies. SF’s dystopias and their hapless characters translate into an almost quasi-utopian connotation for us (the readers). A shared nightmare in/of the future suddenly awakens us to the lacunae of our times.”

Opposite sentiment

A real dystopia, according to Sami, portrays the exact opposite sentiment. “It is built on the premise that the SF dystopia (and its feedback) has failed to warn us, and in doing so, birthed an actual one in our lived reality. All that we are doing to this planet today – and what it is doing to us in return – makes it clear that the present has been colonized by the future. The age of men is over; the age of superbugs has begun.”

When we last spoke, Sami had spoken of a sequel to his 2017 SF thriller Aliens in Delhi, where reptilian creatures take over the capital. “I am a fanboy who has been lucky enough to not only get the opportunity to teach SF but also research and write it. I just finished a short story called Biryani Bagh, which brings aliens (and this time I may use this word differently) to a Bagh that has haunted contemporary popular imagination. I’ve been told it would appear in the second Gollancz Book of South Asian Science Fiction (Sami’s last story, 15004, appeared in the first volume). My next full-length project is an academic monograph, a critical catalogue of Indian Anglophonic SF for a university press. After that, perhaps, I might start writing the sequel of Aliens in Delhi – but only if the world hasn’t produced it already, not as fiction, but as a lived reality.

source: http://www.thehindu.com / The Hindu / Home> Life & Style / by Mini Anthikad Chhibber / June 16th, 2020

Akbar The Great Mughal: The Definitive Biography’ review: Light from many faiths

NEW DELHI :

In Ira Mukhoty’s narrative, Emperor Akbar is an able reformer, the earliest advocate of inter-religion dialogue, and marked for greatness because of his quality of empathy

Charismatic, curious, catholic, compassionate — Emperor Akbar (1542-1605) has long exercised the imagination of Indians of all hues. For the lay person, he is the lumbering giant with the booming voice and grand moustache as depicted by the actor Prithviraj Kapoor in K. Asif’s magnum opus Mughal-e-Azam (1960); while ostensibly a love story between Akbar’s son, Salim, and Anarkali, the film belongs to the father in the eponymous role of the Great Mughal.

For the liberals, Akbar is the embodiment of pluralism, multiculturalism and the earliest advocate of inter-faith dialogue.

For the right-wing ultra-nationalists he is the most ‘tolerable’ of all the Muslim rulers for his reverence for all faiths and abolition of the religious tax, jiziya, from non-Muslims.

An Indian icon’

From school textbooks to the Akbar-Birbal qissa-kahani to popular culture, Akbar has consistently remained an Indian icon.

Several books too have been written on him, both by the professional historian and by non-academic but extremely engaged and passionate writers. In the latter category are two recent books, both eminently readable and both written by journalists: the simply-titled Akbar by Shazi Zaman and Allahu Akbar: Understanding the Great Mughal in Today’s India by Manimugdha Sharma. Ira Mukhoty’s gargantuan book is nevertheless a welcome addition.

However, her assertion that “few full-length biographies have been written in recent times” is not entirely true. One is also wary of the sub-title; “definitive” biography sounds like a publisher’s overkill, for a book’s size alone (over 600 pages) cannot define its scope nor ward off any future explorations on the subject.

Given the absence of Endnotes, Bibliography and Index in the uncorrected proof copy sent for review, one is unable to fully gauge the extent of sources and primary texts studied by the author and whether, if at all, she has accessed Persian sources that have largely been beyond the reach of non-academic writers relying as they do on English translations.

One is, however, struck by two curious omissions by the author. One: footnotes to indicate where quoted matter is sourced from.

Two, a similar omission in the photographs of Mughal miniatures; more detailed captions and information about sources would have been helpful given, especially, that the book focuses on the role played by the royal ateliers (tasvir khanas) in chronicling the lives of the royal patrons and leaving behind a vast visual archive of Mughal history, a rich load that is now being mined by art historians as a supplement to recorded history.

Access to a king

Mukhoty’s strength as a writer lies in her ability to recreate a scene, flesh out characters, find the human element, in a word, narrate history.

Her previous book, Daughters of the Sun: Empresses, Queens and Begums of the Mughal Empire, contained ample evidence of her sophisticated prose and her felicity in providing a luminous account of the many women who lived in the shadow of their men yet led remarkable lives during the Mughal period. Here, too, she impresses with her ability to make history accessible in ways that professional historians sometimes don’t, or can’t.

Mukhoty shows her mettle as a narrator virtually from the opening paragraph where she describes two young hostages, a young Akbar and his sister, on their way to meet their uncle Kamran: “In the frigid mid-winter of 1544, two children were sent north from Kandahar to Kabul, 500 kilometres away. While the snow fell silently and relentlessly on a desolate landscape, the small party stumbled on through the mountain passes and ravines, their horses’ steaming breath loud in the night.”

She goes on to chart the growth of that terrified child upon whom the weight of being Emperor of Hindustan is thrust at the tender age of 13 when his father, Humayun, dies unexpectedly: “In fact, Akbar was a distracted, undisciplined, rambunctious child and youth who, in the parlance of the twenty-first century, may have suffered from an attention-deficit disorder. So unruly and self-willed was Akbar that no tutor was able to hold his attention and he grew up effectively unschooled and practically illiterate.”

Pioneering genius

And yet this young emperor would evolve into a fine human being, a patron of the arts, initiator of some of the greatest works of translation not to mention a pioneer in ship-building, metallurgy, alchemy, military technology as well as administrative reforms. Mukhoty shows us the man behind the emperor who brought in the largest territory — after Ashoka and his Mauryan empire — under his control.

Despite Akbar’s intellectual curiosity, his epiphany at the age of 36, his visionary idea of sulha kul (universal peace), it is his compassion and empathy that marks him for greatness. As he said in one of his proclamations: ‘The best prayer is service to humanity.’

Akbar The Great Mughal: The Definitive Biography; Ira Mukhoty, Aleph, ₹999.

The reviewer is a writer, translator and literary historian.

source: http://www.thehindu.com / The Hindu / Home> Books> Reviews / by Rakshanda Jalil / June 13th, 2020

As a society, we were more emotional once: Irshad Kamil

Malerkotla (Sangrur Distrit) , PUNJAB / Mumbai, MAHARASHTRA :

The Bollywood lyricist and poet says freedom of expression means staying within prescribed limits

People try to be politically correct, but that’s the problem. I have never tried to be: Irshad Kamil

For a lyricist, Irshad Kamil sure has a sense of irony. His caller tune is a song from the Ranbir Kapoor-starrer Rockstar, sung by Mohit Chauhan. It goes: “Jo bhi main kehna chahun, barbaad kare alfaaz mere… Whatever I want to say is ruined by my words.”

Perhaps even more ironic: these words belong to Kamil himself.

I meet Kamil at a five-star hotel in east Calcutta. The 48-year-old is in town to talk about his book — Kaali Aurat Ka Khwab. It is about his first Filmfare Award and the journey to it. He is wearing a T-shirt and ripped jeans, and a jacket with shiny buttons. Perched on his nose are rimless glasses and there is a string of sweat beads on his forehead.

This is the man who has written songs such as Nadaan Parindey, Agar Tum Saath Ho, Patakha Guddi and Baby Ko Bass Pasand Hai. Life. Melancholy. Woman power. Dhinchak. As we get past the exchange of pleasantries and into small talk about how his lyrics are the stuff of social media posts, the soft-spoken Kamil orders another black coffee — his third in an hour.

If moved by his songs you have ever tried or are planning to google the man, know this: you are not getting to know much beyond his work. Discreet, I ask. He replies, “I am not an advertisement.”

But that does not make him reticent either. He is happy to talk about his poetry — turns out he wrote his first one in the late 1980s. He says without sounding the least bit pompous, “The reason people like my poems and lyrics is because I don’t talk about fake emotions. I put myself in the shoes of the audience. And I talk about the real life. Aap samajh rahe hain na? Yeh reality ke zameen se nikle hue shabd hain…”

It seems no one in Kamil’s family had an ear for music. His father was a chemistry teacher at Government College, Malerkotla, and he pushed all his children to study science. Kamil, alas, was an arts enthusiast. He wrote poetry and acted in school plays. In college, he tells me with some pride, he was the prolific writer of love letters for self as well as others. He quotes Urdu poet Bashir Badr as if in a toast to those days, “Jis par hamari aankh ne moti bichhaaye raat bhar, bheja wahi kaagaz usse, humne likha kuch bhi nahin.”

Eventually, our conversation shifts to political correctness in the creative arts, in day-to-day life. “People try to be politically correct, but that’s the problem. I have never tried to be,” he waves his hands animatedly to make his point.

I nudge Kamil towards specifics before he floats away on another rivulet of verse. As a lyricist, does he have freedom of expression? He unleashes a torrent of thoughts, “Of course, there is pabandi [restriction]. What the sarkar calls unrest is basically kranti [revolution] and kranti comes through the pen, through words and writings. People know there are particular forms of art and culture where it all comes from. And this is not new. It has been there since Safdar Hashmi’s times. We have expression of freedom but there are limits too. Till you praise them or agree with them, you have the freedom…”

Kamil wrote a song called Mere Achchhe Din Kab Aayenge for the 2018 film, Fanney Khan — Do roti aur ek langoti/Ek langoti aur woh bhi chhoti/ Isme kya badan chhupayenge/Mere achchhe din kab aayenge. “Just because of this song, the movie was put on hold by the Central Board of Film Certification,” he says. The song was tweaked and later released as Achchhe Din.

Kamil talks about how he dropped out of engineering. He fled to Shimla from his hometown in Punjab. Decided not to return for the next nine months. Joined theatre and earned Rs 45 a show. On returning, he decided to pursue Hindi for his graduation. The writer Irshad Kamil was in the making. His dimples nearly swallow his cheeks as he says, “Some people say I am a closed-door rebel.”

I tell Kamil that for someone who goes by that epithet, he is surprisingly controversy-free and he furrows his brows. “Do you know about Pahal patrika,” he asks. Seeing my expression, he starts to talk about how he is the only “filmi geetkar” to have poetry published in this Hindi literary magazine. He takes out his phone from his jacket pocket and reads out loud a poem titled Jootey — a journey of the shoes by the shoes.

His poem Tum Mujhe Tanaav Do talks about problems of the increasing population and the government and ends with an altered version of the famous line by Subhas Chandra Bose. It reads, “...tum mujhe tanaav do, main tumhe khadi dunga. Tum mujhe khoon do, main tumhe abadi dunga.”

source: http://www.telegraphindia.com / The Telegraph, online edition / Home> People / by Manasi Shah / May 30th, 2020

Behind the Mask: A Book On Covid-19 And Its Socio-Economic Impact

Hyderabad, TELANGANA / Dubai, UAE :

Mohammed Abdul Mannan’s ‘Behind the Mask’ details the origin and spread of the coronavirus and how it has made the world sick, panicky and topsy-turvy.

Mohammed Abdul Mannan

The novel coronavirus has infected over 5.5 million people across the world. As countries grapple to contain the Covid-19 crisis, it’s important to discuss the socio-economic fallout of the pandemic.

Mohammed Abdul Mannan’s Behind the Mask answers these questions. The book details the origin and spread of the coronavirus and how it has made the world sick, panicky and topsy-turvy.

How a virus one billionth of a metre size could trigger the 21st century’s second pandemic and why the 15th largest pandemic since the 14th century is massively disruptive on all-fronts. Can the world handle a ‘biblical proportions’ famine and will the world recoup from the US$9 trillion economic impact? The book discusses every aspect of socio-economic impacts of the global pandemic.

This is the eighth book by Mannan who has worked for Deccan Chronicle, Indian Express and India Today, Doordarshan and Zee TV in the past. He also worked as the launch News Editor of Qatar’s second English broadsheet daily, The Peninsula, and later joined Khaleej Times in Dubai. He took a plunge into PR and Corporate Communications with Dubai and Abu Dhabi tourism regulatory bodies. Winner of the first Qatar Tourism Award, his best-seller book had been Dubai – A City Making History.

Behind the Mask is available in print and digital format on Amazon.

source: http://www.outlookindia.com / Outlook / Home> Website / May 27th, 2020

Portrait of a poet

Indore , MADHYA PRADESH :

“My biographer has written the book so well I almost did not recognise myself. In order to be a big poet, the poet has to be a crazy lover. I could not become a big poet because I could not reach that stage.” – Rahat Indori, Poet

Celebrated poet Rahat Indori at Sahitya Aaj Tak on Sunday

Apne haakim kee fakiri par taras aata hai, jo gareebon se paseene kee kamaee maange, Saara din jel ki deevaar uthaate rahiye, aisee aajaadee ki har shakhs rihaee maange.

This was just one of the couplets recited during the unveiling of the biography of iconic poet and lyricist, Dr Rahat Indori, on the final day of Sahitya Aaj Tak on Sunday. The biography, Rahat Sahab: Mujhe Sunte Rahe Log Waqiya Mere has been written by Dr Deepak Ruhani. The author discussed the making of the biography with his subject, as well as singer-turned politician Hans Raj Hans.

Commenting on the association between Indori and Ruhani, Hans complimented Ruhani on his speed. “You have finished this biography in two years, when many writers take their time writing the and cannot complete them in one decade.”

Ruhani said his association with Indori goes back 17 years. While researching the book, one of the fringe benefits was listening to unforgettable shayari from Indori, he said. “I used to wait for a long time to come and hear him and sat on the grass while he recited the couplets.” Rahat Sahab will be officially released on November 10.

source: http://www.indiatoday.in / India Today / Home> News> Mail Today / by Mail Today Bureau / November 04th, 2019

Eid Mubarak: A look at vintage greeting cards, long eclipsed by text messages

The big cities, Lahore, Delhi and Bombay, had printers who specialised in these cards, which often carried Urdu poems written for the occasion.

The image on the left is Kajjan Begum – From Reena Mohan Collection

Eid ul Fitr celebrations take a multitude of forms in our society. As the holy month of Ramzan nears the end, markets all across the country glitter with Eid paraphernalia: confectionery, clothes, bangles, mehendi, objects typically associated with this festive occasion.

But one object is usually missing: Eid cards, because the practice of sending them out has dwindled over the years. It was once routine for most families to spend time selecting, writing and posting Eid greeting cards to friends and families.


“Eid Mubarak,” an Eid card showing two girls on a swing. The printed message starts with a salutation of a young girl to her elder sister: Muhtarma aapa saheba… (Dear respected sister, my salutations. Despite the distance between us, your favours and love still provide tranquillity to my heart. While extending the Eid greetings to you, I request you to remember me forever in your prayers). Printed by Eastern Commercial Agency, Bombay. Unused, circa 1930.
From the Priya Paul Collection, New Delhi.
Courtesy: Tasveer Ghar


In the digital age, people prefer to take a faster route to greeting one another. On the eve and day of Eid, they send out a vast number of mobile text messages.

But what were those cards like? Wouldn’t it be interesting to look at some of the old ones, especially when the practice began in this country?

Here are samples from the collections of Yousuf Saeed, a filmmaker, author and archivist based in Delhi,  who runs the Tasveer Ghar archive, Ally Adnan, a Dallas, US-based engineer, writer and antique collector, and Omar Khan, who  runs Imagesofasia.com, a collection of vintage postcards and lithographs.


“Eid Mubarak,” a floral Eid postcard, published by Hafiz Qamruddin & Sons, Lahore (probably printed in Bombay), and posted from Lahore (sender’s name undecipherable) on 24 December 1935 and arrived at Delhi’s General Post Office on 29 December the same year for the addressee Mr Noor Elahi. The season of Eid-ul fitr or Eid-ul Zuha coinciding with Christmas in these years might have had a bearing on the use of early Eid cards. The sender’s message in Urdu is mostly damaged due to a torn corner of the card. But it basically starts with a salaam and asks about the addressee’s good health etc. Note the British India postage stamps worth half anna and three pies used on the card.  
From the Priya Paul Collection, New Delhi. 
Courtesy:  Tasveer Ghar


On the Indian subcontinent, the tradition of sending greeting cards on Eid started in the late 19th century, when mass-printed cards started becoming available off the shelf, although some well-off Muslim families continued to sent their own hand-produced cards, sometimes with calligraphy and artistically decorated greeting message.

The trend of sending cards was probably fuelled by the expansion of the railway network, which had increased to 25,000 km in 1880 from just 34 km in 1853, when the first passenger train service was inaugurated in India. With the expansion of railway, people began travelling far away from their homes, for employment and business. It also improved the postal service. In addition, advanced printing facilities improved the quality of cards.


“Eid Mubarak, Hamari Eid to jab hai…” Eid greetings and an Urdu couplet likening the eyebrows of the beloved to Eid’s crescent, featuring Indian actress and singer Kajjan Begum, Unused, circa 1930. Distributed by Sultan Husen Bookseller, Bombay.
From the collection of Reena Mohan.
Courtesy:  Tasveer Ghar 


We can see that the early cards resembled European-made Christmas cards, albeit modified for Eid.

In the early years of the 20th century, Eid cards began being printed with India-specific images and illustrations. Hafiz Qammaruddin & Sons, H Ghulam Muhammad & Sons and Muhammad Hussain & Brothers in Lahore, Mahboob Al Matabah in Delhi, and Eastern Commercial Agency, Shabbar T Corporation and Bolton Fine Art Lithographers in Bombay were amongst the earliest companies that came into the business of printing Eid cards in India. Postcards with Indian Muslim architecture, produced by Raphael Tuck in London, were also used for Eid.

No discussion of these vintage Eid cards would be complete without mentioning the Urdu poetry on them written for the occasion.


“Guldasta-e Eid” (a bouquet for eid) title of the chapbook published by Rashid-ul Khairi in 1927, Delhi. Although the chapbook is not a part of greeting correspondence, such literature was produced and circulated in Muslim homes for general reading and reform in late 19th/early 20th century.
From the Yousuf Saeed collection.
Courtesy: Tasveer Ghar  


میرے یاروں کو مبارک عید ہو غمگساروں کو مبارک عید ہو عاشق و معشوق رندو پارسا آج چاروں کو مبارک عید ہو

Eid greetings to my friends,
Eid greetings to my sympathisers,
Eid greetings to the lovers and the beloveds, the drunks and the pious,
Eid greetings to all four of them today.

ہماری عید تو جب ہے کہ دیکھیں تیرے آبرو کو ہلال عید کو اے مہ جبیں دیکھا تو کیا دیکھا

Eid is when I see your eyebrows
Just seeing the crescent, my dear, is no Eid.

سب لوگ تو دیکھتے ہیں کھڑے چاند عید کا مشتاق ہوں میں رشک قمر تیری دید کا

While everyone is interested in sighting the moon,
I only desire to see your face.

یہ شام عید ہے اے میرے ناقہ محمل چمک کے چل کہ دیار حبیب تک پہنچیں

It is the eve of Eid, oh my camel,
Run fast and take me to the city of my beloved.

The tradition of Eid cards continued till the end of the 20th century, diminishing with the surge of mobile and online communication.

Yet those of us who have experienced the joy of handpicking, writing, sending and receiving Eid cards cannot find a substitute in the click of buttons.

This article was originally published on Dawn.com

source: http://www.scroll.in / Scroll.in / Home> Holy Month / by Aown Ali / July 18th, 2015

My Book Is About The Need For Education In The Indian Muslim Community: Sanjay Khan

Bengaluru, KARNATAKA / Mumbai, MAHARASHTRA :

Actor-turned-producer Sanjay Khan speaks about his second book ‘Assalamualaikum Watan’ and what he is doing during the lockdown

Actor-turned-producer Sanjay Khan’s second book Assalamualaikum Watan dwells on Islam’s history in India’s multicultural society, the role Muslims have played in nation-building and the issues they face. In the book, Khan emphatically declares that he “considers himself an Indian first and then a person of the faith”. In a conversation with Lachmi Deb Roy, he talks about the book and what he is doing during the lockdown.

What is Assalamualaikum Watan about?

Muslims in India number around 200 million. They contribute significantly to the cultural vitality and vibrancy of India. This number represents the second-largest mass of Muslims in any nation in the world. As Indian Muslims, we should feel tremendous pride, a sense of empowerment and responsibility because we contribute to the achievements of Muslims in the world. The age-old saying is ‘safety in numbers’, but there is also ‘inspiration in numbers’. Our social responsibilities should serve as the spark for the guiding light that Indian Muslims can provide. Through the power of education, I would like all Muslims to illuminate their path and contribute to the exchequer by joining the mainstream as involved citizens. This vast human resource can certainly propel the country’s economic growth.

How is your second book different from your first?

They are poles apart. Assalamualaikum Watan deals with the need for education in the Indian Muslim community, while my autobiography The Best Mistakes Of My Life is just my story.

You have had a successful career as an actor. How does it feel to be a writer?

God’s greatest gift to mankind is the art of writing. I feel fortunate to have authored two books.

What are your favourite films?

My favourite film is Raj Kapoor’s Awara, David Lean’s Lawrence of Arabia and Doctor Zhivago. Among recent films, I liked Aamir Khan’s Dangal.

What do you like about world cinema?

The professional finesse, technical excellence, remarkable performances and extraordinary scripts. James Cameron’s Avatar is one of my favourite films.

Which directors do you like?

David Lean, Steven Spielberg, Ridley Scott and James Cameron.

Any plans of returning to acting?

In the past couple of years, I have been offered quite a few roles, but I am waiting for roles that excite me. In the meantime, I have just finished writing the script of a major biopic that I will direct and produce.

What are you doing during the lockdown?

I am keeping myself busy by reading, exercising and talking to friends and relatives. I am trying to reach out to the people working with me and those who are in need. I love watching Hollywood classics. I am also studying new technologies in filmmaking. I listen to Mohammed Rafi, who sang a total of 48 numbers for my films, and Lata Mangeshkar.

source: http://www.outlookindia.com / Outlook / Home> Magazine> Arts & Entertainment> Interview / by Lakshmi Deb Roy interviews Sanjay Khan / May 08th, 2020

Eminent Kannada poet KS Nissar Ahmed dies at 84 in Bengaluru

Bengaluru, KARNATAKA :

Born on February 5, 1936 at Devanahalli on the city’s northern outskirts, Ahmed was a prolific writer in Kannada and penned poems, plays, short stories and novels.

KS Nissar Ahmed

Bengaluru :

Eminent Kannada poet and writer K.S. Nissar Ahmed passed away here after prolonged illness, an official said on Sunday. He was 84.

“Ahmed died at his residence in the city’s south-west suburb after prolonged illness due to age-related complications,” a state information department official told IANS here.

Born on February 5, 1936 at Devanahalli on the city’s northern outskirts, Ahmed was a prolific writer in Kannada and penned poems, plays, short stories and novels.

A post-graduate in geology, Ahmed worked in the mines and geology department of the state government at Gulbarga in the state’s northern region in the 1950s-60s before moving to Bengaluru to teach the subject (geology) at the state-run central college in the city centre and later at Chitradurga and Shimoga in the state’s Malnad region during the 1970s.

“Ahmed is a recipient of several awards and honours, including Padma Sri and Sahitya Academy award in 2008 and state awards like Pampa in 2017, Nadoja in 2003 and Rajyotsava in 1981,” the official recalled.

Kuvempu University at Shimoga awarded honorary doctorate to Ahmed in 2010.

Ahmed is well known for his poems “Nityotsava” and other popular works such as “Manasu Gandhi Bazaru”, “Sanje Aidara Male” and “Manadondige Mathukathe”.

source: http://www.newindianexpress.com / The New Indian Express / Home> States> Karnataka / by IANS / May 03rd, 2020

Dr. Rafiuddin Ahmed : “Father of modern dentistry” of India.

BENGAL (now WEST BENGAL) :

DRrRafiuddinMPOs21apr2020

The beginning of this decade, 2020 marks the centennial anniversary of the very reputed Institute, R. Ahmed Dental College in Calcutta, West Bengal, India which was established solely by the effort of the “Father of modern dentistry” of India, Dr Rafiuddin Ahmed in the year 1920.

Dr Rafiuddin Ahmed established the Indian Dental Journal in 1925 and served as an editor till 1946. He published the first student handbook in Operative dentistry in 1928.

It was due to his constant efforts and endless endeavour that the year 1946 witnessed the formation of the Bengal Dental Association which was later renamed as the Indian Dental Association, as it is known today.

Dr Rafiuddin has an exemplary achievement in his professional career. After completing his alma mater from Aligarh Muslim University, He earned his D.D.S (Doctor of Dental Surgery) degree from the University of Iowa School of dentistry, USA in 1915. During the world war- I, he worked at the Forsyth Dental Infirmary for children in Boston, Massachusetts.

In 1919, a year after the war ended, he returned to India to open a dental institute in Calcutta. Initially, the college was run on an experimental basis with only eleven students from 1920 to 1923. Dr R Ahmed took the responsibility of teaching the student both theoretical and practical alongside other dedicated teachers. By 1928, this college was a well- organised institution for scientific dental education in India.

In 1947, Dr Ahmed was awarded a fellowship at the international college of dentistry. He also received a fellowship at the royal college of Surgeons of England and the Pierre Fauchard Academy in 1949.

The founding father of IDA became a minister of the Bengal Government and supervised the Department of Agriculture, Community Development, Co-operation, Relief and Rehabilitation until 1962.

This great personality is an epitome of excellence. His entire life revolved around providing services to the communities. His contribution in the field of dentistry is something to be remembered and truly appreciated. Dr R. Ahmad proved to be an all-rounder. He wasn’t just a dentist, but also was a publisher, an editor, a dedicated teacher, a minister, a president (of IDA). These are just to name a few.

The distinguished achievements of this great personality was recognised by the Government of India and in 1964 Dr Rafiuddin was awarded with the prestigious Padma Bhushan, making him the first Indian Dentist to be honoured with the third highest civilian award of the republic of India.

source: http://www.heritagetimes.in / Heritage Times / Home> Education / by Dr.Zareen Fatima / January 24th, 2020