Abdur Rehman Chughtai: torchbearer of Islamic art
http://www.dailytimes.com.pk/default.asp?page=story_30-10-2002_pg7_19
By Robina Shaheen
Chughtai has been acclaimed as one of the most gifted artists of the subcontinent who played a historical role in the development of sub-continental art. In order to make a correct evaluation of Chughtai, it is essential to study his work in its own historical setting. In a colonial country, the desire to establish a link with one’s history and culture is expressive of its growing national consciousness.
When the natives were entangled in the web of colonial culture, Chughtai played a valuable role in establishing the historical and cultural identity of his people. In his large water-colours and immaculate etching etc, he manifests the changing socio political attitudes and aspirations of South Asian Muslims.
Chughtai is a Persian from the lienage of the Mughals and he was a descendant of the chief architect for Emperor Shah Jahan, Ustad Ahmed, the builder of the pearl mosque of Dehli and the Taj Mahal in Agra. He was born in Lahore in September 1921 and started painting in 1916-17 by following the style of the Bengal school of art. However, unlike his Calcutta or Bombay contemporaries, Chughtai´s pictorial orientation was not predominantly Hindu nor Buddhist. He retains the distinative mood and postures of the Muslims of central Asia and Persia.
He gives his pictures a special quality, in lovely colour combinations and design. His pictorial lyricism and remoteness from so called realism which he deliberately cultivated takes one into the charming realm of romance. He produced a dreamy atmosphere with exquisite colour tones, intensely beautiful exaggerated human figures and a decorative background based on saracenic architecture.
He was an excellent draftsman, his flawless compositions drawn in expressive calligraphic and rhythmical line. His architectural background always supports his composition. With his self-confidence and creative talent, Chughtai evolved a distinct style of his own, a personal style encompassing characteristics from Persian, Mughal and pahari miniature painting as well a hint of modern European influence from Van Gogh. He was among the first Indian artists to make a serious study of art in Europe. In 1932 he returned from London with a complete set of studio magazine.then in 1937 he studied etching at school of photo engraving London.
The canvas of his subject matter is vast. During the 1920s and 1930s, untarnished by communal prejudices, Chughtai painted more than 200 Hindu and Buddhist subjects. The themes of his paintings were based on Muslim history as well as on Hindu mythology. However, following the spirit of an independent Muslim state, he began to conceive his works in the framework of Muslim history and art.
He expelled elements from his paintings which reflected Hindu culture and civilization and he tried rest of his life to glorify the greater aspects in Muslim history and culture. His portrait of historical figures like Firdowsi, Mansur-al –Hallag, Haroon-al-Rashid or Tipu Sultan project a sense of pride in Muslim heritage. His paintings of Punjabi legends like Heer and Ranjha, Sassi and Punnu and Sohni Mahinwal reflect his local identity. Mughal themes and the poetry of Ghalib and Allama Iqbal were perhaps his favourite subjects. Muraqqa-i-Chughtai (1928) and Amal-e-Chughtai (1968) are a great tribute to these poets.
Chughtai’s artistic genius and historical contribution was much appreciated even in his lifetime. The Indian government honoured him with the title Khan Bahadur in 1934 and the Pakistani government conferred on him the Hilal-i-Imtiaz medal in 1959. His artistic skill was recoganised both at home and abroad. Pablo Picasso wrote to Dr Abdullah Chughtai: “Being a draftsman myself, I can highly appreciate this quality in the work of your brother the painter MA Rehman Chughtai”.
Dr Rabindranath Tagore praised him “Your perfect command over lines and the delicate colouring of your pictures have a great appeal.”