|Basic Information||Abdur Rahman Chughtai||Ahmed Saeed Nagi||Anna Molka Ahmed|
|Date of Birth||21st September 1894||2nd February 1916||13th August 1917|
|Place of Birth||Lahore, Punjab, Pakistan||Amritsar, Punjab, British India||London, England|
|Date of Death||17th January 1975||1st September 2006||20th April 1994|
|Place of Death||Lahore, Punjab, Pakistan||Karachi, Pakistan||Lahore, Pakistan|
|Age||80 years old||90 years old||76 years old|
|School / College||Railway Technical School, Lahore||Received his education in Amritsar, Lahore, Delhi||Saint Martin’s School of Art, London|
|Graduation||Mayo School of Arts, Lahore (now called National College of Arts, Lahore)||Paris||University of Punjab, Lahore|
|Active in Career||1911 -1975||1944 – 2006||1940 – 1994|
|Works have done||Chughtai’s early watercolors at the Bengal school of Art, Design logo for the Pakistan Television Corporation (PTV), Queen Juliana’s Palace in the Netherlands.||Governor House Karachi, Governor House, Lahore Mohatta Palace building in Karachi. Ziarat Residency of Jinnah in Baluchistan Governor House in Peshawar Punjab Assembly building in Lahore||The child of the craftsman AR Chughtai, Slade School of Art, Anna Molkia’s desire to prepare her understudies to set up an expressive arts office in Universities, American cultural center representation in Karachi, During the battle in 1965 picked craftsmen including Colin David, Composing the verses|
Abdur Rahman Chughtai:
Abdur Rehman Chughtai was born on 21st September 1894 in Lahore, Punjab, Pakistan. was a painter craftsman and scholarly from Pakistan, who made his own exceptional, unmistakable work of art style affected by Mughal workmanship, small scale painting, Art Nouveau, and Islamic craftsmanship customs. He is considered ‘the principal huge current Muslim craftsman from South Asia’, and the public craftsman of Pakistan. He was given the title of Khan Bahadur by the British Empire in India in 1934, granted Pakistan’s Hilal-I-Imtiaz in 1960, and the Presidential decoration for Pride of Performance in 1958.
Primary life and aptitude:
He was born in Lahore in the zone known as ‘Mohalla Chabuk Sawaran’, the second child of Karim Bukhsh, in a family, dropped from ages of skilled workers, engineers, and decorators. Chughtai quickly took in naqqashi from his uncle Baba Miran Shah Naqqash at a nearby mosque. After finishing his instruction at the Railway Technical School, Lahore, in 1911, Chughtai joined the Mayo School of Arts, Lahore, where Samarendranath Gupta, an understudy of Abanindranath Tagore was Vice-Principal. After leaving school, he got by for some time as a picture taker and drawing educator. He in the end turned into the head educator in chromo-lithography at the Mayo School.
Modern Painters in 1920s:
In 1916, Chughtai’s first painting in an evangelist ‘oriental’ style showed up in the Modern Review. He had his first display in 1920 at the Punjab Fine Art Society. He additionally showed with the Indian School of Oriental Art during the 1920s, by which time he had gotten very famous. His work contributed incredibly to Lahore’s thriving present-day craftsmanship scene. While he transcendently worked with watercolors, Chughtai was additionally a print-producer, culminating his scratching abilities in London during visits during the 1930s. His portrayals were utilized in numerous books in Punjabi verse by Bhai Vir Singh for representing his well-known sonnets like “Kambadi Kalai” and including his popular epic “Rana Surat Singh”. Chughtai offered his appreciation to Bhai Vir Singh for turning out to be important for these representations as a youthful craftsman in his letter to him on 11th April 1929.
Tools for the arts:
In his sixty years of imaginative creation, Chughtai delivered almost 2000 watercolors, a great many pencils portray, and almost 300 etchings and aquatints. He likewise composed short stories, and articles on craftsmanship. He planned stamps, coins, symbols, and book covers. He was likewise a devoted gatherer of miniatures and other workmanship. He distributed three books of his work: the Muraqqai-I-Chughtai (1928), Naqsh-I-Chughtai (c. 1935), and Chughtai’s Paintings (1940). The Muraqqa-I-Chughtai was a lavishly shown version of Mirza Ghalib’s Urdu verse, with a foreword by Sir Muhammad Iqbal. It is viewed as the most critical work of Chughtai’s profession and in now is the right time, was viewed as the best accomplishment in book creation in the nation.
When Pakistan Came into Being:
After Pakistan came into being in 1947, Chughtai came to be viewed as one of the most popular delegates of Pakistan. Chughtai’s artworks were given to visiting heads of states. Allama Iqbal, Pablo Picasso, Elizabeth II were among his admirers. Chughtai’s nearest partner was his more youthful sibling Abdullah Chughtai, a researcher and specialist of Islamic workmanship. Chughtai wedded twice and had two youngsters, a child, and a little girl. He passed on in Lahore on 17th January 1975.
Chughtai’s initial watercolors take off from the revivalism of the Bengal School of Art – his Jahanara and the Taj, for example, shows the impact of Abanindranath’s The Last Moments of Shah Jahan. By the 1940s, he had made his style, unequivocally affected by Islamic workmanship conventions, yet holding a vibe of Art Nouveau. His topic was drawn from the legends, fables, and history of the Indo-Islamic world, just as Punjab, Persia, and the universe of the Mughals.
Abdur Rahman Chughtai additionally planned the logo for the Pakistan Television Corporation (PTV) at the command of its first head supervisor, Ubaidur Rahman. The logo has been changed and adjusted throughout the years since its initiation however remains in a general sense the equivalent. On Pakistan’s Freedom Day in 1951, he delivered a lot of 9 stamps, also called ‘Chughtai Art set’. Around then, this set was considered as the loveliest stamps of the world. Craftsman and exhibition proprietor Salima Hashmi consider Chughtai one of South Asia’s chief painters. “He was important for the development that began in the early aspect of the twentieth century to set up a personality indigenous to the subcontinent,” she said. “He dismissed the authority of the British Colonial tasteful.” 
Chughtai’s works are shown at the British Museum, the Victoria and Albert Museum, the Peace Palace (in The Hague), United Nations Headquarters, New York, the Kennedy Memorial in Boston, the US State Department (in Washington, D.C.), President’s House Bonn, AP State Archeology Museum, Queen Juliana’s Palace in the Netherlands, Emperor’s Palace Bangkok, President House Islamabad, Governors’ Houses in Lahore and Karachi, and the National Art Gallery, Islamabad. A significant number of his works are at the Chughtai Museum Trust in Lahore, Pakistan.
- Amal-I Chughtaʾi: Poet of the East Lahore: Self-distributed, 1968.
- Chughtai’s Indian Paintings. New Delhi: Dhoomi Mal, 1951.
- Chughtai’s Paintings. seconded. Lahore: Print Printo Press, 1970.
- Lahore ka dabistan-I musavviri. Lahore: Chughtai Museum Trust, 1979.
- Maqalat-I Chughtaʾi. 2 vols. Islamabad: Idarah-yi Saqafat-I Pakistan, 1987.
- Muraqqaʿ-I Chughtaʾi. Lahore: Jahangir Book Club, 1928.
- Naqsh-I Chughtaʾi: Divan-i Ghalib Musavvir. Lahore: Ahsan Bradarz, 1962.
Other completed works:
Among Chughtai’s prominently realized works are the logos of Pakistan Television and Radio Pakistan and his composition of Anarkali for the front of a 1992 dramatization. Furthermore, one of the best UNICEF cards includes a Chughtai piece. He was additionally known for his plans for postage stamps. Joined Nations Organization craftsmanship journalist Jacob-Baal Teshuva composed that Chughtai’s artworks are the biggest set delivered in 1948.
Ahmed Saeed Nagi:
Ahmed Saeed Nagi was born on 2nd February 1916 in Amritsar, Punjab, British India. He was a Painter artist. He was known as the ‘official craftsman’ of the Pakistan opportunity movement. Having a picture made by Nagi turned into a brand name for top lawmakers since Nagi made the principal representation of Quaid-e-Azam Muhammad Ali Jinnah, (the author of Pakistan). An individual who trusted in all-inclusiveness, he was known for his companionship with the late Zulfiqar Ali Bhutto, which was incompletely the explanation he never painted a picture of Zia-ul-Haq.
Initial life and his education:
Ahmed Saeed Nagi got his instruction in Amritsar, Lahore, Delhi, and Paris. He was a Pakistan Movement extremist from 1944 to 1947. Pakistani pioneers Jinnah and Liaquat Ali Khan used to give him tasks that he would finish for them in Lahore and other Pakistani urban communities. He performed craftsmanship at the Governor House Karachi, Governor House, Lahore, the verifiably huge Mohatta Palace working in Karachi. He additionally performed work of art at the Ziarat Residency of Jinnah in Baluchistan, Governor House in Peshawar, and at the Punjab Assembly building in Lahore.
Ahmed Saeed Nagi held displays of his artistic creations in Paris, London, Zagreb, New York, Delhi, Shimla, Lahore, and Karachi.
Death and toughies:
Ahmed Saeed Nagi passed on September 1, 2006, at the Agha Khan Hospital in Karachi. He was 90. He is made due of three children and a little girl.
Awards and recognition:
- His two slows down—Export Pavilion and Tourist Bureau – got Gold Medal Awards for them
- His name was remembered for the ‘Reference book of World Art’
- In acknowledgment of his extraordinary accomplishments as a painter craftsman, he was respected with the Pride of Performance Award by the Government of Pakistan in 1990.
- A book composed by Safi Safdar on Ahmed Saeed Nagi’s craft, named ‘Ahmed Saeed Nagi and his specialty: a craftsman with a public vision’
Anna Molka Ahmed:
Anna Molka Ahmed was the main craftsmanship educator in Pakistan to take her understudies outside to paint their environmental factors. Her work, thick impasto impressions frequently seemed to catch the very pith of daylight. Educator Emeritus, Punjab University Fine Arts Department, her work in the field of craftsmanship instruction are endless. Her honors include The President’s Medal for Pride of Performance, Tamgha-e-Imtiaz, and the Khudeja Tul Khubra Medal. An English lady of blended Russain and Polish parentage, at an early age Anna Molka was resolved to make her life in craftsmanship. Challenging parental objection, Anna accomplished initial a grant to St. Martin’s School of Art, London, trailed by a grant from the Royal College of Art-and in the process fashioning her dad’s necessary mark.
She was born in the Jewish confidence, at 18 years old, Anna changed her religion, and for an incredible remainder, she was a faithful Muslim. In London craftsmanship circles, then she met an individual craftsman, Sheik Ahmed and after two years they were hitched and Anna left London to make her home in Punjab. At first, the couple had thought to open a print machine to distribute books for kids, yet their arrangements didn’t work out. Hence in 1940, Anna Molka addressed a commercial in the paper for a certified craftsman to open a division of workmanship for young ladies at the Punjab University. Anna properly made an arrangement and notwithstanding significant rivalry; she intrigued the adjudicators.
Back in Lahore work:
A few years back in Lahore, the child of the craftsman AR Chughtai, demonstrated to be the index of Anna’s work that she had amassed to show the Governing Board around then. A.R.Chughtai, who was an individual from the Board, took it home with him and painstakingly kept it as has his child. Anna was named for the post and in Lahore, she set up a Fine Arts Department for young ladies at the Punjab University in 1940. She was excited about the chance, however, there were limitations. The figure was not permitted and painstaking work was completely energized. Later on, Anna Molka resentfully found that the division had been opened by the Governing Body as they felt young lady’s ought to get ready for marriage, and not taking spots in classes that ought to have gone to young men. After parcel Anna Molka was left with only a couple of understudies, however, she effectively developed the numbers and continued to head the office for more than thirty years. At first, affirmation was given to ladies’ under-graduates just, until the 1950s when an undeniable M.A. course was acquainted and the office extended with incorporate youngsters.
Anna Molkia’s Organization:
Khalid Iqbal, even though he was a prize-winning understudy at the Slade School of Art, and had been offered a showing post there, got back to Lahore. He opened the office for young men and Colin David was one of the first of three youngsters to join the Institute. In 1952, Anna Molka started a custom of yearly craftsmanship shows at the Punjab University and printed a handout to check each event. These were the primary shows recorded in Pakistan. The early craftsmanship symbols of the nation, A.R.Chughtai, and Ustad Allah Buksh added to the presentations by not just demonstrating their lovely work to energize the understudies, yet besides giving gold and silver decorations to the best artworks showed. That first year, a youthful craftsman named Ahmed Parvez won first prize, with a drawing made with pastels on paper. And, after it, all said and done Anna Molka and the Judges could see the craftsman’s latent capacity.
The wish of Anna Molkia:
It became Anna Molkia’s desire to prepare her understudies to set up an expressive arts office in Universities all through the nation, and many picked up acknowledgment for their accomplishments in the field of workmanship. Working continually for the advancement of craftsmanship left Anna a brief period for her artistic creation, however, she held two amazing displays in Karachi in the last part of the 1960s. These depended on her perspectives on the battle as she had been one of the craftsmen who visited the war harmed territories. She was so stunned by the sights she saw; she couldn’t paint her impressions until following a year had passed.
American cultural center representation in Karachi:
It was during that presentation held at the Pakistan American Cultural Center, Karachi, that I previously experienced the craftsman. It was noon and the spot was vacant. I discovered Anna Molka situated there alone and we began a discussion. I inquired as to why one of her compositions was set behind a drapery. She clarified it was because the subject was a rancher securing his home and conveying his firearm, and as she had painted him wearing a Dhoti without a shirt, the coordinators felt somebody may complain! It showed up around than the two of us thought it was interesting, and we both began chuckling at this. From that point on, we turned out to be old buddies. I respected her hugely and visited her frequently when in Lahore.
During the battle between Pakistan and India:
During the battle in 1965, she had been responsible for a mystery mission with a select gathering of picked craftsmen including Colin David. Anna Molka had been relegated to making ‘Fakers Tanks’. The gathering manufactured and painted wooden structures of a size that in a good way, and through a telescope gave off an impression of being amazing tanks. Continually seeming hopeful, Anna had impressive trouble in her life. Leaving her family in England, she couldn’t visit through the war years, and when the war was finished, her dearest Mother had passed on. Anna had painted a representation of her mom which was in her room, and Anna’s little girl Zara recounted how her mom would sit before the picture and cry.
Marriage with Sheikh Ahmed:
Anna Molka’s marriage destitute down and Sheik Ahmed headed out to the States, yet she had numerous old buddies among the workmanship network, and took extraordinary consideration of her little girls, ensuring they were content with companions around, birthday celebrations, and excursions.
Presentation in Lahore:
It was after numerous years that she found the time and chance to give her work in Lahore in an independent presentation. After her retirement in 1979, Anna Molka appreciated focusing on her artistic creation, still energetic and brimming with enthusiasm for hate of medical issues. Anna Molka held her affection for outside and was consistently joined by Ghulam Mustafa, who was by then Executive Director of Punjab Arts Council. One recollects artworks all through her home, many wrapped up and stacked. Around then there was little gratefulness for the craftsmen work, however, she gave understudies were ordinary guests. At the point when they complimented her on her honors, she mournfully revealed to them she would like to give them back and show her work.
Composing the verses:
In the later months of her life, she was bound to her bed, and unfit to paint she composed Verse. One recollects a sonnet that turned into the title of a book composed on the craftsman, distributed by Ferozsons and the National College of Arts.; named: ‘The Sun Blazes the Colors through my Window.’ In 1992, Anna Molka distributed a book of verse containing 52 sonnets that were effectively dispatched at the Arts Council, Karachi.
Anna Molkia Ahmed appreciation:
Thankfulness developed for Anna Molkia Ahmed’s work and the main independent show of her work was held at the Lahore Museum in 1983.
Death of Anna Molkia Ahmed:
In 2003 Anna Molka Ahmed died. After 10 years the Pakistan National Council of the Arts composed a vital review display of Anna Molka’s work which achieved a restored intrigue. Ahmed Molka Ahmed’s canvases in the National Collection include the Punjab Landscape, demonstrating the sun-soaked country scene that she cherished; and a solid figurative piece named: Dance of Death depicting despots of the world since the beginning. In her work, the craftsman portrayed the brutality of humanity to humankind, while Death giggles and hits the dance floor with happiness. From that time a recharged enthusiasm for the craftsman’s work was appeared at home and abroad.
Awards and recognitions:
she got many awards, some of them are listed below;
- Tamgha-e-Imtiaz from the Government of Pakistan for her amenities in the arena of fine paintings schooling
- Pride of Performance Award in 1979 by the President of Pakistan.
- Khudeja Tul Kubra Medal
On 14 August 2006, Pakistan Post gave an Rs. 40 sheetlet of stamps to after death honor ten Pakistani painters. Other than Anna Molka Ahmed, the other nine painters were: Laila Shahzada, Askari Mian Irani, Sadequain, Ali Imam, Shakir Ali, Zahoor ul Akhlaq, Zubeida Agha, Ahmed Pervez, and Bashir Mirza.
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