On display in London, natural history paintings by an obscure 19th-century Bengali artist by Malini Roy from Scroll.in

The British Library has loaned 20 paintings and manuscripts to the Wallace Collection in London for the “Forgotten Masters” exhibition, running through April 2020. Included are a selection of four works by the relatively unknown artist Haludar, whose natural history drawings are on display for the very first time.

When the exhibition curator William Darymple started scoping paintings to be included in the exhibition, I brought to his attention the natural history drawings in the collection commissioned by the Scottish surgeon Dr Francis Buchanan-Hamilton – 1762–1829, hereafter referred to as Buchanan – at the turn of the 19th century. When I showed him the delicate paintings of a moloch gibbon, a sloth bear, a long-tailed macaque and the gerbils painted by the artist Haludar, Dalrymple was intrigued and we started considering the conservation aspects in displaying these works for the first time.

Sloth bear drawn for Francis Buchanan by Haludar, circa 1799-1806. Credit: British Library (CC Public Domain)

In researching the Buchanan collection at the British Library, which consists of several hundred natural history alongside countless volumes of his notes, I met with Dr Ralf Britz an ichthyologist, or fish scientist, at the Natural History Museum, who was working on Buchanan’s volume on Fishes of the Ganges held in the British Library. When I mentioned my plans to work on the drawings of mammals in the Library’s collection and researching the artist Haludar, he immediately sent me a scientific article by the French zoologist Henri de Blainville. In 1816, de Blainville wrote in the science bulletin, par la Société philomathique de Paris, that a new species of Cervus niger could be identified “after a very beautiful coloured drawing that was completed on site by Haludar, an Indian painter”. After reading this article, I started to look at other early 19th century periodicals to see if any other zoologists were looking at de Blainville’s work or by chance also mentioned Haludar.

Indian sambar deer, Cervus Niger, drawn for Francis Buchanan by Haludar, circa 1799-1806, Barrackpore. Credit: British Library (CC Public Domain)

I discovered that in 1819, the German naturalist Lorenz Oken’s periodical Isis also made reference to Cervus niger, stating it was “painted on the spot by the master painter Haludar”. Both references to Cervus niger, which is an Indian Sambar deer, provided only brief descriptions of the species, and omitted to give details regarding the source of the scientific information as well as the location of the artwork by Haludar. However, in cross-referencing C niger with Haludar, we are directed to a single drawing in the British Library’s collection that was commissioned by Francis Buchanan inscribed with the artist’s name, that had been deposited at the Company’s library on Leadenhall Street, London in 1808. This painting of Cervus niger is one of 28 natural history drawings now held in the British Library that are inscribed Haludar Pinxt and that were prepared between 1795 and 1818, when Buchanan was working as a surgeon for the East India Company and actively documenting botanical and zoological specimens during his travels across the subcontinent.

This article first appeared on British Library’s Untold Lives blog.

More: https://scroll.in/article/952818/on-display-in-london-natural-history-paintings-by-an-obscure-19th-century-bengali-artist

MYSTICISM IN MINIATURE ART: AN INTERVIEW WITH ARTIST FATIMA ZAHRA HASSAN from Scripts ‘N’ Scribes

 May 15, 2018
Union  Before and After .jpg
Night of Union – Before & After

Miniature painting is widely recognized for its highly decorative and graphical images. They are some of the most fascinating pieces of art to look at, given the format and their level of intricate detail. Like Islamic calligraphy and illumination, it is a form of traditional Islamic art and is considered to be one of the most developed forms of Islamic painting. Originally, these small paintings were part of a manuscript, used as a front piece or an illustration for a text. Often made for and owned by rulers and wealthy patrons as illustrated manuscripts, these traditional works depicted lives of kings, scenes from battles, leisurely pursuits of rulers, or inspired by poems, such as the famous work of Persian poet Ferdousi, the Shahnameh.

Green Coat in Wilderness.jpg

 

More: https://www.scriptsnscribes.com/blogs/2018/5/15/mysticism-in-miniature-art-an-interview-with-artist-fatima-zahra-hassan

The Mystery of Alif – a painting based on Sufi text

 

Read only Alif, it will liberate you
The Alif multiplied and became two. three and four
It multiplied again and became a thousand, a million, a billion.
Then it multiplied itself into an infinite number,
This mystery of Alif is wonderous!

Why do you read bundles of book?
Your head is loaded with sin;
Now you look like a handman,
And the path ahead is hard and arduous!

You become Hafiz and learn the Qur’an by heart,
You purge your tongue by reading its text,
But you fix your attention on the luxury of the world,
You mind wanders like a mad madman.

O Bullah, the seed of the banyan tree was sown,
The tree grew big,
When it died,
The same Single Seed was left over again.

Here is description:The title comes from the poem/Kaafi of Baba Bulleh Shah. Fundamentally, the poem is about the Unity og Knowledge. Here is Bulleh Shah is the first person narrator in the poem and is first of all addressing a general audiance and, in the last verse addresses himself,”O Bullah”The poet himself communicates the symbolism of the Alif so simply and yet with such faih that it inspired me to depict the subject in painting form.In this poem the Alif is the first letter of the Arabic alphabet (corresponding to ‘A’) and it is the letter that begins the word ‘Allah’; here the Alif corresonds to Allah Himself and is the symbol of Unity. The subject of the poem is the Unity and Diversity of God – God is One and his gnosis and knowledge are One – all branches of knowledge flow from one and the same knowledge and all return t the One.The theme is that people who read and collect books, and those who memoris the Qur’an, those in fact who consider thmselves learned, are not actually the ones closest to God. Rather, it is the man who knows God in his hert, that is, who knows Alif, who i the one with a pure and sincere heart who stands upright before his Lord. On reading the poem, ven in English, it is the most beautiful language that says so much in such few and simple words. Besides decrying books and too much learning, the poet also criticises the hypocrisy of one who learns the QUR’AN and then goes an focuses his “attention on luxury of the world.” In fact, in the last vers the addresses himself, “O Bullah,” as if the whole poem were a reminder to himself of the Truth and a reminder of what he and all of us should centre our lives around. True knowlede, in fact, liberates the soul from the distractions of the world – it prevents our minds from wandering “like a madman.” And theremembernce of Allah, of the Mystery of Alif, is truly wonderous and always brings us back to the True Centre. In the last verse, the author mentions the seed of the banyan tree; the banyan tree is a very important and symbolic tree in the Indo-Pak Hindu and Muslim mystical tradition as well as in the Buddhist tradition. Not only did the Buddha sit under the banyan tree untill he attained enlightenment, but also mystics from Hindu and Muslim tradition sat under the banyan tree; and the Single Seed from which the tree grows represents Unity to which all things, all multiplicity eventually returns.