‘Of Hills’ by Tom Ashley Lakeman, 1944
The free book released this month under SearchKashmir Free Book project is not just about Kashmir, it is about experiences of a World War Two era British soldier whose travels took him to the hills and the seas. It is about places you could easily visit before the modern world grappling with aftermath of a war, altered and redefined concept of places.
Blurb for Tom Ashley Lakeman ‘Of Hills’ (1944) explains this beautiful book of verses and its purpose quite well:
‘Of Sea and land, of Hills, of Loving Times’
To those who make the journey —
The photographs, verse and descriptions are to bring places near or to take readers far – at thought speed.
To the man from the hills by the Afghan border— on the cover – then glimpse of Kashmir; to Battlesbury on the steep western edge of Salisbury Plain. To Kashmir again — from Srinagar to Haramukh — then homeward to the cliffs of Devon.
To the Deosai Plains, not far from the Roof of the World, to India in England, to children, to the Indian forest, by Delhi, through the Red Sea to Malta, ending with Pir Guhl and the man from the hills.The book was formed when a holiday was needed and it is hoped that others too will find holiday in these pages. May this book help, in some small way, the National Trust. After the war, what profit there is from the book will go gladly to help the Trust ; during the war it will be sent to the Royal Tank Regiment Prisoners of War Fund — for those who cannot yet see our shores.
In 1945, the books had a sequel. To be uploaded next month…
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Kingfishers Catch Fire, Rumer Godden, 1953
And the beak of the other.”
The Dove House, the model for Dhilkusha, Sophie’s mountain bungalow. [I believe it is the ‘Ishber’ area, which finally became more inhabited in the late 60s and 70s] |
Photo from: Colonial Strangers: Women Writing the End of the British Empire By Phyllis Lassner (2004)
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How those old Kanz Mool photographs were actually shot
Because there are hundreds of these photographs with ‘native women with pestle and mortar, pounding rice’…every photographer worth his salt had to have this shot in his Kashmir inventory…
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And Kashmir maiden fled in shame,
Her heartbeat quickening in her haste,
Her twinkling bare feet keeping pace.
The, feeling safe from distant arms,
She, woman-like, did feel her charms
And, courage held in tight-gripped calm,
She slowly, fawnlike, came again,
And gave him face and form and name
Dance and Cabaret, 1944
A collection of photographs, receipts and postcards belonging to an anonymous British soldier who visited Kashmir in around 1944 during World War 2.
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Kshemendra’s Smayamatrika by Edward Powys Mathers
Although Edward Powys Mathers is more famous for ‘Bilhana: Black Marigolds’ (1919), which was later used by John Steinbeck for dramatic purposes in his American novel ‘Cannery Row’ (1945), Edward Powys Mathers was also one of the first translators of Kshemendra’s Smayamatrika.
His english version came out as ‘Harlot’s Breviary’ in volume 2 of book ‘Easter Love’ (1927).
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The book was available at Digital library of India but the reading method provided there is not too easy. So I have recompiled and uploaded the book to archive.org
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Bandobast Sahib’s Nightmare
Kashmir was my paradise, for the work was a constant pleasure. But in a way it unfitted me for the life outside paradise, and though I have had the happiest chances and the most delightful experiences since I left the happy valley, I always compare my life now with my life then, and nothing has rivalled Kashmir. When the Kashmiris weave their lovely carpets they always leave one thing undone, for their religion teaches them that nothing done by man must be perfect. I finished my work in the valley, but there was a tract of beautiful country not belonging to the State which I had promised to “settle,” and when the end came I left this unsettled. And now year by year I have a vivid dream that the boat is ready and that all my plans are made. I have chosen my best men for this last piece of work, have sent on my tents and supplies, and am going to make no mistake this time, and the map and the settlement of the land shall be perfect. But I always wake before my boatmen shout “Yo pir” and make the boat tremble with the strong stroke of the heart-shaped paddles, and I know that if the boat ever does start, it is “finis,” or as the Moslems write on their tombs, “Khatm“.
~ ‘The India We Served’ (1928), Walter Rooper Lawrence.
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By a singular coincidence, this chance halting-place under the chinars of Panzin, brought me also across the foot-prints of another man whose name is engraved upon the history of Kashmir. For as the evening grew the Village Headman came and sat by the brook, and conversed about his fields.
“Sir,” he said, “since Laren we have had great peace. He came walking along this very road on his way to Wangat, and I stood before him, thus, with folded hands, and said :
‘”Huzoor, here is great zulm; yon field is mine, but another from the next village, who has friends at court, has stolen it from me.’
“And Laren said, ‘What is your name ? ‘ and I said Sobhana, the son of Futto and he put it down in his note book ; and then he said:
“‘What is the name of your field ? ‘”
“and I laughed and said, ‘ Huzoor, they call my field Bamjoo.'”
“And he put that also in his book, but said no more and took his way ; and lo ! in the fullness of days when the Settlement was accomplished, my field was given back to me, and Justice was done.”
” And who was Laren ? ” I enquired —
” Laren,” he replied, ” was the great Sahib who made the Settlement ; the friend of all Zemindars. Since his time a deep confidence has settled upon our hearts. It was he who said ‘ O Wise Ones do not part with your lands for they will one day become gold.’
~ The Charm of Kashmir’ (1920) by V.C. Scott O’connor
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“I saw the Mullah step with great dignity into the ferry boat: I saw the boatman prostrate himself, as had the crowd bowed down as he passed along. He was a man of about fifty, clad in white, and when we met by my tent I noticed that, though his face was austere and ascetic, his eyes had a twinkle in them. We sat down for some time in absolute silence, and without any order on my part everyone went to a respectful distance. Then he spoke in good clear Hindustani. He had heard from his people of my work, and though I and my officials through our ignorance had made many mistakes, and though at first he had thought we should fail, he now had some hope that we should succeed. He had been told of my collision with Colonel Natha, and that I had vowed that if he remained in the State service I would resign. He was pleased that I had kept my vow, and it was for this that he and his people trusted me. “But,” he added, “you must be careful. Careful of the hate of the city and the officials, and careful not to free my people too quickly. They are under the curse and are well called the worshippers of oppression. For if they become absolutely free and careless of their rulers, they will be lazy and improvident. And one other matter you have taken on yourself affairs that do not belong to you.”
~ ‘The India We Served’ (1928), Walter Rooper Lawrence, the Land settlement officer in Kashmir from 1889 to 1895.
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‘River valleys in Kashmir’ (1890) by Frederick William John Shore
‘River valleys in Kashmir’ (1890) by Frederick William John Shore, 4th Baron Teignmouth (British, 1844-1916).
via: bonhams
Panoramic Painting of Dal, 19th century
The Dal Lake, Srinagar. Watercolour, English School, (late 19th century) . Via bonhams. |
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Previously:
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Kashmir in ‘L’espace bleu entre les nuages’ by Cosey, 1978
Kashmir in Jonathan series ‘L’espace bleu entre les nuages‘ (The blue space between the clouds) by swiss artist Cosey (Bernard Cosandey) for Tintin Magazine No.147, July 4, 1978.
The plot revolves around sale of rare European paintings meant to fund a militant movement run from Srinagar. The movement in this case happens to be a veiled reference to ‘Free Tibet’ movement whose main agents have taken refuge in Kashmir.
Much like the old European travellogues, Srinagar here is presented as the springboard to the roof of the world. The comic comes from a time when comics were art, this collection apparently is supposed to be read with the background score of Beethoven (Concerto No. 3 in C minor op. 37) and Chopin (Concerto No. 2 in F minor op. 21).
To get the art and feel of the place right, Cosey actually travelled to Kashmir and seems to have soaked it all in quite well. The issue also carried a brief piece by Cosey about his experience in Kashmir (along with some photographs by Paquita Cosandey, who usually did script and design for him).
Tintin Magazine was meant to be a space where new and future comic works by various artists could be showcased. ‘L’espace bleu entre les nuages’ as a complete work came out later in 1980.
At that time the west seemed to be much taken by Tibet, in this particular issue of the magazine, I would find two more comics themed around Tibet.
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Previously:
Kashmir in Indian Comics