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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Kashmir by Modern Painters

Kashmir by B. Prabha (1933 – 2001) 
via: bonhams
Kashmiri Woman by B. Prabha.
via: bonhams

 From ‘Kashmir Series’ by B. Prabha.
via:
Sotheby’s
Kashmir by N.S. Bendre (1910-1992)
source: saffronart.com
‘Kashmiri Woodcutter’ by Abdur Rahman Chughtai (Pakistan, 1897–1975)
via: 
bonhams
Srinagar by Biren De (1926-2011)
Source: techsoftlabs.com
Previously: Srinagar Post Card by Biren De 
‘In the snows of Kashmir’ by G.R. Santosh (1929-1997).
Source: sothebys.com
Kashmir Valley by Syed Haider Raza (India, b.1922)  FOOTNOTES Provenance- Private UK-based collection. Acquired directly from the artist in Bombay in 1951. 

via: bonhams.

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View-Master Kashmir, 1952

An interesting addition to the archive.
A View-Master Reel of Kashmir from 1952. There are seven images (14 for 3d effect) shot on full color Kodachrome film.

Right now, I don’t have the viewer for it so spent the day hacking up a basic viewer out of a card box.

The result….an experiment in color and sound.

Update: 16th Jan 2014

Finally got a viewer.
 

Flute Player, 1922

Kashmiri Pundit Playing the Flute
Every Note in Kashmiri Music is overlaid with Grave Notes, to give brilliance to the performance
Photograph by Pandit Vishinath Kampassi

“The melodies belonging to the lakes and rivers are of course unlike those of the mountains. Never shall I forget the charm of being paddled in our shikara, one beautiful moonlight night on the Dal Lake in Kashmir, with our crew singing softly a well-known boatman’s song punctuated by the rhythemic stroke of the paddles. An equally idyllic memory springs to my mind of the fine forests on the mountainous sides of the Lolab valley, and, seated beneath the shade of a lofty pine, a slender stripling playing plaintively upon his simple wooden flageolet. This mournful melody was called “The Parrot” and its theme was a tale of a lady taken captive to Kashmir, who released her favourite parrot to carry a chenar leaf in its beak as a message to her lover. “

“Shikara” on the Dal Lake with Kashmiri Fluting
A Shikara Ride on the Dal Lake, on a Beautiful Moonlight Night, with the Crew Singling Softly a Boatman’s
Song Punctuated by the Rhythmic Stroke of the Paddles, Leaves an Idyllic Memory
Photograph by Pandit Vishinath Kampassi
From ‘Asia : journal of the American Asiatic Association (Volume v.22, November 1922)’, ‘Echoes of Himalayan Flutes’ by Muriel Percy Brown (1874-1943), daughter of Sir Adelbert Talbot, Resident of Kashmir from 1896 to 1900, and wife of art historian Percy Brown. She is more famous for  here book, ‘Chenar Leaves: Poems of Kashmir’ (1921)
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Flying to Kashmir


It’s not so far
There’s just a mountain
And at night
we can always fly

Music: Claudio Arrau playing Beethoven’s “Moonlight Sonata”,The Piano Sonata No. 14 in C minor. Video: Flying from Jammu to Srinagar

Kashmir in ‘L’espace bleu entre les nuages’ by Cosey, 1978

From personal collection

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

European ‘Village Life in Kashmir’, 1760

Village Life in Kashmir, c. 1760. By Mughal painter Mir Kalan Khan. A painting imitating European style, explaining why Kashmiri village here looks more like an alpine village.

Via: British Library:

“Gouache painting with gold of village life in Kashmir, by Mir Kalan Khan, working in the Lucknow/Faizabad style, c.1760. Inscribed on the border in Persian: ‘majlis-i kashmir, ‘amal-i mir kalan’ (A Kashmiri assembly, the work of Mir Kalan).

This painting depicts scenes of village life and in the centre a group of people are shown gathering grapes and wood while also cooking. On either side are several multi-storied buildings, and numerous waterways can be seen in the distance with buildings on the land in between. Mir Kalan Khan’s distinctive Europeanised style was adopted by other Lucknow artists, yet this kind of scene and subject matter remained unique to Khan. The source of his European influence is uncertain, but his extensive scenes often relate to Dutch and Flemish paintings. The facial type is distinctive, with frequent use of three-quarter face instead of profile. The artists place of origin is uncertain, but he may have been trained at the Delhi court, indicating that he came to Faizabad or Lucknow later in his life.”

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