By Rajeev Kumar,
Research Scholar, IHU, Turkey
U-Talk, Vol. 2, Issue 1, 2024

The name M. F. Hussain is synonymous with art, culture, and paintings. Regarded as the Picasso of India or an Indian Picasso, he produced a lasting impression of the artistic landscape. A figure with white hair, an organized beard, style, and goggles: at first sight, unmistakably an artist. His true artistic nature stirred controversy, forcing him to leave his homeland and seek refuge in Dubai to continue his artistic journey. Notably, one of his paintings fetched an unprecedented 2 million dollars.

My introduction to M. F. Hussain followed a unique path. Professor Bruce B. Lawrence, who is my mentor, shared insights during his lectures at the Alliance of Civilization Institute at Ibn Haldun University. Professor Lawrence, who organized Hussain’s last birthday celebrations, recalled Hussain’s unique habits of walking barefoot and even painting his toenails. Simple yet stylish, Hussain dedicated most of his time to using brushes and paint.

One painting, in particular, stayed etched in my memory—”Empty Bowls.” His creative rendition of the Last Supper featured Bilal, a camel, an Arabian man, and Jesus. Professor Bruce highlighted the complexity of the topic, and during a conversation, Hussain revealed three empty bowls, encouraging viewers to fill them with their imagination.

Inspired by Prof. Bruce’s story, I met Abdul Qayoom Shah, a 65-year-old Kashmiri painter who bears a striking resemblance to Hussain. Recalling the tale, I organized an online exhibition of Qayoom Shah’s paintings that originated in Istanbul. Despite the physical distance, he appreciated the event and extended an invitation for me to visit Kashmir. I promised to visit him.

In 2023, during Ramadan, I fulfilled the promise I made. Abdul Qayoom Shah had invited me to Bakar-Eid, and we celebrated it together. Arriving in Kashmir for the first time, Arshad ul Islam warmly welcomed me from the Srinagar airport to Qayoom Shah’s house, giving me valuable information about the essence of Kashmir and its people.

Shah shared his noble pursuit of capturing the beauty of Allah through the use of color. Despite lacking formal training in painting, his passion evolved, becoming a family legacy. His wife excelled in handicrafts and Quranic recitations, his daughter pursued a PhD at Kashmir University and was skilled in handicrafts and painting on clothes, and his son earned recognition as a talented photographer. His artistic family exemplified the power of art to inspire and unite people, transcending divisions in Kashmir.

In the heart of their home, I discovered the essence of Kashmir and experienced the unifying power of art and creativity. I express my heartfelt gratitude to Shah and his family for providing this invaluable experience.

My journey to Kashmir exceeded my admiration for its mountains and valleys, providing a profound connection with the land’s essence. Visiting both Hindu and Muslim households during Ramadan, I observed shared practices—sipping salty tea, sitting on carpeted floors for comfort, and experiencing similar house structures and foods. Unique elements emerged, such as Quranic verses adorning Muslim homes and images of Mecca and Medina, while Kashmiri Pandit homes resonated with morning bells and mantra recitations. Unity prevailed as Muslim and Hindu friends guided me through their shared spaces. Shah beautifully captured this diversity, depicting a fusion of Hindu-Muslim religious symbols alongside his individual identity.

After Bakrid, I organized an art workshop and exhibition, which his family members, relatives, and guests could also join both as a family gathering and as an event. Qayoom Shah’s relative, Mohsin, an imam at a mosque and a member of Tabdili Jamat, coordinated the workshop despite the diverse themes in the paintings. His artworks, ranging from the War of Karbala to life inside Dal Lake, touched on various subjects and showcased the political turmoil of Kashmir.

Shah took me on a tour that included visits to the Hari Parbat Temple, Gurudwara, various shrines, and the Shankaracharya Temple. At 65 years old, he climbed stairs with me, creating an unforgettable experience. Staying nearly 15 days at his house, I felt like a family member, fulfilling a dream to visit Firdaus and meet such a great artist. Just as my professor met M. F. Hussain, I also had the opportunity to meet Abdul Qayoom Shah. His dedication to art and creativity makes him special, and I aspire to organize a grand art exhibition to introduce his art and message to the world.