Volue X, No 2, 2013 (Aug)

The Journal of Humanities

and
Social Sciences
Abstract
Available on Gale & afiliated international detabase
AsiaNet
PAKISTAN
JHSS XXI, No.2, 2014 (August)
Journal of
Humanities &
Social Sciences
Ghani Khan: The Poet-Painter (1914-1996)
Muhammad Sher Ali Khan
Department of Art & Design, University of Peshawar, Pa
k
istan
Khan Abdul Ghani Khan (1 9 14 -1 996) was the son of Khan Abdul Ghaffar Khan,
k
nown as Bacha Khan (1890-1988) who was a political activist. Unli
k
e
his father
and his brother, Khan Abdul Wali Khan, Ghani Khan was a poet, painter and
sculptor par excellence. Althoug
h h
e is we
ll k
nown as a poet bot
h
nationally and
internationally, very few people are aware that he was as great a painter and a
sculptor, too. In this short paper, I try to present Ghani Khan as a multi-
f
aceted
personality neit
h
er w
h
ose paintings are 'dumb poetry' nor w
h
ose poems are 'blind
paintings' (Ric
h
ter & Wells, 2008-188). I
h
ave also inc
l
uded i
ll
ustrations o
f
some o
f
his paintings and sculptures for the interest of the readers.
Keyords: Ghani Khan, Pa
k
istani artists, Pu
kh
tun personalities, poet-painter
"
And i
f you, 0 Poet, tell a story with your pen,
the painter wit
h his brush can tell it more easil
y.
I
f
you call painting dumb poetry, the painter may call poetry blind painting.
Consider t
h
en w
h
ic
h
is t
h
e more grievous de
f
ect, to be blind or dumb?"
(Richter & Wells 2008: 188)
Ghani Khan: The Poet -Painter
Michelangelo (1475-1564), the Renaissance artist, was perhaps the earliest
f
igure
in t
h
e
h
istory o
f
visual arts w
h
o was equally seasoned in painting, sculpture and
poetry, and in the
f
ollowing centuries there had been, o
f
course, many people wit
h
ali
k
e personality of poet-painter, such as Rembrandt (1606-69) and William Bla
k
e
63
64 Khan, M. S. A. / JHSS, XXI, No.2 (August, 2013), 63-72
(1 757 -1 827), and that th
e one w
ho was born in the Indian Sub-continent was
Tagore (1861-1941); long been recognized for his literary contributions
!
, w
h
o
enjoyed not only literature but also painting, sculpture and music. The next
descendant of this caste was Abdul Ghani Khan (1914-96), the elder son the
Red -Shirt leader Abdul Ghaffar Khan, Bacha Kh
an (1 890 -1 988). Thoug
h th
e
early chapters of his life were devoted to politics, he li
k
e his teacher, Rabindranath
Tagore, has natural ability in exhibiting his dexterity in poetry, prose, painting and
sculpture wit
h
suc
h
a generosity and devotion that painting may rival his position of
fame as poet, or his poems are not ordinary competitors of his prose. Yet alive to
'th
e marvelous manifestations of nature
'
and a great love for his people, th
e Pu
khtuns
(Khan 1988: 1),
he could hear voices o
f the invisible cosmos;
h
is eyes were
constantly open to see his dignity visible in an ordinary man, very close to him; and
h
e cou
ld
spea
k
we
ll
o
f h
is idea
ls not alien to his curiosity. This position mak
es us
believe in that he was neither dumb nor blind.
Ghani Khan , a restive artist m
h
ad a multif
aceted personality . He
h
a
h
as a
l
ways been
ac
k
nowledged as a greate poet of international note among his his contemporaries,
because almost every Pa
kh
tun around the world has enjoyed his popetry in songs
sung by renowned singers o
f
Pa
k
istan and Af
ghnistanan . Historians who survey on
th
e War o
f
Freedom o
f
Indo-Pa
k
istan are well-aware o
f h
is role as a Pukhtun
Zalmay (Pukhtun Youth).
2
Among th
e literary communities, h
e
has the position of
a great writer who wrote in Pashtu, Urdu and English.
3
But this should be
remembered th
at G
h
ani K
h
an was quite lucid in visual arts be
f
ore and a
f
ter
h
e was a
poet and writer; which is not so widely
k
nown abroad. At this point, one may
naturally expect the poet-painter
'
s influences where a sma
ll
amount o
f
evidences
approve this connection, and to treat both is
f
urther a pressing job. A little, however,
must be said in the support. The offspring of his visual and literary imagery, in my
opinion, are not o
f
a single creative impulse. Even so, bot
h
o
f these were not strange
to his surroundings, and that the subject matter of his pen and brush share many with
each ot
h
ers, but each of them demonstrates a unique and individual character in its
own right. In fact Ghani Khan never missed even a single chance to express
h
imse
lf
excluding th
e di
ff
erence o
f
mode
f
rom time to time. W
h
ile spea
k
ing o
f h
is met
h
od o
f
painting he says:
"
i
f
it is not done in one go, my mode changes, and I start writing
instead." On the ground o
f h
is thin
k
ing,
"
poetry and painting are imperative sources
of expression".
4
Th
e quality o
f
illustration is th
us lac
k
ing but
h
e
h
as trans
f
igured ideas
from poetry to painting is rath
er rationa
l for his art.
Born in t
h
e year
5
1914, G
h
ani K
h
an received very little training in visua
l arts.
Thoug
h h
e since
his childhood used to draw pictures (Khan 1 990) but th
e earliest
impression available
f
or the present study does not exceed his self-portrait o
f the
Khan, M. S. A. / JHSS, XXI, No.2 (August, 2013), 63-72 65
1940s. Perhaps he was away from his home; for about ten years since 1929, and
the works he created were lost in the mists of time. In February 19
3
4, Jawaharlal
Nehru (1889-1964) enrolled him and Indira Priyadarshini (191 7 -1984) in
Shantiniketan6 where Ghani Khan along with Journalism 7 studied Sculpture and
Painting while Indira took to study Chemistry, History, English, Drawing and
Painting. Here in the school, Tagore and Nandlal Bose (1882-1966) taught him
painting, Ramkinkar Baij
8
(1906-1980) honed his skills in sculpture, and in
Journalism he remained under the guidance of Krishna Kripalani
9
(1907-1992).
However, he could not complete his study because his father did not want him to be
a painter or sculptor and withdrew him from Shantiniketan in October 19
3
4.
1
0
Under the guidance of these cerebral personalities at Shantiniketan, Ghani Khan
has always been acknowledged his stay there, and this was the very effect of that
institution that he named his residence as 'Dar-ul-Aman
,
11
i.e. Shantiniketan; the
Abode of Peace. He was always proud of his people and used to say that all these I
have learned there. According to his statement "It was in the Shantiniketan that I
discovered myself and the past greatness of my own culture and civilization which
has produced several men of versatile genius, who have been appreciated by
historians and scholars of the West." By looking closely at the works in both these
sister arts; poetry and painting, there are significant features and themes very
similar in the choice of subject, and that one can seek testimonies for the above
statement.
During his apprenticeship, he adopted Western themes such as Adam and Eve and
a big full-figure statue of a Prophet,
12
but later in his career he confined himself
only to expose his own people and culture. He always tried to bring forth the real
face and character
13
of what he was concerned about; the most appealing point
for discussion and a favorite subject for both his writings and pictures. He could
see everything in the face of his model what he wanted, and this was the decisive
factor that made Ghani Khan as a portrait artist.
He painted only faces and sculpted simply heads of his models. Those who are
interested to know about his ideals and family circle, certainly, can found many
faces of his friends, family members and relatives in his art like an album in the
hand. He was much fascinated by the facial expressions and used to say that 'this
is the most important part of human body which reflects all the sentiments of
human beings.' In this way he strived to portray expressions and was in the
opinion that 'the most difficult task in depicting portraits is expressions of the
setter and to show its feelings through face' (Khan 1990). Always concerned for
the age, emotions and expressions of his model, his portraits reveal human
responses and attitudes. For instance, in the three successive portraits of his son,
66 Khan, M. S. A. / JHSS, XXI, No.2 (August, 2013), 63-72
Faridoon Khan (1951-87), Ghani has shown the very nature of his model. The
earliest o
f these was s
k
etched (in 1 956) when his son was about six years old. In
this th
e big naughty eyes, cute smile, and twisted hair expose th
e c
hildis
h f
eatures;
unaware o
f
all worries. Two years later (in 1 958) he posed him again, but now his
model was not a naughty boy. Yet for another two years interval, he painted him
once more (in 1 960) and this time he showed him in a serious mode. Something
o
f the same can be commented about Ghani
'
s other paintings and s
k
etches.
Save t
h
is,
h
e was well-veteran in characterization that exhibits his realistic
approach in visualization. Inversely, in poetry, with a little exception, these
characters; such as the Six Lions and the Seven Flowers written to eulogize his
f
riends when h
e was in Haripur Jai
l (Khan 1985:69, 74), or many poems entitl
ed
with animals
'
or birds
'
names; li
k
e the toad, mouse, woodpec
k
er, fly etc., (Ibid pp.
50, 52, 59, 67) are ironic or symbolic in representation.
Another point to be ta
k
en for comparison is the style and way of wor
k
ing. Ghani
Khan was an impatient man and could not wait long. The artist should say briefly
to h
is listener or viewer, was perh
aps
his motto. He addressed to h
is listeners and
viewers so
f
ran
kl
y as 'gossip in the Hujra
'
. Li
k
e his extemporary style in poetry,
simplicity governs almost in all portraits but his figures seem dramatic in
conception. He has chosen mediums and techniques that suited the nature of his
mode. Wor
k
ed in the oils, watercolours, and crayons; however, he pre
f
erred
pastels that provided him an opportunity in transferring his 'brief but intensive
'
impression in a short time. He wor
k
ed quic
kl
y and de
ftly, and whenever
h
e got an
idea, pic
k
ed a charcoal from the
k
itchen, children
'
s coloured pencils or pastels, and
visualized his t
h
eme on an ordinary support li
k
e a cardboard, roug
h
paper or
whatever he could find.
1
4
At time he also mixed crayons with other mediums to
create a tonal dept
h
and pleasing texture in the picture. Most o
f
ten bac
k
ground
was painted in watercolour without mounting his paper on board whic
h
resulted
wrin
kl
es in his paintings. Again t
h
is was due to
h
is mode w
h
ere
f
i
ll
ing bac
k
ground
with watercolour was easier than charcoal or pastels, whil
e
his oil paintings can be
counted on fingers. He seems to be inspired by impressionist palette, such as, in
the Woman in Black (1970s), th
e
features seem to be exaggerated and her blac
k
costume is treated in shades of dar
k
purple and blues rather than blac
k
complimenting with yellow bac
k
ground (Khan 2008b). The application of
complimentary colours side by side, Ghani Khan was intending to
"
bring intensity
and luminosity in figures. The tinny stro
k
es on dar
k
and bu
ff
sur
f
ace o
f th
e paper
accentuated the bone structure here and create a highlight th
ere" (Hussain 1993).
To j udge Ghani
'
s s
k
ill and a full command over line, his linear drawings are
best to exempli
fy the aw
k
ward simplicity in depiction. Though these are
f
ew in
number but spea
k
wit
h
greater cl arity and force, and are full o
f
movement.
Khan, M. S. A. / JHSS, XXI, No.2 (August, 2013), 63-72 67
Quoting his early days of practice at Shantini
k
etan, his tutor in drawing did not
allow him to use eraser (Khan 1 990), and since then he never used it in the rest of
his life. Th
e a
dvantage of such practice mad
e
him so confident that h
e never a
fraid
of his stro
k
es while wor
k
ing, nor did he
f
eel th
ese incorrect. Once
h
e dragged a
line on the surface it became a permanent part of his drawing. Thus one can easily
realize all movements of his hands (Khan 2008b). This ability also stemmed in his
personality. He never apologized for what he did or said with his pen, brus
h
or
chisel. In the pre
f
ace o
f
Ghani
'
s boo
k
Palwashey (beams of light), Gul Bacha
Ulfat says that
"
because of his fran
k
and fanatical manner he can spea
k
where
oth
ers
hesitate to dare" (Khan 1985:673).
According to critics (Ibid pp. 67 2ff), Ghani Khan
'
s poetry conveys t
h
e message o
f
love, beauty, frolic and th
e Pu
khtunwali (Pukhtun
'
s code o
f h
onour). In th
is
connection there are numerous poems that demonstrate the degree o
f
relationship
between his verses and images. To generalize a group of portraits we can
characterize
h
is
f
igures
h
aving
f
eatures li
k
e t
h
e sensuous t
h
in lips, tapered nose,
glimmering eyes, elongated face, long napes, and looped hair. His self-portraits,
imaginary figures, and family portraits are poetically expressed; suc
h as, th
ese lines
from his poem 'the Entreat
'
are suggesting:
Nor I need your thin lips,
Nor hair in loops li
k
e a serpent
'
s coils,
Nor a nape as graceful as swan
'
s,
Nor narcissus eyes full of drun
k
enness,
Nor teeth as perfect as pearls of heaven,
Nor the chee
k
s ruddy and full as pomegranates,
Nor a voice mellifluous as a sarinda,
Nor a figure as elegant as poplar, ...
(Khan 1985: 136)
At Shantini
k
etan artists and sculptors were engaged in depicting scenes and
images o
f th
eir cu
l
ture; most
l
y Indian, but f
or G
hani th
e ro
l
e mode
l was h
is own
people. His teacher Ram
k
in
k
ar erected statues o
f
Rabindranath Tagore (1 96 1 ) and
Mahatma Gandhi (1 968) there and Ghani Khan created sculptures of his father,
Bacha Khan, and uncle Dr. Khan Sahib (Abdul Jabbar Khan) here. He executed
th
ese sculptures with great devotion and unconscious sincerity which disclose
h
is
regards
f
or
h
is
fath
er and also a
k
een interest in plastic art; because
h
e
h
ad greater
affinity to sculpture rather than two-dimensional art. This is what h
is sculptures,
unli
k
e his paintings, are more realistic in approach and tried his best to capture th
e
li
k
eness of his mod
e
ls. Th
e same
d
e
dication is also evident through sensory details
in the portrait of Bacha Khan which characterizes the face o
f
a true Pu
kh
tun leader
68 Khan, M. S. A. / JHSS, XXI, No.2 (August, 2013), 63-72
worried for
h
is people. T
h
e portrait seems to be a later wor
k
and expresses th
e
fact that during this time (1962) h
e
has gained a f
u
ll command on his art. Yet, his
habit of wor
k
ing quickly h
e
has chosen wood, clay and plaster for mod
e
ling and
never carved in stone w
h
ic
h
was not always accessible to him.
Eluding from any complexity and see
k
ing the most stri
k
ing comparison between
poems and pictures we could have only one artwor
k
to serve; the Kochay (a
f
avorite dog o
f
G
hani Khan). One mig
ht expect that th
is de
l
icate c
harcoal d
rawing
was either inspired by his poem or the artist has provided exegesis to his picture.
However, t
h
is intricacy is resolved by the creator. In his poem with the same title
and subj ect mater, Ghani Khan has contextualized the poem in a note that wh
en
h
e was in j ai
l, Kochay d
ie
d (Khan 1985: 5 6), but in th
e
drawing his dog is not
dead. In scrutinizing his poetry and painting on the same line, we must
familiar
with the exchange o
f
titles among both. In 1994 he painted two versions o
f
an
imaginary portrait, T ora Laila that shows his fellow feeling towards poetry into
painting. The subject is typical poetic but th
e
face is de
fending sensation of his
characteristic beauty and shunning the concept o
f
Arabic standards.
Th
e
legacy o
f h
is own culture was primary motivation to his art. He loved
everything he had in his surrounding even included trees,
fl
owers, rustic people,
animals and above all the nature.
1
5
All these were not only the subject of his poetry
but also have their respective place in his visual arts. If we count his art pieces
1
6
,
th
ese will exceed th
e number o
f h
is poems. In search o
f the past glory o
f h
is
people his visual journey started from the portrait of his little son to the s
k
etches of
ordinary figures of his village through a man he called him 'the Great Pu
kh
tun
'
;
Bacha Khan. However, he was still on his move reached the point by portraying
the Christ and Buddha. Th
e timeline o
f h
is wor
k
s
falls in several periods that carry
out a variety of trends in manifestation, but in all its variety, the goal and purpose
has al
ways been remained constant: th
e external
reality with translation of internal
veracity.
But why his poetry is superior to painting? The answer is simple. That poetry uses
language where th
e wor
ds instruct minds, and they are universal in meaning. On
the other hand, visual arts are always tied to th
e particular. In a society where
Ghani had j udged the oddity of his people that
"
he [the Pu
kh
tun] loves music but
has a great contempt for th
e musician" (Khan 1 9 5 8: 5 ), and thus his pen wins a
noble position than his brush.
Khan, M. S. A. / JHSS, XXI, No.2 (August, 2013), 63-72 69
Notes
1 He is the winner of Nobel Prize in literature.
2 Ghani Khan was not much agreed with his father's philosophy of 'Non-Violence'
and consequently established a group of Pukhtun youths; carrying firearms in their
hands, in April 1947 to protect the unarmed followers of the Khudai Khidmatgar
movement.
3 Besides his poem collections, he wrote The Pathan (English) (1958); first published
by Pushto Adabi Society, Islamabad in 1947, Khan Sahib in Urdu (1994), and
number of essays and aricles scattered in renowned magazines; most prolific
contribution of which is the writings with the title of Gadey Wadey (stuff and
nonsense) written with the pen name of Lewanay Palsafi (Insane Philosopher).
These writings were both in prose and poems discussing the socio-political and
moral issues in a humorous column published in Monthly the Pukhtun from 1928-
1947.
4 He utilized his ar purely for the expression of his inner sense which is more visible
in his visual ars rather than his prose and poetry. It is why he did not remember the
titles and dates of many of his paintings and sketches.
5 The year of his birh varies in writings; such as 1913 (Ekbal 2009:69), 1914 (Gupta
2006 :782; Eswaran 2009:78), and rarely 1915 (Khan 1990), but the events
around his birh secure the date as 1914.
6 Shantiniketan was founded by Maharshi Devendranath Tagore in 1863 for
meditation and quiet study in the forest. Later on, in 1901, it was developed into a
school for boys by Rabindranath Tagore; his son, and in 1921 it was expanded into
Visva-Bharati University.
7 He joined Journalism classes In the English Deparment, but he was not satisfied
with this because he was given a subject to write and after having done he had
nothing to do. At this he asked his teacher "What should I do next?" and he was
answered "Anything you like". Thus he fed up of this routine activity and answer,
and found an ease in the sculpture class. See Omer Khan (May 19, 1990).
8 Regarded as the Pioneer of Modern Indian Sculpture, Ramkinkar Baij worked In
expressionist style. In 1929 he obtained Diploma from Kala Bhavana (Shantiniketan)
and next year joined the same as a par-time teacher. After a short depar from the
institute he came back but this time as a permanent teacher, and later on, in 1969,
he became the Head of the Deparment of Sculpture. Besides his sculptures, he also
painted in oil and watercolour, and also worked in theater. His famous works include
the concrete sculpture of Santhal Family (1938), cast sculpture Head of a Woman
70 Khan, M. S. A. / JHSS, XXI, No.2 (August, 2013), 63-72
( 1939), freestanding sculpture Lampstand (1940), statues of Rabindranath Tagore
(1961) and Mahatma Gandhi (1968) in direct concrete.
9 Kripalani began his career as a teacher in Shantiniketan and from 1933 to 1941 he
edited the journal, Visva-Bharati Quarterly; remained the first Secretary of Sahitya
Akademi (National Academy of Letters, India) from 1 954-7 1; nominated as member
of Indian Parliament from 1974-80; and Chairman of National Book Trust, India
from 1981-86. Among his publications are Rabindrnath Tagore: A Biography
( 1 962); Modern India, Rammohun to Rabindranath T agore (1 965); Gandhi, the
Modern Mhatama (1968); Modern Indian Literature (1968) etc.
10 When his father, Bacha Khan, visited Shantiniketan in August 31, 1934 (Tagore, R. &
Das, S. K 2006: 1002; fn 59) he saw his son's pre-occupation in painting which
he did not consider to be of any worth in the ongoing struggles against British Rule
in India.
11 Dar-ul-Aman, the residence of Ghani Khan built in 1944, is located in a small
town in District Charsadda, Khyber Pukhtunkhwa (34 14'4 N, 71 50'20 E). The house is
a unique treasury of art ranging paintings and drawings covered every wall and
pillar, numerous sculptures in the windowsills by Ghani Khan, and cultural material
of Pukhtuns.
1 2 He conversed that this statue is placed in the Shantiniketan Museum. See Omer
Khan's Interview with Ghani Khan (May 19, 1990).
1 3 His book the Pathan (1 958) is the best example never revealed by someone else the
true character of a Pukhtun, his culture and society.
14 It was quiet shocking for me when I saw that a class quality handmade watercolour
paper was used for rough charcoal drawing; depicting Rahman Baba, and another
time a very ordinary paper used for a delicate portrait of Bahram Khan (1984).
15 His residence, Dar-ul-Aman, is abundant of all kinds of trees and flowers like a forest,
but he never allow anybody to cut its trunks and permitted these to grow in its
natural tendency. This was the extreme of his love for nature.
16 There are hundreds of artworks in Dar-ul-Aman and the same number with his
relatives who appreciated him, and Ghani Khan gifted them. These need a proper
and professional conservation. Mashal Khan (1979- ) refused to give these collection
to Ghani Dherai (a memorial of Ghani Khan built in 2002 at Takht Bhai Road,
Charsadda); though some photographed replicas are exhibited there, because of not
sure of proper placement. In March 2011, I visited the site and found the roof of
building was seriously damaged, and the scene reminded me Mashal's words.
Khan, M. S. A. / JHSS, XXI, No.2 (August, 2013), 63-72 71
Illustrations
lacha Khan, 1962, Jan Nisar, 1970 Pa tel
wash on


;aridoon Khan J 970s,
,as tel on a er.
Sel-portrait, terracoUa
(baked cIa ).
Voman in Black, 1970s, Sel Portrait, 1970s, oil
Kochay (Ghani's Dog), charcoal and white chalk
atercolour on paper. on canvas.
Dr. Khan Sahib,
,laster.
Bacha Khan, plaster. Firdous Khan, plaster. Lamppost, 1970s,
wood.
72 Khan, M. S. A. / JHSS, XXI, No.2 (August, 2013), 63-72
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