Page 92 - Eye of the beholder

ABALAL RAHIMAN [1860-1931] PAINTER OF LIGHT
Rahiman’s life was a painful contrast to that of his very successful contemporary J.P. Gangooly though Rahiman admired the latter’s landscape paintings. The reason was his resistance to take advantage of the new cultural institutions as art societies and the exhibitions organized by them. According to Partha Mitter, “He was a sadly neglected figure who seldom showed even in Bombay. He remained dependent on the appreciative but limited patronage of the Maharaja of Kolhapur. I was in this isolation that his art languished”.
He was considered the earliest well known master-painter of Kolhapur popularly known as the Abalal - master. His original name was Abdul Aziz and was born to a family well known for its tradition of creating charming artistic manuscripts of Quran. He learnt Quranic illumination from his father who worked as a clerk for the Kolhapur state. Rahiman was good in drawing and aided his father in decorating the pages of the manuscripts. He had also acquired practical knowledge of working with gold and silver from the local smiths. As a young boy he was sent to learn Persian with an Indian interpreter by name Parasnis on his father request. The latter agreed. Abalal accompanied him in the bullock cart, and while on his way to the English Residence he would be taught Persian. While waiting in the bullock cart he killed time by drawing in pencil, which caught the attention of Resident’s wife, who requested him to make her portrait to which he readily agreed and created a good likeness of her. She persuaded her husband to further his education in art, who in turn requested the Maharaja to offer him state scholarship that would enable him to join the J.J. School of art in Bombay, which he eventually did in 1880. Abalal in joining the art institution was very happy and devoted himself with commitment and dedication in learning art.
The J. J. School of Art Curriculum gave importance to drawing. Naturally Abalal was trained to handle pencil, crayon and charcoal very well. After the teachers approved that he had mastered the drawing and shading, he was allowed to learn the water colour rendering and the oil painting technique. Thus Abalal completed the course in 1888. Abalal won many prizes including the Governor's Gold Medal for his set of black and white pictures. Out of these, two pictures are still preserved in the collection of Sir. J. J. School of Art, which shows the head studies of a lady. In both the pictures the shading is done minutely and with sensitive line work.
After completing the art-education Abalal came back to Kolhapur. The Shahu Chhatrapati appointed him as a court painter, with the consequence that he accompanied the Maharaja wherever he went including the hunting parties in the Radhanagari Jungle, at Dajipur as well as to the hill stations. Abalal on his return after studies found it difficult to adjust at home with his step-mother. He required his independent space and wanted to be free to paint from nature. His most favourite spots were Kotiteertha Lake and the Sandyamath where he made innumerable paintings of these spots. He even painted the pictures of the same spots at various timings to study the effect of sunlight. Though appointed court painter Abalal's mind
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