Page 92 - Eye of the beholder

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