Details
NANDALAL BOSE (1882-1966)
Untitled (Khan Abdul Ghaffar Khan)
signed 'Nandalal Bose' (lower right)
linocut
11¾ x 7¼ in. (29.8 x 18.4 cm.) plate; 13¾ x 8¾ in. (35 x 22.2 cm.) sheet
Executed circa 1936
Provenance
Formerly from the collection of the artist
Thence by descent

Another edition in the collection of the National Gallery of Modern Art, New Delhi
Literature
R. L. Bartholomew, ed., Nandalal Bose: A Collection of Essays, New Delhi, 1983, pl. 53 (another from the edition illustrated)
S. R. Quintanilla, ed., Rhythms of India: The Art of Nandalal Bose, exhibition catalogue, Singapore, 2008, p. 163 (another from the edition illustrated)
Exhibited
New Delhi, National Gallery of Modern Art, Nandalal Bose Centenary Exhibition, 1983 (another from the edition)
San Diego and Philadelphia, San Diego Museum of Art and Philadelphia Museum of Art, Rhythms of India: The Art of Nandalal Bose, 2008 (another from the edition)

Lot Essay

Similar to his image of Bapuji, in 1936, Nandalal Bose created the most iconic image of Abdul Ghaffar Khan, a Pushtan leader who came from what is now the Northwest Frontier province of Pakistan. Khan was affectionately called the 'Frontier Gandhi'. While Gandhi was given the title of 'Mahatma' (great soul), Khan was bestowed the title of 'Badshah' (king). Bose's image beautifully captures the love, respect for humanity, non-violence philosophy and commitment to Hindu-Muslim unity that Khan is known for.

As a young man, Khan founded a school for Pashtun children and later was influenced by Haji Abdul Wahid Sahib, the social reformer. He eventually established contact with other progressive Muslim leaders in India, who urged him to continue his work toward the education and upliftment of the Pashtuns. But Khan was still searching for answers. In 1914, he performed a fast that lasted several days. The fast strengthened his resolve to dedicate his life to social reform, and he spent the next few years touring the region. He soon came in contact with Gandhi and was immediately drawn to his non-violence philosophy and found in Gandhi's message a unifying message with Islam. In 1929, Khan founded the nonviolent movement, Khudai Khidmatgar (servants of God), which was dedicated to social reform and ending British rule in South Asian.

"The dramatic contrast of white against a background of black provided Nandalal with an effective means of capturing the presence of this iconic figure in India's freedom struggle. Nandalal cleverly integrated Urdu invocations to Allah into his depiction of the homespun cotton garment - rendered with fluid lines, this work evokes the rhythms of Arabic calligraphy." (Rhythms of India, exhibition catalogue, Singapore, 2008, p. 163)

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