Tag Archives: british

Looking familiar in Funchal

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THEY STAND SIDE by side on a pavement outside a post office on the sloping Avenida Zarco in central Funchal. There are two sets of them. In each pair, one is painted red, the other is blue. They are postboxes (letter boxes). These cylindrical mailing boxes have a familiar look about them, especially if you live in England.

Having seen several old British style post boxes in various places in India, seeing these boxes in Funchal aroused my curiosity. I looked at their bases. The two red boxes had no manufacturer’s marks. However, both the blue ones had the following on them in English: “Cooperative Industrial Society”. This suggests that at least these two boxes were made in the UK. It appears that many Cooperative Industrial Societies have existed. So just by looking at them, it cannot be said exactly where these boxes were made. In any case, it seems that these items were imported from the UK.

As for the two colours – red and blue – there are two postal methods/speeds in Portugal. Red boxes are for normal mail, and blue for priority or express mail.

India’s history rediscovered?

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RUPA GUPTA AND Gautam Gupta have written a fascinating book with an intriguing title: “Forgotten Civilisations. The Rediscovery of India’s Lost History”. It describes 15 British men, who came to India during the British colonial era, which ended on the 15th of August 1947 and explored the Subcontinent’s early history.

The authors have written short biographies of these interesting men, highlighting the contributions they made to documenting India’s long history. The book seems to be making the case that before the arrival of these men, filled with a great enthusiasm for unearthing the past, India’s history prior to the Mughals had been largely forgotten.

Now, I am not qualified to comment on whether or not Indians had forgotten about their early ancestors, but wonder whether this history had really been lost before the arrival of the men described in the book. In many cases, these men were reliant on help from pandits who could read ancient scripts such as Sanskrit. Understanding these texts was the key to many of the ‘discoveries’ made by the subjects of the book. The existence of these texts suggests that long before the arrival of the British, early Indian history had been preserved, but maybe not as systematically as modern European historians would have preferred.

Despite my reservations about whether India had really lost or forgotten its ancient past, the book by the Guptas is fascinating (even though I have some reservations about its rather repetitive formulaic style).

Suggesting that a country had forgotten its own history might pander to readers who still harbour patronising or colonialist ideas about India. Although I have not yet seen this book on sale in British bookshops, I suspect it would might well appeal to readers, who seem to have forgotten that Britannia no longer rules the waves. I doubt that it was the Gupta’s intention that their interesting text might possibly appeal to readers who still believe that Britain is superior to other nations.

From his garden to his grave

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IT IS PLEASANT to stroll beside the Thames along Chiswick Mall. Occasionally, we take a look at the graveyard of Chiswick’s St Nicholas Church. On a recent visit to this place, we walked deeper into it than usual and spotted a grave marked by a remarkable sculpture.

The idyllic, romantic, leafy churchyard by the river is chock full of graves. Several of them caught my attention. One is that for the artist William Hogarth, who lived close-by. His monument is protected by a cast-iron fence. An urn on a plinth decorated with an artist’s palette and brushes. It was erected after the death of his sister in 1781 (who is also commemorated on this monument) and was restored by a William Hogarth of Aberdeen in 1856. Another painter, Philippe Jacques de Loutherbourg (1740-1812), who was born in Strasbourg, is buried with his wife Lucy de Loutherborg (née Paget). Like Hogarth’s, their decaying monument on the north side of the cemetery is surrounded by cast iron railings. In 1789, Philippe gave up painting temporarily to develop his interest in alchemy and the supernatural. Later, he and his wife took up faith-healing. The remains of yet another painter, James Abbott McNeill Whistler (1834-1903), lie in the cemetery.

Private Frederick Hitch (1856-1913) is less famous than these artists. He was awarded the Victoria Cross for his brave actions during the Battle of Rorke’s Drift (January 1879) in the Anglo-Zulu War fought in South Africa. He is also buried in this large cemetery.

Amongst the more recent graves is the one with the unusual sculpture. It is that of Baronet Percy Harris (1876-1952), who was a Liberal politician. Son of a Polish immigrant, he was born in Kensington, and died there after a long career in parliamentary politics. According to a website listing British Jews in WW1, Percy was Jewish, yet his grave is distinctly Christian in sentiment. Aesthetically, his grave is the most remarkable one in the cemetery next to St Nicholas. It includes a semi-abstract, vorticist carving of The Resurrection of the Dead, created by the sculptor Edward Bainbridge Copnall (1903-1973) in the 1920s. Harris had acquired it for display in his garden long before it was moved to adorn his grave.

Although Percy Harris was born Jewish, he is buried in the graveyard of a Church of England parish church. Despite searching the Internet, including reading his extensive entry in the Dictionary of National Biography, I cannot determine whether or not he converted to Christianity sometime during his life.

A joyous façade on the Tate Gallery

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HERE IS SOMETHING WORTH seeing if you can. It is on display at the Tate Britain until the 31st of January 2021 and you need not enter the gallery building to see it. Originally created to celebrate Diwali, the Hindu Festival of Light, in late 2020, this is a wonderfully joyous celebration of both Indian and British culture in light and colour.

The artist Chila Kumari Singh Burman was born in Bootle, near Liverpool, daughter of Punjabi Hindu parents. She graduated at the Slade School of Fine Art in 1982 after having also studied at Southport College of Art and Leeds Polytechnic.

Burman has temporarily transformed the main (Thames facing) entrance of the Tate Britain, its staircase and pillared portico into a pleasing and often humorous riot of colour that makes many references to her upbringing and India’s culture and mythology. To do this, she has made use of coloured lights, neon tubing lights, coloured photographs, and decorative printed coloured paper. The Tate’s website (https://www.tate.org.uk/whats-on/tate-britain/exhibition/chila-kumari-singh-burman) describes Burman’s installation, “Remembering a Brave New World” as follows:

“This magnificent installation, remembering a brave new world, combines Hindu mythology, Bollywood imagery, colonial history and personal memories. Inspired by the artist’s childhood visits to the Blackpool illuminations and her family’s ice-cream van, Burman covers the façade of Tate Britain with vinyl, bling and lights. She changes the figure of Britannia, a symbol of British imperialism, into Kali, the Hindu goddess of liberation and power. The many illuminated deities, shapes and words are joined by Lakshmibai, the Rani (queen) of Jhansi. Lakshmibai was a fierce female warrior in India’s resistance to British colonial rule in the 19th century.”

This description provides a fair summary of what is to be seen. It does not mention the entertainingly decorated autorickshaw (three-wheeler) that was on display in the vestibule of the gallery when we visited. The doorways are also worth examining because they are lined with images taken from the Amar Chitra Katha’s comic books that are published in India to teach Indian children about both Hindu mythology and Indian history. Our daughter, whose background, is both Indian and European, used to enjoy reading these.  Despite what the Tate has written, the artwork does not come across as polemical or anti-British, at least not to me. On the contrary, the artist appears to be enjoying her joint cultural heritage: both British and Indian. My wife said of the installation:

“If this is multi-culturalism, let’s have more and more of it!”

However, words are quite insufficient to describe the visual impact of this wonderful spectacle. It has to be seen to be believed and enjoyed. We saw it during daylight when it can be enjoyed in fine detail, but I imagine that seeing it after dark would also be quite magical.

Around the market with Mansour

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I CANNOT COUNT the number of times I have passed Johnson Market on my way between Koramangala, where my in-laws live, and central Bangalore. The market building stands close to the busy intersection of Hosur Road and Richmond Road. Recently, I went on a guided walking tour of the area around Johnson Market. It was led by my good friend Mansour Ali, who runs a great organisation called “Bengaluru by foot” (www.bengalurubyfoot.com). I had visited Johnson Market several times before on my own, but Mansour’s tour enhanced my experience of it and its surroundings.

Johnson Market was built in an indo-saracenic style in the early 20th century on the site of stables that housed horses, which were imported into India in 1824 from Persia by Aga Ali Asker who was born in Shiraz in 1808. Some of the stables still exist, incorporated into the structure of the market halls. Ali Asker was one of several brothers. While the rest of ghem returned to Persia, he stayed in in Bangalore where he died after carrying out much valuable public work. One of his grandsons, born in Bangalore, was Sir Mirza Ismail (1883-1959), a great Indian statesman.

Johnson Market is for selling food. In addition to vegetables (including exotic vegetables like Chinese pak choi), there is a wonderful fishmongers shop and a beef market.

Near to the market, stands ‘Koshys Automatic Bakery’, which was the first mechanised bakery in the city. A stall beside it sells bread, cakes, and delicious filled puffs.

At both ends of the long building housing the Islamic Educational Board of India on Richmond Road, there are gateways leading to Muslim shrines well hidden from the road. One of them is a Sunni shrine, and the other is Shia/Sufi. Soon after the birth of Islam believers in this religion split into two main groups: Sunni and Shia. The majority of Muslims in India are Sunni, a small minority are Shia. It happens that there is a concentration of Shia establishments close to Johnson Market. This might be because Ali Asker and his descendants, many of whom had homes in the area, were Shias. Each of the shrines or ‘dargahs’ are peaceful enclaves, which although close to the main road, feel far away from the hustle and bustle of the city.

The leafy shaded Mysore Tobacco Company compound is across Richmond Road facing the two dargahs. Surrounded by trees and luxuriant foliage, the main building is a delightful example of colonial Bangalorean domestic architecture. Its windows are partially covered with monkey top woodwork. The large front porch is rich in wooden latticework and rustic carving that hints of idealised quaint country cottages in far-off England.

All Saints Church, founded by the Reverend Pettigrew (founder of Bangalore’s Bishop Cotton School for boys) and designed in Victorian gothic style by the English architect Robert Fellowes Chisholm and consecrated in 1870. It stands at the intersection of Richmond and Hosur Roads, and must have brought feelings of homesickness to Britishers living in pre-independence Bangalore. Stepping inside is like entering a village church in England. The garden surrounding the church contains a rich variety of plants, including a rather spindly olive tree, reflecting Pettigrew’s interest in botany. Tragically, part of this garden is under threat because the municipal authorities want it for use in the construction of a new metro line.

After visiting the church, Mansour took us to see another Shia dargah in a lane leading off Hosur Road. This shrine is connected with the battle of Karbala (600 AD) during which Hussain, grandson of the Prophet Muhammad, was slain by the caliph Yazid I. The shrine, which is revered by Shias, contains fine glass lamps and chandeliers which were probably made in Turkey over a century ago. Unlike mosques, where worshippers of different genders are kept separated, males and females can pray together in dargahs.

The Masjid e Askari is the only Shia mosque in Bangalore. Adjoining it, there is a recently built replica of a mosque in Karbala, the city close to where Hussain, sacred to the Shias, met his death. The replica, which is smaller than the original, is a beautiful construction with amazing mirror work mosaics in which words from the Koran are inserted in black tiling.

After spending three hours with Mansour, I felt that I had learnt much about the Shia branch of Islam and a great deal about a part of Bangalore which I have passed often without realising how interesting it is.

CLUBS AND GOLF CLUBS

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WHEN THE BRITISH RULED INDIA, they established clubs in India that were based on the sort of clubs frequented by upper class gentlemen in London (e.g. the Reform Club, the Athenaeum, and military sporting clubs). Like their counterparts back in the UK, the clubs in British India were subject to rules and strict dress codes. And, apart from servants, Indians were not admitted. There were a few exceptions. The Bangalore Club allowed some high ranking Indian military men as members, and also the Maharaja of Mysore.

Even after India became independent in August 1947, some of the British colonial clubs in India denied membership to Indians, a few of them until the late 1960s or after.

The Tollygunge Club in south Calcutta, founded in 1895, was one of the institutions that ddidnot admit Indian members until long after 1947. When my late father in law, an Indian and distinguished professional, was offered membership of this club in the 1960s because they needed to replace the dwindling number of ‘white’ members with Indians in order to remain solvent, he turned it down because he felt it wrong that he should join a club that had refused membership to him long after his country became independent.

It may seem surprising that the Indian authorities tolerated the continuation of this racial exclusivity long after independence. It was not only these clubs that denied access to Indians even after 1947, but also some hospitals and schools. This illustrates a certain tolerance amongst Indians to their foreign invaders. Remember, the Taj Mahal and the Victoria Memorial remain unscathed long after their foreign builders left the country.

The Tollygunge Club has its own golf course, a magnificent stretch of parkland where there is much wildlife including jackals, who watch the golfers seemingly unconcerned by them.

While staying at the Club, we noticed large boards on which the names of high achieving golfers are listed. For example, there is a board listing the Club members who have achieved a ‘hole in one’.

What particularly caught our attention was a board listing winners of The Public School Competition. A public school in the UK is actually a private, somewhat elitist, school. The winners of the Public School Competition on the list are not names of individual players but names of British public schools listed alongside the dates of their achievement for example: Rugby, Fettes, Felsted, Winchester, Eton, Marlborough, and many others. The competition continued until the late 1960s, by which time most of the European members of the Club had returned to the UK or elsewhere.

It would seem, although nobody has confirmed this to me, that during the Public School Competition teams of players who had all attended the same public school would compete against teams of other players each containing men who had attended this or that public school. It was a competition between school alumni teams and the winning school was listed on the board of honour.

The colonial clubs continue to thrive in India, the vast majority of their members being Indian. These pleasant establishments, often housed in colonial era buildings and set in lovely grounds are still elitist and retain some of the rules and traditions that were formulated by their British founders.

Like the gated residential communities that are springing up all over India, the formerly colonial clubs are havens where the better-off can relax, separated from the ‘madding crowds’.

Venice observed

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Venice is a special place in many ways. This meeting place of oriental and occidental art is bathed in light of a special quality. Maybe this is due to the fact that there is so much water reflecting the daylight and thereby increasing its intensity. Maybe, it is something else, but whatever it is, part of the beauty of Venice is its lovely light.

Artists have long been attracted to portraying Venice. Canaletto portrayed the city almost photographically in his paintings.  Guardi captures the city brilliantly by using an almost impressionistic technique. Ruskin captured the beauty of the Venetian architecture scholarly yet attractively. Other artists such as Manet, Monet, Moran, and Turner have also portrayed some of the ‘essence’ of Venice’s attractiveness.

Yesterday, I visited an exhibition of new paintings inspired by Venice by the British contemporary artist Joe Tilson (born 1928). Each of his deceptively simple canvases capture several aspects of what makes Venice attractive for me. Architectural details, coloured patterning like tiles or brickwork, and moonlit skies  conspire to evoke the special light an appearance of Venice. His painting is both simple and subtle, and above all visually satisfying.

 

The exhibition is at Marlborough Fine Art, 6 Albermarle Street, London W1S 4BY until 18th May 2019