Saam Lal’s Goats and the College of Art

On a burning-hot April afternoon (like today), sometime in 1994 or 95 Suneet Chopra entered the Ishtihaar office, his face red and profusely sweating. A safa, the kind worn by a peasant-mazdoor leader was dripping on his head. Without saying a word he pulled up a chair and sat down. Cleaning his glasses with the gamachha, he ran his fingers through his beard and drank two glasses of water. A cup of tea later he asked me to get up and come with him. “Where to?” I asked. At the Delhi College of Art, there is a show of final year students’ works on display and for sale.”  When Suneet spoke with that kind of authority you couldn’t say no. We drove to the college where the artworks of final-year BFA students were on display for assessment and for sale. Walking up and down the corridor and the hall, we looked at the artworks but weren’t ready to pay the prices students had labelled them for. We were about to leave when we met Saam Lal (that’s how he pronounced his name). Saam (Shyam), a peon-like assistant at the college, held a few rolled sheets in his hand. He had displayed two others on a cord along the outer wall. Those were HIS paintings. Shyam Lal, who had never attended school, learnt to draw and paint at DCA only. A few works that he managed to sell in a year supplemented his meagre salary. Looking at his works Suneet retraced his steps, and so did I. Suneet kept looking at the “Goats” – a gorgeous single one, and a clean-coated family of four. Suneet asked Shyam Lal to open the roll in his hand, which had two more artworks; Goats again. He looked at me and nodded, signaling that we should take these. Between the two of us we bought all four works. Shyam Lal asked for 2,500 each. Mind you, these are 3×2 feet fabulous works, watercolour on acid-free chart paper. The two in picture are with me, I wonder what Suneet did with his. Over thirty years now… every time I look at these works I remember both Suneet and Saam. Suneet is gone, I wonder what ever happened to tall, emaciated, smoker Saam who could hold both a brush and a bidi in his left hand while painting. Syam signed these works for us with a pencil tucked in his left ear. I cherish these.

For those who don’t know: late Suneet Chopra was an art critic, writer, and poet. He was a trade unionist; Secretary of the All India Agricultural Workers Union and a Central Committee member of CPI(M). Born in Lahore, Suneet was an alumnus of Modern School and St. Xavier’s College, Calcutta. He taught regional development at Jawaharlal Nehru University Delhi. More than everything else, the ever-smiling Suneet was a fine human being. 

क़यास – उदयन वाजपेयी का उपन्यास

अपने अंदर रह रहे किसी किरदार की तरह उदयन जी का ये उपन्यास करीब चार बरस तक मुझ से परे, अनजान सा बैठा रहा। फिर एक रोज़ रू-ब-रू होते ही कहानी ने सब उंडेल दिया – प्यार, उलाहने, उम्मीदें, शिकायतें और सपने भी। हम भी किसी सिनेमा सा सुनते और देखते चले गए, बिना इंटरवल के। अब दुख ये है कि क़यास को चार साल पढ़ा क्यों नहीं । भरपाई यूं होगी कि उदयन जी का लिखा सब पढ़ना होगा। ब-वक़्त ऐसे बेहतरीन लेखक और उनका शांत-उजला लेखन मेरी पकड़ से इस लिए भी दूर रहता है कि मैं उसके लिए अपनी समझ तैयार कर लूँ। अगर आप ऐसी कहानियाँ पसंद करते हैं जो बहुत शोर-शराबे वाली न होकर शांत और सोचने पर मजबूर करने वाली हों, तो ‘क़यास’ आपको जरूर पढ़नी चाहिए। 

‘क़यास’ हिंदी लेखन की बेहतरीन कलात्मक रचना है जो चुप्पी में घुट रहे इंसानी रिश्तों को सादगी से पेश करती है। कहानी ‘सुदीप्त’ के इर्द-गिर्द घूमती है, जो किसी छोटे से शहर में आ कर किसी पुरानी, बंद पड़ी लाइब्रेरी को फिर से जीवित करता है। कहानी की शुरुआत में ही सुदीप्त की हत्या हो जाने के बवजूद कहानी अपने शांत रौ में बहती रहती है जिसके बाद कहानी का हर किरदार  सुदीप्त की हत्या के कारण या हत्यारे के बारे में ‘क़यास’ (अनुमान) ही लगाता रहता है। पूरी कहानी सुदीप्त से जुड़े अलग-अलग लोगों—उसकी पत्नी मृदुला, नौकर लखना, बेटी नुहा और मित्र वंदना—के मन में उठने वाले ऊहापोह, शक, और उनके अपने ‘अंदाजों’ के ज़रिए आगे बढ़ती है। कोई जासूसी कहानी न हो कर ये इंसान की महीन ज़ेहनी परतों में छुपे अपने-अपने क़ातिल को बेनाक़ाब करने में कामयाब होती है। सुदीप्त की हत्या के इर्द-गिर्द बुनी गई ये कहानी कातिल को खोजने के बजाय, उसके करीबियों के मन में उठने वाले ‘अनुमानों’ पर केंद्रित है। उदयन जी कहानी में भी कविता की ले और रस ले आते हैं । छोटे-छोटे अध्याय कहानी में आने वाले अगले मोड के इंतज़ार में पाठक की दिलचस्पी बनाए रखते हैं। अपने-अपने अंदरूनी डरों का आईना साथ ले कर चलता हर किरदार दूसरों के बारे में बनाई राय की विफलता से जूझता नज़र आता है।

Singing Minstrels in my city

Check the attached video

Just like the Bauls in Bengal, and the Keertankaars in the Marathwada region, singing minstrels were a common sight in North Indian towns and cities until about three decades ago; then they vanished. Driven away by the security and safety paranoia of cities, and the allegations such as theft, these people moved to the hinterlands and were no longer seen singing on buses, trains, footpaths, or sometimes even outside temples. Covid pushed them further away. Was surprised to see them on the street this morning. I love how they mix Bhakti texts with film tunes and their simple choir-style singing. *I am still learning to edit videos. All geeks are welcome to teach.

Piprahwa Gems and Relics of the Buddha

​An excellent opportunity to promote the importance of the Science of Archaeology was wasted amid the din of overemphasizing faith. Bringing home the gems and relics of Buddha may indeed be a cause for celebration, yet the audio-videos were focussed only on the present master and the government of the day. In a text panel buried under heavy jargon is a line that says these relics have been ‘acquired by the Godrej Group through an innovative public-private partnership.’ Also, can the museum manager please buy a better megaphone for the guide and ask the gentleman to speak more softly? Seriously, it’s not a wedding venue!! Besides the gems and the relics – my find of the day was Elizabeth Brunner’s Walking Buddha (oil on woven mat) which transforms the Buddha-pada into dynamic steps with its soft forward march, and the Buddha painting by none other than Nandalal Bose. Do visit the show, only three weeks left of what is called as Piprahwa gems exhibition but is officially named ‘The Light of the Lotus: Relics of the Awakened One’, at the Qila Rai Pithora Fort and Cultural Complex, Lado Sarai on Press Enclave Marg, in Delhi.  *Piprahwa, in Siddharthnagar, U.P. is what was known as Kapilavastu.

The official statement posted by PIB on: 02 JAN 2026 says 
The Ministry of Culture is hosting a landmark exposition showcasing the Piprahwa Relics, Reliquaries and Gem Relics, recently repatriated to India, at the Rai Pithora Cultural Complex. The exposition is set to be inaugurated by the Prime Minister, Shri Narendra Modi on 3rd January 2026 at 11.00 AM.
This historic event marks the reunification of the Piprahwa gem relics of Lord Buddha, repatriated after 127 years, with relics, gem relics, and reliquaries from 1898 and then 1971-1975 excavations at the Piprahwa site.
The exposition, titled “The Light and the Lotus: Relics of the Awakened One,” thematically showcases relevant antiquities and works of art from several cultural institutions under the Ministry of Culture. These relics represent the most extensive assemblage attributed to the Buddha, symbolizing profound philosophical meaning, masterful craftsmanship, and global spiritual significance. The exhibition features over 80 objects spanning the 6th century BCE to the present, including sculptures, manuscripts, thangkas, and ritual objects.
This unprecedented gathering commemorates the Ministry of Culture’s successful repatriation of the relics in July 2025, achieved through a public-private partnership, halting an auction at Sotheby’s Hong Kong. For the first time since the 1898 excavation, the exposition brings together:

  1. Relics from the 1898 Kapilavastu excavation
  2. Treasures from the 1972 excavations
  3. Reliquaries and jewelled treasures from the Indian Museum, Kolkata
  4. Recently repatriated relics from the Peppé family collection
  5. Monolithic Stone Coffer within which the gem relics and reliquaries were originally found.

The sacred Buddha relics were discovered in 1898 by William Claxton Peppé at the ancient stupa of Kapilavastu. Following their discovery, portions were distributed globally, with one part gifted to the King of Siam, another taken to England, and a third preserved at the Indian Museum, Kolkata. In 2025, the Peppé family portion was repatriated through decisive intervention by the Ministry of Culture, supported by Buddhist communities worldwide.
The exposition underscores India’s role as the birthplace of Buddhism and reinforces its position as a global spiritual and cultural leader. Under the leadership of Prime Minister Narendra Modi, India’s global engagement increasingly draws upon its civilizational and spiritual inheritance, 642 antiquities have been repatriated to India, with the return of the Piprahwa relics standing as a landmark achievement.

The inauguration will witness participation from Union Ministers, Ambassadors and members of the diplomatic corps, venerable Buddhist monks, senior government officials, scholars, heritage experts, esteemed members of the art fraternity, art aficionados, followers of Buddhism, and students.

The exposition reaffirms the Ministry’s commitment to heritage preservation and cultural leadership while celebrating India’s spiritual legacy and its significance as the birthplace of the Buddha Dhamma, reflecting India’s enduring commitment to preserving and sharing its civilizational heritage with the world.

The Light of the Lotus: Relics of the Awakened One - Piprawah Gems - Buddha
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आज रंग है ऐ माँ, रंग है री / अमीर खुसरो

ये तस्वीर होली के दिन की है । एक रात पहले उनकी तबीयत ठीक नहीं थी। उस सुबह भी वो देर से ही उठीं । दोपहर हो चली थी और वक़्त निकला जा रहा था।  हम तय नहीं कर पा रहे थे कि उन्हें जगायें या नहीं, रंग लगाएं या नहीं इतने में उनकी पोती चाँदनी ने आ कर माथे पर टीका सा लगा दिया। उन्हें उठा कर बिठाया गया तो भी आँखें बंद कर और सर को पीछे झुका कर माँ कुछ इस तरह से मग्न थीं जैसे शायद कभी अमीर खुसरो रहे होंगे, अपने पीर-ओ-मुरशिद हज़रत निज़ामुद्दीन औलिया को याद करते हुए या फिर खुसरो समा मे रहे होंगे जब उन्होंने “आज रंग है ऐ माँ रंग है री” कव्वाली पहली बार अपने मुरशद के सामने गुनगुनाई होगी। उस रोज़ खुसरो ने खुद को और दुनिया को उस रूहानी रंग में रंगा हुआ देखा होगा जैसे तब मैं देख रहा था। माँ भी समा में ही थीं – दुनिया-जहान से बेसुध, बेखबर – ऐसी बेखबर कि उन्हें मेरी आवाज़ “आज रंग है री” भी नहीं सुनाई दी । 

“मैं पीर पायो निजामुद्दीन औलिया”, अमीर खुसरो ने रूहानी रंग से भरी ये कव्वाली भी अपने पीर को मिलने की खुशी में लिखी थी, इस होली को मैंने भी समझा कि शायद माँ भी उसे सुन कर खुश हो जाएँ सो मैंने भी गा दी। सूफी परंपराओं ये कवालियाँ निजामुद्दीन औलिया की दरगाह पर आज भी गाई जाती है।  गुड़गाँव, होली, 4 मार्च 2026