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Jan. 09.

Syed Waheed Ashraf

Syed Waheed Ashraf is an Indian Sufi scholar and poet in Persian and Urdu. Ashraf received his B.A., M.A. and PhD (1965) degrees from Aligarh Muslim University. The title of his doctoral dissertation was A Critical Edition of Lataife Ashrafi. After serving at a number of Indian universities (Punjabi University at Patiala, M.S. University of Baroda and the University of Madras), Ashraf retired as head of the department of Arabic, Persian and Urdu at the University of Madras in 1993 expandable fanny pack. Fluent in seven languages (Pahlavi, Persian, Arabic, Urdu, English, Hindi and Gujarati), he writes in Urdu, Persian and English, has written, edited or compiled over 35 books and a number of research articles, and has been honoured in India and abroad. Ashraf has focused on upholding and propagating the principles and practices of Sufism.

Ashraf traces his lineage to a family of Syeds in Kachhauchha Sharif, a small town in the district of Ambedkar Nagar, eastern Uttar Pradesh. He was born on 4 February 1933, the third child of librarian Syed Habeeb Ashraf and Syeda Saeeda. Habeeb worked in the village library; although he was enrolled at Firangi Mahal, a madrasa in Lucknow dry pack cell phone case, he did not complete his education due to the death of his father. He was well-versed in Ilmul Jafar and Ilmul Ramal (Islamic geomancy). Habeeb wrote to his eldest son, Syed Amin Ashraf (who was stationed in Aligarh), six months before his death asking him to be home on 3 February 1972 for his burial.

Syeda Saeeda was the daughter of a Unani doctor in the village. Before her marriage, she assisted her father in the preparation of drugs in his dispensary and acquired a knowledge of Unani medicine (particularly diseases of women and children).

Habeeb and Syeda had four sons and three daughters. The two elder sons were Syed Amin Ashraf and Syed Hameed Ashraf. The youngest son (and their fifth child) was Syed Ashraf. Their daughters were Syeda Mahmooda, Syeda Masooda and Syeda Raheen. Syed Amin Ashraf received his PhD in English literature from Aligarh Muslim University, and later taught in the same department. Amin Ashraf is regarded as an accomplished poet in Urdu ghazals. He has compiled three poetic collections – Jadae Shab, Bahare Ijaad and Qafase Rang – and a collection of his papers in a book, Bargo Bar. He has received[citation needed] awards from Ghalib Academy, New Delhi and Uttar Pradesh Urdu Academy in Lucknow. Several critical essays about his poetry have been published. Their second son, Syed Hameed Ashraf (who died in 1993), studied Shariah at Al Jamiatul Ashrafia Mubarakpur and Darul Uloom Deoband, received B.A., M.A. and M.Phil degrees in Arabic literature from Aligarh Muslim University and taught at a number of Indian madrasas. Syed Waheed Ashraf learned Islamic theology from his brother, Syed Hameed Ashraf.

Ashraf received his primary education from the village madrasa and graduated from middle school in Baskhari, a small town near his home, in 1948. He received his high-school certificate from Mohd. Hasan Inter College in Jaunpur District. After high school, Ashraf suspended his studies for seven years due to poor health. He then earned his undergraduate, postgraduate and doctoral degrees (1965) from Aligarh Muslim University.

After receiving his PhD, Ashraf was a temporary lecturer at Punjabi University in Patiala for a year before returning to Aligarh University as a UGC senior research fellow. In 1971, he received a permanent faculty position as a lecturer at M.S. University of Baroda in Gujarat. In 1977, Ashraf joined the University of Madras as a reader in Persian. He became a professor in 1982, and retired as head of the department of Arabic, Persian and Urdu at the University of Madras in 1993.

Ashraf was devoted to Sufi literature. After completing his education at Aligarh Muslim University, he gave spiritual allegiance (baith) to Syed Qadeer Ahmad Ashrafiul Jilani in Kichaucha Sharif. He was initiated into the Ashrafiya order, and Jilani made him his successor (khalifa). Ashraf delivered lectures on Masnavi Maulan Rum at his home in Baroda.

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Nov. 26.

Tjunkiya Napaltjarri

Tjunkiya Napaltjarri (also known as Tjunkiya Kamayi, Tjungkiya, Tunkaii Napaltari, Kowai or Kamayi) (c. 1927–2009) was a Pintupi-speaking Indigenous artist from Australia’s Western Desert region. She is the sister of artist Wintjiya Napaltjarri.

Tjunkiya’s paintings are held in major public art collections, including those of the National Gallery of Australia, the Art Gallery of New South Wales, the Museum and Art Gallery of the Northern Territory and the National Gallery of Victoria.

Tjunkiya was born around 1927: the main biographical reference work for the region gives a date of circa 1927; while the Art Gallery of New South Wales suggests circa 1930. The ambiguity around the year of birth is in part because Indigenous Australians operate using a different conception of time, often estimating dates through comparisons with the occurrence of other events.

‚Napaljarri‘ (in Warlpiri) or ‚Napaltjarri‘ (in Western Desert dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although they may be used as terms of address, they are not surnames in the sense used by Europeans. Thus ‚Tjunkiya ‚ is the element of the artist’s name that is specifically hers.

A Pintupi speaker expandable fanny pack, Tjunkiya was born in the area northwest of Walungurru (known as Kintore, Northern Territory), near the Western Australian border, and west of Alice Springs), after which her family moved to Haasts Bluff. She became second wife to Toba Tjakamarra, father of one of the prominent founders of the Papunya Tula art movement, Turkey Tolson Tjupurrula. At Haasts Bluff she had ten children: these included sons Billy Rowe and Riley Rowe, both of whom painted for Papunya Tula, and daughter Mitjili (born c. 1948), who married Long Tom Tjapanangka and went on to paint at Haasts Bluff. From Haasts Bluff the family moved to Papunya and in 1981 to Kintore.

Tjunkiya was the sister of artist Wintjiya Napaltjarri, who was also a wife to Toba. Seriously ill in the mid-1990s, Tjunkiya died in 2009.

Contemporary Indigenous art of the western desert began when Indigenous men at Papunya began painting in 1971, assisted by teacher Geoffrey Bardon. Their work, which used acrylic paints to create designs representing body painting and ground sculptures, rapidly spread across Indigenous communities of central Australia, particularly following the commencement of a government-sanctioned art program in central Australia in 1983. By the 1980s and 1990s, such work was being exhibited internationally. The first artists, including all of the founders of the Papunya Tula artists‘ company, had been men, and there was resistance amongst the Pintupi men of central Australia to women painting. However, there was also a desire amongst many of the women to participate, and in the 1990s large numbers of them began to create paintings. In the western desert communities such as Kintore, Yuendumu, Balgo, and on the outstations, people were beginning to create art works expressly for exhibition and sale.

Like a number of the other central and western desert women in the region, Tjunkiya was introduced to painting through the Minyma Tjukurrpa (Women’s Dreaming) painting project in the mid-1990s. Along with sister Wintjiya and other women, she participated in a painting camp in 1994 which resulted in „a series of very large collaborative canvases of the group’s shared Dreamings“. Western Desert artists such as Tjunkiya frequently paint particular ‚dreamings‘, or stories, for which they have responsibility or rights. In this case, twenty-five women were involved in planning the works, which included three canvases that were 3 metres square, as well as two that were 3 by 1.5 metres, and Tjunkiya and Wintjiya performed a ceremonial dance as part of the preparations football t shirts uk. Tjunkiya and her sister were determined to participate in the project despite cataracts interfering with their vision. Sources differ on when Tjunkiya and her sister Wintjiya had the cataracts removed: Vivien Johnson implies around 1999, but art centre coordinator Marina Strocchi, who worked closely with the women cushioned soccer socks, states that both had the operation in 1994.

In the early 2000s she and her sister painted at Kintore, but in 2008 they were working from their home: „the widows‘ camp outside her ’son‘ Turkey Tolson’s former residence“. Tjunkiya and her sister Wintjiya did not confine their activities to painting canvases. The National Gallery of Victoria in 2001 purchased a collaborative batik work, created in 1994 by the sisters in cooperation with several other artists, together with a work completed by Tjunkiya alone. The sisters also worked using drypoint etching, with 2004 a print by Tjunkiya – Rumiya kutjarra #2 – held by the National Gallery of Australia.

Works by Tjunkiya are held in major private collections, such as Nangara (also known as the Ebes Collection). Her work has been acquired by the Art Gallery of New South Wales, the National Gallery of Australia, the National Gallery of Victoria, the Museum and Art Gallery of the Northern Territory, and the Northern Territory Supreme Court. Works by both Tjunkiya and her sister Wintjiya are traded in the auction market, fetching prices of a few thousand dollars.

In 1996, Tjunkiya was represented in the Papunya Women group exhibition at Utopia Art Gallery in Sydney, while in 2000 she had an exhibition at Melbourne’s William Mora Galleries and was included in the Art Gallery of New South Wales‘ major exhibition, Papunya Tula: Genesis and Genius.

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