An Informational PORTAL For Jammu & Kashmir   

Kashmiri Poets & Poetry

Nund Reshi
There is much confusion among scholars about the precise dates of birth and death of both Lal Ded and Nund Reshi They are, however, agreed on the contemporay nature of Lal Ded, Nund Reshi and Budshah' i. e. 14th and 15th centuries, Nund Reshi's poem quoted by G.N Gowhar in his book 'Sheikh Noor-ud-Din' records only the life span of 65 years, without mentioning any dates. However, S/Shri Amin Kamil, Saqi, Majboor, Ganhar, Pushap, Rehbar and Bamzai and T.N. Kaul Joumalist could be trusted with the work of removing the confusion. Some writers record only of the two dates while others age only.
All attempts by parents of Nunda and the neighbours to feed the infant were resisted by the new-born. The struggle continued for three days. The parents felt dejected and dismayed.
Then, all of a sudden, Lalleshwari (Lal Ded) happened to enter the room she took the infant in her lap, kissed him, put him on to her own teets and whispered the following into his ear :-
If thou were not ashamed of
Being born,
Why are thee
Ashamed of feeding at
Thy mother's breasts ?
The baby is stated to have responded immediately and behaved as a normal baby
Nund Reshi spent a full twelve years in meditation inside a cave at Khimoh where (according to M.L.Saqi's Edited ''Kuliyat-i-Sheikh-Ul-Alam,'' 1985 and, A. D. Majoor's thesis, Nund Reshi) he is said to have written a 2,500 verse life story of Gautam Buddha. But, only three verses of this are said to be existent. The story is said to have been translated into Persian by a bilingual sanskrit scholar.
Nund Reshi was the founder and most popular saint of the Reshi cult of Kashmir. Whereas Hindu scholars call him Sahazanand because of his Hindu ancestry, but of -late muslim theologists describe him as Noor-ud -Din Noorani or Sheikh-ul -Alam (the light of religion and the Sheikh of the world). But as the darling of all Kashmiris, irrespective of caste and creed, and as per his own repeated reference, as Nunda he was endearingly called Nund Reshi. His pious memory still continues to be cherished by this nomenclature.
His ancestry according to records, is traced to the Thakur Rajputs of Ujain where from they are said to have migrated to the Kishtwar township of Jammu and settled there. Later, after their banishment from Kishtwar, his parents, Salar Sonz and Sadara (later called Sadar Moaj) crossed into the Kashmir Valley and finally settled in a village of Kulgam Tehsil called Khehygam Jagipora. Nund Reshi was born in this village but brought up in another village of the same tehsil, called Mynoh Katymukh.
Sahaz Quasum of June 1991 records his original name as Nanda, according to what it says was the saints own statement One of his shruks, quoted elsewhere in this book, confirms this fact. His father Salar Sonz, took up the job of a night watchman. On his usual rounds of the village, one night he is said to have overheard a conversation between a childless hindu saintly couple:-----
"Swami Ji, we are getting old and we have no child, I wonder what'll happen to us when we become weaker and weaker with the growing age.
God is with us, dear, why do you worry prematurely?
What'll become of us when we are too weak to earn our livelihood. What if, we fall ill.?
Never mind, God is merciful, almighty and all providing, if one of us dies, who'll look after the other, think about our precarious condition, Swami Ji ? Pray, do something."
"My darling, I have had a strange dream last night, it revealed that early before dawn tomorrow, two exquisite bouquets of flowers will bloom out of the nearby spring, one after the other, it is a good augury"
What then, Swami Ji ? How can it be a good augury for us ? interrupted his wife
"Any woman who sees, smells and picks the first bunch of flowers before the other bunch grows up, will give birth to a son who will turn out to be a great saint. Any woman who spots, smells and carries away the other bunch will get another son who will also become a saint."
Hearing this conversation, Salar Sonz cut short his nightly rounds and rushed back home. He apprised his wife Sadra Moaj of the Sadhu's dream, forecasting the birth of two saints. Salar Sonz accompanied Sadra Moaj immediately to the Spring. They remained awake there till the appearance of first bunch of flowers.
No sooner did the beautiful flowers shoot up above the surface of the spring water than Sadra Moaj waded in sniffed it and carried it home.
Later when the Sadhu's wife went there, she got only the second bunch, both gave birth to a son each in due course. The former grew to become the peoples darling saint, known by different names, Sahazanand Noor-Ud--Din Noorani, Sheikh-ul-Alam and popularly as Nund Reshi.
The latter became Buma Reshi of Bumzoo village, a kilometre away from Mattan township in Anantnag tehsil
Acknowledging the truth of their argument, Nund Reshi is believed to have sat on a big rock in meditation for twelve years, thus accepting the verdict of the people as an unparalleled democrat and a botanist by instinct. The honour of being an instinctive democrat and botanist of Kashmir goes to him indeed.

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Lal Ded
Lalleshwari (Born 1320 Death 1390 A.D) Born at Pandraethan Village (ancient Puranadhisthana)
The Hindus called her Lalleshwari and the Muslims Lalla Arifa. But both endearingly called her Lal DED (Grandmother or Grandma). This is certain and continues as such to date.
Lal in Kashmiri means an unnatural growth internal or external, bodily projection. Lalla's belly had grown like a hanging lump of fleshy cloak down to her knees.
In the absence of authentic historical records there seems to be much confusion about the exact dates of her birth and death. According to Noor Namas and Reshi Namas she was born sometime between 1300- 1320 A.D. and died round about 1377 A.D.
According to these conflicting, approximative presumptions, the date of Lalla's demise, 1377 A.D. coincides with the year of birth of Sheikh Noor-ud-Din Noorani Thus the contention doesn't seem to stand on firm ground and is self-contradictory. As is well known, both Lall Ded and Nunda Reshi were, quite discernibly contemporaries for quite sometime. After extensive study and intensive research work, in 'LAL DED 1973 Prof. J.L. Koul opines that the dates of birth and death of Lalleshwari was some time between (B 1317-20A D ) & (d 1387-90 A D ) These dates seem to be in consonance with Circumstantial evidence and hence more authentic and nearest the truth. Extensive and intensive research work by youthful scholars in collaboration with experts is the need of the hour to arrive at logically and correct dates of birth and death of both Lal Ded and Nund Reshi.
Lal Ded could not be and was no exception to the common lot of womanhood, the world over in general and Indian womenfolk in particular. Her mother-in-law, perhaps as a means of cathartic projection of her own experience, often incited her son against his wife. Being unintelligent and too dull to observe and appreciate the nobility of Lalleshwari and the divine sparks in her, he would thoughtlessly slight and perplex her. Lal Ded remained ill--treated and ill-fed despite the family control of her affectionate father-in-law.
Lalia's hypocritical mother-in-law was cunning and tricky. She would usually place a large round shingle underneath the cooked rice in her plate at lunch and dinner-time to display her deceptive affection for Lal Ded and, at the same time, to show to others how hefty the latter was. Lalleshwari would always finish eating quickly the scanty rice, wash her plate and the pebble and deposit them at their specified places before attending to other chores.
She would not utter a word of protest, much less complain against such a strange way of ill-treatment, but take every care to sheild her husband as well as mother--in-law and their honour.
However, once on a festive occasion while filling a pitcher at the river ghat, she was asked by her girl friends what the festivity and merriment at her home was all about. She said
"Whether they slaughter a ram or a lamb, Lalla will never miss her shingle".
Like a mad person, she would go around naked. She became a disciple of Sidh Srikanth. She would only keep the company of sadhus and pirs. She did not think in terms of men and women. She would claim that she had yet to encounter a man, and that is why she went about naked. But when she saw Shah Hamdan, she hid herself saying: "I saw a man, I saw a man." Why is Lalla so famous in Kashmir? She was illiterate, but she was wise. Her sayings are full of wisdom. In these sayings, she dealt with everything from life, yoga, and God to dharma and a:tma:. Her riddles are on the lips of every Kashmiri. The exact date of Lalla's death is not known. It is claimed that she died in Bijbehara (vejibro:r). People like Granny Lalla do not really die. Lal Ded is alive in her sayings and in the hearts of Kashmiris.
The sayings of Lalla number around two hundred.

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Mahjoor
Mahjoor has a place of honor among the poets of Kashmir. He is especially noted for two things. First, he introduced a new style into Kashmiri poetry. Second, he introduced a new thought into Kashmiri poetry.
Mahjoor wrote poems of freedom and progress in Kashmiri. These songs awakened the sleeping Kashmiris. He came with a new voice and a new (literary) form.
Mahjoor was a poet of 1ove and communal harmony. In his earlier days, he used to write only love poetry, but (later) he also wrote forceful poems about freedom.
Mahjoor's real name was Ghulam Ahmad. But as a poet, he adopted the pen name 'Mahjoor'. He was born in eighteen hundred and eighty-five in Metragam. He has written poetry in Persian and Urdu as well. 
Mahjoor worked as a patwa:ri: (pathva:r') in Kashmir. Along with his official duties, he used to write poetry in Kashmiri. Mahjoor had his first Kashmiri poem published in 1918. After this, he composed poetry only in Kashmiri. His songs became very popular. He wrote on such topics as love, communal harmony, and social reform, and also wrote on the plight of the Kashmiris. He wrote about youth, the flowers of Nishat Garden, a peasant girl, a gardener, the golden oriole, and a Free Kashmir. At that time, such songs were unknown in Kashmiri poetry. It was Mahjoor who gave these to us. 
Mahjoor was sixty-seven years old when he passed away in 1952. The death of Mahjoor was a great loss to both the Kashmiri language and (Kashmiri) poetry. But, Mahjoor's songs are still on the lips of every Kashmiri. Through these songs, his name will live forever.  

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Habba Khatun
Habba Khatun was born in the village of Chandrahar in the sixteenth century. In her earlier days, she was called Zoon (the Moon). She grew up in the midst of the saffron fields and in the shade of the chinar trees. She was not raised as a typical peasant girl. She had learnt how to read and write from the village moulvi. At an early age her father married her to a peasant boy. But this illiterate peasant boy could not keep Zoon happy. He could not understand the longings of her heart. Just like Lal Ded, Zoon also was sad. Lalla became desperate and left her home. Zoon divorced her husband and started singing songs in Kashmiri. Zoon used to sing in the shade of a chinar tree. One day Yusuf Shah Chak was out hunting that way on horseback. He happened to pass the place where Zoon was singing under the chinar tree. He heard her melancholic melodies, and went to look at her. He was stunned by her beauty. As soon as their eyes met, they fell in love. Later, Zoon and Yusuf Shah were married. She changed her name and became Habba Khatun. Habba Khatun introduced lol to Kashmiri poetry, lol is more or less equivalent to the English 'lyric'. It conveys one brief thought. It is full of melody and love. Habba Khatun kept Yusuf Shah under her control. The couple was very contented, and Yusuf Shah became the ruler of Kashmir. Their happiness did not last long. Akbar came into prominence in Delhi, and he called Yusuf Shah there. In 1579, Yusuf Shah was compelled to go to Delhi. In Delhi, Akbar arrested him. He was kept in prison in Bihar. Poor Habba Khatun was separated from Yusuf Shah. The songs of Habba Khatun are full of the sorrow of separation. It is claimed that Habba Khatun introduced the 1ol into tho Kashmiri (language) After her came Arnimal who also sang mournful lyrics.

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Rasul Mir 
The  Poet of Bubbling Love Dr. R.L.Bhat

Tha-rah tha-rah chham ma-rah sha-yad

shar meh ji-gu-rook drav-nai

Khosh yi-von nunda-bon, ve-si-yae

Myon dil-bar aav nai

I am all ashake, I may die/my heart’s wish has seen no fulfillment/that lovely, pleasing, my heart throb/he hasn’t come, ah Dear!

For the rest, there is his poetic legacy, and, ah again oral traditions. Oral traditions say, Rasul Mir was tall, handsome fair complexioned person, and sported moustaches that tapered far into the face. He was graceful, fashionable fellow, with a youthful heart that throbbed with love, love, and lots of love.

Yi chho Rasul Mir Shahabad Doo-rey

Tami chho trov-mut lo-la du-kaan

Yi-vu aash-qow che-vu tor-re tor-rey

Mai chho moor-rey la-la-vun naar.

Love, is the waft and whoop, the craft and creed of Rasul Mir(He lived love, sang love, and lives for his love-ful passion). Love, the first strings of human heart that present the whole universe as an undulating poem. Love is the creed, beloved is the god and lyrics rush forth in bubbling streams to worship the deity. Singing, sighing and singing again they cascade over the expanses of life, in undating it in its fervor.

Ze-h posha tu-l-i maeni aashq-a mas-jid

husn imam ta-th

Tsa-ae bae-ng-i shu-baan mokh-ta-e da-ae

Ch-e-i yous-faen-i chae-lee

My Loves’ mosque, is an edifice of just two petals, Love is the preist there, Ye pearly one art the caller there, Ye, who hath the Yousef’s grace. Mir’s beloved is grace personi fied Zeh posha tu-l (two petals, mere) the being of his, object of love, is characteristic of Rasul Mir’s’ dainty love.

Love, flowers, passion and fragrance, the eternal inciters of life and beauty, are a recurring motiff in his poetry.

Posha mal chham posh-a tu-l dda-ae lo-lo

Rinda posh-a-mal gin-da-ney dra-yi lo-lo

My beloved (Posh-a-mal) is but two and a half petals; lo, the gay love goes out to frolic.

Go ye my friend, fetch my lover here, A Jasmine, I have woven garlands for him

Veer-nag, I’ll go to usher thee,/Thy brow I’ll deck in flowers of Acha-bal/Yeh, vine I’ll twins thee to my breast/come ye kasturi, don’t roam the meadows free

Gani was a gifted poet, a master versifier, in love with Persian. His bequeath was distilled by Rasul Mir, who loved with heart, lived with heart, and sang from a love-ful heart. To a notority’

Rasul, even though you are infamous for your love of tulip lips, be happy, for seldom do the lovers complain of thy in-attention

Love was the task to which Rasul applied himself with abandon. Love, and beloved, a total world, with neither time nor space for the mundane.

For her hennaed naib I’ll give, pot-fuls of blood from under my throat, that tall beloved of mine, is attired in robes of scent Rasul. Mir is crying his heart, away, far in Dooru, oh love

My heart is not the love one, caged in that love/This is way, the path through which, not one but two worlds’ve gone

That face is the kaaba of beauty, her lashes layered over and over. In the path of love, it is meet to bow to those two brows

Ye tulip faced, thee I’d hold, by neck to heal my pain/sans thee, Rasul the flower bed, is a thorny seat for me

White are the robes, my Kamdev wears. His brow is adorned in flowers red, His path, I’d take in drunken stupor, go, tell my love of my pangs

Bride’s robes, would suit thee well, Ye, my beloved of short years/Thy braids of hair, thy ear rings/peep from beneath the gossamer cover

Come let us be friends, ye lovely beauty, listen to my laments, oh Henzi, come to see the mela and, we shall roam through Telbal)

The object of Rasul’s love is said to have been a Hindu belle of his village. Tales of their having gone to the same mak-tab, and fallen in love have been woven. His poems of love, will yield a thousand tales of prolicy dalliance and passionate love, with little effort. Probably, such soul-full poetry is not possible without a passionate love. You have only to read Mahmood Gani, to know the bubbling heart in Rasul Mir’s lyrics. Henzi-yani, Hindu girl, is an unmistakable refrain in Rasul Mir’s Poems.

How graceful the swans neck of henziyani looks, spare her from evil eyes, my Lord, Thy bounty, that won’t lessen, O God, Lo, the love goes on a frolicly outing

Whether the love was reciprocated or not is lost, like the details of Rasul Mir’s life, in the depths of past lost to us. It is also not clear whether the mentions would point to a specific person or an idealization of female beauty in the form of a Hindu-maiden (God lenons, they are beauty itself) Raza Henz-yan, passes into Kongi, into Poshmal, Soundermal, Padmaeni, Kostouri, Kongi Padmani, take the primal place, for full lyric ‘Kongi

I’ll look for you at Veernag, in the garb of an unknown mendicent, at Pooli, cheeni-gund, Drengi. Give me a glimpse, Kongi

This is a virtual topographical map of the area, where Rasul Mir lived. The compiler of Q. Kulyati Rasul Mir has avered that Poshmaal too is a probable name of the Henziyaen. Rightly so. And so are Sondermaal, Kastour, Padmaan, Shama, which repeatedly occur in his verses.

Like a tulip, my robe I’ll rent, and come forth; O Padmani, I’m thy loved, infamed by my love

My love, spurn not this Padmani, now for another occasion is not meet. My primal mate, my word I won’t break. How much shall I bear, ye pretender

My heart you’ve taken, trap not my body, O beautiful Shama, expose me not to..... I look for you at Veernag through Ram Nagri

Of course, all these proper nouns can be interpreted in adjectival sense, which every name in reality is Shama Sundri, can be dusky, Soundri, beautiful Shama, or a dusky beauty. And that point needs be made about, about Rasul Mir. For Rasul Mir is a poet of love, a poet par excellance even without any enchanting tales appended to him. He lives his heart out in love-ful lyrics, weaving patterns of beauty in the nunees of emale form and adornments, wringing out a resonance from every listening heart.

You stay away, my angry love, and here I sink from senses dear; My tears flow and wash all kajal from my eyes dear

Thee I’ll hold by neck, and squeuster away in heart like robe I’ll cling

My wise lover is enchanted; whence gone, how’d I know’ He is Yousef, himself is Zulaikhah; a lover he is undo his self, my dear.

Rasul Mir’s object of love, is an idealization rooted in the world of sights, smells and tastes. His flowery aspect is as enticing as the exuded fragrance is invigorating.

Jasmine, Iris narcissus too, looking at thee have withered away/Thine eyes are black, face is red and robes are of the whitest hue

Loves fire bored into the poppy, the moment they he-nnaed hands it saw. The wild rose is nursing its boils from burning, dear

The beloved is seen in a floral mien, or else as an ethereal beauty fashioned of the most sublime things around. It is a portraiture that’d brook no reservation for love, because it is formed of a bubbling love, seeking an end and fulfillment in form. Beauty reaches divinity as it progresses to perfection.

Like an Ivy caught in violets, a full moon trapped by pythons two; or a beauty of China wearing the sacred thread

Gum-h shab-num gul ro-kh-us
Zan chhi arq daa-n-h tus
Zooni pai-tth taa-ru-kh pa-kaan
Kari ro-gun dur-dan.

Like dew on a flower, are the drops of sweat on her face, or else starswalking over moon, that my high-necked love

The sun spied thy...Chandan face, and lost color/the moon there upon has been jaded and looks pale

You are talllike alif, thy locks are long like laam, and thy mouth is meem itself; from thy form came all knowledge, in shape of alif-laam

Some where these heady portraits of the lover and beloved mingle into one whole. Kashmiri Gazal, says Abdul Ahad Azad, is a female seeking the lover, who is male. In Persian from where Kashmiri gazal derives its inspiration, the object of love is a male sought by a male singer. In Rasul Mir, the singer changes from woman to man, the poems, and the elements of female beauty get mixed with distinctly male attributes producing a bivalent image. Azad calls it a defect of conception. This defected concept,’ runs in the Kashmiri gazals from Mahmood to Gani to Mahjoor. It certainly mars a distinctive characteristic of Kashmiri gazals, that set it apart from Persian and its offspring Urdu gazal. This trait has been preserved in female poetesses alone, like Habba and Arnimaal where there is no confusion. Rasul also gets into the gazal a boldness that is characteristically masculine. Thus:

The (door-) chain clanged the door was pushed  my heart leapt, was my lover come’ His chest he proffered and I my arms. Tell my friend, why didn’;t he come

Would he grace in the balcony, or sit in the painted room’ Arise, my friend, spread his bed. I ask for little, but to lay be his side. Tell, my friend why didn’t he come

He is angry, him I’ll chase, by collor I’ll catch hold of him/on dooms day, I’ll hold thee by thy robe; without thee, here I die

It is a practice in Kashmir, for every poet even a singer, to have a spiritual preceptor, a peer. Rasul Mir is said to have had any peers. Rasul Mir sported majestic moustaches, which went tapering across the lip ending in a flowish. Some devotees, it is said, raised some religious objection to Rasul Mir’s moustaches ‘well ask him on the morrow’ said the peer. At night, the devotees, it is said, saw in their dreams the peer himself with similar moustaches. Tuswof, does not alloy Rasul Mir’s’ poetry, Unless, of course, you twist and tear it out of context and ‘discover’ ‘hidden meanings’. But Rasul Mir is an ardent lover, and on that plane, love becomes devotion, godhead. 

Rasuls, knows thy locks and looks is a fine faith.How’d he know what is kufur, and what Islam, dear

That is Rasul Mir bold beautiful poet of exquisite love. Singer of fervent lyrics. The breath of vibrant air, that sent its freshness over cobwebs of cloistered verses. Almost single handedly, he turned Kashmiri poetry into a bubbling love, gushing forth helplessly, sincerely, fervently. As it should in a vale of beauty

When count is taken of thy braids, lacs of fortnights it’ll take. Once begun there is no escape from there. Lo, the gay love goes out to frolic

Poetry is, needlessly, harangued by analysis and postmortems, split as under to gorge out philosophies, burdened with the weights of duty and messages. Poetry is a communion of hearts. Pure andsimple with or without the appeals and advocacy’s, philosophies or campaigns. There reigns Rasul Mir Supreme unmatched. A master singer of heart

This new volume Rasul has sung in thy pang, who’ dare to rebut come,hand me another cup’.

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Dina Nath Nadim (1916-88) --- With Dina Nath Nadim's poetry, a new phase was introduced in Kashmiri literature. Dina Nath was born in Srinagar. He received his B.A. degree in 1943 and obtained his B.T. degree in 1947. For several years he taught at the Hindu High School. After independence, he was appointed Assistant Director of Social Education. Nadim introduced various poetic styles into Kashmiri. He was the first Kashmiri poet to write in ‘blank verse.’ He used the Kashmiri language with great grace and craftsmanship. He depicted the beauty, the poverty and the plight of Kashmir in his poetry. Nadim has also composed poetry in folk style. In 1971, He received the Soviet Land Nehru award (1971) and the Sahitya Akademi award (1986) for his book, Shihil Kul (poetry). He travelled to Russia, China, and  other countries and was greatly influenced by communism and by progressive writers. Nadim also wrote the first opera in the Kashmiri language, entitled, Bombir ti Yembirzal (The Bumblebee and the Narcissus). Dina Nath Nadim has greatly influenced Kashmiri poets.  Nadim's dexterity in stylistic innovation and the freshness of his themes helped him to acquire that stature. He seems lo use words playfully, with intriguing combinations and creative effects in a seemingly effortless display of craftsmanship. One is left wondering, "why could not I think of that". Not many of Nadim's contemporaries could think of comparable devices, which explains why as his contemporary Lone says, they "were not only influenced by Nadim, but also inspired to write in his vein. Some of them went to the extent of copying his style while some adopted his themes in their poems."  The secret of Nadim's art seems to lie in his intuition for an effortless use of a highly appropriate vocabulary, a keen ear for the sound and rhythm of his native language, and, above all, an artist's instinct for combining all his formal apparatus in fresh imagery.  Nadim passed through many stages, and at each stage he  engaged in distinct thematic and stylistic experiments. As Braj B. Kachru observes, "That process still continues; so does the Nadim Era."

Amin Kamil (b.1924) --- Mohammed Amin Kamil was born in Kaprin in Kulgam Tehsil of Kasmir. He acquired the degree of B. A., LL. B. He worked in Jammu & Kashmir Academy of Art Culture and Languages. In the Academy, Kamil held the position of Editor, Kashmiri Publications and retired in 1980. His works of poetry include Saqi Namah, Lavah Te Praveh, Bey Suy Paan, Padis Pod Tsaay and Yim Myany Sokhan (These, My Words!). The awards and honours he received include J & K Cultural Academy award (1968 and 1975), the Sahitya Akademi award (1967) for his book Lavah Te Pravah (Poetry) and Padma Shri (2005).

Rahman Rahi (b. 1925) --- Abdul Rahman Rahi was born on May 6, 1925. Orphaned at an early age, he was brought up by his maternal uncle. He worked in the Public Works Department for a brief period in 1948. He has also worked as member of the editorial staff of the Urdu daily Khidmat, the official organ of the ruling National Conference Party. Around this time, he also joined the Progressive Writer's Association of which he was elected General Secretary after few years, coinciding with his leaving journalism. He also edited a few issues of Kwang Posh, the literary journal of the Progressive Writer's Association. Eventually he joined the cultural wing of the undeclared Communist Party of Kashmir while pursuing his studies. He did his M.A. in Persian (in 1952) and English Literature (in 1962) from Jammu and Kashmir University. He was on the Board of Editors of the Urdu daily Aajkal, Delhi, from 1953 to 1955.  His collections of poems include Subhuk Soda and Kalami Rahi. He was awarded the Padmashri. He has received several other awards and honours including J K Cultural Academy award (1980), Sahitya Akademi award (1962) and Emeritus Fellowship awarded by the Ministry of Human Resources Development, Government of India (1989).

Gulam Rasool Santosh (1929-97) --- Poet-painter Gulam Rasool Santosh  was born in 1929, to a lower middle class family. He completed his Matriculation in 1945, with painting as a subject but was forced to give up further studies because of his father's death. In his early years, Santosh was greatly influenced by geometric shapes and the mysticism of the Kashmir valley. Although Santosh began by painting landscapes, he was gradually influenced by cubism and switched over to creating cubist landscapes, a theme for which he is very popular now.  He is a recipient of the Lalit Kala Akademi award and  the honour of Padma Shree. He received the Sahitya Akademi award (1979) for his collections of poems, Besoakh Ruh. In 1985, he received the Kalhana award.

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