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Museum Collecting and Constructions of Identity in Indian Punjab, 1947-1970

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Museum Collecting and Constructions of Identity in Indian Punjab, 1947-1970 MUSEUM COLLECTING AND CONSTRUCTIONS OF IDENTITY IN INDIAN PUNJAB, 1947-1970 Mrinalini Venkateswaran Girton College University of Cambridge September 2020 This thesis is submitted for the degree of Doctor of Philosophy. Faculty of History This thesis is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my thesis has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit for the relevant Degree Committee. Page 2 of 399 ABSTRACT Museum Collecting and Constructions of Identity in Indian Punjab, 1947-1970 Mrinalini Venkateswaran This thesis takes an original approach to twentieth century south Asian history by linking long established research on partition and postcolonial nation building, with a new domain of enquiry and material: museum historiography and practice. If unpacking colonial museums and collecting practices revealed the workings of colonialism and the colonial state, what can studying postcolonial museums and collecting practices tell us about the nation-state? What sort of national discourse did they generate in these early years, especially when located away from the centre in a region like Indian Punjab? Collecting for a Punjab museum continued throughout the region’s unique experience of changing boundaries and polities from 1947-1966, beginning with partition, and ending with the linguistic reorganisation of states, with a phase of princely federation in between. These events and their implications impacted the ways in which the collections were acquired, and subsequently interpreted. Competing, conflicting narratives and motivations emerge, including nostalgia for a pre-partition past, and princely legacies offering alternative national imaginaries, set against an Indian art historical project that projected art from the Kangra Valley as the pinnacle of not only Punjab’s but India’s artistic heritage. How did the Punjab Museum — which later became the Chandigarh Museum — present Punjab to itself, to India, and the world? I approach these questions by using personal correspondence and archival material to reveal the previously unconsidered transnational networks that animate this history, which challenge our assumptions about the people and processes that shape a nation. _____ Page 3 of 399 ACKNOWLEDGEMENTS I have had the best years of my life while working on this thesis, and for that I have many people and institutions to thank. Foremost among them is Prof Joya Chatterji, my supervisor. I still cherish her instant, affirmative response to my tentative email enquiry about finding a home for my museum-related research project at the History Faculty at Cambridge. It came at a time when I was desperate for professional change, and diffident about my scholarly credentials, having spent a decade outside academia. I owe her thanks not only for the ‘standard’ things that supervisors do — supervisions, references, and convivial dinners with her ‘gang’ of current and former students — but for surpassing that standard and seeing this thesis through despite severe health challenges, all the while exuding warmth and good humour. The errors in the thesis are mine, but any gems that my arguments contain sparkle because she pushed me to ensure they did. Getting to the University of Cambridge was by no means certain. I will remain indebted to the Cambridge Trust and the Rajiv Gandhi Foundation, for the co-funded RGCS award that made it possible for me to do this PhD — and to the Faculty of History for nominating me for consideration! The Faculty continued to be a source of funding and support for fieldwork, attending conferences, and acquiring training, without which I would have struggled to access the many original archival sources, and have the stimulating intellectual exchanges, that have shaped this thesis. The Smuts Memorial Fund was another significant source of fieldwork and conference support; as was the J. N. Tata Endowment, from whom I was honoured to receive a gift award in addition to a loan scholarship. Research and travel awards from the Nehru Trust, Royal Historical Society, Charles Wallace India Trust, Girton College, and the Gilchrist Educational Trust, and conference attendance grants from the Commonwealth Association of Museums and the European Association of South Asian Studies topped up my finances at critical moments. I am grateful to Dr Sylvia Houghteling and the Department of History of Art at Bryn Mawr College for sponsoring and facilitating my research in the United States through an invitation to speak at the Department. The Royal Asiatic Society of Great Page 4 of 399 Britain and Ireland supported the translation of a key Punjabi source into English, through the Oriental Translation Fund. I owe special thanks to Mr Jatinder Randhawa for granting permission for the undertaking, and to Tript Kaur for tackling the translation with such enthusiasm. At Cambridge, the productive research environment at the Centre of South Asian Studies was leavened by an endless supply of cake and friendly banter at daily coffee mornings. In addition to Barbara Roe, Dr Kevin Greenbank, and the Centre’s indefatigable librarian Rachel Rowe, I would like to thank Drs Aditya Balasubramanian, Anjali Bhardwaj Datta, Bérénice Guyot-Réchard, Devyani Gupta, Edward Anderson, Elisabeth Leake, Erica Wald, Jayashree Vivekanandan, Katherine Butler Schofield, Laurence Gautier, Majid Sheikh, Marium Kamal, Michael Sugarman, Norbert Peabody, Pallavi Raghavan, Parth Shil, Patrick Clibbens, Tripurdaman Singh, Sandhya Devesan, Saumya Saxena, Sophie-Jung Kim, Sudeshna Guha, Uttara Shahani, and Profs David Lowe, Farzana Haniffa, Gordon Johnson, James Laidlaw, and Sujit Sivasundaram, for their collegial engagement, support, and shared downtime. Of my peers, huge thanks to Humaira Chowdhury; to Ishan Mukherjee, Joe Francome, Shuvatri Dasgupta, and Rumbidzai Dube; and especially to Richard Clements, my fellow Girtoninan. Members of the University of Cambridge gave generously of their time even though my research had only a tangential connection to theirs: Profs Peter Mandler and Mary Laven; and Drs Mark Elliott and Leigh Denault. I am delighted to be able to call several of these colleagues my friends, and to have made many more enriching acquaintances than I am able to mention here. Divia Patel and Prof Sandra Kemp at the V&A provided sounding boards at different times. Profs Abigail McGowan, Anne Murphy, and Francesca Orsini generously shared resources; and Drs Aakriti Mandhwani, Anwesha Sengupta, Kanika Singh, Radha Kapuria and Sarah Gandee lent advice. I was fortunate to have Prof David Washbrook as my advisor and internal examiner. He is missed. Prof Deborah Swallow provided encouraging and thoughtful criticism in her examination of this work. Prof Samita Sen offered calm advice that helped me steer it to the finish line, and Dr James Riley at Girton stepped in with administrative support whenever I needed it. Page 5 of 399 Archivists and curators are the engines that drive any such endeavour, as I know only too well from having sat on the other side of the table! In addition to the official permissions I was granted and that I am grateful for, I owe this thesis to the rich resources, and assistance from the staff of: the Ancient India and Iran Trust (Joanna Salisbury), Archaeological Library Karachi (Amanat Ali Khan, Shabbir Abu Bakr), British Academy Archive (Karen Syrett), the British Library Asia and Africa Reading Room, Government Museum and Art Gallery and Library, Chandigarh (Sangeeta Sharma, Seema Gera), Lahore Fort Library (Azhar Iqbal), National Archives of India (Jaya Ravindran, Priyanka), National Archives of Pakistan (Zahir Gul), National Art Library, Nehru Memorial Museum and Library, Panjab Digital Library (Davinder Pal Singh), Punjab State Archives, and Museums (Parminder Kaur Sandhu, Mohiuddin Farooqui, Monis Khan, Malvinder Kaur, Jagroop Singh), Punjab Archives Lahore (Abbas Chughtai), Royal Academy Archive (Mark Pomeroy), Thomas J. Watson Library at the Met, Tribune Archive (Karun Saini, Mr Rajan, Roopinder Singh, Mrs Jyotsna), the UCL Special Collections at the National Archives London (Mandy Wise), and the V&A Archives. Dr Shikha Jain at DRONAH, a colleague of long standing; and Dr Sangeeta Bagga, Principal of the Chandigarh College of Architecture, helped me to meet people and have conversations that shaped my thinking even if most are not cited in the thesis. Several colleagues in the United States let me pick their brains at short notice: Drs Navina Haidar and Brinda Kumar at the Met; and Dr Kurt Behrendt kindly pulled out the Met’s version of Jaipur’s famous Sahibram for me to see just because I asked and was unlikely to have the chance again. Dr Laura Weinstein at the MFA and Dr Darielle Mason at the PMA were insightful, and helpful with research suggestions. Prof Ali Khan at LUMS made it possible to for me to visit Pakistan for fieldwork (through the CSAS-LUMS exchange programme), and along with his wife Mariyam, extended the easy hospitality and friendship that can be so characteristic of our part of the world. I am indebted to Ambassador Shafqat Kakakhel and Ahmad Salim sahib at SDPI for their personal interest and efforts on my behalf, and to Ambassador T. C. A. Raghavan for making the introductions. Dr Ruchira Ghose connected me to personal friends to ease my trip; Nada Raza roped in her family and friends to look after me; and Page 6 of 399 Faiza and Rida were companionable flatmates at LUMS, contributing greatly to my enjoyable stay.
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