Decline of Delhi's Urdu Elite

From City of Djinns: A Year in Delhi, by William Dalrymple (Penguin, 2003), Kindle pp. 50-51:

Just as Partition resulted in prosperity and growth for the new Delhi, it led to impoverishment and stagnation for the old. The fabulous city which hypnotized the world travellers of the seventeenth and eighteenth centuries, the home of the great poets Mir, Zauq and Ghalib; the city of nautch girls and courtesans; the seat of the Emperor, the Shadow of God, the Refuge of the World, became a ghetto, a poor relation embarrassingly tacked on to the metropolis to its south. Since 1947 the Old City has survived only by becoming one enormous storehouse for North India’s wholesale goods; one by one the old palaces and mansions have been converted into godowns (warehouses) and stores. It has become more remarkable for its junk markets and car parts bazaars than for any fraying beauty or last lingering hints of sophistication. The crafts and skills developed over the centuries for the tastes of the old Urdu-speaking Delhi elite either adjusted to the less sophisticated Punjabi market, or simply died out.

Near the Ajmeri Gate lies the old Cobblers’ Bazaar. Most of the Muslim shoemakers who worked here fled to Karachi in 1947, and today the Punjabis who replaced them sell mostly locks and chains and hardware. But a few of the old shopkeepers remain, and among them is the shop of Shamim and Ali Akbar Khan. Despite the position of their workshop, the father of Shamim and Ali was no cobbler; he was one of the most famous calligraphers in Delhi. Shamim continues his father’s trade and still lives by producing beautifully inscribed title deeds, wills and marriage documents.

I met Shamim in a chai shop outside the Ajmeri Gate mosque. He was a tall and elegant man in his early fifties, dressed in an immaculate sherwani frock coat and a tall lambskin cap. He had high cheekbones, fair skin, and narrow, almond-shaped eyes that hinted at a Central Asian ancestry. On his chin he sported a neat goatee beard. He sat down beside me at a table in the rear of the shop and over a glass of masala tea we began to talk.

‘My forebears were writers at the Mughal court,’ said Shamim. ‘And before that we were calligraphers in Samarkand. My family have always been in this business.’

‘And you illuminate your documents in exactly the way your father taught you?’

‘My father was a very accomplished man. He knew the shikastah [cursive] script as well as the nastaliq; he could write both Persian and Urdu. I learned only the nastaliq. Slowly the skills are dying. Today there are only two other calligraphers in Delhi and they are of inferior quality.’

Shamim called the chai-boy over and asked for the bill. When it finally came he totted it up, checking all the figures in a slightly pedantic manner.

‘Today most of the work is in Hindi,’ he said. ‘Because of this there is little demand for our skills.’

‘Can you not learn the Hindi script?’ I asked.

‘I know it. But with the change from Urdu has come a loss of prestige. Earlier it was a highly respected job that few people were qualified to perform: you had to be familiar with Islamic law, had to know the old Delhi customs, and most of all you had to be a talented calligrapher. Now I am just a clerk; most of the work is done quickly on typewriters.’

He downed the rest of the tea in a single swallow and swirled the dregs around in his glass: ‘It is because of the newcomers. They have a very different culture; they have no interest in fine calligraphy.’