پروفیسر رشید احمد صدیقی
افسوس ہے ابھی مولانا عبدالماجد دریابادی کے اشک ماتم خشک بھی نہیں ہوئے تھے کہ اردو ادب وانشا کے میدان کاایک اورشہسوار گرا یعنی پروفیسر رشید احمد صاحب صدیقی نے کم وبیش پچاسی برس کی عمر میں علی گڑھ میں وفات پائی اور وہیں سپردخاک ہوئے۔ مرحوم کا اصل وطن جونپور تھا لیکن طالب علمی کے زمانہ میں علی گڑھ آئے تو بس یہیں کے ہوکر رہ گئے، یہیں انھوں نے تعلیم حاصل کی۔ اُس زمانہ میں اردو میں ایم۔اے نہیں ہوتاتھا اس لیے فارسی میں ایم۔اے کیا، پھر یہیں اردوکے لیکچرر ہوئے اورایک عرصہ کے بعدریڈر بنے۔ڈاکٹر ذاکر حسین صاحب جن کومرحوم ہمیشہ مرشد کہتے اورلکھتے تھے اُن کی وائس چانسلری کے زمانہ میں پروفیسر ہوگئے لیکن اس عہدہ پرفائز ہوئے ابھی دو ہی برس ہوئے تھے کہ ملازمت سے سبکدوش کردیے گئے۔ یونیورسٹی کے قانون کے مطابق وہ ابھی توسیع کے مستحق تھے لیکن اس زمانہ میں یونیورسٹی میں جو سیاست چل رہی تھی وہ مانع ہوئی اور شیخ عبدالرشید(شعبۂ تاریخ)وغیرہ کے ساتھ یہ بھی ریٹائرڈ کرد یے گئے۔ مرحوم نہایت خوددار اورحساس تھے اس لیے انھوں نے شکوہ شکایت کسی سے نہیں کیا لیکن انھیں اس کااحساس عمر بھررہا چنانچہ وہ علی گڑھ میں ہی اپنے ذاتی طویل و عریض مکان میں ایسے گوشہ نشین ہوکربیٹھ گئے کہ نہ کبھی اردو ڈپارٹمنٹ میں قدم رکھا اورنہ یونیورسٹی کی کسی تقریب،کسی پارٹی اورفنکشن میں کہیں نظر آئے۔
مرحوم نے اگرچہ کوئی مستقل کتاب کبھی نہیں لکھی اورنہ کوئی علمی اورتحقیقی کام کیا لیکن وہ اردو زبان کے عظیم نکتہ دان اورادیب تھے، اس لیے مضامین کثرت سے لکھے جن کے دومجموعے ’ ’طنزیات ومضحکات‘‘ اور ’’مضامین رشید‘‘ کے نام سے طبع ہوکر ارباب ذوق میں مقبول اورمشہور ہوئے۔ علاوہ ازیں بعض خطبات بھی چھپے ہیں۔ ان کااردو، فارسی اور انگریزی ادب...
Background: Ethical and moral values form the basis of the environment in any academic institution. Objectives: This study aimed to explore the ethical and moral issues faced by medical students during their undergraduate medical education in Pakistan. Methods: This qualitative exploratory study was conducted at ABWA Medical College, Faisalabad. It included thirteen semi-structured, one-to-one interviews of volunteering undergraduate medical students of Punjab, Pakistan, from September 2021 to February 2022. The interview invitation was sent electronically to social media groups. Member checking of transcribed interviews was done, and data were analyzed thematically using Atlas-ti software by two independent researchers. Results: Thematic data analysis led to the formation of 28 codes, 13 subthemes, and 3 main themes. Based on the social constructive approach, three main themes were categorized into ethical issues in (1) academic, (2) social, and (3) clinical contexts. Conclusions: The results showed that undergraduate medical students face a myriad of ethical and moral disruptions during their undergraduate study period at medical college. Much awareness about identifying and dealing with such issues is recommended to bring more quality to the program.
This research is concerned with history, arts, crafts, design, architecture, anthropology and cultural practices. The approach is based on experiencing the praxis of Tradition of Kashikari 1 in Kalhora 2 and Talpur 3 period. The research is concentrated on the context of the practice of Kashikari in Pakistan; its historical perspective, visual construction and communication of Kashikari art as surface decoration on monuments in Sindh. The study based upon the contribution of the artisans, the actuality of the content in the Kashigar’s contest and a style perceived for surface decoration in Sindh. Panofsky’s 4 image reading method is used for qualitative research upon the surface decoration of monuments. Wherein a large number of monuments, mosques and places decorated with Kashi work in the period of Kalhora and Talpur rulers of Sindh were visited and data was collected in shape of photographs, video and interviews of artisans and historians were conducted. The sketches were drafted for the study of details of the surface decoration and the manufacturing process with true methods and materials is studied from Kashikari practitioners. Finally the dominant architectural monuments, famous for the Kashikari surface decoration are discussed to understand the evolution, development and appearance of the art. In the region of Sindh and Multan Kashikari has splendid past, several buildings have been adorned by glazed tile work and the architecture surfaces has been ornamented by Kashikari painted tile works. But in the colonial period, this art form has been deteriorated, after the independence the splendid examples are restored with bad quality of the Kashikari work or the surfaces were replaced with plain stone and marble. The un-availability of professional supervision, lack of interest of 1 Kashi means Ceramics in general and kari means work; the term is used for Ceramic work in Sindh 2 1701-1782 A.D. 12-Kalhora rulers ruled the Sindh; wherein their period is main area of research. 3 1782-1843 A.D. Talpur ruled Sindh for 61 years; wherein the Country was divided in to three states i.e. Hyderabad, Kahirpur and Mirpur khas. 4 Erwin Panofsky (1892-1968): German art historian, highly influential in the modern academic study of iconography. [ix]government and the critical condition of innovation by Kashigars 5 has created a critical condition for this profession. The art institutions and academies are responsible for the downfall of Kashikari and also the public sector organizations had not used their sources for consideration and patronization of this art form. In process of study, it is well understood that there is a huge gap between the art schools training and system of Ustad 6 Shagerdi 7 . Young generation of kashigars have refused to learn the Kashi, working with clay & fire; seems them only a labor. The social status, personal development, creativity and novelty of the field are stand away from the today''s Kashigars’s work, in parallel to the excellent works of their ancestors. The neighboring nations are fully conscious of their historical connection with Kashikari, therefore they are still admiring their indigenous arts with their original methods, techniques and materials, and promoting the Kashikari art as a traditional and cultural identity of their architectural buildings with its imperative characteristics. Same as; here is the responsibility of government sector and public institutions to impart proper education and training for accurate conservation of the art forms with its particular mechanism of indigenous materials and techniques. Thus, the Kashikari is a trans-boundary art work throughout the centuries in Sindh, Middle East, and Central Asia and in west also. It is pertinent that Sindhian Kashikari was deliberately re-classed as a craft and the continuity of Kashikari practice distorted in the colonial British Raj period 8 . Due to that distortion of British Raj period, the historical patronage and perspective of Kashikari has been marginalized. The Kashi karkhana 9 withered and the practice of Kashi perished away. It is revealed through the study that the art of Kashi have sure and solid 5 Kashigar: in Sindhi Language used for the person who practices Kashikari art. 6 Ustad: in Persian, Urdu and Sindhi languages term Ustad used for Master. 7 In indigenous languages relation between Master and his apprentice has very great importance, by this relation Master’s art form is converted into the student. This relation is called ‘Ustadi-Shagerdi’ mean Apprenticeship. 8 The country of Sindh was captured by Colonial British Raj in 1843 and the period was prolonged till the separation of sub-continent in1947. 9 Karkhana means the workshops [x]foundation as an indigenous Sindhian art work, in terms of raw material, availability of minerals, soil, climate, physical features and the lie of the land; which are determined by the geography of Sindh. Further, the Sindhian Kashi has a distinguish diversity in cultural context, aesthetics, medium, color and application of primitive & indigenous technical procedures of non figurative-geometrical and floral patterns for surface decoration in Sindh; which availed the peak of aesthetics in Kalhora and Talpur period.