Pakistani Art Notes PDF

**Abdur Rahman Chughtai (1897--1975)** was a prominent Pakistani artist, born in Lahore into a family of craftsmen and decorators. He was trained at the Mayo School of Art and developed a unique style influenced by Islamic art traditions, Art Nouveau, and the revivalist Bengal School. Early in his c...

**Abdur Rahman Chughtai (1897--1975)** was a prominent Pakistani artist, born in Lahore into a family of craftsmen and decorators. He was trained at the Mayo School of Art and developed a unique style influenced by Islamic art traditions, Art Nouveau, and the revivalist Bengal School. Early in his career, Chughtai worked as a photographer and drawing teacher before becoming the head instructor in chromo-lithography at the Mayo School. Chughtai\'s first notable exhibition was in 1920, and by the 1930s, he gained recognition for his watercolors, etchings, and aquatints. His art often drew on Indo-Islamic history, folklore, and legends, and his works contributed significantly to the modern art scene in Lahore. He was a prolific artist, creating nearly 2000 watercolors, 300 etchings, and thousands of sketches. In addition to his artwork, he wrote short stories, designed stamps, coins, and book covers, and published notable works such as *Muraqqa-i-Chughtai* (1928), an illustrated edition of Mirza Ghalib's poetry, considered one of his greatest achievements. After the creation of Pakistan in 1947, Chughtai became a cultural icon and was admired by figures such as Allama Iqbal, Pablo Picasso, and Queen Elizabeth II. His works were gifted to foreign heads of state, cementing his status as a prominent representative of Pakistan\'s artistic identity. **Ustad Allah Bakhsh (1892--1975)** was a renowned Pakistani artist born in Wazirabad and raised in Lahore, where he spent most of his life. He started his artistic training at the age of five under Master Abdullah, a well-known artist in the Mughal-style miniature tradition. Allah Bakhsh initially struggled with learning to read and write, as his memory was more attuned to visual imagery than to alphabetic symbols. He trained rigorously, starting with basic exercises like grinding colors and copying Mughal miniatures. In 1913-14, Allah Bakhsh worked with Agha Hashar Kashmiri's theatrical company, gaining exposure to scene-painting for plays, which influenced his later work in figurative, portrait, and landscape painting. He moved to Bombay in 1914, where he worked as a sign-board and backdrop painter, and assisted in a photographic studio, refining his skills in Western-style painting under the mentorship of Moeen Sahib. While he initially copied Western masters, Allah Bakhsh eventually developed his unique style, blending Western techniques with local themes. His works often depicted scenes from popular folktales, including *Heer Ranjha* and *Sohni Mahiwal*, as well as rural life. One of his most famous works is *Talism-i-Hoshruba*, inspired by Persian epic literature. Though he did not belong to any specific art movement, Allah Bakhsh's natural talent and dedication to his craft led him to become a significant figure in South Asian art. **Zubeida Agha (1922--1997)** was one of Pakistan's pioneering modern artists and is often referred to as \"The Grande Dame of Pakistani art.\" She was the first artist to hold a solo exhibition in Pakistan after its creation in 1947, marking the beginning of modern art in the country. Agha played a significant role in introducing the modern idiom to Pakistani art, and her work is considered foundational for contemporary art practices in Pakistan. Agha initially studied political science and philosophy in college but was drawn to painting through recurring dreams, which inspired her powerful colorist style. Her first solo exhibition in Karachi in 1949 is regarded as the heralding of modernism in Pakistani art. She later exhibited internationally, with her first exhibition outside Pakistan held in London in 1951. In addition to her artistic achievements, Zubeida Agha was an active curator who supported emerging artists and contributed to the growth of modern and contemporary art in Pakistan. She was awarded the President's Medal for Pride of Performance in 1965 and the Tamgha-e-Quaid-e-Azam by the Government of Pakistan in 1982. Agha's commitment to sincerity in art was a central aspect of her philosophy, encapsulated in her famous quote, \"Without sincerity there is no true art.\" **Shakir Ali (1914--1975)** was a prominent Pakistani artist born in Rampur, India. He received early education at Jamia Millia Islamia University in Delhi and Philander Smith College in Nanital. In 1937, he began his art journey with an apprenticeship with the Okil Brothers in Delhi, and later studied at Sir J.J. School of Art in Mumbai, where he earned a Diploma in Drawing and Painting in 1944. Shakir Ali's artistic journey led him to travel across South India in 1945 to study South Indian sculpture and frescoes. He continued his education in Europe, attending the Slade School of Art in London (1946-1949) and studying textile design in Prague (1950). In 1952, he moved to Pakistan and joined the Mayo School of Arts, later becoming its principal in 1962. Under his leadership, the Mayo School of Arts achieved the status of the National College of Arts in 1958. Shakir Ali\'s style evolved towards modern abstract art, heavily influenced by Western abstraction but with a distinct indigenous color palette dominated by red, orange, and blue hues. His works often focused on the aesthetic and expressive impact of color, rather than thematic representation. One of his notable works, *Woman and the Bull*, conveyed concepts of fragility and force through abstract figures rather than literal representations. Shakir Ali is recognized for contributing significantly to the development of modern art in Pakistan, combining Western techniques with local traditions to create a unique visual idiom. His legacy continues to influence Pakistani art today. **Syed Sadequain Ahmed Naqvi (1930--1987)** was a renowned Pakistani artist, born in Amroha, India, into an educated Shia family where calligraphy was highly valued. He began his career as a calligrapher at All India Radio in Delhi before moving to Pakistan after Partition in 1947. Sadequain\'s rise to fame began in 1955 when he exhibited his work at the residence of Prime Minister Huseyn Shaheed Suhrawardy. His unique style, influenced by Picasso, brought him numerous governmental commissions for murals and solo exhibitions. In 1957, Sadequain visited Gadani, where the cactus plants he encountered became a central metaphor in his work, symbolizing violence, hardship, and nature\'s victory. He saw the structure of these plants as a source of inspiration for his calligraphic and artistic creations. Sadequain won the Pakistan National Prize for Painting in 1960 and gained international recognition after moving to Paris, where he won the Paris Biennial's \'Artist under 35\' category in 1961. His success in Europe and the USA included exhibitions in London and Paris. In the 1970s, Sadequain returned to Pakistan and worked on large-scale murals, including those at the Mangla Dam, the State Bank of Pakistan, and Frere Hall in Karachi, while also publishing a volume of poetry. **A HISTORY OF VISUAL ART IN PAKISTAN: STUDYING THE RESISTANCE AGAINST ZIA-UL-HAQ'S MILITARY REGIME** The period of **Zia-ul-Haq\'s military regime** (1977--1988) in Pakistan saw a strong political and cultural resistance from artists, who responded to the oppressive regime in various ways. Zia's government imposed a rigid ideological framework, attempting to reshape Pakistani identity by promoting a specific interpretation of Islam and using authoritarian tactics to suppress dissent. Artists, as members of society, were directly influenced by these changes, and their works reflected their responses to the regime. Some artists conformed to government-imposed restrictions, focusing on **landscape painting** and **calligraphy**, which were seen as culturally acceptable forms of art under the regime\'s interpretation of Islam. Calligraphy, especially as a form of beautifying Quranic verses, was patronized by the state, with notable artists like **Sadequain** creating works for the government. **Landscape painting** was also elevated as a respected genre, symbolizing national pride and glory. However, many other artists with anti-government sentiments used their work to criticize the regime. These artists often resorted to **symbolic representation**, using symbols that could convey their critique of the military dictatorship without being overtly political. Such works communicated hidden meanings, often challenging the oppression faced under Zia\'s rule. Two prominent artists of this resistance movement were **Abdul Rahim Nagori** and **Ijaz-ul Hassan**. Ijaz-ul Hassan, who was arrested and detained by the military for his political activism, created a powerful symbol in his work. One of his paintings features a **bouquet of flowers made from barbed wire**, using **irony** to criticize the regime. The **barbed wire bouquet** symbolizes the false promises of prosperity made by the government, highlighting the oppressive and restrictive nature of the regime. This work exposes the hypocrisy of the military regime and its manipulation of Islam and the people for its own power. Overall, the resistance in Pakistani visual art during Zia-ul-Haq's regime was marked by **symbolism**, **irony**, and a critique of the government\'s authoritarian rule. The **manifesto** signed by 15 Pakistani female artists highlighted women\'s grievances against the socio-political environment and emphasized their role in promoting a rational society through art. This movement emerged in response to strict government censorship, which fueled a desire to break free. **Salima Hashmi\'s** painting *Freedom* (1985) depicts three identical women trapped in ice cubes, symbolizing their stifled lives and silenced voices. The ice represents stagnation, and the covered mouths suggest the suppression of their rights and identity. The red color signifies bloodshed and the suffering of women. **Laila Shahzada\'s** *Chadar aur Chardiwari* series illustrates how women were restricted by cultural and social norms. In her work, a woman is shown partially covered by a chadar, with light radiating from her head, symbolizing inner strength and determination despite societal constraints. **Asim Butt** (Karachi) was known for his vibrant street art and symbolic paintings. He painted murals on walls, especially near Abdullah Shah Ghazi\'s mazar, and engaged in political acts through art, like painting \"STOP\" after riots or creating \"eject\" signs during Musharraf\'s emergency. His spontaneous, activist-driven art reflected his desire to challenge authority and express personal and political statements. He also created digital collages of iconic Pakistani women for banknotes, and his works like *Carcass* and *Contempt* used sardonic humor and symbolism to explore societal issues. Asim\'s approach was rooted in true representation, and he embraced Stuckism, though he saw it more as an individual endeavor. **Saira Wasim** (b. 1975) is a contemporary miniature artist from Lahore, known for exploring social and political issues through satire and caricature. A graduate of the National College of Arts, her works are displayed in prominent museums, including the Victoria and Albert Museum. Wasim uses the miniature style to create art that critiques societal ignorance and prejudice. Her upbringing in Allama Iqbal Town and exposure to poverty shaped her perspective, and she believes miniatures offer a creative platform for dialogue toward a more humane society. She currently resides in the United States.