This piece entitled, My Name is Green, published in the weekly Outlook India traces how “forged in the cultural ferment of a century ago, Islamic poster art in India thrived on the frontiers of taboo.” The author is Shruti Ravindran, who has obviously undertaken a lot of research and also published some great samples of such posters. That Islam in South Asia acquired and adapted the local flavour and modes of social and spiritual interaction is well known.
While reading this piece, I also recalled seeing similar eclectic posters in Pakistan in my childhood before the puritanism of General Zia ul Haq engulfed the country and Wahabi variant of an exclusive and suspicious man made ‘faith’ deepened its presence, well at least in the public domain of representation.
This piece looks at some of these aspects through the popular art form. Read and enjoy - full text has been posted below courtesy the intelligent Outlook. (more…)
Someone once said Abida Parveen is not a singer or an artist… she is an experience….. her voice and expression takes you to a different universe… when she collaborated with India’s ace filmmaker, poet, artist, revivalist, musician and activist Muzaffar Ali the result had to be something divine … something out of ordinary, something that transcends all boundaries… it was purest of the pure Raqs-e-Bismil (dance of the injured)… totally unforgettable and soulful … In Abida’s own words Raqs-e-Bismil has the glow of Almighty in it…one can become wali by listening to it…. sufi poetry has a magic that is beyond any explanation, any comprehension … it fascinates me as each time it takes me into a new realm of discovery.
I am sharing my favorite ghazal from the album with translation… although each piece is a priceless gem yet this ghazal has the power to take you beyond yourself. Abida is at her best here.
The English translation is done by Muzaffar Ali himself.
Hairat mara ze har do jahan be niaz kard
Een khab kaare daulat e bedaar meekunad
(Rumi)
Bewilderment has absolved me of both the worlds
This is the consequence of awakening from my dreams
Khuli jab ki chashm e dil e hazeen,
to vo nam raha na teri rahi
Hui hairat aisi kuch aankh par ki asar ki be asari rahi
Pari goshe jaan mein ajab nida ki jigar na bejigari rahi
Khabare tahhayyur e ishq sun na junoon raha na pari rahi
Na to tu raha na to main raha jo rahi bekhabari rahi…
(Khamsa by Nazeer Akbarabadi for Siraj Aurangabadi)
The eyes of an anguished heart open…
No longer moist.. Bereft of tears
The perplexed vision
Remained unmoved.. Devoid of response
The soul heard.. An unusual sound
That took the pluck of life away
As wondrous love revealed itself
The fairy vanished..The ecstasy lost
Nor you remained.. Nor I was found
mere oblivion was all there was…
Mujhe bekhudi ye tune bhali chashni chakhayi
Kisi aarzoo ki dil mein nahi ab rahi samayi
O surrender in love,
You have given me a taste that pales all worldliness
No desire remains
In the heart filled with submission
Na hazar hai na khatar hai, na raja hai ne dua hai
Na khayaal e bandagi hai na tamana e khudai
Neither distance nor fear…
neither hope nor prayer
neither thoughts of subjugation
nor desire of godliness
Na muqqam e guftagu hai na mahhall e justaju hai
Na wahan havaas pahunche na khirad ko hai rasai
No place for exchange of words…
no occasion for further quest
Where neither consciousness reaches
nor thoughts transcend its realm
Na makin hai ne makan hai na zameen hai ne zaman hai
Dil e be nava ne mere jahan chhavni hai chayi
No one resides..Neither habitation exist…
Is where this wandering heart has come to camp
Na visaal hai na hijraan na suroor hai na gham hai
Jise kahiye khwab e ghaflat so woh neend mujh ko aayi
Where there is no union… No separation
no sorrow… no joy
What is said to be an endless oblivion
I enter such a slumber
Found a well researched article on Mehrgarh at Chowk:
Mehrgarh is the centre of the first known developed place of civilization in its advanced form in the world as compared to the contemporary and the predecessor human settlement areas of the world. The town of Jericho has, not got the level of sophistication and developmental level attained at that in Mehrgarh. The symbolic artifacts retrieved from Mehrgarh are far more advance d and more developed as compared to the artifacts retrieved from Turkish sites and Middle Eastern sites especially Jericho.
It is interesting to note, however, that the male figurines have turbans — much like those worn by the inhabitants of Baluchistan today. These turbans are not only found in Baluchistan, they are still worn in the rural areas of Punjab.
One of the most unique discoveries of the Mehrgarh is the first known origin of the dental surgery and related medicinal activities in the Mehrgarh areas. This medicinal and different aspect of the Mehrgarh shows great innovation and developmental level of the people of the area about 9000 years ago.
When driving through the jungle of buildings, complicated maze of cars and billboards mushrooming around the Karachi skyline; randomly spurted words and images often catch one’s eye. Karachi’s version of graffiti is usually just writing on the wall announcing which teeny-bopper gang is at odds with whom, who sucks, who rocks and so on. Every now and then though, something that can actually be considered art because of its visual or conceptual value crops up. (top right- Asim Butt)
Over the last few months, a symbol that has now become part of the Karachiite visual vocabulary has been creeping across almost any and everything in the city. A red triangle upon a rectangle – an eject sign, which according to Asim Butt, artist and stenciller of many of these signs is “multivalent.”
Asim’s graffiti was spurred on by the imposition of emergency in Pakistan in November 2007. However the message was not singular, nor was it a reaction to a single event. (more…)
It was Gulgee’s bad luck that he was murdered shortly before the country’s most popular leader Benazir Bhutto was assassinated. His sad end somehow receded in the memory of his compatriots, more so because the tragic death of BB was followed by a reign of looting and destruction. But all said, Abdul Ismail Gulgee, one of the very few titanic figures in this country’s history of visual arts, certainly doesn’t deserve to be forgotten even for a while. (more…)
“To look at one of Ali Kazim’s paintings is not only to look at something wonderful, something remarkable. It is also to look at something deeply intriguing. Kazim is a fine and highly skilled and accomplished painter, but he is also a deeply compelling and accomplished teller of mysterious and wondrous stories..” (Eddie Chambers in Secret Lives) (more…)
ATP has published my post on Saira Wasim’s extraordinary art:
Saira Wasim is a prominent Pakistani miniaturist. I found a link to her website hidden in my unread emails. Some of her recent paintings are terrific. The image below is borrowed from here. It is dedicated to Queen of Meldoy, Noor Jehan.
“There is an eclectic mix of realism, comedy and circus - there is movement and drama alive in the miniature format.….Wasim is expanding the frontiers of the traditional genre of miniature painting. It is a tremendous service to keep this art form alive and relevant.”
NOTHING is safe any longer from the malevolence of those who continue to bring death and destruction in the name of God in this increasingly Islamic republic; not even a harmless rock-carved image of the Buddha dating back to the second century BC and which no one worshipped.
The giant Buddha at Jahanabad near Mingora in Swat finally lost its face, parts of the shoulders and the feet in a second assault last Friday by Islamist militants. The historical relic had survived two earlier attacks. But this time round, in spite of the law enforcement agencies having been warned of the danger the militants posed to the rock carving, the latter planned and carried out the blast unchecked.
It is disturbing that there is no writ of the government in Swat - otherwise a stunningly beautiful valley. Considering that the army is engaged in a battle with the militants in these areas, the Buddhist relics would be least of government’s priorities.
Yet, they are not unimportant. In fact, it is imperative that the government should protect them as a symbol of our rich past and to send a message to the lunatics who pretend that the cause of [their] Islam would be served. Nonsense - in this day and age and in an overwhelmingly Muslim majority area. What threat they pose and whose ‘eemaan’ is endangered?
It is painful to see how a bunch of extremists are pushing us towards that.
A dynamic and enlightened friend suggests that we should write here, here and UNESCO to register our protest. Notwithstanding the limited chances of any action or corrective measures, at least we would have made the effort!
Khalid Hasan writes on the great Pakistani master, Sadequain, in the current issue of the Friday Times:
“It is 20 years this year since Sadequain’s death. He would have been 77. When he died at the age of 57 (of what can only be called too much living), it was not his death that was surprising but how he had lived so long, given the white hot intensity with which he lived and painted, wrote and loved. He burned his candle at both ends, and had there been a third end, he would have burned it from that end too.”
And this great anecdote -
“…There are hundreds of Sadequain stories, but the one recounted by journalist Nasrullah Khan Aziz is characteristic. One day in Karachi, a man came up to Sadequain and said that he had a family to feed but nothing to feed it with. The only thing he knew was how to drive a rickshaw. Sadequain gave him 15 thousand rupees to buy a rickshaw, as long as he agreed to take him wherever he wanted to go. That arrangement lasted for some time, but one day, Sadequain said to him, “You are free. You don’t have to drive me around anymore.”
During my recent visit to Lahore, I met the Lahore artist, Iqbal Hussain. We had a nice, engaging chat, saw his recent works some displayed and some eating dust in the splendid Cooco’s Cafe located next to the Badshahi Mosque.
Iqbal’s matter-of-fact portraits have introduced the multiple nuances and shades of Lahore’s red-light area to the world. The women subjects are mostly from the area and he paints them with stark candour and brings out the depths of expressions and emotions in his lines and brush-strokes.
Perhaps the greatest contribution of Iqbal is the establishment of Cooco’s Cafe that has turned into a cultural landmark and has also catalysed urban renewal in the neighbourhood.
Among his recent paintings is the portrait of actor-writer Feryal Ali Gauhar with her dog. This is an uncommon subject but the result is fabulous. I was quick to take a photo (see the image below).
Iqbal is a down-to-earth artist with no pretensions. The directness and simplicity of his work is a reflection of his personality. He braved the mainstream opposition to his paintings with a stoic attitude and has invested his time and soul into the growth of cooco’s as a fine place that offers much more than the old city delicacies and cuisine. I can’t wait to meet him again and see his new work.
This moving poem by Faiz was written forty years ago and still sounds so fresh and relevant…
Du’aa (Prayer) — A nazm for Pakistan’s Independence Day, 1967
Come, let us join our hands in prayer.
We, who can not remember the exact ritual
We, who, except the passion and fire of Love,
do not recall any god, remember no idol.
Let us beseech, that may the Divine Sketcher
mix a sweet future in the present’s poison
For those who can’t bear the burden of time,
the rolling of days on their souls, may He lighten
Those, whose eyes don’t have in their fate, the rosy cheek of dawn
may He set for them some flame alight.
For those, whose steps know no path
may He show their eyes some way in the night.
May those whose faith is following falsehood and pomp
have the courage to deny, the boldness to discover.
May those whose heads wait for the oppressors sword
have the ability to push off the hand of the executioner.
This secret of Love, which has put the soul on fire,
may we express it today and the burning be gone.
This word of Truth that pricks in the core of the heart,
may we say it today and the itching be gone.
aayeh urz guzarein keh nigar-e hustee
zehar-e imroz mein shirenya furda bhar de
wo jinhein taab-e garaan bary-a iyaam nahin
un ki pulkoon peh shaub-e roz ko hulka ker de
jin ki aankhoon ko roz-e subh ka yaara bhi nahin
un ki raatoon mein koi shuma munawar ker de
jin ke kadumoon ko kisi reh ka sahara bhi nahin
un nazroon peh koi raah ujagar ker de
jin ka deeN pariw-e kizb-o riya hai un ko
himet-e kufr mile, jurat-e tehqiq mile
jin ke sir muntazar-e tegh-e jafa hein un ko
dust-e qatil ko jatuk deenay ki taufiq mile
ishq ka sir-e nihaaN jaan tapaaN hai jis se
aaj iqrar karein aur tapish mit jaa’e
hurf-e haq dil mein khatakta hai jo kante ki turhaaN
aaj izhar karein aur khalish mit jaa’e
Another favourite of mine is Ustad Daman’s immortal poem in Punjabi about the sorrows of partition that we often forget while celebrating this day. Millions had to leave their homes, were killed or hurt - and this bloodline still continues to haunt us…
This is a painting that I revisited and converted its earlier abstract form into a calligraphic experiment. Now the challenge was that in addition to the lack of training in oil painting…
This weekend was remarkable: visions and confusions found their way on a plain canvas and before long I was in a strange dialogue with the canvas - here is the result of this dialogue: Full entry here >>
Mehrgarh excavations continue despite all odds; and there is much more hidden under the rugged, topograhic layers of Baluchistan. Saw this figurine (on the right) and found it most fascinating. JB, my friend who introduced me to this new discovery suggested that I should use it in a painting (noting my new interest in the medium).
Having spent some weeks in Bangladesh, I ventured to closely observe the folk motifs in Bengali art. I had always admired the simplicity and the colours of these powerful lines. With my new-found passion, I am daring to use bits of this style.
This piece entitled, My Name is Green, published in the weekly Outlook India traces how “forged in the cultural ferment of a century ago, Islamic poster art in India thrived on the frontiers of taboo.” The author is Shruti Ravindran, who has obviously undertaken a lot of research and also published some great samples of such posters. That Islam in South Asia acquired and adapted the local flavour and modes of social and spiritual interaction is well known.
It is interesting to note, however, that the male figurines have turbans — much like those worn by the inhabitants of Baluchistan today. These turbans are not only found in Baluchistan, they are still worn in the rural areas of Punjab.
Amina Baig writes for the 
It is disturbing that there is 
Khalid Hasan writes on the great Pakistani master, 
Iqbal’s matter-of-fact portraits have introduced the multiple nuances and shades of Lahore’s red-light area to the world. The women subjects are mostly from the area and he paints them with stark candour and brings out the depths of expressions and emotions in his lines and brush-strokes.
Among his recent paintings is the portrait of actor-writer 
