The artistic wealth of India is still scattered over the countryside, or remains unpublished or unnoticed or away from reach of people and circulated only in private collections. The conventional history of Indian art has to be explored. The main lines of its framework or the parameters of studying that were decided forty years ago, needs to be vastly extended, diversified and reconceived for better interpretation of Indian Art.

In India, the situation is very much complicated because of the fact that at all times in India, arts at different levels of sophistication have existed alongside each other in each area.

As every artistic tradition in India, may be its sculpture also takes roots on the ground of certain visual and aesthetic presence of ideas. This reflects the emotional & psychological needs and imaginative prepossessions of the people for whom the art is targeted. And for better understanding of the meaning of cultural wealth of India, there is no any other way out than studying Indian sculpture.

In various places of India, the marvelous Indian art finds its expression in many forms. Some of these art forms are ravaged by time, pillaged and plundered by conquering of invaders and colonial lords for their own benefit, left behind represents India`s historical legacy. But these amazing art pieces evoke a sense of awe and wonder in it. India is full of a diverse medley of numerous aesthetic traditions that give its art and architecture the vitality, which can inspire even today.

Unfortunately, very little of this heritage is known to us. It survives without any security in small towns and obscure villages, rarely photographed, and documented only in a few infrequently read texts. Indian Sculpture shows several of images & forms that present India`s historical record in a way that is both illuminating and evocative for us.

Surviving after every odd, artifacts and monuments of Indian art frequently provide the best clues for understanding of how a civilization may have developed and matured or stagnated, or lead to the phase of decline.

One driver from Murree, who earns up to Rs. 15, 000 a month, has spent Rs. 30, 000 to get his truck repainted. Two years ago, he and his brother spent about Rs. 200,000 to have the stem-to-stern bodywork done, which included hardwood doors, steel-covered wooden walls around the truck bed and chains around the edges. He considers this to be a legitimate cost of doing business.

The drivers believe that these expenses are well worth it. They say that no self-respecting merchant would trust his goods in the bed of a shabby looking truck. Customers reason, that if a driver can’t afford to be garish, maybe his is not a very good driver. One driver says that the police also look more sternly at a poorly decorated truck. “If I could not make it colourful,” he says, “I would be stopped by the police.” According to him if the truck is not in good condition, the police will not like his truck.

But for one truck-detailing shop in Rawalpindi, its the makings of a very good business. He employs twenty two craftsmen. He states that some decoration serves a purpose beyond mere aesthetics. For instance, he relates, that the massive jutting structure above the cab, may slow down the truck at high speeds. It also helps to hide excess goods from the prying eyes of police.

Truck art has become an important branch of Pakistani folk arts. The lorries are decorated, painted and repaired in various workshops around the country. One of the collection of workshops where Pakistani trucks are constructed, repaired and decorated, is located at the busy link road between Rawalpindi’s bus terminal and Grand Truck Road which connects Peshawar via Pindi with Lahore. At this workshop, mechanics deal with the machines, welders repair bodyworks and carpenters, commonly called “bodymakers”, construct the wooden bodies of the trucks that are finally painted and decorated with images, little mirrors, ornamental fittings, glittering reflectors and sounding chains. These old trucks are repaired again and again. Drivers and transport agencies put all their pride into the decoration of their lorries and trucks. There are two types of paintings on these trucks: the “simple paintings” which still leaves some space between the images and the second is “disco painting” in which every square inch is covered with pictures and ornaments. On the exhibit are portraits of national heroes, imaginary landscapes with wood covered hills and quiet lakes and beautiful women. The sides of the cabin are often covered with a kind of mosaic of metal reliefs intersected with small painted ornaments, and sometimes the doors are made of finely carved wood. Truck sides are the most important exhibition areas for paintings.

Side wooden panels are divided into small segments by iron struts to frame a number of different pictures. These pictures feature landscapes, women faces, birds, tigers and flowers.On the back of the truck there is one large motif: a portrait, a mythical figure, a building, and an animal. These are painted onseparate wooden planks that are taken off when loading or unloading the truck. Only when the planks are inserted in the correct order, do the pictures appear proper. A simple painting is ready in two days while the disco painting takes longer time. The painters of these are masters of their art and do not need models for painting. They are given a free hand in what they do, and the paintings are generally accepted by the owners. Nobody raises any objection to paintings of beautiful roses and birds or to a portrait of cricket star Imran Khan.

Not only new trucks are painted but many trucks that have lost their brilliance are painted anew also. Moreover, the truck is also painted if there is a change of hands and the new owner wants to see his name on the sides of the truck. After the painter-artists are done, the decorators take over with their accessories like messages added which consist of little badges with various slogans.

Next is “Okre Maker” Haq Nawaz. This work has been going on since ancient times. It is an old craft of design making on ” Khussa”. Now a day this art is used in “calligraphy”. Haq Nawaz has been associated with this craft for 30 Years and he has learned this art from ” Ustad Naiz Ahmed Bhatti”. He has won Lok Varsa, Multan Art Council and National craft council awards.

Next is the carpet maker expert Shaukat Pervaiz where a servant is busy working on a hand loom. Shaukat Pervaiz told us that he has been associated with this art for 60Years and their ancestors have been doing this work for centuries. The art of carpet making is the identity of Iranian & Afghan Culture. Multan has always been a great passage. Therefore this craft has take up local impressions 7 so got into the new, present shape. Shaukat Pervaiz told us that the carpets made by hand are sold quite expensively and I often say that it is prepared by extremely poor men and bought by extremely rich. In Multan, carpet up to 2000 Sq. Foot is prepared by hand.

Next is the shop of Glittering Laces called “Gota Kinari’, where we found Tehmina Rafique. She has also inherited this art and taught more than 1000 girls students. this work is done by the fine thread of gold or silver. Multan is famous for it and this art has flourished a lot.

Next is the shop of “Multani Khussa”, where Ustad Allah Buksh is busy in making Khussas. The craft made of leather for wearing is a part of great culture. It is said that this art came into existence after the invasuin of Alexander the great. So in the same respect, the history of Multani Khussa is very old in which the goat skin is used. Ustad Allah Baksh told us that his ancestors have been associated with this craft for seven generations and he is making these Khussas for 80 Years.

Next is Muhammad Zubair who is associated with the art of jewelry making. For centuries this art has continued in Multan, Muhammad Zubair has also inherited this art & his family has been in jewelry making for four generations. He has also written more than 50 books on the designing of jewelry. He learnt this art from his father Muhammad Shafi.

Next we found the shop of “Zar Dozi” where Khalil Ahmed Sayal is present. He learnt this art from his father and his mother was also associated with it. There are many experts of Zar Dozi in Multan. He has been representing Multan in ” Lok Varsa” Since 1985.

Next is Ustad Abdul Rasheed who is into the craft. Where things out of ivory & camel bone are prepared In Multan and especially desert regions women wear jewelry of these. In addition to jewelry, table lamp, lockets & other things are also made. Ustad Abdul Rasheed told us that at first work was done on ivory but now it is done on camel’s bones. He has been in this business for 8 Years.

Next is the Presidential Award winner impressionist Malik Ashiq & Son Abdul Rehman. This art has been in this region for centuries. In 1910 Ustad Abdullah Naqaash introduced the Islamic touch to this art by making lamps of camel’s skin. In Agra, India, the ” Naqaash” of this family are still working. A hall in Serena Hotel Faisalabad has been named after his father and is declared the best hall of Asia.

Then we have the expert of “Kaashi” Muhammad Wajid who also inherited this craft. This craft came to the sub-continent from Iran and Middle East. Muhammad Wajid told us that in 1986, his father Allah Divaya got the Agha Khan Award for his work. he also worked at the Shrine of Hazrat Shah Rukn-e-Alam. Multan is Famous for the work of blue, turquoise tiles. He also worked on Bhong Mosque. He also got Lok Varsa & art Council Award.

Then there is the expert of pottery making Ustad Ibrahim. pottery making is an old craft that has continued for generations in their family. He told us that he has been doing this since the age of ten years.

Next is the expert Ustad Ajmal Chistti of Glass-Work. Its is an old tradition, Pieces of Glass are joined to from a specific design on different buildings and for designing utensils or pottery. He has been in this profession for 32 Years and kearnt it from Ustad Shaukat Hussain. he had also worked in Afghanistan & Japan and won many awards.

Then there is Muhammad Arshad “Pattoli Maker” Gold jewelry is made more beautiful with beads & wires and thread. He is engaged in this work for 32 years.

Next is the famous Painter,Artist and Calligrapher Ali Ijaz Nazami. Now he is working on this which has a modern touch to it. He has also won numerous awards. Then we have printer Waheed who makes print on women clothes, these are mad e of special wood. He has been in this field for 3 generations. Then there are carving expert Muhammad Zaman Qamar,” Chitr Kari” is done on gold, Silver & Copper. He told us that 99 names of Allah Almighty are written on a ring that is about the size of a pin. He also won many awards.

The craft men of Pakistan’s first ever Craft Bazaar are quite happy for they have got a place where the people who appreciate or love their work can visit them but they hare demanding from the Government of Pakistan that they should loan on simple conditions so that this art progresses by keeps & bounds. The Craft Bazaar Multan Pakistan is the only Bazaar or market where the facilities are provided for the crafts men to express their art and skill. We hope that in the same way, in other national cities, Craft Bazaar for crafts men are built to keep the arts & crafts alive & to let them prosper.

First time in the history, the comprehensive guide to the Multani Art/Craft work in front of all the world. Latest Art/Craft Pictures are ready to download.

These views were shared by artist Muzammil Hussain who was among two other artists showcasing their work at Rawalpindi Arts Council (RAC) here on Thursday. A group exhibition of Mahmood Ali, Imran Tahir, and Muzammil Hussain were displayed at the gallery of the council. Rawalpindi Arts Council organised the exhibition ‘Beautiful Pakistan’ in connection with its ongoing activities for Independence Day celebrations. MPA Malik Iftikhar Ahmed was the chief guest on the occasion.

Muzammil Hussain while talking to ‘The News’ said that painting was his childhood passion in which he has tried different mediums to work on. He has also displayed the portrait of Quaid-e-Azam for which he received the National Award in 2001. He won first prize in the national art competition held at National Art Gallery. In other paintings he has done calligraphy and shown various social and cultural activities of Pakistan. “My paintings are close to reality, as I am more inclined towards nature and religion,” he said.

Imran Tahir’s work constitutes mostly of the bazaars and old buildings of Rawalpindi and Lahore. He tried his hand on culture, landscape and calligraphy depicting various ‘naqsh qari.’ The medium he used for his paintings were watercolour, poster and oil.

MPA Iftikhar Ahmed while speaking on the occasion said that we must celebrate Independence Day with simplicity. “We must not forget our flood affected brethren while celebrating Independence Day and help them in every possible way,” he said.

Initially, he went to Aligarh University to study civil engineering before heading off to USA for continuing his higher education. Gulgee started to paint while acquiring his training as an engineer in the United States at Columbia University and then Harvard. His first exhibition was in 1950.

Gulgee was a gifted and consummately skilled naturalistic portrait painter who had enjoyed “lavish state support” and plenty of elite commissions in this capacity. Nevertheless, he was perhaps best known worldwide for his abstract work, which was inspired by Islamic calligraphy and was also influenced by the “action painting” movement of the 1950s and 1960s . This is perhaps a natural enough stylistic combination, since in both Islamic calligraphy and action painting a high value is placed on the unity and energy of gestural flow. As with the works of other action painters or abstract expressionists, Gulgee’s canvases were often quite large. He was also known for using materials such as mirror glass and gold or silver leaf in his oil paintings, so that they were in fact mixed media pieces.

According to the Metropolitan Museum of Art: “Gulgee’s calligraphy paintings are abstract and gestural interpretations of Arabic and Urdu letters. His sweeping layers of paint explore the formal qualities of oil paint while they make references to Islamic design elements.”

Beginning in the 1960s , Gulgee also created sculptures, including bronze pieces that were calligraphic in form and inspiration, and sometimes specifically based on verses from the Quran

His paintings were bright and full of color, but the paint was put on with great sensitivity, and paintings vibrate with intense feeling. Areas sing with luminous, thin color; thick blobs of paint pulsate with fiberglass tears, the brush swirls strong and free. The total effect used to be very free, yet considered and well thought out. They work enormously well, because it was all orchestrated with great care and concentration.

Sadequain (1930-1987) would go down in the history of painting in Pakistan in particular and rest of the world in general as a genuine painter, who left so many footsteps that many are copying till date. Syed Sadequain Ahmed Naqvi, also often referred to as Sadequain Naqqash, or just Sadequain was born in 1930. At the age of 31, his work won recognition at the 1961 Paris Biennale. Sadequain had a prolific career and much of his work is displayed in public places. During his life, Sadequain became a cult figure with a large following from all walks of life. The content of his work has wider appeal, and the early works addressed social evils. In the later decades, Sadequain used the unifying spirit of calligraphy to appeal to the masses, who came in large numbers to see his exhibitions. Basically, Sadequain was a social commentator. His murals generally depicted man’s endless quest to discover and develop the endless potentialities that lie within him and without. The whole pageant of man’s triumphal progress, past, present and future is captured in line and color in one magnificent form. His murals are densely filled and tightly packed with images to render adequately the lofty subject.

The images that Sadequain’s brush strokes produced are not only rich in symbolic meaning but visually so much variegated that the eye travels fascinated from point to point. Sadequain was responsible for the renaissance of Islamic Calligraphy in Pakistan. He was one of the greatest calligraphers of his time who transformed the art of calligraphy into eye-catching expressionist paintings. His calligraphy comes from a divine inspiration, giving it a dimension of space and movement.

He carried the script with a flourish in all directions, giving it the power of space, vigour and volume. In Pakistan, the art of calligraphy was relegated to a second class status until Sadequain adapted this medium in the late nineteen sixties. To that time, calligraphy was restricted to few “ustads” of drawing in schools and were not avaialable to general public. After Sadequain transformed the art of calligraphy into a mainstream art form, most of the known Pakistani artists have followed Sadequain and calligraphic art now dominates the art scene. Sadequain also painted in bold form the poetic verses of Ghalib, Iqbal and Faiz, which illustrate his love for classical literature. He belonged to the school of thought, which enriched realism with lyricism. Sadequain wrote thousand of quartets and published them. Sadequain is the only painter who has been copied openly and widely by many painters and even the copies fetch large sums to the copiers, an irony since the artist himself hardly ever sold his works in spite of offers coming from the royals and the common public. As an example his masterpiece rendition of Sureh-e-Rehman has been copied widely by many known painters of the modern era.

The brush strokes stopped on February 10, 1987 in Karachi, when the greatest of the painters and calligraphists was just 57. Many have imitated his work since then, but he remains to this date a very class of his own, which cannot be imitated, copied or reproduced.

A Rochdale-based artist has been teaching local people the traditional arts and craft techniques of Pakistan to create a new exhibition.

Shaista Nazir, a trained textile artist, visited Pakistan to research the techniques used there to create a wide range of artworks and handicrafts, and also brought back many professional examples. After organising a successful series of workshops since March 2005 the results are being shown alongside the original items at the Threads of Experience exhibition at Touchstones arts and heritage centre in Rochdale.

Techniques learnt inlcuded beadwork, embroidery, and glass work. Photo courtesy Touchstones

The project has been really successful on several fronts,” explained Shaista. “It has introduced the local community to the gallery culture and also given them a chance to take a look at Pakistani rural arts and crafts and have a go.”

Participants turned their hands to techniques like Chabba basket making, mirror work, embroidery and bead jewellery making using traditional tools.

Displays of professtional work from Pakistan are also on display. Photo courtesy Touchstones

The people who took part felt they gained not only knowledge and skills but also found the regular workshops a chance to catch up with friends, relax and enjoy a few hours away from their busy home lives,” added Shaista.

Further workshops are running at Touchstones on Thursday afternoons to complement the exhibition

Amidst all this the zeigiest has shaped the expression of Pakistani art, emancipating from the pits of oppression, regression, decadence and above all hope for a better future.

Pakistani art is rich with culture and expression. In Pakistan art exists in many forms, calligraphy, miniature art, painting, sculptor, and printmaking. All these art forms draw their inspirations from history and from the modernity of expression. The Pakistani artists seek to re-create text in a modern context, revive the art of miniature paintings, deal with the question of identity in reference to politics and culture and address the issue of gender through their work.

In the early post -1947 decades, the artists in Pakistan adopted Modernism as a metaphor for change and economic freedom. The society was emerging as a nation with an identity; an identity and a persona to develop. Today Pakistani art and artist cherishes metamorphic aesthetics, a sensibility that mushrooms over ideas, thoughts and wits. Budding over the conundrums of existence and capsizing the gargoyle of society, that spurts feverish anguish, anarchy and tyranny. Pakistani art/artist exposes naked truth; Truth that’s hidden in the universe to the truth with in, one reason why the Pakistani canvas is unbound.

Ajaz Anwar

Life

Born in Ludhiana in 1946, his father was a cartoonist who apparently had stirred his passion from childhood and from whom he drew his inspiration. After obtaining his M.A. in Fine Arts and a Gold medal in 1967, he completed his Ph.D in Muslim architecture, in Turkey in 1978 and proceeded to do a course on Conservation of Cultural Property at UNESCO, Rome in 1977. From 1972 he has been lecturing until he became Professor and Director of Art Gallery NCA, Lahore to date.

Old Buildings

Old buildings of Lahore city are the main theme of his paintings. He has tried to preserve those buildings in his paintings which are replaced by new style buildings or they are crumbling. These are the buildings of old Lahore, not all are historical but common homes of common people are the centre of his attention. Natural lively colours make the buildings alive.

People in his Paintings

Although buildings are the main theme of his paintings and people are just there to make a normal life but the characters he used in his paintings are the quintessential of the life of Lahore or Punjab. The characters are faceless but they represent the common people found in the bazars: A Tonga rider, women walking in the bazar, children playing, milkman, old persons talking,and sellers of all kinds. Ajaz Anwar not only preserved our buildings he has also preserved our daily life too.

Comments on Work

“In my paintings, I highlight the parts of Lahore that must be preserved. I remove skyscrapers and instead incorporate tongas and sweetmeat shops,” he said in an interview. The main focus of his paintings are not human figures. “The human figures are only used to bring these crumbling buildings to life. People are not important aspects of my art because they are born and reborn whereas these buildings, once destroyed, will be lost forever.”

Ajaz Anwar is the recipient of the President’s “Pride of Performance in Painting” in 1997.

The Art gallery lies straight down the corridor from the main entrance to the Lahore Museum. Past the wooden screen lies the Miniature Paintings Gallery, where rare exhibits are displayed on either side. Before you get absorbed in the details of the miniatures, take a look at the mural on the ceiling painted by Sadequain. The miniature paintings have been arranged in chronological order of development, beginning with illustrations from a 16th century Jaina Kalpa Sutra and some rare illustrations of Laur and Chanda romance. Persian, Mughal, Provincial and Bazaar Mughal paintings and works of minor ateliers of Rajput states in Rajasthan are also part of the collection. The gallery also holds exhibitions regularly.

Sim-Sim Art Gallery- Lahore

A standing little emblem of art near the famous Orega center in Lahore, Sim Sim art gallery is not just for exhibitions but basically an art on sale outlet. The interior is well defined and carries an ambiance of creativity and modernity. Displaying the works of the contemporary artists in Pakistan, Sim-Sim art gallery is helping promote the talented artists of Pakistan who believe in self expression and catharsis.

Shakir Ali Musesum & Art Gallery- Lahore

A true piece of art… Dwelling on the residence plot of the pioneer of modern art in Pakistan, Shakir Ali, the museum is a wonderful and awesome architectural phenomenon of the artist’s creativity. This great artist was born in India, received his basic education in India, and studied arts from the JJ school of arts Bombay. Then his trip to England for further studies brought a major turn in his life, where he learns classical paintings and textile designing, two contradictory fields of art. Shakir Ali museum was the artist’s personal lodging, which took ten years for construction but unfortunately ten months after the completion of the house the artist died. The place has an amazing architectural beauty and wonderfully designed rooms, the ambiance here reminds you of a never-ending passion for creativity. It is still warm with the colors that stroked the canvas with life, and things still speaking of the life of the great artist of Pakistan.

Crow eaters Gallery- Lahore

Named after the entropy of Sub-Continental harmony, a semi autobiographical novel by Bapsi Sidhwa, Crow Eaters is a pulsating fascination of aesthetics and modernity. The Gallery is located at the lower end of The Mall, the vibrant region of Lahore opposite Anarkali Bazaar lending a touch of the cultural and social dithyrambs. Exhibiting works, of the creative mentors of Art as well as young artisan’s hankerings, it provides communion between the artistic expressions and the people. The gallery is rather small, and a narrow staircase leads to the top floor the altar of crafts-man-ship. The work on display engulfs the genuine traditional and modern concepts of Art in Pakistan, irrefutably awesome in its displays of varying mediums of art.

93-Tipo Block, New Garden Town

Lahore, Pakistan

Co-opera Book Shop & Art Gallery- Lahore

At the heart of Lahore, on The Mall (Shahrah-e-Quaid-e-Azam), near the well known Regal Stop, The Co-opera Book Shop & Art Gallery harbors a trove of art in the basement. Encouraging new talents and established artists, the Gallery exhibits works by artists from all over Pakistan, irrespective of the school, whether it be modern abstract and impressionism, or classic realism and miniatures. There’s room for all forms and mediums of art. Almost all the works on display are for sale, except for some permanent exhibits of the Gallery. The gallery is divided artistically into three sections, the entrance being dedicated to books and literature. A long gallery with lively watercolor paintings and calligraphy precedes the main display area. In the main room, exhibits include oil paintings, woodcarvings, prints, and the awesome display of the art of sculpture and carving. One room is solely dedicated to miniature art, defining various eras of Mughal art. Supporting all the literary and artistic activities in Pakistan, the gallery usually holds exhibitions twice a month.

Gallerie Sadequain- Karachi

Gallerie Sadequain Karachi This gallery is located within the historic building of Frere Hall, on Fatima Jinnah Road, in the Sadar area of Karachi. The art gallery is on the first floor of the Frere Hall. The ceiling of the art gallery was painted by Sadequain, one of the most well-known painters of Pakistan.

The enormous mural is an impressive work of art in Sadequain style. The art gallery regularly puts up amateur exhibitions in order to promote arts in the city. Frere Hall, Fatima Jinnah Road

Art Gallery- Karachi

Presenting art, in the Dhoraji Colony’s Rangoonwala Community Center, is the V.M. Art Gallery. Established in 1987, it is a project of ZVM Rangoonwala Trust, a renowned business house that has made laudable effort in the field of art and culture. The gallery was established with the objective of promoting advancement in art education and encouraging the fine arts. It serves as an outlet for senior and amateur artists; an important display venue for the young and for the established. The art gallery has its own permanent collection, titled ‘Rangoonwala Art Collection”. Apart from arranging exhibitions the art house also arranges slide presentations.

Art Collectors Gallery- Karachi

This gallery is located on Khyaban-e-Roomi, in Old Clifton, close to the Chawkandi Art gallery and the famed Zamzama boulevard of Karachi. The gallery is managed by Ali Imam and periodically exhibits works of established and young artists of Pakistan.

D-68, Block 7, Khyaban-e-Roomi, Clifton

Karachi, Pakistan

The Indus Gallery- Karachi

The Indus Gallery is one of the oldest and the longest running art gallery in Karachi. It was established by Ali Imam, one of the most well known painters of Pakistan. The gallery takes its name from the river system that runs through Pakistan. Along its banks flourished the world’s oldest advanced civic culture 8000 years ago known as the Indus Valley Civilization. Carrying the tradition forth, the Indus Art Gallery promotes the arts and crafts that have flourished here, over the centuries. It has played a pivotal role in popularizing art; the viewing and purchasing of works in Pakistan. For an unknown artist, an exhibition at the Indus Gallery means instant recognition. Established visiting artists from other parts of the world have also chosen this venue to display their work.

50-A/1 Street 1, Bath Island

The National Art Gallery- Islamabad

The entrance to the Art Gallery is at the rear of the house. The Gallery has an entrance hall and two main halls on the ground floor with two more exhibition halls on the upper floor. A concealed stairway separates the two halls on the ground floor; one of these halls has Sadequains artwork on display, while the others can be hired for organizing art exhibitions. In case you are keen on specifically seeing Sadequain’s work, it would be advisable to check with the Gallery in-charge and confirm.