Govt.post graduate college foe women, samanabad Lahore.

Class: BFA-IV
Session: 2017-2021
paper Title: Art in Pakistan

Date 24/05/2021
Q. 1. Abdul Rehman Chughtai and Ustad Allah Bukhsh bridges the pre-
partition art of the Subcontinent to the new realities of the newly born nation
of Pakistan to help her find its cultural identity. Support your argument with
relevant examples.

Answer

Abdur Rahman chughtai been referred to as the national artist of Pakistan and was one of the
few -if not the only- artist to be organized in India both before After partition. in a family
descended from generations of craftsmen, architects, and decorators. Chughtai briefly learned
naqqashi from his uncle Baba Miran Shah Naqqash at a local mosque. After completing his
education at the Railway Technical School, Lahore, in 1911, Chughtai joined the Mayo School of
Arts, Lahore where Samarendranath Gupta, a pupil of Abanindranath Tagore was Vice-Principal.
After leaving the school, he made a living for a while as a photographer and drawing teacher.
He eventually became the head instructor in chromo-lithography at the Mayo School.
His art is innovative, at the same time it was representative of his time. Basically, a figure
painter, he evolved a personal style of portray famous personalities from Islamic history, golds,
goddesses from Hindu mythology, Buddhist subjects, and idealized figures such as Punjabi
farmers Kashmiri peasants’ Bengali people, and madrasa maidens. Chughtai began buying
Moghul and Sikh paintings in the 1920s before it was fashionable to do so, Japanese woodcuts
and Rembrandt etchings Also format part of his electric collection, all aspect of which had a
bearing on his own painting various phases on his development reflect his interest in Persian
miniature, Egyptian art and European painting Particularly art Notiveau and painters van Gogh,
Matisse, munch.

Abdur Rahman Chughtai also designed the logo for the Pakistan Television Corporation (PTV) at
the behest of its first general manager, Ubaidur Rahman. On Pakistan's Independence Day in
1951, he produced a set of 9 stamps, better known as 'Chughtai Art set'. At that time, this set
was considered as the most beautiful stamps of the world.
A Consummate draftsman with an inmate of the color and design and he offen Give an amusing
twist or humorous note to his large watercolor he was most accomplished printmaker in the
subcontinent, hiving study in his art in London during his two visits to Europe in 1932 and 1936.
The spirit of the renaissance man possessed chughtai, who illustrated Ghalib, Omar Khayyam,
allama Iqbal, and who was himself a shot story writer and poet.

Abdul Rehman Chughtai Book.

 Murraqqa_i_Chughtai
 Naqsh-i-Ghughtai
 Chughtai’s painting
 Amle Chughtai

With his own press in 1928 coma chugthai printed his first book, Muraqqa_i_chughtai, which
features his illustration of the moghal poet mirza ghalib. murraqqa_i_chughtai, hailed a
masterpiece of Indian book production, ushered in a production, ushered ghalib revival. He
Subsequently published three more books on his art naqsh-i-chughtai in 1935 was a less
expensive version of murraqqa with different illustration. Chughtai’s painting 1940 was picture
book of painting with on text, and amle chughtai 1868, his Magnum opus, illustrated the prose
and poetry of allama iqbal. 'hightail' Indian painting was said to have sold out early immediately
testament to his longstanding popularity in India even after partition.

Art work
his first decade of painting, beginning about 1916 chigetai’s technique was like dead practiced
by the new Bengal school artist, though his emphasized different cultural values than he is
Kolkata painters. He further distinguished himself as a first painter of have created visual
parallels of poetic metaphors Persian Urdu poetry.
Chughtai continue his favorite theme of moguls. Heroes from Islamic history and folk stories
like shine mahiwal, laila majanu, sassi pannu, heer ranja. But most painted college girls, village
girls, genre scenes and nudes. s nudes’ exhibition in 1951, where the first ever exhibit in
Pakistan according to Amjad Ali.

 Ranja
 Serenade
 Radha Krishna
 Flame of love
 Sohini
 Krishna and arjuna

Ranja
Ranja from the famous Punjabi folk tale heer ranjha, is dated 1920 and exemplary of Chughtai’s
Strong identity with the Punjabi heritage. Exhibit categories of the 1920s1930s from the
achieves of the chughtai museum trust list a number of titles of the painting by chughtai from
romantic including the ranjha, ranjha at the fair, ranja with flute, heer and sehti and heer and
saida.
The painting sure ranja by the Chenab where he first met heer ranja, son of r landlord from the
takhy hazara, traveling all day until He reached the Chenab where he felt asleep in a boat tied
to Soini the bank here, he was discovered by here sleeping in her father’s boat, and he was
scolded by her friend. The two fear in love then and there and he persuaded her father to
employ Ranja as cowherd. Her jealous uncle kaido, informed heer’s father that the two were in
love and meeting secretly every day. When heer was has hastily marred to the young men saida
from rangpur and send away. Ranja disguised himself as a bigger so that he could see her
again undetected While version of the story after in the end both r and Ranja die with the
broken heart.

Chughtai early experience learning naqqsh from his uncle at the Mughal period Wazir khan
mosque may be evidenced by the careful an extra rendering of geometrical design and floral
patterns like those on the pavilion and verandah.
Radha Krishna
During the same time that chugthaiwas painting theme from Persian / Urdu poetry Rooted in
Tradition, he was also painting Hindu and Buddhist motives radha Krishna illustrated the artist
neck of personalized Bits and piece of foreign style and characteristic.
The sitting in reminiscent of kangra miniature painting particularly the background landscape
of River and tree Hill with a pair of white geese. the architectural, however, in not pearly white
like that in the kangra miniature and Krishna and radha and are typically chughtai with title
connection to figure in miniature painting. Krishnais shown with dark skin and yellow dhotih his
visual attributes, but his peacock feature hardness is represented by loops of a turban cloth and
his fold has been replaced by a walking stick. The typical white background necklace is missing
the chughtai has add large pink lotuses_recurring objects which seem to be the particular
symbol or denotation of Hindu and Buddhist figure. The hairstyle two signifies non-Muslim
characterization.
Two years after the creation of Pakistan chughtai asked to reflect on the future of art in his
country. He noted the estrangement experience in Hindu, -Muslims who_ after partition finally
relinquished their possessive identification by Mughal art chughtai wrote that_
In India the religious, cultural, literary an artistic traditional of Muslim was associated with
the Mughal…… today, (the Muslim) has perforce abandoned his traditions. Now…Now he he
will have to build a new Taj Mahal …. new mosque use creates new Indian viduals of the
reconstruction who was prove that they had past with traditional, and that the country and
its art have their traditions….’
It is natural that chughtai would borrow from the miniature traditional to depict the emperor,
who is regarded as a greatest patron of Mughal painting. Chughtai, however, appropriated title
more than pose and costume of the painting Jahangir and norcarane there is an innocent and
sweetness in the stylized face that distinguishes chigetai’s portrait from those of the Mughal
predecessors. Chagatai’s watercolor is much longer than theeaverage miniature, and his figure
usually dominate the setting rather than reside in it as do figure in Mughal miniatures.

ALLAH BUX
In contrast to the intellectual iconographic content of chughtai's work is the straight forward
representation found in the paintings of ALLAH bux. While Chughtai's work was eclectic in style
and content, bux mainly adhered to an academic, European tradition.

EARLY LIFE
Studio as photographer, retouch artist and portrait and landscape painter, The experience gave
him expertise in portraiture, which he did in the twenties with great finesse, through mostly
from photographs. It was probably in the bombay Art studio that he became familiar with the
Hindu myths that he loved to paint.
In 1919 Bux returned to Lahore and began competing in all india exhibition. He spent three or
four months of the year in Patiala state painting for its ruler, Bhupinder Singh. There he had
access to a huge, diverse collection of painting and sculpture, including renaissance to
twentieth century European works and Indian miniatures. Though ALLAH bux has been
described as a simple, unsophisticated individual with no pretensions. He had been exposed to
high quality world art. He was not an intellectual painter, but his creative talent and artistic
memory produced a body of art skillfully painted culturally relevant and highly imaginative.
Students began seeking him out during the thirties, congregating at his studio near Islamia
College. Bux continued to work as a commercial artist nevertheless first for Paisa Akhbar and
later for Kapur printing Works. Several of his Students become recognized as significant
painters, and in 1976 he inagurated the ALLAH Bux academy in Muslim Town that perpetuates
the realistic European tradition in Pakistan. At age five Bux was apprenticed to master Abdullah
a mughal miniature artist who resided at Rang Mahal in the old city of Lahore. By age fourteen,
he was adept at sign board painting. He is also said to have worked for an English automobile
firm and as a carriage painter for Mughal Pura Railway Workshop. He later became a scenic
Painter for Agha hasher. Kashmiri's Theatrical company, where he must have developed his skill
for painting landscape and the imaginative panoramic fantasies for which he later became so
famous. In 1914 he went to Bombay and took a job with a Bombay art.

HIS art work

 Drowned sohini
 Krishna Arjuna
 Abstract landscape
 Andromorphic landscape
 Babesh Chandra Sanyal two women with a girl
 Street singer
 Market scene

Drowned sohini
Bux dramatic depiction of the drowned sohini from the famous Punjabi romance, sohini-
machinal, is an example of local subject matter randered in European style and technique. In
this Famous legend, Mahima a handsome young merchant of Bukhara falls in love with Sohini, a
Potter's daughter of Gujrat. In Order to meet Sohini without suspicion. Machinal poses a faqir
on the bank of the River Chenab. However, as in most Punjabi romances, their love is
discovered but Sohini secretly continues to visit Machinal. She crosses the River Chenab with
the help of an earthen jar for evening rendezvous with her lover, who sits on the opposite bank.
Sohini's sister-in-law knows of these romantic meetings and replaces the jar intentionally with
an unbaked pot, and Sohini drowns. Distraught, Machinal jumps in the River and also drowns.

Krishna Arjuna
In a 1932 painting from the Bhagavad. Bux conveyed the magnitude and devastation of the
imminent great war. The painting is less crowded with figures than his other panoramic
paintings. It shows Krishna giving council to Arjuna. The horizon is obscured by smoke and a
profusion of warring troops a leveling of mankind that is prophesied by the grinding stone in
the foreign.

Andromorphic landscape
Different in execution yet equally imaginative and colorful were a series of anthropomorphic
landscapes, these paintings with people and beasts molded from rocks and boulders were
probably inspired by visits.
The Northern areas of Pakistan, where natural rock formations seem to take on human and
animal forms buddhas and bodhisattvas carved into rock faces, like those at Bamiyan,
Afghanistan are well-known in Swat and adjacent areas of Pakistan. This treatment of landscape
is consistent with Persian miniature painting in which miniature painting in which human and
animal forms appear in rock formations. In this series, Bux combined watercolor and oil, and
painted on paper. He experimented with other Media, mixing them freely and there by
achieving a freshness and sparkle that conveyed optimism and spontaneity.

ALLAH bux, who had been painting more than thirty years by the time Pakistan was created was
comfortable with the western approach. Though he continued painting Karishna and the Hindu
myths and legends. he realized the need to adapt his themes to the requirements of a Muslim
nation. He painted Punjabi villagers, thus appealing to the nostalgia of their Punjabi cousins in
the city Bux captured their celebration, dances and marriages festivities or showed them at
work in the fields with of day presage the aims and goals of Punjab Landscape school that
evolved in the seventies. The colors are true, there is no romantic sentimentalism, and the
sweeping view is one that provides a transition from the artificially staged panoramas of August
schoefft (Sikh period painter under Ranjit and Sher Singh) to the recent rural and urban
landscapes of Lahore.

Street singer
Some of the Box’s themes, such as Market scene and Plowing Fields are as common today as
they were a century ago Street Singer. on the Other hand, with the two stringed sarangis, is a
record of vanishing traditions, Musicians with homemade folk instruments such as this sarangi
can still be seen in Baluchistan and other tribal areas, but detached from their hereditary place
in society and relegated to amusing the city dwellers. Bux catered to an urban audience.
Sophisticated and industrialized they were reassured by These proud images of their cultural
heritage.
The clean, Fresh air of the Hindu Kush and the Karakorum’s and the uncomplicated life
style of its Mountain people were an appealing nostalgic vision for ALLAH bux.

Q. 2. Write a detailed account of evolution in landscape painting with reference

to Pakistani Art proceeding from post-independence era till the formation of
Punjab Landscape School.
Answer
Landscape painting, also known as landscape art, is the depiction of natural scenery such as
mountains, valleys, trees, rivers, and forests, especially where the main subject is a wide view
with its elements arranged into a coherent composition . The Indian Subcontinent landscape
composition has been used as an architectural design and motif to decorate forts, mosques,
temples, shrines and other religious buildings. Miniature painting has had a strong tradition of
linear landscape used in the background or to set the stage for an illustration – be it depiction
of a battle or a romantic courtly episode. However, it was not till the late nineteenth and early
twentieth centuries that Western-style landscape painting emerged as an independent genre
here. The establishment of arts schools in the Subcontinent – like the JJ School in Bombay or
the Mayo School of Arts in Lahore – provided formal education in both local crafts and Western
fine arts to aspiring visual artists.
One of the earliest different defined and homogenous movement in Pakistani painting in the
Punjab landscape school. Khalid stands at the head of the movement as a initiator and driving
force as teacher as colleague all as friend, his impact in influence of Lahore artist is incalculable,
and he has had personal contact with every painter is the category member of the group
including zoolagnia Haider ,shahid Jalal, Iqbal Jalal, Iqbal rasul ijaz-ul-haaain muhmmad Nazir
and Iqbal Hussain a few landscape painter exclusively but most paint additional subject dome
follow Khalid Iqbal’s style closely other their other have their own style . What they all have in
common in a concern for realism and the capturing the essence of the land of the five rivers.

Artist
 Zulqarnain Haider
 Shahid Jalal
 Iqbal ahmed
 Ghulam rasul
 Ijaz-ul-haaain
 Muhmmad Nazir
 Iqbal Hussain
 Zubeida javad
 Ghulam Mustafa
 Anamolaka
 Allah bux
 Sir Zulfi

Khalid iqbal
Khalid Iqbal was soft spoken and amicable with his students and others. Born on 23rd June
1929 at Simla, Iqbal was a legend in his lifetime. He is responsible for the creation of a whole
school of landscape painters who have slowly evolved their styles under the influence of his
work. According to his pupils and colleagues there is not a single landscape painter who can
said that his work has not been influenced by Iqbal's work.
Iqbal, painted many excellent portraits and still life paintings in the earlier part of his long
career but later he devoted himself wholly to landscape painting. He brought about a
remarkable change in the principle of observation of nature and its interpretation with colours.
His special talent in this field won early recognition, and he won a prize for landscape painting
at the Slade School of Fine Art, University College London, he developed a style of his own in
landscape painting, which he practiced all his life and inspired others. He brought realism to
painting with impressionistic treatment of colour and light, thus creating a realistic atmosphere
in his landscapes. Many of Iqbal's paintings are almost devoid of human activity and rarely
contain human figures. They are purely visual world of landscapes reflecting creative, technique
and passion leaving viewers in trance who enjoy and listen to great symphony of nature.
He is considered as the father of landscape painting and the initiator of modern realism in
Pakistan. There is a biography titled "Khalid Iqbal - A Pioneer of Modern Realism in Pakistan"
written by Dr Musarrat Hasan in 2004 for his art lovers who want to know the artist and his
work.

His art work

 Kabili kikar bushes
 Summer rain
 Rural canal
 The tent
Kabili kikar bushes
Kabuli li kiker record the dense monochromatic atmosphere pervades uncultivated areas near
model town brush and tree fade into the ponderous Atmosphere giving a Chinese affect into
the painting which is punctuated by the spontaneous of brush strokes of the spiky kikar. heart
seems to emanate from the dry ochre color grass a thirsty landscape waiting from the
monsoon.

Summer rain
Relief come in summer rain where gathering clouds cast soft shadow on the foreground and the
greening Punjab fields dulled by the overcast Sky.

Rural canal

A scene which is rural cancnal deal with the difficult technique problem of white wash wall
which must appear being bright on the Sunnyside but maintained tonal harmy within the
painting.

The tent

Khalid iqbal prefer untouched nature to cultural fields and quite softly to fanciful activity as an
accomplished figure painter he confidently render people and animals when the vista including
them some of his painting such as that end depict urban and encroachment . He may not have
intended the piece as a social statement. But the poor man’s tent erected in front of the pucca
dwellings symbolize the presistence of accident nomadic lifestyle in the modernizing third
world country

Zubeida javad
Zulqarnain Haider is an eminent painter of the Punjab School of Landscape Painting Initiated by
Professor Khalid Iqbal in 1955. After taking his Master’s Degree in Fine Arts from the Punjab
University in 1964, he was awarded a scholarship from the Beaux Arts Paris, and he proceeded
to France where he studied Fresco painting and Mosaic. He went on to receive a diploma in
Plastic Arts, and before returning to Pakistan mounted his first solo exhibition at the Pakistan
Embassy in Paris in 1977. It was an event that was highly acclaimed.

In Lahore, Haider joined the faculty of the Punjab University where he taught for many years
and continued with his art. He exhibited his work to great appreciation in the genre of
Landscape painting regularly at the annual Punjab Artists’ Association. His work may now be
seen in the collection of the National Art Gallery

His art work

 Bullrushes
 Kikar tree
Bullrushes

Bullrushes reveals a myriad of texture and substance in one-minute limited visual space. The
dark Brown for grant looks soft and purple, in inviting but hinting of quicksand yellow Brown
brush contrast with fresh green grass and create a various barrier to the distance beyond with
the barely perceivable bridge in the upper right the scene hints of the near River.

Kikar tree

Kikar tree is the favored theme of zoolagnia and Khalid iqbal, dark, spiky tree set against the
glowing yellow green fields, in the common sight and an accurate representation of Punjab
landscape.

Khalid Mehmood
Khalid Mehmood started his career as an artist with a two-year Art and Design Diploma from
Alhamra Arts Council in 1982. After graduating from National College of Arts, he did his Masters
in Painting from College of Art and Design University of the Punjab Lahore in 1993. Since 1993,
he was working as Graphic designer and also practicing his art as a freelance artist. He
participated in Various group shows at Allhamra Arts Council Lahore. After having a long studio
practice, he started displaying his work again in Galleries. Recently he displayed his work in
Minhas Art Gallery Lahore. Furthermore, his work published in First International Watercolor
Biennale Pakistan 2016. He was always very fascinated from landscape and cityscape artists; he
usually captures different moment of casual life happening in cities. He worked in Oil on Canvas
and also in Watercolor. But currently his work is on Charcoal and Acrylic on Canvas. He is trying
to express his emotional attachment with cityscapes in his own way.

His art work

 Old city scene
 Delhi gate
Delhi gate
Dilly gate provides a striking comparison with anna molka lahori gate. through both are based
on personal observation, Holiday’s throw bone uh based on personal observation, Khalid
version is an Impersonal rendering an. The viewer is kept back from the scene so that shopper
and the architectural remain a distant if vision in an integrated design. In Anna’s painting on
the other hand’s shopkeeper beckone on the viewer from the from an approachable distance
and in human presence dominate the scene.

Old city scene

particularly of place is not the concern of Mehmood freely executed, abstract, or cities it gleans
the essence of compact, vertical dwellings and random color patterns without the pretense of
converting social and cultural information.

Ajaz Anwar
Ajaz Anwar is a distinguished painter of Pakistan. He was a gold medalist at Punjab University,
and he completed his M.A. in Fine Arts from Punjab University. Later, he went to teach at
National College of Arts Lahore. His watercolor paintings show the grandeur of the old buildings
and the cultural life in Lahore.
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 from Punjab University (PUCAD) Lahore, 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.

His art work

 Inside lahori gate
 The white mansion
Inside lahori gate
Inside lahori gate illustrated version social and cultural aspect of old Lahore as well as it
idiosyncratic architectural. From intricately carved wooden balconies, woman in purdha look
down on the busy Street below, bamboo stutters keepout the bright sunlight and provide
privacy in the community where close and crowded is taken for granted. jharokha or oriental
dormer window are characteristic feature from the mughal painting and a favorite motive in an
ajaz paintings.

The white mansion

the white mention is an earlier word that exhibit a looser, less detail more spontaneous and
character than inside the lahori gate although each has its own charm. One side-effect of ajaz's
painting is that some of the old city home honors have come to realize the beauty and quality
and value of their old homes from the attention given by the ajaz .

Ghulam Mustafa

Ghulam Mustafa is an internationally acclaimed Pakistani landscape artist, having won several
awards and prizes, including President Award for Pride of performance (2002). Mustafa’s art
journey began in 1974 when he joined National College of Arts, Lahore. Since then, his work has
been exhibited numerous times at notable art galleries nationally and internationally. He has 16
solo and several group exhibitions in his credit. Mustafa’s never-ending passion and extensive
expertise has led him to his stature today. His remarkable skills of creating textures, pattern of
lights and usage of vibrant colours takes the viewers into pleasing sensation. The viewers can
witness, how spectacularly Mustafa sees his subjects and then executes his imagery on
canvases. My first exposure to his artworks was back in 2012 and his paintings have always
given me a different perspective each time to look at the specific subject.
HIS art work
Sheranwala gate
Sheranwala gate is the statement of the changing social economic system. As one of the
original 12 gate of the walled city, its surfer from obvious disrepair. Tea stand and food stops,
with accompanying refuse clutter the entrance. a modern electric tower manifestsl the
technological and aesthetic distance between the moghal past and the present.

Tonga Depot
Tonga Depot though lacking the confusion and mix of view vehicles nearly always present on
the Lahore busy streets, the scene denoted the prevalence an indispensability of an inexpensive
word outmoded from the transport.