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The Green Palette

After Pakistan became a sovereign state on August 14, 1947, it inherited a lot from colonial rule because there was no source of advanced knowledge and information except what the rulers appropriated and then left to themselves.

The British took control of a very monarchical state under the Mughals, but when they left they had to accept the all popular democratic system of politics; The thrones once occupied by emperors, governor-generals, presidents, and prime ministers have been locked into the future. The military, social institutions, music, sports, fashion, cuisine, architecture and administration, in short, all spheres of life have absorbed and displayed the abundance of post-colonial western influence, as this doctrine was deemed the best and most appropriate in its own right. connection with the ruling and powerful class.

Because the language was completely torn from Persian and partly from Arabic, it included a modern and unconventional style; Two major languages ​​that remain a mark of distinction and wisdom for the Muslim community from the Nile to Kashgar. Modern Muslims, especially after being brought into modern politics thanks to the completely new and liberal policies of the Muhammadan Anglo Indian Conference, and the academicians of Aligarh College, which later became a university, were well aware of the new philosophy, psychology, architecture. After the birth of the new state of Pakistan on August 14, 1947, this class, sciences and all other fields of literature and art took over. Therefore, what we have in common with Pakistani art was mainly the inspiration of early western modern art. 20th century; fragments of post-modern American or post-war European art.

In the early days of Pakistan, Anna Molka Ahmed was a British-immigrated artist in Lahore who trained the first generation of Pakistani artists at the Punjab University’s Faculty of Fine Arts, which she founded in 1940. four teachers who later shaped the early years of Pakistani art; They were Anwar Afzal, Zakiya Malik Sheikh, Razzia Feroz and Nasim Hafiz Ghazi.

On the other hand, there was Zubeda Agha who was trained by BS Saniyal and Italian POW Mario Perlingieri. Later, he was greatly influenced by western styles and techniques as he studied art in the west. Zubeda rejected the traditional style of painting and emerged as the first modernist painter despite the resistance of local criticism.

At the same time, Anna Molka tried to capture local themes related to religion and folklore, but being expressionist in technique, the local fauna and flora flared up after being expressed with her “knife and palette” technique. . Anna sometimes squeezed the color tube on the canvas and dragged it with the knife to achieve the desired spontaneity and relief texture. Therefore, what he produced was indigenous in subject matter but very western in technique.

Considering that the native style was later attributed to the Mughal school of Miniature painting which gained popularity in the hill states of Himachal Pardesh (Basohli, Chamba, Guler, Kangra and Bilaspur) till the Sikh period. Ustad Haji Sharif was one of the exponents of courtly style painting due to his ancestors’ long association with the royal court of Patiala, an important Sikh state in present-day Indian Punjab. After moving to Lahore, Ustad Sharif imparted his knowledge at Department of Fine Arts and Mayo School of Art (NCA) in Lahore and imparted the highest skills in book illumination and illustration.

Another Master Allah Bakhsh contributed to the infancy of Pakistani painting along the lines of oriental traditional and realistic style. Allah Bakhsh depicted rich culture and folklore with a touch of romance in the subject while putting folk love stories like Heer Ranjha and Sohni Mahiwal on canvas and at the same time influenced by modern art and romantic artists. showed mystical paintings of the west such as “Talizm-i Hoshruba”.

During this evolutionary process, Abhiander Nath Taigore was breathing miniature painting in the secular style in Calcutta, where he was a great proponent of the gauche technique. This style inspired the free-flowing hand of Abd al-Rehman Chughtai, who took the style of Bengali Miniature painting to unparalleled heights. No one but Chugtai could really maintain that standard of lyrical quality of line, soft layers of diffused pigments and stylized approach, although few tried to familiarize themselves with the technique, Chugtay’s wisdom and education in the field of local and foreign art in and around intellectuals who, in the form of his famous friends, made him the sole exemplar of his unique style; Chugtai style.

Later, Pakistan was enchanted by the magician Sadequian: an artist with theatrical qualities, dramatic themes and a very rough line quality, he scratched the textures inside the frame to give air to the philosophical and poetic themes that inspired the artist. level. The desire to communicate louder and more clearly led Sadeqian to switch to Calligraphy, which later became his identity and was exhibited on a large scale such as ceilings and murals in the Lahore Museum and Mangla Dam respectively. Ismayil Gülgee was another advertiser of the calligraphy painting style, which gained popularity among religious groups as opposed to figurative art. Eventually, non-figurative art was accepted in the marketplace and flourished in the adverse conditions of the military-Islamic rule of the 1980s.

If we look at academic inspirations other than Anna Molka, we can see Shakir Ali standing tall and exceptional on stage with his very simple and rhythmic paintings in solid shades of red, orange and blue, with various lines. His textures in flat areas of color are simple but masterfully crafted and expertly balanced. His presence at the National College of Arts, Lahore made many follow him to acquire the new and modern techniques that were available to him during his time as an academic in London.

In Western art, Cézanne, Van Gogh and Gauguin are later regarded as the initiators of Cubism, Expressionism and Fauvism. Based on this example, we can divide Pakistani art into three dimensions, Chughtai, Sadegauin and followers of Shakir Ali. However, as the latter was a principal and teacher of a well-known Art institution, his influence was great. Hence we could see his successors in the form of Panj Piyar (five beloved ones) in the pattern of Akbar’s Navratna (Nine Jewels). They were Raheel Akbar Javed, Sheikh Safdar, AJ Shamza, Ali Imam and Moyene Najmi. Another reason for this popularity was the style and subjects that Shakir introduced to a new generation in the late sixties and early seventies, which were more practical and physical in execution, even in contrast to Chugtai miniatures, to depict the most abstract and immaterial ideas. Sadequain’s poetic thematic paintings.

Pakistani institutions taught along western lines, while the old masters of local traditional styles mostly took their art to their graves, except for a few students.

In calligraphy, Ahmed Pervez and AJ Shamza are names who have contributed to the collective form of Pakistani art in their individual styles, but some have made a greater difference. Khalid Iqbal is a maestro in Landscape painting with western techniques in creating fascinating foregrounds and depth in the backgrounds thanks to his control over tonalities formed by local colors and diffuse shades. He introduced Modern Realism to Pakistan which left many inspired. Khalid’s presence, first at the Department of Fine Arts and then at the NCA, inspired a generation of artists academically through his fatherly attitude. His drenched yet soft canvases recorded the varied hues of the Pakistani soil.

Another talented graduate of NCA, Saeed Akhtar, a skilled artist who solves painting problems by mastering and applying observations, came across while molding sculptures; a way to gain skills in three-dimensional figurative and portrait painting. Realistic and accurate expression became his badge of honor.

Zahoor al-Akhlaq, with his philosophical and abstract approach, strengthened the conceptual basis of modern art in Pakistan and led the NCA to adopt modern styles and techniques in painting.

Panjab University produced Collin David, Anna Molka’s most gifted and arguably most controversial student for various reasons, but a fine artist of the divine line he was blessed with. His figurative work demonstrated his anatomical expertise, which enabled him to introduce Pakistani art to the exaggerated note of Rubens and Raphael.

Zulqarnayn Haider, following Khalid Iqbal, began by mastering Landscape painting in an almost similar style, but gradually took on the new challenges posed by nature, such as the restless blood of the Kashmiris, changing light, spreading branches, and stretching ground; it took them from their feet to the point of vanishing into the horizon, or even beyond.

Ghulam Rasul added style and enriched the colors of his paintings in “Landscapes”. He also used the small hills of Potohar as a gray backdrop behind the lush green fields.

Contrary to the Modern Realism of Khalid Iqbal and company, Zubeda Javed emerged as an artist with a strong imagination. She is one of the rare women painters in Pakistan who has mastered the modern painting technique of landscapes and cityscapes considered by many to be semi-abstract and impressionistic. With an intuitive color palette and painter’s brush, he created a unique and aesthetically powerful display of color that emerges from deep backgrounds. His painting style encouraged a modern approach to color, composition and light.

English literature inspired Mian Ijaz al-Hassan to think and act according to the new ideologies in vogue in the seventies, his thematic and radical paintings based on communist doctrine disturbed the sound sleep of the upper salons. But he dug the fragile soil of Pakistani soil with a “red scythe” and sowed the seeds of the yellow Laburnum (Amaltas) tree; is the main symbol of his paintings.

Iqbal Hussian shed light on the burning and rotten issues of a famous abode; red light area. His cityscapes can transport you to the dark alleys and whispering walls of the old town, while his portraits of large and carefree looking women provide social commentary on the unacceptable side of society.

On the other hand, Ghulam Mustafa has created a labyrinth of narrow and shadowy paths of the walled city and the green mountains of the northern regions with soft pastel colors on the textured surface of pastel sheets or well-stretched large areas. from oil-painted coarse canvas.

Bashir Ahmed initiated the Miniature painting department at NCA, which inspired many young artists to take up this traditional painting style. Bashir’s attempt to revive the tradition of miniature painting resulted in Modern Miniature, which revolutionized the genre in Pakistan.

Along with all the above mentioned torches, there were many others who entered the 21st century and passed on the Pakistani palette to a new generation of artists.

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