On being an art historian and a theorist
Listen to article
Dear Dr Mussarrat Hassan,
To a masoomana question: Why am I more interested in art history and theory than in making art? My straightforward answer was that right after my graduation from NCA, I was given a class to teach History of Culture and Visual Arts and not painting. Can't say if it was Mrs Hashmi's foresight or mere fate.
The fact is that I was among the few who could connect with Prof Iqbal Hassan, our Western Art History instructor, his pace and pedagogy. While others would avoid attending his lectures, finding them taxing or somewhat unimportant for studio practice, we, a group of enthusiasts, would ask for extra time and discussions.
However, it was not until I met you during my PhD coursework that I truly realised the importance of theoretical aspects of artmaking without which contemporary art would be a meaningless activity. You taught the History of South Asian Art, introducing us to local art forms.
Learning about indigenous art gave a clearer insight into Dr Durre's question: Who Am I? Since then, you have been the greatest source of inspiration and a true mentor who encouraged me to be consistent in writing. I have been told that I am good at storytelling which is, frankly, the ultimate constant in my equation.
Quoting from my grade six scrapbook: "I chase stories like fireflies on summer nights, capturing their essence in jars of imagination, where they dance and shimmer, lighting the path ahead," Only if I remember being so romantic.
But it is romantic to devote oneself to a cause and be hopeful that it shall bear fruit. If so, you are the most romantic person I ever came across. And I am not just referring to your love story with Sir Ijaz-ul Hassan, to whom you have been a muse, a partner and a support system. Mashallah.
Your story as an art educationist and historian is worth sharing. Towards the end of the 20th century, academics worldwide were eager to decolonise the canon of art history. The discipline grew presence in educational institutions within Pakistan, too.
Universities launched degree programmes with a focus on producing and preparing scholars to add to the global voices. There was a need to sensitise the students to local art. It required more focus on genuine pedagogies, relevant to this region. Such an approach demanded surveys and anthologies of art history compiled by unbiased writers who could highlight the South Asian aesthetic sensibilities.
Though the scarcity of such writers is felt even today, you stand out amongst the few who opted to combat the situation and concentrated on research and writing as early as the 1990s. Producing five books with limited resources, a gap in research literacy and a lack of recognition for the expertise is a great feat indeed.
In the pre-digital era, these books on art are, as you say, "the 2nd best alternative to living works of art. It is another way of exhibiting and displaying art, especially in the absence of permanent art galleries in various districts and cities of Pakistan." Your books are a treat for the layman, a treasure for the art students and a model for the new generation of art historians that you have trained over the period.
Qadeem Insaan Aur Fan-e Musawwari, published in 1996, is amongst the very few art history surveys written in Urdu. Providing Urdu explanations for frequently used English terminology makes it somewhat bilingual. It typically traces the art through the ages and is surely an alternative to the most popular survey book in English with the same title.
The second book, Painting in Punjab Plains, is based on your doctoral research. It documents and analyses the works of 200 artists from Punjab, active between 1849 and 1947. The history of South Asian art, as a modern genre, mainly relied upon the court chronicles of the emperors and British State gazetteers. The authenticity of both sources is tainted with political motives and personal bias. Contrary to such narratives, your commentary is based on facts and common sense.
With due respect and all the regards, I shall write again to discuss other books.
Bano
May 2025
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Express Tribune
a day ago
- Express Tribune
Exhibit showcases German artist's mesmerising art
Visitors admire German artist Dagmar Rauwald's vision expressed through bold strokes and skillful mastery in her paintings displayed at the 'Intention vs Convention: Fluid Presence' exhibition at the PNCA in the federal capital. PHOTO: EXPRESS Pakistan National Council of the Arts, National Art Gallery, Islamabad hosted the highly anticipated solo exhibition titled: "Intention vs Convention: Fluid Presence" by renowned German artist Dagmar Rauwald which will go on till June 3. The event included an immersive workshop and presented a vibrant celebration of shared cultural heritage and creative exchange between Pakistan and Germany. The event was graced by Pakistan's Ambassador to Germany, Ambassador Shahid Kamal. During the event, Dagmar Rauwald, a dynamic artist based in Hamburg, presented a captivating body of work that thrives on emotional expressiveness and conceptual depth. Her paintings, applied to transparent film with bold, sweeping gestures, evoke a tension between fluidity and solidity, lightness and opacity. By embracing transparent foils — either layered or singular — Rauwald immerses viewers in the immediacy of the present, abstracting real-world events influenced by media imagery and socio-political narratives. Her exploration of hybridity and evolving visual codes invites a profound dialogue that bridges Western and Eastern traditions, drawing inspiration from the fluid rhythm of Urdu calligraphy. Through her concept of "fluid presence," Rauwald's art created a multilayered hermeneutic experience, resonating with contemporary discourses on gender, identity and the autonomy of artistic expression. Her mastery of technique and her commitment to fostering transcultural exchange have earned her national and international recognition. Central to the event's success was the visionary curatorship of Farrah Mehmood, an esteemed Pakistani visual artist and educator. Farrah's dedication to nurturing cultural dialogue and artistic excellence elevated the exhibition, illuminating a path for future collaborations between Pakistan and Germany. The event was further supported by Dr Carsten Brosda, Senator for Culture and Media, Free and Hanseatic City of Hamburg, whose message of congratulations reflected his vision for sustained artistic exchanges between Hamburg and Islamabad. His emphasis on the importance of intercultural dialogue — particularly during these complex global times — resonated deeply with the event's purpose. In its entirety, this landmark event demonstrated that art is not merely an aesthetic pursuit but a bridge that connects cultures, fosters mutual understanding, and builds a more harmonious world. The collective efforts of Shahid Kamal's inspiring leadership, Farrah Mehmood's curatorial brilliance, Mariam Ahmed's direction and Dagmar Rauwald's bold artistic expression stand as a testament to the transformative power of creativity, diplomacy and vision. As this exhibition concludes, it leaves behind not just beautiful works and inspired minds but also a blueprint for future collaborations that will continue to strengthen the cultural, artistic, and educational ties between Pakistan and Germany. The opening drew a diverse audience from the arts, media, diplomatic community, and development sectors. It was well-attended and warmly received, with visitors appreciating the variety of perspectives and the shared message that photography speaks across languages and backgrounds. The exhibition will remain open to the public until June 3, 2025, and can be visited during official PNCA gallery hours. PNCA has also announced a painting workshop by Dagmar.
Express Tribune
a day ago
- Express Tribune
On being an art historian and a theorist
Listen to article Dear Dr Mussarrat Hassan, To a masoomana question: Why am I more interested in art history and theory than in making art? My straightforward answer was that right after my graduation from NCA, I was given a class to teach History of Culture and Visual Arts and not painting. Can't say if it was Mrs Hashmi's foresight or mere fate. The fact is that I was among the few who could connect with Prof Iqbal Hassan, our Western Art History instructor, his pace and pedagogy. While others would avoid attending his lectures, finding them taxing or somewhat unimportant for studio practice, we, a group of enthusiasts, would ask for extra time and discussions. However, it was not until I met you during my PhD coursework that I truly realised the importance of theoretical aspects of artmaking without which contemporary art would be a meaningless activity. You taught the History of South Asian Art, introducing us to local art forms. Learning about indigenous art gave a clearer insight into Dr Durre's question: Who Am I? Since then, you have been the greatest source of inspiration and a true mentor who encouraged me to be consistent in writing. I have been told that I am good at storytelling which is, frankly, the ultimate constant in my equation. Quoting from my grade six scrapbook: "I chase stories like fireflies on summer nights, capturing their essence in jars of imagination, where they dance and shimmer, lighting the path ahead," Only if I remember being so romantic. But it is romantic to devote oneself to a cause and be hopeful that it shall bear fruit. If so, you are the most romantic person I ever came across. And I am not just referring to your love story with Sir Ijaz-ul Hassan, to whom you have been a muse, a partner and a support system. Mashallah. Your story as an art educationist and historian is worth sharing. Towards the end of the 20th century, academics worldwide were eager to decolonise the canon of art history. The discipline grew presence in educational institutions within Pakistan, too. Universities launched degree programmes with a focus on producing and preparing scholars to add to the global voices. There was a need to sensitise the students to local art. It required more focus on genuine pedagogies, relevant to this region. Such an approach demanded surveys and anthologies of art history compiled by unbiased writers who could highlight the South Asian aesthetic sensibilities. Though the scarcity of such writers is felt even today, you stand out amongst the few who opted to combat the situation and concentrated on research and writing as early as the 1990s. Producing five books with limited resources, a gap in research literacy and a lack of recognition for the expertise is a great feat indeed. In the pre-digital era, these books on art are, as you say, "the 2nd best alternative to living works of art. It is another way of exhibiting and displaying art, especially in the absence of permanent art galleries in various districts and cities of Pakistan." Your books are a treat for the layman, a treasure for the art students and a model for the new generation of art historians that you have trained over the period. Qadeem Insaan Aur Fan-e Musawwari, published in 1996, is amongst the very few art history surveys written in Urdu. Providing Urdu explanations for frequently used English terminology makes it somewhat bilingual. It typically traces the art through the ages and is surely an alternative to the most popular survey book in English with the same title. The second book, Painting in Punjab Plains, is based on your doctoral research. It documents and analyses the works of 200 artists from Punjab, active between 1849 and 1947. The history of South Asian art, as a modern genre, mainly relied upon the court chronicles of the emperors and British State gazetteers. The authenticity of both sources is tainted with political motives and personal bias. Contrary to such narratives, your commentary is based on facts and common sense. With due respect and all the regards, I shall write again to discuss other books. Bano May 2025
Express Tribune
4 days ago
- Express Tribune
Faran Tahir won't fade to beige
Faran Tahir isn't here for watered-down representation. The Pakistani-American actor, best known for playing the menacing Raza in Iron Man, is steadily rewriting the Hollywood script for South Asian and Muslim actors, and doing it on his terms. For Tahir, the goal has never been assimilation. It's about owning your identity, and using it as a strength. "Some people see our colour or our faith as weaknesses," he told Jamal Ouazzani on the Saturday installment of the Jins podcast. "But there's another way to look at it. These are your uniqueness. Find the strength in it rather than be dejected by it." In fact, his primary advice to young South Asian and Muslim actors is to learn to say no when you must, and show up when it matters. "We see doctors, cab drivers, storekeepers, people from our part of the world are part of this reality. We need to show our identity and own our identity." And always have the conversation, even if you don't win. "That idea, that concept, it stays. Maybe next time, it lands." "When I started, there weren't too many good roles we could bring our talents to," he recalled. "And there was not enough choice of talent." Rather than accept the one-dimensional parts often thrown his way, Tahir leaned into theatre, where he could tackle complex roles and grow as an artist. "If I could handle verse, do Shakespeare, there was a place for actors like me." His breakout role in Iron Man was a tightrope walk. Playing a villain while being visibly Muslim required nuance. "I wanted to strip away any real allusions to faith. Raza was a mercenary, a soldier of fortune, not a religious zealot," he explained. By adding linguistic and cultural ambiguity, he worked with the production to avoid lazy tropes. "Worldliness was important to me rather than making the character a savage." Still, the grind isn't easy. "Not all work is good work," he said bluntly. Tahir chooses roles that let him sleep at night. "If I can't look at myself in the mirror when I wake up, I shouldn't be doing it." He's found stability through voice acting, television, and theatre, work that gives him the freedom to say no. Hollywood, in Tahir's world, is a global stage. "These colours we bring to stories? They're not invaluable. They are the story."
