Artwise
China's Mona Lisa
A national treasure

Salwat Ali

Here in Pakistan, pride in heritage art leaves much to be desired. We are technically deficient in the skills and craft of preserving paintings and artifacts and many old pieces have either disappeared or have succumbed to decay. Accessible and suitable display venues and facilities are almost non existent.  Moreover the reverence and admiration needed to appreciate art encompassing a sense of history has only just begun to be fostered in small pockets of the society. The general public is still oblivious and this ignorance is reason enough for the literate strata to step forward and contribute towards creating awareness of the value of inheritance art and take measures for its conservation.

In July 2007 nationalism was highlighted at an important ceremonial occasion through a display of a rare Chinese painting in Hong Kong.

Chinese paintings have always been the pride of the Chinese populace and many ancient Chinese painters had left their signatures on their achievements. One such significant art work, hailed as the "Pride of China," is the Song dynasty ink-on-silk painting "Along the River during the Qingming Festival" which is also affectionately referred to as "China's Mona Lisa." Though it's a landscape, not a portrait, "Qingming" has a mysterious allure that has captivated the popular imagination and spawned debate about its hidden meaning, much like Da Vinci's fabled work. But unlike the "Mona Lisa," which is on view at the Louvre, "Qingming" has been seen only rarely by members of the public.

Trying to foster nationalistic pride in China's heritage among Hong Kong residents, the Chinese government sent 32 artworks there recently for an exhibition to mark the 10th anniversary of Britain's return of Hong Kong to China on July 1, 1997. Among them was Zhang Zeduan's "Along the River during the Qingming Festival," a scroll painted in the early 12th century. Because of its fragility, the scroll is seldom displayed, even in Beijing, and has never before been lent for an overseas exhibition. It was briefly exhibited in Shanghai in 2003, where it drew lines that snaked for a quarter-mile outside the museum, and in Shenyang, China, in 2005.

The Hong Kong Museum of Art has tried to manage the crowds and protect the art by having visitors pass through a series of galleries adorned with large reproductions and texts on "Qingming Festival" before they reached the scroll itself. The heavily guarded painting was exhibited in a long, thick-sided display case in a gallery with the lights kept fairly low. It was reported that visitors were admitted in groups and shooed along after the five-minute viewing. Tickets had to be bought in advance for specific times. The Hong Kong Museum of Art was trying to err on the side of caution in handling the crowds, as any mishap would be a national incident in China; such is the import of the scroll.

The five-meter-long "Qingming" scroll--named after the spring holiday for mourning / honouring the death of ancestors--features more than 800 figures, 28 boats and 170 trees in a buzzing waterside city. This picture is painted with ink and light color and has three sections: scenes of the suburb, the city streets and the Bian River. It captures scenes of everyday life of people from the Song period at the capital, Bianjing (today's Kaifeng) in finely wrought detail: traders lead camels, heavy with merchandise, through the city gate. Sedan-chair bearers balance wealthy passengers through busy streets. A woman's laundry hangs from the roof, children scream for attention while elders engage in chitchat. The section of Bian River is charming with its description of an arch bridge thronged with people and boats speeding towards destinations while stevedores unload sacks of food from boats. Qingming's huge constellation of subjects is the magic of this Chinese painting that not only spell-bounds the onlooker but also imparts valuable information on business, architecture, transportation means and handicrafts of the towns in Song. It is routinely covered in courses on Chinese history, art and culture, across China and in the West.

 The entire piece was painted in hand scroll format and the content reveals the lifestyle of all levels of the society (from rich to poor) as well as different economic activities in rural areas and the city. It offers glimpses of the clothing and architecture during the period. As an artistic creation, the piece has been revered and court artists of subsequent dynasties have made several reproductions. The painting is famous because of its geometrically accurate images of boats, bridges, shops, and the scenery.

Like the Mona Lisa, the Qingming scroll was sold between numerous private owners before it finally returned to public ownership. It is historically notable as one of the few paintings from the former imperial collection that remains in public ownership in mainland China; it was a particular favorite of emperor Puyi, who took it with him to Manchukuo and thus kept the Northern Song Dynasty original out of the collection of the National Palace Museum. It was later re-purchased in 1945 and is now held at the Palace Museum in the Forbidden City. Several other copies by artists of subsequent dynasties, including a 1736 version by five Qing Dynasty court painters, were moved to Taiwan along with the National Palace Museum in 1949. The Song dynasty original is regarded as a national treasure by Chinese authorities and only exhibited for brief periods every few years.

Colour-line
The many faces of art

Mohsin S. Jaffri

Images with an essence

Arif Mehmood at Canvas Art Gallery

An interesting exhibition titled ìMultiple Spacesî was opened at Canvas Art Gallery displaying black and white silver gelatine prints. The prints stand out as sharp, balanced and with interesting angles. The images in black and white reflect simplicity with grace and ingenuity in capturing visual-perfect images ñ photographs complete in all its fineness and skill of an artist.

It takes an eye of artist to capture the right moment, right act and right mood. A location, a landscape, a structure, design and architecture, seen from many angles and at different times of the presents different picture altogether. The speed and aperture opening, understanding the view and effects of the sunlight all make these images artistic and reflect on the professional ability of the photographer artist. It is this ability to select and capture that differentiates one artist from another.

Exploring an idea

Seema Nusrat at VM Art Gallery

I'n abstract and installation art, what you may be looking at are mostly wrapped up in its interpretational parameters. An artist has a knack of finding his/her own way of looking at things around them. Artists have their own language, mostly in lines and colours, and shapes, for expressing their feelings or describing an event or a happening, or registering their protest. It is by using this especial language that they create images, shapes and colours on a canvas. The modern installation has its own interpretation mostly a perceptual image is created by working on an idea and then it is presented using various mediums, objects including videos and performance. 

 Seema Nusrat, in her soft sculptures, all made up of wrapping neckties around abstract figures is making an statement about cultural images. From a corporate environment, mostly male oriented to Venus de Milo, a life size projection. What has been depicted is all wrapped up in the artistís perceptual interpretation. Seema has taken an all together different approach, conceptually strong and impressive.

She says, the idea came to her during her work with the VASL local artists' residency, Taaza Tareen, in Karachi. It is from here that while using rolls of white paper to explore fashionsí impact on human figure; I took this idea a little further and changed the material from paper to neckties.  

Confirming an identity

Hanif Shahzad at Indus Gallery

A city may be identified from its architectural beauty, its cultural traditions, artistic structures and similar things that people remember. Similarly, Karachi and Lahore the two culturally famous cities have their own identity, structures and buildings of historical importance.     

Hanif Shehzad, a young and highly talented artist has chosen his own city Karachi to highlight its identity through painting its beautiful architectural sites.

There is something in architectural sites, historical or modern that spells challenge for artists to give them that ambience that sometimes remains hidden from visitorsí eyes. Hanif works hard to capture the character rather than just painting an architectural site. This is where an artist makes a difference ñ a photograph or a painting and shows how an old historical site starts to reflect its past glory. What artists bring out is mostly hidden and not easily recognisable.

Shahzadís paintings, in a way, have reintroduced the cityís landmarks to its people. His skilful blending of environment with the old architecture makes it both interesting and impressive.

Review
"I have work to do, so let me"

In Quest of Jinnah
Diary, Notes, and Correspondence Of Hector Bolitho
Edited by Sharif al Mujahid
A 'Pakistan 60 years publication'
Published by: Oxford University Press, Karachi-74900
email: ouppak@theoffice.net
Price: PKR 495 Pp: 221

S. H. Jafri

Oxford University Press is the most prestigious Publishing House in terms of good quality books and the number of varied subjects that are produced regularly. This time, celebrating the 60 years of Pakistan's Independence (1947-07), a series of books are (have been) being published to mark the occasion. This is not the first time, a similar exercise was carried out by the OUP during the 50 years celebration of Independence and then too, a number of important and interesting books, on various topics, were made available to public.

The Quaid-i-Azam, Mohammad Ali Jinnah's personality, career, the struggle for the Muslim nation and his role in achieving a new country for the Muslims of India is one that has been discussed from many angles. His efforts culminated on 7th August 1947 when he accepted the division of India, and on 14th August 1947 Pakistan became a reality. He became the first Governor General of Pakistan and the dream of millions of Muslims in India was fulfilled.

The book is a compilation of previously unpublished and expunged portions of "Jinnah: Creator of Pakistan" by Hector Bolitho, the first biography of the Quaid-i-Azam Mohammad Ali Jinnah and Bolitho's own diary and notes, and correspondence with functionaries of the government of Pakistan who had known Jinnah personally. Of all the biographies of Jinnah, including the much acclaimed Jinnah of Pakistan (1984) by the American ace historian on South Asia, Prof Stanley Wolpert, Bolitho's Jinnah makes the most extensive and adroit use of oral history. 

Mohammad Ali Jinnah was a thinker and a stern believer in rights of all the people. In his first speech, addressing the new nation, he said, "You are free; you are free to go to your temples, you are free to go to your mosques or to any other place of worship in this state of Pakistan", in a way reminding people of the Prophet's teaching that, "all men are equal in the eyes of God."

The book includes interviews of some important local and foreign dignitaries, political leaders, bureaucrats, military personnel, ministers who in one way or another knew Jinnah or was associated with him in various capacities, and a number of his close friends.

The most interesting and comprehensive reflection of Jinnah's life comes from diary and notes which throws light on various events, discussions on important issues, opinions of responsible people and important statements by/ about various Indo-Pak leaders.

A number of correspondence (reproduced) between Majeed Malik of Press Information Dept Govt of Pakistan and Bolitho opens up a completely new chapter where correction of certain facts and right version of some historical events comes to light. Similarly, a number of correspondence by Rana Liaquat Ali Khan, Diana Wadia from New York, Eugenie Wavel, Windsor, (UK); Sir Frederick James, London (UK); Francis Mudie, British Embassy, Belgrade, Yugoslavia, and a number of other important people and their opinions have enriched the contents of the book.

The author/compiler, Henry Hector Bolitho, was employed as a reporter for a New Zealand Newspaper for seven years before leaving for England where he published his first novel. He wrote widely, most notably on the royal family. The study, which Bolitho had undertaken at the request of the Pakistan government, was first published under the title, Jinnah: Creator of Pakistan, by John Murray (London) in late 1954.

Bolitho gave away his Jinnah papers for a consideration to Charles Leslie Ames, a St Paul (Minnesota, USA) businessman, sometime during 1959-60; his last letter in this collect ion is dated 17 October 1960. Among Bolitho's papers the more important items are the original, unabridged and unexpurgated manuscript of Jinnah: Creator of Pakistan, his Diary and Notes: December 1951-May 1953 and some letters to and from him con concerning his study.

During his visit to Pakistan and India during late 1951/ early 1952, Bolitho spoke to some two-hundred people who knew Jinnah, besides a sizeable number of people in England.

Bolitho's efforts and plus his first unpublished biography, have been brought together, In Quest of Jinnah. An important book reflecting on the life of Jinnah, his journey in the making of Pakistan; facts and events taking shape, all have been put together turning the book into a great reference material on the Quaid-e-Azam for all times to come.

Departure

To watch with each winter the distance in                                                                   

the hills grow distant, the shops close down,

the people pack and return to the din

of the plains, is natural in a hill-town

Where one had a summer's full. But to go

off when the jasmine loosens its odour,

when one could walk into the evening glow,

when the flight of the birds wars new languor

Is hard to reconcile to. How like crows

familiarity has flown from all

the trees once pleasant to see. The wind blows

even now, but all's still in the mind's tall grass

 We like words are strange, with a logic

native to no rhythm, colour or tropic.

 -M. Ather Tahir

(A certain season)