During the Renaissance Fresco was regarded as "The Mother of All Arts" – today the genre has been pushed aside as newer art forms assert themselves – but this does not minimize the relevance or historical value of this statement. Every culture and its painting in particular are greatly influenced by fresco. Prior to "printing age" public buildings and common places, decorated with the wall paintings (frescoes), were the only sources from which people and artists specifically could learn about current painting techniques and styles as well as about the art techniques of the past - unearthed painting of Pompeii that survived centuries underground due to being true frescoes is just one such example. Fresco painting is also thought of as the logical link between architecture and decoration.

The tradition of fresco painting in the sub-continent goes back to the Ajanta period. The Mughals made extensive use of fresco painting in their architecture, followed by the Sikhs in this region. During the British period artisans and craftsmen were forced to look for alternative means of livelihood. Ustad Ghulam Muohuddin of Chiniot is amongst those who preserved the family tradition. In present times his apprentice Ustad Saif-ur-Rehman who has been awarded the President's Pride of Performance award, and twice the Lok Virsa Award, has worked on the restoration of numerous historical monuments, Jehangir's Tomb, Lahore Fort, Shalimar Garden, Badshahi Mosque, Begum Shahi (Maryam Zamani) Mosque, and Wazir Khan Mosque. And more recently created modern day frescoes for the New Campus Mosque Lahore, and Serena Hotel Islamabad. He is presently working on the conservation of Shish Mahal at Lahore Fort, and conducting workshops on the technique of fresco painting.

The successful revival and reinvention of the Mughal Miniature has strengthened the need for study, exploration and possible redefinition of other indigenous art forms. Art education institutions too have begun to realize that in order to initiate a critical discourse between the traditional and the modern it is necessary to develop continuous links not only between art theory and art practice but also between the historical and the contemporary. The Fine Arts Department of the National college of Arts, in 2000 established an MA (Hons) visual Art programme which encourages students to interact with the wider environment of the city and specifically to forge links with traditional practitioners and artists who may fall outside of institutionalised art practice.

This masters program was availed to advantage by Asif Sharif an NCA graduate who questioned the polarity between current art practice and traditional arts in our society. He argued that "because the major part of contemporary art practice in our own region is not effectively related to our local surroundings I was not able to figure out art issues in a cultural and social context. When I joined the M.A (Hons.) Visual Arts program at National College of Art it gave me an awareness and understanding of the art of South Asia together with its context in this culture. New dimensions were opened for me to understand and study the contemporary art issues from many perspectives. This was also the turning point in my personal art journey. I discovered that the traditional Fresco Painting is being neglected due to several reasons. Traditional techniques are time consuming and tiring, but they are considered as craft, a low art form, or decorative art etc. Thus I decided to choose Fresco Painting as my major art practice, in order to contribute towards its revival and further development in contemporary form without losing its integrity."

The radical decision to become, acclaimed fresco artisan Ustad Saif-ur-Rehman's 'shagirid' generated obstacles, misconceptions and questions that pioneering efforts often create. Asif Sharif discloses that fellow artists and tutors wondered "how would I place such art work in contemporary times, and would it be possible to meet the norms and the understandings of art according to the art establishment. The issues raised by the traditional Ustads on the other hand, were about the essence of traditional work that should not be damaged, like the mysterious quality, originality and intricacy of such artwork."

Embracing challenges because "because they were widening the horizon of my thoughts, bridging the gap between two disciplines (traditional and modern), opening new debates and providing facilities to look deeper for strengthening my approach and thoughts," Asif Sharif met different Ustads who practice this art form but preferred to work with Saif-ur-Rehman on the basis of his gentleness, humbleness, friendliness and cooperation. "He is open to accept change, is good at communication, and is willing to transfer his knowledge to the next generation." says the artist.

In the last four years of his practice in Fresco Paintings he spent two years as a student under Ustad Saif-ur-Rehman as an apprentice, and the remaining two years to explore this art form, including the experience of the Prince's School of Traditional Art (V.I.T.A), London. UK. He is now in a position to share his experience of the Ustad, the traditional culture, its modalities and placement in contemporary times and also the process of this art form, as it is different in many ways. This is especially pertinent he says as very little written material is available on the subject. Mostly writers have either explained the methods and formulas or simply the techniques, which describe classical fresco on the surface level only. Some have placed such artworks in the museums where the display is only at the formal level.

Regarding the Ustad / Shahgird relationship he says "The Ustad teaches a complete way of life, etiquettes and manners, not only in terms of the subject but also to develop a perfect personality. So this consists of two major aspects, one is the mastery of the subject, and the other is to develop the personality of the student. In this way we can say that students learn the complete way of existing with the art form and in the social environment. The basic response of every Ustad is, first to judge the student whether he or she is eligible for his/her apprenticeship on the basis of moral attitude, consistency and a commitment to the art form."

As an institutionally trained artist his work experience with the unknown artisan community revealed that "that the few surviving traditional artists (work ethos) proved that they are not naïve. Their sensitivity and skills are extremely acute and they have learning and knowledge; these artists do not analyze themselves in the same manner as artists trained in art institutions. They 'create instinctively, often representing a collective concept totally devoid of egotism. There is a need to explain the term 'instinctive'. Many years of riazat or practice makes the art second nature, which makes it seem instinctive. These traditional artists actually perform or practice beyond the comprehension of the layperson. To understand the real concept of these artists, one needs to practice the art or at least needs to spend some time with these Ustad"

To foster a relationship between traditional artists and those trained in art institutions he as one such trained artist, placed himself among traditional artists in order to bring this art form in the mainstream. "I had only one and half years to learn all the techniques, vocabulary and execution methods of traditional Fresco Painting to meet the deadline for my degree show in the M.A. (Hons.) Visual Arts Program. This put me in a very insecure situation but Ustad Saif encouraged me and started teaching. This encouragement was my first moral lesson from my Ustad that shows that the Ustad is not only a teacher, he also fulfils the requirements of a student counselor as well."

Images and reflections

At Clifton Art Gallery

As usual, Karachi's art environment remained vibrant and full of activities here and there and most of the art galleries presented shows of artists from various areas of Pakistan. Some galleries came up with entirely new works and some preferred to remain with established artists. Clifton Art Gallery put up a beautiful show of Hanif Shahzad's work titled, "Karachi, The City of Lights" and managed to attract art lovers from all over the city. Shehzad's name is well known in the art circles in Pakistan and his work in oil is appreciated for its intricate details and for bringing in a unique day and night images of the city's beautiful art structures.

Intricate manipulation

At Zenaini Art Gallery

Another artist, Shehzad Zer, known for his collage work using dried leaves is putting up an exhibition of his works at Zenaini Art Gallery. Here is an artist who has enjoyed a very different work which has become his signature. His hard work has paid off in the sense that he has managed a good recognition among art fraternity for the type of work that is tedious, time consuming and requires intricate balance. His new work is in calligraphy, beginning with the ninety-nine names of Allah produced on natures own small canvases – dried leaves in various colours. The work is extremely beautiful, attractive and reflects a technique that is hallmark of his work.

Out of confusion

At VM Art Gallery

At VM Art Gallery, a completely new work, which is defined by the artist Khalil Chishtee himself as, "My current body of work is humorously serious and incorporates totally, fictional moments taken from the history of mankind." Picking up the name of one of European toy-chain stores name, "Toys Are Us" he has created a sense of humour in his work and at the same time sarcasm on what is 'truth' and what is 'fiction'. He has made figurines in light plaster, plastic bags heated-up to create melting effect and give the whole work a ghostly environment. All white figures, out of shape, melting down to a point and holding their own is where the artist questions 'reality' and lets the viewers come up with their own definition. A great deal is in the open or seems to be so but it is what lies behind that make sense. In art, at times there is sense in absurdity too and it is here that philosophy overtakes reasoning. 'What' and 'how' are always difficult to answer or define but imagination conquers all and provides an explanation of all that that may be unexplainable.

Sublime moods

At City Art Gallery

Mehtab Ali, now well recognised in and outside Pakistan for his beautifully created postures of women, clad in sheer silk, where the beautiful curves becomes intriguing and their moods inviting. Mehtab has used miniature technique, and scenes inspired by Moghul art where the style speaks for itself. Mixing the two Asian cultural depictions, women as mostly produced as artistic rather than in reality is mehtab's signature.

Mehtab has exhibited in Germany where his work was greatly appreciated and the response from the art fraternity was overwhelming. Coming to know of this, he has now been asked to exhibit his work in the Embassy of Pakistan, Washington DC, USA. This is a great honour for an artist to be invited by to showcase his work as representative of Pakistani art in the USA.

Cultural ambience

At Kunj Art Gallery

Rafique Soomro, holding Masters certificate in Art is a great enthusiast when it comes to painting or lecturing. He has worked hard to come up where he stands now and has made the art community realise that he is very much an artist among artists. With frequently participating in group shows and a solo show in 2000, he has now emerged at Kunj Art Gallery to show his beautiful work.

In painting, depicting cultural environment of Thar in Pakistan and Rajistan in India has remained an interesting subject for artists to dwell with. The simple life yet the beauty and serenity of simplicity all round has attracted many artists to paint their normal day-to-day living, a lifestyle that introduces awe and admiration for the contentment that reflects in most of the scenes painted.

Magic of colours

At Shakil Ismail Art Gallery

By Zaib-un-Nissa Hamidullah

Published by Oxford University Press 38, Sector 15, Korangi Industrial Area Price 195 Pages 129

Zaib-un-Nissa Hamidullah's book "The Young Wife and other stories" is undoubtedly one of the best collections of English stories by an Asian writer. In fact, Zaib-un-Nissa Hamidullah can be called the Ismat Chughtai of English Literature with insight into human nature and human relations, minus the wit.

Both writers captured and presented simple people and their uneventful lives by putting them in focus and generating an insight into real life which we otherwise take for granted. The way both these writers elaborate on the details of life is amazing, and you can actually see the characters in the emerging out of the pages, taking on a life of their own. For people who love to read something substantial, this is one book which should be read again and again.

Zaib-un-Nissa Hamidullah has the knack of conjuring a time and era simpler than the one today but that does not exist today. The way the story is woven around time with a dab of history is a delight seldom seen in many writers today.

Like Ismat Chugtai, Zaib-un-Nissa can keep her reader riveted to the story, however unlike the former, Zaib-un-Nissa does not delve on the lighter tone as Ismat, who used her wit to bring a different kind of life into her stories, and at times standing on the periphery of what was acceptable in her days. In fact, Ismat was a kind of revolutionary, a rebel who seemed to love to shock the readers of her time with "shocking" stories and characters, not "meant" for women of her time. There was a time when people were wary to bring her writings into the house, least the women and youth read these 'scandalous' writings. So blatant was Ismat in her writings that many critics of her time believed she was a man using Ismat Chughtai as a non de plume.

However, Zaib-ub-Nissa Hamidullah defers in this way. She does not write to shock nor is there any hint of rebellion in her writings, but she depicts reality cloaked with emotions linked to human relations so that you can savour the story and still yearn for more.

"The Young Wife and other stories" is a collection of short stories very apt for the short attention span reader today….and since it is so well written, reading the book is a breeze and for avid readers just a one sitting read. If you are interested in people, your surroundings and nature, human and otherwise, you won't be able to put this book down. And the last page of the book gives you fulfilment, yet leaving you yearning for more from the writer.

From the title story "The Young Wife" to "Maa" to the last story in the selection "Old King Cole", you are greeted with simple people and their feelings with relation to others around them. And Zaib-un-Nissa has captured this in such a beautiful way, that you just go with the flow – instantly connecting to the characters.

To understand Zaib-un-Nissa's writing style, one can just go through the story entitled "Maa" and realised the depth of the writer's grasp of human nature. The story revolves around a mother and her son, who after returning from abroad after getting an educations, abhors the very village he lived in. He heads for a better life in the city, remarrying a city girl and never looking back. Although the city wife seems to wait for her husband's death so she can take over his property, her husband is completely devoted to her.

The mother, who had fought for her son's education abroad, cannot help feeling proud of her son's achievements throughout the story. But she is shown again and again feeling embarrassed when she compares her humble being against the pomp and glamour of her son's surroundings. But despite feeling embarrassed about her appearance, she feels elated as in his time of pain, her son has only called for her and she manages to soothe his pain by her voice and touch.

However, after the danger is over and the son recovers, the devoted mother is ignored and the wife is given preference. Zaib-un-Nissa reveals many emotions intertwined with each but superbly defines her characters without confusing the reader.

Each story ends on a continuity, with no definite conclusion, revealing that the characters' lives will continue, even if the written word has ended.

The stage is decorated with

Multiple bouquets

Of multi-colored flowers

Glinting in the floodlights.

A full-length, somber portrait

Of an austere grizzled man

Adorns the wall behind the stage

Whereon sit

Celebrated orators and critics

To pay a glowing tribute

To the greatest bard

Of their time.

With each speaker

The august auditorium

Echoes with tremendous applause.

A collection of books

Placed on a nest of tables

Beams at the poet

Who reciprocates with a smile.

Eyes glistening with tears,

He leaves through

The main gate of the hall

Back to the graveyard.