Pakistani Art History Research Papers (original) (raw)
ArtAsiaPacific, Mar/Apr 2016, Issue 97
Jahangir's Tomb is located in Shahdara Lahore, Pakistan. This tomb marks the transitional phase of inlay decoration in the sub-continent. Inlay work on the sarcophagus of Jahangir's tomb is noteworthy in its expression and decorative... more
Jahangir's Tomb is located in Shahdara Lahore, Pakistan. This tomb marks the transitional phase of inlay decoration in the sub-continent. Inlay work on the sarcophagus of Jahangir's tomb is noteworthy in its expression and decorative vocabulary. The rhythmic beauty of designs and technique achieved such a height of appreciation and acknowledgement that it has been considered as one the finest surface decoration among the world's best architectural surface decorations. It is debatable among the scholars for the origin of pietra dura technique. This article aims at tracing out the origin of this technique and to prove it with evidences that it was not purely the European technique but an amalgamation of Islamic and European influences. "The technique developed quite separately in India and is usually characterized by a unique distinct style". (Tillotson, 1990, p. 58) This article provides references to solve the ambiguity of the origin of pietra dura technique especially with reference to the Indian Sub-continent. It facilitates in tracing different influences involved in the formation of decorative designs. This article explores the philosophy and purpose of the ornamental patterns used on the sarcophagus of Jahangir's Tomb and highlights the importance of the local artisans who contributed in the development of this technique.
The seventeenth century is regarded as the golden age of Mughal rule on the Indian subcontinent. Mughal painting and architecture drew on existing Islamic traditions, but augmented these by using elements that had seldom been seen before... more
The seventeenth century is regarded as the golden age of Mughal rule on the Indian subcontinent. Mughal painting and architecture drew on existing Islamic traditions, but augmented these by using elements that had seldom been seen before in Islamic art. In scarcely any other period in Islamic history have people adopted such a creative and playful approach to the prohibition of images. The unexplored and to a large degree unknown picture puzzles in the mosques of Wazir Khan and Dai Anga in Lahore are analysed and presented in this article for the very first time and together with extensive photographic material.
'The Letter is Enough, After All': catalogue essay on the occasion of Muzzumil Ruheel's solo at TARQ, Mumbai.
The mosque occupies a central position in the social as well as religious life of Muslims. It is not only a place of worship where rituals are performed, but also serves as a social space where Muslims take part in welfare activities. The... more
The mosque occupies a central position in the social as well as religious life of Muslims. It is not only a place of worship where rituals are performed, but also serves as a social space where Muslims take part in welfare activities. The design and architecture of the mosque have local as well as global influences, representing religious, economic, and esthetic dimensions of Muslim social organization. Therefore, Muslims' association with the mosque has much significance from social, political, and economic perspectives. Based on an ethnographic example, this report aims to highlight the use of mosque space in the cultural context of rural Pakistan. In addition to discussing the sociospatial relationships around the mosque, I discuss how Muslims' beliefs about the world and the afterlife shape these relationships.
A personal account of an archival find
An account of the Printmaking department based on a file from the NCA Archives