THE WAY IT WAS: Art and nationalism —Mian Ijaz Ul Hassan
Artists and
writers in countries like Pakistan have a better perspective of the globe today
than many of their contemporaries residing in the First World. However, in spite
of their closer proximity to contemporary events that are profoundly affecting
the world, artists of the Third World have barely taken cognisance of this
advantage
I would rather paint than talk about art. It is unfortunate that much of art
today needs to be supported by words. In most economically developed and
urbanised countries an artist abides not in a community but an anonymous crowd.
Isolated from social discourse he has been either unwilling or unable to
communicate. In such circumstances the artist is inclined to address himself.
Estranged and baffled he withdraws from the real, mean world. With the passage
of time things have gone even worse. The choices are limited. It is not easy for
an artist to be free in a fragmented, immoral world. The artists of the
metropolitan world have invented their aloof tongues to express their private
concerns. The purpose and effort I believe is to affirm their human identity in
a language they know. More frequently than not their expression is obscure.
Fortunately, there are able critics like you around who can make their sense
common to plain intelligence.
It is undesirable that the principle function of an art critic should be not to
explain art but to market it. There is a danger, of course, even in explaining
art. In explaining, art is often explained away. The best critics I find are
those who do not explain but merely bring the viewer and an artwork together.
Even worse, the crass commercialism that requires a critic to act as a salesman
deters serious and spirited art critics in their endeavours. It is poor a state
of affairs that art today cannot have value unless it is made a commodity. But
if a work of art cannot have ‘value’ can it still have merit? This is where
the artists come and must speak up for themselves, not to show off — a pimp
can do that better — but to articulate their thoughts and concerns.
I recall that Sadeqain was an unstoppable talker. But most artists in Pakistan
like not to talk. Many of them have probably nothing to say. Better be mute and
look creatively lost than open the mouth and appear commonplace and stupid.
This, of course, cannot be said about AR Nagori. I feel it is imperative for
artists to reflect and verbalise their thoughts for their own benefit and that
of others. Most major English literary critics, from Spenser to Elliot, have
been poets. Similarly, the most incisive observations about art have come from
artists in their personal correspondence, journals, recorded conversation, witty
observations and light-hearted comments. You don’t have to visit an economist
to know the rate of onions, anyone who cooks will tell you that. However, I must
add that where artists have been silent in our country some critics have made a
sizeable contribution.
The world is getting increasingly inexplicable today for the highbrow and yet
anyone on the street can make the distinction between sunshine and shoeshine,
between the cool colours of dawn and the raging colours of damnation, the world
as it is and how it must be. Obviously there is greater satisfaction in
caressing and scratching your body or descending into the dark inner recesses of
the mind than in being molested by the bitter taste and odour of common
concerns.
The artists and writers in countries like Pakistan have a better perspective of
the Globe today than many of their contemporaries residing in the First World.
However, in spite of their closer proximity to contemporary events that are
profoundly affecting the world, artists of the Third World have barely taken
cognisance of this advantage. While it seems that most Western artists have
surrendered to the system — they are convinced that they cannot beat the
system and hence must work within it — many artist residing in countries still
suffering the pains of being born have yet to taste the fruit of freedom. They
are beleaguered by both, the offensive and oppressive post-colonial state and
the neo-colonial system.
In the past national upheavals people tried to excavate their past, revive
ancient myths and resuscitate dead and lost traditions in art and literature.
This was an integral part of the struggle to reaffirm national identity
trivialised and smothered by colonial occupation. “At the turn of the 20th
century as contradiction between the Indian bourgeoisie and British colonialism
sharpened, sentiments against Western cultural domination expressed themselves
in the form of New Bengal Movement” (Painting in Pakistan, Ijaz ul Hassan,
Ferozesons Ltd). During this period there were essentially three options for an
artist:
First, the artist could proceed to revive and enlarge upon the traditional
styles of painting as practised by the Budhist artists at Ajanta and the
miniature painters of the Mughal, Pahari and Rajput schools. Abanindranath
Tagore spearheaded the New Bengal Movement in words of EM Havell, “in order to
rediscover the obliterated tracks that his forefather had trod”.
Referring to his works AR Chughtai writes, “These humble creations are
redolent of those old days when we were making efforts to live and dream with
brethren of this land ... this background of my art should not be lost sight
of.”
Second, the artist could establish links with untarnished rural life and the
village crafts, and gain from their simple humanity and spontaneous manner of
visualising images and motifs secured in their memory by traditional practice (Jamini
Roy, Amrita Sher Gill, Zain ul Abedin and Qamar ul Hassan).
Jamini Roy recoiled from the academic style of the Calcutta and Bombay schools
of art as well as the wistful style of Chughtai and A Tagore. He was inspired by
the more vivacious and spontaneous folk expressions. The work of Amrita Sher
Gill can be divided in three distinct phases — the European phase and the
early and later Indian Phases. In her early Indian phase her work was motivated,
in her own words, by the desire to “interpret India and principally the life
of the Indian poor”. Zain ul Abedin found much grandeur in common man. He, in
words of Jalal ud din Ahmed, became famous overnight by capturing the suffering
of three million people, whose emaciated corpses lay scattered all over Bengal.
Qamar ul Hassan recounts how in his youth he was thrilled to see, “featureless
lump of clay come to life” with a few strokes by a traditional doll-maker.
Later, he joined the Bharatchari movement that brought him in closer contact
with the village artist and the craftspeople. The primary aim of his work was to
bring art within the aesthetic and intellectual range of common people.
Third option available to the artist was to acquire the manner and techniques of
Western naturalist painting (Raja Ravi Varma, Fayzee Rehamin, Ustad Allah
Buksh).
Archer has shackled Raja Ravi Varma with his history painting. He probably never
saw the numerous other paintings on display at his house in Travendrum, now a
museum devoted to his works. Most of these are still life paintings — I still
have a vivid memory of a long cluster of bananas — sensitively painted with
great skill and objectivity. Here a word about Fayzee Rehamin. Fayzee had
incredible skill in delineating demeanours and effortlessly expressing surface
textures. He worked in JS Sargent’s studio but just when he became famous he
decided to banish chiaroscuro and consciously adopted a flat linear style of
rendering people and faces. The nationalist bug had stung him so he came back
from London and settled in Karachi. He writes, “Indian art has been crushed
out by European influence ... there is hardly a spark of vitality left ...
twenty years ago, a few native men began to revive old arts ... I joined them in
their protest ... I felt that by painting Indian native scenery and by
visualising native Indian traditions I could do a real service to my people.”
The last time I was in this town they were still trying to unpack his works
stored after his death. I consider myself fortunate to have been able to see
them in 1968 while they were hanging in dingy rooms in some crowded district of
Karachi.
Ustad Allah Buksh acquired the skill to paint in the European manner by painting
hoardings and theatre backdrops in Bombay. On returning to Lahore he established
himself as premier painter of the Punjab landscape and various facets of rural
life and folklore.
By the middle of the twentieth century many progressive artists’ groups were
in existence. Except for a few artists like Zain ul Abedin who were committed to
radical causes, the majority of the artists were progressive in intention but
motivated by liberal aspirations. Instead of purposefully focusing upon a
revolutionary agenda they idealised man and pursued abstract human issues. This
group includes artist, for instance, like MF Hussain, Shakir Ali and Sadeqain. A
few sentences may be added here to underline their endeavours.
MF Hussain, according to Geeta Kapur, has been engaged in portrayal of India and
brings the villager in the form of an animated puppet right into the present
presumably to be carried forward by the ‘liberal vanguard’, marching in the
Nehru tradition. Since then he has become the darling of the Indian bourgeoisie.
Shakir Ali rather deftly delineates common people in an aesthetic mould. He
believed that man was born free but later fettered by society. Bird in a cage or
birds soaring above in flight are his favourite images expressing human
predicament and individual longings. Shakir’s world is a private world where
helpless Leda is raped by Zeus as a swan, and who carried off another on his
hinds as a Bull across a sea. Shakir’s work is pensive, pervaded with a sense
of loss that reminds a person of Adam’s descent from the Heavens. Sadeqain in
his works has several attitudes and concerns — the artist as a hero fearlessly
facing the gallows, treading on the thorns of life; painting with a brush dipped
in his own blood. Man as discoverer and inventor, and the measure of all things.
In his ceiling at the Lahore Museum he depicts workers and peasants as the
revolutionary vanguard leading the wretched of the earth. On other occasions he
is visibly moved by Iqbal and Faiz’s verse, and panders to feminine beauty in
his paintings and couplets. In the last decade of his life he devoted much of
his energies to calligraphy in an innovative manner.
Prof Ijaz Ul Hassan is a painter, author and political activist. (This is the
first part of one of the papers presented at the International Seminar hosted by
the National Section of International Art Critics Association (AICA) on November
25-26, at Karachi)