THE WAY IT WAS: Book launch and a rare perspective —Mian Ijaz Ul Hassan
Khalid Iqbal’s work reminds me of Mondrian, not because of any similarity
of the subject matter, but because of their expression of belief in reason,
restraint and virtue of simplicity. It is because of these attributes that
Khalid Iqbal has been able to reach out to painters so diverse in their styles
and intentions
Writing a book on a living artist should actually not be difficult because there
are always fat files of reviews, articles and comments, along with dozens of
catalogues available with the artist himself. Dr Mussarrat Hasan is to be
applauded, however, for writing a book on Khalid Iqbal without any of these
readily available assets. The book is titled, Khalid Iqbal - Pioneer of Modern
Realism in Pakistan. It has been published jointly by the National College of
Arts and Ferozesons.
As a subject, Khalid Iqbal must be a nightmare for an art historian. He has had
only one exhibition. That, too, inaugurated after the book was launched. He
rarely signs his paintings and those signed do not mention the date when they
were done. Since there have been no exhibitions, there are no catalogues and
reviews. It is almost impossible to interview him because he won’t talk if he
is being recorded. He doesn’t remember dates and at the best of times mumbles
his thoughts. Now you tell me how easy does Khalid Iqbal makes the task of a
person who wishes to write about him or his work.
In these circumstances and given Khalid Iqbal’s misanthropic moods, I admit
without hesitation that Dr Hasan has done a splendid job. The book is
comprehensively illustrated, well researched and elegantly presented. It spans
the artist’s journey from when he was a teacher at Aitchison College, Lahore,
through the Department of Fine Arts of the Punjab University and the National
College of Arts, to his retired but creatively most productive present. It is Dr
Hasan’s fourth book on the subject of art and artists. One can safely presume
therefore that there are more to come.
I have known Khalid Iqbal since the mid fifties when he joined Aitchison College
as our art teacher. Later, when I was a student at the Fine Arts Department, he
was again my teacher. At the National College it was an enriching experience
being his colleague. Khalid Iqbal is a rare person who has excelled as a great
teacher as well as a great painter.
Since his first solo exhibition has been inaugurated it is appropriate that I
say a few words about his work and the impact it has had on painting and ideas.
In the fifties when it was fashionable to be modern and some artists were going
as far as to copy paintings straight out of English art magazines, Khalid
resisted the trend or any temptation to adopt techniques and manners of
modernism. He insisted on observing tones and facts and built his paintings on
the basis of his empirical experience. His earlier paintings clearly illustrate
how he observes and then analyses what he has observed, before translating it
into a picture he paints.
In his later work, I see him going beyond observation and analysis and venturing
ahead to take a third step by reflecting upon the subject. The dispassionate
reflection in his later paintings is often imbued with restrained expression of
his mood and abstract feelings. I am aware that Khalid Iqbal may not go along
with me to this extent. In the ultimate analysis it is the paintings that
matter. They will speak to the viewer for what they are or what a viewer likes
to read into them. More often than not a person cannot get more from a work of
art than what he feels, perceives, or deserves. All works of art have a
complexity, layers of meaning and levels of ambiguity that are differently
fathomed, measured or experienced by the viewer.
Dr Hasan has called Khalid Iqbal a pioneer of modern painting. How can that be
true? Most of our art critics, art students and even artists believe that
Realism and Modernism are contrary terms. It is true that this is precisely how
the terms have been understood (or misunderstood). It is about time that we
redefine the terms in the contemporary context. Allow me an attempt at briefly
and in as simple terms as possible, to define the two terms. I proceed from the
assumption that although Realism and Modernism have become associated with
certain manners of painting, they are not styles but attitudes. A painter who
has learnt to imitate the surface effects of ‘Realistic’ or ‘Modern’
painting is at best an imitator or a good craftsman, not an artist.
Realism is an attitude towards life that attempts to take into account tangible
facts and events of life. Little does it matter how an artist proceeds to record
or express them. In this sense artists who proceed to manufacture placid
sceneries or flattering portraits are not realists but cosmeticians. Realism is
not just a process of getting the perspective and the drawing right but also
unravelling and interpreting the eternal nature, the changing seasons and social
realities of the time.
Modernism as we are aware was a movement against traditional values of a
civilisation that had led mankind to the two terrible World Wars. The artists
rejected not merely the values but also the art that had become entirely
descriptive and illustrative, shackled by the strict rules of the art academia.
The form that was later adopted by the fascists for buttressing their propaganda
machine. Modern art that was ignited by rebellious content slowly lost its
original resolve after the second war. It was tempered by its corporate,
commercial interests and surrendered into obedience.
However an artist who cannot benefit from what was achieved during this period,
termed as Modernist, denies himself many great achievements of Modernism in the
context of subject matter, use of materials and insight into the use of colour
and methods of creating and fabricating artworks for an artist to make his
intentions known. Modernism also encouraged an artist to descend into himself,
rather than rebelliously engage the world that was its original intention. The
artist today must restrain Realism from pandering to telling lies and valorising
villains, and at the same time spurn the tendency of most Modern artists to
investigate their personal dark corners while the living world awaits them. When
this is done the Realism and Modernism coalesce and intermingle to provide us -
the Third World artists - the firm and secure foundations to creatively and
meaningfully engage our environment, and ourselves and provide endless aesthetic
and social material for our creative expression.
Khalid Iqbal can be called Modern because he is a modern person who believes in
reason, logic and power of persuasion. Can artists who are superstitious, who
believe in ghosts and don’t believe in science and common good be called
Modern? Whenever I look at Khalid Iqbal’s work it reminds me of Mondrian, not
because of any similarity of the subject matter, but because of their expression
of belief in reason, restraint and virtue of simplicity. It is because of these
attributes that Khalid Iqbal has been able to reach out to painters as diverse
in their styles and intentions as Shakir Ali, Zubeida Javed, Dr Khalid Mehmood,
Zulqarnain, Ghulam Rasool, Colin David and myself and a host of younger painters
as diverse in their pursuits as Ghulam Mustafa, Iqbal Hussain, Shahid Jalal,
Kaleem Khan, Jamal Shah and dozens of others who I am sure will speak for
themselves.
Let me end by quoting what Dr Hasan, the author, said in her brief speech at the
book launching: “Have you ever realised that many of us have not even seen
many of the paintings produced here. These works have been put in one or two
public showings and have afterwards disappeared in private collections. Don’t
you think our people need to see and relate to things that they can be proud of.
Apart from poetry, literature and sports there have been few things that have
given them any reason for pride. Painting in Pakistan is certainly one of them.
But there is so little evidence of it in public view.
“In the end I would like to address the people of Lahore. In recent years
Karachi has initiated a process through which the people of that city unite to
acclaim and own what belongs to the city. Our artists are our pride. Let us
together own them and honour them. Khalid Iqbal has devoted a lifetime to Lahore
and its environment. Let not the ravages of time obscure the work that he has
produced. Let us cherish and enjoy it and hope and pray that he keeps on
painting the rugged fallow land, furrowed and potted, with clumps of dry hardy
grass, sometimes endowed with stagnant, standing water with its moss-grown
surface occasionally enriched with clusters of reeds or softened by mist on a
cold winter morning.”
Prof Ijaz Ul Hassan is a painter, author and political activist