THE WAY IT WAS: Sexing up paintings —Mian Ijaz Ul Hassan
Sadeqain’s studied manner, lazy intonations, dramatic pauses and unexpected
asides, would leave the listener mystified. Those who were jealous of his
articulate skills called it verbosity. I think he was eloquent and could
occasionally be amusing
In the late fifties when it became fashionable for artists to sex up their
paintings with abstract elements, Sadeqain’s vision was not affected by the
trend. He selectively absorbed certain aspects of Cubism but favoured a
descriptive rather than an analytical approach. Sadeqain demonstrates a great
narrative skill in his canvases and murals. He is more concerned in readily
expressing his concerns rather than setting about to solve aesthetic riddles.
In those days everything associated with the West was considered unquestionably
smart and anything that even remotely reminiscent of our self was perceived as
old and rusty. Many of our painters, and some even now, had no hesitation in
adopting forms and mannerisms of modern art. culling them from books and
magazines.
Sadeqain was an incorrigible talker, a phrase that I borrow from Ali Imam, who
often used it to describe one of his own gifts. When Sadeqain or Ali Imam spoke,
everyone else listened. They both spoke rather well, but Sadeqain was in a
league of his own. His commitment to himself and his work was absolute. He could
weave words into an ornate narrative and embellish it with phrases, lines from
Mir, Ghalib, and Iqbal, and of course from his own rubayats — some of which
were in Punjabi.
His studied manner, lazy intonations, dramatic pauses and unexpected asides,
would leave the listener mystified. Those who were jealous of his articulate
skills called it verbosity. I think he was eloquent and could occasionally be
amusing. However, most people couldn’t make head or tail of what he said when
he thoughtfully declaimed his ideas. The leisurely pace and solemn tone in which
he disdainfully held forth, was enough to convince the listener that what was
being uttered was irrefutably of grandiose proportions.
During his speech Sadeqain would often go silent abruptly, and stare through the
thick lenses of his spectacles at the captive audience. His gaze seemed to
search for a response, asking, ‘have you understood anything?’ The response
was usually in the form of an ingratiating smile, followed by an evasive reply
such as, “Sadeqain sahib, kia baat hai aap ki.” I am sure Sadeqain did this
deliberately to overwhelm the people devoted to him.
Generally people held Sadeqain in high esteem and idealised him in their own
ways. Sadeqain never hesitated to cultivate a unique image of himself,
projecting not one but many different personas. In private life for instance he
shunned women, but publicly he tried to establish his image as a romantic, with
a keen eye for feminine beauty. On other occasions he would promote an
inebriated bohemian image of himself, but rather soberly he cultivated the right
people in the right places. That is why many of his contemporaries didn’t
particularly care for his social commitments. Yet the Pakistani painters owe so
much to Sadeqain.
I vividly remember a commemorative meeting organised by the National Council of
Arts for Sadeqain at the Islamabad Hotel, Islamabad after his death. Ahmed Faraz,
our famous Urdu poet, praised Sadeqain but at the same time expressed his
resentment that Sadeqain had not stood by those who struggled against Zia’s
terrible dictatorship.
Faraz is not known for mincing words. Recently at a dinner in Islamabad he
confided in me that that during those days, there wasn’t a military
officer’s wife Sadeqain had not sketched. Each evening was spent pandering to
a general or a colonel. All said and done, Sadeqain was responsible almost
single-handedly for the popular appeal of art and introducing new subjects and
social issues, which painters had hitherto not touched or treated.
Many painters and critics even today are not ready to accept the facts of
history through which they have lived. I will not name any — many of whom are
still alive — who spurned the human image. They insisted that the purpose of
painting was to address the pure aesthetic realities not the verbal ones. A
painting they argued must focus on colour and line and nothing external to the
canvas. The human image and the problems pertaining to it were best addressed in
literature and should therefore be expelled from painting.
Painting should not create illusionary images but original forms created by
line, colour and texture. Some artists insisted that painting should be even
cleansed of texture, which being a tangible element belonged to the sphere of
sculpture. Texture turned painting into a relief, destroying the two-dimensional
‘sanctity’ of the flat canvas surface. This is how the highbrow ideologues
of Modernism in Paris and New York argued. Later even the rectangular canvas was
rejected and replaced with shaped canvases, followed by painting off the museum
and gallery walls itself, and so on.
Let us try to stretch the argument a little further. Can it not be argued that
if describing things by painting is not high art, then how can describing
people, things or events through the medium of words be proper literature.
Logically perforce description should be left to illustrators, journalists and
advertisers. People and events by this argument should be only presented live,
on a stage.
However if in the words of Shaw a playwright can present to an audience a battle
scene on ‘bare boards’ that the audience can assume to be real, why is it
not proper for a painter to depict a lion hunt on a canvas, which surely is not
possible in a theatre. A lion hunt on a screen in a cinema or television is
surely visually more convincing but it nevertheless remains an illusion. Should
cinema also be ousted from the domain of high art? If the cinema is to be
forgiven should the theatre be closed down?
Many artists who once believed in this incessant aesthetic rubbish, which
successively achieved the status of an ideology, have since the invasion of pop
art and post-modernism, re-espoused the human image and popular causes — the
causes that are of course approved by the neo-liberal elite because everything
else is still termed as gross propaganda. In the final analysis art is not a
matter of technique, style or content, nor a question of what it is, or what it
is not or should be. It is really a matter of what it does, and how it affects
and where it takes you.
Prof Ijaz-ul-Hassan is a painter, author and a political activist