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Appreciation of Art in Pakistan

When Saadat Hussain Manto, a renowned Pakistani writer, was accused of obscenity for one of his written works, the only words that spoke in his defense were, “Art is nothing but a mirror that reflects society”. Although there has been a long debate about whether art holds a sentimental value when nurturing societies, art has become an essential part of every culture. This article attempts to explore the intricacies of how Pakistan, a land known for its rich and diverse history, has responded to art over time.

As we all know Pakistan was once a part of Hindustan, and before British rule was exerted on Hindustan, the Indian subcontinent was ruled by the Mughal Empire. The Mughals are often credited for their fusion of Persian, Indian, and Central Asian cultures, leading to significant advancements in art, architecture, and literature. For instance, the miniature painting style originated in the Mughal era where artists used fine brushes, and natural pigments to create highly detailed art forms. Recently Netflix’s highly acclaimed drama series, “Heeramandi” ruled the heights of social media, depicting the lavish lifestyles of tawaifs or courtesans living in modern-day Lahore.

Although it was most definitely an exaggerated depiction of real-life events, it succeeded in creating a still-like image of how much art was appreciated in that era. Art is something that has always been a part of Pakistani culture, as prevalent through its truck art, calligraphy on holy sites, Balochi and phulkari embroidery, Sindh’s beloved "Ajrak", henna painting also known as mehendi, and Multan’s well-known "Blue pottery" or Kashi Gari. Pakistan is also home to well-established art institutions such as the National College of Arts, the Indus Valley School of Art and Architecture, and the School of Creative Art, which have made it their sole mission to promote and nurture art education in Pakistan. Pakistan is grateful to have artists like Shahzia Sikander, Imran Qureshi, Abdur Rehman Chugtai, Zubeida Agha, and many more who’ve worked tirelessly to represent Pakistan on the global stage.

Although Pakistanis do appreciate art, there’s a major tendency often shown by parents when their children confess their desire to pursue art as a career. Professions in the medical, and engineering fields are much more pushed upon children, often made attractive by the financial stability they offer. The majority of Pakistanis are afraid of not being able to make a career in the art world, and while that’s a valid fear, countless opportunities are offered by the art world. A lot of stigma exists for men that want to study art as a profession, due to its association with femininity.

Several art galleries, and museums such as the National Art Gallery, and Lahore Museum exist in Pakistan but unfortunately, they are unable to attract a lot of visitors because there’s a limited art education in Pakistan and a “what will people say” mentality. Pakistan is somewhere in the middle when it comes to appreciating art. Some parts of it are acknowledged and some are dismissed. There’s always room for improvement, and so Pakistan could benefit from advanced and widespread art education programs starting from primary school. There also needs to be a national acknowledgement of art where people break away from this confining societal pressure and truly appreciate what art has to offer. 

Art As A Reflection of War Trauma

Abstract: The paper explores how artistic endeavors across the world have shifted and developed as a result of the war in the region, as well as how trauma inflicted by war is expressed through work. Using three major wars, as well as with a specialized focus on Pakistan, the author aims to determine the relationships between war trauma and artistic endeavours.

1. Introduction

- Wars have been, and remain, an unfortunate constant in the history of humankind. Throughout time, across regions, and for a variety of causes, humans have been both the victims and perpetrators of wars that lead to terrible casualties, widespread environmental destruction, and lasting economic, social, and cultural impacts (Lawrence et al. 443; Thies and Baum 199) . Additionally, warfare also impacts mankind on a much deeper level; the psychological and mental damage or trauma caused by war can often lead to a variety of mental disorders such as anxiety, depression, PTSD, and long-term emotional and often generational distress. (Rozanov et al. 281) One such sphere of life where the effect of wars on individuals can be observed is through artistic expression. Art is used not just as a means to record and preserve the horrors of war for future generations, but also as a means of healing and processing the trauma of it. Historically, war has inspired many creative expressions across different mediums such as literature, visual art, music, and digital media. Major political and economic disturbances and warfare seasons of great artistic activity within the region, often producing pieces that have gained notoriety and respect for their portrayal of war trauma (Presiado and Jacob 1). Some notable examples of famous art pieces that reflect war trauma are “The Diary of a Young Girl” by Anne Frank, “Born in the USA” by Bruce Springsteen, and “War” by Mark Chagall. A more contemporary example is British artist Banksy whose works often reflect anti-war and anti-fascism sentiments. This paper aims to explore the reflection of war trauma as seen through art from a global perspective, with a special focus on Pakistani artistry amidst turmoil from the partition and subsequent Indo-Pakistani wars.

2. Historical Context and Artistic Shifts

2.1. The Napoleonic Wars

Lasting for almost two decades, the Napoleonic wars are considered to be amongst the most violent and longest conflicts within Europe. From 1792 to 1815, the French Empire headed by Napoleon Bonaparte, and a variety of other European coalitions such as Britain, Austria, and Prussia, were engaged in a period of intense warfare. The wars brought Europe under French rule, leading to major political, cultural, and economic changes within the region. One such change was the transition from Romanticsm to Realism within the arts. Whereas previously the pursuit of art leaned towards the more “romantic” ideals of emotion and imagination, the changing artistic climate resulted in a more logical approach towards art that was deemed Realism. The focus shifted from portraying an idealized version of life to a more realistic one that was closer to the truth. This dramatic transformation can be attributed to the trauma inflicted by the wars, and exposing more and more individuals to the harsh realities of life, not just in the form of bloodshed and casualties, but as well the poverty, injustice, and inequalities (Thakar). Francisco Goya’s “Third Of May, 1808” is a notable artwork from this time that illustrates this transition. Depicting the gruesome surrender and annihilation of Spanish troops at the hands of the French, the painting reflects Goya’s anguish at the murder of his countrymen. The portrayal of war in his painting was starkly different from how war had previously been portrayed in the Romantic era. Whilst typically images of warfare centered on the heroic figure, “Goya’s painting, by contrast, presents us with an anti-hero..who is not perishing heroically in battle, but rather being killed on the side of the road like an animal.”. This painfully realistic description marks how difficult circumstances bring about changes in the style of art, but also the sentimentality of the nation. War is no longer a noble pursuit, but a tragic loss inflicted by other humans ("Goya, Third of May 1808").

2.2. World War I and II

- The First and Second World Wars were a dark period in world history and revolutionized the arts to a great extent. The post-war trauma suffered by the veterans as well as civilians brought forward new and inventive schools of art. Amongst such was Dada art (Higonnet 91). Originating in Switzerland and eventually spreading through Europe, the rise of Dadaism was built on the premise that war was a direct response to an increasing emphasis on reason and science and a decrease in humanism and care. The movement was designed to ask difficult questions, reject tradition, and embrace irrationality within the arts (Lagana). The Dada artists believed that life was absurd and meaningless, and rejected not just traditional artistic practices, but rational thought itself. “The beginnings of Dada were not the beginnings of art, but the beginnings of disgust” as said by Tristan Tzara. (Tzara) Over time, Dadaism merged with Surrealism and Expressionism, with each movement influencing the subsequent one. What the three movements had in common was their common was a subversion of the norm. There was a readiness to depict “images of perverse sexuality, scatology, decay, and violence images of perverse sexuality, scatology, decay, and violence”. This was revolutionary as up until then art had been focused on technique and skill, and the portrayal of noble and honorable subjects (Lagana). It is interesting to observe this unexpected side effect of war, nihilism, and rejection of tradition. Could it be that the destruction of war opens up eyes to the realities of life? Or perhaps the brutality exposed the artist to a darker, unknown element of the human mind. In either case, the World Wars introduced great artistic shifts within the world.

2.3. Vietnam War

The Vietnam War was yet another war that came at a great and terrible cost, not just because of the massive loss of life, but as well as the economic crisis and the psychological trauma. Initially fought between North and South Vietnam, the war was exacerbated when the United States stepped in as an ally for South Vietnam, and China and the Soviet Union stepped in for North Vietnam, turning it into a proxy war that lasted almost 20 years. The war and the turbulence that followed had a resounding impact on the artists of the time ("Vietnam War"). The war gave rise to the genre of protest art, especially within the United States. The art was produced in support of or against social and political movements, and often the artists could also be considered activists. The art was used purposely to incite an emotional response and inspire others to join in the artist’s movement. Photojournalism was another genre that rose to popularity within this era. Technological advancements contributed to cameras that were portable and easier to manipulate than traditional cameras, and photojournalism quickly became in demand. The Vietnam War has become widely recognizable through key photographs taken, such as the the civilian Thich Quang Duc (Boomhower), who set himself alight on a Saigon, or the photographs of the My Lai massacre which display bodies, including many women and children, lying dead in a trench (Granzow). This was a great departure from the painting that had come before, and it was partially as a result of these appalling images that US citizens were compelled to voice their anger at the Vietnam War.

3. War Trauma in Art

3.1. Depiction of Trauma

As discussed prior, wars had a profound effect on the artistic pursuits of the time. But how is this change discerned? The depiction of trauma can be observed within art through the thematic subject as well as the techniques used. In an analysis of art post World War 1, authors find that the key theme in paintings seemed to be the destruction caused by war. This seemed most commonplace and was depicted through damaged architecture, broken buildings, and wooden debris. Almost equally disheartening as human suffering, it was the physical damage to a landscape caused by warfare that seemed to particularly strike artists (Shaikh). Another noticeable theme from this time according to authors was corpses. Portrayals of dead human bodies became commonplace, and the corpses were often shown in haphazard piles lying around. This demonstrated the faceless nature of death and the loss of personal identity within a war, as Shaikh writes “Soldiers went into the war as people, and came out as lifeless corpses.” (page 9) World War 1 was also a pivotal moment for technological advancements, and battles were fought with previously unheard-of mechanized weapons. This can also be observed within paintings with depictions of rifles, firearms, cannons, and tanks. These were often placed centrally in the painting to ensure the viewer’s main focus and often were surrounded by battle and bloodshed as if to demonstrate the direct result of the weaponry (Shaikh). In addition to the themes of death, weapons, and destruction, there are also distinct techniques observed through these artworks. One such technique is the use of shading within the work. Shaik notes that the paintings use dark and muted colors, and add shades of grey, ash, and charcoal, which evokes in the viewer a sense of loss and death. The muted colors reflect the hopeless atmosphere, and the confusion of war, and create an atmosphere of mourning within the viewer.

3.2. Symbolism and Metaphor

Symbolism and metaphors alluding to war were also portrayed in the arts to discuss the impact of war without explicitly portraying it. Political cartoons were popular post World War 1 and were often a commentary on the affairs of the nation. Because of the limited space, the cartoons relied on symbols to convey their meaning. One interesting example discussed in Lucy Caswell’s analysis of wartime editorial cartoons is the cartoon drawn by C. D. Batchelor for the 25 April 1936 New York Daily News. The cartoon commented on Europe’s slow descent into another war, in 1930, and featured a skeletal prostitute titled “War” beckoning a young man titled “European Youth” towards the bed. The dialogue says “Come on in. I’ll treat you right. I used to know your daddy”, highlighting how generations of European youth were lured into war by the false promises of honor and grandeur. Caswell also analyses how cartoons often relied on caricatures and exaggerated depictions of “enemy figures”, depicting them as monsters, rodents, and reptiles, instead of as human beings. This was done to erase the human aspect of the enemy and eradicate any sympathetic feelings towards them by showing them as the “others” or the “enemy”. Caswell suggested that such depictions of the enemy made it easier to fight and kill them, and as well made it easier to ignore the nation’s atrocities against the enemy. From this, the power of symbols can be observed, and their influence on art is seen (Caswell 13).

4. Pakistani Art and War Trauma

4.1 Historical Background

The subcontinent region is not unfamiliar with instability and war. The 1947 partition of British India established Pakistan as a Muslim-majority region, and the road to independence was terrible and bloody. With massive casualties and horrors witnessed on both sides, the period was a dark time in the region’s history. A very brief era of peace followed, but this was disturbed by the Jammu-Kashmir conflict, leading to the Indo-Pakistan War of 1947. The Karachi Agreement of 1944 put a temporary halt to the bloodshed, but once again in 1965, rising tensions exploded into a full-blown war between the border controls of both countries. Another monumental war occurred in 1971, in which India lent support to East Pakistan in their quest for independence, leading to the establishment of modern-day Bangladesh. The introduction of nuclear weapons in the arsenals of both countries highlighted tensions further, with another war, the Kargil War, igniting in 1999. Although the area has maintained a sensitive truce since 2003, militant groups continue to spread terror along the line of control ("Conflict Between India and Pakistan").

4.2 Notable Artists

Subsequently, the artistic expression within Pakistan also reflects the turmoil and destruction faced by the nation. One notable artist whose work captures the instability and trauma within the subcontinent is Syed Sadequain Ahmed Naqvi. Largely considered to be one of the best artists from the region, his work reflected his sadness at the degeneration of his nation and fellow countrymen, as well as displayed his hopeful vision for the future. Several of his artworks were inspired by the 1965 war with India. One, titled “War and Peace”, the mural shows an allegorical depiction of war, with one side having monsters, demons, and skeletons, and the other side showing a healthy couple, a successful farmer and a pregnant woman, signifying prosperity and peace. Another mural, titled “Victory” displayed iconic and easily recognizable figures in Pakistan, that of the “Shaheed”, or martyrs, who sacrifice their lives when fighting for their country. Another key figure was Abdul Rehman Chugtai, the “first significant modern Muslim artist from South Asia” and Pakistan’s national artist. An avid admirer of poet Allama Iqbal, Chugtai’s work emphasized ideas of pre-partition Muslim self-determination. Seeing the mistreatment by the British colonial power, Chugtai had a firm distaste for Western influences and artistic techniques and instead highlighted the importance of sticking to one’s roots. He advocated for the Mughal art style to become the bedrock for artistic identity and endeavors within Pakistan. His rejection of the British colonial aesthetic highlights the widespread bitter sentiments of the time. It showcases how art was used not just as self-expression, but to curate and cultivate a nation’s unique identity under the threat of cultural erasure by an oppressive power (Paula).

4.3. Contemporary Perspectives

Although there is improvement and more stability in the country, Pakistan remains a hotbed of political, cultural, and social clashes. A significant amount of citizens still live within dangerous areas under threat of political violence, crime, or militant groups. This tumultuous situation is an inspiration for artists within the region. Pakistan’s contemporary art scene is quite active, amongst it being Imran Qureishi. Qureishi’s primary medium is miniatures, a typically old-fashioned medium hailing back to the Mughal era, on which the artist puts modern spins. Qureishi’s signature in his paintings is the splashes of crimson blood-like paint, which evokes in the viewers a sense of carnage and according to him reflects the political context surrounding him (Shariatmadari). The 2010 bombing attacks in his hometown Lahore were the inspiration behind the violent depictions in his paintings, and he says being in Pakistan, “there is a lot of violence around me”, but goes on to say that there is violence everywhere in the world, and despite the turmoil, he continues to have hope. This modern artist suggests the direction of the future of Pakistani art, a fusion of traditional and modern styles, with the themes continuously reflecting the ever-changing situation in the country (Shariatmadari).

5. Conclusion

- To conclude, art influences the world and also gets influenced by it. The paper explored the impact war had on the art of the time, and how the trauma was portrayed through colors, themes, and symbols. The paper explored art within three major wars, and how the wars brought about new genres and techniques. There was a special exploration of the Pakistani artistic movement amidst the major wars faced by the country, and contemporary artists were highlighted