Written by: Jovita Alvares
Posted on: August 20, 2018 | 
| 中文
Ahmed Javed
The revival of Mughal miniature began in Pakistan in the 1950s, and is largely credited to the National College of Arts (NCA), which has since produced innumerable miniaturists, some of whom have unceasingly challenged the medium, bringing forth novel and ingenious interpretations of the orthodox style. These artists spearheaded Pakistan’s visibility into the intercontinental art scene, and have since been referred to as Neo-Miniaturists.
Adeel uz Zafar’s recent curatorial venture at Sanat Initiative displayed an oeuvre of massive miniature works, referred to as ‘Lahorenama.’ The name was a play on ‘Akbarnama’ or Book of Akbar, which was a commissioned account of the Emperor’s reign. Lahorenama, on the other hand, is a chronicle of established artists presently residing in Lahore, who have personal associations with Ahmed Javed, the artist behind the project. Javed too hails from Lahore, and recently graduated from NCA. As a miniaturist, the artist’s work focuses solely on the reinvention of the passé medium, to fit it in present-day context. Javed experiments with scale, perspective and composition, integrating all into an exclusive style of work.
This project came about as a result of a year-long discourse between the artist and curator. Despite efforts of contacting several artists, Javed’s final eight artworks were determined on the availability and consent from the artists to visit their space. The artists were: Imran Qureshi, Risham Syed, Ali Kazim, Irfan Hassan, Waseem Ahmed and R.M Naeem. The exhibition also included a diptych of Javed himself, thereby giving the audience a prevue of his process.
For any creative field, it is imperative to have an intimate domain for thoughts to flow, and work to emerge. Even as an art student, one is told unremittingly about the significance of a studio; a sacred space dedicated solely to one’s practice. Through Lahorenama, the viewer is gifted with an insight into the realms of some of the most influential contemporary artists of present-day, and this, in turn, could go on to become a learning experience for art students, present and future, in understanding by example.
Javed’s practice profoundly revolves around contextualizing past traditions to everyday life. His paintings have seen a jump from the mundane, to now focusing on capturing the practice of prominent artists. This, again, stems from his study of the traditional use of the art, which pioneered as illustrations of the lives of Mughal emperors. His paintings are discerningly aware of both the portrait of the artist and their sanctified space, as Javed spares no attention to even the minutest detail. From the frame in the background, to the pug lazing on the floor, each render is precise and rightfully present. As the curator mentions, the works also create a beautiful contrast to the traditional art that originated in workshops under ustaads, whereas now an independent studio allows free reigns in imagery and concept.
Javed exhibits extraordinary dexterity throughout the entire display. His crisp drawing, understanding of perspective and adaptation of scale and colour, make his work quite admirable. The artist also presents a fervent grasp of the medium, creating textures and focal points through his washes of gouache and delicate brush strokes. The artist not only manages to capture an exact likeness of the portraiture, but also the essence of each artist’s distinctive style and practice. Along with Imran Qureshi’s iconic splatters of paint, Javed manages to capture the artist’s unique colour palette of red, blue and white, as well as a dash of the cargo print, known to be implemented by Qureshi in his previous paintings.
Lahorenama is part of an ongoing project that will now continue to Karachi-based artists and then so on. For Javed, delving deeper into the lives of Pakistani contemporaries creates infinite possibilities of multiple series, be it by city or time. These large-scale pieces, though deceptively simple to comprehend, are in fact laden with layers of the medium’s history, while still keeping true to the innovation it has since undergone. Javed’s daring project give us an example of how the medium of miniature continues to not only flourish but augments itself, which is due, in large part, to the artists who initiated Pakistan’s eminence in the international art scene.
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