Lahore, Pakistan Destination Guide
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Assessment of the History and Cultural Inclusion of Public Art in Pakistan
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 18 February 2018 doi:10.20944/preprints201802.0117.v1 Article Assessment of the History and Cultural Inclusion of Public Art in Pakistan Syed Asifullah Shah1,*, Ashfaq Ahmad Shah 2 and Li Xianfeng 1, 1 Department of Ornamental Horticulture and Landscape Architecture College of Horticulture, China Agricultural University, Beijing, 100193, P.R. China [email protected] [email protected] 2 College of Humanities and Development studies, China Agricultural University, Beijing, 100193, P.R. China [email protected] * Correspondence: [email protected]; [email protected] Abstract The significance of arts incorporated with culture inclusion makes the arts a matter of pressing interest. The arts are vital elements of a healthy society that benefits the nations even in difficult social and economic times. Based on the previous studies this research was conducted for the first time in Pakistan to explore the historical background of public art correlated with cultural and religious ethics. Though, Pakistan has a rich cultural history yet the role of modern public art is new and often used unintentionally. Our findings of different surveys conducted in Pakistan including oldest cities such as Lahore, Peshawar and newly developed, the capital city, Islamabad concluded that Public art has a rich cultural and historical background and the local community are enthusiastically connected to it. Different community groups prefer different types of public art in their surroundings depends on the city’s profile, cultural background, and religious mindset of the local community. Overall, the sculptures and depiction of animated beings are not considering right and debatable among the Pakistani societies. -
Second Lahore Biennale: Between the Sun and the Moon Curated by Hoor Al Qasimi Features 20+ New Commissions and Work by More Than 70 International Artists
For Immediate Release 6 January 2020 Second Lahore Biennale: between the sun and the moon Curated by Hoor Al Qasimi Features 20+ New Commissions and Work by More Than 70 International Artists Installed Across Cultural and Heritage Sites Throughout Lahore, Pakistan, from 26 January to 29 February 2020 Lahore, Pakistan—6 January 2020—The Lahore Biennale Foundation today revealed a list of over 70 participating artists for the second edition of the Lahore Biennale (LB02), running from 26 January through 29 February 2020. Curated by Hoor Al Qasimi, Director of the Sharjah Art Foundation in Sharjah, United Arab Emirates, LB02: between the sun and the moon brings a plethora of artistic projects to cultural and heritage sites throughout the city of Lahore including more than 20 new commissions by artists from across the region and around the world, including Alia Farid, Diana Al-Hadid, Hassan Hajjaj, Haroon Mirza, Hajra Waheed and Simone Fattal, among many others. Other participating artists include Anwar Saeed, Rasheed Araeen and the late Madiha Aijaz. With a focus on the Global South, where ongoing social disaffection is being aggravated by climate change, LB02 responds to the cultural and ecological history of Lahore and aims to awaken awareness of humanity’s daunting contemporary predicament. Works presented in LB02 will explore human entanglement with the environment while revisiting traditional understandings of the self and their cosmological underpinnings. Inspiration for this thematic focus is drawn from intellectual and cultural exchange between South and West Asia. “For centuries, inhabitants of these regions oriented themselves with reference to the sun, the moon, and the constellations. -
SADEQUAIN Born 1930, Amroha, India Died 1987, Karachi
SADEQUAIN Born 1930, Amroha, India Died 1987, Karachi, Pakistan B.A. in Art History and Geography, Agra University (1948) Syed Sadequain Ahmed Naqvi was one of the first Pakistani artists to gain international recognition, embarking on his notable career with an award from the Biennale de Paris in 1961. The artist was born in Amroha, India, descending from a family of Qur’an scribes and is recognized as the foremost calligrapher and painter of Pakistan, responsible for the renaissance of Islamic calligraphy in the country since the late 1960s and bringing the art form into the mainstream. In the late 1940s, Sadequain joined the Progressive Writers and Artists Movement and through his career, produced works of thematic content reflected by his commitment to social justice, and the progressive ideals of his peers of writers and poets. On the eve of Partition, Sadequain painted anti-British, nationalistic slogans in Dehli and such politically charged works gained the artist a wider, responsive audience both abroad and in Pakistan among the 1960s intelligentsia. Sadequain's unique visual vocabulary stemmed from the complex merging of Eastern (calligraphy) and Western (figurative) traditions in art, alongside Hindu and Muslim ideology. Sweeps of a calligraphic brush are echoed in the artist's flamboyant approach to painting figures but his forms and themes are mostly biographical. Contortions to figurative style arose from his observation of wild, defiant cacti growing against the odds in the deserts of Gadani (Karachi) which left an indelible impression on the artist and his work. Colors used are simplistic, yet provide strong structural elements through Sadequain's contrast of etched strokes. -
Pakistan) 4–9 October 2000
Report on Mission to Evaluate the State of Conservation of the World Heritage Site of the SHALAMAR GARDENS Lahore (Pakistan) 4–9 October 2000 ROBERT DE JONG (President, ICOMOS International Committee on Historic Gardens and Landscapes) 49-51 rue de la Fédération - F-75015 Paris - France - Tel + 33 1 45 67 67 70 - Fax + 33 1 45 66 06 22 Report on Mission to Evaluate the State of Conservation of the World Heritage Site of the SHALAMAR GARDENS, Lahore (Pakistan) 1 BACKGROUND TO THE MISSION The mission concerned World Heritage Site (No. 171-172) – the Fort and Shalamar Gardens of Lahore (Pakistan) The reason for the mission was the information received by the UNESCO World Heritage Centre from the national authorities of Pakistan that the Department of Archaeology was proposing to "restore the demolished hydraulic works of Shalamar Gardens," and that the authorities "had expressed their intention to nominate two sites (ie the Fort and Shalamar Gardens of Lahore and Taxila) to the List of World Heritage in Danger" (Letter from the Director, UNESCO World Heritage Centre, to H.E. Mr Shararyar M. Khan, Extraordinary and Plenipotentiary Ambassador of Pakistan to France Permanent Delegation of Pakistan to UNESCO, 2 August 2000, WHC/74/400/ PKS/00/JT/425). The Centre and ICOMOS had also already considered sending a mission "to elaborate a comprehensive management plan for both the Fort and Shalamar Gardens of Lahore site and the Taxila site". During its 24th Session in Paris on 26 June–1 July 2000, the Bureau of the World Heritage Committee decided to request the World Heritage Centre and ICOMOS "to organise a reactive monitoring mission to the Fort and Shalamar Gardens." The Bureau, while "expressing its appreciation for the information received from the Pakistan authorities concerning its intentions to undertake corrective measures .. -
Samina Iqbal Art History Department Virginia Commonwealth University Richmond, Virginia
Samina Iqbal Art History Department Virginia Commonwealth University Richmond, Virginia AIPS Short Term Fellowship Report Grant Period: August 3rd – October 3rd, 2014 Location: Lahore and Islamabad The AIPS short-term fellowship grant enabled me to travel to Pakistan for two months this summer and conduct my dissertation research, which focuses on the Modern Art of Pakistan. More specifically, my research examines the modern trends in Pakistani art beginning in 1947 and the pivotal role of the five founding artists of Lahore Art Circle (LAC) in constructing modernist sensibilities and secular trends in Pakistani art from 1950-1957. LAC, founded in 1952 included artists: Ahmed Pervaiz (1926-1979), Ali Imam (1924-2002), Anwar Jalal Shemza (1928 -1985), Moyene Najmi (1926-1997), and Sheikh Safdar (1924-1983). Since my focus is on the first decade of Pakistani modern art after its independence, it is incredibly difficult to locate any archival material on this era especially in the field of Fine Arts. Locating the actual works of LAC artists, which are mostly in private collections, is the challenging task that I set for myself for the two-month research in Pakistan. I arrived in Lahore, intending to look at a few libraries for archival material and a few museums for actual works of arts. However, this research trip turned out to be extremely productive in finding and locating much more than I anticipated. I divided my research into three parts: a. I conducted a number of semiformal and informal interviews with art critics, friends and immediate family members of LAC artists. This included renowned writers such as Intizar Husain, Kishwar Naheed, Salima Hashmi, Nazish Attaullah, Quddus Mirza, Attiya Najmi, Shahnaz Imam, Anwar Saeed, Dr. -
Volume 3, 2021 University of Toronto, Graduate Union of Students of Art History
INTAGLIO Volume 3, 2021 University of Toronto, Graduate Union of Students of Art History Beloved Mosque: The Wazir Khan Masjid of Lahore Sanniah Jabeen The Wazir Khan mosque is located in the Walled City of Lahore, along the southern side of Lahore's Shahi Guzargah, or “Royal Road.” This was the traditional route traversed by Mughal nobles and their guests on their way to royal residences at the Lahore Fort. The mosque is situated approximately 260 meters west of the Delhi Gate, where the mosque's Shahi Hammam (Royal Bath) is also located. The mosque faces both a town square, known as Wazir Khan Chowk, and the Chitta (White) Gate. A trip through the Delhi Gate to the Wazir Khan Chowk is an explosion of the senses. If one searches for images of the Delhi Gate Lahore, most incorrectly show the Gate as a wide-open entrance through which vehicles and people can easily pass. If one actually walks through the Delhi Gate, it is absolute chaos. Cars have to be parked many blocks away and visitors have to push through busy cart vendors, donkeys, hens, the occasional cow, as well as young men carrying twice their body weight in fruit, shoes, eatables, and clothing items. The Walled City of Lahore is the only place in the city where human driven carts still exist, as many streets are almost too narrow to allow motor vehicles or even donkey carts. The call for the prayer bellows periodically from the minarets of the Wazir Khan mosque and an increasing cacophony of human chatter, rickshaws, and motorbikes fills the air. -
Prof. Dr. Shahida Manzoor
PROF. DR. SHAHIDA MANZOOR Principal, University College of Art & Design, University of the Punjab, Allama Iqbal Campus, Lahore, Pakistan Phone: Office: 042-99212729-30, Cell: 0333-6507103 E-mail: [email protected] [email protected] EDUCATION Ph. D. in Fine Arts (2003) Ohio University, USA. Topic of Ph.D. Thesis: Chaos Theory and Robert Wilson: A Critical Analysis of Wilson's Visual Arts and Theatrical Performances.. M.F.A. in Painting (Gold Medalist) 1987, University of the Punjab, Lahore, Pakistan. TEACHING/ADMINISTRATIVE EXPERIENCE Four years teaching experience at Ohio University, U.S.A 1997-2001. Taught Humanity courses to undergraduate students i.e. Painting, Sculpture, Architecture, Theater and Music. Twenty-nine years teaching experience teaching graduate and post- graduate classes at the University of the Punjab from 28.11.1989 - to date. teaching mainly painting, Western art, Modern art, Post- modern/contemporary and History of Islamic Architecture, Fourteen Years post Ph. D Experience. Teaching, Theories, History of Art, Aesthetics, Research Methodologies to Art History and Studio Practice doctoral Students. Coordinator, Research Centre of UCAD w.e.f. 1.6.2006 to 30.8.2010. Principal, University College of Art & Design, Punjab University, Lahore w.e.f. 8.8.2014 Warden/ Superintendent, Fatima Jinnah Hall, Girls Hostel #1, Punjab University, Lahore w.e.f. 2006- to date. HONORS First Pakistani woman to earn Ph.D. degree in Fine Arts from USA (see video attached). Appointed as a Student Judge, in the Athens County Court, Athens, Ohio-USA Selection as a Faculty Member of College of Fine Arts, Ohio University (2001). -
Department of Tourism & Northern Studies MAKING LAHORE A
Department of Tourism & Northern Studies MAKING LAHORE A BETTER HERITAGE TOURIST DESTINATION Muhammad Arshad Master thesis in Tourism- November 2015 Abstract In recent past, tourism has become one of the leading industries of the world. Whereas, heritage tourism is one of the fastest growing sectors in tourism industry. The tourist attractions especially heritage attractions play an important role in heritage destination development. Lahore is the cultural hub of Pakistan and home of great Mughal heritage. It is an important heritage tourist destination in Pakistan, because of the quantity and quality of heritage attractions. Despite having a great heritage tourism potential in Lahore the tourism industry has never flourished as it should be, because of various challenges. This Master thesis is aimed to identify the potential heritage attractions of Lahore for marketing of destination. Furthermore, the challenges being faced by heritage tourism in Lahore and on the basis of empirical data and theoretical discussion to suggest some measures to cope with these challenges to make Lahore a better heritage tourist destination. To accomplish the objectives of this thesis, various theoretical perspectives regarding tourist destination development are discussed in this thesis including, destination marketing and distribution, pricing of destination, terrorism effects on destination, image and authenticity of destination. The empirical data is collected and analyze on the basis of these theories. Finally the suggestions are made to make Lahore a better heritage tourist destination. Key words: Heritage tourism, tourist attractions, tourist destination, destination marketing, destination image, terrorism, authenticity, Lahore. 2 | Page Acknowledgement Working with this Master thesis has been very interesting and challenging at a time. -
Jamālgarhī by Wannaporn Rienjang Is Licensed Under a Creative Commons Attribution- Noncommercial-Noderivatives 4.0 International License
1 Jamālgarhī by Wannaporn Rienjang is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. If you are citing this introductory essay, please incorporate key information about the source, date, and authorship, such as the following: W. Rienjang, ‘Jamālgarhī’, Gandhara Connections website, <http://www.carc.ox.ac.uk/GandharaConnections/otherResources.htm>, last accessed xx/xx/20xx. Jamālgarhī The Buddhist monastery of Jamālgarhī is one of the major archaeological sites in the Peshawar valley. Situated on top of a hill, the site covers an area of approximately 190 m x 165 m, overlooking a village to its south (Fig. 1). Two other major Gandhāran sites, Takht-ī-Bahī and Sahrī Bahlol, are located in its vicinity to the south-west. Alexander Cunningham discovered Jamālgarhī in 1848 (Cunningham 1848), and four years later, two British officers, Lieutenant Stokes of the Horse Artillery and Lieutenant Lumsden of the Guide Corps, carried out a survey at the site (Bayley 1852). Major excavations took place in 1873 when Cunningham, then the Director of the Archaeological Survey of India (ASI), excavated the Main Stupa area (Cunningham 1875), and later in the same year when Lieutenant A. Crompton excavated associated courtyards, halls and monastic buildings for the Punjab Government, with the main objective to collect sculptures for the Lahore Museum (Crompton 1974a; 1974b). Further excavations and conservation were carried out by the ASI under the direction of Harold Hargreaves between 1920 and 1923 (Hargreaves 1921; 1922/23; 1924). Fig. 1 Site plan of Jamālgarhī. (After Crompton 1874: plan 1 [reproduced in Errington 1987: plan 7a]) 2 Fig. -
A Historic Journey of the Lahore City, to Attain Its Identity Through Architecture
ISSN 2411-958X (Print) European Journal of May-August 2017 ISSN 2411-4138 (Online) Interdisciplinary Studies Volume 3, Issue 3 A Historic Journey of the Lahore City, to Attain Its Identity through Architecture Najma Kabir Associate Professor, Department of Architecture, University of South Asia, Lahore, Pakistan Ghulam Abbas Prof. Department of Architecture and Planning, University of Engineering & Technology Lahore, Pakistan Khizar Hayat Director Design, Central Design Office (WATER) Water and Power Development Authority, Lahore, Pakistan Abstract Lahore is a historical and the second largest city of Pakistan. It has a unique geographical location as it is located on the main trade and invasion routes to South Asia. Its history dates back to 1000BC, when its foundations were laid by the Hindu prince Loh, son of Rama Chandra. After the invasion of Mahmud of Ghazni in 1000AD, the city of Lahore has grown, flourished, suffered invasions and destruction, and yet survived through the Sultanate (1206-1524), the Mughal (1524-1712) and Sikh (1764-1849) periods with an uneven, yet unbroken, cultural evolution. This is evident in the form of monuments and artefacts that developed and evolved over time. The research paper discusses how architecture and contemporary arts in Lahore developed with time through the examples of representative buildings as case studies. It also discusses the impacts of cultural, religious and social factors on the art and architecture during different rules and how they are embodied in the city of Lahore to contribute towards its unique identity. The Mughals, who ruled for almost three centuries, were famous as great builders. They laid the infrastructure of Lahore and built finest architectural monuments. -
Business / Entrepreneurship Development Through Tourism Promotion in Punjab
Final Report Public Disclosure Authorized Business / Entrepreneurship Development through Tourism Promotion in Punjab Assessment and Improvement of Women Participation in Economic Activities Around Selected Sites February, 2018 Public Disclosure Authorized Public Disclosure Authorized Submitted to The World Bank Submitted By: SEBCON Socio-Economic and Business Consultants Public Disclosure Authorized Contents List of Acronyms v Women’s Participation in Tourism Development 1 1 Introduction and Background 1 1.1 Institutional Arrangements of Tourism Development, Archaeology and Religious Sites in Pakistan 2 1.2 Geographical Profile 4 Khyber Pakhtunkhwa 4 Punjab 5 1.3 Review Background 7 Surveys on Business and Employment 8 Scope of Work and Objectives 8 1.4 Methodology 9 Sample Size 10 Findings from Selected Sites 11 2 Historical Sites 12 2.1 Katas Raj 12 Location & Historical Background 12 Significance as a Tourist Site 13 Total Number of Tourists (Monthly/Weekly/Daily Cycle) 14 Profile of the Tourists (gender, age, socioeconomic characteristics) 14 Access to the Site and Availability of Basic Facilities 14 Current Business Environment and Involvement of Women 14 Issues and Constraints for Women Employment/Business 15 Potential Business Environment & Scope of Employment for Women 15 Issues and Constraints for Women Employment/Business 15 Recommendations 15 2.2 Lahore Museum 17 History 17 Significance as a Tourist Site 17 Tourism at Site 18 Total Number of Tourists (Monthly/Weekly/Daily Cycle) 18 Profile of the Tourists (gender, age, socioeconomic -
Sadequain | Exaltations Featuring Works from the Lost Exhibition
Sadequain | Exaltations Featuring works from The Lost Exhibition June 17th, 2014– July 18th, 2015 Press Preview & Opening Reception: Wednesday, June 17th 6:00pm – 8:00pm 35 Great Jones St., New York NY 10012 Aicon Gallery is proud to present the second major exhibition held in New York of the work of Sadequain, Pakistan’s most renowned and celebrated modernist painter. The exhibition includes rare works painted and left behind by the artist in Paris during the late 1960s. This body of work, now known as The Lost Exhibition, evinces Sadequain’s radically innovative calligraphic style of the period, while the individual works stand as some of the most formally commanding and revolutionary paintings of the artist’s long and prolific career. Though Sadequain’s oeuvre is by no means limited to Sadequain, Sun on the City, Oil on canvas 35 x 49 in. his calligraphic works, these paintings represent the pinnacle of his uniquely innovative approach, which allowed for calligraphy to be adapted into South Asian Modern art practices. Kufic, the oldest-known script in Arabic is characterized by angular strokes punctuated by dots and accents. The letters and words that sweep across Sadequain’s calligraphic canvases embody a richness of form and color that swirl together in majestic embrace. Sadequain explained how each letter in his calligraphic style exemplifies its own personality, mood, and character. Some are playful and radiant while others are thoughtful and dark. There is an intimate relationship between artist and artwork. Sadequain took the role of both painter and poet, fusing the two arts into a single, harmonious masterpiece.