Lahore Is the Most Chronicled City in the Annals of the History of The
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The Taj: an Architectural Marvel Or an Epitome of Love?
Australian Journal of Basic and Applied Sciences, 7(9): 367-374, 2013 ISSN 1991-8178 The Taj: An Architectural Marvel or an Epitome of Love? Arshad Islam Head, Department of History & Civilization, International Islamic University Malaysia Abstract: On Saturday 7th July 2007, the New Seven Wonders Foundation, Switzerland, in its new ranking, again declared the Taj Mahal to be one of the Seven Wonders of the World. The Taj Mahal is not just an architectural feat and an icon of luminous splendour, but an epitome of enormous love as well. The Mughal Emperor Shahjahan (1592-1666) built the Taj Mahal, the fabulous mausoleum (rauza), in memory of his beloved queen Mumtaz Mahal (1593-1631). There is perhaps no better and grander monument built in the history of human civilization dedicated to love. The contemporary Mughal sources refer to this marvel as rauza-i-munavvara (‘the illumined tomb’); the Taj Mahal of Agra was originally called Taj Bibi-ka-Rauza. It is believed that the name ‘Taj Mahal’ has been derived from the name of Mumtaz Mahal (‘Crown Palace’). The pristine purity of the white marble, the exquisite ornamentation, use of precious gemstones and its picturesque location all make Taj Mahal a marvel of art. Standing majestically at the southern bank on the River Yamuna, it is synonymous with love and beauty. This paper highlights the architectural design and beauty of the Taj, and Shahjahan’s dedicated love for his beloved wife that led to its construction. Key words: INTRODUCTION It is universally acknowledged that the Taj Mahal is an architectural marvel; no one disputes it position as one of the Seven Wonders of the World, and it is certainly the most fêted example of the considerable feats of Mughal architecture. -
Untitled (Rest) 2018 Viewed Altogether, the Set of Drawings Watercolor on Paper with Sculpture Reveal Patterns and 11.7 X 8.3 Inches Punctuations in Thought
GUIDE III CONTENTS 1 LBF 2 LB01 6 Sites Lahore Fort Mubarak Haveli & Tehsil Park Shahi Hammam Lahore Museum Alhamra Art Centre Bagh-e-Jinnah Canal 134 Academic Forum Academic Forum artSpeak Youth Forum 158 Acknowledgments IV V LAHORE BIENNALE FOUNDATION ﻻہور بینالے فاؤنڈیشن ایک غیر منافع (The Lahore Biennale Foundation (LBF بخش تنظیم ہے ، جو فنی تجربات کے is a non-profit organization that seeks to لئے اہم سائٹس فراہم کرنے اور فن کی provide critical sites for experimentation ممکنہ صﻻحیت کو سماجی تنقید کے in the visual arts. LBF focuses on the لئے آلہ کار بنانے میں کوشاں ہے۔ many stages of production, display فاؤنڈیشن کی توجہ ِعصر حاضر میں and reception of contemporary بنائے جانے والے فن پاروں کی پروڈکشن ، art in diverse forms. It understands نمائش، اور پذیرائی کی متنوع صورتوں inclusivity, collaboration, and public کی طرف مرکوز ہے۔ اسکا مرکزی نقطہ engagement as being central to its نظر سماجی تبدیلیوں کے ایجنٹ کے vision and is committed to developing طور پر عوامی شمولیت، اشتراک ، اور the potential of art as an agent of social فنی صﻻحیتوں کو فروغ دینا ہے۔ اس .transformation مقصد کے لئے فاؤنڈیشن پاکستان بھر میں فنی منصوبوں کی اعانت کر رہی To this end, the LBF endeavors to support ہے خاص طور پر وہ جو تحقیق اور art projects across Pakistan especially تجربے پر مبنی ہیں۔ those critical practices which are based on research and experimentation. LBF ﻻہور بینالے فاؤنڈیشن نے مقامی طور پر ﻻہور بینالے فاونڈیشن is supported by government bodies, ِحکومت پنجاب، کمشنر آفس ﻻہور، پارکس اور ہارٹی کلچر اتھارٹی، اور والڈ and has developed enduring relations سٹی اتھارٹی کے تعاون سے ایک سے with international partners. -
Dr. Muhammad Hameed
Dr. Muhammad Hameed Chairman Associate Professor Department of Archaeology University of the Punjab (Archaeologist, Historian, Museologist, Field Expert, Heritage Expert) Profile Completed MA in Archaeology from University of the Punjab in 2004. Dr. Hameed joined Department of Archaeology, University of the Punjab as Lecturer in 2006. After serving the university for five years and getting overseas scholarship, he went to Berlin, Germany and completed his PHD in Gandhara Art, in 2015 from Free University Berlin. During his stay in Berlin, got several opportunity to become a part of the international research circle and attended international conferences, symposiums and workshops, about different aspects of South Asian Archaeology, held in Paris, Stockholm, Berlin, and Torun. The main research focuses on Buddhist Art with special interest in the Miniature Portable Shrines from Gandhara and Kashmir. The PHD dissertation provides the first catalogue of these objects. Study of origin of miniature portable shrines, their, types, iconography and religious significance are the main features of my research. Articles related to research areas have been published in HEC recognized journals as well as in international journals. Personal Info S/O: Muhammad Rafique DOB: 16-09-1981 NIC: 35401-9809372-3 Domicile: Sheikhupura (Punjab) Nationality: Pakistani Contact Info Off.: 042-99230322 Mobile: 03344063481 Email: [email protected] [email protected] Address: Department of Archaeology, University of the Punjab, Lahore Pakistan Experience February -
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. -
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Historical Places of Pakistan Minar-E-Pakistan
Historical places of Pakistan Minar-e-Pakistan: • Minar-e-Pakistan (or Yadgaar-e-Pakistan ) is a tall minaret in Iqbal Park Lahore, built in commemoration of the Lahore Resolution. • The minaret reflects a blend of Mughal and modern architecture, and is constructed on the site where on March 23, 1940, seven years before the formation of Pakistan, the Muslim League passed the Lahore Resolution (Qarardad-e-Lahore ), demanding the creation of Pakistan. • The large public space around the monument is commonly used for political and public meetings, whereas Iqbal Park area is ever so popular among kite- flyers. • The tower rises about 60 meters on the base, thus the total height of minaret is about 62 meters above the ground. • The unfolding petals of the flower-like base are 9 meters high. The diameter of the tower is about 97.5 meters (320 feet). Badshahi Mosque: or the 'Emperor's Mosque', was ,( د ه :The Badshahi Mosque (Urdu • built in 1673 by the Mughal Emperor Aurangzeb in Lahore, Pakistan. • It is one of the city's best known landmarks, and a major tourist attraction epitomising the beauty and grandeur of the Mughal era. • Capable of accommodating over 55,000 worshipers. • It is the second largest mosque in Pakistan, after the Faisal Mosque in Islamabad. • The architecture and design of the Badshahi Masjid is closely related to the Jama Masjid in Delhi, India, which was built in 1648 by Aurangzeb's father and predecessor, Emperor Shah Jahan. • The Imam-e-Kaaba (Sheikh Abdur-Rahman Al-Sudais of Saudi Arabia) has also led prayers in this mosque in 2007. -
Archaeology Below Lahore Fort, UNESCO World Heritage Site, Pakistan: the Mughal Underground Chambers
Archaeology below Lahore Fort, UNESCO World Heritage Site, Pakistan: The Mughal Underground Chambers Prepared by Rustam Khan For Global Heritage Fund Preservation Fellowship 2011 Acknowledgements: The author thanks the Director and staff of Lahore Fort for their cooperation in doing this report. Special mention is made of the photographer Amjad Javed who did all the photography for this project and Nazir the draughtsman who prepared the plans of the Underground Chambers. Map showing the location of Lahore Walled City (in red) and the Lahore Fort (in green). Note the Ravi River to the north, following its more recent path 1 Archaeology below Lahore Fort, UNESCO World Heritage Site, Pakistan 1. Background Discussion between the British Period historians like Cunningham, Edward Thomas and C.J Rodgers, regarding the identification of Mahmudpur or Mandahukukur with the present city of Lahore is still in need of authentic and concrete evidence. There is, however, consensus among the majority of the historians that Mahmud of Ghazna and his slave-general ”Ayyaz” founded a new city on the remains of old settlement located some where in the area of present Walled City of Lahore. Excavation in 1959, conducted by the Department of Archaeology of Pakistan inside the Lahore Fort, provided ample proof to support interpretation that the primeval settlement of Lahore was on this mound close to the banks of River Ravi. Apart from the discussion regarding the actual first settlement or number of settlements of Lahore, the only uncontroversial thing is the existence of Lahore Fort on an earliest settlement, from where objects belonging to as early as 4th century AD were recovered during the excavation conducted in Lahore Fort . -
Conservation of Historic Monuments in Lahore: Lessons from Successes and Failures
Pak. J. Engg. & Appl. Sci. Vol. 8, Jan., 2011 (p. 61-69) Conservation of Historic Monuments in Lahore: Lessons from Successes and Failures 1 Abdul Rehman 1 Department of Architecture, University of Engineering & Technology, Lahore Abstract A number of conservation projects including World Heritage sites are underway in Lahore Pakistan. The most important concern for conservation of these monuments is to maintain authenticity in all aspects. Although we conserve, preserve and restore monuments we often neglect the aspects of authenticity from different angles. The paper will focus on three case studies built around 1640’s namely Shalamar garden, Shish Mahal and Jahangir’s tomb. The first two sites are included in the World Heritage List while the third one is a national monument and has a potential of being included in the world heritage list. Each one of these monument has a special quality of design and decorative finishes and its own peculiar conservation problems which need innovative solutions. The proposed paper will briefly discuss the history of architecture of these monuments, their conservation problems, and techniques adopted to revive them to the original glory. To what degree the government is successful in undertaking authentic conservation and restoration is examined. The paper draws conclusions with respect to successes and failures in these projects and sees to what degree the objectives of authenticity have been achieved. Key Words: Authenticity, World Heritage sites, Mughal period monuments, conservation in Lahore, role International agencies 1. Introduction 2. Authenticity and Conservation Lahore, cultural capital of Pakistan, is one of the Authentic conservation needs research most important centers of architecture (Figure 1) documentation and commitment for excellence. -
Mughal Kings and Kingdoms From
Mughal Kings and Kingdoms from http://www.oxfordartonline.com Dynasty of Central Asian origin that ruled portions of the Indian subcontinent from 1526 to 1857. The patronage of the Mughal emperors had a significant impact on the development of architecture, painting and a variety of other arts. The Mughal dynasty was founded by Babur (reg 1526–30), a prince descended from Timur and Chingiz Khan. Having lost his Central Asian kingdom of Ferghana, Babur conquered Kabul and then in 1526 Delhi (see Delhi, §I). He was a collector of books and his interests in art are apparent in his memoirs, the Bāburnāma, written in Chagatay Turkish. Babur built palace pavilions and laid out gardens. The latter, divided into four parts by water courses (Ind.-Pers. chār-bāgh, a four-plot garden), became a model for subsequent Mughal gardens. Babur was succeeded by Humayun (reg 1530–40, 1555–6), who initiated a number of building projects, most notably the Purana Qila‛ in Delhi. Sher Shah usurped the throne and drove Humayun into exile in 1540. During the Sur (ii) interregnum, Humayun travelled to Iran where he was able to attract a number of Safavid court artists to his service. In 1545 he re-established Mughal power in the subcontinent with the capture of Kabul, which was the centre of Humayun’s court until he took Delhi in 1555. Little is known of the Kabul period, but painters from Iran arrived there, and apparently some manuscripts were produced. Humayun died in 1556, shortly after his return to Delhi. Akbar (reg 1556–1605) inherited a small and precarious kingdom, but by the time of his death in 1605 it had been transformed into a vast empire stretching from Kabul to the Deccan. -
History of Conservation of Shish Mahal in Lahore-Pakistan
Int'l Journal of Research in Chemical, Metallurgical and Civil Engg. (IJRCMCE) Vol. 3, Issue 1 (2016) ISSN 2349-1442 EISSN 2349-1450 History of Conservation of Shish Mahal in Lahore-Pakistan M. Kamran1, M.Y. Awan, and S. Gulzar The most beautiful of them are Shish Mahal (Mirror Palace), Abstract— Lahore Fort is situated in north-west side of Lahore Naulakha Pavilion, Diwan-e-Aam, Diwan-e-Khas, Jehangir’s city. Lahore fort is an icon for national identity and symbol of Quadrants, Moti Masjid, Masti and Alamgiri Gates etc [2]. both historical and legendry versions of the past. It preserves all Shish Mahal is the most prominent, beautiful and precious styles of Mughal architecture. The fort has more than 20 large and small monuments, most of them are towards northern side. palace in Lahore Fort. It is situated in north-west side in the Shish Mahal is one of them and was built in 1631-1632 by Mughal Fort. It is also known as palace of mirrors because of extensive Emperor Shah Jahan. Shish Mahal being most beautiful royal use of mirror work over its walls and ceilings. It was formed as residence is also known as palace of mirrors. Shish Mahal has a harem (private) portion of the Fort. The hall was reserved for faced serious problems throughout the ages. Temperature personal use by the imperial family [3]. Shish Mahal was listed changes, heavy rains, lightning and termite effect were the as a protected monument under the Antiquities Act by serious causes of decays for Shish Mahal. -
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.