Journal of Art, Architecture and Built Environment (JAABE) Volume No.1 Issue No
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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. -
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Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 18 February 2018 doi:10.20944/preprints201802.0117.v1 Article Assessment of the History and Cultural Inclusion of Public Art in Pakistan Syed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. -
Old-City Lahore: Popular Culture, Arts and Crafts
Bāzyāft-31 (Jul-Dec 2017) Urdu Department, Punjab University, Lahore 21 Old-city Lahore: Popular Culture, Arts and Crafts Amjad Parvez ABSTRACT: Lahore has been known as a crucible of diversified cultures owing to its nature of being a trade center, as well as being situated on the path to the capital city Delhi. Both consumers and invaders, played their part in the acculturation of this city from ancient times to the modern era.This research paperinvestigates the existing as well as the vanishing popular culture of the Old-city Lahore. The cuisine, crafts, kites, music, painting and couture of Lahore advocate the assimilation of varied tastes, patterns and colours, with dissimilar origins, within the narrow streets of the Old- city. This document will cover the food, vendors, artisans, artists and the red-light area, not only according to their locations and existence, butin terms of cultural relations too.The paper also covers the distinct standing of Lahore in the South Asia and its popularity among, not only its inhabitants, but also those who ever visited Lahore. Introduction The Old City of Lahore is characterized by the diversity of cultures that is due tovarious invaders and ruling dynasties over the centuries. The narrow streets, dabbed patches of light andunmatched cuisine add to the colours, fragrance and panorama of this unique place. 22 Old-city Lahore: Popular Culture, Arts and Crafts Figure 1. “Old-city Lahore Street” (2015) By Amjad Parvez Digital Photograph Personal Collection Inside the Old-city Lahore, one may come the steadiness and stationary quality of time, or even one could feel to have been travelled backward in the two or three centuries when things were hand-made, and the culture was non-metropolitan. -
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. -
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 . -
State of Conservation Report by The
Report on State of Conservation of World Heritage Property Fort & Shalamar Gardens Lahore, Pakistan January, 2019 Government of the Punjab Directorate General of Archaeology Youth Affairs, Sports, Archaeology and Tourism Department Table of Contents Sr. Page Item of Description No. No. 1. Executive Summary 1 2. Introduction 3 3. Part-1. Report on decision WHC/18/42.COM/7B.14 5 4. Part-2. Report on State of Conservation of Lahore Fort 13 5. Report on State of Conservation of Shalamar Gardens 37 EXECUTIVE SUMMARY Fort & Shalamar Gardens in Lahore, Pakistan were inscribed on the World Heritage List of monuments in 1981. The state of Conservation of the Fort and Shalamar Gardens were discussed in the 42nd Session of the World Heritage Committee (WHC) in July, 2018 at Manama, Bahrain. In that particular session the Committee took various decisions and requested the State Party to implement them and submit a State of Conservation Report to the World Heritage Centre for its review in the 43rd Session of the World Heritage Committee. The present State of Conservation Report consists of two parts. In the first part, progress on the decisions of the 42nd Session of the WHC has been elaborated and the second part of the report deals with the conservation efforts of the State Party for Lahore Fort and Shalamar Gardens. Regarding implementation of Joint World Heritage Centre/ICOMOS Reactive Monitoring Mission (RMM) recommendations, the State Party convened a series of meetings with all the stakeholders including Federal Department of Archaeology, UNESCO Office Islamabad, President ICOMOS Pakistan, various government departments of the Punjab i.e., Punjab Mass-Transit Authority, Lahore Development Authority, Metropolitan Corporation of Lahore, Zonal Revenue Authorities, Walled City of Lahore Authorities, Technical Committee on Shalamar Gardens and eminent national & international heritage experts and deliberated upon the recommendations of the RMM and way forward for their implementation. -
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. -
Wazir Khan's Mosque
RELIGIOUS TOURISM Wazir Khan’s Mosque An embellishment is manifest! > Writer: M. Zubair Tahir Photos: Faraz Ahmed Located near Delhi gate of the old walled city of Lahore in Pakistan, Masjid Wazir Khan (Wazir Khan’s Mosque) is an exquisite example of Mogul architecture. Compared with other mosques of its class, it is smaller and not so well known, yet Masjid Wazir Khan occupies a unique place in typical Mogul architecture on account of its eye catching and absorbing display of Islamic art, which is not restricted to the interior but is unusually displayed lavishly on the exterior walls as well. asjid” literally means a place for Mprostration and this word stands for mosque, the Muslims’ place of worship. Sajida, an essential posture of prostration in Muslim prayers, is the humblest expression of submission to Allah, the omnipotent. To express this connection between man and his creator, Islamic art, at times seems to serve as a functional language. Minaret IQÉæŸG Internal view »∏NGO ô¶æe Islamic Tourism – Issue 34 – March-April / 2008 For more information, visit our website www.islamictourism.com 60 RELIGIOUS TOURISM A receptive heart cannot escape without being touched and wholly absorbed into the eye catching and intricate designs of Masjid Wazir Khan. These designs contain all the characteristics of typical Islamic art: they are geometrical patterns, symmetrical, and floral and contain hexagonal or octagonal stars and curvilinear intertwined decorations. Made of bricks, the red plastered walls of the mosque bear Persian inscriptions or Arabic calligraphy in fresco of an excellent durability. Powdered stones like lapis lazuli and minerals were used in the fresco. -
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.