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Critical Analysis of Artworks by Female Artist of Pakistan

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Critical Analysis of Artworks by Female Artist of Pakistan Journal of Fine Arts Volume 1, Issue 1, PP 36-45 Critical Analysis of Artworks by Female Artist of Pakistan Fariha Rashid Lecturer, University of Gujrat, Pakistan *Corresponding Authors: Fariha Rashid, Lecturer, University of Gujrat, Pakistan ABSTRACT This research is about participation, growth and maturity in the area of art by Pakistani female artists. Women play an important role in influencing and enriching the society culturally and economically. The discussion is only in context of art and Pakistani female artists to elaborate the value of women. It is an attempt to show their efforts that despite all the difficulties imposed by the society women artists are utilizing their skills and creativity in the execution of art works. Women have gained all the rights since the advent of Islam, but unfortunately these rights were not implemented due to the uncertain political and social issues. The methodology adopted for this thesis is based on formal and contextual analysis which will help to understand the form and the hidden meaning behind it. It is also an attempt to explore some of the contextual information. The idea considering these artists was that they belong to a wide variety of styles and their experiences gained through the journey of becoming an artist. Keywords: Pakistani Art, Nahid Raza, Feminism, Chawkandi tombs, Female painter, Bird paintings INTRODUCTION Women have faced identity and self-respect Art is considered to be a medium that expresses issues all over the world. In order to resolve our emotions and feelings. It is a very broad these issues many movements were initiated in Western society to gain women rights. For term, which includes all the fields of creativity that express feelings and emotions. To instance, one of the focuses of Communist communicate effectively through art one can movement has been to give confidence to make use of any of the art forms. The art forms women so that they can participate in social or economic activities whenever it is needed or just include poetry, literary works, dramatics, 2 photography, sculpture, painting etc. to be an important part of society. Art culture of Pakistan dates back to five Pakistani women were having the same thousand years and it has many influences from problems of not getting equal rights to participate in stabilizing the social and neighboring countries. Excavations done in Mohenjo-Daro and the traces of Mughal art in economic condition of the society. To talk about miniature painting and architecture are proof women’s rights, Islam from day one has given that Pakistan has rich cultural and artistic equal rights to women and men, but unfortunately women do not know much about heritage and it is also visible in the art works produced by the Pakistani artists. However, the their rights. All these laws about voting, contemporary art scene in Pakistan is different working, equality are politicized. Women are from the West as the artists are now equally working with men since the day of experimenting different media which were not independence, but did not get equal status till used before and this has given new dimensions today. According to a famous quote by Quaid-e- to the artist’s works.1 Azam: In painting, the most favorite theme for many of No nation can rise to the height of glory the artists has been issues faced by Pakistani unless your women are side by side with women. In Pakistan, woman has been seen as an you; we are victims of evil customs. It is a icon of misery, but in some religions she is crime against humanity that our women are presented as a goddess. The problem in Pakistan even today is that people are gender biased. 2 Barbara Ehrenreich, “What is Socialist Feminism,” Feminist Ezine, http://www.feministezine.com/fem 1Huda Ayaz, “Historical Art in Pakistan,” Artistry inist/modern/Socialist-Feminism.html (accessed May (November 2013), accessed June 29th, 2015). 14, 2013). Journal of Fine Arts V1 ● I1 36 Critical Analysis of Artworks by Female Artist of Pakistan shut up within the four walls of the houses as Department of Punjab University now known as prisoners. There is no sanction anywhere for College of Art and Design. She had a ‘hard but the deplorable condition which our women pragmatically rich life in which teaching, have to live.3 proselytizing for art, motherhood and single parenthood, as well as authorship, made her a To make a nation grow it is not only the natural proprietor of the feminine space long responsibility of men but also of women. The before it was common’. She played a key role in role played by women in the struggle for setting the pace of feminist art.6 independence was important and crucial and so was in establishing art as a medium of As Anna Molka Ahmed established Fine Arts education. Women art educators laid the Department and started art education another foundation of Fine Arts for teaching art all over artist Zubaida Agha who was a colourist and an Pakistani schools, colleges and universities. At abstractionist image maker struggled to negate that time, many art institutes were opened and the categorization of male and female artists; art was accepted as a means of communication male as professional artists and female as 7 and expression. During the struggling years art teachers. With Agha’s efforts Modern Art was was merely adopted as a hobby and people did launched in Pakistan through her exhibition in 8 not take it seriously as a discipline to pursue 1949 at the YMCA in Karachi. their professional career. However, with the As the years passed by, along with the progress, passage of time due to the efforts of some there was a constant struggle by women to mark rebellious female artists Pakistani Art made its themselves in the history along with their male mark and general public started to realize the contemporaries; there were few female painters importance of this subject.4 who spare no effort in turning the situation opposite by giving a new idea of social Woman having been the primary reservoirs flexibility to the citizens.9 and transmitters of folk lore and folk art historically emerged on the national scene as NAHID RAZA (B.1947) important participants in the cultural One of the pioneering female artists’ commonly landscape. The teaching helped female artists known as a “feminist” is Nahid Raza (b.1947). and gave them the confidence to promote art Due to her painting style and subject matter, she as a noteworthy activity.5 was given this feminist title. This chapter explores Raza’s personal life events, how she Pakistani Art Scenario: 1950’s till to Date took inspiration from those events and utilized Female artists in Pakistan are known as the in her artworks. representatives of Pakistani society. They are Nahid Raza was born on 31st December 1947 in the ones who struggled hard in preventing male Delhi and was only three months old when her domination. In the struggle to end gender family shifted to Pakistan and settled in Karachi. biasing and spreading the message of equality Raza’s mother was a housewife with traditional not only painters, but also writers, poets, and thinking though her father Syed Mohammad human rights activists were engaged. Among Raza was a learned and moderate journalist who these women artists were not at the forefront in encouraged creativity. He wrote several articles terms of ruling the society, but acted as a means on art and edited “Artistic Pakistan” magazine of developing a healthy minded nation. Anna for a year and a half after he got the ownership Molka Ahmed and Zubaida Agha are two big from Bashir Mirza.10 names who laid the foundation of art. Anna Molka Ahmed was the founder of Fine Arts Raza was interested in drawing and painting since childhood. She got her early education 3 Yasser Latif Hamdani, “Feminist dimensions of the was done in a small school at Lalukhet where Pakistan Movement,” Paktribune (August 2005), http://paktribune.com/articles/Feminist-dimension- 6 Sumera Jawad, “Remembering Anna Molka of-the-Pakistan-Movement-115710.html (accessed Ahmed,” Friday Times (August 2011):26. April 30th 2013).This quote is taken from US Library of 7 Salima Hashmi, Unveiling the Visible: Lives and Congress report “Pakistan- A Country Study.” Works of Women Artists of Pakistan, 8. 4 Yashodhara Dalmia and Salima Hashmi, Memory, 8 Niilofur Farrukh, Pioneering Perspective. (Lahore: Metaphor, Mutations: the Contemporary Art of India Ferozsons, 1998), 9. and Pakistan (New Delhi: Oxford University, 2007). 9 Ibid, 9. 5 Salima Hashmi, Unveiling the Visible: Lives and 10 Akbar Naqvi, Image and Identity: Fifty Years of Works of Women Artists of Pakistan. (Lahore: Painting and Sculpture in Pakistan (Karachi: Oxford Action Aid Pakistan, 2002), 8. University, 1998), 673. 37 Journal of Fine Arts V1 ● I1 Critical Analysis of Artworks by Female Artist of Pakistan she explored creativity as well as her drawing rooms, restricted space and self-confinement skills. She took keen interest in all those and she was so used to depicting such subjects which required drawing and manipulation of space that she seems to illustration. In her childhood she used to collect encapsulate it almost in every painting. colour pencils and lead pencils from everywhere Influences and then utilized them for her drawings. As a As living and growing up in the heartland of child she often slept with pencil shavings Sindh Raza was influenced by many things clenched in her hands.11 which were later adopted in her paintings to When Raza was ready to sit in secondary school give meaning. It is also possible that her work examination her family settled in Nazimabad.
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