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(1928 - 18.06.1997) |
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Participated
in Punjab Fine Arts Society Exhibition Simla with Amrita Shergil,
S. Roerich, Jamini Roy etc., 1946; studied painting under Professor
S. Roerich at Sulalha Simla Hills, 1946-47; set up own studio
in Lahore 1948-49; organized art classes at Pakistan Arts Council,
Lahore 1951-52; founder member Lahore Art Circle comprising
of Shezma, Ali Imam, Mariam Shah, Ahmad Parvez, Razia Feroz
etc., 1952. His work figures in the following collections: Pakistan
Arts Council Lahore, Dacca, Karachi, Government House Murre;
Lahore Museum; The Punjab Council of Arts, Lahore; Peshawar
Museum; Lincoln Gallery, London; and private collections at
Lahore, Karachi, Colombo, New york, London. |
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| Wazir
Khan's Mosque, mid fifties |
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| Wazir
Khan's Mosque was built in 1634 AD/1044 AH by llm al-Din Ansari
of Chiniot. He rose to become Emperor Shah Jahan's vizier, then
the Governor of the Punjab. He founded a madrissa, school, in
the mosque built around the tomb of the fourteenth century saint,
Syed Muhammed Ishaque alias Miran Badshah, who came from lran
and settled in Lahore. Wazir khan created a trust bequeathing
shops, Hammams, gardens, serais and houses on the street from
the mosque to Delhi gate for the upkeep of the mosque and madrissa. |
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Old Lahore-II,
early fifties |
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the late semi-abstract manner, the artist extracts essential
details to register his response to the people, streets and
buildings of Lahore. |
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Nila Gumbad /
Blue dome, early fifties |
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Nila Gumbad, or the 'blue dome' marks the tomb of Sufi saint
just outside the Anarkali bazaar. In this painting however
Nila Gumbad has tantalizingly been ignored.
The high view-point, looking down on the street, captures
deftly the scene in colourful quick and simplified manner.
The work appears to be impressionistic but is not. This vision
and method of working was prevalent all over South Asia several
decades before independence. Raza, an Indian painter was extremely
successful in this sort of work, executed under the influence
of Langhammer, a teacher at J.J school of art, Bombay. Ali
Imam, his brother, brought the influence to Lahore. Najmi
a close associate of Ali Imam, began to paint in this style.
Soon however both like others of the Lahore art circle, begin
to abstract their work.
Prof. Khalid Iqbal
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Lahore, early
fifties |
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| This
important work shows the transitional phase between the earlier
and the late style. The almost impressionistic manner, has given
way to selection of certain evocative elements from the larger
subject. Already the grammar of Najmi's later semi-abstract
repertoire is visible. This significant missing link affords
new depth to, and understanding of, the painter's creative continuum. |
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Old Lahore-I,
early fifties |
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| In
the late semi-abstract manner, the artist extracts essential
details to register his response to the people, streets and
buildings of Lahore. |
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Shalimar, 1975 |
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| Amongst
the ornamental trees most popular with the Mughals was the cypress.
Tall, dark and tapering it enhanced the elegant majesty of Mughal
buildings, Mausolea and gardens. The artist has incorporated
cypress, as a design along with shapes of Shalimar pavilions,
in a semi-abstract composition. |
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