THESIS TOPIC
“THE BORROWED PERCEPTION OR THE INSPIRATION IN A FEW PAINTINGS OF THE PAKISTANI ARTISTS”.
“THE BORROWED PERCEPTION OR THE INSPIRATION IN A FEW PAINTINGS OF THE PAKISTANI ARTISTS”. Viva presentation by Maryam Baber
Roll No: 15763 Session: MS Leading to Ph.D 2009-13 29th October 2013 for Prof. Dr Musarat Hassan External Examiner
Thesis Supervisor: Dr.Khalid Muhmud Co-Supervisor Prof. Mrs Zammurad Safdar Coordinator Dr. Naseem Aktar Last Degree: Master In Fine Arts (Double Gold Medalist) with First Div/A+ From Lahore Collage for women university
Questions in my mind……!!!!! Why I chooses this topic? • Globalization and brave writers? • Why Pakistani writers having fear of brave writing? • What is re- ? • What is research? • invention of plegrism detector • Power of scholar s’ writing? • what is the difference the between artist and artisan? • Slavery of art mafia? • Philosophy of individualism?
Want to aware upcoming artist about the venomous virus of borrowed perception Which convert original art into non-artistic and craft type of art work. My goal is to wide awake the Pakistani nation about the originality in art with original concepts.
Percussive Mode for the contemporary research based on critical analysis
Recourses Primary
Seminars, Artist talk, Brainstorming sessions, Interviews , lectures and WORKSHOPS
secondary
social networking boosters, books, journals from E-library
Contents Acknowledgment
Chapter 1: THE OLD MASTERS A THOROGH LOOK AT OUR HISTORICAL PAINTERS 1.
Introduction
2.
USTAD ALLAH BUKSH
3.
A .R NAGORI
4.
ZUBEIDA AGHA
Chapter 2: A FEW IMAGES FROM THE BORROWED OR PLAGERIZED MIST 5.
Introduction BORROWED PERCEPTION
6.
Amjeed Naeem as VAN GOUGH
7.
Jamil Baloch’s Ballerina
8.
Abrar Ahmed as picasso
9.
FARRUKH SHAHAB as De Kooning and Picasso
10.
Mansoor Aye as Henri Matisse
Page 1 to 16
Page 17 to 31
Chapter 3: ARTIST FROM THE PRESENT DECADE: EVOLUTION AND THE DIFFERENCE THAT IS INSPIRATIONAL REPRESENTATION Page 32 to 36 11.
Introduction
12.
Fahad Hameed
13.
Tahir bin Qalander
Chapter 4: A Critical Glimpse and Analysis On "THE BORROWED PERCEPTION OR THE INSPIRATION IN A FEW PAINTINGS OF THE PAKISTANI ARTISTS” Through Pakistani Art circle’s Point of View Page 36 to 46 1.
Introduction
2.
Marcilla Nesom Sirhindi
3.
Mansoor Rahi -Islamabad
4.
Prithma Thakli-Nepal
5.
Hajra Mansoor -Islamabad
6.
Qudus Mirza-Lahore
7.
Rakshanda atwar- Lahore
8.
Shamim Akhtar -(columnist) Karachi
9.
Abdullah Qurashi (Gallerist)- -New York
10.
Shezad Saeed (Gallerist)- Karachi
11.
Kanwal Khalid -Lahore
Chapter 5: CONCLUSION Page 36 to 49 12.
Some essential problems and solutions
13.
Closing statement
14.
Ending note
IMAGE GLOSSARY Page 51 to 67 BIBLOGRAPHY Page 68 to 69
Chapter 1 Old masters and their contributions • • 1. 2. 3.
Introduction Old masters: USTAD ALLAH BUKSH ZUBEIDA AGHA A .R NAGORI
USTAD ALLAH BUKSH
Over Crowded group of people
(Fig.1)
Sohni Dharti by Ustad Allah Buksh
Massacre at Chios by Delacroix 1824, Louvre
(Fig.2) Urdu couplet by Ustad Allah Bukhsh Signed and dated 1967 lower right and inscribed in Urdu on reverse Oil on board 25 1/4 x 17 7/8 in. (64.1 x 45.5 cm.) Christie's: USA.Auction Date: 2003
(Fig.3) The Swing by Jean-HonorĂŠ Fragonard, 1767
Romantic background and sky light creates sort of emotionality and synchronization which creates an other type of psychological impact in painting with romanticist chiaroscuro.
Use of vignette effect on the verge of painting
Talism-e-Hosh Ruba by Ustad Allah Bukhsh
(Fig.5).
Delacroix painted Death of Sardanapalus in 1827, Louvre
(Fig.4 & 6)
Romantic Paganism in Pakistani pictorial
(Fig.7A). Untittled (Mythological scene) Oil on canvas 26 1/4 by 34 1/4 in. (66.7 by 87 cm.) Sotheby's: USA .Auction Date: 2010
Roger Freeing Angelica by Jean Auguste Dominique Ingre, 1819, oil on canvas, 147 x 190 cm, Louvre, portrays an episode from Orlando Furioso by Ludovico Ariosto The Birth of Venus by Sandro Botticelli , 1486. Uffizi, Florence
(Fig.7B).
(Fig.8)
John Everett Millais English Pre-Raphaelite Painter and Illustrator. Ophelia1851-1852),
(Fig.10)
Sohini by Ustad Allah Baksh , 1923. (lower part of the painting)
(Fig.9)
(Fig.14)
(Fig.12)
Young Flautist, or The Fifer, MusĂŠe d'Orsay, 1866 by Edouard Manet
Portrait of Niccolo Paganini Auguste Dominique Ingres
(Fig.11 & 15)
(Fig.13)
Interested in local musician's character with their specific instruments
(Fig.16)
Ustad Allah Baksh- “buffaloes by the riverside”
Refugee coming to Pakistan
Interest in mythological subject matter and rendering involvement in painting that was typical Romantic spirit which stands for fantasy, in western culture.
USTAD ALLAH BUKSH
Paul Sérusier: The Bois d'Amour à PontAven: The Talisman (Le Talisman), 1888, oil on wood, 27 x 21,5 cm Musée d'Orsay, Paris
An Interactive session evolved to 3rd and 4th generation of Ustad Venue artist’s residency at Lahore, 2nd DEC 2011
A .R NAGORI
Art is either plagiarism or revolution.
Paul Gauguin French Post-Impressionist painter (1848 - 1903)
(Fig.17)
•
A. R. Nagori
•
Representation of local rural from Pakistani land
Gauguin’s painting representing Tahitian culture--
(Fig.18)
(Fig.19)
“kari facing the eclipse” by Nagori, 2004
Kasimir Malevich “Black Circle”
Auguste Herbin Vie No. 1 1950
(Fig.24)
(Fig.20)
Relational Painting, Tondo #40 Fritz Glarner 1955-56
(Fig.21)
Victor Vasarely, Alexander Liberman (Fig.22) and Adolph Gottlieb and Jasper johns (Fig.23).
Blast (Fig.25)
ZUBEIDA AGHA
AGHA’S composition with flower 1977
cow’s skull with calico roses-Georgia o keffe’-1932
(Fig.29).
(Fig.26)
Georgia o keffe
ZUBEIDA AGHA
(Fig.27)
(Fig.28)
Karachi by night-1956
Piet modrian
ZUBEIDA AGHA
Clown 1977
(Fig.30)
Gustav Klimt
Hope by Klimt, 1907-1908, Museum of Modern Art (Fig.31)
(Fig.32) ZUBEIDA AGHA 1988 composition
wassily kandinsky || on white ii
(Fig.33)
Chapter 2
Few images from the borrowed mist
•
Amjeed Naeem as VAN GOUGH
•
Jamil Baloch’s Ballerina
•
Abrar Ahmed as picasso
•
FARRUKH SHAHAB as De Kooning and Picasso
•
Mansoor Aye as Henri Matisse
(Fig.34)
(Fig.35)
AMJAD NAEEM tolinton market
Van Gouge cafĂŠ terrace at night
Van Gouge ‘s AMJAD NAEEM’s-‘River ravi’
Starry Night over the Rhone’
(Fig.36)
AMJAD NAEEM’s-‘River ravi’
(Fig.38)
(Fig.39) AMJAD NAEEM
(Fig.37)
"Irises" 1889 by Vincent van Gough
Lifted concept and borrowed sensation
(Fig.40)
(Fig.31) (Fig.41)
JAMIL BALOCH - BALLERINAS(In this series one can see an obvious relation to Degas, whether this effect was desired to be reminded of Degas or not is a matter of concern for the artist, art should be thoroughly researched and if there is a chance of it linking with a famous artist like Degas than the artist of today should learn to cite his visuals)
(Fig.40)
Green dancer-1817-Edgar Degas
(Fig.41)
Ballerina-Jamil Baloch
(Fig.40)
The yellow ballerina-1875/1876 -Edgar Degas
(Fig.41)
Ballerina-Jamil Baloch- Ref # 00011
Abrar Ahmed
(Fig.42)
Pablo PICASSO Weeping Woman. October. 1937
(Fig.43)
untitled 2007
weeping woman (another rendition)
Self-Portrait," 1972
Mansoor Aye
(Fig.44)
Moonfaced lady
Henri Matisse
(Fig.45)
FARRUKH SHAHAB
(Fig.48)
(Fig.46) Willem de Kooning Woman III 1952-53 $142.5 million (estimated)
(Fig.47) Pablo Picasso Year: 1941 Year of Sale: 2006 Sale Price: $95.2 million Currency Adjusted: $101.8 million
Chapter 3 Artist from the present decade with their evolving inspirational representation 1. Fahad Hameed 2. Binqalander
(Fig.49) Vinyl on stainless steel-Fahad Hameed-2011
Exhibition /Lecture and interactive session by Mr. Fahad Hameed on Evolution of line
21st November 2011
Impression Paint and gold leaf on Archival print 38x43 cm
Line of control Paint on archival print 91x116 cm
Untitled king ShahJehan 1
Untitled king ShahJehan 2
(Fig.50) Bin Qullander
Mashkoor Raza
(Fig.51)
Chapter 4 Analytical Glimpse from art circle on “THE BORROWED PERCEPTION OR THE INSPIRATION IN A FEW PAINTINGS OF THE PAKISTANI ARTISTS”. 1.
Marcilla Nesom Sirhindi
2.
Mansoor Rahi -Islamabad
3.
Prithma Thakli-Nepal
4.
Hajra Mansoor -Islamabad
5.
Qudus Mirza Lahore
6.
Rakshanda atwar- Lahore
7.
Shamim Akhtar -(columnist) Karachi
8.
Abdullah Qurashi -New York
9.
Saeed (Gallerist)- Karachi
10.
Kanwal Khalid -Lahore
(Fig.52)
(Fig.53)
(Fig.54)
(Fig.55)
(Fig.57)
(Fig.56)
(Fig.57)
(Fig.58)
Findings 1.
Corruption in art
2.
Reaction and after affect of plagiarism in art i.e pirated movies, music, drama, software
3.
In south Asia, people are habitual to give lame excuses. There are lame reasons for ‘piracy’. Then we have the list of reasons for borrowed script in films. Our movie makers confidently use to copy others’ script perception. We could neglect the commercial aspects. A director has no authentic reason for borrowed perception. They are just producing replica. And with the help of replica they are generating money. Moreover they do not have any restriction of copy rights. Nevertheless this is just a business, not an art activity. But in art of painting, inner emotionality and personal contextualization is main component of an original art work. Artist who claims to be a painter, borrowed perception is unbearable crime for him.
4.
Certain domains of originality in art
5.
Lose of identity and individuality /Gone astray or lose of regional values and indigenes spirit in art
6.
Galleries : their hierarchy , their role to spoil originality , move towards commercial art which leads to craftsmanship.
7.
Art forgery and commercial issues
8.
Damaging “originality in art”
9.
Which type of work should be tagged as plagiarized/ borrowed perception and which type of art is inspirational.
10.
Significance of Inspiration in art (direct or indirect): leads to
Borrowed Perception! if it is not Evolved
Familiar formula of knowledge to get success Lose of identity
Inspiration A natural cognitive system in human being
Human mind a washing-sponge Perception as unconscious manner Surroundings in the state of flux Apathy and artists’ emotions (Sorrow, pain, happiness)
Credits
The path of this topic was quit hard I literary make a constant drill to find hypothetical findings! Negative criticism give forth to work more hard on such indigestible topic